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