[Golden Panda Clothing Factory]
(women are sewing in a sweat shop. Florence looks very unwell)
Woman (in Chinese): You don’t look well.
(Florence wipes her head, and runs a hand through her hair, which comes out in clumps. She takes a pill from a bowl nearby before collapsing. Some women run to check on her while others look apprehensive. The Pans come out of the office.
Gloria (to Russell): I'll handle this.
(some of the women help Florence up)
Gloria (in Chinese): Get back to work! Now! If you’re going to be sick, do it outside. Now!
(a pile of vitamins are sitting on the table)
Nate: Vitamins. She OD'd on vitamins?
Theresa: High dose supplements. They give them out at the factory. They work...
(Theresa speaks to Florence in Chinese. Florence answers in the same language)
Theresa: ...15-hour days. So they give them vitamins to keep their energy up. Also instead of meal breaks.
(Florence speaks to Theresa in Chinese)
Theresa: The owners of the factory, the Pans, helped her come to the States six months ago.
Nate: Um, I wanna ask you something. Is, is Florence here, and you can just tell me. It's... is she here illegally?
Theresa: No, the Pans are very careful. They provide work papers, keep everything just on this side of legal. But once the women are here, they make them work off the cost of their passage.
Nate: Right. Which takes years because, my guess is, they pay them well below minimum wage. And they know because of the language barrier no one's going to complain.
(Florence speaks to Theresa in Chinese)
Theresa: She's afraid if she causes trouble she'll lose her job. All she wants is to earn enough money to bring her parents over.
Nate: Now, what about your office? What do you guys do? How come you can't fix this?
Theresa: We're an immigrant advocacy network. We can provide counsel but, without a formal complaint, we can't do anything.
Nate: OK, well, we can. Now, does sh... You, you understand, right?
Theresa: Thank you, Mr. Ford.
Nate: Yes. Yes. Of course. It's gonna be all right.
(Theresa and Florence get up to leave. Waitress brings two drinks to Nate’s table)
Nate: Oh, she's not here, so...
Tara: Hey. So, what do we have planned for Florence Ong?
Nate: Uh, we're gonna, uh, get her enough money to take care of her and get her parents to America.
Tara: That's not a very big payoff.
Nate: I wanna give you an easy one to start. Why are you here?
Tara: Sophie said you always meet the clients with her, so I thought...
Nate: Yes, that's something I do with Sophie. (gets up)
Tara: OK. (takes a sip of her drink and follows him)
Hardison: He says he's cool with her, but you know how he is.
Parker: The way she introduced herself. That was a smooth con.
Eliot: Yeah, but it didn't exactly build trust.
Sophie (on phone): Look, we didn't get along when we first started. And Eliot, how long did it take before you trusted me? Hm? Eliot, you do trust me, don't you?
Eliot: That's not the point, Sophie. If Nate doesn't like this chick, then it's not gonna work.
Sophie: Which is why you've gotta get him on board. Look, you need a grifter. The last time one of you tried to grift, you wound up kidnapped by Russians.
Eliot: This brother right here.
Hardison: We still can't let that go?
Sophie: Listen to me. Tara Cole is the best. I wouldn't have sent her if I didn't trust her. I know you're gonna love her. So, just give her a chance.
Eliot: She is hot.
Hardison: She's very hot.
Parker: Hot. (everyone looks at Parker) Warm? Cold? Why are we staring?
Sophie: Yeah, I'm not saying you should throw her at him. I'm just saying get him on board. He doesn't know what's good for him, and even if he does, he doesn't do anything about it. He just lets it walk straight out the door and...
Eliot: Like all the way to Europe?
Sophie: Just do it for me, huh? So I don't have to worry about you.
Tara: That's not what I meant.
Nate: I'd rather not talk about it.
Parker: I just miss you.
(Sophie ends the call. Parker tosses the remote to Hardison)
Nate: OK, run it.
Hardison: Gloria and Russell Pan, self-made millionaires. They built their fortune off a company that produces cheap knock-offs of the latest fashions. The bargain bin has been very good to the Pans. They got nice car, big house in Brookline. Gloria, here, she works the factory floor. She designs all the clothes. Russell, he handles all the accounting and works with the partners in China.
Nate: Gloria designs the clothes. She have any training?
Hardison: She did a correspondence course with a fashion school. And she subscribes to all the magazines: Vogue, Style, Fashion and Style. She, uh, she submitted to Project Runway.
Parker: Last year?
Hardison: Last three years.
Nate: OK. That's our way in. We're gonna sell Gloria Pan…
Tara: …her dream. Yeah. No. I get it. I mean the word con comes from confidence, right? We gotta build her confidence. Make her thinks she's the greatest designer in the world.
Nate: There you go.
Nate: How? We need a Caprina.
Tara: What is that? So, he just says things and then walks away?
Parker: Yeah. You're gonna have to get used to that.
(some time later Parker takes professional style photographs of Tara which Hardison uses to place on the cover of Fashion and Style)
(Russell is sitting reading a paper when Gloria comes over and hits him on the arm)
Gloria: Come on, Russell, lets go.
(Russell gets up and follows Gloria out. In the back yard, Parker is cleaning the pool. When the Pans leave, she breaks into the house and swaps out a Fashion and Style magazine for the one Hardison made. Later, Gloria reads the planted magazine)
Gloria: Hmm. "Caprina. Hottest designer in the world."
(Hardison has a video of a fashion interview playing on his computer)
Man: Fabulous look.
Woman: Over here! Over here!
Man: What line?
Parker: This? Don't you love it? It's by Caprina.
(Hardison implants Parker’s words into the video and uploads it to the Pan’s TIVO)
(Gloria watches the show Hardison had uploaded)
Parker: This? Don't you love it? It's by Caprina.
Tara: So there you have it.
(Hardison uses Tara’s voice to overwrite the reporter on a news segment)
Tara: Like everyone else, we can't wait to see what surprises Caprina has in store for her highly-anticipated fashion show at New England's Fashion Week.
(Tara and Nate watch Gloria’s reaction to the video. Later Tara, Hardison and Eliot are dressed to head out)
Hardison: Here's Caprina's sketchbook. No designer would be without it.
Eliot: Tell me about Fashion Week.
Tara: he big designers use it to launch their new collections, but it's mainly showcases for rising stars. The investors are looking for the next big thing. Tommy Hilfiger, Marc Jacobs, Andre V. They all got their start at Fashion Week.
(Hardison looks closely at Eliot’s face)
Hardison: Is that, is that mascara? Dude, you got on guy-liner, man. And the leather pants.
Eliot: What...? This is... Listen, this is fashion-y.
Hardison: If you're Steven Seagal.
(Tara laughs. Eliot pulls off his scarf and takes down his hair)
Eliot: Don't. Don't!
Hardison: Not everybody can rock the scarf.
Tara: I was gonna say Stephen Tyler, but Seagal works.
Hardison: It's a bold choice, man. I respect it.
Gloria: Tell me this looks eggplant to you.
Tara: No, I like the purple. But I need something that will hold up to rouching. Something, uh... (drops her sketchbook) This works. Did you invite Marcel to the show? You know how touchy he gets.
Gloria (picks up the sketchbook): Excuse me, is this your...?
Tara (takes the sketchbook): Grazie. My designs, my dreams. For a designer, this is sacred.
Gloria (holds up her own sketchbook): Oh, I know.
Tara: Ah, you are artiste, too, uh?
Gloria: Yes. Yes I am. I'm Gloria Pan. And can I say, I'm a great admirer.
Tara: So kind. I'm sure your work is wonderful too. May I?
Gloria: Really? Please.
Tara (looks through Gloria’s sketchbook): Oh. So lovely. Such bold use of buckles, huh?
Gloria: I call it Pilgrim Chic.
Tara: Who are you with? Gucci? Dior?
Gloria: I'm a independent.
Eliot: Caprina, we must go. We...
Tara: We must talk more. Come to the run-through for my show. I insist. Julian tick tock.
Gloria: You mean Fashion Week?
Tara: Of course.
(Eliot hands Gloria a card)
Tara: That is why I am in town. That is why all the designers are in town. And bring your sketches. Hmm? (hands back sketchbook) There are people you must meet. Ciao bella. (they walk away) OK, she's on the hook.
Nate: Great. Let's go steal a fashion show.
Tara: Steal a fashion... Does he always talk like that?
Eliot: You're on comms.
Nate: You do know I can hear you.
(Tara takes out her earbud and gives it to Eliot)
(people are getting models ready for the fashion show, dressing them and putting on makeup)
Woman: OK, the designer's having a meltdown, Kerry.
Man: The delivery truck's here.
Woman: Kerry, which one is ready?
Kerry: Ten minutes.
(Parker is dressed like an assistant and standing among the throng)
Parker: Am I all clear?
(Hardison has hacked into the comm channels used by the show
Hardison: Twelve channels, 120 assistants. My logic filter's telling me the traffic's being directed by somebody named Kerry.
Nate: Oh, yeah, Kerry, this is Leon from parking.
Nate: It seems there's a George Armani here who's very—
Nate: --upset because his parking space is misspelled.
Kerry: Oh! Oh my god. Oh my god. Oh my god. Oh! (runs off)
Nate: OK, Parker, you're up.
(Parker approaches the reception table)
Parker: Hey, you. Yeah, you. The models are out of menthol and the Green Room water is cold, not room temperature.
Receptionist: And that's my problem how?
Parker: Were you at the morning update? Because I think Kerry would be very, very interested in who was and was not at that mandatory meeting.
Receptionist: Mandatory? This morning?
Hardison: Accessing printer.
Parker: Tell me you have a new guest list?
(the woman shakes her head)
Parker: Kerry printed it out in the meeting.
(receptionist pulls the guest list from the printer as Parker slides an envelope into the stack on the table)
Receptionist: I didn't even see this.
Receptionist: Listen, maybe Kerry doesn't have to know about this? Hmm?
Parker: Uh, yeah, see, uh... Just this once.
Receptionist: Thank you.
Eliot: Hi. Oh. Passes please. For Caprina?
(receptionist checks the list and grabs the envelope, handing it to Eliot)
Eliot: How you doing?
Eliot: All right. (walks away)
(near the runway, Eliot escorts Gloria over to where Nate and Tara are watching the runway)
Eliot: Right here.
Nate: Preenie, Preenie.
Nate: You've outdone yourself once again. The fall line is gonna be fantastic.
(Nate and Tara kiss cheeks)
Tara (to a model): No. Not the hair. Not up. Not up. Loose in curls. Up it looks like someone is squeezing your forehead for juice.
Hardison: Give us the exclusive. Look, 12 pages, September issue. How does that sound?
Tara: It sounds like you.
Nate: I want to talk about how you make...
Tara: No. Jacques, you know I don't like to talk money.
Nate: Yes. But you know I do.
(Gloria clears her throat)
Tara: Ah, Glenda! Come, come, come. Come.
Gloria: Gloria. Gloria Pan.
Tara: Yeah, of course. This is Nigel Marshall Thorn, editor of Fashion and Style Magazine. And this crass little capitalist is Jacques Bouvier, my sponsor. Glenda here is quite the artiste herself. Show Nigel your sketchbook.
(Gloria hands Hardison her sketchbook as Nate gets a text)
Nate: Uh, no, no, no, no.
Tara: What is wrong? What? What?
Nate: Oh, my young designer, who was going to be at the newcomer showcase...
Nate: ...at Fashion Week? Arrested.
Hardison: Drugs in the car?
Nate: No. Hooker in the hotel.
Nate: He was to be my great discovery. Oh!
Tara: Oh. There, there.
Nate: I don't know what to do, I... You know, what that boy could do with a buckle.
Hardison: You know Ms. Pan's designs are not bad.
Nate: I'm gonna have to cancel the TV crews.
Gloria: I do have experience in the business.
Nate: And the reality program was going to come and do it as well.
Tara: No, no, no. Stop babbling for a second and listen to Nigel.
Tara: You could introduce her at the showcase.
Nate: Her? Uh, you must be joking.
Tara: No. Look. Look, look, look. (shows Nate the sketchbook) Think of what a coup it would be. Huh? Out of the ashes of scandal, Jacques Bouvier discovers a diamond in the rough.
Nate: But... she's so old.
Hardison: Tragically so, but Gloria Vanderbilt didn't sell her first pair of jeans until she was 40. Ew. But people eat these stories. They do. They eat 'em up.
Nate: No. I know. Look, the publicity yeah, would be worth millions. Yeah. I understand. But, uh... (looks at sketchbook) I don't know. It's...
Tara: Ooh. Look, look.
Nate: Do you have more?
Gloria: Yes, yes the rest are on my computer at work. If you'd like to come to my office?
Nate: I mean, I must be out of my mind but I must get something up on this designer's showcase. Yeah. OK. Well, let's see what Gloria Pan-derbilt has to offer.Yeah. Yeah. Go, go, go.
Tara: It's a good line.
Nate: Yeah. I like very much, lines that, uh, crossover into the, uh... It gives a flow. Yeah.
(Nate and Tara whisper together)
Nate (to Gloria): Come give me a hug. Yeah. (they hug) You know why? Because you are going to be the feature designer at the Newcomer Showcase. The models are already booked. So they wouldn't be a problem. I'm a little concerned. We're gonna have to rush the garment creation which is very expensive, you know.
Russell: What's going on?
Gloria: Russell, these people are going to put on my first show at Fashion Week.
Russell: They're what? I don't think your designs are ready for that.
(on the factory floor, Florence looks up and sees Nate in the office)
Gloria: Whatever? He doesn't know what that is.
Russell: Can we discuss this first?
Gloria: So who do you think will be there?
Tara: Oh, everyone will be there.
Nate: Yeah, um... I don't, uh... Well, I can guarantee you all the top houses will be there. And I guarantee you'll have a deal before the end of the show.
Tara: Do you realize what this means? Your designs will be in magazines, on TV shows, at the Oscars.
Nate: Yeah. I'm gonna have to talk to my funding partners, you know, about all this. And I'm a little worried because they may take a long time deciding. And, you know, we have such little time.
Gloria: So, how much do you need?
Nate: Fifty thousand.
Tara: Two hundred thousand.
Nate: Yeah, I think what Caprina means is that eventually it will be 200,000 we need, but right now, 50's fine.
Tara: But, of course, having funds all at once will make things go smoother.
Nate: Uh, 50, cherie, let us not get ahead of ourselves. It's just too exciting. Yeah.
(Gloria goes over to the safe and pulls out money)
Russell: Are you crazy?
Gloria: Shut up, Russell.
Russell: You don't even know these people.
Gloria: You'll have to forgive Russell. He doesn't understand the artistic process. (puts money in a bag and hands it to Nate)
Nate: Few people do.
Russell: This is from the business account. What are our partners gonna say?
Gloria: How should I know? That's your area. Why don't you go check on the floor? Tick tock.
Nate: Yeah, tick tock. Yeah. Yeah, Julian, sweetheart, yeah.
(Eliot comes forward and takes the bag of money, then leaves the office as Russell watches him go)
Gloria: Let me move some funds around, I'll call you later and then get you the other 150,000 if you really need it.
Tara: You won't regret this. Ciao.
Nate: OK. Let's... Goodbye.
(Nate and Tara leave the office)
Nate: All right. What the hell was that?
Tara: I just got you a bigger payout, that's what.
Nate: But her husband's about to pop. Now listen, we should've slow-played her. On this team, you gotta follow my lead.
Tara: Well maybe if you communicated with actual sentences instead of slogans and code.
(Nate groans and walks away, getting in his car and leaving)
(Tara is on the phone with Sophie)
Tara: No. I'm quitting. I don't need this crap.
Sophie: You're not quitting, Tara.
Tara: At least Eliot's a professional. Hardison's, you know, warming up. Even Parker seems okay with me.
Sophie: Parker showed feelings?
Tara: A feeling. Seemed like a human one, but it's hard to tell. Look, where are you?
Tara: Oh, I love Tashkent.
Sophie: I know, right? Especially in the springtime. Oh, Tara, you have to ask Nate about that time on the Russian border when...
Tara: OK, let me tell you something, Nate Ford is arrogant, he's condescending, he just doesn't listen.
Sophie: Huh. Nate's having trouble communicating? I'm shocked.
Tara: Yeah. I really, really do not need this.
Sophie: Just give it some time, Tara. You owe me.
Tara: All right, fine. If he pulls this man-of-mystery crap again, 'm gonna kick his ass. And the whole, I'm-sexy-because-I'm-broken thing, only goes so far.
Sophie: I know, right? Wait. What?
(Nate, Hardison and Parker walk into the apartment)
Tara: I gotta go.
Sophie: What do you mean sexy?
(Tara disconnects the call)
Nate: Oh, there you are.
Yes, just where you left me, since I couldn't join in any reindeer games.
Nate: Did you get a call from Gloria?
Tara: No, why?
Nate: Oh, I did.
Parker: How would they even keep score? The reindeer.
Nate: Play it, Hardison.
Gloria (on recording): Hello, Mr, Bouvier? I have the rest of the money for you. Please meet me at the...
Nate: "Meet me at..." Only two places make sense.
Tara: Her house or the factory.
Nate: Eliot, I need you to go to the Pans' factory.
(Eliot is flirting with the receptionist)
Eliot: Right now? Look, I gotta be honest with you, man. I think she's gonna come back to Fashion Week. OK? I got a sense about these things.
Nate: Oh, yeah. Nice try, Eliot.
Nate: The factory.
(Eliot sighs and moves away from the receptionist)
Nate: Hardison, check and see if she moved those funds. Also, check her car's GPS. Parker and I are gonna take the house.
(Nate and Parker get up to leave. Tara gets up to follow them)
Nate: Where you going?
Tara: Gloria's gonna expect me.
Nate: Right now, you're an unknown. I don't need another one in the field.
Nate: Earbud? Earbud.
(Tara hands him her earbud)
Nate: Thank you.
(Nate and Parker leave as Tara watches them go)
[Exterior Pan House]
Parker: Reindeer. I mean, I guess they could make marks in the snow, but what kind of math would they use?
Nate: On task, Parker.
(a car takes off quickly from the driveway. Smoke comes out from around the door)
(Nate pushes Parker away from the house as it explodes. He picks himself up aand they head back down the driveway)
Nate: OK. What do we know?
Parker: Someone targeted the Pans.
Nate: Yeah, I'm with you on that.
Parker: The silver sedan that pulled out right before the explosion? It belonged to the Pans. I recognized it.
Nate: So, either they got away, or the people who did this got away in the Pans' car—
Nate: --and the Pans didn't. Uh, Hardison.
Hardison: Already on it. (looking at monitor) The Pans' car just got on I-95 heading south.
Nate: OK. I need to see who's in the car.
[Exterior Pan House]
Nate: Can you get me a visual?
Hardison: A visual? Do I look like I have a helicopter?
[Exterior Pan House]
Nate: Yeah, a simple yes or no.
Hardison: Well, I might, might be able to get you a photo off a traffic camera. But I would have to time it just right based on the car's rate of speed.
[Exterior Pan House]
Nate: Listen to me, a car is driving 80 miles an hour. How long does it take to get to a camera a mile away?
Nate: That's seventh grade algebra, Hardison.
[Exterior Pan House]
Nate: Listen, the husband said that they had partners.
Parker: Forty-five seconds.
Parker: That's the answer, 45 seconds.
(Eliot is going through paperwork on one of the desks)
Eliot: I got bank statements listing Sunbright Holdings as a joint account holder with the Pans.
Tara (walks in): Show me that. (takes paperwork)
Nate: What's she doing there?
Tara: Tell Nate I know this corporate ID prefix. It's from Shanghai.
Eliot: They pick up. You don't have to yell.
Tara: Just tell him!
Hardison: I'm looking at the footage our camera caught of the Pans' house right before the explosion. Sending now.
[Exterior Pan House]
(looking at video on phone)
Nate: Who's planting that bomb? Eliot. Tara. Get outta there!
(Nate and Parker hurry to get in the car)
(Eliot looks alert)
Eliot: We gotta go.
(they exit into the factory floor. Three men come in through a large door)
Eliot: We gotta go. Nate, I got three guys here. Armed with cleavers. That's the signature of the Triad.
Nate: Triads. We're a minute away.
Parker: The Chinese Triads.
Nate: They control the global counterfeit clothing market. It's worth billions to them. Even more than narcotics.
Eliot: So we didn't take money from the Pans. We took money from the Triads.
Nate: The last person holding their cash was Eliot.
(Eliot keeps Tara behind him)
Eliot: This way.
(the men follow them through the rows of clothing and sewing machines)
Eliot: All right, cleavers. I haven't done that in a while. All right, listen, these rows are narrow. OK? They're gonna have to come at me one at a time. Just stay close.
Tara: You're telling me what to do? (moves away from him)
Eliot: Yeah. Don't. Wait, what did you... Tara. Tara.
Tara: Please. Please. Please. I don't wanna die. Please.
(one of the men slash at her playfully with a cleaver. Eliot looks at the other men. One of them speaks in Chinese. Tara pushes a cart at the one closest to her, making him fall over. She reaches for an iron and hits him in the head with it, knocking him down again. Eliot nods in approval. Another man comes at Eliot with a cleaver. He dodges the blows and pushes the man away. Eliot blocks the next blow with a dressmaker’s dummy, then punches the man in the face. Tara picks up a cleaver. Eliot blocks a blow from the man he was fighting and hits him several times in the face and chest, knocking him down)
Hardison (watching video on monitors): Nate, I just got a shot of the Pans' car. Gloria is traveling solo. I guess Russell didn't make it out.
Hardison: Poor bastard got blown to bits.
(Parker and Nate get out of the car)
Nate: All right. Yeah. Russell Pan handles the finances. Did we do a full background check on Russell Pan? (to Parker) You stay here in case this goes south. You're the getaway car.
Hardison: Of course we did. Driver's license, birth certificate, hospital records, business records, he's Russell Pan.
Nate: Yeah, but did we make sure that Russell Pan isn't anybody else as well?
(Nate walks cautiously into the warehouse)
Hardison: Ah, hell.
(runs Russell’s face through facial recognition software)
(Tara brandishes the cleaver. The man she was fighting stands up and comes at her. Eliot blocks the blow and hits the man in the face, pushing away the cleaver. He blocks a punch, then hits the man several times in the side and face. Tara comes over and headbutts the man, knocking him out. Eliot looks at her in surprise)
Tara: Admit it. You kinda like me now.
Hardison: Guys. Guys. I just got a hit on an Interpol database. Russell Pan's face matches a one Nicholas Chow, Chinese national, works for the Sun Yee On triad. Counterfeit clothing, black market, he's known for burying his enemies alive. This is a bad dude.
(Eliot and Tara walk across the factory floor toward the exit when more men walk in, Russell among them)
Eliot: You gotta be kidding me.
(the men pull guns and points them at Eliot and Tara)
Hardison: And there's something else.
Hardison (watching video): I don't think Russell's dead. He was there when they were planting that bomb.
Nate: No kidding. (to Russell) Pardon. Pardon. Si vous plait. Hello. Jacques Bouvier. Good to see you again, yeah. Hello. Guns. Yeah, uh... The last time I saw you we were here for a business meeting with your wife. Yeah, this is all a big misunderstanding.
Russell: That cow of a wife gave you something of mine. Fifty thousand dollars US.
Nate: Yes, this was for a show. This is a business.
Russell: For 20 years, I carried her. I brought over the cheap labor from China. I supplied the Asian markets. All she had to do was copy the fashions. But no, you sold the woman on a ridiculous dream. So I had to get rid of her. Now, I'm responsible to my superiors for that money. Where is it?
Hardison (looks at money in bag): Guys. Sit tight. Tell Chow or Pan, Pot, Skillet, whatever his name is that his money's on the way. It'll be there in 15 minutes.
Nate: Where is it? Uh... We don't have the money. Yeah, the money's gone. We spent it on the vendors for Gloria's show, yeah.
Hardison: Did, did you not hear what I just said? I'm on my way with the money.
Nate: Yeah. And there's no reason to do anything or go anywhere because the money's gone.
(Hardison gets up quickly)
(Russell says something to the men in Chinese)
Nate: Whoa, whoa, whoa. Wait, wait, wait. Now, wait, listen to me one second before you... What if I was able to give you something worth much more than the $50,000? What if I was able to give you the designs for next fall's collections, today? That's right. You could get your factories churning out the knock-offs way before the competition. This would be worth millions to you in additional revenue. Millions.
Russell: And how are you going to do this?
Nate: We have access to the Fashion Week shows. I mean I can get Julian to steal a major designer's designs.
Russell: So, I let you go. You run to the police. And I get nothing? No deal.
Tara: You can keep me as collateral.
Nate: No. No. No. Wait, no, no. This is not necessary. No, no. We're not going to go to the police or anything like that. We have no evidence. I mean, you're gonna hunt us down anyway.
Russell: We'll keep the woman. You bring us the designs or... we'll kill her. You have one hour.
Tara: I'm telling you, get him what he wants, huh? It's just 50 grand. That's what this is about, Five-oh. Capiche? Five-oh.
Nate: Yeah. Yeah, OK. Julian, come. Come on. We go.
(Eliot and Nate leave the factory)
Hardison: You could've just given Russell the money.
Nate: If we'd given them the money, we would've gone back to the client with nothing.
Eliot: Because that's what it's about. A chance to run a con on the Triads on the fly. You put Tara's life in danger to take down a bigger target.
Nate: Listen, it's one thing for Florence and those other women to owe money to some local sweatshop. You want them in debt to the Triads the rest of their lives?
Parker: You wouldn't have left Sophie.
Nate: I know what I'm doing. I've got it under control. We got less than an hour.
Hardison: We need some designer's plans? We gotta get... Hold... Hold... I got... OK, there's one show left today. Andre V. has a hip-hop couture line.
Nate: Great. Perfect. Go get those plans.
Hardison: Wait. What are we doing?
We are gonna make Gloria Pan's dreams come true.
Maybe I wanted to meet Andre V. Did nobody think of that? Selfish.
(the show is in full swing, designers and reporters everywhere. Eliot irritably pushes aside a camera pointed at him)
Eliot: Three minutes 'til the show.
Parker: I know.
Eliot: Three minutes.
Parker: I've got it.
(they approach the receptionist, who now has a security guard)
Parker: Kerry, I've got it. OK? I need you to re-freaking-lax.
Receptionist: IDs please.
Eliot: How am I supposed to find soy candles on such a short notice?
Parker: Farmers Market.
Receptionist: I need to double-check your IDs.
Parker: You know what? Kerry sent us, OK?
Receptionist: There was a security breach earlier. No exceptions. The only thing that gets in are models and clothes.
Eliot: I left my ID at the desk.
Parker: I'll help you get it.
Eliot: Thank you. (they walk away) "The only thing getting in are models and clothes.
(Eliot looks at Parker for a long moment, then walks over to a rack of clothes. Parker begins to look through the rack)
Eliot: No. No. No!
Parker: How about this?
Eliot: It's a shirt, Parker.
Parker: I know, but at least you can move in it. These clothes are totally impractical. OK? There's no range of motion, limited concealment options, and this reflective material would set off a motion detector a mile away.
Eliot: It's a fashion show. It's not Thieves-R-Us.
Parker: Fine. How about this?
Eliot: The A-line drape of the empire waist is nice but the neckline's a little weak if you ask me. What? I date a lot of models. Lot of private fashion shows, if you know what I mean.
Parker: Yes. Yes.
Eliot: Though most of the dresses ended up on the ground.
Parker: Yep. I get it. You're a guy.
Eliot: Means they were naked.
Parker: OK, seriously? (walks away)
Eliot: Yeah. I'm just saying. (watches a model walk by) How ya doing? (follows the model)
(a few minutes later Parker walks through the area wearing a dress)
Andre V: What is that? What is this monstrosity on my model? I don't know who did this but it totally was not me. This is not my dress. This is not an Andre V dress. I do not design Halloween costumes. And what is with this makeup, sweetie.
(Parker walks over to a laptop and plugs a flash drive in, then hits a few keys to begin transferring files)
Andre V: You are lovely but baby you look like you just came from clown school. I asked for blue. You gave me red. This is... It's terrible. What do I have to do to get the correct color?
(Andre V sees Parker)
Andre V: And you. You. You're incomplete. You are incomplete.
Andre V (grabs Parker): Boys and girls, incomplete model on deck. Incomplete model on deck. This is an emergency. Sit down. Sit. Sit. Sit, sit. Incomplete model on deck. Here.
Andre V: Nose. Eyes. Chin. Hair. Go.
(people converge on Parker to do her makeup and hair. She strains to see the laptop, which is still transferring files)
Andre V: Go. Come, come. Let's go. Let's go. Let's go. The cheekbones.
(a few minutes later everyone moves away to reveal a fully made up Parker. They all gas)
Andre V: Perfection. Perfect. Oh. Oh, wonderful. OK, let's go. Go. Go. Go. Go.
(Andre takes her to the runway and pushes her out)
Andre V: Go. Go. Go.
Andre V: Go faster. Faster. Go. And graceful, please. You're not running a marathon. Don't even think of coming back here. Find your face. Find your face.
(Parker walks gracefully down the runway, striking a pose. She turns and heads back down the runway, then falls into the crowd)
Andre V: Oh my heavens. My show.
(people converge around Parker, taking photos)
Eliot: How we doing, Parker?
Parker: All clear. Grab the drive.
(Eliot climbs out of a clothing rack and pulls the drive from the laptop before returning under the draping that covers the rack)
Andre V: Oh my show. Models, everyone, the show must go on in the spirit of fashion. The show must go on. You, models, get out there. Look pretty. Get out there. Now. Go. This always happens to me.
(a man pushes the rack away while Andre hits his head on a post)
(Tara is sitting at a station with men surrounding her)
Russell: You must trust in your friends. Although, they don't seem worthy of such devotion. (sits next to Tara) Especially the one in charge, Bouvier.
Tara: Yeah. I agree. I don't trust him. And neither should you.
Russell: Why not?
Tara: Cause he's not who he says he is. His name is Nathan Ford. And he's a con man. He's a thief. He's gonna try and play you.
Russell: Why are you telling me this?
Tara: Look, you and I both know when he gets back here with the designs, you're just gonna kill us, right? OK, but what if I told you I had a better way to fix your problems?
(Eliot opens the door of the van and hands Nate the flash drive)
Eliot: OK. They're all there. Courtesy of Andre V.
Hardison (plugs the drive into his laptop): Yes they are. Thank you, Andre V. (hands drive to Nate) The files are compressed. They're easy to email.
Nate: OK. (gets out of the van)
Hardison: Oh, uh, Nate. (hands Nate a wallet)
Nate: All right.
Eliot: Hey, this thing starts coming off the rails, don't wait. Call us in.
Nate: Yeah. Chow is primed. I can handle him.
Eliot: I'm not talking about him.
Nate: She's a pro. She knows what to do. (walks into the factory)
(Nate enters quickly, holding up the flash drive)
Nate: Ah, yeah. Here are the designs.
(Nate hands drive to Russell, who accepts them in a handkerchief)
Nate: There you are..
Russell (plugs in drive): Mm. Andre V. Yeah. The real deal.
Nate: Oh yeah, the real deal, yeah
Russell (emails files): Our factories will be working off of these by tomorrow.
Nate: Yes and you will become very, very wealthy. Yeah, uh, so, we're done, yeah? We're done, yes?
(Russell unplugs the drive and hands it back to Nate, who puts it in his pocket)
Russell: No. The police are looking for someone who broke into Andre V's computer. They're on their way here now.
Nate: I'm sorry, but, uh, how would they know this?
Russell: Because I called them and I told them a con man named Nathan Ford just tried to sell me a bunch of stolen designs.
Nate: Well. (takes off glasses)
Tara: What if I told you I had a better way to fix your problems?
Russell: OK. Tell me.
Tara: You tell the cops he showed up just before someone tried to kill your wife. A grifter who comes into her life just before he takes your money and your house explodes? You get the designs, he takes the heat. No bodies to clean up. Nate's the fall guy and you walk away clean.
Nate (to Tara): Well, I knew I couldn't trust you.
Tara: You've done nothing to earn my trust.
Nate: I made you a member of my team.
Tara: Your team? Oh, please. You get off putting everybody's lives in danger so the great Nate Ford can come in and save the day. That's your rush.
(sirens sound in the distance. Russell says something to his men in Chinese. They move away, as does Tara)
Nate (to Russell): Well, they'll never believe your story.
Russell: No? You're in my factory. You're pretending to be someone you're not. Besides, your prints are all over the drive. (to police) Detectives. This, this is the man I called you about. They're in his jacket pocket.
Detective: Hands on your head, please.
(the detective takes the drive from Nate’s pocket and takes it to the computer, plugging it in)
Detective: Sir, are you Russell Pan?
Russell: Yes. Yes I am.
Detective: AKA Nicholas Chow? From Interpol's Most Wanted list? (turns laptop around to show the wanted photo)
(Hardison plugs in the drive and copies the wanted pictures to it. Nate puts the drive in his pocket)
(Russell hands Nate the drive. Nate palms the drive while pretending to put it in his pocket)
(The detective continues to look at information on the drive, finds the video of Russell planting a bomb in his house)
Detective: So, you blew up your house to kill your wife. All right. Get him outta here.
(officers arrest Russell)
Detective: Come on. Let’s go. I got a couple questions for you too.
Nate (whispering): Listen, check my inside pocket.
Nate: I've been working Fashion Week, been undercover for six months.
(Detective pulls an Interpol ID from Nate’s pocket)
Nate: You can take Chow. You've got enough for attempted murder, conspiracy, arson, whatever. Just, here, make it look good. Walk me out.
Detective: All right. Sure.
Nate: Make it look real.
Detective: You got it. (leads Nate toward the door)
Detective: Yeah. All right, you guys, clear the door.
Officer: Yes, sir.
(detective hands Nate his ID back and Nate leaves)
Nate: We might wanna destroy this. (tosses drive to Hardison)
Tara: Russell didn't actually transmit the designs to the Triad factories, right?
Nate: Designs? Yes. But probably not the ones they wanted.
Russell: Our factories will be working off of these by tomorrow.
(elsewhere, a man opens the email to see Gloria’s designs)
Man: Why so many buckles?
(man blows whistle to get people in the factory back to work)
Hardison: It was a simple switch. You just put an auto-run instruction file on the drive to show a set of designs for the startup and a different set for the email.
Eliot: Yeah, well too bad Gloria had to retire before her collection was released, huh?
Nate: I have a feeling she might find a way to stay involved in the clothing business.
(Gloria is ironing clothes in a sweatshop)
Man: Here's more clothes, Mrs. Pan. Keep up.
Parker: OK, no earpiece. How did you tell Nate you were gonna run the cop scam?
Tara: It's just 50 grand. That's what this is about, Five-oh. Capiche?
Eliot: Five-oh. For the cops. That's all it took?
Nate: Some people just know how to communicate.
Tara: Yeah, I just finally learned how to speak his language. Cryptic clues, slogans and code.
Nate: Here's $50,000. That should be enough to get your parents to the States. And when they get here, they'll have decent jobs waiting for them.
(Theresa translates to Chinese for Florence, who replies)
Theresa: She wants to know how you're able to do all this.
Nate: Well, you know, once the Pans dropped out of the picture, the factory went into receivership.
Tara: We were able to convince the courts to keep it running under the guidance of a legally-appointed administrator.
(Theresa translates to Chinese for Florence, who replies)
Nate (to Theresa): Speaking of which, how's it going there, Madame Administrator?
Theresa: It's been very good. Everyone's realizing they now get a say in setting their conditions and hours.
(a bell rings and women take a break to eat)
Theresa: But I think they're adapting to the new rules pretty quickly.
Florence: Thank you all so much.
(Florence hugs Nate)
Theresa: Thank you.
(Florence and Theresa walk awaY0
Nate: Well, oh. (hands Tara an envelope) There. That's your cut.
Nate: And, uh, I'll give you, uh, your earbud back. And, listen, you know, I'll try, because Sophie sent you. Try to communicate better.
Tara: Thank you. And for what it's worth, Sophie was right. You guys are the best I've ever seen.
Nate: I know. (walks away)
Tara: But no one in the world is as good as you think you are.
(Nate is talking to Sophie)
Sophie: Rough day?
Nate: Uh, we got through it OK.
Sophie: Barely. From what I heard.
Nate: Oh, well.
Sophie: Listen, Nate, I sent her, so... So even if you don't trust her, you should trust me by now.
Nate: She was never in any real danger, so.
Sophie: Really? So you would have made the same play if it were me?
Nate: Yeah, probably. No.
Sophie: Nate, what are you doing?
Nate: What am I doing? I'm doing my job, Sophie. The one that you talked me back into doing when I was sitting right here on this couch. (gets up and walks around couch) The same one you walked out on. So don't call me from London, or Paris, or wherever you are and start telling me, you know, how to run my crew.
(behind him, Sophie hangs up)
Nate: I'm sorry, but it's just if you... (sees that she’s gone) Sophie!