The Dresden Files Episode Two: Boone Identity Warped Drive Recap

Welcome back to The Dresden Files: Warped Drive Experience. This episode delves into one of my personal favorites of the urban fantasy drama, solving a crime from beyond the grave. The promo for this episode asks, “Can Harry work with a ghost to uncover an Egyptian murder plot?” Starbuck has already braced for bad Egyptian stereotypes, having played with the toilet tissue roll. Unfortunately for me, its easier to make a Starbuck mummy, than it is to free her.

The episode starts off with a lovely elapsed time night landscape of downtown Chicago. Harry’s voice over remarks on the difficulties of being a wizard for hire in this city, namely that he either gets crazies or people think he’s crazy. Either way, insanity is definitely his mainstay. One of the few non-crazies he gets, are clients who want to speak with the dead. I’m hoping that somewhere in this episode they make a snarky reference to John Edwards.

The screen flashes white, and we see Dresden in what appears to be the library of a large manor. Harry’s eyes are closed and he appears to be having a difficulty trying to focus. Harry’s voice over indicates that he would prefer to have a “Root canal rather than try to talk to the dead.” Which is good, because if I’m seeing his teeth right, Mr. Dresden is definitely past due for some dental work.

Harry is talking with his client who is discussing having a feeling of his daughter’s presence. The client, an auctioneer in his forties with a receding hairline and eyeglasses, acts apprehensive about Harry’s work. Harry is unable to find anything supernatural, and asks the client to give us the details on how his daughter died. Apparently, Gus Boone, an ex-convict, thinking the house was a jewelry store, broke in, killed Lisa (The client’s daughter), and then took a tablet he thought he could sell. The client indicates that the police found the tablet broken. Harry theorizes that the lack of punishment for Boone may be keeping Lisa’s spirit here. The client lets us know that Boone is dead, scratching Harry’s most recent theory. After asking a few more questions, Harry starts to tiptoe around suggesting that this may be all in his clients head. I should add that subtlety is up there next to logic in the list of things Harry is not so good at.

Now the powers that be (that’s one third fate, the writers, and this recapper) don’t want to let Harry off that easy; the screen flashes to white, and we see Harry start to act intoxicated. Harry is able to whisper out an “Oh no” before the events of that fateful night play out in front of him. A crowbar wielding, ski mask wearing robber enters the house. The bad guy hits the auctioneer dead in the face, sending him into unconsciousness.

Lisa, a dark haired teenager, screams daddy, but is soon shot, pushing her into the bookcase, and knocking two shelves of books on the floor. Harry, caught in the moment, is flown back against the bookshelves as well, taking Harry’s breath away. The screen starts to get foggy, and we can see through the mist Harry looking at his hands, (which the screen flash indicates are Lisa’s rather girly hands, as opposed to Harry’s rather girly hands) and they are coated with blood. Harry witnesses, through the memories of Lisa, Boone use the crowbar to break open a glass case. The music starts a primal drumbeat, reminiscent of Bear McCreary’s work on Battlestar Galactica. The father gets up and runs to his dying daughter as Boone runs out of the room. Harry looks at his arms, which are soaked with blood, until his vision fades to white. He opens his eyes to see his client (still sans moniker), ask him if he needs help. Harry gets to his feet with the clever line of “It’s not in your head.” The screen flashes to a ghostly image of Lisa, while the drums increase in intensity. The camera closes tight on Harry’s face and fades to black and white. The screen then cuts away to the main title.

Harry’s disembodied voice leads us through the streets of Chicago to his apartment. “Some Ghosts are just annoying, especially when they have a thousand years of magical knowledge to share without stopping.” Bob watches as Harry attempts to make an Italian dinner, presumably for his date tonight. Bob and Harry rehash the events of the day, specifically the unbidden contact from Lisa.

Harry asks Bob to check the garlic bread, to which Bob replies with a sullen look, “Why? I’m not eating.” Again, the energy between these two actors is amazing, with stolen glances giving away much of the tension between the two of them. Bob offers to ask the girl ghost on a spectral date. “Considering Bob’s knowledge of show tunes,” Starbuck retorts, “I think date to him equals a cocktail and more ‘Locker Room Accounting’.” Even Harry scoffs. Harry recalls the rest of the tale, and Bob summarizes that Lisa, “wasn’t in need of vengeance, maybe she just wanted a giggle at your expense.” The line is delivered half-joking, half-serious. Apparently the lesson here is not to dis the mack of a thousand year old ghost.

Bob postulates that the girl just wants to be near her dad, and they should let them be. Harry counters that the father is in pain. Bob, with a dour look on his face, replies, “Life is pain, so is dinner; you’ve burned your garlic bread.” Apparently, the smell of burnt garlic bread serves as an epiphany inducer for Harry, as he suddenly realizes that “she was trying to show me that Boone got away, she won’t move on.” With a look of disgust perfectly shown on his face, Bob says, “I sense another quixotic crusade looming on the horizon.” Starbuck joins in the fun by adding, “Kevin, I think Bob’s doing a good job of snarking the show on his own.”

Harry pulls up in the jeep, to a building with a large sign that says, “Chicago PD District 27”. The friendly subtitles indicate Chicago PD District 27 12:37 PM. I’m beginning to wonder if there is a certain reason why this show thrives on helpful subtitles that aren’t really helpful. Murphy tells Harry that the case is closed and to move on. Harry asks Murphy to let him see the police records, while Murphy refills her coffee mug. Murphy tells him to go hit the library and read the media accounts. Harry, noticing that many of Murphy’s superiors are around the break area, states in a loud voice, “I got a message from beyond the grave.” Heads turn towards Harry and Murphy quickly moves him to her cubicle, away from the prying eyes of her coworkers. Murphy replies that she can’t give out that information and Harry replies that she’s a cop, “and can do anything.” Murphy’s clever response, “That’s funny, I can’t make you go away.” Harry’s counter, “That’s because you find me entertaining.” Still stern Murphy replies, “delusional.” I’m sensing that the writers are trying to setup a sexual tension situation here, and the effort seems rather forced. Murphy signs a permission slip, a la sixth grade hall pass, and tells Harry to go downtown and see Marie, a single girl that Harry will like. Charmingly, Harry replies, “Murphy, you’re the only one for me.”
During a quick shot of the elevated train, we see another police building, this time looking like a warehouse, and the not-so-helpful subtitles reveal Chicago PD Records Building 12:58 PM. Outside of revealing how long it takes Harry to drive in the jeep downtown, I’m not sure what useful purpose these subtitles serve.  [Letha: Orienteering, of course – it’s all so very COMPLEX, you understand.] Harry hands Marie the permission slip through a wired booth, and immediately I fall in love with this character. In the space of a ten second diatribe, she has revealed the following, Murphy’s a sharp detective, has enemies, her father was ugly, and now resides in Florida with “some hooker.” I can only hope that Harry, who fails to speed up the process, must work longer with Marie as she’s cracking me up. I’m immediately rewarded with her statement of “this will take a minute, I have a giant submarine sandwich” and a wave to come to the back room. Harry’s look of defeat through the wire mesh is a priceless jewel to me.

In the backroom, Harry looks through the sundry items of the evidence for this case. Marie steals this scene from Harry. She describes major players. Boone as an “ex-convict who got what he deserves, blown to bits.” And after insulting Harry’s social awareness, describes Edward Miller as “one of the most eligible bachelors in Chicago.” Marie’s energy and conversation keeps Harry on his toes, and elicits such facial expressions from ‘you’re kidding me’ to ‘not this again.’ The quick summary of Boone’s death, “Boone comes out, jumps into Miller’s vehicle as a getaway car, tussle for the gun, and Boone goes boom,” only furthers my deep affection for Marie.
Upon Harry’s request, Marie pulls out the item that Boone ran off with, the lock of Anubis. After Marie’s fumbled pronunciation, Harry explains, “Body of a man, head of a Jackal.” Marie’s quip, “I don’t care what his head looks like as long as he has the ass of Brad Pitt.” Harry looks on in disgust, as Starbuck giggles at the screen. Marie has captured this pug’s heart. On the other hand, Harry is relieved when Marie goes to get a soda.

Soaring through the skyline of Chicago, Harry’s disembodied voice drones about how coincidences are normally designed, and that he’s loathe to show up uninvited, but for $500 a day, two day minimum, he’ll make exceptions. Again, the how-exactly-is-this-helpful subtitles indicate Joseph Miller’s Estate 5:03 PM. When asked by Harry how Boone died, Playboy Bachelor Miller replies, “In an explosion of blood and brain matter.” Starbuck stops the TV to ask, “Didn’t we watch that on Mythbusters a couple of weeks back?” One sharp blow to the pug’s head, and the show restarts. Over a drink, Miller recounts the longest thirty seconds of his life (no pun intended) and Harry convinces Miller to demonstrate the killing using a third of a pool cue for the gun. Harry realizes that Boone pulled the trigger on himself. Boone excuses himself from Harry’s presence, and Harry sleuths. He spies Boone’s Egyptian tattoo, and discovers a statue to whom else but Anubis. The camera focuses tight on the statue, and fades to white.
Bob is not convinced this is a connection. Harry and Bob start to hypothesize a connection between Boone and Miller. Harry rambles while Bob points out flaws. The smoking jacket and gold lame handkerchief in his pocket only promulgate my theory that Bob plays for my team.

As Murphy enters the apartment, Bob moans, “I’ll be in my skull”. Murphy gives Harry a tongue-lashing for harassing Miller. Harry defends his honor, and then learns that Miller’s filed a complaint with the police chief. Harry tries to explain to Murphy the Egyptian connection, but Murphy exits after ordering Harry to stay away from Miller. Murphy cuts her hand on Harry’s door, and reiterates to leave Miller alone. “Call me crazy,” Starbuck says, “but I don’t think I would leave blood at a house of a wizard, especially one whom I just smarted off to.”
We are treated to another night time flyover of Chicago, during which Harry explains his critical flaw, “Someone tells me to stop, and I hear full speed ahead.” Down at the auction house, Harry views a photo of the tablet. Harry’s client (still nameless after sixteen minutes) reveals that he purchased the lock of Anubis through a state auction in Mumbai online. Harry, apparently unable to work with electronics thanks to his wizardly ways, asks if anyone else tried to purchase the lock.

Harry’s client reveals that he did have it listed online, and there was one attempt, from a prison computer. Apparently, federal law proscribes the use of online auctioneering from prison, so the sale had to be cancelled. Harry’s client finds out that a user named Saban345 Menard Correctional Facility tried to buy the lock. Apparently, this is the same institution where Boone spent five years of his life. Harry’s client, apparently after watching Court TV, thinks this is Lucas Saban. Saban, a former Egyptology professor, went to prison after mummifying a child alive. As Harry’s client speaks these words, all the power is drained from the office. In the monitor, we see a reflection of Lisa. The father cries out, “Is that you Lisa?” to which Harry retorts, “I think that was a nudge in the right direction.” Personally, I hate it when ghosts flip the circuit breaker to provide positive feedback to my current mental tangent, don’t you?

The screen changes to what can only be a prison complete with disturbing guard towers and tall razor wire security fence. The I-can’t-believe-its-not-helpful subtitles reveal Menard Correctional Facility, 9:18 AM [Letha: I know I’m shocked.]. The context clues of sunlight and an obvious prison wouldn’t have portrayed that information to our viewers, not at all. Saban, a longhaired, wiry man in his late forties clearly demonstrates his superiority complex when speaking with Dresden. After asking if Harry’s ever been to prison, Saban educates Harry that “Violence and Tedium are the two major threats to sanity on the inside.” Saban explains that Boone helped him avoid both worries, adding that he grew to “appreciate his particular interests.” With a look of incredulity, Harry replies “Ancient Funerary Rites.” Saban counters with “It’s not illegal”, and Harry touchés with “unless you practice it on live people.” Starbuck comments, “I think getting mummified really ruins your plans for the evening, huh?” [Letha: And was that not the most unsubtle metaphor for ‘I was his prison bitch’ or what?]

Harry tries to pump Saban for more information on Boone, including the Lock of Anubis, and Saban spars verbally with him, revealing nothing with his words. However, one turn of his head reveals the same tattoo that Miller has on his neck. The Egyptian Connection thickens. Saban slips and tells Harry that he gave Boone the same tattoo that he wears, and Harry counters that he didn’t see the tattoo on Boone. Saban hardballs Harry into an offer, “Bring me Boone’s autopsy files, and I’ll tell you what the Lock of Anubis means.” Harry’s not into buying information, and Saban exits the visitor area and leaves for his cell.

Harry, using a pay phone, calls Murphy and says that Boone, Miller, and Saban all have the same tattoos. Murphy says, “God don’t do this,” in a voice that mentally berates herself for getting out of bed that morning. Harry tries to formulate a connection between the three of them, Murphy scoffs at Harry’s logic, and Harry is left with a face of disgust and a dial tone.  While walking back to his jeep, a ski-masked assailant pulls a Southside Chicago driveby on Dresden. Harry manages to dive under a sedan for a hiding spot. “This reveals” sayeth the pug, “that the assailant has to be a novice at violence, since an experienced shooter could have hit their target no problem.” The screen closes in on Harry’s just hit the deck face, and we fade to white and commercial. From the kitchen, comes the sounds of my pizza barista, saying, “We’ve now hit the part of the show where Harry almost gets killed and is thus convinced he is on the right track.”

We rejoin our Wizard for Hire as he meets with Murphy about the recent attempt on his life. Harry doesn’t have much more information on the shooter, other than “shotgun, ski mask, same M.O. as Boone.” Murphy, with an inflection a mother might give a four year old, reminds Harry “Gus Boone is dead.” Harry keeps trying to point a finger at Miller, and Murphy isn’t buying it, she thinks it’s just a random Chicago shooting. (Mental note: Don’t go to Chicago.)

Harry tells Murphy that all three of them have the same tattoo, and Murphy counters by showing Boone’s autopsy photos, completely lacking any Egyptian tattoos. Harry concedes that Saban could have lied, and Murphy reminds him that Saban is a murderer, and not “the most credible witness in the world.” She blows hair out of her face; in much the same way she wishes she could remove Dresden from her reality. Unfortunately, just like that imperfect curl on her scalp, Harry just keeps coming back. Harry tries to regroup, and Murphy doesn’t buy it. Harry’s request to ask Miller if he owns a shotgun, earns a groan of frustration from Murphy. Carmichael pulls Murphy aside, and hands her a file from Menard Correction. Murphy informs Harry that they are going to Miller’s to deliver an official apology, together. With a voice she’s no doubt perfected on her daughter, Murphy orders Harry to go with her.

Meanwhile, the screen changes to Edward Miller using his fancy flat screen panel and computer to teleconference. The why-does-it-even-bother subtitles state Joseph Miller’s Estate 12:52 PM. Edward Miller offers to sell his collection to JT, knowing he will put his collection in a galleria in his new casino in Las Vegas. JT sounds accepting of the offer, and Miller offers to meet him at the airport at 8 to transport him to the house. As the teleconference ends, the doorbell magically rings. “This show is so awfully convenient. No one ever calls when the owner is in the middle of any other activity.” Starbuck states as she rolls her huge pug eyes.

Miller grabs a revolver and goes to the front door, careful to hide the gun from view. He opens the door to find a perky Murphy and a dejected Dresden. Murphy cannot seem to get a word in edgewise with Miller, but finally lets out that they need to come in to “mediate his [Dresden’s] recent and somewhat inflammatory accusations.” The mood immediately changes. Harry’s face alights, and Miller’s countenance falls.   Immediately, the way she’s taking control of this scene, I understand how Murphy made lieutenant in the force. She’s polite, respectful, and authoritative. Murphy reveals Harry’s data on Miller’s neck tattoo. She pulls out a photo of Boone taken in the prison infirmary. Boone suffered from a neck tattoo infection, Murphy relates. She asks several pointed questions directed at getting Miller to reveal the connection between himself and Boone. While Murphy has Miller distracted, Harry notices Miller’s scratchpad that says J.T. Bergen O’Hare 8 pm. Murphy finally accuses that Miller hired Boone to bring him the tablet, Boone dropped it, and so Miller shot Boone.

Miller, unfazed, walks out of his study and announces that he’s done with this conversation. Murphy finally asks Miller why Boone would have had his tattoos removed before his untimely death. Miller keeps stating his ignorance of any useful information. Harry figures out that the Lock of Anubis allowed Boone to transfer his tattoos, and with it his consciousness. Harry points a finger at Miller with the line, “You jumped bodies didn’t you, a little upgrade.” Enraged, Miller-Boone grabs Murphy and shoots himself in the head, effectively transferring his consciousness to Murphy’s body. The spectacular light show only highlights how see through this plot has been. Anyone who watches this show, and couldn’t figure out from the tattoo connection that they jumped bodies, obviously isn’t a true fan of the urban fantasy genre.
Harry looks on at the corpse of Miller and the oozing blood. Initially leaning into Murphy, Harry jumps back when Boone-Murphy points a gun at him. Boone-Murphy asks if he actually talked to Saban, and Harry stutters. Boone-Murphy fires a couple of shots at Dresden, and the shield bracelet reflects the bullets, with Harry falling over acting as if he’s been shot. Boone-Murphy feels her neck for the tattoos, and then undoes the front bra-clasp. “This’ll be interesting.” She struts out the front door, and the screen fades to white on what is presumably Harry’s corpse.

Harry opens his eyes, and gives his own scene a voice over, thanking his mother for the bracelet, which has yet again saved his life. His voice over leads us to a view of the canal industrial area in Chicago, and then back to Harry’s apartment. Bob puzzles with a prissy voice over Harry’s gathering of Murphy’s blood on the doorknob. “I knew that wasn’t coincidence earlier.” Starbuck cackles. Harry shows Bob a voodoo doll; Bob’s voice changes to a tone of disgust, “So you’re going to reach out and touch Boone by bringing pain to Murphy’s body.” That sounds like a line from Buffy, and I approve snark by commercials. Bob shouts over Harry that using a voodoo doll to inflict pain is Black Magic, and risks alerting the High Council, and other sundry very bad things. Harry uses the typical line for doing anything evil in the name of a higher cause, “I had no choice.” Starbuck snorts, “Isn’t that the same commentary you used for Melissa in the first episode?”

Bob comes up with the plan of alerting the media, forcing the Vegas Tycoon to stay in Vegas, and leaving Boone still in Murphy. Harry says this won’t work, because Boone will jump into his next choice, still leaving us with one dead Murphy. Outraged that his lover, I mean, wizard roommate has shot down his plan, Bob’s voice and tone gets righteously angry, demanding to know how a voodoo doll will do any good.

Harry redirects Bob’s frustration, asking him for help in getting Boone out of Murphy. Bob starts to sweat, or more likely give the appearance of sweating, while naming off multiple mystical procedures, all of them useless for this situation. Bob closes his eyes to think, and Harry closes his eyes to rack his brain. Considering that the show has just finished using one buffyism, I’m offering that dialogue about magic represents the same thing for Bob and Harry as magic did for Willow and Tara. The freeze frame of Bob and Harry, both with their eyes closed, could set off the relationship radar of anyone. Bob finally shakes his head, and with a high-pitched voice announces, “That Egyptian Mumbo-Jumbo is not my forte.” Harry smiles, “No, it’s Saban’s.” Bob watches Harry take off, and makes the face that Irish women make when their husband’s set sail. Harry has a look of consternation on his face, as though he wants to say more, but feels he cannot.

Even though he has just announced that he’s going to see Saban, and we are seeing the same prison exterior, the not-really-all-that-bloody-helpful subtitles announce Menard Correctional Facility 3:26 PM. Harry’s sitting across a table from Saban, but is clearly in Saban’s personal space, pressing his points. Harry tells Saban that Boone betrayed him, letting him know that his autopsy reveals the tattoos are gone. Harry lets Saban know that, after breaking his word to free Saban, Boone is about to jump into a Vegas Tycoon. Harry bets that Saban will want to extract revenge on Boone. Saban explains that in order to break the spell, Boone must touch the lock of Anubis.
Harry hooves it over to see Marie, and my heart jumps at this thought. Harry clearly lies that Murphy needs the Lock of Anubis. Marie offers, “Sure you don’t want to stay, I’ve got doughnuts.” Her face lights up, and Harry’s countenance falls. Marie disappears into the backroom and Harry visibly breaks out into a sweat.

Harry goes back to his client’s home. He spills out the rocks that make up the tablet, and asks him to put that back together. Harry picks up the phone and calls Boone-Murphy. We flash to Boone-Murphy (with subtitles) at Chicago O’Hare Airport 7:34 pm. Murphy’s having two fingers of scotch, and answers the phone. Harry presses his thumb on the voodoo doll, and Boone-Murphy swallows down the pain. Harry’s almost consumed by his desire to press on the voodoo doll, indicating that for this show, black magic is addictive. Harry actually says, “Just so we’re clear, I own you. I’ve forgotten more about magic than Saban ever knew.” Hubris, anyone? Harry orders Murphy to sit tight, and wait for his next call. Harry hangs up the phone, and appears jittery. Apparently, black magic gets you caffeinated in this universe, and Harry has to take time to calm his nerves.

Boone-Murphy reopens the phone, and has the boys down at the PD trace the last call to her cell. Harry’s client says, “Now what?” Harry replies with, “Now we wait for Boone to kill me.” Starbuck jumps up and down screaming something about a plot hole. “I don’t know about you,” she snorts, “but if I paid someone the amount of money this guy is paying Dresden, and then he has the audacity to lure the killer to my home, I would be running away from my home, or calling the police or something.” Starbuck lives in logical land, which I’ve often told her, doesn’t apply when it comes to Sci-Fi. Her earth logic doesn’t apply to our TV logic. The screen goes tight on Harry’s face, and we fade to white.

The blood red sunset sky silhouettes the backdrop of Chicago’s skyline, as Harry voice-overs that it’s not the showdown that really unnerves him, it’s the waiting. It gives him ulcers.
I love the parallels of Dresden’s speech here to my own thoughts regarding my orientation. His client asks him, “So this thing you do have you always done it, do you always help people?” This kind of questioning reminds me of the many conversations I’ve had with friends and family over the years. It’s refreshing to see it portrayed in another manner, one that’s less alarming to the populace. Harry alludes once again to his Uncle being a negative influence on his magical career, and his untimely demise. The conversation between these two actors, the choice of lighting, almost makes you feel like you’re in confession.

Until, that is, the Boone-Murphy noisily enters the house. Harry picks up the voodoo doll and presses down on it, which makes Boone-Murphy scream in pain. He slams the doll to the ground and holds his hand on top of it, making Boone-Murphy prostrate on the floor, unable to get up. Harry starts to taunt Boone-Murphy with knowledge about the Lock. When he gets in close, Boone-Murphy pulls a knife and stabs Harry in the back. Boone-Murphy drags Dresden’s body to Harry’s client, then asks for the Lock, gun in hand. The client immediately calls him out as being his daughter’s murderer, and Boone-Murphy forces him out of the way. Harry gets back up, and taunts Boone-Murphy. Harry and Boone-Murphy get into a struggle for the gun, and in the process puts her hand on the Lock. The coursing light fills the screen, and we see the spirit of Boone leave Murphy’s body. Lisa’s spirit appears as Boone’s spirit starts to scream in agony and explodes in a blast of red light. She looks at her father, who returns her gaze, and eventually dissipates as her voice audibly says, “I love you Daddy.”
Harry’s relaxing, reading a book, what seems to be a couple of days after the event. A knock at his chamber door turns out to be Murphy in street clothes. Harry limps to open the door, and invite his cop friend in. Murphy tells Harry that the doctor’s tests reveal no problems, and Harry indicates that she took quite a hit to the head, an obvious lie that Murphy sees right through.
Harry’s room is full of candles, and the scene feels almost holy, like somehow this apartment has transformed into a sanctuary while they are speaking, and Murphy really opens up. Very raw, very unguarded Murphy reveals that she’s been having dreams of Harry. Harry becomes nervous, and asks if they are good or bad dreams. Murphy is still unsure of herself, but opens up even further, “In some of them you’re pretty scary, some of them not so much, but in all of them you’re performing.” Harry struggles to understand, and Murphy finally says, “like Miracles.”
Harry breaks the mood by lying, and by visibly giving away that he’s lying. His story, delivered very nervously, maintains that Murphy got knocked out by Miller, and when Harry woke up, he took her back to his apartment.” The guarded detective Murphy comes back with, “Could you make me a promise?” Harry, still hoping his ruse has worked assents. “[Then] promise that after tonight you will never lie to me about anything, (a beat), ever again.” Murphy gets up and silently walks out the door, while Harry puts his head in his hands to hide the tears. The screen fades to white on Harry’s apartment door.

~ by Warped Kevin on April 24, 2007.