As the episode starts, I immediately remind myself that this episode was directed by David Duchovny. I remember the first episode he directed on The X-Files, and I rather liked it because he seemed rather giving as a director. So, I settled in for this episode, expecting something similar. Yeah, that’s what I was expecting…
The music starts up, and it’s dark, yet beautiful, seeping into my pours as the body of a man is hung across a metal beam, in an almost Christ-like position. The name of the episode is “Judas on a Pole,” so I understand the Christian imagery, though I don’t think this is how Judas died… Nevertheless, the killer is intent on setting this body up so the world will see it.
There’s a lot of repetition and quick cutting, more like a music video than the opening of a television drama. The music plays on, juxtaposed with the splashing of lighter fluid, then the burning of the body, the flame engulfing what was left of a man, the smoke rising to the skies.
The camera rises to the skies, then transitions, rising behind Zack’s high backed chair as he sits before a panel of experts. Two men sit at the far left of the table, from their point of view. Another man sits at the far right, with two women in between. One is Bones, the other is Kathy Reichs. Yes, that’s right, folks. That’s the writer of the books, the anthropologist whose life and work inspired this entire show, and she’s sitting in the midst of the fake experts, the only real one. I love it.
The panel asks Zack questions, and as the camera focuses on him, we see through the giant doors behind him, down the hall to a door that leads outside. Ideally, the large doors should be closed, but it’s a nice shot, so I’ll shut up.
Booth walks down the hall, waltzes into the panel, and rushes up to grab his Bones. There’s a dead body, and he needs his expert.
Booth: “Hey, Zack. How’s it going?”
Zack: “So far, they don’t like me.”
Booth tries to pry Bones out of her chair, but she clings to it. Kathy Reichs assures Bones that they can continue with the panel without her. In other words, “You’re only an actress! You don’t know what you’re talking about! Get out of my presence!”
NOTE: I’m being a dork. No, I don’t think that’s what Kathy Reichs really thinks. But, this is a recap/review through my twisted brain. Don’t say I didn’t warn ya.
As Bones and Booth disappear from sight, chick fighting as they go (I kid you not), Kathy Reichs asks Zack how he expects anyone to take him seriously when he looks like a 15-year-old skater boy. Ouch.
We’re back at the scene of the crime, the body reduced to charred remains. Bones and Booth stand together, observing the remains before them. But, their conversation is only half about the dead body in front of them. The other concerns the absence of Bones’ faithful grad student, Zack. Poor boy’s stuck defending his dissertation, which is the last step to obtaining a doctorate. Unfortunately, Bones doesn’t have as much confidence in him as one might have hoped. However, at least she’s honest about his odds.
Bones: “50/50.” Ouch.
Booth observes that this guy was a snitch. His intestines lay across the ground, his guts literally spilled, probably in retaliation for, “Spilling his guts.” I’m glad not everything in this world is taken this literally, because cootie shots would hurt like heck. What 6-year-old kid wants to be repeatedly pricked with needles in hopes of avoiding the boy cootie disease?
Sorry, got lost. Anyway, Bones spotted something locked in the trachea, something shoved down the skeleton’s throat.
Back at the lab, we get to find out what that is. Well, sorta. Cam pulls a note out of the throat of the dead body, while Zack tells the others what happened at the panel. Apparently, he corrected the panel’s assumptions on a few things. That’s right, he corrected them. Hodgins is as shocked as I am.
Hodgins: “You corrected them?”
Zack: “Only when they were wrong.”
Hodgins opens up the note, and it’s some sort of hand-written document. Across it, in a different handwriting, written in red it says, “My name is Garret Delaney.” Well, that helps speed up identification. So nice when the dead leave notes shoved down their throat to tell you who they are.
Before they get too distracted by that, Cam pulls out a metallic coin. It has Christopher Columbus on it.
Now, a lot of people have been complaining about Brennan not being in the lab, and apparently the squints have finally noticed that their comrade in arms is absent. Well, she’s just chatting it up with her older brother, Russ, in her office.
Dad called. Yeah, you remember their dad: Possibly murderer, definite criminal, last heard from him through an inmate he hired to kill a man in prison. Yeah, standup guy. He leaves a cryptic message for his daughter, but apparently talks in length to his son, telling Russ that he and Bones are in danger.
Bones: “I spend half my time with a sniper trained FBI agent. I feel safe.” Say it with me, “Awwww!”
Russ feels like someone is following him. He can just sense it. Bones offers to let her brother stay with her a while. He reminds her that he has work, and a girlfriend with two daughters to look after. Bones then reminds him that his “sixth sense” tells him something is off.
Russ: “Hey! You can’t not believe in something one second and then use it against me in the next.”
She holds up her keys to him, offering him to at least stay the night and enjoy some cold beer from the fridge.
For those who remember the episode, “Two Bodies in the Lab,” Bones has a keychain with a skeleton on it, and a half billion keys. Not this time. She’s down to maybe 4 or 5. I’m not kidding. All those keys from the past episode are gone. Maybe she got too weirded out by Hollings, the killer, having a key collection. Anyway, for whatever reason, Bones has downsized her own key collection.
Booth walks in, asking Russ how he is. Russ shakes his hand, but it’s halfhearted. Bones throws her keys at Russ, and his lack of depth perception throw him off-balance, the key ending up smacking him in the head. Really, though, he catches them and walks out, leaving the love birds alone.
Booth tells Bones they have to go, and grabs her arm.
Bones: “Why do I always feel like you’re abducting me?” I rolled my eyes. I know I’m supposed to giggle like the obsessive X-Phile I am, but the reference just makes me shake my head. Ok, Duchovny is directing. I get it. Back to the episode, please?
Booth and Bones drive to the dead guy’s place, Booth updating Bones on their dead guy. Former FBI agent. He left the FBI 15 years ago for a job that paid a lot more, something to do with working on K Street. For foreigners: “K Street” is a street in Washington, D.C. I’ve actually been lost on M Street before in the middle of the night driving a van, and that was not fun.
Booth and Bones hope something at the guy’s place will give them an indication of why he was taken down, but this is starting to remind me of “House” a bit. I can’t recall another episode where Booth and Bones walked into someone’s house after they knew the individual was dead, and no one else was present. This just doesn’t seem like something Bones needs to be a part of, unless they’re hoping to find another dead body. Yes, she’s in the field with Booth, but perusing dead guy’s homes seems a bit out of her jurisdiction.
Bones: “His place is much better than yours.” By what standards? Someone’s being a bit superficial! “Ten times better.”
Bones finds a locked door, and tries to use the old “credit card” trick. I never could get that to work, myself. I’m even worse with a hair pin. It gets really comical. Last time I was any good at picking a lock it was my childhood home. You just needed a knife to break into my brother’s room. No crenulations to worry about… Really sped things up.
Booth: “What are you doing?”
Bones: “I’ve been practicing some of the black ops stuff you taught me.” Say it with me, “Awww!” That’s absolutely adorable! Some couples teach each other about music, or movies, or painting, or dancing… But these two? Picking locks and sneaking about. Such sweetness has never been imagined! Ok, I’ll shut up.
Booth: “Let me show you.” He smiles a smile of masculine superiority as he approaches the door. He faces Bones, giving her his best, “Watch this, baby” smile, then slams his arm against the door, and it pops open.
A moment ago, the two had been discussing Russ’ message from their dad and the validity of it, whether there was any real danger to be afraid of. Opening this door confirms it. Bones walks in to see walls covered in photos, but not of young girls or teenagers. It’s all Russ.
Main Titles. Wow, I’m verbose, tonight. I’ll try not to write as much.
We come back from commercial, and Russ is getting a sit-down with Booth and Bones, looking over the pictures. Now, realistically, I’d expect these pictures to be rounded up as evidence and unavailable for Russ’ viewing. But, ok. I’ll let it go. On some pictures, there are red marks, two lines converging on Russ. I’d hazard a guess and say it has to do with sniping, though I’m not positive. I don’t usually plot to stalk then murder people. I’m more of a spur-of-the-moment killer. Ok, I’m more of a spur-of-the-moment kisser, but it’s reasonable to think that mentality would cross over into murder, right?
Booth lets the siblings Brennan know that Russ was being hunted, not followed. Ah, now Booth is getting into an explanation of the red lines, and they are ranges, helping the stalker figure out the best venue from which to take out his prey. Booth wants to know who knows Russ is in D.C. Only the girlfriend. Booth tells him to call the girlfriend, make sure she doesn’t tell anyone else where Russ is. Bones tells the big brother to stick with her for a while. Things are getting serious.
Back at the lab, Angela is looking at the paper they found in Torch Guy’s mouth. Yes, I know we have a name for him, but if you guys are reading this, it’s going to take a while, and names get jumbled. He’s Torch Guy. The paper is from February, 1978. No, she didn’t do any really cool analysis of the paper. She just read it.
Hodgins, her lover, sits beside her, his gooey eyes mentally caressing and sniffing her long, flowing hair.
“I will not put an innocent man in prison just because he is a political threat. Marvin Beckett hasn’t broken any law.”
Angela reads from the paper. Our resident conspiracy nut recognizes the name, suddenly getting excited, sitting forward, craving chocolate chip cookie dough ice cream. Wait, that’s me.
Turns out Beckett was a Civil Rights activist in the 60’s whose primary campaign involved the number of African Americans in the Vietnam War. In 1978 he was sentenced to life in prison for murdering an FBI agent, Gus Harper. At least, that’s the way the story goes. Seems simple enough, except that name gets Angela’s attention. She pulls up the letter on her computer screen, showing the signature at the bottom of the page. This piece of paper came from Agustus Harper’s notebook. Gus Harper.
So, for those who got a bit dizzy, as I did: Beckett was sentenced to life in prison for supposedly killing a man who refused to unlawfully imprison him. So, all this is somehow tied into Marvin Beckett. Deep, man. As they’d say in the 60’s, “That’s heavy.”
Hodgins: “When you’re good, you are very, very good.” Yeah, he’s flirting, and she’s eating up every minute of it. I’m tempted to gag. No! I love this ship, I really do, but that’s just so incredibly cliché.
Hodgins and Booth stand in a hallway, in a very “Alias” standard, one quietly explaining to the other what’s going on. However, in this case, we also get the benefit of Booth being highly annoyed with Hodgins, who can’t help but touch the paper in Booth’s hands every time he discloses a new piece of information.
Apparently, an FBI task force was going after some robbers, but then went bad, taking a cut from the robbers’ exploits. They were going to use Marvin Beckett as a scapegoat for their tainted money, but Harper wasn’t down wit dat.
Gosh, this episode is fairly dry, isn’t it? I mean, I am sitting here, listening, and it’s just a lot of exposition. The most we learned from the body was that it was charred up. Charred up body. Dead guy. Yup. I know I should probably wait until the Analysis for this, but I’m going to go ahead and say it: We’re 10 minutes into the show (counting commercials) and we’ve not learned anything from the remains. This show is called “Bones.” This episode, thus far, is about paper, coins, and photographs. I hope we get some information from a dead body, soon, because that’s what Bones does. She’s a forensic anthropologist. She’s special because she can identify things with bones that others can’t. Let her do her thing!
When Booth realizes only the Squints and he know about this, he tells Hodgins to keep it that way.
Hodgins: “I’ve seen this movie. I get killed on the way home.”
Booth: “Then don’t go home.” Ooh. He’s snarky, today. Usually, we see him do this to Zack, but he’s going after Hodgins!? NO! Leave my Paranoid Android alone!
Sorry. Let me take my little pink pill. Ok. All better now.
They’ve got the widow in the conference room at the FBI. She was married to him 30 years ago for 8 months. Then, he died. She doesn’t know how she can help these two, since the last time she saw the FBI, they told her to, “Keep my mouth shut, or you won’t get your husband’s death benefits.”
The woman finally breaks, telling them how the FBI murdered her husband, then had a state funeral with him, her playing the part of the weeping widow, pretending she didn’t know about all the dirtied hands stained with her husband’s blood. She recognizes the notes as her husband’s handwriting. “He was compiling evidence.” Good man. Try to set it right.
Unfortunately, all the rest of the evidence was kept in a safety deposit box that was broken into, along with a bunch of others, back in the late 1970’s. Bones’ mouth drops open. She can’t believe it. She shoots out of the room before she bursts from the new information. Booth follows her, stepping into the hall, sealing the widow in the conference room. Ok. I’m sick of the buildup. What the heck is this all about?
Oh. Bones’ parents robbed that bank just a few days after Gus Harper was murdered. Perfect. Cover-up. So, that means that Torch Guy was stalking Russ in hopes of finding the evidence Bones’ parents stole in the 1970’s…
And, we finally get to see how this all ties in, and why it’s such a bones-light episode. It’s a mythology episode. Got it.
Booth, ever the caring partner *cough* lover *cough* tells her to go home.
Back at the lab, Angela holds up a picture of Delaney (Torch Guy) to Zack as they examine the skull. Yep, it’s him. Torch Guy is Delaney, but that doesn’t meant I have to call him that. Now, it’s time for the big Zack subplot….
Zack: “I hope to keep working here after I receive my doctorate.” Duh. Because, if you stay in the lab, you stay on this show, and since I haven’t heard any firing rumors, you’re going to be here for a while. So, no suspense.
Zack wants to know what is wrong with his appearance, why Kathy Reichs thought no one would take him seriously. Yes, this is actually our Plot B for the week. Plot A is mythology, and Plot B is Zack’s Quest for a Makeover. I’m sorry, but this has to be the most ridiculous thing, ever.
Don’t get me wrong. I did enjoy this episode the first time it aired, but I’ve watched it a few times since then, and I realized it’s just not an episode of “Bones.” It’s an ok episode of some other television that focuses on mythology and all that jazz, but this is not an episode of “Bones.” The bones are not talking to us, we’re not following a dimple on the bone from a pickaxe used in a safety deposit robbery thirty years ago. We’re following a piece of paper shoved down a victim’s trachea. “CSI” could handle this case. Heck, it’s an evidence case. It’s not a bone case, and while the mythology is engaging in this show, it’s usually been wrapped up in BONES. This is just really bothering me. I don’t mean to deteriorate into complete snark, but the lack of bone evidence in this episode is starting to amaze me. This show is still called, “Bones,” right?
The short of the scene is, Angela explains that his “deportment” will be important if he becomes a forensic anthropologist. While Brennan’s Grad Student, he was under her wing, protected from the importance of appearance in the workplace, because, students are schlubbs. Now, he needs to get cleaned up so people will take him seriously.
Back at Bones’ apartment, Russ shows her pictures of his girlfriend’s daughters. There are a lot of S’s in that sentence… Bones, distracted, isn’t completely in the moment, and Russ gets annoyed with her. These could be her nieces in the next few months, “The least you can do is memorize their names.”
Russ. She’s not being rude. She’s preoccupied because someone tried to kill you, and it has to do with your father, a murderer. Let’s not be too tough on the old girl.
She picks up the pictures, trying to show more interest in her older brother’s life. One of the girls has a lung issue, but when Bones offers money to help Russ, he doesn’t want it. He claims he needs to “man up” to be their dad. But, I think he should take the help if it’s really needed to help this little girl. I know, I know. Everyone’s different.
There’s a knock at the door, and it’s Booth, rushing in with more information on Gus Harper, the man Marvin Bennet supposedly murdered in the 1970’s. As Booth starts to explain the guy’s involvement in the bank robbery task force, Bones hands him a beer. I only mention this because the beer materialized. I’m serious. I don’t know where the beer magically came from, unless it was her beer and she gave it up to him.
Turns out, the task force named the members of the bank robbery squad after explorers. Bones’ mom was “Fremont,” her dad was “Columbus.” Most the names on the list have a “D” after their name, suggesting they’re deceased, but not Columbus. Hey, didn’t they find a Columbus coin in Torch Guy’s mouth? Yep… Bones’ dad is off killing people, again. Shot Torch Guy through the head, put him on the pole, cut out his innards, then roasted him. Fine role model for every forensic anthropologist.
It’s the next day. Bones cleans up breakfast while the two of them talking, and it sounds like Russ knows more than he’s letting on. He talks to Bones about how their father told him to stop looking, how things were fine until she started going after him. Bones tries to tell Russ that there’s been nothing to go off of up until this point, but Russ doesn’t seem convinced that Booth is telling her everything. He reminds her that Booth is FBI.
Russ: “You’re the daughter of a career criminal and the sister of a loser on parole.”
Bones: “I wouldn’t let anyone else call you a loser, what makes you think you’re allowed?”
Russ: “I love you, too.”
I love this actress. It’s the lawyer from the Hurricane Katrina episode last year. I don’t know her name, but she’s the Lawyer with Attitude, and I love her. So, the LwA is with Booth at the diner. He’s bought her breakfast in hopes that she’ll help him get Gus Harper’s body exhumed to prove Marvin Becket didn’t kill him. Booth mentions a judge they can talk to, but LwA wants another guy, one Booth isn’t sold on.
She thinks it could kill her career, but she’s up for it because of what a hero Marvin Becket was to African Americans during the Civil Rights Movement.
Bones is finally in the lab. We’re about 20 minutes in with commercials, and she’s finally doing something with the body. Zack holds up a 22 caliber bullet that was found in the sinus cavity. Apparently it bounced around a bit before settling there.
Now Bones and Zack get into the dumbest conversation the two of them have ever had. I’m not kidding. Bones asks if he’s worried about his doctorate, and he’s not because one of the male doctors patted him on the shoulder with an open hand. He then demonstrates for Bones, showing that an open hand displays approval, while a punch to the arm conveys doubt. Not kidding. He just keeps patting and punching her, until she finally pats him, rather hard, on the shoulder, saying the old man might have been arthritic and just needed help getting up.
Some random extra comes up to tell Bones that she has visitors in her office. I breathe a sigh of relief that the dumbest ever interaction between Bones and Zack is over. She pats him on the shoulder before going to see who’s at the office.
Ah! It’s Russ… and… some old friend of Dad’s. It’s a Priest who Russ introduces as an old friend of their father’s. Booth shows up, bounding down a set of stairs I’ve never seen before, to join the group.
The Priest goes into this whole story about how he and Dad did some really stupid things as kids, like blowing up a train trestle… but it goes nowhere, except to put Bones at ease, validating her belief that this man is, indeed, an old pal of Dad’s.
He comes bearing a message from Dad, but it’s a private one. So, Bones, Russ and the Priest go into her office. The Priest starts to close the door, but Booth holds it open so he can come in.
Russ: “She’s just going to tell Agent Booth, anyway. You might as well let him listen.” See, that’s the big brother admitting his little sister has a man, and he’s not bad.
In the office, the Priest delivers the message, “Back off.” He says Bones’ dad figured she’d know what it meant. The Priest saw Dad in confessional. That’s where they spoke, but Dad had called his cell phone a few days earlier. Booth writes the number down, hoping he’ll be able to trace it.
Booth wants to know if Dad went to the Priest for absolution, but the Priest couldn’t grant it since Dad neither felt regret, nor had intentions to change his ways. The Priest feels bad that he could never get Dad to, “Walk the straight and narrow.” When asked what else Dad was feeling, the Priest replies that Dad felt angry, like his hand had been forced.
Bones: “Where can we reach you, Father?”
Before the Priest can answer, Russ steps in, letting Bones know where he’s staying, for the time being, before heading on his way.
Priest (to Bones): “Your father loves you.”
Bones: “Is that part of Dad’s message?”
Priest: “That’s a personal observation.”
After a few pretty city shots of Washington, D.C., we find ourselves in Booth’s office, and find out why all of this is happening. Apparently, the little dolphin left at Christine Brennan’s grave site in “The Titan on the Tracks” was specially made.
For those who don’t remember, Bones buried her mother as “Christine Brennan” and as she stood at her mother’s grave, she noticed a tiny silver dolphin laying on the ground. It was a token of love left by her father for her mother. That’s why all this is happening. It all goes back to that dratted Dolphin!
Turns out, the FBI tracked the dolphin to a specific jeweler who identified Dad as the buyer. Somehow, that information got to Torch Guy, who went after Russ in hopes of finding the missing evidence from 30 years ago.
Bones: “They didn’t tell you? You must be annoyed.”
Booth: “You know what, yeah, I am. And I don’t like finding out there’s a dirty FBI agent in this building.”
With that, he closes his office door. He tells Bones that Dad did what he had to based on the rules he operates on. Dad killed Torch Guy because he was trying to protect his children.
Bones: “Am I supposed to like that?”
Booth: “You know, Bones, I’ll take a stand up crook over a crooked cop any day of the week.”
The Lawyer with Attitude shows up, telling Booth she got a meeting with the judge she wanted.
LwA: “And you better get back to your lab in case we’re successful.” I like this woman even more. Like so many of us, she wants Bones to spend a little more time in her lab this episode.
In the Judge’s office, things aren’t going well. He can’t believe they want to exhume the FBI agent Marvin Becket murdered. Then, as if things weren’t bad enough, an assistant United States Attorney walks in, claiming he’s representing the FBI who want to do this slowly. They want to have their own scientists authenticate what the Jeffersonian claims. The Lawyer with Attitude gets a bit fresh, unnerved that this kid, who wasn’t even born when all this went down, is trying to cover the FBI’s tail in all of this.
Then, the Judge gets smart. See, it turns out he knew Marvin Becket personally. Booth finally gets why the Lawyer with Attitude insisted on this attorney.
At the lab, Cam prepares to perform an autopsy on the cadaver of Gus Harper. Bones and Zack look on as Cam removes what looks to be a bullet from the cadaver’s head.
I hope this is just my ignorance of internment talking, but was that a bullet atop the hole? I mean, did the bullet get lodged in his forehead? I really hope I’m just ignorant, here.
So, they look at the hole in the head, and Cam can tell that’s a 38 caliber, just like the original autopsy said. However, there are two holes in the dead guy’s chest, and those holes were definitely made by something bigger than a 38 caliber. It looks like a hole a sniper rifle might make.
At the diner, Russ approaches a table, where Booth sits, waiting. It’s a strange camera angle, though. We’re not inside with the boys. We’re outside on a handheld camera, following Russ’ movements as he sits down. As he sits, we switch to an interior view, and get to hear what the two men are saying.
Booth: “You’re an idiot, Russ. I like you, but you’re a real idiot.”
Turns out Russ left his home state without informing his parole officer. Booth covered for Russ, telling the parole officer that Russ was helping out with an FBI investigation. However, Booth worries that Russ is slipping. Russ tells Booth that he wants to marry Amy and raise her kids, but Booth counters that if Russ ends up in jail, again, he’ll be no good for those kids.
Russ starts to stand up, with an attitude of, “I don’t have to listen to this.” Booth sits up, his hand outstretched to try to stop Russ, and that’s when the sound of a sniper rifle fills the screen, and a bullet barrels through the glass, grazing Russ’ ear. Russ falls to the ground as Booth pulls his gun, aiming out the window, glancing back as Russ holds his bleeding ear.
After commercial, we’re watching the television. Turns out the autopsy was enough to get Marvin Becket out of prison. He was released, the charges against him dropped. Booth, the Priest, Russ and Bones are all in Booth’s office. Booth instinctively throws a piece of metal in the air, catching it. Behind him, the Priest wants to know what inconsistencies they found in the dead body that led to Marvin Becket’s release, but Booth is closed-mouthed about it.
Bones comments on how lucky it was that Booth and Russ were together, and Booth once more covers for Russ by saying they were just getting something to eat. Before things can get too domestic, a man barks through the door for Booth, then takes off for the conference room. Booth straightens his tie, more nervous than we’ve ever seen him before. This guy is Deputy Director Kirby, his boss’ boss’ boss. Yeah, this is freaking bad.
Booth sits in the conference room, face forward, Kirby pacing behind him. Kirby is not happy that Booth rushed the investigation, that the FBI is now being questioned about the original case. Blah, blah, blah. Wait. WHAT!? He just put Booth on suspension! Booth just turned over his GUN! This rocks.
I know you’re saying, “Esselle. What drugs are you on? How is this good?” I just like to see some consequences, sometimes, and this could be good for Booth. Growth! Development! Change! It’s integral to keeping a show fresh! The characters must be affected by what happens to them and build upon it!
We’re in the lab, and Booth is in civilian clothes. Much as I love the suit, this is a good outfit on him. Bones can’t believe they did this to him, and he’s more concerned that they took the company car, leaving him without wheels. Zack just continues to work, showing x-rays of Harper’s ribs.
Angela: “Zack, Booth got fired.”
Cam: “Suspended is FBI speak for fired.” Teehee.
Zack understands, and figures the best way to get Booth reinstated is for him to solve the case on his own, and for them to help him. When Booth begins to protest, Bones asks for a show of hands. Hands fly up, and it’s unanimous, Booth and the Squint Squad are on the case.
Zack reverse-engineered what he could from the bullet fragments, and what they see looks like it scattered once it penetrated the body, like buckshot. Together, Booth and Hodgins figure out it’s a homemade round for a military issue sniper rifle. Hodgins’ knowledge of weaponry impresses the usually dour Booth.
Hodgins: “Dude, what you can being a conspiracy theorist, I call being well-informed.”
Gus Harper was murdered by a military sniper… Wait, wasn’t someone trying to snipe Russ? Oh, this is bad.
Booth makes a phone call to the Lawyer with Attitude. She’s under review, but she still has a little power left. He wants a list of whoever was working on the taskforce in the late 1970’s that has military sniper training. She says she’ll get on it.
Bones rushes up with an idea. She wants to go see the Priest to see if they can get to her Dad. She wants Dad to hand over the rest of the evidence from the case 30 years ago. That way, they can figure out who the killer was, and get Booth back in at the FBI. Bones gets excited that she gets to drive, grabbing his arm as they rush off. For once, she gets to abduct him.
Back in the lab, Zack lets Cam know that he wants to work at the Jeffersonian once he gets his doctorate, but she doesn’t think anyone will take him seriously the way he looks, especially if he ever has to be a witness in court. No, she’s not sold on him. Cam takes on, while Hodgins and Angela just shake their heads.
See, there’s no danger, though. You know the actor is sticking around, so why all the buildup and drama? Drama for drama’s sake. *sigh*
Booth, Bones and the Priest walk at what I assume is the outside of the seminary. Apparently Dad uses Vonage, because the phone call came over the internet and was untraceable. Booth brings up the whole, “One friend became a Priest, the other a criminal” thing, again, for no apparent reason. That leads us to the Priest telling us Max knows only one Bible verse. Numbers 35:19. And…. The Priest happens to have it written down in his pocket. That’s a little bizarre.
There are WAY too many coincidences in this episode. People who’ve read these for a while know how annoyed I get when too much just happens. Things are just happening too much.
Anyways, here’s the verse:
“The revenger of blood, himself shall slay the murderer. When he meeteth him, he shall slay him.” Booth calls it the law of the jungle.
Bones tells the Priest that if her dad contacts him, again, she’d like to send a message. She wants Dad to try doing things her way because his way got her mother killed, and nearly got her brother killed. It’s a fair point, I think.
But, the Priest tells her Dad won’t be calling. Booth had people following the Priest around to see if Dad would make contact. Oops. Booth looks embarrassed, and Bones doesn’t look happy.
Angela’s in her room at the lab and we have no idea what she’s doing. Zack walks in, and he wants a makeover. Angela protests, saying she believes people should be who they are, and that he’s cute.
Zack: “I’ve been told that, many times, usually followed by the word, ‘but.’” Oh, Zack, you just endeared yourself to me a bit. Aw! “In this case, but noone takes you seriously.”
So, he begs, and Angela agrees, saying the first thing to go will be the hair. He cringes a bit at that, and I know a lot of fans did, too. Sorry, guys. It’s going.
Bones and Booth are in her office, and she is not happy.
Bones: “I need a gun.”
Booth: “No, you don’t. You got me.” Teehee! “I’m your gun.” That could go so many ways. He pulls out his cuffs, putting them on the table. “If you want equipment, here. Have these, alright? New division of labor. I shoot ‘em. You cuff ‘em.”
She can’t believe Booth would do things on this investigation without her, but he feels awkward asking her to help chase down her dad, because, well, he’s her dad.
Bones: “He abandoned me, Booth, and that’s the best thing you can say about him.” Wow. That just says a lot, right there, about how she perceives her relationship with her father since she found out the truth about him and her mother.
Booth: “Your father lives by a certain code, and part of that code is defending his family by whatever means necessary.”
Bones: “You mean killing people and setting their corpses on fire.” Good ole dad.
Booth: “Any means necessary sorta covers that.”
Bones: “You respect him?”
Booth: “I’m just saying, in his world, he’s a very honorable man.”
Bones: “That’s ridiculous.”
This is the first really interesting scene of the episode. Of all the stuff that has come before, this is the moment that intrigues me, the moment that makes me want to just go back and analyze until I’m blue in the face. This is a great, great conversation. This is so much of what this show is about. This show is about great dialogue, and about characters interacting, rubbing against each other, sometimes as sand paper to help them grow.
Yes, this show is about science, about finding killers and making them pay for what they thought they got away with. But in an episode like this, where so little time is spent on the science, we need the dialogue and the relationships to gel the show together. That is what has been really missing this episode, but the dialogue in this one scene stands out as phenomenal. It’s layered and filled with subtext and indecision, and I love it.
Bones: “There’s only one world. It’s this one.”
Booth: “Would that be the one world where you’re mad at me for trying to catch your father, or the other world where you actually want him cut.”
The two of them are nose to nose. Real tension is flying in this scene, and I’m wondering if I should take off my jacket because of the heat flying off this scene. Delish.
Booth: “Well you have to pick one.”
The two of them are so involved in their argument that they don’t even notice the Lawyer with Attitude and Marvin Becket entering the room. I love when Booth and Bones are so consumed by each other that they don’t see the rest of the world. It’s delish.
Finally, the Lawyer with Attitude speaks up, getting their attention. She wants them to meet the man they set free. And, while I’m not generally against things like that, I was really enjoying that exchange!
LwA: “Doctor Brennan. Agent Booth. I thought you’d like to meet the reason we’re all losing our jobs and getting shot at.” Love her.
Marvin Becket thanks them for setting him free and proving to the world that he did not take the money or kill the FBI agent. Nice. Then, he basically warns them about what they already know: This is bigger than they know. Got it. Thanks for visiting. Seriously. He doesn’t say, “Goodbye” or “Have a nice day.” He just walks away.
The Lawyer with Attitude gives Booth the list he asked for (snipers, 1970’s, taskforce). Well, get this, it’s Robert Kirby… as in Deputy Director Kirby… As in, the guy who suspended Booth.
Now, here’s my problem with that. Booth’s going to get off. We only have one episode with him suspended, and it’s not even a full episode. I think a Booth suspension is an interesting idea, but if they ever decide to do it earnestly, it will be tainted by this episode with the easy out. Once again, things are just “happening” way too much.
Booth tells Bones to call Russ, tell him to get out of her place, to just leave. Bones frantically calls, but there’s no answer. Booth realizes that Kirby really wants Dad, and he’s going to have to go through either Russ or Bones to get at him. With Bones safely in the lab, Kirby will most likely go after Russ.
Booth bursts into Bones’ place, gun drawn. Bones follows behind, both of them calling out for Russ. He’s not there. No one is there. But, on the floor lies a blood pool. So much blood. Too much blood for a flesh wound. This is fatal. Someone died on the floor. Freaked out, Bones turns to Booth, wrapping herself in his arms. Booth holds her, his brain racing, trying to put the pieces together, but then he just stops thinking. He just holds her, comforting her.
After commercial, we’re in Booth’s car. Bones sits, thinking.
Bones: “It’s against the law, us not calling in a murder.”
Booth: “It wasn’t a murder. It was a blood stain.” Obviously, Booth doesn’t watch CSI, because he would realize that a pool of blood that size was plenty to warrant an investigation in “Gum Drops.” Heck, Nick got called out because they found a pile of intestines next to a dumpster in “Grave Danger!”
Bones tries not to cry, still freaking out at the sight of that much blood, at the thought that her brother could be dead. Apparently, Bones grabbed a sample, so we can pop back to the lab and find out. The beauty of this is that even if they didn’t have Russ’ sample on file, his sister is right there, and they can match alleles.
Bones: “I wish you wouldn’t keep letting me hug you when I get scared.”
Booth: “Hey, I get scared and I’ll hug you.” Awwww! Seriously, that’s an aw. “We’ll call it even.”
Wait, I thought something was wrong about that interior shot. That’s right… Booth doesn’t have a car. That’s Bones’ car… and she’s letting him drive! Girl must be freakin’ out! Last time he gave her any car advice she ended up getting her brand new car scratched!
At the lab, Booth asks Cam for results on the blood. She says it’s not Russ’, to which he answers that even she couldn’t be that fast with blood results. Thank you! Actually, she knows because it’s the wrong blood type to be Russ’. Ah, that clears that up. Someone else died on Bones’ floor, not that the thought of that is much better.
Booth wants to tell Bones, but Cam already did. Bones is going to see the Priest since the Priest said he had something for her. Looks like Dad made contact once Booth got the feds to stop tailing the Priest.
Booth: “No, she can’t be going places without me. Not when it’s open season on Brennans!” My favourite line of the ep. Right there.
Duck Season! Rabbit Season! No. It’s Brennan Season. Take that Bugs Bunny and Daffy Duck. You’re both wrong.
Booth’s phone rings, and he really hopes it’s Bones… but it’s the Lawyer with Attitude.
Bones meets with the Priest in a nice exterior in broad daylight…. What!?
Oh, you’re wondering what the Lawyer with Attitude said to Booth? I have no idea. They cut away. So, can I get on with the review? Thank you.
The Priest tells Bones that Russ is with Dad. He’s safe… Well, as safe as one can be with a murderer.
Bones: “You mean, with God?” She couldn’t say, “Dead.” It’s too hard.
Priest: “No, his earthly father.”
Hmmm. Dead or with a murderer…
Bones: “Thank God… Which I use only as a figure of speech.”
The Priest starts walking, and Bones follows. No clue where he’s going, but Duchovny is using the moment to show off some nice crane camera work. I want a crane. Think if I sent Duchovny a letter he’d send me a crane? I didn’t think so, either.
The two walk, the Priest telling Bones that she’s like her father. Bones doesn’t think they’re anything alike. But, the Priest pushes on, saying that they both see the world in black and white.
Priest: “Your mother wasn’t like that. Neither is Russell.” First time I’ve ever heard the boy called by his full name. It seems to strike Bones as odd, as well.
Booth walks into the diner to meet with the Lawyer with Attitude. Honestly, she should have been able to tell him this information over the phone, but I get that it would have been too easy that way. Booth would have caught up with Bones and we wouldn’t have gotten the dramatic scene we’re about to get in two minutes.
Seriously, I’m not spoiling you! It’s in two minutes.
Apparently, as the Lawyer with Attitude was clearing out her desk, she got a call from an FBI agent. Seems Father Colter AKA “The Priest” is in a convalescent home. The man we’ve known all episode is not Father Colter. He’s not the Priest.
Bones and the Priest walk. The audience waits to see what the heck is about to happen. Patience, folks. I said two minutes. It’s only been 30 seconds story-wise.
Priest: “Your father, he talked about when you were four, and your brother was nine…” He just linked his arm with hers. The Priest just took Bones by the arm. “And he hid behind this door and he jumped out at you…”
Back at the diner, Booth is not happy. He asks the Lawyer with Attitude for the keys to her car since he’s still without wheels.
We’re back with the Priest and Bones.
Priest: “‘Boo!’ he hollers, ‘boo!’ And you, you had this doll, had this string in the back-”
Bones: “Chatty Cathy.”
In the diner, the Lawyer with Attitude throws her keys at Booth. He catches them.
The Priest and Bones walk together.
Priest: “Wham! You took that doll and you wound up, and you hit your brother so hard you knocked him flat as a pancake.” Good to see Bones’ violent streak started early. “I said to your mother, ‘No one will ever jump out at that girl, again.’” I thought this was Dad’s story he told the Priest…. Wait a second. Oh, the Priest isn’t a Priest… he’s a murderous criminal AKA Dad. “And your mother said, ‘Just like you, Max. She’s just like you.’”
The realization hits Bones as she looks at her father, and I find myself more annoyed than anything.
She’s a forensic anthropologist who can look at a picture, then compare the picture to a skull and positively identify the body. Her Dad has a little facial work done, and she doesn’t notice? Well, I guess if you go back to last season, there was the episode about plastic surgery and how much she hates it because it makes her job difficult. But, well, here’s dad. He’s been worked up a bit, but he’s here.”
Booth drives like a maniac in that little yellow car. He’s being beeped at, but the boy doesn’t care. His woman is in danger! He’s calling her phone, but she’s not picking up. Maybe she’s out of range… maybe her father purposefully took her out of range so he could kill her….
Bones and her Dad sit on the bench. Russ knew who Dad was all along. This bothers her.
Bones: “You talk to Russ, but not to me?”
Dad: “You know, to tell you the truth, you do better without me and Russ does worse. Take this.”
Dad offers the Bible he’s been carrying to his daughter. She throws up her hands.
Bones: “I’m not religious.”
It’s got evidence inside it… the rest of the evidence from the security deposit box. He wants to try things her way. Bones wants to know why her Dad didn’t turn over the evidence in 1978, but it was because of her Mom. Mom said the FBI would kill them and their kids, so they kept the evidence out of sight.
Bones: “They got Mom, anyway.”
Dad: “There’s not a day that goes by that my heart is not broken.”
The sound of an engine gets their attention. It’s Russ, driving a big car. He yells out to his father. Bones grabs her father.
Bones: “Wait, I can’t let you go.” She embraces him, and I sigh. Poor girl went soft. I don’t blame her one bit. I mean, it’s her Daddy. Sure, he’s a killer, but she still remembers him as her Daddy, going out to grab a few extra Christmas gifts.
Dad: “Oh, I love you, too.”
Bones: “No, I mean, I can’t let you go.” She kicks him in the knee and he drops to the ground. She pulls out her handcuffs. He jumps up, slamming one side of the cuffs on her wrist, the other on the bench.
Dad: “Listen to me, if you find somebody that you can trust, you hang onto him.” I think she just got Dad’s approval of Booth. But, considering Dad just cuffed her to a wrought iron bench, it’s not comforting. “Remember that. I’m proud of you. I love you.”
Dad kisses Bones on the head, then takes off towards the car to meet Russ. As he does, Booth pulls up. He jumps out of the yellow car, gun drawn. Dad smiles at him.
Dad: “You take care of her!”
Booth: “FBI. Stop or I’ll shoot.”
Chained to the bench, Bones calls to him, obviously not wanting him to kill her Dad. Booth lowers his gun. Booth runs to Bones to help her get uncuffed. Russ backs into the yellow car, roughing it up. The Lawyer with Attitude won’t like that. She just lost her job because of Booth, and now she lost her car. Ooops.
Booth: “Alright, did he really have to hit the car? I wasn’t gonna chase him.”
Bones sits on the bench, still cuffed. Booth sits beside her. He puts a hand on her shoulder, and she tries to smile.
The music starts, again, and the music video music rises. We’re back on the rooftop where we started, a bookend. Kirby, the Deputy Director, now rests on the pole. He’s about to become the new Torch Guy. He’s about to be burned. We can plainly see Dad, now. He’s setting it up exactly as before, but without the paper. This time, he just uses the coin as his calling card, so whoever else who was a part of that taskforce would know that if they thought the first kill was an accident, this one certainly was not.
Dad watches as the body goes up in flames. The scene transitions, and Booth stands where Dad had only hours before, the body now reduced to a skeleton. The music video style continues as people appear and Booth moves about, checking out the site.
Back at the lab, Bones and Hodgins present Zack’s doctorate to Cam. She’s still unconvinced until Angela brings in Zack. He’s had a haircut, and he’s in a suit and tie. It’s barbaric. But, it’s enough for Cam. Angela offers to take everyone out, wherever Zack wants. I’m screaming inside for him to say, “Wong Foos,” but, instead, he wants to go to that blasted diner. So, they’re going to the diner.
Meanwhile, Cam has turned into a cat. If you look at the framing of that shot, with her sitting down, something behind her has given her cat ears. It’s really disconcerting the first time around.
Hodgins, easing all of our pain, puts a ridiculous hat atop Zack’s head. That’s better. Bones actually hugs Zack, and it’s sweet as sugar. Her baby’s all grown up.
At the diner, the group parties like it’s 1999. Bones spots Booth outside, and goes to talk to him.
What follows is the most forced scene of Booth/Brennan physical affection, ever. It breaks my heart, because their tension is usually so organic, but this sucks. It’s played up for the fans and the camera, but it’s not camera motivated, and I wish I could get my hands on the script so I could find out if it was a script choice or a director choice.
Anyway, Bones goes out, and Booth lets her know that they found another body, same place as the first, with the same calling card. It’s Kirby. The blood in Bones’ apartment belonged to him. Oh, and Booth got reinstated. Yeah. That’s it. He was out of the bureau for twenty minutes.
Booth realizes that Dad isn’t worried about Russ, anymore, so this warning was to keep people away from Bones. Aw. Daddy’s little girl.
Booth: “And I’m sorry that you had to go through that, again, watching your family drive off… You know, leaving you behind.” Way to break it to her softly, Booth. “Sorry.”
Bones: “My father-”
Booth: “He’s your dad, and he loves you.”
She tries to accept that, but it’s hard. Her dad has a messed up way of saying, “I love you.” My dad renewed my ballroom lessons, today, as a gift for me. I haven’t danced in months because of money issues and stress, but he gave that to me. I’d rather have that than a coin stuffed down a dead guy’s trachea, any day.
Bones: “You know, I’m just… I’m just one of those people who doesn’t get to be in a family.” She looks away… Why did she look away? There is no reason for the character to look away? She doesn’t usually do this! Why is she doing this?
Booth reaches out, touching her cheek, reminiscent of how he did in “Two Bodies in the Lab,” but the sentiment is nonexistent. They’re trying to force chemistry into this scene rather than letting their natural chemistry flow, and it’s breaking me.
He pulls her face back towards him.
Booth: “Listen, Bones, there’s more than one kind of family.” See, I much rather would have had him say this to her in his “sexy” voice rather than the face touch. The impact of this beautiful sentence is lost to me because I keep screaming at the television, This is out of character!
Zack exuberantly knocks on the window from the inside, begging Booth and Bones to go in. Booth surmises that Zack got the job.
Bones: “Come in and congratulate him.”
Booth: “Nah, he’s your squints, not my squints.”
Bones: “Booth, we are, all of us, your squints.” Awww. I love how that used to be a derogatory term between them and now it’s more endearing. Booth and the Squint Squad. It’s the name of their new band.
Bones tells Booth to pat Zack on the shoulder with an open hand, and as they enter the diner, you can tell Mr. Boreanaz and Ms. Deschanel were being goofy, because there’s this little tickle moment in there that seems out of place for the characters. I know, I’m going to get killed for this, but it kills me.
Well, seeing as this is over a month late, I’m not going to say much.
Firstly, Duchovny had some beautiful moments in here. I loved the music video feel of the opening and ending, how they were bookends to each other not just in what was happening, but also in the style of shooting. The transition from Dad watching the body burn to Booth looking at the skeleton was seamless.
When he played it straight, most of the directing was really enjoyable. I loved the shot of Zack from the high angle, looking down on him as he sat with his peers, like a child sitting before a bunch of adults, trying to decide if he needs to be punished. Also, there were some very nice standard scenes with people talking, some gorgeous camera movements.
However, I could do without SUPER PORE CAM! That just drove me crazy, when he kept going to these super-tight shots. I like to see what’s going on. I mean, tight shots have their place, but I think that, at times, I needed to see more. I really wanted to see a nice two shot of Booth and Bones before Russ backed into the yellow car. I wanted to see them standing there, together, a unit. Instead, we had broken shots of Bones and of Booth. In that moment, I wanted the comparison of the family leaving her, and the unit she’s a part of with Booth.
I liked the actor who played Dad. I think he did a wonderful job, and smoothly moved from his character to who he really was. There were hints all over the place about who he really was, and I think the first one was when Russ told Dad that Booth was FBI, to be careful. It was a secret message, letting Dad know that this guy was sharp.
On the other hand, it’s lovely that both Russ and Dad approve of Booth. It’ll help tremendously when they finally get together in season 7.
Ok, I’ve said good things, right? Ok… Time to get into my problems with this episode: The Zack storyline did not need nearly as much attention as it got, at least in terms of his appearance. If all it took for Cam to hire him was him getting a hair cut and throwing on a suit, she should have said so. I mean, obviously she wasn’t looking for some gigantic character shift. She thought he was a competent scientist, and while I think her fears of a jury rejecting him were not unfounded, it was a much bigger deal than it needed to be.
Also, so little time was spent in the lab, and most of that was chatting about family matters. I wanted to see more science. I love this show, and I understand that they want to get more into the mythology, but if you’re going to have a mythology heavy episode, you have to let the characters carry it. That’s how it worked in X-Files, and that’s how it needs to work on any show balancing two leads, like this.
Go back through this review/recap. You’ll note that I quoted very little dialogue. I only summarize when I think I can say what happened succinctly and without losing meaning. If the dialogue is just too good to summarize, I have to post it. There’s very little that happened in this episode that wowed me. There were maybe two really strong scenes that just stole the episode for me. The rest of the time, I was frustrated.
Don’t get me wrong, I loved the continuity. I loved that Zack finally defended his dissertation, that we referenced the phone call from “The Woman in Limbo,” and the dolphin from “The Titan on the Tracks.” I love that we got to see Russ, again. I love that the Lawyer with Attitude was back, because she’s just a fun character. I think that a lot of little things were done really well in this episode, but the overall episode fell flat. It could have been great, and it was just, “Ok.”
I liked it. It just wasn’t the big blowout I think they needed before a month-long break. But, I’m just a crazed fan with an LJ Community. What do I know?