- We're back.
We should pack everything up and bring it back to the lab.
I can't believe we're doing a retrospective, you guys.
Going back to the lab.
All right, start talking. All right.
I'll go to sleep.
You're gonna have to bring all this back to the lab.
Couldn't believe it.
It's like a dream.
I'm assuming that you want to take all of this back
to the lab, correct?
Yes.
Part of me still doesn't believe it's quite over.
What should we take back to the lab, Dr. Soroyan?
Oh, everything.
Not quite sure what to feel yet, guys, but--
you'll be along for the ride.
We've used every corner of this lot,
and it's just been a great place to shoot.
There's memories around every corner.
200 and some episodes.
We used everything that we could.
We stay on the lot when we can.
We love it here.
You can say, oh, well, that was a consulate in Argentina.
Ah, OK, over here, that's where we found the dead Santa
that was buried in slush.
I mean, every single inch of this lot we've
used for exteriors, interiors-- everything
that you can imagine.
Our own offices have been used as sets multiple times.
Yeah.
My office was key to the insane asylum
that Zack Addy was being held at--
which, I suppose, is fitting.
OK.
Well, hello, everyone.
We are doing a retrospective here on stage nine,
where Booth and Brennan's house used to be.
The house is completely gone.
Yeah.
It's gone.
It was a nice house, too.
[interposing voices]
It wasn't a real house.
Brennan and Booth's house is gone.
We're dismantling the FBI as we speak.
We have four to six days left of principal photography,
and the show is thus over.
I think it's the end of the village.
It feels like you go back to a village, and it's just gone.
It's not easy for me to see the FBI office gone,
or to see the lab gone.
For me, the heart and soul of the show were those sets.
I do remember the stress that Barry Josephson went
through trying to get that built.
It was the most expensive permanent set
that had ever been built on the Fox lot before for a TV show.
It was a million dollars at the time.
He figured we needed--
we needed a set that big?
Who knew that he was right?
No, he was dead right.
Eventually we built other offices, and for a little while
we had that andulator device.
That was a disaster.
Before, we'd have to be, like, focusing,
like, on something we couldn't see.
So it'd be like--
Emily's like, I'm looking here, and I'm like,
I'm looking over there.
I'm looking here, you're looking--
So much fun happened on that set.
He wanted young people to watch the show
and say, I want to do that for a living.
We have the coolest jobs ever.
And honestly, it wasn't on television, exactly what
forensic anthropologists do, and the lab, and how it functioned.
So we basically thought, you know what?
Let's create our own foundation.
Let's create our own building.
Let's make our own science.
And so that's how the Jeffersonian was born.
A lot of people think that the series, "Bones,"
is based on the books by Kathy Reichs,
starring Temperance Brennan.
Really, it's based on a documentary
about Kathy Reichs, the novelist and forensic anthropologist.
Any time a body lies out in the woods,
there's probably going to be some scavenging by animals,
and that's certainly been the case with this individual.
Teeny Tempy in "Bones" is younger.
She's in her 30s, she works in Washington, DC, which
I find totally appropriate, because that's
where I started my career.
The very first skeleton I ever handled
was at the Smithsonian Institution in Washington, DC.
And I remember when Hart sent me the first script to read.
It was titled "Brennan."
And they didn't like that.
And then it went through-- do you remember
things like Skeleton Crew?
Everything to do with skeletons, and bones.
And we thought for a little while about an agency name,
because CSI was vogue.
And then I did one little pass to make it her nickname,
and then it was OK to be called "Bones."
So "Bones" just seemed like the thing.
Let's call it what it is.
Let's call it who she is.
And boom, we were off to the races.
Hey, mark.
Action.
Hart wrote a terrific pilot script.
He really did.
I wanted to have two women be friends right at the beginning,
and not be talking about men immediately.
Welcome home.
Here's Michaela, and then here's
Brennan gets her entrance.
Sir, why are you following us?
With the skull in the bag, and taking down the ICE agents.
Step back, now!
And then Booth got to come in to rescue her,
but it was a setup.
Bones identifies bodies for us.
Don't call me Bones.
I felt I'd go to Emily and say, I promise that he won't
be rescuing you all the time.
For every time he rescues you, you will rescue him.
I've watched that pilot in Russian.
[speaking russian]
And I didn't know the language,
but the way that scene was structured was just a perfect,
you know, meet.
Because it defined her strength,
her belief in something, which Brennan is very--
has strong beliefs in certain things.
Very scientific, and it's like, that's the way it is.
If you drive one more block, I'm screaming
kidnap out the window.
You know what?
I'm trying to mend bridges here.
All right, pull over.
We found out in testing that people didn't like Booth,
because he wasn't nice to Brennan.
I find you very condescending.
Me?
We yanked out a B plot in the pilot.
Zach, if someone asks, are you being sarcastic, say yes.
Why?
Because the alternative is that you come off psychopathic.
And came up with a plan for one day shooting to fix it.
She's good.
No, she's amazing.
And if the way I can get her back on my side
is to bring her on the field, I'm willing.
And it worked.
The minute he defended her to someone who wanted to yank
a squint, a scientist out of the field, the next time we tested,
people loved David.
Loved Booth.
So I think that the science meets the heart,
meets this relationship that developed over 12 seasons
and became this beautiful show, that we were
very fortunate to be a part of.
And that season, there were many pilots
that were way ahead of us, and nobody
was talking about "Bones."
Fox at the time was doing dark action.
They wanted everything to be "24," really.
So "Bones" was kind of--
Goofy.
And sure enough, at that upfronts, big presentation,
there we were.
Landed on a night, going to series.
Couldn't believe it.
It's like a dream.
And our final procedural is "Bones."
I'm going to say if the show is about one thing, it's
about the definition of family, and what that
means for different people.
Listen, Bones, there's more than one kind of family.
No matter what conflicts they had,
this was a tight knit group that would
keep coming back together.
It felt like a family.
And it is this family environment,
and that starts with Hart Hanson.
He's a family man.
He's a good, decent person, and he's
put this crew together that--
you come here, you want to stay.
You know, Kevin Yeager and his brother
Chris, who build all of the bodies,
you know, all the bones, all those parts,
they were with the show from pilot,
all the way through the last episode.
OK.
That's gross.
I never understood why it had to be so gory.
That is gross.
That is, like, ugh.
- That's nasty. - Yes.
Oh, yeah.
Some disgusting bodies.
To me, the stories would have worked without the gore.
But in the male-female divide of the room,
there was a lot of-- but it's so cool to see this,
and then, let's do this gross thing.
Men sometimes think things are funny that women merely
find gross.
When we were writing the first few episodes,
we were writing them joking around while they
were working on a corpse.
What is so funny?
And they said, no, you can't do that.
That's horrible.
There's a dead person there.
And we went, well, that's the only reason to do it.
You do accept that these characters
have a sense of humor, because this is their job.
This is what happens.
We're talking about murder and terrible stuff,
and someone goes, and--
Give me a minute. Give me a minute.
I'm so sorry.
She just need a minute.
I did not know she could laugh.
And I think, also, you can't have as much humor if they're
not good at their job.
Because then you would want to say, why are you joking around?
You guys are messing up.
Everyone's very smart on the show.
No, our characters are way smarter than we are.
I wish I was as smart as her.
You are a genius.
No, you're the genius.
And you've had to say so much crazy
stuff, so many technical things that seem so real.
Graminoid seed is from a fescue grass,
and I thought silk-like fiber was from a tetrapod,
but what kind is indeterminate at this point.
We sometimes pretend, if we didn't have the dialogue,
like, what would this scene be like?
It's Tamara and I over a body, and being like, oh,
he's got a twist in his, uh, foot there.
And, uh--
Exactly.
And some old Chinos.
Looks like last season's.
King of the lab.
The initial thing was there was so much science jargon,
wouldn't it be great to have more
characters to help with that?
It was also the impetus for bringing in "squinterns."
We'd have these rotating characters all trying
to sort of do well for the Brennan character,
and each one that they created season in
and season out was just so wonderful,
and the actors that came and did those roles were
just brilliant.
What you strive for for all shows
is to show a family, and a family
that welcomes you as a member.
And this is an inclusive group.
I mean, that's just, again, another strength of the show.
We have strong women on this show.
The show's Hart's creation, so he takes--
should take credit for it.
But I felt like there was seldom enough attention
paid to what he had done.
To me it was like, we have three great women on this show.
Different races.
This is fantastic.
You know, look, it's happening.
I don't know whether it was a function of the fact that we
had a lot of women on the staff, or the fact that Hart
and I are a little bit girly.
Well, Hart's Canadian.
Everything happens differently up there.
But it was important to us.
It's funny, a lot of interviews that I do,
the comments is, wow, it's rare on a show
that you have three very strong females that are still allowed
to be vulnerable and emotional.
And I think Hart set that up pretty early on,
and I think it was kind of rare, and ahead of its time.
I feel like it could have gotten
a lot more credit for that.
I do think that's a great strength the show, is
we have these characters that--
they aren't really at odds with each other.
They are true friends.
Female friendships, especially,
can get snarky, and strange, and there's just
a really cool, strong bond.
We're nothing without each other.
Agreed.
The way we were able to keep doing stories
was that we hadn't burned all of these relationships
by stirring up all sorts of resentments and conflicts
between them, where there shouldn't be.
To us.
To friendship.
If we wanted drama, another crazy serial killer
would appear.
But we weren't going to create the drama
by really damaging the relationships
between our characters.
Brennan and Angela are not fighting over the same man.
It's not that kind of a show.
Brennan is really lucky she's my friend,
or I would totally make a move on you.
Right, I really don't know how to respond to that.
So, the Brennan and Angela dynamic was fun because they're
so different, and it was lovely to see two people who
handle situations differently still
go to each other for advice.
You want some advice?
Offer up a little bit of yourself every once in a while.
Hart Hanson, you know, he wrote these very complicated,
full people, so I'm thankful for that, because it could have
been just a best friend role, and I think he allowed us to do
a lot more through the years.
There was a lot of pressure when we started,
when "Bones" started, to have more complicated
and darker anti-heroes.
This was different.
It was traditional.
It was much more about a belief.
And now I'm going to sound crazy, but about a belief
in the human spirit.
About the goodness of man.
Listen, you changed history.
How many people say that?
You can.
Every arrest you make changes history.
You make the world safer.
With your help.
It's a redemptive show.
You can watch it, you can feel better about yourself,
or you can feel better about life,
and you can do it in an honest way.
There's a light-hearted quality.
There's humor involved in the show.
I mean, some episodes are fully farces.
Dramedy.
Yeah.
Crimedy. - Crimedy?
- Crimedy. - Crimedy.
Crimedy.
It was always about the characters first,
and the case was the foundation on which
we built those relationships.
That's the thing about this show,
it's the off camera chemistry that I
think keeps the on camera chemistry interesting.
Watch this.
You see that?
That's the magic, right there.
I do remember the chemistry that the two of us developed.
- I hope you remember that. - And shared.
Oh, yes.
And how we worked on it.
A lot of times Emily would go over to David's house,
but they'd work on a Saturday or Sunday,
and they would rehearse the script,
and they built their own chemistry before they
even set foot on a stage.
We did a lot of improvisational banter
that got incorporated underneath all the writing.
I mean, sometimes you have to go
with your brain over your gut.
I prefer that you always go with your brain over your gut,
because your gut cannot think.
Your brain can't digest a breakfast burrito.
To each their own.
We always found what that connection was in every scene,
and that really helped us.
I always used to go into Hart's office
and say, what are you going to do with them?
What are you going to do this season, you know?
Will they ever get married?
Are they going to get together?
Are they going to hook up?
When do you do it?
Our plan was to hold it off as long as possible.
As long as possible.
We kissed, but that was under, like--
- Duress. - Duress.
Had to.
Mistletoe.
And they were so diametrically opposed to each other
that we could just keep playing that, and playing that,
and playing that, but knowing the whole time that they
were getting closer and closer.
I just-- I feel like I'm gonna kiss you.
And it was the evolution of that relationship
that really helped the show stay on for so long.
When Booth and I first met, I didn't believe that such
a thing as love existed.
I maintained that it was simply brain chemistry.
I have no tangible proof, but perhaps Booth is correct.
Perhaps love comes first, and then creates the reaction.
To love.
To love.
But when you look back at some of those episodes,
you see such an innocence to their development,
and how they kind of matured over these years,
and you become aware of how bad the hair
was looking at certain times--
or, like, the shoes.
Hey, speak for yourself.
You were always gorgeous.
I've always enjoyed watching David and Emily embrace Booth
and Brennan with the fans, because the fans just
love the show so much, and love their characters.
I don't think I really understood
it until we went to ComicCon.
It was just amazing.
Let's hear it for Emily Deschanel and David Boreanaz.
And I think that the big thing is they're
connecting emotionally to it.
High five me--
I like your hat. - Oh my gosh.
They just never gave up on the show,
and that is the only reason why we are still on the air.
We officially have the most loyal fans.
We're the little ship that could,
and that's because of the fans.
And a lot of women have gone into science
because of watching our show.
I want to be a "forenticantipologist."
So it's cool to be on a show like that,
and to have those kind of fans.
Which is why I'm really grateful to Fox, and to 20th
that we got these last 12, because it really
does feel like we had just 12 more
moments to thank these fans in the way we really wanted to.
I don't know.
We get to tie it up in a lovely little bow,
and say goodbye for real.
Bones, you ready?
Almost.
You can't ever believe that a show's going to last this long,
so I'm so thankful for the fact that it had 12 great seasons.
It's one of the longest relationships we've ever had.
I remember thinking when it first started out,
I said, this could go for three years,
thinking that was the longest possible period of time
that it could possibly go.
It's wonderful to be creative with people
that you think are inspiring, and beautiful, and evolving,
and surprising.
And I feel like I learned something,
and I'm inspired by you guys.
And it's just a pretty-- pretty awesome ride.
It's more than a gal could ask for.
We've all spent 14 hour days times,
you know, however many weeks, times however many years
together.
Yet the characters have only spent one hour times
246 together, so however close the characters seem in
real life, it's so much deeper.
These are people you see far more than you see your family.
And they become a support system.
They become part of your life, in a very real way.
It really blows me away sometimes,
just to see everyone grow up, really, like, in front of you.
There's a lack when that goes away.
There's a-- the silence is--
is deafening.
There's no--
I don't think there are any words
to describe the gratitude.
It's difficult to say goodbye to the people
that you see every day.
It's been strange.
But I feel good.
It feels weird not to go back to work, in a way,
but it hasn't really hit me yet.
I'm so lucky that I got to work with you guys.
It really would have been nothing without you.
I feel like we all became who we are doing the show.
We saw each other through so many life changes.
I can't, like, fully even--
I'm, like--
So much of your life goes into the show
that when it ends, even if it's the right time,
you're losing a limb.
You're losing a part of yourself.
And, you know, life takes over, so it's just been--
There's life after that?
I know.
I know.
If you can believe it, life after Bones.
It's been an extraordinary ride.
It really has.
- I'm with him. - There's so much--
- Thank you. - Love.
Well, first we have to say thank you to our fans.
Well, I was. That's what I'm saying.
There's so much love--
- Thank you, fans. - To give to you.
Oh. Oh, yeah.
This has been one of the most amazing experiences,
that we feel we've taken this journey with you.
And we want to thank you for being
there for us all of this time.
To the fans who have been watching this show for 12
years, of course, thank you very much.
I really want to thank the fans of "Bones"
for watching and viewing all these seasons,
and enjoying the show.
I want to thank all the fans, who have been so supportive
of the show through the years.
We appreciate you so much for watching our show,
bouncing around from every different night
to watch "Bones," following us wherever we went.
Thank you to our fans.
I'm so grateful to you for sticking with us,
and there's just no question, we wouldn't be here without you.
It actually has been an honor to--
to be able to do this show.
Oh, Stephen's so good.
Just, you know, it's a gift.
You couldn't ask for anything more.
And now I'm getting choked up, because that was--
people--
We hope you do enjoy the final season of "Bones."
We're so grateful that we got to tell you these last 12 stories.
All of the things that we've tried to give you
through these years, whether it be a laugh, or a little cry,
I mean, just take the show with you.
SINGER: Stopping time with the world at your feet.
OK, buddy boy.
SINGER: You can't have enough.
We're traveling at the speed of light.
At the speed of light.
It's the one thing that keeps us alive.
That keeps us alive.
Every barrier, crashing through.
Me and you.
Me and you.
Me and you.
Me and you.
I'm gonna miss you so much, Brennan.
I'm gonna miss you, Booth.
Everybody-- thank you.
I-- thank you.
- Thank you. - Thank you.
Thank you, guys.
Thank you, and we love you.
Thank you, from the bottom of our hearts, for being there
for us.
We love you.
Thanks.
Thank you so much.
Thank you.
Thank you for your time, your understanding--
dealing with me. - Uh-huh.
Yeah.
Thank you for remembering the one thing--
we're back.
Boneheads.
Oh, he's gonna yell at you now
OK, I feel like I'm gonna be busting out of this at any--
Do it.
[laughter]
How's it going so far?
Am I talking too much?
You're fascinating.
I mean, we're dealing with bones.
You think, like, how many stories
can you have about bones?
Obviously a lot.
Apparently.
I feel like we need to keep going.
There's so many.
[laughter]
You can tell your hand's, like--
Awkwardly--
[interposing voices]
Well, I could feel nobody else was doing it, so I was, like--
Just slowly glided away.
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