Dr. Temperance Brennan and FBI Special Agent Seeley Booth travel to Los Angeles to determine the identity of a woman whose body parts were found near Los Angeles International Airport. With Booth at the wheel of their convertible rental car, they are assisted on the L.A. end of the case by young FBI Agent Tricia Finn, who is a little too eager to help. Agent Finn knows Brennan's books inside and out and mentions reading in an entertainment industry trade paper that the film rights to Brennan's latest book were bought by producer/director Penny Marshall. When Brennan and Marshall meet face to face on the set of "Entertainment Tonight," both Marshall and ET's Jann Carl are impressed and a little taken aback by Brennan's dedication to her latest case. Brennan's skills are put to the test when she realizes the victim's identity is hidden by previous extensive plastic surgery.
"The Woman at the Airport" [SCENE_BREAK] [The scene opens on a skeleton displayed on top of a lab table in the room of body drawers. As Dr. Goodman begins to speak the camera pans away from the skeleton to reveal Dr. Goodman, Zack and Dr. Brennan.] Dr. Goodman: These remains, dating from the Iron Age, were found at the bottom of shaft three at the site. There were five sets of human remains found. This is the only one found whole. Zack: He's in good shape. Brennan: Fifteen hundred years old, he shouldn't look this good. Dr. Goodman: Which is why we're here. We're going to either authenticate the find as a set of human remains from the Iron Age ever found or dash the hopes of a thousand scholars. Let me know how it turns out. Brennan: Dr. Goodman, this is extremely prestigious. Aren't you going to be part of the team? Dr. Goodman: No, I have an institution to run. Zack: Didn't you use to be an Archeologist? Dr. Goodman: Yes, Mr. Addy. Thanks for reminding me. (Dr. Goodman leaves.) Brennan: (to Zack) x-rays, pictures, we're going to do this without touching the actual skeleton as much as possible. Zack: Kid gloves? Brennan: Latex should be all right. (Pauses) Zack, were you being metaphoric? Zack: I decided to give it a shot, which is also metaphoric. [Brennan walks into her office to find Booth sitting in her desk chair with a very cheerful smile gracing his face. Her face immediately shifts to annoyance as she walks toward him.] Brennan: (sighs) I need a receptionist. I can't just have anybody waltzing in here. Booth: Take a look at this. (Holds up sheets of papers) Brennan: (takes the papers from Booth) A bunch of red circles? Booth: Each circle shows were a body part was found. Brennan: What is this, an airport? Booth: Los Angeles International. Local pathologist says the remains are in pretty bad shape. Brennan: So he punted it to the FBI. Booth: Airports, they fall under Federal jurisdiction. Excellent use of the word punt. Brennan: I can't go to Los Angeles. I have an Iron Age warrior to authenticate. Booth: Iron Age warrior, when was the Iron Age? Brennan: Fifteen hundred years ago. Booth: Fresh body bits just a little more urgent. Bones: You do realize there are a lot more fresh bodies then there are perfect specimens from the Iron Age? Booth: You know, when you say things like that it's just to bug me, right? [Cut to Dr. Goodman's office. He is seated at his desk and across from him are Brennan and Booth are arguing.} Dr. Goodman: Do we have to go through this every time? Booth: Exactly. Brennan: Booth can't just walk in and say (smacks hands together) pack your bags we're going to LA. Booth: Oh, yeah, yeah, the whole Ice Age warrior thing. Dr. Goodman and Brennan: Iron Age. Brennan: And that's not the only thing. Dr. Goodman: Homeland Security has just asked Dr. Brennan to identify three bodies found dead in... Brennan: I'm not allowed to say. Dr. Goodman: The point is Agent Booth, Dr. Brennan is in great demand on several pressing cases and she's needed here at the museum. Why should I send her to California? Booth: Sexy case in Hollywood. How much more good press could the Jeffersonian get? (Dr. Goodman folds his hands on his desk and leans forward. His interest has peaked.) Brennan: But, Dr. Goodman, you said the Iron Age warrior was of the highest priority. Dr. Goodman: I can step in on that case. You pack your bags. [Cut to Arial shots of California. Cut to a sunny street lined with palm trees. Booth, wearing sunglasses and a content smile, is driving a black convertible mustang. Brennan is riding shotgun and she is bating Booth.] Brennan: This car doesn't feel very FBI-y. Booth: Bones this is a nineteen sixty-six Mustang. It's a classic and what goes better then that with the FBI? Brennan: How come on the rental agreement under model you made the guy write sedan? Booth: C'mon. We're in California. (Puts his arm around her shoulders.) Look palm trees. Brennan: You know I'd like to drive sometimes. Booth: Look, our contact out here is Special Agent Trisha Finn. Brennan: I'm an excellent driver. Booth: Okay, Rain Man. Brennan: I don't know what that means. Booth: I'm always gonna drive. You know that, right? Me behind the wheel; you over there on the grandma side. Brennan: I'm not above telling Deputy Director Cullen what kind of car you rented. [Cut to the exact same scene, but now Brennan is driving and Booth is pouting in the passenger seat. The scene fades away] [Cut to an exterior shot of the Jeffersonian. Cut to the lab where Dr. Goodman, Hodgins, and Zack stand around the Iron Age skeleton. Dr. Goodman is pacing next to the skeleton and studying it intently. Hodgins is looking at Dr. Goodman. He is annoyed and already frustrated. Zack is watching Dr. Goodman and is very confused as to what they are doing.] Hodgins: Do you want us to do something or just stand here and watch? Dr. Goodman: I'm getting a feel for the fellow. Zack: A feel? Hodgins: Look, there's no bugs on him, haven't been for over a thousand years. Dr. Goodman: There may be spores and pollens, correct? Hodgins: Probably not. Dr. Goodman: Dozen of species of pollens have been discovered from the crustaceous era. How long ago was that? Zack: (raises hand) sixty-five million years. That was a pretty good come back. Dr. Goodman: When authenticating a find like this we have to be at the top of our game. Hodgins: We all know that you're going to say I'm unable to authenticate with confidence. Zack: Why would he do that? Hodgins: When you declare something authentic you run the risk of being proven wrong. That doesn't happen if you equivocate. As head of the Jeffersonian, Dr. Goodman will place the reputation of the institution over everything else. Dr. Goodman: I'm an archeologist. My findings will be congruent with the facts. Hodgins: With all due respect, you used to be an archeologist. (Hodgins and Dr. Goodman glare at each other) Zack: (Looking back and forth between the two) I have no idea what's going on between you two right now. [Cut to a California desert airport. A plane is flying overhead and Brennan and Booth are standing near the crime scene with agent Trisha Finn, a young blonde agent.] Brennan: Agent Finn, why was the body removed from the crime scene? Finn: Call me Trisha, Dr. Brennan. The body was removed because parts were visible to arriving flights. (Hands Bones a map of the crime scene) Here's a map of the crime scene with a legend. Now there's a marked cone at the location of each body part and each photograph corresponds to a cone. That's how they did it in your book. Booth: She got that from me. Brennan: This is not a dismemberment. Booth: Okay, are you sure Bones? I mean this is Los Angeles. You know, they're showy. Finn: Is it possible that the body parts were ground up in a landing gear then dumped when the airplane landed? Brennan: The dispersal rate is wrong. It looks to me like the body was pulled apart by a pack of dogs. Finn: More likely Coyotes. Brennan: Coyotes at the airport? Finn: We got Coyotes everywhere. Brennan: (to Booth) Did you know that? Booth: No, I thought Coyotes were a cowboy thing. Brennan: I'd like to see the remains now. [Cut to a large, sterile, and empty lab. On a examining table are the remains. Brennan, Booth, and Agent Finn stand around it. Agent Finn looks slightly sick.] Brennan: I need all the dirt, silt, bits and pieces collected with the body parts sent back to the Jeffersonian immediately. Booth: You know what I like, when there's no flesh on the bones. Just a personal preference. Brennan: (picks up an arm and studies it.) There's not much left anyway. Finn: Eww. Dr. Brennan, as a screenplay writer myself I'd be happy to help you in anyway I can with regard to your movie. Brennan: Excuse me? Finn: Someone told me they're thinking of making your book into a movie. Booth: Say something Bones. Brennan: Well, all I know is I'm supposed to meet some big movie producer while I'm here, if I have time, which I probably won't. Does the pathologist need any further access to the remaining soft tissue? Finn: Uh, no. He got everything out of it he could. So my own screenplay is about this FBI agent who finds herself on the trail of a former boyfriend... (Bones tears what is left of the skin from the skull) Oh, uh, God. Booth: It's okay if you have to leave. (Finn walks away as quickly as she can. Her hand covers her mouth and she makes groaning noises) Brennan: (holds up the skull and studies it much closer then she studied the arm.) This is not good. Booth: Yeah thanks for that insight. Brennan: No, I mean the architecture of the skull has been radically altered. Booth: You mean by rotting and being eaten by coyotes and having the face ripped off by you? Brennan: No, by surgery...lots of surgery. I'm not sure I'll be able to tell who this was. [Roll Intro.] [A large screen is now placed in the center of the lab in California. The screen shows a lab at the Jeffersonian and Zack Addy can be seen on screen. Brennan is speaking to Zack and studying the remains.] Brennan: Are you getting the feed Zack? Zack: (pops into view on the computer screen) Yes, Dr. Brennan. I'm looking at the x-rays you beamed me. Brennan: I'm going to have the bones cleaned, but there are still vestiges of flesh. Zack: Hodgins got the clothing remnants and silt this morning. Brennan: Are you there, Ange? (Angela pulls Zack out of the way and sits down.) Angela: Is it sunny sweetie? Tell me it's sunny. Brennan: It's sunny. I sent you the entire skull. Angela: You want a reconstruction? Brennan: If you can. Angela: If I can? Have I ever failed you? Brennan: This one's different. You'll see what I mean when you get it. Zack? Zack: (Appears on screen.) Here, Dr. Brennan. Brennan: I make this a young woman. Zack: Early twenties from the look at the x-rays. Brennan: Cause of death? Zack: I see evidence of stabbing. One hit to the sternum, two to the pistoli cartilages. Brennan: Estimated time of death? (Angela pushes her chair closer to the computer so she is visible next to Zack on screen.) Zack: Degradation of the remains suggests the body was left out in the open between a week and ten days and the marks on the bones suggest carnivorous feeding beyond insects, birds, and rodents. Brennan: Coyotes. Zack: They have coyotes? Brennan: Yes. Zack: That explains the dispersal of remains. A pack of coyotes finds the body, pulls it apart, and spreads out to eat in solitude. Brennan: The teeth are veneered. Zack: The jaw has been broken and reset, same with the right leg. Have you seen any movie stars yet? Brennan: No, why? Zack: Apparently, it's a contest when you go to LA in which the winner is the person who sees the most celebrities. (Zack exits the screen and Angela takes his place in the center of the screen.) Angela: You have a whole skull, right? Brennan: Yes. Angela: So why is this going to be so difficult? Brennan: You'll see. Ange On the Iron Age project, Goodman does this thing; Hodgins isn't going to like it. Angela: What thing? Brennan: He theorizes in a way. It sounds like he's making stuff up. It's hard to explain but it's going to irritate Hodgins. Angela: Honey, you're in California. Forget the Iron Age. Say these words, 'Sky Bar'. Go there tonight; tell me everything. (Zack swings the camera to him and puts his face up to it.) Zack: Dr. Brennan, one of these x-rays shows two dark clumps near the pelvis. Brennan: Behind what's left of the spleen. (Booth enters.) Booth: I got a list of missing persons, women in their early twenties. (He sees Bones rip something out of the body) Oh boy do I really have to be here for this part? Zack: Do you think she swallowed that? Booth: Could be because she was a drug mule. Brennan: (holds what looks like a round gel pack in her hand) It's an implant, breast implant. Booth: Those come with serial numbers. Brennan: We should be able to identify our victim in a couple of hours. [In the main lab at the Jeffersonian Hodgins, Goodman and Zack are once again standing over the Iron Age skeleton. Mr. Goodman is describing the way he was buried as all three study the skeleton. Hodgins rolls his eyes at Goodman.] Dr. Goodman: Unlike other burials of the time in which the remains were found in a semi fetal position, this fellow was found on his back, arms at his sides, with a piece of decorated antler on his chest. Hodgins: Do you actually need me here? Dr. Goodman: The antler honors him as a hunter although his weapons tell us he was a warrior. Zack: He was in his mid-thirties when he died. He was 1.88 meters tall. Hodgins: You know there's all the detritus from Brennan's Hollywood crime to sift through, Dr. Goodman: Six foot one, a big man for his time, feared by his foes, respected by his neighbors. Hodgins: Encourage that much conjecture in Archeology, huh? Dr. Goodman: His bones bear the marks of battle. His weapons are of good quality, well used. He's old for a warrior yet how did he die Mr. Addy? Zack: Looks like Tuberculosis. Dr. Goodman: A proud man. This is not the ending he would of wanted yet he was surrounded by family and friends, a good death. (Hodgins rolls his eyes) Hodgins: Oh please, now you're describing a scene from Lord of the Rings. Zack: I liked that movie. Dr. Goodman: He was buried with respect, weapons, jewelry. His family did not stint or pilfer. Have you found any spores or fungi, Dr. Hodgins? Hodgins: Yes, they correspond both with the time he lived and the geography in which he was found. Dr. Goodman: Hmmm Hodgins: What? Dr. Goodman: I'd like details. Hodgins: You mean like a written report? Dr. Goodman: Yes, our findings will have to bare scholarly scrutiny from our peers. (Hodgins shoots Dr. Goodman one more frustrated look before walking away.) Dr. Goodman: (to Zack) What's his problem? [Shots of beautiful women on a rooftop pool in California. Brennan and Booth are standing against the rail at the far end of the roof. They are discussing the case, but Booth keeps coming back to how lavish a hotel Brennan gets to stay in.] Booth: My hotel doesn't even have a pool. Brennan: Well, you're welcome to use mine. Finn: [Walking over to Booth and Brennan] Well, the breast implant lead went nowhere. Brennan: What about the serial numbers? Finn: Uh, the implants were reported stolen six months ago. Our victim must have gotten them off the black market. Brennan: There's a black market in breast implants? Finn: Yeah, we have the name of the doctor from whom the implants were stolen. Brennan: Who uses a black market breast implant? Booth: Back alley plastic surgeons use them. They're not even real doctors. Finn: Are you going to write the screenplay? Brennan: What screenplay? Finn: The one based on your book. Brennan: Well I guess maybe the producer I'm meeting will tell me. Booth: Okay guys; let's turn our attention back to the murder victim. I'd like to go pay a visit to Dr. Boobs. Finn: Why? If implants were stolen from him, he won't know anything. Booth: Because it's the only lead that we've got Finn and leads are great for screen plays or even, say, if you're actually working a real case. (Finn gives him a pissy look and Booth whistles.) [Angela is in her office, at her desk, working on a skull reconstruction. Zack enters holding something behind his back.] Zack: I have something for you. Angela: Is it chocolate? Zack: No. Angela: Then I find my interest has flagged. (Zack pulls a clean skull from behind his back) Angela: Nice. (She takes it from him.) Who is it? Zack: It's the Hollywood murder victim. Angela: Oh my God. I see what Brennan means. This woman has had a lot of surgery. Zack: What's with Goodman and Hodgins? Angela: Oh, they're guys. They should just lay them out on the table and measure. Zack: Lay what out on the table and measure? Angela: Okay, awkward moment. Let's just say they have different approaches and they're guys, okay? Zack: I'm a guy. Angela: You're more highly evolved. (Placing tissue markers on the skull) This girl didn't just change her face; she changed her skull. This is going to make Brennan nuts. Zack: You know one thing. Angela: What's that? Zack: She's going to be beautiful. Why would anyone go through all this pain and not end up beautiful? Angela: Do the names Michael Jackson or Joan Rivers mean anything to you? Zack: One of them. The other I'll look up. [Cut to a plastic surgeon's large waiting room. Booth and Finn are sitting in a couple of chairs reading magazines while Brennan paces. She is ranting about plastic surgery.] Brennan: Every culture nurtures ideals of beauty toward which people strive. Fine, but in the future people will look back upon the surgical alterations... (Booth lowers his magazine and catches the eye of a patient sitting near them. She glares, annoyed and Booth looks up at Brennan) Brennan: (sits) of the nose or breasts or buttocks with the same horror that we regard binding of the feet or the use of bronze coils to extend the neck. Booth: Do you want to speak up because it's really hard to hear every word in this very very quiet waiting room? Brennan: It's barbaric. It's painful. (Looks at the woman waiting.) It's wrong. This murder victim may never be identified because some glorified barber with a medical degree had the arrogance to think that he could do better then the millennium of evolution. (Booth hides his face in the magazine.) Finn: Do you know what producer you're meeting with, Dr. Brennan? Brennan: No, my publisher didn't give me a name. I don't know what a producer does specifically. Finn: Nobody does, but it's really important. Secretary: Dr. Kostov will see you now. Booth: (gets up) You can remain here Agent Finn. Finn: (disgruntled) Yes sir. [The plastic surgeon's office. Booth sets the breast implant from the dead girl down on the doctor's desk. Brennan and the doctor are seated at the desk and Booth joins them.] Booth: Do you recognize this Dr. Kostov? Kostov: That would be your high profile double lumen full 'C' saline. Booth: Yeah it's from a shipment of implants you reported stolen six months ago. Kostov: I have a hard time believing you're returning one implant to me. Brennan: I found it in the remains of a murdered girl. Booth: Have many more of those stolen implants been recovered? Kostov: Yeah. Approximately three weeks ago there was a uh, faulty one had to be removed by a surgeon out in the valley. Booth: From whom? Kostov: A Heidi Brennan: I don't know what that means. Booth: LA speak for call girl. Kostov: LAPD was investigating. They can tell you what agency the girl was working for. (Looks at Brennan.) You have the most beautiful bone structure. Brennan: I can't take credit. It's genetic. Kostov: How old are you? Brennan: Why do you want to know? Kostov: Well it's never too early to watch problem areas (gets up and walks over to her) the jaw, little pouches beneath the eyes. Do you mind? Booth: You touch her; she'll break your arm. She thinks what you do is... Brennan: Barbaric. (Glares at him.) Booth: (laughs) No, don't look at me. I like my face the way it is. [Cut to Brennan sitting in a red plastic covered bed back in her hotel's pool area. She is lying on her stomach with her laptop open and she is talking to Angela who is her lab working on the reconstruction. The scene switches between the two places.] Angela: Sweetie, I'm having a hard time with this skull. Brennan: Did you try filling in the surgical scoring. Angela: I can't be definitive. All the usual indicators have been modified. I reconstructed three facial variations. She had her cheekbone shaved, her chin changed, her jaw reconstructed. (Sends images of the girl to Brennan's computer) That's just what she did to her bones. We don't have a clue what she did to the soft tissue. Her nose, her brows, her cheeks. Brennan: Just start with her basic architecture. We'll go from there. Angela: The basic architecture is what I can't find. Brennan: You're going to have to make a best estimate. Angela: Did you just tell me to guess? (Angela is looking at Brennan's image on a large screen in the lab. Brennan is lying down.) Brennan: No, I said make a best estimate based on your experience and expertise. Angela: Okay, well dress it up however you want, but it's still a guess. Look my experience and my expertise don't extend to this. A facial reconstruction might not be helpful in this case. Brennan: Angela, I told you it would be hard just...do what you can. Angela: Okay Bren, you're being a little edgy and tart with me and all I'm trying to do is tell you the truth. Brennan: What this young woman did to herself, it's as if she completely removed her own identity. Who hates herself so much that she not only changes her looks but her core architecture? If we don't know who she is, then how will we be able to catch the person who murdered her? Angela: Is that your way of apologizing? Brennan: Yes, Angela. Angela: I accept. I love your guts, Sweetie. [Cut to the LA FBI office. Brennan and Booth are sitting across a small table from a classy looking businesswoman. She turns out to be a madame. Agent Finn is pacing. They are discussing the remains and the stolen breast implant.] Brennan: According to LAPD, a black market breast implant from the same shipment showed up in another girl from Aphrodite Escorts. Finn: Are you missing anyone? Booth: We're not looking into your business, Miss Bardu. We're just trying to solve a murder. Bardu: I haven't heard from Rachel in two weeks. Finn: Is that unusual? Booth: I prefer to ask the questions my own way, Agent Finn. Thanks. Bardu: Rachel booked out at a one-week rate. She knows to check in with me if the client wants to extend the contract. It's time to worry. Brennan: (Hands Bardu pictures the pictures Angela had sent her) Do any of these women resemble Rachel? Bardu: If I had to pick one, this is the closest, (points to one of the pictures) but not really. Booth: Hmmm, does Rachel have a last name? Bardu: Rachel wasn't even her real first name. Finn: Ah, she goes by Rachel Ashaunce. Bardu: Rachel went to Vegas with a long time customer. Booth: I need his name...(Bardu looks like she's not going to answer.) Miss. Bardu it's always the same story, beautiful young woman...somebody wants to meet her, somebody can't have her, somebody dies. Bardu: Dr. Anton Kostov, an assembly line nip tucker in town. If that's all? Booth: Do you have a card Miss. Bardu? Bardu: (Hands Booth a card) We provide a law enforcement discount. Booth: (takes card) Ah. Brennan: Miss. Bardu, do you have any idea of what Rachel looked like before her plastic surgery? Bardu: Which time? [Cut to Angela's lab and the 3D image processor. Angela, Goodman, Hodgins, and Zack are standing around the processor. A 3D image of a man's face is hovering above them. Angela has her electronic notepad in her hands and is explaining the image.] Angela: The skull is in extremely good shape. Zack: Cranial measurements are congruent with age and s*x as Celts and Pre-Aryans. Dr. Goodman: Which matches the location of the find. Angela: I used Zack's new tissue depth for the markers. However, every skull requires its own unique demands. Dr. Goodman: Are you certain of your calculations Miss. Montenegro? Angela: A lot more certain then I am on Brennan's Hollywood hooker case. Dr. Goodman: This is a Pict. Picti actually mean painted ones in Latin. The Romans feared them. Very little is written about them or by them. Fierce warriors falsely reported to be small in stature. Hodgins: He's a Pict, so what? Dr. Goodman: The Pict's are from the far far north of the British Isles, far above Adrian's wall. The remains were found in an archeological site in southern England, near Wales. Hodgins: A Pict can't go for a walk? Dr. Goodman: These remains represent an archeological anomaly. This is unique in that no Pict has ever been found this far south before. Zack: If we could remove the clothing and take a closer look at the bones. Hodgins: It's a face. Maybe Angela got it wrong. Angela: Hey! Hodgins: Zack screwed up the measurements. Zack: Hey! Hodgins: This whole Pict business sounds like one of your stories. Dr. Goodman: (sighs) Enough. (He leaves the room) Angela: (to Hodgins) Are you trying to get fired? Hodgins: Science is no country for storytellers baby. [SCENE_BREAK] [Cut back to the California lab. Brennan and Booth are looking at on-screen visuals of the skull. They are bouncing ideas off of each other.] Booth: Kostov knew Rachel as a patient and she knew him as a client. Brennan: Kostov wasn't the victims' only plastic surgeon. These are ten times magnifications of the victims jawbone surgery. Kostov doesn't do work this sophisticated. Booth: Meaning she had more then one plastic surgeon. (Zack appears on the computer screen to the left.) Zack: Zack Addy. I live to serve. Brennan: Zack this facial surgery...the edges of the bone are almost scalped as if the blade simultaneously cut and applied torsion. Zack: You need to know if this procedure is recognized and sanctioned by the American Medical Association. Booth: You think Kostov is performing illegal surgical procedures? Brennan: It won't help us discover the identity of our victim (Hodgins pushes Zack out of the way on the screen behind her. Zack shouts 'hey!' in the background.) but it might help us catch her killer. Booth: That's the point Bones. Brennan: What? Booth: To catch the murderer. Hodgins: I'm sending you a catalog of all the stuff they sent me. Soil samples, pollen, particulates, etcetera that were on the body parts. Nothing too surprising except for E glass fibers. Brennan: Well she didn't pick that up in a field. Hodgins: No, it's marine fiberglass. The victim was on a boat shortly before she died. Also, look at this... (A blown up fingernail pops up on the right screen.) a fingernail probably her own. I sent it to the FBI crime lab so they can run DNA tests. That's Zirconium by the way not a diamond. So I'm guessing she wasn't your top-drawer high-class prostitute. Zack: All the osteological perjovations are consistent with recent elective surgeries except the compound fractures in the right tibia and fibula which indicate traumatic compression and... (Booth picks up a cell phone and taps it on the table.) Brennan: The victim had her leg crushed probably in a car accident around age thirteen. Excuse me! That's my cell phone. Zack: I analyzed the molars. Oxygen and stranti mysotopes in enamel indicate early childhood in New England while the dentin suggests six to ten years in southern California. Booth: (in phone) Hey, Miss. Bardu. Hi. Special Agent Booth. I've reconsidered your offer. I was wondering if I could have one of your ladies visit me today? Brennan: (to Booth) You're ordering a prostitute from my cell phone? Booth: I was wondering if Rachel ever took part in any of those two on one specials. Hodgins: Hey the old two on one special, classic. Zack: What's a classic? Booth: That's great. Just send me whoever she worked with the most. Brennan: You're ordering a hooker to my hotel? Zack: Did I hear you say hooker? Hodgins: How come I never get to go on these out of town trips? Booth: (to Bones) 'Cause you have much looser daily allowances then I do. Brennan: Well have fun. I have to get up early tomorrow. Booth: Why? Brennan: I'm meeting a producer. [Cut to the rooftop pool again. More beautiful people are covering the area. Booth is lounging next to a beautiful girl. She smiles seductively at him and the they talk. She is the prostitute that used to work with Rachel.] Leslie: Oh, you're one of those guys. Booth: What guys? Leslie: One of those guys who say they just want to talk. Booth: I do just want to talk. I'm an FBI agent. Leslie: Okay, I get the drill. What am I playing? Booth: (removes his sunglasses and smiles at her.) No really. (Shows her his badge.) Leslie, I really am an FBI agent. I just want to ask you some questions that's all. Leslie: About what? Booth: About your friend Rachel. Look I'm sorry but I think...I think she's been murdered. Leslie: This can't be happening. Oh God, Rachel was so nice. She was really an actress. You know, the way I'm really a singer. We all say we're something different then what we are. None of us want to be what we are. Booth: Did you know Rachel's real name? Leslie: Candace, Candace Hayden but I doubt that was her real name. She said she was from Stockton but I told her I was from Quarterlane and I was lying. Booth: Do you know why anyone would want Candace dead? Leslie: We see things we shouldn't all the time. We know things about powerful people they don't want us to know. Booth: Did Candace have anyone in her life? Leslie: Nick for awhile. I forget his last name but he played some kind of terrorist on 24. He got killed in like four seconds. Booth: Did Nick know that Candace was a call girl? Leslie: No, not at first. When he found out he got really mad. He smashed out all the windows of her car. (A security guard walks over to them with a disapproving look on his face.) Security: I'm sorry Miss but you're going to have to leave. Booth: Listen buddy, I don't know what your problem is but this is my little sister, okay. I'm visiting from Quarterlane. I asked her here for a drink, which is taking a hell of a long time by the way. Security: I'm sorry sir but we have strict rules... Booth: You might want to have a little respect. (Shows him his badge) Check on those drinks for us okay pal. Security: Yes sir. Booth: Thank You. Leslie: (to Booth) Thank you. So we're just going to sit here and have a drink? That's all? Booth: That's all Leslie. Have a drink, enjoy the view, pretend we belong. Later catch a murderer. [Cut to interior of the LA FBI Headquarters. Agent Finn tracks Booth down and forces him to speak to her.] Finn: Agent Booth, can I have a moment please? (He stops walking and turns toward her.) Um, have I done something to offend you? Booth: Look I'm really not into this whole west coast in touch with your feelings thing so... Finn: Yeah, um I'm really good at my job and I've been nothing but cooperative and helpful to you but you just freeze me out. Booth: Mmmmm. Hmmm. Finn: And I know you have nothing against working with women because you're partners with Dr. Brennan so your problem must be with me. Booth: Look I don't have anything against you Agent Finn. I just don't like the way you view the FBI. Finn: What do you mean? Booth: This is a proud and noble job but you're using it to get to something else. My advice, write your script, get an agent, hell have a little plastic surgery but quit using my Federal Bureau of Investigation as a stepping stool into something that you think is better because in my book there is nothing better. [Cut to a Fox studios where Dr. Brennan and Penny Marshall are being interviewed about the possibility of Dr. Brennan's book, Bred in the Bone, being turned into a movie. Brennan looks a little baffled by the whole thing.] Interviewer: I'm here with Penny Marshall one of the most prolific hyphenates in Hollywood. Actress, producer, and director of such hits as A League of Their Own and Big. Her latest project is bred in the Bone. It's a thriller based on the best selling novel by crime fighting anthropologist, Dr. Temperance Brennan. Okay, so how did this all come together? Brennan: I have no idea. Penny: Well my brother Gary gave me the book and I liked it and then this whole bidding war started and I usually don't get into that kind of thing but in this case... Interviewer: A bidding war? That's got to be a thrill for a first time author. Brennan: I wasn't actually there. Interviewer: You must be a big fan of Penny's films so, which one is your favorite? Brennan: I enjoyed her humorous treatment of the time space paradox. (They both look at her confused before the Interviewer gets it.) Interviewer: Big! Penny: (smiles to Bones) That's very funny. Time Space Paradox. Interviewer: Penny who is going to write the script? Brennan: Don't I get to do that? Penny: We'll talk. (A cell phone rings and both Penny and Brennan check theirs. It turns out to be Brennan's) Brennan: Cut, stop, whatever you say. (In phone) Brennan, well I want to come with you. (To Penny and Interviewer) I have to go because we have a suspect and I have to go. (She rushes off.) Penny: Would you look at that...passion? [Cut to the Santa Monica pier. It's crowded and there is a volleyball game going on. Brennan, Booth, and Finn are watching the game and discussing their suspect, who happens to be playing in the game.] Booth: There's a pretty good chance one of these leaping losers is our killer. Brennan: You always think it's the boyfriend. Booth: Well he loved her, he found out she was a prostitute. I'd say anyone who plays this stupid game is capable of murder. Brennan: Well then you got this case sewed up. (Pushes his arm) Why don't you just go and arrest them all? Booth: (to players) Excuse me guys, ladies? Ladies, Gentlemen excuse me? (They just ignore him.) Please? (Bones jumps into the middle of the game and catches the ball. She punts it down the beach and the players stare in confusion and annoyance.) Booth: (holding up his badge) Okay everyone who isn't Nick Harberson go get the ball. Brennan: Go fetch. (Everyone leaves, but Nick, who is left standing in the center of the court looking very confused.) [Cut to a bench on the beach. Nick is sitting on the bench looking upset. Booth and Brennan stand over him. They are discussing Rachel.] Nick: God she was so sweet. Actually thought about getting back together with her even though... Brennan: You broke out all the windows in her car. Nick: Well what would you do if you found out your girlfriend was a prostitute? Booth: When did you last see Rachel? Nick: Sandra. Her name is Sandra Cane at least as far as I knew. Booth: When did you last see Sandra? Nick: About a month ago. I was tending bar at a function at the Colonnade. Booth: Did you speak to her? Nick: No, no I was working. So was she...I didn't kill her. Brennan: How could you not know what she was doing for money? Did you even know her at all? Nick: She said she was modeling. The thing about Sandra is that as pretty as she was she was just never pretty enough. She would be all black and blue and then she would heal and she would look beautiful. I mean really really beautiful and we'd be sure something was going to break for her and of course it wouldn't and then she would be back in front of that mirror. And no matter what I said...Look, look I never knew her. I never understood her. I'm probably the last guy you should be asking about her. Booth: (to Brennan) He's an actor of course he's convincing. Brennan: I don't know. He doesn't seem to work very much. He's playing volleyball in the middle of the day. (Nick looks up at her annoyed) Just an observation. [Cut to the Jeffersonian. Goodman, Hodgins, Angela, and Zack are standing in a hallway discussing the Iron Age Skeleton. Goodman looks dour and Hodgins looks as if he knows exactly what is coming.] Dr. Goodman: I have an announcement. Hodgins: You're unable to positively authenticate the skeleton. Dr. Goodman: That is correct. Hodgins: Told you. Dr. Goodman: Given the inconsistencies between the specimens' geographic location and physio argumentum artifacts I cannot in good faith authenticate the find. Angela: Is this because of how I made him look? 'Cause there's a certain amount of subjectivity involved in recreating a face. Dr. Goodman: Certain amount, yes but the fact is he displays Pictish features. For all we know this skull doesn't belong to this body. Zack: Even though on x-rays it looks at though the head is properly attached to the spinal cord. We could actually go in and look, confirm the authenticity. Dr. Goodman: I declined to continue the investigation at this time. We will store the remains in the interim. Hodgins: (yells) I knew this was going to happen! (Dr. Goodman looks angry and walks up to him. They are nose to nose.) Angela: Hodgins. Dr. Goodman: Because we have been colleagues on this more then superior and subordinate, I have allowed you to be insubordinate but I warn you Dr. Hodgins that is over. Hodgins: Do you want my letter of resignation? Zack: You know what would be better put them on the table and measure, Alright? (There is an awkwardly hushed moment where no one is sure what to say.) Angela: Okay look, everybody just turn and walk away. Hodgins: If you want me to resign, just say so. Dr. Goodman: Miss Montenegro is right. (Dr. Goodman walks away.) Angela: (to Hodgins) You think you just won something. I'm telling you Goodman was the bigger man. [Exterior, Sunny street in California. Brennan and Booth are walking down the street with Dr. Kostov. He is in a rush, but they are keeping pace and asking questions.] Brennan: Isn't it against your ethical code to have sexual relations with a patient or do you guys even have an ethical code? Kostov: s*x with patients is frowned upon. Booth: That's why he said the implants were stolen. There is no way to prove that he was the one who installed them. Kostov: I did not know Rachel was dead when you last visited. I did not kill Rachel. I made her beautiful. Brennan: You mean you took what was unique and particular about her and destroyed it. Kostov: You have a serious neurosis on this subject. Booth: Do you have a boat? Kostov: I do four boob jobs a day, twenty grand a pop. Of course I have a boat. That's all you get without a lawyer. Booth: So what do you do huh? Pay him in hair plugs? [Cut to a lab in the Jeffersonian where Zack and Hodgins are working on Rachel's bones. Zack is staring a screen showing the indentations of the wounds. He is frustrated by his inability to find the murder weapon. Hodgins is at the far end of the lab working.] Hodgins: So what are you doing? Still working on the murder weapon? Zack: Maybe it's not a knife; maybe it's some kind of sharpened screwdriver. Why are you being so mean to Dr. Goodman? Hodgins: I'm not being mean. I'm being critical of his process. Zack: Why are you being so critical of his process? Hodgins: Goodman should be looking at the facts. Is the skeleton authentic or not? That's all. Instead it's all a mish mash of conjecture. What I think is that he's forgotten how to do the science and he doesn't want to admit that. Why a screwdriver? Zack: Because it's more torsion in the cut then a flat bladed knife could bear without snapping. It twists without breaking. The killer would have to be incredibly strong and even then the blade would snap. Hodgins: That's what Brennan said about the jaw surgery thing. Zack: What? Hodgins: I...I don't know I do bugs and silt but she said the words torsion and twist and cut. (Zack looks at the wound and then at the jaw surgery.) Zack: This is the type of situation where people say oh my God. Hodgins: pretend you're a person and say it. Zack: Oh my God. [Back to yet another sunny street in California lined with Palm trees. Booth is once again driving the Mustang with Brennan riding shotgun. They are discussing the case.] Booth: Scenario number one, prostitute gets breast augmentation from plastic surgeon in return for s*x. She threatens to tell on him. Brennan: Plausible. Booth: Scenario number two, jealous boyfriend...well yada yada ...you know the rest. Which do you like? Brennan: Neither. Booth: Because there's no real evidence. Brennan: Unless you count a volleyball. Sounds like you're getting ready to quit. Booth: Quit? No. It's just the Deputy Director wants me to hand the case over to the LA field office. We're supposed to give Agent Finn what we've got and go home. Brennan: What? Forget it. You don't even like Agent Finn. You think she's an idiot. Booth: Bones, the whole case is a bust. It's a blank. I mean we don't have anything. We checked her apartment, nothing. There are no pictures, nothing. We don't know what she looked like. We don't know her name. Brennan: It's like she lived on the world instead of in it. Cullen is calling you back because he thinks I'm at a dead end. You have to tell him he's wrong. (Booth pulls the car over and parks. He looks at Bones.) Booth: Is he wrong? Brennan: We know we're looking for someone who grew up in New England and moved here about eight years ago. Her leg was crushed in a car accident when she was thirteen. She was on a boat shortly before she was murdered. We know some of her names and some of her faces. Booth: That's all your stuff, okay. Usually by now we know more about my stuff. Brennan: We have separate stuff? Booth: Yeah by now I usually have a feel for the person. What they wanted. How they felt. What was going on in their lives? With this girl, nothing. Brennan: She thought she was ugly. She did everything she could to make herself beautiful and all she did was make herself more invisible. Booth: Everybody in this city thinks they're ugly, huh, and nobody is. I'm starting to get why you hate anonymous death so much. Brennan: We were born unique. Our experiences mold and change us. We become someone. All of us and to have that taken away by murder, to be erased from existence against our will, it's just... Booth: Evil? Brennan: Unacceptable. These bones you bring me, I give them a face. I say their names out loud. I return them to their loved ones and you arrest the bad guy. I like that. Booth: So do I. Brennan: I feel like we should be arresting these doctors because whether they killed her or not they...they still erased her. Booth: Well, maybe I could hold off calling for a day. Brennan: It's not good enough. (Booth starts the car again.) Booth: You're welcome. (He pulls away from the curb and drives away. Brennan's cell phone rings and she pulls it out to answer it.) Brennan: (in phone) Brennan. Zack: (on other end.) The murder weapon is a larger version of the surgical implement used on the victim's jaw. Brennan: You compared the bones to the marks left on her jaw? That's brilliant Zack. Zack: It was Hodgins. Well Hodgins quoting you so it was us. Go team. But get this according to the National Plastic Surgery Association, there's only one surgeon who does this procedure. Brennan: Tell me he's in LA. Zack: He's in LA. (She hangs up the phone.) Brennan: (to Booth) Dr. Henry Atlas, Rodeo Drive, Beverly Hills. Go. (Booth hits the gas.) [Cut to: Dr. Atlas's office. He is seated at his desk and Brennan is across from him. Booth stands over him as they question him.] Atlas: I'm ethically bound to ask you for a warrant before revealing the identity of any of my patients. Booth: Let me try this then. The uh, jaw procedure which Dr. Brennan described to you is... (Booth notices a picture of a sailboat on the wall.) Atlas: My innovations, yes. There is an adage in my business, you can't alter the bone. I've proven it incorrect even to my patients. Brennan: How many have you done? Atlas: Perhaps half a dozen and if you get a warrant I will release the names of my patients otherwise... Brennan: Do you use special operating instruments? Atlas: Yes, I designed them myself specifically for the procedure. Brennan: Have you patented them or shared the design with anyone? Atlas: Not yet. Booth: Nah, He's waiting until he has enough success stories to cash in. Brennan: Well he's going to be sure of one success story. Booth: That's right. We got here Sandra Cane, Rachel Ashaunce. Candace Hayden. Do these ring a bell? Atlas: As I have indicated. Booth: A search warrant here. (Hands him the warrant.) to collect your surgical instruments. Atlas: You'll...you will shut me down. You will cost me a fortune. Brennan: The only ones we require Dr. Atlas are the ones you designed yourself. Atlas: She told me her name was Susan Sheppard. (Atlas pulls a case out of a draw and opens it on his desk. Inside are the tools he made.) Brennan: (looks at them) Brilliant. [Cut to Goodman's office. It seems late, there is a light on in the corner and he is working intently. Hodgins pokes his head through the door hesitantly.] Hodgins: You wanted to see me? (Dr. Goodman gestures for him to sit down and he does. Dr. Goodman then stands up.) Dr. Goodman: You are a very difficult and stubborn man, Dr. Hodgins. Right now I would like nothing more then to fire you. In my position very few people tell me the truth anymore. I find I enjoy it in some perverse way. Hodgins: Are you willing to admit you bailed on the authentication? Dr. Goodman: Yes. Hodgins: Seriously? Dr. Goodman: But not for the reasons you think. True, we might be able to authenticate the skeleton by taking it apart, destroying it. If he's a fake, that would be fine. Nothing lost but I think he's the real thing. Hodgins: You do know he has been dead for fifteen hundred years, right? Dr. Goodman: I am an archeologist. This is what we do. We step outside the facts and tell ourselves the story of an individual or a culture and if the story I tell myself about this man who lived fifteen hundred years ago is true. If he was laid to rest by people who respected and loved him, don't I owe it to them not to let the pure scientist desecrate his remains? Hodgins: Or you could be totally rational and say you were waiting for imaging technology to improve to the point where it wasn't necessary to disassemble him. Dr. Goodman: Ah, yes. I suppose I could say that. It's less... Hodgins: Sentimental for the pure scientists. (They shake hands.) [Cut to a montage of Brennan in the California lab. She is testing medical instruments as possible murder weapons by stabbing them in clay and comparing the marks to the marks on Rachel's bones. Eventually she finds it.] Brennan: (in phone) I've got the murder weapon. [Cut to an open room at LA FBI headquarters. A long table is placed in the center of it. Booth and Bones are sitting at the table across from Dr. Atlas and his lawyer.] Brennan: We have the murder weapon. We have trace evidence from your boat. Booth: We have testimony from your staff that you argued with a woman you knew as Susan Sheppard shortly before she died. Lawyer: So what you need now is a confession. Booth: You're patient list is what is known as a uh, A-list right? Oscar winners, supermodels, super-agents, moguls...so how is it that a call girl makes the grade? Lawyer: You can answer that Henry. Atlas: I did Susan's procedure pro bono. Brennan: Why? Atlas: Because she volunteered. Brennan: She was a guinea pig. Booth: How did you meet her? (Atlas doesn't answer) Booth: Aw, come on. I mean Susan didn't just walk into your office, did she? Lawyer: Oh, just tell them Henry. Atlas: Through another call girl. One I used regularly. Sometimes these girls from the high-class establishments start to have expectations beyond the professional. Booth: What? She thought you were going to marry her? Atlas: Something along those lines, yes. So I made a change, I started requesting Susan. Brennan: Did you trade plastic surgery for sexual favors? Lawyer: Obfuscate Henry. Atlas: We did each other favors, went fine for a few months. Booth: Until Susan wanted you to marry her too. Atlas: No, in my opinion, Susan was becoming addicted to plastic surgery. I refused to do any more procedures. That's what my staff saw us arguing about. Booth: What was Susan like? Atlas: She was the girl next-door, simple, healthy. The girl before Susan was the opposite, very flashy. She had diamonds in her incisors...diamonds in her fingernails. Booth: Bones, didn't Hodgins find a fingernail? Brennan: Yes with a fake diamond in it. Booth: Susan was the girl next-door type. Brennan: It wasn't her fingernail. Booth: Jealously, like I said. (To Atlas) So what was the name of the escort before Susan? (Atlas says nothing.) The flashy one? The one that thought you were going to marry her? Lawyer: Tell the man what he needs to know Henry. [Exterior night scene. Back at the rooftop pool at Brennan's hotel. Brennan is watching from afar as Booth sits and waits for Leslie. Leslie arrives and they grasp hands before sitting. Booth holds Leslie's hand and leans in to whisper in her ear. She smiles as he leans back. He turns her hand over and looks at her fingernails. Very gently Booth pulls one of the nails off. It is a fake and underneath is ravaged skin as if the nail had been pulled off. Leslie loses her smile and Booth gestures to FBI agents waiting in the wings. Finn and another Agent handcuff Leslie. Before they take her away she leans in and whispers something to Booth. He smiles sadly and nods his head in the affirmative. Cut to: Bones with her hand on a railing near the edge of the roof. Booth walks up to her.] Booth: She thought Atlas was going to take her out of that life. Brennan: He wanted the girl next door. You were right, jealousy. Booth: Well it's an old story. Bet your fifteen hundred year old friend back home heard a version. Leslie thought Rachel was stealing her man so she killed her. Brennan: What did she ask you? Booth: What? Brennan: She asked you something after she was arrested. What was it? Booth: She asked me (pauses) if I thought she was beautiful. I got one more thing. (He pulls some papers out of his back pocket.) I had the Bureau search for adolescent girls that were injured in car crashes in the upper northeast ten to twelve years ago. (Booth hands Bones the paper and it's a newspaper. There is an article titled "Local Woman Killed In Car Crash, Daughter Survives."] Booth: Daughter's right leg was crushed. Brennan: (reads the article) Allison. Her name was Allison Holmes. Booth: Her father and her brother are still alive somewhere in Bangor, Maine. We will return the remains. Brennan: Thanks Booth. Booth: Well, Bones, you do your thing. I do mine. Brennan: (looks at a picture of her in the paper) Look at her. Booth: Yeah, pretty little thing. [Cut to all the beautiful people having a good time on the roof and then pan out away from the hotel until it is far away.]
The Woman at the Airport