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“The Man in the Wall”

Episode 1x06

Written By: Elizabeth Benjamin

Directed by: Tawnia McKiernan

Transcribed by Elo


Disclaimer: The characters, plotlines, quotes, etc. included here are owned by Hart Hanson, all rights reserved. This transcript is not authorized or endorsed by Hart Hanson or Fox.


(Open: Brennan’s office. Angela enters Brennan’s office carrying a coat. Brennan is at her desk working intently on her computer).


ANGELA: Come on, honey. If we don’t leave now, we won’t get into the club.


BRENNAN: (not looking up from the computer) I’m just finishing up a few emails.


ANGELA: Oh what? (comes around to the front of Brennan’s desk while digging through her purse)


BRENNAN: My publisher wants to schedule a book tour. I’m just confirming dates.


ANGELA: That can wait, sweetie.


BRENNAN: (getting up from her desk and walking over to the coffee table to pick up a stack of papers to look over) There’s a student that needs help identifying the cause of a fracture on a lateral epicondyle.


ANGELA: (not amused) TGIF. You heard of that? (sways arms and hips)


BRENNAN: Yeah, it’s some kind of acronym. But my inbox is full.


ANGELA: We know that’s not true.


BRENNAN: (walking back towards her desk) There’s a TV show that needs research. Not that they listen… (shifting through the papers)


ANGELA: We’re going (takes papers from Brennan’s and starts to take off her blue lab coat).


BRENNAN: I really shout catalog that skull (turning while Angela is taking off her lab coat). It’s in the museum’s exhibit on the French Revolution.


ANGELA: Yeah, Pepé le Pew is more important that booze and boys (puts down lab coat and hands Brennan her jacket).


BRENNAN: I don’t think that’s his name.


(They exit the office.)


(Cut to: Basement Club where hip-hop music is playing.)


MAN/MC: (to the crowd) All right, everybody. We’re gonna keep it crunking here tonight. Tonight the Basement Club brings to you the number one deejay around town, Deejay Rulz! Give it up!


(Inside the club, Angela and Brennan are at the bar with drinks.)


ANGELA: Feels good, doesn’t it? Being with people who are alive?


BRENNAN: It’s very stimulating, I have to admit.


ANGELA: We are so gonna tear it up tonight.


BRENNAN: That’s slang, right?


ANGELA: Right (nods).


BRENNAN: (looking down at her clothes) Is my costume all right?


ANGELA: Sweetie, it’s not a costume. It’s a cute outfit. And yes, it looks perfect (takes sip of her martini).


BRENNAN: I know, it’s very—it’s very warm in here.


ANGELA: No, because it looks great (takes Brennan by the arm and walks away from the bar). We are so getting checked out! (walking through the crowd)


BRENNAN: I love this music.


ANGELA: Deejay Rulz, he is so hot.


(Shot of the performer rapping, and the crowd dancing.)


BRENNAN: It’s so tribal.


ANGELA: (dancing) Don’t say “tribal”, sweetie.


BRENNAN: Why? Oh, because of all the black people? (people look over at them)


ANGELA: Sweetie, just for tonight, have fun, stop dissecting and take part.


BRENNAN: African-Americans aren’t the only ones with tribal heritage (dancing).


WOMAN #1: (An African club goer cuts in, standoffish) You say we’re natives of some tribe?


BRENNAN: Anthropologically speaking, we’re all members of tribes.


WOMAN #2: (approaches) You better shut your mouth.


BRENNAN: (trying to explain, as people gather around her) I just meant hip-hop mirrors the direct visceral connection you see in tribal communication.


MAN #1: (reacting to Brennan’s comment, upset) What?


BRENNAN: After the Cartesians split in the 17th century, we separated our mind from our bodies the numinous from the animalistic .


WOMAN #1: (hostile) Are you calling me an animal, fool?


WOMAN #3: (another woman injects) No, fool. She’s using Descartes’ philosophy to say she’s down with the music.


WOMAN #1: (at WOMAN #3) Who you calling a fool, fool? (shoves woman, who falls. Looks back at Brennan, and raises her hand) Get out of my way.


MAN IN CROWD: There you go!


(Woman tries to shove Brennan, but she reacts quickly and ends up side stepping the attempt and pushes the woman to the ground).


ANGELA: (holds up hands to everyone watching while following Brennan away from the crowd) We’re going, we’re going.


(Another man grabs Brennan’s arm, upset).


MAN #2: You shouldn’t have done that, bitch!


(Brennan defends herself and ends up kicking the man hard. He crashes into a wall and breaks open the siding.)




(Some form of powder is released into the room, falling over all the people watching. Angela licks some of the powder off her finger.)


MAN IN CROWD: That’s what I’m talking about right there.


ANGELA: Uh oh.


(Shots of the crowd looking towards the wall with various reactions.)


MALE VOICE: Yo, yo, yo. Check this out.


FEMALE VOICE: What is it?


(Pans through the crowd to the wall where a mummified skeleton is revealed.)


MALE VOICE: Look at that fool man.


MALE VOICE: The wall.


MALE VOICE: What the hell is it?


(Brennan turns to Angela with a perplexed experession.)


(Cut to another shot of the Club. Booth and Tessa are walking down a set of stairs following Special Agent Furst.)


FURST: Are you sure she can handle this?


BOOTH: No one in our lab knows the first thing about dealing with a mummy. I’d have to call her in anyway.


(Booth helps Tessa with the stairs and follows Furst to the crime scene.)


FURST: She assaulted two agents who were trying to tape off the body (pointing to Brennan, who is talking to two men, asking them to stay away from the body).


BRENNAN: (adamant) They were trying to compromise the remains.


FURST: (to Booth) A cloud of meth covered the dance floor. (points to Brennan) I think they’ve inhaled quite a lot.


BOOTH: (smiling) Are you two high?


ANGELA: (acting strangely) Only by accident, so it doesn’t count.


BRENNAN: (to Booth) Why’d you bring Tessa? This doesn’t seem like such a great date.


TESSA: (arms crossed, straight forward) We were out to dinner when he got your call. Your pupils are the size of saucers.


BRENNAN: (rushes over to stop a police officer who is approaching the remains) Wait, get away from the remains!


BOOTH: Bones, simmer down.


(Two African-American men arrive.)


OAKES: How long is this gonna take?


BOOTH: (turns towards them) Who the hell wants to know?


HALL: (holding a cane) I’m sorry, he works for me. I’m Randall Hall, I run this place.


BOOTH: You run this place Mr. Hall? Interesting, you know, cause we know found some drugs on—


BRENNAN: (cuts in, repeating Booth’s words) Found them, we found ‘em.


BOOTH: Alright, we found some drugs on the dead guy. We’re gonna want to know where they came from, why he had them




BOOTH: (gives Brennan a look) Why he had them. Any idea who he is?


BRENNAN: A— (gets another look from Booth and turns away).


BOOTH: Any ideas?


HALL: (smug) The guy barely looks human. What makes you think I’d recognize him?


BOOTH: (turns back to Brennan who is looking at the mummy intently) Bones, how does something like this happen? (points at the mummy)


BRENNAN: (grabs Booth’s arm to stop him from getting too close, twisting his arm) Well, the Egyptians would give the body a cedar oil enema and then rinse it with wine and cover it with salt. But I don’t think that’s what happened here.


BOOTH: Bones, you are totally wasted.


(Brennan turns and sees Zack coming down the stairs. She rushes over to him and leads him to the mummy. Zack looks uncomfortable, as he doesn’t know why Brennan is acting the way she is.)


BRENNAN: Zack! Zack! Zack! Come here! Come here! (puts hands on Zack’s shoulders as she pushes him towards the mummy) Isn’t this a beautiful specimen of mummification?


ZACK: (confused) What’s going on?


BOOTH: Let’s just say your boss inhaled.


BRENNAN: See how perfectly dried and preserved the skin is? (pointing at the mummy) You don’t find something like this every day. (turns to Tessa) Hey Tessa, have you seen it?


ANGELA: (still under the influence) It’s so hard to believe that you two would be a couple. You know, cop and lawyer. It’s very touching (points back and forth between Booth and Tessa).


TESSA: I’m gonna grab a cab (heads back to the stairs).


BOOTH: (goes to catch up to Tessa, handing her some money) Oh, no. Oh, ok, hold up. Uh sorry, sorry. I apologize. Here, I’m gonna make it up to you, I promise, ok? Ice cream later? (kisses Tessa) Take care.


TESSA: I’ll talk to you later (turns and heads back up the stairs).


BOOTH: Talk to you later.


BRENNAN and ANGELA: (both with funny expressions) Awww!


BOOTH: (serious) Can we just stick to the business here? Thank you. (To Hall) I’m gonna need a list of your employees, alright? We’ll run it through the system, see if any one of ‘em have a drug conviction. (To Brennan) How long before you can ID him?


BRENNAN: Well, I’m not at all tired so I’m sure I can stay up all night and work. (to Zack) We have to be careful removing him, he’s very dry and brittle.


(Zack takes photos as Brennan sweeps some cobwebs out of the way.)


BRENNAN: My first modern mummy.


Opening Credits


(Cut to Medico-Lab. The mummy is lying on one of the tables on the main platform. Brennan, Angela and Hodgins are examining it.)


HODGINS: Crystal meth is made from cold medicine, lye and the strike pads from matchbooks (walking over to the table with a stack of papers.) The body was not designed to deal with that kind of assault.


BRENNAN: (voice strained and tired) So I’m finding out.


HODIGNS: Chamomile tea? It’s very soothing.


BRENNAN: No, I just need your results.


HODGINS: How about a stick to pry the monkey off your back?


ANGELA: (sitting down by the computer, looking completely drained and out of it) Are you sure you need me here?


BRENNAN: Payback for showing me the good life.


BOOTH: (approaching them) Ok, so how is my man, the Tut?


BRENNAN: In better shape than I am.


HODGINS: The meth found in his lungs and nasal passages matches the meth that juiced Angela and the good doctor here (hands Brennan the report).


BRENNAN: (grabs the report) Can you please keep it clinical?


BOOTH: So, uh, he died of an overdose.


BRENNAN: (goes to open the report, but drops some of the pages. Booth bends down to pick them up) Asphyxiation. Meth coated the alveoli in his lungs, making breathing impossible.


BOOTH: So, uh, he overdosed with his meth behind the wall.


HODGINS: (pointing a small pen light at the mummy) Well, the space was too narrow for him to squeeze through. He got stuck, the bag broke, and when he gasped for air he inhaled and died instantaneously.


BRENNAN: The dry air convection behind the wall removed most of the moisture from his body.


BOOTH: How long was he, uh, in there?


HODGINS: Judging from the acrid mites in his ears, I’d say six weeks.


BOOTH: (pointing to the body) Hey, didn’t he have hands?


(Cut to one of the testing rooms, where the hand is inside a jar with liquid. Brennan and Booth enter the room.)


BRENNAN: They’re easier to work with dismembered. I’ve rehydrated them so we can get some fingerprints.


(Brennan opens the lid of the jar, and Booth acts squeamish at what she’s about to do.)


BOOTH: Off that?




(Brennan picks up the hand from the jar.)


BOOTH: Have you ever been to Costa Rica?


BRENNAN: I was flown down once. They found a human skull 12,000 years old. (continues to work with the hand, placing her hand under the skin) Why?


BOOTH: Finally getting’ some vacation time (not watching what she’s doing). I was gonna head off on Thursday. I heard Costa Rica was beautiful.


BRENNAN: Yes. Fascinating wildlife, lots of parrots (pulling the skin off of the hand).


BOOTH: Oh, I don’t like parrots, no. People should really, really do all the talking. You know, maybe I should—(reacts to what Brennan is doing) Oh God! What are you doing?


BRENNAN: (places her hand inside the removed skin) Aztecs would slay people and then wear their skin as a bodysuit.


BOOTH: (off put) I guess you won’t be needing mittens for Christmas, huh?


(Brennan walks over to a machine and places a finger on the glass. The Machine beeps as it works.)


(Cut to a computer screen that shows the fingerprint off the hand. Booth is sitting at the desk as Angela and Brennan approaches him.)


BRENNAN: Did the FBI find a match?


BOOTH: Yep, his name was Roy Taylor (computer screen shows a drivers license).


ANGELA: Roy Taylor? You’re kidding! That’s Deejay Mount.


BRENNAN: I don’t know who that is.


ANGELA: Mount is one of the best deejays in DC. He used to play at the club. Everyone was wondering what happened to him. His album’s really gonna take off after this.


(Cut to Brennan’s office. She is sitting on her couch working as rap music plays from her computer. Booth enters her office.)


BOOTH: I never knew this side of you Bones.


BRENNAN: It’s Deejay Mount.


BOOTH: You’re hung over, doesn’t this make your head explode?


BRENNAN: I grabbed a couple of hours of sleep on my couch and showered in the lab’s decontamination room.


BOOTH: You really know how to live.


BRENNAN: Angela said rap artists sometimes kill each other over the music. Jam Master Jay, Tupac, Biggie.


BOOTH: Do you even know who you’re talking about?


BRENNAN: Yeah, I’ve done my googling.


BOOTH: Yeah.


BRENNAN: (stands up) Listen…you can hear the alpha male asserting himself.


BOOTH: (making noises and mimicking the rapper) Fill your ass up…with lead…always a nice lyric.


BRENNAN: (goes over to her desk) I’m heading back to the club to meet the FBI forensics team. (turns off the music) I’m getting facts. (leaves)


(Cut to FBI Building. Inside Booth’s office, Hall and Oakes are talking with Booth.)


HALL: Deejay Mount, he was starting to break, finally making some money. Someone who’s never had anything, it can go to your head. So he gets involved with drugs…


BOOTH: You didn’t know who he was hanging with or who might’ve been chasing him?


HALL: A dude like Mount, he had a lot of enemies. Other artists, rivalries. Everyone wants to be number one.


BOOTH: I mean, you have to know who the rivals are, Mr. Hall. Affects your bottom line.


HALL: (at Oakes) Wait for me by the elevator. (Oakes leaves, but exchanges some glances with Booth) Rulz.


BOOTH: What rules?


HALL? That’s his name. He performs at the club. I’m trying to keep my crew together, Agent Booth. But I always had to run interference between those two.




HALL: Ask Rulz.


(Hall gets up and leaves, leaving Booth to think.)


(Cut to the club, Zack and Brennan are working where the body was found. Zack is holding a cable connected to a wire inside the wall while Brennan watches the images on a screen.)


ZACK: Was it fun coming to the club?


BRENNAN: Yeah, before the drugs and the dead body. Tilt—tilt down.


ZACK: Seems so primitive. Being in a crowd of strangers, gyrating to music.


BRENNAN: (looking at Zack) You’ve never danced?


ZACK: I’ve been told I look like a marionette in a windstorm.


BRENNAN: You would’ve fit right in last night.


ZACK: Really?


BRENNAN: (looking at the screen) Footprints…in the dirt, and the termite shavings. Someone was on the other side of him.


ZACK: Light. This leads to the outside.


BRENNAN: We need to get inside that wall.


FBI FORENSICS MAN: Or take it down.


BRENNAN: One last look?


FURST: Take ‘em in, show ‘em around.


(Cut to Booth’s office. An older African-American man enters carrying a box.)


TAYLOR: (knocks on frame) Agent Booth?


BOOTH: (turning) Yeah?


TAYLOR: I’m Roy Taylor’s father. Maybe you know him as Deejay Mount.


BOOTH: Mr. Taylor, please come in.


TAYLOR: Thank you for seeing me.


BOOTH: Please sit.


TAYLOR: (sits) You’re the one looking onto my son’s murder?


BOOTH: Investigating his death, yes, sir. I’m…sorry for your loss.


TAYLOR: (looking down at the box then back up at Booth) I have some information you need.


BOOTH: About your son’s death?


TAYLOR: No, sir. (places box on desk) About his life. I’ve been reading in the newspaper how my son was part of the meth scene, how he was killed by drugs behind a wall like that. (opens box and takes out a framed graduation photo) What my son did was graduate third in his class from high school. He would’ve graduated first except he—he worked a full time job. (takes out medals and trophy) Track-and-field medals, baseball. Roy never drank, and he never did drugs. Do you understand me, sir?


BOOTH: Mr. Taylor—


TAYLOR: (cuts him off) How they are portraying my boy in the newspapers is wrong. If his mother was live, it would kill her. I taught him a relationship with Jesus. Do you understand, sir? A personal relationship with Jesus.


BOOTH: With all due respect, sir, sometimes when kids grow up, they change, they move away from what they were taught.


TAYLOR: (holds up a hand print ceramic) Five years old, he made this. And a lady who…who reads palms...she looked at it and she said…she said my boy was going to be a great man, a good man. (breaking up) She read no evil in that boy’s hand.


BOOTH: (takes the handprint) I can see that now, sir.


TAYLOR: (emotional) Some iniquity killed my boy. You know that word, Agent Booth? It’s from the Bible.


BOOTH: “Deliver me from the workers of iniquity and save me from bloody men.” (hands handprint back to Taylor)


TAYLOR: You know your psalms, sir. I can trust that you will find out what happened to my boy?


BOOTH: Yes, sir.


TAYLOR: Good (puts things back into the box). Then I’m glad I came by.


(Cut back to the club. The FBI Forensics guy is leading Brennan and Zack into the space behind the wall.)


FORENSICS GUY: Can we conform to as much forensic protocol as possible?


ZACK: We’re better at this than you think.




FORENSICS GUY: You know what those are?




ZACK: You trying to scare us with rats? We’ve been to places where the rats eat the laces right out of our boots.


FORENSICS GUY: Take it easy there, Willard.


(Crouches along with their flashlights.)


ZACK: (shining his light on the ground) There are the footprints. There are marks on the wall, it’s scraped.


BRENNAN: (trails light against the wall where there is blood) Blood smear, dried. I see something, can I retrieve?


FORENSICS GUY: Yes (hands her a bag).


(Brennan leans down and picks up a small charm.)


(Cut to lab, where the charm is being examined by Brennan. Booth is with her.)


BOOTH: Apparently there’s a rivalry between Mount and this guy, uh, Rulz.


BRENNAN: We saw him perform at the club last night. Did you talk to him?


BOOTH: Oh, no. I don’t have enough yet. I go in too soon, he could run.


ANGELA (approaches, looking at what Brennan is examining) Wow, that’s a beautiful piece. Zirconium or diamond?


BRENNAN: I’m more focused on the dried blood and flesh at the moment.


ANGELA: Do you buy Tessa jewelry?


BOOTH: I really don’t want to talk about that right now.


ANGELA: Too much of a commitment. I just thought because you two were going away—


BOOTH: (cuts her before she can finish) Do you have anything yet?


BRENNAN: Given the rate of air convection and the degree of dehydration of the flesh, I’d say they were there at the same time.


ANGELA: It must hurt like hell to get that thing ripped out of your belly button.


BRENNAN: (looking up at Angela) I thought it was an earring.


ANGELA: Look at the size of the stud. I had one of these before they became totally Miami divorcée.


HODGINS: (approaches, holding a jar with something inside and places it on the table) Good news. I was able to pull some particulates.


BOOTH: Uh, are those, uh—


HODGINS: Eyeballs? Yeah. Two types of foreign material in the eyes. Low density polyethylene residue and methamphetamine crystals.


ANGELA: Polyethylene?


HODGINS: It came from the plastic bag holding the meth.


BRENNAN: (to a lab worker) This can be cleaned now. (Walks over to the body and begins examining something)


ANGELA: Yeah, that’s a real diamond. (to Booth) Hey, why don’t you get a belly button ring? That’s not too much of a commitment.


Booth: Yeah, that’s great.


BRENNAN: The inside of the lips was damaged by the teeth, this was not an accidental inhalation. The meth was pushed against his face with force. Someone was trying to smother him.


HODGINS: Which would explain how the particulates got into the eye.


ANGELA: So he didn’t OD. He was murdered.


BOOTH: So we just have to find out who owns this belly button ring.


(A lab tech is cleaning the belly button ring and reveals an engraving on it.)


ANGELA: Look at this, “Luv Rulz”.


BRENNAN: Well, at least we know who to ask.


(Cut to a an office/studio/loft. Hip hop music is playing.)


BOOTH: This way (knocks on door). Hello! (walks in with Brennan behind him)


RULZ: Yeah, it’s open.


BOOTH: Yeah, it’s open. FBI Special Agent Booth.


RULZ: What, is the FBI recruiting from America’s Top Model now?


BRENNAN: I’m a forensic anthropologist at the Jeffersonian.


BOOTH: She works for the FBI.


RULZ: Yeah, I could live with that.


BOOTH: Yeah, Dr. Brennan also discovered that Roy Taylor was murdered.


RULZ: (preoccupied working his music) So?


BOOTH: So murder is whacked see, ‘cause those are the rules, Rulz.


RULZ: Well, maybe he had it coming to him (standoffish).


BOOTH: Oh, so you and Roy Taylor don’t get along.


RULZ: That sucker ran me down. Tried to slam me in one of his tracks and ain’t nobody do that.


BOOTH: And what happens when they do?


RULZ: I take a piece of ‘em. I got in his face one night at the Basement and I told him to disappear, and I ain’t seen him since cause he knew to follow the Rulz (laughs).


BOOTH: (chuckles) And, un, maybe your, uh, girlfriend made sure that your, uh, your problem just went away (shows Rulz the ring).


RULZ: That ain’t my woman no more. I kicked her sorry ass out months ago.


BOOTH: What is her sorry-ass name?


RULZ: Eve Warren.


BOOTH: What was she doing with Mount?


RULZ: Take a guess. I guess it was just his turn.


BOOTH: She kept your ring.


RULZ: It’s a diamond, man. Why she gonna get rid of that?


BOOTH: Any idea where she is now?


RULZ: Probably ripping somebody else off. That girl don’t care about nobody but herself. You know she got a kid? Don’t care about her neither. Let her brother shoulder that. Bitch.


BRENNAN: (looking over Rulz’s shoulder) What happened to your hand?


RULZ: I got shot through the wrist a few years ago.


BRENNAN: Shattered the lower radius and the pisiform.


RULZ: Yeah. I got some nerve damage too.


BRENNAN:It’s impressive


RULZ: I got shot in the back and through the leg too, you wanna see the scars? (stands up)


BOOTH: Thanks anyway. Let us know if you hear from Eve.


RULZ: That’s all I got for y’all. Come on, get back to work. Let’s hit it (turns back to music).


BOOTH: You let us know if you hear from her.


(Brennan watches them intently.)


BOOTH: Bones! (snaps fingers, points to door)


BRENNAN: I like this music.


(Cut to inside Booth’s SUV.)


BOOTH: Ok, how about this? Deejay Mount trusted Eve because they were sleeping together. So she meets him in the wall, takes the drugs, kills him for Rulz, then he takes off.


BRENNAN: (not impressed) Hey, you should write fiction.


BOOTH: What? Reasonable.


BRENNAN: It’s not based on evidence, it’s conjecture.


BOOTH: Look, I’m positing a scenario. We’ve been through this before.


BRENNAN: Yeah, and it always seems to be a waste of time. Now, finding a marker on a bone—


BOOTH: No—you know, I think I need a vacation. I think you do too.


BRENNAN: Well, I’m not the one who’s snippy.


BOOTH: Snippy? (chuckles) What are you, like 70?


BRENNAN: See what I mean? I think you should find a nice relaxing place to go on that vacation. (Booth groans) Somewhere where you can get a massage, maybe do some yoga.


BOOTH: I don’t do yoga. Push-ups, sit-ups, pull-ups. That’s what I do.


BRENNAN: Yeah, that’s more cardiovascular. Yoga deals more with—


BOOTH: (holds hand up) Why exactly are we talking about this?


BRENNAN: Because you’re tense.


BOOTH: Because we’re talking.


(Switches on radio, rap music starts playing.)


BOOTH: You switched my music.


(Cut to the skeleton room at the lab. Zack is looking at the bones when Brennan walks in.)


BRENNAN: Roy Taylor?


ZACK: Yes.


BRENNAN: Anything pop out at your now that the bones are clean?


ZACK: Some damage to the facet joint and foramen on C-4 on the right side of the neck.


BRENNAN: That suggests his head was forced that way.


ZACK: One other thing. I was looking at the skull through the microscope. I came across a slight depression, barely discernable (walks over to the computer to show Brennan).


BRENNAN: A slight indentation?


ZACK: Could it be congenital or a bone anomaly?


BRENNAN: Probably (picks up skull). Do you ever go on vacation?


ZACK: I take my vacation when you take your vacation.


BRENNAN: What do you do?


ZACK: Go back home to Michigan, see the family. I have three brothers and four sisters.


BRENNAN: Do you enjoy that?


ZACK: God, no. I made the mistake of telling them I work with corpses and skeletons—they think I’m a freak.


BRENNAN: Then why do you go?


ZACK: It’s my family. They love me.


BRENNAN: (puzzled. Hands skull to Zack) Take a closer look at the anomaly under the scanning microscope. See what made that mark.


(Cut to a dance studio where a hip-hop dance class is being held.)


GEORGE: Work it out! Work it out! That’s right, good, good, good!


(Booth and Brennan walk into the class.)


GEORGE: Yeah, let’s work! Come on! (sees the two of them) What do you want?


BOOTH: (shows badge) Special Agent Booth, FBI. This is my associate Dr. Brennan.


BRENNAN: (watching the class) What do you call this?


GEORGE: The Krump. The kids, they come here, they dance. They don’t gangbang. So what do you want? You didn’t come here for a dance lesson.


(Walks into his office where a toddler is playing.)


GEORGE: Hey, Maya. How you doing, baby? (Picks up the kid and takes her outside) Come on now, we’re gonna go outside and you’re gonna play with the rest of the kids, ok? There you go. (Maya runs off)


BOOTH: I’d like to ask you a few questions about your sister Eve.


GEORGE: (sighs) What’s she done now?


BOOTH: When was the last time you saw her?


GEORGE: About six weeks ago when she dropped of Maya.


GIRL: (carrying Maya and playing with her outside) Ok, that’s fine.


BOOTH: Dropped her off and left?


GEORGE: Told me she needed me to watch her for a couple days, left me some money.


BOOTH: Do you, um, happen to have a, I don’t know, recent photo that we could take?


GEORGE: (picks up a frame off his desk and takes the photo out) Evie said she had cleaned herself up. (scoffs) She was turning her life around, and I believed her. (hands photo to Booth) She never came back. That little girl out there, that’s her daughter. She’s like a daughter to me too.


BOOTH: Didn’t it bother you that Eve never came back? I mean, didn’t you go look for her?


GEORGE: I learned to let her go. I mean, Eve, she’s had a lot of problems. Drugs, hanging out with the wrong people. I mean, if I track her down and she takes Maybe before she’s ready—I’m not letting nothing happen to that little girl.


BOOTH: Did you know Roy Taylor?


GEORGE: Met him. Deejay Mount, I like his stuff. He’s pure, I play it for the kids.


BOOTH: We have reason to believe that she was with him the night he was murdered.


GEORGE: Murdered?


BOOTH: Uh-hmm.


GEORGE: You can’t find Evie?




GEORGE: Oh, man. She told me she loved him and that she and Mount were gonna take Maya away out of DC, give her a better life, the one we never had.


BOOTH: You said she left you some cash.


GEORGE: Yeah, for Maya.


BOOTH: I’ll buy what you have, two dollars to one.


GEORGE: (upset) Sure, whatever, man.


(Shot of Maya laughing)


(Cut to Jeffersonian. Hodgins is working on the platform, looking onto a microscope.)


HODGINS: You may want the stooges at the FBI who are experts due to your so-called drug war, to run a comparison. But I’d say the methamphetamine on these bills matches the meth found with Deejay Mount behind the wall.


BOOTH: Yeah, my guess is that Eve was with Mount the time that he was murdered. How about this, huh? (slaps Hodgins on the back) Deejay Mount rejects Eve because of her questionable past. So, uh, hey she gets mad, she wants to leave with some money, so—(Hodgins gives him a look) What?


HODGINS: Yeah, I don’t really think much about that kind of stuff. I’m more about bugs and minerals, sorry.


BOOTH: Come on, Hodgins. Hey, you’re a smart guy. You’re a smart guy, look up from your microscope, huh? These are real people we’re trying to figure out here (gets blank stare from Hodgins). Ok.


HODGINS: Maybe she was just using Mount, setting him up to get his drugs and money.


BOOTH: Very nice, Hodgins.




BOOTH: Yeah.


HODGINS: (gets excited) Real question is, where does she go next?


BOOTH: (points to Hodgins) You’re on fire man.


HODGINS: After she left her brother’s place because that is where she met her untimely end.


BOOTH: You know what? I’m gonna turn you into an investigator yet.


HODGINS: (shakes head) No, no, no. Bugs and slime, dude. That is where I’m happy.


(Hodgins turns back to his work, but has a smile on his face.)


(Cut do Angela’s office. Angela is working on her computer with Brennan looking on.)


BRENNAN: The damage to his C-4 vertebrae was the result of his head being twisted so far to the right.


ANGELA: He was moving this way, toward Eve. (screen shows a simulation of the scenario)


BOOTH: My bet is he was chasing her (enters the room).


BRENNAN: And that’s based on—


BOOTH: The money and meth. She left that corridor carrying money saturated in the same meth that killed Mount. She was moviong fast.


ANGELA: She didn’t even stop when her belly ring got ripped out.


BOOTH: Money’s a pretty good reason to get chased. Only question is, why wasn’t he facing her?


ANGELA: It got tight back there. Fifteen centimeters. Eve ripped out her belly button ring here (computer shows what is happening) and then left a smear of blood until the corridor widened, here.


BRENNAN: Oh, god (exhales forcefully.)




BRENNAN: That just…makes me a little sick.


ANGELA: You pick dead bodies out of mass graves and yanking out a belly button ring makes you sick?


BOOTH: Ok, ok, ok. Moving on. I’ve shot a lot of people in my time and I gotta admit, that whole belly button thing makes me nauseous too.


BRENNAN: Thank you.


ANGELA: At this point, (turns back to screen) Mount must’ve looked behind him but kept going. Then the passageway narrowed, so he couldn’t turn his head back toward Eve.


BRENNAN: Then there’s no way she could’ve shoved the meth into his face. Eve didn’t kill him.


BOOTH: A third person surprised him, that why he turned his head—to look.


BRENNAN: Mount’s body prevented this third person from getting to Eve, so she escaped.


BOOTH: But he got to Mount, shoved the meth in his face, and he killed him. Ah, but the real question is, who the hell is this third person?


(Cut to FBI Building. Inside an interrogation room, Booth is talking to Oakes.)


OAKES: Why the hell you pick me up, man?


BOOTH: I think you know why I brought you in.


OAKES: Yeah, right.


BOOTH: I waited for you to contact me, explain your situation, but you didn’t do that. That’s not polite. What are you? DEA? Metro cop?


OAKES: I’m Special Agent Ronald Oakes.


BOOTH: One of us.


OAKES: My orders were not to break deep cover for anybody. Out of deep regard for my FBI brother, I gave you the nod.


BOOTH: (chuckles) That’s bull. I made you, now you’re making excuses.


OAKES: You got any keys for these cuffs?


BOOTH: Fine. Your way. (gets up and walks around to uncuff Oakes) You know, I need more than a nod, man. You know, I’m conducting a murder investigation. Now, I need to know what you know.


OAKES: I’m 15 months on the task force investigating the links between the urban music business and gang activity.


BOOTH: That’s why you got next to Randall Hall.


OAKES: Randall Hall is a clean alias. You ran him, right?


BOOTH: Yeah.


OAKES: Came back clean?


BOOTH: Mm-hmm.


OAKES: Exactly. His real name is Terrence Baskin. Now, we know that he’s pushing meth through that club, but we can’t get enough to touch him. Our informants disappear. They either get bought off, or they get killed.


BOOTH: What about this murder?


OAKES: The night that Deejay Mount disappeared, Hall got ripped off for a mountain of meth and a ton of cash.


BOOTH: Deejay Mount ripped off Hall?


OAKES: No, it doesn’t scan. Mount was into Jesus, not chalk.


BOOTH: Hall killed Deejay Mount?


OAKES: Nah. Hall’s people do that type of stuff for him. So if anybody asked, why did you have me arrested?


BOOTH: Weapons beef.


OAKES: (chuckles) So I don’t get my gun back.


BOOTH: No (chuckles), no.


OAKES: We meet up again, if you get an excuse, hit me.


BOOTH: Oh…that…you can count on it.


(Cut to the Club. Booth and Brennan are questioning Hall. Oakes is sitting at a table reading a newspaper.)


HALL: I’ve been investigated for year. Why you think they never got me on anything?


BOOTH: Because you’re so smart?


HALL: Because Terrance Baskin is my past. I am 100% clean now. This is my life now, this and my record label. Not crystal meth, not gangbanging.


BRENNAN: Yet much of the iconic quality of urban music lies in the perceived or actual rivalry between the principal artists.


HALL: (sits down on a stool, with a grin) Where did you find her?


BOOTH: Museum.


BRENNAN: Was the rivalry between mount and Mr. Rulz strong enough to lead to murder?


HALL: Sure, they were both capable. Add in the fact that Mount was sleeping with Rulz’s girlfriend, Eve. Yeah, in fact—


BOOTH: Yeah?


HALL: Rulz built himself a studio around that time. Poured cement for the pad a day after they disappeared.




HALL: I’m saying…Mount’s dead, Eve’s gone missing. You might want to consider that. (Turns to Oakes) Let’s go.


BRENNAN: (to Booth) What do you think?


BOOTH: Oh, I think—I, uh, think we need to find a way to find a body buried under a slab of cement.


BRENNAN: Can’t you get a warrant?


BOOTH: A look around the premises maybe, but no way to tear it up.


BRENNAN: Let me make a phone call.


(Cut to a parking lot where Tootie, a big mastiff-type dog is being unloaded from the back of a truck with her handler Maggie.)


BRENNAN: Tootie has traveled the world finding dead bodies.


BOOTH: Does Tootie always drool like that? (Tottie whines and Brennan shoots him a look) What, I’m gonna hurt her—(looks closely) his feelings?


MAGGIE: Tottie is the best cadaver dog in the world, Agent Booth.


BRENNAN: It’s true. If you were a dead body, you’d want Tootie looking for you.


(Cut to the trio entering Rulz’s studio.)


BOOTH: How can it smell anything buried under a building?


BRENNAN: He can. Once I saw Tootie find a dead body wrapped in plastic under concrete, after four years.


MAGGIE: (with Tootie) Tootie can smell decaying blood on a tooth six feet underground. I mean, so what? He drools a little. What’s up with that? (to Booth) You know, your eyes are kinda close together, but I don’t comment.


BOOTH: (holds up hands in mock gesture) I apologize.


MAGGIE: (to Brennan) Is he sincere?




MAGGIE: All right then, we accept.


(Booth wipes off some drool from his pant leg. Tootie starts to whine and lies down.)


MAGGIE: Good boy, Tootie. Tootie found something.


BOOTH: Maybe he’s just lazy.


BRENNAN: Lying down is his indicator. Tootie found it, there’s a body under here (Brennan draws around Tootie to mark the location). You should get a warrant to bring in a jackhammer for the floor. (stands up) I’d start digging here.’


(Cut to Jeffersonian. Brennan, Zack and Hodgins are working on the platform around the new remains)


ZACK: (holding up xrays of teeth) Dental records confirm that this is Eve Warren.


HODGINS: Insect activity confirm she died around the same time Deejay Mount did.


BOOTH: Where did Booth go? I gotta give him the news.


HODGINS: His girlfriend brought him a change of shirt.


ZACK: They’re up in the lounge.


BRENNAN: Wha…Zack, clean the bones.


ZACK: We’ve already got cause of death and identity. What am I looking for?


BRENNAN: It might be grasping but that odd mark we found on Mount’s skull? See if you can find anything like it on Eve’s remains.


(Cut to the catwalk, Angela is talking with Tessa and Booth)


ANGELA: Jamaica? God, that’s incredible.


TESSA: Umm, it’s a bed and breakfast. There are these coral cliffs


BOOTH: (changing his shirt) Snorkeling, kayaking.


ANGELA: Oh, you two are so ready for the pre-shacking up test vacation.


BOOTH: What do you mean?


ANGELA: You have keys to each other’s places. You’ve done the weekend away a couple times. Yeah, it’s time for the ten-day vacation. You know, Jamaica’s like a dry run for living together only with rum punch and steel drums (leaves with a smile).


TESSA: (hesitantly) Yeah, see you later. Living together? Silly.


BOOTH: Thanks for bringing me a shirt (hands her the old one).


TESSA: Yeah, ok. I’ll talk to you later.


BOOTH: Yeah. (kisses Tessa quickly)


BRENNAN: (approaches them) Hi, Tessa.


TESSA: Yeah, ok. Bye.


(She leaves the two of them in the lounge.)


BRENNAN: It’s Eve Warren.


BOOTH: Eve Warren. Ok, cause of death?


BRENNAN: Same as Mount.


BOOTH: Meth overdose.


BRENNAN: Pushed in the face, but there’s more. I don’t think that Rulz killed her.


BOOTH: She was buried under his studio.


BRENNAN: But her wrist was broken.


(Cut to the Angelator room. Brennan, Booth and Angela are around it.)


BRENNAN: Bone damage indicates that Eve was taken from behind and smashed into a wall. (scenario is shown in the Angelator)


ANGELA: Her skull shows damage to both the infraorbital and supraorbital margins and the zygomatic process.


BOOTH: Zygo-zu—what--you said she was killed by crystal meth.


BRENNAN: She was. She would’ve been hurt and stunned by the blow but not killed, certainly not immediately.


ANGELA: A bag of crystal meth was placed over her face, actually ground into her wounds, into the airway.


BOOTH: Wait, Rulz couldn’t have smashed her into a wall?


BRENNAN: Her radius was separated from the scaphoid and trapezium.


ANGELA: Her right wrist was twisted hard behind her back. There’s damage to both the elbow and the shoulder as well. For that to happen, Eve’s attacker would’ve had to twist her arm up with his right hand while jamming the crystal meth into her face with the other.


BRENNAN: Both with a great deal of force.


BOOTH: Ah, but Rulz had been shot twice in the right hand. I got it, he had nerve damage.


BRENNAN: There is no way he had the strength to kill Eve Warren.


BOOTH: Yeah.


(Cut to FBI Building. Booth and Brennan are interrogating Rulz.)


BRENNAN: You did not murder Eve Warren.


RULZ: This is a weird kind of interrogation, huh? Cops telling me what I didn’t do.


BOOTH: Well, then do me a favour. Tell me Bones is wrong and confess to a murder.


RULZ: Hell, no, man. What do you think, I’m some type of idiot?


BOOTH: Do me a favour, deny it.


RULZ: See, you got tricks. You’re gonna twist all my words around, so I’d better not say anything at all.


BRENNAN: But you didn’t kill Eve Warren.


RULZ: So you say. The Rulz says say nothing.


BOOTH: He wants us to hold him.




BOOTH: Why? Because every time some rapper gets murdered, his business goes straight through the roof.


RULZ: You know, why should Deejay Mount get the bump, huh? Maybe it’s my turn.


(Brennan watches their interaction with confusion and dismay.)


BOOTH: I’ll tell you what. I’ll make you a better deal. You tell us what we need to know and I’ll have those charges laid against you. Put you in the remand centre?


RULZ: For how long?


BOOTH: Oh, that depends on what you tell us.


BRENNAN: Wait, wait. You’re negotiating to put this guy in jail?


BOOTH: To sweeten the pot, I’ll charge you with Mount’s death too. But you hire one of those moron lawyers and you’ll be thrown in lockup for what, maybe a month?


RULZ: (nods, smiling) Sweet, all right.


BRENNAN: (dismayed) Where am I, in Backwards World?


BOOTH: What do you got?


RULZ: Look, I could tell ya’ll why Mount got killed, but y’all have to figure out the rest on your own.


BRENNAN: Uh, we have to figure it out just from motive? (sits down)


BOOTH: Ok, look, Bones, this is, you know, sort of my thing. (Brennan relents)


RULZ: You know, Mount was gonna jump.


BRENNAN: You mean commit suicide?


RULZ: (bewildered) Where did you find her?


BOOTH: Museum.


RULZ: I mean labels, jump labels.


BOOTH: (chuckling) Wait, you’re saying that Deejay mount was gonna leave Basement Records.


RULZ: Look, all he needed was the money to buy himself back. That’s why he got himself killed. Now, if Hall even finds out that I told y’all that much, I’m gonna end up some dried-out mummy in a wall.


BRENNAN: But what about Eve?


RULZ: Man, Eve couldn’t kill nobody. You know, sex ‘em to death maybe, but that’s about it. There’s one more thing. The next day, Hall built me a new studio. He took it out of my money too.


(Booth and Brennan exchange a look.)


RULZ: So, you gonna put me in jail?


BOOTH: Well, you know, hey, it’s the least we can do, hmm?


(Brennan is still perplexed at the situation and Rulz chuckles.)


(Cut to lab. A picture of Mount and Eve is on the computer as Booth and Brennan walk up the stairs to the platform.)


BOOTH: How about this? Hall’s got motive to kill Mount. Why? Because he’s jumping labels, and he’s running away with some girl who’s stealing Hall’s meth and money.


BRENNAN: (putting on surgical gloves) I’m starting to see how this whole motive thing works.


BOOTH: Thank you.


BRENNAN: It’s still murky psychological guesswork though.


ZACK: Dr. Brennan, I found a mark on Eve Warren. Here, on the manubrium (sits down at a computer terminal to bring up the image).


BRENNAN: Compare it to the mark on Mount.


BOOTH: Ok, Eve tells Mount that she wants to start a new life, so she rips off the dope and the cash thinking she can build a new future with him.


BRENNAN: That’s a story, Booth. You need to find something real.


BOOTH: But why? It feels real to me. I mean, Eve is a woman in love who is trying to escape a world that’s just crushing her. Hhmm? (Brennan looks at a photo of Eve and Mount) All right, Mount finds out how much trouble the woman he’s in love with is in so he gives up his own life to protect her. That’s not enough. They were hoping for a better life, and they wound up dead.


(Brennan looks emotional from Booth’s story. Zack pulls up both images on his screen.)


ZACK: Looks like a match.


BRENNAN: (walking over to the computer) Thanks, good job.


BOOTH: What the hell’s that?


BRENNAN: I’m not sure, it’s a bone dimple. But they both have it, so it can’t be genetic. Something external caused it, but I’m not sure what.


BOOTH: Randall Hall, he’s behind this. Randall Hall, ok? He killed these two people. We know it, he did it. We just can’t touch him, and there’s no evidence linking him to the drugs, the cash or either body except for a couple of damn bone dimples.


BRENNAN: I’ll keep looking at the remains, maybe find the evidence we need.


BOOTH: I can’t let it stand.




BOOTH: (upset) You know what? I’m gonna spread the pain, all right? That’s my new motto (turns to leave).


BRENNAN: Wait, I can help spread pain. Wait!


(Cut to Hall’s club. Booth and Brennan are talking with him. Oakes is there, too.)


BOOTH: (sitting on a couch, flipping through a magazine) We know you did it.


HALL: What?


BOOTH: Killed Mount in that wall so that he wouldn’t leave your label.


BRENNAN: You killed Eve Warren.


BOOTH: Killed her and buried her under Rulz’s studio. Meantime, this is gonna have to remain an active crime scene.


HALL: It’s harassment, I’ll sue.


BOOTH: I’m gonna harass you every chance I get.


HALL: (jabs his cane against Booth’s chest) I’m not somebody you want to mess with.


(Brennan focuses in on his cane.)


BOOTH: Did you just poke me? (chuckles, stands up) Did he just poke me with his little stick?


HALL: (agitated) This is my place. If I want to poke someone, I do it. Come on.


(Hall sticks out his cane again and Booth grabs it, pushing him down. Oakes pulls a gun out on Booth, but he quickly disarms him and knocks him down, too. Brennan takes the gun, pointing it at Oakes as Booth holds the cane in front of Hall.)


BOOTH: All right, how easily do you think I scare? (starts the motion to break the cane.)


BRENNAN: Hey, Booth! Don’t break the cane. Arrest him and confiscate the cane as evidence. I need the cane.


BOOTH: Arrest him for what? He’s the guy who pointed a gun at a federal agent (indicating Oakes, who is starting to get up.)


BRENNAN: Uttering threats or smelling bad or anything. It’s the cane we want.


BOOTH: Fine, here (hands cane to Brennan and takes out his cuffs). Randall Hall, I’m placing you under arrest, all right? For the assault of a federal agent.


HALL: This’ll never go to court.


BOOTH: Let’s go find out.


(Booth leads Hall out while Brennan hands Booth the gun.)


BOOTH: (turning back to look at Oakes) The next time I take your gun away from you, I’ll shoot you with it.


OAKES: Well, then, I better not let you get my gun again.


BOOTH: Come on, lets go.


(Cut to Jeffersonian. Hodgins is helping Zack put on a vest while Angela and Brennan look on.)


ANGELA: Get this, I called Tessa to tell her a couple places she should check out in Jamaica. She’s not going.


BRENNAN: What happened?


ANGELA: Well, she said something came up at work, but I know the truth.


HODGINS: (holding the cane as Zack is standing with the vest on, holding something against his chest) How many times you want me to poke Zack?


BRENNAN: Just once, but as hard as you can.


ZACK: As hard as he can? Why don’t I hit him as hard as I can?


HODGINS: Because you have arms like noodles, while I’m vigorous and burly.


BRENNAN: (turns back to Angela as Hodgins pokes Zack) What truth?


ZACK: (grunts) Is that all you got, burly boy? (Hodgins gives him a look, and takes the thing Zack was holding.)


ANGELA: They got freaked out by stage six.


BRENNAN: What’s…what’s stage six?


ANGELA: One, spend the night. Two, spend the weekend. Three, exchange keys. Four, sexy weekend getaway. Five, extended vacation, inevitably followed by six—move in together.


BRENNAN: I’m an anthropologist. I know the stages of everything, you made those up.


ANGELA: I did not.


BRENNAN: Yes, you did.


ANGELA: They got to stage five, and they balked.


BRENNAN: Not Booth, Booth did not balk.


ANGELA: Sweetie, it’s always the guy.


BRENNAN: (shakes head) Booth is not a balker.


HODGINS: (looking at them from the computer terminal) Hey, the mark on Mount and the mark on Eve, they’re the same.


BRENNAN: He can’t resist hitting them with that stupid cane. The end of the cane, it’s a fit for both marks. (points to the screen) Hall is the killer. Send the cane, the photos and the medium to the FBI, let them confirm the match.


HODGINS: What? Let them have all the glory?


ZACK: My chest hurts.


BRENNAN: Yeah, all the glory.


(She turns to leave, as Hodgins shakes his head.)


(Cut to Wong Foo’s. Booth is sitting at the bar with a red tropical drink with a paper umbrella sticking out of it. The TV is on showing the news.)


TV REPORTER: Here’s what we know so far. Evidence linking rap producer Randall Hall with the death of rising hip-hop star Deejay Mount led to charges being filed today by the district attorney. (Brennan appears in the background) Information coming to us slowly at this point but as soon as details—


(Booth switches off the TV.)


BRENNAN: (walking over to Booth at the bar and sitting down next to him) Getting yourself in the mood?


BOOTH: (playing with the umbrella and eating the pineapple slice) Trying. You know, this really isn’t gonna be the type of vacation I was hoping for.




BOOTH: Tessa’s not going. Something came up at work (takes a sip of his drink).


BRENNAN: That’s too bad. I’m sorry. Hey, I like going on vacations by myself.


BOOTH: Really?


BRENNAN: Sure, nothing wrong with being alone.


BOOTH: No, I mean, you like to go on vacation?


BRENNAN: Yeah, I go places all the time.


BOOTH: Do you ever just, you know, sit on the beach…pretend there’s no such thing as skeletons?


BRENNAN: Is that in any way fun?


BOOTH: When was the last time you got away?


BRENNAN: Got away from what?


BOOTH: (chuckles) Oh, Bones, you know, because what usually happens to me…I think about not coming back (starts to get up).


BRENNAN: Seriously?


BOOTH: (putting on his jacket) Yeah, you know, you go with someone you joke about not going back to your real life…the two of you laugh. But when you’re alone, the world is full of possibilities


BRENNAN: See you next week.


(Booth smiles and turns to leave. Brennan is left alone at the bar.)





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