#mrs. john blackthorne

[jomiddlemarch]

for danger is in words 

“My wife’s name is Mary,” he said, first in English, before he noticed and then again in the Portuguese she would understand. There was a something about her face that told him he perhaps hadn’t needed the translation. “Not so different—”

“You did not call me by her name,” Mariko said, a reassurance he should not have needed, but it had been a long time since he’d tumbled a woman and Mariko had touched him in ways he had not imagined, given him pleasure with hands he would have thought devilish clever except for the look in her dark eyes as she’d stroked him. Tenderness and wonder, as if he were precious, an unexpected marvel, not a scarred sea-pilot with manners too rough, too eager, for the subtle Japans.

“’Tisn’t proper to speak of her now, I warrant. After pillowing,” John said, using the term Mariko had. She was a widow, even if not as merry as widow as one would find in London or Amsterdam, so perhaps she had done nothing untoward by her rights, but it didn’t seem polite to hold a woman in his arms, her bare skin more delicate than her silk robe, the taste of her yet in his mouth, and talk of another.

“Men’s tongues wag after congress,” she said. “Unless they sleep.”

“You gave me great joy,” he said. It sounded awkward, formal, but his Portuguese did not run to either poetry or the sweet-talk lovers used, endearments and admissions. Praise was used quite differently here and he didn’t want to risk offending her.

“I thought I must,” she said. “You were very loud.”

He laughed, a low, rumbling chuckle that startled her, a sudden tenseness in her shoulders. He would not have been able to tell if she were wearing her usual robes, standing across from him, but naked, pressed against him, it was undeniable.

“I suppose I was. I offer my most sincere apology if you’d have it,” he said.

“You did nothing wrong. Many cry out at the peak,” she said.

“You did not,” he replied. She had made a very soft sound and he’d felt her body surge around his, her hands tightening on his back, her neck arched. The moonlight through the paper screens had not enough power to give him any color, but he’d felt her flush even if he could not see the roses in her cheeks, the hue of a Tudor blossom down her throat and across her full breasts.

“Did your Mary?” she replied. For once, perhaps, it was not a challenge nor a game whose rules he was meant to discover mid-play. She was curious, about Mary and about English women, about the world he’d left behind. What he’d told her about the Thames had not slaked her thirst but whetted it, but she wanted more than details of a silver river in a filthy city, a jeweled Virgin Queen on her throne. She wanted to know about the bed he’d lain in, conceiving his children, the bedclothes rumpled, the rushes on the floor with their wilting herbs. Mary with her bright chestnut hair unbound, a spatter of freckles across her cheeks, her eyes light. He couldn’t recall their blue anymore.

“Not at first. She was shy, ‘til she learned to like it,” he said.

“To like pillowing?”

“To like make noise. To letting me know I’d pleased her. Or that she wanted more,” he said. Mariko shifted and sated as he was, she stirred him. It would not do to think whether each gesture was studied, a courtier’s or a courtesan’s. He would not know unless she told him and she would not tell him if he asked direct. That at least, he’d learned, how little appreciated was the confrontation, even if his only goal was the discovery of her appetite, her delight. 

“Without you, she is quiet,” Mariko said.

“She is virtuous, a respected matron. Her bed is empty but she is quiet only in that regard. She’s known for her wit, her temper,” he said. Mary would like to be rendered so, even if she sulked to learn he’d shared his bed with another. 

“You miss her,” Mariko said. At least, he heard it thus. The word she chose was one she paused before uttering and he wondered how deficient she found Portuguese to her purpose.

“Less than I ought,” he admitted. “All is dross that is not Helena,” he added wryly, mocking his own inconstancy, ruing the comparison that Mariko posed, in every way lovely and quick, fair and bright and with untold depths he would never plumb.

“I do not understand, Anjin,” she said.

“A line from a play, from home,” he said. “I mean to say, I do my wife a disservice, but one I cannot regret.”

“Because you pillowed with me?”

“’Twas not only such for me,” he said. If he were fluent in her language, still he would struggle to explain to her what he had felt during their coupling, all words platitudes in their attempt to contain the ineffable. He would have felt embarrassed to describe it so except that he felt most himself surrounded by the sea and the horizon, by those things elemental—water and salt, air and star. Something in her answered him, even if it was an aspect she had withdrawn behind her bloody fence, and that was more powerful than any ecstasy.

“To a starving man, a crumb is a banquet,” she said.

“And now I know you have never had a hungry winter,” he replied. He’d had his fair share as a child. He didn’t mention the desperate straits they’d come to before being taken in by the Japans, the men turning in their hammock as if winding their own shrouds about their bony carcasses. “A crumb to a starving man is not a banquet but torture and lying with you was neither feast nor agony.” He leaned in and grazed her temple with his lips, traced the curve of her cheek with his forefinger.

“Sweet,” he murmured.

“You are gentle, Anjin. More gentle than I expected,” she said. He thought of how she’d become very still when he’d brought her palm to his lips and when he’d drawn her close to nestle against him as they rocked together on the cusp of abandonment. He thought of how she’d touched the scars on his back and arm, the ones on his ribs, his belly, the question in her eyes unasked, unconcealed.

“I would have you call me John,” he said. 

“I am not your consort,” Mariko said. 

“That is why I ask. It is not a demand,” he said.

“Only now,” she said. She looked at him and took a breath. Her lips parted, as if invitation. “John.”

“We agreed now is the only time there is,” he replied and pulled her to him, tasting his name on her tongue, sighing the pleasure of it into her mouth and stroking it down her back.

The cry she gave when he brought her to the crest was sharp, like a wheeling gull’s, and so shocking that he spent in the next instant, his groan swallowed into silence. He lay panting, his cock still hard within her, his hand at her waist when she moved to whisper in his ear.

“John. Only now.” 

Shout-out to @aquitainequeen for her post on early 17th century theater and what John could have seen/quoted. I went full-throttle Dr. Faustus, as she suggested he'd had loved that!

#shogun 2024 #john blackthorne #mariko x blackthorne #lady mariko #toda mariko #romance #canon au #pillow-talk #mrs. john blackthorne #lost in translation #the importance of names #married people talking about their marriages #intimacy

[nothwell]

someone help me find a faceclaim for this old man

Mr Ephraim Grigsby, Esq., had attained an age which few mortals survived to see. One which Hullvardr himself had not oft witnessed close-hand. Time leant a fragility to his frame, with nevertheless an undercurrent of queer confidence borne of inner wisdom. He moved like one with bones of spun glass. Blue veins stood out beneath his diaphanous skin like streams of molten silver. Lines of lacework beset his noble brow, and the proud chin jutted forth to hint at the strong jawline now half-hidden by jowls, as if too demure to peer out from behind a curtain. His keen and clever eyes gleamed the bright blue of rivers fed by glacial ice. The whole of him appeared as delicate and ethereal as a spider’s web, or the pale wax of the honeycomb brimming with molten gold, and, to Hullvardr’s eye, as precious as enchanted filigree. Most fae never acquired marks of age like these, no matter how many centuries they endured. What a rare joy it would prove to hold this gossamer grace in his arms.

#he's a completely different brand of old man than i'm accustomed to sexualizing* #please note he's in his mid-sixties at least #do not send me photos of 40 yr olds #*i'm accustomed to sexualizing john lynch as john bridgens; ian mckellan as ian mckellan; etc. #tbh ian mckellan might work? but i think he's too skinny for grigsby #anyway i wanna commission art of grigsby being gently held by his hooves-and-horns boyfriend #ephraim grigsby #hullvardr #mr grigsby's clerk #tales from blackthorn briar

[goldiecastelia]

I was thinking about a modern!Shogun AU and a background for Mariko

And you guys know, modern!Mariko would be such a corrupt's daughter, for some reason in my head. Her father would be a corrupt politician or even a mafia boss, so all the shit that happened in the canon would happen, but, in some different way of course, and we would have a whole construction of Mariko trying to deconstruct all the image, associated with things about her family name, that people have about her now and at the same time trying to avenge her family.

This just makes me think that she would marry Buntaro for nothing more than alliances, the union of important families, or until her father promised her to the Toda family, so there would be the same reason as to why Mariko didn't die with her family, but, I don't know, we're talking about the modern world, I can only imagine Mariko being a classic badass independent strong woman, even though she loves her family very much, she doesn't live in a age where marriages are OBLIGATIONS. But anyway, this just makes me wonder how everything would unfold throughout the story.

How would she meet John? I mean, I only can imagine Blackthorne being pretty screwed up in modern world, maybe a bar owner, something lower, I don't think any profession too fancy, I even thought about oceanographer but... no, I don't think so! And also, how would she be close to Lord (Mr.) Toranaga, would he be someone who would help her after her parents' death? Or maybe he was close enough to her father to know her, who knows. Many questions, our world is full of possibilities for characters who followed such strict standards.

#I don't know why I thought of that but maybe it's me getting ready for the end of the series #Like we're already on ep 5 it's ending so quickly and it feels like it started yesterday #but my reasoning makes sense if we look at it from one side #Definitely think I'm going to write this even though my writing area is fantasy #maybe I'll do a shogun fantasy fanfic at some point #not now but definitely maybe #I mean mariko in the modern world would have to be someone important even if she doesn't want to #people who prefer historical series sorry about this post it was just an idea #I was just looking at some photos of Anna Sawai and this idea came to me #shogun 2024 #shogun #shogun fx #fx shogun #shōgun fx #shōgun 2024 #toda mariko #anna sawai #cosmo jarvis #john blackthorne #hiroyuki sanada #yoshii toranaga #lord toranaga #creative writing

[grumpyjesterr]

Watching Shōgun and whenever Mr Blackthorne shows up I am “:)))) :)) you remind me of. My special boy. My specialest boy. Mr(Long) John Sliver. My super special boy.”

#shogun #shōgun #black sails

[tvseries-movies-stills]

Arrow || 6x13 "The Devil's Greatest Trick" [HQ]

#arrow #stills #hq #6x13 #stephen amell #oliver queen #katie cassidy #laurel lance #black siren #paul blackthorne #quentin lance #david ramsey #john diggle #spartan #echo kellum #curtis holt #mr terrific #rick gonzalez #rene ramirez #wild dog #juliana harkavy #dinah drake #black canary #david nykl #anatoly knyazev #jack moore #william clayton

[aswwr]

#Arrow #season 6 #episode 3 #Green Arrow #John Diggle #David Ramsey #Onyx Adams #Chastity Dotson #Mr. Terrific #Curtis Holt #Echo Kellum #Wild Dog #Rene Ramirez #Rick Gonzalez #Oliver Queen #Stephen Amell #Emily Bett Rickards #Felicity Smoak #Quentin Lance #Paul Blackthorne #Dinah Drake #Juliana Harkavy

[klarolicityswan]

Stephen, Paul,Juliana, David & Echo filming a scene of Arrow S6 premiere. x

#arrow spoilers #arrow #stephen amell #oliver queen #green arrow #david ramsey #juliana harkavy #dinah drake #john diggle #spartan #black canary #paul blackthorne #quentin lance #echo kellum #curtis holt #mr terrific

[leverage-commentary]

Leverage Season 2, Episode 14, The Three Strikes Job, Audio Commentary Transcript

Dean: Hi I'm Dean Devlin, Executive Producer and Director of this episode.

John: John Rogers, Executive Producer, Writer of this episode.

Chris: Chris Downey, Executive Producer, and this is the Three Strikes Job.

John: This is the first half of the big season finale which we like to do. And we are meeting our favorite recurring character Detective Bonanno, played by our friend Mr. Blanche, right?

Dean: Yes, Robert Blanche.

Chris: Robert Blanche.

John: Fantastic find; local actor. And it was interesting because really as we had come to- first time dealing with split season, first time Sophies not around, we had to- you know, we really hunted around for the character we would be emotionally anchored to for the season finale; you don't want it to be a random vic. And- cause last year was the whole Nate arc- 

Chris: Right.

John: And having- Robert having established his character made him really beloved, made it easier.

Dean: And we've never really done a pre-opening like this that's quite this violent.

John: Yes.

Chris: Yeah.

Dean: So it was a little bit out of our tool box, but yet we tried to do it in a way that it didn't seem like a completely different show.

John: This is the edited version. In the original version, a toddler wanders through the field of fire and is brutally mowed down.

[Laughter]

John: I'm glad we cut that out, that was weird.

Dean: That wasn't good.

John: Just seemed odd.

Dean: Especially when the toddler pulled out a gun and-

John: And was doing the [unintelligible] the dubs were cool though. I liked those.

[Laughter]

John: So this is Sonny at the toll booth; there's no two ways around this.

Chris: Oh, yeah.

John: How tough was this to shoot?

Dean: You know, it was actually pretty easy. We had about six cameras shooting simultaneously; we did it 3 different times and moved the camera each time. And this van you may recognize from Beantown Bailout-

John: Yes

Dean: Which also got shot up. So whenever we need to shoot up a car, that’s the car.

Chris: And did we add-? Or did we-

Dean: Now here’s the interesting thing-

John: We putty it in.

Chris: We putty it in? Oh.

Dean: The actor was not available this day to shoot. So that’s a different actor made up to look like Robert Blanche.

Chris: Oh wow, that’s great.

John: That's great. So our local Portland actor has a double? A stand in? 

Dean: Has a double. [Laughs]

John: Wow, that's great. Oh, she's fantastic. And now this is- again, one of these sorts of things where we’re trying to anchor all of Nate Ford’s emotional cues. And you actually tried to shoot this identically, if I remember correctly.

Dean: That's right. We wanted to try and match the look and feel of the hospital scene from the pilot, but just skewed enough so that we know we’re someplace else.

John: Paul Blackthorne's name. And this was a lot of fun. This was a big giant episode concept.

Dean: One of the things you have to understand is- you gotta know when we do these two-part season finales, they're really shot like a movie, cause you shoot them all at the same time. And this one is, as you will see - far more ambitious than what we did in season one. Yet because it’s at the end of a very tough season where the writers actually ended earlier than normal; we only have four days to prepare to shoot this two-part season finale.

John: Yeah. We actually started prepping off outlines.

Chris: Yeah.

John: And then I think I turned in the first half? First half first? Second half- 

Dean: Yeah.

John: I think I kept in order at least. And then, you know, turn them each in. And by that point, nicely enough, the Portland crew was such a well oiled machine that they knew what they wanted. Also, we had learned by this point to really try to find anchor locations. 

Chris: Yeah.

John: To build and tie our acts around. So knowing that we were gonna do the baseball scam, they knew they could start processing all that was needed.

Dean: This is also the first time in season two that we brought back this recurring nightmare of him reliving the death of his son. The idea was that he had to some degree resolved it at the end of season one, but yet it’s still there just below the surface, and then suddenly kicking in to the end of season two it comes back up again.

John: And it was really the last trigger. If you’ve been watching the arc all the way through, we’ve been playing with his control issues and the fact that he's drinking again, and that feeling of helplessness has triggered him back into his addictive behavior. I mean, he’s already kind of bathing in his addictive behavior at this point in the previous episodes, but this is what really pushes him over the edge.

Chris: Yeah.

Dean: Also normally we like to have fun kick in pretty early after the opening scene, but yet this- because we're trying to set up a larger emotional arc in this two-part season finale. We have an emotional opening with Bonanno getting shot, then we have another emotional beat where he’s reminded of his son, and here another emotional beat where he’s trying to connect with Sophie and his frustration of not being able to reunite with her is bubbling. So we really actually took a long time on this before we let the fun kick in, which is not usual.

John: Because we were really gonna screw with Nate Ford in these two episodes, and you really feel like you just can't, ‘Oh, remember that stuff you should have noticed in previous episodes? That’s why he's doing this.’ We really needed to reset it.

Chris: One of the reasons that I think this plays so well is that if you watch them back to back, which I'm so glad they were broadcast that way on TNT, is that this scene here really pays off in part two.

Dean: Yeah.

Chris: And it’s- you know, it's a little ways to go if you have to wait a week between them. 

John: Yeah.

Chris: But now it really plays like a movie.

Dean: And big kudos to Jeri Ryan because she had- she only had a few episodes to create an arc, and really everything she did in the previous episodes come together in these last two. 

John: Yeah.

Dean: She’s really part of the team by now.

John: Yeah. And that bit where she drinks his booze in order to get it away from him was actually the first physical bit we ever pitched talking about the character. We were trying to figure out a way to differentiate between Sophie and Tara, and the idea where Sophie is a little more sensitive, a little more coddling...

Chris: More empathetic.

John: More empathetic, yeah. Tara will just basically drink you out of your own problems. 

Chris: Right.

John: This was a tough day. Mainly because Tim really dug in on this.

Dean: Yeah.

John: This rage- this was a tough day. You know, he’s angry. And you can hear him- 

Chris: Yeah.

John: And you can- he really- this was a small set for them to be screaming at each other on. It was really nice.

Dean: Yeah. And it really helped the other actors as you’ll see just in the way they are reacting. I mean, you see Christian is really messed up by this. 

John: Yeah.

Dean: And it was a great way to-

John: Yeah cause one of his best friends in the world is sitting eight feet from him screaming at his face. 

Dean: Yeah.

John: I mean, you know. And yeah, they're all really digging in on the idea that Nate Ford has gone off the rails. 

Dean: But once they jump in, then the fun begins again. 

Chris: Yeah.

Dean: And now we start to get into that rhythm of, ‘Ok.’

Chris: You can see his little look on his face right here is the cue for the fun on Hardison.

John: Yeah. As soon as- yeah, as soon as the sarcastic ‘these guys are goons’ face comes up.

[Laughter]

Dean: Now by the way, those goons faces on the board are actually people who work here at post production at Electric.

[Laughter]

John: So don't be alarmed if you see them at your local bank or supermarket.

Chris: And I'll call out another couple of people whose faces are on this, too, you two guys a little later.

John: Oh yeah, we’re a little later. Exactly. This was also fun because this was something we kind of picked up on if you watch the second season episodes. A little bit more of detective Nate Ford. 

Chris: Yeah.

John: You know, he was a guy who hunted bad guys.

Dean: Right.

John: And we put him back in the context a couple times this season of hunting bad guys. You know, and this one in particular he figures out exactly the situation in which case they should pursue. 

Chris: Yeah.

John: Good crime scene photos. Big shout out to Derek.

Chris: Gruesome, yeah.

John: Gruesome, yeah. Nice.

Dean: But because we shot this scene before we had shot the scene with Bonanno getting shot-

John: We had no footage, that’s right.

Dean: We had no footage, so we had to make up fake crime scene photos and hoped that they would somehow-

Chris: Derek had those crime scene photos pretty easily, don’t you think?

John: That was a little disturbing.

[Laughter]

John: ‘I just went out and did it in a back alley in Chicago.’ This is also fun because this is one of the few times we’ve had Hardison of all people go, ‘I don't want to do this one. This one seems like a bad idea.’

Chris: Yeah. Now look at this shot.

Dean: Now this actor here- those of you who may have seen my film Flyboys, he was one of the pilots in Flyboys. And he did me a solid and came and did this little guest spot. And this is Richard Kind, who I had not worked with since Stargate-

John: Wow.

Dean: -and has been a family friend forever, and I think one of our most underrated actors in this country.

Chris: Yeah, I mean, it's the kind of part you typically don't see him in. I mean he plays kind of a nebbish-y guy. 

John: Yeah.

Chris: And boy, did he just bring a gravitas and a menace and really built a whole backstory to his character. 

John: Well let's talk about it- that’s where this story comes from. We really wanted to do our city of industry, corrupt east coast port town. I grew up near Boston, you grew up in New York- 

Chris: Yeah.

John: -and, you know, this is very much based around that, sort of, north of Boston, Route 1 type of town. 

Dean: Right.

John: And so getting an east coast actor, just a guy who could bring you that kind of New York power family vibe made a difference. And he showed up- he loved the script, showed up with three ideas. Three lines of dialogue, in three scenes that gave this character backstory, depth, and pathos. It’s like, ‘Wow, that’s a very good actor.’

Chris: And what the fact to do is Brad Culpepper the Third. I mean that he was from a long line-

John: Yes. And he dug in on that and he found something that just made you, you know-

Dean: He also came up with this concept that he wasn’t in it for the money, he was in it for the power and the legacy. 

Chris: Yeah.

Dean: Which is an interesting distinction.

John: Yeah, exactly. There is- he really dug in on the evil speech of evil. The idea that he is not a bad guy in his own head in any way shape or form. This was- what hotel was this? Was this the Governor?

Dean: This was the Governor Hotel. 

John: They really did us a solid this episode, they did a fantastic job.

Dean: We ended up shooting three different episodes at the Governor, and then they were our host for the Leverage convention.

John: Oh, also the wrap party.

Chris: Which was fantastic.

John: I don't remember that much.

Chris: The Leverage convention, which was awesome.

John: I can't believe you people missed it.

[Laughter]

John: We’re gonna assume nothing horrible happens. The horrible irony of when we try to recall these DVDs. 

Chris: Oh, no, please.

[Laughter]

John: Lovely little- this was a great neighborhood; they put up with us. And this was a lot of fun, whenever you can play the annoyed brother vibe between the two of them.

Dean: Oh, I could watch it all day long.

John: Yeah. This was also the night we found out we got picked up for a third season.

Dean: That’s right.

Chris: Oh yeah, that’s right.

John: This is fun, that’s Beth in the rig on the ledge. If you go to my blog, you’ll see the pictures of her doing this. It’s insane. There's just no way we should be allowing her to be on the edge.

Chris: Oh that’s great.

John: That’s city hall, by the way, in Portland. That’s city hall.

Dean: That is, that is.

Chris: They let you just jump off the roof in city hall?

John: You know what- if you're in Portland, show up, ask, and they'll let you. I'm sure there will be no repercussions to me saying that. And this is kind of fun, Paul Blackthorne as the shadowy character that you kind of touch on. And this is all based on- his character’s actually based on a guy down in Florida-

Dean: Yes.

John: -who got an arms deal with the US government, who was like a bar guy.

Chris: Yeah, he was kinda like a party kid. 

John: Yeah, who somehow got a 300 million dollar contract with the US government selling recycled arms from Eastern-

Chris: Recycled arms from Eastern Europe, yeah.

John: That’s Beth on the rappelling line. Remember that? We shot that.

Dean: And I’ll tell you, this is an example of how Beth, even alone, just completely captures your imagination. She has no one else to act with here except for our AD off camera reading dialogue, and yet she's completely engaged in the story, in the character.

John: Yeah, this was a lot- this was- actually you wrote this whole chunk.

Chris: Yeah.

Dean: Oh, here's another great local guest star.

John: Yeah. And that was another thing that Portland gave us. There's a lot of great local theater guys, a lot of local great actors who can really land a joke.

Dean: Yeah, it was so surprising.

Chris: I love that he has the ice tea, it's such a great-

[Laughter]

Chris: Such a great touch.

John: I like- and also the sort of- I don't know if it’s the weird veiled hostility between Hardison and Eliot gets turned outward whenever they run one of these cons- 

Dean: Right.

John: -but that guy is going to be the subject of their rage at each other. This guy was really great. 

[Laughter]

Chris: And this is a crime lab bit. I mean, let’s be honest, there are eight different CSIs on; we wanted to have a little fun.

John: Yes. We were kind of making fun of the CSI- the whole idea that CSI shows up at your house. I had my house broken into, they didn’t show up.

[Laughter]

Chris: The fact that the beat cop could be-

John: Bossed around by-

Chris: Bossed around by CSI guys was born out of those shows

John: And this, by the way, the bit with the balloons, was Richard. 

Dean: Great.

John: Just awkward, just trying to shift it, trying to ground it. And again, this- what amazes me when we got into the research of it, was how cheap it was to buy these guys. 

Chris: Yeah.

John: I mean really- like $10,000 gets you somebody's kid in city politics.

Dean: That's true.

Chris: The promise of a job when you're out of the office. You know, I mean, that's what brought down the Illinois governor.

John: Yeah, that's right. That’s right. And that's what is kinda fun is we do- oh, I love this bit.

Dean: Comedy frame.

John: Comedy frame! What is this? A locked off comedy frame.

Dean: Exactly.

John: Locked off frame, two people come in facing each other-

Dean: And I love this little smile right there on Christian’s face .

[Laughter]

Dean: He was just enjoying the bit until he realized, ‘Oh wait, I have to perform in the bit.’

John: Is that on the X? Is that- how did you get the RED so low?

Dean: Oh we just put it right on the floor on a sandbag. 

John: Oh that's good. 

[Laughter]

John: Thanks to these nice folks for letting us trash their home, by the way.

Dean: Yes. And for those of you who may have noticed in the wide angles, just the little numbers on the evidence things on the floors.

John: Yes, that they’ve scattered all over the ground. Yeah no set-dec did a great job.

Dean: You can see the numbers in the background.

Chris: Oh those are great!

John: And- and earning his pay-

[Laughter]

John: Nicely done.

Chris: That’s a nice little transition there.

John: It is a nice- almost like you put some thought into this.

Dean: And I swear I didn't. And this is our line producer’s wife .

John: Yeah.

Dean: Who also did a guest star in last year’s two-part season finale.

John: Last year’s finale! 

Chris: Oh, that’s right!

John: I like the idea she was on vacation in LA last year.

Dean: Exactly.

John: And now she’s back and involved in another Leverage scam. In my head it's the same person.

Dean: And this is an interesting scene for their arc, because, you know, Beth - Parker - really didn't trust Tara coming in.

John: Well she's not part of the family.

Dean: And only in this scene does she actually start to earn her trust, and they start to bond.

John: And we also wanted to reset the fact that, again, Parker is good in the short con. If you throw a surprise at her she doesn't handle it well, because talking to people doesn't even go well. Interestingly enough, she relates to people better in character than as Parker. 

Chris: Yes.

John: Yeah. And so until Tara gives her- so yes, the awkward- we really pulled up every political trope we could find. 

Chris: Oh, sure.

John: I think we sat down - adultery, pregnancy, corruption. Then we just went through the Times one day, just pulled up every scandal from that summer.

[Laughter]

John: And the 4-18 months. And there's actually a mayor’s conference, too.

Dean: That’s right.

John: We found out where the mayor’s conference was.

Chris: It's in Vegas. Sure that's where you would have the mayors conference, and that’s where he would meet her.

Dean: I like the little turn Parker makes here, after she’s been coached part way through it, now she gets it. So now she’s feeling comfortable doing it.

John: Now she understands, yeah.

Dean: And you can see her-

Chris: ‘Yeah, I'll just wait out there.’

John: And that is an actual office- that's a conference room at the city hall?

Dean: That sure is.

John: That we rappelled down into.

Dean: We had to use it as the mayor's office, cause the actual mayor's office was too small.

[Laughter]

John: That's right.

Chris: Oh, yeah.

John: Infamously the mayor took the smaller office in the city of Portland cause he just felt like he only needed that much work space.

Dean: That's right. Mayor Sam Adams who’s been incredibly helpful to this show, and we’re very grateful.

John: Yes. Very cool guy. I don't regret that duffle bag full of cash at all.

Chris: That is a great shot there.

John: That is a great shot. That really establishes that space. 

Chris: She’s- jeez.

John: She's beautiful, yes. I was referring to the setting, but-

Chris: Sorry, I was just-

John: Yes, Jeri Ryan was very beautiful, too.

Chris: I was just lost in Jeri Ryan.

John: It happens. And this is the great speech. And again, we listened to transcripts and looked at testimony. I mean if you look at Blagojevich-

Chris: Blagojevich, sure.

John: The remarkable bluntness with which they announce their terms and prices always amazes me.

Chris: Yeah. And it almost sounds like movie dialogue, but it’s not! It’s just the way they talk!

John: Yeah.

Dean: The evil speech of evil.

John: And we come up with evil speeches of evil, and then when you go find the real ones it's like, really? You said that? With a straight face? Alright. 

Chris: Yeah.

John: No, research is your friend. We really- you know, this is a remarkable static act with an awful lot going on. I never noticed that before.

Dean: Well I think- again, this is- when we separate our team into different locations, but yet having them communicate, it really gives a sense of energy to it. 

John: But we only have, like, three agendas.

Dean: Right.

John: You know, running it at any one time. This was a tight little shot. I remember this. This was- we were in that back bedroom, and trying to shoot. And then you had to- you had a totally different blocking, if I remember correctly.

Dean: Yeah, instead of being in the room with him, we decided we’d squeeze him through the doorway and make him feel like he’s in an even tighter space than he was by framing it that way. But it also gives a chance to use this hallway and bring in our guest performer.

John: Yeah. And the clue that travels over two different episodes. Hopefully, again, I'm glad that they aired these back to back because it would be tricky to-

Chris: Yes it’s- to track- there's a lot of stuff that this really did play like a movie.

Dean: And once again, we got to the-

John: Oh, the big smile.

Dean: -comedy frame.

John: Yes.

[Laughter]

John: That’s for all you young filmmakers out there, that is the comedy frame. And then the look- just the look of pity on his face. Yeah. 

[Laughter]

John: And the badge on the- there's no reason the CSI guys should have a badge on a shield. Chris just loves the badge on the shield- the badge on a chain. 

Dean: Exactly.

Chris: He likes that.

John: He really likes that look. If he can be doing like a 1970s- if he could be doing the British version of Life on Mars, he’d be the happiest man alive.

Dean: Oh yeah.

[Laughter]

Chris: Now I got a question for you. So was- now we had a Maltese Falcon joke, just one line in-

Dean: The previous episode.

Chris: -the previous episode. Did that give you the idea for the Maltese Falcon? Who came up with the Maltese Falcon bit?

John: No, you know it was- it was literally, I was trying to figure out, ‘What's the MacGuffin? What’s the maltese falcon? You know what, it'd be actually kind of fun to just call it that.’

Chris: Just the Maltese Falcon, OK.

John: Cause it’s so famous now, it's a little meta. And, you know, the fact that it would be called something rather than a shorthand for something- 

Chris: Right.

John: Cause we use that in the writers room all the time.

Chris: Yeah, we do.

John: The maltese falcon, what's the thing? Macguffin, Hitchcock famously defined it as. And this is Nate deciding to bail on the pitch and making- and this is tough. He’s basically processing offscreen dialogue and acting like he’s coming to a decision. 

Dean: I love Richard’s reaction to it, it's like ‘What?’

John: We just went for the whole-

Chris: ‘You just paid all this money, you don't want to engage in graft with me?’

John: Behind though-

Dean: Even out of focus he's stealing the scene.

John: I know. He's really upstaging the hell out of- out of focus. Look how far back he is. Aaand you're back. 

[Laughter]

John: And we've announced our agenda.

Chris: We've announced our agenda, we know our- and here we go.

Dean: Now this place was great, this ballpark. We wanted to shoot here all year and hadn’t really found a way to do it.

John: And that's why I give full props to Chris, is cuz I had the crime story back half of this done, and I could not figure out what the con on the mayor was. And you had fallen in love with this location you had seen- you were like-

Chris: This was great, I had gone to a game here.

John: We can finally pay off this location. And that’s- again, that's an advantage of being a city where you get to know- cause the baseball con was always a half an episode.

Chris: Right.

John: And we could never quite get it to be a whole. And then it was like, ‘Oh, we need half an episode. Boom.’

Chris: Well also there's a lot of public corruption around building ballparks, and we did a little research that minor league ballparks bring 30 million dollars into the local economy.

John: That was great. The day we did research and found out it was just a flat 30 million for almost every ballpark, it’s like, that’s just a great number.

Chris: Yup.

Dean: And by the way, I think some of the best special effects we’ve ever done are in this two-part season finale, but I don't think you'd even notice it. For instance all these shots in the ballpark, we had to erase and change all the signage-

John: Oh, that’s right.

Dean: -because we didn't have permission. And then later, we had to put in the crowds that were reacting. So there are amazing special effects in this, but they are so real you didn’t even know.

John: That’s right. Utterly seamless. If you see them, we screwed up. Yeah, and this particularly since those aren’t lockoff, the camera is moving, you know, the character is wiping in front of it, yeah.

Dean: And again, I love what David is doing in this scene, he is just channeling Smithers.

John: Yes.

[Laughter]

John: And there’s Paul Blackthorne, he’s really doing the job for us as evil European dude. He has a large black car- 

Chris: Yeah.

John: He's got a halfway rolled down window. We know what his job is in the story, we know what his job is in the narrative. 

[Laughter]

John: But what I love here is the fact that Richard there's just so dismissive. I mean the body language here besides- Why is this a good shot? Because you don’t have to turn around to get both of them.

Dean: Exactly.

John: He’s very casually powerful. 

Dean: Right.

John: This is a man who’s used to the world running the way he wants it to run.

Chris: Right, in this little burg of Bellbridge.

John: Yes.

Dean: And this is such a terrific location, and we were there early in the morning, got this great light. I was so excited to shoot this. 

Chris: And they have a nice-

John: Story shcmory. Pictures.

Chris: They have a nice rapport here, too. They have this kind of easy going, you know, banter.

Dean: You know, so much of this episode- these episodes, was wish fulfillment. We wanted to be in that ballpark all year, we wanted to get near the water under the bridges...

Chris: Yes.

John: You also- in case you're skipping through the commentaries, you’ll notice this happens in Bellbridge, Massachusetts. Bellbridge is the corrupt town in Chris’s episode, Order 23.

Chris: Yes, yeah.

John: We decided to create just one imaginary Massachusetts city we could crap on for an entire season.

Chris: Yes.

John: Just to make sure we had clearances, and we always knew- 

Dean: Exactly.

John: So please, if you're from a real Bellbridge, don’t be angry. 

Chris: Yeah.

John: Yeah, their rhythm here is lovely. They are partners by this point, in a very different way. And the fact that Jeri has established that over six episodes is pretty cool. How tough is it to shoot in a ballpark, my friend?

Dean: Well some of this we actually stole footage at a real- during a real game, but the rest was very easy because they were so cooperative. I mean, this is the actual locker room and they let us have it for the day, and gave us equipment and were-

Chris: And those are the- are those the uniforms?

Dean: Just terrific. Those are the actual uniforms. The ‘P’ is actually for Portland. 

[Laughter]

Dean: But in our show it’s-

Chris: Palmerstown.

John: And I love the fact it's actually the Portland Beavers, because if we come up with a comedy mascot we couldn't have beat beavers.

Dean: No.

John: And by the way the Portland Beaver? Good guy.

Dean: Very good guy.

John: Very good guy. Really cool. We hung out, everything.

Chris: Oh apologies to Crash Davis here, but boy does he do- he does-

John: Oh he's so digging in.

Chris: Does a great Bull Durham.

John: Really digging up. This is- we went back and forth- are we doing Major League or Bull Durham here?

Chris: It's pretty Bull Durham here. 

John: It’s pretty Bull Durham.

Chris: The journeyman catcher who shows up unannounced, it’s- 

John: Yeah, and also the idea that these- you know, talking to a lot of these guys who play this level ball, the precarious nature of their lives- I mean the guys who are kind of on rota from a major league team make a lot of money. 

Chris: Yeah.

John: The guys who are journeymanning this out, a lot of them have day jobs, man.

Dean: What I love about this is that Eliot himself doesn’t like baseball. Because we’ve already established what a big, giant sports fan he is. 

Chris: Yeah.

Dean: About how excited he was about all the sports channels in- both season one and season two.

John: But it's hockey- and it’s always hockey and football. And interestingly, we gave him your problem with baseball.

Dean: Exactly.

Chris: Yes we did, it really worked great.

John: I love baseball and I'm like, ‘I have no idea what he wouldn't like.’ And you said, I don’t like-’ Oh.

Chris: Oh, and John did a beautiful job directing this.

John: This is my directing debut right here 

[Laughter]

Chris: Mark it down folks.

John: Japanese power drink commercial. Because it really was one of those things I had in mind and it's like, ‘Alright describe it. You know what? I can't describe it, I'll just shoot this.’

Chris: I think I originally wrote it as it’s like a car- like a local car ad. 

John: Yeah.

Chris: Oh my god, how great is this Japanese sports drink commercial?

John: Also, again, you're lucky to have Chris Kane because a lot of actors wouldn't do the comedy beat in the commercial.

[Laughter]

Dean: Nails it.

John: He nails it. Look at the big smile! 

Dean: And he enjoys it!

John: Look at that, having a good time.

[Laughter]

Dean: But he hates baseball, and then he comes in here and the minute he cracks that bat you just see- you know, heroin to the junkie.

Chris: He really did- he gave it a real arc, you know. 

John: And also, I like the fact that this is the first time he uses a baseball bat for what it's actually meant for.

Dean: Right.

[Laughter]

John: He's been beating people up with baseball bats for like 20 years, and never really hit a ball with one before. Also, by the way, cool digital ball.

Chris: Oh watch this.

Dean: Exactly.

John: There you go.

Chris: Oh that is great.

Dean: I'm telling you some of our best digital effects-

Chris: That’s fantastic.

John: Oh look at that look.

Dean: And the second one- watch the indentation on the pad on the wall when the ball hits it. Small thing for effects artists, but really lovely, just oh that little indentation.

John: Oh that’s nice, the shadow. And there we are.

Chris: Oh there you go folks, there's Dean and John.

Dean: Oh dear, oh dear.

John: We’re also doing the voices here on the radio shows. On the DVD there should be about nine takes of this scene. Because the two of them, at one point it got very weird and sexual with her speaking Spanish, and Hardison getting all ramped up.

[Laughter]

John: It- this was definitely one of the ones where you just, like, park the camera and let the two of them go.

Dean: Yeah.

John: Yeah.

[Laughter]

John: Interesting, one of the challenges of shooting the greenscreens is color temperature.

Dean: Yes.

John: We actually had a little bit of trouble with this shot because- most people don’t understand, there’s a lot of different greens that go on green screens. It was not dead right, doing the special effects goes from easy to unspeakable.

Dean: Exactly, and so this one had- a lot of work had to go into being able to see what was on the screen.

John: Ironically, a lot of this was harder to see than the incredibly complex crowds and baseball stuff.

Dean: The stands, exactly.

John: This was a lot of fun. Outside real city hall, outside Portland city hall, at a coffee shop across the street at some ungodly hour of the morning.

Dean: Yeah, this was the first thing we shot that day.

John: And again, this is- it was interesting how originally there was an entire subplot where, how they’d been lured there, how the mayor- and you don’t need it.

Chris: Yeah. This is much better.

John: Yeah.

Dean: He just sees them, he walks across the street.

Chris: Yes.

John: We even took that bit out. We originally had him see them.

Dean: I love the really, really bad heist.

[Laughter]

John: The bad lift.

Dean: Smithers stumbles into the table.

John: And Kind just drops the look there a little bit.

Chris: A little disgust right there.

Dean: Just a little squint.

[Laughter]

John: And the turnaway when it’s like, ‘Oh horrible lift.’ They don’t even have to- they both know what happened, they both know it was unspeakable. 

Dean: Well, you know, amateurs to pros, you know?

John: And this was fun, these are based on real blueprints.

Chris: Yeah, real blueprints for-

Dean: This was that other shot was the beginning of the day. This was the last shot of the day, and we’d run out of time. So I had to shoot this all in one shot.

John: Oh this is a one-er!

Chris: This is a one-er, take a look at that.

Dean: This is a very hard steadicam shot. While it’s not that impressive of a shot, it's a very difficult shot.

John: And also-

Dean: Cause you’re doing all the coverage with one camera.

John: And you're banging focus like crazy.

Chris: You’re getting a lot of information, right.

John: And also the actors can’t mess up.

Dean: That’s right.

John: At no point can they stop, can they drop a line, can they, you know.

Dean: The only thing we did is one little reverse at the very end on David’s character. But as you can see all of this-

John: To give you a cut, or?

Dean: Just to give us a cut in case we needed to combine.

Chris: It’s interesting how great these end of day one-ers come out.

Dean: Yeah.

Chris: And they're born of necessity.

Dean: That’s what so interesting about television is, you know, it really forces you to be creative.

John: Yeah. Oh there you go, I see what you did.

Chris: Oh here's the ballpark.

Dean: Now this is a mixture of stuff that we staged and stuff that we stole during an actual ballgame. But all the-

Chris: The actual ballgame you shot before, I think, the script was written.

John: I think I sent the outline saying we would be at the ballpark. And so Dean had to come up with a shot list based on basically our friendship- 

Chris: This is great.

John: -figuring out what I would probably put in the script.

Dean: These are all real things there. 

John: Yeah.

Dean: That we shot. Now all the crowds, though, we added digitally.

John: Yeah.

Chris: Oh that’s great.

Dean: So in all these wide shots when you see these full crowds, they had about- there was a scattered amount of people. In all the shots where it’s full, that’s us.

John: Yeah.

Chris: That’s great.

Dean: For all these shots here. And of course all the signage is changed digitally.

John: And Kane went down, caught a couple pitches, and actually on the shot we have him hit, he actually connected, put it on the warning track. It was a good day for Chris Kane.

Chris: That’s a beautiful shot, too, there; love that.

John: That's a beautiful one, yeah.

Dean: And this actor is actually a state senator.

[Laughter]

Dean: Who had helped pass the legislation for us to-

John: I actually think we’re the bad guys at this point. Seriously, we’re doing an episode about graft and corruption and- 

Dean: Well the hilarious thing is, he wanted to play the corrupt mayor.

John: I know. And we were like ‘You know dude, that's probably not the best idea for you to play the corrupt mayor.’

Chris: I can see the campaign commercials.

Dean: All those crowds, digital. 

Chris: Wow, that’s great.

Dean: I mean that's really something.

John: And look at that, through a moving shot.

Dean: And then all the signage behind them is changed as well.

John: And that’s our-

Dean: And if you notice, that’s Hardison’s orange drink on the sign.

Chris: Oh that’s great.

John: Oh my god, that's right.

Chris: And to do with- with a moving camera is very difficult.

Dean: Very difficult.

John: And this is a conference on the mound from both Major League and Bull Durham.

Dean: And the pitcher is actually our second AD.

John: Kyle, yeah.

Dean: Yeah.

John: That's right, you give him a nice hero shot here, too.

Chris: Oh, that's a great shot of Kyle.

John: I also love- This helps lock in the arc where he’s like, ‘I'm now fully committed to winning baseball as much as I am to winning fights.’

Dean: Exactly.

John: No this was a lot of- and this is a lot of fun. This was- it's amazing what you can do with implication.

Dean: Right.

John: You know, just put two people in the same geography and let the characters draw their own conclusions. 

Chris: Yeah, let them do the math.

John: A lot of time you'll try to oversell the con, and what you have to remember is people create narrative about the world around them, you know?

Dean: Oh and I love this bit.

John: Yeah this is a lot of fun, the stuntie really took a hit. And down!

Chris: Oh, oh, oh!

[Laughter]

John: I love he does kind of the -

Dean: Notice that the ref is cross eyed; he's a real ref! 

[Laughter]

Dean: That is not something that- I didn't ask him to act cross eyed.

John: I love this- that dude is dead. That dude is dead. He’s plainly just- he's not getting up. Right now they're asking people to leave the park quietly.

Chris: I think he did that in one or two takes, I mean, he just got it.

Dean: Yeah.

John: He just- it was a beautiful fall.

Dean: By the way, this is another one-er and this is a very difficult scene to light for television where you don't have that much time. And our DP was really creative in the way he made the sun blazing through the back to light up pretty much the entire set.

John: Yeah.

Chris: Now was it easier because you're working with the RED camera for something like this? Available light...

Dean: The RED helps, but at the end of the day it’s about your DP and your gaffer, and we really have, really, two of the best guys in the business.

John: And again, this is also- so much help to be able to do the research on this. Where it’s like, ‘Well, how could he possibly communicate in code how much money-?’ No, he would write it down and give it to him.

Dean: Right.

John: That's what they do, apparently, I had no idea. 

[Laughter]

Dean: Right.

Chris: Yeah.

John: Or they'll just say it, unaware. And this yeah, this was a lot of fun, because also- Richard really found the idea that he was supposed to help Nate feel overconfident. 

Dean: Right.

John: You know, he's supposed to play into it a little easy. And he's- now he's totally into it.

Dean: I love how cross eyed the ref is, that's so great. I mean, the umpire, that's just so great.

John: Boom! That was a good solid hit. That's- Chris Kane put it on the warning track ladies and gentlemen.

Dean: And if you listen carefully in the background, you can hear the crowd chanting ‘Roy, Roy.’

[Laughter]

John: Oh he's become a hometown hero in roughly two weeks. What's the next shot up? Oh there we go, back at McRorys.

Chris: Now- now we're back.

John: Now this is one of our lovely roundy- and oh, this is great. One of our roundy-rounds where we just basically- script kids, when you want to communicate pipe and reset, the way to do it is have somebody not give a crap about the pipe that you're talking about. 

[Laughter]

John: He has his own agenda, it makes it instantly amusing.

Chris: Somebody comes in irritated.

Dean: And boy did he knock this out of the park. 

Chris: Yeah, yeah.

Dean: Kane, who didn’t care- I mean Eliot, who didn't care about baseball at all, is so proud of himself and he's so mad they didn't share his moment of glory.

John: His joy. They named a sandwich after him. Also, that’s a nice beat that they all chose. It’s like, you know, alright, you gotta give it up. That's a nice moment; boom, boom, and the fistbump.

Chris: You got a sandwich named after him.

Dean: Eliot has a hoage? No a reuben.

[Laughter]

John: I also like- I had not noticed before because I was kind of- Nate’s taking a phone call and I was watching it for that beat, the, sort of, fun that Jeri Ryan’s playing there, it's like, ‘OK, I'm part of the family now, this is genuinely amusing.’ 

Dean: Now this is a fun reveal shot. 

John: One of the cross cuts that I gave you again as your birthday gift. Moving in opposite directions?

Dean: Moving in opposite directions so that they are always looking at each other screen direction wise.

Chris: Right, right.

John: Cause we know awful things happen when you cross the lines.

Dean: If you cross the line, cities fall.

[Laughter]

Chris: No, but I mean, when you do phone calls that's an important thing to do.

Dean: For me I think so. I’m old school.

John: What I love is the fact that he starts the incredibly confident powerful guy that we know. And by the end of this swing around, Richard lets himself just kind of look- just 

Dean: Now he's-

Chris: Nice reveal there.

John: Yeah, and nice reveal on that blown out window. And now he's just a pawn, he's just a broken little man, you know. And that's very- the last shot is plainly Nixon. 

[Laughter]

John: It’s plainly like- what's that famous shot of Nixon at 2am in the oval office?

Dean: Right.

John: It’s that look at him. And he did all that in one take, conveying pipe to Nate.

Dean: And now we switch to our handheld, because our guys are in trouble. And I love how much Nate is overcompensating. Whenever Nate’s overcompensating, you know something has gone horribly, horribly wrong. 

John: And his addiction is taking over. Be it booze or control.

Dean: And in this case, both.

John: Yes. He's not really got his head on in this particular case. Yeah, everyone's arguing with him, everyone- and this is another great thing, when Nate spins out you don’t ever have a problem with the plot, because the problem with the plot is the point of the plot. 

Chris: Right.

John: Like with, ‘That doesn't make sense. That doesn't make sense.’ Exactly! Tell that to Nate!

Chris: Yeah.

John: It's important for him to know.

Dean: Our editor did- Brian Gonosey, did a very interesting choice here from cutting from Nate to Nate. Which we almost never do, and it gives it, kind of, strange, nervous energy.

Chris: Well you're kinda-

John: It's claustrophobic.

Chris: You get the sense of people's eyes on him.

Jon: Right.

Chris: A lot of people looking at him.

Dean: But it’s not- again, that kind of cut we don't normally do on the show, and it really makes this a nervous scene.

John: Yeah, you’re going-

Dean: Nate to Nate to Nate to Nate.

John: Yeah, cause you're hopping- Jeri to Parker, you're seeing him plead his case. Jeri to Beth, Jeri to Beth, you know, you're seeing him through their eyes. And then back to the reactions where they know, yeah.

Dean: Something’s wrong.

John: And each one of them is making a very specific decision at that point.

Dean: Again, this port- these guys were so great to let us shoot there.

John: Oh man.

Dean: Gave us such wonderful access.

John: That’s the real port, that's not stock, baby, that’s-

Dean: That’s right, that’s the real deal.

John: And- and a lot of fun doing the TSA stuff, doing the Homeland Security stuff. The research on this was as horrifying as you'd imagine. Most of this is security theater, your ports are not secure, sleep tight America. 

Dean: And this actor was also discovered in that same improv group that we found the actor from the doctor episode.

Chris: Oh that’s interesting.

Dean: The Order 23.

Chris: John, you made a good point about how Order 23 pays off. A question about Order 23, about security at the courthouse. 

John: Yes, in Order 23 there's a beat like ‘How do they get the gun in there?’ And it’s because the courthouse has not been refurbished, because the budget on the town-

Dean: Right.

John: The city is so poor. And that's also why he felt confident hiding the money there. 

Chris: Right, right.

John: That pays off here in the- you find out the reason there's no money for the city is the mayor has grifted it all.

Dean: Right.

Chris: All the security money that he got, federal anti-terrorism money went into his own pocket.

Dean: And I love how Eliot is now playing a celebrity.

[Laughter]

Dean: And he's so proud that he's a celebrity.

John: And we also flipped roles for once, cause Hardison is usually not the one who’s annoyed, it’s-

Dean: Right.

Chris: Yeah, no it's true, he is.

John: It's really he’s- and it’s really both, ‘Get back on the job,’ and, ‘I'm not the center of attention.’

Chris: Yes.

Dean: These two are magical together.

John: Yeah, that's a great- this is a great noir set up.

Dean: Yeah, even with the black car in the distance, which is a bit of red herring.

Chris: Look at this shot, I mean this is a movie shot.

John: Beautiful. Now how do we- was this at night? Or were we during the day here on this?

Dean: This was at the end of the day, so we actually spilled into night and had to light it to keep it looking like this. And that's an actual oil tanker that they allowed us to shoot at.

John: Yeah.

Chris: Wow.

John: And then that- this walkway is actually exactly where we just located it. It's directly below the docks. And it really was- a lot of the fun was walking around the location going, ‘OK, this scene can happen here, this scene can happen here.’ And we didn't get too poisoned shooting in this warehouse. We all had funny coughs for about a week, but we were OK.

Dean: They warned us about spiders and raccoons under this- 

John: Yeah.

Dean: So we were looking for eight-legged raccoons at some point.

John: At some point we were very worried there would be a horrible combination.

Chris: Oh really? Wow, I missed this part.

John: Well you weren't up here for shooting at the oil tanker, getting poisoned by fumes.

Chris: Yeah, yeah. I looked at the schedule and went, ‘What’s the day you hang out in the baseball park?’

John: I noticed that. You came for the baseball park-

Chris: ‘Oh, I’ll come for that.’

John: You really didn't hang out with us in the oil tanker hold. Yeah, black lung kicking in. 

[Laughter]

John: This is a great cross cutting by Brian, this kind of- what he's doing is he's finding some- finding an odd rhythm here. It's not danger, it's unease.

Dean: Right.

John: You know, every shot is a little too short, it's a little too- yeah. And again, sort of end of day shooting, everything in the warehouse from the moment they walk in- like they get to the oil barrel, through the end of the episode pretty much, you did in a one-er. 

Dean: Yup.

John: One direction one way, one direction the other.

Dean: Your easy bake oven reference is awesome. I don't know how many people under the age of 40 are gonna get it, but god I love that reference.

John: Who under 40 watches television anyway? 

Chris: I appreciate it so much. Made me laugh so hard.

John: They've still got those. I got one for my niece.

Chris: With the one little bulb that actually makes the cake. 

John: Who knew? I love, Parker is constantly finding crates full of guns.

[Laughter]

John: I'm fairly sure she could open a gift with purchase from Neiman Marcus and it would have guns in it.

Chris: And by the way, kudos to you to find- when we put this thing together, to find the transition between corrupt mayor and arms deal in the docks. I mean, the thing was built around certain setpieces.

John: Yeah. And also it sort of made sense these- when you research, the amount of legal arms dealing that goes on in the states is magnificent. 

Chris: Right, right.

John: And when you find out these guys run these things out of Boston, New York, Miami, you know.

Chris: Right.

John: It's got to be somewhere.

Dean: And this is one of the rare times where our team is really losing at the end of an episode.

John: Oh yeah, they’ve got to lose. They really- they have- and this was interesting, because it really was one of those times where we sat back and said, ‘In what version of this show are our guys the bad guys that get caught?’

Dean: Right.

John: Just write this section of this show like that show. Like we're writing NCIS or we’re writing CSI or something. And really put our guys in the dead seat. And man he just radiates rage.

Chris: Yeah.

John: And it's not just because Richard Kind is a bad guy, it's because he's lost control.

Chris: Yeah.

John: You know, that is Nate Ford in a world he doesn't want to live in.

Dean: Now we got them in this impossible situation, and- but we can’t end the show without a little bit of fun. 

John: Yeah.

Dean: And the win within the loss here is, I think, is truly inspired.

John: Oh yeah, managing to get them out of there. 

Dean: Yeah.

John: That was a lot of fun. I can't remember where the idea from- the idea of the multiple exits came from. We were playing around in another episode with ambiguity, somebody- signal of, like, time and ambiguity, and that held over, because you use all the parts of the animal, and that hung out and that's of course-

Chris: That's Katie O’Grady.

John: Katie O’Grady.

Chris: She’s a terrific Portland actress. She runs an acting school up there. 

John: Yup, yup. And she really came in as kind of one off, and it’s- after two episodes it’s like, ‘Yeah, I could see this character coming back. I could see this fed,’ you know. A lot of Portland actors did that. A lot of Portland actors turned one day into a recurring role. 

Dean: Yeah.

John: The- and just barely buying him enough time. And that's the important thing here, is that each character is finding a little piece of the solution. That was the fun of this episode is, there's a famous fighter pilot saying which is, ‘Stay alive for the next 10 seconds.’ That's all you have to do. In the next 10 seconds, your wingman will get the guy, or the guy will get out of position, and that's all they are trying to do for this section of this script.

Chris: Yeah.

Dean: Thers a great turn here where he reveals that he was somehow part of this attempted assassination of one of the family- the extended family. 

John: Yeah.

Dean: And the rage that comes out of Nate is everything that’s built up over the entire year. 

John: And what's really interesting is, because you shot this all in one piece- this is not split up into takes, this built in real time.

Dean: That's right.

John: You know, this really builds from that confession- and I was out of position the first time he did the wrench, and I was like ‘What the hell just happened? Did Tim just crush Richard Kind’s head?’

Chris: It's his friend! They're friends!

[Laughter]

John: Yeah, they're friends, but the wrench wasn't in the script. Tim just picked up the wrench!

Dean: Right.

Chris: He just picked up a wrench. And we were like, ‘Is that a rubber prop wrench?’

Dean: I love her character is like, ‘Then just kill him.’ I mean, she has no moral position on this, she just wants to get out alive.

John: Yeah, this- like we were talking the other day, where Sophie still exchanges Christmas cards with people she's ripped off, Tara Cole has walked out of a lot of burning buildings with metal suitcases full of bloodstained cash. 

Dean: And never looked back.

John: And never looked back. And in that moment she is absolutely serious. If you're gonna kill this guy, get it done. You know, but she’s not gonna coddle him.

Dean: Now this may be one of my favorite bits that you guys have ever come up with, and it starts with a great turn.

John: It’s like- you know why? Cause it’s a locked off comedy frame, my friend.

Chris: That is.

Dean: Locked off comedy frame. But it's one of the oldest gags in television. 

John: It is.

Dean: Is that slow turn look.

Chris: The turn look.

John: And then the turn reveal, and this- 

Chris: ‘Oh no. Oh no, you're not gonna do it. Oh no, no way, Jose.’

[Laughter]

Dean: And once again, Aldis Hodge showing why he is a truly, truly special talent. This part is not written.

John: No.

Dean: This part is just him going- 

John: The printed page ends with, ‘They turn and look at the van.’

Dean: Right.

Chris: Yeah, yeah, yeah.

John: Yes and- 

Dean: All of this is him being brilliant.

John: And that means also that Beth and Chris had to find the timing to when they were both gonna turn.

Dean: Right.

John: And that's the thing is, they work together a lot, now they've got a lot of, sort of, physical cues from each other. But yeah, this is all him, this is all him going off. And this is born of 207 when we shot him and Will Wheaton versus each other; they spent the whole day in the van alternating. And so Aldis was making a joke about the fact he has a very weird relationship with that van, cause he's in it and nobody else is.

Dean: And he even brought back in the fact that everyone teases him that the van smells.

John: Yes, exactly.

Chris: That the van smells, we made that a recurring thing.

John: So that's become a recurring thing and it was really- it was really the actors discussion of his character that led to the bit. 

Dean: Now a lot of people may miss this-

John: Oh this is my favorite bit-

Dean: -but just watch Parker when the doors shut.

John: Yup.

Dean: Because Parker is so close to Aldis she gives a kiss goodbye and leaves the little lip print.

[Laughter]

John: I never noticed that before. 

Chris: Oh she did, she leaves the lip print, that’s great.

John: Not in the script. 

Dean: One of my favorite camera moves right here. ‘Aaaaand, let’s begin.’

[Laughter]

John: There is- definitely been working together long enough now that we know- and now that jazz music is in the background, we’re up and running.

Chris: There you go.

Dean: It all kicks in. And again, how Richard was able to now change from that dark to humorous. Literally turning on a dime.

John: And this is him-

Chris: Oh there's so many speeches he made saying goodbye.

John: This is him doing the- that is Kirk saying goodbye to Spock.

[Laughter]

John: By the way, from the Wrath of Kahn, that is the speech he's doing right there.

Dean: And we- my favorite digital effect.

John: No van, no van there.

Dean: All painted.

Chris: Oh that’s great.

John: ‘I’ll miss you.’ No and that was- but of course, again, you were blowing stuff up at a dock.

[Laughter]

John: Without any real permission or notifying the authorities. It’s really I think I'd be disappointed now if you called ahead. 

Dean: That’s right.

John: And this is the reveal, and this was really tricky, trying to figure out the timeframe, how they could get around, how quickly they get around.

Dean: So we had to use the bomb as the time signature.

John: Yeah.

Chris: Right.

John: Because the- when we got there originally, this was structured slightly differently, but the exits in the physical locations didn't match. But that’s why TV is great, you have a writer on set-

Dean: Exactly.

John: So you can actually have the director walk around with you and go, ‘This isn't gonna work.’ ‘Sure it will.’ ‘No it won't, fix it.’

[Laughter]

Chris: Well I think originally the thing went inside the- 

John: Yes, yeah. And we couldn't do that, and you couldn't see the blow, and then you had to blow all three doors simultaneously if you did it, and it would've been madness. And Katie's look of rage there is magnificent. 

Chris: That’s great, as the car goes by.

John: It really- ‘I am an angry, angry fed.’ And this is also one of the times when we don’t let Nate off the hook.

Dean: Right.

John: You know and Aldis is genuinely- yeah.

Chris: Yeah, he managed to transition from the fun of saying goodbye to the van, to actual rage.

Dean: Genuinely pissed off. And now another bit of John Rogers directing on this episode is the car getting away.

Chris: Nice!

John: The car- yeah, this is-

Dean: Right here, here we go and then look at this nice power slide.

Chris: Oh, good job.

John: I caught the reflection in the side of the car that was suction cup bounce and they actually hold on. You didn't give me the wet down one.

Dean: And this is my favorite reveal of a character ever.

John: I have no idea how you did this! Did you lower him by rope? How does he get in the shot?

[Laughter]

Chris: Well he comes in-

John: And we’re coming around, this is all a one-er and… he… is… there.

[Laughter]

John: He just- it is one of those things where, much like- 

Chris: How would he fit inside?

Dean: [Mimicking Mark Sheppard] There's no one else that can make an entrance-

John: Quite like Mark Sheppard.

Dean: -like Mark Sheppard.

[Laughter]

John: And by the way, we decided to make him- because we were cooking up a threat, and- we’ll actually continue talking about this in the next episode...

Chris: In the next episode.

Dean: Please stay tuned for the second part of this. 

Chris: Stay tuned.

Dean: But this was a lot of fun, and thank you for listening to the first half. Stay tuned for part two.

#Leverage #Leverage TNT #Leverage Audio Commentary Transcripts #Audio Commentary #Transcripts #Parker #Alec Hardison #Elliot Spencer #Nate Ford #Sophie Deveraux #Season 2 #Episode 14 #Season 2 Episode 14 #The Three Strikes Job

[celtfather]

Reel Faeries #552

Listen to REEL faeries on this week's Irish & Celtic Music Podcast.

Heidi, Stef & Bow Triplets, John Doyle, The Haar, Alasdair White, The Fire Inside, Avon Faire, Kris Colt, Andy Lamy, The Gatehouse Well, Niamh Parsons & Graham Dunne, Terry Clarke - Coyne & Tony Gibbons, Don Gabbert, Hair Of The Dog, The Town Pants, The Hoodie Crows

I hope you enjoyed this week's show. If you Heard a song, tune or artist that you loved, I’d like you to share this episode and tag the artist on social either on your page or in a Celtic group you’re a part of. Include the show time so they can quickly listen and enjoy.

The Irish & Celtic Music Podcast is here to build our diverse Celtic community and help the incredible artists who so generously share their music with you.

Musicians rely on your support so they can keep creating new music. If music in this show inspired you, you can buy their CDs, digital downloads, shirts, pins, and other merch. You can follow them on streaming and see their shows. More and more Celtic musicians are on Patreon, just like this podcast. And of course, I always appreciate it when you drop artists an email to let them know you heard them on the Irish and Celtic Music Podcast.

How would you like Celtic music news in your inbox? The Irish & Celtic Music Magazine is a quick and easy way to plug yourself into more great Celtic culture. Subscribe and get 34 Celtic MP3s for Free.

THIS WEEK IN CELTIC MUSIC

0:08 - Heidi, Stef & Bow Triplets "Open Sky/Meghan's Reel/Canal Jig" from One Spot On Earth

5:37 - WELCOME

6:16 - John Doyle "Knock a Chroí (Air) / Beltra Fair (Jig) / Aughris Head (Slip jig)" from The Path of Stones

13:46 - The Haar "Two Sisters" from The Haar

19:22 - Alasdair White "Joe Wilson" from An Clàr Geal (The White Album)

23:03 - The Fire Inside "Line 'em up, Mr. Murphy" from Spark

28:24 - FEEDBACK

31:00 - Avon Faire "The Gowans Are Gay" from Tales of Love and Adventure

33:16 - Kris Colt "Faerie Flag" from Arms of a Stranger

38:01 - Andy Lamy "Reel/ Fionn McCool's Favorite" from The New Blackthorn Stick

42:48 - The Gatehouse Well "Madness Never Leaves" from Undone

47:07 - CELTIC STORIES

53:39 - Niamh Parsons & Graham Dunne, Terry Clarke - Coyne & Tony Gibbons "Bonny Woodhall" from So Here's To You  -  Live in Vlissingen 2001

58:21 - THANKS

1:00:31 - Don Gabbert "The Cuckoo (A Scottish Song)" from Donovan's Fancy

1:04:26 - Hair Of The Dog "The Rolling Waves" from Liam Left The Lights On Again

1:06:18 - The Town Pants "Something to Say" from Something to Say

1:09:32 - CLOSING

1:10:21 - The Hoodie Crows "Keg of Brandy" from On the Wing

The Irish & Celtic Music Podcast was edited by Mitchell Petersen with Graphics by Miranda Nelson Designs. The show was produced by Marc Gunn, The Celtfather. Subscribe through your favorite podcatcher or on our website where you can become a Patron of the Podcast for as little as $1 per episode. Promote Celtic culture through music at http://celticmusicpodcast.com/.

WELCOME TO CELTIC MUSIC

* Helping you celebrate Celtic culture through music. I am Marc Gunn. I’m a musician and podcaster. I share my love of Irish and Celtic music from around the globe with you. I want to introduce you to some amazing Celtic bands and musicians.

The artists in this show need your support which you can do by buying their music or telling a friend about the band you found. You can find a link to all of the artists, along with show times and chapters for each song when you visit our website at celticmusicpodcast.com. You can also support this podcast on Patreon.

VOTE IN THE CELTIC TOP 20 FOR 2022

This is our way of finding the best songs and artists each year. You can vote for as many songs and tunes that inspire you in each episode. Your vote helps me create next year's Best Celtic music of 2022 episode.  Vote Now!

WHAT’S NEW IN IRISH & CELTIC MUSIC: BEST OF 2022

Two weeks after the episode is launched, I compile the latest Celtic Top 20 votes to update a playlist on Spotify and Amazon Music. These are the results of your voting. You can help these artists out by following the playlists and adding tracks you love to your playlists.

The newest band added to the playlist: Scythian, Syr, The Gothard Sisters, Stanley & Grimm

Listen on Spotify and Amazon Music.

THANK YOU PATRONS OF THE PODCAST!

Because of Your kind and generous support, this show comes out at least four times a month. Your generosity funds the creation, promotion and production of the show. It allows us to attract new listeners and to help our community grow.

As a patron, you hear episodes before regular listeners. You can pledge a dollar or more per episode and cap how much you want to spend each month over on Patreon. You can also get music - only episodes and free MP3s when you become a Song Henger.

THREE STEP PLAN TO SIGN UP TO PATREON

Go to SongHenge.com . That takes you to our Patreon page.

Decide how much you want to pledge every week and cap how much you want to spend per month.

Keep listening to the podcast to celebrate Celtic culture through music

A super special thanks to our Celtic Legends: Dan mcDade, Carol Baril, Miranda Nelson, Nancie Barnett, Kevin Long, Lynda MacNeil, Annie Lorkowski, Travis Senzaki, Shawn Cali

You can become a generous Patron of the Podcast on Patreon at SongHenge.com.

TRAVEL WITH CELTIC INVASION VACATIONS

Every year, I take a small group of Celtic music fans on the relaxing adventure of a lifetime. We don't see everything. Instead, we stay in one area. We get to know the region through its culture, history, and legends. You can join us with an auditory and visual adventure through podcasts and videos. Learn more about the invasion at http://celticinvasion.com/

#celticmusic #irishmusic #celticmusicpodcast

I WANT YOUR FEEDBACK

What are you doing today while listening to the podcast? You can send a written comment along with a picture of what you're doing while listening. What are you doing with your local celtic community?

Email a voicemail message to [email protected]

John Derek Morgan emailed: "Hi, Marc. I love both of your podcasts that I have found. I was curious if you know of the name of the type of Irish/Celtic music that features tenor banjo? I notice that this style of music seems to feature a range of instrumentation, but I am currently learning the tenor banjo. Also, have you ever done an episode that focused on the tenor banjo?"

The Carroll Sisters emailed: "We managed to get our album up on Spotify (and we think all most major streaming services). Please let us know if you can access it.  It is our first time doing this, so we are not sure what we are doing.  Thank you for playing some of our music on your podcast. We are so excited that we got into the Celtic Top 20!!"

Darren Raleigh emailed: "I just saw you post and thought I'd check in again.  You played some of my CD "Silverwheel" a while ago.  Thank you..  Now that I'm retired from flying people to hospitals I'm going to do a lot more playing, traveling,  and recording. So, slainte mohr!  I'll be seeing you around."

Check out this episode!

#celtic #Irish #Scottish #music #Ireland #Scotland

[weebisexual]

Canon* Bisexual Characters

*SOME OF THESE ARE POSSIBLY HEAVILY SPECTACULATED AS BI, AND SOME COULD ALSO BE PAN

Click below to see the list as it is a long one

Tv:

Abby, Abby's

Adam Alvaro, Jane the Virgin

Adam Goff, Sex Education

Adrian Tepes (Alucard), Castlevania

Ah Toy, Warrior

Alana Bloom, Hannibal

Alice Pieszecki, The L Word

Amy, Futurama

Angela  Montenegro, Bones

Annalise Keating, How To Get Away With Murder(could also be pan)

Anne Bonny, Black Sails

Asami Sato, Legend of Korra

Aslan Jade Callenreese (Ash Lynx), Banana Fish

Barbara Kean, Gotham

Blake Belladonna, RWBY

Bo, Lost Girl

Bob, Bob’s Burgers

Bob Armstrong, Insatiable

Bow, She-Ra Princess of Power

Brittany S. Pierce, Glee

Callie Torres, Grey’s Anatomy

Casey Gardner, Atypical

Charlie Morningstar, Hazbin Hotel

Chuck, Supernatural

Clara Oswald, Doctor Who 

Clarke Griffin, The 100

Daemon Targaryen, House of the Dragon

Darlene Alderson, Mr. Robot

Daryl Whitefeather, Crazy Ex Girlfriend

Dex Parios, Stumptown

Eleanor Guthrie, Black Sails

Ellaria Sand, Game of Thrones

Eleanor Henstridge, The Royals

Eleanor Shellstrop, The Good Place

Evan "Buck" Buckley, 9-1-1

Fangs Fogarty, Riverdale

Fleabag, Fleabag

Frances Flynn, Conversations with Friends

Gail, Letterkenny

Garfield “Gar” Logan (Beast Boy), Titans

Glimmer, She-Ra Princess of Power

Grace Choi, Black Lightning

Haley Dunphy, Modern Family

Harley Quinn, Harley Quinn 

Helen Blackthorn, Shadowhunters

Ianto Jones, Torchwood

Inara, Firefly

Isobel Evans, Roswell New Mexico (could also be Pan)

Jack Danvers, Ted Lasso

Jackson Whittmore, Teen Wolf

James Flint, Black Sails

Jay Bilzerian, Big Mouth

Jesper Fahey, Shadow and Bone

Joe MacMillan, Halt and Catch Fire

Johanna Constantine, The Sandman

John Constantine, Arrow and Legends of Tomorrow

Julian "Jaskier" Alfred Pankratz, The Witcher

Judy Hale, Dead to Me

Kai Anderson, American Horror Story: Cult

Katriona "Kat" Azar Tamin, Law and Order: Special Victims Unit

Katy, Letterkenny

Keeley Jones, Ted Lasso

Kieran Walker, In The Flesh

Korra, Legend of Korra

Lisa Palmer, Santa Clarita Diet

Lorna Morello, Orange is the New Black

Lucifer Morningstar, Lucifer

Luz Noceda, The Owl House

Mabel Mora, Only Murders in the Building

Magnus Bane, Shadowhunters

Malakai Mitchell, Heartbreak High

Marceline, Adventure Time

Marcus Keane, The Exorcist

Margaret Shaw (Queen Maeve), The Boys

Mazikeen, Lucifer

Meliorn, Shadowhunters

Mermista, She-Ra Princess of Power

Mrs. McMurray, Letterkenny

Michael Guerin, Roswell New Mexico

Miles Hollingsworth, Degrassi

Missy Beckett, Heartbreak High

Moxxie, Helluva Boss

Nick Nelson, Heartstopper

Nico Minoru, Runaways

Nina Zenik, Shadow and Bone

Nolan Ross, Revenge

Nova Bordelon, Queen Sugar

Oberyn Martell, Game of Thrones

Pam, Archer

Paige Michalchuk, Degrassi

Paul Grayson, Flesh & Bone

Piper Chapman, Orange is the New Black

Poison Ivy, Harley Quinn

Polo, Elite

Porsche Pachara Kittisawat, KinnPorsche: The Series

Princess Bubblegum, Adventure Time

Quentin Coldwater, The Magicians

Ramona Royale, American Horror Story: Hotel

Rebeca, Elite

River Song, Doctor Who

Rosa Diaz, Brooklyn99

Rose Quartz, Steven Universe

Ruby Lucas, Once Upon a Time

Sea Hawk, She-Ra and the Princess of Power

Seven of Nine, Star Trek Voyager

Sara Lance, Arrow and Legends of Tomorrow

Tabitha Galavan, Gotham

Tara Thornton, True Blood

The Countess Elizabeth, American Horror Story: Hotel

Toni Topaz, Riverdale

Toshiko Sato, Torchwood (could also be pan)

Valencia Perez, Crazy Ex Girlfriend

Villanelle, Killing Eve

Waverly Earp, Wynona Earp

Will Drake, American Horror Story: Hotel

Winter Anderson, American Horror Story: Cult (could also be pan)

Yuri Katsuki, Yuri!!! On Ice

Books:

Abby Suso, Leah on the Offbeat

Adam Parrish, The Raven Cycle

Alex Claremont-Diaz, Red White & Royal Blue

Apollo, The Trials of Apollo 

Cal Price, Simon vs. The Homosapien Agenda

Celie Johnson, The Color Purple

Clarissa Vaughan, The Hours

Elio Perlman, Call Me By Your Name

Evelyn Hugo, The Seven Husbands of Evelyn Hugo

Frances Flynn, Conversations with Friends

Hades, Dark Olympus

Helen Blackthorn, The Mortal Instruments

Henry Montague, The Gentlemans Guide To Vice and Virtue

Katherine Talbot, Privilege of the Sword

Jean Moreau, The Sunshine Court

Jesper Fahey, Grishaverse

Kieran, The Dark Artifices

Leah Burke, Leah on the Offbeat

Lisbeth Sander, The Girl With the Dragon Tattoo

Mabel Valenzuela, We Are Okay (could also be pan/polysexual)

Magnus Bane, The Mortal Instruments

Mark Blackthorn, The Mortal Instruments

Mia Covere, Nevernight

Michael Wayland, The Mortal Instruments

Nina Zenik, Grishaverse

Noam, Fever King

Patroclus, The Song of Achilles

Persephone, Dark Olympus

Richard St Vier, Swordspoint

Rhy, Shades of Magic

Shug Avery, The Color Purple

Simon Snow, Simon Snow Trilogy

Comics/Graphic Novels:

Akihiro (Daken), Marvel Comics

Avatar Kyoshi, The Legend of Korra: Turf Wars

Diana Prince (Wonder Woman), DC Comics

Donovan “Donnie” Ali, The Prince of Southland (Webtoon)

Grace Choi, DC Comics

Harleen Quinzel (Harley Quinn), DC Comics

Jack Zimmermann, Check, Please (webcomic), (could also be Pan)

John Constantine, DC Comics

Jon Kent (Superboy), DC Comics

Knockout, DC Comics

Madame Xanadu, DC Comics

Nick Nelson, Heartstopper (Webtoon)

Nico Minoru, Marvel Comics

Pamela Isley (Poison Ivy), DC Comics

Raven Darkhölme (Mystique), Marvel Comics

Roxanne “Roxy” Washington (Bling!), Marvel Comics

Selina Kyle (Catwoman), DC Comics

Thomas Blake (Catman), DC Comics

Tim Drake (Robin), DC Comics

Movies:

Adele, Blue is the Warmest Colour

AJ Campos, Crush

Alexander Clairmont-Diaz, Red, White & Royal Blue

Clarissa Vaughan, The Hours

Danielle, Shiva Baby

Elio Perlman, Call Me By Your Name

Harley Quinn, Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)

Lisbeth Salander, The Girl With the Dragon Tattoo

Lorraine Broughton, Atomic Blonde

Ramona Flowers, Scott Pilgrim vs The World

Valkyrie, Marvel Cinematic Universe

Video Games:

Abigail, Elliot, Emily, Harvey, Leah, Maru, Penny, Sebastian and Shane, Stardew Valley (they could also be pan)

Anders, Dragon Age Inquisition 2

Alphys, Undertale

Chloe, Life is Strange

Dorothea, Fire Emblem Three Houses

Edelgard von Hresvelg, Fire Emblem Three Houses

Fenris, Dragon Age Inquisition 2

Hans, Animal Crossing (could also be pan)

Isabelle, Animal Crossing (could also be pan)

Isabelle, Dragon Age Inquisition 2

Jaal, Mass Effect Andromeda

Jeritza, Fire Emblem Three Houses

Josephine, Dragon Age Inquisition

Juhani, Knights of the Old Republic

Leliana, Dragon Age Origins

Linhardt, Fire Emblem Three Houses

Kaiden, Mass Effect

Liara, Mass Effect

Max, Life is Strange

Mercedes, Fire Emblem Three Houses

Merrill, Dragon Age 2

Niles, Fire Emblem Fates

Rell, League of Legends

Renju Okiura, AI: The Somnium Files

Rhea, Fire Emblem Three Houses

Sothis, Fire Emblem Three Houses

Yuri, Fire Emblem Three Houses

Zagreus, Hades

Zevran, Dragon Age Origins

Musicals:

Clifford "Cliff" Bradshaw, Cabaret

Frank ‘n’ Furter, The Rocky Horror Picture Show

Lucas, If/Then

Peter Allen, The Boy From Oz

Richard Goranski, Be More Chill

Romeo, & Juliet

Hanschen Rilow, Spring Awakening

The Emcee, Cabaret

Woof, Hair

Podcasts:

Aubrey Little, The Adventure Zone

Georgie Baker, The Magnus Archives

Jonathon Sims, The Magnus Archives

Juno Steel, The Penumbra Podcast

Mark Bryant, The Bright Sessions

Mollymauk, Critical Role

Ryan Dalias, EoS 10

Sir Damien, The Penumbra Podcast

Timothy Stoker, The Magnus Archives

Vax’ildan, Critical Role

We are slowly adding to this list! If you know of a character that isn’t on here, please send us a message with the characters name, the name of what they’re in, and what type of media it is! Thank you so much! 

#bisexual #bisafe #bisexuality #bisexual characters #bi characters #lgbt #lgbtq #lgbt+ #lgbtq+ #ours #our stuff #bisexual characters list

[definitioncfcursed]

( ❛ ╾ @newbrckenscene​ )

    Priscilla let out a heavy sigh hearing the footsteps behind her. She knew that it wasn’t Lorna, she was still at therapy, Persephone wasn’t going to be there and Mr & Mrs. Blackthorne were at a work thing. That left her least favorite Blackthorne. She turned and her eyes narrowed slightly, “John. You’re being particularly douchey today - what’s wrong?” Her words sounded worried, then she shot a mock pout at him.

#( thread ‣ priscilla. ) #newbrckenscene #( it was a big big world but we thought we were bigger ‣ v. modern )

[nothwell]

will we ever see (I forgot their names and do not have the books near me) the artist and his hoity toity man?? bc as much as Lindsey and Aubrey are my number 1-100 and i will beg and claw and pray and cajole more books and stories about them to a never ending degree, i was interested in these two and their love--how they met, how they fell in love, was it easy? was it a chase and HTM was given a challenge for once?? how do they manage when they're apart?? book 2 comes to mind when one is like "i MUST go to Town for the season!" and the other is like "i hate it! i must art!" and HTM is like "i MUST be seen in London or my beard will be see through :(" and Arty is like: "It's okay, i love arting and we will reunite after. miss me!" (some sugary embellishment has been added) and i was always wondering how they got through it, was there longing angst? passionate reunions? how will they manage never getting to live together??? will we ever get to see any of them, even a novella?? 🥺

John Halloway and Lord Cyril Graves!

Short answer, yes. Longer answer to follow.

I've had a short story planned for them ever since finishing the first draft of Mr Warren's Profession. Originally the sequel to Mr Warren's Profession would've been a series of short stories from a variety of perspectives (like how Tales of Blackthorn Briar is for Oak King Holly King). Then through writing two of those stories I realized they worked better as the A-plot and B-plot of their own novella. Thus came Throw His Heart Over.

Back on topic - the Halloway and Graves story has a title, it has cover art, it has a first draft. Brain problems have put me off of writing pure historicals since then but maybe I'll dust it off and put it on Patreon.

For now I can say this. They're not as fluffy a couple as Aubrey and Lindsey. In many ways they're more practical about their relationship. And in many other ways they resemble this tumblr post:

Fun fact, the only extant piece of Aubrey & Lindsey fanfiction (that I'm aware of) is about John Halloway and Lord Cyril Graves!

Thank you for reading. It's always heartwarming to hear that even side characters spark something in the imagination.

#aubrey & lindsey #john halloway #lord cyril graves #mr warren's profession #throw his heart over #solar fantasy #sebastian nothwell

[thehangeddemon]

Preparations || Scene at Atlas Manor

News of the Atlas family’s visit had reached the staff in record time. It seemed like every single one of the maids, landscapers, and even their part-time chauffer knew by the time Hamilton had returned to the kitchen with the tea tray.

Even so, they all pounced on him the moment they saw him to confirm.

“Is it true?” Mira had asked. “Is his brother’s family really coming to stay?”

Hamilton had sighed his long-suffering sigh and nodded. “Yes, they’re coming for a week. And don’t ask me for any more details because I don’t know them.”

“They’re staying here?” The shock was evident in Elsie’s voice. “Has that ever happened before?”

Mira shook her head. “The brother’s only come over for short visits, never overnight. Never for multiple days.”

“And he agreed? Lydia said the brother-in-law’s visit was—”

“All right, that’s enough for now,” Hamilton interrupted, giving them both a look. “Since you’re both here, please air out two guest rooms in the east wing and make note of what is needed for the bathrooms. I’m going to call Ramsay.”

“Is he going to--?”

“Rohan’s room, too. Now, please.”

Over the next few days, the household became a flurry of activity. Everything inside and out was cleaned from top to bottom in preparation for the impending visit.

Dishes and silverware were changed out, rugs cleaned, fresh curtains placed on the windows. Every surface and piece of silverware had been polished to a gleam, every vase and mirror made to sparkle. Chandeliers were ruthlessly dusted and every candleholder given a fresh candle.

Outside, shrubbery was trimmed and tamed, flowers deadheaded, and the lawn meticulously mowed. Any weeds that had the audacity to spring were immediately pulled and not a speck of algae was allowed to gather on the fountains.

And there was still so much to do.

Early on a cloudy morning just a couple of days before Xavier’s family was set to arrive, Hamilton gathered his staff at the kitchen table for a meeting. All week he’d been carrying around a clipboard with a list of everything that needed to get done and as everyone had their breakfast, it remained glued to his hand.

“Lydia, did the mattresses for the children’s beds arrive yesterday?”

She nodded. “Yes.”

“And the bedclothes?”

“Yes. Two mattress covers, two sets of sheets, and two duvet sets. Josie will have them made up this morning.”

“Which pattern did you pick?” Isabel asked, sipping her coffee.

“Baby green for the sheets and the watercolor swirls for the duvets.”

“Cuuute! I’m sure the kids will like them.”

Hamilton smiled and checked that off his list. “Good, thank you. Josie, I’m going to have you attend to the children’s room during the visit and Isabel, you’ll attend to the parents’ room. Turndowns every night and flower changes every other day.”

Josephine and Isabel nodded.

“Oh, a shatterproof vase for the children if you could, please, Lydia. Just to be on the safe side. I think the one in Devlin’s room has a mate.”

“It does,” she said, making a note in her own little notepad.

He checked another thing off his list. “Elsie, how are the bathrooms?”

“Clean and ready. Oh, and I got towels with green trim for the kiddies to match their sheets.”

“Bath products?”

“Fully stocked.”

More ticks off the list. “Good, good. That was all that was left for the rooms and bathrooms. Rohan is going to finish up in the library today and then move on to the other tasks Xavier assigned him.” Namely putting an extra series of wards and spells on the house.

“What’s he even doing in there?”

Hamilton turned to the only other man in the room, who just now happened to be lounging on two of the barstools with his mouth full of pastry.

“Moving the magical books and artifacts into storage.”

Ramsay took another bite of danish. “Why, so his brother doesn’t use them?”

“Irrelevant. What about you, did you get the car detailed?”

“Yep, it’s shiny as a new penny.”

Another tick. “Thank you. When the family arrives you’re to meet them at the gate and drive them down and you are not to make a single remark, speak out of turn, or ask a single inappropriate question. Do you understand?”

Ramsay gave Hamilton a sarcastic salute. “Aye, cap’n.”

“I mean it, John. And formal terms of address only. That goes for all of you,” he added to the maids. “Devlin is Master Devlin, Theo is Mr. Brandr, and Xavier is Lord Blackthorne. From experience, I can tell you there will be rolled eyes and maybe even a comment or two but you’re to ignore them. It’s very important that this household runs the way Xavier likes it to run while his family is here. Is that understood?”

A wave of nods and a chorus of ‘Yes, Hamilton’s answered his question.

“Is he still in a bad mood?” Rita dared to ask after a moment.

“It’s getting worse,” Christine said softly. “Only around us and Rohan though. In front of Devy and Mr. Brandr he’s all smiles.”

Josie shook her head. “Trying to be, you mean. He’s so tightly wound he’s about to snap. That flameproof spell he had Rohan do the other day was so strong you couldn’t even light a candle. Does he really think his brother is going to burn the house down again?”

“I don’t think so,” Mira chimed in. “I think it’s just nerves and tension. I’m pretty sure his brother wouldn’t bring his family here just to commit arson. Or commit arson in a house full of people. All the spells are just his anxiety needing some kind of release.”

“Is this really that big a deal?” Ramsay hopped off his stool to serve himself more coffee. “You’re all talking about this bloody visit like it’s D Day. People visit their relations all the time and the world doesn’t end!”

“Normal people visit their relations all the time,” Mira shot back. “This isn’t a normal family and they don’t get along like a normal family.”

Lydia sighed. “I still remember that phone call the day his brother-in-law came to tea. It was awful. He didn’t come out of his study for days.”

“Just because that was awful doesn’t mean this is going to be awful,” Isabel said hopefully. “There’s buffer this time. Mr. Brandr and Rohan are going to be here, and the children. The children are why he agreed to the visit, right?”

Hamilton nodded and smiled. “Right, Izzie. Xavier may be in a mood, but he’s been in them before, and no one in this house has ever suffered because of it. As long as we all do what we’re supposed to do, everything will be fine. Now, that’s enough gossip and speculation.”

He set his clipboard aside. “The extra four people being in residence means no days off next week and longer hours, but everyone is going to be getting paid double to make up for it. Everyone is also getting new uniforms, which should be here the day after tomorrow. And Ramsay you will be wearing yours or there will be hell to pay.”

Ramsay’s “Uggggghhhhhhhhhh……….” was met with laughter from everyone but Hamilton.

“I don’t want to hear it. Finish that danish and go make yourself useful, you have rooms to magically soundproof.”

“Me? I thought Ro was doing that.”

“He’s taking care of the other magical things that need doing.”

“Fiiiiiiiiiiiine. Why am I soundproofing anyway? So Xavier doesn’t hear his brother shagg—”

“Inappropriate. Go.”

“Fine, fine. Not like anyone really shags when they’re visiting fam—”

“Now, John!”

Ramsay finally went, leaving Hamilton shaking his head and the maids trying to stifle giggles.

“Right. Christine, Xavier wants to talk to you after breakfast in the wine cellar to finalize the menus for next week and choose wines.”

The chef nodded. “Okay, no problem. Did you ask him about mealtimes?”

“Yyyyes…yes. Breakfast, lunch, dinner, and tea at the usual times, unless a change is needed. How much of the shopping do you think you’ll be able to do before next week?”

“I should be able to do most of it. What’s my budget?”

“Carte blanche.”

“Sweet.”

“Take Rita with you when you go.”

He finished going over his list with the maids, ticking things off and getting status reports over the ones he didn’t. The house was going to be a marvel by the time they finished preparing.

#The Staff of Atlas Manor #Off Camera Glimpses

[endlesstalesofwonder]

Malec Week: Office AU

Hello! I’ve finally gotten this prompt done! Took me three/four times, but I got there eventually. Enjoy some Malec Office AU for Malec Week 2018!

*

Alec walked through the front doors of the New York office at promptly five in the morning where the sun had barely begun its ascension over the various skyscrapers and condos to alert those who dare wake up at the ungodly hour that it was time to start moving. Alec was one of those few.

It was necessary in his current business. Pandemonium was run by a fierce, yet passionate, man who deserved nothing but absolute perfection. Alec, of course, never saw it this way at first. He had just been the one who ran and got coffee for everyone and somehow made it to being the personal assistant of the number one himself; Magnus Bane. Intimidating, watchful, and keen would be the perfect words to describe him – along with asshole, The Warlock, and the workroom’s personal favorite, Satan himself. Alec would never report those back to Mr. Bane in fear of him making the majority of his business disappear, and his ego expanding to the size of Jupiter.

Alec prided himself on perfection and doing his absolute best to ensure the wellness of the entire team. His earliness meant an early start and, possibly, an early finish to a hard day’s work. He made the reports based on the previous day’s sales and marketing, as well as all interactions on their mobile site, and placed them on the desks of everyone in the social media management department. Then, he replaced the paper stock in the copy room; prepared all the strictly black making coffee machines in the break room; sent emails to the guys in IT – because something was always broken; and called people halfway across the world to tell them that Magnus Bane did not want to be caught dead in their clothing.

Mr. Bane – Alec always made the correction – was hardly ever on site. He found it more “productive”, as he once told a temp that dared to stare at him in awe, to be inspired on location, surrounded by culture and, again, “dozens of men and women for strictly professional arrangements.” Peru was one of his favorite destinations to travel to, and was currently residing for inspiration – “and a tan.”

There was an occasion that Mag – Mr. Bane – would stay at the office for a prolonged period of time, and it could be summed up into two little, frightening words: Fashion Week. The office was always turned upside down in the months prior to the event. People were running around, forgetting things, and possibly ruining their careers by acting so foolishly. Alec was the ones with the reigns, barking orders and demanding order amongst the chaos. There were another two weeks until that time of fire and brimstone, and Alec was prepared to handle it as he always did – with an iron fist.

Six eventually came around, after Alec drank a whole pot of coffee for himself, and his fellow coworkers started to flood in and go to their assigned desks and departments. John Underhill was always one of the first few to arrive. He, like Alec, would rather be half an hour early rather than half an hour late. He also managed to help Alec when he was in a particularly tight knot. He greeted him with a wave when he came in.

“Late night, Alec?” John commented, as he passed through to his desk closest to the main office.

There was a downside to working so much. Sleep, as much as it was a necessity, did not come easy the closer Pandemonium got to its “hot spots”, as Alec liked to call them. Fashion Week, commissions, holiday seasons were all hell, and it took a toll on all of them – especially Alec. “More like an early morning.”

A few others started straggling in: Emma Carstairs and Julian Blackthorn from marketing; Mark Blackthorn from Human Resources; Maia Roberts from social media; a few others from the work room downstairs that Alec hardly had any affairs with, and last – and certainly the least – Raj.

Alec never made it a habit to learn the man’s last name. He believed that he would be fired within the first few weeks of him working the floor after the whole incident with the copy machine during the Christmas season. He didn’t see what Mr. Bane saw in him, but perhaps it was meant as a challenge to see if Alec could tame the untamable.

“Morning, Lightworm,” Raj greeted, then disappeared like he always did when he insulted him. Alec took it as a sign that he was afraid that he could do even worse than Mr. Bane ever could.

Pandemonium was finally bustling with chatter, the sound of cheap coffee, and the mix of typing keys and numbers into their computers. Alec settled himself behind his own desk, placed beside Mr. Bane’s for the sake of convenience, and started making his usual calls to clients and partners.

“Pandemonium, Mr. Bane’s office, please hold. Pandemonium, Mr. Bane’s office, please hold,” Alec repeated. When he clicked on the third line, the voice was familiar.

“Check your computer.”

Alec sighed. “John, you can’t call me on this line. I have a separate line especially for –”

“Check the damn chat, Alec.”

“Fine.” Alec hung up with a sharp click. He twisted his seat around towards his double monitored computer and spurred the thing to life. A little blue box popped up immediately on the screen along with a red dot displaying an array of messages left unread. He opened it, clicking on the chat room that some of the other employees had created and renamed accordingly.

The_Twenty-Fourth_Floor_of_HELL Chatroom [LIVE]

RAJJ: Morning losers

Emma_C: How did you get into this chat, Raj?

Emma_C: Sleep with IT again?

RAJJ: For your information Carstairs I don’t need to sleep with someone to have my way

Emma_C: Yeah, you just annoy the shit out of them

RAJJ has been removed from the chat.

Alec rolled his eyes. He scrolled down past the various attempts of kicking Raj out of the chat, and still he managed to find his way back in, until he got to the section that made his heart stop.

MarkB: Is something going on today?

JulesB1: No… Why?

Emma_C: What’s going on?

MarkB: There are people shuffling around every

MarkB: Shit

MarkB: CODE RED

R_ Maia: Heads up! Bane is here.

Underhill_J: He’s not supposed to be here for another week.

Emma_C: The Warlock is passing by

JulesB1: Why is he here?

thebestmanraj: Oh? Did pretty boy not tell you?

thebestmanraj: Bane dropped out of a business meeting after a scandal in Peru.

thebestmanraj: whoops

Thebestmanraj has been removed from the chat.

Alec lunged from his seat. He pushed past various interns and nobodies who were in his way, beelining it towards Underhill’s desk. He turned the corner and the man was already standing coffee and magazines in hand – both were Mr. Bane’s favorite’s and must-haves whenever he was in the office.

“You,” Alec said, grabbing them from the man, “are a lifesaver. I owe you one.”

“You owe me many. Now, move!”

Alec didn’t need to be told twice. He spun on his heel, sprinting back for his boss’ desk in hopes of beating him there. The room, thankfully, was empty. Alec fanned the most recent fashion magazines down on the corner of his desk, coffee in hand. He made sure, then double and triple checked to make sure the entire office was in perfect condition before moving to the front doors to greet Mr. Bane – Alec slams right into him. Crashing the coffee all over his seven hundred dollar shirt and jacket.

The workroom froze. Printers stopped working; fingers stopped moving; everyone stopped breathing in fear of their imminent death. Alec could only hear the hard thud of his heart beating away in his chest as if it could run away from this situation. Running, however, would make the situation much, much worse. And Raj was already looking far too smug from his corner of the room.

“Alexander.” It was never good when Mr. Bane used his full name. “Do watch where you’re going next time.”

Next time. Alec loosed a relieved breath. There was going to be a next time.

“Get me another coffee, Angela from downstairs – and everyone get back to work.”

A snap of his fingers, and the workroom resumed like a song put on pause. Everyone ignored the enormous elephant in the room – all except Raj who was clearly gossiping with a cute temp passing by – and Alec moved towards Underhill for the coffee, then in search of “Angela from downstairs.”

Alec escorted her all the way up two flights of stairs, claiming the elevator was “broken”. She smoothed out her skirt before entering, staying just beyond the field of reach outside of Mr. Bane’s desk. “You asked for me, sir.”

Magnus’ brilliantly sharp eyes found Alec’s. Alec ignored the fact that he was wearing a completely new outfit. “Close the door – and stay,” he added. “I’ll need a witness.”

A string of curses wafted through Alec’s head, and all of them threatened to leave his lips. He closed the door, staying in the corner of the room.

“Miss,” Magnus drawled.

It took a moment for the woman to reply with a light, “Woods.”

“Miss Woods. You’re fired.”

Alec’s heart jerked. Mr. Bane was nothing if not straightforward.

“But – But, why?” Ms. Woods blubbered, making her cheeks turn pink with unspilled tears.

Mr. Bane stood to his full, domineering height. His fingers, adorned carefully with different rings of shapes and sizes, danced over the front pages of the magazines splayed out for his choosing. Alec recognized one of them, the thin, twisted silver band on his pinkie, but was caught by an image hidden in the bottom of the magazine pile. Magnus picked the issue out, flipped it open to a precise page on the first try, and turned it around for Ms. Woods to see.

“Magnus Bane is seen managing his time in the comfort of others rather than in the solidarity of his own business. It would seem he cares more for his own success, an unnamed source claims,” Magnus continued, “If he spends this much time away, how will Pandemonium survive? Photos supplied by an anonymous source.”

Alec gulped. There could only be one thing –

“Your boyfriend is Axel Mortmain, correct?” Magnus kept pushing the subject, drawing it out and making the poor woman sweat in the very hole she had dug.

“Yes, but –”

“And he works with Trendy Magazine, correct?”

“Yes,” she ground out. “But –”

Mr. Bane held up a single finger, silencing her as he took the argument home. “Did you, or did you not, supply him with these claims and photos of my personal life?”

“You’re hardly around!” She exclaimed, and Alec knew she had nailed and sealed her own coffin shut. “I was venting to my boyfriend after a long day of sitting behind a desk – Why are you laughing? Are you laughing at me?”

Magnus was chuckling. It wasn’t the same one that made his eyes crinkle at the edges, or bend over to regain his breath. It was deep, dark and a sinister sound that Mr. Bane only used to prove a point.

He flipped to the next page, and amidst the various photos clearly taken from afar, he pointed a slim finger to the passage near the bottom. “Can you explain this to me?”

Alec had to bend forward to see what it was. The words were printed in a much larger font than the rest, bringing all attention to its phrase.

He’s just as bad as his father.

“Is this from sitting behind a desk? Did you bang your knee on one of the drawers and think, Magnus Bane is just as bad as his father?” Ms. Woods stayed perfectly still. Her hands poised tight against her sides. “That’s what I thought.”

Magnus slowly turned and took his seat behind his desk. Ms. Woods had been tossed out of his peripheral, as far as conversations went. He ignored her fuming in the middle of his office.

Alec moved to get the door. It was clear to anyone that they were done, ties cut and bridges burned, but Ms. Woods would not stand down.

“You can’t fire me,” she sputtered. Alec made a move towards her wrist, and she swung, missing his cheek by an inch.

Mr. Bane straightened once again. “And why can’t I?”

“I’ve been working her for years! I’ve put my heart and soul into this place and to throw it all away would be –”

“Alexander has been working here for twice – three times as long as you have or ever will. You are a speck of dust in comparison. Why would I keep dirt around?” With that, Ms. Woods was done. Magnus turned to his computer. “You have an hour to get out of the building, and if not, security will be happy to remove you.”

Alec opened the doors for good this time. He walked her as far as the elevator to ensure that she didn’t stir anything else up on the workroom floor. He hit the little button, a green arrow springing to life, and the doors split open.

Ms. Woods’ hand shot out just before they could close. “I wasn’t wrong.”

Alec sighed. “Ms. Woods, please leave.”

“You’ll see. He’s just like his father, and you know it.”

Asmodeus Bane was Magnus’ father, true. He used to own a large, entrepreneurial company in Indonesia, then Los Angeles and New York that had turned sour with reports of embezzlement, poor working conditions and pay, and unsportsmanlike conduct of business transactions, which were also true. He had almost roped in Magnus to work with him, but he declined, cut all ties with his father, and made his own life, career, name. Magnus Bane was most definitely not like his father – he was much better.

“All I know is that you have wasted five minutes of your hour to leave. You better get moving.”

Ms. Woods removed her hand, allowing the doors to almost close before saying, “He doesn’t deserve you.”

The doors clicked close, leaving Alec standing there with her last words rolling right off his shoulders. He had heard them many times in the time he had been working at Pandemonium. He accepted this job without so much as a single idea of what fashion really was, or how to dress properly around other people. He doesn’t deserve you, had been a motto, a fact that Alec was determined to break down and change into, He deserves you.

Alec made his way back to the main floor, which was busy but carefully listening for aftershocks of the afternoon. “Get back to work,” he barked, and all eyes turned away. Underhill approached, saddling up to him and handing him another coffee. Alec never knew how he could get it so fast. “Thanks.”

Alec went back to Magnus’ office with the new coffee in hand, but he had a feeling that it wasn’t the solution to their problem. Magnus was still seated at his desk, computer abandoned, a single hand running through his hair without end and turning his neat hair flip into wrecked strands. Alec said nothing and sat the coffee next to him.

Magnus muttered a weak, “Thank you,” in exchange. He didn’t reach for it.

Alec felt the need to say, “You are not your father,” but the words wouldn’t do the justice that Magnus deserved now. He needed a distraction. “What happened in Peru,” he asked instead.

Magnus scoffed. His hands stopped and rested on the edge of the desk. He uninterestedly played with the corner of one of the magazines.

Play with me, Alec’s eyes practically begged. Tease me. Do something. Magnus was notoriously messing with Alec’s head, sending him on bogus errands and calling random numbers. It was his way of breaking him into the job and showing Alec how he worked.

Finally, Magnus cracked, a small pull of his lip upwards into a smirk as he recalled his excursion. “Wouldn’t you like to know.”

“I would,” Alec countered.

“Don’t you read the papers?”

“I’m more of a hearing-it-from-the-source kind of guy.”

A wider smirk, and a pause. “There was a lot of alcohol involved.”

“Naturally.” Alec silenced with a ringed finger pointed at him though it held no seriousness. Not as it had been with Ms. Woods.

“Let’s say I am no longer welcome in the country.”

“Magnus,” Alec breathlessly chuckled. Of all the people who would be able to be kicked out of a country, and banned, Magnus would be one of them.

A familiar spark returned to Magnus’ eyes, gratefully. His fingers played with a bead on his necklace, rolling them back and forth as he scanned Alec’s figure. “Shouldn’t it be Mr. Bane?”

“Shouldn’t I be Mr. Lightwood?” Alec countered.

Magnus fingers stilled, and a natural coy smile crept to his face. There it is, Alec thought. “Touché. Careful, I may fire you for being too cocky.”

“I’ve been told it’s one of my finer qualities.” By you.

The man leaned back, a hand creeping up the side of his neck and towards the golden ear cuff he was adamant on wearing at all times. “Indeed.”

Alec’s gaze flickered to the cuff which Magnus was playing with. He smiled, then nodded to the door. “Come on.”

“Why?”

“Where’s your sense of adventure?” Magnus rose an eyebrow. “Fine. Overflow. You need to get out of the office.”

Overflow was a whole floor dedicated to displaced outfits and unused cuts of past seasons’ clothing. It was the one place where prior year’s runway duds go to die. It also happened to be one of Magnus’ favorite places to drag Alec – it had been one of those ridiculous errands and favors – to try on horrendous outfits.

“You don’t need to do that, Alexander. I’m fine.”

“I know you are.” Alec meant it. “You are early, however. We expected you in two weeks and nothing is prepared.”

Magnus, posing in protest, stood and made his way around to his assistant. “Nothing?”

“Nothing?” Alec mocked. “I have not worked here this long to be unprepared. Everything’s ready, but I think having a little fun takes precedence.”

“Fun? Who are you?”

“The best assistant ever –” Magnus made a face. “Really? Because I was thinking of trying on that piece from Jeremy Scott. You know, the one with the leather –”

“Let’s go,” Magnus snapped, grabbing Alec’s wrist and pulling him out of the office and towards the elevator, Alec laughing the entire way. He made sure to tell Underhill that Mr. Bane was not taking any more calls, and to watch over his station until he returned. When Underhill asked for how long, and Magnus tugged impatiently on his arm, Alec managed a quick later before being dragged away.

 Underhill closed Mr. Bane’s office, then settled at the desk mirrored from Alec’s. He logged into his server, then the chatroom.

The_Twenty-Fourth_Floor_of_HELL Chatroom [LIVE]

therajster: Lightwood’s dead. He has to be.

Emma_C: About time.

Emma_C: You owe me 20, Jules.

JulesB1: Nope. You owe me.

JulesB1: You said Monday AFTERNOON. It’s clearly still the AM.

therajster: what’s going on?

MarkB: Nothing.

Emma_C: Really?

Underhill_J: He’s a goner.

R_Maia: I knew it

therajster: that’s what i said

therajster: He’s def getting fired.

therajster: Hello?

therajster: I can see you’re still here.

Emma_C: Are you blind or just stupid?

therajster: Excuse you?

Underhill_J I can’t.

Underhill_J has left the chat.

Emma_C has left the chat.

therajster: What’s going on?

32 others have left the chat.

therajster: What just happened?

therajster: Hello?

 “Are you serious?” Alec laughed at the screen on Magnus’ phone. The chatroom was exploding with comments from everyone, especially Raj, all of which had something to do with the pair of them disappearing.

He settled on the couch in the back of Overflow, pulling Magnus onto his lap. “How long have you been logged in?”

“Day one. Who do you think moderates this thing?” Magnus scoffed. “I can’t let people go off on their own and talk about me. Remember this: I have eyes and ears everywhere.” Magnus pushed a finger into the upper corner of Alec’s peck. He pushed it away.

“Everywhere-everywhere?”

A small noise of approval, similar to a thick purr, came from the back of his throat.

“You’re insatiable.”

“And don’t you know it,” Magnus quipped. One of his ringed hands ran through his locks. “I don’t know how Raj keeps getting back into the system though. He should be kept out until he’s invited back in by an existing user.”

“Mhmm,” Alec hummed, not really listening anymore. His face dipped into the notch of Magnus’ neck and shoulder, breathing in deeply the scent that was irrevocably Magnus. “Are we going to talk about Raj the whole day?”

“Do you have something else in mind?”

Alec pried himself from Magnus’ closeness, peering up and towards a pile of clothing. “I’d like to see you in that.”

“That?” Magnus pointed towards the same piece Alec was glaring at. “That’s a scrap of cloth.”

“I know.”

Here’s the link for the outfit Alec said he’d wear:

https://www.google.com/url?sa=i&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwjY9MLU75_cAhUCVK0KHQ0TD3QQjRx6BAgBEAU&url=https%3A%2F%2Fwww.cosmopolitan.com%2Fstyle-beauty%2Ffashion%2Fadvice%2Fg1517%2Fworst-runway-looks-new-york-fashion-week-spring-2012%2F&psig=AOvVaw2r89vTpCjdgVxr9i7npbHv&ust=1531701707914592

#malec #malec fic #personal writing #malec stuff #malec office #office au #assistant alec #boss magnus #alec is wild as hell #flirty magnus #flirty alec #confident alec #malec week 2018 #malec week #malecweek2018 #malec angst #malec fluff #potential malec smut

[scythe-swinging]

Muse List

Not sure if I've made one of these yet and I've started roleplaying a bit on here again so here are my muses-! The ones with a star next to them are mains!

Star Trek:

Spock☆, Bones

Attack On Titan:

Misaka Akerman, Sasha Braus, Jean Kirstien☆, Hange Zoë, Erwin Smith, Petra Ral, Armin Arlert

DA:I:

Solas☆, Sera, Cole, Varric Tethras, Cullen Rutherford, THE Iron Bull

Rvb:

South, York, Texas, Delta, Doc, Tucker, Caboose, Sarge, Simmons, Grif, Donut, Lopez, Andy, Crunchbite

Rwby:

Neptune, Nora, Ozpin, Dr. Oobleck, Penny, Ruby, Roman, Taiyang

Shadowhunter Chronicals (book verse):

Alec Lightwood☆, Julian Blackthorn, James Carstairs, Magnus Bane

Black Butler:

Grell Sutcliff

Naruto:

Hidan☆, Shino, Tobi☆, Kakuzu

(Willing to be others-)

Durarara:

Kadota☆, Shizuo☆, Erika, Vorona, Simon, Walker, Saburo, Anri, Mikado, Shinra, Tom

Sailor Moon:

Salior Mecury

Assassination Classroom:

Shiro/yanagisawa, Chiba, Gakuho Asano, Karasuma, Itona, Korosensei☆

Sherlock:

John Watson, Mycroft Holmes, Mrs. Hudson

Blend S:

Koro Akizuki

The Devil is a Part-Timer:

Alciel - Shiro Ashiya

Tokyo Ghoul:

Shuu Tsukiyama☆, Chie Hori, Tooru

Avatar The Last Air Bender:

Sokka☆, Toph, Appa

Legend of Kora:

Bolin, Huan

#muses #muse list #naurto #sherlock #rvb #rwby #snk #aot #lok #atla #tokyo ghoul #the devil is a part timer #blend s #assassination classroom #sailor moon #durarara #black butler #shadowhunters chronicles #dragon age inquistion #star trek #i have too many muses xD

[leverage-commentary]

Leverage Season 2, Episode 15, The Maltese Falcon Job, Audio Commentary Transcript

Dean: Hi I'm Dean Devlin, Executive Producer and Director of this episode.

John: I'm John Rogers, Executive producer and Writer.

Chris: I'm Chris Downey, Executive Producer, and this is the Maltese Falcon Job. Part two of our season two finale.

John: And this is a lot of fun, this was- this was born of an episode we never wrote. Just- we really wanted to just put them on their pins.

Chris: Right.

John: Just really knock them on their ass and so- were you handheld there? Handheld whenever there's a problem, right?

Dean: Well this is actually a 360 steadicam. And what we're trying to do is let- their entire world is spinning out of control, so we just wanted this just to keep spinning around. They don't know where they're gonna land.

John: This is a fast, hard reset. The second- the second half of the season finale last year, we kinda eased into it, we reset the locations.

Dean: Here we throw you right into it.

Chris: Right.

John: Yeah, you best be paying attention and you really see when, you know- they're the uber team. You know, you really need to put them onto the wall, and the FBI and Interpol in this situation, they're utterly lost. And Interpol, it was interesting, it was something we were saying last- cause it was Mark Sheppard credit in the last episode. We were looking for a villain, and the problem is we kept coming up with this recurring, separate villain. We’re like, ‘We've never met this person before, we don't care. The person you really want it to be is Sterling! But he's an investigator.’

Chris: ‘He's an insurance investigator, what does that have to do with insurance? We have to find a way to make this about insurance?’

John: Oh man, we killed ourselves.

Dean: Do you remember what you said John? The night-?

Chris: It was between you two, right?

John: It was us. I Skyped you at like 11 o’clock at night, you had come back from scouting-

Dean: And we were talking, and the idea came up, ‘What if we just made him interpol?’ Do you remember what you said?

John: No.

Dean: You said, ‘We are either coming up with the best idea we’ve ever come up with, or we’re both reall,y really tired right now.’

[Laughter]

Chris: And it was.

John: It was great.

Chris: As soon as I heard it, I said, ‘That’s a great idea.’ Because we needed to give him a wider mandate.

John: Yes, if we're gonna keep them as a recurring bad guy-

Chris: Great idea.

John: And what was great is, we already shot the episode that he was in before, so we had to go back and reshoot that ending.

Dean: Here's my favorite Tara bit, of her whole arc.

John: Oh, that's right.

Dean: And this man was actually our local assistant.

[Laughter]

Chris: That was AJ.

John: Yes. And a fine actor by the way.

Dean: He did a great job.

Chris: Oh look at this shot, look at this.

John: Look at just the look he's doing. Just a good 1960s Zero Mostel take there. Yeah, ‘Oops.’

[Laughter]

Chris: Mrs. Robinson.

Dean: Comedy frame.

John: Comedy frame. We got like nine takes of Christian reacting to that by the way.

Dean: And my favorite is they both originally put their heads back, and then only Christian’s head came back out again, but we didn't have time for that. 

Chris: Oh I love that.

John: We can't break for comedy too much here, cause you've got the momentum going. 

Dean: Yeah.

John: And you're like, you have to keep resetting - they are in trouble. This, by the way, great hack taught to us by Apollo Robbins.

Chris: Yes.

John: Our thief consultant took us through how you can get access to the hotel computer system through the back of your television.

Chris: Yes.

John: This is a real thing. Please don’t-

Dean: Please don't try this at home.

Chris: Please don’t try this.

John: Don't try this at home, but most hotels have internet enabled televisions now, and that allows you a backdoor into the- 

Chris: It's a good example, too, of our team is so good at what they do, that we always try and look for ways to take away all their tools and find a clever way they have to use whatever's around them to-

John: Yeah

Chris: -you know, get their information.

John: Yeah, and that's again, constrained in time, constrained in space.

Dean: And that little porno name here, we had to get clearance on. 

John: I know. We came up with so many pornos that were real. That we came up with the most ridiculous porno name, ‘Nope that's a real one, that’s a real one.’ What did we land with, Indie Panties Day?

[Laughter]

John: Yeah, there's also- I wonder if we got it on the DVD, a really creepy, awkward beat after they’ve watched the porno that Aldis and Beth did, just very. 

Chris: That's a nice little viral video.

John: Yeah we’ll have to find that. 

Dean: Yeah.

John: Oh, and a beautiful three way pass, by the way. That was a tough shot, you know, in a crowded-

Dean: And it's a callback from the Zanzibar Job. 

John: Yes.

Dean: Where they did a similar three way.

John: Yeah. 

Dean: And I love this local actor.

John: Oh man, he's fantastic.

Dean: Harold rocked it.

John: ‘Yes, it was delicious.’ Yeah no, Eliot's impatience. This, by the way- getting a hotel key without your ID, I was a little fuzzy on whether it would work or not. I had written it, and I was like ‘Ah, am I kinda cheating?’ So I went to a hotel and did it. 

[Laughter]

John: Two days before we actually did this.

Chris: You did?

John: Yes. I won't tell you what hotel because they shouldn't have done it, but I got a hotel room key that way.

Chris: That's great.

John: Yeah. It's amazing what you can do if you have no fear of prosecution.

[Laughter]

John: ‘Oh, I'm doing a television show.’ And this was tough. We had to split them up, we had to figure out what the geography was- oh he hates Sterling so much.

[Laughter]

John: And Mark Sheppard just teeing off, just- 

Dean: Mark is delicious in this part, man. 

John: Yes.

Dean: I'm telling you, I could just watch him play this guy all day long.

John: Yeah, and what's great is Richard Kind, kind of, really kind of justifying, really doing the evil speech of evil, ‘He's a good mayor.’

Chris: Yeah.

John: And he was the one who came up with, ‘I’m good for Bellbridge.’

Chris: ‘I was good for Bellbridge.’

John:  ‘I'm- no matter what I did, I did my job, you know.’

Chris: I like, too, that we have Nate and the mayor both- 

John: Both drinking.

Chris: Both drinking.

Dean: Yeah.

John: I think that was on the day we came up with that, where Nate would get the booze from. 

Dean: Right.

John: Same place. I think we were just- cause this is the same hotel room. That was the fun of this episode, it was figuring out all the identical space- the fact that all hotel rooms are identical.

Chris: Right.

John: And that we suddenly realized, ‘Wait that means we can shoot in one and just redress.’ This is a long ass speech, this was a tough day.

Dean: And again done in a one-er.

John: Yes.

Dean: So the degree of difficulty for poor Mark was very, very high, but he knocked it out again.

John: He's really abused in television. Cause I will tell you right now, a lot of show runners will be like, ‘I have two and a half of impossible bullshit, get me Mark Sheppard in here.’

Dean: Right.

Chris: He's- I think he went from here, he was- he did the- I guess that three part CSI-

John: Yeah.

Chris: Where they had all the CSIs in one link and he was the bad guy in that, and he works.

John: He's a great- he really in that British actor tradition, yeah. 

Chris: Yeah.

John: And this- this bio of this arms dealer is pretty much just a bio of an arms dealer we took. I'm not gonna tell you who, because it was Chris’s idea and if you're angry, you should take your vengeance on him and his family.

[Laughter]

John: And not me, I am a big fan of arms dealers.

Chris: Paul Blackthorne, great- what is he-?

John: Well he had done Dresden Files, I knew him from that. 

Chris: Dresden Files.

John: But he's, you know, nailed the accent, and he's also really tall, he's got a physically imposing presence. 

Chris: Yeah.

John: And Tim’s tall, and it's really hard sometimes, to find the villains that can kind of, you know. And this was a great scene, and really one of the few times that the team lays into Nate. And I like, by the way, Nate’s getting more and more rumpled. Everyone else is kind of pulling it together, and he's just getting rougher and rougher looking.

Chris: Didn’t we have some weather here?

Dean: On the outtakes reel that's actually on this DVD, you'll see some funny outtakes from this scene.

Chris: With the weather right?

Dean: With the weather and Tim’s hair.

[Laughter]

Chris: Oh wow.

John: Oh right, even Chris is having a problem here and he's in a ponytail. Yeah the wind- the whole day we were shooting this we had thunderstorms coming through. 

Dean: Right.

John: So we were literally, ‘It's sunny. Go, go, go!’ And running down and getting the exteriors, yeah. 

Chris: Yeah.

John: Yeah we banged this out fast, man.

Dean: And yet they really nailed it. Again, when our actors dig in, they find gold.

John: And this was a big moment, this was- this is something I think that people sometimes ask, ‘Why does Eliot do this?’ Eliot has made himself a promise, this is his job, he will keep them safe.

Chris: Right.

Dean: And Nate realizes-

John: That's all he has.

Dean: Nate realizes for the first time he's actually let his team down.

John: Yeah.

Dean: And now he feels like he has to make it up to them.

John: Well, you know, when Parker does it. 

Dean: Yeah.

John: I mean that's the thing, Parker never gives- expresses- she’ll tease, she’ll express sarcasm, but disappointment- you know, ‘Be the person we came back for.’ She's referencing the season opener.

Dean: Right.

John: And that's the problem, is addiction- he's allowed himself to be- he's no longer the guy who used to chase them.

[Silence]

John: That's me drinking my Guinness, don't mind me.

[Laughter]

John: Oh god. What would I do without booze? 

Dean: So now we come back to the hotel.

John: Was that on mic? Alright.

[Laughter]

John: So we’re back on the hotel. 

Dean: And again, our clue from the previous episode of the Maltese Falcon.

Chris: Really key to watch these two back to back folks.

Dean: Oh, now this is-

Chris: I mean, maybe get a sandwich, but don't do much more than that.

Dean: This, I think, is one of my favorite bullet time shots that we've ever done. 

John: This was not as- not quite as insane as- and America thanks you for Beth in the French maid outfit.

Chris: The french maid.

Dean: It’s after this gag.

John: Yeah. Not quite as insane as the- by the way, this moment is based on a comedy club in Winnipeg, when- where the comics would go perform, it was a contest amongst them to see how long they could go without leaving the hotel room, and without letting the maids in.

[Laughter]

Chris: Cause there was no-

John: There was nothing to do. 

Chris: Nothing to do.

John: So it was like, ‘I went 40- I went 72 hours; the maids left the towels at the door.’

Dean: Great passing out scene.

Chris: Oh there we go.

John: That man is passed out. And that looks like my bed in every stand up club I ever went at.

Dean: This was the bullet- this was a very complicated bullet time shot.

John: Is this as bad or worse than the pilot, where you did four different directions?

Dean: No, it's not as bad as the pilot, but the timing of it is hard because of the extras and the switching of directions.

John: Yeah. So we start with one-

Dean: And we were using a different steadicam artist who had never done this before. 

John: Oh, that’s right.

Dean: So we had to teach Norbert how to do it while we were doing it.

Chris: Oh, that's right. 

Dean: It was very tough.

Chris: Cause our camera guy had a-

Dean: It was the one day Gary Camp was actually sick.

John: Yeah.

Chris: His tooth exploded or something.

John: Yeah, and he still showed up for work, by the way. 

Chris: He did.

John: With a face that looked like somebody had worked him over with a bat.

Dean: Now originally you had a much more complicated gag to stall, and then you came up with this gag, and we were on the floor laughing.

Chris: Yeah, this is funny.

John: You said, you were like, ‘I can't shoot that gag, all I have is the elevator’ I was like ‘Alright, well we’ll do this.’ And it's funny cause it was really a throwaway, and then the more we talked about it, the funnier it got.

Dean: Yeah.

John: As you realize it's just comedy beat, after comedy beat, after comedy beat. Also: Mark Sheppard.

Dean: Yeah.

Chris: Mark Sheppard does the- he takes you through the- 

John: The fives stages of death and dying.

Chris: The array of reactions.

Dean: This is-

Chris: Puts on a [unintelligible].

John: And by the way- same elevator, we’re just changing the floor number on every shot.

Dean: And the plants.

John: And the plants.

[Laughter]

John: So yes. And we- but we did run Tim up the stairs a lot that day.

Chris: We did.

Dean: I'll tell you this may be my- the funniest gag we've ever done.

John: Just cause both actors- oh this- just the seething.

Dean: The rage.

John: And both actors kind of really digging in on it.

[Laughter]

Chris: Oh.

John: And then... 

Chris: Just kidding this right on his reel, this is all the different, kind of, reaction to it.

John: And I like, he's almost too tired to keep doing it. And up.

Dean: But what sells the whole gag for me is this last one. Because at this point now they've done everything they can, and they just don't care anymore.

[Laughter]

John: They're just. 

Dean: They're done.

John: They’re done, they’re just exhausted. And now- now Nate can give up. Yeah, he's bought them enough time to do what they need to do. And also this was a nice beat, cause Mark made a point of it, it's like if he just had one more second he would've figured it out.

Chris: Yeah.

Dean: Right.

John: You know you can never- Sterling- you always have to play fair with him. 

Dean: Right.

John: You know he's always this close to figuring it out. These guys were great as the vaguely resentful FBI agents. 

Dean: Exactly.

John: Because he's very insulting. And a timing joke. Mark carries a lot in this episode.

Chris: Door- door closed, there you go, door closes, door opens.

Dean: Mark had his work cut out for him this episode.

John: Door opens. ‘Hey, Bob.’ Yeah, these two had a lot of fun. There’s about 900 different takes of this. And oh this was tricky, because when we got up there, we were shooting on the top floor, but that meant we couldn't double the corridor.

Dean: That’s right.

John: Because we had the skylights.

Chris: Oh, hm.

Dean: So we had to find other corridors. 

John: Yeah, and sometimes people were sleeping, sorry about that.

Dean: This is a very simple bullet time shot, but a very effective one, I think.

John: Yeah, the big reveal.

Dean: Just the, ‘viola.’

John: And you're out.

Chris: How did they do that?

John: A lot of fun. And a wink, which would distract any normal human. And this is- I'm trying to remember where we came up with this bit. Oh the carts were brutal, trying to find the cart we could put a dude in.

Chris: Oh yeah.

Dean: But this bit here is a call back to the episode with the kids-

John: Yes. Yeah That's right- where Hardison and- 

Dean: Cannot rappel.

Chris: That’s just great.

John: Rappelling just does not fit well, he's just not left as- and by the way, it really- real risk of Aldis Hodge strangling there. Sorry about that, Aldis. 

[Laughter]

John: And he's figured it out. Yeah and that was a lot of fun. Nashua, New Hampshire, near where my sister lives, by the way.

Chris: Right that's where they're sending it.

John: That's actually where they are sending it- they're sending that trunk to my sister’s front lawn. What little I can do. And this is- what's fun is that we- the camera work is very energized, the game's afoot, and the second half- it’s interesting, the two previous seasons, the two episodes both had their own internal structure. This really just plays as a movie because all the set up is the first half.

Chris: Yes.

John: This entire episode is the rock that's been pushed down the hill, and we’re just chasing it.

Chris: And everything is paying off.

John: Yeah. And again, drawn from my experience in standup years, all the hotel rooms look alike. If you were to wake me up in any random hotel room, I woke up and my trash was there, I'd assume that that was my room.

Chris: Sure. I mean as any business traveller can tell you, they'll wake up and not know what city they're in.

John: And Richard Kind, by the way- poor Richard Kind spent a week in that bathrobe. 

Dean: Yeah.

John: On docks, on oil tankers, in hotel rooms.

Chris: Yeah, it’s true.

John: That was- he formed a very unhealthy relationship with that bathrobe.

Dean: And had to be in the bathrobe the whole time.

John: Yeah. This is my favorite bit- they're just the type of people who cut up people in tubs, that's their job.

Chris: Yeah.

Dean: But this little look of Eliot's right there tells you everything.

Chris: ‘Alright, I'm gonna cut her up.’

John: ‘Alright, this is my day.’ Aldis’s character Mr. Joshua, of course, named after the Gary Busey character from- 

Chris: Lethal Weapon.

John: Lethal Weapon. If we need a killer's name, why not-?

Dean: Go to the best.

John: Why not reference the best? Bunch of different versions of this. And I love them playing good cop, bad cop. But it was interesting, we had a version of this speech- and I will give this up to you as director, that explained everything. And you really looked at it and said, ‘Alright, here's the actual three things we need for this to make sense.’ Cause as the writer you never know, but you come at it from a storyteller like, ‘Here are the points the audience needs to be emotionally engaged to move forward.’

Dean: And it was a tough call, because Richard did such an amazing job with this speech. 

John: Yes.

Dean: You almost didn't want to lose anything. But, you know, we have time that we have to come in at the end of the show, and we needed to lose some time, so we really boiled it down.

Chris: Oh was this something that came out in editing? Or in-?

John: Yeah.

Chris: Oh it did, I didn't even notice.

John: You didn't notice, exactly. 

Chris: Yeah, yeah, yeah.

John: The speech was about twice as long. Because really there's a whole mini scene between Richard and Tim there. 

Dean: Right.

John: And it really was- you know, you got it, he's bargaining for his life. That’s all you need to know.

Dean: And Richard is so knocking it out, you're actually learning a lot more with even less.

John: Yeah. His relationship through his attitude. No, there are times- even a writer would admit-

Dean: And that's all real sweat, by the way, no sweat bottle came in there; he earned each drop.

John: Boom. I like Aldis’ vague resentment at not being allowed to punch the guy.

Chris: Yeah.

John: Because again, everyone has their niche. And also the great expression Beth chooses there. ‘Eh, I've been in the tub waiting while you beat up a mayor. I'm out now.’

[Laughter]

John: ‘What are we doing next?’

Chris: Yeah, completely blank affect.

John: Yeah, exactly.

Dean: Day at the office.

John: Yeah.

Dean: But the subtle look of feeling like she's on a sinking ship. 

John: Yeah.

Dean: That we get out of Tara at the end of this scene, is really very great for setting up the turn.

John: And even- It's interesting, to watch Chris choose- Aldis is having basically Hardison question dad, while Eliot is instead watching the interplay between the two of them to see how Nate treats Hardison. 

Dean: Right.

John: Knowing that's the better indicator of what the relationship is. He does a similar thing in 207, actually, between he and Sophie- between Gina, with the bomb scene. 

Dean: Right, right. 

John: Yeah.

Dean: And then here we drop our red herring. Has Tara jumped the shark?

John: For a minute or half we considered doing it. For a minute and a half, what would- the problem was, it's Jeri Ryan, and you like her and you're hanging out with her and working with her and it was like, ‘Nah, I don't want the- I like the character.’

Chris: Well it sets up the- the act where it all pays off is one of my favorite acts we’ve done.

John: It’s one of my favorite bits ever. This, by the way, it seems like it's just an act break, it's horrible. Sterling has used his- the fact he used to be best friends with Nate Ford, to know that he is going to use his child’s- dead child's art to trap him.

Chris: Yeah.

John: This is a moment that was kind of thrown away, and the two actors, I saw them actually talking about it on set and they really dug in on it.

Chris: Yeah.

John: It's like, that is a horrible moment. You know, because he knows he won't leave town without that, and Sterling is the only man on earth who knows he won't leave town without that. 

Chris: Right.

John: Yeah. And it's one of the few times we’re behind the desk there.

Dean: Yeah.

John: Yeah. It's a weird place to shoot; it's just got that picture behind it, it's just trough to frame

Dean: But we wanted to get there and we found a place. Now this scene is unusual in that we've gone now to our handheld, which we do when our characters are either in physical or emotional jeopardy. But unlike other scenes, we went musicless here.

John: Yes.

Dean: Because the performances were so strong and so right on-

Chris: Oh that’s great.

Dean: -we didn't want to tell the audience what to feel. Just- we just wanted them to feel it.

John: Also in the tradition, that's the same glass.

Dean: Yeah.

John: Nate and- 

Chris: Oh that's the same glass from- from Nate in-

Dean: Season 1.

Chris: Season 1. That’s great.

John: Nate and Sterling have one glass they pass back and forth between each other depending on who’s winning.

Chris: That's great.

Dean: Right.

John: And the fact he's brought it to give it to him is sort of a signature of the deal they're falling into. And again, by the way, the idea that you would protect a witness that might’ve killed a cop. When you do the research? Oh man. This was kind of the Whitey Bulger thing in costic.

Chris: Well I mean, you know, we- it gave us a chance to explore- it was a whole different episode from the point of view of the FBI. 

John: Yeah.

Chris: About the compromises that people make when they get confidential, you know- 

John: Informants.

Chris: Cooperating witnesses, of looking the other way of other things they're doing. All they are focused on is their case.

John: That mayor is giving them 20 good busts.

Chris: Yeah, yeah.

John: They're not going to follow rumors. Also Mark Sheppard is a- man, this is a great scene. There's two versions of this scene. This is the one we used, the one I like. One where he's angry and superior, and one where he's genuinely hurt that Nate Ford had become this man. 

Dean: Yeah.

John: That he's genuinely hurt he has to offer him this deal. And this is the take we used. 

Chris: Yeah.

John: Which was an oddly vulnerable moment for that character. He doesn't want to be here, he doesn't want to be giving him this offer. Wow, this is all close up, too, which we almost never do.

Dean: Yeah. But this is- there's a lot of things that we did in this two part season finale that we don't normally do, that were out of the box, but necessary, it was very interesting.

John: Yeah, and this is him telling him this is his last chance. No, and- I always wonder- I gotta- I need to ask Tim when does- cause I know Tim in his head knows when Nate makes the decision what he's gonna do. Is it here or is it after the phone call? Is it after the phone call?

Dean: I think it's after the phone call.

John: Yeah. But there's alot going on.

Dean: But the twist here was cause Nate always is two steps ahead. Until he said, ‘And my team,’ and the guy- and he says, ‘No, just you.’ And there's a look on his face and it's one- it’s again, a rare vulnerable moment for Nate where he didn’t see that one coming. 

John: Yeah. And loses his hand and it's like, you know.

Dean: Again, getting to shoot at the actual docks was fantastic.

John: Except we can't shoot past her right shoulder, cause there was a navy ship there that we started to shoot, and the nice gentlemen came over and told us not to put that on camera, please.

Dean: That’s right.

Chris: Oh really?

John: Yeah.

Chris: Wow.

John: Yeah.

Dean: And briny despair may be my favorite Parker line.

John: Briny despair, old clowns.

Chris: Old clown shoes.

John: Briny despair. And again, there's a mini arc here, and the actresses are very good friends, and they're really found it, of their developing physical friendship and, like, just the fact that she can be- Parker’s physical character, and so the fact she’ll walk in pace with Tara is a big deal.

Dean: And now we've brought back Sophie.

John: There you go.

Dean: First time we haven't seen her on a monitor this season.

John: Exactly.

Chris: And here's the payoff from the scene in-

Dean: 207.

Chris: Well part one also, this-

Dean: But we set up really at the- 

Chris: We did, you're right.

Dean: At the- The Two Live Crew Job that she was going off to find herself. 

John: Yeah.

Chris: Right.

Dean: And then in the next episode, when he tried to bring her back, she says, ‘Do you want me back for the team, or for you?’ 

Chris: Right, right.

Dean: And now he calls that back and says, ‘Not for the team, for me.’

Chris: Right, right.

Dean: ‘I need you back.’

John: It was also subtle, but we've shown her in conveyance in a lot of the other shots when she's away, so you won't be tipped off by the fact that she's in a conveyance. That she's in transport.

Chris: That she's in a helicopter.

John: She's in transit, she’s in a helicopter. We've shown her in cars, she’s done the cell phone in different locations. 

Chris: Yeah, yeah, that’s true.

John: So hopefully you were not like ‘Oh, why are we seeing her in a different context?’ 

Chris: Right.

John: We've seen her in this context before. Now this was- man, this was a great day, this was just- we cleared the set and Tim just parked his ass on the floor. 

Dean: We did three takes, but this is actually his first take. He so nailed it on the first take.

John: Oh, really?

Dean: That the others were really just for safety. But he just came in there, ready to do this part.

John: Yeah. And this is- you know.

Dean: And then the tragedy that she didn't hear any of it. 

John: Yeah.

Chris: It's one of the great things about cell phones. Is that- from a dramatic standpoint- I mean they help you bring characters together, but you can also use them to- 

Dean: Separate them.

Chris: To separate them.

John: Never in 1940s comedy is or 1940s movie is like, ‘Pennsylvania 927: Oh the killer is-!’ ‘Oh I lost him.’

Chris: ‘The line went dead!’

John: ‘The line went dead!’ ‘No sir, the line’s not dead, I'll reconnect you right away.’ Thank you operator.’

Dean: But his feeling of betrayal at losing the connection.

John: Yeah.

Dean: Really again, is a wonderful red herring where we feel like, ‘Oh my god, he's really gonna sell this team out.’

John: Yeah.

Chris: Yeah.

John: Or at the very least you have no idea what the hell he's gonna do. 

Dean: Yeah.

John: You know, he is drunk, he is pissed off. No he-

Chris: And he's been put- he's been backed in a corner.

John: And you know, which-

Dean: But even the way he said here, ‘I have a plan that will fix everyone.’ It’s like, woah.

John: And having the picture that Sam drew. It's interesting that it's essentially a codependent relationship, but it's a functioning one that they have.

Dean: And here, again, is a strange bit of blocking that we had never done before, where Nate has isolated himself on the stairway. 

John: Yes.

Chris: Well that helps sell everything, too, doesn't it? Separated from them.

John: Well he's not in front of them, he's behind them. He's separated from them, exactly. Fun bit of blocking, too, actually. It's- we’ll use it again, I'm sure.

Dean: Yeah.

John: Cause that's a nice angle. And yes and then everyone- and then her coming around to pull focus. No, it's for a static shot, it's really interesting. But this is one of the few times we don't tell you the plan.

Dean: Right.

John: You know, it's one of the few times we transition. Usually we-

Chris: We did that in part two of season one, also.

John: Yeah, yeah. It’s- we’re usually an open mystery. 

Chris: Yes.

John: At least- and this was one of the few times that you're not- you have no idea- because the rules for the show usually are, you know what's gonna happen and the fun is seeing it go wrong and how they're gonna recover. This one it's like, you’re just gonna have to trust us.

Chris: Who invented the ‘And this is what we're gonna do’ was that Aristophones? The first one.

John: That was Aristophanes.

Chris: ‘Alright everyone, gather around. Grab your togas; let’s go.’

Dean: Now once again we've got the teams separated in different locations, each with different objectives.

Chris: Yeah.

Dean: And that's a little bit of a callback to the pilot episode, when she did the burn gag.

Chris: That's true.

John: Yes, the burn scam. Yeah, wow was this a tough shot.

Dean: That's a little bit of scale, huh guys?

Chris: Wow. 

Dean: How about that?

Chris: They let us- now was that digital or do we- let us paint on the ship?

Dean: We digitally put the name on the ship.

Chris: We did, ok.

John: Well, we did paint some of it .

Dean: We did paint some of it. You’ll see a sign later that we actually painted.

John: That was a lot of fun, just trying to figure out like, the whole break into the FBI office. And what's the easiest way? 

Dean: Short fight, but one of my favorites. 

John: Yeah, just brutal. This is a tough- this was a tough day. Chris did all of these fights in one day, straight through, and ran back and forth between the dialogue scenes.

Dean: This really should've been two days of shooting, that we did in one day.

John: He did like a 20 hour day here.

Dean: This was an insane day.

Chris: Oof.

Dean: But we only had use of this ship for two days, so we had to get it all in.

John: Yeah. He's got the samurai ponytail rocking there, that's how you can tell there's gonna be some fighting. And we have money, and we would like to arrange a meeting. ‘I'm a man with a briefcase full of money, I would like to meet your boss.’ It’s a great, classic trope.

Chris: I like this act, this is my favorite act.

John: I also like- I gave them this running bit where he's counting guys with guns.

Chris: Yeah, I remember that from- you came up with that last season.

John: Season one, and we never found a place for it.

Chris: That's a great shot, too.

John: Yeah, that's a great shot. That and- actually on the boat, that's the way you get between decks. This is actually one of my favorite Parker bits, just talking- coming up with the speech about what it's like to die in an air vent. Because the fact that she's always in air vents, is worth addressing, you know.

Dean: And it shows you the way her mind thinks.

John: Yes, exactly. ‘Scratching on the metal.’ She's kinda turned on, I'm not sure where this is going. 

[Laughter]

Dean: Yeah, that’s fair.

Chris: It's the tongue, the darting tongue and she shakes out of it.

John: Let’s go and we’re off.

Dean: She loves the danger.

Chris: We didn't get wet that down folks, that was actual Portland rain.

John: Yes, Beth Riesgraf and Jeri Ryan were on a rooftop, on a skyscraper, with a thunderstorm during most of this day.

Dean: Not dangerous at all.

John: Not dangerous, ignore the lighting, kids. Man, what were we thinking?

Dean: And he pulled out the Scottish accent out of nowhere, which was fantastic.

John: I know, I know. Which was a lot of fun. Because the idea is the mayor has gotten in over his head, and he's dealing with the same sort of businesses that- power drill was the nastiest thing I could think of.

Chris: And that's quite a nasty bit on it, too.

John: Yes, exactly. Well that’s- you know, I mean, if you're gonna mess up somebody's knees, that's the bit you're gonna use yeah. ‘Still counting.’ Oh yeah, then we just reset- it was really tricky because it was so complicated, we had to reset their goal at the beginning of every act. 

Dean: Right.

John: What do they need to get? Yeah. And again, it's like, do these guys really meet in broad daylight to look at their goods? Yes! Yes they do!

Chris: Yeah.

John: And usually-

Dean: And here's where we set up the phone does voice dialing, which is crucial to our final act.

John: Thank you 21st century. Because we enjoyed tying up Richard Kind and we’ll leave it at that.

Chris: Yeah, I'm sure the fact that GPS is in every phone is gonna be our best friend and possibly our worst enemy this coming season. 

John: No, it's a big deal. 

Chris: Yeah.

John: A phone that's on is a phone that can be tracked.

Chris: Yup.

John: Exactly. And yes and Richard, by the way, finding the desperation. ‘They cut her up in a bathtub!’ 

John: Like the murder wasnt the worst thing in the world, but the fact that somehow it was so undignified? Yeah. Nice scream. And that was, by the way, great little comedy beat, just like, ‘Well to be fair, he did most of the cutting.’ 

Chris: Yeah.

John: The two of them- we don't usually have Eliot and Nate doing comedy together, but when they do it's a pure relationship, it's a nice rhythm.

Dean: And if you look closely, there in the distance, we've set up Sophie is actually with the buyers.

John: Yes.

Dean: But you wouldn't notice that unless you watched it again.

Chris: Oh, that's great.

John: And now they've broken in, they've come down through the air vent, she did not enjoy the experience in any way shape or form. Oh man, this was a tough day. That's like-

Chris: Hot? Cold? What was the temperature? Do you remember?

John: Brutal, brutal hot. Cold at night. Hot at- you know what? There's never-

Dean: Back and forth.

John: It's never comfy on an oil tanker deck.

Chris: No- I’m trying- yeah I'm trying to imagine-

Dean: And there again, there’s Sophie in the distance.

Chris: There she is, that's great.

John: Sophie in the distance. And this is a real fusebox we tacked into. Sorry.

Dean: In city hall?

John: In city hall. 

[Laughter]

John: This was actually a fun thing is, this year we shifted to Hardison not using a signature laptop, but using the minis. 

Chris: Yeah.

John: Because our hacker consultant, Kevin Mitteny told us that's what they're using. They're using $300 computers and throwing them away if they're gonna get busted. And running stuff off the thumb drives.

Dean: And this was the- in the actual cargo hold of the oil tanker, so this was very confined space to shoot in. It looked great, but it was very difficult to light and move the camera around and because the top of the stairs- that was the only stairs that was the only way in and out of that room. So all the lights, all the cameras all had to go up and down stairs- there was no other way in or out.

John: And remind you, Gina’s in this scene later. Gina at, like, 17 months pregnant.

[Laughter]

John: Came down those stairs like a fricken trooper, man. We were just- we were more scared than she was. She was like going down them, and we were like, ‘Ahhh, oh god.’

Chris: Just kind of like [unintelligible] step.

John: It’s an oil tanker! And she’s in like fashion boots, and a kicky top, you know.

Chris: Wow.

John: This was- you know what’s weird? This speech doesn’t advance the plot in any way, shape, or form. This speech is just him selling his character to buy time, and yet it’s really interesting. 

Dean: Yeah this-

John: Tim’s digging in on the character here. It's his evil speech of evil, you know.

Dean: Right

John: And he never gets to give one.

Chris: Yeah, it's interesting when we can do that. We've done that a few times, the- 

John: Glengarry, Glen death.

Chris: Sophie also- also as the Indian pharmaceutical rep gave an evil speech of evil.

John: Yes.

Dean: And this you wrote in the script as the Bourne fade. 

John: Yes.

Dean: Which I thought was the perfect description.

John: It's a perfect- it’s a good shorthand. He's there, and then he’s not there.

Chris: It's great.

John: By the way, Chris has just stepped three feet to the right into a tool locker.

[Laughter]

Dean: Right.

John: There's no actual exit there. And- was there a reason for the 360? Just to keep it- just to be interesting? Because I don't think it was-

Chris: And how hard was that within that space?

Dean: Really hard. But we felt that it was a great way to, again, the world has changed. We thought one thing was going on here, but now we've spun it by-

Chris: And that's steadicam.

Dean: That's all steadicam. Gary Camp.

John: It's weird, because it's also, kind of, Nate Ford buying into his persona there. That's one of the times you really see him.

Dean: And Jackie ‘The Joke Man’ Martling.

John: Who came in and did a great job for us!

Dean: You know what's funny, is that I thought he was just gonna be a comic that you had to teach how to act. But you know what? He really came in with the character, he committed to it, he wasn't just trying to be jokey. I mean, he really knocked it out.

John: He totally gives us serious takes-

Chris: He’s totally convincing as the evidence locker guy.

John: Slightly more convincing than Jeri Ryan in insanely hot pants as the FBI agent. 

[Laughter]

John: I gotta with Jackie here on the verisimilitude scale. Although we did put Jackie in those pants, that didn't work out for us as much. But no, he's great and the kind of vaguely resentful- you can totally see him doing this character on a- 

Dean: And yet he gave us a great exit line here.

John: ‘Oh no, who wants to talk to the evidence guy?’ 

[Laughter]

John: And that was, by the way, that was him, that was not in the script.

Chris: That’s true.

Dean: And not overselling it either.

John: No, no, it was really nice. You could see him playing that role on a cop show.

Dean: Totally.

John: Absolutely. Nate Ford, international man of mystery and arms dealer.

Chris: Peacoat really working well on the boat.

[Laughter]

John: Yeah, nice. It's very much-

Chris: That was a coat waiting for a set.

John: Yeah. Well it's interesting cause- 

Dean: Oh and there's Sophie in the background.

Chris: There’s Sophie!

John: And some people in the first screening kind of caught her, but- 

Chris: Now she's there buying guns? Who’s-?

[Laughter]

John: Well she's- she is buying guns, you know. 

Chris: For her library?

[Laughter]

Dean: Library needs guns, too.

John: Libraries need guns, too. I like to think- I like to think that she is a Swiss buyer.

Chris: No, I mean, it’s a well armed library.

John: She's a Swiss buyer, she’s-

Dean: And here's a nice little turn.

John: Nice swing around. Shot that day on the boat to reveal that they talked. And then over again. Wow, and we all shot this in a real container.

Dean: In a real containter.

Chris: It was for real? Oh, wow.

Dean: Yeah. Now back on the roof, and this is my favorite Parker bit we've ever done. 

Chris: Yeah.

John: Yeah it's tough. There's a lot of good ones, but. 

Dean: But.

John: But we never expected Beth to do this.

Chris: This turn here is great.

Dean: This is the first time since the pilot that we brought back how lethal she can actually be.

John: There's a bit in Stork Job, but boom. Oh yeah and she locked in on Jeris throat on that, too. 

Chris: Yeah.

John: And Jeri goes over the edge. 

Chris: Over the edge. 

John: She's wired, but that's Jeri Ryan hanging over the edge. And it was-

Chris: And again, it was raining and windy. 

John: Raining. Yeah no, they were both fearless up there. 

John: They had a good time up there. They really wound up working well together. And now it's all gone to hell.

Dean: But it's a real callback to that pilot line of, ‘Going to my angry place.’

John: Yeah. This is just- because what's happened is- and just for writing thing, Parker has let her into the family. The only people who are human beings are members of the family. Once Jeri’s betrayed them, she’s moved outside the family, and is an object.

Chris: Well, also to betray the family is-

John: Real ship captain.

Dean: Real ship-

Chris: Oh wow, that's great.

John: You were saying? To betray...

Chris: To betray the family is even worse.

Dean: This is a great hit right here.

Chris: Oh!

Dean: Bam! Man.

John: Yeah- man shooting- that's as wide as that space is, guys. 

Dean: Yeah.

John: That was brutal to be down there.

Dean: And these are two guys from the beginning of the previous episode. So again, if you haven't watched them back to back, you might not realize these are the two guys who shot Bonanno.

Chris: Yeah.

John: Yeah, so you know we've linked up, physically, the bad guys.

Dean: Now that one actually- we put that one actually up there.

John: Yeah, that's a real sign. And this is my favorite, this is one of my favorite character reveals ever, and it's because she's doing one of my favorite characters ever. Gina’s doing Annie Croy here.

Chris: Annie Croy.

Dean: Which, again, ties back to the beginning of the season.

John: Yeah it's almost like we think this through. Yeah and- I'm sorry we're all gonna be quiet here because we all love this.

Dean: ‘Bye now.’

John: ‘Bye now.’

[Laughter]

John: That's fucked up, man. I'm sorry, I'm gonna swear on DVD and say that is fucked up.

Dean: That ‘bye now’ is. 

Chris: The ‘bye now’ throwaway.

Dean: Oh boy, ruthless. And then my second favorite reveal of a character all year.

Chris: Oh.

John: Yeah. No, that's fantastic. And the way Tim sells this like, ‘What the hell is going on?’ No, even writing that character reveal I wasn't sure it would work, and even when we shot it I'm like, ‘Yeah, this works.’ Gina- you've been so waiting to be- hear her voice.

Dean: She is so talented.

John: We've also really lined it up like there’s no out here. We- usually the audience- a smart audience member will see a backdoor we put. There is no backdoor, she's the backdoor. 

Chris: Yeah this was a tricky bit of scripting too, right? I mean we had a ship, and we needed to disable it. I mean, what was- right?

John: It was a lot of wandering around on the ship going, ‘Alright, how does this work exactly?’

Chris: Yeah.

Dean: And even though Tim is out of focus here, you get everything right there.

John: ‘The hell’s going on?’ And she doesn't break character, no.

Dean: Cause she is the ultimate grifter.

John: Yeah, no she does a great- and OK, shoot this guy in the face when I'm off the-’ She's impatient and that's actually kind of a nice thing. And now this.

Dean: Terrific little fight scene shot by Marc Roskin.

John: Yes, at some ungodly hour of the morning. And this is where we pay off the numbers. We've been waiting two years to do this.

Dean: And again, in the actual ship.

John: Yeah, there's a lot of stuff to hurt yourself on. 

Dean: And this gun going off was not easy.

John: Yeah.

Chris: Oof. 

John: Yeah, we're spilling brass all over the inside of the ship. The- this is a brutal fight sequence, all these stunties did- you know, they're banging off metal all over the place.

Dean: In this kind of space, it is so hard to do this safely, these guys were champs. And Christian- I’m telling you, he's amazing in these things.

John: No double.

Chris: Yeah.

Dean: Refuses to get a double.

John: Refused to get a double. There you go, and down, he counts. By the way, we’re not exhibiting superhuman strength here. This is how you break flexicuffs.

Chris: Oh wow, that's a little hulk moment.

John: Yeah, the only thing keeping- if you- if- that's why they flexicuff you behind your back. The only thing keeping you in flexicuffs in front of you is the belief that you should be in flexicuffs. Little survival tip.

Chris: Oh wow.

John: And this is also a favorite bit, because it was really written as a kind of expositional, but Beth found this really weird rhythm near the end of it.

Dean: Oh boy.

John: This is shot with the XD right?

Dean: Yeah.

John: This is all shot with a Prosumer-level camera. 

Dean: She just finds this little bit of evil.

John: ‘Oh, I actually thought you were going to throw me off.’ Yeah, exactly.

Dean: Just this little fake laugh here, just so great. I think it's actually in the two shot, because it has to be in the comedy frame.

John: Yeah the- also the- it's interesting that the- the idea that it's fair enough that they would indeed-

Dean: Here it is.

John: Here it is, coming up. ‘I thought you were actually going to throw me off the roof’. And there she is. The look before hand, the ‘Oh, that's right, this is how humans are supposed to react.’

[Laughter]

John: ‘Eh, I was totally going to throw you off that roof.’ 

Chris: Yeah, that’s great.

John: But the whole understanding that yes we probably- that's actually a favorite line and Jeri really nailed it, which is ‘You would have forgiven him.’ They're all enablers, they're all in this weird broken family, and you know, it's both their strength and their weakness. Also, again, by the way, director thing, I had a whole explanation of how Hardison disarmed the ship, and we had no time to shoot it and you were like, ‘Giant wrench!’

Chris: Giant wrench!

John: You know what he's done.

Chris: When you see a giant wrench, you see that he messed something up.

John: He is a monkey wrencher. You know! It's a term.

Dean: In the comedy frame. so-

John: And by the way, ‘Took you long enough,’ is a recurring theme for the entire back half of the season.

Dean: Right there.

Chris: Oh that's right.

Dean: And she walks by. ‘Huh?’

[Laughter]

Dean: Love it.

John: And then a beautiful over the shoulder. Oh that's a hero shot right there. No, it really is- it’s interesting because it was very scary, because you know, you didn't know how long Gina would be with us going into the season and everything.

Chris: Oh, this is great.

John: And the entire act depends on Sophie being the best grifter on earth.

Chris: Even him-

Dean: And it's just fun to see them all back together again, because we've been starved from it.

Chris: Him being like places where he doesn't know he was all throughout this episode.

John: Yeah, it's a nice running gag actually. And zero. And by the way, it was Chris who caught the count. Chris came up to me and was like, ‘If that's the last guy I'm gonna-’ I was like, ‘Oh, good catch at 2am, nicely done.’ ‘Took you long enough,’ again.

Dean: And this sets up the handcuff bit at the end.

John: Yeah, that was tricky.

Chris: Right he has the handcuffs.

John: Oh god, yeah. Boy this was really easy to keep track of.

[Laughter]

Dean: And both of them really delivered- you know, this is a very short scene that needs a lot of emotions. Because it wraps up really where they are and where they're going next season, and they just did it with looks and with subtext. And it was just terrific.

John: You poor bastard. And also, by the way, what I love about this is, this is the happy ending to most television shows, this moment right here. We then fuck it up.

Dean: Right, exactly.

John: Yeah. They really care for each other, they are really good friends.

Dean: And they're there for each other.

John: And they're there for each other, and he's a broken bastard. And what's great is he walks out of there without really knowing what the rest of the plan is.

Dean: My favorite Richard Kind line right here, ‘I don't know.’

John: ‘I don't know.’

[Laughter]

Chris: That's very Richard Kind. That’s Mad About You, Spin City Richard Kind right there.

John: Yeah, it really is. And by the way, yeah, only two ways out of this. That seems like a design flaw to me. Because that front window is a 40 foot drop onto the deck of the ship; you can't get out through that front window. 

Chris: Oh wow.

John: Yeah if you lock these doors, they ain’t going anywhere. Yeah, and a nice run and gun there, and there's also a little mini scene we blew off there with Paul sort of turning on Richard. Hero moment, hero- the team together.

Dean: By the way, those are some digital effects to remove the pregnant belly.

John: Nice, nicely done.

Chris: Oh really, wow.

Dean: Yes.

Chris: I say it a lot.

John: And nice hug.

Dean: And also just on a small note, we couldn't afford two helicopters. Because we had a helicopter in the scene, and we also needed a helicopter that could shoot the scene. So we used the same helicopter for both and then just digitally erased the camera that was mounted on the end of the helicopter.

Chris: Wait wait, so in other words when you're up there with them you're also shooting- the cameras below it?

Dean: So in other words- yeah, so when you see the helicopter arrive later, there was actually a camera attached to it.

John: A giant camera rig on it, like the size of a VW bug on the bottom of it.

Dean: But we erased it.

Chris: Oh that's amazing.

John: Yeah. Yeah and Sophie’s thought of everything. There's a way out, you hear sirens, it's all coming together. 

Dean: And it's fun to see them back together again.

Chris: And again, not that we do this typically. But this was, in a sense, this scene was kind of conceived of first, this scene and him on the deck. 

Dean: Right.

John: That's right.

Chris: That we were leading up to.

John: The original version of the script is, it opens with him bleeding out on the deck and you have no idea where he is.

Chris: But I'm saying even in the beginning of the season.

John: Oh yeah.

Chris: This scene was kind of where the show was going. How we were gonna get there was the question.

John: You don’t- everyone has their different ways. Before we shot a frame of season two, I knew it ended with Nate Ford saying, ‘I'm a thief.’

Chris: Right. But even- but even on a- also on the deck of a ship remember- I remember that.

John: Yeah, on the deck of a ship.

Dean: Now I think this ending is one of the bigger endings we’ve ever done, and it's really the most emotional ending I've ever done.

John: Really? I dunno you and I-

Dean: More than I was expecting it to be.

John: You and I disagree, because we all have our favorite stuff, but yeah, it-

Chris: It’s certainly a huge hero moment.

John: It's a huge hero moment, and they're all making great choices. Eliot really wants to just tear through these guys, and Nate’s not gonna let him.

Dean: Yeah.

John: Yeah. 

Dean: He's being a good dad for once.

John: Yeah. He’s- and by the way, again, this is not the right choice, he shouldn't have lied to them, he shouldn't have had a plan he didn't tell them, he shouldn’t- he's a control freak. Even in his moment of sacrifice, he's a selfish, alcoholic bastard.

[Laughter]

Dean: That's right.

John: I just wished to make sure nobody makes sure nobody thinks he's being super heroic here. He doesn't really change that much. 

Chris: That’s true.

John: No, and this was fun, we had all different kinds of versions of lockers and found out that yeah, that's how they keep a lot of evidence.

Dean: That’s crazy.

John: That was fun though too, also, you only had two rows of those evidence lockers, so you staggred them to shoot through them to make it look-

Dean: To make it seem like they went on forever.

Chris: Yeah where was that? Where-?

John: That was on set that was- remember the small soundstage we had?

Chris: Oh, ok.

Dean: It was actually a reworking of the set at the end of 207 at the airport. 

John: Yes. It was the airport, but we just moved it over to the other stage. And I also love the idea again- Nate and Sterling are playing a game that just nobody else gets to be a part of. This is just- this is just nine moves ahead guys. 

Dean: Right.

John: There's another version of the show where Katie O'Grady chases Eliot, Parker, and Hardison for an entire season, yeah, but in this version. ‘I can feel you thinking’ he knows him, he knows him that well. He knows the counter move- no, they really dug in here. And by the way, it's 110 degrees on that deck, Tim’s in a peacoat handcuffed to a rail. He's working his ass off here. 

Dean: With the turtleneck.

John: With the turtleneck, yeah. Oh and just the sheer rage Katie O'Grady is radiating there. 

Chris: Now what time- what day- part of the shooting day was this? Did you make-?

John: This was morning.

Chris: This was, like, first thing?

Dean: Yeah, this was the first shot.

Chris: Is that a challenge to do the most emotional thing first?

Dean: It is, and especially because when we started shooting it we were in cloud cover and then halfway through the scene the sun came out. And so then trying to make that all work was really difficult. 

Dean: This, I thought, was surprisingly more emotional than I anticipated when we were there.

John: Well it was weird because when we were there, we couldn't quite get the staging, and they seemed like they were standing really far away. ‘Cause the deck was bigger than we thought.

Dean: Right.

John: And no- well this is the shot because by shooting this way, you get intimate, it feels like they're right on top of them. The other reverse kind of shows you the space.

Chris: I think it also parallels from season one, also-

John: Yeah it does, it does.

Chris: The scene where they’re standing around, really nicely.

Dean: But they're all disappointed in him, which is great. He sacrificing for them, but that's not what they want.

John: No. And he lied to them. And he's- you’re an idiot, I mean, that's really what Eliot’s thinking right there.

Chris: Yeah.

Dean: Yeah.

John: Like, ‘You know what? If you just talk to us.; I really never realized how [unintelligible] this episode is. 

Chris: It is.

John: It’s a big hero sacrifice, but it’s- you know he really broke the family. Again.

Chris: Yeah.

Dean: And Gina just nails this scene. I mean, we waited for this kiss for two seasons.

John: Yeah.

Dean: And it comes out, and she's crushed by it. It’s great.

John: Yeah. And again, and- you know this is a big hero moment in his head and she calls him on it. Because she- and this is what's interesting, Sophie Deveraux is a more advanced human being than Nate Ford is at this point. She went away, she took her space-

Chris: Right.

John: You know. 

Dean: And she lets him have it.

John: In the same way he let her have it at the end of season one, she's letting him have it at the end of season two. I love that look, by the way, that Eliot- Chris and Mark really set up the fact that they can't stand each other, really well.

Chris: And here, you know, the relationship between these two kicks in also. 

John: Yeah.

Chris: Between Nate and Sterling.

John: Yeah, the fact that he held it together- and they don't know, by the way. 

Chris: Right.

John: They have no idea when they're leaving.

Dean: That little look with Christian is just great.

John: And there's a camera mount on that helicopter.

Dean: That's been erased.

Chris: That's great.

John: ‘Who the hell is this guy?’ That- this is- you’re right, we wrote the ending first.

Chris: Yeah, I remember, this was-

Dean: He goes, ‘I don’t know.’

John: I remember this was the first thing ever.

Dean: This was the end of the arc. ‘I'm a thief.’

John: ‘And I'm a thief.’ I mean this is a callback to him saying I'm not a thief for two years. 

Dean: Right.

John: Wow. Thank god this is the last episode of the show.

Chris: And we’re not listening- and we can't hear it here in the commentary, but Joe Le Duca did- the orchestration for this is absolutely fantastic.

Dean: It's actually the first time he went and got a real orchestra. 

John: Yeah.

Dean: Went to Salt Lake City and recorded with a real orchestra, and I mean the scale of this is outstanding.

John: It's giant. 35- I think we had close to half a- 50 FBI agents here. And just cars, helicopters, and this is a big- this is a big hero moment, man. This is a film ending, you know.

Dean: Yeah, it really is.

John: This is it. I love his choice here, it's like, ‘And if I die, I'm totally cool with that.’

Chris: Oh here we go.

John: And he's bleeding out, can you see?

Dean: See the blood on the ground.

John: The blood- he's bleeding out. There's no guarantee Nate Ford will make it.

[Laughter]

Chris: Wow.

John: Which was fun actually shooting this, ‘cause Tim really loved this. And two days before we finished shooting, he turned to me and went, ‘Wait am I dead?’

[Laughter]

Chris: Oh that’s something.

Dean: Stay tuned for season three and you'll find out.

John: I know. No kidding, you'll find out.

Dean: Thank you again for hanging in there with us and listening to this commentary.

John: We had a great time and we really appreciate you guys watching the show.

Chris: And thanks again for watching season two; we can't wait to bring you season three.

John: And thank you, Portland.

Dean: Yes.

John: Big thank you, Portland.

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