Seal Team Season 1


New discussion thread for Seal Team! 🙂


Bones Christmas Moments #1

Oh, the joy that is Bones at Christmas! I thought I’d take a break from episode reviews and remember some Brennan and Booth Christmas joy! There are SO many good ones, especially that is the amazingness of Santa in the Slush…which was my first episode of Bones EVER and hooked me right then and there! For today, let’s consider Booth (and Parker) bringing Brennan some Christmas cheer.


It’s moments like this that anger me that these two actors do not get the recognition they deserve. Look at those faces. Everything is said without words.


We all know how important Parker is to Booth, and getting to spend time with his son is everything to him. Booth is sharing his special time with Parker with Brennan and that means so much. He’s sharing his most precious thing with his work partner. So you KNOW this is serious, people.


We all know that “Merry Christmas” is code for “I love you. You complete me. You dazzle me. You’re awesome. Let’s have adorable Boothy babies together”. But the simplicity of just that one phrase just makes it so powerful.


How Brennan does not drop the phone and run outside for a big, grey-sweatery hug, I’ll never know!!! Because I’d be buying an express ticket for that ride.

It makes it so great now to imagine Booth, Brennan, Parker, Christine, and Hank snuggled up around their family Christmas tree!

What do you love about this scene? What stood out to you the first time you saw it and has your view of it changed as the series progressed? 

The Girl with the Curl (2×7)


Written By: Karine Rosenthal

Directed By: Thomas J. Wright

BOOTH: They found the victim in the filtration system. Just, you know, some bones, and nobody knows what to make of ’em.

BRENNAN: 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: Well, it’s cleaner. Look, it comes from a clean mountain stream.

BRENNAN: Yeah, which contains fecal matter from animals.


Good point, Brennan.

The team investigates. The victim appears to be a child but with fake teeth and bleached hair.

ANGELA: I hate working with kids. Childhood should be all about swings.


ZACK: Swings?

ANGELA: Yeah.  You know, how high can I go? If I twist the chains, how fast will I spin?

HODGINS: What if I try to jump off before the swing stops?

ANGELA: Exactly.

HODGINS: I miss that feeling.

ANGELA: Yeah, me too.

BRENNAN: I miss organic chemistry class. Those were good times.


ZACK: I miss my first microscope.


BOOTH: Great. Yeah. And I miss normal people. Can we go on?


The team finds out it was a beauty pageant girl who’d gone missing. Hodgins brings Angela some evidence but that’s not all he wants to say…

HODGINS: Listen … Angela.

HODGINS: We’ve been … dancing around this for months now … like two pieces of neodymium caught in a magnetic field.


ANGELA: Is that good?

HODGINS: Yeah. But if the field weakens, they fly apart. Which is why I thought they should go on a date.

ANGELA: Hodgins —

HODGINS: You can’t say that you don’t feel it.

HODGINS: Come on, we owe it to ourselves to give it a try.

ANGELA: I — I just don’t think it– would be a good idea.

ANGELA: I mean, we work together, Jack.

HODGINS: Angela …

ANGELA: I’m sorry.


                    Meanwhile the team discusses the things people do for beauty.                                                                 

BRENNAN: People have done much worse for beauty — neck stretching, foot binding …

BOOTH: Okay. And you’re saying that makes it okay.

BRENNAN: Well, of course not. Any major alteration of our underlying architecture demeans us. You know, we all have aspects of ourselves we might wish were different.

ZACK: Yes. I wanted larger biceps before I became comfortable with my mental acuity.



Brennan tries her hand at interrogation with the victim’s mother.

BRENNAN: Did you ever think to tell Brianna that she didn’t need to alter her physical appearance in order to be loved?

BOOTH: Did Brianna disappoint you somehow?

JACKIE: No. She was a perfect angel. She won every competition, even her first one. And after that, it was music and dance classes. 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: I don’t like her.

BOOTH: Whoa.

Angela and Brennan talk about boys (aka Hodgins).

ANGELA: Hodgins asked me out.


BRENNAN: Is that why you’re hiding in here?

ANGELA: I’m not hiding. I need advice.

BRENNAN: What — on a personal matter?


BRENNAN: From me?



BRENNAN: But romance is sort of — This is like me asking you advice on phylogenetic systematics.

ANGELA: Phylogenetic systematics. I have no idea what that is.

BRENNAN: Exactly.

ANGELA: Well, I can’t ask Cam.

CAM: Can’t ask Cam what?


BRENNAN: Oh, Hodgins asked Angela out on a date.

ANGELA: Brennan!

BRENNAN: What? Was it a secret? It was a secret.

ANGELA: Wait. You can’t pretend you didn’t hear about this.

CAM: Fine. What’d you tell him?


CAM: Why?

BRENNAN: Because it would be a disaster.

ANGELA: 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: Why not?

BRENNAN: Well, anthropologically…

ANGELA: There’s an anthropological answer?

BRENNAN: An efficient workplace is predicated upon a simple hierarchy. Romance undermines that hierarchy. This is like when I had an affair with my thesis supervisor in college.

CAM: Don’t think we have time for that. I say go.

ANGELA: What about this hierarchical-sexual … ?

CAM: Won’t be an issue. It’s always fun to flirt in the workplace. But out there, when fantasy becomes a reality, it’s a drag.

BRENNAN: What? The date will be bad?

CAM: It will be awful. You’ll both realize it’s not meant to be. 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: Why?

ANGELA: Phylogenetic systematics.


B&B investigate the victim’s dance class.

BRENNAN: I always wanted to take dance, but I was so … gawky and uncoordinated.

BOOTH: What? You?


BRENNAN: Later I understood that the gawkiness was caused by an asymmetrical development of the iliac crest.

Oh yeah, that.

Hodgins and Angela reunite.

HODGINS: Hey. Don’t come around again looking for a second chance. That was a one-time offer, baby.

ANGELA: Really. Hmmmmm.

HODGINS: No. What?

HODGINS: No. N-no, no. Not — not really. I mean, it never occurred to me that y-you would — — Okay, now you talk.

ANGELA: I accept — going on a date — with you. Soon.

HODGINS: Tonight?

ANGELA: Wow. That is soon.

HODGINS: I don’t wanna give you time to change your mind. What do you wanna do?

ANGELA: You asked me. Figure it out.

HODGINS: Thank you.

Meanwhile, Brennan is bonding with the little girls in her own Brennan way.


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: She should’ve waited to be married before she had sex.

MEGAN: You said “sex.”

Brennan asks about the victim.

MEGAN: Brianna was kind of mean. She said Liza had cankles.

BRENNAN: What are cankles?


MEGAN: Where your calves and your ankles are the same thing.

MEGAN: You had to be friends with her.


LIZA: Because Brianna was the queen.

BRENNAN: So yours was a cultural structure predicated on the equation of beauty with power. You instinctively align yourselves with someone who holds the greatest potential for societal supremacy. It’s … a Darwinian pressure you’re too young to bear.


BOOTH: Okay. Come on, Bones. Up you go. There you go.

MEGAN: You have huge muscles.


BOOTH: Thanks.

BOOTH: Learn anything?

BRENNAN: Yeah, I learned about cankles. How about you?

Hodgins and Angela go on a walk.


HODGINS: Here’s the thing, Angela. I know you’ve been out with a lot of guys.

ANGELA: Hey, you have a different girlfriend twice a month.

HODGINS: Yeah. So imagine the pressure to come up with a date that neither one of us has ever been on before.

ANGELA: So what’s up? We here to walk a dog or something?

HODGINS: I remember what you said … about how you used to feel on a swing.


Brennan wants Booth to feel up a suspect to get evidence.

BRENNAN: Okay, I need to know if her hips are even.

BOOTH: Is that slang, or do you really mean “even”?

BRENNAN: Just stand behind her; place your hands on her hips. Then, move your hands up to her ribcage, gauging if it’s an equal distance on each side.


BOOTH: That’s … so not gonna happen.

Zack and Brennan figure out a way to check via video.

BRENNAN: You might as well let her go, Booth.


ZACK: She has very nice symmetrical buttocks.


Brennan attempts to check the pageant girls for scoliosis.

BRENNAN: Excuse me. It’s okay. I’m a scientist.

PAGEANT CONTESTANT: Molester! Molester!


BOOTH: Bones!

BOOTH: What are you doing?

BRENNAN: I’m — I’m not a molester. I’m a forensic anthropologist.

BOOTH: Okay. FBI business. Everybody just simmer down.


PAGEANT CONTESTANT: She touched me on my rear!

BRENNAN: No, back and rear have totally different connotations. Point of clarification. I touched her back.

SECURITY GUARD: Look, scientist or not, FBI or not, she can’t just … go around feeling little girls.

BRENNAN: 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.

BRENNAN: I was just … well, examining, really.

BOOTH: Examining, see? 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: You know what? It’s really not.

B&B figure out which girl pushed the victim and wrap up the case. Hodgins and Angela talk.




HODGINS: We didn’t really get a chance to talk today.

ANGELA: Yeah. I was avoiding you.

HODGINS: That whole … swing thing — wasn’t — good enough, right? ’Cause I can do better.

ANGELA: It was perfect.

HODGINS: It was?

ANGELA: Maybe the best date I’ve ever had.

HODGINS: Really. Great. That’s great. Thanks.


HODGINS: That’s not great. How can a great date be not great?

ANGELA: Because it was supposed to fall flat. That way, we’d both know that this wasn’t meant to be …

ANGELA: … and we’d go back to the way we were before.

HODGINS: I don’t like the way it was before.

ANGELA: Look… Brennan is my best friend, and — Zack is  — whatever the hell he is, and — when this goes wrong, it — it pulls everybody else into it. And … what the great … date … tells us is … that when it goes wrong —

HODGINS:  It’ll go really, really wrong.


ANGELA: So we go back, right?

ANGELA: Friends.

HODGINS: Sure, friends.

HODGINS: Just one question. What if it doesn’t end that way? What if it doesn’t go wrong?

ANGELA: Friends.

B&B finish as they always like….with food.

BRENNAN: This is what happened when Rome fell.

BOOTH: What? Uh, people ate stale doughnuts?


BRENNAN: Objectification of women, beauty as self-esteem.

BOOTH: Well, I think, um, you know, some of those kids actually had a good time.

BRENNAN: The girl in the pink could really dance. But then again, Nero could really play the fiddle.

BOOTH: You know, Bones, I like to think that, um, someplace deep inside, people really know what’s important.

BRENNAN: It’s hard to believe when you see women trying to disguise or change themselves.


BRENNAN: I never understood that.

BOOTH: Well, I mean, no, of course you wouldn’t.


BOOTH: Well, it’s just, you know — someone who looks like … you — well, wouldn’t — Just because of the way you look.

BRENNAN: I don’t understand. What — way do I look?

BOOTH:  Well, you know, you’re — you’re structured — very well.


BRENNAN: As are you.


BRENNAN: You okay?

BOOTH: Yeah.

BOOTH: It’s just — whew. I just — I remembered that I had an appointment.



BRENNAN: Oh. So, um, I’ll see you tomorrow?

BOOTH: No. You know, you have all the paperwork for the case, right?

BRENNAN: No, I was — I was gonna stay…do it anyway, so —

BOOTH: No. No, I would — you know, it’s our case. I wanna help.

BRENNAN: You don’t have to, Booth.

BOOTH: Bones, just drop it, okay? I’m here to help.

BRENNAN: Well… what about your appointment?

BOOTH: Uh, it’s — you know, it’s no big deal. I’ll tell you what. How about I, ah, order some takeout and I ditch these doughnuts?



BOOTH and BRENNAN: Thai food?

BOOTH: This time, I’m ordering extra mee krob because you ate it last time. All of it.

BRENNAN: What? I thought you were done.

BOOTH: Oh, right. I was done?


BOOTH: You finished all of it.

BRENNAN: I did not. You were pretty focused on the fried rice.

BOOTH: Can we just order? Okay?


Good choice, Booth.




The Girl in Suite 2103 (2×6)


Written By: Christopher Ambrose

Directed by: Karen Gaviola

Booth and Brennan are heading to a crime scene to investigate an explosion. They are listening to elevator music.

BRENNAN: You like this song?

BOOTH: Nobody likes this song.

BRENNAN: Well, you’re dancing to it.

BOOTH: Maybe swaying a little.

BRENNAN: And humming.

BOOTH: Bones, you know, it’s just something that you do 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?

Then the elevator opens.


They meet another investigator.

BRENNAN:  You seem uncomfortable. Does his size make you self-conscious?

BOOTH: Bones.

BRENNAN: It’s a condition—skeletal dysplasia. Pseudoachondroplasia or S.E.D. congenita?

BOOTH: Bones.


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.

Cam decides to flex her boss muscles again.


ANGELA: I scanned the skull and reconstructed a face.

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— just run everything by me first, ok? Every circus needs a ringmaster. In this circus, it’s me.



Booth and Brennan have some issues with the State Department guy.


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?

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? Even you don’t want to say anything to hurt his tiny feelings. 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 endeavors.

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.

BOOTH: That was a nice moment—me translating for you.

The moment when Cam doesn’t realize what she’s getting into with Zack…

 ZACK: What do you want to know?

CAM: Everything.

ZACK: The explosion shifted the placement of the teeth in the maxilla and mandible. I’ve repositioned them so that we can match the dentals. The computer is looking now. 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.

Hodgins and Angela continue to dance around their interest in each other.


ANGELA: Which means whoever this was got out before the actual explosion occurred.

HODGINS: 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.

CAM: You’ll tell who what? There’s a loop people, and I’m in it. Not only am I in it, I’m the big curvy part.

When Cam fails to understand how Zack gets information…


CAM: Too much tissue damage for me. Now it’s time for the boneyard. 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.


King of the Lab?

Interrogation time.

BOOTH: Did you have sex with her last night?

ANTONIO: 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.

BRENNAN: I don’t know what he means.

BOOTH: It means he had sex with her and forgot to learn her name.

Brennan and the State Dept. dude are not getting along.

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.

Experiment time.

ZACK: I did the math very carefully. 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.

ZACK: We can watch through this porthole.

ANGELA: Hey, I’m gonna wait outside.

CAM: I hear that.

ZACK: Did they not hear me say I did the math quite carefully?




ZACK: I don’t understand what happened.

HODGINS: You know what that proves?

ANGELA: That you guys are idiots?


ZACK: 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.

Booth is apparently, randomly, suffering from a guilty conscience.

(aka the writers wanted to move this plot line along)


BOOTH: Cam? Cam. Has anyone said anything to you about, um…you know?

CAM: Us sleeping together?

BOOTH: 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.

Brennan gives Booth an idea…

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: Go to hell, Alex.

BRENNAN: Why are you being so mean?

BOOTH: Cause “go through channels” is diplomatic double-talk for “get lost.”

BRENNAN: 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?

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?




BOOTH: That’s a great idea.


BRENNAN: What’s a great idea?

BOOTH: The FBI blackmailing the State Department.

Brennan tries to speak to the victim’s mother alone.

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: 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.

BOOTH: Excuse me. Bones, can I talk to you for a moment?

BRENNAN: Uh…, excuse me.

BOOTH: What did you do to her?

BRENNAN: I don’t know.


Brennan’s idea gave Booth an idea…they need to stop a suspect’s getaway…


BRENNAN: Even if we get there on time, how are we gonna stop them from taking off?

BOOTH: All right, call Hodgins.

BOOTH: Hodgins, just listen. Don’t say anything, just do as I ask.


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.

BRENNAN: What will happen to Hodgins if the State Department finds out?

BOOTH: Know what? Better they don’t find out.


Hodgins is successful!



Agent Sexy Shades

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.


Hodgins notices Cam and Booth being awkward around each other. Angela catches on.


HODGINS: Oh, yeah, baby. That’s what I’m talking about.


HODGINS: Hey, love is in the purified and ionized lab air. Why should we resist?


Cam suggests falsifying evidence to make progress in the case. Booth rips up the fake file and rejects it.


She interrupts pie. Unforgiveable.

BOOTH: 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.


And Hodgins gets to live out his dream scenario…


BOOTH: Uh oh.

MAN #1: Sir?

BRENNAN: Well, shouldn’t we do something?


BOOTH: Are you kidding? Hodgins being abducted by men in black? That’s a dream come true.



*I liked that Booth did what he thought was right even though it meant going against Cam.

*I don’t like Booth and Cam sneaking around though.

*I love Hodgins and Zack’s experimentation and bro-time.

*Hodgins and Angela are just beginning to come together and its cute.

*Hodgins’ conspiracy theory expertise helped the case.

*Brennan is starting to lose her savviness about the world. She’s had plenty of hookups herself, but doesn’t understand when their suspect talks about having one.

*This case was kind of confusing.

The Truth in the Lye (2×5)

Written by: Scott Williams

Directed by: Steven DePaul

Be prepared for a bumpy ride, Bones fans.

To ease the pain, please first enjoy this B&B body language from the episode! 🙂


REBECCA: Why do we keep doing this?

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.



At least we got this! 🙂

Brennan calls about a case. Booth feels guilty telling his partner what’s up.

BOOTH: 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.


BRENNAN: Sorry if I interrupted anything.

BOOTH: What? Oh! No. No, you didn’t.


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.


BOOTH: She just so happened to pick up the phone. That’s it. You know? Nothing more, nothing less.

BRENNAN: I’m sorry. Did I say I must know?

Booth doth protest too much.

Meanwhile, Brennan hauls the body and bathtub to the lab.


HODGINS: Down. Lower, lower, lower. Keep going, keep goin’. Aand…good! Oh, this is gonna be fun.

ZACK: I should get my video camera.

Hodgins and Zach are the best.

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: Though “who” is clearly the priority.

BRENNAN: The who is not going to change. But the clues might if we don’t hurry.

Ladies, ladies.

The team sorts through a liquified body and clothing for evidence.

CAM: And I hear you’re back with your ex.

BOOTH: I’m sorry?

CAM: Rebecca, right? Reliving old times?

BOOTH: Yeah. 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? I don’t.

CAM: Please, Seeley. Like we haven’t shared enough of them for me to know better.


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? The world’s largest ball of string?

BOOTH: Not you, your behavior. It was a textbook example of just how helpless we higher primates can be to our biological urges.

BOOTH: I am not helpless.

I think an important difference here is that Cam knew she was gossiping by repeating what Brennan said. Brennan was literally just sharing info that existed, not attempting to gossip on Booth.

BRENNAN: 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 sex.

BOOTH: You didn’t and we weren’t.

Booth is acting like he cheated on Brennan. Hmm……

BRENNAN: Well, it’s nothing to be ashamed of, Booth. Humans act upon a hierarchy of needs, and sex is very highly ranked. It’s an anthropological inevitability.

BOOTH: Thank you, Bones. I really appreciate you boiling me down to your anthropological inevitabilities.


BOOTH: Anytime.

B&B go to see Angela and her magic machine.

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.


Yeah, right, guys.

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.


B&B realize the victim had a double life with two families.

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: 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 sex?

BOOTH: There’s nothing “just” about sex, 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.


Interesting day at the office, eh Booth?

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?

Awkward work conversation! Lol

Meanwhile the squints find a wedding band.

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. I’m going to hell, aren’t I?

HODGINS: I’ll save you a seat.

Booth decides it’s time to break the news to both wives.

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.


Other things are inevitable, too 🙂 🙂 🙂

They break the news to the wives of their cheating hubby.

BOOTH: Are you sure I can’t get anyone a soda?

Brennan chats with Rebecca. She’s trying to figure out the puzzle that is Booth.



BRENNAN: Can I ask you something? 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: 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.


BRENNAN: He worries about it himself. What he does for a living. His past as a sniper.

REBECCA: Oh god. Uh, do me a favor? Don’t tell him that I came by, okay? Please.

Brennan really does want the best for her partner. It’s really sweet of her.

BOOTH: 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.

B&B figure out that the victim was involved with a third woman. All the women came together to confront the guy. They said he was already dead when they found him.

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.

Rebecca shows up and Brennan makes a quick exit.


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.


They find the first guy they talked to did it. The killer drops some life truths to ponder.

PETE: A person can live with anything if they don’t think too hard.

B&B wrap up the case.

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 sex. 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: 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.


Angela and Hodgins enter. NO GUYS, GO BACK!!!!!!!!!

Then Booth makes mistake number 2 on this case.

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.

Now, here’s the sitch. I think Booth still wants Brennan over any of ’em but is afraid of ruining their partnership, so he goes for the relationship that won’t hurt his heart. Not that I think it’s right, he’s being dumb, but I think he’s also scared of giving his whole heart to Brennan and then having her leave him too, like everyone else in his life. He won’t be crushed if Cam leaves him, he won’t be crushed that it’s over with Rebecca.

If Angela and Hodgins had not entered, I think he might’ve turned to Brennan in his weak, post-Rebecca moment, as the person to satisfy urges with and not Cam. But Brennan at this point is not ready, so it’s ultimately a good thing B&B were interrupted.