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e-vasong · 4 years

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I’ve already talked about a Leverage crossover where the Hargreeves are conmen but I'm. losing it thinking about. a Leverage AU where the Leverage team sees these kids on tv, and they just go. oh shit, that’s just fucking wrong. (I know the timelines don’t match up but let’s pretend the umbrella kids were born a little later, or that Leverage takes place a little earlier, or something like that. I don’t know.)

But these fucking umbrella kids show up on TV, and at first none of them are paying much attention. Not right away. They’re busy running cons, and none of them except Hardison watch TV for fun very often.

So they’ve all heard bits and pieces about this Umbrella thing, and aren’t quite sure what to make of it. Superhumans, huh? Eliot mutters at one point. Whatever. Our lives are already so goddamn weird.

But eventually they catch a broadcast while they’re home in between cases. it’s playing in the background while they’re enjoying a meal together at the brewery.

The Umbrella Academy saves the day yet again! the broadcaster declares cheerily. We go now to a statement at the Louvre from their leader, Sir Reginald Hargreeves.

It’s just novel enough to catch their attention--being who they are, they all perk up at the word Louvre--and it gets them half-watching as they chat over breakfast.

It’s Parker that sees it first. She’s Parker, so what catches her attention is actually not the fact that one of them is covered in blood, nor is it the fact that their father is calling them by numbers instead of names. It’s the way that they stand, tense and upright. It’s the way that the one covered in blood is trembling minutely, so fine that it’s almost imperceptible. But she notices. And she notices the way that the one to the bloodied boy’s left--the fifth one in line--leans over ever-so-subtly when their father is looking away. Whispers something with the barest movement of his lips. And then, after a moment of hesitation, he links hands with his shaking brother, twining their fingers together. Parker knows that whisper, knows what this is. She used to do that with her brother. Used to hold Nick’s hand, just like that, when their fosters were scaring him, trying to provide comfort even despite the fear of being caught.

It’s not long before the others follow her gaze. She’s stopped engaging in the conversation entirely, is just staring at the television with a death glare, nose wrinkled.

“Parker, baby,” Hardison says. “That’s your angry face.”

“I’m angry,” she says, and doesn’t elaborate.

“Got it,” Hardison takes it in stride, as he always does.

Eliot’s frowning at the TV. Unlike Parker, his eye does jump to the most obvious thing first. To the boy, no older than eleven or twelve probably, drenched head to toe with blood. There’s no rips in his clothing; Eliot’s pretty sure the blood isn’t his. He’s standing up straight, but his shoulders are slightly hunched. Like he’s injured. Broken ribs, maybe? And he’s been taught to hide them too. He’s also not the only one with that too-stiff posture. These kids aren’t standing up straight. They’re standing at attention. Number One, their father calls one of them, and what are those? Fucking callsigns?

Sophie and Nate are watching too. Their faces are carefully blank. They aren’t happy, Parker’s pretty sure, but they’re trying not to react.

“What the hell?” Hardison says slowly. He’s the last one to catch on, though only by a very narrow margin. He lacks Sophie and Nate’s cynicism, and the years of personal experience Parker and Eliot have, but he’s still too smart to not figure it out almost immediately. And he is first one to abandon the stunned stillness that’s fallen over the rest of them, pulling his laptop out of his bag, already quickly tapping away at the keys.

“This ain’t right,” Eliot says, voice a growl in his chest. “This is--this is--it’s televised child abuse.”

Sophie makes a quiet noise of agreement then. “It is,” she says, quietly disgusted. “Those poor children.”

Nate is still staring at the screen, lips pressed flat.

“This Reginald guy looks rich,” Parker says. Then: “Can we kill him?”

Eliot chokes on his drink.

“How is this even legal?” Sophie asks. She sounds curious, though not particularly surprised by the grievous violation of child protection laws before her. “It’s so...blatant.”

“Sir Reginald Hargreeves,” Hardison says, no longer typing. “He is--oh shit.” And the typing resumes, faster and a little more panicked than before.

“Hardison?” Nate prods after a moment, giving Hardison a sidelong glance.

“Yeah, yeah, it’s all good,” Hardison says. “The INTERPOL files on this guy are locked up tight though. Almost tripped their security system there. I didn’t, of course, but--”

“You couldn’t get in?” Eliot says, smirking.

“Yet,” Hardison says. “Dammit, man, it’s been less than five minutes. Give me a couple hours and that thing is mincemeat. Metaphorically speaking, of course. But I do see what’s going on here and,” he clicks his tongue, shaking his head in disappointment. “Y’all, this is hinky.”

“Yes, I think we got that,” Nate says. The corner of his lip twitches up.

“Yeah, yeah,” Hardison says. “This guy has got friends everywhere. No one knows how he got the kids, but it looks like he technically bought them--”

“He what?” Sophie sounds like she’s been suckerpunched. Parker can’t think of the last time she heard Sophie sound so shocked.

“Oh yeah. You think that’s bad? The numbers aren’t code names The numbers are their name names. Like, legally. I just found an article that said he ordered them by how useful he thinks they are, but judging by the adoption papers it was actually in the order he, uh,” Hardison coughs, “acquired them.”

Eliot is swaying where he stands. “Common tactic. He’s pitting them against one another so they’ll be easier to control. It undermines the self worth of the ones lower on the scale and makes the ones that are higher up feel obligated to do what he wants. Son of a bitch.”

“...And it looks like he leveraged their powers as excuse to gain exemptions from child protection laws,” Hardison continues like he hasn’t been interrupted. “Claimed their abilities meant they don’t need the same safeguards.”

“That’s bullshit!” Eliot sounds thunderous.

“I know, buddy,” Hardison reaches over blindly, waving his hand around vaguely until he finds Eliot’s shoulder. He gives it a comforting squeeze. “I didn’t write it.”

Eliot heaves in a shuddering breath. “That’s just--”

“Evil,” Sophie finishes.

“I’m inclined to agree,” Nate says. He’s not watching the TV anymore. He’s staring off into the middle distance, arms crossed over his chest.

“Oh!” Parker perks up. All the grief and distress that had been brewing on her face vanishes like storm clouds parting for the sun. “Nate! Nate, are you scheming? You look like you’re scheming.”

Nate makes a noncommittal grunt. “It would be dangerous.”

“They’re in danger,” Sophie says softly, jerking her head in the television’s direction.

Eliot’s long-since gotten to his feet. He’s pacing, and that’s how Parker knows he’s furious. When Eliot is too angry to stand it, he has to move, has to find some way to handle the rage roiling under his skin. Usually he cooks, chopping vegetables with furious aplomb. And when he can’t cook, he paces.

“They’re fucking child soldiers,” he says. “I can’t--” he cuts himself off with a furious shake of the head. I can’t believe, he was about to say, Parker thinks, but he had to stop because that’s not true. Eliot knows better than anyone what the government--what the world does to people they find useful, whether its skill or power that makes them so.

“Y’all are behind,” Hardison says in sing-song. “I’m already trying to burn this motherfucker down.”

“Hardison, do not tip our hand,” Nate says, snapping into his leader-voice automatically. Parker grins. He’s already got a plan, then. She knew all that reluctance was just for show. Sophie laughs, as clear and bright as the ringing of a bell, and even Eliot perks up.

Hardison grumbles, closing his laptop and stuffing it back in his messenger bag.

Nate is grinning a little too, though it’s that angry smile he gets sometimes when Parker knows he’s thinking about hurting bad people. She understands. She's wearing hers too right now. Nate glances them all over, and for all the malice dripping off the knife’s edge of that smile, his eyes are soft. Maybe even a little proud.

“Fine. Fine. You guys win,” Nate says, lifting his hands in defeat. He’s putting on a show of being beleaguered, but Parker can hear the sparking anger in his voice, and oh, how could she have forgotten? Sophie is so gently righteous, Hardison so achingly distressed, and Eliot so full of fire and fury that she almost didn’t notice Nate’s seething wrath, nearly forgot that Nate looks at every injured child in need of help and thinks of Sam. “Everyone, get your things. Hardison, get us some plane tickets. Let’s go steal some children.”

“Okay, okay. I ain’t complaining cause, like, fuck that guy,” Hardison says, slinging his bag over his shoulder. “But stealing children? Could you have made us sound anymore like kidnappers?”

“Hardison!”

“I’m just saying.”

#tua #the umbrella academy #leverage #my writing #this is kind of garbage but i cant stop thinking about it!!!

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original-missif · 2 years

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A Gift For Mom

It was supposed to be an easy job. In and out in a matter of moments with the merchandise in hand, and no witnesses. It should have been easy.

But Hardison just had to mess things up. As usual.

"Hey man it is NOT my fault."

"Whose idea was it to pose as boy scouts without knowing the damn oath, Hardison? Huh? Cause it sure wasn't mine or Parkers."

"At least I HAD an idea. If you had it your way we woulda just busted some faces and left them on the side of the road for every curious cop or pedestrian to find."

"And been in and out by the time your stupid boy scouts idea could even figure out the right badges to wear."

"Oh excuse me for not knowing the difference between a girl scouts badges and boy scouts badges!"

"The girl scouts badge is for paddling and the boy scouts is for canoeing. They don't look anything alike!"

"Why do you know that??"

"Hey," Parker interrupted, "if you guys are done I found a way out of here."

She opened the broom closet door, checked and double checked that the hallway was clear, then lead the boys out into the Los Angeles County Museum of Art.

Staying as near to the ground as possible, the three snuck around the podiums of glass-encased vases and various artworks, staying as quiet and out-of-sight as they could. Lest they brought the attention of the band of art-thieves who had decided to hit the same museum they had.

Only the art-thieves brought guns.

"Did you get the drawing?"

Parker held up a large tube and gave the boys a thumbs up. "How'd your end go?"

Hardison held up a similar tube. "Scouts cover worked like a charm."

"Up until you messed up the boy scout oath and got us run into a broom closet," hissed Eliot.

"Oh I'm sorry, were you the one who spent hours finding legitimate boy scout uniforms and stitching a thousand patches onto a stupid silk sash AND hacking into the museum's security system? No all you did was punch a security guard and shove his butt in the bushes."

"Saved your ass," Eliot muttered. The trio snuck around a wall divider, pausing for a moment as an armed art-thief stalked by them, before continuing on.

"Where's your way out Parker," asked Eliot. "They've got two guys by the front door and two by the parking lot exit. All armed with colt m4 carbines and Beretta automatic 92SBs I might add."

"What does that mean?" Parker asked without looking behind her. "You've taken out armed guys before."

"I means we're dealing with ex-cops. Organized, armed ex-cops, and just because I took down a couple Iranian mercenaries doesn't mean I can take down a whole squad of dirty cops."

"Not by yourself. But what if we did it one at a time?"

Both Parker and Eliot looked at Hardison, confused and surprised by the suggestion.

"You want to stop the guys stealing art-"

"from the same place we stole art from?"

Hardison nodded. "Well Eliot said they were dirty cops right? Isn't that exactly the kind of people we take down with Nate and Sophie? So wouldn't this be a perfect opportunity to do what Nate would do and take 'em all out?"

"I just said-"

"Not all at once. One at a time until we've thinned the numbers out enough that whoever's in charge of the operation decides to show himself and we cut the head off the snake. Eliot you just said you've taken out tougher people than the local dirty cop, and Parker has her taser, right?"

Producing said taser, Parker smirked. "Always."

"Alright. So..." Both Hardison and Parker looked to the older boy, staring Eliot down until he gave in with a groan and rubbed his eyes.

"Alright, fine. Where do we start?"

It took the three of them just over 40 minutes of sneaky taser-induced take downs, Sophie-levels of grifter acting followed by choke-outs, and fiddling with the lights that lead to ambushes for the three thieves-turned-good guys to take down almost all the art-thieves. They left the unconscious thieves tied together in the broom closet Eliot and Hardison had first taken refuge in - confiscating any and all weapons they could find and dismantling them - and snuck off towards the back of the museum where the few remining thieves remained.

Hiding behind a large piece of contemporary art, the trio listened carefully to the ongoing conversation between the thieves. From what they could see, there were four men, all armed and wearing indistinctive clothing (just like the others), standing just outside the security station

"- no way it's the local officers. We radioed in, they think the situation is under control."

"Think it's assassins?"

"Why would assassins be after art?"

"Maybe they're after Keller? Goin' after you-know-who."

"Yeah, and they're doing it at an art museum. The ideal place for an assassination. Nah, my bets on rival art thieves tryin to take what Keller's after before he does."

"Well I wish them good luck in that regard," a new voice said. Leaning over the side of the art piece, Parker caught sight of the newcomer, a well-dressed man in a fine pressed suit and tie with short cropped hair and fine cheekbones. In his hands he held a shoebox sized wooden box. "I have what we came here for, gentlemen. If you've finished speculating about our unforeseen guests, I suggest you escort me to the exit before I rethink the size of your paychecks."

Parker turned to Eliot and Hardison as the group exited the area and began to head for the exit. "We need to get that box."

Hardison stared at her in disbelief. "A box? A, singular? A dozen ex-cops helped some rich crook break into a museum for a box?"

"I've broken into museums for a box before."

"I'm just sayin' that it's overkill. Least we stole more than just one stupid box."

"That just means whatever's in the box is worth more," said Eliot. "Parker's right, we need to stop them. Whatever's in it is worth more to this Keller guy than anything else in here. He probably brought so many guys as a precaution."

"Okay, okay, we can do that," Hardison said, repeatedly nodded his head as he brought up his phone and connected to the museum's map. "There's only four guards, and they have two different exits they can get through leading to either the central court or plaza."

"Plaza," Parker pointed to the exit on the map, "it's closest to the parking lot. Easier for a get away."

"Okay, so we kill the lights, take out the stooges, knock out the Kellogs CEO, take the box back, and tie them all up to the others?"

Easier said than done. By the time Eliot had taken out one of the four guards the group had managed to make it to the main entrance room, and the three teenagers had been forced behind various columns and block tables as the art-thieves opened fired.

"Hardison! Lights!" Parker yelled over the gunfire from where she stood behind a marble column.

Hardison, balled up behind the marble table block Eliot had dragged him down behind, yelled back. "Gimme a minute!"

In the lull of gunfire, Eliot reached over the table, grabbed one of the many valuable art pieces that used to be held in a glass case, and pitched it directly at the head of a gunman. The man went down and Eliot ducked as the gunfire picked up again.

"We don't have a minute," he yelled, tugging Hardison away from the slowing disappearing edge of their cover.

Hardison furiously tapped away at his phone, ignoring the fastly growing panic in the back of his mind, before finally - "Got it!" - the lights went out, plunging everyone in the hall into darkness.

The ex-cops yelled in surprise and the gunfire ceased as they called out for each other and lights. Hardison felt Eliot leave his side, followed by a mixture of thuds, oofs, and AGH's, and could see flashes of light as Parker's taser went off. With a final GAH! the room was silent until Eliot called out "Hardison!"

With the touch of a button, the lights were back on. The room was filled with bullet holes, broken artwork, and four unconscious men.

Hardison looked around, just to be sure. "Where's the Keller guy?"

All three teenagers looked at the glass doors into the night and broke into a run. Breaking out of the doors they could see the man in the suit booking it towards the street where a car waited. Eliot immediately took off after the man.

"He's not going to catch him in time," Parker said.

Hardison got a crazy idea in his head. He grabbed a handgun off one of the unconscious men. "No, so maybe we can slow Kellogs down a little."

Parker took a step back as Hardison held the gun up and aimed. The recoil knocked Hardison to the concrete as the gun went off with a BANG and a PING! and the suited man cried out. The box he'd been carrying fell to the ground as Keller shook out his hand, a trail of blood flowing down his injured hand. Keller glanced at the box before looking up at the advancing Eliot. A panicked look crossed his face, and Keller stood still for a full second before he continued his sprint to the car. As Eliot reached the abandoned box, Keller opened the passenger door of the car and jumped in.

Parker kept her eyes on the escaping vehicle when she said to Hardison, "Nice shot."

"Thanks," he said, catching his breath and rubbing his arm, "I was aiming at his leg though."

Parker smiled and helped him up. "I won't tell Eliot."

The older boy had made his way back to the others, wooden box in hand and an unhappy look on his face.

"Tell me that wasn't either of you who fired that shot."

"Hardison did it," Parker said, happily taking the box from Eliot. "He figured if we couldn't stop Keller than we could at least take back the box he stole."

Eliot shot Hardison a skeptical look. Hardison smirked, "What she said. So you're not the only one who's good with a gun now."

He emphasized the lie by holding the gun up sideways movie-style and "aiming" it at Eliot with his finger off the trigger. Eliot looked at the gun for a moment before snatching it out of Hardison's hand.

"Gimme that. How many times do I gotta tell you man, don't mess with guns," he scolded as he unloaded the magazine and loaded ammunition. Hardison held his empty hands up in surrender. He'd been told plenty of times not to mess with guns even before he met Eliot. He just hadn't taken it as seriously until now.

"So what's in the box?" Hardison asked, looking at the box Parker was fiddling with.

"That's what I'm trying to find out. It's not locked though, just bolted shut."

After a beat, Parker held the box out to Eliot, who sighed and gestured for her to place the box on the ground. After doing so, both she and Hardison took a step back as Eliot lifted his leg and brought it down quickly on the wooden box, breaking the lid entirely.

Picking away the pieces, Parker lifted the once-boxed item for the three teens to see in full. A large deep rimmed silver-glinted scallop shelled bowl-like container surmounted by a mermaid blowing a conch. The ripple cover was topped with a handle in the form of a coiling eel with a lobster and naturalistic vegetation. The whole artifact was supported by on three hippocamps and a triton base cast with waves, on three feet covered in tortoises, shells, and coral.

Hardison broke the silence first. "Did we just risk our lives for a gravy boat?"

"It's a tureen, not a gravy boat," Eliot corrected with an unhappy look on his face as he stared at the item.

"What the hell's a tureen?"

"You know, like a fancy ceramic serving bowl. You put soup in it."

"Well that is the ugliest soup bowl I've ever seen."

"It's perfect," said Parker. Both boys' stares swapped from the tureen to Parker. "We should give it to Sophie."

Eliot looked at her in frustrated surprise. "What?! Parker we already got two paintings for Sophie. We don't need a tureen too."

"But it's bright and shiny and fancy like Sophie. And then we'd have something from all three of us."

Hardison looked at Eliot with a small smile. "I give her The Night and you give her Sous-Bois?"

Eliot glanced between Hardison and Parker (desperately trying to ignore Parker's puppy dog eyes), before agreeing with a sigh. "Parker gives her the tureen."

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suddenrundown · 2 years

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Re this post: Over here like 👀👀👀 *chinhands* abt this. Where is the rest. Pls tell me more.

Oh, plotless Leverage magical realism enemies to lovers au that’s been living rent free in my brain for almost a year (derogatory), my beloved.

Ok imagine a world in which Dubenich needs to get some airplane designs for himself, so he hires a group of experts to steal it for him. Individually. No way three people with skills and personalities like theirs will work together on this.

(Hey, where’s Nate? Well….probably at home with his wife and kid, what’s he got to do with this?)

Hardison, Parker and Eliot are hired to get the plans but instead of this being the formation of a team, it all goes terribly wrong and ends in a fight that leaves them all needing to slink off to recover in a “no one’s winning this one and no one wants to die today, back out slowly the way you came in, no funny business, and watch your back because the next time we cross paths…” kinda way. The three of them scatter, enemies now, hoping they never see each other again

They do, obviously, despite their best efforts, but something weird happens when they do: they keep getting random flashes of memories about each other. At least, they seem like memories? They definitely haven’t happened though. Eliot would remember being handcuffed to Hardison in the woods, that seems like a big deal. Parker knows she doesn’t even have Hardison’s number, so why would she have been on the phone with him once, and why was she so desperate about it? Hardison doesn’t remember ever kissing Parker in the back of a van or wanting to run his hand through Eliot’s hair sitting next to him on a couch….but damn, actually, he sure would like to!

Slowburn enemies to lovers magical realism au in which it becomes clear that, even though they don’t know each other, they definitely must have once. Before. Somehow.

Fun facts:

I think (?) the plot of this is that they’re trying to get back at Dubenich and get what’s owed to them. Kind of hard when they aren’t working together!

Hardison is the first of them to be like “hey, I don’t know why, but I know that I know you and that I like you and trust you so we should hang out maybe?” about all this. There’s no Leverage team but there is Hardison trying his best.

The very first memory Eliot ever has is an inconveniently timed “dammit, Hardison” montage

Parker’s the most skittish about this whole thing. She puts absolutely no stock in the memories at all and unlike Hardison who’s like “this means we’re best friends now!” she just wants to be as far away from them as she can get. Kind of hard when Hardison tracks her around but he seems kind of nice and every time she gets memories of holding his hand she’s like “I guess he’s not all bad?”

She Does Not Like eliot though. Most of her memories of him involve (misinterpreted) sadness and pain and so that’s what she associates him with.

She also hates Hardison’s stupid van he weirdly named Lucille. Looking at it makes her skin crawl and hair stand on the back of her neck.

I have this tag that I use for things that sound like they fit in the au a) to bully myself into one day writing this thing or b) in hopes that if i tag enough things i won't have to write it at all lol

#answered #come back and haunt me fic #leverage #ot3: hitter hacker thief #parker #alec hardison #eliot spencer

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faorism · 3 years

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@lookatallthefandoms #*leans forward with my chin in my hands* tell me more op [eliot crawls back verse. sequel to this post]

eventually, nate and sophie and quinn (yeah, lets do this, its quinn, yall got me on this train, hope you're happy) find out the extent to which parker and hardison have fallen into it with that weird fucking hitter guy that was supposed to be a scary lieutenant to the big bad but who is now nerfed into redemption arc prospect stalker aka zuko 2.0. eliot is in town but seeing how small a space the wyatt funeral home is he just chills around across the street and idk hes doing morally corrupt hr training via 2011 era zoom so he isnt monitoring the comms closely/at all.

then he gets a call. its a strange number, but he's kinda used to that around the leverage targets but a call is rare. usually only because his darling wants to really sell a grift. eliot picks it up.

hey, what's—

eliot? and oh, hardison's voice is so so small.

hey, hey what's wrong?

inside the wrist holster. hollowed out—hardison?—thickest part of leather. press the earbud once. don't yell.

and then hardison hangs up. eliot immediately calls back. hardison (because its hard to press them little buttons when the phone is vibrating in his hand) picks up.

the fuck is going on, man.

please, eliot. i need... i need fsskskk. i need her, please—sssfkkks, i need...

oh and hardison is panicking and eliot goes to soothing because that's all he can do, but he's so out of practice he doesnt pull a caretaking voice. he is a fucking scumbag that knows killing and fucking so he just pulls that voice he uses when he's got a Nice Normal Girl underneath him who needs to be cooed into the surprise of her orgasm. okay, okay sweetheart. and there, in that moment, hardison gets His Nickname. im sorry. get you our girl.

holster.

got it.

please.

okay. okay, goodbye.

and eliot kinda just... appears in the dinner bathroom in the span of a blink and he's tearing off his jacket and he's ripping at his knife holster on his forearm, not even wanting to free the knife from the release mechanism because that would take longer than his bare hands and his teeth. he releases the bud and he sticks it into his ear and he's hears a cacophony.

and there's ford who says: —have wanted you to contact us to arrange a trade. Did you get his number?

he can barely hear the reply, but he knows that terror. hardison: yeah, yeah. texting it right now.

sophie: could he be just hidden?

quinn: no. actually more suspicious that way unless they got the hearse, but they might abandon that. but i wouldnt bothering burying a guy too deep.

and oh. oh god.

a casket's got 30 minutes of air, eliot says into the void of the bathroom stall, but this time there's a response. several. angry and confused and hostile but, two voices fed relief into the mix.

blondie: stop. he's ours. eliot, what would you do?

eliot: darling, he's a loose end. no trade is worth it. whatever they're telling you is a lie. hardison hiccups his distress (i cant hear him, is he talking?). we have to find him.

and its pretty much the same after that but with nate biting out We Will Talk About This and quinn being super overprotective like These People Are Mine And You Are Dangerous and sophie oh sophie! sophie heard hardison's little sorry about the holster and the hitter's no youre not and parker repeating his words to hardison before adding ill steal you a nicer one and the hitter saying my tack guy made this special [eliot's tack guy credit to old dog & new tricks, which are canon to me] and parker repeating it and hardison's wet and desperate laugh.

and eliot leaves the beating up guys to quinn like He Leaves That To Quinn before he Needs to get to hardison. and it should be weird that this random stalker guy is the one to pull hardison up out the grave but he does and he holds him tight and tells him what he always does, dont do that again. it should be and it kinda it but god, it fits it fits it fits.

and there's definitely fallout eventually but nate (by way of sophie) actually gives hardison and blondie some space, and also eliot is there? and i think that the stalking back of eliot sped up their pretzels because they are United In The Plan To Steal Eliot so they live together (though they have separate rooms rn because they are still figuring each other out) and eliot is just. there.

and blondie has put on wraith of khan for hardison but he quickly falls asleep on eliot's shoulder with his hand in blondie's. and eliot is just sitting there like, darling... i dont know what im doing here.

and blondie laughs and skips over the bulk of his confession to be like, did you not hear my name?

and he's like, i did. but i dont steal intimacy.

and blondie is like. oh. its parker. but darling is still good.

and eliot nods and he is Utterly Over His Head.

#eliot spencer #parker leverage #alec hardison #leverage #leverage ot3 #faorism headcanons #on his hands and knees au

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lets-go-steal-a-hitter · 3 years

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Inspired by a message from @whumpybliss, I'm back again with more Leverage analysis. And this one is LONG, so, uh. Sorry about that.

Spoilers for the Big Bang Job and the Rundown Job ahead!

[ID: A text message that reads, "Guys I'm reading John Rogers blog post about filming the rundown job and it's got me cracking up. Part of the post is him answering fan questions, and one answer I found particularly hilarious (well, all of them are funny tbh) a user pointed out that Eliot faced down a warehouse full of trained hitters with guns and never got shot once, but when he faced a crazy scientist he got shot twice. John Rogers just said that "Dean wanted him shot. So shoot him we shall" and I LOST IT." end ID]

While the image of John Rogers and Dean Devlin conspiring to shoot Christian Kane is absolutely hilarious, my English major brain got to buzzing about the actual scenes and why Eliot gets shot in the Rundown Job but escapes with hardly a scratch in the Big Bang Job.

It really all boils down to focus. Eliot is, of course, incredibly aware of his physical surroundings at all times, thanks to training (and probably also hypervigilance). But he also has a certain order of priority in his head in terms of what threat needs the most attention.

We see in the Maltese Falcon Job Eliot keeping a count of all the "men with guns", aka the most pressing threat on the ship. He says to Nate simply that there are "a lot", but when he starts fighting them, he starts counting down as he takes them out, demonstrating that he did in fact have a number in his head the whole time.

In the Big Bang Job, Eliot is ready for the fight. He knows as soon as they get to the last corner of cover exactly what will play out. He's ready, he knows where all the gunmen are, and he has a plan of how the fight will unfold. He has practice and experience, and he trusts Nate will get the Italian out safely, so he can focus on the biggest threat: the men with guns.

Eliot was ready for the fight in the Big Bang Job, but not for a mad scientist with a gun. In the Rundown Job, there are a lot more variables he's worried about on the subway train. He has to worry about, first, making sure the bomb doesn't go off, and second, protecting Parker and Hardison. He doesn't clock the doctor as a major threat at any point in that scene.

He's got much more pressing things to worry about than Dr. Udall and his gun, and that's how he gets himself shot. And by the time Udall picks the gun up the second time, Eliot's concern is no longer his own life. His safety doesn't matter to him, as long as Parker and Hardison make it out. He'd take a bullet for Parker and Hardison without hesitation, and he wasn't expecting to make it off that subway train. He just needed to buy time.

Anyway that's the whole thing! That's my little thesis on why Eliot takes bullets in the Rundown Job but not The Big Bang Job! If you made it this far, thanks for reading, I hope you don't feel like you wasted your time.

#leverage #leverage meta #meta #leverage analysis #analysis #the big bang job #the rundown job #leverage spoilers #eliot spencer

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leverage-commentary · 3 years

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Leverage Season 2, Episode 13, The Future Job, Audio Commentary Transcript

Marc: Hello, Marc Roskin, producer and director of this episode.

Amy: Hi, Amy Berg, supervising producer and co-writer of this episode.

John: John Rogers, executive producer.

Chris: Chris Downy, executive producer, and co-writer of the Future Job.

John: Uh, this, did this start out of the haunting episode? Is this how the psychic came about?

Amy: The origin of this? No, the um, no I don't think so. Psychic Job was—

John: Was that Dean's?

Amy: No, it was literally a card that was on my board at the beginning of the season, along with Three Days of the Hunter, and Two Live Crew Job, so this was essentially plucked from the well.

John: This was one of the ones that sat there, that sat there for a long time, she was great, what, uh...

Marc: Jen Taylor, local Seattle actress. She was wonderful.

John: But it was Dean who really dug in on this one, because he really liked the bad guy. He really said, you know, ‘I really wanna hammer the fake psychics.’

Amy: Yeah, and he was the one who, sort of, had the vision of, sort of, making this a Parker episode and, sort of, getting to delve deeper into her backstory a little bit.

Chris: And there's Luke Perry.

John: Luke Perry was fantastic.

Amy: He was great.

John: How did we wind up casting Luke Perry?

Chris: I think it was suggested by our casting folks, and I think it was the first one on his list, and he said, Luke Perry would be fantastic for this role. And we all, we were kind of like wow. You know, you didn't really think of him as- as an evil psychic.

Marc: I would leave my wife for Luke Perry.

[All Laugh]

John: Luke Perry—uh, as a director, why don't you talk about working with Luke Perry, Marc?

Marc: He was wonderful. I mean, you can just really, when someone has that much experience working in television, I mean, it's amazing. He was on time, he never left set, he was always talking about character and would take any suggestions, you know, from me as a director, if you wanted to go another way, just let me know; he was just a dream to work with.

John: Now, what was the idea on this particular setting for the psychic, instead of like a formal office, or like, what was the set dec idea on this?

Marc: Well we wanted to have him working out of, like, a home type office, and actually we had to find something that we could build on the stage to work on.

John: Oh so that wasn't a location, that was-

Marc: No, that was just our basic, uh, hospital and Gina apartment set.

John: [Laughs] The Frankenset.

Marc: Shot on the same day as this day, on the stage, in our bar.

John: Okay, cool. Nice shot through the glass, by the way. I didn't know those taps worked. If I'd known those taps worked I would have been up north a lot more often.

Marc: They work. As soon as you request it, Eric Bates we'll start pumping a keg through them.

John: And this actor playing the brother—

Marc: Uh, Eric Riedman, he was great, too. I mean, he really, really clicked with Tim in this scene. They really worked well together.

John: And it was interesting. We were trying to figure out—we had a great victim, but ordinarily our victim has already had the thing done to them, but in the design of this, you needed the victim to sort of be in suspension.

Amy: Yeah, we needed a proxy. And uh, the brother was sort of a great emotional investment tool for us.

John: Yeah. And Portland actor, just a really, really great job. That was a good, 'I hate that guy moment', when we made her pregnant. And uh—

Chris: And taking her house.

John: Take her house, don't leave money on the table.

Amy: I guess we should point out that, uh, I named a lot of these characters - with the exception of Dalton Rand, Luke Perry's character - after the assistants on our show.

John: Oh, this one is the one where we used all the—

Amy: Yeah, it's Wilson, it's Nicholas, and Ryan, and—

Chris: I love that logo there, by the way, that went by.

John: Oh yeah, who designed that? The great Dalton Rand logo?

Chris: Oh they did a great job.

John: It was actually designed by Derek, right? Our computer graphics guy?

Marc: Yeah, Derek Frederickson in Chicago.

John: He banged it up for us. And it is amazing, this is another one where you could assume we are doing one or the other of any of the very sundry famous psychics, but really they all use the same cons.

Amy: Yeah, they really do.

John: And I’ll also say, Derren Brown was a big influence on this episode.

Amy: Yeah, I think you and I are maybe a little too obsessed with Derren Brown, and uh—

John: He is dreamy.

Amy: He's dreamy and he's sort of an—

John: And a powerful, commanding presence.

Amy: And he's an expert in NLP, which a lot of the stuff we talk about in this episode is, and he debunks a lot of psychics and mediums and things of that sort.

John: That's a really interesting way, too, by doing shows that make it look like he has those abilities.

Amy: And Apollo Robbins, our consultant, was helpful in, sort of, submitting some great terminology for us to use throughout.

John: Oh yeah, that's right, the cold reading terminology, yeah. Um, now this, where was this set?

Marc: This was an actual cable access station that they, again, just opened the doors for us. We didn't have to change any of the logos or the numbers, the people working the camera are the actual camera crew—

Chris: Wow, that's great.

Marc: —of this station, they were wonderful.

Amy: They absorbed us into their own productions.

Chris: Just like Three Days of the Hunter, this is another example of Portland opening its doors to us.

Marc: So all those monitors, they had up and running and feeding through our system as well, it was great.

John: Now did you take a look at any of the extant shows, in order to, sort of, see how this works?

Marc: Uh, I did, and a lot of it at first was just to see the set. And everybody—once you start looking at their sets—were like 'oh, maybe ours is a little too pretty.' [All Laugh] Some of them were just like two chairs and an easel, with something leaning against it.

John: 'I'm gonna sketch what your dead mother is saying.'

Marc: And then our construction crew, you know, built the risers, so we can have some depth with the audience. This was a fun scene. It wasn't supposed to be a physical scene, but Eliot and Lathrop turned it into one, so it was kinda fun.

Chris: I love when he gets mad here.

Amy: This was supposed to be a con, and then it turned into something altogether different.

John: He's just really annoyed at that dude up in his face. And you know what's interesting is we- it was a little weird developing this, because all the tricks that a lot of fake psychics use—not the real psychics, of course, with giant lawyers behind them, but the fake psychics use—are actually techniques we use in the cons, and so it was kind of this weirdly recursive thing. It's like, we're kind of exposing to the audience how they do this, but we do it every week.

Amy: Yeah, we're exposing ourselves as much as we're exposing Dalton Rand here.

John: And this is where he goes into cold reading. What was the—and it's interesting, cold reading is a fascinating subject, there's actually a couple great books that Apollo Robbins hunted up, and the idea that just by playing the numbers, just by playing the odds, any one of these guys can hit at about 80 to 85 percent success rate.

Amy: Yeah, it's act- it's basically asking a series of questions, and, sort of, gauging reactions to people without knowing anything about them in advance. Whereas hot reads or warm reads, as they’re sometimes called, are basically doing your homework beforehand, and getting research on the people you're about to meet with and, sort of, using that knowledge to, sort of, manipulate them.

Chris: The hot read is really more what our guy's doing, which is kinda how this thing broke down in the episode, was when we hijack and sort of take it over and hot read.

Amy: Yeah. Well we, the team basically underestimates Dalton here, and he surprises them.

John: They think that once they throw him, they'll get him, and he's able to cold read Parker. Which is also a big thing, not just in anchoring Parker's story into the episode, but the show always works when the nemesis is a bit more formidable.

Amy: Absolutely.

John: And it was kind of important, especially since Luke's kind of a really nice, he's got a nice guy vibe, it was kinda really important to start to hammer in on the fact that this guy is as good as they are. If he knew they were coming, this would be a very different game.

Amy: And I think Tim is great in this scene, because he's playing the audience, he's like, ‘Wait a minute, like, we were supposed to come in and sort of take over this guy, and he's sort of manipulating Parker, and surprising me in turn.’

John: Wow, look at Beth there. She is working.

Chris: Now, how'd you work with her on this when you went into this scene?

Marc: Um, it was interesting, because the scenes we shot first are the scenes later where it was really emotional in the Leverage apartment, where she really broke down, so she was already at that place once, and she just brought it right back, and I think Luke worked really well with her.

John: I also like that beat in the van where Jeri sort of chose, it was a very nice choice, where Aldis has got Hardison really pissed off, and Jeri's just admiring the craft. She's not as emotionally invested in the team, so she can kind of step back and admire this guy's chops.

Marc: And this scene was just such a great scene where all of our actors work so well together in, not only just rehearsing it, but getting Beth to a certain place, you know, where she should be, they were all really emotionally involved in this, and took a lot of time to rehearse—

John: Probably took twice as long as we usually do to shoot this stuff.

Amy: Well yeah, it was the characters being really protective of Parker, and the actors being really protective of Beth, it was really great.

Chris: Well I think it was actually, when it was written, more angry. You know what I mean? And I think seeing the dailies, it was, like, she took it to this incredibly vulnerable place that I don't think it really was on the page.

John: Also big credit to Dean Devlin, because he also had pushed that.

Marc: He did, he did. And this was a great scene, we have all the emotional arc with Beth, but as you guys were just explaining, in the script we explain the hot read and the cold read and we break it all down.

John: Yeah, and this is—again, we are always agonizing over how to explain this stuff, and having someone with a specific emotional response or attitude in the scenes makes a giant difference. And having it be Parker, who the audience is very very fond of, really helps, you know. We're now dumping an enormous amount of exposition on your plate, and you don't care.

Chris: Right, because it's—you know, we're seeing her in this really, just devastated place.

Marc: And we just found out a lot about her past that we didn't know about.

John: And he—I love that look up, just like, ‘Help me out here, I got nothing.’

Chris: Well the thing about it, and we'll talk about it when we get there, but the way she plays the scene at the end, with the brother, really was informed by all this, which was not at all on the page at all.

Marc: Right.

Chris: Like, when she hugs the victim's brother, and we'll get there, it's as if she's hugging her own brother.

John: And also it's interesting, because—oddly, it certainly wasn't intended, but it's just the way TV shows evolve—it helps, sort of, explain her relationship with Eliot and Hardison, you know. That's sort of how she fell into that rhythm, and that sort of proxy family—

Chris: It was not intended.

John: I would like to say, I'd like to say it was a sort of subconscious Alan Moore idea space.

Amy: Speak for yourself Chris, I totally did that on purpose.

John: Like two years ahead, like two years in advance?

Chris: Oh sure. That's what you're supposed to do on these commentaries—

Amy: Yes, many many years.

Chris: —you're supposed to go 'well, you see, I laid these—'

John: 'So this moment, two years earlier—'

Amy: Reason we're awesome, number 427.

John: But here's what's amazing is, we really, we're always like, in the show, could we possibly fool people with this? And then when you do this, this explanation scene, could you possibly fool anyone? They do! This is how they do it! We're not making any of this up.

Amy: No.

John: If anything, we're giving them better tech.

Amy: We're giving them ideas on how to be better at it.

Chris: And by the way, from a technical standpoint, these scenes were very difficult to shoot because we're going from monitors to action—

Amy: To flashbacks.

Chris: —to flashbacks, very hard.

Marc: And they're all green screens on the day we're shooting them.

John: Oh that's right, we didn't have the footage.

Amy: Nothing was on these monitors.

Marc: Nothing is on the monitors.

Amy: All we had was a nice bulletin board.

Marc: Yeah, we had a little bulletin board to show that they had the seating chart. And here, one of my favorite lines is coming up, it's just a great release valve, with all this tension, and, and her emotions—crying.

John: Yeah, you can see her turning, too. There's the sort of old Parker coming back, and the anger kind of building up in her face.

Amy: Yeah it's like, wait a minute...

Marc: And then this line from Eliot. 'Can we kill him?'

[All Laugh]

Chris: I think that was you.

John: Yeah that was, I think that was me. Quite sure. ‘Yeah, alright [Laughs] absolutely.’ I like, and Chris played it just right too, like...

Chris: Just a shrug.

John: And it's interesting, 'cause, that actually was intentional in the back half of the season this year. We really want to remind people, Eliot Spencer used to kill people. I mean, because it's really easy, because Chris is very charming, and he's very funny... yeah he was not a pleasant human being by any stretch of the imagination. And every now and then, you lose it a little, you know what I mean? You lose track of it, because he's such a nice guy. And who's that?

Marc: That is Lana Veenker, our casting associate there in good old Portland.

Amy: How did that come about? [Laughs]

Marc: You know what? We were just reading people and all of a sudden I'm like, ‘Why don't you read?’ 'No no no, I won't. Okay, gimme thirty seconds.' All of a sudden she read and we were like, 'Done.'

John: Done. We're out.

Chris: Didn't we write some pages where they have a long passionate kiss here?

[All Laugh]

John: Yes, we did. We did—actually we didn't write them, you know, they were faxed in, and I don't know where they came from.

Chris: Handwritten.

Amy: Yeah I think it was a Portland IP address, somehow.

John: Yeah, it was a little creepy, to tell you the truth. [Amy Laughs] Ah, no. And this, uh—you know, we need a new name for the assistant who's not a Busey.

Chris: Uh... Well, I mean...

John: Because we've had a couple.

Chris: Lackey? It’s kind of a lackey.

Amy: Do people know—have we explained—

John: We've explained the Busey's on both seasons.

Amy: Okay good.

John: Uh, yeah, he's not quite a lackey, he's more of a henchman.

Chris: Henchman, yeah.

John: For those of you building the characters in Savage Worlds, he would have one wild die. [Laughs]

Amy: Lackies don't have lines, henchmen do.

John: Ah, there you go, good point.

Marc: And this scene as well, the opening scene in this office was shot at like, one in the morning, twelve o'clock at night, Luke's first day—

John: [Laughs] Welcome to Leverage, Luke.

Marc: Yeah, exactly. And he just rocked it out.

Amy: Yeah, he's great.

John: He landed unctuous. It was a pity because it was one of those performances where in the middle you're like, ‘Oh man, I love when we find an actor and we want to bring them back— oh wait, he's a villain.’ This almost never happens with villains.

Marc: Yeah.

John: Drew was the exception, but he was a good guy villain.

Chris: I think he mentioned that he was a—he is a con man here, and that he could always have a twin brother.

[All Laugh]

Amy: Without the beard and mustache.

John: This is, uh, I actually showed up on set, I think this day, or the—I flew in...

Amy: This was my first day too.

John: Yeah, and we arrived and Marc was in the middle of planning the most insane thing ever.

Amy: Well, the thing is, I put this camera move in the script thinking and hoping maybe just to freak Marc out—with no expectation that he could possibly pull it off—as a joke!

John: Oh like the giant blue whale structure.

Amy: Yeah, yeah, as a friggin joke, and then like, he shows me this move, and, like, I nearly died.

Marc: I thought about it, and I was like, ‘Well, can we do it?’ And our First AD David Wechsler and New York AD goes, 'Do you want it?' I'm like, 'Yeah.' He goes, 'Then we could do it.'

John: Yeah, Wex stops traffic in New York; stopping traffic in Portland wasn't—'cause that's what happened, I showed up and I'm like, 'I'm going to the set' and they're like, 'I'm sorry sir, you can't go. They stopped traffic.' 'Well I know, but I'm a writer' 'No no, they're doing some sort of s—' I'm four blocks away! What the hell?’

Chris: By the way, Jeri Ryan here, fantastic look from Nadine—

Amy: Yeah.

John: And she's also got a great character going here—

Marc: She looks fantastic.

Chris: Got a great character.

John: This is a softer character than Jeri usually gets to play, even in the cons.

Marc: A little hippie-ish, yeah.

Chris: The hair was great. I mean really, they nailed this.

Amy: Well Luke even comments on it, “It’s a little on the nose, but [laughs] it works for you.”

John: But that’s the idea, to just kind of you know, not try to overthink it.

Amy: Yeah, it’s great.

John: And it was interesting, again, the—Jeri was great for us and she was really fantastic all year, but you know one thing she mentioned is, she got to play roles that nobody usually lets her play, even within the cons.

Amy: Yup.

John: And there’s another clue for you, where she spent the last—the time before her con career.

Marc: And here comes the shot.

Amy: I’m excited just thinking about it.

John: I’m a little giddy. Yeah, there you go.

Chris: Oh, around the corner!

John: Now that’s all done in camera, so what happens is you have to have everyone within view of that camera freeze. And then the camera man basically runs, we put a steadicam through and then we digitally speed it up.

Marc: Poor Gary Camp.

Amy: Gary Camp!

John: Poor Gary Camp.

Chris: Now that I thought about it, I bet you in the finale that’s what prompted Dean to do that shot with Sterling.

John: Right.

Chris: I bet Dean was like, he saw this and he was like ‘Oh you wanna try and top me with that? Well come and watch this!’

[All Laugh]

John: ‘I start and stop it four times!’

Chris: ‘I gave you your chance!’

Marc: But I don’t know, if you play it back you can see we also put some digital birds that are stopped—

John: Seriously? Like, if you slow-mo it you can see?

Marc: Yes. If you slow-mo it you’ll see two pigeons in the middle and we pass right past them.

Amy: That’s awesome.

John: I like the fact that, again, they’ve electrified the table, and that Nate is on board with Parker. ‘Cause again, that’s one of those little hints that Nate’s… sadism, for lack of a better word? is really starting to overtake his good judgment.

Amy: Yes. He’s—yeah it’s, little by little he’s starting to sort of fall to pieces here and sort of turn to the dark side.

John: Well, what’s nice is we started with the arc with the hospital one with- with the sadism, and then, you know, we had to sort of lean back on it for Gina’s arc. And then when we came back it was nice, that was basically the thrust of the back episodes. This was a lot of fun coming up with what the possible fucking visions could be. Oh that’s… I’m sorry, I’m drinking. [Amy Laughs] They’re used to me swearing on these by now! This really is like making, building a puzzle backwards.

Marc: This was really clever writing, and then to have the ability to shoot it was so much fun.

Amy: Aw. Thank you Rosky.

John: Yeah. We try to keep you entertained up there, after all your—this was only your fourth?

Marc: Yes.

Amy: Fourth episode?

John: Fourth episode, with no notice.

Marc: Yeah.

Amy: How was this episode different from the other three you’ve done?

Marc: It was fun to be in different places, you know, just to new places in Portland. It was fun to have a guest star like Luke to work with. And I loved having the emotional hook with Parker, ‘cause my first episode I did in the first season was a Parker episode, it was the Stork Job.

Amy: Oh! This is like your Parker bookend basically. That’s great.

John: Also it was interesting, watching with the sound off, I didn’t realize that’s one of the longest villain character scenes we’ve ever had. Like just when he’s parked there at the chair and she runs the con on him. Luke was really, really great.

Amy: He’s not bad to look at. [John Laughs] That’s kinda my job since you’re all dudes. [Laugh]

John: Well you know, I can appreciate a nice piece of man flesh as much as the next person. What is in this?

[All Laugh]

Marc: And the coffee finally spills.

John: And did we do the driving stunt there? No the driving—yes, the driving stunt’s after this.

Chris: It’s after this, yeah.

Amy: Yeah, yeah it was, the first part of it yeah.

John: But we shot it that day.

Amy: With the amazing, highly maneuverable Hyundai Genesis.

John: Hyundai Genesis was great. If you’re gonna murder someone with a car, the Hyundai Genesis is the way to go.

Marc: This was another local actor, I mean he just has… what a great face for television.

John: You know what, he looks a little like the British actor Peter Mullan actually, the guy who was on The Fixer?

Amy: He does! Yeah he does.

John: It’s really, I’ll tell you what Portland gave us - good cops.

Marc: Yes.

Amy: Oh yeah.

John: Our cops up there, ‘cause we just look at the Bottle show, and the three guys who played the Boston cops in the background, they’re just grounded.

Amy: This guy smells cop. [Laughs]

Chris: If you’re a cop-looking guy living in LA and you wanna get some work...

Everyone: Move to Portland.

Amy: We’ll employ you!

Chris: Just go! You listen to this right now? Load up the car, get up there! There’s work for you, my friend.

John: After these commentaries come out, people are gonna be on buses. There’s gonna be, like, bus tours for actors. And this was a lot of fun, was coming up—this was actually, I think we’d had the fortune cookie con in something. What was the story? Remember? We’d had it on the board for a while. The fortune cookies, the substituting.

Amy: Oh dude, so long ago; I wish I had the answer to that.

John: A lot of the, I mean that’s the thing is, there’s actually in the writer’s room a board of stuff.

Amy: Yeah.

John: And some of the stuff has been around long enough that it’s like, I know there was a provenance.

Amy: I think there was a fortune cookie con card.

Chris: Mm, I don’t know if a whole… might have been a story beat; it wasn’t a whole con.

John: Not a whole con, it was a story beat, yeah. But the idea of substituting—

Chris: This is a great- Here we go; here it is. [Laughs]

Amy: Look at it shining in the sun, beautiful.

John: And that’s a great—what was the choice on the, like in the moment, in the script it just says, ‘He realizes.’ How did you decide to go to the slow-mo and..?

Marc: I wanted to do a slow-mo in the 360; the world’s kinda spinning on him and just the—

Amy: The camera’s a great touch, too. I like it.

Marc: Yeah, well I wanted the can to just show the proximity of how close he was, how much he’s tempted fate.

John: This was also one of the sequences that—who cut this?

Marc: This was Sonny.

John: This was one of the sequences where Sonny Baskin really, really, really slammed it together because this is always tricky, figuring out how the flashbacks work. In what order, in what pace, at what exact moment in the scene. And I think in the script we played around with showing some of it upfront, and then—

Chris: How much of the dialogue to replay was kind of the trick.

John: Exactly, how much we make sure the audience is following.

Marc: And I don’t think some people were understanding, like, why I took so long to shoot that car sequence when he stepped out. That it does play later, and it does have to have different feels and looks to it.

Amy: There’s two parts to it, yeah.

John: And again, this is another one where you have to anticipate, this guy checks credit reports, we know he checked the victim’s credit report earlier, you know.

Chris: And another thing is, one of the hallmarks of our show is that when we create a character, we don’t always create powerful con characters. We create characters that have vulnerabilities that our bad guys can exploit. So here, we created a fake story of her having bad credit and being in debt for hospital bills.

John: Yeah it’s like Chris in the MMA one, Kane, he plays in a very power-negative position in that. Pretty much every variant of a con character you can possibly find.

Amy: José! The name on the cup.

John: And Chris is ridiculously delighted to be doing this at this point actually. [All Laugh]

Amy: How can you tell?!

John: I think he’s just enjoying stealing—driving a truck to tell the truth. And I love the idea that Hardison would do this and this is just what he does. He spends his weekends filling fortune cookies with fake messages. He does all the grunt work.

Marc: That’s a good shot.

John: That is a great shot. And we’re locked in. And this was also tricky, too, because again, because the victim had not been burned yet, essentially, and it was a preventative con. It’s not something we usually do, and trying to figure out how to accelerate this con, and what exactly Con A was, was really—it kicked our asses to tell you the truth.

Chris: The danger was really the tricky part, when to introduce the danger.

John: And now we knew we wanted to do the maestro Hardison beat in this script. Marc, you had a very specific reference for this whole bit, which was the radio announcer in Warriors right?

Marc: Yes.

John: Though Hardison is basically being a geek hacker—what year was that, 1980… Walter Hill, The Warriors…

Marc: Late 70s.

Amy: ‘79, or something. Around there.

John: Basically Marc reached back, like 35 years, and found himself a really great filmic reference for her side.

Chris: Well the key here is, the writing of it was making sure to go quickly from one, to the next, to the next.

John: Boom, boom, boom.

Chris: Each piece of information feeds to her, and she synthesizes it and comes to a conclusion.

John: It also helps explain how good Tara is.

Chris: Yeah.

John: She’s gonna run this con character as she’s getting all this crap dumped into her ear.

Amy: She’s playing vulnerable to him, but sort of expert to us.

John: I also love that he’s just given up at this point. We had not told the set people to put the orange soda in the fridge, but they just filled it and it just stayed that way for the year. I love that Nate’s just given up.

Chris: Yeah, this is Hardison’s war zone. He’s gonna need to be armed.

Amy: Gummy frogs, always important.

John: Gummy frogs, a call back from the magician episode. And Aldis really dug in there, really great job. Oh that’s Ire!

Amy: That’s Ire!

John: Was our…

Chris: Camera intern?

John: Camera intern, yeah. And she does some acting, and she was fantastic.

Amy: Her audition was fantastic, yeah.

John: Yeah, that was one of the ones where it was like, ‘Okay we’ll audition you.’ At the end of the audition, ‘Wow…you have a career in this.’ [Laughs] But she’s going into camera work. She’s gonna, believe back this year as one of our camera people...

Chris: Oh she’s gonna come back? Oh that’s great.

John: And why the choices on the lights in the- the blue? Just liked it? Just like the set of one color tone?

Marc: Yeah, just liked it. Dave had an idea about it, and it just worked real well.

John: And it stayed consistent through this setting. It’s a very nice contrast with the sort of warm orange and wood tones of like, Nate’s apartment. It helps track locations a lot easier.

Marc: And Beth freaked out a lot of people when she walked on set with that wig.

Amy: Many many people did not recognize her.

John: I know, that’s really odd, right?

Amy: It was fun.

John: It’s a great wig.

Amy: Yeah it is.

John: Hair and makeup did a great job with that, ‘cause you guys sent me the photos and I was like, ‘I have to shoot the season finale. Did they cut her freaking hair?’ No, great wig. And this is hot read, this is our crew doing hot reads on the fly, and it’s a lot like the Bottle show, where it’s like, you can’t do the wire in two hours. In theory, you can’t hot read someone simultaneously as you’re conning them. Well, you know.

Amy: Maybe you can if you’re Leverage!

John: You’ve got the little camera movements here, is that, you tried to track those or do you just assume that Camp and—?

Chris: Yeah, you’re making sure as you move in one direction on one, you move in the other direction on the other?

Marc: Uh, a little bit. We always wanna keep the sliders going, just pushing in at the appropriate moments especially when Ire- I mean she just did such a great performance, and did it in one take.

Amy: One take; it was one take.

Chris: And didn’t you say to her, ‘Save a little bit ‘cause you may need to do this again’?

Marc: Yeah. I said, I said, ‘Don’t let it all out so fast.’ And Luke was so great with her. Knowing that... He’s seen her pulling cable, and all of a sudden she’s in front and having to break down.

John: He was great with her. Now here’s the thing, most people don’t know what sliders are, why don’t you explain what sliders are? Most people know cameras move left and right but they, you know-

Marc: Sliders are what we have on our dollies and tripods that allow the camera head to move, I guess laterally, left and right, in a fluid movement. Just drifting, so always- the background’s moving just ever so slightly, so it never looks too stale or stagnant. There’s my Warrior shot!

John: And I notice you punched in, like closer, closer, til you land on it. It’s very nice. Also, I like the fact that the name of the National Transportation Safety Board—is that, that’s the name of Parker’s friend from… Peggy Milbank, is like the name that’s coming up, that’s Parker’s friend from the first season.

Amy: Yeah, it’s sort of like a little inside joke.

John: And Hardison, ‘Get the hell out of my way.’ It’s interesting, this is a big, kind of, Nate as guardian episode, and he’s not driving it. It’s one of the great episode examples of where Tim Hutton and Nate kind of just ground it, is kind of the center of it. There’s Wade.

Amy: Wade Williams, awesome actor. Perfect for this role.

John: I was wondering how he would play this reaction, because she’s, you know, he’s giving her a line of bullshit, and he’s gotta, he’s in front of everyone.

Amy: Yeah, he knows he’s on camera.

John: That reminds me of that guy who proposed to his girlfriend at the basketball game and she turned him down.

Everyone: Oh yeah!

Marc: Then the mascot walks him off.

John: Just put a- just end it. No, Wade was fantastic, he’d just come off Prison Break? Wasn’t he a guard on that?

Chris: And we had a long search for that part, too.

John: Yeah, we read a lot of guys. Well, because the original dialogue was somewhat baroque. [Laugh]

Amy: It was! It wasn’t exactly an easy thing to pull off, which is why we ended up casting it out of LA. It was just a really meaty part.

John: Nice fight coming up here, by the way. They actually banged the hell out of that van. You had to hammer a dent out, didn’t you?

Marc: Oh yeah. Yes we did.

John: Just every now and then you bounce a stuntie off a van. Jeri mixing it up. Jeri was in there, yeah. Good hit!

Marc: Our local stunt actors and Kevin Jackson choreographed this.

Amy: The moment where he, sort of, notes the tattoo on the guy’s hand.

John: It’s a nice beat. It’s interesting, the Portland stunt guys really dug in. Because we did a lot more stunts and a lot more fights than four or five movies that have shot up there combined, and they really rallied. They were fantastic. And this was the—

Chris: But here’s where he has to synthesize everything. I mean, now, you know, is where he really steps forward.

John: Well this is really where he digs in on the mastermind thing. This is a good, ‘Let me get this straight’ scene. This is a nice- the ‘let me get this straight’ scene is where you just reset for the audience, you know, just reset the stakes, reset the plot.

Amy: Also known as ‘So you’re telling me.’

Chris: It’s a general rule of writing to show, not tell, and the exception to that rule is when the situation is either so absurd or entertaining that you get a second laugh on the retelling of it.

Amy: Just commenting on it.

John: ‘I wanna get this straight,’ yeah. And you can also hide it in planning, or when the characters don’t have enough information. But no, because the episode at this point—

Chris: There it is, I think she just said ‘so let me get this straight.’

[All Laugh]

John: ‘Cause this is the point where the episode becomes an entirely different episode, because the first con worked. Again, because that’s always the trick on these, like, in theory you don’t want something to just fall out of the sky and be wrong.

Amy: Well they basically had Dalton Rand in the bag, and then, a totally unexpected-

Everyone: It worked too well.

John: This was a lovely shot. Marc?

Chris: Oh, I love this.

Marc: This was, I wanted to try and get this in one steadicam shot and just show the energy and movement throughout. I mean we spent so much time in this apartment that it’s fun to try and mix it up again.

Chris: Oh here we go, and up the stairs!

John: Nice, how many takes was that?

Marc: I think we did it in about three or four takes.

Amy: That’s crazy.

Chris: That was it? Now that was planned as a one- or, or was that just the end of the day, we gotta get this shot?

Marc: No, that was planned. That was one shot I wanted to try and do that had a little more energy and fun to it.

John: Marc’s lived at that set for a lot of shots, he wants to vary it up a little.

Amy: Time to mix it up.

Marc: And this, this was an idea that Connell had. When he saw the location and the time we’re shooting at, he said, ‘Let’s establish their faces,’ and then just, she’s walking into darkness.

John: Just bump into silhouette.

Chris: And she’s in boots, so let’s pan out from them, so, let’s be honest.

Amy: That’s what boots are for.

Marc: This happened to be in the paper factory.

John: Is this the The Bottle Job paper factory?

Marc: Yes, it’s just the area that didn’t have paper.

[All Laugh]

John: Now, yes, now we’re basically—yeah, there you go. He’s really digging in on this. ‘Come, come join me!’

Marc: And that was his idea, he said, ‘Get the lady a chair!’

John: This entire speech, I think I did drunk.

Amy: This was me taking notes on a notepad when you were drunk in the writer’s room, reeling off this speech.

Chris: It was a big debate about the- about what we- this guy, what was called in the writer’s room the evil scary guy.

John: Evil scary guy.

Chris: The appearance of evil scary guy. We typically don’t have dangerous villains appear late in episodes. Usually we’ve established them and so this was the idea that we were gonna have evil scary guy come at this point in the episode and you know, put everyone in mortal danger. And you went off in a very oddly baroque manner.

John: Yeah. I really—‘cause what I was doing was actually making fun of the idea. Because I was like, ‘Seriously guys, we’re gonna do this? Some guy’s gonna show up and go ‘Gentlemen, I have a problem!’’ And I basically did this speech with, like, a fistful of scotch, and Berg and Chris sat on the same side of the table and they both looked at me and went, ‘Yeah.’

Chris: ‘Yeah, yeah if you like that. That’s great.’

John: ‘Pretty much. Exactly like that. Thanks gentlemen. Debate’s over.’

Chris: ‘Debate’s done.’

John: ‘Debate’s done. That was entertaining, we all enjoyed it, therefore it is in the episode.’

Marc: This was fun to shoot; we had a circle track with, you know, two cameras and two separate dollies.

John: Wait, at the same time?

Marc: Yes.

Chris: Wow.

John: Oh, Jesus Murphy. So where is the circle track laid down, it’s on the outside of this beam?

Marc: On the outside of the beam, and yeah, just around everybody.

John: Two sizes.

Marc: Yeah, two sizes. And then at one point towards the end we, you know, change direction, just to mix it up a bit. But it was fun to have this type of villain. In the beginning we’re dealing with someone who’s smart, looking at bank statements, and now we’re dealing with a guy with a gun and thugs, who spent time in upstate New York.

John: Yeah, and he really sold it. And also it- the rule is: the villain has to suffer. And interestingly enough, we started Darlton Rand’s suffering really early in this episode. His loss of power here is really, he has just a bad back two acts. And Luke played it very nicely. Like right here, where he’s trying to keep control.

Marc: Yeah, when he’s trying to keep control, and he’s still trying to sell the idea that he’s the psychic.

John: Wade is terrifying. That was nice, picking up around here as she was dropping into it; that was very nicely done.

Marc: Yes, Gary Camp and Dave Connell.

Chris: Now how long did this take? Do you remember how many takes you did with this, with the circle track?

Marc: I think this scene, we… I believe we did it in just over an hour. Yeah, but it’s a lot of dialogue, and Wade did such a great job because, you know, he had to do it so many different times.

John: And there’s a lot of looks in this. There’s a lot of angles in this.

Amy: He just cracks me up.

John: Yeah, he does. He’s so happy. Yeah, you gotta bang them up from both sides, you’ve gotta pick him up talking to them. There’s no good way except a circle track to shoot that.

Marc: Yeah. I think that Jeri sells this really well in this scene.

John: She does. A little distressed, a little—

Marc: Yeah he’s walking in one direction, no, it’s not, this way. And it’s nice seeing, shooting over, oops, too early.

John: It’s always a little too early. A little too early. Timing is a big part of the show. And yeah, fainting damsel never, never fails.

Amy: Best stall ever.

John: Where was this? Was this, like, the storage unit place? Or this was on the road outside?

Marc: Uh, this wasn’t far from our sound stage.

John: Really? Really, we shot near the sound stage?

Chris: We got a lot of mileage within a couple hundred yards of our sound stage.

Amy: Clackamas.

John: Beautiful scenic Clackamas. And this actually, the fake registration idea came from Darwyn Cooke’s comic book adaptation of Parker. The Donald Westlake novel. In the opening of it, remember, he has the thing with Parker and—it’s one of my favorite starts to a novel, Parker’s walking into New York on the Brooklyn Bridge, like, but on the street? And people are—So what happens is, in the 1960s, he goes and gets his replacement driver’s license, and then he ages it. Because… and we spent a little time in the room like, what doesn’t have your picture on it? What can we age believably that, and, yeah that was where the idea came from. And then constructing this backwards to get the series of clues was- was a long afternoon.

Amy: Yeah, that was a tough—but then we broke this episode in one day, so it wasn’t that tough.

Marc: But I wasn’t allowed to break the window.

Amy: Oh that’s right, I remember that. Yeah, we had to, she had to jimmy it open.

Chris: ‘Cause that glass is expensive.

John: Breakaway glass is not cheap. Uh, there’s something creepily sexual about this exchange.

Chris: ‘Can I have your overalls?’

Amy: Yeah, and the look on Tim’s face, too.

John: Yeah, well I think that might not be the matching dialogue with that take, ‘cause I think it got a little dirty in that shot. Now this is a great location. I think we actually broke into a couple of storage units for this. People don’t mind, it’s Portland, they’re totally cool with us doing that. Good stall, and then we finally get Nate into a costume for the stall. Storage units, the anonymity of modern life is the key to Leverage. Storage units, cell phones, instant messaging, email, you know, I don’t think you could do this show in the 50s. And there you go, yeah.

Chris: Here he is.

Marc: Uh-oh. Gun, danger.

John: And, is that Dashiel Hammett or Raymond Chandler’s rule?

Amy: Yeah, Dashiel Hammett’s.

John: Dashiel Hammett. When in doubt, have a guy enter with a gun. And we actually have on the board in the writers room, ‘Man entering with gun > man exiting with gun.’ You have to understand, dude coming in… And Tim has an enormous amount of fun.

Chris: And this is his fumfering bureaucrat.

Marc: This was a fun shot to do. Craning up just to see, and then that’s the CG building that we added in the background.

Chris: That’s right, to set up the ending.

John: Yeah, in the original ending it was all done through remote camera, and then Dean suggested that we actually put it, attached it to it, and since cable access shows are shot in the middle of fricking nowhere, it actually worked out fine. And whenever- Oh, there you go.

Amy: Well I think Dean’s idea of that was just, sort of, to give our villain a bigger comeuppance, if he had to, sort of, face his victims...

John: Face-to-face. And that’s interesting ‘cause we always go like, you need the gloat, but you also need the suffering. And in the non-him-showing-up version, we had—

Amy: It was basically just the gloat, yeah. I mean he still ends in jail, but.

John: We have the people upset, but you know, you don’t get him looking them right in the eye.

Marc: Small spaces to work in.

[All Laugh]

Chris: How was it like, shooting the storage locker?

Marc: It was a little tough.

Amy: I remember this day.

Marc: You know, it was a double, but we just made it look like one, so we had room to always just have the camera on one side.

Amy: Yeah, there was actually another storage locker that opened up right next to this, to the left, so we could have somewhere to switch the cameras.

John: So did you throw up like a half-wall over on that side, or is it just, stack some boxes to feel like-

Marc: We just stack some boxes and just move the camera, but you’ll notice the camera’s usually on that side, looking that direction.

Chris: And here’s where he’s really starting to lose it, ‘cause he does have an arc, from inexplicably baroque, to just completely losing it.

John: No, he totally sold this. There’s no doubt about it whatsoever. And you guys took what was a joke pitch and turned it into a real character. That was just me on a long drunken rant. I’m inexplicably baroque, in the room, often!

Amy: This is, by the way, true.

John: Yeah. And Luke, losing it. Really the whole confession, the whole begging; he really sold it.

Marc: And of course, you know, time constraints. His stuff was shot all at night, hers was all in the daytime.

Amy: Of course. That’s how it works.

John: Really? So looking at Luke, you were looking, you had night behind you looking out?

Marc: It was night.

Chris: Here we go.

John and Chris: Det cord.

[All Laugh]

Amy: Det cord is great.

Marc: Our friend for the back half of season uh—

Amy: Thank you MythBusters for det cord.

John: Thank you MythBusters for showing us how det cord worked and how effectively—

Amy: I think I pulled that from a YouTube video.

John: Yeah, well we started with Thermite, remember? ‘Cause I remember how it melted through the car and you were like, ‘No, that’s too huge’, and you found us some det cord.

Marc: Here I just wanted to have a shot of Eliot’s arms.

John: So here’s a little something for the ladies, as my wife says. And now, this is very flashback heavy, but it’s all in continuity. You did a nice job of making sure we’ve seen just enough of these that we never floated. ‘Cause sometimes it’s like, ‘Oh god, do we know exactly where we are in this flashback?’

Chris: I think we compressed a little of it in editing too. I think there was a little bit more and we kind of just moved it all.

Amy: Yeah, there’s a lot more here than…

John: Ah, the network is unhappy; they’re gonna go get one of these real psychics now, not a fake psychic like this.

Chris: And then we get to see our victim again, and our other victim.

John: The proxy victim.

Amy: And the camera lady’s like, ‘I don’t wanna be part of this,’ backing out of the scene.

John: And the begging and the pleading. There you go. And there’s all the people who’ve been hurt.

Chris: The man from Michigan.

John: Did he stay in a hotel? Why is he still there? He got his reading yesterday. I don’t remember why he…

Chris: He wanted to come back; he had more to find out.

John: I guess so, I guess so.

Marc: This is always fun when you shoot things on two different days, that end, and that end.

Chris: Is Tim looking at a tennis ball, what do you do?

John: Is that like Jurassic Park? Or it’s like this tennis ball on a hockey stick is Chris’ hair. ‘Just track this.’

Chris: You just make sure your script supervisor takes good notes of uh...

John: Look at that, you’re shooting past the car! He’s in the car.

Chris: Nice, I never would have known that.

John: Nicely done. And this is actually, you know what? The president of the network the other day mentioned how much he loves the scenes where they’re all there. Where the guy actually, like, sees the whole- the whole con.

Amy: The family gloat, as opposed to just the singular gloat.

Marc: That’s the way we pull off this show in seven days - cheating.

Amy: Cheating very cinematically.

John: I prefer to call it cable awareness.

Amy: Cable awareness? Nice.

Marc: Now I think this next scene in the bar is, I think, one of my favorite wrap-up scenes that I’ve got to direct.

Amy: It’s one of my favorite, too.

Marc: It was one of these days where it was- there were so many tears on set.

John: We were coming to the end, too; we were getting there. Everyone was kind of rung up and spun up.

Marc: But everyone just, you know, Tim and Jeri and Beth and everybody, our guest actors, everybody just came in so strong and it was great.

John: This speech, by the way, you can really tell Tim’s a dad. That’s really how he lands this speech, it’s like, yeah.

Chris: Well the story, it’s an interesting story because the little peanut butter bit, a very good friend, a writer friend, Steve O’Donnell, who is a long time Letterman writer, and he has a twin brother Mark O’Donnell—also a writer, wrote the book to Hairspray. And I remember talking to him one time about the closeness of the two of them, and he said that they’re so close, that if you laid out peanut butter, that somebody spread on different pieces of bread, he could pick out his brother’s peanut butter. And it always stuck with me that that is something that, when I was writing this scene, that there’s just things that you see in your child that you just recognize from yourself or your father, and it has nothing to do with what you did, it’s all biological. And that was really, it did a beautiful job with it.

John: Nice landing on that. And Jeri there, by the way, she’s got a little glisten going there; she got a little moist.

Chris: And here’s this moment that was not scripted at all. Well, not intended in the script, but just through the acting.

John: But that was nice. Jeri landed the arc. She kind of completed Tara’s arc through there.

Chris: Yeah, she got it.

John: She had gone through all six episodes and she, you know, a lot of actors would come in and take up the space and say thanks for the job, but she really put in the work from [unintelligible].

Chris: There it is. I mean, that’s like...

John: I mean, she’s breaking your heart there.

Chris: She’s hugging her brother.

Marc: And I just gotta make sure that she makes that eye contact with Nate.

Chris: And it was all because that part about her brother was added after that scene was written, but she brought it together in this moment.

John: It’s a lovely beat. We have very, very good actors.

Marc: Then we release the valve and let you chuckle here.

Chris: Yes. We call it, in the comedy business, a treacle cutter.

John: A treacle cutter, yeah. And also Kane really lands these beats. He really- it goes from a smile, all the way to annoyed. He hits both of the crucial Eliot beats here. It’s the grin, and then, ‘I’m gonna kick your ass.’ He really hits all the bases on that one.

Chris: And we kind of end on her surrogate brother here.

John: Yeah. Who she may sleep with. Still haven’t decided that.

Amy: It’s a little incestual.

John: Yeah, you know, all television’s a little incestual.

Chris: Oh they’re all...

John: What, they’re all sleeping together, is that what you meant? What’s going on up there?

Chris: No, that’s—Come on. It’s like Star Wars.

John: Oh there you go, that’s perfectly legit. Anything you want to say to the nice folks?

Amy: Thanks everybody.

Marc: Thank you. It was a great episode to work on.

Chris: Thank you guys.

John: And actually thanks for David Wechsler, ‘cause he came in late and really helped us out on that. Really good job. And hopefully Luke Perry will be back. Less evil.

Chris: As his twin brother.

John: There you go.

Chris: Why not?

#Leverage #Leverage TNT #Leverage Audio Commentary Transcripts #Audio Commentary #Transcripts #Parker #Alec Hardison #Elliot Spencer #Nate Ford #Sophie Deveraux #Season 2 #Episode 13 #Season 2 Episode 13 #The Future Job

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pirate-tink · 3 years

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Do I need to be live-blogging my thoughts to Leverage: Redemption episodes as I watch them? No.

Am I doing it anyways? Unfortunately for you all, yes.

The Tower Job thoughts, with spoilers, below:

Ok, first up, Parker speaking Klingon? And Eliot understanding it? And agreeing with the sentiment? And "Hardison bet me that I couldn't learn the language. He lost." "Did he?" Ohmigosh, I cackled! I loved the "Even numbers only, baby. Why do I even know that?" in The Too Many Rembrandts Job, and I like that they're running with the gag that Eliot has become a Star Trek fan against his will because of Hardison. I wonder what other geek knowledge he knows?

I'm pretty sure the meditation tape Mr. Baddie was listening to in the car is one of the same ones they used for Alex on Almost Paradise...

Speaking of running gags, Harry trying to figure out how the "Let's go steal a..." goes is hilarious, and I hope no one ever explains it to him. It would ruin the magic.

I like the emotional journey for Harry in this episode. He's got skeletons in his closet, they all do, but his are all very haunting to him since he's just recently crossed sides of the table. He struggling to admit to himself some of the horrible things he's done, let alone reveal them to his new team.

I like the heart-to-heart's Harry has with Sophie and Eliot. Sophie is more the voice of reason, trying to calm him and get him in the right head space before the con, and duly berating him after he blows it in a moment of self pity. Eliot is the one to relate to him and give him hope that not all his skeletons will haunt him forever. And I really like that Eliot shares what he does- he's done arguably the worst things out of any of them, and has spent the last 13 years trying to atone for it. I wonder if he still sees himself as irredeemable, or if Parker and Hardison have helped him believe he might one day be capable of forgiving himself...

Also, kudos to Noah Wyle for directing this episode. I've never directed anything, but I imagine it's not easy to direct something you're also staring in, let alone when you're playing a character so new to you, opposite very established characters played by actors that know their roles well, and have your character take such an emotional arc in the episode.

Sophie took more of a leadership role in this one, but I don't think Harry's dressing down would've been the same if delivered by Parker. It would've been interesting to see how they'd have done it, but ultimately I'm not disappointed with what they gave us. I did really love that they took a vote initially on whether or not to keep him on the con. I liked the answers- Breanna wanting him around to make her look better, Eliot believing in Harry's redemption, and Parker allowing it so long as she got to throw him off the roof if he messed up again. (And hey, he threw himself off the roof in the end anyways.)

#leverage: redemption #leverage: redemption spoilers #leverage #leverage spoilers #the tower job #hitter hacker thief grifter fixer maker #eliot spencer #parker #sophie devereaux #harry wilson #breanna casey #christian kane #beth reisgraf #gina bellman #noah wyle #aleyse shannon #tink talks

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swordandquill · 3 years

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Leverage Writing Prompt #31

Title: Future Tides

Fandom: Leverage

Summary: Nate has been keeping a secret from the team, but an inopportune explosion forces him to reveal it.

This is a prompt fill for @leverage-writing-prompts. I actually submitted this prompt back in July, but only got around to finishing it now.

In honor of the beautiful (and also occasionally creepy) mer-May art I still have circulating on my dash: Parker (or Nate) is secretly a merperson. When a job goes wrong, they’re forced to reveal their secret.

@rinahale did a really fun fill for it already with Mer-Parker.

You can go here to read this on AO3 instead.

Author’s notes: The merrow are Irish merfolk who require a magical cap to move between land and sea.

Bone and Sickle podcast by Al Ridenour did a really great episode on the Kraken (Ep 65: The Kraken & Other Marvels of the Northern Sea). In its earliest renditions, the Kraken was a sea serpent. It was only later that it became associated with first giant octopi, then the giant squid.

*************

Nate knew as soon as the explosion knocked Eliot over the railing of the pier that he only had one option. Eliot was strong swimmer, but not stronger than the turbulent currents under the pier, particularly if he was unconscious. Nate hadn’t been able to tell in the split second it had taken to register him going over.

Even as he was yelling for the rest of the team to get off the burning structure, he was shucking off his shoes and jumping over the railings. He hoped they listened. The rickety structure was going to collapse, with or without another explosion. Getting to Eliot before he got bashed into the pylons was going to be enough of a challenge without having to worry about the rest of the team ending up in the water.

By the time Nate hit the water, his fingernails had hardened into claws, and he used them to tear the rest of his clothes off so he could finish the change. There was something euphoric about settling into his other form. He hadn’t changed since before Sam was born, and it was like finally allowing himself to scratch an itch that had been burning its way through his skin.

There wasn’t time to think about that though. Nate blinked his second eyelid closed, and the murky water sharpened into black and white, the fire above reflecting through the water in bright, washed-out streaks. He had to fight the chaotic currents rushing under the pier to stay still long enough to spot Eliot.

He had already been swept under the pier, probably already been driven into the pylons at least once, and was limp in the water. Nate flicked his tail and pushed into the current, using it to reach Eliot before he could be driven into the pylons again, but he wasn’t able to get them clear of the pier before the next surge. The best he could do was curl around Eliot and turn them so his back hit the pylon instead of Eliot. He was going to be bruised, but it was better than Eliot hitting again.

He pushed hard across the current and surfaced a good four meters from the pier. Eliot started coughing as soon as they broke the surface. The shear relief of it left Nate drifting for a moment, Eliot’s head tipped back against his shoulder and the rip tide pulling them out. There was blood fanning across Eliot’s face from a cut at his temple, and he wasn’t quite conscious, but he was breathing, and for now, that was enough.

Nate cut across the rip to escape it, then brought them into shore, doing his best to keep Eliot’s head above water, although there was no doubt he had breathed in more water by the time they reached the shore.

Changing back was not as easy or simple as the change to had been, but Nate had known it wouldn’t be, known he couldn’t deny his body something it had been craving for so long, then expect it to just let go of it so quickly again. It meant he had to drag Eliot up onto the beach with a tail, which was less than ideal and required more arm strength than he was used to using in either form, but he managed it.

He turned Eliot on his side in the sand as he continued to cough up water. Part of him wanted to leave him here for the team to find and make a break for it before they saw. Eliot was unlikely to remember anything, and Nate was sure he could make something up that would appease them. Then nothing would have to change.

Eliot’s eyes fluttered open, and he shifted fitfully, his whole body shaking with cold and shock.

“Just lie still,” Nate brushed the wet hair from his face with a webbed hand, “you’re alright.”

Eliot blinked up at him, and Nate waited for the reaction, but Eliot just gave an unsurprised “oh” before another coughing fit had him curling back into himself.

Nate let out a sigh and rubbed his back. He couldn’t wait to hear what “distinctive” thing about him had tipped Eliot off to what he was.

Someone yelled his name, and he looked up to see three silhouettes, framed against the light of the burning pier and racing towards them. It was a relief to see them, but Nate couldn’t help the unease as they got closer.

Parker reached them first, too focused on Eliot to pay much attention to Nate. She dropped down in the sand next to them, grabbing Eliot’s shoulder and shaking him in the Parker version of gentleness. Eliot batted at her weakly, but curled closer to her none-the-less. It wasn’t until Nate brushed her hand away when she tried to poke Eliot that she finally looked up at him.

Nate braced himself for fear, or disgust, or any number of negative reactions, but her face lit up like she’d just received a bag of non-sequentially numbered bills.

“You have cool teeth!” she told him brightly.

Nate’s world snapped back into place and all the unease drained out of him.

“Thank you, Parker,” he said drolly, just managing to not run his tongue over the points of his teeth.

“Oh my,” Sophie stopped short as she reached them, and Hardison almost ran into her.

“What is it?” the hacker demanded anxiously, “is Eliot…”

Hardison trailed off, mouth open and eyes wide at the sight of Nate’s tail.

“Nate’s a mermaid,” Parker announced gleefully.

“Do I look like a maid to you?” Nate groused.

“Maybe if you had a feather duster,” Sophie was giving him a look that said they would be having a long, unpleasant conversation later, “and a frilly little French smock.”

“Mermaids are real?” Hardison sputtered.

“Merrow,” Eliot corrected hazily, then curled into another coughing fit.

Nate was never going to hear the end of this from any of them. The fast-approaching sirens were almost a relief.

“Get him out of here,” Nate helped Parker to sit Eliot up, “don’t let him tell you he doesn’t need a hospital. He’s got water in his lungs.”

Hardison ducked down and helped Parker get Eliot to his feet. He swayed unsteadily, and the two were quick to get his arms around their shoulders and take his weight.

“What about you?” Sophie gestured towards his tail.

“Changing back takes longer,” Nate made a shooing motion, “I’ll catch up with you later.”

“You promise?” Parker demanded, refusing to be dragged in the direction Hardison was trying to usher both her and Eliot, “not like the little mermaid; you won’t turn into sea foam for loving humans?”

“No, not like that,” Nate assured her with an eyeroll, “hurry up and get out of here so I can too.”

“But you promise,” Parker refused to budge, “you’ll catch up later. You won’t disappear.”

“I promise,” Nate snapped, “go already.”

Parker grinned and turned back to help Hardison with Eliot.

“Don’t think I won’t send a trawler after you if I have to,” Sophie threatened, then turned to follow the rest of the team in the direction of the waiting van.

Nate didn’t doubt she would, and that they would find him, but he didn’t have any intention of making them do that. For now though, he pushed back into the water and let the waves carry him back out towards the open sea.

**********

“I can’t believe you didn’t tell us you were a mermaid,” Hardison hissed, voice low in a futile attempt to not wake Eliot.

“Merrow,” Eliot mumbled groggily.

Futile because Eliot wasn’t sleeping. Exhausted, still feeling chilly if the truly ridiculous number of blankets piled on him were any indication, and a bit out of it from a not insignificant head injury, but not asleep, at least not at the moment.

“You know, I googled that,” Hardison groused, “just because Nate wears stupid hats all the time doesn’t mean he’s some kind of Irish shape-shifting sea creature.”

Sophie snorted indelicately.

“That’s not…” Eliot started to protest, only to be cut off by Parker, which was probably for the best given how soar his throat sounded.

“You can’t have your hat back,” Parker pulled Nate’s hat down farther on her head; she must have picked it up after he dropped it at the pier, “just in case.”

Eliot moved restlessly in his hospital bed, and Nate, sitting on the edge of it, dropped his hand down to pat the hitter’s wrist. He left his hand there, fingers resting lightly against Eliot’s pulse point.

“You can keep the hat, Parker,” Nate said easily, “it looks good on you.”

Parker beamed at him from the foot of Eliot’s bed.

“It’s a con anyway,” Nate continued dismissively, “someone made it up centuries ago to trick fishermen and it stuck.”

“You really are a merrow,” Hardison deflated, as if the reality of it had finally sunk in.

“Yes, Nate,” Sophie sat back in the uncomfortable hospital chair regally, looking for all the world like a queen reigning over her court, “do tell us about being a mythical sea creature.”

Parker leaned forward like a child eager for a bedtime story.

“Well…”

Nate was interrupted by Eliot reaching up with his free hand to try to pull his oxygen cannulas off. Again. Nate caught his hand and lowered it back down to rest on his chest.

“Leave that be for now,” Nate gave his hand a pat.

“I don’t want it,” Eliot shifted, movements agitated and unsure, as if he couldn’t decide what he wanted to do, “we should get out of here. It isn’t safe.”

“I’ve got it all taken care of, man,” Hardison reassured him patiently, “we’re safe.”

“Security’s not…” Eliot started to protest.

“We’re security,” Nate let his hand fall back to Eliot’s wrist and left it there, “we’ll check in with the doctor this afternoon and reassess, alright?”

Eliot grumbled, but settled down again.

There was very little chance of Eliot being released before tomorrow. He was responding well to oxygen, and the CT had looked good, but he had been unconscious underwater, and that wasn’t something any of them wanted to take lightly. He was having trouble focusing and keeping track of what was going on around him, and it wasn’t because of the relatively mild pain meds he had been given.

Better to keep him where he could get the care he needed, at least while they could. Nate wasn’t kidding about reassessing. If the situation changed, and they needed to go to ground, they had other resources they could tap into to make sure Eliot still got taken care of. For now, though, this was best.

“Nate,” Parker was looking at him intently, “Sophie said I should pick something besides money that I want for my birthday.”

Nate turned to face her, resigned to whatever was coming.

“I like gold and gems too,” Parker grinned, “shipwrecks have lots of gold and gems.”

Nate gave a long-suffering sigh, and pointedly ignored Sophie suppressing a snicker.

“It wouldn’t even be like stealing,” Parker pressed, “it’s not like anyone really owns it anymore.”

“There are plenty of countries that would disagree with you on that,” Nate said dryly.

“Only if they know we have it,” Parker shrugged, “so can we go diving for treasure for my birthday?”

“You have to commit to a date for your birthday first, sweetheart,” Sophie pointed out, “also, if we’re diving for treasure, there is the platinum reserves Spain dumped into the ocean in the 16th century. Probably not enough to make the expense of an actual expedition worth it, but if you could just swim to it…”

“No,” Nate said firmly, “absolutely not. We are not treasure hunters.”

“But we could be,” Hardison smiled impishly, “we do need alternative revenues streams after all.”

“Not Spain,” Eliot murmured sleepily, “’s guarded.”

“By what? A kraken?” Hardison scoffed, then paused, “wait, there isn’t a kraken, is there?”

“No,” Nate said firmly at the same time that Eliot said “yes.”

He glared at the hitter, who gave him a tired, shit-eating grin.

“It’s not a cephalopod,” Eliot looked far too pleased with the way Hardison started to sputter.

Nate pinched the bridge of his nose. At this rate, they were never going to get Hardison near the water again.

“You’re making that up,” Hardison balked, “there aren’t sea monsters.”

“How would you know?” Eliot countered, “you don’t even swim.”

Hardison opened his mouth to deny the accusation, but Nate interrupted him.

“What I want to know, is how you knew what I was,” he gave Eliot a curious look.

It would be good for him to know what had tipped Eliot off so he could fix it. The fewer people that could tell what he was, the better. Maggie had known, had seen him change once before they were married, but he hadn’t wanted to split his life between two worlds. He had chosen the land, still chose the land. That remained where the things that mattered to him were.

“You bled all over me when you were shot,” Eliot said, “your blood is different than human blood. It’s distinctive.”

Not something he could do anything about then, although it was interesting to him that Eliot hadn’t bothered to say anything about it sooner. As with all the random and far-reaching knowledge Eliot had, Nate was caught between wanting to know how he knew and feeling it was probably best not to ask.

“That’s just nasty,” Hardison grumbled.

“So we’ll go to South American, and Hardison and I will track down the shipwreck sites,” Parker continued as if she had never been interrupted, “you can search the shipwrecks, and Eliot can help me update my dive certification.”

“Whatever you want, darling,” Eliot yawned.

“Do I get a say in this?” Nate asked.

“Probably not,” Sophie looked thoroughly amused.

“It will be like a family vacation,” Parker grinned, clearly excited by the idea, “you and Sophie keep saying I’m supposed to try normal people things that I haven’t done before.”

Nate knew a lost cause when he heard one. He sat back and listened to Hardison and Parker plan, keeping half an eye on Eliot as he finally drifted off to sleep. Sophie alternated between encouraging the pair with much too much enthusiasm and giving Nate thoughtful side glances. He was grateful she didn’t push for more information. Not yet anyway.

He had told Maggie before he had proposed to her. It had seemed unfair not to. And Sam… Sam had been so young. Nate was never sure he really believed it was more than a fairy story. Maybe if he had lived longer… gotten to be older… who knew what could have happened, what potential had never been unlocked. It hurt to think about, made him want to reach for a bottle and try to forget all the things his son should have been, should have had.

Eliot reached for the cannulas in his sleep, and Nate caught his hand, bringing it back down to his side and holding onto it.

Nate had a future here. Different from the one he had so badly wanted, shaped by different tides, full of unexplored depths and currents, but still good. He was learning to live with that, slow though the process was. It wasn’t the catastrophe he had always thought it would be, having them find out.

If the trade-off for this new future was the occasional treasure hunt, Nate could live with that.

*********

Parker continued to be non-committal about choosing a birthday, but there was a lovely 16th century gold and ruby pendent necklace tucked under the tree for her at Christmas.

#Leverage #Nathan Ford #Eliot Spencer #Parker #Alec Hardison #Sophie Devereaux #Isabeau's writing

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