Suspicion Song

"Suspicion Song" is the 165th episode of Desperate Housewives.

Summary
Detective Chuck Vance begins harassing Bree as his suspicions about her involvement in the disappearance of Alejandro grow. After using the murder of Gabrielle's stepfather as inspiration for her art school projects, Susan must find a way to graciously decline art school teacher Andre's invitation to display and sell her paintings at a gallery showing. When Carlos's drinking gets in the way of his ability to work, his wife goes to the office in an effort to save his business from losing a multi-million dollar account. Meanwhile, on the occasion of their 22-year anniversary, Lynette comes up with a plan to try to salvage her marriage to Tom.

Previously on Desperate Housewives
"Detective Vance got aggressive, but Ben came to the rescue, and Mike got rid of the body. But so many secrets led to a falling out. And Susan expressed her anger the only way she knew how."

- Mary Alice Young


 * Chuck Vance threatens Bree with a photo of a missing person - Alejandro. ("Always in Control")
 * Ben, in turn, violently pushes Chuck aside. And later tells Bree that he'll get rid of the body. ("Always in Control")
 * Mike Delfino, on Ben's orders, buries the body underneath the new housing development. ("Always in Control")
 * Susan and Lynette both find out about the blackmail note Bree received and don't take it lightly. ("Always in Control")
 * Susan subsequently takes out her anger in her painting... which depicts the events of the night that Alejandro was buried. ("Always in Control")

Teaser
"There is nothing more peaceful than the sounds of Wisteria Lane at night. Whether it's the murmur of a neighbor's television. The hum of the street lamps. Or the songs of the night-birds. Wisteria Lane is so peaceful, that even the slightest disturbance can be very alarming."

While the rest of Wisteria Lane sleeps, Bree Van de Kamp is awoken by a loud bang coming from downstairs. Bree pulls herself out of bed and yanks the bedside telephone to her ear, after calling 911. She informs the police that an intruder has entered her home and she immediately hangs up. Afterwards, she opens a nearby drawer and pulls out a personal firearm. Bree subsequently opens her bedroom door and makes her way down the dark corridor towards the stairs. The gun tightly in her palms, Bree prances down the stairs and aims it at the intruder standing at the front door. The figure switches on a lamp beside the door and turns around - it's Chuck Vance. "Hello Bree," the detective says with a smile. Bree asks why Chuck is there, and says that she could've shot him. Chuck explains that he got her 911 call over the radio and, when he arrived, her front door was open. "I'm just going to have a look around", Chuck says calmly to his ex-girlfriend, then adding "If you don't mind putting the gun in your pocket while I do". Bree does so, as Chuck walks away to look around her house.

Later, Chuck has finished looking around. The two walk through the dining room back into the lounge, and Chuck asks what Bree heard. "A loud bang", Bree begins, "And then some footsteps... like someone had forced their way in." Chuck walks over to some nearby windows and asks if she didn't just leave the door open. Bree is positive that she locked it. Chuck suggests that it might have been just a drifter who was looking for some cash. Bree explains that they rarely get any drifters on the lane, which promptly leads Chuck to remind her of an exception - the man (Alejandro) who they saw on the night of the dinner party. Bree pretends she doesn't recall ever seeing the man. "Funny", Chuck says smiling, "The things we remember. And the things we don't". Bree asks if she is being interrogated and Chuck quickly dismisses this, explaining that she is a victim. Bree asks what he means and Chuck explains that he thinks someone is trying to send her a message because they think she is hiding something, or maybe are just trying to rattle her, hoping she'll slip up. "Or maybe", Chuck says coldly, "they just don't want you to feel safe in your own home". The two give each other long threatening gazes before Chuck glides away towards the front door.

Bree remains motionless, stricken with fear, in her own living room. She pulls her dressing gown tighter around her body. Chuck turns around in the doorway and adds, "I wouldn't lose any sleep over this, Bree. I'll be keeping an eye on you." Chuck leaves, slamming the door behind him. Bree is petrified with fear.

"Yes, there's nothing more peaceful than a night on Wisteria Lane. Until someone comes along and disturbs the peace."

- Mary Alice Young

Act I
"In a stressful world, we can all be forgiven for having a few weaknesses. Some of us are lured by a sweet treat..."

It's daytime on Wisteria Lane. A woman is jogging down the street. She passes an ice-cream man, but despite temptation, she carries on past the vendor. However, moments later, she returns and buys a frozen dessert.

"Others by a sad face..."

A young girl is sat at a lemonade stall with an upset look on her face. She hasn't sold any lemonade. A businessman returning from work spots her and purchases a drink to put the young girl out of her misery.

"And still others by the pull of a great novel."

A beautiful young woman is sat on a bench in the Wisteria Lane Park, quietly reading a novel. Two elderly men walk past her. Then, one of the men (clearly taking a fancy to the woman) approaches the woman and starts to converse about the book she is reading.

"But Gabrielle Solis was about to discover that some weaknesses aren't so easy to forgive."

A man is standing outside the house of Gabrielle Solis. She opens the door to him and it is revealed that he is a taxi driver, and he has something that belongs to Gaby in the back of his cab - Carlos, who is inebriated and has fallen asleep. Gaby asks the driver if Carlos is drunk, to which the driver replies, "Unless he throws up in cabs when he's sober." Gabrielle sighs, apologizes and hands over a wad of cash to the driver. In the cab, Carlos is starting to come around.

Gabrielle has Carlos sat at the kitchen table. She places down a large bowl, which Gaby describes as a "Mexican Hang-over cure". She pours him a glass of water and places it beside him, and Carlos apologizes for all he's put her through. He admits that he thought it would all get better after Ben took the body off their hands, but it hasn't. Gaby suggests that he get some help, and tells him that rehab sounds like a good option. Carlos is determined not to go to rehab as he has to run his company. Otherwise, it will all fall apart. Gaby manages to convince him to take a break, but Carlos has to sign a payroll that day, and refuses to take his wife's advice to stay home. Gaby says she'll go in and sign the payroll... after all, she's forged her husband's signature plenty of times to get credit cards.

At Andre Zeller's art studio, a class is in session. Andre tells the class that he is going to introduce his art dealer and owner of a local art gallery, Felix Bergman. He pulls back a sliding door and in steps a small, grey-haired man, smartly dressed in a bow-tie and blazer. "I smell fear and mediocrity", Felix Bergman says slowly, as he looks around the classroom at the students. Susan turns to her classmate, Amy, and adds, "Oh no. It's like someone left Andre in the drier too long." Amy tells her to be quiet, and they both return their attention to the critic. Andre explains that Felix is visiting to give his honest feedback on everyone's work and to teach them the business of art. Felix arrives at the first student's easel and asks for the artist's explanation of the painting. "A celebration of the female nude", the young student, Marc, replies. Bergman holds his fingers to his chin before adding, "This is why I don't sleep with women. It's repulsive!" The student tries to rephrase his explanation, but Bergman rudely walks away. Bergman approaches Amy's easel and arrogantly calls her work horrible. Andre tries to stick up for Amy (Bergman catches on that Andre is sleeping with her) and picks up the painting and places it in the trash can behind them. Amy looks at the art critic in horror. Felix Bergman then makes his way over to Susan. Before he can even judge her painting, Susan begins to insult the critic for how harsh he is being on everyone. Bergman walks away to look at several of Susan's paintings leaning against the wall behind her - he is admiring the paintings Susan has done of the night Alejandro was murdered. Andre tells Susan that if she is to become a professional artist, she needs to develop a thicker skin to take the criticism people will give her. "Did you paint this?", Bergman asks excitedly, behind them. Susan gets off her stool and turns around to face the critic, "Yes, I did," Susan exclaims, "and I have no interest in hearing what you think of it." Bergman continues to eye up the artwork as Andre and Susan watch him. "Well", the critic begins, "that's too bad because I think it's brilliant." Susan and Andre are both confused. Bergman says that it's original, dark and brooding and tells a story. Bergman turns to Andre and adds, "Congratulations, Andre, I do believe you've struck artist."

Meanwhile, at 4362 Wisteria Lane, Renee Perry and Lynette Scavo are showing Cindy, a local mother and PTA member, their interior designs for her home. The group agrees on a design, and Renee asks for a $5000 deposit, so Cindy pulls out her cheque book. Cindy asks what the date is, to which Renee informs her that it's the 13th. Lynette announces that it's her wedding anniversary - she's been married for 22 years. "Congratulations!", Cindy exclaims, "What is that? Copper, Brass?" Lynette stares at Cindy before replying, "Separation." Cindy apologizes but explains that she saw her ring, which lead her to assume otherwise. "Yeah," Lynette says calmly, "Still wearing it. Even though we're hanging on by a thread." Renee interrupts the two of them and asks politely for Cindy to sign the cheque. Lynette begins reminiscing about what her mother told her - that it's bad luck to get married on the 13th. Cindy tells Lynette not to give up as she and her husband, Franklin, almost split up two years before, but they got through it. Lynette is interested. Renee butts in and tells Cindy to sign the cheque. Later, Lynette is sitting quietly on the sofa and asks Renee if she's fought for her marriage enough. Renee tells Lynette that she knew the time was right to call it quits. "That's just it," Lynette explains, "I'm taking "no" for an answer." Renee says that Lynette and Tom tried to make it work but couldn't, now he's moved on, and she needs to do the same.

Bree knocks on Gabrielle's door. Gaby answers it, and Bree asks if her friend has a moment, because she needs someone to talk to, and Susan and Lynette are ignoring her. Reluctantly, Gaby beckons her in. "How did things get so bad so quickly?", Bree asks, as Gaby pours her a cup of coffee in the kitchen. Bree admits that she feels as if she's lost the life she once led - first her family, and now her friends. Gaby says that Susan and Lynette will cool off once they realize they're all in the clear. Bree says they're not in the clear yet, as Chuck paid her a visit the night before. Gaby begins to question her friend on what Chuck wanted, but they are interrupted when Carlos enters - Bree's face looks horrified. Carlos asks for some aspirin, which his wife gives him quickly, and then he leaves. Bree says that she thought Carlos had stopped drinking. "Me too", Gabrielle replies unhappily, adding "He keeps saying it's work but I know it's still the guilt eating away at him." Bree listens thoughtfully. Gaby says that she doesn't understand how drinking helps. And Bree says that when you're an addict, alcohol can seem like your only friend. Gaby acknowledges this and says that she is thankful this whole ordeal is over. Bree agrees and dismisses herself. Gaby stops her and asks what Chuck wanted. Bree lies and tells her that Chuck asked to get back together again. Gaby tells Bree that they will always be friends because Bree is her rock. Bree smiles and leaves the kitchen.

Act II
Gabrielle arrives at Carlos' office. There, she spots Marilyn, Carlos' secretary, frantically pushing buttons at a telephone, trying to get a hold of someone, with no luck. She's trying to contact Carlos. Gaby announces she's there to sign the pay-roll. Marilyn exclaims that she isn't bothered about the pay-roll. She's bothered that Frank Sweeney, one of the company's biggest clients, is on his way there, and he did not sound happy. In desperation, Marilyn picks up the phone and begins to dial again and adds "I'm going to try Carlos again!" Gaby takes the receiver from the secretary's hand and places it down. She lies and tells the worker that Carlos is home with the flu and that she can take care of everything. She undoes a few buttons on her blouse to show off more cleavage and says, "I know I'm taking woman's lib back 20 years, but I can do this." Later, Frank Sweeney has arrived at the building, and is waiting in Carlos' office. Gaby enters, blouse still partially undone, and flirtatiously asks when the two of them last saw each other. He seems not to recall, but she reminds him that it was at the Christmas party - she turns around, sticks her behind out, and wiggles it while singing the lyrics to "Jingle Bells." Frank is not amused, and asks when Carlos will be in. Gabrielle continues to be flirtatious until Frank gets up angrily and announces his displeasure. Just then, a knock is heard on the office door and Geoffrey Mathers enters and introduces himself. He explains that he can offer Frank assistance with his money issues - the two sit down as Gabrielle moves to the side and sighs.

Back at Andre's studio, Susan is about to leave. She purposefully tries to annoy Andre because Felix liked her artwork, and succeeds. Just then, Felix walks over and announces how excited he is about Susan's art and admits that he wants to put it on display in his gallery for the public to see. Naturally, due to the painting's subject matter, Susan is against this. She leaves the studio. Bergman's mouth hangs open and he utters, "Artists."

Geoffrey Mathers finishes up his talk with Frank Sweeney, and the latter departs from the office. Gabrielle is quick to thank Mathers for stepping in to help her out. "It was nothing," Geoffrey says, "Carlos has done a lot for me over the years. Is he OK?" Like before when talking to the secetary, Gaby lies and tells Geoffrey that Carlos is suffering from flu. Geoffrey says that is strange, Carlos always comes in to meet with Frank Sweeney, not even the flu would keep him away. Gaby ignores him and picks up her purse from the table. Geoffrey can see she is lying and sits beside and explains that when he first joined the company, Carlos was like a second father to him and thus wants to know what is going on. Gaby spills - "He's been going through a rough time, and he started drinking...a lot. So he's going to be staying home for the next week or two, trying to pull himself together." Geoffrey listens with an understanding face. He tells Gaby to go home and look after her husband and leave him to handle the business. Gaby thanks him, jokes about giving Geoffrey a raise, and leaves.

Meanwhile, Lynette is folding the laundry, when she hears two knocks on the door. She opens it, and a bouquet of beautiful flowers is given to her by a delivery man. They are from Tom - to commemorate their wedding anniversary. Penny approaches her mother and asks who sent the flowers. "Um," Lynette murmurs, "Just your aunt Renee." Penny says that that was nice, to which Lynette replies, "Yeah... a little unexpected, but very, very nice." She kisses her daughter on the forehead and then looks at the card hanging from the flowers thoughtfully.

Gabrielle returns to home and finds Carlos lying on the sofa watching TV. Carlos asks how it went at the office and Gaby replies that she didn't just sign the pay-roll, she had to make up lies to explain why her husband wasn't at work. Carlos asks what Gaby told his co-workers and she explains that she told them that he had the flu. She says that she spoke to Geoffrey Mathers, and Carlos adds, "The guy probably started doing cart-wheels the moment you left." Gaby is confused, and Carlos tells her that Geoffrey is a snake and that his contract ends at on the last day of the month and thus he is trying to poach the firms biggest clients. "Wow," Gaby says exhausted, "What a day. I need a drink." Carlos reminds her that she threw out all the booze to help Carlos' addiction, but Gabrielle explains that she hid some chardonnay in the tank of the guest toilet and adds, "It's like you don't know me at all!" Gaby turns her back on her husband and walks away, her face is worried.

Act III
Renee Perry arrives at the Scavo household. Lynette appears at the top of the stairs, beautifully dressed up with a luscious head of curly hair, and she makes her way down the stairs. Renee is in shock at how beautiful her friend looks, and is happy that she is trying to put herself "out there" and to give it a go at meeting new people. Lynette admits that she isn't going to meet new people, she is trying to wow Tom. "Lynette. Stop it with that!", Renee exclaims, "He's moved on!". Lynette sits down beside the bouquet and adds, "Then why did he send me flowers for our anniversary?". She hands Renee the tag that came with the flowers, and Renee says that she doesn't understand it, because he is supposed to be seeing Jane. Lynette is hopeful that, with their anniversary coming up, perhaps Tom has started thinking about it, and wants to get back together. Lynette begins to tell Renee her plan (despite some initial comical confusion on Renee's part): she will place a bottle of scotch on his bedside table. That is their 'thing' - Tom sends her flowers, she gives him scotch. Lynette is adamant that there will be no sex between the two of them, much to Renee's confusion, and hopes that her plan succeeds.

Andre is at Susan's door. She opens it and her art teacher suddenly says "You're an idiot." The teacher is annoyed that Susan refuses to take the amazing opportunity of letting Felix Bergman hang her paintings up in his gallery. Susan explains that she made the paintings to help herself, and regardless of what Andre says, she isn't going to share them with anyone else. "You're scared.", Andre says slowly, "You're afraid of being judged." Obviously, this is not the reason why Susan refuses to display her art, but she goes along with it and admits that she is afraid of judgment. She dismisses Andre and closes the door on him. Outside, Andre gets into his van. Bergman is sitting in the passenger seat and eagerly asks if his friend managed to get the paintings. "No, she still won't do it.", Andre says, "But you know what they say: some are born great, some achieve greatness, and some have greatness thrust upon them." Bergman listens and replies, "Looks like it's time to start thrusting." The two pull their seat-belts on, ready to leave.

Across the street, Bree is going out. She shuts her front door behind her and begins to walk down her garden. However, she is stopped cold once she spots Detective Vance, who is patiently waiting beside his car, in front of the property. She is hesitant, but ultimately decides to confront her ex-boyfriend-turned-stalker. She reaches the end of her garden and says to Chuck, "If you're spying on me, you're not very good at it." Chuck turns around, a police file grasped in his hand, and begins to make his way closer to Bree. "Oh, I thought I was pretty good when I followed you to the gardening store. And that little stop you made for frozen yoghurt... our little secret.", he replies, calmly. Bree informs him that stalking is illegal and Chuck tells her that he'd prefer to use the word "surveillance". She flashes him a dirty look, before retreating and heading for her car. "Stay-", Chuck says darkly, "I'm not done with you." He holds up the police file - which contains the photo of Alejandro - and says that surely if Bree can't remember seeing him, perhaps she can remember seeing his car. Bree looks at the ground, then at Chuck, and asks what he means. Chuck replies, "A silver Ford Focus. Just like the one you and Gaby were dropping back to "aunt Shirley" the day I pulled you over. What are the odds?". Bree explains that it is purely coincidental. "You wanna hear another coincidence? The missing guy is from Oklahoma City. Wasn't Gaby's aunt a big fan of the Oklahoma City RedHawks?". Bree refuses to answer the questions, and instead insults Chuck's appeal. Chuck begins to walk away and says that he'll just go ask Gabrielle the questions instead. "You leave Gaby out of this!", Bree exclaims, "Carlos has been sick. She has her hands full." Chuck smiles and says that he is very patient and that he can talk to her later instead. Bree looks down at Gaby's house, nervously pulls her handbag up onto her shoulder, and then stares back into Chuck's eyes. "Bree", Chuck starts, "I've been a cop for a long time. And I can always feel when I'm getting close to the truth. You wanna hear a wild guess?". Bree calmly replies that if it would allow her to get on with her day, then she'd be delighted to hear it. Chuck says "Something happened to this guy. Something bad and permanent. Now, I don't think you did it, but I think you know who did. Probably one of your friends. And you, being Bree, are protecting them." Bree smiles and replies, "I do protect my friends. I would do anything for them, anything. They're the one thing in my life that have never failed me, and I will never fail them. And against that you are powerless. Now, I am tired of your little guesses and your games, so if you wanna charge me with something, I suggest you take out your cuffs. If not, you get the hell out of my street!" The two stare deeply into each other's eyes, before Chuck retreats back to his car. He speeds away, and leaves a stricken Bree gasping desperately for air.

Act IV
Gabrielle storms into Geoffrey's office and shouts "You scum!". Frank Sweeney and Geoffrey are having a meeting. Gaby spots Frank and quickly adds, "Sorry, not you, Mr. Sweeney. Nice seeing you again." Geoffrey says that the two of them are sort of in the middle of something. Gabrielle tells Geoffrey that she knows he is trying to steal Carlos' clients while he is away. Geoffrey says that perhaps it is time for Mr. Sweeney to know the truth about what is going on with Carlos. Gabrielle stares into space for several seconds before refusing to say anything. "Fine, I'll tell him.", Geoffrey says, "Carlos is a drunk. He isn't here because he drinks too much and is unable to perform the responsibilities that come with the job." Gabrielle is angry and she exclaims that Carlos will get sober but Geoffrey will always be just a low-life son-of-a-bitch. Frank stands out of his chair and asks Gabrielle if what Geoffrey has just said is true. She confirms it. "I need to speak to him.", Frank tells Gaby, "Right now."

At the Solis house, Gabrielle frantically tries to wake Carlos up. Carlos admits that he was just dreaming about his wife and he flirtatiously touches her upper leg with his hand. She pats his hand away and informs him that Mr. Sweeney is there to speak to him. Carlos is horrified. He gets up and greets Frank. Gabrielle whispers to Carlos that Frank found out what is going on. Subsequently, Carlos begins to tell his client how sorry he is and that he's had a rough couple of days, but he's okay now. Frank pulls a chip out of his pocket and holds it up, saying that he's been sober for 14 years, but there was a time when he was just like Carlos is now, and the thing that got him on the road to salvation was admitting that he had a problem. Then, he went to rehab. Carlos refuses to believe that it's gotten that bad for him. Frank walks closer and says that he can tell himself that, but it's time to make a choice. Either he throws everything away or takes back control of his life. Carlos stares at his client blankly. Gabrielle moves in closer and whispers to Carlos, "Honey, I think you should go." Frank explains that he can call the rehab center the following day, the very same place he went, and he can have everything set up for Carlos. After hesitating, Carlos reluctantly agrees, and he hugs his wife tightly.

Elsewhere, Lynette arrives at the door to Tom's apartment, the bottle of scotch in hand. Using Penny's key, she lets herself in. She makes her way over to Tom's bed and places the bottle beside it, on the nightstand. She picks up a book from the bed and begins to inspect it. Suddenly, she hears the sound of Tom and Jane - they have returned home. Frantically, Lynette grabs the bottle of scotch, lies down on the floor, and quickly rolls herself under the bed. Tom and Jane enter the room, undress, and start the process of foreplay. Lynette makes repulsed faces from underneath the bed. Tom picks up Jane and throws her onto the bed and the two continue to kiss and touch. Lynette can't stand it anymore - she screams "Stop, stop, stop, stop!", and emerges from underneath the bed. Tom and Jane are both shocked and she apologizes to them. Tom doesn't understand the situation. Jane announces that she'll give the two some privacy and leaves. Tom asks what is going on and Lynette explains that she has come to give him his scotch, since he bought her flowers. Tom finally understands, but ultimately admits that since several years ago when he forgot their anniversary, he has had a standing order with the florist which he obviously forgot to cancel when they agreed to separate. Lynette is struck by a wave of realization, and utters a quiet, "OK... I'm going to go..." She walks away from Tom, and just as she gets to the doorway, he calls her name and says "Your hair looks nice." She solemnly thanks him and leaves.

Act V
Susan has just arrived at Felix Bergman's art gallery. Andre spots her and the two greet each other. Susan and Andre begin to walk around the gallery, and after accidentally mistaking a piece of art for a glass of white wine, Susan discovers that her paintings - showing the murder of Alejandro and the cover-up - are on display. She is horrified. A crowd of people appears around the paintings, and Andre says to Susan, quietly, "You're a hit." Out of desperation, Susan tries to remove the artwork. Casually, she walks up to the biggest painting, takes a hold of it, and comically tries to pull it off the wall, without much luck. Felix Bergman walks up to her, as she continues to try and yank her painting down - "Wow, that is really stuck on good, huh?", Susan exclaims. Bergman asks what she is doing and she explains that Andre took the paintings without her consent, and she doesn't want them displayed to the public. "Stop it!", Bergman screams, while Susan tries harder to remove the paintings. He tells her that the only way they're coming down is if somebody buys them. Susan desperately begs for her to have the paintings back and shouts "No one can see these!". A bigger crowd of people have since formed around the paintings, and Bergman's face is alight with happiness. He turns to Susan and whispers, "Oh, you are clever! Making a scene like a crazy artist! There is not a single person in this room who isn't looking this way. You're genius!". Bergman announces that he is going to fetch a photographer and dashes away, exclaiming to the audience that Susan's mind has snapped. Susan sees a waiter carrying a silver platter of wine glasses. She snatches a glass and tries to throw the wine over the painting. The wine is solid. She realizes that, like before, the wine glasses are pieces of art. She runs aside and pulls out her phone, and rings Bree, asking if she and Gaby (and their cheque books) can come to the gallery.

"Susan, this isn't art! It's an illustrated confession!", Bree exclaims. Gabrielle stands beside Susan and Bree, and the threesome look concerned at the paintings. Susan explains that she didn't know they'd be put on display. Bree says they must take them down immediately. Bergman prances over, arms in the air, and says "Hello ladies! Are you enjoying the art?". Bree and Gaby say they love the paintings and would like to buy the whole series that Susan painted. Bergman politely informs them that he would usually place a "SOLD" sticker on the painting and wait until the show is over before actually handing them over. "Yeah", Gaby says quickly, "Well, you heard the lady. We need these paintings and we gotta have them now. So how much?". Bree and Gaby both take their cheque books from their purses. Bergman looks at the paintings and turns to the woman and say that "$10'000 should cover it." Susan exclaims how happy she is that her paintings are worth so much. Bree and Gaby both flash her dirty looks, and she quickly corrects herself, claiming that that seems a little steep. After some hesitation, Bree and Gabrielle both sign their cheques and hand them over to Bergman. The art dealer walks off and Susan turns to the girls and apologizes for what has happened. After a brief talk with a married couple who are admiring the paintings (and think it displays the bludgeoning and burial of the middle class in America), the girls turn around to find Chuck looking at the paintings behind them. "Oh", Chuck says coldly, "I don't know. All I see is four women who killed a guy... with a candlestick... and dumped his body in the woods. But then again, what do I know about art?". Gaby, Bree and Susan look at Chuck, deeply concerned.

Act VI
Bree is annoyed at Chuck for following her there. "I'm just trying to get a little culture", Chuck says, as he walks closer to the paintings. "Susan, you painted these? Bravo! They are amazing." He admires the paintings and asks "Is it me, or do those women look familiar?". Chuck looks back-and-forth at the painting and back at the housewives and concludes they are the women in the painting: "The short one kinda looks like you, Gaby. There's you, Susan. And your friend Lynette. And the pretty one with the red hair... well... who else, but Bree." Bree looks worriedly at Chuck, before shrugging her shoulders, and replying, "It's a work of art. I'm sure it's open to interpretation." Chuck smiles eerily, as the housewives continue to watch him, and adds "Nah, I'm pretty certain it's you." Chuck then points to the dead body lying in front of the characters in the painting and admits that he doesn't know who that is. He then asks Susan, seeing as she painted it, who the dead body is meant to represent. Susan doesn't reply. He then looks at his ex, "Bree, any ideas? Maybe a certain missing person from Oklahoma?". Gabrielle and Susan look at Bree, confused. Bree's face goes cold. Chuck approaches her and says sternly, "I am this close to putting this together. But you know what? I think I'm going to take my time. Because I want to enjoy watching the "Ice Princess" melt." Bree's face remains cold and frozen as she looks at her ex-boyfriend. Chuck then smiles at Susan and Gabrielle and walks away. Susan and Gaby both turn to Bree and ask her what he's talking about. "Alejandro!", Bree says, frantically, "Someone reported him missing! And Chuck thinks we're connected." Susan and Gabrielle both let out angry sighs. Gabrielle realizes that Bree lied to her when she asked her why Chuck was at her house, and Bree tries to explain how she was trying to protect Gaby, especially seeing as she had her hands full with Carlos' drinking problem. "God, Bree!", Susan exclaims, "More secrets!". Susan says nothing else and simply walks away. Gabrielle then continues to confront Bree. "Ever since that night", Bree shouts, "I have been the one trying to keep all of this together!" Gabrielle says, "Yeah? Well great job." Like Susan, Gabrielle walks away. Bree is left alone.

Later, people are starting to leave the gallery, as the night draws to a close. Several staff members take Susan's paintings out of the wall. They pass the artist, Susan, who is leaning against a wall, thinking. Andre walks up to her and says: "Well, there's the woman of the hour. How do you feel?". Susan ponders for a second before admitting that she never wanted anyone to see the paintings, and now she feels miserable. "Then, congratulations", Andre says, "You're finally an artist."

"Yes, there comes a time when we must expose our weaknesses. Like when our secrets can no longer remain private..."

Staff members delicately take the paintings of Alejandro's murder that Susan painted off the gallery wall and place it on the floor, to put away.

"When our solitude can no longer be denied..."

Lynette is getting ready for bed. She stands in front of her bedroom mirror. She rubs her wedding ring, before sliding it off her finger and placing it in her jewelry box.

"When our pain can no longer be ignored."

Carlos stands in the kitchen beside the sink. He looks at a bottle of alcohol and reluctantly unscrews the lid and pours its contents down the drain.

"But sometimes, we feel so alone, that a weakness we'd thought we'd overcome..."

In Bree's kitchen, she pulls a wine glass from her cupboard, pours white wine into it, and takes a sip. She holds the glass tight to her chest.

"...Suddenly becomes too strong to fight."

- Mary Alice Young

Production
This episode was written by David Schladweiler, a member of the series' production staff, and marked his fifth writing credit with the series. It was the first episode to be directed by Jennifer Getzinger.

Reception
According to Nielsen ratings, "Suspicion Song" was watched by 9.29 million viewers, scoring a 6.2/9 in households, and holding a 3.0 rating in the key 18-49 demo. The episode was competing against Sunday Night Football on NBC, which averaged 20.92 million viewers and a 12.9 rating/20 share, The Good Wife on CBS, which was watched by 10.24 million viewers but held a 2.0 rating, and Family Guy on Fox which was watched by 6.01 million viewers and held 3.1/7 rating in the 18-49 demographic.

The overall reception of the episode was positive. Catriona Wightman, reviewer for Digital Spy, commented that "Things are finally starting to kick up a gear in Wisteria Lane (...)", and commended the evolution of the Jonathan Cake's character and his portrayal of the role. However, she isn't too keen on the separation, adding "I get that all of the Housewives have fallen out at the moment, but I do think the show is strongest when it's a genuine ensemble with intertwining storylines. We need to get these women back together." Joe Drake, of TVology, also commented on the episode, despite making the mistake of referring to it as "Putting it Together", which is the title of the subsequent episode, and going so far as adorning the article with a promotional picture taken from that episode. The conclusion to his review read: "SumOlogy: A pretty solid episode of DH. THe plot is getting more and more interesting. It is still questionable as to how this whole dead body thing is going to unravel. Grade: 7/10". He commended Felicity Huffman's acting, but added that Susan still annoys him, claiming afterwards to not have a problem with Teri Hatcher.

Viewers' reviews were also mostly positive (with words like "lovely", "good" and "great" being used to describe the episode). However, the general consensus is that the previous episode was a better and more surprising episode.

Trivia

 * The title of this episode comes from the title of an unproduced song from the Stephen Sondheim musical The Race to Urga, based on the Bertolt Brecht play The Exception and the Rule.
 * The song "Liar, Liar", by Rachel Barror, was used in the original ABC promotional trailer for this episode.

Allusions

 * When Bree and Gabrielle notice Susan's paintings in the gallery, Gaby refers to the popular Dick and Jane book series, written by William S. Gray and Zerna Sharp, and published by Scott Foresman, published from the 1930s to the 1970s, that were used to teach young children how to read.

Bloopers and Continuity Errors

 * When awoken by the sound of someone breaking into her home, Bree dials 911 and tells the police she lives at 4355 Wisteria Lane. This is the Scavo residence and thus incorrect. She lives at 4354 Wisteria Lane.
 * When Lynette tries to sneak into Tom's room with a bottle of his favorite Scotch, she is actually holding a bottle of Blanton's Single Barrel Kentucky Bourbon.

Episode connections

 * Bree begins to drink again. She is an alcoholic. ("Thank You So Much")

Gallery
Gallery of photographic stills released to promote the episode.