- Heart from a stone
- Heart of stone
- Fooled by a feeling
- The man he’ll never be
- He wasn’t man enough for me
- Faking love
- For reasons I’ve forgotten
- Turn & run
- Everybody plays the fool
- What was I thinking
- Mommy for a day
- Oh baby, mine
And my personal favorite…and baby makes three.
Whatever the title, we end up with another Maura love interest who won’t be coming back (thank God!); Maura being suckered yet again; and Jane with a baby in her arms and an adoring look on her face.
Yep. “And baby makes three” would definitely be the title that I would have used.
1. Riley returns (for how long?)
I love the addition of Riley Cooper as a new detective in the squad. Now my only hope is that they actually use her in storylines and not have her disappear for long periods of time. Does anyone remember Detective Crowe from season 1? I think we need to put out an APB for the guy since he’s been missing for so long without any mention of why. Maybe he’s deep undercover.
Speaking of missing…has anyone seen a redheaded nun named Sister Winifred lately? She seemed to have disappeared without a trace as well. Why go through the trouble of having her set up shop in the homicide bullpen if you weren’t going to have her around on a semi-regular basis? At least make mention that she’s moved elsewhere.
Anyway, back to Riley. I’m actually glad that we get Riley promoted to detective instead of Frankie – first, because Riley is a woman; and secondly, because that keeps Frankie in his uniform instead of in a suit like everyone else. He’s so much more adorable in his uniform. Another reason why it’s a good thing to keep Frankie in uniform is that it brings in another perspective. Having most of the main characters all being detectives would make things really boring. If Frankie had been a detective, he wouldn’t have been able to fake-arrest Maura for tagging, and it wouldn’t have been as funny. I’d actually like to see a scene or two of Frankie going out on a 9-1-1 call and actually being the first to arrive at a murder scene and call it in.
For some reason, I’ve gotten off the subject of Riley again (that shouldn’t be so easy to do, damn it!) I loved how Jane’s initial disappointment of Frankie not getting the promotion quickly went away, and we could see her respect for Riley come through, realizing that the woman had really earned the promotion. I could almost see in Jane’s eyes, how she recognized that Riley had gone through the same stuff that she had to previously go through, being a woman in the Boston PD, and finally earning her gold shield. I thought Lieutenant Cavanaugh’s comment about there being only one “Jane Rizzoli” was cute, and very heartwarming. I’d also like to see more of Jane & Riley off-the-clock scenes, since the two are neighbors. That reminds me…I miss Marissa.
2. Lydia’s decision
As annoying as Lydia’s presence was, I have to give kudos to Alexandra Holden for portraying this interloper with a bit of flooziness (yes, we’ll make that a word!), a bit of a heart, and even a bit of scheming to go with it. Her ‘end game’ was as expected – leaving the kid for the Rizzolis to fight over. My only question is… was she really as naïve as she presented herself to be (thinking she could just fit right in and be accepted by the family) or was it just her way of scheming so they would accept the responsibility of the child no matter what? I’d actually like to see her get back together with Tommy so she could come back every now & then.
3. other returnees
It was a quick one (too quick, IMO), but we did get a glimpse of Rondo in this one, and even a “Vanillaaa!” and “you rang, I come running.” Awww I love this guy. I really wish we had him as a full-time regular.
We also got a glimpse of Susie. I love that they’re finally branching out on the pair-ups, because this time we even got Susie with just Riley & Jane. I can only roll my eyes at everyone now jumping on the Susie/Riley hookup bandwagon.
Another familiar face was Kelly Mantle as the hooker, “Kitty.” I remember her from the CSI season 5 episode, “Ch-ch-changes”
My heart melted when we actually got a Hoyt reference in this episode. See, they can actually remember to bring a little continuity back to the storylines. Now, I’m eagerly awaiting the reappearance of (or even the mention of) Paddy Doyle, Constance, or Hope.
4. breaking down the scenes
** the anticipation of promotion
M: I think it would be cleaner if you’d just…
J: I think it would be cleaner if you don’t make me hurt you. Oh, go back to your autopsy cave.
M: I can’t wait to see his face when he sees his new desk. Now are you certain that Frankie has this in the sack?
J: in the ‘bag’, Maura. Cavanaugh said it’s between him & someone from another unit, so it’s gotta be Frankie.
Frost brings over the action figure to put on Frankie’s new desk.
J: are you giving him the Chogokin doll?
F: action. Figure. Yeah. Make him feel good on his first day.
K: he needs a proper welcome. We super glued your desk drawers your first day,
Jane laughs.
F: they still stick.
M: Oh, there’s Lieutenant Cavanaugh.
J: Frankie’s in a suit.
K: somebody’s getting promoted.
J: please let it be good news.
C: morning. You know, it’s a big deal when we promote someone to the homicide squad. Today, that honor goes to somebody who’s been out there, putting their life on the line for a number of years. Please say hello to Detective Riley Cooper.
Riley comes out of Lt Cavanaugh’s office carrying a box full of her stuff. Everyone lightly (very lightly) applauds. Jane & Frankie give each other a look.
“Autopsy cave”. Ha. I love it. So I guess the morgue is now officially known as the Autopsy Cave. It has a nice ring to it, doesn’t it? It’s strange that they keep having Maura always fumbling up the well-known idioms, especially when we’ve seen, quite often lately, Jane’s personality traits showing up in Maura, and vice versa. It’s getting to the point where I have to wonder who is worse at getting the idioms mixed up – Maura or Ziva from NCIS. I think Ziva still has the lead in that contest.
The comment about super gluing Frost’s drawers has me wishing we’d see a little more of those kinds of hijinks between the detectives. Not necessarily “kid stuff” like that, but I’m really starting to miss the humor that we had come to expect between Jane, Korsak & Frost. It’s like they’ve toned it all down, especially this season since they had Jane & Maura fighting, and then brought in Lydia and her dorky self.
I’ve said it before, I’ll say it again. I like the choice of Riley over Frankie. That means another female detective, plus keeping Frankie in his uniform (in which he looks much hotter than in a suit!)
** introductions
K: Sergeant Detective Vince Korsak. (he shakes her hand) welcome.
R: Thank you.
Frost takes the Cogokin doll from the desk & puts it back on his own desk.
R: I’m sorry we met under such weird circumstances.
J: yeah, me too. … welcome aboard. (she shakes her hand)
R: thank you.
Frankie & Frost glare at her.
R: homicide’s been a dream of mine for a long time.
Fro: really? Was part of that dream playing us both for fools?
R: hey, I’m sorry.
J: no, Frost. You never worked undercover. It’s not easy.
Fra: oh, so that makes it okay that you used us to get information so you could get the promotion?
J: Frankie, I’m so sorry.
Fra: no. c’est la vie. (to Riley) oh, you’re smart. Now, I’ll give you that. (he shrugs & leaves)
J: (to Riley) it’s not the best way to introduce yourself to us.
R: yeah, I know.
J: so, you knew who I was when you moved across the hall?
R: I was living in a U.C. pad. Stuff went down. I feel safer living near another cop.
Jane’s phone buzzes.
J: excuse me. (she answers her phone)
Okay, everyone together now in a Maura Isles voice… “Well, that was awkward!”
I can understand Frost & Frankie’s resentment, but I absolutely love how Jane basically warmed up to Riley after getting over her initial disappointment that Frankie didn’t get the promotion. Jane immediately recognized that she & Riley are very much alike. Being females in law enforcement, both have had to work extra hard to get to where they are. Both have worked undercover, which reminds me, I’d still love to see the detectives doing more undercover work – even little things like Jane & Korsak pretending to be married when they went to that yoga place. How can you not love Riley when she admitted to feeling safer living next to Jane? We know everyone would feel safer with Jane in the same building.
** the hazing ritual?
K: Detective Cooper?
R: yeah.
K: get familiar with these open cases.
R: okay.
Frost grabs a big stack of files from his desk & plops them on Riley’s.
F: welcome to homicide.
J: we got a possible body dump near Grant Museum of Fine Arts.
K: Jane?
J: yeah.
R: give Riley your open cases.
Jane hesitantly grabs a couple files and puts them on Riley’s desk.
R: I spent a year setting up that final bust. I couldn’t afford to let anyone know who I was.
J: I understand. The part I’m having trouble with is the part where you led on my partner & my brother.
R: I actually like ‘em. Both of them.
J: good. They you’ll figure out a way to make it right.
I find it funny that Frost has a very large stack of open case files, yet Jane only has a couple. Maybe Jane just always dumps hers onto Frost? Again, it’s nice to see Jane’s understanding of Riley, yet the part of Jane that is the “big sister” still makes her feelings known to Riley that messing with either her brother or partner needs to be dealt with and won’t be forgotten until she does. I also like how it seems that they’ve finally shown Korsak as more of a leader. He immediately went to introduce himself to Riley, then he got her started on the open cases. As I’ve said numerous times in previous reviews, I find it a bit strange that Vince had been promoted to Sergeant at the beginning of season 2, making him senior to Jane, yet we always see Jane being the one to give out orders and assignments to both Frost & Korsak during cases. Why isn’t Korsak ever the lead on cases since he’s the sergeant? Then again, after all this time, we’d probably find it weird to see Jane always taking directives from Vince on all the case stuff, instead of her basically just looking to him for advice on certain aspects.
** Jane’s loyalty battle
J: Frankie has a right to be upset. She did earn it. I mean, she’s been a detective in the drug unit for five years.
M: disappointment is a dangerous emotion if it isn’t processed. I’d just hate to see him set himself up for a life of misery.
J: no, that’s ridiculous.
M: well, read the research. And I’m worried about your mother too. She’s knitting.
J: oh yes, that is worrisome.
M: I think it’s a baby blanket. The yarn is a 50-50 cotton-acrylic blend.
J: okay, yes, now we do have a problem. (she imitates talking into a radio on her shoulder.) all units, be on the lookout for a woman who is so desperate to be a grandmother, she is knitting a blanket for the baby of the slut who slept with her ex-husband and her youngest son.
M: she’s worried about what kind of future that baby’s gonna have.
J: and I’m not? Lydia could barely tie her own shoes.
Leave it to Maura to be concerned about the type of fabric that the blanket is being made of. Of course, I always love to see the big sister/daughter side of Jane come out. And it’s cute that her opinion of Lydia still hasn’t changed.
** Jane knows art
M: oh!
Korsak is helping the CSRU guys with the corpse statue.
K: easy there. Let’s turn her.
J: (to Maura) what? Did you pull something?
M: I smell something…decomposition.
K: let’s tilt her sideways first.
J: I cannot believe you can smell decomp in bronze.
M: well, it’s a heavy particulate odor detectable by some animals for miles.
J: looks like the Venus de Milo. (Maura whips her head around to look at Jane.) I’ve been to The Louvre, Dr Snob.
One of the CSRU techs stumbles and falls, making the statue’s head break on the ground, revealing a dead person inside.
J: it’s not bronze, it’s plaster.
M: she’s very cool.
J: a dead woman masquerading as a statue is cool?
M: no, the body – it’s cold and it’s exhibiting signs of delayed decomposition.
J: so she was frozen?
M: no, likely kept in cold storage.
J: (rolls her eyes) (to Korsak) so, “refrigerated,” not “frozen.” got that?
Vince nods.
M: the difference between 32 and 33 degrees is enormous, Jane.
Frost arrives.
F: museum was updating their electrical system. No power to the cameras.
J: so, no security footage.
K: What about the maintenance crew?
F: the last guy here says he fished trash out of the water just before he left at 7. She wasn’t there yet.
J: whoever killed her went to an awful lot of trouble and took a huge risk.
Maura’s quick head turn to look back at Jane was adorable. It seems that Jane’s been to Paris without her LLBFF. And now it’s Dr Snob? Uh-oh. Someone’s in trouble now. The whole “cold storage/refrigerated” part made me think back to CSI season 1 “I-15 Murders.” One of these times, I wish they’d have Susie as part of the CSRU unit. She’s a senior criminalist, so why doesn’t she get to be at the crime scenes like they all do on CSI? That would give her more screen time, and more interaction with the detectives.
** cheering up Frankie
A: okay, I think it sucks.
F: ma, you’re like a truck driver since you started working here.
Jane & Maura arrive at the café.
J: hey.
F: yeah, whatever.
M: I’m sorry, Frankie. However, I think it’s an excellent opportunity to start, you know, practicing recovering from disappointment…
J: (under her breath) not now, Maura.
F: no, it’s…fine. I don’t care.
A: I care. What a deceptive little bitch.
F: MA!
J: Okay, Riley was already a detective.
F: you mean a professional liar? She went out with me & Frost to get information on the homicide squad.
A: I think you should protest.
J: Ma, come on. What’s he gonna do, walk around with a sign?
M: that could actually increase feelings of disappointment.
Jane gives her ‘that’ look.
J: look…all right, you got to strap ‘em on, take this like a cop, okay? Frankie, come on. You’ll get your turn.
F: no, I won’t. I’m gonna be taking 911 calls for the rest of my life.
J: Ohh.
Frankie gets up to leave.
A: Aw, Frankie, come on.
Poor Frankie. I love how Jane is still sticking up for Riley, though. She understands why the decision was made, even though the decision was made against her brother. I also love how Maura seems to be stuck on the topic of ‘getting over disappointment.’ You can tell that it’s something she grew up doing, especially after knowing the way her adoptive parents didn’t make her their priority. I had to laugh at Frankie comparing his mom to a truck driver, just for saying the word, “sucks.” And as I mentioned before, I’d actually really like to see Frankie taking a couple of 911 calls on the show. It would be nice to get some kind of a case that doesn’t involved dead bodies. Yes, I know. They’re all homicide detectives, so that means dead bodies, but it would be nice to have another kidnapping or something that includes “live” bodies.
** “peanuts man” returns
Jane notices Dennis Rockmond arriving at PD.
J: oh my god, what is he doing here?
M: good question.
A: oh, isn’t he the really handsome guy you used to go out with?
J: the one that never called again?
Dennis comes into the café and bumps into Frankie on the way in.
D: Maura, just who I was looking…oh (to Frankie) sorry. (to the others) that guy seems a little down. Maybe I should give him a copy of my book.
J: (reads the title) “Release your inner winner and WIN.” That’s a nice photo.
D: oh, thank you. It’s on the best seller’s list.
M: congratulations.
D: thank you.
M: (to Jane) Detective, we should get started on the autopsy.
J: yes.
D: (halts them) uh, oh, can I…can I just talk to you for a second? I’ve been traveling, promoting my book. I-I should’ve called or at least sent an email.
A: yeah, you should’ve.
J: Ma!
D: I’m having a book signing today. It’s right down the street. It would mean so much to me if you could come.
M: I can’t. and excuse me. We do need to get back to work.
Jane & Maura walk to the elevators.
J: oh, it is going to be a long day.
M: I’m fine.
J: no, you’re not. You like that idiot.
M: Oh, Shh. I do not.
J: oh, please. You so do too. (they walk into the elevator) UGH!
LOL my sentiments exactly, Jane. I noticed that Dennis has about as much creativity in titling his books as Tesla does in naming his inventions on Sanctuary. I love how Angela doesn’t censor her comments, and just blurts out what she thinks, no matter who it is. Did you notice that Jane used to do that, until she started hanging with Maura.
** in the “Autopsy Cave”
M: he disappears for three months, and now I’m supposed to just drop everything to be a groupie at his book signing.
J: I think you’d make a good groupie. “Oh Dennis, will you release my inner winner?” that’s good. You should go.
M: How about I release my inner bitch?
J: any guy who spends that much time grooming is not someone you want to share a bathroom with.
They look at the body that was in the statue.
J: did you notice the “Cruella de Ville” streak in her hair?
M: Hypopigmentation.
J: she’s got track marks on her neck, it’s a long-term junkie if she’s using the jugular vein. How long was she kept in cold storage before she was turned into a statue?
M: I could narrow it down to between two to six months.
J: (sarcastically) oh, yes. Gee, that is narrow. Can’t you find some freezer fuzz to help out?
M: you could store a body right above freezing temperatures indefinitely. It took Dennis three months to take me out of cold storage.
J: Maura, let that jerk go.
M: I am trying. … she appears to be in her 50s. cause of death was asphyxiation. No dental care…for decades.
J: so we can’t identify her with dental records.
M: and, without hands… (she lifts up the sheet just as Frost enters the morgue.)
J: (quickly pulls the sheet down) uh, yes, thank you, Maura. Yes, no fingers, no fingerprints. Yes.
F: I, uh…I checked ViCap. I found four unsolved murders of prostitutes in Minneapolis, St Paul, Jacksonville, and St Louis. All strangled.
J: were any of them put in cold storage before they were dumped?
F: no, but look at this.
J: All of them had their arms cut off and all were encased in plaster. Did any of them have the deep cuts in their face like this one?
F: no
J: so, this one was more personal. We’re looking for a serial killer.
M: forensic psychiatry research indicates that most serial killers are men…with overwhelming hostility and rage toward women, often their mothers.
J: And displaying his “work” means he has a massive ego. He wants recognition. Frost, where were the other four women found?
F: two playgrounds, a T-ball field, and in front of a daycare center.
J: all locations used by kids. And the four other women were prostitutes. Maybe that’s where we start with our victim.
Okay, first of all, it’s only been two months since Dennis first appeared, right? Not three. Secondly, I’m surprised that Maura knows about ‘groupies.’ Thirdly, I’d love to see Maura release her ‘inner bitch’ – but not against Jane, please. We had enough of that for the first two episodes this season.
Methinks Jane has spent enough time waiting around for Maura to get done with her “bathroom grooming,” which is probably why she still has her own apartment. I like how they were talking while both facing away from each other to begin the scene. It shows how comfortable they’ve become with each other that they don’t need to be looking at one another while having a conversation. I also had to “awww” at the Mpls & St Paul references. Nothing like mentioning murders in my home state to get my attention. It was also cute to see once again that Frost has a problem with seeing gruesome dead bodies. It makes me think back to season 1 where Maura tried to help him get over that problem, and mentioning “immersion therapy”, which she also used herself to overcome her fear of “live” people.
** getting Riley’s help
Jane & Frost get off the elevator. Jane sees Riley getting coffee and goes to her.
J: Hi. You ever worked Bay Village?
R: yeah. What do you need?
J: (shows her a pic of Cruella) can you take that around, see if anybody recognizes her?
R: yeah.
J: thanks. (goes over to Frost)
F: make her work the open cases. I’ll go.
J: that’s a good idea, Frost. (to Riley) Detective Frost is gonna go with you.
Riley nods.
F: what?!
J: Riley’s a homicide detective now. You make it work.
F: fine. I am a professional.
J: good. Take Frankie with you. Remind him he’s a professional too.
F: (to Riley) you got any pants?
R: in my car, why?
F: a skirt won’t help you in homicide.
Riley rolls her eyes. As they leave, Cavanaugh comes up to Jane, who’s putting pics up on the glass board.
C: how’s it going?
J: fantastic. She’s fitting right in.
C: you know, the head of the drug unit showed me her record. Pretty impressive. She got long-term undercover, and she got big scores because of her work.
J: yeah, I mean, she deserves the spot. I don’t have a problem with her.
C: I’m glad to hear that, Rizzoli. You know, she has almost as much potential as you did. But I’m NEVER going to see another Jane Rizzoli.
J: thank you, sir.
Awwww. That’s why I love Cavanaugh. But he’s just saying what we all know anyway – there will only ever be ONE Jane Rizzoli. On that subject, I’d really like to see flashbacks of Jane in her early days of being a detective and working with Korsak. I like how Jane includes Riley in the case, knowing she might have some insight into the area because of her undercover work. I find it cute that if Frost wouldn’t have opened his big mouth, Jane wouldn’t have thought about sending him (and Frankie) with Riley on the assignment.
** silly Jane, not-so-amused Maura
J: you think Cavanaugh was saying that Frankie isn’t gonna get his gold badge? (Maura is typing on her computer) Maura? … Maura? (Jane pushes the cover down on Maura’s hands.)
M: OW! What was that for?
J: I hate to be ignored.
M: Dennis ignored me for three months.
J: (“valley girl” accent) oh my god, like, he didn’t even text? (normal speak) really? You want to know busy? (accent again) Like, I’m supposed to be solving a serial murder.
M: I have never once had an inner monologue like that.
J: (laughs) okay.
Maura’s computer beeps.
M: trace report is back. The plaster is a common type used in construction. I also found these burns on the soles of our victim’s feet. (shows Jane a picture)
J: eww. So, the killer put out his cigarettes.
M: likely inflicted perimortem.
J: so he tortured her while he was killing her. What else?
M: delivered one child via cesarean section, then had a tubal-ligation procedure. Healed scar tissue indicates it was 30 to 40 years ago.
J: so, I’m guessing she didn’t want a house full of kids.
M: okay, (closes her laptop) let’s go. It starts in 15 minutes.
J: what starts?
M: the book signing.
J: the one you’re not going to?
M: I changed my mind.
J: I didn’t.
M: the lab results are gonna take about 30 minutes, and I haven’t had a lunch break in three years.
J: I’m not spending a lunch hour that I never take listening to… Dennis “I love myself” Rockmond. That sounds like a character from The Flintstones. (does imitation) “Hi, I’m Dennis Rockmond” (Maura turns & walks out) Maura. … MAURA!! What?!
LOL Jane, that sounded like a Sean Connery impersonation. I’m surprised that Maura didn’t respond with “What’s The Flintstones?” It’s interesting to note that Maura hasn’t taken a ‘lunch break’ in the three years that they’ve been LLBFFs. I guess they don’t call it a ‘lunch break’ if you eat a meal with your LLBFF while on the job. Since they’re LLBFFs, it’s assumed that Jane will automatically be joining Maura at the book signing, even if she doesn’t know it. We already know Maura has Jane whipped (and vice versa.)
** boys will be boys
Riley is talking to a hooker. Frost & Frankie are comparing notes.
Fro: hey man, did you…?
Fra: did I what…sleep with her? Why, did you?
Riley comes back to them.
R: nothing here.
Fra: so, detective. What’s your next move? I’m just a lowly uniform.
Fro: and I’ve never been undercover. What should we do, detective?
R: you could start by growing up.
Fro: this from a woman who practically showed us her nipples at “hello.”
Frankie nods.
R: Detective Frost, how old is the victim?
Fro: 50s, maybe.
R: could be why no one recognizes her.
Fra: oh, I can’t keep up with all the detective talk.
Fro: mmm
Fra: hmm
Riley sees an older hooker walking nearby and walks over to her.
R: excuse me. (shows her the picture) do you recognize her?
Rose: oh, sure. That’s Cruella.
Fro: Cruella?
Rose: yeah. Evil-ass Cruella. I know ‘cuz she had that little skunk streak right here?
Fro: looking up “Cruella” in the alias file.
R: listen, Rose, when did you last see Cruella.
Rose: oh, beats me. That was one evil heifer. Be yellin’ at me from across the street, “hey, ho. I got your tricks. What you gonna do about it?”
Fra: did, uh, Cruella have any regulars?
Rose: oh, child, she was lucky to make enough just to feed that fix of hers.
Fro: Got a name. Rachel Dugan, 54 years old.
R: you sure you can’t remember the last time you saw her? (hands her some money) oh, yeah. I saw her about three months ago. I remember because I had just bought this wig here. Ooh, it’s kind of sheddin’. But, uh, how you like it?
Have I mentioned lately that I love Riley? She really reminds me of what Jane would have been like in her early days. I just hope that Frost & Frankie can get over their childish antics soon. It gets kind of annoying. I keep wishing that either Korsak or Jane were there to give the two a tongue lashing or an evil eye. I also love Rose. She seems familiar, but looking at her list of roles on imdb, I’m not sure from where. Maybe it’s the NCIS and NCISLA guest spots. Riley apparently knew Rose from her previous encounters, which is the reason Jane sent her out on this assignment to begin with.
** the book signing
Dennis is giving a speech. Jane & Maura are standing in the back watching him.
D: So, here I am. Perfect childhood, loving parents, failing out of college and blaming the world.
M: he’s a very dynamic speaker.
J: I don’t like him.
D: …when the person that I needed to look at was myself…
M: well, how can you say that?
J: Maura, he didn’t even bother to email you.
M: but he had speaking engagements.
D: …I took responsibility for my life…
M: but why don’t you like him?
J: I don’t like his hair… or his teeth.
M: Shhh. (pinches Jane’s arm)
D: …so I want to thank you all for your own commitment to releasing your inner winner. Thank you guys for coming. (audience claps, including Maura. Jane does so reluctantly)
Dennis walks over to them.
J: (to Maura) don’t forget your ‘inner bitch.’
D: Maura. So glad you came. (gives her a hug, then turns to Jane) Detective.
J: Oh, no. not a hugger, remember?
D: oh, that’s right. Uh, listen, will you have coffee with me? I’ll just sign a few books, and then we’ll be out of here. Please, please, please?
J: oh, gosh, Maura. I’m just desperate to get back to our case, aren’t you?
M: Um, yes. (to Dennis) thank you. I can’t
Jane’s phone buzzes.
D: okay.
J: great talk. Good luck with the book sales. Maura, come on. (she grabs Maura’s arm)
D: it was good to see you.
M: you too. (leaves with Jane) what is it?
J: we got another body dump.
I’m with Jane on this one. I don’t like him. Never did. It was cute how Jane reminded Maura to release her ‘inner bitch” but apparently that only comes out when she’s mad at her LLBFF. At least they brought some continuity with Jane rejecting Dennis’ hug again. Jane’s “serial killer” warning should have kicked in right about then. I guess it’s been a little rusty since she killed Hoyt.
** Venus de Milo pt 2
The new statue is on a carousel – that’s still running.
K: ride’s been closed for repairs. 911 caller saw the thing spinning and called it in.
J: okay, can somebody turn off this merry-go-round?
M: Carousel. 1926 Spillman Eng/Looff original.
A CSRU tech jumps aboard and finally gets it stopped.
M: extremely fine, hand-carved horses.
J: yeah, with an extremely un-fine hand-carved corpse riding it.
Cavanaugh arrives.
C: listen, I’ve got uniforms holding ‘em back, but the media are going nuts.
K: can you blame ‘em? Dead women inside statues is a hell of a lot sexier than a city council meeting.
C: well, we got to manage this.
J: we’re working it as hard as we can, sir.
C: a killer who takes this kind of risk is gonna be hard to stop.
Awww we need more Maura google-speak. We haven’t had enough of that lately. I also love when she points out the number of IQ points needed for certain things. I was chuckling at the CSRU tech, who had the hardest part of that scene - to hop on board the carousel to get the thing stopped. I wonder if he was able to do that in just one take. I actually just took a ride on the antique carousel in Story City, IA just a week ago. Thankfully, there were no Venus de Milo statues on it!
** another apprentice on the loose?
Frost arrives with more information.
F: Jane you gotta see this?
J: what, another power outage with the security cameras?
F: no, this guy is smart.
M: the IQ of most serial killers falls between 105 and 120 points.
J: well this guy is Ted Bundy. Look what he did with the security cameras. (Frost shows video of the guy hitting the cameras with a laser beam)
F: he took out the cameras with a laser pointer.
C: crap. There goes my fishing trip.
J: six dismembered bodies. All dumped in places that cater to children.
M: this is ego, Jane. He wants us to know these statues. These dead women are his creations.
Jane gets a worried look on her face. The others notice right away.
M: what is it? What’s wrong?
J: nothing. It just reminds me of Hoyt.
M: Jane, he’s dead.
J: but he trained two apprentices, there could be another one out there.
K: my head went there too, Jane.
J: okay, Frost. Can you see if there were any persons of interest on those other cases with a tie to Hoyt?
F: on it.
I love the reference to Hoyt. I also love that both Jane & Korsak were on the same page with that thought. Another Ted Bundy reference as well. That takes me back to the pilot, where Ted Bundy’s name was the answer to Hoyt’s “Henry Deduboto” anagram that came with the flowers for Jane. Now, I just need a Paddy Doyle reference and I’ll be somewhat satisfied.
** Autopsy Cave, pt 2.
M: same cause of death…asphyxiation.
J: was this one refrigerated?
M: nope. Death occurred in the last 24 hours.
J: (points to the woman’s feet) cigarette burns
M: yes, I’ve noted them. She recently stopped lactating.
J: she just had a baby?
Susie comes in with results.
S: second victim’s tox screen came back. This one’s positive for heroin too.
M: thanks. (Susie leaves) I found evidence of scar tissue, indicating excessive sexual activity.
J: so, another junkie prostitute. Maybe we’re looking for a trucker. Could the first body have been kept in a truck?
M: it’s possible. I just find it interesting that the majority of serial killers aren’t reclusive social misfits or monsters.
J: I find it terrifying. I think the guy that shovels your driveway is a serial killer.
M: you do?
J: no, but I don’t think even I could tell that he was. Okay, (picks up the pic of the latest victim) I’m gonna go show this around.
M: now? What, it’s 9 o’clock at night.
J: yeah, well, I can’t go home knowing this animal’s out there.
M: Jane.
J: yeah.
M: did you notice that I didn’t mention Dennis?
J: (in a high squeaky voice) yes you did!
They both have cute smirks on their faces.
Again my mind goes back to CSI Season 1 “I-15 murders” where the women were kept in a refrigerated truck. Methinks that Jane is losing her edge, especially if she can’t tell whether the guy shoveling Maura’s driveway is a serial killer or not. I guess we need another Hoyt apprentice for real. Okay, sorry. Just slap me for that one. No, no more serial killers. Serial killers are bad…and boring. All of the cop shows have done serial killers to death, and not very well. (I’m looking at you, CSI) We need to have the “Good” bad guys back on this show…like Paddy Doyle.
I’ve noticed how all of the autopsy scenes lately have been just Maura & Jane, with an occasional interruption from Frost. In the early seasons, we’d see a lot more of Korsak & Frost there too. Not saying it’s bad, because I love the Jane/Maura scenes like this. It’s just become different.
** Rondo, my Rondo
J: Striking out in Bay Village. I texted Rondo. He’s always in the combat zone. Maybe he can help us. How’s it going with Riley?
F: oh, me & Frankie are holding steady with the grudge.
J: that’s productive. Yeah.
R: (comes running) Vanillaaaaaaaa! You see that? You ring, I come runnin’. (sees Frost) Oh, you’re workin’ with the brother.
F: yes, she is. Hey Rondo.
J: (shows him the pic) we think she works combat zone. You ever seen her?
R: oh, yeah. That’s Chrissie.
F: can you give us anything more? A nickname, maybe?
R: uh…I think… I think she goes by… uh…I think she goes by… (Jane shows him some money) “Rainbow” she services the, uh, hard-core johns.
J: you know the names of any of her johns?
R: nah, nah. They ain’t too friendly.
F: Jane, I think I got her. Christine Sullivan.
R: (sees a hooker across the street) wait, wait, wait, wait. That’s my homey. She’ll be able to tell us. (to the hooker) KITTY! (she comes over) Hey, Kitty. Hey. These are my friends. Somebody killed one of the girls in the zone.
K: (sees the pic) oh, no. Poor Rainbow.
J: does she have regulars?
K: sure…lots of ‘em. Did somebody choke her?
F: how’d you know that?
K: it was “Bear”. Had to be.
J: who’s “Bear”?
K: He pays you extra if you let him choke you. Rainbow needed to feed that habit. She’d do anything.
F: can you give us a description. White? Black?
K: a white guy.
J: did you see his vehicle?
K: he drives a blue pickup.
J: did you ever see anything in the back of the truck?
K: tools & things. I think he does construction.
J: construction. Plaster, Frost. Okay, thanks Rondo. Thank you, Kitty. So let’s put a bolo out. We’ll check construction sites tomorrow.
Yes, thank you, Kitty. It’s a “pickup,” not a “truck.” At least someone gets that! I remember Kitty from the CSI season 5 episode, “Ch-ch-changes.” I love me some Rondo, baby, but I need more. We need a full Rondo episode soon. I know he’s coming back for at least one of the ‘winter’ episodes. At least we got a “Vanillaaaa” this time around. Nice & loudly too! Gotta love the guy. I like how he still waits with his info until he sees the money. And let me just say…I think I ship Rondo & Kitty.
** at Casa Isles, Mama R is knitting
M: I haven’t been training this Bonsai, it’s getting too big.
A: oh, you should try knitting. It’s very soothing. Unless you’re knitting it for a baby that could be your husband’s love child or your first grandchild.
M: oh, Angela, I’m so sorry.
A: I wish I could just walk away, but that baby didn’t have anything to do with how he or she got made.
The doorbell rings.
M: are you expecting someone?
A: it might be Amazon. I ordered some more of this soft yarn. They deliver late.
Maura opens the door.
M: Dennis.
D: Hi. I know it’s late. I couldn’t sleep. I need to tell you something.
M: come in.
Angela gets up to leave.
D: hello.
A: hi.
Angela?!? Don’t leave him alone with Maura. Come on!! Where’s the nosy, butinsky that we’ve come to know & love? See, while Jane’s out doing detective work with Rondo & the hookers, Maura has to entertain Dennis by herself. This is not good. There’s no one to remind Maura about using her “inner bitch.” I loved Angela’s comment about not knowing whose baby it is. It mimics Jane’s earlier comment. Like mother, like daughter.
** elevator hijinks
Maura arrives in the PD lobby with a happy look on her face. Jane is there holding a cup of coffee.
J: uh-oh. Well you either got a lot of sleep or you did some sleeping that didn’t involve sleeping.
M: Dennis stopped by.
J: Mm-hmm
They go to the elevator
M: But I didn’t sleep with him. I haven’t slept with him. The last time it was because, um, well, I hadn’t made my bed.
J: what stopped you this time? What, visible dust bunnies? (her phone buzzes) good. Keep playing hard-to-get. Okay, they picked up our suspect & his vehicle. Todd Brown, nicknamed, “Bear.”
M: Oh, I always wanted a good nickname.
J: what’s wrong with “Poindexter?”
M: the same thing that’s wrong with “Roli-Poli Rizzoli.”
J: *gasps* Maura! (the elevator opens & Jane goes in) all right, well come on. I need you to observe Mr Bear.
M: What? I have work to do downstairs.
J: Please?! (holds the from closing) You’re the one with the degree in forensic psychiatry.
M: No, I did one clinical rotation in behavioral neuroscience.
J: (holds the door back again) that’s one more than me. We need to determine if this guy is our serial killer.
M: well, I should examine him in a medical setting.
J: (grabs Maura’s arm & pulls her into the elevator) get in!
M: Ow!
Classic Rizzles. It’s become their typical ‘slapstick’ comedy routine. It’s cute that they bring up both of the hated nicknames from childhood. I would have liked a “Maura the bora” reference too, though.
** “Bear” fits his nickname
Bear is handcuffed to the table as Jane & Maura come into the interrogation room.
B: you can’t do this, arrest me & seize my truck.
J: I think we just did. Sit down. Make yourself comfortable. We’ve got a little time while our team tears your truck apart. I got to tell you, Mr Brown. We really admire your work. (she shows him the pics of the victims)
B: don’t show me dead hookers.
J: I didn’t say they were hookers. We have a witness who’s seen you with this hooker, Christine Sullivan.
B: so, I’ve been with a lot of hookers and I’m not looking at their faces. Besides, I’ve got back problems. I can’t even lift my own toolbox right now. I’m not out there cutting up hookers.
J: excuse me while I consult with my…colleague.
Jane & Maura walk into the observation room
J: what do you think?
M: well, he seems to be rationalizing maladaptive behavior.
J: what does that mean?
M: well, psychopaths have a sparse emotional life. He doesn’t appear to be a psychopath. His emotions feel genuine.
J: he threw construction tools at the officers who arrested him. I mean, that says he’s easily provoked & violent.
M: ask him about his nickname.
J: Okay
Jane goes back into interrogation, Maura follows slowly behind.
J: where did you get the nickname, “Bear”?
B: when I was a kid, I looked really cuddly & chubby and when some kid called me “Bear,” I beat the living crap out of him. Name stuck.
J: okay, Bear. We’re charging you with assault with a deadly weapon.
B: what?!
He stands up, but the officer behind him pushes him back down.
J: the trowel that you threw at the two officers? That’s against the law.
It’s interesting to have a scene where Jane is doing the interrogation, with Maura in the room and all she does is watch Bear and his reactions. Usually we would have her doing this from the observation room. Whenever Maura does her behavior analysis, I find myself thinking of Clarice Starling.
** in the bullpen
Jane comes in. Korsak & Frost are at his desk. Jane gets coffee.
J: Ugh.
K: found plaster of paris in the back of his truck, we have hookers who can testify he choked them.
J: we need to know if he has any connection to Charles Hoyt.
K: Hoyt liked to have other nut jobs kill for him. Plus, Brown was in the military. I’m gonna run his records.
F: I’ll check credit cards. Maybe we can tie him to cities where we had body dumps.
Jane goes to her desk & sees an envelope sitting there. She opens it, scans the writing, then quickly drops it.
K: Jane, what is it?
J: Uh, looks like a letter from the killer.
Frost gets up & takes a closer look at it.
F: “Dear Boss, do you like my work? Make sure you don’t give the wrong sculptor credit. I’m about to sculpt my finest piece of work.”
Cavanaugh comes in.
C: we got another body.
J: What? Where?
C: the zoo.
I have to admit, the guy has balls. Sending a letter to Jane at PD, not to mention putting his “sculptures” in highly visible places. I guess his “inner winner” is on overdrive. However, Hoyt was much creepier. This scene with Jane, Korsak & Frost in the PD bullpen now has me wondering – where is Riley? I guess they’ve disappeared her already too.
** zoological discovery
Video cameras from the media are rolling in the background. Jane & Vince are trying to shield them from Maura, who’s sniffing the latest sculpture.
J: Oh, I can see the headlines now. “Medical examiner sniffs out clues.”
M: heavy particulate odor. There is definitely a body inside.
J: that is why we’re here.
F: You’re not gonna believe this. He took out the security cameras again.
K: how the hell is he doing this right under our noses?
Frost’s phone buzzes. He reads an email.
J: what is it Frost?
F: I just got an email from a St Paul homicide detective working their dismembered prostitute case.
K: and? Any connection to Hoyt?
F: his name is Frederick Stone.
J: you’re scaring me, Frost, cut to the chase.
F: Frederick Stone once shared a cell with Charles Hoyt.
Hmmm, so there actually was a connection to Hoyt. Well, a connection with the track they’ve taken for this investigation. As the letter said, they need to give proper credit to the right asshole. This guy really isn’t worthy to have a connection to Hoyt. It was cute how Jane & Vince were shielding Maura from the cameras. It reminds me of when Frost & Korsak were shielding Jane from the rest of the detectives when she had the toilet paper tail in the bullpen.
** autopsy cave, pt 3
M: I’m not seeing any bruising to indicate this victim fought back.
J: same as the other two. Probably because they were nodding out on heroin. Maybe she was too.
Susie arrives with more results.
S: here’s the tox screen on the third victim.
M: thanks. Not heroin. Buest she tested positive for very high levels of cocaine.
J: well, that doesn’t make any sense. Cocaine would make her agitated, so why wouldn’t she fight back unless she was given a sedative.
M: Susie, run a wider panel. Check for sedatives.
Susie leaves.
I love the increased time for Susie. Now we just need to get her to do more than just give results.
** take that, Jane!
K: latent checked. Trace checked. DNA lab checked. There’s nothing on the letter or the envelope.
F: told you he was smart.
J: that’s why we have seven bodies. Maura, there has to be a way to figure out how long Cruella was in cold storage. Two to six months is…is a pretty big window.
M: well, there’s no traces of mold which indicate that she was kept in a controlled environment at exactly 33 degrees. So the window could actually be much larger…several weeks to many months.
J: did you make it larger because I said I hated Dennis’ hair?
M: *scoffs* no
Jane gives her the stare.
M: Possibly.
Jane: Hives (points to her neck. Korsak grins) serves you right. So maybe Frederick killed Cruella, stuck her in a refrigerator and then went on a killing spree.
F: one per city till he got back to Boston?
J: Mm-hmm. (her phone buzzes) this does seem like home. (checks her phone) What?
K: what is it?
J: can you guys keep this moving? Something’s up with my mother.
Jane leaves.
Poor Maura. Jane can always use the hives excuse to remind Maura that she has to tell the truth. I find it cute that Maura is getting better at not being totally truthful. She’s even got the sarcastic scoff down to perfection.
** Rizzoli Family circus in the café
L: OW!
A: relax. Breathe.
L: oh, it hurts.
Jane arrives.
A: Jane, help, I think Lydia is going into labor.
J: a maternity ward’s a great place to have a baby. You want me to call your mom, have her meet you there?
L: no, no, no. she hates kids, especially babies. And there is no way I am going to a hospital. Aaah.
Frankie pulls Jane aside.
F: she already sent away a team of paramedics. I left a message for Tommy to tell him to get over here. It’s his baby, he has to know.
J: what if it’s dad’s?
F: he tore up his parent card when he slept with someone younger than us.
They go back to Lydia.
L: I want my baby to be born with his family. Ugh. Ahh. Ohh. (Frankie simulates a deep breath)
A: we need to get her to a hospital.
L: oh no. I am an adult. You cannot make me go there if I don’t want to.
J: this is not your family. Why did you come here?
L: this is my baby’s family and you’re such good people. My little baby didn’t do anything wrong.
Tommy comes in to the café.
T: Frankie, you pulled me off a car wash job. What’s the emergency? You lose your handcuffs?
Frankie motions to Lydia
T: Lydia?
L: Tommy?
T: uh, hey, uh. Good to see ya.
L: (stops yelling) oh my gosh. False alarm.
A: oh, Mrs Rizzoli, do you think you could forgive me? I’d love a hamburger.
T: Me too.
A: okay, I’m a little conflicted here, okay? (to Lydia) you had intimate relationships with both Tommy and my creep of an ex-husband, and you never bothered to tell me who you were when we met?
T: oh, I can see why you don’t want to get her a burger, but what did I do?
Angela hits Tommy and points to Lydia
A: that!
T: I didn’t do that. Did I DO that?
L: Maybe. I’m really sorry, Mrs Rizzoli, you know? But now that I’m bringing a new life into this world, I’m gonna turn over a new leaf.
A: and what about you, Thomas?
T: well, I’m definitely wearing condoms from now on.
Frankie laughs.
A: okay, as a sign of goodwill, I’m…I’m gonna make you both burgers. BUT nobody is gonna call me “grandma” until I know who the father of that baby is.
Jane pulls Tommy and points to the doorway.
T: what?
J: so, what’s the plan now, dad? Huh?
T: I don’t know. Maybe I could get a job painting houses.
F: oh yeah. He’s totally ready to become a father.
Jane looks on in astonishment, turns and walks away.
F: wait, where are you going?
J: I’m sorry, Frankie. I got three dead women, okay? I’m going back to my case.
F: no, Jane. Jane!
Oh, this Rizzoli family. Can they get any wackier? The only problem I have with this scene of ‘Rizzoli family drama’ is that Maura isn’t there to supervise. She is, after all, Angela’s ‘other daughter.’ She needs to be part of the zany hijinks. I love how Jane uses the excuse of her case to get away from it all.
** pow-wow in the bullpen
K: got an ID on the third victim. 21 year old Debbie Rowlings.
J: prostitute?
F: yeah, she was also arrested for child endangerment. Her newborn was taken from her a few weeks ago.
J: another new mother. Frost, did the other four victims all have children?
F: (he checks his files) yeah, looks like it.
J: so, our killer deeply resents mothers.
K: all the drop locations are symbolic to him and seem like a big “F. You” to mothers & children.
F: why cut off their arms and pose them like statues?
J: well, the Venus de Milo is Aphrodite, the goddess of love & beauty.
K: it says here the arms broke off and the draping’s supposed to make her more sensual & erotic.
J: so, in our killer’s mind, she’s some crazy mixed-up symbol of love & eroticism.
It really sounds like Jane’s been spending a lot of time around Maura’s google-mouth. It’s interesting that they are doing this scene without her. Then again, Maura has taken a never-used “lunch break” and gone with Dennis. This is one time when Jane should have asked for her help, because we know it’s gonna end badly. All of this Aphrodite talk reminds me of an episode of Fantasy Island back in the day.
** pow-wow continues
Korsak gets off the phone.
K: Thanks. Jane, good news. Frederick Stone turned up.
J: where?
K: arrested two nights ago in Denver on a DUI. Still there, couldn’t post bail.
F: so, he’s not our killer.
J: Nope. (takes the pics off the glass board) and Todd Brown isn’t our killer. Okay. All of our victims had really young children, except for Rachel Dugan, a.k.a. Cruella, who’s much older than everybody else. What do we know about her kid?
F: think it was a son. (checks the computer) yeah, right here…Mark Dugan. He’d be 36 now.
K: what happened to him?
F: says he was taken away from her after repeated episodes of abuse.
J: she ever burn him with cigarettes?
F: yeah, on the soles of his feet.
J: we need to find him
F: he was made a ward of the state when he was 5.
Jane’s phone buzzes.
J: keep digging, guys. I’m sorry. I got to take care of something.
They’re just now getting around to checking out the background of their first victim? Seriously? Okay, all I’m going to do is roll my eyes on that one. Such great detectives they are. Oy.
** more labor histrionics from Lydia
Paramedics are trying to help Lydia, who’s lying on the floor in the café.
L: don’t you touch me, don’t you friggin touch me.
F: I called Maura, she’s not answering.
L: oh, God. Get it out.
J: Okay, Lydia, Lydia, Lydia, let’s let the nice paramedics take you to the hospital.
L: NO!!!!!
T: Jeez, this girl’s got some pipes.
A: okay, I think the baby is coming. Listen. Lydia, push.
J: No, Lydia, don’t push.
L: it’s really stuck. Tommy, help.
T: okay, okay, is that it? (he looks “down there”) Oh, Jeez! (he turns & gets away)
J: (to the paramedics) okay, now she wants someone with medical training. Get in there.
J: (To Tommy who’s leaving) whoa. Where are you going?
T: away from that!
J: aw, come on. (Korsak & Frost come off the elevator) Find anything on Mark Dugan?
K: should we do something?
J: babies are born every day. We got a serial killer on the loose. (to Frost) You turn around. I don’t need you passing out. What’d you find on Dugan?
F: you want to talk…you want to talk about that right now?
J: What? (looks towards Lydia) she’s between contractions, talk fast.
F: well, he bounced around from foster home to foster home.
K: lots of abuse, he ran away at 8 and found his working-girl, drug-addicted mother.
F: she abused him some more before she dragged him back to another foster home.
Lydia screams in the background. Riley comes off the elevator.
R: Whoa. Everything okay?
J: yeah. Fine.
R: uh, okay. One of the senior criminalists was looking for you. Tox results are back on the third victim.
J: do you have them?
R: nobody know me down there.
J: (to Korsak) I’ll see you upstairs. (to Riley) come on, I’ll introduce you to everybody.
T: don’t you want to know if it’s a boy or a girl?
J: why don’t you text me when you find out who the father is.
F: (To Tommy) come on, pop. Let’s go.
T: go where?
For being such a great detective, Jane missed a very important clue in all of that hubbub. That clue being, “I called Maura, she’s not answering.” Uh, hello Jane. Remember the last time that Maura didn’t answer her phone? Paddy Doyle had been holding her & Tommy hostage in her own house. Remember how I said I kind of liked Lydia? Let me clarify that. I don’t like when she’s SCREAMING and being totally annoying!!! Another thing to consider…has Tommy always been that clueless on everything? Really? I know he’s an ex-con, but do they really have to make him that ditzy? Oh, and THERE’S Riley. I thought she had already been given the heave-ho, since she’s been AWOL since interviewing the hookers after the first statue was found. Nice to know they haven’t forgotten her…yet.
** the clues come together
Jane & Riley come off the elevator in the basement.
J: so, I try to make sure that I can be here whenever Dr Isles does an autopsy. (she walks into Maura’s office) Maura?
Susie comes in.
S: hello, Detective. I have the results on the additional tox screen.
J: oh great. Thanks. Uh, this is Detective Cooper. She just joined homicide. (Susie & Riley look at each other) Where’s Dr Isles?
S: Oh, I think she stepped out to have dinner with Mr Rockmond.
J: Dennis? Hmm. You found inderal in the third victim’s system?
Susie nods.
J: oh no.
R: what is it?
J: inderal was used as a sedative so the killer could kill our third victim. … Dennis Rockmond nearly died of an Inderal overdose.
R: I still don’t understand.
Jane goes to Maura’s desk & picks up the hand statue that Dennis had given Maura.
J: he sculpted this hand for Maura.
Jane looks at the hand, then smashes it against the floor to reveal a human hand inside the plaster.
J: Riley, get all units to Dennis Rockmond’s address!! (she runs to the elevator, dialing her phone) Frost, get Korsak. Meet me outside, NOW!!
So, Maura has had a clue to a serial killer sitting on her desk for two months. Interesting that she wasn’t able to smell that decomposition, when she did in all of the earlier statues. I’m guessing just a hand won’t give off much smell. Or maybe she didn’t notice the smell because it’s in her office next to the morgue, so everything smells funky all the time.
I love this scene with the three women. The only one missing is Maura, otherwise we’d have a nice double-duo.
** it all goes down (three floors down)
Maura is looking at some of Dennis’ sketches.
M: classic art idealized the human form, but artists often didn’t understand key aspects, like the layering of intercostals muscles. You do.
D: I take tremendous pride in everything I do.
M: that’s probably why you’re such a wonderful public speaker.
D: come here. Let me show you my work.
As he leads her to a curtained-off part of the room, Jane, Korsak & Frost come charging in with their guns drawn.
F: Dugan, get your hands off of her.
J: Maura, are you okay?
M: (looking stunned) what are you doing?
Dennis pulls out a big knife & holds it at her throat.
D: Look behind you, Maura. You see that pedestal, Maura?
K: don’t shoot, he’ll cut her throat.
D: see that? Oh, that’s where I do my real work. You were going to be my next creation. I was gonna honor you. Just like my mother, you gave me life. (he pulls her back towards the open elevator shaft.) you must think you’re real smart, huh, detective?
J: no, no, no, no. we’re just lucky. You’re much smarter that us.
D: You’re damn right. Not even the genius Dr Isles could keep up with me.
M: please. Please.
D: are you begging me, huh? Keep begging. God, I like it when they beg.
M: oh my god.
J: No, no. wait, wait, wait. Look, look, look. (she puts her gun away) we’re all in your hands, okay? We’re all in your hands.
D: you find my mother’s hand?
J: yeah.
D: you understand why I had to take both of them, right?
J: so she couldn’t hurt you anymore.
D: I left my creations at all the places that I wanted to go with my mommy.
J: wait. W-w-wait. Why hurt Maura? Come on.
D: because her healing hands brought me back to this earth, that’s why.
M: Oh my god.
D: and now mothers maybe will finally listen…treat your kids right. Because you never know who they’ll grow up to be.
M: Oh my god.
Dennis falls backward into the elevator shaft. Maura surges forward into Jane’s arms. Frost & Korsak look down the shaft at Dennis’ lifeless body as Jane holds onto Maura.
J: it’s okay. It’s okay. It’s okay.
Maura looks down at Dennis.
M: how could I not know? How could I not know?
J: no. come on. Listen. He evaded four different jurisdictions, okay? Including us, okay. You said it yourself, they’re not a reclusive monsters, okay? You couldn’t have known. You couldn’t have known.
Jane hugs Maura tightly.
M: Oh god. I should’ve known.
You know, just once I’d love for Maura to get out of a situation like this on her own, or at least doing something to help her cause. I was hoping for her to use some of the self-defense training that Jane helped her with earlier. Give Dennis a good kick in the nuts that he wouldn’t be expecting. Grab his arm, or give him an elbow in the gut, just some little thing that would give the detectives a small opportunity to help her, while it gives her the chance to at least help herself. They always portray Maura as a strong, independent woman, yet in situations like this, they always have her as the damsel-in-distress.
On another note…as Jane ran out of the morgue, she mentioned to Riley to get all units to Dennis’ address. So, where were they? We had the three detectives, but no sign of any other backup – not even Frankie or Riley.
Another thing that bugs me…why is it always serial killers with either mommy or daddy issues? Next thing we know, Lydia will come back as a serial killer with serious ‘daddy’ issues.
** and baby makes…
Angela is still knitting the baby blanket. Maura is lying on the couch. Jane is making Maura a sandwich.
A: you haven’t said a word in over an hour, Maura.
M: I’m just trying to process the worst day of my life.
J: stop beating yourself up, Maura. We all met him. None of us spotted it. (shows Maura the sandwich, but Maura shakes her head) you know, the best behavioral psychiatrists in the world will tell you that serial killers get away with it because they appear so normal.
A: Ugh. Why couldn’t you two do something else for a living?
J: (thinks for a moment) I thought about being a ballerina.
A: *chuckles* yes, you did. And you were so good at the fouettes.
J: and then I wanted to be a goalie in the NHL.
Angela & Maura both laugh. The doorbell rings.
A: oh, that must be my yarn.
J: my god, woman. How much yarn do you need for a baby blanket. (Jane gets up to open the door.) speaking of babies, I guess I have to ask…girl or boy? (she opens the door and stares)
A: is it the yarn?
Jane comes in carrying a bundled up baby.
J: it’s Lydia’s baby. She left him on the doorstep.
Maura & Angela look stunned. Jane looks down at the baby & whispers
J: Hi baby.
No, Jane. You can’t keep him. LOL that was the first thing that went through my mind. It was cute at the beginning of this scene how Jane is the one looking after Maura and fixing her the sandwich. I find it amusing that Jane actually admitted to wanting to be a ballerina at one point in her life.
All I can say is that I’m glad they didn’t leave us with the cliffhanger of Maura being held a knife-point. This sort of cliffhanger, I can live with.
Some other caps:
Guest stars:
Colin Egglesfield (Tommy Rizzoli)
Darryl Alan Reed (Rondo)
Tina Huang (Susie Chang)
Alexandra Holden (Lydia Sparks)
Eddie Cibrian (Dennis Rockmond)
Daniella Alonso (Det. Riley Cooper)
Scott Haven (Todd ”Bear” Brown)
Kelly Mantle (Kitty)
Virginia Watson (Rose)
Elizabeth Anweis (Mrs. Johnson)
Johntae Lipscomb (Michael B.)
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