Bones: The Skull in the Sculpture
November 12th 2008 06:43
Two teenagers sneak into a junk yard to steal some parts and end up finding a dead body in one of the smashed cars.
Both guys: AAAAAAHHHHHH!!!!
~*~*~
Sweets and Angela are sitting at a bar waiting for their drinks. She makes it clear that she’s invited him here not because she’s in desperate need for male company, but just to talk.
Sweets: You think of me as male company?
Angela goes on to tell him that she’s “been alone now for quite awhile, which is not like me.” Sweets tells her that “when we open ourselves emotionally and get hurt, we’re reluctant to be that vulnerable again.”
“It’s been like six weeks.”
“That’s a—”
“Long time.”
“Yes, of course it is,” Sweets quickly readjusts what he was about to say.
Angela continues to talk about she doesn’t just sleep with anyone, there’s got to be some spiritual connection. “It’s spiritual for me. And fun of course.”
“Hey, didn’t we order these drinks a long time ago?” Sweets asks looking for the bartender.
“You’re right!” Angela says suddenly.
“About what?”
“I have been protecting myself. Without the risk of pain there can be no possibility of pleasure, or joy, or love.”
“Yes! Yes, and regaining that willingness to take a risk, that can take time.”
“No.”
“No?” Sweets is confused.
“I’m done protecting myself,” Angela says happily. “I’m ready to move on!” Sweets just nods. Okay then. “You’re good,” Angela tells him. “You really are.”
They toast “to love, and joy, and sex.” Angela looks around the room after adding that last part loudly, and Sweets laughs nervously.
~*~*~
Hodgins comments that it’s going to take the Jaws of Life to get this guy out as everyone gathers around the body in the crushed car. The intern this week is one we’ve met before. Remember Daisy? The peppy, I just want everything to be perfect intern? Yep, she’s back. And Cam apologizes to Bones about it. She meant to warn her that Daisy’s name came up in the rotation. Daisy assures Bones that, “This time you will be glad that I’m here Dr. Brennan.” She determines that from what they can see of the skull, the victim is most likely a Caucasian male.
Bones gets a call from Booth, who is checking the junkyard records to see who brought it in, and Angela asks Hodgins if he’s been seeing anyone since she’s not. No, he hasn’t been either. Angela tells him that Sweets thinks it’s time they both move on, and Hodgins’s smile fades. “Sweets…” Daisy thinks the whole conversation is beautiful, but Cam reminds them how inappropriate it is.
Bones comes back to tell them that Booth found out who brought the car into the junkyard for crushing.
~*~*~
It’s night. Bones follows Booth up an alley as he explains that the same company brought in five other cars.
Bones: You think there might be five more bodies?
Booth: You know what? If this is Mob related and we bring down the big boys? We can sell the movie rights for a fortune!
Bones: But what if it’s not the Mob?
Booth: Come on, do the math bones.
Bones: The math wouldn’t indicate motive or identify a suspect, and you haven’t even provided enough variables—
Booth: It’s a figure of speech Bones, alright?
They make it to the door and Bones starts to walk up but Booth stops her. “Whoa, whoa, whoa, whoa, what goes first?”
“Gun goes first.”
“That’s right.” Booth takes the lead, gun ready.
Bones follows closely behind, whispering, “What if you get shot?”
“Don’t say things like that, you’re gonna jinx me alright?” Booth answers, heading up the stairs.
“If you’re relying on superstition for safety, perhaps I should carry the gun?”
“No you are definitely not carrying a gun.” Booth pulls out his lock-pick kit. “Now if anyone asks, the door was open.”
“No it isn’t.”
Booth just looks at her, and finally Booth gets it. “Ahhhh, right.”
Booth finishes with the lock and they head inside the dark warehouse-looking building. A woman rounds the corner, striking a pose. She has very distinct white makeup and four eyebrows. Booth is confused, what’s she supposed to be? Bones points to a dark spot on the floor. “Booth?”
Keeping his gun and eyes trained on the woman, Booth asks her, “What?”
“Look at this.”
“What is it?”
The mysterious woman answers for Bones. “Blood.”
~*~*~
The FBI team has brought in their dogs and CSIs to go over what is now being called “Sculptures” of six crushed cars. Booth doesn’t get how a crushed pile of junk can be art, but whatever. They were selling for a lot of money. It occurs to him that he could sell the junk in his garage for a fortune!
The tiny black-haired woman with the white makeup from before enters to defend the artist’s work. “Jeffery’s work is a brilliant example of consumerism and the destruction of the soul.”
“I see twisted metal,” Bones answers, to which the woman just tells her, “Well you need to look beneath the surface.”
“Oh we did,” Booth answers. “And we found a dead body, which is exactly why you’re not going anywhere.”
One of Booth’s FBI guys comes over to tell him that the luminal is showing traces of a lot of blood, and the woman tells them that it’s from Kiko, the performance artist who uses pig’s blood as an “integral and crucial part of her work”.
Bones looks at Booth. “Is even that legal?”
Booth tells the woman that they’ll decide what’s pig’s blood and what isn’t. He wants his team to pull some samples. She tells him that she’s already called her lawyer. Not for her of course, but because the FBI is libel for any and all damages to the works of art.
Booth snorts. “Damages?”
Bones is just as amused. “They’re crushed cars.”
“They’re wrecks,” Booth adds.
The woman just tells them that “fortunately your ignorance and lack of appreciation of Jeffery’s work don’t affect its value.”
“Okay, careful guys!” Booth calls to the rest of the room. “Careful handling the junk, apparently it’s art.”
Jeffery’s assistant, Roxie, shows up offering her help. Bones asks her if Jeffery makes a habit of encasing corpses in this art, and Roxie is suddenly alarmed, walking over to the woman Booth and Bones were just talking to.
“Helen, do you think Jeffery might have actually done it?”
“No, that was all just depressed artist talk Roxie,” Helen tells her, brushing Roxie’s hair back and cupping her face in her hands. “You should know that, you’re a depressed artist yourself.”
Booth and Bones walk over and Booth asks for an explanation. Roxie tells them that lately Jeffery was looking for a way to make himself a part of his art. Literally? Roxie says Jeffery felt he’d reached his peak as an artist. Bones pulls out a photo and asks them to look at it. “I suggest you don’t look at it for the person, but for this distinct ring.”
Helen looks at it and says simply, “That’s Jeffery.”
Roxie is more shaken up than Helen. “I know that ring. I designed it myself, that’s Jeffery.”
Helen: Bravo Jeffery!
Bones: You are an extremely unlikeable woman.
Booth asks if Jeffery had any enemies, and Helen tells them that it’s obvious Jeffery did this to himself. Bones frowns at her. “To you, perhaps, but we actually require evidence.” Roxie names a rival artist of Jeffery’s, Anton De Luca. They were arguing there the other night. About what?
“What all artists argue about,” Helen says. “Money.”
~*~*~
Hodgins is excited to go at the “art” with the Jaws of Life. She reminds him that the point is to remove the remains with minimum damage to its surroundings. Hodgins drops the Jaws of Life to the table with an unceremonious CLUNK. Well there went the highlight of his day.
Cam tells him about all the anti-depressant drugs she found in the victim’s remains, and Hodgins comments that Jeffery could have been long-dead from a drug overdose before he was crushed. They won’t be able to tell unless they get him out of there.
Hodgins grabs the Jaws of Life again. “The best way to find out is to crack her open, baby!” He realizes what he just said, then corrects, “I didn’t mean “Baby”…”
“Carefully Dr. Hodgins,” Cam reminds him. “Like removing a baby bid from an egg.”
~*~*~
“Stand back ladies,” Hodgins tells Daisy and Angela as he puts on his safety goggles and picks up the Jaws of Life. “This is about to get Medieval.”
Hodgins is just about to cut into the junk when Caroline shows up to stop him. “Apparently this is an historic piece of art.”
Hodgins can’t figure it out. “It’s a hard car shell with a gooey corpse filling.”
Daisy tells Caroline that she already collected textile, tissue, and bone samples. Well that was before Caroline go there. Unfortunately these people persuaded a judge that this was art, so now they have to stop any and all work that might harm it. Temporary injunction and all that.
Hodgins: Oh this sucks!
Angela suddenly spots Roxie and rushes over to hug her. Cam walks in, confused, and Hodgins explains that Roxie and Angela were college roommates. Daisy tells her that luckily she took some samples before the temporary injunction and Cam is even more confused. “Injunction?”
“This heap?” Hodgins answers. “Is considered art.”
“Well it’s…gorgeous,” Cam says sarcastically, staring at the smashed car. “Where does this leave our investigation?”
Caroline tells them that they can still examine it, they just can’t disrupt it in any way. “Don’t worry, this is only temporary. We’ll see how artistic people are feeling when it starts stinking. Just don’t scratch it.”
Cam stares at the crushed car. “Don’t scratch the crushed automobile which encases a rotting dead body…”
“Good! We understand each other,” Caroline says.
Helen and her lawyer stare smugly back at all of them.
~*~*~
Booth and Bones visit Jeffery’s rival artist Anton, who is surprised that Jeffery’s dead, but thinks it’s hilarious the way he died. He doesn’t even try to hide the fact that he hated the guy. “This is a great day for the art world!” No, he didn’t think about killing him, but “Now’s too late, huh?”
Jeffery goes on to talk about Jeffery’s art in a way so complicated Booth decides he’s finally met someone he can understand even less than he undestand’s Bones! Anton tells them they should go talk to Jeffery’s girlfriend, Roxie. She’s the one who’s going to get all his money now that he’s dead. Booth and Bones are surprised. No one mentioned a girlfriend before.
~*~*~
Daisy hovers behind Cam, who is trying to insert a camera into the crushed car to see the body inside better.
“Did you have like buckets of coffee this morning?” Daisy asks enthusiastically. “You’re very shaky.”
“Could you take a step back please?” Cam asks. Daisy steps back and Cam tries again.
“Just a little bit more,” Daisy coaxes, looking at the video monitor. “A little more, like tip-toeing mice!”
When Cam still can’t get it, Daisy offers to try. “Let me try, I’m very dexterous!”
Bones walks in carefully with a large metal pot. She stops next to the junk and pours tons of beetles onto the crushed car. Cam looks at her and she just says, “I was going to say that I had an accident over here, but I don’t like lying.”
“You dumped a bucket-full of domestic beetles on this work of art. They’ll strip the flesh off our victim within no time,” Cam says, watching the beetles crawl through the “art”.
“Within 30 hours…Am I fired?”
Oh definitely not. Cam grins. “Remind me of this moment around Christmas bonus time.”
“I’m in!” Daisy suddenly exclaims.
“Good work Miss Wick,” Bones tells her and rushes around to have a look.
“Well we could have been here hours ago if Dr. Saroyan would have given me the andescope sooner,’ Daisy says happily.
“Thanks for mentioning that,” Cam says dryly.
“30 more hours.” Bones walks off and Cam stares at the back of Daisy’s head, clearly trying to hold her tongue.
~*~*~
Sweets is watching behind the two-way mirror as Booth interrogates Roxie. He tells Booth to start with “the mundane, then work your way up to the sexual stuff.”
Booth: So did you have a sexual relationship with your boss?
Sweets: Okay, that’s the total opposite of my suggestion.
Roxie tells Booth no, and when she asks if they’re sure it’s Jeffrey, Sweets once again suggests Booth keeps her guessing.
Booth: Yes. We’re positive.
Sweets : Why am I here?
Booth asks Roxie about Jeffrey’s drugs, and she tells him that she did pick them up for him and make sure he remembered to take them. Sweets tells Booth to ask her if he was depressed, and when Roxie says that Jeffrey was, he was seeing a shrink. Booth mutters, “That’s why you’re here.” Roxie thinks he’s talking to her and asks, “Because you think Jeffrey took an overdose?”
Booth asks why Jeffrey would leave her his estate and Roxie is shocked. She didn’t know he was going to do that. Sweets suggests that jealousy might be her motive for killing him, but it doesn’t make sense that she would deny sleeping with him. Booth shakes his head. “I don’t think so.” To Roxie he says, “There was another reason why you weren’t sleeping with Thorn, isn’t that right Roxie?”
Sweets is confused. What other reason? Roxie tells them she’s gay and Sweets decides, “Oh that changes everything!”
~*~*~
Booth, Bones, and Angela walk through the lab and Angela confirms it. “Yes Roxie is gay. At least she was when we were together.” Booth is shocked. “Wow, you and Roxie?” Angela tells them they were together for about a year. Booth gets distracted thinking about this for a second, and finally gets back on track. “Weren’t we talking about a murderer here?”
Angela tells them that Roxie didn’t care about money. All the logical signs point to suicide right? Booth tells her she’s right. He apologizes for upsetting her thinking her friend could be a murderer, and Angela just tells them she has work to do.
~*~*~
Daisy has mastered the andescope and when Cam compliments her on it, she gets distracted talking about how nice everybody is here and how she might have initially come off as too needy. “My family was pretty dysfunctional, so I tend to want my work environment to fill certain needs.”
“Perhaps some therapy might help!” Cam interrupts.
“What a thoughtful suggestion,” Daisy answers, completely missing Cam’s tone. “I’ve always wanted a sister.”
Cam is saved by Bones, calling her over to tell her her beetles did a great job cleaning the bones. Daisy tells her she found some microfractures that were “really small.” Bones simply answers, “Microfractures are by definition small.” Oh yeah. Right. So what could they mean?
“A test. Okay.” Daisy takes a breath. She thinks most of them came from the crushed car, but some of them might have been from an attack or fall.”
“I agree,” Bones answers, and Daisy practically jumps for joy, whispering to Cam, “She agrees!” Cam forces a smile and nods.
Hodgins shows up with evidence of a lot of oxides on the victim’s clothes that weren’t on the car seats. He won’t know what it means though until he gets further access.
“Access you were denied by a federal judge!” Caroline calls out, walking up to join them. “A federal judge who turned red, and then blue, and then some other color I have never seen before when he heard that flesh-eating beetles somehow infested said art.”
Bones points out that domestic beetles were not specifically forbidden on the injunction. Caroline just looks at them. “I don’t suppose ‘spirit of the law’ means anything to you people.” Everybody shakes their heads. “That little kabuki lady started screaming like you peed on the Mona Lisa that you compromised the integrity of the piece. That little stunt turned good opinion from the judge against us.”
Cam asks how long they’ve got, and Caroline tells them they have two days to find evidence that this was a murder. Otherwise the murderer will walk around free while the courts try to decide what to do.
Caroline: Any ideas?
Daisy: I will think about it until my head explodes!
Caroline: This one’s a keeper.
No one else looks too sure about that.
~*~*~
Angela looks over Roxie’s art, impressed. She wonders when Roxie’s last show was, and she says that it was eight years ago…when they were together. She tells Angela she was her muse, and Angela finds the picture she sat for that Roxie painted. Suddenly she grabs her purse. “I have to go.” She’s figured out a way to prove Jeffrey’s death was a suicide.
~*~*~
Back at the lab, Angela tells Cam and Daisy her plan. She’s going to scan the entire piece of “art” into the Angelator to find every crease and fracture within both the metal and the bones. She can work backwards that way to find out what caused every break in the body.
~*~*~
Angela shows Booth and Bones her results. Working backwards she’s figured out where every single one of one of the 88 fractures came from. As Booth watches the digital rendering of the car crushing the body he really hopes that that guy was dead before it happened to him. Suddenly something beeps.
“Oh no.”
“What?” Booth asks.
Bones points out that there’s an 89th fracture that wasn’t caused by the crash.
Angela’s hope falls. She did this to prove Jeffrey committed suicide, but ended up proving it was murder instead.
~*~*~
Booth and Bones are driving as Caroline tells them over the phone that the injunction’s been lifted. They’re free to crack open the car.
Booth: Thanks Caroline you are da bomb.
Bones: Why is she the bomb?
Booth: No, DA bomb.
Bones is confused. Why is it now okay to crack open the “art”. She’s not used to not understanding things, but Caroline just tells her to get in there and find out what killed him. Okay, that she understands.
~*~*~
Bones, Cam, and Daisy stand back as Hodgins finally gets to use the Jaws of Life. He breaks open the car and they all lean over to look into the body.
“Okay, now what we want to do here is remove the skull verrrrry carefully…” Daisy reaches in and slowly begins pulling out the skull. “Very carefully…”
Suddenly the skull shatters into tons of tiny little pieces. Everyone just stares at the spot where the skull used to be.
Cam: I can’t believe you just did that.
Hodgins: *tries not to laugh* Bummer.
Daisy is horrified. “Usually when you say “we” you mean me! I’m SO sorry! I’ll put it together, I’ll stay up all night.”
“I’ll do it,” Bones says, and Daisy assures her that she’ll “assist you. I will NOT leave your side.” No, no, Bones would “much prefer to do it alone.”
Daisy glances back at the shattered skull. She doesn’t know what to say.
~*~*~
Booth and Angela are driving to go talk to Jeffrey’s rival artist, Anton De Luca. Angela looks up the guy on the computer and finds out he’s a forger.
Booth: Okay so I got a dead artist and a forger, that’s gotta cheer you up. I mean your friend’s no longer our prime suspect.
Angela smiles. “Thanks Booth.”
“Aha, any time,” Booth answers happily.
Angela asks if it freaks him out. What? Knowing she and Roxie were a couple?
“No, I mean come on you had feelings for somebody.”
Angela looks at him. “I’m surprised.”
“Why? Because you think I’m some kind of lunkhead cop?”
“No, I just—”
“Alright,” Booth interrupts. He tells her about his favorite aunt who had a roommate, Franny who had box seats for The Phillie’s games. “I mean come on, it doesn’t get any better than that right?”
Angela laughs. “Right.”
“So you and Roxie, hey, you know what I mean?”
Angela smiles and nods. “Yeah.” So he brought her along, what can she do to help?
Booth: Just be an artist okay? And keep me from looking like an idiot.
Angela: I’m not positive I can do both.
Booth grins.
~*~*~
They talk to Anton, and Angela tells Booth that the brushstrokes in his paintings are the same ones that were on Jeffrey’s cars. “Brushstrokes are like fingerprints,” she explains. “You can’t fake them. “
Well that works out just great for Booth. He talks about a scenario where De Luca that he gets it, how he wants recognition for his work, doesn’t get it, so kills Jeffrey, and Angela lets out a disgusted noise. “Oh so good, cuff him.”
“Right.”
De Luca gestures towards Angela. “What so Roxie can walk?”
“Hey,” Booth warns. “Watch it.”
De Luca tells them that he couldn’t care less about Jeffrey’s stupid car sculptures. “A, that work is anything but brilliant. Painting Thorn’s cars was like a day job to subsidize my real art. And B, why would I kill my main source of income, you lummox?”
“Yeah lummox, we’ve got enough o hold you for 24 hours pal.” Booth cuffs him.
De Luca sighs and turns to Angela. “When this case falls apart and I get out tomorrow, you wanna grab some dinner or something? “
Angela lets out an unamused laugh. “You’re kidding.”
De Luca shrugs. “Well I’m sure the gate swings both ways, maybe we can get a little threesome action. You, me, hot Roxie.”
“Hey, okay, alright.” Booth grabs the guy by the back of the neck and slams him into the table.
“OW!”
“If you’re gonna hit on Angela you should do it with a little respect. Okay?” Booth pats him on the shoulder and pulls De Luca to his feet. “Let’s go.”
Angela is quite impressed by Booth and can’t help but admire him as he shoves De Luca out the door.
~*~*~
Angela shows up to watch Bones glue the last pieces back in Jeffrey’s skull. She tells him that Booth’s questioning De Luca again. They’ll know for sure how Jeffrey died once they figure out the murder weapon.
Angela once again says how she’s sure Roxie wasn’t the murderer, and Bones looks up from the skull. “Do you still have feelings for her?”
“What? No.” Angela laughs.
“Booth tells me that sometimes people say the exact opposite of they mean,” Bones tells her, and Angela admits that she does still have feelings. Bones is confused. “Are you saying the opposite of what you mean now, or before?”
Angela tells her that her relationship with Roxie was intense. And when it was over it was really intense. Like even worse than how it is with Hodgins. She doesn’t feel like she can reopen this can of worms and hurt Roxie like that just because some of those feelings are suddenly rising to the surface again.
“Well, look on the bright side.” Bones snaps that last skull fragment into place. “If she did kill Jeffrey Thorn? You won’t have to think about any of that.”
Angela smirks. “Thanks Brennan.” She asks how long it’ll take Bones to ID the murder weapon, and Bones says she can do it right now. She’s seen this type of wound many times before. She’s almost positive that their murder weapon is a common fire ax.
~*~*~
Hodgins comes in to tell Cam that there’s also limestone and silicon oxide on the clothes. He’s matched it to the concrete floor of the gallery. Cam shows him that she’s found human blood amongst the pig blood too.
~*~*~
Booth and Bones revisit the art gallery. Helen is furious that they’re there and that they’re ruining the integrity of her art pieces. Someone finds an ax, and Bones calls Booth over to where one of the FBI agents shows them where they think the human blood is buried under what looks like turpentine.
Bones asks to borrow Booth’s lighter, and although he’s confused, he hands it over. Booth to talk to the FBI agent. What does this mean? Well, not much as the guy doubts they can ID the bleeder.
Suddenly Bones leans down to light the turpentine and both men jump. “Whoa!”
“Gee!” Booth swings around. “Hey Bones, you know you almost lit my butt on fire?”
Bones just points out that the fire lit from the center of the room and went out. So the body was dragged? No, from the blood stains, it looks like it was rolled. Booth is impressed. “That was a great trick there Bones.”
Remove the turpentine, reveal the blood. They follow the track, and Booth realizes that’s why Hodgins found the cement particles on the front and the back of the clothing. Okay, but why roll the body? Booth points out that Jeffrey was a big guy. Whoever killed him couldn’t pick him up.
“Excuse me tiny little woman,” Booth calls out to Helen.
“Yes?”
Can she account for her whereabouts when Jeffrey was murdered? She tells them that she was at home reading, then simply adds, “That was a lie, I was watching the Real Housewives of Orange County.”
Okay…
“I find it a brilliant postmodern performance piece,” Helen tells them.
“So, no alibi?” Bones asks.
Helen reminds her that she wasn’t the one who was going to get the money if Jeffrey died. Why would she kill the goose that lays the golden egg?
Booth and Bones look at each other.
Bones: It all seems to go back to Roxie.
Booth: Angela is not going to like that.
~*~*~
Sweets and Angela are back at the table in the bar. He tells her this is exactly like the last time they were sitting there. “Except you, know, you’re quieter.” Angela tells him that then was about Hodgins, this time it’s about Roxie. Sweets tries to tell her this is just rebound, and she argues that unlike him, she doesn’t see love as something that has to last forever. He argues that it’s just because she’s never met the love of her life, which she just answers, “I have actually. Many times.”
Sweets points out that Angela is always leaving herself an escape hatch in her relationships. “Nice try,” she answers. “Actually I commit to every man I love.”
Sweets reminds her that she married a man and then conveniently forget that she married him, which then compromises her relationship with Hodgins, and “now you say you have these intense feels for an ex-lover who’s heart you’ve already broken. Don’t you see the potential disaster here?”
Angela argues, “Look. YOU said, that without the possibility of pain there can be no joy. No real love.”
“I said that? That’s beautiful.” Sweets doesn’t remember because Angela is actually the one who told him that the last time they had this conversation. She rushes on though, distracting him from that fact, by telling him that she doesn’t want to hurt Roxie again. Good, then don’t. Sweets tells her to let Roxie decide if she wants to pursue a relationship.
Angela: Okay…and what if she doesn’t?
Sweets: Then I’m afraid you’ll have to live with that pain.
~*~*~
Back at the lab, Hodgins tries very hard to get over his annoyance of Daisy as he tells Cam that the ax was wiped clean with the turpentine. They also found out that there was sweat on the handle belonging to a woman.
~*~*~
Sweets walks into his office to find Cam sitting on his couch. She lets out a relieved sigh. “Thank you so much for agreeing to see me.”
“I didn’t agree to see you,” Sweets reminds her, frowning. “How come none of you people ever book an appointment? Frankly, it’s annoying.”
“Ah! Annoying. That’s exactly why I’m here. I—” Cam gestures towards his chair, and Sweets lets out a sigh but sits down. “I’ve done an unofficial, confidential, survey of my people and they—”
“Find me annoying,” Sweets interrupts. “No it’s worse, they hate me.” Cam tries to interrupt, but he goes on, “You know why, don’t you? It’s because Dr. Brennan undervalues psychology. And all of you have picked up her vibe. Now I know that sounds paranoid—”
“And the word vibe is a little dated—”
“But it’s true,” Sweets finishes, and Cam quickly tells him, “I’m not here about you being annoying, it’s Daisy Wick.”
Sweets is surprised. “Daisy?”
Oh yeah. Cam tells him that although she’s very smart and very able, she just has this ability to turn “reasonable people into flaming gasballs of fury!”
Does she want him to talk to her? No, she’s just there for advice on how to tell Daisy she can’t work in the lab anymore. She can do it when the person is incompetent, “but when it’s just a matter of personality...”
“I’ll do it.”
“What, really?”
“Yeah I’ll talk to her.”
Although she would clearly like that, Cam answers, “Well, as the boss it’s kinda my job to fire people…”
“And as a boss, you know that sometimes it’s better to delegate. I’ll do it.” Cam is convinced, and Sweets adds, “Let’s just hope she doesn’t turn me into a flaming gasball of fury.”
“I’m no psychologist,” she tells him. “But I think you should be flattered that we all drop in on you and ask for your advice.”
“Thank you.” Sweets smiles tot himself as Cam leaves.
~*~*~
Bones and Cam join Hodgins.
Bones: Okay! I’m ready for you to blow up my mind!
Cam and Hodgins share a look, but neither of them say anything. Hodgins shows that them that, thanks to Angela asking him for a personal favor, he found other traces of cancer treatment chemicals in the sweat. The murderer has Leukemia, and one of the chemicals on the test would have caused highly visible skin discoloration. Roxie is not the murderer.
Bones: This is very good for Angela. Not that we are swayed by those considerations.
Cam and Hodgins nod, smiling, and suddenly Bones gets that look on her face. She rushes out.
Cam: What’s that look?
Hodgins: She knows who did it.
~*~*~
Booth and Bones bring Helen back into the interrogation room and ask her to take off her makeup. She won’t. She asks for her lawyer. Bones tells her she’s dying, and Helen denies it. Booth shows her phone records that prove otherwise. She was contacting places to see about cancer treatments.
Bones tells her that, “if it’s any consolation, it wouldn’t have worked.”
Helen’s icy façade breaks. “You don’t know that.”
Unfortunately Bones does. Helen breaks. “Jeffrey was going to die anyway.” She starts removing her makeup as she cries. “Anyone could see that. I did him a favor! I gave him his start. Jeffrey would much rather have been remembered as a fully committed artist than as some common murder victim.”
“Really?” Booth leans forward. “Maybe he’d prefer to live.”
“Well so would I,” Helen answers. “I guess none of us get what we want.”
~*~*~
Angela joins Roxie amongst her art, and Roxie asks her, “Now what do I do?” Angela suggests starting her own studio now that she has the money to. Do it full time.
“That’s not what I mean,” Roxie tells her. She asks Angela if she ever, even for a second thought that it was her, and Angela admits that she didn’t. Why? Because she knew Roxie and she hasn’t changed at all.
Roxie steps towards Angela, asking if she’s changed, and as Angela starts to tell her she doesn’t know, maybe she has, maybe she hasn’t, but—Roxie kisses her.
~*~*~
Back at the lab, Cam and Hodgins watch from the overhead walkway as Sweets enters.
Cam: How do you think he’ll do it?
Hodgins: He’ll convince her that it’s best for her to move to another job.
Booth and Bones join them, leaning on the rail to watch.
Booth: What’s goin’ on?
Hodgins: Sweets is firing Daisy for us.
Cam: We’re wondering how he’s going to do it.
Bones: Well he’ll explain to her logically how this environment is not condusive. For either her or us, and then as a scientist she’ll realize that he’s right.
Booth shakes his head. “Naw, Sweets is a lot sneakier than that. He’ll use some psychological Jedi mind trick to make her think that it was her idea to quit.
Down on the platform, Sweets tells Daisy that he’s got some good news, and some bad news. Which does she want first? Daisy picks the bad news, and he tells her that “you’re toast here. Nobody wants to work with you.”
She’s shocked. “Why?”
“You know why Daisy,” he answers simply. “There’s some things you need to work on when it comes to interpersonal relations.”
“Does anybody like me?”
“No I’m afraid not.”
Daisy frowns. “Well what’s the good news?”
Sweets grins. “There’s absolutely no reason for us to be discreet about our relationship anymore.”
She grins. “Really?”
“Yeah, why’d you ask me that?”
“Because I thought we were being discreet because you were a little bit ashamed of me.” Daisy shrugs.
Sweets glances up at everyone watching them, and the looks back at Daisy. Suddenly, he grabs her and kisses her long and hard.
Hodgins: I am totally shocked.
Bones: Yeah! They should not be doing that on the forensic platform.
Cam: That’s a method of termination I’ve never tried. Bravo Dr. Sweets!
Cam and Hodgins head out, and Booth and Bones hang back, discussing Sweets and Daisy as they continue to kiss.
Booth: They’ll never work, they’re like complete opposites.
Bones: Oh I agree. For all her faults, she’s a woman of science. Sweets bases his life on the vagueries of psychology and emotion. There’s no common ground.
Booth: Right!
Bones: You need common ground.
Booth lets out a *psh* noise.
Bones: What else is there?
Booth: *laughs* Absolutely.
They both sneak glances at each other as they watch Sweets and Daisy head out, hand and hand.
XXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXX
Awwww! LoL That ending was great. Go Sweets!
I love how both Booth and Bones realize that is totally them, but they both deny it, and refuse to talk about any possibility that that might one day be them. Haha
Next week get ready to meet Booth’s younger brother…who will…well, see for yourself:
Both guys: AAAAAAHHHHHH!!!!
~*~*~
Sweets and Angela are sitting at a bar waiting for their drinks. She makes it clear that she’s invited him here not because she’s in desperate need for male company, but just to talk.
Sweets: You think of me as male company?
Angela goes on to tell him that she’s “been alone now for quite awhile, which is not like me.” Sweets tells her that “when we open ourselves emotionally and get hurt, we’re reluctant to be that vulnerable again.”
“It’s been like six weeks.”
“That’s a—”
“Long time.”
“Yes, of course it is,” Sweets quickly readjusts what he was about to say.
Angela continues to talk about she doesn’t just sleep with anyone, there’s got to be some spiritual connection. “It’s spiritual for me. And fun of course.”
“Hey, didn’t we order these drinks a long time ago?” Sweets asks looking for the bartender.
“You’re right!” Angela says suddenly.
“About what?”
“I have been protecting myself. Without the risk of pain there can be no possibility of pleasure, or joy, or love.”
“Yes! Yes, and regaining that willingness to take a risk, that can take time.”
“No.”
“No?” Sweets is confused.
“I’m done protecting myself,” Angela says happily. “I’m ready to move on!” Sweets just nods. Okay then. “You’re good,” Angela tells him. “You really are.”
They toast “to love, and joy, and sex.” Angela looks around the room after adding that last part loudly, and Sweets laughs nervously.
~*~*~
Bones gets a call from Booth, who is checking the junkyard records to see who brought it in, and Angela asks Hodgins if he’s been seeing anyone since she’s not. No, he hasn’t been either. Angela tells him that Sweets thinks it’s time they both move on, and Hodgins’s smile fades. “Sweets…” Daisy thinks the whole conversation is beautiful, but Cam reminds them how inappropriate it is.
Bones comes back to tell them that Booth found out who brought the car into the junkyard for crushing.
~*~*~
It’s night. Bones follows Booth up an alley as he explains that the same company brought in five other cars.
Bones: You think there might be five more bodies?
Booth: You know what? If this is Mob related and we bring down the big boys? We can sell the movie rights for a fortune!
Bones: But what if it’s not the Mob?
Booth: Come on, do the math bones.
Bones: The math wouldn’t indicate motive or identify a suspect, and you haven’t even provided enough variables—
Booth: It’s a figure of speech Bones, alright?
They make it to the door and Bones starts to walk up but Booth stops her. “Whoa, whoa, whoa, whoa, what goes first?”
“Gun goes first.”
“That’s right.” Booth takes the lead, gun ready.
Bones follows closely behind, whispering, “What if you get shot?”
“Don’t say things like that, you’re gonna jinx me alright?” Booth answers, heading up the stairs.
“If you’re relying on superstition for safety, perhaps I should carry the gun?”
“No you are definitely not carrying a gun.” Booth pulls out his lock-pick kit. “Now if anyone asks, the door was open.”
“No it isn’t.”
Booth just looks at her, and finally Booth gets it. “Ahhhh, right.”
Booth finishes with the lock and they head inside the dark warehouse-looking building. A woman rounds the corner, striking a pose. She has very distinct white makeup and four eyebrows. Booth is confused, what’s she supposed to be? Bones points to a dark spot on the floor. “Booth?”
Keeping his gun and eyes trained on the woman, Booth asks her, “What?”
“Look at this.”
“What is it?”
The mysterious woman answers for Bones. “Blood.”
~*~*~
The FBI team has brought in their dogs and CSIs to go over what is now being called “Sculptures” of six crushed cars. Booth doesn’t get how a crushed pile of junk can be art, but whatever. They were selling for a lot of money. It occurs to him that he could sell the junk in his garage for a fortune!
The tiny black-haired woman with the white makeup from before enters to defend the artist’s work. “Jeffery’s work is a brilliant example of consumerism and the destruction of the soul.”
“I see twisted metal,” Bones answers, to which the woman just tells her, “Well you need to look beneath the surface.”
“Oh we did,” Booth answers. “And we found a dead body, which is exactly why you’re not going anywhere.”
One of Booth’s FBI guys comes over to tell him that the luminal is showing traces of a lot of blood, and the woman tells them that it’s from Kiko, the performance artist who uses pig’s blood as an “integral and crucial part of her work”.
Bones looks at Booth. “Is even that legal?”
Booth tells the woman that they’ll decide what’s pig’s blood and what isn’t. He wants his team to pull some samples. She tells him that she’s already called her lawyer. Not for her of course, but because the FBI is libel for any and all damages to the works of art.
Booth snorts. “Damages?”
Bones is just as amused. “They’re crushed cars.”
“They’re wrecks,” Booth adds.
The woman just tells them that “fortunately your ignorance and lack of appreciation of Jeffery’s work don’t affect its value.”
“Okay, careful guys!” Booth calls to the rest of the room. “Careful handling the junk, apparently it’s art.”
Jeffery’s assistant, Roxie, shows up offering her help. Bones asks her if Jeffery makes a habit of encasing corpses in this art, and Roxie is suddenly alarmed, walking over to the woman Booth and Bones were just talking to.
“Helen, do you think Jeffery might have actually done it?”
“No, that was all just depressed artist talk Roxie,” Helen tells her, brushing Roxie’s hair back and cupping her face in her hands. “You should know that, you’re a depressed artist yourself.”
Booth and Bones walk over and Booth asks for an explanation. Roxie tells them that lately Jeffery was looking for a way to make himself a part of his art. Literally? Roxie says Jeffery felt he’d reached his peak as an artist. Bones pulls out a photo and asks them to look at it. “I suggest you don’t look at it for the person, but for this distinct ring.”
Helen looks at it and says simply, “That’s Jeffery.”
Roxie is more shaken up than Helen. “I know that ring. I designed it myself, that’s Jeffery.”
Helen: Bravo Jeffery!
Bones: You are an extremely unlikeable woman.
Booth asks if Jeffery had any enemies, and Helen tells them that it’s obvious Jeffery did this to himself. Bones frowns at her. “To you, perhaps, but we actually require evidence.” Roxie names a rival artist of Jeffery’s, Anton De Luca. They were arguing there the other night. About what?
“What all artists argue about,” Helen says. “Money.”
~*~*~
Hodgins is excited to go at the “art” with the Jaws of Life. She reminds him that the point is to remove the remains with minimum damage to its surroundings. Hodgins drops the Jaws of Life to the table with an unceremonious CLUNK. Well there went the highlight of his day.
Cam tells him about all the anti-depressant drugs she found in the victim’s remains, and Hodgins comments that Jeffery could have been long-dead from a drug overdose before he was crushed. They won’t be able to tell unless they get him out of there.
Hodgins grabs the Jaws of Life again. “The best way to find out is to crack her open, baby!” He realizes what he just said, then corrects, “I didn’t mean “Baby”…”
“Carefully Dr. Hodgins,” Cam reminds him. “Like removing a baby bid from an egg.”
~*~*~
“Stand back ladies,” Hodgins tells Daisy and Angela as he puts on his safety goggles and picks up the Jaws of Life. “This is about to get Medieval.”
Hodgins is just about to cut into the junk when Caroline shows up to stop him. “Apparently this is an historic piece of art.”
Hodgins can’t figure it out. “It’s a hard car shell with a gooey corpse filling.”
Daisy tells Caroline that she already collected textile, tissue, and bone samples. Well that was before Caroline go there. Unfortunately these people persuaded a judge that this was art, so now they have to stop any and all work that might harm it. Temporary injunction and all that.
Hodgins: Oh this sucks!
Angela suddenly spots Roxie and rushes over to hug her. Cam walks in, confused, and Hodgins explains that Roxie and Angela were college roommates. Daisy tells her that luckily she took some samples before the temporary injunction and Cam is even more confused. “Injunction?”
“This heap?” Hodgins answers. “Is considered art.”
“Well it’s…gorgeous,” Cam says sarcastically, staring at the smashed car. “Where does this leave our investigation?”
Caroline tells them that they can still examine it, they just can’t disrupt it in any way. “Don’t worry, this is only temporary. We’ll see how artistic people are feeling when it starts stinking. Just don’t scratch it.”
Cam stares at the crushed car. “Don’t scratch the crushed automobile which encases a rotting dead body…”
“Good! We understand each other,” Caroline says.
Helen and her lawyer stare smugly back at all of them.
~*~*~
Booth and Bones visit Jeffery’s rival artist Anton, who is surprised that Jeffery’s dead, but thinks it’s hilarious the way he died. He doesn’t even try to hide the fact that he hated the guy. “This is a great day for the art world!” No, he didn’t think about killing him, but “Now’s too late, huh?”
Jeffery goes on to talk about Jeffery’s art in a way so complicated Booth decides he’s finally met someone he can understand even less than he undestand’s Bones! Anton tells them they should go talk to Jeffery’s girlfriend, Roxie. She’s the one who’s going to get all his money now that he’s dead. Booth and Bones are surprised. No one mentioned a girlfriend before.
~*~*~
Daisy hovers behind Cam, who is trying to insert a camera into the crushed car to see the body inside better.
“Did you have like buckets of coffee this morning?” Daisy asks enthusiastically. “You’re very shaky.”
“Could you take a step back please?” Cam asks. Daisy steps back and Cam tries again.
“Just a little bit more,” Daisy coaxes, looking at the video monitor. “A little more, like tip-toeing mice!”
When Cam still can’t get it, Daisy offers to try. “Let me try, I’m very dexterous!”
Bones walks in carefully with a large metal pot. She stops next to the junk and pours tons of beetles onto the crushed car. Cam looks at her and she just says, “I was going to say that I had an accident over here, but I don’t like lying.”
“You dumped a bucket-full of domestic beetles on this work of art. They’ll strip the flesh off our victim within no time,” Cam says, watching the beetles crawl through the “art”.
“Within 30 hours…Am I fired?”
Oh definitely not. Cam grins. “Remind me of this moment around Christmas bonus time.”
“I’m in!” Daisy suddenly exclaims.
“Good work Miss Wick,” Bones tells her and rushes around to have a look.
“Well we could have been here hours ago if Dr. Saroyan would have given me the andescope sooner,’ Daisy says happily.
“Thanks for mentioning that,” Cam says dryly.
“30 more hours.” Bones walks off and Cam stares at the back of Daisy’s head, clearly trying to hold her tongue.
~*~*~
Sweets is watching behind the two-way mirror as Booth interrogates Roxie. He tells Booth to start with “the mundane, then work your way up to the sexual stuff.”
Booth: So did you have a sexual relationship with your boss?
Sweets: Okay, that’s the total opposite of my suggestion.
Roxie tells Booth no, and when she asks if they’re sure it’s Jeffrey, Sweets once again suggests Booth keeps her guessing.
Booth: Yes. We’re positive.
Sweets : Why am I here?
Booth asks Roxie about Jeffrey’s drugs, and she tells him that she did pick them up for him and make sure he remembered to take them. Sweets tells Booth to ask her if he was depressed, and when Roxie says that Jeffrey was, he was seeing a shrink. Booth mutters, “That’s why you’re here.” Roxie thinks he’s talking to her and asks, “Because you think Jeffrey took an overdose?”
Booth asks why Jeffrey would leave her his estate and Roxie is shocked. She didn’t know he was going to do that. Sweets suggests that jealousy might be her motive for killing him, but it doesn’t make sense that she would deny sleeping with him. Booth shakes his head. “I don’t think so.” To Roxie he says, “There was another reason why you weren’t sleeping with Thorn, isn’t that right Roxie?”
Sweets is confused. What other reason? Roxie tells them she’s gay and Sweets decides, “Oh that changes everything!”
~*~*~
Booth, Bones, and Angela walk through the lab and Angela confirms it. “Yes Roxie is gay. At least she was when we were together.” Booth is shocked. “Wow, you and Roxie?” Angela tells them they were together for about a year. Booth gets distracted thinking about this for a second, and finally gets back on track. “Weren’t we talking about a murderer here?”
Angela tells them that Roxie didn’t care about money. All the logical signs point to suicide right? Booth tells her she’s right. He apologizes for upsetting her thinking her friend could be a murderer, and Angela just tells them she has work to do.
~*~*~
Daisy has mastered the andescope and when Cam compliments her on it, she gets distracted talking about how nice everybody is here and how she might have initially come off as too needy. “My family was pretty dysfunctional, so I tend to want my work environment to fill certain needs.”
“Perhaps some therapy might help!” Cam interrupts.
“What a thoughtful suggestion,” Daisy answers, completely missing Cam’s tone. “I’ve always wanted a sister.”
Cam is saved by Bones, calling her over to tell her her beetles did a great job cleaning the bones. Daisy tells her she found some microfractures that were “really small.” Bones simply answers, “Microfractures are by definition small.” Oh yeah. Right. So what could they mean?
“A test. Okay.” Daisy takes a breath. She thinks most of them came from the crushed car, but some of them might have been from an attack or fall.”
“I agree,” Bones answers, and Daisy practically jumps for joy, whispering to Cam, “She agrees!” Cam forces a smile and nods.
Hodgins shows up with evidence of a lot of oxides on the victim’s clothes that weren’t on the car seats. He won’t know what it means though until he gets further access.
“Access you were denied by a federal judge!” Caroline calls out, walking up to join them. “A federal judge who turned red, and then blue, and then some other color I have never seen before when he heard that flesh-eating beetles somehow infested said art.”
Bones points out that domestic beetles were not specifically forbidden on the injunction. Caroline just looks at them. “I don’t suppose ‘spirit of the law’ means anything to you people.” Everybody shakes their heads. “That little kabuki lady started screaming like you peed on the Mona Lisa that you compromised the integrity of the piece. That little stunt turned good opinion from the judge against us.”
Cam asks how long they’ve got, and Caroline tells them they have two days to find evidence that this was a murder. Otherwise the murderer will walk around free while the courts try to decide what to do.
Caroline: Any ideas?
Daisy: I will think about it until my head explodes!
Caroline: This one’s a keeper.
No one else looks too sure about that.
~*~*~
Angela looks over Roxie’s art, impressed. She wonders when Roxie’s last show was, and she says that it was eight years ago…when they were together. She tells Angela she was her muse, and Angela finds the picture she sat for that Roxie painted. Suddenly she grabs her purse. “I have to go.” She’s figured out a way to prove Jeffrey’s death was a suicide.
~*~*~
Back at the lab, Angela tells Cam and Daisy her plan. She’s going to scan the entire piece of “art” into the Angelator to find every crease and fracture within both the metal and the bones. She can work backwards that way to find out what caused every break in the body.
~*~*~
Angela shows Booth and Bones her results. Working backwards she’s figured out where every single one of one of the 88 fractures came from. As Booth watches the digital rendering of the car crushing the body he really hopes that that guy was dead before it happened to him. Suddenly something beeps.
“Oh no.”
“What?” Booth asks.
Bones points out that there’s an 89th fracture that wasn’t caused by the crash.
Angela’s hope falls. She did this to prove Jeffrey committed suicide, but ended up proving it was murder instead.
~*~*~
Booth and Bones are driving as Caroline tells them over the phone that the injunction’s been lifted. They’re free to crack open the car.
Booth: Thanks Caroline you are da bomb.
Bones: Why is she the bomb?
Booth: No, DA bomb.
Bones is confused. Why is it now okay to crack open the “art”. She’s not used to not understanding things, but Caroline just tells her to get in there and find out what killed him. Okay, that she understands.
~*~*~
Bones, Cam, and Daisy stand back as Hodgins finally gets to use the Jaws of Life. He breaks open the car and they all lean over to look into the body.
“Okay, now what we want to do here is remove the skull verrrrry carefully…” Daisy reaches in and slowly begins pulling out the skull. “Very carefully…”
Suddenly the skull shatters into tons of tiny little pieces. Everyone just stares at the spot where the skull used to be.
Cam: I can’t believe you just did that.
Hodgins: *tries not to laugh* Bummer.
Daisy is horrified. “Usually when you say “we” you mean me! I’m SO sorry! I’ll put it together, I’ll stay up all night.”
“I’ll do it,” Bones says, and Daisy assures her that she’ll “assist you. I will NOT leave your side.” No, no, Bones would “much prefer to do it alone.”
Daisy glances back at the shattered skull. She doesn’t know what to say.
~*~*~
Booth and Angela are driving to go talk to Jeffrey’s rival artist, Anton De Luca. Angela looks up the guy on the computer and finds out he’s a forger.
Booth: Okay so I got a dead artist and a forger, that’s gotta cheer you up. I mean your friend’s no longer our prime suspect.
Angela smiles. “Thanks Booth.”
“Aha, any time,” Booth answers happily.
Angela asks if it freaks him out. What? Knowing she and Roxie were a couple?
“No, I mean come on you had feelings for somebody.”
Angela looks at him. “I’m surprised.”
“Why? Because you think I’m some kind of lunkhead cop?”
“No, I just—”
“Alright,” Booth interrupts. He tells her about his favorite aunt who had a roommate, Franny who had box seats for The Phillie’s games. “I mean come on, it doesn’t get any better than that right?”
Angela laughs. “Right.”
“So you and Roxie, hey, you know what I mean?”
Angela smiles and nods. “Yeah.” So he brought her along, what can she do to help?
Booth: Just be an artist okay? And keep me from looking like an idiot.
Angela: I’m not positive I can do both.
Booth grins.
~*~*~
They talk to Anton, and Angela tells Booth that the brushstrokes in his paintings are the same ones that were on Jeffrey’s cars. “Brushstrokes are like fingerprints,” she explains. “You can’t fake them. “
Well that works out just great for Booth. He talks about a scenario where De Luca that he gets it, how he wants recognition for his work, doesn’t get it, so kills Jeffrey, and Angela lets out a disgusted noise. “Oh so good, cuff him.”
“Right.”
De Luca gestures towards Angela. “What so Roxie can walk?”
“Hey,” Booth warns. “Watch it.”
De Luca tells them that he couldn’t care less about Jeffrey’s stupid car sculptures. “A, that work is anything but brilliant. Painting Thorn’s cars was like a day job to subsidize my real art. And B, why would I kill my main source of income, you lummox?”
“Yeah lummox, we’ve got enough o hold you for 24 hours pal.” Booth cuffs him.
De Luca sighs and turns to Angela. “When this case falls apart and I get out tomorrow, you wanna grab some dinner or something? “
Angela lets out an unamused laugh. “You’re kidding.”
De Luca shrugs. “Well I’m sure the gate swings both ways, maybe we can get a little threesome action. You, me, hot Roxie.”
“Hey, okay, alright.” Booth grabs the guy by the back of the neck and slams him into the table.
“OW!”
“If you’re gonna hit on Angela you should do it with a little respect. Okay?” Booth pats him on the shoulder and pulls De Luca to his feet. “Let’s go.”
Angela is quite impressed by Booth and can’t help but admire him as he shoves De Luca out the door.
~*~*~
Angela shows up to watch Bones glue the last pieces back in Jeffrey’s skull. She tells him that Booth’s questioning De Luca again. They’ll know for sure how Jeffrey died once they figure out the murder weapon.
Angela once again says how she’s sure Roxie wasn’t the murderer, and Bones looks up from the skull. “Do you still have feelings for her?”
“What? No.” Angela laughs.
“Booth tells me that sometimes people say the exact opposite of they mean,” Bones tells her, and Angela admits that she does still have feelings. Bones is confused. “Are you saying the opposite of what you mean now, or before?”
Angela tells her that her relationship with Roxie was intense. And when it was over it was really intense. Like even worse than how it is with Hodgins. She doesn’t feel like she can reopen this can of worms and hurt Roxie like that just because some of those feelings are suddenly rising to the surface again.
“Well, look on the bright side.” Bones snaps that last skull fragment into place. “If she did kill Jeffrey Thorn? You won’t have to think about any of that.”
Angela smirks. “Thanks Brennan.” She asks how long it’ll take Bones to ID the murder weapon, and Bones says she can do it right now. She’s seen this type of wound many times before. She’s almost positive that their murder weapon is a common fire ax.
~*~*~
Hodgins comes in to tell Cam that there’s also limestone and silicon oxide on the clothes. He’s matched it to the concrete floor of the gallery. Cam shows him that she’s found human blood amongst the pig blood too.
~*~*~
Booth and Bones revisit the art gallery. Helen is furious that they’re there and that they’re ruining the integrity of her art pieces. Someone finds an ax, and Bones calls Booth over to where one of the FBI agents shows them where they think the human blood is buried under what looks like turpentine.
Bones asks to borrow Booth’s lighter, and although he’s confused, he hands it over. Booth to talk to the FBI agent. What does this mean? Well, not much as the guy doubts they can ID the bleeder.
Suddenly Bones leans down to light the turpentine and both men jump. “Whoa!”
“Gee!” Booth swings around. “Hey Bones, you know you almost lit my butt on fire?”
Bones just points out that the fire lit from the center of the room and went out. So the body was dragged? No, from the blood stains, it looks like it was rolled. Booth is impressed. “That was a great trick there Bones.”
Remove the turpentine, reveal the blood. They follow the track, and Booth realizes that’s why Hodgins found the cement particles on the front and the back of the clothing. Okay, but why roll the body? Booth points out that Jeffrey was a big guy. Whoever killed him couldn’t pick him up.
“Excuse me tiny little woman,” Booth calls out to Helen.
“Yes?”
Can she account for her whereabouts when Jeffrey was murdered? She tells them that she was at home reading, then simply adds, “That was a lie, I was watching the Real Housewives of Orange County.”
Okay…
“I find it a brilliant postmodern performance piece,” Helen tells them.
“So, no alibi?” Bones asks.
Helen reminds her that she wasn’t the one who was going to get the money if Jeffrey died. Why would she kill the goose that lays the golden egg?
Booth and Bones look at each other.
Bones: It all seems to go back to Roxie.
Booth: Angela is not going to like that.
~*~*~
Sweets and Angela are back at the table in the bar. He tells her this is exactly like the last time they were sitting there. “Except you, know, you’re quieter.” Angela tells him that then was about Hodgins, this time it’s about Roxie. Sweets tries to tell her this is just rebound, and she argues that unlike him, she doesn’t see love as something that has to last forever. He argues that it’s just because she’s never met the love of her life, which she just answers, “I have actually. Many times.”
Sweets points out that Angela is always leaving herself an escape hatch in her relationships. “Nice try,” she answers. “Actually I commit to every man I love.”
Sweets reminds her that she married a man and then conveniently forget that she married him, which then compromises her relationship with Hodgins, and “now you say you have these intense feels for an ex-lover who’s heart you’ve already broken. Don’t you see the potential disaster here?”
Angela argues, “Look. YOU said, that without the possibility of pain there can be no joy. No real love.”
“I said that? That’s beautiful.” Sweets doesn’t remember because Angela is actually the one who told him that the last time they had this conversation. She rushes on though, distracting him from that fact, by telling him that she doesn’t want to hurt Roxie again. Good, then don’t. Sweets tells her to let Roxie decide if she wants to pursue a relationship.
Angela: Okay…and what if she doesn’t?
Sweets: Then I’m afraid you’ll have to live with that pain.
~*~*~
Back at the lab, Hodgins tries very hard to get over his annoyance of Daisy as he tells Cam that the ax was wiped clean with the turpentine. They also found out that there was sweat on the handle belonging to a woman.
~*~*~
Sweets walks into his office to find Cam sitting on his couch. She lets out a relieved sigh. “Thank you so much for agreeing to see me.”
“I didn’t agree to see you,” Sweets reminds her, frowning. “How come none of you people ever book an appointment? Frankly, it’s annoying.”
“Ah! Annoying. That’s exactly why I’m here. I—” Cam gestures towards his chair, and Sweets lets out a sigh but sits down. “I’ve done an unofficial, confidential, survey of my people and they—”
“Find me annoying,” Sweets interrupts. “No it’s worse, they hate me.” Cam tries to interrupt, but he goes on, “You know why, don’t you? It’s because Dr. Brennan undervalues psychology. And all of you have picked up her vibe. Now I know that sounds paranoid—”
“And the word vibe is a little dated—”
“But it’s true,” Sweets finishes, and Cam quickly tells him, “I’m not here about you being annoying, it’s Daisy Wick.”
Sweets is surprised. “Daisy?”
Oh yeah. Cam tells him that although she’s very smart and very able, she just has this ability to turn “reasonable people into flaming gasballs of fury!”
Does she want him to talk to her? No, she’s just there for advice on how to tell Daisy she can’t work in the lab anymore. She can do it when the person is incompetent, “but when it’s just a matter of personality...”
“I’ll do it.”
“What, really?”
“Yeah I’ll talk to her.”
Although she would clearly like that, Cam answers, “Well, as the boss it’s kinda my job to fire people…”
“And as a boss, you know that sometimes it’s better to delegate. I’ll do it.” Cam is convinced, and Sweets adds, “Let’s just hope she doesn’t turn me into a flaming gasball of fury.”
“I’m no psychologist,” she tells him. “But I think you should be flattered that we all drop in on you and ask for your advice.”
“Thank you.” Sweets smiles tot himself as Cam leaves.
~*~*~
Bones and Cam join Hodgins.
Bones: Okay! I’m ready for you to blow up my mind!
Cam and Hodgins share a look, but neither of them say anything. Hodgins shows that them that, thanks to Angela asking him for a personal favor, he found other traces of cancer treatment chemicals in the sweat. The murderer has Leukemia, and one of the chemicals on the test would have caused highly visible skin discoloration. Roxie is not the murderer.
Bones: This is very good for Angela. Not that we are swayed by those considerations.
Cam and Hodgins nod, smiling, and suddenly Bones gets that look on her face. She rushes out.
Cam: What’s that look?
Hodgins: She knows who did it.
~*~*~
Booth and Bones bring Helen back into the interrogation room and ask her to take off her makeup. She won’t. She asks for her lawyer. Bones tells her she’s dying, and Helen denies it. Booth shows her phone records that prove otherwise. She was contacting places to see about cancer treatments.
Bones tells her that, “if it’s any consolation, it wouldn’t have worked.”
Helen’s icy façade breaks. “You don’t know that.”
Unfortunately Bones does. Helen breaks. “Jeffrey was going to die anyway.” She starts removing her makeup as she cries. “Anyone could see that. I did him a favor! I gave him his start. Jeffrey would much rather have been remembered as a fully committed artist than as some common murder victim.”
“Really?” Booth leans forward. “Maybe he’d prefer to live.”
“Well so would I,” Helen answers. “I guess none of us get what we want.”
~*~*~
Angela joins Roxie amongst her art, and Roxie asks her, “Now what do I do?” Angela suggests starting her own studio now that she has the money to. Do it full time.
“That’s not what I mean,” Roxie tells her. She asks Angela if she ever, even for a second thought that it was her, and Angela admits that she didn’t. Why? Because she knew Roxie and she hasn’t changed at all.
Roxie steps towards Angela, asking if she’s changed, and as Angela starts to tell her she doesn’t know, maybe she has, maybe she hasn’t, but—Roxie kisses her.
~*~*~
Back at the lab, Cam and Hodgins watch from the overhead walkway as Sweets enters.
Cam: How do you think he’ll do it?
Hodgins: He’ll convince her that it’s best for her to move to another job.
Booth and Bones join them, leaning on the rail to watch.
Booth: What’s goin’ on?
Hodgins: Sweets is firing Daisy for us.
Cam: We’re wondering how he’s going to do it.
Bones: Well he’ll explain to her logically how this environment is not condusive. For either her or us, and then as a scientist she’ll realize that he’s right.
Booth shakes his head. “Naw, Sweets is a lot sneakier than that. He’ll use some psychological Jedi mind trick to make her think that it was her idea to quit.
Down on the platform, Sweets tells Daisy that he’s got some good news, and some bad news. Which does she want first? Daisy picks the bad news, and he tells her that “you’re toast here. Nobody wants to work with you.”
She’s shocked. “Why?”
“You know why Daisy,” he answers simply. “There’s some things you need to work on when it comes to interpersonal relations.”
“Does anybody like me?”
“No I’m afraid not.”
Daisy frowns. “Well what’s the good news?”
Sweets grins. “There’s absolutely no reason for us to be discreet about our relationship anymore.”
She grins. “Really?”
“Yeah, why’d you ask me that?”
“Because I thought we were being discreet because you were a little bit ashamed of me.” Daisy shrugs.
Sweets glances up at everyone watching them, and the looks back at Daisy. Suddenly, he grabs her and kisses her long and hard.
Hodgins: I am totally shocked.
Bones: Yeah! They should not be doing that on the forensic platform.
Cam: That’s a method of termination I’ve never tried. Bravo Dr. Sweets!
Cam and Hodgins head out, and Booth and Bones hang back, discussing Sweets and Daisy as they continue to kiss.
Booth: They’ll never work, they’re like complete opposites.
Bones: Oh I agree. For all her faults, she’s a woman of science. Sweets bases his life on the vagueries of psychology and emotion. There’s no common ground.
Booth: Right!
Bones: You need common ground.
Booth lets out a *psh* noise.
Bones: What else is there?
Booth: *laughs* Absolutely.
They both sneak glances at each other as they watch Sweets and Daisy head out, hand and hand.
XXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXX
Awwww! LoL That ending was great. Go Sweets!
I love how both Booth and Bones realize that is totally them, but they both deny it, and refuse to talk about any possibility that that might one day be them. Haha Next week get ready to meet Booth’s younger brother…who will…well, see for yourself:
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