When the remains of a young documentary filmmaker are found in a ventilation shaft in an underground Washington, DC, tunnel, Brennan and Booth must venture into the maze of tunnels beneath the city and are surprised to discover a world of homeless shelters underground. Clues lead them to suspect that a man living underground was involved with the murder, but instead he gives them valuable information about the purpose of the victim's underground project. When a valuable artifact is found among the victim's possessions, the entire Jeffersonian team joins in the investigation to learn why the victim was in the maze of tunnels and what she found down there that led to her murder.
"Woman in the Tunnel" [SCENE_BREAK] ACT ONE (Open: Booth and Brennan are walking through a sewer system with various and usual law enforcement personell, etc. at the scene of a crime.) BRENNAN: Where are we? BOOTH: Apparently, this was an access shaft to an underwater aqueduct which has never been activated. BRENNAN: No, no, I mean where are we geographically? BOOTH: Oh, somewhere beneath Wisconsin and Massachusetts Avenue near the National Cathedral. ZACK: How far down? We seem very far down. BOOTH: Oh, about 60 feet so far. ZACK: Is there any other way? BOOTH: It's a giant maze down here, but this was the fastest way to get to the body. BRENNAN: I've done plenty of climbing. These lines have low tolerances that are more than adequate. ZACK: What about shock tolerance? The rope jerks, pounds-feet of kinetic energy increases and snap- we fall to our deaths. BOOTH: Oh... Okay. I say we just stop the chatter. (Cut to: A badly decayed body covered in rats, feeding on the rotting flesh.) COP: Two city workers found it. DC public works are under federal jurisdiction, so this is your party. BOOTH: Oh... Any idea what's at the top of that shaft? COP: Utility tunnel for accessing steam pipes. BRENNAN: May I borrow your gun? BOOTH: Why do you want my gun? BRENNAN: I'm not going to shoot anyone. I promise. BOOTH: It's not a hammer or anything. BRENNAN: We've been working together for months, Booth. A little trust would be nice. BOOTH: Careful. BRENNAN: Here. Hold this. (Shoots the gun a few times at the rats, then hands it back to Booth.) BRENNAN: Now they'll eat each other and leave our remains alone. BOOTH: You know, you do know I have to file a report with the review board each time I discharges a round from my weapon. BRENNAN: Pictures, Zack. The rats scattered the remains, so give me a five-meter radius. The velocity of the fall shattered her body on impact. Tibia's and fibula's broken below the knees, vertebrae compressed and shattered... BOOTH: Her? BRENNAN: Yeah. I just hope that she was dead before the rats got to her. BOOTH: Oh, God. Any idea how long she's been down here? BRENNAN: We should have some answers when Hodgins analyzes the bugs, but rats can strip a body in days. BOOTH: Shirt, pants, but no jacket or shoes. No way rats can carry that off. BRENNAN: Excuse me! Sir? Sir! BOOTH: Hey, what the hell? Bones! Easy! Bones, what the hell are you doing? Bones! (Catches up with her.) BOOTH: You don't just go running after guys into the dark. BRENNAN:He didn't need any light. He knew exactly where he was going. BOOTH: Yeah, that's creepy. BRENNAN: He lives down here. ACT TWO (Cut to Medico-Legal Lab with Zach, Hodgins, Brennan and Booth.) BRENNAN: Her name is Marni Hunter, 24. 1.7 meters tall, left-handed. Documentary filmmaker. BOOTH: Fiancee reported her missing ten days ago. BRENNAN: The police find the guy? BOOTH: Your mole man? No. HODGINS: I've heard of those people. They patch into electrical grids down there. Some can even tap cable. I'd set time of death at about ten days, when the Missing Persons Report was filed. BOOTH: You sure? HODGINS: See the ratio of fly larvae to Silphidae beetles? BOOTH: Yeah. Ten days. I believe you. BRENNAN: She fell approximately 40 feet and landed feet first, which explained the crushed tibias. BOOTH: That what killed her? BRENNAN: Not necessarily. Her skull sustained traumatic injuries that are inconsistent with a feet-first fall. ZACK: We found blood traces and bone chips on pieces of exposed pipe and rebar jutting from the side of the ventilation shaft. BOOTH: So that's what killed her? BRENNAN: No, not necessarily. ZACK: The fingernails are totally clean. BRENNAN: If she were falling, she would claw at the wall to slow her descent. It's an instinctual response. BOOTH: So she was dead before the fall. BRENNAN: No. Not necessarily. BOOTH: Bones. Please. Just tell me. BRENNAN: She may have simply been unconscious.(Cut to: Booth's office.)BOOTH: Mr. Garfield, why did you wait two days to file the Missing Persons Report on your fiancee? GARFIELD: Marni is a documentary filmmaker... or was. She was very dedicated to work. She immersed herself in each project. It's not odd for her to stay out in the field without coming home. BRENNAN: You get invested in your work, time has a way of getting away from you. GARFILED: That's what Marni... always said. BOOTH:You didn't worry about her down there? GARFIELD: She's been all over the world. Rwanda, Latin America, the Balkans, the Middle East. I was just glad to have her home. BOOTH: You two were engaged. GARFILED: And we'd finally set a date. BOOTH: I'm very sorry for your loss. BRENNAN: Was it her work that took her down into the tunnels? GARFILED: Her latest project the last couple of months is about the maze of tunnels beneath the city. That's what she'd cut together so far. (Booth hits the remote which shows footage of what Marni had recorded.) GARFIELD: I told her to be careful. You know, a lot of those guys are pretty nuts. BRENNAN: That's fascinating. A fully functional shadow society. Did you ever go down there with her? BOOTH: Who did she work with? GARFIELD: Marni worked alone. She did her own camerawork and sound. It was very raw. That's her style. She never appeared on camera in her own work. She thought the documentary should be about the subject, not the filmmaker. BRENNAN: That's true. As an anthropologist, you try to immerse yourself in a culture without distorting it with your own presence. It's another reason to work alone. BOOTH: So you found her at the bottom of an air shaft? GARFIELD: You think that one of these people... BRENNAN: Her skull has some unexplained damage. The shattering on the right... BOOTH: We're still investigating, Mr. Garfield. (The tape is still playing and Brennan notices something.) BRENNAN: Wait a minute. Wait! Freeze. That's the man I saw in the tunnel. BOOTH: Marni ever mention this particular guy to you? GARFIELD: No. The blonde woman is Helen something. She's a social worker, I think in the shelter over on 26th. (Cut to: the sewers again with Helen, Booth and Brennan.) HELEN: Marni came to the shelter. She heard I worked with what she called "the mole people. " She asked me to introduce her to them. BOOTH: Spend a lot of time down here? HELEN: Mmm. It's kind of my beat, I guess you'd say. BRENNAN: Did you resent Marni's intrusion? HELEN: Why do you ask? BRENNAN: It's an ordered society. Marni and her cameras might have been disruptive in some way. HELEN: Well, these people are here for a reason. And in my opinion, they have a right to their privacy. I respect that. I'm not sure a documentary filmmaker does. BOOTH: She disruptive enough to make any enemies? HELEN: Perhaps. It's tough to know these people. BRENNAN: Well, isn't that what Marni was trying to do? Get to know these people? Explain them to the rest of the world? HELEN: Well, no offense, Doctor Brennan, but I find that a bit naive. Her job was to sell her films. What she was doing was exploitive. Maybe one of these people agreed with you. There's the man you're looking for. Harold Overmeyer. Marni called him "the mayor of Mole Town". I imagine she thought that was clever. BRENNAN: He's mediating a dispute. He has alpha male status. BOOTH: How did Harold respond to her? HELEN: My impression was he liked her. But again, nobody really knows these people. (They walk down the stairs towards the man Brennan saw earlier, Harold.) HELEN: I brought you some food, Harold. HAROLD: Eh... I have enough food. What do you want? BOOTH: I'd like to ask you a few questions. HAROLD: Well, I'm not required to answer any questions. I'm not required... HELEN: That's correct. Harold has rights. BOOTH: Ms. Bronson, you want to please take a step back? You're interfering with a criminal investigation. (Talks to Harold) BOOTH: Did you know Marni Hunter? You saw what happened to Marni, didn't you? HAROLD: You guys are trespassing. Go away. BOOTH: Okay, buddy, that's it. Let's go. BRENNAN: Whoa... Booth. This man is obviously someone important down here. BOOTH:Important? He lives in a cardboard box underground. BRENNAN: In this society he has status. Give him his due. Treat him with respect. BOOTH: Okay, Mr. Overmeyer. We got off on the wrong foot. I'm Special Agent Seeley Booth from the Federal Bureau of Investigation and I would appreciate it very, very much if you would grant us the advantage of your expertise as we investigate Marni Hunter's death. HAROLD: Fair enough. BOOTH: Oh. BRENNAN: Mr. Overmeyer, I saw you in the tunnel over near where we found Marni Hunter's remains. HAROLD: Checking the tunnels. BRENNAN: Checking the tunnels, or checking on Marni? HAROLD: I warned her. BRENNAN: So... you two were friends beyond being observer and observed? HAROLD: You talk like her. Are you making a documentary, too? BRENNAN: No, but there are things I need to understand. (Booth walks to observe Harold's things.) HAROLD: That's my stuff. BOOTH: Bones. Harold, is this, uh, Marni's video camera? HAROLD: You'd better go now. You can go now! BRENNAN: Booth, this clothing has blood all over it. BOOTH: Give him his due, huh? BRENNAN: I think it belonged to Marni Hunter. BOOTH: You know what? Afraid you're going to have to come with us, pal. HAROLD: What?! No! I- I can't leave! BRENNAN: Bone fragments. HAROLD: I can't leave! BRENNAN: Let's get this back to the lab. HAROLD: No! You don't understand! She would have wanted me to have that stuff. She would have wanted me to have that. (Cut to: Interrogationroom with a lawyer and Booth along wth Harold.) HAROLD: You know, I find scrap metal. That's all. That's why I go deep. LAWYER: You don't have to say anything you don't want to, Mr. Overmeyer. BOOTH: You're not here because you scavenge. You know that. HAROLD: I- It's too bright in here! Too- too bright in here! BOOTH: I know you have a distinguished military record, Harold. 10th Special Forces Group. You know, I was with the Rangers. HAROLD: What, so, you... you gonna tell me, uh, "Harold, I know what you been through. I been there, too, you know? I know how you ended up how you ended up". You telling me that? BOOTH: Yeah. I'm telling you that. HAROLD: I killed people. BOOTH: You saved five of your men. HAROLD: By shooting a pregnant woman. BOOTH: She had a grenade in her hand. HAROLD: She had a child in her arms. I shot her and... the grenade went off. She died right away. That kid...took awhile. He kept looking at me, but I... BOOTH: You did what a soldier had to do. HAROLD: Yeah. You know... I was a good soldier- I was a very good soldier-but a pretty bad human being. Pretty bad human being. BOOTH: What happened to Marni? HAROLD: I... I hadn't seen her in days, you know? That's why I went to go take a look. Rats were all over her, man. All over her. BOOTH:How did you end up with her things? HAROLD: Oh, you know, I was going to sell them. I mean, she would have wanted me to have those. BOOTH: So you had nothing to do with her death? HAROLD: I, um... I... I gave her something. And that's why she died. BOOTH: What did you give her? LAWYER: Mr. Overmeyer, I'm advising you not to say anything else. HAROLD: You know what? I think it's best, um...I not talk about this anymore. Not cause any more trouble. I... I got to go. BOOTH: No, Harold, you can't, all right? Not yet. You got... HAROLD: Too bright in here! I got to go! BOOTH: Harold... (Harold tries to leave, but Booth slams him chest-first onto the table.) HAROLD: I never wanted her to die. She wouldn't listen! I warned... (Cut to MEdico-Legal Lab. Music plays as the Squints woek on their tasks. Music fades as Angela walks to Brennan's office.) BRENNAN: I finished the skull. We still have some pieces missing, but we should be able to determine cause of death. ANGELA: You haven't eaten anything all day. Now, I have some killer yellowtail here and spicy tuna rolls. BRENNAN: Time gets away from me sometimes. WHAT What? ANGELA: The victim used to say that. You think that homeless mole-guy killed her? BRENNAN: Booth does. ANGELA: Well, he had her camera and her bloody clothes. Plus, he's killed people before. BRENNAN: As a soldier. Socially sanctioned. ANGELA: Booth has killed people as a law enforcer. What if, from mole-man's point of view, Marni was a criminal? BRENNAN: Marni Hunter was an observer-by definition, passive. ANGELA: Like you? BRENNAN: Yes. Exactly. Are you getting at something? ANGELA: Just that I wish you were a little more scared, Brennan. BRENNAN: I'm careful. ANGELA: Running after a murderer in the dark is not being an observer. BRENNAN: Booth told you about that? ANGELA: More and more of your work is outside of this lab, running after bad guys. Just promise me you'll be careful. BRENNAN: Every society has its fringe dwellers, and every society fears its fringe dwellers. Usually because they are the example of what happens when you fail in that society. But they are seldom dangerous in reality. ANGELA: Brennan, I understand that this is what you do when things get too close to home You get all analytical and academic. I just want you to know that maybe Marni Hunter did the same thing. And now she's dead. (Cut to the Medico-Lehal Lab with Zach and Hodgins.) ZACK: We got most of the skull. There's just a piece missing about the size of a quarter. HODGINS: Why are missing pieces always the size of quarters? Why are tumors always the size of grapefruits? ZACK: Those are rhetorical questions I'm not supposed to answer, right? These are not simply random abrasions. HODGINS What are they? ZACK: Marni's skull was fractured by a midair impact during her fall. That's evidenced by the radiating fractures centered above her right temporal bone, but this damage is isolated on the left side of her skull. HODGINS: A girl can't bang both sides of her head as she falls down a shaft? ZACK: From the fracture pattern, it appears to be a sharp, pointed weapon. HODGINS: Brennan mentioned that Harold said he had given the victim something he wished he hadn't. Could this have been it? ZACK: Fragments of Latin. HODGINS: Roman numerals. ZACK: You know who knows about that kind of stuff? HODGINS: You show it to him. ZACK: No. I am not taking possession of that piece of evidence. You show it to him. GOODMAN: Armor- a Roman cuirass. Doric columns common to Rome around the first century BC. HODGINS: Crazy mole-guy gave something to the victim he thinks could have gotten her killed. Of course, he's crazy. GOODMAN: This could be valuable. Let's have Ms. Montenegro X-ray it. Stress from the initial pressing should provide a clear picture of what's been worn away. HODGINS: I was hoping you'd take possession of this piece of evidence. GOODMAN: And the paperwork that goes along with it. I wasn't born yesterday, Dr. Hodgins. (Cut to: Angela's office with Angela, Hodgins, and Goodman.) HODGINS: Well, you don't really need me for this. ANGELA: Yes, I do. HODGINS: Why? ANGELA: Because I have not taken official possession of this piece of evidence. GOODMAN: Fascinating. ANGELA: 1778. GOODMAN: It appears to be an official seal of some kind. Oh, my God! ANGELA: Aren't you going to go after him? HODGINS: Nope. ANGELA: Why not? GOODMAN: Because he is now officially in charge of that medallion. (Cut to: Brennan's office with Goodman, Brennan and Booth.) BRENNAN: Treasure? GOODMAN: It's an official vault seal, manufactured by the War Office. It was established in 1778. The Latin sigal and thesaur tie it to the treasury. BOOTH: A bank vault kind of a vault. GOODMAN: Much better. The War Office established several vaults under the city to safe keep cultural treasures. BRENNAN: They must all be empty by now. GOODMAN: No, no. Several were unaccounted for after a series of cave-ins and mudslides in the early 1900s. BOOTH: So you're saying this seal came off a vault full of treasure buried beneath the city? GOODMAN: It could contain currency, gold ingots, paintings and engravings. The original draft of Lincoln's inaugural address was never recovered. This could be an extraordinary find. We have to find these artifacts before they're stolen or sold off. BOOTH What's the monetary value of this thing? GOODMAN: Priceless. You can't put a value on our cultural heritage. BOOTH: Well, I think someone did. That's why Marni's dead. ACT THREE (Cut to: interrogation room with Harold, Booth and Brennan.) BOOTH: Harold, was this what you gave Marni Hunter? HAROLD: Yeah. She liked it. BOOTH Where did you get it? HARLD: Beyond the perimeter. BRENNAN Harold? Harold, you have to trust us. We just want to find who killed Marni. And you can help. You killed people. Maybe this is your chance to put that right. You said you wish you hadn't given it to her. Why? BOOTH: Did you take it from someone? HAROLD: The blonde. It was hers. And I shouldn't have taken it. BRENNAN: A blonde killed Marni? HAROLD: Marni went too deep. That's the blonde's territory. BOOTH: Does the blonde woman have a name? HAROLD: People around me die. Marni died. BOOTH: There's always going to be casualties, Harold. The important thing is to recognize the enemy, and take him out so more people don't get hurt. BRENNAN: Can you take us down there, Harold? HAROLD: No. It's beyond the perimeter. I took Marni beyond the perimeter. I'm not going to make that same mistake again. Won't make that mistake again. (Cut to: Booth and Brennan in Booth's SUV.) BOOTH: The social worker. BRENNAN: Why? Because she's a blonde? BOOTH: Yeah. I mean, come...Why didn't she want Marni poking around? BRENNAN: Because she thought the documentary was exploiting the homeless. BOOTH: You buy that? BRENNAN: Well, obviously, you don't. BOOTH: You know what? You want to know what a better reason for not wanting somebody poking around is? BRENNAN: A mythical treasure? BOOTH: All right, look. You ever see Treasure of the Sierra Madre? It doesn't matter if the treasure is mythical or not. People will still kill if they think it exists. BRENNAN: It did exist. BOOTH: What? BRENNAN: In the movie, it's gold dust. People think it didn't exist, so it blew away, but it did exist. BOOTH But no one got it, is the point. Huh! All of a sudden, you know a movie. BRENNAN: Everybody knows that movie. (Answers her phone.) BRENNAN: Brennan. HODGINS: It's Hodgins. Your victim was in some other tunnel system before she died. BRENNAN: Facts before conclusions, please. HODGINS: Her clothing shows traces of diamond dust. That suggests a much older system of tunnels than the one in which you found her. Industrial diamonds were used in blast-hole drilling in the 19th century. BOOTH: It's near a vault. It makes sense. (Booth hangs up before saying goodbye.) HODGINS: Good job, Hodgins. What would we do without you? BRENNAN: So Marni was killed near a vault, and then dragged to the shaft. BOOTH: Harold will know where that vault is. BRENNAN: Okay, maybe you could try the "Hey, we're brothers in arms" thing on him. BOOTH: Okay, that, what you just said right there, Bones- that was cynical. It was glib and cynical. BRENNAN: Really? BOOTH: Yes, really. I know what that guy has been through. BRENNAN: You killed a pregnant woman who was holding a child? BOOTH: Look, if you really want to know what I've done, I'll tell you, but you better be ready for the truth. (She relents from asking more.) BOOTH: Good choice, Bones. HELEN: Harold is afraid of me? BOOTH: Does he have any reason to fear you? HELEN: Oh, Harold is afraid of the world. Why do you think he lives underground? BRENNAN: Because he's paying penance. BOOTH: What? BRENNAN: You catch murderers to pay off your penance. Harold lives underground. Did you ever tell Marni that you found her documentary exploitive? HELEN: Of course I did. I'm an honest person. I told her I wouldn't help her. BOOTH: Which is when she turned to Harold as a guide. HAROLD: Yes, and those two other guys. BRENNAN: What... what two other guys? HELEN She took climbing lessons-how to use ropes- all that stuff. BRENNAN: When you told Marni that you thought she was exploitive, how did she react? HELEN: Well, she said that showing the truth couldn't possibly be exploitive. BRENNAN: I agree with her. HELEN: Truth doesn't mean the same thing to everyone, Dr. Brennan. Harold said he was afraid of me? BRENNAN: Booth Said he was afraid of a blonde. HELEN: How do you know it wasn't Charlize Theron? BRENNAN: Who's that? BOOTH: An actress. She's being sarcastic. Thank you for your help. Appreciate it. You know, you amaze me, you know? You know Treasure of the Sierra Madre but you don't know Charlize Theron. You know who you are? You're my grandmother. [SCENE_BREAK] (Cut to ANGELA'S work area with the 3D imager.) ANGELA: Here's the recreation. Here are the wounds. ZACK: Those skull fractures are centered above the left parietal lobe. ANGELA: Okay, the lasers can measure the angle of the attack and the amount of damage that was done to the living bone of the skull; 3.3 millimeters indentation into the bone at the deepest point which trailed off to 0.04 millimeters. ZACK: A glancing blow. ANGELA: Yeah, she saw it coming. The angle of the attack was between 50 and 53 degrees. ZACK: Meaning the attacker struck from above. And from the victim's right. ANGELA: So the attacker was left-handed. ZACK: She was only struck once. ANGELA: Sometimes that's all it takes. (Cut to: a park where Brennan and Booth are walking towards two men; KYLE MONTROSE and DUKE DIALLEL. DUKE: Good job, bro. Take care. BOOTH: Kyle Montrose and Duke Diallel? DUKE: Yeah. BOOTH: We're from the FBI. We have credit card receipts showing that you gave Marni Hunter climbing lessons. KYLE: If anyone could talk the FBI into getting a refund, it's Marni. BRENNAN: She's dead. KYLE: What? Oh, my God. DUKE: What happened? BOOTH: She was found in a ventilation shaft beneath the city. KYLE: Did she fall? DUKE: We told her not to go down there. It's way too dangerous. KYLE: Marni's dead? That's... God. DUKE: We gave her some climbing lessons and rappelling, but definitely not enough for her to go spelunking on her own. BRENNAN: Did you ever go into the tunnels with her? DUKE: No, no way. The whole point of rock climbing is to head for the sky, right? BOOTH: She ever ask you to? KYLE: Yes, yes, she did. She was doing some sort of documentary and...God, she fell? BRENNAN: That's what we're investigating. BOOTH: You seem pretty shook up. KYLE: Well, yeah, somebody you know dies, that's... BOOTH: I'm sorry, sir, but I got to ask. Were you and Marni intimate? KYLE: Yeah, we-we had a thing, but we broke up. She had a fiancé and I was always very clear that I didn't want to marry anyone. But... I liked her. God, this is terrible. BOOTH: Did her fiancé know about you? KYLE: I don't know. I can't believe this. (Cut to: BOOTH's office, with BOOTH, BRENNAN, and GARFIELD.) GARFIELD: Yes, I was aware there was another guy. Marni was never sneaky. BRENNAN: Did you know who it was? GARFILED: No. She told me it was over. BOOTH: Romantic triangle- it makes for a pretty compelling motive. GARFIELD: You mean for me? I didn't kill Marni. BRENNAN: She was sleeping with another man. BOOTH: Why didn't you tell us that your wedding was called off? GARFIELD: Because it's humiliating. BOOTH: Make you angry? GARFIELD: Of course it made me angry and depressed, made me question my manhood, all that. What do you want from me? I didn't kill Marni. She always came back to me. BOOTH: But this wasn't the first time she found someone else. GARFIELD: No. (Cut to: BOOTH and BRENNAN walking down an FBI hallway, BOOTH coffee in hand.) BOOTH: Okay, Bones, the fact that she was sleeping around, that's going to make it tougher. BRENNAN: Why? BOOTH: Mythical treasure versus actual jealous men? BRENNAN: That's stupid. BOOTH: No, it's not stupid, Bones, okay? Jealousy is probably the oldest motive for murder in the world. BRENNAN: Any man getting involved with a woman like Marni should know that she's adventurous and independent. BOOTH: Man, that's horrible coffee. (Throws horrible coffee in garbage can, as they walk into BOOTH's office.) BOOTH: Yeah, with a cheating heart? BRENNAN: Well, if she didn't hide anything. She was direct and honest. BOOTH: Bones, I mean you do realize that you are discussing motive right now? Psychology, not hard evidence. BRENNAN: It won't happen again. (Cut to: Investigation room with HAROLD, BOOTH and BRENNAN.) BRENNAN: We really need you to show us where you got this, Harold. HAROLD: It's only safe on this side of the perimeter. BOOTH: Then just take us there. Take us to the perimeter and you point the rest of the way. HAROLD: No. BRENNAN: Harold, those people you live with, they depend on you. What about them? It's up to you to keep them safe. (Cut to: sewers with BOOTH, BRENNAN and HAROLD.) BRENNAN: You know, you don't have to live down here. There are alternatives. HAROLD: No, not for me. BRENNAN: You're hiding. You have to face your demons. HAROLD: Living here, this is the only way I can pay so I won't have to go to hell for what I've done. BRENNAN: Harold, there are programs that help people like you. HAROLD: And what are people like me? BRENNAN: Mentally ill. BOOTH: Whoa, Bones, simmer down, all right? You might want to just, you know, sidle up to the issue a little easier. HAROLD: I like it. Someone's honest, says the truth. You don't lie, I guess. BRENNAN: No, I don't lie. Agent Booth and I would be glad to help you. HAROLD: This is as far as I go. BRENNAN: It doesn't have to be that way. BOOTH: No, Bones, he means this is the perimeter. This is as far as he agreed to take us. HAROLD: Beyond this it's not safe. BRENNAN: How much farther to where you found the medallion? HAROLD: You'll see. It's down there. BOOTH: You stay here, all right? Between one soldier to another? You got my back. HAROLD: I never left my men. (BRENNAN and BOOTH walk, proceeding down past the "perimeter".) BOOTH Hmm, cave-in. Dead end. We came all the way down here for nothing. (Notices skeleton on the ground.) BRENNAN: Not quite. ACT FOUR (Medico-Legal lab platform with BRENNAN, ZACK, HODGINS, and GOODMAN surrounding the skeleton Brennan found.) BRENNAN: This is a very old skeleton. ZACK: Male, mid-30s. BRENNAN: There's no clothing because it simply rotted away. HODGINS: Buttons. Bone for the shirt, pewter for the pants. GOODMAN: Brass eyelets for the boots. Belt buckle also pewter. This is a half-inch button from the Union Army Corps of Engineers. ZACK: By Union Army you mean... GOODMAN: Civil War. BRENNAN: That plus the fact that Hodgins found diamond dust on this skeleton, too? I think Marni Hunter was killed in a Civil War era tunnel. HODGINS: These pellets are commonly known as bird shot. Pellet size 12, 0.73 inches in diameter, made of lead. GOODMAN: Also Civil War vintage. The spread pattern suggests not a shotgun, but a muzzle-loaded pistol like a LeMat. If you don't mind some conjecture. BRENNAN: You're the boss. GOODMAN: This fellow knew something of value was being stored. HODGINS: Came down with an accomplice. I apologize. I've been hanging around Booth way too much. BRENNAN: It's a valid hypothesis. No doubt one of many. ZACK: They argued. One killed the other for the treasure. Doesn't that mean the vault will be empty when we find it? Oh, my God, they got me, too. GOOMAN: If the vault had been looted years ago, the artifacts would have surfaced, been sold off. It must have still been down there. I'll pull all the city plans from the mid-19th century to the present. We have to save what we can. Is there any way to discover who these bastards are? BRENNAN: Zack, take a cast of Marni Hunter's skull. See if we can be specific about the murder weapon. (Cut to: BRENNAN's office with ANGELA.) BRENNAN: Booth thought Harold could give you enough for a sketch of the blonde woman. ANGELA:You said he was suspicious. What if I can't get him to trust me. BRENNAN: You nervous? ANGELA: I'm not nervous. I'm scared. I don't know how to talk to crazy people unless I'm dating them. BRENNAN: I'm not sure he's actually clinically insane. ANGELA: Okay. I don't know how to talk to people who live underground and who might have tossed a documentary filmmaker down a hole. BRENNAN: Just be honest with him, Ang. Treat him with respect. You're good at that. (Cut to: ANGELA in the investigation room with HAROLD.) HAROLD: You're scared of me. ANGELA: Yes. HAROLD: Why? ANGELA: You live underground. HAROLD: Yes, I find it very bright up here. (ANGELA walks to the window and closes the blinds and sits back down.) HAROLD: How does this work? ANGELA: Um, you tell me what the blonde looks like and I draw her. HAROLD: You mean, like height, weight, hair color? ANGELA: Yeah. Yeah, but more. HAROLD: More? ANGELA: Yes, you know, how she seemed to you. You know, your, uh, your impressions. HAROLD: Her eyes are dead. Like she sees you and doesn't at the same time. You mean like that? ANGELA: Yeah. HAROLD: Her mouth was small. Stern. Little... (Cut to: ZACK'S section of the lab.) ZACK: The mold filled in the missing sections of the skull. BRENNAN: It shows the entry point of the injury has a very distinctive shape. Enlarge the image. ZACK: It's a "T." It's not a knife or a hammer that I've seen before. BRENNAN: Okay, make a list of possible implements using the size and force of the damage. (BOOTH opens the door with evidence in hand--a videotape.) BOOTH: Marni Hunter's fiancee found some raw footage of her documentary. (Cut to BRENNAN'S office where BOOTH BRENNAN are watching the tape.) MARNI, ON TAPE: A dark labyrinth, a warren of tunnels and fissures, forgotten coal cellars, sewer lines, storm drains, sub-basements, access shafts, easements and crawlspaces, some as old as the city itself. Why would anyone venture down here? BOOTH: Bones, I thought she worked alone. BRENNAN: Who's running the camera? MARNI, ON TAPE: ...shelter for a place to hide from the evils of the world. Others are looking for treasure. BRENNAN: Look, she might have started out to make a documentary about the homeless, but she wound up using Harold so that she could loot the treasure. BOOTH: Doesn't mean she deserves to die. MARNI, ON TAPE: And who are these treasure hunters? Not the homeless who scrounge for bits of metal. Some are Civil War enthusiasts. (Camera pans up to KYLE and DUKE.) KYLE: And some are remarkably handsome adventurers. I am so sorry. BRENNAN: They said they never went underground. BOOTH: This son of a bitch, he's lied to us, huh? ACT FIVE (Cut to Medico-Legal lab, with ZACK, BRENNAN, BOOTH.) ZACK: The murder weapon is a kind of sharp-edged instrument with a handle, not a hatchet. BOOTH: Those climbers haven't been back to their apartment since we talked to them last. BRENNAN: I think the murder weapon was a climbing ax. BOOTH: How about this: while exploring those tunnels with Marni Hunter, those climbers, they find something valuable. Marni wants to put it in her film, those climbers, they want to take it for themselves. Wham on the head, smack down the shaft. BRENNAN: Logical to think they're down there now emptying out that vault. (ANGELA enters.) ANGELA: That was a total bust. BOOTH: Harold couldn't provide you with a description? ANGELA: Yeah, he provided me with a description all right. (Holds up drawing to show an 18th century-looking woman depicted.) BOOTH: That's the blonde that Harold keeps seeing in the tunnel? ANGELA: See, this is what happens when you ask for information from the mentally ill. (GOODMAN enters.) GOODMAN: Where did you get that? ANGELA: I drew it. (GOODMAN talks and goes to the computer and pulls up the image that ANGELA drew.) GOODMAN: That, Ms. Montenegro, is a Raeburn. Sir Henry Raeburn painted a number of these studies, extremely rare now. Very valuable. There. ANGELA: Hmph. Damn, I'm good. GOODMAN: Miss Eleanor Urquhart painted in 1793 by Sir Henry Raeburn. Missing since 1862. Worth over $200,000. If Harold saw that underground, he's seen the inside of the vault. BOOTH Let's go. (BOOTH begins to leave.) BRENNAN: Booth. It's a labyrinth down there. You can't blunder around in the dark looking for them. GOODMAN: Maybe you won't have to. (Cut to: ANGELA'S 3d rendering station with ANGELA, BRENNAN, BOOTH and GOODMAN.) ANGELA: I entered all the modern and historical city plans, including ventilation shafts and tunnels, plus the newer schematics. GOODMAN: There's also oral accounts of tunnel construction and underground passages. BOOTH: Ooh, wow, All that exists under the city? GOODMAN: Yes. What we can corroborate. BOOTH: Good point, Bones, you know, not rushing off to find those guys. BRENNAN: How accurate is this? ANGELA: Blue is modern, near 100% accurate. Yellow is historical. GOODMAN: Estimate 80%. ANGELA: Red represents less exact renderings from stories, memoirs, accounts from city workers... GOODMAN Unfortunately, if this treasure exists, it probably exists in one of the red tunnels. BOOTH: Well, we found that Civil War victim near a cave-in. Maybe the treasure's on the other side? GOODMAN: Inductive, reductive or deductive? BRENNAN: Deductive. GOODMAN: As you wish. Ms. Montenegro, please remove all tunnels containing power, cable or utility lines. BRENNAN: And fiber optics. ANGLEA: Yes...also steam tunnels and transit access? BOOTH: Oh, what about diamond dust? You said that there was diamond dust in the old tunnels. There was also diamond dust on the Civil War guy...So... what? I'm not allowed to help now? GOODMAN: That's inductive logic. BRENNAN: We agreed on deductive. BOOTH: I'm sorry, I'm just, you know, trying to think outside your box. BRENNAN: Can you indicate where we found Marni Hunter's body and the Civil War victim? BOOTH: 'Cause, you know, if Marni was killed near the treasure and moved, and the Civil War guy was murdered by his accomplice... ANGELA: Mm, gotcha. BRENNAN: Can you connect the two bodies? BOOTH: This one's the closest. GOODMAN: There's no way to get there. BOOTH: Wait, can you put some more blue lines back in that area? It's just a guess. Throwing it out there. Sue me. BRENNAN: And connect where Marni Hunter's body was found. Somewhere along that line is where the treasure is. BOOTH: What's that blue line? ANGELA: Storm sewer. H-15B. (ZACK enters.) ZACK: The weapon was a Hanks climbing ax. (Cut to: BOOTH and BRENNAN in the sewers.) BRENNAN: This is one of the situations where I need a gun. BOOTH: No, you don't, okay. We're going to have six highly-trained FBI Tac Team members do the dirty work. We're just going to watch. What's your 20, Tac Team Three? TAC TEAM GUY: According to this map, we're with you? BRENNAN: They aren't with us. BOOTH: I realize that, Bones. Re-orient, Tac Team Three. TAC TEAM GUY: Suggest you wait for rendezvous, Booth. BOOTH: Ten-four, Tac Team Three. BRENNAN: Okay, I bet tick-tock team is here, two levels above us. BOOTH: Don't call them tick-tock team, okay? They're Tac Team. It's short for tactical. BRENNAN: Can I just have a gun at least until they get here? It's not for shooting rats. It's for psychos with climbing axes. BRENNAN:So what do we do, just wait? BOOTH: We just, uh, we reconnoiter. In. (BOOTH leads BRENNAN into another tunnel.) BOOTH: Easy. Watch yourself. Wow. What do we got here? Tac Team Three, this is Booth. What's your six? TAC TEAM GUY: Stand by, Booth. BRENNAN: They're lost. (BRENNAN notices something on the ground as they advance through the tunnel.) BOOTH: They're not lost. What's that, lucky quarter? BRENNAN: This could be the missing piece from Marni Hunter's skull. BOOTH: Okay. Think she was killed here? BRENNAN: That's a plausible conclusion. BOOTH Don't get all gushy on me. Tick Tock Three. TAC TEAM GUY: Did you just call us Tick Tock? BOOTH: Tac Team Three, standby. BRENNAN: Do you hear that? BOOTH: Yeah. (They hear clinking and then see an opening to a room with glorious old treasures of the past.) BRENNAN: That's the blonde woman. BOOTH This is locked. You know what, we got to get in there. BRENNAN: Are we waiting for Tick Tock Three? BOOTH They might not find us for a week. If we go after them, these guys will take off. I want to catch them in the act of stealing. BRENNAN: All right, we can go in through here. BOOTH: Bones, we go in there, you are responsible for whoever is on your left. Okay, you put your gun on him. BRENNAN: Okay. How will I know whether or not to shoot? BOOTH: Wondering whether or not to shoot, you shoot. BRENNAN: And let you do the talking. BOOTH: Yeah, well, I took that one for granted. (Cut to KYLE and DUKE looting gold bars among other various treasures.) DUKE: We should've brought bigger bags. (BOOTH and BRENNAN enter.) BOOTH: FBI. Hands in the air. BRENNAN: Yeah, hands in the air. DUKE: We're not armed. KYLE: Everybody relax. They don't shoot people for trespassing. BOOTH: They do for murder. Put your hands on your head. Do it. KYLE: Murder?! What murder? BOOTH: Kyle, I'm throwing you these restraints. Put them on Duke. Now. DUKE How are we supposed to climb out of here in handcuffs? BRENNAN: Would you rather go out in body bags? Put on the damn restraints. Let you do the talking. Got it. KYLE: You think we killed Marni? BRENNAN: She was killed with a climbing ax. BOOTH: Duke, sit down. Bones, give me your gun. Take the restraints out of my belt, and put them on Kyle. That's not cocked, is it? Because where that's pointed... BRENNAN: You're safe. KYLE: Marni was killed with a climbing axe? BRENNAN: She knew about this treasure, she was going to put it in her documentary, would've cost you guys a fortune. So one of you killed her. Who's left handed? BOOTH: Bones, you know, it's best to have this sort of explanation after the bad guys are incapacitated. BRENNAN: Why? (KYLE lifts some heavy artifact and hits DUKE.) KYLE: You killed her for this? BOOTH: That's why. BRENNAN: Yeah, well, I'll try to remember that for next time. ACT SIX (GOODMAN, BOOTH and BRENNAN in BRENNAN's office.) GOODMAN: You single-handedly regained one of the great cultural finds of the century. A glimpse of Civil War life. BRENNAN: Marni Hunter wanted to document the treasure, not steal it. BOOTH:So Duke killed her and threw her down a bottomless pit. BRENNAN: Kyle wasn't so innocent himself. He hit Duke in the crypt with a candlestick. BOOTH: Kyle hit the Duke with a candlestick in the crypt. GOODMAN: That's very good. Very good. BOOTH: Right? BRENNAN: What? What's the joke? BOOTH: Wha...? BRENNAN:Clue? What clue? What clue? BOOTH: Unbelievable, Bones. ANGELA: What's funny? BRENNAN:I have no idea. ANGELA: Harold's being released. GOODMAN: You found a place for him? BRENNAN: Yes. (Music montage, as BOOTH, BRENNAN, ANGELA walk HAROLD to the sewers. The team stands with Harold at the entrance to a section of tunnels. They bid him inaudibly farewell. BOOTH gives him a flashlight. HAROLD leaves them as he enters the only world he knows and trusts while they watch then leave.)
The Woman in the Tunnel