Daisy’s back and death is on the mind of the Jeffersonian crew, even more than normal. I didn’t intend for those two to sound related, but we’ll go with it.
A couple are on a Segway tour through one of DC’s national parks when the wife hits a bump and gets thrown. She gets up, complaining of a tingling face. Because it has huge bugs all over it. You guessed it, she landed on a body. You know, people discover bodies on this show by falling on them quite often. Does this really happen that often in real life? Instead of helping his wife, the husband films this because the kids will find it “cool.” Jerk.
At the scene, Brennan IDs the body as female, Caucasian, early 30s. As she brushes dirt from the surrounding area, another set of teeth shows up: we’ve got two bodies! The first body shows crushing fractures to the chest, as well as defensive wounds to the arms. The second body seems less murdery; it had been anointed with herbs and arranged for burial, which is the product of eco-burial company Green Passages. The body matches the burial location of Monica Craig, who died of cancer and was buried by Green Passages.
Sweets brings in Monica’s husband, who is shocked to hear about the desecration. He agrees to give them a list of everyone who knew Monica’s burial location. Before he leaves, Sweets asks if he recognizes the facial reconstruction of the murder victim and surprisingly, he does: Rachel Knox, Monica’s “death doula” at Green Passages.
B&B head to Green Passages, where they interrupt a burial rehearsal to question Akshay Mirza, the Director. He’s shocked to hear about Rachel; they’d been business partners for two years. He didn’t report her missing because she disappeared all the time. Everyone loved Rachel and he can’t think who would want to hurt her. Court records show differently; she’d been named in multiple lawsuits by a competing burial company. The owner, Mr. Warren, says that they were going to go into business together (his name, her land), but she went back on her deal and partnered with Mirza instead, in more ways than one.
Daisy’s found that about six months before her death, Rachel sustained a blow to the face. When B&B question Mirza about this, he says that yes, they were in a relationship, and the blow to the face was from him getting tired during tantric sex and falling on her. Brennan finds it plausible. Mirza brushes off their relationship as being irrelevant: it was almost a year ago, and he knew her rule: three months and then she moved on.
Daisy also finds that, though Monica Craig had lung cancer, it doesn’t seem to have killed her; she had weeks or months left. We’ve got another murder! Angela and Hodgins find that Rachel’s lethal wound had the shape and particles of an ancient weapon, or the burial markers used by Green Passages and made by Mirza. B&B visit him again, finding it funny that everything comes back to him. He’s getting super annoyed at this point and lawyers up.
Hodgins finds it odd that some of the beetles have gotten fat and finds methylone in them, otherwise known as bath salts. Which Dr. Craig used to treat depression in patients before it was banned. He admits to providing Monica with the bath salts because she was begging him to her her end her pain. He didn’t help her, but he didn’t stop her. He asks what happens now and Sweets says he goes home; they’re looking for a murder. Sweets presents his findings on Craig to Booth and says that it’s consistent with grief and guilt. Booth spots a pattern in Craig’s phone calls to Rachel. They increased for a three month period ending two days before Monica’s suicide. They were sleeping together.
Craig is brought in again, to a scarier interrogation room. Booth points out that only a guilty husband would put the grave marker back after killing Rachel. He says that Rachel showed up when he was placing the stone and spouted out some “yoga babble” about their time being past, “Like I wasn’t a person anymore.” He couldn’t stand losing someone else right after Monica.
Over coffee (which Sweets apparently makes the best of), Booth asks Sweets if he’s okay with Daisy back in the lab. He says he’s fine. He’s over it, but Brennan questions whether he’s moved on physically. Sweets points out that Parker’s room isn’t exactly conducive to bringing ladies back for some sexing.
Daisy, for her part, is cool as a cucumber in the lab. And, ironically, at her least annoying. I think I’m going to like this Sweets-less Daisy. Everyone is, understandably, unnerved by her coolness.
When Sweets is at the lab, he hovers by the door to where she’s working before she asks him if she can help him with anything. Sweets is awkward, Daisy is all business. She doesn’t see a need for a conversation about how they’re doing, but Sweets doesn’t think they need to stop talking all out. She’s still in the apartment, and working on a paper. He got published, too, and she knew about it. He credited her, which was nice.
Later, Daisy and Sweets meet at the diner for coffee. Sweets admits to missing her and she admits to waking up the other night and reaching out for him. She hasn’t been alone, though, she’s been seeing a pathologist. Sweets lies and says he’s been seeing someone too. Sweets has been questioning if the breakup was a mistake, that’s why he wanted to see her again. Daisy agrees, but says that she realizes now that they don’t belong together.
After the case is over, Cam sees Daisy sitting alone, looking sad. Cam comes over and says she can pretend she doesn’t see the smeared mascara. Daisy says she’s fine; actually, she’s really sad. Cam points out that she’s grieving. She had something alive and now it’s gone. Daisy suggests bringing it back to life. Cam asks her, as a scientist, if she’s ever seen that turn out well. “So feel sad. Cry. You lost something wonderful, but keep moving forward. It’ll get better, I promise.” Aw, Cam, that was great advice.
All this talk of burials gets the team talking about how they want to be sent off to the afterlife. Hodgins wants to be launched into the sun (since that’s where all life comes from). All Cam knows is she doesn’t want to go into the ground. A case she worked on in NYC, Eleanor Marx, the hospital pronounced her dead, but when they went to bury her, there was scratching on the coffin: she had been in a coma.
Booth just wants a coffin and a priest and doesn’t even have a will. Or he does, but it’s on a Post-It reading “Give it all to Bones.” Brennan asks about Parker and Booth says he knows she’ll be good to Parker. Seriously, Booth? First of all, you and Brennan aren’t married, so without a real will, it won’t go to her. Also, you were in the military, and you work in a very dangerous field. AND YOU’VE HAD TO HAVE BRAIN SURGERY!!! Did you not have a will then? Do you not think about your son at all? Damn, man. On the flip side of the coin, Brennan’s will is 312 pages (she has a lot of money, complicated family, and revenue streams that will continue after her death). Booth gets some of it, but most is set aside for Christine.
Brennan asks Booth to redo his will, pointing out to him that it’s his last message to the world. Brennan reveals her burial plans: she wants a celestial burial, to be taken up on a hill, dismembered, and her bones pulverized so they go into the air. Booth is horrified. “That’s your last message to the world, to Christine, to me?”
At home, Booth makes a video to Christine. Brennan spies on him in the background. It’s a touching little monologue, especially when he says “I’m the luckiest man in the world because I got to spend time with your mother and with you. And that’s true. Whether I die today or 50 years from now. Help your mom to be happy. If she’s alone, she’s gonna forget.” Brennan, tears in her eyes, runs up and wraps a hug around him. She tells him that she changed her will, too. Only 306 pages and she wants to be thrown into a volcano now. Booth’s always wanted to visit an active volcano, so if she’s dead, they can at least have a nice trip together. Awww, adorable.
Overall, I really liked this episode. I think it was one of the cutest Booth and Brennan episodes and Daisy’s growing on me. What did you think?