BONES 10×10 Debriefing (200th Episode): “You Fell For Robin Hood, Sugar”


[Sorry for the late recap! Apparently, having three finals in a day can make you really tired and as does getting ready to travel. So, apologies.]

In a way, Bones has made both its big milestones (the 100th episode and tonight’s 200th) about origins. The 100th was, of course, the origins of our favorite crime-solving team – how Booth and Brennan actually met and how the whole team was assembled.

Much like the season four ender, “The End in the Beginning,” “The 200th in the 10th” was an alternate reality in which our cast was part  of a 1954 movie — technicolor and all. Yet, the “movie” itself – titled Bones — had many elements of the show we love, as well as the essence of the characters we have come to love. Focusing on the movie aspect, we also see how our favorite characters, and many old ones, come together, even if some of their roles are not what you’d expect them to be.

Recapping this episode is hard — can I just talk about the pretty for the rest of the post? — but I’ll try. So grab a martini and let’s enjoy the ride!

(c) FOX

(c) FOX

Starting the black-and-white sequence at the Bones movie premiere, with 1950s!Emily and David putting down their handprints at the iconic Grauman’s Chinese theater, was an interesting choice. (They were celebrating their tenth film together in ten years!) The voiceover was a lovely tribute to the show’s stars, as well as the start of a love letter to the fans. (It’s also a hint that this is not your usual Bones episode.) While it felt somewhat weird at first, it was fun.

From that, we go into the actual movie (or our episode’s plot) and the longest scene without dialogue the show has ever had, I’d say: we follow two stunning cars (one with Booth, another with Brennan secretly following him) along the Pacific Coast Highway… as Booth (David Boreanaz) is headed to rob a mansion. The whole scene (lasting nearly five minutes), as Booth silently enters and Brennan (Emily Deschanel) tries to keep an eye on him, is amazing. Not only is it beautifully shot and directed, but the score by Sean Callery definitely shines. What gets me from is not only the beautiful choreography or the cinematography — it’s some of the callbacks: Brennan chasing Booth, Booth’s smile and facial expression the first time he sees her…

Hold up, robbing a mansion?

(c) Fox

(c) Fox

Let’s back up for a second: Temperance Brennan is the daughter of the LAPD chief, and a brilliant officer herself; she might not have the many doctorates she does in our reality, but she’s still very smart. She uses that to seek justice; here, she is trying to catch a jewel thief she has tracked down, Booth — who is suspected of murdering the socialite he robbed. (More on that later.) On the other hand, Seeley Booth is an honorable jewel thief with a heart of gold: as we find out later in the episode, he is much like Robin Hood — a war veteran himself,  he steals from those who purchase ill-gotten goods and sells those jewels to give back to the soldiers having trouble readjusting.

But I might have gotten ahead of myself.

Booth soon realizes someone has gotten to the mansion before him, and stolen the jewels. He also sees a body in the safe he was trying to rob and leaves — right as a maid (Tamara Taylor) passes by the open safe and sees the burnt body. (This would not be Bones, the show, without a case after all.)

Brennan’s fervent pursuit of justice and her defense of Booth’s innocence clashes with her father and an Interpol agent, Aldo Clemens, who has a hot trail on Booth and gets Brennan suspended. As a result, she strikes a deal with Booth: she doesn’t think he did it (it’s not his style) and, by clearing him, she will also prove herself to be a good detective. So they enlist the help of a Paleontology professor (Hodgins, naturally) and his assistant (Clark Edison!) to examine the evidence. Brennan is a science enthusiast and believes that they could examine the human remains just as if they were dinosaur bones — since the coroner has already stored the bones, as it wasn’t a fresh corpse.

(c) Fox

(c) Fox

Meanwhile, police stenographer Angela (Michaela Conlin) and reporter Wendell (Michael Grant Terry), the only people who believe Brennan,  ask jewel fencer Arastoo Vaziri (Pej Vahdat) about the missing Braga jewels, and he claims  they were sold.

Back at the museum, Hodgins (TJ Thyne) and Mr. Edison (Eugene Byrd) are having trouble getting rid of the tissue… until Hodgins comes up with the solution: Beetles! They also find damage that wasn’t caused by the explosion in the clavicle.

Hodgins and Clark, the former in particular, are truly enjoying their foray into uncharted waters. They are not a duo we see often in the show, but much like any other of the pairings, it works. Soon after the beetles have cleaned the bones, they find traces of diatomaceous earth (one of the important pieces of evidence in the pilot!) and determine that the victim died due to damage to the brain (by blunt force trauma) and was killed before she was put in the safe.

(c) Fox

(c) Fox

Cut to Brennan’s apartment, overlooking the Hollywood Hills. Booth is hiding out at her place, since no one would suspect Brennan of harboring a fugitive. Booth teases her about sleeping on her couch, instead of in the bedroom, when the doorbell rings… and she makes him hide in the bedroom, much to his delight. Angela is bringing the Interpol files’ carbon copies with some interesting information: Eva was dating an American playboy, James Aubrey III (John Boyd), while she was in Rio — rumor has it, he stole one of her rings. But the most amusing parts of this scene are Angela immediately recognizing Brennan isn’t alone and being what our real-life counterpart usually is: very invested in Brennan’s love life, but also fiercely protective of her, as she tells Booth from downstairs “Take good care of her or I’ll kill you.”

As soon as she leaves, Booth hurries down the stairs to inform Brennan Aubrey is likely at the Velvet Fox nightclub — he almost robbed Aubrey once, but he wasn’t deserving of it. The club scene gets you in its atmosphere immediately, with the music  performed by married couple Rodolfo (Ignacio Serricchio) and Jessica (Laura Spencer). Both Booth and Brennan look stunning as they go down the stairs where they are met by Caroline, the owner of the club. Much like our Caroline (Patricia Belcher), she doesn’t waste any time in harmlessly flirting with Booth. She quickly directs them to Aubrey, who is sharing a few drinks with his drunk girlfriend, Daisy (Carla Gallo). When told about the whole story, he admits Eva got bored of him and hooked up with the Cuban (Rodolfo) on the boat. But before they can question him further, the police arrives and Booth has to dance its way out of it.

(c) Fox

(c) Fox

On his way out, he swiftly takes Jessica, Rodolfo’s wife, by the arm to question her, as her husband’s affair with Eva makes her the most probable suspect. Yet, she shows surprise and before he can keep asking her and Rodolfo questions, Sarge (Billy Gibbons) shows up telling him he needs to get out now.

Cut to the next morning, at Brennan’s apartment. Booth and Brennan share a lovely moment, in which Brennan asks Booth whether he’s covering for Sarge — and then he reveals Sarge saved his life during war and that they’ve both seen lots of killings. Just like their counterparts on the show, he’s telling her things he’s probably not told anyone — which results in an intimate moment between them that gets interrupted by the phone. Angela is calling to tell them they were seen leaving the club, so they need to leave.

Meanwhile, Hodgins and Clark make an astounding discovery: the bones aren’t Eva Braga’s — the height determined by the bones doesn’t match the height of someone wearing one of her dresses. Brennan, when informing Booth of this development, suggests that Angela, an artist, and the Professor should team up to sketch what Eva would look like — and Aubrey could identify her.

(c) Fox

(c) Fox

But just as Booth takes the sketch to him (meeting in the middle of a street) and Aubrey is about to identify the victim, he’s stabbed in the back… and Christine (Sunnie Pelant) snaps a pic as Booth runs away with the murder weapon, further incriminating himself.

Later, Brennan and Caroline are talking about Booth’s fleeing — Brennan feels he’s ditched her. Yet, Caroline reveals the truth about him: he’s just stealing for justice. He saw terrible things in the war, and he’s stealing from those who sold out to Hitler and profited from the war — and then he gives the proceeds back to the soldiers who need it most. Caroline underlines that Brennan has fallen for Robin Hood, but – as we can obviously expect from any version of her – she denies it. “I stand corrected, but I don’t believe you.” is such a Caroline thing to say, and I love it.

Just as that emotional revelation ends, Brennan gets a call from Hodgins, who has discovered cause of death: Not-Eva was pushed down a flight of stairs and the explosion occurred three hours before the body was found. Cue Booth’s entrance with Jessica: she does not recognize the sketch drawing but her husband does give them a description of the woman he fooled around with on the boat — the maid. This means the sketch is Eva and Aubrey was killed because he knew who the real Eva Braga is. The maid stole her jewels and took off on the boat, Eva figured it out and came after her. Yet, the maid killed her to protect her secret and then framed Booth, since she knew he would come steal Eva’s jewels. Booth seems surprised Brennan has him figured it out.

(c) Fox

(c) Fox

Booth and Brennan arrive at the mansion and, with the help of a prism, Brennan finds the blood on the banister. But before she can arrest Camille, she gets a gun out and forces them to go into the closet. (I want to think our Cam also wanted to do that to them once upon a time.) Soon after Brennan suggests they find a way to escape (and an almost kiss), Cam takes Brennan from him, leaving him alone in the closet. He does get to escape.

Back at the LAPD, Max and Inspector Clemens are confronted with the forensic evidence that Booth didn’t do it, but the maid did, as the murder was committed three hours before the thief entered the house.

The whole action sequence at the airport is just so good and appropriately tense. Featuring the return of Scott (a former intern of Brennan’s from season 4, played by Michael Badalucco) as Camille’s getaway pilot, Cam is trying to flee before Booth gets here. Yet, he hangs onto the door as the plane is taking off and gets help from Brennan in the duffel bag to take Cam out. The whole sequence is exciting and nervewracking (even if you know both the Bs will make it) and seeing the DC-3 plane move so much made me queasy. It is at the end, when the jewels are about to fall off the plane, that Cam tries to save them, but ends up falling herself (she slips from Booth’s hand).

I know people have noted this, but it’s interesting to me that 1) she died, since Cam herself was supposed to die at the end of the Epps arc in season 2 — before they realized how well she worked in the show; 2) she actually died like Epps did. Evil!Cam’s demise was all because of greed, it is interesting that’s how she goes out.

As the plane keeps nosediving and is about to crash, Booth takes the controls and stabilizes it again — or he quips, “See, this is why I like to drive!” much to their relief.

(c) Fox

(c) Fox

Thanks to this case, Brennan is now a detective with a medal of honor, and as Max informs her, she’ll be the head of the new office of Forensic Anthropology. Booth might even call her “Bones” now!

Later, Brennan lets Booth drive to see Sarge up in the Hills. Brennan gives him the jewels that fell out of the plane because there is a time for the law and a time for justice… and this is one of the latter occasions. Right after that, Booth tells her there is just one thing: they have yet to kiss, which doesn’t sound like justice to him. So, they do, as the episode ends.

Yes, there was not any connection to the real show, but I still enjoyed it. The first scene would have made it weird, and I think the episode works pretty well as a standalone installment: the characters were still pretty much them, in new situations, and there were so many callbacks and references it was hard to not enjoy it. I know not everyone likes alternate universes or the “weirder” episodes the show does, but I do love them. As a result, I really enjoyed this one, too.

(c) Fox

(c) Fox

While I tried to point out every single interesting detail I found interesting above — making the recap even wordier than usual — the truth is, I likely missed a lot. I know that Nels and I are thinking of having a post to discuss those details more in depth, so that might be something to watch out for!

But, the episode itself: what a wonderful labor of love it was! It was absolutely amazing to watch it, especially knowing how much work was put into it. Everyone seemed to be truly enjoying themselves playing different versions of the characters — in some cases, some were more removed but still delightful to watch. I want to give so many kudos to everyone involved: Stephen Nathan’s script was tight and fun, with lots of callbacks, cameos and references that fans loved. David Boreanaz’s direction was fantastic, even more than usual. The way the episode was shot was just so artsy and wonderful. The performances, the reimagined and new sets, the scenery, the score, the outfits (!)… Everything just worked.

The characters were essentially the ones we’re used to seeing: they had some of the most defining characteristics as their 21st century counterparts, and often with a twist. There were some interesting pairings of characters — I know definitely want to see Rodolfo and Jessica interact on the show! — that don’t usually interact, and that was a lot of fun.

(c) Fox

(c) Fox

I also found interesting that there were emotional, mysterious storylines on the sides: there was the Sarge mystery, and his relationship to Booth, and there was also the sexism on the force. While the latter wasn’t as explored even though it was pretty obvious she wasn’t being treated as fairly, it was still a nice touch. (I’m so happy her persistence and pursuit of justice was rewarded in the end.)

But I would remiss if I didn’t mention the heart of the episode: Booth and Brennan, with David and Emily proving their chemistry is as sizzling as ever. They got to explore the beginnings of that relationship once again, where the pull between those two characters is undeniable, and they nailed every moment. Booth and Brennan wouldn’t be them without bickering their way through life, and that was also true here: whether it was about who should drive, or “Darling” (definitely the “Bones” of this version) or about whether or not they are partners… It was really a treat to see them chase and catch each other all over again — it started as Brennan chasing him, but it was soon more than that. They still challenge each other (much like in the pilot, Brennan challenges Booth to prove himself to be good at his job) and their opposite approach to, well, everything makes them work really well as a team. The 1950s’ version of Booth and Brennan might not have had as many obstacles or dark pasts on their path to coupledom, but the short ride was well worth it.

Anyways, I’m getting too carried away. The episode felt true to those films it was paying homage to in so many ways (from the case, to the resolution) and it was just wonderful. As I mentioned, congratulations to everyone involved.

Maybe I should stop before I make this as long as the recap itself! I feel like I have so many things to say, which is always a good thing. I also feel like I’m missing something.

Odds and Ends

  • The 50s movie-inspired credits were fabulous. Coastal (Southern) California is also gorgeous, especially in those establishing shots. Sigh.
  • (c) Fox

    (c) Fox

    Hodgins’ hair. I love it. Reading how they came up with it here is also really great.

  • Actually: everyone’s hair and makeup was awesome but I’m so in love with the outfits. Some of the dresses were stunning, and the suits made the guys look really dapper. Emily looks like she was born to be a 50s star.
  • Also: those cars! Every single detail was on point.
  • I loved how Sarge was essentially the voice of the audience when he first meets Brennan. Calling them out on how they’re made for each other, because he can see things? Hee.
  • Loved the various cameos in the episode: Christine as the spontaneous photographer, or Pelant as a waiter who gets some interesting looks from both Brennan and Caroline, or Arastoo as the sophisticated fencer… there were many.
  • Angela and Hodgins seem to end up together — their scene at the end was so cute. Yet, I also really enjoyed Angela and Wendell as Brennan’s biggest champions at the LAPD, and their flirting. (I’m taking the latter as a callback to the time they were an item.)
  • The closet scene. The chemistry was off the charts in that one… in the whole episode, really. It bears repeating: their chemistry is always present, but the fact we were back to a time where the characters were not together yet made it (the chemistry and UST) even more intense.

    (c) Fox

    (c) Fox

  • Aldo, with a British accent, was in an antagonistic role, but I still hope he somehow comes back again (to the actual show).
  • Cam as the villain was… something I wasn’t expecting. I only knew because of an interview I had watched, but the mystery was interesting. Also worthy of note: as Tamara has later clarified: she wasn’t really a maid; she was a criminal mastermind posing as one.
  • The long scenes the episode featured were wonderful and I cannot stress that enough. The action piece on the plane makes me as queasy on rewatch as it did when watching live.
  • Congratulations to Emily on baby number 2! News broke last Friday, and since then it’s [spoiler alert!] been confirmed it will be written into the show.
  • This hangout happened right after the episode and it was a pretty interesting watch I recommend.
  • I also recommend reading this feature at The Hollywood Reporter. It’s fantastic.
  • EDIT: Another very interesting feature, this time on the music.

Congratulations, Bones! What a feat it is to have made it to 200 episodes. I’m so proud of you. Thank you to everyone involved in the show for making this happen.


… is a young graduate student that has been way too passionate about television ever since she was little. While she insists she doesn’t have a specific type of show, they all usually have strong but flawed lady characters, some derivation of the stubborn friends-in-love/friends-to-lovers trope, and they all make her yell at her tv a lot. She just wishes she had more hours in the day so she could actually write about this.
You can usually find her on Twitter, Tumblr, and at cassidy at

2 Responses to BONES 10×10 Debriefing (200th Episode): “You Fell For Robin Hood, Sugar”

  1. Linda says:

    Has anyone from the show explained why Cam’s character, later revealed to be the killer, is seen in the opening sequence taking a late night snack to Eva Braga, whom she knows is dead? She calls out to her “employer” several times in the scene before “discovering the remains”. Just asking. It is the only flaw I found in the episode.

    • Cassidy says:

      I haven’t seen any explanation, but I can see how that seems odd in retrospect. However, my way of seeing it is that she knew Booth would come to steal the jewels at some point. Since she was a smart criminal posing as Eva’s maid, she had to pretend it might have been Eva — as if anything had happened, to not become an obvious suspect in the murder she was trying to pin on Booth/the thief.

      I don’t know if this makes any sense to you! But I do hope you get where I was coming from. I certainly felt confused at first, until I realized she just had to pretend.

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