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Nablopomo the continuing story....
My, the weather has really turned. We've had strong winds and heavy rain while parts of Scotland were knee deep in snow. The extreme low pressure has sparked my sinusitis up too. Pah!
So, to warm our cockles, let us continue our voyage around the Agent we know (a bit) andlove admire. This week we are lurching into Season 2 where some things become a bit clearer and a more relaxed agent appears.
Apparently I look like a cop
SEASON 2
To kick things off we'll look at the agent at work where a more personal note is established in the first three episodes. The office has undergone a makeover: gone are the dark blue walls with minimal decorative and personal touches. In comes lighter wood panelling and more interesting things on the walls and desk.
Here's a sample. I liked looking at the office in Season 1, but now it is far more revealing.
Key:
1. A magic 8 ball, perhaps? Indicative of Booth's professed belief in Fate if it is.
2 . A jar of candy. Something to make visitors feel more at ease?
3. A Pittsburgh Steelers coffee mug. Hmmm. He said his father was a barber in Philadelphia; why not the Eagles? Perhaps because the Steelers won the Superbowl that year.
4. A nameplate which says SPECIAL AGENT S. BOOTH. Doesn't say 'in charge' although he tells Alex he is in The Boy in the Shroud. Still, the way he says it to Alex is almost ironic, as if he is joking about it.
5. A stand containing small flags. That was there before, but it is now on prominent display. I think they may be regimental insignia, but I'm not sure.
6. Booth is stacking dominoes. We don't know yet the significance of this, but it is interesting that all the way back then he has a set of dominoes in his office.
7 & 8 Pictures of classic cars. Well he claimed an interest in vintage cars in Season 1, so that would be consistent.
Observations:
Booth is wearing a gold watch and that is pretty much the only watch he wears from now on.
What has he got wrapped round his hand? I can't think of anything other than a bracelet or worry beads.
What is the silver thing next to the candy jar?
The grenade seems to have disappeared.
There is a cube and some sort of flat box or Seal next to the 8 ball thing. It may be a post it block and a paperweight??
From another angle we can get more items:
Here we can see his mousemat has the logo for the Philadelphia Flyers and the > is pointing at a rosary next to the keyboard and mug. It's a bit clearer in another picture that I can't find now, but that seems a more likely identification than the necklace or molecular chain that were my other thoughts.
We can also see a Stars and Stripes flag and a side table containing some interesting items that I cannot identify and a photograph. Any theories gratefully received. Elsewhere in the office there are a table and chairs for less confrontational interviews and cabinets full of box files.
Also we have these:
There is An Award of Excellence made out to FBI Agent Seeley Booth. Above is what looks like a framed story and to the right are framed medals and ribbons and the classic car photo.
Here we see more medals, another certificate of commendation, the car and a rather enigmatic large framed something over the desk. From certain angles it looks like it could be Rangers shoulder flash, but I could be completely wrong.
Notice also Booth's lack of suit, which is something of a change for when he is working in Washington. This is one of several tee shirts he wears. The message on the front is SUPER VILLAIN.
Final shot of the office is this:
There's the eagle statuette, a narrow box, the sniper scope and something that looks like a rock as well as more awards and certificates. This is all very much more revealing of the man than what we had before.
The revelations extend beyond the office. In the first episode we meet a former lover of Booth and in the second we meet Rebecca. Booth's first encounter with Dr Saroyan is quite surprising. From the opening exchange it is clear these two have a history, something Angela is quick to pounce on.
CAM: Seeley.
BOOTH: Camille.
CAM: Don’t call me Camille.
The name thing reminded me at once of Booth calling Brennan 'Bones' and her telling him not to.
Booth's embarrassment factor is an easy target for Dr Saroyan too:
CAM: (to BOOTH) You look good out of your suit, Seeley. But then, you always did.
CAM walks off, and BOOTH turns to watch her go.
BOOTH: Yeah, that’s…great to have you back in D.C., Camille.
Uh huh.
When they get back to the lab Angela observes.
ANGELA: Apparently Cam is autopsying a senator.
(ANGELA and HODGINS watch BOOTH and CAM’s friendly conversation nearby.)
HODGINS: A senator? Oh, we’re moving up in the world.
ANGELA: They have a past.
HODGINS: Cam and the senator?
ANGELA: Cam and Booth. Look how she touches his arm when he laughs.
HODGINS: You touch my arm when I laugh.
ANGELA: No, no. You touch me. It’s a big difference.
Yes, there is an ease between them that we do not see with Bones. The ever quick Angela pursues her angle.
ZACK: Booth. Do either of these count as experiments?
ANGELA: ‘Cause if they do, we could both get fired. By your old sweetheart.
BOOTH: You know, you just…quit telling Bones who you think I’ve slept with.
ANGELA: Think? What do you mean, think?
So Booth had a thing with the Coroner in the past. They seem friendly enough about it and one conversation confirms that their parting may well have been job related.
BOOTH: Why did you take this job, Camille?
CAM: Why shouldn’t I, Seeley?
BOOTH: Because it’s basically herding cats, and you’re a dog person.
CAM: Dogs herd cats.
BOOTH: Dogs…don’t do that.
CAM: Chase ‘em up trees, whatever.
BOOTH: Seriously, Cam. Why did you take this job?
CAM: These. (picks up a metal implement) Are titanium rib-clippers from Germany. My last job? Used bolt cutters from Home Depot. These are much, much nicer. This autopsy table? Has downdraft ventilation. No rotting corpse smell, Seeley. My last table didn’t even have a drain. Think about that a second. Leaky corpse, no drain.
BOOTH: So you took this job for better equipment.
CAM: I’ve spent my whole professional life in basement rooms with no windows. Now I’m in the Jeffersonian Institute. …what?
BOOTH: Gotta ask.
CAM: You so do not.
BOOTH: Did you take this job because of – (gestures to himself)
CAM (laughs): God, the ego!
BOOTH: Say it.
CAM: Nothing to do with you.
BOOTH: I need Bones this afternoon.
CAM: Okay.
BOOTH: It’s about her mother’s murder and her father’s disappearance.
CAM: Plus, she dedicated her book to you, so…
BOOTH: It’s a legitimate case, Cam.
CAM: I know. I read the file.
(he moves to leave)
CAM: Why hasn’t she confronted me?
BOOTH: About what?
CAM: About me, being parachuted in over her head? Finds me intimidating, right?
(BOOTH laughs.)
CAM: Hey, I intimidate people.
BOOTH: Yeah, Bones doesn’t intimidate.
CAM: Then…what?
BOOTH: Have you seen the way she stares at human remains before she makes a decision?
CAM: Yes.
BOOTH: You’re human remains and…she hasn’t made a decision yet.
CAM: How do I help her make the right decision?
BOOTH: Go for the truth. You know, Take care of her people. Oh, and I like the whole intimidation thing. I think it’s cute.
He would find intimidation cute; he does it himself. The very openness of this discussion is a whole new side of Booth we haven't seen and the fact that he wonders whether Cam has come back for him is a hint that he is available. He also offers advice without having to dress it up as a general observation like he has to with Bones.
Also in these early days, Cam says something which shows how well she does know Booth. In The Boy in the Shroud Angela reconstructs Dylan's face from the cloth he was wrapped in. Booth's reaction is commented on by Cam.
ANGELA: I assume you're familiar with the Shroud of Turin?
BOOOTH: Image of Christ's face on the inside of a burial cloth.
CAM: Right, Booth's a good Catholic boy.
BRENNAN: It was revealed to be a hoax.
BOOTH: It wasn't a hoax.
Booth's religious beliefs have been raised before, but this is the first evidence that he is Catholic, and Cam knew.
Someone else who knew him well is introduced in the second episode: Rebecca. They are not on good terms judging by the phone call he took in Man in the Fallout Shelter and that is confirmed by a phone call he takes in Woman and Child in the Bay
It was established then that Booth was an absentee father, but one who cherished the contact he was allowed with his son. This and Rebecca's private life seems to be the contentious issue now.
BOOTH: Whoa, wait a second, slow down, okay? This is my weekend with Parker, okay? I am his father, all right? Stu is your boyfriend. (he sighs)
(Brennan sees Cam crossing the lab on her way out. She is followed by Zack, both carrying equipment.)
CAM: We’re going to be in the water, Doc. Remember to bring Traxon and soluble tape.
(Zack waves at Brennan and he and Cam exit the lab)
BRENNAN: (Insulted, she moves towards Both who is still on the phone) Does she think I’m new at this? I developed the use of Traxon – (Booth makes a ‘silence’ motion, cutting her off)
BOOTH: (whispers) On the phone, Bones
BRENNAN: I know, get off. We have to go. (She tries to pull him away but he shakes her off)
BOOTH: (into phone) It’s – Rebecca, he’s spending a lot of time with Parker and I don’t even know this guy.
(Brennan tries again to interrupt Booth)
BRENNAN: She took Zack, Zack’s mine.
BOOTH: (Still on the phone) Because you know what? I just – I just want to make sure that he’s a good influence. The fact that he (drops his voice to a whisper as Brennan repeatedly taps his shoulder), you know, rocks you – rocks your world, surprisingly, that really, you know, doesn’t concern –
BRENNAN: I’ll just meet you there.
(Brennan walks towards the lab doors)
BOOTH: - doesn’t concern me. I – I gotta run, okay Rebecca? We’ll talk about this later. (He hangs up the phone and runs after Brennan) Bones, wait up!
This introduces a factor that is a defining trait of Booth: his need to be in control and get what he perceives as his right. He gets agents to check out 'Stu', whose name is actually Drew, and Rebecca is not happy.
REBECCA: Seeley, you son of a bitch.
(Booth turns, surprised and hangs up his cell phone)
BOOTH: Oh, I – Rebecca. Wow. You look great.
REBECCA: Yeah, okay, save it ‘cause I need a lot more than compliments from you right now.
(As they talk, Booth is walking backwards towards his office, Rebecca stalking him down. He makes shushing motions with his hands as they cross through a crowded area)
BOOTH: Okay, just, keep it down a little bit. ‘Cause I’m at work, all right?
(They enter Booth’s office)
REBECCA: You sent agents to investigate Drew? Because you’re going to stop that now.
BOOTH: Okay listen, I’m just being cautious. What do you really know about this guy, anyway?
(Rebecca continues to advance on him, forcing him to walk backwards around the back of his desk)
REBECCA: (clearly annoyed) I know – I-I-I know that he has a good job. And I know that he fixes stuff around the house when he says he’s going to And I know that Parker is crazy about him and he’s not terrified every time he goes off to work that he’s going to get shot. And I know that I love him. (Booth turns, finally facing her) I love him. And now everyone at work thinks he’s a criminal.
BOOTH: Well, he’s been spotted with explosives.
REBECCA: He is a construction foreman, he does demolition. You must have figured that out when you were doing all of your snooping.
BOOTH: Okay, well I have a right to know who’s around my son, all right?. He spends more time with Parker than I do.
REBECCA: Okay, you think that I would put Parker in danger?
BOOTH: Let me ask you a question. Why is it that you keep all the men in your life such a secret?
REBECCA: Because you always interrogate them or intimidate them, and it freaks them out!
BOOTH: Well, I mean, c’mon. A lot are a little strange. I mean, the guy with the tattoos on his neck?
REBECCA: I don’t even have to let you see Parker, okay? Not-not-not legally. That-that’s one of the upsides of not being married.
BOOTH: (forcefully) Don’t. (Rebecca feigns shock) I’m a good father. You know that.
(There is a moments pause)
REBECCA: You’ve got to stop trying to run things. I’ve got things in my life that have nothing to do with you. (She makes to leave but Booth grabs her arm)
BOOTH: Look, we are always gonna have something to do with each other because we share a son.
REBECCA: Drew’s a good man. And you need to back off or you’re not gonna see Parker again, I swear. Back off.
(She turns and leaves, Booth looking worriedly behind her)
Now this is interesting. Rebecca is clearly not intimidated by Booth. In fact, she is angry with him. She sees him as trying to control who she dates and who Parker meets. It's also clear that this is Booth's modus operandi when it comes to the women he counts as being in his life. He has done this with David, Bones's online boyfriend. He has also done this before with Rebecca's boyfriends. This is an aspect of Booth that becomes clearer and clearer and will be tackled again when we get to Gordon Gordon.
For now, he has to back down if he wants to keep in contact with Parker and he does compromise. He knows what his priority is.
BRENNAN: So you would do it again?
BOOTH: What?
BRENNAN: You’d have Parker even with everything you’re going through?
BOOTH: What kind of question is that?
BRENNAN: Wouldn’t it be easier if Parker wasn’t caught in the middle of this drama of yours with Rebecca and the new boyfriend?
BOOTH: God, no. No, Bones. He’s my son. Whatever we’re going through, it’s not about that. He knows that.
BRENNAN: That’s what parents say when they want to justify themselves.
BOOTH: You know, I haven’t walked out on Parker, all right? I would never have done what your parents did.
BRENNAN: Well, I didn’t say you would. I just – I don’t know. (sighs in frustration) You’re the father. I don’t know anything about raising kids, so –
BOOTH: Parker’s fine.
And he is and Drew turns out not to be the monster Booth wanted him to be.
BOOTH: Listen, uh, this is how it’s gotta go down? I gotta meet your boyfriend with Parker here?
DREW: Look man, we’re here because we wanna –
BOOTH: I’m talking to Rebecca.
REBECCA: Look this was – this was Drew’s idea. And I told him that it was gonna be a bad one.
PARKER: Dad, look!
BOOTH: One second, bud.
BRENNAN: Booth?
DREW: Parker wanted you to see what he made for school. And he kept saying how much he wanted us to meet, that we’d be friends. (Booth looks at Drew, not impressed yet) Look, I got a kid I don’t get to see much, myself. I know what it’s like. And I swear the – the explosives were for work.
(Brennan has been watching this exchange and she tries once again to get Booth’s attention)
BRENNAN: Booth?
(Booth makes to move back to the table but Rebecca stops him)
REBECCA: Okay, look, look, look, look, look. We are what we are. And-and-and you can fight it if you want but you’re just gonna fight with yourself.
DREW: Maybe this isn’t a good time. Maybe later.
(Booth looks over at the table and see Parker looking at him sadly over his diorama)
BOOTH: No, no. It’s – it’s a good time. Let me buy you a cup of coffee, all right?
(He leads them over to the table)
BOOTH: Nah, it’s cool, have a seat.
REBECCA: Seriously?
DREW: Thanks, man.
(Brennan stands up to allow them all to sit but Booth stops her)
BOOTH: It’s okay, Bones. You can stay.
BRENNAN: It’s a family thing. Bye, Parker. (she waves)
PARKER: Bye.
(Brennan says goodbye to Rebecca as well then begins to walk out of the diner. Booth sits down with Parker on his lap once again, Drew and Rebecca sitting together opposite.)
BOOTH: All right, what do we got here, huh?
PARKER: A di – a diorama!
BOOTH: Woah!
PARKER: It’s the zoo. Drew helped me.
BOOTH: The zoo? I hope you thank him, huh?
REBECCA: Yeah.
BOOTH: You did, huh?
PARKER: We got to go to the zoo. He knows all the animals.
BOOTH: All the animals? Wow!
(Brennan watches this exchange, smiling a little)
BOOTH: Okay, well maybe afterwards we could, uh, all go out to dinner if it’s okay with your mom.
(Rebecca looks surprised but smiles at Booth)
REBECCA: Yeah. That – that sounds good.
PARKER: My dad knows a burgers place.
BOOTH: Yeah. I used to take him there after his T-Ball.
There is some reconciliation, some understanding that Booth may now back off and stop wanting to control everything, but I doubt it.
Next, the return of Epps and further adventures with Booth's women.
We had hail! And now it's dark and wet. I will make beef stroganoff with the recipe I found when I get back from my meeting about the Music Festival tonight. Sunderland are away at Tottenham tonight, without Bent as his hamstring may keep hom out for several matches. Huh, just when there's an England game coming up too. He is unlucky.
So, to warm our cockles, let us continue our voyage around the Agent we know (a bit) and
A BOOTH FOR ALL SEASONS
SEASON 2
To kick things off we'll look at the agent at work where a more personal note is established in the first three episodes. The office has undergone a makeover: gone are the dark blue walls with minimal decorative and personal touches. In comes lighter wood panelling and more interesting things on the walls and desk.
Here's a sample. I liked looking at the office in Season 1, but now it is far more revealing.
Key:
1. A magic 8 ball, perhaps? Indicative of Booth's professed belief in Fate if it is.
2 . A jar of candy. Something to make visitors feel more at ease?
3. A Pittsburgh Steelers coffee mug. Hmmm. He said his father was a barber in Philadelphia; why not the Eagles? Perhaps because the Steelers won the Superbowl that year.
4. A nameplate which says SPECIAL AGENT S. BOOTH. Doesn't say 'in charge' although he tells Alex he is in The Boy in the Shroud. Still, the way he says it to Alex is almost ironic, as if he is joking about it.
5. A stand containing small flags. That was there before, but it is now on prominent display. I think they may be regimental insignia, but I'm not sure.
6. Booth is stacking dominoes. We don't know yet the significance of this, but it is interesting that all the way back then he has a set of dominoes in his office.
7 & 8 Pictures of classic cars. Well he claimed an interest in vintage cars in Season 1, so that would be consistent.
Observations:
Booth is wearing a gold watch and that is pretty much the only watch he wears from now on.
What has he got wrapped round his hand? I can't think of anything other than a bracelet or worry beads.
What is the silver thing next to the candy jar?
The grenade seems to have disappeared.
There is a cube and some sort of flat box or Seal next to the 8 ball thing. It may be a post it block and a paperweight??
From another angle we can get more items:
Here we can see his mousemat has the logo for the Philadelphia Flyers and the > is pointing at a rosary next to the keyboard and mug. It's a bit clearer in another picture that I can't find now, but that seems a more likely identification than the necklace or molecular chain that were my other thoughts.
We can also see a Stars and Stripes flag and a side table containing some interesting items that I cannot identify and a photograph. Any theories gratefully received. Elsewhere in the office there are a table and chairs for less confrontational interviews and cabinets full of box files.
Also we have these:
There is An Award of Excellence made out to FBI Agent Seeley Booth. Above is what looks like a framed story and to the right are framed medals and ribbons and the classic car photo.
Here we see more medals, another certificate of commendation, the car and a rather enigmatic large framed something over the desk. From certain angles it looks like it could be Rangers shoulder flash, but I could be completely wrong.
Notice also Booth's lack of suit, which is something of a change for when he is working in Washington. This is one of several tee shirts he wears. The message on the front is SUPER VILLAIN.
Final shot of the office is this:
There's the eagle statuette, a narrow box, the sniper scope and something that looks like a rock as well as more awards and certificates. This is all very much more revealing of the man than what we had before.
The revelations extend beyond the office. In the first episode we meet a former lover of Booth and in the second we meet Rebecca. Booth's first encounter with Dr Saroyan is quite surprising. From the opening exchange it is clear these two have a history, something Angela is quick to pounce on.
CAM: Seeley.
BOOTH: Camille.
CAM: Don’t call me Camille.
BOOTH: Don’t call me Seeley.
The name thing reminded me at once of Booth calling Brennan 'Bones' and her telling him not to.
Booth's embarrassment factor is an easy target for Dr Saroyan too:
CAM: (to BOOTH) You look good out of your suit, Seeley. But then, you always did.
CAM walks off, and BOOTH turns to watch her go.
BOOTH: Yeah, that’s…great to have you back in D.C., Camille.
Uh huh.
When they get back to the lab Angela observes.
ANGELA: Apparently Cam is autopsying a senator.
(ANGELA and HODGINS watch BOOTH and CAM’s friendly conversation nearby.)
HODGINS: A senator? Oh, we’re moving up in the world.
ANGELA: They have a past.
HODGINS: Cam and the senator?
ANGELA: Cam and Booth. Look how she touches his arm when he laughs.
HODGINS: You touch my arm when I laugh.
ANGELA: No, no. You touch me. It’s a big difference.
Yes, there is an ease between them that we do not see with Bones. The ever quick Angela pursues her angle.
ZACK: Booth. Do either of these count as experiments?
ANGELA: ‘Cause if they do, we could both get fired. By your old sweetheart.
BOOTH: You know, you just…quit telling Bones who you think I’ve slept with.
ANGELA: Think? What do you mean, think?
So Booth had a thing with the Coroner in the past. They seem friendly enough about it and one conversation confirms that their parting may well have been job related.
BOOTH: Why did you take this job, Camille?
CAM: Why shouldn’t I, Seeley?
BOOTH: Because it’s basically herding cats, and you’re a dog person.
CAM: Dogs herd cats.
BOOTH: Dogs…don’t do that.
CAM: Chase ‘em up trees, whatever.
BOOTH: Seriously, Cam. Why did you take this job?
CAM: These. (picks up a metal implement) Are titanium rib-clippers from Germany. My last job? Used bolt cutters from Home Depot. These are much, much nicer. This autopsy table? Has downdraft ventilation. No rotting corpse smell, Seeley. My last table didn’t even have a drain. Think about that a second. Leaky corpse, no drain.
BOOTH: So you took this job for better equipment.
CAM: I’ve spent my whole professional life in basement rooms with no windows. Now I’m in the Jeffersonian Institute. …what?
BOOTH: Gotta ask.
CAM: You so do not.
BOOTH: Did you take this job because of – (gestures to himself)
CAM (laughs): God, the ego!
BOOTH: Say it.
CAM: Nothing to do with you.
BOOTH: I need Bones this afternoon.
CAM: Okay.
BOOTH: It’s about her mother’s murder and her father’s disappearance.
CAM: Plus, she dedicated her book to you, so…
BOOTH: It’s a legitimate case, Cam.
CAM: I know. I read the file.
(he moves to leave)
CAM: Why hasn’t she confronted me?
BOOTH: About what?
CAM: About me, being parachuted in over her head? Finds me intimidating, right?
(BOOTH laughs.)
CAM: Hey, I intimidate people.
BOOTH: Yeah, Bones doesn’t intimidate.
CAM: Then…what?
BOOTH: Have you seen the way she stares at human remains before she makes a decision?
CAM: Yes.
BOOTH: You’re human remains and…she hasn’t made a decision yet.
CAM: How do I help her make the right decision?
BOOTH: Go for the truth. You know, Take care of her people. Oh, and I like the whole intimidation thing. I think it’s cute.
He would find intimidation cute; he does it himself. The very openness of this discussion is a whole new side of Booth we haven't seen and the fact that he wonders whether Cam has come back for him is a hint that he is available. He also offers advice without having to dress it up as a general observation like he has to with Bones.
Also in these early days, Cam says something which shows how well she does know Booth. In The Boy in the Shroud Angela reconstructs Dylan's face from the cloth he was wrapped in. Booth's reaction is commented on by Cam.
ANGELA: I assume you're familiar with the Shroud of Turin?
BOOOTH: Image of Christ's face on the inside of a burial cloth.
CAM: Right, Booth's a good Catholic boy.
BRENNAN: It was revealed to be a hoax.
BOOTH: It wasn't a hoax.
Booth's religious beliefs have been raised before, but this is the first evidence that he is Catholic, and Cam knew.
Someone else who knew him well is introduced in the second episode: Rebecca. They are not on good terms judging by the phone call he took in Man in the Fallout Shelter and that is confirmed by a phone call he takes in Woman and Child in the Bay
It was established then that Booth was an absentee father, but one who cherished the contact he was allowed with his son. This and Rebecca's private life seems to be the contentious issue now.
(why has he turned up with no jacket, or tie and wearing a black shirt?)
BOOTH: Whoa, wait a second, slow down, okay? This is my weekend with Parker, okay? I am his father, all right? Stu is your boyfriend. (he sighs)
(Brennan sees Cam crossing the lab on her way out. She is followed by Zack, both carrying equipment.)
CAM: We’re going to be in the water, Doc. Remember to bring Traxon and soluble tape.
(Zack waves at Brennan and he and Cam exit the lab)
BRENNAN: (Insulted, she moves towards Both who is still on the phone) Does she think I’m new at this? I developed the use of Traxon – (Booth makes a ‘silence’ motion, cutting her off)
BOOTH: (whispers) On the phone, Bones
BRENNAN: I know, get off. We have to go. (She tries to pull him away but he shakes her off)
BOOTH: (into phone) It’s – Rebecca, he’s spending a lot of time with Parker and I don’t even know this guy.
(Brennan tries again to interrupt Booth)
BRENNAN: She took Zack, Zack’s mine.
BOOTH: (Still on the phone) Because you know what? I just – I just want to make sure that he’s a good influence. The fact that he (drops his voice to a whisper as Brennan repeatedly taps his shoulder), you know, rocks you – rocks your world, surprisingly, that really, you know, doesn’t concern –
BRENNAN: I’ll just meet you there.
(Brennan walks towards the lab doors)
BOOTH: - doesn’t concern me. I – I gotta run, okay Rebecca? We’ll talk about this later. (He hangs up the phone and runs after Brennan) Bones, wait up!
This introduces a factor that is a defining trait of Booth: his need to be in control and get what he perceives as his right. He gets agents to check out 'Stu', whose name is actually Drew, and Rebecca is not happy.
REBECCA: Seeley, you son of a bitch.
(Booth turns, surprised and hangs up his cell phone)
BOOTH: Oh, I – Rebecca. Wow. You look great.
REBECCA: Yeah, okay, save it ‘cause I need a lot more than compliments from you right now.
(As they talk, Booth is walking backwards towards his office, Rebecca stalking him down. He makes shushing motions with his hands as they cross through a crowded area)
BOOTH: Okay, just, keep it down a little bit. ‘Cause I’m at work, all right?
(They enter Booth’s office)
REBECCA: You sent agents to investigate Drew? Because you’re going to stop that now.
BOOTH: Okay listen, I’m just being cautious. What do you really know about this guy, anyway?
(Rebecca continues to advance on him, forcing him to walk backwards around the back of his desk)
REBECCA: (clearly annoyed) I know – I-I-I know that he has a good job. And I know that he fixes stuff around the house when he says he’s going to And I know that Parker is crazy about him and he’s not terrified every time he goes off to work that he’s going to get shot. And I know that I love him. (Booth turns, finally facing her) I love him. And now everyone at work thinks he’s a criminal.
BOOTH: Well, he’s been spotted with explosives.
REBECCA: He is a construction foreman, he does demolition. You must have figured that out when you were doing all of your snooping.
BOOTH: Okay, well I have a right to know who’s around my son, all right?. He spends more time with Parker than I do.
REBECCA: Okay, you think that I would put Parker in danger?
BOOTH: Let me ask you a question. Why is it that you keep all the men in your life such a secret?
REBECCA: Because you always interrogate them or intimidate them, and it freaks them out!
BOOTH: Well, I mean, c’mon. A lot are a little strange. I mean, the guy with the tattoos on his neck?
REBECCA: I don’t even have to let you see Parker, okay? Not-not-not legally. That-that’s one of the upsides of not being married.
BOOTH: (forcefully) Don’t. (Rebecca feigns shock) I’m a good father. You know that.
(There is a moments pause)
REBECCA: You’ve got to stop trying to run things. I’ve got things in my life that have nothing to do with you. (She makes to leave but Booth grabs her arm)
BOOTH: Look, we are always gonna have something to do with each other because we share a son.
REBECCA: Drew’s a good man. And you need to back off or you’re not gonna see Parker again, I swear. Back off.
(She turns and leaves, Booth looking worriedly behind her)
Now this is interesting. Rebecca is clearly not intimidated by Booth. In fact, she is angry with him. She sees him as trying to control who she dates and who Parker meets. It's also clear that this is Booth's modus operandi when it comes to the women he counts as being in his life. He has done this with David, Bones's online boyfriend. He has also done this before with Rebecca's boyfriends. This is an aspect of Booth that becomes clearer and clearer and will be tackled again when we get to Gordon Gordon.
For now, he has to back down if he wants to keep in contact with Parker and he does compromise. He knows what his priority is.
BRENNAN: So you would do it again?
BOOTH: What?
BRENNAN: You’d have Parker even with everything you’re going through?
BOOTH: What kind of question is that?
BRENNAN: Wouldn’t it be easier if Parker wasn’t caught in the middle of this drama of yours with Rebecca and the new boyfriend?
BOOTH: God, no. No, Bones. He’s my son. Whatever we’re going through, it’s not about that. He knows that.
BRENNAN: That’s what parents say when they want to justify themselves.
BOOTH: You know, I haven’t walked out on Parker, all right? I would never have done what your parents did.
BRENNAN: Well, I didn’t say you would. I just – I don’t know. (sighs in frustration) You’re the father. I don’t know anything about raising kids, so –
BOOTH: Parker’s fine.
And he is and Drew turns out not to be the monster Booth wanted him to be.
BOOTH: Listen, uh, this is how it’s gotta go down? I gotta meet your boyfriend with Parker here?
DREW: Look man, we’re here because we wanna –
BOOTH: I’m talking to Rebecca.
REBECCA: Look this was – this was Drew’s idea. And I told him that it was gonna be a bad one.
PARKER: Dad, look!
BOOTH: One second, bud.
BRENNAN: Booth?
DREW: Parker wanted you to see what he made for school. And he kept saying how much he wanted us to meet, that we’d be friends. (Booth looks at Drew, not impressed yet) Look, I got a kid I don’t get to see much, myself. I know what it’s like. And I swear the – the explosives were for work.
(Brennan has been watching this exchange and she tries once again to get Booth’s attention)
BRENNAN: Booth?
(Booth makes to move back to the table but Rebecca stops him)
REBECCA: Okay, look, look, look, look, look. We are what we are. And-and-and you can fight it if you want but you’re just gonna fight with yourself.
DREW: Maybe this isn’t a good time. Maybe later.
(Booth looks over at the table and see Parker looking at him sadly over his diorama)
BOOTH: No, no. It’s – it’s a good time. Let me buy you a cup of coffee, all right?
(He leads them over to the table)
BOOTH: Nah, it’s cool, have a seat.
REBECCA: Seriously?
DREW: Thanks, man.
(Brennan stands up to allow them all to sit but Booth stops her)
BOOTH: It’s okay, Bones. You can stay.
BRENNAN: It’s a family thing. Bye, Parker. (she waves)
PARKER: Bye.
(Brennan says goodbye to Rebecca as well then begins to walk out of the diner. Booth sits down with Parker on his lap once again, Drew and Rebecca sitting together opposite.)
BOOTH: All right, what do we got here, huh?
PARKER: A di – a diorama!
BOOTH: Woah!
PARKER: It’s the zoo. Drew helped me.
BOOTH: The zoo? I hope you thank him, huh?
REBECCA: Yeah.
BOOTH: You did, huh?
PARKER: We got to go to the zoo. He knows all the animals.
BOOTH: All the animals? Wow!
(Brennan watches this exchange, smiling a little)
BOOTH: Okay, well maybe afterwards we could, uh, all go out to dinner if it’s okay with your mom.
(Rebecca looks surprised but smiles at Booth)
REBECCA: Yeah. That – that sounds good.
PARKER: My dad knows a burgers place.
BOOTH: Yeah. I used to take him there after his T-Ball.
There is some reconciliation, some understanding that Booth may now back off and stop wanting to control everything, but I doubt it.
Next, the return of Epps and further adventures with Booth's women.
We had hail! And now it's dark and wet. I will make beef stroganoff with the recipe I found when I get back from my meeting about the Music Festival tonight. Sunderland are away at Tottenham tonight, without Bent as his hamstring may keep hom out for several matches. Huh, just when there's an England game coming up too. He is unlucky.
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Which episode is your sample office photo from? I love their props department - right down to the Flyers mouse pad. One thing on the side table looks vaguely like an airplane bomber, or piece thereof.
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I'm looking forward to reading about the return of Epps - one of my favourite villains in the series. He was delightfully creepy and the way he affected both Booth and Brennan was great to watch. Anyway, I'll leave this conversation for tomorrow.
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Re-reading the Booth/Cam conversation, I am reminded of how they sparked off each other from their opening scene. (not that I'm a Cam/Booth shipper, but I enjoy their relationship.
I stand to be corrected, but I thought we found out Booth was Catholic when they were in New Orleans in S 1.
It's interesing how much Booth wants to be in control, but how little he is actually able to control what's around him. Maybe that's why he always drives.
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Anyway, you're right about The Man in the Morgue bein the point we learned Booth was Catholic. *slaps own wrist*
As I look more at the hockey thing I see that it seems to be a close up sort of superimposed over a goal mouth, so it may be an important incident from a game rather than a Parker drawing. It seems too symmetrical for something a four year old would produce who needs help with a diorama.
Cam and Booth do spark in a normal people way that Brennan could not do then. Booth seems to lighten up once she's on board. He can talk with someone other than Angela about things he can understand.
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IIRC, someone on LJ commented back in the second season that the mysterious drawing on the back wall was hockey-related. (If I can find the post, I'll link it.)
Hint:I'd love to read your insights into Brennan's office as well.
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As for Brennan's office it's always so dark in there. I'll have a look though.
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Booth does have a lot of things in his office!
What has he got wrapped round his hand? I can't think of anything other than a bracelet or worry beads.
That's exactly what I wondered as I saw the pic. I thought a bracelet of some kind, your mention of worry beads made me think of a rosary, but it's clear it's not.
The grenade seems to have disappeared.
Maybe he threw it at someone...
a rather enigmatic large framed something over the desk
I always assumed it was a hockey rink.
(why has he turned up with no jacket, or tie and wearing a black shirt?)
Who cares, he looks good in the shirt ;)
I have to admit I wasn't overjoyed when Cam was introduced on the show (I questioned Booth's t-shirt & jeans too, someone hit me over the head!) but Cam has grown on me, I like her character and Cam's and Booth's relationship, past and present adds to the show (unlike another present relationship I could mention, but we are not there yet.)
Good luck with the stroganoff. Spinach and zucchini lasagna here.
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Yes on Cam. You see I think they handled that one right wrt the relationship. It never swamped the show like she who shall remain unnamed.
The stroganoff was yummy.
I see I'm not getting notifications now. *pouts*
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I dont know what to add other than its really making me THINK about things! geez, and good work to the props dept!
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