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[series]: Leverage
[character]: Parker
[character history / background]: Here is the official back-story of Parker, but it is woefully incomplete.
Pre-Canon history:
Parker’s background is shrouded in mystery, but we know a few things:
1) As a girl, her brother (presuming natural brother, as there was not any specification on another type of relationship in the show) was killed in a cycle versus automobile accident when he was young. We also know that the brother was younger, and that Parker is the one who taught him to ride the bike. It still haunts her as she didn’t tell anyone about it, until it was revealed in “The Future Job.”
2) She is a child of the foster care system and in one home, when a foster father threatened to keep her bunny away from her, the house blew up. While there is plenty of speculation that she was involved in the explosion, or just did nothing to save anyone else (the smile given as the young Parker leaves the house – with the bunny -- is the cause of said speculation) it is not confirmed (“The Nigerian Job”). Thus, she has a lot of sympathy for children within the system, though empathizing is difficult for her, as will be explained later.
3) She still has the bunny (“The Inside Job”). It is the only thing evident from her childhood that she still has.
4) To cure herself of claustrophobia, she had herself buried alive (“The Top Hat Job”).
5) She did not have any of the normal childhood experiences. She did not attend high school, and was a B&E artist by the time she was a preteen. Also, when she did find a father figure – Archie Leach – all he did was hone her skills, not taking her into his home in a more traditional fatherly role, despite having his own family. Archie calls her “perfect” when it comes to thievery (“The Stork Job”, “The Reunion Job”, “The Inside Job”).
6) She has a lot of hidden secrets / motivations. She speaks Spanish, is a fairly decent sketch artist, likes money (and can tell, by feel, if it’s fake), hates stuff, and is very attached to her bunny.
7) When she was 12 she was taught to boost cars by a kid she met in foster care, Kelly. Later, Kelly ran, leaving Parker to be arrested. She spent 6 months in juvenile detention for the crime, but it’s clear the event still affected her, more due to Kelly’s abandonment (“The Boost Job”).
8) Before she stole cars, she was a getaway driver. This explains Parker’s rather erratic and dangerous driving style (“The Boost Job”).
10) Finally, her criminal history includes: the theft of several infamous stones (including the Hope Diamond, because she was bored, but she put it back) and works of art (including a Caravaggio). She is wanted in 9 countries. The only two mentioned in canon are Brazil and Yemen. (“The Second David Job,” “The Beantown Bailout,” & “The Ice Man Job”)
11) Her personality, the extremes to which she does not share personal things about herself, her morality, are all due to her background, and the influences around her while growing up.
The Thief:
This is Parker’s role within the team, even though all of them, at some point, have described themselves a thief, Parker is usually the one who will steal physical objects. The technology of vaults, the dexterity to pick pockets, the ability to slip into places almost entirely unseen, and other such skills are her contributions to the team. While she is amused when the roles are switched up, Parker’s difficulties relating to people, and inability to perceive the abnormal for people who are more average than her, means is is unlikely she will ever master any of the other jobs (most evident in “The Three Strike Job,” and “The Underground Job”). Thievery is invigorating, whereas Sophie’s job, grifting, is tiring (“The Underground Job”).
Please note that other important canon points will be discussed in the personality section
Though, she is very adept with a taser. That is, most definitely, a part of her job, in her eyes.
[character abilities]: This is one of those times when wiki is really handy. Unfortunately, the wiki is still incomplete; there are a few other important things that need to be added: self-reflection. This only applies to her work, as she will often evaluate any errors she’s made during a particular break-in and learn from those errors. For instance, she was able to realize her error while beating the Steranko security systems, which is that she needed another Steranko (“The Inside Job”). Her self-discipline is another important skill when it comes to her work. She is often annoyed when she has to perform her job poorly in order to accomplish a con. Finally, her gymnastic skills are not mentioned, yet she has them, in spades.
[character personality]: Parker can be defined by three succinct quotes. The first is “20 pounds of crazy in a 5 pound bag” and “she’s broken.” The first one, though humourous, is a more colloquial view of the character. The second is much closer to the truth. The third, will be dealt with at the end of this section.
Dean Devlin, creator of Leverage described the portrayal of Parker by the actress “ semi-Asperger’s craziness.” While it never could be confirmed, in canon whether it is Asperger’s or not, simply because Parker has never been in an environment long enough to be tested, and nor would the foster parents, as portrayed by the show, have bothered investigating such an issue, it is an important element of the character. She displays several obvious signs of being, to use the creator’s term, “semi-Asperger’s.”
She misses obvious cues, particularly non-verbal ones, or takes what a person says literally. This applies to a lot of metaphors and symbols. For instance, she could not equate Eliot as the metaphorical fiddle in “The Fiddle Job” for much of the episode. While it is often played for humour, it is frequent nonetheless. In the case of basic friendship, she does not realize that someone “normal” would like her, and assumes it is only the character she plays, though the character of “Alice White” is Parker, with a few lessons from Sophie. In her head, they are two separate people (“The Juror #6 Job).
Most of her communication is more factual, as opposed to personal. She will lovingly describe the aspects of a 1920’s safe (“The Bottle Job”) but have difficulty revealing anything personal, like the death of her brother. Such revelations about herself will often result in rash behaviour, such as trying to save the orphans (“The Stork Job”) or wanting a psychic dead (“The Future Job”). Also, her way of communicating has her frequently appearing to change the subject, though she may be focusing on an obscure detail, or moving forward without bothering to introduce the subject change (most evident in “The Three Days of the Hunter Job”). She is not one to waste words.
Parker is often inappropriate with people. She lacks modesty and has changed several times in front of Hardison and Eliot, much to their surprise. It’s all a part of her not understanding what’s appropriate and what isn’t. She will stare, despite people’s discomfort, or say something a little too truthful, not thinking it might hurt (“The Juror #6 Job,” every comment about Sophie’s acting ever). Also, her reactions vary inappropriately. For instance, she once stabbed someone with a fork for touching her (“The Stork Job”) and will often use a taser to solve problems. Even her attempts to relate with others -- such as her thinking her being buried alive compares with Eliot locking himself in a small space -- are inappropriate.
Parker has an odd sense of helping. Even early on in the series, when the original LA offices were set up, and Hardison lists a variety of things people can do to help, Parker buys a plant. She’s not entirely certain why a plant helps, but she does it, nonetheless (“The Homecoming Job”). In fact, “Parker -- helping?” or its variants is a longstanding joke within the show. It’s an important aspect of her character because despite being insistent on how easy it is to work on her own, she is willing to help people -- and will often be confused why people do not see what she does as helping.
On the other hand, when on a job, she is quite capable of functioning within the rules of a given situation. She understands the rules and ways car thieves deal with each other, so, can deal with that situation with confidence and professionalism (“The Boost Job” & “The Two Live Crew Job”). Even when dealing with the most honest person she knows -- Nate’s Ex, Maggie, she can take charge when preparing a fugitive bag, because it’s a situation with which she is familiar (“The Zanzibar Marketplace Job”).
Her relationships with the team vary. Sophie is the one most likely to try and teach Parker the appropriate social skills (“The Juror #6 Job,” “The Ice Man Job”) and the one who will acknowledge her growth. Hardison is the one to whom Parker will most likely reveal something personal, and she’s yet to attempt to stab him with anything when he does touch her. Finally, when it comes to Hardison, she has feelings for “pretzels,” but needed Sophie to explain what those feelings were. With Nate -- it’s his morality that she follows, and as for Eliot -- she appreciates him for his skills and focus. When it comes to people outside of the team, Parker is able to empathize with those whose situations are similar to her own (“The Boost Job” & “The Stork Job”), but has the most difficulty interacting with “normal” people (“The Juror # 6 Job”).
As for those around her, Parker takes cues as to the morality she is to follow from the team. It takes a while, but she learns, in chunks, that she’s now one of the good guys (season 1) and that the team is a family (season 2 & 3). She will defend that family, as shown when she was, quite literally, going to throw Tara off a roof for what she thought was a betrayal (“The Maltese Falcon Job”). It is important to note that she always used the people around her as the benchmark for morality, and finally acknowledges the morality with which she grew up -- Foster Care's and Archie’s morality -- is no longer her own (Season 1 & “The Inside Job”). At the point in canon in which she is arriving, she is now attempting to apply her new morality independently, though she is mostly limited to those whose circumstances are similar to her own. This is shown in her empathy for Josie, the young car thief (“The Boost Job”), and the even the orphans in “The Stork Job.”
Throughout the seasons, the adoption of the team’s -- specifically Nate’s morality, has changed the motivations for her work. At first, everything was about money. She once stated, “I don’t like stuff, I like money,” (“The Homecoming Job”). This is important, as her childhood was so full of upheavals, that money is portable, whereas stuff (save her bunny) is not. Once she found herself a so-called family, the need for money (but she will always love it) diminishes, as the team is more a permanent fixture, though she still has difficulty with it, at times, it is something upon which she can rely. She no longer needs to steal to support herself, once stealing the Hope Diamond only to give it back, or be completely self-sufficient. This does not mean she doesn’t do either, but it is no longer a requirement for survival, as it was while she was growing up.
Despite this, there is still a certain level of distrust. She’s given several addresses for contact, and has difficulty consulting the team when she has problems (“The Inside Job”). She has difficulty asking for their help in regards to a trial she saw was being rigged (“The Juror #6 Job”) and ran off when a painful part of her past was revealed (“The Future Job”). What is important, is that she will eventually turn to them, which shows her growth as a character who was more than willing to forget all their names (“The Nigerian Job”) to someone who will turn away from the lessons learned from the closest person in her life, Archie, for the team (“The Inside Job”) and its twisted ethics.
When it comes to her job, Parker is disciplined, organized, and obsessive. On her weekends, she looks at ways of robbing different banks (“The Three Card Monte Job”). As a tourist, she looks at the security system of museums (“The Zanzibar Marketplace Job”). She is deeply offended if she has to perform her role with less than usual precision (“The Double-blind Job”). She sees being a thief as a career, and is proud of her abilities. She does not have a hobby; her entire life revolves around her job and the team. Her dedication of it even applies to her wardrobe, as she finds Sophie’s stylish shoes impractical, and ridiculous, as well as fashion that isn’t, for the most part in the black-grey-white range, and functional, equally as absurd (“The 12 Step Job” & “The Runway Job” respectively).
The orderliness and discipline with which she treats her job, is reflected in her personal life. Everyone has clearly defined roles within the team, just like one does not mix pen colours, or not organize your living space so that everything has its place and is in its place at all times (“The Inside Job” and “The Underground Job”).
At the beginning, I said “Parker can be defined by three succinct quotes.” It is, ironically, for a character whose moments of self-reflection are so few and far between they are notable (usually by Sophie), said by Parker. “People are like locks. You have to be patient and if they don’t go right away you have to be fiddly” (“The Beantown Bailout”). It’s the best advice ever given on how to deal with Parker, and far more accurate than any diagnosis.
[point in timeline you're picking your character from]: Episode 3x16, “The San Lorenzo Job”
[journal post]:
[Parker would appear upside down. This isn’t due to how she’s holding the device.]
Waiting. Been waiting a while now. Should I sleep like this? I can.
[While waiting she runs her tongue across her upper teeth, and looks from left to right. Her arms are crossed, and she’s not showing any effects of being in this position for the last three-quarters of an hour.]
Waiting. Upside-down. Hello?
Could have been out of here 32 minutes ago, if you’d let me do things my way.
[Her voice changes; it is higher-pitched and petulant.]
Parker you aren’t allowed to crack the vault. We want the briefcase, even though the vault has a three-wheel combination which a baby could crack. That’s like asking someone to break in.
But no. Here I am, waiting upside-down for someone to tell me what I’m doing next.
Hello?
[third person / log sample]:
Parker is on the floor of a carousel. This would be fine for most people, but as Parker has a serious distrust of horses -- she used to loathe them but that’s tempered to unhealthy distrust -- she is not amused. They’re all too pretty and sparkly, and look like they’re hiding something. When she stands, she looks one straight in the eye, because intimidating an inanimate object makes perfect sense to her. Then again, her personal definition of horse is rather loose, in comparison to most. Refusing to show fear -- whether it’s when facing a car thief, or a Russian mobster, or a carousel horse, is always the best plan for survival.
In fact, she’d be feeling rather sour if she didn’t know where she was heading. Walking off the platform as is the rules of centrifugal force do not apply to her in any way, shape or form, she pulls out the keys she’s going to use.
Weird, using keys like, people. Windows, doors, air vents, dumbwaiters, shafts, slots, doggie doors, anything but keys would be far more normal for her. Despite the keys, she’ll be quiet, and slip into building 12, apartment 1114 with her usual stealth.
She looks to the carousel, waiting for the horse she intimidated to come back around. “He’d better have increased his security.” Yes, she is addressing the horse and talking like the horse would know Parker’s referring to Hardison.
Parker’s in an almost new city -- one she’s been to only once, briefly, but was forced to leave at midnight -- which she thinks is a reference to something, but no one would’ve told her any fairy tales. So, at the moment, all she has are the keys and the flash key she stole out of Hardison’s back left inner pocket, last time she was here. There’s also a sense of security (not that Parker would recognize that feeling; would someone tell her that’s what it is here?) that Hardison’s here. She can tell him stuff. He buys her cereal. He doesn’t throw out the empty boxes and doesn’t snoop when she uses them to hide her emergency stash. At the moment, that’s enough. She can always pick up some money along the way. There is always money to be picked.
Moving away from the carousel, she eyes that beast one last time. She could swear it was looking back.
Second Log sample
Parker is on the floor of a carousel. This would be fine for most people, but as Parker has a serious distrust of horses -- she used to loathe them but that’s tempered to unhealthy distrust -- she is not amused. They’re all too pretty and sparkly, and look like they’re hiding something. When she stands, she looks one straight in the eye, because intimidating an inanimate object makes perfect sense to her. Then again, her personal definition of horse is rather loose, in comparison to most.
Plus, in a strange place, where Parker doesn’t know the lay of the land, refusing to show fear -- whether it’s when facing a car thief, or a Russian mobster, or a carousel horse, is always the best plan for survival. If there is one thing Parker is, besides a thief, it’s a survivor.
First priority, find out where she is. Pulling out her phone she speed dials Hardison, but there’s no signal. For a moment, she stares at the phone like it’s inherently wrong.
With the immediate realization she’s alone, Parker’s instincts rear up. Get off this carousel and away from the horses; they’re creepy. Lift a wallet -- or 12. Find an empty warehouse. Find cereal -- and do all of those things in that order.
Walking off the platform as if the rules of centrifugal force do not apply to her in any way, shape or form, she doesn’t panic. This is a routine Parker’s gone through in the past, but what is truly different is that that she didn’t resort to it first. No, she called Hardison because she can tell him stuff. He buys her cereal. He doesn’t throw out the empty boxes and doesn’t snoop when she uses them to hide her emergency stash in their offices. This makes perfect sense, if one is Parker, to call him first, but there isn’t a signal.
Looking left, then right; she’s alone. She turns back to the carousel, waiting for the horse she intimidated to come back around. “Bad horsey,” is all she says, as if it is responsible for her current predicament.
Moving away, in search of a mark, she eyes that beast one last time. She could swear it was looking back.
[character]: Parker
[character history / background]: Here is the official back-story of Parker, but it is woefully incomplete.
Pre-Canon history:
Parker’s background is shrouded in mystery, but we know a few things:
1) As a girl, her brother (presuming natural brother, as there was not any specification on another type of relationship in the show) was killed in a cycle versus automobile accident when he was young. We also know that the brother was younger, and that Parker is the one who taught him to ride the bike. It still haunts her as she didn’t tell anyone about it, until it was revealed in “The Future Job.”
2) She is a child of the foster care system and in one home, when a foster father threatened to keep her bunny away from her, the house blew up. While there is plenty of speculation that she was involved in the explosion, or just did nothing to save anyone else (the smile given as the young Parker leaves the house – with the bunny -- is the cause of said speculation) it is not confirmed (“The Nigerian Job”). Thus, she has a lot of sympathy for children within the system, though empathizing is difficult for her, as will be explained later.
3) She still has the bunny (“The Inside Job”). It is the only thing evident from her childhood that she still has.
4) To cure herself of claustrophobia, she had herself buried alive (“The Top Hat Job”).
5) She did not have any of the normal childhood experiences. She did not attend high school, and was a B&E artist by the time she was a preteen. Also, when she did find a father figure – Archie Leach – all he did was hone her skills, not taking her into his home in a more traditional fatherly role, despite having his own family. Archie calls her “perfect” when it comes to thievery (“The Stork Job”, “The Reunion Job”, “The Inside Job”).
6) She has a lot of hidden secrets / motivations. She speaks Spanish, is a fairly decent sketch artist, likes money (and can tell, by feel, if it’s fake), hates stuff, and is very attached to her bunny.
7) When she was 12 she was taught to boost cars by a kid she met in foster care, Kelly. Later, Kelly ran, leaving Parker to be arrested. She spent 6 months in juvenile detention for the crime, but it’s clear the event still affected her, more due to Kelly’s abandonment (“The Boost Job”).
8) Before she stole cars, she was a getaway driver. This explains Parker’s rather erratic and dangerous driving style (“The Boost Job”).
10) Finally, her criminal history includes: the theft of several infamous stones (including the Hope Diamond, because she was bored, but she put it back) and works of art (including a Caravaggio). She is wanted in 9 countries. The only two mentioned in canon are Brazil and Yemen. (“The Second David Job,” “The Beantown Bailout,” & “The Ice Man Job”)
11) Her personality, the extremes to which she does not share personal things about herself, her morality, are all due to her background, and the influences around her while growing up.
The Thief:
This is Parker’s role within the team, even though all of them, at some point, have described themselves a thief, Parker is usually the one who will steal physical objects. The technology of vaults, the dexterity to pick pockets, the ability to slip into places almost entirely unseen, and other such skills are her contributions to the team. While she is amused when the roles are switched up, Parker’s difficulties relating to people, and inability to perceive the abnormal for people who are more average than her, means is is unlikely she will ever master any of the other jobs (most evident in “The Three Strike Job,” and “The Underground Job”). Thievery is invigorating, whereas Sophie’s job, grifting, is tiring (“The Underground Job”).
Please note that other important canon points will be discussed in the personality section
Though, she is very adept with a taser. That is, most definitely, a part of her job, in her eyes.
[character abilities]: This is one of those times when wiki is really handy. Unfortunately, the wiki is still incomplete; there are a few other important things that need to be added: self-reflection. This only applies to her work, as she will often evaluate any errors she’s made during a particular break-in and learn from those errors. For instance, she was able to realize her error while beating the Steranko security systems, which is that she needed another Steranko (“The Inside Job”). Her self-discipline is another important skill when it comes to her work. She is often annoyed when she has to perform her job poorly in order to accomplish a con. Finally, her gymnastic skills are not mentioned, yet she has them, in spades.
[character personality]: Parker can be defined by three succinct quotes. The first is “20 pounds of crazy in a 5 pound bag” and “she’s broken.” The first one, though humourous, is a more colloquial view of the character. The second is much closer to the truth. The third, will be dealt with at the end of this section.
Dean Devlin, creator of Leverage described the portrayal of Parker by the actress “ semi-Asperger’s craziness.” While it never could be confirmed, in canon whether it is Asperger’s or not, simply because Parker has never been in an environment long enough to be tested, and nor would the foster parents, as portrayed by the show, have bothered investigating such an issue, it is an important element of the character. She displays several obvious signs of being, to use the creator’s term, “semi-Asperger’s.”
She misses obvious cues, particularly non-verbal ones, or takes what a person says literally. This applies to a lot of metaphors and symbols. For instance, she could not equate Eliot as the metaphorical fiddle in “The Fiddle Job” for much of the episode. While it is often played for humour, it is frequent nonetheless. In the case of basic friendship, she does not realize that someone “normal” would like her, and assumes it is only the character she plays, though the character of “Alice White” is Parker, with a few lessons from Sophie. In her head, they are two separate people (“The Juror #6 Job).
Most of her communication is more factual, as opposed to personal. She will lovingly describe the aspects of a 1920’s safe (“The Bottle Job”) but have difficulty revealing anything personal, like the death of her brother. Such revelations about herself will often result in rash behaviour, such as trying to save the orphans (“The Stork Job”) or wanting a psychic dead (“The Future Job”). Also, her way of communicating has her frequently appearing to change the subject, though she may be focusing on an obscure detail, or moving forward without bothering to introduce the subject change (most evident in “The Three Days of the Hunter Job”). She is not one to waste words.
Parker is often inappropriate with people. She lacks modesty and has changed several times in front of Hardison and Eliot, much to their surprise. It’s all a part of her not understanding what’s appropriate and what isn’t. She will stare, despite people’s discomfort, or say something a little too truthful, not thinking it might hurt (“The Juror #6 Job,” every comment about Sophie’s acting ever). Also, her reactions vary inappropriately. For instance, she once stabbed someone with a fork for touching her (“The Stork Job”) and will often use a taser to solve problems. Even her attempts to relate with others -- such as her thinking her being buried alive compares with Eliot locking himself in a small space -- are inappropriate.
Parker has an odd sense of helping. Even early on in the series, when the original LA offices were set up, and Hardison lists a variety of things people can do to help, Parker buys a plant. She’s not entirely certain why a plant helps, but she does it, nonetheless (“The Homecoming Job”). In fact, “Parker -- helping?” or its variants is a longstanding joke within the show. It’s an important aspect of her character because despite being insistent on how easy it is to work on her own, she is willing to help people -- and will often be confused why people do not see what she does as helping.
On the other hand, when on a job, she is quite capable of functioning within the rules of a given situation. She understands the rules and ways car thieves deal with each other, so, can deal with that situation with confidence and professionalism (“The Boost Job” & “The Two Live Crew Job”). Even when dealing with the most honest person she knows -- Nate’s Ex, Maggie, she can take charge when preparing a fugitive bag, because it’s a situation with which she is familiar (“The Zanzibar Marketplace Job”).
Her relationships with the team vary. Sophie is the one most likely to try and teach Parker the appropriate social skills (“The Juror #6 Job,” “The Ice Man Job”) and the one who will acknowledge her growth. Hardison is the one to whom Parker will most likely reveal something personal, and she’s yet to attempt to stab him with anything when he does touch her. Finally, when it comes to Hardison, she has feelings for “pretzels,” but needed Sophie to explain what those feelings were. With Nate -- it’s his morality that she follows, and as for Eliot -- she appreciates him for his skills and focus. When it comes to people outside of the team, Parker is able to empathize with those whose situations are similar to her own (“The Boost Job” & “The Stork Job”), but has the most difficulty interacting with “normal” people (“The Juror # 6 Job”).
As for those around her, Parker takes cues as to the morality she is to follow from the team. It takes a while, but she learns, in chunks, that she’s now one of the good guys (season 1) and that the team is a family (season 2 & 3). She will defend that family, as shown when she was, quite literally, going to throw Tara off a roof for what she thought was a betrayal (“The Maltese Falcon Job”). It is important to note that she always used the people around her as the benchmark for morality, and finally acknowledges the morality with which she grew up -- Foster Care's and Archie’s morality -- is no longer her own (Season 1 & “The Inside Job”). At the point in canon in which she is arriving, she is now attempting to apply her new morality independently, though she is mostly limited to those whose circumstances are similar to her own. This is shown in her empathy for Josie, the young car thief (“The Boost Job”), and the even the orphans in “The Stork Job.”
Throughout the seasons, the adoption of the team’s -- specifically Nate’s morality, has changed the motivations for her work. At first, everything was about money. She once stated, “I don’t like stuff, I like money,” (“The Homecoming Job”). This is important, as her childhood was so full of upheavals, that money is portable, whereas stuff (save her bunny) is not. Once she found herself a so-called family, the need for money (but she will always love it) diminishes, as the team is more a permanent fixture, though she still has difficulty with it, at times, it is something upon which she can rely. She no longer needs to steal to support herself, once stealing the Hope Diamond only to give it back, or be completely self-sufficient. This does not mean she doesn’t do either, but it is no longer a requirement for survival, as it was while she was growing up.
Despite this, there is still a certain level of distrust. She’s given several addresses for contact, and has difficulty consulting the team when she has problems (“The Inside Job”). She has difficulty asking for their help in regards to a trial she saw was being rigged (“The Juror #6 Job”) and ran off when a painful part of her past was revealed (“The Future Job”). What is important, is that she will eventually turn to them, which shows her growth as a character who was more than willing to forget all their names (“The Nigerian Job”) to someone who will turn away from the lessons learned from the closest person in her life, Archie, for the team (“The Inside Job”) and its twisted ethics.
When it comes to her job, Parker is disciplined, organized, and obsessive. On her weekends, she looks at ways of robbing different banks (“The Three Card Monte Job”). As a tourist, she looks at the security system of museums (“The Zanzibar Marketplace Job”). She is deeply offended if she has to perform her role with less than usual precision (“The Double-blind Job”). She sees being a thief as a career, and is proud of her abilities. She does not have a hobby; her entire life revolves around her job and the team. Her dedication of it even applies to her wardrobe, as she finds Sophie’s stylish shoes impractical, and ridiculous, as well as fashion that isn’t, for the most part in the black-grey-white range, and functional, equally as absurd (“The 12 Step Job” & “The Runway Job” respectively).
The orderliness and discipline with which she treats her job, is reflected in her personal life. Everyone has clearly defined roles within the team, just like one does not mix pen colours, or not organize your living space so that everything has its place and is in its place at all times (“The Inside Job” and “The Underground Job”).
At the beginning, I said “Parker can be defined by three succinct quotes.” It is, ironically, for a character whose moments of self-reflection are so few and far between they are notable (usually by Sophie), said by Parker. “People are like locks. You have to be patient and if they don’t go right away you have to be fiddly” (“The Beantown Bailout”). It’s the best advice ever given on how to deal with Parker, and far more accurate than any diagnosis.
[point in timeline you're picking your character from]: Episode 3x16, “The San Lorenzo Job”
[journal post]:
[Parker would appear upside down. This isn’t due to how she’s holding the device.]
Waiting. Been waiting a while now. Should I sleep like this? I can.
[While waiting she runs her tongue across her upper teeth, and looks from left to right. Her arms are crossed, and she’s not showing any effects of being in this position for the last three-quarters of an hour.]
Waiting. Upside-down. Hello?
Could have been out of here 32 minutes ago, if you’d let me do things my way.
[Her voice changes; it is higher-pitched and petulant.]
Parker you aren’t allowed to crack the vault. We want the briefcase, even though the vault has a three-wheel combination which a baby could crack. That’s like asking someone to break in.
But no. Here I am, waiting upside-down for someone to tell me what I’m doing next.
Hello?
[third person / log sample]:
Parker is on the floor of a carousel. This would be fine for most people, but as Parker has a serious distrust of horses -- she used to loathe them but that’s tempered to unhealthy distrust -- she is not amused. They’re all too pretty and sparkly, and look like they’re hiding something. When she stands, she looks one straight in the eye, because intimidating an inanimate object makes perfect sense to her. Then again, her personal definition of horse is rather loose, in comparison to most. Refusing to show fear -- whether it’s when facing a car thief, or a Russian mobster, or a carousel horse, is always the best plan for survival.
In fact, she’d be feeling rather sour if she didn’t know where she was heading. Walking off the platform as is the rules of centrifugal force do not apply to her in any way, shape or form, she pulls out the keys she’s going to use.
Weird, using keys like, people. Windows, doors, air vents, dumbwaiters, shafts, slots, doggie doors, anything but keys would be far more normal for her. Despite the keys, she’ll be quiet, and slip into building 12, apartment 1114 with her usual stealth.
She looks to the carousel, waiting for the horse she intimidated to come back around. “He’d better have increased his security.” Yes, she is addressing the horse and talking like the horse would know Parker’s referring to Hardison.
Parker’s in an almost new city -- one she’s been to only once, briefly, but was forced to leave at midnight -- which she thinks is a reference to something, but no one would’ve told her any fairy tales. So, at the moment, all she has are the keys and the flash key she stole out of Hardison’s back left inner pocket, last time she was here. There’s also a sense of security (not that Parker would recognize that feeling; would someone tell her that’s what it is here?) that Hardison’s here. She can tell him stuff. He buys her cereal. He doesn’t throw out the empty boxes and doesn’t snoop when she uses them to hide her emergency stash. At the moment, that’s enough. She can always pick up some money along the way. There is always money to be picked.
Moving away from the carousel, she eyes that beast one last time. She could swear it was looking back.
Second Log sample
Parker is on the floor of a carousel. This would be fine for most people, but as Parker has a serious distrust of horses -- she used to loathe them but that’s tempered to unhealthy distrust -- she is not amused. They’re all too pretty and sparkly, and look like they’re hiding something. When she stands, she looks one straight in the eye, because intimidating an inanimate object makes perfect sense to her. Then again, her personal definition of horse is rather loose, in comparison to most.
Plus, in a strange place, where Parker doesn’t know the lay of the land, refusing to show fear -- whether it’s when facing a car thief, or a Russian mobster, or a carousel horse, is always the best plan for survival. If there is one thing Parker is, besides a thief, it’s a survivor.
First priority, find out where she is. Pulling out her phone she speed dials Hardison, but there’s no signal. For a moment, she stares at the phone like it’s inherently wrong.
With the immediate realization she’s alone, Parker’s instincts rear up. Get off this carousel and away from the horses; they’re creepy. Lift a wallet -- or 12. Find an empty warehouse. Find cereal -- and do all of those things in that order.
Walking off the platform as if the rules of centrifugal force do not apply to her in any way, shape or form, she doesn’t panic. This is a routine Parker’s gone through in the past, but what is truly different is that that she didn’t resort to it first. No, she called Hardison because she can tell him stuff. He buys her cereal. He doesn’t throw out the empty boxes and doesn’t snoop when she uses them to hide her emergency stash in their offices. This makes perfect sense, if one is Parker, to call him first, but there isn’t a signal.
Looking left, then right; she’s alone. She turns back to the carousel, waiting for the horse she intimidated to come back around. “Bad horsey,” is all she says, as if it is responsible for her current predicament.
Moving away, in search of a mark, she eyes that beast one last time. She could swear it was looking back.
