(a cab pulls up to the curb and Nate stumbles out)
Driver: You ok, buddy?
(Nate closes the door and stumbles toward the doors of the museum, past a sign showing Ian Blackpoolís Founderís Night Reception. He approaches the reception desk)
Woman: Evening, sir. Your name?
Guard (approaching): Sir, this is a private functionó
(Nate punches the guard in the stomach, people gasp. Nate takes the guardís gun and points it at Ian)
Ian: Are you here to kill me, Nate?
Nate: Not tonight.
Ian: Well, in that case, come in. There's shrimp.
(Ian walks away and Nate lowers the gun)
Nate: I do love shrimp.
(Nate tosses the gun over his shoulder and follows Ian. They walk into an outdoor gala)
Ian: My wing at the museum opens this week. Little celebration for the fund-raisers.
Nate: Yeah, blood money buys the best art. (takes a glass from the bar)
Ian: I heard a rumor that you'd--
Nate (takes a drink): I'm here to sell you something, Ian.
Ian: I don't need anything, Nate.
(Nate leans forward and whispers in Ianís ear)
Ian: You're lying.
Nate: Lying to you would not be worth my time.
(Sophie turns around and joins them)
Ian: Portia, this is Nathan ford. He used to work for me. This is Portia Delduccio from the Vatican museum.
Sophie: Buona sera, Signore Ford.
(two weeks earlier)
(the rest of the team are in the conference room when Nate walks in, slurring and stumbling)
Nate: Where is everybody? (opens conference room doors) All right, guys, what's going on?
(the team is reading from note cards)
Parker: Ian Blackpoole.
Hardison: CEO Of IYS. Insurance. Millionaire, famous art collector.
Sophie: Who two years ago, refused the claim for your son's treatment, leading to his Ė
Sophie: Drunk again?
Nate: Are we still unclear? I'm a functioning alcoholic, you know? And the trick is not to get hung up on the "alcoholic." But celebrate the "functioning" part of the sentence.
Eliot: You're getting worse.
Hardison: This -- this is Messing you up, man.
Parker (reading notepad): We can't keep watching you do this to yourself.
Nate: Is this my intervention?
(team throws their notes on the table)
Nate: Are my bags packed and in the car, ready to take me to rehab?
Sophie: You don't need rehab, Nate.
Eliot: You need revenge.
(Nate looks at Ianís picture on the monitor)
Ian: Portia here is negotiating for a loan for some of the Vatican Collection to my wing.
Sophie: Ian has the most wonderful collection of Renaissance art I've seen outside of Roma.
Nate: Well, his collection's gonna be better than Romeís if he writes me a check.
Ian: Where's your art expert?
Sophie: There is, uh, Professor Sinclair.
(not far away, Eliot is talking to a woman)
Iím just saying, yeah, you can believe what you want, but I...
Sophie: You want I call him over?
Ian: No. No, not yet. Come on. Follow me. My restoration vault.
Sophie: Oh. What's this about?
Ian: He's found the second David.
Sophie: Michelangelo's David. (pulls up photo on monitors) The most famous statue in the world. Sculpted between 1501 and 1504, commissioned by the city of Florence. Like all sculptors, Michelangelo made small scale models, or, well, what's commonly known as Maquettes, first.
Nate: Yeah, I- I know all this.
Hardison: No, no, no. See, while you are well-versed in dead-guy art, I myself am not. My entire criminal career is based on technology built after 1981. So I am riveted. Quite so. Please, do go on.
Sophie (changes monitor): He famously made two models for the statue, clay-fired, then bronzed, identical. Over the last 400 years, they have been sold, lost, stolen, rediscovered dozens of times.
Hardison: Who has them now?
Sophie: Well, the second David was stolen from the Vatican 10 years ago. And, well, it's never been found. And the first David, well...
Ian: This way. I'm giving you a sneak preview.
(Ian uses an access card to open a gallery filled with Renaissance art)
Ian: And now the main attraction.
(Ian leads Sophie and Nate through a mechanical room and into the restoration room, which he opens with a thumbprint scan. Lights come up)
Ian: Randomized laser grid repeats every five minutes.
Sophie: Serious security.
Ian (turns off lasers): This is an old vault That I converted, 4-inch steel behind these plaster walls. Infrared detection. Vibration detection. And... (picks up statue) the first David.
(Nate takes a picture of the statue with his phone and sends it to Hardison)
Hardison: Man, am I glad I don't have to break in there. That is one sick security system.
Parker: What, with our tools? Give me three days of prep, it'd be like taking diamonds from the French national bank. That's like taking candy from a baby.
Hardison: I got it.
Parker: A very easy thing to do.
Parker: Oh, look, little buddy. (picks up fake statue) That's your new home!
Hardison: Can you please not play with the little naked man? Please.
Parker: I'm not. (sets the statue down)
Sophie: We sell Blackpoole a fake second David. You know he's going to insure it with IYS.
Parker: Then we let him put it on display in his museum.
Hardison: And when it's discovered as a fake, his own company, IYS, accuses Blackpoole of fraud. He loses his company. He loses his money.
Eliot: His reputation's ruined. Nobody will ever work with this guy again.
Nate: Only one problem. He is not gonna buy the fake David until he has it verified by an expert.
Sophie: Uh-huh. That's right. By one of us.
Nate: And how do you guarantee that?
(Sophie and Ian are looking at a pictures of the fake statue under a microscope)
Sophie: The London Examiner, dated just three days ago. It looks genuine.
Nate: $8 million.
Ian: I don't have that much liquid.
Nate: So sell something. Second David will be in the country tomorrow and tomorrow only. You in or out? 'Cause I have a Canadian oilman that wants to slap something on his mantelpiece.
Ian: We're talking a missing Michelangelo. It's practically the Holy Grail.
Nate: Are you in or out?
Sophie: You must return this item to the Vatican museum immediately.
Nate: Listen, lady, the sheikh who owns this piece doesn't give a damn about the pope, the vat-- anything. So, of course, you could pay, you know, five times the going rate.
Ian: Look, Portia, let me buy it.
Nate: Here you go.
Ian: I'll buy it, and then after my death, I'll donate it to the Vatican. I mean, let's not give that heathen a dime more than he needs.
Nate: I'm gonna assume that the heathen isn't me.
Sophie: We have to keep this out of the papers.
Ian: Of course.
Sophie: I want our expert, Professor Sinclair, to do the verification. No one outside of this room can know we're cutting this deal.
(Nate walks out of the Museum ahead of Ian and Sophie and grabs a glass)
Nate: Eliot. Eliot.
Eliot (to comm): What? Give me a second. I'm hitting it off here.
Nate: Bring her along. It'll help sell the character, but now -- do it now.
Ian (joining Nate): Nate. Why did you come to me?
Nate: Well, I knew you'd pay the best price. Renaissance art is your life. Guilt was a bonus.
Ian: You hate me.
Nate: Yeah. Of course I hate you. I mean, what -- what? You think I want to be here? I don't have a choice, all right?! I'm drunk, Iím broke, I'm living out of my car, I just want the paycheck, and at this point, I don't care where it comes from.
(Eliot and Maggie walk up behind Nate)
Eliot: You guys--you know each other?
Ian: Of course. Maggie is Nateís ex-wife.
Eliot (nervously): Oh.
Parker: What is she doing here?
Hardison: Guys, guys, s-stay in character.
Nate: Nate Ford.
Eliot: Hi. (takes his hand) Adam Sin--clair.
Nate: Yeah, Maggie here is, uh, my ex-wife.
Eliot: Yeah. Caught that. That's a mighty fine grip you have there, Mr. Ford.
Sophie: Signora Ford?
Maggie: Collins. I use my maiden name.
Sophie: Oh, scusi. Do you mind if I borrow (pries apart Nate and Eliotís hands) Professor Sinclair for a moment? Yes, uh, we must talk with Mr. Blackpoole. Grazie.
(Ian, Sophie and Eliot walk away)
Maggie: Of course.
Parker: Which conversation do you want to listen to?
Hardison: That's what stereo was invented for.
Nate: Why are you working for him?
Maggie: I'm not. I'm under contract with this museum. I'm just helping him wet up his exhibit. Nate, I heard what you were saying before. I had no idea things were so awful for you.
Nate: Oh, no, no. It's --
Hardison: In character, Nate. In-in character.
Nate: Things got rough. It's very hard.
Maggie: You should have called me. I-I would have given you money.
(elsewhere at the reception, Eliot is looking at the pics of the fake statue while Sophie and Ian talk)
Sophie: She's pretty.
Ian: They met while he worked for me. Maggie's an art expert, helped him track down fraud. Quite a glorious pair for a while, very Nick and Nora.
Eliot: Looks real. There's a technique that Michelangelo uses when he works with clay, and... I mean, Iíd obviously have to take a closer look at it, but, yes, sir.
Nate: I don't need money! IĖ
Nate: --need money. I mean, I just need this deal.
Maggie: Well, then, let's go get it.
(Nate tries to protest, but Maggie walks away. He follows her over to Ian and the others)
Maggie: What's Nate here for?
Ian: It's an art sale, But private.
Maggie: I'll verify the art.
Sophie (laughs): Scusi. No. We agreed, no outside people.
Ian: No, no, no. No, that's all right. I- Iíve been a little hesitant. (to Eliot) No offense, but I don't know you that well.
Maggie: But you know me. You know my reputation. If my presence will help you close the deal, then Iím in.
Ian: Agreed. My one condition. Maggie examines the sculpture, or I walk.
Nate: I'll get some drinks.
Nate: We'll celebrate.
Sophie: I'll, uh, Iíll help you, Signore Ford.
(Nate and Sophie walk away)
Hardison: Now, Nate, is Maggie a very good Art Inspector?
Nate: Yeah, she's the best.
Parker: No, no, no, we can't let your ex-wife anywhere near our little naked man.
Sophie: We have to show her the real thing. We have to steal the first David right now so we can show it to Maggie tomorrow as the second David.
Nate: That's too risky.
Sophie: Blackpoole knows our faces. We're never gonna get him on the hook like this again. You honestly think that we can fool Maggie with a fake?
Nate: No. She's too smart and too experienced. When we worked together, there was nobody better.
(they pick up drinks from a bar and head back toward Ian and the others)
Sophie: A simple "no" without the cheerleading would have done. This does complicate things.
Nate: All right. Well, one crisis at a time. Parker, get in here.
Hardison: No, no. Nate, we haven't done any prep. We don't have our tools.
Parker: You want me to break into a secure storage facility with whatever I can scrounge up at the buffet table?
Nate: Pretty much, yeah.
Parker: Cool. I think Sophie left some dresses in here. (turns to look through things)
Hardison: I'll go, too. I, uh, I got a white shirt. I can go wait staff.
(Parker takes off her shirt and Hardison looks the other way, turning the fake statue away from her as well)
(Sophie and Eliot talk next to Ian and Maggie)
Parker: Iím in.
(Parker, in a sexy dress, walks up to one of the bars)
Parker: Glass of ice, please. (to comm) I need a big roll of aluminum foil.
(Hardison grabs a roll of aluminum foil from a passing waiter)
Hardison: Uh, um, you know what? I'm gonna just, I'm gonna wrap up some of these shrimp for tomorrow. Breakfast jambalaya, you know. All right. I got it. Now what?
Parker: I need dark eye shadow.
Eliot (to Sophie): I assume she's talking to you.
Sophie: Scusi. I must go powder my nose. (walks away)
(Sophie and Hardison approach Parker, who is standing near a door)
Parker: Door's got a silent alarm. (to Sophie) You should hide. (to Hardison) We should pretend to make out.
Hardison: Make what?
(Parker grabs Hardison and they begin to kiss and she pushes the door open a little)
(Nate and Eliot turn to look at the building as the sounds of making out come over the comms)
(Sophie goes around a corner out of sight)
Hardison: Let's talk about-- A little bit--
(Parker and Hardison continue to make out. Two guards approach and seem embarrassed. One clears his throat)
Guard: You, uh, bumped the door there. Sets the alarm off.
Hardison: You know what?
Hardison: We, you know how it is.
(guards walk away and Sophie rejoins them)
Parker: Makeup. (takes makeup from Sophie) Come on. (goes through door)
Hardison: Can we talk about the pretending? That was nice.
(Sophie pushes him after Parker and returns to the party)
(Hardison follows Parker through the mechanical room, where she looks at the finger print reader)
Parker: Eye shadow.
Hardison: Um, can we talk about what just happened?
(Parker uses the eye shadow to make Ianís thumb print visible on the reader)
Parker: Weird, huh?
Hardison: You could say that.
Parker: Nate's ex-wife coming out of nowhere. (places a napkin over the print reader)
Hardison: Yeah. No, no, that's-that's not what I meant at all.
(Parker holds up the thumb print on the napkin and smiles as the doors open. They walk into the room)
Parker: Chew some gum.
Hardison: Is my breath funky?
Eliot: Which one of you did she kiss?
Hardison: T-1300 Makashita.
(Parker pours ice into a cone of tin foil)
Hardison: We got about 10 seconds, even in the blind spot, before it picks up our body heat.
Parker: Stick your gum on here. (holds up the cone)
Hardison: Ha ha! Gotcha. (takes cone and sticks it to the heat sensor) Yeah, can't pick up our heat through the ice. Nice.
(Parker somersaults her way through the first set of lasers and pulls out the roll of tin foil))
Hardison: Parker, Parker, what are you -- No, no, no. What are you doing? This system resets in like five minutes. You know what? Okay, I want you to know, if you set off the lasers, I'm running like a bat out of hell. I pray you can keep up. Just saying.
(Parker folds the tin foil and throws Hardison the rest of the roll)
Hardison: What are you -- Park-- só
(Parker uses the foil to open a pathway between them)
Hardison: You're bending the beams back. Sweet.
(Parker walks between the tin foil and pushes one so that she can reach the David)
Hardison: You did not just think about this on the way in from the van.
Parker: Some people do crosswords.
Hardison: Nate: We're almost done.
Maggie: I just wish we could talk without it being so hard.
Hardison: Nate, did you hear me? I just said weíre almost done.
Nate: Yeah! I hear you already!
Maggie: I'm sorry.
Nate: Oh, no, no, no.
Maggie: I-I just, Iím just trying to tell you that I still care.
Nate: No, I-I was Ė
Maggie: Care what happens to you, I mean. I've never stopped caring about you, Nate.
Sophie: Great! (laughs) Scusi. My English is, uh... Great opportunities like this, they, they, they... they come along very rarely.
Eliot (to comm): Get it over with.
(Eliot uses his phone to access remote system)
Parker: Come on, come on.
(alarms begin to blare an all the cars)
(Parker switches the first David with the fake)
[Security Control Room]
Guard 1: Hey, the vibration alarm just went off in the restoration room.
Guard 2: Wait. (points at monitor) Look. The car alarms all went off in the parking lot.
Guard 1: Little earthquakes.
Guard 2: Just another tremor.
Guard 1: Geez.
(Parker tosses the real David to Hardison who catches it)
Hardison: Wha-you-- Don't throw the David.
Parker: You caught it, didn't you?
Hardison: You're crazy.
Nate: I should go.
Maggie: Nate... Just know that Iím here for you. Do you need a place to stay, or --
Nate: I'm okay.
Maggie: My office has a couch.
(Nate sighs and walks away, joining Eliot)
Eliot (turns): Uh, yeah?
(Eliot stops as Nate continues away)
Maggie: Let me give you my number.
Eliot: I'm sorry your wife gave me her phone number.
Nate: Don't want to talk about it.
Eliot: I-It was only to coordinate where we were gonna go anyway.
Nate: Not talking about it.
Eliot: I gotta be honest with you, there was a second Ió
(Parker puts the statue on the table between them)
Parker: We just stole an $8 million statue on, like, our day off!
Nate: Yeah, and we're giving it back.
Hardison: Technically, we're selling it back.
Sophie (excited): Doesn't it seem like there might be a better way? I mean, let's just think about it, huh? What if both of Blackpoole's statues were fake, right? It would be even worse for him. The David he's had on display for years, insured and verified by IYS.
Hardison: Wait, every sale he's made in the last 10 years would have to be audited.
Sophie: He wouldn't just lose his company. His own board of directors would sue him.
Eliot: This guy would totally be ruined.
Nate (to Sophie): I'd like to have a word with you right now.
(Nate walks out and Eliot gives a low whistle. Sophie follows Nate)
Hardison: That ain't good.
Nate: I know that voice. That's the voice you use on a mark.
Sophie: I can think of a dozen other times an opportunity like this lands in our laps. We take it!
Nate: You don't con us. You don't con your own team.
Sophie: You're just getting cold feet because your ex-wife could blow it for us!
Nate: Oh, Maggie, Maggie wouldn't.
Sophie: Maggie, who works for the man who let your son die? She doesn't have a problem with that!
Nate: She doesn't know!
(Sophie looks at him in shock)
Nate: She doesn't know that IYS and Blackpoole denied Samís treatment.
Sophie: How can she not know?
(Nate sits down and takes a shaky breath)
Nate: She doesn't know, because I never told her. She pities me. Didn't you see that?
Sophie: You're lying to her, Nate. You're not who she thinks you are.
Nate: She thinks Iím a drunk, maybe even a criminal.
Sophie: You're still an honest man, Nate. It's the rest of the world that's gone crooked. Do you want to walk away?
Nate: How many other kids died just like Sam because this bastard put his profits above their treatment? How many? And it's not just me, Sam. I mean, that is what I keep telling myself.
Sophie (walks to door): Always your fatal flaw. You think too much. (walks out)
Nate: There's that voice again.
(Nate and Eliot pace a waiting area)
Nate: Hardison. Three minutes before they arrive.
Hardison: Gotcha, boss.
(Hardison pins an ID badge to his suit. Two pilots walk off a plane toward the inside of the hanger)
Hardison: No. Whoa. Whoa. Where in the hell do you think you're going?
Pilot: I- Iím sorry?
Hardison: You are the pilot for this plane, right?
Pilot: Yeah, uh, right.
Hardison: Well, then, get back on that bird. We got work to do.
Pilot: Uh, work? W-what are you talking about?
Hardison: Spot inspection. FAA. Now, look, I want to see this plane's TCAS, VRSM, and 8.1 FM spacing in operation to make sure it's fully functional and in compliance with the new FAA regulations.
Pilot: New regulations?
(Hardison takes out a pen and writes on a clipboard)
Hardison: Pilot unaware of latest regulations.
Pilot: Oh, the new regulations. Of course. Please, come this way. I'll take you right up.
Hardison: Oh, no, no. It's cool, it's cool. I don't need to go up. Just taxi me around the building.
Pilot: Taxi? I thought you need to get up in the air.
Hardison (writes on clipboard): Uncomfortable with black authority figures.
Pilot: Sir, please don't write that.
Hardison: Oh, I will write a letter to your mama if I feel like it.
Pilot: This way, please. It's in order. I-I promise. This way. It's okay. (to copilot) FAA, he's a hard-ass.
(copilot tries to get bags)
Pilot: Screw the bags. Let's go.
(Ianís car pulls up to the waiting area Nate and Eliot are in. As he gets out, Maggie gets out of her car)
Nate: We're up.
(Nate goes to door to meet Ian and Maggie)
Eliot: Mr. Blackpoole, how are ya?
Ian (to Nate): An interesting place to meet.
(behind the reception desk, Parker stands)
Parker: Nathan Ford?
Parker: I've got a call here from flight 7-Tango-8-2, inbound from Dubai. They'd like to know if your party's here.
Nate: Yes, we're all here. Where are they?
Parker: They're just pulling in now.
(Nate gestures for the others to precede him into the hanger)
(the group walks across the hanger to the open doors, where a plane is pulling up. Hardison gets off the plane, carrying a case, which Nate takes and opens.)
Hardison (to Ian): As-Salaamu Alaykum.
Ian (shakes Hardisonís hand): Alaykum as-Salaamu.
(Nate hands the open case to Eliot who places it on a nearby crate)
Hardison: I'm only cleared for refueling. We must resolve this before your customs men realize I've gotten off the plane.
Ian: Why are you selling this?
(Maggie takes the David from the case and examines it carefully)
Hardison: I have certain debts my father does not approve of. There are very sharp card players in London. It is from my father's collection. It will not be missed. And if it is, uh... my security will find some guilty party to blame. They are very efficient that way.
(Ian walks over to Eliot and Maggie)
Eliot: I say yes. I mean, there will be other tests required, but...
Maggie: It's a dead ringer for the first David you own, cast off the same mold. It's real.
(Ian becomes very excited)
(Nate and Maggie walk into the waiting area ahead of Ian and Eliot. The phone is ringing, but Parker is gone)
Maggie: Where'd the girl go?
Nate: Maggie, what you did back thereĖ
Maggie: Was so much fun. Working together again? It was just like old times, when Iíd help you get your stolen art back. It felt... familiar. Call me.
(Maggie walks away. Ian follows her)
(Eliot joins Nate. They exchange a look, then go their separate ways)
(Maggie and Ian leave the building, Ian carrying the case. Sophie walks up to him as he walks toward an armored car)
Sophie: Good news, huh? When the Vatican learned about your generous offer to donate the David after your death, they agreed to lend everything you requested for your exhibition.
Ian: Oh, you won't regret this, Portia. With the two Davids as the centerpiece for my exhibit, this is gonna be the finest collection ever shown to the public.
(Ian hands the case to one of the security guards, who puts it in the back of the armored car)
Sophie: I can honestly say I cannot wait.
(Ian shakes Sophieís hand, then kisses it. Nate walks up to Ian and punches him in the face as the security men get in the armored car. Ian looks back at Nate)
Ian: Feel better?
Nate: Actually, yeah.
(Ian walks away)
Nate: Was that absolutely necessary?
Nate: He wouldn't have believed a handshake. And it felt good. Hardison, where are you?
Hardison: Halfway home already, Nate.
Nate: You got it?
Hardison: I've got the money right here.
(there is a case in the passengerís seat)
(Quinn takes pictures of Sophie and Nate from around the corner of the building)
(Sophie and Nate get into his car and leave while Quinn continues to take pictures from the open door of the hanger. Eliot walks up behind him)
Eliot: I'm gonna count to three.
(Quinn turns and hits Eliot hard, knocking him across the floor)
Eliot: Nate, we're blown. Wó
Nate: Eliot, whatís--
(several feet away, Eliotís earpiece is lying on the floor. Eliot tries to scramble away, but Quinn kicks him in the ribs, throwing him back, and kicks him several times more)
Quinn: That rib's broken.
(Eliot manages to get to his feet)
Quinn: He said you'd be tougher than this.
(Hardison enters the building with the case of money. Geary watches him go in, then gestures to other security men)
Geary: Let's go.
(Geary and others enter the building)
(Parker jumps off a bridge onto the top of the moving armored car)
(Hardison enters the Leverage Offices)
(Parker attaches suction cup handles to the end of the car and uses them to hang off the back)
(in the hallway outside the offices, several men work on taking off a piece of trim. They cut a wire. Geary nods at another man)
(Quinn blocks Eliotís punch and hits him several times in the ribs, then in the face. Eliot stumbles back, then swings but Quinn dodges the blows and punches Eliot in the back)
(Parker picks the lock on the back of the armored car as a black sedan approaches quickly)
(Quinn knocks Eliot back onto a cart full of luggage and they plough through them, landing on the floor with Eliot on the bottom)
(Hardison walks through the offices holding a bowl of popcorn and a bottle of soda)
Geary: Take him.
(Hardison looks in that direction, surprised. The men try to grab him but he fights back, punching one of them in the face. Geary hits Hardison in the back with a baton, and he falls to the floor, unconscious)
Geary: That's enough of that.
(Eliot slides across the floor, blood on his mouth. He stumbles clumsily to his feet)
Quinn: What, you getting tired, boy?
(Quinn punches Eliot in the face several times. Eliot rocks backward with the blows)
Quinn: Better keep that left up.
(Quinn punches Eliot in the face twice more, sending Eliot stumbling backward. Quinn swings again, but Eliot catches the arm, hitting Quinn in the stomach. Quinn knees Eliot in the chest and punches him in the face. Eliot falls to one knee)
(Parker unlocks the door and pries it open, sliding inside and closing it behind her)
Sterling: You know, I don't think we've ever been properly introduced.
(Parker turns around slowly to find Sterling sitting in a chair waiting for her)
Sterling: Hello, Parker. Jim Sterling.
(Parker stares at him, panting in fear)
(Quinn and Eliot both stand hunched over, breathing hard)
Quinn: Why won't you go down?
(Eliot laughs, blood falling from his mouth to the floor. Quinn comes at him again, but Eliot catches him and knees him in the chest several times before pushing him away. Quinn falls to his hands and knees, gasping for air)
Eliot: Now that rib's broken.
(Eliot hits Quinn in the face hard, sending him to the floor. Holding his ribs, Eliot walks to the earpiece and puts it in)
Eliot: Nate, we're blown. We're blown.
(Nate slams on the breaks)
Nate: Eliot, what's going on? Talk to me, Eliot.
Sterling: Hello, Nate.
(Parker is leaning against the back of the armored car with several security guards around her. Sterling is speaking into the earpiece)
Sterling: Love this technology.
Nate: What do you want, Sterling?
(looks at Sophie)
Sterling: Well, first, let's see how many birds we have in hand.
Sterling: You know this is Parker's. Now, Alec Hardison?
(Geary is standing in the conference room, talking into Hardisonís earpiece)
Geary: Accounted for, Mr. Sterling. And we have the cash, too.
(the briefcase full of money is open on the table. Eliot is holding a rag to his head to stop the bleeding, his hands are tied)
Sterling: Marvelous. Mr. Spencer?
(Quinn is still unconscious as Eliot walks out the hanger doors, breathing hard, limping and holding his ribs)
Eliot: Hey, Sterling. I got some dental work with your name on it. What do you say me and you hook up so I can give it to you?
Sterling: Seems that Mr. Quinn was not quite as effective as promised. Still, two birds in the hand are worth three in the bush.
(Sterling laughs. Parker gives Sterling a nasty look)
Nate: Eliot, stay low.
Nate: Sterling, what do you want?
Sterling: Tell you what, why don't you meet me in the place where we used to go for a drink after work? I'll come alone. I promise.
(Sterling flicks the earpiece away)
(Nate and Sophie look at each other)
(Sterling stands near the edge of the roof as Nate and Sophie approach)
Sterling: Do you remember when we were friends? After work, we used to come up here, have a drink, watch the sun set.
Nate: We were never friends, Sterling.
Sterling: So the answer to my question would be no, then.
Nate: What do you want?
Sterling: A trade.
Sterling: Come on. It's no big deal. I just want the second David.
Nate: W-well, you got it. It's on the truck. Parker couldn't make the switch.
Sterling: Not the first David, the second David. 10 years ago, I was the investigator when it went missing from the Vatican. I want it.
Nate: Well, I don't have it.
Sterling: Of course you do. Just ask yourself one question. Who came up with the plan to break Ian Blackpoole?
(Sophie looks down. Nate looks at Sterling questioningly. Sterling looks at Sophie. Nate slowly turns to look at Sophie, who looks back at him)
Sterling: I knew you'd come after Blackpoole eventually. You had to. And when you did, I knew that the way in would have to be the first David. She wouldn't be able to resist. It's how she thinks. It's how you think. And I know how you think. (to Sophie) Come on, Jenny. Make it official. (to Nate) It's the name she was using back then. Might be her real name for all I know. I've no idea.
(Nate looks at Sophie)
Sophie: I stole the second David 10 years ago. I still have it.
Sterling: See? There you go. Wasn't so hard, was it? I want the second David here, this spot, no tricks, end of day.
Nate (nods): I'll bring it.
Sterling: No. I don't know why, but I don't trust the two of you together. So, you will go meet my men at your offices, where I know you'll be safe and sound, and Sophie will bring me the second David, which I will exchange for Parker. After all, she stole it. How else is she gonna learn?
(Sterling hands Nate a glass of liquor and walks away. Nate looks at Sophie and takes a drink from the glass before walking over to her. She walks away and Nate stands there, finishing the glass)
Nate: How much is in here?
Sophie: As much as I need.
(Sophie enters a key code and opens the door. They go inside)
Sophie: When you found me in Chicago, I told you Iíd become an honest citizen. I was just an honest citizen... with a very good retirement plan.
(the room is filled with crates and boxes. Nate pries the top from a crate)
Nate: So why the hell didn't you say something that night?
Sophie: Oh, when you were standing next to your ex-wife? You were in no condition--
Nate: Yeah, so, this whole scam to burn Ian was basically to get your hands on the first David, isn't that right, Jenny?
Sophie (slaps him): Don't you dare pretend this has been a selfless crusade on your part! It wasn't a coincidence that you set up our offices in the same city as Blackpoole. You knew one day you'd go after him and you'd use us.
Nate: Yes. Well, I was right, wasn't I? That is the voice you use for a mark.
Sophie: I meant it, Nate. Going after Blackpoole. I wanted to hurt him for the way he'd hurt you. But Iím a thief. And stealing both Davids, no one's ever done that, not in 400 years. And there it was in front of me, and... and stealing the first David helped you, andÖ it was... I don't know. It was like it was meant to be.
Nate: We're both addicts.
Sophie: We're all addicts, Nate. We're all addicted to our pasts. Don't tell me you weren't tempted when you were talking to Maggie. You wanted to feel how it used to feel. You still think of us as just criminals. There's always gonna be a part of you that thinks you're better than us. (sighs) Where do we go from here?
Nate: We do this.
Sophie: Sterling knows us. He knows how we think.
Nate: So we think like somebody else.
(Sophie is standing on the edge of the roof as Sterling, Parker and several security guards come onto the roof)
Sophie: You said you wanted to see it, Sterling.
(the David statue is sitting on the edge of the roof. Sterling laughs)
Sophie: Parker comes to the middle of the roof. We circle her. You get to the David when I get to the door. Parker comes to me, and we're gone.
Sterling: Iím not doing anything until I know that Nate Ford has turned himself in.
(Nate rounds a corner in the hallway to find two guards standing outside the Leverage offices)
Guard (into radio): We've got him.
(another guard opens the door for Nate to enter the offices)
(Nate walks in and comes face to face with Geary. They enter the conference room where Hardison is still sitting, hands tied)
Geary (into phone): Yeah, he's here.
Sterling: Put him on.
Nate (takes phone): Tell your guys to cut Hardison loose, Let Sophie and Parker go.
Sterling: Of course.
(Nate hands phone back to Geary)
Sterling: Keep them both.
(Geary hangs up the phone and Nate sits down at the table)
Sterling: All right. I'm a man of my word. Let's do this. (points at Sophie) You go first.
(Parker walks to the middle of the roof. Sophie and Sterling with his men begin to circle her)
Parker: You know he's got guys at the bottom of the stairs, right?
Sophie: Of course.
(man approaches the David)
Sterling: Careful! Careful! I can replace you.
(man brings David back to Sterling)
Sterling: All right, all right. Easy. (looks at statue) Perfect.
(Nate looks at Hardison as the door opens. Eliot walks in and looks around, breathing hard)
Eliot: Four guys?
(two more men flank him from behind)
Eliot: Six guys?
Geary: See, he's good, but he's not that good.
Parker: So, how are you gonna get us out of this?
Sophie (walking toward edge of roof): I had no idea how to get us off this roof. And then I asked myself, "what would Parker do?"
Nate: With a couple broken ribs and a concussion, I don't think Eliot can take out six guys.
(Eliot looks like heíd give it a try)
Nate: You know, but then I thought, "what would Hardison do?"
(Hardison looks at Nate in surprise)
(Sophie takes off her coat, revealing a harness. She holds her arms wide and Parker smiles. Sterling sees this)
Sterling: What's going on?
(Eliot pulls out his phone and accesses the computer system, sending a high pitched whine into the comm. devices of the guards. They all bend over in pain. Eliot punches the one closest to him. Nate grabs Geary and slams his head down on the table. Hardison hits another guard in the face with his tied hands)
(Parker runs for Sophie. Sterling and his men run for Sophie and Parker. Parker reaches Sophie first and the dive from the roof, Sophie screaming and Parker laughing all the way down)
(Hardison knees a guard in the chest. Eliot hits another guard in the face. They take down the rest of the guards and point to each other in acknowledgement of their accomplishment)
Sterling (on phone): Geary, what the hell is going on?
Nate (hand on briefcase): I thought you were an honorable man.
Sterling: I'm catching thieves. There's nothing more honorable.
(Nate hangs up)
Eliot: Nate, we're done here.
(Eliot walks into the lobby, holding his ribs. He turns to yell over his shoulder)
(Eliot follows Nate toward the door)
Hardison (breathing hard): Wait, Eliot. Eliot, come on.
(Eliot goes back inside)
Eliot: You've got to be kidding me, man.
(Eliot goes to help Hardison carry the painting out)
Hardison: Bring it out, come on.
Eliot: This is just weird.
Hardison: I painted this.
(they leave the office. Sometime later, Sterling and his men walk into the offices to find his security guards tied on the conference table. He rips the duct tape from Gearyís face)
Sterling: All right. This isn't a total loss.
(Sterlingís men begin to untie the others)
Sterling: Four of the best thieves in the world just left me a paper trail a mile long. Get a team up here. Pull every file.
Guard: Shouldn't we call the police?
Sterling: You're fired. Dust the whole place for fingerprints, okay? I want a forensic computer specó
(the monitors come to life, showing Hardisonís face)
Hardison: Hey, Sterling. Get out of my house.
(display changes to a 30 second clock that begins to count down)
Sterling: Run. Run!
(all of the men run from the office, coming out onto the street)
Geary: Maybe he was bluffing.
(the entire floor of the building explodes, shooting fire)
Sterling: That's the funny thing about con men. They don't bluff.
Geary: So, what do we do now?
Sterling: We don't do anything. I go deliver unto my boss, who is a very, very rich man, the object of his fondest desire. Shortly thereafter, I move into a startlingly large office.
Geary: Hey, wait. W-what about Ford?
Sterling: What about him? Huh?
Sterling: His cover's blown. Faces of his people have been sent to every law-enforcement agency in the state. We've taken their money, their base of operations, and now Nate Ford will never, ever get his revenge.
(Nate and his team stand in a circle, looking at each other)
Sterling: They will do the only smart thing to do.
Sterling: They'll scatter.
(the team walks away, each in separate directions)
Sterling: They're professionals. They know when the game's up.
TO BE CONTINUED