Bones 1.16 The Woman In The Tunnel
Posted: Fri Jul 31, 2015 8:02 am
Soo, not really one of my favourites, because there are so many unpleasant players. The victim herself was a deceitful and serial two-timer, and used at least one of her subjects to lead her to other and more profitable documentary filming work. And, after claiming that she didn’t want to get in the way of her subject, she actually ‘presented’ the second doc. Her fiancé held back the full truth of their relationship, because he felt it damaged his image of himself as a man and humiliated him. Of the two men who taught her to climb, both were dishonest and avaricious, and one of them was a murderer. The social worker was snippy, cynical and dismissive, viewing Marni as purely exploitative, with nothing to offer the subterranean fringe-dwellers. Only the traumatised and mentally ill Harold Overmeyer comes out of it with any credit.
As we commence here we feel that we are moving into the dark, and it turns out not to be just the physical dark, but the dark centre of each human being; what motivates us, what delights us, what do we glean from others and what, fundamentally, is our self-image? It’s a darkness full of gnawing and movements in the corner of our eyes, perhaps somewhere we don’t like to go too often. I’m sure we all have areas ‘beyond the perimeter’ full of primal fears and dangers.
The basic facts are these; the remains at the bottom of a ventilation shaft turn out to be those of Marni Hunter (is the surname significant? Unlikely – can you think of a reason why her fiancé should be called Garfield?!!), an adventurous and well-travelled 24-year-old documentary maker who was filming and studying the underground subculture of the city homeless. In doing so she has chanced to make an amazing discovery; a treasure vault containing priceless relics dating back to the Civil War. As she starts to put together a new documentary about the hidden treasure, the two climbers who have been helping her find out about the treasure and plan to loot the vault. One of them has killed Marni with a climbing axe on one of their forays there. It’s actually unclear whether Marni was in on their plans to steal from the vault – Brennan thinks not – or whether both climbers were complicit in her death – the one who was Marni’s lover seems convincingly horrified, but you never know!
From these bare bones the writers extract an intriguing study of attitudes and relationships, within the team and outside it. Looking at Booth and Brennan first, it’s plain that they identify with Harold and Marni respectively. Brennan sees herself as a passive observer and commentator on aspects of society without condemning it. Like Marni, she is fiercely independent, unbound by social niceties/conventions, possessed of a need to work alone (Tempe actually glances up at Booth a little guiltily as she admits this!) and keen to get the job done, however long she has to absent herself from everyday life to achieve it. Because she understands what Marni was trying to do, she is quick to reprimand Booth for ignoring the community’s hierarchy and dismissing the homeless in an unlikely and out-of-character show of class superiority. Booth, on the other hand, identifies with Harold’s military history and with the numbing, even disturbing, effect on his mind of the killing of innocent people (not to mention his need to live underground as a penance for his actions), and it is he who, in one of their intimate car conversations (now becoming a staple of the series), condemns Brennan’s “glib and cynical” manner when she refers to his ‘brothers-in-arms thing’, quite reasonably resenting the implication that he is using their shared military experience to break down Harold’s resistance to questioning. One day, Booth says, if she wants, he will tell her what he has done; but he suggests “good choice” when she decides not to press him further. It’s clear there is something fairly awful writhing in his darkness.
Back at the lab, there is yet more informative interaction taking place. The look Hodgins gives Zack when he says “those are rhetorical questions, right? I’m not meant to answer” is hilarious. He really does think he is having to go through an educative process every time he talks to Zack. The following quick-fire scenes, where they discover an important and priceless piece of evidence and take it to Goodman for his opinion, are extremely funny. Everyone is trying to avoid taking possession of the item because of the paperwork that goes with it. Even Zack knows not to take it off Hodgins and hand it to Goodman, and Angela is even firmer:
HODGINS: You don’t need me here for this.
ANGELA: Yes, I do.
HODGINS: Why?
ANGELA: Because I’ve not taken possession of this piece of evidence!
The relationships at the lab are warm and friendly. Their family feel has already been emphasised by a montage of not just Brennan, but the entire group putting Marni back together (again – when did these montages start referring to just one individual?), studying the remains and the particles discovered on the items Harold had hidden. It fits perfectly that when Goodman – the dad - is so excited at the value of the artefact that he inadvertently runs off with it and ‘takes possession,’ Hodgins and Angela – the kids - share a joyous and rather complex, one might say well-rehearsed, high five!
It’s quite rare these days to see Angela sitting Brennan down for a heart to heart, but it happened a lot in the old days. This time she is worried about Brennan’s safety. The latter is out of the lab more and more, “chasing bad guys”. Brennan argues that society fears outsiders, but they are not necessarily dangerous. However, Angela points out that if Brennan becomes involved with people things can go too far. Maybe that’s what happened to Marni. In recent seasons we have lost quite a bit of Angela’s instinctive wisdom and insight, and I feel the loss. It’s palpable again in the scene with Harold, as she attempts a sketch of his mysterious ‘blonde’. “I don’t know how to talk to crazy people unless I’m dating them,” she protests to Brennan beforehand, but Brennan knows Angela’s people skills: “Just be honest with him, Ange.” Honesty and straightforwardness has become hugely important coinage in a situation where everyone seems to be hiding something. Marni claimed that the truth can’t be exploitative, but Helen, the social worker, objects that there are “different truths”. Indicating that maybe honesty is a much more complicated matter than it would seem at first glance!
Other general observations:
Montage at the end is a montage too far. One is enough.
Brennan is still constantly badgering Booth for a gun. “A little trust would be nice” she wheedles at the start.
Along with Booth, I am surprised that Brennan is very familiar with ‘Treasure of the Sierra Madre’ (“everyone knows that”) but has not heard of Charlize Theron. What the heck? What’s ‘Treasure of the Sierra Madre’??
It’s a really elegant stroke of the typewriter that makes Goodman 100% relevant to this investigation by the revelation that Angela’s picture of Harold’s dead-eyed blonde is a famous Henry Raeburn painting. And simultaneously proves that Harold has been in the vault. Well done, writers.
Wonderful Angelator! Especially the use of it to marry up all the tunnel routes under the city and plot a route through them.
Brennan instinctively knows that the best way to make the terrified Harold lead them to the perimeter is to remind him how dependent his community is on him. Why isn’t she that perceptive now?
Is there a sly reference to Twin Peaks when Booth throws away his cup in disgust, exploding “Horrible coffee!” Admittedly he’s in the middle of a dispute about the power of jealousy as a motive at the time..that might explain the bad taste in his mouth..
Kyle hit the Duke with the candlestick in the crypt! Brennan didn’t get the joke! Well, I did, but was then confused when someone said ‘Clue’. Why can’t you call it Cluedo like we do?!!
Biggest laugh, for me; Hodgins contacts Brennan to tell her excitedly that he’s found out that Marni must have been in an older tunnel system before she died (her clothes show traces of diamond dust, diamonds having been used in 19th century industrial drilling), and is promptly squashed: “Facts before conclusions, please.” Having registered his useful information, Brennan and Booth hang up on him in a very peremptory manner. Hodgins stares at his phone in disbelief. “Good job, Hodgins,” he mutters sarcastically, “what would we do without you?”
What indeed.
As we commence here we feel that we are moving into the dark, and it turns out not to be just the physical dark, but the dark centre of each human being; what motivates us, what delights us, what do we glean from others and what, fundamentally, is our self-image? It’s a darkness full of gnawing and movements in the corner of our eyes, perhaps somewhere we don’t like to go too often. I’m sure we all have areas ‘beyond the perimeter’ full of primal fears and dangers.
The basic facts are these; the remains at the bottom of a ventilation shaft turn out to be those of Marni Hunter (is the surname significant? Unlikely – can you think of a reason why her fiancé should be called Garfield?!!), an adventurous and well-travelled 24-year-old documentary maker who was filming and studying the underground subculture of the city homeless. In doing so she has chanced to make an amazing discovery; a treasure vault containing priceless relics dating back to the Civil War. As she starts to put together a new documentary about the hidden treasure, the two climbers who have been helping her find out about the treasure and plan to loot the vault. One of them has killed Marni with a climbing axe on one of their forays there. It’s actually unclear whether Marni was in on their plans to steal from the vault – Brennan thinks not – or whether both climbers were complicit in her death – the one who was Marni’s lover seems convincingly horrified, but you never know!
From these bare bones the writers extract an intriguing study of attitudes and relationships, within the team and outside it. Looking at Booth and Brennan first, it’s plain that they identify with Harold and Marni respectively. Brennan sees herself as a passive observer and commentator on aspects of society without condemning it. Like Marni, she is fiercely independent, unbound by social niceties/conventions, possessed of a need to work alone (Tempe actually glances up at Booth a little guiltily as she admits this!) and keen to get the job done, however long she has to absent herself from everyday life to achieve it. Because she understands what Marni was trying to do, she is quick to reprimand Booth for ignoring the community’s hierarchy and dismissing the homeless in an unlikely and out-of-character show of class superiority. Booth, on the other hand, identifies with Harold’s military history and with the numbing, even disturbing, effect on his mind of the killing of innocent people (not to mention his need to live underground as a penance for his actions), and it is he who, in one of their intimate car conversations (now becoming a staple of the series), condemns Brennan’s “glib and cynical” manner when she refers to his ‘brothers-in-arms thing’, quite reasonably resenting the implication that he is using their shared military experience to break down Harold’s resistance to questioning. One day, Booth says, if she wants, he will tell her what he has done; but he suggests “good choice” when she decides not to press him further. It’s clear there is something fairly awful writhing in his darkness.
Back at the lab, there is yet more informative interaction taking place. The look Hodgins gives Zack when he says “those are rhetorical questions, right? I’m not meant to answer” is hilarious. He really does think he is having to go through an educative process every time he talks to Zack. The following quick-fire scenes, where they discover an important and priceless piece of evidence and take it to Goodman for his opinion, are extremely funny. Everyone is trying to avoid taking possession of the item because of the paperwork that goes with it. Even Zack knows not to take it off Hodgins and hand it to Goodman, and Angela is even firmer:
HODGINS: You don’t need me here for this.
ANGELA: Yes, I do.
HODGINS: Why?
ANGELA: Because I’ve not taken possession of this piece of evidence!
The relationships at the lab are warm and friendly. Their family feel has already been emphasised by a montage of not just Brennan, but the entire group putting Marni back together (again – when did these montages start referring to just one individual?), studying the remains and the particles discovered on the items Harold had hidden. It fits perfectly that when Goodman – the dad - is so excited at the value of the artefact that he inadvertently runs off with it and ‘takes possession,’ Hodgins and Angela – the kids - share a joyous and rather complex, one might say well-rehearsed, high five!
It’s quite rare these days to see Angela sitting Brennan down for a heart to heart, but it happened a lot in the old days. This time she is worried about Brennan’s safety. The latter is out of the lab more and more, “chasing bad guys”. Brennan argues that society fears outsiders, but they are not necessarily dangerous. However, Angela points out that if Brennan becomes involved with people things can go too far. Maybe that’s what happened to Marni. In recent seasons we have lost quite a bit of Angela’s instinctive wisdom and insight, and I feel the loss. It’s palpable again in the scene with Harold, as she attempts a sketch of his mysterious ‘blonde’. “I don’t know how to talk to crazy people unless I’m dating them,” she protests to Brennan beforehand, but Brennan knows Angela’s people skills: “Just be honest with him, Ange.” Honesty and straightforwardness has become hugely important coinage in a situation where everyone seems to be hiding something. Marni claimed that the truth can’t be exploitative, but Helen, the social worker, objects that there are “different truths”. Indicating that maybe honesty is a much more complicated matter than it would seem at first glance!
Other general observations:
Montage at the end is a montage too far. One is enough.
Brennan is still constantly badgering Booth for a gun. “A little trust would be nice” she wheedles at the start.
Along with Booth, I am surprised that Brennan is very familiar with ‘Treasure of the Sierra Madre’ (“everyone knows that”) but has not heard of Charlize Theron. What the heck? What’s ‘Treasure of the Sierra Madre’??
It’s a really elegant stroke of the typewriter that makes Goodman 100% relevant to this investigation by the revelation that Angela’s picture of Harold’s dead-eyed blonde is a famous Henry Raeburn painting. And simultaneously proves that Harold has been in the vault. Well done, writers.
Wonderful Angelator! Especially the use of it to marry up all the tunnel routes under the city and plot a route through them.
Brennan instinctively knows that the best way to make the terrified Harold lead them to the perimeter is to remind him how dependent his community is on him. Why isn’t she that perceptive now?
Is there a sly reference to Twin Peaks when Booth throws away his cup in disgust, exploding “Horrible coffee!” Admittedly he’s in the middle of a dispute about the power of jealousy as a motive at the time..that might explain the bad taste in his mouth..
Kyle hit the Duke with the candlestick in the crypt! Brennan didn’t get the joke! Well, I did, but was then confused when someone said ‘Clue’. Why can’t you call it Cluedo like we do?!!
Biggest laugh, for me; Hodgins contacts Brennan to tell her excitedly that he’s found out that Marni must have been in an older tunnel system before she died (her clothes show traces of diamond dust, diamonds having been used in 19th century industrial drilling), and is promptly squashed: “Facts before conclusions, please.” Having registered his useful information, Brennan and Booth hang up on him in a very peremptory manner. Hodgins stares at his phone in disbelief. “Good job, Hodgins,” he mutters sarcastically, “what would we do without you?”
What indeed.
Though it did catch me momentarily, as it's not a word I hear a lot; takes about a second to adjust "Aah I know what it means". Btw it's really interesting you caught the Latin reference. I never even thought of it - it's just a name of a game. I like enriching titbits like that - thank you!