David Boreanaz

LOS ANGELES Emily Deschanel is comparing Dr. Temperance Brennan of “Bones” to a cracked egg.

“She’s very flawed in odd ways, but there’s something admirable, I think, in her attempt to move forward and put herself back together, like Humpty Dumpty,” says Deschanel, who plays Brennan in Fox’s wry-humored crime series.

Her reference could be considered slightly odd, though, as ol’ H.D. possessed no bones, and bones are what Brennan is all about.

She’s a forensic anthropologist and novelist who works with the FBI in solving crimes.

The character is inspired by real-life forensic anthropologist and author Kathy Reichs, as well as the character in Reichs’ series of Temperance Brennan novels.

Starring opposite Deschanel, daughter of cinematographer Caleb Deschanel and the older sister of actress Zooey Deschanel, is David Boreanaz as FBI Agent Seeley Booth, skeptical about Brennan’s skills but potentially something more than just a colleague.

“I think the characters think they have got close in a brotherly-sisterly type way, but they are the only ones who are unaware of the sexual tension between them,” says executive producer Hart Hanson. “And as long as we can protract that, that will be great.”

When new episodes of “Bones”’ second season return on Wednesday at 8 p.m, the Brennan-Booth relationship will continue its embryonic mating dance.

“We will clash. ... There will be jealousy. There will be hate. There will be humor. There will be love and respect. But at the end, there is always that bond of ‘I’m there for you. You’re there for me,”’ says Boreanaz.

The series also stars T.J. Thyne as Dr. Jack Hodgins and Michaela Conlin as Angela Montenegro - fellow scientists, currently romantically involved, who work with Brennan in the Jefferson Institution in Washington, D.C.

“Bones” stands out from the plethora of poking-about-dead-bodies series currently on TV because it has a refreshingly youthful style, a quick wit, two very attractive lead characters, and clever shifts between light, sharp-humored themes and dark, compassionate ones.

But Deschanel notes the challenges: “We are continuing to try to make smooth transitions between the dark and light. ... It’s hard because if you are dealing with death, people losing loved ones, you don’t want to be cavalier or dismiss that in anyway. But at the same time it makes sense that these characters have a sense of humor. ... There is humor in life. It’s a delicate balance.”