Leverage (2008–2012)
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The Carnival Job 

An innovative computer chip the team steals from an executive's home becomes the ransom when the executive's daughter is kidnapped.

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Writers:

(creator), (creator) | 2 more credits »
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ON DISC
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Cast

Episode cast overview:
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John Connell
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Molly Connell
Anna Lieberman ...
Daria
John San Nicolas ...
Geoffrey Thorne
Urijah Faber ...
Roper
Ira Kortum ...
Russian Gangster
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Russian Sniper
Doug Baldwin ...
Contractor
Nathaniel Boggess ...
Clerk
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Teenage Worker (as Kamyar Jahanfakhr)
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Storyline

After 50% success at Verd Agra, the team takes on debt-ridden FluidDyn, Sales VP, Connell. The client, Geoffrey, invented an environmentally adaptive tech design chip and then, was fired by Connell. Geoffrey sued and Connell denied there was a chip. Nate believes widower, Connell, is hiding the chip in his home to sell on the black market. The con has to afford entry to the Connell safe room. "Security Guard" Eliot bonds with Molly, Connell's sad, confused daughter. Eliot teaches Molly cheating is unnecessary; practice and playing to win are the way to go. Molly is abducted at a local carnival. Can a few hours of Eliot's teachings help Botasky and Perky survive this ordeal? Green is the color of Parker, the 2000 and envy when our favorite cat burglar misunderstands a loving gift. Written by LA-Lawyer

Plot Summary | Plot Synopsis


Certificate:

TV-14
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Details

Release Date:

31 July 2011 (USA)  »

Company Credits

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Did You Know?

Trivia

This is the second episode of Leverage to be shot at Oaks Park in Oregon. See more »

Goofs

When Elliot is talking to Molly for the first time, whenever the camera angle is looking straight at both of them Molly has her hair pulled behind her ear. Whenever the camera angle shifts to the side to look at Molly from Elliot's direction, her hair is pulled in front of her ear. The camera angle changes many times during the conversation and the hair position keeps changing. See more »

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User Reviews

 
A little plot twist turns what seems like the same old job into something completely different.
1 August 2011 | by (United States) – See all my reviews

This episode starts out looking like more of the same old same old. But once it gets rolling, it takes you in a completely different direction than expected.

Christian Kane really shines in this episode. His portrayal of the archetypal character (Spencer) reveals in a believable manner how winning, is not so much about never losing, as it is about never giving up. In this episode you'll see him expressing the machismo for which he is so well known but at the same time, that machismo remains tempered with a sense of justice, and just enough sensitivity.

Beth Reisgraf and Aldis Hodge (Parker and Hardison) continue their flirtatious antagonism, filling out their character roles with such strength that it's easy to forget that they're thespians playing a role, but honestly leaving me wondering if there isn't something more going on off the set.

Timothy Hutten and Gina Bellman (Ford and Sophie) allow their personal dynamic and character development to fall into the background this episode, but they remain on screen the characters you expect them to be—true professionals to the end.

Guest starring in this episode we have Erik Jensen known for his work in the movies "Book of Shadows: Blair Witch 2", Martin Lawrence's "Black Knight", "Undermined" and "Quality Time." If you enjoy his work, keep your eyes open for his upcoming film, "A Bird of the Air."

Also making her screen debut in this episode is Lea Zawada who plays the role of Molly Oconnoll. This writer has no doubt that her abilities will continue to flourish as well as she did under the direction of this production… (Which director whose name I cannot seem to find to credit for this exceptional work.)

Also Uncredited on screen is Ira Kortum who, in spite of prolific work on screen, TV, and video games manages to remain a background player. We see you Ira. You can't hide in the background forever.

There was one thing I did not like about this episode. I'm not sure if the cinematographer or an editor is to blame, but the final cut leaving the carnival just felt wrong. I'm not sure if it was the angle of the shot or if too much of the shot was left in the final edit—either way, it feels awkward and you really can't help but notice it.

Final kudos to Chris Downey and John Rodgers for writing this episode. IMO best episode this season Yet.


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