When a man is killed driving an SUV registered to a Middle Eastern man, Dr. Brennan and her team find themselves tracking a terrorist.
Special Agent Seeley Booth
Dr. Temperance Brennan
Dr. Jack Hodgins
Dr. Daniel Goodman
In this episode, Booth uses a security card to access the forensic area of the lab, but in the next episode he doesn't have one. This is because The Man in the S.U.V. was originally scheduled to air after A Boy in the Tree, not before.
It is somewhat odd that Hamid Masruk was working for the Arab-American Friendship League, since he was Afghani, and therefore not Arab.
The many car rides done by Booth and Dr. Brennan have very bad continuity. The lighting that is supposed to imitate the sunlight is from the same direction in every car scene.
Goof: As Booth and Brennan go up the escalator, the audio is not in sync with what Booth says.
Goof: Brennan moves her hands from her hips and folds her arms while talking with Mrs. Masruk, but her reflection behind Mrs. Masruk shows her hands still on her hips.
Goof: At 18:35 there are people visible entering the restaurant behind Brennan, yet when the shot pulls out a second later onto Booth, Brennan and Angela, the people are gone.
Goof: At 31:20, Dr. Brennan is congratulating Angela on doing good work, but when she is talking to her she clearly says "Good work An-u-la" instead of "Good work Angela."
Goof: During their car ride, at around 35:10, just as Booth finishes his line "Just be careful, alright," the view in the rear window changes and suddenly there is a car close by.
Goof: At the end of the episode there is a close-up of Brennan, and her head is resting on her hand, but when the shot changes, her hand is down.
Goof: When Hamid was on the phone with his wife he was speaking fluent Arabic with a Lebanese accent, making it hard for one to believe that he's truly Afghani.
Goof: After shooting Farid and waiting to get the "all clear," Booth holsters his gun to lean on the railing with both hands. However, in the next shot of him, he is holding the gun as if he had just taken the shot, showing that the reaction shots were shuffled around.
Hodgins: (to Booth) Sure, so what do we do, group hug?
(Booth and Brennan search for the bomber at the Hamilton Cultural Center.)
Brennan: If you see him, will you shoot?
Booth: Well, he might not have the bomb.
Brennan: You don't believe that.
Booth: I'm not taking out a target, Bones, unless I'm sure.
Brennan: Is that how you make it easier? Calling him a target?
Booth: You know, you really picked an odd time to have that conversation.
Brennan: This is my lab. I'm a scientist, a doctor.
Booth: So I've heard.
Brennan: Would you be able to do your job when someone's looking over your shoulder all the time?
Booth: You do, okay? I developed a tolerance.
Zack: We have his detergent brand, cologne, and shampoo. He died a well-groomed man.
(Booth kicks down the suspect's door.)
Booth: (to Bones) Okay, anybody asks, that door was open.
Brennan: (frustrated) Uhhh! You are an insufferable ... arrogant ... man!
Booth: Ooh, so only a woman could know a woman. I thought women wanted us to understand them!
Angela: Not really. A magician never wants to reveal her tricks.
Booth: (to Angela) We're having a private conversation.
Angela: I'm not here.
Brennan: So, you think you know women just because you live with some sexy lawyer? Unbelievable.
Angela: You live with a sexy lawyer?
Booth: She has her own place, okay?
Brennan: He thinks just because Masruk's wife started working out and had a little makeover, she's having an affair.
Angela: Hmm, and how long were they married?
Booth: Eleven years.
Angela: I'm with him.
Brennan: There's no concrete proof.
Angela: Boobs perkier?
Booth: Mmm hmm.
Brennan: I don't believe this. If you're so sure, then why didn't you confront her?
Angela: Because if she and her boyfriend were involved, she would warn him.
Booth: Very good.
Angela: I'm a constant surprise.
Brennan: Isn't the FBI working on that?
Hodgins: Yes. It's just for fun.
Brennan: To see who's better?
Hodgins: Maybe, a little. Yeah.
Brennan: Good luck.
Booth: Okay, what is so funny?
Brennan: I just never figured you being in a relationship.
Booth: Why? Do you think something's wrong with me?
Brennan: Not wrong. You just have alpha-male attributes usually associated with a solitary existence.
Booth: What, me? You're solitary.
Brennan: No, no, I'm private. It's different, and we weren't talking about me.
Booth: I was.
Brennan: I wasn't. Look, I'm happy for you. Relationships have anthropological meaning. No society can survive if sexual bonds aren't forged between–
Booth: What the hell are you talking about?
Agent Gibson: Dr. Brennan, I have jurisdiction.
Brennan: Then why don't I destroy my notes, and let you guarantee the identity of the remains.
Hodgins: Someone seems really defensive about the FBI lately. You realize Booth is just another government stooge.
Angela: Bottom line, I still think Brennan has a shot with Booth.
Hodgins: But she says she's not interested.
Angela: Methinks the lady doth protest too much.
Angela: (Referring to Brennan) Please, she's been sleeping alone for months! She has enough pent up sexual energy to power a small mid-western city.
Zack: Isn't that the FBI's job?
Hodgins: What, you trust the FBI? You realize those guys are gonna suppress whatever they need to cover their asses!
Zack: (To Brennan) I found a portion of the clavicle.
Hodgins: Are you even listening?
Hodgins: They have a separate division, you know, that way their hands are always clean. In 1970–
Brennan: Jack! We're trying to work!
Zack: If Smoky here had access to the president, why would he attack a café?
Zack: It's how I deal with stress.
Hodgins: Targeting everyday places causes panic. People stay home, the economy is crippled. It's terrorism 101, man.
Booth: We're dealing with someone here who devalues an entire culture; terrorizing people by using God to justify mass murder.
Brennan: You're making it personal. That doesn't help.
Booth: It is personal, Bones. All of us die a little bit on one like this.
Booth: Trying to track down the doctor?
Brennan: Don't need him. It's definitely a toxin, but we can't determine what kind.
Zack: Too bad the liver is cooked; that could tell us everything.
Booth: You know, I need subtitles walking in here.
Jack: I graduated top of my class, Rhodes scholar, the youngest member inducted into the Academy of Physical Sciences, but [Brennan] still makes me feel like a cretin.
Zack: She apologized to me.
(Booth and Brennan sit at the bar after Booth has shot the bomber.)
Booth: I told them to tell the press that it was an undercover operation.
Brennan: But it would be a Rose Garden ceremony. That's an honor, right? I thought you FBI guys liked your medals.
Booth: No pleasure in taking someone's life. Nothing to celebrate.
Brennan: (puts her hand on his forearm) You saved so many people, Booth. Don't forget that.
Booth: Wanna get another drink?
Brennan: Shouldn't you be getting home? Tessa will be worried about you.
Booth: Yeah. I guess I should. (looks at her earnestly) Thanks for your help, Bones.
"I Turn My Camera On" by Spoon (when Tessa is eating and reading, then Angela comes to talk to her)
"Every Ship Must Sail Away" by Blue Merle ( during the final scene)
"Shalom" by Moonraker (when Booth and Brennan are arguing at Wong Foo's)
"Try" by Deep Audio (in the last "Wong Foo's" scene)
Hart Hanson and Barry Josephson received double billing in this episode. In addition to their credits in the main titles sequence, they also had credits in the main crew sequence.
International Air Dates:
Denmark: February 14th, 2006 on TV3
Norway: Thursday, June 15th, 2006 on TV3
Germany: Thursday, October 19th, 2006
Crew Additions and Specifications: The Crystal Method (main title theme performed by), Kathy Reichs (inspired by the life of forensic anthropologist and author), David Abbott (make-up department head), Bernie Gough (hair department head), Mellanie Bradford (script supervisor), Elizabeth Miller, M.D. (forensic anthropologist), Mike Grasso (police technical advisor), Mark Marcum (video playback)
Company Credits: Fotokem/Keep Me Posted LLC (film laboratory & hi def post production services), Sony Pictures Sound (post production sound services), Ignite Creative (main title design & visual effects), Panavision (camera systems & Lenses)
Angela: Methinks the lady doth protest too much.
Angela uses a popular variation of a line from William Shakespeare's Hamlet (Act III. Scene II.) – "The lady doth protest too much, methinks." Angela is saying that maybe Dr. Brennan protesting so strongly about having feelings for Booth is an indication that she does have feelings for him, and that her protesting is a defense mechanism to hide her feelings.
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