#mr. gunman is SUCH a good song but if I listen to it for too long I start feeling like my heart is going to explode

[cavaliercanine]

question. could getting so upset that you are not physically a certain fictional character that it makes you nauseous possibly mean you might be fictionkin

[dtrhwithalex]

TV | Leverage (Season 2, Rewatch)

Rewatch of the second season of TNT's LEVERAGE (2008-2012), created by John Rogers and Chris Downey together with Dean Devlin and his production company Electric Entertainment.

In anticipation of the show's reboot / revival / sequel LEVERAGE: REDEMPTION coming to IMDbTV on 09 July this year, I am rewatching the original 77 episodes and writing about my favourite moments and things from each episode, season by season.

201: THE BEANTOWN BAILOUT JOB

D: DEAN DEVLIN. W: JOHN ROGERS. Original Air Date: 15 July 2009.

We here at the Rabbit Hole adore the Beantown Bailout Job very much (and by we I mean me). It is such a great season-opener and everything about it sets up the season so nicely. Also let me just say, I love the cheesy intro. I like to imagine that this plays on whatever website the clients usually end up finding the team. It would be so confusing. And wonderful.

This episode, of course, also introduces another of my favourite characters: Lt. Patrick Bonanno, State Police. And I am very sad that there is zero chance we'll ever get to see him in the reboot, since the wonderful Robert Blanche has unfortunately passed away last year. Bonanno was such a fantastic addition to this show and I love him very much. He is just brilliant in every episode he is in.

Aside from the introduction of Bonanno, Beantown is a brilliant episode for various reasons, but I wanna talk about this one most of all. John Rogers talked about this on his blog, I think -- not one member of the team can come straight out and admit that they need the others. It is the impromptu meeting at Sophie's performance that brings them together again (very much against Nate's best attempts). Only once they're at McRory's and Parker suggests stealing something to cheer up Sophie is when they all fess up and tell Nate that they want this team back together again. And then, of course, we have one of my favourite sequences in this entire show: Nate forcefully being bullied back into this family. They do exactly what he did to them in The Second David Job -- they get him to contribute knowledge to the case that they, allegedly, lack. And he knows what they're doing, of course, he's not an idiot. Well played, indeed.

I would also like to personally thank one Nadine Haders, this show's most brilliant costume designer, for every single piece of clothing she put on Christian Kane for this episode. That green sweater with the brown jeans jacket? All my love to you, Nadine. All of it. Also, uncharacteristically, Nate has some very good looks in this episode (the man looks healthy for once!) and I am unreasonably mad about it (actually, he has some very good looks this entire season).

One last thing: I would like to have a word with whoever decided to play the Andy Lange song here that Sophie's departure in The Two Live Crew Job is set to. It makes this first half of the season a circle. Who do I need to have words with? Who?

202: THE TAP-OUT JOB

D: MARC ROSKIN. W: ALBERT KIM. Original Air Date: 22 July 2009.

An absolutely amazing episode for Eliot but also very much for Sophie. They are the Conference Of Mom Friends, and I adore them very much, thank you. It is a fantastic episode for them individually, but especially also for the specific relationship these two people have. There is an amazing post floating around on this website (this one here) talking exactly about this episode and Eliot and Sophie in the role of protectors in their team, their family.

There are a few scenes here that I really like and really, most of them are about or with Eliot. I love in the briefing at the hotel that Eliot does not just dismiss Sophie's misunderstanding of wrestling, but takes the time to explain to her what the sport is about -- and she listens. We also here get a nice glimpse at the fact that Eliot teaches them certain fighting skills and self-defence techniques, which I just love so much. Just as Sophie coaches them all in their grifts, he makes sure that they all have a certain know-how in fighting and protecting themselves. It's so good.

I am also very fond of both the moment where Eliot brings Sophie to the restaurant to meet with Rucker, but also Sophie showing up at the gym at night to talk to Eliot while he's preparing for the fight against Tank. Eliot gives away so much of himself in this episode, and it is very interesting to me that the person he does this with is, continually, Sophie. The others may be on comms, and might be, for all we know, listening in, but it is Sophie he tells these things to. It's like Hardison says later in The Two Live Crew Job: "We trust Nate to make sure the plan works, we trust you (Sophie) to make sure we're all okay." While I would not necessarily call Sophie the heart of the group (that's Hardison), she is very much the emotional centre of it.

This episode is also just very lovely to see how they all take to an environment that is, for once, not big city life. Eliot takes to it immediately, which makes sense, because he probably is from a town not much different from this one. Parker, somehow, fits in immediately as well (I love her I <3 Nebraska shirt). I feel like Nate never has any issues fitting in anywhere, he just takes things as they come. It is Hardison and Sophie who have difficulties -- Sophie because she is, after all, a bit posh and needs certain standards met, and Hardison because his world of technology does not mix well with a small, rural Midwestern town ("Can't hack a hick" anyone?).

203: THE ORDER 23 JOB

D: ROD HARDY. W: CHRIS DOWNEY. Original Air Date: 29 July 2009.

I occasionally see some posts on here that call what the team does to Charles Dodgson in 512: The White Rabbit Job the worst thing the team does to a mark. I have to say, objectively, I think what they do to Eddie Maranjian in this episode is much worse. Of course, Dodgson is a good person, and Eddie is a crook, but still. Objectively? This episode is more evil.

Anyway, this episode has some fantastic moments that I adore a whole lot. I love Eliot and Hardison as cops, Sophie's act is absolutely amazing, and I have a super soft spot for both Nate teaching Parker what he is doing, and also Eliot and his side quest of helping Randy.

I am so incredibly fond of all these little moments where Parker's eventual role of Mastermind is already being planted. She always asks Nate questions, if she doesn't have a part to play in the con, she is with Nate, learning. She says it in the pilot episode already: "I'm really good at one thing, only one thing, that's it. But you, you know other things, and I can't stop doing my one thing, can't retire." And then she does her best to learn the other things Nate knows. This episode particularly, how Nate explains to her how NLP works, that what he is selling is fear. Nate is so patient with her, too. I love them both so very much.

Eliot's side quest with Randy and his abusive dad is an absolutely excellent addition to this episode. Especially after the previous Eliot-centric episode, this small thing just goes to show that, at their core, these are good people. Yes, they are criminals, the lot of them. But they are not bad people. Things like this just make me think that, it had to have been this exact combination of people Dubenich put together. Any other thief, any other hacker, and Nate would have walked away from this alone. It had to be Parker, Hardison and Eliot for this to work exactly as it did. And Eliot looking out for Randy even though they are in the middle of a con, taking his time to make sure Bob, the U.S. Marshall goes to see Randy, is exactly something that brings this point home.

Lastly, I adore that everyone shows up at the court house when Eddie goes to find his money. He knows they all conned him, but they know no one is ever going to believe him. It's a fantastic gloat scene. And I also really love that Nate explains why this works to the others: "So, here's everything you need to know about criminal law. Every crime has two elements, Actus reus, the act itself, and mens rea, Literally "The Guilty Mind." ... Now, for escape, the prisoner has to both break out of custody and show the intent to escape. ... Which brings us back to our friend Eddie and how the brain reacts to fear. In the heat of the moment Eddie didn't ask himself a simple question, who would doubt his guilty mind?"

204: THE FAIRY GODPARENTS JOB

D: JONATHAN FRAKES. W: AMY BERG. Original Air Date: 05 August 2009.

This one was Bernie Madoff inspired, if I recall correctly, who was arrested in 2008, around the time Berg, Downey and Rogers were already bouncing ideas back and forth for this season.

There is so much to love in this episode! Where to even begin. Maybe with Parker replacing Sophie at the client meeting? Or Sophie immediately heading for both popcorn and the cookie tin after the breakup? How about Parker perching on Eliot's arm rest with her food? Nate's headmaster act? Eliot as Coach Brewer (red is a fantastic colour on him, thank you Nadine)? Hipster rich newlyweds Parker and Hardison? The return of my beloved FBI fools McSweetheart and Taggert? Taggert being McSweetheart's biggest supporter in his affection for Parker? Sophie and Widmark? The actual science-sical with all these adorable kids singing about science?

So much to love. Chock-full of greatness, this episode. Also Frakes, once again, directed the hell outta this. I love this episode so very much.

One moment that does, however, absolutely win out over everything else, is the scene at Nate's apartment after Hardison and Parker meet McSweeten and Taggert again:

Eliot: One of you two can identify the gunman, right? Hardison: Oh, yeah, sure. He stopped and let me take a picture of him as I was chasing him. Eliot: Hey, you know what, man? I've been around little kids all day. I don't need to come home and do all this crap.

That line, Mr Spencer? "I don't need to come home and do all this crap"? Home? Sir, we are four episodes into the second season, and you are already calling Nate's apartment home. Honestly, that boy has been invested into this group as a family from the moment Hardison hands him a check in the pilot episode, if not earlier. And I am very much here for all of it.

205: THE THREE DAYS OF THE HUNTER JOB

D: MARC ROSKIN. W: MELISSA GLENN & JESSICA RIEDER (GRASL). Original Air Date: 12 August 2009.

This is another one of those episodes which, when I think about it, I am not entirely into, but then when I watch it, I always love it. It's a brilliant episode, but the mark rubs me in all the wrong ways and I think that's why my general reaction to this episode in theory is mostly "ew". Which I think is kind of the point, as well.

There is much to love in this episode, though. Sophie being Nate in this one, Nate being very wary of this concept and also having difficulties letting someone else take control ("If you don't mind, I would still do the 'Hardison, run it' thing" Nathan you precious little man, I love you so much). I think it's so nicely done. I mean Sophie has run cons before -- she was the Mastermind behind the First David Job, and she runs their con in the Second David Job as well -- but then she was confident, now she is going through things, on the brink of rediscovering herself for who she is. And of course, it bites her in the ass a little bit.

I absolutely adore Conspiracy Nut Hardison and his fantastic apartment. Set Design did a magnificent job here. I am so fond of Parker asking Eliot about the different things -- the council, the moon landing, Loch Ness monster -- and also very much the bit at the end where he and Hardison answer Parker's questions while he prepares food. That ending bit overall is just absolutely excellent and I love it with my whole heart. Eliot cooking for all of them in Nate's kitchen, giving Parker stuff to try, while Hardison sits there and sips his orange soda out of a wine glass. Meanwhile Nate pouring wine for Sophie, and then going over to her to make sure she is alright. For his slightly more sadistic streak in this season, Nate is so good with Sophie here. And honestly I think this conversation here is one of the reasons why Sophie feels able to leave them for a while. It is Nate's reassurance of "Whatever you need, I'm here for you" that lets her take this leave of absence.

206: THE TOP HAT JOB

D: PETER O'FALLON. W: M. SCOTT VEACH & CHRISTINE BOYLAN. Original Air Date: 19 August 2009.

I adore this episode! The fantastic Veach and Boylan on the keyboard for this one (who, I've had to find out, are both tangentially involved with my latest hyperfixation, SHADOW AND BONE -- Veach having written my favourite episode, and Boylan being married to the showrunner), which is just lovely, because they are both excellent.

First off, I would like to, once again, give all my love to Nadine Haders for that Pizza Guy outfit she put Kane in for the recon sequence. A+ costuming, thank you Nadine.

This episode has so many excellent comedic beats and a wonderful many Hardison/Eliot moments. Sophie trying to set up Nate with their client is absolutely hysterical -- especially considering that she had just been broken up with and had been urging Nate to figure out what it is that is between them since day one. I especially love her attempt at finding things Nate has in common with Jameson: "She's a scientist. And well, you're a bit nerdy, aren't you? ... And food, she works with food. Well, you eat, don't you?" Like, girl, what are you trying to do here, really?

I absolutely adore Hardison and Eliot trying to get into the server room so Hardison can access the data they are trying to get before anyone can get rid of it. Eliot hooking Parker's rope to Hardison's belt, Eliot's complete awe at Hardison's ability to remote access their mark's phone ("You can do that?" Eliot, honey, he can do so much more), the two of them wedged underneath the desk, and then, of course, Eliot's huge smile when Hardison hacks the scanner at the door with the help of his gummy frogs. I love these boys together so much, and this episode has given me so many great moments.

I am also incredibly fond of Nate's magician act. That is a brilliant role and it suits him so well. And I love how genuinely enthusiastic he is about magic.

207: THE TWO LIVE CREW JOB

D: DEAN DEVLIN. W: JOHN ROGERS & AMY BERG. Original Air Date: 26 August 2009.

This is an absolutely brilliant episode for so many different reasons. Let me get two things out of the way straight off the bat: 1) Where do I address my "Chaos For Leverage: Redemption" campaign to? and 2) Where do I address my "Apollo Robbins For Leverage: Redemption" campaign to? I want both of them back desperately!

Of course, this episode is important as a major stepping stone in Sophie's character arc. Because of Chaos and his bomb, she has to kill off one of her aliases which is the last thing that then leads to her taking a leave of absence to figure out who she is and who she wants to be. That scene in her apartment with the bomb is also just an excellent moment for the team as a family. The care with which everyone interacts with Sophie, Parker's instant pudding hack, Eliot's instructions on how defuse this situation, Sophie's immediate shift into protector mode once it becomes clear that the only real solution is to run and telling everyone to leave immediately, Nate staying behind and even when Sophie tells him to leave, waiting for her by the apartment door -- they care for each other so much.

I also really love the con-off with Starke's crew. It is so nice to see how similar yet different he and Nate are, and the same goes for the other crew members. I adore their individual confrontations a lot. Eliot's non-fight fight with Mikel Dayan, Parker's thief-off with Apollo, Hardison and Chaos' baby monitor fight. It just really highlights who our beloved characters are and what makes them them, now that we see them, metaphorically, in front of their mirror.

And then, of course, the actual heist is also just amazing. I adore that Starke chooses Nate as his alias to gain access, it is such a great move. Parker and Apollo talking in the ventilation shaft about birds is also just so lovely. And as an admirer of Eliot's arms, I am also very fond of his fight with Mikel. Good choices have been made, I appreciate all of them. The reveal at the end is also absolutely amazing. To beat them they had to save them? Brilliant.

Lastly, of course, Sophie's goodbye at the graveyard with Nate. What a spectacular moment. Also just, the visuals are so beautiful. I love the lighting here. And of course the return of Andy Lange's song, which is just perfect. I am so happy that this is the journey they decided to give Sophie when it became clear that Gina would not be able to be in the full seasons due to her pregnancy. They accommodated her so beautifully and gave Sophie such an amazing moment of character growth. This is why I love this show and the people who made it so much. All my love, to all of them.

208: THE ICE MAN JOB

D: JEREMIAH CHECHIK. W: CHRISTINE BOYLAN. Original Air Date: 02 September 2009.

We love The Ice Man Job! Another fantastic episode by one Christine Boylan who we love in this house. Our very first episode without Sophie being there, and it's a great one. I absolutely adore how they worked in moments with our favourite grifter in a way that so wonderfully accommodates Gina's pregnancy.

I absolutely adore the moments where all of them eventually end up calling Sophie. Parker, hiding underneath the bar after Nate tells her she'll be the grifter in this one, calling her mom Sophie in a panic without wanting the others to know, but still needing her advice and missing her so much. Then Eliot, calling to complain to his mom Sophie about Hardison going overboard again with the grift, needing the knowledge that his concerns are being heard and aren't unfounded, needs to hear the other protector of the family acknowledge his rightful fear that things will go sideways. And of course also Hardison, calling mom Sophie so she can pick him up from the party help him out of the mess he's made, hoping against all hope that she'll be able to help without having to involve Nate. The others both had the luxury to ask Sophie not to tell Nate -- Hardison had no other choice but to let her call it in. Lastly, Nate too, at the end, calling his wife Sophie. And honestly, I love that Sophie drops her phone into her drink after the call, because Nate is the only one not giving her what she wants to hear. The kids, all of them, called with an "I need you" and that is the one thing Nate doesn't give her.

There are many other things in this episode that I love very much. The opening briefing, Parker feeling alone on the big empty couch, trying to sit next to Eliot, but he makes her move. Nate's big DadTM moment of "Eliot, can you please sit next to Parker" and Eliot's very long-suffering oldest child answer "No! I'm sitting here now."

Then of course Eliot and Hardison's two moments -- Eliot telling Hardison "I ain't bailing your ass out" and then when he eventually does anyway, Hardison's smug joy, forcing Eliot to sort-of-hug him back at McRory's. Eliot's unsuccessful attempt to make him helping Hardison a decision forced onto him by Parker, and Parker refusing to accept the "blame" immediately. Their whole dynamic this episode is just so good. Neither Eliot nor Parker being happy with Hardison in this role (Parker's refusal to ride with him in the Ferrari), Eliot proudly watching Parker do her thing over the security camera ("Stuck it!").

Lots of love also to Pasha Lychnikoff as our main Russian goon, who is just fantastic here, our much beloved Lt. Patrick Bonanno, and also Nadine Haders for so many amazing looks, especially on Eliot.

209: THE LOST HEIR JOB

D: PETER WINTHER. W: CHRIS DOWNEY. Original Air Date: 09 September 2009.

Court-room episode, which means we have our friend Chris Downey on the keys here, and he gave us an absolutely excellent introduction for Tara Cole played by the lovely Jeri Ryan. Honestly, the more often I watch this episode, the better it gets. Tara is just so good.

Highlights of this episode include: Sophie's immediate "who died?!" when Nate shows up at her apartment in London, Hardison playing "Where is Waldo Ford," Hardison and Eliot in prison, the first appearance of Nate's lawyer alias Jimmy Papadokalis who wears brilliantly loud and obnoxious suits in outrageous colour-combinations, Hardison stalling Blanchard at court security with his keys, Nate's reveal of Ruth as Kimball's daughter (I am fascinated that he completely drops the character here -- he is just Nate now), and of course, the reveal of Tara at the end.

Honestly, this is such a magnificent episode to introduce Tara's character. We have just watched the team scramble and fuck up without Sophie, and then their next job gets more complicated because of this random lawyer who shows up. And she's so righteous and law-abiding and absolutely not someone they should be taking with them on their job. And Tara plays it perfectly. Her honest try at getting Orson to talk to them, her confusion about her "dogs", her excited smile when she gets to con Blanchard and be a bit dishonest -- it is so good. And then we get that complete 180° when the team finds her in Nate's apartment. Not just visually, but the personality. Her voice drops a bit too. Jeri fucking rocked this introduction. The reveal is so damn good.

210: THE RUNWAY JOB

D: MARC ROSKIN. W: ALBERT KIM. Original Air Date: 13 January 2010.

I have zero interest in fashion but I honest to God love every single one of these characters at fashion week. Fashion!Eliot is absolutely fantastical and I love him. Julien, my beloved. Fashion!Parker is very cute with her braid and even before she gets the model makeover she outshines every single other person at the event. Fashion!Hardison is surprisingly understated but I dig it. Tara as Caprina is also just excellent. And I absolutely, un-ironically adore Fashion!Nate. Jacques is such a character. Nate exchanged the usual "obnoxious and greasy" with "gay," slapped some would-be-French that sounds like German on top of it, and called it a character. And I love it.

I also very much love the three video calls with Sophie in this episode. The kids calling in the beginning, complaining about Tara. I absolutely adore both the "she's hot" moment and Eliot's "...and all the way to Europe?" when Sophie says Nate lets what is good for him walk out the door. Parker's little "I just miss you" before they hang up has me all the way up in my emotions every damn time. Tara calling Sophie to complain about Nate is also just excellent. The whole bit with Nate's "I'm sexy because I'm broken" thing is just *chef's kiss*. And of course Nate's call at the end. I love that Sophie hangs up on him, it is so fair, it is absolutely justified. And I think he knows that too.

So many great other moments too -- Hardison's Steven Seagal comment about Eliot's clothes, Nate's "Julien, sweetheart" and Eliot's little clap before taking the money, Nate and Parker at the mark's house, Eliot and Tara vs the Triads, Eliot and Parker at fashion week together ("It's a fashion show, not Thieves'R'Us"), and of course Tara's "For what it's worth, Sophie was right. You guys are the best I've ever seen ... But no one in the world, is as good as you think you are."

211: THE BOTTLE JOB

D: JONATHAN FRAKES. W: CHRISTINE BOYLAN. Original Air Date: 20 January 2010.

This episode has got to be one of my favourites, if I were forced to chose some. I love a bottle episode, and this one is just magnificent. Excellent client, great mark, fantastic additional characters, wonderful episode for the team. All around just, so good. Not surprising if Frakes and Boylan are at the wheel together, of course.

The addition of Cora is so lovely. I would have loved to see more of her, to be honest. She is such a great character. I love what her presence does to who we see Nate as. I adore when characters get to show new sides of themselves, it's so nice. Also, Nate's comment to Eliot about him not wanting Eliot to like Cora because she's like his niece? Most excellent.

I adore our three police officers too. Mickey, Danny and Johnny are such great additions. I really liked them. How they just went with whatever Nate was planning and in the end decided to just pretend none of this ever happened, it's just so good.

Doyle and the Liams as our villains of the week are also just fantastic. Also I just love Irish accents, it sounds so good. I love to hear it.

Other highlights of this episode include: Tara's "I'm Trish and I'm lonely", the kids going for their individual emergency funds stashed in Nate's place (they are all so fantastically in character, I love it), Nate using his dad's name as his alias, everyone stopping to see if Nate is going to succumb to the booze again, Hardison's excitement about pulling off the wire in under 2h, Hardison faking the weather, Eliot and Parker on safe duty. Also, rewatching this episode, I am absolutely 100% convinced that what Eliot is doing to distract the Liams from Tara conning Doyle, absolutely categorises as flirting. The way he throws that dart at the board and then buys them beer? Mr Spencer, sir, you are flirting with these guys.

212: THE ZANZIBAR MARKETPLACE JOB

D: JEREMIAH CHECHIK. W: MELISSA GLENN & JESSICA RIEDER (GRASL). Original Air Date: 27 January 2010.

The wonder twins with yet another magnificent episode. No surprises here. We have not just the return of Maggie but also of Sterling! We love this!!! (Seriously, I want both of them back in the reboot. I don't care that they're most closely tied to Nate. Bring them back.)

This episode has so many absolutely excellent moments as well. I love the opening sequence in the bar, with them going over possible next clients together, Nate kicking Eliot for flirting with the bartender, and then of course also Sterling walking in. The interaction Nate and Eliot have here is just fantastic.

Sterling: *walks in* Nate: Eliot, I'm gonna ask you not do do anything violent. Eliot: Wha-what are you talking about? I only use violence as an appropriate response. Sterling: Hello, Nate. Eliot: *responds appropriately*

And to think that Sterling only gets beat up here because Mark Sheppard's son was visiting the set that day and wanted to see his dad get beat up by Eliot. We stan one Sheppard Jr.

I very much love the scene where Nate and Sterling go over what they have on Lundy, and then Parker interrupting them out of nowhere, just sitting there on the counter, like she's been there forever (which she probably has). Also just, fantastic clothes on Parker, thank you Nadine. Maggie showing up here is of course also brilliant and I am very fond of Parker making Maggie a fugitive bag. It is so completely adorable. I love my girl so much.

Another favourite moment is, of course, Tara and Eliot getting Chernov to tell them where the sale of the Fabergé egg will take place. Tara not saying a damn thing, Eliot grumpily doing what Tara tells him to ("Do that thing with your eyes that scares people" / "What -- I don't know what you're talking about"), Chernov's complete unease about this whole entire situation, and then of course Tara and Eliot's other interaction:

Tara: What we imagine is always so much better than reality. Eliot, with the tiniest voice possible: Like love? Tara: *just stares at him, confused*

Just, *chef's kiss* this scene.

The scenes in the embassy are also just excellent. Tara and Nate pretending to be a couple, Nate's inability to deal with the idea of Maggie and Alexander, Maggie and Tara hysterically giggling while talking about Nate, Sterling pretending to be drunk (and incredibly gay) to get Parker access to the egg room -- brilliance, all the way through.

I adore Eliot taking charge of the situation once it becomes clear that Maggie and Nate have been taken hostage. Parker doing her magic and switching the bomb with the empty briefcase in the elevators is beautiful. Maggie kissing Nate instead of Lundy in what could have been their final moment and regretting it instantly the moment Parker shows up is excellent.

And the final scene back at McRory's is also just wonderful. The kids watching the news about Sterling with Tara ("I hate this guy" / "Now, you're part of the team"), and Nate talking with Maggie. I adore Maggie in this scene so much. Her and Nate's relationship is so lovely. We know Sophie understands how Nate ticks, but Maggie knows him so well too, still.

213: THE FUTURE JOB

D: MARC ROSKIN. W: CHRIS DOWNEY & AMY BERG. Original Air Date: 03 February 2010.

This episode is so good for so many reasons. First off, I adore Luke Perry (I'm still sad about him) even if he plays creeps like Rand in most everything I've seen him in. He was just so good. Second, Medium Tara is probably my favourite role of hers. It's a lot softer than many of the other characters she's done, and I love it. Also the costuming is just excellent.

But I want to talk about Parker most of all. The scene where Rand cold reads her is so well done. Riesgraf knocked it out of the park here. Also, I love how Nate, as soon as Rand starts approaching and doing his act, barely ever takes his eyes off her. He occasionally glances at Rand, but his attention is on Parker at all times. And it just makes me feel things.

The team coming back to Nate's to find Parker sitting on the floor in front of the couch, crying also makes me super emo. They are all so very careful with her here. Even Tara, who hasn't been with them for that long. I quite like how Eliot and Hardison choose to sit a bit away, giving her space, and Nate carefully approaches and sits closest to her. They are all so good with her here, I love them all so much. And I absolutely adore this part of the conversation:

Tara: So what do we do now? Parker: Cut off his arms. And his head. Yeah. I wanna kill him. Can we make that happen? Eliot: Yeah, I can...I mean, I could...

Also earlier, after Tara acknowledges that Rand is good at what he does, Hardison says "He should be shot." I adore how both our boys would not hesitate to end this man for hurting Parker like this. That's their girl and he went too damn far. And even though Nate suggests a way of retaliation that is less final, he isn't above hurting the man either. Because that's his girl, too:

Hardison: Nate had me rig the table with a mild electrical current. Eliot: You electrocuted him? Nate, smugly: Yes, I did. It helped sell the bit. Parker: I approve. Nate: Thanks, Parker. Eliot: No, her agreeing with you is not a good thing. Nate, whispering to Parker: Thanks.

And add to that the absolute joy each and every one of them have when fucking with Rand to fulfil Tara's predictions? *Chef's kiss.* Absolutely beautiful.

There is so much more absolutely fantastic content in this episode, but I just wanna point out the ending where they meet with the client again. Nate is so good with them here. The way he talks to Jodie about her baby and how she will see her late husband in the child, makes me cry every damn time. Just like Tara says, "Yeah, now I see why you do it," this is why this show is so damn good. It's because of this exactly. Because for one shining moment within so much suck and tragedy, there is goodness and a wrong that has been made right. They help people and it isn't just fleeting momentary relief. They change people's lives for the better. I love this fucking show so much.

214: THE THREE STRIKES JOB

D: DEAN DEVLIN. W: JOHN ROGERS. Original Air Date: 10 February 2010.

First half of the second finale! Patrick Bonanno my beloved! I get so sad every time he gets shot here. My man deserves better than this. I love Bonanno so damn much, man. I absolutely adore that Nate goes to see his family at the hospital. Like, this is a cop. The very opposite side of the law Nate and his people operate on. But he goes to see him anyway, because this is their cop. And I love that Bonanno's wife recognises Nate's name. "He wanted to buy you a drink. And then arrest you." That's just so good.

I also absolutely love Richard Kind as Brad Culpepper, the corrupt mayor. I would love to see him back in the reboot, but I doubt there'd be any reasonable explanation why on earth they'd have to see this particular mayor again. I just think Richard Kind is an absolutely fantastic actor.

Anyway, favourite moments. Hardison and Eliot at Bonanno's house is beautiful. I am so fond of how Hardison deals with law enforcement while impersonating law enforcement. He tears them down and builds them back up again, every single time. And I adore how Eliot just smiles at his antics. He crawls around on that carpet with the young cop and Eliot just stands there and smiles. I love them, guys. I really do. Parker pretending to be Brad's pregnant lover with Tara's help is also just most excellent.

And of course: Roy Chappell. Baseball Eliot, my most beloved. There is so much to love about this whole concept. Eliot's reluctance at first because he doesn't like baseball. The discovery that baseball is actually something cool and something he is good at. His absolute childlike joy at the energy drink commercial Hardison made him. His damn hair during the actual game. The sandwich! The enthusiasm about the sandwich. Hardison admitting that the sandwich thing is cool.

I also absolutely love Hardison and Parker as Beavers Fans. The badly photoshopped picture of Dean Devlin and John Rogers as the radio hosts makes me smile so much. So does hearing their voices on the show. Both Hardison and Parker's phone calls to them are also brilliant. Parker speaking Spanish? Marvelous. The two of them demonstrating the Beavers leaving? *Chef's kiss.*

The final showdown with Brad and then the FBI is also just most excellent. Nate going ballistic on Brad because of Bonanno. Hardison and Lucille. Parker giving Lucille a little kiss before they send her to explode as a distraction. Hardison quoting Spock to say goodbye to Lucille. Hardison being pissed at Nate about Lucille. And of course: Jim Sterling, Interpol. The bastard. I love him.

215: THE MALTESE FALCON JOB

D: DEAN DEVLIN. W: JOHN ROGERS. Original Air Date: 17 February 2010.

Second half of second finale! And it's a good one, too. This show has absolutely brilliant finales, lemme tell you.

What do we love about this episode? MUCH. Tara's naked bit is excellent. Eliot and Parker sharing a look after watching Tara's naked bit is even better. Parker turning on the porn channels on the hotel tv is hilarious. Eliot talking to the receptionist about the gym is hysterical ("Ah, the fitness spa. Isn't the Zen Steam Garden divine?" / "Yeah....delicious").

Nate on stairs vs Sterling in elevator is probably the pettiest thing I have ever watched on television and it is absolutely amazing. I don't think anything can ever top this as pettiest moment. It is just so good.

Sterling, of course, is always great fun. I love that he has his own little villain theme that announces him before he even enters the screen. Love a good villain theme. And I adore his moment with FBI Bob outside Brad's hotel room.

Sterling: Name's Bob, right? Bob: Yes, sir. Sterling: You've been here the whole time, Bob? Bob: Yes, sir. Sterling: And nobody's gone in or out, Bob? Bob: No, sir. Sterling: Then would you mind explaining, where the HELL THE MAYOR IS?!

Absolutely perfect.

Nate going back to his place always has me all up in my emotions. Also, I think Sterling here absolutely believes that what he is offering Nate, is good for him. That he can save him from himself or something. They were something like friends at some point, after all. And of course, Nate calling Sophie. She is, of course, unbeknownst to him, already on the way to save his ass. But he calls her and finally tells her exactly what she wanted to hear at the end of The Ice Man Job: "I need you. Not the team, me." Sir. I am emo about you.

And then of course the final con and the reveal of Sophie's return. I absolutely love that Parker's first reaction to Tara possibly betraying them was to try and throw her off the roof. That's my girl (I love Tara, but that was fair). Also just, if you pay attention on the boat scenes, you can see Sophie from as early as Kadjic hearing Nate's offer and then leading Nate and Eliot below deck. If you can pick out her hair and know the colour of her coat from the scene in the helicopter, you know that she is there. And then, below deck, you can see her so many times -- at one point essentially back to back with Nate -- before any of the characters know she's there. And can I just say, I absolutely love Nate's completely shocked face when he hears her voice. Those comedically big eyes are just excellent.

Everyone seeing Sophie again is done so well. Hardison and Eliot's confused "Sophie?" when she walks past. Eliot winking at Sophie after they free Nate. Parker hugging her immediately once her and Tara arrive on the ship. Hardison putting his hand on the small of her back as he passes by her to go down the stairs. I just love them all so much.

And lastly of course, the reveal of the plan, Nate cuffing himself to the railing and making Sterling leave his family alone. What Nate says to them always makes me so emo too: "You guys are the most honourable people I have ever met in my life. You have become my family, my only family. And I will never forget that." John Rogers, sir, we need to have some words once I get this lake out of my eyes. And I obviously can't not mention the kiss. Finally, finally Nate gets his shit together. And she slaps him and it is perfect. And then they leave and he sits down and bleeds and Sterling, for a moment, is genuinely concerned about Nate as a person and not merely about Nate as his only way to nail Kadjic.

Bob: Who the hell is this guy? Sterling: I have no idea. Nate: My name is Nate Ford. And I'm a thief.

Yes. Yes you are, you magnificent bastard.

[image taken from the electricnow website]

[marvel-mistress-padawan]

Camelot California

Chapter Two

Oh I'm gettin' old and feeble and I cannot work no more

The children no more gather 'round my door

And old masters and old mrs they are sleepin' side by side

Near the little old log cabin in the lane

Oh the chimney's fallen down and the roof's all caved in

Lettin' in the sunshine and the rain

And the only friend I've got now is that good old dog of mine

And the little old log cabin in the lane

Oh the trees have all growed up that lead around the hill

The fences have all gone to decay

And the creeks have all dried up where we used to go to mill

And things have changed of course in another ways

Oh the chimney's fallen down and the roof's all caved in

Lettin' in the sunshine and the rain

And the only friend I've got now is that good old dog of mine

And the little old log cabin in the lane

Oh I ain't got long to stay here what little time I've got

I want to rest content while I remain

'Til death shall call this dog and me to find a better home

And leave th' little old log cabin in the lane

Oh the chimney's fallen down and the roof's all caved in

Lettin' in the sunshine and the rain

And the only friend I've got now is that good old dog of mine

And the little old log cabin in the lane

-Will S. Hays

The song rang out cherily as the stagecoach bumped over the long and winding road. Lucas Walton wasn’t that great of a banjo player. United States Marshals didn’t need to be banjo players after all but Lucas could sing anyhow. The way he saw it, riding on top of the coach while he was transporting a prisoner on a fine day like this one, was as good a time as any to sing. Really, any time at all was a time to sing except that Lucas knew that other folks didn’t see it that way and during those times he could keep quiet for their sake. He finished off his song and heard an applause from within the coach accompanied by the rattling of chains.

“You sure do know how to sing a good tune, Marshall Walton.” Donny called out from inside.

“I do my best,” Lucas said with a smile. “You fellas ought to sing the next one with me.”

“I won’t be doing any singing.” Keith Danvers said sourly. He was the driver and only other companion on this trip. “You two go right on ahead and sing without me. I got better things to do.”

Lucas shook his head at the grisled coach driver. “Alrighty then, you wallow in in your bitterness all you like. Donny and I have some cheer to spread.”

“Cheer to spread? This ain’t Christmas! And what could that boy possibly have to be cheerful about? He’s on his way to prison!” Keith spat his chewing tobacco on the ground.

“Could be he’ll end up in prison. He’s on his way to trial though. The courts will decide what happens to him. That doesn’t mean there isn’t anything to sing about anymore. I know some sad songs too if you think that would be more fitting?”

“I think silence would be more fitting,” Keith said in reply.

“It’s too long a trip to spend it all in silence. I’ll do two more songs though and be quiet for a spell if that suits you,” he said amicably.

Keith gave what sounded like a grunt as a reply while Lucas began another song. At the end of his second song Donny applauded once again.

“How come you know so many songs that I’ve never heard before?” Donny called out.

“Well some of them I learn off of sheet music my sister sends me from back east and most of them are just newly published,” Lucas explained.

“Sheet music?” Donny asked. “You mean those chicken scratch dots that opera singers use? How do you even read that?”

“What the Marshal here is trying to say,” Keith spoke up, “Is that he has more book learning than both of us combined and that’s why his head is full of songs and turds.”

Lucas ignored this attempt at an insult as did Donny. “I only went to school for six years,” Donny said sadly. “I wanted to go longer but Mama needed my help back on the farm.”

“You should have stayed on that farm rather than taking up thieving,” Keith told him.

“I didn’t take the jewels from that lady’s purse. I didn’t!” Donny protested.

Lucas wasn’t sure if that was the truth. The jewelry had been found in Donny’s room after all. The kid’s job at the hotel didn’t pay much and there were a lot of wealthy people that came in and out of that place. Maybe the chance to send some money to his poor family back home had been too much a temptation for Donny. Or maybe one of the other hotel employees pinned the theft on Donny rather than get caught. It seemed unlikely though. Donny probably had stolen the jewels and would probably spend some time in jail for it. Hopefully he’d come out of it having learned to never try something like that again.

“I know a thief when I see one,” Keith was saying. “Good thing judge Harmon hangs thieves like he should. We can be rid of your trouble for good.”

“They’re not gonna hang me are they Marshal?” Donny sounded genuinely worried.

“That would be too harsh. No one needs to die over stealing some necklaces,” Lucas mused aloud.

“Stealing necklaces is where it starts,” Keith argued. “Then it goes on to stealing horses and money. Once they got money they start drinking and once they’re drinking they start killing people. Might as well hang ‘em and be done with it.”

“Are they gonna hang me?” Donny asked again.

“You got it wrong Keith. I don’t disagree that there are times when hanging a man is the right call. Sometimes they’ve done too much violence and are too far gone to be of any use to the world anymore. Those kind of people are few and far between but they do gotta pay for their crimes. The rest of the lawbreakers like Donny here, those ones still have time to change.”

“That’s a load of horsesh-!”

“Are they going to hang me?” Donny interrupted Keith with urgency.

“Judge Harmon is a reasonable man. If I ask him for leniency and for some more time to gather evidence, he’ll listen,” Lucas said.

“You better be right about that,” Donny said, not entirely convinced.

Lucas was about to assure him that it was the truth when a sight ahead in the road got his attention. “Hold up,” he said to Keith.

“Yeah, I see it. Log in the road. You know what that means,” Keith removed his revolver from the holster. Lucas followed suit. “It’s not too big a log. I ain’t gonna get killed by no bandits today.”

“Danvers, don’t do it!” Lucas all but shouted at him. It was too late. Keith Danvers had the horses going full speed ahead. He apparently hoped to get up enough momentum to get the coach wheels over the log.

The horses jumped over the log effortlessly. The front wheels of the coach hit with an impact that broke the wooden wheels on contact. Lucas was thrown from the top of the coach and went tumbling on the ground. He felt something snap in his knee and for a moment everything went dark. When he opened his eyes again, it seemed that only a few seconds had passed. He dragged himself to feet with the help of a nearby tree branch. The coach was on its side and broken. Donny was crawling out the door which now on the top side of the overturned coach. Four gunman came into view. Keith was not in Lucas’ line of sight at all. He seemed to have disappeared, hopefully not pinned underneath the coach. A shot from one of the gunmen hit Donny in the shoulder and the boy fell back down inside the coach.

The second shot did not come from any of the four gunman but from somewhere on the other side of the coach. It had to be Keith doing the shooting. The shot hit one of the bandits in the leg and though the man gave a cry of pain he limped onward looking for cover. Lucas realized that he must have dropped his own gun somewhere during the crash. He had certainly dropped his banjo. It was lying broken not more than ten feet away. He lowered himself to his uninjured knee and ducked down behind a bush. The shrubbery provided very little cover but it did give him a vantage point to watch the situation unfold and try to plan his next move.

Two of the bandits remained on horseback and had begun circling the area around the coach, probably looking for any remaining passengers or the driver. As soon as the shooting began, they dismounted and took cover at the overturned coach along with their injured companion  which happened to be on the same side where Lucas was ducked down hiding. It was only a matter of time before they realized he was there. Lucas took a look around for something that could serve as a weapon, a rock maybe? Then he spotted his revolver on the ground right out in the open between himself and the three gunmen. He looked down at his knee. It was now pretty swollen from being twisted in the fall. Even if he could have been quick enough to retrieve his gun before his knee got all busted up, there was no way he could manage it now.

More gunshots rang out and a shout was heard on the far side of the coach before the air fell silent. If he had to guess, Lucas was pretty sure that Keith had taken down the fourth bandit. The three men began to reach around the edge of the coach and fire shots in Keith’s general direction. Something had to be done about all this. Donny was still inside that coach and was there was no way of knowing how badly he was injured. With all the gunshots headed in the direction of the coach it was only gonna get worse.

“I shoulda just been a fisherman,” Lucas muttered to himself. He had never enjoyed being a Marshal and whenever he found himself in tough spots he found himself regretting not taking a more peaceful type of employment.

Then he remembered something. He reached into his pocket and pulled out a bundle of fishing line with a hook attached. He liked to carry fishing line in case he got the chance to stop over at Laketown. With all the shooting going on, the bandits took no notice of his eleven attempts to hook his revolver on the ground behind them. On the twelve try he managed to hook the weapon and pulled it quickly to himself. He shot two of them in the leg before the third one realized that the shots were coming from behind. That one turned and fired straight at Lucas. The shot missed. The other two men had apparently never been shot before and had dropped their guns and were writhing in agony. The uninjured man was taking aim a second time. Lucas shot first and he didn’t miss.

Two of the bandits were dead and the other two were currently unarmed but their guns lay within reach right next to them. Lucas grabbed the tree branch and pulled himself to stand, keeping his aim towards the injured men. They didn’t fight being arrested and gave up their guns as asked.

“Donny?” Lucas called out while he tied up his prisoners. “You alive in there boy?”

Keith came out of hiding and climbed on top of the overturned coach. He threw open the door and peered down inside. “Give me that there box,” he reached two hands inside and hauled the chest out and placed it next to him on the coach. After that he pulled the kid out and lowered him to the ground.

Donny was bleeding and looked rather shaken up. Keith jumped down from the coach and set to work unhitching the horses. They would have to ride for the remainder of their journey. “That there box is the property of Wells Fargo. It comes with us. Bring it here Donny.”

Donny was shot in the shoulder and though he made a good effort, he could not lift his arms above his head. Keith watched with disgust but made no move to help so Lucas limped over and reached up to pull down the chest. It was far heavier than he expected and between the weight of the chest and the injury to his knee, the Marshal soon found himself flat on the ground pinned beneath the heavy chest. It was in that moment that Donny decided to make a run for it. He supposed he couldn’t blame the kid. Keith had told him he might be hanged and after just barely escaping the bandits with his life, Donny was panicked.

“You yellow bellied little…” Keith muttered and then worked quickly to finish unhitching one of the horses. He mounted and took off after Donny.

Lucas pushed the chest off of himself and followed after them. It took him a while to catch up due to the pain in his knee. He eventually found them, Donny looked like his nose was broken, his left eye was blacked, and he had fresh roped tied around his wrists. Keith was still on horseback and held the end of the rope while Donny walked.

The rest of the journey to the city was sullen. Lucas had done what he could for Donny’s wounds, and had made sure his other two prisoners were tied securely. There were no more songs. His broken banjo was in a bag and Lucas was in one of his rare moods where he actually didn’t want to sing. He dropped off his prisoners at the jail near the courthouse, left Keith Danvers at the Wells Fargo office, and went to see a doctor for his knee.

It was dusk when Lucas finally returned to his little townhouse on the edge of the city. There was mail in the basket on his front steps. Usually his neighbor old Mrs Fisk picked up his mail for him when he was away. And on top of the mail was a telegram message dated for the previous day.

The Bartlett Gang all killed in Davenport shootout with only Ned Bartlett taken alive STOP Sheriff Brett Williams killed in the conflict STOP Davenport renamed Camelot STOP

Lucas didn’t bother to read the rest of the mail. He went inside, took a bottle of whiskey from the pantry, and went straight out the back door into the garden. There weren’t many flowers blooming this time of year. Or maybe they just didn’t grow as well without Emilia to tend them anymore. Lucas went past the dying flowers and shrubbery. He stopped in front of a single gravestone.

Emilia Williams Walton 1841-1870, Beloved wife and mother, Edith Walton 1865-1870, Beloved daughter.

With great effort, Lucas lowered himself down to sit on the ground. The grass was well worn as he had sat in this spot many times before. “Well Emilia, at least you won’t be alone anymore. Your brother will take good care of you. He always did. Better than I could...better than I ever could...”

And Lucas opened the bottle of whiskey with no plans to go back in the house anytime soon.

[forkanna]

[AO3 LINK] [EF LINK]

WARNING: This story will contain coarse language, incestuous romance between a mother and daughter (even if they are the same age), and some brief smut. If you have a problem with any of those things, DO NOT READ.

NOTE: Special thanks to Azimov, T43 and @pankite​​ for their contributions to the early chapters!

Here's a red-letter date in the history of science: November 5th, 1955. -Doctor Emmett Brown

AUTHOR'S NOTE: This has been a loooooooooong time in production. In fact, it's technically still in production, BUT we're coming close enough to having the entire fic ready that we felt confident enough to post the first chapter on the most important date in Back To The Future history - even surpassing October 22nd, 2015 (the day Marty arrived in the future in Part II). You have no idea how bad I've always wanted to do something in the BTTF verse - and combining it with these silly sisters (even if they aren't sisters in this fic) is like a dream come true.

Fractal The Future is going to be released in three parts, like the original trilogy, and altogether will be pretty long - even if each part will be a more manageable "paperback novel" length. There may also be some spinoffs, but we'll get to those when we get to them.

Hope you're ready! Where we're going, we don't need roads!

- @fruipit and Jess

                             CHAPTER 1

For the first time in months, Anna McFly felt like she was on top of the world. Weeks of practice and gruelling training had led her to this moment. After weeks of sleepless nights and stress and worry, listening to her parents gripe at her for making so much "racket" in the garage, this was it. The moment of truth.

With a "ONE, TWO, THREE, FOUR!", they were cranking out the sweet sounds of the Eighties. Her throat was almost raw from practicing this cover night and day, but she thought that only helped "The Power Of Love" sound even more authentic. Well, as authentic as it could when it was coming out of the mouth of a teenage girl.

They were playing for the judges – assessors of their talent or some such – but Anna only had eyes for one person. Her friend and strongest supporter, Jennifer Punzel, was watching from the sidelines of the gymnasium and biting her lip in excitement.

On top of the world.

But, like everything in her life, it wasn't destined to last. "Thank you!" the teacher said into the megaphone as the last strain faded out. "Thanks, that's all we need. We'll be in touch."

"What, Mr Lewis?" Anna yelled out as the feedback squealed. She glanced over at Merida, who shrugged helplessly as she tried to turn off her amp.

"I'm afraid it's just too darn dated. Can't you play anything from this millennium? It's a good song but the other kids at the dance won't know it."

Frowning, she grumbled under her breath, "It's younger than you are, you old coot." Running a hand through her fiery red bangs, she called out to him. "You said anything goes – within reason. This is within reason!"

Still, he shook his head and repeated, "Thank you, Ms McFly. We'll be in touch."

Rolling her eyes, she pulled the guitar strap up and over her head as Mr Lewis went off to chat with the other teachers. "If it was good enough for my parents, it's good enough for these jerks."

"Told you we should do something by Panic or Florence," Merida hissed at her as they started packing up their gear. "People act like they want retro but they don't really."

"Well, I think you sounded great." It was Punz, her rock, her BFF. Always positive even when nobody else was.

Anna gave her a grateful smile, her cheeks perhaps a little pinker than she wanted them to be. There was silence for a few moments before Punz gave a little jerk, eyes widening as she tore them away. "So, uh. They finally reopened that café. How about we go and get a celebratory pick-me-up? My treat." She smiled and Anna couldn't help but return it.

Of course Merida ruined the moment. Anna hadn't even noticed that she'd left to put away her instrument and grab her bag.

"Oi, you two still here? Hurry up or get a room, I don't really care which. I just wanna eat."

This time, Anna was positive her cheeks were basically on fire, and she scowled in a dismal attempt to hide it. Punz looked a little mortified.

"Merida!" Anna hissed. "We're not- we don't- we're just friends."

Merida rolled her eyes. "Easy choice then, eh? Hurry up!"

Grumbling yet again, Anna stalked off, taking the strap off her guitar as she walked. There was no reason to get so upset at Merida for coming up to them – and telling them to get a room meant nothing. This was high school, after all. Everything was about dating and sex, and teasing your friends about it. And it was always funnier when it had no basis in fact.

If she didn't want to get teased, then she shouldn't have taken so long. Simple.

Still, she found herself glancing up at her friends a few more times as she put away her guitar, watching Punz say something to Merida and Jane that had them snorting, grinning and arguing. Even though she couldn't hear what was being said, it still brought a smile to her own lips.

Of course, it was impossible to miss Merida's eye-roll when she looked to see what was taking so long. Shaking herself, Anna quickened her pace, and within a few minutes had returned to her friends.

"Finally ready to go?" Merida's voice contained only a little bit of snark and a whole lot of 'I'm going to give you so much shit later'.

"Sure," Anna replied with a grumpy expression, more a 'don't say a fucking word' than anything else.

When Punz noticed her suddenly sullen mood, she did the only thing a best friend could do and linked arms with Anna, beginning to lead their small group towards the door.

Ah, to hell with Merida. This was worth it.

                                  ~ o ~

The Café 80s was one of those abysmal joints that banked heavily on nostalgia to bring in customers. Neon lights, vintage movie posters, New Coke on tap, Michael Jackson pumping out of the jukebox. There were even a few old-school arcade cabinets in the corner, like Centipede or Wild Gunman. It was ridiculously over-the-top.

Anna loved it. Jennifer liked what Anna liked, and the rest of the band tolerated it because they were all into retro music and it sort of went with the territory.

"I could eat a fecking ostrich," Merida groaned, almost knocking Jane over in her haste to grab a booth and order.

Anna just rolled her eyes, following behind her friend. "Yeah, you always say that, but who ends up finishing your fries half the time?"

"Not today!"

Out of the way and in the corner, the booth was the perfect place to watch the comings-and-goings of the restaurant. Anna always sat against the wall. It gave her a perfect view of a faded poster of some eighties band with a bangin' hot chick, and it never failed to cheer her up; Aimee Mann was life.

Or, it would have had Anna actually been able to concentrate on anything other than their less-than-stellar performance – not even that. The reaction to their performance. They sounded great, she knew it. Too bad the stupid teachers had no clue.

"Aww, don't mope," Punz said when the other two girls went to order. "You were fantastic today, and I bet you're only going to get better. Still think you guys should cut a demo."

Anna quirked a small small, head coming to rest on her friend's shoulder. "Thanks. It just… I was really looking forward to playing at the dance."

"Guess you'll have to find an actual date like the rest of us plebs," Punz commented airily.

Wait, was that…? Did Punz want to go with her? She lifted her head and opened her mouth to ask if perhaps Jennifer didn't have a date already, and would she maybe like to go with Anna – just as friends, if that was what she wanted! But then her eyes met Punz's, and she couldn't finish her question. They were so intense, flicking between her own. Even if Anna's mind hadn't completely emptied at their faces being so close together, she doubted she'd have the voice to ask anyway.

'I'm such a chicken,' she admonished herself as she took in the couple of freckles on Punz's nose, her sparkling green eyes. The very slight buck teeth that people made fun of her for back in junior high – earning them a punch to the face from a very overprotective Anna. Because she thought they were adorable. Everything about Jennifer Punzel was adorable and should be protected at all costs.

It was just when Anna started wondering if Punz was going to lean over and finally – finally make a move – that an unhinged looking woman in frumpy old clothes came up to them to shake a can in their face. "Donate to the 'Dell Valley Clocktower Preservation Society'? Any amount you could give would go to opposing the Mayor, that so-called 'progressive' Tiana Rose-Wilson, and her initiative to desecrate a piece of history! We believe it should-"

"Um, listen," Anna chuckled a little awkwardly, finally finding her voice. It was still a little weak, and she coughed before continuing. "I feel for you, I do, but… we're kind of in the middle of something?"

"Don't be mean," Punz hissed under her breath. Then she reached into her purse and rummaged around for her spare change. "Will this help?"

"Of course," the woman said, beaming at the both of them as though Anna had never tried to shoo her away. "Here, don't forget to take a flyer."

Nodding, Anna took it while Punz put the coins in her collection jar and the woman left. Then she folded the flyer and flicked it over to Punz.

"Phew," she muttered, "You know, sometimes I wonder why a marshmallow like you wants to hang around an asshole like me."

"Huh," Punz commented. When Anna lifted an eyebrow in confusion, she continued, "Why does a marshmallow like me want to hang around with an asshole like you?"

Anna's mouth opened in mock-offense, and Punz giggled and poked her in the cheek. "I'm sure there's a reason," she said, leaving little doubt that there was. Anna felt a red flush creeping up her neck and she looked away.

"W-well maybe I could try and be a little less, y'know…"

"Rude?"

"Hey!"

But Punz was still smiling, and maybe she was a little pink, too. Anna bit her lip. Maybe the moment was right, and this was no time to be a coward. Sucking in a breath, she leaned forward, just a little bit.

"Hey…" she repeated, more softly. It was Punz's turn to lift an eyebrow. "Do you…" she trailed off. She'd lost her nerve, as she knew she would, but that was okay. She just had to find it again. Punz didn't try and speak, even as the words died on Anna's tongue –hell, she didn't even ask what Anna had wanted to say. She just kept looking at her with those same round eyes, open and encouraging.

"Yes?"

Sucking in a breath, Anna bit her lip and moved her hand. It came to rest atop Punz's where it sat on the table. She got to rub at the soft skin, using the distraction to lean a little closer. A blonde eyebrow lifted in a question, but still Punz didn't interrupt. Her face was flawless, and the only thing that seemed to exist were the two of them. Anna felt her heart beating like a drum in her chest. "Do you, uhh, maybe…" she tried again, finding her courage—

—before Merida and Jane dropped into the opposite booth bench, setting a basket of fries down in the middle of the table. Anna jerked her hand away and leaned back, heart thundering in her chest. Goddammit!

Jane was clearly focused on her stomach, because she was already grabbing for the ketchup bottle, but Merida looked highly suspicious.

"Did we come back too early?"

"Wh-what?" Anna asked, trying to look like she had done nothing weirder than ask Punz what time it was. Probably failing because her hand had jerked back and both had shot away like they'd been shoved in opposite directions. "I mean, yeah, if you were getting more food than fries." Merida looked at her. "We were just talking!"

"They're going to bring out the rest," Jane said, oblivious. "Apparently, on a skateboard. It's really very fascinating, they seem to want to cram as much nostalgia in as is humanly possible."

The remainder of lunch was absolute torture. Punz was perfectly happy to discuss Mr Beaker's art assignment, leaving Anna to studiously ignore the stares from Merida. It was almost commendable how cool and composed Jennifer could remain under pressure or when in uncomfortable situations. This time, it simply fed into the insecurity that perhaps she was imagining things and Punz simply wanted to be her friend.

Not even the arrival of heaps of fast food delivered by high speed skateboarding waitress brought relief from Merida's interrogative gaze; Anna's hopes of talking to Punz about anything of consequence were dashed. Halfway through the lunch, she excused herself from the table to go to the bathroom, feeling a little more dejected than she knew she had any right to. Even if they hadn't been interrupted, chances were that she would have chickened out anyway.

Just as she had entered the short hall to the facilities, a welcome voice rang out behind her.

"Hey Anna, wait up!" Punzie looked… different when she approached. There was a spark in her eyes that was a little bit excited; perhaps hopeful. "You wanted to ask me something earlier?"

"N-no. Well yes. Maybe."

When Punz simply looked at her, expectant, Anna caved. Biting her lip, she dragged a hand through her hair.

"So, um, here's the thing. Dancing. It's happening, a-and since they probably won't let us play, I kinda need someone to go with. Like you said! Well, I mean, not that you… uhh…"

Punzie had closed the distance between them while Anna was busy trying to wrangle her unruly thoughts. She leaned forwards with a small, soft grin before reaching her hand around behind Anna's back. The redhead let out a whimper as she felt Punzie's hand trace a pattern on her back jean pocket before being very disappointed with its sudden withdrawal.

"Grandma's address and number. My phone's being fixed by the Geniuses at the mall right now, and we're staying there while they finish renovating my bathroom so we have to go back to the stone ages and use a landline. Pick me up at seven. Dress nice!"

When Anna's brain refocused on the present, she discovered that Punzie had scrawled a series of lines on the back of the Clocktower flyer, each as precious as gold dust to a horny teen. Her putting it in Anna's pocket was just a very nice icing on an even nicer cake.

"O-kay," she managed to sputter as she slipped it back into her pocket. Funny how she could normally be so confident – even "a cocky slacker" according to Vice-Principal Weselton – but Punz could turn her into a jellyfish with an almost-butt grab, soft words and a smile. "And did you think about… you know, the plans for after?"

"Driving up to North Lake?" Punz bit her lip, finally looking a little less than completely sure of herself. "We'll see if I'm ready. But I'm leaning toward 'hell yes'."

Anna's grin could have lit up the dark side of the moon. "Great! I mean… yes, that's… yes. Hope you feel ready when the time comes. Might even uh, have a little surprise for you…"

"Even if I don't, it's not because I don't like you," she reassured her, that same soft smile on her face. "It's just new. You and me, we've been friends forever, so changes are… weird." Then she nudged Anna and tacked on, "But this change… I don't think I'm gonna have a problem with. Also, nipple piercings aren't a surprise when you take me to get them because you're too chicken to go on your own."

And with that parting remark, the smirking girl backed away, returning to their table. Anna gazed after her for a moment.

"'M not a chicken…" she mumbled to herself.

It was only when Punz glanced back over to her that Anna remembered why she'd gotten up in the first place. Right, yes. Things to do. Ogling could wait until after. But she was on top of the world and nothing was going to knock her off that perch. Nothing but a nuclear explosion.

                                  To Be Continued…