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[ "After sleeping with a photographer she had seen a few times, Cordelia wakes up to find herself extremely pregnant; she and several other women are carrying the spawn of a Haxil Beast that uses men as sexual surrogates. Angel and Wesley must find a way to break the demon's psychic control over its human incubators before they deliver-an ordeal likely to be lethal to the hosts." ]

[ "Angel: \"You've had vision.\"", "Cordy: \"Boy! Howdy! - Doyle kissed me just before he died and he passed it on to me!\" Cordy in her new apartment..", "Cordy: \"I'm not giving up this apartment!\"", "Angel: \"It's haunted!\"", "Cordy: \"It's rent controlled!\" Cordy talking to Aura in the phone: \"Yeah, I have a room-mate, but it's cool. I never see him. (Her can of rootbeer slides across the end-table and Cordy covers up the receiver) Hey! Phantom Dennis, put that back!\" Night, the office. Cordelia is putting on some lipstick using one of the lobby windows as a mirror.", "Angel: \"You look nice.\" Cordy jumps and spins around, then looks back at her reflection in the window. There is a streak of lipstick from the corner of her mouth halfway up her cheek.", "Cordy pulls out a tissue: \"And now I look like the Joker.\"", "Angel: \"Sorry.\"", "Cordy fixes her lipstick: \"Hopefully I'm still too young and carefree for a heart attack. Would it kill you to hum a little tune when sneaking up on people?\"", "Angel looking at a file: \"I don't hum. I'm confused here. Why is Mrs. Bensen filed under 'P'?\"", "Cordy: \"That's not a 'P' that's an 'F'. Or is it an 'R'?\"", "Angel: \"I don't know. Maybe we can be a little less - young and carefree with the filing?\"", "Cordy: \"Oh, it's an 'F'. I remember now.\" Angel blinks and scratches his neck: \"All right, so... (Chuckles) Why is it Mrs. Bensen is filed under 'F'?\"", "Cordy: \"Because she is from France. - Remember what a pain she was?\"", "Angel: \"Yeah. It made me what to drink a lot.\"", "Cordy: \"Well, that's the French for you.\"", "Wesley walks into the office: \"Hello. I was just in the neighborhood, patrolling with my new Bavarian fighting axe (Holds up an axe), when I suddenly thought 'perhaps Cordelia has had a vision', perhaps you need my help in the battle against evil.\"", "Angel: \"We seem to be evil free at the moment.\"", "Wesley: \"I also packed along a 'Word Puzzle 3-D' if either of you has the nerve to take me on.\"", "Cordy: \"Gee, Wesley, I'd love to, but unlike you, I'm not in my 80s quite yet.\"", "Wesley: \"If shaking your booty at the latest trendy hot spot is your idea of a life, then call me... (Two glamorous girls walk in) ...sick with envy.\"", "Sarina to Wesley: \"Hi. I'm Sarina. Nice axe.\"", "Wesley laughs: \"Uh, ah, no, this old thing...\" Wesley swings the axe around and embeds it in the wall beside him. Angel looks at him, then over at Sarina, but doesn't say anything.", "Sarina to Cordy: \"We're late. Wilson practically had to have phone s*x with the manager at Lounge La Brea to get us in.\"", "Cordy turns around: \"Okay, okay. How do I look?\"", "Sarina: \"Like you always do. Wilson won't be able to take his eyes off of you.\"", "Angel: \"Who's Wilson?\"", "Sarina: \"Christopher.\" Angel looking at Cordy who turns away: \"Christopher Wilson.\"", "Emily: \"Wilson Christopher.\"", "Wesley: \"No. The ethno-archeologist from Brandies?\"", "Sarina: \"The fashion photographer from LA who's been seeing Cordelia. Third times the charm. (Turns towards Wesley) And that Hugh Grant thing is really starting to work for me.\"", "Angel walks over to Cordy: \"So, ahem (chuckles) You've been seeing someone. How come I didn't know?\"", "Cordy: \"Because I'm ashamed of you. Not to mention how you'd embarrass me by giving him the third degree.\"", "Emily: \"Your boss could give me the third degree anytime.\"", "Sarina to Emily: \"You're a sucker.\" Cordelia puts a hand to her forehead and drops to the floor behind the desk. Angel quickly knocks some letters to the floor: \"Ah, Cordelia, grab that file. Sorry.\" Wesley runs over and starts to gather the letters: \"Oh, not to worry. Heh, heh, whoopsie.\" Angel turns to the two girls standing between them and the desk: \"So, La Brea. Sounds like that could be an evening (Wesley straightens up and stands next to Angel) with all sorts of evening type... I - I heard the bands there are...\"", "Sarina: \"They don't have any bands.\"", "Angel: \"Which I like. Because if it's too loud...\"", "Emily amused: \"Want to come?\"", "Angel: \"Oh, I think I may be busy.\"", "Cut to Cordy writhing on the floor. We get a flash of her vision.", "Angel: \"Beside, ah, I, uhm, I don't lounge all that well.\"", "Wesley laughs: \"Good one! Oh, yes. No, he's ah, he's no lounger (puts an arm around Angel) this one.\"", "Sarina to Emily: \"The good ones are always gay. (Wesley lets go of Angel) Cor, tick, tock.\" Cordelia pulls herself back to her feet and Angel turns towards her.", "Angel: \"So, that client I'm supposed to be meeting tonight, what's he like again?\"", "Cordy: \"Like a big baby (flash to her vision) hatching from a big egg with really large hands, in need of a manicure. (Writes an address on a piece of paper and hands it to Angel) You're meeting him here. Okay.\" Sarina as the three girls leave the office: \"Are my girls ready to party?\" Wesley as Angel goes to get his coat: \"I don't suppose you need any help, slaying the big baby creature, do you? Not that an evening alone with word puzzle isn't plenty exhilarating in it's own right. (Angel passes him and hands him the address. Wesley looks at it a big grin spreading over his face) Right.\" Wesley hurries after Angel then turns back to sling his bag over his shoulder and try to pull the axe from the wall. Angel watches from the lobby through one of the windows as Wesley pulls the axe free, falling to the floor in the process.", "Cut to Wesley looking at the address on the paper, 23 Cabrillo. He lowers the paper to reveal a mail box with that address. Angel pulls out a sword and Wesley has the axe in his right hand and a loaded crossbow in his left as they walk up the steps to the door. Angel nods at him. Wesley kicks in the door and jumps through it weapons held at the ready. Angel tries to follow but bounces off an invisible wall. Wesley to an older couple sitting watching TV: \"Don't move a muscle. - Demon spawn! (The man blinks at him) Cowards, don't make me thrash it out of you. Where do you lay your eggs? In the cellar?\" Angel looks over at the neighboring house and sees the thing from Cordy's vision hatching through one of the windows: \"Wesley...\"", "Wesley: \"In the bedroom?\"", "Angel: \"Yeah, that's right, termites lay their eggs anywhere, such as next door.\" Angel motions to the next house. Wesley backs up and looks out through the door, weapons still trained on the older couple, who are just sitting there looking at him.", "Wesley lowers his weapons: \"Oh.\"", "Angel: \"And we fight termites, where ever they may roam.\" Angel and Wesley leave, then Wesley turns back to the older couple: \"Sorry about the door.\" Intro. We see the bedroom window from the outside. There is orange slime spattered on the glass. We hear the demon baby scream and the sounds of Angel's sword and Wesley's axe. We see shadows of Wesley and Angel fighting the thing. One of them gets thrown against the wall next to the window and the plaster on the outside breaks. Camera pans over to the closed door and we see Wesley flying through it with a scream. He picks himself up, axe still in hand and runs up the stairs and back in through the broken door.", "Wesley: \"You'll pay for that.\" More sounds of fighting, then Angel steps through the door spattered with gore, sword in one hand, sheath in the other. Wesley follows him, looking disheveled, and also spattered with gore.", "Wesley: \"That was bracing.\" Angel wipes his sword off on his sleeve: \"Yeah. Baby just hatched. Wouldn't want to run into him when he grows up and gets his drivers license.\"", "Wesley laughs: \"And thank you very much, Cordelia, for sending us to the wrong house. Another five minutes and that thing would have been loose in the world.\"", "Angel sheathes his sword: \"Huh, well, it all worked out.\"", "Wesley: \"This time. (Looks back at the broken door) Maybe we should clean up...(turns back to Angel) You think a Tahval demon leaves a hefty security deposit?\"", "Angel turns to go: \"I'm sure of it.\"", "Wesley: \"Well, it's not my place, Cordelia works for you, but she doesn't seem to be paying attention to her duties lately.\"", "Angel: \"She's had a lot to deal with. I mean, Doyle's death, inheriting his visions, she's young. She's still trying to find her way in the world.\"", "Wesley: \"But we're not in the world. Demon hunters like us have a higher calling.\" Angel motions with a finger to his cheek: \"You, uh...\" Wesley mirrors his motion and wipes some gook of his cheek: \"Thanks. I mean, no one is more fond about Cordelia than I, but if she wants to go gad-abouting with those doxies...\" Angel walks past him with a smile: \"I think they liked you.\"", "Wesley follows him: \"Really! I - I didn't mean doxy in the sexual promiscuous sense, exactly. I - I... You don't think sticking the axe in the wall put them off?\" Angel as they walk by a lady in a bathrobe with curlers in her hair: \"That was charming.\"", "Wesley: \"What about the fact that they thought we were gay?\"", "Angel: \"Adds mystery.\"", "Cut to the La Brea Lounge.", "Bartender hands Sarina a drink: \"Here you go.\"", "Sarina: \"Thanks.\"", "Bartender: \"Don't mention it.\"", "Sarina: \"I won't. But I'll tip for it. (Turns to a guy) Jason, mullah.\" Jason smiles at her and hands her a bill. Sarina hands it to the bartender.", "Jason: \"I'm not saying it was worthy of a kiss.\" Sarina kissed Jason as Emily comes over.", "Emily: \"I'm bored.\"", "Sarina: \"Emily, do you know what it takes to get in here?\"", "Emily: \"Still bored.\"", "Sarina: \"Well, Cordy's not.\" Camera pans to show Cordy and Wilson sitting on a couch talking.", "Wilson: \"So you left Sunnydale and came to LA. What was that like?\"", "Cordy: \"Like skydiving without a parachute (Wilson chuckles) except for the smashing your body to bits part. - Actually, no, it was like that, too. Oh, and that guy that was supposed to be here when you arrive...\"", "Wilson: \"The guy?\"", "Cordy: \"With the big bag of fame and fortune.\"", "Wilson: \"Oh, that guy.\"", "Cordy: \"So, what happened to him?\"", "Wilson: \"He comes and goes. He's sort of fleeting that way.\"", "Cordy: \"Well, if you see him will you tell him to fleet my way?\"", "Wilson laughs and nods: \"Thank you.\"", "Cordy: \"For what?\"", "Wilson: \"For making me *not* hate dating. - Sarina is really something. I'm going to send her flowers (Cordy looks at him) for introducing you to me.\"", "Cordy: \"I knew that. (Laughs) God, for the first time I like LA. In high school I knew my place and, okay, it was a haughty place, and may be I was a *tad* shallow.\"", "Wilson: \"Oh, hey, nobody feels like they belong here. I mean that's the point of LA to make you feel as insecure as possible.\"", "Cordy: \"You don't feel that way.\"", "Wilson: \"Sure I do.\"", "Cordy: \"Right. You're doing what you came to LA to do. You're photographing all these gorgeous, famous people. Where is the insecure?\"", "Wilson: \"In the pictures, which are further proof that everybody is having a real life, except me. I'm the guy behind the camera, watching and recording life, not - living it - each and every moment - like you.\"", "Cordy: \"Wow, I'm living life? Look at me.\"", "Wilson: \"Look at you.\"", "Cut to Cordy unlocking the door to her apartment.", "Cordy: \"Well, here we are. (Turns around in the open door) Thank you for the club, and for driving me home, and listening to my entire life's story. I think I may have left out a couple of weeks in early 1987, but...\"", "Wilson: \"I had a great time, and you didn't talk too much. I want to know everything about you.\"", "Cordy: \"Me, too. I mean, about you, not... because I already know (Wilson steps over the threshold) about me...\" Cordy trails off as he kisses her.", "Wilson: \"Call you tomorrow?\"", "Cordy: \"Uhm, you don't have to...\"", "Wilson laughs: \"Call you?\"", "Cordy: \"Go home? I mean, right away? It's still early (Wilson looks at his watch) in Australia. (They laugh) Will you come in?\" Wilson walks in and looks around: \"Nice.\" Cordy closes the door and dims the lights: \"Yeah, compared to my old apartment, it's Buckingham Place.\"", "Wilson: \"You live alone, right?\" The lights go bright again. Cordy goes to turn them back down: \"In the sense that I'm the only one living here that's actually alive.\"", "Wilson: \"That was a yes, I think.\" Cordy as the lights brighten again: \"Wiring. Old buildings.\"", "Wilson: \"Well, no worries. Besides I - I like looking at you.\"", "Cordy: \"Look the truth is that my dating game skills are kind of rusty. You're the first person I've had over in a long... well, - ever. (They laugh) So, I'm open to suggestions.\"", "Wilson: \"Music?\"", "Cordy: \"Right. Music.\" She turns the radio on but it switches from the mellow music that was playing to some rousing Polka.", "Wilson: \"That's some jaunty Polka.\" Cordy laughs as she reaches back to turn the radio back off.", "Wilson: \"Oh, I know, I know, the wiring.\"", "Cordy laughs: \"How about some tea?\"", "Wilson: \"That be great.\"", "Cordy: \"Okay.\" Cordy once she gets into the kitchen: \"All right, Dennis, *knock it off*! This is the one guy, I've actually liked in a long time, and if you keep killing the mood, I'll kill *you*! (Gets the teakettle) All right, empty threat, you being a ghost and already dead and all. (Fills the kettle with water and sets it on the stove) But I'll do something *worse*! I'll play 'Evita' around the clock. (Puts her hands on her hips) The one with *Madonna*!\"", "Wilson walks up behind her: \"Who are you talking to?\"", "Cordy spins around: \"Uhm...my ghost. I have a ghost. He's jealous. (Grimaces and laughs) Kidding. The apartment's great, but things are always breaking and, uhm, and I have no one to complain to, so sometimes *just* to keep myself company I talk to myself.\" Wilson leans forward and kisses her. When he pulls back Cordy stares at him for a moment then leans in and kisses him.", "Cut to the darkened bedroom and more kissing. Then they are laying on the bed and we get still more kissing and a glimpse of a bare back.", "Cut to Cordy waking up the next morning.", "Cordy turns around: \"Wilson?\" The bed beside her is empty and she reaches for the alarm clock. It's 10:47 am.", "Cordy pushing herself up: \"Uh-oh, somebody is going to be late for work.\" She pushes the blanket aside and stares at her hugely pregnant belly.", "Cut to Cordy sitting up dressed in bed.", "Cut to Angel and Wesley walking up to Cordy's door (they are under some kind of roof, so no direct sunlight).", "Angel: \"What time is it?\"", "Wesley: \"Quarter past noon.\"", "Angel: \"I left two messages, she should have called back. (Bangs his fist on her door) Cordelia!\"", "Wesley: \"Maybe she unplugged her phone. Or she slept somewhere else. (Wesley turns to go) Well, I guess we should... (Angel turns the knob, breaking the lock and walks in) break down her door and trespass.\"", "Angel looks around the apartment: \"Cordelia? -I'm getting a bad feeling here.\"", "Wesley closes the door: \"I thought it was just me.\"", "Angel: \"This isn't like her.\"", "Wesley: \"Avoiding her responsibilities? Lately it seems quite like her. (Angel opens the bedroom door) I'm sure it'll all work out once we...(The door swings open and we see them stare at Cordy sitting up in bed) Mother of God.\"", "Cordy not looking at them: \"Angel?\"", "Angel comes in: \"It's alright. We're here.\"", "Cordy: \"I'm ready to wake up now. I - I don't seem to be - waking up. - Help me.\" Angel sits down on the edge of the bed: \"We're going to. What do you remember?\"", "Cordy close to crying: \"Well, we went to the club. And Wilson and I just sort of hid out on this couch and we talked and talked and then he drove me home and I asked him in. - He was really nice. And we ah, - you know? - It was normal. He was normal and it was safe, it was - it was all really safe!\"", "Angel: \"Shh, shh. It's okay. Have you talked to Wilson?\"", "Cordy: \"No. I haven't talked to anyone. What would I say to him? 'I had a really great time. I think you left something at my place'? I don't think this is right.\" Angel reaches for her cordless phone and holds it out to her: \"What ever is happening to you, he may have some answers.\"", "Cordy: \"I can't.\"", "Angel: \"Just dial his number and I'll talk to him.\" Cordy takes the phone and dials: \"Oh, God. I'm being punished.\"", "Wesley: \"You're certainly not being punished. This is... We'll get to the bottom of it.\" Angel takes the phone and hears: \"The number you have reached has been disconnected, there is no new number at this time.\"", "Angel hangs up: \"He's not answering right now. I want you to rest, and we're going to handle this. Hey! You're not alone.\"", "Cordy looking at her belly: \"That's sort of the problem, isn't it? (Angel and Wesley look at each other) Could you - just leave me alone for now?\"", "Angel gets up: \"We're going to be right outside.\" He and Wesley leave and close the door. The box of tissues floats up from the night stand and one of the tissues floats over to Cordy who takes it, blows her nose and blots at her eyes. The blanket moves up to her neck and Cordy sighs.", "Cut to Angel hanging up the phone: \"Thanks.\"", "Wesley: \"Any luck with your contact?\"", "Angel: \"Wilson's home and business phones have been disconnected, no unlisted numbers, no forwarding addresses, no criminal record.\"", "Wesley: \"Well, that's something.\"", "Angel sighs: \"I'm guessing it's some kind of procrea-parasitic demon.\"", "Wesley: \"Hmm, a demon who can only reproduce by implanting a human woman with its seed. Yes, I've heard of such entities. - The human mothers...\"", "Angel: \"Rarely survive labor, and the ones that do, wish they hadn't.\"", "Wesley: \"If she's that pregnant in one night, she could give birth at any moment.\"", "Angel: \"We have to move fast. You're gonna have to see what's inside her.\"", "Wesley shocked: \"I beg your pardon?\"", "Angel with a smile: \"Pre-natal exam, Wesley.\"", "Wesley: \"Oh, of course. And what about you?\"", "Angel: \"I'm going to find Daddy.\"", "Cut to the La Brea Lounge. Angel walks up to the bar and clears his throat.", "Bartender: \"I didn't see you.\"", "Angel: \"I get that a lot.\"", "Bartender: \"What can I get you?\"", "Angel: \"I need some help.\"", "Bartender: \"I'm kind busy.\"", "Angel: \"Yeah, I know. I won't take much of your time. A friend of mine was here last night. Her name is Cordelia. Big smile, really pretty?\"", "Bartender: \"Yeah, we get a lot of that.\" Angel pulls out some money and lays it on the bar.", "Bartender: \"What's this?\" Angel looks down at the bill under his hand then back up at the guy: \"Probably an insult. I'm guessing that you're serving drinks day and night to jerks that think that they can buy anything.\"", "Bartender comes around the bar: \"Yeah, that be a good guess.\"", "Angel: \"One of those jerks hurt my friend. I need to find him, fast.\"", "Bartender: \"Who was it?\"", "Angel: \"Wilson Christopher. (Bartender nods) Look, I want to know who his friends are, where they hang...\"", "Bartender: \"Pretty much where ever Sarina tells them to.\"", "Angel: \"Sarina.'", "Bartender: \"Yeah. You know her?\"", "Angel: \"Yeah.\"", "Bartender: \"They travel in packs. The guys have the money, the girls have the pretty. The girls decide what club's the flavor of the month and Sarina rules the girls.\"", "Angel turns to go: \"Thanks.\"", "Bartender: \"So, you're her boyfriend?\"", "Angel: \"No. I'm family.\"", "[SCENE_BREAK]", "Cut to a hospital by Pershing Square. Cut to the waiting room.", "Pregnant woman to Cordy: \"Do you know what it is? (Cordy looks at her in shock) Boy or girl?\" Wesley comes to sit down next to Cordy: \"Shouldn't be long. (Leans forward and whispers) I told them that it was rather urgent.\"", "Woman: \"You're carrying low. I bet it's...\" She reaches over towards Cordy and Cordy jumps in her chair freaked: \"Shut up! Don't touch me!\"", "Cut to the doctor examining Cordy: \"You're what, eight and a half months along?\"", "Wesley aside to Cordy: \"Feels like only yesterday, doesn't it?\"", "Doctor: \"Well, I see you left a lot of blanks on the patient information form. It would help to have the name of your previous doctor.\"", "Cordy: \"You're the only doctor we've been to...\"", "Wesley jumps in: \"in California. We just moved here from England.\"", "Doctor: \"Lovely country. So, how are you feeling?\"", "Cordy: \"I'm as big as a house, everything hurts, I...\"", "Doctor: \"That's all normal at this stage. And once your little one comes out, which will probably be in no time, you'll feel a lot better.\"", "Cordy: \"God, it's a nightmare.\" The doctor and the nurse stare at Cordy.", "Wesley takes Cordy's hand: \"Hold on.\"", "Doctor: \"All right, Mrs. Penborn, why don't you lie back and see what's baking in the oven?\" Cordy lies back with a sigh and the doctor and the nurse start the ultra sound.", "Doctor: \"Have you folks settled on a name yet? It's the hardest part for a lot of people. (Wesley standing next to Cordy giving her a reassuring smile. Doctor looks at the monitor) Hmm, looks like somebody is having twins.\"", "Cordy and Wesley: \"Twins?!?\" Doctor still looking at the screen: \"No, there is a third heartbeat.\"", "Nurse stares: \"There is another one.\" Wesley goes to look over the doctor's shoulder.", "Doctor: \"Five... six (Cordy stares at her belly and shakes her head) oh, my God!\"", "Cordy: \"What is it? What's wrong?\"", "Doctor: \"I - I'm sure it's nothing. But I - I'd like to withdraw - a little of the amniotic fluid just, just to make sure that everything is, ah... shipshape. (Cordy narrows her eyes at him) So, nurse, if you would prep Mrs. Penborn right away?\" Wesley stares at the screen then looks over at Cordy.", "Cut to Angel stepping out of an elevator in to a dimly lit hallway. He walks up to a door and knocks.", "Angel: \"Sarina?\"", "Sarina: \"Just leave it outside.\"", "Angel: \"Sarina, it's Angel, Cordelia's friend. Can I come in?\"", "Sarina: \"Okay.\" Angel walks in and looks around: \"Sarina?\" The apartment is dark lit only by some candles. Angel walks further and sees Sarina with her back to him lighting another candle.", "Angel: \"Sarina?\" Sarina still with her back to him: \"The light hurts my eyes lately.\"", "Angel: \"I know the feeling.\"", "Sarina: \"I thought you were the liquor store. (Lifts a bottle to her lips) I'm almost dry. (Drinks) I know what you're thinking. I shouldn't, right? (Turns around. She is as pregnant as Cordy) It'll hurt the baby? (Looks at her belly) I hope!\"", "Cut to the clinic.", "Doctor syringe in hand: \"I need to tell you that there is a point 5% chance of miscarriage from the procedure. Now, it's a very small risk...\"", "Cordy: \"I'll take it.\"", "Doctor: \"Now, you'll feel a pinch. Just count backwards from five, and we'll be done.\"", "Cordy: \"5 - 4 - 3 - 2 - 1 - 1 - 1 - 1!\" The doctor withdraws the needle and stares at the fluid: \"All done. (Hands it to the nurse) Now, that wasn't too bad, was it? Now we'll just run a few tests...\" The nurse turns back around staring at the syringe in horror: \"Dr. Wasserman?\" The syringe cracks and the nurse drops it and jumps back with a scream. Doctor looks at the syringe on the floor as the fluid starts to eat through the floor: \"This is, uhm... (he and the nurse leave the room) Excuse me.\" Wesley bends down to get a closer look at the hole in the floor then looks over at Cordy, his mouth hanging open.", "Cordy: \"You saw what's inside of me?\"", "Wesley: \"I think we should find Angel.\"", "Cordy: \"Wesley, please just tell me!\"", "Wesley doesn't look at her: \"Cordelia...\"", "Cordy: \"Do they look healthy?\" Wesley stares at her.", "Cut to Angel and Sarina.", "Sarina: \"It's like it's not real, but it is. Right? It's really happening?\"", "Angel blinks: \"It's real. It's happening to Cordelia, too.\"", "Sarina: \"Oh, God. - I can't reach Jason. He's gone.\"", "Angel: \"So is Wilson.\" Sarina sits down on a couch: \"I didn't know this would happen.\"", "Angel: \"But you knew something.\"", "Sarina: \"Yeah, I knew, I knew, I knew the guys, - Jason and Nick, and then Wilson wanted to meet Cordelia. I don't know. (Sighs) I knew something wasn't right. Their money...\"", "Angel: \"What about their money?\"", "Sarina: \"It's stupid. It kind of - smelled. (Sighs) I mean, *really* smelled. And sometimes the guys were like - jumpy. But this town, - you know? Everything is fake. Things are weird and you stop asking questions. - You sure this is really happening?\" Angel sits down on the edge of the table in front of her: \"Do you have someone you can call?\"", "Sarina: \"I Call?\"", "Angel: \"Family.\"", "Sarina shakes her head: \"No. No one. The guys seemed like they liked that. Wilson asked about Cordelia and I told him that she didn't have anybody either.\"", "Angel: \"Sarina, where can I find...\" Sarina bends forward and screams. Blends into Cordy leaning forward and screaming. Wesley holds her as they ride down in the elevator to Angel's apartment.", "Wesley leads her out: \"It's all going to work out. You'll see, everything's going to be just fine.\"", "Cordy: \"I know it will be.\" Wesley leads her into Angel's bedroom: \"There's a brave girl. I'm sure Angel won't mind if you rest in here. Just relax, get comfortable, well, ah, ha ,ha, as comfortable as is possible at any rate. (He covers her up with a blanket) Should you need anything, anything at *all*... I'll just...\"", "Cordy looks hard at him: \"You're afraid.\"", "Wesley: \"What?\"", "Cordy: \"You're afraid of what's inside of me. You think it's horrible. You think that I won't be able to handle it. That if I find out, I'll do something - bad.\"", "Wesley: \"Cordelia, the truth is I haven't yet formulated a theory. I need time to analyze the ultrasound and weigh the data, and - and the moment there is anything concrete to report...\"", "Cordy rubbing her belly: \"There is 7 of them. There is 7 of his children - growing inside of me. They are talking to me. They're talking all at once. (To her belly) I can't understand.\" Wesley sits down on the edge of the bed: \"Cordelia, I know how difficult this must be for you...\"", "Cordy: \"No! You don't know.\"", "Wesley: \"All right.\"", "Cordy whispers: \"You don't know what it's like to be a partner in creation.\"", "Wesley: \"I - I - I just meant...\"", "Cordy: \"Wesley...\"", "Wesley: \"Yes?\"", "Cordy whispers: \"They're not human.\"", "Wesley whispers: \"I imagine that's true.\"", "Cordy: \"But, I mean... that could be okay, right? I mean, look at Angel. He's not human. And Doyle, he wasn't either...\"", "Wesley: \"Shh. Shh.\"", "Cordy: \"I mean, not totally. (Whispers) He was good.\" Wesley blots her forehead with a handkerchief: \"Shh. Shh.\" Cordy sinks back into the cushions and closes her eyes with a sigh. Wesley pulls the blanket up to her chin, looks at her for a moment. He turns away to find Angel standing in the door to the bedroom. They look at each other for a moment then Wesley follows Angel into the main apartment.", "Wesley: \"Any luck locating Wilson?\"", "Angel: \"Not yet. But I did find Cordelia's friend Sarina. She's a victim, too. As big as Cordelia. Wilson's rich buddies are in on it. (Starts flipping through a phone book) Four of them, maybe more, I don't know how many women they've impregnated.\" Wesley shows him a piece of paper: \"And it's worse than you know. The ultra sound results. Seven heartbeats, at least, maybe more. And with multiple pregnancies...\"", "Angel: \"Someone is raising an army.\"", "Wesley: \"An army of what?\"", "Angel: \"Good question. We need to find the demon fathers.\" Wesley sees what section of the yellow pages Angel is looking at: \"Gun clubs? Guns can kill them? Well, I say, that makes it easier.\"", "Angel: \"Sarina said Wilson and his buddies hang out at some private gun club. Guns and Cigars. She doesn't know where exactly. While I find them you should be narrowing down the species. Maybe we can figure out a way to terminate this without hurting her.\"", "Wesley: \"And if we can't?\" Angel rips out a page and sighs: \"Then we need to know what to do once they're born.\" Wesley follows Angel out of the living room: \"Yes, well, it mustn't come to that. The odds of her even surviving are...\" They stop as the enter the kitchen area and see Cordy standing in front of the open refrigerator gulping down blood out of a clear container. Some of it runs down her chin.", "Angel swallows: \"I don't think I ever realized just how disgusting that was. Get her back to bed.\"", "Wesley: \"Yes.\"", "Angel: \"Maybe order her a pizza or something.\"", "Wesley: \"Good idea.\"", "Angel: \"Uh...\" Cordy puts the half-empty container back in the fridge, wipes the blood on her mouth on her sleeve and walks past them.", "Cordy: \"I was hungry.\"", "Cut to Wilson shooting a pistol at the gun club. He takes his ear protection off and turns to find Angel standing behind him. Wilson takes off the safety glasses: \"You shouldn't sneak up on people like that in here. (Drops out the empty magazine and puts in a new one) That's how accidents happen.\"", "Angel: \"Speaking of accidents. I'm a friend of Cordelia Chase.\"", "Wilson: \"This is a private club. Featured word - 'private'.\"", "Angel: \"You don't talk to me, I'll kick your ass. Featured word - 'ass'.\"", "Wilson: \"Angel, right? Her boss? (Turns and points his gun at Angel's neck) She told me all about you, man.\" Angel grabs his gun hand, making him drop the gun, then twists him around and wraps one arm around his throat: \"Yeah, well, somehow, I doubt that. (Angel throws him against the wall) You're human. Then you can't be the father. (Wilson tries to get past Angel) So you and your friends are just a link. (grabs Wilson by the front of his shirt and pushes him up against a pillar) Huh? How does it work? Those things come to term, she'll die. You do know that?\"", "Wilson: \"So? I'm not telling you anything.\"", "Angel: \"Was so hoping you'd say that.\" Angel hauls back and hits Wilson with a hard right. Wilson hits back, Angel blocks and hits him again, knees him in the stomach, then drops him on the floor with a left hook. Wilson's buddies come in just as Angel gets down to pull Wilson up and hit him again.", "Nick: \"Hey! Uhmm, - someone's mommy didn't teach him to play nice.\"", "Wilson picks himself up: \"You have no idea what you're dealing with.\"", "Cut to Wesley comparing the picture from the ultra sound to some engravings of a demon in one of Angel's books using a magnifying glass.", "Wesley: \"Eeesh!\" He jumps when he looks up to see Cordy standing next to him.", "Cordy looking at the engraving: \"That's him, isn't it?\" She picks up the book to get a closer look.", "Wesley: \"I ask that you not overreact. Keep in mind that oft times these 16th century engravers tended to exaggerate. (Looks worriedly at Cordy's face) Cordelia? I - I know it seems dire, but now that we've identified the species, there is every chance that we will be able to stop what's happening to you. (Cordy looks at him) That's right. We mustn't lose hope.\" Cordy closes the book and slams it against the side of Wesley's head. He staggers against the table.", "Cordy: \" You're not going to hurt my babies. (She hits him again and he drops to the floor) No one is going to hurt *my* babies.\"", "Cut to Angel and Wilson's buddies at the gun club.", "Angel: \"You know, I'm starting to get the big picture here. You guys proxy for big daddy demon, he imbues you with his life force or whatever it is you're implanting in these women.\"", "Jason: \"He's trouble finding his own dates. We just - help him out a little, that's all.\"", "Wilson: \"Shut up, Jason.\"", "Angel: \"And you get what in return, fame, money, success? That's it, isn't it? How else would losers like you get ahead? I mean, you'd have to become procreative surrogates for a vile demonic entity.\"", "Jason with a smirk: \"Well, mostly, I do it for the s*x.\"", "Wilson: \"Welcome to Los Angeles. There are worse things to be in business with.\" Angel gets right into Wilson's face: \"Where is he? Where is this demon you worship?\" Wilson smiles as Nick pulls a gun from under his sweater: \"Even if we did tell you where to find him, it wouldn't matter, since you're about to have an accident.\" Wilson pushes Angel back, catches the gun Nick throws him and shoots Angel three times in the chest. Angel doubles over groaning. The guys' smirks disappear when Angel straightens up in vamp face. Angel kicking the gun out of Wilson's hand: \"I really don't like it when people shoot me.\" Angel proceeds to beat the crap out of the four guys. At the end he kicks Wilson backward through a glass door then steps through after him and puts his foot on his face.", "Angel: \"Now you're going to tell me what I need to know.\"", "Cut to Cordy walking into a deserted warehouse. The other pregnant girls are coming as well. They look at each other while we hear the sounds of their babies talking to them.", "Cut to a phone booth. Cut to the phone ringing in Angel's apartment. Wesley pushes himself up off the floor holding his head. Cut to Angel in the phone booth digging bullets out of his chest with his fingers while he is waiting for some one to answer the phone. Cut to Wesley picking up the phone.", "Wesley: \"Hello?\"", "Angel: \"Yeah, Wesley, it's Angel.\" Wesley picks his glasses off the floor: \"Oh, Angel, thank God.\"", "Angel: \"I found Wilson. Whatever it is Cordelia is carrying around inside her, he's not the father.\"", "Wesley: \"I know. It's a Hacksaw beast, an inner earth demon. Oh, this is all my fault.\"", "Angel: \"How is that your fault?\"", "Wesley: \"Cordelia ran off. I tried to stop her. She became insanely protective when I identified the Hacksaw as the father of her - her, ah, (picks up the open book) I fear she may have gone off to rendezvous with it.\"", "Angel: \"She has. Miliken Industrial Park in Reseda.\"", "Wesley: \"What?\"", "Angel: \"That's where Wilson and his friends built their shrine.\"", "Wesley flipping through the book: \"How does Cordelia know that?\"", "Angel: \"She's telepathically linked to its unborn. That's how it's controlling Cordelia.\"", "Wesley: \"Of course, a psychic umbilical cord. The Hacksaw's telepathic connection is what's sustaining its unborn spawn.\"", "Angel: \"So, all we have to do is cut the cord.\"", "Wesley: \"We slay this demon and poof! No more evil pregnancies. Well, this is good news. We can end this without harming the women. There is just one tiny problem.\"", "Angel: \"What's that?\"", "Wesley reading through book: \"Well, I don't wish to use the words 'impossible to kill', but fire won't kill it, decapitation won't, - and it's really huge.\"", "Angel: \"Wesley, can you shoot straight?\"", "Wesley: \"Beg your pardon?\"", "Cut to the girls changing into white robes. Led by Cordy they walk up some steps, then down into a big vat filled with some yellow-brown liquid. Wesley steps around a corner and sees them: \"Cordelia!\" He walks up to the edge of the vat: \"Come out of there this instant! (Looks at the other women) All of you please!\"", "Cordy: \"We don't expect you to understand.\"", "Wesley: \"I understand. (Walks up the steps to stand on the wide concrete rim of the vat, and crouches down beside Cordy) You'll die unless you come with me, and that is the most vile smelling filth I've ever had the displeasure of inhaling. Now don't make me come in there after you.\"", "Cordy: \"We serve our master.\"", "Wesley: \"Please come before...\" The ground begins to shake with thundering footsteps. They all look at the huge Hacksaw demon stepping through a hole in the wall.", "Demon: \"Who is the interloper to think you could disturb the birth of my children? Who are you?\"", "Wesley stands up: \"Wesley Wyndham-Pryce, rogue demon hunter. (Puts up his fists) And I'm here to fight you, Sir, to the death, - preferably yours.\"", "Demon: \"You?\"", "Wesley: \"As a heathen I wouldn't expect you to be familiar with the biblical story of David and Goliath. But I assure you it's of particular relevance to this situation.\"", "Demon: \"You said you came here to do battle, then lets fight and be done.\" Wesley looks around then slowly inches closer to the demon on the rim of the vat: \"Yes, well, - as a point of courtesy, - I like to get to know my opponents, before I engage them in mortal combat. Do you, ah - do you have any hobbies?\"", "Demon: \"Enough talk. I'll come to you.\" Angel rolls a gas tank down a ramp drawing everyone's attention.", "Angel walking down the ramp: \"Sorry I'm late to the baby shower. Brought a little gift.\" Angel picks up the tank, spins and throws it like a discus up at the Hacksaw, who catches it easily out of the air. We see a label 'Liquid Nitrogen' on the front of the tank. Wesley pulls out a gun and shoots a hole in the tank. The Hacksaw drops the tank and a stream of liquid nitrogen shoots out of the hole up at him. The demon screams in the fog. The women in the vat scream, their bellies slowly deflating. Wesley and Angel stare as the demon turns into a Popsicle. The girls stop screaming. Cordy looks around then walks up the steps out of the vat. She walks up to Wesley, who backs a couple steps away from her, then grabs a big pulley hanging on a rope and swings it into the Hacksaw demon, shattering its frozen body.", "Cordy: \"I really hate dating.\"", "Cut to Angel's office. Wesley is dusting Cordy's desk and computer. The board above the coffee machine has 'Welcome back Cordelia' written on it. Angel walks in and drops some magazines on her desk.", "Angel: \"She likes magazines. I got a few, you know, for when she comes back.\"", "Wesley picks them back up: \"Excuse me, I did just neaten this up for her.\" The door opens and Cordy come in.", "Angel: \"Cordelia. Hi. You look great.\"", "Wesley: \"Marvelous!\"", "Angel: \"I mean it's only been two days. You didn't have to come in so soon.\"", "Wesley: \"Yes, if you need more time, Angel can manage. I've been helping out a little... (Angel rolls his eyes up as Wesley bends over the coffee machine) ..Someone forgot to close the filter again.\"", "Angel leans towards Cordy: \"Of course if you're ready to come back...\"", "Cordy smiles: \"I'm fine. I had this great audition today for Max Crax, you know, the little crackers?\"", "Angel: \"That's terrific.\"", "Wesley: \"Yes.\"", "Angel: \"Because, you know, a cracker is something everyone can..\"", "Wesley: \"Eat.\"", "Angel: \"Eat.\"", "Cordy with a big smile: \"This producer was so nice. He said that I'm his first choice. - We're going out to dinner tonight.\" The guys look at each other.", "Angel: \"Uh-huh, tonight?\" Cordy nods without looking up from her desk.", "Wesley: \"Well, best to get back on the horse, I suppose. If he seems...\"", "Cordy gushing: \"He is so sweet. He says that all I have to do is let him impregnate me with his demon master's seed, and I've got the part. (Looks back over her shoulder and smiles at the guys, who look at each other then back at her) Guys, I appreciate all the concern, but I'm *okay*. I mean, it was an ordeal, but I got through it, - and I'm a lot stronger than those loser demon surrogates thought.\"", "Angel: \"I'm starting to learn that.\"", "Cordy: \"I learned something, too. I learned, uhm, - men are evil? Oh, wait, - I knew that. I learned that LA is full of self-serving phonies. No, - had that one down, too. Uh... s*x is bad?\"", "Angel with a smile: \"We all knew that.\"", "Cordy: \"Okay. I learned that I have two people I trust absolutely with my life. - And that part's new.\" Wesley takes a deep breath, then looks away dabbing his handkerchief at his eye: \"Uh, some, uh - allergies.\" Cordy smiles at Angel, who looks back at her trying not to laugh." ]

[ "After Cordy gets a vision from the Powers That Be, Angel finds himself fighting demons from an alternate dimension. Desperate to escape their own cruel world, where the females are used as virtual slaves, demon women are smuggling themselves to earth. Unfortunately, the men from that dimension are out to stop them and it's up to the gang at Angel Inc. to help the refugees find safety." ]

[ "Cordy: \"I am not giving up this apartment.\"", "Angel: \"It's haunted.\"", "Cordelia: \"It's rent controlled!\"", "Cordelia: \"I have a roommate, but it's cool I never see him. - Phantom Dennis, put that back!\"", "Cordelia: \"Are you working with Angel?\"", "Wesley: \"I'm a roue demon hunter, now.\"", "Cordelia: \"What's a rogue demon?\" Cordelia is having a party at her place. There are a lot of people there, including Wesley, who is dancing by himself.", "Cordy: \"Hi, Diego, - Laura.\" Diego hands her a bag of ice: \"Let the consumption of cold things begin.\"", "Cordy: \"Excellent. Now, are you going to behave yourself?\"", "Diego: \"Have you ever seen me at a party?\"", "Cordy walks up to Angel: \"Hi! Are you having fun?\"", "Angel: \"Sure. - This is, ah...\"", "Cordy: \"Your idea of hell?\"", "Angel: \"Actually in hell you tend to know a lot of the people. - No, I-I'm having a great time.\" Cordy putting some of the ice into a bowl on the table Angel is leaning against: \"Yeah? Can I get you some blood or anything?\"", "Angel: \"I'm good.\"", "Cordy: \"Okay. - Steve Paymer came, can you believe it? - David Paymer's brother, - Steve? (Angel just looks at her. Cordy thrust the half-empty bag of ice at him and walks off) Steve!\" Angel sees Wesley overbalance doing one of his dance moves and fall. Wesley picks himself back up and dances over to Angel. He grabs some of the ice out of the bowl on the table.", "Wesley: \"I need to cool off. (Puts the ice on his forehead) Cordelia certainly knows how to throw a do. (Point to an entrée in his hand) These Mini-Reubens - with a little sauerkraut and a little swiss inside, - what mad genius brought these into the world? (Eats one) Mmm. What say a couple of brooding demon hunters start chatting up some of the fillies?\"", "Girls walks up to them: \"Hey. (Wesley chokes on his Reuben and starts coughing) Nice sweater. Hand knit?\"", "Wesley: \"Certainly not by me.\"", "Girl: \"I didn't mean - I mean it's a great sweater.\"", "Wesley: \"Oh, well, I-I'll pass that on then - to the person who knit it. - I-I mean, I would, if I knew who did - but I don't. - So I won't pass it on to anyone, will I?\"", "Girl: \"Oh.\" Walks away.", "Cordy: \"Diego, pants on!\"", "Laura to Angel: \"So with my Masters degree in Fine Arts, I was able to launch my very own business - selling sandwiches downtown from a little cart.\"", "Angel: \"Huh.\"", "Laura: \"Yeah. I-I do see a lot of stuff on the job. - So I tell myself that I'm honing my eye.\"", "Angel smiling: \"Makes sense.\" A different song comes on and Laura sets down her drink. Laura starting to make dance moves and wearing a big smile: \"Oh, I *love* this. (Angel looks around) Would you - like to dance?\" Camera zooms in on Angel's eye. Flash to white, then to Angel doing some exaggerated wild dancing and making faces while Laura is staring at him with her mouth hanging open. Flash back to white and to Angel's face.", "Angel: \"I don't dance.\" Laura walks off with a shrug and Angel goes into Cordy's kitchen, which is empty and leans back against the doorframe. The chair by the table moves out by itself.", "Angel sits down: \"Hi Dennis. - How are you doing? (A can of beer floats out of the bowl of ice on the kitchen table) Hmm, still dead? (Can pops open and slides into Angel's hand. He picks it up and takes a drink) I know the feeling.\"", "Cut to a guy picking an open can of beer out of a box filled with ice and taking a drink. He looks at a coffin-like box. The label on the side says Danger - Hazardous material - Do not open. He finishes his beer as he walks out of the cooler through some strip of plastic. As he smashes the empty can he hears a strange noise coming from the direction of the cooler. It's coming from the coffin-like box. He picks up a crow bar and opens it. There is steam and light coming from it as he looks down into it.", "Guy: \"Holy God.\" Intro", "Cut to Angel's office the next morning.", "Cordy to Angel: \"Hi.\" Angel steps out of the elevator: \"Good morning. Is there coffee?\"", "Cordy: \"They're still in bean form. I - thought I ordered the ground. (Hands him a silver coffee bag) Maybe you could crush the beans with your vampire strength? Just mush the bag. (Angel looks from the bag to Cordy then back at the bag in his hands) Mush it.\" Angel puts the bag down with a slight grimace: \"Really, ah, fun party last night.", "Cordy: \"I'm so glad you came. You know how parties are. You're always worried that no one is going to suck the energy out of the room like a giant black hole of boring despair. But there you where - in the clinch!\"", "Angel: \"I didn't... - Boring?\"", "Cordy: \"You used to be a person! Did you never party? Did people not gather in olden times?\"", "Angel: \"I talked to people. - Laura.\"", "Cordy: \"Laura thought you hated her. I had to tell her you were challenged.\"", "Angel: \"I don't hate her. I-I got to modes with people: bite and avoid. Hard to shift. Plus, I can't get to close. I mean, with women...\"", "Cordy: \"You can be nice. I mean, it's not like Laura is going to throw you down on the living room floor and tear off all of your... - Well, actually, Laura...\"", "Angel: \"I'll try harder. - Still, I mean, the quiet, reserved - thing, don't you think it makes me kind of - I don't know, cool?\" Cordy points at Wesley as he walks into the office: \"He was cooler.\"", "Wesley: \"Good morning.\" Angel sits down on the couch with a sigh: \"Now I'm depressed.\"", "Wesley: \"I feel rather chipper myself. *That* was quite a soiree last night.\"", "Cordy: \"Glad someone enjoyed it.\"", "Angel: \"I enjoyed it!\"", "Wesley: \"A gala event. In particular the tiny Reubens and the shrimp puffs. Don't supposed there is any leftovers laying about? Any - abandoned shrimp puffs?\"", "Angel gets up: \"You're broke, aren't you?\"", "Wesley: \"Angel, - a man's finances are his own business.\"", "Angel: \"You want a job?\"", "Wesley: \"Oh, yes, please!\"", "Angel: \"Look, I don't have much, but as long as you make yourself useful around here, you're entitled to a cut.\"", "Wesley: \"I-I don't know what to say.\"", "Cordy: \"Well, this is great! Now we're really... (To Angel) Do I have to take a pay-cut? (Angel shakes his head and Cordy turns back to Wesley) a team!\" Wesley tires to hug Angel, but he wards him off with a slight grimace.", "Wesley: \"You won't be disappointed. (Turns away and looks down) There is, ah, something in my eye.\" Angel pulls the handkerchief out of Wesley's front pocket and hands it to him.", "Cordy: \"Oh, don't go getting all sappy. (To Angel) Hold me.\"", "Angel to Cordy: \"Look, why don't we just...\"", "Cordy: \"No! Hold me!\" Angel barely catches her as she gets hit by a vision. Flash to the guy and the box from earlier. He screams, his face starts to blister and his eyeballs explode.", "Cordy: \"Gross! Oh, - *eww* is all. Ugh!\"", "Wesley: \"What did you see?\"", "Cordy: \"I don't just see, I feel, okay? Thank you Doyle.\"", "Angel: \"Is someone in trouble?\" Wesley gets a pad and pencil: \"I'm, ah, I'm at the ready.\"", "Cordy: \"You're going to the ice factory - on Fifth, downtown.\"", "Angel: \"What are we looking for?\"", "Cordy: \"A corpse.\"", "Wesley looking at a map: \"I don't think there is access through the tunnels.\"", "Angel: \"I'm driving then.\"", "Wesley: \"I'm coming with you. I intend to earn my keep. Oh, and in terms of this keep, by the by...\"", "Angel: \"There is no dental.\"", "Wesley: \"Right, well, I'll floss.\"", "Angel: \"Lets go.\" Cordy holding a glass full of ice to her head: \"Hey, be careful. The guy was burnt to death in an ice factory. The thing that did that could still be there.\"", "Angel: \"You didn't get a look at it?\"", "Cordy shakes her head: \"All I felt was his fear - then the exploding eyeballs. Did I mention that I hate this gig?\"", "Angel: \"We'll be in touch.\" Wesley opens the door for Angel: \"After you, sir.\" Wesley drives Angel's car up past the Southwestern Bag Company and pulls into the shadow in front of the ice factory.", "Wesley: \"Here we are. Jerico Ice Factory. (Angel gets out of the passenger side) Boss, why don't I...\"", "Angel: \"Stay put.\"", "Wesley: \"Uhm, stay here and wait for you.\" Angel walks in and crouches down next to the burnt body. He pulls out the guy's wallet and finds a business card for Peter Wilkers - Private Security. He keeps the card and puts the wallet back. Angel walks into the cooler and sees the open box. It is half full of ice.", "Cut to Wesley standing next to the car fiddling with the ax in his hand.", "Cut to Angel in the cooler. Angel turns around as someone runs past on the other side of the plastic strips hanging in the doorway. Angel slowly walks out.", "Cut to guy with a ridge of small spines running up the middle of his forehead reaching for a crowbar. Angel putting one foot on the bar: \"Captain Inferno I presume? (The demon straightens up and Angel steps on the piece of the crow bar sticking out over the edge of the box to flip it into his hand, and pushes it up against the other guys chest) Close enough. I don't do well near an open flame. (Notices a rip in the guys sleeve and pushes it open using the crowbar to reveal burnt skin) Only - you didn't burn him, did you? (Moves the crowbar back against the guy's chest) Who are you? - - I'm not a big talker. I usually let others carry the conversation. I am pretty good at putting *these* (Motions with the crowbar) through heads though.\"", "Guy: \"I am called Tay. I'm not from your dimension.\"", "Angel: \"Sort of guessing that.\"", "Tay: \"I was sent by my people to stop it. That is my cause here.\"", "Angel: \"Stop what?\"", "Tay: \"The bringer of chaos.\"", "Angel: \"What is it? Demon?\"", "Tay: \"More than a mere demon. It is a vessel of pure rage. It has almost destroyed my world and now it is lose in yours.\" After a moment Angel lowers the crowbar: \"How can I kill it?\"", "Tay: \"You won't be able to. It's stronger than one man. (Edges away from Angel) If you and your people wish to live - stay away.\"", "Cut to Angel handing Wesley a finished drawing of Tay's face back at his office.", "Angel: \"He said his name was Tay. Seemed pretty shook up. Said this thing brings chaos and destruction to his world.\"", "Wesley: \"Tay. Hmm. Could be a Kovitch demon from the Caucasus.\"", "Angel: \"He's not from our dimension.\"", "Wesley: \"Ah, they must come to ours via portals.\"", "Cordy: \"Portals? There are portals now? When did they put in portals? - Don't we have enough on our hands without burning monster fiends coming here?\"", "Wesley to Angel: \"We'll figure out who he is, where he comes from, - boss, - you can count on it.\"", "Cordy looks at Wesley: \"Wesley, stop kissing butt. It's not like we get overtime. (Angel looks at her) Oh, but I'll get right on it.\"", "Angel: \"I also want to know if there have been any other...\"", "Cordy: \"Killings by incineration lately? - See? On it.\"", "Wesley to Angel: \"Uh, where are you headed?\"", "Angel: \"Victim's office. He's in private security. I'd like to know who hired him.\"", "Cordy: \"Okay.\"", "Cut to Angel pulling up in front of a big brick building. He tries a door with 635 above it, but it is locked. He walks around to the side of the building, pulls out to grappling hooks, shoots them up over the edge of the building and walks up the side of the wall with their help. Jumps onto a metal ladder beside an open window and scales it up to the roof.", "Cut to Angel walking into Peter Wilkers office (205). In a locked drawer he finds a shipping order from Jerico Ice stuck in an envelope with a bunch of twenties. He puts the money back but keeps the invoice. He looks up as he hears a noise. The next moment he's flying across the room, smoke rising from a singed arm. We get a glimpse of a woman with a black tattoo crossing her left eye.", "Jhiera: \"What are you doing here?\"", "Angel: \"I could ask you the same question.\"", "Jhiera: \"Working for *them*, is that it? How much do they pay you to hunt us?\"", "Angel straightens up: \"I work for myself and I'm here because I'm looking for his killer. Hard to forget, huh? (Puts a hand on the back of the chair next to him) Burnt alive. Know anyone who does that kind of thing?\" Jhiera charges him and he picks up the chair to hold her off. She ducks underneath it and hits him in the chest, sending him crashing through the door. Telephone rings. Jhiera pulls out a cell phone: \"Yes. Where? How soon?\" Closes the phone and leaves.", "Cut to her walking up to a car parked beside the building. As she drives off we see Angel drop down from the building behind the car.", "Cut to Angel tailing her in his car. He takes out a cell phone and dials. Hears 'We're sorry, your call did not go through as dialed, please hang up and dial again.' Tries again. The low battery alarm goes off. He fumbles a cable out of the glove box and plugs the phone into the cigarette lighter with it. Almost runs into another car as he makes a last minute right to follow Jhiera.", "Cut to the phone ringing at the office.", "Cordy to phone: \"Angel Investigations. We help the hopeless.\"", "Angel: \"I hate the cell phone that you gave me. Any luck?\"", "Cordy: \"We're stymied on the demon guy, *but* we did find four similar killings in the last 11 months. All guys, all burned from the inside out. Did you find it?\"", "Angel: \"Yeah. It's not an 'it' it's a 'she.'\"", "Cordy: \"A chick that burns? Are you okay? (Connection is breaking up) Did sh- care- \"", "Angel: \"Did she care about me?\"", "Cordy: \"Did she 'Carrie' you! Carrie, the movie, you know?\"", "Angel: \"I can't hear you. Hello? Cord- \"", "Cordy sighs: \"You must be going through a canyon.\"", "Angel: \"Cordelia, can you hear me?\"", "Cordy: \"I can hear you now. Are you back?\"", "Angel: \"Yeah, I can hear you. You know, these things were definitely cooked up by a bored warlock. I want you two to keep trying to find that demon Tay. He knows a lot more than he is telling. I think she is here on some kind of mission. I think he may be the key to all this.\" Wesley makes a circular motion in front of his face to Cordy.", "Cordy to phone: \"What - what does she look like?\"", "Angel: \"Ah, two raised ridges running down either cheek, violet eyes, uhm, she seemed intelligent. She was very - attractive, - for a demon.\"", "Cordy: \"A hottie, huh? I guess she's that all right. What with the sizzle.\"", "Angel braking up again: \"Sizzler?\"", "Cordy: \"The sizzle factor? - Angel?\"", "Angel: \"I can't hear you. (Cordy is really breaking up now) Cordelia?\" He closes the cell phone and throws it in the back seat. Jhiera parks her car and walks up to what looks like a museum. Angel tails her. Jhiera walks up to a security guard inside: \"Excuse me sir, I need your help.\"", "Officer: \"What is it?\"", "Jhiera: \"There is a man following me. I'm afraid he may want to hurt me.\"", "Officer looks around: \"What man, where is he?\" Jhiera points Angel out to him: \"There in the black coat.\" Officer walks after Angel talking into the com-link strapped to his shoulder: \"We have a code three in the front gallery.\"", "Com-link: \"Roger.\" Angel takes off his coat as he parallels Jhiera through the crowd. Three security men step out of a door almost running into Jhiera as she walks towards it.", "Officer: \"Excuse ma'am.\" Angel sees the three officers almost on top of him and points at a picture hanging on the wall next to him and starts to play tour guide to the people standing in front of it.", "Angel: \"And this brings us to Monet's incomparable 'La Music Aux Tuileries.' First exhibited in 1863...\"", "Cut to Jhiera walking down a dimly lit corridor. She walks into a room with Art Restoration marked on the door and looks up at a row of windows. Angel pointing at the painting while watching the security guards searching for him: \"On the left one spies the painter himself. In the middle distance is the French poet and critic Baudelaire, a friend of the artist. Now, Baudelaire - interesting fellow. In his poem 'Le Vampire' he wrote: 'Thou who abruptly as a knife didst come into my heart.' - He, ah, strongly believed that evil forces surrounded mankind. And some even speculated that the poem was about a real vampire. (Laughs) Oh and, ah, Baudelaire was actually a little taller and a lot drunker than he is depicted here.\" He sees the officers moving off and walks off towards the door Jhiera went through as the people in front of the painting applaud him.", "Cut to the office. Cordy is asleep on her desk. Open books are stacked everywhere.", "Wesley looking at a book: \"Aha!\"", "Cordy jerks awake: \"That better be an 'Aha!' of triumph. I was dreaming there was a going out of business sale at Neimans!\"", "Wesley: \"I think I've located them. The Vigories of Oden Tal.\"", "Cordy: \"The what of whatee?\"", "Wesley: \"Of Oden Tal. The men are called Vigories. They have four distinct ridges on their foreheads, are said to be fierce warriors, and their women live enslaved to them.\" Cordy hits him on the arm: \"Way to go, Wes! Angel said this Tay guy could be the key. Any way to find them here in town?\"", "Wesley scans the page: \"Ah, it says that the men are herbivores. They eat a thick stew made from rotting plants and flowers, and they need to consume half their body weight a day.\"", "Cordy: \"Whoa. - So, we're looking like - for the biggest compost heap in LA?\"", "Cut to Jhiera standing with her hand held out in front of her. She puts her hands on her hips and turns around as the door opens.", "Jhiera: \"You. How? A human would have been unconscious for hours.\"", "Angel: \"I'll answer your questions if you'll answer mine.\"", "Jhiera steps closer: \"You're a - vampire.\"", "Angel: \"Among other things. Who's Tay? What does he want?\"", "Jhiera: \"I don't have time for this.\"", "Angel: \"If you didn't kill the guy in the ice company, who did? Somebody like you?\"", "Jhiera: \"Why do you think I would speak to you and not hurt you?\"", "Angel: \"Gotta risk it. Call me old-fashioned, but I can't allow tourists to go around torching locals.\" Jhiera looks back at the row of windows then back at Angel: \"Leave - now! I'm warning you.\"", "Angel: \"Why? What's going to happen?\" A circular distortion form in the air in front of one of the windows. A bright white light emanates from it. Angel and Jhiera go over to look up at it. Jhiera once again holds out her hands in front of her. The naked body of a girl falls out of the portal. Jhiera crouched over the girl to Angel: \"Stay back! (To girl) We must go.\" Angel pulls a wall-hanging down and throws it over the naked girl as Jhiera helps her up.", "Angel: \"What are you running from?\"", "Jhiera: \"It is not your concern. You're not one of us.\" The door opens and Tay steps in accompanied by more of his kind.", "Angel: \"No, but I think I'll stick around anyway.\"", "Tay: \"It's right. This is not your concern. The traitor it and the other are ours. If you know what's good for you, you won't...\" Angel kicks him in the face: \"Do that?\" Tay and two other guys hurry Gi out the back door while she screams for help. But Jhiera and Angel are busy fighting the rest of them. They finish just in time to see a car pull away through the open back door.", "Angel: \"They got her. What'll happen to her?\"", "Jhiera: \"She will be unmade.\"", "Cut to Tay's goons dragging the screaming girl through a flour warehouse.", "Gi: \"No! - Please, please! - You don't have to do this to me!\"", "Tay: \"Watch its hands.\"", "Gi: \"No! No! I'll be good. I'll be good, I'll promise! You don't have to do this to me.\"", "Tay: \"Why does it speak when no one listens.\"", "Cut to them leading her into a backroom of the warehouse.", "Tay: \"It has been recovered.\"", "Gi: \"No. No. Please. Please! No. Let me go!\" One of the others hands Tay a pair of strange looking pliers. Tay getting ready to clip off the ridges protruding along her neck and upper back: \"It will now be restored.\"", "Gi: \"You bastards. No!\"", "Tay: \"You'll feel *so* much better after this.\" Tay clips off the first ridge and Gi screams.", "[SCENE_BREAK]", "Cut to the outside of Angel's office in daylight. Cut to Jhiera taking her coat off and looking around Angel's apartment.", "Angel: \"You should dress that. (Motions at the cut on her upper left arm) Your wound.\"", "Jhiera: \"Why are you doing this. I thought vampires were killers.\"", "Angel: \"They are. I was cursed by gypsies.\"", "Jhiera: \"Cursed to help people?\"", "Angel: \"Yeah. - Gypsies they have a strange sense of - humor. (He lays a napkin and some bandages on the chair between them and takes a step back. She takes one of the bandages and applies it to her wound) Want to tell me what's going on?\"", "Jhiera: \"The girl is a runaway. I was trying to help her escape from our homeland. If you hadn't distract...\"", "Angel walks past her: \"If I hadn't helped you, you'd both be with them right now.\"", "Jhiera: \"Perhaps.\"", "Angel: \"Why was the girl running away?", "Jhiera: \"She was going to be unmade.\"", "Angel: \"They were going to kill her?\"", "Jhiera: \"In a fashion. You wouldn't understand.\" Angel slowly steps closer to her: \"Try me.\"", "Jhiera: \"In Oden Tal - what you call personality - our passions - those impulses - sit in an area of the body we call the Ko.\" She puts her hands up on her shoulders, takes a step closer and turns around to show him the ridges on her upper back and neck. Angel leans in closer.", "Angel: \"And your pursuers they want to take this from you?\" Jhiera turns back around to face him: \"From the women, yes. When the females come of age, Ko controls our physical and sexual power. - It even signals when we are (Looks down) aroused and have met desirable mates. But when it's removed...\"", "Angel: \"You're more easily controlled.\" Jhiera looks up at him, then circles him slowly: \"We marry who they command, - serve without questioning. - We leave behind dreaming.\"", "Angel: \"But you escaped.\"", "Jhiera: \"I was the first. I am Jhiera. - Jhiera of Oden Tal. My family rules the dimension.\"", "Angel: \"I'm guessing the royal family isn't loving the - portal-jumping, refugee-saving duties you've assigned yourself.\"", "Jhiera: \"They tell people I'm dead. But the women know. - Here we have a name. We have a chance to become, but it is difficult. When the Ko first matures the girls can't manage it - our physical energy. We come to your world in a fever.\"", "Angel: \"That's why - the ice.\"", "Jhiera: \"Yes. When I first arrived - alone - I thought I would die from the heat - under my skin. (Jhiera is standing very close in front of Angel and as the camera pans around we see that her ridges are glowing a fiery red. She is breathing hard. They start to pivot around each other) And your people - the men? Some respond to the Ko involuntarily. They tried to force themselves - it wasn't safe for me - until I found the frozen water. (Jhiera sits down on the chair. Angel licks his lips and looks down) As long as I could stay cool... The worst of it passed in a few months time. (Looks up at Angel) then I started to learn to control my power.\"", "Angel: \"Like last night, when you burned me.\" Jhiera gets up to stand in front of him again: \"I *intended* to hurt you. I thought you were my enemy.\"", "Angel: \"What about the guard? Who burned him?\"", "Jhiera: \"He tried to touch one of my girls. It was his own fault.\"", "Angel: \"From what you're saying he probably didn't mean to hurt her.\"", "Jhiera: \"And the girl couldn't help killing him! It was an accident.\"", "Angel: \"What about the other four guys who died the same way in the last year? Your girls kill them, too?\"", "Jhiera backs away from him: \"How do you know about this? Have you been...\"", "Angel: \"No, I haven't been following you. But you incinerate a few guys someone is going to start asking questions. I understand what you're trying to do; and I'll help you if I can. But you can't go around hurting men in my world.\"", "Jhiera: \"I am the daughter to a King, sir. A king who promised happiness and a better life for everyone. I didn't denounce him and escape for my good alone. I did it to see his promise come true for all the women of Oden Tal. If a few have to die to protect my people...\"", "Angel steps towards her: \"They are *my* people who are dying; and it's *my* promise to protect them.\"", "Jhiera: \"Then tell them to stay out of my way.\" Jhiera starts to walk out but Angel cuts her off.", "Angel: \"Wait.\" Jhiera holds her left hand inches away from his chest. It is glowing a fiery red. She is breathing hard. Leans her head against him for a moment then moves back, lowers her hand, and straightens up.", "Jhiera: \"And you, too. I don't need your help.\" She leaves Angel standing there and walks out.", "Cut to Wesley and Cordy in the California Flower Mart.", "Cordy whispers: \"I'm not sure about coming out here all by ourselves. Maybe we should have waited for Angel.\"", "Wesley whispers: \"Cordelia, now that I am officially in Angel's employ, I feel it's doubly important to show initiative and drive. We can't just dally about... (Points at some roses) Look! Nancy's Petticoat. Oh. They're quite rare. They were named for Nancy Mitford, the author. (Sniffs the roses) Because of her love for... (Sees Cordy's look) Right. Shoving off.\"", "Cordy: \"I wonder how we find were they keep the compost.\"", "Wesley: \"I'd say we follow our noses.\"", "Cordy: \"Wait!\"", "Cut to them sneaking into the dimly lit back room of the Flower Mart.", "Cordy whispers: \"Wait. Okay, now I'm sure we shouldn't have come here. It smells like flower poop!\" They hear Tay speak and duck behind some barrels.", "Tay: \"The portal will open soon, and only for a short while. When the proper coordinates align we must move to the entry point immediately. (Camera pans over a cement wall to show Tay, two other Vigories, and Gi.) You will escort it there, ensure its quick return (Wesley climbs up to peek over the wall) and rejoin us. We have a lot of work to do in this dimension. (Camera shows Gi's back and the open wounds where the spine ridges used to be) It can go home now. (To Gi) Would it like that? Would it like to go home?\"", "Gi: \"It is *happy* to go - as soon as you say.\"", "Tay steps closer to her: \"And don't you feel better now?\" Gi nods slowly. One Vigory leads Gi away and Cordy pulls frantically on Wesley's shirt to make him get down behind the barrels.", "Vigory to Tay: \"We've recovered two this month. We should...\"", "Tay: \"It means nothing! This won't stop until we find Jhiera.\"", "Cut to the Palm Ridge Spa outside of the city. Cut to a guy contemplating a Japanese sand garden. Jhiera walks in.", "Guy: \"Jhiera. Excellent. Just when I need the artistic eye of a goddess.\"", "Jhiera: \"Where are the girls?\"", "Guy: \"And na maz de to you too. They are right were you left them. (Jhiera walks off) Are you okay? You look spun.\"", "Cut to Jhiera walking into a room with several scantily girls laying on steaming beds of ice.", "Jhiera: \"How are they doing?\"", "Guy: \"They're chilling. - The little sisters are fine. Rem-ing. - Tell me what's up.\"", "Jhiera: \"They took the girl I went to meet.\"", "Guy: \"Man, that's lame!\"", "Jhiera: \"They will find us before too long. We have to go from here, as soon as possible.\"", "Guy: \"The girls aren't ready. They need serious isolation and temperature adjustment before they mellow out enough to deal with the world.\"", "Jhiera: \"Then I'll move them some place else.\"", "Guy: \"My shaman has a place in the dessert. He never could turn away scantily clad women in distress - from any dimension. - You know, I wish you would let me work on your mirth chakra.\"", "Jhiera: \"If he's as trustworthy as you are, we'll go to him.\"", "Guy: \"He's good people.\"", "Jhiera: \"Then call him. If he accepts us we'll leave first thing in the morning.\" The guy nods and Jhiera picks up some ice and rubs it against her throat and neck.", "Cut to Wesley and Cordy cowering behind the barrels by the cement wall in the Flower Mart. We can hear the Vigories talking.", "Vigory: \"This food source will only keep us supplied for a few more days. At that point we must relocate.\" Wesley holding a cell phone to his ear whispers to Cordy: \"Still no answer.\"", "Cordy whispers: \"I bet he forgot to turn that thing on again! You'd think a guy that knows how to use an ancient Scythian short bow could figure out how to use a cell phone! (Sighs) So, what now?\"", "Wesley: \"I suppose we head back and try to find Angel.\"", "Cordy: \"Okay. Lead the way - *low* and *slow*.\" Wesley nods and heads off but Cordy pulls him back as one of the Vigories walks in.", "Cordy: \"No, hide. Hide. Hide.\"", "Vigory to Tay: \"Sir! I believe we've found them.\"", "Tay: \"Where?\"", "Vigory: \"A worker at an ice plant tells me he recently started shipping two tons of ice a week (Hands Tay a paper) to this address.\"", "Tay: \"Gather the men. They need to be prepared to capture the princess and cut them all quickly.\"", "Cut to Cordy and Wesley running down the stairs into Angel's apartment. Angel is just wearing his pants and toweling off his hair.", "Cordy: \"What are you doing? We nearly got burned from the inside out and you're here getting all April fresh?\"", "Angel: \"Hello?\"", "Wesley: \"I believe she is especially agitated because we *tried* to call you in the midst of a situation.\" Angel looks off to the side: \"I had to take a shower. (Wesley and Cordy look at each other) What's up?\"", "Cordy: \"What's up is that those creepy demons said that they found what they were looking for, and they seemed *very* interested in cutting someone they called the princess, which I can only imagine is not a happy thing!\"", "Angel pulling on a sweater: \"Well, you'd be right on that one. We gotta find her first.\"", "Cordy: \"The demon guy said something about a lot of ice being delivered somewhere. No one said where.\"", "Angel: \"Ice.\"", "Cordy: \"Yeah.\" Angel pulls a paper out of his coat hanging on a hat stand: \"Shipping order. We've got an address. We're heading out.\"", "Wesley: \"That's it? They seemed... There were quite a few of them. Perhaps we need a plan.\"", "Angel: \"Here is the plan: we go in, I start hitting people hard in the face - see where it takes us.\" They head out. Night. Angel pulls the convertible up in front of the Spa, with Wesley in the backseat.", "Angel to Wesley: \"Ah, you wait here. I want a warning when the demons show.\"", "Wesley: \"All right.\" He tries to jump out over the passenger side door, but his foot gets caught and he tumbles out rather inelegantly.", "Cordy: \"Wesley!\" Wesley pops right back up and slaps the side of the car with a grimace.", "Cut to the interior of the spa.", "Guy walks up to Angel: \"Welcome, bro.\"", "Angel: \"I need to see Jhiera. Now!\"", "Guy: \"I'm sorry, no Jhiera here, but I already see I can help *you*. First lets talk about the clothes vibe.\" Angel grabs him by the lapels: \"She's in trouble. There are men coming for her.\"", "Guy: \"And which dimension are you from, brother?\"", "Angel: \"You don't want to know.\" The guy motions with his head; and Angel walks off.", "Cut to the room with the iced girls.", "Jhiera to Angel: \"What are you doing here? I thought I made it clear...\"", "Angel: \"They're coming.\"", "Jhiera: \"I know all about it. We're leaving in the morning.\"", "Angel: \"Not soon enough.\"", "Jhiera: \"What are you talking about?\"", "Angel: \"They're on their way. They'll be here...\" Cordy running into the room followed by Wesley: \"Now. That would be now.\"", "Angel to Wesley: \"Help get the girls out. (To the spa guy) You go back out front. Stall them as long as you can. (Guy nods and leaves. Angel to Jhiera) I'm gonna help you whether you like it or not.\" Wesley helps one of the girls out of the tub of ice and leads her out.", "Wesley: \"Oh my. You are a... Allow me to introduce myself.\" Cordy kicks him in the back from behind: \"Wesley...\"", "Cut to the spa guy held up in Tay's hand by his lapels.", "Guy: \"How about a red clay massage. We have hands that heal, brother.\" Tay hits him and the guy drops to the floor unconscious. The six Vigories move on into the dark and empty tub room. Suddenly Angel swings down from the ceiling kicking two of them in the face. He and Jhiera fight the six Vigories. Jhiera using her fire-hands to send them flying, Angel using his fists and feet. Wesley as he is about to close the top on one of the girls laying down in a box with ice: \"That outfit - it quite becomes you, you know.\"", "Cordy: \"Wesley, get a grip! They're not going to be able to hold them off all day.\" Wesley closes the lid and helps another girl into the next one.", "Wesley breathing a bit fast: \"My, what a grip. Very - healthy. Surprisingly firm myself under the jacket. Have a feel.\"", "Cordy: \"You are pathetic! And about to get your eyeballs fried!\" Cordy gets the girl to lay down and gets ready to close the lid.", "Wesley: \"I know, but - ah -just one kiss good-bye?\"", "Cut to Angel and Jhiera fighting the Vigories. Wesley and Cordy run in and join the fray, but are quickly taken hostage. Angel sees them being held and quits fighting.", "Tay: \"Jhiera and the runaways are ours.\"", "Angel: \"No they're not.\"", "Tay: \"Give them back or the humans die.\" Angel looks over at Jhiera.", "Jhiera to Tay: \"Then they die.\" Everyone looks after her as she walks out. Cordy and Wesley elbow the Vigories holding them into the stomach and the fight resumes. It is over quickly since most of the Vigories run out to follow Jhiera.", "Cut to Jhiera walking up to the truck with the girls loaded on the back. A Vigory grabs her, restraining her hands.", "Tay pliers in hand: \"Hold it. - Hold it still. - Time to go home.\" Jhiera can't get free and Tay is about to close the pliers on the top ridge when Angel wraps his arm around his neck and pulls him off Jhiera. Angel to the Vigory holding Jhiera: \"Unless you want to see your leader dead, you let her go. (The Vigory lets Jhiera go and she stares at Angel) Go. GO!\" Jhiera gets in the truck and drives off. Angel waits until she is well under way then pushes Tay towards the other Vigory.", "Angel: \"I don't want you bringing your war here again.\"", "Tay to Angel: \"I have no choice! If this enemy persists our whole society crumbles.\"", "Angel: \"And if it persists on *my* turf you're going to have another enemy!\"", "Tay: \"You don't understand our ways, human.\"", "Angel: \"No, I don't. (Morphs into vamp face) And I'm not human. - Now, if I were you, I'd grab the next portal out of here. Got it?\" Day. Angel's office. Angel picks up the bag of coffee beans looking around, then tries to crush the beans. The bag bursts open, spilling beans all over the floor, just as the door opens and Wesley and Cordy walk in.", "Angel: \"Watch out...\"", "Wesley: \"Angel...\" Wesley slips on the beans, landing on his butt.", "Angel: \"Sorry. I-I had a little...\"", "Cordy to Angel: \"Mushing didn't work out so great, huh?\"", "Wesley from the floor: \"Not to worry. My fault I'm sure, really. (Starts sweeping up the beans in his hands) Cagey little brutes, aren't they? I'll wash them if you'd like. Individually. They'll be just as good as new. Better.\" Angel lays a hand on Wesley's arm: \"Wesley. Stop.\"", "Cordy to Wesley: \"Wow. Groveling isn't just a way of life for you, it's an art.\"", "Wesley to Cordy: \"I do not grovel. (To Angel) Please don't fire me. What happened yesterday was an anomaly. I'm very *rarely* taken hostage.\"", "Angel: \"That's good to know. And you're not fired.\"", "Wesley: \"I'm not?\"", "Angel: \"No. It wasn't your fault. (Claps Wesley on the shoulder) And you know what? You handled yourself *very* well.\"", "Wesley: \"Well, that's... I can't tell you... (Takes a breath) I am your faithful servant, Angel.\"", "Cordy to Angel: \"Like I said, an art. (Jhiera walks in) Oh! Look who's here. (To Jhiera) Can I get you something? Knife to our throat so you can run away?\" There is a moment's silence then Cordy walks off.", "Angel to Jhiera: \"Come on in.\" She walks into the back office and Angel closes the door behind her.", "Jhiera: \"The girls are safe - outside the city.\"", "Angel: \"I'm glad. But you nearly got Cordelia and Wesley killed.\"", "Jhiera: \"I had no choice.\"", "Angel: \"Yes, you did. If you vowed to protect the innocent it shouldn't matter which dimension they're from.\"", "Jhiera sighs and turns away: \"An easy sentiment when your people are free.\"", "Angel: \"I'm not saying you shouldn't fight. Just know that I will be there to stop you - if you cross the line.\" Jhiera walks up close to him: \"I don't need an extra conscience. I'll do what I think is right.\"", "Angel: \"And I'll do the same.\"", "Jhiera after a beat: \"Fine. I think we understand each other then. (They stare at each other for a moment then Jhiera looks down) I have to go.\" As she walks out Angel sees that the ridges visible above her jacket are glowing a bright, fiery red. During the end credits we get a reprise of Wesley and Angel dancing at Cordy's party." ]

[ "Cordelia has a vision about an ancient Ethros demon, which turns out to have been possessing a young boy, Ryan Anderson, for years. Angel, Wesley and Cordelia perform an exorcism that expels the demon from the child, but it escapes the trap they set and roams free to possess once more. Even worse, they learn that the mass-murdering Ethros demon does not pose the biggest threat to the Anderson family's well-being, their son Ryan is evil in his own right, the Ethros demon had been trying to escape from the boy. The boy then sets fire to the home trying to kill his family." ]

[ "Wesley: \"I'm a fraud. The Council was right to sack me. I'm surprised they didn't cut my head off!\"", "Angel: \"Kate, do you trust me?\"", "Kate: \"You know I do.\" Angel and Penn fighting. Angel looking down at Kate in his vamp face.", "Angel: \"Because there's just some things in this world you're just not ready to face. Angel inspects a knife that Wesley has laid on the kitchen table in front of him.", "Angel: \"The mark of Kekfadlorem. (Puts the knife back down) I've heard of it, but I've never seen it.\"", "Wesley: \"A knife with that mark is the only thing that will kill a Kek demon. Could be very useful.\"", "Angel: \"Especially if Kek demons weren't extinct.\"", "Wesley: \"They are? (Sinks down into a chair across from Angel) Oh dear. Well, - perhaps there is one out there hibernating, eh? - Ready to wake at any moment and embark on a grisly rampage.\"", "Angel: \"I'll keep my fingers crossed.\" Timer buzzes.", "Cordelia comes into the kitchen: \"They're done! Nobody touch.\"", "Angel (to Wesley): \"She's making brownies.\"", "Wesley: \"Oh, is that what I smell? (Quietly to Angel) I thought I tracked something in.\" Cordy takes the pan out of the oven: \"The recipe was handed down to me by my mother, who got it from her housekeeper. Plus, I improvised a little. (To Wesley) You're gonna love them.\"", "Wesley: \"Me? Doesn't Angel - have to - get to try any?\"", "Cordy cutting at the brownies: \"They are brownies full of nutty goodness, not red blood cells.\"", "Wesley: \"Oh, I wasn't thinking. (Aside to Angel) More of a drinker than an eater, I suppose.\" Cordy is having trouble cutting the brownies: \"Maybe if he'd branch out into the solids, he'd keep a decent knife around.\" Cordy picks up the demon dagger still laying on the table and starts to cut the brownies with it.", "Wesley jumps up: \"That is not appropriate! It's for killing extinct demons! Angel, make her stop.\"", "Angel smiling: \"Cordelia...\"", "Wesley: \"That blade is very old. Who knows what kind of corrosive effect your cooking may have on it!\" Cordy waves the knife at Wesley: \"Corrosive effect?\"", "Angel: \"Cordelia, just put down the very sharp knife.\"", "Wesley (to Cordy): \"Well, they don't smell right.\" Cordy puts the knife on the table (to Wesley): \"I think Mr. Too-much-cologne is the pot calling the kettle stinky.\"", "Angel: \"Cordelia, Doyle! (Wesley and Cordy turn to look at him) I mean, uhm - Wesley. (Long pause) Wesley. (Angel looks up but the others won't meet his eye) Let's just, uhm (Gets up) no more fighting, alright?\" Angel leaves the kitchen and Cordy sits down at the table with a sigh.", "Cut to a house with a white picket fence.", "Ryan: \"Where is it, Stephanie?\"", "Stephanie: \"What are you talking about? I didn't take anything! Give me that. Stop it!\"", "Cut to two blond kids fighting inside the house. There are cardboard boxes stacked against some of the walls.", "Ryan: \"You took one of my cards.\"", "Stephanie: \"I didn't touch your stupid cards.\"", "Ryan: \"What did you do with it?\"", "Stephanie: \"Stop it! MOM!\"", "Mom comes in: \" Okay, that's it.\"", "Ryan: \"She took one of my cards.\"", "Stephanie: \"I did not!\"", "Ryan: \"You did too! (Holds up a card) I had five of this one and now I only have four.\"", "Mom: \"Well, there are children in India who only have three. Come on. It's time for bed anyway.\"", "Both kids: \"Oh, mom, no!\"", "Father from the door: \"You heard your mother. (Stands behind his wife and looks at the kids) It's time for bed.", "Cut to the mother tucking Stephanie into bed. She closes the bedroom door and leans her head against it. Then turns to look up at her husband.", "Paige: \"Do we have to?\" Paige looks over at a door with Ryan's name on it. Camera pans down to show that it is padlocked shut. Paige steps to the side and Dad padlocks Stephanie's door. Intro.", "Cut to Cordy slowly stepping into Angel's office. He's sitting behind his desk, reading.", "Cordy: \"Pretend to read any good books lately?\"", "Angel: \"Cordelia. I thought you went home.\" Cordy walks slowly into the office and sits down across from Angel with a sigh.", "Cordy: \"You called him Doyle.\"", "Angel: \"It just - happened. - I hope Wesley is okay with it.\"", "Cordy: \"Oh, who cares about him! This is about Doyle. You-you never say his name!\"", "Angel: \"I say it.\"", "Cordy: \"No, you don't. - Look you don't have to be* Joe Stoic* about his dying. I mean, I know that you have this unflappable vibe working for you, but... you don't have to do that for me.\"", "Angel: \"I'm not unflappable.\"", "Cordy: \"Great. So - flap.\" Angel gets up with a sigh, moves around for a while, Cordy watches him silently.", "Angel: \"I miss him.\"", "Cordy: \"Me, too.\"", "Angel: \"I've been around death before - a lot! - I've lost people. I've killed people.\"", "Cordy: \"And you *are* dead. (Angel looks at her) Sorry.\"", "Angel: \"It shouldn't have happened. I shouldn't have let it happen!\"", "Cordy: \"Angel, it wasn't your fault. - It hurts.\"", "Angel: \"Yeah.\" Cordy puts a hand up to her head: \"No it-it really - really (Throws herself back in her chair) really!\" Flash to a blurred vision of the two kids and their father - house number 1256.", "Angel goes to hold her: \"Easy, easy. (Cordy comes out of her vision with a gasp) - What did you see?\" Blend over into Angel and Wesley pulling up in front of the house in the convertible.", "Angel: \"1256 - that's the house.\"", "Wesley: \"Angel?\" Angel turns to see Ryan in his pajamas walking towards the street. Ryan is about to get run over by a car coming down the street. Angel jumps out, runs across the street and tackles the boy off the street just in time. The car drives by, honking.", "Angel (to Ryan): \"You're all right?\"", "Ryan: \"Yeah. (Sees that Angel the coat over his shoulder) You're bleeding. Are you going to cry?\" Angel looks at his shoulder then back at the boy: \"I don't think so. (Looks at his shoulder then away with a smile) I don't know. - Huh, - let me think. (Seriously) Ah, no - yeah - uh, no (smiles) not gonna cry. (Ryan smiles back) What's your name?\"", "Ryan: \"Ryan.\"", "Angel: \"Ryan, you want to tell me what you were doing outside?\" Angel and Ryan get up as the father comes running out off the house.", "Dad: \"Ryan! (Grabs him by the shoulders) Son, you know better than this! (Glances up at Angel) Say 'thank you' to the nice man. You come inside!\" Paige comes running, wearing a white bathrobe: \"Ryan! (Hugs him) Oh, my God. Oh, my God. What happened?\"", "Dad: \"He was in the street. He almost got hit. Paige - he's fine.\"", "Paige hugs Ryan hard: \"God, my baby.\"", "Dad: \"It's cold. Let's just - get him inside.\"", "Paige (to Angel): \"You saved him. Thank God you were here.\" Angel and the Dad look at each other.", "Dad: \"Yeah. - Thank you.\"", "Angel: \"It's okay. (Laughs and tousles Ryan's hair) Ha, scamp, isn't he?\"", "Paige notices his shoulder: \"Oh, you're hurt. Your shoulder. (The all look at Angel's shoulder) You come inside.\" Paige leads the way still hugging Ryan. Angel follows after a look at the Dad. The dad gives a sigh and brings up the rear.", "Cut to Paige cleaning Angel's cut and bloody shoulder.", "Paige: \"Are you sure you don't want to drive you to the emergency room? I think you may need some stitches.\"", "Angel: \"I'll be fine, really. - I'm not a big bleeder.\"", "Paige nods with a smile: \"We just moved in. (Looks around) Still a little bit jumbled. It doesn't get any easier, you know. Every new place you have to start over. Finding friends - people to talk to.\"", "Dad slowly walks in: \"Ryan's asleep. He's - out like a light.\" Angel takes the rag from Paige and holds it over his shoulder. Angel looking up at the dad: \"Hmm, he seems like a nice boy.\"", "Paige nods and smiles: \"He is. Thank you so much! (Laughs, while the dad sits down on the couch behind her, not looking too happy) That must have been about the millionth time I said that! (Angel smiles back at her) Really, thank you. If there is anything we can do for you. Money? Or (Points to her husband on the couch) Seth's an investment advisor. Do you need some advice?\"", "Angel shakes his head: \"No, nothing. But thank you.\"", "Seth with a smile: \"Paige, honey, he probably just wants to go home and get cleaned up.\" Paige nods slowly.", "Angel: \"So how do you think Ryan got out into the street?\"", "Seth: \"Climbed out the window.\"", "Paige after a beat: \"We have burglar bars - but he must be able to fit between. We didn't think of that, didn't even bother checking.\"", "Angel: \"So where do you think he was going?\"", "Seth: \"Going? He wasn't going anywhere.\"", "Angel: \"So you think he was trying to get away from something.\"", "Seth: \"What would he have to get away from in his own house?\"", "Cut to Wesley inspecting the contents of a yellow trashcan sitting against the house, holding a flashlight and poking around in it with a stick. He pokes a doll and jumps when it says 'Mom,' dropping the flashlight on the ground. He lets out a sigh. As he crouches down to pick up the flashlight he notices that it is illuminating some streaks of yellow slime on the foundation.", "Wesley: \"Oh dear.\"", "Cut to Angel sitting in the sofa chair, while Seth lights a cigarette.", "Seth: \"This bother you?\"", "Angel shakes his head: \"No.\"", "Seth leaning back: \"A lot of health nuts these days, you know? Like anyone needs to live forever.\"", "Angel with a slight smile: \"No one needs that.\" Seth takes a drag from his cigarette as the two men just look at each other.", "Seth: \"She'll be right back with the bandages and - then you can go.\"", "Angel: \"Right. - Uhm - Paige was telling me that you were new in town. (Paige comes in to put a bandage on Angel's shoulder) Where did you - ah...\"", "Paige: \"What? (She stares at Angel's shoulder. It's almost completely healed.) This was *much* worse.\"", "Angel: \"Uh, it's just a scratch. Uh, Seth was telling me where you lived before.\"", "Paige puts the bandage on: \"Akron, uh - one winter there was enough.\"", "Seth: \"You know what? It strikes me, you never told us your name.\"", "Angel: \"Angel. - Jones. Angel Jones.\"", "Paige: \"Angel.\"", "Seth: \"Honey.\" Paige pulls two ceramic angels out of a box and shows them to Angel. Seth rolls his eyes up.", "Paige (to Angel): \"See?\"", "Angel: \"Angels?\"", "Paige nods with a smile: \"I collect them! I think the angels are around us all the time, don't you?\" Angel looks at the angels he's holding: \"I-I think, uhm - there are - beings.\"", "Paige: \"It's a nice thought. Like someone's looking out for us, keeping us out of danger. (Seth shakes his head) And tonight you really were our angel, weren't you?\"", "Angel: \"I think I was just in the right place.\"", "Seth: \"It's getting late.\" Angel hands the angels back to Paige as Seth gets up from the couch. Paige to Angel as he gets up and puts on his coat: \"Come to dinner.\"", "Seth: \"Paige.\"", "Paige: \"Tomorrow night. Say you will. Let us pay you back for looking after us.\"", "Seth: \"We've taken up too much of Angel's time already.\" Angel looks at Seth, then Paige then back at Seth: \"Can I bring something?\" Seth doesn't say anything as Paige smiles up at Angel.", "Cut to Angel getting into the car. Wesley is sitting in the passenger seat.", "Angel: \"Something is wrong in that house. - The wife wants to talk, but the husband keeps getting in her way. - I'm going to come back tomorrow night.\"", "Wesley: \"Be careful.\"", "Angel: \"I always am.\" Wesley holds up a vial filled with glowing yellow mucus: \"Be *especially* careful.\"", "Angel takes it: \"Plakticine.\"", "Wesley: \"I found it all around the foundation of the house.\"", "Angel: \"So now we know.\"", "Wesley: \"Someone in that house is possessed by a demon.\" Angel hands the vial back to Wesley and starts the car. Stephanie watches them drive away from one of the windows.", "Cut to Angel's office. Wesley is closing the blinds as Angel walks in.", "Cordy (to phone): \"Thanks for your help. (Hangs up the phone) Well, mama is telling the truth about Akron, and before *that* Miami and Baton Rouge, all within the last three years.\" Angel holds up the glowing vial: \"Let me guess - couldn't lose the black cloud.\" He sets the vial on Cordy's desk and folds his arms.", "Cordy looks at the vial: \"Like it was fitted with chin straps. Everywhere they go, there've been reports of disturbances and - yuck! -animal death? In Akron, a friend of the family - went missing. - He's still missing! (They all look at each other, then Cordy picks up the vial) What is this stuff anyway? Kind of pretty!\"", "Wesley: \"Uh, it's the bodily excretion of an Ethros demon.\" Cordy puts the vial down and folds her hands: \"No one could have said - demon poo - *before* I touched it.\"", "Wesley: \"Oh, it can't hurt you. Only the demon itself is dangerous.\"", "Cordy: \"How dangerous?\"", "Wesley: \"Tends to go in for mass murder. - You've heard of Lizzie Borden? She killed her parents with an axe?\"", "Cordy: \"I remember the children's rhyme. And how come they're all full of death and cradles falling, and mice getting tails cut off? (Angel chuckles) Anyway, the whole thing needs a ratings system, don't you think?\"", "Wesley: \"Yes, well - what the rhyme doesn't say is that she was possessed by an Ethros.\"", "Angel: \"An adolescent Ethros. (Picks up the vial) With this amount of Plakticine, we've got ourselves a grown-up demon.\"", "Cordy: \"So someone in that family has got a squatter in their head. What do *we* do about it?\" Angel throws the vial at Wesley: \"Evict him.\"", "Wesley catches it: \"Exorcism. (Angel nods) I'll look into finding someone who can perform one. Not too many priest go in for it much these days.\"", "Cordy: \"But who do we exorcise? Which one is the demon?\"", "Angel: \"The father seemed kind of off. They were afraid of him.\"", "Wesley: \"A father doesn't have to be possessed to terrorize his children. He just has to... (Takes a deep breath) We'll find out soon enough. The first step in confronting the demon is getting him to show himself. A little psylis eucalipsis powder ingested by the host...\"", "Cordy: \"And what? Dad goes 'grrr.' Head spins around?\"", "Wesley: \"Essentially.\"", "Angel: \"Okay, so how do I get someone to eat - eucalipsis powder?\"", "Cut to Paige opening the door for Angel. He's holding a plate covered with plastic wrap.", "Angel: \"I made brownies.\"", "Cut to the family and Angel sitting around the table.", "Paige: \"More Brussels sprouts, Angel?\"", "Angel: \"No! Thank you, I'm - full. Everything was - very good.\" Paige smiles as she clears off the plates.", "Seth: \"The roast was a little dry.\"", "Angel: \"No. It was full of - roasty goodness.\"", "Paige: \"I think we're ready to try your brownies, Angel.\" Seth picking up his and Angel's plate: \"I'll get the coffee.\" Both parents leave for the kitchen.", "Ryan quietly to Angel: \"I didn't like the Brussels sprouts. They're gross.\"", "Angel to Stephanie: \"You seemed to like yours.\" Stephanie folds back her napkin, revealing a Brussels sprout hidden in it. Angel laughs and she hides it again.", "Angel leans forward and whispers: \"I buried one in my mashed potatoes, too.\" The kids laugh.", "Seth: \"What are you laughing at?\"", "Stephanie: \"Angel's funny.\"", "Seth pours the coffee: \"Yeah? He hides it well.\" Paige puts the plate with the brownies on the table: \"Look kids. See what Angel made for us?\" Everyone except for Angel takes a brownie. Stephanie takes one bite, makes a face and hides it in her napkin. Ryan eats his without making a face. Angel looks over at Seth as he holds the brownie posed in front of his mouth looking back at Angel. Paige puts her brownie down after the first taste: \"Hmm, it's uhm - what's your secret, Angel?\"", "Angel: \"I use - uhm, chocolate. That's why they're brown - which gives them their name - brownies.\"", "Seth: \"No hot chocolate for you kids tonight. *This* is your treat tonight.\"", "Ryan: \"Dad.\"", "Stephanie: \"That's not fair.\"", "Paige: \"Kids. Shh. Company.\" Angel looks over out of the corner of his eye at Seth, who has finally taken a bite. Seth begins to choke and Stephanie screams. She is staring at her brother, who is growling and whose face is turning into a demon face.", "Cut to Ryan's head jerking around, then dropping onto the table. Paige jumps up and hugs him.", "Paige: \"Oh God, Ryan, what's wrong?\"", "Angel gets up: \"You're son is possessed by a demon.\"", "Stephanie: \"Ryan's bad. Ryan's always been bad.\"", "Seth: \"Stephanie.\" Stephanie gets up and leaves.", "Paige: \"Baby, - can you hear me?\"", "Angel walks over to her: \"Paige, listen to me - he's okay.\"", "Paige: \"What do you mean, he's okay?\"", "Angel: \"I had to get the demon to show itself first.\"", "Paige: \"You did this to him?\"", "Angel: \"The demon was already there, I just used the brownies to...\"", "Paige: \"You put something in our food. You poisoned him? (Angel looks over at Seth, who just looks back) What were you thinking? I thought you were here to help us. You are *not* an angel.\"", "Seth: \"Paige, it's okay.\"", "Paige: \"Seth, he did this to Ryan.\"", "Seth: \"We both know that that is not true. What was wrong with Ryan has been wrong for a long time. (Gets up) Now you say you know how to help my son? (Angel just looks at him) Alright. What do you need?\"", "Angel: \"A phone.\"", "Cut to Paige huddled on the sofa with Ryan on her lap. Seth is sitting next to them stroking Ryan's back.", "Angel (to phone): \"I found our demon. It's in the boy.\" Wesley on the phone in the office: \"We're not ready. I found the name of a priest, but we're having a spot of trouble running him to ground.\"", "Angel: \"I need for you to put together a binding powder. Everything you need is in the pantry. We can contain him until we get the priest. We're coming to you.\" Angel and Wesley hang up as Seth gets off the sofa.", "Angel to Seth: \"How is she?\"", "Seth: \"She's just - (sighs) It's been so long.\"", "Angel: \"This isn't gonna be easy.\"", "Seth: \"For the last three years - it's been *all* I can do to hold this family together. - Now you come here and tell me there may be a *reason* for all the terror and confusion, and a way to end it? - Maybe you are an angel.\"", "Angel: \"Can you get someone to come and stay with your daughter?\"", "Seth: \"Yes. Why?\"", "Angel: \"The rest of you are coming with me.\"", "Cut to Wesley sliding the grate of the elevator open. He takes Ryan from Angel and carries him over to Angel's bed.", "Angel (to Seth and Paige): \"These are my assistants.\"", "Cordy: \"Hi, I'm Cordelia. (Shakes Paige's hand) Sorry about the possession and everything.\"", "Seth: \"Ah - Hello.\" Wesley covers Ryan with a blanket as Cordy picks up a big glass bottle and starts to draw a circle around the bed with the yellow sand that's in it.", "Cordy: \"Oh, I wonder if I should put plastic down. Angel, are you expecting any big vomiting here? Because - I saw the movie.\" Seth and Paige look at Angel, who just raises his eyebrows at her. Cordy makes a face and gets back to drawing the circle.", "Wesley: \"The binding powder will keep the demon under control - while Angel and I go to find the priest.\"", "Paige: \"He doesn't need a priest.\" Angel puts a hand on her shoulder: \"Paige - listen to me. - The only way through this is to let us help. - Look, your son is possessed. - Deep down you know this is true. - You know it.\"", "Wesley: \"Cordelia will stay with you. We'll be back as soon as we can.\"", "Angel: \"Do not break the circle. It's important. He'll try and get you to come to him. Don't do it. Don't touch him. - He's been exposed, and he's angry. - He'll kill you if he gets a chance, you got that?\"", "Cordy: \"Jeez, we got it! Circle, angry, kill, kill, kill. Go to church already.\" Angel and Wesley leave. Seth puts a hand on Paige's shoulder and she covers it with one of her own as the both look at Ryan laying unconscious on the bed. Blend into Wesley and Angel walking into a church. Angel trails a bit behind Wesley taking a deep breath as he looks up at the crucifix above the altar. The church is empty except for an old nun praying in the front pew.", "Wesley: \"Ah, sister? Good evening. Sorry to disturb your prayers. I hope we didn't make you lose your place.\" Angel leans one hand on the end of the pew occasionally glancing up at the crucifix.", "Nun gets up (to Wesley): \"Not at all. How can I... (Looks over at Angel) - You would come in to a place of worship?\"", "Angel: \"I'm not what you think.\"", "Nun: \"No?\" She tries to brush the cross on her rosary against Angel's hand and he quickly pulls his hand away.", "Angel: \"Okay. (Swallows) Yeah, I am. - But I'm trying to help someone. A child. He's possessed by an Ethros demon.\"", "Wesley: \"Which is why we need to find father Fredricks. I'm afraid it's rather urgent.\"", "Nun: \"He's out behind the church.\"", "Wesley: \"Thank you! (To Angel) Progress at last.\"", "Nun: \"The last grave on the left.\"", "Angel: \"He's - the father's dead.\" Nun walking up towards a side altar: \"Six months ago a family came to father Fredricks. Their daughter was possessed with a demon. (Reaches to light some votive candles) A very powerful demon. - Father Fredricks saved the young woman - but he couldn't save himself.\"", "Wesley: \"It, uhm, it was an Ethros demon?\"", "Nun: \"If the child you are trying to save really is possessed with an Ethros (Looks at Wesley) my prayers are with you (Looks at Angel) both of you. Because what you are dealing with is - very, very smart - and very dangerous. (Lifts her eyebrows at Angel) Even more dangerous than you.\"", "Ryan: \"Mommy? Where are you? Mommy, I'm scared. - I need you. - Are you there?\" Ryan is sitting up on Angel's bed. Paige is sitting at the kitchen table with Seth. Cordy is pouring them some tea.", "Paige to Seth: \"Couldn't I just take him his toys, please?\"", "Seth: \"You heard what Angel said, Paige. We have to wait.\"", "Paige: \"But why do we have to wait? Things were going really well this time, weren't they? - Couldn't we just keep on like it was?\"", "Seth: \"Paige, no. Not after Ohio.\"", "Cordy: \"Ohio?\"", "Seth after a beat: \"A friend of ours - the kids used to call him Uncle Frank, died in a fire.\"", "Paige with a sob: \"That was an accident. It wasn't Ryan!\"", "Ryan: \"Mommy, I'm scared. It's so cold in here. Mommy?\" Paige tries to get up, but Seth grabs her arm.", "Seth: \"And *that* isn't Ryan either. - Paige?\"", "Paige settles back down: \"I'm not going to him, okay? I'm playing by the stupid rules.\"", "Cordy: \"Good! We can watch TV or play cards. You'll get caught up, you won't even hear your son's pain.\"", "Ryan: \"Mommy, I need you. I'm so scared. Come here.\"", "Paige to Seth: \"This is just too cruel.\"", "Cordy to Paige: \"It's almost over. And Angel is good at this kind of thing, and Wesley... - Well, I'm sure they'll be right back with the priest.", "Cut to Wesley filling a glass bottle with water from the baptismal fountain.", "Angel: \"You can't do it.\"", "Wesley: \"I know the ritual and we have the supplies.\"", "Angel: \"You've never done this before. Look, it takes tremendous strength - mental strength.\"", "Wesley: \"Resistance to suggestion. Yes, I understand that. - I like to think of myself as possessing a certain...\"", "Angel: \"Wesley, you don't even have sales resistance. (Wesley looks up at him) How many thighmasters do you own?\"", "Wesley: \"The second one was a free gift with my 'Buns of Steel.'\"", "Angel: \"Father Fredricks was an expert. A demon just like this killed him.\"", "Wesley: \"You're saying I can't do it.\"", "Angel: \"That's right.\"", "Wesley looks away: \"So our only option is (picks up a cross and tosses it to Angel) you do it.\" Angel instinctively catches it. It burns his hand and he hisses and tosses it like a hot potato.", "Angel sighs and exhales: \"That was vulgar.\"", "Wesley: \"But I believe I made my point.\"", "Angel: \"All right. You'll do it. But I'm going to be right there with you.\"", "Cut to the yellow circle around Angel's bed. Paige standing in the door with Seth: \"See, honey? Mommy's right here. I'm not going anywhere. Nobody is going to hurt you, sweetie. It's going to be okay.\"", "Cordy: \"Paige, come away.\"", "Seth: \"You wanted to see him, there he is - and he's gonna be fine.\"", "Paige: \"He's not fine! Look at him, Seth. Look at him. He needs me.\" Ryan is laying huddled on his side under the blanket, still wearing the gray demon face.", "Ryan: \"Mamma? I can't see. Something is wrong with my eyes and it hurts. (Paige looks up at her husband then back at Ryan) Why won't you help me?\"", "Paige: \"I'm here, baby. I'm right here.\" Ryan begins to growl and tosses on the bed. Paige strains to go to him, but Cordy and Seth manage to restrain her.", "Cut to Angel and Wesley walking into the upstairs office. Wesley looking at an open book in his hands: \"The standard Latin seems to be the ritual of choice for an Ethros.\"", "Angel: \"Good. Come on. (Wesley stops and Angel turns back to him) What?\"", "Wesley: \"I believe I know how the priest was killed. - When an Ethros is cast out it immediately seeks another body to inhabit. The Demon is expelled with such force that the newly inhabited rarely survives.\"", "Angel: \"That's a problem.\"", "Wesley quietly: \"I dare say.\" They hear the commotion as Cordy and Seth try to hold Paige back and hurry into the elevator.", "[SCENE_BREAK]", "Cut to Cordy turning from Paige as she hears the elevator.", "Cordy: \"They're here. They're coming.\"", "Ryan: \"Mommy!\" Seth and Cordy watch the elevator come down while Paige takes advantage of their distraction to run to Ryan.", "Angel sees her: \"No!\"", "Seth: \"Paige!\" He and Cordy run after her, but the door slams shut in their faces and won't open. Angel tries to get out of the elevator, but the outside door won't slide aside.", "Cordy: \"Angel!\"", "Cut to Ryan stroking his mother's face as she leans over him.", "Ryan: \"Mommy. I'm so glad you're here. (Takes her by the throat and starts to choke her) So glad.\"", "Cut to Paige struggling against Ryan. Seth and Cordy manage to get the doors open and Seth tries to break Ryan's hold on his mom.", "Seth: \"Ryan, no! Ryan, stop it!\"", "Cordy running back out: \"Angel! (The elevator is back upstairs and she bangs on the button a couple of times) Hurry!\" Angel and Wesley come running down the stairs.", "Seth: \"Ryan, no. Let her go. Ryan, stop it! Stop it! Let her go!\" Wesley runs in and holds a cross in Ryan's face, while Angel helps Seth to pull Paige away.", "Wesley: \"Omnis spiritus in munde. In nomine dei!\" Ryan screams and falls back on the bed. Seth cradles his wife in his arms.", "Wesley: \"It's retreated back into the boy.\"", "Angel: \"It's gone deeper.\"", "Wesley: \"That's likely.\"", "Angel (to Paige): \"Look, from now on you do exactly as I'm telling you, understood?\" Paige nods, her hands wrapped around her throat.", "Cut to Wesley redrawing the circle with the yellow powder. Angel comes in, hands him a little black book then slowly backs back out and closes the doors. Seth is sitting on the edge of the daybed, where his wife is drinking a cup of tea. Angel walks up behind Cordy, who is sitting on the sofa looking through a book.", "Angel: \"Anything?\" Cordy hands him the open book: \"Ethros demon - Ethros box.\" Angel looks at the picture of a box in the book: \"Hmm, this is what's used to trap it.\" Cordy gets up and points out a passage to him: \"It says right here the demon goes all dingy when it's forced out. Bad sense of direction or something. If you have one of these boxes, it'll go right into it.\"", "Angel reads: \"There to be confined for a thousand years.\"", "Cordy: \"Which ought to do it, right? Of course without one of these...\"", "Angel: \"The demon will try to make the jump to the nearest warm body.\"", "Cordy: \"Right. - So you're safe anyway. (Angel looks at her) Maybe we can build one of these.\" Angel looks back at the book: \"Ah, an authentic Ethros box is made of 600 species of virgin woods and handcrafted by blind Tibetan monks.\"", "Cordy thinks for a moment: \"Nope. Don't know any.\" Angel writes an address on a piece of paper and hands it to Cordy.", "Angel: \"Melrose and Robertson, between the yogurt shop and the Doggy Dunk.\"", "Cordy: \"Blind virgin monks?\"", "Angel: \"No, Rick's Magic 'n' Stuff. If anyone in LA will have an Ethros box, it'll be Rick. (They look around as the light begin to flicker) Better hurry.\"", "Cordy leaves: \"Okay.\"", "Paige runs up to Angel: \"What's happening?\"", "Cut to Wesley doing the exorcism.", "Wesley: \"Omnis spiritus in munde. In nomine dei. Omnis spiritus in...\" Ryan sits up on the bed looking at Wesley.", "Ryan in deep demon voice: \"Your Latin sucks.\" Wesley splashes some Holy Water on Ryan then goes to pick up the book.", "Wesley: \"I know your tricks. - You'll not deter *me* from what must be done.\"", "Ryan (in demon voice): \"*You* do something? What makes you think you can do anything?\"", "Wesley: \"In odorem suavitatis. Tu autem effugare, diabole. Appropinquabit enim judicium dei.\"", "Ryan (demon voice): \"You couldn't even 'watch!' (Wesley stares at Ryan) Everyone knows you got fired because you couldn't do anything right. Nothing is going to make him proud of you.\"", "Wesley: \"Skimming the surface of my mind - *very* good. But a mere parlor trick. Here's one for you (Puts down the bottle of Holy Water and thrusts a cross into Ryan's face) How many crosses am I holding up? Omnis spiritus immunde. In nomine dei.\"", "Ryan in Wesley's voice: \"All those hours locked up under the stairs and you still weren't good enough. Not good enough for Daddy, not good enough for the Council.\" Wesley blinks then looks back at the book: \"Omnis spiritus - (Starts to flip the pages) Uh, that is to say.\"", "Ryan in demon voice: \"Lose your place? What makes you think these people want you around any more than the others did?\"", "Angel coming through the door: \"Because I invited him here.\" Ryan in demon voice to Angel: \"Then you're stupider than he is.\" Angel and Wesley look at each other then Wesley takes a deep breath, holds up the cross and starts again.", "Wesley: \"Tu autem..\"", "Ryan in demon voice: \"Go ahead, Wesley, tell him why he's a fool to trust you.\"", "Wesley: \"Effugare, diabole.\"", "Ryan in Angel's voice: \"Tell him how you plan to kill him.\"", "Wesley to Angel: \"That's not true.\"", "Ryan in demon voice: \"Oh, no? He's more afraid of you than he is of me.\" Wesley lunges towards Ryan with the cross held high, scuffing the circle with his foot.", "Wesley: \"I'll show you fear!\" Ryan holds up his hand and the cross in Wesley's hand buries itself in the side of Wesley's neck. Wesley falls back, screaming and Angel runs over to him. Angel pulls out the cross and tosses it away, shaking his hand from the pain of the cross burning him, while Ryan looks on and laughs.", "Cut to Rick's Majick 'n' Stuff. Cordy is looking over some wooden boxes sitting on shelves around the store. Rick crosses his hands and bows: \"Blessed be.\"", "Cordy: \"Uh-huh. I need an Ethros box.\"", "Rick: \"A lady who knows what she wants. Commendable.\"", "Cordy: \"Yes, I'm great. Just pop it in a bag and I'm out of here.\"", "Rick: \"I don't have one.\"", "Cordy: \"You don't have one. (Rick shakes his head) Well, (Cordy looks around then points at a box on a shelf behind Rick) what's that?\"", "Rick: \"Good eye. That's a Shorshack box.\"", "Cordy: \"What's the diff?\"", "Rick takes the box down: \"About 20 Dollars, and it's not available in a mahogany finish.\"", "Cordy: \"Looks the same. Handcrafted by blind Tibetan monks?\"", "Rick opens the box: \"Pieced together by mute Chinese nuns. Now that's craftsmanship.\"", "Cordy: \"Look, I have an Ethros demon and I need a place to put it. Will this work?\"", "Rick: \"Hmm, probably. Shorshack demon is a little smaller than your average Ethros, might be tight across the shoulders.\"", "Cordy: \"Well, how big could the demon be? I mean, it's in a little bitty boy! - I'll take it.\"", "Rick: \"A wise choice. I think you are going to enjoy this item. It's a quality item. Shall I have it gift-wrapped?\"", "Cut to Paige putting a bandage on Wesley's neck in the kitchen.", "Angel: \"That was too close.\"", "Wesley: \"I let my guard down. It won't happen again.\"", "Angel: \"You're not going back in there.\"", "Wesley: \"Angel!\"", "Angel: \"It's too dangerous. He could've killed you, Wesley.\"", "Seth: \"And my son? What about him?\" The kitchen table begins to shake and the marbles roll out of their bag and spell out 'Save Me.'", "Wesley: \"Angel, we don't have a choice.\" Doyle's voice comes from the bedroom: \"The good fight, yeah?\" The doors to the bedroom spring open and Ryan sits on the bed, laughing.", "Ryan in demon voice: \"Guess who's here, Angel. He's talking to me right now. Doyle wants to ask why you couldn't protect him.\" Angel rips a strip off one of the kitchen towels, wraps it around his hand then picks up the cross laying on the table.", "Seth: \"What are you doing?\"", "Angel walking towards the bedroom: \"Ending this.\" Cordy walks in holding the box: \"They only had...\"", "Angel: \"Get it ready.\" Angel stalks through the bedroom door with Seth right behind him, while Cordy and Wesley hold the box open between them. Ryan in demon voice to Angel: \"You let him die. Just like he's gonna let me die. (In Ryan's voice to Seth) Aren't you, Daddy? (Seth looks down and sees some smoke rising from Angel's hand despite the insulation of the towel) Two great protectors.\"", "Angel to Seth: \"Get back.\" Seth backs away as Angel steps up to the bed and lays the cross on Ryan's chest.", "Angel: \"Abrenuntias satanae?\" Wesley and Cordy stand in the doorway with the open box.", "Wesley: \"Do you renounce Satan?\"", "Angel: \"Et omnibus operibus eus?\"", "Wesley: \"And all of his works?\"", "Angel: \"Omnibus pompis eus?\" Angel's hand is smoking pretty good by now, but he doesn't budge.", "Wesley: \"And all his pomps?\"", "Angel: \"Exorcie te. Omnis spiritus immunde. Adaperiae! (Morphs into vamp face) Now get the hell out!\" Angel steps back as Ryan writhes on the bed. Ryan begins to glow, the light hits the open box and shatters it. Cordy and Wesley turn as a wind races up the stairs. Ryan is laying on the bed, back in his human face. Paige runs in and hugs her son.", "Paige: \"Ryan?\" Seth runs after and hugs both his wife and Ryan at the same time. Angel, Cordy and Wesley stare down at the broken box on the floor.", "Cordy to Angel: \"Oh-oh.\"", "Cut to Wesley scraping up some yellow slime with a tongue depressor upstairs in the office.", "Wesley: \"Plakticine! - Clearly it came up the elevator shaft.\"", "Cordy: \"So it's up here somewhere?\"", "Angel: \"No. Long gone by now.\"", "Cordy: \"And good riddance to it.\"", "Angel: \"No, not good riddance. It'll possess again.\"", "Wesley: \"Maybe we shouldn't have been so quick to send the Andersons back home. It might attempt to repossess the boy.\"", "Angel: \"I don't think so. Not right away.\"", "Wesley to Angel: \"What are you thinking?\"", "Angel: \"Well, it had to expel a lot of energy to escape like this. - It'll need time to recharge.\"", "Wesley: \"You're thinking the demon has taken on corporeal form.\"", "Angel picks up some weapons: \"That's my guess. It can only absorb the elements it needs if it manifests itself physically. Which means, if we can find it in time (Throws Wesley one of the weapons) we can kill it. He'll be looking for a hostile environment - somewhere damp. Probably returning to primordial volcanic basalt for his regeneration.\"", "Cordy: \"Huh?\"", "Wesley: \"Sea caves!\"", "Cordy: \"Why didn't he just say that?\" Angel and Wesley leave.", "Cut to Angel and Wesley walking down a sea cave. Angel finds some mucus on the wall.", "Angel: \"We're close. Come on.\"", "Wesley: \"Angel - before we go any further - I just wanted to reassure you - in as much as we will be fighting side by side - what that demons said before..\"", "Angel: \"I know you're not planning to kill me, Wesley. - But you're willing to - and that's good. Now come on.\" They walk further down the cave tunnels and find the Ethros.", "Ethros: \"You.\"", "Angel: \"Didn't think this was over, did you?\"", "Ethros: \"You are a fool. You think to destroy me? You're dealing with forces beyond your comprehension.\"", "Angel, twirling his axe: \"Yeah? Well, it's a hobby of mine.\"", "Wesley: \"You great - putrescent - bully! Pick on an innocent child! You think you're impressive?\"", "Ethros: \"I am Ethros. I corrupted the spirits of men before they had speech to name me. - The child was but the last among tens of thousands, one more pure heart to corrupt, one more soul to suck dry.\"", "Wesley: \"Well, chalk up one exciting failure. You didn't get that boy's soul.\"", "Ethros: \"Hmpf, what soul?\"", "Cut to Paige setting a cup of hot cocoa in front of Stephanie and Ryan.", "Ryan: \"She has nine marshmallows, and I only have seven.\"", "Paige: \"Well, we'll just have to write the Nestle bunny about that. (Kisses Ryan on the cheek) Drink up. It's way past bedtime.\"", "Ethros lowering its hood: \"Do you know what the most frightening thing in the world is? - Nothing! That's what I found in the boy (Cut to Ryan staring at Stephanie as she drinks her hot cocoa) no conscience, no fear, no humanity, just a black void. I couldn't control him. (Back to the Ethros) I couldn't get out. I never even manifested until you brought me forth. I just sat there and watched as he destroyed everything around him. Not from a belief in evil, not for any reason at all.\"", "Cut to Paige leaning up against Seth with a smile: \"He doesn't seem to remember any of it.\"", "Seth: \"Good.\"", "Ethros: \"That boy's mind was the blackest hell I've ever known.\"", "Angel: \"The marbles, that was you.\"", "Ethros nods: \"When he slept, I could whisper in him. I tried to get him to end his life, even if it meant ending mine.\"", "Angel: \"You sleepwalked him in front of the car.\"", "Ethros: \"I had given up - hope. - I know you bring death. I do not fear it. The only thing I have ever feared is in that house.\"", "Wesley: \"Angel, he's with his family. We have to hurry.\"", "Ethros: \"Yes, you do.\" Angel lifts his axe and we hear a scream as we cut away to Paige tucking Ryan in bed.", "Paige: \"Good night, sweetheart.\"", "Cut to the outside of the house. Blend into Seth and Paige sleeping in bed. Ryan walks in and picks up the matches laying next to a pack of cigarettes on Seth's nightstand. Seth stirs as Ryan closed the door.", "Seth: \"Ryan?\" Ryan drives a wedge under the door to keep it from being opened.", "Paige sitting up: \"What is going on?\" Seth trying to get the door open: \"I don't know.\" Ryan takes the phone of the hook and picks up a can of gasoline.", "Seth: \"Ryan, open the door!\"", "Paige: \"Ryan - Stephanie?\" We can hear the parents trying to talk to him in the background as he walks into Stephanie's bedroom. Seth keeps throwing himself again the door, trying to break it open, screaming at Ryan. Ryan pours gasoline on the floor in Stephanie's room. He sets the can down and lights a match. After a moment he drops the lit match and the gasoline goes up in a wall of flame with Stephanie's bed on the other side. Stephanie wakes up and screams as the smoke detector goes off. Ryan just stands there watching the flames. Seth and Paige come up behind him, see the wall of flame.", "Seth: \"Stephanie!\"", "Stephanie: \"Mom, dad! Help!\" Angel bursts in through the window and picks Stephanie up off the bed as Wesley appears behind the Andersons.", "Wesley: \"Everybody out! Lets go! Go! Go!\" Wesley picks up Ryan and pushes the parents down the hallway. Angel turns with Stephanie in his arms and jumps back out through the window.", "Cut to the outside of the house. There are firemen on the roof and an Ambulance and a couple police cars in the driveway. Kate shuts the back door of a police car. Ryan is sitting in the back seat. She walks over to where Angel and Seth are standing.", "Kate to Seth: \"Social services will take over from here. They'll want to speak to your son alone first.\"", "Seth: \"When will we get to see him?\"", "Kate: \"Not until tomorrow.\"", "Seth: \"Well, what's gonna happen to him?\"", "Kate: \"We won't know until after the evaluation.\"", "Angel to Kate: \"Thanks for coming by, Kate.\" She just looks at him for a moment, then nods and walks away. Seth watching as Ryan is driven away: \"I won't be able to cover for him anymore. They're gonna want to know about Ohio - and everything. - I wanted to protect him.\"", "Angel: \"I know.\"", "Seth looks over at Angel: \"I was just trying to hold my family together.\" Angel looks over at where Paige and Stephanie stand together wrapped in a blanket and Seth looks over as well.", "Angel: \"I think you did.\" Seth nods slightly at Angel then goes over and picks Stephanie up in his arms. The camera pans up as we watch Angel walk over to where Cordy and Wesley are waiting next to his car." ]

[ "Kate's father, Trevor Lockley, gets involved in a demon drug smuggling operation and he's soon in over his head. When a demon high on drugs attacks the subway, Angel begins investigating and quickly discovers Trevor's shady dealings. He tries to warn Trevor, but it's too late. When Trevor is attacked, Kate blames Angel for not doing more. Meanwhile, through flash backs, Angel's own father is introduced, Angel's past as a human is shown and Angelus is born." ]

[ "Trevor Lockley: \"Who's this?\"", "Kate: \"This is Angel. He's a friend. Angel, this is my father.\"", "Kate: \"My daddy forgot how to be anything but a cop a long time ago. Maybe that's - that's why I became a cop, too.\"", "Angel: \"Kate, do you trust me?\"", "Kate: \"You know I do.\" Angel dropping through the ceiling to fight Penn. Angel in vamp face looking down at Kate. Kate pulling a gun on Angel.", "Kate: \"What are you?\"", "Angel: \"You already know the answer, Kate.\" Kate running Angel through the stomach with a 2x4 dusting Penn through him.", "Angel: \"You missed.\"", "Kate: \"No, I didn't.\" Sunrise in Galway, Ireland 1753. A maid servant is filling a pitcher with water at a well. Angel is leaning against the wall of the house in the shadow looking disheveled.", "Angel: \"Anna.\"", "Anna: \"Master Liam?\"", "Angel: \"Anna, come closer.\"", "Anna: \"Master Liam, your father...\"", "Angel: \"Will be off to church by now, repenting of his sins, and well he should. Closer, Anna.\"", "Anna: \"Why do you keep to the shadows, sir? Are you not well?\"", "Angel: \"The light. It bothers my eyes just now.\"", "Angel's dad: \"And I know the reason why. (Pushes Angel out into the sunlight of the courtyard) Up again all night, is it? Drinking and whoring. I smell the stink of it on you.\"", "Angel picks himself up: \"And a good morning to you, father.\"", "Dad: \"You're a disgrace.\"", "Angel: \"If you say so, father.\"", "Dad: \"Oh, I do. I do say so. Have you not had enough debauchery for one night? Must you corrupt the servants as well?\"", "Angel: \"Servant, father. We have *one* servant. Anyway, - everyone gets corrupted, - but I find some forms of corruption - are more pleasant...\" His Dad hits Angel hard across the face, making him spin around.", "Dad: \"I am ashamed to call you my son. You're a lay-about and a scoundrel and you'll never amount to anything more than that.\" Cut from the Angel of 1753 wiping the blood off his lip to the Angel of today wiping blood of his split lip. He is fighting a demon in a subway tunnel in front of a stopped subway car.", "Cut to Kate and an officer walking on the subway station platform.", "Officer: \"Crazy homeless guy got on at Central Street Station. Went nuts. Started tearing up the car, threatened some passengers. It was one of them that pulled the emergency brake. They're all still pretty shook up.\"", "Kate: \"What about the suspect?\"", "Officer: \"Gone.\"", "Kate: \"The call said it was a hostage situation.\"", "Officer: \"It was.\"", "Kate: \"The suspect escaped?\"", "Officer: \"Well, we're still trying to get the story, but it's a little unclear.\"", "Kate: \"Unclear? You have two dozen witnesses!\"", "Officer: \"I know, and they are all saying the same thing.\"", "Kate: \"Which is?\"", "Officer: \"That the suspect went out through the top vent while the train was still moving.\"", "Kate: \"He climbed out of the moving train.\"", "Officer: \"They're saying he was pulled out.\"", "Kate: \"Pulled out by what? (Officer just looks at her) Get statements.\" She walks down towards the stopped cars.", "Cut to Angel and the demon fighting. The demon collapses to the ground just as Kate comes running up with a flashlight in her hand. Sees Angel, sees that the thing on the ground is not human.", "Kate: \"Well, I guess I can forget about reading him his rights.\" Intro.", "Kate: \"It's uhm - it's not a person, is it?\"", "Angel: \"No. Demon.\"", "Kate: \"Is it...\"", "Angel: \"Dead? Yeah, Kate, it-it's dead.\"", "Kate: \"So they - so they die then.\"", "Angel: \"Yeah.\" Kate lets out a big sigh.", "Kate: \"Sorry, I guess I'm still having a little trouble with this otherworldly stuff.\"", "Angel: \"Right. - Although demons aren't technically otherworldly. I mean, in fact they were here (Kate looks at him and walks back towards the station) - first.\"", "Cut to them walking back into the station.", "Kate: \"So, do I call the coroner or hazardous materials?\"", "Angel: \"My advice? Don't call anyone. I'll see it gets taken care of.\"", "Kate: \"And what do I put in my report?\"", "Angel: \"Just do what you would normally do in a case like this.\"", "Kate: \"There is no normal in a case like this.\"", "Angel: \"Los Angeles, Kate, you've seen this kind of thing before, probably a lot. You just didn't have a name for it, that's all.\"", "Kate: \"No, I think I'd remember.\"", "Angel: \"Yeah, well, people have a way of seeing what they need to.\" Delivery guy to officer taking his statement: \"No, nothing really stood out, -except maybe the smell. Just your average Joe stink homeless guy.\" Kate walks over the pair.", "Officer hands her a pad: \"That's what we got.\"", "Kate reads: \"Average height, average weight, average build. (To witness) That's the best you can do? You're the one that pulled the emergency brake?\"", "Delivery guy: \"Yeah. The guy came right at me.\"", "Kate: \"Why?\"", "Delivery guy: \"He didn't say.\"", "Kate: \"No. Why did you pull the emergency brake?\" Delivery guy with a slight frown: \"It was an emergency?\" Kate turns around to look back at Angel, then hands the pad back to the officer.", "Kate: \"Well, lets get this description circulated. We want to find this guy, right?\"", "Officer: \"Right. We'll do our best.\"", "Delivery guy: \"Can I go?\"", "Kate: \"Yeah, you can go.\"", "Angel walks up to Kate: \"What's your father doing here?\" Kate sees her father talking to an officer.", "Officer: \"Nah, not much to go on.\" Kate looks at Angel than walks over to her dad.", "Kate: \"Daddy, what are you doing down here?\"", "Trevor: \"In the neighborhood.\"", "Kate: \"You've been sitting in your apartment listening to the police scanner again, haven't you.\"", "Trevor: \"Nothing on cable anyway. I heard you had a hostage situation. Looks like I missed all the action.\"", "Kate: \"35 years on the force, don't you think you've seen enough action? - Did you also happen to hear I was the lead officer on scene?\"", "Trevor: \"You look like you're doing okay. Let you get back to it.\" As Trevor walks off Angel steps up next to Kate.", "Angel: \"What's he up to?\"", "Kate looking after her dad: \"I think he's actually checking up on me.\"", "Angel: \"You sound surprised.\" Kate turns to look at Angel: \"No, you don't get to do that.\"", "Angel: \"What?\"", "Kate: \"Kill a demon in front of me and then act like we're going to have a cappuccino together. It doesn't work that way.\"", "Angel: \"How's it work?\"", "Kate: \"I'm not convinced it does. - Look, no offence. I think you're probably a pretty decent guy for a - You know, what you are, but lets keep this strictly business, all right? We don't get personal. I'm not your girlfriend.\"", "Cut to Darla watching Angel in a tavern fight.", "Darla to maid: \"Who is he?\"", "Maid: \"Who, that one?\" Angel takes a drink from his mug of ale and goes back to fighting.", "Darla: \"Yes. - He's magnificent.\"", "Maid: \"Oh, yeah, God's gift, alright.\"", "Darla: \"Really? I've never known God to be so generous.\"", "Maid: \"Oh, his lies sound pretty when the stars are out. - But he forgets every promise he's made when the sun comes up again.\" Darla as Angel smiles at her: \"That wouldn't really be a problem for me actually.\" Angel starts walking towards Darla when someone brakes a bottle over his head.", "Cut to close up of Angel now.", "Cordy: \"Pay attention! All we have to do is decide what the code will be.\"", "Angel: \"Code.\"", "Cordy holds up a brochure: \"For the security system we just had installed. Hello? What have we been talking about anyway?\"", "Angel: \"I don't...\"", "Cordy: \"Come on. The installation guy said it should be something easy to remember, like - my birthday.\"", "Angel: \"I don't know your birthday.\"", "Cordy: \"Yeah, tell me something that you don't know that I *don't* know. But after 11 and ½ months of punching it into this, you won't have any excuses.\" Wesley comes in carrying to open books.", "Angel getting up: \"Did you identify it?\"", "Wesley: \"I-I believe so. (Shows him a picture) Uh, would *that* be the demon you encountered this morning?\"", "Angel: \"Yeah, that's him.\"", "Wesley: \"Her, actually. It's a Kwaini. They're always female.\"", "Angel: \"Okay, what's it say about disposal methods?\"", "Wesley: \"Well, it should be relatively standard. Burial on virgin soil, simple Latinate incantation - however...\"", "Angel: \"What?\"", "Wesley: \"Well, it's curious. According to everything I could find a Kwaini is a peaceful, balancing demon. Non-violent.\"", "Angel: \"Non-violent. No. Ha. This thing was a fighter.\"", "Wesley: \"Not if it's a Kwaini is wasn't, at least not a fighter by nature. They're incredibly articulate, gentle creatures not even capable of the kind of power and strength you described.\"", "Cordy: \"Maybe it was just having a bad skanky-rag day.\" Angel sits down with a sigh: \"Oh, something set it off. That's for sure.\"", "Wesley: \"Clearly.\"", "Angel: \"Alright. So forgetting for the moment whether this thing should have been able to fight as well as it did, what would make a peaceful, balancing demon attack a train-full of LA commuters in the first place?\"", "Wesley: \"Something on the train, perhaps?\"", "Angel: \"Or someone.\"", "Cut to Angel standing in the door to Kate's office at the police station.", "Kate sees him: \"Angel.\"", "Angel: \"Hi. Can we talk?\"", "Kate: \"What's up?\"", "Angel: \"It's about that demon from this morning.\"", "Kate: \"Look if you insist on... (Hurries over to shut the door) talking about this stuff, could you please don't say that word? It makes me (Closes the blinds on the window in the door) it makes me, I don't know, just - uncomfortable. Just say - 'evil thing', okay?\"", "Angel: \"Sure. Yeah. I understand.\"", "Kate: \"Thanks. Anyway, I thought you were going to take care of it.\"", "Angel: \"It's being taken care of. It's just that the ah, evil thing - turns out it wasn't an *evil* thing.\"", "Kate: \"The evil thing wasn't an evil thing?\"", "Angel: \"Well, it was an evil thing in terms of that word. It just wasn't an evil evil thing.\"", "Kate: \"There are not evil evil things?\"", "Angel: \"Well - yeah.\"", "Kate: \"Right. Sorry. Hey, anyway, how did you get in here? It's like the middle of the day. Don't you have to...\"", "Angel: \"Sewer system leads up to the parking garage.\"", "Kate: \"Ah, right. Of course. I remember.\"", "Angel: \"Listen, Kate, I need the names of the passengers on that train.\"", "Kate: \"Why?\"", "Angel: \"I think that the demon uh, - I think that the *train* may have been targeted for a reason.\"", "Kate: \"An evil thing needs a reason?\"", "Angel: \"I think it's after something or someone.\"", "Kate: \"There was nothing on that train. We searched it.\"", "Angel: \"Passengers.\"", "Kate: \"All checked out.\"", "Angel: \"I want to look into them anyway. And I think we should start with that delivery guy, uh, the man who pulled the emergency brake. He said that that thing was coming right...\"", "Kate: \"It's still dead, right?\"", "Angel: \"Yeah.\"", "Kate: \"Good. You told me to forget about it. I'd like to.\"", "Angel: \"I think the...\"", "Kate: \"Angel. There is nothing here. Your not evil evil thing was just evil. Okay? Now can't we just leave it at that?\"", "Wesley on Phone: \"I suppose one can hardly blame her for being skittish on the topic.\"", "Angel sitting in his car: \"I guess so. I don't know. Ever since she ran me through with a 2x4 things have been different.\" Wesley walking in the subway tunnel: \"Well, she'll come around. I think you'll find that most people require some period of adjustment after being confronted with the dark forces, which surround us. Women in particular...\" Cordy crouched over the dead demon waving a hacksaw: \"Found it!\" Wesley watches Cordy sawing into the demon: \"Struggle with it.\"", "Angel: \"Maybe. I'm just afraid if she keeps struggling with the bigger picture - she'll lose the details.\"", "Wesley: \"Details?\" Angel watches the delivery guy coming out of his truck: \"Yeah, like why a guy who drives a delivery van would be on a commuter train during his shift.\"", "Wesley putting on some gloves: \"Good question. Anyway, it appears we've located the Kwaini's body.\"", "Angel: \"Okay. You'll run the tests?\"", "Wesley: \"Yes.\"", "Angel: \"Good. I'll see you back at the office.\" The delivery guys cell phone rings and he answers it. He gets in his van and drives off. Angel follows in his car. The guy walks into an apartment building. He knocks on a door. Angel watches as Kate's dad hands the guy a package wrapped in brown paper. The guy sticks it in his delivery bag and leaves.", "Cut to Trevor grabbing a cup of tea in his apartment. He goes to answer a knock on his door.", "Angel: \"Mr. Lockley?\"", "Trevor: \"Yeah?\"", "Angel: \"I'm Angel. We met at your retirement party? - I'm a friend of your daughter's.\"", "Trevor: \"Katie? Did something...\"", "Angel: \"She's fine.\"", "Trevor: \"She with you?\"", "Angel: \"No. She doesn't know I'm here either. Though you can bet she'd be interested to know who else was just here visiting you. - You know she actually thought that you were at the crime scene today because you were worried about her?\"", "Trevor: \"What do you want?\"", "Angel: \"I want to know what was in that package. The one you gave that delivery guy.\"", "Trevor: \"I don't know what you're talking about.\"", "Angel: \"You removed something from the crime scene today. Something somebody didn't want the police to find. (Trevor gets ready to shut the door) Who do you work for, Mr. Lockley?\"", "Trevor: \"I don't work for anybody. I'm retired. You were at the party, remember?\"", "Angel: \"I will find out what's going on, sir. I'm just telling you that now out of respect for Kate.\"", "Trevor: \"Are you threatening me, son?\"", "Angel: \"No. I'm trying to protect your daughter.\"", "Trevor: \"Protect my daughter. From what?\"", "Angel: \"From finding out the reason you were there today wasn't because you cared about her.\"", "Trevor: \"You got any kids, Angel?\"", "Angel: \"No.\"", "Trevor: \"Right. Then don't think you know how a father feels, or why he does the things he does.\" Slams the door in Angel's face.", "Cut to Angel of the past stumbling up to his mother and little sister in his home.", "His father from behind him: \"Liam! You'll do as I say.\"", "Angel to his little sister: \"Sweet Kathy. No tears. We'll meet again.\"", "Dad: \"Defy me now, you won't. - Not as long as I live.\"", "Angel: \"You'll want to move away from the door now, father.\"", "Dad: \"Go through it, but don't ever expect to come back.\"", "Angel: \"As you wish, father. Always, *just* as you wish.\"", "Dad: \"It's a son I wished for - a man - instead God gave me you! A terrible disappointment.\"", "Angel: \"Disappointment? A more dutiful son you couldn't have asked for. My whole life you've told me in word, in glance, what it is you required of me, and I've lived down to your every expectations, now haven't I?\"", "Dad: \"That's madness!\"", "Angel: \"No. The madness is that I couldn't fail enough for you. But we'll fix that now, won't we?\"", "Dad: \"I fear for you, lad.\"", "Angel: \"And is that the only thing you can find in your heart for me now, father?\"", "Dad: \"Who'll take you in, huh? No one!\"", "Angel: \"I'll not lack for a place to sleep, I can tell you that. Out of my way.\"", "Dad: \"I was never in your way, boy.\" Angel opens the door and storms out.", "Dad: \"If you'll go courting trouble, you're sure to find it!\" Slams the door.", "Cut to the barmaid at the tavern smiling as Angel picks her up. Cut to Darla scratching her chest to make it bleed. Cut to the barmaid. Cut to Darla in the alley. Cut to the Barmaid feeding Angel some grapes.", "Darla voice over: \"You know what to do. Darling boy.\"", "Cut to Angel following Darla into the alley.", "Darla voice over: \"I could show you - things you've never seen.\" Darla bites him and his eyes pop open. He's knees give out and Darla pushes his mouth on top of the bloody scratch on her chest.", "Kate to her Dad: \"So why the sudden urge to have lunch?\"", "Trevor: \"Lunchtime, isn't it?\"", "Kate: \"Right. So you drive all the way out here for a hotdog?\"", "Trevor: \"Not just a hotdog. One of Manny's. Best there is.\" He sits down on the edge of a planter.", "Kate: \"Alright. I'll let you and Manny catch up then.\"", "Trevor: \"And I thought I could spend a little time with my daughter.\" Kate sits down.", "Trevor: \"So, you've been good?\"", "Kate: \"Yeah. Yeah, good.\"", "Trevor: \"And, uh, - how's Angel?\"", "Kate: \"Pardon me?\"", "Trevor: \"Tall, good-looking fellow you brought to my retirement party.\"", "Kate: \"Yeah, I know who you mean.\"", "Trevor: \"That ain't a Mexican name, is it? Angel?\"", "Kate: \"I don't think so.\"", "Trevor: \"You two still seeing each other?\"", "Kate: \"We were never - seeing each other, dad.\"", "Trevor: \"What's wrong with him?\"", "Kate: \"Nothing!\"", "Trevor: \"Must be something wrong with him. He married?\"", "Kate: \"No.\"", "Trevor: \"West Hollywood?\"", "Kate: \"Daddy, no! - Angel's just - not my type. Or I'm not his type. There is definitely a type involved and it's the wrong one.\"", "Trevor: \"He's got a job.\"", "Kate: \"Yeah, he's a P.I.\"", "Trevor: \"Private Investigator. He any good?\"", "Kate: \"Yeah, he's good. - Very good. - He doesn't mind working nights.\"", "Trevor: \"That's good. - That's good that he's good.\"", "Kate: \"You came all the way down here to talk about a guy you saw me out with once?\"", "Trevor: \"Well, - he made an impression.\"", "Kate: \"You like him?\"", "Trevor: \"No, not really.\"", "Kate: \"Oh. Then what's this all about?\"", "Trevor: \"Nothing, just - just, uh, (sighs) It's not good to be alone, Katie.\"", "[SCENE_BREAK]", "Cut to Wesley dressed like a doctor examining some meat on a silver tray in Angel's apartment.", "Wesley: \"Well, the vivisection confirms it. This is most certainly a Kwaini.\"", "Angel: \"So the species has evolved. It's become violent.\"", "Wesley: \"No, I don't think so. My tests detected something else.\"", "Angel: \"What is it?\" Wesley holding up a piece of meat: \"Think of it as the creatures adrenal gland. Normally it would be the size of a walnut.\"", "Angel: \"What happened to it?\"", "Wesley: \"I believe the inflammation was caused by this substance. (Hold up a little bottle) I found traces of it through out the Kwaini's system.\"", "Angel takes the bottle: \"Any idea what it is?\"", "Wesley: \"Well, it's difficult to say under these primitive conditions, - but what I *can* tell you is it's synthetic. It seems to contain properties not unlike street PCP, though more metaphysical in nature of course. I did identify Eye of Newt as one of the ingredients, but one suspects added chiefly for taste, rather than kick.\"", "Angel: \"So, you're saying that the thing was on drugs.\"", "Wesley: \"Yes.\"", "Angel: \"That's why it attacked the subway train. The delivery guy was probably carrying it.\"", "Wesley: \"I think that it would be a fair intuitive leap to assume that the Kwaini was jonesing to get well. Yes.\"", "Angel: \"So not only did this stuff turn the Kwaini violent - it enhances innate strength.\"", "Wesley: \"Times 20, I would say.\"", "Angel: \"Hmm. What would happen if this drug were given to an already powerful battle-demon?\"", "Wesley: \"I shudder to think.\" Cordy comes down the stairs wearing a short blond wig and sunglasses.", "Cordy: \"Hey guys? Security system, remember? What is the point of having it, if you never turn it on? I could have been anyone or anything! (Motions to the stuff on the table) Move your - entrails.\" Angel and Wesley clear off the table.", "Angel: \"So, you're back.\"", "Cordy: \"Very good Mr. I-can't-trail-the-suspect-during-the-day-because-I'll-burst-into-flames Private Eye.\"", "Angel: \"What did you find out?\"", "Cordy: \"First off, I hate following detail.\"", "Wesley: \"The voyeuristic aspect is rather unseemly.\"", "Cordy: \"Uh, can I mention traffic? And parking or the complete lack of it?\"", "Angel: \"Not like in the movies, is it?\"", "Cordy: \"No! But fortunately I am. (Flips the screen out on the camcorder she is holding and shows them a row of still shots) So it turns out delivery guy really is a delivery guy.\"", "Angel: \"None of this looks like the package I saw him pick up from Kate's father.\"", "Cordy: \"But this is where he spent his lunch and he was in there for like ever. (Shot of a warehouse with Kel's Exotic Auto on it, the guy sticks two brown packages into his bag) I don't know what they were serving, but sure are a lot of leftovers in there, huh?\"", "Angel: \"That's it. That's the source. That's where it's all coming from.\"", "Cut to Trevor in an auto shop.", "Trevor: \"The guy's name is Angel. He's a Private Investigator. From what I hear he's good.\"", "Suit guy: \"Any idea on why he's looking into our operation?\"", "Trevor: \"I don't know. He's got his reasons I guess. - What was in the package?\"", "Suit guy: \"Mr. Lockley, we agreed...\"", "Trevor: \"We agreed that I'd use my department connections to facilitate movement of your untariffed auto-parts. We didn't agree that I'd be removing evidence form crime scenes, or - pumping my own daughter for information.\"", "Suit guy: \"We understand the extra lengths to which you've gone. (Pulls out a thick brown envelope and lays it on the table) Don't think that we are not appreciative.\" Trevor lets out a deep breath and takes it with a grimace.", "Trevor: \"My advice to you guys? Whatever it is you're moving in your little brown packages, (Starts to walk out) dial it down for a while.\"", "Suit guy: \"Sound advice, Mr. Lockley, thank you very much.\" The door closes behind Trevor and suit guy turns around to one big ugly demon stepping out of the shadows.", "Suit guy: \"Any instructions on how we should deal with this Angel person, sir?\"", "Demon: \"Kill him.\"", "Suit guy: \"Sure that would be wise, Sir? Lockley appears to be growing uncomfortable with our arrangement as it is. Sudden death of this private investigator could turn him...\"", "Demon: \"Kill Lockley, too. (Turns to go) God, do I have to think of everything around here? Someone give me an adrenal gland!\"", "Cut to Angel's funeral in 1753. Angel's mom and sister are crying while his dad stands looking straight ahead.", "Priest: \"Taken too soon from the bosom of his family, a man of just 20 years and 6, Liam was well-loved by everyone he met. (?) Receive this your humble servant. We pray that you may take his eternal soul into your care, Father.\"", "Cut to the grave being filled in. The only mourner still standing beside the grave is his father, still staring straight ahead.", "Cut to the grave stone. 1727 - 1753 Beloved Son.", "Cut to Darla walking up to Angel's fresh grave that night. A hand breaks through the earth, Angel slowly claws his way out as Darla waits with a smile. (Really nice background music) Darla helps Angel to his feet: \"Welcome to my world. It hurts, I know, but not for long. Birth is always painful.\"", "Angel breathing hard: \"I could feel them - above me - as I slept in the earth. - Their heartbeats - their blood - coursing - through their veins.\"", "Darla smiles: \"Yes.\"", "Angel: \"Was it a dream?\"", "Darla: \"A dream for you. Soon - their nightmare.\" Groundskeeper comes up holding a lantern.", "Groundskeeper: \"You there! (Sees the disturbed grave) What have you done? - Grave robbers!\" Angel slowly walks towards him, looks back at Darla who nods at him.", "Darla: \"You know what to do.\" Angel turns back and morphs into vamp face.", "Groundskeeper: \"Our Father, who art in heaven hallowed be thy name, thy kingdom come, thy will be done, give us this day our daily...\" Screams as Angel bites him. After a moment Angel breaks off to look at Darla again, then finishes draining the guy and drops him. He takes a couple deep breaths then turns back to Darla in human face.", "Darla: \"It all makes sense now, doesn't it?\"", "Angel: \"Perfect sense.\"", "Darla: \"You can do anything, have anyone in the village. Who will it be?\"", "Angel: \"Any one? (Darla nods) I thought I'd take the village.\"", "Cut to Cordy putting in the security code.", "Cordy: \"0-5-2-2 -there, see?\"", "Wesley reading from flyer: \"Right. So now we should be protected by state of the art home and workplace security designed to attractively complement any room, home or office, tm.\"", "Cordy: \"Exactly! Which means no lurky minions form hell get in here without us knowing about it first.\"", "Angel steps in: \"Sun'll be down soon. I'm going to head out to this exotic car warehouse. See what I can find out.\"", "Wesley: \"You'll want backup.\"", "Angel: \"No, not this time. This is strictly recon. I need to know exactly what we're dealing with before we make any moves.\"", "Wesley: \"Right you are. A deliberate cautious approach would be the most sensible plan. Fools rush in...\"", "Cordy: \"No, he wants you to stay here.\"", "Kate walks in: \"Hi.\" Cordy takes the flyer away from Wesley: \"Give me that!\"", "Kate: \"Am I interrupting anything?\"", "Angel: \"No. It's alright. Come on in.\"", "Cut to Angel and Kate in his office. Kate hands Angel a sheet of paper: \"Here.\"", "Angel takes it: \"What's this?\"", "Kate: \"The list of those names you asked for - passengers on the train?\" Angel sits down on the edge of his desk and unfold the paper to look at the names.", "Angel: \"Right. - Thank you. (Folds the paper back up) What made you change your mind?\"", "Kate: \"Something my father said, actually.\"", "Angel: \"Your father?\"", "Kate: \"Yeah, he asked if you were good.\"", "Angel: \"Good?\"", "Kate: \"At what you do. I said you were.\"", "Angel: \"Thanks.\"", "Kate: \"No matter how uncomfortable I am with certain - circumstances - I can't let myself ignore your instincts. If you think there is something more going on here then there probably is.\"", "Angel: \"I appreciate that.\"", "Kate: \"And I'd like to be involved.\"", "Angel: \"What?\"", "Kate: \"With the case. You find something, you bring me in, okay?\"", "Angel: \"Are you - are you sure about that?\"", "Kate: \"Got to face those demons sometime, right?\"", "Angel: \"Right.\"", "Cut to later. Angel is getting ready to leave searching the whole office for something.", "Wesley: \"Isn't this going above and beyond the call of duty - and friendship for that matter?\"", "Angel: \"I have to at least try, Wesley.\"", "Wesley: \"Angel, I understand, you want to protect detective Lockley from learning about her fathers questionable associations, but you've already warned him once, and frankly even that may have been too much!\"", "Angel: \"Look I already warned him about me, Wesley. But now he needs to understand the real nature of what he's working for.\"", "Wesley: \"If he doesn't already know.\" Angel starts searching through Cordy's desk: \"He doesn't know. He can't!\"", "Wesley: \"Perhaps. Still. At the very least he must realize that he is in league with someone who if not criminal is most certainly unethical. It's his choice!\"", "Angel: \"Yeah, I know all about it, Wesley, believe me. But sometimes the price we end up paying for one bad choice isn't commensurate with the offence.\" Cordy holds out the car keys to Angel: \"You go talk some sense into him then.\"", "Angel: \"Thank you.\" Angel leaves for the garage while Cordy arms the security system.", "Wesley: \"I hope he knows what he's doing.\"", "Cordy: \"Have a little Faith, Wesley.\" A Kwai demon burst in through the door.", "Security system: \"Door is open.\"", "Cordy: \"Yeah. Thanks.\" The Kwai heads for Cordy, but Wesley tackles it.", "Alarm: \"Bathroom window is ajar.\" A second demon comes out of the bathroom as the first one pushes Wesley down and Cordy breaks a vase over its head. The second demon grabs Wesley as he gets back up, but he flips it over his back to the ground. Cordy throws some books at the first one then topples the bookcase on it. Wesley and the second Kwai wrestle on the floor, while the first one throws Cordy against the wall.", "Angel: \"Hey! (Holds the bottle Wesley found with the first demon up) Bet you would like some of this.\" The Kwai demons leave off the others. Angel throws the bottle into his office and the Kwai dive after it. Angel grabs one and throws it out through the window.", "Alarm: \"Window is open.\" Angel slams the other Kwai down on his desk", "Cordy: \"I'm unplugging it!\"", "Angel to Kwai: \"All right. I know you can, so talk!\"", "Cut to Angel walking out to his car.", "Angel to cell phone: \"Kate, it's Angel. Pick up if you're there. If you get this message, get your father. Get him out of his house. He's in danger.\"", "Cut to Trevor opening the door to the suit guys from the auto place.", "Suit guy: \"Mr. Lockley. May we come in?\"", "Trevor: \"What do you want?\"", "Suit guy: \"It'd be better if we discussed it inside. It concerns your daughter.\"", "Cut to Angel getting in the car.", "Angel to phone: \"He doesn't know what they are, Kate. He won't understand. I'm on my way there now.\"", "Cut to Angel's father nailing up his window from the inside.", "Angel: \"You're no different from the rest of them, - are you, father? (His father spins around and stares at him) Cowering in their houses - boarding up the windows - smearing that foul herb in the doorways. You'd think something evil - and vile - and monstrous - had taken to terrorizing this village -and everyone in it.\"", "Dad: \"Be gone, unclean thing! A demon can not enter a home where it's not welcome. He must be invited!\"", "Angel: \"That's true. - But I was invited.\" Angel looks to the doorway. His father turns and sees little Kathy slumped against the wall.", "Dad: \"Och!\"", "Angel: \"She thought I returned to her - an angel.\" Dad spins around and charges Angel with the hammer in his hand.", "Dad: \"Murderer!\" Angel easily pushes the attack aside, making his dad fall to the ground.", "Angel: \"Strange. - Somehow you seemed taller when I was alive.\" Dad flattens himself up against the wall: \"Lord, bind this demon now.\"", "Angel: \"To think I ever let such a tiny, trembling thing make me feel the way you did.\"", "Dad crosses himself: \"I pray ye, give me your protection, Father.\"", "Angel: \"You told me I wasn't a man. (Slowly stalks closer to his dad) You told me I was nothing. - and I believed you. You said I'd never amount to anything. (His dad stares at him with wide-open eyes) Well, you were wrong. (Angel morphs into vamp face) You see, father? - I have made something out of myself after all.\" Angel puts a hand over his father's face and bites him. They slowly slide down the wall and out of the picture.", "Cut to Trevor's apartment.", "Trevor: \"You boys like a drink?\"", "Suit guy: \"We'll wait.\"", "Trevor: \"Okay. So. You said this was about Katie.\"", "Suit guy: \"Yes. Just a question, actually. You haven't by any chance mentioned to her, even casually, your association with us, have you?\"", "Trevor pouring himself a drink: \"She doesn't know a thing. - Why?\"", "Suit guy: \"Well, we were concerned, had you confided in her that she might not share your - pragmatism - given her position and youth.\"", "Trevor: \"You mean you were afraid she wasn't crooked like her old man. She's not! And she'll never have to be, I've seen to it!\"", "Suit guy: \"Ahh, providing for her future of course, very noble. Glad we could help with that.\" Trevor takes the bottle back to the shelf: \"Yeah. - I'll be sure and thank you (He opens a door to reveal more bottles and a handgun) when I pick up my father of the year award. Anything else?\"", "Suit guy walks towards Trevor: \"Just one more thing.\" They are interrupted by a knock on the door. Trevor leaves the gun and goes to open the door.", "Angel: \"Mr. Lockley, I need you to invite me in.\"", "Trevor quietly: \"What? Get out of here.\" Angel sees the suit guys behind him tries to walk in but can't.", "Angel: \"Invite me in. Do it now.\"", "Trevor: \"Son, you really need to go.\"", "Angel strains against the barrier: \"Invite me in. (The two suit guys morph into vamp face) Invite me in! (One of them grabs Trevor and throws him across the room) No. No!\"", "Suit guy to Angel: \"Looks like you're not welcome here, bro.\"", "Angel: \"He dies, the very instant his soul leaves his body, I'm through this door and I'll kill you both!\" Angel has to watch helplessly as they drain Kate's father. They drop him and Angel charges in, kicks a chair to break off a leg, hits the bigger vamp and stakes it. The other vamp runs out of the room, almost colliding with Kate as she runs in. Kate falls on top of her dad: \"Oh! Daddy! No, dad.\" She sees the bite marks on his neck and breaks down crying.", "Angel: \"Kate - he invited them in. He didn't know.\"", "Kate crying: \"But you did. You knew!\"", "Angel: \"I wanted to save him. He - he wouldn't' let me. - Look, he was involved in something, Kate, in something he couldn't have understood.\"", "Kate: \"Get out. Get out! Get out! Get out. Get out. Get out. (Angel slowly back towards the door) Please, get out. Please, get out.\"", "Cut to Angel arming himself to the teeth. Throwing star, knife at his waist, knife at his ankle, arm sheath stakes.", "Wesley: \"What happened to calmly, cautiously, and deliberately investigating before rushing in?\"", "Angel: \"That was plan A. We've since moved on to plan B.\"", "Wesley: \"And plan B is?\" Angel turns around twirling a big fighting ax in his hand: \"Do I really have to explain it to you, Wesley?\"", "Wesley: \"No.\"", "Cut to Kate huddled against the wall beside her father's body. She spots a manila envelope with a bunch of hundreds in it laying open on the floor and crawls over to it. She finds a business card from Kel's Exotic Auto.", "Cut to three suited guys gathered around another guy sitting behind a desk at Exotic Auto. Kate walks in and shoots three of them.", "Kate: \"My father may not have known what you are, but I do. I know.\"", "Suit guy: \"Do you?\"", "Kate: \"Oh, yeah.\"", "Suit guy walks towards her: \"I see.\" Kate shoots him in the shoulder and he growls.", "Kate: \"I know it won't kill you. (Pulls a stake out of her back pocket and stakes him) But this will. (He bursts into dust) I told you I knew.\"", "Head demon walks in: \"What do you think you know? Do you know what walks this city?\" Kate shoots him four times in the chest and he barely even jerks. There are vamps closing in behind her.", "Demon: \"You have no comprehension! You do not understand what stand sbefore you!\" Angel walks in behind Kate twirling his ax: \"A big, ugly drug-running demon, who thinks he is a lot scarier than he is, maybe? (Everyone looks at him) Yeah. She knows.\" Kate and Angel start fighting the vampires while the big demon just watches. Kate goes down beneath a vamp, but Angel reclaims his axe from another vamp, pulls the vamp off Kate and pushes the blade of his ax up against the big demon's throat.", "Angel: \"We walk out of here now, you don't lose your head.\" Big demon grunts and motions for the other vamps to back off.", "Angel to Kate: \"Lets go.\" The big demon takes a step after them. One of the vamps grabs Kate, but she throws him over her hip and stakes him. Angel throws his ax straight up into the air and stakes the tow vamps on either side of him with his spring loaded wrist sheathes, then calmly catches the ax as it comes back down (very cool move!).", "Demon to Angel: \"You're dead!\"", "Angel: \"I'm already dead. (Swings around and beheads the demon) Welcome to the club.\" Angel slowly walks over to where Kate is still crouched over the place she dusted that vamp.", "Angel: \"You okay? (Kate is trying not to cry) - Never trust and evil evil thing. - Kate, I know that what happened with your father..\" Kate spins to look at him: \"My father was human (Gets up) and you don't know anything about that.\" She walks past him without another word and he watches her go.", "Darla: \"This contest is ended, is it?\" Angel has his feet up on the table playing with his father's pipe. His family lies dead around him.", "Angel: \"Now I've won.\"", "Darla: \"You're sure?\" Angel puts his feet down and picks up a mug of ale: \"Of course. I proved who had the power here.\"", "Darla: \"You think?\"", "Angel: \"What?\"", "Darla: \"You're victory over him took but moments.\" Angel looks over at the body of his father and gets up: \"Yes?\"", "Darla: \"But his defeat of you will last life times.\"", "Angel: \"What are you talking about? He can't defeat me now.\"", "Darla: \"Nor can he ever approve of you - in this world or any other. - What we once were informs all that we have become. (Angel looks at his father's body) The same love will infect our hearts - even if they no longer beat. (Angel looks at his mother's and his sister's body) Simple death won't change that.\"", "Angel: \"Love? - Is this the work of love?\" Darla steps closer and smiles up at him: \"Darling boy. - So young. Still so very young.\"", "(Again beautiful score music through this whole scene)", "Cut to Kate standing in the sun in front of her dad's grave marker. She puts some flowers on his grave then walks away while Angel watches her from the shadows of some crypt a ways away.", "Cut to the grave marker: Trevor Lockley born 1938 at rest 2000 Beloved Father." ]

[ "When an investigation goes wrong, Angel finds himself kidnapped by a demon fight club. He's trapped there, forced to fight other demons as part of a gladiator show. Cordy and Wes search for him, desperate to rescue Angel before it's too late. Meanwhile, Angel meets another Wolfram and Hart lawyer, Lilah Morgan. She promises to get Angel out of the club if he agrees to come over to Wolfram and Hart's side." ]

[ "Cordelia is sitting in front of her computer at Angel Investigations checking out a new computer program.", "Cordy: \"Demons, Demons, Demons. Wow! They put a lot of thought into *that* title.\"", "Wesley: \"It's a demon database. What would you call it?\"", "Cordy: \"I don't know. How about - Demon Database?\"", "Wesley: \"Ahh! A name rife with single entendre.\"", "Cordy: \"Why isn't Wolfram&Hart in here?\"", "Wesley: \"Because they are lawyers, not demons?\"", "Cordy: \"Fine line, if you ask me. Yeesh. They have a lot of entries! Did you know that there is a dozen species indigenous to LA County alone?\"", "Wesley: \"Do they have the Vigories of Oden Tal?\"", "Cordy: \"Nope.\"", "Wesley: \"Hmm. (Picks up a book) So - there is still a place in this world for traditional research.\"", "Cordy: \"There are some ugly critters in here. Someone ought to create an intra-demon dating base. You know, like archfiend.org, where the lonely and the slimy connect. (Wesley looks at her) I was just joking Mr. Grouchy Pants. When was the last time you had a dating base?\"", "Wesley: \"For your information - I lead a rich and varied social life.\"", "Cordy: \"Oh, I know. Every night it's Jeopardy, followed by Wheel of Fortune and a cup of hot cocoa. Look out girls, this one can't be tamed!\"", "Wesley: \"I'll admit it may not be as intoxicating as a life erected on high fashion pumps and a push-up bra.\"", "Cordy gets up: \"Hey, if anyone is wearing a push-up bra around here it's (Sees Angel coming in) - Angel.\"", "Angel: \"Did you two need to see a counselor?\"", "Cordy with a smile: \"No, I'm way too single entendre - to benefit from therapy!\"", "Wesley: \"I don't know why you take everything so personally.\"", "Cordy: \"Me? Oh this is rich coming from Mr. 'Don't talk to me until I've had my *flagon* of oat-bran' in the morning.\" Door opens a guy with a beat-up face in a suit walks in.", "Angel: \"Children, we have company.\"", "Darin: \"Is one of you Angel?\"", "Angel: \"I'm Angel.\"", "Darin: \"I'm Darin Macnamara, I uh, - checked around. You have a reputation for handling unusual problems.\"", "Wesley: \"A richly deserved reputation.\" Darin sways and Angel and Wesley run up and catch him before he collapses.", "Angel: \"Hey, are you all right?\" They help Darin over to the couch.", "Darin: \"Yeah, I think I'm going to pass out. I'm-I'm sorry it's just that - my brother - Jack. He-he was kidnapped last night. (He offers Angel a small white jewelry box) I found this in my mailbox today.\" Angel opens the box to reveal a severed finger.", "Angel: \"Do you know the people who did this?\"", "Darin: \"Well, that's why I came to you. - They weren't people.\" Intro Angel is looking at some photographs of a blond guy.", "Darin: \"That's my brother Jack. - My brother and I haven't been exactly - close - since we grew up. I made something of my life and Jack - didn't. (Cordy hand him a drink) Thanks. I don't know what they want. There was no calls, no note, just...\"", "Angel: \"But you were there when he was taken.\"", "Darin: \"Jack called me last night, asked me to come over. - He's got a gambling problem. He said he was in over his head with one of his bookies.\"", "Cordy: \"Do you know which one?\"", "Darin: \"Ernie Nellins. He works at a Sports Bar in Silverlake called Shots. I paid this Nellins before. I told Jack this time to go to hell. I wanted him to suffer the consequences of his actions. - I didn't know something like this was gonna happen.\"", "Wesley: \"You couldn't. It's not your fault.\"", "Darin: \"I felt guilty. So I went over there and there were these - I don't know - creatures. They were dragging him away. I-I tried to stop them, but...\"", "Angel: \"And you haven't heard from anyone?\"", "Darin: \"No. I'll pay anything to get him back. He's family. He's my little brother.\"", "Angel: \"Look, my colleagues will - start looking into whoever or whatever kidnapped your brother and uhm, (Hands him a pad and paper) in the meantime write down everything you saw.\"", "Darin: \"Okay. Thank you! What about the bookie?\"", "Angel: \"I thought we could have a little chat.\"", "Cut to a bunch of guys playing poker. A guy is setting down drinks in Styrofoam containers.", "Bookie: \"This is wheat-grass. I ordered the kiwi cooler.\"", "Guy: \"Give me that.\"", "Bookie: \"How do you drink this swill! (Lays down two cards) Give me two.\"", "Angel walks in: \"Mind if I play, Ernie?\"", "Bookie: \"Game's invitation only, pal.\"", "Angel: \"Then invite me. It's been a while since I've played so I might be a little rusty on the rules (Pulls out the photographs of Jack and drops them on the table) but I think my Jacks - beat your pair. (Bookie pulls out a gun and Angel grabs his hand and casually gets the gun away form him) No, I'm not looking for a fight - just for him.\" Bookie gets up and walks out. Angel picks up the pictures and follows him.", "Cut to the alley outside.", "Angel: \"You should try that wheat-grass. It's good for the digestion.\"", "Bookie: \"Who the hell are you?\"", "Angel: \"Friend of Jack's.\"", "Bookie: \"Jack doesn't have any friends - just people he doesn't owe.\"", "Angel: \"His brother will make good on all his debts.\"", "Bookie: \"Ooh, out of my hands hot-shot. It's not about the money anymore. It's about making Jack an example.\"", "Angel: \"Piece by piece?\"", "Bookie: \"Makes an impression on the newcomers.\"", "Angel: \"Where is he, Ernie?\"", "Bookie: \"He didn't tell me. I didn't ask.\"", "Angel: \"Which doesn't mean you don't know.\"", "Bookie: \"Yep.\" He puts a cigarette in his mouth. Angel seems to be lighting a match for him but when the guy bends down he sees the Angel is actually holding up a folded hundred-dollar bill shielded by his hand instead of a match. The bookie glances up at Angel, then both ways down the deserted alley. He touches his cigarette to the bill and palms it with his other hand.", "Bookie: \"There is a place - in Beechwood Canyon. - Well, not exactly in Beechwood Canyon - under it actually.\"", "Cordy at her computer: \"Okay, I'm in. What did Darin write down about the demon that took his brother?\"", "Wesley reads: \"Bald - ultra white skin - slime.\"", "Cordy: \"There is always slime. This is why I don't gamble. You make a small wager one day, a bigger one the next, and before you know it - Beetlejuicy albino comes a knocking! Claws or hands?\"", "Wesley: \"He wrote claw-like hands.\"", "Cordy: \"Could be a mixed breed. Smell?\"", "Wesley: \"Sulfuric.\"", "Cordy: \"Add a Porsche and hair-plugs and I've dated this guy - a lot. Other distinguishing characteristics?\"", "Wesley: \"An eerie high-pitched howl or wail. I'm assuming that's when it's preparing to fight or mate.\"", "Cordy: \"Okay, first I say 'yuck' and then I hit search.\"", "Wesley: \"You know, by the time you get done entering all this in your fancy-shmancy database (picks up a book) I could have located it just...\"", "Cordy: \"Got it.\"", "Wesley looks at the screen: \"A Howler demon.\"", "Cut to Angel climbing down a ladder into a sewer. He shines his flashlight on some bloody human parts floating in some opaque goo in a square hole in the floor. Two Howler demons attack him, shrieking as they go. After a bit of a fight, Angel knows one of them out with his flashlight, then presses the other one up against the wall.", "Angel: \"Where is Jack Macnamara?\"", "Howler: \"Not here.\"", "Angel: \"Where is he?!\"", "Howler: \"We sold him.\"", "Angel: \"Okay. Who did we sell him to?\" A sports convertible pulls up in a rundown neighborhood. Angel sees couples in fancy dress lined up to have their tickets checked to get into one of the buildings.", "Bouncer: \"Next please? Tickets? Name?\" Angel sees a barred basement window. He tests the strength of the bars with his hands looks around, then breaks in.", "Cut to the inside of the club. A good-looking, dark-haired lady picks up her drink from the bar and pushes her ticket laying next to it over the edge. Angel catches it.", "Lady: \"You're quick.\" Angel looks at the ticket. It says Amount $5000 to win Cribb XXI 255459. Lady pulls it out of his hand with a smile: \"Thank you.\"", "Angel: \"No problem.\" Angel walks into another room. People stand cheering around a pit in which two demons are fighting against each other. One demon manages to know the other down so it doesn't get back up.", "Crowd chanting: \"Killing blow. Killing blow.\" One of the men standing beside some doors in the pit throws the demon still standing a knife. He catches it and cuts the downed demon's throat to cheers and applause. Announcer into microphone hanging in the middle of the pit: \"Winner, Ladies and Gentlemen, Tom Cribb, official time 6 minutes 22 seconds. (Fight pays out 2 5 ?) If you are keeping track that was Cribb's seventh career kill. Our next contest features one of the more popular fighter's we've had the pleasure of presenting, a rare find. Hailing from the barren wastelands of (Treshok ?) (Doors in the pit open and a new demon walks in) A true champion that has it all: skill, speed and strength! Let's give it up for the menace of (Venice?) the titan of terror, the (?) of agony, the one, the only - Val Trepkos!\" Angel sees a blond guy being lead through the crowd by some guys and matches him up to the pictures of Jack. He follows them down a corridor.", "Jack: \"You made it. (A blinding light comes on and Angel flinches and puts up a hand to shield his eyes) Most don't.\"", "Darin: \"Careful with this one, Jack. You should have seen what he did to the Howlers. Ouch!\"", "Angel: \"You set me up.\"", "Darin: \"It was a group effort.", "Jack: \"Open up. Let's get a look at those teeth. Teeth tell a lot about the bones.\" Jack tries to grab Angel's face. Angel takes a hold of his wrist and throws him into another guy behind him. Some more guys stick Angel with a bunch of heavy-duty cattle prods until he falls down unconscious.", "Darin: \"I told you to be careful, Jack.\"", "Jack picking himself back up: \"So, this one's got some attitude. That's good. He'll be a crowd pleaser.\" Camera pans down a brick building and sinks down through the street to show some demons in metal cages. There is a thick red line marking off an area of the free space in front of the cages. Angel wakes up and notices that there is a thick silver bracelet around his left wrist bearing a XXI. Angel to the demon sharing his cage: \"I asked for a room with a view. (The demon just looks at him) I'm guessing English is not your native tongue. Hablo Espanol? (Tries again in Russian, then Italian with no success) Yeah, we'll have so much to talk about during those long winter nights.\"", "Jack walks in: \"Listen up, slaves. There is only one rule here (Hits a button and the cell doors slide open) and it's real simple, so you demons can remember it. (Angel walks towards Jack) Tsk, tsk. (Points down at the thick red line) Stay inside the red. That wristband will make sure you do. I know what you're thinking. You want to tear my throat out. - But you won't. Because there is only one way out of here: When that band comes off. And the only way that band comes off, is after your 21st kill.\"", "Angel: \"I'm not killing anyone.\"", "Jack: \"Then you'll be killed. Either way, fan's will get their money's worth.\"", "Wesley to phone: \"Well, please let us know if you hear from him. Thank you.\" Cordy playing nervously with her necklace: \"Cop-lady hasn't talked to him?\"", "Wesley: \"No, and she seemed like she didn't much *care* either.\"", "Cordy: \"We should put out a missing persons.\"", "Wesley gets up: \"He's only been gone one night.\"", "Cordy: \"One *long* night, during which he was supposed to check in with us and didn't. And - he's not someone who tans well.\"", "Wesley: \"He's probably just holed up in a tunnel somewhere, waiting for nightfall.\"", "Cordy: \"Maybe. - Still something is *very* wrong. Our client, who should be waiting by the phone, is nowhere to be found!\"", "Wesley puts on his jacket: \"Right. Keep trying to track him down.\"", "Cordy: \"What are you going to do?\"", "Wesley: \"Follow in Angel's footsteps.\"", "Cordy: \"You're going to the bookie?\"", "Wesley: \"That's the last place we know Angel went.\"", "Cordy: \"The bookie who may get his jollies cutting off people's extremities?\"", "Wesley opens a drawer: \"That's why I'm taking this. (He pulls out a tangle of weapons, scattering them across the floor) Along with a few other things.\"", "Cut to the demon barracks. A guard is dishing out a brown slop and sliding the bowls and a piece of bread on trays across the red line on the floor. The demons are sitting around the table eating. Angel sits down. He doesn't have a bowl.", "Angel: \"Looks like good gruel.\"", "Lizard demon: \"Who the hell are you?\"", "Angel: \"I'm Angel.\"", "Lizard: \"What you are, is a soon to be dead slave. - Shut up!\" The demon across from the Lizard is about to take a bite out of his piece of bread when the Lizards tongue shoots out and snags it.", "Malish: \"Cribb, that's mine.\" Cribb takes the other demon's bowl of gruel: \"And now it's mine.\"", "Angel without looking at Cribb: \"Give it back to him.\"", "Cribb: \"You open your mouth again, I'll close it for good.\" Cribb lifts the bowl to his mouth.", "Angel: \"I wouldn't do that if I were you.\" Cribb puts the bowl down and gets up to lean across the table: \"Angel, guess how many vampires I've killed.\" Angel looks up at Cribb. A couple guards come closer, charging up their cattle prods. Angel reaches over and slides the bowl back in front of Malish.", "Cribb to Angel: \"Catch you later.\" Later the demon with the bowl walks up to Angel.", "Malish: \"Why did you do that?\"", "Angel: \"You're welcome.\"", "Malish: \"I can fight my own battles. I got two wins already.\"", "Angel: \"So all you need is what? Another 19 and you're out of here?\"", "Malish: \"Yeah, that's right. You think I can't cut it? You want a piece of me?\"", "Angel: \"No. Not really.\"", "Malish: \"What's wrong with you? Don't be rocking the boat. This is life and death in here.\"", "Jack: \"Alright, girls, listen up. Here is tonight's card. Vlasovik, you're fighting Baker.\"", "Darin: \"Trepkos, you're the main event. It'll go against Malish.\" Malish drops his bowl.", "Cribb: \"That's not a match-up, that's an execution.\"", "Jack: \"Shut your trap, slave. No one's talking to you.\"", "Darin whispers to Jack: \"After he kills Malish we'll put him up against Kafka for Saturday's fight.\"", "Malish to Trepkos: \"I'm walking out of there tonight. (Trepkos gets up and looks at him) You better know that.\" Suddenly one of the demons launches himself across the room. Angel charges to intercept him crying \"No! Don't!\" But the demon flies across the red line and disintegrates. Jack looks down as the bracelet falls to the ground.", "Jack: \"Damn it! We paid good money for that one.\"", "Darin picks up the bracelet: \"It's alright. It's an object lesson for the others. We'll have to find a replacement for his bout.\"", "Jack looking at Angel: \"How about Captain America here?\"", "Cut to Ernie the bookie beating up a guy being held by to others. He dips his fist into a bowl of ice held by a third guy.", "Bookie: \"Ice. Helps keep the swelling down. You got a hard head there, boy.\" Wesley as Ernie gets ready to punch the guy again: \"Stop that.\" Ernie turns around with a laugh: \"Who's this?\"", "Wesley: \"I'm Wesley Wyndham-Pryce. And I'm looking for my employer. He came here to question you about Jack Macnamara.\"", "Ernie: \"Maybe you didn't notice. I'm kind of busy here.\"", "Wesley: \"Where is he?\"", "Ernie: \"Your boss - gave me 200 Dollars to answer his questions. I'm a businessman. Make an offer.\"", "Wesley: \"You should understand, the man I work for means a great deal to me. And I will not give you a single red cent. What I will do, Sir, is beat it out of you if I have to.\" The guys in the room break out into laughter.", "Ernie: \"You're from another country, right? (Wesley pulls a crossbow from behind his back) What are you, Robin Hood?\" Ernie pulls out a gun, put Wesley shoots the gun out of his hand, the metal dart pinning Ernie's hand to the wall. The gun slides across the floor and Wesley picks it up and aims it at the rest of the men as they are going for their guns.", "Wesley: \"Please drop those.\" The guys drop their guns, and Wesley puts down the crossbow, keeping the gun trained on the three goons. Wesley to the guy that was getting beat up: \"You can go now.\" They man runs out and Wesley, keeping the three goons covered, goes and starts to twiddle the dart stuck in Ernie's hand. Ernie moans in pain.", "Wesley: \"And where is my employer?\"", "Cut to the announcer in the pit: \"Ladies and Gentlemen the Macnamara brothers welcome you to another night of high stakes, high voltage entertainment.\" The dark-haired Lady from the bar is talking to Darin.", "Lady: \"I heard something interesting.\"", "Darin: \"What's that?\"", "Lady: \"I heard the vampire has a soul.\"", "Darin: \"Well, I wouldn't know about that.\"", "Lady: \"When he's fighting, do you think that would be a plus - or a minus?\" Darin playing with one of the bracelets: \"Probably depends on what he's fighting for.\"", "Lady: \"Does that mean you'll give me odds on him to win?\"", "Darin: \"It means I'll give you even money.\"", "Lady: \"I'll take that bet.\" Darin laughs and walks away.", "[SCENE_BREAK]", "Cut to Angel leaning against a wall, brooding, as the other demons warm up.", "Malish to Angel: \"You shouldn't go out there cold. Look, you did me one. Baker's fast, but his left eye got messed up two fights ago. Stay on his left. Tie him up, you can drive his head right into the wall. You can get the kill.\"", "Angel: \"I'm not going to kill anyone.\"", "Malish: \"You on drugs? It's not like you have a choice.\"", "Jack walks in: \"Alright, girls, show time!\"", "Cut to Angel walking into the ring.", "Announcer: \"Baker's challenger makes his ring debut tonight. He's a highly skilled fighter with a taste for blood. Let's welcome - Angel!\" The bell rings and Baker spin-kicks Angel. Angel is thrown against the wall. He bounces back and just blocks or ducks Baker's kicks and punches without any attempt at fighting back. Cribb watching from the demon barracks: \"That vampire is not even fighting!\"", "Cut to Cordy in a fake fur coat and Wesley in a white suit walking up outside of the club. Cordy sees a couple getting out of a car: \"Those two are perfect.\"", "Wesley: \"Did you bring the badge?\"", "Cordy: \"No.\"", "Wesley: \"You said you had...\"", "Cordy to the couple: \"Sir, madam, I'm detective Andrews and this is detective Yelsew. - Show them your badge. (Wesley takes a wallet out of his inside pocket and waves it through the air without letting them get a look at it) and write down their license plate number four three niner, Peter, Charley, Edward.\"", "Man: \"What are you doing? Why are you writing down...\"", "Cordy: \"Sir, if you could just calm down and give us your name?\"", "Man: \"My name is Mathew Winslow, as in Winslow Multimedia? And I happen to be a personal friend of your boss - Chief Tyler?\"", "Cordy: \"We'll give him your best. Could I see your tickets please?\"", "Winslow hands her his tickets: \"You'll be hearing from my lawyer tonight.\"", "Cordy: \"Are you aware that you've purchased tickets to an unlicensed sporting event?\"", "Wesley: \"Answer the detective.\"", "Winslow: \"Well, if it's illegal, what are all these people doing here?\"", "Cordy: \"We're trying to do you a favor, Mr. Winslow.\"", "Wesley: \"Something is going down tonight. Something with the man.\" Cordy kicks him.", "Winslow: \"A raid?\"", "Cordy: \"We're not at liberty to say.\"", "Winslow: \"But we could just - go on home?\"", "Cordy: \"I think that would be a wise thing to do, Sir.\" Winslow mouths 'thank you' and he and his lady get back into the car. Cordy elbows Wesley as they walk off.", "Wesley: \"What?\"", "Cordy: \"You almost blew it!\"", "Wesley: \"I save it!\"", "Cordy: \"Urgh! Something is going down with the man? You idiot!\"", "Cut to Angel being pummeled by Baker.", "Cribb watching: \"Idiot! He thinks he can get out of this by pulling a Ghandi!\" The crowd is jeering and yelling for Angel to fight back, but he only block or ducks the punches. Cordy and Wesley walk in. Cordy spots Darin, who is still playing with the bracelet.", "Cordy: \"I think we found our missing client.\" They make their way closer to the pit.", "Cordy: \"Oh my God! What is this?\"", "Wesley: \"These Octavian matches date back to the Roman Empire. I'd heard rumors of a revival.\"", "Cordy: \"Couldn't they have just done Westside Story? What's with the bracelets?\"", "Wesley: \"If they cross the red line while wearing one - they disintegrate.\"", "Cordy: \"Oh.\" Darin puts the bracelet down on top of the barrier and motions to the guard standing next to him. The Guard pulls out a short knife and drops it in the pit. Baker picks it up and slices Angel across the left upper arm with it. Angel morphs into vamp face. The Crowd starts to chant: \"Killing blow. Killing blow.\" Angel fends off a couple more swipes by Baker then grabs a hold of his knife hand and twists it into Baker's own chest.", "Crowd chants: \"Angel! Angel!\" Baker drops and Angel looks down at the blood on his hand.", "Announcer: \"Official time: 7 minutes 33 seconds. This marks the first of what promises to be many more killed by the vampire! Angel!\" Wesley and Cordy look on as Angel turns and walks out through the doors.", "Cut to Malish looking up as Angel (back in human face) walks back into the barracks.", "Jack: \"Trepkos and Malish, show time!\" Angel to Trepkos as they pass each other: \"Wait. No one fights, no one dies.\"", "Cribb: \"Oh, quit moping! You're alive.\"", "Angel: \"But Baker isn't.\"", "Cribb: \"One lucky kill don't make you an expert.\"", "Angel looks over at Cribb: \"That wasn't the first life I've taken - or the 21st.\"", "Jack snaps his fingers: \"Trepkos, Malish. Lets go!\"", "Angel to Trepkos: \"Look, we can fight them, but only if we stop fighting each other.\"", "Jack: \"Now!\"", "Angel: \"I'm giving you another way out.\"", "Trepkos: \"I'll kill him quick.\" A guard hustles Malish up the ramp to the pit. Jack smiles at Angel.", "Announcer: \"And now Ladies and Gentlemen, let's give it up for one of our favorite fighters: Val Trepkos!\" Trepkos just stands there as Malish hits him in the head, then grabs Malish's arm, twists it, grabs his neck with his other hand and breaks it.", "Cut to Cordy and Wesley walking outside of the club.", "Cordy: \"We've got to call the police.\"", "Wesley: \"Ah, I don't think that's a good idea.\"", "Cordy: \"Why?\"", "Wesley: \"If by some miracle they're not already in on this, the Macnamara would destroy the evidence the moment they showed.\"", "Cordy: \"He'd kill the fighters. We've got to get Angel out of there!\"", "Wesley: \"I know. And to do that we have to get him out of those wrist-cuffs. No mean feat. They were forged by ancient sorcerers.\"", "Cordy: \"So get an ancient key!\"", "Wesley: \"I might be able to make one myself - if I could get my hands on one of those cuffs. Which isn't going to be easy (Cordy pulls a cuff out of her pocket and holds it up) unless you happened to procure one while I wasn't looking. (They smile at each other) Well done!\"", "Cordy: \"Thank you.\"", "Cut to dinner in the barracks.", "Jack: \"Well, that was the most exciting match I've ever seen. My favorite part was when you stuck Baker with the knife. (Angel gets up and walks right up to the red line. Jack is just across from it) Kind of put a damper on the brotherhood spiel. What did you expect? You're a demon, just like the rest of them. Difference is they know their place.\"", "Angel: \"Someone needs to put you in yours. You - and your brother.\"", "Jack laughs: \"Someone may - some day. But not you - and not today.\"", "Angel: \"Why put off until tomorrow what you can do today?\" Angel's left hand shoots out and grabs Jack by the throat. Energy is crackling all along Angel's left arm, but he doesn't disintegrate since the bracelet is only over but not on the other side of the red line. He pulls Jack across and holds him in front of him as a shield, one arm wrapped around his throat.", "Angel to the guard: \"Any closer and you're working for a dead man. (To Jack) I'll give you enough air to tell me how to get this off. How does it open? Is there some kind of a key? Where is the key, Jack? (To the demons) Check his pockets. Cribb, Trepkos, any of you. A little help would be nice. (None of them move) Or I can just do it myself.\"", "Jack: \"What did I tell you , huh? Now you're really alone.\"", "Angel: \"I got you. (To the guards) Get his brother! (To the demons) Look at him, huh? Is this who you are all so afraid of going up against? How does it feel, Jack? Tell them how it feels to be in here. Come on! How does it feel to be a slave? Tell them!\" Darin flanked by two guys with charged cattle prods: \"Let him go.\"", "Angel: \"As soon as you let us go.\"", "Darin: \"Who do you think you are? Moses?\"", "Angel: \"Someone you'll listen to if you want your brother back alive.\"", "Darin: \"Last chance.\"", "Angel: \"Come on Darin! We both know there is only one way to let this play out. So let's just get it done. He's your brother.\" Darin pulls a gun and shoots Jack three times. One of the bullets hits Angel in the right shoulder and he let's go of Jack.", "Darin: \"Now he's my dead brother.\" The two guards run up to Angel and stick him with the cattle prods until he is once again knocked out.", "Cut to Angel waking up in a leather chair in a nice office with the dark-haired lady from the bar watching him.", "Lady: \"How do you feel?\"", "Angel: \"Like I was hit by lightning after the truck ran me over. - I remember you.\" Lady brings him a glass of champagne: \"We didn't get a chance to meet. I'm Lilah Morgan.\"", "Angel: \"You're a fight fan. (Looks at her bookshelves) And a lawyer. Let me guess - Wolfram and Hart.\"", "Lilah: \"I'm an associate here. It took some arm-twisting, but I convinced the Macnamara to sell your contract to the partners. - I told them that keeping you around would be more trouble than it was worth. (Lifts her glass) Congratulations. You're free.\"", "Angel: \"As long as I pretend it never happened - that Macnamara and his circus don't exist. - That is the deal, isn't it?\"", "Lilah: \"It's a big city, Angel. A lot of people need your help.\"", "Angel: \"So you're really a good Samaritan and this whole pact-with-the-devil business is just an act.\"", "Lilah: \"Sometimes you have to - compromise.\"", "Angel: \"Look the other way you mean - when Wolfram and Hart are involved?\"", "Lilah: \"I prefer to think of it - as picking the battles you can win. There is not one reason why we can't work together.\" Angel gets up with a big sigh.", "Angel: \"You're right. (He takes a sip from his glass of champagne as Lilah smiles at him) There are about a thousand.\" Lilah leans in close to him: \"I saw what you did to Baker - so I know you want to survive. This is your only chance. Take it.\"", "Angel: \"Thanks for the champagne.\" The two guards stick their charged cattle prods into his face.", "Angel: \"Relax. Take me back.\"", "Cut to Wesley working on the bracelet.", "Cordy: \"You'd think people get enough gratuitous violence watching Jerry Springer.\"", "Wesley: \"Cordelia, do you mind? - I'm trying to concentrate.\"", "Cordy: \"You've been concentrating all night.\"", "Wesley: \"Yes! It's taken this long to translate the text. I need something that conducts electricity, but not too much of it. This cuff is half magic, half - medieval technology. If I read the alchemist correctly - all I need is..\" He touches a wire to the cuff. There is an explosion of sparks and Wesley is thrown backwards onto the floor. Cordy runs over to him.", "Cordy: \"Ouch! Are you okay?\"", "Wesley sitting back up: \"Perhaps - something that conducts a little less electricity.\"", "Cut to Angel walking back into the demon barracks.", "Trepkos to Cribb: \"He was free.\"", "Cribb: \"Bloodsucker is crazier than I thought.\"", "Darin to Angel: \"You think you're proving something special by coming back here? (Angel crosses the red line and holds out his left wrist. Darin locks a bracelet around it) They didn't help you before, they're not going to help you now. Every one of them knows the only way out of here is by himself. But you find that out soon enough yourself because tonight - you're going to fight Trepkos. Smart money says he's walking out the front door. You're his 21st kill.\" Darin walks out and Angel and Trepkos look at each other.", "Cut to the bracelet in the vise on Angel's table. A hand holding a pair of pliers slowly touches the stick held with them down on the bracelet. Nothing happens. Wesley's head peeks up above the edge of the table.", "Wesley: \"Too thick.\" Cordy's head peeks out from behind a pillar.", "Cordy: \"Oh. Tick-tick, Wesley!\"", "Wesley: \"I don't know what else to try. We need something supple enough to thread the locking mechanism, but strong enough to spring the release.\"", "Cordy: \"Horsehair.\"", "Wesley: \"Horsehair?\"", "Cordy fiddles with her bracelet: \"From Keanu, my palomino, before the IRS took him away.\" Wesley takes a strand of hair and puts it between the pliers: \"Horsehair.\"", "Cordy: \"Well, we tried just about everything else.\" Wesley ducks back down below the table and Cordy runs back behind her pillar. Wesley touches the horsehair to the XXI on the cuff. There is a short zap and it springs open.", "Cut to the arena. The sign says 'Grador vs Siru' and 'Angel vs Trepkos'.", "Man at betting counter: \"Next please.\"", "Lilah: \"10 000 on Trepkos.\"", "Cut to the pit.", "Announcer: \"Tonight's match features a new favorite in the ring - a vampire. Ladies and Gentlemen please welcome for the second night in a row, and still fresh from his first kill - Angel!\" Doors open and Angel walks into the ring.", "Announcer: \"His opponent is a fan favorite who needs no introduction (Angel looks up at Lilah in the stands) This marks his 21st and final fight. Let's give a special welcome to a true champion: Val Trepkos!\" Trepkos enters the ring and he and Angel confront each other.", "Angel: \"Is this how you want to pay for your freedom? With 21 bodies? You'll always be their slave - even if they take that off your wrist.\"", "Trepkos: \"I'll kill you quick.\"", "Angel: \"I won't let you.\" Trepkos steps back and they begin to fight. Angel is again just fighting defensively.", "Cribb watching from the barracks: \"Vampire is going to get his head ripped off - maybe his heart torn out. - What a loser.\" Angel, bleeding from the corner of his mouth, falls facedown to the floor, but gets back up.", "Cut to Cordy walking down a dirty hallway and up to a guard.", "Cordy: \"Can you help me? I'm a little lost. (She draws the guard away from the corridor opening he was standing in front off) I'm looking for the Ladies room. (Wesley dart out around the corner and past the guard) They said it was this way - or is - is that back up one level?\"", "Cut to Trepkos beating up on Angel.", "Cut to Cribb walking away from the window to the pit. Wesley walks up to a barred window in the fencing around the prisoner's area.", "Wesley to Cribb: \"Excuse me. Psst. Come here. Yes, you. (Cribb walks a little closer) I need to see Angel. Tall fellow - prominent brow.\"", "Cribb: \"Yeah, he's dead.\"", "Wesley: \"Dead.\"", "Cribb: \"In about 20 seconds he will be. He's fighting Trepkos. And who the hell are you?\"", "Wesley: \"Uh, I'm a friend. Perhaps we can help each other. I have a key.\"", "Cribb: \"A key?\" Wesley holds up a stick with a piece of horsehair mounted to the end.", "Wesley: \"This unlocks the cuffs. Help me save Angel and I'll get you out. All of you. If we band together..\" Cribb's tongue shoots out and rips the stick out of Wesley's hand.", "Wesley: \"What are you - give that back! - Hey!\"", "Cut to Angel and Trepkos fighting.", "Darin to a guard: \"Alright. Let's make it more interesting.\" The guard drops two pointed wooden staffs into the pit. Trepkos catches one out of the air, the other drops to the ground. As he charges Angel with it Angel vaults out of the way, picking up the other stick as he rolls back to his feet and the fight continues. (Nice moves here.) The crowd is getting excited and we see Wesley walk into the area above the pit, looking for Cordy.", "Cordy: \"Wesley, what happened?\"", "Wesley: \"One of them took my key.\"", "Cordy: \"Angel can't last much longer. We have to do something now.\"", "Wesley spots Darin: \"We will.\" Angel has lost his staff and Trepkos has him in a bind. Angel manages to throw Trepkos against the wall, but Trepkos bounces back, stabbing Angel through the gut with his staff. Angel hits the staff breaking it in two (one half still stuck through his side) catches Trepkos wrist as he tries to hit Angel with the remaining piece and kicks his feet out from under Trepkos. Trepkos lands hard on his back. Angel pulls out the piece stuck in his side and presses the pointy end against Trepkos' throat.", "Cut to Cribb unlocking his cuff. He hears the crowd chanting Angel's name and goes to look. Sees Angel getting off Trepkos, throw the stick away and walks off as the crowd boos. Trepkos gets back up and kicks Angel in the back. The crowd chants \"Killing blow. Killing blow.\" As Trepkos beats up on Angel, who's not even trying to block any of the blows any more. Wesley pulls Cordy over towards Darin. Trepkos pulls back his fist to hit Angel again (who's in pretty bad shape by now) and they stare at each other. The crowd keeps chanting \"Killing blow. Killing blow.\" Trepkos lowers his fist and stares up into the stands. The crowd falls quiet. Trepkos looks back at Angel then turns away and Angel collapses to the ground. Trepkos scans the crowd. Darin to the guard in the pit: \"Both of them.\" The guards raise their cattle prods. Wesley holding a gun on Darin: \"Call them off.\" Some of the spectators start to leave as Wesley cocks his gun.", "Darin: \"Screw you.\" The doors to the pit burst open and Cribb and the other demons storm the arena. Darin grabs Wesley's gun hand as he is distracted and the tow of them start to struggle. The demons are beating up the guards as the crowd runs for the exits. Cribb bends over Angel with the key: \"Give me your wrist. (Unlocks the cuff) Loser.\" Lilah is one of the last to leave. The demons have killed all the guards and most of them run back out through the doors in the pit. Darin manages to get the gun away from Wesley and push him down. As he aims to shoot him Cordy pushes him over the railing into the pit with a metal stand. Cribb is supporting Angel. Darin points the gun at Trepkos.", "Darin: \"You stupid slave. You had your 21! But you had to go and ruin it for everybody else.\" Trepkos pivots so Darin's back is to Angel and Cribb. Angel pulls Darin's hand down as he shoots, and Cribb locks a cuff around Darin's left wrist.", "Cribb throws Darin at Trepkos: \"Trepkos, - catch.\" Trepkos throws Darin up into the stands and he disintegrates as he passes the red line around the pit. The bracelet lands on the floor between Cordy and Wesley, who are the only one's left up there. Cribb unlocks Trepkos cuff. Angel's knees give as he tries to walk out and Trepkos catches him.", "Trepkos: \"Easy.\"", "Angel: \"Thanks. Thanks.\"", "Trepkos: \"It was a good fight.\"", "Angel: \"Yeah.\" The three of them walk out. Angel sways, and Trepkos catches him again before he falls.", "Angel: \"I could have taken you.\"", "Cut to Wesley and Cordy supporting Angel between them as they walk out of the club.", "Cordy: \"Angel you don't look so - well, it's a good thing that you heal fast.\"", "Angel: \"Yeah. It's also a good thing you found me in time.\"", "Cordy: \"We weren't going to let anything happen to you.\"", "Wesley: \"No.\"", "Cordy: \"Well, I mean, beyond the slavery and the severe beatings and stuff. Wesley came up with the key!\"", "Wesley: \"But Cordelia came up with the key to the key! In a clinch moment.\"", "Angel: \"You both did great. And - I think we did a - good thing here tonight.\" Wesley looking after the departing demons: \"Yes. We set the captives free.\"", "Cordy: \"Well, actually, didn't we set - a bunch of - demons free?\"", "Wesley: \"Oh. Well. Technically - yes.\"" ]

[ "When Rebecca, a Hollywood star, is stalked by an obsessed fan, Angel steps in to protect her. Cordy is thrilled to meet a famous actress and even Angel likes Rebecca. She accepts that he's a vampire and really seems interested in getting to know him better. But, it soon becomes clear that the case is more complicated than it seems and Rebecca has a dangerous plan of her own." ]

[ "Close-ups of Angel's and Wesley's faces.", "Angel: \"Maybe we can make a break for it.\"", "Wesley: \"Impossible.\"", "Angel: \"Front exit?\"", "Wesley: \"We'd be spotted instantly.\"", "Angel: \"Back door?\"", "Wesley: \"Blocked.\"", "Angel: \"That's it then - we're trapped.\"", "Wesley: \"We might try shouting 'fire.' (Camera pulls back to reveal that they are sitting in an almost empty theater) Not technically a crowed theater.\"", "Cut to Cordy on stage, wearing an old-fashioned dress.", "Cordy: \"One day, I might, yes, many years from now - when I've lost my looks a little. Do not laugh.\"", "Wesley looking at his watch: \"Only another hour.\"", "Cordy: \"I mean, of course a time will come when Torvald is not - is not - (turns to back of stage) Line!\"", "Prompter: \"is not as devoted to me\"", "Wesley: \"Perhaps two.\"", "Cordy: \"What?\"", "Prompter: \"is not as devoted to me\"", "Cordy: \"Right, right. (turns back around) When Torvald is not as devoted to me (give a dramatic sob then turns her head back towards the prompter).\"", "Angel: \"And I thought I knew eternity.\" Credits Angel and Wesley are walking down the street at night with Cordy between them.", "Cordy: \"So? What did you think?\" Angel and Wesley exchange a look.", "Wesley: \"Well, your - projection was excellent.\"", "Angel: \"Yeah. I could hear every word and we were way in the back.\"", "Cordy: \"Okay, so I was loud. But was I any good?\"", "Wesley: \"You - took the role and made it your own.\"", "Cordy: \"Really? Thanks. Angel, was I good?\"", "Angel: \"I wouldn't say it if I didn't think so.\"", "Cordy: \"Thanks. - You didn't say it.\"", "Angel: \"I didn't?\" Cordy spots something across the street.", "Cordy: \"I don't believe it!\"", "Angel: \"Hey, you know, it was a night in the theater I'll never forget.\"", "Cordy: \"That's Oliver Simon!\"", "Wesley: \"Who?\"", "Cordy: \"Only one of the most important talent managers in this town! I was at a party with him. (To Angel) You were there!\"", "Angel: \"Right. - He gave me his card.\"", "Cordy: \"What?! I was working him all night and he gave *you* his card?\"", "Angel: \"He thought I had a quality.\"", "Cordy: \"Look who he's with! - Rebecca Lowell.\"", "Wesley: \"Who?\"", "Cordy: \"Raven! - She played Raven in 'On Your Own?' Big hit television show that was only on for like 9 ½ years? Do either of you even own a television?\"", "Wesley: \"I..\"", "Angel: \"No.\"", "Cordy: \"It was a seminal show. Canceled by the idiot network. (Angel sees a car pulling away from the curb) I was going to picket them but I didn't have any comfortable shoes...\" Cordy trails off as Angel walks over the hood of the car parked next to them and pushes Rebecca out of the way of the oncoming car. Rebecca rolls clear, but Angel hits the windshield (breaking the glass) then rolls over top of it and down the street to come to rest in front of another parked car.", "Oliver: \"Oh, my god, Rebecca! (Hurries over to her as Rebecca watches Angel get up) Are you alright darling?\" Wesley and Cordy hurry over to Angel.", "Cordy: \"Oh my god! What was she like?\"", "Rebecca to Angel: \"Excuse me - are you alright?\"", "Cordy: \"Oh, he's fine. It was such an honor to save your life, Ms. Lowell.\"", "Rebecca: \"Thank you. (To Angel) I'm sorry, I didn't get your name.\"", "Cordy: \"Cordelia Chase. I'm so glad you weren't - oh. (motions towards Angel) He doesn't eve know who you are.\"", "Rebecca to Angel: \"You don't know me?\"", "Oliver: \"Sure he doesn't. I'm sure he'll accept a small reward anyway. (Pulls out his wallet)\"", "Angel: \"No thanks.\"", "Oliver: \"We're not gonna be held up here.\"", "Rebecca: \"Oliver, down. He doesn't know who I am.\"", "Cordy: \"He's culturally retarded that way.\"", "Rebecca holds out her hand: \"I'm Rebecca.\"", "Angel takes it: \"Angel.\"", "Rebecca: \"So - you make a habit of this sort of thing, Angel?\"", "Cordy: \"Oh, it's only like his purpose in life! Angel is the Dark Avenger - only not too dark - happy dark! I have a card in here somewhere.\"", "Wesley: \"Cordelia.\"", "Cordy: \"What?\"", "Rebecca seeing press and cameras: \"Oh god. Who called ET?\"", "Wesley: \"Emma Thompson?\"", "Cordy: \"Entertainment Tonight, doofus.\"", "Oliver: \"They're here for the party.\"", "Rebecca: \"Oliver?\"", "Oliver: \"This will be all over the tabs come morning, Bec. We might as well just put our own spin on it first, right?\"", "Rebecca: \"Look, I'd like to apologize... (looks around, but Angel is gone)\"", "Cordy: \"Oh, he does that. Here is our card. If you ever need rescuing, or want to pal around or something - call us! (Wesley grabs a hold of her arms and drags her off) Let go!\"", "Wesley: \"Come along.\" Rebecca looks around and catches a glimpse of Angel as he disappears around the corner of the next street.", "Cut to the office, day. Angel is standing by the open file cabinet as Cordy comes in carrying a newspaper.", "Cordy: \"I made the papers. Last night is all over the front-page of the Calendar section!\"", "Wesley: \"Really. There was a reviewer form the Times at your play?\"", "Cordy: \"What? No! Like a reviewer needs to see some hundred-year-old play! The thing with Rebecca Lowell - I'm in the picture.\"", "Wesley: \"Where?\"", "Cordy: \"Right there.\"", "Wesley: \"Where?\"", "Cordy: \"Right there! Next to Rebecca. That's my elbow.\"", "Angel: \"Guys. Can we just forget about Rebecca Lowell? I mean, we ran into an actor. It's Hollywood. It happens. (Looks over Wesley's shoulder at the paper) We have a nice photo of Cordelia's - elbow and an article about me saving a TV-star. (Walks towards his office) Just because the papers want to make it...\"", "Wesley: \"There is no mention of you.\" Angel comes back to look at the paper: \"What?\"", "Wesley: \"Nothing.\"", "Angel: \"Oh. - Well, - that's good, right? I mean this whole high-profile thing really isn't our deal anyway.\"", "Cordy: \"What are you talking about? First off, Rebecca Lowell hasn't had a series since 'On Your Own' was canceled, and that was almost a season and a half ago!\"", "Wesley: \"And they say there are no seasons in Los Angeles.\"", "Cordy: \"We have to use this now before she's just another E! True Hollywood Story! When word gets out that you're protector to the stars, they're going to be lining up at the door!\" Rebecca walks in with tow bodyguards: \"Glad I beat the crowd then.\"", "Cordy: \"Oh, my god. No! (turns around to face Rebecca) I didn't mean - uhm - coffee? Tea? We don't have anything good here - uh, but our (motions at Wesley) intern would be happy to get you something, Ms. Lowell.\"", "Rebecca to Angel: \"Can we talk?\"", "Angel: \"Sure. Right in here.\"", "Rebecca to the bodyguards: \"Stay.\"", "Angel to Cordy: \"Stay.\" Inside Angel's back office Rebecca takes in the closed blinds.", "Rebecca: \"You're not fond of sunshine.\"", "Angel: \"I'm a night person.\"", "Rebecca: \"Me too. - It uh - makes it easier to hide.\"", "Angel: \"Seems like you're in the wrong business if you want to hide.\"", "Rebecca: \"So - you never really saw even one single episode of 'On Your Own.'\"", "Angel: \"No.\"", "Rebecca: \"Huh. - Well, stop by. I'll give you a private screening of the episode I - didn't win the Emmy for.\" Angel moves to put his desk between them: \"Thanks for the invitation but - um...\"", "Rebecca: \"Look. I've been famous since I was 14. It's - refreshing to meet someone who doesn't care.\"", "Angel sits down: \"Seems like you're surrounded by people who care about you.\"", "Rebecca: \"They work for me. They're paid to care.\"", "Angel: \"So. How can I help you?\" Rebecca puts some letters on the table in front of him: \"I have a - stack of these at home. All the same - written in blood. He also has my private telephone number.\"", "(Angel looks at the letter: Rebecca - I will make you love me. You will see me but I won't speak to you unless you SEE ME. There is no OTHER WAY! We will be together - it will be SOON. I will be-)", "Rebecca: \"Scary calls in the middle of the night. Most of my devoted fans are harmless but these...\"", "Angel: \"It's not blood.\"", "Rebecca: \"Are you sure?\"", "Angel: \"Have you tried the police?\"", "Rebecca: \"Oliver has been after me to but - then I'd just be hand-feeding the story to the Enquirer. No, thanks.\"", "Angel: \"How do you know I won't do the same?\"", "Rebecca: \"I don't. But I do know that you came out of nowhere and saved my life last night. I know that you didn't ask for anything in return. And I know - I feel safer in this office than I do in my own home. - I'm up for a new series. One of those make-or-break gigs for Rebecca's career part two. - I need - peace of mind.\"", "Angel: \"The car that ran you down was a green, freshly painted '76 Chevy Nova. I caught the plates, ran the vehicle ID. It was stolen. (Hands Rebecca the paper with the information) And I'm sorry, but - I can't take your case.\"", "Cordy yells through the closed door: \"Are you insane?\" then quickly turns away pretending to sneeze.", "Rebecca: \"I don't understand.\"", "Angel: \"Give that information to your people. They'll find the guy. You don't need me.\"", "Cut to Angel still sitting behind his desk, Wesley leaning in the door and Cordy pacing the floor.", "Cordy: \"My first big connection to Hollywood and you practically throw her out of the office. Haven't you ever heard of networking?\"", "Wesley: \"Cordelia.\"", "Cordy: \"No! He can fight off Donkey-Demons, who rip peoples - guts out, but he can't help one defenseless actress from a psycho? (To Angel) What is your thing?\"", "Wesley: \"He likes her. He's afraid of getting close.\"", "Cordy to Wesley: \"Cause of his curse? (To Angel) You'd have to get awfully close to her for that to kick in. And in the mean time you could be helping me.\"", "Wesley: \"The person who needs help here - is Ms Lowell.\"", "Cordy: \"Right. He could be helping us both! (To Angel) Think of the Karma!\"", "Wesley leans on Angel's desk: \"This may not be the right case for you. Maybe we can find somebody else to help her.\" Cordy puts a hand to her forehead and hunches over: \"Oh no! Not now! God! What's this I see in my vision? Oh. It's a figure - a woman. It's Rebecca. She's in danger. Teeerrible danger. (The guys are not impressed and Cordy gives up her act) Great! Just - great. Because Mr. Distance has intimacy issues, I lose my brush with fame!\"", "Angel: \"Oh, jeez. Cordelia, she is just a person.\"", "Cordy: \"Spoke like a true non-person! - Just knowing a star makes your life better. I'd do anything to live in her world!\"", "Cut to Rebecca lying on a lounger beside a pool.", "Girl: \"They make this incision behind the jaw and under both eyes and suction out the fat. You have to be proactive with deterioration.\"", "Rebecca: \"Right.\"", "Girl: \"Christiana had it done at 24.\" Blend into the pool at night. Pull in on the house behind it. Rebecca is giving a fabulous Hollywood party. One scene blends into the next with less and less people until Rebecca is the only one left. She walks up the stairs, then hears a noise and comes back down. A figure crashes through a glass door. It's Angel. He charges past her to kick a guy in a black ski mask coming up behind her. They exchange a few blows then the guy pulls a shelving unit down on top of Angel and runs out through the broken door. Angel crawls out from under the shelf and gets up. Rebecca runs over to him.", "Rebecca: \"Are you...\" Her eyes go past him to the huge mirror behind her sofa. She is alone in the reflection. Angel sees the mirror. They look at each other, then there is a banging on the door.", "Bodyguard through door: \"Ms. Lowell, are you alright in there? I'm gonna call the police.\" Rebecca looks towards the door, when she looks back, Angel is gone.", "Rebecca: \"Yes, Oliver, I am sure. I'd rather be alone tonight.\"", "Oliver: \"Alone though? After all this? Don't you at least want someone in the house?\"", "Rebecca: \"Half the LAPD is camped out on my front lawn. He won't be back tonight.\"", "Oliver: \"All right. I should probably go deal with the press.\"", "Rebecca: \"You do that Oliver.\" Oliver pulls her into a hug: \"I love you kiddo. (Steps back) You know that.\"", "Rebecca: \"I know.\"", "[SCENE_BREAK]", "Cut to Rebecca locking the door after Oliver and the last of the police have left.", "Rebecca: \"I know you're still here.\" Angel slowly comes out of hiding: \"I'm not what you think.\"", "Rebecca: \"You're not? Because - no reflection, - dark, private office, instantly knowing those letters weren't written in blood, I guess what I would think is - vampire.\"", "Angel: \"Then again...\"", "Rebecca: \"Which is impossible. Bela Lugosi, Gary Oldman, they're vampires.\"", "Angel: \"Frank Langella was the only performance I believed but...\"", "Rebecca: \"This is real. - You're real. - Do you drink blood?\"", "Angel: \"Yeah. But not people.\"", "Rebecca: \"You're not a killer.\"", "Angel: \"I gave that up.\"", "Rebecca: \"Well, there is a support group for everything in this town, I guess.\"", "Angel: \"It's a long story.\"", "Rebecca: \"How long? - A hundred years?\"", "Angel: \"Two - hundred, and some change.\"", "Rebecca: \"200 years - but you look... If I touch you, will you be cold? (She reaches out a hand to touch Angel's cheek) I've felt colder.\"", "Angel: \"You're really not afraid.\"", "Rebecca: \"No.\"", "Angel: \"Most people who saw what you saw...\"", "Rebecca: \"I'm not most people. - I lied to Oliver. I don't - really want to be alone tonight.\"", "Cut to Wesley sitting behind a desk in the office, day.", "Cordy: \"He took the case?\"", "Wesley: \"Yes. He phoned early this morning. We're to follow up on the stolen vehicle.\"", "Cordy: \"What made him change his mind?\"", "Wesley: \"Apparently he didn't. He was quietly keeping tabs on her all along.\"", "Cordy: \"And he called you early this morning?\"", "Wesley: \"Yes. Uh, isn't this what you were lobbying for?\"", "Cordy: \"How early? Did he spend the night?\"", "Wesley: \"One assumes.\"", "Cordy: \"Oh, great. He spent the night with the fantasy of millions. - All alone, 'protecting' her.\"", "Wesley: \"You're worried about the curse. (Cordy huffs) I wouldn't be.\"", "Cordy: \"Hey, you weren't around the last time Angel went mental. I, on the other hand, was on the first wave of the clean-up crew. - He knows perfect happiness, he goes evil. So don't tell me not to worry.\"", "Wesley: \"Angel's moment of true happiness occurred because he was with Buffy. You realize how rare that is - true happiness? - And what are the odds he's find that with an actress.\"", "Cordy: \"What's that supposed to mean?\"", "Wesley: \"I was - I meant TV-actress.\"", "Cordy: \"Save it. Angel spent the night at Rebecca's. I owe it to that poor girl - to see if he wound up chowing down on my one link to fame.\"", "Cut to Angel walking down the stairs in Rebecca's house, as there is a knock on the door.", "Angel: \"Cordelia, - you're here - and you brought a cross.\" Cordy carefully staying in the sun shining in through the door: \"Along with three double half-caf, non-fat, skinny lattes.\"", "Angel: \"And a cross.\"", "Cordy: \"Well, judging by the outfit, I guess it's safe to come in. Evil Angel never would have worn those pants. - Where is Rebecca?\"", "Angel: \"She had a lunch to go to.\"", "Cordy: \"Lunch? It's still noon. Shouldn't that be more of a brunch for her?\"", "Angel: \"Well, actually she was up before dawn, working out.\"", "Cordy: \"So she went to lunch and just left you here to rummage through her things?\"", "Angel: \"No, I - told her that I was a vampire, and that daytime patio dining was out.\"", "Cordy: \"Did you just make a joke?\"", "Angel: \"I really told her.\"", "Cordy: \"Wow. So do you think she'd still set me up with her manager?\"", "Cut to Rebecca meeting Oliver at a restaurant table.", "Oliver: \"You look terrific.\"", "Rebecca: \"They canceled, didn't they?\"", "Oliver: \"Not canceled - postponed. That's all. Scheduling conflicts - it's nothing.\"", "Rebecca: \"Oliver you said I had this part.\"", "Oliver: \"Yes. They want you to come into their offices and read.\"", "Rebecca: \"Read?\"", "Cut to Rebecca's house.", "Rebecca: \"Do you know how long it's been since I've had to read for anything? Season and a half off the air, and suddenly - I'm nobody again.\"", "Angel picks up some tabloids: \"Not according to these.\"", "Rebecca: \"According to those, I've slept with Ernest Borgnine, and I'm bulimic.\"", "Angel: \"I hear Borgnine is a very skilled lover.\"", "Rebecca: \"Listen to me. Poor little rich girl.\"", "Angel: \"We all got problems.\"", "Rebecca: \"Yeah, well, right now my problem involves getting this fright-night guy off my back long enough to win this part. I've been so distracted lately I haven't had enough time to play the game. And now I'm afraid I'm losing.\" Rebecca goes to answer a knock on the door while Angel looks at the tabloid.", "Maid: \"Here you are, Ms. Lowell.\"", "Rebecca: \"Thanks Maria. (Accepts a garment bag and closes the door) You're what? - a 44 long?\"", "Angel: \"Why\"", "Rebecca: \"I've got a premier tonight. (Holds out the garment bag) Can't go without my bodyguard, can I?\"", "Cut to Angel getting out of the limousine as cameras snap and the crowd yells 'Raven.' He turns and helps Rebecca out as the crowd breaks into applause. Angel scans the crowd as Rebecca smiles for the cameras.", "Rebecca: \"Raven. They think that I'm the character I play.\" As they walk up the red carpet, the camera shows a guy among the spectators with a gun stuck in the waistband of his black suit.", "Cut to Angel pushing open a door into an alley for Rebecca.", "Angel: \"They're showing the movie in the alleyway.\"", "Rebecca: \"Oh, no. I just come to these things for the photo-op. My driver knows to meet me out back. God, if I had to sit through everyone of these, I'm sure boredom would kill me.\" Angel sees the man from the crowd on the landing of stairs going up between the buildings above them pulling out his gun and pushes Rebecca to the side.", "Angel: \"Rebecca.\" Angel jumps straight up onto the landing and grabs the guys gun hand, while he's firing his gun at Rebecca.", "Angel: \"Rebecca, get down!\" Angel knock the guys hand down on the railing, making him drop his gun. During the ensuing fight they roll down the stairs together. After a few more hits, Angel knocks the other guy out, then hurries over to pull Rebecca into his arms.", "Angel: \"It's okay. I'm here. Shh. Shh.\"", "Cut to the police taking Angel's statement.", "Officer: \"I just want to go over your statement one more time, sir. You arrived here...\"", "Oliver comes up to Rebecca: \"Rebecca, not again. Are you alright? I came as soon as I heard.\"", "Rebecca: \"And when was that exactly?\"", "Oliver: \"What do you mean?\"", "Rebecca: \"I know the stalker. I've seen him.\"", "Oliver: \"At your house.\"", "Rebecca: \"Mmm. He's a stuntman. You used to represent him.\"", "Oliver: \"Oh, I - I didn't get a good look.\"", "Rebecca: \"Oh, come on, Oliver. My private phone number, how to get into my house, that I skip the movie at a premier - only you know all that.\"", "Oliver: \"I never would have let you get hurt, you must believe that. - I thought the publicity might help you get the series. I did it out of love.\"", "Rebecca: \"I don't - pay you to love me.\"", "Oliver: \"No. That you get for free.\"", "Rebecca: \"I didn't get the part, did I?\"", "Oliver: \"I was gonna tell you tonight. The network suddenly feels that you're too mature for the role. I know it may not seem that way now, but once we get a little distance between you and Raven...\"", "Rebecca: \"Oliver. The series is in syndication. She'll always be there.\"", "Oliver: \"Beck...\"", "Rebecca: \"Looking younger and better and sweeter than me - forever.\"", "Oliver: \"Sweetie, your life is not over at 24.\"", "Rebecca: \"I'm not 24. I'm twenty...\"", "Oliver: \"Shh, shh!\"", "Rebecca: \"Raven is 22. She will always be 22.\"", "Oliver: \"All right, so she'll always be 22. She's not you, and we're gonna have to face it - that nobody stays young forever.\" Raven looks over at Angel still talking to the cops. Angel's office, day, Angel is sitting behind his desk.", "Wesley: \"I thought you might like to know I got the preliminary forensics report from the theater. The bullets were...\"", "Angel: \"Blanks.\"", "Wesley: \"No, I'm afraid they were blanks.\"", "Angel: \"The shots never connected. I went back. There were no holes in the wall, no chipped paint, nothing.\"", "Wesley: \"Since when does a killer use blanks?\"", "Angel: \"When he's not a killer. When it's a fake.\"", "Wesley: \"Ms. Lowell?\"", "Angel: \"I don't think she knows and I don't know how to tell her.\"", "Wesley: \"Well, this is good news, isn't it?\"", "Angel: \"Depends on what's going to bother her more, being stalked, or not being stalked.\"", "Wesley: \"Actresses.\"", "Angel: \"Tell me about it.\"", "Cut to Cordy and Rebecca walking down a street carrying shopping bags.", "Rebecca: \"Thanks for coming. I'm sure glad that you could find the time.\"", "Cordy laughs out loud: \"Oh, you were being serious? Because big, important stars ask me out for lunch and a shopping spree like all the time - in my dreams! Ha, ha.\"", "Rebecca: \"I'm just an actress. Like you.\"", "Cordy: \"You're an actress. I'm someone who auditions and auditions and...\"", "Rebecca: \"That's what happens when you first start out. I'm sure you're going to make it really big.\"", "Cordy: \"Yee-hee-hee! - Oh, sorry I didn't mean to squeal like that in public. Anyway thank you for calling. You must have a ton of friends you could have asked.\"", "Rebecca: \"Yeah, but - none of them would know what to buy a 200 year-old vampire as a thank-you gift.\"", "Cordy: \"Oh god! He's impossible to buy for. What on earth does he need? More socks?\"", "Rebecca: \"So, what's his story anyway? How did he become what he is.\"", "Cordy: \"Oh, god. You got 8 hours?\"", "Rebecca: \"I got all day.\"", "Cordy: \"Yee-ha-hum! Ah, I won't do that again.\"", "Cut to night, Angel's Apartment. Angel is about to leave when Rebecca comes down the stairs.", "Angel: \"I was just coming to see you.\"", "Rebecca: \"There was no one upstairs. So I just came down. I hope that's okay?\"", "Angel: \"Uh, sure. Come on in.\"", "Rebecca: \"I went shopping with Cordelia to - pick out a thank-you gift for you, but what do you get the guy who has already seen everything? So I figured what's better than Dom? (Holds up a bottle of champagne) You can - I mean, you do...\"", "Angel: \"I can drink other - liquids, yeah.\"", "Rebecca: \"Good. - Have you got glasses?\"", "Angel: \"Yeah. Yeah. Please - sit down.\" Angel goes to open the bottle and get some glasses from the kitchen, while Rebecca settles down on the sofa, looking around.", "Rebecca: \"Wow. It's sort of what you'd expect - and (sees Angel's bed) sort of not.\"", "Angel pouring the champagne: \"Well, there is no coffin.\"", "Rebecca: \"You know, that hadn't even crossed my mind.\"", "Angel: \"Rebecca - there is something I have to tell you. Your stalker, he's not really...\"", "Rebecca: \"Oh, - that. I already know.\"", "Angel: \"You do?\"", "Rebecca: \"It turns out we share representation.\"", "Angel: \"Oliver.\"", "Rebecca: \"He set the whole thing up to - revive my flagging career. Didn't work. I didn't get the part.\"", "Angel: \"I'm sorry.\"", "Rebecca: \"Yeah.\" Angel hands her one of the glasses of champagne and sits down on the armrest on the other end of the sofa from her.", "Rebecca: \"Have you ever (laughs) oh, this is so dumb. Have you ever - done that thing where you link arms and sip champagne? It's sort of a good luck thing.\" Angel moves off the arm of the sofa and sits beside her and they proceed to do just that. At the end Rebecca laughs and spills most of her drink on Angel's shirt. Angel grins.", "Rebecca: \"Your shirt! I'm so...\"", "Angel: \"It's okay, it's okay. It's kind of fun. Cold - but fun. I'll - I'll be right back.\" Angel sets down his glass and goes to change his shirt. Rebecca takes a pouch of powder out of her purse and dumps it in Angel's glass.", "Rebecca: \"You know the next time I try something so corny, I promise not to ruin your wardrobe in the process.\" She pours some more Champagne in Angel's glass and offers it to him as he comes back wearing a fresh shirt.", "Rebecca: \"Lets try this again.\" Angel takes the glass and sits down next to her.", "Rebecca: \"A toast - to the end of an ending and the beginning of a beginning.\" They clink glasses and drink.", "Cut to Cordy answering a knock on the door of her apartment.", "Cordy: \"Oh, Wesley.\"", "Wesley: \"I got your pages. What's happening?\"", "Cordy: \"I think I may have done something terrible. - I went shopping with Rebecca.\"", "Wesley: \"And that was terrible.\"", "Cordy: \"Huh? No! That was fantastic! You know they close of stores for her? Oh, and lunch at Mirabelle's. I had the most to-die-for veal filet with a light truffle marinade, and...\"", "Wesley: \"Cordelia.\"", "Cordy: \"Sorry. Anyway the whole time Rebecca is real gabby, asking questions about Angel.\"", "Wesley: \"Well, what sort of questions?\"", "Cordy: \"Oh, you know, where does Angel hail from, what's his favorite color, what kind of after-shave he wears, the exact specific details on how someone could make themselves into a vampire.\"", "Wesley: \"Surely you don't think...\"", "Cordy: \"What? - That she'd try to maneuver Angel into an exchange of bodily fluids in order to make herself eternally young and beautiful, thus saving her failing career? Gee, now that you mention it.\"" ]

[ "This episode brings Faith to LA. She's still struggling with her darkness and fleeing her life in Sunnydale. After Angel ruins another Wolfram and Hart case, they set out to get rid of him once and for all. And who better to do the job than Faith, a rouge Vampire Slayer? They hire her to kill Angel, unaware that Angel identifies with Faith's pain. Meanwhile, Faith is driven by self-hatred and is careening out of control as she goes after Angel and his friends." ]

[ "Dennis' face bulges through the wall.", "Wilson: \"Who are you talking to?\"", "Cordy: \"My ghost. I-I have a ghost.\" Lindsey offering his business card to Angel in Russell's office.", "Lindsey: \"Should you continue to harass our client then we will be forced to bring you into the light of day. I place that I'm told is not all that healthy for you.\" Russell bursting through the window, screaming. Angel turning away with a smile.", "Lindsey on the phone: \"Seems there is a new player in town.\" Buffy and Faith pulling out their stakes as they enter the vampire lair in \"Bad Girls\"", "Wesley (in the library): \"Ah! This is perhaps Faith.\"", "Faith: \"New Watcher?\"", "Buffy and Giles in unison: \"New Watcher.\" Faith killing the book-demon. Buffy voice over: \"Being the Slayer is not the same as being a killer.\" Faith hitting a police officer as she runs away from Buffy in \"This Years Girl\" Faith stabbing Finch.", "Buffy: \"You killed a man!\"", "Faith: \"I don't care.\" Faith admiring the knife the Mayor gifted her with in \"Choices\"", "Angel: \"You can't imagine the price for true evil. - If you can trust us Faith, this can all change.\" Wesley storming in with a big wooden cross, his flunkies beating Angel up with crowbars.", "Wesley to Faith: \"I'm exercising my authority and removing you to England - where you will accept the judgement of the disciplinary committee.\" Faith busting out of the truck. Giles voice over: \"We have a rogue Slayer on our hands. I can't think of anything more dangerous.\"", "Buffy: \"I don't she's coming back.\"", "Riley: \"Guess she's had her fun.\" Night. Marquez walks up to some guys huddled around a fire burning in a trashcan under a bridge.", "Marquez: \"Yo ese! What the hell you're burning there man? Smells like... Yo, you're hanging in the wrong place man! (Close up of a gun held by one of the guys) My boys ain't gonna be too happy when they get here and see what kind of a mess you made, man.\" The figure holding the gun gets up. It's a demon holding the dismembered human arm that holding the gun. It drops it into the fire. Marquez stares at their disfigured faces than turns and runs. The three demons give chase. Marquez pulls out a gun and fires at his pursuers, but they never even slow. Angel's convertible, driven by Wesley squeals around a corner behind them. As they pass the three demons, Angel leans out and beheads one of the demons with a sword. Wesley passes Marquez and turns to cut him off, bringing the car to a halt. Angel jumps out.", "Angel: \"Your name Marquez? (Marquez nods) Good. I hate saving the wrong guy.\" Angel turns and beheads a demon coming up behind him, splattering Wesley and the car with gore in the process.", "Angel: \"Never know who you're gonna meet in this part of town. You want a ride?\"", "Cut to a Greyhound-like bus pulling up. The door opens and the passengers step out. We follow a pair of black platform shoes, pan up to show it's a girl with a duffel.", "Cut to a guy lighting a cigarette. Back to the girl. As she steps into the cone of the streetlight, we see that it is Faith, not looking too good. Guy as Faith is about to pass him: \"New in town, right? (He falls in beside Faith as she keeps walking) You got that new in town look. This is a dangerous part of town this time of night for a young lady, you know? Lot of people down here try and take advantage of a situation like that. - Especially if you don't have any money - place to stay. - I might be able to help.\" Faith stops and turns to him: \"I'm cold.\" Guy takes off his leather jacket: \"Oh, yeah? Warm is my middle name.\" Faith hits him in the stomach, the face, keeps hitting and kicking him into unconsciousness. Leans down and takes his keys and wallet out of his jacket.", "Faith: \"Now I got money - and a place to stay. (Pulls off his jacket and puts it on) I think I'm gonna like it here.\" Credits Borsa, Romania 1898 Darla follows a blindfolded Angelus into a house.", "Angelus: \"Can I take off this blindfold yet?\"", "Darla: \"No.\" Angelus grabs Darla around the waist: \"Can I take off something else?\"", "Darla: \"After I give you your present.\" (They kiss) You can never have enough of those. Come on.\" She leads him into another room, then takes his blindfold off. We see a fire burning in a fireplace. The camera pans down to show a bound and gagged girl lying in front of it.", "Darla: \"Happy birthday, Angelus.\"", "Angelus: \"She is a gypsy.\"", "Darla: \"I looked everywhere.\"", "Angelus: \"What would I do without you?\"", "Darla: \"Whither and die. (They kiss) She is not just for you - I get to watch.\" Angelus goes and leans down over the girl. He pushes her skirt up while she squirms, then vamps out and bites her thigh while Darla watches.", "Cut to Angel slamming Marquez into a chair in his office.", "Angel: \"The only way you're gonna keep from getting killed is to do the right thing.\"", "Marquez: \"Right thing for who?\" Angel grabs his shirt front and leans into him: \"Next time they come after you I'm not gonna be there. And your friends aren't gonna be there either. Not after being cut up and incinerated.\"", "Cut to Cordy in the outer office: \"This guy is never gonna do it. What a waste of a good vision.\" She walks over to where Wesley is laying curled up under his jacket on the couch, trying to sleep.", "Wesley: \"It's going that badly?\"", "Cordy: \"I knew it when you brought him in here yesterday. Someone with that much body art is gonna have a different definition of civic duty.\"", "Wesley: \"After we saved his life?\"", "Cordy: \"When was the last time *you* wrote a thank-you card?\"", "Wesley sits up: \"Well, I have faith in Angel. If anyone can convince him to testify...\"", "Cordy: \"Wesley, you don't change a guy like that. In fact - generally speaking - you don't change a guy. What you see is what you get. Scratch the surface and what do you find? More surface.\" Wesley puts on his glasses and gets up: \"One could have said that about Angel.\"", "Cordy: \"Oh, please! He was cursed by gypsies. What's Angel gonna do? Drag a bunch of them in here to shove a soul down this guy's throat?\"", "Wesley: \"He may be a ruffian, but he's already got a soul, and therefore - deep down inside - an urge to do what's right.\" Marquez bursting into the outer office: \"No way. I'm gone.\" Angel grabs him by the collar and pulls him back slamming the door.", "Angel: \"Shut up and sit down.\"", "Cordy: \"I guess you're right, Wesley. He's just like the Dalai Lama.\"", "Angel: \"You don't even know what you're up against, do you? You're gonna have to face your demons sometime.\"", "Marquez: \"What if I don't want to face my demons?\"", "Angel: \"Then you'll have to face mine.\"", "Cut to the outside of a bar at night and a small crowd on the steps. Cut to people dancing inside. One of them is Faith, dancing, drifting from guy to guy. She dances up to a girl, then takes the arms of the guy the girl was dancing with and wraps them around her waist. The girl stops and stares while Faith rubs herself against the guy.", "Girl: \"Excuse me!\"", "Faith: \"Okay, you're excused.\"", "Girl: \"That's my boyfriend!\"", "Faith: \"Really? (Looks down inside the front of the guy's shirt) You have your name on him? Because I don't see it - anywhere.\"", "Girl: \"Billy! Do something!\"", "Faith: \"Yeah, Billy, do something - like this!\" Faith elbows the girl in the face. Billy tries to hit Faith, but she deflects him and he stumbles into a guy behind her. A fight ensues and slowly spreads to others, during which Faith keeps dancing to the music, while throwing the occasional punch or kick.", "Cut to a courtroom, day.", "Lindsey: \"While the arguments that the district attorney here has presented are somewhat entertaining, this case hinges on the testimony of witnesses that they have been unable to produce.\"", "Attorney: \"Your honor, we can produce them if Wolfram & Hart will stop tampering with the witness.\"", "Lindsey: \"Witness tampering is a serious allegation, councilor. And I will be filing a grievance for this remark with the A.B.A this afternoon. They have no witness. They have no case. I request a dismissal of all charges (the door in the back opens and Marquez walks in, followed by Angel) against my client, whose reputation has been irreparably damaged by these proceedings. He is a law abiding and upstanding (turns and see Angel and Marquez) - citizen.\"", "Angel: \"Your client really is - except for that pesky drug-dealing and murder stuff.\"", "Attorney: \"Your honor, the state calls Mr. Marquez.\" Angel and Lindsey stare at each other while Marquez gets sworn in.", "Cut to Lindsey talking into the headset of a wireless phone.", "Lindsey: \"No sir. I accept full responsibility. I thought - - I thought we had done everything possible. However, I'd not foreseen the intervention (Door opens and Lindsey McDonald waves to Lee Mercer to come in). Yes sir. Angel. I don't disagree. He's proven to be a costly liability. - I can, absolutely, I can do that. Yes, sir. Good-bye. (Takes off the phone and tosses it on his desk) I hate failure when there is no one else to blame it on.\"", "Lee holds out some papers: \"I think I've found the solution to our problem.\" Lindsey takes the papers and looks at them.", "Cut to Lilah Morgan walking through the lobby. Lilah to Lee a ways in front of her: \"Lee! I've been looking for you. (To the guy next to her) You call them back and tell them that's our drop-dead offer, and you make sure that they understand we mean literally not figuratively. (To Lee as the other guy leaves with a nod) How are you doing?\"", "Lee: \"Good! You?\"", "Lilah: \"Great. I heard you came up with a good idea. How to deal with our friendly neighborhood vampire?\"", "Lee: \"No, I came up with a great idea. How do you find out these things so fast?\"", "Lilah: \"Part of my job. How did you find out there was a rogue Slayer in town?\"", "Lee: \"Part of *my* job. I've been reading, ah, the police reports. She's been a - busy little beaver.\"", "Lilah: \"But you don't know where she is.\"", "Lee: \"I will soon enough.\"", "Lilah opens a folder: \"I already do. - Uh, I'll make the contact.\"", "Lee: \"I don't think so. It's my deal - I'll make the contact.\"", "Lilah: \"Let me think about it... - No.\"", "Lee: \"Why not?\"", "Lilah: \"It's your people skills - you don't have any.\"", "Lee: \"You bitch.\"", "Lilah chuckles: \"See? If you behave I'll let you ride in the Limo.\"", "Cut to Cordy on the phone: \"Unfortunately we - don't really do divorce cases. - No, it's not about the money. - Oh, - it's about that much money! How soon can we meet? (Angel and Wesley come up out of the elevator) Yeah, I know where that is. - Okay, we'll see you there tomorrow. Thanks for calling. Bye! (Hangs up) How'd it go?\"", "Wesley: \"We won.\"", "Cordy: \"Gang-guy testified?\"", "Angel: \"Stood up and told the truth.\"", "Cordy to Wesley: \"What did I tell you?\"", "Wesley: \"That he never would.\"", "Cordy: \"Well, more good news. I may have landed a new client, and here is a twist: he can afford to pay!\"", "Wesley: \"What's the case?\"", "Cordy: \"I'm still in - information gathering phase. But - ah - we're meeting him for lunch tomorrow. (To Angel) So, are you happy with the way things turned out? (To Wesley as an aside) You can always tell when he's happy. His scowl - is slightly less scowly.\"", "Wesley to Angel: \"That young man is very lucky he ran into you.\"", "Angel: \"He just needed a little guidance - a push in the right direction.\"", "Wesley: \"I wonder how Wolfram & Hart are going to push back.\"", "Cut to Lilah and Faith walking out of a bar at night.", "Faith: \"I guess we could go somewhere and talk, but I'm not much of a talker. I'm more of a doer.\"", "Lilah: \"I think you might have misunderstood my intentions.\"", "Faith: \"No, I think you misunderstood mine. I like that watch. Diamonds, right?'", "Lilah: \"Faith.\"", "Faith: \"How do you know my name? I don't think I told you.\"", "Lilah: \"We are well aware of who you are - and what you do. We know you have been experiencing some - difficulties. We think we can help bring some order back to your life.\"", "Faith: \"We do, do we? Who is we, and why do they know me when I don't know Jack about you?\"", "Lilah: \"Green - is my favorite color. I look good in diamonds - and I love riding in limousines.\" Faith turns around as Lee opens the back door of a black limousine from the inside.", "Lee: \"Faith - can we talk?\"", "Faith to Lilah: \"I like black.\" Faith gets into the limo, Lilah follows.", "Cut to Darla entering the house she and Angelus are apparently living in.", "Darla: \"Angelus? - Are you here? - Angelus?\" She walks into the other room. Angel is huddled up against a wall.", "Angel: \"Not everyone screams.\"", "Darla: \"What?\"", "Angel: \"When you kill them. Some - just stand there, - frozen... While others...\"", "Darla: \"What are you doing? Are we playing a game?\"", "Angel: \"The children - they usually scream.\"", "Darla smiling: \"Hmm, yes. They sound just like little pigs. Have you brought me some? - What you don't think I'll share? I can't believe that you would think I'm that insensitive.\" Angel turns away from the wall. He looks pretty ragged.", "Angel: \"We've drunk and killed for who long now? 140-odd years. We've drunk them all up and they're all dead.\" Darla tries to take his face into her hands: \"Where have you been?\"", "Angel pushes her away: \"Don't.\"", "Darla: \"What is this? Have you met someone else?\" Angel takes a hold of her shoulders and leans against her.", "Darla: \"No. -Let go. (Pushes him away) Let go of me! What happened to you? Angelus, what happened?\"", "Angel: \"That gypsy girl you brought me - her people found out. They did something to me.\"", "Darla: \"A spell?\"", "Angel: \"Funny. You would think with all the - people I've maimed - and killed I wouldn't be able to remember every - single - one. (Darla walks up to him) Help me.\" Darla lays a hand against the side of his face: \"The spell - they gave you a soul. A filthy soul! No! (Scratches his cheek) You're disgusting!\"", "Angel: \"Darla.\" Darla picks up a wooden chair to ward him off: \"No, get away from me.\"", "Angel: \"You brought her here.\" Darla smashes the chair and picks up one of the legs and tries to stake Angel.", "Angel avoids the swing: \"I am like you.\" Darla still holding the stake ready: \"You're not like anything. Get away from me. Get out! (Angel stumbles out of the house) I'll kill you!\"", "Cut to Angel walking away from the house. He looks back once to see Darla in the door, stake raised. Darla watches him go, slowly lowering her stake.", "Cut to an office of Wolfram & Hart's, where Faith is pacing the floor.", "Lindsey: \"A felony arrest warrant from Sunnydale was issued in your name - - physical description is quite accurate. The photograph, however, is - not flattering. - There is a lot of personal stuff that is of no interest to me, but what they do fail to mention is that you are a Slayer.\"", "Lilah: \"Which is why we found you so appealing.\"", "Lindsey: \"You have a problem. We have a problem. I just had a perfectly good murder case go up in smoke and you seem to - have a certain expertise in that area. So to make a long story - less long - I think if a service is rendered - we can get you off.\"", "Faith: \"You don't know how many man have promised me that.\"", "Lilah: \"I'm certain you won't be disappointed in our performance.\"", "Faith: \"Who am I supposed to kill?\"", "Lindsey: \"Please understand that we would never advocate the killing of another human being. - His name is Angel. - He's somewhat of a private...\"", "Faith: \"No problem.\"", "Lee: \"Don't you want to know anything more?\"", "Faith: \"Yeah. Besides getting me off, how much are you going to pay?\"", "Lee: \"It might behoove you to know more about your intended. So, before we discuss remuneration...\"", "Faith: \"Huh?\"", "Lee: \"Payment. I want to make sure you understand that this firm is in no way connected to - anything you do. - It's my ass on the line here. I don't want you to make me look bad.\" Faith grabs him by the neck and slams his face on the table.", "Faith: \"How do you look now?\" Faith keeps pounding his face on the table. Lilah to Lindsey with a smile: \"She shows initiative.\"", "Lindsey to the intercom: \"Jesse, I think you better make it 3 for dinner instead of 4.\"", "Cut to Angel, Cordy and Wesley stepping out of an elevator.", "Cordy: \"And he is kind of a busy man, so lunch was the only time he had. It's not the kind of case I'd normally go after, but we've got to consider the bottom line.\"", "Angel: \"What kind of demons are we dealing with.\"", "Cordy: \"Well, it's not exactly a demon thing.\"", "Wesley: \"What kind of - thing is it?\"", "Cordy: \"It's a kind of - husband and wife break-up thing.\"", "Wesley: \"A divorce case?\"", "Angel: \"You're kidding.\"", "Cordy: \"What's wrong with a divorce case?\"", "Angel: \"That's not what we do.\"", "Cordy: \"According to the husband the wife is a real witch.'", "Wesley: \"Seems a bit on the seedy side.\"", "Cordy: \"This is not seedy! He's in government. - Just talk to him. Oh, and we should pick up the tab for lunch. Nothing says success less than splitting the bill.\"", "Angel: \"I didn't bring any money with me.\"", "Cordy: \"Okay, Elvis. When you are a big star you can get away with not carrying any cash. And while we're on the subject - I think one of us should apply for a small business loan. (We see Faith standing a ways behind Angel) Just to get us through the rough spots. (The camera pulls to an overhead shot, showing Faith aiming her crossbow at Angel's back and pulling the trigger) I meant what's a thirty year loan to you?\" Angel turns as Faith shoots and catches the quarrel just in front of his chest.", "Faith: \"That was so cool! This is gonna be fun!\" The turns and runs out through a door and into the sunshine.", "Wesley: \"Oh my God. Faith.\"", "Angel: \"I thought she was in a coma.\"", "Cordy: \"Pretty lively coma.\"", "Cut to Angel hanging up the phone in his office.", "Angel: \"Giles said she left Sunnydale about a week ago. He described her mental state as borderline psychotic.\"", "Cordy: \"That explains her outfit.\"", "Wesley: \"This isn't right.\"", "Cordy: \"When a whacked-out Slayer tries to kill your boss - it's very wrong.\"", "Wesley: \"I meant Giles. Why didn't he give me the heads-up? I was Faith's Watcher. When she came out of the coma, Giles should have contacted me immediately.\"", "Cordy: \"Maybe he was busy trying to keep her form - I don't know - kill everybody?\"", "Angel: \"He didn't know she was coming after me. He was worried about Buffy.\"", "Cordy: \"Is she okay?\"", "Angel: \"Yeah.\"", "Cordy: \"What can we do?\"", "Angel: \"Help me track her down. I want you two to check police reports - beatings, killings - anything within the last week, possibly near bus stations and bars. And then you make yourselves scarce. I don't want to give her any free targets.\"", "Wesley: \"You've been targeted by a psychotic! I'm certainly not going to run and hide.\"", "Cordy: \"I like the plan where I'm scarce.\"", "Wesley: \"We've got to band together. Strength in numbers.\"", "Cordy: \"Two is a number.\"", "Angel stands up: \"She coming for me. I've got a fight coming up. I don't want you to get in the way.\"", "Wesley: \"I thought we were a team.\"", "Angel: \"We're not a team. I'm your boss. You go where I tell you and I tell you to lay low,\"", "Wesley: \"Seems you're taking this personally.\"", "Angel: \"Well, you know, she tried to shoot my own personal back, so yeah.\"", "Wesley: \"Did she do something to Buffy?\"", "Angel: \"Giles just said it was rough.\"", "Wesley: \"I'm sorry. But if you let emotion control you right now, one of you will certainly end up dead.\"", "Angel: \"Yeah, that's what the lady wants.\"", "Wesley: \"That's not good enough! She's not a demon, Angel. She is a sick, sick girl. If there is even a chance she can be reasoned with...\"", "Angel: \"There was. Last year I had a shot at saving her. I was pulling her back from the brink when some British guy kidnapped her and made damn sure she'd never trust a living soul.\"", "Cordy: \"Angel, it's not Wesley's fault that *some* British guy ruined your... - oh. Wait (to Wesley) that was you. (To Angel) Go on.\"", "Wesley: \"You don't need to.\"", "Angel: \"Let's just get to work.\"", "[SCENE_BREAK]", "Cut to Angel looking through his weapons cabinet when he hears some noise upstairs. Angel walks slowly up into the office. Someone opens the blinds in the outer office as Angel walks towards it, flooding it with sunlight", "Faith: \"Hey, baby! Come give us a hug.\" Angel in the door leading from his office: \"I was hoping you'd stop by. Always good to see old friends. (Faith pulls out a revolver and cocks it) What's this? Wooden bullets?\"", "Faith: \"Ooh, good idea! But no, this is for you. You know - I'm going to kill you slowly and inventively, so I'm gonna give you one chance to...\" Faith tossed him the gun. Angel catches it and shoots at her right leg. Faith laughs.", "Angel: \"Blanks. (Tosses the gun back to her) Nice.\"", "Faith: \"You didn't shoot to kill. We're gonna have to up the stakes, get you in the game a little.\"", "Angel: \"What's the game exactly, Faith? Boredom? Revenge?\"", "Faith: \"Dude, I'm getting paid. They hate you almost as much as I do.\"", "Angel: \"Ever occurred to you this might be more fun for me?\"", "Faith: \"You think? Because what if you kill me - and you experience that one true moment of pleasure? Oops! I'd get off on that. Go ahead. Do me. Let's take that hell ride together. Come on, Angel, I'm all yours! I'm giving you an open invitation. - Jeez, you're pathetic! You and your little tortured soul, got to think everything through. Well, think fast, lover. You don't' do me, you know I'm gonna do you!\" Aims her gun at Angel and pulls the trigger. Angel staggers back under the impact as the bullet hits his chest, gasping with pain.", "Faith: \"Gosh. That one wasn't a blank. - Let the games begin.\" Faith jumps out through the window, shattering the glass.", "Cut to the offices of Wolfram & Hart, night. Lindsey and another lawyer step out of an elevator.", "Lindsey: \"I'm telling you, it's a - situation we are handling \"", "Lawyer: \"I read the file. It needs to be handled! I've got to jump.\" They part. The camera pans to show Angel strolling in through the front door, in dark suit and tie, carrying a brief case.", "Lawyer points at him: \"You!\" Angel turns to look at him. The are right in front of the security desk.", "Lawyer: \"We're in the Gruber meeting.\"", "Angel: \"Right.\"", "Lawyer: \"What the hell is going on with those people?\"", "Angel: \"I know, it's...\"", "Lawyer: \"I mean is this a negotiation or a cotillion?\"", "Angel: \"That's exactly what I was trying to tell Frank.\"", "Lawyer: \"Who's Frank?\"", "Angel: \"Works with Louise in contracts.\"", "Lawyer: \"Contracts - the problem is not contracts!\"", "Angel: \"That's what I was trying to tell...\" Lawyer's cell phone rings and he waves Angel quiet while he answers it.", "Lawyer to phone: \"Go. Yes. - Yes. - No, no. Thursday! (Hangs up) We have to close Gruber now, before the soft offer becomes hard and the stock goes...\"", "Angel: \"Through the ceiling!\"", "Lawyer: \"In the toilet!\"", "Angel: \"Right.\"", "Lawyer: \"Keep me in the loop, will you? I want to know the instant that they fold. - They are folding? (Angel makes a face and the lawyer checks his watch) Look, I've got to jump. E-mail me. Good to see you.\"", "Angel: \"You too.\" They part.", "Cut to Angel entering Lindsey McDonalds office. He sits down at the desk and look through the papers. The door opens and Lindsey walks in. He smiles and shakes his head when he sees Angel.", "Lindsey: \"Don't you have any respect for the law?\"", "Angel: \"Nice office. Good view. (Gets up) Where is Faith?\"", "Lindsey: \"Should I know what you're talking about?\"", "Angel: \"Your new employee.\"", "Lindsey: \"It's a big firm. Tell you what I can do. I can give you the number for Personnel, though. I'm sure they'd be glad to handle your problem.\"", "Angel: \"You'd remember this one. Pretty, dark hair, kills things?\"", "Lindsey: \"I assure you that we have strict hiring practices.\"", "Angel: \"So how does it work for a guy like you? - Successful lawyer in a big law firm, - company car, - nice office, bonus: - can hire a killing when ever you want. Kind of got it made, right?\"", "Lindsey: \"Well, we'll just add slander to breaking and entering. While we're on the subject, I remember you throwing one of my clients through a window. Killed him if I'm not mistaken.\"", "Angel: \"Yes. I seem to remember. (Turns to point at the window) The window was just about that size. Hmm. Too bad the body burned up before it hit the ground. I might have needed a good lawyer.\"", "Lindsey: \"I'm sorry, we only handle a certain class of clientele.\"", "Angel: \"Oh, I'm sure that I've killed enough people to qualify. Where is she?\"", "Lindsey: \"You know a vampire can't walk in here without us knowing it. We have a highly sophisticated security system, spent a fortune on mystical barriers and such. Nice to know our investment paid off.\" Angel grabs the security guard coming at him with his gun drawn and slams him down on the table, knocking him out.", "Angel: \"I think it was a waste of money myself.\"", "Lindsey: \"Well, one down. More on the way. And the police have been called. And this whole encounter has been visually recorded on hi-def. So, - despite the fact that I'm sure it would make an entertaining evening watching you fight for your life, - not to mention the fortune I could make off the video - I do have a dinner.\"", "Angel picks up his briefcase: \"Good to see you again, Lindsey. - We'll do this real soon.\"", "Lindsey as Angel walks out: \"You know, just when I think I got you figured out, you show up in a suit.\" Wesley is reading from a report as he and Cordy walk up to her apartment, night.", "Wesley: \"There is another assault just two blocks away. A fight in a bar, several arrests made, and a woman fitting Faith's description was involved, - however not arrested.\"", "Cordy: \"She charm her way out?\"", "Wesley: \"Apparently she managed to break a policeman's jaw with his own handcuffs before she disappeared into the night.\"", "Cordy: \"Hmm. For Faith, that is charm.\" She unlocks the door and opens it, but it slams back shut. Looks at Wesley. Tries again - same thing.", "Cordy: \"Phantom Dennis, let us in. It's all right. It's only Wesley.\" She tries again, this time the door stays open. They enter and Cordy turns on the light.", "Wesley: \"Dennis, your ghost, I presume?\"", "Cordy: \"Yes. He's jealous. (To the air) Don't worry. Hell will freeze over before I have s*x with him.\"", "Wesley: \"Thank goodness for small favors. - I'm going to try calling Angel again.\"", "Cordy: \"Okay. I'm going to pack a bag.\"", "Wesley dialing: \"Cordelia, please, just a few things. We're not going on safari.\"", "Faith: \"I've got a little problem. - I don't feel Angel's in the game. But, somehow, I feel you guys are the key. (Wesley hangs up the phone) Now what can I do to *really* make him hate me?\"", "Wesley: \"Faith.\"", "Faith: \"Shut up, Wesley.\"", "Wesley: \"It's not too late.\"", "Faith: \"For cappuccino? 'cause it just keeps me up.\"", "Wesley: \"It's not too late to let me help you.\"", "Cordy: \"Yes. We want to help you.\"", "Wesley: \"I realize there have been failures, on both sides. - But I also believe in my heart that you are not a bad person.\" Faith elbows Cordy in the face dropping her.", "Faith: \"What do you believe in your heart now?\" Wesley hits her with a right cross. Faith comes back up holding her lip: \"Alright, Wes! - My turn.\" She kicks him across the room.", "Cut to Angel walking along a street in Borsa at night. A woman and three men come out of an inn.", "Angel: \"Mia foame. (I am hungry)\"", "Man: \"Get away!\"", "Woman: \"Leave him alone. He is just a beggar.\" Man throws a coin at Angel: \"Here have a pint on us.\" Angel picks the money off the ground and throws it back at the man: \"I don't want your money!\"", "Man: \"How dare you!\"", "Angel in vamp face: \"I want her.\"", "Woman: \"He is a monster! He is a monster!\" Angel as the three guys drag him into the alley: \"I am a monster! I am a monster!\" We hear the sounds of fighting. One of the men comes flying through the air past the woman.", "Woman into the alley: \"Rudolph? Are you all right? Rudolph?\" Angel comes out of the alley, grabs the woman and drags her into the alley. He pushes her up against a wall and sinks his teeth into her neck.", "Cut to Angel entering Cordy's apartment. He hear moaning and runs over to where Cordy is just coming to (he is no longer wearing the suit but his normal clothes and long leather coat).", "Angel: \"Cordelia.\"", "Cordy: \"She was already here. I didn't know. I made - Wesley come with me, - just to get a couple of things. She was like an animal. - She said that you weren't in the game. There was nothing - we could do.\"", "Angel: \"Take it easy.\"", "Cordy: \"I'm sorry. (Takes a deep breath) What about Wesley, is he okay?\"", "Angel: \"He's not here.\"", "Cut to Wesley sitting gagged and bound to chair in the middle of a fairly nice apartment. He looks beaten up. Faith is slowly pacing in front of him, then suddenly jumps onto his lap. Wesley lets out a muffled scream. Faith licks two fingers and rubs the swelling under Wesley's right eye.", "Faith: \"All these little cuts and bruises - just bring out the mother in me. (She takes his face between her hands and slaps his cheek) Come on. Now, now, don't poop out on me, damn it! Otherwise this all just going to be over too fast, and you'll be dead and I'll be - bored. - Come on, Wesley! Where is that stiff upper lip? (Get off him) Now, we've only done one of the five basic torture groups. We've done blunt - but that still leaves sharp, cold, hot and loud. Have a preference? (Wesley looks at her and nods. Faith pulls the gag out of his mouth) Well, that great! It's always better with audience participation. - May I take your order please?\" Wesley spits on the floor to one side of her.", "Wesley: \"I was your Watcher, Faith. - I know the real you - and eve if you kill me, there is just one thing I want you to remember.\"", "Faith: \"What's that, love?\"", "Wesley: \"You - are a piece of sh..\" Faith interrupts him, stuffing the gag back into his mouth: \"You should talk, huh? I guess I'll just have to try a little harder.\" She walks over to a picture frame, smashes it on the table and picks up one of the glass shards.", "Faith: \"We'll switch to sharp for a while.\"", "Cut to Cordy and Angel sitting in her apartment looking at a map of LA.", "Cordy: \"On Monday, - a guy was beaten up here, his wallet and car were stolen. He's still in the hospital. Four blocks over - is a restaurant where they had a major knock down drag out on Tuesday. Then here another guy ran into something he referred to as 'the bitch from hell,' who sent him home with paramedics. - That was on Wednesday.\"", "Angel: \"This was the first. Took his wallet and keys. Is he still in the hospital?\"", "Cordy: \"Yeah. We were just gonna go down and talk to him.\"", "Angel: \"Where does he live?\"", "Cut to Faith sitting in the open window of the apartment looking at the bloodstained piece of glass in her hands. She lets it drop and listens to it shatter. Sighs.", "Cut to Wesley still tied to the chair. Faith gets off the windowsill and comes over rubbing her hands together.", "Faith: \"That's refreshing. But I'm feeling a little cold. (Pats Wesley on the cheek) What do you say we warm the place up?\" We see that there are several bloodstains now on Wesley's shirt. Faith goes into the kitchen and picks up a lighter.", "Faith: \"Did you ever wonder if things would have been different - if we'd never met. What if you'd had Buffy - and Giles would have been my Watcher? You think you'd still be here right now? Or would Giles be sitting in that chair? - Or is it just like fate. You know, there is no choice. You were gonna be here no matter what. - (Picks up a spray can) You think about that stuff? - Fate - and destiny. (Walks over to Wesley) I don't. (Depresses the top of the spray can and holds the lighter flame into the spray igniting it where Wesley can get a good look at the resulting flame shooting forth) Not that any of this is your own fault. (Flames again) Since this may be - the last chance we will have to unload on each other, I feel that it is kind of my duty to tell you that if you'd been a better Watcher, I might have been a more positive role model! (Flames again) - Face it, Wesley, you really were a jerk. Always walking around as if you had some great big stake rammed up your - English Channel. (Frowns and takes the gag out) - I think I want to hear you scream.\"", "Wesley: \"You never will.\"", "Faith: \"Admit it, Wesley, didn't you always kind of have the hots for me?\" Faith flames again as the door burst form its hinges and Angel slowly walks in. Faith drops the can and lighter, pulls a knife and holds it against Wesley's throat.", "Faith: \"About time, soul-boy. Ready to play now?\"", "Angel: \"I'm ready.\"", "Cut to Angel stumbling out of the alley in Borsa.", "Angel: \"I can't. Oh god, I can't.\" The woman steps up to the corner of the alley breathing hard and leaning against the wall. As she watches him go she fingers the bite mark on her neck. Angel stumbles against a wall gasping, looking desperate, then moves on.", "Cut to Faith: \"Okay, you showed. But how do I know you are really in this? I mean if I kill him, would that help, or just be really funny?\"", "Angel: \"You don't think I know what you're after? I do.\"", "Faith: \"You I have to kill. Wesley is just for the hell of it.\" Angel is slowly walking so Faith has to turn to keep facing him, which puts her beside Wesley instead of behind him.", "Angel: \"This isn't about Wesley. This is about you and me.\"", "Faith: \"No, baby, he's payback.\"", "Angel: \"For what? I thought you were happy with the way you are. By the way you never told me how much I'm worth dusted, just out of curiosity.\"", "Faith: \"15 000 plus expenses.\"", "Angel: \"You're kidding.\"", "Faith: \"Hey, I'm young, willing to work my way up.\"", "Angel: \"You feel young, - do you, Faith? - You're looking pretty worn out to me.\" Wesley throws himself back, toppling his chair and Angel instantly kicks Faith away from him. Wesley sees that Faith's knife is sticking point down in the wooden floor beside him. Faith picks up a piece of wood and attacks Angel. The slam each other around and Angel manages to get the impromptu stake away from Faith, tossing her onto the sofa, and breaks it over his knee.", "Faith: \"Is that all you got, vampire? Get in the game.\" She kicks the glass topped sofa table at his face and broken glass flies everywhere. She jumps him, wrapping her legs around his waist and slamming him against the wall. She keeps hitting him, and they both fall to the floor with Faith sitting on top.", "Faith: \"Come on, Angel! I thought you were bad!\" He takes a hold of one of her wrists and tosses her off him. Faith tries to hit him with a floor lamp, but he avoids the hit, so she instead sweeps the feet out from under him as he gets up then catapults him over the sofa and across the room. She jumps over the sofa after him. Smashes a vase over his back then slams him into the ceiling. Wesley has shimmied around and is trying to cut his bonds using the knife stuck in the floor. Faith swings at Angel but he keeps ducking them, so instead she kicks him in the gut. Angel come back and hits her, she hits back then tosses him back over the sofa.", "Faith: \"You can't take me! No one can take me!\" Faith jumps to kick him again as he gets up, but Angel intercepts her kick with a piece of furniture. Faith sends him flying across the room again, then smashes up a glass-shelving unit when Angel ducks her next kick. Angel slams Faith down on the floor then slides her headfirst across the room into a wall. Faith comes up with another piece of wood in her hand.", "Faith: \"Come on!\" Angel tackles her and they both burst through the window, falling two stories to land on a trash-container lid. They roll off of it and Faith again throws Angel around.", "Faith: \"You're gonna die!\" Wesley is almost done sawing through his ropes. Faith keeps hitting and kicking Angel. Halfway through this it starts to first rain then pour.", "Faith: \"You hear me? - You don't know what evil is! - I'm bad! - Fight back!\" Wesley has freed his hands and is untying the other ropes. Faith keeps whaling on Angel, sometimes he ducks, sometimes the hits connect. Angel grabs a hold of her: \"Nice try, Faith.\" He tosses her away from him. Then walks after her.", "Angel: \"I know what you want.\" She hits him and he hits back dropping her. She comes back up hitting and screaming, but not making much of a dent. Wesley leans out of the window and sees Faith beating up on Angel. He goes into the kitchen and grabs a butcher knife, then heads for the door. Angel as he dodges another hit: \"I'm not gonna make it easy for you.\" Faith throws herself against Angel screaming: \"I'm evil! I'm bad! I'm evil! Do you hear me? I'm bad! Angel, I'm bad! (She begins to sob, grabbing a hold of Angel's shirt and shaking him) I'm ba-ad. Do you hear me? I'm bad! I'm bad! I'm bad. Please. Angel, please, just do it.\" Wesley comes running out of the house.", "Faith sobbing: \"Angel please, just do it. Just do it. Just kill me. Just kill me.\" Angel wraps his arms around her shoulders and pulls her against him. She over balances them and they sink to their knees, Angel still holding her as she cries.", "Angel: \"Shh. It's all right. It's okay. I'm here. I'm right here. Shh.\" The camera shows the knife dropping from Wesley's hand as he stands in the pouring rain, staring at them, while Faith cries and thunder rumbles overhead." ]

[ "The second half of Faith's appearance in LA has her bonding with Angel. She's utterly drained and has no more fight left in her. Angel takes her in and becomes her redemption \"sponsor.\" He promises to help her find a way to forgive herself and start over. But, there are still a lot of problems to overcome. Wes and Cordy aren't too happy that Angel's forgiven Faith. The Watcher's Council goons are still after Faith. Lila, Lindsey and Lee are hiring another assassin. Kate wants to arrest Angel. And, oh yeah, Buffy's on her way to LA looking for payback on Faith." ]

[ "Wesley: \"This is perhaps Faith?\"", "Faith: \"New Watcher?\"", "Buffy and Giles: \"New Watcher.\"", "Buffy: \"You killed a man!\"", "Faith: \"I don't care!\"", "Angel: \"You can't imagine the price for true evil. You don't have to disappear into the darkness.\"", "Buffy: \"It doesn't have to be like this, you know?\"", "Faith: \"You took my life B. Payback's a bitch!\"", "Giles: \"The Watchers Council sent a retrieval team to capture Faith. A special operations unit - they handle the Council's - trickier jobs.\"", "Collins: \"They've ordered the kill.\"", "Giles: \"We have a rogue Slayer on our hands. I can't think of anything more dangerous.\"", "Faith: \"Who am I supposed to kill?\"", "Lindsey: \"His name is Angel.\"", "Faith: \"No problem.\"", "Lee: \"I don't want you to make me look bad.\" Faith smashes his face into the table: \"How do you look now?\" Angel catches the quarrel Faith shot at his back.", "Faith: \"This is going to be fun!\"", "Faith: \"And if you'd been a better Watcher, I might have been a more positive role model!\" Angel burst through the door. Angel and Faith fall through the window.", "Faith: \"I'm bad. I'm bad! I'm evil! Please just do it. Just kill me. Just kill me.\" A wet and slightly beaten up Faith and Angel ride down the elevator to his apartment.", "Angel: \"Faith. - Come on.\" Angel leads her over to his bed and Faith sits down, arms wrapped around herself.", "Angel: \"It's okay. - Rest here.\" Angel wraps a towel around her shoulders. Faith slowly lies down and Angel covers her with a blanket.", "Angel: \"You rest now.\" He picks up Faith's backpack and puts it on a chair next to the bed.", "Angel: \"I'll put your stuff here. - I'll be close.\" He turns and starts to leave.", "Faith: \"Angel.\"", "Angel turns back: \"Yeah\" We flash from Angel's face to a short scene of Faith attacking Angel all out with a butcher knife, cut to a shot of Faith's face, lying on the bed, then back on Angel.", "Faith: \"Nothing.\" Angel leaves. Credits. Cordelia is in the office looking through some files when Wesley walks in. Wesley inspects Cordy's a huge black eye.", "Wesley: \"Bitch. (Cordy gives him a look.) Not you - obviously. (sighs) I can't tell you how sorry I am that I allowed this to happen.\"", "Cordy sighs: \"I believe it was Faith who allowed her elbow to collide with my face. - Not your fault.\"", "Wesley: \"At least you only got the elbow.\"", "Cordy: \"Well, if it's any consolation it really does look like you were - tortured by a much larger woman.\" Wesley smiles a little.", "Wesley: \"She's still here, I assume.\"", "Cordy: \"He gave her his bed!\"", "Angel walks in: \"Wesley.\"", "Wesley: \"Angel.\"", "Angel: \"I didn't expect to see you in today. - How are you feeling?\"", "Wesley: \"As well as can be expected.\"", "Angel: \"Good. - Good. (To Cordy) Doughnuts?\" Cordy points and Angel opens the box.", "Wesley: \"Developed a sweet fang, have you?\"", "Angel to Cordy: \"You got jelly?\"", "Cordy: \"Whole selection.\"", "Wesley: \"Won't she find it difficult - enjoying delicious, jelly-filled doughnuts, if she is - one assumes - bound and gagged?\"", "Angel: \"Wesley, - we went through all this last night.\"", "Wesley: \"Yes, you were right. The police would be ill equipped to hold a Slayer against her will. I understand why you chose not to turn her over to them. - I do not, however, understand why the woman who brutally tortured me last night - this morning - gets pastries!\"", "Angel: \"I don't really have anything else downstairs. - What do you want to do, Wesley? Let her starve?\"", "Wesley: \"Certainly not. There are far more humane ways to deal with a rabid animal.\"", "Angel: \"She is not an animal.\"", "Wesley: \"No?\"", "Angel: \"She's a person. In case you've forgotten - we're not in the business of giving up on people.\"", "Wesley: \"Don't you dare take the moral high ground with me after what she did. I believe in helping people. I do *not* believe in coddling murderers!\"", "Angel: \"It wasn't too long ago that you were the one making the case for her rehabilitation.\"", "Wesley: \"It wasn't too long ago I had full feeling in my right arm!\"", "Angel: \"She wants to change.\"", "Wesley: \"There is evil in that girl, Angel. It doesn't matter what she wants, or says she wants - you set her free - she'll kill again.\" When Angel doesn't answer, Wesley picks up his jacket and leaves.", "Angel: \"He'll come around.\"", "Cordy: \"Wesley? - Sure! - People always get a little funny right after they've been sadistically tortured. - Well, you'd know. (Puts a book of business checks on top of the box of doughnuts Angel is holding) I need you to sign these.\"", "Angel with a sigh: \"You understand why we have to help Faith, don't you?\"", "Cordy: \"Totally. (Points at the book) And here.\"", "Angel: \"We can't just arbitrarily decide whose soul is worth saving and whose isn't.\"", "Cordy: \"Oh, I know! And this one? (Rips out the page of checks) Thanks.\" Angel looks at the copies of the checks.", "Angel: \"Wait. Those were all made out to you.\"", "Cordy: \"Yeah.\"", "Angel checks the book: \"Paid vacation.\"", "Cordy, putting on her jacket: \"Like I'm gonna stick around while psycho case is roaming lose downstairs with three tons of medieval weaponry? - Not! - Oh - and I'm thinking - sugar high? Maybe not a great idea.\" Leaves. The police are inspecting the damage Angel and Faith did to the cigarette guy's apartment in their fight last night.", "Detective: \"See if the neighbors heard anything.\"", "Officer: \"Right.\" Detective sees Kate next to the overturned chair that Wesley was bound to and sighs.", "Detective: \"Kate. What are you doing here?\"", "Kate: \"I'm a detective, Kendrick. See? (Holds up a plastic bag with stuff in it) I'm detecting. - Heard we have a fugitive.\"", "Kendrick: \"Yeah. (Kate hands him a piece of paper) Felony arrest warrant form a place up north called Sunnydale. I've seen it.\"", "Kate: \"So do we think she is the one who threw the party here?\"", "Kendrick: \"The guy who lives here identifies her as the woman who mugged him. Put him in the hospital, stole his keys, his wallet. - We're lifting prints now. My bet is - we get a match.\"", "Kate: \"Anything else?\"", "Kendrick: \"That's it. You mind telling me why you're here examining a crime scene that wasn't assigned to you?\"", "Kate: \"It looked interesting.\"", "Kendrick: \"Right. You've heard the rumors, haven't you?\"", "Kate: \"What rumors?\"", "Kendrick: \"You know what I'm talking about. This girl supposedly has some kind of supernatural powers?\"", "Kate: \"Really.\"", "Kendrick: \"Come on, Kate. Everybody knows you've gone all Scully. - Anytime one of these weird cases crosses anyone's desk - you're always there. What's going on with you?\"", "Kate: \"Scully is the skeptic.\"", "Kendrick: \"Huh?\"", "Kate: \"Mulder is the believer. Scully is the skeptic.\"", "Kendrick scratches his head: \"Scully is the chick, right?\"", "Kate: \"Yes. - But she's not the one that wants to believe.\"", "Kendrick: \"And you wanna believe.\"", "Kate: \"Oh, I already believe. - That's the problem.\" Angel comes down with the box of doughnuts to see that his bed is empty and made. Looks around.", "Angel: \"Faith?\" Sees her leaning against the wall leading into the kitchen.", "Angel: \"Faith. - I have doughnuts.\" When Faith doesn't react he puts the box down on a chair and slowly walks closer.", "Angel: \"I understand what you're going through - and I want to help... but there are a few things you have to do. - First - I need you to give me that knife.\" Angel holds out his hand. Faith looks down at her hand. She is holding a big butcher knife. She slowly lifts it, hesitates for a moment, then hands it to Angel hilt first.", "Angel: \"You should be resting.\"", "Faith: \"I've been asleep for eight months. - You rest.\" Lilah walks into Lindsay's office.", "Lilah: \"We found her.\"", "Lindsay: \"Where?\"", "Lilah: \"She's with him.\"", "Lindsay: \"Is he dead?\"", "Lilah: \"Well, he is a vampire - so technically, yes, he is dead. But not by her hand. She is his house guest.\"", "Lindsay: \"What?\"", "Lilah: \"That's right. The reason our little assassin hasn't made good on her contract is she's roaming with the mark.\"", "Lindsay: \"We hired her to kill him.\"", "Lilah: \"I believe I covered that with the assassin part.\"", "Lindsay: \"And he ends up inviting her to spend the night.\"", "Lilah: \"I told you he wouldn't be easy. He can't be bought, and apparently he can't be killed - even by a vampire Slayer. - Rumor has it he used to actually date one.\"", "Lindsay: \"Who else knows about this?\"", "Lilah: \"No one outside of this room. - Not yet anyway.\"", "Lindsay: \"When word gets back to the senior partners this won't go well. We conspired with her, - paid her half up front, - and now she makes us look like fools. - So - question is - how are we gonna fix it?\" Lee, wearing a neck brace and his face swollen and black and blue: \"I say we kill her.\" Faith is sitting on Angel's bed. Buffy's voice echoes: \"Faith no!\" Flash to a picture of Faith staking Finch, then back to Faith's face. Flash on Finch's face, back to Faith. Flash to Finch's blood covered hands, and him staring up at Faith. \"You killed a man.\" Back to Faith. \"I don't care.\" Faith gets up and packs her backpack.", "Angel comes in: \"Faith.\" Faith just looks at him then goes back to packing.", "Angel: \"You're in no condition to leave here. You walk out that door now and you'll be running for the rest of your life - and my bet is - it'll be a pretty short run.\"", "Faith walks past him: \" You know what? It doesn't matter.\" Angel steps between her and the door: \"It does matter. It matters to me.\"", "Faith: \"Why are you doing this? Why are you being nice to me? Just - stop it. - You're gonna step aside or do we throw down? I mean, am I your prisoner here?\"", "Angel: \"No. You're not my prisoner.\"", "Faith: \"So I'm free.\"", "Angel: \"I don't know about that (slides the door behind him open) but the door is open.\" Faith walks past him.", "Angel: \"Where are you gonna go? Back out in that darkness? (Faith hesitates then keeps walking) I once told you that you didn't have to go out in that darkness. (Faith slowly comes to a stop her back to Angel) Remember? That it was your choice. Well, you chose. - You thought that you could just touch it. (Walks slowly closer) That you'd be okay. - 5x5, right, Faith? - But it swallowed you whole. - So tell me -(comes to stand behind her) - how did you like it?\" Faith turns and slugs him - hard. He doesn't retaliate, just slowly turns back to look at her. Faith stares for a moment then looks anywhere but at him.", "Faith hesitantly: \"Help me?\"", "Angel: \"Yeah.\" Night. Wesley is in a pub, drinking a beer and playing darts by himself. As he goes up to get his darts a dart flies close by his head to hit the bull's eye. Wesley turns and sees Weatherby sitting in his chair miming throwing the next dart at him. Collins and Smith (the other two members of the retrieval team the Council sent after Faith) come to stand next to his chair and Weatherby picks up Wesley's beer to mime a toast to Wesley.", "Collins: \"Hello Wesley.\" Wesley and the Council goons are sitting in a booth as waitress brings them more beer.", "Collins: \"So, Los Angeles.\" He gets ready to light a cigarette. Wesley looks at a no-smoking sign on the wall next to Collins. Collins looks at it as well then at Wesley.", "Wesley: \"California.\" Collins lights his cigarette.", "Collins: \"Who would have predicted this is where you'd end up.\"", "Wesley: \"Well, it seemed as good a place as any to - re-evaluate my situation after being asked to resign my position with the Council. - And the weather - I find it - dry.\"", "Weatherby: \"Wouldn't cough up the dosh for the airfare home, would they?\"", "Wesley: \"No, they wouldn't.\"", "Smith: \"All those alchemists on the board of directors and they still make us fly coach. Miserly bastards.\"", "Collins: \"A frugal lot, to be sure, but not stupid. And I think you'll find, willing to admit when they've made a mistake.\"", "Wesley: \"Made a mistake?\"", "Collins: \"How would you like to come home, Wesley? - Back to England with us.\"", "Wesley: \"Home.\"", "Collins: \"The Council is willing to reinstate you - return you to your rightful position as Watcher. - That was a nasty business back in Sunnydale, but - nobody blames you.\"", "Wesley: \"Really. Because I rather got the impression they did when they sacked me.\"", "Collins: \"As I said - mistake. (Nods at Smith, who hands Wesley an envelope) One that can now be corrected - with your help.\" Wesley opens the envelope and pulls out a picture of Faith.", "Collins: \"We know where she is - and we know you have access to her.\" Wesley closes the envelope back up and lays it down.", "Wesley: \"No. I couldn't possibly.\"", "Weatherby: \"Loyalty to a vampire now, is it?\" Collins gives Weatherby a look.", "Collins: \"It's alright. That's not why we're here. - A rogue Slayer, Wesley. Far more dangerous than any single vampire. Surely *you* understand that.\"", "Wesley: \"All too well.\"", "Collins: \"Then you'll help us?\"", "Wesley: \"Why come to me? You know where she is, why not take her yourselves? (The three goons refuse to look at Wesley) You three are the best - the Council's elite - - she cleaned your clocks, didn't she?\"", "Collins: \"She's betrayed our calling - Council - you. She has power and the willingness to use that power for evil. - She must be stopped.\" Faith is leaning on the Microwave in Angel's kitchen. The box of doughnuts is sitting on top of it still closed. Angel comes in.", "Faith: \"So, how does this - work?\"", "Angel: \"There is no real simple answer to that. - I won't lie to you and tell you that it'll be easy - because it won't be. - Just because you've decided to change doesn't mean that the world is ready for you to. - The truth is - no matter how much you suffer, no matter how many good deeds you do to try to make up for the past - you may never balance out the cosmic scale. - The only thing I can promise you is that you'll probably be haunted - and may be for the rest of your life.\"", "Faith indicates the Microwave: \"So how does *this* work?\" Angel blinks a couple times, then walks over to program it: \"Uh - power level, time, start. - Sure that popcorn is gonna be enough for you?\"", "Faith: \"Yeah. I can - live off the stuff. - Tell Cordelia I'll pay her back.\"", "Angel: \"Actually I think it belonged to Wesley.\"", "Faith: \"Oh, maybe we - just don't mention it then.\"", "Angel: \"Maybe we do.\"", "Faith: \"Are you saying I got to apologize?\"", "Angel: \"Think you can?\"", "Faith: \"I don't' know. - How do you say 'Gee, I'm really sorry tortured you I nearly to death?'\"", "Angel: \"Well, first off I think I'd leave off the 'Gee.' And secondly I think you have to ask yourself: are you?\"", "Faith: \"What?\"", "Angel: \"Sorry.\"", "Faith: \"And what if I *can't* say it? There are some things you can't just take back, no matter how sorry you *are*, right?\"", "Angel: \"Yeah, there are. I've got some experience in that area.\"", "Faith: \"Right. And you've been doing this for a hundred years! I'm not gonna make it through the next ten minutes.\"", "Angel: \"So make it through the next five, the next minute.\"", "Faith: \"I don't think I can.\"", "Angel: \"Yes, you can.\"", "Faith walks away: \"God, it hurts. I hate that it hurts like this.\"", "Angel follows her: \"Oh well, it's supposed to hurt. All that pain, all that suffering you caused is coming back on you. Feel it! Deal with it! Then maybe you've got a shot at being free.\" Faith lets out something between a laugh and a sob: \"I've got to be the first Slayer in history sponsored by a vampire.\"", "Angel: \"Yeah, well, I've got some experience in that area, too.\"", "Faith: \"Oh god. B - how am I ever going to make things right with her?\"", "Angel: \"Faith, this isn't about Buffy.\"", "Faith: \"All my life there was only one person that tried to be my friend, - went out of her way when I had no right or reason to expect her to - and I screwed her. Not to mention her boyfriend, only - him literally.\"", "Angel: \"Faith, you and I never actually...\"", "Faith: \"No, not you. The new one. (Angel stares for a moment then looks down) Oh, my god. - Angel, I'm so sorry I...\"", "Angel: \"No, there. You *can* say it. - That's good. (Turns away to leave) Good.\" Lilah is pouring coffee in Lindsay's office.", "Lindsay: \"We'd like to thank you for coming down on such short notice.\"", "Lilah: \"We trust we can rely on your professionalism.\"", "Lee: \"We've had some trouble with freelancers in the past.\"", "Lilah: \"Do you take cream? - No. All right.\" Lindsay holds out a picture of Faith: \"Here is the target.\"", "Lee: \"Don't let the picture fool you. She is tougher than she looks.\"", "Lindsay: \"We're not talking about anything elaborate - no slow - or painful death.\"", "Lee: \"Well, some pain would be good.\"", "Lindsay: \"The point is - do we want her dead?\"", "Lee: \"Yes. Dead - a lot.\" Lilah brings the tray she's been fixing over to the table.", "Lilah: \"Just so we're clear - we won't be putting any of this down on paper. This is strictly - a handshake deal.\" She sets a round silver bowl filled with gruel on the table.", "Lindsay: \"Not that it is necessary for you to have hands for us to do business with you.\"", "Lilah: \"That was species-ist of me. I apologize if I -(The creature sticks its head into the gruel and starts slurping it up with a growl) have offended you - in any way.\" The creature looks up. It has scraggily black hair, blue skin, a mouthful of fangs and four eyes. Collins pushes a folded napkin across the table to Wesley. Opens it to show a syringe laying on it. Wesley reaches to inspect it.", "Collins: \"Careful now. The sedative contained in that syringe is powerful enough to bring down a man twice your size - or a Slayer.\"", "Wesley: \"How's it work?\"", "Weatherby: \"How do you think? You *jab* her with it, don't you?\" Collins sighs and takes the cap of the syringe: \"Just a little pressure on the flesh - in moments she'll feel the effects.\"", "Wesley: \"So you intend to take her alive then.\"", "Collins: \"Of course. She'll be out long enough for us to secure her for transport back to England. There she'll begin her rehabilitation.\"", "Wesley: \"Does the Council *really* believe she can be rehabilitated?\"", "Collins: \"We have every confidence. - You'll signal us as soon as it's done - and we come in and take care of the rest.\" Waitress sets more beer on the table and Wesley covers the syringe with his hands.", "Collins to waitress: \"Thanks.\"", "Wesley: \"I have some conditions of my own. - Just one actually. - No harm must come to the vampire.\"", "Weatherby: \"Oh, don't be a ponce!\"", "Wesley pushes the syringe away: \"That's it. Unless you agree to that you won't get any help from me.\" Collins looks at Weatherby as he pushes the syringe back: \"We have no quarrel with the vampire.\"", "Weatherby: \"Unless you count the fact that he *is* a vampire!\"", "Wesley: \"He's a special case. He is reformed. - He has a soul. (The three goons look away from Wesley) In point of fact I've confronted more evil - slayed more demons (notices the waitress coming by and lowers his voice) slayed more demons - in short, done more good while working with Angel than I *ever* did while in the *Council's* employ.\"", "Collins: \"We'll make every effort.\"", "Wesley: \"No. Not every effort - no harm. I must have your word.\" Collins holds out his hand after a moment's hesitation: \"Done.\" They shake. Faith is eating popcorn while flicking through the channels on Angel's TV. Some thing scampers by behind her unnoticed. A wet and steaming Angel sticks his head out of the bathroom.", "Angel: \"Is everything okay in there?\"", "Faith: \"It was touch and go for the four minutes you left me alone, but somehow I got through it.\" Angel goes into his bedroom to finish dressing while the thing skitters along the ceiling above Faith. She changes the channel to a police report.", "Announcer: \"Los Angeles police in conjunction with Federal authorities are looking for this woman tonight, (Picture of Faith on the TV) a felony suspect from the California town of Sunnydale. (Faith reaches for her drink and spills it) The young woman...\" Angel hears the glass fall as he is putting on his shirt.", "Angel: \"Faith?\"", "Announcer: \"...has fled to Los Angeles in recent days.\" Angel coming into the living room: \"Faith.\"", "Announcer: \"Eyewitnesses identified her...\"", "Angel: \"What is it?\"", "Announcer: \"...as being involved in several recent assaults. Police want your help in finding her.\" Angel sees Faith's picture on the TV and crouches down beside her chair.", "Angel: \"Faith, it's ok, alright? We knew about this.\"", "Announcer: \"A press conference was held earlier.\"", "Angel: \"Nothing's changed, alright? Nothing's...\"", "Kate on the TV: \"Anyone with any information about the whereabouts of this subject should get in touch with law enforcement immediately. (Angel looks over at the TV) Do not approach her. She is violent and unpredictable. I'll take a few questions.\" Angel hits the power button on the remote.", "Angel: \"Listen to me Faith. You're safe here. You hear me? You're safe.\" The thing hanging on the ceiling picks that moment to drop down on top of them. It throws Angel off Faith, then tosses Faith onto the sofa, over turning it, when Angel comes right back at it. The thing tosses Angel towards Faith and he pushes her into the kitchen to get her out of harms way then takes a hold of an overhead beam and swings both feet into the things face. In the kitchen Faith grabs a hold of the big butcher knife and hurries back to the fight. Angel comes sliding past the opening to the kitchen. The thing is charging a slightly dazed Angel as Faith comes up behind it and stabs it with the butcher knife. A few blows later the thing lies dying in the floor. Faith is staring at the bloody knife in her hand as Angel picks himself up.", "Faith: \"No.\" She drops the knife and stares at her hands, gasping and shaking her head.", "Angel: \"Hey. Hey. Hey. Shh. Hey. (Leads her over to the day bed) Sit down. Shh. It's- it's okay. (Faith wraps her arms around Angel's neck, careful not to touch him with her bloody hands) Hey. It's gonna be okay. Okay? (Angel holds her) Shh. Alright.\" Angel looks over as he hears someone come down the stairs. It's Buffy.", "Angel gets up: \"Buffy. (Buttoning his shirt) I didn't know you...\"", "Buffy: \"What...\" Buffy looks from him to Faith still sitting on the day bed staring at her bloody hands, then back to Angel.", "Buffy: \"How... What are you doing?\"", "Angel: \"She - we were attacked.\"", "Buffy: \"We? - You and...\"", "Angel: \"Faith.\"", "Buffy: \"You and Faith.\"", "Angel: \"Oh, it's not what you think.\"", "Buffy: \"You actually think that I can form a thought right now? - Giles heard that - that she tried to kill you.\"", "Angel: \"That's true.\"", "Buffy: \"So you decided to punish her with a severe cuddling.\"", "Angel: \"Is that why you're here? To punish her?\"", "Buffy: \"I was worried about you.\"", "Faith: \"Buffy. (Buffy looks at her) Oh, god.\" Buffy walks closer to Faith who is cringing away form her.", "Buffy: \"You didn't think I was going to find you, did you?\"", "Angel: \"Buffy, let's talk.\"", "Buffy: \"Oh, I don't think talk is in order right now.\"", "Angel: \"She needs help.\" Buffy whips around to face Angel: \"Help? Do you have any idea what she did to me?\"", "Angel: \"Yes.\"", "Buffy: \"Do you care?\"", "Angel: \"She wants to change. She has a chance to...\"", "Buffy: \"No. No chance. Jail.\" Faith slowly gets up.", "Angel: \"You think that'll help?\"", "Faith: \"Buffy... (Buffy whips around to face her) I'm sor...\"", "Buffy: \"Apologize to me and I will beat you to death.\"", "Faith quietly: \"Go ahead.\" Angel steps in front of Faith: \"This is not gonna happen.\"", "Buffy: \"You're gonna stop me? Because you're gonna have to.\"", "Faith shakes her head: \"Don't - so this.\"", "Angel: \"Faith, go upstairs - now.\"", "Buffy: \"You think I'm gonna let her out of my sight?\"", "Angel: \"Buffy, just back off.\"", "Buffy: \"There is no way I'm letting her out of my sight.\"", "Angel: \"Faith, go!\" Faith goes up the stairs and Buffy moves to stop her.", "Buffy: \"Don't you move a...\" Angel catches her arm and she turns to punch him full in the face. She hauls back to hit him again, but Angel blocks her fist and hits her across the face in return. Angel steps back as Buffy stares at him with a hand over her mouth.", "Angel: \"I'm sorry. - I'm sorry.\" Faith opens the upstairs door and steps into Angel's office. Wesley comes in from the outer office as Faith stares down the stairs.", "Wesley: \"Faith? (Faith turns to look at him) Going somewhere?\" Faith turns to stare back down the stairs: \"No. Just wanted to be alone.\"", "Wesley comes closer: \"Angel downstairs?\"", "Faith: \"Yeah.\"", "Wesley: \"Right.\" Lindsay is pacing in an office at Wolfram and Harts with Lee sitting at the table. Lilah comes in.", "Lee gets up: \"Well?\"", "Lilah: \"Strike two.\"", "Lee: \"This is getting ridiculous. The first assassin kills the second assassin - sent to kill the first assassin, - who didn't assassinate anyone until we hired - the second assassin to assassinate the first assassin.\"", "Lindsay: \"Alright. This obviously isn't working.\"", "Lilah: \"You think?\"", "Lindsay: \"We've gone about this all wrong.\"", "Lee: \"Meaning?\"", "Lindsay: \"We're lawyers. It's a mistake for us to try to work outside the law.\"", "Lilah: \"He's being ironic.\"", "Lindsay: \"Not at all. It's time we moved this fight to our own turf. - I know what to do. - I'll take care of it.\"", "Angel: \"She's not gonna run, Buffy.\"", "Buffy: \"Well, why would she? When she has her brave knight to protect her? - Got you. - Does she cry? - Pouty lips - heaving bosom? - I thought you needed help.\"", "Angel: \"You think I wanted this to happen?", "Buffy: \"You hit me.\"", "Angel: \"Not to go all schoolyard on you, but you hit me first. In case you've forgotten - you're a little bit stronger than I am.\"", "Buffy: \"You did it for *her*.\"", "Angel: \"You were about three seconds - from making her run - you know that. She's at a crucial stage.\"", "Buffy: \"She's playing you. She tried to kill you!\"", "Angel: \"That was just - that was just a cry for help.\"", "Buffy: \"A cry for help is when you say 'help' in a loud voice.\"", "Angel: \"I know Faith did some bad things to you.\"", "Buffy: \"You can't possibly know.\"", "Angel: \"And you can't possibly know what she's going through.\"", "Buffy: \"And of course, you do? - I'm sorry. I can't be in your club. I never murdered anybody.\" Footsteps coming down the stairs.", "Angel: \"Faith, I told you...\" Wesley pushing Faith down the stairs in front of him: \"Slight change of plan. (To Faith) Get your coat.\"", "Angel: \"Wesley, what's going on?\"", "Wesley: \"In about twenty minutes the Council's operations team is coming in here. They'll expect to find you gone (holds up the syringe) and her drugged.\"", "Angel: \"How many?\"", "Wesley: \"Three. Hello Buffy. I'm afraid you've come at a bad time.\"", "Buffy: \"I'm feeling that.\"", "Angel: \"Why did you bring them here?\"", "Wesley: \"Couldn't shake them. Had to pretend I was helping them.\"", "Angel: \"Why aren't you?\"", "Buffy: \"I know these guys. They're killers.\"", "Wesley: \"They've surrounded the building.\"", "Angel: \"I'll check the sewers, if they're clear we all head out. Faith?\" They turn to look for her but she is gone.", "Wesley: \"She must have slipped out.\"", "Angel: \"She'd head for the roof. (Buffy turns to go, Angel moves to go after her) They may have it covered.\"", "Wesley stops him: \"We need a plan. Buffy can protect Faith.\" Angel turns towards the sewer entrance: \"I'm not sure that's her agenda.\"", "Wesley follows him: \"The sewers are still our best route.\"", "Angel: \"If they don't know about our access.\"", "Wesley: \"Angel, it wasn't for her.\"", "Angel: \"I know.\"", "Wesley: \"It's because I trust you. (Angel drops down into the sewers, Wesley follows) Well, more than three gun-toting maniacs at any rate.\"", "[SCENE_BREAK]", "Cut to the police department.", "Kate: \"Why should I listen to anything you have to say? I despise you - you and everything you represent. And when I say 'represent' and 'thing' - I *do* mean your clients.\"", "Lindsay: \"Well, be that as it may - I believe that I have some information that will be of interest to you. Because -while it is true that we differ on a great many issues - we do have one thing in common.\"", "Kate: \"Ah, our bodies are both 80% water?\" Lindsay lays a picture of Angel onto the table: \"An enemy.\"", "Kate: \"I don't know what you're talking about.\"", "Lindsay: \"No, of course you don't. And we can't be completely clear because - the law isn't clear on these matters, is it? I mean take for example - those creatures that murdered your father. - They could never have been brought to any kind of traditional justice, even if the *had* survived. - And personally - I feel that you were totally justified in taking whatever - extra legal - measures you found necessary.\"", "Kate: \"What do you want?\"", "Lindsay: \"There are beings, detective. Beings that aren't governed by the laws and strictures that we as humans have devised. (Points at Angel's picture) This man is such a being. He feels he is above the law - which is why he - gives aid and comfort to a know murderer. (Gets ready to leave) The woman you're looking for? - She's with him.\" Buffy comes out on the roof to see Faith standing there. We can hear a helicopter flying in the background.", "Buffy: \"You're not gonna run, Faith.\"", "Faith: \"What do you wanna do? You're gonna throw me off the roof -again?\"", "Buffy: \"Any reason why I shouldn't?\" Faith turns to look at Buffy: \"There is nothing I can do for you, B. I can't ever make it right.\"", "Buffy: \"So you're just going to take off again. Leave us to clean up yet another one of your messes.\"", "Faith: \"It would make things easier for you.\"", "Buffy: \"Till you got bored with the whole guilt thing - decided to come back to shake things up?\"", "Faith: \"That's not gonna happen.\"", "Buffy: \"You're right. It's not.\"", "Faith: \"Angel said there was no way you were gonna give me a chance.\"", "Buffy: \"I gave you every chance! I tried so hard to help you, and you spat on me. My life was just something for you to play with. Angel - Riley - anything that you could take from me - you took. I've lost battles before - but nobody else has -ever- made me a victim.\"", "Faith: \"And you can't stand that. You're all about control. You have no idea what it's like on the other side! Where nothing's in control, nothing makes sense! There is just pain and hate and nothing you do means anything. You can't even..\"", "Buffy: \"Shut up!\"", "Faith: \"Just tell me how to make it better.\" The door to the roof bursts open and Collins steps through, machinegun in hand. Buffy tackles Faith to safety as Collins opens fire. Angel and Wesley, standing next to the sewer entrance in his apartment, hear the shots.", "Angel: \"That's coming from the roof.\" Just then Weatherby comes in shooting at them with his machine gun. Angel and Wesley take cover.", "Wesley: \"I didn't give you the signal.\"", "Weatherby: \"Shut it. (Smiles at Angel as he lifts a loaded crossbow) Vampire.\"", "Buffy: \"I think we can make it to the other building.\"", "Faith: \"Go.\"", "Buffy: \"Now.\" They run but before they reach the edge a black helicopter comes to hover in front of them. Smith is in the open door, machinegun in hand. Buffy and Faith run to hide behind a skylight. Collins has to reload and Buffy and Faith change skylights.", "Wesley: \"Weatherby, listen to reason.\"", "Weatherby: \"Reason. A Watcher working for a vampire. It's perversion.\"", "Buffy: \"I have to take this guy out. The guy with the gun up there will go for me. You stay here.\"", "Faith: \"Okay.\" Buffy lunges over the skylight and tackles Collins. They fight with Smith unable to shoot without hitting Collins.", "Smith to pilot: \"Try and keep her steady.\"", "Wesley: \"Weatherby...\"", "Weatherby: \"Do the sacred oaths you swore as a Watcher mean nothing to you now?\"", "Wesley: \"As a matter of fact they do. I swore to protect the innocent. (To Angel) Get to the roof. Help them.\"", "Angel: \"What?\"", "Wesley: \"Now!\" Angel runs for the stairs while Weatherby drops the crossbow and shoots at Wesley as he runs for the cover of another pillar.", "Wealtherby: \"b*st*rd!\" Buffy is fighting Collins. Wesley takes the cap from the syringe and throws it like a dart. It hits Weatherby in the side of the neck and he drops his gun.", "Wesley with a smile: \"180.\" Weatherby pulls the needle out. While he stands there swaying Wesley walks up to him and knocks him out with a right cross.", "Wesley: \"That's for calling me a ponce.\" Angel is running up the stairs to the roof. Buffy and Collins are still fighting. Angel sees the helicopters spotlight through the milky Skylight above the top landing. Buffy knocks Collins down and turns to face the helicopter just as Angel comes shooting through the skylight, catching it's left rung with his arms. He reaches up and pulls Smith out of the door. Smith lands at Buffy's feet, while Angel climbs up to stand on the rung. Angel, in vamp face to the pilot: \"Down! Take it down.\" Buffy watches the helicopter leave then turns around.", "Buffy: \"Faith.'\" But Faith is nowhere to be seen. A bunch of police cars drive up with lights and sirens as the helicopter sets down.", "Kate: \"Where is she? - You got one shot here Angel, where is she?\" Angel just looks at her.", "Kate: \"Arrest him. Start with aiding and abetting a wanted felon.\" The cops cuff Angel and lead him away. Wesley and Buffy arrive at the police station in Angel's car.", "Kate: \"I think you're gonna like the cell we have for you, Angel. It faces east. It'll give you a great view of the sunrise in about four hours.\"", "Buffy walking behind them: \"What?\"", "Angel: \"It's okay.\"", "Buffy: \"You know what he is.\"", "Kate: \"Who are you?\"", "Angel: \"She is nobody.\" Buffy steps between Angel and Kate as the reach they reach her desk.", "Buffy: \"Wait. This is murder.\"", "Angel: \"Buffy, it's alright.\"", "Buffy: \"It is *not* alright.\"", "Kate: \"Get her out of here!\" Buffy pushes the cop off her: \"You are not taking the fall for her, Angel.\"", "Kate: \"OUT!\" Angel looks over and sees Faith sitting at another desk with her back to them.", "Angel: \"Buffy.\" Everyone in their group turns to look. A cop tries to pull Angel away and Buffy pushes his arm away. Faith looks over her shoulder at them and slowly stands up as Kate walks over to her.", "Faith: \"I'd like to make a confession.\" Buffy and Angel are standing alone in the hallway of the police station.", "Buffy: \"You should have told me what was going on.\"", "Angel: \"I didn't - I didn't think it was your business.\"", "Buffy: \"Not my business?\"", "Angel: \"I needed more time with Faith. I'm not sure..\"", "Buffy: \"You needed - Do you have any - idea what it was like for me to see you with her? That you went behind my back...\"", "Angel: \"Buffy, this wasn't about you! This was about saving somebody's soul. That's what I do here, and you're not a part of it. - That was your idea, remember? We stay away from each other.\"", "Buffy: \"I came here because you were in danger.\"", "Angel: \"I'm in danger every day. You came because of Faith. You were looking for vengeance.\"", "Buffy: \"I have a right to it.\"", "Angel: \"Not in my city.\" Buffy turns away for a moment then turns back.", "Buffy: \"I have someone in my life now. (Angel looks away from her but otherwise doesn't move) That I love. (Angel swallows hard) It's not what you and I had. - It's very new. (She steps closer) You know what makes it new? - I trust him. - I know him.\" Angel lets out a sharp breath: \"That's great. - It's nice - you moved on. - I can't. You found someone new. - I'm not allowed to, remember? I see you again it cuts me up inside and the person I share that with is me! You don't know me anymore. So don't come down here with your great new life and *expect* me to do things your way. - Go home!\" Buffy looks at him for a moment then goes to pick up her jacket, while Angel walks over to the wall and braces his hands against it.", "Buffy: \"See? - Faith wins again.\"", "Angel without looking at her: \"Go.\" Buffy goes. After a moment Angel slams his hands against the wall and sighs.", "Wesley: \"You all right?'", "Angel: \"For a taciturn, shadowy guy - I've got a big mouth.\"", "Wesley: \"Did you want to go after her?\"", "Angel: \"Yes.\"", "Wesley: \"I don't know how much my opinion counts for, but - I think you did the right thing.\"", "Angel: \"Yelling at Buffy?\"", "Wesley: \"No. - The other thing.\"", "Angel shakes his head: \"I didn't do it. - Faith did.\" We see Faith sitting alone in a jail cell, leaning back against the wall.", "Wesley voice over: \"I hope she is strong enough to make it. - Peace is not an easy thing to find.\" Blend into a close-up of Faith's face.", "Angel v.o.: \"She has a chance.\" Faith closes her eyes." ]

[ "A case sends Angel into a rough part of town. While he's there he meets up with a young group of vampire hunters, headed by a guy name Gunn. Angel is concerned that the kids are in over their heads as they battle vamps. He tries to help them, but they aren't willing to believe that he's one of the White Hats. Gunn and his friends are soon in big trouble and it's up to the gang from Angel Inc. to lend a hand before it's too late." ]

[ "A black teenaged girl is walking down an alley in a bad part of town looking scared. She looks over her shoulder from time to time as she speeds up. She is being pursued by three vampires. She comes to a dead end and turns to face the vampires. Steps and the sound of a car sound behind the vampires. One of them turns.", "Vampire: \"You.\" Camera pans up from a pair of black shoes, black pants, a sword, long black coat, to the face of a black teenaged boy wearing a black bandana.", "Gunn: \"You expecting somebody else?\" A pick-up truck with more armed teenagers pulls up behind him and another teenager with a loaded crossbow steps up beside him. Credits. Cordelia, Wesley and Angel walk into a big Hollywood party going on at someone's house.", "Cordelia: \"Oh, I miss that smell!\"", "Wesley: \"Camembert, I believe.\"", "Cordelia: \"What? No - money - I like the smell of a little money once in a while.\"", "Angel: \"She's not just saying that. Hide some in the office sometime to watch her. It's uncanny.\"", "Cordelia: \"Oh, there he is.\" Points to a guy in a plaid shirt, sitting by himself.", "Cordelia: \"Mr. Nabbit, hi!\"", "Nabbit gets up: \"Hi.\"", "Cordelia as they shake hands: \"Hi.\"", "Nabbit: \"Glad you could come.\"", "Cordy: \"Thanks.\"", "Angel: \"Thanks for having us.\"", "Nabbit: \"It's a pleasure. - Who are you?\"", "Cordy: \"Oh. I'm Cordelia Chase? We spoke on the phone?\" Nabbit holds out his hand to shake again: \"Oh! Right! (They shake again) So - so you - you must be - Angel.\"", "Angel shakes his hand: \"Yes. Pleased to meet you. And this is Wesley, my associate.\"", "Wesley: \"Lovely party.\"", "Nabbit: \"Isn't it nice?\"", "Cordelia: \"Oh my god, is that Welling Harding?\"", "Nabbit: \"I - I - I have no idea. I don't know most of - these people. I - I don't even talk to them. They come to the party. I - I think they have fun. (Offers them some appetizers) These are crab.\"", "Angel: \"If this is a bad time we...\"", "Nabbit: \"Oh, uhm, Miss Chase said that you could - only meet at night.\"", "Angel: \"Yeah, it's more convenient...\"", "Nabbit: \"And - and that we'd be less conspicuous during the party. (Angel looks at Cordy and she gives him a big grin and shrug before turning away) I mean, I think it's good! We probably won't be interrupted. - Well, I-I've always said that I would make a billion dollars in the Software market and, uh, learn to talk to girls. - Still working on step two.\"", "Angel: \"So, why don't you tell us about your case?\"", "Nabbit: \"Oh. (They sit down on the sofa) Ah, my case. - It, uh, somewhat has to do with - black - mail.\"", "Angel: \"Go on.\"", "Nabbit: \"Are you familiar with Dungeons and Dragons?\"", "Angel: \"Yeah. I've seen a few.\"", "Wesley: \"You mean the - ah, role playing game.\"", "Angel looks up at Wesley: \"Oh - game. - Right.\"", "Nabbit: \"Well, I used to play a lot in High School. You know, it was pretty cool. You get to be someone else for a while, a wizard, a warrior, you know, the whole world is magic, and fighting Troglodytes and romancing exotic - demon princesses and - you know, it's a rush!\"", "Cordelia: \"Did someone find out you were a big nerd?\"", "Nabbit chuckling: \"No that's - ah, that's actually public record. But - ah - some of us got *really* into it. Uh - specially the demon romance part. And then we heard about this place - where - the real... The guys were joking about getting some tail.\"", "Wesley: \"You went to Madam Dorion's.\"", "Nabbit: \"J-j-just once.\" Angel looks up at Wesley.", "Wesley: \"It's a demon brothel.\"", "Nabbit: \"Or twice.\"", "Wesley: \"In Bel Air, I believe. The Watchers Council is *ripe* with stories about it.\"", "Angel: \"Ah - and how many...\"", "Nabbit: \"Twelve - times.\"", "Angel: \"...people knew about you going?\"", "Nabbit: \"Oh - ah, just my-my friends, but ah - (hands Angel a picture) but my security guys already identified the guy with the - pictures. That's Lenny Edwards but - I just can't find him.\" Angel puts the picture of a smoking bald guy in jacket and gets up.", "Angel: \"Well, we'll see if we can do better.\"", "Nabbit: \"If - if my stockholders see these pictures...\"", "Angel: \"They won't.\"", "Cordy: \"Don't worry. We are incredibly discreet. We'll - ah mingle here for a few hours, so no one suspects.\"", "Girl as she walks by: \"Hey, David.\"", "Nabbit: \"Oh, hey. Nice-nice seeing you again. Yeah. (Shrugs to the guys) I have no idea. - When I moved to LA I thought it was all glamour and valet parking - but there is a *whole* world here that no one ever sees.\"", "Angel: \"More than one.\" Back in that dead end alley the group of teens are fighting the vampires, and actually doing some damage by the stint of sheer numbers and co-operation. One vamp gets nailed by a stake gun mounted on the pick-up truck as he is about to kill one of the boys. Another one, fighting against five teens, gets beheaded by Gunn. The guy with the stake gun nails another vamp that is lunges at him in mid air, then starts kicking the gun (jammed?). A vamp breaks one of the boys necks then runs, while a fifth gets staked behind him. The vamp jumps on the truck and kicks the gunner as Alonna yells a warning.", "Alonna: \"Bobby! Bobby!\" The vamp and Bobby fight, as the vamp is about to kill the boy Alonna attacks him with her pike. Gunn comes running, too, and the vamp takes off, with others (not sure if they are vamps or teens) running after. One of the teens aims a crossbow after them, but Gunn pushes it down.", "Gunn: \"No, no, no. (points after the vamp) Dog him.\" Alonna is trying to lift Bobby, who is hanging head down over the side of the truck.", "Alonna: \"Gunn, come on. Come on.\" Gunn helps her and they get Bobby into the bed of the truck.", "Gunn to the driver: \"Go!\" Truck drives off. They stop in front of a deserted building. Alonna and Gunn help Bobby inside while the others cover the truck with a tarp then follow.", "Gunn: \"Alright. Here you go. I got you. Alright, you're gonna make it, man. Come on - two more. Easy - easy.\"", "Alonna: \"Right down here.\" They ease Bobby to the ground.", "Bobby: \"Hey, Gunn.\"", "Gunn: \"Right here man.\"", "Bobby: \"He picked me up like I was a baby.\"", "Gunn: \"He's dust, Bobby, forget about him.\"", "Bobby: \"I'm not a baby.\"", "Alonna: \"He needs a doctor.\" Bobby stops moving.", "Gunn: \"Not any more.\"", "Gunn gets up: \"James - how are we fixed for tonight?\"", "James: \"Beck and me lifted some canned stuff. Wasn't much in the bins behind Mel's - and we got that (motions towards three other teens) I told them we don't take squatters.\"", "Gunn: \"Everybody eats.\" Angel is walking in to Madam Dorion's. There are all types of demon girls sitting with customers (one of them looks like one of Jhiera's girls). Madam Dorion intercepts Angel as he walks deeper into the establishment.", "Madam: \"We don't do vampires. Sorry.\"", "Angel: \"I just came to talk.\"", "Madam: \"We don't do that either.\"", "Angel shows her the picture: \"His name is Lenny Edwards. You know him?\" Madam leading Angel towards the exit: \"Even if I did, I wouldn't tell you.\"", "Angel: \"You're discreet. That's good.\"", "Madam: \"Essential in my line of work.\"", "Angel: \"How discreet would you say it is for one of your clients to be secretly photographed here - and then blackmailed?\"", "Madam: What?\"", "Angel: \"Bad for business, I guess. You tell me where I can find Lenny Edwards and maybe I just might stop this before word hits the street.\"", "Madam: \"Who is the girl?\"", "Angel: \"I don't know. But the clients name is David Nabbit.\"", "Madam: \"Lina! (A girl with quills for hair comes over) Talk to Lina.\" Lina runs a hand over Angel's chest: \"Oh, he's a pretty one.\"", "Madam: \"He's a vampire, Lina.\"", "Lina: \"Really? Well, we can make an exception. Just don't do - that face thing, and we'll get along great. (She turns around to face Madam Dorian holding up her hands) Look, ma, no hands!\" Angel looks down, lets out a breath and catches the girls tail in one hand.", "Madam: \"That's not why he's here, Lina.\" Angel sighs and holds out the picture: \"I'm looking for him? (Lina sighs) - I think your boss here would like you to co-operate.\" Lina looks at her boss then back at Angel.", "Lina: \"Vampires.\" The kids hideout. Alonna crouches down beside a guy.", "Alonna: \"See my brother?\" Guy points to where Gunn is coming down the stairs.", "Alonna: \"Gunn, we need to talk.\"", "Gunn: \"Yeah, what of?\"", "Alonna: \"What happened to Bobby...\"", "Gunn: \"No! No. We don't talk about that. That's done.\"", "Alonna: \"We're dying here, Gunn.\"", "Gunn: \"Everybody dies. I'm just trying to make sure that when we die, we stay dead.\"", "Alonna: \"It shouldn't have gone down the way it did. You're getting reckless.\"", "Gunn: \"I do what I got to do.\"", "Alonna: \"No, you do more than you got to do. Three weeks, G. Three weeks and no teeth and you had to ring the dinner bell like that? You just couldn't go another day without getting a little death in, could you?\"", "Gunn: \"You think I like this?\"", "Alonna: \"No, I think you love it. And you won't quit until you get as close to death as you possibly can.\"", "Gunn: \"You're wrong.\"", "Alonna: \"I hope so. - Because I don't want to lose you, too.\"", "Gunn takes her hand: \"Hey. That's not gonna happen little sister. - All right? It's never gonna happen.\" Kisses her on the forehead. Gunn sees two guys come down the stairs.", "Gunn: \"Yo, Chain! You found them?\"", "Chain: \"Dead boy led me right to its nest. It's close - practically right around the corner.\"", "Gunn: \"Nice.\"", "Chain: \"Four blocks - right next to the old Blue Jean factory.\"", "Gunn shakes his hand: \"All right. Cool. Now we got a chance to do some real damage.\" Guy hurries down the stairs, loaded crossbow in hand.", "Guy: \"Incoming! Moving this way fast. Jumping roof top to roof top.\"", "Gunn to Chain: \"You were followed?\"", "Chain: \"No way.\"", "Gunn: \"Let's check it out.\" They all head up the stairs. Lenny is about to get in his car when Angel comes up behind him.", "Lenny: \"What do you want?\"", "Angel: \"Big question. What do I want? (Thinks) Love - family - a place on this planet I can call my own - but you know what?\"", "Lenny: \"What?\"", "Angel: \"I'm never going to have any of those things. - And unless these next few minutes go exactly the way I want them to, neither are you. - Where are the pictures of David Nabbit?\"", "Lenny: \"Never heard of him.\"", "Angel: \"Oh-ho, you only get one lie. I probably should have mentioned that first.\" Lenny pats Angel on the shoulder: \"Look, pal, you obviously not form around here. (Gunn and his gang come up to watch from behind some iron bars) But trust me - you do *not* want to see my bad side.\"", "Angel: \"You show me yours (vamps out) I show you mine. (Grabs Lenny and pushes him up against the car) Okay, so now I'm from around here. In fact, I'm moving in. Taking over, you understand me? I will dog you every night for the rest of your very short life until you bring me what I want. Are we clear? (Lenny nods frantically) Yeah. See you tomorrow.\" Angel gives Lenny a last shove. Lenny turns to unlock his car door, then looks back. Angel is gone. Lenny gets in the car and drives off.", "Chain: \"Vampire is moving in, huh?\"", "Gunn nods: \"Yeah. Well, he ain't gonna stay too long.\" Wesley and Cordelia are standing in front of David Nabbit while he writes out a check.", "Nabbit: \"Ah. This should take care of your expenses to date. I want you to know I really appreciate what you did at the party.\"", "Wesley: \"At the party? (Nabbit nods and Wesley and Cordy look at each other) What we did at the party?\"", "Cordy: \"It was a wonderful party.\"", "Nabbit: \"We talked. We had some good times. It meant a lot to me.\"", "Cordy: \"Oh.\"", "Wesley: \"Yes, but - you were paying us to be there.\"", "Nabbit: \"I do that all the time. But you guys actually hung with me. It was - it was special.\" He holds the check out to Wesley, but Cordy grabs it.", "Cordy: \"I'm in charge of the...\" She sees the amount of the check and, speechless, shows it to Wesley.", "Wesley: \"Good Lord. I think there must be some mistake.\"", "Cordy: \"I'm sure Mr. Nabbit knows how to write a check.\"", "Nabbit: \"No, there is no mistake. I just - believe in rewarding good work.\"", "Wesley: \"This is amazingly generous, Mr. Nabbit, but - we are really not finished with the job.\"", "Nabbit: \"It's only money, and I got sack-fulls, and it's - it's David. You guys call me David, okay?\"", "Cordy: \"I like David. It's such a - strong, masculine name. (Nabbit grins at her) It just feels - good in your mouth.\"", "Wesley: \"Well, - David, you won't be disappointed. We'll earn every cent of your generous confidence in our firm.\"", "Cordy: \"Bye.\"", "Nabbit: \"Bye.\" Wesley as he leads Cordy out: \"Feels good in your mouth?\"", "Cordy: \"I was flustered!\" Lenny is sitting on the hood of his car holding a brown manila envelope in his hands, looking around. Suddenly Angel is there.", "Lenny: \"You're a sneaky son of a bitch, aren't you?\"", "Angel: \"You brought the photographs?\"", "Lenny holds up the envelope: \"Of course I brought them - and a little something extra.\" A gray skinned demon appears next to Angel and hits him hard enough that he flies a few feet backwards through the air.", "Lenny: \"Love that.\" Angel and the demon fight. The demon is at least as strong as Angel.", "Lenny: \"What ever he's paying you isn't enough, is it, big fellow?\" During the fight Angel crashes into Lenny, making him drop the envelope. Angel picks it up and puts it inside his coat, then swings around a lamp post and continues to fight the demon. At the end he manages to break the demon's neck. While Angel catches himself on the ground, coughing, trying to recover from the fight, Lenny runs off. A stake impales Angel through his left shoulder, poking out the front. Grabbing a hold of it Angel looks back to see Gunn's gang with their pick-up truck and stake gun. He gets up, pulling out the stake and runs with the truck in close pursuit.", "Gunn: \"Get him!\" Angel keeps zigzagging and tossing trashcans and other stuff in front of the truck to make it swerve and mess up the gunner aim as he runs down the street. He rolls underneath a partially open warehouse door and gets up to lean against it, panting. The wooden rams mounted on the hood of the truck come through the door, just missing him. Angel runs deeper into the warehouse stumbling against some boxes. He steps on a plate on the floor. A pallet with stakes mounted to the bottom drops from the ceiling and Angel rolls to avoid getting impaled. A guy with a stake in hand jumps him from behind. Angel grabs his up raised hands and after a short struggle tosses him over his head onto the floor in front of him. The guy sees the stake coming for his own heart and freezes in fear. Angel takes a breath, drops the stake and runs on, the guy staring after him in surprise. Angel runs through a trip wire and triggers some crossbows as he runs down a hallway but Angel manages to dodge the quarrels. The gang attacks him from all sides and after tossing a couple around Angel grabs a hold of Alonna and uses her as a shield.", "Gunn: \"Alonna! - Don't shoot.\"", "Angel: \"What are you people playing at?\"", "Gunn: \"We're not playing.\"", "Angel: \"You're gonna get yourselves killed.\"", "Gunn: \"We're gonna get *you* killed first!\"", "Chain: \"Let's dust him.\" Angel looks at them for a moment then tosses Alonna aside. Alonna falls into a trip-cord and a crossbow goes off. Angel reaches out and intercepts the quarrel headed for Alonna with the palm of his hand. Everybody stares.", "Angel: \"Ow! - You know, for some reason I'm getting the impression you don't like me too much! (Pulls the quarrel out of his hand) Maybe I'm just over-reacting.\"", "Gunn: \"What? You're gonna pretend that you're different from the rest of them?\"", "Angel: \"Yeah. And then I just pretend that I just saved her life. - You put a lot of work into this. Some clever stuff really. I'm impressed - but I have a few suggestions.\"", "Gunn: \"I don't think we're interested.\"", "Angel: \"Yeah. You should be. Who do you think that would have killed? We are fighting on the same side.\"", "Chain: \"The same side of what?\"", "Angel: \"I didn't come here to kill you.\" Gunn lowers his crossbow and steps closer: \"It don't matter why you're here, or what you are. If you ever show your face down here again, don't count on any long good-byes.\" The gang leaves and Angel sinks down on top of a barrel, wincing from the pain in his side. Wesley is taking the pictures the Angel recovered over to where Cordy is bandaging Angel's shoulder and middle.", "Wesley: \"That's very nice work. I'm sure Nabbit will be greatly relieved to get these back. (Sits down next to Angel on the edge of the desk, looking at one of the pictures) Oh my.\"", "Angel: \"It's upside down.\" Wesley turns the picture around and they both look at it as Cordy puts the last piece of tape in place.", "Wesley: \"Certainly not something one would want framed.\"", "Cordy: \"How does it feel?\"", "Wesley: \"I can't possibly imagine it's pleasant.\"", "Angel: \"Ew.\"", "Cordy: \"I'm talking to Angel.\" Angel and Wesley look at her.", "Wesley: \"Oh, right. Sorry.\"", "Angel gets up: \"It feels (Winces as he pulls on his shirt) it feels better.\"", "Cordy: \"You should rest. You look like...\"", "Angel: \"Like I've been beaten and stabbed?\"", "Cordy: \"Want to see the check again?\"", "Angel: \"I want to find those kids. I don't think any of them have homes. They're probably living together somewhere.\"", "Wesley: \"How many are there?\"", "Angel: \"I'm not sure. 6, 7, maybe more? A couple of them couldn't have been more than 16.\"", "Cordy: \"God. 20 minutes ride from billionaires and crab puffs - kids going to war.\"", "Angel: \"This isn't something they just started doing. I mean, they were ready. They've been pushed to this.\"", "Wesley: \"In which case I can certainly understand their - stake first and ask questions later state of mind. It's how they survive.\"", "Cordy: \"And the idea of a - vampire in a white hat probably seems a little - give me a breaky?\"", "Angel: \"They're in over their heads. They're going to get themselves killed. If they're hunting vampires there has to be a nest in the area. Wesley, I want you to find out where those kids live.\"", "Wesley: \"Consider it done.\"", "Angel: \"I'm gonna find that nest - before they do. - It'll have to be close - probably in a 10 block area (winces in pain as he pulls on his coat) and it'll have to be a building with sewer access. (Steps into the elevator, still clearly hurting. Turns back) Can I just see that check again?\"", "[SCENE_BREAK]", "Cut to the vampire nest and their balding lead-vamp talking.", "Knox: \"Street trash - that's what they are. Just stupid, human street trash. For 70 years we ruled this neighborhood. It was our neighborhood. Used to be decent people lived here - working people. And now? - You can't even finish one without wanting to puke! - And whose fault is it? Hmm? Theirs? - I don't think so. - It's our fault. We let this happen. We got lazy. We dropped our guard. (Turns to the vamp that ran from Gunn's gang) Ty, you've been lured into an ambush before? (Ty shakes his head) Of course not. - Ty has been around for almost as long as me. He's survived, like me, because he's smart. (Claps Ty on the shoulder) But they did this to him - and that means that they could do it to any-one of us. And why? Because this street trash (pulls out a stake) ain't afraid to go for the heart. (Dusts Ty) And now that's what we're gonna do. No more picking them off one by one. We concentrate on the heart. Take the heart and the rest will fall.\"", "Cut to the kids hide-out.", "Chain: \"I don't want to hear this.\"", "Alonna: \"I'm saying he could be useful.\"", "Chain: \"Gunn, don't even listen to her.\"", "Alonna: \"You know there is something different about him. I'm just saying, he knows stuff that we don't and he didn't have to do what he did.\"", "Chain: \"And if he hadn't, he would have been dead.\"", "Gunn: \"Maybe.\"", "Chain: \"No maybe. We would have killed him.\"", "Gunn: \"The guy bugs me, Alonna.'", "Alonna: \"Everybody bugs you.\"", "Gunn: \"You bug me the most.\"", "Alonna: \"What? - I'm trying to keep you alive. I'm not saying, trust him.\"", "Gunn: \"It just don't play. I mean, if he's not looking to kill, what's he want? And why the hell would he come to a place like this?\" Angel is walking into the deserted vampire nest, carrying a stake in his right hand. There is a vampire hiding on the pipes running along the ceiling. The vampire drops down, but Angel just casually steps to one side then pulls the vamp up off the floor and slams him against the wall.", "Angel: \"Where are they?\" Alonna is walking up to Gunn, who is working on some type of machinery.", "Alonna: \"Hey. I got some food.\"", "Gunn: \"I'm not hungry.\"", "Alonna: \"Not hungry? When's the last time you ate?\"", "Gunn: \"Oh, seems like just yesterday.\"", "Alonna: \"Well, Poe went to the market.\"", "Gunn: \"Alone?\"", "Alonna: \"No, Jason had his back. They got away clean.\"", "Gunn: \"Oh, yeah, like last time?\"", "Alonna: \"No, no cops this time, no chase. (Offers him some bread) Come on, you eat this. (Gunn shakes his head) Well, they got some other stuff. They got - ah, hamburger, and some apples and lots of other stuff. (Gunn stops working to listen to something) Looks like we're gonna have a home cooked meal tonight. (Notices Gunn's attention is off her) What?\"", "Gunn gets up: \"Get everybody out.\"", "Alonna: \"What is it?\"", "Gunn: \"Just do it! Now!\" Alonna starts to yell at the others to get going as Gunn picks up a sword and a smoke grenade flies through a narrow window under the ceiling.", "Gunn: \"Get everybody outside - into the daylight. Do it.\"", "Guy: \"They are coming in? Don't they have to be invited?\"", "Gunn: \"Chain!\" Chain comes to stand beside him: \"Cops?\"", "Gunn: \"I don't know.\"", "Chain: \"Are they in? - Where are they?\" Alonna to the kids running up the stairs: \"Go! Go! Go!\"", "Chain: \"I don't see nothing. - There is nothing.\"", "Gunn: \"Oh god. - Alonna!\" They run up the stairs after the others.", "Gunn: \"Alonna!\" As Alonna drops over the railing to the floor of the alley a van pulls up. A heavily swaddled guy wearing a gas mask jumps out and grabs her.", "Gunn: \"Alonna!\"", "Alonna: \"No! Help! Help! No. Gunn!\" Alonna is dragged into the back of the van and the doors slammed shut just as Gunn gets there. He runs after the van as it drives off and jumps onto the back bumper. He gets a view of two vampires snacking on his screaming sister in the back of the van. One of the vamps looks up and puts his fist through the back window, knocking Gunn of the van. Wesley and Cordelia are cruising the neighborhood in Angel's convertible.", "Cordy: \"You know - there is nothing like riding in a convertible - with the top down to make you see the sun and the sand (Wesley stops the car and scans the area through a pair of binoculars) Mmm - smell that salt air!\"", "Wesley: \"That's not salt.\"", "Cordy: \"I don't think it's *air* either, - but reality is a choice, Wesley. You see what you wanna see and I see what I wanna see.\"", "Wesley: \"A man exiting an alley pushing a shopping cart.\" Cordy leaning back with her eyes closed: \"No - I see a very tan life-guard type with large...\"", "Wesley: \"No, over there. (Cordy looks) These kids must have got electricity into their building. They might have tapped into one of the power lines and run it illegally. If I could spot the tap, that would tell us where their hide-out is. You go ask this gentleman if he's seen anyone that fits the description of our young vampire killers, while I check the power line for any taps.\"", "Cordy: \"Uh, why don't you ask him and I check for taps?\"", "Wesley: \"Because - you can imagine him as a scantily clad, buff, young stud, while I am stuck with the naked truth.\" Angel grabs one of the kids on guard (James) in a hallway to their hideout.", "Angel: \"Ask me in.\" The gang is gearing up for a fight. Angel comes in pushing James into the room in front of him.", "Angel: \"You are going to get a lot of people killed.' Gunn looks at the kid that was on guard.", "James: \"I suck, okay?\"", "Gunn to Angel: \"You don't want to be here.\"", "Angel: \"Going after them is what they expect you to do.\"", "Gunn: \"I don't need advice from some middle- class white dude, that's dead! You don't know what my life is. You have no idea what it's like down here.\"", "Angel: \"Some of you will die, maybe all of you.\" Chain with a flame-thrower strapped to his back: \"People die all the time - some just for talking too much.\"", "Gunn: \"We're done.\"", "Angel: \"Look, I can help you. Unless, of course, death is what you're after - then you're on your own.\"", "Gunn: \"I'm always on my own.\"", "Angel: \"It doesn't have to be that way. Why can't we do this together?\" Gunn pulls a rope attached to the tarp covering the window, and while Angel shies away from the direct sunlight he pushes Angel into an old meat locker.", "Gunn: \"You figure it out.\" He slams the door shut. Angel bangs against it but it doesn't budge.", "Gunn to the other kids: \"Let's go.\" It's dark by the time the truck pulls up in front of the vampire nest.", "Gunn: \"Hold up. Give me 10 minutes to check it out.\"", "Chain: \"What if you're not back in 10?\"", "Gunn: \"Come on down and kill anything that moves.\" Gunn slowly walks down into the lair, stake held in his right hand. He stops in the middle of a big room as he hears Alonna humming.", "Gunn: \"Alonna?\"", "Alonna: \"Hey, big brother. (Gunn lets out a relieved sigh as Alonna comes out) What took you so long?\" Gunn walks up to her smiling: \"You're not... (Stares at her unblemished neck and starts to frown) dead.\"", "Alonna: \"Well...\"", "Gunn shakes his head: \"No.\"", "Alonna: \"Shh! Don't be sad. - I'm not.\"", "Gunn: \"They killed you.\"", "Alonna: \"Do I look dead to you? - I am stronger, faster and better than ever. - Wanna see?\" Laughs as she pushes against his chest sending him sailing through the air. Angel is still banging in vain against the door of the meat locker. He switches to the wall beside the door and after a while manages to punch a hole in it.", "Alonna: \"We were on the right track - just on the wrong team. All that rage and hatred we got? We get to keep all that, only on this side there is no guilt, no grief - just the hunt and the kill - and the fun! And come on, how often did we go out in the daylight anyway?\"", "Gunn: \"Alonna, I can't do this!\"", "Alonna: \"You were made for this. - Oh, and all that misery and moping gone, I promise you.\"", "Gunn: \"I was never gonna let anything happen to you. I was supposed to protect you. You were my sister.\"", "Alonna: \"I still am. (Gunn shakes his head) So why don't you kill me? - Why *don't* you? (Spread her arms wide - Gunn just looks at her) Ah! *You* can't! Because you got the guilt - and I got the greatest guilt cure ever. I can free you! We can be together - our family can stay together - forever.\" Angel sticks his hand through the hole but can't reach the handle. A hand reaches past his bruised and bleeding knuckles and opens the door.", "Cordy: \"Trying to open that? (Angel leans against the doorjamb, looking at Cordy and Wesley) They locked you in, huh?\"", "Angel: \"No. I just love old meat lockers.\"", "Wesley: \"You should've tried to call us on your cell phone. - You probably forgot you had it.\" Angel takes his cell phone out and looks at it.", "Angel: \"These things hardly ever work. Besides it was a lot easier and quicker to just (mimes punching a hole and grimaces, shaking his hand) - Look, I'm the boss here, I say when we use the cell phones and people are gonna die and - I have to go.\" Leaves.", "Cordy yells after him: \"You're welcome!\"", "Alonna: \"Remember when we were kids - in that shelter on Plummer Street, hmm? (Gunn nods) Second floor was all rotted out. - You used to dare kids to cross, and of *course* you were the best at it, because you were the - you were the bravest. I wanted to be like you so bad, so I went up, and the floor gave out. I would have broken my neck, but - you'd been watching me the whole time. You were standing right below - and you caught me. - Ever since I can remember you've been looking out for me. - But you don't have to any more, because I'm good, and it's my turn to look out for you now.\"", "Gunn: \"How?\"", "Alonna: \"Look at you. You're running and hiding, cold and hungry. You call that living? (Gunn looks down) You're the one that's falling now. Let me catch you. - Don't you want to stop falling? (Gunn nods slightly) I'm gonna fix it. (Morphs into her vamp-face) Oh, say goodbye to everything you ever knew.\" She wraps one arm around his neck and stretches up to bite him.", "Gunn: \"Good-bye.\" He pushes the stake into her chest as she stares at him shaking her head. The dust settles to reveal Angel standing a little ways away.", "Angel: \"Let's get out of here.\" The door behind Gunn opens and the rest of the gang charges in as Gunn lets the stake drop from his hand.", "Chain: \"Dude! What are you waiting on? (Sees Angel and moves towards him) How did he get out?\"", "Gunn holds him back: \"Yo, don't. We're leaving.\"", "Chain: \"Leaving?\" Vampires step out all around them.", "Knox: \"I don't think so. - She was so sweet (steps up to Gunn) your sister - so smooth going down, if you know what I mean. - You wanted a war? Well, this is it.\"", "Angel: \"Here is the deal: you can go.' Knox turns to stare at Angel: \"What?\"", "Angel: \"*If* you go now - and I don't ever see any of you again, you get to live.\" Knox chuckles and walks towards Angel: \"Are you high?\"", "Angel: \"LA is my territory, you want to stay out of it for the rest of your eternal lives. These kids, my town, off limits form now on.\"", "Knox: \"Who the hell are you? You know who you're talking to, you fool?\"", "Angel: \"The name's Angelus. (Stakes Knox) And I wasn't actually talking to you. (Looks at the other vamps) So - do we have a truce? Or do you wanna die?\" The vamps look at each other shifting uncomfortably.", "Chain: \"Truce? (To Gunn) We can take them.\"", "Angel: \"Not without them taking a couple of you.\"", "Chain: \"Gunn, you came all this way, you're not gonna kill any vamps?\"", "Gunn, still looking at Angel: \"I already did.\" He turns to go and the gang and the vamps one by one follow his example and just leave. Wesley stares at the whipped cream mounded on top of the cup he receives from a street vendor.", "Wesley: \"I asked for a coffee. I know it must be in here someplace. (To Cordy) Are you alright? You haven't said two words since we left the office.\"", "Cordy: \"Oh, I was just thinking about those kids.\"", "Wesley: \"Yes. That place was pretty awful.\"", "Cordy: \"And I thought my first apartment was bad. Can you believe people actually live there?\" They sit down on a park bench.", "Wesley: \"Well, it certainly gives one a sense of perspective, doesn't it?\"", "Cordy: \"Yes, it does. - And I think, prespectively speaking, I might want to - prostitute myself to billionaire David Nabbit.\" Wesley chokes on his coffee.", "Wesley: \"Cordelia.\"", "Cordy: \"What I mean is - he's a nice guy who wants companionship. I could use some security. So when I say 'prostitute' what I mean is..\"", "Wesley: \"Prostitute.\"", "Cordy: \"For instance.\"", "Wesley: \"Do you think you really could?\"", "Cordy: \"I don't know. - I could probably learn to love him. Looks aren't everything - or chemistry - personality, that's important. And except for a lot of other - It's not what's on the outside that - Yeah. Never mind. - I'm *fine* here. - Poor - alone.\" Camera zooms up from behind on Gunn, looking out at night time LA. Angel comes up beside him.", "Gunn: \"What are you doing here?\"", "Angel: \"Skulking - professionally.\"", "Gunn: \"Look, I'm glad for what you did, okay? But I don't need no Guardian Angel, and I don't need no talking to. It's not gonna change the way things are down here, man. They're gonna keep coming, and we're gonna keep fighting.\"", "Angel: \"I know.\"", "Gunn: \"That's it? You ain't gonna talk *at* me, - be all daddy-figure?\"", "Angel: \"What am I gonna tell you - that you haven't already learned?\"", "Gunn: \"I killed her.\"", "Angel: \"You didn't.\"", "Gunn: \"Near enough. - She was the reason, man. - How come you do it? How come you're out here?\"", "Angel: \"What else are we gonna do? - I'll be around.\"", "Gunn: \"I don't need no help.\"", "Angel: \"I might.\" After a moment Gunn looks over at Angel, but he's gone." ]

[ "When Wolfram and Hart plots to kill three mystical children, Lindsey begins to question his loyalties. He's willing to be evil, but he's not willing to murder kids. He goes to Angel for help. Along with Gunn, they devise a plan to break into Wolfram and Hart and steal the discs they'll need to save the children. While Angel is in Wolfram and Hart's vault, though, he finds a mysterious scroll that holds some interesting information about his destiny. Meanwhile, Lindsey had to choose a side once and for all." ]

[ "Lindsey: \"I'm with Wolfram and Hart. Should you continue to harass our client, then we will be forced to bring you into the light of day.\"", "Faith: \"So who am I supposed to kill?\"", "Lindsey: \"His name is Angel.\"", "Angel: \"So how does it work for a guy like you?\"", "Lindsey: \"We only handle a certain class of clientele.\"", "Angel: \"I'm sure I've killed enough people to qualify.\"", "Lindsey: \"You know just when I think I've got you figured out - you show up in a suit.\"", "Angel: \"I'll be around.\"", "Gunn: \"I don't need no help.\"", "Angel: \"I might.\"", "Ty: \"You.\"", "Gunn: \"You expecting somebody else?\" Two toy soldiers are crawling on the sidewalk.", "Man: \"Only two left. I'll cut you a deal. They're real collector's items. - You won't be sorry. (Blind woman tapping the way ahead of her with a cane is coming down the sidewalk towards them) You just turn them on and you let them go.\" Two young boys pool their money and give it to the man.", "Boy: \"Here you go.\"", "Man: \"Nice doing business with you. (Sees the blind woman) Wait, Miss. (Woman stops and he moves some toy trucks out of her way) Okay.\" The woman continues past him, tapping as she goes. A vampire comes flying over some bales in a warehouse. Angel raises a stake but before he can dust the first vamp he is jumped by another from behind, and the stake drops from his hand. He fights the two of them (nice stunt work and fight choreography here), dusts one, gets kicked in the face by the other. Wraps a chain around the neck of the remaining vampire, hoists him up and slides him, along an overhead track, into a piece of wood protruding from some stacked pallets, dusting him. As Angel is about to leave he hears a man groaning. It's a black middle aged man, holding his stomach, who stumbles into the factory and slides down the wall next to a doorway. Angel goes to check whether he is still alive, hears something and straightens up. The blind woman grabs him by the throat and throws him against the wall. Angel comes back swinging, but the woman anticipates his every strike and avoids them easily. She is doing some type of eastern self defense routine, and Angel can't land a single hit, though he manages to knock her glasses off, showing that her eyes are all white - she really is blind. She throws him across the room and is gone by the time Angel gets back up. Intro. Angel Investigations, Day.", "Wesley closes a book: \"Demons with one eye, demons with twelve eyes, some with double vision, - but no blind demons. - Perhaps Angel's discovered a new species.\" Cordy in front of the computer: \"What? Helen Kellerus Homocidalus?\"", "Wesley gets up: \"Of course it's possible she is not a demon at all.\"", "Cordy: \"You think?\"", "Wesley: \"Perhaps she's simply learned to hone her senses around her disability. Angel said it was as if she anticipated his actions before he carried them out.\"", "Cordy: \"A handy skill - in fight or - on a date.\"", "Wesley: \"Unusual to be certain, but not necessarily demonic.\"", "Cordy: \"Someone like that kind of stands out in a crowd - for an assassin, I mean.\"", "Wesley: \"Decidedly.\"", "Cordy: \"Maybe even have a record.\" On the computer Cordy typed a search of 'blind woman murder' into the Police Crime and Criminals Database and found one match: Vanessa Brewer, Date of Birth: July 18, 1967, Place of Birth: San Francisco, Citizenship: United States, Gender: Female, Hair: Brown, Eyes: Blind, Height: 5'6\", Weight: 122, Misc: Blind eyes, no visible iris, Known Associates: None, Arrests: 1 misdemeanor, 0 convictions, 2 Felony, 0 Convictions.", "Wesley: \"One assumes she has done this sort of thing before. Based on Angel's description...\"", "Cordy: \"Vanessa Brewer.\"", "Wesley: \"What? You found her?\"", "Cordy: \"Our first stop doesn't always have to be world of the weird, you know? Sometimes actual human people can be just - awful.\"", "Wesley reading from monitor: \"First arrest in 1993.\"", "Cordy: \"She was fleeing the scene of a homicide. No charges were brought. Arrested again in 95. Charged with aggravated assault. That one never went to trial. And finally arrested in 99 as a suspect in a double homicide, for which she is currently on trial.\"", "Wesley: \"She was on bail when Angel encountered her.\"", "Cordy: \"But that's not the real whammy. Look who's defending her.\" Vanessa, without her dark sunglasses is sitting on a court bench.", "Lindsey: \"Your honor, we request the courts compassion in this obviously mishandled affair. - The district attorney's attempt to link my client, Miss Brewer, with this brutal crime would be laughable if it weren't so sad. To think that my client, with her particular disability, could physically commit such a murder (Angel walks into the court room) is beyond the realm of believability.\" Angel throws something at Vanessa from behind. Her hand shoots up and she catches it. The court room erupts into noise, the judge bangs his gavel, Lindsey looks around to see Angel free himself from the bailiffs grip and run out. Vanessa puts on her dark glasses that Angel just threw her as the judge bangs the gavel for order.", "Wesley: \"She obviously doesn't see the way we do - but she can see.\" Angel steps out of the elevator and goes to his desk.", "Wesley: \"In a sense. The human eye is only capable of registering a small portion of the electromagnetic spectrum, but if Brewer was somehow equipped to see outside that range...\"", "Cordy: \"She'd be Superman. What's the diff' in how she sees, anyway? So she can get a look at the bars of her cell. Why are we still talking about this?\"", "Angel: \"Because Wolfram and Hart is representing her pro bono, - which means - she's probably still working for them.\" Wolfram and Hart, Attorneys at Law, Day. Lindsey is watching a group of older men talk to Vanessa looking into an office through an open door.", "Holland: \"We are very pleased with the outcome, Vanessa. It's a pleasure doing business.\" Lee steps up behind Lindsey.", "Lee: \"I can't believe you got her off on all charges. Not since Ostrosky versus California have I seen such devious legal maneuvering. And now the big brass are smiling upon you. - You're the man of the hour.\"", "Lindsey: \"Is there something you want?\"", "Lee grins: \"Is it me or is there something kind of - hot about her? (Lindsey looks at him) Well, I'm just saying, I wouldn't say 'no.' I'd be too scared to.\" Vanessa turns and smiles in their direction and Holland waves.", "Holland: \"Lindsey, come say hello.\"", "Lee: \"I think she likes you.\" Lee pats Lindsey on the back and walks off as Lindsey walks over to the group around Vanessa.", "Holland: \"Ah, Bill, Chuck, you remember Lindsey McDonald, our point man on Miss Brewers case?\" Lindsey shakes hands with the two older men standing behind Vanessa.", "Holland to Lindsey: \"You did an excellent job.\" Vanessa catches Lindsey's hand and holds it in both of hers.", "Vanessa: \"Thank you, Lindsey.\"", "Lindsey: \"You're welcome.\"", "Vanessa: \"It's nice to see you again.\"", "Lindsey: \"You too.\" Vanessa leaves with Bill and Chuck.", "Holland: \"Bye. (To Lindsey) Got a sec?\" Lindsey walks into the office and Holland closes the doors.", "Holland: \"Does she unnerve you?\"", "Lindsey looking out the window: \"A little.\"", "Holland: \"Two minutes alone with that woman and I feel like my spines been fused. Still, one has to admire her talent - and her work ethic. - Everything all right? You look a little stressed.\"", "Lindsey: \"I've been putting in the hours, but...\"", "Holland: \"Ah. Well, that's a big part - the perspiration. - But the other part - the inspiration - you've had kind of a rough year on that end.\"", "Lindsey: \"I've made -uh - some bad choices.\"", "Holland: \"Well, I'll say.\"", "Lindsey: \"Sending the rogue Slayer after the vampire?\"", "Holland: \"Among other things. But you've had a nice success in court. You're starting to pull out of it. I'm fond of you, Lindsey. I'd like to see you moving up here.\"", "Lindsey: \"I'm glad to hear that, sir.\"", "Holland: \"Not everybody will. - This is kind of our - Harvest - time of year - where we separate the winners from the - uh - dead weight. - Now I have to say, you don't seem that happy lately. - Could I take a wild stab as to what I think that might be?\"", "Lindsey: \"Sure.\"", "Holland: \"It's your age. You're a young man. You've hitched your wagon to our star. Oh, and it's a bright star. - But now you're starting to feel a little 'Is that all there is?\"", "Lindsey: \"Sometimes you question things, but I mean it's no big...\"", "Holland: \"Yeah, I did a lot of crazy things when I was your age - searching and all. - Took me a while to realize how the world was put together and where I belonged in it. - And actually the world isn't that complicated. - It's designed for those who know how to use it.\"", "Lindsey: \"Yes, sir.\"", "Holland: \"Don't give me that 'yes, sir' crap. I want you to think about these things. - You're not going to be happy until you find your place in the scheme of things. - Okay, enough of the old guy's lecture. Now, down to business. I don't think she had a happy childhood.\"", "Lindsey: \"Sir?\"", "Holland: \"Our blind friend, Vanessa. I think she was terribly abused growing up. I think the details of that are tragic and shockingly specific, and I think you should create them, sooner rather than later.\"", "Lindsey: \"She is going to do something else that may require a strong defense.\"", "Holland: \"Strong defense - alibis - creative alternatives to incarceration. - She is an invaluable tool to some of our most valuable clients and we can't risk losing her.\"", "Lindsey: \"What's she gonna do?\"", "Holland: \"There is some children arriving. They pose a threat.\"", "Lindsey: \"Some children.\"", "Holland: \"Is this too shocking for you?\"", "Lindsey: \"I'm just thinking it might be for a jury.\"", "Holland: \"Which is why I'm thinking her terrible, terrible childhood drove her to it. - Not guilty by reason of insanity. Of course the odds of her getting caught again are pretty slim.\"", "Lindsey: \"Who- who are these children?\"", "Holland: \"It's best we know only what we need to - without forgetting the important part we play in the greater whole. (Pats him on the shoulder and leaves) I'm sure you're gonna want to get right on it.\" Angel picks up his phone and throws it against the wall. Wesley and Cordy hesitantly open the door to his office.", "Angel: \"They acquitted her. Hung jury.\"", "Wesley: \"I'm sorry, Angel.\"", "Angel: \"How am I supposed to fight evil if they won't even put it behind bars?\"", "Cordy: \"It's not your fault.\"", "Angel: \"No, it's not my fault. - I-I didn't cause it, and I can't fix it. I can't do anything about it. - Well, she's guilty. - She's guilty and- and they let her go. She murdered a man right in front of me and I can't even testify to that fact in a court of law.\"", "Cordy: \"Well, maybe in night court you could...\"", "Angel: \"It's their court room, not mine.\"", "Cordy: \"Whose?\"", "Angel: \"Their rules, their game.\"", "Cordy: \"Oh, you mean the Wolfram and Hart types.\"", "Angel shakes his head: \"I have no place in their world at all.\"", "Wesley: \"Angel.\"", "Angel: \"How am I expected to do battle if I can't even get into the ring?\"", "Wesley: \"You have a place, Angel. Our battle will be fought elsewhere.\"", "Angel: \"It's still their world, Wesley. Structured for power - not truth. - It's their system, and it's one that works. - It works because - there is no guilt - there is no torment, no consequences. - It's pure. - I remember what that was like. - Sometimes I miss that clarity.\"", "Cordy: \"But not the trying to kill your friends and family part, right? - Just checking!\"", "Angel: \"Nothing ever changes.\" Angel sits down with a sigh rubbing his face with his hands. Lindsey walks in through the outer office.", "Lindsey: \"I need your help.\"", "Angel looks at him: \"What do you mean?\"", "Lindsey: \"I want out.\" The door to Angel's office closes, leaving him and Lindsey alone.", "Lindsey: \"You probably think this is some kind of trick.\"", "Angel: \"Are you afraid of me, Lindsey? - You think maybe I might kill you?\"", "Lindsey: \"No.\"", "Angel: \"I'm smelling a whole lot of fear - big - stinky - mortal - terror. So, no, I don't think this is a trick - I think it's a big joke.'", "Lindsey: \"Hey, I don't want to be here anymore than you want to see me. But I don't have a choice.\"", "Angel: \"You always have a choice. I mean, you sold your soul for a fifth-floor office and a company car.\"", "Lindsey: \"You think you've got me all figured out? You think you know everything about me?\"", "Angel: \"Everything I need to know.\"", "Lindsey: \"What was your father? He was a merchant, right? Linen and silk? Did pretty well? Had a couple of servants until you killed them?\"", "Angel: \"Just the one.\"", "Lindsey: \"Well, our files aren't 100 percent, - but I guess it's fair to say that - you've never seen anything like real poverty. I'm talking dirt poor - no shoes - no toilet. Six of us kids in a room, and come flue season it was down to four. - I was seven when they took the house. They just came right in and took it. - And my daddy is being nice, you know? Joking with the bastards while he signs the deed. Yeah, so we had a choice. Either you got stepped on or you got to stepping and I swore to myself that I was not going to be the guy standing there with the stupid grin on my face - while my life got dribbled out...\"", "Angel: \"I'm sorry. I nodded off. Did you get to the part where you're evil?\"", "Lindsey: \"I found out about a job. The blind woman. Vanessa Brewer. Your friend from court.\"", "Angel: \"That you got off.\"", "Lindsey: \"There is a new contract.\"", "Angel: \"Why don't we just save the lawyer talk?\"", "Lindsey: \"She's gonna kill some kids. - I've worked some pretty hairy deals, comes with the turf, but this...\"", "Angel: \"What do you know?\"", "Lindsey: \"Almost nothing. Some kids from overseas, job's in a couple of days.\"", "Angel: \"I need more.\"", "Lindsey: \"There's some files. They'd be at the firm, probably in the vault.\"", "Angel: \"Then I'll guess you'll get them out.\"", "Lindsey: \"I can't go back in there. Do you understand what that place is?\"", "Angel: \"I'm not sensing a whole lot of resolve here.\"", "Lindsey: \"They are constantly watching you. Other companies have drug testing - they have mind-readers. I go back there, they're gonna kill me.\"", "Angel: \"That's what we call an acceptable risk. You're panicking right now. You can't believe how bad you let things get. - That's not change. - You have to make a decision to change. That's something you do by yourself. Most people - they never do.\"", "Lindsey: \"If I get myself killed, that'll convince you that I've changed.\"", "Angel: \"It's a start.\" Outer office, day, Lindsey, Angel, Wesley and Cordy are planning the break-in.", "Lindsey: \"Vault's at sub-lever two. Hall's outside the boiler room.\"", "Angel: \"Sewer access?\"", "Lindsey: \"You'd have to burn your way in.\"", "Cordy: \"Why are you going in at all? I thought born-again boy was gonna do it.\"", "Angel: \"It's a two men job. How do I access the vault?\"", "Lindsey: \"My pass. I'll need it to get in. They're getting pretty tight with security. But I can leave it downstairs for you. Gets you right into the vault.\"", "Cordy: \"Again I say...\"", "Lindsey: \"It's guarded. Demon. Doesn't go in for unauthorized visits. There is no way I can take it.\"", "Angel: \"What kind of demon?\"", "Lindsey: \"Preggothian. I think.\"", "Wesley: \"I'll get you a battle profile - weaknesses and such.\"", "Angel: \"Right.\"", "Lindsey: \"I'll do what I can with the security monitors, but you'll have to move fast because the moment - oh, damn it.\"", "Wesley: \"What?\"", "Lindsey: \"The threshold. They have shamans. They can sense the moment a vampire crosses the threshold.\"", "Angel: \"That's not going to be a problem.\"", "Cordy: \"Well, then. Seems pretty simple, except for the 'you'll definitely get caught' factor.\"", "Lindsey: \"The righteous shall walk a thorny path.\" Angel is talking to Gunn standing behind the stake gun mounted on the kids pickup truck, night.", "Gunn: \"Yeah, I can get a hold of one. But why would I want to?\"", "Angel: \"In the interest of justice - and maybe doing the right thing?\"", "Gunn: \"Not really interested in some rich guy's heartbreak.\" Gunn aims the stake gun at a mattress leaning up against a wall.", "Angel: \"You're low. (Gunn looks at him. Angel looks towards the mattress) Just my opinion.\" Gunn raises the gun a little and fires. The stake hits the mattress at heart level.", "Gunn: \"Give me one good reason.\"", "Angel: \"It'll be extremely dangerous.\"", "Gunn nods with a smile: \"Okay.\" Lindsey walks into the offices of Wolfram and Hart, day. Clips on his security badge (which has an 8 on it, while Holland's had a 7), waves to the security people. Angel is lighting a blow torch and cutting a circle into the roof of the sewer. Lindsey steps out of an elevator.", "Voice: \"Entering sublevel 3. Priority clearance required.\" Walks down a deserted hallway. A Door opens as he is about to pass it and Lilah Morgan almost runs into him.", "Lindsey: \"Lilah.\"", "Lilah: \"You scared me.\"", "Lindsey: \"Me too.\"", "Lilah: \"I'm sorry. I'm always in too much of a hurry.\"", "Lindsey: \"I think we all are.\"", "Lilah: \"Hmm.\" Cocks her head towards the room behind her.", "Lindsey starts to go in: \"Oh, yeah. You're doing some research?\"", "Lilah: \"Only when I want it done right.\"", "Lindsey: \"I know what you mean. I don't mind making myself look like an idiot, but I hate it when some clerk does.\"", "Lilah: \"I was under the impression that you never touch a book anymore.\"", "Lindsey: \"Little secret between you and me: if the amoebas find out you're willing to read, they lose all respect for you.\" Closes the door to the back-records room in her face. After a moment Lilah walks off. Lindsey opens the door and checks that she's gone then sticks his pass to the bottom of a case holding a fire extinguisher. Angel has finished cutting the circle, takes his goggles off and checks his watch, then attaches two magnetic clamps to the circle and pulls it open.", "[SCENE_BREAK]", "Lindsey is back upstairs. Angel takes off his overall, revealing a business suit underneath and checks his watch again. Security guy sees Lindsey coming to his office on one of his monitors.", "Voice: \"Personnel approaching security office.\"", "Howard: \"Hello, Mr. McDonald.\"", "Lindsey: \"Hey, Howard. You got a minute?\"", "Howard: \"Sure.\" Lindsey looks at a huddled figure in a red robe behind Howard then comes in and shuts the door.", "Lindsey: \"I checked the series 7500 video surveillance system you suggested. Do I really need cellular override and direct digital link to the office? I mean, it seems a little overkill.\"", "Howard: \"Better safe than sorry.\" Lindsey checks his watch then looks at one of the monitors, where Gunn is walking in through the front door into the lobby.", "Gunn: \"Whoo-whoo! My god! They told me it was true, but I didn't believe them. Damn, here it is! Evil white folks really do have a Mecca. (Holds up a hand to the security guards stepping out from behind their desk) Now, now, girls, don't get all riled up.\" Quick cut to Angel in the sewers - Lindsey up in the security office.", "Gunn: \"OW! Did you just step on my foot? (The nearest guard is still at least 8 feet away from him) Is that my foot you just stepped on? Are you assaulting me - up in this haven of justice?\" Angel checks his watch.", "Gunn: \"Somebody get me a lawyer - because my civil rights have seriously been violated. - Oh, I get it, I get it. You all can cater to the demon, cater to the dead man, but what about the black man!\" Angel checks his watch. Gunn checks his watch.", "Gunn: \"I'd love to stay and chat, but - yo, fellows!\" He turns to look at the door where two of the kids are carrying in a body-sized bundle. At the same time Angel climbs up through the hole and the red robed shaman (ugly fellow, definitely not human) lifts its head with a squeal. Lindsey looks at the kids on the monitor. Howard picks up the phone.", "Howard: \"We got a vampire on the premises. Repeat, vampire on the premises.\" Gunn cuts the cord securing the bundle, smiling at the security guards, then he and his buddies walk out while the wrapping falls back to reveal a vampire in full vamp face.Angel walks through a door into the hallway on sublevel 3. Lindsey watches him pick up the security pass, then switches the camera to a different view.", "Lindsey: \"Well, looks like you got your hands full, so...\" Howard nods as Lindsey leaves. The security guards are chasing the vampire. One of them pushes a button on his nightstick and a wooden stake protrudes from the end of it. After a short fight, the vamp gets dusted. Angel runs Lindsey's card through a lock and punches in a number. A door slides open as Angel clips the card to his lapel. He hears some growling noises behind him and turns to punch an ugly looking demon in the face, Throwing him against the wall. When the demon gets back up and comes at him again, Angel opens his hand and blows some powder into the demons face. It freezes in place. Angel puts one finger against the demons forehead and gives it a slight push, toppling it backward. He dusts his hands off with a smile.", "Angel: \"Thank you, Wesley.\" Picks up his attaché case and enters the vault. There are all types of weapons and artifacts mounted along the walls as well as some file drawers recessed into one wall. Lindsey steps out of an elevator. Angel checks the drawers. Lee comes up beside Lindsey.", "Lee: \"Hey, what's all the excitement? A vampire in the lobby? Did I hear that right?\"", "Lindsey: \"Never a dull moment.\" Lee walks off with a laugh. Angel is putting some CD cases labeled Wolfram and Hart - Restricted Access into his briefcase. On his way out he sees a round metal tube covered with symbols. He hesitates, then walks over to stare at it. He glances at the open door and the unconscious demon on the other side, then opens his briefcase and takes the tube (looks a bit like a Tibetan incense holder). An alarm goes off as soon as he moves the tube and a grate slides down to block the door, while all kinds of alarms go off up in the security office. Angel drops the tube in his briefcase and slides headfirst under the gate, which closes behind him. Lindsey's cell phone rings.", "Angel: \"We're done. Get out. Now.\" Angel drops back down into the sewer. Lindsey sees two security guards and changes direction, but there are guards everywhere herding people along the hallways.", "Lilah: \"Can you believe this? It's a sweep. (Checks Lindsey's watch) Oh, I'll never make my lunch.\" Lee sees Holland lead to black ladies into an office.", "Lee: \"What is it?\"", "Lindsey: \"Mind readers.\" Five or six lawyers line up against one wall of Holland's office.", "Lee: \"Shouldn't we've been memoed or something?\"", "Lilah: \"That's why they call them random mind readings. (To her cell phone) Yeah, it's Lilah. It looks like I won't be able to make the 1 o'clock. - Great.\" The two mind readers slowly work their way down the line. Then step aside to talk to Holland. Holland glances at the lawyers than turns to face them.", "Holland: \"Well, I have to say, this is a shame. It's just a shame. Whenever I hear of disloyalty it - ah, hurts me. - Hurts me personally. (Looks over at a bald security guard, which then steps behind the row of lawyers) But this sort of thing (goes to stand in front of Lindsey) must be dealt with quickly and cleanly (Lindsey and Holland look at each other, then Holland steps over to stand in front of Lee) and unambiguously. - I'm sorry, Lee, I truly am.\"", "Lee: \"What? - No.\"", "Holland: \"You've been in secret talks with Klein and Gabler.\"", "Lee: \"They approached me.\"", "Holland: \"You planned on taking clients with you when you left to join them.\"", "Lee: \"You don't understand. They misread me. (Holland nods to the security guard, Phil) I just wanted Klein and Gabler to think...\" Phil puts a bullet into the back of Lee's head splattering the side of Lindsey's face with blood.", "Holland: \"Terminating an employee is never pleasant. - That's all. (As everyone leaves for the door) Oh, Lindsey - why don't you hang on for a minute.\" Angel comes up the elevator in to his office.", "Angel: \"Lindsey?\"", "Wesley: \"He's not with you?\"", "Angel: \"No.\"", "Cordy: \"That can't be good.\"", "Wesley: \"Something must have happened.\"", "Cordy: \"You're not going back for him?\"", "Angel: \"If he made it out then he'll be here. If he didn't then there is no reason to go back for him. We have work to do.\"", "Wesley: \"So you got the files then.\" Angel takes out the files and sets them on Cordy's desk.", "Angel: \"Right here.\"", "Cordy: \"Which one is it?\"", "Angel: \"I don't know. We'll have to go through them until we find it.\" Wesley takes the metal tube out of the open briefcase.", "Wesley: \"Angel, what's this?\"", "Angel: \"I'm not sure.\" Wesley pulls a roll of parchment out of the tube and unrolls it part way.", "Wesley: \"Ancient Aramaic, if I'm not mistaken.\" Cordy puts a disk into the zip drive.", "Angel: \"Yeah?\"", "Wesley: \"Was there a reason you took this?\"", "Angel: \"Yeah.\"", "Wesley: \"And that would be...\"", "Angel: \"I - I don't really know.\"", "Wesley: \"Well - I'll get to work translating them.\"", "Cordy: \"Ah, guys? Might want to translate this first.\"", "Wesley: \"It's encrypted.\"", "Cordy: \"What do you want to bet the rest of these are, too.\"", "Angel: \"Great.\" A guard drags Lee's body out by his feet, leaving a dark smear on the carpet.", "Holland: \"What a pity. You can't get that out of the carpet. - Believe me, we've tried. (Sits down across from Lindsey) Are you afraid? (Lindsey nods slightly) Well, that's understandable. You betrayed this firm by allaying yourself with someone who - has given us a great deal of grief. - You've stolen important documents form our vault. - Tried to sabotaged an extremely important case. - And in the course of this egregious behavior - you lied to us - more importantly, to me. - Did I leave anything out?\"", "Lindsey: \"No, sir.\"", "Holland: \"Did you actually believe I wouldn't learn everything?\"", "Lindsey: \"I...\"", "Holland: \"Lindsey, this is a delicate moment. - I nod to Phil behind me - and he's gonna put a bullet in your head.\"", "Lindsey: \"I-I didn't want to lie to you. I didn't - want to betray you. I just wanted out.\"", "Holland: \"Hm. Well, then you're in a crisis, son - crisis of faith. - Do you believe in love? - I'm not speaking romantically. - I'm talking about that sharp, clear sense of self a man gains - once he's truly found his place in the world. - It's no mean feat, since most men are cowards and just move with the crowd. Very few make their own destinies. They have the courage of their convictions, and they know how to behave in a crisis.\"", "Lindsey: \"Like now?\"", "Holland: \"Like now. You have everything it takes to go all the way here - drive, ambition, - excellence - but you don't know where you belong. And until you do - I guess we both have some important questions to answer. - Now, my first one is - do I nod - to my friend behind me? - No, - I don't. Because I know you, and I know a little something about character. - I think what you actually need is a few days off to think about it. And I'm sure once you have - you're gonna do the right thing.\"", "Lindsey: \"I can - I can go.\"", "Holland: \"You can go. (Lindsey slowly gets up) Lindsey - I believe in you. - Look deep enough inside yourself - you'll find that love.\"", "Cordy on the phone: \"Okay, I'm back to the desktop, Willow. What do I do now? - Okay, done that. - Back to life list. - Yeah. - Yeah.\" Angel is massaging the bridge of his nose as Wesley sets down a cup carrier holding three coffees.", "Wesley: \"Any luck?\"", "Angel: \"She's been on the phone for an hour and 45 minutes.\"", "Cordy: \"Hey, guess what they've been doing all day?\"", "Wesley: \"Uh - saving the world?\"", "Cordy: \"Well, yeah. But they've been breaking encrypted computer files, too!\"", "Angel: \"What are the odds, huh?\"", "Cordy: \"I know. What? Oh, no one, just Wesley.\"", "Angel: \"Cordelia, can she get us in?\"", "Cordy holds up a finger: \"Uh huh. - Uh huh. - Uh huh. (She clicks and the computer beeps. Angel and Wesley lean forward in anticipation) Willow says hey.\" Angel and Wesley together as they slump back into their seats: \"Hey.\"", "Cordy: \"Okay. Yeah, I see it. - Tag file. Okay. - Left click. (Computer beeps, no reaction from Wes and Angel this time) There it is. Back door. We're in. Thanks, Will.\" Cordy hangs up as Angel and Wesley step around the desk to have a look.", "Wesley: \"Personnel file, Vanessa Brewer. - She wasn't born blind. She lost her sight when she was 21.\"", "Cordy: \"On purpose. She did this to herself.\"", "Wesley: \"Oh, dear.\"", "Angel: \"And she spent five years in Pajaur, studying the Nanjin. That explains her power.\"", "Cordy: \"It does?\"", "Wesley: \"Yes, the order of the Nanjin, cave dwelling monks. They believe enlightenment is seeing with the heart, not the mind.\"", "Cordy: \"Are you telling me - self-mutilating, psycho assassin chick reached enlightenment?\"", "Wesley: \"Of a kind. She'd be more sensitive to her surroundings than even a sighted person, which is what would make her an unstoppable foe.\"", "Angel: \"No one's unstoppable. What is her current job?\"", "Wesley: \"Here it is. Lindsey was right. Children. Three of them. Seers. They were each found in different remote locations, brought together here for the first time.\"", "Cordy: \"They're blind, too. Together the children have the power to see into the heart of things.\"", "Wesley: \"A holy triumvirate. As they mature, so does their power.\"", "Lindsey: \"Which makes them a real threat to Wolfram and Hart. - Sorry I'm late. I hope I didn't worry anyone.\"", "Cordy: \"We just figured you were dead.\"", "Angel: \"So you made it out okay.\"", "Lindsey: \"Yeah, but it's only a matter of time before they find out which files have gone missing. We have to move fast. When are the children getting into the country?\"", "Wesley: \"According to this, they arrived this morning. They're being kept at a safe house with a guardian until their mentor arrives. He's coming in from the East tonight.\"", "Angel: \"Not safe. There is an address. I want you two to intercept this mentor guy. Keep him away from that house. We'll bring the kids to him.\" And older man is setting a try of hot chocolate and sandwiches in front of three blind children sitting on the floor. They reach for the cups with a smile. The guy walks away, right into Vanessa's cane and drops to the floor dead. Vanessa walks over to stand in front of the children. As she gets ready to stab the first kid Angel pulls her away.", "Angel to Lindsey: \"Get the kids out of here!\" Vanessa throws Angel to the floor then ignores him to kick Lindsey in the stomach. (We get a flash of how she sees, which looks a little like infrared) Angel gets back up and we get a flash of how she sees him (he shows up even brighter than Lindsey) while she pummels him. Lindsey crawls over towards the children. Angel goes down again, but instead of going after him, she beats up on Lindsey again. Angel catches Lindsey as she throws him towards a wall. While they disentangled themselves she turns towards the three children. They look pretty dim in her vision, sitting there motionless. Angel comes up behind her and she stabs behind her catching him in the chest. Angel blocks some of her hits then gets thrown against the wall again. This time when he lands he stays perfectly still, watching her. Vanessa scans the room, but is apparently unable to see him. Angel jumps to his feet once her back is turned. She looks at him but we see his bright shape disappear from her vision as he freezes again. Vanessa makes some stabbing and cutting motions in his general direction, but doesn't even connect. Suddenly her vision explodes into bright color as Angel drops her with a hard face punch. By the time she rolls back up to her feet, Angel has frozen in place again and she looks for him in vain. There is a bright flash in her vision as Angel moves to her side, then freezes again, his fist cocked ready to strike. Angel keeps repeating the same maneuver several times more. In the end Vanessa is right in front of him. As she gets ready to take a stab in his direction, he grabs her cane and diverts it into her own body then lets her drop to the ground. Lindsey holding on to the three children: \"It's alright. You're alright.\" Angel is sitting in his office at night. Wesley comes in carrying the roll of parchment.", "Wesley: \"The children are with their mentor. They're safe.\"", "Angel: \"Good.\"", "Wesley: \"They have an important role to play. (Lays the parchment on the desk and sits down) I believe this is how Wolfram and Hart knew of their coming.\"", "Angel picks up the parchment: \"You know what it is?\"", "Wesley: \"If I'm right, the Prophecies of Aberjian - for centuries thought lost. I translated some of the text. As I said, it mentions the children you saved today. - But that's not all. I - I also believe I know why you were drawn to it. - There is an entire passage - about you. - It doesn't call you by name - but it tells of a vampire with a soul. - This doesn't surprise you?\"", "Angel: \"No.\"", "Wesley: \"But you said you didn't know what it was.\"", "Angel: \"I didn't, but - \"", "Wesley: \"Somehow you did?\"", "Angel: \"Yeah.\"", "Wesley: \"There is a design, Angel. Hidden in the chaos as it may be, but - it's there - and you have your place in it.\" Lindsey walks into Holland's office carrying the disk Angel stole. Holland is putting his stuff into a box.", "Lindsey: \"Holland.\"", "Holland: \"Hello, Lindsey.\"", "Lindsey: \"I'm sorry. I did what I had to.\"", "Holland: \"You saved the children. That's very noble.\" Lindsey puts the disk on the table: \"I brought the disks back.\"", "Holland: \"Of course you made copies.\"", "Lindsey: \"A few things. Just enough to keep me safe.\"", "Holland: \"What does safe mean to you?\"", "Lindsey: \"Not being at war with Wolfram and Hart - having my own life.\"", "Holland: \"Lindsey, - haven't you learned anything? No one has their own life. We're all part of something larger.\"", "Lindsey: \"Like Wolfram and Hart.\"", "Holland: \"I handpicked you when you were a sophomore at Hastings - not because you were smart - not because you were a poor kid who had to do better than anyone else - but because you had potential - potential for seeing things as they are. It's not about good or evil - it's about who wields the most power. And we wield a lot of it here, and you know what? I think the world is better for it.\"", "Lindsey: \"Look, I didn't come back...\"", "Holland: \"Why did you come back? To return some disks? Take a moral stand? - I don't think so. You walked in that door and called me by my first name. - You never did that before. You wouldn't have had the nerve. - But you're different now. You stood up to us and won. - Do you know how many people have that much nerve? - I can count them on one hand. - I need people like that working for us.\"", "Lindsey after a beat: \"You're offering me my job back?'", "Holland: \"Oh, no. I'm offering you a new job. - A permanent one, with a thundering raise and ungodly benefits. In fact, I'm offering you this very office. I'm going upstairs. - What I'm offering you, Lindsey, is the world. Now I know you pretty well, and I'm betting that you're gonna take it.\" Holland picks up the box with his stuff and walks towards the door.", "Lindsey: \"You may not know me as well as you think you do.\"", "Holland: \"As I've been trying to tell you, that's a decision that each person has to make for himself. - If you want it it's yours. If you don't - walk out this door. - I'm going upstairs now.\" Holland leaves. Lindsey leans back on the edge of the desk. After a moment he gets up and walks towards the doors - and slowly closes them. He looks around the office. Sits down in the chair. Feels the desk. Takes the phone off the hook. After a moment he turns the chair to look out over the city lights below. Blend into Angel standing looking out over the city lights as well." ]

[ "Wolfram & Hart raises a powerful warrior demon, Vocah, to sever Angel's connections to the Powers. Then, using an incantation from the ancient scroll that Angel stole from Wolfram & Hart, the evil law firm raises an even more powerful adversary. Vocah inundates Cordelia with visions putting her in a coma - the only way to save her is with the words of Anatole, from the scroll. Angel gets the scroll back by cutting off Lindsay's hand. The episode ends showing the demon Wolfram & Hart have raised to defeat Angel, it is his sire Darla." ]

[ "Kate voice over: \"Angelus. A particularly brutal b*st*rd by all accounts.\"", "Darla: \"They gave you a soul, a filthy soul! NO!\"", "Angel: \"Darla.\"", "Darla: \"You're disgusting!\"", "Kate: \"What are you?\"", "Angel: \"There are some things in this world you are just not ready to face.\"", "Lindsey: \"If you continue to harass our client then - we will be forced to bring you into the light of day. A place I'm told is not all that healthy for you.\"", "Lindsey: \"I need your help. I want out.\"", "Lindsey: \"If I get myself killed - that will convince you I've changed.\"", "Angel: \"It's a start.\"", "Holland: \"What I'm offering you, Lindsey, is the world.\" Angel steals the scroll from the vault.", "Wesley: \"Is there a reason you took this?\"", "Angel: \"I don't really know.\"", "Wesley: \"The prophecies of Aberjian. - - There is an entire passage - about you.\" Wesley is researching while Angel is reading a book and Cordy is reading the paper.", "Wesley: \"Shanshu. - Shanshu. - Or maybe it's shushan.\"", "Cordy: \"Are you still trying to figure out that word? What's taking so long?\"", "Wesley: \"Gee, I don't know, Cordelia. The prophecies of Aberjian were only written over the last 4000 years, in a dozen different languages, some of which aren't even human! Why don't we just get a Falanjoid demon in here, suck the brain out of my skull. Maybe that would speed things up.\"", "Cordy: \"He sure gets testy when he's translating.\"", "Wesley: \"This word is pivotal to what it prophesies about the vampire with a soul.\"", "Cordy: \"Well, hurry up and figure out what it says about Angel, because - I wanna know what it says about me. If there is torrid romance in my future - massive wealth? If I have to I'll settle for enviable fame.\"", "Wesley: \"This is an ancient sacred text, not a magic eight ball.\"", "Cordy: \"Nobody gets my humor.\"", "Angel: \"I thought it was funny.\"", "Cordy: \"Hmm.\" The camera pans by a sign out in the entrance to Angel's building:", "Directory: Casas Manufacturing 101 - Angel Investigations 103 - John Folger, DDS 104 - Herbert Stein 105. A figure wearing a hooded cape moves past.", "Cordy: \"Hey guys? Remember born-again lawyer-boy who wanted out of Wolfram & Hart so bad?\"", "Angel: \"Lindsey?\"", "Cordy: \"They just promoted him. - Junior partner.\"", "Wesley: \"After all you did for him - he sells his soul for thirty pieces of silver.\"", "Cordy: \"Actually he sold it for a six-figure salary and a full benefits package.\"", "Wesley: \"It's disappointing. He had an opportunity to change.\" Angel goes back to reading his book: \"He didn't take it.\" Angel freezes then looks up.", "Wesley: \"What?\"", "Angel: \"Little late for visitors.\" Angel gets up and goes out into the outer office. Cordy and Wesley follow.", "Cut to the hooded figure shown form behind. Angel taps it on the back with his battle ax and it cowers down letting out a scream.", "Angel: \"Mr. Nabbit?\"", "Cordy: \"David?\"", "Nabbit: \"Heart - heart - heart my throat.\"", "Angel: \"I'm sorry. I didn't - I didn't mean to...\"", "Nabbit: \"No, that was awesome. Can we do it again?\"", "Wesley: \"Are you - do you need help?\"", "Nabbit: \"Me? No. I just popped by to hang. I blew off my board of directors 'cause tonight's my turn to be dungeon master. What do you think of my cape?\"", "Cordy: \"Shiny.\"", "Nabbit: \"You guys wanna hang? (Looks past Angel into the office) Oh, wow. Wow, wow. (Enters the office and gives a whistle) This is where it all happens. They're helpless - in agony - they have no one to turn to so they - come here to you. - Drink that coffee - sit on this couch. (sits down) - Unspeakable fiends from hell hot on their heels. (Everyone looks at him silently) Ah, what did I do? Spun off my digital pager network, made a few more million. (Everyone just stares) Alright, several. - Big whoop! What does that mean?\"", "Cordy: \"No more shopping in the Pennysaver?\"", "Nabbit: \"It's just you guys, - your lives are so meaningful - so exciting. You fight demons! At any moment one could walk right through that very door! (Everyone looks over at the door then they turn back to look at Nabbit) - - You guys seen any cool demons lately?\"", "Cut to two monks chanting and a white circle between some trees.", "Chanting: \"This hallowed ground is made ready. His time is at hand. For as it is written he of pure darkness shall come into the light.\" The ground trembles, the circle flames up high. Through the flames we see a face, covered down to its mouth by a bronze-colored mask and framed by the hood of a cloak. He steps from the circle and walks past the two monks to where Lindsey, Lilah and Holland are waiting in front of their office building.", "Holland: \"Welcome to Wolfram & Hart. I hope you had a pleasant journey?\" The demon walks past them without a word and the three lawyers follow. Intro Back to where we left Angel and Co. standing silently in front of Nabbit sitting on the couch.", "Nabbit: \"You guys - I, - never know what's going to happen around here. That's... (Gets up abruptly and walks out) Okay. Good to see you.\"", "Angel: \"You too.\"", "Cordy: \"It was fun.\"", "Wesley: \"Drop by again.\"", "Nabbit: \"We'll hang soon.\"", "Wesley after a beat: \"I think I know what it means.\"", "Cordy: \"A very wealthy man with just - no life at all?\"", "Wesley: \"No. The word in the scroll.\" He goes into Angel's office and the others follow.", "Cordy: \"That shoe shine thing?\"", "Wesley: \"Shanshu.\" Angel sits down and resumes reading his book.", "Wesley: \"If it isn't Phygian but instead descends from the ancient Magyar's then its root is proto-Ugaric. In which case it would mean...\"", "Cordy: \"What?\"", "Wesley at his book: \"Death.\"", "Cordy: \"But you said it was all about the vampire with the soul. (Wesley looks at her then they both look at Angel, who is reading his book as if he hadn't even heard Wesley) Angel's going to die?\"", "Angel glances up: \"Oh. Anything else?\"", "Cordy: \"He certainly took that well. - Is this that opportune time to talk about my raise?\"", "Wesley: \"It's probably years off - ah, after the coming battles.\"", "Cordy: \"My raise?\"", "Wesley: \"Apocalyptic prophecies aren't exactly a science. And-and I could be way off the mark, so - no reason to be concerned.\" Angel never looking up from his book: \"Hmm.\"", "Wesley: \"So it's good you're not concerned. - Not - even remotely concerned.\" Angel glances from Wesley to Cordy then jumps up to catch her as she has a vision of a blurry lady being attacked.", "Angel: \"Easy, easy, easy.\"", "Cordy: \"Pain - killer.\"", "Wesley: \"Painful killer-demon.\"", "Cordy: \"Painkiller!\"", "Wesley: \"Oh.\"", "Cordy: \"A woman, judging by the plastic bag on her head I'm guessing homeless, versus a slime demon.\"", "Angel: \"Where?\"", "Cordy: \"I smelled something awful - that would be the slime demon - Yuck! - who lives behind a waste treatment plant in El Segundo.\"", "Angel turns to leave: \"Got it!\"", "Wesley: \"Do you need...?\"", "Angel: \"Nope. Stay here and take care of her.\"", "Cordy: \"Enough with the scratch-and-sniff visions!\" Wesley hands her some pain pills: \"Here we are.\"", "Cordy: \"Ah, thanks. I ever meet these Powers That Be - I'm gonna punch'm in the nose! (Wesley tries to suppress a smile)- Do you think they have a nose?\"", "Cut to Wolfram and Hart.", "Vocah: \"You lost the scroll of Aberjian?\"", "Holland: \"The scroll was stolen from our vault.\"", "Vocah: \"The raising can not be performed without the scroll.\"", "Lilah: \"We understand.\"", "Lindsey steps forward: \"It was my mistake. I'll rectify it.\"", "Vocah: \"You will do nothing. I will retrieve the scroll myself. Who stole it?\"", "Holland: \"Angel.\"", "Vocah: \"Angel! I am summoned for the raising - the very thing that was to bring this creature down to us -tear him from the Powers That Be - and he - has the scroll.\"", "Lilah: \"We're not unaware of the irony.\"", "Vocah: \"He is in the possession of the scroll. His connection to the Powers That Be is complete.\"", "Lilah: \"He hasn't had time to make a full study of the text.\"", "Vocah: \"No, and he won't. All avenues to the Powers shall be cut off from him and the scroll returned to us.\"", "Lindsey: \"What can we do to help?\"", "Vocah: \"You can leave it to me.\" Vocah and the two monks leave the room.", "Holland: \"Well - end of discussion?\" Two police officers watch as a police car drives up with lights and siren going. Kate Lockley gets out of the car.", "1.Officer: \"Told you she'd show. She listens to the nut-calls on her scanner.\"", "2.Officer: \"Sure she doesn't pick up the radio waves on her brain chip?\" Kate steps up to them.", "1.Officer: \"Detective. According to the report there was a lot of, quote, otherworldly howling and wailing.\"", "2.Officer: \"The call said something about something slimy dragging a homeless woman away.\"", "Kate: \"I heard the call. Stay here.\"", "1.Officer: \"Don't you want some backup, detective?\"", "2.Officer: \"Or a Ouija board?\" Kate gives them a look but proceeds into the alley without a word. She hears a woman moaning and a man talking, and puts her hand on her gun. Angel and the homeless woman come around a corner.", "Woman: \"See what they do? You turn your back and they come for you.\"", "Angel: \"You're safe now.\"", "Woman: \"Yeah, you killed him. Sliced him up real good. (Kate takes her hand off her gun and fold her arms in front of her as they come up to her.) He saved me from one of their spies. And by the way - I don't appreciate the dental association watching me like that.\" Woman walks past Kate and keeps on going while Angel stops.", "Angel: \"Hi.\"", "Kate: \"What was it?\"", "Angel: \"It's okay. It won't hurt anyone else.\"", "Kate: \"What was it?\"", "Angel: \"Slime demon.\"", "Kate: \"Gee, this town has everything, doesn't it? Demons, fiends, vampires...\"", "Angel: \"Look, I know this hasn't been easy for you. It's okay most people can't handle what's really out here, Kate. Maybe you should think about...\" Kate laughs.", "Kate: \"Sorry. It's just someone who's not even a person lecturing me on 'most people,' it's kind of funny. - I can handle it fine. - And I don't care about most people and what they think of me. - What I do care about it ridding this city of your kind.\"", "Angel: \"My kind.\"", "Kate: \"Your kind. The kind that killed my father? Did you think I would just forget about that? - I don't forget anything.\" Kate turns and walks back the way she came. Angel looks after her for a moment then turns and leaves as well. Next day. Wesley is sitting in front of Angel's desk in the office and closes the book in front of him.", "Wesley: \"Death. (He gets up and walks into the outer office to sit down across from Cordelia) Every source says it's death.\"", "Cordy: \"Well, it's just a prophecy. It's not like it came from on high.\"", "Wesley: \"That's what a prophecy is, Cordelia.\"", "Cordy: \"Alright. Yeah, but Angel faces death all the time - just like a normal guy faces waffles and French-fries. It's something he faces every day like - lunch. - Are you hungry?\" She gets up to get a doughnut.", "Wesley: \"The fact that his death is prophesied - which isn't good news - doesn't concern me nearly as much as the way he took that news.\"", "Cordy: \"What? He didn't scream like a girl as some of us would have? (Sits back down) Angel's cool.\"", "Wesley: \"Angel's cut off. Death doesn't bother him because - there is nothing in life he wants! It's our desires that make us human.\"", "Cordy eating her doughnut: \"Angel is kind of human. - He's got a soul.\" Cordy goes for another doughnut.", "Wesley: \"He's got a soul - but he's not a part of the world. (Gets up) He-he can never be part of the world.\"", "Cordy: \"Because he doesn't want stuff? - That's ridiculous. (Wesley takes her doughnut away from her) Hey! I want that!\"", "Wesley: \"What connects us to life?\"", "Cordy: \"Right now? I'm going with doughnuts.\"", "Wesley: \"What connects us to life is the simple truth that we are part of it. - We live, we grow, we change. - But Angel...\"", "Cordy: \"Can't do any of those things. - Well, what are you saying, Wesley? - That Angel has nothing to look forward to? That he's going to go on forever, the same, in the world, but always cut off from it?\"", "Wesley: \"Yes.\"", "Cordy: \"Well, that sucks! We've got to do something. We've got to help him.\"", "Wesley: \"I'm not sure we can.\"", "Cordy: \"What is your deal? You go around boring everyone with your musty scrolls and then you say there is nothing we can do?\"", "Wesley: \"He is what he is.\"", "Cordy: \"He's Angel. He's good. And he helps the helpless and now - he's one of them. - Well, he's gonna have to start wanting things from life, whether he wants to or not!\" Angel comes up the elevator and Cordy and Wesley go into his office to greet him.", "Angel: \"Morning.\"", "Cordy: \"Morning. - Want some coffee?\"", "Angel: \"No, thanks.\"", "Cordy: \"How about a doughnut? Chocolate...\"", "Angel looking through a book: \"No.\"", "Cordy: \"Creamy fillings?\" Angel laughs a little as he looks at her: \"No. I don't want anything. (Cordelia makes a sound and looks at Wesley) Am I supposed to know what this is about?\"", "Wesley: \"We - were just discussing how - you don't - want that many things.\"", "Cordy: \"You're cut off from life. But don't worry, I'm gonna help you with that.\"", "Angel: \"Oh. Good.\"", "Cordy: \"We'll start small. Keep it simple. - How would you like a puppy? (Angel just looks at her) Right. - A Ficus? They're low maintenance. - Ant farm?\"", "Wesley: \"I have to go.\"", "Angel: \"Where are you going?\"", "Wesley: \"Rare book shops. I need references to translate the - prophecy. - Probably not a good idea to take the scroll with me.\"", "Angel: \"No. I'll lock it up downstairs in the weapons cabinet.\"", "Wesley: \"Angel - I hope I'm wrong about all this but - it might be a good time to consult the Oracles.\"", "Angel: \"I don't need to see the Oracles about this.\"", "Wesley: \"Well, think about it.\" Wesley leaves.", "Cordy: \"Oracles. - Get out of the house. - Could be fun.\" Angel turns and goes back down the elevator.", "Cut to the chamber of the Oracles.", "Woman: \"How dare you enter this sacred space.\"", "Man: \"Who do you think you are?\"", "Woman: \"We do not appreciate being summoned by a lower being.\"", "Man: \"Who knows no better than to come here on a whim.\"", "Vocah: \"I'm not here on a whim.\"", "Woman: \"We do not council your kind. The powers of darkness are not allowed to cross this threshold. How did you get in?\"", "Vocah: \"The old order passes away and the new order's come. He that was first shall now be last and he that was dead shall now arise.\"", "Woman: \"Yes, and he that is trespassing shall now depart.\" Vocah puts a hand behind his back.", "Man: \"We shall speak no more.\" A battle scythe grows in Vocah's hand.", "Vocah: \"Yes - I know.\" Cordy is walking through an open market. Picks up a set of paints.", "Woman: \"Do you paint?\"", "Cordy: \"Oh, no. I was just looking for something for a friend. I thought maybe if he had a hobby... - He's a little detached from things.\"", "Woman: \"Well, they say art is the best therapy for that.\"", "Cordy: \"Really?\"", "Woman: \"Sure, they use it in mental institutions all the time. You get the patients drawing and working with clay - helps them to get back in touch.\"", "Cordy: \"Well, he is not crazy or anything. He's - just different?\"", "Woman: \"Depressed.\"", "Cordy: \"Well, he wears a lot of black. - How much are these pastels?\"", "Woman: \"Oh, these are on special. You get the entire set, the large one, and some drawing paper and little pop-up easel...\" Her voice fades as the camera moves away into the crowd - to show Vocah walking by himself. (Close Captioning has:", "Woman: \"...all for thirty four bucks.\"", "Cordy: \"Awesome!\"", "Woman: \"Yeah.\"", "Cordy: \"Okay. Oh, like this? This... Is this the pop-up?\"", "Woman: \"Uh-huh.\") Woman hands Cordy two big bags.", "Woman: \"I think you have everything he'll need and then some. You made my day. Thanks.\"", "Cordy: \"You're welcome.", "Woman: \"You must be really good friends.\"", "Cordy: \"Yeah. Thank you.\"", "Woman: \"Take care.\"", "Cordy: \"Bye.\" As Cordy walks away Vocah passes her from behind his hand brushing lightly against hers. Cordy looks around but doesn't see anything. She starts to walk on when she get hit by a short vision. She pulls out her cell phone, but before she can dial out she gets hit by another stronger vision. This one doesn't end, and she falls to the ground screaming. The art lady comes over and crouches down beside her and screams for someone to dial 911.", "Cut to Angel's building - night. Vocah walks into Angel Investigations.", "[SCENE_BREAK]", "Cut to Angel walking down the steps to his apartment, studying the scroll. He rolls it up and locks it into the weapons cabinet. Senses something and turns back to the cabinet when the phone rings.", "Angel: \"Hello? - Yeah, what happened to her? - I'm her employer. - She doesn't have any family in town. What happened? - I'm on my way.\" Hangs up the phone and hurries out, snagging his coat on the way. Vocah walks in, breaks open the weapons cabinet, takes the scroll, puts something in its place, and closes it again.", "Cut to Angel running down a hospital corridor. Stops at the nurse's station.", "Angel: \"I'm looking for Cordelia Chase.\"", "Nurse: \"She is ah, the doctor is with her. If you'll just have a seat over there... (Angel hears Cordy scream and hurries on) Wait! You have to let the doctor handle this!\" Cordelia is convulsing on a bed.", "Doctor: \"Try another five mil of Ativan.\" Angel comes in the room.", "Doctor: \"Hey, you can't be in here.\"", "Angel: \"What happened?\"", "Doctor: \"Are you family?\"", "Angel: \"Yes!\"", "Doctor: \"They brought her in a few hours ago. I'm not sure what happened.\" We get a flash of the vision Cordy is seeing.", "Doctor: \"Does she have a history of mental illness?\"", "Angel: \"No.\"", "Doctor: \"Does she use drugs?\"", "Angel: \"No.\"", "Doctor: \"Well, she is having a psychotic episode. We've done a CAT scan. There is no organic damage that we can see, but we can't seem to sedate her.\"", "Angel: \"Cordelia, can you hear me? - Cordelia! (More vision flashes) Cordelia!\"", "Doctor: \"We're trying a number of different drug therapies. Do you know if she has any allergies?\"", "Angel: \"I don't think so. Drugs won't help her.\"", "Doctor: \"Well, something better. I need to inform you, if we don't find a way to stop it...\" Angel looks from the convulsing Cordy to the doctor and back.", "Cut to Wesley walking into the office carrying books. He goes downstairs and sees the broken lock on the weapons cabinet. He puts the books down and opens it slowly, then starts to back away. Angel pulls up across the street and gets out of his car. When he is halfway across, a fiery blast coming form the lower story lifts him into the air. He lands in a heap on the road while flames engulf the building and car alarms start blaring all along the street. Angel runs into his burning apartment form the parking garage.", "Angel: \"Wesley! - Wesley! - Wesley! Wes! Wes!\" He sees Wesley laying on the stairs leading up. He checks for a pulse.", "Angel: \"Wes. Wesley.\" He slings Wesley over his shoulder and heads out.", "Cut to fire engines and police in front of the building. Wesley, wearing an oxygen mask is being wheeled over to an ambulance with Angel walking beside him. He watches as they load him up, the starts for his car.", "Kate: \"Never a dull moment with you around, is there.\"", "Angel: \"I have to go.\"", "Kate: \"Who the hell do you think you are? You are a major witness to a major crime scene. You are not going anywhere.\"", "Angel: \"You want to try and stop me, Kate?\"", "Kate: \"I'm glad we are not playing friends anymore. And I'm real sick and tired of your attitude. There is a thing called the law!\"", "Angel: \"This isn't about the law, this is about a little thing - called life. Now I'm sorry about your father. But I didn't kill your father. And I'm sick and tired of you blaming me - for everything you can't handle! You want to be enemies? Try me.\" Angel hurries past her to his car while she looks after him.", "Cut to a nurse trying to restart a patient's heart with electro-shock.", "Nurse: \"Clear! - Okay, I got him back.\" The camera pans over to another bed and an unconscious and battered Wesley. His heart monitor is beeping regularly. The camera pans to show Angel standing beside his bed watching him. After a moment Angel turns and the camera shows him walking into another wing and to Cordelia's bed. Cordelia is sedated, so she is no longer convulsing, but she still has permanent visions. Angel takes hold of her left hand and leans on the bed.", "Angel: \"Cordelia - I'm gonna fix this. - Promise. - I'm gonna get you back. - I need you back.\" He looks as he lets go of her hand and notices a black symbol on the back of it.", "Cut to Angel holding a piece of paper with the symbol on it as he does the spell to get to the Oracles.", "Angel: \"I come before the Oracles for guidance and direction. I beseech access to the knowing ones.\" The doorway opens with a blinding flash of light. Angel stumbles into the chamber of the Oracles, blinking his eyes and sees the Oracles lying on the floor, dead, Vocah's bloody scythe still buried in the woman's body. A ghostly image of the woman appears beside him.", "Woman: \"It's unfortunate. Things are unraveling. The dark ones broach our temples now.\"", "Angel: \"Can you help me?\"", "Woman: \"I can't stay long. I've been dead a while. So far I don't like it.\"", "Angel: \"My friend who gets the visions...\"", "Woman: \"Is in trouble. It's his mark, the one who did this.\"", "Angel: \"Who? Who did this?\"", "Woman: \"Vocah. Warrior of the underworld. He wants you weak. So he opened her mind to all the ones who cry out in pain and need. She doesn't have long either.\"", "Angel: \"How can I stop it?\"", "Woman: \"The sacred scroll of Aberjian is now in Vocah's possession. The scroll is what you need.\"", "Angel as she fades: \"Wait.\"", "Woman: \"Find the scroll. The words of Anatole, only they can remove the mark and save your friend.\"", "Angel: \"Tell me where to find him. I'll repay him for what he did here.\"", "Woman: \"He is here for the raising.\"", "Angel: \"The raising?\"", "Woman: \"Like so many of them he hides behind man's law. Stop him.\" She fades.", "Angel: \"I will.\" Angel grabs the scythe and leaves.", "Cut to Milano's Italian Kitchen, outside, night. Gunn and some of his gang are loading boxes of leftovers into the back of their truck.", "Gunn: \"This is good. A lot of hungry people are going to appreciate this. You are doing god's work here. If god was a busboy he'd look just like you Jesus. Toss it up, brother. Alright!\" We hear car tires screeching.", "Gunn: \"Yo, yo, heads up!\" He and his gang scramble for their weapons. Angel's convertible come to a screeching stop.", "Gunn: \"Put them down. I know this fool. (Jumps off the truck and walks to meet Angel) That was entertaining. What you got under that hood.\"", "Angel: \"I need your help.\"", "Gunn: \"Yeah, well, I figured you didn't roar in here to ask me after my health. It's pretty good, by the way. - You getting enough iron? You look a little pale. - Okay, it's traditional in the human world to humor people who've done favors for you in the past.\"", "Angel: \"Your about to do me another one.\"", "Gunn: \"Yeah, well, if it's tossing a vampire in with them lawyers, I'm in. Because that was my idea of a good time.\"", "Angel: \"My people, they are in the hospital. St. Matthews. One's in ICU, one's in the neuro-psychiatric Unit. They need protection while I hunt down the guy who put them there.\"", "Gunn: \"He's gonna come after them himself or is he gonna send someone?\"", "Angel: \"However he comes, he's not gonna get them. These people mean a lot to me.\"", "Gunn: \"I'm getting that.\"", "Cut to a crypt. Five vampires are chained to a box sitting in the middle of a five pointed star inside a star laid into the floor. The two monks enter followed by Vocah.", "Monks: \"We have prepared a holy place in the darkness and anointed it with oil. We have taken of the blood of the living and gathered together the living dead.\"", "Vocah: \"As it was written they shall prepare the way and the very gate of hell shall open. That which is above shall tremble (earth trembles) for that which is below shall arise. And the world shall know the beast shall know the world.\" A group of people is walking down the steps in front of Wolfram and Hart.", "Lilah: \"Aren't we going to be late?\"", "Holland: \"You never want to be on time for a ritual, the chanting, the blood rites, they go on forever.\" We see Angel peek out from behind a pillar as Lindsey motions to two guys standing in front of a moving van.", "Lindsey: \"You guys follow us.\"", "Holland to Lindsey: \"I know you've covered all the bases here.\"", "Lindsey: \"Yes, sir.\"", "Holland: \"Senior partners are keeping a close watch on us. We don't want let them down.\"", "Lindsey: \"We won't.\" Holland gets into the Limo but Lilah turns to Lindsey for a moment before following him.", "Lilah to Lindsey: \"Remember when Robert Price let the senior partners down and they made him eat his liver? - I don't know what made me think of that.\" After a moment Lindsey follows the other two into the back of the limo. Angel watches them drive off, followed by the movers. He gets into his car and trails them.", "Cut to Vocah doing the ritual, walking from one point of the star to the next.", "Vocah: \"Five are without breath.\"", "Monks: \"Yet they live.\"", "Vocah: \"Five are without time.\"", "Monks: \"Yet they live.\" The party from Wolfram and Hart enters the crypt.", "Vocah: \"Five are without soul.\"", "Monks: \"Yet they live.\"", "Holland: \"They haven't even gotten to the Latin yet.\"", "Vocah: \"Five are without sun.\"", "Monks: \"Yet they live.\" Vocah looks up, then lays the scroll down on top of the crate and walks to face some steps leading down into the crypt.", "Lilah: \"What is it?\"", "Holland: \"I don't know.\" Vocah produces another scythe. A moment later Angel burst through the door at the top of the stairs and the two of them get into a battle of the scythes.", "Holland: \"Lindsey?\" Lindsey watches the fight between Vocah and Angel for a moment then steps forward into the circle and picks up the scroll.", "Lindsey: \"Five are dead. - Say it!\"", "Monks: \"Yet they live.\" Lindsey speaking Latin. Translation according to RayneFire from the Buffy Shooting Script Website:", "Lindsey: \"Et illi quinque sacrificum est et illi que est mortuus vivet.\"", "Translation: \"And the five shall be a sacrifice... and the one who is dead shall live...\"", "Holland (to Lilah): \"Get the movers in here.\"", "Lilah: \"Yes, sir.\"", "Lindsey: \"Dum vita et mors non duas res sed unas sunt. In tenebris lux est, in luge tenebrae sunt. Serge! Serge! Serge! Serge! Serge! Serge!", "Translation: \"Even as life and death are not two things but one... in darkness is the light, in light is the darkness. Arise! Arise! Arise! Arise! Arise! Arise!\" The five vampires turn to dust and bones as the earth shakes and a whirlwind begins to spin around the box. The whirlwind sucks the vampire dust and bones into the box, then a ring of light explodes outward throwing Lindsey against the wall. He lands in an unconscious heap on the floor. Angel and Vocah are fighting on as if nothing had happened. The movers rush in.", "Holland: \"Get it out of here.\" The movers push the box out. Holland throws a quick glance at the unmoving Lindsey then follows the others out of the crypt. Angel and Vocah are still fighting. Lindsey slowly comes to. He still has the scroll. Angel finally gets the scythe away from Vocah and pins him up against the wall. He knocks the mask of Vocah's face to reveal a maggot filled hole where his nose should be.", "Angel: \"Nice.\" Angel drives the blade of the scythe into Vocah's chest, killing him. Behind him Lindsey has made it to his feet and grabs a hold of post topped by a cross and brandishes it in Angel's direction. Angel slowly walks towards him, bloody scythe held loosely in his right hand.", "Angel: \"Lindsey, give me the scroll.\"", "Lindsey: \"That's not gonna happen. It belongs to us.\"", "Angel: \"Us. You put your faith in Wolfram and Hart.\"", "Lindsey: \"You said I had to make a choice.\"", "Angel: \"And you did.\"", "Lindsey: \"Yeah. I had a crisis - and I want to thank you for your help with that - but I see things more clearly now.\"", "Angel: \"You don't see anything. You don't know what faith is.\"", "Lindsey holds up the scroll: \"I see that what happened here tonight was foretold - that doesn't bode well for you. - I see that you are either the one with the power - or you're powerless.\"", "Angel: \"Uh-huh. You see what I'm gonna do to you if you don't give me that scroll?\"", "Lindsey: \"You need the words of Anatole to cure your friend. She is your connection to the Powers That Be. And since it's foretold that we sever all your connections (holds the scroll into the flames burning in the urn beside him) well...\" Angel throws the scythe, cutting off Lindsey's hand at the wrist. Lindsey drops the cross and screams as he drops to the ground. He is cradling his bleeding stump against his chest, as Angel goes to retrieve the scroll from the floor beside him.", "Angel: \"Don't believe everything you're foretold.\" Lindsey tries to suppress his screams as Angel walks out.", "Cut to Cordelia lying on the hospital bed. Wesley is sitting in a wheelchair beside it with Angel leaning over her bed on the other side.", "Wesley: \"And if the beast shalt find thee, and touch thee, thou shalt be wounded in they soul - and thou shalt know madness. - The beast shalt attack and cripple thee and thou shalt know neither friend nor family. - But thou shalt undo the beast. Thou shalt find the sacred words of Anatole and thou shalt be restored. - Three times shalt thou say these words: unbind - unbind - unbind.\"", "(Close Captioning gives a different text from what Wesley actually says: \"The sins of man shall inflame the earth and bring a great scourge. A fighting beast from hell will arise. The beast shalt attack and cripple thee and shalt poison thee, mind and body, with its mark. But thou shalt undo the beast. Thou shalt take refuge in the holy words of Anatole as handed down to him by the elders. And thou shalt be restored whole. Three times shalt thou say these words: Unbind. Unbind. Unbind.\")", "Cut to the nurses walking down the corridor. A white flash comes from Cordelia's room and she hurries towards it.", "Cordelia blinks her eyes. Angel looks down at her hand. The mark is gone. Cordy looks up at Angel and he smiles at her.", "Angel: \"Hey.\"", "Cordy: \"Angel?\"", "Angel: \"Welcome back.\" Cordy looks over at Wesley.", "Nurse: \"I'll get Dr. Evans.\" Leaves.", "Cordy looks back at Angel: \"I saw them all. There is so much pain. - We have to help them.\"", "Angel: \"We will. (Strokes her cheek) We will.\"", "Cut to a shot of Angel's hand gripping hers tightly. Cordelia's apartment - day. Cordelia is in the kitchen fixing a sandwich. Goes to the fridge. Pan to Wesley sitting at the living room table, the scroll and books spread out around him. Angel is sitting on a chest against the wall.", "Wesley: \"Here is something.\"", "Angel: \"What is it?\"", "Wesley: \"The beast of Amalfie, a razor toothed six-eyed harbinger of death. No, wait, that's due to arise in 2003 in Reseda.\"", "Angel: \"I would have guessed Tarzana.\" Cordy set the sandwich and a glass of milk on the table in front of Wesley.", "Wesley: \"Better cross-reference that.\" Cordy goes back into the kitchen and gets a plastic cup filled with blood.", "Wesley: \"I'm sorry, I don't know what they raised in that box. - I'll keep looking.\"", "Cordy: \"You've been looking for two days. You need to relax and charge the brain cells. (Hands him the plate with the sandwich) Here. Eat.\" Wesley accepts it and looks over at Angel. Cordy hands Angel the cup with the blood: \"You too. (Angel looks up at her) Don't be embarrassed. We're family.\" Angel accepts the cup. Cordy notices Wesley staring at her.", "Cordy: \"What?\"", "Wesley: \"It's just I... - I'm not used to...\"", "Angel: \"He is not used to the new you.\"", "Cordy: \"I know what's out there now. We have a lot of evil to fight, a lot of people to help. - I just hope skin and bones here can figure out what those lawyers raised *sometime* before the prophecy kicks in and - you croak. - That was the old me, wasn't it?\"", "Angel: \"I like them both.\"", "Wesley looking at his books: \"Ah - oops. - I may have made a tiny mistake. (Angel sets the cup of blood down and gets up) The word Shanshu that I said meant you were going to die? Actually I think it means that you are going to live.\"", "Cordy: \"Okay, as tiny mistakes go - that's not one!\"", "Wesley: \"Shanshu has roots in so many different languages. The most ancient source is the Proto-Bantu and they consider life and death the same thing, part of a cycle, only a thing that's not alive never dies. It's- it's saying - that you get to live until you die. - It's saying - it's saying you become human.\"", "Cordy: \"That's the prophecy?\"", "Wesley: \"Ah, the vampire with a soul, once he fulfills his destiny, will Shanshu. Become human. - It's his reward.\"", "Cordy: \"Wow. Angel, human.\"", "Angel: \"That'd be nice.\"", "Cordy: \"Wait. What's that thing about him having to fulfill his destiny first?\"", "Wesley: \"Well, it's saying that it won't happen tomorrow or the next day. He has to survive the coming darkness, the apocalyptic battles, a few plagues, and some - uh, several, - not that many - fiends that will be unleashed.\"", "Angel: \"So don't break out the champagne just yet.\"", "Cordy: \"Yeah, break out the champagne, Pinocchio. This is a big deal!\"", "Angel: \"I guess it is.\"", "Cordy: \"Typical. I hook up with the only person in history who ever came to LA to get older.\"", "Cut to Wolfram and heart - day. Lilah, Holland and Lindsey are entering the vault where the box from the ritual is stored. Lindsey's right arm is in a sling.", "Holland: \"The senior partners were very impressed with your sacrifice. (Lindsey looks at him) Trust me, we'll even the score with them.\"", "Lindsey: \"Yes, we will.\"", "Holland: \"Beginning with what's in that box.\" Lilah leaning to look in through the bars running along the top of the box: \"We are all very pleased you're here. - I know it's a bit confusing - but it's going to be better soon - a lot better, (Camera pans to show a naked woman crouched in one corner of the box) Darla.\"" ]

[ "Misinterpreting one of Cordy's visions, Angel tries to help a pregnant woman and accidentally kills her demon protector. Now, Angel must fulfill the dead warrior's mission and fight a battle to save the woman's unborn baby. When the woman runs off though, Angel is forced to make an incredible sacrifice to find her again... He has to sing at a karaoke bar." ]

[ "Close up of a green-faced, horned demon with red eyes - who starts to sing into a microphone. \"First I was afraid. I was petrified. Kept thinking I could never live without you by my side. But then I spent so many nights thinking how you done me wrong, and I grew strong. And I learned how to get along.\"", "Demon speaking: \"Oh, you know what I'm talking about. In this city you better learn to get along. Because LA's got it all: The glamour and the grit, the big breaks and the heartaches, the sweet young lovers and the nasty, ugly, hairy fiends that suck out your brain through your face. It's all part of the big wacky variety show we call - Los Angeles. You never know what's coming next. And lets admit it folks: Isn't that why we love it? (Starts to sing again) I'll survive. I will survive! Hey, hey!\"", "Cordy: \"But why, Johnny? Why?\"", "Johnny sighs: \"Because it's over.\"", "Cordy: \"No I love you! I gave you everything. Didn't I?\"", "Johnny picking up a bag: \"Yea, and now it's time to move on.\"", "Cordy: \"No. You can't. You're everything to me. I'm nothing without you baby. - Nothing.\" Cordy slaps Johnny in the face.", "Johnny: \"Ow. Hey - ow - she hit me!\"", "Cordy: \"I threw that in myself. She seems so spineless. Begging this creep not to dump her.\" Johnny goes and looks through the script book.", "Acting coach: \"That was just amazing! You were Eleanor - body and soul.\"", "Johnny: \"Hey, where does it say that she hits me?\"", "Coach: \"You're on fire, Cordelia. This is exciting work. Lets take it again. And put the focus on how conflicted you... (Cordy's beeper goes off - 911) Cordelia...\" Cordy picks up her bag to leave: \"Sorry. Duty calls.\" Wesley is playing darts in a bar against two other guys while a pretty blonde looks on admiringly.", "Wesley: \"Sorry lads. I'll give you a rematch (his beeper goes off - 911) but it'll have to be another time.\" Wesley picks up a wad of cash from the table and looks over at the smiling blonde. Throws a dart in the general direction of the board without looking.", "Man off screen: \"Ow!\" The smile fading from his face, Wesley leaves. Angel, Wesley and Cordy stride into a big gym.", "Attendant: \"Can I help you?\" Angel and Co. never break stride, and the guy follows them through the gym.", "Attendant: \"I'm sorry this club is for members and their guests only.\"", "Angel: \"Yeah, well, I'm thinking of joining.\"", "Attendant: \"Excuse me! But you can't come in here without a membership or a guest pass!\"", "Cordy: \"Are you sure we're in the right place?\"", "Wesley: \"This is a tad public for a Praetorian sacrifice.\"", "Angel: \"The quadrants match. It's a Carnyss demon and they love muscles and mirrors.\" They come to a stop the attendant still behind them.", "Attendant: \"Hey, listen! I'm not fooling around. I will call the pol...\" Notices that Angel doesn't reflect in the wall of mirrors before which they are standing.", "Angel glances back at him: \"Huh. No reflection. I'll fix that.\" Angel kicks in the mirror and steps through surprising a red robbed human and a demon with sword raised to sacrifice two bound and gagged humans.", "Angel vamping out: \"Stop that.\" Angel bats the charging human against a wall and begins to fight the demon with the sword. Wesley ducks or deflects a couple punches from the human, then hits him with a right cross, knees him in the stomach and drops him on the floor. Nods to Cordelia, who drops a round metal weight on the guy's head, knocking him out. Angel manages to take the sword away from the demon and stabs it through the heart with it. The attendant slowly walks closer to the broken mirror and looks into the room beyond it. Angel and Co are freeing the sacrifices then they walk back out into the gym.", "Attendant staring: \"That guy has horns.\" Angel (back in human face) as they walk past: \"Steroids. Not good for you.\" Intro Inside Cordelia's apartment the camera pans across a whiteboard with 'cases,' 'leads,' 'progress' and 'status' written across the top. The first line under that reads (as best as I can make it out) Zaroh (crossed out), first seen 10/7 killed 2 police officers, beheaded - reborn - torched, closed. Also listed are Vocah, Sloth, Khee Shak, an Ethros, Vartite, Konsoo and the Carnyss demon from the night before.", "Wesley: \"I'm beginning to think it was the sloth demon.\"", "Cordy writing on board: \"Sloth demons don't sacrifice adolescents, Wesley. It was a Carnyss. You I.D. it.\"", "Wesley: \"No, I don't mean the demon we killed last night. I mean the one we...\" Angel playing with some glass figurines Cordy has sitting on a shelf: \"That was a nice gym.\"", "Wesley: \"...incinerated a month ago. I think that's what Wolfram and Hart raised in that box when Angel was fighting Vocah.\"", "Angel: \"The thing about a gym is that you're not alone. You've got people around. That encourages you to work out.\" Cordy takes the glass figure away from him and sets it back on the shelf.", "Cordy: \"You don't have to work out. You're eternal.\"", "Angel: \"I may not always be.\"", "Cordy: \"It was the Vartite monster. (Angel picks up a glass unicorn as Cordy turns back to arguing with Wesley) It took two days to kill that thing! It's got Wolfram and Hart written all over it.\"", "Angel: \"You got your steam. You got your sauna. You got fresh towels. I mean, how bad could it be?\"", "Cordy: \"You shower with a lot of men.\"", "Angel: \"I'll always be a loner.\" Cordy holds up a finger and scrunches up her face. Angel drops the figurine and hurries to catch her.", "Angel and Wesley: \"Vision.\" Cordelia sneezes as the guys hover around her.", "Cordy: \"Just a sneeze.\"", "Angel and Wesley turn away: \"Oh.\"", "Cordy: \"Oh?!\"", "Angel: \"I mean, bless you. (Turns to the broken figurine on the floor) Sorry about this.\"", "Cordy: \"Why can't we work out of Wes's?\"", "Angel: \"We're getting a new office. I just haven't...\" Cordy holds up a finger and scrunches up her face again: \"Sneeze. (Sneezes) - Followed by vision.\" Angel and Wesley jump to her side and catch her. After the vision of a blurry gray monster face is over she is sitting on the sofa, Angel kneeling in front of her.", "Angel: \"Are you alright?\"", "Cordy: \"I'll survive.\"", "Wesley at the whiteboard: \"What have we got?\"", "Cordy: \"A nasty looking demon. Didn't recognize it.\" Wesley writes 'N. D. U. O.' \"Nasty Demon, Unknown Origin.\"", "Angel: \"There's an awful lot of that in this town. I'm sure he'll feel right at home here.\"", "Cut to Wolfram and Hart. Lilah to cell phone as she walks the corridor: \"You have every right to review the contract. I encourage it. We'll talk on Monday. - Of course if you don't sign we'll sue your ass off and kill your children. - Just kidding, Donald. No one wants a law suit.\" Closes the phone and enters a dark room.", "Lilah: \"Wow. It's nice and gloomy in here. (Lindsey is having trouble opening a CD case with his new prosthetic hand - drops it) You're not handicapped - you're handi-capable.\"", "Lindsey: \"She likes Chopin and Brahms. She's not too fond of the Russians.\" Lilah turns to where Darla is inspecting an old-fashioned globe.", "Lilah: \"Hello, Darla. How are you doing today? Feeling any better? It's a beautiful day outside.\"", "Lindsey: \"Lilah, shut up. She's not a child. She's 400 years old.\" Darla hums along with the music: \"Hmm, the prelude.\"", "Lindsey inhales: \"In C-minor. The preludes and the nocturnes.\"", "Darla: \"So much better than the waltzes. - He had consumption.\"", "Lindsey: \"And died way too soon. A lot of that going around.\"", "Darla breathes deeply: \"Hm. He's here.\"", "Lilah: \"Chopin?\"", "Lindsey: \"Angel. He's here in town. You can feel him.\"", "Darla: \"Always could.\"", "Lindsey: \"He hasn't been much of a help to us.\"", "Darla: \"He killed me. (Laughs) I remember now - with a soul in his heart.\"", "Lindsey: \"He's taken from both of us - so when you feel ready - we'll start thinking about giving a little back.\"", "Darla: \"Angel - it's been a long time. - I'd love to see that boy.\" Angel is sketching the demon from Cordy's vision.", "Cordy: \"The eyes are a little further apart. (Angel adjusts the drawing) They look right through you. I-I don't think this guy is afraid of much.\"", "Angel: \"Wes, I'm thinking northern Pakistan, Hindu Kush...\"", "Wesley: \"Right. Or maybe the Tien Shenin in Kazakhstan. Which means I need Suleman's Compendium.\" As he walks towards the books, one of them flies up and hits him. Wesley lets out a surprised yell.", "Cordy: \"Don't yell like that! You'll scare him.\"", "Wesley: \"Scare *him*?\"", "Cordy: \"Dennis is very sensitive. He's just trying to help! He's more a person than a g-h-o-s-t.\"", "Wesley to Angel: \"We have to get an office.\" Wesley flips some pages, and Cordy lets out a scream, startling another yell out of Wes. Cordy points at a picture in the book: \"There! There!\"", "Wesley: \"Prio Motu demon. It's a killer.\"", "Angel taking the book: \"Ancient Ofga-beast, bred to maim and massacre.\"", "Cordy: \"Oh, goody. A pit bull.\"", "Angel gets up: \"Okay. (Starts to write on the whiteboard) Now we know what we're dealing with.\"", "Wesley: \"Prio Motu.\"", "Angel: \"Now we need to find it. Right now we got to narrow it down to somewhere.\"", "Wesley: \"I may be able to help us with that. I've been broadening our contact base. Reaching out to the underlife. I may have someone who can help.\"", "Angel: \"Who?\"", "Wesley: \"A parasite demon named Merl.\"", "Cordy: \"Maybe it's time we pay your stoolie a little visit. Make with the chin-music (raises her fist) until he canaries. (Angel and Wes look at her) I've been watching a little noir festival on Bravo.\"", "Wes: \"There is a place he hangs out. A safe haven for demons. I've been meaning to take you there. I think it may be of use to us - but...\"", "Angel: \"But what?\"", "Wes: \"It's a little outside the box.\" Demon (think Cribb from the Ring) singing: \"I'm so excited. And I just can't hide it. I'm about to lose control and I think I like it. I like it. Tonight's the night we're gonna make it happen. \" Camera pans across the floor showing both demon and human customers sitting at tables. A sign reads 'no violence or weapons.' A guy steps through a metal detector (which beeps) and a bouncer takes a weapon away from him before making step through it again.", "Demon: \"Tonight we put all other things aside. Give in this time and show me some affection. (The green, horned demon from the teaser circulates among the customers) We're going for those pleasures in the night. (One of the Earshot demons steps through the detector, followed by Wesley, Cordy and Angel.) I want to love you, feel you, wrap myself around you. I want to squeeze you, please you. I just can't get enough and if you move real slow, I'll let it go! I'm so excited...\"", "Cordy: \"Your stool pigeon feels safe in a Karaoke bar?\"", "Wes: \"In this one he does. It's a sanctuary.\" The green demon goes up on the stage and finishes the song together with the lizard demon. The crowd applauds.", "Host: \"Well, move over Pointer Sisters! That was cooking! I'm about to lose control and I think I like it. Well, I'm gonna have a word with Liz here. Don't go anywhere! Coming right up, Mordar the Bentback will be callin' the tune with a personal favorite of mine. Make him feel welcome!\" A furry, horned creature takes the mike and starts crooning, while the host leads Liz over to the side.", "Host: \"Well, I can see someone is feeling pretty zippy. Liz, I know it's hatching time and you're looking forward to that. But there is more to life than eating your young! Now let me tell you what I see in your aura...\" Ugly, gray, bald demon is sitting at a table. Wesley sits down next to him.", "Wes: \"Hello, Merl.\"", "Cordy: \"Cat got your tongue, Merl?\"", "Merl: \"I don't have a tongue.\"", "Cordy: \"Oh.\" Angel leans down next to him.", "Merl: \"And, uh, keep the bloodsucker away from me.\"", "Wes: \"He can't hurt you in here.\"", "Merl: \"I know his rep, okay? He eats his own kind. Beating on demons wherever he finds 'em.\"", "Angel: \"Especially when they waste my time.\" Wesley slides an envelope with money across the table.", "Wes: \"We're looking for the Prio Motu.\"", "Merl looks at the money: \"Woah, woah, woah! You've obviously never seen one up close. I mean Prios are stone cold killers. They've got these teeth that'll, uhm... You gotta sweeten this - a whole lot. And keep my name...\" Wesley puts some more money on top of the envelope. Merl takes it.", "Merl: \"This Prio you're looking for, he don't like it above ground. So he'll be traveling in one of those sub-tunnels of the Rodondo line. (Angel starts to leave) Prios are nasty. Not some big mosquito like you, turns to dust whenever you stake it. Best of luck, though.\" Angel turns to leave. Almost runs into the host.", "Host: \"Love the coat. It's all about the coat. Welcome to Caritas. You know what that means?\"", "Angel: \"It's Latin for mercy.\"", "Host: \"Smart and cute. How about gracing us with a number?\"", "Angel: \"I don't sing.\"", "Host: \"Neither does Mordar the Bentback! That cat's a foghorn on two legs.\"", "Cordy to Wes: \"Who is this guy?\"", "Wes: \"He's, uh, anagogic.\"", "Cordy: \"Really? He looks like he's eating enough.\"", "Wes: \"Psychic. He's connected to the mystic. When you sing you bare you soul. He sees into it.\"", "Host: \"This isn't about your pipes, bro. It's about your spirit. I can't read you unless you sing!\"", "Angel: \"I don't sing.\"", "Cordy: \"Come on, Angel. I wanna hear you sing.\"", "Angel: \"No.\"", "Wes: \"It would be for a good cause. We might learn something.\"", "Angel: \"Who's the boss here?\"", "Host: \"I know you're feeling smooth, in the groove. Isn't that the thing that comes before a fall?\" Angel as they all look at him: \"There are three things I don't do: Tan, date - and sing in public!\" Angel walks out.", "Host: \"See you around. - How fabulous would I look in that coat?\" Angel is walking through some tunnels. Hears a noise and moves against the corner to an intersecting tunnel. A pregnant woman hurries down the tunnel, holding one hand over her belly. Angel steps out and she gasps in shock.", "Angel: \"Hey. It's okay. I won't hurt you. Are you alright?\" She just looks up at him. The Prio comes charging around a corner with a growl, and Angel pushes the woman aside.", "Angel: \"Look out!\" A fight ensues with the woman watching from the sidelines. They are pretty evenly matched. In the end Angel gets the Prio in a chokehold and breaks its neck.", "Angel: \"It's all right. He's dead.\" Woman walks over to the dead demon: \"What did you do? Oh my God! (Strokes the dead demon's face) What have you done?\" The woman closes the dead demon's eyes, sobbing quietly.", "Angel: \"I didn't... I thought he was gonna hurt you!\"", "Woman: \"He was my protector! (Angel tries to help her as she gets up) Stay away from me!\"", "Angel: \"I'm sorry. I was sent here to... I'm not exactly sure, but...\"", "Woman: \"You were sent here?\"", "Angel: \"By the Powers That - it's a long story. - I help people.\"", "Woman: \"You're joking, right? (Walks off, holding her belly, sobbing) God, I hate this town!\"", "Angel follows her: \"I'm really... What was he protecting you from?\"", "Woman: \"Things you couldn't handle!\"", "Angel: \"Like what?\"", "Woman: \"Like the Tribunal. - Look. I don't know who you are - or what your deal is. And I don't care! He was my protector. I had one friend in this world and you killed him! Now, you stay the hell away from me.\" Angel watches her leave.", "Wesley: \"He was good?\"", "Angel nods slowly: \"Yeah.\"", "Cordy: \"And you - (makes a cracking sound).\"", "Angel looks at her: \"Yeah.\"", "Cordy: \"Ooh. Well. That's bad. (Angel looks away) Which of course you already... Right.\"", "Angel gets up: \"He was a demon. I just assumed...\"", "Wesley: \"Well, why wouldn't you? Cordelia said he was a nasty demon.\"", "Cordy: \"Well, he *looked* nasty! I didn't say he was a killer, you did!\"", "Wesley: \"That's what Prio Motus are! They hunt. They kill. What, we're supposed to think a creature like that can suddenly change its modus operandi overnight? Turn into some noble protector and...(looks at Angel, who's standing with his back to them) defender of... Oh, God.\"", "Cordy: \"I didn't feel any fear when I saw him. Angel was probably supposed to help him not... (sighs) Thanks for the obscure visions! We're doing great with that.\"", "Angel shaking his head: \"I killed an innocent being. He was a soldier like me. Whatever his mission is it's mine now.\" Angel goes to put on his coat.", "Cordy: \"Well, that's a start! You said he was protecting a pregnant woman.\"", "Angel: \"From something called the Tribunal. I want you two to find out what that is.\"", "Wes: \"We will. (As Angel is about to leave) Angel! (Angel stops but doesn't turn around) You didn't know.\"", "Angel: \"I'm thinking somebody did.\" Merl, the stoolie, smashes against a chain-link fence.", "Angel: \"You're not on protected ground tonight, Merl.\"", "Merl: \"What do you want?\"", "Angel: \"The truth.\"", "Merl: \"I told you where to find him!\"", "Angel: \"Not a whole lot of time tonight! Why'd you lie about the Prio?\"", "Merl: \"There is a price on the woman.\"", "Angel: \"The woman or the baby?\"", "Merl: \"Yeah, the kid. A daughter. She's supposed to be some powerful, benevolent... I don't know! The dark ones they want her out of the picture. So it's two for one with the mom! The local brokers, they're offering hard cash. But no one can get close enough with that Prio around. You know, now that he is out of the picture you and I could...\" Angel smashed Merl into the fence again.", "Angel: \"Where is she?\"", "Merl: \"Look, if I knew, would I be hanging around here, getting strangled by you?\"", "Angel: \"Put the word out. No one touches the woman.\"", "Merl: \"It's a too little late for that. You know how many beast are out there after her by now?\"", "Angel: \"Where did the Prio live?\"", "Merl: \"I don't know. I don't know exactly. Boyle Heights. Somewhere underground, near the water and power. (Angel throws him into the fence again and leaves) Kind of an iffy part of town, if you know what I'm saying?\"", "[SCENE_BREAK]", "Four young men (two with their hoods up) walk around a corner as a guy gets ready to get into his nice car. He sees them and starts to run off.", "Man: \"Just take the car!\" The four men run after him.", "Leader: \"Hey, look out!\" Man looks back. As he turns back around he runs right into a vampire. The vampire is about to bite him, when the lead guy pushes back his hood and pulls out a stake. It's Gunn. He knocks the vampire off the guy and quickly stakes him. Man points at where the vamp just turned to dust unable to get a whole word out.", "Gunn: \"You should probably go home now.\" Man looks at Gunn, who motions with his eyes back to where his car is parked. After a beat the guy takes off full speed.", "Gunn: \"Ah, you're welcome?\"", "Angel: \"People now a days. Would it kill him to say thank you?\"", "Gunn puts the stake away: \"Angel.\"", "Angel: \"Been a while. You well?\"", "Gunn: \"Picture of health and harmony. - Look at you, dog! You haven't aged a bit!\"", "Angel: \"I got a situation.\"", "Gunn: \"So much for the small talk. (to the other three) Sweep Olympic up to Broadway and I'll hook up with y'all back at the crib.\"", "Angel walking beside Gunn: \"Where is home nowadays?\"", "Gunn: \"Friendly landlord off eighth. We keep the block safe for democracy, he hooks us up with the rent.\"", "Angel: \"You ever hear of a Prio Motu?\"", "Gunn: \"Is that like a '62 Chevy with the big cam? (Angel looks at him) Alright. I could have just said no.\"", "Angel: \"It's a warrior demon. He was living down here.\"", "Gunn: \"Well, isn't that nice? I thought all we had to dodge was roaches and vampires! What is this demon up to?\"", "Angel: \"Not much. He's dead. But I wanna find out where he was living. It'd be underground somewhere near the D.W.P.\"", "Gunn: \"Well, I know all the pockets. And I'm getting the sense that you wanna do this now.\"", "Angel: \"It's kind of urgent.\" Angel and Gunn are walking through some tunnels.", "Angel: \"How deep are these?\"", "Gunn: \"Pretty deep, bro. We cleaned a vampire nest out of here last year. We've been patrolling it on occasion ever since. This Prio Motu guy, what was he up to?\"", "Angel: \"He was protecting a young pregnant woman.\"", "Gunn: \"He was on our side?\"", "Angel: \"Yeah.\"", "Gunn: \"Well, did you find the scumbag that killed him?\"", "Angel: \"I'm the scumbag that killed him.\"", "Gunn: \"Oh. (Notices a vent in the wall) Oh, look. Hold on. That wasn't there before.\" They walk over to it.", "Gunn: \"You feel any air coming out of this vent? - I don't feel no air.\" Gunn finds a latch at the side and pulls it open. They walk in, closing it behind them.", "Gunn: \"The guy kept a neat house.\"", "Angel picks up a book: \"Kamal.\"", "Gunn: \"What's that?\"", "Angel: \"That was his name. Gunn...\" Angel goes to open a carved box. Closes it again and lays his hands against its sides.", "Gunn: \"We supposed to be looking for something? (Angel pulls open a hidden drawer and takes out a round metal disk.) Like that?\"", "Angel: \"I hate to ask, but...\"", "Gunn: \"Night's still young. What you need?\" Angel hands him his business card: \"I work with a couple people at this address. The one on the back. (Gunn takes the card. Angel holds out the disk) I need them to see this right away. Tell them it might have something to do with the Tribunal.\"", "Gunn: \"The Tribunal. Got it. - What, you're gonna hang here and soak up the guilt?\"", "Angel: \"Something like that.\" Gunn leaves. Angel walks around picking up a mortar. Flash to the fight. Back to Angel. Sees a Buddha statue. Flash to the fight. He replaces the candle in front of it with a new one and lights it. He hears a noise. Picks up a sword. The door opens and Angel jumps out pointing his sword straight at - the pregnant woman coming down the steps.", "Angel: \"You're safe. (Looks at his sword and puts it down) That's good.\"", "Woman, walking down the steps: \"You shouldn't be here. You don't have the right.\"", "Angel: \"Oh, I know. It's - not really my choice, either. Kamal's mission is mine now.\"", "Woman: \"You sound just like him! You guys with your missions, and ancient laws, and medieval codes of honor! Well, I'm not interested. I'm just trying to protect my baby.\"", "Angel: \"I understand.\"", "Woman: \"How could you? I don't even understand it! - I mean, six months ago I'm working the register at Costco. I did my time as a stock-girl and I was moving up. I was gonna be able to provide for my baby. Now all I wanna do is make sure she gets born.\"", "Angel: \"Well, I want that too.\"", "Woman: \"Right. Right. Because she is some seer, or leader or Joan of Arc. Well, you know what she is to me? - My daughter. Not someone's holy mission.\"", "Angel: \"It's not exactly that - it's - sort of my job.\"", "Woman: \"Your job?\"", "Angel: \"Yeah. Look! I got cards - and an office. Well, the office kind of blew up, but we're working out of this other apartment in Silverlake, temporarily. (Woman takes a card and looks at it) - Let me help you. - Let me help your daughter.\"", "Woman: \"We need to find the coat of arms. Kamal said I needed to present it to the Tribunal and maybe if I do they call this whole thing... What?\"", "Angel: \"It wouldn't be a round bronze talisman. Oh, say, about this big?\"", "Woman: \"Yes.\"", "Angel: \"Heh. I already found it.\"", "Woman smiling: \"Yeah? Where is it? (Her smile fades as she looks at Angel) What?\"", "Angel: \"Well, I don't exactly have it right here on my person. I though it was best to (she walks past him and up the steps) I know where it is. I-I can take you there. (Angel follows her) The address on the back of the card...\"", "Woman: \"Do me a favor? - Stop helping!\" She opens the door and there is a demon there waiting to take a swipe at her. Angel and the demon fight.", "Angel to woman: \"Get back! - (Between fighting moves) I can kill this thing, right?\"", "Woman: \"Yes!\"", "Angel: \"You're sure? You don't - think - he might - be good?\"", "Woman: \"Kill it!\" Angel does by throwing it into the doorway and slamming the door into it. We hear more growling.", "Angel: \"I think we should - run.\" Wes and Cordy are researching at her apartment. There is a knock on the door.", "Cordy gets up: \"Who is it?\"", "Gunn: \"Gunn.\"", "Wesley gets up: \"What was that?\"", "Cordy: \"Something about a gun. What if it's a demon with a gun?\"", "Wesley: \"Listen up, whoever you are, we are well armed and we know how to do battle, so if you know what's good for you...\"", "Gunn through the door: \"My name is Gunn. Angel sent me.\"", "Cordy opens the door: \"Well, this is a little embarrassing. Please, come in. Come in. (Gunn walks in.) Wesley, you've heard Angel talk about Gunn. He's a great guy with a really fly street tag.\"", "Wes: \"What's he fly?\"", "Cordy: \"It's how they know you on the street, dorko. Gun. It really lets them know you mean business.\"", "Gunn: \"It's my name. Charles Gunn. Two 'n.'\"", "Cordy: \"Oh, lord, will no one shut me up?\"", "Wesley offers his hand: \"Uh, I'm Wesley Wyndam (Gunn turns away and looks at the whiteboard) Price and this is Cordelia Chase.\"", "Cordy: \"It's nice to finally meet.\"", "Gunn: \"I've seen you before.\"", "Cordy: \"Really? The Tan'n'screen commercials!\"", "Gunn: \" I saw you in bed.\"", "Cordy: \"What?\"", "Wesley: \"Ah, I-I can see this is none of my business...\"", "Gunn: \"You, too.\"", "Wesley: \"Now, just a moment!\"", "Gunn: \"In the hospital - after Angel's building blew? He sent me there to keep an eye on you two.\"", "Cordy: \"Right.\"", "Gunn: \"I'm just messing with y'all. I was hoping for some demon fighting tonight, but I wound up with a delivery job instead. (Hands the talisman to Wesley) Angel said it might have something to do with the tribunal.\"", "Wesley: \"Well, this could be an emblem, or - some sort of protective amulet.\"", "Gunn points at the board: \"These all the cases y'all got going? Isn't this the well oiled machine.\"", "Cordy: \"We set them up, we knock them down. Or we did, until Angel knocked down the wrong... I'm sure he is getting on top of it now.\" Angel is leading the woman through the sewers. He stops and looks around.", "Woman: \"What?\"", "Angel: \"This way.\" They come up through a grate into the basement of a building.", "Woman: \"Where are we?\"", "Angel: \"Come on.\" The walk up the stairs into what looks like a deserted hotel lobby, the furniture covered with sheets.", "Woman, watching Angel look around: \"You've been here before. - Uh! It feels creepy.\"", "Angel: \"Yeah. What's the Tribunal?\"", "Woman: \"Some kind of otherworldly court. Supposedly they can save me and my daughter. You - you go before them, you got to have that charm... I don't know how it works. Kamal said that he was gonna be my champion. - You know what? Screw this! I'm getting out of town!\"", "Angel: \"No!\"", "Woman: \"Try and stop me.\"", "Angel: \"They'll find you wherever you go. You have to stay with me.\"", "Woman: \"You? You can't protect me!\"", "Angel: \"Yes, I can. We're gonna go to my friend's house. We're gonna get that charm and I'm gonna make this right, I promise. There is a gate in the back... (Hears some noise) go to the address I gave you. Go!\" The woman runs as Angel is attacked by two demons. Angel walks into Cordelia's apartment. Cordy and Wesley jump up from the table.", "Cordy: \"Angel! Are you all right? (Takes in his appearance) What happened?\"", "Angel: \"Is she here?\"", "Cordy: \"The pregnant woman? No. - Gunn, brought us the talisman, but...\" Angel looks at Wesley. Wesley goes back to his books: \"Working on it.\"", "Angel: \"I told her to come here. - She doesn't trust me. - Why should she?\" Angel hits the whiteboard.", "Cordy: \"You can't see everything. You're just a vampire like everyone else... That didn't come out right.\"", "Angel: \"I thought I was out of the tunnel.\" Angel slumps down on the sofa.", "Cordy: \"Sure you did... because the tunnel is - you know, it's something we all... Are we talking real tunnel or symbolic? Just give me that much.\"", "Angel: \"I-I saw the light at the end of the tunnel - that some day I might become human. - - That light was so bright, I thought I was already out.\" Cordy sits down beside him with a sigh: \"Yeah. We all got a little cocky, didn't we? - It's gonna be a long while - until you work your way out - but I know you well enough to know you *will*. - And I'll be with you until you do.\"", "Angel: \"What about your inevitable stardom?\"", "Cordy: \"I'm not saying I won't have a day job.\"", "Wesley: \"I think we got something. It's medieval. A small badge or coat of arms, to be presented when going before the Cahair Binse. Roughly translated that's chair of judgement.\"", "Angel: \"The Tribunal.\"", "Wes: \"Right. An ancient court to settle grievances.\"", "Cordy: \"You mean- with like lawyers and stuff.\"", "Wes: \"This is a little more primitive. It's a fight to the death.\"", "Angel: \"That's why she needed a champion. Where would this Tribunal take place?\"", "Wes: \"There is no way to tell. They're mystical events, they could rise up in our reality whenever they please.\"", "Angel: \"Look, we got to find her right away - whatever it takes. - There's only one way.\"", "Angel singing: \"Oh, Mandy. Well you came and you gave without taking, but I sent you away, oh Mandy. Well, you kissed me and stopped me from shaking. (The green, horned host is watching him sing) and I need you today, oh Mandy. (Angel looks around at the demons in the audience and his singing gets a lot worse) Well, you came and you gave..\" Cordy sitting beside Wesley at a table: \"That man will do anything to save a life.\" Finally the host goes up and takes the mike away from Angel as the song ends.", "Host: \"Hey, how 'bout that. A performer. Why don't we just call him Angel, the vampire with soul. I'm gonna have a chat with Mr. Tall Dark and Rockin' and meanwhile, Durthock, the child-eater, is gonna open up to y'all. He's searching for the gorrishyn mage that stole his power and he's feeling just a little bit country. So, lets give him a hand.\" Host leads Angel off the stage.", "Host: \"Well. You're just the hot ticket. One night only, two seats left, partially obstructed view.\" They sit down at a table.", "Angel: \"What can you tell me?\"", "Host: \"I can tell you're all business.\"", "Angel: \"She's in danger.\"", "Host: \"And you're feeling pretty guilty about that. Hey, you made an honest mistake. You killed her protector. A lot of guys would have done the same. Of course now she's gonna have to face the judgement with no champion and that's looking grim for her and the baby.\"", "Angel: \"Tell me where they are.\"", "Host: \"Well. Who's a little curt? Who's a little curt Jurgens in 'The Enemy Below?' The Tribunal will be wherever she is. She can't escape it.\"", "Angel: \"Where is she?\"", "Host: \"My question first. And answer true, because you know I'll know. Why Mandy?\"", "Angel: \"Well, I-I know the words - (leans in closer) - I kind of think it's pretty.\"", "Host smiling: \"And it is, you great, big sap! There is not a destroyer of worlds that can argue with Manilow and good for you for fessin' up. She'll be at Forth and Spring. The trial will be there.\"", "Angel: \"Trial? How does it work?\"", "Host: \"I can only tell you what I tell you. The rest is up to you.\" Angel gets up to leave.", "Angel: \"Can I save her?\"", "Host: \"Try - and find out.\" The pregnant woman is hurrying down an almost empty street at night, one hand on her belly. Suddenly three stone thrones occupied by dark robbed figures rise out of the ground behind her. A horse whinnies and a knight in armor rides up the street towards them. The knight throws down a bronze disk.", "Judge: \"Where is your champion?\"", "Woman: \"He's-he's dead.\"", "Judge: \"You have no coat of arms and no champion?\"", "Woman: \"I ask for asylum.\"", "Judge: \"Asylum is not ours to give. Two are chosen to meet in combat. One can save your life. One can take it. This is the ancient law. Your life is forfeit. You have no champion.\" The knight pulls his sword as the woman backs away. A bronze disk lands on top of the other one.", "Angel: \"Yes, she does.\"", "Judge: \"The trial by combat will begin.\"", "Woman walking beside Angel: \"I really appreciate you coming through for us like this. But you know how you're not really good at anything? You sure you can do this?\"", "Angel: \"I grew up around horses.\"", "Woman: \"How long has it been since you've ridden one?\"", "Angel: \"It's been a while. Don't worry. It's not something you forget. I can do this.\" The woman walks over to the side as Angel steps up close to the horse.", "Angel: \"Nice horse. Try not to make me look stupid out there, okay? - Alright.\" Angel mounts the horse and take up the shield and lance. The middle judge drops a red cloth and the knight charges.", "Angel: \"I guess that means go.\" They charge, clash, but though the demon gets knocked back he stays in the saddle. They turn and charge at each other again. Angel gets knocked clear off his horse and lands flat on his back on the street. Angel picks himself up and hurries to his horse to get his sword and mace while the other knight drops his lance pulls his sword and rides at him. Angel knocks him out of the saddle with one blow and they continue fighting on foot, sword to sword. After some fast and furious exchanges the demon knight turns Angel's sword so it stabs Angel through the gut. Angel drops down onto his knees and one hand, the other clutching the sword. The demon knight turns towards the Tribunal.", "Judge: \"The champion is defeated. She and all her issue are yours.\" The demon draws a knife and moves to slit the woman's throat as Angel gets up, pulling the sword from his body.", "Angel: \"I move to appeal that ruling.\" He beheads the demon with one clean sweep. Then drops the sword and stands there, panting.", "Angel: \"She's safe now, right?\"", "Judge: \"You have won. She is under our protection, as is her daughter until she comes of age.\" With that the Tribunal vanishes as if had never been.", "The woman: \"You okay?\" Angel straightens up, still panting, and limps off the street.", "Angel: \"Yeah.\"", "Woman walking beside him: \"You sure seem to bleed a lot.\"", "Angel: \"It's part of the job.\" At Cordy's apartment Angel takes down the whiteboard.", "Wesley: \"Good idea. Start over with a fresh slate.\"", "Angel: \"Actually, we're starting over with no slate.\"", "Wesley: \"Of course. We shouldn't be keeping score. We're not running a race - we're doing a job - one soul at a time.\"", "Angel: \"You guys hold the fort. I've somewhere to be.\" Angel picks up the phone at a prison visitor booth.", "Angel: \"Hey.\"", "Faith: \"Hey.\"", "Angel: \"How you doing?\"", "Faith: \"Pretty good, I guess. I did sign up for this.\"", "Angel: \"Regretting the choice?\"", "Faith: \"Bad day. One of the girls in the yard tried to build a rep by throwing down with me. She had low self esteem, and a home-made knife, so..\"", "Angel: \"Oh. - Is she - you know - alive?\"", "Faith: \"She lives to tell the tale. Took the knife away - and I can't say much for the wrist it came in.\"", "Angel: \"So you didn't kill her.\"", "Faith: \"I really wanted to. - Took a big beating from the guards, too.\"", "Angel: \"Sorry.\"", "Faith: \"Earned worse. Guys like us kind of got it coming.\"", "Angel: \"I had to sing Barry Manilow.\"", "Faith: \"You're kidding.\"", "Angel: \"In front of people.\"", "Faith trying not to laugh: \"And here I am talking about my petty little problems.\"", "Angel: \"Just wanted to give you a little perspective.\"", "Faith: \"Copa cabana?\"", "Angel: \"Mandy. I don't wanna dwell on it.\"", "Faith: \"The road to redemption is a rocky path.\"", "Angel: \"That it is.\"", "Faith: \"You think we might make it?\"", "Angel: \"We might. - - Food getting any better?\"", "Faith: \"You know, it's not that different from what I grew up on. It's a little one note. Eating the same thing every day.\"", "Angel: \"I wonder what that's like.\"", "Faith: \"Right..\"" ]

[ "Darla is back from the dead and determined to drive Angel crazy. She's invading his dreams and disrupting his sleep, knocking him off his game. Meanwhile, Cordy gets a vision that Gunn may be in danger and goes off to help him. Gunn is annoyed with her interference. When they're confronted with vampires and a demon, though, Cordy and Gunn need to work together." ]

[ "[PREVIOUSLY_ON]", "Gunn to vampire: \"You expecting somebody else?\"", "Angel: \"We're fighting on the same side. Why can't we do this together?\"", "Gunn: \"I'm always on my own.\"", "Alonna: \"You won't be happy until you get as close to death as you possibly can.\"", "Gunn: \"It's not gonna happen little sister.\" Alonna morphing into vamp-face and reaching up to bite and turn Gunn. Gunn saying \"Good-bye, Alonna\" as he stakes her. Vamp.Alonna dusting.", "Gunn to Angel: \"I killed her. She was the reason, man.\" Dennis face bulging out the wall in Cordy's apartment.", "Angel: \"It's haunted.\"", "Cordelia: \"It's rent controlled!\"", "Cordy: \"I have a roommate, but it's cool. I never see him. (covers the phone) Hey, Hey! Phantom Dennis, put that back!\" The light explosion after the vampire dust gets sucked into the box during the raising ritual.", "Holland to Lindsey: \"We'll even the score with him - beginning with what's in that box.\"", "Lilah: \"We're all very pleased you're here - Darla.\"", "Darla: \"He's here.\"", "Lindsey: \"Angel.\"", "Darla: \"I'd love to see that boy.\"", "Karaoke host to Angel: \"Uh, 'Send In the Clowns' and 'Tears of a Clown' both in one night. What a treat.\"", "Angel: \"Well, I was sort of going for a, you know, medley kind of thing.\"", "Host: \"Yeah, yeah. Well, more of a duo-dley, really, wasn't it?\"", "Angel: \"I-I couldn't come up with a third.\"", "Host: \"Still, I've never seen you open up like that. Now, tell the truth. You've been practicing, haven't you?\"", "Angel: \"A little.\"", "Host: \"Probably not in front of the mirror.\"", "Angel: \"In the shower.\"", "Host: \"And it so shows.\"", "Angel: \"You think?\"", "Host: \"Yeah. You really put your heart into it. Question is - what happens to it now?\"", "Angel: \"It?\"", "Host: \"Your heart, you big softie. - It may not be beating but it can still break.\"", "Angel: \"What do you mean?\"", "Host: \"Just that you've come to a *bend* in your own personal uphill road, bro. Whether or not that slows you down... Well, that's up to you. (The host turns away from Angel as we hear the noises of the bar for the first time and music starts to play) Because (starts singing ) there are hills and mountains between us always something to get over. (Angel wanders away from the side of the stage, preoccupied) If I had my way, surely you would be closer. (Angel looks up and stops as he sees Darla smiling at him from where she stands by the bar) Oh, I need you closer. You can windsurf into my life, (Angel walks over to Darla) take me up on a carpet ride...\" Angel puts his hands on Darla's waist and pulls her closer.", "Angel: \"Darla. (slight laugh) I was afraid you weren't coming.\"", "Darla: \"Mmm, don't be silly, silly! I've been here the whole time.\"", "Angel: \"You have?\"", "Darla: \"Ah-mm, just waiting for you. (Angel smiles) Aren't you going to ask me to dance?\" After a beat Angel leads her out onto the floor with a smile.", "Host singing: \"I don't care how you get here, just get here if you can.\" He continues to sing as Angel and Darla slow dance in the suddenly deserted bar.", "Host: \"I need you, right here, right now, right by my side, ye-ah, ye-ah.\" Angel his forehead leaning against Darla's: \"I still can't believe you're here. I mean - I killed you.\"", "Darla: \"I'm over that. - You haven't told anyone else about these dates of ours, have you?\"", "Angel pulling back a little: \"No. I want you all for myself.\"", "Darla: \"I know how you feel.\"", "Angel: \"It's so strange.\"", "Darla: \"But good.\"", "Angel: \"But good.\" They kiss as the song ends.", "Host: \"Somebody get these two love-vamps a room!\" And we go from Angel and Darla kissing to Angel asleep in his bed with a dreamy smile on his face. He wakes, blinking his eyes and looking around. Puts a hand to his forehead, and swallows. Intro. The Hyperion. Cordelia is dusting by the stairs. Wesley is behind the receiving desk.", "Cordy: \"Oh, this place is never gonna get clean.\"", "Wesley: \"Buck up. It's just a little dust.\"", "Cordy: \"This isn't mere dust. This is 'son of dust.' This is the kind of dust that spawns countless generations of little baby dust. - I give up.\"", "Wesley: \"Very well. We'll just move our offices back to your living room.\"", "Cordy: \"And I'm dusting.\" Front door opens.", "Gunn: \"Where's Angel?\"", "Cordy: \"I believe the word is 'hello?'\"", "Gunn: \"Yeah? 'cause I thought 'where is Angel' summed it up. We got work to do.\"", "Cordy: \"He's still sleeping.\"", "Gunn: \"Sleeping? It's 3:30 in the afternoon. I've been up since dawn!\" Cordy coming to stand next to Wesley: \"Sort of missing the whole 'creature of the night' angle, isn't he?\"", "Gunn: \"I knew I said 4 o'clock.\"", "Wesley: \"You had an appointment?\"", "Gunn: \"He didn't brief you? - Angel promised to back me up. We're meeting a snitch downtown. This guy has a line on Deevak.\"", "Wesley: \"Deevak?\"", "Gunn: \"Demon. He set up camp in my neighborhood. He put to of my men in the hospital last night. So could one of you go in there and knock on his coffin?\"", "Cordy: \"He doesn't use a coffin. And maybe you've never heard the expression 'let sleeping vampires lie?' - He'll rise on his own. He always does. - Maybe we can help?\"", "Gunn: \"You two? I find Deevak I'm gonna need more than C3po and 'stick figure Barbie' backing me up. No offence.\"", "Wesley: \"Very little taken.\"", "Gunn: \"Deevak is a bad-ass. I'm gonna need the serious muscle.\" The door opens and Nabbit steps in, wearing his blue silk cape and swinging a sword.", "Nabbit: \"Demons of the underworld be ware - your time on the surface is drawing nigh!\"", "Cordy smiling: \"David, hi!\"", "Nabbit runs up to them: \"I got here as quick as I could.\"", "Cordy: \"We paged you two days ago.\"", "Nabbit: \"I was in Kuala Lumpur. Hostile take-over. (Whips his sword up at Gunn) Ah, identify yourself, traveler. Are you also a fellow demon killer?\"", "Gunn bats the sword away: \"Who is this guy?\"", "Wesley: \"David Nabbit, meet Charles Gunn. Gunn, Nabbit.\"", "Nabbit: \"Ha, pleasure's all mine. - So, - where is Angel?\"", "Cordy: \"Actually, he's still kind of sleeping.\"", "Nabbit: \"At 3:30? I've been up since dawn!\"", "Angel comes down the stairs: \"Sorry I'm late.\"", "Nabbit sword back in hand: \"Ah! I stand ready to fight the good fight, sir! What do you need?\"", "Angel: \"Financial advice.\"", "Nabbit blinks: \"Okay. Good.\"", "Angel: \"We're making this hotel our new base of operations. Right now we're leasing it for six months with an option to buy.\"", "Nabbit: \"And how much are you willing to put down?\"", "Cordy: \"'Nothing' - would be good.\"", "Nabbit shrugs: \"Oh. That's easy. You could look into seller financing, take over the owner's payments and skip the bank completely, or you could make a play for a preservation grant. Offer to restore the original décor and get the city and the feds to give you a tax break and a loan at a sweetheart rate. Or you could apply for an FHA and get a PMI in lieu of a down payment.\"", "Cordy: \"Is anybody else getting warm? (Nabbit looks at her) Do that 'tax breaks,' FHA and PMI part again.\" Nabbit looks form Cordy to Angel a couple times.", "Gunn to Angel: \"I-I'll have my money guy run up some numbers for you.\"", "Angel: \"Thanks.\" Nabbit nods then runs up the stairs to the doors. Stops and turns with a big smile on his face.", "Nabbit: \"Is this demon fighting cool or what, huh?\" Leaves. Gunn as Angel goes to pour himself a cup of coffee: \"What are you doing, man? We need to move on this.\"", "Angel: \"Relax. We'll make it.\"", "Gunn: \"Relax? Every time you ask me for a favor I'm right there. First time a need your help, you snoozing the afternoon away. What's up with that?\" Angel hands Cordy his car keys: \"Cordy, you're driving.\"", "Cordy: \"Me? Drive your car? (Angel nods) So cool.\"", "Angel: \"Wesley, we're gonna need some bribe money, some cash in the box.\"", "Gunn: \"Hey, wait a minute.\"", "Angel: \"I thought you wanna move on this?\"", "Gunn: \"Which is why we're not taking these two. They'll slow us up.\"", "Angel grabbing his coat: \"We go up against Deevak we're gonna need the entire team. (to Cordy) Pick me up in the back, in the shade.\" Gunn stands there shaking his head as Angel walks out the back and Cordy and Wesley head for the front doors.", "Wesley: \"Shotgun.\" Angel's car pulls up in a parking garage and Cordy and Wesley get out, followed by Angel and Gunn.", "Gunn looking around: \"We're too late. He split.\"", "Cordy: \"Maybe he heard what a pleasant person you were to be around.\"", "Angel looking around: \"There.\" A short black kid slowly peeks out from behind a van.", "Jameel: \"One of you Gunn?\"", "Gunn: \"That's me. You Jameel?\" Jameel come out from behind the van. Angel throws an envelope at him and he catches it.", "Angel: \"Here's the money.\" Jameel throws it at Gunn's feet: \"Keep it. I changed my mind.\"", "Gunn picks up the money: \"You don't want this - your choice. But you're gonna tell me where to find Deevak.\"", "Jameel: \"Hey, man, the only reason why I showed is 'cause I know you got a rep, and I aint looking to make no new enemies. But on this Deevak situation I just can't help you. He'll know it was me. Demon's got eyes and ears all over the place, not to mention teeth! There's a good chance that he had some vamps tail me over.\"", "Gunn looks around: \"I don't see none.\"", "Jameel: \"Good. I'm just here to pay my respects and be off the streets before sundown like my momma taught me.\"", "Gunn: \"You want to make it home at all you're gonna start telling me what you know.\"", "Jameel: \"Look man, I'm sorry. But Deevak scares me a lot more than you do.\" Gunn hands the envelope to Angel then whips around and knocks Jameel down.", "Cordy: \"Gunn!\"", "Angel: \"Hey!\"", "Gunn kicks the fallen Jameel: \"Are you scared of me now?\"", "Angel steps between them: \"What are you doing?\"", "Gunn: \"What I got to do. I got people dying!\"", "Jameel: \"Man, I didn't do anything!\" Gunn pushes past Angel and pulls Jameel up.", "Gunn: \"You think I care? Survival of the fittest, bro. And right now you ain't looking too fit.\" Gunn pulls his fist back to hit a cowering Jameel, but Angel catches it.", "Angel: \"Easy.\"", "Gunn: \"Let go man. This is my case.\"", "Angel: \"It was. Now it's mine.\" They stare at each other, when a door opens and some vamps rush in.", "Wesley: \"Angel!\"", "Jameel: \"Oh, man. See I told you I was being watched!\" Jameel pulls himself free and disappears, the others turn to confront the vampires. The three guys take one vampire each while Cordy dances around with stake in hand swinging at the backs of the fighting vamps. On her second try she stakes Wesley's vamp just as it is about to jump on a downed Wesley then gives him a hand up. Angel and Gunn continue to fight their vamps, both doing about equally well. Blend to show the stake lying between three piles of dust and our four heroes sitting with their back leaned against Angel's car.", "Cordy: \"I'm so sick of dust.\"", "Angel: \"I can't lift my arm all the way.\"", "Gunn: \"That vamp did a number on my ribs.\"", "Wesley: \"I'm afraid I threw my back out again. (Pulls a smashed pager out of his back pocket) Ach, lovely!\" Drops it.", "Cordy: \"Ach! Grease stains! All over my new outfit. (Angel and Gunn look at her) Okay, so maybe my pain isn't physical, but do you have any idea of the dry cleaning bill I'm looking at?\"", "Gunn: \"We're still no closer to finding Deevak.\"", "Wesley: \"Probably for the best.\"", "Gunn: \"How you figure?\"", "Wesley: \"Well, we're hardly prepared to face a demon of Deevak's caliber in our current condition.\"", "Gunn: \"You ready to pack it in? Only reason I called you was because you all supposed to be the demon experts.\"", "Angel: \"Wesley's right. Three vamps, we should have been able to take them all a lot easier and faster than we did. We need to regroup.\"", "Gunn gets up: \"Maybe the rest of you need a little down time. I'm gonna track down Jameel and make him talk.\"", "Cordy: \"When you do find him, you may wanna be a little more Guy Pierce in L.A Confidential and less Michael Madsen in Reservoir Dogs?\"", "Gunn: \"I haven't bothered to see a movie since Denzel was robbed at the Oscars for Malcom X. - Later.\" Gunn leaves.", "Wesley: \"That was quite a performance.\"", "Cordy: \"I know! Talk about being wound up to tight.\"", "Wesley: \"No. I-I mean Denzel.\"", "Cordy: \"Oh. Well, he is always great.\"", "Wesley to Angel: \"What about you?\"", "Angel: \"Who doesn't love Denzel?\"", "Wesley: \"No! I mean - what you said before. It's true. I've never seen you have so much trouble with a simple vampire before.\"", "Angel: \"Off day. Lets go.\" Night. The Hyperion. Cordy pulls up with Angel beside her in the convertible (top now down).", "Cordy: \"Home sweet hotel.\"", "Angel: \"Just bring the car back tomorrow.\"", "Cordy: \"You sure you gonna be okay?\"", "Angel: \"Yeah, I'll be fine. I just need to get some sleep.\"", "Cordy as Angel gets out: \"That seems to be all you've been doing lately. Not that I'm judging!\"", "Angel: \"Good night.\"", "Cordy calls after him: \"Sleep tight! (adds quietly) don't let the bed bugs bite.\" Cordy walks into her living room carrying a book and a cup.", "Cordy: \"Jeez, Dennis, it's like a meat locker in here. Don't tell me you turned down the thermostat again.\" The thermostat moves from 50 to 75. Cordy curls up in a chair: \"Thank you. - What is it with ghosts and cold rooms?\" She gets hit by a vision.", "Cordy: \"Oh, what... Oh, no!\" She gets hit by the second part of it, and this time we see a blurry picture of Gunn fighting something we can't see. Cordelia drops to the floor holds up one hand.", "Cordy: \"Dennis, phone!\" The cordless jumps into her hand. Angel lies curled up in bed as the phone laying on the nightstand rings.", "Angel: \"What's that ringing?\" He and Darla are lying out in the 'moon' in a couple of lawn chairs, wearing bathing suits and sunglasses.", "Darla: \"Nothing, darling. It'll stop.\"", "Angel: \"Where is it coming from?\"", "Darla: \"Ignore it.\" She takes a piece of ice out of her drink and draws a line with it down the middle of Angel's chest. He starts to laugh.", "Angel: \"Why are you so good to me - after everything I did?'", "Darla: \"Because - you and I are one. (she draws the ice cube across Angel's lips. The phone stops ringing) See? I told you it would stop.\" She leans down and they kiss. Cordy to phone as she paces: \"Wesley? Where are you? Are you there? Wesley? Ugh! Where are you guys? God. I don't know what I should do. I had a vision. It's Gunn. He's in trouble. I-I think it's bad. Oh, god, where are you guys? I don't know what to... Okay, I'm going over there. When you get this message, get Angel and meet me at Gunn's, okay?\" Hangs up the phone and grabs her purse, heads for the door, stops.", "Cordy: \"I need a weapon. (Takes an axe out of the closet and shoves it in her purse) Okay. I'm gonna die. (Heads for the door) I'm gonna die.\" Angel's convertible pulls up in front of Gunn's place. Cordy jumps out and runs in. Axe in hand, she heads down a dimly lit corridor.", "Cordy: \"Gunn?\" She hears the sound of weapons clashing coming from the laundry room. Sees Gunn fighting someone with quarterstaffs through the window in the door. Runs in and hits the other guy over the head from behind with the axe.", "Guy holds his head: \"Ow!\" Gunn rips the axe out of Cordy's hand: \"Are you crazy? What the hell are you doing?\"", "Cordy: \"Saving you from a killer demon!\" There is the sound of laughter. Cordy turns around and sees the rest of Gunn's gang sitting there watching.", "Cordy: \"Not a demon?\" Gunn shakes his head.", "Cordy: \"I didn't just save your life?\" Back to Angel sleeping. He comes up behind Darla and wraps his arms around her.", "Angel: \"What are you thinking about?\" We hear a soft knocking in the background.", "Darla: \"You. - Us.\"", "Angel: \"You seem sad.\"", "Darla: \"It's just - I have to go.\"", "Angel: \"Where?\"", "Darla: \"Away.\"", "Angel: \"I'll go with you.\"", "Darla: \"You can't. I'm in danger.\"", "Angel: \"I'll protect you.\" She turns around in his arms as the knocking becomes the sound of hammering.", "Darla: \"You're too busy protecting everyone else.\" They almost kiss, but the hammering gets louder and they look over to see Wesley putting a nail into an upright coffin.", "Angel: \"Wesley? - Stop it!\" Angel looks around for Darla, but she is gone. He turns back to find himself face to face with Wesley. He grabs him by the throat and throws him backwards on the floor - in reality.", "Angel: \"You made her go away.\"", "Wesley in choked voice: \"Angel, it's me!\"", "Angel: \"What are you doing here?\"", "Wesley: \"Gunn's in trouble. Can't breathe.\"", "Angel: \"Gunn can't breathe?\"", "Wesley: \"I can't breathe.\"", "Angel jumps off him: \"Oh, sorry.\" Wesley leans back taking deep breaths: \"Oh, it's quite alright. (Looks up at Angel) Now about the naked thing...\"", "Angel looks down at himself: \"I'll get dressed.\"", "Wesley: \"Much appreciated.\" Angel offers his hand to help Wesley up.", "Wesley: \"Uh, no, no.\" Gets up without help.", "Cut to Cordy bandaging the head of the guy she just attacked.", "Cordy: \"Okay. There you go. Good as new.\"", "Guy: \"I think you cracked my skull.\"", "Cordy: \"Well, that's new, right?\" Gunn heads towards the door.", "Cordy: \"Hey wait a minute. Where are you going?\"", "Gunn: \"Walking you to your car. You're going home.\" Cordy picks up her axe and purse and hurries after him.", "Cordy: \"You know you can't just dismiss me like that. I know what I'm talking about.\"", "Gunn: \"Oh, you mean like you knew Joey was a demon?\"", "Cordy: \"That was an honest mistake. I was just trying to help you.\"", "Gunn: \"Thanks for the help. Always enhances a guy's rep when some skinny white beauty queen comes to his rescue - in front of his crew!\"", "Cordy: \"Whether you wanna believe it or not, you are in big time danger. I'm vision girl. I saw you. You were at the end of your world, fighting for your life. You were so scared!\"", "Gunn: \"See, now I know you're tripping, 'cause I don't get scared.\"", "Cordy: \"Well, I do! The things I've seen, sometimes they get downright terrifying. And right now, I am scared for *you*!\"", "Gunn: \"Hey, be scared for me all you want, just do it back at your place.\"", "Cordy: \"I'm not leaving your side until I know you're safe.\" They step out through the door of the building.", "Gunn: \"I'm not in the market for a sidekick, so hightail it back on home.\"", "Cordy: \"No.\"", "Gunn: \"Thanks for coming. Buckle up. Drive safe. - So where's your car?\"", "Cut to Wesley and Angel standing outside the hotel.", "Wesley: \"So - where is your car?\"", "Cut to Cordy and Gunn in Gunn's pickup.", "Cordy: \"Angel is not gonna be happy. Do you know what he's gonna do to me when he finds out I let his car get stolen? What are the chances that a vampire has full insurance with a low deductible?\"", "Gunn: \"I'll find the car.\"", "Cordy: \"And how exactly are you gonna do that?\"", "Gunn: \"I know a couple of guys in this part of town that jack vintage cars. We'll run down the list until we find Angel's ride.\"", "Cordy: \"And then what? You're just gonna ask them to give it back?\"", "Gunn: \"I'll say please.\"", "Cordy: \"Ooh! I forgot. You'll use your famous charm. Like you did this afternoon with that pigeon stool.\"", "Gunn: \"It's stool pigeon. - And you don't have clue why I do the things I do!\"", "Cordy: \"Paging Mr. Rationalization!\"", "Gunn: \"Paging Ms. About-to-be-thrown-out-of-a-moving-vehicle.\"", "Cordy: \"Be as rude as you want. I'm not going anywhere until I know you're safe!\"", "Gunn: \"Me rude? You're the one that showed up at my place, attacked my boy, then decided to highjack my life. The way I figure it, I find your car for you, you give me my freedom back.\"", "Cordy: \"That's not the way it works! You need protection!\"", "Gunn: \"And how exactly do you plan on protecting me? With some weak-ass lady-smith battle axe?\"", "Cordy: \"Ask Joey and his cracked skull just how weak-ass it is. (Gunn mouths something silently. Cordy digs in her purse) Besides - I've also got this! (holds up a red bottle) Mace!\"", "Gunn: \"Mace?\"", "Cordy: \"Little squirt, squirt, right in the eye?\"", "Gunn: \"You're expecting me to be jumped by a couple of purse-snatching demons?\"", "Cordy: \"Well, it'll just have to so because - I'm your protector whether you like it or not.\"", "Gunn: \"Well, something better attack me soon 'cause I know I can't take much more of this.\" Wesley get on his motorcycle, looks over at Angel.", "Wesley: \"Come on. What are you waiting for?\" Angel holds up a pink motorcycle helmet.", "Angel: \"I-I-I really don't think it's gonna fit.\"", "Wesley: \"Of course it will. Put it on.\"", "Angel: \"You know, I-I don't need a helmet for protection.\"", "Wesley: \"Angel. It's the law in California. You want us to get pulled over?\"", "Angel: \"No.\"", "Wesley: \"Then what's the problem?\"", "Angel: \"Well, it-it's just, you know - the whole - visibility issue, not to mention the whole hat-head thing and if you really think about it, how come I have to wear the ladies helmet?\"", "Wesley: \"Stop being such a w*nk*r and put it on!\" Angel looks like he wants to protest some more but Wesley just looks at him. Angel puts the helmet on and looks at Wesley. Wesley suppresses a smile while he puts his own (black) helmet on: \"Good. Hop on board, gorgeous.\"", "Angel: \"You'll pay for this.\" Gets on behind Wesley. Gunn and Cordy walk into a car yard.", "Cordy: \"It isn't here.\"", "Gunn: \"They wouldn't keep it here on the lot. New acquisitions are in the garage.\"", "Cordy: \"Getting the full make-over I bet.\" A door opens behind them and a guy comes out.", "Henry: \"What are you looking for?\"", "Gunn: \"'67 Plymouth convertible.\"", "Henry: \"Give me a few days. I'll see what I can do.\"", "Gunn: \"Cordelia, meet Henry.\"", "Henry: \"New to the neighborhood?\"", "Cordy: \"Someone stole my friends car tonight.\"", "Gunn: \"'67 Plymouth?\"", "Henry: \"Wasn't me. Convertible you said?\"", "Gunn: \"Yeah.\"", "Henry: \"Desmond's your man. He can't pass up old convertibles. You should talk to him.\"", "Gunn to Cordy: \"Come on.\"", "Henry: \"You won't find him at his shop. Tito's having a party. Everyone's invited. Desmond'll be there.\"", "Gunn: \"Where'd you jack these cars from?\"", "Henry: \"Around.\"", "Gunn: \"They look like neighborhood cars to me.\"", "Henry: \"Oh, I help you out and now you want to start something.\"", "Gunn: \"Look, I told you, you wanna jack beemers in Brentwood, be my guest. But leave the neighborhood cars alone.\"", "Henry: \"Yeah, well business is business. You should think about minding your own.\"", "Gunn: \"Things don't change I might have to put you out of business. - Lets go.\" He and Cordy leave. Once they're gone a big ugly demon comes up behind Henry.", "Deevak: \"I'm surprised you didn't wet yourself.\"", "Henry: \"Him? He's nothing, Deevak. Name's Gunn. He's under the false impression that he runs this town.\"", "Deevak: \"I know who he is - the trouble he's caused. Tonight - it ends.\" Angel and Wesley riding on the motorcycle. Three guys walkout of a house with rap playing in the background.", "Middle guy: \"Gunn. What are you doing here?\"", "Gunn: \"I was about to ask you the same thing.\"", "Guy to his buds: \"I-I'll catch up with you guys later.\" They leave.", "Gunn: \"You're supposed to be cruising the garment district.\"", "Guy: \"Things were dead down there, man.\"", "Gunn: \"Oh, so you figured you earned yourself a little party?\"", "Guy: \"Come on -It's just a little fun.\"", "Gunn: \"No, it's *you* not obeying orders. We got two men down, you want to make it a third? Get the hell back home. I've got a few things to take care of in here, then you and I are gonna have a little chat. Go!\" He goes.", "Cordy: \"Jeez, short enough leash or do you just go all warm and tingly on the whole power-trip thing?\"", "Gunn: \"Some people need discipline to survive. Now when we get inside, shut up and stick close to me.\"", "Cordy: \"Hold on there, generalissimo. I'm not one of your toy soldiers you can just boss around!\"", "Gunn: \"I don't even want you here.\"", "Cordy: \"Too bad! I am here. And I don't take orders. Well, except from Angel, and at least he usually asks nicely. And besides I don't need you to tell me how to behave at a party. Trust me, I know how to blend!\"", "[SCENE_BREAK]", "Cut to the party in the house.", "Cordy: \"Okay, not exactly blending. Maybe I just shut up and stick close to you.\" A girl spots Gunn.", "Veronica: \"Hey, stranger!\"", "Gunn: \"Hey, girl. You're looking good, Veronica.\"", "Veronica: \"I've missed you down at the store lately. Works so boring when you don't stop by.\"", "Gunn: \"I've just been kind of busy, you know?\"", "Veronica: \"Who's your friend?\"", "Cordy: \"Who me? I'm no friend. I mean I'm just here on business. I'm a working girl. - That came out wrong. I mean, obviously I'm not a \"working girl.\" Not that I couldn't be if I wanted to, of course I could. - God that sounded stuck up, didn't it? I didn't mean to imply that I could be a working girl and you couldn't. Far from it. You'd make a great... Could you just point me to the hor d'oeuvers?\"", "Gunn: \"This is Cordelia. We're looking for Desmond. You seen him?\"", "Veronica: \"Oh. He's around here somewhere.\"", "Gunn: \"Cool. Thanks. I'll catch you later.\"", "Veronica: \"You better. I don't want you forgetting about us down here.\"", "Gunn: \"Never.\" Cordy follows Gunn deeper into the house. Gunn greets some guys on the way.", "Cordy: \"Are you friends with like every criminal in town?\"", "Gunn: \"See, there you go assuming those brothers are criminals.\"", "Cordy: \"Aren't they?\"", "Gunn: \"You mean like your friend David Nabbit? You think he became a billionaire by being a good citizen?\"", "Cordy: \"Actually he did. He made his first millions developing software that lets blind people surf the web. Plus, he set up a foundation that donates 20 billion a year to countless charitable causes.\"", "Gunn: \"Well, you let me know when some of that coin trickles down to these parts. - There he is.\"", "Cordy: \"Who? Car-thief guy?\"", "Gunn: \"One and the same. Desmond!\"", "Desmond: \"G-man. Can I get you a brew?\"", "Gunn: \"You can give me the '67 Plymouth you stole from my place tonight.\"", "Desmond: \"What makes you think I'm the guy?\"", "Gunn: \"Don't play with me and I won't play with you.\"", "Desmond: \"Hey, I had no idea...\" Gunn turns at the sound of glass breaking and girls screaming. Some vampires have crashed the party, hitting their way through the crowd towards Gunn. Cordy tries to hit one with her axe, but the other just bats her aside. Two vamps are holding Gunn while the other punches him in the ribs. Cordy smashes a popcorn bowl on the hitter's head, but again just gets batted out of the way. Veronica rushes to help Gunn, but a vampire throws her into some glass shelves. She lands on the floor and pulls a piece of glass out of the side of her neck. The other guys at the party start in on the vamps while Cordelia tries to help Veronica.", "Veronica: \"What's happening?\"", "Cordy: \"Uhm - you're bleeding. I'm gonna take care of you. Just try to relax, okay? \" Cordy goes to get a towel and presses it against the neck wound.", "Cordy: \"Okay. Try to sit up, okay? Come on. Easy.\" Cordy helps Veronica to sit up leaning against the sofa behind her, ignoring the fight still going on.", "Cordy: \"Here we go. Okay. You're gonna be okay, okay? (looks at the bloody towel) You're gonna be okay.\" The last vampire finally jumps headfirst out the window and we hear a car squealing away. Gunn turns and sees Cordy and Veronica.", "Cordy to Gunn: \"She needs a doctor (mouthes silently) now!\" Gunn kicks the door to the emergency room open, carrying Veronica, with Cordy still pressing the towel against her neck.", "Gunn: \"She needs a doctor! Where is a doctor?\"", "Nurse: \"This way. - Dr. Thomas!\"", "Dr. Thomas: \"What happened?\" They put Veronica on a gurney.", "Cordy: \"A piece of broken glass went into her neck. She pulled it out before I could stop her. It looked like it may have clipped her artery. I applied pressure to the wound, slowed the bleeding. Her pulse has been weakening. She passed out on the way over here.\"", "Gunn: \"She gonna be alright?\"", "Dr. Thomas: \"Please step outside and let us take care of her.\"", "Gunn: \"Is she gonna be alright!\"", "Dr. Thomas: \"You're friend probably saved her life (Gunn looks down at Cordy's hand still pressed over the wound), but we still got some work to do, so let us do it please.\" The doctor puts her hand on the towel and Cordy takes hers away, takes a hold of Gunn's arm.", "Cordy: \"Come on, Gun, she's in good hands. Gunn.\" He lets her lead him out, never taking his eyes for Veronica's bloody neck. Cordelia is rolling up her bloodstained sleeves and walks down a hospital corridor looking for Gunn. Sees him standing alone in a waiting room with his head resting against the wall. He hits the wall and begins to pace, sees Cordy.", "Gunn: \"She almost died.\"", "Cordy: \"But she didn't.\"", "Gunn: \"No thanks to me.\"", "Cordy: \"It's not your fault.\"", "Gunn: \"I let my guard down and she's the one - (hits the wall hard) the vamps was coming after me not her!\"", "Cordy: \"Take it easy.\"", "Gunn: \"I can't take it easy. I can never take it easy. Not for one second, alright? The minute I forget that someone like Alonna pays the price.\"", "Cordy: \"Alonna?\" Gunn looks at her, then shakes his head and continues to pace: \"Veronica. - I can't stop. I can't ever stop.\" Cordy looks at him as Desmond tries to sneak into the elevator in the corridor behind her. Cordy points a finger at him without turning around: \"Don't you move a muscle! (Goes to confront him) Where - is *my* car?\" Wesley and Angel pull up between two police cars sitting in front of Tito's house. Wesley and Angel look at each other as Angel puts the pink helmet on the back of the bike then runs a hand through his hair. Wesley stops a black girls coming down the steps from the house.", "Wesley: \"Excuse me Miss, do you by any chance know a Charles Gunn? One of his associates suggested that we might be able to find him here.\" Girl still headed away from the house: \"Huh? No. I don't know. Maybe he was one of the ones that got hurt.\" Wesley turns to look around for someone else, but Angel stays close to the girl keeping one hand on her back.", "Angel: \"Looks like you're hurt.\"", "Girl: \"Huh? No. I-I'm fine.\"", "Angel: \"What happened here?\"", "Girl: \"I'm not sure. It just all happened so fast. We were partying. I don't know who they were looking for, but they were strong. It was like they were on something.\" By now all three of them are behind an ambulance.", "Girl: \"I just - I just need to lie down.\"", "Wesley: \"Ah, if you've suffered some sort of head injury..\"", "Girl: \"No. I'm okay. Really. I was lucky compared to some of the others.\" She turns to go, but Angel takes a hold of her shoulders.", "Angel: \"Are you sure you're okay?\"", "Girl: \"Yeah. Thanks.\"", "Angel: \"Good.\" Head-buts her hard in the face, and she reveals her vamp face.", "Angel: \"Now start talking, huh?\" Cordy and Gunn walk into a garage. Angel's car is there.", "Cordy: \"There is a god! Oh, thank you, thank you, thank you!\"", "Gunn: \"Great. You drive it out of here I follow you home.\"", "Cordy: \"Just as soon as I find the keys.\"", "Gunn: \"You don't have the keys?\"", "Cordy: \"Well, I-I kind of left them in the car when I went in to save you. I thought you were in danger. Every second counted.\"", "Gunn: \"You know, I got to tell you, you are one high-maintenance chick.\"", "Cordy: \"The keys are here. (Starts looking through the car) Somewhere.\"", "Gunn: \"You are killing me!\"", "Cordy: \"Can't you - you know - hot wire it?\"", "Gunn: \"Just because I know some car thieves don't mean I am one.\"", "Cordy: \"Hey instead of being high-moral-ground boy, why don't you help me find them?\"", "Deevak rattling some keys: \"Looking for these?\"", "Gunn to Cordy: \"Go.\"", "Cordy: \"Not a chance.\"", "Gunn: \"Go!\"", "Cordy: \"I'm not leaving you!\"", "Deevak: \"How touching. A woman willing to die with her man.\"", "Cordy: \"Oh, no. He's not my man. He-he's just a friend. And - about the 'willing to die' part...\"", "Gunn: \"You must be Deevak. They told me you was ugly but - damn.\"", "Deevak: \"And you're the big bad Gunn.\" Gunn stretches his hand back towards Cordy, but she only bats it away.", "Deevak: \"Heard you were looking for me.\" Deevak grabs Gunn by the throat and lifts him up.", "Cordy: \"Hey!\"", "Deevak: \"You found me.\" Cordy pulls out her axe and hits Deevak, but he catches her wrist in his other hand.", "Deevak: \"How does it feel to finally meet up with someone even nastier than you? Uh, not good by the sound of it.\"", "Cordy: \"Stop it! You're killing him!\" Deevak morphs into Jameel.", "Jameel: \"Survival of the fittest, bro, and right now you're not looking too fit.\" Cordelia digs the mace out of her purse and sprays it in Jameel's eyes. Jameel lets got of them.", "Cordy: \"Gunn.\" Jameel morphs back into Deevak.", "Cordy: \"Oh my god.\" Cordy and Gunn get up and back away as Angel and Wesley on their motorcycle come sliding in sideways under the garage door, knocking one of the vampires down. The vamp picks himself back up and grins as he sees Angel take off the pink helmet. Angel looks at the helmet in his hands, back at the vamp. Grins and smashes the helmet in its face. Angel and Wes are fighting the vamps, Gunn is trying to fight Deevak, but Deevak blocks every punch he throws. Cordy tries to hit one of the vamps with her ax, but gets pinned up against the side of a car by it. Wesley comes in to stake the vampire holding her, then pulls her out of the way of another vamp trying to bash her head in with a crowbar. Deevak is now attacking Gunn, and Gunn barely manages to avoid the demon's wild swings. One of Deevak's hands connects, knocking Gunn down. Angel seeing this yells \"Cordy, Axe!\" She throws him the axe and he catches it as he jumps off a car's hood into a summersault, burying the axe in Deevak's forehead on the way down. Deevak drops like a tree trunk next to Gunn. Angel reaches out a hand and pulls Gunn to his feet. Angel is pushing the car out of the garage, then jumps into it trying to start it by poping the clutch when Wesley runs out after him.", "Wesley: \"Angel! Angel look. I found your keys. (holds up the gunked up keys) Unfortunately this substances doesn't appear to be coming off.\"", "Angel looks at it: \"What's that?\"", "Wesley: \"Demon blood, or demon puss, or possibly both.\" Tries to get Angel to take the keys of the pen that he is holding them up with but Angel backs away.", "Angel: \"Easy. Anyone know hot to hot wire a car?\" Gunn walks up past Cordy rubbing his throat.", "Gunn: \"Hey.\"", "Cordy: \"Hey.\"", "Gunn: \"Well, you finally saved my life. I guess I should say thanks.\"", "Cordy: \"Yes, you should, and no - I didn't.\"", "Gunn: \"What?\"", "Cordy: \"Deevak wasn't the danger my vision was warning me about.\"", "Gunn: \"He wasn't?\"", "Cordy: \"No.\"", "Gunn: \"Then what was?\"", "Cordy: \"I'm looking at it. It's you, Charles. You're the danger.\"", "Gunn: \"Excuse me?\"", "Cordy: \"It's how you life your life. You don't just face danger, you create it. You're on a self destruct mission - unless you get some help.\"", "Gunn laughs: \"I ain't buying none of this Dionne Warwick crap.\"", "Cordy: \"You know it's true. You need some serious saving. Looks like I've got my work cut out for me.\"", "Gunn: \"Oh, is that right?\"", "Cordy: \"Well, yeah. Better just plan on having me I your life for a while. At least until you find some peace.\"", "Gunn: \"Could be a while.\"", "Cordy: \"That's okay. Helping people that's what me and my friends do.\" Gunn opens the door to his pickup: \"Well, lucky me.\"", "Cordy: \"Hey. How about that thank you?\" Gunn looks at her, Cordy raises her eyebrows at him, Gunn gives her a slightly sheepish smile and Cordy smiles back. He closes the door and drives off. Angel and Wesley come to stand next to Cordy. Angel walks into the hotel lobby looking beat.", "Darla: \"Honey, you're home.\"", "Angel: \"Hi.\"", "Darla: \"You look beat. What's wrong?\"", "Angel: \"Nothing.\"", "Darla walking over to him: \"Save any lives today?\"", "Angel drops his coat: \"A few. Yeah.\"", "Darla: \"Did any of your friends say thank you?\"", "Angel: \"Not exactly.\"", "Darla: \"Hmm, typical. You know, next time you see them I'm really going to say something to them.\"", "Angel: \"It's okay.\"", "Darla: \"No. It isn't. (Puts her hands on his arms) You give and you give and you give.\"", "Angel: \"I'm used to it.\"", "Darla: \"Always the protector, never the protected.\"", "Angel: \"I have so many things to make up for.\"", "Darla: \"And you have. You take care of so many people. - But who takes care of you?\" Angel looks down at her and starts to smile: \"You do.\"", "Darla coos: \"That's right. I do. (Pulls him towards a red couch by the front of his sweater) Come on. (Pushes him and he drops bonelessly into one corner of it) Lean back. (Crawls on top of him) Now, you just relax and let Darla take care of you.\" She kisses him and we blend over into Angel's smiling face as he lies sleeping. In his dream Darla is pulling Angel's sweater off.", "Darla: \"How's that?\"", "Angel: \"Good.\"", "Darla: \"I'm just getting started, baby. (She starts kissing her way down his bare chest.) I know how to please you.\" Back to Angel laying on his back in bed, fast asleep. A hand crawls up his bare chest, followed by a just as bare Darla.", "Darla: \"All you have to do is let me.\" Darla kisses his chest, his neck, his mouth, mirroring the dream action in real life without Angel showing any sign of waking. Darla looks down at his sleeping face: \"Mmm, I could just eat you up.\" Darla leans down and kisses the side of his neck." ]

[ "After Cordelia receives a vision, Angel befriends a young girl from out of town at the risk of his safety. Bethany, running to L.A. to escape a tragic family life, has telekinetic abilities out of her control which she desperately wants to shed. Unfortunately, Lilah and Wolfram & Hart have insidious plans for Bethany's powers. As Angel works to help her reign in her powers, he receives nocturnal visits from the newly resurrected Darla which affect his abilities." ]

[ "[PREVIOUSLY_ON]", "From \"The Ring\"", "Lilah: \"I'm Lilah Morgan\"", "Angel: \"Wolfram & Hart\"", "Lilah: \"I'm an associate here.\" From \"To Shanshu in L.A.\"", "Lilah: \"We're all very please you're here - Darla.\" From \"First Impressions\"", "Angel: \"I still can't believe you're here.\"", "Darla: \"And let Darla take care of you.\"", "Darla: \"All you have to do is let me.\" Lilah sneaks into Lindsey's dark office at Wolfram & Hart and starts to look through the papers on his desk.", "Darla: \"Exciting, isn't it?\" Lilah jumps and drops the papers she was holding.", "Lilah: \"Darla. - I didn't see you.\"", "Darla: \"Going through their things, all the little pieces of themselves locked away, given you a naughty little thrill of control.\"", "Lilah: \"I just like to keep abreast of his latest project. He's probably in my office right now trying to find out about mine. That's just how it works at our firm.\" Darla sits on the edge of Lindsey's desk and pours some dark blue powder into the palm of her left hand.", "Darla: \"Hmm, all you busy little worker bees, plotting your little schemes.", "Lilah looks at powder: \"Calynthia powder? Is that how you keep Angel sleeping - when he's with you?\"", "Darla: \"There is nothing so lovely as dreams. Everything is in them, everything hidden. Open those chambers and you can truly understand someone - and control them.\"", "Lilah with a slight smile: \"And what's hidden in Angel's secret chambers?\"", "Darla: \"Horrors.\"", "Cut to Angel waking up in his bed at night.", "Cut to Angel walking down the stairs, buttoning up his shirt. We hear Wesley and Cordy's conversation drifting up from the hotel lobby.", "Wesley: \"That's so typical of your kind.\"", "Cordy: \"At least I'm not a sheep like you.\"", "Wesley: \"I am not a sheep!\"", "Cordy: \"You're such a sheep! You've never had an opinion that you didn't read in a book.\"", "Wesley: \"At least I've opened a book.\"", "Cordy: \"Oh, don't even try with the snooty, wooly boy. I was top 10% of my class!\"", "Wesley: \"What class? Advanced bosoms?\"", "Cordy: \"Oh!\"", "Angel: \"Hey! - What the hell is going on here?\"", "Cordy: \"We were just discussing whether or not we should offer to pay Gunn.\" Angel looks at them for a beat. Shakes his head.", "Angel: \"No you weren't.\"", "Wesley: \"Well, our discussions tend to go about three minutes, then it's strictly name calling and hair pulling.\"", "Cordy: \"Ebeneezer here doesn't want to share the wealth.\"", "Wesley: \"I didn't say that. I merely said Gunn might be insulted by the offer. He's a - proud sort of fellow.\"", "Cordy: \"He's been doing for us. He should pull in a check.\"", "Angel: \"I'll think about asking him, alright?\"", "Cordy: \"No think. Pay. That's an order.\"", "Angel: \"Hey! How about we pretend that you work for me?\"", "Cordy: \"You are really unpleasant when you...\"", "Angel: \"Then why don't we pretend that you don't.\"", "Cordy: \"You can't fire me. I'm vision girl.\" Sticks her tongue out at him. Angel sticks his hands into his pockets and tries not to smile.", "Angel: \"All right. I'll think about asking him, alright? Maybe - on a case by case.\" Cordy gives him a big smile: \"My hero.\"", "Wesley: \"I was going to suggest that.\"", "Cordy: \"Ah-huh.\"", "Angel: \"I-is there coffee?\"", "Cordy: \"There was - in the morning. It's ten o'clock at night.\"", "Angel: \"Oh. Huh. Just a little disoriented. I've been sleeping weird.\"", "Wesley: \"Weird how?\"", "Angel: \"I don't know.\"", "Wesley: \"I mean, it's been going on for a bit hasn't it? You sleep more, you're less rested. - Are you dreaming?\" Cordelia starts to pant and lifts a hand to her brow. Angel runs and catches her as she sways under the impact of an incoming vision. Cordy, face scrunched up in pain: \"Well, boys, I think we have a customer...\" She gets thrown back in Angel's grip and we get a blurry shot of a girl screaming.", "Cordy: \"Okay - a girl (blurry vision of girl running from someone) she's in an alley - Hollywood and Wilcox (blurry shot of a guy's face and the girls screaming) Oh, she's so scared!\"", "Wesley to Angel: \"Go.\" Angel runs out as Wesley takes over supporting Cordy.", "Cordy: \"Oh god, he's gonna be too late.\" We see a sobbing girl running from two guys. One of them gets a hold of her shoulder and throws her to the ground.", "Bearded Guy: \"What you making us run around for?\" Bald guy heads towards the down girl but bearded guy stops him.", "Mustache guy: \"Hey, I get it first. Think I want your seconds? You pig. (To girl) Guy's a pig.\" He pulls out a knife. The girl continues to sob, and suddenly a full dumpster slides across the alley and squashes the two guys against the opposite building. The girl takes a deep breath and cries even harder. Intro There is an ambulance sitting at the entrance to the alley. Angel walks past it as two people wheel a gurney with a covered body towards it. He ducks under the yellow police tape, picks up a cup of coffee sitting on the hood of a police cruiser and stops a step ahead of a young police officer noting something down on a pad of paper. Angel looking at the crime scene: \"So, what have we got here?\"", "Officer: \"Uh - you're not...\"", "Angel looking past the officer: \"Hey, you wanna get behind the tape? You wanna gawk, go home and watch a high speed chase on Fox. (To the officer) You want to think about keeping the tourists off my crime scene?\"", "Officer: \"But I-I'm...\" Angel walks towards the crime scene: \"I'm out of vice three weeks, I've seen enough amateur night crap to fill a mini-series. (Turns back towards the officer and gestures with his cup of coffee) You wanna pretend that's not a cub scouts uniform and tell me about dead people?\"", "Officer: \"Uh, well, detective, what happened is we had to scrape them off the wall. (Angel takes a sip of the coffee and makes a face.) Guys got pinned by a two ton dumpster.\"", "Angel: \"It fell on them.\"", "Officer: \"Ah, no. They were actually pinned to the wall. Looks like somebody might have shoved the dumpster from the side.\" Angel walks further down the alley, reaching his cup back towards the officer, who hurries to take it from him.", "Angel: \"Have to be somebody pretty strong.\"", "Officer: \"Yeah. You're telling me. (Points at some blood on the ground) Splashed those guys all the way up here.\" Angel crouches down and looks at the blood.", "Angel: \"It's not their blood.\"", "Officer: \"Excuse me?\"", "Angel stands back up: \"You seen a girl tonight? - Maybe a little scared - beat-up?\"", "Officer: \"Huh-uh. Nobody but our Mr. Bills. (Angel looks at him) You know (high pitched voice) 'Oh no, Mr. Bill' - krech!\"", "Angel turns away: \"Right.\" Angel walks further down the alley, looking around as a guy in a suit comes up behind the officer. He opens his jacket to show the shield clipped to his belt.", "Detective: \"So, what have we got here?\" Officer looks at him, then back the way Angel went. Angel finds an unlocked door and enters an empty warehouse. He walks past some sacks of cement and pieces of re-bar, spots the girl form the alley, sitting on some stuff on the far side of the warehouse.", "Angel: \"Hey.\"", "Bethany gets up: \"What do you want?\" Angel slowly steps closer. Lifts a hand to touch his right temple.", "Angel: \"You're bleeding.\"", "Bethany: \"Just stay away from me.\"", "Angel: \"I just want to ask you a few questions, that's all.\"", "Bethany: \"You don't understand. I'm - I'm really uh, upset right now. I think it's best if you just...\"", "Angel: \"You were in that alley, weren't you?\"", "Bethany: \"No! - I mean - what alley? (Walks towards the door) I'm going.\" Angel moves to intercept her.", "Angel: \"Hold on a second.\" Bethany lets out a whimper and suddenly a piece of re-bar jumps into the air and impales Angel through his right shoulder. Angel drops to his knees with a groan. Bethany stares at him in horror.", "Bethany: \"Oh god. I told you. I tried to tell you.\" She runs towards the door.", "Angel: \"Please wait.\" Bethany spins around and stares as Angel gets up braces himself and pulls the re-bar out.", "Bethany: \"W-what are you?\"", "Angel: \"I've come to help you. My name is Angel.\"", "Bethany with a hysterical laugh: \"Great. I've stabbed an angel. Now I'm really never getting into heaven.\"", "Angel: \"I'm not an angel. It's just a name.\"", "Bethany: \"But - how did you...\" Angel looks down at his pierced shoulder: \"Well, I'm different from most people - like you are. - Those men in they alley - they tried to hurt you, didn't they? (Bethany nods and looks away) But you stopped them.\"", "Bethany: \"I didn't mean to. They followed me from the club. It wasn't...\"", "Angel: \"It's okay.\"", "Bethany: \"Yeah, it's just great!\"", "Angel: \"You're not from L.A., are you? (Bethany shakes her head) Got family in town? - Me neither. - Town kind of attracts loners, don't you think?\"", "Bethany: \"You can't make me go anywhere with you.\" Angel looks down at his pierced shoulder again: \"I think that message got through. (Gives her a smile, then turns serious again) And I would never try. (Bethany turns to leave) Wait. Take this. (Offers her one of his business cards) If you need anything - a place to stay...\"", "Bethany: \"I'm staying with a friend.\"", "Angel: \"Someone to talk to. - Think about it. - I won't hurt you - and you can't hurt me. - You may need that.\" After a beat, Bethany snatches the card from his hand and hurries out. Angel grimaces in pain as his knees give out and he falls to the floor clutching at his shoulder.", "Angel: \"Ah. Oh. Okay, maybe she can hurt me a little.\" Bethany enters an apartment building, climbs some stairs and fumbles with some keys as the door in front of her is opened to reveal Lilah Morgan standing there.", "Lilah: \"Bethany.\"", "Bethany: \"Hi! Sorry I'm late.\"", "Lilah: \"I was starting to get worried.\" Bethany gives her a smile and walks past her into the apartment. Lilah walks over to where Bethany is sitting on the sofa, carrying a laundry basket.", "Lilah: \"So, how was the club? You have any fun?\"", "Bethany: \"It was okay.\" Lilah sits down beside her and begins to fold the laundry.", "Lilah: \"Any cute boys? (Bethany shakes her head) I'm sorry I couldn't make it. But work just got insane, and our new clients are monsters.\"", "Bethany reaches for the laundry: \"Here. Let me.\"", "Lilah: \"Oh, I like folding. It's like a Zen exercise for me. It levels me out after work.\"", "Bethany: \"You got to let me help. I gotta at least... It's enough you letting me stay here.\"", "Lilah: \"Didn't we vow you were gonna stop that? Didn't we make a blood oath? (smiles) I *love* having you here.\"", "Bethany: \"You know, when you came and spoke at our school, I was so... There was someone who got out, who made it by themselves. I-I'm saying it wrong.\"", "Lilah: \"No. You're not.\"", "Bethany: \"I couldn't believe you even talked to me.\"", "Lilah smiles at her: \"See? You have no idea. You're special, Bethany. - In the old, non-retarded sense of the word. You think I tour high schools across America, saying 'look me up' to everyone I meet? (Shakes her head) You have a power about you. (Bethany looks away) Other people are gonna start to know that.\"", "Bethany: \"I guess I'm getting kind of sleepy.\"", "Lilah: \"I bet you are. I'm still kind of wired. I might stare at the TV for a while.\"", "Bethany gets up: \"Good night, Lilah.\" Lilah as Bethany walks up the stairs: \"Sweet dreams.\" Cordy and Wesley are taping up Angel's shoulder.", "Cordy: \"I can't get this bandage to... Stop moving!\"", "Angel: \"I'm not.\"", "Cordy: \"Well, then stop breathing.\"", "Angel: \"I don't breathe.\"", "Cordy: \"Then stop flexing your manly boob-muscles or whatever.\"", "Wesley: \"That's an ugly looking wound.\"", "Angel: \"It doesn't feel pretty either.\"", "Wesley: \"We should definitely approach this girl with caution. - I guess you already figured that out.\"", "Angel: \"She's very powerful. We got to find out everything we can about her.\"", "Cordy buttoning up Angel's shirt: \"Like - oh, say, her name?\"", "Angel: \"I was impaled at the time.\"", "Cordy pats his knee: \"Of course. Perfectly understandable.\"", "Angel: \"You know how hard it is to think straight with a re-bar through your torso?\"", "Cordy: \"Actually, I do. Benefits of a Sunnydale education. No address or anything?\"", "Angel: \"She said she was staying with a friend.\"", "Cordy: \"Well, that narrows it down to people with friends. (To Wesley) Where do we keep that list?\"", "Angel: \"She's not local. Traces of an accent. North-east - maybe Ohio... and everything about her tells me she is on the run, so...\"", "Cordy: \"So look into runaways from the north-east.\"", "Angel: \"And cross-reference it with supernatural occurrences. The way she went off tonight, I doubt she's been able to stay low profile.\"", "Wesley: \"Angel, you're sure this isn't a demon of some kind?\"", "Angel: \"She's just a girl.\" Cordy sitting down at her laptop: \"Just a girl that can kill your ass by blinking.\"", "Angel: \"She needs help. She's out of control. She's just - lost. (Goes to stand next to Wesley) What do we know about telekinesis?\"", "Wesley: \"Ah. Yes. The power of moving things with one's mind. (Takes a deep breath) That's pretty much it. The power of - moving... I-I'm better with demons, really.\"", "Angel: \"Time to broaden your horizons.\" Gunn walks into the lobby.", "Gunn: \"You call, I come. Loaded for bear, ready for battle, and something else that starts with B.\"", "Wesley: \"What is that?\" Gunn holds up an axe which looks like it's blade might at one time have been a hubcap.", "Gunn: \"Ah, isn't that thing? Some of the kids at my camp put it together for me. Thought I might get the chance to stick it in something now.\"", "Cordy: \"Men are all alike.\"", "Gunn: \"Fair Cordelia - you still saving my life?\" Cordelia without looking up from her screen: \"Every minute.\"", "Gunn: \"How's that working out?\"", "Cordy looks at him: \"You're alive, aren't you?\"", "Gunn: \"So, what kind of scaly Pus-monster you all want me to slay this time?\"", "Angel: \"Actually we were hoping you could do some leg-work for us.\"", "Gunn: \"Leg-work? That kind of leaves me high and dry with my cool new ax.\"", "Angel: \"I'm trying to find a girl. (Cordy slaps his arm and rubs her fingers together as if she was counting money. Angel pushes her hand down and keeps right on talking) She smashed a couple of would-be rapists with a dumpster.\"", "Gunn: \"Must have been a hefty kind of girl.\"", "Angel: \"We think she did it psychically.\"", "Wesley: \"Telekinesis, the power of moving things with...\"", "Gunn: \"Yeah, I have heard the word. So, what you all need me to do?\"", "Angel: \"I'm interested in the guys. The got...\"", "Cordelia: \"Smushed?\"", "Angel: \"Not far from your neighborhood, around Hollywood and Wilcox. You think you could find out who they are?\"", "Gunn: \"You got it. (Starts to leave) But if I come back here on the end of a spatula, I'm expecting some serious workman's comp!\"", "Cordy hits Angel's arm: \"See? Workman's comp - he wants to get paid!\"", "Angel: \"Cordelia...\"", "Cordy: \"The poor man can't even afford a real ax!\"", "Angel: \"Okay. Okay. I'll bring it up. (Cordy grins at him and Angel walks towards the stairs) I'm going to bed. - It's been a long day.\"", "Cordy: \"You've been up for three hours.\" Angel stops but doesn't turn around.", "Angel: \"Cordelia - find the girl.\" Cordy and Wesley watch him leave then look at each other. Angel walks over to his bed, a bloodstained bandage half covering his tattoo. He sits down on the edge of it, taking some quick deep breaths and frowning. Bethany lies in her bed with her eyes open. Angel lays his head on his pillow, blinking his eyes rapidly. Bethany looks around, then her eyes slowly drift shut. We see a little girl standing in an attic, staring towards the bright square of the window at one end of it. A man comes up the ladder into the attic. Lilah walks into Bethany's room and watches as the tosses her head and whimpers in her sleep. Things on the nightstand begin to rattle around. Lilah smiles. Man steps closer to the girl in the attic.", "Man: \"Shh, rabbit. (Takes a hold of one of her arms) Let's go downstairs - just you and me.\" The things on Bethany's nightstand rattle harder. The man leads the girl towards the ladder as a jar of pennies in the foreground begins to rattle around.", "Man: \"Don't make a fuss, rabbit.\" They climb down the ladder. The lamp on the nightstand flies into the air and hits Lilah in the head. Bethany sits up in Bed and sees what has happened.", "Bethany: \"No. No. No. (She gets out of bed and grabs a jacket) Oh my god.\"", "Lilah from the floor: \"Bethany...\"", "Bethany: \"I'm so sorry! I'm sorry.\" Bethany hurries out of the room.", "Lilah: \"Don't - don't go!\" Lilah tries to get up but can't. Bethany runs through the streets. Darla pushes Angelus down in front of a fireplace. They kiss, then Angel pushes them back up. They smile at each other. Darla arcs backward and comes back wearing her vamp-face. They kiss again and when they break apart Angelus is in vamp-face as well. Darla is leaning over a sleeping Angel, caressing his shoulder.", "Darla: \"Remember Rumania (?), in front of the fire, with the gypsy girl - all bound and gagged. You took her right there. You sucked her blood until she was dry.\"", "(Close caption here has instead: \"You've been in a fire... with a gypsy girl - all bound and gagged. You took her right there. You sucked her blood until she was drained.\")", "Angelus bites Darla's neck. Darla smiles, then after a moment sinks her own teeth into Angelus' neck. Angel wakes up, touching his neck where the Darla in his dream just bit him. Looks around, disoriented. Day. Wesley is reading a book. Angel walks into the lobby, rubbing his eyes, and leans on the counter looking at Cordy sitting in front of the laptop.", "Angel: \"Well?\"", "Cordy: \"Top of the middle of the day to you, too. And no, no leads worth mentioning. Of course we lost a little time during my 45 minutes of sleep. Good thing I left some clothes here, or you would be smelling me even now.\"", "Angel: \"Gunn check in?\"", "Cordy: \"Huh-uh.\"", "Angel to Wesley: \"How about you? How's it coming?\"", "Wesley: \"Well, most of my reading suggests that telekinesis is a psychic phenomenon that occurrs during periods of extreme emotional stress.\"", "Angel: \"Well, that tracks. (Rubs at his eyes) We got to find her.\"", "Cordy: \"Well, I think I may have a lead.\" When the guys look at her she motions towards the door, where Bethany stands in her nightgown and jacket.", "Angel: \"Hey. How are you?\"", "Bethany: \"Bethany. (Takes a deep breath) Bethany Chaulk. - You said I couldn't hurt you. - That if I needed anything...\"", "Angel: \"You're safe here.\"", "Wesley: \"We're all - safe people.\"", "Angel: \"This is uhm - Wesley and Cordelia.\" Bethany still standing just inside the door: \"So, it's a family business, huh?\"", "Angel: \"Friends. Come on in.\" Bethany walks down the stairs with a sigh. Her knees sag and Angel catches her. She immediately pushes free.", "Bethany: \"Sorry. (Cordy looks her up and down) I'm just - so tired.\"", "Angel: \"Would you like some tea?\"", "Bethany: \"Yeah. Please.\" Angel leaves.", "Cordy: \"You shouldn't worry. Angel does this kind of thing all the time.\"", "Bethany: \"Makes tea?\"", "Cordy: \"Helps people. You know, he helps people with problems.\"", "Bethany: \"So what's wrong with you?\"", "Wesley: \"Where to begin?\" Wolfram and Hart's office complex.", "Holland: \"Wow. That little girl gave you one heck of a shiner, didn't she? You think the alley scenario was too much?\"", "Lilah: \"I assure you, sir, I have the utmost confidence...\"", "Holland: \"Oh, don't utmost confidence me. You know, some people might say that you lost control over this girl. If this is how she is now, what happens when you pull the trigger? - She's got the profile, but an assassin's no good if it can't be controlled. (Stands up) But do you know what I say? - Nonsense! I say, Lilah Morgan found this girl, Lilah Morgan recruited this girl for a reason, and Lilah Morgan is gonna bring this girl into the welcoming arms of Wolfram and Hart.\"", "Lilah: \"I *will* find her.\" Her cell phone rings and she answers it.", "Lilah: \"Hello. - Bethany. (She raises her eyebrows at Holland and he smiles in return) No I'm so glad you called. - No, I was worried. - No, I'm fine. - Where are you?\"", "[SCENE_BREAK]", "Angel leans against a pillar with his arms crossed. He turns around as Bethany walks out through a glass door, now dressed.", "Bethany: \"They're Cordy's. Feel kinda funny.\"", "Angel: \"You look nice. Did you get a hold of your friend? (Bethany nods) Is she okay?\"", "Bethany: \"She says she's fine - worried about me. How do you explain... She'd just think I'm crazy.\"", "Angel: \"Are you?\"", "Bethany: \"What?\"", "Angel: \"Well, if you are, you know, crazy, I just think that things will go - smoother if I know up front.\"", "Bethany gives a laugh: \"I probably am. (Sighs and comes down the steps) I - I don't wanna - I don't wanna talk about me and share, or whatever. We-we can talk about stuff, but... I don't know. You're the expert, right?\"", "Angel: \"I wouldn't exactly say that. I just - have some experience in dealing with the kind of power - that needs to be controlled.\"", "Bethany: \"I don't want to control it. I want it gone.\" Cordelia is standing behind the counter watching them through the glass doors.", "Cordy: \"What is she doing?\" Wesley is sitting behind her, reading.", "Wesley: \"They're talking, yes?\"", "Cordy: \"There is something. She's got a vibe. I'm getting a vibe. She's viby.\"", "Wesley: \"I didn't notice a vibe.\"", "Cordy: \"Well, all evidence to the contrary, Wes, but you're not a woman. Women and s*x, it's not like you guys, we see more levels. (Wesley looks up then looks back at the previous page of his book) Are you even listening?\"", "Bethany: \"It's like - there is a flash - like - something pops in my brain, and then I'm - it's like - uhm, there's an undertow. Like there is no gravity and by body is being pulled in different directions, but inside, you know?\" Angel sits down beside her on the garden bench in the shadow of the hotel's veranda.", "Angel: \"Does it hurt?\"", "Bethany: \"Yes. No - It's just for a second, then I'm back.\"", "Angel: \"And you only feel it when you make things move.\"", "Bethany: \"I don't make them move. I go into this and when I come back things aren't where I left them.\"", "Angel: \"You've never done it on purpose?\"", "Bethany: \"Of course not.\"", "Angel: \"You never thought 'man, the remote is too far away and I'd have to get up'\" Bethany gets up off the bench.", "Bethany: \"It's not a parlor trick! It's - It's a disease!\"", "Angel: \"Look. We don't know what it is yet. We're just getting started. I just want to know about you.\"", "Bethany: \"Well, don't start asking me a bunch of stupid questions. Like when were you potty trained and name all your pets... - Do you like hide-n-seek.\"", "Angel: \"None of those were on my list.\"", "Bethany: \"You don't even know what I'm going through! I shouldn't even be here!\"", "Wesley: \"I agree. (Bethany spins around as Wesley walks down the steps into the garden court) It's clear this girl doesn't want our help. I don't think we should be wasting our time with her. \"", "Angel: \"Wesley...\"", "Wesley: \"I'm sorry, but there are people out there who need us. People with much more serious problems than impulse-control issues.\"", "Angel stands up: \"Look, that's enough.\"", "Wesley: \"Why doesn't she go back to her friend's, toss the furniture about. (Steps closer to Bethany) Or maybe we should send you home to your father.\" Bethany gasps and Wesley flies back against the wall. Angel steps towards her, she sees it and he goes flying back out into the sun of the courtyard. He quickly scrambles back under the protection of the veranda, smoking ever so slightly and watches Bethany as she looks around at what she just did. Cordy folds some ice into a napkin and holds it against the back of Wesley's head.", "Cordy: \"You're sure nothing's broken?\"", "Wesley: \"I'm sure.\"", "Cordy: \"Nothing at all? Say, your brain? (sighs) What happened to approach her with caution?\"", "Wesley: \"If I'd given her time to get her defenses up...\"", "Cordy: \"She wouldn't be crying, you wouldn't be bruised and Angel wouldn't have had a near Melba-toast experience! What did you say to her?\"", "Wesley: \"I mentioned her father.\"", "Cordy: \"Well, who's her father?\"", "Wesley: \"No, it's... The sort of trauma that can produce this level of psychic power usually involves abuse of some kind - very early on. You'd mentioned a sexual vibe, she made that crack about family business. Statistically speaking, the father was the best guess.\"", "Cordy: \"There's not enough yuck in the world.\" Angel walks in.", "Cordy: \"How is she?\"", "Angel: \"Settling. (To Wesley) You're gone.\"", "Cordy: \"You can't fire Wesley. I'll quit, too! - Unless you're firm!\"", "Angel: \"I'm not firing anyone.\"", "Wesley: \"I understand. My being here wouldn't exactly help *her* to feel trusting. I'll be at my flat. Call me if...\" He walks past Angel.", "Angel: \"It helps that we know.\"", "Wesley: \"I hope so.\" He leaves.", "Angel to Cordy: \"You should stay at your own place tonight in case she...\"", "Cordy: \"Be careful.\"", "Angel: \"I don't think she'll go off again.\" Cordy is about to say something, but then just leaves. Angel enters the corner room on the top floor of the hotel to find Bethany sitting with her back against a box-spring mattress propped up against a wall. The doors to the balcony next to her are standing open.", "Angel: \"There you are.\"", "Bethany: \"I came up here. I feel safe up here.\"", "Angel survey's the room: \"Yeah, and you did pick the one room in the house that may collapse to feel safe in.\"", "Bethany: \"I'm really embarrassed... And that just makes me - all these horrible things have happened - been done to me, guys have died - and I'm freaking because I'm so embarrassed. - People are pathetic.\"", "Angel: \"I don't know. - I like 'em. (He crouches down next to her) The time I've lived - I've seen some horrors - scary behavior, and a couple fashion trends I constantly pray to forget, but - I see people try. - I see them try to be better.\"", "Bethany: \"You sound like an old guy.\"", "Angel smiles: \"Well, you know, I'm very well preserved.\"", "Bethany sighs: \"I'd like that - to see people the way you do.\" Angelus and Darla, both in vamp-face, are biting each other again in front of the fireplace. Angel lies sleeping in his bed. Angelus looks up from Darla's neck, pants, then pulls her off his neck. She smiles at him. They look over at a bound and gagged girl (somewhat resembling Bethany, though she is wearing period dress). Angel tosses his head on his pillow. Bethany walks down the hall, rubbing her arms. Angel wakes up.", "Angel: \"Darla?\"", "Bethany: \"It's just me.\" Angel works himself up higher on his pillow.", "Angel: \"What's up? What... what's - Is there trouble?\"", "Bethany: \"I just didn't want to sleep. (Sits down on the edge of his bed) I heard a voice in here and thought maybe you were awake.\"", "Angel: \"No - I was having a nightmare.\"", "Bethany: \"It looked like a pretty happy dream - or maybe the covers were just rumpled. - I figured I'd come in here. (Looks around) It's nicer than my room.\"", "Angel: \"Is there something, uh, something you want to talk about?\"", "Bethany: \"No. - I figured we'd have fun. You can do stuff to me and - you know - we'll have some fun.\"", "Angel: \"That's not gonna happen Bethany.\"", "Bethany: \"What, you think I'm some frightened little mouse? I've done stuff. I can make you happy.\"", "Angel: \"You wouldn't like me when I'm happy.\" Bethany slides one of her hands up his leg on top of the covers: \"Come on. (As Angel looks at her he suddenly sees Darla instead of Bethany there) It doesn't mean anything.\" Angel grabs her hand as she slides it under the covers and pulls it off him: \"I said stop it!\" Bethany pulls away screaming \"Get off me!\" as the bed rattles around for a moment.", "Angel: \"You wanna make love, but you don't wanna be touched?\"", "Bethany gives a short laugh: \"Make love? What are you, from the eighteenth century? - I was just... I just wanted...\"", "Angel: \"What'd you want?\"", "Bethany: \"Are you shocked I'm a great big slut?\"", "Angel: \"You find that I'm not easily shocked, Bethany.\" Bethany sits down on the chest at the end of Angel's bed.", "Bethany: \"Everyone thinks I'm so fragile and innocent. Men love it.\"", "Angel: \"Do you?\"", "Bethany: \"Do I love it? - Who cares. - I'm - I'm - like the chambermaid. I just leave. When a guy's on me, I... I made up the room, I showed him in - and I leave till he's gone. - Come back and - clean up the mess.\"", "Angel: \"An the men?\"", "Bethany: \"What, you think they'd notice or care I'm not there? - Would you?\"", "Angel: \"I don't think everyone's as bad as you'd have them be.\"", "Bethany: \"Oh, right. You love the people. (Gets up) Love them so much, you got a hundred rooms to be all alone in. - I'm thinking maybe you're not exactly qualified to help me with my problem.\"", "Angel: \"Maybe I'm the only one who is. - Try to get some sleep.\"", "Bethany: \"Who's Darla?\"", "Angel: \"Good night, Bethany.\" Bethany sighs and walks out through the open doors of his bedroom. As she passes through the living-room-kitchenette area we see Darla peek out from behind a wall and look towards Angel's bedroom. Wolfram and Harts offices, day.", "Holland: \"He's not sleeping. You understand how this puts a crimp in Lindsey's project.\"", "Lilah: \"Yes, sir, but...\"", "Holland: \"You know, Lindsey's a guy who understands the big picture. All his efforts go towards realizing that picture - and your little girl is currently finger-painting all over his efforts.\"", "Lilah: \"I understand, sir.\"", "Holland: \"I know you do. - Get her out, Lilah. - And not just for the sake of the big picture - for yours.\" Smiles at her.", "Bethany: \"I feel funny. Sweaty-funny, I think.\"", "Angel: \"Just try it. You can stop at any time.\"", "Bethany: \"What if it blows up or something?\"", "Angel holding a silk scarf: \"I'll buy Cordelia a new one.\"", "Bethany takes a deep breath: \"Okay. Just - drop it on the floor.\" Angel drops the scarf. Bethany's eyes kind of widen. Cordy, on the phone behind the counter watches as one end of the scarf rises to slide up Angel's body.", "Angel smiles at her: \"See? (The scarf drapes itself around Angel's neck) You can control it.\" Bethany gives a short laugh. Cordy hangs up the phone and walks over to them.", "Cordy to Angel: \"Nice look. (Angel pulls the scarf off, and she hands him a piece of paper) That was Gunn. He wants you to meet him at this address.\"", "Angel: \"Brentwood?\"", "Cordy: \"I'll look after Bethany. We can hit the Plaza shops.\"", "Bethany: \"Um, sure. Sounds like fun.\" Angel hands Cordy her scarf while looking at Bethany: \"I'll be back soon.\" Cordy holds out the scarf as he leaves: \"You're not gonna wear this?\" The door to a dark apartment breaks open to reveal Angel and Gunn in the hallway outside of it.", "Gunn walking in: \"Knock, knock. See, this works great. You break and I enter.\"", "Angel: \"As long as this guy is still alive I can't enter.\"", "Gunn: \"The guy is on the critical list. Your girl must be pretty scary. (Looks around the apartment) You see what I'm seeing here?\" Angel craning his neck to see as much as he can through the open door: \"Doesn't exactly fit the thug-in-the-alley profile.\"", "Gunn: \"No, word on this guy was muscle-for-hire. Not cheap neither.\"", "Angel: \"So he was *sent* after Bethany.\"", "Gunn: \"Somebody wanted her hurt.\"", "Angel: \"Or wanted to know what would happen if somebody tried. (Leans against the invisible barrier) Hey, look for an address book. You know, checks, statements.\"", "Gunn: \"I'm still dealing with this man's ugly-ass livingroom-set. Some people just shouldn't have money.\"", "Angel: \"On the subject of money. How would you feel, maybe, you know, on a - case by case basis?\"", "Gunn: \"Are you offering to pay me for helping you?\"", "Angel: \"Yeah.\"", "Gunn: \"Cool.\" Angel blinks, still leaning against the barrier. Suddenly the barrier vanishes and Angel's lands full length on the floor of the apartment.", "Gunn smiling: \"You're a very graceful man, have I ever mentioned that?\"", "Angel getting up: \"I guess someone is off the critical list.\"", "Gunn: \"Rapist-for-hire, see me crying?\" Angel looks through some papers on the desk. Hits the redial button on the speakerphone. After the second ring it's picked up. \"Wolfram and Hart - how may I direct your call?\" Angel and Gunn look at each other. Night. We see and old fashioned carousel, Cordy and Bethany holding drinks.", "Bethany: \"You're right. This is great!\"", "Cordy: \"It's the vanilla that makes the mocha less latte-y.\"", "Bethany: \"Yeah. Where I'm from, you know, they still just have coffee. Everything else is that L.A. stuff.\"", "Cordy: \"Yeah. Don't bone my boss.\"", "Bethany: \"What?\"", "Cordy: \"Angel. He's strictly a no-bone.\"", "Bethany: \"I wasn't... (Cordy raises her eyebrows at her) Cordelia, I don't wanna sleep with Angel.\"", "Cordy: \"The thing about Angel, he's old-fashioned - *old* fashioned - like the age of chivalry. He sees you as, pretty much, the damsel in distress. - I think it's a little more complicated than that.\"", "Bethany: \"W-why are you... I never...\"", "Cordy: \"I think you're kind of dangerous. - I'm not being mean. I like you. I do. But - you come on all helpless and... I mean, people that have thought that you were helpless before - have died.\"", "Bethany: \"Those men in the alley - that was the only... They were gonna hurt me.\"", "Cordy: \"You could have floated them away - or-or spun them until they puked. I don't know. You squashed them.\" Bethany sits down on a little wall.", "Bethany: \"You don't know how scary it was.\"", "Cordy sits down beside her: \"Yes, I do. - I had a vision of you. That's how Angel found you. I felt everything. And those guys are better off squashed, I truly think, but - somewhere in that moment of panic a decision got made and I *don't* want something like that to happen to my friends - or, and I can't stress this enough, me. - No matter what, s*x complicates the equation - even more than you think.\"", "Bethany: \"I get it. You don't have to worry.\"", "Cordy: \"Good.\" They get up and start walking again.", "Bethany: \"So, are you and Angel...?\"", "Cordy: \"Oh, no! I like my men less broody and more spendy.\"", "Bethany: \"He is kind of earnest. He always seems to...\" A man pushes between them, injecting something into Bethany's neck as he passes.", "Cordy: \"Hey! - What a jerk! (Bethany is swaying and Cordy rescues her cup of coffee) You're about to drop your...\" Two men grab Bethany's arms and pull her along between them.", "Cordy: \"Hey! Stop! *Police*!\" As they guys torn back towards her she throws a cup of coffee into each of their faces. They let go of Bethany, blinded by the hot coffee and Cordy catches her around the waist and leads her away.", "Cordy: \"Stay with me. Stay with me. Oh god. (They almost get hit by a van as they cross the street) Bethany. Come on!\" The back doors of the van pop open and men dressed all in white jumps out, push Cordy aside and drag Bethany into the van.", "Cordy: \"No! Bethany! You can squash *those* guys!\" The back doors of the van get pulled closed and the van speeds away - just as Angel and Gunn pull up beside Cordelia in his convertible.", "Angel: \"Cordelia.\"", "Cordelia points: \"Tan van. Fetch!\" Angel speeds off in pursuit with Cordy looking after them. Angel tires to cut the van off, but there are too many cars coming the other direction.", "Angel to Gunn: \"Take the wheel.\" Gunn slides over into the driver's seat while Angel jumps over the windshield onto the hood of his car.", "Angel: \"Closer!\" Angel jumps onto the back of the van grabbing a hold of its top rack. He pulls one of the back doors open and reaches in. Bethany tries to sit up to see what is happening as we hear some hits and screams. Then we see two white-clad men being tossed out of the back of the van. Gunn swerves to avoid running them over.", "Lilah into her cell phone: \"Shut up! Just shut up! One more excuse from you and I'm gonna bury you alive next to my house so I can hear you screaming. (Sighs) He took her to the hotel? Great. He wants to play with little Miss Time-bomb, I say we let him. Pull the trigger.\" Bethany bursts into the ruined upstairs corner room of the hotel, followed by Angel.", "Angel: \"Bethany!\"", "Bethany: \"It's not true! It's someone else.\"", "Angel: \"Bethany, I'm sorry. I know Lilah, she's not what she pretends to be.\"", "Bethany: \"She's my friend!\" The open balcony doors slam shut.", "Cordy: \"Angel...\"", "Bethany: \"It's not her! You're making it up. You're playing with me! Why does everyone wanna play with me? (Huddles down) I don't wanna play!\" Angel crouches down in front of her: \"Bethany, you have to control yourself.\"", "Bethany: \"Don't touch me!\" The door behind Cordy slams shut.", "Cordy: \"Maybe she just needs a time-out.\"", "Angel: \"Bethany...\"", "Bethany: \"I don't have to listen.\"", "Angel: \"Bethany, stop. You *can* control this.\"", "Bethany: \"NO!\"", "Angel: \"Listen to me! Nobody is controlling you. (He absently bats a can of paint flying at him away) You have the power here. You're gonna kill us, you're gonna die?! Then they win. Don't let them. - Don't let them touch you.\" Bethany slowly stands up and walks past Angel and Cordy towards the door. Just as she reaches it, it opens - revealing her father standing there.", "Father: \"Hello, rabbit.\" And in an outside shot we see all the windows of the corner suite blow out as the whole building shakes for a moment. The camera pans from an unconscious Angel up to show Bethany standing in front of her father.", "Bethany: \"Daddy.\"", "Father: \"God, Bethany, I've been so worried. (Angel stirs a bit) I wouldn't have known were to find you except... You're friend Lilah and I only wanna help you, sweetheart.\" Plaster begins to rain from the ceiling and walls and a nail works itself out of some wood trim and flies to pierce Cordy's arm. Cordy winces, but doesn't scream.", "Father: \"I know what you can do, Bethany.\" Cordy pulls the nail out of her arm. Father walking around Bethany into the room: \"And I know you don't mean to hurt anyone. (Angel opens his eyes and looks around) You're a good girl. I know that. (Bethany stares at him, eyes wide) No more worries, all right? You're coming back with me, we're gonna be a family again. (More plaster shakes lose, but the father stands untouched) Wouldn't you like that? To stop running all the time? To come back to where people know you, love you? (The walls shake harder) I promise it'll be just like it was before. - I've missed you so much. (Bethany looks like she might start to cry) Shh, rabbit.\" Bethany's eyes roll back in her head for a moment and everything goes quiet.", "Angel gets up: \"Bethany...\" He gets pinned against the wall, silenced.", "Father: \"There you go. (Reaches a hand towards her) Now why don't we go downstairs? Just you and me.\" Bethany's face hardens and her father slides back from her. Angel comes free from the wall. Her father starts to float up off the floor.", "Father: \"Bethany, what are you doing? Stop it. Put me down.\" He reaches for his throat as if he is trying to pull a noose free from around it.", "Father: \"I can't - breathe. (To Angel) Help me. Please. Stop her.\"", "Angel: \"Bethany. You got the power. Use it. Finish it.\" Father still clutching at his throat: \"Hurts. Make it stop.\"", "Bethany: \"Good-bye.\" The father flies backwards out of the window with a scream. Angel looks towards Bethany's calm face. The father plummets, slows, and stops to hang a few feet above the sidewalk. Angel watches Bethany. The father drops the rest of the way and Bethany blinks, shakes herself and looks from Angel over at Cordy.", "Lilah: \"You-you think that's it? Poof, you're cured and all you're nightmares are gone?\" Bethany is in Lilah's apartment packing her things.", "Bethany: \"I'm not an idiot, Lilah, and I'm not a child.\"", "Lilah: \"Yes you are, and you need us. Sooner or later your powers are gonna get out of control, and you're gonna need a friend.\"", "Bethany: \"My friends don't hire men to rape or kidnap me - at least not my close one's anyway.\"", "Lilah: \"I was trying to make you stronger.\" Bethany looks Lilah in the eye then stretches a hand out behind her. Lilah stares as the suit case on the bed closes itself and flies into Bethany's hand.", "Bethany: \"Good job.\" Bethany walks past Lilah.", "Lilah: \"Look, Bethany. Bethany, wait! You could have been someone important!\" Angel standing outside the open door of Lilah's apartment: \"You got to learn to lose, sweetie.\"", "Lilah: \"Did I mention you're not invited in?\"", "Bethany standing next to Angel: \"Don't try to find me Lilah. I mean it.\"", "Lilah: \"Our-our firm doesn't want to lose a... you're not... (Points at Angel) He is a vampire, you know.\"", "Bethany looks at Angel: \"Weird.\" She leaves.", "Angel: \"Looks like you're gonna have to find someone else's brain to play with.\"", "Lilah smiles: \"Yeah, we have someone in mind.\"", "Angel: \"Good night, Lilah.\" Lilah steps out into the hall to watch Angel open the outside door at the bottom to the steps for Bethany.", "Lilah: \"Sweet dreams.\" She goes back in slamming the door shut behind her." ]

[ "After spotting Darla walking around LA, Angel becomes convinced that his sire is alive. Wes and Cordy think that he's imagining things, but Angel is determined to find Darla and discover what she's up to. Little does he know that Darla is working with Wolfram and Hart. Angel tracks her down, and quickly falls into their trap." ]

[ "[PREVIOUSLY_ON]", "Kate from \"TSILA\": \"I'm glad we're not playing friends anymore.\" Shot of Angel morphing into vamp face from \"Somnambulist.\"", "Angel from \"TSILA\": \"I didn't kill your father (shot of Kate crying as she sees the bits marks on her father's body, from \"The Prodigal\") and I'm sick and tired of you blaming me for everything you can't handle.\"", "From \"TSILA\" Holland to Lindsey: \"Senior partners were very impressed with your sacrifice. (shot of Angel severing Lindsey's hand to save the scroll) We'll even the score with him.\"", "From Judgement Darla: \"He killed me.\"", "Lindsey: \"He's taken from both of us. So when you feel ready (shot of Darla crawling all over Angel in his dream) we start thinking about giving a little back.\"", "From \"FI\" Angel: \"Why are you so good to me after everything I did to you.\"", "Darla: \"Because you and I are one.\" Shot of Angel sleeping. Wesley is behind the counter with a big, old book in front of him. Cordelia is looking at some papers. Angel comes in and plops down on the sofa.", "Wesley: \"We made you some tea.\"", "Angel: \"Great.\"", "Cordy: \"It's on the table right there in front of you.\"", "Angel: \"Table seems far.\"", "Cordy: \"Ahhh, you must be all worn out from sleeping for the last three days. (To Wesley) It's like living with the world's oldest teenager - he can't be having a growth spurt at two hundred and forty-eight, could he?\"", "Angel: \"Two hundred and forty-seven.\"", "Cordy to Wesley: \"According to my figures, if we are frugal and garner some paying clientele soon, we're financially sound through last Wednesday.\"", "Wesley: \"What? Where's it all going?\"", "Cordy: \"Well, there's the fixed costs - the mortgage on the giant hotel, my salary - there's lots of other...\"", "Wesley: \"What about my salary? That's fixed, too.\"", "Cordy: \"What if - every time you identified the demon in one of your big old books, we gave you ten bucks - or a chicken pot pie.\"", "Wesley: \"Oh wait, I have another idea. - No! Get a vision.\"", "Cordy: \"It's not like you just hit me in the head and WHAM it happens.\"", "Wesley: \"What if (lifts up his book) we test that theory with one of my big old books?\"", "Angel: \"Children, quit bickering. Something will turn up. - Something always does.\" Suddenly, Cordy is hit with a vision. Angel leaps to his feet, catching her.", "Angel: \"Like that.\" We get a blurry shot of a bunch of robed guys fighting with fists and weapons. A green, slimy monster seemingly growing out of a wall. Wesley is looking through some old books laid out on Angel's desk, while Cordy is pacing with Angel hovering over her.", "Angel: \"Are you all right? You're sure you don't want to sit down?\"", "Cordy rubs her head: \"If I sit I throw up in my head.\" Wesley points to a picture in his books: \"Did it look like this?\"", "Cordy: \"No, more mushy and more moldy - It was growing right out of the wall!\" Angel plops back down on the couch: \"Maybe I'll just...\"", "Cordy: \"Mush monster's not going anywhere, it's the place we've got to find - its disciples are human, they're killing each other. I think the fight is over how to worship it.\"", "Angel: \"This is why personally I rarely go to church. (Wesley and Cordy ignore him) I thought it was funny.\"", "Darla: \"So did I.\" Suddenly Darla is sitting on Angel's lap, nuzzling and kissing him, while Wesley and Cordy go on with their research as if she wasn't there.", "Darla: \"God I miss you...\"", "Wesley: \"Well, what did the place look like?\" Angel jumping up with a shout (there is no Darla), making Cordy and Wes turn to look at him", "Angel: \"Ah. Didn't doze off - here I am - where were we?\"", "Wesley: \"Trying to ascertain the location in Cordelia's vision.\"", "Angel pacing: \"Ascertaining, here we go.\"", "Cordy: \"You're so weird lately. - It felt sacred - in a twisted demonic kind of way, it's-it's underground, like in a tank or something... full of pillars.\"", "Angel: \"Like a water tank.\"", "Cordy: \"Could be.\"", "Angel: \"Saint Bridget's, in Fremont. A convent, built on native burial grounds. The land's cursed, they had eight murders in two years before the whole place burned to the ground - which is nothing compared to what happened at Our Lady of Lochenbee... (They give him a look) I have a thing for convents. Anyway the state bought Saint Bridget's and dug a water tank there. We're gonna need some muscle. Call Gunn, he's on the payroll now.\"", "Wesley: \"Right - but not in a fixed way like me. He's more an outside contractor - do you think we can really afford...\"", "Angel: \"Wesley.\"", "Wesley reaches for phone: \"Calling Gunn.\" Night. Angel, Gunn, Cordy and Wesley are coming down a long stairway into a huge cavernous chamber full of long slender pillars. They stop at the bottom looking over where people in black robes are fighting others wearing red in front of the slimy thing from Cordy's vision, spanning the space between two pillars.", "Gunn: \"You are not paying me enough for this. - My uncle Theo always said never buy a dull plow and never get in the middle of a religious war.\"", "Cordy: \"You really have an Uncle Theo?\"", "Gunn: \"No, but it's still good advice.\"", "Angel to Wesley: \"So, what do you think, a thrall demon?\"", "Wesley: \"Yeah.\"", "Angel: \"So kill the Big Ugly, it un-thralls the groupies and they stop killin' each other.\"", "Wesley: \"Absolutely. Yes. That's the theory. Thrall demons can be tricky.\"", "Cordy: \"Well, at least they're killing each other and not...\" Just then the slimy demon spots them.", "Turfog: \"Intruders!\" Both black and red robes turn from fighting each other to stare at Angel's group.", "Cordy: \"...us.\" The thrall demons groupies charge them, screaming. A big fight ensues. Angel gets knocked down from behind by one of the red robes. He rolls back up and starts waling on the guy (much like Faith did on that vamp in FHT), oblivious to everything else.", "Gunn: \"Angel, I'll try to get fat head - watch my back. (Nothing from Angel) Or just keep beatin' on that big guy.\" Cordy runs up ax raised to clobber Turfog, but is hauled back by one of the disciples. Wesley hits the guy holding Cordy over the head, freeing her. Gunn makes his way through the fight and sinks his homemade ax into Turfog's head and all the fighting stops - except for Angel still waling on the guy laying on the floor.", "Wesley: \"Angel, it's over. (Pulls him off) Stop!\" Wesley walks back over to the others as Angel looks down at his victim and wipes a hand across his forehead. Night. Angel's group and the now peaceful disciples are coming out of a little building housing the head of the stairs.", "Gunn to Angel: \"So this whole teamwork deal, that's a thing of the past now?\"", "Angel: \"Job got done. (Angel tosses his car keys to Cordy) Take the car, I need to...\" He heads off as the others stand and watch.", "Wesley: \"He's just - he hasn't been sleeping well lately.\"", "Cordy: \"He's off his game.\"", "Gunn: \"Since when is it a game?\" Angel walks down the promenade at night. There is a juggler, clowns making balloon animals, street vendors, musicians, lots of passers-by. Suddenly Angel looks up and sees a blonde in a striking red dress. We flash to a shot from Angel's recent dream, as Angel recognizes her as Darla. Intro. Angelus is walking down a street filled with people in regency clothing and horse-drawn carriages. He's about to pass the mouth of an alley when he stops and turns down into it. He holds out his hand, and a woman takes it and lets him help her up.", "Angelus: \"I thought we were meeting in the Square.\"", "Darla: \"I ran into Lord Nichols - horrid little man. (She looks over at a body with bite marks on his neck lying on the ground) He was propositioning a streetwalker and dickering over the price - can you imagine? I told him I'd do him for nothing.\"", "Angelus: \"You're very charitable.\" Darla delicately dabbing at her mouth with a handkerchief: \"I so loathe cheap royalty.\" He leans in, half-kisses half-licks her mouth.", "Angelus: \"They all taste the same to me.\"", "Darla: \"Mmmmmm - my boy does have the touch.\"", "Angelus: \"Darla.\"", "Darla: \"Yes?\"", "Angelus: \"Why'd you kill the streetwalker?\" Next to the man lies a dead woman.", "Darla: \"Oh - I just liked her. - Guess what's next?\" Darla and Angelus exit the alley and walk along the street.", "Angelus: \"What is it?\"", "Darla: \"Surprise. You have to guess.\" Angelus scans the street. Finally spots a family with three young daughters coming out of a building.", "Angelus: \"The three daughters - all virgins.\"", "Darla: \"Close.\"", "Angelus: \"The one in the middle has something delicate and unique... Did you find me a Saint?\"", "Darla: \"Better than that - she has the sight.\" The girl in the middle turns. It's Drusilla. She looks straight into Angelus' eyes.", "Angelus: \"Visions. She sees the future. (Angelus, Darla clinging to his arm, starts walking towards Dru) She is pure innocence, yet she sees what's coming, she knows what I'm going to do to her. I'll really have to come up to snuff for this one.\" Dru turns away from them and herds her sisters away. Darla puts a hand on Angelus chest to stop him from following further.", "Darla: \"Down boy, let the plum ripen.\"", "Angelus: \"You always come up something new.\"", "Darla: \"Keeps me young.\" Back on the promenade present day Darla is passing between two clowns making balloon animals and a guy dress up like a giant hot dog. Angel tries to catch up to her, but a group of people blocks his view of her for a moment and after they pass, Darla is nowhere to be seen, no matter how hard Angel looks around. Hotel lobby day. Harold Jeakins is sitting on the couch across from Cordy and Wesley, nervously playing with one of Angel's business cards.", "Harold: \"I really need some help. They say he handles things - you know, unusual things. I'd like to see him right away.\"", "Cordy: \"And he wants to see you - just as soon as he returns from an important case. Why don't I take a preliminary report and give you a list of convenient payment plans.\" Wesley hands Harold a list.", "Harold: \"Well, it's my wife, Claire, she's really a lovely...\"", "Wesley: \"Go on, it's all right.\"", "Harold: \"She gets abducted by aliens, on a regular basis.\"", "Wesley: \"Aliens.\"", "Cordy: \"From outer space?\"", "Harold: \" It's more common than people realize - one minute she's there and the next - she always comes back in a day or so.\"", "Wesley: \"What is it you'd like us to do, Mr. Jeakins?\"", "Harold: \"I trust Claire - but I found this receipt from the Franklin Hotel (produces receipt) weekend before last when she was supposed to be in - the Trifid Nebula!\" Cordy takes the receipt, looks at Wesley.", "Cordy: \"I'm sure we can get to the bottom of this.\" Behind them Angel comes up from the basement looking as if he'd been out walking all night.", "Harold: \"I mean if it's not aliens... (sees Angel) Is that?\" Wesley nods.", "Cordy: \"Mr. Jeakins, say hello to your new best friend.\"", "Harold gets up: \"Do you think my wife's cheating on me?\" Angel keeps walking towards his office: \"Probably.\"", "Cordy: \"Oh, he-he really likes you, he's jumping right in.\"", "Harold: \"He's taking the...? He didn't seem that...\" Wesley walks Harold towards door; Cordy heads to Angel's office.", "Wesley: \"Oh he's eccentric, all the great are. Sherlock Holmes, Phillip Marlowe...\"", "Harold: \"Those are fictional characters.\"", "Wesley: \"Right you are! Which gives Angel rather a leg up when you come to think it.\" Wesley walks out with Harold. Cordy to Angel as she sits down to enter information into the computer: \"That's a terrific way to treat our customers - especially since we so many of them.\" Angel moves up behind her.", "Cordy: \"See his file? (Angel leans down as if to get a better look at the screen but instead starts smelling Cordy's hair) He has Visa, MasterCard and a problem - he's our target audience. But if you want to be rude, I guess it's your shop - Angel? (Angel is touching her hair) What are you...? What are you... personal bubble. (she jumps off her chair and heads away from Angel) Personal bubble!\" Wesley comes back in at this moment.", "Wesley rolling up his sleeves: \"I need to speak to you, man to man. Cordelia, you may not want to be here for this. - Was it something I did?\"", "Cordy: \"He was feeling my hair.\"", "Wesley: \"What?\"", "Angel: \"I'm sorry, I-I didn't mean to - I-I've been so out of it - lately, because of her. - I saw her - here in town. Last night.\"", "Cordy: \"Oh no, not again. Look, I like Buffy as much as the next...\"", "Angel: \"Not Buffy, Darla.\"", "Wesley: \"Darla, the vampire? Your sire?\"", "Angel: \"I've been dreaming about her like crazy. And the dreams have been so - I thought I was losing my (laughs) my mind. But she's back, she's alive.\"", "Wesley: \"What you're saying is impossible. You staked her to dust three half years ago.\"", "Angel: \"I know that. I also know it was her.\"", "Wesley: \"Vampires don't come back from the dead.\"", "Angel: \"I did. And I saw her. I'm not crazy!\"", "Wesley: \"Where?\"", "Angel: \"Right between the clowns the big, talking hot dog. (They just look at him) Walking on the promenade.\"", "Wesley: \"You said yourself you've been dreams. Maybe it's guilt over killing your sire...\"", "Cordy: \"Right, guilt. Who loves guilt like you love guilt? You know what you need? You need to go to work. We just got an exciting new case: could be aliens could be adultery. It's a corker!\"", "Angel, not really listening: \"Maybe I'm dreaming about her because she's here...\"", "Wesley: \"And maybe you think she's here because you're dreaming about her.\" Darla stands by the desk in Lindsey's darkened office as he watches her. Darla \"He's falling apart.\"", "Lindsey: \"That's wonderful. Unhinging a man with all his particular and weaknesses takes a lot of work.\"", "Darla: \"I created a lot of those strengths and weaknesses. I think I have a pretty good handle on them.\"", "Lindsey: \"We're counting on that. You've given us more information on Angel than we had when he first got here. Nobody knows him (drops a manila envelope on his desk) better than you do. - Especially the side we're interested in.\"", "Darla steps closer to him: \"So, what is the plan exactly? - I tease him to death?\"", "Lindsey: \"We don't want him dead. We want him dark. And there is no better way to a man's dark side than to awaken his - nastier urges, is there?\" Darla looks at Lindsey's artificial hand: \"He did that to you. What's it feel like?\"", "Lindsey: \"Doesn't feel like anything.\"", "Darla motions towards his hand: \"Can I?\" She reaches out and strokes his fake hand.", "Darla: \"It's very smooth. - You don't feel anything.\"", "Lindsey: \"Not in my hand. (Darla smiles and takes a step back from him) How is it - seeing him again?\"", "Darla turns away from him: \"It's strange.\"", "Lindsey: \"He betrayed you.\" Darla playing with the scales on a statue of Justice: \" Everyone betrays you, that's not what eats you in the long winter's night...\"", "Lindsey: \"Yeah? What does?\"", "Darla: \"Missed opportunities. - He got a soul and it sickened me.- All that power wasted on a whiny mopey do-gooder. God, I could eat his eyeballs.\"", "Lindsey: \" Our plans for Angel are a little more long term than that - but if you can't help yourself, then, by all means, be my guest.\"", "Darla: \"You're fun for a human.\" Lindsey picks up the manila envelope: \"I have a particular interest in this guy - a lot of people do. Kate sits behind a desk as a detective approaches it carrying a manila envelope.", "Police scanner: \"...four-thirteen in progress at the corner of Yucca and Ivar - unit six is responding...\"", "Kate: \"Jack, what brings you to Siberia?\"", "Jack: \"Hello Kate.\"", "Kate: \"You been sick?\"", "Jack: \"No.\"", "Kate: \"Busy then - too busy to pick up a phone and say hi?\"", "Jack: \"Ah.\"", "Kate: \"We were friends. - I thought you were different.\"", "Jack: \"Hey, I went to bat for you - I stuck my neck out when they decided to move you out of downtown. But you don't like mainstream work, you've got the scanner (points to scanner) going day and night, chasing the bizarre and grotesque, what, did you think they'd promote you? (Drops the envelope on her desk) A - friend of a friend thought you might want this.\" She opens the envelope. Inside is a picture of the Hyperion Hotel and a new business card of Angel's, with new address and phone number on it. Also a note that reads: He's moved.", "Kate: \"Thanks.\"", "Jack: \"Stay out of trouble.\" Cordy, wearing a skimpy yellow waitress uniform picks up some empty glasses from a table at an up-scale hotel. Walks past a blonde and a guy wearing the uniform of a repairman.", "Man: \"You sure about this, right in the middle of the day?\" Cordy slides some napkins with a tiny microphone hidden between them along the top of the bar so it is aimed at them.", "Claire: \"Marty, the aliens abduct me when the mood hits and the mood hit pretty hard this morning right about the time Harold left for work.\"", "Man: \"No kiddin', yeah?\" Angel hidden behind a planter is listening to Claire via an earwig: \"Of course if you're not in the mood...\"", "Man: \"No, no, I'm in the mood, (Wesley sitting reading a newspaper lifts a tiny camera to his eye and snaps a picture of the couple) I'm deep in the mood. I'm going to abduct you right now and conduct my own probe. (Claire laughs) - It's just I still got a lota repairs...\" Angel looks down at the small tape recorder in his hand.", "Claire: \"Well, I hope nothing important is broken.\"", "Man: \"No, no. It all works.\" Claire getting up from the bar: \"So lets go upstairs.\" Angel shakes his head and comes out from behind the planter and heads to intercept them. As he passes by Wesley (snapping more pictures) he pulls the camera out of his hand.", "Angel: \"Claire, hold on.\"", "Claire stops, startled: \"Do I - know you?\" Cordy comes to stand behind Wesley staring at Angel.", "Angel: \"I've been listening. I'm over here behind some plant with this machine (takes the earwig out) recording you two, while my associates here (gestures towards them. Cordy waves at them, while Wesley retreats behind his newspaper.) been tailing you around all day taking pictures. I don't like doing this. It's crass. Your husband knows. Go home. Tell him the truth. Work it out or - leave. I don't care. But this...\" He throws the camera at them and the guy catches it. After a short look at each other he and Claire leave in opposite directions. Angel moves off, Cordy and Wes fall into step with him.", "Cordy: \" What was that? We had a paying client.\"", "Angel: \"Not everything is worth getting paid for.\"", "Cordy: \"Easy to say when you don't need food to survive.\" Angel slaps his recording equipment against Wesley's chest as he spots Darla, getting up from a chair across the lobby of the hotel.", "Angel: \"That's her.\" He steps in front of her as she walks out while looking through her purse and she bumps into him.", "Darla: \"Oh, I'm sorry...\"", "Angel: \"I guess you didn't take that whole \"dusk to dusk\" thing to heart, huh? (Grabs her wallet and flips it open to reveal several credit cards stuck in its pockets) What are you trying to do - pass as human?\" Darla grabs the wallet and stuffs it into her purse: \"Excuse me.\"", "Angel: \"I know your voice, Darla. I can smell you.\"", "Cordy: \"Uh-oh.\"", "Darla: \"I don't know what you're talking about. Now just leave me alone?\" She tries to pass him but he grabs a hold of her arm.", "Angel: \"I don't know what kind of game you're trying to play, but you're not gonna win.\"", "Wesley: \"Angel, I really think...\"", "Hotel security guy: \" Is everything all right?\"", "Darla: \"No. This man, he's trying to - my name is DeEtta Kramer. My husband is outside right now getting our car right now. I don't know anyone named Darla.\"", "Angel: \"I know it's you. And I know you're not going out into that sun anytime soon.\" The security guard tries to pull Angel away, but Angel throws him off. Darla runs screaming away from him.", "Darla: \"Stephen! Stephen!\" Wesley puts a hand on Angel's arm: \"Angel...\" Angel shakes off his hand, never taking his eyes of Darla as she runs towards the sunny patch in front of the doors. A guy comes running and catches her in his arms.", "Stephen: \"Are you okay?\" Darla nods, looking back towards Angel, who stares at Darla standing there, unaffected by the sun shining in on her. Angel, Cordy and Wesley enter the Hyperion's hotel lobby.", "Cordy: \"That was really fun, the humiliation, running from the hotel security staff - and the nifty little outfit, which seemed to tell so many conventioneers \"pet me, I'm a whore.\" Angel moves to hotel desk, rifling through a big phone book.", "Wesley: \"It wasn't pleasant but at there's a silver lining.\"", "Cordy: \"What silver lining?\"", "Wesley: \"The woman walked into direct sunlight - obviously she's not a vampire, obviously Angel - made a mistake.\"", "Cordy: \"Ya' think?\"", "Wesley: \"We'll just put our heads and help him come to grips with this thing. (to Angel) You're among friends, we're not going to condemn you.\"", "Cordy: \"Right. (to Angel) You're crazy, you need professional help.\"", "Angel: \"It was Darla. She's back - and she's human now - but I know her scent.\"", "Wesley: \"Angel - you can't just - sniff a person and know...\" Angel leans ever so slightly closer to Wes, inhales.", "Angel: \"You had s*x last night, with a bleached blonde.\"", "Wesley: \"Good Lord, how'd you...?\"", "Cordy: \"That's unbelievable. (to Wesley) I didn't think you ever had s*x.\"", "Angel closes the phone book: \"She's not in the book.\"", "Cordy: \"Who, Darla?\"", "Angel: \"DeEtta Kramer, the person she's pretending to be. Run a title deed search, see if you can find an address for a DeEtta and Stephen Kramer. I'm gonna try some other avenues.\"", "Cordy: \"Okaay.\" Angel on his way out turns back: \"Wesley, you got any money? I'll need a few bucks for the cover charge.\"", "Wesley: \"Cover charge - you're going to...\"", "Angel: \"Do whatever it takes.\" We see Angel at the Karaoke bar singing \"Everybody have fun tonight - everybody Wang Chung-fun tonight, everybody Wang Chung tonight, everybody have fun tonight, everybody...\" A demon, sitting in the audience looks at the blonde beside him and shakes his head. The host, carrying a drink, slowly walks over to a table and sits down - never taking his eyes off Angel. Angel abruptly hits the off button.", "Angel into mike: \"I'm very sorry.\" He steps from the stage and makes a beeline to where the Host is sitting.", "Angel: \"Tell me about Darla.\"", "Host: \"Woah. Give me a sec. You are sending out some family-sized vibes. My fillings are still humming. (Holds his glass up, still never taking his eyes off Angel) Hey, Rico! Top off my sea-breeze, earn my everlasting devotion, huh? - I saw lots of things. You are at a crucial junction, big guy.\"", "Angel: \"So talk.\"", "Host: \"So, no.\"", "Angel: \"What do you mean 'no.' You won't tell me anything?\"", "Host: \"I tell you you're headed into trouble with a capital 'troub.' Let her go, bro. That way lies badness.\"", "Angel: \"What do you care? You got murderous demons in here. You give them free advice, but you won't help me.\"", "Host: \"Hey, I set people on their paths, okay? And this is way off your path, sweetie. Go home.\"", "Angel leaning in closer: \"Tell me where Darla is.\"", "Host: \"I *know* you're not gonna start anything in here. You're a good boy. (Gets up) Have a drink before you go. It's on me.\" The telephone rings at the Hyperion and Cordy goes to answer it.", "Cordy: \" Angel Investigations, we solve big problems for small prices.\"", "Angel: \"It's me. Did you get an address?\"", "Cordy to Wes: \"It's him. (into phone) Angel, Wesley and I think you really need to...\"", "Angel: \"Cordelia, address, now.\"", "Cordy: \"DeEtta and Stephen Kramer own a home at fourteen oh nine Galloway in Studio City.\"", "Angel: \"Got it.\" He hangs up the phone and sees a horned demon sitting at the bar looking at him.", "Angel: \"What are you looking at?\" Demon quickly turns back to his drink.", "Cordy: \"He hung up.\"", "Wesley opening a drawer: \"You *really* stood up to him. (mimics Cordy) \"Next time I talk to him, I won't weenie out like you, Wesley.\"", "Cordy: \"Don't start with me - and if sound like that, shoot me.\" Wesley removes a large pistol from the drawer.", "Cordy: \"She joked!\"", "Wesley: \"It's not for you. It's a tranquilizer gun.\"", "Cordy: \"You mean if Angel really does go off his rocker like he's done before? - You think that'll do it?\"", "Wesley: \"I better call Gunn.\" Cordy pushes the phone over towards him and he picks up the receiver. Night. We see a nice little suburban home. Angel walks closer to it looking at its lit windows. Sees Darla come in and give Stephen a kiss, then they both walk into the next room. Inside the dinning room Stephen holds Darla's chair for her.", "Darla: \" Thank you.\"", "Stephen: \"Of course, sweetheart. (smiles, sits) Was that too much? I mean we're supposed to be married, would I still be holding your chair for you if we were married?\"", "Darla: \"That was fine. Now just eat.\" Angel walks around to where he can watch them having dinner through another window.", "Stephen: \"When I was at the actor's studio we always struggled to find truth in the moment. -Truthfully I don't think I'd be holding your chair -- mmm, this linguini smells so, you know, true. (The camera pans to show a security guard, hidden (from the windows) in the shadows, earwig his ear.) I'm just gonna mime eating it, gotta watch the figure. (Glances around) So is he, you know, watching us right now?\"", "Darla: \"Just nod and smile pleasantly, Stephen.\"", "Stephen: \"What'd this guy do to you anyway? You're going to an awful lot of trouble to teach him a lesson - not that I mind, work is work, last year I was this puppet theatre of the absurd believe me...\" Darla's hand slips out of sight beneath the table cloth in the general region of his crotch.", "Stephen: \"Ow-oh!\"", "Darla: \"If you don't shut up I'm going to kill you.\"", "Stephen: \"Okay.\"", "Darla: \"Okay.\"", "Stephen: \"Okay.\" Darla brushes her hair back and we see that she has an earwig in her ear as well.", "Darla: \"Lindsey, can you hear me?\" Lindsey in his office turns the volume up on his speakerphone.", "Lindsey: \"I can hear you. How's the linguini?\"", "Darla: \"He's here. I can feel him.\" Angel watches the tableau - Darla's still looking the happy housewife.", "Lindsey: \"We know. - I need a few more minutes to set things in motion.\"", "Darla: \"Hurry up.\"", "Stephen: \"Who're you talking to? (she looks at him) I'm shutting up.\" In the hotel lobby Gunn stares at tranquilizer gun and chains.", "Wesley: \"This is all just precautionary. When push comes to shove, Angel's our - we trust him.\"", "Gunn picks up the pistol: \"I see.\"", "Cordy: \"It's not like he turns evil every time he gets this cranky.\"", "Gunn: \"He turns evil?\"", "Wesley: \"Well, there are forces that can make Angel revert to Angelus, the vampire he was before he got a soul.\"", "Gunn: \"And as evil, blood-suck vampires go, how would you rate Angelus?\"", "Wesley: \"Historically as bad as they come. Especially when he was with his sire, Darla.\"", "Cordy: \"We're researching her now to see if maybe she has some kind of resurrection powers. Maybe she was a vampire cat with nine lives or something.\"", "Gunn: \"So he and Darla together, bad combo.\"", "Wesley: \"They rampaged through half the known world - until Angel got his soul.\"", "Cordy: \"Imagine Bonnie and Clyde if they'd had a hundred and fifty years to get it right.\"", "Gunn: \"So he thinks his party girl is back. - If he gets up to his old tricks, how bad can it get?\" The camera pans form the a colored glass window with picture of a saint past some candles sitting in wall sconces to Angelus sitting on the edge of a table staring at something. Darla enters the room behind him.", "Angelus without turning: \"Hello love.\" Darla wraps her arms around his shoulders: \"We made quite a mess out there. Blood and habits everywhere.\"", "Angelus: \"Convents - they're just a great big cookie jar.\" They kiss.", "Dru: \"Black sky. It wants a little wormy me.\" Angelus and Darla break apart and look over at a sobbing Dru.", "Dru: \"No. No. Make it stop!\"", "Darla: \"What is she doing here? I thought you killed her.\"", "Angelus: \"No. Just her family.\" He pushes Darla down on the floor and rolls on top of her. Dru scooting back towards the wall: \"Eyes like arrows - like-like needles.\"", "Angelus looks over at her: \"This one's special. I have big plans for her.\" He leans down to kiss Darla.", "Dru watching them: \"Snake in the woodshed. Snake in the woodshed. Snake in the woodshed! Snake in the woodshed!\" Darla rolls them over so she's now on top.", "Darla: \"So are we going to kill her during, or after?\"", "Angelus sits up, startling her: \"Neither. We turn her into one of us. - Killing is so merciful at the end, isn't it? The pain has ended.\"", "Darla: \"But to make her one of us? She's a lunatic.\"", "Angelus: \"Eternal torment. (Grabs a hold of Darla's arms and rolls them so he is back on top with her under him on the floor) Am I learning?\" Angelus starts to kiss Darla while Dru first laughs then cries. Angel watches as Darla and Stephen carry dinner dishes out of his line of view. Darla passes the security guard standing hidden from the dining room in the kitchen and drops her plate in the trash.", "Darla: \"Lindsey, I'm waiting.\"", "Lindsey: \"You're on. Have fun.\" Darla picks up a phone, dials 911.", "Operator: \"This is 911, what is your emergency?\"", "Darla: \"My name is DeEtta Kramer, I at fourteen oh nine Galloway - there's a man outside. I told to go away - oh my god, he's breaking in, he's going to kill us - Help me! HELP ME!\"", "Stephen: \"Whoah, whoah, whoah, what was that? I didn't sign up for...\" Darla ignores him, turns to her guard.", "Darla: \"Do it. And make it look real.\"", "Stephen: \"That was illegal.\" Darla's guard morphs into a vamp. Stephen stumbles back with a scream. The guard back hands Darla - hard. Angel hears dishes crashing, Stephen screaming, sounds of a terrible assault and Darla's voice yelling: \"Help me! Somebody help me! Let him go - please - OH GOD!\" The front door of the house bursts open, Angel comes flying in. Darla is huddled over Stephen, crying, a big bruise on her cheek.", "Darla: \"Somebody help me!\" She sees Angel and scrambles back against the wall.", "Darla: \"Don't hurt me. Please don't hurt me!\" Angel looks at Stephen with blood on his throat, very dead. Lindsey listens to Darla on his speaker phone: \"Why did you... he was my husband...!\"", "Lindsey: \"Woman should have her own series.\" Angel stares at Darla and Stephen's body as we hear sirens outside.", "Darla: \"No, please don't hurt me!\" Two cops run in with their guns drawn aiming them at Angel. Darla throws herself back on top of Stephen, sobbing: \"What did you do - WHAT DID YOU DO?!\" Darla is still sobbing.", "Cop to Angel: \"Turn and face the wall, (Angel turns around his, hands up where they can see them) drop to your knees. Do it!\"", "Angel to Darla: \"You'll pay for this.\" Suddenly Angel takes off. Both cops fire. He takes a couple of hits, jumps straight up and through an attic access door in the ceiling.", "Cop: \"He's in the attic - stay with him.\" More cops come in. Darla is still wailing over Stephen's body.", "Cop to the newcomers: \"Seal the house, I want SWAT, NOW!\"", "Officer: \"Got it!\"", "Cop: \"He's on the roof!\" Suddenly a dark shape falls past a side window.", "Cop: \"There he is!\" The run outside in pursuit and Darla looks up with a slight smile on her face.", "[SCENE_BREAK]", "Kate walks beside Darla outside of the house. We can hear sirens going", "Darla: \"I don't understand. They shot him... how'd he get away?\"", "Kate: \"Adrenaline. They chased him for sixteen blocks. - Don't worry, he's long gone, he can't hurt you now. - One of my officers told me you recognized this man, that his name was Angel...\"", "Darla: \"That-that's what he called himself. He-he started following me a few weeks ago. He-he said he helped the helpless. I told him I didn't need any help. He-he kept calling me - Darla. - He-he said he knew me - or this Darla - from a long time ago. Today we were having lunch at the Franklin Hotel and he showed up again. He came here. I told him to j-just stay out - that I was calling the police, but he j-just broke in! And - this is gonna sound crazy, but there is something wrong with his face. And he-he-he was - was biting...\"", "Kate: \"It is not crazy. And I want you to know: I will find him and he will pay for what he did.\" Darla looks at Kate through tearful eyes.", "Darla: \"Thank you, Detective.\" Kate takes a few steps to the cops nearby.", "Kate: \"I want you to get in touch with Security at the Franklin Hotel (In the foreground a hand swoops down from above, clamps over Darla's mouth. An arm wraps around her waist and she is lifted straight up into the tree above) see if they have any tape on the incident with Mrs. Kramer there today. And I want you to make sure that the coroner treads lightly in there. I want this scene preserved.\" Gunn is pacing while Cordy and Wesley are researching.", "Cordy to Gunn: \"You alright?\"", "Gunn: \"Yeah. I'm just adjusting to the idea that this good guy vampire I work for can go bad.'\"", "Wesley: \"It takes a little time. We've all been through it.\"", "Cordy: \"99% of the time he's good. And he's done a lot for us.\"", "Gunn: \"There's nothing I respect more than loyalty.\"", "Wesley: \"That's good to hear.\"", "Gunn: \"But if the bad Angel walks through that door I will kill him in two seconds flat.\" Just then the door bursts open. Gunn pulls out a stake, but it is a swat team and Kate, and Gunn sticks his stake into his back pocket.", "Kate: \"Where is he?\"", "Cordy: \"He's not here.\"", "Kate to cops: \"Basement, attic, every room. He's extremely dangerous, bullets won't necessarily do the trick. Everyone's on channel two, you see him, you call me.\" Several cops run up both sides of the stairs. A couple head into the garden, a couple head for the cellar stairs.", "Wesley: \"I don't suppose you have a warrant to go along with this little search?\"", "Kate: \"Seeing as how he just murdered Stephen Kramer - and kidnapped his wife, I think I've got probable cause.\"", "Cordy: \"He wouldn't... Angel could never do a thing like...\"", "Wesley: \"He's not the type of person who'd...\"", "Kate: \"In fact he's not a person at all, is he? - You guys want to help yourselves out here - or go down with the boss?\" Cordy and Wesley's only reaction is to fold their arms up in front of them.", "Kate: \"So be it. (Looks at Gunn) New player?\"", "Cordy: \"He's a friend.\"", "Kate: \"What's your friend's name?\"", "Gunn: \"Charles Gunn.\"", "Kate: \"Let's see some I.D., Charles.\" He hands her his drivers' license.", "Kate: \"Got any priors?\"", "Gunn: \"I forget.\"", "Kate holds the license up: \"Montgomery, run the sheet.\"", "Wesley: \"Listen, whatever you think Angel did, I'm sure there's a...\"", "Kate: \"Who's Darla?\" Angel manhandles Darla down the long stairwell and a good ways into the giant empty water tank.", "Angel: \" So you're what Wolfram and Hart brought back in that box. And they brought you back as a human - they think I won't kill one. - You want to know what I think? - I think - they don't know me that well.\" Darla tries to make a run for it, but Angel cuts her off and she stops.", "Angel: \"You feel what this place was before they excavated it? The convent - you remember how much I like convents.\" She looks at him, makes the sign of the cross.", "Angel laughs: \" Come on Darla, you and I are too old to play games. - I need to talk to the real you.\" He morphs into vamp face and charges her, pushes her up against a pillar.", "Angel: \"It's been a long time since I said this to anyone (He rips her jacket off her shoulder and bares her neck) but you can scream all you want.\" Angel lowers his mouth to her bared shoulder and scrapes his teeth up along her neck, scratching it. As he begins to nuzzle her neck Darla begins to smile.", "Darla breathing hard: \"Oh. Oh - I'm not gonna scream.\" She turns her face against his neck. He pulls back and kisses her and she responds. After a moment they break apart and Darla smiles at him.", "Darla: \"There's my boy.\" She puts a hand around his neck and they kiss again, harder. In the hotel lobby Wesley sits with a book while Kate comes in with Gunn's rap sheet.", "Kate: \"Hey, looky here. Disturbing the peace, resisting arrest, G.T.A. assault - (looks at him) you've lead a rich full life, haven't you Charles?\"", "Gunn: \"I get around.\"", "Cordy: \"Hey, I know this guy, he helps people. I bet this stuff you're dredging up all happened a long time ago, didn't it.\"", "Kate: \"Some of it when he was a minor.\"", "Cordy: \"Uh-huh.\"", "Kate: \"And some of it in the last two weeks.\"", "Cordy: \"Oh.\"", "Kate: \"Word to the wise, Charles, hanging out with these two and their creature-of-the-night boss won't be good for the resume.\"", "Gunn: \"I can see you're looking out for me, detective.\"", "Cordy: \"Okay, okay, lets not get off track here. We want to find Angel as much as you do.\"", "Kate: \"No you don't. You want to protect him even though he's lost it: he stalked that woman because he thought she was this Darla from his past; she begged him to stay out and he knocked down the door and killed her husband. I've read about him, too, I know he is and I know he hasn't changed.\"", "Gunn: \"No he hasn't, he's still a vampire.\"", "Cordy: \"Gunn - not helping.\"", "Gunn: \"So, how'd he get in the house? She invite him in?\"", "Kate: \"Of course she didn't invite...\"", "Cordy: \"The only way Angel could get in that house uninvited is if the real owners were dead. It's what he was saying all along; she isn't DeEtta Kramer!\"", "Kate: \"You're grasping at straws.\"", "Wesley: \"Are we? (He shows his book to Kate) This is a daguerreotype of Darla, taken over a hundred years ago. That woman who said she was DeEtta Kramer - look familiar?\" The picture is Darla, wearing period clothing. Back to Darla and Angel, still in vamp, face kissing. After a moment, Angel pulls her off.", "Angel: \"That's enough.\" He walks away and she follows him.", "Darla: \"I pretty familiar with the international sign for enough, and you've got a ways to go!\" She pushes him up against a pillar, nuzzling close. Angel grabs a hold of her arm and holds her away from him.", "Darla: \"You're hurting me. - I like it.\" Angel flings her away, takes a deep breath and morphs back into his human face. He pushes off the pillar and confronts her.", "Angel: \"What's the play, Darla? - What kind of game are you running?\"", "Darla: \"Just having a little fun. I've been out of commission to long. You know how that feels.\"", "Angel: \"Wolfram and Hart didn't bring you back for fun. The Dreams, the frame job - what's the big plan, huh? Get me so screwed up I go bad again?\"", "Darla: \"Kind of trite, I know. What do you expect? They're only human.\"", "Angel smiles at her: \"You better embrace that mediocrity, honey. You're talking about your own kind now.\" Darla walks towards him with a smile: \"But I'm still me. (Presses herself up against him) And I remember everything, Angel. Everything we did. Everything we can do.\" Angel smiles at her and runs a hand though her hair: \"Yeah. But the bitch is (gets serious and pushes her away with one finger) you have a soul now. (Darla backs up a few steps, smile gone) Pretty soon those memories are gonna start eating away at you. (Angel walks past her) No matter how hard you try - you won't be able to escape the truth of what you were. Believe me, I know.\" Darla walks up to him and wraps herself around him.", "Darla: \"But you can escape. You can escape it all. Remember what it was like to get lost, huh? Every thought a million miles away, every part of you being alive! All you have to do is let me give you one little moment of happiness.\"", "Angel: \"You took me places, showed me things, huh? You blew the top off my head. But you never made me happy.\"", "Darla backs away from him: \"But that - that cheerleader did? We were together 150 years! We shared everything. You're saying - never?\"", "Angel: \"You couldn't understand.\"", "Darla: \"I understand alright. (Walks away from him) Guy gets taste of something fresh and he thinks he's touching god.\"", "Angel: \"It wasn't about...\"", "Darla: \"Oh, you bet your ass it was! There was a time, in the early years, when you would have said I was the definition of bliss! - Buffy wasn't happiness. - She was just new!\"", "Angel starts to laugh: \"You know - you are getting awfully bent over this, Darla. (Slowly walks towards her) I couldn't feel that with you, because I didn't have a soul. - But then I got a second chance - just like you have.\"", "Darla: \"What a poster child for soulfulness you are. (Walks up and presses herself against him) This is no life Angel! Before you got neutered you weren't just any vampire, you were a legend! Nobody could keep up with you - not even me. You don't learn that kind of darkness. It's innate. It was in you before we ever met. - You said you can smell me? Well, I can smell you, too. My boy is still in there and he wants out!\" Angel stands immobile, not looking at her. At the Hyperion hotel the cops come down the stairs into the lobby.", "Cop to Kate: \"He's nowhere to be found.\"", "Kate: \" Leave some officers on the perimeter in case he shows. (The cops file out. To Cordy and co.) I'll be sure and mention your cooperation in the report.\"", "Cordy: \"Hey, we did more than cooperate, we solved the damn case. Find out who did away with the owners of that house, you'll find your killer.\"", "Kate: \"You don't get it, do you?\"", "Gunn: \"What, the fact that Angel's innocent?\"", "Kate: \"The fact that while you're fighting your big battles of good and evil the innocent are the ones who get caught in the crossfire. Those are the ones I care about, like that man tonight, like the real owners of that house if what you say is true. And those are the ones I chalk up to your boss.\"", "Wesley: \"You can't blame Angel for - he's trying to do what's right!\"", "Kate: \"That's right, he's good, I keep forgetting. I'm sorry, and why'd he kidnap that woman again?\" No one says anything and Kate leaves. Angel's car, top down is parked in front of the little building housing the head of the stairs down into the water tank. The sun is shining. Inside the sun is shining down through the open door onto the stairs leading down. Angel and Darla are standing in the shadows between the pillars, facing in different directions. Both look close to exhausted.", "Angel: \"You're gonna feel it, you know. - What you did - that man you got killed.\"", "Darla: \"Please! He was an actor.\"", "Angel walks closer to her: \"I'm serious.\"", "Darla: \"Yeah, like a heart attack (turns to look at him) and just about as much fun.\"", "Angel: \"Darla, you hurt anyone else and I'll kill you.\"", "Darla: \"Will you? Isn't that against your cub-scout code?\"", "Angel: \"I'll make and exception.\" Darla steps close to him with a smile: \"You're gonna miss those dreams, honey. You should have heard those things you said in your sleep. Nasty things, Angel. Things like...\" Angel's hand shoots out and he grabs her by the throat: \"Stop!\" Darla pulls out a cross and presses it against his chest: \"No, you stop!\" We can hear the cross burn into Angel's chest, but he refuses to budge.", "Darla: \"See? No matter how good a boy you are - God doesn't want you!\" Angel lets go of her and throws himself back away form her cross. They look at each other breathing hard.", "Darla: \"But I still do.\" After a moment she drops the cross and hurries into the sun and up the stairs. Angel makes no move to stop her. Darla turns around on the stairs: \"What? No good-by kiss?\" Slowly climbs up the remaining steps, safe in the sunlight. Angel watches her leave. Night, the Hyperion hotel. Angel is sitting in a chair in his dimly lit room, staring straight ahead. There is a knock on the door. Angel looks towards the door.", "Cordy's voice: \"It's us.\" After a beat, Angel gets up and opens the door. Cordy, hands hidden behind her back, and Wes, hands buried in his pockets are standing there.", "Cordy: \"We didn't see you all day, we were just wondering if everything was, you know, copacetic.\"", "Angel: \"I didn't go bad, Cordelia.\"", "Cordy: \"I was never worried about that, boss. (She pushes something into Wesley's hands) Of course Mr. Fussy Pants here always imagines the worst.\" Wesley lifts up his hand revealing the tranquilizer pistol: \"What? I didn't... I never...\"", "Angel: \"Is there anything else?\"", "Cordy: \"Nope. Can't think of a thing.\" Angel is about to close the door when Wesley speaks up: \"Angel - be careful.\"", "Angel: \"What do you mean?\"", "Wesley: \"Well, it's just -with Darla back, in league with Wolfram and Hart there are a lot of forces arrayed against you. - There's going to be trouble.\"", "Angel laughs: \"Yeah. There's gonna be a lot of trouble - and I say bring it on.\"" ]

[ "Realizing his obsessions have climaxed, Angel embarks on a journey of enlightenment with the help of a swami. Cordelia is threatened by an assailant looking for Angel until Wesley steps in and assumes his boss' role. Wesley, as Angel, is tasked to protect a prominent businessman's daughter whose life is threatened. Everyone is shocked when Wesley makes a very personal connection to the client." ]

[ "[PREVIOUSLY_ON]", "Angel to Darla: \"So you're what Wolfram and Hart brought back in that box.\"", "Darla to Lindsey: \"What *is* the plan exactly?\"", "Lindsey: \"We don't want him dead. We want him dark.\" Angel grabs Darla by the throat: \"Stop!\" Darla presses a cross against his chest: \"You stop! - God doesn't want you (they break apart) but I still do.\" Wesley walks around the lobby counter looking at an open file in his hand. Tries to open the top drawer of the file cabinet. When it sticks, he gives it a good yank and the drawer flies completely out, scattering papers on the floor. With a grimace, Wesley swings the drawer by its handle so it comes to rest on the counter top then crouches down to retrieve the papers. A guy steps up to the counter.", "Guy: \"Hello.\" Wesley straightens up and bangs his head on the file drawer sticking out past the counter.", "Wesley: \"Didn't hear you come in. Uh, how can I help you?\"", "Guy: \"Where is he?\"", "Wesley: \"Angel? He's rather - out at the moment. Is there something I can do for you? I'm his associate.\"", "Guy: \"Yeah. You could tell me where the boss is. It's kinda urgent.\"", "Wesley: \"Oh, we specialize in urgent. Life and death, is it?\"", "Guy: \"It could get rough. I need someone with his special abilities.\"", "Wesley: \"I understand perfectly. Why don't you fill me in and as soon as we find...\"", "Guy: \"What about you? You got any special abilities?\"", "Wesley: \"A few, I dare say.\"", "Guy: \"Are you a creature of the night?\"", "Wesley: \"No. But I was a rogue demon hunter so - I know how to handle myself when things get rough.\" Wesley slips on the papers on the floor and lands on his butt.", "Guy: \"Yeah. You're scary.\"", "Wesley gets back up: \"I'm sure he'll be back soon.\"", "Guy: \"Might want to tell the boss, he wants to run a business he shouldn't be foisting clients off on his secretary.\" The guy turns away and walks out.", "Wesley: \"That's associate.\" Wesley goes back to gathering up papers as Cordy hurries down the stairs.", "Cordy: \"What are you doing?\"", "Wesley: \"Ah. Knocking things over, driving away business - you know, the usual.\"", "Cordy: \"Well, I found him and we have to stop him before it's too late we have to change our (looks down at the dress she is holding in her right hand) Do you have any clothes a man would wear?\" Wolfram and Hart, day, a guard checks one of the corridors in the basement. After he walks on, a grate in the floor is pushed open and Angel climbs out of it, followed by Gunn. Angel sees a guy and a woman arguing a little ways down the hallway branching off to their right.", "Angel to Gunn: \"Don't make eye contact. Keep going.\" The two of them walk across the hallway and step into the elevator. The doors are almost closed, when someone sticks a briefcase between them. The doors slide back open. It's the pair from the hallway, and they are Wesley and Cordy, dressed in lawyer garb. Angel grabs them and pulls them into the elevator.", "Angel pushing a floor button: \"What are you two doing in here?\" Cordelia pushing the door open button: \"Um, I'm thinking risking our lives to save yours...\"", "Gunn: \"How'd you get in?\"", "Wesley: \"We used the door.\"", "Gunn: \"And they just let you in?\"", "Cordelia: \"Hello. Lawyer! (Angel pushes up, Cordy pushes open) You're not going up there.\"", "Angel pushes up: \"No, no. I need to do this. I have to find her... where they have her...\"", "Cordelia pushes open: \"Still with the Darla of it?\"", "Wesley to Gunn: \"Did you encourage this?\"", "Gunn: \"I'm just going along for the ride.\" Angel pushes up.", "Cordelia pushes open: \"Gonna be a pretty short ride. They have vampire detectors!\"", "Gunn: \"We know. It's cool. He's got a plan.\"", "Wesley: \"A plan?\"", "Angel: \"Yeah. (Pushes up) I get to the offices before they stop me.\"", "Gunn: \"See? (Whips his head around to stare at Angel) What? *That's* the plan? Walking real quick was the \"plan\"?\"", "Cordelia pushes open: \"Angel, this is crazy. Listen to yourself. You're all insane and angry and (Angel pushes up) insane! You need help!\"", "Angel: \"I'm not insane and I'm not angry\" Cordy pushes open, and this time there is a security guard there, triggering the stake concealed in his nightstick. Angel grabs a hold of it and stabs him through the foot with it.", "Wesley: \"Euugh!\"", "Gunn: \"Man, that's nasty.\" The guard is trying to pull out the stick but it went all the way through his shoe and is wedged tightly into the crack between the elevator and hallway.", "Angel walking past the guard: \"Maybe I'm a little angry.\" The other give the struggling guard one last look then follow him out.", "Cordy: \"Maybe?\" Intro On the stage of the Karaoke bar two Japanese men are singing \"I got you babe,\" Wesley, Cordy and Gunn are sitting at a table, watching.", "Gunn: \"Okay, what I want to know is (sees a horned demon light a cigarette on a candle) how'd I live in L.A. all my life and not notice weird-ass stuff was going on?\"", "Cordelia: \"Oh, the ass is even weirder than you think.\"", "Wesley: \"The Host, the fellow talking to Angel over there? He helps demons, reads their souls, senses their futures...\"", "Cordelia: \"Yes, but he can only do it when they sing Karaoke.\" Angel and the host are leaning on the bar counter.", "Host: \"I thought maybe I'd seen you walk away for the last time. You doing okay?\"", "Angel: \"Yeah, yeah.\"", "Host: \"Once more with less feeling.\"", "Angel: \"I guess I'm a little, ah, uhm - rocky.\"", "Host: You're Rocky and Rocky II and half of the one with Mister T. Tell me about it.\"", "Angel: \"I just... I-I feel this... like - I have to do something - and if I don't let it out I'll explode, and then - when I do something - it feels, ah - I-I think, maybe - this - this is it. I... (hangs his head) I'll sing if I have to.\"", "Gunn: \"Wait. Are you saying... Is he gonna sing? Oh God, is Angel gonna sing?\"", "Host: \"You don't have to sing. A break for you, a break for me, and a break for Mr. Manilow.\" The host pulls out a notepad and scribbles something on it.", "Angel: \"Okay. Uh. If you're sure.\"", "Host: \"Poor Angelito. Here.\"", "Angel takes the paper: \"What's this?\"", "Host: \"An address in Ojai. A friend of mine, even though, does he ever call? Does he ever write? Good guy, though. You ever hear of the T'ish Magev?\" Young man comes by and hands the host a drink.", "Host: \"Thank you, Ramone. I was just thinking I'd rather be drinking. (to Angel) He's a treasure.\"", "Angel: \"The T'ish Magev... he's like... a swami, sort of, right? Very powerful... This is his address.\"", "Host: \"I'm sending you to him. You need more than I can do for you. This guy... he'll shock your chakras, fillet your soul... whatever you need. Go to him.\" The two Japanese guys finish their song and the host gets up.", "Host: \"Lovely! That was Cher-riffic, boys!\" Angel to the trio at the table: \"We're going. I don't have to sing.\"", "Cordelia: \"Oh thank God! (Angel looks at her) I - I mean for your sake, 'cause you don't like to do that.\" Shot of Angel driving along a deserted freeway. Cordy and Wesley are in Angel's office tidying up some papers.", "Cordelia: \"I figure he'll be back pretty quick. This swami guy sounds kinda magic, he'll probably just do a spell and zap this obsession out of Angel's head.\"", "Wesley: \"Intriguing notion. Psychiatry through magic. Instant cures for phobias, compulsions, identity crises.\" Cordy sits down in the big chair behind Angel's desk. Cordy spins the chair in circles: \"Hey, look at me. I'm Angel!\"", "Wesley: \"He doesn't generally spin that much.\"", "Cordy: \"Right. Right. This is Angel. (Picks up a book, opens it and pretends to read it, leaning her head in one hand.) Oh, no. I can't do anything fun tonight. I have to count my past sins, then alphabetize them. Oh, by the way, I'm thinking of snapping on Friday. (Wesley suppresses a smile and Cordy gives him a big grin.) - You know, I love Angel and everything, but right now, I'm so glad he's headed the other way.\" Angel walks up onto the porch of a log cabin situated next to a lake and knocks on the door. The door is opened by a burly guy wearing a blue, plaid shirt over a gray T-shirt.", "Magev: \"Yeah.\"", "Angel after a beat: \"I'm looking for the T'ish Magev?\"", "Magev: \"Well, you found him.\" Angel looks him up and down: \"Really. - You're the swami?\"", "Magev: \"You're the - vampire with a soul?\"", "Angel: \"Yeah.\" Magev steps away from the open door: \"Well, in or out? You're letting in the bugs.\" Cordy walks into the hotel lobby and is grabbed around the neck by a guy from behind.", "Benny: \"Where is Angel?\"", "Cordy: \"He's not here.\"", "Benny: \"You're lying. Give me Angel.\"", "Cordy tugs on his arm: \"I-I can't. Let go! (He does and Cordy turns to face him) It's about time you...\" Benny pulls out a gun and points it at her. Wesley overhears Benny as he walks towards the lobby.", "Benny: \"My boss needs your boss. So I can not leave here without him. So you are gonna get him for me now, or I'm gonna blow your head off.\"", "Cordy: \"No! I-I - I-I can't...\" Wesley quickly heads back into Angel's office.", "Cordy: \"...I-I-I don't know where he is. I swear.\"", "Benny cocking his gun: \"Too bad.\"", "Cordy: \"Wait! Wait! Listen, I-I... (We see someone in a long, dark coat walks towards them.) Please wait.\"", "Wesley wearing Angel's coat: \"I'm Angel. (He almost slips on something but catches himself before Benny spins around to confront him.)You looking for me?\" At the cabin Angel is sitting across from the Magev, who is tying a new hook on his fishing rod.", "Magev: \"Nice ride.\"", "Angel: \"Sorry?\"", "Magev: \"The car. Very slick.\"", "Angel: \"Thanks.\"", "Magev: \"What kind of mileage do you get with that thing?\"", "Angel: \"I don't know. 12 in the city, maybe.\"", "Magev nods: \"Gas hog. Still, probably a chick magnet, right?\"", "Angel: \"What? (Magev looks at him) No.\"", "Magev: \"If you say so.\"", "Angel after a moment: \"I though we were gonna talk about my problems.\"", "Magev: \"That car is your problem, pal. Says everything about you.\"", "Angel: \"The car.\"", "Magev: \"Yes, the car. You live in L.A. It's all about the car you drive.\"", "Angel: \"I really don't think...\"", "Magev: \"Vampire, living in a city known for its sun - driving a convertible. - Why do you hate yourself?\"", "Angel: \"I don't. I mean, I got a deal.\"", "Magev: \"You got a deal. - Why not a personalized license plate that says 'irony'?\"", "Angel: \"Top goes up.\"", "Magev: \"Appearances. Very important to you.\"", "Angel: \"That's not true.\"", "Magev: \"Sure it is. So important that you're willing to put your eternal life at risk every time you hop into that thing. Top up or not.\"", "Angel: \"It's just a car.\"", "Magev: \"Oh. So why all the layers, all the black? You know it's been about 80 degrees in the shade lately.\"", "Angel: \"No reason. I-I don't have a body temperature so...\"", "Magev: \"So it's for the look.\"", "Angel: \"No. - It's just this way I don't have to worry about matching. - I don't have a reflection so...\"", "Magev: \"Sure you do.\"", "Angel: \"I do?\"", "Magev: \"You're reflected in the people around you. The way *they* see you. - What do you think they see?\" Benny now has his gun pointed at Wesley's chest.", "Wesley: \"That - that - that won't kill me.\"", "Benny: \"Fine. Let's go. (Lowers his gun and walks towards the door) Follow me.\"", "Wesley: \"You just expect me to follow you. I don't see why I should. (Turns away from Benny and takes a step towards Cordy) Ah, you know the gun won't kill me.\"", "Benny: \"Oh yeah? (Points the gun at Cordy) What's it gonna do to her? (Wesley spins around) Come on.\" Wesley, hands up in a placating gesture: \"Yes. Alright. (Benny lowers his gun, and Wesley folds his arms across his chest) but, ah, I shan't be cooperative.\" We see a fancy house with robed guards at the entrance. Benny walks in, followed by Wesley.", "Benny without turning around: \"I invite you in.\" Wesley quickly jumps back across the threshold, then enters again as Benny turns to motion him to enter.", "Wesley: \"Thank you. Considerate.\" Two men come walking into the entrance hall.", "Bryce: \"Sounds like you're saying it was my intention.\"", "Paul: \"I'm not saying it was on purpose. It's just obviously some gives your drivers their instructions.\"", "Bryce: \"And your drivers? One little overreaction - you never know what *that's* gonna lead to.\"", "Paul: \"Hmm, it's good then that you and I got together, you and I. Cleared it all up. No misunderstandings.\"", "Bryce: \"I think you understand me perfectly, Paul.\" After a beat, Paul turns away. Paul throws a look at Wesley before walking out the door.", "Benny to Bryce: \"This is Angel.\"", "Bryce: \"Angel. (Shakes Wesley's hand) Sorry to make you wait - business thing. Come on in. (He leads the way into a room) I'm pleased to meet you, Angel. My name is Magnus Bryce. Benny, get him a drink.\"", "Wesley: \"Mr. Bryce, I know who you are. I read the business pages. I don't know why you want me here, but this is not the way to get my cooperation. Your man abducted me tonight!\"", "Bryce: \"I understand you're frustrated. But I'm a desperate man. You help people. I need help - protection for someone very dear to me. Now, relax, let me explain.\"", "Benny hands Wesley a glass: \"Cheers.\"", "Wesley looks at it: \"Blood. I don't usually - drink in front of humans.\"", "Bryce: \"Don't insult me. Go on. (Wesley takes the glass) It's fresh.\" Wesley swallows hard, lifts the glass and takes a drink. Lowers the glass, his lips pressed firmly together.", "Wesley: \"Dear god! That's - nummy.\" Lifts a hand to cover his mouth.", "Bryce: \"You've heard about the software, the cable network, - that's all a front. The money comes from wizardry. My great-grandfather created our first spell in his garage, (Puts a hand to his stomach, the lifts it back to his mouth to cover a burp) a simple - tallness illusion. Now it's all custom designed work for people with the right money.\"", "Wesley: \"Really?\" Bryce turns to pick something up off the table the same time Benny turns to look at something on one of the side tables.", "Bryce: \"You see someone in this town with looks and talent...\" Wesley notices he's unobserved for the moment and quickly pours the rest of the blood into a flower vase on a table just behind him. Then notices that it's a clear glass vase and steps in front of it as Benny and Bryce turn back to face him.", "Bryce: \"...chances are - we provided one of them. It's like they say: the goddess Yeska does not give with both hands. It's not a nice business. I have a lot of enemies - industry rivals.\"", "Wesley: \"Like the man in the hall?\"", "Bryce: \"Paul Lanier? His firm's in wish-granting. Scary little euro-creep. And there are others.\"", "Wesley: \"Lanier is threatening you?\"", "Bryce: \"Someone - is threatening my daughter. My only family. Maybe it's Lanier, maybe it's Briggs over at consolidated curses. There are letters and calls. Twice we have caught intruders inside the house.\"", "Wesley: \"But you're a powerful wizard. Certainly you must know dozens of protection spells.\"", "Bryce: \"Hundreds. Used them all. These guys are in the business, they know all the tricks.\"", "Wesley: \"You want me to say I'll act as her bodyguard.\"", "Bryce: \"No. You don't really get to say anything. I'm gonna pay you a lot of money to protect her. You'll do it - and get paid - and we'll both be very happy.\"", "Magev: \"There are *two* yous.\" The two of them are standing in the main room of the cabin.", "Angel: \"To mes.\"", "Magev: \"The image you work so hard to create and the real you.\" After a beat Angel takes off his black leather jacket and drops it on a chair.", "Angel: \"Well, maybe my persona *is* a little - affected.\"", "Magev: \"A little affected? Come on. How many warriors slated for the coming apocalypse do you think are gonna be using that hair gel? (Angel runs a hand through his hair) Don't get me wrong - you're out there fighting the ultimate evil (Takes to wood staffs off the wall) you're gonna want something with hold. - But how do you expect to triumph over the soldiers of darkness when you're still fighting yourself?\"", "Angel: \"You think I'm fighting myself?\" Magev throws him one of the staffs and Angel catches it.", "Magev: \"Let's find out.\" Virginia is lounging on her bed, reading, when Bryce comes in followed by Wesley and Benny.", "Bryce: \"Honey, we have a guest.\"", "Virginia: \"Oh, look. The vampire's here.\"", "Wesley: \"Uh, yes. Hello.\"", "Virginia sits up: \"Well, daddy knows how to send out for just about anything.\"", "Bryce: \"Virginia, play nice. Angel's gone out of his way to help us.\"", "Virginia: \"No he hasn't. You probably brought him here at gun point.\" Wesley chuckles, saunters further into the room, checks over his looks in her vanity mirror, then jumps back with a yell.", "Bryce: \"What? What's wrong?\"", "Wesley: \"Cover that mirror!\"", "Virginia: \"Why? We know you're a vampire.\"", "Wesley: \"Do it!\" Virginia gets up and covers it.", "Wesley: \"I'm terribly sorry. It's just strategy. If the attack - were to happen here... If I were to fight here I - wouldn't want my opponents to know too soon - what I really am.\"", "Bryce: \"Good man.\"", "Virginia: \"Yeah, great! He's already anticipating letting kidnappers into my room.\"", "Wesley: \"Mr. Bryce, may I speak to Virginia alone?\"", "Bryce: \"I'll be right outside.\" He and Benny step out and close the door.", "Wesley: \"You were right. I didn't want to be here.\"", "Virginia: \"I knew it. He thinks he owns everyone.\"", "Wesley: \"But there are threats. It's dangerous. You need to be protected. (Virginia just shrugs) You have a lot of books. You must spend some time in here.\"", "Virginia: \"Well, there have been threats for a long time. Every time there is a new one - I buy a book shelf.\"", "Wesley: \"Virginia, we're both stuck here. So it seems to me - I might as well do what he wants me to do - and do my best to protect you.\"", "Virginia: \"You think you're the vampire for the job?\"", "Wesley: \"Well, I wanna try. - You gonna fight me?\" After a beat Virginia gets up from her chair: \"Let's go shopping.\"", "Wesley: \"What? Now? It's the middle of the night! Wouldn't you rather wait till morning - when I can't reasonably leave the house. Yes, as your bodyguard I insist we go at once.\" He opens the door and tells Bryce as they walk past him: \"We're going shopping.\"", "Gunn: \"At gun point?\"", "Cordy: \"Yes! The point of a gun. He just walked Wesley right out of here. And this whole \"I'm Angel\" thing is a very, very bad idea. I mean, if I thought *that* would work, *I* could've been Angel, because, guess what, pretty much a girly name.\"", "Gunn: \"Were'd they go?\"", "Cordy: \"I don't know. I tried to follow them, but I lost them.\"", "Gunn: \"So what's the plan?\"", "Cordy: \"The plan is, you go get Angel from the Swami place, I track down Wesley. This guy that took him, pretty distinctive, maybe I can find a criminal record, known associates - uh! Mug shots!\"", "Gunn: \"I better get started. It's gonna take me a long time to find this place.\"", "Cordy: \"Gunn - this thug-guy is bad news. I really hate to think where Wesley may be right now.\" Wesley and Virginia walk into a fancy store. There is champagne in an ice bucket sitting on a table and soft classical music is playing in the background.", "Wesley looking around: \" I say, this place is extraordinary. Wizard supplies. - It's a little exposed, though isn't it? I mean - are you really safe here?\"", "Virginia: \"You tell me.\"", "Wesley: \"Oh, yes. My job exactly. To make it safe. Well, I shall certainly do my best.\"", "Virginia: \"We all do our best for Daddy. Makes shopping for him a real pain.\"", "Wesley: \"Ah, we're looking for a *gift* are we?\"", "Virginia: \"For his birthday. Number fifty. That's why he's so twitchy lately. Big party makes security dodgy, plus I think there's a whole mid-life thing going on.\"", "Wesley: \"You're looking at talismans?\"", "Virginia: \"Images of the goddess Yeska, his favorite creepy deity. - What do you think of the gold one?\"", "Wesley: \" Attractive, but it isn't real gold -it couldn't be, one good spell would melt it. I'd go with the iron one.\"", "Virginia: \"You sound like dad. - He really gets into all this stuff. He loves it all, the rituals - magic...\"", "Wesley: \"You don't love it.\"", "Virginia: \"I used to - when I was little. It's been just him and me for a long time. He used to sit me next to him at his desk and teach me about runic incantations or enchanted armor.\"", "Wesley: \"But not any more?\"", "Virginia: \"No. I mean, *he* still loves this stuff. - Guy's gotta love something.\" Wesley puts his hand on top of a helmet sitting on the counter their leaning on.", "Wesley: \" Your father obviously loves you, too. He's gone to some trouble to protect you.\"", "Virginia: \"He has his car insured, too. (Looks at Wesley's hand) Doesn't that hurt?\" Wesley looks over and sees that the helmet is topped by a cross, quickly pulls his hand away, pretending to be burnt.", "Wesley: \"Ow, hot, hot. (Sticks his hand into the ice bucket, but after a moment he pulls it back out) cold! Cold.\" Two guys come up on either side of Virginia.", "1. Guy: \"Virginia, we're gonna go now.\"", "2. Guy: \"Say good bye to the pretty guy.\"", "Wesley: \"Wait!\"", "Virginia: \"Angel!\"", "1. guy: \"You're Angel? The vampire?\" The guys let go of Virginia.", "Wesley: \"Yes - I am. I'm - Angel (pulls his glasses off and tosses them onto the counter) the vampire with a soul - fighting for my redemption with - with - with killing evil demons. That's right. Scourge of the demon world. (The guys exchange a quick look) don't worry, boys, I don't kill humans - unless I'm angry!\" Virginia hurries to away from them to stand behind Wesley, and the first thug lifts his hands in a placating gesture.", "1. Guy: \"We're just doing what he told us.\"", "Wesley: \"Who - Lanier? (Guy nods) Fine. You're going to leave now. Then you're gonna to tell Lanier (he reaches to adjust his missing glasses and the thugs back away a step) - forget about the girl. Now go!\" They leave Wesley picks up his glasses and puts them back on.", "Wesley to Virginia: \"We better get you back home. It's not safe here. - I think if we give them a next time, it could get a lot rougher.\" Angel and Magev are staff fighting on a covered bridge.", "Magev: \"You're holding back. What are you afraid off?\"", "Angel: \"Nothing.\"", "Magev: \"You're whimping. This isn't River Dance. Fight!\"", "Angel: \"I am fighting!\"", "Magev: \"Yourself. You're fighting yourself. Fight me! Why are you holding back? Why can't you let go?\"", "Angel: \"Because.\"", "Magev: \"Why?\"", "Angel over their locked staffs: \"If I let it, it'll kill you.\"", "Magev: \"It?\"", "Angel disengages and steps back: \"The demon.\"", "Magev: \"Ha! But the demon is you!\"", "Angel: \"No.\"", "Magev: \"Yes! That's the thing you spend so much energy trying to conceal!\"", "Angel shakes his head: \"No, I just - I can't let it control me.\"", "Magev nods: \"Ah. I see. (Hits Angel's knee hard then hooks the staff behind his legs to drop him onto his back) You *don't* think it controls you?\" Magev is talking on the phone holding an ice bag to the back of his head.", "Magev: \"I don't know how long I can keep up this Yoda gag. Son-of-a-bitch is strong. Plus something we didn't think about - you know the guy can smell blood.\"", "Lanier: \"What are you talking about?\"", "Magev: \"He's a vampire! It's only a matter of time before he sniffs out where I stashed the real Magev's body. I know you want me to keep him up here for the whole weekend, but...\"", "Lanier: \"Stop, stop, stop. Angel's there?\"", "Magev: \" Yeah he's here. He's right outside. He's brooding. He came up here right after he spoke to the Host, just like Ramone said he would. Why?\"", "Lanier: \"The vampire is with you? - Then who the hell is the English guy?\" Cordy is looking at mug shots of criminals on her laptop, eyes the magazine lying beside it, finally picks it up and starts to flip through it.", "Cordy: \"Celeb photos - celeb photos page 46.\" She comes across a photo of Bryce and Virginia with Benny standing behind them.", "Cordy: \"It's him!\" Wesley is walking Virginia back to her room.", "Wesley: \"I hope you weren't too frightened.\"", "Virginia: \"No, more angry, you know?\"", "Wesley: \"Well, they were trying to intimidate you.\"", "Virginia: \"Not at them. At the whole thing, at the fact that I have to live like this.\"", "Wesley: \"It's a bad situation.\"", "Virginia: \"It's a bad situation? It's a waste of a life! I keep waiting for my life to start and it never does. There is just - more locks, and surveillance cameras and (turns down the hallway and sees two robed guards posted by her door) guards?! Okay, what is this now - bedroom guards? You go back and you tell my dad...\" One of the robed figures grabs a hold of her.", "Wesley takes his glasses off: \"Stop it!\" The other stretches his hand, holding a sparkling fire, towards Wesley.", "Guard: \"Let your flesh be weakened...\"", "Wesley: \"Pipe that down...\" Wesley grabs a hold of the guys hand and folds it closed over the fire as he kicks him.", "Wesley: \"...I've had it with your..\" Slams the guard holding Virginia in the face, then tosses the first guy over his shoulder. As he stands there, breathing hard, the two guys scramble up and away.", "Virginia: \"You were amazing.\"", "Wesley with a smile: \"I was a bit.\"", "Virginia: \"Your face - you don't go all (crinkles up her face) like a regular vampire.\"", "Wesley: \"Ah. I suppose I'm not like a regular vampire.\" Angel and Magev are sitting at the lake, fishing.", "Angel: \"Not a vampire at all, really. I mean, not any more. They brought her back as a human.\"", "Magev: \"This Darla girl - why'd they do that?\"", "Angel: \"I don't know. But seeing her again... it's just...\"", "Magev: \"It started the inner struggle.\"", "Angel: \"Yeah.\"", "Magev: \"She's not even the one that did this to you.\"", "Angel: \"No. It-it's still her, it's still Darla. It's - kinda hard to explain.\"", "Magev: \"What hard? You're obsessed.\"", "Angel: \"I guess I am, a little, yeah.\"", "Magev: \"You blame her.\"", "Angel: \"I suppose I do.\"", "Magev: \"You want to punish her.\"", "Angel: \"A bit...\"", "Magev: \"At the same time you want to thank her.\"", "Angel: \"Thank her?\"", "Magev: \"For the gift she's given you.\"", "Angel: \"Gift?\"", "Magev: \"You're deeply ambivalent.\"", "Angel: \"Yeah, well, I am and I'm not.\"", "Magev: \"You need to get over her. - Okay, what does she look like?\"", "Angel: \"She's beautiful. - Small, blonde...\"", "Magev: \"Right. So here's what you do. You go out and find yourself some small, blonde thing. You bed her, you love her, you treat her like crap, you break her heart. You and your inner demon will thank me, I promise.\"", "Angel: \"Uhm...\" Virginia is sitting on her bed.", "Wesley: \"Are you alright? (Sits down beside her) I mean, two close calls like that...\"", "Virginia: \"I guess so. I don't know. Are we safe now?\"", "Wesley: \"I don't know.\"", "Virginia: \"Sometimes I think about running away. Isn't that ridiculous, a 24 year old runaway?\"", "Wesley: \"We all want to escape our lives sometimes.\"", "Virginia: \"I think about - getting my own place - a little apartment. A job, something - silly like - uhm, a perfume sprayer - or working at a tire store.\" They both laugh.", "Wesley: \"A tire store?\"", "Virginia: \"I told you it was ridiculous.\"", "Wesley: \"No, no. It sounds wonderful! Rotating tires and inflating - things... Your father would not allow it I'd imagine.\"", "Virginia: \"Oh, no. It's too dangerous. He says they would grab me in a second and use me to get to him. - If you think about it, he's saying that if I moved out - it would kill him. - I'd be responsible.\"", "Wesley: \"That's a huge burden to put on you.\"", "Virginia: \"I just - (she leans her head onto his shoulder) I just want out.\" She looks up at him then leans in and lightly kisses him on the lips.", "Wesley: \"Virginia...\" The kiss again, just as lightly, but longer.", "Virginia while still kissing him: \"I'm sorry - I know we can't.\"", "Wesley: \"Yeah. - Why?\"", "Virginia: \"Well, you're a pretty famous guy, Angel. I hear the guards talk sometimes. I know.\"", "Wesley: \"Know?\"", "Virginia: \"About the curse.\"", "Wesley: \"Ah. - The curse.\" Laughs and shakes his head, not looking at her.", "Magev: \"Curse?\"", "Angel: \"Yeah. I thought you knew.\"", "Magev: \"Well, they don't tell me everything. So you really can't - at all?\"", "Angel: \"Well, that's part of what makes me special, right?\"", "Magev: \"Right. No, that's real special. - So, it's a s*x thing this curse?\"", "Angel: \"Well, no, not specifically.\"", "Magev: \"Well, then, what specifically?\"", "Wesley: \"Perfect happiness. Yes, of course. Mustn't... (He leans in and kisses her) Mustn't - mustn't let oneself (Virginia pulls off his glasses) let oneself forget (she nibbles at his ear) diabolical consequences - I should... You know this whole curse thing has been *widely* misinterpreted.\"", "Virginia: \"Really?\"", "Wesley: \"Oh, yes! Yes, it's less of a curse and more of a hex, actually (she continues to kiss him) Barely that (he kisses her back) a recommendation...\"", "Virginia pulls back: \"Are you - sure you're telling the truth?\"", "Wesley: \"Virginia, I wanna be honest with you. I wanna tell you everything. I'm not (She kisses him) actually... (the rest becomes muffled by her kisses)\" Next day. Gunn's pickup pulls up beside Angel's car in front of the cabin, and Gunn gets out.", "Gunn: \"Yo, yo! Anybody home?\"", "Magev: \"Morning traveler. Do you seek enlightenment?\"", "Gunn: \"I seek Angel. He with you?\"", "Magev: \"Well, he was until the sun came up, then... You see that pile of dust over there? (Laughs) I'm just joking! He's inside. Come on.\" Gunn as he walks towards the house: \"Joking. Great. We got ourselves a funny zen master.\" Magev suddenly hits him hard on the head from behind, then across the chin, knocking him unconscious. As he bends down to pull the body away, Angel's voice comes from the shadowed porch.", "Angel: \"Which lesson was that exactly?\"", "Magev straightens up: \"He was not your friend. I sensed danger...\"", "Angel: \"Where is the real T'ish Magev? Did you kill him? Did you put him in the lake?\"", "Magev with a grin: \"Something like that. But you know what? Somehow I'm not that worried about you right now, seeing as you can't get any closer. (Spreads his arms and laughs) Ah, wonderful sunshine! Wish you were here.\" As Magev turns his back on Angel with a laugh, Angel picks up a fishing rod and hooks the Magev then quickly reels him in hand over hand.", "Magev: \"Ouch! Ow! What are you doing?\" Angel, now in vamp face, grabs Magev by the front of his shirt and pulls him even closer.", "Angel: \"Getting in touch with my inner demon.\"", "[SCENE_BREAK]", "Wesley's is lying in Bed next to Virginia, watching her sleep. Wesley, dressed, steps out of Virginia's room and looks down the hallway. He turns back to Virginia standing in the door and kisses her, then he turns away to quietly walks down the hall only to run into Cordelia.", "Cordy: \"There you are! I found you!\"", "Wesley: \"Cordelia. How did you get in here?\"", "Cordy: \"Well, I told them that I worked for Angel and they sent me right in. You got everybody scared around here, I'll tell you that. It's like they don't even know you're a chimp. (Virginia comes up behind Wesley and Cordy holds out her hand) Oh. Hey, you're Virginia Bryce!\"", "Virginia: \"Who are you?\"", "Wesley: \"This is Cordelia Chase. She works for me. (Virginia nods at Cordy, who nods back) Virginia, I left my coat...\"", "Virginia: \"I'll get it.\" As soon as Virginia turns her back Cordy grabs a hold of Wesley's arm.", "Cordy: \"Good move. Now let's scuttle our butts out of here.\"", "Wesley: \"Cordelia, I'm not going with you.\"", "Cordy: \"What? I'm rescuing you! Key ingredient? We leave!\"", "Wesley: \"I understand, but I have to stay. I have a job to do.\"", "Cordy: \"What is wrong with you? You've got like delusions of Angel! You're not him. You can't do stuff on your own. (Sees Bryce and two robbed guards come up behind Wesley) Oh, crud. (Once they come close enough, she reaches out and shakes Bryce hand) Oh, hey, Mr. Bryce, I've seen your picture, (sees Benny behind Bryce) and I remember you from the armed abduction.\"", "Wesley: \"I had Ms. Chase testing your defensive perimeter and I must say... Did you know your guards just let her in?\"", "Bryce: \"Because I told them to. I wanted my daughter to hear someone call you by your real name.\"", "Wesley: \"Wait.\"", "Virginia steps up beside Wesley: \"What's going on? What real name?\"", "Bryce: \"I got a call, from an anonymous friend with some information. This guy - isn't Angel.\" Benny grabs Wesley's shoulder and pulls him backwards towards a window.", "Wesley: \"I am so Angel!\"", "Cordy: \"Yeah, yeah!\"", "Wesley: \"Oh, no, no, not the sun! For I am a vampire. Oh, oh oh! It burns! Oh.\" He cowers away from the sun, as Cordy makes a face and Virginia stares at him, finally gives up the pretense.", "Virginia: \"You're not Angel.\"", "Wesley: \"My name is Wesley Wyndham-Price.\"", "Virginia: \"I talked to you. I trusted you. - You lied to me. - Come to think of it, you actually put my life in danger. I was walking around thinking I had vampire protection. - Here's the funny part: I finally thought I had a friend.\" She holds out Angel's coat to him, and after a moment's hesitation he takes it and watches her turn away and walk into her room. Cordy comes to stand beside Wesley: \"Well - you kind of screwed her over, huh?\"", "Bryce: \"You're gonna get out of my house now, loser. Take the piece with you.\" One of the robed guards pushes them down the hall.", "Cordy: \"The Piece? Was that supposed to be me? Get off me!\"", "Benny: \"You should have let me kill them. You're just gonna let them go?\" Bryce grabs him and throws him up against the wall.", "Bryce: \"Never tell me what to do. Never! You brought me the wrong guy. You risked the whole sacrifice, you understand? - But I'm not gonna kill you. Because I need you now, Benny. (Walks over to some ugly rock step sculpture) It's only a few hours until the sacrifice. You understand the need for security in this? This is the party of my life (picks up a manacle and chain attached to the rock) obviously Virginia's too.\" Cordy sits down next to Wesley on the lobby steps inside the Hyperion.", "Cordy: \"Well, that was pretty humiliating, huh?\" Angel comes in leading a dazed Gunn.", "Cordy gets up: \"Angel, Gunn, what happened?\"", "Angel: \"He got hit.\"", "Cordy: \"By who? The swami? Swamies don't hit. Swamies swam.\" Angel sees Wesley sitting on the steps: \"Why is Wesley wearing my coat?\"", "Gunn to Cordy: \"That was a whole lot of swami.\"", "Wesley: \"The T'ish Magev hit him?\"", "Angel: \"He was a fake. Someone must have found out that I was going up there. They hired this guy to get me out of the way. He took out the real Magev. Set up the whole thing.\"", "Wesley: \"Did you find out who hired him?\"", "Angel: \"He wouldn't say. (Wesley gets up and starts to pace) That is my coat, right?\"", "Wesley: \"It has to be Paul Lanier. He thought that would keep Virginia unprotected. Then when his men couldn't take me out, he tipped off Bryce that I wasn't Angel. He hoped Bryce would get me out of the way.\"", "Angel: \"What's going on? - Where you in Virginia?\"", "Wesley: \"That's beside the point.\"", "Cordy: \"He was posing as you. Protecting a girl named Virginia. This guy Lanier is trying to kill her, or abduct her, or something.\"", "Wesley: \"She's probably in danger right now. She's at the big party.\"", "Gunn: \"What party?\"", "Wesley: \"Her father's birthday. Big wizard event, cake, ice cream, tributes to the goddess Yeska.\"", "Angel: \"Yeska? Wait a minute, I know Yeska. She's no goddess.\"", "Cordy: \"What do you mean?\"", "Angel: \"She's a Davric demon.\"", "Wesley: \"Davric? They don't serve humans - well, unless the humans make a sacrifice.\"", "Gunn: \"Sacrifice?\"", "Wesley: \"Davric demons eat live sacrifices, generally girls. They grant huge power to the person that offers a sacrifice on their 50 - oh, dear lord, on their 50's birthday. - Bryce is gonna sacrifice his own daughter.\"", "Cordy: \"So why was Lanier trying to abduct her?\"", "Angel: \"Bryce is going to get a lot of power off that sacrifice.\"", "Wesley: \"We have to go. Angel you take Gunn, go to the front of the house. Cordelia, we'll to to the back.\" As he is about to walk past Angel puts out a hand to stop him.", "Wesley: \"Alright. You know this sort of thing best. How should we proceed?\"", "Angel looks around, stands up: \"Uhm, well, Gunn and I could - take the back?\"", "Wesley walks on: \"Very good. Lets go.\"", "Angel following: \"Uh, Wesley, can I get my coat back?\" Benny is trailing Virginia around her dad's party. She sees the stone sculpture, decorated with lit candles.", "Virginia: \"What is this horrible thing? - I hope a girl isn't gonna jump out of it or something.\"", "Benny: \"Not really.\" Bryce taps the side of his glass with a spoon to get everyone's attention.", "Bryce: \"Thank you. I wanna thank all of you for being here on this special occasion. My feelings (chokes up) my feelings run almost too deep for words. But I'll try to do this, and do it right.\"", "Virginia: \"What is he talking about?\"", "Bryce lights a candle: \"Yeska, of the razor eyes and stone heart, take this offering. I cast my most precious emerald into the ocean on the moment of my birth plus 50 years.\"", "Virginia: \"Daddy, what are you doing? (Benny grabs her wrist and pulls her towards the sculpture) Daddy? Hey! Hey. Daddy stop them!\"", "Bryce: \"Take this gift...\" Benny shackles Virginia with the attached chains.", "Virginia to Benny: \"Stop - stop now!\"", "Bryce: \"Let her death return tenfold onto me my power.\"", "Virginia: \"Make them stop!\"", "Bryce: \"Be a good girl now. This is hard enough already.\"", "Benny to Virginia: \"He's really torn about it.\"", "Virginia to the party guests: \"Help! Somebody help me!\" Bryce comes to stand in front of her.", "Virginia: \"Daddy?\" But he only dips his thumb into a basin of water sitting on the sculpture and marks her forehead with it, before backing away again. Wesley, Cordy, Angel, who's wearing his coat again, and Gunn stride into the party room through the open double doors.", "Wesley: \"Release her or die.\"", "Angel: \"Don't I say that?\"", "Bryce: \"Guards!\" The party goers scatter as Wesley gets knocked down by the firs charging guard. He gets back up and does about as well as Angel and Gunn against the guards. Cordy gets into the fray as well, knocking one of them over the head with a champagne bottle from behind, as he is trying to strangle Gunn. Wesley hurries towards Virginia, knocking Benny out along the way, and starts to unchain her while the others fight on.", "Wesley: \"I'll get you out of here.\"", "Bryce cowering beside a table: \"The hour approaches Yeska. Do not be blind to my plea. Yeska I beseech thee. (A wind starts to blow inside the room, distracting the fighters) Appear!\" Yeska, and ugly gray skinned demoness with a blonde afro appears with a flicker of lightning in front of Virginia.", "Yeska with a grin: \"The Sacrifice (Virginia stares at her wide eyed and Yeska's grin vanishes) is impure!\" And with that Yeska vanishes herself the same way she appeared.", "Gunn: \"What's going on?\"", "Wesley to Virginia: \"Let's go.\"", "Virginia: \"Why did you come back?\"", "Wesley: \"I said I'd protect you.\" Virginia gives a short laugh and lets him help her up.", "Bryce: \"She's impure? - She-she's not a virgin? (Starts towards Wesley) You...\"", "Gunn: \"Woah! That's what impure meant?\"", "Cordy: \"She slept with him?\"", "Bryce: \"You were supposed to be Angel. This wouldn't have happened. That's why I hired him. He's a eunuch.\"", "Cordy: \"You slept with her.\"", "Angel: \"Eunuch?\"", "Wesley to Bryce: \"Things happen. Two young people, danger...\"", "Virginia: \"What are you talking about?\"", "Bryce: \"She was a virgin before you got here.\"", "Virginia: \"I was *not* a virgin!\"", "Bryce: \"What?\"", "Wesley: \"Oh, thank goodness.\"", "Gunn: \"I could have told you she was no virgin.\"", "Angel: \"I'm not a eunuch.\"", "Cordy: \"One day as Angel, one day! - and he's getting some.\"", "Bryce: \"What? How could you. I kept you away from all men!\"", "Angel: \"I mean, the curse isn't even all that clear.", "Virginia: \"Daddy, you remember that chauffeur from when I was 16? And the one at 18? I haven't been a virgin for a *very* long time. - I even dated Rick.\" Bryce turns to look at one of the robed guards, who hurriedly and quietly makes his way from the room.", "Bryce: \"Ginny, don't do this! Don't make me angry!\"", "Virginia: \"Right. Because then you might do something bad. - *You* were going to *kill* me! (She hauls back and hits her dad with a hard left, knocking him to the ground) You are not my father anymore.\" Cordelia smiles at her as Virginia walks out of the room. Angel to Bryce still on the floor: \"I'm not a eunuch.\" Hyperion Hotel, day. Cordy comes into Angel's office holding out a magazine article to him.", "Cordy: \"Look!\"", "Angel takes it and reads: \"Virginia Bryce squired by Mr. Wesley Wyndham-Price, private detective and bodyguard to the stars. -Hah. Squired - who says squired?\"", "Cordy points at the picture: \"Look at him all over her!\"", "Angel: \"Cordelia, you're just jealous that he's getting some attention.\"", "Cordy: \"Damned skippy! He's getting famous off this! Reflected glory - that's my thing!\"", "Angel: \"Get a little perspective. (Cordy stalks out and Angel returns to reading the article) 'Bodyguard to the stars.' Yeah, right! - There is no Wyndham-Price Agency.\"", "FADE TO BLACK" ]

[ "Angel continues to search for Darla. A series of flashbacks shows Darla life and unlife; from her first death in 1609, to her relationship with Angelus, to their breakup during the Boxer Rebellion. Her newly restored humanity weighing on her, Darla finally reaches an important decision that horrifies Angel." ]

[ "[PREVIOUSLY_ON]", "Angel re: Darla: \"That's her!\"", "Angel: \"So you're what Wolfram and Hart brought back in that box - and they brought you back as human.\"", "Lindsey to Darla: \"We don't want him dead - we want him dark.\"", "Wesley to Gunn: \"There are forces that can make Angel revert to Angelus.\"", "Cordy: \"He knows perfect happiness, he goes evil.\"", "Darla to Angel: \"We were together 150 years!\"", "Angelus spotting Dru: \"The one in the middle.\"", "Darla: \"She has the sight.\"", "Angelus: \"She is pure innocence. We turn her into one of us.\"", "Darla to Angel: \"The gypsies gave you a soul - a filthy soul! No!\"", "Darla in the water tank: \"I remember everything, Angel\"", "Angel: \"You have a soul now. Pretty soon those memories are gonna start eating away at you. Believe me, I know.\" Angel is sitting alone in his room sketching a portrait of Darla. Wesley hesitantly steps up to the open door behind Angel and looks in. Angel without looking up from his sketch: \"What is it, Wesley?\"", "Wesley: \"It? - There is no it. - It's nothing, really. - Just popping around, seeing if everything's all right.\"", "Angel, still sketching: \"Fine.\"", "Wesley: \"Oh, good. Good. - You're certain?\"", "Angel: \"Uh-huh. Good night.\"", "Wesley: \"Good night.\"", "Angel: \"You're still here.\" Wesley hesitantly comes into the room: \"Apparently. So, you're sure there is - nothing on your mind? - That is to say nothing you'd like to - perhaps (sees what Angel is drawing) - share?\" Angel looks up at him for a moment: \"No.\"", "Wesley: \"Really.\" Angel looks up at him, then at what Wesley is looking at. The floor of the room is littered with papers, some crumpled up, others not, showing earlier attempts at drawing Darla. Darla is sitting slumped in a chair, moaning softly. Lindsey opens the door, takes his sunglasses off, walks in and looks around the room. The floor is littered with shards of the mirrors that used grace the walls.", "Darla: \"Hello, Lindsey.\" Lindsey crouches down in front of her and looks at the cuts on her hands and wrists.", "Lindsey: \"You're bleeding.\"", "Darla: \"I guess I am.\"", "Lindsey: \"Something happened?\"", "Darla: \"God, yes. So many things. I remember them all. Which one were you thinking of?\"", "Lindsey: \"It's too soon. (Pulls out a handkerchief to blot at her hands) We shouldn't have sent you to him. We should have waited.\" Darla reaches to brush the hair out of his face.", "Darla: \"Lindsey. You never talk about yourself, Lindsey. You have a girlfriend? - Boyfriend? - Someone special?\"", "Lindsey: \"There is no one.\"", "Darla: \"No. No, there really isn't, is there? You can be with someone for 150 years - think you know them. Still - doesn't work out. Angelus - why, you should have seen us together.\"", "Lindsey: \"He was a different person then.\"", "Darla: \"And so was I. - Now do you know what we've become?\"", "Lindsey: \"Enemies.\"", "Darla: \"Oh no. - *Much* worse. - Now we're soul *mates*.\" Darla starts to laugh as Lindsey stares at her. Intro 1609, the Virginia Colony. The sun is shining on Darla as she is lying in bed. There are two veiled sisters standing at the foot of her bed watching as a doctor takes a leech from her arm.", "Darla: \"Someone close the shutters. (One of the sisters does so) Seems wrong that I should die while the sun is still so bright.\" A hooded priest enters the room.", "Priest: \"You'll not see it again. Before it sets, you will have left this life.\"", "Darla: \"I didn't ask for a priest. Who invited him here?\"", "Priest: \"You did. You cried out for me last night in your delirium.\"", "Darla: \"I don't remember. Do you even *know* what I am?\"", "Man walks into the room: \"A woman of some property. No husband, no inheritance. Yes. I know what you are.\"", "Darla: \"I'm a whore.\"", "Priest: \"Well, yes, that too. You should have asked for a priest long ago, child. Your life may have been the better for it.\"", "Darla: \"And you should have paid me a visit before today, father. Your life may have been more interesting because of it.\"", "Priest: \"Are you prepared now to renounce Satan and beg God his forgiveness?\"", "Darla: \"God never did anything for me.\"", "Priest to the others: \"Leave us.\" The two sisters leave. Priest to the doctor still sitting at her bedside: \"You can't save her life - perhaps I can still save her soul.\" The doctor gets up and leaves.", "Darla: \"My soul is well past saving. Let the devil take me if he'll have me. Either way - I die.\"", "Priest: \"No (The priest steps closer and pulls his hood back to reveal - the Master) you will not die. (Darla looks up at his inhuman face without flinching) You will be reborn.\"", "Darla: \"I know you.\" The Master leans down and takes one of Darla's hands in his.", "Master: \"I came to you last night. I sang to you from that window.\"", "Darla: \"Hmm, I remember now. You're death?\"", "Master: \"No.\"", "Darla: \"What then?\"", "Master: \"I'm you're savior. God never did anything for you - but I will.\" With that he leans down and sinks his fangs into her neck. Angel is sitting behind his desk at the Hyperion. Wesley and Cordy are sitting in a couple of chairs on the other side of it, while Gunn is hovering in the background.", "Cordy: \"Am I the only one that thinks that this is just a really bad idea?\"", "Angel: \"We can't just sit here waiting for Wolfram and Hart to make a move. It's time we go ahead in the game.\"", "Cordy: \"This won't involve kidnapping again, will it?\"", "Angel: \"All we gonna do is find her.\"", "Cordy: \"And this would be the same woman you didn't notice was in your bedroom every night for like three weeks straight?\"", "Angel: \"That was different.\"", "Cordy: \"Different in the sitting right on top of you sense, yeah.\"", "Wesley: \"Cordelia has a point.\"", "Cordy: \"Finally!\"", "Wesley: \"The last time Darla emerged she wanted to be found. Now she is out there among six million other people.\"", "Cordy: \"She could be sitting on top of anybody.\"", "Angel: \"Come on guys. We are a detective agency. We investigate things. That's what we're good at.\"", "Cordy: \"That's what we suck at. Let's face it, unless there's a website called Oh-By-the-way-we-have-Darla-stashed-here.com, we're pretty much out of luck.\"", "Wesley: \"It's not gonna be easy.\"", "Cordy gets up: \"Before he said he could smell her. How about - we cruise around with the top down - and you take big whiffs? (No one says anything) Well, we'll wait until after the sun sets obviously.\"", "Gunn: \"It's a big law firm. They've got to have housing for the out-of-towers, right?\"", "Wesley: \"Out-of-towners? It's not as if they flew her in from Miami. She was raised from the very depths of hell by an ancient and dangerous ritual.\"", "Gunn: \"Yeah and? They still got to put her up, don't they? That's an expense. (Everyone stares at him) You're telling me these lawyers haven't figured out a way to write that off?\" Cordy looks at Wesley, then turns to go.", "Cordy: \"I'm gonna start digging into Wolfram and Hart's real estate acquisitions.\"", "Wesley following her: \"Not just primary holdings, but subsidiary as well.\"", "Angel calls after them: \"She'd want something with a view. (To himself) Darla always loved something with a view.\" 1760, London. Angelus is standing in front of the Master seated on a big carved chair.", "Master: \"Angelus - the Latinate for Angel. (Laughs) It's marvelous.\"", "Darla, standing beside the Master: \"His name would already be legend in his home village - had he left anyone alive there to tell the tale.\"", "Master, caressing Darla's hand: \"Ah, you had a nice trip. I'm so glad.\"", "Darla: \"On the way back we cut a bloody swath through South Wales and northern England. He was magnificent.\"", "Angelus: \"Hmm, Yorkshire men - tough as leather. (The Master and Angelus both laugh at that remark) So, Darla here tells me you're some sort of Master.\"", "Darla: \"The* Master. He commands out order.\"", "Master: \"*The order of Aurelius. We are the select - the elite.\" Angelus folds his arms and surveys their surroundings.", "Angelus: \"And you live in the sewers, do you?\" The Master gives Darla's hand a pat and stands up.", "Master: \"We live below, giving tribute to the old ones. Awaiting that promised day when we will arise -Arise! - and lay *waste* to the world above us.\" The Master laughs.", "Angelus: \"Why'd you want to do that?\"", "Master: \"Huh?\"", "Angelus: \"Well, I mean, have you *been* above lately? It's quite nice. Me - I could never live in a rat infested stink hole - like this, if you'll pardon me for saying so. I got to have meself a proper bed or I'm a terror. (To Darla) Isn't that right love?\"", "Darla to the Master: \"He's young.\"", "Angelus: \"And this one, down in the goose feathers, and the finest silks and linens and a view (Angelus comes around to Darla) she's always got to have the view (leans in close to her) don't you, my lamb?.\"", "Darla to Master: \"We fed very recently. The blood is still hot in his veins.\"", "Angel in Darla's ear: \"You noticed that, did you?\"", "Master: \"We stalk the surface to feed and grow our ranks. We do not live amongst the human pestilence!\"", "Angelus: \"I'll be honest, you really couldn't with that face, now could you?\"", "Darla slaps his face: \"Angelus!\" Angelus laughs and drops into the Masters chair, left leg dangling over one of the armrests and takes a bit of snuff.", "Angelus: \"It's not stuck like that now is it?\" The Master leans in on him with a growl.", "Darla: \"The Master has grown past the curse of human features.\"", "Angelus: \"I'm not gonna get a bat-nose like that, huh? Am I?\"", "Master: \"Very few vampires are cunning enough to have lived as long as I have - which you've now (The Master grabs Angelus by the front of his coat and throws him across the room) demonstrated.\" Darla flinches as Angelus slides down the wall. Laughing, he gets back up, and keeps talking to Darla as if the Master wasn't even there.", "Angelus: \"Naples, you and me Darla. What do you say?\" The Master hits him with a hard right throwing him back against the wall.", "Darla: \"Angelus...\" Angelus just pushes himself off the wall and goes on as if nothing had happened: \"This is no place for you - bound to the likes of him.\"", "Master: \"You should show (Master hits Angelus over the head, dropping him to the ground) the proper respect.\" Angelus, now on all fours and breathing hard, still ignores the Master and talks only to Darla.", "Angelus: \"You belong by my side - out in the world - feeding as we like - taking what we need. I'll give you that view you crave, darling. I'll give you everything.\" The Master knocks Angelus over onto his back. Angelus coughs than laughs again. Lifts his head to look at Darla.", "Angelus: \"Tell the truth - whose face do you want to look at for eternity? (Rolls over on his side) His - or mine?\"", "Master smiles down at Angelus: \"You idiot. I *made* her.\" Darla smiles at Angelus and he smiles back at her. The Master's smile fades and he turns to look at Darla.", "Master: \"You're leaving with the stallion, aren't you?\" Darla walks over to Angelus and helps him up. Angelus puts an arm around her shoulders and pulls her close and the two of them turn to leave. One of the Master's minions growls and blocks their path. Master with his back to them: \"No. Let them go. (He lets them pass) He won't last. I give it a century - tops.\"", "Angel reading from a book: \"Darla, Anglo-Saxon derivation, meaning 'dear one' - huh, didn't come into common usage until more than a 100 years after she was born. (Closes the book) He must have given it to her. - I didn't even know her real name. (To Wesley) Any luck?\"", "Wesley: \"No yet, no. Working on it.\"", "Angel rubs his eyes: \"Something will come up.\"", "Wesley: \"Yes. That's my fear. - Angel, you must admit that your record when it comes to Darla has been - spotty at best.\"", "Angel: \"I killed her Wesley. - And she came back. - They brought her back and now I need to know why. I mean why like this? Why human?\"", "Wesley: \"Perhaps human was the only way Wolfram and Hart could bring her back and hope to control her with any degree of success. - Angel, I don't supposed it occurred to you that *this* might be why they brought her back? You have all your attention focused on finding this one woman.\"", "Angel: \"So you think Wolfram and Hart went to all this trouble just to keep me distracted? Take me out of the game?\"", "Wesley: \"It is possible. And if that's the case...\"", "Angel: \"It's working.\" Lindsey ushers Darla, huddled into her jacket, into his office.", "Lindsey: \"You hungry? (Drops his coat and pushes a button on a remote to open the curtains) I can run down the hall and grab some sandwiches from the vending machine if you want. It's not exactly gourmet cuisine, but...\" He trails off as Holland enters the office.", "Holland: \"Lindsey.\"", "Lindsey: \"Holland.\"", "Holland: \"Darla. How are you?\"", "Darla: \"I'm fine, Holland. Good to see you.\"", "Holland: \"Always a pleasure. Lindsey, a word. (To Darla) You'll excuse us.\" Holland steps back out of the office and Lindsey follows him. Lindsey to Darla as he's about to close the door: \"I'll be right outside.\"", "Holland: \"I thought we were *very* clear on this matter. Now that she's made contact it's not - prudent to have her on the premises.\"", "Lindsey: \"I know. I just... I didn't feel I could leave her alone. - I think there may be a problem, sir. She seems to be displaying post traumatic...\"", "Holland: \"She's cracking up.\"", "Lindsey: \"No. I wouldn't say that.\"", "Holland: \"She is way ahead of schedule.\"", "Lindsey: \"What?\"", "Holland: \"We'll have to accelerate matters. But, I think we're ready. (Claps Lindsey on the arm) Lindsey, you did the right thing. Good work. (Turns to go) Don't let her leave the building. (Turns back) Oh, and letter openers, staple guns, even ball point pens, anything with a sharp edge, you may want to remove so sorts of items from your office. Just in case.\" Break 1880, London. Darla looking at a dead sailor lying on a street corner.", "Darla: \"So beautiful. Not a blemish, not a freckle. Perhaps we should have preserved that beauty for eternity.\"", "Angelus: \"Still he won't now age.\"", "Darla: \"No, but he'll rot. Seems a pity.\"", "Dru: \"I could hop into him, like I did the ocean.\"", "Darla: \"Of course you could.\"", "Dru: \"I'm full and warm - yet all alone.\"", "Angelus: \"That's not true, precious. You've got us.\"", "Dru: \"Not in the least. You won't even have me just a little bit.\"", "Darla: \"All you have to do is ask.\"", "Dru: \"No. He's head's too full of you, grandmother.\"", "Darla: \"Stop calling me that.\" She hits a chuckling Angelus and pulls him down the street.", "Dru following: \"Don't be cross. I could be your mummy.\"", "Angelus: \"Well, if you're lonely, Dru, why don't you make yourself a playmate?\"", "Dru: \"I could. I could pick the wisest and bravest knight in all the land - and make him mine forever with a kiss.\" Just then a crying William bumps into them, dropping his notebook. He bends down to pick it up then stumbles on.", "William: \"You - watch where you're going!\"", "Darla looking after him: \"Or you could just take the first drooling idiot that comes along.\"", "Angelus laughing: \"You think she'll find a good one?\" The walk on but Dru keeps looking after William.", "Darla: \"I found you.\"", "Angel: \"Based on *this* we think that the search is over? The property is owned by Wolfram and Hart?\"", "Wesley: \"Annapolis Olive Oil Import Export, a corporate client of Wolfram and Hart.\"", "Angel: \"That's pretty slim.\"", "Cordy: \"It has a view.\"", "Angel: \"That's not enough.\"", "Cordy: \"And Berber carpeting.\"", "Angel: \"Nah, we need to narrow it down further. Keep looking.\"", "Cordy: \"And my sister is living in unit 319.\" Angel walking out of the room: \"You don't have a sister.\"", "Cordy: \"Sure I do. My older - way older - like 400 years older - blonde sister Darla, no last name. I've been desperately trying to find (Angel slowly comes back into the room) her because - mom and dad are in the coma. Sue, the property manager was - very helpful. (Cordy looks over at Wesley with a smile) She even cried.\" Angel rips the page with the address off the notebook and walks towards the door.", "Angel: \"Let's go.\"", "Wesley blocks his path: \"Perhaps it would be best if you let me contact Gunn and he and I can check this out. (Tries to take the paper with the address, but Angel won't let go) We could do the reconnaissance, give you a full report and we can *all* decide how to proceed - as a team.\"", "Cordy: \"Probably a good idea - since it's 1 o'clock in the afternoon and that address is in Sun Valley.\" Angel lets go of the paper and Wesley walks out.", "Angel: \"Right. (Laughs) Sun.\"", "Cordy: \"Actually I was thinking Valley. I mean why go *there* if you don't have to.\" Darla is staring out the window in Lindsey's office. Lindsey walks in.", "Lindsey: \"Darla.\"", "Darla: \"Say that again?\"", "Lindsey: \"I just - ah, - I said your name - Darla.\"", "Darla: \"It sounds so odd, doesn't it?\"", "Lindsey: \"I don't know what you mean.\"", "Darla: \"It wasn't my name when I was human. - The first time when I was human, I mean.\"", "Lindsey: \"What was your name?\"", "Darla: \"Hmm - I don't remember. (Shakes her head) I'm not her, whoever she was. I was Darla for so long - then I wasn't. I - I wasn't anything. I just stopped. - He killed me. I was done. (Turns to look at Lindsey) Then you brought be back.\"", "Lindsey: \"Yes.\"", "Darla steps closer: \"What did you bring back, Lindsey? What am I? Did you bring back that girl, whose name I can't remember? - Or did you bring back something else? - The other thing.\"", "Lindsey: \"Both. - Neither. - You're just you. Whatever that is.\"", "Darla: \"Why haven't you kissed me? - You've been dying for it, haven't you?\"", "Lindsey: \"I didn't know if you wanted me to.\"", "Darla: \"Why should that matter? - Do you think I ever hesitated when I wanted something? Life's too short. Believe me, I know. - 400 years and still too short.\" Lindsey steps forward and kisses her softly.", "Darla: \"Mmm, that's how humans get what *they* want. I remember that much.\" Lindsey kisses her again.", "Lindsey: \"Do you like it?\"", "Darla: \"It's nice. - But it's not me you want to screw.\" Lindsey pulling back to look at her: \"What?\"", "Darla: \"It's him. You all think you can use me to get to Angel.\" Lindsey looks at her for a moment: \"Maybe.\" He kisses her hard, pushing her up against the table.", "Darla: \"What am I?\"", "Lindsey: \"I don't know - and I don't care.\" They kiss and suddenly Darla bites the side of Lindsey's neck, hard and he pulls away. They break apart.", "Darla: \"Now do you care?\"", "Lindsey: \"No.\"", "Darla: \"That's how vampires get what they want. What am I?\" Lindsey steps close to her again: \"Darla...\"", "Darla: \"Is that it? Am I Darla?\"", "Lindsey: \"Yes.\"", "Darla: \"Careful. Darla would snap you in half. - Is that who I am?\" She pushes away from him and leans her head against the window. Lindsey reaches one hand up to cover the side of his neck.", "Lindsey: \"I understand what you're going through.\" Darla shakes her head and pushes away from the glass: \"No. Nobody understands. Nobody *can* understand. - I can feel this body dying, Lindsey. I can feel it decaying moment by moment. It's being eaten away by this thing inside of it. - It's a cancer, this soul!\" 1898, Romania. A ragged Angel stumbles up a hill. Darla is standing in front of an elder of the gypsies.", "Darla: \"You took him from me. You stole him away. - You gave him a soul.\"", "Gypsy: \"He must suffer - as all of his victims have suffered.\"", "Darla: \"That is no justice. Whatever pain he caused to your daughter was momentary - over in an instant - or an hour. But what you've done to him will force him to suffer for the rest of eternity! Remove that filthy soul so my boy might return to me.\"", "Dru: \"Angelus is gone on away. Where is he?\" Darla grabs a hold of the Gypsy's neck: \"Drusilla, the camp - go on - kill things!\"", "Dru: \"He shall be very cross if he finds we had a lovely mass slaughter without him.\" Darla closes her eyes for a moment: \"He'll join us soon. Now do as you're told.\" Dru licks one of her fingers and nods: \"Okay.\" Walks off.", "Darla: \"In that wagon is your family. Your wife and daughters will die tonight without my protection. (Strokes the man's cheek) but if you'll do as I say, your family can live.\" Spike, in vamp face, blood on his chin, steps out of the wagon and burps. Darla looks at him.", "Spike: \"What?\" Darla closes her eyes, turns back to the gypsy and snaps his neck.", "Dru swaying by the fire: \"Pretty music, pretty, pretty music. (Spike comes up to her and she pulls him into her dance) They cry out for mercy. They cry out for mercy.\"", "Darla walking away: \"Show none.\" Angel and Cordy are at Angel's desk, looking at some video footage of Darla's trashed apartment.", "Cordy: \"What happened? Did someone break in?\" Gunn is sitting on a sofa in the lobby, eating a sandwich.", "Gunn: \"Well, us.\"", "Cordy: \"You guys did this? Real mature!\"", "Wesley: \"No. This is the way we found it. No evidence of a forced entry.\" Gunn, talking around a bite of food: \"Well, not before we got there anyway.\"", "Wesley: \"It appears she did this herself.\"", "Angel: \"She smashed all the mirrors.\"", "Cordy: \"Why?\"", "Angel: \"Isn't it obvious?\"", "Wesley: \"Angel, I don't think anything is obvious.\"", "Angel: \"The weight of her soul, she's feeling it.\"", "Wesley: \"We don't know that for certain.\"", "Angel: \"It makes sense. She was a vampire, now she has a soul.\"", "Cordy: \"That makes sense? So why don't you go around smashing mirrors?\"", "Angel: \"Because I don't have to look at *myself* in them. (The phone rings and Cordy goes to answer it) Look, if she's in trouble we have to find her.\"", "Wesley: \"Angel...\"", "Angel: \"She needs help.\"", "Wesley: \"That might very well be. It might also be what somebody would *like* you to think.\"", "Cordy: \"Angel...\"", "Angel: \"Cordy, just take a message. (To Wesley) So you think this is a setup.\"", "Wesley: \"We mustn't rule it out.\"", "Cordy: \"Angel!\"", "Angel: \"Cordy, please, I'm talking.\"", "Cordy to phone: \"Hi Darla. He can't talk right now. He'll call you back once he's found it (Angel runs over to Cordy reaching for the phone) Yeah, bye-bye.\" Angel grabs the phone before she can hang it up.", "Angel: \"Darla?\"", "Darla: \"My boy. My darling boy.\"", "Angel: \"Where are you?\"", "Darla: \"I have question. Where was I? I don't remember anything. It's a great big nothing. Could it be there is no hell?\"", "Angel: \"There is a hell. A few of them. I've been to one.\"", "Darla: \"I told him no one could understand, but I was wrong wasn't I? My boy knows.\"", "Angel: \"Yeah, I know.\"", "Darla: \"You said you'd give me everything. Do you remember that? - I believed it then. I still do.\"", "Angel: \"I'll do whatever I can.\"", "Darla: \"It's been four centuries since I've had to be afraid of anything. And now I'm sick with it.\"", "Angel: \"I know.\"", "Darla: \"Angel...\" Lindsey from the door of his office: \"Darla. What are you doing.\"", "Darla quietly to phone: \"Help me!\" Angel can hear Lindsey over the phone saying: \"Just put down the phone.\"", "Angel: \"Darla.\"", "Lindsey: \"Hang up the phone. (Darla turns to look at him) It's okay.\"", "Angel: \"Darla?\" At the office we can dimly hear Angel's voice coming from the phone: \"Darla!\"", "Lindsey: \"It's okay. All right? Just put it down.\" A security guard steps through the office door.", "Guard: \"Mr. McDonalds, is everything okay in there?\"", "Lindsey: \"Yes, we're fine.\"", "Guard: \"Mr. Manners said you might need some help with her.\"", "Lindsey: \"No. - Leave.\" Darla still clutching the phone to her breast: \"I have to go to him, Lindsey.\"", "Lindsey: \"Don't say that. - Don't say that.\" Angel can not only hear the whole conversation over the phone, he can also hear Darla's heart beating.", "Darla: \"He's the only one. He can help me.\"", "Lindsey: \"No. I can help you too.\" Darla shakes her head and the security guard steps a little closer.", "Darla: \"No. No you can't. You don't have it in you. - Sorry.\"", "Guard: \"Why don't we all take a walk down to Mr. Manners office.\"", "Lindsey to guard: \"I can handle this, alright? Go!\"", "Guard: \"She's not leaving the building.\"", "Lindsey: \"I said go!\" Darla hits Lindsey with the phone and tries to run past the guard.", "Angel to phone: \"Darla.\" He can hear a struggle, followed by a gunshot.", "Angel: \"Darla!\" Lindsey sits in his office watching a video of the surveillance tape showing the struggle in his office and the guard getting hit by his own gun when Darla runs into him.", "On tape: Guard: \"She's not leaving the building.\" Lindsey: \"I said go!\" Holland is standing there watching Lindsey. The Lindsey on the tape takes a hold of Darla: \"Come on. Lets go. You're gonna come with me.\" Holland stops the tape.", "Holland: \"You not only allowed her to escape - you facilitated it.\"", "Lindsey: \"Things were confusing.\"", "Holland: \"Things are often confusing for you, aren't they, Lindsey? - Especially, it seems, when it comes to this woman. - You allowed yourself to be ruled by your emotions.\"", "Lindsey after a beat: \"What about the guard?\"", "Holland: \"Family's been notified, Police have a suspect in custody. It's handled. (Holland turns to leave) You're off this project, Lindsey.\"", "Lindsey: \"I can find her!\"", "Holland: \"You don't have to find her. We picked her up two blocks from here.\"", "Lindsey: \"She's safe?\"", "Holland: \"We won't discuss it any further.\"", "Lindsey gets up: \"If you're thinking about handing this project...\"", "Holland: \"This situation has gotten too far out of control. I'm terminating the project.\"", "Lindsey: \"Terminating?\"", "Holland: \"Go home, Lindsey. Get some rest. - We start fresh tomorrow.\" Angel is putting on his coat in the hotel lobby.", "Gunn: \"You want me to come with you?\"", "Angel: \"No. This is something I have to do on my own. (Cordy hands him his car keys) Thanks.\"", "Wesley: \"Angel...\"", "Angel: \"I know, Wesley, I could be walking into a trap. I get that.\"", "Wesley: \"I'm not convinced you do.\"", "Angel: \"Look, she asked for my help. I can't turn my back.\"", "Wesley: \"No, you shouldn't. Not for one moment. You know better than anyone what she was.\"", "Angel: \"What we were. And I also know what she's going through. And unlike me, maybe she won't have to go through it alone.\"", "Cordy: \"You're not alone.\"", "Wesley: \"You may be right. She may be experiencing all of this exactly as *you* did. But Angel, you yourself wandered for a hundred years without ever seeking redemption.\"", "Angel: \"That's right. I sought her.\"", "[SCENE_BREAK]", "1900, China, night. Buildings on fire, complete chaos in the streets. Darla is in a house, carrying a cloth wrapped package. A filthy Angel grabs the sides of her face from behind.", "Angel: \"You're so warm. You just fed.\"", "Darla: \"You found me.\"", "Angel: \"You can never resist a religious war - and you always talked about China. I just followed the bodies. You never used to be so careless.\"", "Darla: \"Maybe I wanted to be found.\"", "Angel: \"Spike and Dru?\"", "Darla: \"They're here. Probably out in the riots (she loosens something from the package) maybe starting a new one.\" Angel lets go of her and she spins around, pushes him up against the wall, holding a knife against his throat.", "Darla: \"I should kill you right now.\"", "Angel: \"Go ahead.\"", "Darla: \"Is that why you've come all this way? Too much of a coward to end your own existence, you want me to do it for you? Release that filthy soul?\"", "Angel: \"If you'd like.\"", "Darla: \"I can still smell it, you know. And that's not all. You reek of vermin! - Is that what you've been living off of?\" Angel grabs a hold of her hand: \"Come on, huh? This should be nothing for you. Go ahead, Darla. Make sure you cut clear to the bone. Put the blade in the wall. Hmm?\" Darla stares at him for a moment then pulls away from him. Darla with her back to him: \"What do you want?\"", "Angel: \"A second chance.\"", "Darla: \"What?\"", "Angel: \"I want things to be like they were. - You and me - together - Darla. - I miss the view.\" Darla shakes her head, still with her back to him: \"That's impossible.\"", "Angel: \"It's not impossible.\"", "Darla: \"You still have a soul.\"", "Angel: \"I'm still a vampire.\"", "Darla turns around: \"You're not. - Look at you. I don't know what you are anymore.\"", "Angel: \"You know what I am. You *made* me. Darla. I'm Angelus.\"", "Darla: \"Not anymore.\"", "Angel slowly stepping closer: \"I can be again. Just give me a chance to prove it to you.\"", "Darla: \"You almost made me believe you.\"", "Angel: \"Believe it. - We can have the whirlwind back.\"", "Darla looks up at him: \"We can do this.\"", "Angel with a slight smile: \"Yes, we can.\"", "Darla: \"We can do anything.\"", "Angel pulls her close: \"Anything we like.\" They kiss. Lindsey is walking to his car in the parking garage, dialing a number on his cell phone. He stands beside his car, listening to the phone ring, when Angel wraps a cable around his neck.", "Angel: \"Where is she?\"", "Lindsey holds up his phone: \"I was...\" Angel tightens the noose, pulling up so Lindsey's feet barely touch the ground anymore", "Angel: \"No, you get just enough breath to tell me where she is. My advice? Don't waste it.\" We hear Cordy's voice from the phone: \"Angel Investigations, we help the helpless. (Angel looks at the phone) How can we help you? (Angel lets Lindsey drop back to his feet) Hello? Hello?\"", "Lindsey closes the phone: \"I was trying to call you. They're gonna kill her. You got to stop it. Hey, she needs you. Please.\" Angel pulls up on the noose again: \"You're a liar.\"", "Lindsey: \"It's true!\"", "Angel lets him back down: \"Where?\"", "Lindsey: \"In an abandoned bank on Figaro and Ninth. Wolfram and Hart own the property. I'm pretty sure that's where they're gonna take her.\" Angel pulls up on the noose again: \"You think you're pretty sure.\"", "Lindsey: \"I'm not exactly in the loop on this! (Angel lets him back down) Alright, that's where they do this sort of stuff. It'll be underground where the vaults used to be.\" Angel pulls up again, forcing Lindsey back to the tip of his toes.", "Angel: \"If this is a trick, just know that I'll be coming back for you. (Angel lets go of the cable and Lindsey drops against the trunk of his car) Hell, I just might be coming back for you anyway.\" Angel is walking through the riots back in China.", "Angel: \"Darla? - Darla! - Darla. - Darla?!\" He enters an alley to see a missionary family huddled against one of the walls, holding a basket with a crying baby between them. A Chinese swinging a sword attacks Angel from behind and he slaps him aside, headfirst into the wall, then turns back to stare at the family. Slowly backs away from them. He hears Darla calling for him and quickly leaves the alley.", "Darla: \"Angelus? (She bumps into his chest, smiles at him) The whirlwind, Angelus.\" They kiss, then Darla tries to peer past him into the alley.", "Darla: \"Hmm, what's over here?\" Angel doesn't let go of her: \"Nothing. - Bodies. Let's find something warm.\"", "Darla: \"Yes. Some missionaries. We'll drain the piety right out of them.\" They move down the street and meet Dru and a roughed up and bleeding Spike.", "Darla: \"So, where have you two been?\"", "Dru: \"Will I tell?\"", "Spike: \"No need to be humble.\"", "Dru: \"My little Spike just killed himself a Slayer.\"", "Darla to Angel: \"Did you hear that?\"", "Angel to Spike: \"Congratulations. - I guess that makes you one of us.\"", "Spike: \"Don't be so glum, eh? The way you tell it, one Slayer snuffs another one rises. I figure, there is a new chosen one getting all chosen even as we speak. I tell you what, when and if this new bird shows up, I'll give you first crack at it!\" Dru steps past Angel in the direction of the alley.", "Dru: \"Hmm, I smell fear.\"", "Angel: \"This whole place reeks of it.\" Spike wraps his arms around Dru from behind.", "Dru: \"It's intoxicating.\"", "Angel: \"Let's get out of here. This rebellion is starting to bore me.\" Darla watches as Angel walks past Dru, giggling in Spike's arms, then follows him. Nice, slow motion shot of the four of them walking down the street with the burning buildings and riot all around. Spike steps on a bundle in his path and leaps high into the air. Angel is walking down the street, grim-faced leading the way, with Darla just a step behind him. Spike is carrying Dru in his arms, kissing her. Darla is watching Angel. Darla in an echoing voice over: \"Are you with me Angel? (Fade to white.) Why aren't you with me?\" Darla gets tossed out of the back of a van by three white-clad guys. One of them pulls out a gun and aims it at her.", "Guy: \"Sorry, lady. It's just us.\" Angel walks into Darla's house in china.", "Darla: \"Where have you been?\"", "Angel: \"Darla.\"", "Darla: \"Answer me!\"", "Angel: \"Just out. Why?\"", "Darla: \"Feeding?\"", "Angel: \"Yeah.\"", "Darla: \"On vermin?\"", "Angel after a beat: \"No.\"", "Darla: \"Don't lie to me.\"", "Angel: \"Look I've killed men. You've seen it!\" Darla, wearing a kimono, gets up form her seat against the wall and walks towards him.", "Darla: \"Rapists and murderers, thieves and scoundrels. Did you think I wouldn't notice? - Only evildoers, that's all you hunt now. (Angel looks down) You swore to me. You said, if I took you back you'd prove yourself.\"", "Angel: \"And I will.\"", "Darla: \"Good. (Pulls the blanket of a basket sitting between them, revealing the missionaries' baby) Now is your chance.\" Angel looks down at the baby, shifts restlessly. Darla looking down at the baby: \"I went back before dawn. They were still cowering there. Praying to their god for a salvation. (Looks at Angel, who's staring down at the baby) They didn't know that their only savior was at the waterfront - dining on rats. I won't be made a fool, Angelus. (He looks at her) Not by you. Not by anyone.\"", "Angel looks down: \"I didn't mean...\"", "Darla: \"While Spike - Spike! - was out killing a Slayer you were saving missionaries! Form me!\"", "Angel: \"I'm sorry...\"", "Darla: \"No. No more words. (She takes a step back and Angel looks down at the baby) Act!\" Darla is lying on the ground in front of the three guys, gun pointing at her, when Angel pulls up in his convertible and jumps put over the windshield. One of them grabs Darla as Angel kicks the gun out of the first guys hand. Darla gets thrown against a wall, while Angel makes quick work of the three men, throwing the last one into the back of the van. Angel walks over to where Darla is slumped against the wall and crouches down in front of her.", "Angel: \"Darla?\" Lindsey walks past the receptionist desk of Wolfram and Hart, looks back and sees Holland and another man shaking hands. Flash back to earlier.", "Guard: \"Mr. McDonald, is everything okay in there?\" Flash back to the guy shaking Holland's hand. It's the same guard.", "Lindsey remembers Holland saying: \"The family's been notified.\" As we hear a gunshot and see the guard drop to the floor of Lindsey's office on the videotape. Holland, in the lobby looks over and sees Lindsey looking at him. Lindsey enters his office, leaving the door open and Holland steps in and closes the door.", "Lindsey: \"Should we notify his family?\"", "Holland: \"Lindsey...\"", "Lindsey: \"You played me. You played her.\"", "Holland: \"We had to make you believe it Lindsey.\"", "Lindsey: \"Why?\"", "Holland: \"Because she has to believe it, because Angel has to. - The Crisis needed to be real.\"", "Lindsey: \"You think now that you've driven her back to him she's gonna give him that perfect moment of happiness? He's gonna come on our side? Won't happen. He's noble. He'll never take advantage of her - not in this state, not now.\"", "Holland: \"Lindsey, you don't understand our friend at all. We know there is no prospect for physical intimacy here. - So you needn't torture yourself.\"", "Lindsey steps closer: \"Then what do you expect him to do?\"", "Holland: \"What he will do. What he must do. Save her soul.\" Darla is lying with her eyes closed on a sofa in the hotel lobby with Angel crouched in front of it and Wesley, Cordy and Gunn standing around it.", "Angel: \"She's gonna be okay.\"", "Cordy: \"Maybe we should get her a doctor.\"", "Darla opening her eyes: \"No. No doctors. (Looks at Angel and smiles) Angelus.\"", "Cordy: \"Uhm. Sorry, I know you're concussion girl and all, but around here it's Angel - just Angel, okay?\"", "Angel: \"Guys, do you mind? - Just give us a minute?\"", "Wesley leaving: \"Yeah, of course.\"", "Gunn leaving: \"No problem.\" Cordy follows them with a last look at Darla and Angel.", "Darla: \"I thought I was dead.\"", "Angel: \"You're not dead.\"", "Darla: \"I'm not sure how I feel about that.\" Angel gives her a small smile: \"I know what you mean.\" Darla puts her hand on his: \"I'm so lucky - to have someone who understands - who knows. It's something you never had, is it?\"", "Angel: \"It wasn't your fault.\" Darla pulls her self up into a sitting position: \"No. No, but there is so much that is.\"", "Angel: \"It's gonna be okay.\"", "Darla gives him a smile: \"I knew you'd help me. Now if I could only get to you. - Funny. That's why they brought me back - to get to you. - Now I find I need you, just as I've always needed you. - You'll make the pain stop, won't you?\"", "Angel: \"Takes time.\"", "Darla: \"Takes moments. (Shakes her hair back and exposes her throat) Do it - now.\" Angel stares at her throat, stands up and backs away from her.", "Angel: \"What?\" Darla follows him and grabs him by the front of his shirt.", "Darla: \"Make me what I was again!\"", "Angel: \"Darla...\"", "Darla: \"You said you'd help me!\" Angel backs away but she won't let go of him.", "Angel: \"I will. - I want to - but - not like this.\"", "Darla: \"Turn me back. God! I can't bear this pounding in my chest for another instant!\"", "Angel quietly: \"It's gift. - Too feel that heart beat - to know, really and for once, that you're alive. - You're human again, Darla. You know what that means?\"", "Darla: \"Of course I do. It means pain and suffering - and disease and death. - Look, I released you from this world once, I gave you eternal life. Now it's time for you to return the favor.\" Angel backs away a step, just looking at her: \"Favor - is that what you think? - You think you did me a favor? - You damned me.\"", "Darla after a beat: \"Fine. Fine then, if it's such a punishment, take out your revenge, pay me back! (Angel just looks at her) - Please.\" Angel swallows and shakes his head ever so slightly: \"I can't.\" Darla closes her eyes. Angel is looking down at the baby in the basket.", "Darla: \"What do you mean you can't? You won't!\"", "Angel: \"I can't seem to be able to uhm, I'm sorry.\" Darla shakes her head ever so slightly: \"You disgust me.\" Angel grabs a hold of the baby and runs out on Darla, crashing through some glass doors. Darla in the present is running away from Angel.", "Angel: \"Darla, wait!\" Darla stops in front of the doors and spins around to face him.", "Darla: \"No! Don't look for me again.\" She turns and rushes out the door and a he makes no move to stop her." ]

[ "When Gunn's cousin becomes involved in a plan to rob a museum, it's up to the gang at Angel Inc. to help him get out of it. The robbers are after the Shroud of Rahmon. Going undercover with the demon thieves, Angel and Gunn are soon in over their heads. The Shroud has magical powers that turn people crazy. Soon it's infecting all of them, even Angel. Angel's relationship with Detective Kate Lockley is both bettered and worsened when she intrudes on the heist." ]

[ "[PREVIOUSLY_ON]", "Kate to Angel: \"What are you?\"", "Angel: \"You already know the answer, Kate.\"", "Kate: \"I'm glad we're not playing friends anymore.\" Shot of the vampire bite on the side of her dad's neck.", "Angel: \"I'm sick and tired of you blaming me for everything you can't handle!\"", "Angel: \"That's her! That's Darla. They brought her back.\"", "Darla: \"This is no life, Angel! My boy is still in there and he wants out!\"", "White cop: \"I'm telling you this creep knows what happened. He's playing us.\"", "Black cop: \"Maybe. He's got mental problems.\"", "White cop: \"I don't care about that. We got one body already - and if *she* dies...\"", "Black cop: \"If she dies, he's all yours.\" They walk back into the interrogation room. There is a dark haired man, wearing a dark jacket sitting slumped over at the table, his face buried in one arm lying on the table.", "Black cop: \"We can help you. Tell us what you know and we send you back down to holding. (The man doesn't move) Stay quiet and my partner here will dent your skull.\" White cop bangs his hands on the table: \"Hey! You listening?\"", "Black cop: \"My guess is you got yourself involved in something a little bigger than you expected. You got scared, you panicked, and in the end there was an officer on the floor. (Still nothing) Not to mention the body without a head. - Do yourself a favor and...\" The Guy finally straightens up and bangs a fist on the table. It's Wesley.", "Wesley: \"She shouldn't have been there. She didn't know! - I had to warn him. He didn't know what he was getting into. None of them did. If they'd known of them wouldn't... (Looks at the black cop) You didn't bring it here, did you? (Looks to the side, then gives a relieved smile) No. No, then it'd be too late for all of us. (Looks down at the table) He grabbed her hard - very hard. (Looks at the black cop) I'm quite good with the ladies myself, you know.\"", "Black cop: \"Just tell us what happened.\"", "Wesley: \"It all went horribly wrong.\" Blend into a blonde body slipping to the floor, released by a vamp-faced Angel with blood on his lips, blinking his eyes rapidly. Intro. Back on Wesley staring straight ahead.", "Wesley: \"None of us knew the effect it would have - until it was too late. - I tried to stop him - but I got hit... and I fell... and when I looked up - he had her. He was holding her, then - she was on the floor. - If we'd found out sooner, I would have stopped him. I would have.\" Black cop leans into Wesley's face: \"Stopped who?\"", "Wesley: \"He should never have *been* there! Of all people he should never... You don't tell *him* what to do. He's the boss.\"", "White cop: \"The boss?\"", "Wesley: \"He helps people, you know? - When he's not in trouble himself. Cordy and I tried to get him out of there. She was with me. (Looks up) Oh God. - Cordelia?\" The Hyperion lobby.", "Wesley: \"What happened to your hair?\" Cordy touches her now shoulder-length. black hair: \"Excuse me?\"", "Wesley: \"Your hair. It's new... - it's great! (Cordy smiles) When did this happen?\"", "Cordy, smile gone: \"Ten days ago.\"", "Wesley: \"Of course! I didn't want to embarrass you by...\"", "Cordy: \"...noticing? - Nice suit.\"", "Wesley: \"I was just on my way out to...\"", "Cordy: \"...yet another glamorous, celebrity filled gala with Miss Virginia Bryce? (Pretends to yawn)\"", "Wesley: \"Have you seen Angel? I thought I might check on him. He doesn't seem to be doing much with his time lately.\"", "Cordy: \"Au contraire. His day is packed. Brood about Darla. Brood about Darla. Lunch! -followed by a little Darla brooding.\"", "Wesley: \"Right. Enough is enough. (Moves towards the stairs) I'm gonna march up there and tell him just that.\" Wesley stops, staring at the stairs.", "Cordy: \"Nice posturing!\"", "Wesley: \"Thank you!\"", "Cordy: \"Anyway he's not there. Gunn's cousin got involved in something pretty big. Big meaning illegal. So Angel and Gunn went to see if they could help.\"", "Wesley: \"That's good! He's getting out. Something I'm gonna do myself right now.\"", "Cordy: \"A-huh, time to traipse off to your shallow, soul-sucking Hollywood party?\"", "Wesley: \"Premier, actually. And - I happen to have an extra ticket...\"", "Cordy with a smile: \"Who does shallow better than me?\" Puts her hand on his arm as they leave together. Gunn and Angel are leaning against the hood of Angel's convertible looking at the black kid standing in front of them.", "Lester: \"He's cool, right?\"", "Gunn: \"He's cool.\"", "Lester: \"You know, not that I'm prejudiced. I just hate vampires.\"", "Angel: \"You're enlightened, I can tell.\"", "Lester: \"See? See how they do? See man? They-they mess with your mind, man! That's the whole reason I called you, G...\"", "Gunn: \"...is 'cause you got a vampire problem, and Angel has a little experience in that area. (Lester stares at Angel) Yo, spill it! We ain't got all night.\"", "Lester: \"I-I sort of said I'd take this job drivin...\"", "Gunn: \"A-huh.\"", "Lester: \"...for that big time crew. I never met them but E. J. vouched for me, and now I'm thinking...\"", "Gunn: \"...you'd like to stay out of prison.\"", "Lester: \"Well, yeah, there is that. Then-then I heard they were bringin' in this-this psycho vampire from Vegas. And like I said, man...\"", "Angel: \"What's the job?\"", "Lester: \"Takin' off some museum. Don't know which one.\"", "Angel: \"What are they after?\"", "Lester: \"Something big. Supernatural. It's going down later this week, but I'm supposed to meet the head honcho tonight, and if I don't show... E. J. said if they don't hunt me down and kill me he will!\"", "Gunn: \"Where's the meet?\" Lester looks around then pulls out a piece of paper. Both Gunn and Angel reach for it, but Gunn is the one that gets it.", "Angel: \"Psycho vampire got a name?\"", "Lester: \"Yeah, uh, E.J. said it-it's something like, uh, Jee-don, or Joe-don...\"", "Angel: \"Jay-don.\"", "Lester: \"Yeah, that's it. Yeah, yeah, he's comin' here for the meetin' tonight. They're picking him up.\"", "Angel: \"Where?\"", "Lester: \"Downtown bus, midnight. (To Gunn) Hey, what am I gonna do?\"", "Gunn: \"Take the meeting. I'll get you out before the crime goes down.\"", "Lester hugs Gunn: \"I owe you big time, cous. Hey, man! (To Angel) *Nice* to meet you. (Laughs. To Gunn) See you!\" Hurries off.", "Gunn looking at the paper: \"You know this Jay-don bloodsucker?\"", "Angel: \"I know of him.\"", "Gunn: \"And?\"", "Angel: \"And he's a player, big on the nightlife and way too dangerous for you. I'll take it from here.\"", "Gunn: \"You'll what? - That's my cousin's life we're talking about.\" Angel takes the paper away from Gunn and reads it: \"Which I don't want you jumping in this thing, guns-a-blazing.\"", "Gunn: \"Since when do I take orders from you?\"", "Angel: \"Since I'm paying you.\"", "Gunn: \"This ain't no paying gig. I brought it to you.\"", "Angel: \"And I'm taking it from here. If I can shut it down, great. If not, I'll protect him.\"", "Gunn: \"And what am I supposed to do? Sit home and knit?\"", "Angel: \"I could use a sweater. - Something dark.\" Angel gets into his car and drives off as Gunn shakes his head. Angel's car pulls up in front of the Hyperion. A blonde walks through Angel's dimly lit suite. Angel walks in, sees her back.", "Angel: \"Darla?\"", "Kate: \"You expecting her? Because that would really cut down on my legwork.\"", "Angel: \"What are you doing here?\"", "Kate: \"Well, there is that little thing about a murder she was involved in? You remember, a few weeks ago a guy got his throat ripped out? I'm sure you're gonna tell me she's innocent.\" Angel just walks past her, not answering.", "Kate: \"Maybe not. I don't suppose you'd testify against her in a blindingly sunny court of law?\"", "Angel: \"I don't suppose you have a search warrant?\" Kate pulls out a wooden cross, the end of it's long beam sharpened into a stake.", "Kate: \"Well, I knew I forgot something.\"", "Angel: \"Darla's not here. I don't know where she is.\"", "Kate: \"I will find her, Angel, you can be sure of that. And when I do, she's toast.\"", "Angel: \"She's human now, remember?\"", "Kate: \"Toast with life in prison.\"", "Angel: \"Listen, Kate, (He steps closer, she holds her cross up, and he gives a chuckle) there are forces at work here that you know nothing about.\"", "Kate: \"Gathering storm, is it?\"", "Angel: \"Which you don't want to get caught in.\"", "Kate: \"You afraid I'll get hurt?\"", "Angel: \"No. I'm afraid you'll get killed. - I'm just telling you this so you won't.\"", "Kate: \"Me dead. - I guess I'd kind of be like you then, wouldn't I? - You think I'm gonna stand by while you and your playmate finish the game?\"", "Angel: \"Lets try this one more time, huh? (Sends her cross flying (it sticks in the wall) and grabs a hold of her) You get stuck between me and Darla, it'll be the last thing you ever do.\"", "Kate: \"Let go of me!\" He does. They look at each other for a moment then she turns and walks out. Cordy, a big red stain down the front of her white blouse, walks into the lobby, followed by Wesley.", "Wesley: \"Really, the stain - it's hardly noticeable!\"", "Angel sees Cordy: \"What happened?\"", "Cordy: \"It's not blood it's cocktail sauce, courtesy of Mr. Star-schmoozer here.\"", "Angel: \"I mean to your head. Your - your hair. (She gives him a look) It looks great. (Chuckles) When did this happen?\"", "Wesley: \"Ten days ago! Pay attention.\" Cordy looks at Wesley, gives a short laugh then steps around the reception counter.", "Angel: \"Why doesn't anybody tell me any of this stuff...\"", "Wesley: \"We had a little mishap. With the little shrimp - and the sauce - and her dress.\"", "Angel: \"You were at a party.\" Cordy popping her head up from under the counter: \"You know, party, soiree, night of a thousand humiliations...\"", "Wesley: \"I spilled it on her in front of Mr. Fat Chow - Chow...\" Cordy pops up above the counter: \"Chow Yun Fat!\" then ducks back under it.", "Angel: \"What, you met Chow Yun Fat?!\"", "Wesley: \"How did it go with Gunn's cousin?\"", "Angel: \"Fine. A group of... (looks towards the counter) Cordelia?\"", "Cordy: \"Listening.\"", "Angel: \"Uh, a group of thieves is planning to steal something from a local museum. Probably something with mystical power, which means something we really don't want them to have.\"", "Wesley: \"Indeed! Do you know which museum they will be targeting?\"", "Angel: \"No. Gunn's cousin didn't know. He's just the driver.\"", "Wesley: \"We should find out which museums in the area have recent acquisitions. This is wonderful! (Gives a big grin) You're - You're on a case! You're back.\" Angel blinks his eyes as Cordy pops back up from under the counter, now wearing a black top.", "Cordy: \"Yeah! It'll be just like old times, right Angel? Meeting evil, face to face - kicking evil's booty! Wes and I'll crank up the research machine and you'll... - What will you do again?\"", "Angel: \"They're bringing a vampire in from Las Vegas tonight. His name is Jay-don. He's got a rep. If he's involved it's a big heist.\"", "Wesley: \"I've heard of him. Isn't he a...\"", "Cordy: \"...deadly killer?\"", "Wesley: \"Well, that, of course. I was about to say a loud, flashy sort of character.\"", "Angel: \"Well, he ran with the whole Sinatra rat-pack thing. Never got over it. You know, I think I'll meet his bus.\"", "Cordy: \"And take his place? (Claps him on the shoulder) Great plan, boss! (Angel turns to look at her and she steps back to stand beside Wesley) What better way to get your mind off... things we don't even need to... (To Wesley) How loud and flashy?\"", "Wesley: \"I believe he is quite the extrovert.\" They turn together to look at Angel.", "Cordy: \"Hmm...\"", "Angel after a beat: \"What?\"", "Wesley: \"Oh, I-I'm sure you can pull it off. You're - colorful.\" Bus pulls into the downtown station. A guy wearing dark pants and a red jacket dust himself off and adjusts his sunglasses. Angel laughing, comes up behind him.", "Angel: \"This is such an honor! I'm a big fan, you know? (Bounces up and down) When the boss said that Jay-don was coming in I was just like \"Whoa, wow!\" Hey, can I see the glasses?\" Angel reaches for them, but Jay-don wards him off.", "Jay-don: \"No one touches the glasses or the hair, doll.\"", "Angel laughs: \"Yeah, right, doll! You got it. That's cool. Oh, oh, I'm supposed to ask you something (bounces up and down) Oh, what is it? (Hits his forehead with one hand) Oh, god, what is it? (Pulls his hand down) Oh, yeah. (Looks around and licks his lips and crunches up his face) What's the password, huh?\"", "Jay-don: \"There is no password.\"", "Angel: \"Oh, (stretches his right hand straight down, triggering the stake hidden up his sleeve and stakes Jay-don while taking the glasses off his face and putting them on) Just checking.\" A bus driver checks to make sure the bus is secured. After he leaves a demon with long black hair and an ugly white face with red lesions steps up and crouches down to check the door to the busses cargo compartment.", "Demon: \"Jay-don.\" Angel, wearing a puke-green shirt, blue jacket and Jay-don's sunglasses comes up behind him and answers with a fake New York accent: \"What, you think I'm traveling luggage? Hey, how you doing? You look sharp. That plastic surgeon, he give you a big rebate?\"", "Demon: \"Let's go. The car is over here.\"", "Angel: \"Yeah, you know, the trip was fabo. (Pats the side of the bus) I love flying coach. (Sees the car and takes off his glasses) And what is that piece of junk?\" We see an old, somewhat beat up station wagon.", "Demon: \"You're funny, vampire.\"", "Angel: \"Whoa, whoa, we need to talk, bro. Two things bringin' in the chicks (puts on his glasses) the do' (adjusts his jacket) and the ride.\"", "Demon: \"Get in.\"", "Angel: \"I hope I don't see anybody I know.\" The station wagon pulls up in front of a garage. A spiny demon looks out of the little window at Angel and Ugly getting out of the car. Spiny motions to a human wearing a security guard uniform: \"He's got him!\"", "Guard looks out: \"Ah, vampires wig me.\"", "Spiny: \"You feel like a meal?\" Ugly slides the door open and Angel steps in, taking off his glasses.", "Angel to Guard: \"Don't tell me you must be (Indicates his nametag) Bob, the security guard. (Steps up to Spiny) and you're a great big - monster, aren't you?\"", "Ugly slides the door shut: \"This is Jay-don. - He talks too much.\"", "Angel: \"I'm a people person. (To Spiny) I like the shirt. Where'd you get that, at Ed's big and spiny?\"", "Spiny: \"He's funny. You're funny. You'll be even funnier when I crush your head.\"", "Angel: \"Funny 'ha, ha' or funny peculiar?\"", "Ugly: \"Shut up, all of you!\"", "Bob: \"Hey, I wasn't talking.\"", "Ugly looks around: \"Where is Lester?\"", "Angel: \"Yeah, where is Lester? We can't get the ball rolling without Lester! Who's Lester?\"", "Bob: \"The driver?\"", "Ugly: \"He should've already been here. I don't like this.\"", "Bob: \"Hey, he's E. J.'s guy. He'll show.\"", "Angel: \"I hate waiting. (Eyes Bob) You got anybody to eat around here?\" Bob backs away from him. A car door slams outside.", "Ugly: \"Finally.\"", "Angel: \"What kind of name is Lester anyways, huh? Norwegian? Finnish?\" Ugly slides open the door as Gunn comes up to it.", "Ugly: \"What took you so long?\"", "Gunn: \"What took me so long is I'm a professional. (Angel turns to look at him) I had to case the neighborhood, make sure no cops followed me. (Sees Angel) Looks like I'm the last one at the party.\" Ugly, Spiny and Bob are standing around a table. Angel and Gunn are leaning against something a little ways away.", "Angel quietly: \"I told you I'd handle this.\"", "Gunn: \"And I told you I don't take orders.\"", "Ugly looks over at them: \"Something wrong?\"", "Gunn: \"Depends. (Motions at Angel) Do we all got to wear these ugly ass shirts? (Angel looks at his shirt) Is this, you know, a team thing? Because, you know, I got my pride. (Steps up to the table) So what are we looking for? Ming-somethings? Egyptian-somethings?\"", "Ugly: \"The Shroud of Rahmon. Worth about 2 million on the black market. - Do you want to pay attention now?\" Angel and Gunn glance at each other.", "Gunn to Ugly: \"You got my undivided.\" Ugly points to a map lying on the table.", "Ugly: \"This is the access door. Bob turns off the alarm at 2:40. We enter, take this hall to the elevator, where we meet Bob at 2:45. We all go down together. - This is the vault where they keep it. The vault has a lock code known only by the curator. That means we have to blow it. Now, the door *has* no alarm, but the vault itself has its own system - a thermal sensor.\"", "Bob: \"Any change in temperature will set off the alarm.\"", "Angel: \"Guess that's where I come in, huh?\"", "Gunn: \"Oh, no body heat. I guess that comes with the no soul thing, huh?\"", "Ugly: \"Jay-don enters, he goes to the control box in the back and disarms it. - Then we're in.\"", "Angel: \"How big is the case?\"", "Ugly: \"Big. (Opens a book and points to an illustration) It's made of consecrated wood, the edges are sealed with gold. Inside the box is lined with lead. It weighs about a ton. It's gonna take all of us just to lift it.\"", "Spiny: \"I can handle my end. I'm not so sure about him.\"", "Bob: \"Hey, I can handle my side.\"", "Gunn: \"Yeah, maybe with a forklift.\"", "Bob: \"You want a piece of me, huh?\" Bob lunges across the table at Gunn but Angel pushes him back.", "Angel: \"Hey, hey, take it easy, huh? (Points at Gunn) This guy here is a troublemaker. Alright, I know a Vajnu demon, professional driver, never opens up his mouth.\"", "Gunn: \"Yeah, and I know a vampire that better shut his!\" Ugly watches Angel and Gunn", "Angel: \"Hey, guys, I apologize. This is something (hits Gunn and grabs him) that I should just take outside!\" Ugly pulls out to guns and aims them at Angel and Gunn: \"I've got a problem with that.\"", "Spiny: \"So do I.\"", "Angel lets go of Gunn: \"You expect me to spend the rest of this week with this clown?\"", "Ugly: \"No, just the rest of the night. We're not waiting. We're doing this now.\"", "Gunn: \"Tonight?\"", "Ugly: \"And no one leaves my sight until it's over. - Anybody tries, they get a bullet from me or (motions towards Spiny) a stake from him.\" Cordy is surfing the net.", "Cordy: \"Museums, museums. Okay, we've got the Moca. We've got the Lacma. Uh, the Gene Autry! (Wesley gives her a look) Well, it could be a magical stuffed horse!\"", "Wesley: \"Let's assume not, and try Natural History.\"", "Cordy: \"Okay, here we go. Site map - membership - museum shop... don't they have a section like - things you might want to steal?\"", "Wesley: \"Click on recent acquisitions. Right there. There!\"", "Cordy: \"I got it! Jeez, back seat surfer!\"", "Wesley: \"Angel should've been back by now.\"", "Cordy: \"Maybe the meeting ran late. (Points at screen) Could it be a collection of Chelicerate arthropods?\"", "Wesley: \"Keep going. - Hold it. 'On the third of this month, museum research department received the Shroud of Rahmon from a tomb recently unearthed by University of New Mexico archeologists.'\"", "Cordy: \"Okay. Two words I don't like right off the bat: tomb and unearthed. People, you've got to leave your tombs earthed!\"", "Wesley: \"Shroud of Rahmon. Have you ever heard of it?\"", "Cordy: \"I'm not big on shrouds. They're an after you die outfit.\"", "Wesley: \"Get everything you can from the museum database, I'll hit the books.\" A big white van with 'Rehak Moving and Storage' stenciled on the side backs up to the dock at the back of the museum. Gunn and Ugly get out of the cab and Spiny and Angel get out of the back.", "Angel: \"The driver should stay with the truck. Just in case somebody shows up.\" Ugly pulls a door open, revealing that the latch has been taped over with masking tape to keep it from locking.", "Ugly: \"We need him inside.\" Spiny follows Ugly inside. Gunn taps Angel on the arm.", "Gunn: \"Hey, don't hit me again.\" Angel takes off his glasses, quietly: \"I was trying to protect you.\"", "Gunn: \"And I appreciate that. (Hits Angel with a hard right) Don't do it again.\" Gunn walks in and Angel follows, putting his glasses back on. They meet up with Bob and ride the elevator down.", "Bob: \"We have one minute before Earl makes his rounds. (To Spiny) You don't have to hit him hard.\" Spiny smiles. Angel looks over at Gunn, who meets his eyes for a moment then looks straight ahead. They walk down the hallway. Spiny darts ahead into an alcove. Bob swipes his card through a security scanner. Earl comes up around a corner of the hallway, whistling, and Ugly pulls his gun and grabs Bob from behind.", "Bob: \"They got me, Earl!\" Before Earl can react, Spine come up behind him and throws him into the wall. As he steps up to hit him again Angel catches his arm.", "Angel: \"You kill him, cops will be all over us. We have to do this clean.\" Spiny pulls free and stares at Angel, but makes no move towards Earl. Ugly throws a roll of duct tape towards Bob, who catches it.", "Ugly: \"Tape him. (To the others) Let's go.\" They come up to the vault door and Ugly lays one hand against it.", "Spiny: \"Come on! Come on. Hurry up and blow it!\" Ugly is drilling a hole in the door, while Angel sprays water to cool the drill. Gunn is assembling the trigger. He and Angel stare at each other.", "[SCENE_BREAK]", "A police cruiser pulls up in front of a police station. White cop points at a picture lying in front of him on the desk: \"This one is a security guard at the Southern California Museum of Natural History. His name is Robert Skale. He's got a record. Small-timer. The other one (points at Ugly standing in the picture beside Bob) may or may not be one M. James Menlo, who likes to crack bank vaults. Our guess is they're putting together a heist, probably at the museum. (Pulls out another photograph) And we picked up this one earlier tonight. We couldn't make this guy until we ran him past Carlson. He said you knew him. (The picture shows Ugly picking up Angel at the bus station.) He's out of the scope of our investigation, but, uh, Carlson said you might be interested.\" The camera pans up from the hands holding the photo to Kate's face.", "Kate: \"I'm interested.\" Ugly is taking a small glass bottle filled with yellow liquid out of a padded box, his hand shaking a little, and moves to insert it into the hole drilled into the door.", "Spiny: \"You're taking too long!\" Everyone jumps.", "Gunn: \"Spine-man, chill. All right? This is nitro. The last thing I want is my body parts mixed up with yours!\"", "Spiny: \"We should have been in the vault by now.\" Ugly turns to yell at him: \"Shut up! (The nitro slips from his fingers) No!\" Angel stretches out his foot and softly catches the bottle so it comes to rest on top of his boot.", "Angel: \"Allow me.\" Balancing on one foot he slowly reaches down, takes the bottle and inserts it into the door. With all of them standing around the corner of the corridor, Ugly blows the lock out of the door. Wesley walks into the lobby reading from a book.", "Wesley: \"The shroud was woven by the head priest, said to have been driven mad by the demon himself. Once Rahmon was defeated the priest dyed the shroud with the blood of seven virgin women sacrificed on the first full moon. Then laid it upon Rahmon's body in order to prevent his resurrection.\"", "Cordy: \"Why is it always virgin women who have to do the sacrificing?\"", "Wesley: \"For purity, I suppose.\"", "Cordy: \"This has nothing to do with purity. This is all about dominance, buddy. You can bet if someone ordered a male body part for religious sacrifice the world would be atheist (snaps her fingers) like that.\"", "Wesley: \"The shroud supposedly absorbed Rahmon's power.\"", "Cordy: \"So, he who has the shroud has the power. You said Rahmon was a drive-you-mad kind of fella?\"", "Wesley reading: \"Mmmm...\"", "Cordy: \"I hate it when you do that.\"", "Wesley: \"Once in 1803 the shroud was removed from its casing.\"", "Cordy: \"And yuckiness ensued?\"", "Wesley: \"Well, yes. The entire population of El Encanto went insane, mothers and children hacking one another to pieces, men roaming the streets like rabid dogs...\" He turns the page to continue but Cordy stops him.", "Cordy: \"I get the picture. - So in order to take his mind off the torment that is Darla, we sent Angel after a box that makes you crazy.\"", "Wesley: \"Worst case scenario, we warn Angel off it before they steal the shroud.\"", "Cordy: \"Just as soon as he comes back - unless of course - they're stealing it right now.\" They look at each other, then run for the door. Angel enters the vault with Ugly closing the door again behind him. The big box from the book is sitting in the middle of it. As Angel passes it we hear some low whispering and see something come over Angel. He takes a deep breath and turns towards the box, eyes wide open. For a moment his eyes turn yellow as if he was about to change, but Angel shakes it off with some effort and his eyes turn brown again. Spiny is pacing outside the vault while everyone stares at the door.", "Bob: \"This shroud is gonna make us rich! I can feel it. Can you feel it? This is gonna be amazing!\" Angel looks past the coffin towards the control box, then down at the coffin. Steps closer to look down into it through a square glass window over the place where the demon's face has imprinted itself onto the shroud. He morphs into his vamp face.", "Gunn calling through the door: \"How's it going in there?\" Angel morphs back to human and stares straight in front of him.", "Angel: \"Everything's fine.\" Angel walks to the control box and yanks out some wires. A light outside the vault goes off and Ugly comes in wearing a smile. The others follow.", "Gunn: \"I feel something weird in here.\"", "Spiny: \"Humans always got to *feel* something about everything. And they always got to tell you about it. 'I'm so happy - I'm so sad - I'm so scared.' Makes me sick.\"", "Angel: \"Oh, now, I like it when they're scared! Makes them taste kind of - salty.\" Spiny gets right into Angel's face: \"Did I ask for your opinion, you overgrown leech?\"", "Angel squirms away from him: \"Oh, please! Altoids, aisle 4!\"", "Ugly: \"We don't have time for this! - Let's get it and go.\" We hear the indistinct whispering in the background as Gunn stares down at the image of the demon through the glass square.", "Gunn: \"When are they gonna start making some pretty demons?\"", "Ugly: \"On the count of three - 1...\" They all take a hold of the box and Gunn notices that Angel's eyes have gone yellow again.", "Gunn: \"You about to turn or something?\"", "Angel: \"No.\"", "Ugly: \"2\"", "Gunn quietly: \"You don't look like 'no.'\"", "Angel: \"Shut up and lift, Lester!\"", "Gunn: \"Don't give me orders, Elvis!\"", "Ugly: \"3.\" They all strain and lift the box up together. Wesley pulls open the taped backdoor and he and Cordy enter.", "Wesley: \"So it is tonight. They must be somewhere (some wave rolls over them) inside. Oh, I'm sorry - I'm - I'm feeling a little...\"", "Cordy: \"Me too. I think it's the altitude.\"", "Wesley: \"Right. The altitude here at sea level.\" They both crack up laughing.", "Wesley: \"Let's - let's not lose focus.\"", "Cordy: \"Maybe we should split up.\"", "Wesley: \"Ah, no, too dangerous. We - we better stick together.\"", "Cordy: \"Right.\" And with that they both go their separate ways. A slick silver car pulls up to the back of the museum.", "Kate: \"This is detective Lockley requesting backup. Got a possible 4-5-9 in progress at the museum of natural history.\" Kate gets out of her car, pulls her gun and walks up to the museum. The group is carrying the heavy coffin down the corridor.", "Angel: \"Try holding up your corner, Les.\"", "Gunn: \"Who died and made you corner monitor?\"", "Spiny: \"Are you two gonna get married or what?\"", "Gunn: \"Same old story. Vampires always pushing people around. Think the world is theirs.\"", "Ugly: \"From what I've seen of this world they can have it.\"", "Bob: \"Well, I visited Topkapi once.\" Gunn is staring at Angel, who's staring back at him.", "Gunn: \"Nothing but take, take, take - take your blood, take your sister!\"", "Spiny: \"Somebody shut that human up!\"", "Gunn: \"You want to take somebody, huh? (Lets go of his corner of the coffin) Lets see you take me!\"", "Bob: \"It's slipping!\"", "Ugly: \"Don't drop it!\"", "Spiny: \"Hold it! Hold it!\" Gunn tackles Angel and the box drops to the ground. The glass cracks and a purple mist seeps out.", "Bob: \"Oops.\" Angel had Gunn by the throat and is pushing him up against the wall.", "Angel: \"You know I'm getting pretty tired of this 'vampires killed my sister so now I'm all entitled' song. Don't you know anything else, like say MacArthur Park?\"", "Gunn: \"Get your hands off my throat.\" Again there is an indistinct whispering in the background.", "Angel: \"Ah, ah, ah! You're gonna play nice? - Huh?\"", "Gunn: \"Cool.\" Angel lets go of Gunn and he drops back to his feet.", "Ugly: \"We can't leave it here, we have to move it! Someone else will come along! Lets move it!\" Gunn pulls out a stake and attacks Angel from behind. Angel bats the stake aside and kicks him into the wall.", "Spiny: \"Kill him. Kill the human! Kill it!\" Angel cocks back his fist to strike Gunn again, but hears Ugly cock his gun and freezes, then takes a step back. Ugly lays the gun on the coffin.", "Ugly: \"Case.\" Bob pulls a rope out of Ugly's bag. The whispering is still going on.", "Bob: \"All righty, partners, it's roping time! Tonight I will be playing the part of the poor defenseless calf. Who gets to be the cowboy?\" Ugly takes the rope and starts to tie the guys hands behind his back.", "Bob: \"Just make it tight. Okay, cowboy? It's got to be tight. It's got to look real. Ha, ha, ha! I'm not the bad guy, I'm the good guy!\"", "Angel: \"I'm the good guy - no wait - the bad guy!\"", "Ugly moves towards the coffin: \"Pick it up!\"", "Bob: \"No, wait. You've got to hit me. - Look, somebody's gotta hit me! Come on, man, you got to hit me. Do it. Come on, make it real!\" Spiny walks over to him and twists his head right off, making Gunn flinch.", "Spiny to Bob's head: \"Looks real to me.\" He drops the head and moves back to his end of the coffin. Kate comes down some steps in the museum, gun in hand. A shadow flies across and she aims her gun at it while continuing down the steps. The shadow flies across above her, she spins around, firing in the air and knocking Wesley to the ground in the process.", "Kate: \"Where is Angel?\"", "Wesley: \"Angel? - Right. (Picks himself up and looks around) That's why I'm here - to warn Angel about - something (points at Kate and takes a deep breath) important! - Your hair!\"", "Kate: \"You're here to warn Angel about my hair.\"", "Wesley: \"It's blonde!\" There is a whoosh and he reaches up to his head in pain.", "Wesley: \"The shroud! He's got to know about the shroud! It will make everybody - it makes everybody - act differently!\" Cordy is admiring her reflection in a glass case.", "Cordy: \"My teeth are so - big! I - am - pleasant.\"", "Wesley: \"We have to hurry before it's to late.\" There is a whooshing sound again and Kate spins around, then grabs the bridge of her nose.", "Wesley: \"I noticed your hair right away.\" Taking a deep breath Kate drops her hand and turns back to him. She looks around but he is nowhere to be seen. Cordy sees a gray puppet wearing a Native American costume.", "Cordy: \"Oh. Hello, plastic person. You're all by you're lonesome in here. (Sees its necklace) So, (Whispers) I guess you won't be needing this.\" She takes the necklace off then puts it around her own neck. Angel, Gunn, Ugly and Spiny carry the heavy coffin out of the elevator.", "Ugly: \"Fingerprints!\"", "Angel: \"What are you doing?\"", "Ugly: \"We left fingerprints!\"", "Angel: \"What are you doing?!\" Ugly lets go of his corner snatches up a rag from his bag and starts to frantically wipe at the walls of the elevator.", "Ugly: \"They'll find us. They'll take it away!\"", "Angel: \"Forget him. Keep going.\"", "Ugly: \"No fingerprints!\" The move a little ways further down the hall.", "Gunn: \"I got to put it down.\"", "Spiny: \"Huh?\"", "Gunn: \"I got to put it down!\"", "Spiny: \"See? Stinking humans, good for nothing!\"", "Angel: \"Try to keep going.\"", "Gunn: \"I can't. I can't. My head - it's full of flies!\" Gunn sets his corner down, grabs his head and backs against the wall.", "Gunn: \"Get away from it. Get away from it!\" Spiny moves to the side of the box: \"I don't need any of you.\"", "Angel to Gunn: \"What's wrong now - son, huh? Getting a little tired? Little backache? A little toothache? (The whispering gets louder, Angel's eyes go yellow again, and he lifts a hand to his head) What...?\" Wesley comes stumbling along the wall of the corridor.", "Wesley: \"Angel? Thank God I found you (Angel turns to look at him, eyes still yellow) in time. Is it in time?\"", "Angel: \"Wesley?\"", "Wesley: \"Yes! I had a message for you. And the message was... (hits his hand with his fist) the shroud! The shroud, very dangerous. It makes people - bad! Although it's amazing how good I feel!\" Angel grabs him by the front of his shirt and pushes him down the corridor.", "Angel: \"Wesley, get out!\"", "Wesley: \"Is that Gunn? What's he doing here? I never thought of him as the museum type.\"", "Angel: \"Wesley - Wesley...\" Kate whips around the corner aiming her gun at them: \"Police! Nobody move!\" Angel squints at her with his yellow eyes.", "Angel: \"Wow! - Look at you - rushing in here all by yourself! You're the best cop ever.\"", "Spiny: \"Too many humans.\"", "Angel: \"Excuse me that is *my* girl.\" Kate aiming her gun at Angel: \"Stay back.\"", "Angel: \"Whoo! Okay. (Laughs) You got me. My life of crime is over. (Spiny watches as Angel, hands up in the air slowly steps closer to Kate) I'm going down. But first - a little impression. (Laughs) I'm a cop- with a mission to protect the innocent and rain on everybody's parade and obsessed about my father's death and bother people who are about to steal things!\"", "Wesley: \"Angel...\" Angel spins around, knocking Wesley into the wall, then turns back to Kate.", "Angel: \"Oh - Katie - what are you so afraid of? - Is it this? (Morphs into vamp face) Is it the part where I'm gonna kill you? Because I got to tell you I love that in a woman!\" Kate shoots at him, but he rushes her, grabs her, pointing her gun up at the ceiling and sinks his fangs into the side of her neck. The swat team Kate called in for back up enters the museum through the taped backdoor, guns at the ready, and spread out to search the museum. Two of them find Wesley crouched over a motionless Kate.", "Swat: \"Don't move! Police!\"", "Wesley: \"Oh, I-I didn't...\"", "Swat: \"*Don't* move. Stay where you are.\" The swat guy leans in closer and sees the bite mark on the side of Kate's neck.", "Swat: \"Oh my God!\"", "Wesley: \"Kate, come on. Wake up!\"", "Swat to walkie-talkie: \"We have an officer down.\" The other swat guy pulls Wesley off of Kate rather roughly. The moving van crashes into one of the cars parked in the lot in front of the garage. Gunn, Angel, Ugly and Spiny carry in the coffin with Angel chuckling maniacally. They set it down.", "Gunn to Angel: \"You drank her. - Animal! You drank that cop!\"", "Spiny: \"What now?\"", "Ugly: \"Open it.\"", "Angel: \"Oh, that's genius! Good thing we didn't think about that back at the ol' museum and miss out on all this *swell* heavy lifting!\"", "Ugly: \"Open it! There is a catch.\" Ugly runs his hands along the coffin's lid, but Spiny just punches his fist through the glass window, rips the lid right off and throws it aside.", "Gunn: \"That works too.\" The whispering gets louder and is now joined by some laughter and a soft whooshing sound as the four of them step closer to the coffin and look at the shroud wrapped body inside. Angel looks slightly wigged, Gunn is smiling. Ugly is shaking and reaches for the shroud.", "Ugly: \"I got it! I got it!\" Spiny pushes him away from the coffin: \"No! No! You don't know what this means. You have no idea what this is about. It belongs to my people. (Hits himself on the chest) MY people.\"", "Gunn: \"Your people? I didn't see none of your people when we was hauling this thing!\"", "Angel: \"Hey, fellas! Fellas! - Cool your jets, alright? There is plenty here for all of (he hesitates and we hear that whooshing sound) me!\" Each of them grabs a hold of one corner of the shroud and tries to pull it away from the others.", "Angel: \"Okay, how does this work, huh? Huh? The person with the biggest piece gets their wish?\"", "Ugly: \"No!\"", "Spiny: \"Don't hurt it!\"", "Angel: \"What about you, Lester? All of a sudden you want it too?\"", "Gunn: \"I get this, I'll kill you.\"", "Angel: \"Yeah, too bad, kid. Tell your wishes it won't come true.\" Ugly pulls out his gun and shoots Angel. Spiny hits Ugly with a hard right, sending him to the floor. His gun goes off again and Gunn ducks down beside the coffin. Spiny grabs the shroud pulls it away from Angel, almost pulling him into the coffin. Angel catches himself with his face only inches away from the skull of the demon. Spiny runs towards the door. Angel tackles him in one incredible leap before he reaches it and gets the shroud away from him. Gunn snags the other end of the shroud and tries to pull it out of Angel's hands. They stare at each other as they work their way hand over hand towards the middle. Spiny jumps back up.", "Spiny: \"It's mine!\" He runs towards them, but Ugly gets off one last shot in their direction, hitting Spiny in the forehead. Spiny's body drops onto the shroud held between Gunn and Angel, and all three of them topple tot he ground with Gunn at the bottom and Angel on top. Gunn still clutching the shroud with all his might: \"Got it. Got it. Got it!\"", "Angel: \"Wait! Wait. Gunn, I remember. You have to - trust me. I know what to do with this. Have faith, kid.\" Gunn lets go of the shroud. Angel stumbles out of the door of the garage carrying the shroud and Bob's bottle of Whiskey. He drops the shroud and pours the whiskey over it. We can hear the whispering and laughter again as Angel stares down on the image of the demon's face on the shroud. He pulls out a lighter, and flicks it. Stares at the flame, looks down at the shroud. The lighter tumbles from his hand in slow motion. Angel watches the flames, breathing hard. We still hear the whispering. Angel slowly takes a step back. Suddenly there is a soundless explosion, the flames shoot straight up, Angel flies through the air and against a stack of cement bags behind him, then lands in a heap. The whispering has stopped. The flames die back down and Angel lies there, barely lifting his head of the ground, watching the shroud burn.", "White cop: \"You want us to believe - that a magic sheet...\"", "Wesley: \"A shroud! A shroud.\"", "Black cop: \"Right. Right. Right. It turns people into super strong lunatics, right? (Wesley sighs) So, one rips the head off a guard and another viciously attacked Detective Lockley. That about it?\"", "Wesley: \"I know how it sounds...\"", "Black cop quietly: \"I really don't think you do.\" White Cop gets up and steps towards Wesley.", "Wesley: \"What are you doing?\" White cop grabs him under the arms from behind and pulls Wesley up out of his chair.", "White Cop: \"Arresting you.\"", "Black Cop: \"For the murder of the guard and the attempted...\" The door opens and Kate steps in. She locks eyes with Wesley.", "Kate: \"Let him go.\" The camera pans over Kate's desk and a picture of her father sitting there then up to show Kate standing in front of the window beside her desk looking out at the night through the open blinds. Angel's bite mark is clearly visible on the right side of her neck. She covers it with one hand and we flash back to Angel grabbing her, divert her shots towards the ceiling and sinking his teeth into her neck. We hear him drink, then he turns so she can see over his shoulder that Ugly has his gun trained on her.", "Angel whispering in her ear: \"Stay down or they'll kill you.\" Angel lets go of her and she drops to the floor. She looks up at his bloody vamp-face for a moment then her eyes slide shut as Angel turns to look around and chuckles as Ugly lowers his gun. Kate's head rolls to the side and the picture fades into a negative image then back to Kate slowly taking her hand away form her neck and turning around. Wesley paces in front of the stairs in the Hyperion's lobby with his hands buried in the pockets of his gray sweat pants. He goes to sit down on the sofa beside Cordy, who has changed her clothes as well, but is still wearing the Native American necklace she out around her neck at the museum.", "Wesley: \"I don't think he's coming down.\"", "Cordy: \"Hmm.\"", "Wesley: \"I don't think recent events did him a lot of good.\"", "Cordy: \"Again a hearty - hmm.\"", "Wesley: \"We had every good *intention* of course.\"", "Cordy: \"Right. Sending him into the path of a crazy-making, one-way-ticket-to-evil-town death cloth. - Good plan.\"", "Wesley: \"It's not the shrouds effects on him that worry me as much as...\"", "Cordy: \"As what? (Wesley looks over at her and she looks back at him with big eyes) My stealing? I returned everything. I swear.\"", "Wesley frowns slightly: \"Angel drank human blood, from a living person. - Something he hasn't done in a *very* long time.\"", "Cordy: \"So, on top of everything else we may have reawakened his bloodlust?\"", "Wesley: \"Yes.\"", "Cordy: \"Hmm. - Full days work then.\"", "Wesley: \"I think so.\" They both get up at the same time and leave, turning off the lights. Angel sitting in a chair in his dimly lit suite - leans back his head with a sigh. He closes his eyes and we blend into a shot of him sinking his teeth into Kate's neck. We hear Kate pant as he drinks, and see his pale hand flex as he holds on to her shoulder.", "FADE TO BLACK" ]

[ "After firing his friends, Angel sets off on a mission to stop Dru and Darla. Wes, Cordy and Gunn are feeling lost and hurt. They end up at Caritas and eventually discover that they just might be able to make it on their own. Meanwhile, Lila and Lindsey deal with the aftermath of being the only two survivors of the wine cellar massacre." ]

[ "[PREVIOUSLY_ON]", "Host: \"How about gracing us with a number?\"", "Wesley: \"The Host, he helps people. Reads their souls, senses their futures.\"", "Cordy: \"But he can only do it when they sing Karaoke.\"", "Angel: \"They brought her back. Now I need to know why. Why like this? Why human?\" Angel holds Darla at the end of \"The Trial\", Lindsey burst in and Dru vamps Darla. Dru and Darla at the wine cellar (\"Reunion\").", "Darla: \"I believe you said something about - a massacre.\"", "Lilah to Angel: \"For God's sake. Help us.\"", "Holland: \"People are going to die.\"", "Angel, closing the doors: \"I just can't seem to care.\" Darla bits Holland. Angel locks the doors.", "Wesley: \"What you did...\"", "Cordy: \"...was wrong.\"", "Gunn: \"You went too far.\"", "Wesley: \"Right now the three of us are all that's standing between you and real darkness.\"", "Angel: \"You're all fired.\" Cordy and Wesley, each carrying a box, and Gunn with his hands in his pockets walk out the door of the Hyperion.", "Cordy: \"What just happened? (Turns around to face the other two) Can someone explain to me - what just happened here?\"", "Wesley: \"I believe we were fired.\"", "Gunn: \"Canned.\"", "Wesley: \"Let go.\"", "Gunn: \"Axed.\"", "Wesley: \"Shown the door.\"", "Gunn: \"Booted.\"", "Cordy: \"Alright! I get it! - But - wh-what just *happened*? - Fired? Angel *fired* us?\"", "Wesley: \"Looks that way.\"", "Cordy sets her box down: \"Uh. I can't believe this.\"", "Wesley: \"Let's keep a level head, shall we? - Angel's not been himself lately. Perhaps he'll change his mind.\"", "Gunn: \"He locked twenty lawyers into a room with a couple of psychotic vampires. I'd say his mind is changed enough.\"", "Cordy: \"Darla. It's all about Darla. One thing you can say about Angel at least he's consistent. It's always some little blonde driving him over the edge. - (sighs) What are we supposed to do now?\"", "Gunn: \"I think I'll grab a burrito before I had home. (Cordy and Wes look at him) What?\"", "Wesley: \"No, no. By all means, if you're hungry.\"", "Gunn: \"Hey, this was just a side gig for me, alright? The extra cash was nice while it lasted, but - Angel wants to go all commando? Hm-mm. No skin off my nose.\"", "Cordy: \"Well, my nose skin is angry - and hurt! And...\"", "Wesley: \"..disappointed?\" Cordy nods.", "Wesley: \"I won't pretend to understand Angel's reasons - but maybe he needs to be alone right now. - And the best thing that we can do for him - is to let him be.\"", "Cordy: \"Alone.\" Wesley nods. After a moment Cordy picks up her box and the three of them head off in different directions. Angel is moving boxes around in the basement. As he sets one down the top flips off. Angel picks the box up and looks at its contents. The topmost paper inside of it is a portrait sketch of Darla. He takes the box over to the incinerator, opens the door to reveal the fire burning inside it. He picks up the stack of sketches, looks at Darla's picture for a moment, then tosses the stack into the flames and shuts the door. Intro. The basement of the Hyperion. Angel is doing pull-ups on the pipes. Then we blend into him doing assorted other exercises.", "Angel voice-over: \"I'm not ready yet. Too many years spent sleeping in soft beds - living in a world where I don't belong. - I can't fight them. Not yet. - But soon.\" Holland's wine cellar. The camera pans over a mass of corpses littering the floor. Finds Lindsey, half buried under other bodies. His eyes open, and after a moment he struggles to free himself from the mass. Flash cut to Lindsey sitting in a chair in the cellar.", "Paramedic: \"You've just been through a very traumatic experience. Really, sir, you should be in a hospital.\"", "Lindsey: \"She saved me.\" Paramedic as he is taking Lindsey's pulse, while others are putting the corpses into bodybags in the background.", "Paramedic: \"That maybe true, sir, but you should still be checked out by a doctor.\"", "Lindsey: \"There has to be a reason - why I'm the only one left alive.\"", "Paramedic: \"You're in shock. You need to see a doctor.\"", "Lindsey with a slight smile: \"I'm the only one left.\"", "Man in the background: \"Hey, we got a live one here.\"", "Lindsey: \"We do?\" Lindsey gets up and sees to paramedics help Lilah to her feet.", "Lindsey: \"Lilah.\" Virginia is sitting on the bed in Wesley's apartment.", "Virginia: \"You got to be kidding me. He fired you? He can't fire you! You're on a mission to protect the innocent. You can't fire someone on a mission. What did he say, exactly?'", "Wesley taking off his jacket: \"You're fired.\"", "Virginia: \"Oh. Well, can you file a grievance with the union?\" Wesley starts to put the stuff in the box away.", "Wesley: \"Virginia, I'm not in a union. I'm a... - I don't even know what the name of my job is! - Was.\"", "Virginia: \"You're a renowned specialist in, in supernatural aid and rescue.\"", "Wesley: \"No, I'm just... - renowned?\"", "Virginia: \"Well, to me you are. You saved my life. - Although you should be in a union. My father always used union conjurers.\"", "Wesley: \"I didn't know that.\"", "Virginia: \"Oh, the wizard community is very progressive.\"", "Wesley: \"Your father tired to sacrifice you to the goddess Yeska.\"", "Virginia: \"Yeah, one of the many reasons why I'll never talk to him again. Although I'm healing, thanks to a lot of therapy - and a gigantic trust-fund. - Hey, you know what it is? He's jealous!\"", "Wesley: \"Your father?\"", "Virginia: \"No. Angel. You had to impersonate him to rescue me and you're too good an Angel.\"", "Wesley: \"I don't think so. He fired Cordy and Gunn, too.\"", "Virginia: \"All of you? Why?\"", "Wesley: \"It has to do with - Darla being made a vampire again and hooking up with Drusilla and... The three of them have a very tangled past. - My guess is, he'll be hunting them down and he doesn't want anyone in his way.\"", "Virginia gets up: \"Well, his loss it the worlds gain. You'll get another job just like that! (Snaps her fingers) What else can you do?\" Virginia smiles at him while Wesley thinks.", "Wesley: \"Not much.\" Angel is in the basement, practicing with a sword.", "Angel voice-over: \"When Wolfram and Hart take a life - they do it at a distance. - I don't have that luxury.\" He stabs the sword down into the floor and kicks the punching bag of its chain.", "Angel voice-over: \"It's time.\" Angel, wearing his coat, leaves his apartment, takes one last look around and closes the door. He walks down the stairs, across the lobby and, turning the lobby lights off, goes down into the basement.", "Angel voice-over: \"I'm not on their level.\" Opens the trap door into the sewer.", "Angel voice-over: \"But I can get there.\" Descends into the sewer, then walks along its tunnels.", "Voice-over: \"And when I do, I'll be right up close. I'll bring the fight to them.\" Break. Wolfram and Hart's office building. Day. Lindsey leaning on the reception desk: \"No messages? No messages, are you sure? Check...(He breaks off and straightens up as Lilah comes walking up) Thanks.\" Lindsey turns to go and Lilah falls in step with him.", "Lilah: \"You're getting the big freeze-out, too?\"", "Lindsey: \"Lilah.\"", "Lilah: \"Oh, what's wrong, Lindsey? You bitter because your girlfriend didn't slit my throat?\"", "Lindsey: \"That might be overstating it. More like bummed.\"", "Lilah: \"Sorry to disappoint. I take it I'm not the only one feeling the lack of empathy around here.\" A vampire, walking next to a lawyer, stares at Lindsey's bruised face.", "Lindsey: \"What are you looking at?\"", "Lilah: \"No phone calls, no flowers. If I were the nervous type, I'd be nervous. But as it is, I'm just pissed.\"", "Lindsey: \"What do you expect, Lilah? We're the only survivors of the massacre, it's natural that we're under suspicion.\"", "Lilah: \"Yeah, you know what I don't like about suspicion? The part where they find us two weeks from now, dead in some freak accident.\"", "Lindsey: \"We did nothing wrong.\"", "Lilah: \"I'm sorry, have we met? Because I work for Wolfram and Hart. Responsibility has nothing to do with it. If they are looking for a scapegoat we might as well grow horns and start eating garbage.\"", "Lindsey: \"Scapegoat. Scapegoat, Lilah?! They're the one...\" Lilah puts a hand on his chest and Lindsey falls silent and glares at another lawyer, walking past them in the hallway.", "Lindsey, more quietly: \"They're the ones who wanted Drusilla brought in. I was following orders.\"", "Lilah: \"And you *honestly* think that matters? - Fine. Indulge your denial. Don't doubt for a minute someone's gonna pay, Lindsey, and we're the only ones left.\" Lindsey opens the door to his dark office and the two of them stop just inside the door.", "Lindsey: \"Not the only ones.\" Dru is sitting in the chair behind Lindsey's desk, while Darla is sitting on the edge of it.", "Darla: \"Lindsey. I've missed you. Close the door. (Neither Lindsey nor Lilah move) Sweetpea, if we wanted you dead, you'd have never have made it out of the wine cellar. - Now close the door.\" Lindsey closes the door.", "Dru: \"He's got cow eyes. Big and black. - Moo...\"", "Lindsey walks closer to Darla: \"You spared me. - Why'd you spare me, Darla?\" Darla walks the rest of the way to him: \"Do you really have to ask? (She leans in close to smell him) Hmm. I'm in love with you.\" They look at each other for a few moments, then Darla burst out laughing. Lindsey jerks his head a little. Dru and Lilah join Darla's laughter.", "Darla: \"Shut up, Lilah.\"", "Dru: \"Shh!\"", "Darla: \"Well, look at you two, such pretty scars.\"", "Lindsey: \"You've put us in a difficult position, Darla.\"", "Darla: \"Hmm, have I? - Smart young lawyers, (runs a hand up Lindsey's arm) hungry for their big break and whoops - boss gets eaten. Someone has to step in. Someone promising, pretty, with questionable ethics and twelve-hundred dollar suits that look good on the six o'clock news.\"", "Lilah: \"You think they'll promote him?\"", "Darla to Lilah: \"Or you. (Walks back to the desk) In any case, that's why you're here. I've decided to - keep the line of communication open between us and Wolfram and Hart.\"", "Lindsey: \"What for?\"", "Darla: \"I believe we can help each other.\"", "Lindsey: \"I don't think I understand. What is it exactly that you want, Darla?\"", "Darla: \"Power. See, Lindsey, during my stint as Wolfram and Hart's puppet, something occurred to me. I *loathe* being used. If I recall I sent you a fifteen-body-memo to that effect. We plan on being big players in this town, Dru and I. - And while you can't give me what I want, you have the things I need to get it. Money. Connections.\"", "Lilah: \"We're no good to you dead, Darla. The Senior Partners are looking for someone to blame for your massacre.\"", "Darla: \"But surely they wouldn't kill both of you. Seems like such a waste. - Well, I guess, whoever's left standing will be our liaison.\"", "Lindsey: \"Liaison to what?\"", "Darla: \"To the world above of course. In the meantime, we'll focus on the world below.\"", "Lindsey steps closer to Darla: \"This power - that you want - does it have a target? - You going after Angel?\"", "Darla jumps off the desk: \"Don't say that! - Not *everything* is about Angel, Lindsey. I just want to have some fun.\"", "Lindsey: \"Well, you see, I'm surprised. Because I though that you would make him your top priority.\"", "Darla: \"I spent two-hundred and fifty years without Angel. You think just because I went through a little human phase I'd go all gooey?\"", "Lindsey: \"No. - No, I thought you'd kill him.\"", "Darla: \"All in good time, my love. All in good time.\" The camera pans around a deserted intersection of two sewer tunnels, than up to reveal Angel crouched on some of the overhead pipes. A group of four vampires comes down one of the tunnels.", "Vampire, laughing: \"They were just waiting for us. All crouched and hiding in that little backroom. Generally I don't like to hit the fast food places. The people are all - greasy. But this was like - Christmas!\" Angel drops down onto the bragging lead-vamp, which manages to kick him off. Angel charges back in and proceeds to take all four of them on at once. Stakes one. Kicks another one and sends it flying up against the wall. Triggers his wrist stake and dust a second. The lead-vamp grabs Angel and pushes him against the wall, but when it tries to throw him against the opposing wall, Angel runs up the side of it. Using the vampire's hold as a pivot he lands behind it and drives his wrist stake into its heart. The last vamp tries to run off, but Angel tackles him to the ground, then pulls out his sword and beheads the vampire.", "Angel voice-over: \"I'm ready.\" He drops the bloody sword and starts to walk down the tunnel, taking off his coat and throwing it to the ground.", "Voice-over: \"I've got the moves. Now I need to know what theirs are.\" At the Caritas bar the Host is singing 'Voulez-vous coucher avec moi,ce soir?' Wesley steps up to the bar: \"A bloody Mary, please.\"", "Bartender: \"You want real blood with that?\"", "Wesley: \"Ah, no... bloodless, thanks.\" Wesley watches as the Host finishes his song to a lot of applause.", "Host: \"Thank you. Thank you. Okay, we'll take a little break and see who wants to come up and sing next.\"", "Wesley to himself: \"Steady on, Wesley. - Perhaps something by - Cat Stevens.\"", "Bartender: \"Your drink, sir.\"", "Wesley: \"Ah, thank you.\" He turns from the bar just as a woman in a dark coat walks past.", "Wesley: \"Gahh!\" The woman spins around. It's Cordy.", "Cordy: \"Wesley.\"", "Wesley: \"Cordelia. How... odd to see you.\"", "Cordy: \"Wh-what are you doing here?\"", "Wesley: \"Me? Oh, I just... came in for a drink.\"", "Cordy: \"Ah. Because only demon Karaoke bars - have those. (Gives him a push) You were gonna sing.\"", "Wesley: \"Sing? Oh, dear lord, no. No. - Uh, I merely... - what are *you* doing here?\"", "Cordy: \"Oh. Ah, well... I was, uhm... in the neighborhood?\"", "Wesley: \"You live fifteen miles away.\"", "Cordy: \"Yeah, well, you know L.A. It's all one really - big neighborhood.\"", "Wesley with a slight smile: \"I see.\" Cordy huffs and they sit down at the bar.", "Wesley: \"Come to find your destiny, have you? - And who's gonna help you with that?\"", "Cordy: \"Shanaia Twain or Madonna. I hadn't decided.\"", "Wesley nods: \"I suppose we're both rather at lose ends now that Angel has...\"", "Cordy: \"...pulled a total wig?\"", "Wesley: \"Quite. - I must admit, I'm somewhat embarrassed.\"", "Gunn from behind them: \"How do you think *I* feel?\"", "Cordy: \"Gunn. What are you... (Gunn looks at the floor) What happened to 'this was just a side gig?'\"", "Gunn: \"Hey, I got a rep to maintain, alright? I can't have you all seeing through my brusque and macho exterior.\"", "Cordy: \"Oh, heavens forfend!\"", "Wesley: \"So, I'll assume it's not Madonna, but what song were you going to sing?\" Gunn pats Wes on the shoulder: \"You wouldn't know it.\"", "Cordy: \"Well, I for one, would just like to point out the patheticness that is us. - This is all Angel's fault. I hope he's happy now. All alone in his demon world with no one to talk to.\" Merl (stoolie demon from Judgement) is suspended by a rope, head down, from a sewer pipe above a pool of water, and being dipped into it.", "Merl: \"I'll talk!\" Angel pulls him back up, waiting.", "Merl: \"But I'm telling you man, I don't know where...\" Dip.", "Merl: \"Is that how you get your rock off, you sick...\" Dip.", "Merl: \"All right, all right. Alright. I heard about your girls, Godzilla, Darcilla, whatever. Uh... they've been hitting all the underground hot spots. Looking for demons to join some, ah, crew they're running. That's all I know, man, I swear.\" Dip.", "Merl: \"Okay! Okay. Okay. You didn't hear this from me. But you know that little Bar-and-bite club on La Cienega and Washington? - Ah, that's the only demon haunt they ain't been to. Okay? Okay?\" Angel ties the rope off to a pipe along the wall.", "Merl: \"Hey, alright? Hey, hey, hey, you're gonna cut me down, right? (Angel walks off down the tunnel) You're not just gonna leave me hanging here, man? Hey! Hey! I'm spinning here, man. - Freaking vampires.\" At the bar and bite club. A fight is taking place between a green demon and a vampire, ringed by a crowd of demons watching and cheering. The demon dances around the vampire, hitting him. Finally grabs the vampire in a choke-hold (trying to rip his head off?). The vampire slaps the floor with his hand and the demon releases him. Rhythmic clapping interrupts the cheers for the winner. The crowd parts to reveal Darla, followed by Dru walking into the middle of the circle.", "Darla: \"Wow. That was something. But violence without victims, see, that's where you lose me.\"", "Demon: \"Who the hell are you?\"", "Darla: \"My name's Darla and this is Drusilla. We're new in town though some of you know us by reputation.\"", "Demon: \"I never heard of you before.\" Drusilla reaches up from behind him and casually rips off his ears. The demon drops to the floor with a scream, hands pressed to the sides of his head.", "Darla: \"Now you never will. I trust we have everyone's attention? - Good. We've come with a little proposition.\" From under the shadow of the hood of his gray sweatshirt a vamp-faced Angel glances over the shoulders of the demons in front of him at Darla. Break.", "[SCENE_BREAK]", "Darla: \"Me and my girl, we're not just the new thing in town - we're the only thing in town. And we're in the market for some... Well, one doesn't really want to use the term 'muscular slaves...' - Actually, one does. Unfortunately for most, we're only looking for the best. Those creatures who not only excel at devastation, but revel in it. Our crusade is one of malevolent joy.\" Angel moves through the demon crowd, head down. Dru gasps as he slips past the demons standing behind her.", "Dru: \"Eyes like needles.\"", "Darla: \"Dru, I'm working here?\"", "Dru: \"He sees you. Sees what you were. (Gasps and takes a step closer to Darla) You'll never be alone again.\"", "Darla: \"Stop! - J-just don't.\"", "Dru: \"He's watching you, my sweet, right now.\" Darla spins around and looks at the crowd of demons.", "Darla: \"Angel.\" Darla pushes into the crowd.", "Dru: \"He wants to punish us. He thinks we've been naughty. - He remembers when you were warm.\" Darla spins around to face Dru: \"Shut up, Drusilla!\" Dru turns away and Darla gives herself a little shake.", "Darla speaking hurriedly: \"Now, as I was saying, if you think you have what it takes to join us, auditions are tonight, here (pulls a business card out of her cleavage) at this address. Winners will have the opportunity to foment mass-destruction, losers will be gutted and left for dead. (Drops the card on the floor) Have a nice night. (Grabs a hold of Dru's arm and hustles her towards the door) Come on.\" Angel is standing in the alley behind the bar. Morphs into his human face and pulls he hood off. Leans his head back against a post.", "Angel voice-over: \"I'm not ready.\" Flash to Darla in the club saying his name and looking around for him.", "Voice-over: \"I can still feel her. - Her pain. - Her need. - Her hope.\" Angel takes a deep breath and walks off.", "Voice-over: \"I'm too close. - Too close to fight her.\" Wolfram and Hart's offices, night. Lindsey is getting ready to leave for the night. He picks up his coat and turns only to find Lilah standing in the open door.", "Lindsey: \"Lilah. (Sees the look on her face) Something happened?\"", "Lilah: \"I can't do it anymore, Lindsey.\" Lilah slowly walks in. Lindsey drops his stuff and closes the door.", "Lindsey: \"Do what?\"", "Lilah: \"The waiting. - I'm sitting in my office and - every time there is a noise or the phone rings... One of us is gonna die, Lindsey.\"", "Lindsey: \"Everybody dies, Lilah.\"", "Lilah: \"But not everybody ends up in a dog-food processing plant in San Pedro.\"", "Lindsey: \"May not happen to you, Lilah. You got a fifty fifty chance of surviving this thing, just like me.\"", "Lilah: \"That's not good enough. - There is a way out of this.\"", "Lindsey: \"How?\"", "Lilah: \"We don't wait for them to chose - one of us, we - chose each other instead. If we stick together we can beat them. We could leave (reaches out to caress Lindsey's tie) you and me, tonight. They'd have no choice...\"", "Lindsey: \"No choice but to hunt us down, which they would.\"", "Lilah: \"No. Not if we took files, as insurance.\"", "Lindsey: \"Take files?\"", "Lilah: \"Yes. (Takes a step closer) - Look. I've heard the rumors. We both know - that it worked for you once before. You knew - just what to take. And this time you won't have to assume any of the risk. You just tell me which files to steal and I'll get them. And then - we can get out of here. End this mess - together. - Are you in?\" Lindsey strokes the side of Lilah's face and leans in as if to kiss her, while his hand slips down into her blouse and pulls out - a wire. Lindsey speaking into the tiny microphone: \"But Lilah, I would never steal files from my employer. I'm shocked at the suggestion.\" With a snort of laughter Lindsey retrieves his jacket, portfolio and keys.", "Lindsey: \"Forget about the frame job, sweetheart. They're gonna kill who they're gonna kill. (Opens the door) Just take it like a man.\" Lindsey blows her a kiss and leaves. Cordy, Wes and Gunn are sitting around a table at Caritas.", "Cordy, voice slightly slurred: \"But see, that's what I'm saying. If Wesley hadn't been all shaking his finger...\"", "Wesley: \"No, no, no.\"", "Cordy: \"...and no, no, no, this *whole* Darla-thing would have just, you know, blown over.\"", "Gunn: \"What?!\"", "Wesley: \"Blown over? Angel is obsessed with Darla. Obsessions don't just blow over.\"", "Gunn: \"Right.\"", "Cordy: \"Well, you certainly didn't help by making him feel *guilty* about it. You shamed him into firing us!\"", "Wesley: \"You blaming this on me?\"", "Cordy: \"I'm not blaming... - Yes. I'm blaming you. *You* get the blame.\"", "Gunn: \"I don't know. If I'd had to listen to you two day in day out snipe, snipe, snipe, bitch, bitch, bitch. - I figure you all got of easy, because I would have killed you.\"", "Cordy: \"Ha. That's rich coming from Mr. 'I don't take orders - now where do I stick my ax?'\"", "Gunn: \"What is that supposed to mean?\"", "Wesley: \"Well, Gunn. You've never been very supportive of Angel's leadership role. I remember a certain shroud.\"", "Gunn: \"Hold up. Hold on, are you trying to tell me this is my fault?\"", "Wesley: \"Well, how is the man supposed to run a business if his employees won't follow directives?\"", "Gunn: \"Was one of his directives 'hire pansy-assed British guys?'\" Cordy suppresses a laugh.", "Wesley: \"My ass is not pansy.\"", "Host: \"Could I have someone bring you kids another round?\"", "All three: \"Yes.\"", "Gunn: \"What about her? Maybe if she'd had a couple more *visions* Angel would have been too distracted to think about this Darla-chick, huh?\" Wesley and Gunn clink drinks.", "Cordy: \"Earth to retards: you have an obsession you pretty much squeeze it into your schedule, no matter what!\"", "Wesley: \"Aha! So you admit it's an obsession.\"", "Cordy: \"No. - I mean, yes. But no.\"", "Wesley: \"Hypocrite.\"", "Cordy: \"Ass-pansy.\"", "Wesley: \"Don't call me that!\"", "Gunn: \"You two are driving me buggy. All you talk about is 'this is his fault, this is her fault...' You two wouldn't last ten seconds on the street...\" All three talk at once.", "Cut to the three of them arm in arm on the stage singing \"We Are the Champions\" by Queen.", "Cut to the three of them sitting around a table, the only ones left in the bar.", "Cordy: \"Vampires, sloth demons - you what's really, really evil? - Tequila.\" Wesley pushes some glasses to the side, making a face.", "Wesley: \"I need to be dead now.\"", "Host: \"Well, well, I can see the maudlin segment of tonight's binge is in full swing. (Takes off his jacket) Now, don't be blue. (Walks around the table) I was *very* impressed with your musical recitation of pain earlier. And when I say pain, I mean mine. (Comes to stand behind Cordy) Although props for singing your little hearts out.\"", "Cordy: \"Yeah. Our hearts were out. You, Mr. Big - Mojo-guy, are supposed to, uhm, give us guidance now.\"", "Wesley: \"She's right. We came, we sang, we... fought the urge to regurgitate.\"", "Cordy: \"So spill already. (To Wesley) Not you. - What are we supposed to do with our lives? (Makes a strange face, like she's about to yawn) Where do we go from here?\" Host folds his jacket into a pillow.", "Host: \"Oh - I'd love to tell you, sweetie. But - when the big guys talk, I shut my yap. (Holds his folded jacket behind Cordy's head) And they're about to get *real* chatty.\" Cordy throws her head back with a scream as she gets hit by a vision.", "Wesley: \"Cordy?\" Blurred flashes of a green demon and a girl.", "Wesley: \"Are you alright?\"", "Cordy: \"No!\"", "Gunn: \"What'd you see?\"", "Cordy: \"Ooh. Alley. Not too far from here. A demon is dragging a girl... She's hurt - bleeding...\"", "Wesley gets up: \"Let's go.\" Angel is in his basement, checking his wrist stakes and filling a gym bag with assorted weapons. The phone rings in the lobby. Angel walks towards the reception desk to reach - past the ringing phone to pick up an ax. He turns and heads out, ignoring the phone. Gunn, Wes and Cordy hurry down a dark alley.", "Cordy: \"I don't get it? Are we late? We didn't feel late in my head.\"", "Gunn pointing: \"Over here.\" There are splashes of blood on the ground.", "Cordy: \"It's hers. It's got to be hers. But where is she?\"", "Gunn: \"If we had Angel, we could track her.\"", "Cordy: \"He's also kill the big, spiny demon that took her. Did I mention that its teeth are about three inches long?\"", "Gunn: \"And us with no weapons? Man, I wish Angel was here.\"", "Wesley: \"Well, he's not! (They turn to stare at Wes) Angel's walked away from his duty. We're not going to.\"", "Cordy: \"So how do we find her?\"", "Wesley: \"We start with basics. (Walks over and crouches down by the blood) First we examine the area for any tell tale signs for a particular kind of ...eew.\"", "Gunn: \"There's different kinds of yuuch?\" Wesley pulls his hand away form where he had used it brace himself against the wall. It's covered with blood.", "Wesley: \"No, look.\" There is a streak of blood going up the wall next to a drainpipe, leading to a busted window.", "Gunn: \"He took her up there.\"", "Cordy: \"But the building is abandoned. The front door was all chained up. How are we supposed to...\" They all look at the drain pipe, then up at the window. Darla and Dru are coming out of a demon bar.", "Dru: \"I didn't like that barkeeper. Hmm, can't get his eyes of my fingers.\" Dru licks her fingers.", "Darla: \"That was the last one. It's nearly midnight now. We should get to the factory.\"", "Dru: \"My little bird is anxious.\"", "Darla: \"Yeah, well, recruiting a legion of demons is stressful, Dru.\"", "Dru: \"He won't leave, you know.\"", "Darla: \"I don't wanna hear this.\"", "Dru: \"We could have a thousand soldiers and still he'll come, galloping, galloping, still he'll come.\"", "Darla: \"Why is everybody trying to make this about Angel?! I mean, for God's sake, can't a woman wreak a little havoc without there being a man involved?\"", "Dru: \"You miss him, like a heartbeat.\"", "Darla: \"I don't miss my heartbeat, Dru. It was a symptom of a disease I've since been cured off. - You know, in a perfect world, Angel would be here right now, helping me burn this city to the ground. This is his job I'm doing. But where is he? Probably flogging himself in a church somewhere.\"", "Dru: \"Ooh, flogging! Eew, churches.\"", "Darla: \"In a perfect world we'd be slaughtering the innocent. Laughing as we rain destruction on this whole miserable town.\"", "Dru: \"I see such pretty fire.\"", "Darla: \"Fire. Conflagration. In a perfect world there'd be nothing left here but ashes.\"", "Dru laughing: \"And pain. So much suffering. (Begins to sway) The flames are lovely. They dance, and the fire licks like a cat. And the screams, oh, it's like star music.\"", "Darla: \"That's nice, Dru. Now hurry up. We can't be late.\" Angel walks up to an abandoned building. Slides a big garage door to the side to reveal an assortment of different demons waiting inside. Angel's weapons bag drops in slow motion to the ground and he twist the ax in his hand. Gunn is helping Cordy climb into the building through the window.", "Cordy: \"Uh, it's always the same. A smelly, old, abandoned building. Are there no demon hideouts in Beverly Hills?\"", "Wesley watching the room: \"Several in matter of fact... Look. Over there.\" We see a body lying motionless on the floor.", "Cordy: \"That's her. But where is the...\" Cordy screams as the demon of her vision drops down from overhead, right in front of them. Break. The demon knocks Wesley to the floor then jumps on Gunn.", "Wesley to Cordy: \"Get her out of here.\" Wesley picks up a 2x4 and knocks the demon off of Gunn.", "Cordy to girl: \"Come on, we got to get you...\" The demon turns towards her, and Gunn jumps on its back. The demon throw itself back against the wall, smashing Gunn in between, and Wesley takes the chance to hit in the stomach. The demon retaliates with a hard right to Wesley's jaw, then throws Gunn over its head into the opposite wall. Wesley whacks it across the back, dropping it to the ground. The demon pulls Wesley's leg out from under him, then jumps on his back and sinks it's teeth into Wesley's right shoulder. Wesley lets out a scream of pain. Gunn gets back up, grabs a chair and knocks the demon off Wesley with it, shattering the chair in the process. Gunn picks up one of the splintered chair legs and rams it into the back of the demon's head, killing it. Wesley picks himself back up and looks over at Cordy and the other girl.", "Wesley: \"We need to get her to a hospital.\"", "Cordy: \"Yeah.\"", "Gunn: \"What about you?\"", "Wesley: \"I'm fine it's just... (he looks at the hole in his shoulder) We should go before I pass out, or possibly during.\"", "Gunn: \"This thing nearly ripped us to shreds.\"", "Cordy: \"Yeah, but out of everybody here, which one of us is the dead one?\" Darla and Dru are walking up to the abandoned building where Angel met all those demons.", "Darla: \"I want to make this quick, alright? We get in there, weed out the losers, and get out. I've got precious little patience left.\"", "Dru looks at the building: \"Oh, it's beautiful! Dank and dark. It reeks of death.\"", "Darla with a smile: \"That's motor oil, Dru.\"", "Dru: \"Can we buy it? It could be our castle.\"", "Darla: \"There's no view. Plus we're broke. Though I suppose Lindsey could help out in that respect, if they haven't killed him yet.\"", "Dru: \"I like the girl. She's wicked.\"", "Darla: \"They're sweet kids. Naïve, but they're only human. I doubt they even know what Wolfram and Hart's true plan for Angel is. - But I have to say, my curiosity is peeked.\" Dru puts her hand on the handle of the door.", "Dru: \"Ten little soldiers, all in a line. A shot rings out (slaps her hands together to make the sound of a shot) down to nine.\"", "Darla: \"Ten? I'd be happy if we could find three who can hack it.\" Darla slides the door open and they walk in to see the floor littered with demon corpses and severed limbs and a pile of dust between them.", "Dru: \"Dead already? Bad soldiers!\" Darla looks around and sees Angel leaning against the hood of a dusty car, smoking a cigarette.", "Darla with a slight smile: \"I should have known.\"", "Dru shakes her head: \"A shadow.\" Dru lifts her hand as if she is trying to wipe away a cobweb in front of her face, never taking her eyes off Angel.", "Darla: \"Why so far away, my love? Why don't you come over here and... stake me? (No reaction from Angel) Angel?\" Angel, looking pretty beat up, continues to smoke his cigarette.", "Darla: \"Angelus?\" Angel throws down his cigarette butt. It ignites a trail of gasoline. Darla and Dru look down at the flames, see them racing towards them in slow motion, and ignite the puddle of gasoline they're standing in. They scream as they begin to burn. Angel turns around to pick up his bag of weapons, revealing a can of gasoline sitting on the hood behind him, and walks out without looking back. Darla picks up a sledgehammer, leaning next to the door, runs outside and knocks the top of a fire hydrant off. She and Dru stand under the spray of water, letting it extinguish the flames, then sink down to sit on the edge of the sidewalk under it, with Darla holding Dru.", "Dru: \"I'm burning. Make it stop, please.\"", "Darla: \"Shh. Shh. That wasn't Angel.\"", "Dru: \"He's gone. He's all gone. Oh - it hurts! It hurts!\"", "Darla: \"Wasn't Angelus either.\"", "Dru: \"Darla, help me. Help me, please! Please. Please.\"", "Darla: \"Who was that?\" Wolfram and Hart. Day. Lilah is coming up some stairs and falls in with Lindsey who is walking along the hallway at the top.", "Lilah: \"Heard about the fire?\"", "Lindsey: \"They're still alive.\"", "Lilah: \"Undead.\"", "Lindsey: \"Whatever.\"", "Lilah: \"Heard it was Angel.\"", "Lindsey: \"So?\"", "Lilah: \"Killed a dozen demons, lit up Darla and Drusilla like a Christmas tree.\"", "Lindsey: \"What is your point Lilah?\"", "Lilah: \"Little grimmer than usual, don't you think?\"", "Lindsey: \"Holland's vision lives on.\"", "Lilah: \"Screw his vision. Anybody's going down in here, it's gonna be you.\"", "Lindsey: \"If that's what it takes.\" They walk through some glass doors into a conference room. There is a man in a suit sitting at the table, with an open book in front of him. Two dark-clad men standing like guards against the wall behind him.", "Hunt: \"Sit down.\" Lilah and Lindsey take some chairs further down the table.", "Hunt: \"I suppose you know why you're here. The Senior Partners have decided - that this should be a time of grief and reflection. We will never be able to replace Holland Manners. He was a man of extraordinary talents. - The bottom line is this leaves us with an opening in our roster. We need an executive vice-president of Special Projects. (Stands up) Mr. McDonald - (takes a couple steps closer to the two of them. The guards move with him) - your conduct with this firm had proved spotty at best. You've stolen files, co-operated with our enemy, disobeyed orders time and again. (Lilah smiles) Mrs. Morgan - when you drove away the telekinetic Bethany Chaulk, you lost for us a powerful potential assassin. Not to mention the fact that both of you have been extremely negligent about informing us of visits form certain - ladies - who, lest we forget, *ate* the majority of our contracts department. - The truth is that neither one of you are particularly qualified to run the special projects division. As for your relationship to one another: your competition has been - vicious, destructive and - healthy. We think you keep each other on your toes. Which is why we have decided to appoint you both - as joint acting co-vice-presidents until such time as we see fit to - narrow it down. - Congratulations. This is a big step. The Senior Partners - will be watching you.\" He picks up his book and walks out. Lindsey and Lilah look at each other. Angel is in the basement of the Hyperion, throwing knives at a target, and hitting the bullseye every time. He retrieves the knives and gets ready to do it again as Wesley appears on the basement steps.", "Wesley: \"I thought you might like to know we're keeping the agency open - with or without you.\" Angel stands with his back to Wesley, facing the target, silent.", "Wesley: \"You may have turned your back on your mission, but we haven't.\" There is still no reaction from Angel, so Wesley turns to walk back up the stairs.", "Wesley: \"Someone has to fight the good fight.\" Angel throws the knife and barely hits the target. He blinks his eyes, then closes them.", "Angel voice-over: \"Let them fight the good fight. - Someone has to fight the war.\" He opens his eyes, throws - Bullseye.", "FADE TO BLACK" ]

[ "Wolfram and Hart are sponsoring a fund raising benefit for a local teen shelter. Angel is suspicious of their motives and starts investigating. Meanwhile, Wes, Gunn and Cordy work to establish their own detective business." ]

[ "[PREVIOUSLY_ON]", "Lindsey is about to light the Scroll of Aberjian on fire and Angel throws the scythe and cuts off Lindsey's hand before the scroll can catch on fire. (From \"To Shanshu In LA\")", "Lilah in Holland's wine cellar: \"For god's sake help us.\"", "Holland: \"People are going to die.\"", "Angel closing the door: \"I just can't seem to care.\" Cut's of the pile of corpses littering the floor of the wine cellar and of Darla biting Holland. (\"Reunion\")", "Lindsey: \"Holland Manners is dead.\" Angel leaning against the hood of a dirty car, smoking a cigarette.", "Darla: \"Angel?\" Angel throws down the cigarette butt, lighting a trail of gasoline leading to the puddle of it that Darla and Dru are standing in. Darla and Dru scream as they catch fire. Angel picks up his bag and walks out. Darla knocks the top off the fire hydrant with a sledgehammer and the vamp girls let the water put out their burning clothes and skin. (\"Redefinition\")", "Wesley: \"What you did...\"", "Cordy: \"...was wrong.\"", "Gunn: \"You went to far.\"", "Wesley: \"Right now the three of us are all that's standing between you and real darkness.\"", "Angel: \"You're all fired.\" (\"Reunion\") Cordy's apartment, night.", "Close on Wesley: \"You think I don't have what it takes?\"", "Close on Gunn, staring back: \"I *know* you don't have what it takes.\"", "Wesley: \"I guess we'll just have to find out.\" They straighten up slowly, never taking their eyes off each other. Gunn glances down at Wesley's right hand.", "Gunn: \"Go on, English, make your move - because it'll be your last.\" Both Wesley and Gunn raise their right fists, blow into them, then, simultaneously, cast their dice on the table on which we see a game board set up between them. Wesley slumps in defeat.", "Gunn doing a little dance: \"And now I rule Europe, Australia and South America!\"", "Wesley: \"I still got Kamchakta.\"", "Gunn: \"Three fifths of the world covered in water, the rest covered in me!\"", "Wesley: \"Shut up.\"", "Gunn: \"Who's your ruler, baby? What's my name? Come on, English, say it: Gunn.\" Cordy comes in, wearing a house robe.", "Cordy: \"Fun as it is having you guys over day and night, it's getting kind of late.\"", "Wesley: \"It's only seven thirty.\"", "Cordy: \"Really? Oh. In that case: get out!\" Wesley and Gunn exchange a glance.", "Wesley: \"What if you have a vision?\"", "Cordy: \"I'll call you.\"", "Gunn: \"What if Angel...\" Cordy and Wesley turn to look at him.", "Cordy: \"I thought we weren't going to say the 'A' word.\"", "Gunn: \"Yeah, let's not say the 'A' word. Lets just spend our lives sitting around waiting for him to call.\"", "Wesley: \"We're not waiting for him to call. The man fired us. We're on our own now. Separate unit. Fighting the good fight.\"", "Gunn: \"Yeah, right! With no plan, or office, or business cards of our own.\"", "Wesley quietly: \"He's not going to call, is he? (Gunn shakes his head) Right. I tell you the first thing we're scrapping. (Holds up one of Angel Investigations Business cards) These stupid calling cards.\"", "Cordy: \"They're not stupid. I designed them. That's an Angel!\"", "Wesley: \"The universal symbol of the one thing we don't have.\" Gunn takes the card and looks at it.", "Gunn: \"That's a Angel? Looks like a - a lobster with a - growth or... We'll make our own logo.\"", "Wesley: \"Yes. Something sleek, but edgy.\"", "Gunn: \"Something that says: you need help, we're there.\"", "Wesley: \"Exactly. Danger is our business. (Cordy put a hand to her forehead and begins to stagger) We'll catch you when you fall.\" Cordy falls downs down in throws of a vision and the guys don't even notice.", "Gunn: \"Uh, I like that!\"", "Cordy from the floor: \"Guys...\" Wesley and Gunn rush over to her.", "Wesley: \"Easy. Breathe... breathe...\"", "Gunn: \"What is it? What you're getting.\"", "Cordy breathing hard: \"It - it has two heads. And it breathes fire. - It's gigantic. (The guys help her up) And it's rising up in the sewers, beneath Kenyard School for Girls.\" The guys rush out the door.", "Cordy calls after them: \"You shouldn't go alone!\" Angel is walking down a sidewalk in a residential neighborhood at night. Bumps into a blonde girl, carrying a big box coming the other way and knocks the box out of her hands, spilling clothes onto the ground.", "Angel: \"Oh, jeez...\"", "Anne: \"Oh!\" Angel starts to gather up the clothes: \"I'm sorry.\" Anne, putting down her purse, starts to help: \"No, it was me. I didn't hurt you, did I?\" Angel, putting clothes back in the box, looks at her: \"Fine.\"", "Anne: \"I just... I couldn't see over the box. I was rushing. I'm late for work.\" Angel holds up a cloth with big bright spots on it: \"You do clown work?\"", "Anne laughs: \"No. Just some old clothes that got donated.", "Angel: \"East Hills Teen Center.\" Anne stares at him.", "Angel: \"It's on the box.\"", "Anne looks at the box: \"Oh. Right.\" Angel straightens, holding the box.", "Angel: \"You missed one.\"", "Anne picking it up: \"Thanks. (Sees her purse on the ground) Oh. Oops. Hold on. (Picks it up, then accepts the box form Angel) Okay. I think I'm good. I'm really sorry.\"", "Angel: \"No problem.\"", "Anne: \"They're for the kids. We close in a couple of hours and there is always a feeding frenzy when a new batch comes in.\"", "Angel: \"You work with runaways?\"", "Anne: \"Some of them. Some are from around here, just don't have anywhere to go. We, um, give 'em food, clothes, somewhere to stay if they need it.\"", "Angel: \"That's good... It's good that someone's... It's - it's good to do.\" Angel gives her a slight smile.", "Anne: \"Well, I'm late.\"", "Angel: \"Right.\" Anne turns to go with a smile: \"See you around.\"", "Angel: \"Uh-huh.\" Angel enters his apartment. Takes a wallet out of his jacket pocket and drops it on the table - open to reveal a drivers license with a picture of the girl he just bumped into. Angel looks from the drivers license up to a collection of photographs off Anne in different places and with different people until his eyes come to rest on one of her and Lindsey. Intro Wesley and Gunn, each carrying an ax, creep along a sewer tunnel.", "Gunn: \"So it's big.\"", "Wesley: \"Big.\"", "Gunn: \"And fire breathing.\"", "Wesley: \"Breathing.\"", "Gunn: \"Big, two-headed, fire-breathing...\"", "Wesley: \"I think we all have the picture, Gunn. It's not a teddy bear and it probably shouldn't be attending the Kenyard School for Girls.\"", "Gunn: \"You know, right about now I wouldn't mind...\"", "Wesley: \"Don't say it! We don't have him and it's not going to do any good wishing we did!\"", "Gunn: \"I was gonna say some dynamite.\"", "Wesley: \"Oh. - Dynamite. - Maybe it's not to late to go back and...\" There is a deep, low roar. Wesley and Gunn look at each other than inch towards the end of the tunnel and lean forward to look around it. Their eyes track upwards as their mouths slowly drop open. They pull back and look at each other.", "Wesley: \"Oh god.\"", "Gunn: \"The tunnel is almost twenty feet tall. It was crouching.\"", "Wesley swallows: \"Uh, well. We'll take another look and then we'll...\"", "Gunn: \"...die!\" The lean forward to take another look and Gunn gets ready to charge, but Wesley holds him back.", "Wesley: \"No, no, wait. Wait. Wait until its back is turned. - Now!\" They jump out into the main tunnel only to flinch back from a jet of flame. Wesley waves a hand in front of his face.", "Gunn: \"I thought she said he *breathed* fire!\" Both of them charge out of the tunnel with a loud battle cry. Merl gets ready to leave his lair when the door slams into his face to reveal Angel standing there.", "Angel: \"Evening, Merl.\"", "Merl: \"What do you want, man? I ain't inviting you in.\"", "Angel steps over the threshold: \"Demon lairs. No invitation necessary.\"", "Merl: \"Yeah, but it's polite...\"", "Angel: \"Are you avoiding me, Merl? (Merl shakes his head once) I ask you for a favor and you're avoiding me. - *That's* impolite.\"", "Merl: \"Well, nearly drowning me and leaving me hanging in the sewer ain't exactly Emily Post either.\"", "Angel: \"Okay. So we're both rude. You know what? I can live with that. Now, do you have the information I need, or do I have to see what the inside of your head looks like?\"", "Merl: \"Fine! (Sits down) Um, I check out the girl. She's clean. Changed her name a couple of times, but no record.\"", "Angel: \"What's her connection to Wolfram and Hart?\"", "Merl: \"Easy. She runs a shelter over on Crenshaw. Couple of months ago, they almost lost the lease on the place. Wolfram and Hart step in and clear it all up pro bono, and there you go.\"", "Angel: \"But she's still working for them.\"", "Merl: \"Well, you know so much, what do you need me for, huh? Come to think of it, why *do* you need me? What happened to that hot chick that was working for you?\"", "Angel: \"Pro bono. There's got to be an angle.\"", "Merl: \"There always is. But as far as I can tell - the shelter itself is strictly legit.\"", "Angel turns to go: \"Okay.\"", "Merl: \"Hey! Hey, what about my hundred bucks!\"", "Angel: \"You know what? I'll owe you. (Looks around the place) Just make sure you use it for some new furniture. - Bean bag chairs? (Shakes his head) Merl.\" East Hills Teen Shelter, night.", "Girl: \"What am I supposed to do? He's gonna want to come in.\"", "Anne: \"Then you tell him no! Benny knows the rules. He's not coming in here drunk. You turn him out. Don't even listen to him.\" The girl leaves and Anne notices Angel standing a little ways away, holding a brown paper bag.", "Anne smiling: \"Hey! Guy I ran over.\"", "Angel: \"Hey. Girl who ran over me.\"", "Anne: \"You can call me Anne. It's shorter.\" They shake hands.", "Angel: \"Angel. Um, I brought some... I don't know if they're any good.\"", "Anne takes the bag: \"That's great! Uh, we can take them over here. (They walk over to a table) Whoa. Now lets see. What have you got? (Pulls out a flowered blouse) Well, that's - not what I expected. What's the matter, it doesn't fit you anymore?\"", "Angel: \"Cuts me across the bust. A friend - left her clothes at my place. I won't be seeing her anytime soon, so I figured...\"", "Anne: \"Girlfriend?\"", "Angel: \"God, no. (Anne gives him a look) Uh, I mean just...\"", "Anne: \"Well, I really appreciate... *we* really appreciate this. Every little bit helps, you know?\"", "Angel: \"I just wish I could do more.\"", "Anne: \"Well, if you're - not in a hurry. You up for a tour?\"", "Anne steps into her office: \"And here is the vibrant nerve center of our massive corporation.\"", "Angel: \"Wow. It's uh...\"", "Anne: \"Small. But I'm hardly ever in here.\" Angel looks over at a cot: \"You just come in for naps?\"", "Anne: \"Oh, the bed... No, it's just sometimes I'm here so late it's just easier than going home. - So, what do you think?\"", "Angel: \"Amazing. - You said it runs on donations?\"", "Anne: \"Every last penny.\"", "Angel: \"Got to be tough - trying to stay ahead.\"", "Anne: \"It is. Thankfully we have a guardian angel.\"", "Angel: \"Guardian angel?\"", "Anne: \"Wolfram and Hart. Uh, it's a law firm. They've been a godsend in the last couple of months. Bailed us out of an eviction, defended a couple of our kids.\"", "Angel: \"They sound like saints.\"", "Anne: \"As far as I'm concerned. They're the ones that came up with the idea for the big hold up.\"", "Angel: \"Hold up?\"", "Anne: \"Charity ball. It's a fundraiser for the center. Big TV-celebrities go around and pretend to rob the guests of their donations. Wild West theme. It's gonna be big.\"", "Angel: \"And Wolfram and Hart's picking up the tab.\"", "Anne: \"They're donating everything, from the music to the food - plus they have connections to all the TV stars.\"", "Angel: \"That's not surprising.\"", "Anne: \"It's good for their image, I guess. And it's a pretty dorky theme - but hey, whatever it takes, right?\"", "Angel: \"Right.\" Merl gets ready to leave his lair and the door slams into his face, knocking him down, as a big blue demon steps in.", "Merl: \"Does anybody knock?\"", "Boone: \"You Merl?\"", "Merl takes in his visitor: \"Ah, Merl? Um... Merl who? Ah, the name's Ed, uh, Silverman?\"", "Boone: \"You're Angel's lackey.\"", "Merl: \"No. No, I'm not... (Boone steps on Merl's hand) Ow! Independent contractor. Independent contractor!\"", "Boone: \"And what do you do for him?\"", "Merl: \"Ouch! Pictures! Ow! I-I take...\"", "Boone: \"Pictures.\" Boone steps off Merl's hand.", "Merl inspects his hand: \"Ow. Surveillance, you know? Pick up dirt. Check people out for him. Not that he appreciates it. - Who the hell are you anyway? IRS?\"", "Boone: \"Angel and I have a history. An unfinished history.\"", "Merl: \"Yeah? That's nice. What, did you guys go to college together?\"", "Boone: \"These people you check out. Who are they? - Friends? Enemies? - What does Angel care about?\"", "Merl: \"I ah, I - I don't know. Last thing he had me do was follow some chick. Did charity work.\"", "Boone: \"Why?\"", "Merl gets up: \"Well, between you and me - ain't abou the girl. It's Wolfram and Hart.\"", "Boone: \"What's a Wolfram and Hart?\"", "Merl: \"A law firm, technically. Uh, more like, uh - Evil Incorporated. -You know lately, Angel, he's been gunning for them. Especially these two lawyers.\" Boone grabs Merl by the throat, choking him: \"Tell me about the lawyers.\" Lilah is walking towards her car in the parking garage. Unlocks it with the remote button on her key chain and gets in. Starts the car and adjusts the rearview mirror, then turns around to back out of her parking space only to find Angel sitting in the back seat. Jumps, and gasps with shock.", "Angel: \"Lilah. - I just had to drop by and congratulate you on your big promotion. Co-vice-president Special Projects. - Wow. That's super. You deserve it. Yeah. That - and *so* much more.\"", "Lilah: \"Angel...\"", "Angel: \"But you know what the real special part is? To *think* that maybe, in my small way, I helped make it happen for you. (Smiles) That makes me feel all good inside.\" Lilah tires to open her door, but Angel's hand shoots out and stops her.", "Lilah: \"Angel - I can assure you, now that Lindsey and I are in a - position to affect policy, things'll change.\"", "Angel: \"Change? (Lilah nods) Well, yeah! Because I get it now.\"", "Lilah: \"It?\"", "Angel: \"The game. - It's actually kind of fun when you know the rules. I mean, when you know - that there aren't any. (Taps her shoulder with his finger) You screw with me, and you screw with me, and... you screw with me. And now - I get to screw with you.\"", "Lilah: \"Uh...\"", "Angel: \"That's gonna be great!\"", "Lilah: \"Angel, please...\"", "Angel leans in real close: \"No. No. No. No. The begging - that comes later.\" Lilah closes her eyes and swallows and Angel is suddenly gone. Wolfram and Hart, day, Lindsey's office.", "Lilah pacing: \"He was in my car.\"", "Lindsey sitting on his desk: \"And yet here you are. Still alive. - He was just trying to spook you.\"", "Lilah: \"Yeah, well, it worked.\"", "Lindsey: \"Relax. He doesn't kill humans, at least - not with his own hands.\"", "Lilah: \"He's not playing by the old rules any more.\"", "Intercom: \"Mr. McDonald? Your ten o'clock is here.\"", "Lindsey pushes a button: \"I don't have a ten o'clock.\"", "Intercom: \"I'm not gonna tell him that.\" Lindsey gets up with a sigh and goes to open the door.", "Lindsey: \"I'm sorry, but I'm afraid I'm all...\"", "Boone walks in: \"Shut the door.\" Lindsey repeats quietly to himself 'Shut the door' as he shuts it.", "Lindsey: \"Why don't you come in, Mr...\"", "Boone: \"Call me Boone. (To Lilah) Are you the - better half of this team?\"", "Lilah with a smile: \"I like to think so. We run the Special Projects division. Did you have a special project?\"", "Boone: \"More like a grudge - with a fellow named - Angel.\" Break.", "Boone: \"I've known Angel since Juarez in the twenties. We had a little disagreement over a senorita. I called him out. We fought for three and a half hours.\"", "Lindsey: \"Obviously both of you survived.\"", "Boone: \"Well, I'd been working on a three day drunk at the time. I wasn't at my peak.\"", "Lilah: \"How did it end?\"", "Boone: \"The sun came up - I let him go.\"", "Lilah: \"You let him go. - Why?\"", "Boone: \"The sun came up. - Would have been too easy? - You people know anything about honor? - Anyway, life is long, when you're eternal. Always knew I'd cross his path again. And low and behold, I'm in a Karaoke bar downtown when I get wind of this lizard demon, Merl, who sometimes does favors for the vampire with a soul. I find Merl - and he tells me - that Angel's planning on bringing you two down.\"", "Lindsey: \"Did he happen to mention how?\"", "Boone: \"Don't know. Don't care. All I do know is, when Angel come for you, he's gonna find me instead.\"", "Lindsey: \"I like it. I like it and I'll tell you why: because of the finding you instead part. How much do you charge?\"", "Boone: \"This isn't about money. This is about knowing.\"", "Lilah: \"Knowing what?\"", "Boone: \"Who's better. Him - or me.\"", "Lilah: \"If you're talking about killing Angel, I'm afraid we can't help you.\"", "Lindsey: \"Mr. Boone, would you excuse me and my associate for a moment, please?\"", "Boone: \"Of course.\"", "Lindsey: \"Thank you.\" Lindsey leads Lilah into another room.", "Lindsey: \"I'm using my discretionary fund. Bring him on board.\"", "Lilah: \"Aren't you forgetting something? The senior partners want Angel alive.\"", "Lindsey: \"So?\"", "Lilah: \"So - what if this guy is actually as good as he says and actually kills Angel?\"", "Lindsey: \"Boo-hoo! Let me wipe away the tears with my plastic hand!\"", "Lilah: \"Hey, Napoleon, we are *Co* vice-presidents. This plan of yours explodes and we both end up in tiny pieces.\"", "Lindsey: \"Want Angel hitching another ride in your back seat? So to speak. Beside, if he's not gonna play by the old rules, why should we?\" Lindsey leaves Lilah standing and walks back into his main office. Gunn and Wesley are sitting next to Cordy on her couch.", "Wesley: \"It's the biggest thing you've ever seen.\"", "Gunn: \"And me and English here are just getting stomped, just ducking flames.\"", "Wesley: \"It hurls me into the outflow drain...\"", "Gunn: \"And then you come crawling back, stinking, screaming curses. The mouth on this boy!\"", "Wesley: \"And Gunn hits him form behind, yelling 'look at us when we kill you!' and both its heads turn...\" Gunn gets up and makes a swinging motion: \"Then 'shronk!' Wes buries his ax in the head number one.\"", "Wesley: \"And Gunn is running him through, pulling out intestines the size of your leg!\"", "Gunn high fives Wes: \"We turned him inside out!\" They laugh.", "Cordy: \"You weren't scared?\"", "Wesley: \"Oh, mother in heaven.\"", "Gunn: \"Pants wetting, praising the lord to save me kind of scared. All right?\"", "Cordy smiles: \"But you did it.\"", "Gunn: \"No. We did it. (Picks up some cans and hands each of them one) All of us.\"", "Wesley raises his drink: \"All of us together.\"", "Gunn proposing a toast: \"To us.\" They clink their cans together.", "Wesley: \"To us.\"", "Cordy: \"To us.\" They drink.", "Cordy: \"Um, I did something. I hope you guys don't mind. - I started looking for an office, you know, for our new agency.\"", "Wesley smiling: \"Our new agency?\"", "Gunn clinking cans: \"Our new agency.\"", "Cordy: \"There is this little place, not that far from here? It's not much, but...\"", "Gunn: \"So why we're still here?\"", "Wesley: \"Lets go!\" They all get up", "Gunn: \"Our new agency.\"", "Wesley: \"Wyndham-Price Agency.\"", "Cordy and Gunn: \"The what?\"", "Wesley: \"You don't like it? - It's classy.\"", "Cordy: \"It's stuffy. - The Chase Agency! *That* has the right ring.\"", "Wesley: \"Why?\"", "Cordy: \"Because it's my name.\"", "Gunn: \"Uh, Wes, Ms. Chase, alright, there is only one player here with a name that strikes dread in the demon heart.\" Points at himself.", "Cordy: \"Gunn?\"", "Gunn: \"Uh-huh.\"", "Cordy: \"Oh, yeah, that is so original. (Starts to dance and sing) I got a gun and my name is Gunn...\" Starts to laugh.", "Wesley: \"Wyndham-Price is everything you need to...\"", "Cordy and Gunn: \"Shut up!\" Angel looks at the pictures of Anne and Lindsey then at her drivers license (Anne Steele -5632 Willoughby Ave - Los Angles CA 98881 - s*x: F - Hair: BLM - Ht: 5-88 - Wt: 118 - Rstr: none). Sighs and takes down the pictures. Merl enters his lair carrying takeout Chinese food. He is grabbed and pushed headfirst against the wall.", "Merl: \"Jeez, you got to be kidding me! Swear I didn't rat on you, Angel. I said nothing to that guy! (Gets slammed against the wall again) Ow!\"", "Lilah: \"Shut up, Merl.\" The W&H flunky holding Merl pulls him around to face Lilah and lets go of him.", "Merl: \"Well, jeez. Does everyone know where I live? - Got to get myself a new lair.\"", "Lilah: \"Merl? Lilah. Now that we're past the pleasantries, we've heard you do favors for Angel. We'd like to know what those favors are.\"", "Merl: \"hey, I don't go selling out one of my pals. How much you're gonna pay?\"", "Lilah: \"I think you'll find our offer (One of the flunkies hits Merl in the nose) competitive.\"", "Merl: \"Ow. I would have taken a credit card.\"", "Lilah: \"Merl.\" The flunky threatens to hit Merl again.", "Merl: \"Okay, okay, okay. Down Fluffy! Jeez. - Last couple of days I've been following this girl.\"", "Lilah: \"What girl?\" Anne sits at her desk at the shelter writing in a book. Hears a sound and goes to investigate it.", "Anne: \"Hello? - Is anybody out here?\"", "Angel: \"Anne.\"", "Anne: \"You startled me. What are you doing here?\"", "Angel: \"I have to talk to you.\"", "Anne: \"Oh boy. You're not - stalking me, are you?\"", "Angel: \"Actually, I am.\"", "Anne: \"Excuse me?\" Angel pulls the pictures out of a manila envelope and drops them onto the little table between them.", "Angel: \"These are pictures - I've taken of you. Surveillance photos. (Anne looks down at a picture of her and Lindsey) This is your wallet. I stole it when we 'accidentally' ran into each other last night. (Drops it on the table) Wasn't an accident.\"", "Anne: \"I'm calling the police.\"", "Angel: \"Wait. I'm not gonna hurt you. I just couldn't stand lying to you anymore.\"", "Anne: \"Lying about what? That you're a psycho?\"", "Angel: \"I've been following you, that's true. But not for the reasons you think.\"", "Anne: \"There is a good reason?\"", "Angel: \"Wolfram and Hart. They're not saints, Anne. They don't care about you or your shelter.\"", "Anne: \"You're following me because...\"", "Angel: \"I checked it out. They'll use your charity for good publicity. Offer to throw you a big fund raiser, money starts rolling in... but wait! You're not the one counting it. So who knows how much they're keeping back right from the start. Next they'll give you a list of expenses, all very proper and necessary, but what do you know? After a certain number of miscellaneous, untraceable fees, you're left with five percent, tops.\"", "Anne: \"You follow me. Take my pictures. Steal my wallet. - What makes you think I'll believe anything you say?\"", "Angel: \"Wolfram and Hart are not what they say they are. They show the world one face but it's not the truth. - I can prove it. Everything they say is a lie.\"", "Anne: \"Guess you have something in common, huh?\" Lindsey walks into the shelter.", "Anne: \"Lindsey!\"", "Lindsey: \"Are you alright?\"", "Anne: \"Fine. I...\"", "Lindsey: \"He didn't hurt you, did he? (Comes to stand next to Anne) Believe me, if I'd known this man was in contact with you, I'd come sooner. (Faces Angel with a smile) I'm just thankful that I got here in time.\"", "Angel smiles back: \"Little over the top. Maybe if you worked on that look of concern.\"", "Lindsey aside to Anne: \"He's unbalanced. Very dangerous.\" Angel takes a step closer to Lindsey: \"You haven't seen anything yet.\"", "Lindsey: \"Neither have you.\" The door opens again and Angel looks over his shoulder to see Boone.", "Boone: \"It's been a long time.\"", "Lindsey to Anne: \"I brought some protection.\"", "Angel: \"Boone. Working for Wolfram and Hart. I thought you had integrity.\"", "Boone: \"I do. Here's fair warning.\" Boone stretches his hands down and a metal coil wraps itself around them, then jumps at Angel. Angel ducks, and hits then kicks Boone as he gets back up. Boone hits Angel in the stomach then the back dropping him to the ground, then throws him across the room. Anne and Lindsey watch as they continue to fight. Boone seems at least as strong and as fast as Angel and after some more fighting Angel runs out of the shelter. Lindsey intercepts Boone as he tries to follow.", "Lindsey: \"Wait.\"", "Boone: \"He's getting away!\"", "Lindsey: \"That's fine as long as he's not threatening my client. (Then adds in a whisper) Soon. But not here. (Regular voice) Go out to the car. I'll meet you there. I don't think he's gonna be back tonight.\" Boone stalks out and Lindsey turns to Anne.", "Lindsey: \"It's okay. Angel's gone. You're safe.\" Anne looks from Lindsey to the door Boone just left through then back at Lindsey. Break", "[SCENE_BREAK]", "Anne: \"That - guy who beat up Angel, he wasn't human.\"", "Lindsey: \"No. You see, Anne, there is a different world...\"", "Anne: \"Lindsey, I'm not naïve.\"", "Lindsey: \"Oh. Well, Angel's not human either. He's a vampire. He's a sick, deranged...\"", "Anne: \"He says you're planning to steal most of the money from the fund raiser.\"", "Lindsey: \"Well, he's lying. - I mean, there are - expenses... You know how this works, with any charity event, especially one this big. But we don't steal.\"", "Anne: \"He says he has proof.\"", "Lindsey after a beat: \"He's lying about that, too. I mean, who're you gonna trust, Anne? You're gonna trust a mentally unstable vampire? Or you're gonna trust people that have worked night and day to put this fundraiser together for your kids? (Anne shifts but doesn't say anything) I would hate to see them lose out because you made the wrong decision.\"", "Anne: \"So he doesn't have proof.\"", "Lindsey after a beat: \"He can't have proof.\" Lilah and Lindsey are walking down the sidewalk together at night.", "Lilah: \"He's got proof?\"", "Lindsey: \"Maybe.\"", "Lilah: \"That's what she said. Angel's got proof.\"", "Lindsey: \"Everything is gonna be okay.\"", "Lilah: \"Sure it is. I mean, all we did was to oversee a scheme to steal two million dollars from a teen homeless shelter. How did this happen?\"", "Lindsey: \"If he's got proof it came from you.\"", "Lilah: \"Me?!\"", "Lindsey: \"Yeah, you. You opened your mouth to someone, and now he's got it on tape, probably.\"", "Lilah: \"No, you're the one with the sporadic professional death wish. How do I know you're not on one of your Kamikaze missions, with me as your co-pilot.\"", "Lindsey: \"Because the only person I ever talked to about it was you. Always in my office, which is swept for bugs three times a day! I never discussed stealing the money in public.\" Lilah folds her arms and looks around. There are people walking by.", "Lilah: \"Until now. - He's got us. The b*st*rd just got us on tape. What's he gonna do with it?\"", "Lindsey: \"What do you think? He's gonna use it to humiliate us.\"", "Lilah: \"The news. He's gonna send it to the news, isn't he? National coverage...\"", "Lindsey: \"No. It's not personal enough for him.\"", "Lilah: \"What? What's he...\"", "Lindsey: \"He's got to be there.\"", "Lilah: \"What? Why?\"", "Lindsey: \"To see us swing, that's why - with the bosses there watching. (Pulls out his cell phone) It's me. I want security at the charity ball doubled and I want you to make sure there's a vampire detector there.\" Anne is sorting stuff in her office when Angel slowly walks in.", "Anne: \"I sort of thought you'd show up again.\"", "Angel: \"You alright?\"", "Anne: \"I didn't have a big monster pounding my face into the floor, so I figure I'm better than you.\"", "Angel: \"What did Lindsey say about me?\"", "Anne continuing to fold clothes: \"That you were a bad man.\"", "Angel: \"Bad man.\"", "Anne: \"A psychotic vampire who cut of his hand, harassed his firm and - is borderline schizophrenic. - I was giving you the short version.\"", "Angel: \"Do you believe that?\"", "Anne: \"Well, I'd say for sure you're a vampire. Human being would be in the hospital, the beating you took.\"", "Angel: \"And that doesn't frighten you.\"", "Anne: \"A few years ago it would have been a big turn on. I thought vampires were the coolest.\"", "Angel: \"What happened?\"", "Anne: \"I met one.\"", "Angel: \"You're not afraid of me.\"", "Anne: \"Well, I've seen worse things since. A fourteen-year-old girl sitting in her own blood after a rough trick and dozens of people just walking right by, so no, vampires, demons, even lawyers pretty much don't impress me. Maybe you had a good reason for cutting off Lindsey's hand. I don't care. - I care about the shelter. If an evil law firm is gonna help me raise two million dollars...\"", "Angel: \"Of which you'll probably see only five percent of.\"", "Anne: \"Yeah, well, I did the math. Five percent of two million is a hundred thousand dollars. That's more money than this shelter could raise in two years.\"", "Angel: \"What about the other ninety five percent? You don't care where that's going, who that could be hurting?\"", "Anne after a beat: \"I can't.\"", "Angel: \"There is blood on that money, Anne. Are you the person who can ignore that? Have you become that yet? I don't think you have.\"", "Anne: \"You don't know what it takes to run a shelter...\"", "Angel: \"Help me. Get me into the party. (Pulls out 8mm video tape) I put this on, the world sees a whole new side of Wolfram and Hart.\"", "Anne: \"Why should I?\"", "Angel: \"Because it's right. In the long run, it's better.\"", "Anne: \"Most of my kids don't have a long run. - No. I'm saying no.\" Wolfram and Hart's Highway Robbery Ball. Holland Manners is up on a big screen, wearing a shirt, but no tie and a knit cardigan over it, sitting on a park bench.", "Holland: \"The world can be a dangerous place, especially for our most vulnerable citizens, our children. (Pets the collie sitting at his feet then gets up) Far away from home with little money and even less hope, too many runaways find themselves on the streets, over their heads and under societies radar.\" Anne looks around then sips from the fluted glass in her hand. Holland up on the screen comes up next to a disheveled kid sitting on another park bench.", "Holland: \"But there is a place, right here in Los Angeles that can help these troubled kids - the East Hills Teen Center. (Holds out a hand to the kid and helps it up) It's a terrific refuge that we at Wolfram and Hart support one hundred percent.\" A bald guy wearing thick rimmed glasses walks up to Lilah.", "Nathan: \"Lilah.\"", "Lilah: \"Good evening, sir.\"", "Nathan: \"Things progressing nicely?\"", "Lilah: \"Well, it's a pretty simple formula. Rich people pay to touch famous people. Cameras catch all the not quite prostitutional action. Pretty profitable and it all goes into the public consciousness as a good deed courtesy of Wolfram and Hart. It's really true - charity gives you this - warm glow, you know? (Sees Anne and beckons to her) Anne. I'd like you to meet one of my bosses at Wolfram and Hart, Nathan Reed. Mister Reed this is Anne.\"", "Nathan shakes Anne's hand: \"So this is the young woman whose dedication and hard work brings us together tonight.\"", "Anne: \"Well, I - try to help - where I can. Thank you for everything, sir.\"", "Nathan: \"I like to think of my job as underlining the 'heart' in Wolfram and Hart.\"", "Lilah: \"Remember, save some time for interviews tonight. Now, whether you like it or not, you are the public face of this charity.\"", "Nathan: \"And what a face it is.\"", "Lilah: \"Yes. Never underestimate the power of positive publicity.\" Lindsey is checking with the security guys up on the second level.", "Lindsey: \"He stays up here. Are we forgetting anything?\"", "Guard: \"No, sir. My men are stationed at every possible entry point everyone is in constant radio contact. (Behind them a dark robbed vampire detector looks up, showing his pale face) And if this vampire of yours gets within a hundred feet, Zorn will let us know.\"", "Lindsey: \"The moment he senses anything you alert Boone.\" Holland on the screen now in suit and tie standing in front of his desk: \"Can we really change the world? At Wolfram and Hart - we're counting on it.\" As the applause comes up Holland's name and 1951 - 2000 are superimposed over his smiling image. Lilah on the podium and on screen (transmitted from one of the many cameramen circulating in the crowd): \"Holland Manners is gone, but I feel he's looking down on us tonight. Don't you feel it? The truth is, Holland had a vision of the future most of us can't imagine. Let's make it come true, together.\" Applause.", "Lilah: \"Now lets get started, but not with a plea for money. No, no. No, we're not here to ask you for money, we're here to take at gunpoint. (Laughter) Please welcome our celebrity bandits, from the hit show 'Life Lessons' Serena Tate, Holden Rayne, C.J. McCard, and Jordan Johns!\" Applause as the celebrity bandits rush into the crowd, wielding guns and carpet bags to collect the donations. A cowboy, with a scantily clad saloon girl with a carpetbag beside him, puts his gun against the chest of a guy in a tux.", "Cowboy: \"Hellooo, that's some pretty nice duds there, fello'. What you say we see some of that cash you got stowed in them silk pockets?\"", "Jenkins: \"Hey, hey, cowboy, don't hurt me now!\" Smiles at his date as he pulls out a brown envelope with \"Highway Robbery Ball - Donor: Mr. And Mrs. Jenkins - Gift amount: $ 25,000 cash\" written on it and drops it into the bag.", "Jenkins: \"My daughter from my first marriage, she is a huge fan of your show.\"", "Cowboy: \"Yeee-haw.\" A security guard strolls through the crowd listening to others report that everything is clear in their area. A Blonde is undoing her necklace while talking to one of the stars.", "Woman: \"Serena, I have to know, this thing with making your character gay, (Drops the necklace into her husbands fundraiser envelope) is that like all about ratings? Because I don't get it.\" The stars drop the full bags off at a table were some W&H employees are taking out the envelopes while Lindsey and Lilah watch.", "Guard to Lindsey: \"No sign of your friend yet.\" The camera pans up to the robed and hooded vampire detector. He pulls back his hood to reveal that it's Angel. Angel takes off the robe and turns to find himself face to face with Boone.", "Boone: \"Angel. I was afraid you weren't going to show. You *are* ready to finish this.\" Break The employees at the table are putting the cash they removed from the envelopes into one bag.", "Lilah: \"Once again I'd like to thank our wonderful stars from 'Life Lessons' for giving so generously of their time.\" Applause sounds as the stars smile and wave.", "Cowboy to Serena: \"I'm going to kill my agent.\"", "Lilah: \"And to you, our benefactors, let me just say that we really *can* change the world. With your support we can make it a safer place for all our children.\" Applause, which gives way to talk as everyone's attention is drawn to Angel and Boone fighting on the open upper level. Screams ring out, as Boone and Angel topple over the low wall and land a little ways beside the table with the money.", "Cowboy to Serena: \"What, they're doing stunts now? (Looks at his watch) It's gonna take forever!\" Angel and Boone continue their fight where they landed and Boone sends Angel sliding over the table with the cash, knocking some of it off.", "Serena looking at Boone: \"I'm not buying the makeup.\" Two guards grab a hold of Angel as he gets back up and Lindsey starts to pat him down.", "Lindsey: \"Did you really think we weren't gonna be ready for you? Where is the tape? (Can't feel it in any of Angel's pockets) Where is it? Where is the tape.\" Boone pats Lindsey's arm as he comes to stand next to Angel: \"He doesn't have it. (To Angel) Are you okay? I tried to cushion the fall.\"", "Angel shrugs his jacket straight: \"I'll be fine.\"", "Lindsey: \"What the hell are you talking about?\"", "Angel to Boone: \"Thanks for getting me in. (To Lindsey) This place is like a fortress.\"", "Lilah: \"What's going on?\"", "Lindsey: \"They're in it together.\"", "Angel: \"Me, I'm just here for the show.\" Angel turns to look at the screen.", "Lilah: \"The tape. The tape. She's got the tape.\" Anne is walking towards the video equipment, pulling a 8mm video tape out of her purse. Lindsey and Lilah start to push their way through the crowd, for all to see up on the big screen thanks to a diligent cameraman capturing all the action.", "Lilah: \"Excuse me!\" Anne inserts the tape and we see a pair of black shoes walking up on the big screen and hear Wesley's voice.", "Wesley: \"How do you turn this thing on?\" Lindsey and Lilah stop dead, watching the screen. Cordy as the picture jerks like crazy: \"Just give it to me!\"", "Wesley: \"Ah, it's not a toy! It's an expensive piece of equipment. It's for gathering evidence.\" The camera now show Cordy's beige boots.", "Cordy: \"Let go.\"", "Wesley: \"You're just gonna play with it, aren't you?\" Lindsey and Lilah exchange a look. Cordy talking to a coat rack: \"I gave you two children, Bill, and you leave me for a man? No! Don't speak! Don't say anything! What is there to say? You said it all...\"", "Serena to Cowboy: \"Interesting choice.\"", "Cowboy: \"I sort of believe the coat rack more.\" Cordy slaps the coat rack, knocking it over. Cordy, drinking a tall glass of milk: \"Hmm, milk.\" Lindsey and Lilah exchange another look, while Anne's eyes remain riveted to the screen. Nathan Reed makes a face. Cordy says 'hmm, milk' in different ways, trying to convey different emotions.", "Then: \"I don't get it. How am I not working?\" Screen goes to snow for a moment.", "Lilah: \"What's happening?\" Now it's Wesley dancing up on the big screen, snapping his fingers. Angel comes to stand next to Anne: \"Looks to me like you two were acting like a couple of crazy people - on camera, too. - Ouch.\"", "Wesley into the camera: \"Price. Wesley Wyndham-Price.\"", "Serena: \"Isn't that the guy that's dating Virginia Bryce?\" Cowboy scoffs. The crowd starts to laugh as Wesley launches into a striptease dance. Nathan looks over at Lindsey and Lilah, not laughing.", "Lindsey: \"You don't have us on tape, do you?\"", "Angel smiling: \"I got nothing. Do you know how hard it is to secretly record someone as paranoid as you two?\"", "Lindsey: \"This whole thing was a setup.\"", "Lilah: \"You hired Boone.\" On screen, Wesley apparently hears someone coming into the office and jumps towards the camera, putting his hand over the lens as he drops down with it.", "Angel: \"No. You did. For a whole lot of money, too.\" Lindsey turns to look towards the tables: \"The money.\" He and Lilah run back through the crowd, pushing people aside and yelling 'look out' and 'move,' running past Nathan Reed, to find the employees knocked unconscious and the money gone.", "Lindsey: \"Damn!\"", "Nathan: \"What happened?\"", "Lilah: \"He stole the money.\"", "Nathan: \"Who?\"", "Lindsey: \"The cowboy.\" Angel is walking out of the hotel when Anne comes up behind him, puts a hand on his arm to turn him around then slaps him full in the face.", "Anne: \"How dare you? I risked everything in there. I risked my kids. You never even planned to expose the scheme.\"", "Angel: \"They would have covered it up. I just wanted to shake them up a bit. - It's not much, but it's a start.\"", "Anne: \"And the money?\"", "Angel: \"The money was tainted.\"", "Anne: \"I don't even care about...\"", "Angel: \"Yes, you do. That's the difference between us. - You still care.\" After looking at her a moment longer, Angel turns as walks off. Wolfram and Hart, night, Lindsey's office.", "Nathan: \"You embarrassed us all. - You allowed two million dollars earmarked for this firm to be lost. And worst of all, you violated company policy to hire an assassin to kill Angel. An assassin who was in fact, in league with Angel.\"", "Lilah: \"I'm very sorry, sir.\"", "Nathan: \"Sorry isn't acceptable. - Holland Manners was a brilliant lawyer - had a tremendous mind - but I think he had a soft spot for the two of you, which I believe clouded his judgement. - I won't make that mistake.\"", "Lilah: \"Understood.\"", "Nathan: \"My advice to both of you, start piling up wins. Fast.\"", "Lilah: \"Yes, sir.\"", "Lindsey: \"How-how do you expect us to - succeed when you handcuff us with these idiotic rules protecting Angel?\" Lilah casually edges a couple of steps away from Lindsey.", "Nathan: \"I'm sorry. Did you say something?\"", "Lindsey: \"Angel is an obstacle to everything that we do. Give me one good reason why we can't just kill him!\" Nathan steps up close to Lindsey: \"Because Angel - is a major player.\"", "Lilah: \"In business?\"", "Nathan: \"In the apocalypse.\"", "Lilah: \"Oh. That.\"", "Nathan: \"The prophecies all agree that when the final battle is waged, he plays a key role.\"", "Lindsey: \"Good for him.\"", "Nathan: \"Which side he's on is the gray area, and we're gonna continue making it as gray as possible.\"", "Lilah: \"Works for me.\"", "Nathan: \"Until then - his growing obsession with the two of you, the increasing possibility that to scratch that itch, he'll go so far as to kill you... - Well, that could actually play in the firm's favor. (Lilah stares at him wiht a frown) It would be a sign that Angel is on the path to joining our team. And as hard as it is to lose good attorneys, well the truth is - you are both expendable. (Smiles at them - then turns dead serious) Angel - isn't.\" Angel is looking at a picture of Anne and Lindsey back in his office at the Hyperion, then drops it into the trashcan on his way into the lobby. He walks up the steps to his apartment, but stops on the first landing.", "Angel without turning around: \"I thought you'd be halfway to Brazil by now.\" Angel turns and we see Boone standing on the landing in front of the entrance.", "Boone: \"No, you didn't.\"", "Angel: \"No, I didn't.\" Boone lifts up the carpetbag in his hand and throws it down into the lobby. Money and jewelry spill out.", "Angel: \"How much did it come to?\"", "Boone: \"With jewelry? North of two and a half million, I'd say.\"", "Angel: \"That's a lot to lay on the line.\"", "Boone: \"Yeah. But I got to know.\" Boone stretches his hands down and the steel coils wrap around his hands. We get a close up of Boone's hand. A close up on Angel's eyes, one on Boone's eyes. Then the two launch at each other across the lobby. Smash cut to the bag with the money dropping on Anne's desk.", "Angel: \"All of it. Little bit more than five percent.\" Anne reaches in and takes out some of the bundles of money. We see that Angel's face is badly bruised and he has a split lip.", "Angel turning to go: \"Wolfram and Hart find out that you have that money...\"", "Anne: \"I can find a way to hide it. (She fingers the money than looks at the dark liquid coming off onto her fingers) What's this?\"", "Angel: \"Blood.\" Anne looks at him, looks down, hesitates for a moment, then: \"It'll wash.\" Goes back to removing the money form the bag.", "FADE TO BLACK" ]

[ "Anne, head of the teen shelter, seeks assistance from Gunn, Wesley, and Cordelia when she learns of kids in the area being harassed by police officers. It seems a frustrated police chief in a bad part of town initiates a new program to combat rising violence on the streets: resurrecting officers killed in the line of duty. Unbeknownst to the others, Angel and Detective Lockley attempt to track down the zombie officers' puppet master. In the process, Wesley is shot and badly wounded by one of the officers. Angel however cannot bring himself to visit his former employee." ]

[ "[PREVIOUSLY_ON]", "Angel to cellphone: \"Kate, it's Angel. Pick up if you're there. If you get this message get a hold of you father. Get him out of his house. He's in danger.\" Kate's father getting killed by a vampire.", "Kate: \"Oh, dad. Oh, no, dad!\" Kate standing in front of her father's grave, Angel watching from the shadows.", "Cordy to Angel: \"Nice plan, General Custer! You can't go in uninvited, remember? You need us.\"", "Anne holding up Cordy's blouse: \"This is not what I expected. What's the matter, doesn't fit you anymore?\" Angel throwing down the cigarette and setting Darla and Dru on fire.", "Gunn: \"You went to far.\"", "Wesley: \"Right now the three of us are all that's standing between you and real darkness.\"", "Angel: \"You're fired.\"", "Lilah: \"For God's sake, help us.\"", "Holland: \"People are gonna die.\"", "Angel closing the doors: \"I just can't seem to care.\" Night. Angel's convertible pulls up in front of the Hyperion. Angel slowly crosses the hotel lobby, looking around. Looks down at the books and papers on the counter, pushes them off. Turns around to survey the lobby, crosses his arms and looks down as the camera pulls up then through a black wall to show us Wesley holding the door to their new office open, looking out.", "Wesley: \"What I wouldn't give for a roving band of Prekian demons right now.\" Gunn and Cordy, sitting by the desk, give him a look.", "Wesley: \"Without the ritualistic slayings of course.\"", "Cordy: \"Of course.\" Wesley picks up the newspaper and closes the door.", "Wesley: \"Something to fight. Good to be done. A little action.\"", "Cordy: \"Maybe we could by one of those star maps, find out where Steven Segal lives. (Gunn and Wes give her a look) You're telling me he got to be a movie star without a little demonic assistance?\"", "Gunn looking at the newspaper: \"Look, I say if things are quiet, let them be quiet.\"", "Wesley goes to sit down: \"Quiet maybe good for mankind - but bad for business. We need to make a name for ourselves.\"", "Gunn: \"We can't even agree on a new name yet. Unless, of course you guys have come around to the idea of...\"", "Wesley: \"I don't think so.\"", "Cordy: \"Give it up already.\"", "Wesley gets back up: \"New name or not we need to be on the streets, plying our trade. Generating a little word of mouth. We can't expect evil to just walk through the door.\" The front door opens and a woman ushers in a young girl.", "Cordy getting up: \"Can we help you?\"", "Francine: \"I'm, ah, looking for Wesley Wyndham Price.\"", "Wesley: \"I'm Wesley.\"", "Francine: \"Ah. I'm Francine Sharp, my daughter Stephanie. I'm a friend of Virginia's from the club.\"", "Wesley: \"Oh, right, the country club.\"", "Cordy: \"One of Virginia's *rich* friends? (Wesley, Stephanie and Francine give her a look.) You certainly came to the fight place, ha, ha.\"", "Francine: \"Virginia said you specialize in, uh, strange phenomenon?\"", "Cordy: \"The stranger the better as far as we're concerned. Please, have s seat. - Tell us what the problem is. (Francine leads her daughter over to a chair) Trust me, we specialize in strange. There is nothing we haven't see... (Trails off as she sees an eye blinking up at her as Stephanie sits down. Turns to Wes and whispers) There's an eye in the back of her head!\" Wesley and Gunn come over to take a look. Wesley moves his finger in front of the eye and the eyes tracks it.", "Francine: \"Something grabbed her on the way home from swim practice and bit her. When she woke up this morning that was there.\" Wesley crouches down next to Stephanie's chair: \"Did you see who or what did this to you?\" Stephanie looks over at her mom.", "Francine: \"It was dark. She doesn't remember much. She's been in a state of shock since it happened. - I'll pay you whatever it takes. Can you make it go away?\"", "Wesley: \"Yes, absolutely. Consider us already on the job.\"", "Cordy: \"I knew you came to the right place.\"", "Francine: \"Who would do this?\"", "Wesley: \"We're going to find out, but it - it'll take a little time. You'd be surprised how many nasty things are on the streets these days. Two teenagers are running down a dark street, dart around a corner and lean against the wall. The boy glances back around the corner.", "Boy: \"He's right behind us.\"", "Girl: \"Oh god.\"", "Boy: \"We got to move. Now.\" They run on while we see a big shadow on the opposite wall slowly moving closer. The East Hills Teen Shelter, night. Anne hands a stack of blankets to a black girl.", "Anne: \"Here you go. Pass these out first. And then get Eva to go to the storage room. I bought a bunch of new sleeping bags last week, just in case we got crowded.\" Anne surveys the packed shelter with a sigh, then goes to answer the front door as someone pounds on it. The two teens we saw running from the shadow are standing outside.", "Boy: \"Open up! Please, open up. (Anne opens the doors) Anne, look, I know it's past curfew, but we got to come in.\"", "Anne: \"Sorry, Kenny. Ten o'clock. You know the rules.\"", "Kenny: \"I know, I know, but - you can't leave us out here, okay? There's something - (looks back over his shoulder) - we gotta come in.\"", "Anne: \"We're already packed to the ceiling! There is no room, even if I did let you in. No more beds.\"", "Girl: \"Please. We'll sleep on the floor.\"", "Kenny: \"Anne, don't make us go back out there.\" Anne steps aside and the two teens hurry inside. Anne takes a look up and down the street then pulls the door closed and locks it. We a see a human figure move in the shadows across the street, the light briefly glinting off a silver badge on its chest and the shiny rim of the cap it is wearing. Intro Merl is in his lair packing his stuff into boxes. Turns around and almost runs into Angel standing there.", "Angel: \"Hey, Merl.\"", "Merl: \"Jesus, man! I mean, can't you, you know, knock?\"", "Angel: \"You don't make that funny expression when I knock, or if you do I don't see it. - What are you doing?\"", "Merl: \"Packing.\"", "Angel: \"You're not going anywhere.\"", "Merl: \"Oh, yes I am, as in far, as in now.\"", "Angel: \"Who's gonna tell me all the fun facts about my friends?\"", "Merl: \"Big meeting tomorrow night, some top-level Wolfram and Hart brass. I think it's a new demon account. 9:30, Diaghilev, that concludes my career as a professional informant. All right? Consider it a - a freebie. Just like every other bit of information I've ever given you.\"", "Angel: \"Nine thirty.\"", "Merl: \"Tomorrow night. Best of luck. Hope you bust that evil law firm wide open.\"", "Angel: \"Well, why the rush to relocate?\"", "Merl: \"Well, lets see, there is, uhm, *you* and then there is every other crook and monstro in this town that thinks they can just waltz in here and pound me until they get information, without paying for it either. I mean at least that British guy understood what a working relationship was, had some respect. *You* don't care about anyone but yourself.\"", "Angel: \"I really don't think that you're in a position to judge...\"", "Merl: \"How is old Wesley, huh? - Or the other two you fired? They doing alright? Oh, gee, let me guess. You never even bothered to check.\"", "Angel: \"This had better pan out.\"", "Merl: \"Nine thirty at Diaghilev. Pleasure doing business with you.\" Day, the East Hills Teen Shelter, Anne is talking to a black guy carrying a clipboard and pen.", "Anne: \"And make sure you get full names, no tags, no nicknames. I've seen at least a dozen new faces, and I don't want anyone slipping through the cracks. (Sees the guy that came in late) Kenny. Can I talk to you for a sec? How 've you been? We haven't seen you in a while.\"", "Kenny: \"Fine. Crashing different places. You know me and shelters, man. Too many rules. I've got to have my freedom.\"", "Anne: \"Hm-mm. So why'd you come in last night?\"", "Kenny: \"I don't know. It was cold out there. I was getting frostbit.\"", "Anne: \"It was sixty five degrees outside.\"", "Kenny: \"So? I'm from Florida. Sixty five degrees is like the Arctic Circle.\"", "Anne: \"Kenny - why'd you come in?\"", "Kenny: \"Cops.\"", "Anne: \"What?\"", "Kenny: \"Cops. They've been hassling everybody lately. Which, hey, what else is new, right? But these guys... Last night me and Les where hanging down on thirty ninth.\"", "Anne: \"Panhandling?\"", "Kenny: \"No. Washing my Mercedes. All of a sudden this cop comes up out of nowhere and just wham! Hit me so hard I thought my teeth were coming out.\"", "Anne: \"He hit you? What were you doing?\"", "Kenny: \"Nothing, I swear to god. And then after he punched me he threw Les against the wall, about near broke her arm. Next thing I know he's reaching for his nightstick, so I just grabbed Les and booked.\"", "Anne: \"You mean he wasn't trying to arrest you...\"", "Kenny: \"I'm telling you. He just walked up, said 'no loitering,' slugged me in the mouth, and then chased us for a couple blocks before we made it here.\"", "Anne: \"We got a big problem.\"", "Kenny: \"Yeah. Good luck solving it. I mean, who you're gonna call? The cops?\"", "Anne: \"I think I know someone who might help.\" Anne walks into the new Angel Investigations.", "Gunn smiles: \"Annie! What's up, girl? I haven't seen you in a minute. Come here! (Anne smiles back and they hug) So, what brings you to this neck of the woods?\"", "Anne: \"Well, I just thought I'd see how the other half lives (looks around) and strangely enough, it's not that different.\" Gunn turns her towards Wes and Cordy.", "Cordy: \"We like to think of it as early American dilapidation. (Shakes Anne's hand.) Hi. I'm Cordelia.\"", "Anne: \"Anne.\"", "Wesley: \"Wesley Wyndham-Price. Nice to meet you.\"", "Gunn: \"Anne here runs a teen shelter over on Crenshaw, not too far from my hood.\"", "Anne: \"Oh Gunn, all this time and you still remember!\"", "Gunn: \"Alright, alright, I get it. But I've been busy. I've been working.\"", "Anne: \"Well, if you're not too busy, mind if I run something by you?\" Blend to later that evening. Anne is sitting holding a cup of coffee.", "Anne: \"Kenny is not the only one. I've talked to some of the others and they *all* say the same thing. No provocation, no reason, the police are just terrorizing them.\"", "Gunn: \"Renegade cops. Not exactly my usual.\"", "Anne: \"Oh, that's right. You used to hunt...\" Looks over at Wes and Cordy, still researching at the desk.", "Gunn: \"Oh, it's cool. It's cool. They know what's what.\"", "Cordy: \"What?\"", "Gunn: \"I still hunt vampires, but if this job has taught me anything, it's that there's things a lot worse out there than a set of teeth. \"", "Anne: \"Like a bunch of overzealous cops beating on my kids. - Speaking of which... I should really get back. The shelter's been getting jammed after sunset, and somebody's got to keep them reined in.\"", "Gunn: \"I'll go with you. I don't think it's safe for you being out there by yourself. (To Cordy and Wes) I'm gonna head over to the teen center. See if I can figure this thing out.\"", "Cordy: \"Oh, gee, and miss out on this exciting case we're working on? (Anne looks at her) One of Wesley's wealthy acquaintances got bit by a demon.\"", "Anne: \"Are they okay?\"", "Wesley: \"Uh, for the most part.\"", "Cordy: \"Except for where she grew another eye in the back of her head.\"", "Anne: \"Oh, that sounds... handy. What kind of demon does that?\"", "Wesley: \"That's what we're trying to figure out. Once we know we should be able to deoculate her. I mean, just the one in back.\"", "Cordy: \"Oh, yes, Angel Investigations, home of the wicked high creep factor.\"", "Anne: \"Angel?\"", "Gunn: \"Oh, our company. It's named after our former boss. We're planning, uh, on changing it to the Gunn Agency...\"", "Cordy and Wes: \"No, we're not.\"", "Gunn: \"As soon as these two narcissists come to their senses.\"", "Anne: \"But Angel, that... this isn't the guy in the long, black trench coat, is it?\"", "Gunn: \"You know him?\"", "Anne: \"Yeah. He tried to help me out a few weeks ago.\" Gunn looks over at Cordy and Wesley. The two of them get up from the desk.", "Cordy: \"He did?\"", "Wesley: \"Really?\" Cordy walks closer to Anne.", "Anne: \"But it turned out it was just a scam to screw this law firm.\"", "Cordy, brightly: \"Well, he hasn't changed a bit.\" Turns around and goes back to the table. She and Wesley go back to their books.", "Gunn to Anne: \"Come on.\" We see Gunn and Anne coming out of the office looking down from overhead.", "Gunn: \"So, tell me more about this situation.\" Angel is watching them from the roof of the building opposite and trails them along the edge as they walk away. East Hills Teen Shelter, night. A van pulls up in front of it and Anne and Gunn get out.", "Anne: \"Thanks for coming by, Gunn.\"", "Gunn: \"You know I've got your back. I haven't seen this place in forever.\"", "Anne: \"Yeah, it's been a while.\" Angel watches from the corner as they enter the building. Inside the shelter, Gunn and Anne are sitting on a sofa talking to a group of kids sitting on another one across from them.", "Ray: \"Look, the cops are tripping, G.\"", "Gunn: \"Define tripping for me.\"", "Girl: \"Out for blood. Les got her arm busted up.\"", "Ray: \"The cops stopped me the other night. He went for his gun, looking to put a cap in my ass, man!\"", "Anne: \"It's outrageous. These cops are gonna kill someone. We have to do something about this.\"", "Gunn: \"Anne, you think you could give us a minute?\" Anne looks at Gunn then gets up.", "Anne: \"Yeah. I have some paperwork I could do.\" Gunn waits till she's gone.", "Gunn: \"You guys try to play her?\"", "Girl: \"What?\"", "Ray: \"No way, G.\"", "Gunn: \"Anne's no fool, but she's got a blind spot. She wants to trust you all. Now, if I find out you're taking advantage of that...\"", "Ray: \"This ain't no scam, G. We're the victims, man!\"", "Gunn: \"Victims. Right. So what was you doing when this cop pulled his piece on you?\"", "Ray: \"Absolutely nothing.\"", "Gunn: \"Oh, so I haven't seen you on Normandy and Fifth dealing? You telling me that wasn't you I seen?\"", "Ray: \"That's ancient history, man. I gave that up.\"", "Gunn: \"Well, do the cops know that? 'cause maybe they didn't get your e-mail.\"", "Girl: \"Hey, we're not talking about some street sweep the PD does to shut up the moms. Okay, this is war, and everyone's a target.\"", "Ray: \"She speaks true, G. A hundred percent true.\" Angel steps away from the window where he's apparently been watching and listening and turns to walk down the sidewalk.", "Cop: \"Keep your hands where I can see them.\" Angel turns and spreads his hands: \"I'm sorry, officer, have I done something wrong?\"", "Cop pulls his nightstick: \"Turn around. Face the fence. Place your hands on your head.\"", "Angel: \"This is a mistake.\" The cop hits Angel across the jaw with his nightstick and slams him up against the fence.", "Cop: \"You're under arrest.\"", "Angel: \"Believe me, you don't wanna do this.\" Pushes the cop off him, but the cop rebounds of a parked car and comes right back, swinging his stick.", "Cop, calmly: \"You have the right to remain silent.\" Angel blocks the swing and pushes the cop off him again. The cop rebounds off the fence and comes back swinging.", "Cop: \"Anything you say can...\" Angel kicks him in the chest, pushing him back into the fence. Again the cop rebounds swinging his stick.", "Cop: \"...and will be used against you in a court of law.\" Angel punches the cop in the stomach, then the back of his head. The Cop drops against the car, then crumbles to the ground and doesn't move. Angel continues down the sidewalk, but hasn't taken more than a couple steps before the cop pops back up and continues dispassionately.", "Cop: \"You have the right to an attorney.\" Angel stops and turns, blocking another swing from the cop and punching him in the gut again.", "Cop: \"Should you be unable to afford an attorney (Swings at Angel, who blocks it) one will be appointed to you.\" The cop swings again, again Angel blocks. The cop staggers back. Angel turns and kicks the cop's head right off his neck. The head bounces off the windshield, Angel staring after it.", "Decapitated and decayed looking head: \"Do you understand your rights as I have...\" The words slow and stop. Angel looks down at the LAPD badge on the chest of the now equally decayed looking corpse. Break East Hills Shelter, night, two black teens walks up to where Gunn and Anne are sitting and one of them slaps Gunn on the back.", "George: \"Well, if it isn't Charles Gunn, brother at large.\" Gunn and Anne get up.", "Gunn: \"Anne, meet Rondell and George.\"", "Anne: \"Hi.\"", "George: \"Greetings. Brought the camcorder. What do you need?\"", "Gunn: \"Alright, I've got this little neighborhood problem I promised Anne we'd look into.\"", "Rondell: \"This got something to do with the police cracking skulls?\"", "Gunn: \"You know about that?\"", "George: \"Who doesn't?\"", "Gunn: \"I didn't till today. Somebody could have filled me in.\"", "Rondell: \"You ain't been around to tell nothing to.\"", "George: \"You've been moving on up, dog, - playing demon detective with your new family.\"", "Rondell: \"Deluxe apartment in the sky.\"", "George: \"When I got the call I figured it must be Christmas or something.\"", "Gunn: \"Maybe I shouldn't have called at all. In fact, you know what? You're all free to go.\"", "George: \"We already made the trip, might as well go all the way.\"", "Gunn: \"Don't do me no favors.\"", "George: \"I'm not. The favor's for these kids. - Now you got a plan or don't you?\"", "Gunn after a beat: \"All right, look, the plan is simple. I want you to roll the camcorder and wait for the cops to hassle us.\"", "Anne: \"How do you know they will?\"", "Gunn: \"'cause we'll be the ones walking while black. (George laughs) Come on.\" Gunn, Rondell and George leave. LAPD headquarters, night. Kate walks across the office reading a file to find Angel sitting on the edge of her desk.", "Kate: \"Haven't seen you in a while.\"", "Angel: \"I've been busy.\"", "Kate: \"Yeah, me too.\" Kate walks past him and gets another file out of a drawer.", "Kate: \"A couple of open cases I've been working. Two women killed in a clothing store. Thirteen lawyers from Wolfram and Hart slaughtered in a wine cellar.\"", "Angel: \"Real tragedy.\"", "Kate: \"Yeah, you seem real broken up by the loss. Anyway, we're still looking into this one.\"", "Angel: \"Good luck with that.\"", "Kate: \"I guess you never caught up with your vampire friends in time.\"", "Angel: \"I did track them down later and set them on fire.\"", "Kate: \"Sounds like you enjoyed it. But then again - the whole murder and mayhem thing's always been right up your alley.\"", "Angel: \"If that's how you feel, I guess this isn't the best time to tell you - I just killed a cop.\"", "Kate: \"I wouldn't make a joke about that in this building, no matter how immortal you think you are.\"", "Angel: \"Of course, this is the kind of cop that keeps talking even after he's been decapitated. (Pulls out the cops badge (number 4226) and shows it to Kate.) Bet they don't teach you that at the academy. Want to tell me who that badge belongs to?\" Kate takes the badge and looks at it. Kate is pulling up the file on the badge.", "Angel: \"That's him.\"", "Kate: \"Officer Peter Harkes.\"", "Angel: \"You know him?\"", "Kate: \"Well enough to be at his funeral six months ago.\"", "Angel: \"You want to take a ride?\"", "Cordy on the office phone: \"Of course we can handle this eye thing without you. That's not the point. - Just that maybe we should back you up on this. - Because I don't want you to get hurt. - Of course I do, *but*... Hello? (Hangs up the phone with a sigh.) Okay, Gunn's about to do a really stupid thing.\"", "Wesley reading his book: \"What did he say?\"", "Cordy: \"Just that in order to find out if the police have been brutalizing and killing people in Anne's neighborhood, he's going to videotape the cops trying to brutalize and kill him.\"", "Wesley looks up: \"You can't be serious.\"", "Cordy: \"Nothing says 'Aha, I'm no to you' like being on the receiving end of a vicious police beating.\"", "Wesley: \"You couldn't stop him?\"", "Cordy: \"Hello! Gunn, stubborn, synonyms.\"", "Wesley: \"That can't be his plan, can it? I mean, it's - really a dumb plan.\"", "Cordy: \"Hey, Gunn graduated with a major in dumb planning from Angel University. He sat at the feet of the master and learned well how to plan dumbly.\"", "Wesley: \"We'll just gonna have to let him do this.\"", "Cordy: \"Oh. I'm sure he'll be fine.\"", "Wesley: \"He wants our help, he knows where to call us.\"", "Cordy: \"We'll work our gig, Gunn can work his.\"", "Wesley: \"Right. Lets get down there and save him from himself.\"", "Cordy: \"It's not like that third eye is really going anywhere.\" Angel and Kate are walking up to the grave of Peter Harkes.", "Kate: \"That one. Never saw the guy who shot him.\"", "Angel: \"Catch the killer?\"", "Kate: \"Oh, yeah. Not exactly a criminal genius. He's up for the death penalty.\"", "Angel: \"You said his funeral was six months ago.\"", "Kate: \"Around then. Why?\"", "Angel: \"This ground's been disturbed in the past few weeks. Someone's done some digging.\"", "Kate: \"How do you know?\" Angel just looks at her.", "Angel: \"A lot of cops buried here?\"", "Kate: \"Yeah.\" Angel walks over to another grave.", "Angel: \"How about him?\"", "Kate: \"Kevin worked vice. (Angel nods to himself.) What is going on here?\"", "Angel: \"I think someone is unearthing dead cops and putting them back on the streets.\"", "Kate: \"What? How is that?\"", "Angel: \"Zombies. - Magically reanimated corpses. They walk they talk, but somebody else is pulling their strings.\" Kate looks down at the grave then runs off to another one, Angel following.", "Kate: \"Is it... my dad, is he...\"", "Angel: \"No. His ground's undisturbed.\"", "Kate: \"Are you sure?\"", "Angel: \"I'm sure.\" Kate puts a hand over her mouth and does her best not to break down crying.", "Angel: \"You okay?\"", "Kate: \"Who's doing this?\" Anne is coming down the crowded steps at the shelter carrying a stack of blankets.", "Anne to teen: \"Could you give Emma a hand in the kitchen?\" There is a pounding on the front door and Anne goes to answer it.", "Anne: \"Sorry, no more... (Sees that it's Cordy and Wes) Hi, what...\"", "Cordy: \"Is Gunn still here?\"", "Anne: \"No, he left with his friends a little while ago. Why?\"", "Wesley: \"Did he say where he was going?\"", "Anne: \"Forty fifth street, I think.\"", "Wesley turns to go: \"I'll start there. I'm on my cell phone if you hear from him.\"", "Cordy: \"Check in with me.\"", "Wesley: \"Right.\" Cordy looks inside the shelter.", "Cordy: \"Huh, looks like you could use some help.\"", "Anne: \"All of my regular staffers are too scared to come in tonight.\"", "Cordy: \"Where do you want me to start?\"", "Anne hands her the blankets: \"How are your laundry folding skills?\"", "Cordy: \"I'm an actress. I can - fake it.\" Cordy turns and sees a girl wearing the blouse Angel donated to the shelter in \"Blood Money\" coming down the stairs.", "Cordy: \"Hey! That's my... (The girl looks at her) Sorry. - I have a shirt just like that. (To Anne) The crook at the store said it was one of a kind! Big fibber!\" Anne turns to shut the door but a but black guy wearing a black leather jacket jumps up the steps from the street, blocking the door.", "Anne: \"I'm sorry, I'm all out of beds.\"", "Jackson: \"Oh, come on now, sweet thing. You know it's not save for man or beast out here.\" Anne tires to shut the door again: \"I'm very sorry, but I really don't have any (they guy steps in) free beds.\"", "Jackson: \"Oh, you don't have to worry about me. I'm sure I can find someone willing to share. (Watches two girls walking up the steps) Oh, yes. Plenty of candidates.\" Cordy throws the stack of blankets to the side and takes a step closer to the guy.", "Anne: \"I really think it would be best if you left.\"", "Cordy: \"You should probably go.\"", "Jackson: \"This is a shelter, right? Well, it just so happens - I'm in need of a little shelter tonight.\" Pushes Cordy out of the way and walks deeper into the shelter.", "Cordy: \"Hey! Hey.\" Cordy is about to go after the guy but Anne stops her.", "Anne: \"Let him go. I don't want any trouble.\" Black leather guy bumps into the retired drug dealer kid Gunn was talking with earlier.", "Ray: \"Oh, watch out man... Jackson.\"", "Jackson: \"Lookee here. You been ducking me lately, Ray? Hmm?\"", "Ray: \"No.\"", "Jackson: \"No?\"", "Ray: \"No.\"", "Jackson: \"You don't still think I'm pissed at you, do you?\"", "Ray: \"I don't know.\"", "Jackson: \"Why you're shaking, Ray? What you got to be nervous about? - You don't think I'm gonna kill you or something, do you? - Huh?\"", "Ray: \"No.\" Jackson laughs and claps Ray on the shoulder.", "Jackson: \"I'd never kill you here, Ray. Not in front of all the pretty ladies. You know I'd never kill you *here*, hmm?\" Laughs and walks away. Gunn and his two buddies are walking down a dark street.", "George: \"All right, look, all I'm saying is you got to let me set up so they don't see me with this. Cops see me with this, ain't no way we can Rodney King them.\"", "Gunn: \"Yeah, that's if we ever find any. I never had to look so hard to find trouble before.\" George points at a street sign.", "George: \"Hey, check it. Forty fifth street, man.\"", "Gunn: \"So?\"", "Rondell: \" You're kidding me. This is gang ground. They catch us rolling up in here they'll take us out.\"", "George: \"That's why we ain't seen no cops. They don't even come around here.\"", "Gunn: \"I said you was free to go.\"", "George: \"Hey, man, I say I'm gonna do something, I'm gonna do it.\" Gunn looks at the deserted street.", "Gunn: \"Damn. Someone having an apocalypse and forget to invite us?\" A cop comes walking up the street behind them tapping his nightstick against the wall of the building and the three turn to face him.", "Cop: \"What are you doing?\"", "Gunn: \"Doing? Nothing, man, just taking a walk.\"", "Cop: \"Put your hands on the wall, step back and spread your feet apart.\"", "Gunn: \"You arresting us?\" Gunn looks back to make sure that George is getting it all with the camcorder peeking from his coat. Camcorder picture shows Gunn and the cop with a little REC in the upper left corner.", "Cop: \"Do as you're instructed.\"", "Gunn: \"Officer, I'd just like to know if we're being arrested.\"", "Officer: \"Turn around and face the wall. Now.\"", "Gunn: \"Hey, I'm not trying to argue with you, but - I'd like to know what we did wrong. You know, what law we broke? Because if we broke one, I think we should know what it was so we don't make the same mistake twice.\"", "Cop lifts his stick: \"I'm not gonna say it again.\" Wesley comes running up the street behind the cop.", "Wesley: \"Wait! Officer, wait! This man is a friend of mine, a very good friend. I'm sure he hasn't committed any...\" The cop spins around and shoots Wesley in the belly. Wesley staggers from the impact, looks at the cop in disbelief then sinks down against the wall of the building. Break", "[SCENE_BREAK]", "Gunn: \"Wesley!\" Gunn tackles the cop, knocking the gun from his hand. Rondell darts in and picks up the gun. The cop hits Gunn and reaches down to his ankle.", "George: \"He's got another gun!\" The cop pulls out his hideout gun and Rondell shoots him twice, dropping him to the ground.", "Rondell: \"Oh man! Oh man!\"", "George: \"Lets get the hell out of here.\"", "Gunn: \"Help me get Wesley.\" As Gunn hurries over to Wesley, Rondell drops the gun, staring at it.", "Wesley to Gunn: \"Is anyone else cold?\"", "Gunn: \"It's okay now. We're gonna take you some place warm. Help me pick him up! Come on! Come on!\" Gunn and George pick Wesley up while Rondell stares at the dead cop.", "Rondell: \"I shot him! I shot a cop!\"", "Gunn: \"Not a lot of choice.\"", "George: \"We got to move.\"", "Rondell: \"I killed a police officer. Look at him. He's dead!\" Which is when the police officer sits back up.", "Gunn: \"Don't look *that* dead.\"", "George: \"Lets go!\" The four of them run as best they can with Wesley supported between Gunn and George. The cop reaches up to the radio clipped to his shoulder.", "Cop: \"We have a situation.\"", "Radio: \"Are there any loose ends?\"", "Cop: \"We have witnesses. I need back up.\" Gunn and the others hurry down a street.", "Gunn: \"Hold up. Hold up. I got to try and stop this bleeding.\" Points to a hole in a chain link fence, and they slip through it, then around the corner of the building.", "Gunn: \"Around here. - Put him down. Easy! Take it easy!.\"", "Wesley: \"Nine one one. You've got to call 911.\"", "Rondell: \"Screw the cops! They're the ones that did this to you!\"", "Gunn: \"An ambulance.\"", "Rondell: \"Oh.\" Wesley pulls out his cell.", "Gunn: \"Alright. (To Rondell) Go down and keep watch.\" Rondell hurries back to the hole in the fence, while Gunn dials the phone.", "George: \"Tell them no siren.\"", "Phone: \"911 What is your emergency?\" Kate and Angel enter the office of a police precinct.", "Kate: \"It's pretty quiet in here.\" The office is deserted. Angel hits the bell on the counter and a door in the back opens and an officer comes out.", "Officer: \"Can I help you folks?\"", "Kate shows her badge: \"Yeah. I'm investigating some complaints about the way some officers are handling things in this precinct.\"", "Officer: \"Isn't that more a job for internal affairs?\"", "Kate: \"Well, I'm taking a personal interest.\" The captain passes behind the officer and disappears into the back office.", "Kate: \"Where is everyone?\"", "Officer: \"Oh, only a few of us riding the desk tonight.\"", "Angel: \"Not a lot going on?\"", "Officer: \"Crime is way down in this precinct. We're doing things right.\"", "Angel: \"Who takes credit for that?\"", "Officer: \"It's a team effort. But, the captain's the one who really got the ball rolling.\"", "Angel: \"Can we talk to him?\"", "Officer: \"He's not here. But you're free to try again later though.\"", "Kate: \"This captain of yours, he's running things by the book?\" Officer looks from Angel to Kate: \"I don't have to tell you who used to rule these streets, detective. The scumbags did. Hell, I-I was afraid to drive to work myself.\"", "Kate: \"Oh, really?\"", "Officer: \"We got a tougher policy now.\" Gunn is pressing a rag to Wesley's wound as Rondell comes running back.", "Rondell: \"Ambulance ain't gonna come down here.\"", "George: \"Shut up before they hear you.\" Rondell hurries back to his post as Gunn takes off his coat to cover Wesley.", "Wesley: \"I don't think I'm doing very well.\"", "Gunn: \"Hey, you're gonna be fine, man, alright? Getting shot like this... Yeah, I've seen a lot of people been shot worse than this never even slowed them down.\"", "Rondell comes hurrying back: \"It's here!\"", "Gunn: \"Come on, hurry, move!\" Wesley is being loaded into the ambulance by a white and a black paramedic.", "Gunn to George and Rondell: \"Meet me back at the shelter, all right? Watch your backs!\" George and Rondell run off. Gunn as the white paramedic is about the close the back doors: \"Hey, hey! I'm with him.\" Gunn gets into the back of the ambulance and it drives off.", "Gunn: \"It's alright, Wesley, hang on. We're almost there, okay?\" As the ambulance nears the end of the alley two cop cars with flashing lights block its exit.", "Driver: \"Something is going on up here. I'll go see what it is.\" Gunn gets up to look out through the front windshield to see the driver talking to the cops.", "Driver: \"Hey you guys, you got to let us through. We got...\"", "Gunn: \"No! Don't!\"", "Driver: \"...a wounded man in the back. We got to get him...\" Gunn darts out the back and into the driver's seat as the cops open fire on the driver, riddling him with bullets.", "Gunn: \"Hang on!\" Gunn backs up the ambulance, until his way is blocked by another cop car. Turns the ambulance and rams it through the fence they slipped through earlier. Three cops run after them, firing their guns at the back of the ambulance. Gunn makes it out of the alley and starts to speed down the road. The ambulance pulls up outside the shelter. Gunn opens the back doors and starts to unstrap Wesley.", "Black paramedic: \"We're stopping? What are you doing?\"", "Gunn: \"Trying to survive. Help me get him inside. Come on, Wes. Come on, man.\" Gunn gets Wesley up while the paramedic grabs the IV bag off the hook and hands it to Gunn.", "Paramedic: \"Here take this.\" Gunn holds out his arms to Wesley as he teeters at the doors of the ambulance.", "Gunn: \"Come on, man. I got you.\" Anne goes to answer the pounding on the front door of the shelter.", "Gunn: \"Annie! Open up. It's G. Open up! Hurry!\" Anne opens the door.", "Anne: \"Oh my god! What happened?\"", "Gunn: \"They shot him.\"", "Anne: \"Who did?\"", "Gunn: \"The cops. They're not human.\" Anne stares for a moment then goes to close the door. Outside a police car pulls up on the other side of the street. The driver reaches for his radio.", "Cop: \"All passengers are on board, sir.\" The police captain is listening to the report on his radio.", "Cop: \"We have full containment.\"", "Captain: \"Wait for back up. Secure the entire section. - Clean house.\" The paramedic is taking Wesley's blood pressure while Wesley is clinging to one of Gunn's hands.", "Wesley: \"He had no right.\"", "Gunn: \"I know man, shh.\" Cordy comes hurrying up to the sofa.", "Cordy: \"Wesley, I...(to paramedic) What can I do?\" The paramedic hands her a pad: \"Apply pressure to the wound.\"", "Cordy to Wesley: \"Okay. I got it. Hang in there. It's okay.\" Gunn goes to look out a window.", "Anne: \"Are we safe here?\"", "Gunn: \"Safer than out there. But we need to lock all the doors, alright? And keep everyone away from the windows!\"", "Anne: \"You heard him! Lets go! Come on!\" Jackson sees Wesley's wound as everyone clears out to do as told.", "Jackson: \"Oh! - Damn. Now that looks nasty.\"", "Gunn: \"Jackson? What the hell are you doing here?\"", "Anne in the background: \"How are we gonna keep the cops out?\"", "Jackson: \"I say let 'em come, bro. I know how to handle cops.\" Pulls up his shirt to reveal a gun stuck in the waist of his pants.", "Gunn: \"That life style working out for you?\"", "Jackson: \"Don't get all high and mighty with me, player. I know where you come from.\"", "Gunn: \"Where I come from you don't bring down a community. You try and make it better.\"", "Jackson: \"I'm just doing my thing, man. Why - why don't you go on and get out of my face.\"", "Gunn: \"Your thing hurts everybody! Why do you think nobody cares they're clamping down on this neighborhood?\"", "Jackson: \"'cause they're a bunch of racist pigs.\"", "Gunn: \"There is that. And there's people like you - tch! A thug with a gun, keeping the cycle going.\"", "Jackson: \"Not my problem.\"", "Gunn: \"No! See, it's my problem, all right? 'cause they shot my friend over there.\"", "Jackson: \"Oh. - Yeah. White man dying. Not exactly losing sleep on it.\" Gunn pushes Jackson up against the wall but Anne come hurrying up.", "Anne: \"Hey. We can't afford this. Not now.\" The police captain is listening to the radio.", "Cop on radio: \"All units are in place.\"", "Captain: \"Go. And keep it quiet. No gunfire.\"", "Paramedic: \"He's going south.\"", "Cordy: \"No. Come on.\" Gunn still holding Jackson up against the wall turns his head to look at the paramedic.", "Gunn: \"What?\"", "Paramedic: \"I think there's internal bleeding, but we can't help him here. We've got to get him to St. John's, fast.\" Gunn lets of Jackson and goes over to the sofa: \"Look we can't go back out there, all right? You saw what they did to him.\"", "Cordy: \"He's going to die. We're taking him to a hospital, now. I don't care who's out there!\"", "Gunn: \"Alright. Get the door.\" Cordy hurries off as Gunn drapes one of Wesley's arms over his shoulder trying to get him up.", "Gunn: \"Come on.\"", "Wesley: \"Where are we going?\"", "Gunn: \"To the hospital.\"", "Wesley: \"That sounds sensible to me.\" Cordy opens the door just as two cop cars pull up. Closes it again and hurries over to Gunn.", "Cordy: \"They're here.\" Break Cops are getting out of the cars and head for the shelter. Inside the kids are attempting to barricade the windows and doors.", "Gunn: \"Take this bat. I want you to use it, all right? - Come on. Everything against the windows! Move! Move. Do this quick.\" More cops coming closer. Anne and another guy slip a bar in place over a door.", "Anne: \"Okay. Nail this shut. (moves off, sees another kid) Check the kitchen door.\" The Police captain puts down his radio and sits down behind his desk as the door opens and Angel steps in.", "Captain: \"Can I help you?\" Angel just walks in and looks over some things on one of the desks.", "Captain: \"Excuse me, what are you doing?\"", "Angel: \"Looking around.\"", "Captain: \"Who are you?\" Angel picking up an open medal case: \"Angel.\" Captain takes the case from him: \"Well, Angel, if you need something I'm sure someone downstairs would be willing to help you.\"", "Angel: \"Actually I need to talk to you.\"", "Captain: \"About what?\"", "Angel: \"About some of your more - dead cops?\" The captain chuckles and gets up.", "Captain: \"Maybe we should talk about you instead.\" Pulls his gun and fires two bullets into Angel's torso. Angel curls up around the wounds for a moment then come back up in vamp face.", "Angel: \"How do I stop them?\" The captain points his gun again, but Angel grips his hand and tosses him across the room. Grabs him by the throat and pushes him up against the wall.", "Angel: \"I'll repeat the question.\" The cops are stepping up to the windows of the shelter.", "Gunn: \"Move, people, move.\" Four cops are trying to open the front door.", "Telephone voice: \"All circuits are busy. Please hang up and try your call again.\"", "Cordy to cell phone: \"This is no time for circuits busy! So, don't tell me circuits are busy. If the circuits are busy - get some new circuits now!\" The cops are pulling off the bars across the lower parts of the windows. Gunn to the kids moving the furniture: \"Come on, push them up there.\" Cops are battering against the front door, climbing up on the windowsills, battering against the back door.", "Angel: \"How do I stop them?\"", "Captain: \"These are good cops. They pout their lives on the line. They died on the streets.\"", "Angel: \"You should have left them that way.\"", "Captain: \"I won't betray them!\" Knocks Angel's hand from his throat and flees towards the back of his office, pushes a file cabinet aside and slips through a hidden door behind it. Angel darts after him. The kids are pushing bookshelves up against the windows. The cops are breaking the glass and one of them reaches in and pulls one of the kids moving the shelf out through the window.", "Gunn: \"Alright. Get the kids in the back.\"", "Anne: \"Get them upstairs.\" The cops are trying to come in through the windows and the kids are beating them back with their baseball bats. Anne goes to check another door and one of the cops reaches in through the bottom of the window beside her and grabs her foot, trying to drag her outside. Screaming Anne lays into him with her bat. Cordy, carrying a hammer, comes over and hammers the hand holding Anne, getting it to let go. Anne scrambles up and they pull a chair in front of the window, only to have the cop stick his arm through the window above it. Cordy gives it a couple good whacks before they run. Jackson is heading for one of the side doors, pulling out his gun he opens it, only to be clubbed down by a cop lying in wait on the other side of the door. Gunn comes over and hits the cop a couple of times with his bat, knocking him back out the door, then slams the door shut and locks it again. Gunn holds out a hand towards Jackson, who takes it, and pulls himself up.", "Cordy: \"Gunn! Gunn! Help.\" She and Anne are trying to hold the front door shut. Gunn and Jackson hurry over to help. The police captain is in a back room lit with candles sitting on shelves along the walls in front of pictures of numerous police officers. He is frantically digging through a trunk, pulling out a cross and some other stuff when Angel burst in.", "Angel: \"How are you controlling them, hmm? (Goes to inspect the stuff on the table, pulls some stuff out of a bowl) The entrails?\" Lets them drop when the Captain doesn't react. Two of the kids freak, abandon the back door and the cops break through. Other doors (including the front door) break open and cops come in through the windows. One cop pushes Gunn up against the wall, another grabs Cordy.", "Angel spots a statue: \"Here we go. It's the idol of Granath. The Zombie god.\" Picks the idol up as the captain charges him with a scream, cross raised high to strike. Angel smashes the idol on the captain's head and as he drops to the floor, covered in its pieces, so do the zombie cops at the shelter, turning into decaying corpses.", "Anne hurries towards the stairs: \"The kids.\"", "Cordy: \"Wesley!\" She runs over to the sofa and Gunn and Jackson follow.", "Gunn to the paramedic: \"Get the ambulance ready. (To Jackson) Help me pick him up.\"", "Jackson: \"Hm-mm. Sorry. Looks like the streets just got a lot safer for me. - Time to go to work.\" Jackson leaves. Cordy moves to help Gunn with Wesley: \"Lets go.\" Cordy as they pick Wesley up: \"Come on, sweetie.\"", "Gunn: \"Here we go.\"", "Cordy: \"Okay.\" Police headquarters, Angel walks up to Kate's desk and sits down.", "Angel: \"Hi. - I thought you might want to know I took care of our little cop problem.\"", "Kate hands Angel a file: \"Crime reports from that precinct. - Up until three months ago there was a murder every two weeks, a rape every two days, a robbery every hour and a half. And that's what we just gave back to the people of that community.\"", "Angel: \"I can live with that.\"", "Kate: \"You learn to live with a lot of things, don't you?\" Angel hands the file back to her: \"Yeah.\"", "Kate: \"This job is making me crazy.\"", "Angel: \"I know the feeling.\" A woman hands Kate a file: \"For you, detective.\"", "Kate: \"Thanks. (Looks at the file) Wyndham-Price, isn't that the guy that works for you?\" Wesley is lying on a hospital bed with Gunn sitting in a chair beside him. Slowly Wesley's eyes open. Gunn leans in closer.", "Gunn: \"Hey.\" Wesley slowly looks over at him.", "Wesley: \"Hey.\"", "Gunn: \"How're you doing?\"", "Wesley: \"Oh, I feel I should be in a great deal of pain.\"", "Gunn: \"Getting gut-shot will do that to you.\"", "Wesley: \"And yet... (Looks at the IV on his left hand) Is this morphine? (Gunn nods) Well, it's bloody lovely!\" Giggles. Gunn smiles and grabs a hold of Wesley's hand for a moment before sitting back in his chair with a sigh. The camera pulls back through the window into Wesley's room, into the corridor to reveal Angel standing by the nurses' desk, watching. Angel turns to leave only to find Cordy standing right behind him.", "Cordy: \"What are you doing here?\"", "Angel: \"I heard about Wesley.\"", "Cordy: \"Well, that's great. Too bad it takes a gunshot wound to make you give a crap. - Wesley doesn't need you right now. *We* don't need you. - You walked away. Do us a favor and just stay away.\" After a beat Cordy walks past Angel into Wesley's room. Angel watches as she hands a cup of coffee to Gunn them leans down to brush Wesley's hair. Then turns and walks away down the corridor.", "FADE TO BLACK" ]

[ "As the Wolfram and Hart 75 year review draws near, Angel sees an opportunity to bring the whole company down. He is determined to get to the law firm's home office and destroy the senior partners. But, what he discovers has him hitting rock bottom. Meanwhile, Kate is fired from the police force, driving her to do something drastic." ]

[ "[PREVIOUSLY_ON]", "Angel: \"You Denver?\"", "Denver: \"No other cat but me.\"", "Denver: \"A vampire wanting to slay a demon in order to help some grubby humans? I just don't get it.\"", "Thesulac: \"There is an entire hotel here full of tortured souls who could really use your help.\"", "Angel: \"Take them all.\"", "Angel: \"I'm trying to atone for a hundred years of unthinkable evil. News flash! I never can. Never gonna be enough. Now I have Wolfram and Hart dogging me. It's too much!\"", "Holland: \"You've been doing stellar work Lindsey. Don't think the Senior Partners haven't noticed.\"", "Angel: \"Darla had a shot at redemption, but they took it from her.\"", "Lilah: \"For god's sake, help us.\"", "Holland: \"People are gonna die.\"", "Angel: \"I just can't seem to care.\" Angel closes the doors. Darla bites Holland. A shot of the pile of bodies left in the cellar. Wesley runs up behind the Cop in \"The Thin Dead Line.\"", "Wesley: \"Wait! Officer, wait!\" The cop shoots Wesley.", "Kate: \"You learn to live with a lot of things, don't you? This job is making me crazy.\"", "Angel: \"I know the feeling.\" We see some dark, deserted corridors littered with trash and hear some strange, low screams. Angel comes around a corner, looking for the source of the sounds. He opens a door, steps into the room and pulls the chain of the light bulb dangling from the ceiling to reveal that the room is stuffed full of goats. Sees a door at the other side of the room. Angel opens the door to see two men preparing to sacrifice the goats.", "1.Man: \"What's next?\"", "2.Man reading from a booklet: \"Make sure all troths are securely fastened and sacrifices tilted as shown in diagram F-12 to ensure full drainage into sacred offering bowl.\"", "1.Man: \"Yes, yes, and?\"", "2.Man: \"Using a clean, diagonal motion slit throat of sacrifice with the pre-blessed ceremonial dagger provided. - I didn't see that in the box.\"", "1.Man: \"Look under the packing. Hurry up!\"", "2.Man digging through box: \"It's not in here.\" Goes to look through another box.", "1.Man reaches for the booklet: \"Just-just gimme-gimme this...\"", "Angel playing with the dagger: \"You know... (The two men spin to face him) I've (chuckles) well, I really couldn't help but notice the goats. - Yeah - a lot of goats. (Saunters closer) Goats - many. Those are goats, guys!\"", "2.Man: \"Hey, that's our pre-blessed... (Angel slams the dagger into the wall and bends it over) ceremonial dagger?\"", "Angel: \"So sue me. Or better yet, have your bosses do it. This building is owned by Wolfram and Hart, right?\"", "1.Man: \"What, what do you want?\"", "Angel: \"I want to know what they're having you worship.\"", "1.Man: \"That's none of your business. Who are you?\"", "Angel smiles: \"Me?\" Angel flashes across the room and pins the two guys against the wall by their throats.", "Angel in vamp face: \"Well, I'm just the type of guy who hates to see good blood go to waste.\"", "1.Man: \"Look, man, we just get paid to do the slaughtering and say the prayer.\"", "Angel: \"What are you praying to?\"", "2.Man: \"We don't know!\"", "Angel: \"How can you not know?\"", "1.Man: \"The ritual - it's, it's all in Latin. They said - we should just - sort of, you know, sound it out.\"", "Angel: \"They?\"", "1.Man: \"Like you said, Wolfram and Hart.\"", "2.Man: \"All we know is that the sacrifice got to be done by midnight or something out there will be real pissed off!\" Angel looks from one to the other: \"Good.\" Lets them go and begins to trash the place as the two men flee for the door. Intro Gunn is checking the back of Stephanie's head.", "Gunn: \"I don't see anything.\" Wesley sitting in a wheelchair next to them: \"Not a trace.\"", "Cordy to Francine: \"When she goes back to school the other kids will never even notice that there was a third eye growing back there. (Pats Stephanie's head) And this should come back in before you know it.\"", "Francine: \"What?\"", "Cordy: \"The hair? The... I meant the hair - that was in- in the back - there... Not the third eye! Because that won't come back. (Aside to Wesley) Right?\"", "Wesley: \"No reason it should. (Hands Stephanie a sucker) The curative charm seems to have worked - like a charm, really.\"", "Francine: \"We can't thank you.\"", "Wesley: \"Oh, don't give it another thought.\"", "Gunn: \"It's what we do.\"", "Cordy: \"Kind of a mission.\"", "Francine: \"No, I mean, we *can't* thank you - and we can't pay you either. (Holds up a piece of paper) This bill is ridiculous.\"", "Cordy takes it: \"What do you mean? We didn't even charge you for the mandrake.\"", "Francine: \"My husband says it's outrageous.\"", "Wesley: \"Does he? And just what would your husband consider to be a fair price for the removal of the third eye from the back of your child's head, Mrs. Sharp?\"", "Francine: \"Well - nothing. - Steve says that since it's impossible to be bitten by a demon and have a - third eye grow in the back of one's head, that obviously you people are running some sort of scam, and you won't squeeze one red cent out of us. (Grabs her daughter's hand) Come on, Stephanie.\"", "Cordy: \"Scam? The back of your kid's head was blinking!\"", "Wesley: \"No, let her go. Clearly it's easier for the Sharps to cast us as con artists rather than to accept the grim reality that Skilosh spawn nearly hatched full grown out of their child's skull.\"", "Gunn: \"Gee, wonder why?\"", "Cordy: \"Great. So while they're indulging their denial, we have bills to pay!\"", "Gunn: \"You know she's right.\" Gunn goes and grabs his coat.", "Wesley: \"Perhaps, given time, the Sharps will come 'round.\"", "Gunn: \"Right! Because that's what people do. The come round.\"", "Cordy: \"Where are you going?\"", "Gunn: \"I think I'll see what's happening in the neighborhood. Got a feeling I do more good *there* than sitting around here with you two.\"", "Wesley: \"Things'll pick up. They're bound to.\"", "Cordy: \"Yeah. It's LA. The evil's probably just tied up in traffic or something.\"", "Gunn: \"Well, you let me know when it get here, right?\" The office corridors at Wolfram and Hart are bustling with people. Some elevator doors open and Lilah steps out, walks down the hallway.", "Lilah: \"Lindsey, I've been looking everywhere for you. (Lindsey keeps walking and she falls in beside him) Where're you going?\"", "Lindsey: \"Lunch.\"", "Lilah: \"Lunch? You really think now's the time for lunch?\"", "Lindsey: \"You mean lunch time?\"", "Lilah: \"The review is in two days.\"", "Lindsey: \"I'm aware of that.\"", "Lilah: \"So is everyone else. Look at them. It's like they've had the fear of... well, 'god' would probably be the wrong word.\"", "Lindsey: \"They're just running scared.\" Lilah hands Lindsey a manila envelope.", "Lilah: \"They should be. I dug up everything I could find on the last seventy-five year review. It's all in there. Makes the Christmas purge of sixty-eight look like fun old times. Nearly half of mid-management was sacked. And Lindsey, they use actual sacks.\"", "Lindsey: \"I'll read it, Lilah.\"", "Lilah: \"You better, because it's not just your ass on the line. It's mine, too. We're supposed to be running this division together, remember?\"", "Lindsey: \"Right.\"", "Lilah: \"I've included some suggestions on how we could plump up our portfolio before Friday.\"", "Lindsey: \"Look, either we pass the review, or we won't. You really think that a few last minute dark rites and rituals are gonna make a difference now?\"", "Lilah: \"Everybody else seems to think so. I heard Henderson actually pulled her firstborn out of company daycare to offer it up to... Brown noser. My mother was right. I should have had children.\"", "Lindsey: \"We'll stand on our records. It's the only thing we've got.\"", "Lilah: \"Then we're dead! Do I have to remind you of our collective screw-ups?! Two of which are still out there somewhere. - You haven't heard anything, have you? You would tell me if they contacted you.\"", "Lindsey: \"He set them on fire, Lilah. Even vampires as strong as Darla and Drusilla need time to recover from something like that.\"", "Lilah: \"Well, it would be just like them to pop up now!\"", "Lindsey: \"I wouldn't worry.\"", "Lilah: \"Someone's got to! We don't get a second shot at this, Lindsey. Nothing can happen between now and Friday to screw this up.\" Angel is talking while following Kate around the police office.", "Angel: \"Blood sacrifices, black masses, totems... I don't know what it means, but it's happening all over town. I mean, it could be a raising, but, you know... I - I really don't know. I mean the prayers, the rituals, I think they're too generic for that, you know, boilerplate. They could be preparing the way for something.\"", "Kate: \"Maybe they're just trying to make it rain. Why is this *so* important to you?\" Angel follows her back to her desk.", "Angel: \"Because it's important to them.\"", "Kate: \"Oh right! And therefore it *must* be stopped.\"", "Angel: \"Kate, look, I need your help. I don't have the resources...\"", "Kate: \"My help? You need *my* help?\"", "Angel: \"Yeah. - (Sighs) - At the very least they're butchering animals without a permit. You can get them on that.\"", "Kate: \"No, I can't. I can't get them on anything, Angel. I'm on desk duty pending a hearing on Friday.\"", "Angel: \"Hearing?\"", "Kate: \"You remember Atkinson? The captain at the two-three? He's blaming me for granting access to some lunatic who broke into his office and beat the ever holy crap out of him. He's filed a formal complaint.\"", "Angel: \"He was raising zombie cops and setting them loose on the streets.\"", "Kate laughs: \"And I'm sure once I explain that to Internal Affairs this will all just go away. - And they've just been *looking* for an excuse... And you know what they say about *me*. I am a cop. That is all I've ever... I can't take a suspension... I would just...\" Angel watches her pace for a moment.", "Angel quietly: \"I'm sorry.\"", "Kate: \"Are you? (Opens a drawer and pulls out a file) Because they might just want to know about this, too.\" She drops one picture after another onto the desk. All of the corpses in the wine cellar.", "Angel: \"You had nothing to do with that.\"", "Kate: \"Didn't I?\"", "Angel: \"No.\"", "Kate: \"Hmm, so it's funny how these dead people were threatened by an intruder at their offices. An intruder *I* picked up and released on the street three hours before the complainants were found massacred.\"", "Angel: \"You know who's responsible for that.\"", "Kate: \"Yeah. But I can't figure out though is why forensics is now telling me that it looks like the suspect or suspects *didn't* break in. - They had to brake out. - The victims were locked in that wine cellar with their attackers and I think I am *done* helping you now.\" Walks off. Lindsey enters his dimly lit apartment.", "Lindsey: \"Sorry I'm late. I would have come home for lunch but - everything's crazy at the office with the review coming up.\" He sets his attaché case on a chair, holding a bottle in a brown paper bag he goes to sit down on the edge of the sofa.", "Lindsey: \"And I would have called, but I didn't want you to have to get up to answer the phone. How do you feel?\" Darla is lying on the sofa wrapped in a light blue afghan, fading burn scars still visible on her face, looking weak.", "Darla: \"Stronger today, I guess.\"", "Lindsey: \"Good. You're getting stronger everyday.\"", "Darla: \"Only because you saved me. - I'd still be in that sewer if you hadn't found me. - I don't know how you did.\"", "Lindsey: \"Drusilla. - She came to me. Remember I told you?\"", "Darla: \"She's gone.\"", "Lindsey: \"Yeah, she'll be back.\" Darla lifts her head a little: \"No. - You're the only one who hasn't abandoned me.\"", "Lindsey: \"And I never will.\" Darla strokes the side of his face. Lindsey pulls the bottle out of the bag and hands it to her.", "Lindsey: \"Here.\" Darla opens the bottle.", "Darla: \"It's cold.\"", "Lindsey: \"Yeah. It's the only way to keep it fresh.\"", "Darla: \"Not the only way. (Smells it and smiles) Hmm, at least it's human.\"", "Lindsey gets up: \"I'm gonna take a shower.\"", "Darla: \"You always take a shower when you come back from that place. Don't know why. You're never dirty.\"", "Lindsey unbuttoning his shirt: \"I'm always dirty.\" Darla rolls her eyes, then as Lindsey closes the door to the bathroom behind him, she pushes the blanket aside and gets up. Stretches. Sets the bottle down and as the shower begins to run she starts to go through Lindsey's briefcase. Finds Lilah's envelope and looks through it while sipping the blood. Angel is walking into Caritas, where the host is talking to the bartender.", "Host: \"Substitute it with something. I don't care. Be creative. I know you can. (To Angel as he sits down next to the host) Can you believe this? Not even ten o'clock and we've already run out of yak's bile.\"", "Angel: \"We need to talk.\"", "Host: \"And you should have booked in advance. I don't think we can get you on stage tonight.\"", "Angel: \"I'm not here to sing.\"", "Host: \"Oh, is that what we're calling it now?\"", "Angel: \"Something's coming.\"", "Host: \"Really? I thought it was just the complimentary nachos bringing in the morally ambiguous crowd.\" Angel turns as sees that the place is packed with humans in business attire.", "Angel: \"Lawyers.\"", "Host: \"Easy, big fella. I know what you're thinking. And the throwing yourself across six tables and twisting their necks off part? Not a good idea.\"", "Angel: \"You've read them. You've seen it. You know what's coming.\"", "Host: \"Now, Angel-cakes, you wouldn't appreciate it if I were to blab your personal stuff to every Tom, Dick and vampire that walked in the door, would you?\"", "Angel: \"Is it bad?\"", "Host: \"Oy. - But I really can't divulge to you what I read in another being. - But I can tell you what I overheard in the men's restroom. It's coming Friday. And it's got all their legal briefs in a twist about it.\"", "Angel: \"What?\"", "Host: \"Well, every seventy-five years your friends over at Wolfram and Hart have this review. I think the general angst isn't so much about the review, but more about the reviewer. And let's just say it ain't Rex Reed.\"", "Angel: \"What is it?\"", "Host: \"It's evil. - It's dark. - It's merciless. - Actually, now that I say it out loud it sounds an awful lot like Rex, doesn't it?\"", "Angel: \"Maybe you could just tell me in one word what it is.\"", "Host: \"Not likely. But I *can* tell you in two. Senior - Partner.\" Break Two lawyers are singing a duet of \"Reunited\" on stage at Caritas. Angel walks over to the table where the host is sitting watching the stage and sits down next to him.", "Angel: \"I need more.\"", "Host: \"Well, we all need more, darlin'.\"", "Angel: \"More information.\"", "Host: \"What you need more of is tether. Because you're about at the end of yours.\"", "Angel: \"Look, I get how this works. I'm not asking you to rat out their destinies. I don't care about that. But getting to the Senior Partners, that's *my* destiny.\"", "Host: \"Is it? Because I haven't actually featured a destiny with you in it lately. It's all kind of murky. - Look, all these messy rites and rituals you've been crashing all over town? They don't *mean* anything. Nervous children. Trying to score as many brownie points as they can before daddy gets home. I got news. Daddy? Not impressed. Anyhow, stopping them won't prevent 'it' from passing into our world on Friday.\"", "Angel: \"What is 'it' and how do I stop it?\"", "Host: \"I don't know and you don't.\"", "Angel: \"Can it be killed?\"", "Host: \"Most anything that can manifest in order to move in this dimension can be killed. Kinda the down side of being here. That and the so-called 'musicals' of Andrew Lloyd Webber.\" The host takes a sip from his drink while Angel just keeps staring at him.", "Host with a sigh: \"The band of Blacknil. Don't ask me what it means. I don't know. I shouldn't even be giving you that much.\"", "Angel: \"Thanks.\"", "Host: \"Sure.\" Angel starts to get up, but the host puts a hand on his arm to stop him.", "Host: \"Hey, Home office. I picked it up from half a dozen of them tonight.\"", "Angel: \"What does it mean?\"", "Host: \"Could be the source. Who knows. Now stop pestering me.\" Angel gets up and starts walks away.", "Host calls after him: \"Oh, and I am picking up one other thing. (Angel turns to look back) They'd *really* like to see you dead.\" Angel turns his head to see a bunch of lawyers giving him hostile stares. Angel is searching through his books at the Hyperion. Scratching his head he walks over to the almost empty bookshelf, checks the few books there, dropping them on the ground, then looks around with a sigh. Angel opens the door and walks into the new Angel Investigations office, not bothering to close the door behind him.", "Wesley: \"Good Lord.\"", "Cordy: \"Angel.\"", "Wesley: \"May we - help you?\" Not even looking at them, Angel walks to the bookshelf behind the desk and starts looking at the books there.", "Wesley: \"Excuse me, that - that area is for employees only!\"", "Angel: \"Yeah. You took all the books.\"", "Cordy: \"Yeah, well, you got the waffle iron.\" Angel takes a book and starts to leave but Cordy snatches it our of his hand.", "Cordy: \"Hey! No! You can't take this, I-I-I'm in the middle of it. (Puts the book back on the shelf and shoves a phonebook at him) Here, take this one.\" Angel takes the phonebook, throws it to the side and leans in close to Cordy, who refuses to move our from between him and the bookshelf.", "Angel: \"Don't make me move you.\"", "Wesley: \"Give him the book, Cordelia.\" When Cordy only keeps looking at Angel, Wesley pushes himself up out of his wheelchair and to his feet.", "Wesley: \"Just give him the damn thing! Let him get the hell out.\" Cordy looks over at Wesley, then pushes Angel a step back, turns, takes the book and shoves it at him. Angel takes it and walks towards the door.", "Cordy: \"Here. I don't even know what you are anymore.\"", "Angel: \"I'm a vampire. Look it up.\" Angel slams the door closed behind him and Wesley slowly collapses back into his chair.", "Cordy: \"What a jerk.\"", "Wesley: \"Cordelia...\"", "Cordy: \"I mean if it was anybody else I would just say 'get laid already!'\"", "Wesley: \"Cordelia...\"", "Cordy pacing: \"But - no, not him. One decent boff and he switches to evil psycho vamp. (Huffs) Which, in a way, would be better for everyone. Better for him because he'd get some, and better for us because then we could (makes a staking motion) stake him afterwards.\"", "Wesley: \"Cordelia, ambulance?\" Cordy looks in horror at the spreading stain of blood on Wesley's shirt.", "Cordy: \"Oh my god.\" LAPD headquarters, day.", "Man: \"If you have anything to offer in your defense, Detective Lockley, anything at all, now would be the time.\" Kate remains silent.", "Lieu: \"For god's sakes, Kate, say something.\"", "Kate: \"What am I supposed to say, Lieu? They've dredged out every ugly detail of the last eight months. Spill it out on the table as if nothing had a context and I'm supposed to explain? - I was doing my job.\"", "Man: \"Actually what it appears you've been doing, detective, is isolating yourself. You've withdrawn from the stabilizing influence of your fellow officers, developed this morbid fascination for cases of a bizarre and macabre nature, and even you can't seem to give an explanation to why. - Now your father, he was a respected veteran of this department. And you were the one that discovered his body after he was murdered, is that right?\"", "Kate: \"Yes.\"", "Man: \"And the case was never solved?\"", "Kate: \"No arrests have ever been made.\"", "Woman: \"That must be very frustrating for you.\"", "Kate: \"I dealt with it.\"", "Woman: \"Did you? You took no personal time off after his death. You went right back on the job.\"", "Kate: \"That is none of your business.\"", "Man: \"It becomes our business when it affects performance.\"", "Woman: \"It is *very* important when you suffer a loss of this nature to take the proper time to grieve. So, we understand. We want you to know, we're not judging you.\"", "Kate: \"No, you're only firing me.\"", "Man: \"You stopped being a part of the force a long time ago.\"", "Kate: \"What am I supposed to do?\"", "Woman: \"We will of course make available to you psychological counseling at the city's expense as part of your severance.\" Kate takes a deep breath and lets it out.", "Kate: \"You people have no idea what's going on in this city.\"", "Man: \"Is this the part where you start to talk about monsters? (Kate doesn't answer) We'll need your gun and your badge.\" Kate swallows, takes her gun and badge from her briefcase and closes it. Gets up and goes to lay her gun and badge on the table in front of the man. Lieu watches her. Lieu as Kate slowly walks to the door: \"I'm just glad your father's not around to see this.\" And old man wearing glasses sits in a bookshop watching TV.", "Angel: \"You Denver?\"", "Denver looks up: \"I don't believe it.\" Angel and Denver are looking through books in the back room.", "Denver: \"You know you changed my life that day. I mean, a vampire comes into my place looking to kill a demon to save human beings? I figured if something like *that* could happen there really must be good in the world.\"", "Angel: \"Right. So you never heard of that term before 'home office?'\"", "Denver: \"Hey, how'd that go anyway? It was a Thesulac, paranoia demon, if I recall.\"", "Angel: \"Yeah. I don't know. I think he killed everyone.\"", "Denver: \"Oh. - Well, point is, you tried.\"", "Angel: \"Actually, I pretty much walked out and let the demon have the place and everyone in it. So we can't be sure where this home office is, but you think this Senior Partner is a Kleynach demon?\" Denver stops staring at Angel and looks down at his book.", "Denver: \"Right. Kleynach. A lot of dark entities use the form of a Kleynach to manifest because the Kleynach doesn't have to rely on being conjured or brought forth. They can come and go as they please with that ring.\"", "Angel: \"Tell me about the ring.\" Denver points at an illustration.", "Denver: \"The band of Blacknil. Simple thing, plain. You wouldn't give it a second glance in a pawnshop, but it's the source of its power to move between the dimensions, and that's what it'll use to get here... and get back.\"", "Angel: \"Get back?\"", "Denver: \"Well, sure.\"", "Angel: \"Well, can anyone use this ring?\"", "Denver: \"How do you mean?\"", "Angel: \"Will it get me back to the home office or where ever it came from?\"", "Denver: \"Might... if you're insane! - You realize what this home office probably is?\"", "Angel: \"I think I have a pretty good idea.\"", "Denver: \"Hell! Why the heck do you wanna go to hell? (Angel doesn't answer) You're gonna try and go down there and destroy the whole lot of them, aren't you? Well, that'd certainly make up for the time that... (Angel looks up at him and Denver trails off) Still, not a terrific idea. It's suicide, really.\"", "Angel: \"Look, will the ring get me there or not?\"", "Denver: \"Well, you got to get it first. And to get the ring you've got to kill the Kleynach.\"", "Angel: \"How?\"", "Denver: \"You happen to be looking at the one guy who can tell you how.\"", "Angel: \"How?!\"", "Denver: \"To kill the Kleynach and get the ring you need the glove.\" Denver goes and takes another book from a shelf.", "Angel: \"Okay, now you're making this up.\"", "Denver carrying an open book: \"Legend says that the Kleynach rose up from their demon world, raped and pillaged the villages of man and all who fought against them were incinerated, whether they struck with fist or sword. But one brave and worthy knight - he had a glove. (Drops the book in front of Angel, displaying a rendition of the glove) Fashioned and blessed by all the powers of light. And whoever wore this glove could kill the Kleynach just by grabbing it at the throat.\" Denver walks into another part of his store and comes back carrying a mailed glove.", "Denver: \"Picked up in seventy-five in a yard sale in Covina. Been using it as an oven mitt. Now, I give it to you. No charge. 'cause the truth is you did change my life. And I got a feeling this time things are gonna go...\" Denver's eyes suddenly pop open and blood spills from his mouth. Angel looks down to see the tip of a bloody sword protruding from Denver's belly. He reaches out to catch Denver as he begins to fall and someone drives the sword through Denver and into Angel. Darla straightens up behind Denver.", "Darla: \"That's right, Angelus, go towards the bleeding mortal, because that's smart.\" Angel collapses backwards to the floor and Darla picks up the glove.", "Darla: \"The ring's not about vengeance, Angelus, it's about power. (Kicks Angel in the face) We'll get to the vengeance part soon.\" With that Darla walks out while Angel pulls his body slowly off the sword. He looks in the direction where Darla just disappeared, then just lies there gasping.\" Break.", "[SCENE_BREAK]", "Wesley is sitting on the sofa in his apartment wearing a bathrobe.", "Wesley: \"And that's the important thing.\"", "Virginia: \"But you couldn't have done it metaphorically? You know, in with a stern word? You had to do it in the actual I'm-standing-up-now-and-popping-six-stitches way?\" Virginia sets a tea tray on the table as she sits down on the sofa and begins to pour them some tea.", "Virginia: \"I guess - before all this happened I never really considered just how dangerous your work was.\"", "Wesley: \"Well, of course what I do is dangerous. You forgetting how we met? You were strapped to a sacrificial altar while the goddess Yeska was called forth from the nether regions to consume you.\"", "Virginia: \"But I grew up with all that sort of stuff. Creepy crawlies and scary monsters I can handle. - But guns? Kind of makes it all a little too real, you know?\"", "Wesley: \"The gun was fired by a zombie, if it makes you feel any better.\"", "Virginia: \"You know, strangely, it doesn't.\" Virginia carefully scoots closer and lays her head on Wesley's chest. Wesley kisses the top of her head and strokes her hair.", "Virginia: \"Does it always seem like it's a battle worth fighting?\"", "Wesley: \"Some less than others.\"", "Virginia: \"Collectively I mean. Most people, they don't even acknowledge the evil, let alone try to fight it. And they don't have to wrap themselves in bandages to keep their insides from falling out.\"", "Wesley: \"That's true.\"", "Virginia: \"I don't suppose you'd ever consider - maybe giving it up - for something else?\"", "Wesley: \"Could you be with someone who would?\"", "Virginia: \"I don't know. - But sometimes I feel like I should be wrapped in bandages - to keep *my* insides from falling out.\"", "Wesley swallows: \"This is difficult for you, isn't it?\"", "Virginia: \"I just don't like to see you hurt.\"", "Wesley: \"No. - I mean - I mean breaking up with me.\" Virginia looks up at Wesley, but doesn't say anything. Kate walks into her apartment carrying a box with the stuff from her desk. Puts the box down, takes off her jacket and pours herself a stiff drink. Sees the shelves holding her trophies and plaques and goes to knock them off while trying to hold back tears. Picks up a photo of her dad and starts to cry. A black car pulls up in front of Wolfram and Hart's office building at night and Lilah and two bodyguards get out.", "Lilah: \"You two stick close.\" As they near the front doors, Angel jumps out behind the trio and knocks both guards unconscious before they ever even know he's there.", "Lilah: \"Crap! (Kicks one of the unconscious guards) I knew you guys were a waste of money.\"", "Angel: \"I noticed you're not parking in the underground lot anymore Lilah.\"", "Lilah: \"It's not safe. What do you want?\"", "Angel: \"I want the same thing from you that I took from Lindsey.\" With that he takes a hold of her right hand. We see Lilah press her right thumb to a scanner in the secure elevator.", "Voice: \"Good evening Miss Morgan. What floor please?\"", "Lilah: \"Fifteen. - You know of course you'll lead security where ever you go the moment you step inside.\"", "Angel: \"I'm counting on it.\" Angel winces a little in pain and Lilah notices him lifting a hand towards his middle where Darla stabbed him earlier. The phone rings at the new Angel Investigations and Cordy picks it up.", "Cordy: \"Good evening. Angphlel Investigations, we help the helpless, how can we help you?\"", "Wesley on phone: \"What in god's name is Angphlel?\"", "Cordy: \"Oh, there are just some names I'm not saying at the moment. Well, what is it, Wesley?\"", "Wesley: \"It's just... I'm not really feeling that great.\"", "Cordy: \"Oh, well, your guts opened up.\"", "Wesley: \"Uh, I'm thinking maybe I'm not coming in tomorrow.\"", "Cordy: \"No big deal. It's not like they're beating down the door. No, you should stay home, spend time with Virginia.\"", "Wesley after a beat: \"Yes. - Uh, and you. You should get out yourself. You're young, single. It's a Friday night in the city of... Angphleles? There must be someone you can call.\"", "Cordy: \"Ah, no, because then I'd actually have to have some friends. I don't.\"", "Wesley swallows: \"That's not true.\"", "Cordy after a beat: \"You don't count.\"", "Wesley: \"Thank you.\"", "Cordy: \"You know what I mean.\"", "Wesley: \"Things are gonna get better Cordelia... for all of us. You'll see.\"", "Cordy: \"I'll call you tomorrow. See how you're feeling.\"", "Wesley: \"That'd be nice.\"", "Cordy: \"Good night, Wesley.\" Hangs up the phone.", "Wesley: \"Night.\" Cordy is on her way out the door when the phone rings again.", "Cordy turning back around: \"Oh, geez, Wesley. Zippity duh-dah, alright?\"", "Picks up the phone: \"Hello?\" Francine is twirling her hair with one hand while holding the phone with the other.", "Francine: \"Ms. Chase?\"", "Cordy: \"Oh. Mrs. Sharp!\"", "Francine: \"We were hoping you were still in the office.\"", "Cordy: \"The back of your daughter's head is still okay, right? Because, it's not like we offer a money back guarantee. But then, you never paid us, did you? - You do? Right now? - No, that's great! Uhm, you're on my way home, give or take - thirty miles. - Personal check, uhh... normally not, but-but but fine. Uhm, will you give me the address again?\" Turns on the desk light and scribbles the address down on the pad lying there.", "Cordy: \"Uh-huh - okay. Great, I'll see you soon.\" Francine hangs up the phone and turns around to look up at an ugly, white skinned demon.", "Francine: \"Uhm, one of them - is on their way here now.\" The demon reaches out to stroke Francine's hair and she looks away. The demon puts his other hand on her chin and breaks her neck with a quick snap. Back to Wolfram and Hart. Some robed figures are pacing around a pentagram painted on the floor swinging incense burners. The room is filled with lawyers. Lindsey checks his watch. Reed steps up next to him.", "Reed: \"I don't see your co-vice-president here, Lindsey. It doesn't look good.\"", "Lindsey: \"Yes, sir.\" A man comes and whispers something in Reed's ear.", "Reed: \"Well, find it. Deal with it!\" The man leaves.", "Lindsey: \"Is there a problem?\"", "Reed: \"Someone just let a vampire onto this floor.\" Lindsey scans the crowded room and sees Lilah coming in with Angel herding her.", "Lindsey points: \"There!\" Lilah elbows Angel in the gut and runs off. Angel forces himself after her, still hunched over. Lindsey hurries across the room, pushing people out of his way.", "Reed: \"Security.\" Security men start moving, listening to their ear pieces. Angel reappears in another part of the room and scans the crowd. Pulls out a bottle of water, and, popping the top off, wades into the crowd. Grabs a hold of the long black hair of a small woman and pulls it off to reveal blonde hair underneath. Throws the water into Darla's face as she turns and vamps out.", "Angel: \"Vampire!\" As the crowd mills around them Angel tries to pull the glove off Darla's hand. Darla knocks in the head sending him flying back. Two Security guards tackle her with stakes, but she bats them away and heads for Angel. Lindsey stares at them fighting. Reed sinks to his knees behind one of the robed figures as the air above the pentagram begins to shiver and a red robbed demon materializes. Angel finally gets the glove off Darla's hand and kicks her to the side. Security converges on the downed Darla with stakes while Angel pulls on the glove.", "Lilah: \"Stake the bitch!\" Lindsey knocks Lilah across the chin and heads for Darla, knocking the last security guard off her. The red robbed Kleynach turns around and Angel launches himself at it from across the room, grabbing it by the throat with the glove. As soon as the glove touches it, the Kleynach begins to dissolve with a scream, while it and Angel are falling backwards through the window. Lindsey helps Darla up and towards the door. She turns to look at him for a moment, then hurries out. Lilah, the corner of her lip bloody, looks at the broken window. Angel is plummeting the fifteen stories to the ground, and lands, still clutching the robe, in a shower of glass. The ring lands beside him with a metallic clink. Groaning a little Angel grabs it and forces himself to his feet. There is a homeless man sitting on a planter in the background, watching.", "Angel: \"Okay. Home office. (He slides on the ring.) Let's finish this.\" The ding of an arriving elevator sounds and Angel turns to see the doors of it open on the outside wall of the office building behind him. Break Holland is standing in the open doors of the elevator slowly clapping his hands. Angel walks slowly closer.", "Holland: \"Congratulations. Great victory.\"", "Angel: \"You're...\"", "Holland: \"Holland Manners.\"", "Angel: \"...not alive.\"", "Holland: \"Oh, no. I'm quite dead. Unfortunately my contract with Wolfram and Hart extends well beyond that. (Gives Angel a big smile, then motions his head) Hop on in. You certainly earned it.\" Angel slowly steps in, looking at Holland, who laughs.", "Holland: \"No. Not a ghost here. No, it's just me. Dead me. (Pulls the collar of his shirt aside to show Angel Darla's bite marks, then reaches for the elevator buttons) See? - Home office, wasn't it? I should mention the trip is one way.\" Angel stands in the elevator looking out, not saying anything. We see a homeless person pushing a loaded down shopping cart across the plaza in front of the elevator.", "Holland: \"Well, if there are no objections, I suggest we get going. It is rather a long ride.\" Holland pushes the 'down' button. The doors close and we see the elevator descending down the elevator shaft. Angel and Holland are standing side by side in the elevator as the lights from the floors it is passing flash by and typically annoying elevator music plays in the background.", "Holland: \"Well, this is exciting, isn't it? (Smiles) Going straight to the source. - So, what's the big plan, Angel? Destroy the Senior Partners, smash Wolfram and Hart once and for all?\"", "Angel: \"Something like that.\"", "Holland: \"Hm-mm, now tell me just what do you think that would accomplish? In the end, I mean.\"", "Angel: \"It'll be - the end.\"", "Holland: \"Well, the end of you, certainly. But I meant in the larger sense.\"", "Angel: \"In the larger sense I really don't give a crap.\"", "Holland: \"Now I don't think that's true. - Be honest. - You got the tiniest bit of 'give a crap' left. Otherwise you wouldn't be going on this Kamikaze mission. Now let me see, there was something - in a sacred prophecy, some oblique reference to you. Something you're supposed to prevent. Now what was that?\"", "Angel: \"The apocalypse.\"", "Holland: \"Yes, the apocalypse, of course. - Another one of those. Well, it's true. We do have one scheduled. And I imagine if you were to prevent it you would save a great many people. Well, you should do that then. Absolutely. I wasn't thinking. - Of course all those people you save from that apocalypse would then have the next one to look forward to, but, hey, it's always something, isn't it?\" The elevator shaft and cable dissolve as the elevator continues to plummet into a hellish red glow.", "Angel: \"You're not gonna win.\"", "Holland: \"Well - *no*. Of course we aren't. We have no intention of doing anything so prosaic as 'winning.'\" Holland laughs and for the first time Angel turns his head to glance in Holland's general direction.", "Angel: \"Then why?\"", "Holland: \"Hmm? I'm sorry? Why what?\"", "Angel: \"Why fight?\"", "Holland: \"That's really the question you should be asking yourself, isn't it? See, for us, there is no fight. Which is why winning doesn't enter into it. We - go on - no matter what. Our firm has always been here. In one form or another. The Inquisition. The Khmer Rouge. We were there when the very first cave man clubbed his neighbor. See, we're in the hearts and minds of every single living being. And *that* - friend - is what's making things so difficult for you. - See, the world doesn't work in spite of evil, Angel. - It works with us. - It works because of us.\" And with that the elevator comes to a screeching halt. The doors open and Angel looks out to see a homeless person pushing a loaded shopping cart across the plaza in front of the Wolfram and Hart Office building in LA.", "Holland: \"Welcome to the home office.\"", "Angel: \"This isn't...\"", "Holland: \"Well, you know it is. - You know *that* better than anyone. Things you've seen. Things you've, well - done. You see, if there wasn't evil in every single one of them out there (Angel watches as some people in the plaza start yelling at each other) why, they wouldn't be people. - They'd all be angels.\" The glove drops from Angel's right to land on the floor of the elevator and Angel slowly shuffles out of it. Holland calling after him as the doors close: \"Have a nice day.\" Angel slowly walks the streets of LA, seeing a prostitute and a potential customer having a verbal disagreement, a woman yell at a girl. Kate opens the door to her bathroom cabinet and takes out a bottle of pills. Angel slowly walks down the street passing a homeless man with a brown-bagged bottle under his arm, a young man standing by a lamp post that has a passing resemblance to Gene from \"Happy Anniversary.\" Wesley is lying in the dark on the sofa in his apartment, staring at nothing. Cordy is getting ready to leave the office. Angel enters the Hyperion Hotel just as the answering machine goes off.", "Cordy's voice: \"Hi, you've reached Angel Investigations. We help the hopeless. Leave a message and we'll get right back to you. (beep).\"", "Kate's voice: \"You did it, didn't you? You b*st*rd...\" Kate is sitting on the floor of her apartment her head leaning back on the seat of a chair, holding the phone so she can speak into it but with the other end resting on top of her forehead instead of against her ear. There is an empty bottle of booze sitting next to the phone, and the bottle of pills is lying beside it. White pills are spilled out on the floor.", "Kate: \"You made me trust you. - You made me believe. - No, it wasn't you. (Lies back on the floor, knocking over the bottle) It was me, right? I couldn't take the heat...\" Angel walks over to where the answering machine is sitting on the counter.", "Kate's voice: \"That's what they're gonna say. Then you're gonna feel all bad - or you won't care. But then, then I won't care either. I won't feel a thing.\" Leaning on the counter, Angel turns down the volume on the machine, then turns towards the stairs. Angel enters his apartment, stops a few steps in.", "Angel: \"What do you want, Darla? (Holds up the ring and looks over his shoulder) You want this?\" Angel drops the ring on the floor and Darla hurries over to pick it up. Before she can, Angel grabs her arm and sends her stumbling towards the wall.", "Angel: \"Or maybe what you really want is this! (Pushes her up against the wall and gently brushes the hair back from her face) That may be - what you really want, isn't it?\" Kisses her softly, then, when she doesn't react, a little harder. Darla pushes him away.", "Darla: \"Don't play games with me.\"", "Angel: \"I'm not playing. I just wanna feel something besides the cold.\" Pushes her back onto a table, lowers himself on top of her and kisses her again. Darla reaches up and pushes his jacket off his shoulders, kissing him back. Angel strips off his jacket with her help, still kissing her. Suddenly Darla begins to laugh and Angel pulls back the same time she pushes him and gets up.", "Angel: \"Why're you laughing?\" Darla continues to laugh, not answering him, and Angel hits her, sending her crashing through the glass doors leading to his bedroom. Angel slowly walks after her as she rolls over and looks up at him.", "Angel: \"Don't you feel the cold?\" Angel grabs her by the shoulders and pulls her up.", "Darla: \"What're you doing?\"", "Angel: \"It doesn't matter. (Strokes the side of her face) None of it matters.\" He kisses her again and she responds. They fall back onto the bed and strip off each other's clothes. The camera pans form the curtains in the open window, billowing in the wind of the thunderstorm outside, over some books dropped on the floor, over their discarded clothes and up to the bed. Angel and Darla are lying on the bed asleep, Angel on his back, Darla on her side with her back to him. A loud crack of thunder rings out and Angel suddenly sits up with a gasp.", "FADE TO BLACK" ]

[ "Angel has an epiphany which has him questioning his actions over the past few months. Meanwhile, the three eyed demon clan is after Gunn, Wes and Cordy. It's up to Angel to save them... If they can all start trusting him again." ]

[ "There wasn't a 'previously on Angel' segment as such, just something like a promortional recap of the whole arc to date with a narrator bridging some of the gaps between the cuts used in it (some of which were even from later on in *this* episode, not from prior episodes at all). I've decided to include the dialogue of it, but I'm not sure if this was actually put together by the staff or was something the WB did to promote the whole story.", "Lindsey: \"We don't want him dead. We want him dark.\"", "Wesley: \"There are forces that can make Angel revert to Angelus, the vampire he was before he got a soul.\" We see a part of the dream sequence between Buffy and Angel from \"Amends\" ending with him vamping out.", "Narrator: \"He turned his back on humanity to seek revenge on the one that damned him into eternal darkness.\" We see Angel drop the cigarette to light the gasoline, the flame racing towards Dru and Darla. Then a picture of Darla in the alley just before turning Liam into a vampire.", "Lilah: \"For god's sake, help us!\"", "Holland: \"People are gonna die.\"", "Angel closing doors: \"I just can't seem to care.\"", "Kate: \"The victims were locked in that wine cellar with their attackers and I think I am *done* helping you now.\"", "Wesley: \"What you did...\"", "Cordy: \"...was wrong.\"", "Wesley: \"Right now the three of us are all that's standing between you and real darkness.\"", "Angel: \"You're all fired.\"", "Narrator: \"With no allegiance to good or evil, he deserted his trusted allies.\" Wesley gets shot. Angel looks at Wesley lying on the bed in the hospital through the window from the corridor.", "Cordy: \"Wesley doesn't need you right now. *We* don't need you.\"", "Narrator: \"He falls further and further from grace.\"", "Holland: \"The world doesn't work in spite of evil. It works because of us.\"", "Darla: \"What are you doing?\"", "Angel: \"It doesn't matter. None of it matters.\" As Darla and Angel go at it we get a voice over form Wesley: \"There are forces that can make Angel revert to Angelus.\"", "Narrator: \"And now - an all new Angel.\" The camera pans form the curtains in the open window, billowing in the wind of the thunderstorm outside, over some books dropped on the floor, over their discarded clothes and up to the bed. Angel and Darla are lying on the bed asleep, Angel on his back, Darla on her side with her back to him. A loud crack of thunder rings out and Angel suddenly sits up with a gasp. Angel, barefoot, wearing his pants, his shirt only half on, staggers out into the rain through the open balcony doors and drops to all fours. Looks up as lightning crashes overhead. Darla sits up in bed. Angel, still on all fours is shrugging on his shirt.", "Angel: \"Oh god.\"", "Darla: \"Don't fight it my love.\" Angel's head snaps up as Darla, wrapped in a sheet appears in the open door behind him wearing a slight smile.", "Darla: \"Just let it happen. It'll only hurt for a minute.\" Intro", "Angel: \"Oh god. Oh god.\"", "Darla: \"Yes. Yes, I know. It was the same for me. The soul is gone but it leaves a bitterness. It'll pass.\" Angel looks up over his shoulder at Darla. Climbs to his feet and staggers a step back from Darla, staring at her.", "Darla: \"What you need is a fresh kill. Hot human blood will wash away the foul memory of it. I promise.\" Darla reaches up to touch the side of Angel's face, but Angel's hand shoots up and catches her wrist, arresting the motion, while he stares at her.", "Darla: \"What? - What is it?\"", "Angel: \"You saved me.\"", "Darla: \"Yes. - But I *was* going to kill you tonight. Take you out of this world the same way I brought you into it. But I didn't have to. You gave yourself over so completely, Angelus. I felt you surrender.\"", "Angel shaking his head slightly: \"I gave you everything I had left.\"", "Darla with a smile: \"Yes.\"", "Angel: \"I am - so sorry.\"", "Darla: \"You don't have to be.\"", "Angel: \"But I am. (Takes her hand and lifts to lay against the side of his face) I am sorry.\"", "Darla shaking her head slightly: \"What?\"", "Angel: \"I am sorry, Darla.\"", "Darla shaking her head harder: \"No...\"", "Angel: \"You saved me. Sorry I couldn't do the same for you.\"", "Darla: \"Let go of me! (Pulls her hand free and backs away) You still have a soul.\" Darla runs back into the room and sees the rumpled bed. Turns back to Angel, who slowly followed her in.", "Darla: \"But we...\"", "Angel: \"Yeah.\" Angel sits down on the foot of the bed and begins to put on his shoes.", "Darla: \"And you...\"", "Angel: \"I know.\"", "Darla: \"Then I...\"", "Angel: \"Three times.\"", "Darla: \"You're not evil. I-I don't understand. - Was I... Was it... not good? (Lets out a short laugh) Well, I don't accept that. You can not tell me that wasn't perfect. Not only have I been around for four hundred years, but I used to do this professionally. And *that* was perfect. (Grabs his arm and tries to drag him back to bed) We'll go again.\" Angel pulls free and gets up, backing away.", "Angel: \"No. No. We can't. You know we can't. - We're finished.\"", "Darla: \"Finished? Why? What, because you suddenly decide? You know an hour ago you wanted this. You weren't tricked into anything. I didn't seduce you. You *wanted* it!\"", "Angel: \"Yeah. And it *was* perfect, Darla. - It was perfect despair.\" Darla just stares at him. Angel, no longer looking at her: \"And you were the reason. You've always been the reason. You were the thing that made me what I am, and - I thought - if I could save you, I'd somehow - save myself, but - but I was wrong. And when I failed...\"", "Darla: \"Stop it!\"", "Angel: \"When I *failed*, you saved me. And I have to thank you for that. There is nothing I can do for you now, Darla. I can't even hate you.\"", "Darla: \"You knew this would happen, didn't you? You made me trust you! - You made me believe!\" As Darla says the words they echo in Angel's head in Kate's voice as she talks on the phone: \"You made me trust you. You made me believe.\"", "Angel turning to go: \"We're done. Let yourself out.\" Darla hurries after him, picking up a piece of wood like a stake.", "Darla: \"Where are you going?\" Angel turns and catches her wrist on the down swing.", "Angel: \"You did me a favor tonight. Now I'm gonna do one for you. Get dressed and get out. Because the next time I see you I will have to kill you.\" Angel turns and walks out as Darla stares after him. Angel bangs on the door to Kate's apartment.", "Angel: \"Kate. Kate! Kate, open the door! Kate!\" Kate is lying on the floor, unconscious. A steady beeping is coming from the phone lying next to the empty whisky bottle and scattered pills and pill containers. Angel kicks in the door and rushes to her side.", "Angel: \"Kate.\" Angel touches his fingers to the side of her neck, moves his hand in front of her nose and mouth, reaches to pick her up. Angel is turning on the shower. He is standing in the shower, holding Kate (both fully dressed) under the spray of water. After a few moments Kate begins to cough.", "Angel: \"All right. Cough. All right. That's it. Come on.\" Holds her against him as she coughs, resting his face against the top of her head for a moment. Kate, dressed in dry clothes, but hair still wet, looks at herself in the bathroom mirror, then turns to face Angel, standing behind her in the open door.", "Kate: \"Thanks. - Now get out.\" Walks past him. Angel just stands there for a moment. Lindsey enters his apartment. Turns on the light and sees Darla standing next to the window, looking out over the city.", "Lindsey: \"Darla... I've been calling here all night. Why haven't you answered?\" He drops his stuff and walks over to the window drawing the curtains closed.", "Lindsey: \"Get away from the window. It's not safe.\" Stands close behind her.", "Lindsey: \"They called an emergency meeting tonight - after what happened. - The official order on you is to stake on sight.\" Darla walks past him. Sits down on a chair and looks at something in her hands.", "Lindsey: \"You should have told me what you had planned. I would have talked you out of it - helped you. I don't know.\" Lindsey closes the rest of the curtains, walks over to Darla.", "Lindsey: \"Things are getting complicated for us now.\"", "Darla: \"Yes. Yes, I believe they are.\"", "Lindsey: \"We should probably clear your stuff out of here. Move in my bedroom. I just think it'd be best for us...\" Darla is still looking at her hands, twisting the big ring Angel killed the Senior Partner for between her fingers.", "Lindsey: \"Darla, what's wrong? (Sees the ring) What is this? (Takes it from her) Where did you get this?\"", "Darla shrugs: \"What's the difference? Doesn't work anyway.\"", "Lindsey: \"No, of course it doesn't work, because after Angel stole it there was a disenchanting ceremony. It took half the meeting. How did you get this?\"", "Darla after a beat: \"It was my payment.\"", "Lindsey swallows: \"Your payment? What are you talking about?\"", "Darla: \"What do you *think* I'm talking about, Lindsey?\"", "Lindsey: \"I don't know!\" She just looks at him and after a beat he turns away. Stares down at the ring then back at her with a frown.", "Lindsey: \"What happened?\"", "Darla: \"Nothing. - Nothing happened. - My god, nothing at all.\"", "Lindsey: \"Tell me. I have to know.\"", "Darla: \"You want details, Lindsey? Is that what you want?\"", "Lindsey: \"Yes. I want details. - I need to know everything. All of it. - What did he do to you?\" The Caritas bar, deserted, chairs up on the tables. Someone is ringing the buzzer, repeatedly. The host, wearing a golden house robe, walks over to the bar.", "Host: \"Alright, alright. - Alright, already!\" Pushes a button which apparently opens the door to the person still ringing the buzzer.", "Host: \"I'm not deaf, you know? Jeez, keep your pants on!\" Angel walks in.", "Host: \"Well, I see we're a little late with *that* advice.\" Angel sits at a table as the host is fixing some drinks at the bar.", "Angel: \"I probably should have killed her.\"", "Host: \"Eh, kill her, give her cab fare, whatever. The point is, you've turned a corner. (Comes walking over tot he table, carrying two drinks) Well, yay you. Zuzu's petals. It's about time. And between you and me, if it had taken you much longer to hit your bottom, I was gonna kick it.\" Host sets the drinks on the table and sits down across from Angel.", "Angel: \"I'm still not sure I understand what happened.\"", "Host: \"What's to understand? You think you're the first guy who ever rolled over, saw what was lying next to him and went 'Guyeah!' And you're not. Believe me. - It's called a moment of clarity, my lamb. And you've just had one. Sort of appalling, ain't it? To see just exactly where you've gotten yourself?\"", "Angel: \"I don't know how to get back.\"", "Host: \"Well, that's just the thing. You don't. You go on to the new place. Whatever that is.\"", "Angel after a beat: \"I don't know if I can. - I-I've done - things. - Questionable things.\"", "Host: \"Yes, you have. But-but you didn't kill those lawyers, Angel. That was slated to happen with or without you. The Powers were just trying to work it so it'd be without you, that's all. You weren't much help in that department were you, Sparky?\"", "Angel: \"I wasn't much help? If they wanted me to stay away, why didn't they just tell me?\"", "Host: \"Would you have listened? - Besides, what makes you think they didn't? Over and over and, as for example, over?\"", "Angel: \"Well, they could've been a little bit more specific!\"", "Host clears his throat: \"Isn't this just the sort of 'tude that got you where you are now? I think I'm speaking for everyone when I say if all you're gonna do is switch back to brood mode, we'd rather have you evil. Then at least - leather pants.\"", "Angel shakes his head: \"What now?\"", "Host: \"What do you mean?\"", "Angel: \"Well, how do I fix this. I mean, what do the Powers want me to do?\"", "Host: \"Does it *look* like I'm hearing voices? Because I'm not. I'm not your link with the Powers, Angel. I never was. You got rid of that when you fired your crew. - Yeah, that's gonna be the hardest part of all of this, you know.\"", "Angel: \"Yeah.\"", "Host: \"And there is a chance, a *good* chance you won't be able to put this back together. It just... well, it depends, really.\"", "Angel: \"Yeah, whether they'll even talk to me.\"", "Host: \"No, actually it depends on whether they live through the night. And I got to tell you, at the moment, the odds? Not good.\" A taxi pulls up in front of the Sharp's house and Cordy gets out. Cordy sees that the house is completely dark and stops on the sidewalk. Looks at the taxi pulling away, back at the house. The door to the house is partly ajar and after some knocking Cordy peeks into the house.", "Cordy: \"Hello? Mrs. Sharp? (Inches her way in) Anybody home? Cordelia Chase here. - Uhm, I hope you haven't gone to bed already. - Took me a little longer to get here than I expected. - Hope that doesn't mean you changed your mind about paying your bill, which I - I just happened to bring along with me. - Hello?\" Takes a few steps deeper into the house and looks in through the doorway into the kitchen to see the Sharp's bodies lying on the floor there. Cordy ups a hand to her head as she gets a blurry vision of her trying to leave the house but encountering a Skilosh demon instead. Cordy, takes a deep breath, gets up and hurries to the door only to recoil from the sight of a Skilosh demon standing right there, blocking her way.", "Cordy: \"That was helpful!\" The Skilosh growls at it jumps at her. Break Cordy, sitting back against the wall in the Sharp's house, slowly comes to. Touching the back of her head she gets on all fours.", "Skilosh: \"Human.\" Cordy lets out a startled yell and looks up.", "Skilosh: \"Destroyer of our Spawn.\"", "Cordy: \"Destroyer of your... Have we met?\"", "Skilosh: \"The others. You will make them come to us.\"", "Cordy: \"Huh? What others?\"", "Skilosh: \"Three are responsible. Three must pay.\"", "Cordy: \"Look, I think you must have me confused with someone else. I haven't destroyed anyone's spawn. Promise.\" Two more Skilosh come in and speak to the first one in Skilosh. As the first Skilosh turns around, Cordy gets to see the back of its head for the first time.", "Cordy: \" Hey! You've got a third eye in the back of your head just like that little girl did -before - we - destroyed your spawn.\"", "Skilosh to Cordy: \"We've located the wheel-ed one. Where is the other?\"", "Cordy: \"Wheel-ed one?\" Wesley rolls around his apartment in his wheelchair. Takes the stack of books off his lap and sets it on a side table, not noticing the demon outside his window watching him with the third eye on the back of its head. Wesley picks up some dishes and puts them on his lap. Stops as he hears some banging followed by an indistinct but rather upset voice talking. Continues his way towards the kitchen. Again there is banging and the voice gets a bit louder, though no more understandable. Wesley rolls his chair back against the wall, ignoring the dishes spilling form his lap in the process. Looks around, sees the demon outside his window just ducking away. Wesley rolls over to a walk-in closet and after some trouble gets the door open and wheels inside. Can't quite reach the shelf above his hanging clothes. Tries to stand up, but sinks back with a groan. Grabs the broom and uses its handle to move the shotgun resting on the top shelf. It falls off the shelf, hitting him in the process but he manages to hold onto it. He cracks it open to find that it is not loaded. Looks at the box of shells up on the shelf. He manages to knock them down using the broom, but the box lands on the floor spilling shells everywhere. Wesley pushes two shells into the double barrel and closes the gun. Rolls back out of the closet. Stops with his back to the door to the hall and aims the gun first at the window, then at the doorways leading to the other rooms in turn, then back at the window. The door behind him crashes open and Wesley spins around, gun aimed one handed, to find Angel standing in the hallway.", "Wesley: \"Angel!\" Angel is looking past Wesley, shifting on his feet, but doesn't come in.", "Angel: \"Invite me in! I've never been here before, Wesley, you have to invite me in!\"", "Wesley lowering his gun: \"Well, perhaps if you'd shown a bit of interest...\"", "Angel still looking past Wesley: \"Wesley...\" Wesley turns to look over his shoulder just as one of the Skilosh crashes in through his window.", "Wesley: \"Yes. No. Absolutely. I invite you in. *In* I invite you!\" Angel rushes past Wesley, spinning his chair around in the process and engages the two Skilosh demons.", "Angel: \"Do you know what these things are?\"", "Wesley: \"I believe the third eye indicates adult Skilosh, though this is the first time I've had occasion to...\" Having temporarily knocked both demons across the room, Angel leans down on Wesley's chair.", "Angel: \"How do I kill them?\"", "Wesley: \"Well, uhm, there are a number of ways...\" One of the Skilosh tackles Angel away from Wesley and knocks him into the wall.", "Angel: \"Wesley!\"", "Wesley: \"Yeah, right, yes, uh, ah, (the other Skilosh grabs Wesley by the neck) hack it to pieces!\" Angel grabs an ax mounted on one of Wesley's walls, kicks his Skilosh away and knocks the other away from Wesley with the ax. Then follows it where it landed behind the sofa and hacks it to pieces, splattering the wall with thick yellow gore. The other Skilosh launches itself at Wesley, and he brings up his shotgun and fires. Yellow gore spatters Wesley's face as the demon is thrown back by the blast. Wesley looks at it lying on the floor, steaming slightly, with plaster from the ceiling raining down on it.", "Wesley: \"I think I got it.\" Angel is getting up, having finished his demon. Wesley takes off his glasses and squints up at the ceiling.", "Wesley: \"I can only pray Mrs. Starns isn't at home.\" Wesley and Angel look at each other. A smile starts to spread over Wesley's face but disappears into a frown as Wesley looks away. Wesley putting his glasses back on: \"What are you doing here.\" Angel straightens up, the slight smile on his face vanishing with a sigh. Lindsey and Darla are sitting at opposite ends of his couch, not looking at each other. Lindsey gets up and takes off his jacket. After a moment Darla glances in the direction he left. Lindsey comes back, throws his jacket down and drops a set of keys on the table. Stares at Darla, who's looking down, for a moment then goes to open a closet. In it there are some of Darla's clothes on hangers, next to his own. He digs down into the back of the closet and pulls out some cowboy boots. Rips off his tie, picks up the boots and slams the closet door shut. Wesley is sitting in the passenger seat of Angel's convertible, holding a cell phone to his ear.", "Wesley: \"She's not picking up.\"", "Angel: \"She wasn't at home before either. (Wesley turns to him with a frown) I-I stopped by there - before I went to your place.\"", "Wesley: \"Oh. Did you. Just keep going straight.\"", "Angel: \"So, ah, I guess you're probably wondering why I'm, you know, (slight laugh) back?\"", "Wesley: \"It hadn't really occurred to me. You're gonna want to take a right turn shortly.\"", "Angel: \"I know how to get to your offices, Wesley.\"", "Wesley: \"Oh yeah, of course. You did pop by. - Stole a book.\" Angel doesn't say anything. The car hits a bump in the road and Wesley winces.", "Angel: \"I'll try to avoid the bumps.\"", "Wesley: \"I appreciate that.\"", "Angel: \"Actually, it's kind of funny. I-I recently got a - a gut wound myself. (Wesley stares at him with a frown) Not - not a gunshot wound like you got there. But, uh, it's kind of a - antique - sword (Wesley just keeps staring at him) is what it was. (Wesley turns back to watch the road) Went deep. - Yes, it did. - Hey, guess who stabbed me?\"", "Wesley: \"Darla?\"", "Angel: \"Yeah. - Actually kind of a funny story. The whole reason I had - this epiphany... (Looks over at Wesley staring straight ahead) Alright, so why don't you just tell me about these Skilosh demons.\"", "Wesley: \"Very well. We at Angel Investigations were recently contracted by a family to investigate the sudden appearance of a mysterious third eye on the back of their young daughter's head.\"", "Angel: \"Oh, really? You kept the name.\"", "Wesley after a beat: \"Pardon?\"", "Angel with a slight smile: \"You kept the name: Angel Investigations.\"", "Wesley: \"We're gonna change it.\"", "Angel's smile melts away: \"Go on.\"", "Wesley: \"In any event, I diagnosed the girl's condition as infection by a Skilosh.\"", "Angel: \"With your books.\"", "Wesley: \"Yes.\"", "Angel: \"Yeah, you were always so good with your books. Made it looks so easy. When it isn't.\"", "Wesley: \"Skilosh, a notoriously violent, asexual, self-replicating species of demon, has the distasteful habit of injecting its demon spawn into the cranium of a human host. One of the key diagnostic symptoms being the tell-tale third eye on the back of the host's head. If this condition is not arrested in time a newborn Skilosh will erupt, fully grown, from the skull of its human host.\"", "Angel: \"But you guys, you saved the little girl.\"", "Wesley: \"Yes, we did.\"", "Angel: \"You did a good thing.\"", "Wesley after a beat: \"Thank you.\"", "Angel: \"Welcome.\" The Skilosh at the Sharp's house is talking to some others and Cordy makes an attempt to back away while its back is turned, only to have it spin around and growl at her.", "Cordy: \"I'm guessing 'hey! Look behind you!' is really not gonna work, is it?\"", "Skilosh: \"Two more have been destroyed.\"", "Cordy: \"What? Oh, no! Wesley, Gunn, you - you killed them? - You horrible, ugly, three-eyed...\"", "Skilosh: \"Three must pay.\"", "Cordy: \"Oh! Two of *you* have been destroyed. (Relieved breath) Okay... (Frowns) Oh. That's bad... (The Skilosh stare at her) I'm sorry?\"", "Skilosh: \"More must rise.\" Two Skilosh grab a hold of Cordy.", "Cordy: \"Oh. Oh, no. Hey! Hey, hey. Wait a second. Guys!\"", "Skilosh: \"More must rise!\"", "Cordy: \"No, no. No more must rise. Honest. Listen, I've been impregnated by demon spawn before. Let's just say, didn't really work out.\" An ugly, three pronged tongue starts to protrude out of the demon's mouth as he leans closer to Cordelia.", "Cordy: \"Oh, god. Please don't do this. Please, no. Ah!\" The other two demons turn Cordy around and hold her head down.", "Cordy: \"No! Let go! Please. Ah! No. Let go!\" The pronged tongue connects with the back of Cordy's head and she screams. The door of Angel Investigations with the hours Mon - Thur 10 - 6, Fri 10 -9, Sat 9-9, Sun closed, stenciled on it. Wesley, sitting in his wheelchair looks at the window as a car drives by. Angel comes out of the back of the offices.", "Angel: \"She's not here.\"", "Wesley: \"That doesn't bode well.\" Wesley looks back out of the window as car lights pass it again.", "Wesley: \"That's the third time that truck's passed by.\"", "Angel: \"Well, maybe she's just out on a date or with her friends or something.\"", "Wesley: \"That's unlikely.\"", "Angel: \"It's Friday night, Wesley.\"", "Wesley: \"So?\"", "Angel: \"So, we are talking about the same Cordelia Chase, right?\"", "Wesley turns to face Angel: \"That's correct.\"", "Angel: \"Knowing her...\"", "Wesley: \"But you don't. You don't know her at all. For months now you haven't cared to. Otherwise you might have realized that our Cordelia has become a very solitary girl. She's not the vain, carefree creature she once was... Well, certainly not carefree. - It's the visions, you see. The visions that were meant to guide you. You could turn away from them. She doesn't have that luxury. She knows and experiences the pain in this city, and because of who she is, she feels compelled to do something about it. - It's left her little time for anything else. - You'd have known that - if you hadn't had you head firmly up your... place that isn't on top of your neck.\"", "Angel quietly after a beat: \"We have to find her.\"", "Wesley: \"Yes, we agree on that. She could be in grave danger.\"", "Angel: \"And even if she's not...\" Wesley looks at Angel, but Angel's attention is on something else.", "Angel: \"Something's coming.\"", "Wesley: \"Turn off the lights. The Skilosh may have followed us here.\" Angel turns off the lights and picks up the ax he pulled off Wesley's wall earlier. Both of them back against the walls. We hear footsteps coming closer. A shadow falls across the open door to the street and two legs walk into frame. Wesley turns on the light and Gunn spins around to face him.", "Wesley: \"Gunn! - What are you doing here?\"", "Gunn: \"I was passing by. Saw the lights was on. Besides, I work here.\"", "Wesley: \"But - I thought you'd gone.\"", "Gunn: \"Gone? Well, yeah, gone, but that don't mean I wasn't coming back! (Looks at Angel) What, you didn't think I was gonna abandon you like this guy, did you?\" Angel looks down.", "Wesley, smiling: \"No. Certainly not.\" Gunn and Wesley exchange an elaborate handshake ritual.", "Gunn: \"Come on, English! You know you my man!\"", "Angel: \"So, ah, I see you guys have bonded.\"", "Gunn: \"Happens when you fight shoulder to shoulder.\"", "Wesley: \"Or rather hip to shoulder these days.\"", "Gunn: \"This man took a bullet for me!\"", "Wesley: \"Ah, it was nothing!\" They do the handshake ritual again.", "Gunn: \"So, what's he doing here?\"", "Angel: \"Went and saw the host of Caritas. He said my friends were in danger.\"", "Gunn to Wesley: \"So, what's he doing here?\"", "Wesley: \"He had an epiphany.\"", "Gunn: \"Aaah. Well, I saw you turn off the lights and hiding. What's up with that?\"", "Wesley: \"There was a demon attack, at my home.\"", "Angel: \"I saved him.\"", "Wesley: \"We thought perhaps we'd been followed.\"", "Gunn: \"Demon attack?\"", "Wesley: \"Skilosh, I'm afraid.\"", "Gunn: \"As in the back-of-the-head type demon? I thought we got rid of that.\"", "Wesley: \"We did. Which is why I believe we are being targeted for retribution by the tribe.\"", "Gunn: \"Where's Cordy?\"", "Wesley: \"We don't know. Not here.\"", "Gunn: \"You checked her pad?\"", "Angel: \"I stopped by there earlier.\"", "Gunn: \"You enjoying your visit to nineteen seventy three? (Picks up a memo pad) I meant her message pad.\"", "Angel: \"Oh, right. That's a good idea. (Angel picks up a pencil) Oh, here, use this. You can make a rubbing of the impressions she left. See what the last thing was that she wrote.\"", "Gunn: \"Or we could just read the carbon.\" Angel drops the pencil back on the desk: \"Or you can do that.\"", "Gunn: \"Directions.\"", "Wesley: \"Let me see.\" Gunn pushes Angel out of the way and brushes past him to hand the pad to Wesley.", "Wesley: \"Yes, I know that address. It's the Sharps. (To Angel) The family, whose daughter we treated.\"", "Gunn: \"Looks like she wrote that down tonight. (To Wesley) You think she went there?\"", "Wesley: \"Why else would she take the original?\"", "Gunn: \"What do you think they'd do?\"", "Wesley: \"While I hate to imagine, we better be prepared. (Rips the carbon off the pad) The de-oculation powder is in my desk. Get it.\"", "Gunn: \"Alright.\"", "Angel: \"Guys - guys, d-does it make sense that sh-she would go there in the middle of the night without calling either one of you?\"", "Gunn and Wesley: \"They owe us money.\"", "Angel: \"Lets go.\" Cordy is waking up on the floor of the Sharps house. Looks around and winces, but pushes herself up on all fours. Looks straight at us and stops as we see the Skilosh standing at a window behind her.", "Cordy: \"Oh god. You're still here. You're not leaving, are you? And no one's coming for me. No one's expecting me any place. No-no one's gonna miss me! - And how come I can see you? (Reaches her hands to the back of her head) Oh. Oh, no! Oh...\" Gets up to look at herself in a mirror than turns around and pulls her hair away from the blinking eye in the back of her head.", "Cordy: \"Oh, no.\" Angel is driving down the road. Checking his side mirror form time to time. Gunn is sitting in the passenger seat, Wesley in the back.", "Wesley: \"What is it?\"", "Angel: \"I don't know. Nothing I guess.\"", "Gunn: \"So, you had an *epiphany*, did you?\"", "Angel: \"Yeah.\"", "Gunn: \"So, what you just wake up and bang?\"", "Angel: \"Well, it was sort of the other way around.\" Gives Gunn a smile.", "Gunn: \"Well, that's good, you know. That's real good that you can have one of those. Ain't that good, Wes? 'cause you know, epiphanies, they handy. - When do you think you might be having another one?\"", "Wesley: \"Gunn...\"", "Gunn: \"No. No. I'm interested. You know, 'cause they could strike at any time. Could be the next time you see one of them lawyers, you get all epiphanied off right back at 'em.\"", "Angel: \"No.\"", "Gunn: \"No? You don't think so? - Well I hope you don't go having another one before we get to Cordelia, because if something happens to her... I mean, something bad, I just might have *me* and epiphany.\" A Skilosh demon drops out of a tree into the car and grabs Wesley. Gunn jumps up in his seat and kicks it off Wesley. The demon rolls off the back of the car and Angel swerves the car and stops in the middle of the road.", "Gunn to Wesley: \"You okay?\"", "Wesley: \"Yes.\" Angel stares into the side mirror as the Skilosh slowly picks itself back up and is joined by two more of its kind.", "Wesley: \"Angel? (Looks back and sees the demons) We should probably go.\" Angel keeps staring in the mirror.", "Gunn: \"Yo, Angel!\" Angel gets out of the car: \"You guys go ahead.\"", "Wesley: \"What?\"", "Angel: \"Just go! I'll handle this. If we don't take them out they'll flank us once we get to the house.\" Pulls Wesley's ax out from the back seat.", "Angel: \"And then I'll meet you there. (Gunn and Wes exchange a look) I'll *be* there. Just get to Cordelia. That's all that matters. Wesley taps Gunn's shoulder and he jumps into the drivers seat. The car peels out of there as Angel goes to meet the three Skilosh, who after a beat run off in different directions. Angel hears a car engine roaring behind him and turns just in time to see an old red pickup run over him full speed. The pickup stops as Angel tries to pick himself back up.", "Angel: \"Jeez...\" And artificial hand slams the pickup into reverse and Lindsey looks back over his shoulder as he guns the truck, running over Angel again, just as he makes it to his feet. Break", "[SCENE_BREAK]", "Gunn peers into the window of the Sharp's house and sees Cordy sitting on a chair and a Skilosh standing in front of her. Wesley is trying to wheel up beside Gunn, but one of his wheels keeps spinning without traction. Taps Gunn on the arm and points down, spinning the wheel. Gunn reaches over and pulls the wheelchair up beside him.", "Wesley: \"Thank you. What do you see?\"", "Gunn: \"She's in there.\"", "Wesley: \"Is she...\"", "Gunn: \"Yeah, she's alive.\"", "Wesley: \"Are you sure?\"", "Gunn: \"Yeah. Her eyes are open. All three of them.\"", "Wesley: \"Oh dear.\"", "Gunn: \"Wait a minute, three more!\"", "Wesley: \"Eyes?\"", "Gunn: \"Demons.\"", "Wesley: \"Oh. The tribe's gathering. The gestation maybe nearly complete. We haven't much time. Where is he?\" Lindsey's pickup slams into Angel, knocking him down. Lindsey puts it back into drive as Angel staggers to his feet again, and drives the truck in a tight circle around Angel. Angel hurriedly limps towards the side of the street, begins to run, but Lindsey runs into him again, sending him flying onto the sidewalk.", "Gunn: \"Man, that's gotta hurt.\"", "Wesley: \"Well, it's gonna hurt a lot more when the thing that's gestating inside of her hatches, I can assure you.\"", "Gunn: \"Try not to say the word 'gestating' anymore. And how long are we gonna wait for Angel?\"", "Wesley: \"We're not.\"", "Gunn: \"Good.\"", "Wesley: \"Well, why should we?\"", "Gunn: \"We shouldn't.\"", "Wesley: \"We've been doing fine without him, haven't we?\"", "Gunn: \"I'd say so.\"", "Wesley: \"Right. So he suddenly reappears, orders us to sit and wait and we just do it?\"", "Gunn: \"Hell, no!\"", "Wesley: \"No. For all we know he had another change of heart.\"", "Gunn: \"That's true.\" Wesley pushes himself up out of his wheelchair.", "Wesley: \"We're not going to sit idly by, we're going in there (groans) and we're - saving our friend.\"", "Gunn: \"I say lets do this.\"", "Wesley: \"One more thing.\"", "Gunn: \"What's that?\"", "Wesley: \"I'm toppling over.\" Gunn catches a hold of his jacket and pulls Wesley back up right. The pickup comes to a squealing stop and Lindsey gets out, wearing jeans, a thick, plaid flannel shirt and his cowboy boots, watching Angel crawling along the side of the road. Lindsey reaches inside the cab and takes out a sledgehammer. Walks over to Angel.", "Lindsey: \"You're gonna tell me everything.\" Hits Angel with the sledge to the chin, rolling him over onto his back", "Lindsey: \"Everything you do with her.\" Hits Angel again.", "Lindsey: \"All of it.\" Kicks Angel.", "Lindsey: \"You're gonna tell me.\"", "Angel: \"Why?\"", "Lindsey: \"Because I wanna hear it from you.\" Hauls back with the sledge and slams it down into Angel's gut. Angel curls up around his gut with a groan then rolls onto all four in an effort to get back up. Lindsey slams the sledge down on his back, dropping him back to the ground.", "Lindsey: \"Tell me!\" Hits him again.", "Lindsey: \"Tell me! - Tell me!\"", "Angel: \"No.\" Lindsey swings the sledge one handed like a polo mallet and hits Angel under the chin. Angel spins onto his back and ceases to move. Lindsey walks back to his truck, reaches into its bed and picks up a stake. Turns to find Angel standing right behind him.", "Angel: \"I'm sorry Lindsey.\" Angel hits Lindsey with a hard right, and the sledge and stake go flying. Lindsey pushes himself back up using the side of the truck for support.", "Angel: \"I really am.\" Hits Lindsey in the kidneys, then turns him around.", "Angel: \"I'm sorry she'll never love you.\" Knees him in the stomach, then pulls him back up against the side of the truck.", "Angel: \"I'm sorry you're gonna have to live with that.\" Hits him with a left hook. Picks him back up.", "Angel: \"I'm sorry I didn't try harder to help you when you came to me.\" Smacks him against the side of the truck.", "Angel: \"I'm sorry you made the wrong choice.\" Hits him with a right hook, dropping Lindsey to the ground. Lindsey sees the stake lying on the ground and reaches for it. Angel picks up the sledge and brings it down in an overhead arc, smashing Lindsey's plastic hand to pieces. Lindsey freezes, staring at his shattered hand. Glances up at Angel.", "Angel dropping the sledge: \"Could have been the other one. Just be glad I had an epiphany.\" Lindsey stares up at him with a frown.", "Angel: \"Mind if I borrow your truck?\" Kicks Lindsey across the chin, knocking him out. Cordy is sitting in the sharps house rubbing her temples as the Skilosh speak to each other in demon speak. Suddenly straightens up.", "Cordy: \"Gunn!\" Wesley's head pops through the door behind her.", "Cordy: \"Wesley!\"", "Wesley with a smile: \"We came to rescue you.\"", "Cordy: \"I knew you would!\" A Skilosh pushes each of them into the room and we can see that their hands are tied behind their backs.", "Gunn: \"But then they caught us coming in the back door.\" The Skilosh lets go of Wesley and he almost topples over. The demon catches a hold of him and pulls him back up right.", "Wesley: \"Thank you.\" Lindsey's old pick up is speeding down the road.", "Skilosh: \"More must rise.\" It's pronged tongue starts to protrude from its mouth.", "Gunn to Cordy: \"This gonna hurt?\"", "Cordy: \"A lot.\" Lindsey's pickup races down the street, onto the front lawn, and right at the Sharp's house. The Skilosh turns and steps towards the window as the truck lights shine into it. A shot of Angel behind the wheel, then the truck smashes through the wall of the living room, and into the lead Skilosh, sending it flying out the window across the room. The other Skilosh let go of their prisoners and converge on the truck. Angel slams the door open into the first one then goes after them with Lindsey's sledgehammer. Gunn pulls a folding knife out of his boot and uses it to cut the ropes around Wesley's wrists. Wesley returns the favor while Angel keeps whaling away at the Skilosh. Wesley helps Cordy to sit up, and sprinkles some powder onto the back of her head while saying something in Latin. The powder rains down on the blinking eye, which shivers, closes and disappears. Cordy touches the back of her head just as Angel, having dispatched the last of the demons, hurries over and kneels down in front of her. He looks pretty beaten up, and has some blood dripping from his nose, but he's smiling at her.", "Cordy: \"Angel... Hi.\"", "Angel: \"Hi. - You okay?\"", "Cordy: \"No.\" Angel's smile melts away into worry: \"You're not?\"", "Cordy: \"No. - You really hurt my feelings.\" Gunn and Wesley help Cordy up, and Angel watches as the three of them walk away. We get a shot of the license plate on Lindsey's truck (Oklahoma T-42633) in bright daylight. The camera pans up to look in the drivers window and out through the cracked windshield to show us Lindsey, still in his cowboy gear, and looking slightly beat up, walking up to the front of it. He pulls a piece of paper out from under the windshield wiper. All it says is 'Thanks.' Lindsey enters his apartment.", "Lindsey: \"Darla?\" Sees that she has cleaned out all her stuff. Night. Kate and Angel are sitting side by side outside in the garden court of the Hyperion.", "Kate: \"I feel like such an idiot.\"", "Angel: \"A lot of that going around.\"", "Kate: \"I just couldn't... - My whole life has been about being a cop. If I'm not part of the force it's like nothing I do means anything.\" Angel, still looking pretty beat up: \"It doesn't.\"", "Kate: \"Doesn't what?\"", "Angel: \"Mean anything. In the greater scheme or the big picture, nothing we do matters. There's no grand plan, no big win.\"", "Kate: \"You seem kind of chipper about that.\"", "Angel: \"Well, I guess I kinda - worked it out. If there is no great glorious end to all this, if - nothing we do matters, - then all that matters is what we do. 'cause that's all there is. What we do, now, today. - I fought for so long. For redemption, for a reward - finally just to beat the other guy, but... I never got it.\"", "Kate: \"And now you do?\"", "Angel: \"Not all of it. All I wanna do is help. I wanna help because - I don't think people should suffer, as they do. Because, if there is no bigger meaning, then the smallest act of kindness - is the greatest thing in the world.\"", "Kate: \"Yikes. It sounds like you had an epiphany.\"", "Angel: \"I keep saying that. But nobody's listening.\"", "Kate: \"Well, I'm pretty much convinced, since I'm alive to be convinced.\"", "Angel: \"You know you don't have to be a cop to be...\"", "Kate: \"I'm okay. - Anyway, I'm *not* headed towards another pillathon. - I'm very grateful. - I never thought you'd come for me, but... I got cut a huge break and I believe... - I don't know what I believe, but I - have - faith. - I think maybe we're not alone in this.\"", "Angel: \"Why?\"", "Kate: \"Because I never invited you in.\" Wesley is sitting behind the desk at the new Angel Investigations. The phone rings and Cordy comes over to answer it while Wesley hands her the memo pad.", "Cordy: \"Angel Investigations. We help the helpless. How can we...\" She looks up and sees Angel, still looking beat up, slowly edging his way in through the front door.", "Cordy: \"...help you? - Check is in the mail.\" Hangs up, as Gunn comes up behind her and all three of them stare at Angel standing there.", "Angel: \"I'm sorry.\" Wesley grabs a hold of a walking stick and pushes himself up out of his chair and comes around to stand in front of Angel.", "Wesley: \"Before you say any more I think I should tell you, we've all discussed this, and none of us are ready just yet...\"", "Angel: \"It's okay, Wesley. I don't want you to come back and work for me.\"", "Wesley: \"Oh. I see.\"", "Angel: \"I wanna work for you.\"", "Gunn: \"You wanna work for us?\"", "Angel: \"Yeah. I do.\"", "Wesley: \"Why?\"", "Angel: \"Because I think I can help.\"", "Cordy: \"How do we know we can trust you?\"", "Angel: \"I guess I'll just have to earn that.\"", "Cordy: \"No.\" Gunn and Wesley turn to look at her.", "Cordy: \"No. No. No! Ahh.\" Cordy reaches up to her head as she is hit with a vision.", "Cordy: \"The usual big scary rising up in a housing project in Topanga, and - why is it that I am not on the floor this time?\" Camera pulls back to reveal that Angel is standing behind her.", "Angel: \"I got you.\" Cordy looks back at him, then back at Gunn and Wesley.", "Cordy: \"Maybe *he* should drive?\" Wesley after a beat, with a slight smile: \"Let's go.\" He and Gunn turn to head out the door.", "FADE TO BLACK" ]

[ "Cordelia is shocked when old friend Harmony unexpectedly shows up in Los Angeles. Cordelia invites her to stay at her apartment and catch up on old times. After a strange midnight encounter, Cordelia contacts Willow and is surprised to learn that Harmony is a vampire, not a lesbian as she initially thought. Wesley is not as accepting of Harmony's condition as the others and fears the worst. After a brief encounter with Lorne in which he tells her to stick with Cordelia, Harmony tags along with the gang as they investigate the kidnapping of humans." ]

[ "[PREVIOUSLY_ON]", "Shot of Angel closing the cellar doors and Darla biting Holland.", "Angel voice over: \"I've done - things. Questionable things.\" Shot of the pile of bodies left in the cellar.", "Angel: \"You're all fired.\" Cop confronting Gunn.", "Wesley: \"Officer, wait!\" Wesley gets shot. Angel drops the cigarette onto the gasoline trail. Fire races towards Darla and Dru and engulfs them. Cordy pushes the book Angel came to get against his chest.", "Cordy: \"Here. I don't even know what you are anymore.\"", "Angel: \"I'm a vampire.\" Angel wakes up beside Darla.", "Host voice over: \"It's called a moment of clarity, my lamb. And you've just had one.\" Angel dropping to all fours on the balcony in the rain.", "Host: \"And there's a chance you won't be able to put this back together.\"", "Cordy: \"Angel.\"", "Angel: \"Are you okay?\"", "Cordy: \"No.\"", "Angel: \"I'm sorry. I wanna work for you.\"", "Cordy: \"How do we know we can trust you?\" Hyperion, day.", "Wesley: \"This won't be easy for any of us, Angel. You're going to have to change your behavior. Engage your co-workers from time to time.\" Angel is sitting behind his desk, looking up at Wesley who is pacing in front of it while lecturing him.", "Wesley: \"Be sensitive to their feelings, their opinions, especially before you take some action one might construe as - oh, let's just call it insane. It goes a long way to show you - appreciate and respect them.\" Wesley drops out of his lecturing tone for a moment: \"This is torture for you, isn't it.\"", "Angel: \"Yes.\"", "Wesley: \"Good. - I think that's all for now.\"", "Angel: \"Okay. Well, you know, I think I'll - I'll just, you know, sit and absorb it all.\" Wesley looks at him then glances around the office then back at Angel. Angel glances around the office then spreads his hands and gets up out of the chair.", "Angel: \"Somewhere else. Not here. I mean, this is - your office - now. Yeah, I just, uhm, I'll get out of your hair.\" Angel walks towards the door without looking at Wesley.", "Wesley: \"You're sure about this.\"", "Angel: \"Absolutely. (Angel turns to face Wesley) You know what? I work for you. (Slides the doors behind him apart) I just need to find a place for me to...\" Angel turns and sees Cordy adding a few pencil to the cup sitting on top of a little folding table next to her desk.", "Wesley: \"I took the liberty of providing you with a new working space.\"", "Angel: \"Great.\"", "Wesley: \"And I'd love a cup of coffee.\"", "Angel with a laugh: \"That's, that's very funny.\" Wesley slides the doors to his new office shut in Angel's face. Angel turns around to look at Cordy and Gunn.", "Cordy: \"Two sugars in mine.\"", "Gunn: \"Mocha cappuccino here.\" Both of them walk off, leaving Angel standing there alone.", "Angel: \"Man. Atonement's a bitch.\" Intro A park at night. Two teenagers are sitting in a parked car, listening to music, talking and kissing. A hooded figure watches them from the bushes, then walks closer. The girl breaks away from the guy with a scream as the hooded figure smashes the driver's side window in. Gunn slaps a mace into the palm of his hand, then drops it into a box full of weapons. He picks the box up and walks away as Wesley comes up from behind the counter and drops some ring-binders on it. Cordy walks by in the background, carrying a box of papers. Angel comes down the stairs. Wesley looks at him and Angel slows, looks around. Wesley cocks his head towards Cordy. Angel shifts his feet then moves towards Cordy while Wesley looks back down with a slight smile. Angel walks over towards Cordy.", "Angel: \"Uh...\" Cordy, looking through the papers in her box, her back to Angel: \"Don't.\"", "Angel: \"Don't?\"", "Cordy: \"You're gonna start trying to make small talk, get all stammery. Don't. You might strain yourself.\" Angel looks over towards Wesley, who looks back at him over his shoulder. Angel turns back towards Cordy.", "Angel: \"I just wanted to know how you were. Are. I mean, we really haven't had a chance...\" Cordy picks up the box and Angel reaches for it.", "Angel: \"Here let me get that for you.\"", "Cordy: \"It's okay.\"", "Angel: \"Nah, I'd be glad to.\" Cordy holds the box away from him: \"I've got it.\" Angel throws an other look at Wesley, but Wesley's back remains turned towards them.", "Angel: \"Okay.\" He steps back, shifting from foot to foot, and looks around. Cordy sets the box down and comes to stand in front of him.", "Cordy: \"You wanna know how I am? Tired mostly - with sweaty running a close second. I'm also jazzed. Can't wait to get our business up and sputtering again - ready to help those helpless. - But, just so we understand each other - you and I? - We're not friends.\" Wesley throws a glance over his shoulder in their direction. Angel looks down, doesn't try to help Cordy as she picks the box up again. He tries to meet her eyes as she is about to walk past him. Suddenly her face scrunches up as she is hit by a vision. Letting the box drop, Angel grabs a hold of her arms and eases her down onto a chair.", "Angel: \"Wesley.\" Blurry vision of the two kids being dragged out through the shattered car windows. Wesley is leaning over Cordy, with Angel hovering just behind him and Gunn leaning on the other side of Cordy's desk.", "Cordy: \"Okay, she's screaming. They're pulling her from a car. Guys in robes. Blue robes.\" More blurry vision flashes.", "Cordy: \"They're taking - people and, and, whoa, big bird.\"", "Gunn: \"Big bird?\"", "Cordy: \"Not the muppet, you dumb ass.\"", "Wesley: \"Where's the car, Cordelia?\"", "Cordy: \"Ah... Lafayette Park, near the fountain.\"", "Wesley: \"Right. Let's move.\" Wesley and Gunn head out as Angel leans in closer to Cordy.", "Angel: \"Are you, uh...\" Cordy leans away, holding up a hand: \"Fine.\"", "Angel: \"You should, ah, take off. (Reaches for his jacket) I mean, ah, for the rest of the night. (Backs away from her to follow Wes and Gunn) Go home.\" Backs into one of the pillars, stumbles, then hurries towards the door.", "Angel: \"Order - order Chinese.\" Cordy watches Angel run out. Cordy is turning off the lights on her way to leave the hotel. Slows and starts to look around the deserted lobby.", "Cordy in a small voice: \"Hello? (louder) Hello?\" She turns around and lets out a scream when she finds Harmony standing only a few steps behind her on the landing to the entrance.", "Harmony: \"That's the way you greet an old friend?\" Cordy screams again in a different tone.", "Cordy: \"Harmony?\" Harmony hurries down to her and they embrace.", "Cordy: \"Harmony! I don't believe it!\"", "Harmony laughing: \"Yup. It's me.\" They break apart.", "Cordy: \"Wow. I haven't seen you since...\"", "Harmony: \"Our high school blew up.\"", "Cordy: \"Right. Right. Seems like a lifetime ago.\"", "Harmony nods: \"Oh! For me, too, totally.\"", "Cordy: \"Wow. Look at you. You look - different.\"", "Harmony: \"Hey, I'm not the same person I was back at Sunnydale High. - And you - you - you cut your hair!\"", "Cordy touches her hair: \"Yeah.\"", "Harmony: \"Well, I think it looks adorable off your neck.\"", "Cordy: \"Thanks. I - was just, you know, looking for a change.\"", "Harmony: \"Sure. Change. (Laughs) Change is good - sometimes. (Walks past Cordy towards the counter) So, this is where you do - whatever it is you do?\"", "Cordy: \"Detective Agency.\"", "Harmony: \"Right. But - you're not a detective...\"", "Cordy: \"Uh, well, not me - technically, I'm... - Mostly, I manage things. The office.\"", "Harmony: \"Huh. Sounds - rewarding.\"", "Cordy: \"So, what are you doing here in town? Business?\"", "Harmony: \"No. No business. Play, play, play. - Uhm, I just broke up with someone. Real smothering relationship. You know, the kind where they just can't live without you?\"", "Cordy: \"Oh, sure. That one. - Hate that.\"", "Harmony: \"I thought it would be a good time to come check out the L.A. nightlife, look up certain old friends.\"", "Cordy: \"You got a place to stay?\"", "Harmony: \"You offering?\"", "Cordy: \"Do I have to say it?\"", "Harmony: \"Yeah.\"", "Cordy: \"Okay, you're coming home with me. (Hugs her) I hope you don't mind the couch.\" Gunn, Angel and Wesley run up to the teenagers' car, see the doors hanging open, and the blood on the broken windows, but otherwise there is no one in sight. They stop, Wesley breathing hard and holding his side.", "Gunn looking around: \"Now what?\"", "Wesley: \"We fan out. Gunn, search the area near the fountain. I'll take this path towards the picnic area. Angel, you...\" We can hear some faint screaming.", "Angel: \"Follow the screaming woman?\" They take of in the direction of the screams. A woman is struggling against a figure wearing a hooded green robe. Green Robe sees Gunn, Angel and Wes running towards them. Picks up the woman and tosses her towards them. Angel catches the woman, while Gunn tackles Green Robe. Gunn pulls the hood back to reveal the rigged features of a vampire.", "Gunn: \"Now see? What you want to go hiding such a pretty face for?\" Gunn ducks under the vampire's swing then, holding on to the robe, hits the vampire with a hard right. The vampire struggles out of his robe and turns to run only to find himself face to face with Angel, stake at the ready. The vampire disappears in a cloud of dust. Angel looks at Gunn, but Gunn only lifts the robe as to wipe his face then lowers it again with a frown and walks over to where Wes is trying to calm down the woman.", "Wesley: \"It's alright. It's over now. You'll be safe here.\"", "Gunn: \"Cordelia said 'blue robes' didn't she?\"", "Wesley: \"It was dark. Perhaps she was mistaken.\"", "Angel: \"Hey, I think we should give her the benefit of the doubt before just condemning her like that, don't - you?\" Trails off as the other two look at him.", "Gunn to Wesley: \"I'll do another quick sweep. See if those blue boys are still around.\" Wesley notices a symbol sown onto the robe. A triangle with a snake forming the number two inside of it.", "Wesley showing it to Angel: \"Religious sect?\"", "Angel: \"I don't know.\" Wesley pulls out his cell phone.", "Wesley: \"I'll put Cordelia on to it.\"", "Angel: \"Uhm, - I-I gave her the night off.\"", "Wesley: \"Did you?\"", "Angel: \"Well, I though, you know, she looked so tired and - I mean, the vision took a lot out of her. Do-do you think, maybe, that I should - send her something? Some flowers maybe?\"", "Wesley: \"Flowers.\"", "Angel: \"Yeah, uh, to say, you know, 'thanks.' Uhm. 'Sorry about the migraines.' Uhm, you know, '-II appreciate you?'\"", "Wesley: \"Yes, by all means. And uh, while you're at it pick me up one of those 'sorry you were shot in the gut' bouquets.\"", "Angel: \"Right. Sorry.\"", "Wesley: \"You can't buy back her trust, Angel, - or her affections.\"", "Angel: \"She said, uh - she said we're not friends.\"", "Wesley: \"I know. - There is only one thing you can give her, Angel. And that's time. Cordelia has a lot of pain to work through.\"", "Cut to Cordy laughing her head off. She and Harmony are sitting on the couch in her apartment wearing house robes, their heads wrapped up in towels.", "Harmony laughing: \"The cackle.\"", "Cordy: \"Remember in ninth grade remedial Spanish - Donnie something.\"", "Harmony: \"Oh! Donnie Ray, yes.\"", "Cordy: \"That's him. He followed me everywhere.\" There is a half-empty bottle of red wine on the table and both of them have wine glasses in their hands.", "Harmony: \"Oh, oh, and he wrote that love song to you. How did it go?\"", "Cordy and Harmony singing: \"Oh, Cordeeelia, how I long to feel ya!\" They break into laughter.", "Cordy: \"Eww!\"", "Harmony: \"Oh, god. We totally ruled.\" They clink glasses.", "Cordy: \"Yup, that we did.\"", "Harmony: \"We were powerful, rich, popular.\"", "Cordy: \"None of that's changed for me - apart from the powerful, rich and popular. - But I tell you one thing: I am happier now than I was then.\"", "Harmony: \"Get out.\"", "Cordy: \"It's hard to explain. I'm telling you. It's like - I don't know. I had these air pockets inside of me, and the work I'm doing, uh, we're doing, it's-it's like the pockets keep getting filled and I'm becoming me and... (Harmony laughs) me has had *way* too much to drink and me shut up. (Pushes Harmony with her foot) You now. You barely told me anything.\"", "Harmony: \"Uhm, well, uh, what can I say? Things are faboo. I'm having a ball and a half. I mean, I did just get out of that *really* unhealthy relationship. And just, you know, feeling really good about me in general.\"", "Cordy after a beat: \"Well, good for you - in general. Well, you must be doing something right, because you look (sees Harmony making a face) - crampy. Are you okay?\"", "Harmony: \"Yeah. Just (takes a deep breath and looks over at Cordy's neck) hungry - I guess.\"", "Cordy: \"Got the cure for that. - Pizza!\" Laughs and leans across Harmony to reach for the phone on the side table. Harmony is suddenly in vamp-face, but by the time Cordy sits back, phone in hand, she is back in her human face.", "Cordy: \"I know just the place to call. It's my favorite. Thin crust, heavy on the sauce. Do you like pineapple and Tandori Chicken?\"", "Harmony: \"Oh, yeah. It's all good.\" Break Cordy is lying asleep in bed. The door opens slowly to reveal - two feet in fuzzy pink slippers. The camera pans up past long legs to show us Harmony standing in the door wearing a white negligee, staring at Cordy's neck and licking her lips. She walks over to the bed and slowly sits down on its edge. Suddenly the door slams shut and Cordy startles awake.", "Harmony: \"I didn't do that.\"", "Cordy: \"Harmony? (Turns on the bedside lamp and rubs her eyes) I have a ghost. - What - What are you doing in my...\"", "Harmony: \"Nothing!\"", "Cordy: \"Harmony.\"", "Harmony: \"I'm sorry. - I thought I could control myself. I thought I could control these urges.\"", "Cordy sitting up: \"Urges?\"", "Harmony: \"You have *no* idea how hard it is to stay away from you. I mean, seeing you there looking so - so luscious.\"", "Cordy: \"Oh. - Oh! You're a...\"", "Harmony: \"I should have told you. I was - scared. Scared that if you found out what I was - you'd kill me.\"", "Cordy: \"Oh. No, Harmony - god, you really think I'm *that* narrow-minded? - I don't care about that!\"", "Harmony: \"You don't?\"", "Cordy: \"No! Not as long as you're happy.\"", "Harmony: \"Happy. What's that? The last time I remember being truly happy was being back in school with you. Now here I am taking advantage of you?\"", "Cordy: \"No. It's - it's just... It's just that I had no idea - that you, you know - thought of me *that* way.\"", "Harmony: \"I don't! I swear. It's just, - well, I haven't had any for a while and... (Sees Cordy's look and gets up) Oh, forget it. This is stupid. I'll just go back to the couch. I'm *really* sorry.\"", "Cordy: \"Don't be. If you wanna stay and talk...\"", "Harmony: \"No, I'd better... You know, I'd appreciate it if you didn't - mention this to anyone.\"", "Cordy: \"It's our secret.\" Cordy's apartment, day. Cordy is on the phone.", "Cordy: \"How come you guys didn't tell me about Harmony. Sunnydale is that far away you couldn't afford a little phone call?\" Willow is sitting on her bed at the dorm, phone to her ear, brushing her teeth.", "Willow: \"Harmony? (Takes the toothbrush out of her mouth and swallows) Wha-what about Harmony?\"", "Cordy: \"She's here - in L.A.\"", "Willow: \"Yikes. Big yikes. Uh. What happened? Did she come after you?\"", "Cordy: \"Yeah! She practically attacked me in my bedroom last night.\"", "Willow: \"Your bedroom. How did she...\"", "Cordy: \"Came in while I was sleeping. Good thing I woke up, too. She was ready to jump me right there! But I think she got the message that I don't' go for that sort of stuff when I shot her down.\"", "Willow: \"You wounded her?\"", "Cordy: \"She'll get over it. I never should have invited her to stay with me.\"", "Willow: \"Say what?\"", "Cordy: \"Yeah, I know. Awkward much?\"", "Willow: \"Cordelia! Okay. We're all clear on the fact that Harmony is a vampire, right?\"", "Cordy: \"Oh. Harmony is a vampire? - That's why she - oh, my god, I'm so embarrassed! (Giggles) All this time I thought she was a great big lesbo! - Oh, yeah? Really? - Well, that's great! Good for you.\"", "Willow: \"Thanks for the affirmation. Cordelia, Harmony is *very* dangerous. You have to get out of there!\"", "Cordy: \"Okay. Yeah. (Behind her Harmony appears in the doorway) I'll call you when I get somewhere safe.\"", "Harmony: \"Where are you going?\" Cordy puts the phone down and turns to see Harmony watching her. Wesley is looking through some old book while Angel paces behind him, holding the green robe in his hands.", "Angel: \"There is a label on here. Maybe I can locate the manufacturer.\"", "Wesley: \"Already looked into it. The name's a fake. No listing anywhere.\"", "Angel: \"Okay. I should go out, see if I can pick up any information on the street.\"", "Wesley: \"You mean the street bathed in morning sunlight? - Relax. I already got Gunn contacting his sources.\"", "Angel: \"Any suggestions on what I can do?\" Phone rings.", "Wesley: \"You can answer that.\" Angel goes to pick up the phone.", "Angel: \"Angel Investig... Willow? Willow. What's... - Slow down. What's - hold on.\" The door of Cordy's apartment burst open and Wes and Angel run in, stake and crossbow at the ready. Wesley aiming his crossbow at Harmony: \"Get away from her (realizes that Harmony is painting Cordy's toenails) foot!\"", "Cordy: \"What do you think you're doing?\"", "Angel: \"We're... Willow called. She said that you were in trouble.\"", "Wesley: \"You're friend Harmony here is a...\"", "Cordy: \"Vampire. Yeah, I know.\"", "Wesley: \"An *evil* vampire.\"", "Harmony: \"Yeah, we covered that, too.\"", "Angel: \"So...\"", "Cordy: \"So you thought you just bust into my house and kill my friend without giving her a chance to explain herself.\" Angel and Wesley exchange a look.", "Wesley: \"Yeah.\"", "Angel: \"Pretty much.\"", "Wesley: \"That was our plan.\"", "Cordy: \"Well, holster your guns, boys. She came to me for help. - That's what we do, right? Help?\" With a sigh Angel puts his stake away, but Wes takes a step closer, crossbow still aimed squarely at Harmony.", "Wesley: \"That is not your friend. That thing may have your friend's memories and her appearance, but it's just a filthy demon, an unholy monster. Uh, no offence.\"", "Harmony: \"About what?\" Wes gets ready to shoot Harmony, but Angel pushes the crossbow down.", "Angel: \"Wes, you can't. If Cordelia here feels that her friend doesn't pose a threat then I think that we should respect her wishes.\" Wes stares at Angel, while Cordy gives Angel a strange look. Then Wes takes a step back and aims his crossbow at Angel.", "Angel: \"I'm just saying...\" Cordy is still squinting at Angel.", "Wesley: \"Cordelia, we need you at the office.\" Cordy looks from Harmony to the guys then gets up off the couch.", "Cordy: \"Let me get my coat.\"", "Wesley: \"So, uhm, you're just going to leave her here? - A vampire, alone in your home, risking your neighbors lives.\"", "Cordy: \"Hey, I told you, Harmony is my friend and I trust her completely.\" Harmony smiles up at Wesley from the couch.", "Cordy: \"Harmony can stay here.\"", "Harmony: \"I don't wanna stay alone here with the ghost.\" Everyone turns to look at her. Wesley is flipping through the pages of an old book lying on the counter in the Hyperion's lobby, while Cordy is looking for information with the computer.", "Wesley: \"The triangle evokes pyramidal imagery but there is nothing with both the serpent and the pyramid as a symbol.\" Harmony comes over and climbs up on a stool next to Wesley, loudly chewing some gum.", "Wesley: \"Doesn't appear to be either hieroglyphic or... (Harmony pops a bubble) Do you mind?\"", "Harmony: \"Well, I'm kinda bored, but - go ahead.\" Wesley stares at her for a moment then walks over to Cordy's desk.", "Angel: \"Yeah, well, look, the red bird you saw in your vision, was it, ah, you know, an eagle, a hawk, a falcon?\"", "Cordy: \"What am I? The bird lady of Alcatraz? It had wings and a beak. For all I know it was a duck. A big - red duck.\"", "Wesley: \"Perhaps it's an idol or a totem the cult uses in its rituals, or...\" Wesley looks over towards Harmony, chewing her gum - loudly, and tapping a pencil on the counter top.", "Harmony laughing: \"Duck worshippers?\"", "Angel: \"It could also be a landmark of some kind, telling us their hiding place.\"", "Wesley: \"Well, I'm unaware of any red bird statuary in downtown Los Angeles, so unless you are I suggest.. (Harmony's popping another bubble) *someone* put a *stake* through that woman's heart if she persists in popping her bloody chewing gum!\" Cordy gets up from her desk.", "Cordy: \"Harmony, do me a favor, lose the gum.\"", "Harmony: \"Okay, okay! Sorry. I thought it would help with the cravings.\" Rips a page out of the book Wesley was looking at earlier and spits her gum into it at the others stare at her.", "Harmony: \"I mean, you'd think I'd get a thank you for not biting any of you.\" Wesley Pulls the book off the counter and snatches the crumpled up page from her hand.", "Wesley: \"*What* are you doing!?! This book is twelve centuries old!\"", "Harmony: \"Okay. So it's not like I messed up a new one.\" Wesley puts the book down on Cordy's desk.", "Cordy: \"Wes, it's not like she did it on purpose.\"", "Harmony: \"That's right. And I could have. Because, you know, I *am* evil.\" Wesley pulls a stake out of Cordy's desk and lunges at Harmony. Cordy jumps on him from behind, wrapping her arms around him.", "Cordy: \"Wesley! Wesley!\" Angel grabs a hold of Harmony's arm and pulls her to the side.", "Angel: \"Harmony, there is blood in the refrigerator. Why don't we get you some and let everyone get back to work?\" Angel opens the fridge, takes out a container of blood and pours some into a cup for Harmony.", "Angel: \"Here we go. That's it. Drink up.\" Harmony takes the cup and starts to drink.", "Harmony: \"Eww! Yech! It tastes funky.\"", "Angel: \"It's pig's blood.\"", "Harmony: \"Ugh, well, that's gonna go straight to my hips. (Sighs) How do you stand this?\"", "Angel: \"You get used to it.\"", "Harmony: \"I mean how do you stand everything? Being what you are, how can you deprive yourself of the taste? The sensation of rich, warm, human blood - flowing into your mouth - bathing your tongue - caressing your throat with its sweet, sticky...\"", "Gunn: \"I'm back!\"", "Angel turning away from Harmony: \"Me too.\" Gunn walks down into the lobby while Angel drops onto a stool and leans onto the counter.", "Gunn: \"Oh, I see we have company.\" Waves at Harmony and smiles. Harmony gives him a wink and a smile while pouring sugar into her cup of pig's blood. Cordy slaps her hand on the counter in front of Gunn to get his attention.", "Cordy: \"That is Harmony. She's visiting for a couple of days.\"", "Wesley: \"It's alright to speak freely in front of her. She's a vampire.\" Wes gives Cordy a look.", "Gunn, no longer smiling: \"Don't we kill 'em any more?\"", "Angel: \"What did you find out?\"", "Gunn: \"Alright. Robed vampires been grabbing people off the street for a while now, almost a month.\"", "Cordy: \"A month? How come we didn't know about it?\"", "Angel: \"Well, we've all been a little distracted lately.\"", "Gunn: \"Yeah. Or maybe we haven't heard because not a lot of bodies been turning up.\"", "Angel: \"They're not feeding. They're turning them.\"", "Cordy: \"Into vampires?\"", "Wesley: \"Someone's recruiting, building an army.\"", "Gunn: \"Question is, for what?\"", "Doug: \"The time is here. The time is now.\" The camera pans over a gathering of vampires all clothed in different colored robes in what looks to be a run down theater.", "Doug: \"The question is: are you ready?\" Some scattered 'yeahs' from the crowd.", "Doug: \"Are you ready!?!\" Crowd yells louder. On the stage a vampire puts back the hood of his light blue robe and faces the crowd.", "Doug: \"Because it's time. Everybody, take a seat. (they sit) It's time to actualize your potential. Time to maximize your personal input and get the most out of your afterlife. To those in here for the first time I just want to say - hi. (Some in the crowd answer) Hi. You're special. You each have it in you to be the best vampire. Not just any vampire, but a master! How? I'll show you. (Points at a poster with a multilevel pyramid on it) Through my personally devised, multi-level, exponential flow cooperative. Yeah, I know what some of you are saying. 'Hey, Doug, speak English, man!' Okay, don't stake me, guys, alright? (scattered laughter) This is how it works.\" He flicks a button on the remote he is holding and two diagrams of a multilevel pyramid appear on the big screen behind him, flanking the picture of the serpent-two inside the triangle emblem embroidered on all of their robes. The tip of it is light blue and has one person in it. The next level is yellow and holds two figures.", "Doug: \"One vampire turns two humans into vampires. (flicks a switch to the next slide showing the next level down) they each turn to more humans into vampires (flicks to the next slide) and they turn to more into vampires(flick) and so on (flick) and so on. And all it takes for each new vampire to buy their way into our co-op is one, you heard me, *one* human - to be deposited here in our very own food bank.\" The lights on stage change, revealing a cage full of humans. The audience gets to their feet and starts applauding.", "Doug: \"How about that, huh? You turn two into vampires, and you bring one for the food bank. You turn two, and the rest is food. Let me hear it. Turn two, the rest is food.\" The crowd starts to say it with him. \"Turn two, the rest is food.\" Wesley is pushing pins into a map, while Angel sits on the edge of a desk in the background with his arms crossed, watching.", "Wesley: \"Next?\"", "Gunn: \"Two USC students grabbed in a parking garage. Fourth and Figueroa.\"", "Wesley: \"Got it. Next.\"", "Gunn: \"Guy was snatched to blocks over on sixth.\"", "Wesley: \"Really? When was this?\"", "Gunn: \"Last night. Heard about it from one of my guys.\" Cordy is sitting in front of the computer with Harmony sitting on the edge of her desk watching her.", "Cordy: \"What?\"", "Harmony: \"Nothing. It's just - I can't believe this is what you do now. We always said we were going to do something cool with our lives. Now look at us. You're an office manager and I'm dead.\"", "Cordy: \"Yeah, well, life takes some funny turns sometimes. - Maybe I'm not where I though I would be, but it's still... Ho! Hey! Hello! Guys? Found something.\" Wesley, Gunn and Angel come to look at what she's found.", "Cordy: \"And there is nothing mystical about this. Department of Justice website. It's a logo for a defunct pyramid scheme.\"", "Gunn: \"Vamps running money scams now? That's low.\"", "Cordy: \"This particular one was run by a motivational speaker and - ugh, lord help me - self-described 'life-coach' named Doug Sanders. Held meetings all over the city until the feds caught up with him.\"", "Angel: \"He was arrested?\"", "Cordy: \"According to this he disappeared. Still at large.\"", "Wesley: \"Sounds like he has the makings of a cult leader.\"", "Cordy: \"Oh, hold on. Here is something: a list of his known meeting sites - and a picture!\"", "Gunn: \"Now we're talking!\"", "Harmony: \"Oh, let me see!\" Harmony, cup of pig's blood in hand, leans over to get a look at it. The blood spills all over the keyboard and screen, causing it to spark and fizzle and the screen to fade out. Cordy jumps and lets out a squeak while Harmony gives her an apologetic smile.", "Harmony: \"Okay, that was my fault.\"", "Wesley: \"Get her out of here. Now.\"", "Cordy: \"Come on, Harm.\"", "Wesley: \"Such a fitting nickname.\" Picks up the keyboard and holds it sideways to let the blood drip out.", "Wesley: \"Oh, bloody hell.\" Harmony goes to sit on one of the chairs in the lobby.", "Harmony: \"This was a mistake. I should never have come here. I'm just getting in the way. Messing up, like always.\" Cordy sits down next to her.", "Cordy: \"Don't talk like that.\"", "Harmony: \"Easy for you to say. You've got friends. - I don't have anyone who understands what I'm going through.\" Cordy looks over at the three guys clustered around her desk then back at Harmony.", "Cordy: \"I know someone who understands a little something about pain. (Yells to the guys) We're going out!\" Harmony is sitting on stage singing \"Memories.\"", "Harmony: \"Memories may be beautiful and yet, what's to painful to remember we choose to forget...\" Cordy is sitting at a table with the Host.", "Cordy: \"So, ah, - what do you think?\"", "Host: \"I think your friend should reconsider the name Harmony.\"", "Harmony: \"...the way we were. The way we were.\" Harmony laughs and holds out her hands and there is some sporadic clapping as she comes over to Cordy's table and sits down.", "Harmony: \"That was so - fun! I can't believe I did that!\"", "Host: \"Well, color us incredulous.\"", "Cordy: \"Harmony is looking for a little guidance.\"", "Host: \"Yeah, I picking up on the 'betwixed and between, got to find my corner of the sky' vibe loud and clear, kitten.\"", "Harmony: \"So you can help me.\"", "Host: \"No. (Cordy and Harmony stare at him) But I *can* treat you to a complimentary carafe of plasma. The AB-negative here is superb - or so I'm told.\"", "Cordy: \"Wait a minute. That's it?\"", "Harmony: \"Yeah. You're supposed to do some mind mojo, show me my path.\"", "Host: \"You're already on it my little cacophony. Only I'm not your travel agent for this trip. (Inclines his head towards Cordy) Brown eyes here is. Stick with her and let your pal be your guide.\" The Host blows Harmony a kiss as he gets up and leaves.", "Harmony: \"Cacophony. That's pretty. What's it mean?\" Wesley, Gunn and Angel walk into the bar.", "Wesley: \"Cordy.\" Cordy gets up and goes over to them.", "Wesley: \"I realize you have, ah, other concerns at the moment, but we need you.\"", "Cordy: \"Why?\"", "Gunn: \"Most of the attacks been taking place within a ten blocks radius. Now we figure the cult's headquarters must be somewhere near the center.\"", "Angel: \"And look, we want to drive around the area. Maybe you can pick up some - vibe from you vision or see something?\"", "Cordy: \"Like a red bird.\"", "Angel: \"For instance.\"", "Cordy: \"Okay. (Goes back to the table) Harmony. I have to go. Work stuff. Uh, you're okay here?\"", "Harmony: \"You kidding? Free blood, potato skins. Hey, I'm thinking about doing another number. Now what do you think: Candle in the Wind or the Princess Diana Candle in the Wind?\" The guys shift impatiently.", "Cordy: \"Go nuts. Do 'em both.\"", "Harmony smiling: \"Ooo. Yeah. Okay. Like the green guy said: you're my guide.\" Cordy walks back over to the guys.", "Gunn: \"Hey, hold up. Just so we're on the same page. When we find this vampire cult, we are gonna kill 'em, right?\"", "Wesley: \"Let's do it.\"", "Cut to the gang walking, shoulder to shoulder, down the sidewalk outside of Caritas. The camera pans across from a serious and focused Wesley, to Gunn, to Angel, to Cordelia and on to - a grinning Harmony. Cordy does a double take when she suddenly notices Harmony walking beside her.", "Cordy: \"Harmony?\" They all stop and look at her.", "Harmony: \"I just got it. He said, stick with you. I understand now where my place is.\" Angel looks over at Gunn and Wesley.", "Cordy: \"Where?\" Harmony steps between Cordy and Angel and puts an arm around each of their shoulders, smiling.", "Harmony: \"With you! I'm one of the good guys now.\" Angel looks over at Wesley. Break.", "[SCENE_BREAK]", "Harmony is sitting in the back of Angel's convertible between Cordy and Gunn as they're all driving down the street.", "Harmony: \"Who-hoo! This is gonna be great! I am an evil fighter! That's why I suck at being evil. I was meant to fight evil! It's so clear to me now. (Turns to Cordy) Is this what it feels like to have a purpose? I mean, wow! Look at us. We're working together. I've never had a job before. We can meet at the water cooler and gossip.\"", "Cordy: \"Harm, I'm trying to concentrate.\"", "Harmony: \"Oh. Sorry. (Turns to Gunn) So. How long have you been fighting evil? I mean, I just started but, you know, I've got some moves.\"", "Wesley as Harm keeps talking: \"Angel!\"", "Angel: \"It's your place to tell her.\"", "Wesley: \"She won't listen to me.\"", "Angel: \"Welcome to *my* world.\"", "Harmony: \"That would be *so* funny. Oh - do we get paid vacations?\"", "Cordy: \"Stop! Stop the car. Pull over here.\" Angel pulls the car over and they all squint up at a sculpted phoenix decoration above a theater marquee with the words 'closed for repairs' on it.", "Angel: \"Is that..?\"", "Cordy: \"I don't... I'm not sure.\" All of them get out of the car.", "Wesley: \"The bird you saw was red.\"", "Cordy: \"It is. I mean, it was.\"", "Gunn: \"Looks more like a puke green.\"", "Harmony: \"And nothing like a duck.\"", "Cordy: \"There's just - something familiar.\" Angel looks over at Cordy then walks towards the building.", "Gunn: \"Well, we passed this place before. Maybe that's all it is.\"", "Wesley: \"Cordelia?\"", "Cordy: \"No. No, I guess it isn't it.\"", "Wesley: \"Right. Back in the car. We'll keep... (Looks around) Where's Angel?\" Suddenly a red neon arrow sign comes to life, throwing a red glow over the bird.", "Angel: \"Electronics store forgot to turn on its lights.\"", "Cordy smiles at the others: \"Ha, I told you this was it!\"", "Wesley: \"Right. (Wes and Gunn grab some weapons out of the trunk) Angel, Cordelia, cover the front. Gunn and I will go around the building, see if there's another way in.\"", "Harmony: \"What about me? What's my job?\"", "Wesley: \"Uhm... Guard the car.\"", "Harmony: \"You got it, boss! (Sits on the edge of the hood) Anyone comes near this car, I will rips his throat out.\"", "Wesley: \"No. No killing.\"", "Harmony: \"Oh. Okay, maiming only.\"", "Wes and Cordy together: \"No!\"", "Gunn: \"Hey. Can we yell a little louder? I'm not sure the crazed cult of vampires heard us sneaking up on them.\"", "Cordy: \"Just go. I'll talk to her.\" Wes and Gunn move off. Cordy moves towards Harmony, but Angel takes a hold of her elbow and pulls her a little ways away.", "Cordy: \"Hey! Touching! With the hands.\" Angel lets go of her.", "Angel: \"You know, I've tried not to say anything. (Takes a deep breath) Tried to take a step back and just let things sort themselves out, but - Harmony can not work with us.\"", "Cordy: \"I know. It's just temporary. I mean, look at her. She's really loving this. Giving her a reason to go on.\"", "Angel: \"I don't want her to go on. Neither should you. - She's the enemy.\"", "Cordy: \"Now you sound like Wesley.\"", "Angel: \"Because he's right. - Harmony will turn on you.\" Cordy looks over to where Harmony is still leaning against the hood of the car.", "Cordy: \"Why? Because *you* did?\"", "Angel: \"Because it's her nature. She's a vampire.\"", "Cordy: \"So are you.\"", "Angel: \"She doesn't have a soul.\"", "Cordy: \"Oh. That's it, is it? You're better than her because you have a soul?\"", "Angel: \"Well, yeah.\"", "Cordy: \"I noticed yours didn't get in the way of betraying the people who worked with you, who cared about you.\"", "Angel: \"I never...\"", "Cordy: \"*And* you know, you didn't just betray me, Angel. You didn't just hurt me. You gave away my clothes.\"", "Angel: \"To the needy.\"", "Cordy: \"I *am* the needy! - Do you know how scared I was you were on you're way to becoming Angelus *again*? Imagine what could have happened if you'd gone nuts and slept with Darla.\"", "Angel, not meeting her eyes: \"You know I would never do that...\" Gunn and Wes come back just then.", "Gunn: \"Building's shut tight. No way to see what's inside.\"", "Wesley: \"Or how many.\"", "Angel: \"Okay, You know what, I'll go in, uh, pretend like I want to join, get a head count, lay of the land.\"", "Gunn: \"Come on, man. You'd get made ten feet from the door. Too many night crawlers in this town know what you look like.\"", "Wesley: \"Some can sense your soul.\"", "Angel: \"Right.\"", "Cordy: \"Harmony!\" Harmony comes over, smiling.", "Harmony: \"Yeah?\"", "Cordy: \"She doesn't have a soul and nobody knows her here. She could be our inside spy. Tell us what's the what.\"", "Harmony: \"Me?\"", "Wesley: \"Out of the question.\"", "Gunn: \"I got a bad feeling about this.\"", "Cordy: \"Come on. I know she can do this. (To Harmony) You can do this, right?\"", "Harmony: \"Well,- I kind of thought I'd start out with some light typing, car guarding, something low pressure?\"", "Cordy: \"This is the chance you needed. To find a purpose.\"", "Harmony: \"But I thought I had purpose guarding the... (Takes a deep breath and smiles) Yeah. Okay. I wanna do this.\"", "Wesley after a beat: \"Alright Harmony. You're on.\"", "Harmony smiles at Cordy: \"Watch out Evil (morphs into vamp-face) here comes Harmony.\" Harmony strides towards the theater.", "Cordy calls after her: \"Hey. We'll meet you out back!\" Harmony walks into the theater to a table attended by two vampires. One of them hands her a book with Doug's picture on the front and the heading of 'Selective Slaughter - Turning a bloodbath into a blood bank' We can hear Doug speaking on stage in the background.", "Doug: \"I can hear you saying 'but I'm not like you, Doug. I don't have what it takes.' That's just the voice of your inner human spreading the ghostly remnants of neurosis from your past life. Instead say: 'I'm in control of my unlife.'\" Harmony walks into the theater where Doug is presenting a green robe to the audience.", "Doug: \"Let's have a nice big hand for Tibor, graduating to the yellow level.\" Applause as Tibor changes robes.", "Doug: \"Now. With each level ascension, there are rewards.\" Doug flicks a switch on the remote he's holding and the screen behind him slides up revealing the cage full of humans.", "Doug: \"Grab yourself a nice juicy one, Tibor. You've earned it!\" The crowd cheers wildly as Tibor runs over to the cage, reaches in and grabs the wrist of one of the humans. Pulling her arm through the bars, Tibor sinks his teeth into the woman's wrist and drinks. Harmony, sitting in the crowd, looks around then begins to clap half-heartedly. Wesley, Angel, Cordy and Gunn walk up to the back of the theater.", "Wesley: \"She should have been back by now.\"", "Angel: \"Maybe she ran into trouble.\"", "Cordy: \"Give her a few more minutes.\"", "Wesley looks at his watch: \"I knew this was a bad idea.\"", "Angel: \"Look, if she's in trouble we'll rescue her.\"", "Gunn: \"Now we saving a vampire from vampires? I got two words for that: nuh and ah.\"", "Cordy: \"That is so... (Sees someone behind Gunn) Harmony! Are you okay?\"", "Harmony, still in vamp-face: \"Fine. There is maybe a hundred of them in there, give or take. There's a cage holding about a dozen people.\"", "Cordy: \"You did it. You so rule!\"", "Harmony, jumping up and down: \"I know! Oh. And I left the door in back open. Come on.\" They all follow her into the theater, Angel bringing up the rear.", "Harmony: \"You know, Cor, I really got to thank you again for giving me this opportunity. You guys have all been so great. I mean, you could have totally staked me in Cordelia's apartment.\" Harmony leads them down some stairs onto what looks like a back stage area.", "Harmony: \"And hay, who could have blamed you? I mean, one more incredibly sexy vampire turned to dust. But you guys helped my find my destiny and you know, I really appreciate that. I never felt like I belonged anywhere before.\" Wesley scanning the dim surroundings crossbow held at the ready: \"Yes, yes, uh, you're welcome. - Uh, the vampires, where are they?\"", "Harmony: \"Oh. Right behind you.\" Some stage lights come on and vampires appear around them.", "Harmony: \"I belong with them.\" Break The stage screen slides up revealing that they're all on the stage as Doug steps out of the wings.", "Doug: \"Now that is what I call and impressive display of potential actualization. Look. A member of our organization for less than twenty minutes and look at what she's delivered (points as Wes and Gunn) two to turn (looks at Cordy) and one for food. And as a bonus the infamous Angel. - I think someone just made the ascension to blue robe status.\" A vampire brings Harmony a blue robe as she claps excitedly, then puts it on.", "Harmony: \"Oh, goody!\"", "Doug: \"Congratulations, Harmony.\" There are cheers from the spectators in the seats in front of the stage.", "Harmony: \"Just taking the first steps to mastering my destiny, Doug, like you said.\" Cordy leveling her crossbow at Harmony: \"Well, Harmony, aren't you just about the most weak-willed, soft-brained...\"", "Harmony: \"Huh-uh. Doug says those kind of comments are self-growth inhibitors. I tune out mental roadblocks.\" Cordy looks back at Angel. Doug, leaning one elbow on a ledge: \"Oh, I'm sorry. You can all put your weapons down now. (None of them do) Really Angel, you don't want all your friends to die horribly now, do you?\"", "Angel: \"No I don't. - Wesley?\"", "Wesley: \"Kill 'em all!\" And with that the team springs into action. Wes and Cordy firing their crossbows, while Gunn attacks with his ax and Angel with his fists and stake. Beyond the stage lights we can see robed vampires sitting in the audience, watching. Angel dusts one vampire and sends another one flying into the seats. The vampires that one lands on start heading up the aisle towards the exit, starting a mass exodus. Cordy hits Harmony across the chin. A yellow robed vamp hits Wesley in his recently healed gut, causing him to hunch over but before he can do any more damage Angel pulls him off Wes and buries a stake in its chest. Gunn drops a yellow robed vamp on its back but before he can kill it, he is grabbed from behind by a blue robe. Harmony hits Cordy, sending her flying backwards through the air. Gunn gets the blue guy off his back while Angel helps Wes to his feet.", "Angel: \"Are you okay?\"", "Wesley: \"Yeah.\"", "Angel: \"Get to the cage. Get those people out.\" Wesley limps over to the cage door.", "Wesley: \"I'll get you out of here.\" He tries to get the door open but can't. Angel, keeping an eye on Wesley, is jumped from behind and pushed to the floor by Doug and the two of them start to fight. Doug grabs a fire ax from the wall and swings at Angel.", "Doug: \"Why are you working with these humans, Angel? You should be maximizing you inner potential, empowering your vampire self.\" Harmony tosses Cordy face down to the floor. Gunn stakes a green robe. Harmony rolls Cordy over onto her back and finds herself with a loaded crossbow at her throat. Harmony laughs.", "Cordy: \"What's so funny?\"", "Harmony: \"Your crossbow. You got it aimed at my *throat*. You can be so stupid. *That* won't kill me.\"", "Cordy: \"No, that'll just hurt like hell.\" Sits up and with her left points a second crossbow at her heart", "Cordy: \"This one will kill you.\" Wesley is still struggling with the locked cage. A green robe sticks him with a cattle prod and Wes drops to the floor with a groan. As the green robe gets ready to jab Wes again, Gunn comes up from behind and stakes it. A key drops to the ground, followed by some dust. Wes grabs the key. Gunn reaches a hand down and helps Wes up, then they unlock the cage. Angel is dodging the wild swings of Doug's ax. Harmony backs away from Cordy as she gets up, crossbow aimed at Harmony's heart.", "Harmony, panting: \"Okay. You're angry. And I don't blame you. I just, you know... and it's nothing personal. I'm evil. We're still friends, right?\" Cordy tightens her finger on the trigger and Harmony squeezes her eyes shut. Gunn and Wes are directing the freed humans towards the back exit. Angel hits Doug, then grabs a hold of him and throws him against the wall, causing him to drop his ax - which Angel picks up and uses to behead Doug as he comes back up. Cordy slowly lowers her crossbow and Harmony hesitantly opens her eyes.", "Harmony in a small voice: \"We're still friends, right?\"", "Cordy: \"No, Harmony. We're not friends. Just get out of here.\"", "Harmony: \"Really?\"", "Cordy: \"Not just here. I want you out of my city. You're gonna wanna be as far away from me as possible.\"", "Harmony: \"But I left a few things at your (Cordy raises the crossbow) Bye.\" Harmony turns and runs up the stairs, looking back at Cordy once to see that she still has the crossbow trained on her. The camera shows up Cordy with Angel standing a few steps behind her, ax still in hand.", "Cordy: \"Don't say anything. Not a word.\" Angel glances up the stairs then looks in the direction Cordy just left. Hyperion, day. Wesley is sitting behind the desk in his office, looking at some papers. The door opens and Angel sticks his head in.", "Angel: \"You wanted to see me?\"", "Wesley: \"Yes. Please, come in. Oh, close the door.\" Angel closes the door and Wes lays the papers aside then takes a deep breath.", "Wesley: \"I just... (Indicates a chair and Angel sits down) I just thought we should touch base, ah, before Cordelia arrived this morning. I know things have been, uh... strained between the two of you, and working in such close quarters it's...\"", "Angel: \"It's- it's okay, Wesley, really. I mean, Cordelia has every right to feel the way that she does and I'm willing to give her the room that she needs.\"", "Wesley after a beat: \"Good. - Good. (Smiles and gets up) I think that's just the right attitude. (Angel gets up too) Time and space. Those are really the only things one can give in a situation like this. As long as we both understand that, the healing process can...\" He is interrupted by a scream from Cordelia coming from the outer office. Cordy burst in through the doors, a shirt draped over each arm.", "Cordy to Angel: \"Oh, my god. These are gorgeous! You have the most amazing taste! You have, like - a gay man's taste, and that's saying something.\" Wesley glances past Cordy and sees that there are even more clothes draped all over Cordy's desk.", "Cordy: \"I love them *so* much!\" Throws her arms around Angel and kisses him on the cheek.", "Cordy: \"Thank you, thank you, thank you! You're the best!\" Kisses him again as Angel grins from ear to ear. Wesley narrows his eyes at Angel and folds his arms across his chest.", "Cordy: \"I have to go try these on. \" Smiles at Angel then Wes and begins to dance in place singing, 'la, la, la, la, la, new clothes! I have new clothes!' Angel, still grinning broadly looks towards Wes, who's not smiling. Cordy dances out of the room: \"New clothes, I have new clothes!\"", "Angel: \"I got her clothes.\" Angel watches her leave with a smile, then walks out through a different door, leaving Wesley alone in his office, arms crosses, not looking happy - while the sounds of Cordy's celebrating still drift in through the open door.", "FADE TO BLACK" ]

[ "With a reevaluation upcoming for his department, Lindsey is referred to a clinic where he is able to receive a donor hand. Lindsey is shocked to discover that his hand has a mind of its own, jotting nefarious notes on its own accord. Meanwhile, the Angel Investigations crew follows up on a vision Cordelia has in which a man, who recently received a transplant eye from the same clinic, stabs himself. Lindsey and Angel's paths cross as they realize they are investigating the same matter." ]

[ "[PREVIOUSLY_ON]", "Wesley: \"We've all discussed it and none of us are ready just yet to...\"", "Angel: \"It's okay. I don't want you to come back and work for me. I wanna work for you.\" Angel slices Lindsey's hand off to keep him from burning the scroll that holds Cordy's cure.", "Angel: \"I'd be careful who you offer that hand to, Mr. Manners. You might just lose it. Isn't that right, Lindsey?\"", "Lindsey: \"There's worse things to lose, aren't there?\"", "Lilah: \"The senior partners want Angel alive.\"", "Lindsey: \"Boo-hoo! Let me wipe away the tears with my plastic hand.\"", "Lindsey: \"If he's not gonna play by the old rules, why should we?\" Lindsey runs Angel over with the truck. Lindsey beating on Angel with the sledgehammer. Angel knocking Lindsey down then smashing his plastic hand with Lindsey's sledge. Lindsey is lying in bed. The alarm clock radio (showing 6:45 am) comes on with a downtown traffic report (suggesting you better take the helicopter to work) and weather forecast (sunny, bright and beautiful). Lindsey reaches over and hits the top of it with the stump of his right arm, turning it off. Using his left hand, Lindsey shaves in front of the mirror. He opens a dresser drawer and attaches his plastic hand. Opens the closet and chooses one of several pre-knotted ties and slips it over his head. As he slides the knot tight his eyes fall on the guitar leaning against the back wall of the closet. After a moment he steps back and closes the closet.", "Joseph Kramer: \"Am I a lucky guy or what? I get to meet with the board and get the quarterlies out all in the same day.\" We see an average white business man enter the family's kitchen as he tightens his tie. His wife steps up to him to get a quick kiss on the cheek.", "Wife: \"Morning, sweetie. Hungry?\"", "Joseph: \"Hmm, no time.\" Wife lifts up a plate with muffins.", "Wife: \"Ah, have a muffin.\" Joseph breaks of a little piece from one of them and steps over to the kitchen table.", "Joseph: \"Where's my sugar?\" He holds out his arms and his young daughter comes and gives him a hug as he crouches down so she can reach his neck. His son comes over, holding out his hand. Joseph takes it.", "Joseph: \"And a manly handshake. (Pulls him into a quick hug) Come here.\"", "Joseph checks his watch: \"Oh. We're late. We're late.\"", "Wife: \"I'll go start the van. Jesse, you can take your vitamins in the car. Hayley, don't forget your homework. (Grabs her purse form the counter) Come on. Lets go.\" The kids walk out the door. Joseph is liking off his fingers, reading the newspaper he's holding in his other hand.", "Wife's voice form outside: \"Hayley, where are your books?\" Joseph sees the book bag on the kitchen table and reaches for it.", "Joseph: \"I got them!\"", "Wife: \"And the vitamins?\"", "Joseph: \"I got them, too. Just keep going.\" Joseph slings the book bag over his shoulder and still reading his newspaper, reaches for the vitamins sitting on the counter. Instead his hand closes around a big butcher knife lying next to them. Still reading, Joseph picks it up and starts walking towards the door.", "Son: \"Come on, dad, we're gonna be late!\" Never taking his eyes off the newspaper he stabs himself in the right eye with the knife. The scene turns blurry and we see Cordy reeling with the vision of Joseph stabbing himself. She tries to catch herself against the bookshelf, but only succeeds in knocking some books to the floor.", "Angel comes rushing over: \"Cordelia. Cordelia. Cordy!\" He catches a hold of her and looks up at Wesley and Gunn, who are also hurrying over.", "Angel: \"Get her some water.\" Gunn hurries off and Wesley and Angel crouch down beside Cordy.", "Angel: \"Okay. What is it? What did you see?\" We get more flashes of Joseph screaming, the book bag dropping to the floor, the bloody butcher knife. Gasping and sobbing Cordy buries her face against Angel's chest, as Joseph drops facedown to the floor.", "Angel: \"Easy. Easy. You're okay.\" Intro Wolfram and Hart, day. Nathan Reed is sitting at the head of a conference table with fourteen lawyers, including Lindsey and Lilah.", "Nathan: \"Where are we with Western Pacific Power?\"", "Lawyer: \"The attorney general is threatening a thorough investigation.\"", "Nathan: \"I know. That's why I'm asking, where are we with Western Pacific Power.\"", "Lilah: \"We can tie it up in litigation forever, sir. They'll never miss a dividend.\"", "Lindsey: \"Why should we? They already looted 3.5 billion since de-regulation.\"", "Nathan: \"Are you suggesting that our clients admit that, Mr. McDonald?\"", "Lilah: \"That's a great idea. They can come clean, and go to jail and pay us how?\"", "Lindsey: \"Litigation is bad PR for public utility. We cut a deal now, they refund half a billion without admitting fault and we take twenty percent off the top, everybody wins.\"", "Nathan: \"I'll consider both options. And the current status of Angel?\"", "Lindsey: \"Angel? - He's up, he's down. - He's good, he's bad. He's a barrel of dead monkeys...\"", "Lilah: \"He's back with his group, sir. According to *my* sources he's doing better, in the sense that he's not currently spending all of his time alone on the warpath trying to kill, well (looks over at Lindsey) us.\"", "Nathan: \"Hmm. - Now, when are you and Lindsey meeting with the CFO from Lycor?\" Lilah flips through her papers.", "Lilah: \"Oh, uhm, I think it's...\"", "Lindsey: \"Thursday at eleven.\"", "Nathan: \"Good. - Friday we will be re-evaluating your division. You two can catch me up then. Let's get to work.\" Nathan gets up and everyone follows suit.", "Lilah to Lindsey: \"Could you stab me in my back a little deeper? I still have feeling in my legs.\"", "Lindsey: \"Lilah...\"", "Lilah: \"They're gonna be evaluating us and you know what that means. They'll promote one and cut the other. Around here, that's a literal cutting.\"", "Lindsey: \"Well, nothing lasts forever.\"", "Lilah: \"That's deep. Why don't you go...\"", "Nathan: \"Oh, Lindsey. Why don't you join me in my office?\" Lilah watches Lindsey enter Nathan's office with a sigh and stands there watching them through the glass walls.", "Nathan: \"Lindsey, you had some good ideas in there.\"", "Lindsey: \"Thank you, sir.\"", "Nathan: \"We are in a funny business, but one word of advice - about your attitude towards Angel - now I realize what he did to you was (we get a close up of Lindsey's plastic hand) heartless. And naturally your attitude towards him would be complex, but - it's not very professional to air those feelings around your colleagues. (Lays a hand on Lindsey's shoulder as Lilah watches with a frown from outside the office) People look up to you around here. - Which reminds me (pulls out a little card) I made - an appointment for you today. (Lindsey takes the card) It'll take a while - so I cleared your calendar.\" Lindsey as Nathan leads him to the door: \"An appointment.\"", "Nathan: \"Yes, well, just a, uhm - well. You'll see.\" Smiles at Lindsey and opens the door for him. Cordy is sitting on a chair with the three guys arrayed in front of her.", "Cordy: \"He had to be crazy. But he didn't feel crazy. He felt normal, you know? - Until he started stabbing himself.\"", "Wesley: \"But you don't know where this occurred.\"", "Cordy: \"I told you. It was in a house. It could have been in an apartment. In a kitchen.\"", "Gunn: \"We got to narrow it down a little.\"", "Cordy: \"An nice kitchen?! I don't know!\"", "Angel: \"It's alright. We'll figure it out.\"", "Wesley: \"Let's start by calling the hospitals.\"", "Gunn: \"And say what? Did my uncle check in with a knife in his eye? They only give out information to relatives. (Angel and Wes look at him) I just got the calling the hospitals job, didn't I?\"", "Wesley: \"I'll go to the morgues.\"", "Angel: \"Alright. I'll hit the streets, roust some demons, see if there's a new terror in town.\"", "Wesley getting his jacket: \"Good idea.\" Angel to Gunn as he gets his own jacket: \"Keep an eye on her, will you?\"", "Gunn: \"Sure.\" Angel goes over to where Cordy is sitting and puts a hand on her arm.", "Angel: \"We'll be back.\" Angel leaves.", "Gunn: \"Can I, ah, get you anything? A cup of tea? (Cordy gives him a look) You'll let me know.\" Gunn sits down at the counter with the phonebook and a notepad, throws a look over his shoulder at Cordy, now is sitting in her chair, one hand pressed up against her forehead, her hair obscuring her face. A nurse is taking Lindsey's blood pressure, as a Doctor enters the room.", "Melman: \"Lindsey. I'm Doctor Melman. It's a pleasure to meet you.\" Holds his hand out and shakes the left hand Lindsey offers him.", "Lindsey: \"Hi.\" Melman takes the cart from the nurse.", "Melman: \"Let's see. Okay. Your basic vitals are good. You've had all the usual childhood diseases and your not allergic to any medication. Let's start him out with two milligrams of Verset. It's a little something to relax you before we begin the procedure. Do you have any questions?\"", "Lindsey: \"One. What the hell's going on?\"", "Melman: \"Your boss didn't tell you.\"", "Lindsey: \"No.\"", "Melman: \"They have a funny sense of humor over there.\"", "Lindsey: \"Yeah, they keep us hopping.\"", "Melman: \"Your firm is a major source of funding for our clinic. We see most of you for your primary care and whatnot, but - there are some other, less publicized aspects of our work.\"", "Lindsey: \"What the hell are they gonna do to me?\"", "Melman: \"Please, don't - don't be alarmed. They think the world of you. - That's why they moved you to the top of their transplant list.\"", "Lindsey: \"Transplant.\" The nurse hands Melman a syringe.", "Melman: \"Yes, your hand. That's why you're here. We're gonna give you a new one. (He injects Lindsey) Don't look so nervous. This is cause for applause. In just a few hours time, you'll be doing the applauding.\" Lindsey blinks woozily as the medication takes effect. Blurry, slightly shaky picture of an operating room from the view of the patient alternate with clear shots of it.", "Melman: \"Let's get the soft tissue ready for incision.\" Someone hands the doctor a human hand.", "Melman: \"Connecting the extensors.\" Someone hands him a pair of snips.", "Melman: \"Doing great, Lindsey. - Where is the Pockla?\" Melman is putting in the last stiches.", "Melman: \"Release the tourniquet. - I'm waiting on the Pockla.\"", "Nurse: \"Here it comes.\" A red robbed figure with long-fingered, claw-tipped hands suddenly materializes just inside the room and glides closer to the operation table whispering in some demonic language and waving its hands. It sprinkles some powder over the seam between Lindsey's arm and the new hand and the stitches pull together and melt away, leaving only a thin red line behind. The Pockla turns away and glides towards the closed door, dematerializing just before it reaches it.", "Melman: \"Okay. Let's get him to post-op.\" Shot of the outside of the Hyperion at night. Gunn is sitting at the counter, talking to the phone while Cordy is cleaning the shelves in the background.", "Gunn: \"Yeah, he's my father his name is Henry Addison.\" In front of him is a list of hospital names, all crossed out.", "Gunn: \"Yeah, I'm his son, Gunn-ter, Gunter Addison. - But-but if he's had a manic episode he might not know his name or might think he's somebody else. - It'd be a pretty serious knife wound or wounds in his eye. - You sure? - Alright. Thanks.\" Gunn hangs up the phone as Angel walks up to the counter.", "Angel: \"How's she doing?\" Gunn looks over his shoulder at Cordy dusting the top of a cabinet.", "Gunn: \"She's been pretty quiet. She grunted every once around noon then got on with the maniacal cleaning.\"", "Wesley comes in: \"Guess what I found? More nothing than usual. How about you two?\" Gunn holds up the pad with the scratched out hospital names and Wesley looks over at Angel.", "Angel: \"Nothing.\"", "Wesley: \"We need more to go on.\"", "Angel quietly: \"Yeah, well, we'll just have to, you know, talk to Cordelia. Get her to...\"", "Gunn: \"Dig a little deeper?\" Wesley claps Angel on the shoulder.", "Wesley: \"Go ahead. Probably best not to crowd her.\"", "Angel: \"Me? You're the one in charge now.\"", "Wesley sighs: \"You're right.\" He starts to walk past Angel.", "Wesley: \"That's why I'm assigning this one to you.\" Wesley and Gunn walk away from the counter, leaving Angel alone, looking at Cordelia. Throwing a glance at them, Angel steps around the counter towards Cordelia while Wesley and Gunn watch from the other end of the lobby.", "Angel: \"Hey.\" Cordy slows in the polishing of the black and white picture hanging on the wall but doesn't turn around.", "Angel: \"Boy, I mean, you could see your reflection in that glass. - Well, I mean, I couldn't because of the whole - vampire situation, but a normal person? (whistles)\" Cordy sighs, her back to him: \"What do you want?\"", "Angel quietly: \"We need help. We're not getting anywhere.\" Cordy looking down at her rag: \"I'm sorry. He's probably dead by now.\"", "Angel stepping a little closer: \"We don't know that for sure. There could be others.\"", "Cordy rubs her forehead: \"I wish it would stop hurting. (Turns around to face Angel) What do you want me to do?\"", "Angel: \"I'm not exactly sure. - Maybe you can - look again? You know, inside.\"", "Cordy: \"That's all I've been doing - all day.\" She walks away from Angel over to her desk, rubbing her forehead. Angel throws a look at Wesley and Gunn. Cordy holds up a hand and closes her eyes.", "Cordy: \"A guy in a kitchen. (flash to Joseph coming into the kitchen) A normal guy. - And he picks up a knife (Flash of Joseph picking up the knife) and... (flash of Joseph stabbing himself in the right eye on his way outside while still reading his newspaper) Oh, god. I think he had kids.\" Flash on the kitchen table.", "Angel: \"How do you know that?\"", "Cordy: \"Cereal bowls - on the table, and, uhm, there was a book bag. (Flash to Joseph picking up the bag, then of the bloody knife and blood spattered bag dropping to the floor) It has a name of a school on it. Ah, D-something. Delaney, or, uh... (opens her eyes and looks at Angel) Delancy Schools.\"", "Angel: \"That's good. That's great. - Anything else?\" Cordy puts her hands to the sides of her head, then moves them to cover her face as we get another flash of Joseph dropping to the floor face down, a trail of blood running down the side of his face from his right eye.", "Cordy: \"I just keep seeing it.\"", "Angel: \"Okay. Get some rest. Wesley and Gunn'll look into it first thing in the morning.\" Cordy nods.", "Angel: \"Can I get you anything?\"", "Cordy: \"*Why* does everyone keep asking me that?!\" Angel slowly backs away shaking his head a little.", "Angel: \"No reason.\" Morning. Lindsey is waking up in his bed. Looks at his left hand and flexes it. Pulls his right hand out from under the covers and looks at the thin red line circling his wrist, flexing his new hand slowly. The radio comes on and Lindsey reaches out with his new hand and turns it off. Lindsey catches the water from the bathroom faucet in both palms and washes off his face. Looks at himself in the mirror. He gets a tie out of the closet and sees his guitar. Lindsey sits on the edge of his bed, holding the guitar. He flexes his right hand above the strings, then begins to pick at them experimentally, starts to play. Lindsey is shaking hands with the CFO from Lycor, Nathan Reed standing next to them as Lilah walks up them.", "Nathan: \"Oh, and here is Lilah Morgan. Mr. Kraigle.\"", "Irv Kraigle shakes her hand: \"Lilah. Nice to see you.\"", "Nathan: \"You guys can use my office, and, Irv, call me if you need anything. You're in - good hands, here.\" Walks away with a smile.", "Lindsey: \"We can go in now, Mr. Kraigle.\"", "Irv: \"Oh, please, call me Irv.\"", "Lindsey: \"Thank you, Irv.\" Lilah takes Lindsey aside and indicates his new right hand.", "Lilah: \"That's an expensive operation. The shaman alone's a quarter mil? I guess they like you. They really, really like you.\"", "Lindsey: \"Client's waiting.\"", "Lilah: \"I know you think you have this in the bag...\"", "Lindsey: \"I don't think anything - Lilah.\"", "Lilah: \"Oh, you're the one in pain here? (Shakes her head) I can't believe they chose you over me.\"", "Irv: \"We didn't do anything wrong.\"", "Lilah: \"It's not about right or wrong, Mr. Kraigle, it's about what a jury may or may not award.\"", "Irv: \"How can you get cancer from eating chocolate?\" The three of them are sitting at the conference table in Nathan Reed's office. Irv at the head with Lilah and Lindsey at either side of him. Lindsey is scribbling on the note pad in front of him without looking down at it.", "Lindsey: \"By selling it in a tin that leaches cytoclistomine into the chocolate.\"", "Irv: \"But we didn't know that. How could we have known that? The Chinese screwed us. They sold us the tin.\"", "Lilah: \"Don't worry. If a jury ever hears this, and that's a big if, they'll be handpicked or enchanted by us.\"", "Irv: \"Why can't people take responsibility for their own problems? We didn't give them cancer, the Chinese did.\"", "Lindsey: \"Actually it was the Drizon company.\"", "Irv: \"Who?\"", "Lindsey: \"It's an offshore corporation that split from your company, oh, (looks over at Lilah) let's say six years ago. (Lilah nods) They are solely responsible for the manufacture and sale of the tin containers your company merely fills with chocolate.\" Irv checks something in the papers in front of him, then sits back in his chair.", "Irv: \"Really.\"", "Lindsey: \"The plaintiffs want redress, they sue Drizon. Unfortunately they're going bankrupt this summer.\" Irv sees that Lindsey is still writing on the pad in front of him.", "Irv: \"Are you getting all this down?\" Lindsey looks down with a frown and sees that his right hand is writing 'KILL' over and over onto the note pad.", "Irv to Lilah: \"He's good, isn't he?\" Lilah smiles at him.", "Lilah: \"Yeah. He's great.\" Lindsey is staring down at his hand as it continues to write 'KILL.' Break.", "Irv: \"Well, this is very helpful. Very - comforting. We're not doing anything unlawful here, are we?\" Lindsey opens the fingers of his right hand and lets the pen drop, then takes a hold of his right hand with his left.", "Lilah: \"No. And more importantly, we're preserving your company.\" Lindsey gets up, taking the notepad with him.", "Lindsey: \"Ahem, I have to go.\"", "Irv: \"Something wrong?\"", "Lilah: \"No. No. Nothing is wrong.\" Lindsey sits at a desk in his apartment, pen to paper, waiting for his hand to start writing on its own. It doesn't move and he pokes it with his left forefinger. Nothing happens, so he pokes it again. When it still doesn't move he finally picks up a letter opener and pricks it with it. Some blood beads up but the hand doesn't move. Lindsey finally drops the pen and takes the letter opener in his right, turning it a few times before letting it drop as well. Holds up his new hand and looks at it: \"Who are you?\" Hyperion, day. Inside the lobby Angel accepts a box from a delivery guy, handing him some money.", "Angel: \"Thanks. Keep the change.\" Delivery guy on his way out: \"Wow. A whole dollar just for me. I'm the luckiest delivery man ever.\" Angel turns to look as the door closes behind the guy then goes and sets the box on the counter.", "Cordy from her desk: \"What's all this?\"", "Angel: \"Lunch. I was hungry.\" He sets wrapped sandwiches out in a row on the counter top. Cordy gets up and comes over.", "Cordy: \"You don't eat food.\"", "Angel: \"Oh, I can. It doesn't keep me alive, but, you know, sometimes I get a hankering.\"", "Cordy: \"You had a hankering for turkey, ham and roast beef sandwiches?\"", "Angel points to one: \"You missed the vegetarian.\"", "Cordy: \"Soup and salad, too? What is going on here?\"", "Angel quietly: \"I forgot what you liked.\"", "Cordy: \"Why didn't you ask me?\"", "Angel: \"Well, you said, why is everyone asking you if they can get you anything, and-and I didn't wanna *do* that...\"", "Cordy: \"So you did this - instead.\"", "Angel quietly: \"Yup.\"", "Cordy: \"I love you.\" Angel's worried look melts into a big smile as Cordy picks up two sandwiches.", "Cordy: \"And you ought to do *that* more often.\" Goes back to her desk.", "Angel: \"Buy you food?\"", "Cordy: \"Smile.\" She reaches her desk and hunches over as she has a flash of Joseph stuffing a piece of muffin into his mouth while reading the paper.", "Angel comes over to her: \"What?\"", "Cordy: \"Okay, this is weird. Before he put the knife in his eye he was happy. He was happy about *his* eye. Like it was new or - something.\"", "Angel: \"New?\" Wesley and Gunn walk in.", "Wesley: \"I think we found him. A man named Joseph Kramer, has two kids, age twelve and nine, they go to the Delancy School.\"", "Gunn: \"The kids didn't show up for school yesterday. Their mom called sayin' she was taking them out of the country. Their father supposedly got a promotion in the Seychelles.\"", "Angel putting on his coat: \"Did you get a home address?\"", "Wesley: \"We've already been there. I stood look-out, Gunn went in.\"", "Angel: \"And?\"", "Gunn: \"No trace of the family or any personal belongings. The place had been cleaned from top to bottom. The floors was polished, the carpet was still wet.\"", "Angel: \"To get rid of the blood.\"", "Gunn: \"There was a little piece of molding they missed up under the pantry.\" Gunn pulls a piece of blood-smeared wood out of his pocket and holds it out to Angel.", "Gunn: \"You want to sniff?\" Angel reaches out and gently pushes his hand down: \"How about I just believe you, huh?\"", "Wesley: \"What do we know?\"", "Cordy: \"We don't know anything. The guy's gone, the family's gone. Someone or something has the power to make them all disappear in a day.\"", "Gunn: \"We're at a dead end.\" Wesley sits down on the edge of the desk: \"I thought we had more than that.\"", "Angel: \"There is only we can do now.\"", "Cordy: \"Oh, god. Oh, no.\"", "Wesley: \"The Karaoke bar.\"", "Gunn: \"Angel's gonna sing?\"", "Cordy: \"Isn't there some other way?\"", "Wesley: \"There has to be. Think, damn it!\" Angel looks form one to the other: \"Hey! Wha..?\" The Host is smiling, watching a guy up on the stage playing guitar and singing. It's Lindsey.", "Lindsey: \"Pretty girl on every corner. Sunshine turns the sky to gold. Warm, warm, it's always warm here. And I can't take the cold.\" Cordy and the others come walking in.", "Cordy: \"You should pick something short.\"", "Angel: \"I was thinking about Stairway to Heaven.\"", "Wesley: \"Don't even joke about that.\"", "Cordy: \"Oh, my god, look who's...\"", "Angel: \"Lindsey?\"", "Lindsey on stage: \"This whole world shines so brightly.\"", "Host comes over to them: \"Isn't he fabulous?\"", "Angel: \"He comes here?\"", "Host: \"He used to come all the time before some caballero chopped off his strumming hand. - Looks like he's got a new one.\"", "Lindsey: \"Pretty as a picture, she's...\"", "Cordy: \"Wow. He's good.\"", "Gunn: \"Lawyer's got some pipes.\"", "Lindsey: \"Settles me with love and laughter.\"", "Angel: \"You think he's good.\" Cordy never taking her eyes off Lindsey: \"Shh.\"", "Lindsey: \"and I can't feel a thing.\" Gunn nods to the music as Angel looks up at the ceiling.", "Lindsey: \"The sky's gonna open. People gonna pray and crawl.\" Several demons are watching Lindsey up on the stage, smiling, tapping their hands to the music.", "Lindsey: \"It's gonna rain down fire...\"", "Angel: \"What is that? Rock? Country? Ballad? Pick a style, pal.\"", "Wesley: \"Shh.\"", "Host: \"Angel cakes. Don't make me ask you to leave.\"", "Lindsey: \"The sky is gonna open, people gonna pray and sing. Oh, I can't feel...\" He ends the song with a chord and the audience starts to applaud and cheer. Cordy is clapping as well, eyes still fixed on Lindsey. Angel looks form Cordy to Gunn, who's nodding his head.", "Cordy: \"We can't sing after that.\"", "Host: \"You won't have to.\" Cordy looks over at Angel as the host meets Lindsey halfway from the stage carrying two drinks.", "Host: \"Golly, pilgrim. Sure is good to have you back in the saddle. (Hands Lindsey one of the drinks) Your favorite. T&T, the imported.\" Lindsey takes the drink but only smells it.", "Lindsey: \"Look, I got a crazy man's hand here who wants to kill - someone, maybe me, I don't know. What do you see?\" Host leading him over towards where the A-team is standing: \"Well, you know what they say: the hand is quicker than the eye. You'll get that later.\"", "Lindsey: \"Look. I need help.\"", "Angel: \"I'll say. You might want to start with his singing.\" Laughs. Cordy slaps the back of her hand against Angel's chest and steps up to Lindsey.", "Cordy: \"Hi. You probably don't remember me. Cordelia. I know you're evil - and everything, but that was just so amazing.\"", "Gunn: \"That was kind of tight.\"", "Wesley: \"Terrific, really.\"", "Angel: \"Is everyone drunk?\"", "Lindsey: \"What's he doing here, huh? (To Angel) What are you looking at?\"", "Host: \"Easy, easy, children. I don't allow violence in *my* club. Angel's here for the same reason you are.\"", "Lindsey: \"How's that?\"", "Host: \"Two enemies, one case, all come together in a beautiful buddy-movie kind of way.\"", "Gunn: \"They supposed to work together on this?\"", "Lindsey: \"Work with him? (Host nods) Work with him?\"", "Host: \"Am I the only one who saw 'Forty-eight Hours?'\"", "Lindsey: \"I've got a murderous hand on me and you're telling me to team up with the guy who cut mine off in the first place?\"", "Host: \"I'm telling you what's what, sugar. What you *do* with it is up to you.\" Lindsey huffs, takes a sip from his drink before setting down on the bar and walking out past Angel.", "Lindsey to Angel: \"If I see outside of the club, I'm gonna kill you.\"", "Host: \"Uh, resentment is such an ugly emotion. I hope you've overcome yours, Angel, because right now he's got your case in (laughs) forgive me, in the palm of his hand. Toodles.\"", "Gunn: \"If Lindsey's the lead, shouldn't we be following him?\"", "Angel to Cordy: \"You said the guy in the vision just got a new eye. And Lindsey just got a new hand.\"", "Wesley: \"Right. Then we should find out where the transplants took place.\"", "Gunn pointing towards the door: \"So we're following him, right?\"", "Angel: \"Actually what we need to follow (picks up Lindsey's glass) is his new hand. (Holds the glass up and looks at the fingerprints left on it) Wonder who it belonged to.\" At a deserted Wolfram and Hart, Lindsey holds up a key card to the electronic lock on Nathan's office and enters it. He walks through the dark office over to the computer on the desk. Sees a picture of Nathan Reed with his wife and son as he boots up the computer. He types in username 'Reed, N' password 'Zen' and logs successfully on to Nathan's Personal Information Center. Clicks on the 'To Do' Icon, bringing up a list: Blatt case deposition - March 5 - urgent - in progress LA Office Assignments - March 6 - medium - in progress Senior Partner Reports - March 8 - urgent - complete Special Projects Reevaluation - March 8 - highest - pending Jackson case brief - March 11 - medium - pending Vacation plans - March 15 - low - in progress Partner compensation - March 31 - medium - in progress Feeder Negotiation - April 10 - medium - pending New Associate Recruiting - April 10 - low - in progress Shaman Contracts - April 15 - high - in progress Europe fact-finding trip - April 30 - high - in progress Lindsey brings up the 'Special Projects Reevaluation' screen holding a number of folders entitled: Project History, Personnel Roster, Manners Massacre, Bethany Project, Project Darla, Drusilla (vampire), Project Angel, Vampire Detectors, Lilah Morgan, Lindsey McDonald, Youth Center Project, Demon Relations, Terminated Employees, and Pending Projects. Lindsey moves the mouse over his own folder, but then clicks on Lilah's instead. The screen shows a picture of Lilah and her name. Current assignment: Co-Vice-President for Special Projects - Junior Associate, 1994, - Senior Associate, 1997, - Junior Partner, 2000 - Graduate of Montesori(?) University School of Law 1994 with High Honors - Law Review 1992-94 - recruited by Los Angeles Office - Supervised by Holland Manners. Lindsey closes that folder and goes back to Nathan's To-Do list and types Fairfield Clinic into the search engine. This brings up a picture of the clinic and a short report: \"Fairfield Clinic is the primary health-care provider for the Wolfram & Hart Los Angels office employees. Offering a wide range of health services the clinic provides first class care for our most valuable resource - our people. In addition to the usual rnage of health care offerings, Fairfield's research departments is at the forefront of development of advanced treatments. Perhaps no (?) in the workd has developed such a sophisticated use of demons in the therapeutic setting, allowing our employees benefits (?) which would be impossible with pure traditional means. Fairfield Clinic's state of the art facility was financed by Wolfram & Hart as part of our ongoing health care partnership.\" Angel comes walks into the Hyperion carrying a brown manila folder.", "Angel: \"I got it. The hand belongs to a thirty year old white male named Bradley Scott, served two and a half years at Soledad for embezzlement, paroled last month.\"", "Gunn: \"How'd you find all this?\"", "Angel: \"I'm a detective.\"", "Cordy: \"Did he have a life before prison?\"", "Angel: \"I'm not sure. Why don't you just look him up on...\" Cordy sits down at her computer and begins to type: \"I am.\"", "Wesley: \"That's impressive, Angel.\"", "Angel: \"Yeah, well, sometimes you just got to follow your...\" Points at his nose.", "Wesley: \"So, how did your (taps his nose) get you into the N.C.I.C.?\"", "Angel: \"The what?\"", "Wesley: \"The National Crime and Information Center?\"", "Angel: \"Oh, that. Kind of a long story... (Moves towards Cordy's desk) How's it coming over there.\"", "Gunn: \"We got time.\"", "Angel: \"You know, when I was in charge here, nobody questioned my methods or my singing.\"", "Cordy: \"You're half right.\" Wes and Gunn just keep looking at him", "Angel: \"Alright. I hired a private detective. He's got a friend on the force.\"", "Wesley: \"*We're* supposed to be the private detectives.\"", "Gunn: \"*We* are supposed to have a friend on the force.\"", "Angel: \"We did, but she got fired. Get over it.\"", "Cordy: \"Bradley Scott. Guess where he worked while he was dumping bearer bonds on the black market. Wolfram and Hart.\"", "Wesley: \"I wonder if he's still alive.\"", "Angel: \"Well, according to his records he reported to his parole officer once - then he disappeared.\"", "Gunn: \"He goes to jail. They wait for him to get out, then (makes a chopping motion at his right wrist) whack! Wolfram and Hart gives his hand to Lindsey. I guess they really want to give their boy everything.\" Lindsey leaves Nathan's office. As he walks down the corridor he sees Lilah rummaging through the file cabinets in the 'File Storage' room. Sees her fold up a page and stick in into her purse - in which she keeps a revolver before - he quietly backs away. A guy is sitting on a sofa watching TV and drinking a beer when there is a knock on the door.", "Guy: \"Who is it?\"", "Lindsey through the door: \"You don't know me. My name is Lindsey McDonald. I work at Wolfram and Hart.\" The guy turns off the TV and partly cracks the door.", "Guy: \"What do you want?\"", "Lindsey: \"I wanna talk to you, just for a minute. Can I come in?\" The guy closes the door enough to release the safety chain, opens it again to let Lindsey in, then glances out along the corridor before closing the door.", "Lindsey: \"No, it's okay. I'm alone.\"", "Guy: \"Professional habit. I, ah, see a lot of low-lives.\"", "Lindsey: \"Yeah, I guess you would be, being a parole officer. Listen. This is completely off the record. I had a procedure done - at Fairfield Clinic. I know they paid you to do things for them in the past, and I don't care about that. What I do care about is finding out where they get their body parts.\"", "Guy: \"What's the code?\"", "Lindsey: \"Code?\"", "Guy: \"Well, if you're with Wolfram and Hart, you know the code.\"", "Lindsey: \"Look, I'm a lawyer there. This is not my case. I don't know the code. We don't need the code. I can pay you...\" The guy hits Lindsey across the chin, sending him crashing down onto the sofa table. Hits him over the head as he comes back up and everything goes dark. Break", "[SCENE_BREAK]", "The parole officer is holding Lindsey up against the wall, pressing the muzzle of his revolver against his throat.", "Guy: \"Now you got three seconds to tell me what the game is.\"", "Lindsey: \"There is no game. This is about me.\"", "Guy cocks his revolver: \"Good bye.\" Something comes flying into the room, shattering the window. The guy spins around and shoots at Angel standing just outside of it and Angel drops out of sight. Guy grabs Lindsey from behind around the throat and drags him over towards the window, holding the gun against his head.", "Guy: \"Friend of yours?\"", "Lindsey: \"No, he's not.\"", "Guy yelling: \"Hey, I'm about to out a bullet into your buddy's brain here! - I got him. I know I got him.\" The guy leans out the window to look and Angel shoots up and slings a loop of rope over his head around his throat. Lindsey spins free, twisting the gun out of the guys grip at the same time.", "Lindsey: \"What are you doing here?!\"", "Angel: \"Gee, I don't know, saving your life?\" Lindsey waves the guy's gun wildly in Angel's face: \"I don't need you to save my life.\"", "Guy: \"Hey, watch it with that!\"", "Angel: \"Gee, a little gratitude, Lindsey. Goes a long way.\"", "Lindsey: \"You got no business..! What-why aren't you trying to kill me?!\"", "Angel: \"Excuse me. I'm on a case here, Lindsey. Does everything always have to be about killing you all the time?\"", "Guy: \"I-I can see you guys got issues, so I'll just...\" Stops as Angel tightens the rope on the guy's throat.", "Lindsey: \"That's my lead! You're choking my lead!\"", "Angel: \"'He's *my* lead! He's *my* lead!' What, are we on the schoolyard here? Look, if you wanna get to the bottom of this, you got to learn how to play with others. (To the parole-guy) Look, I'm gonna loosen the rope and you're gonna tell me everything about your parolee, Bradley Scott. \"", "Lindsey: \"Who?\"", "Angel: \"The guy who's hand you're wearing. You might want to listen up.\"", "Lindsey pointing with the gun: \"You don't tell me what to do.\"", "Angel to the guy: \"He's so immature.\" Lindsey yelling and gesturing with the gun: \"Shut up!\"", "Angel to guy: \"We're waiting.\"", "Guy: \"I'm not telling you zip. You can kill me but Wolfram and Hart will do a lot worse.\"", "Angel: \"Kill you? - Why would I kill you (morphs into vamp-face) when I could live off you for a month?\" The guy looks back at Angel and yells as he sees his changed face. Angel pats the guy's face as Lindsey makes a grimace.", "Angel: \"Hmm, can't you just taste that butter fat?\" Grins at Lindsey.", "Lindsey: \"You are really gross, you know that?\"", "Guy: \"I'll tell ya! I'll tell ya! Scott stole some bearer bonds, went to jail. When he got paroled, Wolfram and Hart had him assigned to me.\"", "Angel: \"According to your file he was a fugitive no-show, but you saw him, didn't you?\"", "Guy: \"Just once.\"", "Lindsey: \"You took him to Fairfield Clinic?\"", "Guy: \"No, I didn't take him there.\"", "Angel: \"Where?\"", "Guy: \"Just some address. - I don't know what they do there. I don't wanna know.\" Cordy is sitting at her desk with her head buried in her arms, sniffling, as Wes and Gunn peek in through a crack in the door. They carefully pull the door shut again and step away from it.", "Gunn: \"Is it me or are these vision hangovers getting longer and longer? (Points to his head) It's like she can't rest in there until it's done.\"", "Wesley: \"I know. She inherited these visions from Doyle, but he was half demon. I'm not sure the human body can carry... - Last year a demon unleashed a slew of these visions on her. She wound up in a hospital out of her mind.\"", "Gunn: \"Oh. - Well, she's been a little cranky lately but it's not like she's...\" We hear Cordy's voice through the door: \"Angel? - Where are you? I-I can't... Are you there?\" Gunn and Wesley look at each other.", "Gunn: \"...crazy?\" They look towards the door. Cordy, phone in hand, jumps as they suddenly kick her door open.", "Cordy, exhales, to phone: \"Nothing. I'm fine. - It's just Gunn and Wesley playing with the doors. (To Gunn and Wes) I'm *trying* to work here. (To phone) Okay. - We'll wait here. - I'm *fine*. Just - get it done.\" Angel and Lindsey are driving down the street in his convertible. Angel looks over at Lindsey.", "Angel: \"A funny thing happened the other day. Guy picks up butcher knife, sticks it in his own eye. - yow! - I guess he went to the same clinic you did. - Your hand hasn't been doing anything - funny lately, has it? - I know, it's none of my business, but you don't seem all that happy lately.\"", "Lindsey: \"You know, I know you're Mr. 'save a soul' now, but at least you used to throw down with your enemies. What do wanna do now? You wanna share?\"", "Angel: \"I guess it's a lot to carry. I mean, losing Darla - and even me in a way, as a place to focus your rage. It's ironic. I mean, here you are. You're young, and healthy, good job, new hand. (Lindsey looks down at his right hand) - Seems like the more you get, the less you have. - Am I getting through here? (Lindsey doesn't answer) You just keep on moping. You're good at that.\" Angel pulls the car to the side of the road. Both he and Lindsey get out. Angel opens the trunk and pulls the bound and gagged parole officer up far enough so that he can see the store with a sign saying 'Southern California Travel' across the road from where they parked.", "Angel: \"Is that were you took him?\" The guy nods his head and grunt affirmatively. Angel puts him back down and closes the trunk over the guys muffled protests. Angel, carrying an ax in his right hand, and Lindsey walk across the street to the store.", "Angel: \"Do you know this place?\"", "Lindsey: \"No.\"", "Angel: \"Well, I'm thinking if it has anything to do with you guys security will be top drawer. Window sensors, motion detectors, cellular backup, guards, obviously.\"", "Lindsey: \"Yeah, I don't have my laptop.\"", "Angel: \"Huh?\"", "Lindsey: \"My computer. You want me to hack into the system and break the codes we're definitely gonna need...\"", "Angel: \"Wait, wait, wait.\" Angel stops and Lindsey turns around to face him.", "Angel: \"That seems like a big bother. What do you say we just fight, huh?\" Angel lifts his ax and Lindsey braces himself for a fight, raising his fists.", "Angel motions with his hand: \"You might wanna step aside?\" Lindsey lowers his fists a bit and looks at the store windows behind him. Makes a face and steps aside. Angel hauls back and throws his ax, shattering the window. Claps Lindsey on the back as a guard steps out onto the street.", "Angel: \"Come on. Work off some of that aggression, huh?\" Angel drops the first guy with a hard cross and enters the store, Lindsey right behind him. Angel hits another guard, knees him in the stomach, then tosses the guy aside while Lindsey dances past Angel to hit one of the other two guards coming towards them. Short moments later all the guards are down and Angel and Lindsey look around the travel agency's office.", "Angel: \"The floor. It's hollow.\" He pushes some furniture aside and lifts up a throw rug to reveal a trap door. They walk down the stairs into a room lined with cells, with strategically placed labels on the glass doors, holding naked people - or what's left of them.", "Lindsey: \"What is this?\"", "Angel: \"You know what this is. Spare parts - for guys like you. (Motions to the right, where the cell occupants are still whole) You got your before (turns to look to the other side of the room) and your after.\" A label on one of the cells identifies the body inside as 'unit: 42-89 - Blood: O+ Tissue: (?) - Start: 8/19/00 - Discard: 10/29/01 - Harvest: 5/5/00 left ear - 6/18/00 left leg - 3/10/01 right hand. The male inside is wearing an oxygen mask, his right hand is missing.", "Angel: \"More like during, I guess. - Your firm in action, Lindsey. A lot to be proud of, huh?\" Angel looks up at a banner hanging on one of the walls.", "Angel: \"The Pockla blessed this place.\"", "Lindsey: \"Who are they?\"", "Angel: \"Demon healers. They know how to regenerate flesh. Probably explains why some of these transplants aren't taking so well.\"", "Lindsey: \"Yeah, I'm pretty sure one of them was there when they gave me my hand.\"", "Angel: \"Your hand? (Indicates one of the cells) I think it belonged to that guy over there.\" Lindsey turns to look at the guy with the missing right hand. The camera reverses so that we look out through the glass door.", "Angel (muffled through the door): \"Or what's left of him anyway.\"", "Lindsey (muffled): \"Oh god. I know him.\" Lindsey steps closer to the cell and the camera reversed again to show us the guy in the cell looking out at Lindsey.", "Lindsey: \"I didn't get the name before. - We worked in the mailroom together. - Brad?\"", "Brad wheezing: \"Kill...\" Lindsey throws a look over his shoulder at Angel.", "Brad: \"Kill...\"", "Lindsey: \"Kill who? Huh? Who do you want to kill?\"", "Brad: \"Kill - me...\" Break", "Brad: \"Please...\"", "Lindsey turns to Angel: \"What am I supposed to do here?\"", "Angel: \"I know what I'd do. This is your deal. Whatever it is, you better do it quick. They're gonna be coming in force. We got to help the ones that we can.\" Angel pulls the banners off the wall and breaks the glass to the first of the 'before' cells, while Lindsey stares up into Brad's face, who is still trying to talk. Angel is wrapping the guy he just freed in the banner and helps him out of his cell.", "Lindsey: \"I'm sorry.\" He reaches over and pulls the wires leading to Brad's cell. As Lindsey stands looking at Brad, one hand braced against each side of the cell door, we hear the machinery winding down then the cell goes dark. Angel watches as Lindsey takes a deep breath then goes to smash the connections to the next cell and picks up a metal table and tosses it across the room. Angel helps a woman out of another cell.", "Angel to Lindsey: \"Help these people upstairs.\" Angel opens the valves of a couple of oxygen tanks, letting the gas escape into the room.", "Angel: \"Get them to the car.\" Angel lights a piece of paper, drops it on the floor and runs up the stairs. Angel comes running out the front of the store and makes it most of the way across the street before a huge fireball explodes outward, shattering the windows and spraying glass everywhere. Hyperion, day.", "Angel to Cordy: \"How is everything in your head?\"", "Cordy: \"What?\"", "Angel: \"Any vision aftermaths?\"", "Cordy takes a deep breath: \"I-it's better.\"", "Wesley: \"What?\"", "Cordy: \"It's just - they're starting to take their toll. (Shrugs and gives them a smile) It's part of the job, right?\" No one says anything. Lilah is playing with her hair as she sits next to Lindsey at Nathan Reed's conference table, which is once again occupied with all the same lawyers we saw there at the beginning.", "Nathan: \"These Reevaluations are always a bit of a mixed blessing. Sad as we lose one of our own. But also hopeful as we turn towards the future and - promote one of our own. - Lilah. You have made a lot of great contributions and I know you have tried your very, very best...\"", "Lilah: \"No!\" She scrabbles for her purse, but Lindsey puts his hands over hers.", "Lindsey: \"Lilah. Please. (Lilah stops and looks at him) - They chose me. - I'm clearly the guy.\"", "Nathan Reed: \"Yes, you are.\"", "Lindsey to Lilah: \"You could've had it. - But you didn't have what it takes.\" Lindsey raises his right hand up and Lilah jumps, letting out a little scream as he wriggles his fingers.", "Lindsey almost laughing: \"An evil hand. - I mean, come on, who here does, huh? (Gets up and motions towards a guy across from him at the table) Leon doesn't. - Charlie doesn't. (Ruffles the hair of the guy sitting on Lilah's other side, and looks at Nathan) You do know you gave me an evil hand, right? (Nathan doesn't move) I've been writing 'Kill, kill, kill' on everything. It's crazy. It's crazy. Anything could happen!\"", "Nathan to the guard: \"Allen.\"", "Lindsey: \"Allen, how are you?\" Allen reaches for his gun, but Lindsey slugs him, sending his ear-piece dangling down his neck, and grabs the gun Allan is reaching for and presses it into the guards chest. Allen raises his hands.", "Lindsey: \"Uh-oh.\" Shoots the guard in the foot while looking at Nathan.", "Lindsey: \"Uh, that's gonna hurt in the morning!\" Allen is hopping around on one foot and Lindsey pushes him to the floor before waving the gun at the people sitting around the table.", "Lindsey: \"Stop, evil hand, stop it.\" Fires of a few shots in Nathan's direction shattering some pottery behind him and making Nathan flinch a bit.", "Lindsey grinning: \"I just can't control my evil hand. (Walks up to Nathan's end of the table) Nathan, I'm so proud that you chose me. (Ruffles Charlie's hair as he walks past him) Charlie! If I would have been in your shoes - I would have chosen Lilah. (Lilah turns to stare at Lindsey) Let me tell you why. Do you have any idea of the hours this chick has logged in? Huh? The files she has on you guys? - Deep stuff. Ronnie, your stock manipulations, Nathan's little offshore accounts... Can you imagine if something were to happen to this girl and those files got back to the senior partners? - They'd eat you alive! (Lilah looks at him with a frown) She's been working overtime, boys. She's everything you ever dreamed off. Lilah is your guy. Me - (leans down on the table next to Nathan, who looks straight ahead) I'm unreliable. I've got these evil hand issues - and I'm bored with this crap. - And besides, I'm leaving, so - if you wanna chase me, be my guest, and remember (holds up his hand) evil. (Knocks on the table with his right hand.) Charlie.\" Lindsey quietly to Lilah as he passes her: \"Good luck.\" Lilah jumps, putting a hand over her mouth then turns to stare at Lindsey as he walks towards the door. He gives her a big grin, and waves his right hand in the air.", "Lindsey: \"Evil.\" Lilah stands and stares as the door closes behind Lindsey.", "Nathan: \"Well. Let's amend the minutes. - Lilah Morgan was promoted. - And, uh, someone call an ambulance.\" Night. Lindsey walks up to his old truck and puts a duffel and his guitar case into the bed.", "Lindsey: \"If you're here to kill me, grab ya a ticket and get in line.\" Angel leaning on the gate of the truck: \"Oh, I really like this truck. '56, right? First year they had that wrap-around windshield. You know, back in the fifties we all thought life was gonna be like in the Jetsons by now. Air cars, robots. - I'd love to have an air car. Wouldn't that be cool?\"", "Lindsey with a smile: \"So, you're here to talk me to death.\"", "Angel: \"Nah, I just came here to say, things don't always work out like you think. - I bet Wolfram and Hart aren't too happy losing one of their best and their brightest.\"", "Lindsey: \"Yeah, well, let 'em come try to stop me. It'll be fun.\"", "Angel: \"Well, I don't know if that's a healthy attitude. - So, where're you going, Lindsey? (Looks at the duffel and guitar case) Back to your roots?\"", "Lindsey: \"Something like that.\" Angel nods his head slowly.", "Lindsey: \"I hope you're not waiting for me to tell you that I learned some kind of a lesson. That I had a big moral crisis, but now I see the light.\"", "Angel laughs: \"If you told me that, then I'd have to kill you. - I'm just here to say 'bon voyage' - don't come back.\"", "Lindsey: \"To L.A.? - Nah. - You can have this place.\" Opens the door to his truck.", "Angel: \"Good. I'm glad I didn't have to do something immature here.\" Lindsey nods with a slight smile, sobers after a beat.", "Lindsey: \"The key to Wolfram and Hart: don't let them make you play their game. - You gotta make them play yours.\"", "Angel quietly: \"Thanks. I'll keep that in mind.\" Lindsey nods gets ready to get in his truck.", "Angel: \"Don't drive too fast now. Lots of cops out there.\" Lindsey gets in and starts the engine. As he pulls away from the curb we see that there is a big sign stuck to the gate of his truck saying 'cops suck.' Angel stands there with a smile on his face as he watches him drive off." ]

[ "When a demon from Lorne's home dimension of Pylea arrives in LA, Lorne goes to Angel for help. The demon came through a portal and, as Team Angel investigates, they find evidence of more portal activity around the city. When Lorne's cousin arrives from Pylea, he joins in their hunt for the demon." ]

[ "[PREVIOUSLY_ON]", "Rondell: \"Well, if it isn't Charles Gunn.\"", "Gunn: \"Anne, meet Rondell and George.\"", "Gunn: \"Somebody could have filled me in.\"", "George: \"You ain't been around to tell nothing to.\"", "Rondell: \"You been moving on up, dog. Playing demon detective with your new family.\"", "Zombie cop: \"Put your hands on the wall, step back and spread your feet apart.\"", "Wesley: \"Wait! Officer, wait!\" Zombie cop shoots Wesley.", "Gunn: \"This man took a bullet for me!\"", "Wesley: \"And it was nothing.\" They do the elaborate handshake routine.", "Angel: \"Ah, I see you guys have bonded.\"", "Wesley: \"We've all discussed it and none of us are ready just yet...\"", "Angel: \"It's okay, Wesley. I don't want you to came back and work for me. I wanna work for you.\" Cordy's reaction during the vision from \"Dead End\"", "Angel: \"Cordy! - What did you see?\"", "Gunn: \"Is it me or are these vision hangovers getting longer and longer.\"", "Cordy: \"I wish it would stop hurting.\" Night. Inside a fancy restaurant Wesley, Cordy and Gunn at a table with an empty forth chair, eating dinner.", "Cordy: \"You wanna try some of this sashimi?\"", "Gunn: \"That's the raw fish? Maybe when hell freezes over.\" Cordy cranes her neck to look around the restaurant.", "Wesley: \"What are you looking for?\"", "Cordy: \"Celebrities. They wouldn't put them out here in the 'B' section. They put them back in the dark.\"", "Angel: \"Not like here - where it's brightly lit and - open and everyone could stare at you and...\" Camera pans from what we now realize was a mirror to show that the forth chair at the table is actually occupied by Angel.", "Angel: \"It's a little exposed. Kind of public.\"", "Gunn: \"Oh, yeah, that public thing. It happens when you go where the people are.\" Gunn claps him on the arm as Angel looks around the restaurant.", "Angel: \"Oh, no, no, no. I-I-I like the people. Normal people. I wanna get out and be one of them. You know. Celebrate Cordy's good news.\"", "Cordy: \"Oh, it's just a commercial.\"", "Wesley lifting his wine glass: \"Just a *national* commercial. Here is to you.\" They all clink glasses.", "Cordy: \"Guys, I can't drink. I have to be up at four thirty in the morning for the shoot. But please, continue with the toasting and the praising.\"", "Gunn: \"You're gonna knock 'em dead, and make a ton of cash.\"", "Angel: \"What he said, but-but don't leave us when you get famous.\"", "Cordy: \"I'm touched. But don't worry. I *can't* leave you guys while I'm still the proud owner of the mind-shattering, ever more debilitating visions.\" Takes a sip from her wineglass that holds water then goes back to eating.", "Cordy: \"I feel a little guilty.\"", "Angel: \"Don't. - I mean, nineteen dollars for a - sashimi couscous appetizer is money well spent. How was it anyway? Pretty good? I mean, it ought to be pretty...\"", "Cordy: \"It's delicious but that's not what I feel guilty about.\"", "Angel: \"Oh. (Sees Wesley looking at him) I 'm not cheap, I-I'm just old. (Slipping into a slight Irish accent) I-I remember when a few bob got you a good meal, a bottle *and* a tavern wench. - You were saying?\"", "Cordy: \"I was saying, I feel guilty leaving you guys in the middle of a case to go do this commercial.\"", "Wesley: \"Mhmm, we have it under control. Angel will get hold of his informant first thing in the morning.\"", "Gunn: \"And he (to Angel) - well, is it a he or an it?\"", "Angel: \"Actually both.\"", "Gunn: \"Well, then he slash it points us to the big bloated thing in your vision.\"", "Wesley: \"The Haklar demon. In fact Angel's informant will lead us to the demon's feeding grounds where we manly men will gather round and kill it to death.\" Wesley holds out his fist and Gunn bumps it with his own. Angel, just a beat too slow, puts his fist out as well. The others obligingly repeat the gesture.", "Cordy: \"Ooh, sounds like fun. - If you guys want more wine, don't let me stop you.\"", "Angel: \"Oh, no more wine for me. That imported stuff goes right to your head.\"", "Gunn: \"You think we should get a flame thrower?\"", "Wesley: \"For the Haklar? I hadn't thought of that.\"", "Angel: \"I mean, if you guys want to order another bottle...\"", "Gunn: \"Of course if we wound up in a tight space we could burn each other.\"", "Wesley: \"Right. Right.\"", "Gunn: \"Well, you're the boss. You'll decide.\"", "Wesley taking a deep breath: \"A flame thrower is big and loud. Might call attention where we don't want it. Stealth, you know being a large part of...\" Angel notices a shorthaired woman wearing a cape walking through the restaurant and jumps out of his seat with vampire speed to grab a hold of her.", "Angel: \"Isn't this interesting?\"", "Woman: \"Wha-what? My shawl?\"", "Angel: \"No, your Brahenian (?) Battle-shroud, woven from the skin of dead children.\"", "Wesley at the table: \"What's he doing?\"", "Angel: \"You think I don't know a Voltar Witch when I see one? You don't think I can't see the markings of a... (trails of as he takes a closer look at the shawl) Looks a little different up close.\"", "Cordy: \"It's a beautiful shawl ma'am. It's a beautiful, thousand dollar, Laura Mina original. (Laughs) My friend just loves beautiful things so much he can't control himself. Because he's - ahm, from France? - We're so sorry. So sorry.\" Pulls Angel back towards the table.", "Angel with French accent: \"Pardon.\" Gunn as they all sit back down: \"If we had a flame-thrower we could set the table on fire. Draw a little *more* attention to us.\"", "Angel: \"I'm telling you those markings, from a distance they really looked...\"", "Wesley: \"Let's just eat and be on our way without any more...\"", "Cordy: \"Oh god.\" Cordy scrunches up her face.", "Gunn: \"What is it? What do you see?\"", "Cordy: \"Moo...\"", "Wesley: \"Moo? Some sort of cow monster?\"", "Cordy: \"Move. I think the sashimi is coming up.\" The guys jump up off their chairs as Cordy doubles over, pulling the tablecloth and dishes off the table as she is violently sick.", "Angel: \"They'll take that off the bill, right?\" Intro Hyperion day. Wesley is sitting in his office talking on the phone.", "Wesley: \"Yes, mum. Yes, well, put him on. - Right. You too. - Hello father. Happy Birthday. - How are you? - Good. - No! It's going quite well actually. - Yes. I have news. - I've been put in charge of our group. - Yes, as their leader. No, it's a permanent position. Well as permanent as these things... - (the smile on Wesley's face fades away into nothing) - No, I certainly won't be fired. - Ah. Well, yes, I was that one time, yes. - Again... No, you're right. I see how... - Yes, I'd forgotten, thank you. - Yes. - Ah, just recently. Uhm, it's going quite well so far. - - No, I think this time... - I hope it will be different. - No. No, you're right. I see how... - I just thought you'd be... I thought you'd want to know, that's all. - Right. Well - again, happy birthday. - Okay.\" Hangs up and looks down at the desk. Gunn comes in munching on some chips.", "Gunn: \"You talking to someone?\" Wesley closing the folder in front of him: \"Yes, my father.\"", "Gunn: \"English senior? How is he?\"", "Wesley: \"Well. It's his birthday.\"", "Gunn: \"Nice.\" Wesley still moving stuff around on his desk: \"He sends his greetings to everyone in Tinsel Town.\" Day, big, white warehouse with Stage 6 stenciled on it. Inside Angel makes his way through the people getting ready to shoot Cordy's commercial.", "Angel: \"Sorry.\" He spots the stage made up to look like a sunlit beach and a girl in a bikini waiting for the shoot to start. He slowly walks out on the beach. The girl gives him a brilliant smile when she sees him coming towards her, but he passes her by without even a look and the smile vanishes. He turns and blinks at the fake sunlight. Letting out a deep breath he closes his eyes and turns his head to face the fake sun, a slight smile spreading across his face. Cordy, wearing a heavy, white bathrobe steps up to him.", "Cordy: \"What are you doing here?\"", "Angel smiles at her: \"Getting a tan. Ha. Not bursting into flames?\"", "Cordy: \"So - what are you doing here?\"", "Angel: \"I have to ask you a question. In your vision did the Haklar demon...\" Cordy grabs him by the arms as she sees someone coming.", "Cordy whispering: \"Shut up. The director's come in. (To the director) Hi. I just wanna say thanks for casting me.\"", "Director: \"You're welcome. Lose the bathrobe.\"", "Cordy: \"Excuse me?\"", "Director: \"What's wrong? You don't speak English? The wardrobe. I need to *see* it. Lose the robe, princess.\" Cordy stares at him for a moment and he snaps his fingers a few times.", "Cordy: \"Sure. Sure.\" She slowly takes the robe off to reveal that she's wearing a very skimpy bikini dotted with seashells. Angel looks over, blinks, takes a second look, his eyes widening a little. Looks away. Sneaks another quick glance then keeps his eyes on the director.", "Director: \"Turn around. (Cordy does so, slowly) Well, nothing wrong there. Okay, turn. (Cordy turns to face him again) When does she go to makeup?\" His assistant looks at his notebook.", "Cordy: \"I've already been to makeup.\"", "Director: \"Really. (To assistant) Then take her back. Tell David to get rid of those circles under her eyes. She looks like a refugee from an abused women's shelter.\"", "Cordy: \"I had food poisoning.\"", "Director: \"Yeah, right. You eat. Good one. (To assistant) Tell David I'm supposed to wanna sleep with this woman. I don't. Do you wanna sleep with her? Of course you don't.\"", "Angel: \"You're out of line. (The director turns and stares) Apologize to her.\"", "Director: \"Oh, let me guess. Wanna-be rocker or part-time male model. I could go either way on this one.\" Angel takes a step closer to him: \"I said apologize to her.\"", "Director: \"Really? (Aside to assistant) Get security.\"", "Cordy: \"Angel...\"", "Angel: \"Who the hell do you think you are, huh?\"", "Director: \"I think I'm the director. (To Cordy) And I think you're real smart for bringing your unemployed boyfriend onto *my* set, telling me how to film my commercial. That's really helping your career.\" Cordy, back in her bathrobe, takes a hold of Angel arm and pulls him away from the director.", "Cordy: \"I'm sorry. Ah. He won't bother you anymore.\"", "Director: \"Oh, I know he won't. Because security is gonna toss his ass in about two minutes. Now get into makeup and hope they can work miracles.\" The director leaves and Cordy turns to face Angel.", "Angel: \"Do you want me to rip that guy's head of for you? Because, you know, I can. I can actually just rip his head right off his body. I can do that.\"", "Cordy: \"Are you *trying* to ruin my career? I mean, is this like a conscious effort on your part?\"", "Angel: \"No. I just...\"", "Cordy: \"You need to go. Now. (Angel lets out a deep breath) Why are you still here? Go!\"", "Angel: \"Look, I have to ask you a question.\" Cordy lets out a deep breath and folds her arms in front of her.", "Cordy: \"What?\"", "Angel: \"In your vision - the Haklar demon that you saw, did he eat his victim whole or did he just rip out the liver? - 'cause, I mean, it's a funny story, according to my informant, liver-eating Haklar's have different feeding grounds then people-eaters, and I need to know what kind it was so I can track it down and kill it.\" Cordy nods, then shakes her head and turns to walk away.", "Cordy quietly: \"I hate my whole life.\" Gunn is sitting on the round bench in the lobby of the Hyperion watching Wesley pace.", "Gunn: \"So - this Heckler demon we're supposed to kill...\"", "Wesley: \"Haklar. Two 'a's.\"", "Gunn: \"This Haklar with two 'a's' we're supposed to kill. Give me the specs. What I need to know?\"", "Wesley stops pacing: \"The Haklar, descended for the Klensan order demons, can weigh as much as three tons as an adult male. It awakes from its hibernation during alternating full moons only to feed and mate - often simultaneously. Incapable of traditional speech the Haklar has learned to communicate with each other via a pattern of carefully timed facial ticks, not dissimilar to our own Morse code. The Haklar prefers a warm moist clime where it can...\"", "Gunn: \"Wesley.\"", "Wesley: \"Yes?\"", "Gunn: \"I meant, how do we go about killing it.\"", "Wesley: \"Oh. - Your standard slice and dice.\" The door opens and George and Rondell walk in. Gunn gets up to greet them.", "Gunn: \"Hey. What are y'all doing here?\"", "George: \"Got a situation.\"", "Gunn: \"Wesley, you remember Rondell and George?\"", "Wesley shakes their hands: \"Certainly. I never got the chance to thank you both properly. I think it's fair to say I owe you men my life.\"", "George: \"It's cool. Only reason you got shot is 'cause you got our backs.\"", "Rondell: \"Hey, how you feeling?\"", "Wesley: \"Better, thank you.\"", "Gunn: \"The situation, what is it?\"", "Rondell: \"What else? Vamps.\"", "George: \"Pack of them making McKenzie park their new personal restaurant.\"", "Gunn: \"Got a lot of homeless sleeping there.\"", "Rondell: \"They be the meals.\"", "Gunn: \"Sounds like what we need to do is set a trap.\"", "George: \"Traps already set.\"", "Gunn: \"It is?\"", "George: \"We know the drill. Everything's in motion.\"", "Gunn: \"Oh. Alright. You just need me to...\"", "Rondell: \"Lend us your truck.\"", "Gunn: \"You want my ride?\"", "George: \"It's still tricked out for dusting, ain't it?\"", "Gunn: \"Well, yeah. But...\"", "Rondell: \"We wanna go in with everything we got.\" Gunn throws a quick look at Wesley.", "Gunn: \"Count me in then.\"", "Wesley: \"What about the Haklar?\"", "Gunn: \"Angel gets a lock on its crib, page me.\"", "Angel comes in: \"Haklar is living on the North Shore of Lake Hollywood. We better hurry. They've got a five K race starting there in half an hour.\"", "Wesley: \"Consider yourself paged.\" Gunn looks from Wesley to George and Rondell.", "Gunn: \"I got to take this. Wait for me though. I'm through, I hook up with you guys at base camp, we head out together.", "Rondell: \"Yeah, whatever, G. (Bumps George) Lets roll man.\" The two of them leave with Gunn looking after them. Wesley walks up to Angel.", "Wesley: \"Angel, is everything alright?\" Angel hands Gunn an ax, then picks up another one and tosses it to Wesley before getting one for himself.", "Angel with a sigh: \"I-It's Cordy.\"", "Wesley: \"What about her?\"", "Gunn: \"Headaches getting worse?\"", "Wesley: \"What happened?\"", "Angel: \"Nothing happened. It - it's just... Heh. Acting is her dream job? I mean, that's the world she really wants to live in? With people like that? I don't get it.\"", "Wesley: \"Who are you talking about?\"", "Angel: \"Mr. 'Hey, I'm an L.A. director, you know, shooting a commercial (snaps his fingers) so I must be the center of the universe' guy? It's just like, (?) if you wanna make it in show business you just pretend you're on the food chain(?). I mean, all we do is save the world. And the way he talks to her. It's like she's his commodity. Like she's his slave or something. And you know what the worst part is? She took it. When was the last time Cordy took crap from any of us?\"", "Gunn: \"Never. And the day after never.\"", "Angel: \"Exactly! He's also got her wearing this - flimsy swimsuit that covers like (twists the ax handle between his hands as he looks up at the ceiling) nothing.\" For a moment all three guys' eyes unfocus, then they glance at each other.", "Wesley: \"Appalling.\"", "Gunn: \"Disgusting.\"", "Angel: \"Right.\" All three guys stare at the floor for a moment, then Gunn shakes his head slightly.", "Gunn: \"Well, shouldn't we be off killing something?\"", "Wesley: \"Absolutely.\"", "Angel: \"Good. Let's get this show on the road.\" The three of them head out. The host is singing \"Superstition\" up on the stage of Caritas. The club is jamming as the host dances to his own music. Suddenly there is a shimmering in the air behind him. Not noticing the host keeps on singing. The host turns as shimmering condenses into a portal and stares as a gray skinned monster jumps through it onto the stage. Break The gray monster jumps off the stage, smashes into a table and breaks some glasses, hits a couple of the patrons to get them out of its way, then spots the exit and heads on out up the stairs.", "Host in normal voice: \"It's alright. Everything's fine. (Licks his lips) Nothing to worry about. - It's all part of the show.\" Cordy is on the fake beach on Stage 6 Spreading suntan lotion on the guy lying on his stomach between her and the other girl.", "Cordy: \"Goes on smooth like a lovers kiss. It's the only suntan lotion good enough for our man.\"", "Director: \"Cut. Cut. (Steps up to Cordy) You're in his light.\"", "Cordy: \"Still?\"", "Director: \"I told you twice, you have to bend over more.\"", "Cordy: \"If I bend over any more I'm gonna fall out of my top.\"", "Director: \"And then you'll be out of his light. See? Everybody wins.\"", "Cordy motions towards the lights: \"But isn't there something we could do...\"", "Director: \"I didn't hire you to play Ophelia. - Show the cleavage, save the line. Got it? Or you wanna waste more of our time?\"", "Cordy, after a beat: \"Got it.\" The director leaves and Cordy looks down. Wesley follows Angel into the Hyperion dabbing at his brow with a handkerchief.", "Wesley: \"Has it...\"", "Angel: \"Stopped bleeding? Yeah.\" They stop as they spot Cordy sitting hunched over on one of the seats in the looby.", "Wesley: \"Cordelia.\"", "Angel: \"Hi.\" Cordy looks up at them, then back down at the floor.", "Angel takes a step closer: \"Look, I just wanna say - if I was out of line today...\"", "Cordy straightening up: \"*If* you were out of *line*? *If*? (Gets up) You're comfortable with your use of the word 'if' here, are you?\" Angel throws a look at Wesley then turns around as Cordy walks past him.", "Angel: \"I'm sorry I embarrassed you.\"", "Cordy lets out a breath: \"Who am I kidding. I embarrassed myself. - I just wanted to act, that's all. - For them to like me because I was good. - I never wanted to feel like this. - I thought Gunn was with you guys?\"", "Wesley: \"He was. After the fight he had to go home to take care of some vampire business.\"", "Cordy: \"How was the big fight? All big and - fighty?\"", "Wesley: \"We managed to kill the Haklar just as it was about to devour a group of power walkers.\"", "Angel: \"Horrible.\"", "Cordy: \"I know. I saw it in my stupid vision, remember?\"", "Angel: \"No, not the Haklar, the power walkers. I mean, walking I get, but power walking? Why not just run for a shorter time? - Weird. - Plus one of them hit him.\"", "Cordy: \"A power walker did that?\"", "Wesley: \"Apparently she felt that I disrespected the Haklar's culture by killing it.\"", "Cordy: \"This town sucks.\" The door opens and the host comes in.", "Host: \"Am I happy to see you. You're still a knight for hire, yeah? Well, I'm hiring. I need you to kill something. I suppose you want the particulars, so here they are: it's called a Drokken.\"", "Wesley: \"Drokken?\"", "Host: \"Ah, you won't find it in your books. It's not from any world you ever heard of.\"", "Angel folding his arms: \"How did it get here?\"", "Host: \"Portal. Right in the middle of my Steve Wonder tune. Totally threw me off, and you know how I hate to disappoint an audience. But I digress. What-what's important is that you kill this Drokken, and-and this part I can't stress enough: kill it you must.\"", "Angel: \"Where is it?\"", "Host: \"No idea. But I imagine it's getting pretty hungry by now.\" Two guys are walking down a street at night. The Drokken attacks them, quickly knocks them down and begins to eat, amking some real disgusting noises. A blonde woman walks down a sidewalk, uses her remote to unlock her car, looks up and sees the Drokken, mouth still smeared with blood and screams.", "Angel: \"That's all you got for us?\"", "Wesley sitting beside Cordy: \"What is it doing here? What does it want? What is it capable of?\"", "Host: \"Who cares? It trashed my club, my clientele.\"", "Angel: \"I thought violence wasn't possible in Caritas. Isn't it supposed to be a sanctuary?\"", "Host: \"I didn't say the Drokken *killed* anyone. I mean, knocked over a couple of my regulars. (Looks from Angel to Wes and back) There were a couple of angry glances. - I sensed some bad intentions. - Not a nice fellow. Bad, bad beast. Did I mention the teeth?\"", "Angel: \"You mentioned the teeth.\"", "Host: \"Are you gonna help me or do I have to break out my champion rolodex?\"", "Angel: \"Okay. We can start at Caritas, do a circular search, say one mile in diameter, keep moving out and hope we get lucky, huh?\"", "Cordy: \"Angel.\" Angel looks over at her and she tips her head towards Wesley. Angel unfolds his arms and backs up.", "Angel: \"Sorry. I didn't mean to step on your toes, Wesley.\"", "Wesley: \"Quite alright.\"", "Cordy with a bright smile: \"Wesley is kind of our new leader now.\"", "Host: \"Well, it's been a long time coming. Congrats. (To Angel) And kudos to you. Nice choice of conductor to lead your symphony. (To Wes) So, what do we do now?\"", "Wesley gets up: \"Well, ah... - Angel's right. Barring more promising leads a circular search pattern for the beast seems best.\"", "Host: \"I like it.\" Angel and Wesley start to head out, but the host notices that Cordy is scrunching up her face and putting a hand up to her head.", "Host: \"Hey. What's with her?\" Cordy doubles over groaning.", "Wesley: \"Food poisoning.\"", "Angel: \"From a very expensive appetizer.\" Cordy straightens back up, still clutching her head and Angel hurries over.", "Angel: \"Or possibly a vision.\" We get blurry images of a girl wearing a locket taking a book off a shelf and opening it. Suddenly a portal like the one we saw in Caritas opens behind her and she is sucked into it, screaming.", "Angel: \"You're okay?\"", "Cordy: \"Why does everyone *always* ask me that? Do I *look* okay?!\" Angel backs a few steps away.", "Wesley: \"What did you see?\"", "Cordy: \"A woman. She was at the public library. I think she works there. She was reading a book.\"", "Host: \"A-as scary as *that* sounds... Crazed, rabid Drokken on the loose here? Kind of in first position.\"", "Cordy to Wesley: \"There was an opening behind her. Something magical - a - portal.\"", "Angel: \"A portal.\"", "Host: \"A portal?\"", "Wesley: \"Like the one from which this Drokken beast materialized in Caritas?\"", "Host: \"We-we don't know that for a fact.\"", "Wesley: \"There is our connection. (Checks his watch) We better get to the library. They'll be closing soon.\"", "Angel: \"Right.\" The three of them get ready to head out.", "Host: \"How fortunate that the Powers That Be haven taken an interest in my... I mean, in the problem I brought to your... Ah, it's really quite a break.\" Angel as he walks past the host: \"You coming?\"", "Host: \"Right. - I thought you'd never ask.\" The host stands there, just looking after them for a moment. Gunn walks into the gang's quiet base camp, sees one of them standing guard.", "Gunn: \"Junior, where is everybody?\" Junior won't answer or even look at Gunn.", "Gunn: \"What's wrong?\" When he still doesn't get an answer Gunn moves on to find the whole group standing silently together in another room. They part to let Gunn through to the front where he finds Rondell laid out on a pallet. Gunn crouches down next to George.", "Gunn: \"What...\" George turns Rondell's head to the side, exposing a vampire's fang marks on his neck.", "Gunn: \"Did they make him drink?\"", "George: \"We don't know.\" Gunn closes his eyes and turns his face to the side. The host and Angel follow Wesley and Cordy into the public library.", "Host: \"Call me crazy, but I'm getting the weirdest sense of deja vue here. How come every time you and me hit the big city we end up in a library? Snoresville. Next time why don't we do something fun?\"", "Angel: \"Like what?\"", "Host: \"Elton's in town next month. What do you say, you and me, back row seats?\"", "Angel: \"I don't do big and crowed.\"", "Host: \"Mr. Elton John hits the first few keys of 'yellow brick road' I defy you not to feel like the only other person in the room.\" An older librarian almost runs into the host and both of them such their breath in loudly.", "Host: \"Hi. How are you?\"", "Librarian: \"You... You're... (starts to smile in relief) You're for the children's reading program!\"", "Host smiles back: \"Yes. Yes, I am.\"", "Librarian: \"It's not until tomorrow morning.\"", "Host: \"Yes, I know. I never perform without checking out the space first. Get a feel for the room.\"", "Librarian: \"Oh. (Looks him up and down) Wow. The kids will flip over your costume. It looks so authentic.\"", "Host: \"Thank you.\"", "Librarian: \"Except for the horns. - But those are probably hard to fake.\"", "Host: \"If you only knew.\"", "Librarian: \"The reading area is down that way. Just take a left.\"", "Host: \"Toodles. See you and the munchkins in the morning.\"", "Librarian: \"Right.\" The host walks past the others taking a left down the next corridor as instructed.", "Librarian to the other: \"If you're planning on checking out anything you've got about five minutes.\"", "Cordy: \"Actually we're looking for someone who works here.\"", "Librarian: \"Who's that?\"", "Cordy: \"Okay, she's - tall. She's brown hair about down to here (indicates her waist on her back), wears glasses, pretty...\"", "Librarian: \"Sorry.\"", "Cordy: \"She wears a locket, shaped like a ball or-or an apple, I think?\"", "Librarian: \"An apple? Fred wore one of those.\"", "Angel: \"Fred?\"", "Librarian: \"Winifred. Everyone called her Fred.\"", "Angel: \"Do you know where we can find her?\" The librarian stares at them for a moment. The librarian pulls a folded flyer from under the desk counter and hands it to Cordy.", "Librarian: \"Fred disappeared five years ago. They never found her. Police said if she didn't show up in the first week... Well, we all stopped hoping a while ago.\" Cordy hands the flyer to Angel: \"This is her.\"", "Wesley: \"Can you tell us anything about her?\"", "Librarian: \"She worked here in the library with me. She was studying to be a physicist.\"", "Wesley: \"The day she disappeared...\"", "Librarian: \"Oh - it was creepy. One minute she is cataloguing in the foreign language section and the next minute she's gone!\" Wesley, Angel and Cordy enter the Foreign Language Section.", "Wesley: \"Angel, why don't you look over there, I'll look over here and... what exactly are we looking for?\"", "Cordy: \"I don't know. But this is where I saw the portal in my vision.\"", "Host comes in: \"This reading room - to die for. Great stage, rocking chair, fabulous colors. I'm tempted to just show up tomorrow morning with Harry Potter.\"", "Angel: \"If you don't mind, we're working here. You know, on that thing you wanted us working on?\"", "Host: \"I really liked that circular search pattern you pitched. Has there been any talk of going back to that?\" Cordy pulls a book from a shelf.", "Cordy: \"Here it is. This is the book that Fred was holding in my vision.\" She opens it to the title page.", "Wesley reads: \"SCRQWRN. What kind of language is that?\" The host eyes the book wearily.", "Cordy: \"Last checked out May 6th of 1996 - and returned May 7th of 1996.\" Angel pulls out the missing person flyer the librarian gave them.", "Angel: \"The date she disappeared.\"", "Cordy: \"(?)Crv dr pff lr ploos pls...(?)\" The host lifts a hand as if to stop her but remains quiet.", "Cordy: \"(?)Vos strp umpt pls plsrts in uft frm pltz(?). - Yeah, Pat, I'd like to buy a vowel.\" The host begins to scream as a blinding light and wind suddenly whips around them. Angel grabs a hold of Cordelia and tries to shield her, while the host looking straight at the emerging portal keeps holding that one screaming note. Break", "[SCENE_BREAK]", "Right where we left off. Suddenly the host's scream is joined by a second as a green-skinned, red-eyed, longhaired and armored demon flies headfirst out through the portal, rolls to his feet and draws a sword. Pushing Cordy behind him, Angel attacks the demon. Ducking the demon's sword he punches and kicks it in the gut a few times then manages to knock the sword out of its hands. Angel grabs it and pushes it up against of the stacks and for the first time we see that it bears a remarkable resemblance in appearance to the host.", "Host: \"Landok? Is that you?\" Wes and Cordy look at each other and Angel lowers the fist he had raised to hit the demon again.", "Angel: \"You know him?\"", "Host: \"Yeah. But just because I know his name doesn't mean you can't knock him unconscious. Please continue.\"", "Landok to host: \"Can it really be you? Krevlorneswath of the Deathwok Clan?\"", "Host: \"It's clearly rabid. (To Angel) Do your thing, Angel.\"", "Angel: \"Krevlorneswath?\"", "Cordy: \"Of the Deathwok Clan?\"", "Host: \"Eh, ah, - I-I prefer Lorne.\"", "Angel: \"Lorne.\"", "Host: \"Yes. Lorne, if you must. Though I generally don't go by that because (indicates his face) green?\"", "Cordy: \"Huh?\"", "Angel smiles: \"Right. Lorne Greene. (Cordy and Wes turn to stare at him) Bonanza? (Cordy and Wes look at each other then back at Angel) Fifteen years on the air not mean anything to anyone here? (Drops his hands as the others still just stare) Okay. *Now* I feel old.\"", "Landok: \"What is this place?\"", "Host: \"It's called Los Angeles, and this isn't exactly one of the hot spots.\"", "Landok: \"Is it a prison? (Raises his sword) Are these your captors?\"", "Host: \"Whoa, big fella. Put the sharp piece of metal down. These are my friends. Angel, Cordelia, Wesley - Everybody this is Landok.\" Landok holds the sword tip down in front of himself and gives them a slight bow.", "Landok: \"Landokmar of the Deathwok clan.\"", "Cordy: \"There is that Deathwok clan thing again. Does that mean that the two of you are...\"", "Host: \"Yeah. Cousins.\"", "Angel: \"Cousins?\" Landok sheathes his sword.", "Landok: \"Your vanishing was a great mystery to our clan.\" Everyone looks at Lorne.", "Host: \"Long story, boring ending, really it wouldn't interest you at all.\"", "Landok: \"It was hoped that you had sought atonement by forfeiting your life in the sacrificial canyons of Trelinsk.\"", "Host: \"Well, it's been fun, Landok, but we have to skeedadle. You'll be just fine. New people come to L.A. all the time and manage to find their way around.\"", "Landok: \"Where you abducted into this world as I was?\"", "Host: \"Ah, I came through a portal, yes.\"", "Landok: \"Then we will find a path back to our home Krevlorneswath of the Deathwok Clan. We will return together.\"", "Host: \"Don't know about you, but my ticket was strictly one way.\"", "Landok: \"You will not return home to remove the shame that you have visited upon your life-giver?\"", "Host: \"Is anyone else getting a little peckish? (Laughs) How does Italian sound, hm?\"", "Landok: \"Your mother's burden is terrible.\"", "Host: \"Misses her little green boo, does she?\"", "Landok: \"She rips your images into tiny pieces, feeds them to the swine, butchers the pigs and has their remains scattered for the dogs.\"", "Host: \"Sounds like ma. Tell you what, you pick the spot. I'm game for anything, so...\"", "Landok: \"Does your cowardice really know no limits?\"", "Host: \"The nice people really don't wanna hear about our family issues.\"", "Cordy: \"Sure we do.\"", "Wesley: \"Yes. Let's hear about the cowardice and shame.\"", "Host: \"Okay. For your information: not a coward. In fact, my friends and I were just partaking in a Drokken hunt which, regrettably, we must now return to. Now, if you'll excuse us...\"", "Landok: \"There is a Drokken near by? I will assist in the kill.\"", "Host: \"Find your own Drokken.\"", "Wesley: \"You know how we can kill it?\"", "Landok: \"All that is required is to pierce it with a weapon dipped in thromite.\"", "Host: \"Sorry, cus, thromite? Not exactly existing in this world. Thanks anyway.\"", "Landok: \"Then killing the Drokken will be most difficult. It is impervious to most wounds.\"", "Angel: \"What if you chop its head off?\"", "Wesley: \"Or run it through with a sword?\"", "Angel: \"Or electrocute it with, oh, lets say about a fifty thousand volt charge?\"", "Cordy: \"Yeah, we've had a lot of luck with those things in the past.\"", "Landok: \"Without thromite it will take a mighty blow to destroy the Drokken. It is quite strong and fast, very difficult to hit.\"", "Angel: \"Well, in order to hit it, we've got to find it first.\"", "Landok: \"I can track the Drokken for you.\"", "Wesley: \"You can?\"", "Landok: \"Wherever it roams it leaves behind waves of hostility.\"", "Wesley: \"And you can *read* these waves? - Amazing! All your people do this?\"", "Landok: \"Those who are willing to submit to training.\"", "Host: \"Oh, everyone on board. Guilt trip leaving this station.\"", "Landok: \"Lead me to where the Drokken entered this world. (Pulls his sword) I will help you slay it.\"", "Wesley: \"We'd welcome your help.\" The host watches as they all file past him, then finally follows them. Gunn's truck pulls up and Gunn gets out. There is old wood furniture in the bed of it. Gunn grabs a hold of George as he steps closer and slams him up against the back of the truck.", "Gunn: \"You should have waited for me.\"", "George: \"We've been waiting on you for months, bro.\" Gunn pushes him to the side and grabs a chair from the back of the truck to add it to a pile of other broken furniture laid out a little ways away, then stands there staring at it. Landok is crouched at the foot of the body the Drokken killed earlier.", "Landok: \"Our path is true, but our arrival untimely. The Drokken has consumed. It will be at maximum power.\" He straightens up and waves a hand slowly back and forth in front of his face.", "Angel quietly to host: \"What's he doing?\"", "Host: \"He's channeling his mind to identify the Drokken's aura. I use that sense to help people find their destinies and I'm a freak. He uses it to hunt, he's considered the golden spawn. Go figure.\"", "Angel: \"So, he's like some big hero back home.\"", "Host: \"Talk about screwed up values. A world of only good and evil, black and white, no gray. No music, no art, just champions roaming the countryside, fighting for justice. Bo-ring. You got a problem, solve it with a sword. No one ever admits to having actual feelings and emotions, let alone talks about them. Can you imagine living in place like that?\"", "Angel lost in thought: \"Not really.\" Wesley puts down his cell phone.", "Wesley: \"Why isn't Gunn answering our pages? What if he's in some kind of trouble?\" Cordy is sitting on a bench flipping through the book she found at the library.", "Cordy: \"Or maybe he's in the middle of his stake-o-rama. Besides, last time we went chasing after him on a hunt you got shot. Remember?\"", "Wesley: \"Point taken. - What are you doing?\"", "Cordy: \"I don't know. - We're missing something here, Wesley.\"", "Wesley: \"When we get back to the office I'll see what I can do about deciphering it.\"", "Cordy: \"I mean something bigger.\"", "Wesley: \"Like what?\"", "Cordy: \"I don't know. I just feel like we're chasing after this monster, which is good and all, but - we're missing something.\"", "Landok: \"The Drokken goes this way. The aura is strong. It's not far.\"", "Host: \"What do you want? A medal?\" Landok takes step closer to the host: \"Krevlorneswath of the Deathwok Clan mocks me?\"", "Host: \"Just the LA in me coming out, I guess.\"", "Landok: \"The same Krevlorneswath of the Deathwok Clan who refused the ancient tradition of hunting and gathering.\"", "Host: \"I'll let you in on a little secret, Landok. While the rest of you boys were out hunting I was down at the waterhole chatting up the senioritas, gathering a little love.\"", "Landok: \"Your cowardice even extended to the sacred joust.\"", "Host: \"For the last time: not a coward. I just saw both sides of the joust. (To Angel) How you're supposed to joust someone when you partially agree with their point of view?\"", "Landok: \"The Drokken has taken more food to consume later.\"", "Cordy: \"More food? - Oh, you mean people? - Oh! You mean *people*.\" Angel's convertible pulls up in front of a warehouse with stacks of wooden pallets forming a veritable labyrinth around it. Landok rises up in the back seat and looks around.", "Angel: \"You're sure this is where the Drokken came.\" Just then the Drokken comes into view for a moment, carrying the woman from earlier under one arm. It stops to growl in their direction then disappears into the maze.", "Landok: \"I am sure.\"", "Angel: \"What do we do, Wesley?\"", "Wesley: \"Ah, we don't have Gunn. Uhm, if it's as strong as Landok says...\"", "Angel: \"Yeah?\"", "Wesley: \"Perhaps a diversion. I-I have some flares maybe the light will distract him long enough for us to be able to...\"", "Landok: \"Enough of your words!\" Landok jumps out of the car and charges into the maze of stacks.", "Host: \"Patience not really a virtue with my people.\" Angel gets out of the car and walks towards the stacks, sword in hand.", "Wesley: \"Angel, what are you... What are you... (Wesley gets out as well and looks after them) We don't have a plan.\" Landok comes upon the Drokken and it leaves the frightened woman to charge him. Landok attacks the monster with his sword without doing any visible damage. After a few swings the Drokken gets a hold of him and bites him in the arm and Landok screams as it throws him aside. Angel comes up behind it and kicks it in the side. The two of them fight and seem pretty evenly matched. Wesley and the host come up and see Landok sitting against one of the stack, his arm bleeding.", "Landok: \"Where is my sword?\"", "Host: \"You're hurt.\"", "Landok: \"Fetch my sword.\"", "Host: \"You've been poisoned.\"", "Landok: \"There is time to die *after* the Drokken is slain.\"", "Wesley: \"Poisoned?\" Host watching Angel and the Drokken fight: \"The Drokken's bite contains a powerful venom deadly to my people.\"", "Wesley: \"Is there an antidote?\"", "Host: \"Only back in our world.\" The Drokken manages to get a solid kick in at Angel and sends him flying through the air then scuttles off between the stacks. Wesley comes up next to Angel as he picks himself back up.", "Angel: \"It's going after the woman.\" Angel starts to follow the Drokken. Wesley pulls out a flare and lights it then follows after. The Drokken jumps from the top of one stack to another, watching them.", "Angel quietly to Wesley: \"Find the woman. Get her out. I'll find the Drokken.\" Wesley nods and the two of them split up.", "Landok: \"Krevlorneswath of the Deathwok Clan, my sword!\"", "Host: \"Hello! Martyr complex? You can't even lift your arm for crying out loud.\" We cut back and forth between Wesley with his flare in hand, and Angel making his way among them in the dark with his sword out.", "Angel: \"Hey. You want food? - I can be food. - Pretty tasty here. (Quietly) Come on, where are you? - (Louder) Here kitty, kitty, kitty. - Here kitty, kitty, kitty.\" Wesley hears the woman's sobs and hurries after the sound.", "Wesley: \"It's alright. It's alright. I'm gonna get you out of here. Don't be scared.\" The woman looks past him and screams at the top of her lungs. Wesley spins around to find the Drokken charging straight at him, knocking him backwards to the ground. Break Wesley pushes himself partway up and tries to fend off the Drokken with his flare. The Drokken bites off the top of it and swallows it, leaving Wesley staring at the bitten off stump left in his hand. Before the Drokken can do anything else, Angel is there, attacking it with feet, hands and sword at a furious speed. The Drokken manages to send Angel flying backwards to the ground but Angel throws his sword as he gets back up, and it hits the Drokken's throat dead center, sticking halfway out the back. The Drokken makes a gurgling sound then collapses to the ground. Wesley and Angel look at each other. Angel glances over at the woman then back at Wesley.", "Angel: \"That was fun.\" Cordy has the book open on the hood of Angel's car and is reading in it as the other come back out of the stacks, the host supporting his cousin.", "Landok: \"If I am to perish this night...\"", "Host: \"Stop right here. No perishables allowed here.\"", "Landok: \"If I perish, you will perform the rituals!\"", "Host: \"I certainly will not.\"", "Landok: \"I will not receive glory unless you perform the rituals.\"", "Host: \"Then glory you will not have.\"", "Landok: \"You are the only one here who can officiate.\"", "Wesley: \"We have to get him back to his world now or he's gonna die.\"", "Cordy: \"I think I understand.\"", "Angel: \"Understand what?\"", "Cordy: \"The vision. This book. I think it's how we send him back!\"", "Wesley: \"What do you mean?\"", "Cordy: \"If he reads from the book where we know a portal exists I think it'll send him back. My vision was telling me that that's what happened to that girl Fred. The portal works both ways.\"", "Angel: \"What if instead of sending him back it the portal sends something here?\"", "Cordy: \"It won't.\"", "Wesley: \"How can you be sure?\"", "Cordy: \"I can't. I-I just am. - Don't ask me how I know. I just know.\" Cordy looks at Angel who just looks over at Wesley.", "Wesley after a moment: \"Lets go.\" They all pile into the front seat of Angel's car. The host and his cousin are already in the back.", "Landok: \"Krevlorneswath of the Deathwok Clan, give me your pledge. Will you perform the rituals?\"", "Host: \"I won't have to. No one's dying.\" Gunn stares at Rondell laid out on the pile of broken furniture. George throws a match and lights the pyre. The whole gang watches in silence as the flames lick into the night sky. Angel and the host are supporting Landok between them as they enter Caritas.", "Host: \"Put the portal up here before. Right there. Talk about upstaging me.\"", "Angel: \"I got him.\" Helps Landok on stage then turns to Cordy for the book.", "Angel: \"Cordy? (Hands the book to Landok) All you have to do is read aloud from it. (Turns to look at Cordy, who has her fingers crossed, then back at Landok) Well, that's the theory anyway.\"", "Landok: \"To defeat the Drokken, you must be a great and noble warrior.\"", "Angel: \"Well, you know - I try.\"", "Landok: \"I am happy to know you.\" Grips Angel's wrist.", "Host: \"Landok, be safe.\"", "Landok: \"Goodbye, Krevlorneswath of the Deathwok Clan.\"", "Host: \"Tell my mother I... - Tell her I threw myself into the sacrificial canyons of Trelinsk.\"", "Landok: \"I feel we will meet again some day.\"", "Host: \"Oh, god. I hope not.\" Landok begins to read form the book. The ground begins to shake slightly. The others flinch as the portal opens with a sudden bright light and a gust of wind and sucks Landok backwards into it, then closes again. They all stand and stare at the empty stage.", "Host: \"Wha-what's say we all forget this ever happened.\"", "Angel: \"I'm down with that. Wesley?\"", "Wesley: \"Fine with me. Cordy?\" There is no answer and he turns to see that there is no Cordy anywhere in sight.", "Wesley: \"Cordy!?\" They all look around.", "Angel: \"Cordy!\" Cordy is lying in a patch of sunshine on the ground. She opens her eyes and gets up to look at the wood filled with strange animal noises all around her. Looks up at the sky and sees that there are two suns in it. Spots what looks like stick puppets draped with animal skins a little ways away.", "Cordy: \"Oh - crap!\"" ]

[ "Wes, Gunn, Angel and Lorne find Cordy in Pylea. She's being hailed as a princess because of her visions. Now, she's the ruler of the kingdom. While, Wes and Gunn try to find a way to open another portal and return home, Lorne visits his family. Angel is becoming incredibly popular with the locals, telling them tales of his battles back on earth. He even rescues Fred from certain death. But things quickly start to go wrong for everyone. Cordy realizes some disturbing things about her new responsibilities." ]

[ "[PREVIOUSLY_ON]", "Landok comes through the portal.", "Lorne: \"Landok? Is that you?\"", "Cordy: \"Does that mean that the tow of you are..?\"", "Lorne: \"Cousins, yeah.\"", "Librarian: \"Fred disappeared five years ago. They never found her.\"", "Cordy: \"The vision! This Book! I think this is how we send him back. The portal works both ways.\" Landok gets sucked back home through the portal.", "Wesley: \"Cordy?\"", "Angel: \"Cordelia!\"", "Wesley: \"Cordy's been sucked into the portal. She's in the host's dimension now.\"", "Lorne: \"They have *no* music there. Cordy is in a very bad place.\"", "Fred: \"They use you as a slave and then your body gives...\"", "Narwek: \"Fugitive!\"", "Fred: \"Oh no!\" Fred gets captured. The guys jump through the portal in Angel's car.", "Angel: \"Why am I not on fire?\"", "Wesley: \"Well, it is another dimension.\"", "Vakma: \"My cow is cursed!\"", "Cordy: \"I don't know anything about a curse, okay? I just have these visions.\"", "Silas: \"She is indeed cursed with the sight.\" They guys are standing in front of Narwek in the village square, bound.", "Narwek: \"For the crime of assault - you are to be detained in the dungeon until our royal highness passes sentence upon you.\"", "Angel: \"One - two...\" The guys attack the guards as they are being lead in, then freeze as someone clears their throat.", "Cordy: \"Hi guys!\"", "Wesley: \"Cordelia?\"", "Gunn: \"No way!\"", "Angel: \"You're - safe.\"", "Cordy: \"Little bit. They made me their ruler.\" The soldiers pull the boys to their feet.", "Wesley: \"But this is fantastic!\"", "Cordy: \"Well, it's not like my throne couldn't use a few extra cushions, but I'm really not gonna complain because - throne?\" Wesley and Gunn hold up their chained wrists.", "Wesley: \"You could order them to release us!\"", "Cordy: \"Yes. I really could.\"", "Narwek: \"Shall we gut the cows now that you might dine on their ignoble flesh, oh most high?\"", "Cordy: \"You're most high if you think that's gonna happen. Besides, shouldn't there be some extended groveling first?\"", "Angel: \"Cordelia?\"", "Cordy: \"Okay. - Off with their heads!\" Some of the guards draw their swords to obey as the guys flinch in the hold of the rest of them.", "Cordy: \"Just kidding.\" The guards freeze with the blades only inches away from the guys' throats. Intro Narwek helps Cordy down the steps in front of her throne.", "Narwek: \"Your Majesty, I must protest. To allow dangerous criminals to roam free in your presence?\"", "Cordy: \"You're gonna make me use my 'important voice' aren't you? - Leave us!\" The people in the room slowly file out and shut the door behind them. Cordy holds her arms open for a hug, and steps towards the guys (who are no longer chained). Wes, Gunn and Lorne hurry towards her.", "Wes: \"Oh, thank god!\" Then past her.", "Gunn: \"Yes! Food!\"", "Lorne: \"I thought we'd never see food again!\" They dig into the platters of fruit sitting on a shelf behind the throne. Cordy turns to stare at them.", "Angel: \"What happened?\"", "Cordy turns to face him: \"What's it look like? They jabbed me with hot pokers for a while and then (smiles) made me a princess.\"", "Wesley (with his mouth full): \"It doesn't make sense, does it? I mean, in a world where humans are slaves and chattel - why would they elevate one to monarch?\"", "Lorne: \"You had a vision, didn't you, pudding?\"", "Cordy: \"Uhm, yeah. And can I just say - visions? Not getting any easier. I mean, I'm still kind of vibrating - though *that* could be from the hot pokers.\"", "Lorne: \"See there? She had a vision. That explains it.\"", "Gunn: \"It does?\"", "Lorne: \"Well, see there is this prophecy.\"", "Angel: \"A prophecy? Great. Because those always go well.\" Lorne goes to lounge on the throne.", "Lorne: \"Well the priests that have been running this mess for the last several millennia, the Covenant of Trombli - humorless bunch. Anyway, they teach of a coming messiah.\" Cordy goes up and pushes Lorne's feet off the arm of the throne and looks at him. Lorne gets up to let Cordy sit down.", "Lorne: \"The cursed one. A being with the pure sight, who one day will claim the throne and restore the monarchy.\"", "Wesley: \"When you say 'pure sight'...\"", "Lorne: \"I mean a direct link to the powers that be. I mean her!\" Gunn starts laughing and Cordy turns to glare at him.", "Gunn: \"She's the messiah?\"", "Cordy: \"It could happen.\"", "Wesley: \"It *has* happened. At least that's what these Trombli believe. And so long as they do, we might actually stand a chance of surviving this place long enough to find our way out.\"", "Cordy: \"How did you get in?\"", "Gunn: \"The same way you did: opened a portal with the book.\"", "Wesley: \"We, ah, seem to have misplaced it though.\"", "Cordy: \"The portal or the book?\"", "Gunn: \"Both.\"", "Cordy: \"I don't know about portals, but they've got books here. Those trombonal guys? They used some when they swore me in.\"", "Wesley: \"I've got to see those.\"", "Cordy: \"In kind of in a hurry to get back to the 'Cordelia is not a princess' dimension, aren't you?\"", "Gunn: \"Okay, but say we *do* find the instructions, don't we still need one of those inter dimensional hotspots?\"", "Wesley: \"Yes, that's true. - Angel.\" They all turn to look at Angel and Cordy gasps as she sees that he is standing in front of a mirror - checking out his reflection. Cordy jumps off her throne and hurries over to him.", "Cordy: \"He's reflecting!\"", "Wesley: \"Yes the metaphysical laws which govern our world don't seem to apply here.\"", "Gunn: \"He can walk in the sun, too.\" Angel is looking at himself and feeling his hair, trying to push it down.", "Angel: \"Okay - this is because of going through the portal, right?\"", "Cordy: \"No. It always looks like that.\" Angel turns to look at them.", "Wesley: \"Angel, while we search for the proper incantation, it might save time if you go with the host. Hit the streets, see if you can document any - portal activity.\"", "Angel: \"I don't get it.\"", "Wesley: \"Well, the host knows this world, we need to ascertain if...\" Angel turns back to the mirror: \"No, I mean why didn't anybody tell me about this? Look it's...\" Plays with his hair again.", "Cordy: \"Uh. You look good.\" Angel checking himself out in the mirror again: \"You're not just saying that, are you?\" Wesley pulls him away from the mirror.", "Wesley: \"Angel, please! Go with the host. (Angel bobs to look past Wes at the mirror, and Wes moves with him in an effort to stay in his line of sight) Track down his cousin Landok. Speak to his family and find out...\"", "Lorne: \"Whoa, whoa, back up, back up. You want me to talk to my family? On purpose?!\"", "Wesley: \"Well, it's that - or face the possibility of *never* returning to our own dimension again.\" Lorne sighs then pulls Angel (still staring at himself in the mirror) towards the door.", "Lorne: \"Come on, gorgeous, you can stare at yourself in my grandmother's glass eye. Oh, and while we're here it's just Lorne, okay? To the people of Pylea a host is just one more thing to lay your eggs in.\"", "Angel: \"Yeah, yeah, fine. Hey, can we get my coat?\" They leave.", "Wesley: \"The books Cordelia, can you get us access?\"", "Cordy: \"Am I not the princess?\" One of the red robbed priests is pacing in a room where Silas is sitting at a table.", "Barshon: \"To allow her to wear the crown is a sacrilege!\"", "Silas: \"She is cursed. She has the sight. We all agree.\"", "Barshon: \"Not all. - Why would the powers choose as their vessel this craven beast?\"", "Silas: \"It doesn't matter why. She is our sovereign now and no harm must come to her. At least not until after the Com-shuk. If the princess survives the Com-shuk, *then* you may have her head, Barshon. But not before.\" Angel and Lorne are hitching a ride on the back of one of the pasty faced villager's donkey carts. They jump off as the cart passes in front of the dwelling of Lorne's family.", "Lorne: \"Boy. I'd give my left horn to not have to do this.\" We see a group of Lorne's relatives, apparently engaged in some kind of horse play, in front of their dwelling.", "Lorne: \"Hi-de-ho!\" The big figure in the middle of the gathering turns around to look towards them. Unlike the other demons of Lorne's kind we've seen so far, this one sports a full beard in addition to the usual attributes of his race.", "Lorne: \"Guess who's back.\"", "Bearded demon: \"Krevlorneswath? - Can it be true? I've often prayed that I might look again upon your face.\"", "Lorne: \"Well, you're in luck then.\" The bearded demon spits in Lorne's face.", "Bearded demon: \"You have shamed our clan and betrayed your kind.\" Lorne dabs at the spit with a handkerchief.", "Lorne: \"Thanks, mom.\" Angel's head snaps up and he mouths 'mom?'", "Mom: \"Each morning before I feed I go out into the hills where the ground is thorny and parched, beat my breast and curse the loins that gave birth to such a cretinous boy-child!\"", "Lorne spreading his hands: \"My mother.\"", "Mom: \"Your father was right. We ate the wrong son.\"", "Lorne: \"Well, enough of this sentimental reminiscing. Just a couple of quick questions, then I'll skeddadle. You remember back around five years ago when I first disappeared - did you notice anything - odd?\"", "Mom: \"We noticed feasting and celebrations. Your brother Numfar did the dance of joy for three moons. Numfar! Do the dance of joy.\" Numfar (who is, btw played by no other but Joss Whedon himself) starts some weird dance routine, which includes some kicks and hops as well as tapping himself repeatedly on the head.", "Lorne: \"Actually what I meant was more along the lines of a strange flashing, kind of a weird pulsating... (aside to Angel) You remember when I said we didn't have music in my world? Wish I could say the same about the dancing. (Back to his mom) lights. Really you couldn't have missed it. Big, bendy, swirly...\"", "Mom: \"No longer do the dance of joy, Numfar!\"", "Lorne: \"Nothing like that at all then.\"", "Mom: \"Now take your cow and get off my lawn!\"", "Landok: \"That is no cow.\" Landok pushed Lorne rudely out of the way and claps Angel on the shoulder.", "Landok: \"My friend! It is good to see you again. I would have perished in your strange world were it not for your bravery.\" Angel shifts on his feet and throws a look over at Lorne.", "Mom: \"You know Krevlorneswath's cow?\"", "Landok: \"He's Angel! The brave and noble drokken killer.\"", "Angel: \"Just Angel is really...\"", "Landok: \"He is as valiant and courageous a warrior as I have ever known.\"", "Mom: \"Then he shall be welcome in our home and we shall will him. (Lorne's mouth drops open) Numfar! Do the dance of honor.\" Numfar launches into another series of leaps and gestures, including the bunny-hop.", "Lorne: \"Landok, hi. Say, the drokken killer and I have a few itty-bitty portal queries and then we'll...\" Two relatives come up and pull Angel's coat off.", "Landok: \"We shall adorn my gallant friend in raiments befitting a warrior, that our neighbors may know of his valor.\" Angel watching them take his coat into the house: \"Uh, guys - no wire hanger because that's leather!\" Two other are dropping a necklace around his neck and drape an elaborate cape over his shoulders.", "Angel: \"Oh. Guys, hey, - all this isn't really... (Another relative holds a mirror up in front of him) Nice! He-hey!\" Looks over at Lorne while adjusting the cape.", "Landok: \"Come! You will be our guest of honor at the village feast. There you will tell the tale of your bravery and courage against the vicious drokken.\" Landok leads a smiling Angel away.", "Angel: \"Hey, now, about the hair - do you think that...\" Lorne shakes his head and looks over at Numfar, still hopping around.", "Lorne: \"Why, it's the homecoming I always dreamed of.\" Follows the others, leaving the dancing Numfar behind. Wesley is sitting at a table in the castle library reading a book.", "Gunn: \"You actually read this stuff?\"", "Wesley: \"Hmm. It resembles certain demonic languages with which I'm - familiar, but - whole passages appear to be missing.\" Cordy is looking at another book and Wesley spots the head of the animal engraved on its cover.", "Wesley: \"Fascinating. A hart.\"", "Cordy: \"It's not a heart, it's a bambi. And we expect him to read this teeny tiny print?\"", "Wesley: \"No not h-e-a-r-t, h-a-r-t. A male red deer or staggard. Often associated with rural mysticism.\"", "Gunn: \"Yeah, they all got animals on them. Probably just a bunch of demon bedtime stories.\" Wesley looks at the three books lying open in front of him on the desk.", "Wesley: \"Of course! The holy books are written in Trionic.\"", "Cordy: \"What?\"", "Wesley: \"No one volume is complete without the other two. - Uhm. I-It's really one book broken up into three pieces.\"", "Cordy: \"Like a trilogy.\"", "Wesley: \"No. No. Much more complex than that. See this passage here (points at the first book), it continues in this volume here (points at the second) then concludes in this one (points at the third). The rhythm of the sentence structure - lets one know when to jump from book, to book, to book.\"", "Gunn: \"Anything about the portals?\"", "Wesley: \"Impossible to say. It will take me some time to decipher them I'm afraid.\"", "Cordy: \"Starting to bore the princess.\"", "Wesley: \"Though I do seem to be finding references to the cursed one.\"", "Cordy: \"Really? There is stuff about messiah me?\"", "Wesley: \"Com-shuk.\"", "Cordy: \"Huh?\"", "Wesley: \"Contextually a - a verb.\"", "Cordy: \"Something I'm going to do?\"", "Wesley: \"With a 'groosalug'\"", "Cordy: \"What does that mean?\"", "Wesley: \"I have no idea.\"", "Gunn: \"Sounds dirty if you ask me.\"", "Cordy: \"Nobody did.\"", "Gunn: \"Look. Why don't we just get somebody who knows this stuff to tell us what it means?\"", "Cordy: \"Like who?\"", "Gunn: \"Like one of them priests the host was talking about. These books belong to them, right?\" Wesley closed the middle book and sees that it has the head of a male sheep engraved on its cover.", "Cordy: \"Well, yeah.\"", "Gunn: \"Look, you're the one going on and on about how you're the princess. Can't you just make them translate 'em for us?\" Wes closes the second book. It has a wolf's head on the cover.", "Cordy: \"I guess I could. Yeah. Why not? Princess, not really taking a vote, is she?\" Wes looks down at the images on the covers of the three books, rearranges their order.", "Cordy: \"I'll make a decree.\"", "Gunn looks down as well: \"Wolf - ram...\"", "Wesley: \"And hart. - I'm not sure the priests can be trusted.\" The host is sitting on the side of the Village Square drinking as Angel is recounting some of his exploit to a group of kids.", "Angel: \"...and the scroll is just tipping from his fingertips, and his eyes lighting with fierce determination, and then whack! (Angel makes a chopping motion and some of the kids jump) I chopped off the evil lawyer-beast's hand and he screamed and he screamed and then I left.\" There are appreciative exclamations and applause from the crowd and with a smile Angel gets up and jumps through a gap in the circle of children at his feet and walks over to Lorne.", "Lorne: \"Well, you're just a regular Hans Christian Tarantino, aren't you?\" Angel smiles up at him.", "Lorne: \"We should probably be getting back to the palace.\" Angel's smile slowly fades.", "Angel: \"I really hate to disappoint the kids. They seem to be enjoying this.\"", "Lorne: \"Nice to be seen as a hero without all the pesky moral ambiguities you get back home, isn't it?\"", "Angel: \"Yeah. - Maybe it is a little.\"", "Lorne: \"They see you a certain way. You start to see yourself that way. You become that image. I get it. I do. Because I know how they see me! Can we go?\" Landok comes over and claps Angel on the shoulder.", "Landok: \"Angel. You must again tell the tale of the sorcerer who could remove his limbs and reassemble at will!\"", "Lorne: \"Right! Right. Because that's a good one.\" Landok see two demons position a square block on the little platform in the middle of the square.", "Landok: \"Ah! It is time for the Bach-nal. (Grabs Angel by the front of his cape and shakes him) Angel, you shall swing the Crebbil!\"", "Angel grins and shrugs: \"Yeah? Okay.\" Lorne almost chokes on his drink.", "Lorne: \"The Crebbil? The creb... Angel, Angel!\" But Angel is already halfway across the square, Landok's arm draped around his shoulders. Wesley hurries after Cordy as she enters the throne room.", "Wesley: \"Cordelia, you must listen to me!\"", "Cordy: \"No, Wesley, I think I've heard enough. (Goes to sit on her throne) You want me to go back to where we'd be slaves? Sorry, don't see the upside to that.\"", "Wesley: \"Cordelia, there are forces at work here. You don't know who these priests are. Or what it is they serve!\"", "Cordy: \"Look, you wanna go, go! But I have to stay here and - be a princess.\"", "Wesley: \"And com-shuk with a groosalug?\"", "Cordy: \"Better than shoveling demon horse poo!\" Silas, followed by two other priests, walks in through the open double doors.", "Silas: \"Majesty. - Is everything alright?\" Cordy says yes at the same time as Wesley says no.", "Gunn: \"Yo, priesty, what's the four-one-one on this groosalug? (Cordy throws her hands up) What's that about?\"", "Silas: \"Have you had a vision, Majesty?\"", "Wesley: \"Yes. - Yes, she has had a vision. So... you may as well be candid with her. (Goes to stand next to Cordy) Or she'll know.\" Gunn goes to join them, wagging his finger at Silas in passing.", "Gunn: \"No lying to the messiah now!\"", "Silas: \"Clearly her majesty has seen the groosalug because it has been summoned from the scum pits of Ur...\"", "Cordy: \"Scum pits?\"", "Silas: \"...and will arrive before night fall.\"", "Cordy: \"So that's the really close scum pits then.\"", "Silas: \"Everyone is very anxious for her majesty to com-shuk with the groosalug.\"", "Cordy: \"Of course! Why wouldn't they be? (Points at Wes and Gunn) Now these two? They didn't even know what the com-shuk was. - You tell them!\"", "Silas: \"The com-shuk is a mating ritual.\"", "Gunn aside to Cordy: \"I told you it was dirty.\"", "Cordy: \"Yes. Exactly. The mating ritual - which is - great? (Laughs) It's been a really long times since I've had - a good com-shuk. So, uhm, (gets up) I'm just gonna run out for a minute - because I wanted to - ah, get it a gift! (Walks down the steps, turns and backs towards the open doors) And you know, groosalugs, hard to buy for. (Bumps into two priests, blocking the door) So, ah, - I should hurry.\"", "Silas: \"I'm must insist you do not leave the palace, majesty. The rebels are about. There are rumblings.\" Cordy slowly walking with Silas back towards her throne: \"Rebel rumblings.\"", "Silas: \"We doubled the palace guard.\"", "Cordy: \"Doubled, huh? Uh-huh. - But you will tell me when the groosalug gets here?\"", "Silas bowing: \"Yes of course, your majesty.\" Cordy steps back up to her throne: \"Okay then. Well. Uh, you can go now.\"", "Silas: \"Thank you, your majesty.\" Silas bows and back away, then all three priests leave the room shutting the doors behind them.", "Cordy: \"Let's get the hell out of here.\" Lorne is looking for some way to get to Angel, but he is being lifted by two green demons and carried around the square. There are shouts of 'bring the crebbil!' Lorne from behind the wall of demons: \"Angel! Angel.\" Angel smiles at Fred and gives her a little wave as she is being lead between to other demons towards the little platform. Angel is deposited on the platform. Lorne is bobbing up and down behind his mom and waving his hand in the air, still trying to get Angel's attention as he surveys the crowd. Some one pushes a battle-ax into Angel hands and Angel grabs it reflexively.", "Landok: \"Strike quickly and true, Angel, then we can eat.\" Angel looks down and sees that Fred is kneeling beside him, her head resting on the block that was set up there earlier. He looks from her to the ax in his hands. Break Everyone is watching Angel up on the platform.", "Angel quietly: \"You expect me to...\"", "Mom: \"Sever the cow's head from its body!\" Fred quietly repeating over and over: \"Make it quick. Make it quick.\"", "Landok: \"It is a great honor to swing the crebbil at the bach-nal.\" Angel lowers the ax and pulls off the necklace and cape.", "Voice: \"What is he doing?\"", "Angel quietly: \"You want me to kill her?\"", "Mom: \"The cow is a runaway. A scavenger, that sneaks down from the hills and plunders our food stores.\" Angel looks down at Fred.", "Angel: \"She was probably hungry.\"", "Landok: \"Will you not swing the crebbil?\"", "Angel pulls Fred up: \"Only if you force me to.\"", "Lorne: \"Here we go.\" Lorne takes deep gulp from his mug. Angel pushes Fred a little behind him, holding the ax up in front of him.", "Angel: \"Okay. We're gonna back up nice and slow and these nice folk are...\"", "Mom: \"Stop them!\"", "Angel: \"...are gonna kill us!\" One green horned warrior jumps up on the platform and Angel pushes him off. Another one follows and Angel kicks him back down.", "Lorne: \"Stop!\" Angel stops to look over at him as Lorne starts to sing: \"...in the name of love - before you break my heart...\" All around the square demons are moaning and screaming in pain, covering their ears with their hands. Singing the host slowly walks through the crowd towards the platform as if he was in his club back on earth.", "Landok: \"What strange sorcery is this?\" Angel picks Fred up in his arms and jumps off the platform while Lorne steps on top of it still singing.", "Mom: \"It burns! It burns!\" Mom drops face down to the ground. Angel runs over to one of the horses the guards ride and jumps into its empty saddle, then motions to Fred.", "Angel: \"Come on!\" Fred grabs a hold of his hand and he pulls her up behind him. Angel turns the horse just as two guards in a chariot pulled by two horses come charging into the square. Lorne see them coming towards him, one leaning out over the side holding a mace.", "Lorne: \"...think it o... Shi..!\" The mace catches him square in the middle and the screen goes dark. Wes and Gunn are sneaking along a deserted corridor in the castle.", "Wesley to Cordy: \"Hurry up.\" Cordy striding after them, her hands full of jewels and other stuff like that.", "Cordy: \"If you ever find a way to get us out of here, I want you to find me a dimension where some demons *doesn't* want to impregnate me with its spawn! Is that just too much to ask? What is it about me anyway? Do I put out some kind of come 'shuk' me vibe? I mean, you'd tell me, right?\" Wes and Gunn are pulling a stone trap door in the floor open to reveal some nauseous liquid sloshing around at the bottom of it.", "Cordy: \"Okay. Smells like I'll be mating with the groosalug.\" Gunn has backed away from the opening. Wes drops the arm he had been holding in front of his nose and turns to Cordy.", "Wesley: \"You can do this, Cordelia. The sewage empties out beyond the castle. It's our only sure bet. Just - hold your breath.\"", "Cordy: \"Why can't we use the front door?\"", "Gunn: \"You really think you'd be able to get your booty out the front door?\"", "Cordy: \"Hey!\" Gunn indicates the stuff she's carrying: \"That booty.\"", "Cordy: \"Oh. I just wanted a little something to remember my reign by. Is that so wrong?\" Wes helps Gunn to drop down into the sewer.", "Gunn groaning: \"Ooh - god.\" Wesley holding out his hands to Cordy: \"Come on.\"", "Cordy wrinkling up her face: \"You first.\" With a sigh Wes drops down into the sewer. A heartfelt 'eew!' echoes up. Cordy eyes the opening then slowly maneuvers herself into place to climb down.", "Silas: \"We've been looking for you, your majesty.\" Cordy looks up and sees a couple of priests as well as several guards.", "Silas: \"Someone must speak to the servants about leaving that door open.\" One of the guards shuts it.", "Cordy straightening up: \"Uh. Yeah. It's kind of whiffy in there. (Looks down at the stuff she is carrying) Oh. Ah. I just thought I would have this stuff - appraised!\"", "Silas: \"Your majesty, the groosalug approaches.\"", "Cordy: \"Oh. - Good.\" Gunn and Wes come out of an opening in the castle walls that is half obscured by foliage, looking a bit grubby. Wes is coughing into the sweater he was using to cover his mouth and nose against the stench. Gunn looks back towards the opening.", "Wesley: \"She didn't make it.\"", "Gunn: \"Now what?\"", "Wesley: \"We find Angel.\" Angel and Fred are riding double through what looks like low mountain country. Angel looks around then pulls the horse to a stop, slides off, and helps Fred down.", "Angel: \"I don't think they followed us. We should probably stay on foot. In case they try to track us down. (Gives the now riderless horse a push to get it going) Come on.\" Turns to Fred and finds her staring at him.", "Angel: \"You okay?\" Fred claps a hand to the side of her head.", "Fred: \"Handsome man - saved me from the monsters.\" Angel looks at her with a slight frown.", "Fred: \"Bye.\" With that she runs off.", "Angel: \"Hey. Wait a minute.\" Hurries after her. Fred runs through a wooded area, past a boulder. Runs up then slowly makes his way along the boulder and into a cave. (Nice guitar/woodwind score music playing here.) Finds Fred (now wearing a pair of crooked glasses) busily adding to the carved symbols covering the walls of the cave.", "Angel: \"Hello?\" Fred hesitates for a moment then continues to write. Angel looks around the cave. Angel: \"Hey, great place.\" Slowly crosses the cave.", "Angel: \"You don't have to be afraid of me. Really. I-I'd never...\" He comes up on a small pool of water and his attention is captured by his reflection in it.", "Angel: \"...hurt you?\" Fred glances back at him, the quickly turns back to her carving.", "Angel: \"So, ah... So, you don't wanna talk to me?\"", "Fred: \"I can't, huh?\"", "Angel: \"Why won't you?\"", "Fred: \"Because - you're not real. - Or I'm not real. *Somebody* here isn't real and I suspect it's you. So if you're not real, that means that my head came off back there and that I'm dead now. Dead. And with me being dead and you not being real I can hardly be expected to have some big conversation with you at the moment, because it's just a little too much pressure, alright?!\"", "Angel holds up his hands: \"Okay. Okay.\" Fred nods and turns back to her writing.", "Angel: \"What's that you're doing?\" Fred looks up at the stuff covering the walls. Some of it looks like the words form the book that opened the portal, other stuff resembles mathematical formulas.", "Fred: \"Uhm, I think I saw it in a dream.\"", "Angel: \"You've been here a long time.\"", "Fred: \"Always. - Not always.\" Angel spots something. Picks it up. It's a California drivers license for one Winifred Burke, living in Los Angeles, brown hair, 5'6\", 114 pounds, expiration date 03-01-98. Fred turns around with a smile: \"I had a dream. I had a name.\"", "Angel reads the license: \"Winifred.\" Fred hurries over and pulls the license out of his hand.", "Angel: \"You're the girl from Cordy's vision!\"", "Fred: \"What?\"", "Angel: \"They called you Fred. You were studying to be a physicist.\"", "Fred: \"That's my dream.\"", "Angel: \"You disappeared from a library in Los Angeles five years ago.\"", "Fred shakes her head: \"Stop it.\"", "Angel: \"It's not a dream, Fred.\"", "Fred: \"It's not?\"", "Angel: \"No.\"", "Fred: \"And my head's still on?\" Angel gently pushes her glasses back up onto the bridge of her nose.", "Angel: \"Yeah.\"", "Fred smiles: \"You're real?\" Angel smiles and nods. Fred's smile melts into a frown and she starts to shake her head as she moves a few steps away from Angel.", "Fred: \"No. No, I don't want you to be real.\"", "Angel: \"Why?\" Fred turning back to face him: \"Because! You're nice, and you saved me. And bad things will happen to you here. (Shakes her head and looks down, twisting her fingers together) Bad things always happen here.\"", "Angel: \"No, no, no. Nothing bad's gonna happen. I-It's gonna be okay. We-we can take you out of here.\"", "Fred: \"We?\"", "Angel: \"Yeah. Me and my friends. We-we're working on a way to get out of here. We can take you back.\"", "Fred: \"Can't get back. There is no back.\"", "Angel: \"No, there is. If we can open the portal...\"", "Fred hurries closer: \"The portal! She fell through the portal!\"", "Angel: \"Who did?\"", "Fred: \"That other girl. I couldn't save her. I was arrested. They got her. She's a slave. She'll die!\"", "Angel: \"Oh. Cordy. No, she's fine. They made her a princess.\"", "Fred: \"They... Really? - Oh. (Looks down) When I got here they... They didn't do that. - Well. That's nice for her.\" Cordy is sitting on her throne. A girl is polishing the nails on her right hand.", "Cordy: \"You're sure this is a good first date look? I don't want to seem too easy. I was thinking something more in a nice tailored suit - of armor. - So, so I figured we'd start slow. A few dinners, some light conversation, nothing too heavy and *then* in three or four years, if we still feel like we're hitting it off okay, we'll ah...\"", "Silas: \"Your majesty.\"", "Cordy: \"Yeah.\"", "Silas points towards the door: \"The groosalug.\"", "Cordy: \"Say, don't you think it would add an air of feminine mystery if I were to, you know, not be here?\" She tries to get up but is pushed back down into her throne by a bluish hand on her shoulder. The double doors open and wheezing, bulky demon with horns shuffles in, a sack slung over it's shoulder. Cordy to one of her attendants: \"Kill me now.\" She looks back to find a handsome warrior following the beast into the throne room. He claps the beast on the shoulder.", "Groo to beast: \"Just put those anywhere.\" Groo walks up to the throne and kisses the back of Cordy's hand.", "Groo: \"Majesty.\"", "Cordy: \"Oh.\" Angel and Fred are walking outside between some low boulders.", "Fred: \"I've never been to the palace before. I've seen it up there, on that hill, watching me.\"", "Angel: \"We just gotta find my friends.\" He slows, scans their surroundings. Two bucket-head soldiers on horseback, swords drawn come around a boulder.", "Angel: \"Get down.\" Angel pushes Fred to the ground and tries to shield her with his own body, as the first guard charges and tires to swipe them with his sword.", "Angel: \"Look, you may see something that might frighten you, but I'm your friend, okay?\" Angel jumps up to engage the guards as they come at them again while Fred runs to cower against the side of a boulder. The first guard charges Angel and he ducks under the sword, turns to find the second guard almost on top of him. He morphs but instead of his usual vamp face appearing the morph continues until his whole face turns green and bumpy, framed by some almost horn-like protrusions, while his hands turn into claws. Fred flinches a little as Angel leaps to pull the second guard of his horse. Angel lays into the downed guard with wild ferocity. The guard screams as Angel literally rips one of his arms off and tosses it aside. Seeing this the other guard turns his rearing horse, and flees. Angel buries his head against the guard's throat and the guard goes motionless. Lifting his head Angel looks back at Fred, cowering against her boulder.", "Fred, shaking her head: \"Bad things always happen here.\" Break Growling, Angel leaves the soldier and makes his way over to Fred, who tries to make herself as small as possible. Angel leans in close to her and sniffs. Blood is smeared around his mouth and coloring his teeth. There is a piece of meat hanging form one fang. After a moment Angel abruptly turns to look over his shoulder and leaps away from Fred in a sudden flash of motion. Fred draws a few gasping breaths, then looks over at the mutilated corpse of the guard lying a few feet away.", "Groo: \"An animal. A-a beast! To my people I was nothing more than this.\" Cordy is sitting on the throne attentively listening to the groosalug telling his story.", "Cordy: \"Why?\"", "Groo: \"Can you not see why?\"", "Cordy: \"Not exactly. You seem pretty good to me.\"", "Groo: \"You are truly beneficent. Such - compassion - to ignore the flaws of my - polluted birth.\"", "Cordy: \"Well... huh?\" Groo steps closer, goes down on one knee and takes hold of one of Cordy's hands.", "Groo: \"Why the odd curve of my mouth (pulls her hand to rest against his lips as he pulls them back into a smile) the odd - bulging of my limbs (pulls her hand over to feel the muscles of his upper arm) the heart (pulls her hand against his chest) beating in the wrong place.\" Cordy swallows heavily. Groo lets go of her hand and turns away, Cordy just catching herself before she falls forward out of her throne.", "Groo: \"As I matured these - defects became more apparent. The Covenant soon determined there could be no mistake. There was *cow's* blood in my veins.\"", "Cordy: \"So? Heck, I'm all cow! Err, human.\"", "Groo: \"No, no! You - you are *beyond* cow or good. You - you are the transcendent one.\"", "Cordy: \"I am?\"", "Groo: \"You've been cursed by the powers.\"", "Cordy: \"Tell me about it!\"", "Groo: \"For my people to be part cow is to be less than whole. There was nothing I could do to prove my worth. I was - incapable even of performing husbandly duties with any of the females of my tribe.\"", "Cordy: \"You mean you are...\"", "Groo: \"Anatomically equipped to mate only with a human.\"", "Cordy: \"Good to know.\"", "Groo: \"I was cast from my village. Cut off from my liver givers. Forced to make my way on my own.\"", "Cordy: \"My parents were busted for tax fraud and my trust fund dried up over night.\"", "Groo: \"I - sought to end my suffering.\"", "Cordy: \"Get out!\" All of the attendants and the groosalug turn and file towards the door as Cordy watches with her mouth dropping open.", "Cordy: \"Ah, no. Wait!\" They stop to look at her. Cordy points at Groo.", "Cordy: \"He can stay.\" The rest of them file out and close the doors.", "Cordy: \"Go on. You sought to end your suffering.\"", "Groo: \"I-I *foolishly* entered every contest of skill and daring that I could in an attempt to snuff out my pathetic life. - But even at *this* - I failed.\"", "Cordy: \"You did?\"", "Groo: \"I *won* - every match. I - *vanquished* every flame beast. I *defeated* every drokken. It seemed nothing could stop me. - The Covenant had no choice but to bestow upon me the name groosalug. The brave - undefeated.\" Cordy's eyes are riveted to his.", "Cordy: \"Wow.\"", "[SCENE_BREAK]", "Constable Narwek enters, followed by two guards leading a gagged and bound Lorne between them.", "Narwek: \"Majesty.\" Cordy never taking her eyes off Groo: \"What?\"", "Narwek: \"There has been a disruption at the bach-nal. The prisoner is ready for your swift and cruel punishment.\"", "Cordy: \"Handle it, will you? I'm in the middle of something.\"", "Narwek: \"Execute the prisoner.\" Cordy finally looks away from Groo towards the door: \"Wait! -Hang on!\" She jumps off the throne and runs towards the door: \"Pardon him. I-I pardon him. Pardon him. Ah, release him. Now! (Pulls the gag out of Lorne's mouth) Oh, baby, are you okay?\" Lorne sighs then spots the groosalug.", "Lorne: \"Not as good as you obviously. - Should I call them back? You could borrow the cuffs.\" Cordy looks towards Groo then begins to push Lorne out the door.", "Cordy: \"Listen, I'll get right back with you. You're pardoned, absolved, shoo!\"", "Lorne: \"Uh, what about... Where is Wesley and Gunn?\"", "Cordy, closing the door: \"Oh, I'm sure they're fine.\" Wes and Gunn are walking through the forest.", "Gunn: \"We're lost.\"", "Wesley: \"Nonsense. I've been following the sun. We're headed due west, back toward the village.\"", "Gunn: \"Which one?\"", "Wesley: \"Which village?\"", "Gunn: \"Which sun? There're two of them. Alternate dimension? We're lost.\" Wesley stops and holds up a hand for silence.", "Gunn: \"You're having a Blair witch moment?\"", "Wesley: \"Something's hunting us.\" Gunn smoothly slides in to stand back to back with Wes.", "Gunn: \"Palace guards?\"", "Wesley: \"I don't know.\" They pivot together to survey their surroundings. Suddenly the Angel-beast appears on top of a rock, then jumps off, knocking both of them to the ground. Wes and Gunn pick themselves up and turn to look at the Angel-beast, fanning out so that the beast can't come at both of them at once.", "Gunn: \"What the hell is it?\" Wesley stumbles on a rock and falls. The beast runs towards him hesitating a moment at the sight of the branch that Wes is holding in front of him. At the same time Gunn begins to pelt the Angel-beast with rocks.", "Gunn: \"Come on! Come on!\" The Angel-beast turns and Wes spots Angel's tattoo showing briefly through a rip in his clothing.", "Wesley: \"It's Angel!\" Gunn glances at Wes and the beast leaps, knocking him to the ground. Gunn is straining to hold the Angel-beast off far enough to keep out of the reach of its fangs.", "Wesley: \"Angel! Can you hear me? Angel! Angel?\" Fred slowly dips her hand into a leather pouch hanging by her side. When she takes her balled hand back out it is dripping with blood. She slowly raises it up into the air. We can still dimly hear Wesley calling Angel's name, but the sound of his voice is being drowned out by a heartbeat like thudding underlying a haunting woodwind tune as the Angel-beast slowly straightens up and looks over towards the blood covered fist. The Angel-beast slowly moves closer to Fred and, with her fist still raised, Fred slowly backs up, leading it away. Wesley hurries over to Gunn and notices deep scratches marring his left shoulder.", "Wesley: \"Oh, you're hurt.\"", "Gunn: \"What the hell just happened?\"", "Wesley: \"That strange wild girl saved us - from Angel.\"", "Gunn: \"Something very freaky is going on here.\"", "Wesley: \"I have a suspicion I may know what. Angel's vampire-self - has been sublimated somehow - by this dimension.\" He picks up a handful of wet mud and gets ready to smear it over Gunn's scratches. Gunn holds up a hand.", "Wesley: \"It's okay.\" Gunn lets him pack the scratches with mud.", "Wesley: \"Only his human side as surfaced since we've been here...\"", "Gunn: \"You mean being able to walk around in the sun - seeing his reflection, like that?\"", "Wesley: \"Yes. And now, for whatever reason he's accessed his demon, but he can't find the balance he normally would in our world. His demon-self has totally overcome his human side.\"", "Gunn: \"So that's what the thing inside of him really looks like?\"", "Wesley: \"In its purest form.\"", "Gunn: \"That's nasty.\"", "Wesley: \"Can you walk?\"", "Gunn: \"Yeah.\"", "Wesley: \"We've got to help him.\" Wes helps Gunn to his feet.", "Wesley: \"You alright?\"", "Gunn: \"Yeah.\" Before they haven taken more than a few steps screaming figures start to drop out of the trees surrounding them and in a few moments they are surrounded by a group of humans carrying crude weapons.", "Gunn: \"Oh, good. More fun.\" Fred is slowly backing across her cave. The Angel-beast follows her until it comes up to the edge of the little pool. It looks down and seeing a monster looking back swipes at the water, destroying the reflection. It sits and stares down as the image reforms slowly. Draws its claws across it slowly and watches the image break up and reform again. With a groan the beast suddenly morphs back into Angel, who staggers back from the edge of the pool. He takes a few stumbling steps away then collapses into a shivering, gasping heap in a little patch of sunlight in the middle of the cave, his back to Fred. Fred slowly walks over to him and reaches out a hand towards him. Looks at her still bloody hand and slowly pulls it back without touching him. Break Night has fallen over the castle. Groo and Cordy are still alone in the throne room.", "Groo: \"And that, my princess, is my story in full. When the Covenant summoned me I was vanquishing the Mogfan beast that bedevils the scum pits of Ur.\"", "Cordy after a beat: \"Uh, that's a great story. And you are a great groosalug. But - I'm not your princess. - The truth is, I'm not anybody's princess.\"", "Groo: \"Have you not the curse?\"", "Cordy: \"The visions? Oh, yeah, I've got visions coming out of my ears, sometimes a little blood, too, but - that doesn't make me a princess. That just makes me - kind of weird.\"", "Groo: \"I do not understand.\"", "Cordy stands up: \"Where I come from, who I really am - is so far from being a princess, you have no idea. (Sighs) I'm an actress.\"", "Groo: \"I do not know this word.\"", "Cordy: \"Actress? It means - when I'm finally lucky enough to get the gig, other people tell me what to do, where to stand, how to move, what to say...\"", "Groo: \"You are the concubine of your village.\"", "Cordy: \"Felt like one sometimes. Last job I had you should have seen the horrible thing they made me wear! It was this tiny, skimpy, exploitative... (Looks down at her present, skimpy outfit) Uh, nothing like this!\"", "Groo: \"Have they no eyes in this village?\"", "Cordy: \"What do you mean?\"", "Groo: \"Can they not just look upon you and *see* that you are a princess?\"", "Cordy after a beat: \"I'm not.\"", "Groo: \"No. Pardon my impudence, majesty, but you are wrong. The Covenant has declared it so.\"", "Cordy: \"It doesn't matter what they say.\"", "Groo: \"Then *you* declare it so. You declare it with your bearing and your beauty - and the mercy that I have seen you bestow upon one of your subjects this very day.\"", "Cordy: \"He was a friend of mine.\"", "Groo: \"Then if you treat all of your subjects this way, you will do much good.\"", "Cordy: \"It's a beautiful dream. Really it is. But - it's not real.\"", "Groo stepping close: \"Why not?\" Silas is pacing in front of some other priests.", "Silas: \"Parchment! She's asked for parchment.\"", "Priest: \"Some strange cow mating ritual?\"", "Silas: \"No. She wants to make proclamations.\"", "Priest: \"Proclamations?\"", "Silas: \"She's decided she can do some good.\"", "Priest: \"Then the com-shuk has not yet taken place.\"", "Silas: \"I think it's time to send our princess a message.\" The human rebels are gathered around a fire in the woods. Wes and Gunn are tied to a stake to one side of it.", "Rebel: \"I know how we send a message to the princess. - We storm the palace.\"", "Leader: \"That'd be suicide. Our entire number would be wiped out in minutes.\"", "Rebel: \"Yeah, but it'd be a message.\"", "Wesley: \"Excuse me. I couldn't help overhearing.\"", "Gunn: \"Wesley!\"", "Wesley: \"It's all right Gunn, I believe we can help these brave men.\"", "Leader: \"Shut up, reconnaissance-cow-scum.\"", "Wesley: \"Now see here, I've told you already. We're *not* reconnaissance cows.\"", "Rebel: \"We tracked you coming from the palace. Don't lie.\"", "Wesley: \"I'm not lying. And if it's a message you want sent to the princess, then I *know* we can help.\"", "Gunn: \"Shut up, Wesley.\"", "Leader: \"How?\"", "Wesley: \"Well, we just happen to be close personal friends with the princess.\" Gunn closes his eyes and lets his head drop. The rebels laugh.", "Rebel: \"They know the princess.\"", "Leader: \"Close personal friends, huh?\"", "Wesley: \"I can prove it. In my wallet... uh, ah, the leather holder in the back of my leg coverings.\" The leader walks over and pulls out Wesley's wallet.", "Wesley: \"That's it.\" The leader flips the wallet open to reveal a picture of Angel, Cordy and Wes, all smiling.", "Leader: \"It's true. They know the princess.\"", "Wesley: \"Now, if your organization would just draw up some sort of list of demands we would be more than happy to present it directly to her majesty.\"", "Leader: \"Lets do it. Have Sasha write up a list of demands.\"", "Wesley to Gunn: \"There, you see?\"", "Leader: \"Shove the list in their mouths, put their severed heads on sticks and display them outside the princess' window.\"", "Gunn: \"Have I mentioned just how glad I am I decided to leave my people behind in LA so I could come here to die?\" Fred is filling a pot with water from the pool and carries over to where Angel is lying on a pile of blankets facing away from her. He is still shivering slightly and breathing in small ragged gasps. Fred dabs at his neck with a wet rag.", "Fred: \"Are you feeling any better?\" Angel doesn't react.", "Fred: \"It's okay. You don't have to talk. I'm used to it.\"", "Angel muttering: \"They, they saw it. They, they looked right at it. They saw it...\"", "Fred: \"Saw what?\"", "Angel: \"The monster... They-they saw what I really am. - I can't go back. Not now. I can never go back. No...\"", "Fred: \"It's okay. You - you could stay here.\" Fred looks around her little cave, while Angel lies there breathing raggedly. The groosalug and Cordy a lounging on the steps to her throne as Cordy writes up her proclamations.", "Cordy: \"And this one will free the slaves and outlaw polyester. I know it hasn't actually been invented here yet, but I'm a forward thinking monarch.\" Silas and two other priests enter. One of them is carrying a small pedestal, the other a silver platter with a domed lid. They set down the pedestal and set the platter down on top of it.", "Cordy: \"We didn't order anything.\"", "Silas: \"Get out cow.\" Groo gets up and leaves. Cordy gets up and goes to stand in front of Silas.", "Cordy: \"Hey. You can't call him that. He is groosalug, the brave and undefeated.\"", "Silas: \"He is that only because I say he is.\"", "Cordy: \"Groo! Where are you... Huh, he just left.\"", "Silas: \"He understands the way of things.\" Cordy turns to face him.", "Cordy: \"Yeah? Well, the way of things is going to change around here.\"", "Silas: \"Is that right?\"", "Cordy: \"Way!\" Picks up a rolled parchment and holds it up.", "Cordy: \"I've got - proclamations!\" Silas knocks the parchment out of her hand.", "Silas: \"Foolish girl.\"", "Cordy: \"Hey! Who's wearing the tiara around here, pal?!\"", "Silas: \"The Powers have seen fit to place their gift in you.\"", "Cordy: \"You got that right.\"", "Silas: \"But let us be clear. You have no authority here.\"", "Cordy: \"But I am the princess.\"", "Silas: \"The princess, like the groosalug, is a tool of the Covenant, nothing more. - You will do what we tell you to do. If we tell you to mate, then you shall mate.\"", "Cordy: \"You can't force us to...\"", "Silas: \"And if we tell you 'silent' you shut your cow mouth!\" Cordy folding her arms in front of her: \"Pardon me?\"", "Silas: \"Pardon - your majesty? Don't you feel you have done enough - pardoning...\" Silas reaches over to lift the lid off the platter.", "Silas: \"...for one day?\" Cordy looks down and gasps as she sees Lorne's severed head lying on the silver platter." ]

[ "The season two finale has Team Angel desperate to escape Pylea. Wes and Gunn join up with the rebel forces, Cordy tries to save Lorne, and Angel has to overcome the demon inside of him. If they're ever going to get back to LA, they're going to have to overcome their individual problems and work together as a team." ]

[ "[PREVIOUSLY_ON]", "Director: \"Show the cleavage, say the line. Got it?\"", "Cordy: \"Got it.\"", "Wesley on phone: \"I've been put in charge of our group.\"", "Angel: \"What do we do, Wesley?\"", "Wesley: \"Uhm, uh...\"", "Gunn: \"Last night I lost one of my crew. I should have been there.\"", "Angel: \"God, I hate LA. When can we get out of this world?\"", "Wesley: \"Cordy's been sucked into the portal. She's in the host's dimension.\"", "Angel: \"We're going in after her.\" The convertible barrels through the gate. Angel standing in the sun.", "Wesley: \"The meta-physical laws that govern our world don't seem to apply here.\" Angel looks at himself in the mirror.", "Wesley: \"Cordelia?\"", "Cordy: \"They made me their ruler.\"", "Silas: \"Your Majesty, the groosalug.\" Cordy smiles at Groo.", "Mom: \"Krelorneswath?\" Mom spits.", "Lorne: \"My mother!\" Angel stands over Fred holding the crebbil.", "Landok: \"Strike quickly and true, Angel. Then we can eat.\"", "Fred: \"Handsome man - saved me from the monsters.\" Angel morphs into the Angel-beast. Wes and Gunn are bound to a post in the rebel camp.", "Leader: \"Shove the list in their mouths, put their severed heads on sticks and display them outside the princess's window.\"", "Silas to Cordy: \"You will do what we say.\" Removes the lid to reveal Lorne's head on a silver platter. Cordy stands alone in front of Lorne's severed head sobbing.", "Cordy: \"No. Oh, no. - God, please forgive me. This is all my fault. Because I pardoned you - and they - they wanted to teach me a lesson. - You didn't do anything wrong.\" Cordy reaches out as if to touch Lorne's cheek, but pulls her hand back at the last moment.", "Cordy: \"You didn't do anything. - I don't like it here anymore. - I just wanna go home.\" Cordy covers her face with her hands, so she doesn't see Lorne's eyes open.", "Lorne: \"Oh, honey, I'm right there with you.\" Cordy pulls her hands form her face, lets out a scream and falls backwards. Intro Cordy is standing in front of Lorne's head, sustaining one loud, drawn-out scream.", "Lorne: \"I realize this is a bit of a shock, but I can explain. Take it easy. Okay, get it out of your system. (Laughs a little) That's good. You have to breathe sometime. - Good lord, shut up, woman!\" Cordy finally quits screaming, and starts gasping for breath.", "Lorne: \"It's not like I have hands to cover my ears here, you know?\"", "Cordy points at Lorne's head: \"Y-y-you-you're... I-it's...\"", "Lorne: \"So, please just listen? My people, the fun-loving Deathwok clan, you cut off our heads we just keep on ticking until you mutilate our bodies. Obviously they haven't gotten to my body yet. Probably a backlog in the mutilation chamber. So if we move quickly and quietly...\" The door bursts open and Cordy spins around with a gasp, stepping between the head and the door. Two cow slaves walk in.", "Markallo: \"Oh sacred princess, are you troubled? We heard a fearful shrieking.\"", "Cordy: \"Oh, the shrieking. It's ah - the royal meditation that I do to help me - focus on the great affairs of state that I must manage.\" Takes a deep breath, spreads her hands and lets out a bellowing shriek.", "Markallo: \"Kaldar, remove the traitor's filthy head from our lady's august presence.\"", "Cordy: \"No, no, no, no! I - like the filthy head. That is, ah, I want to defile it more! (Turns and spits on Lorne, who is playing dead) I just keep it - to spit upon, and-and-and when I grow tired of that, I-I-I will make it into ah, a planter. A traitor planter - for *all* to see. - - Or maybe a candy dish. (Sighs) You may leave me.\"", "Markallo: \"As you wish noble mistress.\" They leave, closing the door behind them and Cordy hurries to wipe Lorne's head with a piece of cloth.", "Cordy: \"I'm sorry about the spittle. I just had to think fast. - This is just pretty unsettling for me.\"", "Lorne: \"Oh, I'm sure it must be. And after all, I only lost my head! Technically my body.\"", "Cordy: \"Okay, I realize this is a trying experience but I really don't see how *yelling* at me - can help matters.\"", "Lorne: \"Just put me in a bag and take me to the mutilation chamber.\"", "Cordy: \"I have no idea where the - mutilation chamber might be! I...\"", "Lorne: \"So, I guess I'll just sit here and die then. Find someone who knows!\"", "Silas: \"In what temper did you find her?\"", "Markallo: \"She appeared grievously distressed, master.\"", "Silas: \"Good. We will add more heads to her collection that she might never forget who is the master here and who is the servant.\" Turns to the blue faced captain of the palace guard.", "Silas: \"Her two friends that escaped through the waste canal, send a hunting party south into the woods after them.\"", "Captain: \"Yes, lord.\"", "Silas: \"As to the one they call Angel - you know what he is?\"", "Captain: \"He is the animal who took apart two of my soldiers.\"", "Priest: \"He is a Van-tal, a drinker of blood. He can only be killed by fire, decapitation or a wooden spear through the heart.\"", "Silas: \"Perhaps all three, just to be thorough. Hunt him down.\"", "Captain: \"It shall be done, my lord. I will personally bury my spear in his rump.\" The Captain turns to leave.", "Silas: \"Captain! His heart is where a cow's is (touches his breast) here.\"", "Captain: \"Disgusting.\" The Captain leaves.", "Priest: \"This Angel-beast has saved a runaway slave her rightful beheading. He ignores our laws and profanes our holy culture.\"", "Silas: \"He does worse than that. He brings hope to the cows, for if one can be free hope arises that *all* can be free. - Isn't that right, Markallo?\"", "Markallo: \"My lord, as it was ordained in the beginning our lives belong to you.\"", "Silas: \"They do. Yet we live in a time where runaways become rebels - where portals open to worlds where the holy clergy has not decreed them. Even slaves supposedly loyal to me - give the enemy drawings to our sacred devices.\"", "Markallo: \"I-it is not true, master.\"", "Silas: \"Don't be alarmed, Markallo. You did me a favor. The cows need to know what we can do to them - any time we chose.\" Silas turns around points a small silver device at Markallo and pushes down on a jewel set in its side. Markallo's eyes widen as we here a whizzing sound, then his head is blown of his shoulders. Silas doesn't show any reaction as we hear a dull thud followed by the slave ring around his neck clinking on the floor.", "Silas to Kaldar: \"Please clean that up.\" Silas looks at the silver device: \"And if one of thy slaves offend thee, thou shalt smite him down.\" Pulls a cloth off a console, lets his hand hover over the outline of a hand set with jewels in the middle of it.", "Silas: \"And if all of thy slaves offend thee, thou shalt smite them down, too, even upon the very last one in the land.\" Day in the rebel camp, Wes and Gunn are kneeling, their hands bound behind their backs, their heads clamped into a pair of stocks.", "Leader: \"For the crime of collaboration you are sentenced to death.\"", "Wesley: \"No! We're *not* collaborators, we're not even from around here!\"", "Sasha: \"On my count of three.\"", "Wesley: \"Forgive me, Gunn. I should never have opened my mouth.\"", "Gunn: \"I've got a plan.\"", "Wesley: \"Oh thank god! What is it?\"", "Sasha: \"One.\"", "Gunn: \"We die horribly and painfully, *you* go to hell and I spend eternity in the arms of baby Jesus.\"", "Wesley: \"Oh.\" The rebel standing next to Wesley lifts his ax.", "Sasha: \"Two.\" Gunn squeezes his eyes shut.", "Sasha: \"Three.\" Just as the executioner is about to strike a black-fletched arrow buries itself in his chest and he falls back with a scream, dropping the ax. The rebel leader spins around to see mounted guards charging down from the surrounding hills.", "Leader: \"Imperial guards!\" The rebels turn to fight the attacking guards. Wesley and Gunn get up, the stocks clamped around their necks swinging around ponderously.", "Wesley: \"This is our chance to escape!\"", "Guard charging towards them: \"There they are! Kill the otherworlders!\"", "Gunn: \"I really had about enough of this world.\" Gunn and Wesley swing the heavy stocks still clamped around their necks, using them to knock out the soldiers attacking them on foot. Angel is lying on some pelts on the cave floor. He lets out a low moan then wakes with a sudden gasp and looks over to the cave entrance. Fred enters carrying a wooden bowl in her hand.", "Fred: \"I found Kalla berries! (Pops a couple in her mouth with a smile) They sweeten the oatmeal. (Crouches down beside the fire) Well - I call it oatmeal. It's actually crug-grain and thistles, but with enough Kalla berries...\" Turns to see Angel slowly getting to his feet.", "Fred: \"I hope the skins are comfortable. I seem to remember when there were beds you could sleep in for hours at a time!\"", "Angel: \"Oh, yeah, I-I slept. It-it was fine.\" Angel walks over to the pool and sits down on the edge of it.", "Fred: \"Hmm.\"", "Angel: \"What? (Looks down at his reflection for a moment before scooping up a handful of water to wash his face.) Did I snore?\"", "Fred: \"Hmm... I don't remember any snoring.\"", "Angel: \"Good.\"", "Fred: \"I remember caterwauling...\" Fred lets out a short shriek, startling Angel.", "Angel: \"Sorry.\"", "Fred: \"I don't mind. - Sometimes it just burbles up inside you and you have to - bellow a little. Do it all the time. No one's around to hear.\" Crouches down in front of Angel and hands him a bowl of 'oatmeal' with a spoon in it.", "Fred: \"You'll get better with a little rest and care.\"", "Angel: \"I don't think so.\"", "Fred: \"Why wouldn't ya?\"", "Angel: \"You saw what I turn into. - Back in LA it's bad. But here it's...\"", "Fred: \"We all got our demons.\" Angel doesn't look at her, just moves the spoon around in his oatmeal. Fred gets up and walks away from him.", "Fred: \"Okay, so - maybe you got a beast in you. But I know what it's like to be squirrelly and a freak with no one to... (spins to face Angel) Does it taste like oatmeal?\" Angel hurriedly shoves a spoonful in his mouth.", "Fred: \"I-I forget what things are supposed to taste like.\"", "Angel: \"Tastes good.\" Fred takes a step closer and yells 'Tacos!' making Angel jump.", "Fred: \"Sorry. I didn't mean to holler at you. (Sits down beside Angel) I love tacos. Do they still have them? You know, back...\"", "Angel: \"...home? Yeah, they didn't outlaw tacos.\"", "Fred: \"Oh, of course not. I've been trying to make an enchilada out of tree bark.\"", "Angel: \"Bark enchiladas. Huh. - How's that going?\"", "Fred: \"There is work to be done.\"", "Cordy: \"Come in!\" The door to the throne room opens and a serving maid hurriedly kneels down in front of Cordy.", "Marelda: \"What may thy lowly serving wench do you, my lady.\"", "Cordy: \"You're not lowly. Please get up, get up. You're just like me.\"", "Marelda looks up: \"Like you? The light that shines in the darkness upon the land?\"", "Cordy: \"Sure. - Is - is-is that what they really call me? (Marelda quickly lowers her eyes again) Anyway. You have served me well and loyally these last - two and a half - days. I'm very fond of you Lamara.\"", "Marelda: \"Marelda.\"", "Cordy: \"I knew that.\"", "Marelda: \"Of course you did, exalted one. You know all. You must cut my tongue from my worthless skull!\"", "Cordy: \"No! No cutting. What is it with you people and mutilation?\"", "Marelda: \"We don't have a lot of - entertainment, mum.\"", "Cordy: \"Can you keep a secret, Geraldo?\" Marelda's head snaps up and she nods.", "Cordy: \"I want you to take me to the mutilation chamber.\"", "Marelda: \"This can not be done, majesty.\"", "Cordy: \"Why not?\"", "Marelda: \"If anyone were to see you, you would bring shame to the kingdom! You can not defile your holy self by entering such a place.\"", "Cordy: \"Huh.\" Cordy looks down at the 'dead' head of Lorne with a sigh. Drums her fingers on the pedestal for a moment.", "Cordy: \"Okay. - Take off your clothes.\" Marelda stares up at Cordy. Lorne's eyes blink open. Angel stands in a little patch of sunshine inside the cave. Fred is sitting a little ways away, mending some garment.", "Angel: \"Can't do this in LA.\"", "Fred: \"Why not?\"", "Angel: \"Oh, I'll burst into flames. - Part of the beast thing.\"", "Fred: \"So it's better for you here.\"", "Angel: \"Well - there is the sun (lifts his head to face the sun, then lowers it and steps out of the sunlight) but also the thing inside that wants to rip my friends apart.\" Fed looks up at him for a moment, then goes back to mending the tunic she is holding on her lap. Angel sighs and looks at the symbols covering the cave walls.", "Angel: \"Krv... drplgr.. I know these words. These are the words we used to open up the portals.\"", "Fred: \"They're not words. They're consonant representations of a mathematical transfiguration formula.\"", "Angel after a beat: \"Well, obviously.\"", "Fred: \"I used to think that if you said them out loud and in the right order the quaking and quivering would...\"", "Angel: \"Oh, you mean open a portal. - Well, that's how we got here and that's how we'll get back.\"", "Fred: \"No. I tried. For years and years - until my tongue was swollen and my head was all kaplooey. It doesn't work on this side.\"", "Angel: \"Oh, but it does. A drokken and one of those green warriors got to LA from this end. Somebody must have opened up the portals for them. Maybe you did and you just don't know where.\"", "Fred: \"Me? I don't think so. The priests have all the power here.\" Angel turns back to look at the walls. Fred screams as a palace guard tackles her. Angel spins around, grabs the guard and tosses him against the cave wall. Another guard attacks Angel, and then the Captain tries to run Angel through with a spear. Angel grabs the spear and deflects it so the Captain stabs the guard behind Angel with it instead. The Captain hits Angel with his fist, pulls the spear free and uses it to beat up on Angel, who staggers back under the assault. Angel's eyes suddenly take on a red glow. Fred cowers against one of the cave walls.", "Angel: \"Can't change. Won't change.\" The glow slowly fades. The Captain swings the spear around, knocks Angel to the ground, then stabs him in the chest with it. Break Angel groans as the Captain pulls the spear back out.", "Captain: \"Missed the heart, did I?\" Runs Angel through a again. Still no heart. Gets ready to try again, but suddenly collapses, revealing Fred behind him, holding a big boulder up above her head. Fred crouches down beside Angel repeating over and over: \"Please don't die. Please don't die.\" Angel passes out. The last of the guards is fleeing the rebel camp. Sasha throws his sword after him and we hear a groan and a thud. Sasha walks over to the corpse of their leader and pulls the sword out of his body, walks over to where Wes and Gunn, stocks still around their necks, hands bound behind their backs are standing together.", "Sasha: \"They did not come for us. They came for you. Why?\"", "Wesley: \"Because they know we will try to rescue the princess.\"", "Sasha: \"Rescue her from what?\"", "Wesley: \"From mating with the groosalug.\"", "Bartok: \"Which will fulfill their prophecies and consolidate their power.\"", "Gunn: \"We don't want that to happen any more than you do.\"", "Sasha nods: \"You're fight. We are on the same side. Release them.\" Some rebels go to untie them and take off the stocks.", "Sasha loudly: \"Though their hands were tied and their necks were bared they fought with us. (Takes a step closer and continues more quietly) I'm ashamed. We nearly cut your heads off.\"", "Wesley rubbing his neck: \"You were just (sighs) doing your job.\" Gunn gives Wes a look.", "Sasha: \"You're free to go.\" Wes and Gunn walk past him towards the woods.", "Sasha: \"Five cheers for the otherworlders!\"", "Rebels cheering: \"Brave warriors! Brave warriors!...\"", "Wesley: \"Oh, in this world you get five!\"", "Gunn: \"So, our first job is to find Angel.\"", "Wesley: \"Yes.\"", "Gunn: \"Last time we saw him he had a funny look on his face. A 'rip out your guts now, ask questions later' kind of look.\"", "Wesley: \"What do you suggest?\" Gunn stops and points back at the camp: \"I'm thinking these guys have a cause worth fighting for. Isn't that what we do?\"", "Wesley: \"What about Cordelia?\"", "Gunn: \"If we're gonna be getting her out of that castle we're gonna need a lot of muscle.\"", "Wesley: \"Muscle which could come in handy if we have to incapacitate Angel.\"", "Gunn: \"Yeah. Also look at them. They won a skirmish today, but they're no match for the covenant. I don't wanna leave them to get themselves killed. - I do that enough.\" Fred dabs at the wounds in Angel's chest. Angel's eyes slowly flutter open.", "Fred: \"Oh. There you are. Good.\"", "Angel: \"Hi.\"", "Fred: \"You heal fast.\"", "Angel: \"One of the pluses of being a beast.\"", "Fred: \"But you're not. When you were fighting this time, you didn't change.\"", "Angel: \"I was afraid.\"", "Fred: \"Of what?\"", "Angel: \"That if I did, I'd never get back.\"", "Fred after a beat: \"You're not a beast.\" We hear laughter. Fred turns her head to look at the blue faced Captain lying bound on the floor behind her.", "Captain: \"We'll write that on your bones once he tears you to pieces.\"", "Fred: \"I'll just roll him over the cliff into the drokken gully like I did the others.\"", "Angel: \"Wait. I need to talk to him.\" Angel slowly sits up, and makes his way over to the Captain. Pulls him up by the neck.", "Angel: \"What can you tell me about the princess, huh?\"", "Captain: \"The filthy cow bitch that brought you into our world?\"", "Angel: \"Call her that again - I'll remove your face - slowly.\"", "Captain: \"Once the groosalug mates with her - she'll be put to death. Like we already did with that traitor, Krevlorneswath.\"", "Angel: \"You killed Lorne?\"", "Captain: \"We cut his head off and mutilated his body.\" Angel pushes the Captain away and starts to move towards the exit.", "Angel: \"I have to go.\"", "Fred: \"It's too dangerous. They'll kill you.\"", "Angel: \"My friends are in trouble. One of them is already dead.\"", "Fred: \"But it's safe here. Out there it's...\" Angel turns around to look at her.", "Fred: \"It's safe here with me.\"", "Angel quietly: \"I'm sorry.\" The Captain pulls a knife from his sleeve and cuts at the bonds around his wrists.", "Fred: \"They'll kill you and you'll turn into that beast - maybe not exactly in that order.\"", "Angel: \"My friends are in trouble.\"", "Fred: \"But the beast. I know you don't want them to see you that way. (Angel looks away) I'm not afraid of it like everyone else.\" The Captain launches himself at them from behind Fred with his knife. Angel pulls Fred out of the way, as Fred lets out a scream. Taking a hold of the Captain's knife hand he twists it around and stabs him in the gut with it. The Captain drops to the floor. Angel goes over to Fred and pulls the hand clamped over her right upper arm away to get a look at the wound underneath.", "Angel: \"Alright. You'll be alright.\" Cordy, dressed in the servant's dress and carrying a bucket sneaks into the mutilation chamber.", "Cordy: \"It's pretty dark in here. - Let me just get used to it.\" She makes her way deeper into the chamber and spots a table heaped with body parts.", "Cordy: \"Oh, yuck!\" She drops the bucket and an 'Ouch! Hey!' echoes up out of it.", "Cordy: \"Sorry. Sorry.\" Reaching down into it, Cordy pulls out Lorne's head and holds it out in front of her facing the table.", "Cordy: \"These people are crazy! - Anything look familiar?\"", "Lorne: \"Get me closer.\" Averting her face Cordy inches a little closer, holding Lorne's head at arm's length.", "Lorne: \"Oh, god. Oh no!\"", "Cordy: \"What? - Boy, that looks like your suit.\"", "Lorne: \"It *is* my suit! You think they have French Viscose in this hellhole? (Moans) - Why am I still alive? Once they chop me up it's over! I'm looking at pieces of myself! Oh, it's over! (Sobs) Wait a second. Since when do I have five toes?\"", "Cordy: \"Shh! Somebody's coming.\" She presses herself into a dark corner. Lifts Lorne's head to look him in the eyes.", "Cordy: \"Do you mind if I hit him over the head with you?\"", "Lorne: \"Yes!\" The door opens and a man walks in.", "Groo: \"Your Highness?\"", "Cordy hurries over to him: \"Groo, it's you!\"", "Groo: \"I have done something terrible. I have betrayed my vows. But he was your friend. I could not stand to see you suffer.\"", "Cordy: \"What terrible thing?\"", "Groo: \"I stole his body and put his strange garments on these parts - to fool them.\"", "Cordy: \"You did all this for me? - That's not terrible, that's wonderful!\" Throws her arms around Groo and hugs him tight, smashing Lorne's head (still in her hand) against Groo's back.", "Lorne: \"Ouff! - Feels like somebody works out.\" Cordy steps back with a smile for Groo and holds up Lorne's head.", "Lorne: \"Hi. And thank you from the bottom of my neck on down. - So, ah, where's the rest of me?\"", "Groo: \"I had your body smuggled to your mother's farm. Your cousin Landok shall meet us at the eastern watchtower. He will transport you home.\" Cordy turns Lorne's head to face her: \"This is great! The man's an honest to god hero!\" Cordy gives Groo another hug, banging Lorne's head against a pillar as she throws her arms around him.", "Lorne: \"Ouch! - Watch the head!\" The rebels are discussing what to do next.", "Bartok: \"You still want to storm the castle gates.\"", "Sasha: \"Yes! We have to show them!\"", "Bartok: \"We can't defeat them! They have the power, they have the wealth, we have no plan!\"", "Sasha: \"I say we storm the gates!\"", "Wesley: \"If you do they'll cut you down. You can not wage a frontal attack against a stronger opponent. - This kind of battle can only be won through guerilla warfare. (They all just look at him) By being sneaky! You create a diversion then you strike at several different points at once. While they are looking ahead, you come from behind.\"", "Sasha: \"And kill their leader.\"", "Wesley: \"Yes.\"", "Bartok: \"Silas, their head priest.\"", "Sasha: \"It's a good plan.\"", "Bartok: \"I agree.\" Sasha lift up the bloody sword he pulled from their leader's body and holds it out to Wesley.", "Sasha: \"You shall lead us!\"", "Wesley: \"Wha... Me? No, no, no, I was just suggesting that...\"", "Bartok: \"No, no, you fought well. The Covenant hates you. And you know the princess.\"", "Sasha: \"And you have a *plan*.\"", "Bartok: \"Besides, our leader is dead.\" Sasha puts the sword in Wesley's hand: \"Hail to our new leader!\"", "Rebels yell: \"Hail!\"", "Wesley aside to Gunn: \"Why do people keep putting me in charge of things?\"", "Gunn: \"I have no idea.\"", "Rebels: \"Hail!\"", "[SCENE_BREAK]", "Angel is tying a bandage around Fred's arm.", "Angel: \"How's it feel?\"", "Fred: \"Alright.\"", "Angel: \"Ah, it's best if you don't move it for a while. (Takes deep breath and motions towards the exit) Well, I better...\"", "Fred: \"Help your friends. - I know. - You're a good man.\" They look at each other for a moment then Angel turns and walks out of the cave. Fred slowly walks across the cave and sits down with her back against the wall, looks down at the gournd. Angel comes back in.", "Angel: \"I - don't actually know how to get there.\"", "Fred: \"Oh. (Gets up) I can show you.\" Groo is pacing in the Throne room. Cordy, back in her princess garb is sitting on a step.", "Groo: \"I disobeyed the Covenant. I shall spend eternity burning in Tarkna for my sin.\"", "Cordy: \"Oh, who believes a literal Tarkna nowadays.\"", "Groo: \"It was worth it for one moment of your intimate touch.\"", "Cordy gets up: \"That was an accident. I-it was kind of dark and - oh - you mean the hug. (They smile at each other and Cordy giggles a little) When I hugged you. That was nice. (Shakes herself) Where were we? Oh, yeah, the nut-cake clergy guys. They *need* someone to disobey them. They're evil and they run an evil regime.\"", "Groo: \"It's not my duty to question authority.\"", "Cordy: \"Hold on there. You're groosalug, the brave and undefeated champion, if it's not your duty to fight evil than I don't know what is.\"", "Groo: \"I fight who I'm told. - I'm not a real champion!\"", "Cordy: \"Then it is time you stopped working for Monk-boy and became one. What you did for me and my friend that was pure champ - all the way.\"", "Groo: \"I am unworthy of lifting your burden, highness.\"", "Cordy: \"Nonsense, you're way worthy. - What burden is that again?\"", "Groo: \"When you receive me - on the night we are wed.\"", "Cordy: \"Receive? - Oh! - Receive. When I and you - on our wedding night... I imagine there'll be some burden lifting on both sides. Not that I have a lot of experience or anything!\"", "Groo: \"It is foretold in the ancient prophecies that one will come who is cursed with the visions. She will mate with the groosalug whose demon blood shall absorb them.\"", "Cordy: \"Absorb them?\"", "Groo: \"Your visions shall pass to me.\"", "Cordy turns away from him: \"Ugh! I *knew* there was a catch! - You can't take my visions! I need them! I-I use them to help my friends fight evil back home!\"", "Groo: \"And I will use them here to fight evil, just as you have done.\"", "Cordy: \"Groo - I can't give up my visions. - I *like* them. Okay, I don't like the searing pain and agony that is steadily getting worse.\"", "Groo: \"You are pure human. - You are not meant to carry such a burden.\"", "Cordy: \"Maybe not. - But I'm not ready to give them up either. - They're a part of who I am now. They're an honor. And you know - the visions, they only last for like a...\" Cordy puts a hand to her head as she gets hit by a vision. Groo manages to keep her from falling as she gets some blurry images of Groo lying on the ground, a growling beast on top of him.", "Cordy: \"No. No.\" Break Wesley, Gunn and the rebels are developing a battle plan.", "Wesley: \"The groosalug is our most formidable opponent. We *have* to get him out of the castle. If challenged to fight he has to accept?\"", "Sasha: \"Yes. A champion of the realm he can not refuse, but no man can defeat the groosalug.\"", "Wesley: \"We'll worry about defeating him later. Our first step is to get him out of there. Once he's out we'll create diversions here, here and here. (Sets some rocks on a map on the table in front of him.) Then a few of us will scale their back wall here where their defenses are weakest.\"", "Gunn: \"I wouldn't split my crew up this much if I was leading this charge.\"", "Wesley: \"I'm leading this charge. Tell me about the killing device.\"", "Sasha: \"It send a signal to the collar on every slave in the land.\" Shows Wes a drawing of the jeweled-hand device.", "Gunn: \"What kind of signal?\"", "Bartok: \"Blows their heads off.\"", "Wesley: \"If Silas thinks he's losing he'll use it. We have to get to him before he does.\"", "Sasha: \"The castle is well guarded.\"", "Angel: \"Unlike this place.\" Angel steps out from behind a tree, followed by Fred. Rebels draw weapons and converge on them, on fo them dropping out of the very tree Angel just past to land behind them.", "Wesley: \"It's alright. It's alright. He's a friend.\"", "Sasha: \"Glad we were keeping watch.\"", "Gunn: \"He's Angel. He does that. (Points at Fred) How she do that?\"", "Angel: \"She's Fred. She does that, too.\"", "Wesley: \"Fred. Winifred? The girl from Cordy's vision?\"", "Sasha to some rebels: \"Check the perimeter - the east groves!\" The rebels disperse hurriedly.", "Angel: \"These are my friends - Wesley - Gunn.\"", "Fred smiles: \"Hi-ya.\"", "Wesley: \"These, ah (sees that all the rebels are gone) those were the rebels. We've joined forces.\"", "Gunn: \"They made Wes their general.\"", "Wesley: \"But you're here now. Ah (Indicates the battle plan) if you want to... I mean - you're much better at...\"", "Angel: \"No, Wes, I-I can't... - You know what happens to me. (Looks down) I-I'm sorry... (Looks at Gunn) ...ashamed of what I did to you.\"", "Gunn with a slight nod: \"It's kind of a crazy place here. - The sooner we all get out of here the better.\"", "Angel: \"Fred here might be able to help us with that. She knows a lot about portals.\"", "Fred: \"Not a lot. The trionic speechcraft formulation/modification has to alter the dynamic reality sphere... - Lutzbalm predicted it at Zurig in '89 -- laughed him off the stage -although this slavery and degradation's no laughing matter...(laughs) ... it's no Crug-grain and Kalla berry breakfast all right.\" After beat Wes and Gunn turn to look at Angel.", "Angel: \"She's been here a while. - Guys, ah, I have some bad news about Lorne.\"", "Rebel: \"Ah, we captured this warrior of the Deathwok clan.\" They turn to see Landok dragging two rebels into camp by their necks, then push them into the dirt. They guys walk over to meet Landok, Fred doing her best to hide behind Angel.", "Angel: \"Landok.\"", "Landok: \"Angel, the drokken killer. I *will* not battle you for saving the slave girl's neck.\" Wesley throws a look over at Angel.", "Angel: \"Good.\"", "Landok: \"It is forbidden to do battle while performing a sacred duty. (Takes a basket off his shoulder) I was transporting my kinsman home - when these fools tried to stop me.\"", "Angel quietly to the guys: \"I was trying to tell you. They cut off the host's head.\"", "Wesley: \"What?\"", "Gunn: \"No.\"", "Landok: \"Yes. I have it right here.\" He opens the basket and holds it out towards them. They take a few hesitant steps closer and peer down into the basket, Fred peeking out from behind Angel. Lorne's head lies in the basket, eyes closed. We get a shot of the four of them as if we were looking up at them from inside the basket.", "Angel: \"He was...\"", "Gunn: \"Yeah.\"", "Wesley: \"Hmm.\"", "Lorne's eyes pop open: \"That's it?\" Angel, Gunn and Wes all recoil with a scream, leaving Fred the only one still framed by the rim of the basket, peering down - completely unmoved.", "Lorne: \"Where is the praising and extolling of my virtues? Where's the love?\" The round circle of the basket rim blends into a shot of the full moon up in the night sky. Wesley is sitting in front of a fire, leaning on an unsheathed sword.", "Gunn: \"I'm only gonna say this once. The guys you send to create those diversions are gonna die.\"", "Wesley after a beat: \"Yes they are. (Gets up and looks at Gunn) You try not to get anybody killed you wind up getting everybody killed. (To the camp) Get ready to move out.\"", "Angel: \"What do you want me to do?\"", "Wesley: \"Go to the village. Call out the groosalug - and kill him.\"", "Angel: \"Kill their undefeated champion. - I can't do that without turning into the beast.\"", "Wesley: \"I know.\" Angel looks around for a moment then takes a step closer to Wes.", "Angel: \"Look, when I fired you guys the reason I... Darkness was coming out in me. I didn't want you near it. - The thing that comes out here is ten times worse. - Wes. - I do this - you know I won't come back from it.\"", "Wesley: \"Yes, you will. I know you. (Glances over at Gunn) We know you. We know you're a man with a demon inside - not the other way around. *We* know you have the strength to do what needs to be done, and you will come back to us.\" Angel and Wes look at each other for a long moment.", "Fred: \"I could go with you. I know how to prepare the challenge torch.\" Wesley puts a hand on Angel's shoulder.", "Wesley: \"You'll come back.\" Angel looks over at Gunn, whose face remains expressionless, then he and Fred leave.", "Gunn to Wes: \"You really think he'll come back?\"", "Wesley turning to leave: \"I need *him* to think it.\" Gunn stares after Wesley. Cordy is reclining on a lounger, eyes closed, with Groo sitting on the edge of it.", "Groo: \"What can I get you princess?\"", "Cordy: \"Nothing. - Just don't leave! - And whatever you do, don't fight a big, ugly, pointy demon with green skin - I saw what he'll do to you.\" The door opens and Silas comes in, followed by a couple more priests.", "Silas: \"Good. I see we're progressing towards mating. Let's get on with it.\"", "Cordy: \"Huh? What about the wedding?\"", "Silas: \"I tire of waiting. Do it!\"", "Cordy gets up: \"With you guys standing around? I don't think so!\"", "Silas stepping closer: \"Then I'll encourage you.\"", "Another priest enters: \"My lord! There is something in the village you will want to see.\" The priests walk over to a window and look out. Angel, trailed by Fred, is entering the village square, carrying a burning triple-torch. Angel steps up on the podium and plants the torch in a holder there.", "Angel: \"I challenge the groosalug to mortal combat.\" Angel glances back at Fred, who was mouthing the words along with him. Fred gives him two thumbs up.", "Angel: \"Come out and face me you spineless coward!\"", "Fred: \"Uh! Why'd you add that coward thing? That's really gonna piss him off.\" Fred goes to hide behind a market stand.", "Cordy: \"What is going on? Who's yelling.\"", "Silas to Groo: \"You have been challenged. You must fight.\"", "Cordy: \"What? No! No fighting. I had a vision, he can't fight!\"", "Silas: \"The honor of the kingdom is at stake.\"", "Cordy: \"Will you listen to me?!\"", "Silas: \"Silence!\" Groo turns to follow Silas out of the room.", "Cordy: \"No! Don't do it, please. Don't do it! Groo, no! No! No!\" The priest shut the doors behind them. Groo looks out the window at the challenge torch.", "Groo: \"Who calls me out?\"", "Silas: \"Do you love your princess?\"", "Groo: \"More than I thought possible.\"", "Silas: \"If this *filth* should win - he will ravage - and he will defile her. - He will use her for his pleasure again - and again. - And when she has no more screaming in her - he will *kill* her.\"", "Groo: \"He will *not*! He will die!\" We look out through some bushes at the guards in front of one of the castle gates. A voice rings out. \"The groosalug has been challenged. He will fight the challenger in the village square!\" Wesley watches as some of the guards run off, then moves deeper into the bushes where the rest of the rebels are waiting. He gives some hand signals and some of the rebels move off. A few moments later voices ring out again. \"Rebels at the south gate!\" A few more guards run off. \"Rebels at the north wall!\" Wesley crouches down next to Bartok and looks at him. Bartok looks from Wesley to the guards left in front of the gate, then rises and charges yelling: \"Death to the state! - Death to the state!\" Two more rebels follow him to engage the remaining guards as Wesley looks down to the ground. Then signals for the others to follow him. Gunn throws a grappling hook up over the wall and begins to scale it. Two rebels charge the gate with a battering ram. One of the rebels fighting the guards lets out a scream as a sword slices across his stomach. The groosalug arrives at the village square in a chariot, takes off his gloves, walks up on the podium and holds his hand into the flames of the torch.", "Angel: \"This guy - he doesn't feel pain?\"", "Fred: \"Oh, he-he feels it, but - he's the groosalug. He overcomes all things. - Good luck.\" Ducks down behind an empty market stand.", "Groo: \"You will die, barbarian!\" Groo walks over to a rack to pick up an ax and a club and goes to attack Angel, who barely manages to get a few kicks and hits in between the ones he receives from Groo. Angel is hit hard in the stomach and flies backwards onto the ground. Groo follows up with a downward swing of his ax. Break (of course) Angel manages to avoid the ax, get back to his feet and attack Groo in return, but soon gets kicked through the air again. The flies through the tarp of the market stand Fred is hiding behind and lands on the ground not far from her.", "Fred: \"You can't hold back! You'll die!\"", "Angel: \"Not holding back - holding on.\" Silas is walking down a corridor. A priest hurries up behind him.", "Priest: \"My lord, rebels have breached the castle!\" Wes, Gunn a couple of rebels are coming up another corridor.", "Wesley: \"It's Silas. Stop him.\" They charge at Silas but are intercepted by some palace guards as Silas and the other priest hurry away down the corridor.", "Guard: \"There they are!\" A nicely choreographed sword-fight sequence follows during which the outnumbered infiltrators eventually finish off the guards. Cordy is pacing in the priest's chambers, wearing a dark red cloak over her princess outfit. Silas comes in and Cordy hurries over to him.", "Cordy: \"Oh, there you are. Please, I had a vision. The beast is gonna kill him. You have to stop it!\" Silas hits her hard across the face sending her reeling to the ground.", "Silas: \"This is all your fault! (Grabs her by the throat and pulls her up to face him) You think you can *destroy* our way of life? Think again! I will kill every cow in the world before I allow that to happen. (Pulls the cloth off the killing device) Everyone of you.\" Pushes her away. Cordy crashes against a bookcase and drops to the floor. Groo and Angel are still fighting in the square, with Angel barely holding his own. Groo kicks Angel back to the ground next to some posts. Angel comes back up with a sturdy stick in his hand, but before he can use it, Groo whips out one of those things the old demon man used to capture Cordy. It winds itself around the wrist of Angel's right hand, tying it tightly against one of the posts, and causing him to drop the stick. Groo walks up and starts to bludgeon Angel with his cudgel.", "Groo: \"You would defile her! You animal!\" Groo keeps pounding on Angel. Fred hides her face behind her hand. Angel is hanging by his right wrist, still tethered firmly against the post, and Groo lowers his cudgel. Angel slowly lifts his head to look at him - and morphs into the Angel-beast. The guards' horses rear, almost unseating them. Groo swings the cudgel but the Angel-beast catches it in its left hand, then tosses Groo across the square before ripping its right hand free. Groo barely manages to get to his feet before the beast pounces on him in one incredible leap. Cordy is swaying in front the bookcase, her head lowered. Silas' hand is hovering over the killing device. Wes, followed by Gunn, Bartok and Sasha come charging in.", "Silas: \"You're a little late.\" Wesley lowers his sword, hands it to Sasha and holds up his hand without ever taking his eyes off Silas.", "Wesley: \"Stand down. (To Silas) You don't have to do this.\"", "Silas: \"I don't have to - but I'm going to. (Cordy slowly straightens up behind him) And you and your filthy cow-princess can go straight...\" Cordy swings the sword she has picked up as hard as she can and Silas' head goes flying off his neck.", "Cordy: \"Your cow-princess is tired of hearing you yak, padre.\"", "Gunn: \"Nice going.\"", "Cordy: \"These guys *stay* dead without a head?\"", "Sasha: \"Oh yeah.\"", "Cordy: \"Good. We need to get back to the village now! The groosalug is facing a terrible beast, I saw it.\"", "Wesley: \"Actually the beast he's facing is Angel.\" Groo is getting mauled, barely managing to keep the beast away from his throat as the two of them roll around in the dirt. The beast pins him down and Groo squeezes his eyes shut, awaiting the inevitable. The beast pulls its clawed hand off Groo's face and Groo opens his eyes to look up at Angel, back in his human face.", "Angel: \"We're not gonna do this. We're gonna find another way.\" Angel backs off from Groo.", "Angel: \"I'm not an animal.\"", "Cordy: \"Stop!\" Groo sits up and punches Angel hard into the stomach sending him reeling back.", "Cordy: \"Stop the fight! Stop!\"", "Angel: \"Alright. What part of me being all noble here - didn't get through?\" Cordy runs up between them.", "Cordy: \"Stop. Stop the fight. Don't hurt him. Stop. (Looks at Groo) I love him. I love him.\"", "Angel: \"You love me?\"", "Cordy frowns at Angel: \"Not you, dumb ass. Him! I love him!\" Cordy gives Groo a quick hug.", "Angel: \"Oh.\"", "Cordy: \"Lay down your weapons! Silas is dead. All priests have been defeated. Any guard who harms a human from this day forth shall have to answer to me!\"", "Angel: \"She loves me, too, right?\"", "Cordy hugs Groo again: \"Are you okay? - Did he hurt you?\"", "Angel: \"As a friend and co-worker.\"", "Cordy: \"Can I get some medical attention around here, people?\"", "Angel: \"Maybe love is too strong a term.\" The double Pylean suns are blazing up in the sky. Lorne walks out of a room at his mom's farm twisting his neck to where Angel is waiting for him", "Lorne: \"Good as new - though I seem to have put on about a hundred and fifty eight pounds.\"", "Angel: \"You look great. Love the trousers.\"", "Lorne: \"Yeah. It's been a thrill, mom. See you in a millenium or three.\" Angel catches a hold of Lorne's arm to stop him from just walking out.", "Angel quietly: \"Hey. Isn't there something you wanna say to your mother?\"", "Lorne: \"Hmm, may you burn in Tarkna?\"", "Angel: \"Come on. She's not that bad. I mean, she didn't store your body on top of the maggot pile like you thought she would, now did she?\" Lorne turns to face his mom: \"Bye mom. Thanks for storing my body on the lice pile instead of the maggot heap.\" Angel does a slight double take as Lorne turns away, scratching his side.", "Mom: \"I thought you were lost to us forever. (Sniffs. Lorne turns back to face her) But you came back. You came back. (A slight smile starts to play over Lorne's face) The runt of my loins came back after raining such *misery* upon our lives (Lorne's smile fades) and managed to shame up even further!\" Mom spits upon Lorne and Angel claps a hand on him.", "Angel: \"Alright then. We'll just be...\"", "Mom: \"Who's supposed to do our labor now that your cow-friend has freed the slaves? You know what they call me - at the hall of Drink and Chance? - Mother of the vile excrement!\"", "Angel: \"Be sure to keep in touch.\" Angel pulls Lorne towards the door.", "Mom: \"Go on, misfit! Back to your world where no one knows his place!\" Angel and Lorne walk down the outside steps.", "Mom: \"May you rot in Tarkna!\" Mom slams the door shut behind them.", "Angel: \"Every family's got its problems.\"", "Mom muffled: \"Numfar, do the dance of shame.\" We hear some shuffling and clomping coming from the house behind them.", "Angel: \"Yours more than most.\"", "Lorne: \"My psychic friend told me I had to come back here. I didn't believe her. Then I realized I *did* have to come back here, because - I really always thought I had to come back here, deep down inside, you know? I had to come back here to find out I *didn't* have to come back here. I don't belong here. I hate it here. You know where I belong? LA. You know why? *Nobody* belongs there. It's the perfect place for guys like us.\" Angel nods his head, a slight smile on his face.", "Angel: \"That's kind of beautiful.\" The start walking down the path leading away from the farm.", "Lorne: \"Ain't it? I'm very moved, if I do say so myself.\" Angel claps him on the back: \"Please do.\"", "Lorne: \"You know, I feel a song coming on.\"", "Angel: \"Yeah, I thought you might.\"", "Lorne singing: \"Somewhere over the rainbow...\" Two guys that were doing something at the side of the road further down, clap their hands over their ears and sink to the ground, groaning.", "Lorne: \"...way up high...\" Cordy is pacing in front of her throne, holding an ax in her hands. Groo stands behind her. There are human servants present, none wearing a collar, and a priest.", "Cordy: \"I have a vision. Actually I have two visions, and in one of them you get to keep your head.\"", "Priest: \"How may I be of service your majesty?\"", "Cordy: \"Take a memo. (A girls hands him a parchment and quill) As it is now written - all citizens are created equal. Slavery and religious persecution are outlawed.\" Cordy swings the ax. The priest jumps as the ax shatters the killing device. Wes, Fred, and Gunn come hurrying in, each one holding one of the Wolf, Ram and Hart books.", "Wesley: \"I think we did it.\"", "Fred: \"I-I was opening portals but I couldn't tell where. You-you need the priests' formulas to figure that out on this side.\"", "Cordy: \"So we can go home!\"", "Gunn holding up the book: \"All we have to do is take these to Angel's car and have her say the words.\"", "Priest: \"Those are sacred books! (Cordy looks at him) Which *you* should have - as a small memento.\" Cordy walks up to Groo.", "Cordy: \"You're in charge now. You got a long road ahead. (Leads him up the steps to the throne) Slavery has ended but - reconstruction has just begun.\"", "Groo: \"What is this - recon-struction?\"", "Cordy: \"Gunn, you wanna field this?\"", "Gunn: \" It means - sayin' people are free don't make 'em free. - You got - races that hate each other, you got some folks gettin' work they don't want, - others losin' the little they had. - You're lookin' at social confusion, economic depression and probably - some riots. - Good luck.\"", "Cordy: \"You'll do fine.\"", "Groo: \"It worries me - but - not as much as... (Takes her hands) Do you have to go, majesty?\"", "Cordy: \"I don't want to. I'm *really* gonna miss your eyes - and the majesty thing - but-but I have a job to do back home. - It was really fun being your princess.\" Cordy takes Groo's face between her hands and they kiss. Wes and Gunn look down, but Fred watches, a big smile spreading across her face. Cordy finishes the kiss, patting Groo on the cheek. He picks up her cloak and drapes it over her shoulders.", "Groo: \"God speed, princess.\"", "Cordy: \"Bye Groo.\" Tying the strings of her cloak Cordy walks down the steps and across the room towards the others, smiling as the people on both sides of the aisle bow and say 'your majesty.' The others fall in behind her as they walk out.", "Wesley: \"Should people be bowing in a free society?\"", "Cordy: \"These things take time.\" A slight wind tinkles the glasses in a deserted Caritas. The curtain behind the stage starts to billow. White spots of light appear and coalesce to form a portal. Angel's convertible comes barreling through with Angel, Cordy and Wes in the front, Gunn, Fred and Lorne in the back, all of them screaming. Angel manages to stop the car as it rams into the bar after crashing through the tables in front of the stage.", "Lorne: \"You know I've been thinking about remodeling the bar. - Who's up for a nightcap?\" They all get up out of the car. Hyperion, night. Cordy, Fred and the guys are entering the garden court.", "Fred: \"Are-are you sure about that?\"", "Cordy: \"Trust me. Tacos everywhere - and - soap!\"", "Gunn: \"Yo, that portal jumping is a fun ride. We sell it to a theme park we could get paid!\" Angel pushes to the front as the get to the doors leading into the hotel itself.", "Angel smiling: \"Okay. Can I say it? I wanna say it.\"", "Wesley: \"Say what?\" Angel pushes the double doors open, walking into the lobby.", "Angel: \"There's no place like...\" Trails off as he sees Willow sitting hunched up on one of the chairs in the lobby. Angel's smile vanishes as Willow looks up at him.", "Angel: \"Willow?\"", "Cordy: \"What's..?\" Willow slowly gets up, never taking her eyes of Angel.", "Angel quietly: \"It's Buffy.\"" ]

[ "Even as Angel mourns Buffy's death, he must do battle against a vampire he was friends with back in 18'th century Marseilles - and whose girlfriend he has just killed." ]

[ "[PREVIOUSLY_ON]", "Cordy: \"I have a roommate. It's cool. I never see him.\"", "Wesley: \"Cordy's been sucked into the portal.\"", "Cordy: \"They made me their ruler.\"", "Fred: \"Handsome man - saved me from the monsters.\"", "Darla: \"He's here.\"", "Lindsey: \"Angel.\"", "Darla: \"I'd love to see that boy.\" Angel and Darla making out.", "Angel: \"Get dressed and get out. Because the next time I see you, I will have to kill you.\" Hyperion, day. Fred peaks around the corner of the corridor overlooking the lobby, hears Cordy's voice and quickly disappears again.", "Cordy: \"I can understand people who drink too much. I understand people who put a little note on the parking meter that says it's broken when it's not. I don't understand people who worship demons.\" Cordy, Gunn and Wesley come walking across the courtyard, carrying weapons and looking slightly disheveled.", "Gunn: \"Yeah. Especially Lu-rite demons. The stink on that thing... If you're a prince of the underworld, bro, take a Jacuzzi every once in a while.\"", "Wesley: \"It's sad. The only way some people can find a purpose in life is by becoming obsessed with demons. By the way, Gunn, technically that wasn't a Lu-rite. It was a Mu-rite, a sub-species of the Lu-rite. The male sports a small, tell-tale fin just behind the third shoulder.\"", "Gunn: \"So glad to know we're not the sad people obsessed with demons.\"", "Wesley: \"We have to be a little obsessed. We're detectives that specialize in these things.\"", "Cordy: \"And we're not sad.\"", "Wesley: \"No. No, we're a happy and rambunctious lot if I ever saw one. (Gunn looks at Wes) Not going to humor me even a little, are you?\"", "Cordy: \"Hu-uh.\"", "Wesley: \"I realize we sacrifice a great deal of our - social lives. But we have to. Our work demands it.\"", "Gunn: \"True. I mean, who has time for love when you're out there doing it with the demons? (Wes glances in his direction) Didn't that come out sad and wrong? - I need to get out more. Speaking of: anyone talked to Fred lately?\"", "Cordy: \"Not talked. Glimpsed. She pokes her head out of her room every once in a while.\"", "Wesley: \"Nice girl.\"", "Cordy: \"Nice, but not making the giant strides towards mental health. She's been hibernating up there for three months now.\"", "Wesley: \"Ever since Angel went away. She's become quite attached to him.\"", "Gunn: \"Angel groupie. I get that. He rescued her from Pylea.\"", "Cordy: \"I miss Pylea.\"", "Wesley: \"I would think you might. You were there a week, they made you queen. Fred was there for five years. She was a slave, a runaway, they nearly chopped her head off. All those years she spent hiding out alone in that cave.\"", "Gunn: \"She survived. Girl's strong.\"", "Cordy: \"The girl's trading one cave for another. How strong is that?\"", "Wesley: \"When Angel comes back...\"", "Gunn: \"When *is* he coming back anyway?\"", "Cordy: \"As soon as he works through his grief a little.\"", "Gunn: \"A little? Buff...\"", "Cordy: Don't! Say the 'B' word.\"", "Gunn: \"The 'B' word was the love of his life, and he's,.what? 250? That isn't a short life. That grief work is gonna take more than a vacation in Sri Lanka.\"", "Wesley: \"It isn't a vacation. It's a spiritual retreat at a monastery.\"", "Gunn: \"Hmm. Angel and a bunch of monks in the middle of nowhere. There's a party! He should have got hammered and went to Vegas just like I told him.\"", "Wesley: \"He doesn't need a lap dance. He needs some peace and quiet to work through this.\"", "Cut to Angel, dressed in white robes, fighting against armed, red robbed monks in the hall of the monastery (doing a very cool back flip up onto a balcony at one point). The big double doors of the monastery open. Angel steps out to find some men wearing gray waiting outside.", "Man (speaking Tibetan): \"What happened?\"", "Angel (answering in Tibetan): \"Demon monks. I should've gone to Vegas.\" The man cocks his head as Angel walks past, then looks in through the open doors to see at least ten red robbed bodies littering the floor. Intro Hyperion, day, Cordy walks in carrying two big mousetraps.", "Cordy: \"So, whose turn is it to set the traps?\" Wesley and Gunn point at each other: \"His.\"", "Cordy: \"You guys amaze me. You'll fight hell-beasts, but you're scared of rats.\"", "Gunn: \"Man, I hate rats. With their little beady eyes...\"", "Wesley: \"...and their beady teeth.\"", "Gunn: \"And their little tails all woosh, woosh.\" Cordy walks towards the basement door", "Cordy: \"Well, aren't you two just the biggest scardies I ever saw...\" Cordy drops the traps with a scream as the door suddenly opens just as she reaches it. Angel is standing there with a little smile on his face. Cordy gives him a hug.", "Cordy: \"You're back.\" Gunn and Wes come over, both starting to smile.", "Cordy: \"You guys, he's back!\" Cordy pulls Angel after her into the lobby.", "Angel: \"Wesley.\"", "Wesley: \"Welcome home.\" Wes catches Angel in a hug.", "Gunn: \"Hey, what's up man?\" Gunn greets Angel with a hug as well.", "Cordy: \"So, I hope you had a good retreat, all peaceful and meditate-y.\"", "Angel: \"Sure, until the monks turned out to be life-sucking Shur-hod demons.\"", "Wesley: \"Oh...\"", "Gunn: \"Vegas.\"", "Angel with a little laugh: \"Yeah.\"", "Cordy: \"Well, the point is, you worked on things. It wasn't like a holiday, where you come back home to your friends, you know, with some small mementos of your trip...\"", "Angel: \"Fishing for gifts?\"", "Cordy: \"Yes!\" Angel hands her a small skull-like head with a tuft of dark hair on top.", "Cordy: \"Oh - a - small - human head!\" Angel pulls it out of her hand and tosses it to Gunn.", "Gunn catches it: \"Cool!\" Angel smiles and hands Cordy a necklace instead.", "Cordy: \"Oh! Oh, my gosh, it's gorgeous!\" Puts it around her neck.", "Cordy, brightly: \"And look how it brings out my breasts! (Gunn gives her a look) You know you were all thinking it! (To Angel) Thanks.\" Angel hands Wes a sheathed dagger.", "Wesley: \"Uh! Sixteenth century! (Unsheathes it) Angel! Murshan Dynasty? (Angel nods as a grin spreads across Wes' face) I've always wanted one of these! I didn't think you... (Whips the dagger through the air) Oh, I can't wait to kill something with this! (To Cordy) Any visions brewing?\"", "Angel steps towards the stairs: \"The place looks good. How's Fred?\"", "Cordy: \"Good! She's (Taps Wes' chest to get the guy's attention and makes a cutting motion across her throat with her hand) doing well.\"", "Angel: \"Hasn't come out of her room yet, huh?\"", "Cordy: \"Not what you'd call frequently. We, we sent up a lot of tacos.\"", "Angel turns back towards them: \"I'll settle in and check up on her. You guys can bring me up to date. - It's really good to see you guys.\" Angel turns and walks up the stairs.", "Gunn: \"Thanks for the head, bro.\"", "Wesley: \"He seems better than when he left.\"", "Cordy looks after Angel: \"Uh-huh.\" Fred is in her room adding the words listen, listen to the scrawls covering the walls.", "Fred: \"Listen. Listen. Listen.\" Jumps at the knock on her door.", "Fred: \"Oh. Hi! How are you? I'm just fine. Doing real good here, no need to worry about me, but thanks for checking!\" Goes back to writing.", "Angel: \"It's me, Fred.\"", "Fred: \"Oh, Angel.\" Fred hurriedly takes off her glasses and runs to open the door.", "Fred with a big smile: \"Hi! Hey! You're... Well, hi there!\" Reaches as if to hug Angel, but when he just keeps standing outside of her door she steps back again.", "Fred: \"It's good to... Did you have a nice... Oh, here, let me make some room!\" Hurries to take some stuff off one of the chairs.", "Angel: \"I can't come in.\"", "Fred: \"Of course not. You're worn from your trip. You go rest. We'll catch up later.\" Fred begins to shut the door, not looking at Angel.", "Angel: \"Fred, I wanna talk to you, I just can't come in unless you...\" Fred, pulling the door back open: \"I invite you. Instead of being rude! Oh, come in. Come in.\" Angel walks in and looks at the writing covering the walls.", "Fred: \"It's just a smidge of vampire in you as far as I'm concerned, but the universe has rules. I'm a great believer in rules, and theorems, formulas...\"", "Angel: \"I get that.\"", "Fred: \"Aphorisms leave me a little dry.\"", "Angel: \"How are you?\"", "Fred: \"Yeah. - Good. - Everything's pretty much like when you, you know, went away on your trip.\"", "Angel: \"Sorry I left so suddenly. I just...\"", "Fred: \"Hey, no, you had things you had to take care of. And it's not like I need a babysitter or... You're sticking around *now*, right?\"", "Angel: \"Yeah, I am.\"", "Fred: \"Oh (lets out a short laugh) good!\" Angel reads the words on the wall behind Fred: \"Listen, listen, listen... What are you listening for?\" Fred sits down on the arm of a chair, pulling her knees up.", "Fred: \"The click. - When it all comes together and makes sense. There's like a click in your brain and then you understand things again.\"", "Angel: \"Oh. What happens if you run out of wall space before you get the click?\" Fred, hugging her arms around her knees: \"I don't know.\"", "Angel: \"Fred, I know you spent... (stops as he steps on some of the trash littering the floor, then moves a chair to sit across from Fred) five years in a place where humans could only be slaves or fugitives. I know that wasn't a picnic for you. But you're home now. You're safe. You can come out of your room. - I know that it's gonna take some time.\"", "Fred gets up: \"Time. I have a whole treatise on that. It seems to take a lot of it to do just about anything these days.\" Fred starts to write on the wall. Angel gets up and gently takes the marker out of her hand.", "Angel: \"Fred. Fred. You don't have to write absolutely everything down.\"", "Fred: \"Oh, right. (Laughs) God, I should write *that* down.\" Angel reaches out and helps down off the chair she was standing on.", "Angel: \"You just... come on... you just need to take some small steps. Hmm? (Pushes the glasses up on her nose with a slight smile) Like, uhm, coming downstairs (walks past her and opens the door) and hanging with us for a while. What do you say? There's nothing to be scared of. You're safe here in the hotel.\" Angel slowly steps backwards out of Fred's room. We hear Cordy scream downstairs.", "Angel: \"Hold that thought!\" Angel runs downstairs where Cordy is having one dozy of a vision. Wes and Gunn come running as well from different parts of the hotel. Angel and Gunn support Cordy in a sitting position between them.", "Angel: \"Easy. What is it? What did you see?\" Flashes of Cordy's vision.", "Cordy: \"A bunch of vampires - and - they're crashing a party. They're killing people.\"", "Angel: \"Where?\"", "Cordy: \"Wilson College. Bonner Hall. (Wes and Gunn head for the doors) Room nine eighteen.\"", "Angel yells after them: \"Room nine eighteen!\"", "Cordy: \"They're gonna take hostages. (More flashes) Watch out for the blonde. She's the worst!\"", "Angel: \"Are you alright?\"", "Cordy: \"Yeah. Fine. I'm fine. Go. Go!\" Angel hurries after the others. As soon as he's through the doors, Cordy collapses, sobbing from the pain. Gunn, Angel and Wes enter a dorm room littered with bodies. Gunn picks up a flyer.", "Gunn: \"So much for inviting everyone.", "Angel: \"Some of them are still alive.\" Wes into the phone sitting next to the door: \"There's been an accident. We need two, maybe three ambulances. Wilson College, Bonner Hall, Room nine eighteen.\" Angel looks around the room then walks over to the open window.", "Angel: \"They're heading east on sixth street. Take the car.\"", "Gunn: \"What are you gonna do?\" Angel vamps out as he turns to look at Gunn.", "Gunn: \"Oh.\" Angel jumps out of the window, then runs along the roof tops. Four vampires are sitting in a convertible, whooping as they drive down the street. A blond boy sits between the blonde vampire Cordy mentioned and the driver, his dark haired girl friend sits between the two vamps in the back.", "Bobby: \"Please.\"", "Elisabeth: \"Hmm?\"", "Bobby: \"Please don't hurt her.\"", "Elisabeth: \"You love her? (Bobby nods) You'd do anything for her. (He nods again) What if - we just kill her and let you go? Hmm? (Bobby just stares at her) Come on now. Life's about making choices. - You or her, what's it gonna be?\"", "Bobby, after a long moment: \"Her. - Take her. God, I...\"", "Elisabeth: \"Gee. Bobby, you call that love? We get home (pets the side of his head) I'll show you what love is.\" The girl in the back screams as Angel drops down onto the hood of the car and grabs the wheel, serving the car off the street into a building. Wes and Gunn bring Angel's convertible to a squealing stop behind it, and jump out, grabbing some weapons from the backseat. Angel jumps off the hood, slugs the vamp sitting beside the girl then pulls the boy and his girlfriend up and lifts them out of the car.", "Angel: \"Run!\" Elisabeth slugs Angel and runs after the kids, only to find herself face to face with Wes and Gunn. Elisabeth punches Gunn then turns back to hit Angel as he is beating up on two of the vamps while Wes takes on the third. Gunn hits one of the vampire, distracting its attention from Angel, then quickly stakes it and throws the stake to Wes, who catches it and uses it to stake his vamp. Seeing this the third vamp runs while Angel grabs Elisabeth by the shirt, pulls her around to face him and stakes her as well.", "Elisabeth stares at him: \"Angelus?\" then turns to dust. Angel looks down at the heart-shaped locket left in his hand from pulling her around. Break Cordy stumbles into her dark bathroom, leans panting on the sink, and looks at herself in the mirror. Bathroom door shuts and the light turns on.", "Cordy: \"Oh. Too bright, too bright!\" The main light turns back off and a small table lamp comes on instead.", "Cordy with a sigh: \"Oh, thank you, Dennis. - How'd I ever live without a ghost?\" Cordy opens the medicine cabinet and takes out a bottle of prescription pills. The stopper drops into the drain of the bathtub and the water turns on.\"", "Cordy: \"Hot. Really hot. Please.\" Cordy swallows three pills.", "Cordy: \"Ahh. These visions are killing me. They're getting worse every time.\" Cordy steps over to the tub filled with bubbles and takes off her shirt. Her shirt drops, then floats up to hang itself over a hook. Cordy is sinking back into the bubbles with a sigh. A loofa brush floats up in front of her face and Cordy leans forward.", "Cordy: \"Oh, Dennis, what'd I do without you?\" We hear a telephone ring.", "Cordy: \"No.\" Flashback to Marseilles, 1767, a bell is ringing the alarm and we can see the glow of a big fire lighting the side of the buildings at the end of the street. Elisabeth and James are dancing down the street laughing, followed by a more sober Angelus and Darla.", "Darla: \"Young love.\"", "Angelus: \"Give it a century.\"", "James: \"A century? A mere hundred years?\"", "Elisabeth: \"I would need a thousand just to sketch the perfect plane of your face.\"", "James: \"I would need ten thousand just to name the color of your eyes.\"", "Angelus: \"They're green, but take your time. In fact, don't. We have a ship to catch and Holtz may not be far behind.\" James sighs.", "Elisabeth: \"You know neither poetry nor love, Angelus.\"", "Darla: \"He knows other things. Marvelously vile and ripping things. Didn't we eat a poet in Madrid?\"", "Angelus: \"Troubadour.\"", "James: \"Everything's closed! Pity. I wanted to spend some of the counts gold on you.\"", "Angelus: \"We'll need it for the voyage.\"", "Elisabeth: \"The count DeLeon was a little rich for my blood. I'll be full for a week!\"", "Angelus: \"The fire was excessive.\"", "James: \"Of course it was. We burned his villa to the ground!\"", "Elisabeth: \"We left a mark, made a statement!\"", "Angelus: \"Ah, a statement as in 'here, we are, Holz. Please, hunt us down.'\"", "James: \"Ah, who cares about Holtz?\"", "Darla: \"You would if you knew him. He's killed scores of us. Hunted Angelus and I across half of Europe. God, he follows us to Morocco, what then? The new world?\"", "James: \"I say we stay and fight the b*st*rd.\"", "Angelus: \"Yeah, but you're an idiot.\"", "James: \"I don't believe he's the most formidable vampire killer in the world. None lives to tell the tale and all. (leans closer) *You* lived to tell the tale.\"", "Elisabeth to Darla: \"I heard he trapped you both in a barn and *you* fled, leaving him to die.\"", "James: \"It's not true.\"", "Angelus looking at Darla: \"It's entirely true. She hit me with a shovel, wished me luck and rode off on our only horse.\" Darla smiles up at Angelus, leaning in close to him: \"Life is full of surprises.\"", "Angelus: \"Ah, life is boring. You're full of surprises.\"", "Darla: \"Of course when you finally did catch up with me in Vienna I had to pay for my sins, again and again.\"", "Angelus: \"Hmm, can you even begin to fathom the things that we did? Of course not. You're in love.\" Darla and Angelus walk off. Angel turns back to see that Elisabeth is looking at a necklace in a shop window, James coming up behind her.", "Angelus: \"Let's not dawdle, children.\" Elisabeth looking at the hear-shaped locket: \"It's so pretty.\"", "James: \"No it's not.\"", "Elisabeth: \"James!\"", "James: \"Not as pretty as it's going to be...\" James breaks the window and picks up the locket.", "James: \"When it's worn by the prettiest one of all.\" James puts it around her neck.", "Elisabeth: \"I adore it. I'll *never* take it off!\" James swings her around then kisses her. Some uniformed soldiers come up the street.", "Angelus: \"And this is what love gets you.\"", "James laughs: \"Elisabeth, you and Darla get to the ship, we'll join you there. (Gives her quick kiss) Let's give them a rout, what do you say Angelus?\"", "Angelus: \"I'd say you're an idiot, but I'd just be repeating myself.\"", "James: \"Come on you bloody frogs! I broke the window and I'll break your skulls! (Laughs and turns to Angelus as Darla and Elisabeth disappear down the street) See, all you have to do is stand up to them. (To soldiers) What are you afraid of?\" Riders come galloping up and the soldiers disappear down the street.", "Angelus: \"Not us.\" The riders pull up, some of them aiming crossbows. Guy with a beard and big Quaker-like hat looks at them.", "Angelus: \"Hope she treasures that locket.\"", "Gunn: \"Then what?\" Back in the present, Angel is locking at the locket, surrounded by Gunn, Wes and Cordy.", "Angel: \"Huh?\"", "Gunn: \"What happened with Holtz?\"", "Angel: \"Oh, that's another story.\"", "Gunn: \"We got time.\"", "Wesley: \"I'm not sure we do.\"", "Cordy: \"No, because James and Elisabeth had the big, forever love. If he's still around and he finds out who killed her...\"", "Wesley: \"He's gonna want revenge.\"", "Angel: \"*If* he's still around and if they're still in love. That was a long time ago.\"", "Cordy: \"Yeah, two hundred plus years and the girl is still wearing the locket.\"", "Wes turning to leave: \"Gunn and I'll hit the streets, see what our sources can tell us.\"", "Cordy: \"Uh-huh. See? We have sources now.\"", "Angel: \"Oh, you're almost like real detectives now.\"", "Gunn following Wes: \"Hey!\"", "Angel: \"Just kidding. You should probably check it out. - James really lived for that girl.\"", "Cordy: \"Yeah.\" James and the escaped vampire watch from the shadows of a parking garage as Elisabeth's car is getting hooked up to a tow-truck.", "Vamp: \"We did everything we could, but they were... (sighs) He was too much for us.\"", "James: \"Angelus.\"", "Vamp: \"Yeah. One of our own hunting us down. It's sick!\"", "James: \"How is this possible? The Angelus I knew...\"", "Vamp: \"He's not the same. Gypsies cursed him with a soul a hundred years ago or so. He's got a business here in LA. He kills us for money.\"", "James: \"She's gone.\"", "Vamp: \"It was horrible. She was bringing you two ripe and rosy humans and he just - flew out of the sky and...\"", "James: \"And you ran.\"", "Vamp: \"No, I fought - until I saw it was hopeless. I thought you'd want to know how it happened, who did it.\"", "James: \"And now I do.\"", "Vamp: \"You want to be alone.\"", "James: \"No. - I want to die.\" James tosses the other vamp into a patch of sunlight, showing no reaction to the screams as he goes up in flames and dies. Angel is looking at the pictures of James and Elisabeth in the locket. Cordy, leaning on the counter at the other end of the lobby looks at him then turns back to the papers in front of her. Angel, back still turned towards Cordy: \"What?\"", "Cordy: \"What?\"", "Angel: \"What do you want to say?\"", "Cordy: \"Ah, me? Nothing. What makes you think I wanna...\"", "Angel: \"'cause I know you?\"", "Cordy: \"Well, it's really - none of my business.\"", "Angel: \"And that always stops you.\"", "Cordy steps closer: \"Actually, it is my business, *our* business, because we're trying to do a job here, and what affects you affects me, and - anyway, I don't like to see you suffer more than you have to. I don't think you should blame yourself, or feel guilty for her death.\"", "Angel: \"I don't.\"", "Cordy: \"Good. Glad to hear it.\"", "Angel: \"I didn't even know who she was when I killed her.\"", "Cordy: \"Not her! - Angel...\"", "Angel after a beat: \"Oh... (Closes the locket) you - you want to talk about...\"", "Cordy: \"She was the love of your life and she died.\" Angel sits down on the stairs, facing Cordy.", "Cordy steps closer: \"And - you weren't there when it happened. (Sits down next to him with a sigh) You couldn't help her fight. You couldn't save her. - You couldn't die with her.\" Angel doesn't answer.", "Cordy: \"This is gonna be one of those talks where I do all the talking, isn't it? (Gets up) Well, I'm not gonna pry. It's not my style. (Turns back to face him) Okay, it's totally my style, but I can tell that I'm not getting anywhere right now. But you have to tell me one thing. You owe me this much. What the hell happened with Holtz\" Flashback to Holtz men surrounding James and Angelus in Marseilles. Holtz steps up close to Angelus: \"Where is she?\"", "Angelus: \"How's your health there than, Holtz? Mine is grand, thanks for asking.\"", "Holtz: \"Where is she?\"", "Angelus aside to James: \"He wants Darla. Bit of a thorn in his side. What she and I did to his family... Tasty lot, especially the little ones. Your wife, she kept repeating on us. Of course, you know, I repeated on her a few times myself.\" Holtz hits Angelus across the chin as two men step up and grab a hold of Angelus arms, then pulls out a stake and holds it at Angelus throat.", "Holtz: \"There are worse things than death, Angelus. I can keep you alive for months, years, if I have a mind to. (Presses the point of the stake into Angelus chest) Now. You *are* going to tell me where she is.\"", "Angelus: \"Lord, yes, I'm gonna tell you. Who's arguing? I don't want to suffer needlessly. (Tilts his head towards James) She's with his lass.\"", "James: \"Shut your mouth, you bloody coward!\"", "Angelus: \"Hey, he's in love. It's all very passionate and befuddlin'. Tell you what, how about I give you him and the women? - They're down at the docks.\"", "James: \"I'll kill you!\" James pulls Angelus free of the two humans and hits him. Holtz picks up a crossbow and aims it at the two fighting vampires.", "Holtz: \"Kill them!\" Bolts start flying. Angelus, crossbow bolt stuck through his shoulder jumps on a horse. James jumps up behind him.", "Holtz: \"Stop them! Stop them, they are getting away!\" More bolts fly as the two vampires ride away down the street. Angelus pulls the horse up in an alley.", "Angelus: \"I think we lost them.\" James pushes Angelus off the horse and slides forward into the saddle.", "James: \"I'd kill you where you lay if I didn't have to get to Elizabeth.\"", "Angelus: \"Excuse me, I'm laying here with numerous arrows in me, saving your life.\"", "James: \"I'll be sure to tell Darla the utter lack of concern you had for her.\" James turns the horse around and rides off as Angelus pushes himself to his feet.", "Angelus: \"Buy her a hat. She loves hats. - Why are people always running off and leaving me? (Pulls an arrow out of his side) Am I a bad bloke? - I don't think so. Not once you get to know me. (Pulls the arrow out of his shoulder.) Oh. I really need a doctor.\" Drops to the ground with a groan. James bursts into a doctor's office, a frantic nurse at his heels.", "Nurse: \"Wait a minute! You can't go in there! He's sloughing!\" The doctor, sitting behind his desk, pulls some light brown gunk off his face.", "Nurse: \"Dr. Gregson, I tried to tell him!\"", "Doctor: \"It's alright, Sandy. (Drops the gunk in a basket labeled for toxic waste) I go through this every month. Just like a woman. (Wipes off his hands and puts on his glasses) so. I gather this is a matter of some urgency.\"", "James: \"I need it.\"", "Doctor: \"It?\"", "James: \"The cure.\"", "Doctor: \"You're aware of the price? It's a steep one.\"", "James: \"I've already paid it.\"", "Doctor: \"Alright then. Sandy, lets prepare the patient.\" James is lying on an operating table with Dr. Gregson and Nurse Sandy standing over him.", "Doctor: \"Now, James, (lifts a scalpel) this shouldn't hurt (starts to slice into James chest) too much.\" Break", "[SCENE_BREAK]", "Lorne is on stage singing \"I left my heart in San Francisco\" Gunn and Wes are standing over by the bar.", "Gunn: \"He said he had something?\"", "Wesley: \"That's what he said.\"", "Gunn: \"When's he gonna show?\"", "Wesley: \"Any time now.\" An old demon wearing a knit wool jacket taps Gunn with his cane.", "Demon: \"You youngster wanna button it up? I'm trying to enjoy the show here. - See, that's real singing there. That's *real* music.\"", "Gunn: \"Okay, pops.\"", "Demon: \"What do you know?\" Lorne finishes the song just as Merl walks up to Gunn and Wes.", "Merl: \"I'm not dealing if the bloodsucker is around.\"", "Wesley: \"Angel's not here.\"", "Merl: \"Good. He's always beating me up, or hanging me upside down, and he never pays up like he's supposed to.\" Wes pulls out some money and puts in on the bar in front of Merl.", "Merl: \"Jeez, if I could have made a living in Akron I never would have come back to this smog pit.\"", "Gunn: \"Tick, tock, Merl.\"", "Merl: \"Yeah, well, this thing took a little more leg work than I estimated. The price is gonna change.\"", "Wesley: \"Really?\"", "Merl: \"Yeah.\"", "Wesley: \"Alright.\" Wes picks up the top bill and puts it in his pocket.", "Merl: \"Hey!\" Wes keeps picking up one bill after another from the top of the stack, never taking his eyes off Merl.", "Merl, grabs the money: \"Hey, hey, hey! - This guy James you're looking for, he's alive, he's in town, and he knows what Angel did to his heartthrob. (Lorne had come up to them and is listening in as well) He's out for blood.\" Gunn pulls out a cell phone and starts dialing.", "Angel to phone: \"Yeah, do that. I'll cover this end.\"", "Cordy: \"What's up?\"", "Angel hangs up the phone: \"He's alive. Wes and Gunn are gonna track him down.\"", "Cordy: \"What if they can't?\"", "Angel: \"Doesn't really matter. 'cause I know where he'll be headed.\"", "Cordy: \"Here. For you.\"", "Angel opens the weapons cabinet: \"I want you to go home while it's still light out and stay there.\"", "Cordy crosses her arms: \"No.\"", "Angel: \"Yes!\"", "Cordy: \"Hm-mm.\"", "Angel: \"Where's my hurling ax? This is all different!\"", "Cordy: \"I moved some things to the cellar while you where gone. (Angel turns to look at her) They were dust catchers!\"", "Angel: \"Go home.\"", "Cordy: \"I'm sticking with you!\"", "Angel: \"I appreciate your courage, but I don't wanna see you get hurt.\"", "Cordy: \"Well, I don't either! I go home, he'll come after me because I'm home alone. That's what they do, they come after you when you're alone. Oh, sure, Cordy, go home! Be a hostage with the torture and the fear and the tort...\"", "Angel: \"Cordy! Will you, just once, do what I tell you without arguing about everything, okay? Hurling ax. Basement?\" Angel walks towards the basement doors with Cordy hurrying after him.", "Cordy: \"I'm not arguing! I just know I'd be a lot safer by your side rather than all alone at home.\" Angel opens the basement door to find James standing on the other side of it. James throws Angel back against the wall as Cordy runs back into the lobby.", "James: \"Why'd you do it?\" They exchange a few punches then James sends Angel flying into the lobby.", "James: \"Because I had something you could never have?\" Angel to Cordy peeking out from behind a pillar: \"Get back!\" Angel and James go at it again. Fred steps out onto the open hallway looking down into the lobby.", "Fred: \"Angel? - I thought I heard company. I came out of my room. Small steps - like you said.\" Angel stops choking James to step back to where Fred can see him.", "Angel: \"Go back to your room and stay there!\"", "Fred turns to go: \"Okay then.\" James and Angel resume their fight.", "Merl: \"I don't know where he is now, but I know where he was earlier. Dr. Gregson's.\"", "Gunn: \"What kind of doctor is that?\"", "Lorne: \"A demon kind. Slod demon.\"", "Wesley: \"Slod demon? What's he do?\"", "Lorne: \"He's a collector.\" The phone rings in the Hyperion's lobby, but Angel is too busy fighting to answer it. Cordy picks up a fire extinguisher and hurls it at the back of James head.", "Angel: \"I told you to...\" Cordy picks up a stake and throws it: \"Shut up and stake him!\" James intercepts the stake and attacks Angel with it.", "Cordy: \"Oops.\" James trying to push the stake into Angel's chest: \"You never loved anyone - or anything. Go to hell.\" Cordy jumps on James back. James turns to send her flying across the lobby. Angel grabs a hold of the stake and buries it in James chest, then hurries over to help Cordy up.", "Angel: \"It's alright. It's alright. It's over.\" Cordy looks over and sees that James, instead of dusting, is pulling the stake from his chest. Angel and Cordy stare as the wound closes in front of their eyes.", "Cordy: \"Ah, over in what sense?\" Break Angel attacks James and kicks him out through the glass doors into the sunlight streaming down into the garden court, hurries back to Cordy.", "Cordy points: \"Ah, shouldn't he be on fire?\" Angel hustles her towards the basement: \"Let's get out of here.\" Cordy is following Angel down the ladder into the sewers.", "Cordy: \"My coat. It's stuck.\"", "Angel: \"Leave it.\" Cordy slips out of it and hurries after Angel. James drops down into the sewers after them. Cordy and Angel come to a fork in the tunnels. Angel pushes Cordy towards one of them.", "Angel: \"Go that way.\"", "Cordy: \"Where are you gonna go?\"", "Angel: \"Go!\" Cordy goes. Angel slices his hand and splashes some of his hand some ways down the other tunnel then hurries after Cordy. Opens a door in the side of the tunnel.", "Angel: \"Cordy! This way. Hurry up!\" Angel pulls the door shut behind them. James comes running up to the fork and sniffs the air, then runs down the tunnel Angel sprayed with his blood.", "Cordy: \"Alright, I've been doing this for a while. Don't stakes through the heart and sunshine kill you guys?\"", "Angel: \"Sh! He seems to have become...\"", "Cordy: \"...invincible?\"", "Angel: \"Let's not exaggerate.\"", "Cordy: \"The ring of Amara, when you had that you were invincible. Does he have a ring?\"", "Angel: \"No.\"", "Cordy: \"Hmm. - Did the Amara people make cufflinks or belt buckles?\"", "Angel: \"There was only one.\"", "Cordy: \"And you had to smash it!\"", "Angel: \"Why don't we recriminate later, okay?\"", "Cordy: \"Yes.\"", "Angel: \"Now be quiet. I think he took the bait.\" A deep rumbling sounds and the tunnel begins to shake.", "Cordy throwing herself at Angel: \"Earthquake!\"", "Angel: \"Subway!\"", "Cordy lets go of him: \"Okay, just subway.\" Both of the jump and Cordy lets out a small scream as her cell phone suddenly rings.", "Angel: \"Jeez!\"", "Cordy fumbling with her phone: \"Sorry, sorry, cell phone.\"", "Wesley at Caritas: \"Cordelia, is that you? Can you hear me?\"", "Cordy: \"Huh? What? Say that again?\"", "Wesley: \"There is something you have to know about James.\"", "Cordy: \"Oh. He's invincible, is he? He went to a what? Slog demon? What's that? (to Angel) some kind of doctor demon that collects rare organs. (To phone) Cut out his heart? (To Angel) Absolutely can not be killed. (To phone) Wait. What? - How long? Six what? What? Hello? (looks down at her phone) No signal. (closes it) Okay. The guy's invincible, but it only lasts for so long then he dies.\"", "Angel: \"How long?\"", "Cordy: \"He said... I don't know. Six minutes, hours, weeks. (fumbles with her cell phone) I hate these. Come on, give me a signal!\"", "Angel: \"That's good news. So all we have to do is, is wait him out.\"", "Cordy: \"Right. So we just wait here until we're sure.\" With a big crash James burst through a door a ways down from them. Angel hurries Cordy back out into the tunnels.", "Angel: \"Cordy, up here!\" Angel and Cordy push through the people crowding the stairs to the subway platform just as a train pulls up. James is coming down the 'up' escalator, pushing people out of his way. Angel pulls Cordy through the open doors into the train. The doors close in front of James nose. As the train pulls out of the station Cordy, clinging to Angel's back sticks out her tongue at James.", "Cordy: \"What a creep.\" James de-vamps as he watches the train pass by him, then jumps on the back of it.", "Cordy: \"Should we get off at the next station and double back? He won't expect that. Or should we stay put till the end of the line and put as much distance between us...\"", "Angel: \"Shh!\" There is a clunking sound coming from the roof.", "Cordy: \"He couldn't possibly...\" Angel pushes Cordy behind him just as James come bursting in through a window at the end of the compartment.", "Angel: \"Get back!\"", "James: \"Well, this is a new twist in an old snake. - Is it possible you care about someone who isn't you?\"", "Angel glances back at Cordy: \"Don't worry about her.\"", "James: \"But if you've changed. If you aren't the same man who screwed Darla and couldn't care less what happened to her...\"", "Angel: \"Where did you hear... Oh. You mean back in the day. Right.\"", "Cordy: \"He has changed. A lot. He has a soul now and he cares about people.\"", "James: \"So you might feel something when I snap her neck.\"", "Cordy: \"Well, it's not like he's losing sleep with the caring.\"", "James: \"Lucky me. Now I can kill the woman you love.\"", "Angel: \"No, you can't.\"", "James: \"Are you forgetting who's the invincible one here?\"", "Angel: \"The woman I love - is dead.\"", "James: \"Who are you talking about?\"", "Cordy: \"It happened about three months ago. We try not to say her name too much.\"", "James: \"*You* loved someone - with all your heart.\"", "Angel: \"Yeah.\"", "James: \"No you didn't. - Because if you had you wouldn't be standing here playing games with me. You wouldn't be able to - because once she died or some b*st*rd killed her, it would have killed everything in you.\"", "Angel: \"I wouldn't be able to go on living.\"", "James: \"Don't worry, you won't. And she won't either.\" James rips a seat loose and smashes it across Angel's face.", "Cordy: \"Angel!\" James hits Angel again sending sliding back towards Cordy and a male passenger standing by the door, leaning on a pair of crutches.", "Angel: \"Catch him!\"", "Cordy: \"Catch who?\" Angel pulls the crutches from under the guys arms and Cordy barely keeps him from falling. Angel flips to his feet and, one crutch under each arm, faces James.", "Angel: \"Come on!\" James attacks and Angel catches his arm with the crutches and uses their leverage to twist James around and press him up against the wall.", "Angel: \"How's that, invincible boy, huh? - Is that your idea of love, James, hmm? It's not real unless it kills, you?\"", "James, panting: \"Yeah. What's yours? It's fun as long as it doesn't cost me anything? - You don't know what love is!\" Angel backs up, letting James free. James slides down the wall of the train and looks up at Angel.", "James panting: \"You think you won - just because you're still alive? - I lived. - You just existed.\" Angel just stands there staring down at James until James suddenly turns to dust. Cordy sees Angel coming down the steps of the Hyperion.", "Cordy: \"How's Fred?\"", "Angel: \"She's alright, considering. We talked over what happened and I think she'll be coming out of her room any decade now.\"", "Cordy: \"And how about you?\"", "Angel: \"I'm o...\"", "Cordy: \"And don't say 'okay.' Angel, please. I know you. Ever since you've come back from your grief trip I can tell that something's not right. And, and *obviously* it's not. - Buffy's - dead, and I don't mean to diminish that. I miss her too. - I just wanna say - I know that James with all his Romeo and Juliet madness, opened up a lot of wounds for you, but you'll be okay.\"", "Angel: \"I am okay.\"", "Cordy: \"Then - what's the problem?\"", "Angel: \"That I'm okay. That losing Buffy didn't kill me. That I could deal with it. - In all those years - no one ever mattered. Not like she did. - And now she's gone - forever.\"", "Cordy: \"And you're still here.\"", "Angel: \"Yeah. I just feel like I'm betraying her somehow.\"", "Cordy: \"No! If you were a loser, if you were some sick obsessed vampire, you'd go to a Snod demon, or whatever, and get your heart cut out. But you're not! You're a living, breathing... Well, living, anyway - good guy, whose still fighting and trying to help people, and that's not betraying her, that's honoring her.\"", "Angel: \"You think?\"", "Cordy: \"I'm Cordelia. I don't think. I know. Okay?\" Cordy gives him a big grin, which draws a small smile in response.", "Angel: \"Okay.\"", "Cordy: \"So - can we get back to wor,k now?\"", "Angel: \"Yeah. Sure. - There's work?\" The door opens and Gunn and Wes come striding in.", "Wesley: \"What do you know about Nester demons?\"", "Angel: \"Well, they like to live in the walls of people's homes. They hatch several times a year - and don't you have to kill their queen or something?\"", "Gunn hands Cordy a dagger: \"Yeah. And if you don't they infest again, worse than ever.\"", "Cordy: \"We killed a bunch of them in Hancock Park a couple of months ago.\"", "Wesley: \"I don't think we got the queen.\" Angel accepts a knife and turns to go: \"Well, lets go find out.\" The four of them stride down the hall of the Hyperion. Puerto Cabazas, Nicaragua, night, a big burly black guy comes into a cantina. He pulls out a piece of paper and hands it to someone waiting for him at the bar.", "Guy: \"Sorry it took so long. He's a very difficult shaman to find.\" Darla accepts the paper and stuffs it into her shirt.", "Darla: \"You can go.\"", "Guy pours a drink: \"Oh, no, no, no, no, no. I thought - we'd have a drink - to celebrate.\"", "Darla: \"No. Thanks.\"", "Guy: \"Oh. Don't be so shy, little one. You get to know me, I'm a very nice man. How much can - one little drink hurt, huh?\"", "Darla: \"Depends on who's doing the drinking.\"", "Guy: \"Hmm. I thought you might have a - surprise or two in you.\"", "Darla: \"Well, you know what they say...\" Darla vamps out and sinks her teeth into the side of the guys neck as he lets out a strangled scream, then drops him to the floor and picks up a slice of lemon and sucks on it.", "Darla: \"Life's full of surprises.\" Darla gets up from the bar and we see that her belly is bulging, big and round." ]

[ "Angel is forced to help Wolfram and Hart free a man being held by the Powers That Be after the law firm hires a demon who can cause Cordelia to experience terrifying visions and pain." ]

[ "[PREVIOUSLY_ON]", "\"You know Lilah Morgan in Special Projects.\"", "Park: \"I'm Gavin Park.\"", "Angel: \"Already bored.\"", "Fred: \"They use you as a slave and then your body gives.\"", "Constable: \"Fugitive!\"", "Fred: \"Oh, no!\"", "Fred: \"Handsome man - saved me from the monsters.\" Cordy gets hit with a vision.", "Angel: \"Are you gonna be alright?\"", "Cordy: \"Yeah. I'm fine. I'm fine. Go. Go!\"", "Cordy: \"These visions are killing me.\" Angel and Darla making out.", "Angel: \"Get dressed and get out. Because the next time I see you, I will have to kill you.\" Pregnant Darla gets up from the bar.", "Man: \"He's a very difficult Shaman to find.\"", "Darla: \"You know what they say: life's full of surprises.\" Wes and Gunn are standing at the counter of the Hyperion, eating Chinese take-out right out of the boxes with chopsticks.", "Wes: \"No, Gunn, you misunderstand. - I mean - I'm not saying that we act differently. I just think we should be gentle in our inter... (sees Cordy coming in) Evening, Cordy.\" Gunn waves at her with his chopsticks and gives her a big smile: \"Hey, Cordelia.\" Cordy looks at them as she walks by.", "Gunn to Wes: \"How was that?\"", "Wesley: \"I felt quite genuine.\"", "Fred: \"B plus. C minus.\" Gunn and Wes turn to look at Fred, who is sitting cross-legged under the folding table the gang put up for Angel as a desk last season with her own box of Chinese takeout.", "Fred: \"A girl can tell.\"", "Wesley: \"Fred - if you feel comfortable enough grading our sincerity (crouches down in front of the table) how about joining us for the rest of the meal? - Isn't that the point of coming downstairs?\"", "Fred swallows hard: \"I guess that'd be okay.\" Fred crawls out from under the table and joins them at the counter, picking at the food in her box with her fingers.", "Gunn: \"Ah, I-I don't mean to rush you back into the twenty first century, but how about using some chopsticks. Or a fork, maybe. (Picks up a fork and offers it to her) You remember forks, don't you?\"", "Fred takes it: \"Sure. Who could forget? Fork, pitch fork, fork it over, fork in the road - one I'm not ready to take yet.\" Cordy walks back through the lobby.", "Wesley: \"Hello again.\"", "Gunn: \"Nice day.\"", "Cordy: \"I know what you're doing.\"", "Gunn: \"You do?\"", "Fred: \"Told you.\"", "Cordy: \"You're being all fake nice and super-sensitive like 'poor Cordelia, she's on edge, because she hasn't had a vision in while.' Well, I have information for you. I look forward to my next vision.\"", "Wesley: \"You do?\"", "Cordy: \"Well, why shouldn't I? I mean, the Powers That Be have seen fit to choose me - who am I to refuse?\"", "Fred: \"Great. How about if you use that vision thing to find out where Angel's at right now.\"", "Cordy: \"Cause I don't care?\"", "Gunn: \"Ah, what Cordelia means is that she doesn't choose to have a vision. The Powers send them to her when they got info to share.\"", "Wesley: \"Think of them as gifts.\"", "Cordy: \"Yes, having-my-head torn-open-and-hot-lava-poured-into-my-skull gifts.\" Fred looks from Cordy to Wes and Gunn.", "Park: \"Excuse me.\" They all turn as Gavin Park walks into the lobby carrying his briefcase.", "Cordy: \"Oh. Hi. I'm sorry I didn't hear you sneak up on us. (Looks down at his shoes) Must be those tastefully expensive Gucci Loafers. Totally our fault.\"", "Wesley: \"He's not a client. He's Gavin Park, attorney with Wolfram and Hart.\"", "Park: \"Pleased to meet you. (Sees Fred) New player?\" Wes walks over to stand in front of Gavin, blocking his view of Fred.", "Wesley: \"Well, now that we've had this lovely reintroduction - I suggest you piss off.\"", "Angel walking in: \"Is there a problem?\"", "Wesley: \"No, no problem. Mr. Park was just leaving.\"", "Park: \"No. Actually, I just arrived. (Pulls out some papers) This is a list of fifty-seven city code violations for your hotel, including earthquake proofing, asbestos and termites. (Tosses the papers on a chair) Be advised I filed a copy of this with the city planning office.\"", "Angel: \"Gee, fifty-seven - is that a lot?\"", "Park after a moment: \"I'll be in touch.\" Park walks up the stairs to leave.", "Cordy: \"Yeah, okay - minion of darkness - Satan's toady - but that is a *nice* suit. Did you see that suit?\"", "Angel: \"Fred! Good to see you out and about.\"", "Fred: \"It is, isn't it? Out and about. (Leans towards Angel) I've been forking with Gunn.\" Angel and looks at Gunn, eyebrows slightly raised. Cordy starts screaming as she gets hit with a vision of some clawed demon thing. Angel and Wesley manage to catch her before she falls to the floor.", "Angel: \"Are you alright. -Talk to me.\"", "Cordy, gasping: \"There is a coin and, uhm, two clawed things, it's in China town I think. An herbalist's shop.\" Wes and Gunn head for the books.", "Angel: \"Come on.\" Angel helps Cordy up, but when he puts a hand on her left shoulder, Cordy jerks away with a gasp.", "Cordy: \"I'm okay. I'm fine. It just caught me off guard a little. (Angel just looks at her) Ah, go find the coin. (Starts to walk away) It has a hole in it.\" Angel just stands there, looking after her. Cordy enters the bathroom at the Hyperion and closes the door behind her. Goes to lean on the sink. There is a knock on the door.", "Cordy: \"Yes?\" Wes is standing outside the closed door, holding an open book.", "Wesley: \"Cordelia, that beast you saw - did it have four or five claws?\"", "Cordy: \"Five.\"", "Wesley: \"You're certain?\" Cordy pulls up her shirt and counts the claw marks decorating her belly.", "Cordy: \"Pretty certain.\" Intro Wes is standing in front of a table loaded down with books. Fred is pacing behind him reading a thick phone book.", "Wesley: \"Anything of interest yet, Fred?\"", "Fred: \"Oh, sure. Lots. 'H' is a fascinating letter. Helicopters, helium, helmets, hernias...'", "Wesley: \"Did you happen to notice 'herbs' in your wanderings?\"", "Fred with a big grin: \"I did. (Wes just looks at her) Oh, right. There are, ah, lets see... five herbalist shops in Chinatown.\" Angel comes walking in.", "Angel: \"We got a name or face for these things yet?\"", "Wesley: \"Circling. I think we might be looking either at a Wan Shan Dhole or a Cantonese Fook-beast.\" Gunn walks in carrying a baseball bat and with a backpack slung over one shoulder.", "Gunn: \"I say we figure out what these things are after we find that coin. We're burning moonlight.\"", "Wesley: \"Sounds like a plan.\"", "Angel: \"Hey, Fred? I need you to do something for me.\" Fred gives him a huge smile. Cordy is in the bathroom taking a couple of aspirins. She's taken her shirt off and turns to look at her left shoulder blade in the mirror. There are three more claw marks there. Angel knocks on the closed door of the bathroom.", "Cordy: \"I told you, it's about finding the coin.\"", "Angel: \"It's me.\"", "Cordy: \"I'm fine!\"", "Angel: \"I'm not leaving until you open the door. I mean it, Cordelia, open up.\" Cordy opens the door, shirt back on, hiding the scratches, and gives him a bright smile.", "Cordy: \"See? Fine!\" Angel stops her from closing the door again.", "Angel: \"They're getting worse, aren't they?\"", "Cordy: \"I'm feeling better. Once I get a little protein in me, I'll be good as new. Honest. Now, go declaw those things!\"", "Angel: \"I've asked Fred to take you home.\"", "Cordy: \"I don't need to go home.\"", "Angel: \"There is nothing else you can do here. Just - get some rest, okay?\"", "Cordy: \"No...\"", "Angel: \"O-kay?\"", "Cordy sighs: \"Okay.\" Closes the door. Angel is sitting in the back of the convertible, with Gunn driving and Wes in the passenger seat as they're driving down the dark streets of LA", "Gunn: \"Five herb shops in Chinatown and we've been to four. How come whatever we're searching for is always in the last place we look?\"", "Wesley: \"I supposed it is one of the unwritten laws of being a 'dick.' (Gunn give Wes a look) Ah, a sleuth, a gumshoe, Sherlock.\"", "Gunn: \"All I know is you use the word 'dick' again and we're gonna have a problem. - So what is the name of this place anyway?\"", "Wesley: \"Van Hoa Dong. - It should be up there on the left. (Turns around to face Angel) How was Cordelia when you spoke to her.\"", "Angel: \"She said she was fine.\"", "Wesley: \"You don't believe her?\"", "Gunn: \"Alright, here we go. Next time we're hitting the last place first.\" Gunn stops the car just down the street from the herb shop. In the shop a white-haired older gentleman is measuring out some powder. A woman brings him another jar as Angel, Gunn and Wes walk into the store.", "Woman: \"Your kind not welcome here!\"", "Gunn: \"Since when can't a brother buy some ginseng tea?\"", "Man: \"Not you. (Points at Angel) Him! Vampire not welcome!\"", "Wesley: \"This is a public facility and any being may enter. We're looking for an ancient coin.\" The Chinese couple exchanges a look - then both let out a scream and flip over the counter, landing in a martial arts stance.", "Gunn: \"Ah, so you think some fancy flipping and a little hollering can intimidate guys like us? (Suddenly their hands turn into long, gray claws) Okay, that creeps me out.\"", "Angel: \"You two take grandma. I'll take the old man.\" A big fight ensues during which (miraculously) all three of our heroes manage to avoid getting more than superficially cut by the couple razor-sharp metal claws. In the end, Wesley manages to knock grandma over the head while Gunn keeps her distracted with his wooden baseball bat (sharpened to a point for easier stake action). Angel takes a hold of the scarf the old man wears wrapped around his waist and with a sudden hard pull sends the man spinning through the air. The old man crashes into the shelves covering the wall and drops to land in a heap on the floor.", "Gunn, panting: \"Damn. Grandma and grandpa got game.\"", "Wesley: \"Yeah, I know. Now if we could just find that coin before they come to.\"", "Angel: \"Guys. Over here.\" Angel reaches down and snaps the leather necklace holding the coin from around the old man's neck. At Wolfram and Hart Lilah picks up the page a printer has just finished printing out and looks at it.", "Lilah: \"Asbestos disposal? What?\" Gavin Park comes up and takes the page from her.", "Park: \"I think that's mine. Yeah, my printer is down so I had the I.T. guy network me into yours.\"", "Lilah: \"Thanks for asking.\"", "Park: \"This hasn't been announced yet - but I've been moved into Special Projects.\"", "Lilah: \"From Real Estate?\"", "Park: \"With so much karmicly damaged property in LA, not to mention the demon infestation, the Partners felt that I would be more useful here.\"", "Lilah: \"Hmm...\"", "Park: \"I'm working on a little something aimed at Angel Investigations. If you're interested, I'd love to have you on my team.\"", "Lilah: \"Your team?\" The door of her office pops open and a guy wearing a fez sticks his head out.", "Lilah: \"I'll be right in.\" The guy withdraws and closes the door just as quickly.", "Lilah: \"Let me tell you a little something about your team. - You don't have one.\"", "Park: \"Look, just because they gave you Lindsey's old office doesn't mean...\"", "Lilah: \"I have this office because I earned it. As did Lindsey. He sacrificed his flesh and blood for this company, literally had his hand cut off - fighting against Angel. (Holds up the printout) What are you doing? Building code violations.\"", "Park: \"I'm fighting Angel in my *own* way.\"", "Lilah, entering her office: \"Yeah. I bet he's really terrified.\" Cordy walks out of her bedroom stretching.", "Cordy: \"Okay! All ready for bed. Face washed, teeth brushed, tired, tired! (Fake yawns) You can go now!\" Looks around the living room and notices the lack of an audience for her performance.", "Cordy: \"Fred? - Okay, you can go now Fred.\" Walks over to the kitchen and sees Fred sitting on the floor eating peanut butter straight out of the jar.", "Fred: \"Sorry. It's been so long.\" Cordy helps her up and puts the lid back on the jar.", "Cordy: \"Not a problem. Here. Take it with you. Enjoy that peanutty goodness in the comfort of your *own* home.\"", "Fred: \"Hey. Wait. Angel said...\"", "Cordy: \"I know. He said that you should wait until he calls (Fred nods) but as you can see, I'm fine. In fact I'm better than fine. I'm - right as rain.\"", "Fred: \"I-I never understood that saying 'right as rain.' How is rain right? Or wrong, for that matter. Okay, I suppose if there's a flood it's wrong. And speaking of floods, or maybe just being overwhelmed - what's it like to have a vision?\"", "Cordy: \"Wow. You know, next to you, I am downright linear.\"", "Fred: \"Do you see things or smell them or just know - 'in your stomach' know. Like in fifth grade when I saw Grayson Wells and I just knew we'd go steady and even though we never did, looking back on it, it feels like we did. Is it like that?\"", "Cordy after a beat: \"Okay. Time to go.\" Starts ushering Fed towards the door.", "Fred: \"Has - has anyone ever told you you're exactly like Lassie? Yeah. You're like Angel's Lassie. Sure, he does most of the saving but it's your visions that tell him that Timmy is trapped in the well, or the robbers are hiding in the barn. He really needs and depends on you.\"", "Cordy: \"Well, thanks. I'd be flattered except for the Lassie being a *dog* part. Dennis, a little help here?\" The door of Cordy's apartment swings open.", "Cordy: \"See? I'm not alone, I have a ghost. (Pushes Fred out the door) Bye. We'll have to - to...\" Cordy gets hit by another visions and drops to the floor. Fred crouches down beside her.", "Fred: \"Are you alright?\" Fred gently turns an unconscious Cordy over onto her back. Suddenly boils appear all along the side of Cordy's face. Break", "Cordy: \"A demon. An icky, boil-covered demon.\" Cordy is sitting next to Angel on the edge of her bed with Gunn, Fred and Wes standing by the door, looking at her.", "Cordy: \"A storefront downtown on the corner of fifth and something. And there was a key. I should probably draw you a picture of the key.\"", "Angel: \"Cordy.\" Cordy starts to get up, but Angel pulls her back down and gently pushes the hair back from her face to reveal the boils she'd been trying to hide.", "Wesley: \"Oh, god.\"", "Angel: \"Cordy, we should talk about this. You can't ignore what's happening.\"", "Cordy sounding slightly hoarse: \"I don't wanna talk. What's there to say? Except 'gross' 'yuck' and 'unclean.' (Cordy looks at the others, who avoid meeting her eye) Like you're not thinking it.\"", "Angel: \"Has this ever happened before?\" After a beat Cordy pulls the sleeve of her sweater up to reveal one set of claw marks.", "Cordy: \"Earlier tonight.\" Wes crouches down for a closer look: \"Oh, whoah! Are you saying your vision had a physical manifestation?\"", "Cordy: \"Yeah.\"", "Wesley: \"And did this new one have anything to do with...\"", "Cordy: \"The yuck monster (points at her face) Yeah.\" Cordy looks past Angel, catches sight of herself in the mirror and gets up to take a closer look.", "Cordy: \"This must be a mistake. The Powers wouldn't do this to me on purpose, I mean, I'm a part of their team. Why would anybody do this on purpose?\" Angel comes out of Cordy's bedroom closing the door behind him and joins the others waiting for him in Cordy's living room.", "Angel: \"We have to figure this out and now. Anybody? Gunn?\"", "Gunn: \"I had this auntie who used to get this nasty crusty stuff on the back of her neck every summer - turns out she was allergic to shellfish.\"", "Angel after a beat: \"That was helpful.\"", "Wesley: \"Why would the Powers choose to communicate with Cordy in this way?\"", "Fred: \"Maybe we could ask them. (Everyone turns to look at her) Y-you used the word 'communicate' which got me thinking - everything's made of energy, right? Light waves, radio waves, x-rays, even brain waves are all electric energy. If Cordelia is receiving visions from the Powers That Be they're being communicated somehow. Maybe we could figure out the frequency and trace the calls.\"", "Wesley: \"Yes. Of course. Well done, Fred. - Gunn, I need you and Fred to go to the hotel and get me some books. I'll make a list. We need to research that Chinese coin. Angel, you find that demon and get the key.\"", "Angel: \"I'm not going anywhere.\"", "Wesley: \"Cordy's had two visions in the same night. You see what it's doing to her. If the Powers That Be are taking such extreme measures we have to assume that the coin and the key are of great significance.\"", "Angel: \"And so is Cordelia. If I go out and find that key, how can I help her?\"", "Wesley: \"By trusting me. I have an idea.\" Angel brings his convertible to a stop at a street corner and gets out. Sword in hand, he kicks open the door to the store and walks in.", "Angel: \"I want the key and I want it now.\"", "Man: \"Oh, w-which key might that be?\" The man turns on some more light and Angel looks around the store at walls covered with keys and blanks used in the duplication of keys.", "Man: \"Did you lose the original?\" Angel pulls out Cordy's drawing of the key and hands it to the man behind the counter.", "Angel: \"Ah, it looks like this.\"", "Man: \"Ah. Yes, of course. This should only take a moment.\" The man reaches one hand under the counter - like a bank clerk reaching for the hidden alarm button. A buzzer sounds and a boil covered demon drops down behind Angel swinging a sword. Angel blocks the sword and turns to engage the demon. Gunn and Fred walk into the Hyperion's courtyard.", "Fred: \"I know that you're probably disappointed that you couldn't go fight that thing with Angel.\"", "Gunn: \"Right. Because why would I wanna walk with a cute, young woman on a beautiful night when I could be out hacking and slaying an ugly, boil-covered demon monster and getting myself killed.\"", "Fred: \"I can't apologize enough.\"", "Gunn: \"Hey, I just follow orders. No matter how tough the job.\"", "Fred: \"It's just that I'm still so jumpy, and I hate being jumpy, but I guess that's why you're here. Because you don't...\"", "Gunn: \"Whoa.\" Gunn has opened the door to the lobby and they find themselves facing a guy wearing a breathing mask. The lobby behind him is filled with gray smoke.", "Gunn: \"Who the hell are you?\" The guy pulls up his mask: \"Surekill Exterminators. You can't come in. We're fumigating.\"", "Gunn: \"In the middle of the night? I don't think so. (To Fred) I need you to get some of them books out of Wes' offices, okay? (Fred looks at him) You'll be okay. I just need to talk to this nice man.\" Fred walks past the two guys into the hotel.", "Gunn: \"Alright. You got thirty seconds to show me your work order before I start doing some exterminating my damn self.\" Wesley opens the door of Cordy's apartment to let Angel in.", "Angel: \"How is she?\"", "Wesley: \"Ah. We're finding out right now. Did you get the... (Angel hands him the key as he walks past Wes) Great.\" Angel walks into Cordy's bedroom to see her lying on the bed with Lorne sitting beside her.", "Lorne: \"Ah. His royal badness. Just in time. Would you talk to this young lady? She's resisting the process.\"", "Angel: \"Process?\"", "Wesley: \"Oh, my idea. The host reads people's auras to set them on their path. In some shape or form that connects him to the Powers That Be. I'm thinking...\"", "Angel: \"Sure. He might be able to reverse the process. That he might be able to use Cordelia in order to trace the call back to the Powers.\"", "Lorne: \"Way outside of my area of expertise, I should caution. But hey? Who knew William Shatner could sing? (Laughs) - Okay, bad example.\" Lorne gets up to make room and Angel takes his place on the bed.", "Cordy: \"Was it there? Because I'm gonna be really ticked off if I'm all (points at her face) Phantom of the Opera and there wasn't a key.\"", "Angel: \"It was right where you said.\"", "Cordy: \"Oh, good.\"", "Angel: \"Why don't you want Lorne to try and trace the visions?\"", "Cordy: \"It's not like I'm morally against letting a demon into my subconscious for a quick lookee-loo. Hey, might be fun. But with the Powers That Be doing this whole 'book of Job' thing, the last thing I want is more noise in my head.\"", "Angel: \"Maybe he can make the noise stop.\"", "Cordy sighs: \"Yeah.\"", "Angel: \"Isn't that what you want?\"", "Cordy: \"Yes! No. Well, no. Sure I hate looking and feeling like this, but - if I lose the visions, I wouldn't be able to help you anymore. You wouldn't need me.\"", "Angel: \"That's not why I need you. *You're* important. - And the visions are just after market extras like Hurst shift or Krager wheels.\"", "Cordy: \"Did you just compare me to a car?\"", "Angel: \"It was a very nice car.\"", "Cordy: \"I guess that's better than a dog.\"", "Angel: \"Cordy, let us try and help. Okay?\"", "Cordy: \"Okay.\" Angel and Lorne change places again.", "Lorne: \"Alright, princess, like I told you earlier. You shouldn't even feel a thing. You ready?\" Cordy lies back into her pillow and closes her eyes with a sigh. Lorne puts his hands on her temples and closes his eyes, too.", "Lorne: \"Now, I want you to relax. Picture yourself outdoors, in a field, or on a mountain.\"", "Cordy: \"I like the mountains.\"", "Lorne: \"Beautiful. Say you're on a mountaintop, and it's warm. The sky is blue, full of big, fluffy clouds. You're Julie Andrews in 'The Sound of Music.' And you're relaxed and you're spinning and the camera is swirling and - ouch! (Lorne recoils from Cordy) Careful, honey, you've got some power of your own!\"", "Cordy: \"Sorry. All the spinning and swirling was freaking me out.\"", "Lorne: \"My fault, my fault. I just love that movie so much!- Okay. Ready to try again? (Cordy sits up a little higher in her bed) Okay. Now let's go looking for the Powers That Be. See if we can reach out and touch someone.\" Lilah is pacing her office impatiently, checking her watch. The fez-guy from earlier is writing on a paper.", "Lilah: \"How many times did I tell you that if we don't have your ten-ninety-nine on file that payroll can't cut you a check.\"", "Fez: \"I know, I know! - Hey, you know a good tax-guy?\"", "Lilah: \"Let's just finish the job, then we'll talk about taxes.\"", "Fez: \"You're the boss. (Signs the paper) John Hancock and - done!\"", "Lilah: \"You remember what we talked about?\"", "Fez: \"All that fire? (Laughs) How could I forget?\" Fez guy sits down cross-legged on a table, closes his eyes, takes a deep breath and starts to levitate. Lilah smiles as Fez-guy reaches up to take his hat off, revealing an exposed, glistening, gray brain, pulsing and flexing in a weird rhythm. Lorne is massaging Cordy's temples with his fingers. Suddenly Cordy jerks as she is hit with another vision. Next we get a shot of fez-guy's face and his pulsing, exposed brain. Then a blurry vision shot of a person engulfed in flames. Blend back to Cordy and Lorne getting blasted backwards through the air until he impacts with the wall to the sound of shattering glass as he smashes a floor lamp. Cordy is still in the throws of the vision as we blend from her jerking around on the bed to the burning guy and some bronze demon. Cordy screams and Angel hurries over to her.", "Angel: \"Cordy? Cordy!\" Wesley looks down at Cordy's arms that now look to be severely burned in the aftermath of the vision. Fez-guy is slowly settling back down on the table in Lilah's office. He puts his hat back on and opens his eyes to grin at Lilah.", "Lilah: \"Well?\"", "Fez: \"I think she got the message.\" Break", "[SCENE_BREAK]", "Cordy: \"Is Lorne gonna be okay?\"", "Angel: \"He's fine. He's unconscious, but he's fine. You're the one I'm worried about.\"", "Cordy: \"Am I a bad person? Am I just a horrible person? Because I know I can be snippy sometimes.\"", "Angel: \"This isn't happening because you're bad. - If anything it's because you're strong. Stronger than you realize.\"", "Cordy: \"I'm not. - I know what I said earlier. - But I don't want the visions anymore. I tried to be brave. I did. But I'm just scared now. I'm scared all the time. (Does her best not to cry) I mean look at me! (Holds out her arms, then takes a deep breath and wipes her eyes) What could be *so* important that the Powers would do this? I don't understand.\"", "Angel: \"I don't either. Hey...\" Angel reaches to take a hold of her hand. The door opens and Wesley sticks his head in. Wesley motions for Angel to come out. Angel hesitates looking back at Cordy.", "Wesley: \"Angel. I really think you should hear this.\" Angel looks back and forth between Wes and Cordy, then gets up. Angel steps out into the hall, closing the door behind him.", "Angel: \"This better be important.\" Wes cocks his head towards the living room. Angel walks over to see Lorne lying on the couch, with Fred crouching beside it and Gunn sitting on the arm of it.", "Angel: \"What? Did you make contact?\"", "Fred: \"The visions aren't from the Powers!\"", "Lorne: \"Oh, sure, sweetheart. Steal my thunder. Next time *you* can be the one that gets thrown across the room.\"", "Angel: \"Who's sending the visions?\"", "Lorne: \"I don't know. (Winces as he tries to sit up) But it's local. Earthbound, and pretty authentic. I can see how a layperson might mistake it for the real deal.\"", "Gunn: \"Are you saying someone's hacked into Cordy's head?\"", "Lorne: \"Transmitting false data through the celestial pipeline. I know it's probably a mile long list, but I'd start looking at enemies. Who wants to get to you, who has the sizable resources, and who'd be willing to mess up a pretty face like Cordelia's?\" Lilah is sitting in front of her computer in her office.", "Lilah: \"Concentrate!\" She clicks the mouse. We see the golfer on the screen hit the ball into a water hazard.", "Lilah: \"Ah, damn it.\"", "Angel: \"Gosh. (Lilah jumps in her chair) Jeez, I hate traps. Don't' you? I was gonna knock, but you seemed to focused, I hated to interrupt.\"", "Lilah: \"How-how did you get in here?\" Angel goes to sit down in the chair on the other side of her desk.", "Angel: \"Oh, you mean, why didn't the vampire alarms go off? Your college, Gavin, he - helped me out. College, mortal enemy, however you guys play it around here. So, can we get down to business? I think you might be looking for these.\" Angel holds up the Chinese coin and the key, then tosses them on Lilah's desk.", "Angel: \"What do you think?\"", "Lilah: \"I think - you might be right.\"", "Angel: \"Good. Then we're done here. (Gets up and leans on Lilah's desk) You got what you wanted. Now it's over.\" Angel turns to go.", "Lilah: \"Actually - it's not over. (Slides the key and coin across the desk) And you'll be needing these to complete your mission.\"", "Angel: \"There is no mission. You and me - we're through.\"", "Lilah gets up: \"That's where you're wrong. We're just getting started. There's a young man who's been unfairly imprisoned and - you're gonna save him. Isn't that what you do? Save people? (Indicates the key and coin with her chin) You'll need those to complete your mission.\"", "Angel: \"I see. I do this for you and you stop sending Cordy the killer visions.\"", "Lilah: \"No. You'll do this for me because I tell you to.\" Lilah walks up to Angel with a smile, glides a hand from his chest around to his back as she circles him.", "Lilah: \"I know what you're thinking. Yes. You could kill me now, but then you'll never be able to stop the visions. Just for the record, those little skin problems on what's-her-name weren't intended. Just an unfortunate little side effect.\" Angel's right hand suddenly shoots out and he grabs her by the throat, pulling her face close to his.", "Angel: \"Her name is Cordelia, and you *will* help her.\" Angel lets go of Lilah and Lilah puts a hand up to her throat, breathing hard and shaking slightly. Angel has taken a step away and turned his back to her. He lets out a deep breath.", "Angel: \"So, where is this jail?\" Lilah smiles and walks up behind him.", "Lilah: \"This is exactly why I chose you for the mission, Angel. I needed a man of character, a champion of good, a warrior, and I needed someone who could travel in and out of a fortressed demon dimension.\" Wesley is sitting at his desk looking at the markings on the coin through a magnifying glass. Angel walks in.", "Wesley: \"How is Cordelia?\"", "Angel: \"Fred and Gunn are looking after her. You figured it out?\"", "Wesley: \"I think so. Something you probably won't like to hear is that both artifacts are considered objects of good.\"", "Angel: \"Oh. So the Chinese guy and the boil guy...\"", "Wesley: \"Were also aligned with the forces of good.\"", "Angel: \"Damn! *So* hard to tell these days. You know, they should wear lapel pins or something.\"", "Wesley: \"Well. In the meantime: the inscriptions on the key and the coin match. They actually work together to transport you in and out of the other dimension.\"", "Angel: \"I don't suppose we know what this other dimension is like - I mean, besides fortress-y and demon-y.\"", "Wesley: \"Well, based on the burn scars Cordy received from the last vision, I'd imagine fire is not out of the question.\"", "Angel: \"Fire.\"", "Wesley: \"And if the young man is imprisoned, I'd imagine there may be guards.\"", "Angel: \"Guards.\" Angel turns to leave the room.", "Wesley: \"I don't need to explain to you that if Wolfram and Hart are behind this mission it can't be good.\" Angel stops to look back at Wesley, then continues out of the office. Wesley gets up to follow him. Angel is looking through the contents of the weapons cabinet.", "Wesley: \"Just because Lilah tells you that this man is wrongly imprisoned doesn't make it so.\"", "Angel: \"You're right.\"", "Wesley: \"Nor do I have to explain to you that helping them violates everything you stand for.\"", "Angel grabbing some weapons: \"Right again.\"", "Wesley: \"Good. Then I don't need to convince you to let me go with you.\"", "Angel: \"Right. No! Wesley, I need you to stay here in case anything goes wrong. - Now (holds up the coin) show me how it works.\"", "Wesley takes the coin: \"I believe it's fairly simple. Ready?\" Angel nods. Wes inserts the key into the hole in the center of the coin.", "Wesley: \"This should take you there and bring you back.\" Wes turns the key and little metal bars spring out from the ends to lock against the coin. Giving it a good twist, Wesley tosses it to the floor where it spins on one end like a top, creating a swirling little vortex of smoke and light.", "Wesley: \"You sure I can't come with you?\"", "Angel: \"Take care of Cordy.\" Taking a deep breath Angel takes a step closer to the spinning key. The ring of light and smoke expands to include Angel. Angel's image becomes smeared and translucent then he and the spinning key disappear with a small flash of light - while the sword, dagger and mace that Angel had just armed himself with clatter to the floor. Break Angel materializes in a darkened chamber. There are skulls worked into the stone walls behind him. Angel looks at his empty hands then checks his belt.", "Angel: \"Sure. Because it would be too easy if I could actually defend myself.\" He takes a step forward and his foot kicks the key. Angel bends down to pick it up.", "Angel: \"At least I got the key.\" Angel sticks the key in the inside pocket of his jacket. He spots a doorway to a room lit by fire at the bottom of a fight of steps and slowly walks towards it. As he enters the room he sees a man engulfed in flames inside a burning cube. A bronze-skinned demon steps up behind Angel. Angel turns to face it.", "Angel: \"Hi.\"", "Demon: \"Hi. - You know you're not supposed to be here, right?\"", "Angel: \"Yeah. What about him?\" Angel looks over to the guy inside the burning cage.", "Demon: \"Oh, him? Oh, he's supposed to be here. Do you have any idea how monstrous a guy has to be before he gets sent to us? We're a *very* high-end institution.\"", "Angel: \"And it's your job to keep him here.\"", "Demon: \"Yeah. (Offers his hand) I'm Skip.\" Angel takes the offered hand and they shake.", "Angel: \"Angel. - So, ah, you live in here, Skip?\"", "Skip: \"No. I commute. It's not too bad - about twenty minutes.\"", "Angel: \"Uh, what keeps him in the fire?\"", "Skip: \"My will.\"", "Angel: \"How come he's not screaming in pain?\"", "Skip: \"Oh, he is. My will prevents him from being heard. I mean there is only so many 'oh my god! The pain! Please make it stop!' that you can listen to before it starts to bug the crap out of you.\"", "Angel: \"I see your point.\"", "Skip sniffs: \"You're a vampire, right? (Angel nods) How come it smells like you work for the Powers That Be?\"", "Angel: \"Cause I do.\"", "Skip: \"And you're here to try to - rescue this guy? (Angel nods) But we're on the same side. Shouldn't you be helping to keep him in here?\"", "Angel: \"I know. I know. Long story. Involves a girl. I don't like it any better than you do.\"", "Skip: \"So I really can't talk you out of this.\"", "Angel: \"Sorry. I wish you could. I guess we just have to agree to...\" Angel staggers back as Skip hits him full in the face.", "Angel: \"...disagree.\" The two of them fight. Skip knocks Angel to the ground, and Angel vamps out, jumps back up and resumes the fight. Angel manages to kick Skip backwards towards the burning cage. The burning guy inside reaches out and grabs a hold of Skip's shoulders, trying to pull Skip into the cage with him. Flames lick at Skip's back as he struggles to get free. Angel, in vamp face stands there watching. Suddenly he morphs back to human and runs forward, pulls the hands off Skip's shoulders and swings Skip away from the cage.", "Angel: \"Skip, are you okay? (Skip nods) Good. Sorry about this.\" With that Angel hauls back and knocks Skip out. The flames and the burning cage disappear, revealing the naked, soot smeared man at its center. Los Angeles, night, two limousines are parked in a spillway. Lilah is pacing between them, checking her watch occasionally. The headlights of a car come towards her and she smiles as she recognizes Angel's convertible. Angel and Wes are sitting in the front, Gunn and the guy Angel rescued are in the back.", "Angel: \"You know what to do if anything goes wrong?\"", "Gunn: \"Pop goes the weasel.\" Angel gets out of the car and walks towards Lilah. Lilah motions towards the limousines and five or six burly bodyguards step out.", "Lilah: \"To be honest, nobody at the firm thought that you could do it - except me. You're a remarkable man, Angel.\"", "Angel: \"Yeah, and you're an evil bitch. Let's finish this. Take care of Cordelia - you get your guy.\" Lilah walks to the back of one of the limos. The window slides down revealing Fez-guy in the backseat. Lilah talks to him and the window slides back up. Lilah turns back to Angel.", "Lilah: \"This should only take a moment.\" Angel turns to look towards his car and Wes pulls out his cell phone. The phone rings at Cordy's apartment, where Cordy is lying in bed, sleeping. Fred get up from where she was sitting on the end of the bed and goes to answer the phone.", "Fred: \"Hello?\" In the back of the limo Fez-guy is sitting hat-less, his eyes closed, brain pulsing. Fred turns to look at Cordy and sees the boils and blemishes melt away.", "Fred: \"Wesley, it worked. She's okay.\" Wesley opens the car door and gets out. He motions to Angel with the phone. Gunn gets out as well as the guy Angel rescued, his hands bound with thick rope in front of him. Angel watches as the guy walk past him and to the open door of one of the limos. The guy props his arms on the open door to let one of the bodyguards cut the rope while smirking at Angel, then gets in the car.", "Lilah: \"It's just business.\"", "Angel: \"Right. Just business.\" Lilah walks towards the limo on the right. Angel bends down to pick up a piece of rebar lying in a pile of other thrash and sends it hurtling through the air. The metal bar whistles past Lilah to smash through the back window of the limo and through Fe-guy's head. Lilah looks back at Angel then takes a couple of steps closer to the car to look at the Fez-guy slumping dead in the backseat. She jumps when Angel is suddenly right there speaking softly into her ear.", "Angel: \"Don't you came at me through Cordelia ever again. You play that card a second time and I'll kill you.\" Lilah watches as Gunn drives the convertible over and Angel gets into the passenger seat (Wes is now sitting in the back) then drives away. Then sun rises over the skyscrapers of the city. Cordy pours Angel a cup of coffee.", "Angel: \"Cordy, I'm glad you're feeling better and all but...\"", "Cordy: \"...you're not really a foodie. I know. But - I saw this great, big industrial kitchen that we have, and never use and I thought that (both of the jump a little as two round waffles pop up from the toaster) one of these days we should get someone in here that can cook.\" Cordy takes the waffles out of the toaster and puts one on Angel's plate the other on her own and pours syrup over them.", "Cordy: \"Here we are.\"", "Angel looking at his plate: \"Heh. Here we are.\"", "Cordy: \"Angel (he looks up at her) - what you did for me was unbelievably selfless - and brave, and amazing. (Angel looks back down) And it's so great to know that the next vision I have will just be blindingly painful and not turn me into Elephant-man or anything.\"", "Angel: \"I hear a big 'but' coming.\"", "Cordy: \"What if that guy you freed is someone or something that's truly terrible? Wolfram and Hart won this time and it's all *my* fault.\"", "Angel: \"It's not about winning, Cordelia, it's about what's at stake. And in this particular scenario you were way more important than winning. - I can't worry about that guy I set free. I did what I had to do. I'll just deal with the consequences when they happen.\" They smile at each other, but the smiles disappear as soon as the other one is no longer looking. The Yoro Mountains of Honduras, a thunderstorm is lighting up the night sky. And old man is throwing bones on a little mat on the low table in front of him. He turns around as Darla walks in from the rain.", "Darla: \"You're a difficult man to find, Senor. Do you know why I'm here? (The man nods) You are my last hope. I've been told you're very powerful, very wise. I tried everything and I can't get rid of it, so I ask you: what is this thing - growing inside of me? And how's it possible?\" The man gets up.", "Shaman: \"The father is also a...\"", "Darla: \"Vampire? Yes! Though - not a very good one.\"", "Shaman: \"I will need some blood.\"", "Darla: \"Well, I'll show you mine if - you show me yours.\" The shaman picks up a knife and a cup. Darla holds her hand over the cup but the shaman hesitates. With a sigh Darla takes the knife away from him and makes the cut herself.", "Darla: \"Men are such babies.\" The Shaman mixes some powders and herbs with the blood in the cup.", "Shaman: \"This has never failed me.\" The rubs the contents of the bowl onto his hands then lays them on Darla's swollen belly. After a moment he is blasted backwards away from her.", "Shaman: \"I can not help you. No man can. This is not meant to be known.\"", "Darla: \"Yeah, yeah. Like I haven't heard *that* before. (Looks down at her belly as she strokes it with her hands) I guess there is only one thing left to do. Time to go visit daddy.\"" ]

[ "Someone is murdering all the demons in LA, even the harmless ones. While Angel and Wes investigate the killings, Gunn begins to suspect that his old vampire hunting friends are behind the attacks. He feels torn between his old gang and his job with Angel Inc. But when the gang attacks Caritas, everyone is in danger." ]

[ "[PREVIOUSLY_ON]", "Lilah interrogating Merl: \"We heard you do favors for Angel.\" Merl hanging upside down over a sewer with Angel holding on to the rope.", "Merl: \"That is all I know, man, I swear.\" Angel dips Merl into the sewer.", "Wesley: \"The host reads their souls, senses their futures.\"", "Cordy: \"Yes, but he can only do it when they sing Karaoke.\" Angel meets Gunn and gang for the first time.", "Angel: \"I wanna find those kids. I don't think any of them have homes. If their hunting vampires, then they're gonna get themselves killed.\" Gunn sees George's body. Gunn slams Rondell up against the truck.", "Gunn: \"You should have waited for me.\"", "Rondell: \"We been waiting on you for months, bro.\" Angel tosses Darla through the glass doors of his suite. Angel and Darla kissing and going at it.", "Angel: \"Get dressed and get out, because the next time I see you, I will have to kill you.\" Close on Angel's face.", "Angel: \"That night still haunts me. I'm ashamed of how I treated you. (Looks down) The way I used you. (Looks back up) I took - what I needed, (looks back down) then I cast you aside and that - that was wrong of me. Was very wrong.\" Angel looks back up at - Merl, sitting on a chair in Caritas.", "Merl: \"He's reading!\" We see that the bar is empty except for Merl and Angel sitting facing each other, Wes standing behind Angel and Gunn, Lorne and Cordy leaning against the bar behind Merl.", "Angel: \"I made some notes.\"", "Merl: \"I don't feel the sincerity here.\"", "Angel: \"I told you this was a waste of time.\"", "Merl: \"Real friends don't need notes.\"", "Angel: \"We're not *friends* Merl! We barely even know each other.\"", "Merl: \"Not like you made the effort either, is it?!\" Merl gets up and heads for the exit. Cordy steps in front of Merl.", "Angel: \"No, you know what? No, no, no. Let him go if he wants to.\"", "Cordy to Merl: \"Merl, you said you'd listen to what Angel had to say.\"", "Wesley to Angel: \"You promised you'd make an attempt.\"", "Merl to Cordy: \"You get a load of that insincere tripe he was reading?\"", "Angel to Wes: \"I apologized...\" (Can't make out the rest of Angel and Wes' talk)", "Cordy to Merl: \"I hardly think it's fair to blame it on the writing.\"", "Angel to Wes: \"What does he *want* from me?!\"", "Merl turning around: \"What do I want? Huh? I tell you what I want. I want back the three months I spent in therapy after being hung upside down in a sewer. That's what *I* want.\"", "Cordy: \"Angel, read the cards.\"", "Angel: \"No. He's - he's right. He's right. Every time I went to Merl for information he came through. So, I'll tell you what, Merl. - Take a shot. (Stands in front of Merl holding his arms open) Take a shot, Merl.\" Cordy, Angel, Merl and Wes all talking at once, while the Lorne is shaking his head and Gunn tries not to laugh.", "Cordy: \"Oh, knock it off, guys.\"", "Angel: \"Come on, take your best shot.\"", "Wesley: \"Angel, please...\"", "Angel: \"Come on, Merl.\"", "Merl: \"You see this? He's goading. He's goading me.\"", "Angel: \"Take a shot, Merl. Come on, this one's free.\"", "Merl: \"No. No. Shameless with the goading. You see?!\"", "Angel: \"Come on, Merl-la-la. Merl-la-la-la.\"", "Merl: \"Okay!\" Merl picks up a bottle from the bar and hauls back to hit Angel. But the bottle instead recoils from an invisible wall, throwing Merl back - into Lorne's arms, waiting to catch him.", "Merl shakes his head: \"Whoa! Man. You did that on purpose! You knew that was gonna happen. You tricked me! Huh?\" Angel sits back down in his chair, trying to keep a straight face.", "Lorne: \"Why, now, I'm sure Angel just forgot for the moment that *any* demon violence is impossible in Caritas.\"", "Angel: \"Yeah. I-I - I forgot.\"", "Merl, gesturing dramatically: \"Yeah, yeah. Whatever! Okay? 'cause I'm done listening to this bloodsucker! And the same goes for the rest of you, alright? I never want to see any of you ever again!\" Merl walks towards the exit, slows, stops and turns.", "Merl: \"Uh, so, who's gonna give me a ride home?\" Gunn's pickup pulls up in a dark, deserted alley and Merl gets out.", "Merl: \"Thanks. I hope I, ah, didn't take you, ah, (the tires of Gunn's truck squeal as he takes off) too far out of your way!\" Merl turns on the overhead light bulb in his home and looks through his mail. Looks up and his mouth forms an 'o'.", "Merl: \"What the... (throws up his hands and backs away) Hey, hey, hey! No, no, no. No! Noooo!\" We see Merl cringe, hear several impacts of a bladed weapon, see yellow-green liquid splatter the wall. Intro Fuzzed out picture of Gunn smiling at Alonna.", "Alonna: \"Hey, big brother.\" Flash. Alonna in vamp face. Flash.", "Gunn: \"I was never gonna let anything happen to you. I was supposed to protect you. You were my sister.\"", "Alonna: \"I still am.\" Alonna vamps out and slowly moves in to bite Gunn.", "Gunn: \"Good-bye.\" Gunn stakes Alonna and watches her look at him as she turns to dust.", "Gunn: \"Alonna!\" Gunn jerks up into a sitting position on his bed as he suddenly wakes up. The pager on his nightstand beeps. Yellow gook is coating the light bulb hanging from the ceiling in Merl's home. Angel, standing in the middle of the tossed room turns as Gunn knocks on the open door.", "Angel: \"You made it.\"", "Gunn: \"Yeah. I called the hotel. They said you were down at Merl's. (Points at the wall) What is that?\"", "Angel: \"That's Merl.\"", "Gunn: \"Where is the rest of him?\" Angel points at the light bulb then at a couple other places around the room.", "Gunn: \"Nasty. What happened?\"", "Angel: \"I don't know. Stopped by this morning. Thought I'd give 'sincere' one more shot. Even brought donuts. This is what I found. So far, we've ruled out suicide.\" Wes walks into the room carrying some papers.", "Wesley: \"I found some of his personal papers, an address book (looks up) Gunn. You're here. Good. Ah, you didn't notice anything odd last night when you dropped Merl off, did you?\"", "Gunn: \"Not really.\"", "Wesley: \"Well, we'll - box these up, catalogue them when we get back to the hotel.\"", "Gunn: \"Hey, guys - what are we doing?\"", "Wesley: \"Examining the crime scene.\"", "Gunn: \"Yeah, I see that. But what's our interest?\"", "Wesley: \"Someone killed Merl.\"", "Gunn: \"No, right, I get *that*. Look, I didn't have a beef with Merl, all right? I'm even sorry he got dead, but come on! Is this really the kind of thing we should be spending our time on? I mean he was what he was, right?\" Angel looks up from going through Merl's stuff.", "Angel: \"What's that supposed to mean?\"", "Gunn: \"Nothing. It means what it means. Somebody killed a demon. Hello! We do that every day.\"", "Wesley: \"*Merl* was harmless.\"", "Gunn throws up his hands: \"Okay.\"", "Angel: \"Sure you're not just bent because maybe we interrupted something you'd rather be doing?\"", "Gunn: \"No.\"", "Angel: \"Okay. (Keeps sorting through Merl's clothes) Usually doesn't take you two hours to answer a page is all.\"", "Gunn: \"Excuse me, but did somebody put you back in charge? Because if they did they forgot to tell me about it.\" Wesley steps between them.", "Wesley: \"All right. - Gunn, if this isn't something you can get behind, we'll understand. For now why don't you just go on home.\" Gunn just stands there looking at Wes. Wes claps him on the arm.", "Wesley: \"Go home.\"", "Gunn: \"You know what? That's probably a *real* good idea.\" Gunn walks out, past Angel, who is looking through Merl's rolodex.", "Angel: \"Little creep.\"", "Wesley: \"Angel!\"", "Angel: \"Merl. - He's right you know. I never did bother to get to know who he was. Now I guess I'll have to.\" Day. Gunn's pickup pulls up in front of a rod-iron fence with barbed wire looped through it. Gunn looks at it for a moment, then turns the engine off and gets out of his truck. Gunn walks into a room lit by several candles. Graffiti covers most of the walls. A Hispanic looking guy attacks Gunn with a staff, but Gunn easily matches the other's moves. He takes the staff away from the guy, trips him onto his back and holds the sharpened end of the staff against the guy's neck - only to find a loaded crossbow being held against his own neck by another guy that has come up behind him.", "Gio: \"This is a situation you might wanna rethink.\" Gunn turns to look at the crossbow, with the point of the bolt now just inches away from his face.", "Gunn: \"Nice rig.\"", "Gio: \"I'm glad you like it.\"", "Rondell: \"He should. He built it. - Gio, you wanna get that thing out of my boy's face?\" Gunn drops the staff and holds out a hand to help the Hispanic up as Gio points the crossbow up at the ceiling.", "Gunn: \"I see you're still passing along a little something of what *I* taught you.\" Rondell and Gunn hug and exchange a special handshake.", "Rondell: \"Word's out, brother. Vamps know better than to *even* cross Venice Boulevard these days. Crew's as tight as it's ever been - even back in your day.\"", "Gio points at Gunn: \"Charles Gunn?\"", "Gunn: \"That's right.\"", "Gio: \"I know all about *you.* *That* name is part of the reason why I came out here.\"", "Rondell: \"Gio's from Miami.\"", "Gunn: \"Ah, coast to coast, huh?\"", "Gio: \"Little something like that. - Hey, you might be able to help me out. Why is it - that places like LA and Miami bring out the teeth you suppose? I mean, you would think that the vamps would wanna hang in less sunny climes, you know what I'm sayin'?\"", "Gunn: \"Yeah, I think I do.\"", "Gio: \"Well, maybe we could ask your *boss* why that is.\"", "Rondell shakes his had: \"Yo, Gio.\"", "Gio: \"You can't beat 'em, right, Chuck?\"", "Gunn: \"It ain't even like that.\"", "Gio: \"Nuh? - Okay. If you say so. See, 'cause *I* heard - that you was like this - big time, alpha vamp killer - and now you working with one? What's up with that?\"", "Rondell: \"Gio - who's supposed to be on point out back?\" Gio never taking his eyes off Gunn: \"That be me.\"", "Rondell: \"So why aren't you back there?\" Gio sniffs at Gunn, then gives a little laugh.", "Gio: \"Yeah. A'right. It's cool. Y'all can have your nice little visit. (Turns to go with a laugh. To Rondell) You might wanna do that outside - in the *sunshine* - just to be on the safe side, you know?\" With a last glance back at Gunn, Gio leaves the room several of the others following him. Angel is sitting on the counter in the Hyperion's lobby. Cordy is on the computer at the desk behind the counter.", "Cordy: \"Some people just need a little time alone. I wouldn't worry.\"", "Angel: \"She's *had* time alone. Five years. I think that's the problem.\" Angel drops off the counter and walks over to look out at Fred, who is standing in the Hyperion's sunny garden court.", "Angel: \"She's been back in this world for three months and she still hasn't gone out into it.\" Cordy gets up from her desk and walks into the lobby.", "Cordy: \"Right. And it's not like the last time she went out into it she got sucked into an interdimensional portal and ended up living like a hunted animal in a hostile demon alterna-world or anything. Oh, wait. Kinda is, isn't it?\" Angel walks behind the counter and leans on it.", "Angel: \"Which is why I'm asking you to, you know, talk to her.\"", "Cordy: \"I'm not so sure that's a great idea.\"", "Angel: \"You don't like her?\"", "Cordy: \"Sure I like her. What's not to like? (Looks out at Fred) She's sweet and adorable and - seems to be laughing at something that shrub just said. (Turns back to Angel) Look, it's not that I don't like her. It's just - I don't get her.\"", "Angel: \"I'm not asking you to 'get' her. I'm just asking you to - talk to her.\" Angel looks at Cordy a slow smile spreading across his face. Cordy lays the papers down on the counter.", "Cordy: \"Fine, we'll chat.\"", "Angel: \"Thanks.\" Angel picks up the paper while Cordy walks around the counter towards the door to Wes' office.", "Angel: \"What's this?'", "Cordy: \"Enemies of Merl list.\" Angel looks at it, then follows Cordy into Wes' office. Cordy is leaning the desk where Wesley is writing something.", "Angel: \"Hey. - Why is my *name* at the top of this list?\"", "Cordy: \"Ah - 'a'?\"", "Angel: \"Merl and I where not enemies.\"", "Cordy: \"Oh, okay, my mistake.\"", "Angel: \"I'm the one that found the body, remember?\"", "Cordy: \"Oh. And *that's* not suspicious. The one time you pay Merl a social visit and he ends up - dead?\"", "Wesley: \"I recognize quite a few of these names, actually.\"", "Cordy: \"You should. Half of them weren't 'enemies of Merl' until we made him snitch on them.\"", "Angel: \"Oh, sure. I went *dark* and I killed Merl.\" Wes and Cordy look at him for a beat.", "Wesley: \"We'll work backwards, end with the 'a' s. How's that? (Gets up) We should start tracking these names.\" Angel starts to follow Wesley out, but turns back to Cordy.", "Angel: \"You know, ask yourself this: if I'd killed Merl would I've - brought donuts?\" Rondell and Gunn are walking outside in the sunshine.", "Gunn: \"I guess that's the word on me around here nowadays, huh? Traitor? Vamp lover?\"", "Rondell: \"Hell, don't go listening to Gio, man. He don't know you.\" They walk into another shadowy building.", "Gunn: \"No, but you do. So what you got to say, Rondell. You think I turned my back on you all to hook up with one of them?\"", "Rondell: \"Hell, I don't know. I haven't even seen your back in months, bro. I don't know which way it's facing.\"", "Gunn: \"That's no answer.\"", "Rondell: \"Truth? I ain't heard word one from you - not since we spread what was left of George in the river. Some of us were even starting to wonder if you were still *in* this world.\"", "Gunn: \"I didn't mean to disappear on y'all. I didn't plan it. - Guess after George...\"", "Rondell: \"You were gone way before George. - It was Alonna, man. Things - they were never the same after Alonna.\"", "Gunn: \"Couldn't keep my own sister safe. What can I do for the rest of you?\"", "Rondell: \"A lot, man. You done a lot. There's people alive today because of something you started.\"", "Gunn: \"No, man. Something *we* started.\"", "Rondell with a smile: \"You got that right.\" They do the handshake again and Rondell catches Gunn in a hug. Night. Wes and Angel are walking along a hallway.", "Angel: \"What's this one?\"", "Wes: \"Ah, Samuel Larch, a bookie. Merl owed him quite a lot of money.\"", "Angel: \"Demon or human?\"", "Wesley: \"I'm not sure.\" Angel looks at the closed door with the number 424 on it with a sigh.", "Angel: \"Care to find out?\" Angel kicks in the door. Wesley watches Angel walk across the threshold and pulls out a dagger before following Angel in.", "Wesley: \"Demon then.\" They look around the room. It is destroyed with yellow slime splashed on the walls and broken furnishings.", "Angel: \"I think when we find whatever is doing this - we're gonna need Gunn.\"", "Wesley: \"I agree. From the looks of this, whatever we're up against is - quite big. Extremely powerful...\"", "Angel: \"...and really pissed off.\" A big hulking monster is slowly lumbering along a sewer tunnel, emitting loud slurping noises. It is caught in a beam of light and turns around. It stops sucking on a large soda through a straw to look at the camera with a 'deer in the headlights' expression.", "Monster: \"Hello? - Who's there, please?\" A group of armed guys carrying flashlights come charging down the tunnel, easily catching up to the slow-moving demon. They corner him against a grate and begin to hack at it. We get a close up of Gio aiming his crossbow.", "Guy: \"Smoke him Gio!\" Break Wesley is looking over Larch's apartment for clues. He finds the broken off head of a crossbow bolt which looks exactly like the one Gio had loaded when he was threatening to shoot Gunn earlier. Gunn appears in the doorway of the apartment as Wesley is taking a closer look at the bolt.", "Wesley: \"Gunn.\"", "Gunn: \"Hey. Got your page. Where's Angel?\"", "Wesley: \"He's checking on something else. Come in. The victim's name was Samuel Larch. We found him last night.\" Gunn is examining the yellow gook splashed on the furniture.", "Gunn: \"The guy was a demon.\"", "Wesley: \"Yeah.\"", "Gunn: \"Wesley? - What are we doing, man? Who we're supposed to be working for, anyway? Did the Powers send us here? Did Cordy get a vision?\"", "Wesley: \"No.\"", "Gunn: \"Then what?\"", "Wesley: \"Charles, things aren't always so simple as - going out and slaying the big, bad ugly. There are in this world shades of gray...\"", "Gunn: \"Yeah. And shades of green, and a kind of sickly looking yellow with pink eyes and sometimes puce with horns, too. I get it. What I don't get is *why* we're suddenly playing cleanup crew to a bunch of lowlife demons! - I mean, okay, so we - we bust our butts day and night until we find whatever it was that did Merl and this Larch guy...\"", "Wesley: \"And six other victims we believe we've linked to it.\"", "Gunn: \"So we find this demon killing machine. What then? We gonna stop it? Or thank it?\"", "Wesley after a beat: \"I don't know.\" Gunn turns away, shaking his head: \"You don't know.\" Wesley adds the little plastic bag holding the arrow point to the other neatly labeled bags lying on a sofa table.", "Wesley: \"From everything I can determine, this victim was fully assimilated. No history of violence, no threat to anyone. Of the other six, at least two of those *would* have to be classified as irredeemably evil.\" Gunn sits down on the sofa.", "Gunn: \"So what are you saying then?\"", "Wesley: \"I'm saying that whatever is responsible for these attacks *isn'*t making any distinctions. It's just killing. Randomly.\" Angel appears in the doorway.", "Angel: \"You were right. It happened again.\"", "Wesley: \"When.\" Gunn sees the bag with the arrowhead and picks it up off the table.", "Angel: \"Last night. A Yarbnie was eviscerated in the sewer near Century City.\" Wes walks over to his satchel to get something.", "Gunn: \"Yarbie, what's that?\" Gunn gets up from the sofa, casually pocketing the bag with the arrowhead. Wesley, still looking through his bag: \"Yarbnie. It's a - balancing entity. They tend to nest in urban areas under roadways - utterly non-violent.\" Wes is making notes in a book.", "Gunn: You know what? Uhm, maybe I should hit the streets. You know, see if I can shake anything lose. I mean, if you want.\" Angel looks from Gunn to Wesley.", "Wesley looks up at Gunn: \"Yeah. That's probably a good idea.\" Gunn as he passes Angel on the way out: \"Hey.\"", "Angel: \"Hey.\" Angel glances after Gunn then turns back to watching Wes write in his book. Gunn is holding the bag with the arrowhead in his hand as he and Rondell are walking through the gang's home.", "Rondell: \"So, you wanna explain this?\"", "Gunn: \"It was dug out of the wall of an apartment over on the Miracle Mile.\"", "Rondell: \"Yeah, so?\"", "Gunn: \"So, I recognize it, Rondell. It's out of *my* old rig. The one Gio's been using.\"", "Rondell: \"Okay.\"", "Gunn: \"Look, I just came by here to give you a heads up, alright? I think you got a rogue on your crew. Your boy Gio's been out there killing anything that moves. Now somebody, meaning you, has got to have a sit-down with him, man. Let him know that this ain't the way we do things down here.\"", "Rondell: \"You say you dug this out of an apartment up on the Mile?\"", "Gunn: \"Yes.\"", "Rondell: \"Tall white towers. (Gunn nods, and Rondell lets out a laugh) This is funny. Gio ain't no rogue. Yeah, he found the place, but we was all there. The whole crew.\"", "Gunn: \"You?\"", "Rondell: \"Bro, the thing living in that apartment? It *wasn't* human. We took care of it.\"", "Gunn: \"But - did it attack anybody?\"", "Rondell: \"No. We got away clean.\"", "Gunn: \"No, I mean before you broke in.\"", "Rondell: \"No, man, we didn't give it a chance to. - What's the matter?\"", "Gunn: \"Nothing.\"", "Gang member: \"Yo, Rondell! Everyone's here, man.\" Gunn sees them handing out machine guns.", "Gunn: \"What, you guys packing heat now?\"", "Rondell: \"You can never be too careful. I got to go. Hey, you wanna come out with us tonight? (Gunn looks down at the arrow bag. Gio says he found a nest or something. Primo hunting.\"", "Gunn: \"No, man. I got something.\" Rondell points his finger at Gunn as he turns to go: \"Be good.\" Gunn turns to go and finds Gio standing there.", "Gio, smiles: \"Hey. You know something? - He still thinks you're some kind of hero. - (Looks Gunn up and down) But me and you, we know better, right? (Gunn just looks at him) - Yeah. Yeah, we know better.\" Gio chuckles as he walks past Gunn to follow the others. Grins at Gunn as he pulls the sliding door shut with a bang. The evidence bags and open books are spread out on the round chair thingy in the Hyperion's lobby. Wes walks over carrying more open books.", "Wesley: \"I haven't the slightest idea what this might be. It doesn't fit any of the data I have available to me. (Looks at the bags) Something's missing.\"", "Angel: \"Maybe it's something that's never been recorded here before.\"", "Cordy: \"Just, please, don't tell me another portal has opened up. We have enough monsters in Los Angeles already!\" Fred walks down the stairs, her nose buried in a book.", "Wesley: \"No. Something's *missing*. We're missing one of the evidence bags.\" Angel walks over to Cordy and keeps motioning with his head towards Fred, who is now headed out in the garden court, eyes still firmly on the open book she is carrying.", "Wesley: \"Seven, eight, nine, yes, here's ten - here is twelve, but - where is eleven?\" Cordy hands the papers she was holding to Angel and walks off.", "Wesley: \"What was eleven?\" Fred sits down on the edge of the fountain in the sun, still reading that old book. Cordy comes down the steps behind her.", "Cordy: \"Hi.\" Fred screams and jumps up from the bench.", "Fred: \"Ah, oh, you-you startled me!\"", "Cordy: \"I'm sorry.\"", "Fred: \"No. No, it's my fault. I'm sorry, okay?\"", "Cordy: \"Yeah.\"", "Fred walks towards the stairs: \"Well, I'll get out of your way.\"", "Cordy: \"No, Fred I want you to stay! Stay.\" Fred stops and peeks around a pillar back at Cordy. Cordy sits down and pats the fountain wall beside her.", "Cordy: \"Actually I - I was hoping we could - you know, talk?\" Fred comes over and sits down.", "Fred: \"Well, yeah, of course. They sit there. Cordy takes a deep breath, clears her throat, takes another deep breath.", "Fred: \"Did you mean now?\"", "Cordy: \"Yes! Yes. I'm sorry. It's just I feel a little awkward. (Takes another deep breath) Angel wants you to get out.\"", "Fred: \"Oh, I see. - Okay. (Gets up and turns to walk away) No, I understand. I only have a few things to pack. It won't take long.\"", "Cordy: \"No, Fred! That's not what I meant. Out, into the real world, you know, just for an evening or something.\" Fred lets out a big breath and smiles: \"Oh! (Looks at Cordy, eyes going wide) Oh? (Turns to hide her face) Oh...\"", "Cordy: \"Well, not by yourself or anything. What if I... - What if *we* went out together?\"", "Fred: \"Well - I suppose I would be okay if I was with you, right?\"", "Cordy: \"Sure!\"", "Fred: \"I mean, that'd be safe, right?\"", "Cordy: \"Of course it would.\"", "Fred smiling: \"No one would even bother to look at me twice with you around!\"", "Cordy: \"Exactly. - Ah. No. - Now, that's just not true! People *will* notice you!\"", "Fred, not smiling anymore: \"They will?\"", "Cordy: \"Yes! And you know why? - Because you'll be standing on a stage in the white-hot spotlight.\"", "Fred staring: \"I will?\" Cordy grins at her and nods.", "Fred looks away: \"Oh.\" Night. Gunn is sitting in his parked truck, staring out the window. He lifts his hand and looks at the arrowhead. Puts it down and starts the engine. Gunn walks into the dimly lit lobby of the Hyperion. Angel comes out of Wes' office looking through some papers.", "Angel: \"Hey.\"", "Gunn: \"Hey. - You the only one here?\"", "Angel: \"Yeah.\"", "Gunn: \"You, ah, making any progress?\"", "Angel: \"I don't know. Maybe. I... Wesley thinks these crimes have been random. I'm starting to think otherwise.\"", "Gunn: \"Oh?\"", "Angel: \"Yeah. It's just the way it's happening. It - reminds me of - things I've seen before.\"", "Gunn: \"How so?\"", "Angel: \"I know the pattern. The seeming randomness of it, the chaos. (Sighs) There is a larger purpose behind every move.\"", "Gunn: \"What?\"", "Angel: \"To have fun.\" Gunn just stands there.", "Angel: \"Something wrong?\"", "Gunn: \"Nah. - I just need to see the boss. Know where he's at?\" Fred is sitting on the stage of Caritas singing \"Crazy\" by Patsy Cline.", "Fred: \"Crazy. I'm crazy for feeling so lonely. (Giggles and pushes the hair back from her face) I'm crazy...\" Lorne is leaning against the bar. Cordy and Wes are sitting at a table.", "Cordy: \"I swear to god she picked out the song herself.\"", "Fred: \"...for feeling so blue. I knew you'd love me as long as you wanted...\" Gunn walks in and sees Fred and smiles.", "Fred: \"...and then some day, you'd leave me for somebody new.\" Gunn sees Wes and Cordy at the table and walks in the opposite direction, almost bumping into Lorne. Leans on the bar beside him, looking down. Lorne looks at him.", "Gunn: \"I know what your doing and don't!\" Lorne takes a sip from his drink, still looking at Gunn.", "Gunn: \"Stop it! Do - not! (Turns to face Lorne) Hey! Don't go reading me!\"", "Fred: \"Worry. Why should I let myself worry?\"", "Lorne: \"I wouldn't. But, sweetie, you're a billboard. (Gunn turns to look towards Wes' table) Yeah. He came in tonight with some questions. Looks to me like you got the answers.\"", "Fred: \"I'm crazy for thinking that my love could hold you...\"", "Gunn: \"I really don't feel like going over there.\"", "Lorne: \"Yeah, I know. So - you wanna talk about it?\"", "Fred: \"I'm crazy for trying, and crazy for...\"", "Gunn: \"Do I got to sing?\" Guys with machine guns are coming down the stairs opening fire on the demon clientele. Fred gets splattered by white demon blood and falls off the stool she is sitting on. Gunn grabs Lorne and they take cover behind the bar.", "Gunn: \"Go. Down! Come on!\" Wes and Cordy tip their table over and crouch behind it. Demons are being shot to pieces as bullets spray the air. One of the guys shoots up the bottles lining the wall behind the bar. Gio walks into the center of the room, leaning the sawed off shotgun he is carrying up against his shoulder and looks around with a big grin.", "Gio: \"Party! Yoo-hoo!\" Break", "[SCENE_BREAK]", "Gunfire is ringing through the air.", "Lorne: \"Oh, my club!\" Wesley sees Fred stand up on the stage and runs out from behind his table. He jumps on the stage, picks Fred up and makes his way back to Cordy and the table.", "Cordy: \"What's happening? I thought demon violence was impossible in here.\"", "Wesley: \"Those aren't demons.\" One of the gang shoots at a vampire, who promptly dusts. (Wooden bullets? Stake gun?)", "Rondell: \"It's time! Lets truck!\"", "Gio: \"Woah, don't be in such a rush, man! You're always in such a hurry. You're liable to miss out on some of the more interesting things in life. - Yo! Charlie Gunn! Come on, now. I know you're in here. Where you at?\"", "Gunn stands up: \"I'm right here.\" Several guys spin around and cock their guns, pointing them at Gunn.", "Rondell: \"G-man. What're you doing here?\"", "Gio, grinning: \"Come on. Tell him! Tell him how you been rolling up in here for *months* tossing back drinks with your demon buddies.\" Gunn just stands there.", "Rondell: \"What he's saying - that ain't true.\"", "Gio: \"Why not? His best friend's a *vampire*. What you expect?\"", "Gunn: \"Rondell, go. Just take your crew and leave.\"", "Rondell: \"No. Not until I get some answers.\"", "Gio: \"That's right. Answers. The man wants some answers.\"", "Wesley stands up: \"Yes, I think we all would.\"", "Cordy: \"Wesley!\"", "Gunn: \"Wes, stay out of this.\"", "Wesley: \"As much as I would like to, am afraid I'm in it. We all are.\" Lorne slowly stands up. Gio cocks his head at a couple of guys and they grab Lorne and hustle him out into the open.", "Gunn: \"Hey. Hey! That's enough!\" A gray faced demon keeps babbling: \"Oh god, oh god, oh god.\" Rondell is pointing his gun at Gunn standing next to Lorne in front of the bar.", "Rondell: \"I don't believe this.\"", "Gunn: \"He's okay, man.\"", "Gio: \"Uh, nice!\"", "Rondell: \"He ain't okay. Look at him!\"", "Gunn: \"You don't know what you're doing, Rondell.\"", "Wesley: \"It was them. They killed Merl and the others. (Gunn and Wes look at each other for a long moment) You knew.\"", "Gunn: \"I should have said something. I was going to. I was just... - I was trying to work it out, man. Figure how to deal.\"", "Lorne: \"So, have you worked it out yet?\"", "Gunn: \"I'm sorry.\"", "Rondell: \"You're gonna apologize to this thing? (Lifts his gun) Move.\" Gunn steps in front of Lorne.", "Gio: \"You might wanna.\"", "Gunn: \"You can't do that, man. I can't let you. - You lost the mission, bro.\"", "Rondell: \"What?!\" Gio aims his gun at Gunn with a big grin.", "Gunn: \"What you been doing, man, this ain't right. None of this is right! This is not what we're about.\" Rondell still aiming his gun at Gunn: \"The hell you say. I don't know what you're about, but we've been doing what we've always done! Protecting our own.\"", "Wesley: \"And is it 'protecting your own' to break into other people's homes?\"", "Rondell: \"They ain't people. (Turns, gun now aimed at Wes) Are you?\" Cordy gets up to stand beside Wes and immediately guns are aimed at her as well.", "Cordy: \"Stop! - Stop it.\"", "Wesley: \"If you don't mind I'd prefer a clean kill. The last time I was merely wounded. It took months to heal. Wounded, if I recall, in an attempt to help you.\"", "Gunn: \"Look at me. Look at me! That's got nothing to do with them. This is between us. (Rondell looks back over his shoulder at Gunn) *Us*. Let 'em go, man.\"", "Gio: \"Yeah, why not? We can do that. After all - we ain't *monsters*.\" Gunn throws his keys at Wes' feet: \"Take my truck. The south side. They won't stop you.\" Wes doesn't move, but Cordy picks up the keys. Rondell turns to aim at Gunn again: \"How can you be sitting up in here with these things and tell me I'm the one that lost the mission?\"", "Gunn: \"Because it's true. - We used to face death because we had to. Now you're chasing it down, man, for the fun of it. That ain't right.\" Rondell spins to aim at Cordy, who is helping Fred up.", "Rondell: \"One! Just one. Her. (Cordy looks at Wes) The others stay.\"", "Gunn: \"Rondell, come on, man!\"", "Cordy: \"I'm not leaving here without her. (Puts an arm around Fred) No way.\" Some of the gang pull Fred away from her and hustle Cordy towards the door.", "Cordy: \"No! No!\" Wes takes a hold of Fred and they guys let her go to step back and aim their guns at them again.", "Rondell: \"The rest'll be able to leave *after* she brings back the vampire. (Glances back at Gunn) Then we'll see who lost the mission.\" Rondell motions with his gun at Cordy: \"Go.\" Cordy looks at Gunn, who nods, then slowly leaves.", "Gray demon: \"Oh god, oh god, oh god...\"", "Ugly demon: \"Shut up! - He ain't listening.\" Cordy follows Angel down the steps into the lobby of the Hyperion.", "Cordy: \"We have to think of a better plan. This is a bad plan. And I tell you why: it's their plan! They want you to go in there where you *can't* fight, so they can kill you!\"", "Angel: \"I don't have a choice.\"", "Cordy: \"It'll be suicide.\"", "Angel: \"It'll be okay.\"", "Cordy: \"It won't! Angel, you didn't see these guys.\" Angel scribbles something on a piece of paper and hands it to Cordy.", "Angel: \"Here. I want you to go this address.\"", "Cordy: \"What is it?\"", "Angel: \"Transuding furies.\"", "Cordy: \"Gesundheit.\"", "Angel: \"Three sisters. Lorne hires them monthly to cast the sanctorium spell on Caritas. Tell them to lift the spell, then I'll be able to fight back.\"", "Cordy: \"They lift the spell then you can fight - all twenty of them and still get killed. Great idea.\"", "Angel: \"Cordy, please, just do it.\"", "Cordy: \"What if they won't lift the spell?\" Angel starts walking towards the door. Cordy follows after him.", "Angel: \"They'll lift the spell. Just tell them that it's for - me.\"", "Cordy: \"For you? You know them?\"", "Angel: \"I did.\"", "Cordy: \"And they're gonna remember you?\"", "Angel: \"They should.\"", "Cordy: \"They better! Angel - (He stops and looks back at her) I told her she was safe with me.\"", "Angel sighs: \"I know.\" Turns and walks out the door. Gio is up on stage at Caritas singing \"Wind Beneath My Wings\"", "Gio: \"Did you ever know that you're my - hero? (Laughs) You're everything I wish I could be. I could fly higher than...\"", "Wes quietly to Gunn: \"We have to do something. Angel walks in here they'll kill him.\"", "Gunn: \"No. They won't. They're gonna make *me* do it.\"", "Gio: \"...you are the wind beneath my wings. Hey, Chuck! Did I ever tell you you're... (Feedback starts to wine from the speakers) Hey!\" Gio shakes the mike, then throws it away, steps off the stage, turns and shoots the Karaoke machine, stopping the music. Wesley steps closer to Fred and she clings to the arms he wraps around her.", "Gio: \"Ah! - You know I'm starting to think this good vamp ain't never gonna show.\"", "Lorne: \"Miami.\" Gio turns around to look at the host, who is sitting on a chair by the back wall.", "Gio: \"Did you say something to me, green boy?\"", "Lorne: \"Was three thousand miles really far enough, I wonder? I *know* why you left.\" Lorne stands up and two of the guys cocks their gun and points it at his chest but Gio lifts a hand to stop him from shooting Lorne.", "Lorne: \"Why you ran. - You couldn't stay there, could you? - After what you did. - She trusted you.\"", "Gio, quietly: \"Shut up.\"", "Lorne: \"Right up until the end she trusted you. Did you know that?\" Gio hauls back and hits Lorne hard across the face. Lorne turns back to look at Gio, his mouth bloodied, but smiling. Gio backs up a step. Suddenly the ugly demon jumps up and runs for the door.", "Guy: \"Yo! That one's trying to run!\" A couple guys jump on ugly demon and beat it back into place.", "Gray demon: \"Oh god, oh god. They'll kill us all.\"", "Gio: \"Now, I *told* you to *watch* the door!\" Gunn spins and hits one of the guys, grabs his machine gun and aims it at Gio, while all of the gang (including Rondell) take aim at him.", "Gio points at Gunn: \"See that? You see that?! (Points at ugly demon) He's trying to save that lowlife! - You know what that kind of thing does? It's a baby killer is what that is. I've seen plenty of them in Florida.\" Walks up to ugly demon and smiles at it.", "Gio: \"You like to eat babies, don't you?\"", "Ugly: \"Yeah, go ahead. I don't care. (Gio walks away from it, to be replaced by another of the gang aiming his machine gun at it) You think I care? Go ahead and do it. Cowards. Cowards.\" Gio walks back over towards Gunn: \"So who does *he* go after? Who does he draw down on? The baby-killing monster? No, me, that's who. What does that tell you?\"", "Gunn: \"Tells me there's a whole lot of monsters in this room to choose from.\"", "Gio: \"Yeah, maybe you one of them. (Takes a step closer to Gunn) You one of them, Chuck? Have they turned you already, huh? You one of 'em?\"", "Gunn: \"Come at me and find out.\"", "Gio: \"Yeah, I think he's one of them. (To Gunn) Or - maybe you just wanna be. (Gunn glances at the others in the room) Yeah. That's more like it. I bet they won't even let you in their little club. Huh, Chuck? Damn. You ain't even good enough for the vamps, the demons and the baby-eatin' monsters. Huh. Yeah, that's what I'm guessing. Wine 'em and dine 'em, stick up for them \"Oh, yeah. That one's okay\" and they still won't put you on! Ain't that a blip?\"", "Gunn: \"Shut up.\"", "Gio smiling: \"And all that what we heard about his sister might not be quite right. He was the only one there to see it. You know what I'm sayin'?\"", "Ugly continually talking in background: \"I'll taste your children...\"", "Gio: \"You're the one that let her get vamped in the first place, right Chuck?\"", "Ugly: \"Listen to them scream. Tear of a piece. Have me a meal...\"", "Gio: \"Because I know I wouldn't let no bloodsucker get that close to *my* sister. And why?\"", "Ugly: \"I live in the playgrounds...\"", "Gio: \"Where you thinking that finally she was gonna give it up to you? Was that the plan? And that's why you let her get bit.\"", "Ugly: \"Tear up their tiny, tiny bodies. Leave them for husks...\"", "Gio: \"And then when she was there, all vamped out and hungry, you thought you might get that eternal kiss finally and when she said 'no' that's when you stuck it to her! That's what I'm thinkin'.\"", "Gunn: \"Shut up!\"", "Lorne: \"No. Not in here. No. No.\"", "Gio: \"Is that why you start in here? Is that why you up in here, truckin' with vamps and demons, thinking you're gonna get your little piece of the action?!\"", "Gunn screaming: \"I said shut (shoots the ugly demon going on about killing babies) up!\" Ugly demon drops, Gio grins and Fred huddles closer against Wes' chest.", "Lorne: \"This is a sanctuary.\"", "Gio: \"Not anymore it ain't.\"", "Angel: \"Nice shot. (Looks at Gunn) Am I next?\" Break Rondell puts down his gun, pulls out a stake and offers it to Gunn.", "Rondell: \"Prove to everyone here - this *thing* - ain't no friend to you.\" Gunn takes the stake never taking his eyes off Angel. Wes leaves Fred to stand in front of Gunn.", "Wesley: \"This is madness. Angel has a soul.\"", "Gio: \"He's a vampire.\"", "Wesley: \"With a soul!\"", "Gio: \"Whatever. - You think that makes him the same as us?\"", "Wesley: \"No. Better. (To Gio) Better than you, anyway. When he did his pleasure killing he had no soul. You can make no such claim.\"", "Rondell to Gunn: \"What's it gonna be?\" Gunn looks down at the stake in his hand.", "Angel: \"Here, Charles - let me make it simple for you. (Takes a small step closer and morphs into his vampire face) Take a look. This is what I am. Deal with it or don't. But make a damn choice.\" Cordy is sitting on the couch with the three furies floating in the air across from her.", "Cordy: \"So, ah, Angel says you and he go -way back?\"", "Furies together: \"Mmm, Angel.\"", "Cordy: \"Uh, yeah. So, uhm, about that sanctorium mojo you got on at Caritas. Any chance you can pull the plug on that like now - for instance? Kind of an emergency.\"", "Furies speaking in turn: \"You would have us lift what has been put in place by mutual consent and contract?\"", "Cordy: \"If you don't, Angel will die.\"", "Furies together: \"Mmm, Angel.\" Gunn looks at Angel standing there in his vamp face. After a beat he drops the stake.", "Gunn: \"That's not gonna happen.\"", "Gio: \"I knew it!\"", "Gunn: \"You don't know anything. You think I won't kill him because he's my friend? (Angel is back in human face) That ain't why. (Gunn steps closer to Angel) Truth is, he can never be my friend. It's on account of what he is. Not his fault, really. Just the way it worked out.\"", "Rondell: \"He ain't your friend. *I* am. And you gonna chose that over me?\"", "Gunn looks back at Rondell: \"Looks like. It's about the mission, bro. He's got it. You don't.\"", "Gio: \"Oh - so - you think, just because you're letting that monster live you got the mission, huh? Well, as far as I can see, a monster lover ain't no better than a monster, and I kill monsters. That's what I do. - So - anybody wanna walk out of here tonight, they gonna have to show me. Come on! Step on up and do what your friend here wouldn't: kill the vampire - and you can leave this place. Otherwise - stay and burn with the rest of them. (Holds up his crossbow rig and looks at Fred the group of humans huddled together behind her.) Who wants to live.\" Fred slowly gets up from her chair, looks over at Angel.", "Fred: \"I'm sorry. I just - I don't wanna die.\" Gio offers her the crossbow with a big grin on his face.", "Cordy: \"Look, this is *really* urgent. I know Lorne pays you to cast this spell. What will it take for you to lift it.\"", "Furies speaking in turns: \"This is not a debt you can pay.\"", "Cordy: \"You don't know that. My credit has been *very* good this last year.\"", "Furies: \"Only Angel is equipped to make good on this debt.\"", "Cordy: \"Angel. (Rude noise) I don't know. For a guy, who's a couple of centuries old - not very big with the wise investing. (Looks at the smiles on the furies faces) And when you say 'equipped' that isn't what you mean, is it?\"", "Furies: \"Mmm, Angel.\"", "Cordy: \"Got it. And 'eww!'\" Fed takes the rig from Gio and puts it on her right arm.", "Fred: \"I'm sorry. - I just can't die in here.\" Lifts the crossbow to point at Angel.", "Angel: \"It's okay. I understand.\" Gio leans in close to Fred: \"Alright, now you wanna get it in the heart or it's no good.\" Gio takes a step back to give Fred room. Fred looks at Angel takes a couple deep breaths, then spins around to aim the bow at Gio.", "Fred: \"Although I thought I might just shoot you in the throat instead. Now, if I pierce one of your carotid arteries, considering the temperature in here, 'cause I think somebody shot the thermostat, the blood loss is gonna be heavy. And there's a chance I'll puncture a vocal cord and you won't even be able to scream. Butt you'll want to when the blood loss to your brain results in a cerebral vascular event. - That's a stroke. I wasn't trying to sound snooty.\"", "Angel: \"Fred. Fred, it's okay. - Just - point it at me. At *me,* Fred.\"", "Fed shaking her head: \"I can't.\"", "Angel inching closer to her: \"Yes, you can. It's okay. Really.\" Fred looks back at Angel and Gio rips the bow from her hand and pushes her away. Wesley catches her. Gio points the bow at Angel when a flash of light lights up the bar. Angel looking up at the ceiling with a slight smile: \"Thank you, ladies. I owe you one.\" Angel knocks the bow out of Gio's hand, then turns to disarm the guy standing next to him. Wes hands Fred over to Lorne and he and Gunn rush in to help Angel against the gang.", "Gio: \"Come on guys! Fight back! It's ten against three! This is pathetic! Hey, I'm done with you people. I don't even know why I came out to this coast! LA sucks. I'm going back to Florida, alright? You're lucky I don't have my old crew. (The head of the gray demon, sitting on a chair behind Gio, starts to split apart and it morphs into a huge, insect-like monster) I'd drag you out on the beach for a little sunshine and toast your...\" The insect-like monster leans down and bites Gio's head off, leaning back to swallow it in one gulp. Rondell lifts his shotgun and unloads it into the big monsters chest. We hear something big drop to the ground, then there are some quick flash cuts to Wesley helping Fred into the back of a taxi out by the street. Gunn is talking to Rondell, standing a little ways down the street from the taxi, surrounded by his gang.", "(This exchange between Gunn and Rondell wasn't really audible, but the CC had this)", "Gunn: \"I guess we just have to go our own separate ways, man.\"", "Rondell: All right.\"", "Gunn: \"Be well.\"", "Rondell and the gang leave and Gunn walks over to where Wes is waiting beside the Taxi.", "Gunn: \"Don't guess Rondell and his crew are gonna be crossing Venice boulevard again any time soon.\"", "Wesley: \"It's never easy - the pull of divided loyalties. - Whatever choice we do end up making we feel as though we've betrayed someone.\"", "Gunn: \"Yeah.\"", "Wesley: \"If you ever withhold information or attempt to subvert me again, I will fire you. - I can't have any one member of the team compromising the safety of the group, no matter who it is. If you do it again you will be dismissed, bag and baggage, out of a job onto the streets.\" Angel comes walking out of a door in the background and Wes turns away to get into the back of the taxi with Fred. Gunn watches the taxi take off, turns to see Angel standing there and walks over to him.", "Gunn: \"So, now you're gonna get on me about all those things I said to you in there.\"", "Angel: \"No.\"", "Gunn: \"You understand I had to stall. Just had to keep it going.\"", "Angel: \"Yeah. I get that.\"", "Gunn: \"Doesn't mean I *meant* any of it.\"", "Angel: \"No, you meant all of it, but that's okay.\"", "Gunn: \"I can't help the way I feel, man. That's just the way it is. - Doesn't mean I don't wanna work with you. Doesn't even mean that I don't like you. - Maybe some day, I don't know.\"", "Angel: \"I don't know either. - But I got time.\" Angel turns and starts to walk away.", "Gunn: \"Hey!\" Angel stops and turns back around to look at him.", "Gunn: \"No matter what else, I think I proved that you can trust me when I could have killed you and I didn't.\"", "Angel: \"No. - You'll prove that I can trust you when day comes that you *have* to kill me - and you do.\" Gunn watches as Angel turns and walks off, then turns around and walks away himself." ]

[ "While investigating some mysterious deaths, Angel switches bodies with a old guy named Marcus. Marcus immediately takes over Angel's life, while Angel is stuck in a retirement home. When Marcus realizes that Angel's body gives him vampire powers, he decides that they only way to keep it is to get rid of Angel once and for all." ]

[ "[PREVIOUSLY_ON]", "Fred: \"Handsome man. Saved me from the monsters.\"", "Gunn: \"Anyone talked Fred lately?\"", "Angel: \"She's been back in this world for three months and she still hasn't gone out into it.\"", "Gavin: \"I'm working on a little something aimed at Angel Investigations.\"", "Lilah: \"What are you doing? Building code violations.\"", "Gavin: \"I'm fighting Angel in my *own* way.\"", "Lilah: \"I bet he's really terrified.\"", "Lilah to Angel: \"It's just business.\"", "Angel: \"Don't you come at me through Cordelia ever again.\" Night, Hyperion Lobby, Cordy is looking through a magazine, Wes is reading a book and Gunn is playing a hand-held video game. Fred comes down the stairs and walks up to Cordy. Cordy jumps and lets out a scream as Fred leans in to look at the magazine. Wes jumps and looks around at them. Gunn without looking up from his game: \"Hey, Fred.\"", "Fred: \"Sorry! Did - did I startle you guys?\"", "Wes: \"No.\"", "Cordy: \"Only in the sense of shocking and jolting us. - What's up?\"", "Fred: \"Nothing. Just taking a little stroll and... (looks at open magazine) Why would girls wanna look like that? I spent years in a cave starving. What's their excuse?\"", "Cordy: \"Fashion.\" Fred laughs. Stops, sits down beside Cordy and looks around the lobby.", "Fred: \"So - everybody's just reading and hanging out?\"", "Cordy: \"Angel's upstairs.\"", "Fred: \"Oh. - He's probably reading, too. He's so deep, you know? Thoughtful. I'm guessing \"The Brothers Karmazov\", Joyce, a little Goethe to round things out.\" Angel appears on the open hallway overlooking the lobby, holding a newspaper.", "Angel: \"Am I the only one who read this?\"", "Wes: \"Read what?\"", "Angel: \"Charlton Heston. Double feature! (Comes down the steps) At the Nu-art. \"Soylent Green\" and - \"The Omega Man.\"", "Gunn, eyes on his game: \"Wow.\"", "Angel: \"It's two for one. Did I mention, Charlton Heston? Who's in?\" Fred jumps up and raises her hand: \"That sounds great!\"", "Angel: \"Fred. Wesley?\"", "Wes: \"Well, I'm in the middle of translating Fassad's guide from the original Sumerian.\"", "Angel: \"Gunn. Cordy?\" They don't even look up at him, so he goes to grab his coat.", "Angel: \"Looks like it's just you and me, Fred. - Well, the worm certainly has turned.\"", "Fred, giggling: \"Y-y-yeah. The worm's turning and... (Stops smiling) Am I the worm?\"", "Angel: \"No. You may not know this, Fred, but certain friends and co-workers have been known to accuse *me* of being the quiet, stay at home, sulky one. (All three of them turn to look at Angel) Some people - just don't know how to have fun anymore.\" Big hotel, young man is in bed with two girls.", "1.Girl: \"Can we take a breather, stud?\"", "Woody: \"If you need one.\" He turns to the other girl.", "2.Girl: \"Hey, tiger. Me too. Just for a minute?\" Guy gets out of bed with a sigh and goes to pour himself a martini.", "1.Girl: \"Pace yourself, sweetheart.\" Woody turns to admire his body in the mirror.", "Woody: \"Mmm, it's good to be young. (Walks back towards the bed) So. Ready for round four?\" Woody suddenly hunches over in pain.", "2.Girl: \"You okay, baby?\"", "Woody: \"Oh - it's been fun. - Alli permutat anima kimota. Alli permutat anima kimota. Alli permutat anima kimota.\" A stream of red-white energy issues forth from his eyes and mouth. The stream cuts off and Woody turns to look at the girls watching wide-eyed from the bed. The girls start to scream as Woody begins to steam and his body begins to deflate into a puddle of skin on the ground. Intro. Wes is sitting behind his desk listening to Fred.", "Fred: \"And he opened every door for me and he paid for the tickets. And even bought a giant popcorn. And every few minutes he'd go like this (motions like she is tipping a tub of popcorn towards someone, laughs). Because he wanted me to know it was okay for me to have some. (drops in a chair) And he's so lonely because he's the last man on earth.\"", "Wes: \"Angel?\"", "Fred: \"No! Charlton Heston. The Omega Man? Omega being the last letter of the Greek alphabet so it's a metaphor. (Jumps back up) And he walks on the street side and not the building side. It's old-fashioned, but kind of chivalrous, you know?\"", "Wes: \"We're back to talking about Angel.\"", "Fred: \"Right. And even though he didn't talk a lot, it was still okay. It was comfortable. It wasn't that awkward kind of quiet. You know that awkward kind of quiet?\" There is a moment of silence.", "Wesley: \"No. That's never happened to me.\" Angel is sitting in the lobby reading the newspaper.", "Cordy: \"You need to talk to Fred.\"", "Angel: \"What about?\"", "Cordy: \"About the big date you guys had last night.\"", "Angel: \"Woah! Date? - It was just a movie.\"", "Cordy: \"That's what you need to tell *her*. She's in there going on and on about what a super time you guys had.\"", "Angel: \"She's just enthusiastic. Don't read too much into it.\" Cordy pushes his feet off the footstool and sits down on it.", "Cordy: \"She's got the big puppy love. I mean, who wouldn't? You're handsome, and brave, and heroic, emotionally stunted, erratic, prone to turning evil and, lets face it, a eunuch.\"", "Angel: \"Hey, how can you... I'm not a eunuch.\"", "Cordy: \"Angel, it's just a figure of speech.\"", "Angel: \"Find a better one.\"", "Cordy: \"I just mean that s*x is a no-no for you. Because of this whole 'if you know perfect bliss you'll turn evil' curse. Really no cure for that, huh? - Listen, all I'm trying to tell you is, this thing with Fred, it's going to go bad unless it's nipped in the bud.\"", "Angel: \"Okay. Maybe just a short talk. - So how soon can you do that?\"", "Cordy gets up: \"Nice try. It's gotta come from you.\" She takes a hold of Angel and pulls him up out of his chair and into Wes' office.", "Cordy: \"Angel has something to say.\" Angel looks from Fred, who smiles at him, to Wes. Holds up his newspaper.", "Angel: \"Hey, did anybody else see this? (Lays the paper down in front of Wes) Police found the body of a twenty-six year old Woodrow Raglan in a two-bedroom suite at the Elondria Hotel. Unnamed witness said it was as if his insides had just...\"", "Wes: \"...collapsed. You know, there was something else like that - last week.\"", "Cordy: \"Uhm, may I just point out that no one is actually hiring us to look into this and that we should be doing more important things?\" Wes holds up a newspaper clipping: \"Here. Ten days ago, a body - found in another hotel room - under similar conditions.\"", "Angel: \"What do you think? Spell, curse - serial demon?\"", "Wes: \"Though to say. Worth a closer look.\"", "Angel: \"I'll say. Cordelia, open up a case file. We have to get on this right away.\" Angel hands Cordy the file with the newspaper clipping as he walks past her out of the office.", "Cordy: \"Angel!\" Cordy hurries after him. Wolfram and Hart, day.", "Gavin: \"Good morning, Lilah.\"", "Lilah: \"Good morning. Well, here we are at *my* office. Bye.\"", "Gavin: \"You're a though one. I know I'm gonna have to earn your respect. But give me a little time. You'll see I'm a creative guy.\"", "Lilah: \"Oh, like your 'lets torment Angel with building code violations' idea? Uh, so machiavellian! We'll just drown him in red tape.\"", "Gavin: \"There are other level's to this, Lilah. Avenues of interest I have... One of them being: does Angel even exist?\"", "Lilah: \"Are you getting metaphysical on me?\"", "Gavin: \"No. The guy has no social security number, no tax payer ID, no last name as far as I know. How can he go down to the building department, or anywhere else in officialdom for that matter? - He's the rat and we're the maze. Don't you wanna see what he'll do next?\"", "Lilah: \"He might just rip out your throat.\"", "Gavin: \"Do you think he'd do something that cliched? Gosh. Maybe you don't know him as well as you think.\" Gavin walks off down the hallway. Lilah looks after him, then, instead of entering her office, goes over to the desk of her secretary.", "Lilah: \"Get Carter Williams on the phone. (The girl at the desk just looks at her) The graphic artist? (Lilah sighs) Oh, look under 'F' for forger.\" Lilah turns and walks into her office, closing the door. Hyperion, night. Cordy takes a printout from the printer and carries over to where the others are leaning against the reception counter.", "Wes: \"There was a third victim five weeks ago. They were all young, healthy males. They all died in expensive hotel suites.\"", "Fred: \"Can you imagine shelling out all that money for a snazzy suite and then kerplop, you're a big bag of mush bones? I guess it wouldn't be good wherever that happened. (Wes looks at her) Oh - please continue.\"", "Wes: \"Gunn, I was thinking you could interview the staff of these hotels where the guys died. I'm meeting a contact of mine from the coroner's office in thirty minutes. See what I can learn about these bodies.\"", "Cordy: \"They were all members of the same health club. The bodies - when they weren't - you know - dead ones.\" Angel walks over to look at Cordy's printout, pulling out his car keys.", "Angel: \"Cordy and I'll go check out the gym.\"", "Wes: \"My thought exactly.\"", "Cordy grabs the keys: \"I'll drive.\"", "Gunn: \"What are we waiting for?\"", "Wes: \"Everyone know what they're doing? Good.\" They all leave - except for Fred, still standing in front of the reception desk.", "Fred: \"I'll just stay here. (Laughs) Okay. I'll do that.\" Cordy and Angel are walking into the health club.", "Cordy: \"You can't just keep ignoring Fred! You have to speak to her. You know, there is your business life and then there is your social life, and everybody knows that you keep those two things sepa...\" Cordy trails off as one of the male health club members walks by.", "Cordy: \"I'm gonna go see if *he* knows anything.\" Walks away from Angel. Angel spots a club attendant and walks up to him.", "Angel: \"Hi. I was just wondering,could ask you a few questions? My name is Angel.\"", "Phil shakes Angel's hand: \"Angel. Good news, dude, we are running our best offer ever! Okay, I can get you a six months trial membership right now for three hundred and fifty dollars.\"", "Angel: \"No. I'm looking into some guys that were members here.\" Angel pulls out the newspaper clipping and shows it to Phil.", "Phil: \"Oh, yeah, Woody, right. I heard he like - died.\"", "Angel: \"He like did. Along with the others. All members. So, I need to ask you, Phil, does the club condone steroid use?\"", "Phil: \"No. No, no, no a-a-absolutely not.\"", "Angel: \"Then we should probably keep this between ourselves, don't you think? I'll just take a look at their records and I'll get out of your hair.\"", "Phil after a beat: \"Yeah, yeah, o-okay.\" He and Angel leave. Cordy is interviewing two guys.", "Cordy: \"So, did you ever see anyone come in who looked suspicious - or really pale - or maybe green and scaly?\" The guys look at each other. Angel and Phil are looking through some papers.", "Phil: \"You know, I-I-I don't see anything that connects the three of them - except they were all in the evening Pilates class together.\"", "Angel: \"Pilates, is that like Tae-bo?\"", "Phil laughs: \"Yeah - if you're living in 1999.\" Angel walks into the room where a group of people are participating in an exercise class.", "Instructor: \"Relax your neck and shoulders, using your lower abdominals, bring the spine down to the floor. Take a deep breath in and as your arms come up to the ceiling...\" Angel circles the room, he looks out of the big window at the back of the room. He sees light reflecting off a pair of circles in one of the windows of the building across the street. Looks at the sign in front of the other building: Monserrat, retirement community.", "Cordy, talking to four guys: \"There could be follow-up questions. I'll need some home phone numbers. Why don't we start with you, Benny?\" Angel comes up behind her and leans in close to her.", "Angel: \"There is a retirement home in the street behind us. I'm gonna check something out.\"", "Cordy: \"Bye.\" Angel looks at the four guys, starts to leave then turns back to Cordy.", "Angel: \"Maybe when you're done with your *work* - here - you can pick me up. - Okay.\" Angel leaves.", "Cordy: \"He's just someone I work with. Anyway...\" Angel looks up at the window of the retirement home where he saw the reflection. Angel knocks at the door of room 316. The nameplate says Marcus Roscoe. An old man wearing big, round glasses slowly opens the door.", "Angel: \"Mr. Roscoe. My name is Angel.\" Angel hands him one of their business cards.", "Marcus: \"Angel Investigations.\"", "Angel: \"Would it be alright if I came inside and asked you a few questions?\"", "Marcus: \"Well, it's ah, pretty late.\"", "Angel: \"Shouldn't take long.\" Marcus turns and walks back into his room, leaving the door open. Angel shifts but remains standing outside. Marcus turns back and motions to him.", "Marcus: \"Come on if you're coming.\" Angel walks in, closing the door behind him. He looks around then walks over to the window.", "Angel: \"Nice to have view. I bet you, ah, spend a lot of time enjoying it.\"", "Marcus: \"Not that, uh, much... (Sees Angel holding up the pair of binoculars he found on the window sill) Uh. - Well, I don't see any harm in looking. That's about all I can do anymore. Uh - what is it you want?\"", "Angel: \"Your help. (Angel puts the binoculars down and pulls out some newspaper clippings) I wonder if you've seen either of these men across the way in the gym.\"", "Marcus flips through them: \"No. I don't think so. I'm more of a girl watcher. You know what I'm saying? - Jeez - they all died? How?\"", "Angel: \"That's what we're trying to find out.\"", "Marcus: \"You work with the police?\"", "Angel: \"I'm a private investigator. I work with a team.\"", "Marcus: \"Hmm, sounds nice. I was a salesman. Worked alone for fifty years.\"", "Angel: \"Hmm. (Spots a shelf holding various pottery) Nothian herb jar. (Picks it up) That's a - pretty exotic item. Did you, ah, deal in the occult?\"", "Marcus: \"Occult shmuccult. I traveled a lot. Picked up some trinkets.\" Angel spots some extreme sports magazines lying on the table. He puts the jar back on the shelf.", "Angel: \"Do a lot of bungee jumping, Mr. Roscoe?\"", "Marcus: \"More than you might think, Mr. Angel.\"", "Angel: \"Just Angel.\" Marcus takes off his glasses and puts them in the breast pocket of his shirt. Takes a couple of steps closer to Angel.", "Marcus: \"I'll remember that. (Looks at Angel) Alli permutat anmia kimota. Alli permutat anmia kimota.\"", "Angel chuckles: \"You might wanna think twice about trying to cast a sp...\" Red-white light streams from Marcus into Angel, while blue-white light streams from Angel to Marcus. After the light vanishes, Angel looks around, shrugs his shoulders. Marcus stares at Angel, eyes slightly squinted.", "Marcus: \"You *are* me.\" Angel grabs Marcus by the shoulders and head-butts him, then lowers the unconscious old man into a chair.", "Angel: \"That's gonna smart later.\" Angel walks out of the gate of the Moserrat and starts to saunter down the sidewalk.", "Cordy: \"Ah, hello!\" Angel turns and sees Cordy sitting at the wheel of the convertible. He walks over, chuckles and leans on the top of the windshield.", "Angel: \"He-llo.\"", "Cordy: \"So, what did you find at the old folks home?\"", "Angel: \"Uh - nothing. Didn't pan out. How about you?\"", "Cordy: \"I got a two month free trial membership, and I made some new friends... - Alright. I got nothing.\"", "Angel: \"Pretty clear we're barking up the wrong tree here, huh?\"", "Cordy after a beat: \"Yeah. - Well - get in. I'll take you back to the hotel.\" Angel grins and gets into the car and puts his arm on the back of Cordy's seat.", "Angel: \"Alright! You and me - going back to the hotel. Nice, huh?\"", "Cordy: \"Are you alright?\"", "Angel grinning: \"Honey, I've never been better.\" Break Angel follows Cordy into the lobby of the Hyperion.", "Angel: \"Nice! (Sees Cordy walking around the reception desk) You supposed to be back there? - (Hits the little bell on the counter) Ding, ding! Paying customers. Hellooo. (Whistles) Slow night, huh?\"", "Cordy: \"Yeah. But maybe Wes or Gunn found out something.\"", "Angel: \"Wes or Gunn.\" Angel notices the stand of 'Angel Investigations' business cards on the counter. There are some with Wesley Wyndam-Pryce, some with Charles Gunn, some with just the business name, and others with Cordelia Chase, Senior Associate on it.", "Angel quietly: \"They're a great part of our investigating team. Hmm. Working here with us in this old abandoned hotel.\" Picks up one of Cordy's cards.", "Angel: \"Cordelia... (Cordy turns to look at him) have I ever told you you are a *very* *beautiful* woman?\" Cordy goes back to sorting through the papers on her desk.", "Cordy: \"Ha, ha. Very funny. I know you never said anything that tacky or overt to Fred. But you're still gonna have that talk - whether you want to or not.\" Cordy walks around the counter to stand a little ways down from Angel.", "Angel: \"Talk with Fred.\"", "Cordy: \"Yes! Just - keep it simple. One: you're not like other men. Two: there is no room in the workplace for romance.\"", "Angel: \"Romance with Fred. - So I'm a... (Looks down at his clothes) Obviously.\"", "Cordy turns to go: \"Get some rest. See you tomorrow.\" Marcus wakes up in his chair. Looks around and tries to get up. Doesn't make it. Tries again. Still can't just get up. Puts his hands on the arms of the chair and levers himself to his feet. He walks over to look in a mirror but only sees a blurry man-shape. Puts on his glasses and watches Marcus reflection become clear. Marcus is sneaking through the lobby of the Monserrat to the receptionist desk. Picks up the phone and dials. Angel is looking through papers back in Wesley's office. The phone rings but he lets the machine get it.", "Cordy's voice: \"You've reached the offices of Angel Investigations. Please leave a message after the tone.\" Beep.", "Marcus voice: \"Cordelia? Are you there? Pick up!\"", "Angel picks up the phone: \"Hey, Angel. How's my head? Hope you put some ice on it. Sweet deal you've got going on here, pal. Love the hotel. And Cordelia - whoh! That's how I spell w-o-m-a-n!\"", "Marcus: \"Where is she?\"", "Angel: \"You don't have to worry about anything except eating some nice soft foods and staying out of Ryan's way.\"", "Marcus: \"Ryan?\" An orderly takes the phone from Marcus.", "Ryan: \"You wouldn't think that we just talked about this! (Hangs up the phone) There go your phone privileges for the rest of the month.\" Angel takes the tape out of the answering machine and smashes it. Ryan is walking Marcus down a hall at the Monserrat.", "Ryan: \"You know you're not supposed to be out of your room at this hour.\"", "Marcus: \"I was stretching my legs.\" Ryan puts a hand over his name badge: \"Who am I?\"", "Marcus: \"You're Ryan.\"", "Ryan chuckles: \"At least you're not having an episode. My advice, Marcus: if you start thinking you're a twenty-four year old stud, or a famous skateboarder, keep it to yourself. Unless you *wanna* wake up in iso and restraints again. Copy?\"", "Marcus points at himself: \"I know who *I* am.\"", "Ryan: \"Then let's get *you* back to beddy-bye.\" Hyperion, day. Cordy walks into Wes' office to find Angel slumped asleep on top of the desk with papers littering the whole room.", "Cordy: \"Angel!\" Angel's head jerks up, obscured by the page of paper that he was sleeping on, stiil stuck to his face.", "Cordy: \"What happened?\" Angel pulls the paper off his face and takes a quick glance around.", "Angel: \"Uh... hey, doll. I ah, (puts some papers back into an open file) was working on the case. I must have dozed off.\"", "Cordy: \"You were too tired to go up to your room?\"", "Angel: \"My room, right - which I have upstairs. Well, you know me. Always giving a hundred percent. (Gets up and looks through the mess) Now what did I do with the darn case file...\"", "Cordy quietly: \"You gave it to me yesterday.\"", "Angel: \"Ha. Must be getting old.\" Angel reaches for the file but Cordy puts it behind her back.", "Cordy: \"Not until you have that talk with Fred.\" Wes walks in carrying an old English teapot.", "Wes: \"You know there is something about brewed tea you simply can not replicate with a bag. (Sees the mess) What happened here?\"", "Angel shuffling papers together: \"I was just looking for something. Uh, I'll clean it up!\"", "Cordy turns to go: \"Don't avoid the talk.\"", "Angel: \"I know. I know.\" Wes walks around the desk, picking up some of the papers, and looking over the mess.", "Angel: \"Hey. How're you doing?\"", "Wes: \"Alright. Well... - you?\" Angel pulls up a chair on the other side of Wes' desk and sits down.", "Angel: \"So, we gotta talk. The thing is, I've got nothing against you personally. It's just...\" Wes raises his head to stare at Angel who shifts uncomfortably in his chair.", "Angel not looking at Wes: \"O-ho, this is gonna be harder than I-I thought. I just don't know how to spit this out.\" Wes comes around the desk and sits down on it's edge facing Angel.", "Wes: \"Angel. Whatever it is, you know I'm here for you.\" Wes stretches out a hand towards Angel, and Angel hurriedly scoots his chair back.", "Angel: \"Yeah. That may be the problem. (Chuckles uncomfortably) I mean, whatever we - had... - whatever we - did. I just think that we should keep that - behind us. - Start from scratch. You know, two men working side by side. But, you know, none of that - funny stuff.\" Wes straightens up, a slight frown on his face. Angel offers his hand.", "Angel: \"Shake on that?\"", "Wes after a beat: \"I guess.\" Wes takes Angel's hand, who gives it a hearty shake, then pulls Wes into a big hug.", "Angel: \"Hey, all right. Gimme a hug.\"", "Cordy: \"Wesley, food's here.\"", "Wes: \"Okay.\" Angel pulls back from Wes, holding him at arms length.", "Angel: \"Wesley?\"", "Wes: \"Yes?\"", "Angel: \"Do you know where Fred is?\"", "Wes: \"Uhm - up in her room I'd expect.\"", "Angel: \"*Her* room. Right. - Somebody say something about food? I could eat a horse.\" Angel turns and walks out of Wes' office. Gunn is standing in front of a carton holding cups and fast food.", "Gunn: \"Breakfast burritos all around.\" Angel grabs one of the burritos, and sticks some money into the breast pocket of Gunn's jacket.", "Angel: \"Thanks, bro. Keep the change on that.\"", "Gunn: \"O-kay.\"", "Wes: \"Get anything from the hotel staff?\" Angel sitting at his little folding desk munching on the burrito looks over at Gunn and Wes.", "Gunn: \"Yeah, I did. All these guys ran up huge service bills, mostly alcohol. Well, at least they went out partying. Oh, and I got copies of their telephone bills, too.\" Angel talking with his mouth full: \"Hey, isn't that illegal? I mean, don't these guys deserve a little privacy?\" They all turn to stare at Angel.", "Angel: \"What?\"", "Cordy: \"Why are you eating?\"", "Angel: \"I'm hungry.\"", "Wes: \"Looks like they called the same number.\"", "Gunn: \"Yeah, saw that, too. Checked it out. (Pulls out a paper and hands it to Wes) First class escorts, La Brea and sixth.\" Angel gets up and moves over to them.", "Cordy: \"Escorts. Oh, you mean hookers?\" Gunn takes the paper out of Wes' hand: \"I should probably interview them right away - while the trail is hot.\"", "Wes takes the paper back: \"Ah, I'll take this one. You interviewed the hotel staff. It's only fair if we divvy it up.\"", "Gunn again taking the paper: \"Yeah, but I figured it out.\"", "Cordy snatches the paper: \"I'll interview the hookers. Are there any men who aren't just dogs?\"", "Angel: \"Not very many, I'm afraid. (Leans in close to Wes) You know a woman is more than a piece of meat. I'm sorry. That's just how I feel.\" Wes' beeper goes off and he checks the display.", "Wes: \"Ah, my contact at the coroner. I can see one of the bodies. I should go.\"", "Cordy: \"Gunn can go with you.\"", "Gunn: \"That wasn't the kind of body I had in mind to see. (Cordy looks at him) We're going, we're going.\" Gunn and Wes leave and Cordy follows them.", "Angel: \"Hey, you know what? That's a great idea. I'll just stay here, hold the fort - keep an eye on the evidence.\" Crams some more burrito in his mouth. Marcus is sitting on a sofa in the lobby of the Monserrat with an open book on his lap. He sees the security guard at the desk by the doors get up to help an old lady with a walker accompanied by a younger woman through the door. Watches as the guard helps them over to the elevators. He gets up to head for the unguarded doors, but is intercepted by an old, black man being visited by his family.", "Jackson: \"Marcus, I got someone I want you to meet.\"", "Marcus: \"Oh, I can't right now.\" Jackson takes the baby from his daughters arms and hands her to Marcus.", "Jackson: \"This is my baby granddaughter Katrina. (To baby) Girl's gonna *rule* the world! (To Marcus) Isn't she something?\" Marcus takes the girl in his arm a smile spreading across his face. He looks past Jackson to the unoccupied guard desk, looks back down at the baby.", "Marcus: \"She's beautiful.\" Marcus looks over to see that the guard has returned to his post. Angel is in Wes' office, shredding the newspaper clippings of the mysterious dead guys. That done, he sits back with a sigh, puts his feet up on the desk and picks up a martini glass sitting on it to take a sip.", "Fred: \"What you doing?\"", "Angel sees Fred and grins: \"Well. Hey, sweetheart. Where you've been hiding?\"", "Fred flustered: \"You know, up in my room. Everybody keeps saying 'Fred, you should get out more' so, well...\"", "Angel: \"Fred - mmm.\" Angel takes a sip from his glass then gets up and walks around the desk to stand in front of Fred.", "Angel: \"Have I ever told you you are a very *beautiful* woman?", "Fred: \"Uhm - no?\"", "Angel: \"Do you like olives?\" Angel pulls the toothpick with the olive out of his drink and offers it to Fred, who eats it out of his hand.", "Angel: \"Tell you what, I have some work I have to finish up here. Why don't you go on upstairs and put on something pretty and we'll go out on the town.\"", "Fred: \"Really?\" Angel tips her on the nose with the toothpick: \"And that's just for starters.\"", "Fred: \"Okay, I'll just - I'll go and - okay.\" Runs out of the office.", "Angel shakes his head: \"Hoo!\" He goes to sit back down at the desk, whistling and shredding files. Lilah walks into the office and Angel turns the shredder off.", "Angel: \"And what can I *do* for *you*?\"", "Lilah: \"Don't go all nightstalker on me. I'm here to do you a favor. (Angel checks Lilah out) We both agree that business with Cordelia was just business, right?\"", "Angel after a beat: \"Sure.\" Lilah pulls a bundle of folded papers from her briefcase and drops on the desk in front of Angel.", "Lilah: \"It's all in there. Earthquake safe certification, statement of asbestos level compliance... All of it.\" Angel picks up the bundle then drops it back on the desk. He looks up at Lilah. Stands up, picking up his martini glass and walks around the desk.", "Lilah: \"I'm not playing you here. It's not about you. It's about Gavin. He thinks he's so smart. (Angel pour two martini glasses) - You're welcome.\"", "Angel: \"I'm sorry. Thanks. (Puts olives in each glass) That was a really - thoughtful favor. - How about a drink? (picks up the two glasses and offers one to Lilah) Have I ever told you you're a very *beautiful* woman?\" Lilah hesitantly accepts the glass and Angel clinks his against hers. Marcus is walking down some steps in the Monserrat. Peeks around the corner at the end of the hallway to see the security guard at the desk reading a newspaper. Scoots back away. Notices the fire alarm on the wall. Glances back at the guard station, then trips the alarm. The alarm sounds and the guard jumps up from his desk and hurries away to look for the source. Marcus shuffle-runs towards the desk and the exit. Looks down at his left arm, grabs it with his other hand, starts to huff and puff.", "Marcus: \"M-my heart...\" Slowly collapses to the ground. Lilah is sitting in a chair across from Angel, who is sitting on Wes' desk. She sets down her empty glass.", "Angel: \"Want another?\"", "Lilah: \"I'm gonna have to call a taxi as it is.\" Lilah gets up to leave - only to run against Angel's leg, stretched straight out to bar her way.", "Angel chuckles: \"Oops!\"", "Lilah: \"What do you want?\" Angel brushes the hair back from Lilah's face: \"You. - Don't tell me you never thought about it.\" Angel stands up, leans in close and kisses her. Lilah pulls away shaking her head a little. Angel smiles at her then pulls her in for another kiss - which Lilah returns, passionately. They start groping each other. Lilah rips Angel's shirt open. Angel sweeps the stuff on Wes' desk to the side and pushes her down onto it. Fred walks up to the open door of Wes' office, wearing a long dress, her long hair open, with a shy smile on her face. She walks in to see Angel and Lilah groping wildly on top of Wes' desk. Her eyes widen, then she turns and runs away. Angel is nuzzling Lilah's neck. Suddenly vamps out and bites her as Lilah lets out a surprised scream. Break", "[SCENE_BREAK]", "Lilah pushes Angel off her and gets up off the desk.", "Lilah: \"You son of a bitch!\"", "Angel: \"Whoa! I'm sorry! It just - felt like the thing to do. (Stares at the cross Lilah is holding up to ward him off) Whoa! What are you born again all of a sudden?\"", "Lilah: \"I don't know what kind of sick game this is, Angel, but I hope you enjoyed it because you're never getting this close to me again.\" Angel is trying to get closer only to find himself shying back from the cross in her hands. Lilah walks out and Angel lifts a hand to run it through his hair - only to touch the thickened brow of his forehead.", "Angel: \"What? This is new.\" Angel explores his face with his fingers, pricks his right thumb on his fangs.", "Angel: \"Ow!\" Angel reflectively sticks his thumb in his mouth and sucks on it, takes it back out to look at it in surprise, then sticks it back in to suck some more.", "Angel: \"Ah. Hmm...\" Still sucking on his thumb he walks into the bathroom - only to *not* see himself in the mirror.", "Angel: \"What the...\" Marcus is lying on a hospital bed, and IV going into the back of his right hand, watching the lights on the heart monitor beside his bed.", "Ryan: \"You're awake.\"", "Marcus looks up at him: \"It's beating.\" His right hand is resting on his chest over his heart, gently keeping the beat.", "Ryan: \"That was your fourth heart attack, Marcus. I don't know if you can survive another one. You got lucky this time. Try something like that again, you may not be.\" Marcus returns to watching the heart monitor display. Hyperion, night. Cordy walks into the dimly lit lobby.", "Cordy: \"If Julia Roberts ever makes a realistic movie about being an escort, I think it should be called pretty skanky woman.\" Cordy stops by the counter to look around the deserted lobby.", "Cordy: \"Angel? - Fred!\" Cordy puts her stuff down. Hears some soft sobbing noises. She walks over and opens the elevator doors to reveal Fred hunched up in one corner of it, her arms wrapped tightly around her knees, crying.", "Cordy: \"Fred. What's wrong? What happened?\"", "Fred: \"I should've knocked. I always forget to knock because, you know, I didn't have a door for so long. (Fred looks over at Cordy, trying to suppress her sobs) He called me a sweetheart. But it's just an expression, isn't it? Like when a waitress calls you honey, it doesn't mean your special or anything. It's just a word, right? Sweetheart.\"", "Cordy softly: \"Is this about Angel? (Fred nods) Oh. - He talked to you, didn't he?\" Cordy sits down beside Fred and sighs.", "Cordy: \"This is all my fault. I told him to do that.\" Fred's turns her head to stare at Cordy.", "Fred: \"You told him to make out with that woman on the desk?\"", "Cordy: \"What? No. - What woman?\" Angel walks into a nightclub, moving with the music. Stops by the bar and turns to survey the room. He spots a pretty, dark haired girl sitting at a table with her boyfriend. The girl looks over at him and their eyes lock for a moment before she turns her attention back to her boyfriend. Angel keeps watching as the boyfriend gets up, taking his empty glass with him. The girl looks back over at Angel still standing by the bar. Some people walks past between them and after they're gone the girl's face falls as Angel is gone as well, only to set a full martini glass down in front of her a moment later. Angel is sitting with the girl at the table, whispering something in her ear. Under the table his hand is on her leg. Flash cut to Angel pulling the laughing girl after him out of the door to the club onto a balcony. The boyfriend and another guy walk up to the table to find it deserted. Angel and the girl are kissing out in front of the club.", "Girl with a smile: \"My boyfriend is probably looking for me right now. He could catch us at any moment!\" Pulls Angel in close for another kiss.", "Girl: \"Sort of makes it more exciting doesn't it?\"", "Angel: \"Yeah. (Pulls back from nuzzling her neck and the girl screams at his vamp face) It does.\" Angel leans in and bites her, just as her boyfriend and two other guys walk out onto the balcony behind them.", "Boyfriend: \"Hey!\" Angel lets the girl go and spins around, morphing back into his human face as he does so.", "Boyfriend: \"What the hell do you think you're doing?\" Angel licks the blood from the corner of his lips.", "Girl: \"He bit me!\"", "Boyfriend: \"Freak!\" He hauls back to hit Angel, but Angel catches his fist in his hand, clamping down on it. The guy groans in pain, then flies back as Angel hits him. Angel hold up his fist and looks at it.", "Angel: \"Nice!\" Angel stands there inviting the other two guys to hit him. He takes a kick to the face from the first guy, then grabs him by the throat, head butts him and tosses him aside. Walks right into the fist of the second guy, and returns the hit with a wide swing of his own then tosses that guy to the side as well and turns to face the boyfriend, scooting backwards away from him.", "Angel: \"Come on! Bring it on. Is that it? Is that all you got?\"", "Boyfriend: \"What are you on?\"", "Angel: \"Well, you know, I'd say I'm high on life only - I ain't alive - which means - I'm never gonna die. I'm gonna be young, handsome and *strong* forever! (Laughs) There is just one thing I gotta do first!\" With that Angel turns away, runs over to the railing, jumps on top, then off of it, only to easily land some stories below running down the street laughing.", "Wes: \"I do not believe it. On my desk?\"", "Gunn: \"Well, it did used to be his. Maybe he was just kinda - reclaiming it.\"", "Wes: \"How? By marking it? - This isn't like him.\" Wes walks around the desk and crouches down to look at some books lying open on the floor.", "Cordy: \"What? This is totally like him. Doing the mystery dance with some cheap blonde?\"", "Fred: \"Brunette. She was a cheap brunette.\"", "Cordy: \"You're right. This isn't like him.\"", "Gunn: \"So, who was she?\"", "Wes: \"I don't think it matters who *she* was. The question is, who is *he*?\"", "Cordy: \"Uh-huh. We're all thinking it. - He's Angelus again.\"", "Fred: \"Who's Angelus?\"", "Gunn: \"The bad-ass vamp Angel turns into when he gets evil. But then why is there no body here? Wouldn't he've just killed her?\"", "Wes: \"No, that's not what I meant. Why would Angel, or Angelus for that matter, (holds up the open books) need to read about vampires?\"", "Cordy: \"He wouldn't.\"", "Gunn: \"Wait. What are you getting at?\"", "Wes: \"This case we've been working on. Each of the victims exhibited wild, uncharacteristic behavior just before they died. They weren't themselves.\"", "Gunn: \"Oh! So you think Angel's been infected by whatever got into those gym boys.\"", "Wes: \"Not 'whatever' - whomever. Cordelia, when you and him were at the gym did anything unusual happen to Angel?\"", "Cordy: \"No, not really. I was with him pretty much the whole time. - Except for when he went across the street to the...\"", "Cut to the Monserrat retirement community. Marcus is sneaking down a hallway. He enters a deserted common area off the lobby. Sticking his hands in his pockets, he tries to act casual.", "Jackson: \"Hey. (Marcus jumps and turns around) What the hell are you doing out of bed? You trying to bust loose again, ain't you? Damn, Marcus - you don't quit, do you? Do want to have another heart attack?\"", "Marcus: \"Look - I can't really explain this, but I *need* to get out of here. (Puts his hands on Jackson's shoulders) Just - don't turn me in.\"", "Jackson: \"Not gonna have to. Your kid was signing in at reception when I came down.\"", "Marcus: \"My kid?\"", "Jackson: \"M-hm.\" Jackson walks off. Marcus turns and sees Angel talking to Ryan at the other end of the lobby. Angel turns and looks at Marcus with a smile.", "Angel: \"Hi, dad.\" Break Marcus backs out of Angel's view. Angel slowly saunters across the lobby after him. Angel turns the corner down a branch of a deserted hallway. He sniffs the air, then turns around, smiling, to enter the darkened rec-room. Marcus is standing in the shadows besides the door. As Angel turns on the light, Marcus hits him over the head with a shuffleboard staff. Angel is thrown off balance but catches Marcus' next hit and pulls the staff from his hands. Marcus staggers back.", "Marcus: \"So, I guess you finally found a body that won't burn out, huh, Marcus?\"", "Angel: \"Looks like.\"", "Marcus: \"Only one way you can keep it though, right? You got to kill yourself!\" Marcus smacks his fist against his chest over his heart.", "Angel mimics the gesture: \"Mmm! I can live with that!\"", "Marcus: \"You sure? I don't think you *really* know what you're getting into.\" Angel steps away from the door, walking towards Marcus, standing in the middle of the room.", "Angel: \"Oh, I know what I'm getting into. *You're* the one that doesn't seem to know what you had. As far as I can tell you were the world's worst vampire. Vampires don't *help* people, you *moron* - they kill 'em! Here, let me show you.\"", "Marcus holds up a hand: \"You may have the attitude, and you may have the power - but there is one thing you don't have, and never will: friends. (The shot widens to reveal Cordy, Fred, Wes and Gunn walking in through the door behind Angel) Four of them, standing behind you (Angel spins around to look) with big, heavy things.\"", "Angel: \"Guys! It's about time. It's *him* - he's the one who's been casting that spell.\"", "Cordy: \"You're Angel? With *that* cologne? I don't think so.\" Gunn walks up and put his loaded crossbow against Angel's chest.", "Marcus: \"Don't stake him.\" Angel bats Gunn's crossbow aside and lifts his staff to push both Gunn and Wes into the wall. Angel drops the staff and turns to run - right into Cordy and Fred and their wooden baseball bats. Gunn uses the shuffleboard staff to swipe Angel's legs out from under him, dropping Angel. Angel jumps back up, wrestles the bat away from Fred and turns with it towards Marcus. Cordy pulls out a tazer and hits Angel with a charge of blue-white light. Angel lands face down, in an unmoving heap at Marcus feet.", "Cordy: \"God, I love technology. (Hurries over to Marcus) Are you alright?\"", "Marcus: \"I gotta pee.\"", "Wes: \"Did you happen to notice a small Algurian conjuring orb? Could have been glowing.\"", "Marcus: \"In his room, on a shrine.\"", "Wes: \"Then I was right. (Looks down at Angel's body) Algurian body-switching spell. Keep an eye on him.\" Fred hauls back and hits Angel's body over the head, causing Gunn to jump.", "Marcus: \"Fred! He's out! He's out!\" They have tied Angel's unconscious body to a chair in Marcus' room. Marcus sits down on the chair across from him as Wes hands him a piece of paper.", "Wes: \"Read this.\"", "Marcus: \"Alli permutat anima kimota. Alli permutat anima kimota.\" Angel's head comes up. A blue light starts to issue from Marcus eyes and nose, a red one from Angel's eyes. The blue light disappears into Angel's mouth, while the red light enters Marcus as soon as the blue light leaves it. Marcus and Angel's head sag onto their chests, but after a moment Angel's head comes back up. He looks up at Gunn, a slightly dazed expression on his face.", "Angel: \"It's cool, Gunn. It's me.\" Gunn bends to untie Angel's hands.", "Cordy: \"I got his conjuring stone.\" Angel takes it into his hand.", "Marcus: \"You can't take that!\" Angel closes his hand, crushing the stone to powder.", "Marcus: \"You...! You don't deserve that body!\"", "Angel: \"Funny. I was gonna say the same thing to you. (Stands up) I tell you why you have a weak heart, Marcus. You never use it.\" Angel starts to leave, with the others falling in behind him.", "Marcus: \"You're pathetic! (Stands up) You're all pa...\"", "Angel, turning back: \"You should try and keep a lid on that rage, Marcus. It's - not healthy.\" Angel and the gang walk out as Marcus sinks back into his chair, clutching at his heart.", "Marcus moaning weakly: \"Help...\" Ryan and another attendant see Angel and the gang coming out of Marcus room.", "Ryan: \"What's going on?\"", "Angel: \"Dad's having a bad night.\" The Hyperion's garden court, night. Fred is sitting on the edge of the dry fountain, reading a book. Angel comes down the steps behind her.", "Angel: \"Hi.\"", "Fred: \"Hey. - How's your head? S-sorry about all that...\" Fred makes some hitting movements.", "Angel: \"Ah, I - gather I - had it coming.\"", "Fred: \"Mmm. - Yes.\" Angel goes to sit down beside her.", "Angel: \"Fred, I've been meaning to talk to you about something.\" Fred puts her book down and smiles at him: \"Okay.\" Angel sits there silently staring into the night for a beat.", "Fred: \"Is this about how you're not like other men - what with that curse and all... and how you're really fond of me, but that's as far at it goes?\"", "Angel: \"Uhm... - yeah.\"", "Fred: \"Cordelia explained it to me. (Gives a little chuckle) She said you'd probably just screw it up.\"", "Angel: \"Oh, she did, did she? - And she's probably right.\" Fred sighs and looks down.", "Angel: \"What?\"", "Fred: \"It's like something out of Fitzgerald. - The man who can have everything but love. - Well, maybe in some ways you're better off, because love is... - Well, in a way it's everything. - But it's also heartache and disappointment. - And those are good things to avoid.\" Cordy comes hurrying out and Angel and Fred turn their heads to look at her.", "Cordy, a bit breathless: \"Angel, Willow's on the phone... She's alive! Buffy's alive!\" With that Cordy turns around and hurries back in. Angel and Fred look at each other for a beat then Angel jumps up and runs into the hotel after Cordy.", "Fred: \"Buffy?\"" ]

[ "Fred's parents show up in LA and Team Angel is instantly suspicious of them. They seem a little too... Normal. Fred hiding from her family and has run off. In order to find her again, Team Angel and the Burkles will have to work together. They'll also have to battle some demons and pay a visit to Lorne. And Fred will have to decide where she really belongs now." ]

[ "[PREVIOUSLY_ON]", "Librarian: \"Fred disappeared five years ago. They never found her.\"", "Wes: \"Cordy's been sucked into the portal. She's in the Host's dimension.\"", "Fred: \"They use you as a slave and then your body gives.\"", "Constable: \"Fugitive!\"", "Fred: \"Oh no!\" Angel kills the demon Guard Captain.", "Fred: \"Handsome man - saved me from the monsters.\"", "Fred: \"I love tacos. D-do they still have them?\"", "Wes: \"The host reads their souls, senses their futures.\"", "Cordy: \"Yes, but he can only do it when they sing Karaoke.\" Fred sings \"Crazy.\" Gunn's old gang comes in and shoots the place up.", "Lorne: \"Ah! My club! Friends of yours, Gunn?\" Wes is looking past the naked sword blade to the person holding it.", "Wes: \"You wouldn't dare. - You were just going to toss in a Prothgarian broadsword with a third-century ceremonial Sancteus dagger?\" Cordy turns the sword in her hands to give it a second look.", "Cordy: \"Hmm. Let's see. Long, metal, pointy. - Yup.\"", "Wes: \"Cordy! The purpose of an inventory...\"", "Gunn: \"Yes, give us that (mimics Wes English accent) purpose of an inventory speech - again.\"", "Wes: \"This wasn't my idea.\"", "Cordy: \"No. Angel - keeps complaining that the weapons cabinet is all different. But, Wesley, who's the boss around here? You - or the guy with the pancreas dagger.\"", "Fred: \"What time is it?\" Wes holds up his wrist to Cordy and read his watch.", "Cordy: \"Six twenty four, and for those of you who are playing the home game: that's exactly three minutes from the last time you asked.\" Fred fumbles around with the strange contraption (looks like a hybrid between a suitcase, a crossbow and a sowing machine - or something like that).", "Fred: \"I'm sorry. I just - I have this theory that the more you are aware of time the more slowly it moves, which *could* make light speed travel possible, but only if you were to concentrate really...\"", "Cordy: \"He'll be back when he's back.\"", "Fred: \"So - now that she's alive again, are they gonna get back together? Angel and that girl with the goofy name?\"", "Wes: \"Well - *Fred* - that's a difficult question. I think it's fair to say - no. Not a chance, never, no way, not in a million years, and also 'nuh-uh.'\"", "Fred: \"But you said he loved her. And of course she's gonna love him back, because he's so strong and handsome and he really listens when you talk. I-I mean, if you go for that sort of thing, why wouldn't it work?\"", "Cordy: \"Let me break it down for you, Fred.\" Cordy steps away from the reception counter and pretends to be Buffy.", "Cordy: \"Oh - Angel! I know that I'm a Slayer and you a vampire - and it would be *impossible* for us to *be* together - *but!*\" Gunn laughs at Cordy's act.", "Wes stands up: \"But!\" Cordy turns to look at him. Wes pulls his glasses off and lays them to the side.", "Wes: \"My gypsy curse sometimes prevent me from seeing the truth. Oh, Buffy!\"", "Cordy: \"Yes, Angel?\"", "Wes: \"Oh, I love you so much I almost forgot to *brood!*\" Fred watches wide-eyed. Gunn is laughing.", "Cordy: \"And just because I sent you to hell that one time doesn't mean that we can't just be friends.\" Wes grabs a hold of Cordy's wrist.", "Cordy: \"Oh!\"", "Wes: \"Or possibly more.\"", "Cordy gasps: \"Gasp! No! We mustn't.\" Wes pulls Cordy close.", "Wes: \"Kiss me.\"", "Cordy: \"Bite me!\" Wes bends Cordy back over his arm and pretends to sink his fangs into her neck.", "Angel off screen: \"How about you both bite me.\"", "Fred jumps up: \"You're back!\" Cordy and Wes see Angel watching them and quickly scurry apart.", "Gunn: \"How'd it go?\"", "Angel: \"I think those two pretty much summed it up. To be honest - I *really* don't wanna talk about it.\" Cordy tugs her mini skirt back in place.", "Cordy: \"But... ah, Angel - we're your friends. (Gives him a big, friendly smile) and, and it-it's not healthy to repress stuff like *this.* You-you need to share your - pain, express those feelings of grief and longing or... The curiosity is gonna kill me!\"", "Angel quietly: \"Oh, no. Wouldn't want that.\"", "Fred: \"Personally, I don't care at all what happened.\" Cordy as she walks past Fred: \"Shut up, Fred.\"", "Angel quietly: \"Actually, you know what I need right now? - Ice cream. (Looks at Fred) You wanna get some ice cream?\"", "Fred with a big grin: \"I like Ice cream!\" She walks over to Angel and they leave the hotel together.", "Cordy: \"Now we'll never, ever know.\"", "Angel off screen: \"That's right.\" Angel and Fred are walking along a dimly lit sewer tunnel with Fred holding a big ice cream cone.", "Fred: \"This has been the best night ever! First there's you taking me to ice cream, then there is the ice cream, then that monster jumps out of the freezer and you're all brave and \"Fred, watch out!\", and then we get to chase it down into the sewers, which are just so bleak and oppressive and - homey. And, and I could build a condo down here.\"", "Angel: \"I'm glad you're having fun.\"", "Fred: \"You think maybe the monster just wanted a sugar cone?\"", "Angel: \"I doubt it. Durslar beasts don't usually come above ground like that. They tend to stick to the sewers.\"", "Fred: \"Lucky stiffs. They get to lead lives of mysterious sewage while I'm just plain ol' boring ol' Fred.\"", "Angel: \"Boring? That's not a word I'd use for you.\"", "Fred: \"Fine. Nutty-ol'-goonie-bird-up-in her-room-doin'-nothin'-but-moochin'-off-Angel Fred. I swear I don't know how you all put up with me. I practically need flashcards to understand my (looks past Angel) pretty crystals. Oh, look. They're everywhere.\" A dull roaring sounds and Fred jumps back.", "Fred: \"It wasn't me.\"", "Angel: \"Oh, no, no, no. We must be near the Durslar's lair. Why don't you head back on to the hotel. I can take it from here.\"", "Fred: \"But shouldn't we call Wesley first and maybe, you know, the army?\"", "Angel: \"Nah. Durslar beasts are pretty Faulknerian. Lotta sound, no fury. Think you can find your way back okay?\"", "Fred: \"I think so. 128 meters back, eastward fork, 207 meters to the southward fork, hang a right, 12 meters in... I'm just being a big nerd again, aren't I? (Angel nods) I'm gonna go now.\" Fred heads down the tunnel and Angel turns to walk towards the Durslar's lair.", "Fred turning back around: \"A-are you sure you're gonna be okay? Because I can stay with you. I really don't mind.\"", "Angel: \"I'll be fine.\"", "Fred: \"You don't need me. Okay. Bye!\" Fred disappears around the corner then sticks her head out to look back around it.", "Fred: \"Are you sure?\"", "Angel with a little laugh: \"I'm fine!\"", "Fred: \"Okay. Bye then!\" Finally leaves for good, with Angel watching her go, big smile on his face - not noticing the Durslar coming up behind him. Intro Back at the Hyperion Wes, Cordy and Gunn are still busy with the weapons inventory.", "Wes: \"Three-pronged Scythian death spear, category six. Weapons cabinet, third shelf.\" Cordy takes the tagged spear and puts it in the weapons cabinet.", "Wes: \"You know, back in my days as a rogue demon hunter I once used that very spear to pin down what I thought was a small Rodentius demon - of course the poodle's owners weren't very happy.\"", "Gunn to Cordy: \"Would you hurry up and get a vision already?\" Cordy straightens up and backs away from the weapons cabinet.", "Cordy: \"Ah, gee, Gunn, much as I would *love* to endure another soul-splittingly agonizing psychic invasion for your benef-ow! Ow! Ow!\" Wes and Gunn hurry over to where Cordy is hunching over in pain.", "Gunn: \"Yes! Yes!\"", "Cordy: \"No! Ow, Fred! Ouch. I really wish she wouldn't leave her toys lying around!\" Cordy walks over to sit on the round settee, rubbing her shin after having bumped in Fred's contraption.", "Gunn: \"Ooh! Pretty wicked looking toy!\"", "Wes: \"I'll say. It almost looks like a spring-loaded decapitation device.\"", "Cordy: \"Or it makes toast. With her you never know.\"", "Man's voice: \"Ah. Excuse me! Ah, is this Angel Investigations?\" The gang looks up to see a middle-aged couple standing on the landing just inside the front doors.", "Wes: \"Yes. Can we help you?\"", "Roger: \"I sure hope so. I'm Roger, and this is my wife, Trish. Ah, we're sorry to barge in on your... arsenal here, but - we really need to talk to you.\"", "Wes: \"Of course. Please, step into my office.\" Craning his neck to get another look at the arsenal of weapons on display, Roger ushers his wife down the stairs. They all enter Wes' office.", "Wes: \"I'm Wesley Wyndam-Pryce. These are my colleagues, Cordelia Chase and Charles Gunn.\" They shake hands.", "Wes: \"What can we do for you?\" The couple sits down in the chairs in front of Wes' desk as Wes settles in his chair as well.", "Trish: \"It's our daughter. She's missing.\"", "Cordy: \"Oh, no. Kidnapped by evil fiends?\"", "Trish: \"We're not sure.\"", "Wes making notes: \"I see. Was your daughter involved in any kind of demon worship?\"", "Roger: \"Of course not!\"", "Gunn: \"Could be a vampire. Hard luck tracking one of those in a city this big, but don't worry. We're detectives. We can find anyone.\"", "Roger: \"We already hired a detective.\"", "Wes: \"And he couldn't locate her.\"", "Roger: \"He said she was staying here - in your hotel.\"", "Trish: \"Her name is Winifred Burkle. We call her Fred.\" Wes looks up at Gunn and Cordy. Fred is coming up into the lobby through the basement door, still licking her ice cream cone. She hears voices, glances at the open door to Wes' office. She sees Roger and Trish and runs up the stairs to her room.", "Gunn: \"Fred's your daughter?\"", "Trish: \"Yes. You know her?\"", "Roger: \"Is she here? Is she alright?\"", "Wes: \"She's fine and - out at the moment - with one of our associates.\"", "Cordy: \"Who is not an evil fiend - or a vampire - because they don't exist. In - case you aren't familiar with our LA gumshoe detective slang.\"", "Roger: \"But what happened to her? It's been five years -- has she been with y'all this whole time?\"", "Wes: \"No. Ah, we've only known Fred for a few months, really. - You see we found her in...\" Wes looks at Cordy and Gunn.", "Cordy: \"Ah, a fit of depression.\"", "Trish: \"Fred was depressed? (Cordy nods) Over what?\" Cordy looks at Wes.", "Wes: \"She had recently relocated and was - having trouble adjusting. So, how did you come to find her again?\"", "Trish: \"Oh, about a month ago we got a letter from her in the mail.\"", "Roger: \"But she didn't leave her return address. In fact she said she was fine and we shouldn't bother looking for her, but...\"", "Trish: \"Five years of not knowing whether your daughter's alive or... Well, how could we just let it go?\"", "Roger: \"So we hired the private eye.\"", "Gunn: \"And he tracked her down through an un-addressed envelope? We could do that.\"", "Angel: \"Wait til you guys hear what happened at Haagen Dazs! Ordinarily these things don't put up much of a fight, but this one? Hoo! I think I'm gonna have it...\" Angel walks into the office, carrying the Durslar's severed head. Sees Fred's parents.", "Angel: \"...mounted. - Hello.\"", "Cordy: \"Angel. you're -- alone. And - and you brought ... a prop! From your movie! (to parents) This is Angel. - *Angel* - makes - monster movies. - Angel, these are Fred's very *normal* parents.\" Angel puts the head behind his back.", "Angel: \"Ah. - Fred has parents.\" Fred is up in her room, trying to (unsuccessfully) wipe off the writing on the wall using a towel. Looks around the room and grabs the pieces of clothing lying on the nightstand and bed.", "Angel smiling: \"Well it sure is - nice to meet you both.\"", "Roger: \"Ah. Son, you-your prop is dripping.\" Angel looks down at the green blood dripping from the severed demon neck.", "Angel laughing: \"Oh, yeah. This (swings the demon head up by the hair, causing Roger and Trish to duck back) - fake. You know, a little glue, paper machee...\" Angel tosses the head back behind himself without looking into the lobby - where we hear a big crash of glass as it lands.", "Angel: \"...possibly some lead. So, Fred's parents - we've heard so - much... Well, uhm, sure is nice to meet you folks.\"", "Gunn: \"No address anywhere on the envelope?\"", "Roger: \"No. None.\"", "Gunn: \"Ah.\"", "Roger to Angel: \"Do you know when Fred will be back?\" Angel looks towards Cordy and Gunn, who give him pointed looks in return.", "Angel: \"Oh, me. Well, yeah, ah, I sent her right back here, right before I... picked up that - prop. So I'm sure she's - up in her room (Trish and Roger smile at each other) - right now.\" Fred's parents and the gang survey Fred's room - which is remarkably clean and organized.", "Trish: \"Fred?\"", "Roger: \"She's not here.\" Angel picks up the crumpled ice cream cone wrapper from the floor.", "Angel: \"No. But she was.\" Trish looks at the walls.", "Trish: \"This - it's her writing. But what does this mean? It's just crazy.\"", "Roger quietly to Trish: \"We might have to call them in sooner than we thought.\" Cordy is whispering to Wes and Gunn: \"Guys - when was the last time Fred ever left the hotel by herself?\"", "Gunn: \"A couple of weeks after never.\"", "Roger: \"We want our daughter.\"", "Wes: \"So, what is she running from?\" The three of them turn to look at Fred's parents, standing across the room from them. Fred is hurrying a darkened street, wearing a backpack and looking scared. Break The gang is alone in Wesley's office.", "Cordy: \"There's just something - off about them. I can't put my finger on what.\"", "Wes: \"Fred must have returned while we were in here, seen her parents and...\"", "Angel: \"Took off. That's not a good sign.\"", "Gunn: \"They said she sent them a letter. Can you picture Fred sneaking off to send a letter?\"", "Cordy: \"Pfft! Sneaking off, right. Fred can barely tie her shoes without Mr. 'oh, you're my big, fat hero!' around.\"", "Angel quietly: \"You think I'm fat?\"", "Wes: \"This could be a ruse, to trick us into letting them get close to her. Making it seem as though she'd initiated contact.\"", "Angel: \"On the other hand if the letter is real and she told them not to look for her, there's got to be a reason for that.\"", "Cordy: \"Fred never talks about her family.\"", "Angel: \"So, where do we start?\" Angel looks form one to the other, but they all stay silent.", "Angel: \"Where would Fred go?\"", "Gunn: \"We could hit all the local taco stands. (Everyone looks at him) Joke! - Kind of.\"", "Angel: \"Come on, guys, think! What do we know about Fred?\"", "Gunn: \"Well, I knew about the tacos.\"", "Angel: \"All right. She seemed pretty comfortable in the sewers. They're dark, cave-like. She felt safe there. I'll head back down there, see if I can find her.\"", "Wes: \"She worked at the Public Library. There may be colleagues there she trusted.\" Cordy has been peeking out into the lobby at ma and pa Burkle sitting on the settee, talking quietly to each other.", "Cordy: \"What about them? We can't just leave them there! (The guys look at each other) What if Fred comes back?\" The Burkle's look up, catching sight of Cordy watching them and Cordy quickly pulls her head back out of sight.", "Cordy: \"Oh!\"", "Roger: \"Is it time?\"", "Trish: \"Not yet.\" The gang follows Wes out of the office into the lobby.", "Wes: \"Mr. and Mrs. Burkle, we're gonna try a few places we think Fred may have gone. Would you like to come along?\"", "Roger: \"Ah, all six of us? Wouldn't it make more sense to split up, cover more territory?\"", "Gunn after a beat: \"Perhaps.\"", "Angel: \"Well, I'm gonna check out some of my, ah, industry contacts. So it'll just be the five of you.\"", "Trish: \"Industry contacts? Why would... - Fred's not - 'making movies,' is she?\"", "Angel: \"Movies? Oh, you mean... No! No, no, of course not. It's just some of these contacts they-they know things sometimes. They're, ah, underground.\"", "Wes: \"Right. Uh - shall we go?\" The Burkles follow Cordy and Gunn out the door. Angel grabs a hold of Wes' arm as he passes him.", "Angel: \"Call me if...\"", "Wes: \"Yeah.\" Lorne, smoking a cigarette and wearing a white, terry bathrobe, makes his way through a bead curtain to answer the banging on the door.", "Lorne: \"Oh, figures. Right when Judge Judy is about to lay the smack down. (More banging) I'm coming! I'm not death, you know.\" Lorne puts his cigarette into an ashtray sitting on one of the tables in his deserted bar. The table collapses, sending the bottles sitting on top of it crashing to the floor. Lorne doesn't react, just continues to shuffle towards the bar, where he pushes a button that unlocks the door.", "Lorne: \"Can't you read the sign on the door? Se habla 'closed.' (Fred comes down the steps) Oh, Fred, it's you. The bar is closed. (Turns away) Good seeing you. It's been fun. Bye-bye.\" Fred takes a deep breath and launches into \"Row, row, row your boat\" as she hurries after Lorne.", "Lorne: \"Ouch! Turn the sirens down a notch, would you? All that fear and panic's blowing out my fuses.\"", "Fred: \"I'm sorry. It's just - something awful has happened.\"", "Lorne: \"Oh really? (Sweeps a hand out to encompass his club - still as trashed as Gunn's former gang left it) I wonder what that's like.\"", "Fred: \"Oh, no. Was there another massacre?\"", "Lorne: \"Oh, no. No. Just the one. But it turns out massacres are a lot like sitting through Godfather three: once is enough.\"", "Fred: \"I'm not... I mean, I don't wanna sound... Why is it still like this?\"", "Lorne: \"Ah, Fred, honey, I don't think you're here to discuss interior decorating. Am I wrong?\" Lorne pulls out a chair at an intact table, rights the overturned lamp on it and indicates the chair opposite from his.", "Lorne: \"Now, what can I do for you?\"", "Fred sits down: \"I - I need cash. I don't wanna talk about it, because I think my head might go a little twang and I'll sing if I have to. (Starts singing) Row, row, row...\"", "Lorne: \"Easy! Easy! Forget the singing, sweetheart. Your aura is practically screaming! - Yeah, you are in a bad place, aren't you doll? - You thought you could outrun them - and maybe you were free. - But those old monsters hunted you down. - I know why you're running away, Fred. You know what your problem is?\"", "Fred: \"I'm not strong enough to stay and face my fear.\"", "Lorne: \"No. You haven't run far enough.\" Fred just looks at him. A rat runs along on top of a pipe running along the ceiling of a sewer tunnel.", "Angel: 'Fred? - Fred, it's just me! - I'm alone. - Listen - whatever that thing is with your parents? - You know, we can help you. - Fred?\" Two glowing blue eyes peek around a recess behind Angel as he walks on. Night, Los Angeles Public Library", "Trish: \"Does Fred come to the library often?\"", "Cordy: \"Uh, well, this was the first place I ever saw her.\"", "Trish: \"She used to love our little community library back home. Every afternoon, I'd pick her up there after my rounds.\"", "Cordy: \"Oh, a doctor! No wonder Fred's so smart!\"", "Trish: \"I drive a school bus.\"", "Cordy: \"Oh. Well, I-I've actually never - ridden in one of those, but I hear they're very nice.\"", "Roger: \"What exactly does Fred do for you people? It strikes me a little odd, a physicist working for a detective agency.\"", "Cordy: \"Uh, well, Fred's ah... gone through some changes.\"", "Roger: \"And whose fault is that?\" Cordy is still thinking when Wes and Gunn walk in.", "Wes: \"We've swept all the floors. Nothing.\"", "Trish: \"Oh!\"", "Roger: \"So. What's next?\"", "Wes: \"Give me one second to confer with my colleagues.\" He pulls Cordy away with him and Gunn.", "Gunn: \"I could have *told* you she wasn't going to be at the library.\"", "Wes: \"Then if you know so much about her, Gunn, why don't you just tell us where she is?\"", "Gunn: \"Bet that taco stand's not looking so bad now, is it?\"", "Cordy: \"Hey! Mr. and Mrs. Bickerson, a little focus, please. There is *definitely* something going on with them.\" They looks over at the Burkles talking quietly to each other.", "Wes: \"So, where *do* we go next? - Where would Fred go for help? For guidance?\" Angel is still slowly walking along the sewer looking for Fred.", "Angel: \"Fred? - Nothing to be afraid of.\" Angel jumps as his cell phone rings. He pulls it out of the breast pocket of his coat and opens it.", "Angel: \"What? - No. You?\" We get a distorted shot of Angel in the sewer tunnel as if seen from above. Angel lets out a deep breath: \"Oh! You mean the place where she would go for help and guidance! (Turns to go back the way he came) And we call ourselves detectives.\" We get another distorted shot of Angel walking away.", "Angel: \"I'll meet you there.\" Angel walks past the camera and we see a strange silhouette with blue glowing bug eyes in the tunnel behind him, watching him walk away.", "Lorne: \"Well, isn't this a lovely surprise.\"", "Cordy: \"*He's* surprised. I didn't think he *owned* terry cloth.\"", "Lorne: \"Hmm. Such a small entourage tonight. Hey, Gunn, why didn't you bring your other friends? 'cause they make a party.\" Gunn looks from Wes to Angel, to Lorne: \"Maybe I should wait outside.\"", "Lorne: \"You know, I'm - I'm not entirely uncomfortable with that suggestion.\" Gunn leaves.", "Trish: \"What kind of a place is this?\"", "Lorne: \"Oh, do you like it? I was kinda going for a Dresden after the bombing sort of feel.\"", "Roger: \"Ah, is this one of your big 'industry contacts?' Some guy in a bathrobe, wearing makeup and fake horns?\"", "Lorne: \"They're not fake! And it's - only a little eyeliner.\"", "Wes: \"Lorne, I'd like you to meet Fred's parents, Mr. and Mrs. Burkle. They're here visiting - from the country.\"", "Roger: \"Yeah. You have to forgive us hicks. Down in Texas we don't get a lot of guys who wear eyeliner - not for long anyway.\"", "Cordy: \"He's just teasing you. He probably just got back from a shoot. He and Angel do monster movies together! Right, Lorne?!\"", "Lorne: \"Ah... No.\" Angel walks up to Lorne and pulls him aside.", "Angel: \"Can I talk to you for a second?\"", "Trish, leaning against the bar: \"Some detectives! You have no idea where our daughter is, do you?\" Cordy and Wes stay quiet.", "Roger: \"Maybe they do. Maybe they just don't want us to find her.\"", "Angel: \"Look, Lorne, I'm sorry about the bar, but right now Fred is missing and we need your help.\"", "Lorne: \"Oh, really? Yeah, well, I'm not some mystical vending machine here to spit out answers every time *you* waltz in with a problem. I have a heart. Granted it's located in my left butt cheek, but it's still a heart. And that heart is broken! I mean, why is it no one ever cares about *my* destiny? Everyone who walks through that door is all about me, me, me. Well, what about my me? My me's important.\"", "Angel: \"You know where she is, don't you?\"", "Lorne: \" A-and another thing, how... how do they get the pimentos in the olives, huh? There's a mystery for you. You know, do they stuff each one by hand, 'cause that seems a little time consuming, or do you think they have a - little - pimento - stuffing - machine ...\" Angel just looks at Lorne.", "Lorne sighs: \"Fred doesn't want to see her parents. She has reason for that. I mean, why force a showdown if you don't have to?\"", "Angel: \"Because it won't be over. They found her once, they'll do it again. At least this time we can be there to protect her. (Lorne shakes his head a little and looks away) Please. - Tell me where Fred is. - I know you're not a slot machine.\"", "Lorne: \"Vending machine, you big palooka. (sighs) Alright, but play this one delicately, bro. Because it's gonna get messy.\" Fred is clutching a ticket in her hands as she is sitting on a bench next to an elderly homeless man.", "Fred: \"I can do this. Sure I can. I can just get right up on that bus and be a whole new person - like origami - or plastic. Move some place I've never been with no money, no friends, no job. Easy as pie. 3.14 159265...\" The homeless guy gets up and moves away.", "Fred: \"Oh, hey, I was just calculating pi - to relax. I'm not dangerous.\" We get a distorted picture of Fred sitting on the bench in the bus terminal as if seen from above (like the one we got of Angel in the sewer earlier).", "Fred: \"I could go to Vegas. Learn to play Black Jack. Memorize four hundred fifty two consecutive digits of pi a few hundred measly cards are easy.\" Through the potted palm fronds behind Fred's bench we can see her parents and the fang gang enter the bus terminal.", "Fred: \"Nine, ten, Jack. (looks over and sees her parents talking to one of the clerks) Queen, King. No!\" Trish turns and sees Fred getting up from the bench.", "Trish: \"Fred?\"", "Fred: \"No, you're not here! Go away!\"", "Trish: \"Fred, honey, it's us!\"", "Fred shakes her head: \"No. You're not them. You can't be them, because they don't know.\"", "Roger: \"Sweetie, it's mom and dad.\"", "Fred: \"Shh! Stop saying that. You *can't* be!\"", "Trish: \"Honey, don't you remember us?\"", "Fred: \"I was - I was five years and so lost and, and at night I would... I was all by myself and you weren't there!\" Fred starts to cry.", "Roger: \"Fred, I don't understand.\"", "Fred: \"I got lost. I got lost, and they did terrible things to me, but, but it was just a storybook. It was just a story with monsters, not real. (keeps shaking her head) Not in the world but - but if you're here and you see me then - then it's real! And it did happen. If you see what they made of me... I - I didn't mean to get so lost!\" Trish also crying takes Fred's face into her hands.", "Trish: \"Oh, honey, it doesn't matter what they did to you.\" Embraces her daughter.", "Fred: \"Mommy.\"", "Trish: \"Oh, we're gonna make it all right.\"", "Fred: \"I'm sorry. I'm so sorry I got so lost.\"", "Roger: \"It don't matter. You're our little girl.\"", "Fred: \"I missed you so much. I didn't mean to...\"", "Trish: \"Shh...\"", "Roger: \"Everything's okay now. You'll see. You're safe now.\" Suddenly a big insect (like an overgrown hybrid between a spider and a cockroach) drops screeching from the ceiling.", "Roger: \"Whoa! - Tell me *that's* something from the movies!\"", "Cordy: \"No. That's something that's gonna kill us.\" Break.", "[SCENE_BREAK]", "Angel: \"Everybody outside.\"", "Wes: \"Angel...\"", "Angel: \"Get them out of here. I can handle this. Move!\"", "Gunn: \"Let's go!\" Angel ducks a stab of the creature's front legs. The gang and the Burles run out of the doors of the terminal.", "Roger: \"What the hell is that?\"", "Cordy: \"All our weapons are back at the hotel!\"", "Gunn: \"Angel said he could handle...\" Angel comes flying through the closed doors, smashing them, coming to rest across the street at Gunn's feet.", "Gunn: \"...it.\" The bug follows Angel through the door. Angel turns to look up at it. He's wearing his vamp face.", "Gunn: \"Maybe there's something in the trunk.\" As they run to the car:", "Roger: \"What happened to his face?\"", "Wes: \"Angel's a vampire. He has a soul, but it's a long story. I'll tell you about it if we don't end up dying.\" Wes sees a pile of luggage and changed direction.", "Wes: \"Cordy! Here.\" The bug is still stabbing and slicing at Angel with its pincers. Angel manages to duck most of them before getting swiped off his feet.", "Gunn: \"Hey! Bug boy!\" Gunn has found a compound sports bow and loosens an arrow. The bug shrieks and goes for the downed Angel again only to have Cordy and Wes attacking it with golf clubs. Gunn grabs a club of his own and joins the fray. The bug manages to knock a club out of someone's hands and it slides across the ground to come to rest in front of Fred. Angel is back up and slugging as well. The bug manages to send him flying against the wheel of one of the parked busses. As Angel gets back up, the bug stabs him in each shoulder with its pincers, pinning him up against the bus. Fred hits on the bug from behind with the golf club and it lets go of Angel to turn on Fred.", "Angel: \"Fred, get out of the...\" Angel pushes Fred out of the way, but the bug still scores on Fred's arm - before getting hit over the head hard with a metal cylinder by Roger.", "Roger: \"That's my *daughter* you damn cockroach!\" Angel jumps on the bugs back, pinning its forelegs against its body, immobilizing them. Roger helps Fred up.", "Roger: \"Here, baby. Come on, come on.\" Roger leads Fred over to the side. The bug breaks Angel's grip and shakes him off then turns around and sends him flying through the air to impact with the side of a parked bus. The bug goes after Angel - only to get splatted by a bus barreling by. The bus stops and Trish gets out.", "Trish: \"Did I get it? Did I get it, y'all?\" They are all back in the lobby of the Hyperion. Cordy is doctoring the scratch on Fred's arm.", "Trish: \"I almost hate to ask, but - you do a lot of bandaging in your line of work?\"", "Cordy: \"Mmm. Occupational hazard. I mean, sure there is the occasional demon who tries to kill us with pillows, but, sadly, those cases are few and far between.\" Roger is looking at the Durslar's head. It has some of the same pretty crystals that Fred spotted in the sewer around its lair stuck to its side.", "Roger: \"How about this guy? Was he a demon?\"", "Cordy: \"I think Angel called it a Durslar beast.\" Fred touches the crystals with her finger.", "Cordy: \"He and Fred tracked it down after it attacked them when they went out for ice cream.\"", "Roger: \"You mean you know how to track these things, Fred?\"", "Fred: \"No. Mostly I was just there for the ice cream.\"", "Trish: \"I wish he hadn't brought that thing out again. It gives me the willies.\"", "Roger: \"Oh, don't be silly Trish. It's just a severed head.\" Gunn picks up the head to move it out of Trish's sight.", "Gunn: \"I got it. The lady makes bug soup with a ten ton bus, but show her a paper-mache head, she gets the willies. Ha. Women.\" Gunn sets to head down on the reception counter beside Angel.", "Angel: \"Uh, Gunn, you *do* know it's not paper-mache?\" Gunn quickly takes his hands off the head.", "Gunn: \"We still got that bleach in the bathroom?\" Gunn runs for the bathroom. Angel and Wes watch the Burkles fuss over Fred.", "Angel: \"I got to say this is not how I pictured this turning out.\"", "Wes: \"They look happy, don't they?\"", "Cordy: \"Voila! That's French for 'I think we stopped the bleeding.'\"", "Fred: \"Thanks Cordelia.\"", "Cordy: \"Next up: multiple stab wounds. Angel!\" Angel jumps of his stool and hurries over to the settee.", "Angel: \"Uh, it's my turn. Oh, yay!\"", "Cordy: \"What a dork.\" Fred walks over to Wes.", "Wes: \"How does it feel, Fred?\"", "Fred: \"Like my heart's been put in one of those orange juice squeezers... (Looks down at her arm) Oh. Kind of like a giant bug tried to rip my arm off and Angel saved me.\"", "Trish: \"He seems to do *that* a lot, doesn't he?\"", "Fred: \"It's what he does. Angel's the champion, and Wesley's the brains of the operation, Gunn's the muscle and Cordy's the heart, and I'm...\"", "Roger: \"And to think, we were wondering when to call the cops on a bunch of superheroes!\"", "Angel: \"Oh, I'm not really a hero.\"", "Gunn: \"More like a bloodsucking fiend.\" Angel gives him a look.", "Roger: \"Frankly, Angel, I don't care if you drink pig's blood, cows blood, or those froofy, little, imported beers. You saved my little girl.\"", "Angel: \"Well, I wouldn't 've had to if she hadn't gone all Amazonian and whacked that thing with a golf club.\"", "Roger: \"Well, I tell ya, I hadn't seen a stroke like that since Nicklaus took on Gary Player in the '63...\"", "Angel and Roger: \"Bob Hope Dessert Classic.\" They look at each other, laugh and shake hands.", "Angel: \"Alright!\"", "Fred: \"I wanna go home.\" Everyone gets real quiet and looks at her.", "Fred: \"I'm - I'm just not cut out for this. I mean, if Angel hadn't gotten me out of the way, you'd all be laughing in the morgue right now. - Okay, maybe not laughing, but - the point is, I think I should go home where it's quiet and safe and - monsters don't eat your family. - You're not - disappointed in me, are you?\"", "Trish: \"Oh, Fred. Never! Oh, it's gonna be so good to have you home!\" The Burkles share a family hug.", "Gunn: \"She probably be happier there.\"", "Wes: \"Yeah. That's good.\" Fred stands in her room contemplating the writing on the wall. Angel appears in the open door behind her and knocks on it to get her attention.", "Fred: \"Oh, Angel. Hi. I invite you in.\"", "Angel: \"Thanks, but you only have to do that the first time. Once I'm invited...\"", "Fred: \"I know. I just figured since I'm going home now I'm not gonna be inviting you in anywhere. - Unless, of course, you come to Texas.\"", "Angel: \"Or if you build that condo in the sewer.\" Silence.", "Angel: \"So how you doing?\"", "Fred: \"Oh, ah - fizzy. - Kinda weird and... fizzy. But excited. - And a little sad. - Thankful. Sorta cautiously happy. Relieved and worried at the same time. Slightly nauseous while still bein', hopeful?\"", "Angel: \"And that about covers it. (Looks at the walls) Are you gonna remember everything that's up there?\"", "Fred: \"Well, sure. It's a story. (They both look at the walls) Once upon a time - there was a girl who lived all alone in a horrible cave - so far from home it made her chest hurt. - And every day in that horrible cave, the girl tried to figure out a way to escape. - None of her plans ever succeeded, of course, - and she'd almost given up hopin' - when one day, just like in a fairy tale - a handsome man rode up on a horse and saved her, - and took her back to his castle. - - Now you'd think that was the end, wouldn'tcha? Dumb old fairy tales and their happily ever afters.\" Fred sits down on the edge of her bed and Angel sits down beside her.", "Fred: \"But see, the minute they got back to the castle, - the handsome man went away again. - And even though she didn't mean to, - didn't want to - high up in that castle the girl just built herself another cave. Hoping he would save her again. (Looks at Angel) But you can't save me *this* time. - Can you?\" Angel remains silent and Fred looks down at her hands. Roger is talking to Wes and Gunn at reception counter, while Trish and Cordy sit on the settee together.", "Trish: \" I mean, Rog's always had a thing for those disgusting \"Alien\" movies with all the slime and teeth. He just can't get enough of 'em. - Except for that last one they made I think he dozed off. - I just can't believe it's all real.\"", "Cordy: \"Well, I don't know about aliens, but demons and alternate dimensions I know. It takes a little getting used to.\"", "Trish: \"I'm so glad Fred's coming home. This place is too dangerous for her.\" Roger and Gunn carry Fred's contraption over to the settee.", "Roger: \"Hey, honey, would you look at this? Fred *made* this.\"", "Gunn: \"Cool, ain't it?\"", "Wes: \" We think it's some sort of mechanized weapon, possibly influenced by the medieval catapult, designed for serious to fatal wounding, if not complete decapitation.\"", "Roger: \"Or it makes toast.\"", "Wes: \"Or it makes toast.\" Trish sees Fred and Angel coming down the stairs.", "Trish: \"Hey! You got everything packed, baby? What about that shirt with the bug guts on it? You-you threw that out, right? You're not taking it home, right?\"", "Fred: \"I don't know. I kinda thought I'd take it with me - guts and all. You know, as a souvenir.\"", "Roger: \"Ah. That's my girl!\"", "Fred looks at the gang: \" You know, in the shower I had all these pretty things I was gonna say and I was gonna be all fancy and... aw, hell. (glancing at parents) I mean heck.\" Goes and give Gunn a big hug. Gunn holds on to her tightly for a moment then clears his throat and lets her go. Fred walks over to Wes. They dance around awkwardly for a moment trying to figure out whose arm will go where before hugging as well. Fred goes to hug Cordy.", "Cordy whispers: \"Between you and me, I'm almost a little jealous.\" Fred walks over to Angel and the look at each other.", "Fred: \"Thank you - for everything.\" Angel silently hands her the suitcase he carried down the steps for her.", "Angel: \"Bye Fred.\" Fred gives him a smile and turns to her parents.", "Fred: \"We better go before I get all runny.\" The Burkles walks up the steps to the front doors. Fred turns around one last time and waves at them all before the doors close behind them. The Burkles are sitting together in the back of a Taxi cab.", "Roger: \"You're room is exactly how you left it. - All except for the guy renting it out, but his lease is up in a month.\"", "Fred: \"You rented out my room?\"", "Roger: \"Well, honey, after the forth year... We didn't hear nothing from you!\"", "Fred: \"Daddy, I was kidnapped into an alternate dimension.\" The taxi driver kind of turns his head at that.", "Trish to driver: \"Well, she *was*.\" Fred unzips her bag and takes out shirt she wore during the bug fight.", "Fred: \"I'm just gonna miss 'em, that's...\" She sees that the bug juice as turned into the same pretty crystals that where on the walls down in the sewer and on the demon's head back at the Hyperion.", "Fred: \"Turn the car around. Now!\" The gang is sprawled out in the chairs of Wes' office.", "Cordy: \"In a really weird way, you know who I miss?\"", "Wes: \"Fred.\"", "Cordy: \"Actually I was gonna say her parents. - Is that wrong.\"", "Angel: \"I don't think so. They were very - nice.\"", "Cordy: \"Nice? - They weren't just nice, Angel. They were...\"", "Gunn: \"Parents.\"", "Wes: \" They loved her. - Supported her. - Didn't grind her down into a - tiny self-conscious nub with their constant berating. Their never ending tirade of debasement, and scorn and...\" Wes trails off as he notices that all of the others are looking at him, makes as if to say something else, but then just stays silent.", "Cordy: \"At least now Fred's got a shot at a normal life. Not that I don't love you guys, and LA, and my work, but - things are just never normal around here. You know?\" We get a close up of the Durslar's severed head. Something is moving beneath its skin. Break", "Wes: \"She was so smart.\"", "Angel: \"I'm gonna miss her. She was just this nice, quiet kind of crazy. - I found that - soothing.\"", "Cordy: \"And what? I'm not soothing? (Cordy sits up) I can be soothing. I could soothe your ass off, pal.\"", "Gunn: \"Plus, she was pretty handy with a five iron.\" Gunn and Wes look at each other sharing a laugh.", "Cordy: \"Right before she almost got killed. Personally, I'm *glad* she's gone. It's gonna be a load off not having to worry about crazy taco lady anymore.\"", "Angel: \"She'll come back to visit.\"", "Cordy: \"Do you really think she'll come back and visit?\" The Durslar head is bubbling like crazy now and a giant insect looking just like the one from the bus terminal is looking in the window - but the gang doesn't notice either of that.", "Cordy: \"Well, that's it. I'm not gonna sit around here and mope like you - bunch - of - mopers. I'm gonna go home (She puts on her shoes) Eat some comfort food. (Gets up and starts to walk out) Have a good cry. Crawl under my big, fluffy... (enters the lobby and sees the bug entering the hotel) giant bug!\" Cordy screams and runs back into the office just as the guys come running out.", "Gunn: \"We hit that thing with a bus. You're telling me a bus won't kill it?\"", "Angel: \"I don't think it's the same one.\" Angel is looking out into the garden court which is crawling with giant bugs.", "Cordy: \"We are so immensely dead.\"", "Wes: \"Weapons.\" Angel runs and rolls over the counter to engage the bug while the others run for the weapons cabinet. Weapons in hand Wes turns only to see the bug throwing Angel to the floor.", "Wes: \"Angel, we..\" The door opens and Fred runs in.", "Fred: \"Here! I'm here.\"", "Wes: \"Fred?\"", "Fred: \"Oh, I'm late!\" Roger helps her to drag her contraption into position. The bug is still stabbing at the downed Angel. Gunn and Wes raise their weapons trying to block it's pincers.", "Angel: \"Who's helping me here?\"", "Fred: \"I am!\" She stomps down on her contraption. A battle axe sails through the air and splits the Durslar head like an over ripe melon. Green goop spatters the wall and a bunch of little cockroaches crawl free of it. The bug leaves off Angel and the gang, instead going to collect the bug filled bottom part of the head. The bug heads for the garden court. The little bugs follow after it. Fred and her parents come down the front steps.", "Gunn: \"So. *Not* a toaster.\"", "Angel: \"Fred, how did you...\"", "Fred: \"The crystals. The ones we saw in the sewer? They were on the Durslar head , too. And at first I thought they came from the Durslar, but then I saw *this*. - Daddy?\" Roger hands her the crystal covered shirt.", "Fred: \"Those crystals are just dried up bug goop. It must have laid its eggs in the Durslar's head, which would explain the Durslar coming up out of the sewer, 'cause, I mean, wouldn't you be a little crazy if you had eggs in your head? I know I would. (Cordy opens her mouth, glances at Angel and closes it again) Anyway, that'd be all fine and Darwinian, except Angel killed the Durslar and brought the head back here, so the Bug had to track him down to get its babies back.\"", "Wes: \"And at the bus station, when Trish ran over the mother...\"", "Fred: \"Or father. I think it might be a hive species gender neutral, but I'd have to do some research to back that up.\"", "Wes: \"The whole hive showed up in order to reclaim its offspring. (Fred nods) Brilliant deduction, Fred!\"", "Gunn: \"Not to mention, that little axe gadget is tight.\"", "Fred laughing: \"That was just a random thought I had. What if you had to do battle with your arms cut off? Sure, you'd hemorrhage to death pretty quick, but at least you could take your enemy with you!\"", "Angel: \"Nice going, Fred.\"", "Fred: \"Aw, it was nothing. Just a stunning revelation of my true path in life, that's all.\"", "Roger: \"Come again, honey?\" Fred walks over to her parents: \"Look - I could go home with you and pretend the last five years didn't happen. - I could even pretend to have a normal life. - But the truth of it is... Well, I'm not normal anymore. (Roger and Trish exchange a look) I guess what I'm getting at is... - I-I missed you both so bad. But - I belong here. (Turns to the gang) Un-unless I don't. Which if- if you all don't wanna put up with me, I completely understand...\"", "Wes: \"Lets put it to a vote, shall we? All in favor say aye. Aye. Motion passed. Good. You're staying.\" The gang smile at each other, then turn to smile at Fred.", "Fred: \"Mamma. - Daddy. This is my life now.\"", "Trish: \"We were kinda hoping you wouldn't figure that out.\"", "Roger: \"Of course we'd have to sick around for another couple of weeks.\"", "Fred leans against him: \"Daddy!\"", "Roger laughs: \"Days. You know, just to catch up and get reacquainted, and to make *sure* that you are positive about your decision.\"", "Fred: \"Oh, I think I know where I'll end up.\" Hyperion day. Fred and Angel have paint rollers in their hand and are painting over the walls in Fred's room.", "Roger: \"Now, Spiro Agnew, I *know* he was...\"", "Angel: \"A Grathnar demon! You knew that? I thought I was the only one that knew that!\"", "Roger: \"What else would he be, but a demon?\" Wes comes in carrying another can of paint. Sees Gunn painting the wall.", "Wes: \"Not horizontally, vertically! Other wise you...\"", "Gunn: \"Look, I'm telling you, if you do it vertically you're gonna get those ugly drops...\"", "Trish also painting: \"Now, boys, I don't wanna hear any fighting over there.\"", "Gunn and Wes: \"Okay.\" Cordy comes in, carrying two pizza boxes.", "Cordy: \"Did someone here order a pizza? Hey Fred? Pizza?\" Fred walking to anther part of the wall: \"In a minute, I just wanna finish this section.\" Fred looks at a line drawing of two people on top of a horse for a moment, then lifts her paint roller and paints over it" ]

[ "A guy named Billy is infecting men with primal misogynistic impulses. When he touches men, they attack any women that they come across. Lilah is beaten and several other women wind up dead. Cordy and Angel try to track Billy down. But, when Billy's blood infects Wes and Gunn, it might be too late for Fred. And when Billy touches Angel, Cordelia could be in trouble, too." ]

[ "[PREVIOUSLY_ON]", "Wesley: \"All those years she spent hiding out alone in that cave.\"", "Cordy: \"The girl's trading one cave for another.\"", "Fred: \"The vision's aren't from the powers!\"", "Lilah: \"There's a young man who's been unfairly imprisoned and - you're gonna save him.\"", "Angel: \"I do this for you and you stop sending Cordy the killer visions.\"", "Lilah: \"It's just business.\"", "Angel: \"Don't you come at me through Cordelia ever again. You play that card a second time and I'll kill you.\"", "Angel: \"Just trust me.\"", "Cordy: \"I do.\" Hyperion, basement, Angel is standing behind Cordy, leaning in close.", "Angel: \"Don't stiffen up.\"", "Cordy: \"Yeah, you either.\" Cordy raises the sword in her hands and they start moving through an exercise with Angel Guiding her movements.", "Angel: \"Alright. A good defense is about moving the line of attack. When the bad guy comes at you, you want to step off the line (His hands direct Cordy to turn) like this (he jumps back to avoid the sword slicing his belly open) creating a new one. Every time you do, your opponent will be forced to adjust. Always make the other guy work.\"", "Cordy: \"Okay. Move the line. Then what?\" Angel picks up a sword of his own.", "Angel: \"Then - just keep moving the line. You'll be able to keep an attacker busy until... - You know.\"", "Cordy: \"What? Until he dies of old age or until *you* swoop in to save me? Angel, I didn't ask you to train me so I could stave. I already know how to stave. *Now* I need to learn how to fight!\"", "Angel: \"You don't think that I would?\"", "Cordy: \"Would what?\"", "Angel: \"Save you.\"", "Cordy: \"Men-folk not always around to protect the women-folk, you know? - Besides, what if it turned out *you* were the guy I had to fight? Could happen.\"", "Angel: \"Okay.\" Angel raises his sword and takes a stance beside Cordy and she copies his movements.", "Angel: \"When you put an adversary down, you wanna make sure he doesn't get up again. So, like I showed you...\" They move through an exercise parallel to each other.", "Angel: \"Force the other guy to counter and he'll open himself up something like this. We'll go half-speed until...\" Angel puts his sword away.", "Cordy: \"No need, I got it. Three years of Varsity Cheer Squad, I only ever had to be shown a move once.\"", "Angel: \"You know, Cordelia, handling a lethal weapon is a *little* different from shaking a pom-pom.\"", "Cordy: \"Ready! O-kay!\" Cordy comes at Angel with the sword full-speed, ending with him up against the wall the sword inches away from his throat.", "Angel: \"Easy - Ha, ha - Go team.\" Lilah is walking through the hall at Wolfram and Hart, her secretary on her heels.", "Lilah: \"How long has he been here?\"", "Secretary: \"Security brought him in about twenty minutes ago.\"", "Lilah: \"You should have pulled me out of that meeting the minute you heard anything. What about the family?\"", "Secretary: \"On their way.\" Lilah enters her office to see Gavin chatting with Billy - the guy Angel rescued from the fire-cage in that demon dimension.", "Gavin: \"Lilah. - I was just keeping young Billy here company.\"", "Lilah: \"Thanks awfully, Gavin. I'll take it from here. Billy, your family has been worried sick. Where have you been?\"", "Billy: \"Went for a walk.\"", "Lilah: \"A walk. For three days?\"", "Gavin: \"The boy was feeling cooped up.\"", "Lilah: \"Gavin, why don't you go - close an escrow or something? (Turns back to Billy) You're not supposed to be out on your own. You remember what happened the last time, don't you? You don't wanna end up in that awful place again, do you?\"", "Congressman Blim: \"Well, of course he doesn't. - No one wants that.\" Lilah turns to the new arrival: \"Congressman.\"", "Blim: \"I trust you managed to stay out of trouble this time, Billy?\"", "Billy: \"No trouble.\"", "Blim: \"Lets go home. (To Lilah) Well, this is the second time you've returned our nephew safely to us. (Looks at Gavin) Thank you.\" Blim and Billy turn to go.", "Gavin: \"Our pleasure.\"", "Lilah towards the departing backs: \"Our pleasure in the sense that (door closes and she looks at Gavin) he had nothing to do with it.\"", "Gavin: \"Nice boy.\"", "Lilah: \"Yeah, Billy? He's great. Had his own private room in hell. Family connections. Oh - by the way - get out.\"", "Gavin: \"I wasn't finished.\"", "Lilah: \"No. You really were. To make myself clear - you go sniffing around one of my clients again, I think we're gonna have a problem.\"", "Gavin: \"You *think?* Who told you, you could *think?* You know, why don't you try *listening* once in a while instead of constantly flapping that fat mouth of yours?\"", "Lilah lets out a laugh: \"You weren't exactly captain of the debate team, were you, Gavin? At least Lindsey knew how to...\" Gavin grabs Lilah by the hair and smashes her into the glass shelves against the wall, then jumps on top of her, wrapping his hands around her neck and choking her. Walking down the hall outside a smile spreads slowly across Billy's face. Intro Wes' apartment, Gunn and Angel are sitting on the couch playing a video game. Fred is sitting on the arm of the couch next to Gunn watching. Wes is pouring Cordy a cup of tea in the kitchen.", "Wes: \"It's inspiring to see you like this. The initiative you've shown in training with Angel. Taking responsibility. I'm proud of you.\"", "Cordy: \"Well, never hurts to be prepared.\"", "Wes: \"Hm. I agree. We should all be battle ready. Every one of us.\"", "Gunn from the other room: \"Dead! So dead! So very, very dead. Just how dead are you, huh?\"", "Angel: \"I'm tired of being the dead one.\" Wes looking at the three of them through the open kitchen door.", "Wes: \"I was thinking, perhaps I'd enter into a similar training arrangement with our Fred.\"", "Cordy: \"Oh, hey, if you think she can help you fight, why not? (Wes gives her a look) I'm kidding. - Wesley, if you wanna get to know Fred better, maybe the next time you have her over for an intimate dinner for two, you won't ask the rest of us to come along.\"", "Wes: \"Ah, I don't... I mean... (Cordy gives him a look) Was I *that* obvious?\" Gunn, eyes on the TV screen: \"Yes! Ha, ha!\"", "Cordy whispers: \"I don't think anybody else noticed.\"", "Wes looking at Fred: \"She is a rather extraordinary young woman. - Still, the last thing any of us should be doing is - coupling - with each other, I mean. Office romances, even under the most *normal* circumstances...\"", "Cordy: \"We don't live in normal circumstances. - I mean, what are the odds of any of us actually finding someone out there who can deal with the kind of stuff we have to deal with? I don't know. Maybe we *are* meant...\"", "Wes: \"For each other?\"", "Cordy: \"Actually I was gonna say 'to be alone.' But what the heck - Wesley, if you like her, *tell* her. Just go right up to her and (Cordy starts to frown and sway a little) hug her into little pieces.\" Cordy gets hit by a vision and collapses on the floor. Gunn and Angel jumps off the sofa and run into the kitchen.", "Angel: \"Easy.\" Angel helps Cordy up into a chair.", "Cordy: \"Convenience store, man attacking a woman. His wife - it's his wife.\"", "Angel: \"How many convenience stores we got on the Westside?\"", "Fred: \"Well, even if you just include Santa Monica, Beverly Hills and Malibu only, the combined populations is something like a hundred thirty thousand people spread over more than thirty square miles, and given that...\"", "Gunn: \"A lot.\"", "Fred: \"I was - getting there.\"", "Wes: \"Alright. We go in two teams. Gunn, you and I...\"", "Cordy: \"No. It's too late. You can't save her. This murder happened a week ago. (Looks up at Angel) Why would they show this to me now?\" Cordy is sitting at her desk in the Hyperion. She gets up as Wes drops a thick file onto the counter.", "Cordy: \"What's this?\"", "Wes: \"Everything. Everything about the crime I believe you saw in your vision. Police reports, husband's written confession, captures from the convenience store's video surveillance cameras...\" Fred is coming down the stairs and Gunn and Angel are coming from other parts of the Hyperion to join Cordy in picking up papers from the file.", "Wes: \"...and I have to caution all of you, the medical examiners crime scene photos. Cordelia...\" Angel reaches out and takes the crime scene photos of the dead elderly woman away from her.", "Angel: \"Maybe you shouldn't be looking at that.\"", "Cordy: \"Tell that to the Powers. They already ran the THX version in my head, remember? (To Wes) How did you get this stuff?\"", "Wes: \"I did it the old-fashioned way: I bought it.\"", "Fred: \"The police sold you this stuff?\"", "Wes: \"Not exactly. A source. Someone who has access. Usually they sell to the tabloids, when the victims are - more high profile.\"", "Gunn: \"Charlene Baird.\"", "Wes: \"The victim. She and the perpetrator were married for thirty years, no history of domestic violence.\"", "Fred: \"Why'd he do it?\"", "Wes: \"He says she wouldn't listen to him. He was trying to get her to stop talking.\"", "Fred: \"Well, it worked.\"", "Gunn: \"I don't get it. This guy confessed. Crime solved. Why are the Powers airing re-runs in Cordy's head?\" Angel is looking at one of the pictures from the surveillance cameras.", "Wes: \"I don't know.\"", "Angel: \"I do. (Put the photo on the counter) Eleven twenty four, twenty minutes before the crime occurred. Look who's there.\" Wes looks at a person in the background of the picture with the magnifying glass. It's Billy. Wes hands the picture to Gunn.", "Gunn: \"Oh, boy.\"", "Cordy: \"What? - What?!\" She takes one of the photos and looks at Billy.", "Cordy: \"Okay. Kinda cute. So, who is he?\" No one answers her. Wes and Fred are sitting on the round settee in the lobby. Gunn is standing beside it. Behind the counter, Angel is sitting on the edge of Cordy's desk, while Cordy is pacing quickly back and forth, holding the photo in her hands.", "Cordy: \"You're sure this is him? This is the guy?\"", "Angel: \"You pull someone from a hell dimension, you tend to remember their face. Yeah. - That's him.\" Cordy slowly sinks down into a chair.", "Cordy: \"Well, then - now we know why the Powers made me experience that woman's death. - She died because of me.\"", "Angel: \"No.\"", "Cordy: \"Yes! Angel, if he's somehow responsible - then so am I.\"", "Angel: \"You're not the one who broke him out and put him back on the streets. I did that.\"", "Cordy: \"For me. You did it to save me.\"", "Angel: \"And I'd do it again.\"", "Cordy: \"Angel...\" Angel crouches down in front of Cordy.", "Angel: \"Hey. - Hey, whatever's happening now, you're not responsible for this - and neither am I. - But I know who is.\" Lilah is pouring herself a drink. She jumps a little as the door to her dimly lit apartment is suddenly kicked open, revealing Angel standing in the brightly lit hallway.", "Lilah: \"That's a very dramatic entrance - except for the part where you can't enter.\"", "Angel: \"You're a little jumpy there, Lilah.\"", "Lilah: \"It's been a long day at the office.\"", "Angel: \"Then you know that your boy is on the loose. You know what he's doing.\"", "Lilah sighs: \"It's been brought to my attention.\" As she walks closer to the door we see that her face is black and blue from the beating Gavin gave her earlier.", "Angel: \"God. Are you...?\"", "Lilah: \"I'm fine. You should see the other guy.\"", "Angel: \"I plan to.\"", "Lilah: \"Billy never touched me, friend.\"", "Angel: \"I know. He has some power. He makes people...\"", "Lilah: \"Billy never touched me, and you can't touch him. Nobody can. Billy as in Blim? As in congressman Nathan Blim's nephew? That family is the closest thing this country has to royalty. They'd own half the eastern seaboard even if they weren't clients of ours. The law won't go near him.\"", "Angel: \"I'm not the law.\"", "Lilah: \"This isn't some three horned Gurnarbeast you can just chop into meatloaf!\"", "Angel: \"Why you're protecting him after what he did?\"", "Lilah: \"I'm sorry, but this deep chivalric concern coming from the only man I know who *definitely* wants to kill me, is a bit much on a day like this.\"", "Angel: \"Your hands are shaking.\"", "Lilah: \"Stay away from my client.\" She closes the door in Angel's face. Night. Angel's convertible pulls off the side of a road and its lights go out. Angel, Gunn and Wes get out and walk up to the gates of a big estate.", "Wes: \"This is it. The Blim estate.\"", "Gunn: \"Not very welcoming, is it?\"", "Wes: \"I don't suppose it'll do much good to ring the bell either.\"", "Gunn: \"How about we sneak in, dressed up like security guards or something?\"", "Wes: \"Well, that's a possibility. Or we could...\" Angel leaps straight up to the top of the gate (12 - 15 feet high?). He drops down on the other side and disappears into the bushes.", "Gunn: \"So... - wanna go next?\"", "Wes looks at the gate: \"I guess we wait here.\"", "Gunn: \"Yeah.\" Angel is running towards the house. We see Billy through one of the glass doors, talking on the phone. Angel makes his way to the glass doors. Billy lowers the cordless and looks out, directly at Angel. Angel runs out from behind a bush, jumps over a low wall, picks up a metal patio chair and tosses it through the glass doors, shattering them. Billy stands unmoved. He tosses the phone aside as Angel steps in through the doors.", "Angel: \"Why doesn't it surprise me that I can just walk right in here without an invitation.\"", "Billy: \"Well, as far as I'm concerned you have a standing invitation.\"", "Angel: \"You're not a right guy, Billy. You're not quite human either, are you?\"", "Billy: \"Not quite. More than you.\"", "Angel: \"You like to hurt women, do you, Billy? That make you feel like a man?\"", "Billy: \"I have never hurt a woman in my life. - I just like to watch.\"", "Angel: \"Not anymore.\"", "Billy: \"Oh?\"", "Angel: \"You're going back.\"", "Billy: \"Really? 'cause I don't think so.\"", "Woman's voice: \"Los Angeles Police department\"", "Man's voice: \"Hands were we can see 'em. Turn around. - Slowly!\" Angel raises his hands and turns to face the shattered doors. Billy steps up beside him before he can speak.", "Billy: \"You're looking for me.\"", "Woman cop: \"William Blim?\"", "Billy: \"That's right. I'm the one that called you. Did you find the body? Was it where I said it would be?\"", "Woman: \"William Blim we're taking you into custody for questioning.\"", "Billy smiles: \"Oh, yes (turns to look at Angel) I should think you would.\"", "Woman cop: \"Sanchez, be sure you read him his rights.\" Sanchez pulls out a pair of cuffs and walks up to Billy. Billy puts one hand on Sanchez wrist.", "Billy: \"Will those be absolutely necessary? I won't give you any trouble, officer. I'll come quietly.\" Sanchez turns back to look at the woman detective. She nods. As Billy takes his hand off Sanchez bare wrist, we see that his fingers left a glowing, red print that quickly fades away. Sanchez leads Billy out of the house.", "Woman cop to Angel: \"Who are you?\"", "Billy: \"He's nobody.\" Angel watches as the cops lead Billy away, reading him his rights as they go. Billy is sitting the back of the police car.", "Sanchez: \"Why're you going this way? I thought I told you to take Pico.\"", "Woman cop: \"Relax, Sanchez. We'll get there.\"", "Sanchez: \"Did you just tell me to relax? - You think you can talk to me like that?\"", "Woman cop: \"I'd talk to you with my finger, but I like both hands on the wheel while I'm driving.\"", "Sanchez: \"Pull over.\"", "Woman Cop: \"What?\"", "Sanchez: \"Pull over!\"", "Woman Cop: \"What's your problem?\"", "Sanchez: \"I tell you what my problem is: I got a woman here that don't listen!\" We get a close up of Billy as we hear sounds of a struggle and of the car skidding out of control. Break Wes hangs up the phone in the Hyperion's reception.", "Wes: \"My contact at the city morgue confirms it. Her body was discovered earlier tonight. A young woman was reported missing three days ago. Someone phoned in a tip.\"", "Angel: \"Billy.\"", "Gunn: \"It doesn't make sense. I mean, even if he did it, he didn't do it, you know what I'm saying? So why confess? What does he get?\"", "Angel: \"Out. It gets him out.\"", "Gunn: \"Yeah, out of his palatial twelve million Dollar compound and into a holding cell at Men's central.\"", "Wes: \"Yes, but for how long?\"", "Cordy: \"Well, an impenetrable cube of hell fire in a heavily guarded demon dimension couldn't do much, so my guess - regular bars? Not really going to be a problem.\"", "Angel: \"She's right. All he'll need to get out this time is his lawyer.\" Angel turns to go.", "Wes: \"Angel, what are you doing?\"", "Angel: \"I'm gonna get there before Lilah does.\"", "Gunn: \"And then what?\"", "Angel: \"Well, I took him out of one cell, I can take him out of this one, too.\"", "Cordy: \"Wait! Angel, you can't barge into a police precinct and go all Terminator.\"", "Angel: \"I'll be okay.\"", "Cordy: \"It's dangerous. He's dangerous. What if he lays his whammy on you?\"", "Angel: \"He won't be conscious long enough to try.\"", "Fred: \"He's not there! (Everyone turns to look at her) I just heard it on the police scanner. The patrol car carrying Billy never made it to the police station. There's been an accident.\" We see an ambulance and another police car parked just beyond the stopped patrol car. The backside door is open and bent out of shape as if it had been kicked open from the inside with tremendous force. Wes walks away from the scene and meets up with Gunn.", "Wes: \"There was an altercation between the officers who transporting Billy. One of them attacked his partner. She was forced to shoot him. The female's been taken to a local hospital.\"", "Gunn: \"So, maybe she can tell us something - like what Billy did to her partner before he snapped.\"", "Wes: \"It wouldn't be a bad idea if one of us were standing by at the hospital visiting a sick relative.\"", "Gunn: \"Maybe happen to strike up a conversation with the hospital staff or one of her buddies?\"", "Wes: \"Maybe.\"", "Gunn: \"I'm on it.\" Gunn leaves and Wes walks over to where Angel is standing across the road from the patrol car.", "Angel: \"The blood in that car? Some of it is his. - Not human.\" Angel walks down the road a little ways.", "Angel: \"He came through here.\" Wes crouches down and touches the bloody handprint on the wall that Angel found.", "Wes: \"And recently. It's still wet.\" Wes picks up a piece of paper from the ground and presses it up against the handprint.", "Wes: \"I'll take a sample back to the hotel, see if I can determine just what sort of creature Billy is.\"", "Angel: \"I can't wait for that.\"", "Wes: \"I understand.\"", "Angel: \"I can find him.\"", "Wes: \"Be careful\" But Angel is already across the street and disappearing between two buildings. Wes sighs and pulls the paper away, checking to make sure he got a good print on the paper. Cordy takes the tazer from the weapons cabinet and puts it into her shoulder bag. Picks up a crossbow and stows it as well. Fred comes walking down the stairs.", "Fred: \"What you doing?\" Cordy turns and sees her.", "Cordy: \"I'm gonna go run an errand. Uh - a normal, every day errand.\" Cordy walks to the side door.", "Fred: \"Cordelia. (Cordy turns to look at her) I don't think you should do this.\"", "Cordy: \"How can I not?\" Cordy opens the door and walks out. Fred stands there for a moment then turns as Wes comes in the main doors.", "Wes: \"Fred! You're here. Good, I was hoping you would assist me. (Lifts up a bag with the paper in it) I managed to lift a sample of Billy's blood. Maybe we can identify his demon lineage and somehow figure out how his power works. Would you hand me the (looks up to see that Fred is holding out some glass slides) glass slides. (Gives Fred a silly smile) Thank you.\" Lilah goes to answer a knock on her door.", "Lilah: \"Cordelia Chase, right? Come to gloat?\"", "Cordy: \"I can do that anywhere. Are you gonna invite me in? Oh, wait. I'm not a vampire.\" Cordy walks in past Lilah.", "Lilah: \"Please, come on in.\" Closes the door and walks after Cordy.", "Cordy: \"I want you to tell me about Billy. Everything you *didn't* tell Angel. I want you to help me stop him.\"", "Lilah: \"And what makes you think I'm gonna do that?\"", "Cordy: \"Well, there's your face - for starters.\"", "Lilah picks up her drink: \"I know the risks of my job and I accept them.\"", "Cordy: \"Then why where you crying five minutes ago? - There's not a thing about badly reapplied mascara that I don't know.\"", "Lilah: \"I'm not Lindsey McDonald. I don't switch sides whenever it gets tough. And since when is this your job? I thought Angel was the dark avenger.\"", "Cordy: \"Angel feels responsible for this guy because he brought him back from hell. I feel responsible because he did it to save me. You, who are actually responsible for the entire thing, feel nothing at all, because *you* are a vicious bitch.\"", "Lilah shrugs: \"So? You know me.\"", "Cordy: \"Please, I was you - with better shoes.\"", "Lilah: \"These are Boracchi.\"", "Cordy: \"Fall collection?\"", "Lilah: \"Next spring.\"", "Cordy: \"He's widened the heel.\"", "Lilah: \"And rounded the toe.\"", "Cordy: \"That won't work with pink.\"", "Lilah: \"The pink is out this spring.\"", "Cordy: \"Billy Blim makes people crazy.\"", "Lilah: \"Not all people. Just men. He brings out a primordial misogyny in them. Turns them into killers.\"", "Cordy: \"Then why didn't he do it to Angel?\"", "Lilah: \"Angel's seen him?\"", "Cordy: \"Yes, right before he escaped from the cops.\" Lilah lets out a chuckle.", "Cordy: \"What's so witty?\"", "Lilah: \"Billy's touch works differently on different men. Some lose their mind in an instant. Others - can take hours. - Gee, I sure hope Angel isn't starting to feel testy.\"", "Cordy: \"You better hope it.\"", "Lilah: \"I know. I've seen his dark side.\"", "Cordy: \"You really haven't. - I have to find Billy.\"", "Lilah: \"And I'm gonna help you why?\"", "Cordy: \"You know that guy that you hired to hack into my visions? What he did to me? What it felt like? I was cut, my face disfigured, and burning with pain every second not knowing if it was gonna end or just get worse till I died.\"", "Lilah: \"So you think I owe you...\"", "Cordy: \"It's not the pain. It's the helplessness. The certainty that there is nothing you can do to stop it, that your life can be thrown away in an instant by someone else. He doesn't care. He'll beat you down until you stay down because he doesn't even *think* of you as alive. - No woman should ever have to go through that, and no woman strong enough to wear the mantel of 'vicious bitch' would ever put up with it. - *Where* is Billy going?\" Angel walks up on two guys standing beside a taxicab, talking.", "1.man: \"He seemed like such a levelheaded guy, you know? Always polite, with the 'yes, sir' and the 'thank you, sirs.' And to lose it like that, I didn't see it coming, did you?\"", "2.man: \"I got to say, I understand why he did it. I mean, there is a point, am I right? How many times do you feel like talking a fist to a customer?\"", "Angel: \"One of your drivers finally snapped, huh?\"", "2.man: \"Yeah, he beat the hell out of his fare.\"", "Angel: \"A woman?\"", "2.man: \"That surprise you? Probably sitting in the back, nagging, telling him how to drive. You know the type.\"", "Angel: \"Yeah. Probably had it coming to her, huh?\"", "2.man shrugs: \"I'm just saying...\" Angel grabs him by the shirt and pulls him close.", "Angel to 1.man: \"Get out of here.\" The first man walks off.", "Angel: \"This driver who snapped? You're gonna tell me what his last stop was, right before he beat up that woman. - I'm just saying.\" A hip get together is going on in a well-appointed suite. There is a couple kissing on the couch. Two guys are playing pool. Music is playing: '..the future is coming on, coming on - finally someone let me out of my cage...\" Guy walks up to one of the pool players.", "Guy: \"Hey, Dylan, your cousin is here.\"", "Dylan: \"Which one? There is about a zillion of them.\"", "Guy: \"I think he said his name is Billy.\"", "Dylan, shooting pool: \"Billy? Not possible. Billy's...\" Turns his head to see Billy standing beside him.", "Billy: \"Hi, Dylan.\"", "Dylan: \"Billy.\"", "Billy: \"I didn't know you were having a party.\"", "Dylan: \"Billy (swallows) I-I thought we agreed that you weren't going to come around here anymore after that last thing.\" Billy is watching the couple kissing on the couch.", "Billy: \"I think we should talk to them about appropriate public behavior. - Do you want to? Or should I?\" Wes is looking at Billy's blood through a microscope.", "Wes: \"This was taken from the print I made of Billy's blood. (Makes room for Fred to look) Tell me what you think.\"", "Fred looks: \"Looks to me as if some of the red blood cells are kind of supercharged.\"", "Wes: \"Those would probably be from Billy's demon lineage.\"", "Fred: \"So, however Billy is putting the mojo on people, the power seems to be in his blood. Which means it can also be in his sweat or his saliva or even his touch.\"", "Wes: \"Speaking of saliva, where is Cordelia?\"", "Fred: \"What do you mean 'speaking of saliva?' How does saliva make you...\"", "Wes: \"It's a simple question. Where is Cordelia?\"", "Fred: \"I - I think she went out.\"", "Wes: \"Out?\" Fred nods.", "Wes: \"Did she happen to mention where?\"", "Fred: \"She just - ah - she said an errand.\"", "Wes: \"So when you say you 'think' she went out, what you mean is you 'know' she went out because you spoke to her.\"", "Fred: \"Well, I suppose I...\"", "Wes: \"Suppose?\"", "Fred: \"I - I did. Yes, I did.\"", "Wes: \"That's better. (Leans in to look through the microscope again) Lie to me again - and we're going to have a problem.\" Break", "[SCENE_BREAK]", "Fred walks around Wes' desk and towards the door while Wes is still looking through the microscope.", "Wes: \"Where're you going?\"", "Fred: \"I was just gonna call Cordelia, find out where she is for you.\"", "Wes: \"That's not necessary.\"", "Fred: \"It's not?\"", "Wes: \"No. - Sit down Fred.\"", "Fred: \"It'll just...\"", "Wes: \"Sit! - Down.\" Fred hesitantly walks back into the office and sits in the chair in front of Wes' desk.", "Wes: \"There's something we need to discuss.\"", "Fred: \"I'm sorry I didn't tell you Cordelia left. Really I am.\"", "Wes holds up a hand: \"Pffft. We're past that. I've put it behind me. (Gets up to walks around his desk) However, we are going to have to make some changes around here.\"", "Fred: \"Change can be good, I guess.\"", "Wes: \"Like, no more of these provocative little outfits you wear.\" Wes pulls the strap of Fred's dress off her shoulder. Fred pulls it back up.", "Fred: \"Provocative?\" Wes sits down on the edge of the desk in front of Fred.", "Wes: \"Maybe Mommy and Daddy never explain to you that men - *grown* men - are wired a certain way. - (Wes leans in closer to a wide-eyed Fred) You can't be coming in here day after day waving it in my face like this.\"", "Fred: \"What?\"", "Wes almost whispering: \"You're practically daring me to take it. Is that what you want?\" Fred jumps up out of her chair: \"Stop it!\"", "Wes: \"Oh, are we standing now? Is that what we're doing?\"", "Fred backing away: \"This conversation is making me very uncomfortable.\"", "Wes: \"Oh, you're uncomfortable. That's rich! How do you think I feel? What do you think it's like for me with you smelling the way you do?\"", "Fred: \"Wesley, please.\"", "Wes stalking closer to her: \"You think you can taunt a man and get away with it? You brush up close, bat your eyes - and then when our backs are turned, you *laugh* at us.\"", "Fred: \"No, I would never...\"", "Wes: \"Humiliate us. You think you can do anything you please because you're connected to life, because you bleed, is that it?\"", "Fred: \"No!\" Wes slaps her open handed across the face. Fred falls to the floor.", "Wes: \"I'll show you blood.\" Fred runs to the side doors, but before she can get them open, Wes grabs her by the hair from behind.", "Wes: \"What do you tell a woman who has two black eyes? (Pulls her back then pushes her down onto the steps leading up beside the doors) Nothing you haven't already told her twice.\" Fred picks herself up and runs upstairs.", "Wes: \"No sense of humor.\" Wes pulls his tie off and walks down into the lobby stretching his shoulders and massaging his neck. He turns his head and his eyes come to rest on the battle ax in the corner of the weapons cabinet. Dylan opens the door to his apartment as far as the safety chain will let him.", "Angel: \"I'm looking for Billy Blim?\"", "Dylan: \"Are you a friend of his or what?\"", "Angel: \"Friend? To be honest I'm looking to kill the b*st*rd.\"", "Dylan: \"Oh. Come on in.\" Dylan undoes the chain to let Angel in.", "Angel: \"Is he here?\"", "Dylan: \"No. He came and went.\"", "Angel: \"And everyone's okay? Frankly I was expecting blood - carnage, you know - bad things.\"", "Dylan: \"You gotta know the rules around Billy. Everyone in the family knows the rules. You never leave him alone with your girlfriend, keep him away from your pets and don't *ever* let him touch you. Like, if he wants money you gotta leave it on the table and back away.\"", "Angel: \"Is that why he was here?\"", "Dylan: \"Yeah, he said he needed some - fun money. I just wanted to get rid of him.\"", "Angel: \"So can you explain something to me? - How come you invited me in after I told you I wanted to kill your cousin?\"", "Dylan: \"You're Angel, right?\"", "Angel: \"Did Billy mention me?\"", "Dylan: \"No, no. There was a chick here. She was cute, brunette. Well, she said that a melodramatic guy named Angel would eventually show up.\"", "Angel: \"Cordelia... - thinks I'm melodramatic?\"", "Dylan: \"Well, you did say that you were gonna kill my cousin.\"", "Angel: \"That's not melodrama, melodrama (Grabs Dylan by the shirt front) She was here?!\"", "Dylan: \"So you're saying that melodrama is exaggerated emo...\"", "Angel: \"This isn't a demo, this is real! Where did you send her?\"", "Dylan: \"Santa Monica. My family has a plane there. Billy said he wanted to fly some place. I don't know where. Vancouver, Tahiti, he didn't say. Hopefully far away.\" Wes walks up the stairs of the Hyperion. There is a mattress leaned against the corner of the landing.", "Wes: \"Fred?\" As he walks up the next set of stairs, we see that he is carrying the battle ax in his right hand.", "Wes: \"Fred? - I know what you're doing. - What you're up to. - Luring me. (Enters a hallway) Forcing me to find you. - Oh, it's such a dog and pony show. - You beguile me with your girlish ways (pushes a door open with his ax) I pursue you (Pushes open the next door) but you never give over, do you? - No, you just keep laughing and running. (Pushes open another door) Well, guess what, my love - I'm not some downy-faced schoolboy. (Pushes open another door. This one has the safety chain in place) I'm a man.\" Wes kicks the door open and walks into the room. There is a can of paint sitting on some boards as if someone had been working on renovating it. The room looks dark and deserted.", "Wes: \"You can't come out into the open, can you? - No, you hide - you deceive. (He walks into the room, the light glinting of the ax held before him) It's nothing new. It goes all the way back to Eve. - You and the serpent plotting behind our backs. - 'Here, honey, eat this. It's just an apple.' - That's the problem with your s*x - you're all weak, and you're all dirty and you won't be satisfied until you've brought each and everyone of us out of the garden and down into the muck with you!\" Wes smashes a stool aside with his ax, breaking it and sending the tools on it scattering across the floor. We hear a smothered gasp, and Wes' head snaps around to look towards the bed in the corner. He walks over to it. We see Fred looking at his shoes as he stops beside it. Then takes a few steps to the side. Fred gasps as Wes picks up the mattress and throws it against the wall, so he can look down at her through the frame.", "Wes: \"Why do you make me do this?\" Fred whimpers as Wes pulls her out from under the bed by her neck and pushes her up against the wall. Wes leans in to kiss her - only to draw back in pain as Fred buries a nail in his shoulder and knees him in the crotch. Wes hunches over in pain and Fred runs out of the room. An airplane is slowly taxiing down the dark runway. Cordy comes out from behind the nose of a private plane and walks up to where Billy is standing on the tarmac with his back towards her.", "Cordy: \"Billy?\"", "Billy turns: \"Yes? - Do I know you?\"", "Cordy: \"Not exactly. I thought we should meet. I'm the woman Wolfram and Hart tortured to get you out of your fire cell.\"", "Billy: \"Oh, I see. - And you're here to whine. Poor, helpless, battered woman who needs to vent her feelings about the injustice of it all.\"", "Cordy: \"No, ass-wipe.\" Cordy pushes the tazer up against Billy stomach and he collapses gasping to the ground. He looks up to see Cordy aiming a crossbow at him.", "Cordy: \"I'm here to send you back.\" Fred is quietly hurrying down a dark hallway in the Hyperion.", "Wes: \"I'm still here!\" Fred stops and slowly turns to look behind her. Wes is standing at the other end of the hall.", "Wes: \"I don't run away like a girl. I see things through.\" Fred takes off running and Wes walks after her. Wes sees Fred running up the stairs and turns to hurry down the hall away from the stairs Fred took. Fred runs down another hallway. She stumbles and falls to her hands and knees. Rolls over to look behind her. Backs off on all fours, then gets up, turning to run - straight into Gunn, who puts a hand over her mouth to keep her from screaming.", "Gunn: \"Shh.\" Gunn takes his hand from Fred's mouth, puts an arm around her and pulls around a corner. Cordy is standing over Billy at the airport. Billy slowly picks himself back up, never taking his eyes off her.", "Billy: \"You think I hate you because you're a woman. I don't.\"", "Cordy: \"Gee, and I was feeling special.\"", "Billy: \"I don't hate women. I mean, sure, you're all whores who sell yourselves for money and prestige, but men are just as bad. Maybe even worse. They're willing to throw away careers or families, or even lives for what's under your skirt!\"", "Cordy: \"I'm wearing pants.\"", "Billy: \"So, you can dress like a man, talk like a man? (Smiles) Does that make you feel superior?\"", "Cordy: \"Actually, I'm feeling superior because I have an arrow pointed at your jugular. - And the irony of using a phallic shaped weapon? Not lost on me.\"", "Billy: \"You don't have the nerve to do it.\" Cordy takes a step closer, so the tip of the arrow is almost up against Billy's throat.", "Cordy: \"Wrong again.\" Suddenly the crossbow is being pushed away and Angel steps between them, pushing Cordy away.", "Angel: \"I can't let you do it, Cordelia.\"", "Billy: \"You saved me again! I knew that you would.\"", "Cordy: \"Angel, you know what he is!\"", "Angel: \"Yeah, I do. Which is why I'm gonna waste this piece of garbage myself.\" Angel turns to hit Billy, but Cordy catches a hold of his arm and holds him back.", "Cordy: \"Angel! (He turns to look back at her) He can't hurt me.\" Angel turns away from Cordy, trying to pull his arm free, and Billy takes a hold of Angel's face with both of his hands, stares into Angel's eyes.", "Billy: \"No, I won't hurt her. *I* won't hurt her at all!\" Angel pushes Billy away from him and we see the imprints from Billy's hands on Angel's face their bright red glow slowly fading as Angel takes few quick breaths. Billy and Cordy stare at Angel. Angel glances back towards Cordy. Break. Gunn and Fred are hurrying down a dimly lit hallway in the Hyperion. Gunn tries a door. It's locked. The next one is open and he hurries inside.", "Gunn: \"Here.\" Fred follows him in and Gunn locks the door, then pushes a dresser in front of it.", "Gunn: \"Now, what the hell happened to Wesley?\" Gunn picks up a nightstand and sets it on top of the dresser.", "Fred: \"Somehow he got infected. All I can figure it happened while he was working with Billy's blood from the handprint.\"", "Gunn: \"You mean, that - that fingerprinty-looking handprint downstairs is Billy's blood? (Fred nods) So you're saying that Wes turned into a psycho killer because of that bloody handprint that - I picked up and looked at?\"", "Fred: \"When you put it that way, it kinda worries me.\" Gunn pulls the nightstand back off the dresser and starts to pull it away from the door.", "Gunn: \"I better get out of here. Lock the door behind me.\" Something crashes against the door from outside, drawing a little scream from Fred. Gunn quickly pushes the dresser back up against the door. Wes is outside swinging his ax against the door.", "Gunn: \"Well, uh - maybe we go to plan 'B.'\" Wes swings his ax at the door again. Fred takes a step back and lets out a scream when one of her feet breaks through the floorboards. Gunn catches a hold of her before she can fall and pulls her away from that part of the floor. Wes hacks at the door.", "Fred, clinging to Gunn: \"Oh, god.\" Wes hacks at the door.", "Fred: \"You know when you said we go to plan B? What's plan B?\"", "Gunn: \"Ah - plan B - (lets go of Fred and looks around the room) Ah - plan B...\"", "Fred: \"Charles...?\" Gunn spins around to face her: \"Plan B is the plan where if you don't stop whining I bash in your... (Stops, his eyes going wide) Oh, god.\" Angel is standing in the middle between Billy and Cordy. He starts to inch back towards Cordy.", "Angel: \"Cordy, get out of here.\"", "Cordy: \"No.\"", "Angel: \"Cordelia?\"", "Cordy: \"I can't.\" Angel turns to look at her: \"GET OUT!\" Cordy jumps a little, but doesn't budge.", "Cordy: \"Angel - you can fight this!\"", "Billy steps closer to Angel: \"Don't fight it - feel it! You can, can't you? All that rage, all that hatred bubbling to the surface? (Conversationally) I actually never done this to a vampire. Should be pretty entertaining.\"", "Angel to Cordy: \"Please - go.\"", "Cordy: \"I can't. I have this problem. This is happening to you because of me. Because of *me.* So, I can't leave you - Angel - I won't.\"", "Angel: \"You think that's your problem? - That's not your problem. - You know what your real problem is? (Cordy backs up just a little) Guys like him!\" With that Angel spins around and hits Billy full force sending him flying to the ground. Cordy slowly lowers her hand that she had put up to shield herself from the expected blow.", "Angel to Billy: \"'cause you got no power over me.\" Billy and Angel start to fight, as Cordy lets out a relieved breath. Gunn picks up a chair and smashes it against the wall, breaking it to pieces.", "Fred: \"Charles, you're scaring me!\" She jumps back with a little scream as Gunn comes at her with a chair leg in his hand.", "Gunn: \"Take this and knock me out. Knock me out!\"", "Fred: \"You want me to hit you?\"", "Gunn hands her the leg: \"Yes!\"", "Fred: \"I can't!\"", "Gunn: \"You might want to.\" Wes hacks at the door.", "Gunn: \"HIT ME!\"", "Fred: \"Charles, please...\"", "Gunn, mocking: \"Charles, please. - Fine. Then give it back to me so I can smash your *stupid* head with it. Gimme the damn chair leg!\" Fred hauls back and brains him. Gunn drops to his knees but isn't out.", "Gunn: \"You're gonna pay for that.\" Fred hits him again and he lands facedown on the floor and doesn't move any more. Fred throws the chair leg aside, then jumps as Wes ax cracks through the door behind her. Angel and Billy are fighting. Angel tosses Billy through the air. Billy rolls as he hits then comes up on all fours. He smashes both hands hard against the ground. A shock wave radiates out from his hands then returns to them as a crack appears in the ground between them. Both hands begin to glow a bright red. The red leaves his hands, flashes up his arms and Billy's eyes flash yellow. When Angel comes back at him, he tosses him like a toy. Billy is now pretty clearly the stronger of the two. Cordy sees her crossbow lying on the ground. She picks it up and aims it at the combatants, but Angel and Billy change positions so often that she never has a clear shot. Angel manages to toss Billy away from him and Cordy's finger tightens on the trigger. Gun shots ring out and Billy jerks where he is squatting on all fours, then drops to the ground and doesn't move anymore. Cordy lowers her crossbow and looks around to see Lilah lowering her pistol. Angel looks from Lilah to Billy. Lets out a breath. Lilah looks at Angel, then turns and walks away. Cordy looks over at Angel. Wes is pushing against the door, forcing the dresser back inch by inch. Wes enters the room. Sees Gunn lying unconscious on the floor.", "Wes: \"Would you like to hear my theory, Fred? - It's about how stupid you are. - I believe that after five years of living in a cave - you'll instinctively retreat to small dark places, rather than run outside where you'd be safe.\" The floor creaks beneath his feet and Wes looks down at the tarp covering the area in front of him. He walks around the tarp to a closet.", "Wes: \"Let's finish this.\" He pulls the closet door open - only to see in the mirror on the inside of the door that Fred is standing behind him.", "Fred: \"I'm sorry, Wesley.\"", "Wes looks at her: \"You're sorry?\"", "Fred: \"You were right about me liking dark places to hide in.\" Wes raises his ax and slowly walks towards her.", "Fred: \"But you forgot I also like to build things.\" Fred pulls on a rope. A fire extinguisher swings free and hits Wes, knocking him back onto the tarp. He falls through the place in the floor that broke under Fred's weight earlier. Fred walks up to the hole and looks down at Wes, lying sprawled unconscious in the room below. Day. The Hyperion. Cordy and Angel are back in the basement training.", "Cordy: \"I don't get it.\"", "Angel: \"I don't get it either.\"", "Cordy: \"I mean, you're a man.\" Angel and Cordy are moving side by side through the same sword exercise.", "Cordy: \"So why didn't Billy's touch affect you?\"", "Angel: \"Well, maybe because - I'm not human.\"", "Cordy chuckles: \"Oh, right. And a *vampire* could never be turned into a monster.\"", "Angel: \"Well, that thing that Billy brought out in others? - The hatred and anger... (reach the end of the sequence) that's something I lost a long time ago.\"", "Cordy: \"Even when you were evil?\"", "Angel: \"I never hated my victims, I never killed out of anger, it was always about the - pain and the pleasure.\"", "Cordy: \"Huh. - So I guess you could say that your demoness makes less petty than humans. Almost noble - I mean, in a twisted, dark and *really* disturbing kind of way.\" They get into position to start another set.", "Angel: \"Thanks.\"", "Cordy: \"Hm-mm. (They start the set) It's weird!\"", "Angel: \"What is?\"", "Cordy: \"I'm starting to get used to being creeped out and comforted at the same time.\"", "Angel: \"I get that.\" They smile at each other before continuing with the set. Wes is sitting in his dark apartment staring at the sun shining in through one of the windows. He doesn't move when someone knocks at the door.", "Fred's voice: \"Wesley? - Wesley, it's me, Fred.\" Wes turns his head a little. After a beat he gets up and walks slowly over to open the door. Fred sees the bruise on the side of Wes face.", "Fred: \"Oh - does that hurt?\" She lifts a hand towards his face, but Wes leans away, not looking at her. Fred sighs and puts her hand down.", "Fred: \"Sorry. - I left a bunch of messages.\"", "Wes: \"Yes. I meant to call you back. I'm sorry. (Looks at her and whispers) I'm *so* sorry.\"", "Fred: \"Wesley, you gotta come back to work.\"", "Wes: \"How can I?\"", "Fred: \"What do you mean? How can you not? You're the boss. We need you. - You took a few days off. That's good. We all did. - But now it's time to come back.\"", "Wes quietly: \"Fred, I tried to kill you.\" Fred smiles and shakes her head: \"That wasn't you.\"", "Wes: \"How can you know that? Something inside me was forced to the surface. Something primal, something...\"", "Fred: \"Do you wanna kill me?\"", "Wes: \"Oh, God, no.\"", "Fred: \"It wasn't something in you, Wesley. It was something that was done to you.\"", "Wes: \"I don't know what kind of man I am anymore.\"", "Fred: \"Well, I do. - You're a good man. - Will I see you back at the office?\"", "Wes: \"Yeah.\"", "Fred: \"Good.\" Fred slowly walks out and Wes closes the door behind her and begins to cry. Fred stops in the hallway and turns back as she hears sounds of Wesley weeping. She hesitates for a moment, takes a step back towards his door, then turns around and leaves." ]

[ "Team Angel continues to try and deal with Darla's pregnancy. When Wolfram and Hart finds out about the baby, the law firm decides to steal it for themselves. Meanwhile, Holtz is determined to kill Angel and arrives at the Hyperion looking for revenge." ]

[ "[PREVIOUSLY_ON]", "Quick shots of Darla and Angel making out, and of Holtz' demon cocoon breaking.", "Wes: \"The Nyazian Scrolls mentions the Tro-clan that brings about the ruination of mankind.\"", "Cordy: \"Imagine what could have happened if you'd gone nuts and slept with Darla!\"", "Angel: \"You know I would never do that.\"", "Darla: \"Hello, lover.\"", "Angel: \"Darla?\"", "Wes: \"Darla.\"", "Cordy: \"Darla?\"", "Angel: \"This is impossible.\"", "Darla: \"Tell me about it - Daddy.\"", "Cordy: \"You slept with her?\"", "Angel: \"Uh...\"", "Cordy to Darla: \"How are you feeling?\" Darla bits Cordy.", "Angel: \"Get away from her!\"", "Angel: \"You're gonna be all right! I'll kill her for this.\"", "Cordy: \"You gonna have to find her first.\" Angel tackles Darla away from the boy. Angel holds Darla and raises the stake.", "Darla: \"Come on! Do it! Do it! Do it!\"", "Angel: \"The child. It has a soul.\"", "Darla: \"No it doesn't...\"", "Angel: \"It does. It does.\"", "Fred: \"Whatever that thing is, it is arriving right about - one, two - now.\"", "Holtz: \"Just tell me where he is.\" York, England - 1764 Holtz gallops through the countryside at night. Stops and then rides up to another man signaling with a torch.", "Man: \"We found them.\"", "Holtz: \"Go.\" They ride off. Inside of a house, dimly lit by a candle. A knock on the door. A young girl opens the door.", "Angelus: \"Ah, is your mother home there, young lady? (Girl nods) Will you take us to her?\"", "Sarah: \"Father said not to let strangers in while he's away.\" Angelus and Darla look at each other.", "Angelus: \"But we're not strangers. You're Sarah, aren't you? We know all about you. You're the apple of your father's eye.\"", "Darla: \"Would strangers know that?\" Sarah shakes her head.", "Angelus: \"So, lass. May two friends enter?\" Sarah steps to the side.", "Angelus: \"Is that a yes then?\"", "Sarah: \"Yes.\"", "Angelus: \"Ah. Lovely.\" Darla and Angelus walk in. Darla takes Sarah's hands.", "Darla: \"Such a dear girl. Remind me to give you a special treat.\" Angelus locks the door. Holtz and the other man are riding hell for leather through the night. They meet up with some other men carrying torches.", "Man: \"They're trapped inside.\"", "Angelus: \"Did you mommy make you that dress Sarah?\"", "Mom: \"What's all the fuss, love?\" Darla, Sarah and Angelus walk into the kitchen.", "Angelus: \"Good evening to you, ma'am.\"", "Mom: \"Evening.\" Holtz takes a torch from one of the men and leads them towards a dark house.", "Holtz: \"Burn it down if you have to.\"", "Angelus: \"We can only stay for a moment. We have a message for you husband.\"", "Mom: \"You know my Daniel?\" The men near the house.", "Mom: \"What is his message?\"", "Darla: \"I'll give it to Sarah, hmm?\" The men reach the door of the house.", "Holtz: \"On my signal.\" Darla brushes the hair back from Sarah's face.", "Darla: \"Close your eyes. I have a surprise for you.\" Darla looks at the mother, morphs into vamp face and sinks her fangs into Sarah's neck. Sarah screams and Mom tires to run to her daughter but Angel holds her back.", "Angelus: \"Tell your husband, Mr. Holtz...\"", "Mom sees Angelus vamp face: \"No... no...\"", "Angelus: \"Never mind. I'll tell him meself.\" Angelus sinks his fangs into her neck. Holtz break in the door, looks around.", "Holtz: \"Where are they?\" He finds a note that reads: \"How do you hope to save others when you can not save your own?\"", "Holtz: \"They're at my house.\" Darla and Angelus look up as they hear a baby cry.", "Darla: \"Can something be done about that horrible noise?\" Angelus straightens up.", "Darla: \"I think it wants its mother.\"", "Angelus: \"Let's send it to her. Do you wanna do it, or should I?\" Holtz and two other men ride through the night. Holtz slams the door of his house open and enters the kitchen to see his wife lying there with vampire bite marks on her neck. Hyperion, day Darla is lying on a bed, apparently asleep. Angel walks in and sits down beside the bed. After a moment he hesitantly reaches out and puts one hand on Darla's swollen belly. Darla stirs, but her eyes stay closed. One of her hands comes up to cover Angel's.", "Darla: \"Are you going to do it (opens her eyes to look at Angel) or am I?\" Intro Scenes from world history flash across four TV screens stacked side by side. Holtz is sitting in a chair in front of them, watching. He is still in the same circular room that he woke in, lit by fire burning in bowls sitting in the niches lining the walls. The demon that did the incantation to wake him suddenly stands behind his chair.", "Sahjhan: \"I know it seems like only a moment to you. But two hundred and twenty seven years have passed since our agreement. Empires have risen and fallen. Mankind has harnessed the power of the sun, walked on the moon, and turned arid desserts into fields of green.\"", "Holtz: \"What of England? Has it survived the years and destruction?\"", "Sahjhan: \"Yes. - It went through a rough patch about sixty years ago, but it's mostly unchanged. Warm beer, boiled meat, bad teeth. That's why I moved to LA. - Have you followed this part of the history? American Revolution, manifest destiny, westward expansion, the Beach Boys?\"", "Holtz: \"I understand enough. One thing baffles me. (Indicates the TVs) These visions, wars, the weapons of destruction - how is it no one has killed Angelus or Darla?\"", "Sahjhan: \"That's why I brought you here, remember? Because your fate and their fate are entwined.\"", "Holtz gets up: \"Then let's go. Let's finish this. I want Angelus.\"", "Sahjhan: \"I know. I want him, too. But we're going to do it right. I haven't waited two and a half centuries to mess it all up.\"", "Holtz: \"You have been tracking them this entire time?\"", "Sahjhan: \"Yes. But not in the way you imagine. There are other dimensions, other worlds where time behaves differently. I have an ability to navigate those dimensions.\"", "Holtz: \"And is that why you haven't aged?\"", "Sahjhan: \"That, and I had a little work done. Mostly around the eyes. Now get some rest. You're going to need it.\" The demon leaves and Holtz sits back down in the chair facing the TVs. Darla is lying on the couch in Angel's suite, Angel is sitting in a chair.", "Darla: \"You figure out a way to do it?\"", "Angel: \"No. I was thinking about the last time you were here.\"", "Darla: \"Mmm - that. (Sits up) Kind of hard to forget.\"", "Angel: \"I know. I've tried.\" Darla stands up and begins to walk around.", "Darla: \"Hey, you're the one that came in here all 'the world is a cold and lonely place.'\"", "Angel: \"I had a bad day.\"", "Darla: \"So, you threw me through those glass doors, slammed me against the wall, pushed me onto the bed and took what you wanted.\"", "Angel: \"It seemed like the thing to do - at the time.\" There's a knock on the door.", "Angel: \"Come in.\" Gunn walks in carrying a loaded crossbow, followed by Wes, Fred and Cordy.", "Wes: \"Sorry to intrude. We had a bit of a breakthrough with the Nyazian Scroll translation. I thought you should know.\"", "Fred: \"It turns out that some of the irregular verbs Wes was using were problematic when converted to Ga-shundi because of the Nyazian trick of converting both nouns and verbs, which he discovered by... - Sorry. I'll shut up now so he can tell you what he figured out.\"", "Wes: \"The Tro-clan isn't a person or persons. It's a confluence of events.\"", "Cordy: \"Which means it not only involves you, Darla and the child, but other horrible things we don't know about.\"", "Angel: \"That... That's good. Right? I mean, doesn't that mean that the kid isn't this evil, apocalyptic thing that we feared?\"", "Wes: \"Not necessarily. There are a few Nyazian phrases related specifically to the thing being born that I haven't been able to complete.\"", "Angel: \"So it's important that you so.\"", "Gunn: \"Because we need to know what kind of bun is in the oven.\"", "Darla: \"I know one thing about it. Something's protecting it.\"", "Fred: \"How do you know that?\"", "Darla sits down: \"Because I can't get rid of it.\"", "Fred: \"Sorry I asked.\"", "Gunn raises the crossbow: \"So you're saying, if I shot this into your stomach, it wouldn't do anything?\"", "Darla spreads her hands: \"Fire away.\"", "Angel steps between them: \"No one is firing anything.\"", "Wes: \"Angel's right. Clearly something wants this thing to come to term. - We'll wait for it to be born then we'll chop its head off.\"", "Fred: \"Well, what if it doesn't have a head?\"", "Cordy: \"We're gonna need a really big mallet.\"", "Gunn: \"If it skitters, we should have a net or something. Maybe a flame thrower.\"", "Angel: \"Flame thrower? No, no. There'll be no throwing of flames. Nobody's gonna do anything until we know exactly what's going on. Now, if anybody has a problem with that they should leave - now.\" Darla gets up, shrugs and walks towards the door. Angel pulls her back.", "Angel: \"Not you.\" Angel sighs and takes a step closer to the others.", "Angel: \"Come on, guys. How about it?\" After a beat Gunn lowers his crossbow with a nod.", "Angel: \"Cordy?\"", "Cordy steps closer: \"You want me to protect the vampire bitch who bit me *and* her evil love child?\" Cordy hauls back and clocks Darla full on the nose, sending her stumbling back against the chair.", "Cordy smiles at Angel: \"Okay, I'm in.\" Darla leans on the chair and moans.", "Cordy: \"Oh, come on, tough girl. You're a vampire.. A punch in the nose shouldn't hurt that much.\"", "Fred: \"Not ow her nose. She's having contractions.\" Darla writhes in the chair, groaning. Wolfram and Hart, day Lilah pricks her finger with a needle. Lets the blood drip into a little jar, then dips a pen in it and signs her name on a line labeled 'witness' at the bottom of a paper. There is a knock on the door and a mail clerk comes in with his cart.", "Cyril: \"Good morning, Miss Morgan.\"", "Lilah: \"Morning.\" Blows on her signature, then sticks the paper into an envelope and hands it to the clerk.", "Lilah: \"Would you take this to Pinderhook down in demon resources for me?\"", "Cyril: \"Sure. - Uh... - Miss Morgan, I hate to bother you. But I've been admiring you for quite a while and I was wondering...\"", "Lilah: \"Don't flatter yourself, Cyril. I don't date guys from the mail room.\"", "Cyril: \"Me neither! - (Holds out a CD case) I just thought you should know about this.\" Lilah takes it and pops it into her computer. Cyril starts to head for the door as a surveillance video of Angel and Lilah making out on Wes' desk comes up on her screen.", "Lilah: \"Wait. (Walks over to Cyril) You little weasel! If you think you can blackmail your way onto me on *my* desk...\"", "Cyril: \"No! That's not it! You got it all wrong. I respect you way too much to be attracted to you. It's - it's just - down in the mailroom, I see a lot. You know? Different factions in the firm. There comes a time when a guy has to choose a side.\"", "Lilah: \"And is that disk your way of telling me you're choosing *my* side? (Cyril smiles and gives her a nod) And who are we allied against, you and I? Who is this common foe?\"", "Cyril: \"I'd rather not...\"", "Lilah: \"If you don't tell me right now, I'm gonna have your skin peeled off and stapled back on inside out.\"", "Cyril: \"Mr. Park.\"", "Lilah: \"Gavin.\" Lilah goes and gets the disk.", "Cyril: \"Remember those exterminators he sent to Angel's hotel? They don't kill bugs. They plant them.\"", "Lilah: \"Hm.\" Lilah walks past him towards the door. Cyril follows her out, pushing his mail cart. A finger taps against a fuzzy video screen, and a picture of the Hyperion's lobby flickers to life.", "Angel's voice: \"Good. That's it. Where is your weight? Balls of your feet? Don't forget to...\"", "Cordy: \"Oops. Oh, god, you said that...\" Gavin looks over the shoulder of a guy wearing headphones while transcribing.", "Gavin: \"Keee-yi-ha ow. Someone doing an incantation?\"", "Transcriber: \"No. Angel started training female one in martial arts. I think she got in a lucky punch.\"", "Gavin: \"Any tech problem?\"", "Transcriber: \"Just a couple glitches. Don't sweat it though. I've been staying late. (Hands Gavin a huge book-like file) That is the transcription of everything up to last week.\" Gavin opens the top cover.", "Lilah: \"How about that? I just asked myself, if I were a cockroach, where would I hide? And voila! - there you are! (Holds up the disk) Did you really think you could blackmail me with this?\"", "Gavin: \"Blackmail? (Laughs) No one cares. From what I've hear-, bumping uglies with an old man that body-jumped into a vampire is the closest thing you've had to a meaningful relationship in years. This is about something else. - Thank you, Cyril.\" Cyril peeks his head around the corner of the open door: \"You're welcome - sir.\"", "Lilah: \"What was all that crap about choosing sides?\"", "Gavin: \"He did. He's on mine.\"", "Lilah: \"Is this your convoluted pathetic way of asking for my help? Because you sure need it. You're understaffed, underfunded, and clearly (takes the file from him) undertalented. So, what have we learned here?\"", "Gavin: \"We? There is no we. I just decided it was time you understood the full scope of what I've been doing these past few months.\"", "Lilah: \"Who is this 'unidentified, pregnant female'?\"", "Transcriber: \"I - I don't know. We lost audio for a couple of days last week. I can pull the tape.\"", "Lilah: \"See? Need me.\" The transcriber pops a tape in a VCR. On the screen Darla walks into the lobby.", "Lilah: \"Darla?\"", "Gavin: \"Darla? That's impossible. Vampires can't give birth!\" Lilah pulls out her cell phone: \"Tell me about it. (To phone) Linwood? It's Lilah. You're not gonna believe what I'm looking at.\" Darla is sitting in the chair, moaning and holding the sides of her belly.", "Angel: \"How long since the last contraction?\"", "Fred: \"About twenty minutes. They're still real irregular.\"", "Darla: \"Something's wrong. The pain...\"", "Angel: \"You like pain.\"", "Darla: \"This is different. I want it out - now!\"", "Wes: \"That's exactly what's happening, Darla. You're in the first stage of labor.\"", "Angel: \"Labor, that's - that's good, right? How long does it usually last?\"", "Wes: \"It varies. On average, the whole thing, maybe eighteen hours.\" Darla forces herself up out of the chair: \"Eighteen hours? That's too long!\" Angel supports her as she hunches over with another contraction.", "Angel: \"Alright. Easy. Lie down.\" Angel helps onto the bed as the others leave and close the door behind them.", "Angel: \"I'll be right back.\" Angel follows the others out.", "Angel: \"Guys, we got to figure out what's inside of her now, before it skitters out.\"", "Gunn: \"We should get a demony doctor in here. You know, someone who understands how her vampire girl parts work. (Cordy looks at him) You know what I'm saying.\"", "Cordy: \"Well, didn't she already try that whole shaman, voodoo, witch doctor thing?\"", "Angel: \"Yeah. She did.\"", "Fred: \"I don't suppose she ever went to like a normal doctor or a hospital?\"", "Cordy: \"Hey, there's an idea: hospital. Oh, wait, they don't admit vampires.\"", "Angel: \"Who says we have to admit?\"", "Wes: \"Of course. We don't need the right doctor, we just need the right equipment.\" We hear Darla groaning in the other room and Angel hurries back to her. Wolfram and Hart, day Linwood is walking down the hallway talking to his phone, flanked by Lilah and Gavin.", "Linwood: \"I don't care how much it costs. Just find someone who can answer the bloody question. (Closes his phone) Heads are gonna roll if the Senior Partners hear about this.\"", "Gavin: \"They won't. That's why we came directly to you.\"", "Linwood: \"Darla - pregnant. How'd we miss it?\"", "Lilah: \"I'm sequestering the psychics and the mind readers in the conference room. We will get to the bottom of this.\"", "Linwood: \"Man works hard - builds something - waters it - grows rich and powerful. - Leaves his wife for a younger beauty. - These are the reasons we take certain - blood oaths. - And to have it all vanish because...\"", "Lilah: \"Sir, I can't stress enough. There is no way we could have foreseen this.\"", "Gavin: \"She's right, sir. No one could have known.\" Cyril sticks his head out of a door just after they walk past it. We hear a phone ring. Cyril is on his cell.", "Woman's voice: \"Hi, you've reached the Tittles. We can't come to the phone right now. If you wanna leave a message for Christine, press one. (man's voice) For Bentley, press two. (Deep, gravely voice) Or to speak to or worship Master Tarfall, Underlord of pain, press three.\" Cyril pushes a button.", "Cyril: \"Master, it's happened. The thing you have foreseen has come to be. We must tell the others.\" Break York, England, night, nine years later Holtz is sitting in front of a fire. His eyes are closed. We get flashes of fire intermixed with flashes of his family and screaming. Holtz opens his eyes and takes a drink form the pewter mug he is holding. We hear a funky sound effect. Holtz doesn't stir from his seat.", "Holtz: \"Another step and it'll be your last. If you've come for anything other than a fight, you're in the wrong place.\"", "Male voice: \"A fight's exactly what I'm looking for.\" Holtz stands up and turns around.", "Holtz: \"Be a man and who your face.\" Out of the shadows steps the demon that brought Holtz to LA.", "Sahjhan: \"I'm not a man. - What I mean is...\" Holtz takes a closer look at him: \"You're not human.\"", "Sahjhan: \"But clearly masculine. You get that, right?\" Holtz picks up a pistol and aims it at the demon's breast.", "Holtz: \"You'll get more than a fight if you don't leave right now.\"", "Sahjhan: \"Fine. My mistake. - I just thought you might want help killing Angelus and Darla.\"", "Holtz turns away: \"I don't need your help. I'll kill them myself.\"", "Sahjhan: \"Not to rain on your parade - but, no, you won't. You'll die a bitter old man and never see them again.\"", "Holtz: \"You don't know that.\"", "Sahjhan: \"I kinda do. In fact I know that it'll be another two hundred years before you get another chance to confront either Angelus or Darla.\"", "Holtz: \"And is this the part of the tale where the demon offers the broken man the chance to change all that?\"", "Sahjhan: \"I'll take you to them. Two centuries into the future.\"", "Holtz: \"Through black magic and sorcery.\"", "Sahjhan: \"No. On a mule cart. Of course through black magic and sorcery. I'm a demon.\"", "Holtz: \"And what do you want from me?\"", "Sahjhan: \"Your word. I want your word that when the time comes you will show them no mercy.\" Holtz looks into the dark corners of the room.", "Sahjhan: \"I don't mean to be pushy, but this is a limited time offer. Say yes, and I'll take you to them this very hour. Say no - and realize the one chance to avenge what they did to your wife and children has slipped away - forever.\" Holtz stares at nothing. Night, emergency entrance of a hospital Angel is pushing Darla along one of the hospital hallways in a wheelchair.", "Angel: \"How are you feeling?\"", "Darla: \"I haven't had blood in almost a day, and your devil spawn is trying to rip its way out of my body. How do you think I'm doing?\" A door is pushed open and Cordy motions at Angel.", "Cordy whispering: \"Psst. Paging Dr. Angel.\" Angel pulls Darla's chair through the swinging doors after Cordy.", "Wes: \"I sent Gunn and Fred to find an ultra-sound machine so we can take a look. Inside Darla, that is.\"", "Angel: \"What is this? A classroom?\"", "Wes: \"Yes. It's is a teaching hospital. How are you feeling, Darla?\" Darla doesn't answer.", "Angel: \"Something wrong?\"", "Darla: \"I think the contractions have stopped.\"", "Angel: \"Is that bad?\" Wes walks over and reaches for Darla then pulls back.", "Wes: \"Do you mind if I...\"", "Darla: \"I won't bite.\"", "Cordy: \"No, but that thing inside might.\" Wes carefully feels Darla's belly.", "Wes: \"You may have been experiencing something called Braxton-Hicks contractions. They're a form of false labor.\"", "Darla: \"False?\"", "Wes: \"False as in not ready to come out yet.\"", "Darla: \"Well, I'm way past ready. I'd cut it out of me if I could.\" The door opens and Gunn and Fred wheel in a machine.", "Gunn: \"Here you go, one ultra-sound machine.\"", "Wes: \"Darla, up on the table, please.\"", "Angel: \"Don't you wanna see what's inside?\" Darla looks down at her belly. Holtz is pacing in front of the TVs. A grate slides to the side and the demon enters.", "Holtz: \"You've kept me here long enough. Where are they?\"", "Sahjhan: \"It's not that simple.\"", "Holtz: \"I'm tired of waiting!\" Holtz reaches out to grab the demon, but his hands pass right through it. Holtz pulls his hands back and looks from the to the demon.", "Sahjhan: \"Like I said - it's not that simple. - Do think I'd go to all this trouble of transporting you two and a half centuries if I could walk up to Angelus and stake him myself? Please! There are rules and timetables and forces at work far greater than either of us. Boy, you vengeful types aren't real good at playing with others, are you?\" The demon passes his hands along the sides of his head and his face turns into that of a human.", "Sahjhan: \"It's my street face. (A coat lands on Holtz' shoulder) Now put that on. I've lined up some men to help us.\" Conference room at Wolfram and Hart. It's crowed. There are people and beings sitting at the table filling out papers. One gray skinned demon is taking a lie detector test.", "Man: \"Alright then, sir. Are you know or have you ever been a vampire? - Are any of your friends vampires?\"", "Linwood: \"Thank you for coming. And correct me if I'm wrong, but the role of a psychic - is to be psychic. To predict the future, so that Wolfram and Hart doesn't find itself in this kind of predicament.\"", "Bald psychic: \"I can't apologize enough, sir.\"", "Linwood: \"You're right. You can't. (Laughs) But I'm not without compassion. I'm gonna give you a chance to save your job - and your skin.\" Bald psychic smiles relieved, then frowns and leans in a bit closer to Linwood.", "Bald psychic: \"No, you're not. - You're gonna have me killed.\" Linwood puts a hand on his shoulder: \"Now, why couldn't you have had that kind of foresight when we needed it?\" Someone puts a plastic bag over the bald guy's head from behind and pulls him away from Linwood.", "Mind reader: \"They are telling the truth.\"", "Lilah: \"Thank you. (Steps up to Linwood) Intelligence is just coming in. No one seems to know *how* Darla could be pregnant. There is a rumor about a prophecy involving a vampire birth, but the Scroll it's recorded on seems to be missing.\"", "Linwood: \"Do you have any idea how many groups and cults and organizations would kill to get their hands on this baby? We've got to get it before anybody finds out.\"", "Lilah: \"Yes sir. And we will.\"", "Linwood: \"We need to get, dissect it, and find out what it means.\"", "Gavin: \"Berlin's on the phone for you, sir.\"", "Linwood: \"Oh, god. If they've heard about this in Berlin, Singapore and Muncie can't be far behind. Now listen, if the Senior Partners are looking to assign blame, the buck stops here, you understand me?\"", "Lilah: \"Not exactly, sir.\"", "Linwood: \"If the Partners are looking to place blame, I'm gonna have to step forward.\"", "Lilah: \"That's inspiring, sir.\"", "Linwood: \"Yes, I'll step forward and blame you. Darla was resurrected on your watch. I can think of no better scapegoat.\" Pats Lilah on the shoulder and leaves while big grin spreads across Gavin's face.", "Lilah: \"You think this is over? Watch and learn, rookie.\" Lilah pulls out her cell phone. A guy wearing nothing but a turban and a loincloth is meditating in front of a candle with his eyes closed. He lifts one hand and opens it to reveal a crumpled piece of paper. His eyes remain closed and he doesn't move as the paper suddenly bursts into flame and burns up on his palm. We hear a phone ring. The guy reaches behind him and pulls out a cell phone and answers it without opening his eyes.", "Guy: \"Yes? - I understand.\" Lowers the phone and extinguishes the candlewick between his finger. Stands up and opens his eyes to look at a sword blade leaning against the wall across the room from him. He holds out his hand and after a beat the sword flies across the room and the handle slaps into his hand. He whips the blade around the air as if fighting some invisible foes. Wes is putting jelly on Darla's exposed belly, and turns on the ultrasound machine.", "Wes: \"Well, then. Let's take a look, shall we? (Looks at the monitor) Well, I haven't studied one of these for quite a while.\"", "Angel: \"Isn't that a head?\"", "Wes: \"I think it is. Or is that the head?\"", "Fred: \"Maybe you're both right. (Everyone turns to look at her) It's not like I'm suggesting it's an evil two-headed thing.\" Wes moves the sensor around.", "Cordy: \"I see it.\"", "Darla: \"My little parasite.\"", "Wes: \"Oh, my...\"", "Angel: \"What is it?\"", "Wes: \"It's - it's human.\"", "Gunn: \"Human as is in humanoid? As in cannibalistic humanoid underground dwellers?\"", "Wes: \"No - human as in - a boy.\"", "Angel: \"Boy?\"", "Wes with a slight smile: \"A boy. A boy. (To Darla) You're carrying a boy.\"", "Darla: \"Great.\"", "Angel: \"Gonna have a son. (A slight smile creeps across Angel's face) I'm gonna have a son.\"", "Fred: \"Guys. As fascinating as an ultra-sound image of an unborn child may appear...\"", "Angel: \"Me. A father. To a son. You know what that means?\"", "Fred: \"We're surrounded by vampires?\"", "Angel: \"No, it's a human bo...\" Angel trails off as he looks away from the monitor for the first time and notices the vampires lining the teaching gallery above them and the back wall of the room.", "Angel: \"Oh. We *are* surrounded by vampires.\"", "Cordy: \"Ahem - so, who has a plan?\"", "Gunn: \"Don't let 'em kill us sounds like a good first step.\"", "Vampire: \"The miracle child.\" The other vampires echo him in a whisper.", "Vampire: \"For his time has come. (All the vamps bow down) Praise be. Praise be. Praise be.\" Break", "[SCENE_BREAK]", "Holtz and Sahjhan walk down the side walk of one of the streets in LA.", "Sahjhan: \"The buildings are taller, machines more powerful - and you can get really great Tai food at two in the morning. - But the thing to understand is that people are the same today as they were in your day. They drink too much. They fight. They work hard. They fall in love.\" Holtz sees a picture of a family pasted on one of the walls.", "Holtz: \"They have families.\"", "Sahjhan: \"Yes, they still have families.\"", "Holtz: \"I hope these men you've hired are ruthless bastards.\" They walk up to a metal door and Sahjhan knocks on it.", "Voice: \"Go away!\"", "Sahjhan: \"It's Sahjhan. (To Holtz) This is where we'll get your men. - Very exclusive.\" Holtz stands in the club watching a group of gray-skinned demons with upside-down walrus tusks train and fight each other.", "Holtz: \"These aren't men.\"", "Sahjhan: \"Once again: gender - not species. I should have said 'minions.' Have you seen Grappler demons fight? - Not the sharpest pencils in the box, but merciless in battle. - Okay, guys! Over here! Time to meet the new Jefe. And Flarmar, leave the head in the ring, okay?\" Flarmar grunts and drops the head he'd ripped of his opponent earlier.", "Sahjhan to Holtz: \"Ready to command your troops, captain?\"", "Holtz: \"Any other surprises I should know about?\" We get a close up of Darla's belly then the camera pulls back to show all the vampires kneeling, while AI and Darla stand in the middle of the room watching.", "Cordy: \"Hey, I'm all for being idolized, but - what the hell is going on?\"", "Angel: \"What do you want?\"", "Vampire: \"To protect the miracle child.\"", "Angel: \"Protect? Ah, that's good. We're all here for the same thing.\" The guy with the sword that Lilah called earlier suddenly jumps through one of the glass windows above, dressed like a ninja and holding the sword in front of him, screaming 'die!' The miracle child worshipping vampires jump on him en masse, and he goes down with a strangled scream. We hear a crunch and someone gulping down liquid.", "Vampire straightening from his meal: \"As it has been prophesied - by our great potentate Ul-thar, we vow our lives to protect this - special child.\"", "Angel aside to Darla: \"You hear that? Our kid. Special.\"", "Vampire: \"Now let us kill the humans so we may use their blood to nourish the mother - and her miracle child.\"", "Darla, smiling: \"Guess I'm getting dinner after all.\" Gavin is flipping through some blue prints on a table.", "Gavin: \"Commander, this should provide your ops team with a solid tactical base. Plan and elevation drawings of every floor in Angel's hotel. I also have strategic surveillance capabilities, so we can monitor the engagement from here.\"", "Commander: \"Excellent. I'm confident my men will be able to capture and retrieve the target. The larger question revolves around subsequent extraction of the target's cargo.\" Linwood looks from the commander to Gavin.", "Gavin quietly: \"Getting the baby from Darla.\"", "Linwood: \"Of course. And for *that* we have called in an expert.\" Lilah walks in followed by a man dressed in black.", "Fetanovich: \"You flatter me, sir.\"", "Lilah: \"Gentlemen, may I introduce Dr. Fetvanovich from our satellite office in the Balkans.\"", "Linwood shakes his hand: \"How do you do, doctor?\"", "Lilah: \"Dr. Fetvanovich is the world's foremost specialist in paranormal obstetrics. We are *very* fortunate he's consented to help.\"", "Doctor smiling: \"It is I who feel fortunate. A vampire birth is, ah - unprecedented. I look forward to dissecting both the mother and the child.\"", "Angel: \"Darla, you might wanna join the fight.\"", "Darla: \"Sorry, darling. I'm gonna have to be Switzerland and sit this one out. (To vampires) Now, you did say you were just gonna kill the humans, right?\"", "Vampire: \"Yes, just the humans. Then we will nourish you, slice you open, wear your entrails as a belt and consume your eyeballs before we worship the miracle child.\" Darla jumps off the table and goes to stand beside Angel.", "Darla: \"Okay. I'm in.\"", "Angel: \"Gunn, you and I can hold them off for as long as we can. The rest of you, get Darla to the car.\"", "Darla: \"Oh, I'd rather stay and fight. Show these youngsters a thing or two about real carnage.\"", "Angel: \"That's thoughtful, but, you know, you should go.\"", "Fred: \"Charles, do you have an extra dagger I could borrow?\" Gunn pulls out a dagger and hands it to her.", "Gunn: \"This okay?\"", "Fred: \"Perfect.\"", "Angel: \"No my count of three. One, two...\" Fred holds the dagger against Darla's belly.", "Fred: \"You freaks make one move and I'll slice the miracle kid into triplets.\"", "Cordy: \"It's always the quiet ones.\"", "Vampire: \"Wait!\"", "Fred quietly to Darla: \"They don't know the knife can't hurt the baby.\"", "Darla: \"They do *now.* Vampires have great hearing.\" The vampire leader smiles.", "Darla: \"Here we go.\" The vampires attack and a big fight ensues.", "Wes: \"Everybody out!\" The gang back up towards the door, and begins to file out. Angel is the last to leave, staking one last vamp with a broomstick before following the others. The camera pans around the dimly lit lobby. Suddenly a commando guy wearing a black ski mask pops up.", "Guy into radio: \"All clear.\" Two more commandos rappel down from the upper story and another group comes in through the front doors, followed by the doctor and his equipment.", "Guy: \"Lobby secure, sir.\"", "Doctor: \"Lets set up out here. - Oh, and get a hose. I'm afraid there might be some blood. - And you can set baby's cage next to mama's.\" Break Gunn is looking out over the back of Angel's as it speeds down a road.", "Gunn: \"I think we lost them.\"", "Angel: \"Anybody hurt?\"", "Cordy: \"Nothing a couple of band aids and a pint of Heathbar crunch can't fix.\"", "Wes: \"I'm good.\"", "Angel: \"Darla? - Darla, everything okay?\" Darla is sitting in the back between Gunn and Wes, with Wes holding a stake at the ready.", "Darla: \"Yeah. Fine.\"", "Wes: \"You all right?\"", "Darla: \"It's nothing!\"", "Angel: \"It's the kid, isn't it? Seeing him on the monitor.\" Darla raises her head and we can see a tear hanging from one of her eyes.", "Darla: \"No, I'm just disappointed that the vamp cult didn't kill all of you guys. - So, where 're we going? I'm famished and we all know how ugly that can get.\"", "Fred: \"Where *are* we going?\"", "Angel: \"Somewhere safe.\"", "Cordy: \"Where's safe? The hotel is definitely out.\"", "Gunn: \"How about if we go to...\"", "Angel: \"Vegas? Sorry, Gunn, too high profile, but I agree we need to get out of dodge.\"", "Wes: \"Actually...\"", "Cordy: \"God! I hate it when you say that word! 'Actually' means that your oversized gi-normous brain thought of something that the rest of us failed to consider, right?\"", "Wes: \"Just, other people seem to know a lot more about this kid's importance than we do. The only thing that can help us is back at the hotel. (To Angel) We can't protect your child unless we get the scrolls.\"", "Angel: \"Okay then. Quick stop.\" One of the commandos on guard in the yard hears a noise and looks around with his flashlight. When he doesn't find anything he returns to his post, only to be knock out from behind by Holtz. The doctor is setting out his instruments on a table in the lobby. He lifts up a big curved spatula-like thing, inspects it, then picks up the rake-like thing next to it. The doctor spins around as a door clicks shut. One of the commandos aims his gun at Holtz as he walks in.", "Doctor to Commando: \"Is this man with you?\"", "Holtz: \"Where is Angelus?\" Linwood is watching Holtz walk up to the doctor and the commandos closing in on both of them on a little monitor back in the basement at W&H.", "Linwood: \"Who is this pirate with a sword, and what is he doing in the middle of my operation?\"", "Lilah: \"I don't know, sir. But he called Angel by his old name, Angelus.\" Linwood as the monitor begins to crackle: \"I need better audio.\" Transcriber is fiddling with some wires: \"Any second.\"", "Holtz: \"Hand over the vampires.\"", "Linwood: \"This has gone on long enough. (To radio) I don't care who that man is. Take him out. Take him out now. (Puts down the radio then picks it back up) Over.\"", "Commando on screen: \"Take him out!\" The screen fusses out at the commandos close in and the screaming begins.", "Gavin: \"This should be sweet.\"", "Linwood: \"Picture?\"", "Transcriber: \"I'm working on it, sir.\"", "Gavin: \"Burke's never lost.\"", "Lilah: \"I'm sure it'll be over in just a second.\" A prolonged and heartfelt scream resounds from the speakers.", "Gavin: \"That should do it.\"", "Linwood to radio: \"Anybody there? - Over?\" Angel turns the convertible into a dark alley and brings it to a stop.", "Cordy: \"Why 're we stopping here?\"", "Angel: \"It's only a couple of blocks from the hotel. I'll go the rest of the way on foot.\" Cordy slides into the driver seat as Angel gets out and looks up at the surrounding buildings.", "Gunn: \"Hey, who said you get to be wheel man?\"", "Cordy: \"Who said it had to be a man?\"", "Angel: \"The scrolls?\"", "Wes: \"In the cabinet back in the office.\"", "Angel: \"If I'm not back in five minutes, leave without me.\"", "Cordy: \"Leave to where?\"", "Angel: \"Anywhere. Somewhere safe.\"", "Darla: \"Angel?\"", "Angel: \"Yeah.\"", "Darla after a beat: \"Just get out of here.\" Angel jumps onto the hood of the car and from there to the bottom rung of a fire-escape ladder and makes his way up the side of the building. Angel runs along the corridor in the Hyperion, drops down into the lobby and looks around at the destruction of Doctor Fetvanovich's equipment and the bodies of the W&H team. He sees the doctor's body, and chicken feet sticking out of his pants.", "Holtz: \"Angelus.\" Angel turns around and sees Holtz.", "Holtz: \"I've been looking for you.\" Darla is still in the back of the car. Wes is sitting on the trunk facing Fred, standing behind the car. Gunn is sitting on the side of the passenger door. Cordy starts the car.", "Gunn: \"He said five minutes!\"", "Cordy: \"It's been six and a half.\"", "Darla: \"It's so typical of him.\"", "Fred: \"It probably wouldn't hurt to wait another minute, right? I mean, what's the worst thing that could happen in another minute?\" Darla lets out a blood-curdling scream.", "Fred: \"Ask a stupid question...\"", "Wes: \"Her water's broken. This is for real. There should be a blanket in the trunk.\"", "Cordy: \"What are we gonna do? Deliver the kid right here? Shouldn't we go somewhere?\"", "Fred: \"What's keeping Angel?\" Gunn gets the blanket out of the trunk and he and Wes help a screaming Darla to lie down in the back seat while the camera pulls up to give us an overhead view of them." ]

[ "As Darla goes into labor, Team Angel tries to help her deliver the baby. Unfortunately, there are some unforeseen problems. Angel is captured by Holtz, who learns that Angel now has a soul. In the end, it's up to Darla to bring Angel's son into the world, no matter what the cost." ]

[ "[PREVIOUSLY_ON]", "Darla sees Liam for the first time - brawling at the pub.", "Darla: \"Who is he? - He's magnificent.\" Darla turns Liam in the alley.", "Darla: \"I could show you, things you've never seen.\" Shots the China flashback.", "Darla: \"We were together for a hundred and fifty years. - We shared everything.\" Angelus and Darla trapped in the barn in France.", "Angelus: \"Who's this man Holtz?\"", "Darla: \"A vampire hunter.\"", "Angelus: \"How does he keep finding us?\" Angelus bites Holtz wife.", "Angelus: \"We have message for your husband.\" Angelus at Holtz mercy in Rome.", "Holtz: \"You remember Caroline?\"", "Angelus: \"Pretty lass, hearty screamer?\" Sahjhan visits Holtz in England.", "Sahjhan: \"It'll be over two hundred years before you can find either Angelus or Darla. I want your word you will show them no mercy.\" Angel sees human Darla in a crowed LA park for the first time.", "Angel: \"That's her. Darla. She's back.\" Angel and Darla making out.", "Darla: \"God doesn't want you! But I still do.\" Angel waking up after.", "Darla: \"You still have a soul!\" Angel stops Darla from staking him.", "Angel: \"Get dressed and get out.\" Darla stand up from the barstool, hugely pregnant.", "Angel: \"This is impossible.\"", "Darla: \"Tell me about it - Daddy!\"", "Wes: \"You're carrying a boy.\"", "Darla: \"Great.\"", "Lilah to Linwood: \"No one seems to know *how* Darla could be pregnant.\"", "Wes: \"The Nyazian Prophecies speak of a Tro-clon, that brings about the ruination of mankind.\"", "Lilah: \"The scroll it's recorded on, seems to be missing.\" Darla having contractions in the backseat of the car.", "Wes: \"Her water's broken. This is for real.\" W&H's commando enter the Hyperion.", "Linwood: \"We got to get this baby before anybody finds out.\" Holtz walk into the Hyperion. Linwood sees him on the monitor.", "Linwood: \"I don't care who that man is. Take him out. Take him out now.\" Angel walks into the carnage left in the lobby after the fight.", "Holtz: \"Angelus? - I've been looking for you.\"", "Angel: \"Holtz. - My god.\"", "Holtz: \"You have no god, demon.\"", "Angel: \"The Tro-clon - the prophecy - raised up from darkness to bring darkness. That's you. Holtz, whatever brought you here...\" Some of Holtz' gGapplar demons stand up and catch Angel's wrists and neck in some metal clamps on the ends of long sticks, holding him fast.", "Holtz: \"You did. - You and your demon bitch. - For two hundred years I slept. For two hundred years - I dreamt of nothing - (Lays a sword against Angel's throat) but this moment.\"", "Angel: \"Which would explain why you look so well rested.\"", "Holtz pulls the sword back: \"You haven't changed.\"", "Angel: \"Actually, I have. While you were sleeping, a lot changed.\"", "Holtz: \"Really?\" Holtz throws something at Angel's face (Holy water?), and his face morphs into vampface for a split second, then back to human.", "Holtz: \"Somehow things seem the same to me.\"", "Angel: \"You're wrong.\" Holtz puts the sword tip against Angel's throat again: \"I *will* have justice.\"", "Angel: \"No. - I don't think you will. - There is no justice for the things I did to you.\"", "Holtz: \"You didn't do them to me. And you didn't do them alone.\" Holtz turns away and addresses the other Grapplar demons.", "Holtz: \"Find the female. If he's here, Darla can't be far. (Turns to look at Angel) Or are you going to tell me *that's* changed, too?\" Darla is screaming with pain in the backseat of Angel's convertible.", "Gunn: \"She's gonna pop right here.\"", "Wes: \"The contractions, they're coming more frequently now.\"", "Cordy holding a stake: \"You think?\"", "Wes: \"Angel's not back with the scrolls yet. I'd feel a lot better if we had the ancient prophecies to guide ?us.\"", "Cordy: \"Please! Women have been giving birth without ancient prophecies for years!\"", "Gunn: \"What we could really use right about now is some Vaseline and a catcher's mitt.\" Darla lets out another scream.", "Fred: \"I don't think she's ready to deliver yet, but she's moved into the active stage of her labor.\"", "Wes looks around: \"We have to go. We can't stay here. It's too exposed. Angel should have been back by now.\"", "Gunn: \"Something must have happened.\"", "Wes: \"Now it's up to us to protect Angel's unborn child. - Darla, we're trying to take you out of here. Relax. The trick is to breathe. Something like this: (Wes demonstrated short panting breaths) Heh, heh, heh, hoh, hoh, hoh, heh, heh, heh...\"", "Darla: \"I! Don't! (Sits up and sends all four of them flying backwards, away from the car, morphing into her vampface) Breathe!\" Darla breaks down in a fit of crying. Intro Holtz is riding hell for leather through the night, intercut with flashes of his wife and daughter. He bursts into his house, kneels down beside the body of his wife and sees the two puncture wounds in her neck. Holtz is sitting, crying into his hands.", "Sarah: \"Papa? - Papa.\"", "Holtz slowly lowers his hands: \"Sarah?\" He turns and sees his daughter in the doorway, clutching her doll.", "Holtz: \"Oh, Sarah!\" Hurries over to hold her.", "Holtz: \"Sarah.\"", "Sarah: \"Mommy won't wake up.\"", "Holtz: \"Shh... Quiet now.\" He sits down, pulls her against him and begins to sing a lullaby.", "Holtz: \"Sleep, my love, and peace attend thee, all through the night. Guardian angels god will lend thee, all through the night. Slow the drowsy...\" He pushes the hair back from her face and sees two puncture wounds in the side of her neck. Two of Holtz' men appear in the open door.", "Man: \"Captain.\" Holtz never taking his eyes off Sarah: \"Don't come in here.\"", "Man makes a cross: \"Sweet Jesus.\"", "Holtz: \"Get out!\" The men back away and Holtz resumes singing.", "Holtz: \"No forebodings (slowly backs away from his daughter) will alarm thee, all through the night.\" Holtz sits down on a bench against the wall and watches as his daughter sit in the middle of the room, playing with her doll.", "Holtz singing: \"They will keep all peril from you, all through the night...\" Wolfram and Hart, night, Lilah, Linwood and Gavin are walking down a corridor. Linwood is holding a picture of Holtz.", "Lilah: \"We've no idea who he is. We ran everything from the surveillance tapes through face and voice recognition and came up with nada. Whoever he is, he's not in the system.\"", "Linwood: \"A new player.\"", "Gavin: \"Or an old one.\"", "Linwood: \"Go.\"", "Gavin: \"Well, sir, he did address Angel as Angelus. That might suggest some sort of personal history.\"", "Linwood: \"An old friend.\"", "Lilah: \"Not likely. Angelus didn't have friends.\"", "Linwood: \"What's the status of our surveillance?\"", "Gavin: \"Still down, but we're working on it.\"", "Linwood: \"And we've heard nothing yet from Commander Burke's team or from Dr. Fetvanovich?\"", "Gavin: \"All units were successfully deployed at Angel's hotel. But that's all we know.\"", "Linwood: \"Actually that's all *you* know. - I, on the other hand, know nothing.\"", "Gavin: \"Sir?\"", "Linwood: \"It's clear that *I* could *never* have been involved in such an ill-conceived and in the end botched operation.\"", "Gavin: \"Because you were never here.\"", "Linwood: \"That is correct.\"", "Gavin: \"But *we* were.\"", "Linwood: \"You were. - I'll expect a full report at Thursday's staff meeting, and be advised, when I hear about all this for the very first time I will be both shocked and appalled. (Gives the a smile) Good night.\"", "Gavin: \"He's gonna crucify us.\"", "Lilah: \"They don't crucify here. It's too Christian.\" Angel is still held motionless by the metal grips while Holts admires one of Angel's swords.", "Angel: \"You're still human. How'd you manage this?\" Holtz puts the sword back into the weapons cabinet.", "Holtz: \"So, the question becomes - now that I have you - what's the best way to get her?\"", "Angel: \"Only dark magics could have brought you this far.\"", "Holtz: \"She was always the trick, you know, not you. Darla was the unpredictable one.\"", "Angel: \"Was it a demon - or something else?\" Holtz points a stake at Angel's chest: \"What if I just - kill you now? Would she somehow sense it? Would she then come running? (Walks away from Angel) Would that bring her bursting through those doors, I wonder?\"", "Angel: \"Did something come to you, or did you seek it out?\"", "Holtz: \"She might show herself in the service of revenge. - It can be a powerful motivator.\"", "Angel: \"Yes, it can. What did you have to give up for this second chance?\"", "Holtz: \"Give up? (Turns to face Angel) I had nothing *to* give up. *You* saw to that.\"", "Angel: \"We took a lot from you, that's true. But we didn't get everything. We couldn't take your soul.\"", "Holtz: \"What do you know of a soul.\"", "Angel: \"I know yours will be destroyed if you allow yourself to be used in the service of evil. - You're a good man, Holtz. A righteous man - and you're being used - for some purpose - other than justice.\"", "Holtz: \"Could it be you really have changed? - I don't remember you ever pleading so cravenly before.\"", "Angel: \"And I remember *you* used to work with men.\" Holtz hits Angel hard across the face. Gunn crouches down between Cordy and Fred.", "Gunn: \"Smack him again.\" Cordy gives the side of Wes' face a slight smack.", "Wes: \"Ow.\" Wes opens his eyes and slowly sits up, reaching one hand towards the back of his head.", "Wes: \"That hurts.\"", "Cordy: \"Well, you know what they say: birth -painful.\"", "Wes: \"Yes, but generally for the mother, not the bystanders. How long have I been out?\" Wes accepts a hand from Gunn to help him to his feet.", "Fred: \"Not long, but we seem to be between contractions now.\" They turn to look at Darla, how is sitting in the backseat of the car, gesturing while talking to herself and crying.", "Cordy: \"Yep. She's been doing that.\"", "Gunn: \"Hormones.\" Looks in Cordy's direction as he takes a step back.", "Wes: \"Come on then. (Walks towards the car) Darla? Darla, do you feel well enough to travel?\" Darla nods.", "Wes: \"Good.\" Wes gets into the driver's seat. Everyone else piles into the front seat as well. Fred, the last to get in, ends up sitting half on Cordy and Gunn's lap.", "Darla: \"Doesn't anyone wanna sit back here with me?\"", "Cordy: \"We're good.\"", "Gunn: \"Yeah, it's - comfy.\"", "Darla: \"I promise I won't throw anyone out of the car. - Not while it's moving.\"", "Fred: \"It's not that we don't trust you. I mean, we *don't* trust you. But the fact is, your water broke all over the back seat.\"", "Darla: \"Oh.\"", "Cordy looks at Wes: \"What? What are you waiting for?\"", "Wes: \"I presume we have a tire iron in the trunk?\"", "Gunn: \"Yeah, why? We got a flat?\"", "Wes: \"And how about a hurling ax, or some sort of heavy mallet?\" The turn to see what Wes is looking at: Grapplar demons stepping out of the shadows in front of the car.", "Wes: \"Also a shotgun wouldn't be a terrible thing at this juncture.\" They all turn to look behind the car. More Grapplar demons.", "Holtz: \"Are you still concerned about my soul, Angelus? My vampire priest?\" The door opens and a Grapplar comes in.", "Holtz: \"Excuse me.\" He walks over to receive the demon's report. Turns back to look at Angelus.", "Holtz: \"You've got her. Good. Bring her in.\" Angel watches the door as the Grapplar pulls in his captive.", "Angel: \"Lilah.\"", "Holtz: \"This isn't her.\" Holtz walks over and throws some water in Lilah's face.", "Holtz: \"She's not even a vampire.\"", "Lilah wiping her face dry: \"No, I'm an attorney.\"", "Angel: \"Let me guess: dead guys all over my floor - friends of yours?\"", "Lilah: \"Look, if I'd known you were torturing him, I wouldn't have interrupted. Please, continue. I'll wait until your finished.\"", "Holtz: \"When I'm finished, he'll be dead.\"", "Lilah: \"Really?\"", "Holtz: \"You say you're an attorney. You deal in man's laws, I deal in god's.\"", "Lilah: \"Ah, right. A good guy.\"", "Holtz: \"Do you know what he is?\"", "Lilah: \"Yeah, I know. (Reciting) Vampire, cursed by gypsies who restored his soul. Destined to atone for centuries of evil, wacky sidekicks, yada, yada. I'd have him killed myself, except the people I work for have this (makes air quotes) 'policy.'\"", "Holtz: \"Hm.\"", "Lilah: \"Hmm.\" Holtz turns to look at Angel: \"What does she mean 'cursed by gypsies?'\"", "Angel: \"Long story, Holtz. I doubt it would interest you much.\"", "Lilah: \"How about I go to my car for about twenty seconds? That should give you enough time in here. Then I gotta call some people to clean this mess up. I've got an early staff meeting in the morning.\" Angel glances down and spots a grenade in the hand of one of the dead commandos at his feet.", "Holtz: \"I can't allow you to leave.\" Angel cranes his neck to glance at the elevator behind him while Holtz' attention is on Lilah.", "Lilah: \"What do you mean? Of course you can.\"", "Holtz: \"No. You said you work for the law.\" Angel puts the tip of his shoe under the dead man's open hand.", "Lilah: \"No, I didn't. I said I'm a lawyer. I don't care about the law.\"", "Angel: \"Lilah?\"", "Lilah: \"What?\"", "Angel: \"Duck.\" Angel flips the grenade up and catches the pin in his mouth. He shakes his head and the grenade flies free from the pin. The top comes off the grenade as it lands on the floor and it explodes a moment later, blasting Angel back and throwing Holtz to the floor. Holtz picks himself up and looks at the man-shaped hole in the elevator doors. He picks himself up, runs over to them and looks down the empty elevator shaft.", "Holtz to his minions: \"Search the grounds! (To Lilah) Those men you sent to kill Angelus, they were each of them brave.\"", "Lilah: \"Oh, good.\"", "Holtz: \"They fought to the last.\" Lilah looks at the bodies on the floor: \"Yeah, I get *that*.\"", "Holtz: \"But send more, and I'll do the same. No one will have him but me.\"", "Lilah: \"There weren't sent for Angel. This was meant to be a party for his girlfriend.\"", "Holtz: \"You know of Darla?\"", "Lilah: \"Sure.\"", "Holtz: \"Tell me, these gypsies, did they curse her as well? Has she, too, been re-ensouled?\"", "Lilah: \"Darla? No. She's free-range evil.\" Holtz turns away with a nod: \"Hmm.\"", "Lilah: \"Hey, if you do manage to catch up with her, I think maybe we can do some business.\"", "Holtz looks back at her: \"The only business that I have with Darla is to send her back to the hell that made her.\" Lilah opens her mouth to say more, but Holtz is already walking away.", "Lilah: \"Yeah, okay. Whatever. (Pulls out her phone) Harvey? It's Lilah. I've got a job for you. Angel Investigations.\" She leans on the reception desk and sees the remnant of the Nyazian scroll, picks it up and plays with it while continuing to talk.", "Lilah: \"Yeah. Full cleaner service. (Stops to twist the piece of dark gray material and stares at it) Thanks.\" Lilah puts her phone away, glances around and quickly picks up a picture frame lying on the counter and put it over the piece of the scroll and some memo pads. Glancing around the picks the whole stack up and turns to the doors. Wes, Gunn and the girls a fighting the Grapplars while Darla just sits in the back of the car arguing with herself.", "Wes: \"Keep the moving.\"", "Gunn: \"Don't let them get behind you!\" Darla shakes her head, gets up out of the back seat and slides behind the wheel.", "Fred: \"Charles! (Gunn clobbers the Grapplar about to get Fred) Thanks.\" Fred swings her bat at Gunn. He ducks and Fred's swing hits the demon behind him full across the face. As the gang continues to fight, Darla starts the car. She puts it into gear and mows down the two demons standing in front of it. Slams on the breaks, backs over one of the Grapplars behind the car, then squeals out of there leaving the her defenders to stare after the disappearing car. A slightly singed looking Angel comes up behind them and cranes his head to look over their shoulders.", "Angel: \"What are we looking at?\" Everyone turns to stare at him. Break", "Wes: 'Holtz?\"", "Angel: \"Yeah.\"", "Wes: \"The vampire hunter that tracked you and Darla...\"", "Angel: \"Through the late seventeen hundreds, yeah.\"", "Gunn: \"Sure it wasn't his great, great, great-grandson?\"", "Angel: \"No it was him.\"", "Fred: \"Maybe he's part of what's supposed to rain down ruination upon mankind. The Nyazian Prophecies did say that the Tro-clan was going to be a confluence of events.\"", "Cordy: \"And the sudden appearance of an eighteenth century vampire hunter in the twenty first century does seem pretty confluey.\"", "Gunn: \"You think he's here for the baby?\"", "Angel: \"I don't think he even knows about it.\"", "Fred: \"He wouldn't have to. That's the tragic beauty of a cosmic convergence. I-I mean, he just plays his own small part. He-he comes here looking for Angel and Darla, and in the process ends up finding Angel's unborn child, who, as it turns out, wasn't evil at all as we feared, but was actually meant to be some sort of Messianic figure. But Holtz kills it before it's even born and his vengeance somehow triggers the end of the world! (She smiles at the others, who just look at her) Or not! It could go either way. - Have you thought of a name yet?\"", "Wes: \"We need to find Darla before Holtz does.\"", "Angel: \"I can find her a lot faster on my own.\"", "Wes: \"Of course.\"", "Angel: \"If you guys could just find some place safe for her to have this baby, we'll come to you.\"", "Gunn: \"We can do that.\" Angel turns to go.", "Cordy: \"Hey! (Angel turns back) Be careful.\" Angel turns to go.", "Wes: \"Angel. (Angel turns back) The scrolls, you didn't manage to...\"", "Angel: \"No.\" Angel leaves.", "Wes: \"I'm sure we'll be fine without them.\" A guy wearing white gloves is examining the remnant of the scroll in Lilah's office.", "Man: \"Nyazian. Exquisite! I recognize the Ga-shundi cross-text. Quite a find! Have you any idea what this is worth?\"", "Lilah: \"Hopefully enough to cover my ass. (Hands him the memo pad) Here, these notes should help speed things up a little.\"", "Man: \"Ah! You had another translator work on this I see. - I don't recognize the handwriting but the idiom would indicate an Englishman.\"", "Lilah: \"I don't know. I don't remember.\"", "Man: \"It wasn't Worm Forsch in Ancient Symbols and Icons, was it? He's had his eye on my cubicle.\"", "Lilah: \"No, it was somebody else. You don't know them.\"", "Man: \"He's only got that one eye...\"", "Lilah: \"Don't worry about it. Outside contractors. Now, I've highlighted the sections they seemed to be concentrating on.\"", "Man: \"You *highlighted* an ancient Nyazian Scroll?\"", "Lilah: \"In yellow.\"", "Man: \"Hmm.\"", "Lilah: \"So, can you translate it?\"", "Man: \"When it comes to sacred prophecies it's always going to be more of an interpretation than a strict translation.\"", "Lilah: \"I'm just looking for the gist here. What does it say?\"", "Man: \"Let's see. (Looks through his magnifying glass at the symbols on the scroll) Bring... forth... appear... born... Uh! Something about a birth!\"", "Lilah: \"What? What about the birth?\"", "Man: \"It's unclear.\"", "Lilah: \"Make it clear.\"", "Man: \"Well, this should be fun!\"", "Lilah: \"No. This shouldn't be fun, what it should be is done by morning - or I'll have your family killed.\" Lilah leaves. Holtz is back in the chamber he woke up in talking to Sahjhan.", "Holtz: \"You knew. You knew and you didn't tell me.\"", "Sahjhan: \"Okay! So I left out one teeny weeny little detail. It didn't seem all that important.\"", "Holtz: \"Not important? Angelus with a soul?\"", "Sahjhan: \"It doesn't mean anything!\"", "Holtz: \"It means everything.\"", "Sahjhan: \"See? This is *why* I didn't mention it. So Angel has a soul. Big whoop! So did Attila the Hun! Not to mention a heart as big as all outdoors when it came to gift giving. He is *still* a vampire! Angel, not Attila.\"", "Holtz: \"He's not the same vampire.\"", "Sahjhan: \"Of course he is! His hair is a little shorter, a little spikier. He's using product. But it's the same guy.\"", "Holtz: \"No. He's changed. He's - different.\"", "Sahjhan: \"Look. I don't know what kind of moral mind games you've been torturing yourself with, but can't let this soul thing get in the way of what you swore to do.\"", "Holtz: \"Get in the way?\"", "Sahjhan: \"That's what this is about, right? You find out Angel has a soul, now you're wondering if things are a little murkier - ethically speaking.\"", "Holtz: \"Things - have never been clearer. Releasing his soul to suffer for all eternity only makes his destruction more just, more fitting.\"", "Sahjhan: \"Oh. Well, then what's the problem?\"", "Holtz: \"You've had me hunting the wrong prey.\"", "Sahjhan: \"Ah! Right. Because an Angel with a soul is going to be a slightly different challenge from an Angel without a soul.\"", "Holtz: \"I must know everything.\"", "Sahjhan: \"Right. No, gotcha. My mistake.\"", "Holtz: \"You've kept nothing else from me then?\"", "Sahjhan: \"Ah. - No. - Nothing I can think of.\" Darla is standing on top of a building looking over the city below, her hands cradling her pregnant belly.", "Angel: \"You always did love a view.\"", "Darla: \"Look at it. Listen to it. Can you smell it? This world. This horrible world. Why would anyone want to bring a baby into it?\"", "Angel: \"To make it better, maybe?\"", "Darla: \"Or to destroy it finally.\"", "Angel: \"Why is it everyone insists on planning my son's future before he's even born?\" Darla turns and walks past where Angel is standing.", "Darla: \"Alright then, how's this? It doesn't have a future. Not with me.\"", "Angel follows her: \"Darla...\"", "Darla: \"Angel, I can't have this baby.\"", "Angel: \"What?\"", "Darla: \"I can't let it out. I-I can't.\"", "Angel: \"Okay, not sure you have a lot of choice in the matter...\"", "Darla: \"Look, I know. It wants to come out. I can feel it. It's ready. It's just - I can't let it. I can't let because... because...\"", "Angel: \"You love it.\"", "Darla: \"Completely. I love it completely. I-I-I don't think I've ever loved anything as much as this life that's inside of me.\"", "Angel: \"Well - you've never *loved* anything, Darla.\"", "Darla: \"That's true. Four hundred years and I never did - till now. - I don't know what to do.\"", "Angel: \"Well, you-you'll do the only thing that you can do. - You'll have it. You'll have it and then...\"", "Darla: \"What? We'll raise it?\"", "Angel: \"Why not?\"", "Darla: \"It's impossible.\"", "Angel: \"This whole thing is impossible, Darla, but it's happening.\"", "Darla: \"What do I have to offer a child, a *human* child, besides ugly death?\"", "Angel: \"Darla.\"", "Darla: \"You know it's true.\"", "Angel: \"No. What I do know is that you love this baby, our baby. You've bonded with it. You've spent nine months carrying it, nourishing it...\"", "Darla: \"No. No, I haven't been nourishing it. I haven't given this baby a thing. I'm dead. It's been nourishing me. These feelings that I'm having, they're not mine. They're coming from it.\"", "Angel: \"You don't know that.\"", "Darla: \"Of course I do! We both do. Angel, I don't have a soul. It does. And right now that soul is inside of me, but soon, it won't be and then...\"", "Angel: \"Darla...\"", "Darla: \"I won't be able to love it. I won't even be able to remember that I loved it. (Starts to cry) I want to remember.\" Angel pulls her against him.", "Angel: \"Shh...\" Angel closes his eyes as he holds a crying Darla.", "Lorne: \"Here?! She wants to have it here? Well, that's just a terrible idea. Can't you see I'm working my tush off trying to get ready for a grand re-opening? (To a girl carrying a big jar) Uh, ah, Gorsh entrails behind the bar next to the Maraschinos. I can't have *baby* here! I just had the booth simonized.\"", "Cordy: \"Lorne, what do you want us to do? Tell Angel and Darla that they're not welcome here?\"", "Lorne: \"No. No, of course not. Caritas is and will always be a Sanctuary. That is if *some* people ever finish the work they promised to have done three days ago. How's the job coming, Arnie?\"", "Arnie: \"I think we'll have up on her feet by the time you open tomorrow night.\"", "Gunn: \"New security system?\"", "Lorne: \"Yeah, routes the new sanctuary spells together to prevent both human and demon violence, Creating a totally carnage free Caritas.\"", "Arnie: \"But, ah, balancing that interspecies flux, a little trickier than I expected.\" Lorne takes the leaflet Arnie is working from away from him.", "Lorne: \"Uh-huh. That's not the only thing that's tricky around here. You hum while you work.\"", "Arnie: \"Yeah, so?\"", "Lorne: \"So? I just read you, buster! Which connection are you leaving unconnected to milk this job?\"", "Arnie: \"You're questioning my work ethic?\"", "Lorne: \"No, I'm firing you! Get out. Out. Git. Go on.\" Lorne pushes Arnie towards the door.", "Arnie: \"Hey, I'm union. You got to pay me for the full day.\"", "Lorne: \"Out. I'll finish this myself. How hard could this be?\" Lorne opens the leaflet. Angel and Darla are standing beside each other on the rooftop, each facing a different way.", "Darla: \"You won't let me hurt it, will you? You'll protect it, right? From me, I mean.\" Angel's cell phone rings and he answers it.", "Angel: \"Yeah.\"", "Wes: \"We found a place.\"", "Angel: \"Is it safe?\" Wes looks over at the host working on the equipment.", "Wes: \"I'm sure by the time you get here it'll be safe as houses.\"", "Lorne: \"Okay. Try that.\" Fred sighs and give Gunn a slight slap across the face.", "Fred: \"Nope, still not working.\"", "Lorne: \"Okay. Ah. - Try it now.\" Fred slaps Gunn again.", "Gunn and Fred: \"No!\" Darla hunches over and leans against a post.", "Angel: \"Hey - Darla? We should - get going. I feel a storm coming. You okay? Another contraction?\"", "Darla: \"No. It's something else.\" Lilah walks into her office.", "Lilah: \"You got something?\"", "Man: \"Yes. I believe I do. I have to say, whoever you had working on this before was very close. These notes were enormously helpful.\"", "Lilah: \"That's great. What does it say?\"", "Man: \"I can see he ran into trouble right here with the tense. Ga-shundi tenses are tricky little buggers! (Laughs)\"", "Lilah: \"I'm riveted. The birth! What does it say about the birth?\"", "Man: \"Well, actually, it's funny... it doesn't.\"", "Lilah: \"What do you mean, it doesn't. But you said it did.\"", "Man: \"Yes, I did say it did.\"", "Lilah: \"But it doesn't.\"", "Man smiling: \"In a way.\"", "Lilah: \"I have a gun.\"", "Man: \"The prophecy, it's not so much a birth announcement as it is an obituary.\"", "Lilah: \"Obituary?\"", "Man: \"Yes. The prophet is telling us there will be no birth.\"", "Lilah: \"But are you sure?\"", "Man: \"Oh, quite sure! 'For surely in that time, when the sky opens and the heavens weep, there will be no birth, only death.'\"", "Lilah: \"Only death?\"", "Man: \"Just death.\"", "Lilah considering: \"Just death.\" A slight smile plays across her face. Break", "[SCENE_BREAK]", "Holtz is sitting in his house staring straight ahead. The two men form the night before have come back. It is now day outside.", "Man: \"Captain. (Holtz doesn't move) Captain, we beg you. Let us take you out of this place. (Looks at Caroline's body) It's the devil's work.\"", "Holtz: \"Not the devil. Just a demon.\" The man looks over at Sarah cowering in a dark corner, clutching her doll.", "Man: \"What are we going to do?\"", "Holtz slowly gets up: \"Whatever we have to.\" Holtz walks over to Sarah and picks her up.", "Sarah: \"Papa, no! Please, no, papa! Papa, don't. Let me go!\" Holtz caries her over to the door and out onto the roofed porch.", "Sarah: \"No, papa. Papa, don't!\" Sarah tries to cling to one of the porch's pillars, but Holtz pulls her away and pushes her out into the bright sunlight of the front yard. She turns back to look up at him, morphing into vamp face as she burns up in the direct sunlight. Holtz stays and watches until she's gone then walks back into the house. Wes is pacing. Gunn is sitting in front of the bar, playing his gameboy. Cordy is sitting on a stool behind him, reading a magazine. Fred is sitting beside Lorne reading the leaflet, while Lorne is still messing with whatever magic-machine Arnie was installing.", "Lorne: \"Okay. Okay. I'm *convinced* I got it this time!\" Cordy smacks the back of Gunn's head.", "Gunn: \"Ow.\" Lorne takes the leaflet away from Fred: \"Let me see that.\" Angel supports Darla as he's leading her down the stairs.", "Angel: \"Just a few more steps. That's it. Okay. All right.\" Wes walks over to them.", "Angel: \"Guys. A chair. Chair.\" Wes pulls a chair out for Darla.", "Gunn: \"Jeez, what happened?\" Angel helps Darla into the chair: \"Easy.\"", "Darla: \"Thanks.\" Gunn looks from Angel to Wes. Angel motions with his head to the corner of the room and he and Wes walk away.", "Cordy to Darla: \"You're welcome.\"", "Fred: \"You gave us quite a scare. - But - I guess you're used to that, what with being a scary thing and all.\" We hear thunder rumbling outside.", "Darla: \"Yeah. I'm sorry about that. I don't know what got into me.\" Darla starts to laugh quietly to herself as she looks down at her belly.", "Angel: \"She's in a lot of pain.\"", "Wes: \"How frequent are the contractions?\"", "Angel: \"It's been... I don't know, maybe an hour?\"", "Wes: \"An hour? She was well into the active stage of labor. I don't understand.\"", "Angel: \"I don't either. She just - stopped having them.\"", "Wes: \"But the pain she's experiencing?\"", "Angel: \"She says she's experiencing something else.\"", "Wes whispering: \"That's worrying.\" Darla suddenly hunches over with a moan of pain.", "Cordy: \"Angel!\" Angel hurries to her side.", "Angel: \"Darla?\"", "Darla: \"Angel!\"", "Lorne: \"Let's get her into my bedroom. Come on.\" He and Angel help her up and lead her away.", "Lorne: \"Easy. Easy now. Come on, sweetheart. We'll get you right in there.\" Fred looks down at the chair Darla was sitting on as notices a little puddle of dark blood on the seat.", "Sahjhan: \"It's time to get to work.\"", "Holtz: \"You found him then?\"", "Sahjahn: \"Tell him.\"", "Arnie: \"Don't forget what we discussed.\"", "Sahjhan: \"You'll get your money.\"", "Arnie: \"I've heard that one before. You know, I've got mouths to feed. Plus a family. Some of them have mouths, too.\"", "Sahjhan: \"Just tell him what you heard!\" Arnie's eyes light up and he mimics Cordy: \"Lorne, what do you want us to do? Tell Angel and Darla they're not welcome here? (Mimics Lorne) No, of course not. Caritas is and always will be a sanctuary.\" Angel waits at the door as Wes and Fred check on Darla lying on Lorne's bed, then walk over to him.", "Angel: \"Is she gonna be okay?\"", "Wes: \"She's tough as nails.\"", "Fred: \"And immortal, so that's, you know, in her favor - health wise.\"", "Angel: \"What about the baby?\" Wes glances back at Darla, then walks out of the room. Angel follows him. Darla lifts her head and watches the leave.", "Angel: \"What? What is it?\"", "Wes: \"Angel, I think you need to prepare yourself for the worst.\"", "Angel: \"No.\"", "Wes: \"The babies heartbeat is faint. Very faint.\"", "Angel: \"What do we do?\"", "Wes: \"I'm not sure there is anything we can do. Darla's body - it's not a life-giving vessel. I don't know that it's equipped to do what it needs to do in order to bring a baby to term.\"", "Angel: \"So-so, what-what are you saying? We just let it die?\"", "Cordy: \"Ah, what about a c-section?\"", "Fred: \"Normally that's exactly what we'd do in this instance, but... the mystical forces that's been protecting the pregnancy...\" Thunder rumbles outside.", "Angel: \"...is gonna end up killing it.\"", "Wes: \"That's my fear.\" Angel sighs, and rubs his eyes: \"This doesn't make any sense. I mean, this whole thing has been a miracle, right? You don't just get half a miracle, do you? - I mean, the powers - they brought her this far, they protected the baby all this time...\"", "Gunn: \"We don't know that. We don't know that it's the powers that's been protecting it. Angel, I'm sorry, but what if what Darla's carrying *is* the thing in the prophecies? That scourge of mankind that's supposed to plunge the world into ultimate darkness? - What if - what if what's happening to Darla *now*, what if that's the powers? Finally stepping up to the plate and doing something for once!\"", "Angel staring straight ahead: \"How? By killing my kid?\" Angel walks towards Lorne's bedroom.", "Cordy to Gunn: \"Do you always have to be so damned honest?\" Cordy reaches out to slap Gunn on the arm, but her hand is repelled by a by blue force field.", "Lorne: \"What? Hey! Hey, it-it worked! I fixed it!\" The others continue to look glum.", "Lorne: \"Ah, yay, me?\" Angel stands in the doorway of Lorne's bedroom and looks at Darla for a moment before walking over and sitting down on a chair beside the bed. Darla stirs, opens her eyes and looks at him.", "Angel: \"Hi. How 're you doing?\"", "Darla: \"He finally stopped kicking.\"", "Angel: \"Did he.\" He leans forward and lays one hand on Darla's belly.", "Angel: \"I guess he figured he finally got your attention. - You called him a 'he.' (With a slight smile at Darla) I think that's the first time you've ever done that.\"", "Darla: \"He's dying. (Angel's smile melts away, but he refuses to look away from her) Isn't he?\"", "Angel after a beat: \"No.\"", "Darla: \"You lied much better when you didn't have a soul. - I can feel the life slipping away from me.\"", "Angel: \"Then don't let it. You have to fight for this. - Please.\"", "Darla: \"I don't know how. My boy. (Strokes her belly) My darling boy. - I told you I had nothing to offer this kid. Some mother (there are tears in Darla's eyes) can't even offer it life.\" Gunn gets up off his stool: \"Maybe I should go in there, apologize.\" Wes takes hold of his arm: \"Best to just stay here, wait this out.\"", "Cordy: \"I think both Angel and Darla just need a little time alone.\"", "Fred: \"This isn't gonna end well, is it?\"", "Lorne: \"Okay. Everybody's drinking. I'm buying.\" He gets up from his chair and sees Holtz walk into the bar.", "Lorne: \"Oh, hello.\" Holtz looks Lorne up and down: \"Hello.\"", "Lorne: \"We're not open at the moment. Why don't you come back tomorrow night? (Hands him a flyer) It's the grand re-opening. Here. Here's a flyer.\"", "Holtz takes it: \"Thanks.\" Lorne walks around the bar to pour some drinks. Holtz takes a slow look around, the turns and walks out, singing quietly: \"Sleep, my love and peace attend thee, (Lorne starts to hum along) all through the night, guardian angels god will send you, all through the night...\" Lorne's eyes suddenly widen and he drops the bottle and glass back onto the counter.", "Lorne: \"Run!\"", "Cordy: \"What's going on?\" Lorne heading for the back of the club: \"Just run! Run.\" The others get up and follow him. A red metal barrel tumbles down the stairs and comes to rest just on the other side of the metal security doorway. A grenade bounces down the steps and comes to rest beside it. A beat later the grenade explodes and big fireball sweeps through the club, destroying everything in its wake. Break Angel is supporting Darla beside the bed as the others run in.", "Angel: \"What's going on?\"", "Wes: \"We're being attacked.\"", "Angel: \"Attacked? I thought you had double protection sanctorium spells?\"", "Lorne: \"I do. It's a thing with the door and the stairs and the world and the thing. Never mind!\"", "Gunn: \"Apparently you can be outside and shove stuff in.\"", "Lorne: \"I just said that.\" A burning beam crashes through the ceiling beside Angel and Darla. Darla lets out a little scream.", "Angel: \"It's Holtz.\"", "Darla: \"What?\"", "Lorne: \"Come on. We've got to move the bed.\" The others go and help Lorne.", "Darla: \"How's it possible?\"", "Angel: \"He's here. I would have mentioned it before, but I didn't think it was the right time.\" Darla sinks down onto a chair.", "Darla: \"No. No, it's the perfect time.\" Gunn as they pull out the bed: \"What's behind the bed?\"", "Lorne: \"An old loading dock door. I had the whole place converted.\"", "Wes: \"What's on the other side?\"", "Lorne: \"An alley.\"", "Darla: \"What we did to him.\"", "Angel: \"I know.\"", "Gunn: \"You got an ax, a hammer or anything?\"", "Wes: \"Buddha head.\" Hands it to Gunn.", "Cordy: \"A rhino.\" Hands it to Wes. He and Gunn haul back with the statues and attack the wall.", "Darla: \"That's why this is happening. His family, his children... - what that must have been like for him. Doesn't seem so funny now, does it?\"", "Angel: \"Darla?\"", "Wes: \"Angel, we could use some vampire strength here.\"", "Angel: \"Cordy, Fred!\" Cordy and Fred take his place with Darla. Angel steps between Wes and Gunn who step aside and watch him batter down the wall with his fists and feet. Holtz walks into the burning remains of the club. A back alley lit by Chinese lanterns. Angel breaks through into it from Lorne's bedroom. Wooden shards fly as he enlarges the opening. Cordy steps through it, followed by Wes, Fred, Gunn and Lorne. Then Angel half carries Darla through it.", "Darla: \"No. No. Go on. I can't. It doesn't matter anyway.\"", "Angel: \"I'm not leaving you, alright? Easy. Alright. (Pulls out his keys and tosses them towards the others.) Go get my car. It's out front.\" He lowers Darla to the ground and crouches down beside her.", "Angel: \"I got you.\" Cordy makes move to join him.", "Angel: \"Go!\" All of them turn and hurry off (Lorne is holding to pieces of cardboard over his head to keep some of the rain off himself), but after a few steps Fred stops and runs back to crouch beside Angel and Darla.", "Angel: \"Fred, go with them.\"", "Fred: \"It's okay. They'll come back for us.\" Angel takes off his jacket and slings it around Fred's shoulders.", "Angel to Darla: \"You're gonna be okay.\"", "Darla: \"No. No, I don't think so. Once he's gone, I won't be okay. I won't be okay at all. - I don't know what I'll be. - Angel... Our baby is gonna die right here in this alley. - You died in an alley, remember?\"", "Angel: \"I remember.\"", "Darla: \"I wanna say I'm sorry. I wanna say it and mean it, but - I can't. - Aren't you gonna tell me it's okay?\"", "Angel: \"No.\"", "Darla: \"No? It's really not, is it? We did so many terrible things together. So much destruction, so much - pain. - We can't make up for any of it. You know that, don't you.\"", "Angel after a beat: \"Yeah.\"", "Darla: \"This child - Angel, it's the one good thing we ever did together.\" Angel lifts Darla's hand between both of his and pressed it against his lips.", "Darla: \"The only good thing.\" Angel buries his face in his hands, still holding onto Darla's, takes a sobbing breath.", "Darla: \"You make sure to tell him that.\" Darla is holding one of the splinters of wood and buries it in her chest, gasping. Angel lifts his head and stares as Darla turns to dust. Where Darla was there is now a naked human infant lying in the rain, crying. Holtz steps into Lorne's bedroom with flames flickering all around him. Lifts his crossbow and looks around. Angel carefully gathers up the baby. Holtz steps through the hole in Lorne's wall into the alley. Lifts the crossbow and aims it at Angel as Angel slowly stands up, cradling the crying infant. Fred hands Angel's jacket back to him and he wraps it around the infant. Holtz is watching them over his crossbow. Angel slowly turns his head and sees Holtz. For a moment they just look at each other. A Grapplar appears at the mouth of the alley behind. Angel looks from it to the baby (that has quieted down) to Holtz. Angel's car pulls up behind two Grapplars at the other end of the alley and Wes gets out. Holtz slowly lowers his crossbow, still looking at Angel cradling the infant against his chest. After a beat Angel slowly walks past Holtz, Fred clinging to his right arm. Holtz watches as Angel and Fred pass between the two Grapplars.", "Sahjhan: \"Do it! Now's your chance. Do it! Finish it while you still can! You can't just let him walk away! Not now! Not after what you swore to me!\" Holtz watches as Fred and Angel get into the car.", "Holtz: \"I swore that I would show no mercy. (Watches Angel's car drive away) And I won't.\"" ]

[ "With the birth of Angel's son, the gang returns to the Hyperion to regroup. There are countless demons, humans and lawyers after the baby now, and Angel is scared to let the kid out of his sight. Team Angel will have to help him keep Connor safe and defeat the baby's enemies. Meanwhile, Holtz finds an ally, a vengeful woman named Justine." ]

[ "[PREVIOUSLY_ON]", "Darla and Angelus kill Holtz family.", "Darla: \"His family, his children...\"", "Sahjhan: \"It will be over two hundred years before you get another chance to confront either Angelus or Darla.\"", "Holtz: \"I'm *tired* of waiting!\" He tries to choke Sahjhan, but his hands go right through the demon.", "Sahjhan: \"And I want your word that you will show them no mercy.\"", "Linwood: \"Who's this pirate with a sword?\"", "Lilah: \"Whoever he is he is not in the system.\"", "Angel: \"This is impossible.\"", "Darla: \"Tell me about it - Daddy!\" The gang looks at the ultrasound of the baby.", "Fred: \"Wonder if that might not be that bad thing we were expecting.\"", "Linwood: \"We need to get it, dissect it and find out what it means.\"", "Wes: \"It's human.\"", "Angel: \"I'm gonna have a son.\"", "Translator: \"The prophet is telling us: There will be *no* birth.\" Darla screams and throws Gunn, Wes, Fred and Cordy away from the car.", "Lorne: \"She wants to have it here?! Can't have a baby here!\" The barrel rolls down the stairs and explodes in a ball of fire. Angel helps Darla out the back of Lorne's bedroom, hunkers down beside her in the rain.", "Darla: \"This Child, it's the one good thing we ever did together. You make sure to tell him that.\" Darla stakes herself and explodes into a cloud of dust, leaving a crying baby boy behind. Holtz steps through the hole in the wall and aims his crossbow at Angel, who is holding his son.", "Sahjhan: \"Now is your chance. Do it! Finish it, while you still can. You can't just let him walk away!\"", "Holtz: \"I swore that I would show no mercy. - And I won't.\" The gang walks into the lobby of the Hyperion as a thunderstorm rages outside.", "Cordy: \"We need to make some little changes for safety. Covers for the outlets, kidproof the locks on the weapons cabinet. (Sees the blood spattered equipment that is all that remains of the fight between the Grapplar demons and Wolfram and Hart's swat team) Right after we gut and remodel the entire hotel.\"", "Fred: \"We should be careful. Whatever was in those cages could still be loose.\" Gunn and Angel exchange a look. Fred sees that the cages are labeled: Baby and Mother.", "Fred: \"Oh.\"", "Gunn: \"There's blood over here.\"", "Wes: \"Not to mention some b*st*rd blown a gaping hole in the lift.\"", "Angel: \"Sorry. My b*st*rd.\"", "Wes: \"Oh. Well - not like we ever use it.\" We hear someone walk up to the front door. Angel huddles protectively around the baby. Gunn hefts his ax and Wes aims a crossbow at the person coming in through the doors, hidden by a big umbrella. Lorne lowers the umbrella and recoils at all seeing the grim expressions at the weaponry aimed at him.", "Lorne: \"Now is that anyway to welcome a houseguest?\" Everyone lowers their weapons.", "Gunn: \"Houseguest?\"", "Lorne: \"Well, I figured since you all managed to destroy my club - twice - that I wouldn't be imposing if I hit you up for a place to stay. (Sees the mess in the lobby) On second thought, maybe I should reconsider that standing offer I have from a marginally attractive Mulix demon.\"", "Wes: \"Well, if he/she/it has more suitable accommodations...\" Lorne walks towards Angel, holding out his hands.", "Lorne: \"Ah, come on, hand over the little nipper. Let Uncle Lorne have a gander. (Angel curls tighter around the baby) Oh, come on, I'm sure everyone else's already had their turn!\" Gunn and Fred peel the stickers off the cages. Lorne puts a hand on Angel's arm, but Angel shakes it off.", "Lorne: \"Wow. I'm sensing a serious 'mama bear' vibe.\"", "Cordy: \"Yeah, we're all still waiting our turn.\"", "Lorne: \"I get it. Lookee don't touchee? - I see he's got himself a little scratch...\" Lorne reaches towards the baby's left cheek, but Angel pushes his hand away.", "Cordy: \"Yeah, during the rush to get out of the alley. (Comes over) Here, let me put a little ointment on it.\" Angel takes the ointment from Cordy.", "Angel: \"I-I I got it. I got it.\" Angel goes to lay the baby down on the counter top.", "Angel: \"Easy. Right there. Alright. (Undoes the blanket a little) Let your arms out. - Okay. Shh.\" Angel carefully dabs some ointment on the cut and the baby begins to cry.", "Angel: \"What? What did I do?\"", "Cordy: \"You don't have a woman's touch - whatever your taste in clothing may indicate.\" Cordy walks off to sit down on the steps leading into the lobby from the door to the garden court. Angel reads what's written on the tube of ointment. Gunn picks up a cleaver-like instrument laying on top of one of the cage and looks at it.", "Gunn: \"I don't even wanna know.\"", "Fred: \"You think you could throw it?\"", "Gunn: \"I guess. Why?\"", "Fred points past him: \"There!\" Gunn turns and sees a demon leaping over the railing out side the glass garden court doors. Cordy jumps up with a scream as the demon comes charging in.", "Gunn throwing the cleaver: \"Bogie at the back door!\" Angel, baby wrapped protectively in his arms, turns his back to the door, trying to shield the baby with his body. The demon, scimitar raised above it's head, falls backwards onto the steps, the cleaver buried in his chest and one of Wes crossbow bolts in its neck.", "Cordy: \"This isn't over, is it?\"", "Wes: \"No. Angel's son is part of the prophecy. Everyone and everything will be coming for him.\"", "Gunn: \"Which means we need a plan.\"", "Angel: \"Ah-ha! (Everyone turns to look at him) I think I figured it out. (Pulls a diaper out of his coat pocket) He wet himself.\" Intro Hyperion, night. Wes walks into his office.", "Wes: \"Angel, we could use your help when you're finished - changing the baby - who is being changed on my desk.\"", "Angel: \"Sorry. I needed the space.\"", "Wes: \"Of course. And seeing as you once nearly had s*x on my desk I shouldn't be surprised that now there is a baby on it.\"", "Angel: \"Hey! First of all that wasn't me, that was some guy who switched bodies with me. And second of all (Cups his hands around the baby's ears, and drops his voice to a whisper) can we keep the S E X talk away from the baby?\" Wes steps closer and picks up the pack of diapers.", "Wes: \"Do you need help?\"", "Angel: \"Ah, no, Wes. I know how to change a diaper - a normal one with pins. It's these newfangled fasteners.\"", "Wes: \"Did you know these diapers are lined with a space-age material originally designed for NASA astronauts? Hmm, interesting. (Puts the pack of diapers down) Though now I'm picturing grown men in nappies and am rather disturbed.\"", "Angel: \"Ah, okay, got it. (To baby) You're all ready aren't you?\" Angel wraps the baby back in its blanket and drops the bundled up, used diaper into Wes hand. Wes looks down at it. Angel picks up the baby and looks at Wes.", "Angel: \"Right. How's the list coming along?\" They move out into the lobby where the others are waiting in front of a dry erase board. Wes drops the diaper on the counter top as he walks past.", "Wes: \"We've divided it into two categories. Column one groups or individuals that we know pose a threat to the baby: Holtz, Wolfram & Hart, the vampire cult that attacked us at the hospital. Column two those you *could* pose a threat once they get wind of the baby.\"", "Angel: \"Order of Phillius, Beltar the Cremator, - Frank?\"", "(The list also has a 'Piper Beast' and 'The Scourge' as potential threats.)", "Gunn: \"Local mobster, specializes in kidnapping.\"", "Angel: \"Ah. (Baby begins to cry) What, what, what? What is it? You can't be wet again. I just changed you. Ah-hmm, are you hungry? I got a bottle all ready for you.\"", "Walks over to counter and looks around.", "Angel: \"Where did I put his bottle? I had a bottle all ready for him!\" Cordy hurries over, picks up the bottle and hands it to him.", "Angel: \"Okay. (To baby) Here's your babba. (Baby cries) Take your babba. (Gunn grins.) You just take it like this (Angel lifts the bottle and makes sucking noises) and you drink, and you're happy.\" The baby continues to cry. Gunn comes over.", "Gunn: \"Angel, why don't you let me take him for a little while. I helped raise my cousin since she was about a week old.\" Cordy throws up her hands and walks away.", "Angel: \"I-i can handle it. (Walks away from Gunn) Alright, so we got a list. All we have to do is erase everyone on it.\" Fred picks up a dry eraser: \"I can do that for you.\"", "Cordy: \"Ah, Fred...\"", "Fred: \"What?\" Fred stops erasing and turns to look at Cordy.", "Fred: \"Oh, you meant erase in a squish and kill violent kind of way. I'll just put that back.\" Writes Holtz name back on the list. Angel, pacing and holding the bottle out to the crying baby: \"Come on, it's a nice babba. You wanna stop crying and take your babba, yes you do - please?\" Sahjhan follows Holtz into their underground lair.", "Sahjhan: \"Well that was a thrilling evening. It's not like I've been waiting two hundred and fifty years for you to take your blood vengeance on Angel to have you just stand there and let him walk away.\"", "Holtz: \"Why didn't you tell me Darla was pregnant?\"", "Sahjahn: \"Didn't matter. You were supposed to kill them both before she could have it.\"", "Holtz: \"She sacrificed herself to save the child.\"", "Sahjhan: \"Yeah. Darla did your job for you. Well, at least one of them is dust.\"", "Holtz: \"She got off easy. Angel's demise will be a great deal more painful.\"", "Sahjhan: \"You know you throw around a lot of big words like death and pain and no mercy, but so far I haven't seen bupkus.\" The Grapplar demons are following behind them stuffing themselves with fast food as they go.", "Sahjhan: \"Listen to me, Holtz, we got prophecies to fulfill. We don't need some deep, dark plan for Angel. You put a stake in him, you watch him go poof! It's a classic.\"", "Holtz: \"Step one is getting rid of these minions.\"", "Sahjhan: \"No. Step one is poof. And then there are no more steps. And we can't get rid of the Grapplars. I signed a two-week contract. - Trust me, you don't wanna piss these guys off.\"", "Holtz: \"They're soulless beasts bred only to maim and kill.\" One of the Grapplars is looking at the drink and food he is holding.", "Sahjhan: \"Ah! Maim and kill. Two more words I like. You're gonna need these guys - unless you're plan is to kill Angel with candy clowns and marshmallow pies.\" All the Grapplars are making choking noises. Sahjhan looks at them.", "Sahjhan: \"What's happening?\"", "Holtz: \"I need more than mere fighters.\"", "Sahjhan: \"They're choking! Do you know the Heimlich? I can't do it in this dimension. My arms will go right through them. (The Grapplars start dropping one by one) What did you do?\"", "Holtz: \"I poisoned their drink.\"", "Sahjhan: \"Why?!\"", "Holtz: \"Because I don't need mercenaries who will kill for anyone willing to pay their price. I need warriors who will die for my cause...\" One remaining Grapplars charges Holtz from behind. Holtz kills him with a backwards thrust of his sword without ever taking his eyes off Sahjhan.", "Holtz: \"...like that.\"", "Sahjhan: \"Great. So step one is I'm stuck with four costly and dead demons. What's step two?\" Holtz walk over to where a computer is sitting atop a table.", "Holtz: \"We can find information using this box - correct?\"", "Sahjhan: \"Yeah. You won't believe how fast my connection is. What do you wanna find?\" Sahjhan passes his hand in front of the computer screen and the entry page of the \"Demons, Demons, Demons\" database comes up.", "Holtz: \"Obituraries.\" Cordy is at her laptop searching that same database.", "Gunn: \"What about that ninja guy that attacked us at the hospital?\"", "Wes: \"The vampire cult killed him before he could get to the baby.\"", "Fred: \"There could be more of them.\"", "Cordy: \"The world is a sick and demented place. You know there are already three websites offering money for the baby?\" Fred is adding 'Ninja guys' to the column of known threats.", "Angel, carrying the baby: \"Fred, help them trace the websites.\"", "Fred: \"Right.\" Angel is still trying to get the baby to take the bottle.", "Angel: \"It's good. Try it. You'll like it. Mmmm, so good.\" The baby keeps crying. Fred takes Cordy's place in front of the laptop. Angel picks up a stuffed Teddy and pretends to feed it the bottle.", "Angel: \"See? Ha. Teddy likes it. And I like it, too.\" Angel opens his mouth and shakes some of the milk from the bottle into it.", "Angel: \"See? Mmmm.\" Smiles at the baby, then turns his head away, makes a face and spits. A blue flash lights up the hotel and everyone looks around.", "Fred: \"What was that?\"", "Lorne walks in: \"Oh, just listening to those Furies gives me whiplash! Thank god they finally left. My head was about to pop off. Which, granted, not that big a deal.\"", "Wes: \"That flash was their spell kicking in?\"", "Lorne: \"Yeah, they put a force field over the entire hotel. No one or thing can get in or out.\"", "Fred: \"So, the baby's safe? We're all safe. Right, Lorne? I-I mean unless one of those killers decides to throw in a fire bomb in at us like they did at your club, which had a similar safety spell around it as I recall. - Sorry.\"", "Angel: \"She's right. He won't be safe here for long.\"", "Lorne: \"Well, we can get out if we have to. I installed an emergency exit down in the sewers. A-a mystical barrier, opens and closes with a password. (To Fred) Pylean word for hedgehog.\"", "Fred: \"Oh. - Oh!\" Starts to laugh.", "Gunn: \"I'm guessing it means something very different in English?\"", "Cordy: \"Well, we'll have to use it. The baby needs to see a doctor.\"", "Angel: \"What? He's not sick! Does he look sick?\"", "Cordy read in baby book: \"No. But he needs his newborn checkup. The baby book says that he's supposed to have a vitamin K shot and a PKU test after he's born. Uh - are you gonna circumcise?\" The baby starts screaming louder.", "Gunn: \"I think he heard you.\"", "Lorne: \"Speaking of hearing things - are there any fluorescent lights in here? I keep hearing this hum. Plus, fluorescent - green light, green skin - it's all bad. - I'll take the blank stares as a big fat no.\" Angel is looking at the weapons cabinet.", "Angel: \"Gunn?\"", "Gunn: \"Yeah.\"", "Angel: \"I'm in a war here. I'm gonna need some serious firepower.\"", "Gunn: \"You mean something beyond swords and spears?\"", "Angel: \"Way beyond.\"", "Gunn: \"I know some guys. Leave it to me.\"", "Angel: \"Thanks. (To Fred) We get into the websites?\"", "Fred: \"Not yet. Normally all we would have to do is hack into the e-mail and track the relays but - they're using re-mailers.\"", "Angel looks at them: \"Which means?\"", "Cordy: \"Which means there is no direct id, it's going to take a little time...\"", "Angel: \"We don't have a little time. Are those all the names up there on the board?\"", "Wes: \"Working on some other leads. We all want the same thing, Angel. We're doing the best we can.\" Angel, looking down at the baby: \"Do better.\"", "Wes: \"Angel!\"", "Angel: \"I promised his mother. No one is gonna put their hands on this child. No one.\" Angel turns to walk up the stairs. Linwood watches Angel carry the child upstairs on the monitor.", "Linwood: \"No one is going to put their hands on this child. Is this meant to be ironic? According to our highly - and I'm now thinking, somewhat overpaid translators, the Nyazian Scroll said the child would never be born. And yet - here he is.\"", "Gavin: \"It was a technicality, sir. Darla died during childbirth.\"", "Lilah: \"Dusted during childbirth is more like it. According to our sources she staked herself, leaving the baby alive and kicking but never actually born. MacDuff was from his mother's womb untimely ripped.\"", "Linwood: \"Clever loophole. We could use some of those Nyazian Scroll writers in Contracts and Negotiations.\"", "Gavin: \"We have to get that baby.\"", "Lilah: \"He has a knack for stating the obvious, sir.\"", "Gavin: \"I also have an intercept team working on tactical scenarios as we speak. I'm sure Lilah would have thought of that - given time.\"", "Linwood: \"Moving on - children. (Picks up a photo of Holtz) I want everything there is on this character. He slaughtered some of our best-trained men. He's gonna be a problem.\"", "Lilah: \"We're locating him, sir.\"", "Linwood: \"Preferably before he locates us. (Walks towards the screen as we can hear the baby gurgle) That's a cute little baby. Yes, you are. And your daddy is a vampire with a soul. And sometimes he reverts to a creature of pure, malevolent evil, who could rip your tiny throat out. Yes, he does. (Chuckles) I like kids. The Senior Partners took mine before I really got to know them. Turn it up. (Lilah pushes a button on the remote and the room fills with a baby's cries) Turn it down.\" Lilah does as Linwood walks out. Angel is trying to distract the baby from crying with the teddy bear.", "Angel: \"Teddy isn't crying. Do you see Teddy cry? Teddy isn't crying. Do you see Teddy crying? No, Teddy isn't crying. (The baby cries and Angel leans his head into the Teddy with a sigh) Come on, kid, you gotta give me something here. Alright. Last ditch effort. (Angel takes a deep breath, clears his throat and begins to sing) Toora-loora-loora, toora-loora-lay...\" Lorne walks into the room behind Angel.", "Angel: \"Toora-loora-loora, that's an Irish lullaby...\" Angel breaks off, leaning his head against the side of the cradle in defeat as the crying never even slows.", "Lorne: \"Here let me give it a try. (Sings) Ooh, ooh, baby, baby. Ooh, ooh, baby, baby. Mistakes I know I made a few, but I'm only human. You'll make mistakes, too. And I'm crying... (Stops singing) He doesn't like Smokey Robinson and the Miracles? I thought you said this kid had a soul.\" Angel leans down over the cradle: \"You know what, you're fed, you're changed. I hold you, you cry. I put you down, you cry. What do you want me to do here? (The baby cries.) I'm a terrible father. (Picks up the baby) I can't even get him to stop crying.\"", "Lorne: \"Yeah, well, it's getting a little tense - your vibe, that is.\"", "Angel: \"My vibe? What vibe?\"", "Lorne: \"Oh, just the incredibly anxious one that's been coming of you in waves ever since he was born. He's deeply connected to you. If you're wound this tight, how do you think he's gonna feel?\"", "Angel: \"Hey, he's not even a day old and he's got an enemies list. How would you feel? Wouldn't you be a little edgy?\"", "Lorne: \"Yeah. I'd also be in awe. Look at him.\" Angel looks down at the screaming baby in his arms.", "Lorne: \"He's more than a mission, bro. *Look* at him. Look at him.\" Lorne turns and walks out of the room as Angel keeps looking at the baby, a slight smile tugging at the corner of his mouth. Angel sits down in a chair.", "Angel: \"It's all right. It's gonna be alright. It's gonna be all right.\" The baby continues to scream.", "Angel: \"Hey. Shh.\" Angel makes a face and silly noises.", "Angel: \"Do you like that?\" The baby continues to scream.", "Angel: \"Well, obviously. Okay. How about this one?\" Angel pulls on his ears, makes another face and silly noises. The baby continues to scream.", "Angel: \"Okay. I only got one more in me.\" Angel sighs and morphs into vamp-face. The baby looks up at him, stops crying and after a moment its eyes start drooping. A big smile spreads over Angel's face.", "Angel: \"Yeah, that's my little guy! You like that, don't you? A bootchee-wootchee...\" Wolfram and Hart, night, Lilah walks into a room in the basement filled with file cabinets and presents herself to the woman sitting behind a desk.", "Lilah: \"Lilah Morgan, clearance oh -one-one-two-seven-seven-three.\" The woman enters it in her laptop then sits back and looks up at Lilah.", "Woman: \"There you are. What can I do for you, Miss Morgan?\"", "Lilah: \"I want everything the firm has on Angel, the whole case file. His life history, un-life history, intercept records, victim lists, transfers and accounts, everything. I'm looking for someone he crossed paths with probably a hundred years ago or more. And make it fast. The boys upstairs are at defcon like - a thousand.\"", "Woman smiles: \"Sure thing, Miss Morgan. Just a sec.\" She turns around and pulls a thick ring binder from the shelf behind her and drops it on the table.", "Lilah: \"Everything is in there.\"", "Woman: \"Right down to the baby that wasn't supposed to be born.\"", "Lilah: \"How do you know about that?\"", "Woman: \"I'm Files and Records. It's my job.\"", "Lilah: \"Great. (Hefts the file and turns to go) I'll be back when I'm...\"", "Woman: \"Ah, Miss Morgan, there aren't any documents in there, you know. That's just the reference key to the full file.\"", "Lilah: \"The reference key. So - where is the full file?\" The woman flips a switch and a whole section of file cabinets is illuminated.", "Woman: \"The key is only helpful in locating which section of the file you'd like to look at.\"", "Lilah sighs: \"That *whole* thing is Angel's file.\"", "Woman: \"Just the first thirty five cabinets.\"", "Lilah: \"Right. (Drops the book back on the desk) Does China Palace deliver down here?\" Holtz is waiting behind a chain-link fence. He pulls out a paper with an obituary for a young girl named Julia Cooper. A door in the building on the other side of the fence with a sign \"No Parking. Bar deliveries only\" opens. A girl looking exactly like the picture on the obituary walks out, squinting at the bright sunlight. She lights a cigarette and walks off. Holtz follows after her. He turns a corner to see a barely smoked cigarette lying on the ground. He raises his hand to catch the girl's fist as she swings at him.", "Holtz: \"Your punch could have been quicker - without so much to drink.\"", "Justine: \"It's kind of a trade-off, because without that much to drink (head-butts Holtz) hurts a lot more.\" Holtz tosses her against a nearby, parked car.", "Holtz: \"You stick to the shadows.\"", "Justine: \"I'm not much of a day person.\" The girl takes a hold of a wood 2x4 lying on the ground next to her as she picks herself back up.", "Holtz: \"I'm not here to fight.\"", "Justine: \"Your bad luck.\" She swings at Holtz, but he easily evades her attack, and pushes her up against the wall of the building, his hand around her throat.", "Holtz: \"I know you're in pain. I know what it's like to grieve.\" Holtz lets go of her. She lifts up a finger and taps him on the chin.", "Justine: \"Nice goatee. Kind of rounds out the whole creepy stalker look. I'll be moving on now.\" She turns to go.", "Holtz: \"Justine. (She turns back to face him) I'm not finished.\"", "Justine: \"You know my name?\"", "Holtz: \"I know everything. You know at seventeen twenty two Spaulding. You stay out all night. Sleep all day. Ever since your sister was murdered six months ago. (Unfolds the printout of the obituary and hands it to her.) Your twin. - It wasn't a mugging like the paper said, was it? Major blood loss, two unidentifiable neck wounds.\"", "Justine: \"So?\"", "Holtz: \"My name is Holtz. I want to help you.\"", "Justine: \"I'll tell you what I want. (Gets right into Holtz face) I want you to stay the hell away from me.\" Holtz watches as Justine walks off. Hyperion, day, Fred is hunched over the laptop as Cordy brings over two cups and sets one down beside her.", "Fred: \"Thanks.\" Fred looks up and sees Angel coming down the stairs carrying his son.", "Fred: \"Oh-oh, we still haven't traced the websites.\" Cordy pats her on the back: \"Relax.\" Cordy walks over to meet Angel.", "Cordy: \"Get any sleep?\" Angel, never taking his eyes off the baby: \"Nah, I was up all night watching him.\"", "Cordy: \"You know, if you'd let us take shifts we could...\"", "Angel: \"No, I wasn't watching him like that - I was just - watching him. (Cordy smiles) He - looks a little bit like me, don't you think?\"", "Cordy: \"Oh, yeah. Look at that brow. He's a miniature you. Why don't you hand him over for a while, catch some shut eye.\"", "Angel: \"No. I'll sleep - when I know he's safe.\"", "Cordy: \"Which will be when? Around never? - Angel, I understand you wanna protect him - but you gotta let go a little. Share part of the responsibility. You can't be everything for him.\"", "Angel: \"I'm his only family. My job now is to be everything for him.\"", "Cordy: \"Really? - Okay. Follow me. Come on.\" Cordy takes a hold of Angel's elbow and leads him towards the garden court. Angel, never taking his eyes off the baby in his arm: \"Where are we going?\"", "Cordy: \"Come on.\" Cordy leads him out of the Hyperion. Angel stops before they leave the shadows of the building.", "Angel: \"Cordelia...\"", "Cordy: \"We're going outside, where your son is gonna wanna go play. Where you have to rush him to the hospital if he gets sick in the daytime. But I see your point. You can't go outside during the day like other parents because - you're a vampire. And even if you weren't - you can't do everything for him.\" Angel, looking down at the baby, stretches one hand out into the sunlight.", "Angel: \"If he has to get to the hospital at noon (Smoke starts to rise from his hand) on the sunniest day of the year, he'll get there (Looks at Cordy, his hand still smoldering in the sunlight) even if I don't.\"", "Cordy: \"Angel, (Pushes his hand down into the shadow) stop, Angel...\" Angel turns away and walks back into the Hyperion. Lorne comes down the steps.", "Lorne: \"Good morning all. (Sniffs) Is that bacon I smell or did somebody fall asleep with the curtains open? (Drapes one arm over Angel's shoulder as he looks down at the baby) You got to figure a guy like you, a place like this, the only truly safe room would be the janitor's closet.\" Angel looks down at his shirt pocket then walks away from Lorne.", "Angel: \"Thanks for the tip.\"", "Fred: \"Were you able to sleep, Lorne, or did you still hear that humming?\"", "Lorne: \"Oh, I got some earplugs. Put them in and slept like a baby. Cried and wet the bed all night. (He is the only one laughing) Tough room.\" Gunn walks in.", "Gunn: \"Mission accomplished. (Drops a duffel on a chair and unzips it) You said you wanted fire power, so...\" Angel looks into the open bag: \"Good work.\"", "Gunn: \"Also we got company out front.\"", "Angel: \"Did they see you?\"", "Gunn: \"Nah. I saw them, kept on going, doubled back and came in through the sewer.\"", "Angel: \"Who are they?\"", "Gunn: \"Well, two blacked out cars of what I'm betting is more vampire cult. And a biker gang I recognize from back in the day.\"", "Angel: \"Humans?\"", "Gunn: \"Yeah. Into extortion and kidnapping. There are also some funky fellows in a van I didn't recognize, wearing hooded cloaks.\"", "Wes joining them: \"Lilliad demons. Their fun is making a magical broth from the bones of human children (To Cordy who is about to add them to the white board) That's two 'L's' in the middle. They probably want to find out how the child born of a vampire effects the recipe. They use strong magic. They may be able to break the furies spell.\"", "Angel: \"What are they waiting for?\"", "Wes: \"Night. Their power is linked directly to the lunar cycle.\"", "Cordy: \"So, we're safe for now, but when the moon rises...\"", "Fred: \"And tonight's a full moon.\"", "Gunn: \"No matter what kind of weapons we have, we're not gonna be able to fight off the whole world, once that force field comes down.\"", "Wes: \"I don't see that we have a choice.\" Lilah is sitting crosslegged on the floor of the File room, surrounded by papers and files.", "Lilah: \"This is impossible. Two hundred seventy five years of the most inane... (Picks up a paper and looks at it) What kind of wussy name is Liam anyway? - Okay. You're at the hotel. The pirate is about to kill Angel. Angel calls him - what? What was it? - Hose. - Hope.\"", "Woman: \"Holtz?\"", "Lilah: \"What?'", "Woman: \"Holtz, Daniel, vampire killer, circa seventeen fifty four. He hunted Angel and Darla halfway around the world until his mysterious disappearance in seventeen seventy three. Larson McMillian Vampiricus Conquestus page four twelve.\"", "Lilah: \"How did you...\"", "Woman: \"I'm files and records. It's my job.\"", "Lilah gets up: \"You mean I've been sitting here for the last fourteen hours...\"", "Woman: \"Ah-hmm.\"", "Lilah: \"To find that you know everything that's in this case file.\"", "Woman: \"No, Miss Morgan.\"", "Lilah: \"Oh.\"", "Woman: \"I know everything in every case file. I'm Files and Records, it's my...\"", "Lilah: \"...your job. Unbelievable. (Sits down on the edge of the woman's desk) So what's the skinny on Holtz then? Why the big hate-on for Angel?\"", "Woman: \"Just a moment.\" She sits back and her eyes flicker while we hear a rattling sound.", "Woman: \"Seventeen sixty-four. Angel and Darla kill Holtz, Caroline, Holtz, Sarah, and Holtz, Daniel infant son.\"", "Lilah: \"Massacred his family. That'll do it.\"", "Woman: \"Holtz vows to revenge their blood, May seventeen sixty-four. Pursues Angel and Darla relentlessly for nine years, racking up an incidental body count of three hundred seventy-eight vampires in the meantime.\"", "Lilah: \"So what we're dealing with is a single minded vengeance machine with a bloodlust to match. That's just - awesome.\" Night in a cemetery, Justine is fighting against a vampire as Holtz watches from the shadows beneath a tree. The vampire kicks Justine in Holtz direction and he catches her before she falls.", "Justine: \"What the hell are you doing here?\"", "Holtz: \"Watching you fight.\" Holtz pushes her away and Justine resumes her fight. She raises a stake, but the vampire knocks it out of her hand and her to the ground. The vampire is about to sink its teeth into her neck when it disappears in a cloud of dust revealing Holtz, holding a stake. Holtz holds out his hand and helps Justine back to her feet.", "Justine: \"Why did you wait so long?\"", "Holtz: \"I wanted to see if you could win.\"", "Justine: \"Always. I would have kicked his ass if you hadn't distracted me.\"", "Holtz: \"Hmm. I wasn't your problem.\"", "Justine: \"Really?\"", "Holtz: \"You fight well and lack strategy. Your passion works against you.\"", "Justine: \"And you're here to teach me about passion.\"", "Holtz: \"I'm here to teach you how to fight.\"", "Justine: \"What's in it for you?\"", "Holtz: \"You help me kill a vampire.\"", "Justine: \"You don't need me for that.\"", "Holtz: \"I do. This vampire is strong.\"", "Justine: \"What are we talking about. Some kind of Karate Kid Mr. Miyagi groove thing? Wax on, wax off.\"", "Holtz: \"You'll find your references to modern popular culture tend to be lost on me.\"", "Justine: \"What a shocker.\"", "Holtz: \"But I know you're interested in more that the trivial. Your life has been ruined. You can't sleep. Instead you wander the streets, making others pay for what happened to your sister. That's where I can help. I see your talent. And I see your hate. And I know that I can shape and hone you into an instrument of vengeance.\"", "Justine: \"Sounds like fun.\"", "Holtz: \"It won't be.\" He turns and walks off. After a beat Justine follows, looking back once over her shoulder. Figures in purple hooded cloaks are chanting in front of the Hyperion. Gunn turns away from the first story window and walks over to the stairs leading down into the lobby.", "Gunn: \"Guys, the Lilliad demons are starting their mojo on the force field.\" Gunn resumes his post at the window as Wes and Fred pick up crossbows. Gunn sees a car pull up and men jump out.", "Gunn: \"Ah, right, sun's down, vamps can come out, too. - Wait, they're headed towards the bikers.\"", "Fred: \"What are they doing?\"", "Gunn, walking down the stairs: \"They, ah, having a brawl over who gets to kill us first.\"", "Wes: \"We have to hold our ground.\"", "Cordy: \"What if we can't?\"", "Wes: \"If we're forced to fall back we'll do so towards the cellar. We can make a retreat through the sewer.\" Wes picks up a flame-thrower. Angel is standing on the stairs, holding the baby in his arms.", "Angel: \"This isn't going to work.\"", "Wes: \"I checked it. It's primed and ready.\"", "Angel: \"Not the weapon, the plan.\"", "Lorne: \"I'm so glad somebody finally said that, because sitting here waiting to die never was much of a plan. Sorry. So, what kind of genius idea you got hidden up that well tailored sleeve of yours, huh?\"", "Angel: \"Plan is I go. Take the baby somewhere safe.\"", "Cordy: \"What?\"", "Angel: \"He was born in a siege, he's not gonna die in one.\"", "Wes: \"But if you stay and help us fight... You said it yourself: we're in a war.\" Angel is putting stuff into a bag.", "Angel: \"And now I'm in a retreat.\"", "Wes: \"What happened to taking them out?\"", "Angel: \"There's too many of them. I can get out through the sewers. With any luck I'll get a couple miles before anyone notices that I'm gone.\"", "Cordy: \"So you're just gonna leave? Run away?\"", "Gunn: \"Why not? That's what he's good at. Sure you don't wanna fire us first? A little icing on the cake while you leave us here to do the fighting?\"", "Lorne: \"I thought we already established this as a bad, bad idea.\"", "Angel: \"No, you're gonna be all right. Once they break the spell and storm the place they'll realize that the baby's gone and they'll go after me. Wesley, stall them if you can.\" Cordy steps into his path as Angel shoulders the bag and heads for the basement doors.", "Cordy: \"I'm sure tripping over our dead bodies will slow them down. You really didn't hear anything I said to you earlier, did you?\" Angel looks down at the baby in his arm then walks past Cordy.", "Angel: \"I heard you.\"", "Fred: \"Angel! Don't leave us.\" Angel hurries on without even looking back. Break", "[SCENE_BREAK]", "Gavin and Linwood are watching Angel head down into the cellar.", "Gavin: \"He's running away.\"", "Linwood: \"He's sneaking away. And giving us the chance to get the jump on everyone.\"", "Gavin into radio: \"Alpha team he's heading into the sewers.\"", "Radio: \"Copy that.\"", "Linwood: \"Today the world is different. A vampire has sacrificed herself for her baby. Do you know what that means?\"", "Lilah: \"That there's something good about the kid?\"", "Linwood: \"This child can grow up, and hunt each and everyone of us down. Let's not let that happen, shall we?\"", "Gavin: \"No, sir. We'll find the baby by sunrise, dead or alive.\"", "Lilah: \"Are you crazy?\"", "Gavin: \"What? Is Lilah worried we're gonna hurt the itty biddy baby?\"", "Lilah: \"No. I'm afraid you'll kill him before we have a chance to cut him open while he's still breathing and find out how the hell he's alive in the first place.\" Linwood turns to looks at Lilah. Gives her a slight smile. Angel is walking through the sewers with the baby. Two hum-vees pull up along the curb of a street.", "Lilah on radio: \"Alpha team, where are you? Over.\"", "Guy: \"We're here.\" The chanting demons bring down the fore field and run for the hotel. Wes and Gunn stand up and face the doors. Gunn is jumping in place to loosen his muscles. Looks over at Wes.", "Gunn: \"What are you doing?\"", "Wes: \"Trying to imagine myself as John Wayne in Rio Bravo. You?\"", "Gunn: \"Austin Stoker, Assault on Precinct Thirteen.\" They slap their hands together, Cordy walks past them holding her weapon at the ready.", "Cordy: \"If we live through this, trade in your DVD Players and get a life.\" Before the Lilliad demons reach the door they are intercepted by the biker gang and the vampires and general fighting breaks out. Angel climbs up a ladder in the sewers. He pushes the round metal lid covering the manhole aside and comes up in the street beside his parked car. He glances around the street and gets into the car. A man in one of the Hum-vees watches him through night-vision binoculars.", "Guy on radio: \"Got him.\" Angel's car pulls out into the road.", "Man, lowering the binoculars: \"Have a visual. Let's go.\" The Hum-vees follow Angel's car. Two demons and men break free from the fight at the front doors of the Hyperion and walk inside. The Demons take down their hoods.", "Lilliad: \"Where is the child?\"", "Wes: \"Upstairs, room three-one-two, why don't you go and get him? Oh, wait. I have a better idea.\" Wes aims the flame-thrower and fires. We hear screams as flames wipe the screen. Outside the fight continues. A vampire looks up from the fighting as Angel's car drives by. He knocks down another opponent, then sees the Hum-vees in pursuit. The vampire hurries inside the hotel.", "Vampire: \"Master, it's a trick! He's taken the child.\" The vampire looks down at the charred and still smoking remains of a Lilliad demon. Looks at Wes who gives him a shrug before torching him with a burst of flame. Outside the remaining fighters hurry to their vehicles to pursue Angel.", "Cordy lowers her weapon: \"Now they're all after him.\"", "Wes: \"Hopefully we stalled them long enough.\"", "Gunn sits down: \"Whatever. Running away was his call.\" Angel's car fishtails around a corner, the Hum-vees, the bikers, the cars of the vampire cult and the van of the Lilliad demons in hot pursuit. A Hum-vee pulls out of another street to cut him off and Angel wrenches the car aside to turn into another street. Angel is driving through a tunnel, down a highway and past a sign reading Lancaster 16 and Mojave Dessert 42. Angel checks on his pursuers in the side mirror. Looks down at the baby he is holding with his left arm.", "Angel: \"We'll get through this, I promise. The vampire/demon/biker posse, that's the easy part. (the Hum-vee following rams his car from behind) The part that scares me - is all the questions. Why is the sky blue. Why do people get sick. Why is there always pigs' blood in the fridge. I don't have all the answers. Well, I do to that last one.\" The Hum-vee rams him again. They drive by a 'Danger Abandoned Mine No Trespassing' sign.", "Angel: \"Here we go.\" He suddenly turns the car and drives through a latched wooden gate.", "Man in Hum-vee: \"He's breaking left.\" Angel drives past an abandoned shack and through the boards closing off the entrance of the mine. Outside the other vehicles pull up in front of the mine entrance. Angel descends into the main mine shaft. Outside the three parties resume their fight against each other even as they all make their way towards the entrance of the mine. Angel comes up against a tunnel entrance nailed shut with boards. As the first pursuers descend into the pit of the main shaft, he runs over to another tunnel mouth and finds it blocked by and iron grate. He turns to face his pursuers. Looks down at the baby in his arms.", "Angel: \"Could be worse. At least you're not crying.\" Break Angel looks around and grabs a hold of a rope trailing down from the ceiling.", "Lilliad: \"Give us the baby!\"", "Angel: \"You want the baby? - You can have the baby.\" Angel tosses the wrapped baby in a high arc into the middle of his enemies. They all scramble for it, while Angel quickly rides the rope up to the top of the shaft. One of the vampires has a hold of the baby and unwraps the blanket to get a look at it. Angel's car backs out of the mine shaft, makes a screeching U-turn and speeds away. The vampire stares down at Teddy, a bomb with the timer almost to zero strapped to it's chest.", "Man: \"What is it?\"", "Vampire: \"It's a...\" A fireball rolls out of the mineshaft, its fire casting a red glow over the taillights of Angel's escaping car. A Hospital waiting area. Wes and Fred get up from a couch as a doctor enters. Cordy, standing beside the couch turns around and we see that she is holding the baby.", "Nurse: \"Ah, sorry for the wait. Let's go.\" The three of them follow the doctor through a set of doors. At Wolfram and Hart, Linwood is re-watching the encounter between Lorne and Angel that morning.", "Lorne: \"Ah, good morning all. Is that bacon I smell or did somebody fall asleep with the curtains open? You got to figure, a guy like you, a place like this the only truly safe...\"", "Linwood: \"Back it up.\" The video backs up then begins to play again.", "Lorne: \"...fall asleep with the curtains open. You got to figure, a guy like you...\"", "Linwood: \"Stop it right there! (Tape stops) Magnify one hundred times. (Picture zooms in) Again.\" The whole screen is now filled with Lorne's hand slipping a half-concealed piece of paper into the breast pocket of Angel's shirt.", "Linwood: \"There. That is when he gives Angel the note.\"", "Lorne: \"The only truly safe room would be the janitor's closet.\"", "Angel: \"Thanks for the tip.\"", "Linwood: \"And tells him where to read it. The janitor's closet, where we don't have surveillance.\"", "Lilah to Gavin: \"That green houseguest could hear the hum of your transmit frequency. What are the odds?\"", "Linwood: \"All that Sturm and Drang about Angel running out on them? Just a performance.\"", "Lilah: \"He did a good job. Who knew Angel had the acting chops?\"", "Gavin: \"Are you kidding? It was one note. Felt forced.\"", "Lilah: \"Funny. You bought it at the time.\"", "Linwood: \"It worked - for us. Angel's little trick thinned the herd. And what about Holtz?\"", "Gavin: \"No reports yet that he was among Angel's pursuers.\"", "Linwood: \"I was hoping he'd be among the casualties. What do we know about him?\"", "Lilah opens a folder: \"He is a vampire hunter. Angel killed his family and he spent the rest of his life seeking revenge. Oh, and one more thing, this all happened two hundred years ago.\"", "Linwood: \"I thought Holtz was human.\"", "Lilah: \"He is.\"", "Linwood: \"I time traveler.\"", "Gavin: \"His arrival was foretold in the Nyazian Scrolls. He is a player.\"", "Linwood: \"Yeah. He's a cog in the machine, and aren't we all. - What do you suppose it is that he wants?\"", "Lilah: \"You mean other than to tear out Angel's heart and wearing it as a broach?\"", "Linwood: \"We need more information. How he got he, who he works with, where he lives. It's only a matter of time before our needs and his come into conflict. (An alarm sounds) Maybe sooner than we think.\" Angel walks into the office, walks up to Linwood, slices him across the cheek, and pushes him facedown against the table.", "Angel: \"My son has a tiny scratch on his cheek, and now, by extraordinary coincidence so do you. I'm holding you personally responsible for *anything* that happens to him whether it's your fault or not. Cold, sunburn, scratched knee, what ever happens to him, happens to you, and then some.\" Angel pulls Linwood back up, pushes him back into his chair and leans over him.", "Angel: \"For not only are you not coming after him, you gonna make sure that he lives a long, healthy life. You just became his godfather, understand?\"", "Linwood: \"I believe I do.\" Guards come in in response to the alarm.", "Guard: \"Sir?\"", "Linwood: \"It's all right.\" Angel starts to leave but turns back around before he reaches the door.", "Angel: \"Oh, and one more thing: College fund? Start saving. I got my heart set on Notre Dame.\" Angel leaves and Linwood pulls himself back upright in his chair. Lilah pulls the handkerchief out of Gavin breast pocket and goes to dab at the scratch on Linwood's cheek. Linwood grabs the cloth from her and throws it down. The doctor and a nurse carrying the baby come back out into the waiting room.", "Doctor: \"I'm happy to report you have a healthy baby boy.\"", "Cordy: \"Oh, great. But I'm not the mother.\"", "Doctor: \"Oh, I'm sorry. (turns to Fred) I'm happy to report you have a healthy baby boy.\"", "Fred: \"Oh. Me neither.\"", "Wes: \"I'm afraid the mother is, ah, no longer in the picture.\"", "Doctor: \"I see. Well, his height and weight are in the ninety percentile. We gave him his vitamin K and his PKU and he's doing very well. We don't seem to have his - what's his name?\" Cordy and Wes look at each other.", "Angel walking in: \"Connor. His name is Connor.\"", "Doctor: \"Connor. Thank you. Mr. (looks at the papers) Angel. (the nurse hands the baby to Angel) And congratulations.\"", "Angel: \"Thanks.\" The Doctor and the nurse leave, as Angel smiles down at Connor.", "Angel: \"Hey... (Looks up) Mr. Angel?\"", "Fred: \"Your first name is Geraldo.\"", "Cordy: \"We had to tell them something.\"", "Fred: \"Geraldo Angel. You're a pet psychiatrist with a small practice in Pacoima. Oh, and you fight crime- We just told them the name part. The rest is me, having fun.\"", "Angel: \"I don't know what to say.\"", "Cordy: \"How about thanks. I appreciate it. You guys rock. Way to go?\" Angel looks up from Connor's face: \"What she said.\" The double doors behind them open and Gunn comes in pushing an empty stroller.", "Gunn: \"Got the best one a very small amount of money could buy.\" They all 'ah.' Angel hands Connor over to Cordy who puts him in the stroller.", "Cordy: \"Hey, you wanna go for a ride? Oh, goodness...\"", "Wes: \"Connor. That's a lovely name. I don't suppose you ever considered Wes...\"", "Angel, Gunn and Cordy: \"No.\"", "Fred: \"Not to be negative or anything, but - we're okay, right? Nobody else is coming after Connor or us?\"", "Angel: \"No. We're safe for the time being. - Let's go home. Nice stroller.\"", "Gunn: \"Thank you.\" They walk out together, Fred and Gunn on the left, Cordy and Wes on the right, and Angel, pushing the stroller in the middle. Camera pans down to Connor and the screen fades to black." ]

[ "It's Cordy's birthday and a particularly intense vision knocks her out of her body. As Team Angel tries to help her, Cordy is stuck in an astral plane unable to communicate. When a guide shows up and offers Cordy a deal, she has to choose between getting everything she thought she wanted and her life with Angel." ]

[ "[PREVIOUSLY_ON]", "Angel: \"I'm gonna have a son.\" Darla stakes herself leaving the baby behind in the rain.", "Cordy: \"I have a room mate. It's cool I never see him. He's a ghost.\"", "Fred: \"When I see you and Cordelia sparring... It's only natural that you and she should be drawn to one another.\" Cordy clocks Angel on the nose, and he turns his head to hide the pain from her.", "Gunn: \"Cordelia, she doesn't choose to have a vision. The Powers send them to her when they got info to share.\"", "Cordy: \"I look forward to my next vision.\" Series of highlights of some of the worst vision pains Cordy's gotten over the years.", "Angel: \"Easy. Are you gonna be alright?\" Cordy is taking pills in the bathroom: \"These visions are killing me.\"", "Cordy to Angel: \"If I lose the visions, I wouldn't be able to help you anymore. You wouldn't need me.\" Close up on a bedraggled and shaken looking Cordy.", "Cordy: \"I'd - just like to say thank you. (Deep breath) You believed in me when no one else would. Even in my darkest hours you were there for me (almost starts crying) and that means more to me that you'll ever know. (sniffs) I guess what I'm really trying to say is - I love you. - To all my fans: (Holds up a scrub brush in plastic gloved hand) this is for you!\" Shot widens to show that Cordy is sitting on the floor of the Hyperion lobby. Fred is sitting a little ways away, wearing yellow plastic gloves and applauding wildly.", "Fred: \"Wow! That was just - wow. 'cause... oh, and with the tears! I-I got chill bumps all up my arms.\"", "Cordy: \"Yup. That's the famous speech. Not that I'll ever use it of course - unless they start handing out awards for best slime and grime. - Oh, I swear. Next time Angel decides to blow something up he's cleaning his own scorch marks.\" Gunn walks in wearing a hairnet and facemask and carrying a spray bottle.", "Gunn: \"Ladies. Less yammering, more scrub.\"", "Cordy: \"My, Gunn. Don't you look - sterile.\"", "Gunn takes the facemask off: \"Couple more hours of sniffing that industrial cleanser, I think I might be. Hey, I don't suppose you ladies wanna trade jobs?\"", "Cordy: \"Ah - hmm. Scrape up Wolfram and Hart's entrails off floor, hmm - Fred?\"", "Fred: \"You're screwed.\" Cordy chuckles and goes back to scrubbing the floor. Gunn leans in closer to Fred: \"Wes back yet?\"", "Cordy: \"No. He's still at the store picking up some more extra strength ick remover.\" Gunn salutes Fred with his bottle and leaves.", "Angel: \"Look who's up from his nap.\" Cordy pulls off her gloves and gets up: \"Oh, Conner!\" Angel curls up protectively around the baby as Cordy stretches out her hands.", "Angel: \"Whoa, whoa, whoa, whoa - dirty people. Not touching the baby.\"", "Cordy: \"But pig-drinking bloodsuckers are okay? - I meant that in a nice way. Okay, I'm gonna go wash my hands, but when I get back I get first dibs on baby snuggles.\"", "Angel calls after her: \"Don't forget to get under your fingernails. (Quietly to Fred) Does she know?\" Wes burst through the door carrying a couple of bags.", "Wes: \"Where is she?\" Cordy is in the bathroom popping some pills from a prescription bottle. She comes out of the bathroom to find Gunn and Wes holding a cake with six lit candles and the picture of a female superhero on it. All four start singing 'happy birthday.'", "Cordy grinning: \"Oh you guys. I can't believe you did this.\"", "Gunn: \"Don't just stand there. Blow out the candles, girl.\" Cordy blows out the candles and they guys cheer.", "Fred: \"Did you make a wish?\"", "Cordy: \"I sure did. Ah, Jude Law was a little busy, huh?\"", "Wes: \"Oh, how disappointing for you. Well, I guess you won't be wanting the presents we...\"", "Cordy: \"Oh, wanting. Wanting presents.\" Gunn and Wes put the cake on the lobby counter.", "Angel: \"Do you want to hold the baby now?\"", "Cordy: \"Yeah. (Takes Connor) Oh, thank you. Hey, honey. Yeeh, the baby, baby.\" Angel shifts awkwardly then pulls a small box out of his pocket.", "Angel: \"Uhm - ah, I - I got you a - a little something.\"", "Cordy takes it: \"Oh, Angel, you didn't have to do that. You have enough to take care of as it is.\"", "Angel: \"Well, I'm a champion. (Chuckles) We do important stuff. Hey, and who's more important then...\"", "Wes: \"You have to forgive the wrapping. Some of us seem to have fostered a strange addiction to Scotch tape.\" Wes, Fred, and Gunn come up, each of them carrying a big, wrapped box with a big bow on top.", "Cordy: \"Oh - what a cruel dilemma: presents of sweet little baby face.\" Cordy looks down at Connor and coos. Then her head whips up all smiles gone.", "Cordy to Angel: \"Take the baby.\"", "Angel: \"You're choosing birthday gifts over my kid?\"", "Cordy: \"Take the baby! Take the baby!\" Angel quickly takes Connor as Cordy gets hit by a vision.", "Cordy: \"There's a teenager, a girl, she... she...\" Cordy is suddenly blasted backwards into the glass doors of the weapons cabinet. The others cluster around her as she lies motionless on the floor.", "Fred: \"Is she alright?\" Close on Cordy as she gasps and sits up.", "Cordy: \"I'm fine - you guys. I'll be okay. I'm just...\" Cordy turns to see all of the guys clustered around her body - lying a few feet away from where she is.", "Cordy: \"Dead?\" Intro Right back where we left off.", "Fred: \"Oh, no.\"", "Angel: \"Take him. (Hands Connor to Wes) Come on Cordy, wake up. It's all over. Come back to us.\"", "Cordy: \"I haven't gone anywhere. Angel...\"", "Angel: \"Please wake up.\"", "Wes: \"Angel, is she...\"", "Angel and Cordy: \"No!\"", "Cordy: \"I'm not?\"", "Angel: \"She's still breathing. Her heart's still beating.\"", "Cordy: \"Yes! But - If I'm not dead then...\"", "Angel: \"She's just in some sort of trance or a coma.\"", "Cordy: \"Like hell I am!\"", "Angel: \"Well, let's get her over to the couch.\" Angel and Gunn pick up Cordy's body and carry it over to the couch.", "Angel: \"Easy.\"", "Gunn: \"All right.\"", "Angel: \"Easy.\"", "Cordy watching: \"Ookay. I get it. This is some kind of bizarre birthday present you guys cooked up.\" Fred spots the bottle of prescription pills on the floor where Cordy's body was lying and picks it up.", "Cordy: \"Alright. The joke's on me. Now put me back in my body!\"", "Angel: \"It was a vision, wasn't it? I mean, she just started saying something about a girl...\"", "Cordy: \"That's right. She's in a house on Oak street (the others keep talking, but we can't hear what they're saying anymore than they can hear or see Cordy) the middle of Reseda. It feels like we have some time here, but - but (looks at the others) you can't hear me at all, can you?\"", "Lorne coming down the stairs: \"What's all the hubbub, bub?\"", "Cordy: \"Lorne! Thank god! You can hear me, right? 'cause if there's some weird, other-worldly thing going on you'd still be able to...\" Cordy trails off as Lorne walks right through her, never noticing her.", "Cordy: \"Oh. That's not good. (A black shadow passes overhead) Did anybody else just see that?'", "Lorne: \"Jumping Judas on a unicycle. What happened?\"", "Angel: \"All we know is that she had a vision.\"", "Fred: \"There is a lot we don't know. I think she dropped this.\" Holds out the bottle of pills to Angel.", "Cordy: \"No Fred! Put that away. That's not important.\"", "Fred: \"Seltrex.\"", "Wes: \"Oh god.\"", "Angel: \"What's Seltrex?\"", "Cordy: \"Nothing! It's just...\"", "Wes: \"Seltrex is a highly powerful migraine medication.\"", "Gunn: \"Maybe we should get her to a hospital.\"", "Angel: \"So they can do what? Do what they did last time, strap her to a bed and tell us there's no hope?\"", "Wes: \"Angel is right. Seltrex is potent but - it doesn't cause the catatonia.\"", "Lorne: \"I'm picking up some hardcore woo-woo vibes in the room. This ain't medical, kids. It's mystical.\"", "Fred: \"That's what I'm saying. There is so much we don't know. If Cordelia is taking a drug this powerful in secret, the visions are probably doing a lot more damage than she lets on.\"", "Gunn: \"This last one must have overloaded her.\"", "Angel: \"Don't say last! Okay? She'll come out of this. She has to.\"", "Cordy: \"She will!\"", "Angel: \"Okay. Look, if this is a mystical problem there has to be some kind of mystical solution.\"", "Cordy: \"There you go. Great idea!\"", "Angel: \"Gunn, you and Fred go to Cordy's place.\"", "Cordy: \"No! Bad idea. Bad idea!\"", "Angel picks up Cordy's body: \"See if she's been hiding anything. Anything that could tell us what's wrong with her. Wes?\"", "Wes: \"I'll hit the books.\"", "Lorne: \"I'll take the little peanut.\" The group disperses, leaving Cordy behind in the lobby.", "Cordy: \"Does nobody care that there is a girl in Reseda that is about to be fed to a no-eyed, three-mouthed monster? (Hears indistinct whispering and looks around) What? - Hello? - Message. I'll leave a message.\" Cordy walks over to the counter top but her hand goes right through the pens sitting there. Tries again, with the same results. Gunn and Fred stand inside the door of Cordy's apartment facing a floating party hat and noisemaker, confetti floating down from the ceiling and a 'happy birthday' sign.", "Gunn: \"I think Phantom Dennis was expecting the birthday girl.\"", "Fred smiles and steps forward: \"Oh. Hi there. I-I know we haven't been formally introduced... Actually I'm not sure how to introduce myself to someone who is, you know - former. But, I'm Fred. (Reaches out and shakes the top of the party hat) It's nice to meet you.\"", "Gunn smiling: \"Fred, you are - you are so cool.\"", "Fred: \"I think we should tell him.\" Gunn takes a deep breath and steps forward.", "Gunn: \"Okay. Uh. You might wanna... (To Fred) Do ghosts sit down?\" Wes is sitting at his desk reading a book. Cordy is standing in front of it, yelling at him.", "Cordy: \"Wesley. Wesley! WESLEY! (Waves her arms wildly) Yoo-hoo!\"", "Wes: \"But if she's in the astral plane, she could be here unable to communicate.\"", "Cordy sighs: \"Yeah. Here! Unable to communicate. (Slowly walks over to take a look at Wes' book) 'Astral Projection.' I should read up. (Wes turns the page over) Wait, don't turn - turn...\"", "Fred: \"It doesn't make any sense.\"", "Gunn: \"What doesn't?\"", "Fred: \"It's all - normal.\" Shuts the door to Cordy's bathroom vanity.", "Gunn: \"And that's wrong?\"", "Fred: \"No (turns and sees Gunn standing in the door, one of Cordy's bras in his hands) what's wrong is you picking through Cordy's (fails around as Gunn raises his eyebrows at her) support - things.\"", "Gunn: \"What - this? Come on, you're telling me you never hid anything in your underwear drawer?\"", "Fred: \"I don't know. I mean, for five years I didn't even have... Can we not talk abut my underwear, please? - And put that down. (Gunn does) I just figured if Cordy was taking something serious like Seltrex she'd have tried other stuff first. But - there is not even any Aspirin in here. (Leans in closer to Gunn) I think he's protecting her.\" Gunn looks around the room, the steps back into Cordy's bedroom.", "Gunn: \"Phantom Dennis? Listen, we would never ask you to betray Cordelia, but we need to see whatever it is she's been hiding from us. I mean, unless you're so hyped on the ghosting life that you want her to join you?\" After a moment, Gunn sighs and drops down on the end of Cordy's bed. A storage container slides out from under the bed. Fred and Gunn open it.", "Fred: \"Hmm. You looked through the underwear drawer first, didn't you? (They pick up several prescription bottles) The date on this prescription? It's from a year ago.\" Cordy's body is lying on Angel's bed. Angel is sitting in a chair beside it, holding her hand. Through the opening to the next part of the suite we can see Connor's crib.", "Angel: \"Cordy - Look, I know that you can't hear me, but - there is something I have to say. (Puts down her hand) You really piss me off, you know that? I thought we trusted each other. But you've been lying. MRI's and CAT scans? It's been going on for over a year. Why couldn't you let me in? I could have helped you. You make me so furious.\"", "Cordy: \"You're furious? I get body-jacked on my birthday, and *you're* the one that's furious?\"", "Lorne walks in: \"Knock, knock. How is she?\"", "Angel: \"The same. You ready?\"", "Lorne: \"As I'll ever be.\"", "Cordy: \"For what? What's he gonna do?\" Lorne sits down on the edge of the bed.", "Lorne: \"Although I'm sort of wishing I brought my helmet. Last time I tried this I got blown across the room.\"", "Cordy: \"Oh, god, please let this work.\" Lorne puts his fingers on the temples of Cordy's body and closes his eyes. Cordy closes her eyes as well.", "Lorne: \"Cordelia? Are you there?\"", "Cordy: \"It's me. Lorne, I'm here.\"", "Lorne: \"Cordelia?\"", "Cordy's eyes pop open: \"Yes! One seven one Oak street. Can you hear me? Lorne?\" Lorne takes his hands away and looks at Angel. Angel looks from Cordy's body to Lorne: \"What?\"", "Lorne: \"Cordelia's not in there. She's just gone.\"", "Cordy: \"I'm standing right in front of you.\" Angel sighs and rest his head on his hands. Cordy looks up as she hears the indistinct whisperings again.", "Cordy: \"And - I'm afraid.\"", "Angel raises his head: \"No. This isn't gonna happen. (Gets up) I don't care how many favors you have to call in. I don't care how many gods you have to cross. You have a connection to the Powers That Be and you're gonna find me a way to talk to them. Understand?\"", "Lorne backs up a step: \"A-angel honey, it-it's not that easy. I mean, contacting the Powers is a muddy, not to mention dangerous, area. But this is a - this is a bit much to ask.\"", "Angel: \"I'm not asking.\" Lorne sighs and leaves. Angel sits back down on the chair beside the bed. Blend to Cordy sitting on the floor at the end of the bed. She looks over as Angel begins to snore. Cordy gets up.", "Cordy: \"Finally! (Walks over to Angel) Okay, Wes, let's hope your books know what they're talking about.\" Cordy sits down on the chair, melting into Angel's body as she positions herself to match Angel's. Angel's head comes up and he exhales slowly as he straightens. He sees a permanent marker on the nightstand, and knocks over a glass sitting beside it as he picks it up. Moving slowly, he starts to write 171 Oak on the wall above the bed. We hear indistinct whispering and a dark, smoke-like shadow writhes across the wall beside Angel.", "(I missed the next part because of a glitch during the recording, but I take it that the shadow threw Cordy out of Angel's body, making Angel fall to the floor.)", "Wes walks in just as Angel picks himself up off the floor.", "Wes: \"Angel - what are you doing on the floor?\"", "Angel: \"I don't know. I had this dream that, uh - Cordy was here. She was - ah, trying to tell me something. Something really important.\"", "Cordy: \"Yes! And, and...?\"", "Angel: \"It's weird.\"", "Cordy: \"*How* are *you* a champion? In what *way* are *you* a champion?\"", "Wes: \"Fred studied Cordy's latest CAT scans. The news isn't good. The tests show widespread neuro-electrical deterioration.\"", "Cordy: \"That's just a fancy way of saying...\"", "Angel: \"She's dying.\"", "Cordy after a beat: \"I think I like the fancy way better.\"", "Wes: \"I'm still working on, ah, the mystical aspect: trance states, astral projection, spiritual possession. But so far I haven't been able to... Why don't you take a break? I-I'll watch her and Connor.\" Angel leaves, not meeting Wes' eyes. Cordy looking down at her body: \"I'm not ready yet.\" A wind starts blast through the room affecting only Cordy. She backs into a corner and slowly slides down to the floor, watching as the dark shadow seeps out of the wall opposite her. The air ripples like a pond and Skip (the demon from TVT) materializes from it.", "Skip: \"Hey. How's it going?\" Break Cordy slowly stands up takes a few steps closer to Skip.", "Cordy: \"You're - you're - death? You've come to take me.\" Skip burst into echoing laughter.", "Skip: \"Kidding. (Offers her his hand) I'm Skip. (Cordy just looks at him) You're Cordelia Chase, right? (Cordy nods slightly) Sorry it took me so long, I... (Indicates her body) Is this you? Most people go astral, their spiritual shapes tend to be an idealized version of themselves. You know, straighten the nose, lose the gray, sort of a self-esteem kind of thing. You're pretty confident, aren't you?\"", "Cordy: \"What is this? Who are you? What the hell is going on?!\"", "Skip: \"You have questions. I get that. And I'll answer them, too, but first we got to get out of here.\"", "Cordy: \"But why? Here is good. I feel really comfortable here. I-I like here.\"", "Skip: \"But you see, there is a slight problem: you - don't belong here anymore.\"", "Cordy: \"Because I'm dead?\"", "Skip: \"Not yet. But you will be - very soon - unless - you - come with me.\" Cordy looks over towards Wes sitting on the chair beside her bed.", "Cordy: \"Well, I'll follow you on-on one condition. You have to tell my friends about this vision that I had.\"", "Skip: \"Sorry. No can do. I'm not a messenger. I'm just a guide.\" Skip holds out his hand to Cordy.", "Cordy looks at it: \"I don't wanna die.\"", "Skip: \"So don't.\" Cordy slowly puts her hand into Skips. There is a blue flash of light. We see a stack of CAT scan prints lying on Wes' desk.", "Fred: \"That's from eight months ago. The red spots are what they call hot areas or what you'd expect from a healthy, functioning brain. This one is dated one month ago.\"", "Gunn: \"Cordy's doctors couldn't explain it.\" Fred moves the print, revealing one that's mostly green and yellow underneath.", "Fred: \"See - green is a cold color, usually signifying dead areas of the cerebrum. Normally you wouldn't see a scan like that...\"", "Gunn: \"Unless the person was a cucumber.\"", "Angel: \"How could we not know?\"", "Lorne comes in moaning: \"Oh, for the love of god, somebody get me a sea-breeze.\" Lorne's clothes are torn and his left horn is dangling by a thread.", "Fred: \"Lorne! What happened?\"", "Lorne: \"I can't really talk about it.\"", "Gunn: \"Then how the hell are we supposed to find them so we can kick their asses?\"", "Lorne: \"Ah, no. I mean I *can't* talk about it. They cast a spell. I went down to the lo...(his speech turns to incoherent mumbling) See?\"", "Angel: \"Did you get the information?\"", "Lorne: \"Oh, why yes, Angel. My horn should grow back in a couple of days. So kind of you to be concerned. - Well, they didn't say I couldn't write it.\" Lorne holds out a piece of paper. Angel takes it, grabs his coat and heads for the door.", "Lorne: \"Angel, all kidding aside, this isn't something to be taken lightly. Only a champion can deal with the conduit. And even then you have to la-argh arr...\"", "Angel: \"I'll keep that in mind.\" Angel leaves and Lorne shakes himself. Cordy looks around as a flash of white light resolves itself into a deserted open room.", "Cordy: \"Is this... This is a mall.\"", "Skip: \"We just figured you'd be more comfortable here.\"", "Cordy: \"We?\"", "Skip: \"The Powers That Be.\"", "Cordy: \"The Powers That Be popped me out of my body and sent me to a mall?'", "Skip: \"Actually, this is more a construct of a mall. You know, like in the Matrix.\"", "Cordy: \"You've seen the Matrix.\"", "Skip: \"Oh, I love that flick. When Trinity is all 'dodge this' and the agent just crumples to the (Cordy sighs) and I'm not really instilling any *awe* anymore, am I?\"", "Cordy: \"Why did you bring me here?\"", "Skip: \"To give you a choice. But, we'll get to that later. Right now there is something I want you to see.\" Skip touches an info-TV-screen and motions here over as a picture of Doyle appears on it.", "Cordy: \"Oh my god. - Doyle.\" The screen shows the kiss that transferred the visions for Doyle to Cordelia.", "Skip: \"This is where it happened, big cosmic whoops. - Doyle was never meant to give you those visions.\"", "Cordy: \"The why did the Powers let him?\"", "Skip: \"Well, they're usually pretty good at catching that sort of thing. What they didn't count on where his feelings for you.\"", "Cordy: \"You mean - Doyle gave me the visions because - he loved me?\"", "Skip: \"I can't answer that. What I *can* tell you is that it was a mistake.\"", "Cordy turns away: \"But I thought the Powers That Be knew everything.\"", "Skip: \"Life and death, that sort of thing, they got a handle on. Who someone chooses to love, well, that's just good old free will. See Cordelia, the visions are an ancient, powerful force. Demons are the only ones who can withstand them.\"", "Cordy: \"But I've had them for more than two years now. Doesn't that mean I'm strong?\"", "Skip: \"Strong, yes. Demon, no. Just ask Tammy here.\"", "Cordy: \"Tammy where?\" Skip steps aside to reveal a girl dressed like a peasant.", "Tammy (in Cockney accent): \"Hello, miss?\" Cordy spins to face her.", "Skip: \"This is Tammy. She had the visions back in - sixteen thirty?\"", "Tammy: \"Aye. Had 'em well neigh on a year, and a hellish year it was, too. Town fathers called me a witch, wanted to burn me at the stake.\"", "Cordy: \"They killed you because you had visions?\"", "Tammy: \"No, miss. They didn't have to. (Turns so her back is facing Cordy) Last vision I had blew out the back of me skull. (Tammy turns back around and we see the hole in the back of her head) We wasn't mean to have the visions, us humans. Look, you want my advice, you listen to our man Skip here. He won't steer you wrong, this one.\"", "Skip smiles: \"Aw, get out of here. (Turns serious) Really. Get out. I've got work.\" Tammy leaves.", "Skip to Cordy: \"You okay?\" Dissolve to a white light and whisperings that resolves into chamber. Its walls are hidden in the shadows. The only thing in it is a square cube of stone with a fire burning on top. We hear a scream and Angel drops into frame to land face down on the floor beside the cube.", "Angel: \"Thanks Lorne.\"", "Voices: \"It is come. The champion is come. (Angel picks himself up and looks around) Come for what? Answers not to be had. Death is certain. Death awaits.\"", "Angel: \"I wanna talk to the conduit.\"", "Voices: \"We are the conduit. We are the gateway, the all the time, the ever. It wishes to speak to us.\"", "Angel: \"Yes, it does. Are you gonna show yourselves?\"", "Voices: \"We are unseen. Formless. It speaks unknowing. Send it away.\"", "Angel: \"I'm not going anywhere until I get my message to the Powers That Be. My friend - Cordelia - has visions given to her by the Powers. They're killing her. I want the Powers to take them back. - Let her go. She's suffered enough!\" Suddenly Angel flies across the room to smash into one of the walls.", "Voices: \"Suffering? Does it know suffering?\" Angel flies across the room to smash into the opposite wall then drops to the floor.", "Voices: \"Yes it does. - The Powers owe nothing. Send it away. Send it away.\"", "Angel picks himself back up: \"I'm not finished.\"", "Skip: \"You ever have the vague sensation that maybe you left the oven on? Or that you're supposed to call someone back, you just forgot who it was? More to the point, have you ever felt that way about your acting career?\"", "Cordy: \"I don't have an acting career.\"", "Skip: \"Which sort of brings me to my next point.\" Skip points to a stack of TV screens and they come to life, showing scenes of a Hollywood party.", "Cordy: \"Hey! I remember that night.\"", "Skip: \"You'd been in LA for a few months, things had been kind of lean, and who should you run into?\" Angel appears on the screen, making his way through the party goers. Cordy watches with a slight smile on her face as she and Angel meet at the party from \"City of...\"", "Skip: \"Your entire life changed that night. In ways you couldn't imagine. Indescribably painful ways, I think you'll agree. Now, what if the play ran a little different? (The picture on the screen rewinds) You're on the sideline over here, (Skip points and a white x appears on the lower right corner of the screen) talking to a couple wanna-be moguls. Angel is down field here. (A circle appears around Angel's head in the back of the screen) Instead of cutting through the middle to meet Angel, (two white intersecting lines appear on the screen) what if you'd been forced to counter? What if *this* guy, (a circle appears around another man in the crowd) who happens to be a very powerful talent agent, flanks you (A white line connects the circled agent to the X denoting Cordy's position) and drew you off side? (A white line leads from the X in the right lower corner of the screen over to the left corner and another X) What would happen then?\"", "Cordy: \"I'd, ah, score a touchdown?\"", "Skip: \"Metaphorically speaking, heck, yeah! Inside every living thing there is a connection to the Powers That Be. Call it instinct, intuition. Deep down we all know our purpose in this world.\"", "Cordy: \"Are you saying that - I was meant to be an actress?\"", "Skip: \"No. I'm saying you were meant to be an incredibly famous and wealthy actress. And the Powers That Be can make that happen.\"", "Cordy: \"They can do that? They can turn back time?\"", "Skip: \"They don't go for that - much. Think of it as 'writing over history.' From this moment on you could live the life you always wanted. No monsters, no visions, no dying. Well, not for a long time, anyway.\"", "Cordy: \"But no Angel.\"", "Skip: \"Cordelia, I want you to listen to me. If you go back inside your body, you *won't* wake up. You will lie there, unable to move, unable to speak - until the next vision hits you and then you will die.\"", "Cordy: \"But that's not fair. How's Angel gonna know to save that girl if I don't tell him where she is? He needs me.\"", "Skip after a beat: \"Let's go in here.\" Skip takes a hold of Cordy's hand and pulls her through one of the walls of the mall - into the space where Angel is arguing with the Conduit.", "Voices: \"Its pleas are pointless. Her path is chosen. We will not interfere.\"", "Angel: \"The visions are too much. She's not strong enough to handle them.\"", "Voices: \"Obstinate. It speaks and does not listen.\"", "Angel spins around, yelling: \"No, you're not listening! Cordelia is not a champion. She is a rich girl from Sunnydale who likes to play superhero. She doesn't have what it takes to do this! Don't the Powers get that? Stop whispering and listen to me, damn it! She's weak.\"", "Cordy: \"Skip. Get me out of here. Now!\" Skip and Cordy melt away.", "Angel: \"You're killing her. She's unconscious, and she's alone. Who knows if she's in pain?\"", "Voices: \"It is angry. It is afraid.\"", "Angel after a beat: \"I'm more afraid of her dying than she is. - What is that?\" Skip and Cordy are back at the mall.", "Skip: \"Cordelia - are you sure?\"", "Cordy: \"You gave me a choice, so I'm choosing.\"", "Skip: \"Okay, kid. Here goes. I'm gonna make you a star.\" Cordy closes her eyes.", "Announcers voice: \"And now, ladies and gentlemen, the two time Emmy award winning star of our show, the gal with the million dollar smile: Cordelia Chase!\" The mall has changed into the set of a sit-com around Cordy. She is caught in a spotlight and opens her eyes to wild applause form the audience and crew. She is now wearing a tight, blue, sparkly dress and smiles brilliantly at her fans. Break", "[SCENE_BREAK]", "We get to see the opening credits of her show, titled Cordy!", "(The opening credits include: Cordelia Chase, Gregory Dunne, Elliott Sims, and Carol Wright Created by Phlegmont and Mendoza)", "Cordelia: \"2,3,4\"", "Singers: \"Yes, you can hear it in her laughter. - Ooh, you can see it in her smile. - Yeah, you'll be hanging from the rafters. - Ooh, you better stay awhile. - Ooh, better stay awhile. - - Yes, the whole world is full of laughter. - Ooh, you got my heart a little wired. - Yeah, you'll be hanging from the rafters. - Ooh, better stay awhile. - Ooh, you better stay awhile. - Ooh, better stay awhile...\"", "(Note: The theme song was sung by Marti Noxon and David Greenwalt. Words and music by David Greenwalt.)", "Audience claps wildly. We see Cordy walk down a corridor from the stage, dressed in a dark outfit now, wearing her hair different.", "Man off screen: \"Great show, Cordy!\"", "Cordy: \"Thanks, you too.\" Cordy's assistant falls in beside her, holding a PDA.", "Nev: \"Okay. There are stars and there are stars, and then there is you!\"", "Cordy: \"God, that is sweet, Nev. Am I paying you enough?\"", "Nev: \"Well, as a matter of fact...\"", "Cordy: \"Good. What's cooking?\"", "Nev: \"Okay. You got a costume fitting. The Producers want to run some ideas past you for next weeks show.\" Cordy walks up to some fans lying in wait backstage, and begins to sign some of the autograph books held out to her.", "Cordy: \"Hi, how are you? What's your name?\"", "Nev: \"We want to record that breast cancer PSA, but tomorrow is pretty booked. Maybe next week.\"", "Cordy still signing: \"No, make it tomorrow. I wanna get it on the air. (Turns to Nev with a sigh) Nev, you ever get that nagging feeling that you're supposed to be somewhere, doing something, but you can't remember what?\"", "Nev: \"No. I'm highly organized. That's why you pay me - pretty well. But with the holidays coming I really...\" Cordy hands the autograph and pen back to one of the fans.", "Cordy: \"I have to go, I'm sorry. I have to go.\" Starts to walk on. Nev dogs her, pulling out his phone.", "Cordy: \"I want something. Hypo-something. Hypothermia?\"", "Nev to phone: \"Josh, lets get a large tub of ice water to Miss Chase's dressing room, pronto.\"", "Cordy to herself: \"No, that's not it.\"", "Nev: \"Canceling ice water.\"", "Cordy: \"Hyper... hyperbaric?\"", "Nev: \"Josh, make it an oxygen tent.\"", "Cordy to herself: \"No, that's not it either.\"", "Nev: \"Canceling tent.\"", "Cordy spins to face Nev: \"Hyperion! That's it!\"", "Nev: \"The hotel.\"", "Cordy: \"Yes. I wanna go there.\"", "Nev: \"Terrific. When would you like me to... (Cordy is already walking on) Now? Now you would like to... (Cordy snaps her fingers in the air without looking back at Nev) Without security? Without an entourage of me? Right. I'll give them a call. (To phone) Josh, car, side door, now.\" Cordy enters the Hyperion. A string of lights are decorating the plants framing the entrance. Jazzy music is playing. People are scattered around the lobby. A bellboy pushes a baggage cart towards the elevators. Lights are decorating all the plants around the lobby. Cordy walks up to the concierge writing something in the book lying open on the reception counter.", "Cordy: \"Hi. Excuse me.\"", "Concierge: \"Ah, yes, how can we help... (Looks up) Oh, Miss Chase. How can you help me? Ah, how can I help with... (Gives a little laugh) How can we help you?\"", "Cordy: \"I believe my assistant made a reservation.\"", "Concierge checks the book: \"Ah. The, ah, luxury suite. I will take you right up to my room. *Your* room, I meant. - Welcome to the Hyperion.\" Cordy is following the concierge down a corridor of the Hyperion.", "Concierge: \"And here we are, Ms. Chase. (Pulls out a key and starts to unlock a door) The luxury suite.\" Cordy slowly walks past him looking around.", "Cordy: \"No. (Points at a door) This one. (Closes her eyes for a moment) I want this one.\"", "Concierge: \"That's ah - that's a *standard* Miss Chase. It's hardly fitting for someone of your...\"", "Cordy: \"Open it?\"", "Concierge: \"Yes, certainly.\" Cordy slowly enters the suite she picked and looks around it. The standard warm décor of the hotel room is intercut with flashes of the same suite, but the way it looked when Angel was using it, including Connor's crib. Cordy slowly walks over to the bed as the concierge watches her from just inside the door.", "Cordy: \"This wallpaper...\"", "Concierge: \"Ah, yes. Designed by renowned artist Jacques Latour. Part of the remodeling we... (Cordy starts to rip some of it off the wall) Ha, ha... - Mmm, I hate that wallpaper. That's bad, bad wallpaper.\" Cordy has ripped enough paper off the wall to reveal the address she wrote on it while 'borrowing' Angel's body.", "Cordy: \"One seven one Oak. (Turns to the Concierge) Where is that?\"", "Concierge: \"Ah...\" Cordy rings the doorbell of house 171. A teenage girl answers the door.", "Cordy: \"Oh, hi. I'm - I'm really sorry to bother you...\"", "Cynthia: \"Oh, my god. You're - Cordelia Chase. (Cordy smiles and nods) You're - Cordy!\"", "Cordy: \"Yeah, hi. Listen, I know you don't know me, but would you mind if I...\"", "Cynthia: \"Oh! Please, come in.\"", "Cordy: \"Oh, thanks.\" Cordy walks in, and the girl closes the door behind her.", "Cynthia: \"I'm Cynthia. Cynthia York. And - I love your show. Like, *love* love. You're just - you're my idol, Cordy. I wanna be just like you, and have my own design firm and... (Frowns) Wait a second. What are you doing in Reseda?\"", "Cordy laughs: \"Yeah, uhm, hmm. Good question. Uhm, this is - gonna sound a little bizarre, but, uhm, is everything okay here? Nothing - bad - happened, has it?\"", "Cynthia half shrugs: \"My dad left us a couple months ago.\" Cordy reaches out to touch the girls shoulder: \"Oh. Honey, I'm sorry. Is your mom here?\"", "Cynthia shakes her head: \"She's up in Ojai visiting friends.\"", "Cordy: \"Oh. - Well, ah... - That's, ah... Well, okay, then, ahem...\" Cordy turns to the door to leave.", "Cynthia: \"Hey! You wanna see something cool?\"", "Cordy turns back: \"Sure.\" Cynthia takes Cordy's hand and leads her over to a pentagram drawn on the floor on the other side of the couch.", "Cynthia: \"It's a retrieval spell. I'm gonna make my dad come back and live with us again. - I'm pretty sure I did everything right. Even though I - spilled some diet coke on the book I was using and had to improvise a little. Pretty cool pentagram, huh?\"", "Cordy: \"Cynthia? I think we should get out of here before...\" A blue light flashes and suddenly there is a big demon standing in the middle of the pentagram.", "Cordy: \"...that happens.\" Break Cordy pushes Cynthia towards the door.", "Cordy: \"Get our of here, Cynthia. Go!\" Cordy picks up a table lamp and smashes it over the monster's head, then turns to run. The monster trips her, then grabs a hold of her ankle. Cordy grabs a hold of a book (?) lying on the coffee table and rams it in the monster face, making it fall back. The door behind her opens and Cordy turns to stare up as Gunn and Wes enter. Wes is carrying a drawn sword in his right hand. His left sleeve is pinned up, empty, against the side of his jacket.", "Wes to Gunn: \"Get the girl.\"", "Gunn to Cynthia: \"Lets go! Outside.\" Gunn pulls Cynthia towards the door as Wes runs the demon through with his sword.", "Cordy: \"Wesley, what are you doing here and - what - happened to your other arm?\"", "Wes pushes her aside: \"Look out.\" The monster comes at Wes again and he fends it off with his sword. Gunn comes in and tries to beat the monster with his baseball bat. After a brief struggle they manage to down the monster, and Wes skewers it with his sword.", "Cordy: \"So, you - like - kill things now? Cause last time I saw you, you just kind of fainted in front of them.\"", "Wes: \"Cordelia, why on earth are you here?\"", "Cordy: \"I know, I know. Reseda. It's practically the ninth circle of hell.\"", "Wes: \"Not Reseda. Here in this house. Is that girl a friend of yours?\"", "Cordy: \"Oh, look, I know we haven't seen each other in a while, Wesley, and... (Laughs a little) But there is something *weird* going on with me. Like (whispering) Sunnydale weird.\"", "Cynthia: \"Oh, my god. (Looking at the dead monster) My mom is gonna freak.\" Gunn is sticking the appendage of the monster hanging over the gate of his truck under the tarp spread over the bed of it. Cordy and Wes are walking down the walkway from the house to the truck.", "Cordy: \"...and underneath the wallpaper was an address. This address. So, for absolutely no sane person reason I can think of, I come out here and whammo! Slimy monster fun time. What's up with that?\" Wes throws his sword in the back of the truck and turns to face her.", "Wes: \"I'm not sure. I'd have to consult my books.\"", "Cordy smiles at him: \"Some things never change.\" Gunn clears his throat behind them.", "Wes: \"Oh, sorry. This is my partner, Charles Gunn.\"", "Gunn: \"Man, Wes told me he knew you, but I-I didn't believe him.\"", "Cordy: \"Yeah, we go way back. (Gives a laugh) Back to, uhm, when - you had two arms, which, by the way...\"", "Wes: \"Ah, Kungai demon a couple of years ago.\"", "Gunn: \"Hey, is it true that you and Wes were... You know, that you had a little...\"", "Cordy: \"...humiliating kiss where he drooled all over my chin? (Gunn looks from Wes to Cordy) Yeah. But I worked *really* hard to repress it.\"", "Wes: \"Right. Well, as much as I'm enjoying this forced death march down memory lane...\" Wes goes over to the passenger side of the truck and opens the door.", "Gunn: \"Hey, what is it with you Sunnydale folks and repression? I mean, you three are the most denying it folks I've ever met.\"", "Cordy: \"Three? Who else is here in LA?\" We get flashes of Gunn's truck driving down the road and different shots of the city at night. Wes walks into his apartment, followed by Cordy and Gunn.", "Wes: \"Cordelia, I want you to think about this. Angel's not the person you knew. He came to Los Angeles in pain, vulnerable - and when Doyle, his only friend died he - he retreated into himself.\"", "Gunn: \"Him getting the visions didn't help either.\"", "Cordy: \"So, let me get this straight. Angel gets the visions of people who are gonna die, and he tells you, and you go out and slay, and - this is how you make your living? This - got to be the suckiest job in the world.\"", "Gunn: \"It pays the bills - occasionally.\" Wes walks over to a door: \"Don't be shocked by his condition. (Takes a key from a hook beside it) The visions have taken a toll - and the isolation. Sometimes he sends us out to save people he killed two hundred years ago. (Cordy looks from Wes to Gunn, then looks down) So, why don't we just tell him you stopped by and said hi?\"", "Cordy: \"Wesley. I've gotta see him.\" Wes opens to the door to a room empty except for some shackles dangling from the ceiling and a mattress lying cockeyed in the middle of the floor. Angel, bare footed, is sitting on the edge of the mattress, his arms wrapped tightly around his knees. As the door opens he gasps, then curls up even tighter. Cordy looks at the shackles.", "Wes: \"Restraints. Sometimes the visions make him violent.\" Angel scrambles to his feet, arms wrapped tightly around himself and begins to ramble.", "Angel: \"One seven one Oak drive, do you hear me? I feel better now. I can be alone here. I won't run away...\"", "Cordy: \"Oh my god.\"", "Wes: \"This is one of his good days.\"", "Angel: \"No, I - I won't. I won't do that. I won't do... I didn't mean... I didn't mean... Only if it's dead. It's me. (Drops back down on the corner of the mattress) It was my fault. It was me. I'm okay. I didn't mean... I didn't mean...\" Cordy takes a step closer, but Wes takes hold of her arm.", "Wes: \"Don't get too close.\" Angel covers his head:\"Ah! I won't run away.\"", "Cordy walks towards him: \"Angel. - Do you remember me? (Squats down beside him) Cordelia?\" Angel looks up and scrambles away from her on all fours.", "Angel: \"No. I'm afraid.\" Angel goes to cower in a corner of the room.", "Angel: \"I'm afraid. I'm afraid.\" Cordy slowly walks over to him: \"Shh. Don't be afraid. I won't hurt you.\"", "Angel: \"I'm fine. Fine. One seven one. One seven one. You'll see. You'll see, one seven one. My head doesn't hurt. (Bangs his head back against the wall) My head doesn't hurt. Now I'm warm. My head doesn't hurt.\"", "Cordy: \"You don't remember me, do you?\"", "Angel: \"I was there. I wanted to die. But - but I was - was afraid to die. So afraid to die. One seven one.\" Angel repeats the number over and over as he keeps writing it with his finger on the wall beside him.", "Cordy: \"Shh, Angel, it's okay. Everything is gonna be okay.\"", "Angel: \"It was my fault. I was there. I couldn't do anything. There was nothing I could do.\"", "Cordy: \"Everything is gonna be okay.\" Cordy leans in and softly kisses Angel on the mouth. Wes and Gunn watch in slow motion. There is a whoosing sound and a blue light passes from Angel's lips to Cordy. Cordy sits back on her heels and turns to look at Wes and Gunn, then stands up.", "Cordy: \"I remember everything. The visions (Walks over to where Skip is suddenly standing in the room) they're mine.\"", "Skip: \"We made a deal. You gave up the visions, not to mention the certain death that goes with them, and you get to live out your dream. Call me crazy, but I thought that was a pretty fair trade.\"", "Cordy: \"Sure it's fair. But it wasn't me.\"", "Skip: \"We've been over this. I respect what you're trying to do. It's noble and heroic, and all that other Russle Crowe 'Gladiator' crap.\"", "Cordy: \"You've seen...\"", "Skip: \"Didn't love it. The fact remains that humans are not strong enough to harbor the visions! Period. Even the Powers That Be can't change that.\"", "Cordy steps closer: \"Then find a loop hole, Skip. I know my purpose in this world and it includes the visions. And if the Powers That Be aren't complete dumb-asses, they know it, too.\"", "Skip: \"There maybe a - tiny - loophole.\"", "Cordy: \"I'll take it.\"", "Skip: \"You may wanna think about that. The only way *you* get to keep the visions is by becoming - part demon. (Cordy looks down) The process isn't easy. It'll make your vision pain feel like a stroll through candyland. And even after the pain subsides the effects of the transition will be numerous and unpredictable. You may never be able to lead a human life again.\" Cordy looks over at Angel (who appears to be frozen in time), then back at Skip.", "Cordy: \"So - demonize me already.\"", "Skip after a beat: \"It was an honor being your guide, Cordelia Chase.\" Cordy gives him slight smile. Skip raises his hand, a blue light illuminates the room and Cordy arcs back, screaming in pain. On the bed in Angel's room Cordy arcs back, screaming in pain. Angel rushes to her side as the rest of the gang come running.", "Fred: \"What's happening to her?\" Cordy sits up on the bed, gasping, and opens her eyes. Angel catches her in a hug.", "Angel: \"I thought I'd lost you.\"", "Cordy: \"Angel.\" Cordy gasps, pulls back and grabs a hold of her head.", "Cordy: \"No horns.\" Checks her backside.", "Smiles up at Angel: \"No tail.\" Angel looks at the others, but no one volunteers an opinion.", "Cordy: \"Whew! Just checking.\" Cordy scrambles up out of bed and stretches, while Angel takes a suspicious look under the pillow before slowly trailing after her.", "Cordy: \"It feels *so* good to be solid again.\" Angel joins the rest of the gang and they all pivot to keep watching Cordy.", "Wes: \"Cordelia, what is the last thing you remember?\"", "Cordy: \"When? I've been so... Oh. You mean the vision downstairs. No, I had a vision, but it's been taken care off. There was this actress, and an one-armed guy. (Everyone watches her silently) It's a long story. But right now, we have to solve my vision.\"", "Lorne: \"The one you just said was taken care of?\"", "Cordy: \"No. The one I'm having right now. There is a young man in a park in Glendale. Uh, somewhere near a pond. There is a demon waiting for him. He's red with four, no make that five horns.\" Angel looks at the others then back at Cordy.", "Angel: \"Uh, Cordy?\" The camera pulls back and we can see that Cordy is floating about a foot off the ground.", "Cordy: \"What?\"" ]

[ "When a famous dance troupe comes to LA, Angel is thrilled. He drags Gunn, Fred, Cordy and Wes along for a night of ballet. Unfortunately, supernatural forces are afoot at the theater. Meanwhile, Angel is scared to admit his real feelings for Cordy. Wes & Gunn both continue to fall for Fred and she finally kisses one of them." ]

[ "Wesley is sitting in front of a book open to a woodcut of a demon.", "Wes: \"Honestly, have you ever seen anything lovelier? So - graceful, so full of life. And those eyes... make you feel like you're the only man in the room.\"", "Cordy: \"Plus, six breast. Any man is gonna love that.\"", "Wes: \"Fred doesn't have six breasts! - Right?\"", "Cordy, writing on a notepad: \"Sorialus the Ravager. (Looks down at the book) And, yeah, she's the one from my vision.\"", "Wes: \"Coming to destroy the humans that killed her mate.\"", "Cordy: \"But not for another month or so. I'll file her under 'pending.' - You're gonna ask her out?\"", "Wes: \"The Ravager?\"", "Cordy: \"Fred.\"", "Wes: \"Oh. - Yes - but, you know - timing. I'll make my move when I feel the iron is hot.\"", "Cordy: \"Well, get it done, Johnny Reb. So I can hear about something else, and you can do something else besides feeling your hot iron.\"", "Wes: \"Am I very boring on the subject?\"", "Cordy smiles: \"You know, there was a time when you thought I was the loveliest thing in the world.\"", "Wes: \"Well, I... You're an extraordinary woman. (Cordy raises an eyebrow) I...\"", "Cordy: \"At ease, soldier. Just like to hear it every now and then. I was the ditziest bitch in Sunnydale, could have had any man I wanted. Now I'm all superhero-y and the best action I can get is an invisible ghost who's good with the Loohfah.\" Turns from filing away her notes to look at Wes. Wes looks at her for half a moment then looks back down at his book.", "Wes: \"I'm sorry. I missed that last part.\"", "Cordy smiling: \"You *are* a gentleman.\"", "Angel: \"Who's doing what with the Loofah?\"", "Wes, getting up: \"Not Loofah, Looh-fah. Nooctm... Skumth. It's a demon.\"", "Cordy (to Angel): \"So, you went with the dark clothes today.\"", "Angel: \"Ask me why I'm smiling.\"", "Cordy: \"I will, because it's scaring me.\" Angel pulls some tickets out of his back pocket and holds them up.", "Angel: \"We - are stepping out.\" Shot of the Hyperion by day.", "Gunn: \"You are a remarkable woman. Particularly the way you can shovel a mountain range of food into your mouth. That is some Olympian feat, that much eatin'.\" Gunn and Fred are walking into the Hyperion's garden court from the street.", "Fred: \"Oh, was I a pig? It's just that that first breakfast seems to go so quick, and I'm always still...\"", "Gunn: \"Nah, I was wondering where it all goes in that little stick-figure body you got.\"", "Fred: \"Stick? You're a beast.\"", "Gunn: \"Ah, come on. You know you're gorgeous.\" Fred looks at his back as he walks up the steps into the Hyperion.", "Gunn, entering the lobby: \"Morning friends and neighbors. Ooh, are those the tickets? You got 'em?\"", "Angel: \"Well, I got to the ticket place and...\"", "Gunn: \"I'm paying you back. This one's on me.\"", "Fred: \"Morning.\"", "Gunn: \"Mahta Hari is the tightest band in LA. You guys are gonna be trippin' out.\"", "Angel: \"The only thing is...\" Gunn puts a hand on Angel's shoulder: \"Look, I said I'm good for it, man. Don't have to worry about dippin' in the Connor college fund. (Takes the tickets from Angel) The time I saw the Mahta Hari at the Troubadour they where the (reads tickets) \"Blinnikov World Ballet Tour. What's going on?\"", "Angel: \"I was trying to tell you. I got to the ticket place and boom! Tonight only!\"", "Gunn: \"But - you got ballet on my Mahta Hari tickets.\"", "Angel: \"This is the Blinnikov World Ballet Corps.\"", "Cordy: \"He's been saying that like it has meaning.\"", "Angel: \"This is one of the premier companies in the world. And they're going Giselle! It's their signature piece.\"", "Gunn: \"This is all like some horrible dream.\"", "Wes: \"I think I've heard of them. Very ahead of their time.\"", "Angel: \"Oh, yeah. Yeah. I saw their production of Giselle in eighteen-ninety. I cried like a baby. And I was evil!\"", "Fred: \"I-I think it sounds exciting!\"", "Wes: \"Yes.\"", "Gunn: \"No. No! This is not Mahta Hari. This is tutus, and guys with their big-ass packages jumping up and down. This is just... (To Angel) I will never trust you again. The trust is gone.\"", "Cordy: \"Oh, get over it. Do we get dressed up?\"", "Angel: \"Of course.\"", "Cordy: \"I'm in.\"", "Angel: \"Guys, seeing real ballet live it's... (sighs) it's like another world. Gunn, these guys are tight, and you're gonna be trippin' out.\"", "Gunn: \"Don't be usin' my own phrases when we lost the trust.\"", "Cordy: \"Come on, guys. Working day, cases to solve.\"", "Gunn: \"Okay. But I'm not still paying, right. Because this is... (Looks at the tickets) this is... It's like a nightmare.\" The director of the ballet company, wearing a Russian cross with a red stone in the middle on his tie and another man are walking backstage at the theater.", "Man: \"It's such an honor to have the company here, I have to say. All of LA is buzzing. To have the Blinnikov performing Giselle... I can't imagine what's tonight's going to be like.\"", "Director: \"It will be the performance of a lifetime.\" The camera angle changes so that we are looking down on them from the rigging past some gray-skinned hands while hearing some strange giggling.", "Director: \"I guarantee it.\" Intro Cordy and Fred are in a fancy clothing store.", "Fred: \"Are you certain this is the place for us?\"", "Cordy: \"Well, we could always get our outfits at 'Cave-girl's House of Burlap,' but that's just so last season. The guys are all renting tuxes. We gotta step up.\"", "Fred: \"But aren't we - you know - poor?\"", "Cordy: \"There is a custom amongst my people. It's called 'buying a dress, wearing it once, and returning it the next day.' It's all about hiding the tags while it's on.\"", "Fred: \"Oh. Okay. I'm very excited about tonight. I love the ballet! I mean, I haven't seen that much, but my family used to go to the Nutcracker every Christmas, and I had my first sexual dream about the Mouseking.\" Cordy gives Fred a look and half nods before holding up a dress.", "Cordy: \"Face me.\" Holds the dress up against Fred then shakes her head and puts it back on the rack.", "Fred: \"Can I ask you something?\"", "Cordy, looking at another dress: \"I think you guys are perfect for each other. (Turns to smile at Fred) I have magic powers, remember?\"", "Fred: \"It -it's not like we've said anything or... but he's so sweet... and commanding, and I feel so comfortable around him...(Looks down) I mean, I don't even know if he feels...\"", "Cordy: \"He feels.\"", "Fred, looking up: \"Feelings?\"", "Cordy: \"Oh, there is definite feelings. We find the right outfit for tonight, there may be actual feeling.\"", "Fred: \"And then we have to find a dress for you. Something that will make Angel crazy.\"", "Cordy: \"Fred, sweetie. Angel *is* crazy.\"", "Fred: \"Well, I know he's gonna wanna look his best for you.\"", "Cordy: \"That's right. The world's champion is gonna spend all day worrying about his outfit!\" Lorne is wiping at the back of Angel's tux jacket with a rag.", "Angel: \"Is it gonna to be alright? Is there a stain?\"", "Lorne: \"Oh, relax, crumb cake. I've got the soda water working overtime. Man, little Connor burps like a champ.\"", "Angel: \"At least he's sleeping.\"", "Lorne: \"Who wouldn't? With that sweet Irish lullaby you crooned. Just a hair flat on the bridge, but - more to the point - Cordelia?\"", "Angel: \"What about her?\"", "Lorne: \"I read you while you were singing, you big corn muffin, and uh, can't say as I blame. I mean, what a woman she's become.\"", "Angel: \"You're not supposed to be reading me. Anyway, you read me wrong.\" Angel sits down on the edge of his bed and starts to put his shoes on.", "Lorne: \"Sorry, strudel. It's not just when you're singing. We got a little term back in Pylea. Kyrumption?\"", "Angel: \"I know it.\"", "Lorne: \"Okay. When two great heroes come together...\"", "Angel: \"There will be no coming together, okay? Everything we've been through together and all anybody wants to talk about is...\"", "Lorne: \"Can't fight Kyrumption, cinnamon buns. It's fate. It's the stars. Kyrumption is...\"", "Angel gets up: \"Stop saying that. And stop calling me pastries.\" Lorne after watching Angel for a moment: \"You're a man of many limitations, Angel. But you're a man. You got a heart. And Cordelia is a hell of a lady. I mean, if I thought she'd like to wear green, I'd be elbowing you out of the way. But she's out of my league. She's a champion, Angel, old school. And besides, we all know you got a thing for ex-cheerleaders.\" Lorne drops into a chair, chuckling, but Angel only looks down.", "Angel: \"What have I got to offer her?\"", "Lorne: \"Do I even have to answer that? You just have to act, Angel. You gotta let her know what's brewing inside. 'cause, man, it's real and - and you don't wanna miss that shot!\"", "Angel shaking his head: \"Lorne, Cordelia, she's...\"", "Cordy: \"She's what?\" Both of them turn to look at Cordy standing in the doorway, showing off her dress.", "Angel after a beat: \"I-I was just saying that you're not much of an ballet fan.\"", "Lorne aside to Angel: \"You - you know, disregard everything I said. I forgot how homely she was.\"", "Angel: \"You - you look like...\"", "Cordy: \"Like a ballet fan? (Comes swaying into the room) An aficionado? A devotee, in fact? (Reaches up to adjust Angel's bow-tie) Tonight I've decided that we don't have to be our incredibly dreary selves. (Smiles at Angel) Tonight we're just a couple of young sophisticates enjoying an evening of classical dance. How does that sound?\"", "Angel: \"Sounds just right.\"", "Gunn: \"You got to promise not to laugh.\"", "Fred: \"I promise.\"", "Gunn: \"It's gotta come from the heart.\"", "Fred: \"Will you stop being such a little girl? I said, I promise.\" Gunn steps out into Fred's view and spreads his arms so she can get a look at his tux, not looking at her. Fred's eyes go wide. After a moment she bursts out laughing.", "Gunn: \"This is what your promises are worth? I'm having a lot of trust issues at this time in my life.\"", "Fred: \"It's just - my god, you're so pretty.\"", "Gunn smiling: \"You know there's not a lot of people could say that to me and live. But - the way you look - there is no way I can fight you.\"", "Fred: \"Tonight feels... I don't know - kind of magical. Is that stupid?\" Wes comes up and drapes Fred's stole over her shoulders.", "Wes: \"Not at all. (Notices Gunn) Finally came out of hiding.\"", "Gunn motions towards Fred: \"And look at my reward.\"", "Wes: \"Yes. Isn't she a vision.\"", "Gunn: \"A lot of that going around.\" Cordy is walking down the steps on Angel's arm.", "Cordy: \"Thank you, but no thank you. There will be no visions tonight.\"", "Angel: \"How can you be sure?\"", "Cordy: \"I had a vision.\" Wes drapes her jacket over Cordy's shoulders.", "Cordy: \"Thank you. (Whispering) The iron is hot.\" Wes looks from Cordy to Fred. They all walk out of the lobby. Fred looks around the theater lobby with a big smile on her face. The gang settles into their seats. Wes, Fred and Gunn are sitting together in one row. Angel and Cordy have seats in the row just behind them.", "Angel: \"Sorry they're not closer. Getting five seats together...\"", "Wes: \"Don't be silly. Best place. We get the whole panorama from here.\"", "Cordy: \"Besides, back here we stand less chance of setting off the 'under seventy' alarm.\"", "Angel: \"Back in the day I'd always get box seats. Or I'd just eat the people who had 'em.'", "Cordy: \"Don't lets reminisce. We're here. Enjoy.\" The camera pans down to the stage as the curtain opens. As the ballet begins we pan up to a box, where the Russian director is watching the performance. We get a shot of Cordy snoring in her seat. She jerks and moves, without waking so her head is now lying against Angel's shoulder, still quietly snoring away. In the row in front of them Wes glances at Fred, while Gunn is leaning forward, intent on the stage, a smile on his face. Fred looks over at Gunn and smiles. Angel, Cordy still snoring, is watching the performance, a frown spreading over his face. The act comes to an end and people begin to applaud.", "Gunn clapping: \"\"Bravo! Bravo!\"", "Cordy jerking upright: \"I loved it.\"", "Angel: \"It's just intermission.\"", "Cordy, wiping at her face: \"Oh.\"", "Gunn: \"Bravo! Bravo!\" Cordy looks at Angel's jacket where her head was resting.", "Cordy: \"That isn't drool, is it?\"", "Angel: \"It's okay. Matches the back.\" The group is walking out in the lobby.", "Gunn: \"I say it once, and gloat all you want: these guys are tight, and I am trippin' out.\"", "Wes: \"They certainly live up to their reputation. Has the choreography changed much since...\"", "Angel: \"No. Nothing's changed.\"", "Wes: \"Well, it's wonderful they're able to...\"", "Angel: \"No. I mean, nothings changed. These are the same dancers I saw before.\"", "Fred: \"That's impossible. We're watching the exact same troupe you saw in nineteen-ninety?\"", "Gunn: \"I think he said eighteen-ninety.\"", "Fred: \"Oh. Okay, that's much more impossible.\"", "Angel: \"So, somebody wanna tell me how we're watching a show starring people who should have died sixty years ago?\" The gang exchanges looks but no one volunteers any ideas.", "Cordy: \"Well, it's a puzzler. Are there snacks?\" Break", "Wes: \"So what are we thinking? Vampires?\"", "Cordy: \"Well, they're not a deeply tanned bunch.\"", "Gunn: \"That would explain the precision and the athleticism. I mean, some of those jumps were... (Sees the others looking at him) You know, I was cool before I met you all.\"", "Cordy: \"Dancing vampires. Who's not scared?\"", "Angel: \"Not it. I'd know. I'd sense it.\"", "Wes: \"Even all the way back there... (Angel looks at him) ...with the - panoramic view?\"", "Angel: \"We should check it out.\"", "Fred: \"Maybe after the show we should head backstage?\"", "Angel: \"I was thinking now. You guys should go back. I'll snoop.\"", "Cordy: \"I'm with snoopy. The magic of the ballet - not really getting to me.\"", "Wes: \"How will the dancers keep time without your rhythmic snoring?\" The lights flicker and a soft chiming sounds to indicate the end of the intermission.", "Cordy to Wes: \"Don't think that's not coming back to haunt you.\"", "Angel: \"Go.\"", "Gunn: \"Hurry.\" Angel and Cordy are descending some stairs and spot a big security guard standing in front of the door at the bottom.", "Cordy: \"Check out the zeppelin.\"", "Angel: \"Awful lot of muscle for a ballet company.\"", "Cordy: \"You want I should distract him? Make with the nice, nice while you slip by?\"", "Angel: \"Don't be stupid. I'm that guy and the most beautiful girl I've ever seen is making eyes at me? It's either bachelor party or a scam.\"", "Cordy: \"What did you just call me?\"", "Angel: \"I'm sorry. You're not stupid.\"", "Cordy: \"No. After that.\"", "Angel: \"I think I'll just have to go with my patented sudden burst of violence.\"", "Cordy: \"Hey, hold on. I think I might have an approach that is a little more subtle.\"", "Cordy to guard: \"Hey! Do you like bribes?\"", "Guard, smiling: \"Do I ever.\"", "Cordy holds up some money: \"Well, we *really* wanna go backstage.\"", "Guard, taking the money: \"Yeah, okay, but this isn't so much a bribe as it is a tip. And since I'm not parking your car, there's really no way that...\" The guard is handing the bill back to Cordy when he is knocked out by a sudden cross from Angel.", "Angel: \"Okay. That's how we do it.\" Cordy as they walk through the door: \"Okay. You saw the building as we drove by. Do you remember it going on forever?\" Angel glances past her down a corridor that stretches on without an end in sight.", "Angel: \"It's clearly a spell, or a time flux, or something. I don't think we wanna be rushing in here.\"", "Cordy: \"Well, lets get the others and talk options.\" They turn back to the door they just came through, but instead there is just another corridor, stretching on forever.", "Angel: \"Works in theory.\" Wes, Fred and Gunn are watching the dance. So is the director up in his box. Angel and Cordy are walking down the corridor. Angel opens one of the doors and they enter.", "Angel: \"This is her dressing room.\"", "Cordy: \"The prima ballerina.\"", "Angel: \"It's unchanged.\" Cordy sits down at the dressing table and picks up a little chain with a cross on it.", "Cordy: \"She would wait for him here.\"", "Angel: \"It's warm. It's very warm.\" Cordy turns to look at him: \"I feel it.\"", "Angel: \"Something happened here.\"", "Cordy stands up: \"Angel?\"", "Angel: \"Yeah?\"", "Cordy: \"I want you - to undress me.\"", "Angel: \"You what?\"", "Cordy: \"It's just another costume. I want you to see who I really am. You're the only one who can.\"", "Angel shaking his head slightly: \"I... - This isn't us. Cordelia (licks his lips) we're acting this out. Someone is...\"", "Cordy: \"Whoa! - Did - did I actually just ask you to undress me?\"", "Angel steps closer: \"Is that what you want?\"", "Cordy: \"Please... I...\"", "Angel: \"You want me to make love to you right here?\"", "Cordy: \"You know I do.\" Angel caresses her cheek and leans in closer.", "Angel, whispering: \"But you're afraid.\"", "Cordy: \"What if he finds us?\"", "Angel: \"I'm not afraid. I'm not afraid of anything.\"", "Cordy, whispering: \"I'm only alive when you're inside me.\" They start kissing. Break We see the prima ballerina dancing with the lead dancer. Cordy and Angel are still kissing passionately. Suddenly there is a hissing sound and Angel jerks away, putting one hand up against the side of his mouth and cheek.", "Angel: \"Ah! Cordelia.\"", "Cordy: \"Yes.\"", "Angel: \"I'm sorry.\"", "Cordy: \"No. We so need to be out of here.\"", "Angel: \"Yes.\" They're both breathing rather fast as they move back together. Cordy, not trying to get away: \"This isn't out of here.\"", "Angel: \"I know. - Right.\" Remaining on the verge of another kiss they move across the room. Cordy turns so that her back is to Angel, snaking one of her arms up behind his neck.", "Cordy, breathless: \"Open the damn door.\"", "Angel: \"Kinda hard.\"", "Cordy: \"Kinda noticed.\" Never losing touch with Cordy's body, Angel reaches around and twists the door handle. Breaking apart, they hurry through the open door, and Angel slams it shut behind them.", "Cordy: \"Whoa!\" Angel, leaning with his back against the door: \"That's a fair assessment.\"", "Cordy, points at the door: \"What the hell is that place?\"", "Angel: \"There's spirits in there. Energy trapped in time. It took us over.\"", "Cordy: \"Yee. Scary. - Well, it's a good thing it wears off right away.\" Cordy laughs as both of them look down. Angel takes off his tux jacket and folds it over his arm, strategically positioned in front of his body.", "Angel: \"Yeah. Good thing.\" Lorne places Connor into the crib in Angel's room singing softly.", "Lorne, singing: \"Go to sleep, lullaby, you've been fed and you're sleepy. You'll be with uncle Lorne, who in no way resents not being asked to go to the ballet.\" Lorne sits down by a desk and picks up a magazine.", "Lorne, singing: \"And is certainly, not thinking, of selling you to the first vampire cult that makes him a decent offer...\" The camera moves through the lobby, and up the stairs. Turns down the hallway. Lorne is reading the magazine, humming to himself. He stops and glances towards the door. Puts the magazine down as he gets up.", "Lorne: \"Hey, you just sleep on, little nipper. Uncle Lorne is gonna make sure we're alone.\" Lorne picks up Angel's fighting ax, leaning against the nightstand next to the rubber ducky, and heads for the door.", "Lorne: \"Won't be gone a moment.\" The door opens as Lorne reaches it and his eyes go wide.", "Lorne: \"Oh my god.\" Angel and Cordy are wandering down a hallway.", "Cordy: \"Are you sure this is the way?\"", "Angel: \"I'm sure it's *a* way. Place is a maze. I'm just hoping there's another room. We can just go...\"", "Cordy: \"Damn it!\"", "Angel: \"What?\"", "Cordy: \"I said something. Back in that room. Something important. Do you remember?\"", "Angel: \"Uhm - you-you're only alive when I-I'm...\"", "Cordy: \"Not that.\"", "Angel: \"No. Of course. I-I was just... Oh. Hey! I said you were afraid.\"", "Cordy: \"And I said - what if he finds us?\"", "Angel: \"She had a secret lover.\"", "Cordy: \"They were afraid of someone. And I'll bet you anything that someone is the reason why we're stuck here! We left too soon.\"", "Angel: \"We... who? The room?\"", "Cordy: \"It's a clue! Those spirits or - or energy or - or whatever are still in there. So we can figure out what happened. We have to go back in!\"", "Angel: \"I'm marveling at the wrongness of that idea.'", "Cordy: \"You wanna wander around backstage like Spinal Tap for the next - ever?\"", "Angel: \"I'm sure there are other rooms that...\"", "Cordy: \"All we have to do is play the scene. Get in, get out. No one gets happy.\"", "Angel: \"What if there is - no more talking in that scene? - Look, I've been possessed by the spirits of old lovers before. Never goes well.\" Cordy pulls out the necklace with the cross and holds it up.", "Cordy: \"Well, I've got my little cross if things get out of hand. (Angel won't look at her) Hey - it's awkward, but it's not *us.* So long as nothing is removed or - inserted it's all forgotten.\"", "Angel: \"It is us - Cordelia. It's you and me. - Kissing you, it's... - It's not something I can just...\"", "Cordy: \"Oh, come on. It's not *that* horrible. (Turns to walk down the hall) Up to his ass in demon gore - fine! But ask him to mack on a hottie and he wigs. (Turns back to indicate Angel) My champion, ladies and gentlemen.\" Up in the theater, Fred is watching the ballerina and the lead dance. Wes' hand slowly moves towards Fred's hand, resting on her knee - just as Gunn's hand does the same.", "Fred, whispering: \"Angel!\" Wes and Gunn jerk their hands back.", "Gunn: \"Huh?\"", "Fred: \"And Cordy. They've been gone way too long.\"", "Wes after a beat: \"You're right. Come on.\" Gunn, even as he gets up with them: \"We're gonna miss the end!\"", "Wes: \"I'm sorry.\" Cordy and Angel are back in the dressing room of the ballerina, standing a few feet apart.", "Angel: \"Anything coming?\"", "Cordy: \"Uhm...\" Cordy paces a little circle, then turns to face Angel.", "Cordy: \"Okay. Let's take it from the middle. - I want you to undress me.\"", "Angel: \"You want me to have s*x now with you here.\"", "Cordy: \"Yes, but I'm scared.\"", "Angel: \"But you're afraid.\"", "Cordy: \"And afraid. What if we-he! - finds us?\" Angel awkwardly takes a hold of Cordy's shoulders and pulls her closer.", "Angel: \"Well, I'm not afraid of anything.\"", "Cordy: \"Only good inside, blah, blah, blah...\" Cordy squints her eyes closed and leans in to give Angel a quick smooch. Then they both look around the room.", "Angel: \"Maybe it only works the one time. You know, when the energy...\" Cordy reaches up and pulls Angel into a passionate kiss. The cross necklace drops from her fingers behind Angel's back. Fred and the guys come across the unconscious security guard.", "Gunn: \"At least Angel left us a trail.\" We hear mixed laughter and crying and two shapes move away as Gunn, Fred and Wes step over the downed guard and through the door. The director is up in his box, watching the ballerina dance. We see two pairs of white-gloved hands on the back of his chair and hear the same mix of laughter and crying.", "Director: \"Deal with them. I can't be bothered right now.\" The two shapes move away. Angel is laying Cordy back on the lounge in the ballerina's dressing room, covering her neck with kisses.", "Cordy: \"This is wrong.\"", "Angel: \"Hush.\"", "Cordy: \"You don't know him. - He has power.\"", "Angel: \"The power to do this?\" Cordy gasps, takes a deep breath - and another.", "Cordy: \"Stephan, his power is unnatural. He could...\"", "Angel: \"What? Kill us?\"", "Cordy: \"Worse.\"", "Angel: \"Kurskov owns the company. He doesn't own you.\"", "Cordy: \"He doesn't know that. He thinks I'm his. (Sits up as a Russian accent enters her speech) That I dance for him. He is nothing but a deluded fan. He thinks I love him.\"", "Angel: \"Come away with me. Now. Tonight. We'll disappear. Even *he* won't find us.\"", "Cordy: \"I... - Stephan, everything I worked for is here.\"", "Angel: \"You can still dance.\"", "Cordy: \"Can I? I don't... Not yet. - Maybe when we're...\"", "Angel: \"Don't. Don't make promises.\"", "Cordy: \"Help me. - Help me be not afraid.\" She sinks back onto the lounge and Angel goes back to kissing her neck. Fred, Gunn and Wes are walking the corridors.", "Gunn: \"This is very not right.\"", "Fred: \"Do you hear it?\"", "Wes: \"There is something.\" Two shapes flit across the corridor behind them, unnoticed. We can hear low moaning.", "Wes: \"Someone's in pain.\"", "Fred: \"Either that, or someone's in fun.\" Angel is working his way south of Cordy's belly button, covering her bare skin with kisses.", "Cordy, moaning: \"Oh, no. (Suddenly her eyes widen and she sits up) Oh, no!\" Angel straightens up just in time to get knocked to the floor by one of the director's minions. Cordy peeks over the back of the lounge and watches as the minion, wearing a gray 'comedy mask' hits Angel across the chin with a hard right.", "Cordy: \"Oh, thank god!\" Angel hits back, knocking the minion to the floor. Cordy, pulling the straps of her dress up onto her shoulders: \"Okay. So. Good. They were probably interrupted by this Count Kurskov, or his lackeys, right? So we're done with the...\" Cordy throws up her hands to shield herself as Angel charges at her. Cordy lets out a scream as Angel launches himself over her, tackling the minion set to attack Cordy from behind. The others out in the corridor follow the sounds of the fight.", "Gunn: \"Now that sounds less like fun.\" One of Kurskov's minions, wearing a gray 'tragedy mask' come up behind Gunn. Gunn lets out a scream as the minion stabs him from behind with a sword.", "Fred, spinning around: \"Charles!\" Break", "[SCENE_BREAK]", "Another sword wielding minion is confronting Wesley.", "Wes: \"Fred, stay between us.\"", "Gunn: \"I need to...\" Fred picks up a prop and wallops the tragedy minion as Gunn drops to his knees with a groan.", "Fred: \"Wesley!\" Wes catches the tragedy minion's sword as Fred tosses it to him and engages the 'comedy' minion.", "Wes: \"Can you handle the other?\" Wes glances back to see Fred continuing to wallop on the sobbing 'tragedy' minion, before turning back to face his own foe.", "Wes: \"Well, then. Just us.\" Cordy is throwing cushions and whatever else comes to hand at a laughing 'comedy' minion, while Angel has the 'tragedy' minion on the floor, choking it. The 'comedy' minion slashes at Cordy with its sword. Cordy picks up a short stick, decorated with swaths of ribbons. Looks at it as she dodges another swing, then over towards Angel.", "Cordy: \"A little help!\" The 'tragedy' minion pulls out a stiletto and stabs Angel through the heart with it.", "Angel: \"Thank you.\" Angel pulls out the stiletto, knocks the 'tragedy' minion across the chin, then stabs it through the heart with its own sword, at the same time throwing the stiletto to skewer the 'comedy' minion through the throat. Cordy watches the minion drop to the floor then hurries over to Angel.", "Angel: \"You alright?\"", "Cordy: \"Yeah. We gotta move.\" Angel looks from one minion to the other.", "Angel: \"You think they're not dead?\"", "Cordy: \"You just looked *really* hot doing that.\"", "Angel: \"Oh.\"", "Cordy nods: \"Yeah.\"", "Angel: \"Run.\" They jump up and run out the room, Angel taking the minion's sword with him. Wes is fencing with the 'comedy' minion out in the corridor. The minion, with its grotesque comedy mask, is laughing the whole time. After some fancy sword and curtain work, Wes manages to run it through with his blade.", "Wes: \"Who is laughing now?\" The minion lets out a weak laugh.", "Wes: \"Well, you. But I still win.\" Fred is performing some impromptu first aid on Gunn's wound.", "Gunn: \"That's good. That should hold. (Fred lets out a shaky breath) You okay? You hurt?\"", "Fred: \"I'm fine. I just thought... (Takes a deep breath and looks away) I'm sorry. I shouldn't fall apart like this.\"", "Gunn with a slight smile: \"You scared I'm gonna die on you?\"", "Fred: \"Charles, don't even...\" Gunn looks up at the ceiling and starts declaiming: \"And all I ask - is one last kiss - as the light is dimming.\" Breaks up in laughter.", "Fred: \"You think that's funny?\"", "Gunn: \"It's just a scratch!\"", "Fred: \"I thought it was... - I...\"", "Gunn: \"Hey. (Gunn carefully reaches out and pulls Fred against him) Hey. (Gunn strokes Fred's shoulder then pulls back and tries to look into her eyes) You really that worried about me?\"", "Fred, not looking at him: \"You probably think I'm an idiot.\"", "Gunn, quietly: \"I think if you care that much - the wound is definitely deep.\" Fred raises her eyes to look at him: \"The light is dimming?\"", "Gunn: \"And all I ask (looks at her lips) is one (slowly leans forward) last...\" They kiss softly. The camera pulls back and we see Wesley standing a little way away watching them, his face reflected in a polished brass mirror. Wesley slowly turns and walks away. We hear the sound of a sword tip dragging along the floor, see black clad legs shambling into view. Their owner drops to his knees and we see that it is Wesley. He bows his head, then turns it to look at the camera as and ominous music begins to play. The shot of Wes' face blends into a shot of Kurskov watching the prima ballerina dance on stage. Gunn and Fred are getting to their feet as Angel and Cordy come up a branch of the corridor.", "Angel: \"You guys alright?\"", "Fred: \"Charles got stabbed.\" Gunn pulls up his shirt as Cordy hurries over to take a closer look.", "Gunn: \"Yeah. A couple stitches worth.\" Angel looks at the dead minions.", "Angel: \"The same guys that attacked us.\"", "Fred: \"Cordy - your tag's showing.\" Fred tucks the tag back away.", "Gunn: \"Any idea where we are or what the hell?\"", "Angel, shifting on his feet: \"Yeah. Cordy and I hit kind of a mystical hotspot back in one of the dressing rooms.\"", "Cordy: \"Well, it seems the prima ballerina had a lover back in the day. And there was this Count Kurskov, who owned the company, and I guess he had a thing for the girl and - they were mightily afraid of him.\"", "Angel: \"He had powers of some kind.\"", "Wes: \"He was a wizard.\" They all turn to see Wes standing on the threshold of one of the corridors archways, sword carried loosely by his side.", "Wes: \"He was obsessed with the girl. - When he found her with the other man, he went insane with jealous rage - pulled her out of time (slowly walks towards them) out of any reality beyond *his* theater, his company. He swore she would dance for him forever.\"", "Fred: \"How did you...\"", "Wes: \"I - ah, - I hit a hotspot, too.\"", "Gunn: \"And now we're stuck here?\"", "Wes: \"Well, ah, this kind of temporal shift can't just exist. It has to be maintained. That requires power and concentration. If we can overload him somehow, we might be able to slip back to the real world.\"", "Gunn: \"The man with the plan!\"", "Angel: \"Great. So, how do we overload him?\"", "Wes: \"Well, I'd imagine *that* requires some energy.\" The others turn to look at what Wes is indicating. One of the dead minions is slowly rising, begins to shake, then splits in two, one wearing a tragedy mask and sobbing, the other wearing a comedy mask and laughing. Angel grabs them both in a head lock under each arm and breaks both their necks. As soon as they hit the floor they start shivering and splitting each into a new pair of theater minions.", "Fred: \"The more we kill, the more he makes.\"", "Cordy, pointing: \"Look!\" For a moment the wall of the corridor wavers, revealing another reality behind it.", "Wes: \"And that is draining his energy. Angel, try and find a way to the stage. The count will be watching.\" Angel starts to walks away, muttering under his breath: \"I bet *he* has a box.\" Wes puts a hand on Angel's arm as he walks past and Angel stops to look at him.", "Wes: \"Find his power center and destroy it. We'll try and loosen his hold.\"", "Gunn: \"By making more monsters? Man with the frightening plan!\" A minion comes up the corridor and Angel spin kicks it, breaking its neck before heading past it.", "Cordy, pointing: \"Back here. They can't surround us.\" They all move into the corner Cordy indicated. Cordy picks up one of the minion's swords, handing its stiletto to Gunn as he and Fred walk past her. Wes puts a hand on Gunn's arm.", "Wes: \"You two - (Looks from Fred to Gunn, then back to Fred) - stay close together. I'll take point.\"", "Cordy, coming up beside him: \"I hope you're in a killing mood.\"", "Wes: \"I should do alright.\" We get intercut shots of the ballerina dancing on stage, the gang fighting the minions, and Angel looking for a way out of the corridor maze. The wall next to Angel flickers and after a split second's hesitation, Angel leaps at it - and lands in the wings off the stage. He sees the ballerina standing there watching from just off stage, waiting, at the same time the ballerina also comes dancing off the stage, her image shivering and dissolving as she passes from the view of the theater audience.", "Angel: \"Hello?\" The ballerina's head whips around and she stares at Angel. Ballerina, speaking with a Russian accent: \"Who are you? - There's no one... - You're new.\"", "Angel: \"I'm pretty old, actually. (Slowly walks closer) I've seen you dance.\" Ballerina, looking out on the stage: \"Everyone sees me.\"", "Angel: \"It was Giselle then, as well.\"", "Ballerina: \"Always.\" Angel looks past the ballerina and sees Kurskov up in his box.", "Angel: \"I know what's happening. Count Kurskov - he's punishing you.\"", "Ballerina: \"He made me. He owns me. And when I dance it is only for him.\" Beside Angel the air shivers as a row of dancers materializes and passes out onto the stage.", "Angel: \"Do you believe that?\"", "Ballerina: \"It really doesn't matter. I'll dance. I'll wait here. And then I'll dance again. That's all.\"", "Angel: \"A hundred years - doing the same piece - every night. Is that enough? What about Stephan?\"", "Ballerina takes a deep breath: \"I waited too long. I should have gone when he asked me, should have disappeared, but... (swallows hard) I wanted this. This dance, this... I hesitated and... - I lost everything that mattered. Now all I do is wait.\"", "Angel: \"You dance.\"", "Ballerina: \"There is a section in the first act, during the courtship dance, where - my foot slips. My ankle's turned and - and I don't quite hold - every time. (Glances at the box) He doesn't notice. He doesn't even know ballet that well. But always, at that same moment, I slip. - It isn't just the same ballet. (Looks at Angel) It's the same performance. I don't dance. (Returns to watching the stage) I echo. (After a moment she turns back to Angel) Please - can you make it stop?\" The gang all have swords now, fighting the minions.", "Wes: \"It's working!\"", "Gunn: \"Yeah, there are dozens of them. Yay us!\"", "Wes: \"It has to be weakening his hold.\" Angel reaches out his hand towards the stage and it vanishes from view in mid-air.", "Angel: \"I can help you. But you have to do something.\"", "Ballerina: \"What?\"", "Angel: \"Change the ending. Dance something new.\"", "Ballerina: \"I can't.\"", "Angel: \"He doesn't control all this. He's losing it. (Looks to see the 1890 backstage dissolve for a moment into the present day stage) But you have to take the stage. - It's not too late. You can change things.\" The ballerina looks from Angel to the stage. She slowly steps towards the stage, looking back at Angel once, then goes out and begins to dance around the lead dancer, lying stretched out in the middle of the stage as the rest of the company leaves the stage. She raises her head from bowing down over the fallen body to look towards Angel, waiting in the wings, then steps back and strikes a different pose. Up in his box, Kurskov jumps up out of his chair.", "Kurskov: \"No!\" As the ballerina begins to dance again, the body of the lead dancer shivers and dissolves. The ballerina stops, holding a pose, and looks up defiantly at Kurskov's box. Angel run out onto the stage and with two great leaps lands in Kurskov's box. He grabs him by the lapels and pulls him close.", "Angel: \"Hey, where is your power center?\"", "Kurskov: \"How dare you?\"", "Angel: \"I'll guess.\" Angel smashes the jewel in the center of the Russian cross-shaped medal hanging around Kurskov's neck. A wave of blue light races out, washing over the ballerina on the stage, washing over the minions attacking the gang. Gunn stops in mid-swing to look around as his sword, the minions and the corridor dissolve into a modern day back stage room. On the stage the ballerina looks up at Angel. Angel gives her a slight nod and she sinks down, folding her body on top of her outstretched leg, in something like a deep bow, before dissolving away.", "Kurskov: \"You have no right.\"", "Angel: \"Save it.\" Out in the audience people begin to applaud.", "Kurskov: \"She - was my love. She danced only for *me!*\"", "Angel: \"Yeah. You love her that much? (Hauls back and clocks Kurskov on the chin, dropping him to the floor) Start a website.\" Angel leaves the box. Hyperion, night. In his office, Wes is working on the wound in Gunn's back.", "Wes: \"We'll have to clean the wound. Do you want something for the pain?\" Gunn, looking at Fred sitting across from him: \"What pain?\" Fred smiles at Gunn. We see that Angel was watching them. He turns away, a slight smile on his face. Out in the lobby Cordy is brushing at her dress.", "Cordy: \"Do you think I can still return it? Because otherwise we're gonna have to take on a lot more cases.\"", "Angel: \"Cordy.\"", "Cordy: \"You know, we should probably just not talk about - our little adventure. Anything that might have been seen, anything that might have been, oh (lets out a laugh) perky.\"", "Angel turning away: \"I just wanna pretend it never happened.\"", "Cordy: \"Exactly.\"", "Angel: \"Wipe it from my memory.\"", "Cordy: \"What? - Was it, like, disgusting?\"", "Angel: \"No! I, ah... I would, I would just want... If we were to... - I would just want it to be... - new. Start at the beginning.\"", "Cordy shaking her head: \"Lost me in the middle.\"", "Angel: \"Cordy - you and I, we've been working together for - a long time. (Cordy lets out a short 'duh' kind of laugh) What I mean is, you've become a truly extraordinary woman. (Cordy grins) I know we haven't always gotten along, but - I think that we, you know, we...\"", "Cordy: \"Groo?\"", "Angel: \"Yes! We - we-we grew - closer together, I think...\"", "Cordy runs past Angel yelling: \"Groo!\"", "Groo: \"Princess!\" Angel turns to see Cordy throw herself into the Groosalug's arms as he comes down the stairs. Groo catches her in a tight hug, swinging her around.", "Cordy: \"Oh god! I can't believe it!\" Fred and Wes come out of the office at the noise. Groo looking deep into Cordy's eyes: \"I feared you'd forget who I was.\" Cordy, running a hand down the side of his face: \"Remind me.\" They kiss. Lorne walks over to stand next to Angel, who isn't taking his eyes of Cordy and Groo.", "Lorne: \"He just showed up. Apparently once everyone in Pylea got their freedom, the political situation got a little sketchy. The Groosalug here got deposed and they set up some kind of people's republic. So, he came looking for his - true love.\"", "Angel: \"Huh. That's good-good for her.\"", "Lorne: \"Yeah.\"", "Angel turning away: \"I'm gonna check on Connor.\"", "Lorne: \"Ah, he's sleeping.\" Angel keeps walking up the stairs.", "Fred: \"Well, that's a surprise. I thought for sure she was meant to be with Angel. I guess you never can predict those things. (Turns to look at Wesley) You know?\" Wes, looking at her, after a beat: \"No. I guess you never can.\" Fred gives him a smile, then turns back to watching Groo and Cordy." ]

[ "After translating the prophecy, Wesley is terrified. It says, \"The father will kill the son,\" meaning Angel will kill Connor. Meanwhile, Gunn and Fred investigate a vampire nest, while Holtz amps up his plans for vengeance. Wes tries to disprove the prophecy, but all signs seem to point to disaster." ]

[ "Wesley: \"Previously on Angel:\" Holtz is riding hell for leather through the English countryside in 1764.", "Angel: \"Holtz, we took a lot from you, that's true.\" Holtz finds his dead wife. Angel stands in the rain holding Connor with Holtz aiming a crossbow at them.", "Sahjhan: \"Now's your chance! Do it! Finish it while you still can. You can't just let him walk away! Not after what you swore to me!\"", "Holtz to Justine: \"I want you to go out and find others like you. People who have suffered as we have.\" Angel give Cordy a roll of money: \"Don't come in for a couple of weeks. Take Groo some place nice. You'd like that.\"", "Angel to Wes: \"What about my son?\"", "Wes: \"He has a role to play. - I've located commentaries on the Nyazian text, the prophecies concerning your son.\" Wes stares down at his notepad: 'The Father will kill The Son.' Gunn and Fred walk into Wes' office to find him asleep at his desk.", "Gunn: \"You got to admire the loyalty. All night here, hitting the books. Logging serious alone-time, delving into the secret mysteries of... - Man, Wesley needs a life.\"", "Fred: \"I wonder if he found anything new about Connor.\" Fred reaches for the papers on Wes' desk.", "Wes: \"Don't touch that.\" Wes' jerks awake and straightens his glasses.", "Wes: \"They're just in a specific order. I'll be lost... (blinks up at Fred and Gunn) What time is it?\"", "Angel: \"Time for Wesley to wakey-wakey! Isn't that right Connor?\" Angel comes in carrying Connor.", "Wes gathers his papers together: \"I must have lost track of the time. I meant to, ah - go home.\"", "Angel: \"Road to hell, right?\"", "Gunn: \"So, Wes, you find any answers in all these stuffy books of yours?\"", "Angel: \"He already knows the answer. He's just looking for the question.\"", "Wes: \"So, have we heard anything from Cordelia recently?\"", "Angel: \"Do you wanna see Connor do something cool? (Angel morphs into vamp face) I'm teaching him how to die!\"", "Wes: \"Don't!\" Angel buries his fangs in the side of Connor's neck as the baby begins to cry. Wes looks down at his hands, palms down on the open book in front of him. Blood is seeping out from under them, coating the pages. Gunn and Fred smile at Wes.", "Gunn: \"Tick-tock, Wes. (Gunn's voice suddenly gets deep and strange sounding) Running out of time. (Echoing) Running out of time.\" Wes looks over as Angel straightens up, blood smearing his vamp face, then lifts his hands off the book and stares at his bloody palms. Wes' head come up from the open book he was sleeping on and he glances around the office. Angel walks in, carrying Connor.", "Angel: \"Morning, Wes. You been here all night?\" Wes just stares up at Angel. Intro A baby is crying.", "1.Woman: \"You'd think something was killing him.\" The camera pulls back to show us two women, each holding a baby sitting in a doctor's waiting room.", "1.Woman: \"All night long, the screaming and crying.\"", "2.Woman: \"Colic is the worst.\"", "1.Woman: \"I hold him. I walk him. Nothing seems to work.\"", "Angel: \"Have you tried the vacuum?\" The woman looks over where Angel is waiting with Connor, a slightly disheveled looking Wes sitting beside him.", "Angel: \"Sometimes the white noise from a motor will put a colicky baby right to sleep.\"", "1.Woman: \"You know, I've read about that. The problem is my older one - I can't run the vacuum while he's sleeping.\"", "Angel: \"You could try taping it. The sound. Just leaving playing by the crib kind of low.\"", "1.Woman: \"I should have thought of that! (Smiles at Angel) Mr. Dad to the rescue!\"", "Nurse: \"Misses Ferguson?\" 1.Woman gets up to follow the nurse: \"Oh, excuse me.\"", "Angel aside to Wes: \"Mr. Dad! Check me out! I'm Mr. Dad. (Sees the way Wes looks at Connor) You okay, Wes?\"", "Wes: \"Well, just a bit tired, is all.\"", "Angel: \"Probably good you got out of the office. We haven't seen you for the last couple of days. You've been all holed up with all those (quietly) prophecies and books.\"", "Wes: \"Yes, I've been working on a - particularly difficult translation.\"", "Angel: \"Is it about Connor? Anything we have to worry about?\"", "Nurse: \"Mr. Angel?\"", "Angel gets up: \"We're up, kiddo. (Sees Wes get up) You're coming in?\"", "Wes: \"Just in case you forget to ask anything. Always better to have an extra pair of ears, right?\" The Doctor is examining Connor as Angel hovers over him.", "Angel: \"It's like a - like a soft gurgle or a wheeze. It might be a wheeze. I heard it last night when I was feeding him. You hear it?\"", "Doctor: \"All I hear is a normal, healthy little heart.\"", "Angel: \"You-you don't understand. I-I got like really good hearing. I mean *really* good hearing.\"", "Doctor: \"Well, most first time parents do. You said this wheeze or gurgle happened while you were feeding him?\"", "Angel: \"Is that bad? What is it?\"", "Doctor: \"In my professional opinion - it's called digestion.\"", "Angel: \"Oh.\"", "Wes: \"Doctor. During your exam you didn't notice anything - abnormal about him, did you?\"", "Angel: \"Wes! What kind of question is that? (To Doctor) Did you?\"", "Doctor: \"No. Your son is just fine.\"", "Angel: \"So - when will we get the results form the blood test?\"", "Doctor: \"In about a week. It's just precaution, really.\"", "Angel: \"But he's okay. Connor's healthy?\"", "Doctor: \"As healthy as a human being can possibly be.\"", "Angel to Connor: \"Did you hear that? (Shakes the doctors hand) Thank you.\"", "Doctor: \"No problem.\" Wes walks to the door and opens it.", "Angel grinning: \"Thanks.\"", "Wes: \"Angel? (Angel looks over to Wes) You can let go of the doctor now.\"", "Angel: \"Oh. Right.\" Angel stops shaking the doctor's hand and gathers up Connor.", "Angel: \"Come on, kiddo. (To Doctor) Thanks.\"", "Doctor: \"Take care.\" Angel, carrying Connor, and Wes walk out. The doctor looks down at his hand.", "Doctor: \"And they bitch about *my* cold hands.\" The Doctor lays the chart down next to a tube of blood labeled 'Angel, Connor' and leaves the room. The other woman from the waiting room comes in carrying her baby. She takes the tube of Connor's blood and replaces it with another one, looking exactly the same. The door opens and the nurse comes in.", "Nurse: \"There you are! Did you get turned around? You're supposed to be over in exam three.\"", "2.Woman: \"Oh. My mistake.\" Follows the nurse out. Outside shot of the Hyperion during the day.", "Gunn: \"I wanna know how he does it. No last name, no bank account. How are you ordering stuff off the web?\" Angel is getting a dagger from the weapons cabinet to open the box sitting next to Gunn on the reception counter. Wes is busy translating. Fred is holding Connor.", "Fred: \"It's not that hard, really. All you have to do is hack into the shipping database, find someone who is ordering what you want, then substitute your information. (Sees Gunn and Angel looking at her) Except that would just be high-tech robbery.\"", "Angel: \"I memorized Cordelia's credit card numbers.\"", "Fred: \"Oh. Low-tech robbery.\" Angel pulls two miniature hockey sticks out of the box and holds them up.", "Gunn: \"Some kind of boomerang vamp stake?\"", "Angel hands one to Gunn: \"No! They're itty-bitty hockey sticks!\" Angel demonstrates, then pulls a small jersey out of the box and holds it up. It says' Connor 03' on the back.", "Angel: \"Check this out! How *cute* is this? Huh? Seriously.\"", "Gunn: \"Seriously, I think you got way too much time on your hands.\"", "Fred: \"Come on. You think it's adorable.\"", "Gunn: \"Well, yeah, but at least I'm manly enough to deny it.\"", "Angel: \"Okay, okay. I admit things have been a little slow since Cordelia and the Groosalug went on vacation.\" Angel takes the puck out of the box and tosses it to Gunn.", "Gunn: \"I can't believe I'm saying this, but I'm actually jonesing for a throw-down with something mean and nasty.\" Angel is taking a drink from a glass of blood, sitting on the counter.", "Fred: \"Cordelia hasn't called once with a vision. Do they even have phones there?\" Gunn drops the puck on the floor and tires out the small hockey stick.", "Angel: \"Maybe they're not near a phone. Come on, it's a vacation! They're not gonna waste it all on a dark hotel room - you know, together, where the food's delivered and there is no reason to go outside. You know, hockey is a great sport.\"", "Gunn: \"You realize this is the whitest sport known to man?\"", "Angel: \"True. But the games are indoors, and they usually play at night.", "Gunn: \"Got you.\"", "Angel: \"I know it's a little bit too early to be thinking about stuff like this, but I -I can't wait to watch him, you know, grow up. (Takes another sip of blood) For him to lose his first tooth. (Gunn straightens up and watches Angel with a slight smile) Learn how to ride a bike. Ha.\" Wes un-hunches from his book as Angel's voice drifts into his office.", "Angel: \"I want to help him pick out a tux for his senior prom. I just can't wait to see who he's gonna to be. I know it's mushy, but it's just... He makes me so happy.\" Gunn bats the puck past Angel and throws up his arms.", "Gunn: \"He shoots, he scores! Ha!\"", "Angel: \"Well, sure. Of course, with no defender.\" Angel picks up the other stick.", "Gunn: \"Ha. Bring it on.\"", "Angel: \"I think Connor? He's gonna be center, you know?\"", "Gunn: \"What you got?\"", "Angel: \"Control of the puck.\" Angel takes the puck around Gunn.", "Angel: \"Yeah. Ditching the left wing.\"", "Gunn: \"Come on.\"", "Angel: \"Taking it all the way to the crease...\" Angel shoots. The puck flies and shatters the glass of the door leading out into the garden court. Wes looks up at the sound of the breaking glass. Angel, holding up his hockey stick: \"Yeah, you know, these - this isn't regulation size.\"", "Aubrey: \"Excuse me. Is this Angel Investigations?\" They turn to see a woman with short, dark hair standing in the lobby.", "Aubrey: \"I need your help.\" Fred is putting Connor into the bassinet.", "Aubrey: \"Last Monday night, my son Timothy snuck out of the house. He loved to go to the pier. He loved the lights of the Ferris wheel there. (Angel looks down at Connor) So I went after him. I searched the pier, the arcade - nothing. So - I sat up all night and waited for him to come home.\"", "Angel: \"When did he return home? Right before dawn?\"", "Aubrey: \"Yeah. But his face was... There was something wrong with his face - and - he was so angry. He was calling me names, and pounding on the door, and screaming at me to let him in. - It scared me. I was afraid of my own son. - Then he just - went up in flames.\" Everyone is quiet for a moment.", "Wes: \"If you'd let him in - he would have killed you.\"", "Aubrey: \"At least he'd still be alive.\"", "Gunn: \"No. What came to your door that wasn't your son. It looked like your son, but it wasn't him.\"", "Aubrey: \"Maybe I could have found a way to turn him back.\"", "Angel: \"When somebody becomes a vampire there is no turning back. (Wes looks over at Angel) No matter how much you want to believe there is some part of him you can save, all that's left is an evil thing.\" Wes looks down at his hands, then back at Aubrey.", "Wes: \"You say your son went to the pier that night? (Aubrey nods) Gunn, why don't you do a little recon while it's still light out.\"", "Gunn: \"I can just gear up and take care of it.\"", "Wes: \"No. If there is a nest at the pier, we go as a group. Strictly reconnaissance.\"", "Gunn: \"Okay. Fred and I will check it out.\"", "Aubrey: \"If I could have found that thing myself, I would have killed it with my bare hands. - It made me afraid of my own little boy. (Angel looks down at Connor) I don't understand any of this. I don't know what to do.\" Smash cut to Aubrey reporting to a group of people ranged around a seated Holtz.", "Aubrey: \"Wesley Wyndham-Pryce heads the staff at Angel Investigations. Doles out assignments, specializes in reference and research.\" Aubrey moves from a picture of Wes to one of Fred.", "Aubrey: \"This woman nicknamed Fred appears to be the resident science expert. It's unclear whether she is a fighter. Finally, Charles Gunn: big, very strong, could be a formidable opponent. Though he seems to be a bit impulsive. We may be able to use that in the future.\"", "Holtz gets up: \"Good work, Aubrey.\"", "Aubrey smiles: \"Thanks, boss.\" Break We get an outside shot of an older mansion by day. In a darkened room, two men with quarterstaffs fight against a chained vampire. Justine sits to one side, looking at the pictures of Angel, Wes, Gunn, and Fred pinned up on a board.", "Justine: \"I don't understand. How can these people work for a vampire.\"", "Holtz: \"I once made a pact with a demon.\"", "Justine: \"So you could get to Angelus. So you could kill a vampire.\"", "Holtz: \"I'm sure they believe their reasons are good, how ever misguided. Things aren't always black and white, Justine, good and evil.\"", "Justine: \"What about Angelus?\"", "Holtz: \"He is evil.\" Justine sees the vampire attacking the two men as the anchor of its chains come loose. While Holtz sits back and watches, Justine jumps up and engages the freed vamp. After a short fight, she manages to knock it to the floor. She turns to take a sword from a stand and rams it through the vampire's torso, pinning it to the floor.", "Justine: \"Chains would be good now.\" Some men chain the vampire back up. Justine pulls the sword free, steps back, and looks at Holtz.", "Holtz: \"I knew you were meant for this. (Turns back to the papers on the table) We need to get moving. Events are happening even quicker than I could have hoped.\"", "Sahjhan: \"Thank god. I was starting to get bored.\" Holtz turns as Sahjhan materializes out of a shivering air behind him. Justine swings the sword around to decapitate Sahjhan, but it just goes right through him.", "Sahjhan: \"You know, my barber has the same problem with his scissors - hence the bad haircut. (Justine looks from Sahjhan to Holtz) Love the whole chained, un-dead look you got going on. Really sets off your fern.\"", "Holtz: \"You can stand down, Justine. It's only Sahjhan.\"", "Sahjhan: \"*Only* Sahjhan? See that's the trouble with you, Holtz. If you'd only done what you... (Looks at Justine) Can we have a little privacy here?\" Justine looks to Holtz.", "Holtz: \"No.\"", "Sahjhan: \"Fine. You owe me a dead vampire.\"", "Holtz: \"Yes. Well, how shall I put this? What are you going to do about it? - Nothing. That's what you'll do. That's all you *can* do - or else you wouldn't have brought me here in the first place. (Holtz turns back to the table) You've done your part, Sahjhan. Now let me do mine.\"", "Sahjhan: \"What *is* your part? Recruiting a bunch of paramilitary moonie freaks, who run around playing Candid Camera with Angel's buddies? That's crap. Admit it. You're a coward - and I bet Caroline would agree. You remember her, don't you? Your dead wife? Mother of your dead kids? How'd they die? Who swore revenge? - Any of this ringing a bell?\"", "Holtz after a beat: \"Get out.\"", "Sahjhan: \"Or what? You can't kill me.\"", "Holtz turns to face Sahjhan: \"But I *can* trap your dimensional essence in a Resikhian Urn. Wonderful devices the urns. They last a lifetime. That is, if you live forever.\"", "Sahjhan: \"This isn't over, Holtz\" Sahjhan shivers back out of existence.", "Wes: \"I know it's dangerous. I don't care. - You're a wizard.\" Wes is on the phone at his desk looking down on \"The Father will kill The Son\" on his notepad.", "Wes: \"Because it's the right thing to do. - Then because I'm paying you an obscene amount of money. Just do it, and call me back.\" Wes hangs up the phone. Fred bounces in the door, smiling.", "Fred: \"Hey. Wes?\"", "Wes: \"What is it?\"", "Fred's smile melts away: \"I'm sorry. You're busy. I'll come back.\"", "Wes, more quietly: \"What can I do for you?\"", "Fred: \"Nothing. Uhm, - I just wanted to compliment you, that's all. You were really there for that woman, Aubrey, who lost her kid at the pier.\" Wes shuffles a bit, and gives her a small smile: \"Thank you.\"", "Fred: \"And working so hard, staring at all those books. And as a book-starer myself I know how crazy making that can be. You should get out of here for a while. Go for a walk. You deserve it.\" Wes looks away. A big grin spreads over Fred's face.", "Fred: \"I was thinking: maybe you could call Aubrey. (Wes looks at her) She is real attractive and her paperwork says she's single. She probably needs a friend.\"", "Wes, looking down: \"Fred - we're not here to date. - We're here to do a job. (Fred's grin disappears) Now why don't you go to the pier and do your job.\" Fred looks at Wes for a moment then turns and quietly walks out of his office. Lilah is on the phone in her office.", "Lilah: \"Is everything alright? Are they taking care of you? - No, mom, this *is* Lilah. You called Lilah. Do you need anything? Do you need money? - No - mom, I can't come over. I'm in Los Angeles. You know that. - Don't cry. Mom, please, stop it.\" Lilah looks up as the air in front of her desk shivers and Sahjhan appears.", "Lilah: \"I'm gonna have to call you back.\" Lilah hangs up the phone.", "Lilah: \"You don't have an appointment.\"", "Sahjhan: \"That's it? No 'wow, how did he do that?' No screaming in terror? You twenty first century types are so jaded.\"", "Lilah: \"You're Sahjhan, aren't you? I may be jaded, but I do my homework. And there's a girl downstairs, she's got records on everything that ever happened. (Sits back) My company rocks.\"", "Sahjhan: \"Yes. I'm familiar with your firm - in this and other dimensions.\"", "Lilah: \"Great. Let's shorthand. You're a time-shifter. You recruited Holtz in the eighteenth's century, put him on ice for a couple hundred years, so he could pop up and stake Angel when he's least expecting it. And considering that I have yet to put on my boogie-shoes and dance on Angel's pile of dust, I'm imagining that Holtz isn't working fast enough for you. Which leads me to believe, you think my firm can expedite the process.\"", "Sahjhan: \"More or less.\"", "Lilah: \"I hate to disappoint you, but Wolfram and Hart's official policy is to let Angel live until he becomes useful. (Lilah is scribbling on the notepad on her desk) I'm sworn to obey that policy.\" Lilah holds up the notepad so Sahjhan sees that she has 'count me in' written on it.", "Lilah: \"Is there some other way I can help you?\" Sahjhan looks around the office and clears his throat, then leans in a little closer.", "Sahjhan: \"I have a plan. But for it to work, I require a very rare and valuable ingredient. Getting it will be difficult, if not impossible. - I need the blood of Angel's son.\"", "Lilah: \"Got it.\"", "Sahjhan: \"Got it? What do you mean 'got it?' How'd you get it?\"", "Lilah: \"I swiped it from his doctor's office. I don't know what good it'll do you though. Boys in the lab looked it over, said it was utterly run-of-the-mill. Completely normal.\"", "Sahjhan: \"That's because they're looking for the wrong thing.\" The camera pans across sunny LA, then zooms in on the pier.", "Fred: \"So I'm looking for anything suspicious. Like small dark places where somebody could get grabbed, or any blacked out cars or vans, or pale, bumpy people with sharp teeth.\"", "Gunn: \"I don't think we got to worry about seeing any actual vamps, Fred. The sun's still kinda up in the sky.\"", "Fred: \"Even so, as professionals shouldn't we always be aware of our surroundings?\"", "Gunn grins: \"Hey, ring toss! You want me be all macho and win you a prize?\"", "Fred: \"Charles...\"", "Gunn: \"Alright. You can be the macho one.\" Gunn takes a hold of Fred's arm and pulls her over to the booth.", "Gunn: \"Oh! Look at that stuffed little bunny up there! Think you could win it for me?\"", "Fred: \"This is so wrong.\"", "Gunn: \"You're right. I don't want the bunny.\"", "Fred: \"We're supposed to be working.\"", "Gunn: \"No, we're supposed to be doing some bogus, half-assed recon. That's different then working.\"", "Fred: \"Still. It's our job.\"", "Gunn: \"Actually, this was my job. Wes never said to bring you along. Probably wanted me out and about so he could chat up my girl.\"", "Fred: \"Wesley wouldn't do that. - I'm your girl?\" Gunn smiles at her.", "Fred: \"Wes knows about us and you knew he knew and you didn't let me know?\"", "Gunn: \"Come on. You know he was interested in you. And now he knows we're seeing each other, so what?\"", "Fred: \"So, he's our boss, and I don't think he likes the idea of us dating while we're working together.\"", "Gunn: \"He said something to you, didn't he?\" Fred just looks at him and Gunn lets out a sigh.", "Gunn: \"Well, you-you-you got my back, right? You stood up to him and said we're two adults and what we do with our personal lives is none of his business, right?\"", "Fred nods: \"You bet I, uh - didn't. Charles, I like you and I wanna keep liking you.\"", "Gunn takes a step closer: \"Then do!\"", "Fred: \"Maybe when we're out like this we should - we should just work.\"", "Gunn: \"No. Can't do it that way. Maybe I'm greedy, but I want it all: the great girl *and* the great job. I don't care what Wesley says, but I'm not giving up either without a fight. (Crouches down so his face is level with Fred's) How about you?\" Fred shakes her head, her face breaking into a big grin.", "Gunn: \"Good. (He leans down and gives her a kiss) Now, how about we go looking for some vampires?\" Fred smiles up at him. Gunn wraps an arm around her shoulders and the two of them walk off. Angel is crouched in front of Connor's bassinet, holding a stuffed animal with a rattle inside, playing with Connor.", "Angel: \"Look at what's coming at you. Woosh!\"", "Wes walks up behind him: \"I have to leave the office for a moment.\"", "Angel: \"Wes, what's going on?\" Angel picks up the glass of blood sitting on Wes' desk and takes a sip.", "Angel: \"You've been on edge for days. Talk to me.\"", "Wes: \"I just wanna make sure everything's okay.\"", "Angel: \"You mean with Connor.\" Wes nods. Angel turns back to cooing at Connor: \"You didn't mean to give Uncle Wesley such a headache now, did you?\"", "Wes: \"I won't be long.\"", "Angel, still smiling at Connor: \"Give us a smile. (Connor smiles) Yeah!\" Wes turns to leave.", "Angel: \"Hey, Wes.\" Wes turns back, and their eyes meet.", "Angel: \"Thanks. You're a good friend.\" Wes leaves as Angel goes back to playing with Connor.", "Angel: \"Here's the monkey. Yay-yay-yay!\" Fred and Gunn walk through the dark and deserted pier.", "Fred: \"We should be getting back.\"", "Gunn: \"Hang on. - I'm getting a tingle.\"", "Fred: \"Ah - I thought we were gonna try to keep that out of the workplace.\"", "Gunn: \"Not that kinda tingle.\"", "Fred, looking around: \"Oh. - I don't see anything suspicious - except for that guy trying to break into that building over there.\"", "Gunn: \"Carousel closed hours ago.\" Gunn and Fred enter the dark building housing the carousel. Fred spots a figure climbing the middle column of the carousel.", "Fred: \"Is that a vampire?\"", "Gunn pulls out a stake: \"One way to find out.\"", "Fred: \"Charles, what are you doing?\"", "Gunn: \"My job. I didn't spend all day walking the pier just to go home and file a report with Wesley. Let's finish this now.\"", "Fred: \"We're not supposed be doing this.\" The carousel begins to turn silently (no music). A door in the middle column opens and a growling vampire steps out between the turning figures. Behind Gunn and Fred another vampire drops from the ceiling, and a third comes up from the other side. Gunn and Fred exchange a look. Break", "[SCENE_BREAK]", "Justine and another man are watching it all from an opening up in one wall of the building. Justine is also recording it all on a video camera.", "Gunn: \"When I say go, run!\" Gunn engages two of the vampires, tricking the third to take down one of his own fellow vampires by ducking out from under his attack.", "Gunn to Fred: \"Get out of here!\"", "Fred: \"But...\"", "Gunn: \"Go!\" Fred runs out, and Gunn turns back to the fight.", "Man: \"They're gonna kill him.\"", "Justine: \"Maybe.\" One of the vampires has Gunn down on the ground. Gunn hits it across the chin, then catapults it off over his head. It flies into the wooden railing surrounding the carousel, breaking it. Gunn picks up his dropped stake and runs after it, plunging the stake home. But even as the first vampire turns to dust, another one throws him across the room. Gunn's stake skitters across the floor as he loses his grip on it. As the man watches, Gunn picks himself back up to resume the fight. After a few blows the vampire grabs him by the throat and lifts Gunn clear off the ground.", "Man: \"Shouldn't we do some...\"", "Justine: \"No. That's no why we're here.\" Fred comes back in just as the second vampire comes up behind Gunn.", "Fred: \"Behind you!\" Fred tosses Gunn one of the broken spokes of the wooden railing and tosses it to Gunn, while picking up another for herself. Gunn catches it and stakes the vampire coming up behind him, while Fred dusts the one holding him.", "Justine: \"Well, what do you know?\" Justine and the man leave.", "Gunn, gasping: \"Fred - why are you still here?\"", "Fred: \"I got your back! - Well, actually I got his back.\" Fred smiles at Gunn.", "Gunn: \"Thanks.\" Gunn pulls Fred close and kisses her, then wraps her into a tight hug. They just stand there holding each other as the carousel turns silently beside them. Wes is walking through some bushes looking down at an electronic compass.", "Wes: \"Thirty four degrees twelve minutes north. One eighteen, twenty one, West.\" The compass lets out a soft chime.", "Wes: \"This (looks up from it) - must be it.\" Wes is standing in front of a giant hamburger face with arms and legs and an 'order here' speaker for a nose, outside of a fast food place. Wes takes quick look around. The lights in the place go out and two guys walk out.", "Wes: \"You're supposed to be a statue. I guess you are (Wes throws a look at the two guys as they start to laugh) sort of.\" The two guys walk off and Wes pulls out a small leather bag.", "Wes: \"If this doesn't work, I'm gonna kill that wizard.\" Wes sprinkles the powder in the bag over the hamburger statue, then holds his hand up, palms out, in front of him.", "Wes: \"Mange sec Loa, alegba, accept this offering - and open the gates of truth.\" A red light flashes and the hamburger comes to life, growing bigger in front of Wes' eyes. Its eyes begin to glow red.", "Loa: \"How dare you call on the Loa?!\"", "Wes: \"I-I - I come in supplication, oh great one, begging for answers to questions only your power can reveal.\"", "Loa: \"You have answers, human. You search now, only for the question.\"", "Wes: \"Is it true? Will Angel really kill his son as it says in the prophecies?\"", "Loa: \"That the vampire will devour his child is certain. The dark question *you* harbor is only 'when.'\"", "Wes: \"No. - The dark question I harbor is 'how do I stop it?'\"", "Loa: \"It can not *be* stopped.\"", "Wes: \"It has to be stopped! (The Loa growls) There must be a way...\" Red lighting flashes from the Loa's eyes into Wesley, knocking him to the ground.", "Loa: \"Your insolence is displeasing.\"", "Wes picking himself back up: \"You try chatting with a cranky hamburger.\"", "Loa: \"You risk your life, human, calling on the Loa. Perhaps what you really seek is death. The pain in your heart begs for it.\"", "Wes: \"Then do it and be done. Nothing else will stop me.\"", "Loa: \"Simple mortal, your pain is just beginning. Betrayal and agony lie in wait, and time - is running out, yet still you ignore the question.\"", "Wes: \"Alright then, when? When will this happen?\"", "Loa: \"The first portent will shake the earth. The second will burn the air. The last will turn the sky to blood.\"", "Wes: \"An earthquake? That's the first portent? We live California!\"", "Loa: \"Earthquake, fire, blood. Be heedful of the signs, human, and trouble the Loa no more.\" With that the hamburger shrinks down in size and turns back into a lifeless statue. Lilah is sitting at a bar.", "Lilah: \"I need a drink. Scotch, thirty-year-old, two ice cubes.\"", "Bartender: \"Certainly.\" A guy sits down in the chair beside her and Lilah smiles at him.", "Lilah: \"Not on your best day. Bye.\" The guy gets back up and moves further down the bar, sitting down next to another girl. The bartender hands Lilah her drink and she takes a sip. Sahjhan drops down into the chair next to Lilah.", "Sahjhan: \"Sorry I'm late. Kind of ironic, my being a time-shifter and all.\"", "Lilah: \"It's on.\"", "Sahjhan: \"It's on?\"", "Lilah: \"Our plan? The *Angel* plan? On. I outsourced the labor, buried the cost. We shouldn't have any problems with the firm. Good seeing you.\" Lilah finishes her drink and gets up.", "Sahjhan: \"Okay, but lets skip the small talk and get right down to business. I just time skipped a hundred thirty-three years for this meeting. Would a little conversation kill you?\"", "Lilah smiles: \"Right. Because we're on a date? The only reason I met you here was so we could talk freely.\"", "Sahjhan: \"So, lets talk freely. Would it impress you if I told you I invented daylight savings time?\"", "Lilah: \"Why do you want Angel dead? That's the only thing I couldn't find in the archives.\"", "Sahjhan: \"Boy. All work and no play. (Turns away from her) I have my reasons.\"", "Lilah: \"Hmm.\"", "Sahjhan: \"How about you? Died in the wool company gal? Why risk it all to kill Angel?\"", "Lilah: \"We have our history.\"", "Sahjhan: \"Well - same here.\"", "Lilah: \"Are you afraid of him?\"", "Sahjhan: \"Nah!\"", "Lilah: \"Then what are you afraid of? - You may be insubstantial but - I can still smell the fear.\"", "Sahjhan: \"Wow. Where does the time go? (Gets up) So, when does this plan go into effect?\"", "Lilah: \"It's already started.\" Hyperion day, Wes is sitting in a chair by Cordy's desk, staring at Connor in his bassinet. He looks up when someone knocks on the counter and sees Aubrey standing there.", "Aubrey: \"Hi. Sorry to interrupt your staring. You looked really into it.\"", "Wes, getting up: \"Aubrey. I didn't hear you come in. - Please.\" Wes indicates his office and Aubrey walks over to meet him in there. She takes his hand and shakes it.", "Aubrey: \"I got your message that everything was taken care of. I - can't tell you how grateful I am to you. (Hands him a check) It might have been to late for Timothy, but - at least those monster will never get a chance to take someone else's son.\"", "Wes walks around his desk: \"Monsters. - I don't recall mentioning that there were more than one.\"", "Aubrey: \"Well, you did say before that there could be a nest.\"", "Wes: \"Oh. (Puts the check into a desk drawer) Well, thanks for the check. We'll mail you the receipt.\"", "Aubrey: \"Look, I know it's none of my business, but - are you okay? I mean, no offense, but you look a little rough around the edges.\"", "Wes: \"I'm not sleeping very well.\"", "Aubrey: \"Would you like to go out? Maybe get a cup of coffee or something?\"", "Wes: \"You mean - with you?\"", "Aubrey: \"To be perfectly honest with you - I could use a friend right now. Ever since my son was... - It gets lonely.\"", "Wes: \"You're good. - I like the - 'lonely' thing.\"", "Aubrey: \"Wh-what?\"", "Angel: \"Yeah, lonely. That was a nice touch.\" Aubrey spins around to see Angel standing behind her. Her hand dives into her purse and comes out with a stake. Angel catches her upraised arm and sends her stumbling to the side, making her drop the stake, then follows her, wrapping one hand around Aubrey's throat.", "Angel to Wes: \"Moves more like a fighter than a victim, wouldn't you say?\"", "Wes: \"Yes, I would.\"", "Angel: \"You set up my friends. Let them walk right into an ambush. They could have been killed.\"", "Aubrey: \"But they weren't. Your friends are still alive. My little boy isn't.\" Angel lets go of her and takes a step back.", "Angel: \"I'm sorry about your son.\"", "Wes: \"Is that how Holtz found you? Because of what happened to your son?\" Aubrey just looks from Wes to Angel.", "Angel: \"You're right to protect him. Holtz is one of the good guys. He has every right to hate me. And if he ever - comes close to one of my people ever again, or tries to touch a hair on my son's head - I'll kill him - and anyone who gets in the way. You might wanna mention that.\" Aubrey takes on last look at Angel and runs out. Angel turns to look at Wesley. The book on Wes' desk starts to rattle as the whole hotel begins to shake from a minor earthquake. Angel's hurries out of Wes' office, but by the time he gets to Connor, everything is stable again.", "Angel: \"Hey. (Picks Connor up) Good boy. That's my little guy. Your first earthquake, huh?\" The video recording Justine made earlier is playing on a TV screen.", "Fred: \"Behind you!\" Holtz pauses it as Fred tosses the wooden spike to Gunn.", "Holtz: \"This tiny girl, outsized, outmatched, outnumbered - and she survived. (Turns to his group) Why? - Because she was willing not to. She was prepared to die for the cause rather than abandon her comrade. We, too, must be willing to die - but more so. Study this carefully. You'll be fighting these two very soon. (Hears footsteps) Perhaps sooner than I expected.\" Holtz, together with everyone else, turns to look at Aubrey.", "Holtz: \"They found you out.\"", "Aubrey: \"I am sorry.\"", "Holtz: \"It's not important. Of course I am rather annoyed you allowed yourself to be followed.\"", "Wes: \"Don't blame her.\" Aubrey and the others spin around to see Wesley standing in the doorway behind them.", "Wes: \"I would have found you eventually.\" Break One of Holtz followers draws a knife and stalks closer to Wes.", "Follower: \"Maybe we should cut out his tongue - send a message to Angelus.\"", "Wes: \"Maybe.\" Wes hauls back and hits the man, dropping him to the ground. Holtz raises a hand to stop others from attacking Wes.", "Wes: \"Or perhaps you could lie on the floor and gag for a while. (Glances around at the rest of the group) I didn't come here to fight. I'm not your enemy. - But then I've noticed you do have trouble making that distinction. You're fighting the wrong man.\"", "Holtz: \"Angelus.\"", "Wes: \"No. Angel. He's not Angelus anymore. He's a good man.\"", "Holtz: \"He's not even a man.\"", "Wes: \"Nevertheless - he has a soul now.\"", "Holtz: \"Yes. That he might know the pain that he has inflicted on his countless victims. A brilliant curse, I must admit. Gypsies *do* have a knack for creative vengeance. Where they fail, however is in the execution of justice. And that I will have.\"", "Wes: \"If it's a sacrifice you require, take me. Angel's no more responsible for the crimes of Angelus than I am.\"", "Holtz: \"Really?\"", "Wes: \"Yes.\"", "Holtz: \"And was it your hands that held down my beloved Caroline as she was violated and murdered? That wrapped themselves around my son's neck and snapped it like kindling? Where yours hands that clutched at my daughter as she was turned into a creature damned for all eternity? - Angelus is in his nature. The beast will re-emerge. You've seen it. You know it. And that is why you are here. - You're afraid he's going to kill the child. - (Wes looks from Holtz to Aubrey) - And you're right.\"", "Wes: \"Your infiltration was more successful than I'd realized.\"", "Holtz: \"I don't need prophecies to tell me what is plain. So long as the child remains with the demon, it's not safe.\" Wes sticks his hands into his pockets: \"Well, I must have misunderstood. - Here I thought it was a simple blood vendetta, when - what you *really* want is to protect Angel's son.\"", "Holtz: \"You don't believe me.\"", "Wes: \"Hmm. Not sure really. Could be the low scary voice that's giving me trouble.\" Holtz' followers look from Wes to Holtz.", "Holtz: \"It's time to make a decision, Mr. Wyndham-Pryce. My army is strong and will only increase in number. Fight against us - and this war will become a bloodbath.\"", "Wes: \"This isn't war. It's revenge.\"", "Justine: \"What's wrong with revenge? It's all some of us have left.\"", "Wes: \"Look. I can't know what it's been like for any of you.\"", "Holtz: \"You might soon enough.\" Wes just looks at Holtz.", "Holtz: \"When I put my son's body into the ground, I had to open the coffin, just to know that he really was in there. You also may discover - that a child's coffin, Mr. Wyndham-Pryce - it weighs nothing.\" Wes stands there, not saying a word. Fred and Gunn are sitting in the diner.", "Fred: \"You barely touched your food. (Gunn looks up at her) You feeling okay?\"", "Gunn: \"Yeah. Yeah. (Gunn puts down his fork) Look. I've been thinking a lot about yesterday. I'm not really mad at Wes.\"", "Fred: \"You were right though, right? I should have stood up to him.\"", "Gunn: \"But I understand his position. He's the boss and we got to respect that. His job is to keep things tight and - that's a lot of pressure.\"", "Fred: \"You aren't changing your mind, are you? - I mean, about - the wanting it all? - As long as we're not smooching on the job, or, you know, being sucked underground by a plant demon. (Gunn laughs a little) I say, why not go for it?\"", "Gunn: \"What if we can't manage it all? The job, the romance... Emotions are tricky. They can cloud our judgement, you know, like at the carousel last night. What if it doesn't work?\"", "Fred quietly: \"So we're back to that? - What if Wesley makes us choose?\" Gunn sits back and sighs.", "Gunn: \"I've been fighting vamps and demons since I was a kid. That sense of doing good - of waking up in the morning and making the world safer - better... I've always had that.\" Fred looks down. A slow smile spreads across Gunn's face as he looks at her.", "Gunn: \"But I never had a Fred before.\" Fred slowly raises her head and looks at him. Gunn leans forward.", "Gunn: \"If we have to - I choose you. - I came on too strong, didn't I?\" Fred looks at him, starts to smile.", "Fred: \"No. - You came on just right.\" Gunn steals a fry off Fred's plate.", "Gunn: \"Look. Lets try not to worry too much. Wesley is a good man.\" We see Wes walk down the upstairs hallway in the Hyperion.", "Gunn voice over: \"He'll do the right thing. He always does.\" Wes stops in front of Angel's door. Angel is carrying Connor to his crib as he hears a knock on the door.", "Angel: \"Come on in.\" Angel lays a fussy Connor down into the crib.", "Angel: \"It's okay. Shh. I'll get you some food. You're hungry, aren't you? (To Wes as he walks over to the kitchenette) Have a nice walk? (Lights the gas stove) How're you doing? - Really?\"", "Wes after a beat: \"I've had better days.\" Angel sets a bottle into a pot of water on the stove.", "Angel: \"I know the feeling. (Turns to look at Wes) I figured it out.\" Angel goes to sit in a chair beside his bed and starts to fold Connor's laundry as Wes stares at him.", "Angel: \"How I really knew about Aubrey. - All that pain, that rage... the only way she could deal was to join Holtz, take her revenge. - You know how I knew that?\" Wes walks over to him.", "Wes: \"Because you would have done the same.\" Wes sits down on the edge of the bed.", "Angel: \"It scares me. - You know? - If anything like that ever happened to Connor, I don't know what I'd... (Angel looks down at the laundry he's holding) I love my son.\"", "Wes: \"Love can be a terrible thing.\"", "Angel: \"I used to think that. I thought love was - something that swallowed you whole, ripped you up inside, but, you know, what I feel for Connor, even that fear... - Wes, it's - it's not terrible. (Sighs and looks down) It's beautiful.\" Wes looks at Angel. Looks down and begins to laugh quietly. Looks back up at Angel, grinning.", "Angel smiles back: \"What's so funny?\" Angel gets up and goes to check on the bottle.", "Wes: \"Life. Life is funny. Listening to stupid people talking to hamburgers is funny. Worrying about things that will never... - It's all so incredibly funny and - and beautiful.\" Angel is drying off the bottle as a second, harder earthquake hits. Pots and pans fall out of the cupboards. Lilah is looking around her shaking office a smile on her face. Justine is standing in Holtz mansion, legs braced against the shaking. Holtz turns and looks at her. The lit stove in Angel's suite topples over. A huge column of flame shoots out, throwing Angel across the room. A burning beam drops from the ceiling between Wes and Angel. Holtz tackles Justine out of the way of a shelf as it come crashing down. Justine looks up into Holtz face as he is lying on top of her. Angel runs to Connor's crib and gathers his son up in the sky-colored blanket he is lying on.", "Angel: \"Come on, kid.\" Angel, holding Connor, jumps over the burning girder and heads for the door. Looking over, Angel sees that Wes is just standing there, staring into the flames.", "Angel: \"Wesley, get out!\" Angel grabs a hold of Wes and tosses him out into the hallway before hurrying after him. Angel, bleeding from a cut on his forehead, looks back into his apartment as another chunk of ceiling crashes down where Wes had been standing. Wes, coughing, sits up against the wall.", "Angel to Connor: \"It's okay. It's okay. It's alright.\" Wesley looks at the blood from Angel's head wound dripping down onto Connor's blanket. A light blue blanket with fluffy white clouds on it.", "Wes: \"Earthquake. Fire. Blood.\"", "Angel, breathing hard: \"I thought we were gonna be trapped in there, huh? (Looks down at the bloodied blanket, then smiles at Wes) At least I would have had something to snack on.\" Off of the look on Wes' face." ]

[ "As Wesley struggles to come to terms with the prophecy, Angel's behavior grows more and more erratic. The crew at Angel Inc. is concerned as Angel's moods swing from giddy to furious with no provocation. While Holtz, Lilah and Shajhan continue to plot vengeance against Angel, Wes takes drastic steps to keep Connor safe." ]

[ "Gunn: \"Previously on Angel:\"", "Angel to Wes: \"Check me out! I'm Mr. Dad.\"", "Sahjhan to Lilah: \"I need the blood of Angel's son.\"", "Lilah: \"Got it.\"", "Sahjhan: \"Got it? How'd you get it?\"", "Lilah: \"Swiped it.\"", "Angel: \"Things have been a little slow since Cordelia and the Groosalug went on vacation.\"", "Angel: \"You've been holed up with all those prophecies and books.\"", "Angel: \"You okay, Wes?\"", "Loa: \"That the vampire will devour his child is certain.\"", "Wes: \"When will this happen?\"", "Lilah: \"It's already started.\"", "Loa: \"Be heedful of the signs, human.\" The second, stronger earthquake hits as Angel is heating up a bottle for Connor.", "Loa: \"Earthquake, fire...\" The gas stove topples over, shooting out an explosion of flame that throws Angel halfway across the room.", "Loa: \"...blood.\"", "Angel: \"Wesley, get out!\" Angel grabs Wes and throws him out of the burning room, then follows, holding Connor.", "Angel to Connor: \"It's okay.\" Wes stares up at Angel, who is bleeding from a gash on the side of his head.", "Wes to himself: \"Earthquake, fire, blood.\" Hyperion, day, Wes is staring at his translation of 'The Father will kill The Son.' He looks up at the bassinet as we hear Connor fussing, then closes the book on the desk in front of him on the notepad. He slowly gets up and walks over to the bassinet, where Connor is now crying, and looks down at the baby.", "Angel: \"Geez, Wes! Don't you know what you're supposed to do?\" Wes looks up to see Angel standing there sipping a tall glass of blood. Angel sets the glass aside and walks over to the bassinet.", "Angel: \"You pick 'em up when they fuss. (Leans down to pick Connor up) Daddy's here.\"", "Wes: \"Sorry. I don't know what I was... I didn't sleep very well.\"", "Angel: \"Yeah, and you look like hell. Not the fun one, where they burn you with hot pokers for all eternity, but the hardcore one, you know, Nixon and Brittany Spears?\" Angel laughs down at Connor.", "Wes: \"You're awfully chipper today.\"", "Angel: \"Yeah, it's weird, huh? Maybe it was the earthquake, but I barely slept and I have all this energy. God, I could drink a horse!\" Angel picks up his glass of blood for another drink.", "Wes: \"Speaking of earthquake: you realize we have no insurance.\"", "Angel: \"Yeah. Bummer.\"", "Wes: \"Your room is...\"", "Angel: \"...the wreck of the Hesperus. I know. Wes - don't be such a worrywart. The best part about owning a hotel is plenty of rooms. I'll just move to another one until we get it fixed.\" We hear a guitar and a woman's voice.", "Angel: \"Who is that singing?\"", "Wes: \"Lorne is seeing a client in the garden.\"", "Angel: \"She's good. (To Connor) You wanna see the lady sing?\" Angel walks over to look out at the garden court, carrying Connor and taking another drink from his glass. A young woman with long blonde hair is singing to her guitar.", "Kim singing: \"I fell so far - a light went on in my heart. You're gone - now I'm - left alone in the dark.\"", "Stops and turns to Lorne: \"Do you see anything?\"", "Lorne: \"I see you're plenty scared. It's alright. Keep going.\"", "Kim singing: \"My soul is aching...\" Connor starts to fuss.", "Angel: \"Hey, hey, hey. No fussing now. Hey, do you wanna see something cool? Sure you do.\" Angel walks back into the lobby and opens the weapons cabinet as Wes watches them.", "Kim singing: \"...my heart is breaking...\"", "Angel: \"Ah, huh? You like that broadsword? That's your old man's favorite. (Turns away from the weapons) Wes! He's gonna be crawling in no time. We got to start baby proofing this place! (Hands Connor over to Wesley) Here take him. (To Connor) It's alright. It's your uncle Wes. Yeah, he loves you bunches! (Turns away with a chuckle) He's just - English.\"", "Fred's voice: \"Are you crazy? It's the best state in the Union!\" Wes looks over to see Fred coming down the stairs, talking to her cell phone.", "Fred: \"What's wrong with Texas? - Texas doesn't hate the black man. Texas *loves* the black man. Well, most of Texas. Anyone with a brain. What's so great about California?\" The doors open and Gunn walks in, also talking to his cell.", "Gunn: \"Everything. It's got the climate, the ocean...\"", "Fred: \"The earth that opens up and swallows you whole.\"", "Gunn: \"The Lakers, the music.\" They walk towards each other across the lobby, still talking into their phones.", "Fred: \"The traffic, the smog.\" They stop face to face.", "Gunn: \"It's got you.\" Fred closes her phone and smiles at him: \"Okay. You win. Morning.\"", "Gunn smiles back: \"Hi.\"", "Wes: \"Glad to see you're using the company phones for such important calls.\"", "Gunn holds up his phone: \"Did you want me to pay for that?\"", "Angel: \"Chain 'em up!\"", "Fred: \"What?!\"", "Angel: \"I say we put a chain and a combination lock on the weapons. Better safe than sorry. (To Connor) Isn't that right, buddy? (Kisses Connor) He likes you. I can tell.\"", "Wes: \"I like him, too. As a matter of fact I was thinking, perhaps I'd take him to the park or the beach, just the two of us. (Angel takes Connor back from Wes.) Maybe there'll be some time in the next day or two.\"", "Angel: \"Sounds great. Yeah. Count on it.\"", "Lorne: \"Ah, guys? I think there's something you should... Ah, can you come here for a sec?\" They all follow him out into the garden court. Angel is careful to stay back in the shadows of the hotel entrance.", "Lorne: \"Everybody, this is my friend, Kim. (To Kim) It's alright. They're professionals. Just take it from the chorus, hmm?\"", "Kim, singing: \"My heart is breaking - in two. No love, no light left - no you...\" Suddenly her face morphs into that of an ugly gray skinned demon.", "Demon-Kim: \"I'll hack your eyeballs out and rip your children in two!\" Green drool starts to drip from her mouth. Her face morphs back to human, and Lorne walks over to a shaking Kim.", "Lorne: \"It's okay. I got ya. It's all right. It's okay. (To the others) Catchy finish, huh?\" Intro Kim is sitting in Wes' office drinking tea.", "Lorne: \"Kim is good people. She came to see me a couple of years ago.\"", "Kim: \"He put me on my true path.\"", "Lorne smiling: \"She was throwing her life away in medical school, when she should have been a singer.\"", "Gunn: \"Yeah. Who needs more doctor's in the world when you can have singing demons?\"", "Kim: \"Well, the demon part - is new.\"", "Angel: \"Ha! Singing demons, flying nuns. Good one, G!\" Angel takes another drink from his glass of blood as Gunn looks over at him.", "Lorne: \"Well, she hooked up with this band a couple of weeks ago and...\"", "Kim: \"They were mellow - organic types. They never touched drugs or played a diminished chord.\"", "Angel: \"I like nuns. How did the flying nun fly anyway? Was it god or - magic? (Everyone looks at Angel) What? You think about these things sometimes. (Motions to Kim) Please - continue!\"", "Kim: \"Uhm - well, then they started changing. Stevie, the lead guitar grew a seventh finger like overnight.\"", "Gunn: \"Seventh?\"", "Kim: \"Well, he already had six. I just thought... I don't really know what I thought. And Raw, the drummer, suddenly sprouted that spiny thing on his back...\" We get a shot of Wes and Fred, wearing gloves, bending over a microscope sitting on Cordy's desk.", "Kim: \"...And they started playing this beyond industrial trash noise funk day and night. And then it happened to me. - You saw it. - Am I gonna turn into that?\"", "Wes: \"No. You're human. They're not. What's happening to you isn't permanent. It's just an infection.\"", "Fred: \"Which you can get rid of by taking twenty milligrams of Cylenthium powder twice a day for a month.\"", "Lorne: \"Mystical antibiotic. I'll get you some.\" Fred holds up a glass slide: \"I thought your saliva was suspect. What with being green and all... No offense, Lorne. Under the microscope it showed traces of Penloxia.\"", "Lorne: \"Oh - they're Wraith-ers.\"", "Kim: \"Wraith-ers?\"", "Wes: \"Demons that can make themselves look human - for a time. (Shows her an entry in one of his books) Ten days, two weeks, then they revert to what they really are.\"", "Gunn: \"I wonder why they would wanna look like musicians?\"", "Angel: \"For the chicks. Musicians get the chicks! (Everyone turns to look at him) What? They're gonna appear as dentists? Let's take 'em out. (To Kim) Where are they?\"", "Kim: \"In a rehearsal space. It's an old loading dock behind the shop'n'go in Echo park.\"", "Angel: \"Wes?\"", "Wes: \"You'll have to kill them. It's the only thing you can do with Wraith-ers. You, Gunn, Fred can go. Lorne, stay here with the baby. I have some business to take care of.\"", "Fred: \"Guys, shouldn't we call Cordelia and the Groosalug back into action? I mean, if one of us gets hurt, say, killing Wraith-ers for example. We're gonna need some backup around here.\"", "Angel: \"Nah, I don't wanna disturb her. It's the only break she's had in years. Besides, you know, it's just a couple of Wraith-ers.\"", "Kim: \"Three -actually.\"", "Angel: \"Piece of cake! (Does some shadow boxing) I'm up for a little kick-ass! Come on! Who's with me?\" At Holtz headquarters one of his men is punching a vampire, held in a chain harness. Justine, holding the end of the harness chain: \"Good!\" The man stumbles back from a swing by the vampire.", "Justine: \"He'd be sucking the life out of you right about now, Rick. Never take your eyes off a vampire. You have to feel where your fellow soldiers are! You can trust each other with your lives!\" Pulls the vampire back to face her. The vampire swings at her. She kicks it and wraps the chain around its neck forcing it to its knees.", "Justine: \"Never! Ever! Trust a bloodsucker! (Tosses the vampire over her back) Keep practicing!\" One of the men grabs the chain and hooks it to the wall. Holtz gets up and walks into another part of the house. Justine follows him.", "Holtz: \"I don't like it.\"", "Justine: \"They'll learn or they'll die.\"", "Holtz: \"Oh, not that. They're coming right along. I - I don't like tea in these cotton cups.\"", "Justine: \"It's called Styrofoam - and I'll get you some China ones.\"", "Holtz: \"Thank you, Justine. Are you ready?\"", "Justine: \"Yes.\"", "Holtz: \"What is it you're not sure of - is it me?\"", "Justine: \"No! It's... - these people that work for Angel - we may end up killing a lot of them.\"", "Holtz: \"We may end up killing all of them.\"", "Justine: \"I'd follow you through the gates of hell to kill vampires, Daniel. You know that.\"", "Holtz: \"But people - even evil people who help vampires...\" The Camera pans down Holtz' arm and we see him take out a hidden knife and holding it concealed in his right hand.", "Holtz: \"...are another kettle of fish.\"", "Justine after a beat: \"They chose Angel. That makes them enemy soldiers.\"", "Wes: \"So I guess that makes it alright.\"", "Holtz turning: \"Mr. Wyndham-Pryce. How nice to see you again.\"", "Justine: \"What the hell do you want?\"", "Holtz: \"Don't be rude Justine. He's our guest.\" Holtz looks at the two guys holding Wes and they let go and leave.", "Holtz: \"And in the throws of a very difficult decision, I'd imagine.\" Holtz uses the knife in his right hand to cut a slice off an apple and offers it to Wes.", "Holtz: \"You want some apple?\" Kim's band is playing their beyond industrial trash funk music. A couple of punk girls are dancing wildly in front of the stage.", "Singer screaming: \"I hate your zit-face smile, that's why I'll cut you it in two, ..?.., and when I'm done with you, I'll throw your mother, brother, sister, uncle and your little dog, too.\" A trashcan shatters one of the windows beside the stage and the music cuts off. Gunn steps through carrying a crossbow followed by Fred, and Angel, who is holding a blanket over his head to shield him from the sun's rays.", "Singer: \"Dude! You're paying for that window.\"", "Gunn: \"No, I'm not.\"", "Drummer: \"Wait, are you the \"A\" and \"R\" guys? This isn't even the whole band. We got a killer chick who sings! (Looks at Fred) Hey, baby! Hey, don't worry about the window, Holmes.\"", "Angel: \"We're not the \"A\" and \"R\" guys. We're just here to kill you.\"", "Drummer: \"Ah, dude, they wanna kill us.\"", "Singer: \"Okay. But they're still paying for the window.\"", "Drummer: \"I got first ride on the hottie.\" With that the drummer leaps off the stage. Gunn hits the drummer, sending him stumbling back against the stage as the groupies let out a scream.", "Gunn to Fred: \"Get them out of here!\"", "Fred to Gunn: \"Be careful.\" Fred takes a hold of the two girls and ushers them out. Gunn raises his crossbow as the three Wraith-ers square off against them and they suddenly come to a dead halt.", "Gunn: \"Oh, come on! Take it like a demon.\" A growl sounds and Gunn turns his head to see that Angel is snarling at them in full vamp-face. Angel leaps past Gunn onto the stage, tackling all three demons at once, then starts to lay into them like there is no tomorrow. Gunn stares and kicks the occasional Wraith-er as it comes his way, but Angel is hogging all the action, tossing the demons around like rag dolls. Gunn shoots one of the Wraith-ers' in the throat with an arrow and glances over at Fred standing back in the shadow of the entrance. All falls quiet as Angel tosses the last demon aside. Vamp-faced Angel is standing on the cleared stage, still holding one of the demon's arms.", "Angel: \"That was fun.\"", "Wes: \"I don't wanna see anyone get hurt. Your soldiers - or mine.\"", "Holtz: \"I share your hatred of violence, Mr. Wyndham-Pryce and I've meted out a good deal less of it in my lifetime than Angelus has in his.\"", "Wes: \"*Angel*\"", "Holtz: \"Whatever you wish to call him. I will never agree that he has somehow been absolved from the past by the presence of his soul.\"", "Justine: \"He's a vampire. End of discussion. (Steps closer to Wes holding up a knife) And I'd bet you a dollar this one's here to stab us in the back.\" Wes just looks at her as she threatens him with the knife.", "Wes: \"Who did you lose?\"", "Justine: \"What?\"", "Wes: \"You're here in Holtz' army - ready to kill others, die for the cause. You must have lost someone very important to you.\"", "Justine: \"That's none of your business.\"", "Holtz: \"Her twin sister Julia was murdered by vampires.\"", "Wes: \"You lost family. I'm sorry. (Steps closer to Justine) Angel and the people I work with are *my* family - and when I say I don't want to see anyone to get hurt...\" He grabs a hold of Justine's knife hand and twists her around against him, grabbing her throat with his other hand.", "Wes: \"...I mostly mean them.\" Holtz holds up a hand to stop the rest of his guys from interfering as Justine gasps in Wes' grip.", "Wes: \"But I don't stab people in the back.\" Holtz gets up and steps closer.", "Holtz: \"You're an honest man. (Takes the knife out of Justine's hand) I trust you.\" Wes lets Justine go and she spins away to stand behind Holtz.", "Holtz: \"And you can trust me.\"", "Wes: \"It's funny. I don't.\"", "Holtz, sitting back down: \"Well, your problem isn't me right now. - Your problem is, your friend is going to kill his own child. - You know you have to do something about it. - You know if you don't, I will. (Holtz stand up and steps closer to Wesley) Don't misunderstand me. I won't stand by while an innocent child is murdered - but I won't attack and endanger other innocent lives unless I'm forced to.\"", "Wes: \"How long do I have?\"", "Holtz: \"I'll give you one day. (Turns away and sits back down on the edge of the desk) You may not trust me, but I trust you to do what's right. One day. After that... - *everyone* will get hurt.\" After a beat, Wes walks past Holtz without another word. Lorne has a bunch of stuffed animals lined up on the reception counter.", "Lorne: \"So, Sammy's at the Flamigo, and Frank, Dino, Peter, Joey, and Shirley are all front row center. Well, Sammy starts singing 'I Did It My Way' then he stops and says 'I can't sing this song in front of you, Frank.' (Connor coos up at Lorne) The crowd loves it. They're laughing. Ha, ha, ha, ha. So, then Frank calls out 'hey, you're short, you're one-eyed, and I heard somewhere you're Jewish. Don't be intimidated!' The crowd goes wild!\" Lorne breaks off as the door opens and Fred, Angel, and Gunn stride in.", "Lorne: \"So, how'd it go?\"", "Gunn: \"The Wraith-ers are no more.\"", "Angel: \"Tore 'em apart.\"", "Fred: \"Literally.\" Angel walks around the counter, opens the little fridge there and pours himself a glass of blood.", "Lorne: \"He has been so good the whole time his daddy's been gone. (Angel starts to gulp down the blood) Do you miss your daddy? He's right here. (Lorne looks over at Angel) Hey, Angel, I think Connor needs some papa-love.\"", "Angel: \"He needs a lot of things. All day, every day.\"", "Lorne: \"Well, yeah. That's kind of how kids...\"", "Angel: \"Connor needs a bath, Connor needs a bottle, what Connor needs is to grow up!\" Angel gulps more blood as everyone watches him.", "Lorne: \"Is something wrong?\"", "Angel: \"Gosh, no, Lorne, everything's just great! (Connor is starting to fuss) I got a kid that cries, pees and moans, and never gives me a moment to myself.\" Connor is crying now.", "Lorne to Connor: \"Oh, it's alright.\"", "Angel: \"It's really not. Connor, shut up!\"", "Fred: \"Don't yell at him. He's just a baby!\"", "Angel: \"He keeps it up he's not gonna be a baby for long!\" With that Angel throws the glass at the wall, shattering it and spattering blood everywhere.", "Gunn: \"You better get a grip right now!\" Fred goes to pick Connor up. Angel stares at the blood dripping down the wall, looks at the guys then back at the blood. He turns to look at Lorne.", "Angel quietly: \"What's wrong with me?\" Break.", "Angel: \"Something's not right.'", "Gunn: \"You could say that.\"", "Lorne: \"Ah, I couldn't help but notice - when did you start drinking so much blood?\"", "Angel: \"I don't know. A few days ago.\"", "Fred: \"Where did you get it?\"", "Angel: \"Same butcher as always. It's - it's pig's blood. This last batch just seemed so much more...\"", "Gunn: \"What?\"", "Angel quietly after a beat: \"Tasty.\" Gunn, putting the crossbow down on the counter: \"You were all hyped this morning. Then you went all Tyson on those demons. Then you kinda crashed. Then you had another drink, then you started throwing things.\"", "Fred: \"Mm-hmm, just like my aunt Viola and her Southern Comfort.\"", "Angel: \"Hey. (Points at himself) Vampire. Need to drink something red. Doesn't make me a blood-aholic.\"", "Lorne: \"Not unless someone's spiking your drink.\" They all look at the blood spattered wall. Fred hands Connor to Gunn.", "Fred: \"Let's find out.\" We get a shot of the sun setting, then some flashes of LA at night. Wes is walking down a sidewalk in a residential neighborhood. We can hear two sets of footsteps. Wes sees a child run out of a house to greet its father.", "Child: \"Daddy!\"", "Dad, catching the child up: \"Hey-hey! How are you, hmm?\" The dad carries his child to the house, where his wife is waiting to welcome him. They go inside and Wes walks on.", "Wes quietly: \"Oh, for god's sake. (Louder) I know you're better at following people than this.\" Wes turns, and after a moment Justine steps out from behind one of the trees lining the road.", "Wes: \"So, what's the play?\"", "Justine: \"I just... (Walks closer) need to talk to you. I'm alone. He doesn't know that I'm... I wanna talk to you about him.\"", "Wes: \"Holtz? Great guy, not overly tall. - Is this where you offer to help me behind his back?\" Wes turns and continues down the sidewalk. Justine hurries after him.", "Justine: \"Do you believe in *anything*? Or is it all just a big scam to you?\"", "Wes: \"You're a soldier, fight to the death kind. I respect that. You work for a man, who you think is noble and good. I respect that. Trouble is, he's not.\"", "Justine: \"You work with a vampire.\"", "Wes turns to face her: \"Who in fact *is* noble and good. Quirky, but there it is. Holtz talks about 'justice' and it's stirring, but what he wants is revenge. He's driven by it, blinded by it, and if you, me, or anyone else gets in his way, he'll kill for it.\"", "Justine: \"You're wrong. You don't know him. Everything that he's done for me, for all of us...\"", "Wes: \"Sounds like a nice cult.\"", "Justine: \"He gave you his word. He'll keep it. (Justine steps closer to him) You're the one who's blind.\"", "Wes: \"How so?\"", "Justine: \"What you're about to do to your friend? I imagine it's easier to hate Holtz than yourself.\"", "Wes: \"There's enough to go around for both him and me. - Be careful.\" Wes turns and walks away. Justine watches him, then jumps as Holtz voice sounds from behind her.", "Holtz: \"You are being careful. I didn't even hear you leave.\" The camera pans from the blood on the wall to Angel standing there, watching Fred work at the desk where the microscope sits.", "Gunn, holding Connor: \"You wanna hold him? He's sleeping.\"", "Angel after a beat: \"Maybe that's not such a good idea right now.\" Fred straightens up from the microscope.", "Fred: \"So, there is more to pig's blood than meets the eye. (Angel looks at the blood on the wall) There's just a trace of...\"", "Angel, quietly: \"Human blood in it. I can feel it. It's his. - It's Connor's.\"", "Gunn: \"How do you know that?\"", "Angel: \"The past couple of days he's... (takes a deep breath and wraps his arms around himself) smelled like food.\"", "Lorne: \"So, they've been feeding you your own son's blood so you'd get the taste of it and want more.\"", "Fred: \"Who's 'they'?\"", "Angel: \"Who do you think?\" Lilah is sitting at the bar where she met Shajhan, looking into the mirrored wall backing the shelf of bottles behind the bartender. The bartender serves her a drink. After he moves on she hisses at her reflection in the mirror, making a clawing motion with her left hand.", "Lilah: \"Like a cat. Can't hear you. But I'm starting to feel you when you're near.\" She turns around and there is Angel standing right behind her.", "Lilah: \"Isn't that nice and creepy? How'd you find me?\"", "Angel: \"Your assistant.\"", "Lilah: \"I'll have his arms broken.\"", "Angel: \"Already taken care of.\"", "Lilah: \"And am I next?\"", "Angel: \"You know, Lilah, there are so many things I could do to you. With transfusions I could keep you alive indefinitely. I do have some expertise in this area. - My own son. How could you?\"", "Lilah: \"It's my job.\" Lilah turns back to her drink. After a beat Angel sits down on the stool beside her.", "Angel: \"Don't you ever get tired of the whole femme fatale act? (To bartender) Whiskey, straight, lots of it. (To Lilah) How about just once - you talk to me like a person?\"", "Lilah: \"Look, I've been doing this a long damn time. I've had to be better, smarter, quicker than every man in Wolfram and Hart.\"", "Angel: \"So, it's a feminist thing. (To Bartender as he sets down Angel's drink) It's on her.\"", "Lilah: \"It's a survival thing. I made a lot of devil's bargains and I stuck to them. As a result, I live somewhat dangerously, and *quiet* comfortably. My mother, who no longer recognizes me, has the best room at the clinic. I get up every morning, put on my game face and do what I have to.\"", "Angel: \"Thing about a game face, Lilah, you wear it long enough, it stops being something you can put on and take off.\"", "Lilah: \"Wow. We've spent so much time and money on you. You're so pivotal to the coming cataclysm, that I sometimes forget how dense you can be. The game face - the one I worked so hard to get - I became that *years* ago. Just like you've become simpering and good from yours. You're the new poster boy for human. Thank you very much. I don't want it.\"", "Angel: \"Hmm, speaking as one non-human to another: sorry if I hit a nerve.\"", "Lilah laughs: \"You think you can awaken some buried spark of decency in my? Is that the way you (air quote) help your helpless? (air quote) - I'm *not* helpless. I'm glad you came along, because I was sitting here 'what's it all about' and now I know. It is all about making the rest of your eternal life miserable. (Clinks her glass to Angel's and smiles) Shall we drink to that?\"", "Sahjhan: \"You back-stabbing, traitorous bitch.\" Angel and Lilah twist around on their stools and there is Sahjhan standing behind them.", "Sahjhan: \"I have a lot of work to do. I can't be in every time/space at once, and here I find you drinking with my sworn enemy.\"", "Angel: \"Sworn enemy? Really? Have we met? Because I don't remember swearing.\"", "Lilah: \"Sahjhan, he found me.\" Angel glances from Lilah to Sahjhan.", "Angel: \"So - you all are in cahoots. Ethereal time-traveling demon - you're the screwball that brought Holtz back. - How's that working out? He's not very fond of demons, is he?\"", "Sahjhan: \"You will learn nothing from me.\"", "Lilah: \"Other than that you're his sworn enemy, who brought Holtz back, and when that didn't work out, you came to me. Idiot.\"", "Sahjhan: \"Hey! You think my life is easy? I'm jumping from one dimension to another. I don't always have sound. Sometimes it's just a visual. Saw you two sitting here all chummy.\"", "Angel: \"So, *why* do you wanna kill me?\"", "Lilah to Angel: \"He wouldn't tell me either. Not that I need a reason. I was just curious. (To Sahjhan) Did he boink your demon bride? Eat your mother? (Looks from Sahjhan to Angel) You really don't know who he is.\"", "Sahjhan: \"You will pay.\"", "Angel: \"For what?\" Sahjhan only turns and disappears into thin air.", "Lilah: \"Well, whatever his grudge, I think you just made him madder.\" Wes is walking into the deserted lobby of the Hyperion. He hears Connor fussing in the bassinet and looks down at him for a moment, then goes to retrieve Connor's diaper bag and stuffs a few things into it.", "Lorne: \"What are you doing?\" Wes looks up to see Loren coming down the stairs with a bottle in his hand.", "Wes: \"Hi. - I'm taking Connor.\"", "Lorne: \"Where?\" Wes, continuing to back Connor's bag: \"To my place - for the night. We're going to the park in the morning. I talked to Angel before. He knows all about it. Are Fred and Gunn...\"", "Lorne: \"Out. Getting food. Boy, that girl can put away the chow! Oh, here. I heated up a bottle. Hey, Angel didn't say anything about... Well, he probably forgot. He went off in kind of a hurry.\"", "Wes: \"What happened?\"", "Lorne: \"Well, he was acting kind of weird this morning. I'm sure you noticed. (Wes goes to pick Connor up) Then when he came back from killing the Wraith-ers...\"", "Wes to a fussy Connor: \"Hey, it's okay. It's your Uncle Wes. You like your Uncle Wes. We're gonna have a great time.\" Wes bounced Connor in his arms and starts to hum to stop him from fussing. He looks up to see Lorne staring at him. Stops humming. He sees Lorne's eyes go wide. Wes slowly puts Connor back down into the bassinet then launches himself at Lorne. Lorne runs from him and into Wes' office. Wes tackles Lorne to the floor. Lorne struggles back up, and in the scuffle ends up tipping over Wes' desk. Wes scrambles after him and hits Lorne across the face a couple times. Then picks up a statue from the cabinet behind his desk and knocks Lorne out with it. Wes hurries back to the bassinet and picks up Connor.", "Wes: \"Here. All right. That's a boy. That's a boy.\" Wes turns with Connor against his shoulder - only to find himself face to face with Angel.", "Wes: \"Angel.\"", "Angel: \"Where is everybody?\"", "Wes: \"Fred and Gunn went for food. Lorne - had to go out. I'm watching the baby. In fact, I packed up some overnight things. We talked about me taking Connor to the park and the one across from my place is... It's always full of kids. I thought he could spend the night with me.\" They just stand there looking at each other silently for a moment.", "Angel: \"That's - probably a really good idea.\" Wes lets out a breath.", "Wes: \"You wanna say good-bye?\"", "Angel takes Connor: \"Okay. Hey. He-he. Sleep tight, big guy. (Smiles at Connor and gives him a kiss) Daddy will see you real soon. (To Wes) Just keep and eye... I check on him a lot during the night. You got his pediatrician's number, his baby formula?\"", "Wes: \"I've got all that.\"", "Angel: \"You ever hear of a time-traveling demon by the name of Sahjhan?\"", "Wes: \"No.\"", "Angel: \"The guy that brought Holtz here. He thinks I'm his sworn enemy. I don't know him from Adam. Can you hit the books before you go?\" Wes watches Angel sit down on the settee in the lobby. The doors open and Fred and Gunn come in.", "Gunn: \"Hey. Where is Lorne? He better show his green face pronto, or Fred'll eat his hoagie.\"", "Fred: \"I will not! I already had two. - Unless he's really not here?\"", "Angel: \"He had to go out.\"", "Gunn: \"Where?\"", "Angel to Wes: \"Where did you say he went?\"", "Wes: \"I don't know. He didn't say - exactly. I think he had to see a client. You know, I've got better reference materials for your demon at home, and Connor is getting sleepy. Why don't I look into it there?\" Angel looks from Wes to Connor, to Wes outstretched hands, back at Connor. Slowly lets Wes take the baby.", "Angel: \"Ah, okay. Just call me if you find something.\" Angel's hand lingers on Connor as Wes slowly steps away.", "Wes: \"I guess, ah - I'll see everyone tomorrow.\"", "Angel jumps up: \"Hey, Wes?\" Wes half turns back.", "Angel: \"What's the closest emergency room to your place?\"", "Wes after half a beat: \"Drew Medical. One minute away. (Wes half-hurries towards the doors, curled around Connor) Top infant care center. Don't worry.\" We see Wes hurry down the sidewalk with Connor.", "Angel: \"Well, my first whole night without the kid.\" Angel puts Connor's stuffed toys into the bassinet as Fred and Gunn watch him.", "Angel: \"This'll be good for both of us. He can bond with his Uncle Wes... (Fred and Gunn exchange a look and a smile) I can get some rest.\" Angel looks down at the stuffed monkey.", "Gunn, smiling: \"We'll stay up with you.\"", "Angel: \"Really? Thanks. - You know, he's just a little guy. I'm sure he'll be...\" Angel breaks off as we hear moaning coming from Wes' office.", "Fred: \"Is there someone in Wes' office?\" Before they can check the front doors open and Holtz strides in. At the same time several of his people appear from different places all around the lobby. One even comes halfway down the stairs from above. Break", "[SCENE_BREAK]", "Angel takes a quick looks around, marking all of Holtz' people.", "Angel: \"Won't you come in.\"", "Holtz: \"How is fatherhood treating you?\"", "Angel: \"I like it. (Holtz' guys slowly close in, raising their weapons) You know - I met a friend of yours tonight. A demon named Sahjhan?\" Holtz slowly coming down the front steps into the lobby: \"What did he have to say?\"", "Angel: \"He was cryptic. Actually he was kind of long-winded. I didn't quite get what his deal was. I wasn't paying that much attention to him.\" One of the men glances into the bassinet, then almost imperceptibly shakes his head at Holtz.", "Angel: \"He hates me. Do you know why?\"", "Holtz: \"I don't really care why. So - where is the little nipper?\"", "Angel: \"Oh, he had to go out. Sorry. I know he'd love to meet you.\"", "Holtz: \"I'm sure he'll turn up. - Looks like you made a nice life for yourself here.\"", "Angel: \"Are you here to fight or shall I make some tea?\"", "Holtz to his men: \"I want to keep Angelus alive - but not well.\" Holtz men attack and Angel and Gunn fight back. Angel tosses one guy into the weapons cabinet, breaking the glass doors. Makes his way to it through some more of Holtz' men, takes out the sharpened baseball bat and tosses it to Gunn. Picks up the broadsword for himself, but only uses it to fend off the men's weapons. Neither he nor Gunn are trying to kill, just to disable. When one of the men lifts a wooden staff to stake Angel after he gets knocked to the ground, Fred shoots him in the back with a crossbow bolt. As she picks up another bolt to reload, one of the men tackles her to the floor. We see Lorne's green hand come up behind Wes' desk as Gunn gets battered back into the office by two of Holtz' men. Lorne levers himself to his feet, and seeing Gunn getting battered down, lets out a high shrieking that has everyone cower down, covering their ears. Lorne kicks one of Gunn's attackers in the face as he breaks of his 'musical' assault, and Gunn knocks the other one out. Holtz quietly turns away and walks out the front doors. Angel sends the last attacker flying over the counter, looks at where Holtz was standing and sees the open doors, then walks over to pull the guy lying on Fred's back off her and helps her up.", "Angel: \"Easy. Come on. Are you hurt?\"", "Fred: \"I don't think so.\"", "Angel: \"Call Wes.\" Fred stumbles towards the phone. Angel sees Lorne, looking all bruised up, following Gunn out of the office.", "Angel: \"Jeez, Lorne. They got you good. You better sit down.\" Lorne just looks at Angel.", "Angel: \"What?\"", "Lorne: \"They didn't do this to me. Wesley did.\" Everyone turns to stare at Lorne.", "Angel: \"Wesley? - What are you talking about?\"", "Lorne: \"Well, earlier when he came to pick up the baby, Connor started crying and Wes hummed a little lullaby, and I read him and... - I don't know why he did it.\"", "Angel: \"Did what?\"", "Lorne: \"He - he's been to see Holtz behind your back. Twice. And he's not taking the baby overnight. He's - he's taking the baby away - for good.\" Wes walks out of his apartment building (it has the number 2337 beside the door), carrying Connor and a suitcase. He pushes a button on his key chain and one of the cars by the curb chirps as it unlocks. He loads the suitcase into the back. As he opens the side door he hears a moaning sound and turns to see a woman, arms wrapped around her middle, stumbling towards him through the park across the street. Still holding Connor with his left arm, he pulls a gun with his right and aims it at Justine.", "Wes: \"That's close enough.\" Justine stumbles to her knees and looks up at Wes through her disordered hair, crying.", "Wes: \"Justine?\"", "Justine: \"He's everything you said. - It's true.\" Wes slowly lowers his gun and steps closer.", "Wes: \"What happened?\"", "Justine: \"Well - he didn't keep his word.\" Justine lets out a pained laugh. Wes puts the safety back on and puts the gun away. Justine, arms still wrapped tightly around her middle, gets back to her feet and stumbles closer.", "Justine: \"He took everybody - and he went after the baby. And when I questioned him... (We can see that Justine's face is all bruised, and her lip bloodied) b*st*rd! I'll kill him for this. - You have to get out of here.\" Justine falls against Wes.", "Wes: \"You have to get to hospital.\"", "Justine: \"No. I just to do...\" Justine pulls out a knife and slices it across the side of Wes neck. Wes falls to his knees, pressing one hand over the cut, as Justine pulls the baby out of his grip. Wes watches Justine run to the car, put Connor in the passenger side then get in the driver's side, before toppling over onto his side. Blood is seeping through between his fingers as he lies there, watching her drive off.", "Gunn: \"It doesn't make any sense. Why would Wes *do* a thing like that? You must have read him wrong.\"", "Lorne: \"No, I read him right. And I've got the gash on my noggin to prove it.\"", "Fred hangs up the phone: \"He isn't answering his cell, pager, or home.\"", "Angel: \"Where is he?\" One of Holtz' guys, hand pressed over his side is inching along the floor.", "Lorne: \"Shouldn't we be getting these guys to a hospital or morgue?\"", "Angel: \"No. - Holtz knew Connor wasn't here when he walked through that door. He would have torn the place apart top to bottom. He was stalling.\"", "Lorne: \"Buying Wesley some time to get away.\"", "Angel: \"Holtz is the key. I want Holtz. If I find Wesley with him...\"", "Gunn: \"Angel, we don't know the whole story here. I don't think you should get too pumped...\"", "Angel: \"I'm not interested in what you think!\"", "Lorne: \"Hey, easy guys!\"", "Angel: \"He took my son.\"", "Gunn: \"I know this is life and death. I'm just saying, let's get...\" Angel grabs Gunn's shirt collar with both hands and pushes him back.", "Angel: \"He took my son!\"", "Gunn: \"You better get your damn hands off of me!\"", "Fred: \"Stop it! Stop it both of you! This isn't helping, damn it! (Pushes them apart) Back off! - There is only one thing that matters right now, and that is 'where is Connor?'\" Gunn and Angel stand there staring at each other for a moment, then Angel brushes past Fred and Gunn to pull up one of Holtz' men.", "Angel: \"Get up. Where is Holtz?\"", "1.Guy: \"You'd think I'd tell...\" Angel throws him clear across the lobby and picks up the next one. Angel pushes him up against the wall, pulls the crossbow bolt out of his side and holds it up.", "Angel: \"I'm gonna count to three and then I'm gonna bury this in your face.\"", "2.Guy: \"Twenty two thirty nine Santa Elena. It's a big Victorian in Silverlake.\" Angel lets the guy drop to the floor and heads towards the door, picking his broadsword up off the floor as he goes.", "Fred: \"We better find Wes before he does.\"", "Gunn: \"We should start at his place.\" Lorne watches Gunn and Fred hurry out.", "Lorne: \"I'll stay here in case he comes back.\" Bends down behind the counter and comes up holding a baseball bat.", "Lorne: \"And this time I'll be ready!\" We see a group of paramilitaries with machine guns. A black suburban pulls up. One of the uniformed guys opens the passenger door and Lilah steps out.", "Man: \"Ma'am.\" Lilah walks over to the commander of the group.", "Lilah: \"What do we know?\"", "Commander: \"No Holtz, no baby. (Indicates to guys, sitting, tied up, on a low wall) Two stragglers from the attack at Angel's hotel. They don't know where Holtz went.\"", "Lilah: \"Get them off the street.\" The commander motions to his men and they lead the two guys away.", "Lilah: \"So we're in the right place.\"", "Commander: \"Yeah.\"", "Lilah looks at him: \"Excuse me?\"", "Commander after half a beat: \"Yes, ma'am. But Holtz didn't come back here after the hotel.\"", "Lilah: \"Where'd he go?\"", "Commander: \"Uh, we had him, and we lost him. (Puts a finger up to his ear piece) Ah, we're picking him up again. Please, just give me a moment, please. - Spring Street.\"", "Lilah: \"Downtown.\"", "Commander: \"Yes, ma'am. Near the sixth street bridge.\"", "Lilah: \"Let's go.\"", "Commander: \"Sixth Street Bridge, let's go!\" All the men run to their vehicles.", "Man: \"Let's go! Hustle! Hustle!\" As one of the commandos gets ready to get into his Hum-vee, Angel jumps out from behind a tree, smashes him into a post, then a tree, knocking him out. The driver of the Hum-vee looks over towards the passenger side when his partner doesn't get in. The driver's side door opens and Angel throws him out on the street, gets in and drives off after the rest of the cavalcade. Holtz steps out onto a darkened street and Justine bring Wes' car to a stop in front of him. Holtz gets in.", "Holtz: \"It went well?\"", "Justine: \"Very well. But you're paying for my dental work.\" Holtz smiles, then looks over his shoulder to Connor, strapped into a car seat in the back.", "Holtz: \"Hello, son. I'm you're father. And that strong lady with the black eye is your mother. Your name is Steven Franklin Thomas. And you're going to grow up with me on a little ranch in the middle of nowhere. (To Justine) What's it like in Utah?\"", "Justine: \"It's pretty.\"", "Holtz: \"Let's go.\" They drive off, only to have a Hum-vee overtake them and cut them off. The car turns off the road, but is quickly blocked in by more Hum-vees. Angel jumps out of one of them and charges at the car. Holtz gets Connor out of the back while Justine tackles Angel only to get thrown aside.", "Holtz: \"Come any closer and I'll snap his neck!\" Angel comes to a dead stop. All around them commandos are jumping out of their vehicles, cocking their machine guns.", "Holtz: \"Who are they?\"", "Lilah: \"They work for me.\"", "Holtz: \"Ah. The attorney.\"", "Lilah: \"Yes. You are gonna give us the kid, Captain Holtz.\"", "Angel: \"Don't!\"", "Lilah: \"That's cute. You'd rather see the fanatic with the baby than us? (To Holtz) Those are automatic weapons pointed at you. They didn't have them in your time. They fire sixteen bullets per second.\"", "Angel: \"And if they were going to use them they would have already. They want the baby alive.\"", "Holtz: \"Something we all have in common.\" The air shivers and Sahjhan appears.", "Sahjhan: \"Not all of us. (To Lilah) You do not want the child alive. You want the child dead. That was our arrangement.\"", "Lilah: \"Yeah. I'm a lawyer. Have you met me? We have a new arrangement. I'm keeping the baby.\"", "Sahjahn: \"You can't do that!\"", "Lilah to commandos: \"Ignore the loud mouth with the bad skin. He's impotent in this dimension.\"", "Holtz: \"We're leaving.\"", "Lilah: \"No one's going anywhere.\" One of the commandos steps closer, and Angel knock him down, taking the weapon away from him and turning it on Lilah.", "Lilah: \"Don't shoot.\"", "Angel: \"Yeah. You really don't want to. Your bullets won't kill me. But mine will kill you - and her first.\" Angel looks over at Holtz and Connor.", "Holtz: \"He'll be dead before I hit the ground.\"", "Angel: \"I know.\"", "Holtz: \"So. I'm going to leave now, right? With me, he gets to live, anyone tries to take him, he dies.\"", "Angel after a long beat: \"Take him.\"", "Sahjhan: \"Woah! No! What is wrong of you people?\"", "Holtz to Angel: \"I will take good care of him, as though he were my own son. He'll never even know you existed. Don't come after me. - You will though, won't you? Maybe I should just...\"", "Angel: \"No. Please.\" Justine looks from Holtz' hand moving closer to Connor's neck to Angel and back.", "Angel: \"Take him.\"", "Sahjhan, raising his hands: \"Lekko najine forkahdio!\" There is a big explosion with bright sparks and a hole opens in the air. Past the burning edges we can see a turbulent, blood red sky.", "Sahjhan: \"What you are looking into is the Quortoth, the darkest of the dark worlds. So - I can widen the portal and you can all be swallowed up by a world you can not begin to imagine - or you can keep your word and kill that child. (To Lilah) Now!\" When no one moves he spreads his arms.", "Sahjhan: \"Don't say I didn't warn you.\" The opening in the air grows bigger.", "Lilah: \"Kill it.\"", "Angel: \"No!\" The commandos and Angel stand there with the weapons aimed at each other. Holtz grabs a hold of Justine and pushes her away from him then heads for the hole in the air. Angel drops the gun and charges after him.", "Justine: \"Daniel! Daniel!\"", "Angel: \"No! NO!\" Holtz jumps into the roiling red air of the portal and disappears from view. Angel jumps after him, but is thrown back by a lighting bolt lashing out from the portal and hitting him full in the chest. Angel flies backward, landing with a hard thud and rolls to look back at the portal.", "Sahjhan: \"Wow. I didn't count on that. Kinda takes care of my problem.\" Both Justine and Angel are lying on the ground staring at the portal. Sahjhan raises his hands.", "Sahjhan: \"Forkahdio najine lekko.\" The hole in the air quickly shrinks to a pinpoint and disappears.", "Sahjhan: \"All right then. (Looks down at Angel, who is still staring at where the portal used to be) Have a good summer.\" With that Sahjhan disappears into thin air. Lilah, looking down at Angel, who hasn't moved: \"Hmph! Well, I'm looking at a mountain of paperwork.\" Turns to go. Justine gets up and stumbles towards Wes' car.", "Commander: \"Should we do something about...\"", "Lilah, looking back at Angel: \"Yes, we should. - We should let him suffer.\" Angel rolls over onto all fours and looks around him. Sees Justine drive off in Wes' car and collapses back onto the hard ground, once again facing twords where the portal used to be. \"Connor.\"" ]

[ "Angel is stunned as Connor falls through the portal from the hell dimension. His son is now a teenager and, thanks to Holtz, he hates Angel. While Angel tries to get through to Connor, Lilah shows up at Wesley's apartment with an interesting proposition..." ]

[ "TEASER", "Angel: \"Previously on Angel:\"", "Lorne: \"They've been feeding you your own son's blood so you'd get the taste of it and want more.\"", "Holtz: \"Angelus is in his nature. The beast *will* re-emerge.\"", "Lorne: \"Wesley's taking the baby away - for good.\"", "Justine slits Wes' throat.", "Holtz to Connor: \"Hello, son. Your name is Steven Franklin Thomas and I'm your father.\"", "Lilah: \"Give us the kid, Captain Holtz.\"", "Holtz: \"Anyone tries to take him, he dies.\"", "Sahjhan: \"The world you're looking into is the Quor-toth, the darkest of the dark worlds.\" Holtz jumps through the rip with baby Connor.", "Justine: \"Daniel!\"", "Lorne: \"There are no portals to Quor-toth. To punch through to Quor-toth would require dark, dark magics. The kind of power it takes centuries to build. Please do not do this thing.\" Lilah dribbles her blood into the center of the Pentagram. AI leans over the hole in the ballroom floor and stares at the pool full of the glowing ghost-shrimp/slugs.", "Cordy: \"You know there is almost always some cosmic price to using primordial powers.\" One of the slugs crawls into Fred.", "Angel: \"What are you fleeing from?\"", "Fred: \"The destroyer. It's coming after you - Angel.\" The air above the pentagram crackles with static lightning and an ugly, horned monster drops through, followed almost immediately by a teenaged boy. The boy slices the demon's head off in one smooth motion and its decapitated body falls out of frame. Angel stands immobile, staring as the boy aims a three-chambered, wrist-mounted stake-launcher at him.", "Connor: \"Hi, dad.\" In slow motion, we see Gunn run for the weapons cabinet. Groo moves to the side to get a clear shot at Connor, swinging his ax. Angel turns towards them, holding out a hand.", "Angel: \"Wait!\" Connor launches two stakes at Angel in quick succession as Angel turns back to face him.", "Angel: \"No!\" Angel turns as the stakes travel through the air, aimed at his heart. The first one almost lodges in his shoulder, but he turns with it and bats the second one aside. Even as the stakes fly towards Angel, Groo's ax flies through the air at Connor, who deflects the ax, mirroring Angel's motion. Back in real time, both Angel and Conner straighten back up and resume their former positions staring at each other, Connor with the stake-launcher once again aimed at Angel, as the last of the stakes clatters to the floor.", "Connor: \"Interesting.\"", "TEASER END", "INTRO", "Angel: \"My god. - It's you. - Connor.\"", "Connor launches three more stakes at Angel, who ducks and rolls to avoid them.", "Cordy: \"Angel!\" Cordy tosses her sword, and Angel catches it out of the air as he rolls back to his feet. Connor tosses the stake launcher aside and swipes at Angel with the blade in his left hand. Angel parries the blow on his sword. Connor does a one-handed cartwheel, then flips up, kicking both Gunn and Groo in the chest in quick succession before landing on his feet in front of the counter. Cordy has positioned herself in front of Lorne and Fred, holding another sword in a guard position.", "Angel: \"Will you just stop for...\" Connor spins back to swipe at Angel. Angel spins so that for a moment the two of them are standing back to back, parrying the blade in Connor's left with the sword in his right.", "Angel: \"Can't we just talk about this?\" Connor elbows Angel in the back, dropping him face first on the floor, grabs a hold of one of Angel's ankles and sends him sliding across the floor between his own spread legs. As he slides, Angel turns onto his back and catches the down swing of Connor's blade on his sword.", "Angel: \"Wait!\" Angel kicks both feet up into Connor's face, sending him flying into a backward flip. Connor lands flat on his back, but does a quick kip-up back to his feet. Gunn and Groo are also back on their feet, and together with Angel from a triangle around Connor as they all shift positions.", "Angel: \"Okay. Everybody just calm down.\" Groo swipes at Connor and gets knocked back into the stairs. Connor turns and parries the swing Gunn aims at him then spins out of it into a punch at Angel, back around to punch at Gunn. He keeps spinning and kicking and punching at his three opponents in turn in rapid succession.", "Gunn: \"Angel, if Peter Pan here doesn't stop...\" Connor jump-kicks Gunn hard in the chest, then moves in for the killing blow. Before he can complete it, Angel hits him on the back of the head with the pommel of his sword, knocking him away from Gunn. Angel drops the sword, and straddles Connor, hitting him with a hard right-cross, then forcing the blade strapped to Connor's left wrist closer and closer to his own throat. The tip of the blade starts to dig into Connor's throat. Suddenly Angel's eyes widen. He rips the blade from Connor's arm and tosses it behind him, then slowly backs off, staring at his son. Cordy, still standing guard in front of Lorne and Fred, watches as Angel slowly offers his hand to help Connor up. But Connor only squirms back a little, then jumps to his feet and runs up the steps and out of the front doors of the Hyperion. Angel runs after him. Connor comes running out of the doors into the courtyard of the Hyperion. He runs from the shadows by the doors out into the bright sunshine.", "Angel: \"No!\" Angel starts to backpedal even as Gunn and Groo reach out to pull him back before he runs out into the sunlight himself.", "Angel: \"Connor!\"", "Gunn: \"You're gonna fry out here, man! Come on.\" Angel watches Connor run out of the gates.", "Gunn: \"We'll go.\" Gunn and Groo take off after Connor. Angel stands in the shadows by the door staring after them as Cordy comes running out. Connor has run out into the middle of the busy street and cars are honking, and swerving in an effort to avoid hitting him. Gunn and Groo stop at the side of the road, blocked from following by the erratic traffic. Connor has made it to the center of the street and stands on the center line, staring back at Groo and Gunn as cars pass between them, honking. A bus passes behind Connor and he takes off running, then scales up the back of it. Groo and Gunn watch him disappear down the street, crouched on top of the bus. Angel in the lead, everyone files back into the hotel.", "Angel: \"Okay, anyone get the number of that bus?\"", "Gunn: \"Seventeen. I'll call, see where it ends up.\"", "Fred: \"Let me check online. It'll be faster.\"", "Cordy: \"That was it. That was it, Angel.\"", "Angel, pulling on his coat: \"No. No, it isn't. I'm gonna go find him.\"", "Cordy: \"I mean the fight you just had. That was the vision I warned you about yesterday.\"", "Angel: \"You never mentioned Connor!\"", "Cordy: \"Because I only saw you.\"", "Gunn: \"Angel? I hate to bring that up, but are we sure this was Connor? Just 'cause he said 'hi, dad'?\"", "Angel: \"That was him.\"", "Gunn: \"Couple of weeks ago he was wearing diapers. Now he's a teenager?\"", "Cordy: \"Tell me we don't live in a soap opera.\"", "Lorne: \"Yeah, well, personally I'm less worried about the 'how he grew up' than the 'why he came back.'\"", "Angel: \"He came back because he could. He found a way to escape that place.\"", "Lorne: \"Yeah, well, that's a possibility. Here is another: you sure he said 'hi, dad' and not 'you're dead'?\"", "Angel: \"He's angry and afraid. As soon as I get a chance to talk to him... Fred?\"", "Fred: \"Seventeen goes all the way downtown. Ends up at Union Station.\"", "Angel: \"Okay. Look, I'm going underground. Somebody hit the surface streets.\" Angel runs off towards the basement.", "Gunn: \"We got it, man.\"", "Groo: \"We will not fail - man.\" Gunn turns to look at Groo.", "Cordy: \"Let's split up. (Turns to Fred and Lorne) You guys start at the end of the line work your way backward...\" Cordy trails off as the air above the Pentagram starts to crackle and hiss again.", "Cordy: \"Okay. That can't be good.\"", "Fred: \"I'm guessing the dimensional rift from Quor-toth must still be open?\"", "Lorne: \"Yeah. So, what-what's say we close it up before anything else slithers, skitters or slides out of there.\"", "Gunn: \"Amen to that.\"", "Groo: \"Princess, perhaps your newfound powers can seal it shut.\"", "Cordy after a beat: \"Can't hurt to try.\" She steps into the middle of the Pentagram and lifts her hands to point at the air above her.", "Cordy: \"I command you: Close!\" The air continues to crackle and Cordy turns away.", "Cordy: \"Okay. I got nothing.\"", "Fred: \"Actually - we do know somebody who might be able to...\"", "Gunn: \"No. I already went to Wes's. Can't - do that again.\"", "Lorne: \"Well - I-I might know a guy, who knows another guy.\"", "Groo: \"Is it dangerous? Gunn and I can protect you.\"", "Lorne: \"Well, no. It's not dangerous, it's just awkward. This guy is all hands. I mean, *all* hands, like fifty of them. Anybody fluid in sign language?\"", "Cordy: \"You know, we can't all walk out of here when we have a cosmic crack hanging over us.\"", "Groo: \"Then I will stay (picks up a sword) and guard the hotel.\"", "Cordy: \"I'm with him. (To Gunn and Fred) You two hit the streets. Lorne...\"", "Lorne: \"Already gone.\" Everyone heads out as Cordy gets herself a sword to join Groo on his watch.", "Fred: \"You went to Wesley for me. He's the one who told you how to save me.\"", "Gunn: \"Yeah. He made it clear. That's a door none of us is ever going to be knocking on again.\" There is a knock on a door. The door is opened by Wesley.", "Lilah: \"I would have called, but I figured you'd only tell me to go to hell, so, I thought I'd just take a shot and drop by. - Aren't you going to invite you in?\"", "Wes: \"No.\"", "Lilah: \"Okay.\" Lilah pushed past Wes and walks into his apartment. Lilah looks around as Wes checks the hallway to see if Lilah brought anyone before turning back to watch her without closing the door.", "Lilah: \"Huh. Not what I expected. You know, bunch of flowers and 'get well' cards, maybe a couple of those balloons with the smiley faces on them?\" Wes just looks at Lilah.", "Lilah: \"Wow. I guess when she slit your throat she nicked your sense of humor.\"", "Wes: \"Not at all. I find you being here extremely funny.\"", "Lilah: \"And how is that?\"", "Wes: \"Because you're going to offer me a job.\" Lilah turns away with a slight smile and picks up a statue.", "Lilah: \"It's a shame, really, what happened. You dedicate your life to a cause, and the very people you try to help turn their backs on you.\"", "Wes: \"Yes. Tragic. Now get the hell out.\"", "Lilah: \"Man of your talents, scholar, man of intellect...\"", "Wes: \"Deep inside knowledge of Angel Investigations.\"", "Lilah: \"Did I mention that Wolfram and Hart has the finest library of mystical, occult, and supernatural reference material in the world? Full medical, dental, 401(k) package.\"", "Wes: \"Not interested.\"", "Lilah: \"Hey, it was worth a shot. - Anyway, here is something to help pass the time in the unemployment line.\" Lilah pulls a gift-wrapped book out of her purse and hands it to Wesley. Wes unwraps it and reads the title on the spine.", "Wes: \"Dante's Divine Comedy.\"", "Lilah: \"Actually it's just part one, the inferno. It's not a first edition, more like the fifteen hundreds, but it's in the original Tuscan. Have you read it?\" Wes closes the book and tosses it on a table.", "Wes: \"Several times.\"", "Lilah: \"Then you know it's a guided tour of the underworld, the nine levels of hell.\"", "Wes: \"Yes. Descending, concentric rings based on severity of the sin.\"", "Lilah: \"You know, I always forget - the very bottom of hell, in the ninth circle, the devil is frozen in ice, right? He got three heads, three mouths and those mouths are reserved for the worst sinners. Now, I can't remember - who is in the center mouth? Wh-what was his name? The one person in all of human history deemed the greatest sinner? Who is it?\"", "Wes after a beat: \"Judas Iscariot.\"", "Lilah: \"Right. The worst spot in hell is reserved for those who betray.\" Lilah walks past Wes towards the door, but stops and leans in close for a moment.", "Lilah: \"So, don't pretend you're too good to work for us.\" Lilah leaves closing the door behind her. Connor is crouching on the roof of the bus, staring at the traffic and buildings as the bus drives down the road. He spots a big video screen, then stares down at a fire engine with its sirens blaring. As they pass another intersection he jumps off the bus. Angel is walking along the sewer tunnels, cell phone in hand.", "Angel: \"Did you find him?\"", "Gunn: \"No. Looks like we just missed him though. He's leaving a trail.\"", "Angel: \"What? Did he hurt somebody?\"", "Gunn: \"No, nothing like that. I mean gawkers. Folk's not used to seeing a kid in animal skins riding on top of a bus - not south of St. Monica Boulevard, anyway.\"", "Fred: \"Two more Robin Hood reports.\"", "Gunn: \"You hear that? He's still headed downtown.\"", "Angel: \"Where are you?\"", "Gunn: \"Ah, just east of Union.\"", "Angel: \"He won't head all the way into town.\"", "Gunn: \"You don't think?\"", "Angel: \"Too many people. He'll jump off, head for some place less populated.\"", "Gunn checks his watch: \"Well, you want us to turn around, come and get you?\"", "Angel: \"No. Still a few more hours till sunset. Just keep following the trail. The minute it goes cold, let me know.\"", "Gunn: \"And if it doesn't go cold? I mean, if we find him first.\"", "Angel: \"He's my son. He's my son, and he's alive. He's gonna stay alive.\"", "Gunn: \"Right. Anything else we can do for you?\"", "Angel: \"Yeah. Make the sun go down.\" Angel closes his cell phone and moves on. Connor has made his way down beside an overpass, he hears a girls' voice.", "Sunny: \" Come on, Tyke, look. Look. This stuff is good. It's worth something. Come on.\" Connor looks down into a dried up aqueduct and spots Sunny stumbling back a few steps, talking to someone he can't see.", "Sunny: \"Hey, why are you being such a jerk? I need - I need it now. Tyke, come on!\" We hear a man's voice arguing back. Connor drops over the side of the railing of the road bridging the aqueduct. Sunny is holding up three CD's for Tyke's inspection.", "Sunny: \"Brand new, never opened. They got to be worth half a gram, huh?\" Tyke takes the CDs and looks at them.", "Tyke: \"They suck.\"", "Sunny taking them back: \"They rock! Look! It's like every hit in the eighties! Plus - plus, this girl is hot.\" Connor slowly makes his way closer to the man and girl standing by a derelict car under the overpass.", "Tyke: \"Get out of here, Sunny. You're embarrassing yourself.\"", "Sunny: \"Hey, they're worth at least a quarter. Please!\"", "Tyke: \"Alright. Okay.\" Tyke takes the three CDs and tosses them like Frisbees one by one.", "Tyke: \"Bye! Bye! Bye.\"", "Sunny: \"You jerk!\" She starts to flail at him and Tyke stops her by grabbing a hold of her body and hair.", "Tyke: \"You know what? *That* you get to work off!\"", "Sunny: \"Let go! Don't.\" Tyke is in the process of sticking Sunny into the back seat of the derelict car when he notices Connor coming towards them.", "Tyke: \"Walk away!\" When Connor doesn't react, Tyke tosses Sunny into the backseat and turns to face Connor.", "Tyke: \"An entire suit made of Chamois. That's different. 'What are you wearing to the Oscars?' 'My Chamois suit.' - What's all this?\" Tyke indicates the string of bones and teeth that Connor is wearing slung across his chest.", "Connor: \"Things I killed.\" Tyke laughs and whistles. Three thugs file out from under the overpass and arrange themselves behind Connor.", "Tyke: \"Uh, aren't you all scary. Chamois and teeth! (Gives an exaggerated shudder) Wanna know what else is scary?\" One of the guys behind Connor hits him over the head with a crowbar, even as Connor starts to turn to face him and Connor drops to the ground, not moving.", "Tyke: \"Me.\" Break Tyke crouches down beside Connor and rips off the necklace of hunting trophies, taking a closer look at it.", "Tyke: \"Just get rid of him.\" Tyke walks to the car, taking off his jacket and dropping it and Connor's necklace on the trunk of the car. One of his goons raises his crowbar to finish Connor off, but Connor's eyes pop open. Connor turns enough that the crowbar hits the concrete instead of his head, grabs a hold of it and kicks the guy wielding it in the stomach. Tyke turns and watches as Connor jumps up and easily holds his own against the three goons. Tyke pulls out a handgun and aims it at Connor, but even as he pulls the trigger, Sunny slams the car door into this back.", "Sunny: \"No!\" Tyke's aim goes wild and he shoots one of his own guys instead of Connor. Kicking the car door shut, Tyke aims the gun at Sunny next, but Connor kicks it out of his hand before he can pull the trigger. Connor and Tyke fight. Connor ends it by jumping on the car, grabbing a hold of Tyke and slamming him down hard on his back on the car roof. Pulling a blade from the sheath on his leg he throws it at one of the goon's, burying it in the guys forearm. As Connor goes to retrieve his knife. Sunny jumps out of the car and looks through Tyke's jacket lying on the trunk. She finds a roll of money and a bag of drugs. Looking up she sees that Connor is about to slit Tyke's throat.", "Sunny: \"Don't! Are you crazy? The police are probably on their way. Come on. We got to go.\" Connor lets himself be pulled away, grabbing his string of trophies, then stops, turns back and slices off Tyke's left ear. Tyke screams as Connor holds up the ear to Sunny.", "Connor: \"So he won't forget me.\" Groo is still standing guard, watching the crackling rift, sword at the ready, but Cordy is now sitting on the steps instead.", "Cordy: \"Isn't your neck stiff? You've been standing exactly like that all day.\"", "Groo: \"Pylean warriors are trained for such endurance. I once happened upon a herd of Bur-beasts and as you know, engorged Bur-beasts will couple with anything that moves. I was forced to stand perfectly still for eleven days and nights.\"", "Cordy: \"So, you were never...\" Groo smiles, still not taking his eyes off the rift: \"No. That honor was yours, princess.\"", "Cordy, getting up: \"I don't know. Angel does all that 'ninja statue, don't move a muscle or you're dead' stuff, too. Me, I wouldn't last ten minutes. Of course, heels? Not helping.\"", "Groo: \"Yes. I'm sure Angel has regaled you with his many exploits.\"", "Cordy: \"Oh, he's tried alright. But I get so bored with all that 'days of yore' crap. (Groo glances at her) Ah - I mean - they're nothing like your thrilling tales of adventure! Not that you need adventurous tales to impress me. I'm impressed by you just being you.\"", "Groo: \"But the way you constantly speak of Angel.\"", "Cordy: \"Is because these last weeks have been so hard for him. (Comes to stand in front of Groo) He needs me. And you do, too.\" Cordy pushes Groo's sword hand down and leans in to kiss him, but after only a moment Groo pulls back.", "Groo: \"Princess, I should be watching for creatures from the other dimension.\"", "Cordy: \"You're the only creature from another dimension I'm interested in.\" This time it is Groo that leans in to kiss Cordy.", "Goo: \"I was worried that your affection for the Groosalug had waned.\" They kiss again - only to be knocked apart to land flat on their backs as thunder and lighting cracks from the rift above them. Three police cars surround the derelict car in the aqueduct. Gunn is talking to one of the officers, then makes his way out from under the yellow tape to meet up with Fred.", "Fred: \"A couple of shopkeepers saw Conner jump off the bus right up the road from here.\" They walk a little ways to where Angel is standing in the shadows.", "Angel: \"He was here. I can smell him.\"", "Gunn: \"Cops say it was a drug thing gone wrong. Some guy got killed. It wasn't our boy. They caught one of the badies. I.d.ed a local as the shooter.\"", "Fred: \"So, he was here but not part of...\"", "Gunn: \"Oh, he was part of it, lot of mayhem. (To Angel) Including the guy's ear sliced off as a trophy.\"", "Fred makes a face: \"Uh!\"", "Angel: \"He was raised in a hell dimension, okay?\"", "Gunn: \"So, how do you wanna play this?\"", "Angel: \"Well, it'll be dark soon. You two head back to the hotel.\"", "Fred: \"Shouldn't we all keep looking?\"", "Angel: \"I have a better chance finding him by myself. I don't wanna scare him. He's all alone in a strange world.\" We get a shot of the sun setting, then different flashes from around LA.", "Sunny: \"So, that was really cool today. So, where did you learn to fight all bad-ass like that?\"", "Connor: \"In Quor-toth.\"", "Sunny: \"Quor-toth? That's in Mexico, right?\" She walks up to one of the doors of an abandoned motel and opens it only to reveal a guy about to light a drug pipe.", "Sunny: \"Oh. Sorry.\" Sunny closes the door and moves over to the steps leading up to the second floor.", "Sunny: \"Lots of folks squat here. Most are cool, but... If a fat guy, wearing furry slippers asks you to play 'teddy bear in the hole' just tell him to get lost. - So, ah - what did you do for kicks in Quor-toth?\"", "Connor: \"Kicks?\"", "Sunny: \"You know, like fun. Parties, movies, the mall? How do you spend your time?\"", "Connor: \"I hunt.\"", "Sunny: \"Big surprise.\" Sunny opens another door, and after taking a careful peek, enters. Connor looks around the dark motel room as Sunny lights a couple of candles.", "Sunny: \"Home, sweet home.\"", "Connor: \"This is - this is home.\"", "Sunny: \"Tonight it is. - You're welcome to crash here, too.\" Sunny pulls a bag of drugs out of Tyke's jacket and stuffs it in her pants pocket as Connor picks up a bra lying on a dresser.", "Sunny: \"Hmm, I don't think it's your size. People squat here and they leave stuff. (Picks up a shirt and pants lying on the sofa) So, uhm, how do you feel about losing the whole - 'dead animal' thing?\" Connor looks down at his clothes. Sunny walks over and tosses some clothes at him.", "Sunny: \"I mean, not that I'm against eating a cheeseburger.\" Sunny turns back to the sofa table and pulls a beefstick out of a bag as Connor starts to strip behind her.", "Sunny: \"We have all food groups. Meat (pulls out a bag of candy bars) and chocolate. So, you really were going to kill Tyke.\"", "Connor: \"He was hurting you.\"", "Sunny: \"Well, it's good you didn't.\"", "Connor: \"Why?\" Sunny, biting into a candybar, looks over her shoulder and sees that Connor is butt naked. Sunny turning away after a beat: \"Ahem, because it's wrong?\" Connor starts to pull on the jeans she gave him.", "Sunny: \"I mean - I know Tyke's a b*st*rd, but the cops are even worse. (Taking another bite of the candy bar) God, I love these. Have you ever had one?\" Connor, in the process of pulling on the shirt, shakes his head.", "Sunny: \"Well, then get on down here, cowboy.\" Connor crouches down across from Sunny and takes a bite of her offered candy bar.", "Sunny: \"Isn't it the best?\" Looking through the stuff on the table, Sunny picks up an applesauce cup and opens it, then opens a bag of chips. Connor picks up a burnt looking spoon.", "Connor: \"I know this. A tool for eating.\" Connor is about the start on the applesauce with it, but Sunny takes the spoon away from him.", "Sunny: \"Ah, uhm, no. Uhm - that isn't for - food.\" Connor starts to eat straight out of the cup, wearing a small frown. Sunny holds up a packet of white powder.", "Sunny: \"It's for this. I get it from Tyke. - It's - medicine.\"", "Connor: \"You're sick?\"", "Sunny: \"No. It's - it's not that kind of medicine. - It helps me sometimes when I'm - sad.\"", "Connor: \"You're sad?\" After a beat Sunny shakes her head.", "Sunny: \"No. Hm-mm.\" Offers him a bite of her moon pie. Connor takes a bite and smiles at her. Sunny smiles back at him.", "Fred, voice over: \"Connor is new to this world, alone, probably scared.\"", "Gunn: \"Yeah, he looked scared, kicking my ass.\"", "Fred: \"You're right, we should have gone with Angel.\" Fred and Gunn walk into the Hyperion.", "Gunn: \"Yeah, especially now that we know what Connor is capable - of...\" Gunn trails off as he spots Cordy and Groo lying on the lobby floor, unconscious.", "Sunny: \"Hmm, food, cash, a place to crash. I've had worse days. How about you? (Connor looks away, not answering) So, what's your deal? (Connor looks at her) Why did you come to LA?\"", "Connor: \"To find my father.\"", "Sunny: \"Really? Heh. I came here to get away from mine. - Parents should have to take like a test or something, before they can have kids. And if they're - drunks, or idiots, or evil - they should be sterilized.\"", "Connor: \"If they're evil they should be killed.\" Sunny considers that for a moment in silence then lets out a sigh.", "Sunny: \"You don't say much but - I like what you say.\" Connor looks at Sunny and after a moment she leans in to kiss him. At first he pulls back, then leans closer and they kiss. After a moment Sunny pulls back with a smile.", "Sunny: \"Ah, I - ah, I'll be right back.\" Wesley looks up from typing on his laptop and over at the book Lilah gave him, lying on the coffee table beside the computer. He picks it up and opens it to a woodcut of the devil eating Judas. Wes looks at it for a moment, then snaps the book shut. The camera pans down to show Connor asleep where Sunny left him leaning against the sofa. A fire engine honks, and Connor snaps awake, pulling out two daggers in the same motion. The sirens fade as Connor stands up and looks around.", "Connor: \"Sunny?\" There is no answer and Connor slowly makes his way across the room. He hears some wood creaking and spins to look behind him.", "Connor: \"Sunny?\" When there is no answer he continues on, and pushes open the door to the bathroom, revealing Sunny slumped against the side of the bathtub. There is a tourniquet around her upper arm and a syringe still sticking out of her forearm. Connor crouches down beside her, briefly touching her shoulder.", "Connor quietly: \"Sunny?\" He reaches down and picks up the packet of 'medicine' Sunny showed him earlier, then stands up. Connor turns around to find Angel standing in the door behind him.", "Angel: \"Connor.\" Break", "[SCENE_BREAK]", "Angel sees Sunny slumped against the bathtub and grabs a hold on Connor's arm, pushing his sleeve up.", "Angel: \"She didn't shoot any of this crap in you, did she?\"", "Connor pulls free: \"No.\" Angel holds up his hands in a placating gesture: \"Okay. I'm sorry. I just... (Angel glances at Sunny) We'll take care of this, okay? Together.\"", "Connor shakes his head: \"Too late. - Too late.\" Connor walks past Angel back into the main motel room.", "Angel: \"Connor. - I'm sorry about... - Was she you're friend? Connor. Just talk to me.\" Angel trails after Connor and watches him pick up Tyke's jacket and sniff at it.", "Angel: \"Well, you know, I figure you have to be feeling like you traded in one hell dimension for another right about now, but if you just let me... What are you doing? (Takes the jacket away from Connor) What is that?\"", "Connor: \"Give that back!\" Angel sniffs the jacket.", "Angel: \"Why? Who're you tracking?\" Connor makes a grab for the jacket, but Angel stops him. A quick search of the pockets brings out another packet of drugs.", "Angel: \"Right. I get it. You're going after they guy that gave her the junk.\"", "Connor: \"His medicine killed her.\"", "Angel: \"And you're going to do what about it?\"", "Connor: \"Punish.\"", "Angel: \"You mean, kill.\" Connor makes another stab at the jacket, and again Angel stops him.", "Angel: \"Slow down.\" Conner attacks Angel, but Angel takes a hold of him and pushes him up against the wall.", "Angel: \"Listen to me!\" Connor slams Angel up against the wall in turn.", "Connor: \"No!\" Angel sighs as Connor lets go of him and goes to retrieve the jacket. Angel takes a hold of his son, and again pushes him up against the wall.", "Angel: \"You *will* listen.\" Connor hauls back and clocks Angel across the face. Angel pushes Connor's face into the wall.", "Angel: \"I'm not gonna let you walk out that door and get into any more trouble. - Hear me?\"", "Connor: \"Fine.\" Angel lets go of him and takes a step back. After a moment Connor spins around and attacks Angel again, only to get tossed on the floor.", "Angel lets out a sigh: \"I'm sorry. You just don't understand how this world works.\"", "Connor: \"I understand. Sunny was nice. Now she's dead.\"", "Angel: \"Connor...\"", "Connor: \"Stop calling me that! (Glares up at Angel) My name is Steven.\" Angel just looks at Connor. Cordy and Groo are sitting on the settee in the lobby. Cordy is holding an icepack to her head.", "Gunn: \"And then what?\"", "Cordy: \"And then what nothing. Standing, talking, boom - knocked on our butts.\"", "Gunn: \"You think something else came out of there?\"", "Cordy: \"Hello? Face down. Knocked out?\"", "Fred: \"I found a picture of that beast Connor killed. And uhm, it says that these things usually have a mate.\" Gunn takes a look at the book Fred hands him, then closes it as the rift above the Pentagram lets out another crackle.", "Cordy: \"Where is Lorne? He should have been back with that expert hours ago.\"", "Gunn: \"Well, he said it was complicated.\"", "Fred: \"There is that other expert.\"", "Cordy: \"You know someone else who can... - Oh. I don't think Angel's gonna go for that.\"", "Groo: \"Yes. We must always consider Angel. Angel is our leader. We must obey his wishes.\" Cordy looks over at Groo.", "Fred: \"So - We're just supposed to sit here with a fissure from a hell dimension in the middle of the lobby when we know someone who can help us?\" Fred looks from a silent Cordy to and equally silent Gunn.", "Fred: \"I don't think so. I'm calling him.\"", "Gunn: \"Fred. No, you're not.\" Just then the door opens and Lorne, wearing a hat and trench coat walks in with a blue-haired lady, wrapped into a black cloak.", "Cordy: \"Lorne!\"", "Lorne: \"Uh, sorry it took so long, kids. Mistress Meerna is a *very* difficult woman to find.\" Lorne looks around for his companion, who is no longer beside him. Cordy turns as we hear footsteps. It's Meerna coming walking down the stairs from the first floor.", "Lorne: \"There, you see what I mean? It's been like that all day! One of the nasty side effects of specializing in dimensional magic. What I wouldn't do for a lasso and some crazy glue.\"", "Angel: \"Steven.\" Connor pulls on Tyke's leather jacket, never taking his eyes off Angel.", "Angel: \"Okay. - Steven. - It's a good name. - Not Irish, but... - Look - I know we haven't gotten off to a great start here, but if we can just - take a minute. - That'd be good. - Please, just...\" Connor is glancing past Angel to the door.", "Angel: \"Don't run away from me, alright? I lost you once already. - There's just - there's just so much I wanna know, so much I need to know. - Okay?\" Connor just stands there.", "Angel: \"You been okay? I mean - what was it like there? - Did you have any friends? - Okay, I mean, not friends. (Sighs) It's not like you were at summer camp. I mean, you were stuck in a - hell dimension. - Connor - I'm so sorry. I tried to get you back. I did. I tried to come after you. I would have done anything. I just... I just... I couldn't find a way in.\"", "Connor: \"I found a way out.\"", "Angel: \"Yeah. - You did. - You sure did. - I should've - I should've tried harder. I - I shouldn't 've quit. But you're back. And-and - and that's what's important, you know? You-you came back to me. I wanna know everything, son. I wanna know everything. Everything about you, you know, what your life's been like? You - must have a million questions.\"", "Connor: \"No.\"", "Angel: \"No?\"", "Connor steps closer to Angel: \"My father told me everything.\"", "Angel after a beat: \"Your father. - Holtz isn't your father. He's...\" Connor hits Angel across the face, hard.", "Connor: \"You don't get to say that name! You don't even get to think it!\" Angel straightens back up and just looks at Connor.", "Connor: \"I know - everything. He told me all about you. That you're a - a *thing* that kills and drinks blood. You're a vampire.\"", "Angel: \"What do you know about vampires?\"", "Connor: \"Decapitation, stake in the heart, daylight, fire - did I forget anything? - You have a second face. A face for killing. - Show it to me. I wanna see it.\" When Angel just stands there looking at him, Connor starts punching Angel in the chest.", "Connor: \"Come on, show me! Show me the face you used to kill my father's family. Show me! Come on! Show me!\" Connor aims his next punch at Angel's face, but Angel catches his fist and holds it still.", "Angel, quietly: \"Looks like this, son.\" Angel morphs into his vamp face and Connor pulls his fist free and stumbles a couple of steps back.", "Connor: \"That's what you are.\"", "Angel: \"It's part of what I am. (Morphs back into his human face) A part I hope you will be able to accept one day.\"", "Connor: \"You'd have to kill me first.\"", "Tyke: \"Well, that's a plan.\" Angel turns around to see Tyke follow by a couple of his goons entering the motel room. Tyke pulls out a gun.", "Tyke: \"But I've got a better one.\" Break", "Tyke: \"Chamois man.\" Connor tries to get to Tyke, but Angel holds him back.", "Angel: \"No, no, no. Don't.\" Tyke, touching the bandage on the left side of his head: \"Where's Sunny?\"", "Angel: \"Would that be the dead girl in the bathroom?\" Tyke motions for one of his guys to check the bathroom.", "Tyke to Angel: \"Who are you?\"", "Angel: \"I'm his father.\"", "Connor: \"No, you're not.\"", "Angel: \"Let me handle this? (To Tyke) Let's find a way to work this out. Talk through it. (To Connor) Which is a thing we do here. (To Tyke) There's no need for violence.\" Tyke slugs Angel across the chin with the butt of his gun.", "Tyke: \"I'm sorry. Did you say 'no need for violence?' You may wanna speak up, you see (points at his bandaged ear and screams) I don't hear so good any more!\"", "Goon comes back: \"Sunny's dead in the can. O.D.\"", "Tyke to Angel: \"You know, I begged her to get help. Oh, well. One down, one to go.\"", "Angel: \"We can make this right.\"", "Tyke: \"You can give me a new ear?\"", "Angel: \"Well - maybe you can wear a hat.\"", "Tyke: \"Maybe I can blow your head off. (To Connor) That's my coat and I want it back. And whatever's not in Sunny's body better be in those pockets.\"", "Angel: \"Son, give him the coat.\"", "Connor to Tyke: \"You killed her.\" Tyke nods, but before he can say anything a third goon enters.", "Goon: \"Tyke, cops, man, they're looking for you. They're everywhere.\" Tyke looks at Angel, how raises his eyebrows at him. Everyone is watching Meerna as she kneels on the floor of the Hyperion's lobby, examining the area above the pentagram", "Meerna: \"I hope this pentagram wasn't some dark attempt to close the fissure.\"", "Gunn: \"Ah, no, that was a dark attempt to open one. (Meerna turns to glance at Gunn) Different one. - Long story.\"", "Fred: \"So, you think you can close it, then?\"", "Meerna: \"Oh, I'm sure. That's not the worry.\"", "Fred: \"You have worry?\"", "Meerna: \"How did it open in the first place? There are no portals to Quor-toth, and for good reason. It's not a place anyone should ever go.\"", "Fred: \"I... If there aren't any portal's, what is it?\"", "Meerna: \"A tear in reality. Big cosmic no-no.\" Fred steps back and Meerna goes back to feeling the air in front of her.", "Meerna: \"Something punched its way through. Something I really don't wanna meet.\" Cordy lets out a shriek startling Gunn and Groo, as Meerna suddenly says \"Excuse me\" and walks out from behind them.", "Meerna: \"Sorry.\" Lorne walks up to her, carrying a metal bowl.", "Lorne: \"Here you go. Just the way you asked.\" Meerna pulls out a pair of safety glasses and puts them on.", "Lorne: \"Should we leave, or get behind something?\"", "Meerna: \"Nah. It's pretty routine. (Flips up the hood of her cape) Just sometimes I get a little 'schmutz' in my eye.\" Meerna takes the bowl from Lorne with a sigh and moving one hand above it in a circular motion begins to chant quietly.", "Meerna: \"Forras. A ka ul do. In tempor lyta.\" She takes some of the powder-like contents of the bowl and tosses them into the air. A purple, glowing mist forms. The rift crackles, then everything gets sucked to a center point and disappears from view. Meerna puts down her hood and takes off the glasses while turning to the others.", "Meerna: \"It's closed.\"", "Cordy: \"Can you tell if anything else came through it?\" Meerna hands the bowl back to Lorne.", "Meerna: \"Not sure. And I'm not sticking around to find out. Bye.\" With that she walks away. Police with flashlights are moving around the outside of the motel. One of the cops is talking to another squatter. Tyke is aiming his gun at Angel.", "Angel to Tyke: \"Dead body in the river. Another one in the bathroom. This just doesn't bode well for you, does it? (Angel turns to look at Connor) Well, you see, son, violence just always ends up bad...\" With that Angel starts to attack the Tyke and the goons, with Connor quickly joining in.", "Connor: \"Hey!\" Connor hits Tyke on his bandaged ear and he falls to his knees with a suppressed scream. Police, carrying guns with flashlights mounted to them are closing in on Sunny's motel room. Angel, dropping the last of the goons turns to his son.", "Angel: \"Connor, we got to get out...\" The trails off as he sees that Tyke is holding Connor like a shield in front of him.", "Tyke: \"*I* got to get out of here.\"", "Angel: \"Don't. Use me. I'm bigger. I'll make a better shield.\" While Tyke hesitates, the cops start to punch at the door. Tyke spins to shoot. Angel grabs a hold of Connor and pulls him down on the floor with him as bullets begin to fly. One of the goons is shot and falls, but Tyke and the remaining goons keep shooting. Angel looks up at the light shining in through the many holes riddling the walls by now. Another goon is hit and goes down. A stray bullet shatters the glass in the window opposite the door.", "Angel to Connor: \"Out that window! Go! Out the window!\" Connor gets up and runs towards the window.", "Angel: \"Stay down! Stay down!\" The door is kicked open and a cop comes in, spinning to aim his shotgun at Connor's back. Angel jumps up and takes the bullet full in the back. The cop loads the next bullet into the chamber but has to take cover as Tyke starts to shoot at him. Connor, crouched on the window sill, stares at Angel lying on the floor. Angel raises his head and looks at Connor.", "Angel: \"Go!\" Angel pushes himself up and launches himself at Connor, sending both of them tumbling out through the window, while the firefight continues behind them. Angel is running hunched around his middle down a deserted street, Connor following close behind.", "Connor: \"Do you need to stop?\"", "Angel: \"I'm okay.\" A police car with lights and sirens going turns into their street and Angel pulls Connor between two parked cars.", "Angel: \"Behind here.\" The police car passes and Angel lets out a groan as he tries to straighten up.", "Angel: \"Maybe I do need a second.\" Angel leans on the hood of the parked van.", "Connor: \"What you did...\"", "Angel: \"Are you hurt?\" Connor shakes his head.", "Angel: \"You know, if you want, you can come back to the hotel.\" Connor stares at Angel for a moment then his eyes look every where but at Angel.", "Angel: \"No pressure or anything.\" Connor starts to move past Angel.", "Connor: \"No, uh...\"", "Angel: \"But if you, you know, if you need a place to stay.\" Connor turns to look back at Angel: \"I have to go.\"", "Angel: \"You're not alone. - You know that, right?\"", "Connor: \"Yeah. I know.\" With that Connor turns and runs off, leaving Angel standing by the van, looking after him. After a long beat Angel slowly, carefully moves off. Connor is running down a narrow alleyway. He slows and straightens as he comes up to a dark opening. After a moment a figure steps out of the darkness.", "Holtz: \"Hello, son.\"", "Connor: \"Hi, dad.\"", "BLACK OUT." ]

[ "In the season finale, Connor plots revenge against Angel. He blames Angel for Holtz's death and comes up with a plan to make his father pay. Meanwhile, Cordy realizes that she has feelings for Angel and Wes & Lilah make love for the first time." ]

[ "Angel: \"Previously on Angel:\" Angel morphs into vamp face and baby Connor calms and smiles at him.", "Cordy to Fred: \"Angel's feelings are the only ones I care about.\" Groo overhears and turns away.", "Cordy: \"I got dosed with demon DNA for that man.\" Skip turning her into a demon. Cordy lighting up like a Christmas tree in \"The Price\"", "Lorne: \"Wesley's taking the baby away - for good.\" Wes gets his throat slashed by Justine. Justine runs off with Connor. Holtz pushes Justine aside and jumps through the rift with the baby in his arms.", "Justine: \"Daniel!\"", "Sahjhan: \"What you are looking into is the Quor-toth.\" Connor drops through the rift in the lobby and levels his stake launcher at Angel.", "Connor: \"Hi dad.\"", "Angel: \"You're not alone.\"", "Connor: \"I know.\" Angel pushes Holtz up against the wall: \"You stole my son!\"", "Holtz: \"I kept your son alive.\"", "Fred: \"What do you think he'll do?\"", "Gunn: \"Angel will deal with Holtz in his own way.\"", "Justine: \"I can't.\"", "Holtz: \"You said you'd do anything for me.\" Crying, Justine stabs Holtz in the neck with the awl. Hyperion, night, Groo walks into the lobby carrying a tray decorated with greens and two glass-mugs on it.", "Cordy: \"Hi. What you got there?\"", "Groo sets the tray down: \"Well, I know you had grave concern for Angel's welfare, so I made some Mock-Na.\"", "Cordy: \"Oh. Mock-Na. Which is..?\"", "Groo: \"A soothing brew to relieve tension.\"", "Cordy: \"Ah. Kind of looks like muddy water.\"", "Groo: \"Yes! (Picks up a mug and smells it) The mud gives it body and flavor. Of course there is no Plockweed in this dimension, so I made due with creeping fig and sour cress in the garden. Though it is not true Mock-Na, it is very close to the real thing.\"", "Cordy smiling brightly: \"So it's mock Mock-Na.\"", "Groo offers her a mug: \"Please.\" Cordy takes it with a smile at him and takes a tiny sip.", "Cordy: \"Well, that's, ah... I mean, I can feel the tension draining already. (Hands the mug back to Groo.) And a little sediment going down the wrong... (Coughs a little then smiles at him brightly) Hmm, tasty.\"", "Groo: \"And might I further relieve you by at first gently then more rapidly rubbing your Schlug-Tee?\" Cordy looks at the grin on his face.", "Cordy: \"Ah, I don't really... uhm. Maybe later at home.\" Sees Groo's smile melt away and steps up close to him.", "Cordy whispering: \"I don't feel comfortable doing *it* in the office, Groo.\"", "Groo: \"Doing 'it?'\"", "Cordy: \"s*x.\"", "Groo: \"Oh, you wish to have s*x?\" Cordy, throwing a quick look around: \"What? No! Shh!\"", "Groo: \"I was proposing a massage of your Schlug-Tee, your tense neck muscle, but - it is always an honor to make s*x with you. (Smiles then leans closer and whispers) Later,at home. I understand perfectly.\"", "Cordy stares straight ahead: \"Angel.\" Groo pulls back with a sigh: \"Is not who I am, princess.\"", "Cordy: \"I know. He's back.\" Cordy walks past Groo out into the lobby where Angel stands.", "Cordy: \"You didn't happen to hear...\"", "Angel: \"Hear what?\"", "Cordy: \"Good. So, how did it go?\"", "Angel: \"I found Holtz.\"", "Cordy: \"And?\"", "Angel: \"I didn't kill him.\"", "Cordy: \"Maybe you're growing as a person. What did you do?\"", "Angel: \"We talked.\"", "Cordy: \"About Connor-ah, Steven.\"", "Angel: \"Yeah. Did he - come home?\"", "Cordy: \"No, he's still out with Gunn and Fred. You - said home.\"", "Angel: \"Yeah. It's a long story, but Holtz wants what's best for him.\"", "Cordy: \"And what's best for him is living here with us?\" Angel smiles just a bit and Cordy throws her arms around him, pulling him into a hug.", "Cordy: \"That's great! Oh, my god, I'm so happy for you.\" Cordy pulls back and she and Angel smile at each other, while Groo leans against the counter, sipping Mock-Na, watching them.", "Groo: \"Yes. It is a happy time.\" Connor is holding Holtz' body cradled against him, crying.", "Justine: \"This didn't have to happen. Your father was gonna leave. He just wanted to talk to Angelus.\"", "Connor: \"Leave?\"", "Justine: \"Angelus won. He could have just walked away.\"", "Connor: \"It's my fault. (Justine looks at Connor) He'll pay.\"", "Justine: \"I'll help you kill him.\"", "Connor: \"No.\"", "Justine: \"You don't wanna kill him? After what he did? What do you wanna do?\" Connor looks up into the camera, face grim. Intro Hyperion, night, Angel opens the door to one of the rooms and turns on the light.", "Angel: \"This one might work better. He'd have southern exposure. Not too close to my room. I don't want him to feel like I'm - hovering.\" Cordy watches from the door with a smile as Angel walks around straightening up the room.", "Angel: \"But not too far. I wanna keep an eye. - What do you think?\"", "Cordy: \"I think it's just as good as the last five we looked at. It's not about the room it's about Connor... (sighs) I still can't get used to calling him Steven.\"", "Angel sitting on the bed: \"Neither can I. It's what Holtz... it's what he wants to go by.\"", "Cordy: \"Okay, Steven, Connor, whatever. But, it's about your son living here, getting to know his father.\"", "Angel: \"I don't even own a TV. (Gets up) He's gonna wanna watch TV. Not too much, I mean, after homework and chores. He's gonna need clothes, weekly allowance... What's good nowadays? Fifty cents, a dollar?\"", "Cordy: \"Yeah. If you're Tom Sawyer painting the fence.\" Angel drops back down on the bed: \"See? I'm so out of touch. (Sighs) He's gonna hate me.\" Cordy comes to sit next to him: \"No, he's not. He's gonna love you.\"", "Angel: \"How do you know?\"", "Cordy: \"Because you're you.\"", "Angel: \"Me. A vampire.\"", "Cordy: \"You, a vampire.\"", "Angel: \"Who drinks blood, keeps to the shadows, and is older than everybody he knows put together.\"", "Cordy: \"You're all those things, plus tight with a buck. But none of that matters.\"", "Angel: \"Why not?\"", "Cordy: \"Because you have the biggest and best heart of anyone I've ever known. He's a smart kid. He'll figure it out. It's gonna be alright.\" Angel looks at her and she gives him a smile.", "Angel: \"You really...\"", "Cordy: \"Aren't I? (Laughs) Feeling better, or do you need to keep looking at rooms?\"", "Angel: \"Both.\"", "Lorne from the open door: \"Hey, he can have mine.\"", "Cordy: \"What do you mean?\"", "Lorne: \"Leaving - on the midnight train to Georgia. Actually it's the nine eighteen flight to Vegas tomorrow, but where is the poetry in that?\"", "Angel: \"Is this because of Connor? - Steven.\"", "Lorne: \"This is because of me. A buddy of mine has a club just off the strip, and he needs a singer and a seer. I could maybe do a little good.\"", "Cordy: \"Well, what about rebuilding your club here?\"", "Lorne: \"That's a great idea, pixie-cat. Except every time I do, you all seem to destroy it.\"", "Cordy: \"It was only - three times.\"", "Lorne: \"You know, I got the big love here, and I'm grateful for the hospitality, but it's - it's time to move on.\"", "Angel stepping closer: \"But some of this is because of...\"", "Lorne: \"The not so little nipper? I'm not gonna lie. Kid's in the mix. Clearly not loving the demon kind. And-and I know it's the way he was raised, and I loved that little baby - I just wouldn't, ah...\"", "Cordy: \"What?\"", "Lorne: \"Turn my back on him any time soon.\" Night, a pickup truck pulls into a deserted meadow and comes to a stop under some trees. Justine and Connor get out and walk around to the back of the truck.", "Connor: \"No white cliffs?\"", "Justine: \"Not in this neck of the woods. Sorry. Still looks like where he came from though.\"", "Connor: \"Eng-land? Maybe it's like the ranch.\"", "Justine: \"The ranch?\"", "Connor: \"Where I was supposed to grow up - in Utah.\"", "Justine, smiles: \"He told you about that? That was our dream.\"", "Connor: \"He always told it, before sleep. Him and me, where no one else could ever find us.\"", "Justine swallows, no longer smiling: \"Yeah. We should - we need to bury him.\"", "Connor: \"No.\" He opens the back of the truck, throws a tarp aside, and lifts a blanket to reveal Holtz' body.", "Justine picking up a shovel: \"I'll do it.\"", "Connor: \"No. He was bitten by the beast. He may rise again.\" Justine looks at the two neck wounds and we get flashbacks of her killing Holtz.", "Holtz: \"You said you'd do anything for me.\" Justine puts the shovel down.", "Connor leaning over Holtz: \"I will do as you taught me. I will cling to the good - and I will lay waste to the evil. (He leans down to kiss Holtz' brow) Sleep now, father - and forgive me.\" Connor throws Holtz' body onto the ground and picks up a sledgehammer (?). Connor swings and we hear a crunching noise as Justine turns her head away. Lilah walks through a dingy, half-empty bar to a table where Wesley sits staring at the beer and shot glasses on the table in front of him.", "Lilah: \"Mind if I join you?\"", "Wes: \"On many levels and with great intensity.\" Wes pours a shot into his beer.", "Lilah sits down: \"How's your throat? Need a lozenge? Life's something, huh? One day you're a pivotal figure in the big battle, next thing you know, you're thrown out on your lonesome. No one even cares what you think any more. Well - I care.\"", "Wes: \"You care.\"", "Lilah: \"As one human being to another. (Smiles and raises an eyebrow at Wes) Just kidding. I care that your great big brain is going to waste. Correct me if I'm wrong, isn't Angel Jr. a thing without precedent in human history?\"", "Wes: \"You're wrong. (Takes a sip of his beer) Mesopotamian, Greek, Hindi, Celtic myth, the bible, even Darwin, all support the coming of something that wasn't possible before.\"", "Lilah: \"Okay. - The impossible is here. But what does it mean? Is it the herald of a new age, better things to come or - the mass-destruction of everything we hold dear?\"", "Wes staring straight ahead: \"Yes. Every child born carries into the world the possibility of salvation - or slaughter.\"", "Lilah: \"And one born to two vampires carries it in spades. Now, my people will be rooting - for slaughter. And your people... sorry - your *former* people, they won't know what to do if things turn sour.\"", "Wes looks down: \"No.\"", "Lilah: \"So, if the kid's the next Stalin, do you kill him? You can't! He's Angel's son. But on the other hand, if you just watch while he up and kills Angel or somebody else - that cure girl from Texas, say? - Wow, times like this? Glad I don't have a conscience.\"", "Wes: \"I think you should leave now.\" Lilah puts a hand up to her throat: \"What was it like? When she cut you?\" Wes grabs her by the throat: \"You terribly anxious to find out?\" Connor and Justine stand and watch Holtz' body within the flames of the pyre they have built. Groo is lying on the settee in the lobby. Gunn and Fred hurry in from outside.", "Gunn: \"Nobody's here.\"", "Fred: \"Good.\"", "Gunn: \"Bad. We got to find Angel and tell him we screwed up. (Fred looks at him) Okay, get your point.\"", "Fred: \"Where is everybody?\"", "Groo gets up: \"I'm here. - Cordelia and Angel are upstairs trying out bedrooms. (Gunn and Fred stare, then look at each other) For Angel's son.\"", "Fred, Gunn: \"Oh.\" They hear voices from upstairs. Cordy and Angel walk down the hall together.", "Cordy: \"I'm not telling your sixteen year old boy that.\"", "Angel: \"Well, someone has to make sure he knows the facts of life. My track record with the whole man/woman thing isn't, you know... I don't wanna use the words 'tragic farce' but...\" They turn to walk down the stairs into the lobby.", "Cordy: \"Why not? You're still telling him.\"", "Angel: \"You could help fill in the blanks. He's gonna have questions. Like, what do you do with a woman's Schlug-Tee again?\"", "Cordy gasps: \"You and your vampire hearing! Next time you eavesdrop I'm gonna...\" Takes a hold of his ear and whispers into it as the other watch.", "Angel: \"Easy there, sailor! You use that kind of language at home?\" Angel walks over to Gunn and Fred.", "Angel: \"Where is he?\"", "Fred: \"Ah...\"", "Gunn: \"He ran away. He overheard us saying you were going to Holtz.\"", "Angel: \"Then that's where he went.\"", "Fred: \"We were just there. We didn't see either of them.\"", "Angel sighs: \"All he's gonna find is an empty room. He won't know what's happened.\"", "Gunn: \"What's happened?\"", "Cordy: \"Holtz left. He wants Steven to live here with Angel.\"", "Fred: \"That's good! - As long as we find him and tell him before...\"", "Groo: \"He's here.\"", "Cordy: \"How can we tell him before...\" Their heads turns as the door opens and Connor walks in.", "Cordy: \"Oh.\" Angel takes a few steps closer to Connor, who has stopped at the top of the landing.", "Angel: \"Hey. - You all right?\"", "Connor: \"I went to see my... - He wasn't there.\"", "Angel: \"Yeah. I'm sorry. He's - he left, Steven. - He gave me this letter to give to you.\" Angel hands him Holtz' letter and Connor reads it.", "Connor: \"He says my place is here now - with you.\"", "Angel: \"It wouldn't have to be forever. Maybe just - give it a try for a while.\"", "Connor after a beat: \"Okay. - We'll give it a try.\" Break Connor sits in the sun shining on his bed, rereading Holtz' letter. There is a knock on the door.", "Angel: \"It's me.\" Angel opens the door.", "Angel: \"Can I come in?\" Connor looks over his shoulder at the door but stays silent. Angel picks up a bookcase and carries into the room.", "Angel: \"I brought you a bookcase and some of my favorite books when I was your age. (Sets the bookcase down) So - can I get you some breakfast? Are you hungry?\"", "Connor: \"Not really.\"", "Angel: \"We can go out. (Looks at the sun shining in through the window) I'd have to wear a Burka or something. Hey, you know, we'll stay in, hang out together, tonight we'll - do something special. You ever been to a movie?\" Connor puts the letter in the drawer of his nightstand.", "Connor: \"No.\"", "Angel: \"Oh, we'll go to an action movie. You'll love it. Anything else you wanna see or do - just say the word.\" Connor stands up and turns to face Angel.", "Connor: \"There is one thing.\"", "Angel: \"What?\" Connor lunges for Angel, but Angel easily captures and deflects Connor's hands.", "Connor: \"I wanna know how you do that.\"", "Angel: \"Fight?\" They break apart.", "Connor: \"Yes.\"", "Angel: \"I think you got that down pretty good already.\"", "Connor: \"I wanna learn - to be like you.\"", "Angel with the slightest smile: \"Well, there might be a thing or two that I could show you.\" Angel is training Connor down in the lobby with the help of Gunn and Fred, who are both wearing a seat cushion on their chest.", "Angel: \"Stake.\" Angel tosses a stake and Connor catches it.", "Angel: \"Vampire!\" Gunn lunges at Connor and Connor 'stakes' him.", "Angel: \"Behind you! (Connor spins to 'stake' Fred) Civilian! Civilian! (Connor pulls his blow) Protect her, protect her!\" Angel comes in to exchange a flurry of quick blows with Connor while Fred helps Gunn back to his feet.", "Angel: \"Where is your balance? Where is your balance? Huh? You lose it (grabs a hold of Connor and pushes him over backwards so he rests awkwardly on Angel's arm) you lose. Don't worry, I got you. I got you. (Helps Connor back up) You're doing good, kid. You've got heart.\"", "Fred raising her hand: \"I wanna be the vampire!\"", "Gunn: \"I wanna be in a hot tub.\"", "Cordy: \"I wanna know who's cleaning this stuff up.\" Gunn points at Fred, who in turn points at Angel and Connor.", "Angel: \"Yeah. It has been a long day. (To Conner) Had enough?\"", "Connor: \"No. I wanna learn.\"", "Angel smiles: \"Is this kid a chip off the old block or what, huh?\" Gives Connor a playful punch which Connor half ducks.", "Cordy: \"He's chippy.\"", "Angel: \"Hey, Cor, we're going to the movies tonight. You wanna come?\"", "Cordy: \"Yeah! I mean, I'd like to, ah, I can't. Groo and I are supposed to - have some one on one time. So...\"", "Angel: \"Oh. Right. You should do that. (Turns and points at Fred) Okay. Vampire.\" Fred raises her hands like claws and lets out a growl.", "Angel: \"Vampire. You're not in 'Cats.'\" Fred pulls her hands in and lets out a small, questioning 'grr.'", "Angel points at Gunn: \"Innocent by-stander.\"", "Gunn: \"By-sitter.\" Gunn drops down onto and overturned, stuffed chair.", "Angel to Connor: \"Close your eyes. Feel it. Where is the attack going to come from?\" Connor fends off Angel's blows with his eyes closed.", "Angel: \"Good. Good.\" Cordy enters her apartment.", "Cordy: \"Hi, honey. It's me! And I got your favorites: Tuna and ice cream. How about tonight you try *not* mixing it together? (Drops her stuff on the table and turns to see Groo standing in the bedroom, wearing a brown leather jacket) Oh, there you are. Wow. You like nice!\" Groo slowly raises his head to look at her.", "Cordy: \"What's wrong?\"", "Groo: \"I am. Wrong. For you.\"", "Cordy: \"What?\"", "Groo: \"I am not the one you love. He is.\"", "Cordy: \"He is? Who he?\" Angel goes to answer a knock on his door.", "Angel: \"Yo. Hey! Lorne. Come on in.\"", "Lorne: \"Well, you're in a good mood.\"", "Angel: \"Yeah. I'm taking the kid to the movies. He's gonna love it.\"", "Lorne: \"Oh. No subtitles or dreary Leitmotive, all bloody action?\"", "Angel: \"You bet.\"", "Lorne: \"Oh, he'll love you for it. Well, I thought, I'd stop by and say arrivederci, Angel-hair.\"", "Angel after a beat: \"You're really going.\"", "Lorne: \"I'm really going.\"", "Angel: \"I'm sorry.\"", "Lorne: \"Don't be. (Holds out a CD) Here, I got you a little something to remember me by.\" On the CD is a picture of Lorne, smiling while holding a microphone. Angel reads the title.", "Angel: \"Songs for the love - Lorne. Oh, I get it. Lovelorn, because your name is Lorne.\"", "Lorne: \"Yeah, my publicist's idea. Her name is mud now but the tunes are good. And, ah, and that's not my real gift. This is: it's mutual.\" The camera rushes around to change focus from Lorne to Angel and we hear a whooshing sound.", "Lorne: \"The way you feel about Cordelia is pretty much *exactly* how she feels about you.\"", "Cordy: \"I love Angel? What are you talking about? I - love... you know... us.\" Groo just looks at her.", "Lorne: \"You two are so obviously connected.\"", "Groo: \"You finish each others...", "Lorne: \"...sentences. You laugh at the same...\"", "Groo: \"...jests. When he grieves, when he is hurting...\"", "Lorne: \"...her heart breaks for you.\"", "Groo: \"In my heart I have known the truth for some time. I've just been - struggling - to find the courage to do what is right.\"", "Lorne: \"Bubela, all I'm saying is: stay open. Connor's back. Your whole life is coming together. Sometimes things do work out. I got to skiddoo.\"", "Angel: \"Take good care of yourself - and keep in touch.\"", "Lorne: \"I'll drop you a line. Let you know where to send the gift basket.\" Lorne waves over his shoulder as he walks towards the door.", "Cordy: \"I don't know what to say, Groo.\"", "Groo: \"Tell me I'm wrong. - That I should stay. - That you love only me.\" Cordy blinks away tears but stays silent. Blend into Groo picking up his bags. Blend into Cordy just standing there. Blend into Groo walking to the door. Blend into Groo turning to look back at Cordy just standing there. Blend into Groo leaving. Blend into Cordy standing there. A helicopter streaks by, launching some rockets and shooting its guns. The camera pulls back and we see that the explosions are taking place on the huge screen of a drive-in movie theater. Angel and Connor are sitting in the front of his convertible, Gunn and Fred are in the back.", "Angel: \"Pretty cool, huh?\"", "Connor staring at the screen: \"Uh-huh.\"", "Gunn: \"You emptied the jumbo tub?\" Fred pushes the tub at Gunn: \"Free refills.\"", "Gunn: \"I love this woman.\"", "Angel: \"Shh.\" Gunn levers himself up out of the backseat and jumps out over the side of the car.", "Fred handing him the tub: \"Don't skimp on the butter.\" Gunn walks off to refill the tub. Connor jumps as an airplane apparently streaks right at them.", "Angel: \"Sorry. It's just make believe.\" A real helicopter with a searchlight pointing down comes flying up over the edge of the movie screen.", "Connor: \"How'd they do that?\" Angel and Fred stare at the helicopter. Gunn stops and turns to stare as well. Some lines are lowered out of the side of the helicopter and three guys in nondescript combat uniforms start to rappel down them. Break", "[SCENE_BREAK]", "The searchlight centers on Angel's car.", "Angel to Fred: \"Get down! (To Connor) Out!\" Angel and Connor jump out of the car as Gunn bowls down two of the Commandos. In a van parked a little ways from Angel's car Linwood and Gavin are watching the fight on a couple of screens.", "Linwood: \"Tie me up, threaten me with sharp objects, but don't let me go. Chowder head!\"", "Gavin: \"Kid's pretty good.\"", "Linwood: \"Oh, I can't wait to get my hands on him, cut him open, see what makes him tick.\" Angel steps between Connor and two Commandos.", "Angel to Connor: \"Get back.\"", "Connor pushing Angel aside: \"No!\"", "Linwood: \"He wants to protect his son.\"", "Gavin: \"We were counting on *that*.\"", "Linwood: \"What weren't you counting on?\"", "Angel: \"Stay behind me.\"", "Connor pushing Angel back: \"No!\"", "Gavin: \"The kid wanting to protect him so badly.\" The fight continues. Gunn gets thrown over Angel's car. As the commando jumps up to follow, Fred, lying on the back seat, kicks him in the crotch.", "Gunn: \"Hey, thanks!\"", "Fred: \"Welcome!\" A voice comes from the external speaker on the helicopter: \"Abort! Abort! - Abort! Abort!\" The commandos melt away and the helicopter veers off. On the screen in the van Linwood watches Angel walk straight at him and his eyes widen.", "Linwood: \"Drive! Drive!\" The driver jumps behind the wheel, but Angel rips the back doors of the van open before he can get the engine started. Angel reaches in and pulls Linwood out.", "Linwood: \"Hey! Yeah, okay. Easy. Easy. Easy. Now we're even.\"", "Angel: \"Now you're dead.\"", "Linwood: \"What - you're gonna kill a human in front of your son, set an example?\"", "Gunn: \"I vote yes!\"", "Angel: \"You're not human.\" Police sirens start to come closer.", "Linwood: \"We should probably both get out...\" Connor suddenly pushes Angel aside and takes a hold of Linwood.", "Connor: \"Stay away from my father.\" Connor throws Linwood into the back of the van.", "Linwood: \"I'm not your enemy. We can help you, Steven.\"", "Connor after a beat: \"My name is Connor.\" Gunn and Fred exchange a look and a smile. Angel puts a hand on Connor's shoulder and Connor lets himself be lead away. Gavin reach out to help Linwood up, but Linwood shrugs his hand off.", "Angel: \"Let's go home.\" Cordy looks at a photograph of herself with Angel and Wes on either side.", "Cordy: \"I don't feel... And even if I did, it's impossible.\"", "Cordy's voice: \"It's ridiculous.\"", "Cordy: \"That's right. It's... (Looks up) Woah!\" In the window across from her is an apparition of herself, framed in white light.", "Phantom Cordy: \"Maybe on some level I've always known it's true.\"", "Cordy: \"I have? It is?\"", "Phantom Cordy: \"I'm in love!\"", "Cordy: \"I am? I am! - With Angel, right?\"", "Phantom Cordy: \"With Angel!\"", "Cordy: \"Just checking.\"", "Phantom Cordy: \"I'm scared. But I know it's right. I know somehow it's all gonna be alright.\"", "Cordy: \"It is? Really? (The apparition vanishes) Thanks for the tip.\" The phone in the lobby is ringing just as Angel and the others walk in.", "Angel: \"I got it!\" Angel runs across the lobby, whistling.", "Gunn: \"He's whistling. I've never heard him whistle.\"", "Fred: \"He's happy.\" Connor closes the door behind them all.", "Angel to phone: \"Angel Investigations. We can help you. I *know* we can!\"", "Cordy: \"Hi. It's me.\"", "Angel: \"Hi! Cor. How are you?\"", "Cordy: \"I'm good. You?\"", "Angel glances at Connor: \"I'm pretty good.\"", "Cordy: \"Uhm, Angel, I sort of need to talk to you, in person.\"", "Angel: \"Is it something - bad?\"", "Cordy: \"No! No, it's something good. I think. Well, it sort of depends on how *you* feel.\"", "Angel: \"About what?\"", "Cordy: \"Well - about me.\"", "Angel: \"Oh.\"", "Cordy: \"Could you meet me tonight?\"", "Angel: \"Tonight? Sure. Okay. Where?\"", "Cordy: \"I've always loved Point Dume. There's a viewpoint. It's the first turn north of Kanan. Really pretty spot.\" Angel as he writes down the directions: \"Point Dume. Viewpoint. First turn, north Kanan. We'll meet there. - About an hour?\"", "Cordy: \"Yes.\"", "Angel: \"Okay.\"", "Cordy: \"Okay.\"", "Angel: \"Yes.\"", "Cordy: \"Good. Okay then, we'll do that.\" Angel slowly hangs up the phone. Cordy hangs up the phone and looks around her room.", "Cordy: \"Oh, god, oh, god.\" Angel slowly takes his hand away from the receiver and turns to find everyone looking at him.", "Angel: \"I've got to go out for a while, son.\"", "Connor: \"With Cordelia?\"", "Angel: \"Yeah. - Will you be all right?\"", "Connor: \"She's beautiful. And she cares about you. I like her.\" Gunn and Fred exchange a look.", "Angel: \"I'm glad.\"", "Connor: \"It's good to see you happy, dad.\" Angel turns away with a smile, humming a little tune.", "Gunn: \"*Now* he's humming.\"", "Fred: \"He's *really* happy.\" Fred, still clutching her jumbo tub of popcorn, gets up from the couch and grabs the stake lying on the sofa table. She walks over to Angel and starts to poke him with the stake.", "Fred: \"But not perfectly happy, I hope!\"", "Angel: \"No! Ouch!\"", "Fred holding up the stake: \"Just checking.\" Angel slowly walks out, no longer smiling or humming. Wes, not wearing any clothes rises into the view of the camera.", "Wes: \"Hmm. You know that sinking feeling you sometimes get the morning after?\" Wes rolls off Lilah and lies down on his side of the bed.", "Wes: \"It arrived early.\"", "Lilah stretching: \"It's like a little death. Several, in fact.\"", "Wes: \"Get out.\" Lilah roll out of bed with a little laugh: \"What? No sweet kiss? No 'when can I see you again?' (Wes gives her a look) Watch the dirty looks. That's what got me going in the first place. (Lilah begins to pull on her clothes) I'll give you this: you sure know how to channel your rage, frustration, and hate. Always a bigger turn on than love.\"", "Wes: \"You still here?\"", "Lilah chucking: \"I'm starting to like you, Wes. Don't go making more of this than it is. I'm not one of the doe-y eyed girls of Angel Investigations. - Don't be thinking about me when I'm gone.\"", "Wes: \"I wasn't thinking about you when you were here.\"", "Lilah: \"So - your former boss - has a soul - and you're losing yours. - Why, you're just new all over - aren't ya?\" Lilah picks up her jacket and her bra and walks out of Wes' apartment. Wes lies staring at the ceiling. The camera pans from the rolling surf, up a short cliff to a sign reading Dume, and Angel's convertible pulling up beside it. Angel gets out, sighs, then checks the smell of his breath. Cordy, driving down a crowded freeway, honks at the car in front of her then pulls all the way from the right, across the middle and into the left lane.", "Cordy: \"Slow poke! I'm late. I'm late. And it's not a date.\" Cordy lifts a hand in front of her mouth to check her breath. Angel walks up to the edge of the cliff and checks his watch. He sighs, checks his hair, then pulls out his cell phone. He flips it open and begins to dial, but the phone tips out of his hand and tumbles down the side of the cliff.", "Angel looking after it: \"I hate those things.\"", "Cordy: \"We're just gonna talk like two grown-up adults. I have some feelings. You may have some feelings. He may not even know I'm insane until he hears my feelings.\" Suddenly Cordy begins to glow from the inside.", "Cordy: \"Oh, no! No, no, no! Not now!\" The camera shows Cordy's car, white light streaming out of its windows, pulling across traffic and over onto the left shoulder while everything around it slows and comes to a stop. Cordy, no longer glowing, looks around her and sees that her fellow motorists are frozen in time.", "Cordy: \"Oh, sh...\" Angel, at the edge of the cliff, checks his watch again. He pulls out his keys and starts to walk back towards his car - only to see Connor walking up beside it.", "Angel: \"Connor.\"", "Connor: \"Dad.\"", "Angel: \"What are you doing here?\"", "Connor: \"We're family. And I wanna show you how I feel about that.\" With that Connor launches himself at Angel and they both tumble over the edge, down the side of the cliff and onto the beach below. Break Angel and Connor pick themselves back up off the sand.", "Angel: \"Connor. Connor.\" Connor attacks Angel, who fends off his blows.", "Connor: \"It's all about balance. You lose it (Tosses Angel onto the sand) you lose.\" Cordy (dressed exactly like the earlier apparition of herself was) gets out of the car and walks over to look into the window of a car at a woman frozen in the act of fixing her lipstick.", "Skip: \"Don't be (Cordy jumps and gasps) frightened.\"", "Cordy: \"It's a little late for that!\"", "Skip: \"Sorry. You remember me? I'm...\"", "Cordy: \"Yeah. Skip. You tend to remember your demon guides. What is going on?\"", "Skip: \"I think you know.\"", "Cordy: \"I'm dying.\"", "Skip: \"No. No, you're not - dying.\"", "Cordy: \"Not dying?\"", "Skip: \"No.\"", "Cordy punches him: \"Say that part first!\"", "Skip: \"Sorry. It's not the end. It's the beginning. You're a great warrior, Cordelia. The battle that we're all a part of is fought on many different planes and dimensions. You've outgrown this one. You've become - a higher being.\"", "Cordy: \"Me?\"", "Skip: \"You. You took on the visions, and even when you could have traded them in for a happy, normal life, even when they were killing you, you wouldn't let them go. The big test came when the Powers made you part demon. They bet the farm on you. Power corrupts. And they gave you a lot of power.\"", "Cordy: \"The glowy thing.\"", "Skip: \"Which you used well - to fight evil, and heal Connor.\"", "Cordy: \"And only that one time as a night light. - Bad dreams. - Skip, I don't understand.\"", "Skip: \"I think you do.\"", "Cordy: \"It's ridiculous. - I'm just a somewhat normal girl - who - has visions, glows, and occasionally blows things up with her crazy new power. (Skip looks at her) I'm a higher being.\"", "Skip: \"Yes.\"", "Cordy: \"And when you say I've - outgrown this level, that sort of implies...\"", "Skip: \"You're moving on to a new one.\"", "Cordy: \"Now I'm really scared.\"", "Skip: \"I know. But I also know you're ready.\"", "Cordy: \"Oh, no, I'm not.\"", "Skip: \"Ah, the universe begs to differ. And deep down inside, I think...\"", "Cordy: \"Yes! All right? Stop saying I know! - Maybe I do know. *Maybe.* If given enough time, I might even get *used* to the idea, but - I don't have enough time, do I?\" Connor kicks Angel across the face.", "Angel: \"Easy. (Catches Connor from behind in a nelson) Talk to me! Talk to me, okay?\" Seeing that he can't get free Connor stops struggling.", "Connor: \"Okay.\" Angel lets go of him. Connor pulls something out of his pocket, then turns and zaps Angel full in the face with a tazer. Angel flies back, landing in the surf. Connor jumps on him and starts to slug him across the face. A wave rolls over them, and Angel uses it to roll on top of Connor. He holds Connor's face under the water for a moment then pulls him up.", "Angel: \"I don't know what the hell is wrong with you but you're gonna talk...\" Connor slugs him across the face with the tazer. Angel drops to his knees, and Connor keeps zapping him until Angel lies facedown in the water, no longer moving. Pulling a flashlight from his back pocket, Connor turns it on and signals to a boat waiting off shore. The boat flashes a light in response and we see Justine steering the boat closer to shore.", "Cordy: \"No, of course not. Why would the Powers give me time to have the most important conversation of my life? I'm on my way to... (Skip just looks at her) I'm in love! With Angel.\"", "Skip: \"What you're being called to do - transcends love.\"", "Cordy: \"How is that fair? I can't leave without telling him! I won't. - He has to know how I feel! Why does this have to be now?\"", "Skip: \"There is work to be done in the higher realms.\"", "Cordy: \"Can you at least tell Angel for me?\"", "Skip: \"Sorry. Not allowed.\"", "Cordy: \"Then I'm not going. - How can they possibly do this to me now? - This is the last test, isn't it?\" Angel wakes to the sound of a screw-gun. He is lying on his back inside a metal casket. Connor is tightening the screws on it. Thick steel cables are wrapped over Angel's ankles, thighs, abdomen and chest, confining his arms at his sides and holding him motionless.", "Angel: \"Connor. - Why are you doing this?\"", "Connor: \"You murdered my father.\"", "Angel: \"No. I didn't. I swear.\"", "Justine: \"He's lying.\"", "Angel: \"I'm not lying. And she knows it.\"", "Connor: \"You're the prince of lies.\"", "Angel: \"That's why you wouldn't let them kill me at the drive-in. So you could.\"", "Connor: \"Killing is to good for you. You don't get to die. You get to live - forever.\"", "Skip: \"Cordelia.\" Cordy turns to look at Skip and he taps his left wrist.", "Cordy: \"I ever come face-to-face with those Powers That Be, we are going to have a talk, a big talk.\"", "Skip: \"You're doing the right thing.\"", "Cordy: \"I'm scared. - But I know it's right. I know somehow it's all gonna be alright. (Sighs) What do I do?\"", "Skip: \"Just say yes.\"", "Cordy: \"I already have.\" Golden sparkles appear around Cordy as she starts to float up in a corridor of white light. Connor is still tightening the screws on Angel's coffin.", "Angel: \"Some day you'll learn the truth - and you'll hate yourself. Don't. It's not your fault. (Justine looks over at Connor and Angel) I don't blame you.\"", "Connor: \"Liar!\"", "Angel: \"Listen to me. I love you! Never forget that.\" Connor and Justine go to pick up the lid of the coffin.", "Angel: \"Connor?! Connor, never forget that I'm your father and that I love you.\" Justine and Connor start to lower the lid in place.", "Angel: \"Connor? Con...\" Angel's voice is cut off as the lid comes down. Connor looks down through the wire-mesh glass window at Angel's face, then he and Justine slide the two rods that lock the lid in place into their channels, and Justine welds them into place, while Connor keeps looking at Angel. Justine looks at Connor. They move to one end of the coffin and push it off the back of the boat. Connor and Justine watch as the casket floats for a moment, then one end dips down the casket sinks straight down leaving behind a small trail of bubbles. Connor looks over at Justine, then back at the spot where the casket went down. The engine of the boat revs up. Connor stays at the stern, watching, as the boat pulls away into the night. The camera focus on the shore beyond the boat then zips across the distance into LA. Gunn walks down the steps to the lobby, cell phone in hand.", "Fred: \"Connor didn't want to come with us for a midnight snack? (Gunn just looks at her) It's okay. I'll just scrounge something up here.\"", "Gunn: \"He's not in his room. You - didn't see him?\"", "Fred: \"No. He's gone? Again? Did you ask Lorne if... No, because Lorne doesn't live here anymore. Not used to that yet. - I'm sure Connor will... I'm sure it's nothing, but - we should probably get a hold of Cordelia or Angel.\"", "Gunn: \"Yeah, I've been trying. No one's answering.\"", "Fred: \"I don't like the sound of that.\" The camera pulls up to show them standing all alone in the lobby.", "Fred: \"Where did everybody go?\" We get a shot of Skip watching Cordy rise up inside the cone of light. Then see the metal casket drifting deeper into the ocean. We get a dim glimpse of Angel's face through the window as the casket passes in front of the camera during its descent. Then a look of Cordy's smiling face as she passes in front of the camera to disappear above with a small flash of light. We see the top of the casket disappear into darkness, then hear a soft thud or swoosh (the coffin hitting bottom?)", "BLACK OUT." ]

[ "Season four begins with Angel stuck at the bottom of the sea. Fred and Gunn search for him, unaware that Connor is the one behind his disappearance. Cordy is now a Higher Power and no one is sure where she went either. It's Wes who begins to piece together what happened to his estranged friends and comes up with a plan to save Angel." ]

[ "[PREVIOUSLY_ON]", "Angel: \"Darla.\"", "Darla: \"We did so many terrible things together.\" Flashback to Angelus and Darla.", "Cordy: \"Did you and Darla...\" Angel and Darla doing the nasty.", "Angel: \"Once. It was a very dark time.\" Darla, looking like she swallowed a basketball.", "Angel: \"This is impossible. Vampires can't have children.\"", "Darla: \"We did.\" Wes looking at the sonogram.", "Wesley: \"It's human. You're carrying a boy.\"", "Angel: \"I'm gonna have a son.\"", "Darla: \"Our baby's gonna die.\" Darla staking herself, the baby left behind as the dust settles.", "Darla: \"This child is the one good thing we ever did together.\" Angel taking Connor for a checkup.", "Angel: \"I'm Mr. Dad!\" Holtz walking into burning Caritas.", "Lilah: \"Daniel Holtz. Angel massacred his family and he spent the rest of his life seeking revenge.\" Holtz and Justine fighting in the cemetary.", "Holtz: \"I want you to go out and find others like you. People who have suffered like we have.\" Gunn and Fred find Wes' notes.", "Gunn: \"Wes thought that Angel...\"", "Fred: \"...was gonna kill Connor.\" Justine slits Wes' throat.", "Lorne: \"He's taking the baby away - for good.\" Holtz, holding Connor, jumps through the portal into Quortoth.", "Holtz: \"I'll take good care of him as my own son.\" Angel tries to smother Wes at the hospital.", "Angel: \"Son of a bitch! I'll never forgive you! Never!\" Fred visits Wes.", "Fred: \"You should have trusted us. Don't come back to the hotel - ever!\" Lilah at Wes' apartment.", "Wes: \"You're going to offer me a job. Not interested.\" Lilah and Wes in bed.", "Lilah: \"Don't pretend you're too good to work for us.\" Fred and Gunn kissing.", "Fred: \"What is it about you that makes me melt?\"", "Gunn: \"Maybe it's the I love you.\" Connor drops out of the rift.", "Angel: \"Connor.\"", "Justine: \"Don't make me do it!\" Justine stabs Holtz in the throat with an ice pick. Connor cries, holding Holtz' corpse.", "Cordy phoning Angel: \"I sort of need to talk to you.\"", "Cordy driving: \"I'm late! I'm late.\" Connor walks up to Angel at the bluff.", "Angel: \"Connor. What are you doing here?\" Connor attacks Angel.", "Skip: \"What you are being called to do transcends love. You've become a higher being.\"", "Cordy: \"Me?\" Connor locking Angel into his coffin: \"You murdered my father.\"", "Angel: \"I didn't. She knows it. Connor! Never forget that I'm your father and that I love you.\" Justine and Connor push Angel's coffin into the ocean.\" Cordy, ascending in a glowing white light: \"I know that, somehow, it's all gonna be alright.\" Angel sinks into the deep.", "Connor: \"You don't get to die. You get to live - forever.\" Lorne hands Fred a bowl full of mashed potatoes across a laden Thanksgiving table.", "Lorne: \"Here you go, darling.\"", "Fred: \"Thanks.\"", "Gunn: \"You're gonna eat all that?\"", "Fred: \"Until I'm fat and happy.\"", "Lorne: \"Hmm, these look good, too.\"", "Cordy: \"How about that stuffing?\"", "Connor: \"What are those?\"", "Cordy: \"Sweet Potatoes.\"", "Lorne: \"Oh, pass those over here, doll.\" Cordy hands Connor a bowl full of sweet potatoes.", "Connor: \"Are they good?\"", "Cordy: \"Try them.\"", "Lorne: \"Back in Pylea they used to call me 'sweet potato.'\"", "Connor: \"Really.\"", "Lonre: \"Yeah, well, the exact translation was 'fragrant tuber' but...\" The group chuckles at his joke.", "Cordy: \"You're not hungry?\"", "Angel: \"No! I'm starving. It's just... I wanna freeze this moment. You - Connor - all of us - safe - and happy - and together. Considering what we went through over the summer...\" Wes leans forward to raise his glass in a toast: \"To family.\" Angel, smiling, raises his own glass as the others follow suit: \"To family.\"", "Lorne: \"As long as it is not mine!\" Everyone laughs and clinks glasses. Cordy picks up a water pitcher and holds it over Angel's glass.", "Cordy: \"You can't toast with an empty glass.\"", "Angel: \"It's not bad luck, is it?\"", "Cordy: \"Angel, relax. It's over. Things are back the way they should be and nothing is ever going to break us apart again. (Leans closer towards Angel) And if anything tries I'm gonna have to go all glowy and personally kick it's ass.\"", "Angel, leaning closer: \"I like it when you glow.\"", "Cordy, leaning closer still: \"Well, play your cards right...\" They're close enough to kiss, smiling into each other's eyes.", "Connor: \"Do I have to watch this part?\" Angel reaches over to ruffle Connor's hair.", "Angel: \"I could poke your eyes out.\" Connor, chuckling, finger combs his hair back: \"Come on, dad! It'll stick up like yours.\"", "Angel: \"You should be so lucky. Let's eat!\"", "Fred: \"Rolls?\"", "Gunn: \"Hmm. Those look good.\"", "Cordy: \"Careful, those are hot.\" Everyone starts eating, passing more food around, but somehow nothing ever comes within Angel's reach.", "Gunn: \"Yeah! Now we're talking.\"", "Connor: \"I like this stuff.\"", "Cordy: \"I thought you would.\"", "Angel: \"Can I get the, ah...\"", "Wes: \"Delicious.\"", "Fred: \"Pass the carrots please.\"", "Cordy: \"Smells so good.\" Gunn, as Fred snags a bean from him: \"Hey, get your hands out of my plate.\"", "Lorne: \"Can I have the rolls?\"", "Wes: \"Pass the salt please.\"", "Fred: \"Kill me now before my stomach explodes.\"", "Cordy: \"Hey, try the gravy.\"", "Lorne: \"Yeah, look, it comes in a little boat.\"", "Angel: \"Could I get that...\" Angel grabs a platter as it is passed in front of him and sets it down on his plate, but when he looks down at it all that remains on it are some juices.", "Angel: \"Cordy, what...\" Angel moves his hand and knocks his water-filled wineglass to the floor, where it shatters into a thousand pieces.", "Cordy: \"Now look what you've done silly.\" The warm, festive light is suddenly replaced with a bluish watery glow as Angel stares down to find his feet ankle deep in water. Angel's skin has turned pasty white and cracks have appeared on his cheeks, chin and forehead.", "Connor: \"Freeze the moment, dad. It'll last forever.\" The camera pulls back to show the table stripped of food and deserted. Angel's eyes snap open. He is lying in his coffin at the bottom of the ocean. Intro: Fred and Gunn are running down a dark alley, they round a fence corner and pile into Gunn's truck.", "Gunn: \"Are you okay?\"", "Fred: \"No. You?\"", "Gunn: \"No.\"", "Fred: \"It's nice we still do these things together.\"", "Gunn driving off: \"How're we doing?\" A vampire lands on the hood of the truck.", "Fred: \"About the same.\" The vampire smashes the windshield in with his fist.", "Fred: \"Charles!\"", "Gunn: \"Hang on!\" Gunn swerves crazily, finally managing to dislodge the vamp. Gunn stops the truck. A red convertible pulls up and three more vamps get out of it as Gunn and Fred get out as well.", "Gunn: \"Now you're ass better be insured!\" Bald vamp helps the downed vamp to his feet: \"Now you ought to be worried about your own ass, mister! Couple of warm bloods rolling down *my* street, hustling my hermanos? Ain't gonna fly, homey!\"", "Fred: \"We're just looking for the girl.\"", "Gunn: \"Tell us where she is and we're gone.\"", "Bad vamp: \"Who? Marissa? I thought you guys were supposed to be a couple of detectives. Or was that before your buddy Angel went bye-bye?\"", "Gunn: \"We found you, didn't we?\"", "Bad vamp: \"Yeah, and look what it got you!\" Fred steps forward, aiming a crossbow at Bald vamp: \"We just want to talk to her, that's all.\" Bald vamp, after a quick look around: \"Condemned building on Figueroa, top floor, and tell her I want my CDs back, yeah?\"", "Gunn: \"We'll pass it along.\"", "Bald vamp: \"Nah, you know what? Better yet - I think I'll tell her myself!\" Fred shoots, but the vamp deflects the bolt. Fred drops one crossbow to pick up another, loaded one, while Gunn attacks, but Bald Vamp grabs her by the throat before she can finish.", "Bald Vamp: \"I see Angel left you a little toy toy, huh?\"", "Fred: \"More than one.\" Fred stakes him using Angel wrist-stake-launcher, then picks up the loaded crossbow.", "Fred: \"Charles!\" Gunn twists aside and Fred shoots the vamp his was pummeling. Gunn grabs the arrow as the vamp dusts, and stakes the third vamp with it, leaving only one. This last one snatches Gunn's hubcap-ax from the ground and throws it at Fred. Before either Fred or Gunn can move, Conner suddenly appears out of nowhere, snatches the ax out of the air before it can reach Fred and launches it back at the vamp, decapitating him. Gunn stares up at Connor, whose face splits into a grin.", "Connor: \"Did you see that? Wasn't that cool? (Laughs) That was cool!\" Flashy transition cut to the Hyperion. Fred, Connor, and Gunn enter the lobby.", "Fred: \"You're not supposed to run off like that when we're supposed to be working, honey. We've talked about that.\"", "Connor: \"The rest of the gang was getting away.\"", "Gunn: \"Then let them. What you don't do is divide your strength.\"", "Connor drops on the settee: \"Sorry.\"", "Fred: \"We know things were different in Quortoth, but you're in Los Angeles now. Your taking on a big responsibility.\"", "Gunn: \"Connor, you've got to start thinking about more than just yourself!\"", "Connor: \"I know. - I know.\" Connor glances up at Gunn and smiles.", "Connor: \"That thing with the ax was cool, huh?\" Gunn and Fred exchange a glance. Fred turns away with a smile.", "Gunn with a slight smile: \"Yeah, that was tight. (Hands the ax to Connor) Now you get to clean it.\"", "Connor: \"Vamps dust, nothing to clean.\"", "Gunn: \"Two coats of polish.\" Gunn enters the office and watches Connor through a crack in the door, then turns to Fred, sitting at the desk.", "Gunn: \"We gonna tell him?\"", "Fred: \"I don't wanna get his hopes up again.\"", "Gunn: \"What about yours?\"", "Fred: \"We have to keep trying.\"", "Gunn: \"I'm not saying that we shouldn't but we've spent the last three months chasing one dead end after another trying to find Angel and Cordy, and the only thing we're closing in on, is an eviction. Be a whole lot easier to handle this crap if Lorne was pitching in. Where is our future-reading, empath demon when we need him?\"", "Fred: \"Mr. Big-hit-in-Vegas is too busy danke-schon-ing the tourists to care about us.\"", "Gunn: \"Did you try him again?\"", "Fred: \"Like sixty times. He's lost the mission, bro.\"", "Gunn: \"Well, we're about to loose this whole place and you know you can't say bro. - Alright. You need to start hustling up some paying clients.\"", "Fred: \"We will. As soon as I find Marissa. Can I say dawg?\" Gunn just looks at her and Fred hurried turns back to her laptop.", "Fred: \"Oh, this looks good. Condemned tenement on Figueroa. Could be her.\"", "Gunn: \"Evil Dead was probably just messing with us, and even if she's there, not much chance she knows anything.\"", "Fred: \"Angel's car was found down by the bluffs. That used to be her feeding ground. She might be able to tell us what happened - if we can find her.\"", "Connor: \"Find who?\" Night, Ocean waves break against the shore at the bottom of the bluff, sending up plumes of white spray. Angel turns away from the view - only to find Cordy, all in flowing white, waiting for him beside his car.", "Angel: \"Cordelia. - I didn't think you were coming.\"", "Cordy: \"You know me better than that. Better than anybody.\" Angel gives slight laugh and sticks his hands his pockets.", "Angel: \"I don't know if that's true.\"", "Cordy: \"Yes. You do.\" Cordy slowly walks over to the edge.", "Cordy: \"It's so beautiful here.\"", "Angel, watching her: \"Yes. Yes, it is. - Just the way it should be.\" He frowns as we get a quick flash of him and Connor tumbling down the bluff.", "Angel: \"But it's not. This isn't how it happened.\" Another flash of him and Connor, fighting.", "Cordy: \"I know. - I like this version better.\"", "Angel: \"It was Connor. He was here. He...\" Flash of Connor tazering Angel. Cordy puts a hand against the side of Angel's face.", "Cordy: \"I can't remember what it was like - not knowing you, not being close to you. I'm in love with you Angel. Deep down I think I have been for a long time. I needed you to know that.\" Angel pulls Cordy into a kiss, then pulls back to look at her.", "Angel: \"I need you, Cordy. I need you.\" He leans in to kiss the side of her neck, then vamps out and sinks his teeth in. Cordy gasps as Angel gulps down her blood.", "Angel pulls back: \"I'm sorry. I'm so sorry!\" Cordy lets out a scream as Angel returns to feeding - only to wake up wide-eyed and screaming in his watery grave.", "Connor: \"So why didn't you tell me?\"", "Fred: \"We wanted to be sure.\"", "Gunn: \"We don't even know if this Marissa girl saw anything.\"", "Connor: \"But she could have.\"", "Fred: \"Maybe. We're gonna go talk to her and find out.\"", "Connor, hefting Gunn's ax: \"I'm coming with you.\"", "Gunn: \"No. It's only one vamp. We can handle it.\"", "Connor: \"He's my father! If she knows what happened to him I...\"", "Fred after a beat: \"Okay. Go get your weapon.\" Connor flashes her a quick smile before running from the room while Gunn turns to look at Fred.", "Gunn: \"You think that's a good idea?\"", "Fred: \"I'll keep an eye on him.\"", "Gunn: \"Getting information is a finesse job. He's a blunt instrument!\"", "Fred: \"You wanna tell him no? You saw how much he's hurting.\"", "Gunn: \"Well, how's he gonna feel if all vampirella saw is sand and seaweed? This is it, Fred. No Angel, no Cordy. We can't find Holtz. His psycho girlfriend's gone. We got nothing.\"", "Fred: \"There's still Wolfram and Hart.\"", "Gunn: \"Right. We just stroll into their heavily guarded law offices and ask Lilah, the evil bitch queen, for help finding out what happened to their archenemy, but, we're kinda broke, so it'll have to be pro bono.\"", "Fred: \"I didn't say it would be easy.\"", "Gunn: \"How's impossible? They're too big. Without Angel we can't afford pissing them off.\"", "Fred: \"Maybe we should think about asking...\"", "Gunn: \"No.\"", "Fred after a beat: \"Well, I'm glad we talked it over.\"", "Gunn: \"We already asked him for help twice.\"", "Fred: \"Then we'll ask him again.\"", "Gunn: \"Fred, Wesley doesn't give a damn about us.\"", "Fred: \"Have we given him a reason to?\"", "Gunn: \"He's made his choice. Now he has to life with it.\" Gunn turns and leaves the office. A sweaty Lilah sinks down onto an equally sweaty Wes, both naked in his bed.", "Lilah with a smile: \"Hmm. That didn't suck. - Well - maybe just a little bit.\"", "Wes: \"Perhaps that is something we can expand on next time.\"", "Lilah: \"What makes you think there will be a next time?\"", "Wes: \"Because you can't resist me.\" Lilah pulls Wes head back by his hair and licks the side of his face.", "Lilah: \"I think you have that backwards.\" Lilah rolls off him and gets out of bed.", "Wes: \"Where are you going?\"", "Lilah: \"Snack break's over. Time I get back to work.\"", "Wes: \"And Wolfram and Hart does its best work after dark.\"", "Lilah, getting dressed: \"Sun's bad for your complexion. Ask Angel. Oh, right. You can't, because of the whole 'wanting to smother you with a pillow' thing.\"", "Wes: \"Wouldn't think kidnapping his son would have such a negative effect on our friendship.\"", "Lilah: \"You thought you were doing the right thing. I hear that can be confusing. - Have you tried talking to him? Maybe when he gets back you can...\" Wes laughs.", "Lilah: \"What?\"", "Wes: \"I have no idea where Angel is, Lilah, or what happened to him. - And I really couldn't care.\"", "Lilah: \"Wow. That was cold. (Goes to sit on the edge of the bed) I think we're finally making progress. Come on. Doesn't it bother you just a little bit? The not knowing?\"", "Wes: \"That part of my life is dead. - Doesn't concern me now.\"", "Lilah, looking at him: \"No, it doesn't.\" Lilah leans down for a quick kiss goodbye, but Wes grabs a hold of her hair and pulls her back for a deeper kiss. After a moment Lilah pulls back and Wes watches her walk out of the room. As soon as she is gone he pulls on his pants then goes to unlock the safety bolt on his closet door. The door swings open to reveal a second one made of metal bars.", "Wes: \"It's time.\" Wes looks through the bars at a shackled and gagged Justine.", "Wes: \"Let's go for a boat ride.\" Break Wes steers a small ship across the dark ocean.", "Justine: \"So, what's it gonna be tonight, captain? Bicycle, old tire, or maybe we'll get *real* lucky and catch us nice shopping cart. Here's a wacky thought: why don't you swim down there yourself?\" Wes flips a switch and looks down at a readout.", "Wes: \"No contact. We'll try the next grid.\" Wes walks over to the map laid out on the table and makes some markings.", "Justine: \"You really think finding Angel is going to change anything?\"", "Wes: \"Everything changes.\"", "Justine: \"Well, I guess anything is better than sitting around in my cage all day with nothing to do but to fill my bucket.\"", "Wes: \"Perhaps you should have considered that before slitting my throat.\" Wes walks back to the steering wheel.", "Justine: \"The great Wesley Wyndham-Price, the shining beacon of all that's good and pure. But wait, no! That's before he started banging the enemy and keeping slave-girl in his closet.\"", "Wes: \"You were always a slave, Justine. You just couldn't see the chains.\"", "Justine: \"Thanks, Swami, I'll meditate on that.\"", "Wes: \"You think she would be disappointed?\"", "Justine: \"Who?\"", "Wes: \"Your sister. (Justine turns away) That's where it all began, isn't it? Sister murdered by a vampire, consumed by a need of revenge...\"", "Justine, spinning to face him: \"For justice!\"", "Wes: \"Is that what you call it? Turning a son against his father.\"", "Justine: \"Angel got what he deserved.\"", "Wes: \"We all get what we deserve. - You and Holtz deserved each other. You two have so much in common. Pain, loss, deep seated lack of anything approaching humor.\"", "Justine: \"I don't know. We had a few laughs. Getting you to steal Angel's baby, now that was a good one.\"", "Wes: \"Better than tricking Connor into sinking his father to the bottom of the ocean?\"", "Justine: \"Well, that was worth a couple of yuks, too.\"", "Wes: \"Not much of a plan though, was it, really? Easy to figure out which door to kick in when Angel went missing. And not much harder to persuade you to betray everything Holtz had given his life for. Not that it was worth very much. Well, you should know. You're the one that ended it.\" Justine picks up the wrench that was holding down the maps and hauls back to hit the back of Wes' head.", "Wes, without turning to look: \"I'll take away your bucket.\" Justine tosses the wrench back on the table. Connor bursts in, sword in hand, through the door of Marissa's lair. Gunn and Fred follow him in.", "Gunn: \"Or we can do it the loud way.\" They look around the cluttered but empty room.", "Fred: \"Doesn't matter. Looks like she's out.\"", "Gunn: \"Man, this is just nasty. I don't know how people live like this.\"", "Fred: \"Helps to be dead.\"", "Gunn: \"Yeah, one more reason to stay pink and rosy.\"", "Fred: \"Word. - So, what do you think? From the smell I'm guessing she still lives here. Should we wait for her to come back, or...\"", "Connor: \"No.\" Connor flips back a blanket and picks up some headphones from which we can hear music playing.", "Connor: \"We won't have to.\" At that moment Marissa drops down from the ceiling, knocking Fred and Gunn to the floor, and runs to attack Connor. They exchange some blows then Connor pushes Marissa up against a pillar and lays his sword across her throat.", "Fred: \"Marissa, stop! We just wanna talk.\"", "Marissa: \"I don't know anything.\"", "Gunn: \"You psychic?\"", "Marissa: \"No.\"", "Gunn: \"Then shut up and let us ask the question first.\"", "Fred: \"You know the bluffs down by the beach?\"", "Marissa: \"No.\"", "Gunn: \"You used to feed there.\"", "Marissa: \"Oh. Those bluffs.\"", "Gunn: \"Three months ago a friend of ours went missing down there.\"", "Marissa: \"Tall, good looking, weird hair?\"", "Fred: \"You saw him?\"", "Marissa: \"I see a lot of things. What do you care.\"", "Connor: \"He's my father. If you know what...\" Connor pulls the sword back from Marissa's throat and she punches him in the gut, then runs past him and launches herself through the closed window across the room. Connor jumps up.", "Gunn: \"You never let your guard down! How many times do...\" Connor launches himself after Marissa out the window.", "Fred: \"Connor!\" They run to the window, but there is no sign of either of them in the alley below.", "Gunn: \"If he ain't dead I'm gonna kill him.\" Marissa runs down a dark alley, takes a quick look around, then scales the side of one of the buildings - only to find Connor on the roof, waiting for her.", "Connor: \"What did you see?\"", "Marissa: \"Look, whatever I saw, whatever didn't see, it doesn't matter, okay? (Morphs into her human face and smiles at him) Come on, handsome. It'll be our little secret.\" Connor pulls out a stake and dusts her.", "Gunn: \"Connor!\" Connor quickly rips his shirtsleeve then scores his arm using the stake. Fred and Gunn burst out of the stairwell onto the roof, stakes in hand.", "Gunn: \"Connor!\"", "Fred: \"Are you alright?\"", "Gunn: \"Where is she?\"", "Connor: \"She attacked me. I had no choice.\"", "Gunn: \"Maybe you would have if you weren't always running off, playing hero! Do you know what you just did?!\" Connor tosses the stake down and runs to the edge of the building.", "Fred: \"Connor!\" Connor drops of the edge.", "Gunn: \"Three months of this and he dusts our only lead!\"", "Fred: \"You know how much he wants to find Angel. How do you think he feels?\"", "Gunn: \"How am I supposed to know? It's not like he talks to me.\"", "Fred: \"After everything he's gone through, you need to be a little more patient, Charles. He's just a boy.\"", "Gunn: \"Are you sure about that? Offspring of two vampires. Last time I checked that's not supposed to happen. And - jumping off a six-story without busting your coconut kind of sways me to the side of not just a boy. I mean, come on, Fred. His nickname back in Quortoth was the destroyer. And unless you put Conan in front of that, I'm guessing it's not a good sign.\"", "Fred quietly: \"He's Angel's son. That's all that matters.\" Fred walks towards the stairs and after a beat Gunn lets out a sigh and follows her. Connor is crouched on the edge of a roof, overlooking the city.", "Angel: \"Beautiful, isn't it?\"", "Connor: \"The way it should be.\" Connor turns to face Angel.", "Angel: \"What, no hug?\"", "Connor: \"Just get it over with.\"", "Angel: \"What's the rush? I'm not going anywhere.\"", "Connor: \"No, you're not.\" Angel turns to see some vamps come towards him and starts to laugh. Connor laughs with him.", "Vamp: \"What are you laughing at?\"", "Angel: \"I'll tell you later.\" The vamps attack and Angel swings into action, as does Connor. Their eyes meet during a short lull before they turn back to the business of fighting the vamps. On of them comes up on Angel's blind side with a stake and Connor calls out a warning. Angel bats the stake aside and they quickly finish off the vamps, Connor tossing the last one over the side of the building. Angel, smiling walks up to Connor and puts his hands on his son's shoulders.", "Angel: \"Thanks.\" Angel grabs a hold of Connor's head and snaps his neck with a quick twist - only to wake up screaming and straining against his bonds back in his coffin. Lorne, wearing a furry blue coat is getting his face powder in a Vegas dressing room.", "Lorne: \"Now, go easy on me. Remember they're paying to see the green.\" A beefy looking guy comes walking in and hands Lorne a cell phone.", "Guy: \"Two minutes.\"", "Lorne: \"Oh, thanks, sweetie. (To phone) A bon soir.\"", "Fred: \"Lorne? Lorne! (She signals to Gunn to join her) Hey, it's Fred. I've been trying to get a hold of you.\"", "Lorne: \"Oh, I'm sorry, hon, I've been booked out the wha and past the zoo. If I get any hotter they'll have to stamp me out.\"", "Fred: \"Lorne, I know you're busy, but we really need your help. We had a lead but it, ah - kind of died. Did you talk to your connections? Have they heard anything about Angel or Cordy?\"", "Lorne: \"No, not a peep. But if I miracle ear anything I'll send up a smoke signal. (beefy guy points at his watch) Ah, that's my cue. Take care of yourself and ah, and make sure fluffy is getting enough love.\"", "Fred: \"Lorne!\" Fred hangs up the phone with a sigh.", "Gunn: \"Did he have anything?\"", "Fred: \"No. And who's fluffy? Are you fluffy?\"", "Gunn: \"He called me fluffy?\"", "Fred: \"He said make sure... Wait. You don't - think he was referring to anything of mine that's fluffy, do you? Because that would just be inappropriate.\"", "Gunn: \"Like deserting us? No leads, no clients, pretty soon no roof over my smooth delicate head.\"", "Fred: \"I could make you a paper hat. (Laughs, then lets out a sigh) It's gonna be okay. Angel and Cordy are out there somewhere and no matter what the Powers-That-Screw-You throw at us, we're gonna find them.\" Wolfram and Hart office building, night.", "Lilah: \"You found Angel?\"", "Linwood: \"Young Gavin's had a breakthrough with the psychics.\"", "Lilah: \"Brain boys finally earning their keep. So, where is he?\"", "Gavin: \"Well, I haven't pinpointed his exact location yet, but I have ascertained that he's safe and immobilized.\"", "Lilah: \"Really. Maybe you can lead them in a rousing chant and get them to muster up a little more vague.\"", "Linwood: \"He's contained and out of play. Which suit our purposes just fine.\"", "Lilah: \"If our purpose is to get caught with our prophecies down. Angel is supposed to be a major player in the apocalypse. The little pet project the Senior partners have been working on since, oh, the beginning of time? Three months and all you've been able to ferret out is - nothing!\"", "Linwood: \"Lilah, Gavin's work with the psychics has uncovered some invaluable intel in a variety of unexpected areas. - Care to enlighten us?\"", "Lilah: \"What I do on my personal time is none of Gavin's business.\"", "Linwood: \"But everything is my business.\"", "Lilah: \"I'm not sleeping with him for information.\"", "Linwood: \"Please don't tell me it's the chiseled jaw. If you have his confidence we can play it to our advantage.\"", "Lilah: \"He doesn't know anything. There's nothing to take advantage of.\"", "Linwood: \"Except you. Staff meeting in an hour. Don't be late. Gavin.\" Lilah watches and Linwood and Gavin enter the elevator. The radar on Wes' boat beeps.", "Wes: \"Solid contact. Definitely metallic.\"", "Justine: \"Probably more junk. Could be anything down there.\"", "Wes: \"Better have a look then.\" Wes tosses a diving mask at Justine, who catches it. The beam of Justine's flashlight plays across the lid of Angel's coffin, illuminating his pale and cracked face, and making him blink. Wes and Justine watch as the ship's hoist slowly hauls the coffin aboard. Wes lights a blowtorch and burns through the welds securing the sidebars.", "Wes: \"Justine. Come on.\" Wes slides the bars out and he and Justine lift the lid off the coffin. Wes cuts the steel cords holding Angel immobile.", "Justine: \"Congratulations. You're the *big* hero. Maybe your friends will throw you a party. I wonder what the cake's gonna look...\" Suddenly Angel's hand shoots up and grabs Wesley by the throat. Angel's eyes snap open. His brow draws together in a slight frown as his eyes focus on Wes. Break", "[SCENE_BREAK]", "Wes takes a hold of Angel's hand, and Angel lets him pull it away and lay it back down on his chest. Wes lays Angel down on the table in the main cabin and pulls out some glass jars filled with dark liquid.", "Justine: \"Blood?\"", "Wes: \"Animal.\" Wes lifts Angel's head and tries to get him to drink some of the blood.", "Justine: \"What's the hurry? It's not like he's going anywhere.\"", "Wes: \"A vampire can exist indefinitely without feeding, but the damage to the higher brain functions from prolonged starvation can be catastrophic.\" Angel starts to cough.", "Wes: \"Slowly.\"", "Justine: \"All the energy you've wasted to save that thing. For what? A happy ending? Everything like it was? He *hates* you. They all do. And they're never going to take you back.\" Connor walks into the lobby of the Hyperion to find Gunn and Fred sitting on the settee waiting for him.", "Connor: \"Is this going to be the yelling thing again?\" Gun and Fred stand up.", "Fred: \"No. No yelling.\"", "Connor: \"He looks like he's gonna yell.\"", "Gunn: \"I do not.\"", "Connor: \"He always looks like he's gonna yell.\"", "Gunn: \"I'm not gonna yell!\"", "Fred: \"Where have you been?\"", "Connor, walking past them: \"Out.\"", "Gunn: \"We were worried.\" Connor stops and turns back to them.", "Connor: \"I'm sorry. I shouldn't run off alone. You'd think I'd know that by now.\"", "Gunn: \"It's that big, thick mellon!\" Gunn taps the side of Connor's head, smiling.", "Gunn: \"Your dad's got one just like it.\" Connor's smile melts away.", "Gunn: \"Angel's always flying off, getting himself into trouble.\"", "Connor: \"I'm not like him.\"", "Gunn: \"You're not as strong yet, but...\"", "Connor: \"Like I care what you think?\"", "Gunn: \"What did you say?\"", "Fred steps between them: \"It's been a long night. Why don't you go wash up.\" Connor looks from Gunn to Fred.", "Connor, quietly: \"I'm fine.\" Fred and Gunn watch Connor take the stairs two at a time.", "Gunn: \"I try to be nice and you see what he does? He just keeps pushing. It's like - it's like he wants me to lose it.\"", "Fred: \"He's testing you. With Angel gone, you're the alpha male.\"", "Gunn: \"Damn straight.\"", "Fred leaning against Gunn's chest: \"Don't let it go to your head.\"", "Gunn, pulling her closer: \"That's not the direction it's flowing.\" They kiss. The phone rings and Fred pulls back.", "Gunn: \"Let it ring.\" Fred, leaning in for another kiss: \"What if it's a client?\" Gunn pulls away with a sigh: \"Then the big dog better close the deal.\"", "Gunn picks up the phone: \"Angel Investigations.\" Angel is lying on the table in the ship's cabin a rolled up blanket under his head another covering his body.", "Angel: \"Why is it like this?\"", "Lorne: \"Well, that's the age-old, bubby. I'll fire you off a postcard if I'll noodle the answer.\"", "Angel: \"Life should be beautiful and bright. But, no matter how hard I try, everything I touch - turns to ashes.\"", "Lorne: \"Well, there goes that encouraging hug I was planning. Snap to, buckaroo. The only one turning to ashes is that patricidal pup of yours. Hell, I'd take him out myself if I wasn't just a crappy hallucination.\"", "Wes comes down the stairs: \"How is he?\"", "Lorne: \"How do you think?\"", "Justine: \"He won't shut up.\"", "Angel: \"I have to stop him.\"", "Lorne: \"You wanna bitch-slap sour-puss over there for practice? I'm your cheering section.\" Wes walks up to the table.", "Wes: \"Angel?\"", "Angel: \"I have to do it.\" Angel tires to get up and Wes puts a hand on his shoulder to stop him.", "Wes: \"Shh. You need to rest now.\"", "Lorne, singing: \"Hush, little baby, don't say a word. Mamma's gonna buy you a mockingbird. And if that mockingbird don't sing...\" Angel looks up and sees Connor standing over him.", "Angel: \"I should have killed you.\" Wes looks down at Angel as Justine breaks out laughing.", "Justine: \"And me without my camera.\"", "Wes: \"He's been down there too long. Pig's blood isn't enough. He needs more substantial nourishment.\"", "Justine: \"Like what?\" Justine, handcuffed to the wall, stares wide-eyed at the knife Wes pulls out.", "Justine: \"Oh, screw you. I'm not feeding that thing.\"", "Wes: \"Your blood's too thin.\" Wes slices across the inner side of his left forearm then moves to the table and holds the cut down over Angel's lips. Angel's hands come up and he holds Wes' arm in place as he drinks, but he doesn't morph into his vamp face. Lilah is alone in the meeting room. She stands behind Linwood's chair and caresses the headrest. The doors open and Lilah moves down to a place about halfway down the table as people move to take their seats.", "Linwood: \"Alright, we've got a lot of ground to cover, so let's get right to it. Let's talk about Lilah. Everybody had a chance to review her file? (Nods around the table) Good. Recommendations?\"", "Lilah raises a hand: \"If I could just have a few minutes to explain...\"", "Gavin: \"I think your record speaks for itself.\"", "Linwood: \"Volumes. Your failures at Wolfram and Hart outstrip your successes by and uncomfortable margin. Perhaps you would fair better at a less central office.\"", "Gavin: \"One of the third world dimensions maybe.\"", "Lilah whispers: \"I'm sorry.\"", "Linwood: \"What was that?\"", "Lilah: \"I said, I'm sorry. I've made mistakes, but *fear* was never one of them.\"", "Linwood: \"Is there something you would like to share?\"", "Lilah: \"Why haven't we contained the vampire offspring for study?\"", "Linwood: \"We're assessing that situation.\"", "Lilah: \"The same way you're assessing Angel? Then why aren't we trying to pinpoint Angel's location?\"", "Linwood: \"Lilah, this is *my* corner of the sky. *I* decide when the sun rises and when it sets. Lack of long-term vision has always been one of your shortcomings.\" Lilah stands up, holding a Palm-pilot and stylus.", "Lilah: \"And lack of courage has always been one of yours. You're afraid - of Angel and his son. And that's the reason for your daring strategy of 'wait and see', isn't it? You're afraid. And fear breeds weakness.\"", "Linwood: \"Oh. I'm hurt. Is that *really* what you think of me?\"", "Lilah: \"Yes. And Mr. Suvarta agrees with me.\"", "Linwood: \"You spoke to a Senior Partner?\"", "Lilah: \"He was really very helpful. He had some great hints on office furniture.\"", "Linwood: \"This is outrageous! Are you actually telling me that you went over my head?\" Lilah touches her stylus to the palm-pilot in her hand. We hear an electronic beep - then a blade whips out of the backrest on Linwood's chair slicing quickly and neatly through his neck.", "Lilah: \"Just under it, actually.\" Linwood's head, staring eyes fixed, slowly tumbles forward and rolls down the table.", "Lilah: \"Mr. Suvarta didn't think Linwood's sky was sunny enough. You're all reporting to me now. (Sits down) Get out.\" Everyone quickly and quietly gets up and files out the room.", "Lilah: \"Gavin.\" Gavin freezes. Lilah gives him a slight smile, then indicates the decapitated head with her stylus.", "Lilah: \"Please - remove that.\" Connor is stretched out on the bed in his room playing a handheld video game. There is a knock on the door.", "Connor: \"What?\" Fred is standing in the open doorway, holding a tray with a sandwich and glass of milk.", "Fred: \"Brought you a snack.\"", "Connor: \"I'm not hungry.\"", "Fred laughs: \"You're always hungry.\" Fred walks into the room and Connor lowers his game.", "Connor: \"What is it?\"", "Fred: \"Bologna.\"", "Connor: \"No tomatoes?\"", "Fred: \"No tomatoes.\" Connor sits up and reaches for the tray, but Fred pulls it back.", "Fred: \"What do you say?\"", "Connor looking at her: \"Thank you.\"", "Fred: \"Your welcome.\" Connor tears into the sandwich. Fred sets the tray down on the nightstand then strokes Connor's hair.", "Connor: \"Is he still mad?\"", "Fred: \"What so you think?\"", "Connor, softly: \"Sorry.\"", "Fred: \"I can't imagine what you've been through, Connor, being taken away by Holtz, raised in that place. It must have been horrible. I know you're still hurting but - I promise, it's not nearly as much as you're gonna hurt for what you did to your father.\" Connor stops chewing and looks up at Fred, who pushes a tazer against his chest and fires. Connor arcs back in pain. Break Connor sits in the office, tied to a chair with Fred standing over him, tazer in hand.", "Fred: \"You think that's what Angel felt? When you did it to him? Did he scream like you?\"", "Connor: \"Why are you doing this?\"", "Gunn: \"Nah-ah. Don't even try it.\"", "Fred: \"We got a call form an old friend tonight.\"", "Gunn: \"Been playing a little Ahab. He's out there right now puttering around on his boat.\"", "Fred: \"With Angel.\" Connor stays quiet.", "Gunn: \"That's right, Sparky, Daddy's coming home. And I'm guessing there's going to be a spanking.\"", "Fred: \"He's been down there, all alone, for three months - and you knew!\"", "Gunn: \"Is that what you did to Cordy? Stuff her in a box some place?\"", "Fred: \"How could you do that to us? (Fred steps closer to Connor the tazer in her outstretched hand shaking a little) We took you into our home. We cared for you, and all this time... How could you do that?!\" When Connor only looks at her, Fred suddenly buries the tazer against Connor's chest. Connor arcs back, screaming.", "Fred: \"How could you do that?!\"", "Gunn pulls her back: \"Fred!\" Fred buries her head against Gunn's shoulder and starts to cry. Wes deposits Angel in the passenger seat of his car then looks down at Angel's pale and cracked face. Angel's eyes drift open and their eyes meet.", "Justine: \"He'll turn on you!\" Wes closes the passenger door and walks around to get into the driver's seat.", "Justine: \"He won't be able to help it. That's what he is. Sooner or later he will turn on you - and all your friends!\" Ignoring Justine, who is handcuffed to a net-draped railing, Wes gets into the car, buckles up and starts the engine.", "Justine: \"You're just gonna leave me here?\" Wes holds up the keys to the cuffs, looking at her, then tosses them at her feet.", "Wes: \"You can continue to be a slave, Justine - or you can live your life. Your choice.\" Wes drives off, leaving Justine behind. Fred is sitting in a chair in the outer office with Gunn rubbing her back.", "Fred: \"I would have done anything for him. Now all I wanna do is hurt him.\" Connor, through the open door of the inner office: \"Go ahead. Hurt me some more, Fred.\"", "Fred: \"Shut up!\"", "Connor: \"You think I care? You get used to it.\"", "Fred gets up: \"You don't feel anything, do you? There's nothing inside.\"", "Connor: \"Why don't you open me up and find out.\"", "Fred: \"How could you do that to your father?\"", "Connor: \"That thing is not my father.\"", "Gunn quietly: \"Yes, he is.\"", "Connor: \"He got what he deserved.\"", "Fred quietly: \"And how soon before we deserved it?\" Connor just looks at her. We hear the lobby doors open and Fred and Gunn run out to see Wes, one of Angel's arms draped over his shoulder helping Angel down the steps into the lobby.", "Wes: \"I believe you're looking for this.\" Angel raises his head and looks at them.", "Fred: \"Angel.\" Gunn and Fred hurry towards them and Gunn helps Wes lead Angel to the settee.", "Fred: \"Oh, my god.\"", "Gunn: \"Is he gonna be all right?\"", "Wes: \"In time - maybe.\" Angel drops onto the settee with a groan, his head rolling to the side against the headrest.", "Gunn: \"He's out of it.\"", "Fred: \"Oh god.\"", "Gunn: \"It's okay.\"", "Fred: \"Look at him.\"", "Gunn: \"It's gonna be okay.\" Angel slowly looks up at them. Wes begins to back away from them towards the doors.", "Fred: \"What do we do? Wesley...\" As Angel's eyes slide shut again, Fred turns, only to see that Wes is already on the landing.", "Fred: \"Where are you going?\" Wes stops and turns back.", "Wes: \"I'm done here.\"", "Gunn: \"What took you so long to tell us about Connor?\"", "Fred: \"You knew what he could do to us.\"", "Wes: \"You're human. He wouldn't have hurt you. I thought you were safer not knowing.\"", "Fred: \"We were safer? You really don't care anymore, do you?\" Wes only turns to walk towards the door.", "Wes: \"He'll need more blood. I'm fresh out.\" The door closes behind Wes. Angel lets out a sight groan.", "Fred: \"It's okay. God, he's freezing.\"", "Gunn: \"I'll get some more blankets.\" Gunn turns to go, but stops as we hear the sound of a chair toppling coming from the office.", "Fred: \"Connor!\" Gunn and Fred run for the office. Connor is waiting for them and easily tosses Gunn to the side. Fred tries to tazer him, but he grabs it away from her and uses it against her instead. Fred drops to the floor in a heap. Connor turns - only to find Angel standing in the doorway.", "Angel: \"Sit - down.\" Connor backs up a little never taking his eyes off Angel.", "Connor: \"You're too weak to take me.\"", "Angel: \"You really think that?\" Connor looks at Angel for another moment, then turns, picks up the chair, slams it down on the floor, and sits facing Angel. Gunn begins to stir and sit up. Angel lowers himself into a chair across from Connor with a slight sigh.", "Angel: \"So - how was your summer? Mine was fun. Saw some fish. Went mad with hunger. Hallucinated a whole bunch.\" Gunn quietly helps Fred back to her feet. Connor's eyes never leave Angel.", "Connor: \"You deserved worse.\"", "Angel: \"Because I killed Holtz - except I didn't. I tried telling you that while you were busy offshore dumping me, but I didn't know the whole score. - Holtz killed himself. Actually - he had your buddy Justine do it with an ice pick. Just to make you hate me.\"", "Connor after a beat: \"Even if - you still deserved it.\"", "Angel: \"What I deserve is open to debate. - But understand there is a difference between wishing vengeance on someone - and taking it. - So now - the questions becomes: - what do you deserve?\" Connor suddenly umps up from his chair and runs for the door, but Angel intercepts him, tossing him against the wall.", "Angel, calm: \"Daddy's not finished talking.\" Angel crouches down next to where Connor sits, scrunched up against the wall.", "Angel: \"Wesley told me everything that's been going on. So, as far as I'm concerned what you *deserve* rests on one answer: (Angel leans in closer) Did you do something to Cordelia?\"", "Connor: \"No.\"", "Fred: \"He's lying.\"", "Connor, looking at Angel: \"No, I'm not.\"", "Gunn: \"No way she just *happened* to disappear the same night.\" Connor, never taking his eyes off Angel: \"I'm telling the truth, okay?\"", "Angel, quietly: \"I know. - I can tell.\" Angel slowly straightens up and backs away a little.", "Angel: \"You've done enough lying for me to know the difference. The truth has a better sound to it, less nasal, you know? - Get up.\" Connor stands up.", "Angel: \"What you did to me - was unbelievable, Connor. - But then I got stuck in a hell dimension by my girlfriend one time for a hundred years, so three months under the ocean actually gave me perspective. Kind of a M. C. Esher perspective - but I did get time to think. About us, about the world. - Nothing in the world is the way it ought to be. - It's harsh, and cruel. - But that's why there's us. Champions. It doesn't matter where we come from, what we've done or suffered, or even if we make a difference. We live as though the world was what it should be, to show it what it can be. - You're not a part of that yet. - I hope you will be. (Angel moves to stand in front of Connor) I love you, Connor. (Quietly, after a beat) Now get out of my house.\" After a beat Connor leaves and Angel lets out a slight sigh. We hear the lobby doors close. Angel sways on his feet then leans against the wall. Fed and Gunn run over to him.", "Fred: \"Angel!\"", "Angel: \"All that talking really takes it out of you.\"", "Fred: \"You need rest.\"", "Angel: \"I need Cordy - now. Wherever she is, whatever she's going through, we have to find her.\" The picture blends into a panorama of glowing, heavenly clouds. We close in on a bright, white light. Cordy's face becomes visible in the center of it as heavenly music swells.", "Cordy: \"God, I am so bored.\"" ]

[ "When Fred writes a physics paper, she's invited to her old college as a guest lecturer. Angel, Gunn and Wes show up to support her as she speaks in front of all her former professors. But when a portal opens up over Fred's head, it becomes clear that something supernatural is happening to her... Again." ]

[ "Fred: \"Previously on Angel:\"", "Woman: \"Fred disappeared five years ago. They never found her.\"", "Wes: \"Cordy has been sucked into the portal. She is in the Host's dimension.\"", "Fred: \"They use you as a slave.\"", "Fred: \"Handsome man. Saved me from the monsters.\"", "Cordy: \"So - we know each other?\"", "Angel: \"Yeah. Really well.\"", "Fred: \"Not to sound all movie of the week, but I think you might have some kind of amnesia.\"", "Angel: \"I think there is a way we might be able to sort this out. Pick a song.\"", "Fred: \"So Lorne can read you.\"", "Gunn: \"You sing. He sees your future.\"", "Cordy sings: \"Because the greatest love of all...\"", "Lorne: \"Great! Enough!\"", "Angel: \"What did you see?\"", "Lorne: \"Go away!\"", "Angel: \"If it's that bad, I need to know!\"", "Lorne: \"It's that bad. Evil's coming, Angel, and - it's planning on staying.\"", "Lilah on phone: \"You're sure that it's her? Put an extraction team together.\"", "Wes: \"Wolfram and Hart are planning to extract Cordelia, and I doubt your boy will be able to stop them.\" Angel and Co stop W&H commando team from taking Cordy.", "Angel: \"We should probably get you back home.\"", "Cordy: \"Actually - I'd like to stay here - with Connor.\"", "Fred: \"Oh my god!\"", "Angel: \"Lorne?\"", "Fred: \"Is he alive?\"", "Angel: \"Who did this?\"", "Lorne: \"W.. - W..\"", "Angel: \"Wolfram and Hart?\"", "Gunn: \"But why?\"", "Angel: \"They must have known Lorne read her. They weren't after Cordy. They were after what Lorne saw when she sang.\"", "Wes: \"You played me.\"", "Lilah: \"Free will. Look it up.\"", "Wes: \"Lilah.\"", "Lilah: \"You're the one who decided to take what you overheard and give it to the good'n'plenty's.\"", "Angel: \"How much did they get?\"", "Lorne: \"All of it.\" LA, night. A woman's screams ring through the dark halls of the Hyperion hotel. Fred whoops again and throws herself into Gunn's arms in their hotel room.", "Gunn: \"Ah! That's my girl! (Gunn puts her down) Alright. Hand this thing over. Let me check it out.\" Fred hands him a magazine.", "Fred: \"Page nineteen. It's not a big article. Not like it's featured or anything.\"", "Gunn: \"Got it. \"Supersymmetry...\"", "Fred: \"...and P-dimensional subspace\" by Winifred Burkle. - You don't have to read it.\"", "Gunn: \"Of course I'm gonna read it. Right now.\" Gunn sits down on the bed. Fred sits down next to him.", "Gunn: \"In multi-dimensional superstring theory - uh - distance scales inverted by T-duality apply to heter...\" Fred starts to climb into Gunn's lap and kiss him.", "Gunn: \"...heterotic theories. The pictures are...\" They drop back onto the bed and Gunn tosses the magazine aside.", "Gunn: \"Nice.\" They start to roll around on the bed, kissing.", "Lorne: \"Ah, give it to me, sweetness. Right there.\" Lorne is reclining in bed, band-aid covering the hole in his head. Angel sets a food tray down on the bed.", "Angel: \"Here you go. How's your head?\"", "Lorne: \"Smashing. Listen. I know I've been a wee bit jumpy the last couple of days, but - did I hear a scream?\"", "Angel: \"Oh, it's just Fred. I think it's a Texas thing.\" Lorne eats a little of the soup, then sets the tray aside.", "Lorne: \"Well, it's all too much Sturm and Drang for my appetite. Cordelia shacking up with your hell-spawn - no offence - and the hole between my horns.\"", "Angel: \"And you're probably a little on edge because of the whole 'slouching towards Bethlehem' thing.\"", "Lorne: \"No.\"", "Angel: \"No? That's good, because...\"", "Lorne: \"Sorry. I jumped ahead. That 'no' was the one that comes after you asking me to read Cordy again.\"", "Angel: \"I wasn't - going to ask you that immediately. I was gonna build up to it subtly.\"", "Lorne: \"I appreciate that, sugar pie, really, but - the answer is no. I'm not a champion. I'm just a regular, old Karaoke-singing empath demon.\"", "Angel: \"You saw something. If we knew what it was...\"", "Lorne: \"Wolfram and Hart would come after me again. And maybe they wouldn't stop with a little gray matter.\"", "Angel, turns away: \"I'm listening.\"", "Lorne: \"Hey, death just doesn't look good on me. I wish I could tell you what was coming and when, but...\" Angel is standing by the open door to the hall.", "Lorne: \"When you say 'listening' you don't mean to me. You heard something, didn't you?\"", "Angel: \"It's probably just Fred.\" Lorne fumbles a small ax out from under the blanket covering him. Angel walks out into the hall.", "Lorne echoing after him: \"I got your back.\" Angel hears sounds of someone moving around and tracks them down to the room they put Cordy's things into. He slowly opens the door and sees someone rummaging through a box of Cordy's things. Angel lunges and throws the person up against the wall. It's Connor.", "Angel: \"Oh. Hi. (Lets go of Connor) Sorry.\"", "Connor pulls his shirt straight: \"I'm used to it.\" Connor picks up one of the boxes and sets it on a table.", "Angel: \"The front door is always open, Connor. You don't have to sneak in.\" Connor putting things into the box: \"Cordy wanted some of her stuff.\"", "Angel: \"How - is she doing? Cordy. Anything coming back to her?\"", "Connor: \"Nothing about you.\"", "Angel: \"Is she alone right now? Because...\"", "Connor: \"She's safe! I can take care of Cordelia. - Can I go?\"", "Angel: \"Sure. Sorry.\" Connor moves past Angel, carrying the box.", "Angel: \"Wait! You should take her fuzzy slippers. (Puts them into Connor's box.) Her feet get cold.\"", "Connor: \"I know. She always stealing the covers.\" Intro Hyperion, day. Angel slowly walks down the steps into the lobby, hands stuck in his pockets. Passes Gunn's feet protruding from the settee.", "Gunn: \"You don't wanna go in there.\" Angel looks over towards the window into the office and sees Fred talking animatedly to Lorne.", "Gunn: \"The girl kept me up all night. She is un-stoppable.\"", "Angel: \"More than I need to know.\" Fred spots Angel and comes rushing out of the office.", "Fred: \"Did Charles tell you?\"", "Angel: \"He-he didn't describe it.\"", "Fred: \"I've been asked to present my article at the physics institute! P-dimensional subspace has always been a fascinating area, but I had no idea there would be so much interest. Can I practice my speech for you? I think Lorne's a little conked.\" Fred hurries back into the office. Lorne takes another sip of his drink: \"Oh, yeah. We're back.\"", "Gunn to Angel: \"That - all night. (A small smile spreads over Gunn's face) Well, mostly that.\"", "Angel: \"I didn't know Fred was getting back into physics.\"", "Gunn: \"Yeah. I don't think she wanted anyone to know. Think she was afraid she lost the knack.\"", "Angel: \"Hmm. She seems over that.\" They follow Fred into the office. Angel takes a seat next to Lorne, while Gunn leans against the wall behind them.", "Fred: \"It's nothing big, really. Just a little breakthrough in quantum particles. Emphasis on little. Probably be disproven in no time. It's just - I used to dream I'd discover some revolutionary concept, and - oh, it's silly.\"", "Angel: \"Doesn't sound silly.\"", "Fred: \"I-I guess I just wanted all those people I looked up to - I wanted them to see me, too. And then I got sucked into Pylea, and, well, when you're a cow-slave you don't want anyone to see you at all.\"", "Gunn: \"Everybody will be watching you now.\" Fred stares at Gunn, eyes wide. She sucks in a deep breath and looks down at her cue cards.", "Fred: \"I've got to practice. - You-you'll be there?\"", "Gunn: \"Cheering you on. Right?\" Lorne makes a face. Angel is looking at the desk in front of him (lost in thought?) Gunn looks at both of their backs, while Fred looks from Angel to Lorne, shifting on her feet.", "Lorne: \"Ah, the little nipper dropped in for a midnight visit last night.\"", "Fred: \"Connor was here?\"", "Gunn: \"I hope you don't wanna kiss and make up, because that...\"", "Angel: \"He picked up some of Cordelia's things.\" Fred sits down on the edge of the desk.", "Fred: \"She's just trying to put the pieces back together. It'll work out and it'll all be for the best.\" Angel looks at her.", "Fred: \"It will! Five years of unendurable torture and mental anguish aside, if I hadn't been sucked through that portal I never would have figured out my string compactification theory.\"", "Gunn: \"Exactly. 'cause, you know, strings need - to compactify.\" Angel and Lorne look from Gunn to Fred, who is pressing her lips together (in an effort to keep a straight face?) Wes is sitting in front of his sofa table reading a magazine when there is a knock on his door. The knock comes again before he pulls his eyes away from the article. He checks his watch as he gets up to answer the door. Lilah is standing there holding a box tied with a bow.", "Lilah: \"Surprise.\"", "Wes: \"A bribe. How thoughtful.\" Lilah hands him the box and walks past him, taking off her jacket.", "Wes: \"No, it can't be a bribe. Must be a setup.\"", "Lilah, smiling at him: \"Can't it just be - a gift?\" Wes just looks at her.", "Lilah: \"Open it.\" Wes sets it down on the table and opens it, while Lilah watches him closely, still smiling. Wes pulls out the full helmet of a medieval armor.", "Lilah: \"We seem to be butting heads lately. Now you'll have the advantage.\" Wes examines the helmet.", "Wes: \"This must have cost a fortune.\" Lilah's smile widens and she steps closer to Wes.", "Lilah: \"Yes.\" The takes the helmet out of Wes' hands, puts it back in the box, then runs her hands up Wes' chest.", "Lilah: \"It'll take you - hours - to thank me properly.\" Lilah kisses him softly. Wes kisses back.", "Lilah: \"Fortunately I've taken the afternoon off.\" Lilah reaches for the buttons of his shirt, but Wes captures her hands and holds them still.", "Wes: \"I have to leave actually.\" Lilah stares at him as he moves away from her and grabs his jacket off a hook by the door. On the way out Wes turns back to her.", "Wes: \"But thank you, Lilah, for the gift.\" Lilah watches him leave, then lets out a sigh, shaking her head slightly. Picks up the paper that covered the helmet and sees the magazine - open on 'Super Symmetry and P-Dimensional Subspace' by Winifred Burkle. The camera pans past a picture of Fred and Gunn dressed up for the ballet pinned up on a wall. Over a picture of Cordy and Wes with a little paper labeled 'me & Wes' to a picture of a couple labeled 'my parents.' To Cordy in the process of pinning up a picture of her and Lorne smiling into the camera. Cordy surveys her handiwork.", "Cordy: \"There. Almost done.\" She walks over to the bed and looks through the box Connor brought over from the Hyperion.", "Cordy: \"Connor?\"", "Connor: \"Yeah?\"", "Cordy: \"How come there is no picture of Angel?\" Connor walks into the room, hair wet, and in the process of pulling on a shirt.", "Connor: \"Ah - I didn't see any.\"", "Cordy: \"Hmm. Well, it's okay. You got all the other important stuff.\" She smiles as she lifts up one foot to show she is wearing her fuzzy slippers. She pulls a piece of sheer fabric out of the box and uses it to cover a round table in the room.", "Cordy: \"Apparently I'm a nester, because this place is starting to look not entirely un-home-y.\" Connor watches her, then pulls on, and laces his shoes. Cordy looks around and lets out a sigh.", "Connor: \"What?\"", "Cordy: \"Nothing. (Shrugs) Except... (Sits down on the bed) Well, I thought I'd feel different. I mean, I have my pictures and slippers and super luscious peau the soie blouse, but... (sighs) Why does it still feel like something is missing?\" Connor looks around, sees a hand ax lying on a dresser. He picks it up and hands it to Cordy.", "Connor: \"How does that feel?\"", "Cordy: \"Uh - woodsy.\"", "Connor shrugs: \"Maybe you miss the action, the thrill of the kill. You know you used to be a demon hunter. (Cordy gives him a look) It's true. You're just out of practice. It'll come back fast, though. I can train you.\" Connor moves away.", "Cordy calling after him: \"What should I wear?!\" LA, night. Gunn straightens Fred's cue cards and hands them back to her as they both ride up an escalator at the institute.", "Fred: \"Thank you.\" They get off the escalator and move through a crowd of academics.", "Fred: \"At least I remembered the uniform.\"", "Gunn: \"All these people here to see you?\"", "Fred: \"I'm just a minor speaker. Oh, god!\" Fred walks over to the list of speakers.", "Fred: \"I'm between Ed Witten and Brian Greene?\" Fred stares back at Gunn and Angel, who just look at each other, then back at her.", "Fred: \"Think Nomar Garciaparra and Sammy Sosa.\" Gunn whistles.", "Angel: \"Fred's skipped the minors and went straight to the show.\"", "Fred: \"This can't be right. Somebody must have made a mistake!\"", "Gunn: \"Listen up - all this stuff about particles and - stuff - it's gonna blow them away. Nothing to worry about.\"", "Fred: \"Well - what if my theory is wrong? (Spots someone) Professor Seidel?\"", "Seidel: \"Winifred! (Turns to a blonde) Laurie, I'll meet you back at the lab. (Laurie leaves) There you are. It's been, what? Two years, or so.\"", "Fred, smiling: \"Yeah. Heavy on the 'or so.' Wow. It is great to see you. (Her smile fades) Are you - gonna be in there?\"", "Seidel: \"I'm introducing you. I had to arm wrestle the chair of the department for the honor.\"", "Fred: \"Oh.\"", "Seidel: \"Winifred, you have done some great work. You don't have anything to worry about.\" Gunn clears his throat loudly.", "Fred: \"Oh, ah, these are my friends: Charles and Angel.\" Gunn and the professor shake hands.", "Gunn: \"Hey.\" Angel and the professor shake.", "Angel: \"Hello.\"", "Fred: \"I was gonna be a history major, and then I took Professor Seidel's physics class, and, well...\"", "Seidel: \"Winifred is a natural. By the end of the first semester she was taking on w.i.m.p.s.\"", "Gunn: \"You should see her now! Killer left hook.\"", "Fred: \"Wimps are weakly interactive massive particles.\"", "Gunn: \"Oh, yeah, ah, just kidding.\"", "Seidel: \"Do you remember that Higgs Scalars tutorial? I still remember your take on spontaneous symmetry breaking.\"", "Angel to Gunn: \"You know, it's, ah, filling up. I'm gonna go find and save some seats.\"", "Seidel to Fred: \"Why don't you stop by the office. I'd love to talk about your article.\"", "Fred: \"Is - tomorrow too soon?\"", "Seidel: \"Tomorrow is perfect. I have some questions about how Kaluza-Klein models fit with your theory.\" Gunn watches as the professor move away from him deep in conversation.", "Fred: \"Oh, okay, because string regularization kind of vital to what I'm proposing...\" Angel puts his jacket over the back of one of the seats in the front row of the far from completely filled auditorium. A guy wearing a comic book T-shirt bumps into his arm with the backpack he is carrying as he makes for a seat in the row behind Angel.", "Guy: \"Oh, sorry about that.\" Angel glances around the room as he sits down and spots Wes taking a seat in the back. The Professor and Fred come down an aisle, trailed by Gunn. Seidel stops by a guy in a suit.", "Seidel: \"Oh, Doctor Shepherd, I want you to meet one of my best students, Winifred Burkle.\"", "Fred: \"Hi.\" Gunn looks at the group for a moment then moves down the rows to where Angel is sitting.", "Shepherd: \"Oh course. I read your article. Intriguing. Nice to meet you.\" Seidel ushers Fred on down the aisle. Gunn hands Angel his jacket as he sits down in the chair was reserving with it.", "Gunn: \"Listen, man, I'm gonna need simultaneous translating on this thing. You know, like the president with the Russians, but just give me the highlights.\"", "Angel: \"No problem. Of course, I have no idea what she's talking about.\"", "Gunn: \"Will you tell Fred that? If she thinks we're both stupid, I won't stand out as much.\" The lights dim as the professor walks up to the podium, trailed by Fred.", "Seidel: \"There have been many recent insights into string theory, but few have so elegantly tied together the disparate threads as the one you will hear tonight. As a student Winifred Burkle showed outstanding intellectual rigor.\" We get a shot of Gunn smiling as he watches the stage. Then of Wes with a soft smile on his face a well.", "Seidel: \"Her work continues to exemplify the highest standard of academic excellence.\" Lilah walks into the back lecture hall. Angel turns his head and sees her looking around.", "Seidel: \"Ladies and gentlemen, it is my honor to introduce Winifred Burkle.\" Polite applause as Fred steps up to the podium.", "Fred: \"Thank you professor.\" Fred puts on her glasses, clears her throat and looks at her cue cards.", "Fred: \"This one just says 'open with joke.' But - I forgot to think of one. But it's possible that my theory will take care of that.\" Polite chuckles.", "Fred: \"There are, uhm, there are several competing dimensional theories, and while each provides insights, physicists have long searched for a unifying theory.\" Lilah spots Wes, his eyes riveted on the stage.", "Fred: \"One that can account for both the behavior of the smallest subatomic particles, and the largest forces of nature. If space time can undergo massive rearrangement of its structure, which I believe it can, tearing and reconnecting according to a predetermined disposition...\" Angel watches as Lilah pulls out her cell phone and makes a call as she leaves the lecture hall.", "Fred: \"...then T-duality would allow for the compactification of extra space dimensions. Consider the non-perturbative properties of superstring theory. In D-Branes, especially as it applies to Dirichlet boundry conditions with dual open strings that are t-transformed, this...\" People begin to notice a disturbance forming in the above Fred.", "Fred: \"...in turn leads to the conclusion that strings can only end in P-dimensional dynamical...\" Fred notices the commotion spreading through the hall and looks to see what everyone is looking at. A bundle of long, snake-like tentacles, each ending in a tooth-filled beak suddenly reaches out of the hole in the air and take a hold of Fred, while Seidel quickly ducks away. Gunn and Angel jump out of their seats and head for the stage as Wes also gets up from his seat at the back of the hall.", "Gunn: \"Fred! No!\" Break Fred is screaming as the tentacles wrapped around her try to pull her up into the hole. Gunn is holding on to Fred's legs. Angel is stabbing at the monster with the microphone stand.", "Gunn: \"Hang on baby. I got you!\" Wes moves through the fleeing masses towards the stage. The guy in the comic book shirt that was sitting behind Angel and Gunn is snapping pictures of the monster with a small camera, a big smile on his face.", "Gunn: \"Hang on!\" One tentacle wraps around Angel's neck and lifts him off the floor. The teen is still snapping pictures.", "Angel: \"Yeah. Vampire, strangling. Not gonna happen.\" Angel reaches down into his boot and pulls out a knife. He cuts through the tentacle that holds him. As he drops free, the monster lets out a scream and draws back, letting go of Fred. Fred and Gunn fall to the floor, Gunn holding her tightly. Wes, dagger in hand, stops as the hole closes behind the monster.", "Gunn: \"It's over, baby. You're fine.\" Lilah drives down through the parking garage in a silver Mercedes convertible. Suddenly the top is ripped away. Lilah stops and hesitantly sticks her head out through the hole.", "Angel: \"That's cool. The top just comes right off.\" Lilah drops back down into her seat, then gets out of the car.", "Lilah: \"Hey, if this is about the jolly green demon, I could have had him killed, but do I hear a thank you?\"", "Angel: \"Before we get to that, how about you tell me why a portal happened to open up over Fred's head right after you slithered out of the auditorium?\"", "Lilah smiling a little: \"Tragedy struck Gidget? Really? Did she go to that place in the big Texas sky?\"", "Angel: \"Gunn and I took care of it. Of course if we hadn't been there, I'm sure your good friend Wesley would have stepped right in.\"", "Lilah: \"Come on. If I were gonna kill the twig, would I do it in a room full of people and then make a conspicuous getaway so I looked extra suspicious?\"", "Angel: \"Add video tape, sounds like vintage Wolfram and Hart. (Lilah just shrugs) Except this time somebody else deserves the credit.\"", "Lilah: \"You're quick.\" Lilah ducks back into her car. Angel just as quickly sticks his head in before she can close the door.", "Angel: \"About Lorne, there's going to be a conversation.\"", "Lilah: \"You know, Angel, coming from you, idle threats are so - well - idle.\" Angel sticks one hand down through the hole in the car's roof and wiggles his fingers in front of Lilah's face.", "Angel: \"Do you remember when I ripped your car in half?\"", "Lilah starting the car: \"Yeah. Hulk smash.\" Lilah peels out of there, tires screeching. Angel lets her go. Hyperion, night. Gunn rolls over in bed and wakes up when the spot beside him is empty.", "Gunn sits up: \"Fred?\" Fred is squatting in a corner, writing on the wall, and muttering to herself.", "Fred: \"P versus NP, where NP is nondeterministic polynominal time. This is NP. Lost time. Time spent.\"", "Gunn comes up behind her: \"I never liked the paint in here. Hey, lets - lets redo the place, really make it ours.\" Fred turns away from the wall holding her throat with one hand.", "Fred: \"I was just - I couldn't sleep.\" Gunn takes a hold of her hand and softly pulls it away from her throat.", "Gunn: \"Fred, demons, portals - that happens. Doesn't mean that you're going back to Pylea.\"", "Fred: \"Every time I close my eyes I see it. Like it's happening all over again.\"", "Gunn: \"I know, baby.\" Fred walks past him her hand going back up to her neck.", "Fred: \"Five years of hiding in caves and scrounging for food, wearing that collar. You don't know! You couldn't.\"", "Gunn: \"You're never going back to that place. You're safe now.\"", "Fred: \"I was safe in the library until I opened that book and read those words, and then wham! I was hurling through dimensions.\"", "Gunn: \"Come back to bed. Alright? It'll all look different in the morning.\"", "Fred: \"Morning? As in tomorrow, which as of now is today, which means...\" Gunn slowly back towards the bed softly pulling Fred along with him.", "Gunn: \"You're gonna talk to your professor friend just like you planned 'cause nothing has changed.\"", "Fred: \"It has! He was there! He saw the... - He probably thinks...\"", "Gunn: \"That you're incredibly brilliant. Just like I do.\" Fred climbs back onto the bed: \"He can't see me. Not like this.\"", "Gunn climbs in beside her: \"There is nothing wrong with you. Like this or any other way.\"", "Fred: \"Yeah, to you, maybe.\"", "Gunn: \"Look. Go. Okay? Forget about all this and talk about strings and whimps and whatever. Angel and I will take care of all the demony portal stuff. No problem.\" Gunn kisses her bare shoulder then snuggles up to hold her. Hyperion day, Gunn comes down the stairs to find Angel standing in front of row after row of chairs set up in the hotel lobby.", "Gunn: \"Great. My girl is not the only one redecorating.\"", "Angel points at a chair: \"You were there.\"", "Gunn sits down: \"Okay. - What are we doing? Playing musical chairs?\" Angel looks past Gunn and suddenly the lobby with its chairs morphs into the lecture hall and the people sitting around and behind Gunn. Dimly we can hear Fred lecture from the podium on the stage.", "Angel pointing: \"Nerdy guy. - Older nerdy guy. - Girl in black there.\" All the people except for the ones Angel just named wink out of their seats.", "Gunn: \"Okay. Catching on - sorta. How come you never pulled out this parlor trick before?\"", "Angel: \"It's not an automatic reflex. It just kicked in when I saw Lilah.\" We see Lilah making her phone call.", "Gunn: \"Hold up. Lilah was there? Not a huge leap thinking she opened the portal.\" Angel is concentrating on Lilah. Sees her looking over at Wes.", "Angel: \"She was just stalking Wesley.\"", "Gunn: \"Wesley? He came to see...\" Angel looks to where the nerdy, comic book shirt, guy is sitting.", "Angel: \"He was waiting.\"", "Gunn: \"Wesley?\"", "Angel: \"Guy in the second row, center seat. The guy wearing a tan T-shirt that said 'Thwack!'\" Angel turns towards the stage behind him where the tentacles reach out of the portal, then back to the teen.", "Angel: \"He had a camera.\" Gunn gets up out of the chairs. The lobby back to its actual appearance.", "Gunn: \"I think I know where to find him.\"", "Angel: \"Whoa, whoa. Ho, ho! Hang on. Daylight. I need a coat.\"", "Gunn: \"Well, get on it. Because when my girls not happy...\" Gunn screaming into the teens face: \"...I'm not happy!\" Gunn slams the guy up against a stand of comic books.", "Teen to Angel: \"Is he gonna hurt me?\"", "Gunn: \"Think Daredevil one eighty one. I'm Bullseye, you're Electra. One wins one dies. Get what I'm saying?\"", "Teen: \"Yeah. But we're kind of crushing the Dark Horses.\" Gunn pulls him away from the comic book stand and lets go of him.", "Gunn: \"You were taking pictures of my girlfriend. Why?\"", "Teen: \"Because the ceiling was like ripping apart!\"", "Angel: \"Why were you there? You always hang with the physicist crowd?\"", "Teen: \"I wanted to see if it was true, if she was really one of them. You know, one of the students who disappeared.\"", "Gunn: \"One of?\" Fred and the Professor are walking through a door into a lab at the university.", "Fred: \"Pylea was a hell dimension, actually. Not as bad as Quor-toth, but - if Angel and Gunn and the rest of them hadn't rescued me, I'd probably be dead by now.\"", "Seidel: \"Winifred, I'm a theoretical physicist, completely open to the idea of other dimensions, but - you're naming them.\"", "Fred: \"I know. It took me a while to believe it, too, and - I was there.\" The blonde that was with the professor when Fred first spotted him at the lecture hall is standing over one of the machines.", "Seidel: \"You know Laurie Drummond, don't you?\"", "Fred: \"You were the TA for high energy physics.\"", "Laurie: \"I still am. Not all of us are geniuses.\"", "Seidel: \"I'd be lost without Laurie.\"", "Laurie: \"Welcome back.\" Fred smiles at her then follows the professor into this office. Seidel closes the door then walks over to a filing cabinet.", "Seidel: \"I've been holding on to something for you.\" Fred looks at the sheaf of paper he hands her.", "Fred: \"Oh. The last test I took before... - A minus?\"", "Seidel: \"Well, I would have given another student an A plus, but with you - I had to use a different standard.\"", "Fred: \"Now he tells me.\" Seidel sits down on the edge of his desk: \"I'd love another crack at it. Teaching you. You have a gift that shouldn't be wasted.\"", "Fred: \"It - it's been so long. I mean, writing the article was great, but - I've another life now.\"", "Seidel: \"Sounds like a life you stumbled into, not one you chose.\"", "Fred: \"I guess it kind of chose me.\"", "Seidel: \"Now, I don't know - what I saw yesterday. There are studies about subconscious suggestion, mass hysteria. But I know what I see right now.\"", "Fred: \"You do?\"", "Seidel: \"A very talented young woman, who deserves to live in the world she was meant for.\" The teen comes out through a bead curtain back into the main store where Gunn is waiting by the counter while Angel is reading a comic book.", "Teen: \"You guys know how it is. Like you hear things from the friend of a friend's room mate. You don't know if they really happen.\"", "Gunn: \"Like the story about the girl, the cat and the peanut butter.\"", "Angel: \"That one's true. (Gunn looks at him) Long story.\"", "Teen: \"Yeah, like, you're Angel, right? There are whole forums on you in chat rooms, man! Who knew you actually, like, existed?!\"", "Gunn: \"The disappearances?\"", "Teen: \"Ah, supposedly there were three before your girlfriend and one since.\"", "Angel: \"What do you know?\"", "Teen: \"Just rumors. They're all science types, like these weren't your everyday kidnappings. Hey, maybe I can help you guys. Be your Intern.\"", "Gunn: \"We're full up on interns. But the decoder ring's in the mail.\" Gunn starts to leave and Angel follows him.", "Angel: \"They talk about me in the chatty rooms?\" Fred is flipping through her test paper. Seidel pulls out a book from the shelf behind his desk.", "Seidel: \"You really should read 'Quantum Cryptography'.\" Laurie opens the door to the office.", "Laurie: \"Professor Seidel the oscillator's tweaked again.\"", "Seidel: \"I'll have a look. (To Fred) Would you write down your numbers for me? I don't wanna lose track of you for another six years.\" Fred laughs as the Professor roots through the stuff on his desk.", "Seidel: \"You laugh. I do have a system.\" Seidel walks out of the office. Fred goes around his desk to write something down on the paper the professor pulled out for her. Fred walks over to take a look at the titles on the bookshelf.", "Fred: \"'Plasma and Fluid Turbulence' in with Nutrino books? That's just - wrong.\" Fred pulls the book out and flips it open. Inside there are archaic looking symbols and charts. She flips a couple of pages and comes across an illustration of what looks a lot like the monster reaching down through the hole in the lecture hall. She hears Seidel's voice coming from outside.", "Seidel: \"I'll meet you back there. I have some...\" Fred quickly puts the book back on the shelf and turns around as the professor walks back into the office. Gunn is pacing behind Angel, who is looking stuff up on the computer.", "Gunn: \"I don't like this, man. I got a bad feeling.\" Angel turns and looks at him.", "Gunn: \"What?", "Angel: \"Here. The thing all the students had in common.\"", "Gunn: \"Oliver Seidel. As in the guy she's with right now.\" Gunn turns to hurry out the office and almost runs into Fred standing just inside the door.", "Gunn: \"Fred. Thank god. Look, there is something we got to tell you. The portal...\"", "Fred: \"It was professor Seidel.\"", "Gunn: \"Yeah.\"", "Fred: \"And he's done it before.\"", "Angel: \"That's right. There are others.\"", "Fred: \"No. To me. He's the son of a bitch that sent me to Pylea.\"", "Gunn: \"What?\"", "Angel: \"We're gonna get this guy.\"", "Gunn: \"Count on it. He's gonna pay.\"", "Fred: \"No. He's gonna die.\" Break", "[SCENE_BREAK]", "Gunn: \"What do you mean, die?\"", "Fred: \"I don't know yet - but it's going to be about pain.\" Fred opens the weapons cabinet.", "Fred: \"The halberd could work.\" Fred picks it up and makes stabbing motions with it as she turns back to Gunn and Angel, who back up a little.", "Fred: \"Acting like I'm all addlebrained talking about other dimensions. Pylea, never heard of it. Right! How about a flail whipping? Would that take a nice long time?\"", "Angel: \"Hours if you do it right. (Fred picks a flail form the cabinet and whirls it around) Not that you should do it (Angel steps up and carefully takes the flail away from her) at all. - Ever.\"", "Fred: \"He's a killer. And he's just sitting there smiling, telling me I'm so gifted and how he wants to teach me. Oh, there is going to be a lesson, all right.\"", "Gunn: \"Alright, Fred, lets calm down.\"", "Fred: \"I idolized him and he sent me to hell. Me and god knows how many others who didn't make it back, so -so sure! I'll calm down - when he's dead!\"", "Gunn: \"Fred, a few years ago I would have done in the guy myself. But this? It isn't what we do.\" Gunn tries to take the halberd away from Fred but she pulls out of his reach.", "Fred: \"We kill monsters every day.\"", "Gunn: \"We help people. Fred, if you do this, the demons you'll be living with won't be the horned, fangy kind, they'll be the kind you can't get rid of.\"", "Fred: \"You're wrong.\"", "Angel: \"He's right. Whatever you do now, is nothing compared to how it'll be afterward.\"", "Gunn: \"What you're talking about goes against everything you believe in, everything *we* believe in. Fred, you idolized him, but don't let him be defining what you are now.\" Gunn holds out a hand.", "Gunn: \"Can I have the ax?\" After a moment Fred lets him have the ax.", "Fred: \"I'm sorry, Charles. I guess I kind of lost it.\"", "Gunn: \"You want a drink? I could make you some cocoa.\"", "Fred: \"No. Thanks. I'm just - gonna go lay down - for a few days.\" Gunn watches Fred walk up the stairs, then turns to face Angel.", "Gunn: \"So what are we gonna do to this guy?\"", "Angel: \"No idea. But let's do it fast.\"", "Gunn: \"We got to get to him before Fred changes her mind. 'cause vengeance? It can get ugly.\" Wes walks over to the table in his apartment, opening a couple of beer bottles.", "Wes: \"Vengeance - sounds good.\"", "Fred: \"Angel and Gunn want me to be all sweetness and light. Cute little Fred, she'll turn the other cheek like a good girl. (Fred takes a bottle from Wes and sits down on the sofa) I mean, they saw what professor Seidel is capable of! He opened that portal right in front of them.\" Wes sits down across from her: \"They dealt with it handily enough.\"", "Fred: \"You were there?\"", "Wes: \"I read your article, saw you'd be speaking. Was an excellent piece. Although I'm not sure I understand how Pauli repulsion is so readily reversed. - Layman's opinion.\"", "Fred: \"You've been keeping track of me.\"", "Wes: \"Yes. - Well, about this professor Seidel, what did you have in mind?\"", "Fred: \"Beyond pain, I'm not really sure. That's why I came to you.\" Wes sets his bottle down and leans forward.", "Wes: \"Fred, you do know that everything Angel and Gunn told you is true. Vengeance will have a price - and once you've acted you can't go back. You'll have to live with your actions forever.\"", "Fred: \"He's a serial killer.\"", "Wes gets up: \"Alright then. (Walks over to his books) I'm sure we'll find - an appropriate solution.\" Fred comes to look over Wes shoulder as he flips through the pages. Wes gives her a quick glance.", "Wes: \"Ah, here is something interesting. Once practiced in ancient Egypt.\"", "Fred: \"Is that his tongue?\" Cell phone chirps and Fred pulls it out. She flips it open to see some strange looking symbols on the display screen. A wind starts to whip her hair around and Fred looks up to see that a portal is opening right in front of her and Wes. Wes grabs a hold of Fred, letting go of his book, which is sucked into the portal, then throws both of them over the back of his sofa. Their roll blends into Connor and Cordy rolling on the ground, Cordy ending up on top.", "Cordy: \"Thanks.\"", "Connor: \"Anytime.\" There is a growling sound and Cordy rolls off Connor. Connor catches the boot of the vampire stomping down on him and throws the vamp back onto the ground. Getting to his feet, Connor pulls Cordy up as well, then turns to confront the vampire. The vampire slashes at Connor, but Connor jumps straight up, clinging to some pipes along the ceiling for a moment before dropping back down and trying to stake the vamp.", "Cordy: \"Can I help?\" The vampire bats Connor to the side.", "Cordy: \"Uh, that hurt.\" Cordy moves in with her hand ax. When the vampire knocks it out of her hand she kicks the vamps weapon out of his hand, and dusts him in one smooth motion. Cordy looks from her stake to the dust cloud.", "Cordy: \"I did that. I did that. Oh! I did that!\" She turns around and throws herself at Connor, who catches her in a big hug. Cordy laughs as he twirls her around, then leans in to plant a quick kiss on Connor's mouth. Then a second one, which turns into something longer. After a moment Cordy pulls back, looking at Connor and putting one hand up next to her mouth. Hyperion, night, Angel and Gunn are in Fred's empty room.", "Gunn: \"And I'm asking her if she wants cocoa. Stupid!\"", "Angel: \"She's gonna kill him.\"", "Gunn: \"If he doesn't kill her first. You know where she went.\"", "Angel: \"Look, I'm faster on my own.\"", "Gunn: \"Go. I'll meet you there.\"", "Angel: \"She'll be okay.\" Angel jumps out the window. Fred, sitting in the passenger seat while Wes is driving, fits an arrow into a crossbow.", "Wes: \"You remember everything we went over?\"", "Fred: \"I do. And I'm gonna give him exactly what he deserves. Thanks to you.\" Wes looks at her then away.", "Fred: \"What?\"", "Wes: \"I was just thinking, uhm - not that I don't get his point, but I'm surprised Gunn's not here. No matter what the consequences.\"", "Fred: \"Charles doesn't have it in him. It's part of what I love about him.\"", "Wes: \"You can still back out - if you think Gunn's right.\"", "Fred: \"It's not about what's right. - Pull over there.\" Wes does.", "Wes: \"I'd ask to tag along.\"", "Fred: \"But you know what the answer would be.\" Wes watches as she gets out of the car. The professor is in his office taking papers out of his filing cabinet and putting them into a cardboard box. He hears the door open and turns to see Angel walk in.", "Angel: \"Going somewhere?\"", "Seidel backing around his desk: \"No. No. I...\" Angel tosses the desk between them to the side.", "Angel: \"I hear Pelican Bay's nice this time of year and I'm sure the inmates will just love your lectures.\" Seidel pulls a book from the shelf.", "Seidel: \"Get out of here.\"", "Angel: \"See, I can't do that. Fred's a friend of mine, and that little sabbatical you had planned for her? Not nice.\"", "Seidel: \"You don't have any evidence on me, you can't...\"", "Angel: \"Oh, but I can. And when I'm done I'm guessing there's gonna be a full confession...\" The professor opens the book and begins to read from it: \"Barathrum copeo lacero. Increpito immanis barathrum copeo lacero.\"", "Angel: \"Great.\" A portal forms next to the professor and an ugly gray demon steps out of it to attack Angel while Seidel runs out of the office and straight into the butt of Fred's crossbow. Fred reverses the crossbow and aims it at Seidel trying to pick himself up off the floor.", "Fred: \"You know what they say about payback? Well, I'm the bitch.\" Break In Connor's lair Cordy is putting her clothes away. Connor walks up and puts his arms around her from behind.", "Connor: \"How about some more training? Then tomorrow we can...\"", "Cordy: \"Ah, Connor... (She steps out of his arms and turns to face him) We need to talk.\"", "Connor: \"Okay.\"", "Cordy: \"Okay.\" They walk over to the bed.", "Cordy: \"Sit down.\" Connor does and Cordy sits down next to him, letting out a sigh.", "Cordy: \"About what happened - earlier. The - non CPR mouth to mouth.\"", "Connor: \"When you kissed me.\"", "Cordy: \"Right. - I shouldn't have.\"", "Connor: \"But...\"", "Cordy: \"Connor. I don't know who I am, much less where I belong or who with. And there is a picture over there when you were a baby and it's only eight months old. There is a lot I need to figure out. - I'm sorry.\" Connor sighs.", "Cordy: \"So, I'm gonna...\"", "Connor gets up: \"You're going back to him, aren't you?\"", "Cordy gets up: \"I just need some time to think. Okay?\" Connor watches her walk out, then turns and hits the wall with his fist. The gray demon flies into the bookshelves behind the professor's desk. Angel grabs the phone off the desk and hits the demon with it repeatedly. Angel straightens up and picks some crud off his jacket as he turns to leave the office.", "Angel: \"Oh man...\" The gray demon grabs a hold of Angel's ankle and topples him to the floor.", "Angel looks back: \"What the...\" The demon tosses Angel against a wall. The professor sits up and looks at Fred.", "Fred: \"Stay right there.\"", "Seidel slowly gets up: \"Winifred. Fred. Please. Let's talk about this.\"", "Fred: \"Talk? Sure, let's talk. Because you gave *me* the chance to... - oh, wait, no you didn't. Oh, well. No talking.\"", "Seidel: \"Fred, I know you. You're not capable of hurting anyone.'", "Fred: \"You don't know me. Not anymore. Five years of pain and suffering in a hell dimension will make a girl capable of a lot of things.\" Angel is standing in the office, the demon's head held in one hand. He looks from it to the rest of the body, which is once again beginning to stir.", "Angel: \"Come on! I'm *holding* your head!\" The demon stands up, a new head popping up between its shoulders, and attacks Angel again. Fred still has her crossbow aimed at the professor.", "Fred: \"Kind of funny thinking threatened you were by me back when I was a grad student. That's why you sent me and the others away, isn't it? You couldn't handle the competition.\"", "Seidel: \"Fred...\"", "Fred: \"And that's why Laurie is still around. She's not smart enough to overshadow you, is she? Not like me. I'm special. Special on a Pylean platter with a side of you-make-me-sick!\"", "Seidel: \"Why don't you just let me...\"", "Fred: \"Go? Well, since you asked so nicely. Sure. I've even practiced a good-bye speech. Klyv mat chyvma klyvma chyt.\" A portal opens in the floor between them. The professor holds onto the lab table behind him to keep from being sucked in. Gunn walks into the lab.", "Gunn: \"Fred! No!\"", "Fred: \"Go away, Charles! You asked me not to kill him and I'm not. - Not exactly.\"", "Gunn: \"Sure you are. No way he can survive that.\" Gunn takes the crossbow away from Fred.", "Gunn: \"Fred, don't let him do this to you.\"", "Fred: \"How dare you? You don't know. You don't know what it was like!\" Gunn looks at the growing portal.", "Seidel: \"Please help me!\"", "Gunn: \"I promise, we'll stop him. We'll find some other way.\"", "Seidel: \"Fred! Winifred, please! Help me!\"", "Fred: \"You see? He'll never stop! He'll do it again!\"", "Gunn: \"If you kill him, I'm gonna lose you.\"", "Seidel: \"Help me! Help me!\" Gunn runs over and pulls Seidel away just as the table is sucked into the portal in the floor.", "Fred: \"Charles, no!\" Gunn looks at Fred. He takes a hold of Seidel's head, breaks his neck then lets the body drop into the portal, which closes behind it. Fred and Gunn face each other across the spot where the portal was only moments ago. Angel walks out of the office.", "Angel: \"What happened to the professor?\" Gunn, never taking his eyes of Fred: \"It's taken care of.\" Fred looks down at the floor between them. Hyperion, night, Angel walks into the lobby followed by Fred and Gunn.", "Angel: \"Sucked into his own portal. Wish I could have seen his face.\"", "Gunn heads for the stairs: \"Yeah. I'm gonna...\"", "Fred following Gunn: \"Good night.\" Angel watches them walk up the stairs.", "Angel, quietly: \"Good night.\" Angel turns and see Cordy standing just inside the garden court door.", "Cordy: \"Hi.\"", "Angel: \"Cordelia.\" Cordy points over her shoulder with her thumb.", "Cordy: \"Can we...?\" Cordy walks out into the garden court and sits down on the dry fountain. Angel trails after and sits down next to her. Cordy raises a hand to the wound on the side of Angel's head, but Angel shies away from her touch.", "Cordy: \"You should have somebody look at that.\"", "Angel: \"It'll be okay. Run-in with a Voynok demon. Turns out they have nine lives.\"", "Cordy: \"Like a cat?\"", "Angel chuckles: \"Only less stand off-ish.\"", "Cordy after a beat: \"We were friends. - I know that. - Not just from the pictures, but... - And I know that's why you lied before - to protect me. - Well, I - I staked a vamp today.\"", "Angel: \"Connor took you...\"", "Cordy: \"And what I realized is - whoever I was before - I'm still her. She didn't need protecting, and neither do I. - So no more lies?\"", "Angel: \"No more lies.\"", "Cordy: \"Good. Because - there is something I need to know. - Were we in love?\"" ]

[ "William Poole, the leader of New York gang the Bowery Boys, clashes with bare-knuckle boxer John Morrissey." ]

[ "Our nation is built upon a history of battles, fought over honor, family and power. These bloody and iconic chapters, define what it truly means to be an American. These are Blood Feuds. In the 1840s, New York's mean streets are ruled by rival gangs... Gentlemen, stand your ground now.", "Narrator: One of them, Irish, the other, native-born... I should have killed you when I had the chance. This feud was fought with blood, sticks, guile, nerve. Consider this an open challenge.", "Narrator: Led by two men... John Morrissey and William Poole, who are sworn enemies. I'll teach you a lesson not to mess with true Americans like us. Their bitter hatred would spark savage fury and become the stuff of legend. One man will emerge victorious and rise up in American politics, while his opponent will end in ruin. This was a street fight for America and who is gonna get to be an American. It was gouge your eyes out and leave your enemy dead in the street.", "Narrator: This is the harrowing, real story of the fabled feud from gangs of New York. This was an epic feud. Aah! It was gonna end bad. I'm William Poole, better known as Bill the Butcher. I'm a true American. And I made it my mission to let all the Irish scum know just how unwelcome they are in my country. The worst of the lot is John Morrissey. My name is John Morrissey. I'm Irish and proud of it. I'll do what I have to do and fight who I'll have to fight. And not bill Poole, nor any man, will stand in my way. I'll teach you a lesson. It'll be you who takes a poundin', Butcher. Come on!", "[Groans]", "Narrator: For William Poole and John Morrissey, their blood feud has its beginnings in the late 1840s.", "New York City is a thriving metropolis, the biggest city in the country, swelling with waves of new immigrants from Europe. The 1840s and '50s was probably the most violent and volatile era in New York City's history. You've got a newly emerging, early industrial elite class and thousands of immigrants streaming into the city.", "Narrator: The divide between rich and poor has never been greater. The poorest New Yorkers live in a downtown slum called Five Points, located in the part of town known today as Chinatown. Five Points, New York, at this point, was a den of iniquity. It was the worst place on earth. People were starving. People were fighting. There was blood in the streets.", "Narrator: For the masses who live here, every day is a brutal struggle to survive amidst poverty and violence. There was prostitution, drunkenness, children being left neglected.", "McMillan: And there was not a large police presence. So walking down the streets in Five Points, you could literally be killed. I could murder you and get away with it.", "Narrator: Here in Five Points, only the strongest men rise to the top of the heap.", "McMillan: You had to be tough. Back then, you backed it up with this. And if you didn't, you took the proverbial dirt nap, if you know what I'm sayin'.", "Narrator: On these mean streets, one man is known as the meanest of them all... 28-year-old William Poole. He's a butcher by trade, who maintains a stall in a downtown market. At over 6 feet tall and 200 pounds, Poole is an imposing figure. Butchers tended to be big men. You were really taking animals apart by hand. You had to really be a powerful person to do that. Three pounds of pork, please. Uh, that's three. I... I'm sorry, Mr. Poole. No, that doesn't look like three pounds to me.", "Narrator: Poole's nickname, Bill the Butcher, doesn't come from just chopping meat. Everyone knows that if you cross Poole, you may not walk away. Sir, are you suggesting that I'm not an honest man?", "McMillan: He was notorious for his brutality. Are you questioning my integrity? He is vicious. He could be evil. He could be downright deadly. Get out of my sight before I slice you in two!", "Narrator: Poole's fierce reputation doesn't just come from the butcher stand. He rules Five Points, along with a vicious street gang called the Bowery Boys. The Bowery Boys would lease themselves out to various people to collect debts. They looked like something out of \"Clockwork Orange\". You didn't want to see these guys coming. The group is based upon one thing... hatred for anyone who is not a native-born American. The Bowery Boys were American-born, semi-educated. They were rabidly anti-Catholic, anti-Irish, anti-semitic, anti-black. They are anti-everybody that didn't look, dress, sound, and act just like them.", "Narrator: In recent years, Five Points has become a dumping ground for an enormous wave of Irish immigrants fleeing the potato famine back home. This is suddenly this wave of the poorest, most desperate people who can get off the island. In the space of about five years, 250,000 Irish Catholics show up.", "Narrator: The Bowery Boys, part of an anti-immigrant movement called the Nativists, regard all Irish with fear and contempt.", "Baker: Nativists see this wave of Irish coming in. And they're really fearful of this. They see themselves losing jobs, losing political power, losing money. Many were Catholics, which Protestants had a huge problem with. This is a tremendous threat to them.", "Narrator: Poole himself has a deep, personal loathing for the Irish, who he considers a sub-human race contaminating his city.", "Kamil: Poole sees all of these Irish immigrants taking over the cities, changing what he sees as the course of America's destiny. William Poole really did have this air about him that he was a better class of person. And immigrants were just dirt. He was very much, \"I'm American. This is they way things are. And if you're not gonna play by the rules, get the [Bleep] out.\"", "Narrator: Bill the Butcher thinks he and his thugs can rule Five Points for good. But one man is about to challenge him and start a battle that will end in blood. In 1849, a scrappy, young Irishman arrives in New York City. His name is John Morrissey. Born in Ireland, he grew up in the tough town of Troy, New York, 150 miles up the Hudson. In his teens, he fought prejudice and poverty with his fists as a street corner brawler and a leader of a predominantly Irish gang, the Downtown Boys. As a teenager, he'd been arrested numerous times. He'd been charged with aggravated assaults.", "Narrator: But Morrissey grows sick of petty crime. He's got a burning desire to rise up in the world. He knows he's got to use his head. He teaches himself to read and write. And he knows, if he's going to use his hands, it's going to be for fighting his way to the top.", "Narrator: Having faced prejudice his whole life, he's got a chip on his shoulder a mile wide. And he's here in New York to prove that an Irishman can claw his way to the top. He's been through the [Bleep], and he wants to get a million miles away from where he came from. And anything that stands in his way, he's going to obliterate them.", "Narrator: And nothing can unleash his fury like an insult to his Irish blood. Paddy Irish scum. Morrissey doesn't think about the consequences. He thinks about here, now, and what seems to be an uncontrollable rage. Oh! Who the hell do think you are? Nobody talks to John Morrissey that way! I ought to teach you some damn manners! I'm sorry! I'm sorry! Morrissey comes into town, frankly, full of piss and vinegar. In New York, a tough reputation is gonna help you get ahead in a testosterone-driven neighborhood like Five Points.", "Narrator: In order to stake his reputation here, Morrissey heads to a notorious hangout for the toughest gangs in Five Points, the Empire Club. One night, Morrissey walks into this lion's den all alone, with a bold plan to get noticed. He has no idea the danger that awaits because, according to legend, he's about to meet the man who will become his rival in blood. Gentlemen, I hope you'll excuse my interruption. My name is John Morrissey, proud son of county Tipperary and light of Troy, New York. John Morrissey saunters into this club like he's the biggest thing since Whales. He has balls the size of king Kong, as we would say in Ireland. I've spent my life developing my skills as a fighter. And I welcome the pleasure of taking on all commerce... ... if you have the nerve. You have seasoned boxers that populate the Empire Club. So you have to think that Morrissey's insane to go into a bar full of brawlers and challenge every one of them to a fight.", "Kamil: This is Morrissey's James Dean moment. He has nothing to live for, nothing to die for. He's not thinking about the consequences. But Morrissey has picked a bad night because the most vicious man in Five Points, William Poole, is sitting with his gang only feet away. So, of course, Poole looks at him like, \"what, are you [Bleep] stupid?\" Listen to that cocky jackass. Who the hell does he think he is? Who does he think that we are? I promise, I can best you. Consider this an open challenge.", "[Man laughs]", "Muldoon: He had no chance of survival.", "The odds were just zilch. But Morrissey knows he had to do it to make a mark.", "Kamil: He's young, he's strong, and now he wants to take a seat at the table.", "Narrator: To Bill the Butcher, there's nothing more hateful than a bragging Irishman. You dumb potato-eater! You think you can take on the likes of us?", "McMillan: William Poole would refer to the Irish as dirty, stinky, paddy, lowlife potato-eaters. I think we can save you a lot of time and trouble if you just take us all on at once.", "All: Yeah! Yeah!", "Muldoon: For Poole, this is a piece of paddy scum. How dare him come into this bar, come into this country, and challenge us. Let's have at him.", "All: Yeah!", "Narrator: What happens next...", "[indistinct shouting]", "... is the start of a feud so violent, an entire city will be bathed in blood.", "Narrator: It's 1849. Irish immigrant John Morrissey has just challenged anyone in New York City's Empire Club to a fight. I welcome the pleasure of taking on all commerce... ... if you have the nerve.", "Narrator: As legend has it, gang leader William Poole accepts. You think you can take on the likes of us? And this fateful moment ignites the beginning of a feud so vicious that it will live forever in infamy. Let's have at him.", "All: Yeah!", "[Indistinct shouting]", "[Grunting]", "Everybody ganged up on Morrissey. Literally, it was a scrum. Everybody just piled on and started beating the [Bleep] out of Morrissey.", "Narrator: As the story goes, it's Bill the Butcher who delivers the most brutal assault. Poole was on top of Morrissey and was wailing on his face.", "Narrator: It's as if Poole's hatred of the Irish is all directed at this one man. Morrissey was getting his ass whipped, but Poole just kept on pummeling. Bill the Butcher was a terrific street fighter, a ferocious individual. When he fought somebody, he would do everything he could to actually hurt that person. Bill excelled at that. He enjoyed hurting his opponents. He would eviscerate somebody if he had to. Yeah!", "Narrator: It looks like Poole will kill Morrissey. But suddenly, the beating stops. As the story goes, William Poole actually pulled people back because they were gonna kill him. All right, boys, that's enough that we wiped the smirk off this dirty Irishman.", "Muldoon: His face was so violently disfigured that Poole wanted Morrissey to live and walk amongst the masses like a freak, to let Irish people know this is what's going to happen to you if you mess around with me. Anyone who claps eyes on him will know not to mess with true Americans like us.", "All: Yeah!", "McMillan: But not killing Morrissey would be something that William Poole would live to regret.", "Narrator: Despite the savage beating Morrissey took, it turns out the Irishman also had a little luck. At a nearby table, one man is impressed by his courage. His name is Isaiah Rynders. He's the owner of the Empire Club and a legendary power-broker in Five Points. You've got a lot of guts, lad. I could use somebody like you. And Rynders ultimately offers him a job for the sheer audacity of him coming in and challenging them. Morrissey accomplishes his goal of making his mark. As his wounds heal, word of his brave stand against Poole the bigot spreads all over town. This is something that will be told and retold. This makes him an instant champion of his fellow Irish New Yorkers, somebody who would walk right into the lion's den and challenge Poole.", "Narrator: But humiliation from the fight still burns deep, and he vows revenge on his new foe, Bill the Butcher. Meanwhile, Poole's beatdown of this bragging Irishman earns him a wider reputation among the Nativists. The feud is on, and all of Five Points is watching. With his newfound notoriety, Bill the Butcher goes deeper into politics. Joining the anti-immigrant know-nothing political party, he and the Bowery Boys act as shoulder-hitters during elections to secure the vote.", "McMillan: There were gang members that intercepted you and told you who to vote for. And if you were smart, that's exactly what you would do.", "Narrator: For Poole and the Bowery Boys, the enemy is Tammany Hall, the Democratic machine which has the support of thousands of Irish immigrants.", "Baker: Tammany Hall was pretty much the only organization really looking out for the immigrants in any sort of way.", "Narrator: One of the biggest fixers for Tammany Hall is none other than Isaiah Rynders, the Empire Club owner who hires John Morrissey as a runner to court the Irish vote.", "Kamil: Morrissey's primary job is to welcome the new Irish to America, to help get them settled in a home, in a job, and remind them who got them a job because when election day comes, they will be called upon.", "Narrator: To take on his adversary, Poole and the Bowery Boys, it's said the Morrissey enlists the notorious Five Points gang whose name has long been shrouded in mystique, the Dead Rabbits. The Dead Rabbits is one of the best-known yet least-known-about gangs in Five Points. They were an amorphous group of Irish, deeply involved in criminal activity.", "Narrator: Morrissey and the dead rabbits are on a collision course with Bill the Butcher and the Bowery Boys. Their rivalry is a time bomb ready to explode. Election season, early 1850s. In order to defeat a pro-Irish, Democratic candidate for mayor of New York, a rising champion of immigrants and the poor named Fernando Wood, Bill the Butcher and the Bowery Boys plan to raid a heavily Irish polling place.", "McMillan: The way they intimidated was basically by blocking ballot boxes and threatening the people coming up to them.", "Narrator: It's a tactic they've used many times before. And Poole has no reason to think that today will be any different.", "Kamil: Rumors begin to circulate that William Poole and his Bowery Boys are gonna do everything they can to affect the upcoming election. So Tammany Hall recruits Morrissey to guarantee what Tammany Hall is gonna call a fair and equal election, which, in reality, is get Poole out of the way and stuff the ballot boxes with Democratic tickets.", "Narrator: At the polling station, Morrissey gathers his men. This is a way for him to help the Irish of Five Points and to finally get his revenge. Gentlemen, stand your ground now. And tonight, there be a pint for every Bowery head you crack!", "McMillan: By the time Poole got there, Morrissey's gang, the dead rabbits, was already there. They had ringed the place. Well, if it ain't John Morrissey. Have you forgotten the last time we met and I beat your face into a pulp? Stand aside, or you'll be sorry. Poole, you're outnumbered. The good people of this precinct will be voting for them that takes care of them. And youse can't stop 'em. William Poole and John Morrissey came within feet of each other and just stared at each other. You're a sneaky Irish b*st*rd, Morrissey. I should have killed you when I had the chance.", "Narrator: Poole has a tough decision. If he leaves, he'll be humiliated by his rival, Morrissey. But to take on the larger gang could be suicide. Common sense took over and Poole was like, \"yeah, we are way outnumbered.\" This is a sight we'll get used to, boys... A native, ready to tuck tail and run away. You'll pay for this, I swear. Poole hated it but walked away. Poole had to essentially slink away, which is worse than losing a fight. He was beaten by an Irishman. He was beaten by a [Bleep] immigrant! That had to have gone through his head.", "Narrator: This time, it's John Morrissey who has won the day against Poole. With Morrissey's backing, Fernando Wood goes on to become mayor. It's a victory for Tammany Hall and the Irish. In the battle for power and politics, Morrissey and Poole have each won one round against the other. But this epic feud is just getting started. After the election day standoff, John Morrissey's reputation among the Irish and Tammany Hall continues to grow. But it's his success in another arena that will catapult him to national fame. Since leaving Troy, Morrissey has honed his brawling skills to become a fearsome bare-knuckle boxer. It's a brutal sport and illegal in most places.", "Colberg: Unlike boxing today, bare-knuckle boxing had no rules... ear biting, eye gouging, fighters sharpened their finger nails, sharpened their teeth. You hoped to come out with all your parts intact. This was ugly.", "Narrator: With prizefighting touted by many during this era as the unofficial national sport of the United States, boxers are revered as heroes by the public. Boxing is almost always about people on the way up... The Irish, African-Americans, Hispanics in this country. It's always been the sport in which new Americans are trying to assert themselves.", "[Bell dings]", "Narrator: On October 12th, 1853, Morrissey has the chance to compete against the reigning American heavyweight champion, Yankee Sullivan.", "This is a shot for stardom and a $2,000 purse. But that figure doesn't include the big money being wagered on the fight. One of the biggest betters in town is none other than his Nemesis, William Poole. The story is that Poole put a lot of money on Yankee Sullivan, who was the champion of the Nativists. Come on!", "Narrator: By betting on the champ, Poole expects to win big. Sullivan was fast. He's been in the game for a long time, but Morrissey's not afraid. He'll face the devil himself, head on.", "Narrator: Just as Poole hopes, Sullivan trounces Morrissey. Poole can't wait to see his enemy go down in flames. But this fight is about to take a shocking turn that will take this blood feud to a whole new level.", "[Bell dings]", "Narrator: It's October 1853.", "John Morrissey is fighting boxing champ Yankee Sullivan for the heavyweight title. But one man, William Poole, has bet a significant sum of money that his archenemy, Morrissey, will lose. Come on!", "McMillan: Yankee Sullivan did quite a job on John Morrissey. He was surgical in his strikes. Morrissey was getting his ass whipped.", "[Bell dings]", "Kill him!", "Narrator: Despite the thrashing, Morrissey won't go down. The fight goes on for an incredible 37 rounds.", "Colberg: That's crazy. Modern fighters today last only 12 rounds. It would be a prodigious undertaking to take such abuse.", "[SCENE_BREAK]", "[Bell dings]", "Narrator: The crowd is in a frenzy.", "Knock him out! It looks certain Morrissey will lose.", "Muldoon: Morrissey... he's bloody, he's bruised, he's broken. But there's no stopping this guy. He just will not give up.", "Narrator: Morrissey staggers up and fires one last shot, pushing Sullivan against the ropes. Off balance, Sullivan falls outside the ring. Get off him! That's when all hell breaks loose. The rabid fans swarms Sullivan. In all the chaos, it's likely that Sullivan does not hear the referee's calls over the roar of the crowd.", "Referee: Get back into the ring. Mr. Sullivan. And he doesn't return to the ring.", "[Indistinct shouting]", "Sullivan was supposed to come back, center of the ring, and continue, but Sullivan didn't come back. Sullivan! Sullivan! One... Supposedly, 10 count is given. Yankee Sullivan is out. Five, six, seven, eight...", "Narrator: So the referee declares the unlikely winner. Nine.", "[Indistinct shouting]", "Referee: I declare John Morrissey the new heavyweight champion of the United States.", "So Morrissey won on a technicality.", "[Cheering]", "He's a cheat! The only reason he \"won\" was 'cause it was called by a judge. He's a cheat! Poole felt ripped off. He felt raped. William Poole lost a fortune. And his enemy has won again.", "Narrator: After the fight, news of Morrissey's victory spreads, and the Irish celebrate all over Five Points and America. While the Butcher can't change the outcome of the match, he does the one thing he can to get back at his rival... renege on his bets. Poole has been talking very loudly to all of his friends and anyone who will listen, \"do not pay the gambling debt because Morrissey didn't win the fight.\" Nobody pay out your bets. Nobody pay out on this Irish scum.", "Narrator: Poole is determined that Morrissey and the Dead Rabbits will not profit one cent off their bets on Morrissey.", "Kamil: Now, this is preventing Morrissey from making money. It's also questioning his victory. So he may have the title of the heavyweight champion of America, but it doesn't mean anything if people don't believe he won.", "Narrator: Although Morrissey is furious over Poole's refusal to pay his debts, he's helped by a new romance with a kindhearted lass who will soon be his wife. Meanwhile, Morrissey's career continues to rise. His newfound fame and his work for Tammany Hall make him one of the best-known Irishmen in the northeast. Some even whisper he should run for elected office. And yet, all over town, the Butcher is trashing Morrissey's name, insulting him as only a bigot can. There's something about this whole sort of dance that Morrissey and Poole are having. It's like they're kind of stalking each other.", "Narrator: As the feud simmers, all of Five Points is watching. The Nativists want their hero, Poole, to put the immigrant in his place. And the Irish hope Morrissey will be their champion against Poole the bigot. Everyone can feel a showdown is near. Several months after the boxing match, the two rivals have a chance encounter that quickly erupts into fury. Morrissey asks Poole why he's telling people not to pay him out, and Poole responds, \"because you didn't win the fight.\"", "Narrator: Filled with rage, Morrissey issues a challenge. Morrissey responds with, \"I'll fight you anywhere, any time.\"", "Narrator: It's what everyone has been waiting for... a one-on-one fight between the two toughest men in Five Points.", "McMillan: So it was agreed that they would meet at the Amos street dock at 7:00 the next morning, where they would have their fight.", "Narrator: On July 27th, 1854, the stage is set for a showdown at the docks. Morrissey arrives with a few Dead Rabbits and Poole with a pack of Bowery Boys. Now, the Irishman and the bigot are about to square off. They're fighting for their pride, fighting for their people, and they're fighting for blood.", "McMillan: It's finally gonna happen. Now, they're gonna have revenge on each other.", "Narrator: July 1854. After a long-simmering feud, Irishman John Morrissey is about to fight his archenemy, William \"Bill the Butcher\" Poole. They are the two toughest men in Five Points... One, an Irish immigrant, the other, a proud Nativist. Morrissey and Poole are staring eye-to-eye. Their hatred is so intense, they're biting at the bit to start the fight. This is the moment that they've both been waiting for. Come on, Irish. You know you can't cheat your way out of this one. I'm glad to see you brought all your boys with you. They'll be cleaning you up off this pier. When will you ever learn? Don't worry. I'll teach you a lesson. Not this time, Poole. It'll be you who takes a poundin', Butcher.", "Man: Make him look silly. Come on, man. Morrissey threw the first punch. Poole blows it off. Morrissey throws the second punch on his body. Poole blows it off.", "[Indistinct shouting]", "A guy like Poole, this guy is methodical. Come on! His approach is pragmatic.", "Narrator: Morrissey is a bare-knuckle boxer. But Bill the Butcher is one of the deadliest street fighters in Five Points. And he knows how to find an opponent's weakness. Morrissey's anxious. Morrissey wants the world in his hands, right then and there. It's gonna make Morrissey vulnerable because he's gonna be emotional. And Poole's emotionless. Poole waits patiently for Morrissey's impulsiveness to give him an opening. Come on! Morrissey makes a mistake, charges Poole. And Poole jumps on him. This is bare-knuckle boxing. This is rough and tumble. There are no rules.", "Narrator: Now, the Butcher has his prey right where he wants him... Trapped. Poole beats him to a pulp... eyes, face, ears.", "Narrator: With shocking brutality, Poole reportedly gouges his eyes and bites a hole in his cheek. Poole knew going in he was gonna wipe the floor with Morrissey. And that's exactly what happened. Through a haze of blood, Morrissey realizes that Poole won't stop pounding him until he's dead. With his last breaths, this proud Irishman does something he's never done before. Not after 37 rounds with Yankee Sullivan, not even when Poole had him down at the Empire Club. He surrenders. Come on, you. Yeah! To survive this moment, he needs to surrender. He needs to give up. Otherwise, he's gonna die.", "McMillan: There was no choice. He was being beaten so badly by William Poole. Poole gets up, struttin' like the cock of the walk.", "Narrator: Poole and his gang leave Morrissey for dead. But Morrissey is still breathing, barely alive. Morrissey is just beaten to the point of hospitalization. Morrissey could have very well died that day.", "Narrator: By the next day, reports of Poole's victory and Morrissey's injuries made national headlines.", "Kamil: The newspaper accounts asked whether Morrissey will ever actually walk again. William Poole soundly thrashed poor John Morrissey. Poole was totally the winner of that confrontation.", "Narrator: It's a victory for the anti-immigrant movement across the country that this Nativist beat the upstart Irishman. As months pass, a triumphant Poole believes the feud with Morrissey is over. He carries on his life of butchering and ballot stuffing, confident his reign in town will continue. But he may have underestimated his opponent one last time. In the wake of the fight, a devastated Morrissey spends weeks recuperating. His wife, shaken, begs him to leave town, fearful that Poole will be the death of him. But he refuses to back down. I'll not be run out of town by Poole. Fighting on behalf of all Irishmen struggling to make it in the new world against bigotry like Poole's, he just can't stand for this hateful man to be victorious. I'll get my revenge. I swear it. This was an ugly fight filled with blood, hate, fists. An epic feud. It was gonna end bad.", "Narrator: The following year, on a cold winter night, William Poole is drinking at a local watering hole, Stanwix Hall. He doesn't notice when a lone figure walks in. But the other patrons are stunned to see Poole's old rival, John Morrissey. Stanwix Hall was a Nativist leaning place. How dare Morrissey trespass on Poole's territory? He's just asking to have his balls handed to him.", "Narrator: But this time, Morrissey no longer cares about honor. His hatred is so deep that he'll do anything to destroy his rival. The sudden use of a firearm is completely out of Morrissey's character. He's a man of fists. The use of a gun is murder as opposed to a retaliatory beating. You Irish thug. Don't you have the sense to know when you've been beaten for good and all? I should have killed you years ago when you first showed up at the Empire Club. I wager you wish you had, you son of a bitch. Morrissey's had two experiences with Poole. Aah! This time, he's taking no chances. Poole has to be eliminated by hook or by crook. I'm gonna end this, right here and right now.", "Narrator: It's February 1855. John Morrissey has just approached his hated enemy, William Poole, in a New York bar. I'm gonna end this, right here and right now.", "McMillan: Nothing happened. He pulled it again. Twice now, nothing happens.", "Muldoon: The gun, it must have misfired. Divine intervention. [Laughs] You know? It's like... it's hard to believe.", "Narrator: Now, Morrissey is unarmed facing his bitter foe in a hostile bar. You're a lucky b*st*rd, Morrissey. If that gun had gone off, you'd have all the fury of the Bowery Boys come down on your head. You know you can't kill me and live to brag about it. I imagine Morrissey's immediate reaction is, \"it's gonna be down to fists.\" But to his amazement, Bill the Butcher then pulls two carving knives. Knives. Now Bill was in his element. Why don't you fight me like a real man? Take it, you son of a bitch. Suddenly, the tables have turned. There's absolutely no chance of taking him on in a knife fight. Poole's gonna kill him in a knife fight. I'll butcher you like the pig that you are.", "Narrator: Just then, by blind luck, a few policemen enter the bar.", "Man: Halt! There'll be no fighting here, boys, or it's the tombs for both of you. If it hadn't have been for the intervention of that policeman, God knows what would have happened. Out. All right, all right. Out. Morrissey's fumin'. This ain't over, Poole. I'll see you soon enough.", "Narrator: Poole carries on drinking, laughing at his rival's sad attempt at revenge.", "Kamil: Think of the insult that Poole has just leveled at Morrissey. He looked at the guy who just shot at him and said, \"You're lucky. Not me.\" That's a really powerful statement.", "Narrator: Outside the bar, an enraged Morrissey runs into two of his comrades, Jim Turner and Lew Baker, and tells them what happened inside. Morrissey, for once, does what he's told and goes home. But Morrissey's men come back in Stanwix Hall.", "Narrator: And so, on this night, Bill the Butcher is in for yet another surprise. Poole was sitting at the bar, having a drink. In walk a couple of Morrissey's gang, that one of which was Mr. Turner. Poole. We've come to clean up the place. Your butchering days are over. Turner goes to pull his gun out, winds up shooting himself in the arm, then shoots Poole in the leg. As Poole goes down, Baker gets out a gun...", "[Gunshots]", "[Poole gasping]", "... and shot William Poole twice. Bill? Snell, get the doctor. It's all right.", "[Groaning, gasping]", "Baker: Poole must have been infuriated that these Irish had ambushed him and brought guns to a knife fight.", "Narrator: Poole is carried home, and a doctor is called in.", "One of the bullets has entered his heart, a wound too serious for the limited surgery of the day. But as he lies there dying, he manages to tell the police who he holds responsible. It was that Irish b*st*rd John Morrissey who got me. He lingers for 2 weeks before succumbing to his wounds. The final words that he allegedly says were... Good-bye, boys. I die a true American. This is an incredible way to die. This is a powerful slap in the face of every immigrant that has ever come to American shores. I have been killed by the immigrants, but I'm dying a true American. But he was anything but a true American. I mean, this was a racist, bigotist scumbag. And John Morrissey is a much better person. Poole deserves to die because he's in John Morrissey's way.", "Narrator: Poole's death is big news throughout the city. As for Poole's accusation, of course, John Morrissey denies any involvement. He and his colleagues, Turner and Baker, are indicted for the murder. But after hung juries, the charges are dropped. In my opinion, William Poole's death is attributable to John Morrissey simply because it was on behalf of Morrissey that Baker and Turner came to face Poole.", "Narrator: William Poole's funeral is a grand spectacle of Nativist pride, with contingents of police, fire companies, gang members, and politicians. William Poole's funeral was attended by over 100,000 people. That was unheard of. That had never happened before that. The next time it happened after that was for Abraham Lincoln's funeral.", "Narrator: With William Poole in his grave, the feud between Poole and John Morrissey is finally over. Their gangs, the Irish Dead Rabbits and the Nativist Bowery Boys, will continue to compete for turf and power in bloody street battles. As for John Morrissey, he retires from boxing and from gang warfare but not from politics. In 1866, he gets himself elected to Congress.", "Kamil: The Victor of all this is John Morrissey. He transforms himself from an uneducated son of a factory worker to a member of the United States Congress. It's respect. It's money. It's recognition for everything that he's achieved in his life.", "Narrator: When Morrissey dies of pneumonia at the age of 47 in 1878, state offices are closed and flags fly at half-staff. By the time he dies, the Irish are still not fully accepted in this country as equals. But it's coming. And that's in part because of how he was able to force their acceptance on America. That fight has often been violent. It's sometimes been ugly. But it has led to a wider sense of who we are as a country.", "Narrator: While these two men, William Poole and John Morrissey, may now be long gone, the legacy of their blood feud lives on. William Poole, John Morrissey, they represented something that still exists to this very day. There are still huge divides in race, immigration, politics, the one-percenters.", "Kamil: Throughout this feud, you can see the story line of American individuals struggling to not only survive in this country but to be Americans." ]

[ "Civil War hostility between the Hatfields of West Virginia and the McCoys of Kentucky escalates to kidnapping, illicit love affairs, murder, and a legendary turf war." ]

[ "Our nation is built upon a history of battles, fought over honor, family and power. These bloody and iconic chapters, define what it truly means to be an American. These are Blood Feuds. In the backwoods of Appalachia, two families, the Hatfields and McCoys, are locked in an epic battle. Told you I'd be paying you a visit. This is one of the most violent episodes in American history. Get away from her. You had bitter, bitter rivalries between figures that we will never forget.", "Narrator: It's the most notorious feud in U.S. history, the quintessential story of Americans taking justice into their own hands. \"Devil Anse\" Hatfield will kill to protect his family from slander and attack. I want to hear you beg for your life. Randall McCoy is dead set on revenge for his kin who were murdered in cold blood.", "[Gunshots]", "All of you Hatfields are a bunch of thieving killers.", "Potter: They just become more and more violent and vicious. The worst of human nature came out of these men. Get off my brother.", "Narrator: Born from deep divisions from the Civil War, this feud lives on in infamy as one of the bloodiest chapters in American history.", "[Man grunting]", "It's a war so savage that these two family names will be forever stained in blood.", "Potter: This feud was so powerful, it just wouldn't go away. McCoys, you're about to reap what you sow. My name is Randall McCoy. I'm a peaceable man. But them Hatfields, they've been like a curse to us McCoys, going after me and my kin, killing my family. By God, I'm here to stop them. I'm Anderson Hatfield. Folks call me \"Devil Anse.\" Seems like Randall McCoy blames us Hatfields for everything bad that happens. Hell, we're just like everybody else. And we'll do anything to protect our family from Randall McCoy. Randall McCoy, you are surrounded. You harm another member of my family, I'll kill you all.", "[Guns cock]", "[Gunshot]", "Narrator: The feud between the Hatfields and McCoys will span decades.", "But the leaders of these two families, Anderson Hatfield and Randall McCoy, are said to have begun as friends. Their story starts in the 1860s, during the Civil War, in Logan County of what becomes the state of West Virginia. Officially a Union state in name, in practice, the region is deeply divided between north and South. Nowhere else in the country did the social fabric get so torn as it did here.", "Narrator: It's a seething cauldron of tensions, pitting neighbors against one another.", "Warren: It wasn't unusual, especially in this area, to have brother against brother or cousin against cousin.", "Narrator: Confederate Loyalists formed fierce guerrilla militias in the state's backwoods, determined to fight against the Union soldiers occupying their land. And the most feared rebel militia is called the Logan Wildcats, led by a man named Anderson Hatfield, better known as \"Devil Anse.\"", "Richardson: There's several stories about the nickname Devil Anse Hatfield. His mother said that he was so mean that even the Devil himself was afraid of him. Like his Hatfield kin, Devil Anse was born and raised here, in the hills of West Virginia.", "Elmer: From the time he was a young boy, he spent a lot of time in the mountains. He hunted bear. He was a first-class shot. He could shoot a squirrel's eyeballs out the top of a tall poplar.", "Narrator: In 1864, after serving in the Confederate army, Devil Anse returns home to lead his backwoods rebel militia during the war's final years. He was a leader of men. Everybody just respected him and followed him. If he said, \"let's go,\" they got their guns and went.", "Narrator: As the story goes, one day, the Wildcats are joined by a neighbor sympathetic to their cause, 38-year-old Randall McCoy. McCoy lives just across the Tug Fork River in Kentucky. He grew up in poverty, scratching out a meager living as a farmer.", "Richardson: It's a very, very hard life. He worked a very small piece of land in a very rugged area. You have to respect what he was able to accomplish as just an everyday, normal guy.", "Narrator: Randall is known for his faith, a God-fearing man with convictions of steel. He was very, very different in personality than the Hatfields. The Hatfields were a little bit more outgoing and loud and showy. And Randall was a lot more reserved than that.", "Narrator: Today, these two neighbors, Hatfield and McCoy, share a mission.", "Richardson: There's a Union commander who's been making raids into West Virginia and killing Southern sympathizers. And Devil Anse Hatfield was given the mission to hunt him down and kill him. And he enlists Randall McCoy's help in locating this guy.", "Narrator: Together, the experienced woodsmen track down their prey. There he is. Yankee slime. Another one down.", "Narrator: The mission is a success. But the friendship between these two colleagues will soon be torn asunder. The animosity begins with a McCoy who happens to be Randall's younger brother, Asa Harmon McCoy. Unlike Randall, Asa joined the Union army, sparking resentment among many neighbors, especially the Hatfields. One Hatfield, in particular, takes exception to Asa... Devil Anse's uncle, Jim Vance. He's a ferocious Logan wildcat with a propensity for violence so extreme, it earns him the nickname \"Crazy Jim.\" His eyes would actually twitch at certain points. And that's how he got the name \"Bad Jim\" or \"Crazy Jim\" Vance.", "Elmer: People say he was extremely mean-looking fellow. Some people would even say he was a psychopath. He enjoyed killing.", "Narrator: When Vance hears that Asa has come home early from the war, discharged with a broken leg, it's said that he leads a mission to track Asa down, a man he considers a treacherous turncoat.", "Potter: So Asa goes over the mountain and hides. He was hoping it would all just die down. Maybe he was waiting for his leg to heal. I smell a Yankee. Told you I'd be paying you a visit.", "[Gunshot]", "They just went up there and killed him. That's not a fair fight. I mean, you're wounded, can't go anywhere. I've never shot a cripple before. First time for everything.", "[Spits]", "Of course, there's no law here at the time. So no one's brought up on charges.", "Narrator: When Randall McCoy learns of the killing of his younger brother, he's filled with grief and rage. A Hatfield has cruelly murdered his brother, a defenseless man who was no longer a soldier. But after four long years of war, the Bible-fearing Randall has no stomach for violence.", "Gary: He had seen so much that he just didn't want to go there anymore. And he promised to God that he would never kill anyone again or, you know, live that lifestyle.", "Narrator: He chooses not to retaliate, but his anger festers. There's a quote that goes around... \"God may forgive, but Randall McCoy, not so much.\"", "Narrator: Bitter seeds have been planted that will grow into a vicious feud that will last for decades. For the next 15 years, the McCoys and Hatfields keep their distance... The McCoys in Kentucky, the Hatfields just across the Tug Fork River in West Virginia. After the war, Randall McCoy spends the years busy with his farm and family, raising 16 children. That day and time, you had a big family just so you can help out on the farm.", "Narrator: Randall is especially fond of his daughter, Roseanna. At 21, she's the apple of her father's eye.", "Potter: Roseanna has been schooled so she's an intelligent, beautiful young lady.", "Narrator: To Roseanna and the rest of his children, Randall passes down his dedication to the Bible and his simmering hatred of the Hatfield clan.", "Richardson: If you're Randall McCoy and somebody kills your brother, you're never gonna forget that.", "Narrator: Over the years, Randall's resentment grows, when, on their side of the river, the Hatfields thrive in ways that his family has not. Since the end of the Civil War, the ambitious Devil Anse has found success in new ventures... selling timber and distilling moonshine.", "Warren: Devil Anse just kind of shot off like a rocket. Everything went right for him. He met the right people. He owned the right land. He was one of the first entrepreneurs in this area. Eventually, he made a fortune.", "Warren: So I do think there was some jealousy there.", "Narrator: Devil Anse and his wife are also raising their own brood of 13 children and teaching them to beware and resent the McCoys. It's only a matter of time before the two families clash again. You guys want a refill? Spring 1880. It's election day in Pike County, Kentucky, where the McCoy family lives. In these parts, elections are festive occasions where folks gather from all over to gossip and drink. And the Hatfields have come across the river from West Virginia to join the party and peddle their moonshine.", "Richardson: Winters were long and hard. And it was the first chance for everybody to socialize and have fun. And the moonshine flowed freely.", "Narrator: The gossip today is all about a recent legal squabble. Several months earlier, Randall McCoy had accused the Hatfields of stealing some of his hogs and dragged them into court.", "[Gavel bangs]", "He lost the case and his hogs. Although it's been 15 years since Jim Vance Hatfield allegedly killed Randall McCoy's brother, today, the feud between the families re-ignites. Well, if it isn't Randall McCoy. I hope you're keeping better track of your hogs these days.", "[Laughter]", "Warren: When you stole a pig, it wasn't that you were stealing some 50 cents that you found laying on the dresser.", "You were taking food out of their family's mouths.", "Narrator: The theft of Randall's hogs causes his years of pent-up animosity to explode straight to the surface. All of you Hatfields are a bunch of thieving killers. Haven't forgot what you did to my brother. And if you aren't careful, you'll end up just like him.", "Narrator: With tension at an all-time high, a war between the Hatfields and McCoys is about to break out, more violent than anyone can imagine.", "Narrator: It's 1880, Pike County, Kentucky. Well, if it isn't Randall McCoy. Hostility between the Hatfields and McCoys has been building since the end of the Civil War. Told you I'd be paying you a visit. With tension brewing for 15 years, today, the feud escalates to a whole new level. All of you Hatfields are a bunch of thieving killers. Haven't forgotten what you did to my brother. And if you aren't careful, you'll end up just like him. You best get along now before you say something and get yourself in real trouble. All right, boys. Take it easy.", "Narrator: A rare peacemaker, Devil's brother, Ellison Hatfield, tries to keep it civil. This is a day for gathering, not fighting. Hey. Have yourself a drink, all right?", "Narrator: The insults don't go unnoticed by Randall McCoy's sons. We can't let them get away with stealing our pig.", "Narrator: But there's more serious trouble brewing today from another member of Devil Anse's clan... His oldest son, Johnse Hatfield.", "Richardson: Johnse was only 18 at that time. And he was a very impetuous person. He was known to be a womanizer, what we would call today as a player. He had girlfriends everywhere. But he never dared cross the line to court any daughter of his family's mortal enemy... Who's that pretty little thing? ... until now. Bet them pies aren't as sweet as you are, Roseanna. Johnse Hatfield, you mind your manners now. Oh, I beg your pardon, Miss McCoy. Now, that's more like it.", "[Both laugh]", "Randall sees his daughter, Roseanna McCoy, talking to Johnse Hatfield. And, of course, that's a no-no. Hey. Get away from her.", "Narrator: Steeped in his father's hatred of the Hatfields, Randall's son, Tolbert, steps in. What do you think you're doing, young lady? Daddy, we weren't doing anything wrong. He's a Hatfield. I don't want you ever near that boy again. Now, get.", "Narrator: But, later in the day, the love struck Roseanna defies her father and makes a secret plan with Johnse. Later on, they meet up again and sneak off in the woods. Away from the prying eyes of their families, sparks fly. After the couple spends a long afternoon alone in the woods, Johnse fears it's too risky to walk Roseanna home. He might have been afraid to show up at Randall's door with his daughter after dark.", "Potter: Johnse convinces her that a better idea is just to go home with him. She could spend the night. And then, he'll bring her back the next morning. The two young lovers spend the night at the Hatfield home without the Hatfield patriarch's knowledge. And by morning, Johnse's in love.", "Richardson: So he spends one day with the daughter of his father's greatest enemy and decides he wants to marry her.", "Narrator: Rumors travel fast in Logan County, and Randall quickly learns from neighbors where his missing daughter is and who she plans to marry. When days turn into weeks, Randall sends an irate message to Roseanna demanding that she come home, or else he, reportedly, threatens to kill every Hatfield in West Virginia.", "Potter: She has disobeyed him, and she's ruined the family name.", "Warren: Devil Anse also was forbidding that Johnse marry her. So that side wasn't happy with it either.", "Narrator: Pushed to the brink of violence, the normally-God-fearing Randall McCoy is still unprepared for the final shock. After learning that Johnse has been stepping out with other women and has no intention of marrying her, Roseanna returns home months later with disturbing news... She's pregnant. Back then, it was a terrible thing for a girl to get pregnant out of wedlock.", "Narrator: Heartbroken, Randall banishes Roseanna from home and vows to never speak to his beloved daughter again. For years, Randall McCoy's sons have witnessed their father's humiliation at the hands of the Hatfields and watched him turn the other cheek because of his vow to God. But for the young McCoy boys, this latest act of betrayal by a Hatfield is the final straw. So two McCoy brothers, Tolbert and Jim, hatch a plot for revenge. The McCoys know that there is a warrant out for Johnse Hatfield in Kentucky for selling illegal moonshine.", "Gary: So they go out in search of Johnse.", "Narrator: The plan is to take the man who dishonored their sister to jail in Pikeville nearby. But that's not all they have in store. For the McCoy boys, their father's fury is now their own. Johnse, don't move. Put it down. And they don't share Randall's aversion to blood.", "[Grunts]", "Give him one, Tolbert. After meting out their own justice, all that's left is to bring Johnse to the sheriff to be arrested... Or so the McCoy brothers think. Get up. When Roseanna learns of her brothers' plan to capture and turn Johnse over to the law, she's terrified. Roseanna's afraid that they're gonna get him out in the woods and kill him.", "Narrator: Roseanna runs straight to the one person she believes has any hope of saving Johnse... Devil Anse Hatfield.", "Richardson: So at 8 months pregnant, she gets on the back of a horse and rides to try to get Anse to come and rescue Johnse.", "Narrator: Once informed of the McCoy brothers' plot, Devil wastes no time gathering his men. As the McCoy brothers are making their way over the hills to the sheriff in Pikeville, they're surprised by an armed Hatfield posse on the horizon. Evening, boys. Best hold it there. Where do you think you're going with Johnse?", "Man: Warrant's out for his arrest, Anse. We're bringing him into justice.", "Narrator: It only takes a moment for the young McCoys to see how far outgunned they are. You ain't taking him nowhere. Get on your knees. I want to hear you beg for your life.", "Man: [Laughs] Looky here. This one pissed his pants.", "[Laughing]", "I bow down to God. I'm not gonna bow down to no damn Hatfield. Can we kill them? Looks like today's your lucky day, boys, on account of I'm feeling mighty generous tonight. But don't you ride around here alone in these parts anymore, boys. Get up. Get up.", "[SCENE_BREAK]", "Narrator: When their father, Randall McCoy, hears what happened to his boys, his heartache over Roseanna quickly turns to rage. The hatfields' insults to his family keep mounting... His brother's murder, the theft of his property, his pregnant daughter, and, now, the humiliation of his sons. I want to hear you beg for you life. For the McCoys, the time for vengeance has come. But it will come with a horrible price. You really see the violence pick up after this.", "[Grunting]", "Get off my brother! An evil was unleashed.", "Narrator: It's the early 1880s. Along the border of Kentucky and West Virginia, the feud between the Hatfields and McCoys continues to escalate. Randall McCoy is seething after his sons tried to arrest and serve an outstanding warrant on Johnse Hatfield in retaliation for defiling his daughter, only to have the boys humiliated by his Nemesis, Devil Anse Hatfield. I want to hear you beg for your life. Johnse Hatfield goes free. And the wrath Randall and his sons feel is a powder keg about to explode. August 1882. It's time, again, for local elections in Pike County, Kentucky. And Tolbert McCoy is still fuming from his recent run-in with the Hatfields... Looky here. This one pissed his pants.", "Narrator: ... And is hell-bent on revenge.", "Potter: Some people warned the Hatfields, \"don't go over there. There's all this trouble going on. The McCoys will be there. You shouldn't do this.\"", "Narrator: The Hatfields don't listen. Tolbert hits the moonshine. And the more he drinks, the angrier he gets.", "Richardson: When Tolbert comes to this election, he's spoiling for a fight.", "Narrator: Before long, he finds a Hatfield target, a cousin of Devil Anse, and accuses him of reneging on a debt. You owe me money, you filthy Hatfield. I paid you your money, and you know it, you damned lair. As words fly, Devil Anse's brother, Ellison Hatfield, steps in and tries to break up the fight. Don't you call me a liar. That's enough. Break it up. Settle down. Tolbert's really full of himself. He's all excited, pumped full of adrenaline. Boy, I've never seen anyone more eager to get his ass whupped than you.", "Narrator: Ellison is beloved in the Hatfield family, a gentle giant who's known for always trying to keep the peace. But Tolbert McCoy won't back down. Well, hell, I can whup any man here. You're a damn [Bleep] hog. What? You want to fight somebody? Fight me. But with Ellison's superior size, it's less a fight than a thrashing. That fight turned really nasty.", "Narrator: Tolbert's younger brothers, Bud and Pharmer, quickly jump in to help their brother. Stop. Stop! Get...", "[Grunting, shouting]", "Potter: Ellison's still much stronger and just knocks them out of the way.", "Narrator: Today, after so many years of coming up short, one McCoy isn't gonna let a Hatfield win.", "Suddenly, Bud, the youngest boy, jumps in and starts stabbing Ellison. Get off!", "Narrator: Bud can't be stopped. It's as if each pierce into Ellison's flesh acts to right every Hatfield wrong. Ellison was holding up his arm to protect himself. And the knife stabs were just coming again and again and again.", "[All shouting]", "Narrator: Ellison realizes he's now fighting for his life.", "Get off me. Ellison grabs a rock. And he's getting ready to basically kill Tolbert. He's gonna hit him in the head with it and kill him.", "Narrator: At that moment, 19-year-old Pharmer McCoy grabs a gun out of the holster of someone standing in the crowd. He does what any other brother would do for their brother. Get off my brother! Aah!", "[Groans]", "Richardson: Pharmer shoots Ellison in the back.", "[Groaning]", "It still doesn't kill him. But it puts him down for the count.", "Narrator: Years previously, Randall McCoy has always turned his back on violence. Now, his sons are soaked in Hatfield blood. Bystanders grab the three McCoy brothers, Tolbert, Bud, and Pharmer, and place them under arrest. Ellison is in bad shape. He's rushed home, where his family tends to his wounds. When Devil Anse visits, he's shattered. Enraged, he vows to take the feud to unprecedented levels of vengeance. The three McCoy brothers involved are now en route to the sheriff in Kentucky. But the Hatfields want blood.", "Richardson: They decide to take justice into their own hands. Anse decides that he's gonna take those boys and mete out justice himself.", "Narrator: Devil Anse gathers a group of armed men to chase down the posse taking the McCoy brothers in. And several hours later, they close in on their prey. Accosting the group at gunpoint...", "Anse: Best hold it there. Devil demands that the three brothers be handed over. The McCoy boys are his prisoners now.", "Warren: After the boys are captured, he takes them to an abandoned schoolhouse on the West Virginia side of the river to hold them. What are you gonna do with us, Anse?", "Anse: I'll tell you. My brother lives, I'll turn you over to the law. But if he dies, I swear to God, you'll all die too.", "Narrator: Within a day, both families find out about the ultimatum and where the McCoy boys are being held. Ma. Sarah McCoy, Randall's wife, rides to Devil Anse to plead for the lives of her sons. Anse, I'm begging you. Let my boys go. Take them back to Kentucky. They can stand trial. You needn't beg, and you needn't cry. I promise you, I will bring them back to Kentucky. I will do that.", "Man: Now, shut up and get, woman, or I'll shoot them boys as full of holes as a sifter bottom. I love you, boys. Why'd you say you'd bring them back to Kentucky? Well, I never said I'd bring them back alive.", "[Both laughing]", "Narrator: The feud has pushed both Hatfields and McCoys past the point of reason.", "Get off my brother! Only vengeance guides them now. Three lives hang in the balance, and the clock is about to run out.", "Narrator: It's 1882 in Logan County, West Virginia. Devil Anse Hatfield is holding three McCoy brothers hostage after they stabbed and shot his own brother, Ellison. Get off my brother! Devil has made a frightening proclamation to his prisoners. If my brother dies, I swear to God, you'll all die too.", "Narrator: After a day of waiting, finally, a messenger arrives for Devil with news on Ellison Hatfield. Ellison lived for 2 days after the stabbings and being shot in the back.", "Richardson: But, eventually, he dies. And the three McCoy boys know that this is gonna be the end for them. Get up, you son of a bitch.", "Narrator: Devil Anse and Crazy Jim have thought through the execution in chilling detail. Rather than kill the boys in West Virginia, where the Hatfields live, they take the McCoys to Kentucky, where extradition will be difficult.", "Warren: The boys are distraught. Tears are flying. They realize they are going to die today.", "[All whimpering]", "We're gonna do this like we done during the war to deserters, traitors, and Yankees. Line up. Raise your rifles. McCoys, it's time for you to make your peace with God. You're about to reap what you sow.", "[Whimpering]", "Warren: They start begging and pleading for their lives.", "But the Hatfields were having no part of it. Please, don't do it.", "[Whimpers]", "Gary: It's a firing squad. They just execute them.", "[Guns cock]", "[Gunshots]", "[All groaning]", "Richardson: There were 40 bullets found in their bodies.", "So it was a very, very vicious, violent execution.", "Narrator: With the brutal murder of these three young McCoy brothers, any hope for an end to this feud is long gone.", "Richardson: One of Randall McCoy's friends came and took the bodies back to Randall so he could see his boys. And there's a famous photograph that's, supposedly, the three boys lying on a porch. Randall had so many bad things happen to him at this point. This must've been just a gut blow for him.", "Narrator: More than a gut blow, this is his breaking point. He knows he needs to end this feud once and for all. At this point, Randall McCoy's like, \"I'm not gonna back down from this. Whatever it takes is what I'm gonna do.\"", "Narrator: But he doesn't want blood atonement. He wants justice. He wants anyone remotely related to the execution of his sons to be put in jail and justice to be served. Randall is a man that is obsessed. He's not gonna stop until he gets the indictments for these Hatfields.", "Narrator: Week after week, Randall travels the 30 miles into Pikeville to plead his case to authorities. Soon, arrest warrants are issued in Pike County. But Devil Anse isn't worried.", "Richardson: Devil Anse knew that if he murdered these boys in Kentucky and he went back to West Virginia that the law enforcement officials could not cross into West Virginia without an order of extradition from the governor.", "Narrator: And the powerful Devil Anse has the West Virginia governor in his pocket. He won't help Randall McCoy. So Randall's efforts to try to bring Anse to justice were thwarted by that.", "Narrator: But Randall doesn't give up. He gets $100 bounties offered for the capture of each wanted Hatfield. Soon, bounty hunters pour into West Virginia.", "Richardson: The Hatfields went into hiding deep into the woods. But none of the Hatfields were ever captured or killed by any of these bounty hunters.", "Narrator: For five long years, Randall sees no justice until, in 1887, frustrated and near the end of his rope, luck shines upon him when a sympathetic candidate, Simon Buckner, runs for governor of Kentucky. The McCoys approach him with a deal.", "Potter: They say, \"we can deliver votes for you, but we want to see these Hatfields indicted. We want to see them extradited.\" So the gubernatorial candidate agrees.", "Narrator: Once he's in office, Governor Buckner increases the bounties to $500 a head and appoints a special deputy whose mission is to round up the culprits. The Hatfields feel the pressure. They're being arrested. Several of them are captured. And so they're not happy about this.", "Narrator: After months of being on the run, Devil Anse calls the Hatfield clan together for a war council. About tired of crawling around out here in these woods like a dog.", "Narrator: Devil Anse knows that it's Randall McCoy who's behind it all. And it's Randall McCoy's testimony that could send him to the gallows. We need to get that son of a bitch Randall. The group decides to end the feud once and for all... I say we go in there, boys, and we just cut the head off the snake. ... by getting rid of Randall McCoy. Problem solved, and no trials.", "Narrator: January 1, 1888, a Hatfield raiding party, led by Crazy Jim Vance, crosses the river into Kentucky to Randall McCoy's cabin. Boys, wait for my order. Inside, Randall, his wife Sarah, and their children are all peacefully sleeping until the stillness is broken. Randall McCoy, you are surrounded. Come on out and face your fate. Randall McCoy, I'm talking to you.", "Narrator: Randall recognizes that voice. It's Jim Vance, the man who murdered his sons and allegedly killed his brother, Asa, years earlier. If you come out now, no terror shall befall your family. Why are they here, pa?", "Calvin: What should we do? Alifair, go to your mother. Calvin, load up.", "Narrator: Randall McCoy is not about to give himself up to the Hatfields and leave his family at their mercy. I don't think they're coming out, Uncle Jim. Damn it to hell. You Hatfields get away from my home and leave us alone.", "Potter: The Hatfields realize that with McCoys inside this thick-walled cabin that they're not gonna win just sitting there, shooting into the cabin. We're gonna have to smoke 'em out. All right, Randall. You had your chance. Boys, fire it up.", "Narrator: Once ablaze, the fire quickly spreads to the interior.", "[Coughing]", "Warren: And everyone in the cabin is frantically trying to put the fire out.", "And there's smoke filling everywhere and people running around. It looks like a war zone. I'll get more water, Ma. There is no more water.", "Narrator: The McCoy family must now choose whether to burn to death or face the armed posse outside. But Randall McCoy isn't ready to give up just yet.", "Randall: You harm another member of my family, I'll kill you all.", "Narrator: And this night of horror, fueled by over 20 years of hatred, bloodlust, and animosity, will mark a chilling end to the feud.", "Narrator: On new year's morning, 1888, a Hatfield raiding party, led by Crazy Jim Vance, has crossed into Kentucky to capture their rival, Randall McCoy, at his family home. All right, boys. Light up them torches. Fire it up. Inside their burning home, the McCoy family desperately attempts to put out the fire. Randall and his son, 16-year-old Calvin, move to the windows to try and determine how many men they're up against. And for the first time since his vow to God, Randall prepares to kill. You harm another member of my family, I'll kill you all. At the back of the house, his daughter, Alifair, makes a run for the well outside to fetch water to extinguish the blaze. One of the Hatfields has her in his sights. He just blows her away instantly. And she drops dead there, right at his feet. [Crying] Alifair! Oh, no! Her mother runs out to see if Alifair's okay. And as she comes out, Jim Vance takes his pistol and just beats her senseless in the back of the head.", "Narrator: Inside, Randall doesn't realize what has happened to his daughter and wife. He and his son hatch a desperate plan to make a run for it. Take two pistols. I'll cover you. Run out the front.", "[Both coughing]", "What about you? After you're away, I'll run out the back.", "[Both coughing]", "Narrator: As Calvin bolts from the cabin, he is spotted by the raiding party.", "And he gets almost to the edge of the cornfield. And a very good shot catches him right in the back of the head, and he drops dead.", "[Coughing]", "Randall thinks Calvin got away, so he goes the other direction, and he does get away.", "Narrator: Eventually, the Hatfields realize that Randall has escaped. With two young McCoy children killed and their mother brutally beaten, the night has been violent beyond all comprehension. As word of the tragedy spreads, the public is shocked and horrified. The new year's raid was cold-blooded murder, killing women and children. The feud catches national news.", "Narrator: The public demands the West Virginia and Kentucky governments step in and capture the guilty Hatfields responsible for so much murder and mayhem and bring an end to the terrible feud.", "Warren: The common citizens were putting pressure on the governor to stop these two families from going at each other.", "Narrator: Tension mounts, and both states even ready their militias.", "Potter: So at this point in time, they're thinking, \"we're gonna have a war between two states.\"", "Narrator: Finally, after years of trying to bring the Hatfields to justice, in April 1888, the Supreme Court rules that the prisoners, even if seized illegally, could be tried once they were detained in the state where the crimes were committed. Eventually, posses round up the guilty Hatfields and bring them back to Kentucky to stand trial. Those who resist are killed. Crazy Jim Vance is cornered and shot dead by a posse that includes the sons of Asa McCoy. So Asa Harmon's children eventually got their revenge.", "Narrator: A total of nine other Hatfields are arrested in connection with the bloody feud. Among them is Devil's son Johnse, who serves time in a Kentucky prison. Only one is given the death sentence. Cotton top, Devil Anse's nephew, is hanged for the murder of Randall's daughter, Alifair. After everything that's happened, justice served against the Hatfields provides little solace for the devastated McCoy family. Randall's wife, Sarah, is permanently disabled from the brutal assault she endured.", "Potter: Sarah lives for about 12 more years after this injury, but she never fully recovers.", "Narrator: Roseanna, whose affair with Johnse sparked so much tragedy, suffers the loss of her illegitimate child and remains wracked by guilt.", "Richardson: Roseanna crawls into her own sickbed, pines away, and dies at 29 years of age. We don't know what killed her. But the family says that she died of a broken heart.", "Narrator: As for Randall McCoy, he is tormented by grief and anguish until his dying day in 1914 at the age of 89.", "Richardson: He's lost half his family. And he's a broken man. He spends the rest of his life bemoaning what life has dealt him.", "Narrator: The one man never held to account for his part in the feud is Devil Anse Hatfield. He escapes from the law by fleeing the valley and settles in one of the most remote spots in the state. Devil Anse finally dies in 1921, 7 years after his one-time friend and longtime enemy, Randall McCoy. Even after both men pass, the blood feud between the Hatfields and the McCoys remains an infamous chapter, forever ingrained in American history.", "Potter: When people take justice in their own hands, evil is unleashed. And it was a terrible evil that was unleashed here. You have a Hatfield and a McCoy in the same room, you don't talk about the feud. They got their version, and the McCoys got their version. And you got to just leave it at that. The Hatfields and McCoys are synonymous with the word feud. This is one of the most fascinating chapters in American history. And these are characters that we will never forget." ]

[ "Former friendships sour as two ranching families become embroiled in an epic battle in the dangerous frontier of Arizona." ]

[ "Our nation is built upon a history of battles, fought over honor, family and power. These bloody and iconic chapters, define what it truly means to be an American. These are Blood Feuds. On the dangerous frontier of Arizona, a brutal range war breaks out that's said to be the deadliest family feud in U.S. history, the Pleasant Valley war.", "Hutton: This was a vendetta between families. It really was a blood feud.", "Narrator: It's a battle to the death as two ranching clans clash for control over the land and their right to manifest destiny. The Tewksbury brothers are frontiersmen who will stop at nothing to defend their territory. Ed would stand his ground, and he would not back down.", "Narrator: The Graham brothers are grifters, prepared to kill any man who stands in their way.", "Hutton: The Graham boys, they're armed to the teeth and are determined to get revenge. Who did this to you? Who shot you, Billy?", "Narrator: Acts of betrayal, unspeakable violence... Those murdering dogs! ... and ignite a feud so vicious the pages of American Frontier history will be bathed in blood. There's no story in all of Western history as violent. There were beheadings. Lynchings. This indiscriminate slaughter just seemed medieval. There's no turning back now. Meet you in hell, Ed.", "[Woman screams]", "I'm Ed Tewksbury. My family and I pioneered Pleasant Valley. I live by an honorable code. Tom Graham, he has no code. I'm gonna get you. You should be looking over your shoulder the rest of your life. I'm Tom Graham. My brother and I, we settled in the valley. It was Ed Tewksbury who brought us here. And let me tell you this... He is not a man of honor. If you don't want to die right now, go home, Tom. It's a blood feud. It's about vengeance.", "Narrator: The feud between Ed Tewksbury and Tom Graham takes root in the late 1870s on the unforgiving Arizona frontier. The Homestead Act lures men to the vast, unclaimed territory. But only the hardiest of souls can make it here. Arizona is such a violent place at the time. The Apache Wars are in full swing, and they are repeated outbreaks. Any settler that settled that area was taking their life in their own hands. They were essentially settling a killing field.", "Narrator: But in the midst of this toxic brew of desert and danger is a seeming oasis, a place that comes to be known as Pleasant Valley. Pleasant Valley is in north central Arizona. It's right below the Mogollon Rim.", "Trimble: They call it the rim of Arizona. It was a dividing line, and it dropped off 1,000 feet down to this nice, little valley. There's trees to build cabins. There's grass to support livestock. This is a place where you could run cattle on free grass and make a good living. So here's a cattleman's dream.", "Narrator: And one pioneer willing to risk it all is a fiercely private man named Ed Tewksbury. Edward Tewksbury was a very strong character.", "Spangenberger: You didn't want to get on the wrong side of 'im. He had quite a temper. He felt, if he was right, he was right, and by God, nothing's gonna change that.", "Narrator: Originally from California, Ed's life has been defined by his mixed race. His father... European, his mother... a Hupa Indian.", "Hutton: At the time, in the west, they had a word for that. And it was not a positive word. A half-breed, as they called it then.", "Narrator: Following his mother's death, Ed moves to Arizona in 1877 along with his father, three brothers and a huge chip on his shoulder. Gimme that barbed wire over here. They had endured some racial stuff in California, you know, \"half-breeds.\" And you come out here, and you just say, \"I'm not gonna take that anymore.\"", "Hutton: They were tired of being harassed. Pleasant Valley was one of the last places where people on the run from another kind of life who were bold enough could take hold and actually make it.", "Narrator: For Ed, it's his best shot to build a life free from prejudice, a life where his family relies on no one but each other. Pleasant Valley offered an opportunity, dangerous as it was, for them to be left alone.", "Narrator: Ed and his brothers build a simple home for the family and a ranch for their small herd of cattle.", "Trimble: It was hardscrabble. They just had enough cows to maybe support their families, and that was about it.", "Narrator: It's a humble beginning. But Ed has faith that, with hard work, the Tewksburys can live undisturbed in Pleasant Valley. But their days of solitude won't last long. Soon after the Tewksburys settle into Pleasant Valley, another industrious young man comes to Arizona looking for opportunity. His name is Tom Graham. Tom Graham was a very ambitious man.", "Obregón Pagán: Tom was young. He still had a little bit of baby fat and innocence about him. But he had a real look of determination in his eye.", "Herring: He came to Arizona after a long period of restless wandering, sometimes on both sides of the law.", "Narrator: Wild, wily and always looking for an angle, Tom is looking to get into the cattle business with his like-minded brothers. They were in the great American tradition of looking for the next big thing.", "Narrator: And it's cattle that's on Tom's mind the day he saddles up to a bar in a remote town outside of Pleasant Valley and meets Ed Tewksbury. It's a meeting that would change their lives and the course of history.", "Tom: Me and my brother just moved out east from California. Come into town every now and then to play a little poker. Oh, yeah? Ed Tewksbury isn't much of a talker. But something about the young man appeals to the cattleman. They struck up a conversation, and it turned out that they actually had a lot in common. They were both of pioneer stock.", "Obregón Pagán: They both lost their mother at a young age. They both lived in California for a while. And they're both fledgling ranchmen. You ever get lucky? A matter of fact, we won 60 head of cattle out in Phoenix last week from a couple of fellows who were there to sell their herd. That right? We're looking to set up and graze that herd, maybe get into ranching.", "Obregón Pagán: And so Ed said, \"you know, you ought to think about this place we're living. You know, come on up, take a look and see if you can make a life for yourself.\" Ed Tewksbury. Tom Graham. Tewksbury tells Graham about Pleasant Valley, tells him about the opportunity there.", "Narrator: Tom arrives with his older brother, John, a man with a wild streak and a nose for trouble. John was a little bit more fiery. And I get the feeling that John sort of led Tom around a lot.", "Herring: But they were a strong brotherhood, the two of them.", "Narrator: John sees the area's potential and agrees with his brother that this is where they should ranch. John Graham was a very ambitious man. When he had an opportunity, he took it.", "Narrator: Soon, the grahams set up a homestead within sight of the Tewksburys' ranch, and the two families become fast friends. Graham and Tewksbury are kindred souls.", "Narrator: Ranching is going well. The Grahams have a herd of 60 cattle, while the Tewksburys own around 40. Their families are growing. Thank you, darling. Ed Tewksbury's brother John is now married, and the neighbors have high hopes for the future. Long-lasting... Fruitful and long, huh?", "Woman: Cheers.", "Narrator: But a new, powerful player in Pleasant Valley is threatening to disrupt the peace, a cattleman who will turn these fast friends into bitter enemies. The trouble really began when Stinson brought a herd of cattle over.", "Obregón Pagán: James Stinson is a very large cattle owner, and he moves part of his herd down into Pleasant Valley.", "Narrator: Stinson is a wealthy judge who resides in Phoenix.", "Trimble: Stinson wanted to have a cattle empire. He went in and tried to buy people out. And he really offended both the Grahams and the Tewksburys, uh, with his high-handed ways.", "Narrator: After moving some 1,200 head of cattle into Pleasant Valley, Stinson's herd far outnumbers those of the brothers, who have less than 100 head combined. Suddenly, the vast valley looks a lot smaller. Grass is free, but it's not really free. People control grass. And Stinson had a sense of, \"I own all of this range.\"", "Narrator: Concern quickly brews amongst the Tewksbury and the Graham brothers. So I hear Stinson was in town, meeting with his foreman, checking on his cattle. Stinson is an incredible threat.", "Narrator: So the two families hatch a scheme to increase the size of their herds and teach this interloper a lesson. Heard his cattle is gonna be calving soon. We ready? Just about. They plan to round up Stinson's calves that stray from his herds and claim them as their own. It's a form of cattle rustling known as mavericking. Mavericking is the art of taking those unbranded calves and putting your brand on 'em. This is when Tom Graham and Ed Tewksbury, uh, got a joint partnership in a herd. Here's what I've been working on. What do you think? I think it's not half bad.", "Brown: Tom Graham and Edward Tewksbury, their brand was the \"T\" over \"E,\" Tom and Ed.", "Narrator: The new T-E brand, once burned into the Stinson calves, will make them property of the Tewksburys and the Grahams in the eyes of the law. And so they actually were cattle rustlers together.", "Narrator: But the Tewksburys and the Grahams underestimate Stinson. He's not the type of man who takes kindly to losing cattle.", "Obregón Pagán: His cattle start disappearing. And Stinson knows something is up. And he believes that some of the locals in Pleasant Valley are taking his cattle.", "Narrator: Stinson's ranch foreman investigates and soon puts two and two together. While his calves go missing, the T-E herd is thriving. He eagerly reports to his boss what this means. The Tewksburys and Grahams preyed on the Stinson herds in order to build their own.", "Narrator: Although Stinson recognizes the Grahams are equal partners in the mavericking, he reportedly singles out the half-Indian Tewksburys as the culprits. In the sight of many Arizonans, they're tainted by Indian blood.", "Narrator: Stinson sends the foreman and his men to teach the Tewksburys a lesson.", "Herring: The Stinson foreman was determined to stop the Tewksburys. And he rode up to the Arizonans ranch with some men.", "Narrator: The plan is to use this show of force to threaten Ed and John and stop the rustling. Suddenly, these men come riding in unannounced, and they're armed.", "Narrator: When Stinson's men arrive, they discover the Tewksburys aren't alone. The Grahams are with them. Now, right away, the Tewksburys and the Grahams are defensive. And it went to violence very, very quickly.", "Narrator: This is just the first chapter in what comes to be known as the Pleasant Valley war, one of the bloodiest feuds in U.S. history.", "[Screams]", "Narrator: In 1883, in the Arizona territory, the first shots of the Pleasant Valley war are about to ring out, triggering one of the deadliest feuds in American Frontier history.", "The Tewksbury and the Graham brothers have been stealing calves from the largest cattle tycoon in the area, Judge Stinson. Stinson has dispatched a posse of armed men to teach them a lesson. It went to violence very, very quickly.", "Trimble: As the story goes, the Tewksburys asking, \"what do you want?\" And he said something to the effect of, \"you, you S.O.B.\" Somebody called somebody a black son of a bitch. Hands go for guns. And the foreman pulled his pistol and fired a shot and missed. And Ed returns fire. Boom, boom, boom. Graham is instrumental in jumping in and helping Ed. Stinson's men, they're trying to draw their weapons, but their horses are jumping around. They get off a few shots, but the shots go wild.", "Narrator: Stinson's men are outmatched.", "Obregón Pagán: Then, they go charging off. They run from the situation. It's all over very, very quickly.", "Hutton: So the first shots in the Pleasant Valley war actually have the Grahams and Tewksburys as allies.", "Narrator: But the Arizonans and Grahams' days as comrades are numbered because Jim Stinson isn't about to back down. So he comes up with a new plan.", "Trimble: Stinson is very devious. He wanted to divide the two families, get 'em fighting.", "Narrator: This time, he won't use guns. He'll use the law. He looks around. He tries to figure out, \"I need somebody on my side who's willing to then turn evidence against the Tewksbury brothers for stealing cattle.\"", "Hutton: Stinson realizes that the Grahams are gonna be more useful to him as accomplices rather than enemies. He wants them to finger the Tewksburys as the cattle rustlers.", "Narrator: Stinson wants to spark a blood feud. So he calls a meeting with the one person he deems the weakest link, John Graham. Thank you for seeing me, Mr. Graham. I think that John Graham was easily influenced. Sure thing. What can I do for you, sir? You know I run a large herd of cattle down here, Graham. And I'm losing a lot of 'em to rustlers. Now, why don't you tell me what that has to do with me? I think you and your brother are a little too closely associated with those rustlers. You don't want to end up in jail. Besides, I can provide you with adequate compensation. He offers John a very lucrative contract that, if he will identify whoever's rustling cattle, John stands to profit handsomely from this. Keep talking, Mr. Stinson.", "Narrator: It's a simple deal. John Graham goes to the law and charges the Tewksburys with stealing. For any man convicted, Stinson gives John a bounty. 25 full-grown cows and 25 calves for every charge you make that ends up in a conviction for a cattle rustler. Well, that sounds like it might work for us. Now John faces the difficult task of getting his younger brother Tom on board to seal the deal.", "[SCENE_BREAK]", "I don't like it. It ain't right. We have to get that out of your head. This is an opportunity for us. Tewksburys have been good to us. They helped us get set up here. We rustled those mavericks together. And now you want to tell Stinson that it was the Tewksburys that's been stealing from them the whole time? Whatever the Tewksbury does, they're not family. You and me got to stick together. Well, we have a chance to be real cattlemen with Stinson's reward. The Tewksburys will go to jail instead of us. Tom, perhaps idolizing his older brother, eventually goes along with it. This is a dark side of the Grahams because this was a violation of what was the code of the west, your honor and loyalty to friends.", "Narrator: The Grahams know that partnering with Stinson will declare war on the Tewksburys but will keep their family out of jail and gain them a piece of Stinson's cattle empire. Blood is thicker than water. And Tom falls right in line with his brother to the very end. All right. I'm in.", "Narrator: On November 14, 1883, a meeting is held to sign a contract with Stinson. They took the deal out of self-interest. And it forever shattered their friendship with the Tewksburys.", "Narrator: This fateful document later becomes known as the treaty of war.", "Trimble: It was a double-cross. And what a price it cost 'em.", "Narrator: Within days, the law comes after Ed and John Tewksbury.", "Man: Tewksburys, come on out of here. The brothers are blindsided. When they discover it was the Grahams who turned them in, they feel completely betrayed. They were the ones who invited the Grahams up to Pleasant Valley. And suddenly, their friends had turned on them. This really hit them very, very hard.", "Narrator: The Tewksburys face four indictments on stealing Stinson's cattle. They have to stand trial.", "Narrator: With the Grahams' damning testimony, they fear conviction is inevitable. But after several months in court, there's a surprising verdict when the judge learns about the Grahams' deal with Stinson.", "Brown: When the judge found the contract, he suddenly became pro-Tewksbury and dismissed the charges against the Tewksburys for rustling.", "Narrator: For the Grahams, it's a crushing blow. Not only has their plan blown up, but now the Tewksburys know the complete depravity of the double-cross. The Tewksburys are completely betrayed by the Grahams in the most fundamental way. And so they're determined to get revenge.", "[SCENE_BREAK]", "Narrator: Shortly after the trial, a festering John Tewksbury can no longer contain his anger, and he goes looking for John Graham. John Graham! John Tewksbury has got a temper and a violent streak. And that's what's gonna get him into trouble.", "Narrator: Drunk with rage, he can't stop himself from striking a blow. But he quickly comes to his senses. The Grahams may have lost the court case, but they still have their sweet deal with powerful Judge Stinson. Surrounded by Stinson's men, John Tewksbury realizes that, if he goes any further, he could be killed. And John Graham knows it, too. John Tewksbury has no choice but to walk away seething. Both men know this is not the end. With the Grahams sitting pretty in Pleasant Valley, the Tewksburys set out to rebuild their lives. But even with the charges dismissed, the Arizonans reputation as respectable cattlemen is ruined. So their lives are exponentially more difficult than they were when the Grahams showed up.", "Narrator: Even worse, the legal fees from the protracted court battle have brought them to the brink of bankruptcy. With their cattle operation finished, they lease their land to a profitable, new enterprise... Sheep.", "Hutton: The Tewksburys turned to sheepherding as a way to make some money. And they're willing to lease out part of their range to sheep that are coming down from the north.", "Narrator: Focused on this new venture, the Tewksburys keep to themselves. But they are merely biding their time for revenge. I wouldn't say that they wanted to let bygones be bygones, but they let things lie.", "Narrator: Meanwhile, the Grahams fall upon hard times. Six months after their pact, their benefactor, James Stinson, decides he isn't making the money he expected in Pleasant Valley. So he chooses to cash out of his cattle operation.", "Trimble: When Stinson started this feud, it was to divide and conquer for financial gain. That was his purpose. But it wasn't working out for him, and he knew it.", "Narrator: With Stinson gone, the Grahams lose their protection against the Tewksburys. Making matters worse, their own cattle business is failing due to a new player in the valley.", "Obregón Pagán: The Aztec Land & Cattle Company who were there, also known as the Hashknife Cowboys, moved their operations from Texas into Arizona.", "Narrator: With 33,000 Texas longhorns, the Hashknife outfit employs a band of armed thugs to guard their herd, led by a particularly violent man named Andy Blevins.", "Herring: Blevins had a murder charge from Texas and was a serious outlaw, a killer of men.", "Narrator: Ever the opportunists, Tom and John Graham decide to sell their small herd and go to work for the Hashknives and Andy Blevins. The Grahams quickly understood the benefits of wild people like Andy Blevins.", "Narrator: The Graham brothers now have the biggest cattle outfit in the valley behind them. And the Aztec's operation is thriving. But there is one looming threat, the very venture the Tewksburys have embarked upon... sheep. Sheep eat the grass right down to the roots, and they leave nothing. They'll denude the land. Cattlemen all across the west despise sheepherders. It's oil and water.", "Spangenberger: The cattlemen decided that the Mogollon Rim was an area that would separate the sheep ranching from the cattle ranching. And if the sheep came over that, that was a no-no. Once they did, then the troubles began.", "Narrator: And if the Hashknives and Grahams go after sheepherders, that means the Grahams will go after the Tewksburys again. The feud between the brothers is set to reignite.", "Trimble: February of 1887 was the beginning of about nine months of real hell. It began when one of the Tewksburys drove the sheep over the Mogollon Rim, and you've got to know there's outrage down there among the cattlemen. Then, all of a sudden, things got real nasty.", "Hutton: Cowboy reaction to sheep coming into the valley was to kill the sheep. That's exactly what they did.", "Narrator: The Tewksburys find their flock at the bottom of the canyon. They rimrocked the sheep, as it was called. They ran 'em over the cliffs and killed them all.", "Narrator: The slaughtered livestock is only the beginning. The carnage sparks a vicious war from which there is no turning back. Those murdering dogs! At stake is the quintessential quest to survive on the American Frontier.", "Herring: They tipped it over into real warfare. And what we get was this kind of relentless, tit-for-tat violence.", "Narrator: It's February 1887, Pleasant Valley on the Arizona frontier. The blood feud between the Tewksburys and the Grahams has been simmering and is about to explode into one of the deadliest conflicts in the history of the wild west. The Tewksbury brothers have discovered the wholesale slaughter of nearly their entire flock of sheep. Then, Ed and John follow a trail of blood to find an even more gruesome scene.", "Ed: They killed 'em. Those murdering dogs!", "Hutton: They killed the sheepherder. And as story goes, to make matters worse, they beheaded him.", "Narrator: By using a beheading, a telltale Native American form of execution, this savage slaughter seems to be not just murder but a personal attack on the Tewksburys heritage.", "Hutton: The Grahams were really trying to send a message by this act of incredible violence. As if killing the sheep wasn't enough. This was so horrible to find the man who had been herding the sheep beheaded. You know who's behind this. You know what we have to do. The Tewksburys are just horrified, and they were determined to get revenge.", "Narrator: On August 19th, they find their opportunity. The beloved younger brother of Tom and John, 18-year-old Billy Graham, is out riding unguarded and alone when he's ambushed by a group of men...", "[Gunshot]", "... who leave him there to die. Billy, barely alive, reportedly gallops his horse home to the Grahams' ranch, hanging on for dear life. Now, all that the Grahams know is that he leaves early in the morning and, several hours later, he comes back into the cabin bleeding. His bowels are falling out of his hands because he had been shot in the back. Who did this to you? Who shot you, Billy? The... the Tewksburys. Ed... Ed was the one who pulled the trigger. Billy died a pretty horrible and lingering death.", "Narrator: For Tom Graham, this is not like the killing of an anonymous shepherd. This is family, his brother. We now have a Tewksbury killing a Graham. Billy Graham was just a kid. And there was so much hatred now.", "Obregón Pagán: Literally with blood on their hands with their brother, they swore that they were gonna avenge their brother's murder by taking out the Tewksburys.", "Narrator: Filled with anguish, there is only one thing now that will sate Tom's fury... The death of Ed Tewksbury. This is war now. This is gonna be to the last man. You killed my brother. Go home, Tom. You killed Billy. He came home last night with a hole blown right through him. He died in my arms. I'm gonna kill you. If you don't want to die right here, right now, go home, Tom.", "Narrator: Tom will get his revenge one day. To take down his enemy, he realizes he needs to bide his time to pick the right moment.", "Spangenberger: Tewksbury was a quick man with a gun. He was a good shot, and he wasn't afraid to use it. You should be looking over your shoulder the rest of your life... 'Cause I'll get you.", "[SCENE_BREAK]", "Narrator: Now that blood has been spilled and the Grahams have sworn revenge, Ed and his brothers realize their families are at risk, and they must act now to keep them safe.", "John Tewksbury moves his pregnant wife, Mary Ann, and their young daughter to his father's house a few miles away. Then, the Tewksbury brothers, accompanied by a group of allies, head to hide out deep in the hills. They knew the hills very, very well. And they waited for things to die down.", "Narrator: The Tewksburys camp out in the mountains for two weeks before John gets anxious.", "Obregón Pagán: John's wife is pregnant. And so he wants to come back to see his wife. He wants to check on her.", "Narrator: That evening, he arrives at his father's house safely and enjoys a blissful reunion with his family. John beds down for the night with a plan to go back into hiding the next morning. But outside the cabin, a group of men bent on revenge is waiting.", "Trimble: Sometime during the night, Tom Graham, John Graham, Andy Blevins and a few Hashknife cowboys surround the cabin and wait till morning. So, early in the morning, John Tewksbury goes out to gather the horses.", "Narrator: John is preparing to head back into the hills, but he's stopped cold.", "Obregón Pagán: Their horses are gone. So John arms himself and goes out looking for the horses. As you can imagine, there's lots of brush, lots of trees. And he's listening if he can hear the horses. The Grahams were out just a short distance from the cabin.", "Narrator: What happens next will escalate the feud to a whole new level of bloodshed.", "Trimble: Blood's been drawn from brothers. This is the old biblical eye for an eye. And there's no turning back now.", "Narrator: The grisly violence will shock the public and rock the nation.", "Narrator: It's September 1, 1887, in Pleasant Valley, Arizona. The Grahams have been hunting down the Tewksbury brothers to avenge their brother's murder. After tracking John Tewksbury to his father's home, the Graham brothers and a pack of Hashknife Cowboys lie in wait. And he's ambushed.", "[Gunshots]", "Narrator: The Grahams ruthlessly gun down their former friend in front of his family.", "[Screams]", "Hutton: And now the Pleasant Valley war really takes on its most violent stage.", "Narrator: Next, they reportedly turn their rage and their guns towards the cabin.", "Inside, a pregnant Mary Ann and other Tewksburys are trapped and completely outgunned.", "Hutton: Whole family is gathered, women and children. They are besieged by these armed gunmen.", "Narrator: In a moment of stillness, John Tewksbury's wife begs the Grahams for a cease-fire. Let me come out there and bury my husband's body, you sons of bitches! No. Let the hogs eat him.", "Hutton: Grahams won't do it. That's just how bitter everyone is by this time.", "Narrator: The Grahams decide to lay siege on the cabin, planning to kill any adult male Tewksburys inside and end the feud once and for all. Andy Blevins, murderous ringleader with the Hashknife Cowboys, has a sinister idea for their next move. We should burn this place to the ground, be done with as many Tewksburys as we can. Andy Blevins was a psychopath, and he wants to burn the cabin down with the women and children inside. Now, to Tom Graham's credit, he says no. We ain't got no beef with Mary Ann. So there'll be no burning today, Blevins.", "Trimble: This was an eye for an eye. And if you start burning down cabins with children inside, the other side's gonna do it because that's what happens in a feud.", "Narrator: The siege lasts day and night... For over a week until, one night, when gunfire is quiet, a Tewksbury ally inside manages to escape. He escaped the snipers and ran to get the law.", "Narrator: But the justice of the peace arrives too late. By the time the law arrived, the Grahams are gone.", "Narrator: Miraculously, no one inside the cabin is injured, and John Tewksbury can finally be buried. His brother Ed is shattered. The Tewksburys are at high alert at this point. Now, one of their brothers has been killed. They're under assault, and they're fighting for their lives.", "Narrator: But after so much back-and-forth violence, this gruesome crime sparks a larger outcry. For years, the Pleasant Valley war, as it comes to be known, has been making headlines. Newspapers chronicle each offense of the Grahams, the Tewksburys, the Hashknives and anyone else caught up in the range violence. They say as many as 50 people died. Many were missing and never found.", "[Gunshots]", "The governor of Arizona demands a crackdown. Arizona wants statehood. They're never gonna get statehood when every newspaper portrays Arizona as a wild-eyed cowboy shooting guns in the air. And so posses go out.", "Narrator: On September 21, 1887, sheriff William Mulvenon enters Pleasant Valley.", "Obregón Pagán: He rounds up a posse, deputy sheriffs of different towns in the area. They all come in to arrest the Grahams.", "Narrator: The sheriff and his men hide out in the general store near the Grahams' property and lie in wait until John Graham and one of the Hashknife Cowboys appear. When they get close enough, the sheriff steps out from behind the store. Throw down your guns! They're not about to surrender. They pull their guns. That was all the permission that the law ever needed.", "[Gunshots]", "They start blazing away.", "Spangenberger: The shooting was wild. They just put out a hail of lead. The Hashknife cowboy was killed instantly.", "Narrator: But John is alive, and the sheriff wants answers. Where's your brother, John? You're gonna want to see him with what time you got left. The sheriff says, \"I promise you that, if you tell me where he is, I will let him stay with you for these last few moments of your life.\" You have my word. I won't arrest him. I don't know where he is, and damned if I tell you if I did.", "Obregón Pagán: John refused to give up where his brother was, and he dies quietly about an hour after the shootout.", "Narrator: Tom Graham quickly learns of his brother's death and that the law is after him. You have to remember that Tom Graham was the last man standing in the Graham family.", "Narrator: And he makes a fateful decision. The death of John Graham ends with posses scouring the countryside. Tom Graham decides just to get the hell out of Pleasant Valley.", "Narrator: With Tom Graham vanished, Ed Tewksbury has no choice but to stand down.", "Hutton: Everything quiets down. It seemed as if peace had come to the valley, as if the war was over.", "Narrator: But there's a final battle still to come.", "[SCENE_BREAK]", "It's been five years since the deaths of John Graham, Billy Graham and John Tewksbury when word reaches Ed that his old enemy is alive and well in Tempe, Arizona. Tom Graham was reported to have boasted that he took part in the murder of John Tewksbury. From Ed's perspective, justice has not been served. The guy who took credit for having murdered his older brother is still living free.", "Narrator: Filled with fury, Ed vows to track his Nemesis down.", "Obregón Pagán: Ed decided that he needed to enact justice on behalf of the family.", "Brown: Finally, Tewksbury said, \"I'll go down to Tempe and put an end to this. I'll kill Tom Graham.\"", "Narrator: It's August 2, 1892, Arizona territory. Ed Tewksbury's Nemesis, Tom Graham, disappeared from pleasant valley five years ago. But Ed's finally tracked him down to Tempe, Arizona, where he's been living a quiet life as a farmer. Notorious throughout the country, this bitter feud has claimed countless lives and has been raging for a decade.", "Brown: Finally, Tewksbury said, \"I'll go down to Tempe and put an end to this. I'll kill Tom Graham.\"", "Narrator: This is the final chapter in the Pleasant Valley war. That morning, an unsuspecting Tom Graham begins his daily routine.", "Obregón Pagán: Tom gets up early. It's been a good year that year for his crop.", "Narrator: He doesn't notice a looming figure on the horizon.", "Obregón Pagán: Tom's minding his own business. Suddenly, he hears a sound.", "[Gun cocks]", "I'm unarmed. Your time has come, Tom. You're the one man I don't mind shooting in the back. I figured as much. I'll pay my penance. Meet you in hell, Ed.", "[Gunshot]", "The force of it is so strong that it throws him back, severing part of his spine.", "Narrator: The wound is mortal.", "Obregón Pagán: He's bleeding, and he's just laying there. All he can do is look up.", "Narrator: There's a code on the range to show mercy when an animal is dying.", "Trimble: The code of the west wasn't just a creation out of the Hollywood cowboy movies. There was an honor among cowboys.", "Narrator: But Ed Tewksbury shows no such mercy. The last Graham has been killed, and Ed is the last Tewksbury standing. When Edwin Tewksbury shot Tom Graham, that shot closed one of the bloodiest chapters of our history. The west would never see the like of it again.", "Narrator: With the death of Tom, the Pleasant Valley war is over. Ed Tewksbury is eventually arrested and placed on trial for the murder of Tom Graham. But due to a technicality in court, the case is thrown out. Ed walks out a free man.", "Hutton: Ed Tewksbury was the last man in the Pleasant Valley war. He went on to become a... a deputy sheriff. And his future was secure... To live out a peaceful life and die with his boots on.", "Narrator: Having avenged his brother's death, Ed Tewksbury dies peacefully of natural causes in 1904.", "Hutton: And so a quiet ending to the last survivor of the Pleasant Valley war.", "Narrator: While these two men, Tom Graham and Ed Tewksbury, may now be long gone, the impact of their blood feud is felt to this day. You know, when you look at this, nobody won. Everybody was scarred by this experience.", "Narrator: The carnage and violence of this war is so vicious it's credited with delaying Arizona's admission as a state. It was 1912 before Arizona became a state, the last of the 48 Continental United States to be admitted.", "Narrator: And the blood-soaked feud still maintains a notorious place in the history of the American Frontier.", "Herring: Pleasant Valley war was one of the bloodiest conflicts in American history. As many as 50 people died directly in the conflict.", "Hutton: It really was a blood feud that took on such epic proportions. It brought the wild west vividly to life for people all across the country." ]

[ "From executive producers Barry Josephson and Hart Hanson comes BONES, an investigative drama inspired by real-life forensic anthropologist and best-selling novelist Kathy Reichs. Dr. Temperance Brennan is a highly skilled forensic anthropologist in Washington, DC. FBI Agent Seeley Booth calls on her to assist with investigations when the standard methods of identifying a body are useless - when the remains are badly decomposed, burned or destroyed beyond recognition. In the season premiere, Booth asks Brennan to help provide clues and information when skeletal remains are found at the bottom of a lake. With her team of specialists at the Jeffersonian Institute, Brennan determines the identity of the remains to be the ex-aide of a Washington, DC, congressman. A series of clues add up to murder, and Brennan wants in on the case. Although skeptical of all scientists, or \"squints\" as he calls them, Booth knows if he wants Brennan's expertise on the case, he's going to have to give in to her demand to a partnership with him and let her out of the lab. But Brennan may have gotten more than she bargained for when she digs under the surface to uncover who was behind the murder." ]

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

[ "Car bomb explodes in front of a busy café, killing the driver and a number of the cafés patrons, and injuring others. Since the car was registered to a prominent Middle Eastern man with U.S. government ties, Agent Booth calls Dr. Brennan into the case to help with the identification of the driver. Once the driver's identity is revealed, Brennan and Booth uncover clues that lead them in an unexpected direction - on the trail of a terrorist before another murder is committed. Meanwhile, Brennan and her team discover that Booth is seeing a woman, which inspires Angela to look further into Booth's personal life in hopes of convincing Brennan that she has a chance for romance with Booth." ]

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

[ "Dr. Brennan reluctantly joins Agent Booth to travel to Aurora, Washington State, where a human hand was found inside the stomach of a bear. As Brennan identifies the man, she discovers he might have been a victim of cannibalism. The investigation hits a roadblock when Booth loses a suspect in the woods, leading him and Dr. Brennan to spend some time in the local bar where Brennan is hit on by every available man in the small town. Booth shares a dance with Brennan to give her a break from all the unwanted attention. Meanwhile, at the lab, Zack and Hodgins compete for the attention of a beautiful package delivery employee." ]

[ "\"The Man in the Bear\"", "[SCENE_BREAK]", "(In a forest at night, Dr. Denise Randall is performing an examination on a dead bear, while Ranger Sherman Rivers looks on.)", "SHERMAN: We already know what killed the bear.", "DENISE: Who's the vet here Sherman.", "SHERMAN: You are Denise. Who's the park ranger?", "DENISE: That'd be you Sherman.", "SHERMAN: That's why I know what killed him; scared camper drilled him with the Winchester Magnum .338", "DENISE: I get it, you're afraid I'm not showing respect to the bear spirit.", "SHERMAN: Because I have better things to do than wait around for you to tell me what I already know.", "DENISE: The law says I have to send in as much information as I can: age, weight, what he last ate ... eww .. yummy, hot dogs, fried beans ... (digs around inside bear, and pulls out a plastic bag) ... beef jerky.", "SHERMAN: Beef jerky?", "DENISE: He was in hyperphasia, eating everything he could find before going into hibernation ... oooo ... (stops digging)", "SHERMAN: What?", "DENISE: (digging some more) Sherman, this is ... (pulls out the bones of a human hand) Oh God. (exchanges looks with Sherman)", "[SCENE_BREAK]", "(Cut to exterior of Jeffersonian. Inside the Lab Brennan is walking into her office looking at the photo of the hand, Booth follows her into the office.)", "BRENNAN: Looks human to me ... (walking into her office, Booth bumps into her while going through the door.)", "BOOTH: Sorry ...", "BRENNAN: What's the deal?", "BOOTH: It was found in Eastern Washington State.", "BRENNAN: Where? (drops files on desk)", "BOOTH: Inside a bear.", "BRENNAN: No, I mean .. Inside a bear?", "BOOTH: An autopsy revealed more bone fragments in the bear's stomache and intestine.", "BRENNAN: An autopsy on an animal is called a necropsy (shuffles to put files on the coffee table)", "BOOTH: Yeah, that's pretty crucial we get that straight right off the bat, meanwhile about the dead human being BRENNAN: What do you need me for, the bear ate somebody.", "BOOTH: 26 bone fragments in total, the case bumped to the Seattle field office, they bumped it to me. Check it out (holds out a USB flash drive)", "BRENNAN: (sitting down at her desk, taking the flash drive) Why they bump it to you?", "BOOTH: Bones, I mean do you really care for the inner workings of the FBI office BRENNAN: They bumped it to you because you work with me (plugging the flash drive into her computer)", "BOOTH: (smiling) No, they hoped you could help ID the body.", "(Cut to Brennan's computer, files from the flash drive are being opened-picture of the hand)", "BRENNAN: From a hand?", "BOOTH: Yeah, they have high expectations.", "BRENNAN: (looking at screen) Definitely human, poseable thumb, probably male from the size .. uh oh ... (picture of bone on screen, Booth walks around the desk to look at screen)", "BOOTH: What?", "BRENNAN: Kerf marks. Marks made from a cutting tool.", "BOOTH: Maybe when they cut open the bear?", "BRENNAN: No, (looking intently at the screen) it's not a straight edge. Residual cross section stria (points to the screen).", "BOOTH: Just because you say it in that definitive tone doesn't mean it means anything to me.", "BRENNAN: These marks where made from a saw, the hand was already separated from the rest of the person when the bear ate it.", "BOOTH: Somebody was dismembered and fed to a bear.", "BRENNAN: That's one possibility BOOTH: (makes face) Whoo...k, um ... Thanks Bones.", "BRENNAN: Glad I could help (pulls flash drive out of the computer and hands it back to Booth)", "BOOTH: (takes the drive and walks to the other side of the desk) But, you're not done.", "BRENNAN: (looking at other files, pen in mouth) I'll check out the photographs and x-rays and see if I can confirm s*x and age (writing something on a chart)", "BOOTH: Pack your bags, we're going to Washington state.", "BRENNAN: (looking up from chart, in disbelief) I'm not going to Washington state (not happy)", "BOOTH: (sitting down in chair) Again, just because you say it in that definitive tone doesn't mean it means anything to me. (throws and catches the USB drive and gives Brennan a smile)", "[SCENE_BREAK]", "(Cut to Brennan and Goodman walking on the catwalk overlooking the lab, Brennan is not happy).", "BRENNAN: Why is Booth the one who decides we go to Washington state, he gets the gun and the authority, he's the one that people like.", "GOODMAN: (shaking head) Firstly, he didn't decide that you go to Washington state, he made a request. I am the one who decides where you do or do not go.", "BRENNAN: And secondly?", "GOODMAN: Secondly, it's time to live a little Temperance, connect with other people.", "BRENNAN: (in disbelief) Are you suggesting I take this opportunity to have s*x with Booth on a field trip?", "GOODMAN: Good god, where is Dr. Floyd when you need him?", "BRENNAN: I don't understand what you're saying.", "GOODMAN: Which is precisely why I am sending you to the Great North woods (stops walking). Come on now, you've partially digested dismembered skeletal remains to examine, that should put a smile on your face. Mosquitoes out there are the size of dogs, pack insect repellant (walks away, leaving Brennan in disbelief).", "[SCENE_BREAK]", "**CREDITS**", "[SCENE_BREAK]", "(Cut to the Pacific Northwest, car driving on a hillside road. Booth and Brennan are sitting inside the car, talking)", "BOOTH: (driving) You know being cooped up in crappy hotel in the middle of nowhere, with a fifty dollar per diem, is not my idea of a good time either, you know.", "BRENNAN: (looking over) You only get fifty dollars a day? How can you live on that?", "BOOTH: OK, What do you mean, what do you get?", "BRENNAN: I don't have a limit, just give them the receipts.", "BOOTH: (playing around with his sunglasses) Now, you have to have a limit, everyone has a limit, we work for the government.", "BRENNAN. Yeaah ... I don't have a limit.", "BOOTH: But, it's not fair. It's not fair to the tax payers...you're like one of those thousand dollars toilet seats.", "BRENNAN: I imagine I am treated differently than you b/c I have an indispensable skill.", "BOOTH: (muttering) Indispensable ... I do not need you.", "BRENNAN: Oh, so you can determine the origin of the kerf marks as well as the s*x and age of the victim?", "BOOTH: Heh .. (chuckling) .. You know you're a smart ass, you know that? (looking at her)", "BRENNAN: Objectively I'd say I'm very smart, although it has nothing to do with my ass.", "BOOTH: You know what? I'll tell you what ... you can take me out to dinner. Put me on your tab.", "BRENNAN: That doesn't seem ethical.", "BOOTH: You still want that gun now, don't you? Hm?", "BRENNAN: We'll start with breakfast.", "(Booth chuckles as it cuts to an overhead shot of the car driving)", "BOOTH: You know it's beautiful here, it's feels good to be out of the city.", "BRENNAN: YEAH, where murders feed their victims to bears.", "[SCENE_BREAK]", "(Cut to street in the town, parks car on the side of the road and they both get out.)", "BOOTH: Small town America (shuts car door), gotta love it.", "BRENNAN: (walking on the sidewalk as Booth looks around) This is not a small town. Chiantla, Guatemala, 150 people, no running water. That's a small town.", "BOOTH: I said small town America, not small town Guatemala. And I've been there too, by the way.", "BRENNAN: Where you going? (following Booth)", "BOOTH: See the Sheriff.", "BRENNAN: How are you going to do that?", "BOOTH: (stops to look back to Brennan) It's an old FBI trick, I'm going to ask somebody who lives here. (turns to walk)", "BRENNAN: What took you to Guatemala? Eco-tourism?", "BOOTH: I went down to shoot somebody through the heart from 1500 feet. (turns and walks away).", "[SCENE_BREAK]", "(Cut inside what appears to be a morgue. Dr. Randall and Sherman are talking to Brennan, who is taking photos of the remains that are on the table. Dr. Rigby is there too.)", "DENISE: I was pretty sure it was human, but I'm a vet, so I called Andrew-Dr. Rigby-and he thought it was human too.", "RIGBY: Officially, I'm the coroner here in Aurora, but I'm just a country doctor. I have no training in forensics.", "BRENNAN: This is approximately 60% of the arm of a male: late teens/early twenties, well muscled.", "DENISE: That's amazing.", "BRENNAN: You see these marks here? (pointing at the arm) Below the radial tuberosity. (Dr. Rigby and Randall looks closer) You haven't by any chance performed any amputations lately, have you?", "RIGBY: A few frost bit toes last winter and a thumb from a nasty Murphy bit accident, why?", "BRENNAN: These are saw marks.", "SHERMAN: That's not good, people getting sawed up and eaten up by bears.", "BRENNAN: (walking over to her computer with her camera) I'm going to send this back to my lab, my people there can give a better estimate on how long ago the bear ingested the arm.", "DENISE: You got pretty good equipment there, I guess? I'm still on dial-up.", "BRENNAN: What's the fastest way to ship a human arm?", "DENISE, SHERMAN and RIGBY: Charlie.", "[SCENE_BREAK]", "(Cut to Brennan walking into Rapid Express, holding a large box.)", "CHARLIE: Need a hand?", "BRENNAN: No thanks, I'm trying to get rid of this one (puts box down on counter). These are human remains.", "CHARLIE: Oh.", "BRENNAN: I have to ship them to the Jeffersonian Institute in Washington D.C. (writing info on waybill)", "CHARLIE: Cool, they have Dizzy Gillespie's trumpet there.", "BRENNAN: Yeah, I know.", "CHARLIE: Muhammad Ali's boxing gloves. Abraham Lincoln's assassination top hat.", "BRENNAN: (looking up, smiling) I know, I work there (looks back down to write).", "CHARLIE: (smiling) You ever sit in Archie Bunker's chair?", "BRENNAN: I work in a different part of the museum. I'm a forensic anthropologist.", "CHARLIE: My name is Charlie.", "BRENNAN: (still writing) Yeah, I know.", "CHARLIE: (shocked) Wow, what you can tell from like my skull structure?", "BRENNAN: (smiling) It says it on your shirt Charlie (points to shirt). Where can I find the sheriff? (passes the waybill to Charlie)", "CHARLIE: He's out past the garage on the right. (Looks down at the name on the waybill) Hey, Temperance Brennan...I'm reading your book.", "BRENNAN: (turning to leave, but stops) Uh.", "CHARLIE: It gave me a few ideas if I ever want to kill someone and get rid of the body.", "BRENNAN: Don't forget Charlie, the heroine always catches the bad guy. (turns to leave)", "CHARLIE: (watching Brennan leave) Sounds good to me.", "[SCENE_BREAK]", "(Cut to Lab, Zack is in front of a computer looking at the images of the bones. Angela is looking on.)", "ZACK: These are Falstaff (?) kerfs, which suggests a hand saw. The cut marks on the breakaway spurt...here (points to screen)...should give me the number of teeth per inch, but to me it just looks broken.", "ANGELA: I could work it up to a three dimensional image, see if that helps/", "ZACK: Dr. Brennan could do it from this (frustrated)", "ANGELA: Not when she was lowly grad student, Zack. Upload all the ditigal info Brennan sent you to my mainframe (turns to leave) and lighten up Z-man.", "[SCENE_BREAK]", "(Booth and Sheriff walking down the street, talking)", "BOOTH: Somebody cut that guy's arm off Sheriff.", "SHERIFF: Couldn't be a local, somebody missing an arm, that's something you'd notice.", "BOOTH: How many people live in Aurora?", "SHERIFF: 326 in town, another couple hundred in the unincorporated surroundings. Maybe 1200 on the Indian reservations.", "BOOTH: (writing down on a pad) Tourists?", "SHERIFF: Hikers, campers. It's beautiful country so they don't realize how dangerous it is. On average we lose a couple of people each year, cycle of life hey?", "BOOTH: Lose anyone recently?", "SHERIFF: Woman, 29 (points to missing poster taped on window of a store) Ann Noyes from Olympia. Disappeared a couple of weeks ago, her parents said she was an \"experienced\" hiker.", "(Booth looks at poster.)", "[SCENE_BREAK]", "(Cut to inside the police station, Booth and the Sheriff are walking in)", "BOOTH: You must have a few resident crazies?", "SHERIFF: Juvenile bush drinking, couple of domestics, a bar fight or two? Joy riding. The only felons we have are poachers. (Hands Booth a binder) They shoot the black bears and sell the gallbladders on the black market. Park rangers handles that stuff.", "(Lady leads Brennan to the door, knocks).", "SHERIFF: Can I help you? (waves)", "BRENNAN: Yeah, thanks, I'm with him (points to Booth).", "SHERIFF: (to Booth) Suddenly I wish I was FBI.", "BOOTH: (chuckles) Sheriff Chris Scutter, Dr. Temperance Brenan.", "SHERIFF: (shakes Brennan's hand) My first forensic anthropologist (gestures to chair), please.", "BRENNAN: We need to find the rest of the body (puts bag down, sits on chair.)", "SHERIFF: (walking around the desk) Sherman, Ranger Rivers, traced the bear's route back a week. Said he didn't find anything (sits down on his chair)", "BOOTH: What is he, some kind of Indian scout?", "SHERIFF: Sherman is a Flathead Indian, but since the bear was wearing a GPS collar, he didn't have to fully utilize his native powers.", "BRENNAN: Did he check the scat...", "BOOTH: (interrupts) What, you think there are more people parts in the bear crap?", "SHERIFF: We could maybe go out with Sherman tomorrow, take a look?", "BOOTH: Oh, yeah, now that you've met Bones, you're all about the inter-agency cooperation.", "SHERIFF: Bones? Now I don't think that's anyway to talk to a lady.", "BRENNAN: Thank you (getting up).", "SHERIFF: Do you have dinner plans? (getting up).", "BOOTH: We're working. (ushering Brennan away, throws the binder back to the Sheriff) Thanks for that.", "[SCENE_BREAK]", "(Cut to break area at the Lab, Zack and Hodgins are talking about the case while drinking coffee etc.)", "HODGINS: (sitting on sofa, looking at pictures from case) All I'm saying is why cut somebody into pieces.", "ZACK: (walking over with mug, looking at a photo too) Pack 'em up tighter maybe. Say, in a suitcase (sits down next to Hodgins).", "HODGINS: How did a bear open up a suitcase (takes photo from Zack).", "ZACK: I saw a documentary once where a bear got into a car and drove away (looks at another photo).", "HODGINS: That was not a documentary, it was a cartoon (exchanges look with Zack).", "(Cut to a delivery woman, TONI, walking over to them carrying the box from Brennan)", "TONI: Hello, I'm looking for a Zack Addy...got a package of human remains.", "HODGINS: (getting up, walking towards her as Zack looks on) I can sign for that. Where's Jimmy?\" (takes the signing device).", "TONI: Tahiti...Fiji...who knows? He won the lottery.", "HODGINS: Is it too much of a line to say 'no, we won the lottery?' (Toni smiles awkwardly) It is, I take it back (shaking head) ... just compared to you, Jimmy...you know ...", "TONI: The third nostril (laughs, Zack looks on)", "HODGINS: That whistling sound when he sneezes. (they both laugh) Unfortunately it is too soon to ask you to have coffee (hands back signing device).", "TONI: It is?", "HODGINS: Yes...yes...coffee is the third delivery capper.", "TONI: So what's the first delivery capper?", "HODGINS: (smiles) Initial contact, me cute, light flirting.", "TONI: Then I'll catch you in another couple of deliveries (handing box over to Hodgins).", "HODGINS: OK...bye. (watches her go)", "ZACK: (comes up behind Hodgins) You bogarted my package.", "HODDGINS: You panicked and froze my man, thus the package came into play. Also incorrect use of verb bogarted (hands package to Zack and leaves).", "[SCENE_BREAK]", "(Cut back to Aurora, Booth and Brennan are following Sherman in the forest)", "SHERMAN: (walking on a path) We've been looking for that female hiker since she went missing. But sometimes you never find a trace, they fall in the ravine, the river. So how do you like the Evergreen Lodge?", "BRENNAN: Very nice, I have a beautiful view of the mountains from my terrace.", "BOOTH: You have a terrace?", "BRENNAN: Yeah.", "BOOTH: I'm sharing a bathroom.", "SHERMAN: This was where the bear was shot (pointing).", "BOOTH: Where did he get before he died? (walking ahead)", "SHERMAN: About a hundred yards.", "BRENNAN: How do you know that's the right way?", "BOOTH: Not hard to track a wounded bear (walks ahead of Brennan and Sherman).", "SHERMAN: (Talking to Brennan) Ever hear of the Bone Gathers? Collecting bones so that the dead can make the journey to the next world?", "BRENNAN: Not even sure I believe in the next world.", "SHERMAN: Doesn't matter what you believe in. You're a Bone Gather, that's a good thing helping the spirits move on.", "BRENNAN: (smiles) Thank you. That's probably the best job description I'll ever get.", "(Cut to Booth, standing next to a pile of scat, flies flying around.)", "BOOTH: Over here.", "BRENNAN: You find something? (approaching Booth)", "BOOTH: Some bear scat in the woods. I think he was here and he headed off over there (points ahead).", "BRENNAN: OK (puts bag down and takes out a pair of gloves ) See if you can find some older samples.", "(Booth and Sherman step back as Brennan puts on the gloves, opens up her bag, takes out a container and grabs some scat and places it inside the container.)", "SHERMAN: She ain't the squeamish type, is she?", "BOOTH: I'm going to go out on the limb here Sherman and guess you don't get a lot of eligible good looking women coming through town.", "[SCENE_BREAK]", "(Cuts to Rapid Express, where Charlie is reading Brennan's book as she enters carrying another box to ship.)", "CHARLIE: Hey, I just finished chapter seven (puts the book down).", "BRENNAN: This has to go to my...", "CHARLIE: (interrupts) Do you do all the stuff the girl in your book does?", "BRENNAN: I'm slightly uncomfortable discussing that with you (starts writing on the waybill).", "CHARLIE: No, I'm not talking about the s*x...I'm talking about the running, and the shooting. I mean, if you do do all that other stuff that's great too for you and...uh...whoever you're doing it with.", "BRENNAN: I'd like to send this to my lab.", "CHARLIE: (looking at box) More bones?", "BRENNAN: No, its bear scat (finishing writing).", "CHARLIE: I can deal with that.", "(Brennan's phone rings)", "BRENNAN: (picks up phone) Brennan.", "(Cuts to Zack in the lab, talking into the speakerphone.)", "ZACK: The person who belonged to the arm died approximately a week ago and the bear ate it one to three days after that.", "BRENNAN: (over the speakerphone) Anything from the saw?", "ZACK: Angela is entering the date into the holographic display. I've found something else I can't categorize (moving something under a device that magnifies it on a monitor). Can I beam it to you?", "(Cuts back to the Rapid Express store with Brennan on the phone, and Charlie at the counter)", "BRENNAN: (hits the speakerphone button) OK, hold on (puts the phone down on the counter and takes off her knapsack).", "(Cuts back to Zack in the lab, looking at his monitor)", "BRENNAN: (voice over speakerphone, then cuts back to her) Do you mind if I set this up here (asking Charlie as she takes out her computer and places it on the counter).", "CHARLIE: Yeah, no problem.", "BRENNAN: (sets up her computer and router) Give me a second, I'm connecting to the satellite.", "ZACK: (over speakerphone) Yeah, alright.", "BRENNAN: (types on computer, window pops up) OK, I'm linked.", "ZACK: (over speakerphone) I've been focusing on, Dr. Brennan... (keeps talking)", "CHARLIE: (takes package and puts it to the side, walking around to look at the computer screen) Who's that?", "BRENNAN: My assistant, Zack.", "CHARLIE: (hovering over the phone) Hey Zack.", "ZACK: Who's that?", "BRENNAN: The overnight guy Charlie...(focusing on the screen) Ok, I'm set up, you can send me the picture (picture loads).", "CHARLIE: Hey Zack, does your boss have a boyfriend?", "ZACK: Not currently. Are you extremely good looking?", "CHARLIE: Yes, I am Zack.", "BRENNAN: (looking intently at computer) Zack, these are bite marks.", "ZACK: (cuts to him in the lab) You mean from the bear?", "BRENNAN: No, black bears have premolars that are small and pegged like. These marks show double cusp pattern.", "ZACK: (in lab) Pigs are double cusped.", "CHARLIE: Hey Zack, are you extremely smart?", "ZACK: (in lab) Yes, I am Charlie.", "BRENNAN: Pigs have six incisors, these marks were made by four incisors, like a chimp but these teeth form a continuous arch.", "(Cuts back to Zack in the lab, looking like he's deep in thought)", "CHARLIE: (over speakerphone) So, what's got a continuous arch?", "ZACK: Humans.", "(Cuts back to Rapid Express)", "BRENNAN: We just don't have a killer on our hands, we have a cannibal.", "[SCENE_BREAK]", "(Cuts to a street in Aurora where the Sheriff's SUV is parked. Brennan is sitting in the passenger seat while the Sheriff is eating in the drivers' seat. Booth is standing next to the car, talking through the window.)", "BRENNAN: Zack will have the Odontologist at the Jeffersonian take a look, but I am right.", "SHERIFF: The cannibal, you mean a Hannibal Lecter type ... deal (takes a sip from his fountain drink).", "BRENNAN: (confused) I don't know what that means.", "BOOTH: You're certain that a human being gnawed on that bone.", "BRENNAN: It gnawed, removed the flesh.", "SHERIFF: (looking sick while eating) That's...that's really not good.", "BOOTH: Are you sure Bones, have you never seen anything like this before?", "BRENNAN: Of course I've seen this before. I did grad work among the Waori of the Amazon and they have a long history of cannibalism. I've also seen evidence of cannibalism in some twelfth century Native American sites. It's not a big deal.", "SHERIFF: Have you ever... (points to mouth)", "BRENNAN: I've never been offered human flesh before.", "BOOTH: Maybe if you've had?", "BRENNAN: It's an interesting question (nods heads). I would have to measure my own social inculcation (Sheriff getting sicker) against objective scientific inquiry.", "BOOTH: K, that's sick.", "BRENNAN: Maybe we're looking for somebody that needs to be rescued. Maybe the young man died and the missing girl, hungry and lost came upon him needing food she...", "SHERIFF: (cuts in) Sawed him up and barbequed him...", "BRENNAN: Well, there was no evidence that the hand was cooked.", "BOOTH: She does not look like the type of girl who would chew on raw flesh.", "BRENNAN: You'd be surprised...when survival instincts kick in.", "BOOTH: If it isn't her, we're dealing with some psycho cannibal killer.", "SHERIFF: This is sick...(stops eating)", "BRENNAN: (makes realization) Somebody eating raw human flesh is going to be sick (exchanges looks with Booth).", "[SCENE_BREAK]", "(Cuts to Lab where Zack, Hodgins and Angela go over the evidence)", "ANGELA: (looking at photos) Teeth marks?", "ZACK: (working with something) Yes, and these drag marks is where the flesh was ripped right off the bone.", "ANGELA: (grossed out) Ugh, it's like a zombie movie.", "HODGINS: (pacing) Where is my bear poop?", "ZACK: Is it the excrement you're anxious to look at, or the courier?", "HODGINS: (dead pans) What do you think?", "ANGELA: Somebody gnawed on this arm like some kind of man-corn?", "HODGINS: (coming over to look at photos) According to that Peruvian soccer team that crashed in the Andes, human flesh tastes like frogs' legs.", "ANGELA: We needed another reason not to eat frog ZACK: I'm going to make a cast of these markings, I won't get a full dental impression but we'll at least get something.", "(Man enters the room)", "MAN: Zack, you're needed upstairs.", "(Zack gets up and follows the man out)", "HODGINS: (walks over to Angela) Angela, if we were a Peruvian soccer team and crashed into the Andes. Who would you rather eat, me or Zack?", "ANGELA: (sighs and gives him a look)", "HODGINS: What?", "[SCENE_BREAK]", "(Cuts to upstairs, where Toni is waiting with a package)", "ZACK: (clears throat)", "TONI: I have a package for Zack Addy.", "ZACK: That's me.", "TONI: I thought...there was the other guy.", "ZACK: That's Hodgins, he zoomed you because you're so beautiful.", "TONI: (smiles) Thanks, that's sweet (hands over the signing device).", "ZACK: I'm not being sweet, it's just a fact (signing)", "TONI: (handing package over) How old are you?", "ZACK: Twenty four.", "TONI: Twenty four...(reaches over and touches Zack's chin) I could just eat you up. (turns and leaves)", "[SCENE_BREAK]", "(Cut back to Aurora, Brennan and Rigby are walking outside what I assume is the hospital)", "BRENNAN: Have you diagnosed anyone recently with a prion disease?", "RIGBY: Prion disease? No. Some Alzheimer's, yes. Some brain damage due to alcoholism and huffing.", "BRENNAN: Delusions? Eradic behaviour, violent outbursts?", "RIGBY: The incubation period of prion disease could be years, you're thinking the cannibal might be showing symptoms of mental deterioration?", "BRENNAN: Dr. Rigby, I never said anything about a cannibal.", "RIGBY: Well, it's all over town.", "BRENNAN: Charlie, the overnight guy. What do you think our chances are of keeping this quiet?", "RIGBY: I'd say absolutely zero (smiles and laughs).", "[SCENE_BREAK]", "(Cut to Lab, where Hodgins and Zack are examining the bear scat)", "HODGINS: You knew I was waiting to see her again.", "ZACK: You said you were waiting for your bear poop. I said 'are you excited about the excrement or the courier', and you said 'what do you think'.", "HODGINS: (upset) And you thought I was actually excited about excrement?", "ZACK: (smiling) You have to be clear. (Hodgins shifts through the scar) What's that?", "HODGINS: (picks up something) It's a piece of undigested bone.", "ZACK: (takes closer look) Metacarpal, I think that goes with my hand.", "HODGINS: (sifting some more) Part of a tin can, less tin fibers, a kind of sporocarp. (Picks up red piece) Here's something...(looks at it under magnify glass) Hair follicles, sebaceous glands...it's a layer of dermas.", "ZACK: Pigmentation marks on the microphage.", "HODGINS: Flap of skin with a tattoo. We need a tattoo expert (looks at Zack)", "[SCENE_BREAK]", "(Cuts to Angela, who is working at her computer, putting the tattoo back together)", "ANGELA: It's fairly simple, two colours...red and black...some kind of native design.", "HODGINS: (to Zack) She likes me more than she likes you.", "ZACK: She said I was sweet.", "HODGINS: I made her laugh at Jimmy's third nostril.", "ANGELA: (chuckles) That's pretty good...making a woman laugh at a third nostril.", "HODGINS: We have a tentative coffee date.", "ZACK: She said she wanted to eat me up.", "ANGELA: Zack is definitely ahead on points (working on redesigning the tattoo). Well, there it is.", "[SCENE_BREAK]", "(Cut to Aurora, where Angela is talking via videoconference on Brennan's laptop as Brennan, Booth and the Sheriff look on.)", "ANGELA: The skin in the scat has a sun on it.", "SHERIFF: What was that, a haiku?", "BOOTH: It's a tattoo.", "ANGELA: Hi Booth. Hi, I'm Angela Montenegro.", "SHERIFF: (in the video) How ya doing Angela?", "BRENNAN: Angela, focus please.", "ANGELA: (in her office) It's a Haida sun motif.", "BOOTH: Good work, very impressive. (to Sheriff) 18-25 year old man with a Haida sun tattoo on his arm? (Sheriff goes off to check)", "ANGELA: (via videoconference) Hey Booth, I've got a thing for tattoos, you got any?", "BRENNAN: (stern voice) Angela.", "ANGELA: (Booth goes over to help sheriff, Brennan and Angela left in the videoconference) I'm sorry sweetie, but what's up with that town? You getting any from that hot overnight guy?", "BRENNAN: Ange, we're trying to work.", "ANGELA: Is that town totally wasted on you sweetie because I take this as a sign from God to loosen up. You know what they say: What happens in Aurora, stays in Aurora. (Brennan closes the videoconference) Hey ...", "(Cuts back to the police office)", "SHERIFF: (in front of his computer) I'm running a missing persons check with the new info on the tattoo. (waiting for the picture to load) She seems very friendly, your associate.", "BRENNAN: (no nonsense tone) She's three thousand miles away.", "BOOTH: Or send away for a Russian bride.", "SHERIFF: (chuckles, reads from the computer) Adam Langer, twenty two. Missing ten days from college in Richmond. (Looks at face in the picture) Wait, I know this kid, he used to come up to visit Sherman-wanted to be a Ranger.", "[SCENE_BREAK]", "(Cuts to outside a house, dark and at night. Brennan, Booth and the Sheriff approaching Sherman's house)", "SHERIFF: Look, I've known Sherman for years, I can't believe he has anything to do with this. (knocks on door)", "SHERMAN: (opens door) Hey Sheriff.", "SHERIFF: Hey Sherman, mind if we come in?", "SHERMAN: You guys here about the cannibal?", "SHERIFF: We can't talk about official business. How about some tea?", "SHERMAN: Sure. (goes into other room as Sheriff sits down and reclines) Oh yeah.", "BOOTH: What did you do that for?", "SHERIFF: Give you a chance to look around, get a sense of the man.", "BRENNAN: (looking around, comes to something sitting on a shelf) The raven spirit, in some Native American stories it has a cannibalistic...", "(Loud thud/noise from the other room)", "BOOTH: (looks into other room) He went out back...(to Sheriff) Give me your flashlight.", "SHERIFF: No way you can catch Sherman Rivers in the woods.", "BOOTH: (leaves the house) Just search the place.", "[SCENE_BREAK]", "(Cuts to outside in the woods, Booth chasing after Sherman in the dark)", "BOOTH: Sherman, just stop.", "(Cuts back inside Sherman's house, Brennan and the Sheriff are searching the place)", "SHERIFF: (looking at the wall) I don't know if a wall of knives is evidence, but it sure is creepy.", "(Cuts back outside)", "BOOTH: Hey, hey ... Stop! (points flashlight and gun at Sherman, who continues to run)", "(Cuts back inside)", "BRENNAN: Is there a saw? (grabbing a plastic bag)", "SHERIFF: (opening cupboards) Yup.", "BRENNAN: We'll want to take it, see if it matches the cuts on Adam Langer's bone. (picks up apple core from garbage) And see if this matches the teeth marks.", "(Cuts back outside)", "BOOTH: (Following Sherman, but he appears to be gone and Booth's flashlight dies) You've got to be kidding me.", "(Back inside)", "SHERIFF: (Brennan is trying to break open the lock on the freezer) As Justice of the Peace, I authorized you to open up that locked freezer.", "BRENNAN: (breaks the lock) Thank you. (Opens up the freezer to see frozen meat)", "SHERIFF: (looking at freezer) What kind of meat do you think that is? (exchanges looks with Brennan).", "[SCENE_BREAK]", "(Cut to inside their car, Booth is driving while Brennan is talking over her cell phone with Angela, who is at the lab)", "BRENNAN: I sent a bunch of frozen meat by overnight air and I need to know what it is as soon as possible.", "ANGELA: Oh, you think it's human?", "BRENNAN: Maybe, it's a funny colour.", "ANGELA: So, did you catch the guy?", "BRENNAN: No, Booth lost him in the woods.", "BOOTH: Whoa, wait a second, I didn't lose him.", "BRENNAN: You didn't catch him.", "ANGELA: So you two have the night free?", "BRENNAN: Yes, we can't do anything until I get a determination on that meat and Booth has to wait until its light to look for the guy he lost.", "BOOTH: (upset) I didn't lose him, ok. I...he...tell her that my flashlight died.", "BRENNAN: (puzzled look on face) She doesn't care.", "ANGELA: What?", "BOOTH: Give me the phone (sticks hand out).", "BRENNAN: (pushing his hand away) It's not safe to drive and talk on the cell phone.", "ANGELA: Are you two fighting?", "BOOTH: Professional pride, tell her. Please tell her that.", "BRENNAN: (to Angela) Booth wants you to know that he lost the guy because his flashlight died.", "BOOTH: And because he's an Indian and he's a park ranger and he's very very familiar with the territory, tell her that.", "BRENNAN: Did you hear that?", "ANGELA: Yeah, something about Indian territory?", "BRENNAN: (to Booth) Yeah, she says she understands. (To Angela) I need to know about that meat as soon as possible.", "ANGELA: (over the phone) Yeah, I'll tell Zack.", "BOOTH: Give me the phone...hold on... (takes phone from Brennan)", "BRENNAN: (angry) What?", "BOOTH: Plus you know what? It wasn't even my flashlight ok? It was the Sheriff's flashlight and his batteries they ran out, ok?", "BRENNAN: (grabbing phone back from Booth) Good night Angela.", "ANGELA: Hey, you have to take that man for a drink...and have a little fun yourself.", "BRENNAN: (to Booth) Fun and a drink, where do we find that?", "[SCENE_BREAK]", "(Cut to inside a bar, where Brennan is dancing with Charlie)", "CHARLIE: So, I was surprised to see you here. You know in your book you don't sleep until you get your man.", "BRENNAN: Well that's not me, it's just a character. In real life, you have to wait for lab results.", "CHARLIE: I see, so lucky for me.", "BRENNAN: (laughs) I don't know, I'm afraid I'm not a very good dancer as apparently I lead.", "CHARLIE: So, I'll follow.", "(Cut to Booth walking up to the bar and sits where the Sheriff is)", "SHERIFF: Hey Booth, want a beer?", "BARTENDER: What do you need sheriff?", "SHERIFF: Another beer.", "(Cut back to Brennan and Charlie dancing)", "CHARLIE: You know, I climbed with Adam sometimes, so I was kind of freaked out when I found out it was his arm.", "BRENNAN: You knew Adam Langer?", "CHARLIE: I taught him how to climb. Man he was strong. (Cut to Denise and Rigby talking at the bar) No matter how much I lift, I could never match him.", "BRENNAN: (feeling Charlie's upper arm) You have excellent definition in your biceps and triceps.", "CHARLIE: Well, thanks. And you're waist muscles feel good too.", "BRENNAN: Transverse abdominals...thank you.", "CHARLIE: So that meat we sent back to your lab, that wasn't, ah, more of Adam, was it?", "BRENNAN: I can't discuss...", "RIGBY: (Cutting in between Brennan and Charlie, and starts dancing with Brennan) Excusez-moi.", "BRENNAN: Dr. Rigby.", "RIGBY: Thought I would rescue you, can't imagine you and Charlie have a lot to talk about.", "BRENNAN: We were managing (Charlie walks over to the bar, upset that Rigby cut in)", "RIGBY: (Continues dancing with Brennan) Look, um, I guess it looks pretty bad for Sherman, huh?", "BRENNAN: I can't discuss the investigation with you Dr. Rigby.", "RIGBY: Look, Sherman is a Flathead. The spiritual beliefs of his tribe don't value cannibalism and they never have.", "BRENNAN: Anthropology teaches us that beliefs and customs evolve, that's why you can still find cannibalism practiced today.", "RIGBY: (chuckles) So what, you can enjoy the act of eating another human being?", "BRENNAN: I can understand it intellectually.", "RIGBY: Alright, I shouldn't be talking shop, not with such a beautiful woman in my arms. (Spins Brennan)", "SHERIFF: (Catches her, and cuts in) Hey, it's Sheriff time. (Rigby is upset) You really think you can match the bite marks on Sherman's apple to the bite marks on that kid's arm bone?", "BRENNAN: I don't really feel comfortable discussing a case on the dance floor.", "SHERIFF: Well, I'm the sheriff (point to badge), we're colleagues.", "BOOTH: (cuts in) Mind if I cut in? (To Brennan, dancing) Thought you might need a break.", "BRENNAN: What happened to your shirt?", "BOOTH: Well, we're in a bar, it's a look.", "BRENNAN: Everybody is pumping me.", "BOOTH: Sorry? (the guys are watching them from the bar)", "BRENNAN: For information on the case.", "BOOTH: Bones, they're only pretending to be interested in the case.", "BRENNAN: Why?", "BOOTH: They're hitting on you.", "BRENNAN: (laughing) Are you sure?", "BOOTH: Yes, I'm sure. You're the hottest thing this town has seen in a long time. Check out the competition. (dips Brennan, and looks at Denise, sitting alone at the bar) Now that, is somebody who wants to eat your heart.", "[SCENE_BREAK]", "(Cut to Lab, Hodgins and Angela)", "ANGELA: Oooh, very pretty.", "HODGINS: (looking at specimen under microscope) Lovely. It's a sporocarp called tuber gibbosum after a week in bear poop.", "ANGELA: Thank you, for ruining my moment.", "HODGINS: (smiles) It's a mushroom and Oregon white truffle. They're a mycorrhizal species that only grows in symbiosis with Douglas-fir trees.", "ANGELA: (sits down next to Hodgins) Are Douglas-fir trees very very rare in the woods?", "HODGINS: No.", "ANGELA: Then you really haven't found anything useful, have you?", "HODGINS: (sigh) No.", "ANGELA: Want to get something to eat?", "HODGINS: Nooo....", "ANGELA: Ah, (realizing) you're expecting a delivery tonight.", "HODGINS: Zack is.", "ANGELA: And you're going to zoom him.", "HODGINS: Like the Indy 500 baby (smiles at Angela, who rolls her eyes).", "[SCENE_BREAK]", "(Cut to Aurora, sunny day outside. Booth, Brennan and the Sheriff are walking around in the woods.)", "BOOTH: You didn't come down for breakfast Bones.", "BRENNAN: Wasn't hungry. Sorry you had to pay for your own meal.", "BOOTH: Called your room, there was no answer.", "BRENNAN: Why the sudden interest in my morning habits, Booth?", "BOOTH: Well, I just thought we were going to get something to eat. And, you know...so I waited and my eggs got cold. Cold eggs. (hops over a stream, and crouches down) This is where my flashlight failed.", "SHERIFF: You mean my flashlight, and how can you be sure?", "BOOTH: (holds something up) Cause this is where I was standing.", "SHERIFF: A shirt button?", "BOOTH: And, I heard him disappear in this direction (points, and continues walking).", "BRENNAN: Leaving buttons on the trail must be an old fish-chewer trick (follows Booth).", "SHERIFF: You mean a snake-eater; an old snake-eater trick (follows).", "[SCENE_BREAK]", "(Cut back to the Lab where Hodgins is sitting, leaning his head against his hand looking tired. Zack approaches his table and drops a package loudly next to him.)", "ZACK: Were you here all night?", "HODGINS: (tired) Yes. Did I miss Toni?", "ZACK: Yes, she asked about you (walking around to face Hodgins).", "HODGINS: No, you torpedo me, didn't you?", "ZACK: No, I told her the truth-that you were sifting through excrement.", "HODGINS: (getting up) You want a war? Fine, because I'm the warrior.", "ANGELA: (approaching the both of them) Zack, I got the measurements for your saw from the Angelator. Now all you have to do is find a match...say thank you with gifts. (handing Zack a file and then looks at Hodgins) Did you work all night?", "HODGINS: (tired) Yes. I shaved the truffle.", "ANGELA: Is that anything like spanking the monkey?", "HODGINS: I found boring dust (looking at screen).", "ANGELA: Is there any other kind?", "HODGINS: Boring dust is produced by beetles, which means the tree the truffle grew on was infested.", "ZACK: (looking at his file) That's not going to impress Toni.", "HODGINS: That's not why I did it. I did it to serve justice and capture and murderous cannibal.", "ANGELA: That'll impress the hot courier.", "HODGINS: (smiling) Now, I'm back in the game.", "[SCENE_BREAK]", "(Back to the woods, Brennan and the Sheriff are following Booth)", "SHERIFF: No way you catch Sherman in the woods. He's a park ranger and an Indian.", "BOOTH: (walks into a clearing and looks right) He's right there.", "SHERIFF: Oh. (Sherman is sitting on a rock a few yards away) He's doing some kind of Indian ritual.", "BOOTH: Waiting for us.", "(Brennan's cell phone rings)", "BRENNAN: Brennan.", "ZACK: (cuts to Zack and Hodgins in Brennan's office, talking over speakerphone) The meat samples you sent us were all Ursus Americanus.", "BRENNAN: (cuts back to woods, puzzled) Black bear?", "SHERMAN: (the three approaches him) I didn't kill no one.", "BOOTH: Why did you run?", "SHERMAN: You're FBI. Ever hear of Leonard Peltier? Pine Ridge? (standing up)", "BOOTH: Oh...", "SHERMAN: Wounded Knee? Indians and FBI's don't mix.", "BRENNAN: He ran because he's the poacher.", "SHERIFF: You're the poacher?", "SHERMAN: (mumbling) Oh sh1t BRENNAN: Yeah, the meat we found in his freezer was black bear.", "BOOTH: No wonder you never caught him.", "SHERMAN: I want a lawyer.", "HODGINS: (over speakerphone) You should be on the lookout for a patch of woods that is infested with (insert technical term I have no clue on)", "BRENNAN: Ok, Hodgins says that the bear dug up the arm in a stand of western pine beetle infested Douglas-fir.", "SHERMAN: (being handcuffed) Say you did catch a poacher. Say he was an Indian who shouldn't have to follow white man's law anyway.", "BOOTH: Not even a park ranger?", "SHERMAN: Say he could show you a stand of trees like that. Would you maybe let that Indian go?", "ZACK: (over the phone) The saw is 300 millimeter with 32 off-set teeth per inch with a wobble factor of one one-hundredth of an inch.", "BRENNAN: That's a common hack saw, that won't help us much.", "ZACK: (in her office) Dr. Brennan, I'm just wondering if you're going to be sending us anymore samples.", "HODGINS: Yeah, even more of the same samples. You know, in case we want to double check the...data.", "BRENNAN: (confused) Ok, I'll let you know. (hangs up)", "ZACK: (dial tone over the speakerphone) Do you think she'll send more?", "HODGINS: God in heaven I hope so.", "[SCENE_BREAK]", "(Cut to the woods, where Sherman in handcuffs is leading them)", "SHERIFF: The Japanese, right? Pay a fortune for that bear meat and take the gallbladders to fix up their pecker troubles.", "BOOTH: Would have gotten away with it if you hadn't kept the meat in the freezer.", "SHERMAN: I'm not admitting nothing.", "BRENNAN: He couldn't bring himself to waste the meat.", "SHERMAN: (stops and looks up at the trees) This patch of trees is all infested with beetles. (Booth walks off in a direction) According to the GPS, the bear was here seven days ago.", "BRENNAN: That fits the timeline for the arm.", "SHERIFF: What are we looking for?", "BRENNAN: I'm guessing we're looking for a shallow grave that has been disrupted by a hungry bear.", "BOOTH: (looking down at something) Or, maybe some kind of satanic stonehenge circle.", "(Pans out to reveal a circle pattern made of stone. Brennan walks over and gets out her camera to take pictures)", "SHERIFF: You see this kind of thing all the time, kids come up here get baked and do their own version of the Blair Witch Project (walking over to look)", "BRENNAN: (confused) I don't know what that means.", "BOOTH: It's a horror movie Bones. (Brennan takes pictures) Didn't make any sense.", "SHERIFF: Scary though with the bloody handprints (holds out hand)", "ANGELA: (dialing on her cell phone) Ange, I'm going to beam you some stills of what looks like a ritualistic Indian site. A medicine wheel of some kind.", "BOOTH: (to Sherman) This thing legit?", "SHERMAN: What am I? A shaman?", "BRENNAN: (on phone) Dr. Goodman is an expert on Native American anthropology, he should be able to tell you what it means.", "SHERIFF: And the symbols on the inside, Sherman ... you're looking guiltier by the minute.", "SHERMAN: Aw, shut up Chris, you know better than that.", "SHERIFF: (arguing with Sherman) Hey, you're a poacher man, and I sure as hell didn't see that coming either.", "(Brennan notices something and walks over to it)", "BOOTH: (coming over) Got something?", "BRENNAN: (putting on gloves) Waxy leaves...means methane gas is leaching from the soil (digs around).", "BOOTH: You mean like a body?", "(Brennan pushes aside some grass and reveals human remains)", "SHERMAN: That's Adam Langer.", "BRENNAN: (pushes aside more grass) There's a woman here too.", "BOOTH: Ann Noyes, the hiker.", "BRENNAN: And, she's missing her heart.", "[SCENE_BREAK]", "(Cut to the Lab, Goodman is looking at the photo Brennan sent with Angela.)", "GOODMAN: It's a perversion of a Salish medicine wheel. This is the spirit chief Cha-che u-me'-chu [?]. The southern most stone should represent strength; the centre of the wheel should represent life force. (shakes head) But this is upside down and inside out.", "ANGELA: We're dealing with a cannibal.", "GOODMAN: I suppose you could interpret this as taking energy away from someone by eating their flesh. Zoom in. (Angela zooms the picture in) Yeah, this is the symbol for strength, the arm. This one is for spirit, the heart. This one for knowledge and this is for courage.", "ANGELA: So we're looking for maybe a scarecrow, tin man or a lion?", "GOODMAN: (gives Angela a look) You say two bodies were found.", "ANGELA: (pulls up another photo and points) Over here, they were dug up by a bear. One showing signs that his arm was eaten by the cannibal, the other missing her heart.", "GOODMAN: (thinking) There should be two more bodies to complete the ritual.", "ANGELA: They checked the site, there were only these two.", "GOODMAN: If I have analyzed this correctly, that means there will be two more victims.", "[SCENE_BREAK]", "(Cut to morgue where Brennan and Rigby are examining the two bodies)", "RIGBY: Both victims were killed by gun shots to the head.", "BRENNAN: These satellite patterns at the entry wounds indicate a low caliber hand gun at close range (talking into her recorder).", "RIGBY: (takes closer look) That's remarkable.", "BRENNAN: Not really. (into the recorder) Based on adipocere formation I am estimating the female has been dead for about...", "RIGBY: (cutting in) A week?", "BRENNAN: (nodding) Very good.", "RIGBY: Thanks. Well her clothing matches that of Ann Noyes and the male is Adam Langer (Brennan takes a photo of Ann)", "BRENNAN: My people at the Jeffersonian tell me that the medicine wheel suggests a perversion of an old healing ritual. The cannibal may have eaten the arm for strength and heart for spirit.", "RIGBY: Now that makes sense, from a certain point of view. Do they think it's an Indian?", "BRENNAN: (shakes head) No way to tell.", "RIGBY: I'm not policemen but it doesn't make sense for Sherman Rivers would lead you straight to the evidence that proves he's a murderer and a cannibal.", "(Cut to a hallway outside, Booth, the Sheriff and Sherman are talking)", "SHERMAN: Adam was a good guy. He wanted to be a park ranger...I was a...what do you call it...", "SHERIFF: His mentor?", "SHERMAN: That's right, his mentor. Taking him out with me on my rounds, showing him the ropes of the job.", "BOOTH: Well, maybe Adam found out you were poaching so you made sure he wouldn't talk.", "SHERMAN: Yeah, so I ate his arm and ate someone's heart for dessert, 'cause that's the type of guy I am.", "BOOTH: Well you know he fits the description of someone who's missing an arm, why didn't you say anything?", "SHERMAN: (sighing) Somebody says they're maybe going to come and visit. Maybe they do, maybe they don't. Maybe they go see their climbing buddy instead.", "SHERIFF: Charlie?", "BOOTH: The overnight guy?", "SHERMAN: Maybe sometimes they go visit a girl SHERIFF: What girl?", "SHERMAN: I'm not comfortable saying.", "BOOTH: Oh, maybe what you know, with the murders and cannibalism, you get passed that discomfort.", "SHERMAN: Adam had a thing with the vet lady, so did his buddy Charlie. You know how jealous white people can be.", "SHERIFF: (raises hand) Um, in the interest of full disclosure I got to say that I see Denise from time to time too. (Sherman chuckles) What, you find that funny?", "BRENNAN: (walking out from the room, holding up her phone) You know the apple we found in Sherman's cabin?", "BOOTH: You get a mold?", "BRENNAN: Zack?", "ZACK: (over the speakerphone) Yeah, the mold from the apple does not match the teeth mark on the bones.", "BRENNAN: Thanks Zack. (hangs up)", "SHERMAN: So what does that mean?", "BRENNAN: It means you aren't the cannibal.", "SHERMAN: (Sheriff uncuffing him) I already knew that.", "BOOTH: The point was to convince us.", "SHERIFF: What do we do now? Start checking everyone's teeth in town?", "BOOTH: Not everybody.", "[SCENE_BREAK]", "(Cut to inside the bar, Denise-who has been drinking-is talking with Booth and Brennan)", "DENISE: We consume or we're consumed. We're consumed by greed, by ambition, lust, jealousy...", "BOOTH: Dr. Randall...if you could just bite...", "DENISE: (cuts in) Even, just regular love is a form of cannibalism.", "BRENNAN: Could you just put the dental medium between your teeth?", "DENISE: I mean the whole perfect idea of love is that two people become one...now that's a kind of consumption.", "BRENNAN: We're talking about something more literal, Dr. Randall (shoots Booth a look and mumbles) We need her to bite it.", "BOOTH: Why didn't you report him missing?", "DENISE: (takes a drink) Because I would had to admit that he and I were lovers.", "BRENNAN: Why not admit it?", "DENISE: Because it would have made another guy angry.", "BOOTH: What other guy?", "DENISE: Charlie...and Sheriff Scutter...and Andrew Rigby and maybe a couple of others...I don't...well, there's not a lot to do in a place like Aurora, so whatcha do, you do...a lot.", "BOOTH: Dr. Randall, can you just bite...", "DENISE: (cuts in) And if I were your cannibal, would I have pointed out there were human bones in the bear after the autopsy.", "BRENNAN: An autopsy on an animal is called a necropsy.", "DENISE: Yeah, there's a reason I get all the guys and you don't...(bites the mouth piece) And let me tell ya, if I ate Adam (placing the piece in Booth's bag), there wouldn't be anything left (takes another drink ad Booth and Brennan exchange glances).", "[SCENE_BREAK]", "(Cut to Lab, Zack and Angela are looking over evidence on the screens)", "ZACK: Here, and here (pointing)...these look like tooth marks again.", "ANGELA: OK.", "ZACK: But they are too regular, they're exactly 2.4 millimeters apart. Teeth aren't that exact...it has to be some kind of machine.", "ANGELA: She was eaten by a machine?", "ZACK: I don't know.", "[SCENE_BREAK]", "(Cut back to the bar, Booth and Brennan are leaving)", "BOOTH: (putting on his jacket) We've got a love triangle...quadrangle...octangle...whatever. Jealousy, always a good motive.", "BRENNAN: For murdering Adam Langer, maybe, but Ann Noyes? And the cannibalism? No, we are looking for someone who is clinically insane.", "BOOTH: And the whole rant thing the vet lady had about people consuming each other, that was whacky. (Brennan's cell phone rings)", "BRENNAN: Yeah, but kind of true, don't you think? (picks up phone) Hey Angela.", "ANGELA: (over the phone) Sweetie, Zack wants to beam you something.", "BRENNAN: OK, hold on a second. (takes off knapsack and starts setting up computer)", "ANGELA: (in her office with Zack) See if you can tell what it is, but if you're in a public place, you might want to cover your screen.", "BRENNAN: (outside the bar, computer set up) What am I looking at?", "ZACK: (over the phone) Indentations on Ann Noyes' sternum.", "BRENNAN: Magnification? (looking at images on her screen)", "ZACK: Forty BRENNAN: I can't believe both Dr. Rigby and I missed these. Good job.", "BOOTH: (looking) What are they?", "BRENNAN: (to the phone) How far apart are these indentations?", "ANGELA: 2.4 millimeters.", "BRENNAN: (to Booth, pointing at screen) Ok, these marks and the splitting of the bones here, were made by a sternum spreader.", "BOOTH: There's no record of Ann Noyes having heart surgery.", "(Brennan realizes something, and shuts the computer quickly)", "[SCENE_BREAK]", "(Cut to Booth and Brennan walking down the hallway of the hospital)", "BRENNAN: Rigby didn't miss it ...moments like this is why I need a gun. (Booth stops and bends down to unstrap a gun that is against his ankle) Where else do you keep them? (Takes gun Booth gives to her). Thank you.", "BOOTH: That is for self defense, so you don't just go blasting away in there.", "BRENNAN: What if I have to shoot? What part of the body should I hit?", "BOOTH: The part that isn't me...just stay back.", "(Booth opens a door and enters. Brennan walks straight past him)", "BRENNAN: The bodies are gone.", "BOOTH: What's he going to do, take them into the woods for a late night snack?", "BRENNAN: If I were him, I would destroy the evidence.", "(Cut to another room where Rigby is preparing to throw the bodies into an incinerator. Booth and Brennan walk in, guns drawn)", "BOOTH: (point gun) Step away from the incinerator Dr. Rigby. (Brennan hits the button to stop the incinerator)", "RIGBY: You don't understand, it's a spiritual right to share life force with...", "BOOTH: (cuts in) Look, you're nuts, k. We get it. We don't need to hear the rambling psycho speech on why you did it.", "RIGBY: (to Brennan, walking towards them) You're an anthropologist, you know ancient civilizations would sacrifice some in order to preserve the strength...", "(Brennan takes a bed pan and whacks Rigby in the back, he falls over and is out.)", "BOOTH: (looks down at a fallen Rigby) What did you do that for?", "BRENNAN: (holding up the bed pan) Nobody wants to hear that rambling psycho speech.", "BOOTH: A bed pan? (Brennan gives him a look, and throws it down)", "[SCENE_BREAK]", "(Cuts to the lab, both Hodgins and Zack are waiting for Toni)", "ZACK: Why do we have to face her together?", "HODGINS: (adjusting collar) Want this settled or what?", "ZACK: I definitely like this settle.", "HODGINS: (sees Angela walking towards them) What are you doing here?", "ANGELA: You kidding? It's like watching the clash of the horny titans.", "(Toni walks towards them)", "TONI: Who would like to sign for this?", "HODGINS: Who wouldn't want to sign for it?", "TONI: So the idea is, whoever signs for this...", "ZACK: Yes, the act of signing is an analog for...", "HODGINS: (cuts in) She gets it.", "(Toni looks at the both of them, taking her time and ultimately hands it to Angela.)", "ANGELA: Oh. (surprised) oh...oh. (chuckles) That is really sweet, thank you. (takes the envelope as Toni turns to leave. She uses the envelope to fan herself)", "HODGINS: That is so hot (watching Toni leave)", "ZACK: Why, why is that hot? It'd be hotter if she chosen me.", "HODGINS: No, this is definitely hotter.", "[SCENE_BREAK]", "(Cuts to Aurora. Booth and Brennan are sitting at the bar eating breakfast)", "BRENNAN: And to think I didn't want to come here with you. I mean, this was a fascinating case...you don't often find ritual cannibalism in practice so close to home (takes a bit of her cereal).", "BOOTH: Which I find a plus.", "BRENNAN: There are always those individuals within a species who are driven to break the most basic taboos. I mean Rigby actually ate human flesh.", "BOOTH: (trying to eat) Bones, I just got my steak and eggs...", "BRENNAN: (cuts in) Rigby has a prion disease, which means he's been a cannibal for quite some time...you realize when we go to trial he could use the insanity defense (drinks her OJ).", "BOOTH: The guy is nuts.", "BRENNAN: Yes, but is he nuts because he got a brain disease from eating human flesh or was he already nuts the first time he ate flesh or did he just lick his fingers after surgery.", "BOOTH: (puts down utensils and pushes his plate away) I should just become a vegetarian.", "BRENNAN: Or as an alternative just don't eat people. (Booth grabs the ketchup and squirts some on his plate) You know, I'm going to come back up here this winter. Charlie says the skiing is great.", "BOOTH: (mouth full, smiling) Oh, so it's Charlie.", "BRENNAN: Yeah, the overnight guy.", "BOOTH: (laughs while eating) Yeah, I know who he is.", "BRENNAN: I bet he's a great skier...his hips and thighs are perfectly developed for strength and maneuverability...", "BOOTH: (pushes his plate away) That's good...I'm done.", "BRENNAN: What? No good? Want some cornflakes? (Spoons some cornflake for Booth) Want some?", "BOOTH: No.", "END." ]

[ "Condemned man Howard Epps is scheduled to be executed by lethal injection in 32 hours for the murder of 17-year-old April Wright. Epps' attorney, Amy Morton, makes a last-minute appeal to Booth, the man who arrested Epps, to re-examine the case. Booth believes Epps is guilty, but acknowledges that the case had a few loose ends. He asks Dr. Temperance Brennan and her team of squints to review the evidence and confirm Epps' guilt. But when Brennan finds forensic anomalies in the case, and Booth turns up evidence that another man was with April Wright the night she died, they must race against the clock to stay the execution." ]

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

[ "Brennan's former forensic anthropology professor - and ex-lover - Dr. Michael Stires, surprises her with a visit to her lab at the Jeffersonian while in town to interview for a job. While they make plans to have dinner together that evening, Booth wheels in a soiled refrigerator, revealing the decomposed remains of a young woman inside. As Brennan and her team go to work to uncover clues as to what may have happened Booth discovers an old ransom note sent to the girl's parents shortly after she disappeared. Booth and Brennan determine the supposed kidnapping was a hoax and Booth makes an arrest in the case. When Bones is called in as an expert witness, she is shocked to discover the defense has brought in an expert of their own." ]

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

[ "Construction workers find a skeleton in an old fallout shelter from the 1950s and the Jeffersonian is brought in to help identify the remains. When Zack cuts into the bone, he accidentally releases spores of the deadly fungus Valley Fever, causing the team to be quarantined in the lab over Christmas. While everyone tries to maintain the holiday spirit, Brennan buckles down to solve the mystery of the fallout shelter. Booth and Brennan's team are reminded that this is a rough time of year for Brennan, since her parents went missing right before Christmas when she was a kid. As Brennan works to bring closure to the family of the missing man - something she has yet to receive about her own parents - the time spent together in the lab provides the catalyst for revealing information about all of them." ]

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

[ "Dr. Temperance Brennan and FBI Special Agent Seeley Booth travel to Los Angeles to determine the identity of a woman whose body parts were found near Los Angeles International Airport. With Booth at the wheel of their convertible rental car, they are assisted on the L.A. end of the case by young FBI Agent Tricia Finn, who is a little too eager to help. Agent Finn knows Brennan's books inside and out and mentions reading in an entertainment industry trade paper that the film rights to Brennan's latest book were bought by producer/director Penny Marshall. When Brennan and Marshall meet face to face on the set of \"Entertainment Tonight,\" both Marshall and ET's Jann Carl are impressed and a little taken aback by Brennan's dedication to her latest case. Brennan's skills are put to the test when she realizes the victim's identity is hidden by previous extensive plastic surgery." ]

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

[ "When a woman's burned body is found in a car with signs that her child was kidnapped, Brennan and Booth suspect the father, Carl Decker. But things get complicated when Decker turns out to be in the witness protection program. In two days he is scheduled to testify before a grand jury that his company has been sending defective body armor to Iraq. Decker suspects his former bosses may have had his wife killed and kidnapped his son in order to keep him quiet. When a shocking clue is sent to Booth as a warning, Brennan is able to use the clue to pinpoint the kidnapper's location and must race to save the boy's life." ]

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

[ "Special Agent Seeley Booth enlists Dr. Temperance Brennan's help when a decomposed body is found in a local alley and the cause of death is unknown. As Brennan tries to assess if a murder has been committed, the details of the case draw her in deeper, and she's determined to help Booth find the teen's killer. As their investigation reveals the body is that of a teenage boy who had only comic books for friends, Brennan finds she may have more in common with the lone teenager than she though." ]

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

[ "Booth and Brennan investigate when an El Salvadoran gang member is stopped with a dug-up corpse of a young woman in the trunk of his car. While he's being questioned, a drive-by shooting at the site gives the suspect a chance to escape. Booth and Brennan are able to find where the woman was buried - a soon-to-be-excavated community garden - but when they investigate her vacant grave, they find a second empty grave as well. Clues lead them to a wealthy senator's house where the gang member worked, and the investigation gets more complicated as nobody is willing to offer up the truth." ]

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

[ "Brennan and Zack are called to the crash site of a small jet carrying Chinese diplomats and one mystery female passenger. At the scene, Brennan discovers three small bone fragments that didn't come from the plane and might have something to do with a local man who went missing five years earlier. After Dr. Goodman orders the squints to focus their efforts solely on the Chinese diplomat case, the missing man's son, Jesse Kane, shows up convinced the bone fragments are from his missing father. Brennan and the squints work to solve a mysterious murder involving a scheming younger woman and a local maintenance worker while keeping Goodman in the dark. As the forensic evidence mounts, Brennan must consider the possibility that Jesse had something to do with his father's death." ]

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

[ "When Brennan is about to meet an online date for the first time at a local restaurant, she only barely escapes being the target of a shooting and she and Booth are trying to track down her attempted killer. Was it the man she met online? Or is it someone connected to one of the two bodies she's investigating - the victim of a mob hit and the victim of a serial killer? Brennan is not deterred and insists on continuing all the investigations, while Booth sticks close by her side - until he's the victim of a bomb explosion, rigged to Brennan's refrigerator. With Booth hospitalized, Brennan gets protection from Agent Kenton of the FBI, but FBI protection is not enough and Booth must race to save Brennan's life." ]

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

[ "When the remains of a young documentary filmmaker are found in a ventilation shaft in an underground Washington, DC, tunnel, Brennan and Booth must venture into the maze of tunnels beneath the city and are surprised to discover a world of homeless shelters underground. Clues lead them to suspect that a man living underground was involved with the murder, but instead he gives them valuable information about the purpose of the victim's underground project. When a valuable artifact is found among the victim's possessions, the entire Jeffersonian team joins in the investigation to learn why the victim was in the maze of tunnels and what she found down there that led to her murder." ]

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

[ "While on vacation in the desert, Angela contacts Brennan to ask for her help in identifying a skull - she's afraid it's her boyfriend, Kirk, who left on a photo shoot and has been missing for several days. The skull is sent to the lab, where Zack and Hodgins confirm that the victim died of a gunshot wound, had traces of peyote in his hair, and, sadly, is Kirk. Booth thinks the murder is drug-related, but the investigation leads them to a counterfeiting ring in the middle of the desert." ]

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

[ "When a dead body is found clutching a 300-year-old finger bone, Booth and Brennan's investigation leads them to a dive site off the coast of Assateague Island where a pirate treasure may be buried. Hodgins is excited to get out of the lab and participates in a dive that uncovers more skeletal remains, which are authentic but prove that some of the bones found were actually stolen from the Jeffersonian collection. The investigation uncovers the possibility that the skeletal remains were placed at the dive site by a surprising culprit with a selfish motivation. But when the suspect is found murdered, a new lead sends the duo on the search for the owner of the dig shaft. Hodgins, excited to get involved in the case, volunteers for another dive in the shaft, but Brennan and Booth must race to save him from an underwater death when they discover who's behind it all." ]

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

[ "When Brennan wakes up in the bathroom of her New Orleans motel room, bloodied, beaten up and her earring ripped out of her ear, she doesn't know what happened or how she got there, and discovers she's lost an entire day of her life. The circumstances and her loss of memory are enough to rattle even Brennan, who's in New Orleans on vacation, helping to identify victims of Hurricane Katrina. Upon learning of Brennan's situation, Booth arrives on the scene to help her decipher her lost day. When the local medical examiner in New Orleans is found murdered, Brennan is targeted as the prime suspect. Booth and Brennan's investigation leads them into the dark underworld of Southern voodoo, but their search for answers may not come in time to clear Brennan's name." ]

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

[ "Booth's boss, FBI Deputy Director Sam Cullen, is anxiously awaiting information from doctors as to why his daughter Amy is dying of a rare form of lung cancer. When Brennan learns of Amy's condition, she questions the rarity of the cancer in a girl of Amy's age and background and discovers Amy had a bone graft as a result of a previous accident. Brennan enlists Booth's help to dig deeper into the origin of the bone graft she received, and they are shocked to learn Amy is not the only person with the rare terminal cancer and that she may be the victim of a crime." ]

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

[ "Booth and Brennan investigate the apparent suicide of a protester in Arlington National Cemetery. But Brennan and her team discover this was not suicide, it was murder, and the victim was a soldier who had served in Iraq, not a war protester as originally thought. Booth and Brennan pursue the murder investigation and interrogate the American soldiers the victim served with in Iraq. Their investigation leads to many unanswered questions about the victim's military unit in Iraq and the actions they took while on patrol there. As they uncover more information about the case, all clues point to a potential military cover-up. Meanwhile, Booth laments the horrors of war and his own shady past as a military sniper." ]

[ "\"The Soldier on the Grave\"", "[SCENE_BREAK]", "[Fade in: BRENNAN and BOOTH walk into the scene, ARLINGTON NATIONAL CEMETARY]", "BOOTH: I never get used to the magnitude of this place, what it's taken to keep this country free.", "BRENNAN: All socities build monuments to their dead, to convince future combatants that it's an honor to die in battle.", "BOOTH: For these servicemen it was. And somebody to use this place to protest the war just pisses me off. These are the lives that gave them the right. These men, they should be respected.", "BRENNAN: If they were really respected, maybe not so many of them would be buried here.", "BOOTH: Are we gonna get into something here, Bones?", "BRENNAN: I don't see why. I think we both wish this place were a lot smaller.", "AGENT #1: Agent Booth, Dr. Brennan. Right this way.", "[Camera pans out, AGENT #1, BOOTH and BRENNAN walk towards the scene. Jeffersonian employees are taking pictures of the scene and collecting samples.]", "AGENT #1: It must've happened in the middle of the night. Place is so big no one saw the fire.", "[ZACK is taking photos of a burned skeleton, leaning against a headstone. BOOTH, BRENNAN and AGENT #1 approach.]", "ZACK: The accelerant was charcoal starter.", "AGENT #1: We didn't find a suicide note.", "BRENNAN: If he was a protester, wouldn't he have left a note?", "BOOTH: Didn't need to. It's on Charlie Kent's grave.", "BOOTH (offscreen): Press was coming out to do a tribute to him.", "[BRENNAN looks up, pulls out latex gloves.]", "BOOTH: One-year anniversary of his death.", "BRENNAN: [Nonplussed] Charlie Kent?", "BOOTH (offscreen): He was in the National Guard. About to be drafted by the NBA when he got shipped out to Iraq. He gave his life taking out a group of insurgents to save his unit.", "BOOTH: Won the silver star.", "BRENNAN (offscreen): It's male.", "BRENNAN: African descent. Approximately 20-29 years old. Too early to determine cause of death.", "BOOTH: I'm not a pro, but I'm guessin' fire.", "[BRENNAN looks up at him pointedly.]", "AGENT #1: The White House and the D.O.D. want an I.D. as soon as possible.", "BRENNAN: So they can brand him a traitor.", "BOOTH: Why do you have to be so cynical?", "BRENNAN: I'm not cynical. It's a necessary psychology of warfare. Heroes and villains.", "[BRENNAN stands and circles around the remains.]", "BRENNAN: Without clear distinctions like that, we'd never be able to fight.", "BOOTH: Yeah, well, I always found being shot at... was a motivating factor.", "[BOOTH turns and moves away from the remains. Camera turns back to BRENNAN and ZACK, working with the remains.]", "BRENNAN: Bag these fragments of his clothing. I also want any singed plant life or debris you find around him.", "[BOOTH moves the crime scene tape, fixated on something beyond the frame.]", "ZACK (offscreen): I'm on it.", "[BRENNAN turns to stare at BOOTH. BOOTH shakes his head, standing in front of a headstone not unlike Kent's. BRENNAN joins him at his side.]", "BRENNAN: What?", "BOOTH: It's Jamie Richards.", "[The headstone reads JAMES RICHARDS SFC US ARMY DEC 3 1970", "OCT 26 2003", "PURPLE HEART OPERATION IRAQI FREEDOM]", "BOOTH (offscreen): We were in the Rangers together.", "BOOTH: He was hit by a roadside bomb... just outside the green zone. He left a wife and two kids. The fact that he was near this --", "BRENNAN: You believe somehow he's still here watching?", "[BOOTH swallows hard.]", "BOOTH: Yeah. You don't. I get that.", "BRENNAN: I know you think he's a good man. That's -- that's enough for me.", "[BRENNAN turns back to the scene. Camera pans down to BOOTH crouched in front of JAMES RICHARDS' grave.]", "BRENNAN: Zack, I want pictures of all remaining tissue before he's moved.", "[CUT to: JEFFERSONIAN MEDICO-LEGAL LAB. A television is tuned into the local news channel.]", "FEMALE REPORTER: The unidentified suicide victim was found at Private Kent's grave this morning. Services had been planned to honor Kent on the one-year anniversary of his death in Iraq.", "[GOODMAN moves into the scene as the camera pans out. Television report shows footage of KENT playing basketball.]", "GOODMAN: Ah. I used to love watching Kent play. He could fly.", "ZACK: He made 46.4% of his three point attempts in his last season.", "GOODMAN: A basketball fan? I'm surprised, Mr. Addy.", "[BRENNAN walks onto the platform, and turns off the television.]", "BRENNAN: Zack, I'd like you to keep cleaning the bones.", "ZACK: Did you see the game against North Carolina?", "ZACK: Fifty-three points, and he grabbed 18 rebounds.", "BRENNAN: Zack?", "[BRENNAN gives him a pointed look, gesturing to the remains on the examination table as she puts latex gloves on.]", "[ZACK, chastised, turns back to the remains, turning on a UV light.]", "ZACK: Sorry. Cleaning.", "GOODMAN: It's difficult knowing Kent will never play again. Makes the war so real.", "HODGINS: Which is odd since it was all fiction that got us there in the first place.", "GOODMAN: So you don't think we should stand up to tyrants?", "HODGINS: Sure. [Smirks] I've been waitin' for the press to do that for three years now.", "ANGELA: I can't believe you took the bait.", "GOODMAN: Yeah. Me neither.", "[Cell phone rings. GOODMAN winces as he pulls it out, rolls his eyes.]", "GOODMAN: Oh! Press Office of Defense. Please I.D. him. This is the third call in an hour.", "[GOODMAN answers the call, looking annoyed.]", "GOODMAN: Hello? [Suddenly looks tired, annoyed and weary.] Yes. It's a pleasure to hear from you *again*, sir. Yes, we're very close.", "ANGELA (offscreen): All right.", "ANGELA: I fed his dentals, approximate age, height, along with the rough sketch I made from the tissue markers into the D.O.D. database.", "[Camera changes, shows BOOTH swiping his card through the security reader and mounting the platform.]", "HODGINS (offscreen): The victim had lamb about an hour before his death.", "HODGINS: Of course, it's a little overcooked now.", "BOOTH: Toasted himself. Who cares what he ate?", "BRENNAN: Just doing our jobs, Booth.", "HODGINS: Big boys telling you to sweep this one under the rug?", "BOOTH: Just can the left-wing conspiracy, Hodgins.", "BOOTH: Probably one of your nut-ball friends here on the table.", "HODGINS: Don't think so. Fabric found at the scene was cotton with synthetic polymers. Dye: olive green.", "[Camera shows BOOTH's face. ANGELA is in the background, still at the computer.", "HODGINS (offscreen): This dude was wearing a military uniform.", "HODGINS: He's one of yours, not mine.", "ANGELA: Okay. His name is Devon Marshall.", "[BOOTH turns to ANGELA. Scene changes to show BRENNAN looking towards ANGELA and BOOTH's direction.]", "ANGELA: He served in the Guard with Kent.", "BOOTH: What?", "ANGELA: He was there in Mosul the night Kent was killed.", "[Focus on computer screen, shows DEVON MARSHALL's official photo as well as his basic information.]", "ZACK: He was protesting?", "HODGINS: Marshall could've had a change of heart. It's not like support for the war is increasing.", "BOOTH: It also could've been survivor's guilt. The guy who saved his life didn't make it. You can't imagine what it's like carrying that around.", "[BRENNAN looks at BOOTH.]", "BRENNAN: I don't think so, Booth. There's evidence of damage on the external auditory meatus...", "[Camera pans to follow BRENNAN back to the remains on the table. Zoom into the skull, which shows a hole in the skull.]", "BRENNAN: ...here and here.", "BOOTH: I'm sorry, you know, but I left my phrase book at home.", "ZACK: The opening in the skull where the auditory nerves feed into the brain.", "[BOOTH looks and sounds exasperated.]", "BOOTH: So we're talking ear hole?", "[BRENNAN looks at BOOTH, looking perplexed and annoyed with him.]", "BRENNAN: Yes.", "BOOTH: They simplify these words for a reason, people.", "BRENNAN: Something was jabbed into his ear.", "BOOTH: [Slowly] Okay, that's clear. But why?", "BRENNAN: There's scrapings within the cranium and marks on the inside of the parietal and occipital.", "BRENNAN: Whatever was used was pushed completely through his skull.", "HODGINS: Someone scrambled his brain, then set the fire so there'd be no tissue left to see what had been done.", "BRENNAN: Exactly. Devon Marshall didn't die in the fire. He was murdered first.", "[BRENNAN looks to BOOTH, camera pans to BOOTH's face staring in BRENNAN's direction, looking tense and grim.]", "[CUE CREDITS.]", "[FADE IN: WASHINGTON, D.C. in daylight. A black SUV is driving and makes a turn.]", "BRENNAN (offscreen): Marshall was against the war.", "[CUT to: BRENNAN and BOOTH in the SUV. BRENNAN is talking to BOOTH as she is on a cell phone. BOOTH stares ahead, driving.]", "BRENNAN: They knew he'd look like a protester, so no one would expect murder.", "BOOTH: As far as anyone knows, this is still a suicide.", "BOOTH: I want the killer to think that he got away with it.", "BOOTH: He's smart. I want the edge.", "Br (into cellphone): Okay, Zack, then magnify the marks on the cranium. Call me if you match them to any kind of weapon.", "[BRENNAN ends the call.]", "BOOTH: Y'know, I'm just gonna be asking his mother a few questions. You could've just stayed back there and played with your bones.", "BRENNAN (offscreen): I know. Just wanted to keep you company, that's all.", "BOOTH: Company?", "BRENNAN: Yeah. I'm trying to be more sociable. You know?", "[BOOTH doesn't look convinced.]", "BOOTH: Lousy liar.", "BRENNAN: I just think inside, you're still military, Booth. You might be too close to this one. I just wanna make sure you stay objective.", "BOOTH (offscreen): I know how to do my job.", "BOOTH: I was doing it just fine long before I met you.", "BRENNAN: You're angry.", "BOOTH: [Annoyed] Well, because I have people all around me with opinions about the war who don't know what the hell they're talking about!", "BRENNAN: I've been in Sudan, Rwanda. For two months I sifted through the wreckage of 9/11 trying to help the families of the victims.", "BOOTH: All I'm saying is that this is just another case. That's all. It's just-- It's another case.", "BRENNAN: [Looks away.] You're not such a great liar yourself.", "[BOOTH sighs.]", "BRENNAN: I'm your partner. Let me be your partner.", "[CUT to: a framed photo of DEVON MARSHALL, presumably being held by BOOTH in his office.]", "BOOTH: Did he, uh, have any troubles since he came back? Any personal problems?", "[BOOTH hands the photo back to the red-suited figure in front of his desk.]", "[Camera follows and focuses on an African-American woman, REGINA MARSHALL.]", "REGINA. MARSHALL: Some days... [She sighs, looks down at the photo and then back up.] I didn't know him.", "REGINA MARSHALL (offscreen): He used to be very outgoing, happy.", "[BOOTH and BRENNAN are listening to REGINA MARSHALL, both studying her.]", "REGINA MARSHALL: But since he came back, all he did was spend time with his little sister...", "[Camera pans back to REGINA MARSHALL, and there is a younger African-American female sitting next to her. KIARA MARSHALL, DEVON's sister.]", "REGINA MARSHALL: take her to school, help her with her homework.", "KIARA MARSHALL: Said his job now is keeping me safe.", "KIARA MARSHALL: But most of the time, it was like I was taking care of him.", "[BRENNAN glances over at BOOTH. BOOTH looks back and focuses on DEVON'S SISTER again.]", "KIARA MARSHALL (offscreen): It was like he was scared all the time.", "BOOTH: Did he, uh-- Did he talk, you know, to anyone else he served with?", "KIARA MARSHALL (offscreen): Just Jimmy. He talked to him when Jimmy wasn't in the hospital, the V.A.", "REGINA MARSHALL (offscreen): When he was over there, he really believed in what he was doing.", "REGINA MARSHALL: He wrote us all the time, saying how good he felt seeing the people free... Voting. 'Cause he remembered when his grandpa was a young man he didn't have the right to vote. [To Brennan] When can I have my son back? When can I lay him to rest?", "BRENNAN: Soon, Mrs. Marshall.", "BRENNAN: We just wanna make sure we have all the facts.", "[REGINA MARSHALL and KIARA rise to leave. Camera focuses on BOOTH, who looks tired and grim. BRENNAN looks at him and sighs.]", "[Camera does a wide pan shot of a large building.]", "[V.A. HOSPITAL]", "BRENNAN (offscreen): I know it's his sister, but it seems odd...", "[Camera cuts to BOOTH and BRENNAN walking side to side down a hallway. A man using a cane walks by.]", "BRENNAN: ...for a grown man to be spending so much time with a 13-year-old.", "BOOTH: You come back from combat, it's still all over you.", "BOOTH: You know, you wanna be around something pure, something innocent.", "BOOTH: Adults, they want you to relive it all.", "BOOTH: They, they want war stories like they're entertainment.", "BRENNAN: It makes 'em feel better. If they hear you survived, then maybe war isn't so bad.", "BRENNAN: John Wayne syndrome.", "BOOTH: Don't tell me you're gonna trash the Duke?", "BRENNAN: Wh- are you kidding? I love the Duke.", "BOOTH: [Imitating] I wouldn't have guessed that one, little lady.", "BRENNAN: Remember \"Stagecoach?\"", "BRENNAN: [Imitating] \"Listen, cowboy. Courage is being scared to death but saddling up anyway.\"", "BOOTH: What was that? The Duke? That was horrible.", "BOOTH: That was like, Jerry Lewis.", "BRENNAN: Was not.", "[Camera cuts to a painting of a soldier saluting, and continues to pan out into a wide open common/rec room. Men are sitting together, talking.]", "BOOTH (offscreen): Just a couple of quick questions, Jimmy.", "[Camera continues to pan and shows, JIMMY, his wife, BOOTH and BRENNAN sitting around a coffee table on couches.]", "JIMMY: I-I-I can't-- I can't talk about Devon now, man.", "JIMMY: I-I just can't.", "JIMMY'S WIFE: Why can't you just leave him alone? He's got enough troubles.", "BOOTH: I understand, okay? It's-- readjusting takes time.", "[Camera focuses on JIMMY'S WIFE.]", "BOOTH (offscreen): It's different for every one of us.", "JIMMY: It sure as hell was different for Devon. He's gone, man.", "JIMMY: Son of a bitch should've never checked out on me like that.", "JIMMY'S WIFE (offscreen): That's when Jimmy came back in here-- when he heard about Devon.", "[Camera shows BOOTH and BRENNAN listening carefully.]", "JIMMY'S WIFE: He was doing pretty good before that.", "JIMMY: [To his wife] Baby, I can't hold a job yet. I can't even provide for my family.", "BOOTH: Did you and Devon ever argue?", "JIMMY: Oh, no. We, we had to stick together. That's what it was all about.", "JIMMY'S WIFE: Devon would call, and Jimmy would take off to meet him. Middle of dinner, playing with Sarah-- It didn't matter. [Bitterly] Jimmy would go.", "JIMMY: He needed me, Karen. [To Booth] Man, you served. You know what it's like when you get back. You got no one but the guys you served with.", "BRENNAN: You and Devon would visit Corporal Kent's gravesite?", "JIMMY: It never should've happened like that. Not to Kent. We would go and tell him that we-- we were sorry. We needed him to know.", "BOOTH: I understand.", "BRENNAN: I don't. How did it happen, Jimmy?", "BOOTH: It doesn't matter, Bones.", "BRENNAN: But, Booth --", "[BOOTH begins to stand up.]", "BOOTH: We'll see you later, okay Jimmy?", "KAREN: At home. He'll be at home next time with me and the kids. Right, Jimmy?", "[JIMMY doesn't answer. BOOTH pats him on the shoulder as he and BRENNAN move to leave the V.A. Hospital.]", "[Cut to: BOOTH and BRENNAN walking down the hallway.]", "BOOTH: Jimmy loved that guy. He didn't kill him.", "BRENNAN: Now you're a mind reader.", "BOOTH: Maybe. You want me to guess your weight?", "BRENNAN: You do and you could loose a tooth. Booth, you've gotta stay objective. Jimmy was one of the last people to see Devon alive. He admitted they went to the cemetary. Jimmy could've killed him.", "BOOTH: Oh, here we go. I thought you didn't like speculation.", "BRENNAN: I don't. That's why I took this. Cigarette butt [pulls an object out of her pocket]. See if we can pull any DNA from it and match it to anything he left on Devon.", "BOOTH: Right. If you got what you need, then why are you giving me such grief?", "[BRENNAN puts a restraining hand on BOOTH's arm.]", "BRENNAN: Because I thought you could've been a little tougher in there.", "BOOTH: I'm tough.", "BRENNAN: Most of the time.", "BOOTH: [Chuckles] Do you always have to get the last word in?", "BRENNAN: I like to, yeah.", "[BOOTH is about to say something, but is interrupted.]", "MAN: Booth!", "[Camera pans out to a man in a wheelchair, looking pleased to see BOOTH.]", "MAN: Son of a bitch.", "BOOTH: Hey, Hank! Hey!", "[HANK pulls him down and they hug, patting each other on the back.]", "BOOTH: How the hell are ya, man?", "HANK: Great, just got some new wheels.", "BOOTH: Sweet ride, man. Hank Lutrell, Dr. Temperance Brennan.", "HANK: The bone lady.", "[They shake hands. BRENNAN has a wry look on her face.]", "BRENNAN: That's me.", "Hank: I heard you two were working together. Booth and I were in the same unit in Kosovo.", "HANK (offscreen): Hey you gotta come over for dinner. Janie and the kids keep asking about you.", "BOOTH: Yeah, I'd love to. I'll call. We'll uh, make it a date, okay?", "HANK: Great. I gotta roll. I gotta be in court at 3:00.", "BOOTH (offscreen): Yeah.", "HANK: They can't start without the judge.", "[BOOTH pats him on the shoulder as HANK wheels away.]", "BOOTH: I'll call.", "HANK: Hey, call me or I'm gonna kick your ass.", "BOOTH: [Sighs] Uh-huh.", "BRENNAN: What happened to him?", "[BOOTH looks exasperated and irritated.]", "BOOTH: [Curtly] He got hurt.", "[BOOTH walks away and BRENNAN stares after him for a second before following.]", "[Cut to: LAB INTERIOR. Close-up of the bones laid out on the table.]", "ZACK (offscreen): There are signs of additional damage on C-1 at the base of the skull.", "ZACK: This mark couldn't have come from the assault inside the cranium.", "[Camera pans out to show ZACK, ANGELA and HODGINS in the room, also examining the bones.]", "ANGELA: [Exasperated] I just think that you should be aware that Booth went through something over there.", "HODGINS: So I'm not supposed to tell the truth?", "ANGELA: Truth? It's *opinion* Jack.", "ZACK: [Frowns] Looks like a dimple in the bone. Could be genetic.", "HODGINS: There were no W.M.D.'s. That's the truth.", "ANGELA: Every major intelligence agency in the world thought there were.", "[HODGINS looks amused and stubborn.]", "ZACK (offscreen): We should get magnification of the area to determine what else could've caused it.", "HODGINS: Are you defending what's going on over there?", "ANGELA: No. Mistakes were made, *obviously*.", "HODGINS: Yeah! Like establishing military bases over there instead of investing a fraction of what this war costs into alternative energy projects.", "ANGELA: Nothing is that simple.", "HODGINS: To me it is! We're ruled by the corporate oligarchy. Face it.", "[ANGELA looks exasperated and clearly unamused; ZACK continues his analysis.]", "ZACK: There's also some discoloration. You should do some scrapings to see what it might be.", "ANGELA: [Sighs] You want to make the world a better place, Jack? Try shutting your yap long enough to hear something other than the sound of your own voice.", "[ANGELA walks away.]", "HODGINS: [Surprised, calls after her.] Hey, where are you going?", "ZACK: The scrapings?", "HODGINS: Huh?", "HODGINS: Oh, yeah. I thought we were having a good time. [Scoffs]", "[Cut to: NATIONAL GUARD MILITARY BASE - OFFICE. COL. SHORE stands up; BRENNAN, CPT. FULLER and BOOTH follow.]", "COL. SHORE: It's a pleasure to finally meet you, Dr. Brennan. You've helped us with some casualties that we never thought we'd be able to I.D.", "BRENNAN: Someday, maybe I won't be needed.", "COL. SHORE: That's what we all hope. CAPTAIN FULLER, give Agent Booth and Dr. Brennan all the help they need.", "CPT. FULLER: [Snaps to attention.] Yes sir. [Gestures for BOOTH and BRENNAN to move ahead.] Please.", "[BOOTH and BRENNAN move to sit in front of CPT. FULLER's desk.)", "BOOTH: So uh, this is your third tour in Iraq, Captain?", "CPT. FULLER: Yes. A National Guard unit can be difficult to lead. Nothing against the Guard, but usually they're inexperienced, shortchanged on equipment.", "CPT. FULLER: But Kent's unit, they were one of the best I ever had.", "BOOTH: And Devon Marshall?", "CPT. FULLER: Marshall was a good soldier. But after he came back, he seemed to turn against the military. Saw us as the problem over there. You must've known men like that.", "BOOTH: Some people just aren't cut out for it.", "BOOTH: Like Jimmy Martin.", "CPT. FULLER: Jimmy's been having some troubles, but he still supports us.", "BOOTH: Both Marshall and Jimmy, uh, seemed like they had trouble getting over Corporal Kent's death. Any idea why it was so tough for 'em?", "BOOTH (offscreen): Tougher than usual.", "[CPT. FULLER looks at BOOTH. BOOTH stares back knowingly. CPT. FULLER looks away.]", "CPT. FULLER: We were on a patrol in Mosul.", "Cpt (offscreen): Intel reports indicated there were insurgents in this neighbourhood.", "CPT. FULLER: We were canvassing the area.", "[Camera whites out and fades back in to show a SOLDIER sitting in the driver's side of a military vehicle.]", "CPT. FULLER (voiceover): PRIVATE CAMPBELL, she stayed in the Humvee as the unit headed towards a small house up the street.", "[Five SOLDIERS climb out of the military HUMVEE, armed and checking their equipment.]", "CPT. FULLER (voiceover): There were five of us -- Kent, Marshall, Martin, Lefferts, myself.", "[They move in a line towards the house. CPT. FULLER stops and gestures for two soldiers to go around.]", "CPT. FULLER: It was a small house -- two rooms. I looked through the slat and saw three insurgents in the back room, one a woman.", "[Camera shows fleeting images of a man with a gun slung on his shoulder, another man with a gun standing next to the woman.]", "CPT. FULLER: They men had AK-47s. I sent KENT and LEFFERTS to cover the back so no one could run.", "[KENT and LEFFERTS quickly round the corner, guns ready. KENT looks back and LEFFERT nods tensely. CUT back to CPT. FULLER, MARSHALL and MARTIN at the front door.]", "CPT. FULLER: I was getting the others into position when one of the insurgents must've spotted Kent.", "[FLASH to KENT peeking into the door and FLASH back to FULLER's group.]", "CPT. FULLER: I heard the pop, pop, pop of the enemy AK-47.", "[KENT comes barging through the door, gun raised and firing into the room.", "CPT. FULLER: Kent made entry to take them out before they could get to the rest of us. Lefferts followed him in while we were kicking in the front door.", "[LEFFERTS fires at the insurgents, quickly shadowing KENT.]", "CPT. FULLER: When we got to them, Kent had already been killed taking out the insurgents.", "[CPT. FULLER, MARSHALL and MARTIN kick in the door and move quickly, making sure that other insurgents were not present. They stop at the entrance to the room; LEFFERTS looks up as he applies pressure to KENT's wounds.]", "CPT. FULLER: Sight like that stays with you. Two part-times like that, I guess it was too much.", "[Camera whites out and cuts back to present time.]", "CPT. FULLER: But whatever Marshall was trying to do desecrating Kent's grave, Kent saved the unit. Marshall can't take that away.", "BOOTH: [Flatly] Devon Marshall was murdered, captain.", "CPT. FULLER: God.", "BOOTH: Any bad blood between him and Jimmy Martin?", "CPT. FULLER: Not that I know of.", "BRENNAN: We only have the after-action summary of the incident. I'd like to have the full report, Kent's autopsy, the photographs you took of the scene and any other evidence that exists.", "CPT. FULLER: You'll have whatever you need.", "[Cut to: BRENNAN and BOOTH walking out of CPT. FULLER's office.]", "BRENNAN: I thought we were keeping the murder to ourselves.", "BOOTH: He's the company commander, Bones. He's a decorated officer.", "BRENNAN: And you think a soldier wouldn't kill someone?", "BOOTH: Huh, and suddenly it's your job to question the motives of everyone who served?", "BRENNAN: No, it's my job to solve a murder. Yours too. [Opens the car door and climbs in.] Treat him like you would anyone else involved in an investigation. You're not in the military anymore, Booth.", "BOOTH: [Irritated] I will find out who killed Devon Marshall. That's all you need to know.", "[CUT TO: LAB - BRENNAN'S OFFICE - Camera pans to show ANGELA leaning on BRENNAN's desk.]", "ANGELA: How's Booth doing?", "BRENNAN: He's angry. I think I said some things.", "ANGELA: Sweetie --", "BRENNAN: [Defensively] He wasn't being objective. I just had to get him to focus.", "ANGELA: You have to think before you speak.", "BRENNAN: Why? I can say anything to you without thinking about it first.", "ANGELA: Yeah. Men aren't like us. They're much more fragile and needy. The fact that they think *we're* the needy ones is a testament to our superiority.", "BRENNAN: [Grins, amused.] Yeah. I guess I forgot.", "[ZACK walks in.]", "ZACK: Dr. Brennan, the military delivered all the paperwork you requested. [Offscreen] Private Kent's autopsy report is careless and incomplete. There was no incison, no X-rays. [Camera turns to show Angela looking down, dismayed] So there's no way to confirm the amount of bullets he was hit with.", "BRENNAN: The M.E. marked seven entry points but the report says there were only six bullets.", "ZACK: I could've done better with a Crayola.", "BOOTH: [Throws the folder down] Medical reports are done on the fly in combat situations. That doesn't mean that they're falsified.", "BRENNAN: Booth, the report is a mess. [Turns to Angela] Ange, I'd like you to input these photographs and enhance them for as much detail as possible.", "[HODGINS walks onto the platform.]", "HODGINS: I couldn't salvage much flesh from Marshall's ear but I'm sending anything useful up to Pathology, see if they can match anything with the DNA they pulled from Jimmy Martin's cigarette. [Faces Angela] Were you really mad before?", "ANGELA: Why? Because of your strident, paranoid ramblings?", "HODGINS: I'm guessing mad. Fair enough. Can I at least give you some material to read?", "ANGELA: [Doesn't look up at Hodgins] You could try, but you'd walk funny for a week.", "HODGINS: [Cowed] I'd better, uh, work on these scrapings for Zack.", "BRENNAN: This is a murder. We know Devon would visit Kent's grave. Jimmy said to apologize. He knew something about Kent, Booth, something these reports will never tell us.", "BOOTH: [Furtively looks around, then looks at Brennan] So what do you wanna do?", "BRENNAN: I wanna exhume Charles Kent.", "BOOTH: [Incredulous] Exhume a *war hero*? Do you have *any* idea what you're asking?", "BRENNAN: [Stares back at Booth squarely, determined.] It's the only way we'll really know what happened to him.", "BOOTH: The report.", "BRENNAN: Which is sloppy and incomplete.", "BOOTH: He is supposed to be honored this week, Bones, not humiliated.", "BRENNAN: Doesn't Devon Marshall deserve as much respect and honor as Kent?", "BOOTH: [Shakes his head] I'm sorry Bones, I can't let you do this.", "BRENNAN: I'm not asking for your permission Booth. I can get the court order on my own. I was just kind of hoping for your support. [Walks off.]", "[BOOTH stares as she leaves, turns his head and looks tired and conflicted.]", "[CUT to: ARLINGTON NATIONAL CEMETARY - CPL. CHARLES KENT'S GRAVE. A dirt-covered but ornate coffin is lifted out as BOOTH, BRENNAN, BRADLEY KENT, TINA KENT and two anonymous soldiers look on.]", "[Camera moves to MRS. KENT, who looks heartbroken and angry as she walks over to BOOTH and BRENNAN.]", "TINA KENT: Agent Booth, I'm Tina Kent.", "BOOTH: Listen ma'am, I'm very sor- [Cut off as TINA KENT slaps him across the face.]", "[BRALDEY KENT leads his wife away.]", "[FADE TO BLACK]", "[SCENE_BREAK]", "[FADE IN: LAB - MORGUE. A bird's eye-view of Cpl. Kent's body on a gurney; the crew surrounding the table. BOOTH stands away, examining Cpl. Kent's belongings laid on the next table.]", "[BOOTH picks up one of the medals, taking it in.]", "BOOTH: You know, this is a Silver Star. [In the background, Hodgins and Brennan look over towards him. Booth clenches the medal in his hand.]", "BRENNAN: I know how much you hate this, Booth.", "BOOTH: [Swallows hard.] Let's just get this over with, all right?", "BRENNAN: [To Zack] Okay, I want a full set of X-rays, and a clear picture of all fracture patterns. [To Hodgins] And a tox screen and analysis of any particulates in the wound.", "GOODMAN: D.O.D. wants this done fast. They want this out of the press as soon as possible.", "BRENNAN: [To Goodman} It will take the time it takes to do properly. [To Angela] Can you run scenarios on the angles and the entry order of the shots?", "ANGELA: Yeah. [Leafs through photos] I should be able to give you something.", "HODGINS: [Turns to Booth, starts to ramble] I know we don't see eye to eye on a lot of stuff because you know, politically, I think we live in an Orwellian nightmare due to --", "BOOTH: [Crosses his arms and tensely interrupts] What-- what are you trying to say?", "HODGINS: Just-- I'm sorry, man. I reall am. [Walks past him]", "[Camera lingers on the carefully-folded uniform and the medals laid out on top of it, and Booth gives it a final glance as he turns towards Brennan.]", "BRENNAN: I'll need X-rays of L-1 through four, and the left scapula.", "BOOTH: Uh, he's just a kid.", "BRENNAN: It's always the young. Anthropologists have theorized that wars break out when there's an increase in the population of unmarried men under the age of 25.", "[BOOTH shoots her a blank stare.]", "BRENNAN: [Awkward, apologetic.] I'm sorry. I need to create a distance from the victim. It's how I deal. I-- I didn't mean--", "BOOTH: [Tense, uncomfortable] Just, you know, do what you have to do. I'm gonna go do my thing. [Quickly walks off.]", "[BRENNAN stares after him, looking unsure, but even more unsure as to what to say.]", "[CUT to: INTERROGATION ROOM. Jimmy Martin is pacing the room as Booth sits in the chair, watching him.]", "JIMMY: I-I-I should've been with Kent, man. May-maybe I could've shielded him, you know? But, but the captain, he put me and Devon on the front door. And by the time we got to Kent, it-it was too late.", "BOOTH: What did you see from where you were?", "JIMMY: Oh, no. [Sits down] Come on, man. I don't need to go through that again, okay? The captain told you. You-you read the report.", "BOOTH: [Leans in, looking earnest] Come on Jimmy. Please. All right? This is for Kent and Devon.", "[Jimmy shakes his head for a few seconds, but looks up at Booth.]", "JIMMY: It was the first action we saw. Man, nobody was ready.", "[Camera whites out and fades in; five soldiers walk away from the HUMVEE. Quick cut to the soldiers standing by the front door.]", "JIMMY (voiceover): We were outside the front door, sweatin' in the heat.", "[Camera cuts back to the interrogation room.]", "JIMMY: Just waitin'.", "BOOTH: What's the first thing you heard?", "JIMMY: First? It was the pop, pop, pop of the enemy AK. And all hell broke loose. [Booth looks at him oddly, leans back.]", "[Camera cuts back to the soldiers as they burst through the front door.]", "JIMMY (voiceover): We broke down the door and made entry. [Soldiers moving in, camera shows quick shots of the dead Iraqis.] Those people, the Iraqis, they were already dead when we got to the backroom. Kent too, Lefferts standing over him all freaked.", "[Kent lies on the ground, his eyes closed; camera cuts to Cpt. Fuller, Marshall and Martin standing there, looking shocked and dismayed at Lefferts, who looks stunned as he stares back at them, still pushing on Kent's chest. Marshall slowly lowers his gun, follwed by Martin.]", "JIMMY (voiceover): We were all freaked, man. These were real people, you know?", "BOOTH: [Scrutinizes Jimmy] Did you see 'em firing on Kent?", "JIMMY: No. But like I said, it took time to kick in the door and push through to the backroom. If I'd got there faster, I-- [Pauses] There was nothing I could do, you know? I swear.", "[CUT to: LAB - MORGUE. The X-ray of Kent's chest is displayed on the monitor. Camera pans to the side to show BRENNAN and ZACK as they go through the X-rays.]", "ZACK: The X-rays show that six of the bullets are still in the remains.", "BRENNAN: I need to see which entries were fatal. Anything more on Devon Marshall?", "ZACK: We're still working on the bone dimple on his neck.", "BRENNAN: All right. Set up a tray so we can start extracting bullets.", "ANGELA: [Walks over to Hodgins, but doesn't look at him] Did you find anything in the wounds that might've changed the trajectory of the bullets?", "HODGINS: [Looks discomfited] Not yet. Just residual sesquioxide, in silico accumulation. A little decayed organic matter. Probably food that was on the floor. So--", "ANGELA: Thank you. [Turns to leave]", "HODGINS: Look, Angela. [She stops and turns back.] Look, I run on sometimes, I know. I guess I think if I yell loud enough, maybe someone will listen.", "ANGELA: Well you have to be careful people don't go deaf. [Sighs] You know, what you did for Booth before... showing him you understood, that was good. Everyone hears something like that.", "[ANGELA gives him a small smile as she walks away. HODGINS watches her before turning back, looking bashful, please and contemplative.]", "[CUT to: INTERROGATION ROOM. BOOTH is sitting across from a woman. This is PRIVATE CAMPBELL, the driver of the Humvee that night in Mosul.]", "CAMPBELL: I joined the Guard 'cause they helped pay for medical school. All my life I wanted to be a doctor. It's all I ever wanted. [Looks rueful] I never thought I'd get sent overseas, much less Iraq.", "BOOTH: Your service record is exemplary.", "CAMPBELL: I survived. That's my achievement.", "BOOTH: Look, I'm sorry to do this, Miss Campbell. I'm just trying to reconstruct the night of the firefight.", "CAMPBELL: [Sighs, looks up and then back to Booth] I was parked in the alley. The Captain told me to stay in the Humvee. Women aren't supposed to engage in direct combat.", "[Camera flashes white and fades into the scene of Cpt. Fuller climbing out of the Humvee, the other four following him.]", "CAMPBELL (voiceover): He took the unit to the house. [The soldiers are advancing up the street carefully] The street was quiet. I was waiting. [Cuts to Campbell sitting alone in the driver's seat.] Then I heard the pop, pop, pop of the AK-47. [Cuts the interrogation room to Booth, who stares at her intensely.] Then Kent and Lefferts firing...the captain and the others breaking down the door. Then everything stopped.", "[Quickly cuts to a lone soldier running.]", "CAMPBELL (voiceover): It went quiet again. Then the captain came back, told me Kent had been hit. [Camera shows Cpt. Fuller talking to Campbell, no sound. Campbell runs out of the car, carrying a medkit.] He knew I was a med student, so he sent me in while he radioed for a medevac. [Cpt. Fuller is rapidly talking into a radio.]", "[Campbell quickly walks in and kneels next to Kent. Lefferts is on his other side, his hands still on Kent's chest.]", "CAMPBELL (voiceover): As an intern, I've seen a lot of horrible things. [Campbell listens for breathing, checks his pulse but finds nothing as she stares back up, looking bleak.] But when it's your friend... [Quick cut back into the interrogation room] someone you serve with--", "BOOTH: [Quietly] Yeah.", "[Another man is sitting in the chair. LEFFERTS is wearing a suit, looking discomfited.]", "LEFFERTS: Been in the Guard for years. Didn't think I'd ever get called up again. I mean, I'm 45. There's just not enough men for this mess.", "BOOTH: Look, Mr. Lefferts, if we could just-- [Booth pushes away from the wall and sits in the chair.]", "[LEFFERTS looks away for a long moment, seemingly trying to get his nerve. Closes his eyes and starts to talk.]", "LEFFERTS: We were 22 hours into a 12-hour detail. You try that when it's 110 degrees out. [Sighs] They called me Dad 'cause I was the old guy. [Cuts to Cpt. Fuller signalling Lefferts and Kent to go around back.] [Voiceover] Kent was a kid. Captain sent us around back. I was supposed to look out for him. [Kent moves in front of Lefferts, alert, gun raised. Lefferts scans around as they round the corner.] It got like I really was the damn kid's father.", "LEFFERTS: Kent was gung-ho, you know? [Cuts back to the interrogation room] Would've fought the whole damn war himself. Heh. So he sees something move inside. Something shines off the light. [The Iraqi woman walks into the backroom.] A barrel, he says. And then we hear people moving around. Somebody coming towards us from inside. [Bright lights flash in the small window of the door.] Then somebody fires.", "BOOTH: What did it sound like-- the shots? [Looks at him intently]", "LEFFERTS: It was like a pop, pop, pop. [Cut to Kent kicking the door in, firing as a man moves into his line of sight.] [Voiceover] Then Kent rushes in, sees the first guy, blows him away. He wasn't supposed to go in by himself. So I rush in. [Lefferts moves in, firing his gun. The Iraqi man jerks and falls to the ground.] I take out the last guy. And then it all stops. And when it does, Kent is lying there. [Lefferts gapes and then crouches next to Kent's body.]", "[Cut back to the interrogation room. Lefferts is looking horrified, reliving those moments.]", "LEFFERTS: I-I-I can't believe it! I'm-I'm-I'm staring down at Kent, and-- [Cut to Cpt. Fuller and the others coming into the back room] And then the others, they ask, \"What happened, Dad? Dad, what happened?\" [Lefferts breathes hard, cut back into the interrogation room.]", "LEFFERTS: [Moaning] And I'm-- And I'm staring down at Kent like he really is my kid. I'm a lawyer! [Sighs] A damn lawyer. I shouldn't have been there. *None* of us should've been there.", "[BOOTH continues to stare at him, a grim look on his face.]", "[CUT to: LAB - PLATFORM. BRENNAN is working with a piece of evidence under a microscope.]", "BOOTH: Their stories don't line up.", "BRENNAN: You said the events seemed consistent.", "BOOTH: Exactly. We got a group of traumatized soldiers who all managed to say the same words to describe the first shots. \"Pop, pop, pop.\" It was rehearsed.", "[BRENNAN looks at him, curious.]", "BOOTH: They're hiding something.", "BRENNAN: That makes sense. [Pulls out a bullet from one of the entry wounds, squinting at it.] There's something Devon knew about.", "BOOTH: And someone else didn't want to get out.", "[BRENNAN pulls out another bullet, studies it and places it in a tray.]", "ZACK: That's all of them.", "BRENNAN: The way the blood pooled around the bullets these three were the ones that killed him.", "BOOTH: [Looks at the screen with the fatal bullets displayed] These rounds aren't from an AK-47. [Gestures to the other tray] These are.", "BRENNAN: Well, they didn't kill him. Circulation had stopped by the time these bullets hit.", "BOOTH: Wait. The ones that killed him are from an M-14. [Pauses in realization] Those are from our weapons.", "BRENNAN: [Knowingly] Friendly fire.", "BOOTH: Oh, God.", "BRENNAN: Booth--", "BOOTH: [Interrupts] You know what? Let's just find out who did this. All right? Not all personnel in a unit carry the same weapons. We have to find out who was issued the M-14.", "[BRENNAN nods and looks down while BOOTH looks aside, arms crossed.]", "[CUT to: WASHINGTON, D.C. - STREETS. A quick look of the WASHINGTON MONUMENT]", "[CUT to: INTERIOR - BOOTH'S SUV.]", "BOOTH: Lefferts was the only one issued an M-14.", "BRENNAN: So Kent runs into the house firing. The insurgents fire back. Lefferts follows Kent in. Lefferts is shooting, and he kills Kent.", "BOOTH: Devon wanted to tell the truth, but Lefferts, he's got a succesful legal practice. Too much to lose. Lefferts kills Devon. Son of a--", "[CUT to: OFFICE. Lefferts is dead, hanging lifelessly from the ceiling by the cord wrapped around his neck. He's still dressed in the shirt and tie he was wearing in the interrogation room. Camera pans away to show local police and forensics people crowding by the door.]", "[Camera then pans onto BOOTH, staring at the dead man stonily. BRENNAN walks into the room behind him.]", "BOOTH: [Holds up a piece of papers and reads.] \"I shot Kent that night. I'm sorry. I didn't mean to. But I can't live with it anymore.\"", "BRENNAN: His assistant says he was out of town the night that Devon Marshall died. He couldn't have killed him. The murderer's still out there, Booth.", "[CUT to: Black.]", "[FADE IN: J. EDGAR HOOVER BUILDING - BOOTH'S OFFICE. BRENNAN is sitting in front of his desk.]", "BRENNAN: Devon Marshall was too badly burned. Hodgins couldn't get enough useable tissue to match the DNA from Jimmy Martin's cigarette.", "BOOTH: The one person who had a motive killed himself, but he couldn't have killed Marshall.", "BRENNAN: The M.E. confirmed suicide?", "BOOTH: Yeah. Plus, no one was in or out of the office. [Hands her a folder] He uh, definitely killed himself.", "BRENNAN: [Paging through the file] But we still have no idea who killed Devon Marshall. [Knocking]", "BRADLEY KENT: Agent Booth? [Booth and Brennan look towards the door.]", "BOOTH: Mr. Kent. [Stands] This is Dr. Brennan.", "BRADLEY KENT: I know.", "BRENNAN: I'm sorry I exhumed your son, sir. But we needed--", "BRADLEY KENT: No, please. Thank you. It's important for us to find out how he died.", "BOOTH: You wanna sit?", "BRADLEY KENT: No. I-I just wanted to ask. There's so many conflicting stories. Now the captain says he can't talk to us. I just wanted to ask you to find the truth. My wife and I can't live not knowing what happened to Charlie. We need the truth.", "BOOTH: Of course.", "[BRADLEY KENT backs out and leaves the office.]", "[CUT to: NATIONAL GUARD BASE - EXTERIOR. CPT. FULLER is walking with BOOTH and BRENNAN.]", "CPT. FULLER: I can't talk to the family. There's an ongoing investigation.", "BRENNAN: Convenient.", "BOOTH: Bones.", "BRENNAN: What?", "BOOTH: And you had no idea this was a friendly fire incident?", "CPT. FULLER: If I had, don't you think I would've reported it?", "BRENNAN: Well, there are just so many inconsistencies in the report, captain, it seems like--", "CPT. FULLER: [Cuts her off] You're good at your job, Dr. Brennan, but you don't know the first thing about combat. We were taking fire. One of my men was killed. The area wasn't secured. Do you think I'm counting bullets and drawing pictures?", "CPT. FULLER: [To Booth] You've been through it. Does it ever go the way you want it to? Is it ever the way it should be in combat?", "BOOTH: We have to ask these questions. It's a murder investigation. You understand that?", "CPT. FULLER: And I'll cooperate any way I can. I don't want any more of my men to die either. Now, if there's nothing else-- [Turns and leaves. BOOTH and BRENNAN share a look.]", "[CUT to: a close-up of a bullet wound with jagged items protruding from the skin.]", "HODGINS: Got something. A splinter pattern. Particles of wood were blown back into one of the exit wounds from the AK-47s.", "BRENNAN: The missing bullet.", "ZACK: But he wasn't leaning against wood when he was shot. He was in the middle of the room.", "[Image on the screen changes as Hodgins goes through them.]", "HODGINS: No. He was on the *floor*.", "BRENNAN: Someone stood over him and squeezed off some rounds from an AK-47 after he was already dead.", "ZACK: The missing round passed through him and into the wood floor.", "ANGELA: Yeah, but all the insurgents had already been killed and they were the only ones with AK-47s.", "HODGINS: I hate to say conspiracy, but, my peeps, we've got a conspiracy. [Grins]", "BRENNAN: Someone wanted to cover up the friendly fire incident by making it look like he was killed by the insurgents.", "[Camera is on Hodgins, who looks incredulously gleeful at this news.]", "BRENNAN: Angela, enhance all the pictures of the aftermath so we can see body positions, bullet holes, damage to the house. I wanna reconstruct what happened that night.", "[CUT to: a waiter bringing out dishes from the kitchen; pan out to see BOOTH and HANK sitting at a table.]", "HANK: Look at the two of us-- you with a badge, me in the courtroom. Both trying to find justice, eh?", "BOOTH: That's why we fought, right?", "HANK: That's what they told us.", "BOOTH: What? You don't believe it?", "HANK: Sure I do. You don't look like you do. [Groans] You're not gambling again, are ya?", "BOOTH: No, man. No, I've been good. You know, I've been going to my meetings. I haven't even played a game of Monopoly.", "[HANK leans in.]", "BOOTH: Listen, Hank. Um, I got this case. Uh, Charles Kent. [Swallows] It's friendly fire.", "HANK: Oh, God.", "BOOTH: Yeah. Covered up. Two of the members of the squad are dead. One murdered. You know, whatever went down must've been pretty ugly.", "[HANK shakes his head.]", "BOOTH: You know, Hank-- heh, you know what, uh-- You know what we did--", "HANK: Don't go there, Booth.", "BOOTH: Was it worth it? I mean, look at you.", "HANK: You saved my life. I got a great family because of you.", "BOOTH: Yeah. But I mean, why was it always a secret?", "HANK: We were given a choice. They always gave us a choice.", "BOOTH: Yeah, but that last time--", "HANK: Well, you knew what was at stake.", "BOOTH: Yeah. Yeah. [Nods]", "HANK: [Leans in closer] You never talked to anybody about it? [Booth shakes his head] You've got to. How about your girlfriend? That doctor?", "BOOTH: Nah. No, she's-- You know. She's just my partner. [Quickly] You know, look, I got work. I should go.", "HANK: [Bemused] Sure. Uh, we're on for Sunday dinner, right?", "BOOTH: Yeah.", "HANK: Okay.", "BOOTH: See you Sunday. [Walks off]", "[HANK turns to watch him leave, a look of concern on his face.]", "[CUT to: ANGELA at the computer, the photos from Cpl. Kent's death on the screen. BRENNAN leans in to see the pictures.]", "BRENNAN: I wanna see all the walls. Can you scan them for bullet holes? [Computer beeps] Okay, single out the ones that came from Lefferts' weapon. This is hard for Booth. He's idealistic.", "ANGELA: Well, it's nice to know somebody that wants to keep honor and responsibility alive.", "BRENNAN: I feel like Booth thinks I'm taking that away from him. [Looks down at the files] Okay, it says Insurgent \"A\" opened fire when he saw Kent and Kent took him out. Let's see \"A\" again.", "[Photo changes to the Iraqi man with his hands held out, gun in his lap.]", "ANGELA: You're just doing your job. He knows that.", "BRENNAN: I guess. [Frowns] Magnify his hands.", "ANGELA: What are you looking for?", "[Computer zooms into the photo, focusing on the dead man's hands.]", "BRENNAN: Well his hands are splayed like he was shielding himself from the rounds coming at him. Cadaveric spasm. The muscles became rigid when he died. He might not have been holding that weapon.", "ANGELA: What do you mean?", "BRENNAN: Show me Insurgent \"B.\"", "[Photo changes to a man lying face-down on the carpet, gun by his side.]", "BRENNAN: [Sighs] I tell Booth we're on the same side. [Flips the page] I'm not the one who's disillusioning him. It's my findings. But when I look at him, I-- [Sighs] I don't know what else I can do.", "ANGELA: I do.", "BRENNAN: Ange.", "ANGELA: [Huffs] As a friend, Brennan.", "BRENNAN: Yeah, that whole \"friends with benefits\" thing, that's-- that's not happening.", "ANGELA: I'm not talking about that. I'm-- I'm talking about being there for him. Knowing when a simple touch is enough.", "BRENNAN: Maybe I can write him a note. I can be very articulate on paper. [Angela concedes defeat] Zoom in. Okay, magnify the blood smear.", "[Computer zooms in on the blood smeared on the carpet.]", "BRENNAN: I mean, you can see by the smear he was moved, turned, that gun placed next to him. Okay, show me \"C.\" [This photo shows Kent lying in the foreground, dead. Behind him lies a woman, lying on her side.]", "ANGELA: Okay, this is the third insurgent woman, about 40, holding the unexploded grenade in her hand.", "BRENNAN: Magnify her torso.", "ANGELA: Wait, she's lying on a dinner plate.", "BRENNAN: The serving spoon is next to her. She'd been holding it when she was shot.", "ANGELA: And a grenade? [Looks skeptical]", "[BOOTH walks into the office.]", "BOOTH: Found anything yet?", "BRENNAN: Yeah. [Turns to face him] None of these people were armed when Kent went in there. All of the weapons were plated on them after they died. Fuller's unit killed an unarmed family.", "[BOOTH and ANGELA are stunned.]", "[SCENE_BREAK]", "[FADE IN: LAB - ANGELA'S OFFICE, direct continuation from the previous scene.]", "BOOTH: Kent shot unarmed people?", "BRENNAN: They look like a family.", "ANGELA: About to sit down to dinner.", "BRENNAN: Were there any other questionable operations with this unit?", "BOOTH: None. They served another six months without incident.", "ANGELA: How could something like this have happened?", "BOOTH: Woman could've heard 'em. She was on her way to the backdoor. Kent probably thought the spoon was a weapon.", "BRENNAN: A spoon?", "BOOTH: It's dark. It happens. [Flash to the serving spoon held in the woman's hand.] He's inexperienced. He's scared out of his mind. You only have an instant to make a choice. Kent probably thought he was being attacked so he burst through the door.", "[Flash to Kent bursting into the house.]", "BRENNAN: From the spray pattern, he was shooting as he entered. [Cut to the muzzle of Kent's gun flashing, woman and man falling to the ground, shot.] He must've killed the woman first, the others as they rushed to the woman to help.", "BOOTH: He probably thought they were attacking too. Lefferts hears all the firing. He goes in. [Cut to Lefferts coming through the door, gun raised.] Kent turns. Weapon's still pointed. [Cut to Kent turning, gun at the ready. Lefferts fires. Kent goes down.] Lefferts shoots, killing Kent. It all happens in seconds.", "ANGELA: But if Kent turned to face him--", "BOOTH: It doesn't matter. I mean, after all the shooting all Lefferts sees is a weapon pointing right at him. He just reacted.", "ANGELA: God.", "BOOTH: Yeah.", "ANGELA: So this was more than a friendly fire incident.", "BOOTH: [Nodding] A hell of a lot more.", "[CUT to: BOOTH bursting through a door.]", "BOOTH: You son of a bitch! [Grabs CPT. FULLER and slams him against the cabinet] You covered up the whole thing!", "CPT. FULLER: Stand down, Agent Booth!", "BOOTH: They were innocent!", "CPT. FULLER: I don't know what you've heard, but my report clearly states--", "BOOTH: We've taken your report apart! We have the *facts*, Captain! Your squad blew away a family of innocents!", "CPT. FULLER: Kent! Kent did! [Booth releases him] A kid so green he never should have been there in the first place. Do you know what that town was like? Our guys were being blown up by I.E.D.'s every day while we were trying to build hospitals and schools. A mistake was made. No one likes it. But you know what happens. If it got out what we did that neighbourhood, the whole damn city would've exploded.", "CPT. FULLER: What would you have done? Would you have let the city burn? This can't come out, Agent Booth. Don't make this any harder with an ugly story like this.", "BOOTH: I don't know what you're fighting for, Fuller, but it sure as hell wasn't my country. [Pulls out handcuffs] We'll start with obstruction of justice.", "CPT. FULLER: [Leers] You have no jurisdiction on this base.", "MAN (offscreen): But we do, Captain, and we're cooperating fully with Agent Booth. You will not disgrace us, Captain. You will be held accountable.", "[BOOTH turns CPT. FULLER around and cuffs him harshly.]", "[CUT to: JEFFERSONIAN INSTITUTION - EXTERIOR.]", "BOOTH: Devon Marshall's killer is still out there. Fuller placed some confiscated weapons on the Iraqis, pressured the others to keep quiet, but he still has an alibi for the night of Marshall's murder.", "BRENNAN: Zack found some discoloration on Devon's vertebrae. It was caused by residue from pethidine, an opiate affectionately known as Demerol.", "BRENNAN: Someone jabbed a syringe into his neck, creating the indentation in the bone. He would've been unconscious in seconds. That's why the instrument could've been placed in his ear without a struggle.", "ZACK: It was a nine-inch surgical curette like this. [Holds up the item.]", "BRENNAN: So we're looking for someone with access to surgical tools and prescription drugs.", "BOOTH: Someone the army sent to medical school.", "[CUT to: CLINIC - INTERIOR. PVT. CAMPBELL places a band-aid on a young girl's cut on her shoulder.]", "CAMPBELL: All done.", "[BOOTH, BRENNAN and Army soldiers walk in. CAMPBELL looks up and is not surprised, but resigned. BOOTH and BRENNAN look expectant. CAMPBELL looks down, nods to herself and looks back up.]", "CAMPBELL: He was gonna tell. I-- It's like the war was still going on. I was just trying to survive.", "[CUT to: ARLINGTON NATIONAL CEMETARY - GROUNDS.]", "MAN: Forward!", "[A line of soldiers holding ceremonial guns and dressed in their formal gear march past KAREN and JIMMY MARTIN, REGINA and KIARA MARSHALL, COL. SHORE, all standing by DEVON MARSHALL's casket.]", "[The MARSHALLs walk towards the gathered mourners, BOOTH and BRENNAN standing in the front row.]", "REGINA MARSHALL: My boy was just trying to do the right thing. Thank you for letting people see that.", "BRENNAN: You can be proud of him.", "[They leave, leaving BRENNAN and BOOTH alone. They meet with the KENT family, and TINA KENT embraces REGINA MARSHALL, sharing their mutual loss.]", "BRENNAN: I would never have expected to see that.", "BOOTH: Well, people will always surprise you.", "BRENNAN: That hasn't always been my experience.", "BOOTH: I've done some things.", "BRENNAN: I know.", "BOOTH: No, no, you don't.", "BRENNAN: But it's okay.", "BOOTH: Well, not-- not as a secret... [Booth sits] it's not. I have to be uh, honest about myself. [Brennan sits next to him] I-- I have to be able to tell someone.", "BRENNAN: You will in time, Booth. You will.", "BOOTH: [Haltingly] I was sent to Kosovo. There was this Serb, General Raddick, who led a unit who would go into villages and, you know, destroy 'em. Women, children, all-- all killed because he wanted to ethnically purify his country. He'd done this twice before. I mean, we had facts, proof. 232 people just erased.", "BOOTH: I was the sniper sent in to stop him. He was set to leave in a couple hours. It was his son's-- son's birthday. A little boy maybe about six or seven. I can still hear the music from the party, you know? That song just playing in my head. Nobody knew where the shot came from, but, you know, they knew why it came.", "BOOTH: They said I saved over a hundred people. But, you know, that little boy who didn't know who his father was, who-- who just loved him... he saw him die, fall to the ground right in front of him. That little boy all covered in his daddy's blood was changed forever. [Sighs] It's never just-- It's never just the one person who dies, Bones. Never. Never.", "[BRENNAN places a hand on his forearm, silent. BOOTH sniffles, and places his hand atop hers, grateful.]", "BOOTH: You know, we all die a little bit, Bones. With each shot, we all die a little bit.", "[Camera pans to show BRENNAN's own tears, and then moves down to show BOOTH's thumb rubbing her hand.]", "[FADE TO BLACK]" ]

[ "While trying to determine the identity of a Jane Doe, Brennan is shocked to learn the remains are those of her mother, who went missing with her father 15 years ago. After years of uncertainty and not knowing what happened to her parents, Brennan finally has confirmation of her mother's death, and the news understandably hits her hard. Now that remains have been uncovered, Booth can open an investigation into the case for the first time. After researching Brennan's parents' lives, Booth surprises her with the news that her parents were not the people she thought they were - both were outlaws living under assumed identities. With the team working to glean more information from her mother's skeleton, to Brennan, she's now more of a Jane Doe than ever. As more details of her parents' past, in addition to her own, come to the surface, Brennan must come to grips with a whole new reality." ]

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

[ "Brennan and Booth investigate the site of a train wreck where the bodies of a senator and a high-profile businessman are found within the wreckage. The businessman's body is found in a car on the train tracks, and at first look, it is an apparent suicide. While investigating a possible connection between the two victims, Brennan and her team discover the businessman is still alive, but severely injured, at a local hospital, and the body at the scene is someone else. As the clues begin to unravel, the investigation gets more complicated when details of the man's private life are revealed, leading Brennan and Booth to a private detective who may hold key information. Meanwhile, Brennan is introduced to Dr. Camille Saroyan, a first-rate pathologist who has been hired as the head of forensics at the Jeffersonian, and more importantly, Brennan's boss. It doesn't take long for Brennan to figure out \"Cam\" is a little too familiar with Booth and they share something of a past. Also, Booth encourages Brennan to visit her mother's grave site for the first time." ]

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

[ "Booth and Brennan investigate the remains of a woman and unborn baby washed up on the beach of the Delaware Bay. The body is identified as that of Carlie Richardson, a pregnant newly-wed whose mysterious disappearance one year ago had been a major national news story. However, the immediate prime suspect, Richardson's husband, has also disappeared. Meanwhile, Booth is annoyed his ex-girlfriend Rebecca, the mother of his son Parker, is letting Parker spend so much time with her new boyfriend." ]

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

[ "Brennan and her team dig through the trash to find clues when a young man wrapped in a shroud is found among garbage. After Angela is able to identify the deceased boy, Cam quickly assumes the main suspect to be the boy's girlfriend, Kelly, who is a product of the foster system. Brennan is hurt by this as she is also a product of the foster system. Meanwhile, things get tense when Brennan and Cam struggle for power in their disagreement on work styles. Cam threatens to fire Brennan even if it costs her the whole Jeffersonian team." ]

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

[ "Skeletal remains of a young girl are found, and when brought back to the lab, the team recognizes this is not just any murder but Howard Epps, who the team encountered in the first season, a convicted serial killer on death row. He left clues leading to another body, a fresh kill only a week old. Brennan and her team scramble to decipher Epps' cryptic clues as they try in a desperate effort to find his accomplice who has been killing for Epps. When they realize another victim may be alive, the team works under pressure to try to find the young girl." ]

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

[ "Gruesome remains of a man dissolving in a bathtub of corrosive chemicals are found in a construction site. In a search of the man's identity, they realize he was living a double life with two different families. In what first appears to be a straightforward case of jealousy and insurance money, new clues send Brennan and Booth in a completely different direction and a third suspect is brought to light. Meanwhile, Brennan, curious, confronts Rebecca about her recent antics with Booth and her rejection of Booth's marriage proposal." ]

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

[ "Brennan and Booth are called to the site of an explosion in a Miami hotel where several people were either injured or killed, including an unidentified body found burned, thought to be the bomber. Initially, the explosion is thought to be the work of a Colombian drug cartel intending to target Judge Dolores Ramos, the Colombian judicial representative, who survived the blast. Diplomatic immunity and State Department official Alex Radziwill stand in way of Brennan and Booth's investigation as they pursue key clues about the case." ]

[ "\"The Girl in Suite 2103\"", "[SCENE_BREAK]", "(Cut to inside an elevator car. Booth and Brennan are standing inside the elevator as typical elevator music is playing in the background. Booth is swaying to the music a bit as Brennan looks bored.)", "BRENNAN: (looking at Booth) You like this song?", "BOOTH: (turning to Brennan) Nobody likes this song.", "BRENNAN: Well, you're dancing to it.", "BOOTH: Maybe swaying a little (hums).", "BRENNAN: And humming.", "BOOTH: Bones, you know, it's just something that you don in the elevator.", "BRENNAN: Buddhists say that if we can lose ourselves in the moment without distraction or desire, we experience truth.", "BOOTH: Why can't you just hum like a normal, happy person?", "(Elevator door opens and reveals a room that is severely damaged by an explosion.)", "BRENNAN: (putting on gloves) Not really in the mood.", "BOOTH: (following Brennan out of the elevator) Ok, here we go.", "(Various shots of the inside of the room are shown. There are several people milling around looking at the remains and debris etc. Radswell, who is also a little person, approaches them.)", "RADSWELL: Special Agent Booth, and I'm gonna assume this is Dr. Brennan?", "BOOTH: (in a weary tone) Bones, Alex Radswell, he's, uh, from State Department.", "BRENNAN: Why'd you say it like that?", "RADSWELL: Booth believes the State Department was put on Earth to protect bad guys from the FBI.", "BRENNAN: (shining her flashlight around) I count three dead?", "RADSWELL: Four. There's one behind the bar. Already ID'd as the bartender. This was a cocktail party after a conference on drug trafficking in South America. The keynote speaker was Colombian judicial attaché Dolores Ramos.", "BRENNAN: Did she survive?", "RADSWELL: Minor burns, smoke inhalation. She'll be fine. Luck of the draw.", "BRENNAN: (to Booth) You seem uncomfortable. Does his size make you self-conscious? (pointing to Radswell)", "BOOTH: Bones.", "BRENNAN: It's a condition-skeletal dysplasia. Pseudoachondroplasia or S.E.D. congenita?", "BOOTH: Bones!", "BRENNAN: What?", "RADSWELL: Dr. Brennan, I can see that you're a straightforward person and as much as I appreciate that quality, what you're asking me is neither your business nor relevant.", "BRENNAN: But it's my business because I'm a forensic anthropologist. But, you're right, it's not relevant.", "BOOTH: So, what happened here? Bomb?", "RADSWELL: (pointing into the room) The blast came from the room next door. Your people are working on the cause right now.", "CAM: (entering from the other room) I'm betting Colombian drug types, they just love blowing people up.", "RADSWELL: Before she was attached to the embassy, Dolores Ramos was a prosecutor in Bogota. She had plenty of enemies in the cartels.", "BOOTH: You ID anyone else beside the bartender?", "RADSWELL: Hector Madure, (points to body) Chief of police from Quito, Ecuador.", "CAM: (holding up a photo) I brought you in to confirm the identity of his wife. She's the extra crispy one.", "(Brennan heads over to the body.)", "RADSWELL: (points to another remain) Father Gabriel Ruiz, he ran a drug program for kids in Bogota.", "BOOTH: Well, you know, it's a big score for the drug cartels. Anyone of these people, you know, make a good target.", "RADSWELL: (leaving) I'm gonna check on the conditions of the survivors, you need anything, just holler.", "BOOTH: Will do.", "(Brennan is comparing the skeleton with a photo of the woman she was given.)", "BOOTH: What do you got, Bones?", "BRENNAN: Female, mid 40s. Bone structure fits this picture of Constanza Madure pretty closely. Dental work will confirm. (looks around the body) The debris embedded in the remains suggests an explosion.", "BOOTH: So does that giant hole in the wall there.", "BRENNAN: (looks at something on the ground nearby) Part of the navicular. Top of the left foot...not hers. There are other bone shards scattered here.", "BOOTH: Ooooh, you mean like, extra bits?", "BRENNAN: Yes. These are fragmented from the blast. (Looks at a wall) Ah, there's bone fragments here in the wall. I think someone was standing in this room very close to the bomb when it went off.", "BOOTH: Well, it had to be the bomber, right? Mean, talk about instant karma.", "BRENNAN: The question is, where are the rest of his remains?", "BOOTH: Vaporized maybe.", "BRENNAN: Unlikely. (walks over and crouches down somewhere) Oh, huh.", "BOOTH: What do you got?", "BRENNAN: An external occipital protuberance. Fissures indicate thermal detachment. It's the back of a human skull.", "BOOTH: (calling out) Cam, any of your bodies missing a protuberance?", "CAM: No, all of these remains are fully intact.", "BOOTH: Fully intact.", "CAM: Uh huh BRENNAN: (stands up and shines her flashlight at the chandelier hanging from the ceiling, where a skeleton can be seen) Not all of them.", "BOOTH: Oh.", "OPENING CREDITS", "(Cut to the Medico-Lab. Booth, Brennan and Cam are waling out of her Brennan's office and discussing the case.)", "BOOTH: Arson investigators say that the explosion definitely originated in the room next to the cocktail party.", "CAM: Who was checked in there?", "BOOTH: Nobody, it was being renovated.", "BRENNAN: Well, paint, combustibles-they would've added to the force of the fire and explosion.", "BOOTH: So, maybe the bomber got caught by his own explosion.", "BRENNAN: Her own explosion.", "BOOTH: Wait, the bomber was a female?", "BRENNAN: Sciatic notch doesn't lie.", "CAM: Neither does the v*g1n*.", "BOOTH: Whoa, uh, wait a minute. Whoa, wait a minute. You're saying this skull was so hot that it explodes, but the girlie parts are still intact?", "CAM: (walking on to the platform with Brennan) She was thrown into that chandelier above the fire. The deep tissue remained intact.", "BOOTH: Thank you for that, I'll-(turns to leave).", "(Brennan and Cam join Hodgins and Zack on the platform, examining the remains.)", "HODGINS: Particulates embedded in the remains are a combination of glass, wood splinters, plaster and drywall.", "ZACK: The bomber is Caucasian, 5 feet 4, late teens/early 20s. Still no ID.", "CAM: The hair sample makes her a bleach-bottle blonde.", "ZACK: Ankylosis in the right trochlea and capitulum and scaphoid.", "BRENNAN: Occupational markers from carrying a tray.", "HODGINS: Mad bomber-teenage assassin-waitress?", "CAM: She might not have had a choice.", "BRENNAN: I don't understand.", "CAM: The cartels force people to do what they want. Your waitress refuses, the cartel wipes out her family.", "HODGINS: I'm running chemiluminescence tests now to get a chemical fingerprint and then chromatography to see what triggered the blast.", "(Hodgins leaves the platform, but not before giving Angela a big smile as she approaches the rest of the group.)", "ANGELA: I scanned the skull and reconstructed a face.", "(She walks over to a computer terminal and pulls up the images.)", "CAM: Send it over to Booth. If drugs are involved, maybe she has a record.", "ANGELA: Yeah, I already did that.", "CAM: Listen, people, please. Don't be sending stuff without informing me first.", "BRENNAN: But you wanted her to send it, I heard you.", "CAM: But not without first-(pauses) just run everything by me first, ok? Every circus needs a ringmaster. In this circus, it's me.", "(Cam leaves. Angela and Brennan exchange a look of disbelief.)", "ANGELA: (whispers) Yeah.", "(Cut to FBI Building. Booth, Brennan and Radswell are getting off the elevator.)", "RADSWELL: All we ask at the State Department is that you treat this woman with the respect she is due as a friend of this country.", "BOOTH: I know how to question the witness.", "RADSWELL: I am here at the request of the Colombian ambassador, Judge Ramos and the State Department.", "BRENNAN: Well, that's disingenuous. What are the chances that all three would ask you separately? (places hands on her hip)", "RADSWELL: Why are you being so confrontational?", "BRENNAN: You're used to people deferring to you because of your size. It's a normal response that you take advantage of. I don't like it.", "BOOTH: Here we go.", "BRENNAN: Well, see? (to Booth) Even you don't want to say anything to hurt his tiny feelings. (to Radswell) I don't mean that your feelings are tiny, I mean that you have feelings about being tiny.", "RADSWELL: The ramifications and repercussions of impeded access will compromise accommodative responses detrimental to your unabated participation in our shared endeavours.", "(Confused look on Brennan's face.)", "BOOTH: That's State Department speak. We don't do it his way, we'll get fired.", "BRENNAN: See? If a regular-sized person tried to intimidate you, you'd threaten to kick him through the window. But because in his case it's an actual physical possibility-", "BOOTH: Let's just question the judge.", "RADSWELL: Thank you.", "BOOTH: You're welcome.", "(They walk towards the conference room.)", "BOOTH: (turning to Brennan) That was a nice moment-me translating for you.", "(Cut to inside the FBI conference room. Radswell is sitting at the head of the table with Booth/Brennan on one side and Judge Dolores Ramos and her husband Juan on the other.)", "DOLORES: I was speaking with Father Ruiz when the bomb went off. I believe his body protected me from the blast.", "JUAN: I was barely touched. Father Ruiz was a very close friend of ours.", "BOOTH: (taking a photo from a file in front of him) Did you see this woman at the hospitality suite at the time of the explosion?", "(pushes Angela's rendering across the table.)", "DOLORES: No.", "BRENNAN: You're sure? She wasn't serving drinks, anything like that?", "JUAN: The service staff were all from the embassy. Who is she?", "RADSWELL: She may have been the bomber.", "BOOTH: Mr. Radswell.", "RADSWELL: The State Department recognizes Judge Ramos as a great friend to this country and has charged me with keeping her apprised of this investigation.", "BOOTH: Did you or anyone receive any threats at the embassy before the conference?", "DOLORES: We are always receiving threats. It's a fact of life for us.", "JUAN: The government provides my wife and our family with bodyguards. We have lost loved ones in the past.", "DOLORES: A daughter, eight years ago.", "BOOTH: Our condolences.", "JUAN: Do you believe this woman to be connected to the cartels?", "BRENNAN: We haven't identified her yet.", "RADSWELL: Perhaps, Judge Ramos your friends in Colombian law enforcement could be of help.", "DOLORES: Yes, of course. Anything to aid the investigation.", "BOOTH: Thank you, Judge Ramos. That's all for now.", "(Cut to Lab. Hodgins is entering Angela's office with his camera.)", "HODGINS: Hey, can you upload the pictures from this camera?", "ANGELA: Am I going to regret it?", "HODGINS: What kind of guy do you think I am?", "ANGELA: (takes camera and walks over to her computer) It's just that men sometimes think things are funny that women merely find gross.", "HODGINS: (sitting down next to Angela) They're pictures of the hotel room. I went there to collect some samples. (Pictures show up on screen) Yeah, see...the heat blast deposited the first layer of residue on the walls-hydrocarbons.", "ANGELA: The first layer?", "HODGINS: Yep, lawyer two...I had to use an electron capture detector to identify. It was toluene and benzene-oxidized paint-which just exploded from the cans.", "ANGELA: The explosion was a two-parter?", "HODGINS: More accurately a fire, then an explosion. But get this...I found a patch of wall with only oxidized paint on it. Basically a shadow. See, something was between the wall and the fire, then was gone when the explosion occurred. Think you can figure out what it was?", "ANGELA: I can try.", "HODGINS: (exchange looks with Angela) Cool. I also found these blobs of melted something (takes out tube).", "ANGELA: Yeah, not my department. You're just trying to prolong this conversation.", "(They both smile as Hodgins leaves.)", "(Cut to platform. Zack and Cam approach the remains.)", "ZACK: What do you want to know?", "CAM: Everything.", "ZACK: The explosion shifted the placement of the teeth in the maxilla and mandible. (pointing to computer screen) I've repositioned them so that we can match the dentals. The computer is looking now. (crosses arms) Why do you suddenly want to know everything?", "CAM: I think there's a tendency here for each of us to work too independently.", "ZACK: My closest acquaintance outside work is a woman I know who's a performance artist. Last month, she enclosed herself in a plastic box with six rabbits. It went over quite well, perhaps you've heard of her?", "CAM: Zack, when I said everything, I meant just the case.", "(Computer beeps.)", "ZACK: (looking at the screen) Lisa Winokur.", "CAM: Yep, never heard of her.", "ZACK: Me neither.", "CAM: Isn't she the rabbit woman?", "ZACK: No. Lisa Winokur's the woman in the chandelier.", "CAM: Oh, good. I'll let Booth know you ID'd the victim.", "ZACK: If you'd like to know anything else-", "CAM: I think I'm up to speed for now, but thanks.", "(Cam leaves Zack.)", "(Cut to a front porch. Booth is talking to Jill Winokur.)", "JILL: I saw about the explosion on the news. But Lisa wasn't supposed to be working at the hotel last night. So I never thought she'd be one of the casualties.", "BOOTH: How long had your daughter been working there?", "JILL: Off and on, a couple of years. Waitressing when she needed money. Tomorrow's her birthday, I ordered the cake (sobs). I thought that she was spending the night out with friends-that's why she didn't come home.", "BOOTH: She spend many nights away from home?", "JILL: My daughter was a very attractive young woman living with her mother. She had boyfriends, and, yeah, sometimes she didn't come home.", "BOOTH: Did she have, uh-um, anyone special in her life lately?", "JILL: Yeah, but I-I never met him. I don't know his name.", "BOOTH: Is there anything you can tell me about him?", "JILL: Oh, he was foreign. Puerto Rican maybe? She called him \"Senor Hot Stuff\". Maybe that was a joke...she said he was rich. Lisa was a really sweet girl (cries.)", "(Cut to Angela's office. She is showing Hodgins something on her computer.)", "ANGELA: (pointing to screen) The fire started approximately here, which means that whatever cast your reverse shadow was positioned here.", "HODGINS: What cast the shadow?", "ANGELA: Well, I manipulated the images you gave in order to figure out the shape of the silhouette. The dark areas are where there was both blowback residue from the fire and the deposits of oxidized paint left by the explosion. By going in as far as individual pixels, I was able to find the area where there was only paint residue.", "HODGINS: That's a person.", "ANGELA: Yeah. Given the angles and the distance from the wall, I'd say it's somebody about six feet tall.", "HODGINS: And Lisa Winokur was only 5 foot 4.", "ANGELA: Which means whoever this was got out before the actual explosion occurred.", "HODGINS: (looking at Angela intently) Oh, I could kiss you.", "ANGELA: That would require permission, which I deny.", "HODGINS: I'll tell Booth that the bomber is alive and is six feet tall.", "(Hodgins gets up to leave, as Cam arrives.)", "CAM: You'll tell who what? (Hodgins leaves without stopping) There's a loop people, and I'm in it. Not only am I in it, I'm the big curvy part.", "(Cut to a bar, Booth and Brennan are interviewing Denise, a waitress.)", "DENISE: Lisa wasn't scheduled to work last night. She just came in on her own as a customer, picked up a guy.", "BOOTH: You know anything about him?", "DENISE: Looked Hispanic. That's not P.C. to say, but you want details, right?", "BOOTH: Um hmm.", "DENISE: And it looked like he had money too.", "BOOTH: How tall was he?", "DENISE: I don't know. He was sitting when I saw him. Look, Lisa was a good kid, but she used to scope the place for rich guys.", "BRENNAN: So she was a prostitute?", "DENISE: What? No, no. She was just like any of us.", "BOOTH: Looking for a husband, right?", "DENISE: This guy last night-she zoned in on him real hard. Took him upstairs, you know, for privacy.", "BOOTH: Upstairs where?", "DENISE: The room that was being renovated. The-the one that caught on fire. I mean, it's against the rules, but we've all done it.", "BOOTH: Right (chuckles).", "(Brennan gives a look that she's not amused at the flirting nature between the two.)", "DENISE: I mean, why else work in a high-class place like this, right?", "BOOTH: Yeah.", "BRENNAN: Someone's trying to flag you down.", "DENISE: (turns to look behind her) Oh.", "BARTENDER: Denise, Denise!", "DENISE: Excuse me (turns away).", "BOOTH: Looks like it's possible that Lisa went upstairs for a little-(clicks tongue) quickie and, uh, wandered into a nightmare.", "BRENNAN: She was trying to get you to upstairs for a little-(knocks on the table and whistles)-", "DENISE: (comes back) Hey, that's the guy that Lisa was with (points).", "(A guy walks across the bar.)", "BRENNAN: Yeah, he looks like he can be six feet tall.", "BOOTH: What do you say we go pay him a little visit?", "(They walk up to the guy who is now sitting at the bar.)", "BRENNAN: Mind if we ask you a few questions?", "ANTONIO: (nonchalant) Oh, well, lose your friend, and maybe.", "BRENNAN: It's about Lisa Winokur.", "(Antonio turns and Booth tackles him to the floor. Quickly, somebody pulls out a gun and trains it on Booth.)", "BOOTH: Ok, it's cool, man, it's all good.", "(Booth slowly gets up and grabs the arm with the gun. A small kafuffle breaks out that ends up with both men on the ground with Booth and Brennan towering over them with guns pointed.)", "ANTONIO: My name is Antonio Ramos! Call the Colombian embassy, I have diplomatic immunity.", "(Cut to Lab, inside the Autopsy room.)", "CAM: Musculature of the neck preserved the trachea, a swab shows no trace of carbon.", "ZACK: So Lisa Winokur was not breathing when the fire started.", "CAM: I found semen.", "ZACK: Where?", "CAM: The usual place.", "ZACK: No, I mean, no condom?", "CAM: Well, the s*x may not have been consensual.", "ZACK: If she was already dead when the fire started, what killed her?", "CAM: Too much tissue damage for me. Now it's time for the boneyard. (Zack gives Cam a funny look) You, Zack. Do your thing.", "ZACK: I'll have to ascertain if these fractures were the result of heat, explosion or trauma. Which means I need to know the exact nature of the explosion.", "CAM: How do you do that?", "ZACK: The usual way.", "(Cut to inside an interrogation room. Booth and Brennan are with Antonio.)", "ANTONIO: My embassy has been informed of my whereabouts, I have nothing more to say.", "BRENNAN: Antonio Ramos.", "BOOTH: Any relationship to, uh, Judge Dolores Ramos?", "ANTONIO: She's my mother.", "BRENNAN: This seriously calls genetics into question.", "BOOTH: You know, your mother is a great woman. (Places a bottle of water in front of Antonio) Have some water. Why'd you run, Antonio? (He reaches out to grab the bottle with his right hand, but switches to the left) In my experience, there are two reasons why people run. One, danger.", "BRENNAN: (observes Antonio's hand switch) What's wrong with your arm?", "ANTONIO: What?", "BRENNAN: Your arm, how did you hurt it?", "BOOTH: (continues) The second reason people run is they got something to hide. So...you got something to hide, Tony?", "BRENNAN: (coming around to examine Antonio's arm.) Compound fracture, there or five pins in there. Say, uh, six months old?", "BOOTH: (holding out picture of Lisa) Did you have s*x with her last night?", "ANTONIO: (chuckling) Is she what this is about? Because it was her idea, not mine.", "BOOTH: How well do you know her?", "ANTONIO: Very well, and not so well, if you know what I mean.", "(Booth chuckles in understanding.)", "BRENNAN: I don't know what he means.", "BOOTH: It means he had s*x with her and forgot to learn her name.", "ANTONIO: Well, you say that, not me.", "BOOTH: Well, it's not like you, uh, exactly have a record because you have, you know, diplomatic immunity. More like a list of complaints.", "(Booth drops his file on the table and Brennan picks it up.)", "BRENNAN: Let's see here. Ok, speeding, DUI, riding a motorcycle on the mall, urinating on a national monument.", "BOOTH: Good one.", "BRENNAN: Substance abuse charges, every one of them. My guess is you, uh, got drunk and fell off a bicycle (pointing to his arm).", "ANTOINO: It was a motorcycle.", "(Radswell enters the room with Judge Ramos, not amused.)", "RADSWELL: Agent Booth, you know Antonio Ramos has diplomatic immunity, yet you insist on questioning him.", "BOOTH: Uh, diplomatic immunity doesn't mean I can't question him. It means I can't throw him in jail.", "DOLORES: Are you all right, Antonio?", "ANTONIO: Mm-hmmm.", "RADSWELL: Mr. Ramos, you're free to leave. The FBI will not bother you anymore.", "BRENNAN: Can he promise that?", "BOOTH: No. (to Radswell) Do you have any other higher aspirations rather than just, you know, babysitting drunken playboys?", "BRENNAN: (turning to the Ramos' who are leaving the room) She's dead.", "ANTONIO: (opening the door) Who?", "BRENNAN: Lisa. (holds out photo) Lisa Winokur. That was her name.", "ANTONIO: How did she die?", "BRENNAN: In the same explosion that nearly killed your mother.", "BOOTH: Did Lisa ever mention your parents?", "RADSWELL: (warningly) Agent Booth.", "ANTONIO: She knew who they were.", "DOLORES: Antonio, answer no more questions.", "RADSWELL: That's enough.", "(Ramos' leave the room. Booth and Brennan start leaving, Brennan giving Radswell a hard look.)", "RADSWELL: You have something to say to me, Dr. Brennan?", "BRENNAN: Little people have a long history of being close to power.", "RADSWELL: As clowns and court jesters. I see you've been to the art museum.", "BRENNAN: Yes, but as clowns and court jesters they were the only ones allowed to mock the king, to give him perspective. You don't do that, Mr. Radswell. You just do what the king says without putting anything into perspective.", "RADSWELL: Good thing I'm neither a clown nor a court jester.", "(He moves to leave and reaches for the bottle of water left behind by Antonio.)", "BRENNAN: Whoa-don't do that. It's DNA evidence.", "(Cut to the lab, in one of the testing rooms.)", "HODGINS: The FBI couldn't find any evidence of an explosive charge.", "ANGELA: Then what blew up?", "ZACK: There was liquor in the room. (setting up the experiment) Paint, turpentine.", "CAM: Paint, turpentine and liquor blew down a wall, torched four people and deposited a corpse in a chandelier 12 feet off the ground.", "ZACK: There was also petroleum distillate and six H.V.L.P. canisters hidden under traps.", "HODGINS: High volume, low pressure. So you can see where this is going.", "CAM and ANGELA: No, we can't.", "HODGINS: A fire was set. The question is, given these ingredients, would there be a secondary explosion? (hands the ladies ear plugs)", "ZACK: I did the math very carefully (adjusts some knobs). This experiment should generate an explosion approximately 1/1000th the magnitude of the explosion at the hotel.", "CAM: Excuse me?", "ZACK: 1/1000th.", "ANGELA: I think she meant the explosion part, Zack.", "HODGINS: Relax, a little pop. This blast wall Zack built-it's merely a precaution (puts on goggles).", "ZACK: (standing behind the blast wall) We can watch through this porthole.", "ANGELA: Hey, I'm gonna wait outside.", "CAM: I hear that.", "(They both leave. Hodgins joins Zack behind the blast wall.)", "ZACK: Did they not hear me say I did the math quite carefully?", "HODGINS: All right, I'll ignite the alcohol.", "ZACK: The math says there will be a ten to twelve second gap before the H.V.L.P. container explodes.", "HODGINS: Fine, ready? Igniting the alcohol.", "(Turns on a switch that ignites a flame.)", "ZACK: Ten, nine, eight...", "(Cut to Angela and Cam waiting outside the testing room. A loud explosion takes place and glass shatters from inside the room. They run back into the room where Zack and Hodgins are on the ground all covered in soot.)", "ZACK: Man!", "HODGINS: Woah! (coughing)", "CAM: (enters the room) Are you all right? Can you breathe? (helps Zack get up)", "ANGELA: (holding fingers in front of Hodgins) Hey, how many fingers am I holding up?", "HODGINS: (getting up) I'm ok, I'm all right. Come on.", "(They leave the room.)", "ZACK: I don't understand what happens.", "HODGINS: You know what that proves?", "ANGELA: That you guys are idiots?", "ZACK: (thinking) That a blast that strong wasn't necessarily a bomb.", "HODGINS: Most likely, somebody killed Lisa Winokur then started a fire to cover up their crime.", "CAM: Without knowing there would be a huge explosion. That's good guys, nice job.", "(Cut to FBI building, Booth and Radswell are walking down a hallway.)", "RADSWELL: Your theory of the crime is that Antonio Ramos started a fire to cover up a rape and murder.", "BOOTH: DNA matches the sperm found in Lisa Winokur.", "RADSWELL: What do you want from me?", "BOOTH: I want you to have the kid declared persona non grata because of his previous offenses. That gets rid of diplomatic immunity.", "RADSWELL: And you can arrest him?", "BOOTH: Exactly.", "RADSWELL: Never gonna happen.", "BOOTH: Right, because Judge Ramos is such a good, good friend of this country.", "RADSWELL: I don't think you can calculate just how many American lives she's saved by taking a hard line on the cartels in Colombia.", "BOOTH: Obviously you have orders from the State Department to have this whole diplomatic mess booted out of the United States and back into Colombia. Don't say anything. Just, you know, if I'm right, just keep breathing.", "RADSWELL: Bogota, 1998. The Ramos family is leaving the city for their country home. Their convoy is attacked. End to a long, ugly story-13 year old Antonio is running away from the fighting carrying his little sister. Only trouble is, he has to keep going back to pick up pieces of her brain.", "BOOTH: That's a sad story, but it doesn't mean the guy can get drunk and kill five people, including an American citizen.", "(Radswell enters an elevator and leaves. Booth's cell phone rings.)", "BOOTH: (picking up) Yeah?", "CAM: Booth, it's Cam. We know how Lisa Winokur died.", "(Cut to lab. Inside the skeleton room, everyone is standing around Lisa's skeleton.)", "BOOTH: She was strangled?", "ZACK: The hyoid is cracked at the tips but not burned.", "BRENNAN: Something was around her neck when the fire got to her.", "CAM: Hodgins found burned fibers, he's analyzing them now.", "ZACK: I also noticed a broken finger. I'm using those words especially for you, Booth.", "BOOTH: (peeved) Thanks.", "ZACK: Also, disjunct of acromion and coracoid with damage to the glenoid. (to Booth) Dislocated shoulder.", "CAM: A typical injury of a victim on the ground straining against someone strangling her from behind.", "BRENNAN: There was a split in the cartilage between the T3 and T4 vertebrae (examines on the tv screen).", "BOOTH: (quietly) Excuse me (leaves the room).", "ZACK: (to Brennan) I thought that might be from the fire or explosion.", "BRENNAN: But why only those two vertebrae?", "ZACK: You make a good point, I'll take another look.", "(Cut to the main area of the Lab. Cam is looking at some files walking, with Booth catching up to her.)", "BOOTH: Cam? Cam. (in step with Cam now) Has anyone said anything to you about, um...(whispers) you know?", "CAM: Us sleeping together?", "BOOTH: (quietly) You gotta be way more careful about blurting that out. Ok, voices, they carry, building like this.", "CAM: There's no one around, and you brought it up.", "BOOTH: Well, I mean, Angela is practically psychic about this kind of stuff, right? So you can't be thinking about me when, you know, she's around. Especially not naked.", "CAM: I'll do my best.", "HODGINS: (appears behind them) Onyx, peridot and Peruvian opal. (Cam and Booth pause, as if they have been caught) Probably jewelry. It's an unusual combination, very expensive.", "BOOTH: Yeah, well, Lisa Winokur-I mean, she was a waitress. You know, I highly doubt that her tips would be able to cover expensive jewelry.", "(Hodgins watches their babbling curiously.)", "CAM: Well, a waitress that's having s*x with a Colombian princeling-I mean, you don't buy expensive jewelry for a one-night stand.", "BOOTH: And maybe Antonio was lying about not knowing Lisa.", "CAM: Well, exactly.", "BOOTH: Yeah.", "HODGINS: Angela found a jeweler named Lawrence Melvoy who works in this stuff.", "CAM: Ok.", "BOOTH: I'll start-", "CAM: All right, great.", "BOOTH: (awkward) Yeah. (walks over to Hodgins) Take that?", "HODGINS: Yeah, yeah (Booth takes the tray with the jewelry).", "(They both exchange looks.)", "(Cut to the FBI building. Booth is interviewing Lawrence Melvoy, the jeweler.)", "MELVOY: (looking at the tray) Oh, my God. What happened?", "BOOTH: Is this jewelry yours?", "MELVOY: Definitely.", "BOOTH: Are these pieces expensive?", "MELVOY: This piece was worth 8,000.", "BOOTH: Dollars?", "MELVOY: My work is all original. (picking up a piece) This one went to a young woman. Cheap shoes, expensive watch, you know?", "BOOTH: No, I'm sorry, I don't know.", "MELVOY: That combination means that someone else purchased this piece for the young woman.", "BOOTH: (opening a file and taking a picture of Lisa out) Could, uh, this be the woman?", "MELVOY: That's her.", "BOOTH: Yeah. I need to know who made the actual purchase.", "MELVOY: I don't know the buyer.", "BOOTH: You know how it was paid?", "MELVOY: I have a bank routing number.", "BOOTH: Ah, that'll do.", "[SCENE_BREAK]", "(Cut to Booth's office. He is chicken-pecking at his computer when Brennan enters.)", "BRENNAN: Hey, I've had a realization. (notices what Booth is doing) Oh, I've never seen you on the computer before.", "BOOTH: I'm, uh, just trying to find out who bought Lisa Winokur expensive jewelry. What? Me being on the computer-is that what, your realization?", "BRENNAN: No. Antonio Ramos could not have been Lisa Winokur's attacker.", "BOOTH: Why couldn't our prime suspect have committed the murder?", "BRENNAN: Antonio's arm has pints in it.", "BOOTH: Pins?", "BRENNAN: Yeah, so maybe 30% of his normal strength. No way that's enough to dislocate our victim's shoulder. So how?", "BOOTH: How what?", "BRENNAN: Well, how can you find the jewelry thing on the computer?", "BOOTH: I have a bank routing number that dead ends at an offshore corporate account belonging to a shell corporation in the Netherlands Antilles.", "BRENNAN: Isn't that impossible to trace?", "BOOTH: Well, no. Since 9/11, all foreign wires have to register an individual's name with the State Department. So I simply access the State Department database...", "(Booth types a search into the screen and a window pops up with the words 'Access Denied, confidential per US State Department'.)", "BOOTH: Aw, hell.", "BRENNAN: What?", "BOOTH: That little b*st*rd is protecting someone.", "(Cut to another room in the FBI office, Radswell, Brennan and Booth enter.)", "RADSWELL: If the computer says confidential, then it's confidential. I find it best not to argue with computers.", "BOOTH: Were you the one who authorized the block or did it come from higher up on the food chain?", "RADSWELL: Go through channels, make a request.", "BOOTH: (peeved) Go to hell, Alex.", "BRENNAN: Why are you being so mean?", "BOOTH: Cause \"go through channels\" is diplomatic double-talk for \"get lost.\"", "BRENNAN: (to Booth) Can I talk to him?", "RADSWELL: Hello? Dr. Brennan? I'm just small, not invisible.", "BRENNAN: Under what circumstances, in general would the State Department block a name like this?", "BOOTH: Come on, Alex. Hey, don't be one of them. Go on a limb, huh?", "RADSWELL: (relenting) Fine. Might be an intelligence asset or someone under investigation. It could be a request from Homeland Security...they just do whatever the hell they want. Could be a CIA shell company masquerading as a bad guy, or a bad guy who's been compromised. The IRS could be working offshore shelters, it could be someone-", "BOOTH: Ha! Ha!", "BRENNAN: (confused) He didn't say anything.", "BOOTH: (walking over towards Radswell) He was about to say \"diplomatic immunity.\"", "RADSWELL: Let's say the boy bought the girl some jewelry. That doesn't mean he killed her.", "BOOTH: It means he was lying when he said he met her for the first time that night. Come on, Alex. This isn't evidence for court, I'm just, you know, collecting names.", "RADSWELL: Please, like that's gonna work on me.", "BRENNAN: Whoever killed Lisa Winokur is responsible for the deaths of four other people, including a priest. Doesn't the State Department have to assure those families they're doing everything they can to apprehend the responsible party?", "RADSWELL: Are you threatening the State Department?", "BRENNAN: No.", "BOOTH: Yes.", "BRENNAN: What?", "BOOTH: That's a great idea.", "BRENNAN: What's a great idea?", "BOOTH: The FBI blackmailing the State Department.", "RADSWELL: He has diplomatic immunity, there's nothing you can do.", "BOOTH: (throwing a football up and catching it) Come on, Alex. Baby steps. (pause at Radswell's reaction) No offense.", "BRENNAN: (chuckles) I just got that. It's baby steps, because you're so small. (chuckles) It's probably offensive.", "RADSWELL: Sorry, I can't help you. (he leaves)", "BRENNAN: Sorry.", "(Cut to Angela's office. She's working on her computer as Hodgins approaches her with two mugs of coffee.)", "HODGINS: Brought you some coffee. It's late.", "ANGELA: (smiles) You said you found burned silk fibers on Lisa Winkour's throat, right?", "HODGINS: Yeah, the good stuff too. Unwound filament, probably Chinese. None of this carded, combed or spun stuff. And definitely not nubbly.", "(Angela looks at him with a grin)", "HODGINS: What?", "ANGELA: You are a man of odd enthusiasms. I'm checking for silk neckties on the men at the party. (computer beeps) Look at this.", "(Video footage of Antonio in the elevator appears on the screen.)", "HODGINS: That's Antonio two hours before the explosion.", "ANGELA: All the evidence points towards him. But Brennan says with his bad arm, there's no way he could've killed Lisa Winokur.", "HODGINS: (hesitating) I...I know something. And when you know it, you should know that I know. But I don't feel we can discuss it until you, you know, know it independently from me.", "(Hodgins leans down towards the top of Angela's head. Angela turns around.)", "ANGELA: Are you sniffing my hair?", "HODGINS: You called it, baby. Man of odd enthusiasms.", "(Hodgins turns to leave as Angela brings up the ends of hair to her nose.)", "(Cut to skeleton room. Zack is operating a machine over the bones.)", "ZACK: Lisa Winokur's finger is broken.", "CAM: Zackaroni, almost every bone in her body was broken.", "ZACK: (shows Cam on the screen) This break was professionally set. (zooms the image in) It had started healing, I'd say around two weeks ago. And before I cleaned the bones, I noticed this metallic sheen. (shows another image on the next screen) I thought it was a cheap ring, but it's aluminum. I think it was a splint.", "CAM: Do you draw a conclusion from that?", "ZACK: I don't really do that, which is why I called you.", "(Cut to an office. Jill Winokur is sitting at the table with Booth and Brennan.)", "JILL: I don't see how health insurance forms can help you.", "BOOTH: (takes the files from Jill) Yeah, I'm gonna have these photocopied, ok?", "JILL: Sure.", "(Booth stands up to leave, but not before he clears his throat, indicating something to Brennan. Brennan is left alone with Jill.)", "BRENNAN: Anthropologically speaking a man gives a woman a gift as a way of laying claim. As a way of marking her as his to the other males in the community.", "JILL: All I know is, he gave her nice things. And when he started talking about breaking it off, we were both surprised.", "BRENNAN: They were breaking up?", "JILL: (nods) I told her not to give up that easy. I told her when it comes down to it, a man like this, who's rich and sophisticated, he'll do the right thing by you.", "BRENNAN: You advised your daughter to get pregnant?", "JILL: It sounds bad, but there was no reason for Lisa to live the life I led. Please tell me my daughter wasn't murdered because I told her to get pregnant (sobs).", "BOOTH: (at the door) Excuse me. Bones, can I talk to you for a moment?", "BRENNAN: Uh...(looks back at Jill), excuse me.", "(Brennan leaves the room and talks with Booth outside.)", "BOOTH: What did you do to her?", "BRENNAN: I don't know.", "BOOTH: (holds out the paper) Hospital admission forms.", "BRENNAN: Yeah? What about 'em?", "BOOTH: Well, look at the signature of the person who dropped Lisa off at the emergency room.", "BRENNAN: (looking at the page) \"Juan Vasco Ramos.\" That's Antonio's father.", "BOOTH: Lisa was having an affair with the judge's husband, not her son.", "BRENNAN: And he was leaving her.", "BOOTH: How do you know that?", "BRENNAN: (looking at Lisa through the glass window) She advised her daughter to get pregnant when it looked like Juan Ramos was about to dump her.", "BOOTH: Yeah, Lisa sees the boy drunk, decides to seduce him.", "BRENNAN: Has unprotected s*x in an effort to get pregnant.", "BOOTH: Dad finds out, and suddenly the troublesome girlfriend is worth killing.", "BRENNAN: (looking through the glass) She's worried that her advice got her daughter killed.", "BOOTH: Yeah, she's probably right. I tell you what, I'm gonna call Radswell and have him bring Dad in for questioning. (turns to leave, but stops) Oh, you know what? I should leave you alone more often.", "(Cut to FBI office, Radswell arrives as Booth and Brennan waits.)", "RADSWELL: Good morning.", "BOOTH: Where's Juan Ramos?", "RADSWELL: He declined your invitation. He decided to go back home to Colombia.", "BOOTH: What airline?", "RADSWELL: Why? You can't do anything anyway.", "BRENNAN: Well, he killed five people!", "RADSWELL: Yes, yes, let's not go through the mortality list again.", "BOOTH: I need to know what airline.", "RADSWELL: Private jet out of Kent Island Airport.", "(Cut to Booth's SUV.)", "BRENNAN: Even if we get there on time, how are we gonna stop them from taking off?", "BOOTH: All right, call Hodgins.", "BRENNAN: What can Hodgins do? I mean, this isn't about evidence.", "BOOTH: Just give him a call.", "(Cut to lab, Hodgins picks up his phone. The following conversation cuts back and forth from inside the car to the lab.)", "HODGINS: Bugs, slime, particulates. What's your poison?", "BOOTH: (talking into Brennan's phone) Hodgins, just listen. Don't say anything, just do as I ask.", "(Hodgins remains silent.)", "BOOTH: You there?", "HODGINS: You told me not to say anything.", "BOOTH: Look, ok, listen to me alright. I need you in your craziest most paranoid conspiracy mode to call the FAA and tell them that a private flight to Bogota is about to leave Kent Island Private Airport and is carrying aliens or-or terrorists, or, you know-you know what to do. Now, do you got any questions?", "HODGINS: Just one. Full court press, no holds barred, maximum effort?", "BOOTH: Just stop the plane from taking off.", "(Booth hangs up, and Hodgins has a big smile on his face.)", "(Cut to Kent Island airport, inside a hanger. A SWAT unit is surrounding a private plane.)", "MAN #1: FBI!", "MAN #2: Everybody out of the plane!", "(Everyone gets off the plane as Booth's SUV screeches to a stop.)", "BRENNAN: (getting out of the car) What will happen to Hodgins if the State Department finds out?", "BOOTH: Know what? Better they don't find out.", "(Brennan and Booth exchange looks with the Ramos'.)", "(Cut to lab, up in the catwalk, Radswell approaches Booth, Brennan and Cam in the lounge.)", "RADSWELL: The FAA got a call saying Judge Ramos's plane had been targeted by the National Liberation Army, a terrorist organization in Colombia.", "BRENNAN: And you took it seriously?", "RADSWELL: Caller used a highly classified code phrase which established the threat as authentic.", "BOOTH: Really?", "RADSWELL: A highly classified code phrase known only to a gold-plated asset inside the terrorist organization. If it weren't, I might suspect you had something to do with it. Booth, you seem to have trouble accepting that there is absolutely nothing you can do in these circumstances.", "BOOTH: Well, Juan Ramos just, you know, flying out of here. This whole diplomatic immunity thing. The whole thing just stinks.", "BRENNAN: You should think it stinks too, Mr. Radswell.", "RADSWELL: Put together your evidence package, submit it to State. We'll present it to the Colombian authorities. Let them decide whether or not to levy charges (turns to leave).", "CAM: Wait, wait. That's our only option? Hope that a foreign government will lay charges based on a forensics-heavy investigation done by American law enforcement on another continent?", "RADSWELL: Unless you can persuade him to give up diplomatic immunity, yes, it's our only option.", "BRENNAN: How long have we got to do that?", "RADSWELL: About as long as it takes to take apart a plane and put it back together again. Maybe 24 hours. (turns and leaves)", "(Cut to platform, Zack is following Cam to the autopsy room.)", "ZACK: You're the one who said you have to be kept up to date on everything.", "CAM: No, when I said everything, I might have been a bit too-you tend to bevery literal.", "ZACK: Thermal dislocation can be extremely deceptive. Typically heat causes short bones to move at the ends. These were split in the middle.", "CAM: What?", "(Cam rushes outside and shouts.)", "CAM: Brennan!", "ZACK: Whoa, what'd I do?", "CAM: T3 and T4 are behind the lungs. This is why we have to communicate more because-", "BRENNAN: (enters the autopsy room) I have a cell phone, Dr. Saroyan.", "CAM: I found evidence of a perforation in the membrane of her lungs.", "BRENNAN: That could be connected to the T3 and T4 vertebrae damage.", "CAM: Exactly what I thought. (to Zack) Could it have been pierced by a rib during the attack?", "ZACK: The ribs were not broken pre-explosion.", "BRENNAN: The vertebrae were pushed apart so they'd slide across the lung surface. That would cause a tear.", "CAM: No, this is definitely a puncture.", "ZACK: Whatever pierced the membrane was forced through the vertebrae.", "CAM: A knife?", "BRENNAN: Zack?", "ZACK: No cuts on the bone, something softer than a blade.", "CAM: (thinking) To reach the lung from the back means moving through the epidermis, dermis, hypodermis, subcutaneous fat and three layers of thoracic muscle fiber and connective tissue. Not to mention splitting those vertebrae.", "BRENNAN: That requires a great deal of pressure, suggesting the force of a leg, not an arm.", "ZACK: It's as though Juan Ramos drove something into Lisa Winokur's back with his foot. Mm...like a golf tee?", "(Cut to Angela's office. She is at the computer looking at footage of the Ramos the night of the party. Brennan, Cam and Booth are standing behind her.)", "BOOTH: A golf tee? That makes no sense.", "ANGELA: I'm not sure what we're looking for.", "CAM: A sharp implement.", "ANGELA: He has a pen in his pocket.", "BOOTH: Wait, how would he force a pen through her back with his foot?", "BRENNAN: Judge Ramos is 5 foot 9?", "ANGELA: Yeah.", "BRENNAN: Why is she the same height as her husband?", "(Computer screen zooms in on the Judge's feet.)", "ANGELA: Three-inch stiletto heels.", "BRENNAN: We assumed the killer was six feet tall and a he. But what if it was a 5-foot-9 woman wearing three-inch heels? I mean, could Judge Ramos have driven her heel into Lisa Winokur's back as she strangled her? (flashback to the possible scenario)", "BOOTH: The judge finds out that the waitress is having s*x with both her husband and her son, trying to get pregnant (Hodgins enters the room). That's motive for murder.", "ANGELA: Also, before the fire, she had a beautiful silk wrap on. Afterwards, it's gone.", "HODGINS: That's what she used to strangle Lisa Winokur.", "BOOTH: Great. It was Judge Ramos. She did it, very compelling evidence. Excellent, but you know what? Too bad, it's useless (frustrated, sits down in a chair).", "CAM: Unless we can find a way to make Judge Ramos waive her diplomatic immunity.", "BOOTH: How are we gonna do that?", "CAM: (leaning down and placing her hand at the beck of Booth's neck) Go grab a cup of coffee. (Hodgins and Angela notice the exchange) I'll figure it out (she leaves).", "BOOTH: Get some pie, Bones? Let's get some pie.", "BRENNAN: Pie? Why are we having pie?", "BOOTH: Cherry pie. Not too tart, not too sweet (they leave).", "(Hodgins and Angela exchange looks.)", "HODGINS: Oh, yeah, baby. That's what I'm talking about.", "ANGELA: Wow.", "HODGINS: Hey, love is in the purified and ionized lab air. Why should we resist?", "ANGELA: (pointing to the door) Go.", "(Cut to the Diner, Brennan and Booth are at their usual table.)", "BRENNAN: A woman like Judge Ramos, who stood up to the drug cartels, who always did the right thing-it's hard to imagine her killing another human being.", "BOOTH: Bones, she's a strong woman. That's why she stood up to the cartels and lived on after her daughter was killed. Hey, look, her point of view...Lisa Winokur was threatening her family, so she snapped.", "BRENNAN: Will she get away with it?", "BOOTH: Yeah, I think she will.", "(Cam approaches their table and sits down next to Brennan.)", "CAM: Ok, we all got together-well, Zack wouldn't help until I threatened him. But the rest of us...(opens the file with her) The blowback patterns shows that Lisa Winokur's killer was six feet tall. Antonio Ramos is six feet tall. Lisa Winokur had s*x immediately before her demise, DNA tests show it was with Antonio Ramos. (holds up a photo of Antonio in the elevator) Lisa Winokur was strangled with a silk ligature, Antonio Ramos favours silk ties.", "BRENNAN: Why are you manipulating the facts to make it sound like Antonio was the killer?", "BOOTH: No, it's ok, Bones. Let her-let her continue.", "CAM: Because of his broken arm, Antonio Ramos was forced to place his foot on Lisa Winokur's back, damaging her vertebrae.", "BRENNAN: You are fabricating a scenario by misrepresenting the evidence and omitting key facts.", "CAM: It's a bluff. Cops do it all the time.", "BOOTH: So you think if we frame Antonio, Judge Ramos will confess to save her own son.", "CAM: What mother wouldn't?", "BOOTH: Bones?", "BRENNAN: No, no.", "CAM: It's no different than lying to a criminal to get a confession.", "BOOTH: Or having Hodgins call the FAA with a fake terrorism tip.", "CAM: He did what?", "BOOTH: Oh, what? Now suddenly there's a line here?", "BRENNAN: You can't allow this.", "BOOTH: I'm a hundred percent against it.", "CAM: Seeley, you hate diplomatic immunity.", "BOOTH: Well, I'm against it when it's interfering with my murder investigation but the world's bigger than that.", "CAM: What are you talking about?", "BOOTH: We cheat diplomatic immunity here in DC, we catch a murderer. That's great. They do it in \"Upper Kamikazestan\" and our boys end up on a red-hot spit over a slow fire.", "BRENNAN: There's no such place as \"Kamikazestan.\"", "BOOTH: Ok, bottom line is, we ignore diplomatic immunity and the rest of the world finds out, it's open season on Americans. So you know what? Thanks for the effort and the fake file. (takes file and rips it) But let's just remember, all right? We're the good guys. Oh, I'm gonna need that real evidence file too.", "CAM: Ok (gets up and leaves).", "(Cut to FBI building. Booth, Brennan, Radswell and Dolores Ramos are sitting around a table. You can see her husband and son sitting outside the room.)", "DOLORES: Even if this were true-", "BRENNAN: It's true.", "DOLORES: My family and I have diplomatic immunity.", "BOOTH: That's politics. A woman like you-a judge, a prosecutor who's given up their whole life for justice-you can't live for what you did to Lisa Winokur. What next?", "RADSWELL: The FBI formally hands this evidence over to me, I present it to the ambassador. He presents it to the attorney general of Colombia.", "BRENNAN: And the State Department gets what it wants, what you've been working for all along.", "BOOTH: This mess in another country (not amused).", "RADSWELL: All parties played by the rules, that's diplomacy. (frustration from Brennan and Booth) Still, speaking outside of my role as a member of the State Department, (to Dolores) the attorney general of Colombia is not a friend to you.", "DOLORES: No, he is not.", "RADSWELL: This evidence is political ammunition. I mean, there'll almost certainly be a trial and he would certainly want you in jail, which would mean-", "DOLORES: The cartels have been trying to kill me for years. In prison, they would succeed on the first day.", "BRENNAN: They would torture and kill you.", "RADSWELL: Might I make a suggestion? Waive your diplomatic immunity and be tried fairly here in the United States.", "(Dolores weighs over her situation, looking around the room and to her family outside.)", "BOOTH: What's it gonna be, Judge? I turn this evidence over to an American prosecutor or to Mr. Radswell?", "(After a few more moments of thought, she pushes the file across the table to Booth.)", "DOLORES: I waive diplomatic immunity.", "(Cut to Lab. Brennan is standing against the railing up in the catwalk/lounge watching as the rest of her team and Cam work on the platform below.)", "BOOTH: (approaching Brennan and standing next to her against the railing) Well, look at 'em down there, huh? Heh! Probably falsifying evidence.", "BRENNAN: I'm not sure I can totally trust Dr. Saroyan after that.", "BOOTH: You know, Bones, Cam's a cop at heart. She, uh-she just wants to catch the bad guys. There are a lot of gray areas.", "BRENNAN: Not for you, you did the right thing.", "BOOTH: Yeah, it worked out is all.", "BRENNAN: You did the right thing.", "(A couple of men it suits approach the platform below.)", "BOOTH: Uh oh.", "(The two men in suits approach Hodgins.)", "MAN #1: (holding out a badge) Sir?", "BRENNAN: (watching from above) Well, shouldn't we do something?", "BOOTH: (scoffs) Are you kidding? (Men lead Hodgins away) Hodgins being abducted by men in black? That's a dream come true.", "(Hodgins smiles up towards them as he's being led away.)", "END." ]

[ "Brennan and Booth investigate the death of Brianna Swanson, a young beauty queen whose decomposed remains are discovered at a water filtration plant. Brianna's father is the initial suspect, but new clues lead elsewhere. Brennan and Booth investigate Brianna's dance school, where they find new information leading to several suspects. Meanwhile, Hodgins works up the nerve to ask Angela out on a date. At first, she rejects due to their situation as co-workers but after seeking advice from Brennan and Cam, she agrees to go." ]

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

[ "The team head to the outskirts of Las Vegas to investigate the murder of a missing federal prosecutor and a related murder of a female boxer. While questioning a suspect at a casino, Booth finds himself face to face with his old addiction: gambling. He and Bones go undercover as a couple to infiltrate an underground fight circuit to find out who or what got the victims killed." ]

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

[ "The team investigate the murder of two kidnapped teenage twin boys. The boys were placed in a spaceship-like capsule and buried alive underground. Soon, Brennan and Hodgins find themselves victims of the \"Grave Digger\", and Booth frantically searches for them as they slowly run out of oxygen underground. The case as broadcast has no conclusion (it was solved in the season 4 episode \"The Hero in the Hold\"). The Fox Network website initially displayed a summary for the episode which included an original ending where the Grave Digger was identified as the female reporter that coauthored a book about Grave Digger. [11] The summary was later revised to reflect the episode as broadcast in which the Grave Digger is unidentified and the scene replaced by character reunion moments. [12]" ]

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

[ "Brennan and Booth investigate when a headless corpse is found in the woods along with a frightening video tape of events on the night of the murder. Meanwhile, Hodgins and Angela are assigned to find any possible information on the video, much to Hodgins' glee, as Angela grasps his arm out of fear of what she sees. The episode's plot is a slight parody of the famous found-footage horror film, The Blair Witch Project , with even the famous antagonist (the Blair Witch) of the film, presented as a legend in this episode (referred to here as \"Maggie Cinders\"). The murder suspects claim that \"Maggie\" killed the victim, and Brennan even finds a second, unidentified head that seems to corroborate that claim. At the end of the episode, after the killer is caught, Hodgins and Angela are relieved to turn off the video, but then they notice the silhouette of a headless female figure with an axe heading toward the victim right before he was killed. Freaked out, they both offer probably correct and rational theories explaining it, with Angela fearfully asking Hodgins at the end, \"Can I stay at your place tonight?\", much to Hodgins' obvious pleasure." ]

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

[ "Zack defends his dissertation to obtain his doctorate and asks help from a colleague. Meanwhile, Booth and Brennan are called to the scene where a man's body was found gutted, burned and hung like a scarecrow on the roof of a hotel that housed Federal witnesses. Booth determines the victim was a snitch working in an organized crime syndicate. Brennan's brother, Russ, informs her of a phone call he received from their father, warning him they are both in danger. Soon after, a priest contacts Brennan telling her that her father insists she and Booth drop their case. They determine the body found was actually an ex-FBI agent, tracking Russ to kill him - hence explaining the warning from Brennan's father. With the help of Angela, Booth and the team uncover a decades-old cover-up that could potentially ruin his career if he decides to continue with the investigation." ]

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

[ "Booth and Brennan are ordered to the cell of serial killer Howard Epps to identify the remains of an inmate. To their surprise, the charred remains don't belong to Epps. It's soon learned Epps has escaped and is on a revenge path, which involves Booth's young son, Parker. Due to the danger of the case, Brennan must get FBI protection. Cam inhales a toxin while performing an autopsy, which puts her life in danger." ]

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

[ "When Booth is ordered to go see a psychiatrist (guest star Stephen Fry ) after irrationally discharging his firearm (at the clown on the top of an ice cream truck), Brennan is paired up with Agent Tim Sullivan to investigate the apparent murder of a college student in the Everglades, and by the time the case is solved Sullivan and Brennan express their mutual interest in each other." ]

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

[ "When a benefactor of the Jeffersonian is found murdered, it's up to the team to find out who, but Hodgins' past with the widow complicates matters. Meanwhile Booth continues to see the therapist (guest star Stephen Fry ), and Brennan is progressing in her exploratory relationship with Sullivan." ]

[ "\"The Man in the Mansion\"", "[SCENE_BREAK]", "TEASER", "(Open: Booth and Brennan arrive at the crime scene and exit Booth's SUV)", "BRENNAN: Do you have therapy today?", "BOOTH: It's not therapy.", "BRENNAN: Well, you're seeing a psychiatrist.", "BOOTH: Not for therapy. It's an official evaluation. Okay?", "OFFICER: Person who found the body is in the living room.", "BOOTH: Great, crime scene first, then we talk to the witnesses.", "OFFICER: Corpse is gonna be in the den.", "BOOTH: Thanks.", "Brennan (motions to his tie): What is that?", "BOOTH: What's what?", "BRENNAN: Your tie. It's staid.", "BOOTH: Staid?", "BRENNAN: Yeah. Boring. It looks like J. Edgar Hoover picked it out.", "BOOTH: Look, it's something' I'm working on, okay?", "BRENNAN: In therapy?", "BOOTH: Gordon Gordon says that the ... you know, the wild socks and the fancy ties are all just, ya know, quiet rebellions, helping me suppress other impulses.", "BRENNAN: Isn't that good?", "BOOTH: You'd think so, right? But, you know, apparently all the other issues just have to rise to the top.", "BRENNAN: Why do you call your psychiatrist \"Gordon Gordon\"?", "BOOTH: 'Cause that's who he introduces himself. You know: \"Hi, I'm Gordon. Gordon Wyatt\".", "BRENNAN: Like \"James, James Bond\".", "BOOTH: \"Bond, James Bond\", not \"James, James ... James\" ... whatever.", "(They enter the crime scene - The Bancroft Mansion)", "CAM: We're over here. And you might want to tuck your pants into your socks. The flies get into everywhere.", "(Booth gives an exasperated sigh, and pulls up his pant leg, revealing solid black socks.)", "CAM: What, no cartoon characters on the socks?", "BOOTH: Never had cartoon characters on the socks. They were just ... um ... never mind, okay? What have we got here?", "CAM: Three weeks decomp, give or take.", "BOOTH: Oh, the place was tossed, huh?", "CAM: No forced entry. The victim is probably the man of the house, Terrance Bancroft. His wife Clarissa identified the watch and wedding ring.", "BRENNAN: This isn't good for me.", "CAM: Yeah, it's pretty gross.", "BRENNAN: No, not that. There's too much soft tissue for me to tell anything. In fact, why am I here at all?", "CAM: The Bancroft family asked for us specifically.", "BOOTH: What, they got some kind of pull?", "CAM: The Bancroft Wing at the Jeffersonian? Sixty million bucks will buy a lot of goodwill.", "BOOTH: Typical.", "BRENNAN: (bends down to examine the body) This dried crust here, at the mouth... CAM: ... when the jugular was cut, the air mixes with venous blood and the negative pressure causes an air embolism. Death is very quick.", "BOOTH: So just ... sit there, and stop complaining.", "BRENNAN: Bound.", "CAM: Multiple stab wounds. We need photos of these splatter patterns.", "BOOTH: (glancing around) I'll be this statue is worth more than my house.", "BRENNAN: You know, you should ask your therapist about your issues with rich people.", "CAM: You're in therapy?", "BRENNAN: You've seen the socks.", "(Brennan and Cam smile.)", "CAM: The victim's wife is in the kitchen.", "(Cut to: Bancroft Mansion - Kitchen. Booth stands in the kitchen with Clarissa Bancroft, who is seated at the table.)", "CLARISSA: I was ... I was at the vineyard for a month, and Terry was supposed to be at his fishing camp in Idaho, so the house was closed up.", "BOOTH: And you didn't try to contact him at all during that time?", "CLARISSA: (takes a deep breath) We spoke three weeks ago, um ... the day before he was supposed to leave. The cabin doesn't get cell service... (she stands up and begins to pace) I heard the officers talking about a possible home invasion?", "BOOTH: Definite possibility CLARISSA: Well, Terry supports a youth center on the other side of the Anacostia River.", "BOOTH: Rough neighborhood, tough kids.", "CLARISSA: I was always afraid to go there, but he said it was because I didn't really know them.", "BOOTH: Yeah. Listen, I'd like you to ... uh ... put a list of things together that might have gone missing and, uh, give me a call.", "CLARISSA: Okay.", "(Cut to: Medico Legal Lab - Zack is seated at a computer, Hodgins walks in behind him.)", "HODGINS: Is that the Bancroft case?", "ZACK: Yeah.", "HODGINS: Looks like a home invasion homicide, right? (picks up the report and begins to read)", "ZACK: Yes, I'm running dental records now, and Cam is finishing up the autopsy.", "HODGINS: But Booth is pretty sure it's Terry Bancroft?", "ZACK: Yes. There was a lot of insect activity. Samples are at your workstation. Also, the extension cord that was used to tie him up, and everything that was on top of his desk.", "HODGINS: He was tied up?", "(Cam enters the room)", "CAM: His heart was perforated, but there's no blood in the thoracic cavity.", "HODGINS: He was stabbed after he was already dead. What ... what killed him?", "CAM: His jugular was punctured. Multiple stabs are congruent with killers jacked on crystal meth. Or ... just plain adrenalin.", "HODGINS: Why killed him?", "CAM: No sign of forced entry. He probably knew his attackers.", "(The computer Zack is seated at begins to emit a beeping noise)", "ZACK: We have a match. Confirmed. Terrance Bancroft.", "HODGINS: He knew his killers?", "CAM: Are you alright?", "HODGINS: Yes. Yeah, absolutely. I'll ... I'll get on insect analysis right away.", "(Cut to: Medico Legal Lab - Hodgins work area. Hodgins is examining a framed photograph of Terry and Clarissa Bancroft, presumably on their wedding day. The frame is covered in blood. He places the photograph on his desk, and picks up another. He turns the photograph over, and removes the back of the frame. He is about to remove the photo, when Angela walks in.)", "ANGELA:Hodgie?", "HODGINS: Yeah? Hey. Good morning, Angela. (He places the photograph on his desk, and covers it with the blood-splattered photograph of the Bancrofts on their wedding day) ANGELA:I have blood splatter patterns on my computer ... if you need to match them to anything you have here.", "HODGINS: Uh, yeah, thanks. I'll come look after I get through the evidence from the desk. ANGELA:You okay?", "HODGINS: Mmm-hmm. Yeah. ANGELA:Yeah? Wanna have lunch later?", "HODGINS: Okay, yeah.", "(Angela walks away, and Hodgins returns to the photograph. He pulled the back of the frame forward, and removes the photograph, turning it over. We see that it is a photograph of four men, standing in front of a lake. They are wearing no clothes, but three of the men have guitars in front of them, and the fourth has a drum. Hodgins turns the photograph over, and the text on the back reads: Stoner, Tripp, Me + Hodgins, August '95. Hodgins folds the photograph in half, and puts it into his inner jacket pocket, glancing around to see if anybody is watching him.)", "ACT ONE", "(Cut to: Medico Legal Lab - Brennan's Office. Sully and Brennan are talking.)", "BRENNAN: Would I get to play?", "SULLY: Uh, no. You will be cheering, then watching.", "BRENNAN: What fun is that?", "SULLY: I am a mad \"sagger\". I ... I ... I wear my shorts very, very low.", "BRENNAN: Okay.", "SULLY: (laughs) You suck hugely at being a girl. Okay, okay ... anthropology ... anthropology. Oh, okay ... think of it as a social ritual in which I impress you with my manly prowess during a game of basketball.", "BRENNAN: You want to impress me?", "SULLY: I'm traditional that way.", "BRENNAN: Why don't you just bonk me on the head with a giant club?", "SULLY: Well, I'd much prefer you came to the game and ogled my butt crack. You know, it's law enforcement versus public defenders. Guys with ponytails and love handles. We're heavily favored. So?", "BRENNAN: (grins)", "(Cut to: Bancroft Mansion. Clarissa Bancroft is walking towards the front door. She opens it, and finds Jack Hodgins standing on her doorstep.)", "HODGINS: Hi, Clarissa.", "CLARISSA: Hodgins. I ... you heard about Terry?", "HODGINS: Can I come in?", "(Clarissa nods her head, and opens the door wider for him to enter. Hodgins enters the home, and looks around)", "CLARISSA: Last time I saw you, you didn't have a beard.", "HODGINS: Yeah, last time you saw me I couldn't grow a beard. I'm sorry about Terry. Makes everything that happened between us look ... CLARISSA: ... meaningless.", "HODGINS: Just a lot less important than it seemed at the time. I got over us, Clarissa.", "CLARISSA: Then how come it took Terry getting murdered for you to show up at our door?", "(Hodgins removes photograph he stole from work from his pocket, and hands it to Clarissa. She opens it, and studies the photograph.)", "CLARISSA: Where did you get this?", "HODGINS: I work at the Jeffersonian Institution. I'm on the case. This showed up with the evidence.", "CLARISSA: I don't understand. Why are you bringing it to me?", "HODGINS: If my bosses were aware that I knew the victim, or his wife, they'd remove me from the investigation. And I would really like to help catch whatever son of a bitch murdered my friend.", "CLARISSA: So if someone introduces us... HODGINS: ...Nice to meet you, Ms. Bancroft, and you too, Dr. Hodgins.", "CLARISSA: Got it.", "CLARISSA: Hodgins? Terry and I were ... having some marital problems. But we were getting through it. That's going to make me a suspect, isn't it?", "HODGINS: I can't talk about it, Clarissa. (He turns and walks from the house)", "(Cut to: Youth Center. Agent Booth is talking with the center's direction, Robert Fraiser)", "FRAISER: Terry, man we're really gonna miss that guy around this place.", "BOOTH: Foot the bill for this place?", "FRAISER: Oh, you know, he was more than a check book. I mean, Terry, he took a personal interest.", "BOOTH: How personal?", "FRAISER: No, don't even go there, all right? Terry, he was one of the good guys.", "BOOTH: Those kids are pretty hard core, huh?", "FRAISER: Oh yeah, yeah. You know, drugs, gangs, violence... BOOTH: Any recent arguments or incidents?", "FRAISER: Well, apparently the night before Terry was going to head up to his cabin, he caught a kid with a couple pounds of heroin.", "BOOTH: Couple pounds? The kid was a mule.", "FRAISER: Yeah, he was runnin' deliveries to Baltimore on the bus.", "BOOTH: Did you see Bancroft take the drugs from the kid?", "FRAISER: No.", "BOOTH: How about any of these kids? Did they see it?", "FRAISER: Sure, until you ask them. Then nobody saw nothin'.", "BOOTH: Did Bancroft call the police?", "FRAISER: Oh, man, come on. If we did that, no kid would ever set foot back into this place.", "BOOTH: Oh. Then what, huh? Flushed it down the toilet?", "FRAISER: No, no, it's not like that. I mean, Terry, he would always deliver whatever he snagged to the cops. You know, otherwise the supplier would think they would get ripped off, and then the mule ends up dead.", "(Cut to: Youth Center - Locker Room. Fraiser and Booth are standing at a bank of lockers, and Fraiser is cutting the lock on one.)", "FRAISER: So this is Julio Diaz' locker.", "BOOTH: Whoa. Blood on the kid's sweatshirt.", "FRAISER: Nah, Julio would never kill anybody. I mean, he might deliver drugs, but he really liked Terry.", "BOOTH: Maybe Julio's supplier? When was the last time Julio was here?", "FRAISER: The day Terry took the heroin.", "(Cut to: Youth Center - Room. Booth, standing in front of a group of kids)", "BOOTH: Okay, look. If it wasn't for Terry Bancroft, this place wouldn't exist. I need one witness who saw Terry take the dope from Julio Diaz. Just one.", "(The crowd of kids are silent, some not meeting Booth's eyes as he surveys the room. Nobody speaks up.)", "FRAISER: Sorry, man.", "(Cut to: Medico Legal Lab - Angela's Office. Angela and Brennan are seated at her computer.)", "ANGELA:What is not to like? Go watch Sully play basketball.", "BRENNAN: But - he still hasn't made a move on me.", "ANGELA: How many times have you gone out?", "BRENNAN: Four ... or six. Depending on how you define \"go out\". ANGELA:Right. Bumping into each other at the diner does not count as going out.", "BRENNAN: Four. (points to the computer screen) There. Along the interior cervical vertebrae. Is that shadow a glitch? ANGELA:I don't do glitches. Four, huh? So the question is ... is Sully damaged goods, or is he just very respectful?", "BRENNAN: What? Those are my choices?", "ANGELA: Damaged goods, you run away; very respectful, you hang in.", "BRENNAN: I should just make the first move.", "ANGELA: No, Brennan! For once can you just pretend that you're the girl?", "BRENNAN: Why is everyone so anxious for me to be a girl?", "ANGELA: Listen. Go to the basketball game. Let him show off for you, and see what happens.", "BRENNAN: I don't know. It sounds so ... passive.", "ANGELA: Now you've got it.", "(Cut to: FBI - Booth's Office. Booth is at his desk, and Sully's sitting in front of him.)", "BOOTH: You just don't get it.", "SULLY: What! I'm asking for guy advice, you are a guy - what's not to get?", "BOOTH: First of all, guys, they don't ask for advice. And secondly, I'm not going to help you get my partner into bed.", "SULLY: Why not? It's not like you want her.)", "(Booth's lips twitch, but he doesn't say a word.", "SULLY: Unless ... Do you want her?", "BOOTH: Nah. Come on, Bones is, you know, my partner.", "SULLY: That is why you need psychiatric treatment, because you have the hots for your partner!", "BOOTH: I'm not in psychiatric treatment, okay? It's an evaluation. Big difference.", "SULLY: I can tell that Brennan is the go slow type, but you gotta help me out on how slow, because too slow is worse than not slow enough. An agent appears at the doorway.", "AGENT CHARLIE: Agent Booth.", "BOOTH: Yeah?", "AGENT CHARLIE: District cops got a kid matching your APB ... down at the morgue.", "(Booth gets up from his desk, and Sully is left on his own.)", "(Cut to: Morgue. The Coroner, Booth, and Robert Fraiser are standing over the table containing the body, a sheet covering it.)", "ASST. CORONER: John Doe #120806. Male, approximately fourteen years old. His body was found under the Anacostia Bridge on the sixth.", "BOOTH: That was almost twenty days ago.", "FRAISER: I ... I think that's Julio. That's definitely his gold chain, for sure.", "ASST. CORONER: Cause of death: single gunshot wound to the back of the head.", "BOOTH: Execution style.", "FRAISER: Yeah, if, uh ... if Terry hadn't gotten the drugs to the cops, then the supplier would have come for Julio.", "BOOTH: Terry Bancroft got killed for that heroin.", "(Cut to: Medico Legal Lab - Room. Zack and Dr. Cam Saroyan are viewing Terry Bancroft's skeleton on a light table.)", "ZACK: Dr. Brennan saw a shadow on the x-rays. I removed the tissue from the bones and found a fungus.", "CAM: Not odd. If you were decomposing for three weeks, you'd probably work up a fungus or two as well.", "ZACK: The interior cervical vertebrae.", "CAM: Spell it out, bone boy.", "ZACK: The jugular was cut, and the blood pooled here.", "CAM: He was lying on his back for several hours.", "(Booth enters)", "BOOTH: Anything new?", "CAM: Yes. The victim was killed by the puncturing of his jugular, left lying there for several hours, and then the murderer came back... ZACK: ...forced the body into its chair... CAM: ... and stabbed him fourteen more times.", "BOOTH: Oh, to make it look like a home invasion.", "CAM: The blood on Julio's sweatshirt found in the locker was definitely Bancroft's.", "BOOTH: Well, that doesn't make sense.", "CAM: Bancroft confiscates the kid's dope, kid runs to the supplier, they go to Bancroft's place, scare him into telling them where the dope is, then kill him.", "BOOTH: Wait, that doesn't scan. I mean, why murder the kid?", "CAM: 'Cause he was there? 'Cause he cried, 'cause he blew his nose on a red hankie. They don't need much reason.", "BOOTH: Well, I don't like it.", "CAM: Doesn't mean it isn't true.", "(Hodgins enters the room, carrying a specimen in a jar.)", "HODGINS: Calliphora Vomitoria. Prepupal stage of the third instar.", "CAM: Does that give us a postmortem interval?", "HODGINS: Eighteen point five days.", "BOOTH: Whoa. You can be that accurate from flies?", "HODGINS: Yeah, D.O.J. Forensics has new statistical models of maggot growth that pinpoint death within a six hour window.", "BOOTH: Hmm. Then I was right.", "HODGINS: About what?", "BOOTH: Julio Diaz was killed twenty days ago. Eighteen point five days ago is after his body was found.", "CAM: Then how did Bancroft's blood get on Julio's sweatshirt?", "BOOTH: Julio Diaz was dead under that bridge. Somebody else put that blood on his sweatshirt.", "ACT TWO", "(Cut to: Basketball Court. Brennan is watching the game from the stands, clearly with her eye on Sully. Sully's teammates are calling to him on the court, using the nickname \"Peanut\". Two women are seated in front of her in the stands, discussing the game.)", "BLONDE WOMAN: Sully's looking good.", "BRUNETTE WOMAN: Hot BLONDE WOMAN: You know, Scotty says Sully won't shower with the other guys.", "BRUNETTE WOMAN: That guy's got some kind of an issue.", "BLONDE WOMAN: Guys only got one kind of an issue, girl.", "BRUNETTE WOMAN: Then I guess we know why they call him \"Peanut\".", "(The women giggle. Sully spots Brennan in the stands and waves to her. She waves back, and the two women see her, and uncomfortably share a glance.)", "(Cu to: Street outside the Royal Diner. Dr. Gordon Wyatt and Booth are walking down the street towards the diner.)", "WYATT: In point of fact, it is therapy.", "BOOTH: What? No, no, it's not. It's an evaluation.", "WYATT: No, I've already certified you as fit to carry a gun and go back to work.", "BOOTH: Okay, then why are we meeting?", "WYATT: Well, because you discharged your weapon at an ice cream truck. My provisional certification of your mental health only holds as long as you continue to meet with me.", "BOOTH: Great. For how long?", "WYATT: 'Til I'm satisfied you won't start firing at confectioners again. What's your objection to therapy?", "BOOTH: You know what, doc? I am not the kind of guy who's got anything to hide.", "WYATT: You know, I often find that when people declare what they are not, it almost invariably turns out that that's precisely what they are.", "BOOTH: Great. Then, you know what? No more declarations from me.", "The two enter the diner and take a seat.", "WYATT: You do know that what you just said is, in fact, the very avatar of a declaration.", "BOOTH: Avatar, that's great. (He motions to a waiter) Can I get a cup of coffee, and a, uh ... WYATT: (makes a \"T\" sign with his fingers) Tea, please.", "BOOTH: Tea, yeah. Let me ask you a question, doc. Why is that every time you introduce yourself, you always say your name twice, huh? (dons an English accent) \"Hello, my name is Gordon, Gordon Wyatt.\"", "WYATT: Well, now you're simply lashing out, aren't you? Why don't we talk about the case you're working on at the moment?", "BOOTH: Why?", "WYATT: Well, I am trained as a forensic psychiatrist. I might be able to help.", "BOOTH: Okay. Fine. Great. I have a dead rich guy, works with at-risk youth, gets brutally murdered after confiscating a couple of pounds of heroin from one of his kids.", "WYATT: It's interesting the first word you use to describe him is \"rich\"", "BOOTH: Ah, second. First description was \"dead\"", "WYATT: Why do you think you have a problem with wealthy people?", "BOOTH: This case is a perfect example. This guy, he makes up his own rules. What's that word that you used?", "WYATT: Uh, entitled.", "BOOTH: Yeah, entitled. That's what got him killed.", "WYATT: Did this rich guy, by any chance, have a wife?", "BOOTH: Ah what, are we changing the subject now?", "WYATT: And does the rich guy's wife have a lover?", "BOOTH: I just told you. The murder has to do with the heroin. The boy, the victim took the heroin from also turned up murdered.", "WYATT: And is this boy from a modest background?", "BOOTH: Doesn't get any modester.", "WYATT: So is there any chance that you would rather catch the boy's murderer, than the wealthy fellow's murderer, so you have decided that they're one in the same? Any chance that you've based this assumption purely on your bias against rich, entitled people?", "BOOTH: Mmm-hmm. You know what? I did the belt buckle, I did the tie, I did the socks ... what else do you want from me?", "WYATT: What would you say if I told you that my name actually is Gordon Gordon Wyatt. That my first and middle names are the same?", "(Cut to: Basketball Court. The game is just wrapping up, and the men are coming off the court to meet their friends and family. Sully comes over to meet Brennan.)", "SULLY: So are you ready to go?", "BRENNAN: Don't you want to take a shower?", "SULLY: Ah, I don't sweat that much.", "BRENNAN: Won't you be uncomfortable at the restaurant?", "SULLY: It's a scuzzy bar. I'll be one of the best-smelling things there - next to you, of course.", "BRENNAN: You played very well.", "SULLY: Thank you.", "BRENNAN: In fact, you were the best.", "SULLY: See, that's why I wanted you to come, you know, to be impressed.", "BRENNAN: Well, it was an impressive display of manhood.", "SULLY: (laughs) Well, thank you.", "BRENNAN: Athletics as an analog for battle. In fact, you were a warrior tonight.", "SULLY: (laughs again) Wow. You really were impressed.", "BRENNAN: There are quite a number of ways that men judge their relative maleness with respect to other men.", "SULLY: Uh-huh.", "BRENNAN: Muscles, income, cars, attractive mates, tolerance to alcohol, hair loss ... and of course, the size of sexual organs.", "SULLY: Whoa! Save something for us to discuss at dinner.", "BRENNAN: Well ... women don't care about that.", "SULLY: Dinner, or ... hair loss.", "BRENNAN: The size of the sexual organ.", "SULLY: Ours or yours?", "BRENNAN: pen1s size only matters to other males.", "SULLY: See, I was hoping you'd comment on how I shut down the other team's offense.", "BRENNAN: Well, their offense wasn't really all that good.", "SULLY: Oh, you know how to hurt a guy. It's not a bad thing, I like it. A little sauce, a little zing...", "(Cut to: Medico Legal Lab - Hodgins Work Area. Hodgins and Booth are standing together.)", "HODGINS: The flake on the trachea was India ink. It came from this (he holds up a letter opener). It's a Scrimshawed letter opener, wiped clean, but there are still minute traces of Terrance Bancroft's blood in the etchings.", "BOOTH: I need to pull a little con on the wife.", "HODGINS: Your wife?", "BOOTH: No, the victim's wife.", "HODGINS: Why?", "BOOTH: Find out if she was cheating on her husband.", "HODGINS: I thought the murder was because of the heroin.", "BOOTH: Well, it is. But you know, I need you to come along and, you know, collect some dust, or pollen, or seeds, or whatever the hell it is you do, so I can get in and figure out if she's got anything to hide.", "HODGINS: How will you do that?", "BOOTH: Oh, I've got my ways. Come on.", "HODGINS: Well, you know, I'm really busy here. You know, the murder weapon ... plus, we found a fibre in the victim's throat. It's actually muskrat...", "BOOTH: Muskrat, hey, that's a perfect cover. We'll go the mansion, you go inside and look for anything made out of muskrat. Come on. Why are you draggin' your feet? Let's go.", "HODGINS: I'll ... I'll get my kit.", "BOOTH: Get your kit.", "(Cut to: Bancroft Mansion. Clarissa opens the door to find Booth standing on her doorstep.)", "BOOTH: Good evening, Ms. Bancroft. (He moves aside, and we see Hodgins standing behind him) This is Dr. Hodgins, from the Jeffersonian. We were wondering if... HODGINS: Very pleased to meet you.", "CLARISSA: Nice to meet you, Dr. Hodgins. Clarissa Bancroft.", "BOOTH: Dr. Hodgins needs to take a look inside, in the den, if that's all right.", "CLARISSA: Oh. What are you looking for?", "HODGINS: Muskrat.", "(They come into the house, and Clarissa and Booth wait in another room, while Hodgins is looking through the den.)", "CLARISSA: How long with Dr. Hodgins be in there?", "BOOTH: Oh, you know, a homicide investigation is pretty invasive. Both the family and the victim lose all their privacy.", "CLARISSA: I understand.", "BOOTH: Do you? Because, uh, it's inevitable that we find out everything.", "CLARISSA: What kind of doctor is Jack?", "BOOTH: Bugs. Slime. There's fancier names, but ... that's about it.", "CLARISSA: You know, don't you. You know that I had an affair.", "BOOTH: It's best that you tell me everything.", "CLARISSA: It ended three months ago. Terry and I were working through it.", "BOOTH: Separate vacations?", "Clarissa; I didn't say it wasn't difficult. You can love someone and still hurt them. You need his name?", "BOOTH: Yeah.", "CLARISSA: Leland Oliver. He's our financial consultant.", "BOOTH: So, you divorce your husband... CLARISSA: I would have gotten, at most, half of his money. This way I get it all. Leland knew that better than anyone. That's exactly why I didn't say anything earlier.", "BOOTH: How'd you know Dr. Hodgins' first name?", "CLARISSA: You introduced us.", "BOOTH: I never said his first name. Hodgins (comes around the corner) Just tell him, Clarissa.", "(Cut to: Outside of the Bancroft Mansion. Booth is briskly walking away, with Hodgins trailing behind him.)", "HODGINS: All right, look, I'm sorry, but it doesn't change anything. Hey, this is not a problem.", "BOOTH: Not a problem? Not a problem, huh? I ought to arrest you for tampering with evidence. This goes to trial, you are in Ibiza, or Antarctica on vacation. Start looking for another job.", "(Cut to: Medico Legal Lab. Hodgins comes onto the platform and sees Brennan and Cam, sitting at the table with Terry Bancroft's skeleton.)", "BRENNAN: Hodgins, what is the significant of the muskrat fur?", "BOOTH: (comes up behind Hodgins) Yeah, Hodgins. What is the significance of the muskrat fur?", "HODGINS: Muskrats have an under layer of fur. The outer layer is coarse hair. This ... this is muskrat hair.", "BRENNAN: Fur, hair ... I doubt our victim's jugular was cut by a muskrat.", "CAM: Is there something going on?", "BOOTH: (turns to Hodgins) You wanna tell 'em?", "HODGINS: The muskrat hair was coloured with a new dye that's just be patented by a menswear company in Canada. (He brings up a bunch of photographs of coats on the computer)", "BRENNAN: So the murderer was dressed in one of these jackets?", "BOOTH: Wait. That one.", "BRENNAN: The leather bomber with muskrat liner.", "BOOTH: That's the one Robert Fraiser was wearing. The director of the youth drop in centre.", "CAM: Then we have our murderer.", "BRENNAN: Good job, Hodgins.", "BOOTH: No, no ... not \"good job Hodgins\". He might have blown the whole case.", "HODGINS: I told him it is not a problem.", "BRENNAN: What happened?", "BOOTH: I don't care what he does in his time off, but when he screws around with evidence to get in the pants of an old girlfriend on one of my murder cases? That is a problem.", "(Booth walks off the platform, and we see that Angela is standing to his side, and has heard everything. )", "(Cut to: FBI - Meeting Room. Cam, Brennan, Hodgins, Booth, and Caroline Julian are seated in the room.)", "CAROLINE: I already got no proof how the victim got hold of that heroin. Now you're saying I can't put Hodgins on the stand? Why?", "BOOTH: You don't want to know the answer to that one.", "BRENNAN: Why doesn't she want to know?", "CAROLINE: As the prosecutor in this case, I'm obliged to share everything I know with the defense.", "HODGINS: Just because Clarissa Bancroft and I... CAROLINE: Whoa! Good night.", "BOOTH: Did you not hear what she just said?", "CAM: There are some things she can't know.", "HODGINS: Clarissa and I were engaged. She and Terry started something up and it unfolded the way those things do. I haven't contacted or heard from either of them in eight years. Then Terry got killed... BOOTH: And like every other rich guy in the world, you decided the rules just didn't apply to you.", "HODGINS: Hey! The guy used to be my friend, all right? And Clarissa... CAM: You tampered with evidence.", "HODGINS: The glass and frame were evidence. The photograph I removed was not. I wanted to work Terry's murder.", "CAM: Obviously you're off the case.", "BOOTH: Should be off the job.", "BRENNAN: That is not your decision, Booth.", "HODGINS: I apologize. I will deal with this however you see fit.", "[SCENE_BREAK]", "ACT THREE", "(Cut to: Courtroom. Caroline Julian, prosecutor, is standing before the jury. Mr. Barron, the defense attorney, is seated with Mr. Robert Fraiser.)", "CAROLINE: Ladies and gentleman of the jury. My good friend Mr. Barron is going to give you a long speech about what reasonable doubt is. He's mostly going to be right. But facts are facts, ladies and gentleman, and the fact is Mr. Robert Fraiser killed Mr. Terrance Bancroft for a few pounds of heroin.", "(Cut to: Mr. Barron, defense attorney, addressing the jury)", "MR. MR. BARRON: They've got anthropologists, and psychiatrists, and particulate experts, and blood experts. The whole weight of the Jeffersonian Institution all interpreting the facts for you. And I stress the word \"interpret\", because you, as the jury, are the arbiters of common sense, that gets lost in all the science.", "(Cut to: Caroline Julian, addressing Dr. Camille Saroyan on the stand)", "CAROLINE: Would you describe how the victim was killed?", "CAM: Mr. Bancroft died when a sharp instrument was thrust into his jugular.", "(Cut to: Dr. Zack Addy on the stand)", "ZACK: This is a dried fleck of India ink left in the victim's trachea. It matches the ink on a Scrimshawed letter opener the FBI found at the scene.", "(Cut to:Dr. Camille Saroyan on the stand)", "CAM: Postmortem the vicious attack on the victim continued.", "MR. MR. BARRON: Objection! Categorization of the attack as vicious is prejudicial.", "CAROLINE: Fourteen times a man was stabbed. How many stabs does it take to be vicious, exactly?", "JUDGE: Sustained.", "(Cut to: Angela Montenegro on the stand)", "ANGELA:Using a 2-D image from a stereo microscope, I was able to create a three dimensional model...", "(Cut to: Dr. Zack Addy on the stand)", "ZACK: These kerf marks are congruent with a double-edged blade, one side serrated, the other not.", "(Cut to: Special Agent Seeley Booth on the stand, viewing a knife, held up by Caroline Julian)", "BOOTH: Yeah, that's the knife we found in a toolbox in Robert Fraiser's truck.", "CAROLINE: That would explain the prints found by the FBI forensics lab?", "BOOTH: It would explain the prints, but not the victim's blood.", "(Cut to: Booth holding up the muskrat coat)", "BOOTH: Yeah, this is the coat Robert Fraiser was wearing at the time of his arrest.", "(Cut to: Dr. Temperance Brennan on the stand, motioning to a screen to her left)", "BRENNAN: Hair on the left came from the victim's larynx. The hair on the right came from the jacket.", "CAROLINE: And they came from the same jacket?", "BRENNAN: They came from the same muskrat.", "CAROLINE: How did this hair get into the victim's larynx?", "(Cut to: Angela Montenegro on the stand)", "ANGELA: The larynx and the trachea were both punctured by the murder weapon. And that was most logically achieved by the murderer approaching the victim from behind, putting the choke hold on him, and plunging the murder weapon into his throat. (She demonstrates this on a volunteer from the court)", "(Cut to: Cam on the stand, holding the knife)", "CAM: In doing so, the murderer inadvertently stabbed through his own jacket, thus depositing muskrat hair in the victim's throat.", "(Cut to: Booth on the stand, with the leather bomber jacket, his finger pushed through a hole.)", "CAROLINE: Let the records show that the witness is wiggling his finger through the jacket in a very convincing manner.", "MR. MR. BARRON: Objection to the use of the phrase \"very convincing manner\".", "JUDGE: Sustained.", "CAROLINE: Why?", "BOOTH: Why what?", "CAROLINE: Why was Terrance Bancroft killed? Did you discover a motive, Agent Booth?", "(Luiz, a young man from the youth centre pokes his head into the courtroom, catching Booth's eye. He motions to him to come outside.)", "BOOTH: I need five minutes, your Honor.", "(Cut to: Hallway of the Courthouse. Booth is talking to Luiz.)", "LUIZ: Look, man. I saw Terry take the dope from Julio. I don't see how this is gonna help burn Fraiser, though.", "BOOTH: It's called chain of evidence. It'll help, okay? Trust me.", "LUIZ: I'll say what I saw. Terry was a good man.", "BOOTH: So are you.", "(Cut to: Courtroom. Luiz is on the stand.)", "LUIZ: Terry was like \"open that bag, Julio.", "CAROLINE: What did Julio do?", "LUIZ: Just stood there. Terry went over and took the bag from him, and opened it up. It was packed with pounds of blast.", "CAROLINE: Tell the jury what that means.", "LUIZ: Heroin. At least two bricks. And like, everybody knows what happens if Terry catches you holding. You get sent out for 72 hours.", "CAROLINE: And the drugs?", "LUIZ: Straight to the police.", "CAROLINE: You believe Robert Fraiser killed Terrance Bancroft for that heroin.", "(Cut to: Booth on the stand.)", "BOOTH: Yes. Robert Fraiser turned out to be a junkie. That's why he wore that jacket all the time.", "MR. MR. BARRON: Objection. Assuming facts not in evidence.", "CAROLINE: What do you mean? The defendant has every needle disease in the book, except HIV.", "MR. BARRON: Same objection! Plus, Ms. Julian seems to deeply desire to testify herself.", "CAROLINE: Yes, I would like to testify, because then I'd know what answers I was getting.", "JUDGE: All right, settle down. This is a murder trial, not a night at the improv.", "(Cut to: Cam on the stand.)", "CAM: The victim was killed and left for between ten and fifteen hours. The murderer returned, and forced him into the chair. This is also when he was stabbed fourteen times.", "(Cut to: Booth on the stand.)", "BOOTH: That ten to fifteen hours gave the murderer time to soak Julio Diaz's sweatshirt in the victim's blood, in order to put the blame on either Mr. Diaz or the drug suppliers.", "CAROLINE: But you do not believe that the defendant killed the boy.", "BOOTH: No. But he might as well have.", "MR. BARRON: Objection!", "JUDGE: I'll hear it.", "BOOTH: Terrance Bancroft intended to give that heroin to the police in order to keep Julio Diaz square with his suppliers.", "CAROLINE: Thank you.", "BOOTH: Julio Diaz was fourteen years old.", "MR. BARRON: Your honour!", "CAROLINE: The prosecution apologizes, your honour. And rests.", "(Cut to: Street near the Royal Diner. Angela and Brennan are walking together.)", "ANGELA:Wait. You still haven't slept together?", "BRENNAN: I know the problem.", "ANGELA: His religious upbringing?", "BRENNAN: His pen1s. ANGELA:What's wrong with it.", "BRENNAN: Apparently it's small.", "ANGELA: (laughing) Well, that maybe explains why he hasn't made any moves on you yet. He's insecure.", "BRENNAN: So I should make the first move, right? Angela; Yeah. Take Sully for a little test drive. Maybe he's got unlimited mileage. That'll make up for the fact that he's a sub-compact.", "(Cut to: FBI - Booth's Office. Booth and Gordon Wyatt are in the office, sharing food in tiny Chinese food take out boxes.)", "BOOTH: Hey, Doc, what we're doing here, would that be considered therapy?", "WYATT: Absolutely. Especially since I'm about to inquire whether you've experienced any outbursts of temper since I requested you alter your dress code.", "BOOTH: Yeah. One of the Squints - Hodgins - decided the rules, they didn't apply to him. He got entitled and jeopardized my murder case.", "WYATT: Ah, and you confronted him physically.", "BOOTH: Physical confrontation - that's my main skill.", "WYATT: \"Entitled,\" you said. Is he a wealthy man?", "BOOTH: Yeah, like the guy who got killed.", "WYATT: The murder victim ... who tried to help a child and then died for it? And your ... uh ... Squint?", "BOOTH: Yeah, Squint.", "WYATT: Extraordinary. Your Squint tried to help a friend. So they both endeavored to do good.", "BOOTH: With no clue of the way things are.", "WYATT: The way things are, as defined by a working class lad from Pittsburg.", "BOOTH: That's right. Pittsburg, where I'm from, all right? From the streets. Where you get a sense of how the world really is.", "WYATT: Yes, I'm sure that's true. But has it occurred to you that without the distortion of reality provided by a privileged upbringing, there'd be no such thing as the Sistine Chapel, the Taj Mahal, the Three Rivers Stadium, home of your beloved Steelers?", "BOOTH: The Three Rivers Stadium was demolished in 2000. But it was a great place, though, that Lambert... WYATT: No doubt. The point is, you rebel in your way, your friend rebels in his. We all of us have to overcome our upbringing, rich and poor alike. You know what? I'm going to ask you to go back to your bilious socks and your ostentatious ties, and your provocative belt buckles.", "BOOTH: What, you're saying that if I wear flashy socks, I'm going to forgive Hodgins?", "WYATT: Oh Lord, I'm not sure I'm that good. Well, perhaps I am ... hmm. (He gets up and begins walking toward the door)", "BOOTH: Hey, Doc, Doc, Doc ... um ... why is it that the belt buckle is provocative?", "WYATT: Oh, it's a modern day codpiece. It forced the eye to the groin.", "(Cut to: Courtroom. Mr. Barron is interrogating Brennan on the stand.)", "MR. BARRON: What process was used to match the India ink on the letter opener with the flake in the victim's trachea.", "BRENNAN: Hydropneumatic elutriation.", "MR. BARRON: Which involves dissolving the sample in a solution, correct?", "BRENNAN: Yes.", "MR. BARRON: Essentially destroying it.", "BRENNAN: Yes.", "(Cut to: Cam on the stand.)", "MR. BARRON: And how was the muskrat hair processed?", "CAM: Liquid chromatograph mass spectrometry.", "MR. BARRON: And did you perform this test personally, Dr. Saroyan?", "CAM: No. It was done by a specialist at the Jeffersonian.", "MR. BARRON: And who might that be?", "CAM: Dr. Jack Hodgins.", "MR. BARRON: The same man who used flies to estimate the time of death?", "CAM: Yes.", "MR. BARRON: The same Dr. Jack Hodgins who was once engaged to the victim's wife, Clarissa Bancroft?", "CAROLINE: Objection! Assumes facts not in evidence.", "JUDGE: Sustained.", "MR. BARRON: Quite right, your Honor. The defense calls Dr. Jack Hodgins to the stand. After which, we will be moving for dismissal of all charges.", "ACT FOUR", "(Cut to: Courthouse Lunch Room. Booth and Brennan are having coffee, discussing the case)", "BRENNAN: How do you think they found out about Hodgins and Clarissa Bancroft?", "BOOTH: Aw, it's a classic defense move. You just check out the wife for motive, run through the ex-lovers.", "(Caroline and Hodgins walk up to them)", "CAROLINE: Well, the judge didn't dismiss the case, which is a miracle. \"Better you don't know, Caroline\". Hmph! I figured it was something small, like a typo on a search warrant, but no. Turns out Hodgins had motive to kill the man himself.", "HODGINS: Eight years ago, maybe. But not now. I've got Angela.", "CAROLINE: Hello! If I might continue. The judge has allowed you twenty-four hours to come up with additional information that has never been seen, heard, smelled, touched, or considered by Dr. Hodgins. Twenty-four hours.", "(Cut to: Medico Legal Lab - Forensics Platform. Brennan, Cam, Angela, and Zack surround Terrance Bancroft's skeleton.)", "CAM: Hodgins was all over this case. We need something brand new. Or something that Hodgins didn't touch.", "ZACK: Uh, both weapons, blood spatter evidence... ANGELA:Right, trace evidence from the scene, the heroin, the sweatshirt ... I mean, we've covered it all.", "BRENNAN: (leans down and studies the bones) The answer is here in front of us. Just like always.", "ZACK: Well...", "(Angela holds her hand up to stop him.)", "BRENNAN: The fungus!", "CAM: What fungus?", "BRENNAN: The fungus Zack found along the interior cervical vertebrae.", "ZACK: Typical cadaver mold.", "BRENNAN: Let's have it identified.", "ANGELA:That would usually be Hodgins' job.", "CAM: Not this time.", "(Cut to: Medico Legal Lab - Brennan's Office. Brennan is seated at her desk, Cam standing in front of her. Hodgins walks in with an envelope in his hand. He hands it to Brennan.)", "HODGINS: It's my letter of resignation.", "BRENNAN: Your science was dead-on perfect. That's all I care about. I don't need your resignation.", "(Hodgins hands the letter to Cam, who accepts it.)", "BRENNAN: He didn't actually tamper with evidence!", "CAM: Dr. Hodgins endangered a case by hiding his relationship with a suspect.", "HODGINS: I'm saving Dr. Saroyan the trouble of firing me.", "BRENNAN: Well, how much trouble is it? \"You're fired\", that's no trouble at all! I mean, a child could do it!", "CAM: (looks at Hodgins) I appreciate it.", "(Cut to: Medico Legal Lab. Brennan, Zack, and Angela are looking through various species of fungus on a computer screen.)", "BRENNAN: So we all agree it's Aspergillus.", "ZACK: But there are a hundred and eight five strains of Aspergillus.", "BRENNAN: Clavatus, glaucus, flavus ... ZACK: They all look totally alike to me.", "ANGELA:(points to the screen) No ... these two are different.", "BRENNAN: I don't see it. ANGELA:Well they're both ... puddly.", "ZACK: \"Puddly?\" ANGELA:Well, by \"puddly\", I mean the hyphae are septate and hyaline. And the conidiophores originate from the basal foot cell located on the supporting hyphae and ... terminate in a vesicle.", "ZACK: Aspergillus ustus.", "BRENNAN: You found it. Exactly how much time have you been spending with Hodgins?", "(Cut to: Royal Diner. Booth is seated at the counter eating a slice of pie and reading a paper, when Hodgins walks in and approaches him.)", "HODGINS: Pie good? (Booth ignores him and continues reading his paper.) I quit. Handed in my letter to Cam.", "BOOTH: Idiot. You should have got fired. Now, no severance package.", "HODGINS: I figure, a guy like you, I resign that puts things right between us. Do we need to discuss it past that?", "BOOTH: What are we, girls? (Looks to the server) A piece of pie for my friend...", "(Cut to: Courtroom. Caroline is addressing the jury)", "CAROLINE: I will remind the jury that they have heard previous testimony from Dr. Clifford Lonsdale, a clinical expert in drug addiction. (to Brennan) Why should the jury care about some Latin infections?", "BRENNAN: We found a fungus on the victim called Aspergillus Ustus.", "CAROLINE: Is that not very common?", "(Cut to: Cam on the stand)", "CAM: The fungus in the victim matches exactly the strain Dr. Lonsdale found in the defendant.", "CAROLINE: What are the chances of that occurring?", "(Cut to: Zack on the stand)", "ZACK: Incalculable. Which is something I've never said before.", "(Cut to: Angela on the stand)", "CAROLINE: Miss Montenegro, how did this happen?", "ANGELA:When the defendant punctured the victim's jugular he nicked himself...", "(Cut to: Cam on the stand)", "CAM: ... thus introducing the bacteria directly into the victim's bloodstream.", "(Cut to: Brennan on the stand)", "BRENNAN: The fungus developed only where blood from the fatal stab pooled ... (she points to a diagram on a monitor beside her) Here, along the spinal cord. It did not spread throughout the body.", "CAROLINE: Which means?", "BRENNAN: That only Mr. Fraiser could have infected the victim. And only within moments of the victim's death.", "CAROLINE: And who found this fungus?", "BRENNAN: Dr. Zack Addy.", "CAROLINE: And who identified it?", "BRENNAN: Miss Angela Montenegro.", "CAROLINE: And who realized the significance of it?", "BRENNAN: I did.", "(Cut to: Barron interrogating Brennan on the stand)", "MR. BARRON: Dr. Jack Hodgins participated in no way whatsoever?", "CAROLINE: Objection! The implication is offensive.", "JUDGE: That objection has no standing in law, Ms. Julian. The witness will answer.", "BRENNAN: Despite the fact that I have absolute faith in Dr. Hodgins' integrity and objectivity, in this instance he was not involved.", "JUDGE: Then the evidence stands.", "(Cut to: Courthouse Lunchroom. Brennan, Hodgins, Zack, Angela, and Booth are standing and sitting around tables, and Brennan is watching Caroline talk to Barron in the distance.)", "BRENNAN: I don't understand how they could do that.", "ZACK: Who?", "BRENNAN: Lawyers.", "ANGELA:Do what?", "BRENNAN: Be all friendly.", "CAM: The only people lawyers like are other lawyers.", "BOOTH: Well, they were married ... (everybody turns to look at him) Well, they have a daughter, second year at MIT.", "HODGINS: Does anyone else see the irony here?", "(Caroline approaches the table.)", "CAROLINE: Listen up you people. The verdict is gonna come down any minute. Maybe we'll win, maybe we'll lose. But this I do know. You people have got to get your sand together, do you hear me? Booth, and you scientist android brainiacs - you got something very special here, but you are losing it. (Looks at Booth) Dropping serial killers off balconies, and (looks at Angela) blabbing suspects names to vengeful fathers. (Looks at Cam) Cuttin' into heads before their times, getting' poisoned, (looks at Zack) getting' blown up because you go grabbing for things you shouldn't ought. (Looks at Hodgins) Taking photographs from frames. (Looks back at Booth) Gettin' a perfectly good car smashed to bits for no good reason. Get it together! Start using your oversized heads. This is the real world. Now, I know bug man here handed in his resignation. My official Justice Department recommendation is the following: We win the case, he gets his job back. We lose, Booth shoots him. (Baliff approaches)BALIFF: The jury's returned with a verdict.", "CAROLINE: Okay, let's go face the music.", "(Cut to: Courtroom. [Music: Tears & Laugher by Tall Tree 6ft Man])", "JUDGE: Will the defendant please rise? Madam Foreperson, please read the verdict.", "JURY FOREPERSON: We, the jury, find the defendant guilty.", "JUDGE: This court is adjourned.", "(Booth approaches Caroline and pats her on the shoulder, Hodgins meets Clarissa's eye and smiles, and Cam holds up Hodgins' resignation letter and tears it in half. He mouths \"thank you\" to her.)", "(Cut to: Royal Diner. Booth shares some of his ties with Wyatt.)", "(Cut to: Sully's basketball game: Sully walks off the court and Brennan rushes to him, greeting him with a kiss.)", "(Cut to: Medico Legal Lab. Hodgins shows Angela a variety of photographs (presumably of him and Terry Bancroft in their youth).", "(Cut to: Medico Legal Lab - Hallway - Next Morning. Brennan and Sully walk into the lab and share a passionate kiss. Angela, who is standing nearby, watches in awe. She approaches Brennan.)", "ANGELA: You look happy.", "BRENNAN: Uh-huh.", "ANGELA: Oh, you look really happy. (Brennan laughs) You made the first move.", "BRENNAN: Well you told me I should!", "ANGELA: How was it? I mean, I don't mean \"it\" ... no, no ... I do! I mean \"it\".", "BRENNAN: I discovered something very interesting about cops and nicknames.", "ANGELA: Anthropologically interesting?", "BRENNAN: Anatomically interesting. They call the bald guy \"Curly\", and the fat guy \"Tiny\". It's ironic.", "ANGELA: So when they call Sully \"Peanut\"... BRENNAN: He doesn't like to shower with the other guys because he diverges from the quantifiable morphological norm.", "(Brennan and Angela reach Brennan's office, where Booth is waiting in a chair, his feet up on Brennan's desk.)", "BOOTH: What? What's that mean?", "BRENNAN: Stands out from a crowd.", "ANGELA: Do you have a nickname, Booth? Something the other cops call you?", "BOOTH: Why? What have you heard?", "ANGELA: Congrats, Brennan.", "(Angela walks out of the room.)", "BRENNAN: Wow. Those socks. Those are...amazing.", "BOOTH: That's right. The socks, the tie, the belt buckle - all escape valves for my socioeconomic rage.", "BRENNAN: I hate psychology.", "BOOTH: Oh, you know, they help me deal with the day-to-day irritations of dealing with people that are more privileged.", "BRENNAN: I slept with Sully last night.", "BOOTH: Oh. I thought you already, uh ... BRENNAN: No. Last night.", "BOOTH: Ah. It's really none of my business.", "BRENNAN: Except we're partners.", "BOOTH: Yeah, there's that-", "BRENNAN: And you...told me about your socks.", "BOOTH: Mhm. s*x. Socks. Pretty much the same word.", "BRENNAN: Do we have a case, or are you just visiting?", "BOOTH: Yeah, I'll fill you in on the way. It's messy, better get some protection.", "BRENNAN: Let me get my gumboots.", "(Brennan leaves the office and Booth stands up, looks at his watch and begins fidgeting with his tie.)", "BOOTH: Yeah. I'm gonna need a flashier tie." ]

[ "Three separate bodies are found murdered exactly the way Brennan wrote them in her new book. However, the killer's method was different every time, leading the team to believe that it was not one but three killers. Booth and Sully become concerned for Brennan, while she insists she can take care of herself. This increases tension between Sully and Brennan, straining their relationship. Booth tries to help them along, apparently fine with the couple. At the end of the episode, Sully and Brennan reconcile and kiss and Booth, walking away, looks back sadly." ]

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

[ "Brennan and Zack examine corpses, which have been spilled out of their coffins, due to a burst water main in an old cemetery on the St. Agatha church grounds. However, as they identify the individual bodies to be put back in their proper place, they find one skeleton that is out of place. Father Donlan, who runs the church, says all these bodies had been buried for at least 50 years and yet Brennan believes one of them was buried five years ago with no coffin. When it is confirmed the deceased was murdered, Booth and Brennan investigate the priests and administrator of the church and argue about the validity of religion." ]

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

[ "The remains of a body are discovered encased in concrete, and Booth has a hunch the victim is connected to an organized-crime boss. When Booth suspects a dead, former hit man (Hugh Kennedy) is apparently alive, he contacts the bounty hunter who found what was left of his remains (a severed leg). When Booth travels to Baltimore to find the hit man, he gets knocked unconscious and tied up by Kennedy himself, but Kennedy soon flees, leaving Booth relatively unhurt whilst still restrained. Meanwhile, Brennan's estranged father pays her a visit. Brennan later appeals to her father to find Booth, having not heard from him. When they get to Baltimore, they find Kennedy's hotel room and the bounty hunter inside. Brennan gets violent with her when she finds Booth's tooth in the hallway, suspecting the bounty hunter's involvement in her partner's abduction. Meanwhile, Booth is being tortured by Kennedy's former rival crime boss, Gallagher and his partner. When Booth is finally located in an aircraft hangar, Brennan and Max come to his rescue. When Gallagher tries to escape, he's arrested by the FBI waiting outside while his partner injures himself when Booth tips over his chair. Booth tries to arrest Max even in his state, given Max's status as a fugitive. Brennan helps her father slip away." ]

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

[ "The team investigates the death of an astronaut who appears to have fallen to Earth from a high altitude. While Brennan and Booth question his associates at the Space Agency, Hodgins theorizes about a conspiracy involving extraterrestrials. Hodgins asks Angela to marry him but she refuses, asking him to keep trying." ]

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

[ "Brennan and Booth are called by Homeland Security to investigate the scene at an old stone house where some glowing bones have been found. Fearing the remains might be radioactive, the pair don protective hazmat suits and cautiously enter the house, where they find the glowing bones but no radioactivity. Back at the Jeffersonian, the team examines the bones and determines the identity of the victim, but there is no immediate explanation as to why the remains are emitting a green glow. With each of their specialties called upon, the whole Jeffersonian team joins Brennan and Booth in pursuing the murder mystery, which leads them to a group of friends who are shocked to discover one of their own is the victim. During the course of the investigation, the victim and their friends' MySpace pages, along with the photos, videos and blogs they contain, are a virtual tool for the Jeffersonian team's search for answers. Meanwhile, Hodgins professes his love for Angela in a very unusual way. In the end, Angela decides to propose to Hodgins and they agree to get married." ]

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

[ "The team works on finding how Chelsea Cole, a fan of astronomy who suffered from Werner syndrome , died. Meanwhile, Hodgins and Angela prepare for their wedding. Zack is asked to serve his country in Iraq. Brennan's father, Max, tries to let her in on her past and brings her a 1993 video of her mother. Booth and Max get into a fist fight before Max surrenders to his arrest. The investigation leads to the victim's mother as the killer who admits guilt, confessing that she killed her disabled daughter thinking she was dying herself, fearing what would happen to Chelsea if she died. Brennan has a confronting revelation about the mother, acknowledging that she did what she did out of love. This holds significance for Brennan due to her parents abandoning her as a child, realizing they did it out of love. After resolving the case, Angela and Hodgins prepare for the wedding and Booth shares some touching information with Brennan. After a surprising turn of events, Caroline Julian informs the couple that Angela is still married to a man from a previous relationship, which she assumed hadn't been serious. The couple escape embarrassment, leaving Brennan and Booth facing each other awkwardly at the altar." ]

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

[ "The team investigates a case concerning a skull smashing through the windshield of a group of teenagers' car. The skull belongs to a violinist who disappeared after a concert and may have been a victim of cannibalism, leading them to an old bank vault filled with occult items. While Zack is away, Brennan searches for a new assistant. Angela and Hodgins hire a private investigator to track down Angela's ex-husband, who is identified with the nickname \" Berimbau \" (incorrectly defined as the name of a Brazilian flute). The case does not conclude at the end of the episode, but begins the recurring Gormogon story arc." ]

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

[ "After the decomposed body of a man, whose feet were removed and arms bound, is found in the woods, the team is called in to investigate. The man is discovered to have stayed at a pony play retreat and was killed with a hoof knife. His wife discovered him at the retreat with another woman just before he died, and both become suspects in the case as well as the lover's ex-husband. Meanwhile, Angela attempts to go under hypnosis to find out the name of her husband nicknamed Birambau to divorce him in order to marry Hodgins. Though the hypnosis fails initially it ultimately leads her to the name, Grayson Barasa." ]

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

[ "Booth and Brennan are called to investigate a decomposed body found on the grounds of an organic composting site. The body, belonging to the founder of an organic supermarket chain, was indicated by its unusually high temperature to have been incinerated. The team discovers a double homicide when flesh from another body is found, which turns out to have belonged to the first victim's daughter. Meanwhile, the FBI forces Booth and Brennan to undergo psychiatric counseling with Dr. Lance Sweets ." ]

[ "\"The Secret In the Soil\"", "[SCENE_BREAK]", "ACT ONE", "(Opens: BOOTH, BRENNAN and SWEETS and in SWEET'S office in session.)", "SWEETS: Okay, Dr. Brennan, Agent Booth. Together. A little closer. Okay, yeah, that's perfect. Beautiful. Now keeping your back straight, I want you each to lean forward.", "BOOTH: No.", "SWEETS: Excuse me?", "BRENNAN: Come on, Booth. I'm sure this is just one of those meaningless exercises meant to illustrate the importance of supporting each other.", "BOOTH: We agreed to see another therapist, not be action figures for a 12-year-old.", "SWEETS: I'm 22, Agent Booth. I have a doctorate in psychology from the University of Pennsylvania, where my dissertation on the effects of job stress was published.", "BOOTH: That's great. I'm sure your mother is really proud of you, Sweets.", "SWEETS: Dr. Sweets, or Lance, you know, if you're more comfortable with informality, but I'd prefer, out of respect for each other and the process of psychotherapy, that we at least try to, uh...", "BOOTH: Sign the forms so I can get out of this suit and I could have a Saturday night.", "BRENNAN: I don't care how young you are. I've never believed in psychotherapy.", "SWEETS Agent Booth, Dr. Brennan, this isn't a game. The FBI is considering severing your partnership.", "BRENNAN: What?", "BOOTH: Why?", "SWEETS: Why? Dude, you arrested her father.", "BRENNAN: He was just doing his job.", "SWEETS: Yeah, but come on, he, like, he arrested your father. He's going to have to be a witness against him. Circumstances such as these tend to stir up a lot of scary feelings.", "BOOTH: I don't have scary feelings. Maybe you need a little night-light at night to sleep.", "SWEETS: Agent Booth, you've been trying to intimidate me since the moment you stepped in here. And you've succeeded.", "BRENNAN: Don't...scare the boy, Booth.", "SWEETS: Now, I need you both to, uh, fill out these questionnaires and get 'em back to me. Don't share your anwsers It'll help me evaluate whether Dr. Brennan's services should be signed to a new agent.", "BOOH: That's not going to happen.", "SWEETS: Like it or not, Agent Booth, I'm the therapist in charge of this case, so I suggest that we work in cooperation rather than conflict.", "BRENNAN: I can cooperate. SWEE Good. Agent Booth?", "BOOTH: I'm still going to call you Sweets.", "SWEETS: Yep.", "(Cut to: BOOTH and BRENNAN in the FBI SUV.)", "BRENNAN: It's some kind of personality test.", "BOOTH: I can't believe he gave us homework. You know, probably his. What kind of kid works on a Saturday night?", "BRENNAN: Oh, that's my fault. I told him I wasn't available during the week.", "BOOTH: Whoa, whoa, why'd you go and do that? You know, I had, I had seats right behind the dugout. (His phone rings.) Booth.", "BRENNAN: Don't look on my paper.", "BOOTH: Okay, yeah, got it. Well, there's only one thing more fun than therapy on a Saturday night and that's a dead body.", "(Cut to: crime scene, with the usual cop cars, and forensic workers.)", "BRENNAN: Look at all the cars. I thought the VA hospital was closed.", "BOOTH: Well, it is, Bones, but I mean, come on. It's the weekend, right? An abandoned building surrounded by acres of secluded land. Use your imagination. Teenagers, hormones.", "BRENNAN: You're saying they're here to fornicate.", "BOOTH: Yes. Nice image, very, uh, biblical.", "(They walk up to CAM.)", "CAM: These two were on their way to a romantic encounter under the stars and literally tripped over the remains.", "BOOTH: Oh, I'm guessing that killed the mood.", "CAM: I've got patchy tissue. But this level of decomp pushes things into your territory. I haven't touched it yet.", "BOOTH: Definitely not homeless...nice watch, good shoes, at least what's left of them.", "BRENNAN: Male, middle-aged. Level of decomp would suggest he's been out here a few weeks, but...", "BOOTH: I don't get it. Kids coming here every night and they're just noticing him now...", "CAM: Dumped at the top of the hill?", "BOOTH: And he rolled down.", "CAM: Would explain the amount of fresh mud and leaves on the body.", "BRENNAN: These bones are still greasy. Did you take an internal temperature?", "CAM: With this degree of decomp, why would it matter?", "BRENNAN: Maybe he hasn't been dead as long as he looks. The body is still radiating a lot of heat.", "CAM: Wow, you're not kidding.", "BOOTH: We used to use the local golf course. I remember taking Mary Ann Milano to the ninth hole... sand trap. She had long hair all the way...", "CAM: You are so going to regret telling this story.", "BOOTH: Okay, now what do you got?", "BRENNAN: 127 degrees?", "BOOTH: Wow, that's really not normal.", "CAM: No, that's way past really not normal.", "BOOTH: You're saying that before the body was dumped it was...", "CAM: Cooked.", "BOOTH: Cooked?", "BRENNAN: Cooked.", "ACT TWO", "(Medico-Legal Lab - Platform. ZACH, BRENNAN, and HODGINS.)", "HODGINS: Has it occurred to either of you that this might be another victim in the Widow's Son case?", "ZACH: Based on what?", "HODGINS: Because the victim was cooked like an entree. Same as that guy in Germany.", "BRENNAN: There's no evidence here to suggest cannibalism...no bite marks.", "HODGINS: No condiments.", "ZACH: We have a bullet hole in the sternum, Dr. Brennan. What guy in Germany?", "HODGINS: He ran a computer ad online, said he was looking for someone to eat.", "BRENNAN: There's an excessive amount of mud and debris from the dump site. It makes it difficult to get a clear view of the injury.", "HODGINS: Yeah, tell me about it. I have to separate and distinguish particulates and insects from the body's original location.", "ZACH: People actually replied to the ad?", "HODGINS: Oh, yeah. Guy ended up feasting on a computer engineer.", "ZACH: That's extremely disturbing.", "(CAM: enters.)", "HODGINS: Well, hello, my exotic princess.", "CAM: What a charmingly inappropriate greeting, Dr. Hodgins.", "ZACH: I think he's talking to a bug.", "CAM: Well, now I feel a bit... rejected.", "HODGINS: Looks like something from the Nitidulidae family. Where did you come from, you gorgeous creature? Do you have any friends?", "HODGINS: Boy, he melted like ice cream on a hot summer day.", "CAM: So when do I get my turn with him?", "BRENNAN: Oh, we should be finished within...20 minutes.", "CAM: Excellent.", "HODGINS: Wow. I'm finding a large concentration of bristletails and harvester ants dead by the victim's feet. That is odd.", "CAM: The guy was cooked, Hodgins. Odd is kind of a relative term.", "(Cut to: BRENNAN in her office, BOOTH walks in.)", "BOOTH: Hey. Angela called. She wanted me to...Hey, is that the test from Dr. Sweets?", "BRENNAN: Yes.", "BOOTH: Well, what'd you put for number seven? Because I put 12 to 15 times a day, and now I'm thinking I really misunderstood the question.", "BRENNAN: We're not supposed to discuss our answers.", "BOOTH: Come on, Bones, the teacher's not in the room, let me see.", "BRENNAN: Is this how you got through school, Booth?", "BOOTH: No. Well, maybe algebra, but...", "(ANGELA enters.)", "Hey, Booth, I got your I.D. Franklin Curtis, age 54. His wife Margie reported him missing yesterday.", "BOOTH: Whoa...Augusta county. He was rich.", "ANGELA: Yeah. Founder of the Natural Sun organic supermarket chain.", "BRENNAN: There's one near my apartment. Excellent selection of local produce.", "BOOTH: Totally overpriced. A carrot is a carrot.", "ANGELA: Hey, it's worth it. Organic, there's no pesticides. It's from sustainable farms. Every time that I buy something there, I feel so virtuous.", "BOOTH: Guy started off with a single roadside produce stand, which he grew into a nationwide supermarket chain.", "BRENNAN: An organic capitalist.", "BOOTH: Ambition like that is bound to create a few enemies.", "(HODGINS enters.)", "HODGINS: I tested fabric samples from the victim's pants They were covered with chloropicrin.", "BOOTH: Why the pinchy face, Bones?", "BRENNAN: Franklin Curtis built his whole career on organic produce and chloropicrin...", "HODGINS: Is a pesticide.", "(Cut to: HARDING home with MARGIE CURTIS, her daughter KAT, BOOTH and BRENNAN.)", "MARGIE: I was at a yoga retreat with my daughter. When Frank didn't answer the phone, I got worried.", "(KAT enters.)", "KAT: Here, Mom. Ignatia Amara. It's a homeopathic remedy for grief.", "MARGIE: When we came home, there was a cup of herbal tea on the counter as if he'd just...stepped out for a moment.", "BOOTH: I noticed the fields as we drove in. You still operate the farm?", "KAT: No matter how big the business got, Dad always wanted to remember how it all started.", "BRENNAN: Your farm, it's...certified organic, correct? No pesticides besides natural predators?", "MARGIE: Of course.", "BOOTH: Your husband, was he having any personal problems, recent arguments?", "MARGIE: No, everybody loved Frank.", "KAT: Mom.", "MARGIE: Your dad was a wonderful man.", "KAT: My dad was kind of obsessed. He'd pressure conventional farmers to go organic.", "MARGIE: \"Pressure\" makes it sound so...He was an extremely generous man. He offered to support them financially, while they made the transition.", "BRENNAN: What if a farmer didn't want to switch?", "KAT: Dad would turn things over to his lawyers. They'd find some legal loophole. Property taxes, zoning, who knows? Eventually Dad would just buy them out.", "BOOTH: And he'd force people off their land. I see. Any farmers he was trying to convert?", "(Cut to: outside, BOOTH and BRENNAN are walking up to ANDREW HARDING on part of his land.)", "BOOTH: Yeah, Mr. Harding?", "HARDING: Something I can help you with?", "BOOTH: Yeah, FBI Special Agent Seeley Booth. This here is my partner Dr. Temperance Brennan. I'd like to ask you a few questions about Franklin Curtis.", "HARDING: You can tell that son of a bitch that the only crop that will ever grow in this land is tobacco. I don't give a crap how many suits he sends over here.", "BRENNAN: He, he didn't send us,Mr. Harding. Franklin Curtis is dead.", "HARDING: Well, I wish I could muster up some remorse.", "BOOTH: Wow, No love lost between the two of you, I see.", "HARDING: The man was trying to kick me off of my own land. My family has been on this farm for over 150 years. Tobacco built this country, yet these self-righteous eco-hippies have the nerve to look down their nose at us.", "BOOTH: Did you see Frank last Thursday?", "HARDING: N-Not that I can recall.", "BOOTH: Really? Because Virginia Pesticide Control Board reports that you registered an application of chloropicrin to your field last Thursday, the same day Frank disappeared. (Pulls out a sheet of paper.)", "HARDING: So? It's a fumigant insecticide. It's perfectly legal.", "BRENNAN: It was all over Frank's clothing.", "BOOTH: All... over. (Waves sheet as he says it.)", "HARDING: Okay, he did come over. He said he was giving me one last chance before he started playing dirty.I was spraying the fields. I may have accidentally aimed the chem hose at him.", "BOOTH: Accidentally.", "HARDING: Look, I swear I wasn't trying to hurt him. I just wanted him off my property. You understand? Who the hell was he to take my land from me?", "(Cut to: BOOTH and BRENNAN in the FBI SUV.)", "BOOTH: I'm just saying the guy had a point. If pesticides are so bad for us, then how come people live longer now than they did before they used pesticides?", "BRENNAN: You're over-simplifying an enormously complex issue..", "BOOTH: Meaning you don't have a good answer.", "BRENNAN: The arguments in favor of organic farming aren't just about food safety.They're about prevention of soil erosion, protection of water quality, carbon emissions from shipping, not to mention...", "BOOTH: Whatever, you know what, you're not going to see me paying four dollars for a tomato.", "BRENNAN: You know, a researcher at the University of Florida proved that alligators who swim in pesticide contaminated waters have smaller genitalia than their clean-water counterparts.", "BOOTH: No way.", "BRENNAN: Way.", "(Cut to: Medico-Legal Lab, with CAM)", "CAM: See? Right there. There's some kind of pattern on what's left of the skin tissue. I'm hoping a more artistic eye than mine can make sense of it.", "ANGELA: Regular circular shapes, cross-hatching, I'd say button marks. Like buttons from the victim's shirt were pressed into his flesh while he decomposed.", "CAM: Yes, that's exactly what they are.", "ANGELA: Glad to help.", "CAM: Here's the thing, though. Our victim's clothing doesn't have any buttons.", "(Cut to: BOOTH and BRENNAN in the FBI SUV.)", "BOOTH: Yeah, in this whole environmental footprint thing, right, I mean, why shouldn't I leave a footprint? I'm here, right? Hey, why should I have fewer rights than any other species? Hey, Bones, you know we're having a lively discussion here.", "BRENNAN: Tobacco has to be cured.", "BOOTH: Yeah, I know, and it kills you. We're on the same side with that one.", "BRENNAN: Curing at tobacco farms is done in curing barns, using indirect fired burners.", "BOOTH: Oh, so if Frank's body were in Harding's curing barn, that would explain how it got cooked.", "(BRENNAN's phone rings.)", "BRENNAN: Brennan.", "BOOTH: That should be enough to get a warrant to search the farm.", "BRENNAN: There's what?", "CAM:, in the lab: Skin slippage. Our victim was pressed up against another body and during whatever heating process the two went through, the second corpse's tissue basically melted onto our victim.", "BRENNAN: Thanks.", "BOOTH: What, we got big news from the nerd posse?", "BRENNAN: When we search the tobacco farm, we'll be looking for more than the murder site. We'll be looking for a second victim.", "ACT THREE", "(HARDING home, with LIZBETH, BOOTH, BRENNAN and various federnal and forensic personnel.)", "LIZABETH: I'm making lemonade.", "BOOTH: Lemonade!", "LIZBETH: It's awful hot today.", "HARDING: It's an intrusion, Elizabeth, not a garden party.", "BOOTH: Agent Booth, ma'am.", "LIZBETH. Elizabeth Harding. Pleasure to meet you.", "BOOTH: Listen, we won't be any longer than we have to.", "LIZBETH: Shame about Mr. Curtis.", "HARDING: Uh, we don't have to talk to them, Elizabeth.", "LIZBETH: Don't mind Mr. Grouchy.", "BOOTH: Did you know Mr. Curtis personally?", "LIZBETH: Oh, of course. Although, maybe not as personally HARDING: Elizabeth... LIZBETH:...as he might have liked.", "BOOTH: How's that?", "LIZBETH: Andy didn't tell you?", "BOOTH: No.", "LIZBETH: Oh, he get so jealous. No reason. Looks aren't everything. Mr. Curtis was a big flirt. Always making passes at me.", "HARDING: It didn't seem relevant.", "LIZBETH: And right under his poor wife's nose, too. Fool thought he could get me to convince Andy to sell the farm.", "HARDING: Elizabeth!", "LIZBETH: Oh, don't you start again. When I told Andy, I don't think I have ever seen him so mad. What a temper you have.", "BOOTH: Thank you, Mrs. Harding. You have been very helpful.", "LIZBETH: Tell Andy. He doesn't think I can do anything right. So how many lemonades?", "BOOTH: Oh, how many lemonades? (Turns to ask various FBI guys in the garden, working.)", "BOOTH: Make a pitcher. Great.", "(Medico-Legal lab, ZACK, HODGINS.)", "HODGINS: Put solar panels on my house. Compact fluorescents in every socket and still feel guilty when I use a paper napkin.", "ZACK: I've been looking at low-impact housing. I saw a free-standing house that was 118 square feet. This entry to the sternum might not be a bullet hole.", "HODGINS: Wait, wait, wait. 118 square feet? Dude, that's smaller than the janitor's closet.", "ZACK: There's room for a bed, kitchen on one wall and a small bathroom. I don't really see why I would need more. Isn't the goal to reduce our impact on the environment?", "HODGINS: Our lives aren't only about function. We are allowed to enjoy ourselves occasionally.", "ZACK: That's why I work.", "HODGINS: Yes, finally. Identified my mystery bug. Carpophilus nitidulidae. King of the lab! It's an agricultural pest, found on pineapple plants.", "(Cut to: HARDING farm, with BOOTH, various FBI agents strewn about.)", "WOMAN FBI AGENT: Agent Booth? There's nothing, the curing shed is clean.", "BOOTH: Yeah, but the body was cooked, and there should be another body, too.", "WOMAN FBI AGENT: Not here.", "(Enter LIZBETH.)", "LIZBETH: More lemonade?", "WOMAN FBI AGENT:Yes, please.", "BOOTH: (to WOMAN FBI AGENT) No, no, no, just go back inside and check. (to LIZBETH) I'll take half a glass. (Phone rings.) Booth.", "(BRENNAN and ANGELA in BRENNAN'S office, talking to BOOTH on speaker phone.)", "BRENNAN: He was around pineapple plants at the time of his death.", "BOOTH: Pineapples?", "ANGELA: Hodgins found insect activity that's only found on pineapple plants.", "BRENNAN: But the closest place they're grown commercially is Florida.", "BOOTH: You're saying that the body was moved from Florida?", "BRENNAN: I don't have an explanation, I'm just giving you the facts.", "ANGELA: I found this article about the environmental impact caused by transporting crops over long distances. It mentions this farmer in Virginia who was trying to grow tropical crops in a hot house.", "BOOTH: Like pineapples?", "ANGELA: Like pineapples.", "BOOTH: (to ANGELA and BRENNAN) Thanks.(to LIZBETH, with lemonade) Thanks.", "(Cut to LYNDON PAGE'S house, the kitchen, with BRENNAN and BOOTH.)", "PAGE: Boy, sorry to hear about Frank. He was a good man. A big supporter of what I'm trying to do here.", "BOOTH: All right, Mr. Page...", "PAGE: Please, call me Lyndon. You ever eat a pineapple for the same day it was picked Agent Booth?", "BOOTH: Actually, no, and...", "PAGE: Let me make you each a smoothie.", "BOOTH: That's okay.", "BRENNAN: I'd love one.", "BOOTH: Frank Curtis ever visit your hot house?", "PAGE: Once, back when I first built it. He had some advice on how to maximize sun exposure.", "BOOTH: What's he doing?", "BRENNAN: He's powering the blender. The wheel rim is attached to a generator. This is rather ingenious.", "PAGE: Stay fit and save energy.", "BOOTH: I'm sure it'll catch on; so, you and Frank, you ever have any problems?", "PAGE: No, never. Probably helped that I didn't have a wife for him to flirt with.", "BOOTH: Seems Frank had a habit of hitting on other people's wives.", "PAGE: All great men have their foibles. Go ahead and check out the hot house. I'll bring these out soon as they're done.", "(Cut to: hot house with BRENNAN and BOOTH.)", "BOOTH: Frank Curtis's wife stood to gain the most from her husband's death. If she found out he was cheating...", "BRENNAN: But you said her alibi is solid.", "BOOTH: That doesn't mean we can't, you know, double check. I bet Sweets was picked that on all through school.", "BRENNAN: And that's relevant now, why?", "BOOTH: You're kidding me, right? Scrawny kid like that sees me coming, a former jock, and he's thinking to himself, \"Time for a little payback,\" you know? Make him fill out all those stupid forms. Threatens to take my partner away from me.", "BRENNAN: These tubs are too small to fit anything. We're not going to find the second victim here.", "BOOTH: Yeah, you know what, you're right. So what do you say we go check... Bones, was that you?", "BRENNAN: Was what me?", "BOOTH: That smell.", "BRENNAN: I don't know what you're talking about.", "BOOTH: Come on. Why don't girls just admit it? It's a natural bodily function. You're a scientist.", "BRENNAN: Booth, I don't...That had to be you.", "BOOTH:: It wasn't me!", "BRENNAN: \"He who smelt it, dealt it.\"", "BOOTH: How do you even know that phrase?", "(PAGE enters.)", "PAGE: Phew, sorry about that smell. Guess I left the vents open. (Hands them their smoothies.) Community composting facility is about a mile away, but when the winds blow westerly, it smells like it's around the corner.", "BRENNAN: Do you take agricultural wastes to the composting facility?", "PAGE: Sure, almost every organic farmer in the county does. It's a great program. You give them your waste and in return, they give you certified organic compost at a fraction of the cost.", "(BRENNAN hands back the cups to PAGE.)", "BOOTH: Whoa, I wasn't done with that.", "BRENNAN: I have an idea. Thank you very much, Lyndon. Your smoothies are excellent.", "BOOTH: Hey, hey, hey, do you have any \"to go\" cups?", "PAGE: The road to the apocalypse is paved with disposable food containers, my friend.", "(Cut to Medico-Legal lab, with HODGINS, and BOOTH and BRENNAN on the phone in the FBI SUV.)", "HODGINS: Compost, of course. The identifying organisms would have started dying as soon as the body was removed from the heat.", "BRENNAN: But how high do the temperatures get?", "HODGINS: Inside a large compost heap, as high as 170 degrees.", "BOOTH: That's hot enough to cook a body.", "BRENNAN: And if Lyndon contributes his waste to the pile, that could explain why the pineapple beetle was there.", "HODGINS: Hey, you guys going to check out a large compost pile?", "BOOTH: (quietly) It's wrong how excited he sounds. Wrong.", "(Cut to: compost yard, with numerous trucks and equipment. BOOTH, BRENNAN, and GAVIN LEE.)", "LEE: We've got five people on staff full time. But there's 43 farmers with keys to the gates. You all right?", "BOOTH: Yeah...oh, just the smell.", "LEE: We've probably got a couple masks in the office, you two want me to go...", "BRENNAN: I'm fine. Agent Booth tends to be squeamish.", "BOOTH: Look, I'm fine, okay? So you were saying 43 farmers?", "LEE: They're welcome to dump their own waste, otherwise we schedule a pickup with our truck when it's--", "TIM: Hey, Gavin.", "LEE: Oh, Tim Peck, Clay Ainsley, couple of our local farmers. This is Agent Booth, Dr. Brennan. They're here about Frank.", "(CHARLIE ROGAN enters.)", "CHARLIE: Truck stopped running again, Gavin. I think it needs a new fuel filter.", "LEE: I just replaced it two weeks ago.", "CLAY: Yeah, when I switched to bio-diesel, I went through at least four fuel filters. It's a conversion, loosens up the deposits.", "BOOTH: You work here?", "CHARLIE: Yes sir. Charlie Rogan.", "BOOTH: Did you know Frank Curtis?", "CHARLIE: Very well. I only just heard what happened to him. I dated his daughter all through high school. Gavin introduced us. If there's anything I can do...Mr. Curtis was a great man.", "CLAY: (scoffs)", "BOOTH: Oh, you disagree?", "CLAY: Frank Curtis was in it for the money, not the cause.", "TIM: Then why did he donate his entire estate to environmental groups? We're talking millions. Even our corp could see some.", "CLAY: You ever been to his house? 4,000 square feet, brand-new everything. Left his air conditioner on all the time. Yeah, fat lot that man cared about the environment.", "TIM: Don't mind him. The smell out here always puts him in a foul mood.", "BOOTH: Alright, look, I'm going to need names and addresses of every employee... (groans) And a list of participating farmers.", "BRENNAN: And the facility has to be closed until all of the compost is searched.", "BOOTH: We can get a warrant if you want.", "LEE: I do.", "(Cut to SWEETS' office with SWEETS, BOOTH and BRENNAN.)", "SWEETS: Two independent people often find themselves...Agent Booth, are you listening?", "(BOOTH has his knew up against the table flipping his phone for any possible messages.)", "BOOTH: What?", "BRENNAN: The judge will call when the warrant is issued, Booth, pay attention.", "BOOTH: What, I'm in the middle of an investigation. I get distracted.", "BRENNAN: So it's not my investigation, too?", "BOOTH: It's too early in the morning for this.", "SWEETS: No, no, no, this is good, let's talk about conflict. When you guys argue, how do you come to a resolution?", "BRENNAN: We don't argue.", "SWEETS: Come on, remember, zone of truth, right here.", "BOOTH: Fine. We might bicker a little bit, but that's not arguing.", "BRENNAN: Bicker? I don't bicker.", "BOOTH: No? What about the whole environmentalism thing?", "BRENNAN: That was a discussion.", "BOOTH: You pretty much told me my pen1s was going to shrink if I didn't eat organic food.", "BRENNAN: That's not bickering, that's being a good friend.", "BOOTH: My pen1s is just fine, thank you.", "SWEETS: Now we're getting somewhere. All right, I think we're in that truth zone.", "BOOTH: Stop with the whole truth zone thing, alright? Bones and I are trying to catch a guy who cooked a tree hugger. So just score the personality test so we can get back to crime fighting.", "SWEETS: Yeah, that's good, Agent Booth. Now let the anger lead you to the fear. You can't be whole, you can't do your job to its fullest, unless you get in touch with that fear you feel. Now Dr. Brennan and I are going to close our eyes. Follow the anger, all right? Feel it? Feel it softening. You feel that?", "(BOOTH and BRENNAN both snicker, as BOOTH gets his text.)", "SWEETS: Very mature, guys.", "BOOTH: Got to run, Sweets. Got the call. Let's boogie, Bones. And, um, look, next time, you really should tell me if there's going to be an essay on the test.", "(Cut to: Medico-Legal lab, with ZACK examining the victim's bones as CAM: walks in.)", "CAM: I just got off the phone with Hodgins. He's knee-deep in compost.", "ZACK: He must be happy.", "CAM: Happy as a pig in...what pigs like to be in.", "ZACK: A sty?", "CAM: You said you had things to show me?", "ZACK: From the injuries, it appears there was a struggle. You can see the bruising and fresh hairline fractures on the femurs and left ulna.", "CAM: Consistent with defensive wounds?", "ZACK: That would be my assessment.", "CAM: So, there was a fight before he was shot?", "ZACK: He wasn't shot.", "CAM: I thought you said it was a bullet hole.", "ZACK: I was mistaken. It occasionally happens. The hole is actually a congenital abnormality. A sternal foramen.", "CAM: So we're back to no known cause of death?", "ZACK: Not quite. I found multiple puncture wounds with hinge fracturing on the scapula and posterior aspects of several ribs.", "CAM: He was stabbed? By what?", "ZACK: I'm working on it.", "(Holds up two sharp objects.)", "CAM: Okay then. Enjoy.", "(Cut to: compost yard, with numerous trucks and equipment. BOOTH, BRENNAN, and HODGINS. Hodgins and BRENNAN are in the pile, searching for evidence.)", "BOOTH: Oh, God, I'm never going to get over that smell.", "HODGINS: This place is awesome. The thermophilic bacteria content is off of the charts.", "BOOTH: No security cameras. Too high-tech for the granola crowd. That means we have about 100 suspects.", "BRENNAN: Are you coming in?", "BOOTH: No... you know what? That's your thing. And I'll just, uh, mess things up if I come up there.", "HODGINS: I just heard a crunch. Definitely not plant life. I'd love to try this feeding fungi.", "(Bends down to investigate, brushes off some compost to reveal a skeleton. )", "BRENNAN: That's adipocere.", "BOOTH: Is that good or bad?", "BRENNAN: Good for us. Bad for the victim. Female, probably in her early 20s.", "HODGINS: It would attribute to decomposition to the microbial activity of the compost pile...", "BRENNAN: She's been dead about the same time as Curtis.", "BOOTH: Even dead, Frank was lying with another woman?", "[SCENE_BREAK]", "ACT FOUR", "(Cut to Medico-Legal lab -Platform with ZACK, CAM:, and HODGINS.)", "ZACK: These three phalanges still have some tissue.", "CAM: And fingernails. I may be able to get some scrapings, maybe even a print.", "HODGINS: Calliphoridae didn't have a chance to oviposit. She must have been buried in the compost just hours after she died.", "CAM: Can you pinpoint how long it would take for her to reach this level of decomp?", "HODGINS: Well, given the carbon to nitrogen ratio of the compost I sampled, she's been in there since last Wednesday.", "ZACK: Meaning she died the day before Frank?", "CAM: Who catches two people cheating, but kills them a day apart?", "(ANGELA enters.)", "ANGELA: My sketch isn't matching any of the missing women on file.", "HODGINS: Well, maybe no one's missed her yet.", "ANGELA: Poor thing. Everybody should be missed.", "HODGINS: Oh, you are such an angel.", "(HODGINS leans in to kiss ANGELA.)", "CAM: I will get a bucket of cold water, I swear.", "ZACK: There's perimortem trauma to the skull. But it's not severe enough to cause death. I also found multiple broken ribs, and the sternum is severely fractured.", "ANGELA: Somebody tried to crush her?", "ZACK No, these injuries are consistent with inexpert use of cardiopulmonary resuscitation.", "CAM: Somebody tried to save her.", "(Cut to BOOTH in the Curtis home with MARGIE CURTIS.)", "MARGIE: The woman you found... who was she?", "BOOTH: Well, we were hoping you might know.", "MARGIE: I told you, I was out of town. I have no idea.", "BOOTH: But you were aware that your husband wasn't always faithful.", "MARGIE: Yes, I was.", "BOOTH: Yet you stayed with him. I get it. Big house, comfortable lifestyle.", "MARGIE: I stayed with Frank because I loved him. I accepted his faults.", "BOOTH: I'm sure you'll accept the life insurance money, too.", "MARGIE: I'm not even thinking about money, Agent Booth. How can you even? My husband hasn't even been dead for a week.", "BOOTH: I'm aware of that. Since you were so forgiving of your husband's infidelity, why didn't you mention that in our first conversation?", "MARGIE: Kat. I couldn't do that to our daughter. She idolized Frank. I can't ruin that, especially now.", "(KAT enters, with CHARLIE ROGAN.)", "KAT: Mom.", "BOOTH: Mrs. Curtis, I...I came over to tell you and Kat how sorry I am. Gavin said he'd try to stop over later. I didn't mean to interrupt.", "KAT: No, Charlie, it's okay, stay. Mom, I knew since high school. Charlie knew, all my classmates knew.", "MARGIE: Oh, God.", "CHARLIE: Come on, Kat. Not now.", "KAT: I pretended that I didn't. For you.", "(Cut to: BRENNAN'S office, where she is on her couch reading and BOOTH walks in.)", "BOOTH: Okay, so Margie said Frank kept an office in town. Turns out that office was an apartment.", "BRENNAN: Where he took his women.", "BOOTH: Yeah, okay, Bones, that's right. Come on, let's go to the apartment.", "BRENNAN: You know I used that device on in one of my novels, and my editor thought it was trite.", "BOOTH: Ha! Maybe it was Frank's take on being environmentally friendly, making a friendly environment. Get it?", "BRENNAN: Apparently not.", "(Cut to the apartment of FRANK CURTIS. BRENNAN and BOOTH walk in the door as BOOTH complains about the latex gloves. Alas! Booth wears gloves like a squint instead of poking at thins with his pen! Success!)", "BOOTH: You know, I really hate these gloves. No. No sign of forced entry.", "BRENNAN: These sunglass frames are made of bamboo.", "BOOTH: Oh, is that weird?", "BRENNAN: Well, most frames are made of metal or plastic, sometimes vinyl.", "BOOTH: Maybe they belong to the Eco Avenger.", "BRENNAN: Who?", "BOOTH: Frank. Toiletries in the bathroom, bra hanging over the shower rod. Definitely a woman living here.", "BRENNAN: Dried blood on the coffee table.", "BOOTH: Let's call forensics and have the place swept.", "BRENNAN: Send everything to the...", "BOOTH: To the Jeffersonian, yup. Got it. Including the whole... Yeah, the entire coffee table. Here...Here we go. Take-out receipt from, uh, two weeks ago. Hop Lee's Chinese Kitchen. Name on the credit card...Emma Billings.", "BRENNAN: Booth?", "BOOTH: Yeah.", "BRENNAN: I think we found our second victim.", "BOOTH: Emma Billings.", "(Cut to: Medico-Legal lab. BRENNAN and ZACK are discussing the bones of the second victim.)", "ZACK: She has an interior superior margin fracture to the C-5 vertebrae.", "BRENNAN: What about the posterior half of the vertebral body? Any linked sagittal fractures?", "ZACK: Yes.", "BRENNAN: So...if she fell and hit her head on the coffee table at this angle, that could account for the broken vertebrae.", "ZACK: It's a statistically rare possibility, but one that would have killed her instantly.", "(CAM: enters.)", "CAM: FBI sent over some info on our latest victim. She was a cashier at one of Franklin Curtis's Natural Sun Markets in New Jersey.", "BRENNAN: How'd she end up in Virginia?", "CAM: They think she was hiding. Earlier this year, she accused one of her coworkers of stalking her. Check him out.", "BRENNAN: Wouldn't want him following me.", "CAM: I know, right? Guy's name is Noel Liftan.He was fired. Emma filed a restraining order. Booth is trying to track him down. Any progress on time of death?", "BRENNAN: It appears to have been accidental CAM: That'll explain CPR ZACK: But Frank were stabbed multiple times.", "CAM: Right. Not so accidental.", "(BRENNAN'S phone rings.)", "BRENNAN: Hey, Booth.", "CAM: What about the murder weapon used on Frank? Find anything yet?", "ZACK: These puncture wounds...I still can't find any weapon this small and curved.", "CAM: They're close together. He didn't seem to move much.", "ZACK: Which is odd, because the wounds appear deep.", "BRENNAN: Okay, call me after. Booth found Emma's stalker. He's been staying at a motel right across the street from where Emma was killed.", "(Cut to FBI investigation room with BOOTH and NOEL LIFTIN.)", "NOEL: Don't look at me like that. You can't arrest me for renting a motel room. I didn't break any laws. I followed her, okay? But the motel room is over 150 feet from Emma's apartment building. I measured.", "BOOTH: Then I guess I got no reason to suspect you. I mean, you were just keeping an eye on her.", "NOEL: I was.", "BOOTH: Yeah.", "NOEL: Frank Curtis.", "BOOTH: Who?", "NOEL: Frank Curtis.", "BOOTH: Frank Curtis.", "NOEL: You should talk to him. Okay. He treated Emma like he owned her. It was so messed up. Wow, the reflections on this table, the patterns are beautiful.", "BOOTH: Noel. Focus. Frank Curtis.", "NOEL: Oh, sure. Frank comes in for one of his regional visits. You know, and has the manager hire Emma. The next time he comes in, he can see that Emma's falling for me. So he has me fired and then tells Emma to take out a restraining order.", "BOOTH: Oh and the the fact that you called her 20 times a dayand slept in her driveway, that had nothing to do with it?", "NOEL: I guess you've never been in love.", "BOOTH: Where were you last Wednesday and Thursday?", "NOEL: Mostly I just stay in my motel room, you know, keep an eye on Emma's building. Only times I ever leave is to go out and sell my products.", "BOOTH: Your products?", "NOEL: Hemp oil-based body products. I make them myself.", "BOOTH: There's a surprise. I guess you're telling me you don't have an alibi.", "(Cut to: Medico-Legal lab - Platform with HODGINS: I reviewed the forensic samples from the apartment. Traces of triglycerides, diglycerides, and free fatty acids on both the carpeting and the furniture. It looks like some vegetable oil.", "BRENNAN: Could it be hemp oil? Booth said the person stalking Emma Billings sells hemp-based body products.", "Yeah, that's one possibility.", "BRENNAN: Re-examine any clothing from Frank and Emma's bodies.See if you can find additional traces of the oil.", "HODGINS: Okay.", "(CAM enters.)", "CAM: Dr. Brennan, I need you to see some thing.", "(BRENNAN, CAM and ZACK walk to a screen to review evidence they've just found.)", "ZACK: Fracturing to Emma's sternum I concealed a malformation that became apparent once I finished reconstruction. A sternal feramin.", "BRENNAN: Emma Billings and Frank Curtis both shared a congenital abnormality.", "CAM: When Zach told me his findings, I decided to run DNA tests on the tissue samples from both victims. Multiple matching RFLPs. Our victims were related. If our murderer thought he killed Emma and her lover, he was very wrong.", "BRENNAN: He killed Emma and her father ACT FIVE", "(Cut to: Medico-Legal lab with ZACK, BRENNAN, and ANGELA.)", "ZACK: I've tested over 40 different knives, ice picks, leather awls. I couldn't find a murder weapon to match.", "BRENNAN: Well, with decomp and postmortem trauma from being rolled down the hill it's very difficult, Zach.", "ANGELA: Okay, this will help you visualize the pattern of the wounds.", "ZACK: Usually I can determine the weapon. This is a very frustrating murderer.", "ANGELA: I'm sure he'll apologize when we catch him. There are five puncture wounds to Frank's chest.", "ZACK:The result of repeated stabs by an unknown and very frustrating object.", "BRENNAN: Perhaps not. What if Frank Curtis had broader shoulders? Angela, move the scapuli apart slowly. A little more.", "ZACH: The wounds become equidistant.", "BRENNAN: You're probably looking for an instrument with multiple sharp pointed objects projecting from it.", "ZACK: A pitchfork.", "ANGELA: How'd you get pitchfork?", "ZACK: These three wounds mark the termination of a three-tine pitchfork's penetration.", "BRENNAN: Makes sense.", "ZACK: I'll go match the exact type and make.", "HODGINS: I've got results from the clothes. You were right. Same vegetable oil on both Frank and Emma's clothing. But I found a high concentration of methanol and sodium hydroxide mixed in.", "BRENNAN: So, the oil isn't from body products.", "HODGINS: No, it's from bio-diesel fuel.", "(Cut to: BRENNAN, BOOTH and ANGELA in the FBI SUV.)", "ANGELA: So your suspect is going to give me a description of your suspect? I'm not following.", "BOOTH: Yeah, the stoned hippie guy. He's all we have so far. I mean, he'll tell you what the guy looks like who went into Emma's place and then you draw.", "ANGELA: I've never really found stoned guys that dependable. Except for cookies. They always have good cookies.", "BRENNAN: You're grasping at straws, Booth. We should wait for more information.", "BOOTH: It has to be somebody in the composting facility. Uh, they have pitchforks to turn the heaps, don't they?", "BRENNAN: Pitchforks are used on every farm in the area.", "BOOTH: But not bio-diesel, okay? The owner, Gavin, said he just replaced a fuel pump on his truck when he switched to bio-diesel.", "BRENNAN: One of the other farmers also said that he just switched. And he has a key, he could've dumped the body the middle of the night BOOTH: I'm sorry, but whose side are you on? Uh, don't say the facts, because that just annoys me.", "BRENNAN: You want us to base our actions on your gut again?", "BOOTH Yes. You have your shiny machines, I have my gut.", "ANGELA: Is it always like this when you two are together?", "BRENNAN: Yes.; BOOTH: No. (Said simultaneously.)", "ANGELA: It's kind of hot.", "(Cut to: FBI investigation room with BRENNAN, BOOTH and ANGELA entering to NOEL, already in the room.)", "BOOTH: What the hell is he doing?", "BRENNAN: It's a Vedic chant.", "BOOTH: All right, Noel, let's go, on your feet.", "NOEL: A bass player taught it to me. I'm trying to calm myself, man. Emma's dead and I'm innocent. How many times do I have to tell you that?", "BOOTH All right, you know, Noel. Just want to ask you some more questions, that's all.", "NOEL: Who are the chicks?", "BOOTH: Hey, be respectful, be a gentleman. Let's go, up, up, up... Come on. There you go. That's it, okay. This here is Dr. Brennan. Angela Montenegro, she's an artist.", "NOEL: Cool.", "BOOTH: Yeah, groovy.", "BRENNAN: Did you see a truck parked outside Emma's apartment building last Wednesday?", "NOEL: How would I know? I mean, it's not like I kept a log of everyone going in and out of the building.", "BOOTH: Listen, Noel, you're the primary suspect in Emma's murder. So if you do not cooperate, you're looking at 20 solid years keeping tabs on your cell mate.", "NOEL: All right, fine. I remember a truck, it had a cool logo from some organic composting place.", "BRENNAN: We need to know who was driving the truck and if he went in to Emma's building.", "NOEL: What, you think I have bionic vision or something?", "BOOTH: No, but you got binoculars... they're in every starter stalker kit... so give Angela something to draw.", "NOEL: I like artists.", "ANGELA: I'll crush you like a bug, dude. Describe the guy.", "NOEL: Uh, he's a young dude, maybe 26, about my height, average, kind of buff, Caucasian, uh, brown hair, he was wearing sunglasses. Kind of looked like they were made out of wood or something. Far out, huh? Wood. Hey, do you guys have medical marijuana in DC? Because I get anxiety attacks. BOOTH Give Angela something to draw.", "NOEL: Um... he had a, uh, square jaw, um, straight nose, cute ears.", "(Cut to: compost yard, with numerous trucks and equipment. BOOTH, BRENNAN, and GAVIN LEE. BRENNAN is spraying to check for blood as BOOTH interrogates LEE.)", "LEE: Charlie Rogan got 'em from Frank Curtis. Why? What's going on?", "BOOTH: Why did Frank give Charlie a pair of sunglasses?", "LEE: No real reason-Frank wore 'em one day to pick up compost, Charlie admired 'em, so Frank gave 'em to him. He was like that.", "BOOTH: Can you think of any reason why Charlie would want Frank dead?", "LEE: Of course not--he's a good kid; he loved Frank.", "(BRENNAN walks up with a pitchfork in hand.)", "BRENNAN: This is the murder weapon.", "BOOTH: There you go.", "BRENNAN: Bag it.", "BOOTH: It seems like Charlie and Frank had a thing for the same girl. Charlie gets jealous, he gets into a fight with the girl, kills her, and then he goes after Frank's story. As old as time, my compost friend.", "(CHARLIE ROGAN walks up.)", "CHARLIE: Need something, Gavin?", "BOOTH: Yeah. Charles Rogan, you're under arrest for the murder of Frank Curtis and Emma Billings.", "(BOOTH begins to cuff Charlie.)", "CHARLIE: Oh, God, no. Th-This isn't what you think! Gavin, I didn't...I swear I didn't...", "LEE: Don't. Don't say a word, Charlie.", "CHARLIE: Gavin...", "(BRENNAN answers her phone, with CAM: on the other line.)", "BRENNAN: Cam, we've got the murder weapon used on Frank Curtis, plus evidence linking Charlie to the scene of Emma's murder.", "CAM: Yeah, well, I hate to throw ants in your picnic, but I recovered DNA from beneath Emma's fingernails...Charlie Rogan didn't attack Emma Billings. Her assailant was female.", "BOOTH: What is it?", "BRENNAN: Charlie didn't kill Emma.", "BOOTH: What? He was there.", "CAM: But there's more. I noticed some odd similarities, so I compared Emma's own DNA to that of her attacker. There was a 25% commonality.", "BRENNAN: Half sisters. It was Kat Curtis- she killed Emma.", "(Cut to: FBI interrogation room with BRENNAN, BOOTH and KAT CURTIS.)", "KAT: My father promised he'd stop fooling around. My mother was so humiliated.", "BRENNAN: So you went to Emma.", "KAT: I had the key. I was waiting for her. I scared her, I guess.", "BOOTH: And you fought.", "KAT: She fell. I never meant to hurt her. I just, I wanted my dad to end things. It just looked like she bumped her head.", "BRENNAN: But she was dead.", "(Cut to: FBI interrogation room with BRENNAN, BOOTH and CHARLIE ROGAN.)", "CHARLIE: Kat called. We were still friends. I knew she'd never hurt anyone. It was an accident.", "BOOTH: So you told Cat you'd get rid of Emma's body while her and her mother went out of town.", "BRENNAN: But you leave your sunglasses.", "CHARLIE: It's not like I'd done this before.", "BRENNAN: And Frank sees them the next time he goes to visit Emma.", "CHARLIE: He came at me, man, one night at work. Frank went nuts. Wanted to know why I was at his place, where Emma was.", "BOOTH: He had a pitchfork.", "CHARLIE: I was turning the compost when he was yelling at me.", "BOOTH: He knew what would happen to you and Kat if you found out.", "CHARLIE: He came at me. I didn't even know I'd done it. It was like someone else jabbed him with it.", "BRENNAN: But the body, Charlie, why'd you move Frank's body?", "(Cut to: FBI interrogation room with BRENNAN, BOOTH and KAT CURTIS.)", "KAT: For my mom, for the insurance.", "BOOTH: Of course, no payout without a body.", "(Cut to: FBI interrogation room with BRENNAN, BOOTH and CHARLIE ROGAN.)", "CHARLIE: So I tossed him where we knew he'd be found.", "(Cut to: FBI interrogation room with BRENNAN, BOOTH and KAT CURTIS.)", "KAT: Dad left everything to nonprofits. That insurance money was all my mom would have.", "BRENNAN: You did it for your mother?", "KAT: I never meant for any of this to happen. I never meant to hurt anyone, I just...I wanted my mom to be happy.", "BRENNAN: Kat...your father wasn't having an affair with Emma. He'd had a relationship with her mother a long time ago. Emma Billings was his daughter. She was your half sister.", "KAT: What? Oh, my God. Oh, my God, no. Oh, my God, no!", "(Cut to: SWEETS' OFFICE with SWEETS, BRENNAN and BOOTH.)", "SWEETS: So, case finished?", "BRENNAN: Yes.", "SWEETS: Congratulations.", "BOOTH: Yeah.", "SWEETS: You don't seem too happy.", "BOOTH: Well, because sometimes, if you win, you end up with somebody else's pain and screwed-up life. You work for the FBI, you should know that.", "SWEETS: Must be a challenge for you to access those feelings.", "BRENNAN: Okay, stop. You don't know Booth. You don't know me, you have a limited view of us based on superficial data you've accumulated on a standardized questionnaire, and a subjective analysis from talking to us that is not at all scientific, so back off.", "SWEETS: Just trying to help.", "BRENNAN: By questioning his humanity?", "BOOTH: Okay, Bones, now you're going a little bit overboard. He's just a kid. Right? I mean, the worst thing that's probably ever happened to him was he lost at Mortal Kombat.", "SWEETS:Are you normally this protective of him, Dr. Brennan?", "BRENNAN: We are partners. Our lives depend on being protective of each other.", "SWEETS: And you feel the same way, Agent Booth?", "BOOTH: Sweets, I can only hope that one day you know what a real partnership is.", "SWEETS: You two are very close, that was evident in your superficial, standardized questionnaire and my unscientific observations. BOOTH Yeah?", "SWEETS: You complement each other.", "BOOTH: No, she never compliments me. Did you compliment me in the questionnaire?", "BRENNAN: \"Complement,\" not \"compliment.\" \"Ple.\" He means that we complete each other, as a team.", "BOOTH: Yeah, right.", "SWEETS: Now, we've got a lot to work on over the next few months.", "BRENNAN: Meaning we get to stay together?", "SWEETS: Yes.", "BOOTH: I'm sensing a \"but.\"", "SWEETS: However, BRENNAN: It's the same as \"but.\"", "SWEETS: I have observed some underlying issues that need to be addressed.", "BOOTH: Issues?", "SWEETS: Yes. There's clearly a very deep emotional attachment between you two.", "BOOTH: We're just partners.", "SWEETS: And why do you think I would have thought otherwise?", "BOOTH: 'Cause you're 12.", "BRENNAN: Don't read into anything that Booth said. We're professionals. There's a line that doesn't even need to be there.", "BOOTH: Not at all, I mean, if there were no more murders, I would probably not even, you know, see her.", "BRENNAN: That's very true.", "BOOTH: Might have coffee.", "BRENNAN: Probably not.", "BOOTH: What?", "BRENNAN: What?", "BOOTH: You wouldn't even have coffee with me?", "BRENNAN: Well, in your scenario, we wouldn't even know each other because there are no murders.", "BOOTH: Were. I said \"no more murders.\"", "BRENNAN: Then fine. I mean, we could have a coffee. So that's clear, then? I mean, we'd have coffee and that's our relationship? Coffee.", "BOOTH: Yeah, let's move on.", "END." ]

[ "The FBI is called to investigate after the mummified remains of a teenage girl are found in a Halloween-themed maze. Brennan and her team determine the girl has been dead for about a year. Another mummified remains of a teenage girl are found at a Halloween amusement park funhouse, who they determine was killed approximately two years ago. When the team finds out a third teenage girl is missing, they realize they have until the Halloween holiday to save her." ]

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

[ "The body of a teenage boy is found by his former high school classmates to have been hidden inside a time capsule that was buried 20 years ago. As the team investigates the class of 1987 to find the boy's killer, they find a disk among his belongings, containing a game which would have been a landmark title in 1987 if released. They also discover he was the father of a classmate's son. The team relive their high school memories as they sift through the evidence. Brennan and Booth receive some psychological profiling advice of the killer from their therapist, Dr. Sweets." ]

[ "\"The Boy in the Time Capsule\"", "[SCENE_BREAK]", "TEASER", "(The class of 1987 is gathered at Foot Hill High School to open a time capsule that was buried 20 years prior.)", "TERRY STINSON: Our time capsule was buried in 1987. The year the Dow closed above 2000 for the first time. Regan told Gorbachev to tear down the Berlin Wall.", "WOMAN IN CROWD: Uh, you had a huge crush on LaToya Jackson.", "TERRY: I did.", "MAN IN CROWD: You can't complain, Stinston. You married the head cheerleader.TERRY: Lucky I did. And now we have a wonderful kid who's a Senior, right here at Foot Hill. Alex, take a bow.", "(Alex, who is digging up the time capsule - nods and waves)", "TERRY: Anyhow, we're here today to open the time capsule that we buried 20 years ago, so we can see who we were and how the heck we all got to where we are today.", "ALEX: (hitting something under the dirt) Found it!", "WOMAN IN CROWD: (to Janelle) 20 years.", "JANELLE: Mmm.", "WOMAN IN CROWD: Do you even remember what you put in there?", "JANELLE: Bad perm and pink leg warmers, probably.", "(Terry and a cop are opening the capsule)", "TERRY: Here we go.", "(As he opens it - there is a horrible smell and it's full of liquid. Everyone turns away.)", "TERRY: Oh, what the hell, Bill. I thought you said this thing was water tight.", "GIL: It should have been and it's Gil, not Bill.", "TERRY: Let's see what we got here.", "(He reaches in with a crow bar and pulls out a skull.)", "(Cut to: Some time later, Booth & Brennan arrive)", "BOOTH: Wow. Now this is a sweet field. This is what I'm talking about, right. I mean, it's nothing like ours but hey, that didn't stop me from being MVP my Senior year. Got the trophy. Touchdown!", "BRENNAN: In certain tribes in the African subcontinent, piercings serve as a reminder - like your trophy - of the power and agility which has since faded away.", "BOOTH: What do you mean fade away...Woah! Time out. Can we just concentrate on the case. (to officer) What do we got here?", "POLICE OFFICER: We were all gathered for the opening. We had, uh, no idea that that thing was in there.", "BOOTH: (whistles) Whoa. That is rank.", "POLICE OFFICER: I was just expecting to see my 10,000 Maniacs album.", "GIL: That was not there.", "BOOTH: Who are you?", "GIL: I'm Gil Bates. I- I sealed it myself. I used a propoline seal and industrial bolt lags .", "BRENNAN: (looking at skull) Adolescent Caucasian male. Late teens, early 20's.", "BOOTH: Alright, so..what do you say we just pack it all up and ship it back to the Jeffersonian.", "GIL: OH, I'm sorry. That's not a good idea. You see, the water has compromised they structural integrity of the case so-", "BOOTH: Would you look at this, Bones. Another nerd for your squint squad.", "BRENNAN: Drill.", "BOOTH: Drill. Drill? Whoa, wait a second. You're gonna drill right here? What about taking it all back to the Jeffersonian?", "BRENNAN: Tub.", "(She takes the drill and makes a hole in the side of the capsule - draining the liquid into the bucket.)", "(Cut to: Medico Legal Lab - a video is playing that was found in the capsule of its burial. The class of 1987 is gathered around the capsule, placing items inside)(on video)", "YOUNG JANELLE: A 1987 Foot Hill year book, of course.", "YOUNG TERRY: How about the ghetto blaster.", "YOUNG ROGER: Rubik's Cube.", "YOUNG POLICE OFFICER: How 'bout this CD-", "YOUNG ROGER: In 20 years, they'll be able to fit hundreds of those on a microchip.", "(Camera pulls back to revel Brennan watching the video as Zack is examining some remains)", "ZACK: Victim had several antimortem fractures to his sternum as well as several antimortem fractures to the lateral sections of his ribs.", "BRENNAN: All healed?", "ZACK: All healed at different times. I had a Michael Jackson glove. I've never mentioned that before.", "HODGINS: (entering platform) I loved Chevy Chase. We all have our crosses to bear.", "BRENNAN: The fracture on the right clavicle, is fresh. Well, was. 20 years ago.", "HODGINS: (watching video) Whoa. Mullet alert.", "CAM: (entering platform) Woo. That's a nasty one. Booth got a list of all the students who didn't make it to the capsule opening and he's pulling names of anyone connected to the school in 1987 who had a record.", "ANGELA: Oh my god. I'm getting flashbacks to braces and stirrup pants and a really, really bad side ponytail.", "HODGINS: Certainly grew out of it. I wore Doc Martens that weighted more than I did.", "BRENNAN: Apparently, Booth was fine. He was a football player.", "ANGELA: Right. He was one of THOSE guys. Well, this guy (she hold up a sketch) certainly wasn't hanging out with the cheerleaders but I bet he had some love notes stashed away in his Space Balls binder.", "ZACK: I think I saw him in the video.", "CAM: Roger Dillon. (she holds up a yearbook) Class of 1987.", "ZACK: Here he is. (he rewinds the video tape and shows a piece of it)", "BRENNAN: How did Roger get from there (pointing to video tape) to here. (pointing to time capsule.)", "(Opening Credits)", "ACT I", "(Cut to: Medico Legal Lab - Forensics Platform)", "HODGINS: Ran a sample of the sludge.", "ZACK: Organic matter.", "CAM: Or you can call him, Roger.", "HODGINS: Oh, come on. When you can ladle someone, he's a little less than a person. Don't you think? (Cam gives him a look) Fine. I took a sample of Roger, ran it through the mass spectrometer. You never guess what I found. Traces of an unidentified organophosphate.", "CAM: Nerve gas?", "HODGINS: Very good. I'll break down the rest of the chemicals now.", "ZACK: The victim also had a perimortem fracture on his wrist. There are indications of a grate to a chromioclavicular joint separation but it was certainly not lethal.", "CAM: I've seen it before. Someone twisted the victims arm behind his back, forcefully.", "HODGINS: So he got beat up for his lunch money?", "ZACK: Violent students are the hallmark of a school yard. I speak from experience...(he pauses) However, these fractures on his ribs predate high school.", "CAM: So, he might have had some trouble at home.", "(Cut to: The Dillon Family House. Booth and Brennan are questioning Mr. Dillon.)", "BOOTH : I don't understand, Mr. Dillon, why you never reported your son missing?", "MR. DILLON: His mother told me Roger ran away.", "BRENNAN: You weren't concerned that you're son never contacted you again?", "MR. DILLON: He didn't live with me. He didn't want to.", "BRENNAN: Because of the physical abuse.", "MR. DILLON: Yeah. I was a drinker in those days. And I understood why he wanted to just write me off but I cared about him. I was sick.", "BOOTH: When was the last time you saw Roger?", "MR. DILLON: It was the night of his high school graduation. He came over here afterwards, asking me for money. A lot.", "BRENNAN: You threw him out of the house with his arm twisted behind his back.", "MR. DILLON: I swear he..he got up and he walked away. Now this was 20 years ago. What's this all about?", "BOOTH: Roger is dead, Mr. Dillon.", "BRENNAN: His remains were found yesterday.", "MR. DILLON: Oh...God.", "BOOTH: Found him at the high school. He's been in a time capsule for 20 years. Any idea why he needed the money?", "MR. DILLON: Wouldn't say. Guess it was so he could run away. You should talk to Gil. He was Roger's best friend.", "BOOTH: Gil Bates?", "MR. DILLON: Yeah.", "BOOTH: That's the Tech Town guy.", "MR. DILLON: Yeah. They did everything together.", "BOOTH: We'll be in touch.", "(They turn and head down the porch stairs)", "MR. DILLON: (calling after them) I'm different now. (they stop and turn to him) I'm sober. I never...I never wanted to hurt him. I loved Roger.", "BOOTH: Right. (they continue down the path to the car)", "(Cut to: Medico Legal Lab - Forensics Platform.)", "HODGINS: The kid basically melted into all of this. Should be able to pull more chemical traces off the artifacts to ID the organophosphate on him.", "ANGELA: (pulling items out of the time capsule) Beta. St. Elmo's Fire.", "CAM: It's on the list.", "ANGELA: One yearbook. Foothill High School. 1987.", "CAM: (looking over a list of items) Check. Dehydrate and scan.", "ANGELA: (reading from yearbook) \"Have a great summer. Don't ever change.\" Remember those days?", "CAM: I remember getting grounded every weekend. So many rules to break, so little time.", "HODGINS: You were the nerd fantasy.", "ANGELA: I was all about Barbie.", "HODGINS: She was my first anatomy lesson - was confused for years.", "CAM: What about Ken? I felt so sorry for him.", "ANGELA: Floppy disk the size of a dinner plate.", "CAM: Bingo, baby. The disk is not on the list.", "HODGINS: (taking the disk from Angela) Wow. What are you? A Term paper. Launch codes.", "CAM: We need to pull the data (to Angela) Do you think you're up to it?", "ANGELA: I can try. (still digging in capsule) A hockey skate? And it looks like it's signed.", "CAM: Check on the skate. Belonged to some jock named John Adamson.", "ANGELA: A can of new Coke.", "HODGINS: Definitely an 80's plot to destabilize the country.", "CAM: Another check.", "ANGELA: And a pocket watch.", "CAM: A watch is not on the list.", "(Hodgins takes it and opens it)", "HODGINS: It's a Wallingham. It's nice.", "ANGELA: Computer disk and a pocket watch. What was our little geek into.", "HODGINS: It's dry. This is a good watch. Some kind of residue.", "CAM: Could it help ID the poison?", "HODGINS: Let me at it. (he walks away with the watch)", "(Cut to Booth's Car.)", "BRENNAN: Roger's father had no trouble getting physical so why would he resort to poisoning his son with a nerve agent?", "BOOTH: What sort of teenager were you, Bones?", "BRENNAN: He did have a series of odd jobs. Perhaps he procured the poison from one of them.", "BOOTH: Come on. You have to at least had one good story before you pasted on the lab coat.", "BRENNAN: I was busy. Studying.", "BOOTH: And in all those hours of studying, you never came across one hormone?", "BRENNAN: Fine. There was one boy. Andy Fluger. He was the Varsity Lacrosse captain.", "BOOTH: Did you kiss the Varsity Lacrosse captain?", "BRENNAN: I was weighing the pros and cons when he became my secret Santa.", "BOOTH: I thought you hated secret Santa.", "BRENNAN: Yes! Because he taped the gift to my locker. Everyone saw it. Teenagers can be cruel.", "BOOTH: What was it?", "BRENNAN: Doesn't matter.", "BOOTH: Come on, Bones.", "BRENNAN: You promise not to laugh?", "BOOTH: I promise! I'm your partner.", "BRENNAN: It was a Brainy Smurf. (Booth snorts) You said you wouldn't laugh.", "BOOTH: (trying to hold back laughter) I'm not laughing. Brainy Smurf, huh?", "BRENNAN: What? It was deliberate. He knew I wanted Smurfette! (Booth continues to laugh) Okay, it's clear you find this amusing.", "BOOTH: (laughing) I'm not laughing. I'm not. What? (Brennan is not amused)", "BRENNAN: You know, Angela was right. You were one of \"those guys\".", "BOOTH: What? One of what guys?", "(Cut to FBI Headquarters - Booth's office. Booth & Brennan are talking with Gil Bates)", "GIL: That was Roger in the time capsule? (Brennan nods) I saw his skull. Omg, I saw his skull.", "BRENNAN: He's been there since 1987.", "GIL: No. Roger took off. He left a note.", "BOOTH: A note?", "GIL: Graduation night he left his mom a note saying that he hated it here and he was running away.", "BOOTH: Yeah, and he went to his father's house to ask for money. Do you know why?", "GIL: All I know is that his mom said was in the note he left, so...", "BOOTH: Gil. His mother is dead and his father never say it so -", "BRENNAN: So, you're the only connection we have to the note.", "GIL: It said, uh, you know that he couldn't be around his dad anymore or the kids at school. They picked on him. They use to pick on me too. I guess he just couldn't take it. Why wouldn't he'd just ask for help? He was my best friend. I always thought that I see him again. I can't believe I'll never see him again.", "(Cut to: Medico Legal Lab. Cam's office. Hodgins enters.)", "HODGINS: Alright. I found several denim fibers on both the gold watch and the floppy, matching what's left of the victims classic acid washed 80's jeans. That places the watch and the disk inside the victims pocket at the time of his murder. I tested the residue inside the watch casing? Pure crystalline tropane alkaloid.", "CAM: Roger Dillon had a pocket watch full of cocaine?", "HODGINS: So Miami Vice I could roll up my sleeves.CAM: The FBI sent us the files of everyone connected to the school who had a record. Mostly petty thefts, DUI's - that sort of thing. (she checks the computer) Darwin Banks. Teacher at Foothill High. Arrested in a school wide drug bust - June 12, 1987.", "HODGINS: That's two days after Roger disappeared.", "CAM: And Roger needed money.", "HODGINS: Looks like our young geek might have been killed over a drug deal.", "ACT II", "(Cut to FBI Headquarters - Booth's Office. Booth is talking with Darwin Banks.)", "BOOTH: You remember Roger Dillon?", "BANKS: Foothill High, right? I was his Science teacher. Smart kid. Could have taught the class.", "BOOTH: Well, he's dead. We found him stuffed into the Foothill's time capsule. Been there since 1987.", "BANKS: Gosh.", "BOOTH: Says here in the yearbook that you were the faculty advisor to the Time Capsule Committee.", "BANKS: You've got to be kidding.", "BOOTH: I usually don't joke around when a 17 year old boy's been murdered. Found evidence of cocaine on him?", "BANKS: Roger? No. That kid was clean. The only way he got high was sitting in front of his computer, writing code.", "BOOTH: Alright, so help me out here because in '87 you were arrested at the high school for dealing?", "BANKS: I wasn't dealing. I was just out of college. I had two joints on me.", "BOOTH: And 4oz in your apartment.", "BANKS: I was 23. We all do crazy stuff when we're kids.", "BOOTH: Exactly.", "BANKS: I have my own business now. A wife and two kids. I'm in the Rotary Club for god sakes.", "BOOTH: Well, we know that Roger needed money. Maybe he started dealing for you and he wanted a bigger payout. Threatened to turn you in if he didn't get it, so you killed him.", "BANKS: I didn't kill him and Roger didn't rat me out. It was Adamson. John Adamson. An entitled ass even at 17. I caught him cheating and the next thing that I know? The cops are knocking on my classroom door. He just wanted to discredit me so he could retake the test.", "BOOTH: Right, so you're the victim with the 4oz of weed. Can you confirm your whereabouts on June 14, 1987?", "BANKS: If I'm such a big, drug dealing, liar - why would I tell you the truth?", "BOOTH: Because you don't want to go to jail for killing Roger Dillon.", "(Cut to Sweets office. Booth and Brenna are their for their counseling session)", "BOOTH: Come on, Sweets! Just, come on! You've done a lot of psychological profiling! The case is twenty years old. We just need some help.", "SWEETS: That's not why we're here today, Agent Booth. This hour is for you and Dr. Brennan.", "BOOTH: Oh, she's not gonna mind. It's only going to take 5 minutes. Okay? 1987. Suburban kid is killed and stuffed into a time capsule. (Brennan looks at Booth, annoyed) Fascinating, right? What kind of person would do that?", "SWEETS: (ignoring Booth, to Brennan) So have any conflicts or issues arisen since our last session?", "BRENNAN: Well -", "BOOTH: (interrupting) Bones and I are doing just great.", "SWEETS: You look angry, Dr. Brennan.", "BRENNAN: (frustrated) I told Agent Booth a private story about my childhood and he laughed.", "BOOTH: What? No. I - (to Brennan in a half whisper) I was appreciating it. Don't get him involved.", "BRENNAN: Snorting does not suggest appreciation.", "BOOTH: It was about a cartoon character from the 1980's! I didn't think you'd be so sensitive.", "SWEETS: Well, childhood icons have great significance to us, Agent Booth. Alright. I, myself, was very attached to Voltron. (Booth and Brennan just look at him) Cartoon.", "BOOTH: Voltron?", "SWEETS: You're hurt, Dr. Brennan, because you feel you opened yourself up to Agent Booth and he betrayed that trust.", "BOOTH: You're talking about a Smurf.", "BRENNAN: (defensive) Smurfette.", "SWEETS: Perhaps a way to bring this relationship back into symmetry is if you reveal a childhood story about yourself. Show your vulnerability to Dr. Brennan.", "BOOTH: No. You know what? This is crazy. It's - it's not right. Tell him that it's not right.", "BRENNAN: Is it?", "BOOTH: Oh! You're on his side. Why don't you go play Voltron with him.", "SWEETS: You were \"that guy\" weren't you, Agent Booth. You were the golden boy who could get away with anything just by turning on the charm.", "BOOTH: That's ridiculous. You don't even know who I am.", "SWEETS: Could it be that you're still holding on to that persona. That you're afraid to reveal yourself?", "BOOTH: I'm an FBI Agent. I get shot at everyday. I'm not afraid of anything.", "SWEETS: Okay, this is obviously very difficult for you but you shouldn't be ashamed to ask for help.", "(Booth looks over at Brennan)", "BRENNAN: You shouldn't.", "BOOTH: Okay. Okay. I apologize. I do. I need help - (he pauses, and Sweets finally thinks he's had a breakthrough) - with this case. So, while you review this, I will reveal myself to Bones. (Booth places his hand on Brennan's leg - Sweets takes notice) I know that sounded weird, but you know what I mean.", "BRENNAN: So you will share an emotionally humiliating episode from your youth with me.", "BOOTH: Yeah. I - I have 'em. Here. (He hands the file to Sweets)", "SWEETS: (taking the file) Alright, excellent. Now, for the remainder of our time, let's role play.", "BOOTH: (putting on a hat) Now I know why I'm not allowed to bring my gun in here.", "(Sweets nods and laughs)", "(Cut to Medico Legal Lab - Forensics Platform. Cam & Hodgins are entering.)", "HODGINS: I tested the goop. Found traces of cocaine consistent with the leakage from the gold watch.", "CAM: But when I checked the results against samples of his hair and bones they came out negative. Roger didn't do drugs.", "HODGINS: So his old teacher was telling the truth? Huh. I also discovered what he was dosed with and how much.", "CAM: What?", "HODGINS: Malaoxon. CAM: Malaoxon?", "(They leave the platform)", "HODGINS: Yeah.", "CAM: It's neurotoxic in high doses.", "HODGINS: Yeah, but there's barely enough to make a mouse cough.", "CAM: So our theory about poisoning is incorrect.", "(Zack approaches them)", "ZACK: Dr. Saroyan. I found an anomaly on the victims skull.", "(Cut to: Medico Legal Lab - Bone Room. Cam & Zack enter.)", "ZACK: When I was cleaning the skull, I found a tiny irregularly on the under surface of the victims mandible. Magnified, it proved to be a tiny, but sharply defined fracture. Judging by it's location, it appears that a weapon was thrust into the neck, cutting through the sternocleidomastoid and severing both the corroded artery and jugular vein.", "CAM: Which means Roger must have bled out. Have you determined a weapon?", "ZACK: Judging by the microscopic crushing of the bone, the weapon was neither too sharp nor too blunt. It certainly wasn't an edged weapon.", "CAM: So, it wasn't a knife.", "ZACK: Correct. However, it left an odd textural stain in the crevice. I've taken a sample and will hand it over to Hodgins for testing.", "(Cut to: Medico Legal Lab - Angela's Office. Angela is showing Hodgins the computer)", "ANGELA: This little darling, is a Commodore Amiga with a Motorola 6800 chip set using a homemade operation system. I got it from the computer exhibit on the 3rd floor. I used to have this exact computer. (she puts the floppy disk in the drive)", "HODGINS: My geek princess. (he kisses her neck) I knew the mall couldn't suck out your soul.", "(An early version of a First person shooter game appears on the screen)", "ANGELA: Hey. Look at that.", "HODGINS: Oh. Oh, this is incredible.", "ANGELA: This is like a primitive Doom.", "HODGINS: Yeah, you don't see anything wrong with that? Doom came out in 1993. All of this stuff - the 3D rendering, the first person shooting - barely a glints in the geeks eye in 1987.", "ANGELA: So Roger was way ahead of his time.", "HODGINS: If this game had come out in 1987, Roger Dillon would have been a billionaire, several times over.", "ANGELA: And money is always a good motive for murder.", "(The WARSTRIKE main screen is shown on the computer screen.)", "(Cut to: FBI - Coffee Area. Booth and Brennan are getting coffee.)", "BRENNAN: Pretty sure that Sweets would say a lost baseball game - is not personal or revealing.", "BOOTH: Football, Bones. Okay. It's Football. Oh, okay. I got one. Alright, personally, between two people or revealing like, uh...aha! (he whispers) naked?", "BRENNAN: That's very literal.", "BOOTH: There was this girl, Karen Eisley, and we were under the bleachers one night - personally.. With me?", "BRENNAN: Got it. You were having s*x, in the dirt, under the bleachers.", "BOOTH: Excuse me, I'm a gentleman. I brought my sleeping bag.", "BRENNAN: Did you fail to perform sexually?", "BOOTH: What?", "BRENNAN: Cause that might actually count as a humiliation. (she walks past him)", "BOOTH: Will you just wait. Will you just - (he starts sprinting after her, stopping her.) - allow me to tell my story.", "BRENNAN: Fine.", "BOOTH: Thank you. Alright, so this girl had this game where she would ask me a question-", "BRENNAN: (interrupting) What kind of question?", "BOOTH: It doesn't matter - okay, so if I got the question wrong I'd have to take off a piece of my clothing. Of course, I knew all the answers but I pretended that I didn't.", "BRENNAN: So you could take off your clothes.", "BOOTH: Exactly. No. The point is I'm standing there, ya know, in my socks and my St. Christopher medal - she runs off. She runs off with the sleeping bag and all my clothes and I'm standing there, starko-", "BRENNAN: Well, why did she do that?", "BOOTH: Well, I suppose she heard I was under the bleachers with another girl the week before...", "BRENNAN: Okay, this is a story about sexual prowess, Booth. You're bragging.", "BOOTH: (laughing) I had to run across the campus buck naked.", "BRENNAN: You're laughing about it now. You enjoyed displaying your pen1s. It showed alpha male mastery. Only one other person knew about Brainy Smurf. It was my mother. (she takes off into his office)", "BOOTH: (he starts after her again) It's cold. Okay. It's was cold. Do you know what happens to a guy when it is cold (he notices Gil sitting in his office) outside. (to Gil.) Hi.", "GIL: Hi. Can we make this quick? My boss doesn't understand why I keep leaving and he's kind of a jerk. So.", "BOOTH: What do you know about, uh, Warstrike?", "GIL: Wow. I haven't heard that name in a long time.", "BRENNAN: We found it on a disk in the time capsule. It was on Roger when he was killed.", "GIL: My god.", "BOOTH: So you knew about it?", "GIL: Yeah, but only as a drawing in his notebook. I didn't know he'd written a code.", "BOOTH: Yeah, well according to an expert at the Jeffersonian, someone could make a lot of money off it.", "GIL: We planned to. We were gonna start a gaming business after graduation. Roger was the brains and I was the business guy. Wait a minute. You saw the game? It worked?", "BRENNAN: If you were partners, why wouldn't he tell you that?", "GIL: He was a perfectionist. He would never show me anything unless he thought it was perfect.", "BOOTH: Yeah, well maybe he was trying to make a deal with someone else.GIL: No. No way. We were partners, okay? Best friends our whole lives. Roger would never sell me out like that. We were saving up to buy new computers to create a 3-D rendering farm.", "BRENNAN: Computers were expensive back then. Where were you gonna get the money?", "GIL: We both worked. I paved driveways and Roger worked a shift at a roller rink.", "BOOTH: Hey, I scraped grills at a Burger Shack for $3.55 an hour. That's humiliating.", "BRENNAN: Nice try.", "GIL: Roger, he made extra money, um, tutoring that cheerleader, Janelle, in math and he got paid to take the SAT's for some coke head hockey player. The kid got into Harvard off Roger's scores.", "BOOTH: Coke head? What's his name?", "GIL: John Adamson. He's a real nasty piece of work.", "(Cut to: Booth's Car.)", "BOOTH: (into phone) Great. Thanks. (he hangs the phone up.) John Adamson was the star hockey player at Foothill. Barely graduated from Harvard. Took 5 years.", "BRENNAN: He got in by cheating. He didn't deserver to be there.", "BOOTH: Maybe Roger was blackmailing Adamson about the SAT scam.", "BRENNAN: So, Adamson killed him?", "BOOTH: Could a hockey skate have killed the kid? I mean, Adamson's was in the time capsule.", "BRENNAN: Metal skate blade could easily cut right through the jugular and the edge could create a sharply defined fracture.", "BOOTH: Well, there ya go. He had a motive and a weapon.", "(Cut to: Restaurant. Booth and Brennan enter - looking for Adamson. The waiter shows Booth and Brennan where Adamson is sitting. )", "WAITER: (to Booth) That table. Waiting over there.(whispering to each other as they head towards Adamson's table)", "BOOTH: You could at least give him twenty bucks. Tip him.", "BRENNAN: Why am I suppose to do that?", "BOOTH: Grease the palm.", "BRENNAN: No.", "BOOTH: I just - (sighs. They stop whispering as they reach the table) John Adamson? FBI Agent Seely Booth. I'd like to ask you a few questions. Have a seat, Bones.", "(They sit down.)", "ADAMSON: Senator expects me to concentrate on running his campaign, Agent Booth. I hope this isn't going to be a waste of my time.", "BOOTH: Take a look at that.", "(Booth takes out a picture of Gill Bates and Roger Dillon.)", "BOOTH: Do you remember Gilbert Bates or Roger Dillon from high school?", "ADAMSON: No, I'm sorry. Not the name Gilbert Bates nor Roger Dillon means anything to me.", "BRENNAN: This boy - was found inside the time capsule dead. You might've heard about that.", "ADAMSON: Like I said, I've been busy with the senator's campaign.", "BOOTH: Right, cause this kid (points to the picture of Gil) said that this guy (points to the picture of Roger) took the SAT for you. Got you into Harvard?", "ADAMSON: SAT's didn't get me into Harvard, Agent Booth. My slap shot did that.", "BRENNAN: So you don't deny that Roger Dillon took the test for you?", "ADAMSON: Total cooperation. We keep my sordid academic past in the past?", "BOOTH: Sure.", "ADAMSON: I paid Roger two hundred bucks to take the test for me. It was a done deal. Two weeks later, he comes knocking at my door, saying if I don't cough up another $500, he'll rat me out.", "BOOTH: Roger tell you why he needed the money?", "ADAMSON: Nope. Just that a guy like me wouldn't understand. I gave him all the cash I had. Maybe $90 and my watch.", "BRENNAN: The watch with the hidden compartment for cocaine?", "ADAMSON: I don't know what you're talking about.", "[SCENE_BREAK]", "ACT III", "(CUT TO: Medico Legal Lab - Brennan's Office)", "(Sweets is sitting on the couch reading Booth's report while Brennan stands near him, clearing her throat.)", "SWEETS: What?", "BRENNAN: You're a very slow reader, Dr. Sweets.", "SWEETS: I'm afraid Agent Booth's report on Mr. Adamson is more revealing of Agent Booth than it is of Adamson.BRENNAN: Really? Why?", "SWEETS: That's for Agent Booth to share but I've seen John Adamson on TV enough to know that while he's harmful to the political process, he's not homicidal. He's too sensitive.", "BRENNAN: A horny, cocaine-snorting, jock, party boy is sensitive?", "SWEETS: Yes, definitely. And emotionally immature, totally dependent upon external validation. Cheap and greedy, too. They're always cheap and greedy.", "BRENNAN: You got all this off TV?", "SWEETS: The point is, at the age of 17, John Adamson gave Roger Dillon money and a watch. If he had killed Roger, he would have taken his watch back.", "BRENNAN: Very convincing.(She takes the file.) The watch part anyway.", "SWEETS: All that insight into the intangible enigma of human behavior, and ya zone in on the banal and tangible.", "(Hodgins walks in.)", "HODGINS: I bring more banal and tangible evidence.", "SWEETS: Wow. With you people, it's really go, go, go, isn't it?", "HODGINS: We're catching murderers.", "SWEETS: And that is so dope, alright? I'm running up a profile right now to help. I love being in the field.", "(Sweets heads to the door to leave)", "HODGINS: Uh, you're in a secure lab.", "SWEETS: Dude, for eight hours a day, I'm surrounded by neurotics. Okay, to me, this is fieldwork. (realizing that Brennan is one of his patients.) Uh, no offense, Dr. Brennan. I'll finish the profile.", "(Sweets leaves.)", "HODGINS: Anywho, we've determined that the malaoxon in the Roger stew was originally the common organophosphate pesticide, malathion, before it broke down.", "BRENNAN: How common?", "HODGINS: There was this 1980's mosquito panic, and malathion was sprayed everywhere. Virginia Department of Agriculture and Consumer Services says there was a quadrant bordering Foothill High School that was sprayed at 7:45 PM on Thursday, June 14, 1987.", "BRENNAN: Whoa. Why'd they keep such detailed records?", "HODGINS: Spraying aerial neurotoxins in an attempt to kill creatures that outlive atomic bombs tends to make bureaucrats consider possible lawsuits, I guess.", "(Brennan looks up the map of the area on the computer.)", "BRENNAN: It's a housing development.", "HODGINS: Yes, but in 1987, it was mostly a swamp. The development was under construction. There were only a few finished homes.", "BRENANN: Could the wind have blown the insecticide onto Roger?", "HODGINS: In this concentration, Roger had to have been wading right through the middle of it.", "BRENNAN: Why would he do that?", "HODGINS: There's only one reason. A girl.", "BRENNAN: What are you basing that on?", "HODGINS: I was a boy. And I searched the 1987 real estate records. Guess who lived in one of the only finished houses. Janelle Brown, head cheerleader.", "BRENNAN: He was tutoring her in math.", "HODGINS: Exactly.", "BRENNAN: Why would he wade through a swamp to get to the house? There had to be roads.", "HODGINS: It was quicker. She was a cheerleader. She was hot. He couldn't wait. It's the boy thing again. Or maybe he was peeping through her window. Could have been a peeper.", "(Hodgins heads towards the door)", "BRENNAN: Dr. Hodgins, do boys change after high school?", "HODGINS: Only on the outside.", "(He smiles and leaves. Brennan doesn't know what to make of the answer.)", "(CUT TO: Medico Legal Lab - Angela's Office. Angela is looking at the yearbook. Hodgins walks in.)", "HODGINS: Whoever thought hair like that looked good?", "ANGELA: Hey, check this out. This is weird, right?", "HODGINS: It's a yearbook. It's supposed to be weird and humiliating.", "ANGELA: Yeah, but this is the \"Hall of Fame\" section. It's usually, \"Best Smile\" and \"Most Likely to Succeed.\" This is \"Most Likely to Get Head Stuck Up Own Ass\" and \"Best Rack\" and \"Most Likely to die of VD.\"", "HODGINS: Wait. Somebody put a prank version of the yearbook in the capsule to embarrass everyone 20 years later?", "ANGELA: Yup. Look at this.(she flips the book over) \"Brought to you by Gruff & Grim.\"", "HODGINS: So, we're looking for two kids who put a yearbook and a body into the time capsule?", "(CUT TO: Outside Stinson Residence. Booth and Brennan are getting out of the car)", "BOOTH: Okay, Bones, so there was this girl, okay? Sharay Bellapini. Sharay, Sharay. She was the coolest, hottest girl in high school and I wanted to ask her to my junior prom. So what I did was, I bribed the suck up who did the morning announcements-", "BRENNAN: Suck up?", "BOOTH: Yeah, the kids who did anything to please the teachers. So I get on the loud speaker and I ask her to the prom.", "BRENNAN: Uh huh.", "BOOTH: On the loudspeaker.", "BRENNAN: Thi-This is your embarrassing story?", "BOOTH: On the loudspeaker!", "BRENNAN: Yeah.", "BOOTH: I got laughed at for weeks.", "BRENNAN: Did she go with you to the prom?", "BOOTH: Sure.", "BRENNAN: Okay, this is merely another story of victory and sexual conquest.", "(Brennan presses the doorbell.)", "BOOTH: Look, Bones, they laughed at me. Okay? Laughing has got to count for something.", "BRENNAN: There's no public humiliation in that story, Booth.", "(Janelle Stinson opens the door.)", "BRENNAN: You don't even know what public humiliation is.", "JANELLE: Hi.", "BRENNAN: Hi.", "BOOTH: Hi Ms. Stinson. Special Agent Booth, uh ...", "BRENNAN: Was your name Janelle Brown in high school?", "JANELLE: Yes.", "BOOTH: Mind if we come in and ask you a few questions?", "JANELLE: Of course, yeah. Come in.", "(Cut to: Inside Stinson Residence. Booth and Brennan show Janelle a picture of herself from high school.)", "JANELLE: Look at her. I wish I was Janelle Brown again.", "(She gives the photo back to Booth.)", "JANELLE: Or at least parts of me do. You know what I mean?", "BOOTH: You lived at 224 Green Gates Crescent?", "JANELLE: Yeah. Just a few blocks from here.", "BRENNAN: It backed onto a swamp.", "JANELLE: Yeah. I was scared of that swamp as a little girl.", "BOOTH: How well did you know Roger Dillon?", "JANELLE: Oh, I don't know. He was my math tutor and, well, math wasn't really my thing, so I needed a lot of help, and well - he kind of developed a crush on me. He was actually kind of cute in a non-jock way, you know? Sweet. Oh, he loved The Cure.", "BRENNAN: For what? What did he have?", "BOOTH: (whispers to Brennan) It's a band, Bones. It's..it's-it's a band. (to Janelle) Um, did he tutor you at your place?", "JANELLE: Uh huh. My place or the library. Usually my place. I think he liked it there. You know, his own place wasn't very nice.", "BOOTH: Do you remember seeing him on, uh, June 14, 1987?", "ALEX: (from off screen) Mom?", "JANELLE: Uh, I'm in here, honey.", "BRENANN: It would have been the last day of school.", "(Alex Stinson walks in.)", "JANELLE: Oh, uh...", "ALEX: I'm going to Pete's.", "JANELLE: Okay.", "(Booth and Brennan stand.)", "ALEX: What's going on?", "JANELLE: Um, these people are with the FBI. They're investigating the time capsule murder.", "(Brennan looks at Alex.)", "BOOTH: Nothing to worry about. Your parents were just friends of the victim.", "ALEX: Well, that sucks.", "JANELLE: Yeah. Honey, why don't you go to Pete's?", "(Janelle and Alex leave the room, but Brennan continues to look after him. As soon as they're out of site, she gets up, goes over to the mantle and looks at a photograph of the Stinson family.)", "JANELLE: (O.S.) If you're going to be late, just give me a call, 'cause you have your cell phone, right?", "ALEX: (O.S.) I have it.", "JANELLE: (O.S.) Okay.", "(Brennan tucks the photo into her jacket.)", "BOOTH: (whispering to Brennan) What are you doing?", "(Brennan shoves the picture frame in her jacket to hide it)", "ALEX: (O.S.) See you later, Mom.", "JANELLE: (O.S.) Okay.", "(Janelle comes back into the room. Booth sits back down.)", "JANELLE: You know, I-I think I actually did see Roger on the last day of school.", "BOOTH: Why?", "JANELLE: Like I said, he was my tutor.", "BOOTH: Why would he come to your house on the last day of school?", "JANELLE: Honestly? He brought me my graded final, but he'd have used any excuse. I didn't encourage him, but- (she laughs) high school was so long ago and none of us is the same person. I'm sorry Roger ended up that way, but after he dropped off my final, I never saw him again, so-", "BOOTH: Well, uh-", "BRENNAN: (interrupting. She stands.) Thank you, Ms. Stinson.", "JANELLE: Oh, yes. Uh-huh, of course.", "(Booth stands up)", "(Cut to: Medico Legal Lab - Angela's Office. Brennan walks in and joins Angela, who is at the computer.)", "BRENNAN: Could you please call up Terry Stinson from the Foothill yearbook?", "ANGELA: Mhmm.", "(She pulls up the page)", "ANGELA: Track team, vice president of the Student Council, runner up for Mr. Popularity.", "BRENNAN: Where does it say that?", "ANGELA: It's the type, sweetie. He's Mr. Second Best. It's kind of like when you want Brad Pitt and you get Matthew McConaughey.", "BRENNAN: Pull up the photo of his son, Alex.", "(Angela pulls up the photo that Brennan stole on the computer.)", "BRENNAN: Alex Stinson shows three classic examples of Mendelian inheritance. A cheek dimple on the left side, cleft chin and detached earlobes.", "ANGELA: Distinct facial features, wide-set eyes, asymmetrical nostrils.", "BRENNAN: Just like his dad.", "ANGELA: It's nothing like his dad. (after realizing what Brennan is getting at) Oh, boy.", "BRENNAN: Could you please replace Terry Stinson with Roger Dillon?", "(Angela pulls up Rogers picture and parts of the facial feature of both match perfectly)", "ANGELA: Oh, boy. Twenty years ago, Terry Stinson finds out that Roger Dillon has s*x with his girlfriend.", "BRENNAN: And he kills him.", "ACT IV", "(Cut to: FBI Headquarters - Conference Room. Booth and Brennan are talking with Janelle and her husband, Terry Stinson.)", "TERRY: Of course we'll take a DNA test.", "BOOTH: You realize in a murder investigation, we can't rule anything out.", "BRENNAN: Did you know that it was possible that Alex was not your biological son?", "TERRY: What? (to Janelle) Is it possible?", "BOOTH: Is it?", "JANELLE: Can I answer that after the DNA test? (Terry sighs.) I guess I just did.", "BOOTH: (to Terry) So you didn't know?", "JANELLE: Terry didn't know.", "BOOTH: Alex was born on January 7, 1988.", "TERRY: I don't believe this. That means you were pregnant in the spring already. You just wanted me to believe that the baby was mine?", "JANELLE: No, no. I wanted - the baby inside me to be yours.", "TERRY: I don't get this. Roger - what- but he was - why did you sleep with Roger?", "JANELLE: He was sweet. He was-I knew he was nuts about me. I liked feeling special. You know, let's face it, Terry. Back then, you were \"that guy\".", "TERRY: What guy?", "JANELLE: The guy who did anything he wanted. You didn't need me. Roger- he came over that day. He came through the swamp. He was filthy. His father had just beaten him up-", "BOOTH: Ms. Stinson, did you tell Roger that he had gotten you pregnant?", "JANELLE: Yes. He wanted to marry me. He said he could get the money for us to go away together, but I told him I didn't want to. I was back with you by then. Only you.", "TERRY: Why didn't you tell me?", "JANELLE: When I told you I was pregnant, you were so happy. That's when I knew that you loved me. That you weren't \"that guy.\" That we could have a great life together and we did.", "BRENNAN: I'm sorry. I had to borrow one of your pictures.", "(She slides the picture frame across the table)", "BOOTH: (whispers) You stole that. (to Janelle) Uh, what did you think happened to Roger?", "JANELLE: I don't know. (Terry slides the family photo over to look at it.) He had the money. He was never happy here. I figured that he just took off by himself. (to Terry) I am so sorry. I always wanted to tell you the truth, but I just-I just couldn't figure out how to tell you that Alex wasn't yours.", "(Terry looks at the photo of the family again.)", "TERRY: Alex is my son. We are a family.", "(Janelle nods.)", "(CUT TO: Medico Legal Lab- Brennan's Office. Booth and Brennan are talking with Sweets)", "SWEETS: Well, the murder happened at night on a high school playing field, not a likely place to find adults. Plus, teenagers are dominated by their ids, which make them act irrationally. Physiologically, their judgment's impaired by an incomplete frontal lobe.", "BOOTH: You're what, 22, right? How's your front lobe? Almost there?", "SWEETS: Again, a hectoring tone.", "BOOTH: Alright, look, I'm sorry, just keep going.", "SWEETS: Alright, there was no sexual assault, no theft. The watch and other effects were still on him. Further indications that this was just a rash and youthful act.", "BOOTH: Right, right. That's good - for a kid.", "BRENNAN: This is guesswork, Booth.", "SWEETS: It's a logical interpretation of subjective analysis by a highly intelligent expert in his field, actually. The killer knew the exact date the time capsule would be opened when he put the victim in there. He's been waiting twenty years for that body to be found so he could reconcile himself with his past and finally pay for his crime.", "BOOTH: Like Terry Stinson?", "SWEETS: No. (sighs) I think you're looking for someone who's been punishing himself for years. Someone self-destructive, working far below his potential.", "BOOTH: Then why doesn't he just confess?", "SWEETS: Most likely he has in some way, Agent Booth. The question is, were you listening?", "BRENNAN: Agent Booth is an incredibly good listener.", "BOOTH: Yeah, I really am. It's my strength.", "SWEETS: Then perhaps the time capsule was just a convenient place to stash a body. You know, profiling's not an exact science - (Brennan rolls her eyes.) -but I hope I'm right. I really want to tell my girlfriend I helped catch a murderer. It'd be a good night for me.", "(Cut to: Medico Legal Lab - Forensic Platform)", "HODGINS: The textural stain on the under surface of Roger's mandible was liquid petroleum.", "CAM: An oil product?", "HODGINS: I know. I know. Dead common, right? But I did some further analysis.", "(He sits at the computer and brings up the images on the screen.)", "HODGINS: I found that there were microscopic particles of granite embedded in the petroleum. Also, all over the broken seal of the time capsule.", "CAM: Definitely not John Adamson's ice skate.", "HODGINS: Yeah, not unless he skated on asphalt. Twenty years ago - what I'm seeing as petroleum was asphalt. It was driven into Roger's bone with a flat, metal-", "CAM: An asphalt shovel?", "HODGINS: Yeah.", "CAM: Gil Bates worked paving driveways.", "(Cut to: FBI Headquarters - Interrogation room. Booth and Brennan are sitting with Gil Bates.)", "GIL: Roger was my best friend.", "BRENNAN: Gruff and Grim, right?", "BOOTH: Who was who?", "GIL: I was Gruff. Roger was Grim.", "BRENNAN: So you went out to the field that night to plant the yearbook in the time capsule.", "BOOTH: Right, surprise everyone 20 years down the line.", "BRENNAN: You dug up the capsule and you broke the seal with the asphalt shovel.", "BOOTH: Your amigo, Grim, wanted his money back?", "BRENNAN: The money that you earmarked for your business, all those computers that were going to make you rich.", "BOOTH: And you couldn't do that, Gruff. You just couldn't give Grim back the money.", "GIL: Could you stop using those names?", "BRENNAN: Did he tell you that it was for Janelle Brown?", "BOOTH: I bet he did. I bet old Grim said, \"You know what, I'm sorry, Gruff, but there's this girl and our plans, they're done.\"", "GIL: I asked you to just stop using the names.", "BOOTH: You know, but then Grim said, \"You know what? My dream has changed. You and me, Grim and Gruff? We're finished.\"", "GIL: (jumps to his feet) Stop it! You don't know what you're talking about!", "BOOTH: We don't know what?", "BRENNAN: Did he tell you it was because she was pregnant?", "(Gil looks at them, surprised)", "BOOTH: He should've told you. You would have understood.", "GIL: Understood what?", "BRENNAN: Janelle was pregnant with Roger's son.", "GIL: Oh, my God. He didn't say. He just said that he loved her. I told him-I told him how stupid that was. I said that she'd never look at someone like him and-he got all pissed and then he hit me. And I just, I went and I picked up the shovel and I just-I just jabbed. It was an accident. It was just a jab. He held his neck and he went all white.", "(He starts to sob)", "BRENNAN: The wound severed both his jugular and his carotid. He would have died quickly.", "GIL: He did. I-I held him and I told him I was sorry. He knew that I didn't mean it. I loved the guy. He has a kid?", "BRENNAN: Yes.", "GIL: I hope I get the chance to tell him about his father.", "(Cut to: Royal Diner. Booth and Brennan are sitting at a table, talking)", "BOOTH: Alright, there was this kid, uh, junior year.", "BRENNAN: Okay, is this going to be another story where you think you were humiliated, but you actually were not?", "BOOTH: Just listen to me. This kid. Junior year. Harlan Kinney. He was one of those real weird, ya know, looking kids. He had this big Adam's apple stickin out and he wore his dad's clothes to school. Ya know, with the whole stretchy belt around his waist.", "BRENNAN: What's wrong with that? It's practical.", "BOOTH: You're not listening. He was one of those real superior types, always talking out of a thesaurus, and one day he came up to me and a bunch of my buddies and he called us a bunch of Philistines. You know what that means, right?", "BRENNAN: Yeah. A Philistine is a smug, ignorant person who is antagonistic toward higher thought and intelligence.", "BOOTH: Yeah, well, I didn't know what that meant till I looked it up. I told Kinney, \"Look, I'm not Philistine. I'm Catholic.\"", "BRENNAN: (laughs) That's pretty close to humiliation.", "BOOTH: No, that's embarrassing, that's not the humiliating part.", "BRENNAN: Oh.", "BOOTH: My buddy picked Kinney up and dangled him over the stairway. You know, he begged and cried, and everyone laughed.", "BRENNAN: How is this about you?", "BOOTH: I laughed.", "BRENNAN: I don't understand.", "BOOTH: I could've stopped it. I could've stepped in and helped the kid out. Instead I-I didn't. Chose my side, and it was the wrong side.", "BRENNAN: So you were humiliated because you didn't act like a hero?", "BOOTH: Fine. Fine. You know what? I'm perfect. My life was perfect.", "BRENNAN: It's a good story, okay? But it's a bad one. I - it's both, I guess. I mean, I get it.", "BOOTH: Yeah?", "BRENNAN: (noticing that Booth has something in his hand) What is that?", "BOOTH: (crossing his arms and hides it from her) Nothing.", "BRENNAN: Well, you evolved. And evolution is very impressive and that is definitely not nothing.", "BOOTH: (holding up Brainy Smurf) This?", "BRENNAN: Did you bring that for me?", "BOOTH: No.", "BRENNAN: Good, because it's the wrong Smurf. I liked Smurfette. That's Brainy Smurf.", "BOOTH: Well, Smurfette was a stupid, shallow Smurf who only had her looks. Look, you're better than Smurfette. You have your looks and a whole lot more.BRENNAN: You did bring that for me to charm me in case I didn't find your humiliation story impressive, but I did, so ...", "BOOTH: Aha! So I did impress you.", "BRENNAN: That's what impressive means, dummy. You're such a Philistine.", "BOOTH: (he laughs) I'll tell you what. You can hold on to this, and it will remind you how far I've come.", "BRENNAN: (taking the Smurf from Booth) I forgive you for snorting, Booth.", "BOOTH: Evolution is a long, long process. It takes hundreds of years.", "BRENNAN: Thousands.", "BOOTH: Why do you have to always correct me?", "BRENNAN: To help you evolve.", "(Booth smiles, Brennan smiles back at him and shakes her head.)", "END." ]

[ "Booth and Brennan's investigation into the death of a priest leads them back on the case of the Gormogon serial killer when the priest's kneecaps were discovered to have been surgically removed. They realize the killer has a pattern for choosing victims after Angela finds a victim tree in the evidence vault. The team attempts to make predictions on who the next victim is while Dr. Sweets provides psychological insights into the killer for Brennan and Booth. Meanwhile, Brennan's brother reappears." ]

[ "\"The Knight on the Grid\"", "[SCENE_BREAK]", "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.)", "[SCENE_BREAK]", "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.)" ]

[ "Three days before Christmas, Booth, Brennan and their team are sent to investigate the death of a Santa Claus impostor after his body was discovered in the sewer near a mall. The team discovers the man's legal name was Kristopher Kringle and was highly regarded in his profession while he worked for a local \"Rent-A-Santa\" business. Meanwhile, Brennan and Booth find themselves under a mistletoe, and Brennan decides to spend Christmas with her father, brother and his family." ]

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

[ "Brennan and Booth investigate the college-basketball world to determine who is responsible for the murder of a player on a nationally ranked team. This episode has 2 different versions included in the season 3 DVD: <br />The Aired Version, which includes an storyline that fits the timeline for season 3, in which Cam finds a security tape of Hodgins and Angela having sex in the storage area, after which she confronts Angela about bringing personal relationships to work. <br />The Original Version, which includes a storyline that fits the timeline for season 2, in which Hodgins asks Cam how to propose to Angela, and later tries to propose, failing." ]

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

[ "Brennan's father Max Keenan is on trial for the alleged murder of FBI Deputy Director Kirby. Everyone on the team, except for Brennan, is called as a witness for the prosecution during the trial. Brennan on the other hand is the forensics advisor for the defense, and she must rely on both her dedication to her family and her skill as an anthropologist to help free her father." ]

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

[ "When aspiring singer Tommy Sour ( Ace Young ) is found dead, an investigation leads to the Checker Box Restaurant's Open Mic Night. Brennan reveals she is more musically inclined than she appears, and Booth is shot, his fate unknown." ]

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

[ "This two-hour season premiere, begins when Booth and Brennan are at Oxford University in Oxford , England for a conference. They are then called to London to help solve a case in collaboration with a pair of British investigators from Scotland Yard . Meanwhile, Angela's estranged husband, Grayson Barasa, is finally found, but he refuses to sign the divorce papers, much to the dismay of Hodgins and Angela. When one of the British investigators is murdered, Booth and Brennan become more determined to help solve the murder. Meanwhile, Angela and Hodgins continue to have relationship problems regarding their marriage." ]

[ "\"Yanks in the U.K. Part I\"", "[SCENE_BREAK]", "(Open: Oxford University - Lecture Hall. Brennan is speaking in front of a class while Booth is in the audience, sleeping.)", "BRENNAN: In closing my lecture on interstitial lammellae remodeling, I'd like to address some issues that are not strictly confined to forensic anthropology. (cut to Booth in the crowd, asleep with his head on his hand) If it's alright with my host, Dr. Wexler.", "IAN WEXLER: Well, yes, I should think that all the most joyless wonks, and yes I do refer to you, Cyril Bibby - would, uh, embrace the diversion from haversian systems.", "BRENNAN: My partner, FBI Special Agent Seeley Booth, gave his lecture at Scotland Yard last night. Agent Booth, could you please stand up?", "(There is no response, Booth is still sleeping)", "BRENNAN: Hey, Booth!", "BOOTH: (waking) Yeah, I'm here. What's up?", "BRENNAN: Agent Booth is the intuitive humanist while I am the logical empiricist although recently I have seen how destructive pure logic can be. My own assistant, the most brilliant young man I've ever met-", "BOOTH: ...ended up, uh, a side-kick to a cannibalistic serial killer.", "BRENNAN: I - I haven't invited you to join me, Booth, so you can take your seat. (Booth sits down) What I've learned from Agent Booth is that we scientists must arm ourselves with something other than pure logic.", "WEXLER: Quality which deflects us from an irrational enamoration for the rational.", "BRENNAN: Exactly.", "(Cut to: Outside Oxford University - Outside.)", "BOOTH: How old is that guy?", "BRENNAN: What, Ian? He's a year younger than I am and almost as brilliant. What do you think of my speech?", "BOOTH: Well, it got, ya know, better towards the end.", "BRENNAN: You mean after you interrupted me.", "BOOTH: I'm sorry. Look, It wasn't that I was bored, mostly it was just that I was tired, okay? The boobies took me out for a beer last night... BRENNAN: Bobbies, they're called Bobbies.", "BOOTH: I'm pretty sure that Sara, Pauline and Jacqueline are, ya know, Boobies.", "WEXLER: Dr. Brennan! Dr. Brennan. What a wonder lecture: Fantastic. Sublime. Great!", "BRENNAN: Thank you, Dr. Wexler.", "WEXLER: Who knew a shapeless robe could be so evocative - of academia I mean, of course. (to Booth) Just one moment with my colleague, please, Agent Booth.", "(Brennan and Wexler walk a bit away as Booth leans on the wall, watching them.)", "BRENNAN: Um, over the last few days, I have been warned - many times - to watch out for you.", "WEXLER: Warned? That sounds dangerous. (his phone starts ringing) Was it something along the lines of \"Oh, look out for Ian Wexler. He's a young genius on the rise?\"", "BRENNAN: How can you flirt with me while ignoring your phone?", "WEXLER: Well, I am a man of perspective. Besides, I find if one ignores the thing long enough, generally it stops ringing. And then later, at my leisure, it will tell me what it wanted.", "WEXLER: (answering his phone) Dr. Ian Wexler. (to Brennan) Oh, don't leave, this is nothing. (into phone) Murder? What kind of murder? Well, is it a boring one or is it a violent one? (to Brennan) Is your interest piqued?", "BRENNAN: Wha- are you being serious?", "WEXLER: I'm going to pass you over to a colleague of mine. I'd simply like you to state the origin of this call. Thank you.", "(He puts the phone to Brennan's ear)", "BRENNAN: Scotland Yard? Homicide.", "WEXLER: (taking the phone back) Cheers. (to Brennan) Well, would you like to tag along? It is murder. Can't promise anything but it is possible a famous heiress is involved.", "BRENNAN: I'm keen as ketchup.", "WEXLER: Mustard. Keen as mustard. Excellent effort at the colloquialism, though. Very impressive. Does your cowboy want to tag along?", "BRENNAN: Oh, please, don't call him that.", "WEXLER: He'd find it insulting?", "BRENNAN: No. He'd love it.", "(Cut to: Thames River. A car is being pulled out of the river)", "OFFICER: Stand back please.", "(A car pulls up and parks. Booth, Brennan and Wexler get out to meet Pritchard)", "WEXLER: Inspector Cate Pritchard of Scotland Yard, I'd like you to meet-", "PRITCHARD: Ah, Agent Booth.", "BOOTH: Yes, yes.", "PRITCHARD: Hello! I very much enjoyed your presentation last night. He's very active: sound effects, visual aids, all sorts of props. Although he complained at great length about how he had to check his gun with us.", "BOOTH: Well, ya know without a gun, I'm practically naked. Isn't that right, Bones?", "WEXLER: Inspector Pritchard, meet Dr. Brennan.", "PRITCHARD: Charming WEXLER: She's exactly like me.", "PRITCHARD: Charming, tenacious, salacious, sophomoric, euphoric, noble, ignoble, fatuous, horrid, morbid, torpid and tedious.", "WEXLER: Flattery will get you absolutely nowhere, Cate. So you found Portia Frampton?", "PRITCHARD: Well, the way we usually work, Ian, is I drag the bodies out of the Thames and you use your extraordinary capabilities to identify them.", "BOOTH: Bones! They're like the English version of me and you.", "WEXLER: But do you think it might be her?", "PRITCHARD: Well, this certainly is her car. Portia Frampton, she's an American, as is her father. (to Booth and Brennan) Do you know him?", "WEXLER: Not all Americans know each other, Cate. There are quite a lot of them.", "PRITCHARD: Roger Frampton: airlines, internet ventures, luxury construction.", "WEXLER: Full disclosure, Cate. I'm currently analyzing one of his construction sites. Frampton wishes to build skyscrapers over what may prove to be a Bronze Age treasure trove or maybe just a rubbish tip.", "BRENNAN: Well, they aren't mutually exclusive.", "WEXLER: Exactly.", "(Brennan and Wexler laugh.)", "PRITCHARD: (to Booth) This vehicle's number plate matches Miss Frampton's. Obviously, this vehicle entered the Thames at some distance upstream before coming to ground here.", "WEXLER: What do you think, Dr. Brennan? Female or transvestite?", "BRENNAN: Female.", "WEXLER: Mhm.", "BRENNAN: Late teens, early 20's.", "WEXLER: Penetrating trauma to the parietal bone.", "BRENNAN: (to Booth & Pritchard) Someone hit her on the head with a sharp object.", "WEXLER: You have to do that as well, do you? Translate for them?", "BRENNAN: Mhm.", "BOOTH: You have to deal with that, too?", "PRITCHARD: (to Brennan & Wexler) Is it murder?", "BRENNAN & WEXLER: (in unison) Yes.", "PRITCHARD: If this is Portia Frampton then her father will no doubt demand FBI involvement.", "BRENNAN: Why?", "PRITCHARD: They're American. Well, you won't have any real jurisdiction, you understand. Well, not beyond what I grant you out of courtesy.", "BOOTH: Well, that whole \"no jurisdiction\" thing - that really doesn't fly in the FBI.", "BRENNAN: Just tell him he can have a gun.", "PRITCHARD: But he can't.", "BOOTH: Well, as they say in America, \"Hasta la vista, baby\"", "PRITCHARD: Agent Booth. I will - I will do my utmost to get you a gun.", "BOOTH: In that case.. excuse me - (he brushes past Pritchard to go stand next to Brennan) Bones and I are the best crime-solving team in America.", "BRENNAN: Well, we're in England.", "WEXLER: Let's all just try and pull together, shall we? One nice little happy transnational unit of inquiry.", "BRENNAN: Well, we should have these remains set back to the Jeffersonian as well as any silt samples and parts of the vehicle that may contain trace evidence.", "PRITCHARD: How do you feel about that, Dr. Wexler?", "WEXLER: Oh, I'm looking forward to completely surrendering myself to Dr. Brennan.", "BOOTH: You heard her: Back to the Jeffersonian, all of it. Put it in the overhead.", "(Opening Credits)", "(Cut to: Medico Legal Lab - Forensics Platform. The remains and other items arrive at the Jeffersonian.)", "ANGELA: Uh, Brennan sent all this evidence from England?", "CLARK: Not just evidence, but actual human remains.", "CAM: The Brits used dental records - no jokes, please - to identify the daughter of a wealthy ex-pat.", "HODGINS: Typical American billionaire. He thinks we can do it better.", "CLARK: Because we can do it better.", "CAM: X-rays for you, Clark.", "CLARK: Thank you.", "CAM: I'll take the body, see if there's any soft tissue worth looking at.", "ANGELA: And these crime scene photos are mine.", "HODGINS: Check it out. British slime. So much more proper than American slime.", "CAM: Some kind of paper...", "ANGELA: I'll see if there's anything on it.", "CAM: Okay, as usual, I'll need constant progress reports.", "(Cut to: Medico Legal Lab - Angela walks into her office and stops to look at the picture. Behind her a man, Grayson Barasa, appears.)", "GRAYSON: Angela.", "ANGELA: Oh, my...Oh, my God!", "(Angela laughs and walks quickly towards Grayson. She jumps up, wraps her legs around him and kisses him.)", "ANGELA: (sighing) Grayson...", "GRAYSON: Angela.", "ANGELA: That's the last bit of sugar you're ever gonna get from me. I want my divorce.", "(Grayson just laughs - thinking she's kidding - but stops when he realizes that she's serious.)", "(Cut to: London, England - Crime Scene.)", "WEXLER: Portia Frampton, only daughter of Roger Frampton, 47, formerly of Ringwood, New Jersey and Sarah Frampton nee Burroughs, deceased 1994 of Cheltenham, England.", "BOOTH: God, you wouldn't believe what my hotel gave me for breakfast. It was like this brown goo and some kind of meat. I think it was a sausage about the size of my finger.", "BRENNAN: I had an entire buffet.", "BOOTH: Well, you're staying at the Duke of something, alright? I'm at the Beefeater Hotel Motel.", "PRITCHARD: Ate at a Beefeater? That's brave.", "BOOTH: Yeah, brave is right. (takes a sip of his drink) This is the weakest coffee I've ever had.", "BRENNAN: Booth, that's tea.", "(He takes the cup and empties it into the river)", "PRITCHARD: Okay, two weeks ago, Miss Frampton was last seen leaving her home the morning after her 21st birthday party.", "BOOTH: That's quite a coincidence that Dr. Wexler is working for the victim's father.", "WEXLER: Well, not working for him, actually, working for the city but I shall check my diary to see if I killed her.", "PRITCHARD: Portia's party broke up around 2am and she was reported missing the following afternoon.", "BOOTH: Hmm. The question is - why?", "WEXLER: She was probably reported missing because nobody could find her.", "PRITCHARD: Ian...", "WEXLER: And I suspect the reason why nobody could find her was because Portia was in a car on the bottom of the River Thames. Just a theory, mind you.", "BOOTH: Right, it's a great theory. (he hands Wexler his cup) Can you hold onto that for one second? Thanks. Me and uh, Dr. Brennan will go talk to the family.", "PRITCHARD: Together?", "BOOTH & BRENNAN: (in unison) That's what we do.", "WEXLER: You, an inspector? That's extraordinary.", "PRITCHARD: Sweet.", "(Cut to: Medico Legal Lab. Forensics Platform.)", "CLARK: Portia Frampton was struck from behind. Trauma to the zygomata suggests that she fell to the ground and then was struck again at least two more times.", "CAM: Weapon?", "CLARK: The Brits weren't able to recover all the skull fragments so it's nearly impossible to tell.", "(Angela enters)", "ANGELA: Excuse me. I'd like you to meet my husband. My soon-to-be ex-husband.", "GRAYSON: We must talk.", "CAM: This is Birimbau?", "GRAYSON: I prefer my real name: Grayson Barasa. Very nice to meet you.", "ANGELA: Listen, uh, I realize that Grayson is very lovely.", "CAM: He certainly is.", "GRAYSON: Thank you.", "CLARK: He's a big dude.", "ANGELA: But until Grayson hands over signed divorce papers, I don't really need Hodgins seeing everybody gawking at him like he's some kinda god.", "CAM: Yeah, but he is some kinda god. The best kind.", "ANGELA: Cam. A little help here.", "CAM: Yeah.", "(Sweets enters and sees Grayson.)", "SWEETS: Oh, my God. Poor Hodgins. Wow. (he laughs and continues laughing) Look at that guy. He's just... Look at him! I'm sorry. (continues laughing)", "(Cut to: Medico Legal Lab - Hodgins Desk)", "ANGELA: Hodgins?", "HODGINS: Hey, Angie.", "ANGELA: This is Grayson Barasa. Birimbau.", "HODGINS: Please tell me you are here to sign the divorce papers.", "GRAYSON: I can't do that. I am still in love with Angela.", "HODGINS: Of course you are. Uh, I understand, but Angela is in love with me.", "ANGELA: I told you, Grayson.", "GRAYSON: Angela, do you remember the night we met?", "ANGELA: Vaguely.", "GRAYSON: Ah, the waves were phosphorescent, like the world was upside down and we were swimming naked through the Milky Way.", "HODGINS: Bioluminescent phytoplankton. Nothing mystic.", "GRAYSON: We talked about how the universe speaks to us. And when our lips met (to Hodgins) I apologize.", "HODGINS: Hm? No worries. Our lips meet all the time.", "ANGELA: Bells.", "HODGINS: What?", "ANGELA: No, Hodgins. Literally, bells started ringing. It was nothing cosmic.", "GRAYSON: Every bell on the island rang out.", "ANGELA: It was during the Shark Festival of Bells. What did you expect to happen? A 21-gun salute?", "HODGINS: So-so-so... what about the divorce papers?", "GRAYSON: You need time to talk.", "(Grayson leaves Angela and Hodgins by themselves - they start to laugh)", "ANGELA: Yuck it up, laughing boy. Wait until one of your ex-girlfriends comes to visit.", "HODGINS: Mhm. Yup. (He kisses Angela)", "ANGELA: Back to work.", "HODGINS: Yeah.", "(Cut to: Frampton's House - UK. Pritchard, Booth & Brennan are speaking with Mr. Frampton.)", "ROGER FRAMPTON: One of the reasons we moved away from the States was to get away. Now look what happened.", "BOOTH: All right, Mr. Frampton, look, we're very sorry for the loss of your daughter.", "ROGER FRAMPTON: What was it? Was it a robbery?", "BRENNAN: We don't know yet.", "BOOTH: I'm gonna need a list of your enemies.", "ROGER FRAMPTON: What enemies?", "BOOTH: Well, you're a very aggressive American businessman living here in England; you must have enemies.", "ROGER FRAMPTON: My daughter was a very sweet, innocent girl.", "BRENNAN: Not always, Mr. Frampton.", "(Brennan holds up a tabloid with a picture of Portia, topless, on the cover with the headline \"Heiress Loses Her Shirt\")", "ROGER FRAMPTON: What the hell are you asking for anyway?", "HEATHER MILLER: If you can put that picture away, Dr. Brennan.", "BOOTH: Miss Miller, how close were you with your stepdaughter?", "ROGER FRAMPTON: Heather and I are not married yet.", "HEATHER MILLER: Portia was like a younger sister to me. We talked about everything: clothes, school, Harry...", "BOOTH: Harry? Who's - who's Harry?", "ROGER FRAMPTON: Lord Henry Albert Bonham.", "BOOTH: Right. Is that some kind of a crusty old politician or something?", "PRITCHARD: Lord Bonham is a very un-crusty young man, heir to the Duke of Innesford.", "BOOTH: Right. Harry, Henry, Bonham, whatever. I read the tabloids. There was no mention of Portia dating any kind of royalty.", "ROGER FRAMPTON: The duke wanted it kept a secret.", "BRENNAN: The duke would be the lord's father.", "BOOTH: I got it, Bones. I understand, okay?", "BRENNAN: I'm just trying to help.", "BOOTH: I... All right, so the duke says something and all of a sudden, magically, it happens?", "HEATHER MILLER: Welcome to England.", "ROGER FRAMPTON: A murderer is a murderer, no matter how close he is to the throne. Please, help me find out who did this to my daughter.", "(Cut to: London Street. Booth and Brennan are driving in a red Austin)", "BRENNAN: Why did you rent this?", "BOOTH: I didn't rent this, okay? They screwed up at the rent-a-car place. I ordered an Aston. You know, James Bond? But they gave me -", "PRITCHARD: Yeah, they gave you an Austin. It could happen to anyone. Um...we drive on the left here, as you may recall.", "BRENNAN: Driving here requires a different skill set. I - I could take the wheel, if you like. I'm an excellent driver.", "BOOTH: Thank you, Rain Man. No, I'm fine. Tell you what, back home, we'd drag the whole Royal Family into interrogation, separately, let 'em stew, catch 'em in a lie.", "PRITCHARD: We'll we could do that, if you like, but it'll give them time to close up. Do stay to the left here, please.", "BRENNAN: Close up?", "PRITCHARD: Tighten ranks. Nothing is as impenetrable as the aristocracy freezing out hoi polloi interlopers. I must say, I'm rather looking forward to two Americans beating the lion in his den. Oh, the light is red.", "BOOTH: It's okay. I'm turning right.", "BRENNAN: No, no, turning right on a red here is the equivalent of turning left into the wrong lane on a red at home.", "BOOTH: That makes no sense.", "BRENNAN: Ut oh.", "PRITCHARD: No, the point is it's against the law to turn on a red!", "PRITCHARD: Brake! Brake!", "BRENNAN: Ahhhh!", "PRITCHARD: Brake!", "RANDOM MAN: Get out of the way, w*nk*r!", "BRENNAN: Okay, I think we should wait here until the traffic thins out.", "(Booth gets out of the car and starts to yell)", "BOOTH: God, I hate London! I hate England! I'm glad we had a revolution! Ah!", "BRENNAN: (answering her phone) Brennan.", "(Booth continues to rant outside the car while Brennan talks to Cam)", "BOOTH: And the weather it changes, it's cloudy...", "CAM: The fatty acid composition of the victim's cervical fluid caught my attention, so I ran some more tests. Turns out Portia Frampton was pregnant.", "BRENNAN: Pregnant? How far along?", "BOOTH: And coffee! What is so hard about making a cup of black coffee...", "CAM: About two months.", "BRENNAN: Okay. Thanks, Cam.", "(Booth gets back into the car)", "BOOTH: Okay, I feel much better. What'd I miss?", "PRITCHARD: Lord Henry Bonham, heir to the Duke of Innesford, knocked up the victim.", "BOOTH: Right. The Royals hate bastards.", "BRENNAN: Only the ones that don't make king.", "BOOTH: Okay, hang on, girls. Let me get out of this toilet swirl.", "(Cut to: Bonham Estate. Booth, Brennan and Pritchard arrive)", "BOOTH: Woah, nice castle!", "BRENNAN: No. Castles were originally designed for military purposes to withstand attack. (Brennan and Pritchard get out of the car) This, is more properly called a palace.", "BOOTH: Bones, a little help getting out, Bones?", "BOOTH; Geez, oh, God. Geez. Heads up. Getting out of this thing is like being born.", "(The butler appears at the door)", "BOOTH: Ooh. That the duke?", "PRITCHARD: It's his gentleman's gentleman.", "BRENNAN: It's a butler.", "BOOTH: How you doing there, sport?", "(Pritchard flashes her badge)", "BOOTH: Right. (flashes his badge) FBI.", "JAMISON: You might as well put this one away; it's worthless.", "BOOTH: And yet here I am. (to Pritchard) You mind waiting outside?", "BRENNAN: Why?", "PRITCHARD: It's because Agent Booth not only wants the Aristocrats off balance, he wants them upside down.", "BRENNAN: Well, he'll annoy them, you mean.", "PRITCHARD: Let's say the Duke and Duchess won't be used to your approach. Word of advice: when they start commenting on you to each other, you've got them on the run.", "BOOTH: Right.", "(Cut to: Medico Legal Lab - Cam and Angela are walking toward Hodgins desk)", "ANGELA: I noticed in the crime scene photos that the backseats of which started me thinking that maybe the victim was transporting something, worth stealing.", "HODGINS: So Brennan had strips of material sent from the vehicle, which I analyzed: ST-90 transmission oils, made with poly-alpha-olefin, leaded, acidic H2O residue, and plenty of polycyclic aromatic hydrocarbons.", "ANGELA: Don't make her ask.", "CAM: Thank you, Angela.", "HODGINS: A motorcycle was transported in the back of the SUV.", "ANGELA: More likely a scooter, given the size.", "CAM: The killer kills, loads the body and his scooter.", "HODGINS: Or moped.", "CAM: Drives to the Thames-", "HODGINS: Dumps the car, body and all, in the river, and rides his scooter home.", "ANGELA: Through the teeming streets of London.", "(Cut to: Bonham Estate. Booth & Brennan are inside being led by Jamison)", "BOOTH: So you're an honest-to-God real butler?", "JAMISON: My family has served His Grace's family for eight generations.", "BOOTH: Yeah, well, a real butler would offer to take my hat.", "JAMISON: A real gentleman would be wearing a hat.", "BOOTH: Whoa, look at this guy.", "(Booth stops to look at body armor and goes to touch it)", "JAMISON: Uh, yes, sir. It dates to - Please don't touch that, Agent Booth.", "BRENNAN: Late 1490s or early 1500s. German design?", "JAMISON: His Grace's ancestors fought for Henry VIII in France.", "BOOTH: Oh, geez, look at the size of this. That's one large cup. Probably to scare the sissy French.", "BRENNAN: Well, actually, Henry VIII started the trend of large codpieces because he had syphilis so his pen1s was extremely sensitive to anything touching it.", "JAMISON: His Grace favors the \"intimidate the enemy\" version, should the topic arise. His Grace, Her Ladyship, and Lord Henry will meet you in the morning room.", "(Cut to: Bonham Estates. Morning Room)", "HARRY: Two weeks and I'd heard nothing from Portia. I knew it'd turn out to be something terrible.", "BRENNAN: You kept your relationship with Portia Frampton a secret.", "HARRY: It didn't mean I didn't love her.", "BOOTH: Well, where we come from, that's exactly what it means.", "DUKE GERARD BONHAM: You're quite certain this American has the right to pose these questions?", "BOOTH: Tell you what, you call Scotland Yard and the answer is always gonna be yes. So, Portia ever come to visit this, uh, palace?", "DUKE BONHAM: This house? No.", "BOOTH: Why? I mean, you were in love with her. Right, lord?", "BRENNAN: (to Booth) Well, it's my understanding that the class system in England, though very much relaxed since the Second World War, still exists at the highest levels of society. (to Anne Bonham) That's you, right?", "ANNE BONHAM: One prefers not to make such an assertion.", "BRENNAN: How long did you and Portia Frampton carry on a sexual relationship?", "HARRY: Did I ever say I was sleeping with her?", "(Paige Bonham, Harry's grandmother, enters the room)", "PAIGE BONHAM: Of course you had s*x with her, Harry, and I'm sure she rather enjoyed it. You're a well-formed, athletic boy. Did you offer refreshments?", "DUKE BONHAM: I had no intention of encouraging them to stay longer, Mother.", "PAIGE BONHAM: Tea, please. Harry kept his relationship with the Frampton girl secret because her father is a rapacious crook who uses intimidation and bribery to get what he wants.", "BRENNAN: So, it had nothing to do with this? (she holds up the tabloid)", "ANNE BONHAM: Oh, they brought that wretched rag into the house.", "HARRY: I was there. It was the afternoon before Portia's birthday party.", "BOOTH: So you saw the photographer?", "HARRY: Of course not. I'd have thrashed him.", "BOOTH: Ha! The lord was gonna go all medieval.", "(Jamison enters with tea)", "HARRY: Portia's party was lovely. She left before I awoke the next morning. That's the last time I saw her.", "BRENNAN: But you did hear from her.", "BOOTH: Right, because, uh, cell phone records indicate that you talked that morning.", "HARRY: It was a very personal conversation.", "BRENNAN: Did you discuss her pregnancy?", "BOOTH: I got it. I'll tell you what. There was an argument, Portia wanted to keep the baby - you didn't...", "HARRY: I-I assure you I had absolutely no idea that...", "PAIGE BONHAM: Could he possibly be suggesting that pregnancy is a motive for murder?", "LORD BONHAM: Nonsense. Arrangements would have been made.", "BOOTH: Right, and you're positive that you're the father?", "(Harry starts toward Booth)", "LORD BONHAM: Harry.", "BOOTH: Look at that. I'm being intimidated by royalty.", "HARRY: If you must know, Portia broke up with me. She said there was to be no discussion.", "BOOTH: Ah. There ya go. Motive for murder, no matter what country we're in, hmm? (he sips the tea) Mmmm. What is this?", "PAIGE BONHAM: It's Assam black tea. Very strong. Call it the upper class version of a cup o' joe.", "BOOTH: Wow. Cheers.", "[SCENE_BREAK]", "(Cut to: Oxford Basement. Angela is linked via computer so that Brennan can get her findings. Pritchard and Ian are there too.)", "ANGELA: Hey, I've been looking at those tabloid photos of the victim. Now, in a telephoto shot, most of the frame is blurry. Only the main subject is in focus.", "BOOTH: What is this place on the weekends? A dungeon?", "ANGELA: You see here? These pixels look like they've been altered to appear fuzzy.", "WEXLER: So it wasn't really a telephoto lens?", "BOOTH: You light it with torches, right?", "ANGELA: No, it was a telephoto lens but it's been doctored to look as though it's over 500 mm when I put it at more like 80.", "PRITCHARD: Well, why would anyone do that?", "ANGELA: You see that white sliver?", "WEXLER: You mean the white blob?", "ANGELA: Yeah, it's a reflection of light, almost as though the photographer was behind glass. And... in Portia's eyes do you see that?", "BRENNAN & PRITCHARD: No.", "ANGELA: It's a reflection of a house. Do you see where I'm going?", "BRENNAN & PRITCHARD: No.", "BOOTH: Someone took the picture inside the house.", "ANGELA: Right. With an 80-millimeter lens. Sweetie...my ex-husband is here with the divorce papers, so I'll fill you in when you get back.", "WEXLER: I love the mix of personal and professional you people seem to manage.", "BRENNAN: Harry could have taken the photograph.", "PRITCHARD: Yes, that's certainly a possibility, but Harry had no motive to take the photo. We're most likely searching for a disgruntled servant who was looking to cash in.", "(Cut to: Royal Diner. Grayson is sitting at the counter, drinking coffee. Hodgins enters and taps him on the shoulder.)", "GRAYSON: I apologize for eating without you, but, apparently, to hold the table, you have to order.", "HODGINS: Yeah. I'm not here for food. I'm here to get you to sign the divorce papers.", "GRAYSON: In my place, would you do that?", "HODGINS: I'm not in your place.", "GRAYSON: I've been searching for Angela for five years.", "HODGINS: I know. I know. Our private investigator told us everything. You built Angela a home with your bare hands while simultaneously smuggling medicine to children in Cuba and supporting an orphanage. You're a saint. I get it.", "GRAYSON: If you believe that to be true, then you should want what is best for Angela.", "HODGINS: I do. And guess what? It's me.", "GRAYSON: Why are you better than me?", "HODGINS: Obviously, I'm not. But I do love her more than you.", "GRAYSON: Ah, you cannot possibly know that.", "HODGINS: And yet, I do.", "GRAYSON: We are at an impasse.", "(Hodgins gets up and leaves. Grayson follows him outside)", "GRAYSON: You have no sense of dignity.", "HODGINS: Yeah. I'd give up my life for Angela, so what's a little dignity?", "GRAYSON: She kissed me, you know.", "HODGINS: On the cheek or...?", "(Angela and Sweets show up)", "ANGELA: What's going on?", "SWEETS: Oh, man.", "HODGINS: He says you kissed him.", "ANGELA: I did.", "SWEETS: Whoa.", "ANGELA: It was a good-bye kiss.", "GRAYSON: There's nothing you can do. You must accept...", "(Hodgins punches Grayson in the face)", "ANGELA: Hodgins!", "SWEETS: (takes off his jacket and hands it to Angela) Here. Can you take this, please?", "(Sweets trips and falls on the sidewalk, flat on his face. Grayson picks up Hodgins and throws him in a garbage truck and it drives away.)", "ANGELA: Nice, Grayson.", "(She throws down Sweets' jacket and walks away)", "GRAYSON: Angela...", "(Cut to: William Curry & Partners - Chambers of Law)", "BRENNAN: We've been working on identifying the photographer who took the tabloid picture of Portia.", "HEATHER MILLER: Surely, identifying her murderer is more important.", "BOOTH: You see, paparazzi, they follow people so maybe he saw something. I don't know, maybe the actual killer.", "BRENNAN: The photo was taken from a bedroom in Portia's home.", "HEATHER MILLER: So, you're suggesting the help let a paparazzo into the house.", "BRENNAN: Actually, the help, told Inspector Pritchard that you were in the room.", "BOOTH: Look. Maybe you want to tell us why you did it before Roger gets here?", "HEATHER MILLER: Roger and I have set five wedding dates over the years and each time, Portia found a way to make him postpone. She had her father wrapped around her little finger.", "BRENNAN: So you killed her?", "HEATHER MILLER: Don't be ridiculous. No, I merely wanted Roger to regard Portia as a sexually mature adult with her own agenda instead of as an innocent child.", "(William Curry & Roger Frampton enter the room - Curry is dressed in his judges outfit)", "WILLIAM CURRY: Sorry I'm late. Court went rather longer than expected. Heather, I trust you've said nothing.", "BOOTH: Too late.", "ROGER FRAMPTON: Too late why?", "BRENNAN: Your girlfriend sent the naked picture of your daughter to the tabloids so you'd stop thinking that she was perfect, and finally get married.", "WILLIAM CURRY: What Americans lack in subtlety, they make up with clarity.", "HEATHER MILLER: Roger, I'm so sorry.", "ROGER FRAMPTON: Why the hell would you do that?", "HEATHER MILLER: Please believe me. I would never do anything to harm Portia. I simply made a terrible mistake. (Roger leaves) Roger! Oh, Roger! (Heather chases after him)", "WILLIAM CURRY: I trust this interview is over.", "BOOTH: Actually, I just have one more question. Who the hell would want to wear this?", "(He points to the wig)", "(Cut to: Restaurant near the Tower Bridge. Booth and Pritchard are relaxing and having a beer.)", "PRITCHARD: It's so nice to see you relaxing, enjoying some good British beer, Agent Booth. Cheers.", "BOOTH: Cheers. Tell you what. I'd like to see that open. (he points to Tower Bridge)", "PRITCHARD: Really? Why?", "BOOTH: Luck.", "PRITCHARD: Well, you'd have to be ridiculously lucky to see something like that,wouldn't you?", "BOOTH: That's my point.", "PRITCHARD: (pushes a box towards him) Well, you did get a little lucky today.", "BOOTH: Yeah. (he opens the box) That's a Walther PPK. It's a James Bond gun. Booth. Seeley Booth.", "PRITCHARD: No, that's terrible.", "BOOTH: Thanks, Pritch.", "PRITCHARD: But, please, um, just remember, though, that if you do use it, I'm the one they'll hang.", "BOOTH: Hey, I'm a good shot. (his phone rings) Oh. Ahh, it's the American squints. You'll love these people. (turns on speaker phone) Booth. Seeley Booth.", "ANGELA: (on speaker phone) Hey, uh, the paper you sent me turns out to be a letter to Portia Frampton from her mother.", "PRITCHARD: A keepsake from her childhood, perhaps?", "ANGELA: No, it's dated this year.", "BOOTH:Okay, what does the letter say?", "ANGELA: Uh, the entire body of the letter is indecipherable. The date and the salutation and the signature are clear, though.", "BOOTH: Thanks, Ange.", "PRITCHARD: So, Portia Frampton's mother is still alive?", "BOOTH: That raises a whole set of questions.", "(Cut to: Dig Site. Wexler and Brennan work at the dig site where Wexler is tasked with identifying Bronze Age artifacts. His students, Vera and Cyril.)", "CLARK: Visible on the L2 is an area of radiolucency.", "WEXLER: Can't see a damn thing.", "BRENNAN: Give us a moment, Clark.", "CYRIL: We found a few more bone fragments today, Dr. Wexler.", "WEXLER: Good. How old?", "VERA: No more than 100 years.", "WEXLER: To prevent Frampton from building his beloved skyscrapers on this site we need to find something from the Bronze Age or older.", "CLARK: There is evidence of reabsorption of the surrounding bone.", "CYRIL: Ah, here, yes, I see. Very interesting.", "WEXLER: Cyril, you're being impertinent. Please stop speaking.", "VERA: Well, could the anomaly be a hemangioblastoma ?", "WEXLER: Okay, off you go and don't come back until you find at least one Bronze Age ossified funny bone.", "BRENNAN: Have Cam do a histology, Clark.", "CLARK: Will do, Dr. Brennan.", "(She closes the computer screen)", "BRENNAN: So... what now?", "WEXLER: Well, I thought quick drink, back to yours for some s*x, and then out for a late supper.", "BRENNAN: I'm inclined to accept.", "WEXLER: I'm ever so pleased.", "BRENNAN: But Booth says I shouldn't trust you.", "WEXLER: And why is that?", "BRENNAN: Well, he says you like to rack 'em up.", "WEXLER: Rack 'em up? How vulgar.", "BRENNAN: Booth is very good at reading people.", "WEXLER: Hmm. Well, in that case, how about we start with the supper, and then let the chips fall where they may?", "BRENNAN: That would be an acceptable compromise.", "(Cut to: Medico Legal Lab - Hodgins Desk.)", "HODGINS: I checked out the skull fragments for microscopic traces.", "CAM: (looks at the screen) How shiny and pretty. What is it?", "HODGINS: Mother-of-pearl. Have you talked to Angela today?", "CAM: Yes. Are you saying our victim was attacked by an abalone?", "HODGINS: How mad is she?", "CAM: Mad, mad, mad.", "HODGINS: I thought women secretly liked it when we fought over them.", "CAM: \"Women\" is an unacceptable generalization.", "(Cut to: London Street. Booth is attempting to parallel park and not doing such a good job.)", "BRENNAN: Well, you should look over your other shoulder.", "BOOTH: Bones, I've been driving since I was 12, okay?", "BRENNAN: Would it make you less agitated if I told you that I didn't sleep with Dr. Wexler last night?", "BOOTH: Okay, look. I'm not agitated, okay? I'm agitated because of driving this little car, that's all. Look, Wexler is just - I'm not agitated because of you and Dr. Wexler. Wexler's just another guy looking for a one-night stand. That's it. Whoa.", "BRENNAN: So?", "BOOTH: So, he doesn't take it seriously.", "BRENNAN: Seriously? What do you mean? You never laugh during s*x? Because I do. Whoa, do you see that lorry?", "BOOTH: I see that lorry. It's a truck, okay? We're an American, and that is a truck. I laugh during s*x. It's just, it's not that kind of serious.", "BRENNAN: Well, I think Dr. Wexler is serious about having s*x with me. Very interested.", "BOOTH: Okay, news bulletin for ya, Bones. There's not a guy in this country who wouldn't want to have s*x with you. Probably half the gay men...whoa, easy.", "BRENNAN: Are you being nice about me or awful about British men?", "BOOTH: Wexler is not special; you are.", "(Brennan's phone rings)", "BRENNAN: (into phone) Brennan.", "CAM: Am I interrupting anything?", "BRENNAN: No, I... I'm just helping Booth drive.", "CAM: Ooh, Booth shouldn't be behind the wheel. He isn't adaptable.", "BOOTH: I'm Mr. Adaptable, okay? And the mirror is the size of a thumbnail.", "BRENNAN: Well, what do you expect when you rent a car the size of your thumb?", "CAM: I don't think there's enough fetal tissue to get a DNA reading, but...", "BOOTH: Cam, can we just be quiet until we get into the flow of traffic here?", "RANDOM MAN: Get out of the way, w*nk*r!", "BRENNAN: You think I'm special?", "BOOTH: Of course I think that you're special, yes.", "BRENNAN: Thank you. I will take your romantic advice under advisement. Now you're too far to the left.", "BOOTH: Ohhh!", "BRENNAN: You're gonna hit the curb!", "BOOTH: We're good.", "BRENNAN: Yeah, unless we get a flat tire.", "BOOTH: No, we're good.", "CAM: If I could speak again? I had better luck with the tumor. Our victim suffered from Von-Hippel Lindau disease.", "BRENNAN: We got a flat tire.", "BOOTH: How did that happen?", "BRENNAN: Uh, it... there wasn't any evidence of VHL in either the mother's medical records or the autopsy report.", "CAM: But it's hereditary, so her father must have it.", "BOOTH: Roger Frampton worked for the NHL?", "BRENNAN: He - he may have VHL disease.", "BOOTH: What if he doesn't have it?", "BRENNAN: Then Roger Frampton is not Portia Frampton's biological father.", "BOOTH: Oh, God. (the horn starts blaring) Great. That's just great. I hate this car.", "(Cut to: Frampton's House. Pritchard, Booth & Brennan are back at the house. This time, Jamison is there.)", "ROGER FRAMPTON: My wife is not alive.", "BOOTH: Your daughter was carrying a letter from her mother.", "BRENNAN: It was dated Portia's 21st birthday.", "ROGER FRAMPTON: That's impossible. Tell your lab boys they got it wrong.", "WILLIAM CURRY: Roger, the lab is, in fact, correct. Portia was indeed carrying a letter from Sarah, dated her 21st birthday. Portia and I met at a cafe in Knightsbridge, the day after her party. I gave her the letter personally.", "PRITCHARD: I think you'll find Sarah knew she was dying and entrusted Mr. Curry with letters, which he delivered on Portia's important birthdays.", "BRENNAN: How do you know?", "PRITCHARD: Well, it's exactly what I'd have done if I were dying and leaving behind a young daughter.", "BOOTH: That's all very touching and all, but it still makes Wig-wearing Willy here the last person that saw Portia alive.", "WILLIAM CURRY: For God's sake, now I'm a suspect?", "ROGER FRAMPTON: You should've told me, William.", "WILLIAM CURRY: You're not the only person who engages me for my discretion, Roger.", "BRENNAN: What did the letter say?", "WILLIAM CURRY: I'm sure I couldn't possibly tell you.", "BRENNAN: Uh, Mr. Frampton, how is your health?", "ROGER FRAMPTON: What the hell has that got to do with anything?", "BRENNAN: Any nerve pain, dizziness, headaches?", "ROGER FRAMPTON: No, I'm healthy as an ox.", "BOOTH: Are you aware that Portia is not your biological daughter?", "PRITCHARD: Perhaps I should conduct the rest of this interview.", "(Cut to: Medico Legal Lab - Lounge Area. Angela is sitting on the couch when Sweets joins her.)", "SWEETS: Angela?", "ANGELA: Here we go.", "SWEETS: Angela, men are idiots. Seriously.", "ANGELA: Just to be clear, are you a man or a boy for the purposes of this conversation?", "SWEETS: When I was ten, the kid next door had a turtle party wagon. It's an accessory for the Teenage Mutant Ninja Turtles action figures. It's a toy. No? Anyway, I loved that party wagon. I wanted that party wagon. So I climbed the tree outside his bedroom window but the tree had a fungus and his dad was too cheap to hire an arborist so unbeknownst to me, some of the branches were dead.", "ANGELA: Lucky for you, I, uh, I enjoy a convoluted story with my hot beverage.", "SWEETS: I'm in the hospital, broken arm, concussion and the kid with the party wagon comes in. I confess everything. You know what he says? \"I would've given it to you.\"", "ANGELA: Ah. He had a little gay crush on you.", "SWEETS: He did?", "ANGELA: Mhmm.", "SWEETS: Oh, man, that explains a lot.", "ANGELA: But I'm guessing that you have a different point to the story, like maybe I'm the party wagon.", "SWEETS: No, you're the gay neighbor boy. Your love is the party wagon. Grayson is the tree. I'm Hodgins. Think about it.", "ANGELA: Which brings us back to the point that all men are idiots.", "SWEETS: See how I worked that? It's because I'm so good.", "ANGELA: Uh. Uh, huh.", "(Cut to: Medico Legal Lab - Hodgins Desk)", "HODGINS: The treads in the victim's tires were mostly full of river silt but I did find a few more materials. Crushed scleractinian coral. Possibly from Australia.", "CAM: She was killed in Australia?", "HODGINS: It's used as a surface for private roadways in England.", "CAM: How does that help us?", "HODGINS: Well, it's been illegal to harvest this stuff for years, so the roadway in question is fairly old. And even when this stuff was available, it was incredibly expensive.", "CAM: And the organic material?", "HODGINS: Deciduous pinnate leaflets, medium pink petals. It's a rosa damascena. An antique rose bush.", "ANGELA: Hey, Hodgins...", "HODGINS: Yeah. Hey. Hi, Angela.", "(She reaches out and grabs his hand. He gets up and they walk away)", "CAM: Fine, I'll just pass this along to Booth and Dr. Brennan in England. You guys go ahead and - Security cameras, people. The building's filled with security cameras.", "(Cut to: Street near the Royal Diner. Hodgins and Angela are walking)", "ANGELA: Can't have you punching my ex-husbands.", "HODGINS: Deal. So long as you don't kiss your ex-husbands. For longer than 3 seconds. On the lips.", "ANGELA: Deal. Look, it's simple. My heart isn't yours to claim. It's mine to give away.", "HODGINS: I get that. I mean what you're saying, not your heart.", "ANGELA: Idiot, you do get my heart.", "HODGINS: Because you're giving it to me?", "ANGELA: At last. A glimmer of understanding.", "HODGINS: Wow, that is so flaky and New Age and wonderful.", "ANGELA: Yeah.", "(Hodgins pulls her towards him and kisses her. Grayson is across the street and sees. Just as he is about to go over by them, a bunch of people on bikes ride past - their bells ringing. Grayson starts laughing.)", "GRAYSON: Okay! Okay! I get it. The universe speaks. I hear it.", "(Angela and Hodgins continue to kiss. Grayson is gone.)", "(Cut to: London Street. Booth and Brennan are waiting to get their tire repaired.)", "BOOTH: Guy said he was going to fix the flat tire. What's it doing up on the truck?", "BRENNAN: (on phone) Crushed coral and rose petals. Hodgins found coral and roses in Portia Frampton's tires.", "Who takes a car with a flat tire and puts it up on a truck, all right? You fix it. That's what you do. If there was a spare tire, I'd have fixed it.", "BRENNAN: (to Booth) Probably you cracked an axle or something. (into phone) Thanks, Cam. That was very useful. (she hangs up)", "BOOTH: All right, great, now I gotta call Agent Pritchard. I'm gonna have to ask her for a ride. (Brennan is picks something out of the tire and smells it) You know, England is not good for my personal dignity - all because of a flat tire. (he turns and sees her smelling it) Wait. Whoa, whoa, Bones, don't smell that. You don't know where that's been.", "BRENNAN: Yes, I do. This is crushed coral and it smells like roses.", "BOOTH: Where did we pick up crushed coral?", "BRENNAN: The private road and driveway at the Bonham Estate.", "BOOTH: Portia Frampton drove to the Bonham Estate just before she died.", "BRENNAN: And the royals said she never came to the house.", "BOOTH: They lied.", "(Cut to: Bonham Estate. Wexler, Pritchard, Booth & Brennan arrive)", "WEXLER: You honestly believe the Duke of Innesford is Portia Frampton's biological father.", "BRENNAN: Both he and his mother show symptoms of VHL disease.", "WEXLER: Well, we're standing on coral; those are rose bushes, and that is a scooter that could fit very nicely into the back of an SUV.", "BOOTH: That's great. Okay, what's taking our backup so long?", "PRITCHARD: I didn't request backup.", "BOOTH: Well, great. In that case...", "(Booth reaches for the gun in his ankle holster)", "BRENNAN: I want a gun. I'm a very good shot and I - I've killed before. It didn't bother me as much as I thought.", "BOOTH: Well, it bothered you a little.", "BRENNAN: Well, yes, but not as much as I thought.", "WEXLER: If there's gonna be gunplay, I think I'll wait in the car.", "PRITCHARD: Nonsense, Ian, there won't be any gunplay.", "BRENNAN: Why not?", "PRITCHARD: We won't need guns because we have the letter from Portia's mother.", "BRENNAN: We don't know what it says.", "BOOTH: Ah, but they don't know that. Good one, Pritch.", "WEXLER: What'd you just call her?", "PRITCHARD: \"Pritch,\" Ian. He called me, \"Pritch.\" Short for \"Pritchard.\" Will you please put that weapon away.", "BOOTH: Fine. It just feels wrong.", "(Cut to: Living Room. Bonham Estate.)", "BOOTH: I have a letter addressed to Portia from her mother.", "HARRY: Portia's mother died 14 years ago.", "PRITCHARD: She wrote it on her deathbed.", "WEXLER: On her deathbed? Well, you know what this means. Big doings.", "BOOTH: Big doings. (he takes a sheet of paper out of his pocket) So, I'm going to have Dr. Brennan read it out loud.", "(He hands the sheet of paper to Brennan)", "BRENNAN: What? (she takes it and starts 'reading') \"My dearest daughter, Portia...\"", "BOOTH: Did we mention it's dated Portia Frampton's 21st birthday? Start at the beginning, Bones.", "BRENNAN: \"My dearest daughter Portia...\"", "BOOTH: Skip to the part about her father.", "DUKE GERARD BONHAM: Wait. A moment. Please. Would you leave us, Harry?", "HARRY: Why?", "ANNE BONHAM: What's happening, Gerard?", "DUKE GERARD BONHAM: Please, trust me. This is not the way for Harry to discover certain harsh truths. Please, Harry. A little trust.", "PAIGE BONHAM: That must be one hell of a letter.", "DUKE GERARD BONHAM: You must believe me when I tell you that I had no idea of this before Portia read the letter to me.", "ANNE BONHAM: What? You met with Portia, here? What did it say?", "BRENNAN: It says that the Duke was Portia's biological father.", "PAIGE BONHAM: How remarkably unsavory.", "ANNE BONHAM: You couldn't possibly think that Gerard killed Portia to keep it a secret.", "(Brennan sees something hear the fireplace that could be a possible murder weapon)", "BOOTH: Why not?", "DUKE GERARD BONHAM: Portia asked me if I were her father. I admitted that it was more than possible.", "(Brennan hands it to Wexler)", "WEXLER: Mother-of-pearl. This is very possibly the murder weapon.", "PAIGE BONHAM:Isn't this the part where we call for legal counsel?", "DUKE GERARD BONHAM: I did not kill Portia Frampton, Mother. Thank you for your faith.", "PRITCHARD: I believe I'm going to have to request you to accompany me to Scotland Yard, Your Grace.", "BOOTH: (to Brennan) They request?", "BRENNAN: It's a polite country.", "JAMISON: (clearing his throat and stepping forward) That will not be necessary. It was I.", "DUKE GERARD BONHAM: Jamison!", "BOOTH: The butler?", "BRENNAN: You ordered your butler to kill Portia Frampton?", "JAMISON: The Duke had absolutely nothing to do with it.", "PAIGE BONHAM: If Jamison confesses, Harry need never know that Portia was his sister. We'll provide you with the finest representation.", "JAMISON: Thank you, mum.", "BOOTH: Wow.", "(Cut to: Restaurant near Tower Bridge. Booth, Brennan and Wexler are sitting at a table having drinks.)", "BOOTH: Come on, you mean to tell me that neither one of you get the weirdness of this. All right, the butler did it. It was the butler!", "WEXLER: Inspector Pritchard will be hours in the interrogation room but the fact is we'll never really know for certain.", "BRENNAN: You mean he might just be protecting the duke?", "WEXLER: It's utterly conceivable, yes. (Wexler gets up to leave but says to Brennan) Well, I thought I might try and entice you back to Oxford with me tonight.", "BOOTH: You know I do have a gun in England, and I really have been dying to use it.", "BRENNAN: I'll handle this.", "(She gets up and leads Wexler away from the table)", "BOOTH: (shouting after them) You know, it's a James Bond gun. It's a Walther PPK, by the way.", "BRENNAN: Ian, I think you're a lot of fun.", "WEXLER: Oh, hell's bells and buckets. I think I know where this is going.", "BRENNAN: It would upset Booth if I slept with you.", "WEXLER: You see, rationally speaking, if you were to have someone operate on your brain, for example, you would want a surgeon who's done the procedure many hundreds of times. You know, someone who's absolutely at the top of their game. I don't really see why s*x should be any different.", "BRENNAN: Rationally speaking, you're absolutely right.", "WEXLER: Good. Then, we're settled. Off we go. (to Booth) Look out for the bridge opening, they say it's good luck. (to Brennan) That should keep him occupied for hours.", "BRENNAN: Common sense says you don't offend your partner for an hour of fun.", "WEXLER: An hour. What? One hour? You underestimate me, Dr. Brennan. (she leans over and kisses him on the cheek) This is absolutely the dregs, isn't it? I'll call you again before you leave. Who knows? You could be in a more rational frame of mind.", "(Ian walks away and Brennan heads back over by Booth and sits down)", "BOOTH: Why are you looking at me like that? I'm just here to help you pick out a guy, you know. Never mind. I'm just here to bring a little luck.", "BRENNAN: I don't believe in luck.", "(The Tower Bridge starts opening behind them, but neither notice.)", "BOOTH: What do you mean, you don't believe in luck? Okay, well, how do you explain when good things happen out of nowhere?", "BRENNAN: Define \"good things.\"", "BOOTH: You know, good things. Money in the bank. Uh, hey, Doris Day parking, a big piece of-", "BRENNAN: What's Doris Day parking?", "BOOTH: A big piece of the pie, that's good luck.", "BRENNAN: I call that a solipsistic perceptual response to the random nature of the Universe.", "BOOTH: Well, tomato, potato. Call it what you want. You know what? It's still luck.", "BRENNAN:You are lucky I understand you when you say things that make no sense.", "BOOTH: See, you just agreed with me that is was luck. You just agreed, right there, so I'll take that.", "BRENNAN: I did not agree!", "(Crossfade into Yank in the UK Part II)", "END." ]

[ "Having solved the murder of a wealthy American's daughter, Brennan and Booth are persuaded to remain in London when one of their English colleagues is killed." ]

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

[ "After an explosion in an outhouse, a body is discovered to have been left in the sewage. The body turns out to be a reality TV host with a long list of people that might want him dead and Booth and Brennan are left to narrow down the suspects." ]

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