Original subtitles

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?

♪♪