"A Night at the Bones Museum"
[SCENE_BREAK]
TEASER
(Open: A Power Plant - Night. A Security Guard patrols the grounds. Bored, he flings coins at the electric fence. They spark and sizzle in the dark, illuminating a figure. The Security Guard shines his flashlight and gets the shock of his life when he finds a shriveled corpse. He goes to touch the corpse but winds up shocking himself on the electric fence and falls backward to the ground.)
(Cut to: FBI - Booth's Office. Booth and Brennan are in the middle of looking at something on Booth's desk when Assistant Director Andrew Hacker enters the room)
HACKER: Hey! These are all the approvals that you asked for, Agent Booth. I- I think they're all in order.
BOOTH: Right, you, uh, usually just e-mail me these, sir.
HACKER: Yeah, well, since I heard Dr. Brennan was here, I thought I would say hello and ask her if there was anything she needed from us suits upstairs.
BRENNAN: Oh, no, thank you, but it's nice to see you again, Agent Hacker.
BOOTH: It's Assistant Director Hacker, Bones.
HACKER: Andrew is fine.
BOOTH: Andrew, cool.
HACKER: For Dr. Brennan. I'm still your boss, Agent Booth, and since we're at work...
BOOTH: Sure.
HACKER: (to Brennan) I just want you to know I realize how busy you are being an author and scientist. Loved the last book, by the way. Not everyone can make crushing someone to death charming.
BRENNAN: Thank you.
HACKER: Well, the Bureau is grateful for all of your help and I hope that you're pleased with Agent Booth; he's the best we've got.
BOOTH: Oh, I don't know about that...
BRENNAN: I agree that statement is impossible to quantify, since there are no other agents, partnered with forensic anthropologists let alone, one with my abilities.
BOOTH: You know what, Bones? You're raining on my parade.
HACKER: Agent Booth, would you mind if I had a quick word in private with Dr. Brennan?
BOOTH: Sure! No problem. (to Brennan) He probably wants a signed copy of your book. (to Hacker) Happens all time, no need to be embarrassed.
(Cut to: Power Plant - Day. Brennan and Booth are getting out of the car, walking towards the crime scene))
BRENNAN: Director Hacker wants to have s*x with me.
BOOTH: Oh! He said that. Wait! And it's Assistant Director.
BRENNAN: Well, he said dinner, but the implication was clear.
BOOTH: Okay, well, all you gotta do is just turned him down. You know, be very polite and nobody gets hurt.
BRENNAN: But he is charming, good looking. Why would I turn him down?
BOOTH: Well, because he's my boss, ok? It'd just be awkward. I'm the guy who's gotta report to him, Bones.
(They meet up with Cam)
CAM: The victim seems to have fried. Local cops think a radical environmental group did it. Last week, apparently they torched a Hummer. Sign was the same- "Big energy is killing the planet."
BRENNAN: Seems to be a poor way to get sympathy for your cause.
CAM: Ya think?
BRENNAN: Yes.
BOOTH: So, the plant have security tapes?
CAM: Your people are getting them now. First responders said the vic looks like a beef jerky.
(Sweets shows up)
SWEETS: Dr. Brennan, do you have a moment?
BRENNAN: No, I'm at a crime scene.
SWEETS: I called, but I guess you didn't get my messages.
BOOTH: You know what, Sweets? This'd better be important.
SWEETS: Daisy and I have been talking, and she'd like another chance to prove herself as your intern.
CAM: And good-bye. I'm going to focus on Mr. Jerky.
BRENNAN: I'm aware of your concerns, and I'll be the first to admit that Daisy is very unique.
BOOTH: Okay, let me guess, let me guess. No s*x until you give her what she wants, right? Am I right?
SWEETS: I realize she has impulse control issues...
BRENNAN: She can't stop talking. She has no sense of personal space.
SWEETS: ...but I've been teaching her some breathing techniques, and I'm confident...
BOOTH: Guys, I got a dead body over there.
BRENNAN: Yes, I have to work, Sweets.
CAM: (over by the fence) I've never seen a burn like this before. Small stature, I estimate late teens, early 20s. If anyone's interested.
SWEETS: I'd consider it a personal favor, Dr. Brennan.
BOOTH: Ouch, personal favors are kind of like penalty shots. You kind of have to take 'em. Unlike dinner requests from your boss, which you are totally open to decline.
BRENNAN: I- I will give Ms. Wick a 24-hour probationary period.
SWEETS: Thank you. Thank you very much.
(He smiles and give the thumbs up to Daisy - who starts bouncing in the car across the way)
(Brennan goes over by the corpse and sniffs it.)
BRENNAN: This victim wasn't electrocuted.
CAM: That's what I thought, but the plant engineer said if there was a power surge...
BRENNAN: (to Booth & Cam) Smell.
(They all lean in to smell it)
BOOTH: Whoa, it smells like Christmas.
BRENNAN: It's frankincense and myrrh. This victim died over 3,000 years ago. This is an Egyptian mummy.
BOOTH: Like a mummy? Like a real mummy?
CAM: Well, a real mummy that appears to be covered in fresh blood, and given the trajectory, it's an arterial spurt, most likely from a stabbing, and this is a lot of blood. I doubt whether whoever it was survived.
BRENNAN: Well, if it were a stabbing, the mummy had to be directly in front of the victim.
BOOTH: So what are you saying? The mummy killed someone?
(Opening Credits)
(Cut to: Medico Legal Lab. Brennan and Angela are walking in the hallway towards the Forensic Platform.)
BRENNAN: Booth hasn't found any victims who were stabbed, no hospital or emergency room admissions.
ANGELA: Okay, well, he also checked the National Stolen Art File, and there were no reports on missing mummies, but he's checking with individual museums and curators now.
BRENNAN: If this mummy wasn't stolen from a known collection, it means it might be the product of an illegal tomb raid. That makes it a priceless anthropological find.
ANGELA: Yeah, but is that worth killing for?
BRENNAN: Well, it's a motive I can easily understand. (she swipes her card and enters the Platform where Cam, Hodgins and Daisy are examining the mummy's remains.) We have to identity the mummy to determine why someone would kill for it.
DAISY: (talking excitedly) You are so brilliant, Dr. Brennan. Thank you for giving me - (she pauses, takes a breath, lowers her voice an octave and talks much slower) another chance, and I swear I will speak in a more modulated tone and then only when asked.
BRENNAN: That's wise.
HODGINS: Cam is running DNA and tox screen on the blood.
ANGELA: Booth questioned those eco-terrorist freaks. They said they found the mummy when they went dumpster diving. Apparently, they thought it would be a good symbol. He said their story holds.
HODGINS: I identified flakes of natron. It's a naturally occurring sodium carbonate decahydrate. It was used as a drying agent during the mummification process (Daisy raises her hand) in the second century B.C.
DAISY: Permission to speak?
HODGINS: Well, that lasted ten seconds.
DAISY: Tissue condition confirms the mummy is a daddy... male. They let the females putrefy prior to mummification to discourage necrophilia.
ANGELA: Ew and good.
DAISY: Thank you.
HODGINS: The weave pattern of the linen suggests this was a top-notch embalming. I mean, we may be talking about a pharaoh or a prince here.
BRENNAN: Someone cracked open his chest cavity.
DAISY: An area of compaction in the mummified tissue suggests something was stored in here. I forgot to raise my hand. I'm sorry.
BRENNAN: And judging by the margins of the fractures, the thoracic area was opened quite recently.
DAISY: Perhaps to remove whatever was stored inside.
ANGELA: Buried treasure inside the mummy's chest?
HODGINS: Pretty good motive to kill.
BRENNAN: (giddy) I love ancient remains. I really do. (Hodgins & Angela look at her like she's gone crazy. She calms down, clears her throat and continues) There are particulates embedded in the compaction.
HODGINS: Yep, I'm on it.
(Brennan starts getting giddy again - Daisy joins her)
BRENNAN: This could be a groundbreaking find.
DAISY: We could be honored by the American Anthropological Association.
BRENNAN: Most definitely. Our picture on the front of the journal.
DAISY: Oh, I would love to see my mother's face then.
(Angela and Hodgins just look at them, dumbfounded. Brennan collects herself, again, and continues)
BRENNAN: There seems to be a separation between the C6 and C5 vertebrae. Some kind of wooden shaft is connecting the head to the spine.
DAISY: Oh, let me see.
(Hodgins and Angela look at each other as if to say: Are Brennan and Daisy seriously bonding?)
(Cut to: FBI Headquarters - Booth's Office. Booth on the phone. )
BOOTH: Hi, this is Special Agent Seeley Booth with the FBI, Dr. Malloy. This may sound a little strange, but we recovered a mummy that may be evidence in a homicide investigation, and...Okay, um, and you're sure that one hasn't disappeared? (Hacker enters.) Okay, great, thanks.
(Booth hangs up the phone.)
HACKER: Agent Booth.
BOOTH: Assistant Director Hacker.
HACKER: I just got a call from a Nobel Laureate who claims you dragged him out of bed to ask if he's missing a mummy. I assumed it was a crank call.
BOOTH: No, no, investigating a potential homicide, sir.
HACKER: And there's a mummy involved?
BOOTH: Preliminary report.
HACKER: Huh. So there is a potential mummy-related victim out there.
BOOTH: Yeah, Bones is looking at the old guy for clues.
HACKER: A mummy. (Booth nods) Damn, you field agents have all the fun. Good luck.
BOOTH: Okay.
HACKER: Oh, by the way, did Temperance mention that I asked her out?
BOOTH: Uh, y-yeah, I think she may have said something like that.
HACKER: I just wanted to make sure there's nothing going on between the two of you. I wouldn't want to get in the middle.
BOOTH: No, nothing whatsoever, sir. Strictly professional.
HACKER: Are you sure?
BOOTH: Yeah, positive.
HACKER: All right, then. I'll let you get back to pissing off Nobel Laureates.
(Hacker leaves and Booth picks up the phone. He's obviously annoyed that Hacker is going out with Brennan)
(Cut to: Medico Legal Lab - Angela's Office. Angela and Sweets are standing in front of a large screen - the movie, The Mummy, is playing.)
ANGELA: Okay, so you're spying on Daisy.
SWEETS: No, no, n-no, I'm just staying close in case an intervention is required. This screen is so awesome.
ANGELA: I know, isn't it?
SWEETS: Yeah.
ANGELA: I thought you fixed her.
SWEETS: I- it's a process. Karloff was a genius. You could feel the mummy's pain, you know.
ANGELA: He was dead, Sweets. He felt no pain.
SWEETS: Emotional pain - that never dies.
ANGELA: Cheery thought. Thank you.
(Cam enters.)
CAM: Database has no match on the blood. Hodgins found some 3,000-year-old bugs, so he's all weepy. I hope Dr. B. can get the mummy to talk. (regarding the movie) Research, I assume.
ANGELA: Yes, uh, sure. Imhotep is looking for the reincarnation of his ancient lover. This could be a motive.
CAM: What are you doing here, Sweets?
ANGELA: He's Daisy's trainer. If she attacks, he can put her down.
(Brennan enters with the mummy's head.)
BRENNAN: (clearing her throat) He was decapitated. Can you do a facial reconstruction? (she hands the tray to Angela.) Perhaps we can match his face to an Egyptian coffin painting. (looking at the screen) Oh, The Mummy, 1932.
CAM: You don't know who Britney Spears is, but you know this movie.
BRENNAN: It's the film that made me want to be an anthropologist. Although I prefer Chaney's Mummy to Karloff's.
(Brennan leaves. Sweets, Cam & Angela look after her - amazed.)
(Cut to: Medico Legal Lab - Forensics Platform. Brennan and Daisy are examining the remains.)
BRENNAN: There's an extra metacarpal on the ulnar side, likely caused by the high incidence of inbreeding among Egyptian royals.
DAISY: It could just be a single gene mutation.
BRENNAN: Or it could be one feature of a syndrome of congenital anomalies. Bring up the X-rays of the forearm. There, the ulna is bowed.
DAISY: Antley-Bixler syndrome - a recessive congenital disorder characterized by malformations of the skeleton and the skull.
(Brennan grabs a book and starts thumbing through it - her excitement levels rising as Daisy continues to talk)
DAISY: Flat forehead, elongation of the parietal and occipital regions. Oh, my God, he's 18th Dynasty.
BRENNAN: Excellent, Ms. Wick, excellent.
DAISY: I try, I do. (Brennan stops reading and looks up slowly) Dr. Brennan, are you okay?
BRENNAN: (a smile spreads across her face) I know who the mummy is.
(Cut to: Medico Legal Lab - Angela's Office. Brennan and Daisy come running in - obviously very excited about something.)
BRENNAN: I identified the mummy.
DAISY: I helped!
(Sweets gives her a look)
BRENNAN: It is a find that is certainly valuable enough to kill for. (she turns towards the screen) Oh. I love this part. (she starts to act out part of the movie and mimics the voice on screen) "And yet I shall awaken memories of love and crime and death."
CAM: Dr. Brennan.
BRENNAN: Uh, of course. Sorry. His name is Anok, the Boy with the Bleeding Heart. He was the second son of the Pharaoh, and according to legend, Anok's older brother, Meti, fell off his horse and Anok trampled him to death to ensure that he would ascend to the throne. Anok insisted that his brother's Injuries were the result of the fall, but the Pharaoh didn't believe him and he went into a rage and he cut off Anok's head. He became known as the Boy with the Bleeding Heart because his grief was two-fold. Grief for the death of his brother, and grief for the loss of his father's love.
ANGELA: And what does this have to do with the murder?
DAISY: Anok is supposed to be here at the Jeffersonian, on loan from the Egyptian government. He's going on exhibit Friday. But I should have let Dr. Brennan tell you that.
CAM: Why wasn't he reported missing?
BRENNAN: I don't know. I - I've called Booth. We have to talk to the curator.
(Brennan runs out.)
DAISY: (to Sweets) Why are you here?
SWEETS: Movie. I was just watching the movie.
DAISY: So, I'm like some kind of experiment that you need to supervise?
SWEETS: No. I just thought if you needed me...
DAISY: Do I look stupid? Because I'm not, Lance. In fact, there's lots of people who think I'm scary smart. (she storms out) (to herself) Not about men, apparently.
(Cut to: Jeffersonian - Hallway. Booth and Brennan are being led to Dr. Kaswell's office by her assistant, Leland Frankel)
LELAND FRANKEL: Her lab is upstairs on the right. Now, the Anok exhibit opens on Friday, so there's very little chance that Dr. Kaswell just let Anok get up and walk out of her lab.
BRENNAN: Well, of course not. Reanimation, while extremely entertaining, is impossible. Cellular death is cellular death.
BOOTH: Listen. When was the last time you saw Dr. Kaswell?
FRANKEL: I guess a day or so. She's just been behind closed doors with Anok while I've been helping out with the dioramas, which have been a nightmare. In one scene, they painted a group of female musicians, and they have toes.
BRENNAN: Toe differentiation in Egyptian art didn't happen until much later, particularly in women.
FRANKEL: I know, right?
BOOTH: (sarcastically) It's fascinating.
FRANKEL: (knocking on a door) Dr. Kaswell? (to Brennan) She hates to be disturbed. (he knocks again) Dr. Kaswell!
BOOTH: Just try the...(he tries to open the door) Oh, it's locked.
FRANKEL: She's always here at this hour. Always. And she would never lock herself in.
BRENNAN: We should get the key.
BOOTH: (while kicking open the door) Of course.
BRENNAN: (laughing) Ah, ha ha ha ha.
BOOTH: Oh, look at that. It's a mummy's coffin.
FRANKEL: Yes. Beautiful, isn't it? I can't believe she's not here.
BRENNAN: Booth?
BOOTH: Yeah?
BRENNAN: Look. It's blood.
(Blood is dripping out of the coffin)
BOOTH: Let me get this thing out. (Booth struggles) I got it.
FRANKEL: Oh, please, be careful with that. It's priceless.
BOOTH: Oh!
FRANKEL: Dr. Kaswell.
BOOTH: Yeah, that would have been my guess.
(Cut to: Medico Legal Lab - Forensics Platform. Cam, Hodgins and Brennan are examining Dr. Kaswell's body.)
CAM: The FBI has locked down the Egyptian wing, looking for evidence.
HODGINS: I can't believe Dr. Kaswell is dead. I just met her a couple months ago at a party.
BRENNAN: She seemed nice. She was pleasant, but an unexceptional anthropologist and obviously quite careless.
CAM: Perhaps, but it's sad nonetheless, Dr. Brennan, to lose one of our own here at the Jeffersonian.
BRENNAN: Of course.
HODGINS: Truth be told, we kind of flirted with each other...
CAM: Not appropriate, Dr. Hodgins. Dr. Kaswell's blood's a match for the spray we found on the mummy.
HODGINS: There are some metal flakes at the injury site. You say the word, I'll take them.
BRENNAN: One moment. The weapon appears to have penetrated the eye and then entered the frontal lobe. There's damage to the superior orbital fissure and sphenoid.
CAM: It must have lacerated the internal carotid artery. That would be consistent with the arterial spurt.
BRENNAN: Given the injuries, the killer must have used a narrow, blunt-edged instrument.
HODGINS: The metal shavings might help us identify the murder weapon.
(Daisy come ups behind them, quietly. Raises her hand and clears her throat)
BRENNAN: Speak, Ms. Wick.
DAISY: I used phenolphthalein and hydrogen peroxide in Anok's open chest cavity. You can see blood traces in the compaction and evidence of a blunt-edged instrument used to gouge out whatever was hidden in his chest. I extracted some metal shavings for Dr. Hodgins.
CAM: Perhaps the murderer used the same weapon that killed Dr. Kaswell to open Anok's chest.
DAISY: Dr. Kaswell had been studying this mummy for weeks. She must have known what was inside his chest.
BRENNAN: The Egyptian government wouldn't allow any invasive examination of Anok.
CAM: And there was nothing in her notes?
BRENNAN: Her notes were missing.
(Cut to: FBI Headquarters - Booth's Office. Booth and Brennan are talking with Steven Turnbull.)
BOOTH: So, you were overseeing the exhibit, Mr. Turnbull?
STEVEN TURNBULL: Uh, administrating. I was the, uh, go-between, coordinating things with Dr. Kaswell and, of course, the Egyptian National Museum.
BRENNAN: The Egyptians lent Anok to the Jeffersonian.
TURNBULL: He survived 3,000 years in the Egyptian desert, but he couldn't make it two weeks in DC.
BOOTH: Hmpf.
BRENNAN: Dr. Kaswell's notes were missing. I assume she took notes.
TURNBULL: Of course. She had to turn them all over to me so that I could give them to the Egyptians. That was part of the deal.
BOOTH: Well, we're going to need all the notes that she gave you.
TURNBULL: Of course.
BRENNAN: Did she mention finding anything in Anok's chest?
TURNBULL: Chest? No. Uh, no invasive examinations were approved by the Egyptians.
BRENNAN: It's not uncommon for different departments to vie for funds for exhibits, is it, Mr. Turnbull?
TURNBULL: Uh, no, but as you can attest, Dr. Brennan, scientists usually don't kill for them.
BOOTH: Sure. I'm just curious...was anyone angry at Kaswell because she did get the funds?
TURNBULL: I know - I know that Dr. Wheaton was upset.
BRENNAN: (to Booth) He's head of Ancient Rome Culture and Artifacts.
BOOTH: (to Turnbull) Well, why was he upset?
TURNBULL: He wanted the funds to exhibit some new finds in Roman portraiture but Alex is a good man, a friend. I mean, he's a Little League coach, for God's sake.
BRENNAN: Did he and Dr. Kaswell ever have words?
TURNBULL: Everyone has disagreements.
BOOTH: Well, not everyone winds up dead.
(Cut to: Medico Legal Lab - Autopsy Room. Cam is just finishing up the autopsy on Dr. Kaswell. Angela is with her.)
CAM: Heart like a marathon runner. She probably would have made it to 90 if this didn't happen.
ANGELA: This poor woman. You know, she gave me a lift last month when my car broke down.
CAM: Maybe there really is a curse. Messing with mummies...clearly not a good idea.
ANGELA: When I was in Rio, some kid graffitied a mummy in the National Museum. The next day, choked on his own tongue.
CAM: Seriously?
ANGELA: "Death shall come on swift wings to he who disturbs the peace of the mummy."
CAM: Well, I guess I'd be angry, too, if someone pulled my brain out through my nose and stuck it in a canopic jar.
(Hodgins enters.)
HODGINS: The urine of a redheaded boy.
CAM: We need so much more than that.
HODGINS: From the swab of Dr. Kaswell's eye.
ANGELA: A redheaded boy peed on her eye?
HODGINS: Well, not exactly. See this? The tool used to stab Dr. Kaswell left traces of iron and carbon. And, to a lesser extent, silicon, manganese and phosphorous.
ANGELA: Any of those things scream "pee"?
CAM: Not that I'm aware.
HODGINS: Ancient metal workers turned iron into steel by accident. They accidentally carburized the iron while heating it over charcoal, thus turning it into low-grade steel. But they thought that it was the mode of quenching the molten metal that hardened it.
CAM: The redheaded boy pees on the molten metal.
HODGINS: The iron turns to steel and our ancient metal worker figured that the little redhead did the trick. It's an instant old wives' tale.
ANGELA: Wait. I didn't know they had redheads in Ancient Egypt.
HODGINS: They didn't. It was Ancient Rome. Our murder weapon was forged in Ancient Rome.
(Cut to: Booth's Car. Brennan is reading over a file while Booth is driving.)
BRENNAN: Dr. Wheaton's department has a very extensive collection of Roman tools. Chisels, lathes, planes, files.
BOOTH: Eggheads killing each other over exhibits no one really wants to see.
BRENNAN: The King Tut exhibit was immensely popular.
BOOTH: Look, Bones, the only thing that regular people learn from going to a museum is how to sleep standing up. All right? Pretty simple. So, I did a little checking on Hacker, by the way; 42, never been married. Just in case you're interested.
BRENNAN: Late marriage is often an indicator of a discerning, goal-oriented individual. Why is this a problem for you, Booth?
BOOTH: Ah, because he's my boss. That's all. And if you're going to go out with Hacker, then you guys are going to talk about me.
BRENNAN: Why would I talk about you?
BOOTH: Because I'm what you've got in common.
BRENNAN: If you're concerned that I'd discuss any perceived shortcomings -
BOOTH: Shortcomings? What shortcomings?
BRENNAN: Honestly, Booth, Andrew and I are attracted to each other. I'm sure neither of us will think of you for a second.
(Cut to: Jeffersonian - Eqyptology Department. Brennan and Booth confront Dr. Wheaton.)
DR. WHEATON: Trust me, Agent Booth. I had no quarrel with Dr. Kaswell.
BOOTH: Really? Because, according to witnesses, you were arguing with her in the middle of the Titan exhibit.
BRENNAN: He means Titian. Titian was a 16th century Renaissance painter from the Italian school, Booth. Titans were ancient Greek gods...
DR. WHEATON: Okay. I yelled at Dr. Kaswell. Leslie was gloating because she got the funding and I didn't. I'm human. I got angry.
BOOTH: Okay, so stealing her beef jerky man was just some way of wrecking her exhibit and seeking revenge, but things, they just got out of hand, and before you know it...
BRENNAN: A gouge is missing, Dr. Wheaton. An early steel scalprum.
DR. WHEATON: I, uh... I don't know where that went. I've been asking the doctoral candidates. They have access to these tools for research.
BRENNAN: 25 centimeters long, blunt end. Two centimeters wide. That could definitely be the murder weapon.
BOOTH: Oh. Where were you Monday night?
DR. WHEATON: Here, working. I don't have to say any more. If you have evidence, arrest me. I have work to do.
(Cut to: Medico Legal Lab - Ookey Room. Angela and Hodgins are talking while he looks at particulates)
ANGELA: Isn't it weird that 3,000 years ago, Anok was a real guy, 24 years old - like Sweets - living his life and falling in love?
HODGINS: Yep. Bet he didn't know his afterlife was going to consist of being dissected and analyzed, like what he really is... just a mere mass of chemicals.
ANGELA: Yeah, that was the romantic notion I was going for. Thank you.
DAISY: Dr. Brennan wanted me to check on those particulate swabs from the mummy's chest cavity. Not that I'm trying to rush you or anything.
ANGELA: Is everything okay, Daisy?
HODGINS: Oh, I can't believe you asked that.
DAISY: Lance and I had a little disagreement. He's overbearing and untrusting and I'm evaluating the future of our relationship. You're so good to ask. We're close, aren't we?
HODGINS: (interrupting) Hey, look what I found. Three different particulates within the chest cavity. We got crushed mammal bone, kermes insect and woad legume.
ANGELA: Animal, vegetable and mineral.
DAISY: Actually, that would be two animals and a vegetable because bone is organic, not a mineral.
ANGELA: Oh, my God. The three particulates are totally different but they're actually the exact same thing.
(Angela leaves. Daisy & Hodgins are confused.)
(Cut to: Medico Legal Lab - Forensics Platform.)
ANGELA: Woad, kermes insect and bone were all used by the Ancient Egyptians to make paint. I learned this when I was in art school. Bone for white, kermes insect for red and woad for indigo.
HODGINS: So we just can't make out the colors anymore because of decomp?
ANGELA: Right.
DAISY: Dr. Brennan thought perhaps the compaction was left by a canopic jar.
ANGELA: No. They didn't paint those. They weren't important. It would have been like painting Tupperware.
HODGINS: Yeah, but something was painted. What would have been painted?
DAISY: And why did somebody hide it inside his body?
ANGELA: Well, it must have been important and it needed to last forever. So, if I can scan the cavity and find out where the paint seeped into the different tissues, I might be able to reconstruct what was in Anok's chest.
(Cam and a woman approach the platform)
CAM: This is Azita Jabbari from the Egyptian National Museum.
AZITA JABBARI: Turn off that light.
What? Wait a minute. We just discovered...
AZITA JABBARI: We have not authorized any invasive or investigative procedures on Anok.
CAM: Ms. Jabbari wants her mummy back.
AZITA JABBARI: "The Boy With the Bleeding Heart" goes back to Cairo. Today. Unless you would like to start a feud between our two governments.
(Cut to: Medico Legal Lab - Brennan's Office. Azita is arguing with Cam & Brennan.)
AZITA JABBARI: Anok is a national treasure on loan to your country. According to our agreement, we can revoke the permit at any time.
BRENNAN: I understand your government's concern, but he's safe in our Medico-Legal Lab. The low humidity and temperature in the lab are optimum conditions.
AZITA JABBARI: Dr. Brennan, with all due respect, you have no legal grounds to keep him.
CAM: Yes, we do. Anok is evidence in a murder investigation. Whoever killed Dr. Kaswell stole something from inside the mummy. Any idea what was inside that was worth killing for?
AZITA JABBARI: Have you examined the CAT scans?
BRENNAN: What CAT scans?
AZITA JABBARI: A few days ago, I granted Dr. Kaswell's request to perform CAT scans on Anok. The films should be in Dr. Kaswell's files.
BRENNAN: Dr. Kaswell's lab was searched. The files are missing.
AZITA JABBARI: Then ask the young man who worked for Dr. Kaswell. He sent the request.
(Cut to: FBI Headquarters - Interrogation Room. Booth & Brennan are talking with Leland Frankel)
BOOTH: (reading from a paper) "I work for Dr. Kaswell at the Jeffersonian Institution, and I'm writing to request autobiographical information on the man who funded the exhumation of Anok's tomb." I checked with the museum. You never worked with Dr. Kaswell.
FRANKEL: That's why I'm here?
BOOTH: Well, that and other reasons. She was murdered, so start talking.
FRANKEL: Okay, technically, I did not work for her but Dr. Kaswell did agree to be my doctoral advisor at the antiquities graduate program at Georgetown.
BRENNAN: Very impressive.
FRANKEL: Thank you. I'm very bright.
BOOTH: Okay, Bright Boy, let's just stay on point, shall we?
FRANKEL: As soon as I got to D.C., Dr. Kaswell said that she did not have the time for me anymore, that she was too busy prepping the Anok exhibit but I knew all about Anok. I even wrote a paper on him as an undergrad.
BOOTH: It pissed you off, didn't it, that she wouldn't let you help?
FRANKEL: No.
Booth: No?
FRANKEL: Okay, yes but not enough to kill her. I signed up as a museum intern so I could prove my value to her.
BRENNAN: You thought if you helped her with her work, she might change her mind about advising you.
FRANKEL: It was my idea to do the CAT scans on Anok. She thought it was an excellent suggestion.
BRENNAN: So, you saw the films?
FRANKEL: No, I didn't even know if she followed through but I would have killed to see those images.
BOOTH: Excuse me?
FRANKEL: But I didn't.
(Cut to: Founding Father's Bar. Brennan and Hacker are on their date. You hear Brennan laughing.)
BRENNAN: Usually all you find in a mummy's torso are pounded perfumes.
HACKER: Yeah, that's all I've ever found. Once a sandwich, but of course, it was stale.
BRENNAN: You found a sand...? Oh. You're joking. (laughing) That's, that's funny. A sandwich, because it's, it's highly unlikely to find one in a mummy. Did I tell you that Anok has six fingers? Also highly unlikely, so perhaps there is a sandwich in him.
HACKER: You know, - no joke - I have an uncle with four toes.
BRENNAN: Frostbite or lawnmower?
HACKER: You are good. Lawn mowing accident. He was watching a playoff game while cutting the lawn. He had no regrets, though. Said it was a great game.
BRENNAN: Okay.
HACKER: So, uh, what do you want to eat after this appetizing conversation?
BRENNAN: Uh, Booth likes to get the meatloaf. He has them take out the hard boiled egg, because his mother used to tell him it was a human eyeball.
HACKER: I got to say - you and Booth - it's an unlikely partnership.
BRENNAN: I prefer not to talk about Booth, if you don't mind.
HACKER: That's fine by me. You're a far more interesting topic.
BRENNAN: I'd like to know the story behind your guitar. Not many FBI Directors have a Stratocaster in their office.
HACKER: I'm impressed. You know a Stratocaster.
BRENNAN: Yes. I had a victim who was beaten to death with one but it still played. It is an excellent instrument. (She receives a text message) Oh. Sorry. (she checks it) I'm so sorry. They need me back at the lab.
HACKER: You're investigating a murder. That tends to take precedence over meatloaf.
(She gets up to leave)
BRENNAN: Well, Friday night dinner on me?
HACKER: Sure, and I will then reveal the secret of the Stratocaster.
BRENNAN: All right. (she leans over and gives him a kiss on the cheek) Bye.
HACKER: Bye.
[SCENE_BREAK]
(Cut to: Medico Legal Lab - Angela's Office.)
ANGELA: Hey. How could you not tell me that you were on a date when I texted you?
BRENNAN: It was just drinks.
ANGELA: Celibate. Seeking crumbs. Spill.
BRENNAN: He's Booth's boss's boss. His name is Andrew.
ANGELA: Wait. This is his boss's boss? Was Booth upset?
BRENNAN: Yes. I don't know why.
ANGELA: Brennan, this could screw up the natural order of things. And Booth wishes that you were going out with him.
BRENNAN: Well, I drink with him all the time but with Andrew, there's the potential for s*x.
ANGELA: And not with Booth?
(Brennan avoids the question by changing the subject)
BRENNAN: You-you said there was something important you wanted me to see?
ANGELA: Yes.
BRENNAN: Mm-hmm.
ANGELA: The paint residue was found inside the compacted area in Anok's chest. Now, I laid a grid over that area. Next, Hodgins inspected each section of the grid for chemical residue, assigning values based on our color differential. It was kind of like paint by numbers. (Brennan looks at her, she has no idea what she's talking about) Okay. Anyway, bone for white, kermes insect for red, and wode for indigo. Okay, now I reshaped, refined and cropped the edges. And finally, I removed the grid.
BRENNAN: Hieroglyphs.
ANGELA: Yeah. A negative impression. Because they were left by the object that was hidden inside the chest.
BRENNAN: Ange, very good.
ANGELA: I know, right? Next, we take the object out and we look on the bottom and we have the positive image of the hieroglyphs.
BRENNAN: Amazing, but many of these characters are incomplete.
ANGELA: Yeah. Well, some of the paint residue had faded too much and couldn't be retrieved.
BRENNAN: But if we can decipher this, it could tell us what was inside.
ANGELA: I know.
(Angela gives her a look meaning that she wants to continue their prior conversation but Brennan acts oblivious)
ANGELA: s*x?
BRENNAN: (amused) Print this out and send it to Dr. Babajanian in Ancient Languages.
(Brennan starts to head towards the door)
ANGELA: Oh, come on, Brennan. Be a pal. I need a vicarious thrill. Please?
(Cut to: Medico Legal Lab - Autopsy Room. Cam is taking a slice of Dr. Kaswell's brain to examine it closer. Sweets enters.)
CAM: Dr. Sweets.
SWEETS: I was looking for Daisy.
CAM: Haven't seen her.
SWEETS: Looks like you're making carpaccio.
CAM: This is Dr. Kaswell's brain.
SWEETS: Oh, God, I'm sorry. Oh. Okay, uh, Dr. Saroyan, I'm having some serious problems with Daisy. Can I ask your advice?
CAM: No.
SWEETS: No? Really?
CAM: Really. I have a 16-year-old and believe me, when it comes to dating advice, I am batting a red hot zero.
SWEETS: But you've been through this, like, a million times yourself.
CAM: Did you just call me old?
SWEETS: Is that what it felt like?
CAM: Yeah.
SWEETS: You see? I can't help it. I alienate every woman I talk to, no matter how pure my motives.
CAM: All right, give me a ballpark. No specifics. I don't want specifics.
SWEETS: The woman I love won't speak to me.
CAM: You are an excellent shrink. You know you can help people, but Daisy's not people. She's the person you love, the person you have to trust. If Daisy's gonna screw up, you have to let her. It'll show her you have faith in her.
SWEETS: Yeah. That's superb advice.
CAM: It was kind of good, wasn't it?
SWEETS: I thought I was taking care of her, but you're absolutely right. I- I was just insulting her. Thank you.
CAM: No problem.
SWEETS: (he reaches out his arms to hug her) Oh!
CAM: And now we're done. (he hugs her tighter) Done. Ooh! Dr. Sweets, you're crushing me and I think you're getting brain on your suit. Brain.
SWEETS: Hmm? Hmm.
(Daisy enters.)
DAISY: Well, this just gets more and more interesting, doesn't it?
SWEETS: Oh, no. It was a friendship hug.
CAM: And an uncomfortable one. You need something, Ms. Wick?
DAISY: Um, a courier just dropped off the memory chip from the CAT scan machine Dr. Kaswell used to image Anok. Angela's looking at it now.
CAM: Oh. Thank you.
(Cam leaves)
DAISY: You don't need to spy. I'm fine. And I don't need those stupid breathing exercises.
SWEETS: Okay. I'm sorry. You know, I never meant to...
DAISY: I'm - I'm quite busy, Lance. I have a murder to solve and I'm sure you have ink blots to show somebody.
(She storms out, leaving Sweets feeling even more terrible)
(Cut to: Medico Legal Lab - Angela's Office )
ANGELA: There's the embedded object.
HODGINS: Based on the density of the image, it's most likely Nile stone.
DAISY: What's that in the center?
CAM: Can you enhance it?
HODGINS: It's crystalline in structure. It's a corundum in the trigonal crystal system and the hexagonal scalenohedral class.
DAISY: A mineral of some sort?
HODGINS: If the CAT scan were in color, it'd be red and really expensive.
CAM: A ruby.
ANGELA: Yeah, a giant ruby.
CAM: It's right where Anok's heart would be.
DAISY: Anok's bleeding heart must refer to the ruby.
HODGINS: A stone that size would be worth a fortune.
DAISY: Only someone who saw the CAT scan would've known about this.
HODGINS: Hey, Dr. Kaswell's grad student... I mean, he's the one that requested the scans.
CAM: Booth cleared him. He was working on dioramas at time of death but Azita Jabbari, she knew about them, too. She gave permission to have them done.
HODGINS: Yeah, and she tried to get Anok taken away from us before we could finish investigating.
(Cut to: FBI Headquarters - Interrogation Room. Booth & Brennan are talking with Azita Jabbari)
AZITA JABBARI: This is insane. I have devoted my life to preserving my country's antiquities.
BRENNAN: You knew about the CAT scan. You had access to the mummy.
AZITA JABBARI: I didn't know about the ruby, and if I did, I would have insisted on additional security. That ruby is a national treasure. I am holding you responsible for losing it.
BOOTH: Where were you three nights ago when Dr. Kaswell was murdered?
AZITA JABBARI: In Los Angeles. There was a fund-raiser at The Egyptian Theatre. I know it's tacky, but the Ambassador wanted me there. I am sure that counts as an alibi? (they know it does.) You said you found hieroglyphs in his chest. I would like to see them.
BRENNAN: An expert from the Jeffersonian is studying them.
(She hands her a copy of the hieroglyphs)
AZITA JABBARI: I am one of the foremost scholars on ancient hieroglyphs. These are incomplete.
BRENNAN: We know. They are remnants from the paintings on the box that contained the ruby.
AZITA JABBARI: This is a signature. This is a message from the Pharaoh's wife.
BOOTH: Ah, a note from his mom.
AZITA JABBARI: Yes, exactly. "My heart bleeds for my guiltless son."
BRENNAN: Guiltless. She didn't think that Anok killed his brother, Meti?
BOOTH: Look, no mother wants to believe her son is guilty of murder. That hasn't changed in 3,000 years.
BRENNAN: This could change history. We now have the ability to determine Meti's cause of death. (Brennan gets up and starts gathering the file) I can have his remains brought from the Natural History Museum in New York.
AZITA JABBARI: (getting up) I would like to assist.
BRENNAN: Of course.
BOOTH: (Cutting Brennan off) Whoa, whoa, how's that gonna help us catch Kaswell's killer?
BRENNAN: Well, it won't, but it could exonerate Anok. There can be no time limit for justice, Booth.
BOOTH: Bones, Dr. Kaswell's killer is out there now. We're running out of suspects.
BRENNAN: You'll do it, Booth. You always do. I'll call New York.
(Cut to: FBI Headquarters - Booth's Office. Hacker walks into Booth's office, Booth enters a few seconds later - carrying a cup of coffee.)
BOOTH: Hey, boss.
HACKER: How's the case going?
BOOTH: Not solved yet but, uh, you're not here for that, are you?
HACKER: I just wanted to say you're doing a great job. Truly exceptional work.
BOOTH: Sir, if we would just kill the compliments and just say what's on your mind, I'd appreciate that.
HACKER: Right. Let's drop the agent/boss thing for a minute.
(Hacker sits down)
BOOTH: Sure.
HACKER: It's been a while since I've met someone, you know, special and, uh, oh, hell, I just don't want to make a fool out of myself if Temperance is only going out with me 'cause I'm the boss.
BOOTH: Right. Listen, Sir, Bones doesn't feel the pressure to act or do or say anything that she doesn't want to and no one, no one can make her. That what makes her... Bones.
HACKER: (relieved) Okay, thanks, really.
BOOTH: No problem.
(Hacker starts to walk towards the door.)
HACKER: Listen, next time you're at the Founding Fathers, you should try the meatloaf with the egg. You'll like it; tastes nothing like a human eye.
(Booth is angry. Brennan did exactly what he didn't want her to do - she talked to Hacker about him.)
(Cut to: Medico Legal Lab - Ookey Room. Hodgins is looking for particulates on Anok's linen wrapping while Daisy watches.)
HODGINS: Maybe we missed particulates from the killer on the mummy's linen wrapping.
DAISY: He was found in a dumpster, so he'd be covered in particulates.
HODGINS: Yes, but we'd be looking for something non-dumpster related.
DAISY: Of course. Never give up. Was I too hard on Lance?
HODGINS: Focus, Daisy.
DAISY: Okay, but you're a man. Lance is so cute, isn't he?
HODGINS: Yeah, that'd be a question for a woman.
DAISY: I mean, someone that cute isn't malicious. He can't be.
HODGINS: You really don't need me for this conversation, do you? Oh, wait, wait, wait. I think I found something here.
DAISY: A probative particulate?
HODGINS: No, a grease spot. Most likely a fingerprint.
(Cut to: Medico Legal Lab - Brennan's Office. Brennan is seated at her desk when Booth walks in, carrying an egg. He places it on the desk in front of her. He's annoyed.)
BRENNAN: Ooh, what's this?
BOOTH: What does it look like?
BRENNAN: An egg.
BOOTH: And when was the last time you recently talked about an egg?
BRENNAN: (realizing) Oh.
BOOTH: Oh.
BRENNAN: (defending her action) Well, he asked me what was good to eat, and I mentioned that you liked the meatloaf.
BOOTH: Stop right there. You said you weren't going to talk about me, and you talked about me.
BRENNAN: But I - I didn't mean to talk about you. I told him I didn't want to but, you know, I like that story and I guess it just popped out.
BOOTH: Popped out? I don't need Hacker knowing about my mother's meatloaf.
BRENNAN: Why are you so upset?
BOOTH: Because... what goes on between us is ours.
BRENNAN: Come on, Booth, you must've told a lot of people the meatloaf story, right?
(Booth just stares at her and she realizes that this is something that he's only shared with her. She's betrayed his trust but before she can say anything, Hodgins enters.)
HODGINS: So, I got a print off the linen. Had your people run it through the database.
BOOTH: You get a name?
HODGINS: Yeah, Alexander Wheaton.
BRENNAN: The Director of Roman Antiquities.
(Cut to: FBI Headquarters - Interrogation Room. Booth is talking with Dr. Alexander Wheaton)
BOOTH: You want evidence? (he throws a file down on the table) We found your evidence.
DR. WHEATON: This is ridiculous. I didn't kill Dr. Kaswell.
BOOTH: You were in the building, Doc, your fingerprint was on the priceless mummy.
DR. WHEATON: Well, there's been some kind of mistake. I would never have touched something that valuable without being gloved, and Leslie would never have allowed it. Wait a minute, I know what happened.
BOOTH: Hmm, okay. So, what happened, Doc? I'm waiting. I'm all ears.
DR. WHEATON: I did go to see her that night. Uh, I'd been a jerk, jealous about her getting the grant money. We'd been friends for years; I wanted to apologize. We made up, and she wanted to show me Anok, you know, scientist to scientist. She opened Anok's coffin and the mummy slipped. I- I reached out to stop it. It was just a reflex.
BOOTH: Did she show you the CAT scans?
DR. WHEATON: Yes.
BOOTH: Ha.
DR. WHEATON: ..but she swore me to secrecy. It was such an important find, I wasn't going to betray her trust.
BOOTH: Right, then after you saw them, the mummy vanishes with your fingerprint, your friend dies, and these scans, they just disappear.
DR. WHEATON: No, the scans were in her notes. She showed them to me before she submitted them.
BOOTH: The scans that were supposed to be submitted to Dr. Steven Turnbull?
DR. WHEATON: He was the administrator, yes. They'd be in the notes he turned over to you.
(Cut to: Medico Legal Lab - Parking Garage. Booth and Brennan are walking towards Turnbull's parking spot)
BRENNAN: He deliberately withheld the scans.
BOOTH: Well, destroyed them is more likely. Okay, Turnbull's spot is number ten. So, if he did it, he probably put the mummy in his car, and he took off with it.
BRENNAN: I can't imagine anyone destroying an artifact like that, especially a scholar like Turnbull. I was going to call him to talk to him about my work with Meti.
(They see a guy, Rodney, cleaning the interior of the car.)
BOOTH: Steven Turnbull's vehicle here?
RODNEY: Yeah, that's right.
BOOTH: Shut that off there, will you, Bones? (she turns off the vacuum) All right, can you step out of the car? FBI.
BRENNAN: You could be destroying evidence.
RODNEY: Oh, man! Another drug dealer? It's not my fault. I do a good job, so word of mouth, it gets around and the peop-
BOOTH: (cutting him off) Is he a regular customer of yours?
(Brennan looks inside the vacuum)
RODNEY: No. He saw my ad at the laundromat.
BOOTH: At the Laun...No wonder you have nothing but drug dealers coming to you.
BRENNAN: Booth?
BOOTH: Yeah? Would you just stand over there? Right over there, Rodney.
BRENNAN: (pointing to the inside of the vacuum) Take a whiff.
BOOTH: (leans in, sniffs.) Smells like Christmas.
(Cut to: FBI Headquarters - Interrogation Room. Booth & Brennan are interrogating Steven Turnbull)
TURNBULL: I saw the CAT scans. I was gonna to sneak in, take the ruby and close him up again but Leslie came back. We argued. You know, I lost my retirement in the market. No one even knew that ruby was in there. She shouldn't have gotten in the way.
BOOTH: (sarcastically) Yeah, it was her fault.
(Cut to: Medico Legal Lab - Storage Room.)
SWEETS: Hey, what you doing?
DAISY: My work. Dr. Brennan and I found cause of death for Meti. He's act-
SWEETS: (interrupting) Look, Daisy, I should've had more faith in you. I just, I knew how important this was and I always want you to get everything that you want and anytime you don't, it kills me.
DAISY: Really?
SWEETS: You know, by looking over your shoulder, it only makes people think that you can't do things. And you can. You-You're brilliant.
DAISY: Certainly well above average. Okay, brilliant.
SWEETS: You know, Dr. Brennan was very impressed by you.
DAISY: She said that?
SWEETS: Unsolicited. You're so beautiful, Daisy and I promise that if you ever fail in the future, I will do absolutely nothing but just give ya a hug.
DAISY: That's the nicest thing you ever said to me and I really do love the breathing exercises. So... do you want to be my Lance-a-lot again?
SWEETS: RAWR!
DAISY: You know that drives me crazy.
SWEETS: RAWR!
(Daisy jumps on Sweets, rips his shirt open and kisses him. They fall to the ground and continue to make out)
(Cut to: Jeffersonian - Anok and Meti Exhibit. Brennan is leading Booth down the stairs. They're both dressed to the nines.)
BOOTH: Bones, we're not supposed to be down here yet.
BRENNAN: You're with me, Booth. This is my find. You're not gonna get into trouble. (the approach a circular spot on the floor) Don't, don't step on that!
BOOTH: Why? God, this is so cool! (Brennan chuckles) Wow. So, he wasn't trampled by his brother?
BRENNAN: No. Meti suffered from osteogenesis imperfecta, otherwise known as brittle bone disease. Meti's fall from his horse killed him; Anok was innocent. His mother was right.
BOOTH: So it only took 3,000 years for someone to hear her. You know, I'll tell you what. If I was Egypt, I'd throw you a party, too.
BRENNAN: (she smiles, then a beat later.) I have to speak. I hate these things.
BOOTH: What are you talking about, Bones? You're great at these things. Listen, you changed history. How many people can say that?
(During the next few lines, Booth and Brennan keep moving closer to one another)
BRENNAN: You can. Every arrest you make changes history. You make the world safer.
BOOTH: With your help. So, Andrew...I thought you were going to take him to this thing. That's what he told me.
BRENNAN: I was, yes, but...you and I - this was our case and I guess...what goes on between us, that should just be ours. Isn't that what you said?
BOOTH: Yeah.
(And then there's a moment where you think that the two of them are finally going to kiss when they hear the murmurings of Angela, Hodgins, Cam, Sweets & Daisy - who then appear at the top of the staircase.)
ANGELA: Come on, you two. The Ambassador is about to speak.
(The rest of the group heads back up the stair, leaving Booth & Brennan alone again. They have another moment - she adjusts his tie and he pushes a strand of hair behind her shoulder.)
BOOTH: Thanks.
(They turn and walk back up the stairs to go to the party, together.)
END.
Plan: A: Brennan; Q: Who goes on a date with Booth's supervisor? A: a mummified Egyptian royal; Q: What is the mysterious corpse determined to be? A: Egyptian; Q: What royal is the charred remains of? A: the Jeffersonian; Q: Where is the mummified Egyptian royal on loan? A: The anthropological mystery; Q: What has Brennan in a tizzy? A: exhibition; Q: What was the mummy being prepared for? A: foul play; Q: What do Brennan and Booth suspect when the curator is murdered? A: new light; Q: What does Brennan's investigation of the curator shed on the life of the Egyptian royal? A: Sweets; Q: Who's girlfriend Daisy Wick returns to the Jeffersonian? Summary: Brennan and Booth are called to investigate what appears to be charred human remains on an electrical fence. The mysterious corpse is later determined to be a mummified Egyptian royal on loan to the Jeffersonian. The anthropological mystery has Brennan in a tizzy, and when the Jeffersonian curator prepping the mummy for exhibition is murdered, the team suspects foul play. Brennan's investigation of the curator sheds new light on the life of the Egyptian royal, turning their case into one of historic proportions. Meanwhile, Brennan goes on a date with Booth's supervisor and former intern, and Sweets' girlfriend Daisy Wick returns to the Jeffersonian.