All language subtitles for Bones (2005) - S02E03 - The Boy in the Shroud (1080p x265 EDGE2020).eng

Holy mother of God!

Ugh, geez!

BRENNAN:
Booth, what do we have here?

HODGINS: I bet I know.

That's... [sniffing]

lasagna.

Fishy rotten cat food and...

[sniffs ]
vulcanized rubber.

Excellent olfactory talents,
Hodgins.

-What happened?
-Well, it's obvious, isn't it?

A guy tried to beat
the yellow light,

he got T-boned
by a tractor trailer.

Well, what was
the semi carrying?

Aquarium sand,
but that's not--

No natural gas or propane?

No explosion, no fire?

No corrosive chemicals.

What...
do you need me for?

SAROYAN: You might want
to prepare yourself.

Or not.

BOOTH: Oh, man.

Okay, how bad does, uh,

garbage got to stink

to cover the smell
of a dead body?

I think the victim was a minor.

Okay, well, then, if you agree,
then this falls

under FBI jurisdiction.

It's a male.

Yes.

An adolescent.

Flatworms,
necrophagous flies

and beetles.

Yeah, he's been garbage
for about three weeks.

I didn't mean
that the way it sounded.

Fractures to the cranium,

sphenoid and occipital regions.

Neck's broken,

and the femur is shattered.

From the garbage truck
flipping over?

No. This damage
is more congruent

with a fall.

What do you got?

It's organic.

Whatever it is,

he brought it with him

from the crime scene.

How much of this
are you going to need?

The whole disgusting shebang.

Ugh! Everything?

Everything.

[grumbles]

He was wrapped
in a shroud?

Angela's analyzing the stains
on the cloth

while Hodgins figures out
what they're made of.

No finger pads left for prints.

How are we on dental records?

FBI's on it.

Multiple shards
of leaded glass

embedded
in the remaining tissue.

Massive contusions

congruent with a swan dive
onto a hard surface.

And take a look
at the upper spine.

Weighted impact against
the, uh, scapula and clavicle.

He was struck?

Yes, but not
hard enough to kill.

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.

No visible tats
or track marks.

You sound surprised.

Well, it's pretty obvious,
Bones.

He's either a junkie
or a hustler.

Why make that assumption?

Not many kids from the suburbs

end up rotting
in garbage trucks.

Fun factoid
from the front lines.

MONTENEGRO: Hey, guys.

Want to see something cool?

I assume
you're all familiar

with the Shroud of Turin.

Image of Christ's face
on the inside of a burial cloth.

Right, Booth is a
good Catholic boy.

It was revealed
to be a hoax.

Wasn't a hoax.

Okay, whatever you
want to believe.

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.

Are you saying you have enough
to assemble a face?

I call it the
Shroud of Montenegro.

I used computer tomography
to create X-Ray slices

of the underlying

facial architecture.

Selective
laser centering

allowed me to map
unimprinted areas.

Skin tone and hair color
were extrapolated

based on Dr. Saroyan's data.

I'm no expert,

but he sure doesn't look
like a street kid.

♪♪

I'm running
our facial reconstruction

through the Center for Missing
and Exploited Person database.

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.

SAROYAN:
Narrow the search

to street kids
in the foster system.

-Why?
-Because

statistically, that's where
this boy comes from.

It's far too early
to start narrowing our focus.

Runaways, street kids,
foster system.

Dr. Saroyan's the boss.

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.

Cam's right, Bones.

Got it.
Dylan Krane, 17.

SAROYAN: This is why I was
appointed this job, Dr. Brennan.

To streamline
the process.

Honor student from a
nice neighborhood in Alexandria.

Oops.

He disappeared three weeks ago

with his girlfriend
Kelly Morris, who is

in the foster system.

Good.

There we go.

I guess your first move
is to find Kelly Morris.

No, the first move
is to inform the Kranes

that we just found their son.

MRS. KRANE:
Are you positive?

MR. KRANE: We don't
need to identify him?

To-to make sure,
I mean.

I need to see my son.
You understand?

Mr. and Mrs. Krane,
I realize this is very hard,

but the reason why we asked you
to come to the Jeffersonian--

I'm a forensic
anthropologist.

What? I don't understand
the significance of that.

I'm called in when a victim

is too decomposed...
to identify.

Oh, God.

I was able
to identify Dylan

beyond the shadow
of a doubt.

I'm sorry.

That's Dylan.

How did he die?

He fell from a height

of approximately 50 feet.

Suicide?

Is there any reason to believe
that your son was despondent?

Dylan? No.

He was a smart, happy kid.

Problems at school?
You know, uh...

spending too much time on
the Internet?

Anything like that?

His whole life centered around
this girl that he was seeing.

Was this Kelly Morris?

Yes. I suppose you read
the missing persons report.

So, you know Kelly's
in a foster situation?

Have you seen her
since Dylan disappeared?

-No.
-To be honest,

we were hoping
they ran away together.

Why would they do that?

We told Dylan
to stop seeing her.

Why?

Dylan met her
at Harper Plaza

where the street kids
hang out.

Dylan was getting ready
to go to M.I.T.

She's already
dropped out of high school.

The life we provided him--

it didn't prepare him
for a girl like Kelly.

-You mean a foster child?
-Bones.

Whatever happened to my son,
it happened because of Kelly.

We're gonna find her

and we're gonna talk to her.

Dr. Brennan,
I can see that you think

that we're being
hard on Kelly.

[voice breaking]
But my son--

my son was a good kid

with his whole life
ahead of him.

Kelly Morris' foster mother
is gonna meet us in my office.

Okay.

She says Kelly took off
a couple weeks ago

with, uh, most of
her belongings.

[sighs]

You okay, Bones?

I was a foster child.

Yeah, I know.

Do people always assume
the worst of me?

You know, I know that
you hate psychology,

but those people--
they just lost their son.

They need to
blame someone.

WOMAN: 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?

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.
-Why?

It's the rules.
They're underage,

and Kelly's
a ward of the state.

Yeah, 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

lives in the house, too,
and he's only 12.

Kelly and her brother,
they close?

Very close.

Their parents were killed
in a hotel fire four years ago.

They had no family. They
were put into the system.

I've had them
for a little over a year.

That's a pretty good run
for a foster kid,

especially
a brother and a sister
who want to be together.

Yes.

What?

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's Services
to look for alternatives.

Did Kelly know?

Yes. I told her.

ALEX: Did they find
Kelly or not?

No, Alex,

but they found Dylan.

Is he all right?

I'm-I'm afraid not.

Dylan is dead.

Do you know
where Kelly is, Alex?

No.

Kelly could be in danger.

I don't know where she is.

She hasn't called me
or anything.

Do you think she's dead, too?

No. Mm-mmm.

You know, I'm gonna
find your sister,

and I'm gonna
bring her back here to you.

Really?

Absolutely.

This is the FBI, buddy.

Were you lying to the boy?
Do you really think

Kelly Morris
is still alive?

I don't know.

You don't know if
she's alive?

No, I don't
know if I was lying.

You 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?

Well, do you have a
read on Dylan Krane?

Oh, yeah, he had that whole
adolescent savior complex thing

going on big time.

Savior complex?

Yeah, teenage boys
love nothing more than the idea

of saving the damsel
in distress.

How do you know?

Well, 'cause I was,

you know,
I was a teenage boy.

SAROYAN: Hey.

DNA from the tissue
under the victim's fingernail?

Female, and there's nail polish
in the gouges on his arm.

Well, it wasn't
necessarily from the murder.

They were sexually active.
She might have scratched him.

No. Hodgins also found
oxidized iron in the scratches.

[snaps fingers]
Oxidized iron.

What's that?

-SAROYAN: Rust.
-Rust.

Why didn't you
just say "rust"?

Well, she said it.

The same oxidized
iron found

on the victim's
upper back and shoulder.

Probably left behind
by the weapon that struck him.

So... he was hit
with what, a rusty pipe?

-That's a reasonable
assumption.
-Oh, so, Dylan

tells the girlfriend
they're breaking up--

She whacks him across
the carotid with a pipe...

And pushes him
out the window.

-Exactly.
-What?

What's with the stink eye?
It's just a theory.

There was cheap nail polish

in the box
of Kelly's belongings.

You should see
if there's a match.

Find some hair.
Match the DNA on that,

then get started on the,
uh, murder weapon.

Yeah.
Where you going?

I thought 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 Krane actually died.

Point of fact--

the pipe-- if that's
even what it was--

was not the murder weapon.

The evidence,
if anybody cares,

shows that Dylan Krane
died from a fall.

[whistles]

No compression fractures
to the ulna or phalanges,

so his arms weren't
outstretched

or across his face.

Which means he wasn't
bracing for impact.

Suggesting he was unconscious
before he went out the window.

Perhaps from being struck
by the rusty pipe?

-Oh, don't you start.
-Start what?

We don't know
what he was struck with yet.

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.

Good. If you tell me that,
I get it.

It's empirical,
not guesswork.

HODGINS:
That which we call a rose

by any other name
would smell as sweet.

Romeo and Juliet, Act II,
Scene II. The quote

considered to most aptly
describe the central conflict

of the play.

Which I totally
do not understand.

The flower in Dylan's hand
was a rosea calyx, a rosebud.

You do not smell like a rose.

I've been sifting through
two tons of garbage,

which you should ask me about.

Ask what, exactly?

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?

Anyone?

Booth should check
the garbage truck route

for a Russian restaurant.

Whoa, okay,
horrible area,

but, you know,
on the upside,

only one Russian restaurant
and no Starbucks.

You know, no one
we've talked to

has recognized
either Kelly or Dylan.

Hey, we could ask them.

Why?

Because they share
the same unique

socio-cultural identifiers
as Kelly Morris.

You mean,
like teenagers?

-Yeah, exactly.
-Yeah.

No, you know what?
They will melt away

before we get
half a sentence out.

All right, you just watch.

Okay, but, hey, you know,
what do I know?

I've only been working
the streets my whole career.

Excuse me?

Excuse me. Hello.

Hi. I'm an
anthropologist.

I'm not a cop.

-That's most definitely a cop.
-BOOTH: Thank you.

See, they're very cooperative,
aren't they?

-Booth, please. Just--
-There they go.

Oh, excuse me.
Wait, wait, wait.

Will you just take a look
at these pictures and tell me

if you recognize anyone?

Give me five bucks

and I'll tell you.

Five bucks.

Booth, please.

Here you go.

So, who is it?

It's his sister.

But hold it
this way, right?

'Cause the only time anyone ever
sees his sister is on her back.

[laughs]

BRENNAN:
Yeah, I'm assuming

this isn't your sister?

No, it is.

Okay, I'd like my money back.

BOOTH:
Well, there they go. Bye.

Mm-hmm. That really worked
now, didn't it, huh?

Great.

They just took my
money for nothing.

Well, you know,
that's because

they're exploited, you know,
misunderstood.

BOOTH: Oh, you got to be
kidding me, huh? I mean,

jeez, they could at least
wait until my back is turned.

What?

-BOOTH: FBI.
Hands in the air.
-Cop!

There's no
problem here!

No problem at all!
Katie!

Uh, I'll cover you. Go see
what they're dealing, Bones.

What? [groans]

I hate this part
where you stand with a gun,

and I have to go do
the looking.

Bones, I got you covered.
Let's go.

BOOTH:
What are you selling?

What do they got there, Bones?
What do you got, huh?

-What is it?
-Ibuprofen.

Uh, multivitamin.

I think these
are sandwiches,

and condoms.

MAN: Franny and I have been
doing this for years.

FRANNY: Sandwiches,
clothing, vitamins,

some basic hygiene supplies
for homeless kids.

You must be really
embarrassed.

Hey, you know what? It was
suspicious behavior, all right?

And besides, uh, they're--
It's not like they're--

-Are you social workers?
-Nope.

-They aren't social workers.
-Well, they're Good Samaritans.

Well, I apologized, okay?

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.

Oh, good. Maybe you could
do us a favor in return.

Show him the picture.

We're looking
for someone.

The girl.

Dylan and Kelly.

Yeah, that's right.

We haven't seen them around here
in a couple of weeks.

Dylan is dead.

We found him in
a garbage truck

that services this area.

My God, what happened?

Well, that's what
we're trying to figure out.

Warehouse.

Yup.

Come with us.

-What is this place?
-A squat.

Every one of these
old factories

houses junkies
and squatters.

Yeah, and kids with
nowhere else to go.

What'd this building used to be?

Plumbing supply, I think.

Pipes.

Bones. Dylan, right?

It's obviously a kind of shrine.

FRANNY: It's something
the kids do for each other

when somebody dies.

Still could be traces of
Dylan's blood on the concrete.

I'll call the crime scene unit.

-Tell them to start
on the fifth floor.
-Why?

Because the injuries show
that's how far he fell.

-[door slams]
-[grunting]

Hey!

Hey, hey,
hey, hey, hey!

That's Dylan's
school jacket!

We're not gonna hurt you!

[grunting]

Okay.

I hurt you a little bit,
but that's only because you ran.

You can't ask me nothing without
a social worker being present.

-I know my rights.
-I'm not questioning you here.

We're just--
We're talking, okay?

Here. Some gum?

Yeah, like that's gonna
make me trust you.

You know,
I'm just asking your name.

"C."

Does that stand for anything?

Carter.

I'm not saying if that's
my first or my last name.

-Why'd you run?
-'Cause this lady
was chasing me.

Because you ran.

-Yeah, it's a brain twister.
-BOOTH: You know,

that sweatshirt
you're wearing belongs to

a kid by the name of
Dylan Krane.

Never heard of him.

Where'd you get it?

I'm done with
the hoodie.

You guys
can have it.

What's with the, uh--

the names on the inside
of your forearm there?

What does that mean?

Guys I killed.

It's a list of foster homes.

Ones that threw him out.

Sometimes getting thrown out's
the best--

Is the best thing
that can happen.

I know.

You were in the system?

Booth, the sunglasses?

They're the same ones

that Dylan was wearing
in the photograph.

These, huh?

Top of the line.
How can you afford these?

You don't want to know.

Can I go now?

No. Child Services is
on the way.

I tell you something,
you'll let me go?

-Try me.
-You want to know
what happened

to Dylan and Kelly?
Check out the sandwich pervs.

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 minor charges.

-Boys or girls?
-Girls. He's a traditionalist.

[sighs] So, he went
after Kelly...

Yeah, and the white knight
from the suburbs steps in,

gets conked with a pipe,
and... tossed out the window.

Kelly goes into hiding.

Unless he got her, too.

So, what do you want
to do next?

Hmm, that's up to
Cam, isn't it?

No, Bones, I asked you.

What do you want to do?

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.

Okay.

Do you have a list like Carter?

Of... foster families
that didn't work out?

Yeah, we all did.

I wrote mine on the bottom
of a shoe.

Oh. You know, they say
with foster kids,

they're really hard
on themselves.

They?

Yeah, experts,
psychologists... like that.

Apparently, foster kids feel
so alone in this mean world,

they lose that knack
of trusting in other people.

You mean at work?

Well, everywhere, you know?

Weight of the world,
it's-- it's profound.

They say that, uh,
they have a hard time

letting themselves
off the hook.

They-- They grow up
with control issues.

Are you telling me
something, Booth?

No, it's just, you know,
something to keep

into consideration when
we catch up with Kelly Morris.

Okay.

If you decide to take
some other wisdom out of it,

none of my business.

How Cam and I get along
is none of your business.

Yeah, right,
which I just said--

said just then.

None of my business.

MONTENEGRO:
Is there anything I can do?

Hey, this schematic
is great, Angela.

All the pipes are numbered
and located.

Meanwhile, I have hundreds
of rust samples,

and I've covered, hmm, maybe
a quarter of the crime scene.

-Ugh.
-Yeah.

On the good side,
that is definitely the window

Dylan Krane exited
as he fell.

Leaded glass
is a match.

It's a strange place for
two people in love to end up.

What, a forensics lab?

No, a squat

in an abandoned
pipe factory.

Right, yes, right.

What were you
talking about?

Just... Cam and Booth.

-You know, of course.
-Oh, yeah.

Given their-their history.

Mm.

Tension, party of two.

Great. Great.

[sighs]
Okay.

All my mistakes were made
before I met Fran.

Then I fell in love.

Love changes everything.

-Your wife know
about these mistakes?
-Of course.

We have no secrets.
I got counseling.

I'm still in counseling.

And I'm out there on the street
making amends every day.

Passing out
sandwiches and aspirin

and condoms to
street kids?

Yeah.

I have no direct contact
with the kids.

Fran does.

I make the sandwiches.

I drive.

Insure my wife's safety.
It's a tough part of town.

And your past is all
in the past?

No, that's with me every day.

Yeah.

Miranda Tyler, Susan Price,

Laura Costello.
All these girls

say that you traded
sandwiches for sex

in the past six months.

Well, they're street kids.
They lie.

Yeah.

These girls
came on to me,

and they wanted money.

When I rejected them,
they got angry.

We catch up to, uh,
Kelly Morris,

is sh-she going
to say the same thing?

Hairbrush from Kelly's room
provided her DNA.

The nail polish
from her room also matches

the nail polish we found

in the scratch marks
on the victim's arm.

It doesn't mean
she pushed him out that window.

If he finds it
and it matches

the rust found
in the scratch marks,

then we can tie
Kelly to the weapon.

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 Camaro.

Remember that first slow dance?

[laughing]
Oh, God.

Some horrible power ballad.

Oh, that special
boy with the pipe

in his pocket.

Oh, God. Lewis Cole.

Mm, he was a drummer.

He had this hair, it was...

-Wait-Wait, excuse me.
-Really?

Marching to the beat
of a different drummer here.

I'd like Hodgins
to identify the species of rose

found in Dylan Krane's hand.

What can that possibly tell us?

I won't know
until he identifies it.

I'd prefer he keep looking
for the pipe.

It could have Kevin Dylan's

-DNA on it.
-Which will prove

only that Kevin Duncan
struck Dylan,

not that he killed him.

I want Hodgins on that rose.

It's my call. No.

[scoffs]

I can't work like this.

Are you telling me
I should start looking

for your replacement?

Dr. Saroyan,

I don't want to be
overly dramatic or anything,

but if you lose Brennan,
you lose us all.

Really?

Really.

And Booth, too.

In the interests
of this investigation,

I'm going to defer
to you, Dr. Brennan.

Thank you.

Thank you.

But I will start the search

for your replacement.

-MAN: Agent Booth?
-Yeah.

This young man says
he has information

he won't tell anyone
but you.

All right.

Thanks. I got him.

Come on in, Alex.
Have a seat.

[sighs]

Do you want a
Coke or anything?

No.

You a big shot?

[chuckles]

Um, yeah.

Look at that, huh?
Special Agent

in charge, Seeley Booth.

[chuckles]

So, how'd you
get here?

Bus.

Kelly called me...

on the phone.

And what'd she say?

That she's okay.

And that we'll be together...

soon.

Did she say where she was?

Does she know about Dylan?

About being dead?

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.

[sniffles]

Oh.

Hey, it's okay,
Alex, all right?

Everything's
gonna be okay.

I think I'm all alone now.

Oh, hey, look...
Hey, man,

you're never gonna
be alone, okay?

All right, we know for certain
that Kelly is alive,

and I promise, we're
gonna find your sister.

Okay? All right.

Let's get out of here.
I'll give you a ride home.

Got your call.

It was urgent.
Why didn't you answer?

I was busy.
What's so important?

Kevin Duncan.

Single gunshot wound
to the chest.

You're just in time
for the autopsy.

Feeling queasy, Zack?

I'm not used
to bodies looking so much

like actual human beings.

[saw buzzing]

-[crunching]
-Oh.

Since this man was just killed,
and there's plenty of flesh,

how is my presence beneficial?

The number six rib.

The bullet passed through
his vital organs

and lodged
in the rear curvature.

Get it out.

So, you're thinking
the perv kills Romeo

and Juliet kills the pervert?

Street-smart kid
like Kelly Morris

would have no trouble
getting her hands on a gun.

Mm-hmm.

Booth, if Dr. Brennan

were to quit...

What?

If she were to leave
the Jeffersonian...

Well, the squints
would flee this institution

like the French army.

And you?

Well, I do as I'm ordered.

No, you don't, Seeley.

Ah.

Okay, here we go.

What's going on, Camille?

What if I fired her?

What would you do?

I'm with Bones, Cam.

All the way.

Don't doubt it for a second.

Meet the English
Alba Rose.

Climbing varietal.

Non-existent

in the United States.
Some say

it was the rose
by any other name

Shakespeare wrote about.

And we give
a rat's ass because?

It's what Dylan Krane was
clutching in his cold dead hand.

So, what, he was killed
by Hamlet?

Wrong play.

It's more likely he paid
a visit to the Rose Wing

of the United States
Botanic Garden.

When it comes to bugs,
slime, crud and compost,

you're the man.

[chuckles]

You know, Cam,

maybe you just got off
on the wrong foot

with this case
with Brennan because, uh,

she was a foster kid.

Oh...

Why didn't she tell me?

She doesn't do that.

[clears throat]

Exc-- Oh, by the way,

I didn't just tell you that.

United States Botanic Garden
falls under the supervision

of the Architect
of the Capitol.

I really don't care.

The Architect is
also responsible

for maintaining the grounds
of the United States Capitol.

You seen either
of these two kids?

It's open every
day of the year

to the citizens of
these United States.

Which way to the
Romeo and Juliet roses?

It's over there, where
Kelly Morris is standing.

Oh.

Oh, Bones was right.

Okay, go distract her.

Well, hey,
why me?

Well, because, apparently,
I look like a cop.

Well, what do
I look like?

What are you,
my straight man? Go.

Hey.

The United States
Botanic Garden falls

under the supervision

of the Architect
of the-the Capitol.

-Get away from me, perv.
-Hello, Kelly.

FBI. Not a perv.

Uh, it's okay, it's okay.
We're just here to help.

We're not gonna hurt you.

Just got to talk about
what happened to Dylan.

Dylan's dead.

Were you there
when Dylan died?

Was I there?

Who do you
think killed him?

BOOTH: Why'd you
kill Dylan, Kelly?

CHILD: Agent Booth...

Well, she already admitted
to the murder, Ms. Child.

Actually, I believe she asked,
"Who do you think killed him?"

-It's an ambiguous question.
-I killed him.

I did it.

Because he broke
a promise to me.

The promise to stay with you?

He tossed me
a couple hundred bucks

and told me he was
going to college.

That we couldn't
see each other anymore.

What'd you do?

I pushed him out a window.

It was kind of
an accident, right?

What do you call it,
a crime of passion?

You pushed him out the window?

Yes.

And he was conscious
at the time?

Yeah. He screamed, okay?

What then?

I ran away.

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: Yeah,
it's a strange thing

to do right after
you murder someone.

Well, I'm pretty screwed up.
Didn't you hear?

Someone shot
Kevin Duncan.

He's dead.

-The sandwich guy?
-We were thinking

that the two deaths
were connected.

Fine. Yeah,
I killed him, too.

-She killed him, too.
-CHILD: Okay,

I'd prefer that
we not pursue this line

of questioning.

[indistinct chatter]

Well, she confessed.

She got it wrong.
She forgot about the pipe.

-Well, she said they fought.
-She's lying.

[sighs] You know, I'm just
trying to think of a situation

so bad where a girl
would confess to murder

to try and get out of it.
It's just--

Agent Booth, Dr. Brennan.

Mrs. Duncan.

Do you want to sit down,
have a cup of coffee?

No, thank you.

I'm sorry for your loss.

Did Kelly Morris kill Dylan?

Well, she confessed.

And now you think
she killed my husband as well?

It's very possible.
I'd believe that

before I'd believe
she killed Dylan.

Kelly shouldn't take the blame.

You'll find
one bullet missing.

You're confessing
to your husband's murder?

He used me to get close
to young girls.

I don't know how many
through the years.

Francis 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.
-[whispers] Thank you.

You have the right
to an attorney.

If you cannot afford
an attorney, one will be--

Pick up the gun.

Ballistics confirm that
the bullet that killed

Kevin Duncan came
from Fran Duncan's gun.

Case closed?

On Kevin Duncan,
definitely.

And since Kelly Morris
has confessed--

No, she didn't do it.

What evidence
do you have of that?

HODGINS: How about this?

Specimen 268, right corner
of the room schematic.

You are good.

Oh, you have no idea.

Are you having
a moment?

BRENNAN: Well, how does
finding the pipe

prove that Kelly Morris
is lying?

How does her confession
not include the murder weapon?

For the last time, the pipe
is not the murder weapon.

Dylan Krane died
from a 50-foot fall.

Can you run the scenario
through your magic

holographic
crystal ball thingy?

Too many variables.
But I have another idea.

Okay, Booth,
you're Dylan Krane.

Okay, you know what?
I'm out the door.

-Whoa, whoa, whoa.
-Cam--

Kelly Morris,
right.

-Okay, I feel stupid.
-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.

Kelly Morris says she
argued with Dylan

and pushed him
out the window.

She pushed him,
then tried to save him
by grabbing his arm?

Well, that would explain
the fingernail polish

in the scratch, but--

ADDY:
Not the oxidized iron.

Kelly would've had to strike him
with the pipe from behind

and then drive him
through the glass.

But she said that they were
arguing face-to-face.

He would have
seen her coming.

That means there had
to be a third person.

Someone who
snuck up behind him.

Guys, I need a Kevin Duncan.

I'll do it.

Kelly already
called me a perv,

so I have my motivation.

So Kevin strikes
Dylan with the pipe...

-Careful.
-Which moves him forward.

Kelly grabs the pipe away
from him,

but Dylan is
losing consciousness.

He didn't have to throw
Dylan out the window.

He could have
simply pushed him.

Easy.

Kelly grabs his arm...

-BRENNAN: To save him.
-Which would put the fingernails

and rust in the wound.

But she can't hold him,
and he falls.

Oh!

Well, that theory explains
the physical evidence.

Except, why would Kelly
confess to murder

to protect
Kevin Duncan?

She's afraid of him.

But she knows he's dead.

Guys...

there's only two people
in this world

that Kelly Morris
would cover for.

One of them went out
that window.

We know you
didn't kill Dylan.

I did, too.

Kelly, I don't want you to admit
to anything more, all right?

No, you didn't.

We can prove there was
a third person there.

The third person
that hit Dylan with a pipe

and when you took away the pipe,
pushed him through the glass.

No, it was just me.

I hit him with a pipe.

I pushed him through the glass.

No, you grabbed
his arm.

-You tried to save him.
-No.

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 always,
you believed him.

Yes.

Yes, I believed him.

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
will be happy.

Dylan loved me.

I know.

But I didn't tell Alex.

He just...

[sniffs] 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.

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.

[sniffling]

♪ I can't see the stars
anymore living here ♪

♪ Let's go to the hills

♪ Where the outlines
are clear ♪

♪ Bring on the wonder

♪ Bring on the song

♪ I pushed you down deep

♪ In my soul for too long

[sighs]

I'm sorry.

I'm sorry.

I didn't tell them,
they just--

They just knew.

It's okay.

Sorry about Dylan.

[sobs]

♪ I fell through the cracks
at the end of our street ♪

♪ Let's go to the beach

♪ Get the sand
through our feet ♪

♪ Bring on the wonder

♪ Bring on the song

♪ I pushed you down deep

♪ In my soul for too long

♪ Bring on the wonder

♪ We got it all wrong

♪ We pushed you down deep

♪ In our souls for too long

♪♪

♪♪

You were right about
the pipe.

You were right about the rose.

Could I sit for a moment?

I wish you would eat
some of these fries,

save me from myself.

They're really good with
the garlic mayonnaise.

We have a problem.

Uh-huh.

Do you see a solution?

It's not completely my fault.

I was a foster child.

And apparently...

Booth says that--
Booth says that I have...

something about
control issues

and the weight
of the world.

[chuckles]
That sounds like Booth.

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.

Not everyone's brain
works as fast as yours.

I have to mull sometimes.

Are you familiar
with that concept?

Yes. I just always thought
it was a waste of time.

[chuckles]

I'm in charge.

But out of respect for you,
I could extend--

Did you ever play Monopoly?

-No.
-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.

Well, how-- how
many would I get?

One a week.

Five per case.

Three per week.

Booth told you I was
a foster kid, didn't he?

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.

He's going to know
that you told me

the second he
sees us together.

It's true.
He's awful like that.

He reads people
the way that you read

pathology reports
or I read bones.

Oh, God, I know.
I hate him.

Well, I don't really.

I know.

Maybe... I will take
you up on this.

Thank you.
Please, I-- Help me.

♪ Bring on the wonder

♪ Bring on the song

♪ I pushed you down deep
in my soul for too long ♪

♪♪

What's that mean?

♪♪