#and there's the bit where Parker just. FULL-BODY slams into Eliot

[eyrieofsynapses]

so Parker has this habit of being physically affectionate with Eliot, right? where she'll casually bump into him, or sit close to him for no apparent reason (and there's multiple open spots), or, you know, poke him over and over until he tells her to stop. and this is just how they are.

but it's a little strange in a way. Parker isn't a very physically affectionate person. she seems to hate being touched by other people without her consent, and understandably so! she's spent a lot of her life where non-consensual touch is dangerous! but she is willing to initiate, if infrequently. and that's true with the whole crew (though it is rarer with Sophie and Nate). it isn't that she doesn't like physical contact. she just likes it on her own terms.

and then there's Eliot--who is not touchy-feely, who largely ignores causal contact, and yet still seems to enjoy it by degrees. and of course we cannot forget the all-important moment in Queen's Gambit, when it would appear a drugged Eliot is a cuddly Eliot, and isn't that interesting? isn't it interesting, how he's willing to occasionally initiate hugs that aren't asked for, even when not drugged? how he seems to enjoy giving things like handshakes and little pats on the back and nudges? Eliot perhaps likes contact more than he lets on.

but he, like Parker, has lived in a world where "touch" means something different. he has seen what his touch does to people. he is too dangerous, meant to be too dangerous, to be casually tactile. it isn't even a conscious thing, per se. it is merely the unconscious awareness that he is not someone to be physically affectionate with.

(and it is probably a cultural thing too, of course, because a man, especially of his origin, is not supposed to be someone dependent on others, is not one to show the weakness of anything more than manly pats on the back and handshakes and the rare formal hug.)

but Parker?

Parker has trusted him from the beginning, trusted him so much that three jobs in she threw herself out a window and relied on him to catch her without hesitation. she knows he is the firm foundation. she finds it hard to believe he can even be hurt. she spares not a second thought to bump into him, to easily throw an arm over his shoulder or perch herself on the back of his chair. she doesn't do this with the others, not even Hardison, not at first.

and it is hard to tell what precisely her intent is. Parker is a multifaceted person with so much going on beneath her surface that her many-sided motives are difficult to parse at the best of times. perhaps she's just enjoying seeing how far she can push his boundaries. after all, she's never been afraid of poking bears. her curiosity begs to see: how much will he take before he snaps at her?

(and what would he actually do?)

or maybe it's instinct, an instinct borne of too many dangerous homes and too many poisonous families, the instinct to find the edges of the box and make sure she only strays when she knows the consequences. maybe he surprises her when he never pushes back so hard that she has to stop altogether. maybe she enjoys having someone whose affection and protection will never be lessened by her teasing.

or maybe--just maybe--she sees that he likes the trust, likes being regarded as so safe that she can do whatever she likes, even if he can't admit it even to himself. how long has it been, after all, that someone has known him for all he is and still has such careless ease around him? how long has it been since someone has seen all his sharp edges and doesn't care? how long since someone trusted him not to cut them?

(or perhaps it’s all of the above, for people are locks, and locks have more than one tumbler.) 

Parker's trust is a gift with a worth beyond measure. Eliot knows this well. her sense of security around him is something to be marked and treasured. and it is a reminder that despite all he's done, despite the fact that people are knives and he is an obsidian blade, among the sharpest of them all, he is not meant only for hurting. he can be trusted. he can be trusted by a wary thief who has seen far too much pain at the hands of men like the one he once was, and does that not make him worthy of love?

and then there is Parker. Parker, who has a friend (something more, if we're honest, so much more than a mere friend, and as the years pass that becomes ever more apparent) whom she has seen take down a group of thugs within the space of seconds, who is capable of more violence than she (in her violence-filled life) has ever seen, whose hands have wrought so much hurt--a friend that she is perfectly confident would never lay an unwanted finger on her. Parker, who has spent her whole life dancing on the knife's edges of other people. Parker, who has fallen on those blades more times than she knows. Parker, who has looked for a home for years and never quite found it.

and now? now Parker has Eliot, whom she feels safe to be physically affectionate with. because she knows he'll always come for her. she knows he'll never hurt her. she knows that no matter what, she can nudge him and bump him and sit close to him and invade his personal space, and the most he'll do to divert her--if he does anything at all--is raise his voice and gently push her off, and he'll never, ever, ever hold it against her.

she has security. she has affection whenever she wants it. she has a home. she has something that she has always wanted--finally, she has this, Parker has her family.

and what more, really, could you ask for? 

#leverage #parker #eliot spencer #parker leverage #jeez the parker tag is all marvel #what do we use for Parker people? #anyway THANK YOU ALL #for being ABSOLUTELY LOVELY in response to the Sophie & Eliot meta! #so uh? have some more I guess? #anyway I was watching Three Days of the Hunter a little bit ago #and there's the bit where Parker just. FULL-BODY slams into Eliot #who of course endures it patiently as he usually does #and I went 'huh she really doesn't mind being in his space does she--' #'wait. PARKER. does-not-like-touch Parker. nervous-about-personal-space Parker.' #THAT PARKER. has zero problem being physically affectionate #with ELIOT GODDAMN SPENCER #the guy who can probably kill a man with his pinky finger #the one who's suffered the most physical abuse out of the whole group #is the most comfortable with the HITTER? #the only one with real blood on his hands? #within the first year or two??! #obviously he's more than that #but the contradiction is just. stunning #and it truly says something about how kind and patient Eliot is #that she has that trust in him so early on #(I COULD go into the ot3 aspect) #(but this is early-days focused so. nah for now) #these tags were longer but Tumblr was mean and said no :( #anyway if you got this far THANK YOU #I sincerely appreciate it <3

[party-gilmore]

This is still just a half formed thought but @pebblesrus got me thinking bout The Pool Scene and Eliot viewing his body/safety as something to physically exchange for that of others, combined with the commentary about how Eliot was counting the seconds Hardison was without air, like

There's still the thrum of angry tension stretching out from Hardison between them through the night, during Flores's call, on the way in and through the airport... Eliot isn't avoiding Hardison's angry gaze, but he's not seeking it out either. It burns under his skin, a hot coil of discomfort and the sinking sensation of having ruined something unless he manages to make things even.

At some point midflight, Hardison gets up to pace near the bar (because it might have been last minute, but he's NOT gonna make the team fly coach - even though he's still upset with Eliot and may have thought about it for a minute). Eliot follows a few seconds later and catches Hardison on the way back, quickly shoving him into the small lavatory and locking the door behind them.

"Man! What the hell! If you don't get your hands off me, I-"

"One minute, nineteen seconds." Hardison stops flailing against Eliot's grip around his wrists and just... stares, incredulous.

"...what?"

"You were without air for one minute, nineteen seconds."

"...you were counting." It feels a little like a question, although it isn't. Not really. Eliot's grim expression softens often imperceptibly. Hardison would've missed it if they weren't crammed so tightly in the small bathroom. Eliot answers the non-question anyway, voice uncharacteristically gentle.

"Course I was."

Hardison tumbles that around in his head for a bit. Of course Eliot was counting. Probably to know when it was too dangerous anymore to stay in character. Hardison knows how important it was to gain Moreau's trust at the time. In his head, he knows that. Knew it, even then. He was just... so afraid, at almost drowning, and angry at the secrets Eliot was keeping... but he was counting. He would've gone in for him, if he needed. Blown the whole damn thing.

Yeah the situation just sucked all the way around, sure, and yeah Alec's still a little pissed - why wouldn't he be! He's got the right! - but Eliot was counting. That means even though he'd had to put Hardison's life at risk, he was willing to risk even more - his own safety, the entire con - to pull him back out if needed. That was something, right? That was still-

-Hardison's too busy turning the pieces around in his own head to notice Eliot shifting his grip from Hardison's wrists to his hands. Tugging them closer. Pulling them up.

Alec snaps back to the present when his fingertips graze the warm, flushed skin of Eliot's neck.

"What-"

"One minute, nineteen seconds." Eliot suddenly presses Hardison's hands tight around his throat, guiding his thumbs to the appropriate hollows beneath his jaw.

"You... you can't be fucking serious!"

He tries to pull away, but Eliot's grip holds fast.

"Damnit Hardison," his growl comes rough, grating, as he puts pressure on his own windpipe through Hardison's palm. "You were right! Okay? I risked your life. For one minute and nineteen seconds. So that's what you get. Just... just do it, man! Get it over with, then we're even!"

"Even-... man, do you not realize how fucked up this is? I'm not... I'm not doing this!"

With a growl, Eliot tears his hands away from Hardison's, and Alec snatches his newly freed palms back to his chest. Eliot clearly wants to pace, but can't in the cramped room, so he settles with carding his fingers through his hair.

"Then what the fuck else do you want from me, man!" His voice already sounds ragged, even with how short of a time Hardison (or rather, Eliot by way of Hardison) was pressing around his throat.

"I just wanted you to be honest with us! With me!" Hardison slumps back against the far wall, anxiously rubbing his jaw as he tries to find the words. "Alright, look, I get it, what you had to do at the pool. I do. That doesn't mean my being upset about it is just gonna... go away!"

"I know that!"

Hardison flinches as Eliot slams his fist against the side wall. He knows the strike wasn't meant to be pointedly 'at' him, that in such a small space there's not a whole lot of room to safely lash out in when feeling cornered, but it was still too close to him for comfort. Eliot clocks the flinch, and for a moment the frustration on his face morphs into a clear expression of the guilt he's been masking since the pool.

"I... I'm sorry. I didn't... fuck, I'm sorry," he pulls away, shrinking in on himself like he does on the grift, trying to consciously make himself seem smaller. "I just... I just don't want to have ruined us, man. Whatever is we've got... you and me, this team... I just wanna fix what I broke. I want us to be good."

"We are good, man," Hardison cautiously steps forward. He thinks to put a hand on Eliot's shoulder, but that's too close to his throat at the moment, so he goes for the outside of his arm instead. "You don't gotta... let me hurt you to make things even. That's... I don't know where the hell you learned that, but I don't like it. I'm not gonna do it. You just... you just gotta let me feel my feelings for a bit, okay? We'll get Moreau, and that'll feel fucking great, and have a little party, and everything will be fine. "

Eliot looks up at him and the ragged, raw desperation in his gaze about knocks Hardison back against the wall.

"...that's it?" Eliot's almost laughing, with a dry sarcastic bite behind his tone that makes him sound unhinged... well, more unhinged than usual. Although, he did just ask Hardison to choke him, so Alec figures we're not exactly working with the usual state of mind here.

"It's that easy, huh? You just... say we're good, and we're good?"

"Uh, yeah." Hardison shakes his head, tightening and loosening his grip on Eliot's arm in what he hopes is a soothing pattern. "That's how normal feelings work when somebody you care about pisses you off. You talk your shit out, it hurts for a bit while it heals up, then you're good. I don't know who fucking taught you you had to pay for-"

Oh. Oh but then it hits him. The dots finish connecting and he's looking down at Eliot, who's been strung tight and volatile as a clumsily stripped live wire ever since they closed in on Moreau, and in that moment Alec knows who taught him that.

He steps in close, carefully taking the back of Eliot's neck in a gentle grip, and ducks slightly to even out their gazes. Eliot’s whole body is tensed so hard he's almost shaking with it, but his eyes start to lose their sharp edge with Hardison's easy hold.

"I need you to hear me, Eliot. If I say we're good? Then we're good. No strings attached, no games, no doing any 'favors' for me first to prove any kind of loyalty or whatever. You know I don't play that shit. Yeah? You hearing me, man?"

Eliot's body starts to lose a bit of it's tension. A hesitant nod starts, but stops early. Hardison's seen Parker do that before, when she's too nervous to fully commit to a new idea even if she wants to, so he softens his tone and backs up a bit like he does with her.

"You hear me, babe?"

"I hear you," the reply is soft, almost embarrassed, and Eliot's eyes dart away. Hardison let's him go, indulging the gruff 'pretending to shake off the touch' Eliot does a second too late to be any kind of believable, and respectfully ignores the clearing of his throat and wiping at his eyes.

"We, uh..." Eliot turns to the door, fidgeting with the handle for a moment. "So, we'll talk. In San Lorenzo. When it's done?"

"When it's done."

Affirmation granted, Eliot darts out of the room. Hardison takes a few more minutes. Washes his face. Processes all the data thrown at him in the past few minutes as much as he can before filing it away for later. For 'when it's done.'

BONUS:

I feel like later, when they have their actual talk and Moreau is dealt with and both parties are a little more calm about it, Eliot is still like okay, I hear you, I understand that you don't need this to feel like we're square... but I do. Please.

And this time, knowing a little more of the whole story, Hardison is more comfortable accepting that like you know what, okay. If this is what you need, now that we've talked it out in a much less charged scenario and I can trust that you're in (more of) your right mind about this, okay. So long as you know I don't need this, that this is for you, and that if you need to stop early you swear you'll tell me.

Eliot probably rolls his eyes a bit at that like c'mon not even a full two minutes of getting choked out? He's had to go [absurd amount of time] without air in [equally absurd situation] in [obscure country], he'll be fine.

So Hardison sets a timer, and gently presses Eliot up against a wall, hands wrapping round his throat, Eliot's hands around his wrists - the deal is that he holds on for as long as he's good, if he let's go then so does Hardison - and he starts pressing in.

The whole scene is far softer and more intimate than either of them expected. They keep crazy intense but somehow still gentle eye contact almost the entire way through - the only exception being when Eliot's eyelids start to flutter a bit near the end, his grip loosening but not letting go - and when the time's up Eliot almost doesn't want Hardison to let go. He didn't even know that was a Thing for him. It had never been like that before, and like he said it's hardly his first time being choked... but something about trusting Hardison with that level of control... it makes him realize he maybe likes it a little too much. Putting his actual life in Hardison's hands in such a very physical, tangible way.

It kind of scares him, to be honest, how easily he'd be willing to let him do it again. And thinking about Hardison always leads to thinking about Parker, and thinking about Parker always leads to thinking about Parker's hands, and he realizes that he'd even trust "I hang off buildings by my fingertips" hand strength Parker to do it too... maybe even gets excited at the idea of it...

...and realizes he's well and truly screwed.

#eliot spencer #alec hardison #eliot spencer x alec hardison #precursor to the #leverage ot3 #Moreau's mindfuckery

[leverage-ot3]

notable moments from The Nigerian Job

(PART ONE)

leverage 1.01

note: there are A LOT of scenes in this one, but they are all important in one way or another in terms of notability, character-building, etc

Dubenich: I’m sorry Mr. Ford, sorry, I know who you are I’ve, uh, excuse me. I’ve read all about you. I know for example that-that when you found that stolen Monet painting in Florence you probably saved your Insurance Company what 20-25 million dollars. Then there was that identity theft thing and you saved your insurance company I don’t even know how many millions of dollars but I just know that when you needed them… What happened to your family is the kind of thing--

Nate (slams glass down): You know that part of the conversation where I punch you in the neck nine or ten times? We’re coming up on that pretty quick.

- - - - -

Dubenich: I’m serious. Look, look at the people I’ve already hired. Do you recognize any of these names?

Nate (going through file): Uh, yeah, I’ve chased all of them at one time or anoth-- Parker? You have Parker?

Dubenich: Is there somebody better?

Nate: No, but Parker is insane.

Dubenich: Which is why I need you.

Nate (laughs): No. I’m not a thief. (closes file)

Dubenich: Thieves I got. What I need is one honest man to watch them.

- - - - -

Hardison: I’ve been doing this since high school, bro, I’m Captain Discipline.

[Flashback]

(New York City Hotel, Five Years Ago)

Manager: They came straight from the airport and up to their room.

Security: So you never actually saw any of them then.

Manager: No, but the credit card numbers checked out.

Security: Break it down!

(Doors open to reveal Hardison sitting on a couch drinking orange soda while three beautiful women dressed as Princess Leia fight with lightsabers)

Security: Does that look like Mick Jagger to you?

Hardison: This is not the room you’re looking for.

what a fucking GEEK oh my god

like, his flashback is so tame compared to the others???

like, his version of criminality is hanging out with cosplaying pretty girls and watching them fight with lightsabers, all under the guise of pretending to be mick jagger

- - - - -

Hardison (holding up an earpiece): It’s a bone-conduction earpiece mic, works off the vibrations in your jaw.

(Hardison tosses it to Eliot who holds it to his ear)

Hardison (whispering): You can hear everything.

Eliot: You’re not as useless as you look.

eliot being subtly impressed with hardison is my religion

- - - - -

Hardison: I don’t even know what you do.

[Flashback]

(3 Years Ago Eliot, wearing glasses and drinking from a mug of tea, enters a room full of men in Belgrade, Serbia)

Eliot: I’m here to collect the merchandise.

(Most of the men pull guns. Eliot takes a long sip of his drink. Outside, the windows flash with gunfire. Moans and the sound of a body falling fill the air. Inside, Eliot calmly takes another drink. One man sits at a table surrounded by bodies that litter the ground. He places a baseball card on the table. Eliot smiles)

am I the only one that wants to know the context of this???

- - - - -

(Parker drops down between Eliot and Hardison, hanging upside down from scaffolding)

Parker: Can I have one?

Hardison: You can have the whole box.

(Hardison holds the box of comms up for her. She takes one and pulls herself back up)

Eliot: What are you going to do when she finds out you live with your mom?

Hardison: Age of the geek, baby. We run the world.

Eliot: You keep telling yourself that.

(Parker puts the comm in her ear, smiling)

ot3 moments from day one baby

also eliot goes from ‘baby’ to ‘oh god, I’m baby’ in 0.0000005 seconds

- - - - -

[Flashback]

(19 Years Ago in Kansas City, a ten year old Parker stands in her living room watching her foster parents fight. The foster father turns to Parker, holding a stuffed bunny while the foster mother stands in the background, crying)

Bill: You thought I wouldn’t find this? You don’t get bunny until you do what I say. So be a good girl or, I don’t know, a better thief. (walks out of room)

Foster Mother: Bill!

(Parker walks outside and down the walk. Behind her, the house explodes. She hugs her bunny and smiles)

for the LONGEST time I thought she blew up the house with her foster parents until I saw that john rogers confirmed they weren’t home at the time

also this gives HEAVY insight as to how even the smallest part of Parker’s childhood was

abusive, emotionally manipulative, etc

- - - - -

(Parker adjusts her repelling gear, caressing it as if it were a lover)

Parker: Last time I used this rig, Paris, 2003

Nate: You talking about the Caravaggio? You stole that?

- - - - -

Eliot (examining earpiece): Is this thing safe?

Hardison: Yeah, it’s completely safe, it’s just, you know, you might experience nausea, weakness in your right side, stroke, strokiness.

Eliot (puts earpiece in): You’re precisely why I work alone.

shut up eliot you’re about to be so far gone for them it will be amazing

- - - - -

(Parker dives off the roof)

Parker: Yeehaaaa!!

(Eliot and Hardison run to the edge and watch her fall)

Eliot: That’s twenty pounds of crazy in a five pound bag.

what’s the opposite of foreshadowing? because I’m thinking about the long goodbye job and it’s reference to this (also the SIGNIFICANCE in that episode in how both hardison AND eliot repeat this line, finishing one another. because they both are on the same wavelength by that point, so in tune with one another and in constant awe of parker.)

- - - - -

parker just ??? drops the fucking glass ??? onto the sidewalk below ??? like ??? what if it hits someone ???

- - - - -

Nate: Okay, you got any chatter on their frequencies?

[Electrical Room]

Parker: No. Why?

[Unfinished Office]

(Nate checks records)

Nate: There’s eight listed on the duty roster, there’s only four at the guard post.

[Electrical Room]

Parker: I can’t even tell how many guys are in the room. How can you tell who’s who?

[Unfinished Office]

Nate: Haircuts Parker. Count the haircuts.

[Electrical Room]

Parker: I would have missed that.

[Unfinished Office]

Nate: What?

[Electrical Room]

Parker: Nothing.

mastermind father and daughter in episode ONE

- - - - -

we love to see eliot beat up four guys in the time it takes hardison’s bag to fall to the ground

- - - - -

Eliot (empties gun and smiles): That’s what I do.

(Hardison looks impressed. Behind him, the door clicks open. He and Eliot smile and enter the server room together)

the FLIRTING ENERGY in this scene

- - - - -

Eliot: Did you give them a virus?

Hardison: (chuckles) Dude, I gave them more than one virus.

hardison doesn’t half-ass, pass it on

- - - - -

Parker: Problem. Those guards you ganked?

[Electrical Room]

Parker (looking at monitor): They reset all the alarms on the roof and all the floors above us. We can’t go up.

[Hallway]

Eliot: Every man for himself then. (starts to move away)

Hardison: Go ahead I’m the one with the merchandise.

[Electrical Room]

Parker: Yeah, well I’m the one with an exit.

[Unfinished Office]

Nate: And I’m the one with a plan. Now I know you children don’t play well with others but I need you to hold it together for exactly seven more minutes. Now get to the elevator and head down. We’re going to the burn scam.

[Elevator]

(Eliot and Hardison enter an elevator and begin changing their clothes)

Hardison: Going to Plan B.

[Unfinished Office]

Nate (packing his things): Technically that would be Plan G.

[Elevator]

(elevator doors open and Parker runs in. She begins changing while the men look away)

Hardison: How many plans do we have? Is there like a Plan M?

[Unfinished Office]

Nate: Yeah, Hardison dies in Plan M.

[Elevator]

Eliot: I like Plan M.

there are SO MANY things about this scene I want to discuss but here are the top ones:

1- nate calling them out as children? amazing

2- eliot and hardison canonically changed in the elevator together BEFORE parker dropped in, but they weren’t necessarily looking away in a backs-turned way when she came in (when they were still getting finished getting dressed)

3- parker being completely nonchalant changing with two men in the elevator? she must not really care about being naked in front of other people (as seen later in what I think is the morning after job (?), for example)

4- the boys look away to be polite but there is definitely interest in BOTH of their faces

5- so this is what the burn scam entails

- - - - -

parker takes shotgun while the two boys are in the back. I need to see the scene of them awkwardly sitting together in the back. possibly bickering.

- - - - -

Nate: All right, all right. The money will be in all your accounts later today.

Hardison: Anybody else notice how hard we rocked last night?

Eliot: Yeah, well, one show only, no encores.

Parker: I already forgot your names.

Hardison: It was kind of cool, being on the same side.

Nate: No, we are not on the same side. I am not a thief.

Parker: You are now. Come on Nathan, tell the truth. Didn’t you have a little bit of fun playing the Black King instead of the White Knight, just this once?

(they all walk away in different directions)

smh you’re all 0.000005 seconds away from becoming a family

“no encores” my ass

+ I love how hardison is the FIRST one to (immediately) bring up how awesome they worked as a team

- - - - -

(Nate walks slowly down a toward a large room where voices are coming from)

Hardison (holding gun): You mind telling me what happened to the designs?

Eliot: What makes you think I know what happened? Stupid.

Hardison: Look, forget you man. You did it when we were coming down from the elevator.

Eliot: Yeah, that makes sense doesn’t it? You had the file every second.

Hardison: Hold up Kujo, I did my part, I transferred the files.

Eliot: You better get that gun out of my face...

Hardison: What did you do?

Eliot: …or else I’m gonna feed it to you.

Nate: Hey!

(the men turn, Hardison pointing the gun at Nate)

Eliot: Did you do it? You’re the only one that’s ever played both sides.

Nate: Yeah, you seem pretty relaxed for a guy with a gun pointed at him.

Eliot (looks at Hardison): Safety’s on.

Hardison: Like I’m gonna fall for that.

Nate: No, no, actually he’s right, the safety is on.

(Hardison looks at the gun and Nate grabs it)

Nate (to Eliot): You armed?

Eliot (shakes head): I don’t like guns.

(Eliot looks pointedly past Nate’s shoulder. Nate turns, pointing the gun at Parker who is holding a gun on him)

Parker: My money’s not in my account.

(She walks around Hardison, raising her gun as Nate lowers his)

Parker: That makes me cry inside in my special, angry place.

Nate: Okay, Parker. (slowly reaches out to lower Parker’s gun) Now did you come here to get paid?

Hardison: Hell no. Transfer of funds man. Global economy.

Eliot: It’s supposed to be a walk away. I’m never supposed to see you again.

eliot could have IMMEDIATELY taken the gun away but it made hardison feel safe so he was humoring him

and how easily nate took the gun away? interesting, for a former insurance agent

“you armed?” “no, I don’t like guns” eliot sweetie I love you

also parker’s entrance tho

- - - - -

Nate: Then the only reason you guys are here is because you didn’t get paid. And you’re pissed off. (laughs) As a matter of fact the only way to get us all in the same place at the same time is to tell us that we’re not. Getting. Paid.

(a look of realization goes through the group and they all start to run. Nate opens a garage door and directs them out. Hardison trips on the stairs and Eliot pulls him to his feet)

Nate: Come on, come on, get up. Let’s go, hustle. Go.

(the others exit and Nate looks back to see a ball of fire headed toward him)

eliot: I hate you all, I work alone, I don’t care about any of you

eliot 0.000005 seconds later: hauling hardison off the ground so he doesn’t die in an exploding building because ‘I guess he’s by boyfriend now’

- - - - -

Nate: Have we been processed?

(Eliot waves ink covered finger tips at him)

Eliot: They faxed our prints to the State Police.

[Hospital Room B]

Hardison: Yo, if the staties run us man, we’re screwed.

Parker: How long?

Hardison: Thirty, thirty-five minutes depending on the software

- - - - -

Nate: Parker! Get me a phone. What we’re going to do is, we’re going to get out of here together.

Eliot: This was a onetime deal.

Nate: Look guys, here’s your problem. You all know what you can do, I know what all you can do, so that gives me the edge, gives me the plan.

[Hospital Room B]

Parker: I don’t trust these guys.

[Hospital Room A]

Nate: Do you trust me?

Eliot: Of course. You’re an honest man.

Nate: Parker, Phone.

[Hospital Room B]

Parker: This is gonna suck.

(she sticks her fingers down her throat and bends over)

Hardison: Oh. Hell no

the amount of times eliot brings up that it was supposed to be a one-time thing is HILARIOUS considering just how fast he imprints on them lmfao

also how they all immediately trust him, I’m soft

- - - - -

(Parker nods compliantly. The doctor and nurse leave the room. Officer checks her handcuffs then leaves. Parker and Hardison hold up the phones they stole. After a quick glance, they switch phones. Parker holds up the keys she stole and tosses them to Hardison before standing up and talking to the vent into the next room)

domestic pardison

- - - - -

(Hardison leads Eliot to a police cruiser that Nate and Parker are already inside of. As Hardison guides Eliot into the backseat he hits Eliot head on the top of the door frame. Eliot turns and growls at Hardison)

Hardison: Walk it off. Walk… get inside. Get inside.

(Eliot gets in the car)

I love chaotic (pre)boyfriends

- - - - -

Eliot: I’m gonna beat Dubenich so bad that even the people who look like him are gonna bleed.

Parker: You won’t get within 100 yards. He knows your face. He knows all our faces.

Eliot: He tried to kill us.

Parker: More importantly he didn’t pay us.

Eliot: How is that more important?

Parker: I take that personally.

Eliot: There’s something wrong with you.

okay to be fair eliot at least is open to and listens to parker’s reasoning before concluding she’s crazy

- - - - -

Eliot: What’s in it for me?

Nate: Payback, and if it goes right a lot of money.

Parker: What’s in it for me?

Nate: A lot of money, and if it goes right, payback. Hardison?

Hardison: I was just gonna send a thousand porno magazines to his office, but, hell yeah man, let’s kick him up.

these characterizations are so on point

- - - - -

SOPHIE’S INTRO LMFAO

+ how everyone else is horrified but nate just looks entranced

- - - - -

[Flashback]

(In Paris seven years ago, Sophie is cutting a painting out of a frame with several empty frames nearby. The door burst open and Nate enters with a gun in hand)

Nate: Freeze.

(Sophie grabs her gun and shoots Nate in the shoulder. He responds by shooting her in the back. They both clench at their wounds)

Sophie: You wanker!

so are we, as a fandom, EVER going to talk about this scene ???

- - - - -

(so apparently there’s a 250 text block limit for posts on tumblr so I guess I have to make more than one post for this now. the following part will be reblogged on this post immediately after. reblog that version instead please lol)

#leverage #notable moments #leverage season 1 #season 1 #leverage 1.01 #leverage 1x01 #the nigerian job #mine

[feckyeswriting]

Back with more Leverage nonsense

(cross-posted this to my dreamwidth page)

I have been deeply spoiled by @athenrys​  writing and gifting me this delightful Parker/Quinn/Eliot fic that was supposed to just be P/Q with some undertones. She's blamed me for it turning full OT3 and I will accept this merrily bc boy do I love this rare trio.

Athenrys also has a fantastic assortment of non-trio Parker/Quinn ficlets on AO3 as well which I'll link below, too.

Title: Delicate Constitution Rating: M Fandom: Leverage Pairing/Characters: Parker/Quinn/Eliot Critical Tags: Established Relationship Summary: Quinn has standards when it comes to where he stays and he does like being right. Excerpt:

“How do you expect me to do my job after sleeping on a mattress that is probably older than you are and a shower with no water pressure?” Quinn asked. He gestured at his body, “This is how I get my job done. You sit behind a screen to do yours, my ass is cashing the checks, and you won’t spring for a place that serves actual breakfast instead of a continental.”

“Eliot’s never complained. And our mark owns the other three hotels in the area.”

“Eliot has a martyr complex you can see from the moon,” he snapped. “No offense.”

“Some taken,” Eliot rumbled. He gave Quinn a once over while he coiled rope for Parker’s gear bag. “Didn’t know you had such a delicate constitution, Quinn.”

Title: The Assortment Rating: T Fandom: Leverage Pairing/Characters: Parker/Quinn Critical Tags: Getting Together, Established Relationship, Prompt Fills

And lastly here's my own oneshot that I threw into the void last night. I've been picking at it for I think 2 weeks. It was supposed to be one scene, slam bam thank you ma'am. It's now a 5+1 and nearly 5k because apparently my muse cannot be stopped.

Title: Take, Take, Take Rating: T Fandom: Leverage Pairing/Characters: Parker/Eliot Critical Tags: Flirting, Stealing Clothes, 5+1 Things Summary: There are certain lines that shouldn’t be crossed. Sure, they’re all thieves and criminals but there’s something so unapologetic with how Parker keeps taking Eliot’s clothes that tells him she knows it’s bothering him. And she just keeps doing it. Excerpt:

Eliot draws up one of the chairs from the kitchen settee. He regrets it within the first five minutes of the rundown, especially when he can’t stop glancing at the space still available on the couch. He wouldn’t normally have avoided sitting by any of the others; they spent far too much time with one another to get antsy about personal space. But then again typically the rest of the crew wasn’t swanning around in his own damn clothes.

Parker is a thief. That’s her thing, her identity, her whole weird deal wrapped up in a shiny bow because no other term does it justice or covers the sticky bits that come with it. Of course she’s decided to take his shirt. It shouldn’t bother Eliot - it doesn’t - but there’s still something that’s keeping him from crossing the square footage from the uncomfortable chair to the couch in front of her.

He makes it through the rest of the briefing by keeping his eyes solely on the television screen and his mind off of the blonde woman who doesn’t seem to notice - or maybe just doesn’t care - that she’s stolen his thoughts along with the tee.  

#sarah writes #sarah recs #leverage #leverage fic