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dtrhwithalex · 3 years

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TV | Leverage (Season 1, Rewatch)

Rewatch of the first season of TNT's LEVERAGE (2008-2012), created by John Rogers and Chris Downey together with Dean Devlin and his production company Electric Entertainment.

In anticipation of the show's reboot / revival / sequel LEVERAGE: REDEMPTION coming to IMDbTV on 09 July this year, I am rewatching the original 77 episodes and writing about my favourite moments and things from each episode, season by season.

(Just a note, this first season was aired out of order, so the dates won't actually form a chronology, since I'm going with the intended order rather than the one they were aired in.)

101: THE NIGERIAN JOB

D: DEAN DEVLIN. W: JOHN ROGERS & CHRIS DOWNEY. Original Air Date: 07 December 2008.

I have lost count of how many times I have seen this episode (or any episodes of this show to be completely honest), but it holds up every single time. It is one of my favourite, if not the favourite TV pilot episode I have ever seen.

The way this pilot sets up who the main characters are and what the core of this show is, is simply perfect. The introduction of Nate at the bar being approached by Dubenich, then the intercut between him convincing Nate to do the job and the actual job happening -- just wonderful. The same goes for the individual introductions of the other players. Nate's comment about Parker ("no, but Parker is insane") which plants a thread for the rest of the show already, the flashbacks of each character to exemplify who they and what their talents are, combined with the episode then showing you those talents and what Nate can do with them -- which is, of course, his talent -- sets up this whole show so well.

So many seeds that come to fruition throughout the show are already planted right here. Nate's mentoring of Parker to become his eventual successor as Mastermind ("Haircuts, Parker, count the haircuts" -- "I would've missed that"), Eliot's role as protector, the iconic overhead shots and the gloating, the alternate revenue streams, "Hardison dies in Plan M" -- it's all already right here in this episode. A brilliant piece of writing. Hats off to Rogers and Downey, no questions asked.

Rewatching this episode made me think of what this show is about, in its essence. Yes, it is about standing up for those who can't do so themselves, taking on the bigger bad, showing how corrupt and terrible the world can be, but also how much good there is to still find in the world. But also, this show is about a lonely man being actively bullied into the family he didn't know he needed or wanted, but will eventually come to realise is the one thing, the only thing that is keeping him alive. LEVERAGE is the story of a man and his crusade to avenge the death of his child, but is is very much also the story of a man who finds a reason to keep getting up every morning in the four people who are on this crusade with him. And this pilot episode already holds the seed and the potential of all of that. And that is why this show is to this day still my favourite show of all time, because it is utterly perfect in every way.

102: THE HOMECOMING JOB

D: DEAN DEVLIN. W: JOHN ROGERS. Original Air Date: 09 December 2008.

I absolutely love how John Rogers was like okay first episode, some greedy asshole who does whatever he wants for his own gain, we'll take him down a notch. Episode two? Hmm, oh yeah, the government is completely corrupt, filled with rich greedy assholes who do whatever they want for their own gain and always get away with it. Not on my watch (I love him very much, thank you).

This episode, once again, so good. The re-introduction of every character in this new reality of Nate's crusade is just as brilliantly done as the original introduction of them all. Sophie at an audition (love the John Rogers cameo here) completely butchering it once again, Eliot beating up some thug, Parker stealing valuable art, and Hardison doing what he does best: creating a beautiful office-slash-home space for the team, putting his all into their backstories, the equipment, the behind-the-scenes workings of what they need to get the job done. My man.

The message of this particular episode is also just something I am very fond of. The rehab facility doctor's words in the beginning, and then in the end again -- "people don't just show up to help. that's not the way the world works" -- as well as Nate's ultimate answer to her, "so change the world." That right here is the message of this show. It's already right here, all up in your face, episode two.

I completely adore what this episode does for the character dynamics already. The detail Hardison puts into the other's backstories, the interactions around the conference table, Eliot sharing his knowledge, Nate explaining the money laundering scam, the whole thing about laws being in a wooden box, Sophie elaborating why she knew Congressman Jenkins was lying to her -- they don't just work together, they already start giving the others insight into their talents and their knowledge and share that. It's beautiful. I especially adore the shot of them at the end, everyone leaning against the car while watching Corporal Perry and the other veterans debating what to do with the money. They are already so comfortable and at ease with each other, leaning into each other's spaces. They're family. You can see it here already.

Absolutely fantastic episode. For a long time, whenever I thought about The Homecoming Job, I somehow associated a more negative emotion with it than with other episodes, but I don't quite know why, because this is a brilliant episode and I love watching it.

103: THE WEDDING JOB

D: JONATHAN FRAKES. W: CHRIS DOWNEY. Original Air Date: 13 January 2009.

We love Jonathan Frakes in this house and every single time his name shows up with the director tag on this show, I know that I will enjoy every last second of the episode I am about to watch. Frakes directed the hell outta this thing. The Wedding Job is an absolutely excellent episode. Dan Lauria as our main baddie Nicky Moscone is perfect casting and there are so many great comedic beats in the scenes with him and Nate. Everyone, generally, is so weirded out by Priest!Nate, but Moscone just takes the weirdness in stride. This episode holds a very special place in my heart because it contains the introduction of my favourite FBI duo -- McSweeten (McSweetheart, as we call him) and Taggert. I adore these two bumbling fools so much, and I am so glad they kept being brought back, because they are both just so lovely. McSweetheart especially is very dear to me because of the D.B. Cooper Job from the last season (where, I ask, do I start my McSweetheart for Leverage: Redemption campaign?). Overall just such an excellent episode, really. So many great moments between our main characters--Sophie and Nate and their little "relationship" problem, Hardison and Eliot talking about marriage, Parker pretending she was waiting in the screening room to have sex with Hardison, Hardison appreciating Eliot's cooking. I also absolutely adore the beginning, the four of them convincing Nate that Teresa is definitely the type of client they take on. And Nate's resigned "Yeah, okay, yeah. Let's go rob Nicky Moscone. A guy who kills people and lives in our city. Yeah, let's go do that" as if they weren't going to go above and beyond any of that in the five years they will spend together on this crusade of his. You're so precious, Nathan. Of course, the ending of this episode is beyond brilliant, and lives both in my heart and my head rent free. It is such a magnificent found family moment. Getting Teresa the restaurant back, the news footage regarding Ray's appeal, and of course, Eliot cooking for them all, and them celebrating together, all of them. It is such a beautiful moment.

104: THE SNOW JOB

D: TONY BILL. W: ALBERT KIM. Original Air Date: 27 January 2009.

I adore what the client says to Nate in the beginning of the episode: "You work hard, you play by the rules, but when you need help, you really need help? They let you hang. They let you hang and it's your kid who pays the price." This show hammers home its message so many times in such great character moments and it makes watching these brilliant people take on these greedy bastards and robbing them for all they've got that much sweeter. It is such a satisfying thing to watch. Especially because they're all so damn good at this.

This is a great episode but it is infinitely funnier if you know and speak German, because it makes the scenes between Sophie and Eliot absolutely hysterical. And the delivery of the line that Ute Ausgartner says when she discovers they replaced her with Sophie is just wrong enough to crack you up.

Again some wonderfully brilliant comedic beats -- the Frakes cameo in the hospital waiting room, Parker casually hanging off the ski lift, Hardison and Eliot arguing over who puts dye in the dead body, Eliot carrying off a pissed of Parker, and so many more.

This episode also, for the first time, really gives insight into Nate's drinking problem. We had the one moment in The Homecoming Job, but this episode starts to explore it more in depths. And something that I've always appreciated about this show is that it never glorifies the drinking, but Nate is also never vilified for it. It is a fact of Nate's life and they explore different aspects of it, and everything is done with such care (which does not surprise me one bit since this is John Rogers' show).

The ending of this episode is also, once again, so beautiful and nicely done. It is just so incredibly satisfying to watch these greedy bastards get what's coming to them, and to see the clients be compensated beyond anything they'd ask for.

105: THE MILE HIGH JOB

D: ROB MINKOFF. W: AMY BERG. Original Air Date: 20 January 2009.

Another fantastic episode (you will realise that I will say this about every single of the 77 episodes this show has)! Amy Berg wrote some excellent stuff for this show, and this episode is one of them. Always a lot of great character relationship moments, and absolutely brilliant comedic beats.

I am very fond of the fact that here, in the early days, we have the whole team present around the table during the client meeting. We see all their reactions and inputs here already, and not later when Nate or Hardison (usually) relays the information of their next job to the rest of the gang. It's a very lovely moment.

I am also very fond of the entire recon bit at the GenoGrow office. Sophie's French rave-girl act, the others having to climb stairs, Hardison's absence, the cut from Parker's bomb to the microwave at the HQ, Nate, Eliot and Parker yelling "Oh it's right behind us, it's chasing us!" and grabbing Sophie on the way out, meanwhile the security guys completely buying it. Absolutely brilliant, all the way through.

Both Hardison's adventure at GenoGrow as well as the others on the plane contain so many great comedic moments. Hardison's Spanish maintenance guy act, his interactions with both Cheryl and Steve (talking into the cupboard? His fake meeting and getting Steve to take a dive? The whole birthday thing? A+ all around. Amy Berg, everyone) and of course the reaction he has to the plane safely landing on the highway ("lord I was so scared, I wanna cry and call my momma" I love him so much, y'all). I also have big feelings about Nate's pep talk to Hardison, "you can do this, I trust you ... the only guy I can count on in a situation like this." Sir, I am experiencing an emotion alright.

The sequences on the plane are of course also absolutely fantastic. Nate and Sophie's domestic, Parker's day job and her interactions with Marissa, Eliot being a big softie who holds Marissa's hand all the way up to the in-flight bar and hugs the woman he sat down next to when they safely land (womaniser, big softie. tomayto, tomahto). Also big shoutout to the fake names Nate and Sophie have. We love our DOCTOR WHO references in this show. I love these nerds very much, thank you.

106: THE TWO HORSE JOB

D: CRAIG R. BAXLEY. W: MELISSA GLENN & JESSICA RIEDER (GRASL). Original Air Date: 16 December 2008.

This episode also holds a very special place in my heart because it contains the introduction of our dearly beloved antagonist, Mr Jim Sterling, the absolutely amazing Mark Sheppard. We love Sterling in this house, yessir (again, where do I have to address my Jim Sterling For Leverage: Redemption campaign to?). Every moment he is in is fantastic, but I especially adore the conversation he has with Nate at the race track (especially the "Nathan Ford is a common criminal" -- "Common. That's just hurtful" bit of it).

This, of course, is an episode by our wonder twins, Glenn and Rieder (now Grasl), which they ended up naming the in-universe safe company after. Always fantastic work when the two of them are involved. Some amazing character moments again here.

We get to see some of Eliot's backstory with Aimee which in turn gives us two fantastic moments with him and the women of the team. I love his interaction with Sophie at the racetrack: "I like Aimee, I do. I mean it, I like you both, Eliot. I just, I don't know what comes of chasing the past, you know." -- "Well Sophie, sweetie, I don't think you and Nate get to serve me that particular meal." Just fantastic moment between these two, who I like to call The Conference of Mom Friends whenever they are in scenes together. The other interaction is with Parker in the car: "We need you to do this. I need you to do this." I adore Eliot and Parker's relationship and this already is a very early glimpse at the dynamic they develop which will eventually lead to beautiful moments like that in the ice cave in The Long Way Down Job in season four.

I also love how it is Hardison and Parker's discussion about horses that ultimately reminds Nate of the Lost Heir con. Aldis' delivery of "Wilbur loved Mr Ed! He loved him like a second cousin twice removed" is absolutely brilliant. Unsurprisingly, however, my favourite interaction of this episode is the one Eliot has with Aimee at the end: "You're never gonna be the kind to settle down, but I'm glad you found a family." -- "Th-those guys?" Yes, Eliot, those guys. You might not know it just yet, but that is absolutely your family, and the fact that an outsider already comments on it this early is simply perfect. My deepest gratitude to you, wonder twins.

107: THE BANK SHOT JOB

D: DEAN DEVLIN. W: AMY BERG. Original Air Date: 30 December 2008.

Amy Berg on the typewriter once again (typewriter? Alex what are you talking about this was 2008...)! I really like this episode a whole lot. An excellent one for Nate/Sophie, as well as Hardison/Parker. I have a huge soft spot for my crime children pretending to be law enforcement. Any combination of them is good, but Parker and Hardison as FBI agents especially is just exquisite.

This episode is also just fantastic for illustrating some of the small town criminal activity that happens from the top down. Judge Roy's entire bit about how "these little people" will do and say whatever he tells them to do and that, because he is the law in the town, he gets to decide what is actually true and what is not. To then have Hardison fake security footage and them turning the story against Judge Roy is of course poetic justice. I adore the moment when the bank manager Frank decides that sticking with the false facts these random people have come up with is the better choice than having the judge remain in charge.

I also really love the interaction Derrick has with Sophie and then later with Parker, as well as the moment of uncertainty in-between. His "I don't know what to do with that" when Sophie tells him she's a thief is so funny and so good. The turn of "but they're criminals....then again" when he looks out of the window on the way to Parker is also just a nice moment to illustrate exactly what Parker then later says, "sometimes bad guys are the only good guys you get." Ethics and justice are such muddy concepts and especially in situations like Derrick is currently in, there is no way of knowing who is actually good, who is bad, and who is just trying their best. It is a lovely moment and once again, one of those great instances of "important message within character moment" that this show does so well.

Of course, I am also very fond of Hardison's mention of DOCTOR WHO, his "Geek power baby, stay strong" line, Eliot's fight scene with the crack dealers ("stay in the car!"), Hardison's bullshitting the demands at the bank (Hall & Oates!) and, of course, last but not least, the return of my favourite FBI fools, McSweetheart and Taggert, getting yet another win laid in their lap by the Leverage crew. This episode is filled to the brim with greatness.

108: THE MIRACLE JOB

D: ARVIN BROWN. W: CHRISTINE BOYLAN. Original Air Date: 23 December 2008.

An absolutely excellent Nate-centric episode! We finally get a bit more of a view into Nate's past, aside from the ever-present flashback to Sam's death at the hospital. I really like the relationship of Nate and Father Paul, which I think is very interesting and so well done. Through Paul we get another side of Nate, which may have stayed hidden otherwise. I am also very fond of how Maggie is introduced here. She doesn't get a voice yet, but we learn about her through Nate, Sophie and also Paul, and I quite like that. It sets up expectations for her appearance in the finale, which is really intriguing.

This episode has so many great comedic beats as well, and I barely even know where to begin. From the team's inability to deal with Sophie's acting talents (or lack thereof) to the whole "It's not Santa" gag, the amazing faces Sophie pulls when the mark tells her about Bibletopia, Hardison's "God will smite us" thing -- there is just too much good stuff in this episode.

One of my favourite interactions in this episode was on the construction site, after Grant takes what he thinks are his meds.

Sophie: What is that you just took? Grant: Xanax. For my nerves. Parker: Actually caffeine. With a dash of dextroamphetamine. Eliot: You have him speed? Hardison, shrugging: He beat up a priest!

The look Eliot gives them then with a half-shrug, an expression which cannot be described as anything but "aight, fair enough" -- just absolutely excellent.

What I also really loved about this episode, is that we get to see more of the HQ than just the conference room. We have the team meeting in Nate's office, we see Sophie picking through her mail, Hardison making space so he can build fake Saint Nick statues. Added to that, the team is setting into such a nice familiarity with each other. Eliot brings Sophie a cup of coffee to the meeting in Nate's office. The fact that they all do get mail at the office. This is their space. I love it so much.

What this episode also gives us, is a first instance of the con possibly going side-ways because of how convincing it is. I adore that their possible downfall will never be incompetence, but rather over-competence. They are so good at what they do that sometimes their talent comes to bite them in the ass. We see this again, a bit different, in The Juror #6 Job.

The ending of this episode is very dear to me. It is a very lovely moment between Nate and Paul, but also Nate and the team. It creates such a beautiful moment of intimacy between these characters, which I think is done with extreme care, and it shows. This episode also very nicely sets up a nice sort of grounded-ness for the next episode, which I think the subject matter really deserves and needs.

109: THE STORK JOB

D: MARC ROSKIN. W: ALBERT KIM. Original Air Date: 06 January 2009.

This one and the next episode are excellent Parker-centric plots and this one in particular also has some wonderful Parker/Hardison content. Nate, also, is just very good in this episode as well. Keeping the tone the last episode established especially toward the end, this episode has such a nice grounded-ness to it. Nate's first meeting with the client is so careful in a way, and we don't always see that. Generally, Nate is careful and considerate in this episode, I think. Even when Parker goes rogue, he is so good with Parker (I attribute the brashness entirely to his director role here). It meant so much that he doesn't shoot down the idea of coming back for the other orphans, he knows how important this is to Parker (and Hardison).

With this episode we learn that both Parker and Hardison have grown up in the foster system. I really adore the conversation they have at the van after they find out about the orphanage -- Hardison telling Parker about his Nana, Parker's fear that foster system will be cruel to those children, Hardison's "I like how you turned out" -- it is such a lovely and meaningful moment. This and the "we're a team" / "a little more than a team" moments are such great instances that highlight the importance of these characters and their relationships in this show. It isn't just some crime procedural where every characters is replaceable at any given moment -- this show is about people, and about these specific people.

On a lighter note, I also really adore Nate and Sophie's dynamic in this. How they coach Parker and Eliot individually but at the same time, while also arguing about Sophie conning Nate back in the day, is just brilliant. Their "delightful banter" as Hardison calls it, is so good, and I absolutely love that Nate figures out the way to con Irina is the same way he would have to con Sophie. It's just too good.

David S. Lee as Nicholas is also incredibly good, although since watching THE LIBRARIANS I always expect him to swoon over a blonde and call her Duchess any minute.

110: THE JUROR #6 JOB

D: JONATHAN FRAKES. W: REBECCA KIRSCH. Original Air Date: 10 February 2009.

The lighter of the two Parker-centric episodes, but a brilliant one nonetheless. This episode also brings us the introduction of Peggy played by the lovely Lisa Schurga. We love Peggy in this house and, once again, I ask: where do I address my Peggy For Leverage: Redemption campaign to?

This episode is great for many different reasons, one of course being that Hardison is so good at what he does, that Parker's alias has to go to jury duty. What a talent, we absolutely have no choice but to stan. I love him so much. Other fantastic things that make this episode absolutely excellent are

- Nate's "there is not some evil conspiracy lurking behind the curtain of every routine civic activity" speech which he then has to retract,

- Sophie teaching Parker about persuasion with the help of Eliot who is absolutely precious in this interaction,

- Eliot's friend Donnie, who poses as another employee from the company Sophie pretends to be from, who then turns out to be Scottish,

- Nate and Sophie sending the kids off to work at the door, with a briefcase and handshake for Hardison and a snack and high-five for Parker,

and Hardison's entire act as a lawyer. He is so good. Of course his stalling is brilliant, but the turn-around once he has to actually try and win the trial? A masterpiece. I love how he tears the doctor apart for his drunken airplane misconducts, but what takes the cake by miles is of course his closing statement. He is just, so good, and such a goodhearted, wonderful person. I love how he directly addressed Parker. Hardison is full of sunshine and I love. him. so. much.

And I would be remiss not to mention how incredibly fond I am of the rest of the team watching the feed of the jury room from the HQ with such proud looks on their faces as Parker leads the other jury members and they vote in favour of the plaintiff. This is their girl and she's done so well. What a brilliant episode. My love to Becky Kirsch, honestly.

111: THE 12-STEP JOB

D: ROD HARDY. W: AMY BERG & CHRIS DOWNEY. Original Air Date: 03 February 2009.

Another episode, another instance of me asking the question: Where do I address my Hurley for Leverage: Redemption campaign to? We love Hurley! Drew Powell is absolutely fantastic, I adore him. Also huge shoutout to Joseph LoDuca for that absolute banger of a song that plays during the intro and the credits.

This episode has some fantastic Eliot/Hardison moments that are very dear to me. The two of them looking for Hurley and fighting over Hardison's slushy spill is just lovely. The whole car bomb sequence is also just completely brilliant. It's such a step in their relationship and I love it so much. The moment of "D'you want me to kick it?" / "God, I'm gon' die" is a wonderful comedic beat in this tense situation, but it is the bit after that I really adore. Hardison figuring out how to trick the bomb and then,

Eliot: What's our margin of error here? Hardison: 'bout half a second. Eliot: Run the ba-bag of bricks by me again? Hardison: Are you ready? Eliot: No.

I am just, so fond of these two. Also the fact that Eliot's hand shakes when he reaches for the cables and waits for Hardison's signal always puts me all up in my feelings about him. I also of course adore the scene at the rehab facility with Hardison's "I'm with him. No, I am with him. See, he thinks the flirting makes me jealous, but it doesn't. But if you was like Brad Pitt or Denzel or somebody, oh girl it would be on." It love it so much.

Nate, of course, is also just great in this episode. His entire experience in rehab is another wonderful insight into his character, his issues, how he sees himself and so on. The hallucination of Sterling says so much about him. I think this also very nicely sets up how Nate behaves in the finale double episode.

I also really want to mention Parker here, because Parker in rehab is also something I am very fond of. I love the moment where she pickpockets the Koreans searching for Hurley and then so innocently comes to Nate to confess what she's done and tells him in this tiny voice "I didn't meant to, it was just instinct." I love her so much. And her, at the end of the episode, skipping along and then running toward her people, jumping on Eliot while tossing her stuff at Nate, and then going to hug Hardison, is such a lovely moment. I love how the three of them then walk toward the car arm in arm, too. I love these kids.

112: THE FIRST DAVID JOB

D: DEAN DEVLIN. W: JOHN ROGERS. Original Air Date: 17 February 2009.

First half of the first finale! I gotta say I really love the David Jobs very much. It is such a fantastic first finale. I really adore how the opening of this episode is mirrored in the opening of the second half.

Given the set-up of the previous episode, I really like how for a first time watcher, this opening sequence very much looks like Nate is completely off the rails doing his own thing getting revenge on the man who, basically, killed his son. It isn't until Blackpoole introduces Nate to 'Portia' and we see Sophie turn around that it becomes clear that we're on the con, which I think is done very nicely. Only then giving the viewer the "how we got here" part is just great.

This episode of course also brings us, finally, Maggie (yes, I'll ask again: where do I address my Maggie For Leverage: Redemption campaign to?). I absolutely love how she is introduced here as Eliot's date. I also love how absolutely terrified Eliot looks once he realises that she isn't just anyone, but Nate's ex-wife. Maggie is such an excellent character, and I adore her. I also am very appreciative that this episode holds the singular moment of jealousy Sophie has toward Maggie. After her momentary outburst as Maggie tells Nate she hasn't stopped caring about him, we never see it again. Even better, once Maggie learns about Nate's crew, Sophie and her even become friends. And it is lovely.

We also have some great Parker/Hardison moments in this episode as well. I adore Parker and her enthusiasm for their "little naked man" and Hardison being weirded out about it (and turning the little David around so Parker can change in private). I, of course, absolutely love the kiss (and Eliot's grinning question at Sophie who of the two of them Parker had kissed) and then the theft of the First David. Hardison is so in awe of Parker and it is a sight to behold.

I also quite enjoy the "downfall" in this episode. Sterling showing up (we love the bastard), the fight between Eliot and Mr Quinn, the conversation about Sophie conning them on the roof, and then of course the final confrontations on that same roof as well as the HQ. This whole thing of "and then I asked myself, what would Parker do?" / "but then I thought, what would Hardison do?" is just brilliant and lovely. It shows how far they have all come throughout this first season and how much they have learned from each other already. I am very fond of it.

I am sad about the offices being blown up, though. As much as I love both McRory's pub and Nate's apartment in Boston, as well as the Brewpub in Portland, I've always really liked the LA offices as well. It was their first home and it was lovely. I am however very happy that Old Nate made it out unscathed.

113: THE SECOND DAVID JOB

D: DEAN DEVLIN. W: JOHN ROGERS & CHRIS DOWNEY. Original Air Date: 24 February 2009.

And the last episode! As I've said above, I adore how this opening sequence mirrors that of The First David Job. Similarly, I also love how until Sophie notices Parker's laser pointer and Eliot sees Hardison, as a viewer you assume they are on the job together, which is again the reversal of the first half of the finale. Just lovely storytelling, I adore it. Speaking of mirrors, the scene in the MC Hammer mansion where Nate inconspicuously manages to get them all thinking about the con together and putting their differences aside once more, also mirrors one of my favourite scenes from the first episode of season two, where the team does the same to Nate.

This episode on the whole I also just marvellous. Eliot's awkward date with Maggie, Nate finally telling Maggie about Blackpoole's involvement (or lack thereof) in Sam's death, the team involving Maggie in the planning of the con and her, precious as she is, questioning Nate's ability to just get people to do what he wants -- it is all just so good. I love Maggie on the con, too. Sophie coaching her, how good Maggie is at it immediately. Just lovely.

Then, of course, the entirety of the con from the moment Nate shows up at the museum. Sterling hurrying all over the place trying to figure out what Nate's plan is, finding out about the mummy, the release of the gas, the evacuation, the David statue replicas, them finally getting in and finding Nate alone in the exhibit room. I adore that shot of him leaning against the display case with the two Davids still inside, only highlighted from the open hatch in the roof. It is such a beautiful shot. I really enjoy Nate and Sterling's dynamic here, too. And I am very happy that Maggie gets to punch Blackpoole just like Nate got to in the episode before. They both deserve to give this man hell.

The ending of this episode and therefore this season always has me in all of my emotions. If I didn't know there would be more after this, I would just go lie down and weep for a while after watching it. The trademark overhead walkaway shot is of course a must, but the fact that they stop, that all of them hesitate, thinking about turning around, thinking about changing their minds. And then it cuts to black, and if this had been it, we would've never known! Ah, what a show, what a first season. I am completely in love with this show, as pretty much everyone knows, but I just -- this show is so damn good. It gets me every single time. Every time.

[image taken from the electricnow website]

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ripspaghet · 4 years

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bff | 04

↳ series m.list | 00 | 01 | 02 | 03 | 04 | 05 | 06 |

→ pairing: yoongi x reader

→ word count: 4,750

Prologue Summary; Your best friend's boyfriend takes an unhealthy interest in you and just as he shows up something from your past starts to creep up on you again. Could this strange and mysterious man have something to do with it? And should you trust him, or your instincts to run far, far away from him?

→ warnings: angst, swearing

The bell overhead chimes as the doors open, making Seokjin's mouth finally clamp shut before another word can make you slam your head into the register. Your shift had only begun and he was already on a roll about being forced to clean the toilets earlier.

"Welcome to Sil's Coffee, how may we help you?" The slogan fell off your lips like a sigh of relief as you plaster on a bright smile for the customer, coming in from the frigid outside air.

A chuckle erupts from the customer, "I see Seokjin is harassing you again."

"W-What?! I do not-"

"I'd like an iced mocha with caramel. Could you fetch that for me Jin?" Mina slides into the bar chair in front of Seokjin, who bites his tongue before turning around to make her order. The man may loathe his job, but there was no way he'd allow himself to be fired.

"Honestly, just tell him to shut up. You don't have to listen to his whining."

You can hear Seokjin muttering inaudible profanities at Mina and you let out an actual sigh this time, "Seokjin is just expressing himself."

"And this is the best way he knows how? How sad."

"You're coffee." You flinch as a cup is slammed onto the counter and slid into Mina's hands.

"Thanks, handsome." She grins endearingly up at him.

"Can you leave now?"

"Oh, how rude of you to say to a customer. I wonder what the manager would say?"

You pinch the bridge of your nose, "Mina, stop, for fuck sake." Seokjin is presumably the only person who dislikes Mina more than Jimin, although Mina doesn't dislike Seokjin. She actually likes him, despite his constant rambling.

Another chime grabs everyone but Mina's attention back to the entrance to see your stumbling yellow-haired friend enter the shop. He swore as he tripped on the entrance's floor-mate, but quickly composed himself and looked up to send you a dazzling smile before gracefully making his way over the seat in front of you, "Good morning, my ray of sunshine." You open your mouth to return the gesture just before someone else strides in behind him. Dark hair, dark eyes, and pale skin sporting a baggy tee and flannel with tight frayed jeans. You grimace at the sight. Of course, he was here. Why wouldn't he be? Mina was here and wherever Mina was, he had the right to be.

"Couldn't you have done us all a favor and let yourself fall?"

"Like I'd ever do a favor for the likes of you." Jimin retorted swiveling around in his chair.

It's been exactly three weeks since your first session with Yoongi began and you still haven't grown comfortable with the whole ordeal. Especially since Yoongi had all of a sudden started making an effort to include himself in Mina's life more, resulting in him almost always being around. Which is great for Mina, just not so great for you.

"Anyways, how is my love doing?" Jimin reached out for your hands and smiled at you in a way that made it impossible for you to not return the gesture.

"I'm alright." You squeezed his hands reassuringly before pulling away to make his usual drink. At least you had Jimin most of the time. He did a great job of pulling your attention off of the guy just a few feet away from you and settling your nerves.

"I heard how Namjoon left you high and dry. Taehyung has been dogging me for studying material ever since. Is your project coming along alright? I can help you with it?" You tense as you begin pouring the chocolate syrup into Jimin's drink. Maybe you'd spoken too soon again? You hadn't told anyone about studying with Yoongi, out of fear of what Mina would do and judging from the lack of passive aggression coming from her, Yoongi hadn't said anything either.

"N-no, I've got it. You don't need to do that."

"She'd fail for sure if you helped her."

"Mina, nobody was talking to you. Can you shut that trap of yours?" You turn back around and place Jimin's cup in front of him just as Mina reaches over to whack him on the back of the head.

"Yah! Don't you touch me, you witch!"

"Me? A witch?" Mina laughed, "Well, that must make you a troll."

"Mina, stop that." Yoongi's cold metallic voice caught you off guard and you made the mistake of shifting your gaze over to him just as Mina began whining, merely to see he was already watching you, his brown eyes intense and dark.

Things have been very awkward, for you to say the least. You didn't know what to make of this new relationship you had with Yoongi. Hell, even calling it a relationship felt weird and from every angle, it just seemed wrong. When you so much as looked in Yoongi's direction you felt like you'd just transgressed some imaginary line you'd drawn for yourself. Or maybe it had been drawn by Mina. It was normal for the girl to be possessive and paranoid, even more so when it came to a guy she liked. Mina had been friends with a girl in the past that had stolen guys from her left and right, so now she always assumed you, one of her few female friends, was always plotting against her and knowing this made you extremely cautious.

"You two have been extra snarky this week."

You cleared your throat, trying your best to not seem uncomfortable, "Would you like something to drink, Yoongi?"

"A black coffee would be nice."

You nodded, turning again only to have Seokjin place a black coffee in your hands, "I figured he'd order that again, so I went ahead and made it."

"Oh, here," You slid the drink over to Yoongi, sure to avoid eye contact this time.

"Well, with ____ spending all her time studying lately, I'm left alone to deal with this nuisance." Mina jabbed her finger at Jimin.

"What? I'm the nuisance and yet you're the one constantly complaining about this and that and never shutting up?"

"Shut your mouth Park." Mina flushes red as Yoongi turns his head over, suddenly taking interest in their conversation.

Jimin scoffs and turns back to you, "So, can I hear it?"

"Huh?" You tilted your head.

"Namjoon told me about it, don't be coy. I wanna hear it."

Your cheeks flush at the realization of what he was talking about, "He did what?! No way. I'm not letting you hear anything."

"What are we talking about?"

"We," Jimin looking back at Mina, pointing at her and then himself, "aren't talking about anything. Me and ____ are." Mina scoffs and turns away from him as he does the same, overeating his attention back on you, "My best friend won't let me hear her sing?"

"What best friend? Last I checked you have no friends." Mina mumbles under her breath, rolling her eyes at Jimin's pouting lips while sipping her drink. He scowls but is quick to ignore her in favor of you.

Damn, they really are at each other's necks right now.

"Why are you embarrassed? I know you're good. Namjoon said your voice is amazing. In fact, he gushed about it."

"Stop rambling and leave me and my voice alone, Park Jimin."

"You cutie, you're all red, like a tomato." He reaches up to pinches at your cheek but you quickly swat his hands away.

"Shut up."

"Let me hear it and I'll shut up for the rest of my life, just for you."

"No." You turn away from him to busy yourself with work, emphasizing your seriousness. There was no way in hell you'd ever let Jimin, or anyone else for that matter, hear you sing. Sure, Namjoon and Yoongi had heard it, but- your gaze drifted over to Yoongi again to see a small smirk playing on his lips as he stirred his coffee.

"God, you two make me wanna vomit. I can't believe you refuse to admit your dating each other." Seokjin finally spoke again as he wiped down the counter-tops.

"Seriously, get a room," Mina adds.

"Says the two who bicker at each other like a married couple," Jimin smirked over at Mina, who just about spit her coffee out her nose.

"What?!"

"We do not!"

Message from Min Yoongi- 8:11am: The door is unlocked. Just come in when you get up here.

After work, you stalled around a bit before heading towards Yoongi's. You knew if you left right after your shift, Jimin would've tried to tag along. He normally walked you home when he got the chance and as far as he knew you'd been going home every week to work on your project alone.

Your stomach turns as the elevator finally comes to a halt, the doors sliding open, and you step out. More than anyone else, you wanted to tell Jimin about this. You knew he'd have the best advice for you, but you also realize that Jimin hates Mina. He would probably let the information slip on purpose just to piss her off. He'd prefer not to be friends with her because, in his opinion, she's faker than all the plants in his dance teacher's office. You don't doubt he'd take any chance he could to try and show you that, probably saying something along the lines of, "It's for your own good, trust me."

Honestly, you're starting to get pretty sick of this. All the elevator rides you've had to endure are almost as bad as riding an airplane, never knowing if it's going to give out or just break and send you to a gruesome death. You head for Yoongi's door, sending a glare back at the box of threatening death as it's doors slide shut again. You've tried to convince Yoongi on countless occasions to meet elsewhere, but he declines each time, saying, "Why would I go somewhere else when I'm most comfortable here?" You roll your eyes at the memory. That self-centered jerk doesn't care what you put yourself through every week to get to here. Making sure none of your friends, especially Mina, see where you're going, facing your fear of that dumb elevator while doing so, and lying practically to Jimin. Mina would assume you're sleeping with Yoongi if she ever found out. It wouldn't matter what you told her. And imagine if she did find out, even after all your efforts? Every week you had to put up with Min Yoongi's self-centered attitude and constant complaints about how you're, "Too early." Or, "Too late." Not to mention you've been feeling under the weather lately.

One of these days you're really gonna to jump from one of the windows on this floor just to escape from Min Yoongi, because at this point it feels like there is no escape. You go to school, he's there with Mina. You go to work, he shows up with Mina. What did you have in life, if not peace away from that guy?

You give the front door two gentle taps before entering. The penthouse was the same as always, warm and quiet, as the world outside opposed it. It was probably the only thing you enjoyed when meeting with Yoongi, the quiet, something you normally got so little of.

"Back here!"

You jump, whirling in a full circle before figuring out where the voice came from. You follow it down a hallway and to a room. Little decoration fills the room and it's relatively empty, except for a grand piano occupying the center.

"I figured we could transfer your cords into a melody on the piano to place at the deeper parts of the song. I have a feeling it will sound good with your voice."

Your breath catches in your throat, your wide-eyed stare never leaving the piano Yoongi is sat at, as he writes, what assumed to be, notes onto a piece of paper.

"Come sit, " He gestures you over, still not looking at you. Your feet feel like they've rooted themselves to the floor and it takes all of your strength just to do as he says and bring yourself to the piano, trying your best to ignore the way your heart stills as you sit down next to Yoongi, a sharp fear piercing through you like cold wind.

"You play?" Your voice comes out dry as your eyes linger on ivory keys.

"Yeah, I learned when I was little." Yoongi finally brought his gaze over to you to watch as you lightly move your fingertips up and over the keys, "Do you?"

You frown and pull your hand away from the piano, "No."

Yoongi hums and places his fingers onto the keys before playing the first few notes of your song, "That's too bad. This would be a lot easier if you did."

"Well, I don't." You sneer at the sound of your song coming from the piano and stand back up, realizing that this had been a horrible idea, "Listen, I'm not feeling up for this today. I'm gonna go." Your mind was beginning to cloud with distraught memories and all you could focus on was getting away from the piano as you stood up. You weren't fast enough though.

Yoongi stood up after you, following you out of the room, "Is everything alright?"

"I just want to go home."

His pace quickened as you approach the front door and he was in front of you before you could reach it, "Do you not like the piano idea?"

You glare at him, "The idea is fine, I just want to go home, as I said."

His eyes dart all across your face as if he's still trying to read you, to understand what had set you off.

"I'll be going now." You attempt to sidestep him, only to be abruptly cut off by Yoongi placing a hand to your forehead, "W-what are you-"

"You look really pale, I don't think you should-Woah," He steps back out of shock after feeling your temperature, "you're burning up."

"I'm fine, just let me-"

"____," Yoongi's eyes narrow on you, his voice dropping a couple octaves, "go sit on the couch and I'll get you some medicine."

You hesitate for only a moment before giving in, "Fine, whatever." You stomp away from him, over to the couch before plopping down onto it. Admittedly, your head was starting to pound and you couldn't deny the cold sweat that was beginning to settle in along with the aching of your whole body. It'd be just your luck that you'd caught the flu or something, only to start showing symptoms after arriving at Yoongi's, of all places. You'd honestly prefer being at Jimin's house right about now and he'd probably be smothering you right about now. You should've just canceled today and walked home with Jimin.

"Here, take this." Yoongi returns within a few minutes, crouching down in front of you before placing a pill in one of your hands and a glass of water in the other, "This should reduce your fever."

"And how am I suppose to trust that you're not drugging me?" You raise an eyebrow at him accusingly, but he just gives you a skeptical look.

"It's ibuprofen, ____."

You watch him hesitantly, before plopping the pill into your mouth, and tilting your head back to drink the glass of water. You hadn't expected yourself to drink the whole thing, but you did, and rather quickly.

Yoongi takes the glass from you and places it on the coffee table behind him, "Are you hungry?"

"I really don't-" You're cut off by the sound of your treacherous stomach growling at the mention of food.

"I'll make soup." Yoongi gets up again, heading back to the kitchen before you get the chance to protest further than you already have. Your head is starting to spin and you have to lay down just to keep yourself from running to the bathroom to vomit. No way would you be caught dead throwing up in Min Yoongi's bathroom. You'd jump from a window before that happens. You close your eyes, waiting patiently for Yoongi to return with food. You hadn't even noticed yourself drifting off.

The ground beneath is dry, altered to a sandy substance. Dull silence replaces loud screeching alarms, and instead of hazy darkness, something else lurks amongst the unknown. The difference between now and then is an odd sense of familiarity tugging at your heart. You know all too well what this nostalgia is, but you refuse to move towards it. The mere memories are enough to coax out inner demons dwelling behind your walls. A place you once called home.

“It's unnecessary, ____.”

A harsh memory, filled with a harsher smell of gin and gasoline forces itself forward. One of those memories a child prefers to suppress, yearning to someday forget it...pretend it never happened. Although, bad memories die-hard, just as bad habits do and the specific way that man had always held onto second agendas and gave everything a double standard was etched into your mind. You can never seem to escape him, no matter how hard you try.

Especially here.

Such a strange feeling it gave you. Do others feel this? A looming dark hole in the cradle of their heart, remaining, even if eventually, and inevitably, a change comes. A childlike intuition told you how it was fated, as it was for a reason beyond your knowing that the place you once called your home would burn, that - that man's eyes would close and the smell of gin and gasoline would fade into something much more horrendous, along with that godforsaken piano. And then, and only then, you would realize that home never truly felt like home.

"____?"

And him, that damned voice will only further remind you of that misery and loss.

"Wake up, it's just a dream."

Mark my words.

"____," You whimper at the feeling of someone's hand against your cheek and you lean into it, "what's wrong?"

Your eyes open slowly and it's only then that you realize the wet tears running down your cheeks, "W-what?"

"Why are you crying?" You look up, seeing Yoongi's dark worried eye on you as he wipes away your tears with his thumb.

You sit up slowly, your head still spinning and skin still aflame with a fever, "I-I don't remember."

"Here," Yoongi moves an arm under your legs and to your back before hoisting you up.

"W-what are you doing?! Put me down!" You have no strength to fight against him in your current state, but that doesn't stop you from yelling at him.

"I'm moving you somewhere comfortable, be quiet." He walks out of the living room and back down the hallway that had previously brought you to the piano room, only this time he walks passed that room and into another at the end of the hallway. He sits you down on a bed and covers you with a blanket, "I'll go heat up the soup, and once you're done eating you should get some more sleep."

You only nod and watch as Yoongi leaves the room before pushing the covers off of you and standing back up. You make your way over to the door and back down the hall, only briefly stopping to leer into the piano room. You'd have to make up an excuse later to leave the piano out of your song. There's no way you'll be able to stomach hearing the sound of it every time you work on the piece. Once you make it to the front door you're quick to exit, despite hearing Yoongi's footsteps exiting the kitchen at the same time. You don't care all too much if he sees you leaving, you just need to leave. Sure, your head is spinning and your joints ach, but letting Yoongi take care of you while sick is crossing that line that had been laid down.

While in the elevator you have to sit on the floor and pray to reach the bottom soon. The motion of moving down is only making you all the more nauseous, so when the doors finally open you're surprised to see that the sun has already set, despite you showing up here early this morning. Had you really slept that long? Yoongi must've had his curtains closed. You stand back up and your stomach growls in anger as you make your way out of the building. You really were hungry, to the point that it feels like your stomach is digesting itself, but you're desperate to get away. You don't want any misunderstandings.

"Madam, may I assist you in finding a-"

You cut off the doorman, turning in the direction of your apartment, "I'm fine."

"Miss, the streets are dangerous at this time of-"

"I'll be fine, Jackson. Good night." You ignore the polite man's pleas for you to let him help you and continue down the street and away from him. You have no money for a taxi or uber and you aren't going to let someone else, you barely know, pay for you. The last thing you need is to owe someone or make them think you're poor, not that you aren't, due to college debt, but that's beside the point.

"Woah, look what we've got ourselves here." A group of burly looking men walk around the corner of an alleyway just as you're about to pass it and your expression turns sour. Of all the nights.

"What's a pretty girl like you doing out so late?" There's four of then, but only the tallest of the bunch is quick to close the distance between the two of you.

"I don't think that's any of your damn business." You glare up at him, attempt to regulate your breathing. Your fever is making you feel like you're extremely out of shape so that just the smallest amount of walking you've done so far had you almost breathless.

"Oh! A feisty one!" A disgusting grin pulls up the man's cheeks as he laughs at your bold response.

"Get out of my way." You wave your hand at him, trying to move around his broad shoulders only for another one of the guys to come up beside him, blocking your way.

"No, I think you should stay and hang out with us for a while."

You huff and run the back of your hand across your forehead, nonchalantly whipping away the sweat to try and hide how weak you actually felt before letting a fake smile pull up your lips, "Oh, yeah?"

The man opens his mouth to reply, but before he can get a word out you're darting across the empty street.

Yes, you felt like shit, but that didn't mean you were gonna give up without a fight. The group of men yells after you, taken by surprise and you can hear their heavy feet scurrying after you. Thankfully, you're fast enough that once you've made it across the street you can start towards the nearest convenience store. Thinking you're about to be home free, your heart races with anticipation only to sink down in terror a second later as a hand yanks you into an alleyway way and covers your mouth, muffling your scream. You thrash and kick, panic shocking your body like electricity.

"Stand still, ____. You're going to break my nose." The whisper has you stilling in the person's arms.

"Yoon-"

"Shut up!" He whispers yells, covering your mouth again.

"Damn it! Where did she go!?"

"I almost caught her."

"No, you fucking didn't! You were behind all of us, you idiot !"

You freeze and sink further into the person's arms out of seer terror as the four men pass the alleyway you're hiding in.

"When I find that bitch, she's gonna wish she never ran."

The grip around you tightens in an almost protective sort of way. The feeling comforts you, but tears still begin welling up in your eyes before the group of men finally carries on down the cold streets. Once they're out of hearing range the hand over your mouth moves and you're turned around to face none other than Min Yoongi.

He eyes you up and down, concern evident in his features, "Are you alright?"

You can only imagine how not alright you look, cheeks red from the cold, eyes glassy from fear, after having your adrenaline wear off. You probably look like a complete mess, but you still manage to nod in response to his question.

"Are you stupid? What the hell were you thinking? I told you to stay because you weren't feeling well and now look what you've gone and gotten yourself into. Why couldn't you just listen to me? Something could've happened. What if I didn't followed you?"

You stare up at Yoongi, trying to listen to what he's saying and gripping his arms tightly to keep yourself upright as a loud thumping began echoing in your ears, everything around you starting to spin, "I-I'm sorry, I-"

"____?"

You fall, losing your grip on Yoongi as all your strength leaves your body, and you faint.

You groan and stretch, your eyes slowly opening. The light shining in through your window burns your retinas.

"Finally, I was beginning to think you were dead."

"Huh?" You look over, next to your bed to see Jimin sitting there with a tray of breakfast in his lap.

"How-What are you doing here?" You croak.

Jimin raises an eyebrow, "You don't remember? You must have felt pretty bad."

"Jimin, " You cough, trying to sit up, and he's quick to help you, "what are you talking about?"

"You texted me last night that you felt really sick and needed help. I was surprised at first, but once I got here I understood that you weren't kidding. You were tossing and turning in bed and sweating as if you'd just ran for hundreds of miles."

You frown, trying to recall your memories from last night.

"Are you alright?" Jimin rubs your back soothingly.

"I-I'm fine." Your voice squeaks as you push Jimin's hand off you.

He raises an eyebrow at you again, your reaction surprising him, but drops it, figuring it's probably because you're sick, "Well, here's your breakfast. I'm going down to the cafeteria to get you some water. Call me or text me if anything happens or if you need something, okay?"

"O-okay, " You take the tray of food from him and he nods before getting up and leaving. You look around your room, briefly glancing over at your roommate's bed. Hopefully, she'd been out all night and hadn't seen anything.

You jump as your phone starts ringing, your tray of food nearly flying up in the air. You quickly grab your phone, accepting the call without checking the caller ID.

"Hello?"

"Hm, you sound a lot better today. How are you feeling?"

The sudden sound of his voice has your whole face heating up and your stomach flipping over in an unexplained manner, "Y-Yah! Why are you calling?! What do you want?!"

"What are you being rude for? Didn't I save your life?"

You scoff, "I would've been perfectly fine without your help. I had a plan."

"Oh, really?" He asks sarcastically, "And what was that? Run until you collapse from exhaustion?"

"I-I don't need to explain myself to you!"

"Right, it's not like I had to drag you all the way to your dorm last night, because you refused to listen to me, or anything."

"I didn't ask for your help!"

"Well, since you seem to be fine now and you don't need my help, I'll hang up." His voice is condescending and mocking. The sound of it makes your blood boil and you can't help but respond with malice.

"Fine! Hang up!"

"Try not to go running down the street in the middle of the night again, yeah?"

"I'll do whatever I want!"

His laughter fills your phone's speaker and you found yourself turning even redder, "I'm sure you will, ____, seeing as you do that and nothing else."

"I'm hanging up!"

"Alright, "

"Shut up!" You pull your phone away from your ear swiftly and end the call. You huff and throw your phone to the end of your bed. You can't understand why you'd just been so childish. He had helped you. Why did you respond so absurdly? You could feel something burning inside your chest, the feeling of it was making you irrational. You run your hands through your hair distress-fully and whine, "What's wrong with me?"