(Irena and Nicolas walk through a parking garage with thug, Irena speaking angrily in Serbian)
Joe: Where is he? What have you done with him?
Dana: Why haven't you returned our calls?
Joe: Did you think we'd just go away?
Dana: Weíve given you the money. What else do you want? (approaches Irena) What have you done with Luca?!
(thug grabs Dana and pushes her aside)
(Joe goes to help Dana and is stopped by the thug. Joe punches the thug, who then beats him into the ground as Irena and Nicolas walk away. Thug leaves, and Dana crawls to his side))
Dana: Joe? Joe! Joe. God... (Joe doesnít respond) Help! Please! Somebody help us! Please!
(Nate brings Dana a cup of coffee)
Dana: Joeís still in physical therapy. He spent two weeks in a Belgrade hospital before he was strong enough to fly back home. We just wanted a family.
Nate: Right. Why Serbia?
Dana: Back in college, Joe got busted on a small pot charge. Nothing major, just typical, stupid kid stuff.
Nate: Right, right, but it disqualified you from adoption agencies in the states, right?
Dana: And Korea and China and Guatemala.
Dana: Irina was the first one to tell us that it wouldn't be an issue. All she needed was...
Dana: "Administrative fees," that's what she called it.
Dana: After a few months, we got suspicious, so we flew out there. We told her we'd go to the authorities. (pushes file across table toward Nate) Thatís when she introduced us to Luca. After that, we gave Irina everything she wanted.
Nate: How much money did she take from you?
Dana: $120,000. We had to take a second mortgage out on the house.
Nate: Well, we can get the money back.
Dana: We don't want the money. All we want is Luca.
Nate: Right. (looks at picture of Luca)
Nate: So Irina let Luca stay with the Mortons for a week. Thatís when this was taken.
Sophie: What happened to the boy afterwards?
Nate: Don't know. a car came along, picked him up, took him away.
Eliot: Are we seriously considering this, huh? Swiping a kid?
Nate: Yeah, well -- What happened to you?
Eliot (scrapes on his face): Well, how was I supposed to know it was a lesbian bar?
Sophie: Okay, listen -- money, jewels, paintings -- those we steal. But a little boy?
Nate: We help people who have nowhere else to go. The U.S. government isn't gonna help because they went outside the system. And over there, it's the Wild West.
Hardison: No records, no paper trails. Weíre supposed to find one orphan.
Eliot: How do we even know this kid is an orphan?
Parker: See him pocketing those cookies? Heís hoarding food. That bag on the table -- he keeps his essentials light and portable. He knows he's gonna be taken away at any moment. And there, when she goes to touch him, he flinches. Heís expectingÖ for her to... Trust me. Heís an orphan.
Nate: Hit it.
Hardison: Irina Larenko. Former Russian model, she had a decent career in the '80s. She did the whole Paris fashion circuit. Uh, she had some parts in some small films.
Sophie: Really? Like, what films?
Hardison: Some... French films.
Sophie: Like what?
Hardison: "Emmanuelle unleashed."
Eliot: She was Tatiyana. Yeah, this is when they rebooted the franchise.
Nate: Thatís right -- Emmanuelle at the space station who rides the controls.
Eliot: Yeah, yeah.
Hardison: Anyway, she started living a little too hard. She fell in with some Russian mobsters. She wound up grifting her way through Europe. She ended up in Belgrade a few years ago.
Eliot: All right, whatís the adoption scam?
Hardison: Okay, so, you're looking to adopt a kid, right? You log on to a legitimate adoption website. You follow one of the links on the side, it leads you to Irina. Now, she just shows you a bunch of pictures, strings you along a little bit, and she hits you up for some money.
Sophie: Yeah, it's just like the "Spanish Prisoner" scam.
Nate: And then she hooks you until she bleeds you dry.
Parker: Yeah, but how does she get the kids?
Hardison: After the war, there was, what, 100,000 orphans in Serbia. She could be getting them from anywhere.
Eliot: Whereís Irina now?
Hardison: Well, she closed her office in Belgrade after the incident with the Mortons. However... her name popped up on an invitation to a party at the American embassy next week - very exclusive.
Nate: All right. We're gonna do this the old-fashioned way -- a little look and hook. Pack your bags. Weíre going to Belgrade. (stands to leave)
Sophie: Hey, can we -- can we stop off in Paris on the way?
Nate: Uh... maybe on the way back.
[American Embassy, Belgrade]
(party going on in the ballroom. Parker is playing waitress, Nicolas and Irena take glasses from her tray. Eliot is talking to several women, charming them)
Eliot: Anyway, a bad interception stopped the game. We ended up winning. I mean, it -- it's like -- Excuse me. (moves aside to take a glass from Parkerís tray)
Parker: Yes. And she's with someone.
Eliot: Thatís never stopped me before.
Nate: Get me a picture?
(Eliot pulls out his cell phone and takes a picture of Nicolas and Irena, sending it to Nate:
Eliot: You know, this would be easier if you were in here.
Nate: Well, we would be if Sophie weren't already old friends with the ambassador.
Sophie: I wouldn't say "old friends" exactly.
Ambassador: The United States is pleased to make the first payment for construction of the trans-Ukrainian oil pipeline to her royal highness, Princess Magda of Slovenia.
(check is passed to Sophie, who smiles for the cameras)
Sophie: I still have that tiara, though.
Nate: Hardison, anything on the facial recognition? Come on.
Hardison: Hey, Iím working on a laptop in a borrowed office.
Nate: You know, just hurry up.
Hardison: Itís not so fun working in the crappy command center, is it? No, see, you're usually off doing your European spy thing. Well, welcome to my world.
(Computer shows facial recognition program working on picture Eliot sent. Hardison offers Sophie a bottle of pop)
Hardison: Orangescu? Oh. I-I got a hit -- fast. Thatís weird. I got a face match but no name. This file's already on my hard drive. That's the guy that -- that -- that's the guy who picked up the kid from the Mortons.
Nate: It sure is him. Hey, Parker, I need you to lift his wallet. We need more info.
Sophie: Eliot, get ready to meet Irina. Iíll give you your cues.
Eliot: You know, I have picked up women before, all right? Like yesterday.
Sophie: Yeah, and we can all agree that, um...
Sophie: Who was it? -- Dagmar from the car-rental place was a lovely girl, but listen, Irinaís a professional grifter. She's gonna see straight through your moves. She does this for a living. You know, gets people to like her and trust her, even to fall in love with her. She doesn't do this for sport.
Nate: Mm. Sounds like someone I know.
(Parker puts her tray down in frustration and moves to a balcony to look out over the city)
Nate: Parker, have you found him yet?
Parker: No. I can't believe I lost him.
Nicolas (walks up behind Parker): Well, hello, beautiful.
Parker: Found him
Nate: Okay, Parker, don't panic. You're just having a little conversation.
Nicolas: And who has come to shame the splendor of Belgrade with her beauty?
Hardison: Are you kidding me?
Nicolas: Beautiful name for a beautiful lady. Tell me, Hardison, what brings you to Serbia?
Hardison: Oh, do my fangs and cape frighten you?
Nate: Okay, uh, Parker, you're -- you're an exchange student. Ask him his name.
Parker: Iím an exchange student, and what is your name?
Nicolas: Nicolas Obrovic, at your service.
(Eliot approaches Irena and hands her a glass)
Eliot: This one's on the house. Next one's on you... unless you tip me well. Hi.
Eliot: Yes, ma'am.
Irena: Your hair is too long, your bow tie is poorly tied, and your eyes, they shift to the left, so either you're lying or you're about to lie.
Sophie: No, no, no, listen. You have to demonstrate higher social value. She needs a reason to be interested in you. Okay, Eliot, listen to me.
Eliot: Youíre right. Youíre absolutely right. I ain't big on formal occasions. Iíd much rather be on my ranch in Texas.
Irena: Your ranch in Texas?
Eliot: Yes, ma'am. And I know what you're gonna say. Thereís another oilman trying to be cowboy, huh? Well, maybe. But I can't stand being in the boardroom, you know? Thatís why I love traveling the world.
Irena: Well, we are certainly glad that Belgrade made your itinerary.
Eliot: Well, it's becoming one of my favorite stops.
Sophie: Okay, good. Sheís feeling happy.
Sophie: Now anchor the emotion. Raise the champagne flute to your lips.
(Eliot touches his glass to Irenaís)
Sophie: Take a nice, long sip. And now every time she laughs or smiles, repeat that motion.
Sophie: Sheís gonna link that to a nice, warm feeling. You can use that later.
Nate: That, uh, drink thing. Youíve never used that on me, have you?
Sophie (takes a drink of her soda): I would never.
Nate: Of course not.
Nicolas: So... Where are you from?
Parker: Where am I from? Oh, where am I from? Uh...
Nate: Pittsburgh, Detroit, Atlanta.
Parker: Iím from Pittsburgh-Detroit-Atlanta.
Nate: No, no, no, no. I meant pick one.
Sophie: Donít let Irina get too comfortable. Toss her, yeahÖ
Sophie: Ötoss her a backhanded compliment.
Eliot: Your eyes are really blue.
Irena: Thank you.
Eliot: Theyíre almost too blue, don't you think?
Nate: Hey, you, uh, manipulated me?
Sophie: Nate, really, now?
Sophie: No, give her a time limit. Tell her you can't stay long. All relationships are about manipulation.
Nate: Oh, that -- no, Parker, sleeping is not a hobby. Thatís so cynical.
Sophie: Perfect. Now just step back. Yeah, let her come to you.
(Information on Nicolas begins to pop up on Hardisonís screen)
Sophie: Why is that cynical, huh? Because I don't leave my personal life to chance?
Nate: Well, no, because, I mean, you say all -- that's not --
Hardison: Really, guys. Seriously? Come on, now, look, if you're done with your little delightful banter, I got some actually useful information, okay? Nicolas Obrovic, organized-crime ties. Smuggling. Now, he went legit five years ago. He took over a government agency that takes in families from the Kosovo war, relocations and lost relatives, things like that.
Nate: Yeah, all right. That explains how she gets the kids. This guy could lead us right to Luca. Okay, Parker. Try this...
Parker: Itís amazing how far Serbiaís come, but the scars must still be there. I mean, all the families who suffered during the war.
Nicolas: Yes, but history always has its casualties.
Parker: Yes, but those families and those children.
Nicolas: Itís tragic, yes. But the strong, the smart, the... the beautiful, they survive.
(Joe, Dana and Luca on home move.)
(A young Parker swinging, cuts to Luca sitting in the car that will take him away, cuts to young Parker on a merry-go-round, cuts to Luca being driven away)
Woman: Whatís wrong?
(a young Parker in a car holding her bunny, cuts to Nicolas driving the car that takes Luca away)
Nicolas: Itís time to go.
Nicolas: Not everyone is worth saving.
(Parker gropes behind her and grabs a fork from the table, stabbing Nicolas with it. Everyone in the room looks in their direction)
Nicolas: Boris! Boris!
Nate: Whatís going -- what -- what happened?
(Parker looks around and dives off the balcony)
(Boris comes to help Nicolas. Others come as well, some moving to the balcony, others helping Nicolas from the room)
Hardison: Whoa, whoa, whoaÖ
Hardison: Iím -- Iím getting a bunch of calls to the police. What the hell is going on down there?
Eliot: Iíll tell you what's going on -- Parker just stabbed her guy with a fork.
Sophie: Ohh (puts head in hands)
Eliot: Iím gonna lose Irina.
Nate: Okay, all right.
Nate: All right, hold on. Maybe Irina is gonna go after Nicolas, see what's happened to him.
Sophie: Unh-unh. no, no, no, no, no, she wouldn't risk that. No, no, no. they'd be prepared. Theyíd have a safe house. A dead drop for further instructions, that's what Iíd do.
Nate (looks at Sophie): Yes, that's right. Thatís exactly what you'd do. Okay, Eliot, listen up. We don't have much time.
Eliot: Listen, sweetheart, I-I-I-I apologize. I have to get out of here. I have a -- I have an early call time tomorrow.
Irena: Call time?
Eliot: Yeah. Yeah. Iím, uh, Iím here producing a film, among other things -- trying to produce. Thereís a, there's a lot of roles left to cast.
Irena: You know, I used to be actress.
Eliot: Youíre kidding me.
Irena: Quite good, you know.
Eliot: You wouldn't -- you wouldn't want -- I mean, it's -- it's a really small role.
Irena: There are no small roles. (takes card from her purse and hands it to Eliot) Here.
Eliot: This is perfect. Iíll tell you what Iíll do. Iíll have a car sent to this address in the morning that will pick you up.
Irena: Thank you.
Eliot: Okay, we'll see you. Take care of yourself.
Sophie: So, how did you know Irina would go for the movie thing?
Nate: A European grifter who wants to be an actress? Lucky guess. Whereís Parker?
Eliot (entering office): How the hell should I know?
Hardison: Canít reach her on the comms. She slipped the security grid at the embassy.
Sophie: Where could she be?
Hardison: This is Parker we're talking about. She could be halfway across Europe by now. Trust me, she is gone.
Parker: Whoís gone? What?
Sophie: So, Irinaís expecting to be in a movie. What do we do now?
Nate: Now? We steal a movie.
(Eliot opens a van door, Parker and Sophie get out)
Hardison: Now, Eastern Europe, with all its cheap labor, is pretty popular with American film productions. Currently there are five films shooting in Serbia, one of which is independent -- it's not tied to any U.S. studio. Now, all the crew, they're local, so they'll listen to whoever's paying the bills.
Sophie: So we just have to clear out two people...
Director: Itís all wrong! Itís all wrong!
Sophie: The director...
Producer: Really? Really? Are you kidding? Letís take a, uh, picture for my agent, Pike.
Sophie: ...and the producer.
Hardison: Fortunately, film productions are pretty fragile enterprises. Now, just this morning there was an unfortunate interruption in the film production's cash flow.
Producer: What?! What do you mean "the money's all gone"?! No, don't do anything. Iíll be on the next flight back to L.A.
Parker: And what about the director?
Sophie: He got an offer he couldn't refuse...
(Sophie bumps into the director, sending papers scattering as she picks his pocket. She apologizes in Serbian)
Director: Itís fine, it's fine.
Sophie: Oh, I (picks up phone and hands it to him) how you say? -- sorry.
Director: Itís okay, it's okay. Itís fine. Fine, fine. Fine.
(on a balcony, Hardison sends a text message to the phone. Director sees message)
Director: ďThe Hills Have Eyes six wants you. Need you in Vancouver right awayĒ? Forget the latte! Just get me a car and mail me my luggage!
Parker: But wait a minute -- you did the lift? Why wasn't I involved?
Hardison: Because somebody decided to jeopardize the mission when a certain somebody shish-kebabbed a certain mark.
Parker: Yeah, that was me. So, uh, what about the movie? Whoís the new director?
Nate (on camera crane): Werewolves! Thatís it! Come, come, and... Great! Cut! Okay, once again, with more, uh, feeling! Feeling! Up!
(Eliot brings Irena onto the set)
Eliot: Iím lucky to have you on such a short notice. (takes paper from man) Zhavaliti. Is that right? Zhavaliti? Thank you? See? Yeah? No? Welcome to the set.
Hardison: Fire in the hole!
(Hardison sets off explosion of flame behind them)
Eliot: Yeah, it's exciting, isnít it?
Eliot: That guy's our special-effects guy. He ain't all there.
Nate (to costume woman): What? Youíre showing me a couple of shirts. I don't know what -- Dale? Dale? What -- what is this?
Eliot: Jack! (to costume woman) Not now, sweetheart. What did I say last time? (to Eliot) Listen, Irina Larenko. What do you got?
Eliot: This is Jack Lindsey, he's the director.
Nate: Ah. Let me see what you got. Uh-huh! Let me see what you got. The other way.
Eliot: Whatíd I tell you? What do you think? Perfect.
(Irena turns around, laughing)
Nate: Okay, the other way.
(Irena turns the other way, still laughing)
Nate: Yeah. Good laugh. Good, good laugh. Okay.
Eliot: Hereís what Iím thinking. Iím thinking... the mother.
Nate: No. no, no, no, no. You know what Iím thinking? The mother!
Irena: So, um, I-I-I will be a-a mother, yes?
Nate: Yes! Yes. Very, very exciting part. We just need to get you a script, all right? Klinka! Klinka! Klinka!
(Parker comes over)
Nate: Uh, come here. I want you to get, uh, Irina here a script, okay? And, um, something, um... maybe to, um -- do you want some coffee or water or...? Cold or room temperature?
Irena: Y-yes. Y-yes.
Nate: Yes, both, both, both. Go, go, go. Okay.
Parker (sits down near prop truck): This is ridiculous.
Hardison (sits down next to her with fake gun): Tell me about it. Weíre supposed to believe these are real?
Parker: This is what he expects me to do, fetch scripts and water?
Hardison: No, it's a trust thing. He just needs to know that youíre gonna go along with the game plan.
Parker: Yeah, yeah. I get it; we're a team.
Hardison: A little more than a team. Iím just saying.
Eliot (walks up): Hardison? Letís go, man. Do you have it?
Hardison: Aw, not yet. Uh, Sophie, Sophie, we need that scene. Are you finished with it yet?
Sophie (from just out of sight): Itís in the box on the back of the truck.
Hardison (picks up papers): Sophie, are you -- seriously, Sophie. It was supposed to be a two-page scene between Irina and a boy.
(Eliot grabs pages)
Sophie: Thatís still the heart of it.
Eliot: "The heart of it"? Thereís like 10 pages here! You have a stunt. You have special effects.
Parker: "Sister Magda crosses and gets a loaf of bread." Wait, who's sister Magda?
(Sophie comes out wearing a nunís costume)
Hardison: Tell me you didn't see that coming.
(Eliot grabs the pages and walks away)
Sophie: Of course you need the nun! You can't give Irina the death scene.
Nate: What? Whoa, whoa, whoa. What -- what death scene?
Sophie: In the second act. But the thing is, youÖ
Sophie: Öyou have to establish, you know, the main character's dramatic need. Otherwise there's no emotional payoff in the resolution. (takes food from table and eats)
Nate: This -- this is a movie about NATO troops being attacked by werewolves! No. There is no emotional payoff!
Sophie: Excuse me?!
Nate: Listen, all we need to do is convince her to bring Luca to the set to finish her scene, complete it, and that's it. Letís just keep this simple.
Sophie: Listen. All right, look, look -- look at all this. This is my world, okay? You need -- you need someone to, I don't know, crawl through an air duct, you call Parker. Bash her head in - Eliot. Internet porn -- Hardison. If you need someone to take over a movie, then...
Nate: yes, an -- an actor. Right, um... Sophie... about the acting...
Sophie: Oh, yeah? What? What is it?
(Nate looks at the rest of the team, waiting nearby)
Nate: Youíre right. y-you're right. You know, we're gonna go -- we're gonna go with your scene.
Sophie: Really?! Ohh! (kisses him) Itís gonna be -- it's gonna be fantastic.
Nate: It certainly is.
Sophie: Iím -- Iím -- Iím gonna go to makeup.
(Nate tosses the pages over his shoulder)
Nate: Okay, everybody, tense up! (fires blanks from a large gun) And... action!
(Sophie runs through woods, followed by soldiers. She falls and picks herself up to run again. She darts into a barn and stands against the doors as the soldiers begin pounding on it.)
Soldier: We have you surrounded, come out with your hands up!
Sophie: The lord is my shepherd, I shall not want.
Soldier: Surrender or we will take you by force!
Sophie: He maketh me to lie down in green pastures.
Soldier: This is your last chance!
Nate: Hit it!
(Machine gun fire rings out, bullet holes pierce the doors of the barn)
Sophie: Yea though I walk in the valley (looks down at the blood at her side) of the shadow of death I fear no evilÖ (falls to ground dead)
Nate: And... cut!
(everyone claps, Sophie sits up, smiling)
Eliot: She can't act.
Nate: She can act when it's an act.
Eliot (going to Sophie): Unbelievable.
Sophie Really?! Really?!
Eliot: Yeah, really. It was great.
Sophie: I-I-I -- Nate, Nate.
Nate: that was -- I mean... I never... hey.
Sophie: Iím gonna need that for my reel, okay?
Nate: let's get Irina in here.
Eliot: Okay. Irina! Irinaís up.
Nate: Come here, come here. Here she comes.
(Irena approaches in costume)
Nate: Itís a disaster. A disaster!
Eliot: Jack, I know, I know. Okay?
Nate: I tell you. Where is he?
Eliot: Okay, just--
Irena: Is there a problem?
Eliot: No, noó
Nate: Is there a problem.
Eliot: Yes, there is a problem. The kid that was gonna play your son -- he didn't show up for work today, all right?
Nate: No, no.
Eliot: Listen, don't get -- listen, don't do that.
Nate: Weíre gonna cut the scene. Thatís what weíre gonna do, weíre just gonna cut the scene.
Eliot: No no, no, no, no, no, no!
Nate: Yes. (pulls pages from script and tosses them)
Eliot: We have time to recast!
Nate: Scene cut.
Eliot: Do we have time to recast?
Nate: No, cut.
Eliot: We have time to recast!
Nate: We lost the boy! We canít recast!
Eliot: All right, all right, all right. Youíre right. Youíre right. Irina, Iím sorry. Weíre gonna have to move on. I apologize, sweetheart.
Irena: Wait! Wait! I will find you a boy.
Nate: No. we had the perfect boy. Donít you understand?
Eliot: No, just use all that stuff.
Nate: He was 10 years old, Blond hair, almond eyes. Old soul! He was perfect!
Irena: Please don't cut the scene! Trust me! I know this boy! I mean, I will bring him.
Eliot: Can he be here by tomorrow, 'cause I can't afford another Ė
Irena: Tomorrow I bring him, I promise you.
Nate: Otherwise scene cut!
Irena: Okay, no cut! No! I bring him! (runs away)
Nate: Parker, sheís on the move.
(car pulls into a building. Van pulls up next to building and parks)
Hardison: Ok, I integrated the camera into this new headset. What you see, I see.
(Parker gets out of the van)
Hardison: Just take it slow until she leads you to Luca.
Parker: I can't believe they sent you to babysit me.
Hardison: Iím here on my own.
Parker (looking at sign): Hardison, what does it say?
(Hardison looks at sign in video feed and pulls out a translation book)
Hardison: "orphanage." "Mt. Carmel Orphanage."
[Mt Carmel Orphanage]
(Parker goes inside, peeks around corner before walking forward. She looks over a balcony to see a truck full of crates. Irena walks up to Nicolas and kisses his cheek)
Parker: Hardison, are you seeing this?
Hardison (watching feed of men with weapons): Yeah
[Mt Carmel Orphanage]
Parker: why does an orphanage need armed security?
Hardison: Must be some badass kids.
[Mt Carmel Orphanage]
(Man with gun patrols the balcony, Parker disappears. Man looks over edge, then walks past where Parker is hiding in the ceiling beams)
Hardison: Parker, stop pushing your luck. Get out now!
(Parker goes through a doorway into a room filled with children, some in bunk beds, others on the floor. They look dirty and unkempt, hungry and neglected as they stare back at her. She walks into the room, taking in everything)
Hardison (watching video feed): Oh, my god.
[Mt Carmel Orphanage]
(Irenaís voice comes in through the door. Parker manages to hide before Irena, Nicolas and Boris come into the room. Speaking Serbian, Irena goes to Luca and hands him some clothing before taking him out of the room)
(Nicolas says something in Serbian, the only word of which we understand is Ďinspectioní. The two men walk through the room past where Parker is hiding under a bed and carry some crates out. Parker comes out from under the bed and smiles at the children)
Hardison: Stay clear of those guys. Circle around and Ė
(Parker runs toward the door)
Hardison: No, Parker, I don't -- I don't think that's such a good idea.
[Mt Carmel Orphanage]
(Parker leaves the room)
(on the main floor, Irena loads Luca into her car as men work on moving crates and weapons behind them.
Parker (looking down at scene): Sheís got Luca, but there's a problem. Weíve got new players.
Hardison (hits keys): Recording as we speak.
[Mt Carmel Orphanage]
Nicolas: Tell me what you like.
Buyer (looks into crate): Itís good.
Nicolas: Ok, is deal. All right, good. Come.
(men move away from crates. Parker moves forward and looks inside crate to find weapons)
Parker: Oh, my god.
Hardison: Oh, this isn't good.
(van pulls to a stop and Parker and Hardison get out, Parker pacing nervously)
Parker: This isn't just an adoption scam.
Hardison: I know. I already called Nate.
Parker: These are arms dealers, and they're using the orphanage for cover.
Hardison: I already called Nate. Now, look, we can go over this with the others back at the hotel.
Parker: We have to bail.
Hardison: No. no, no, no. What about Luca and the others? We can't leave them like that.
Parker: Why not?
Hardison: You don't mean that.
Parker: You think this is the only crappy orphanage in this place? This is a country full of orphans, okay? We can't save them all.
Hardison: No, but we can save this one. Parker, we can -- we can save this one. Look, I know growing up was tough. I-I know that you -- you grew up in the system. It was -- it was bad. I know. It was, it was worse than bad, but that doesn't mean that all foster parents are monsters. Mine wasn't.
Parker: You grew up with your grandmother.
Hardison: We called her "nana," but she was our foster mom. She, uh... she -- she would cuss like a sailor. The old girl would tan your ass just as soon as look at you. But -- but she fed us, she bathed us, she put a roof over our head. And, oh, she would raise hell if you so much as looked at us crooked.
Parker: Well, you were lucky. No. Weíll put these kids in the system, and odds are, they're gonna -- they're gonna... (trying not to cry) they're gonna turn out like me.
Hardison: I like how you turned out.
(Parker breathes hard, getting control of herself)
Hardison: Letís go.
(Eliot moving chairs around)
Nate: So, during the NATO bombing runs in the '90s, gunrunners, they used to store their weapons in hospitals, orphanages, anywhere they knew wouldn't be targeted.
Sophie: Yeah, so, now instead of evading bombs, they're ducking the police. Itís the same strategy.
Parker: And what about the adoption scam?
Nate: Oh, fringe benefit. You take a building filled with orphans, a bunch of kids nobody cares about, why not use them to make some extra cash?
Eliot: Nicolas sells his guns, and Irina gets a little sideline.
Sophie: A modern-day working couple.
Hardison: I ran humpty and dumpty through the usual databases. Chechen separatists. Seriously bad dudes.
Hardison: After reading their bios, I don't think Iím ever gonna sleep again.
Eliot: Never tell a Chechen his sister has a nice smile. Trust me.
Hardison (pulls out laptop): I ran this through a translation program. Theyíre inspecting the merchandise. Theyíre bringing the money tomorrow.
Nate: Well, none of this affects our original plan. Irina is bringing Luca to the set here tomorrow. So we grab him and we clear out. And Nicolas doesn't have to be part of the picture.
Hardison: Whoa, whoa, whoa. What about the other orphans?
Nate: Listen, we can't do anything about them. I mean, we're not equipped.
Hardison: No, no, no. I already talked to Parker about it.
Parker: And I said walk away.
Hardison: You didn't mean that. We can't leave them there.
Nate: It is too risky. They have -- they have guns, manpower, potential hostages. What do have? We have a -- a prop truck. Thatís it. What we'll do is we will go home, we will figure this thing out, do some research, make a real plan, and we will come back. Weíll come back. But right now, the focus has to be on Luca, to rescue Luca. Thatís why we're here. (walks away)
Eliot: Heís right, you know.
Sophie: I know.
(Hardison walks away)
Nate: He is perfect. Gonna be great. (to Luca in Serbian) Are you alright?
(Luca doesnít answer)
Nate: Okay. Okay. Letís talk about the scene. Come along. (walking her through scene) All right. Now, you're running through these bushes. You hear, "ahhh." Now, these -- these soldiers, they're your escorts, only they can't protect you from the werewolves.
Irena: And they all die, yes?
Nate: Yes, they all die, which is why you run -- you move through here, and you run into the cabin, okay? You come in here and everything, 'cause you want to -- you want to protect your son. And that's when you go back out. You -- you -- you fight the werewolves while he's in there. Okay, one sec. you got that? Good. (to special effects person) Okay, more blood -- no, that's ridiculous. More blood. No, no, I mean, it's just corn syrup and food dye. Why are you skimping?! More! More! More! More! Blood! Blood! More! Thatís what audiences want.
Irena: To see me die?
Nate: Like you wouldn't believe. (laughs maniacally) Okay, let's go back to one. Back to one. (moves to directorís chair) Okay, and... action!
(Irena and luca run through the scene, yelling. They dash into barn and bar the door. Soldiers follow them. A wolfís howl rings out. Irena puts Luca in a cabinet and runs back to the door, peeking out. More wolves howling)
Nate: The werewolf! Aah!
(werewolf breaks through the door and attacks Irena, leaving bloody slashes across her chest. She falls to the ground and dies. After a long moment, she sits up)
Irena: I can do better. We go again?
(no one answers her)
Irena: Hello? Mr. Director? (in Serbian) Whatís going on?
(Irena gets up and looks in the cabinet she had put Luca in, and in the next cabinet when she canít find him before running off)
(van pulls up to where Sophie, Eliot and Hardison are waiting. Nate comes out of the side door, helping Luca out)
Nate: Okay, let's go. (leads Luca forward)
Sophie (in Serbian): Everythingís going to be okay. Do you understand?
Eliot: Maybe this will help.
(Eliot leads Luca over to the Mortons)
Dana: Hi, Luca. Do you remember us?
(Luca smiles, Dana hugs him)
Dana: Thank you.
Joe: Thank you so much. Come on.
(The Mortons and Luca get in their car)
Eliot: I got to tell you, I had my doubts at first, this feels pretty good.
Nate: Yeah, we'll, uh, we'll come back for the others. Where's Parker?
Sophie: I thought she was with you.
Hardison: Uh, she's not wearing her ear bud.
Nate: What? Why?
Hardison: It's -- it's -- itís cool, it's cool. Remember when I lost her at the party? I put a GPS tracker in her shoes. Sheís headed back towards the orphanage.
(team gets in the van and drives away)
[Mt Carmel Orphanage]
(group of men standing around crates)
Nicolas: No more stalling. Letís finish this.
(Buyer opens his bag, which is filled with money)
Buyer: Check them.
(one of the buyerís men begins checking the guns and seems satisfied that all is okay. Elsewhere, Parker enters the room the children are being held in)
Parker: Okay. (in Serbian) Donít be afraid (refers to translation book) I will make your tomato shiny
Parker (moving toward door) Please come withó
(Parker exits the room, but the children do not follow. She reenters and checks the book again)
Parker: Okay, um... (in Serbian) Men will sadden you.
Parker (making motions toward door): Come on.
(the children donít move)
Paker: Okay, um... Haagen-Dazs?
(children follow Parker to the door. She opens it to reveal Nicolas)
Parker (in Serbian): Oh, shiny tomato!
(Nicolas tries to punch Parker but she ducks and he hits the door. She punches him in the side and they move out of the room, the door closing behind them. The children move to watch through cracks in the walls. In the hall, Parker ducks another punch and hits Nicolas. He grabs her throat and pushes her back against the wall. She sees the kids peaking out the door and knees him in the balls, then pinches his shoulder. He falls back and uses an overhead pipe to kick him in the chest. She kicks a chair out of the way and as he runs toward her, she does a flip, kicking him in the head. He falls back against the wall and she hits him again until he falls down, unconscious. Parker goes back into the room the kids are being held in)
Parker: Itís okay. Everythingís gonna be okay! Okay?! Okay, come on!
(elsewhere men are patrolling and moving crates. Parker tries to sneak the children down stairs, but there appears to be no way out)
Sophie (from top of stairs): Parker!
(children and Parker move to follow Sophie, but a child coughs, catching the menís attention. They pull weapons and point them at the children, but the sound of helicopters fills the air)
Man (on speakers): We have you surrounded! Come out with your hands up! Surrender or we will take you by force!
(Parker gets the kids up the stairs and out of sight)
Man (on speakers): We have you surrounded! Come out with your hands up! Surrender or we will take you by force!
(Nicolas runs into the area, looking spooked. He grabs a gun)
Nicolas: Come on! Let's go, let's go, let's go!
(Nate is waiting in a bus when Sophie comes out of a side door with the children)
Sophie: Come, come.
(Sophie leads them down the stairs and across a loading dock toward the van)
Parker: Shh, shh, be quiet, they have armed guards at that door.
(door bursts open and a man falls through. Eliot stands in the doorway, looking angry)
Sophie: No, they don't.
(they get into the bus, Parker hanging on the back. Nicolas and his men along with the buyer come out onto the loading dock. Nate stops the bus)
Parker: Why are we stopping?! Go, go, go, go!
(Nicolas and his men fire their guns at the van and Parker tries to shield the children as she braces herself to be shot. Surprised that she isnít hit, she turns to look at Sophie)
Sophie: Prop truck.
(Nicolas looks down at his weapon to see white ĎXí on the bottom)
(Nate and Eliot exchange the real weapons for the fake ones from the prop truck)
(Hardison walks into view holding a remote. He hits the button, and the orphanage explodes. Eliot smirks. Parker and Hardison get in the van and it drives away)
Nate (on speakers): We have you surrounded! Come out with your hands up! Surrender or we will take you by force!
(Nicolas looks confused. Buyer walks up and fires blanks at him)
Buyer: These are the guns you sold me? These toys? Where is my money?
(money begins to fall from the sky. Nicolas laughs)
(Bus is parked at one end, the team standing around it)
Sophie: Theyíre all asleep.
Eliot: Weíll replace this license plate, Nate, so we can get a clean shot to the border.
Nate: Okay, when we cross over, we're gonna turn the kids over to the World Health Organization.
Parker: What? Wait.
Hardison: No, it's okay. We called, and they're expecting us. Itís all gonna be okay.
Parker: Okay. Uh, what about Irina?
Nate: Irina. Hmm. Yeah, well, do you remember the movie funding that just disappeared?
(film producer gets an email from a Belgrade bank notifying him where his money went)
Producer: Call the FBI. I think I found who took our money.
(Irena accesses an ATM machine and is thrilled when she sees how much money is in her account, until she is arrested and dragged away)
Nate: She should have known better, taking a producer's cut.
Sophie: Oh, Nate, you did -- you did get a copy of my scene, my death scene for my reel?
Nate: Yeah. No. no. We kinda...
Eliot: There was no film in the camera.
Sophie: We are definitely, definitely stopping in Paris. (walks away)
Nate: Way to go. No film in the camera? Really? Seriously?
(Eliot follows Sophie)
Parker: Hey, how did you know Iíd be at the orphanage?
Nate: Thank Hardison for that. (follows Eliot)
Hardison: You know you could have gotten killed. Did -- did you even have an exit strategy?
Parker: I didn't really think that far ahead.
Hardison: You don't work alone anymore. You know that, right?
Parker: I know.
Hardison: We're a teamÖ?
Parker: We're a little more than a team. (gets on the van) Hey, Nate. I have to tell you something.
Nate: What is it?
Parker: We have to stop at Hagen Daaz.
Children: Hagen Daaz!