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Human Target: Imbroglio
Ilsa's sister-in-law Connie Pucci arrives to assess the agency, and discover if Ilsa has lost sight of the Foundation's mission. However, their night at the opera turns hazardous when terrorists take everyone hostage. Chance and Guerrero work from the inside to free the prisoners, while Winston works with the FBI, but it soon becomes clear the terrorists want more than a ransom.
| 8.8/10 (29 Votes cast) |
Episode Info
|
Episode number: 2x9 Production Number: 2J5709 Airdate: Friday January 14th, 2011 |
Main Cast
Recap
Ilsa waits in an alleyway and remembers how Hector Lonzo attacked her in her own apartment, and she was forced to kill him with his own gun before Chance could arrive. Finally her guest arrives: Connie Pucci, her sister-in-law. She notes that Ilsa hasn't contacted her in a year and then hugs her. They go inside to the agency, and Ilsa explains that they met in the alleyway for security reasons. Connie is the Chairman of the Board of the Pucci Foundation and there to check out her team. Connie figures that Ilsa has been hiding the team, but Ilsa insists that they’re professionals... until they discover Guerrero shooting at Chance to test his new body armor. As Ilsa protests, Winston comes in and Ilsa introduces Connie. She explains that Connie is treating her to the opera. Guerrero is impressed, and Ilsa quickly takes Connie to her office. As she goes, Winston asks if she'll need a security escort, and Ilsa explains that she thought someone was following her. She tells Winston that she was imagining things, and assures him that Patrick, Connie's bodyguard, can protect them...Read the full recap
Episode Notes
A poster for the Seattle Improv group's Rent parody, Lease the Musical, can be seen as the terrorist takes Chance out of the theater.
Right up to air time, this episode was scheduled for 8/7, on Wednesday, January 12, 2011. However, it was bumped at the last minute for Raising Hope and the Tucson Memorial Service.
Episode Quotes
Christopher: Okay, shoot me.
Ilsa: Dear God!
Christopher: What are you doing here?
Ilsa: What am I doing here? What are you doing?
Christopher: Just got some new body armor in the mail, want to try out.
Ilsa: Try it out? Here?
Christopher: Well we can't do it outside. There's... you know, kids and stuff.
Guerrero: Dude, we going to do this or what?
Christopher: Yeah, let's go.
Ilsa: Dear God!
Christopher: What are you doing here?
Ilsa: What am I doing here? What are you doing?
Christopher: Just got some new body armor in the mail, want to try out.
Ilsa: Try it out? Here?
Christopher: Well we can't do it outside. There's... you know, kids and stuff.
Guerrero: Dude, we going to do this or what?
Christopher: Yeah, let's go.
Ilsa: Why in God's name are you here?
Christopher: Same reason you're here, to see the show. Guerrero says it's fantastic.
Ilsa: You know La Traviata?
Guerrero: Well, I'm not going to lie. If I have to sit through this baroque stuff, I'd much prefer Rossini.
Christopher: Same reason you're here, to see the show. Guerrero says it's fantastic.
Ilsa: You know La Traviata?
Guerrero: Well, I'm not going to lie. If I have to sit through this baroque stuff, I'd much prefer Rossini.
Ilsa: Come on, Mr. Chance, why are really here? I want the truth this time.
Christopher: I told you. I'm here to see La Tortellini.
Ilsa: That's a type of pasta.
Christopher: Is it?
Christopher: I told you. I'm here to see La Tortellini.
Ilsa: That's a type of pasta.
Christopher: Is it?
Connie Pucci: Ilsa, what's he going to do? I don't like this.
Ilsa: Relax, Connie.
Connie Pucci: You saw what they did to Patrick.
Ilsa: You're about to see why I hired this man, why he's in a class of his own, and why no one, and I mean no one, can do what he does. Isn't that right, Guerrero?
Guerrero: Oh yeah.
Connie Pucci: Why, what's he going to do?
Guerrero: He's going to puke.
(Chance vomits)
Ilsa: Good lord.
Connie Pucci: I wish to God someone would explain to me what's going on.
Guerrero: Well, you know how some people have perfect pitch? Others can see well at night. Well, Chance can vomit on cue.
Ilsa: Relax, Connie.
Connie Pucci: You saw what they did to Patrick.
Ilsa: You're about to see why I hired this man, why he's in a class of his own, and why no one, and I mean no one, can do what he does. Isn't that right, Guerrero?
Guerrero: Oh yeah.
Connie Pucci: Why, what's he going to do?
Guerrero: He's going to puke.
(Chance vomits)
Ilsa: Good lord.
Connie Pucci: I wish to God someone would explain to me what's going on.
Guerrero: Well, you know how some people have perfect pitch? Others can see well at night. Well, Chance can vomit on cue.
Christopher: (over the radio) Winston, you with me?
Winston: I've been listening to you heave for the last ten minutes. Why would I go anywhere?
Winston: I've been listening to you heave for the last ten minutes. Why would I go anywhere?
Connie Pucci: We're being held by armed thugs. Why wouldn't I call the police?
Guerrero: Hey, it's okay. We all make mistakes.
Guerrero: Hey, it's okay. We all make mistakes.
Christopher: She stays.
Guerrero: Have a seat, boss.
Connie Pucci: Is he serious?
Ilsa: No.
Guerrero: I'm missing the opera right now. You don't want to test me. Sit down. (cocks gun)
Guerrero: Have a seat, boss.
Connie Pucci: Is he serious?
Ilsa: No.
Guerrero: I'm missing the opera right now. You don't want to test me. Sit down. (cocks gun)
Ilsa: Can we please stop worrying about me for a change?
Christopher: Do you have any experience picking locks, by any chance?
Ilsa: If I say yes, would it at least make you feel better?
Christopher: Do you have any experience picking locks, by any chance?
Ilsa: If I say yes, would it at least make you feel better?
Christopher: Okay, listen, folks, it's going to be really hard for me to tell who I'm supposed to be fighting. So if you could do me a huge favor, just raise your hand if you're a terrorist.
Other Episode Crew
| • Developer | Jonathan Steinberg |
| • Executive Producer | Matthew Miller (1) | McG | Brad Kern | Jonathan Steinberg | Peter Johnson |
| • Co-Executive Producer | Dan McDermott | David Simkins | Dan E. Fesman | Andrea Newman |
| • Supervising Producer | Steve Boyum |
| • Producer | Grace Gilroy |
| • Co-Producer | Robert Levine (3) | Jessie Ward Dugan |
| • Consulting Producer | Zev Borow |
| • Production Designer | David Willson |
| • Editor | Viet Nguyen |
| • Casting | Peggy Kennedy (1) | Debi Manwiller | Jennifer Page | Corinne Clark |
| • First Assistant Director | Greg Zenon |
| • Second Assistant Director | David R. Baron |
| • Music | Tim Jones (4) |
| • Music Editor | Mary Parker (2) |
| • Music Supervisor | Billy Gottlieb |
| • Costume Designer | Angelina Kekich |
| • Set Decorator | Johanne Hubert |
| • Location Manager | Michael Roberts (3) |
| • Property Master | Dean Goodine |
| • Supervising Sound Editor | Peter Austin (2) |
| • Re-Recording Mixer | Eric Justen | Jeffrey Perkins |
| • Director of Photography | Robert McLachlan (1) |
| • Story Editor | Nora Zuckerman | Lilla Zuckerman |
| • Stunt Coordinator | Dean Choe |
| • Art Director | Tony Wohlgemuth |
| • Post Production Coordinator | Brandon Krzyminski |
| • Production Manager | Yvonne Melville |
| • Sound Mixer | Michael Williamson (3) |
| • Executive Story Editor | Matt Whitney |
| • Key Makeup Artist | Tanya Howard |
| • Key Hairstylist | Robert A. Pandini |
| • Special Effects Coordinator | Dan Keeler |
| • Created By | Len Wein | Carmine Infantino |
| • Theme By | Bear McCreary | Tim Jones (4) |
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