Parker - The Madding Crowd, Part 16 - Ray Wonsowski

Set-up: While HAWK and DOVE are battling ECLIPSO and pushing back his army of Hellspiders from another dimension, PARKER has taken advantage of the chaos to break into the labs of Meta-Pharma. With his take in hand, he stumbles past a surgical theater, and has a crisis of conscience...

Layout:
123
444
444

Panel 1- PARKER, dressed in black turtleneck and pants, turns his face away as he fires a snub-nosed pistol into sparking computers and medical machinery.

PARKER: I don't know what's been playing at here...

Panel 2- PARKER walks toward us as he fishes a set of lockpicks out of his pocket, leaving the machinery behind him to catch fire.

PARKER: ...but if this is as monstrous as it looks...

Panel 3- PARKER unlocks the cuffs at a surgical gurney, freeing a patient's hands.

PARKER: ...I get the feeling someone has a bit of payback coming...

Panel 4- Foreground, PARKER helps a groggy ANDREW BENNETT to his feet. Mid-ground, (left) JACKIE ESTACADO massages his left wrist with his right hand, the look on his face is one of hell-to-pay, as (right) SHADE the Changing Man reunites JACK RYDER with the CREEPER (which looks as painful as their separation was). Background, a large video monitor shows a map of the dark side of the moon, a purple crosshairs ominously highlighting one large crater...

JACKIE:  Friend, you have no idea.

...the end is nigh, my friends. Stay tuned...

Parker – A Simple Ultimatum - MK Stangeland Jr.

(6 Panels)

Panel 1: PARKER is sitting at an outside café table, looking nonchelante. An empty drink glass sits on the table next to him.

SFX: (From PARKER’s phone ringing) beep-beep-beep!

Panel 2: PARKER has answered his phone.

PETERSON (1): (From phone) Mr. Parker. I believe you have something that belongs to me.

PARKER: I don’t know what you’re talking about.

PETERSON (2): (From phone) Then I suppose I don’t know about the poison that was in the drink you just finished.

Panel 3: Beat panel. PARKER looks at the empty glass next to him. He’s showing no external signs of a reaction, but internally he’s thinking ‘$#*^’.

Panel 4: Inside PETERSON’s office. We don’t get a full view of PETERSON himself, but rather it might focus on something else that gives us a picture of him without actually getting a good look at him as PETERSON talks to PARKER – the office is well-lit, no shadowy elements at all, and is located at the top of a skyscraper, giving a great view of the city around him.

PETERSON (1): Here’s the thing, Mr. Parker.

PETERSON (2): I like to think I’m a very law abiding individual. I even like to think that I manage to avoid legal but very morally questionable activities.

Panel 5: Back to PARKER as PETERSON continues to talk.

PETERSON (1): (From phone) Not like you, who feels its their right to take other peoples things because you’re good at it.

PETERSON (2): (From phone) When people like you, who are beyond what the law knows how to handle, decide to take what is rightfully mine, I’m willing to return the favor.

PETERSON (3): (From phone) I’m not interested in revenge, Mr. Parker. That never ends well.

PETERSON (4): (From phone) I just want you to return what’s mine.

Panel 6: PETERSON continues to talk.

PETERSON (1): (Phone) The poison will kill you in 24 hours.

PETERSON (2): (Phone) You have Twenty-One and a half.

PETERSON (3): (Phone) That’s because I need Two and a half to verify it’s real and ensure you can’t pull a fast one.

PETERSON (4): (Phone) You give me back my stuff, I give you the antidote, forgive you for your mistake, and forget this ever happened.

PETERSON (5): (Phone) If you don’t, you die, and then I spend as much money as I need to get it back from your dead, rotting corpse.

(END PAGE)

Parker - Loose Lips - Grant McLaughlin

Simple layout.  Row one is made up of panel 1 and is the biggest row / panel on the page, establishing the scene.  Row two is made up of panel 2, but it is thin and long.  Row three is made up of the remaining panels, all of equal width.

1 - Wide shot.  Parker is on a cruise ship, leaning on a railing and looking over the water.  He wears some stereotypical cruising stuff - Hawaiian shirt, khakis, etc.  A staff member of the ship walks by (wearing a uniform of some variety).

CAPTION: Losing his inside man complicated things.

2 - Closer in on Parker.  His eyes are narrowed and he tracks the staff member as they head into a doorway on the boat (if you think it's necessary, you can have a partly seen "Staff Only" sign partially visible on the door).

CAPTION: But there was an obvious solution to that problem.

3 - Parker heads into the door after the staff member.

CAPTION: Obvious.

4 - A shot of the closed door.

NO COPY

5 - Parker coming out of the door, wearing the staff member's uniform.

CAPTION: ...but not without its own complications.