This episode of Fanni Hall by Robert Bishop follows the episode titled, "Further Complications".  It and the previous episodes are all posted in the Journal and Gallery of fellow Deviant, DFx802b.

The story and artwork begins with Bish115.jpg and goes through Bish167.jpg that are in DFx802b's Bishop Gallery.  Those panels of Fanni Hall were published, a few at a time, beginning in 1971 in H.O.M. magazines, mainly "Knotty".  They were later collected and published together as "The Complete Fanni Hall" in 1978.  Then followed "Fanni Hall and the Ransom Note", "The Plot Thickens", and "Further Complications".

DFx802b has all of the illustrations/artwork for all of the Fanni Hall episodes but did not have the text of the last episodes "A Perilous Plot" and "The Return of Fanni Hall" (he does have the panels of the chapter of the story titled, "Worser and Worser" which is between these two).  By the efforts of fellow Deviant EKrayon, I am able to post both of these episodes.  Here follows the Cover, Inside Cover, and Introduction of "A Perilous Plot".

INTRODUCTION

Oh, by the by, for those of you who haven’t brought up Fanni’s  numerous, odd and sundry failing in the first three installment  (Swines!  Pigs!  Creeps!), I have elected to provide a synopsized  scenario of the fun-unt-games that have gone before.  Or something like  that…

That’s one of the things I really like about the English language:  you can mangle it till it screams and it still keeps coming back for  more.  And in this day and age of increasing language incompetence,  there are probably some of you who actually imagine I can write!

Anyway, before I cut my throat all the way to the spine, ill get to the juicy bits.  Our story to date:

In Fanni 1, we are introduced to a young, and thoroughly feculent  little gem named Alissa.  With her daddy’s money running out her ears  and the tender moral sensibilities of a Moray eel to guide her through  the travails of the world, she would appear to be the perfect 20th  Century Fox.  Unfortunately for her, she runs smack into a pair for whom  the mere terms venality and treachery are perilously close to  out-and-out compliment.  The dreaded (but mostly useless) Easa Ferret  and his bovine (dinosaurian is kinda more like it) Partner-In-Crime, A.   Gorila (spelling incorrect on purpose).  Between the pair of these  boobs, you’re pretty sure it ain’t gonna be a straight drama by any  stretch of the imagination.

The brains possessed between the two villains is wholly sufficient to  tell the difference between up and down; abstractions like asking the  time of day are met with a lot of nose picking and shuffling feet.   Perfect employees for the Madame (surprise, surprise), who has plans to  add the squirming and stoppered Alissa to her bulging slave coffers.

Enter our heroine, employed by young slave Alissa’s daddy to fetch  ‘er back safe and sound.  But all is not as it appears, panting  audience, and the plot thickens and blunders along (I’ve never been  hampered by having a clear, concise idea of what the hell I was doing or  where the story was going) to its thrilling conclusion (To be  continued…), wherein our Fanni is clomped over the head with a stool  held… gasp… in the hands of none other than Alissa, the lousy little rat  traitor; she’d discovered the unparalleled joys of slavery and whips  and things.

In Fanni 2, the plot gets a whole helluva lot more turgid, to be  euphemistic about it.  Firmly in Madame’s clutches (“Gee, what a neat  toy…”), she is subjected to the usual Bishop cliché of gags and ropes  and straps and roto-rooters and chain saws and the odd Manatee here and  there until Madame, a cunningly ruthless, but not altogether too bright  when it comes to her clientele, businesswoman, runs afoul of the  infamous “old man”, who doesn’t like the political leanings of those  wretched clods Madame’s lined up to buy the shooters he’s provided her  with.  Christ, was that a sentence or a paragraph?

And so off SHE goes in the old man’s clutches with the toy she  brought along to while away the long hours between haggles with the  potential shooter buyers, Fanni.  End of Part Two.

In part three, our sly wench heroine escapes from the baddies,  dragging Madame, and a not too overjoyed employee along with her,  pausing only long enough to set a warm toasty little bonfire in one of  the old man’s ammunition dumps to light her way.  Produces a predictable  amount of yelling and screaming in the enemy camp and swarms of  helicopters like locusts out after her.  No sense of humor in the old  boy.  None.

In the nonce, Fanni and Friends (not really) had whizzed off into the  boondocks and the house/entertainment center of one of the more obscure  minions in the Bad Guy hierarchy.  Paula’s the name and  slave-mongering’s the game.  Twas that periodically into this house  would come a woman very much in the old man’s confidence, and to this  woman, Fanni very badly wanted to talk.

A certain amount of weaselly subterfuge got the three of them into  the house and, while Paula dallied with Madame, Fanni set about making  the walls crumble from within.  Paula’s fatal chink-in-the-old-armor was  her slave (for now) by the name of Kit.  When the inevitable amount of  smoke and the odd flame here and there had cleared, Kit was introduced  to the joys of the business end of a branding iron while Paula was  coaxed to watch.  And Fanni had her appointment with the one to whom she  wanted to speak.

The lady in question, Dawnelle, was a good bit harder top persuade  than Paula, not surprisingly, and Bishop gets to wallow a bit in his gun  fetish with a lot of bang-bangs and aargs and shrieks and screams.  The  up-shot (heh heh) of all this is that, once again, Fanni is on the run  leaving both Madame and the employee behind with Paula.

With her now she has the recalcitrant, but tightly restrained  Dawnelle AND a new addition to what has by now become a largely  incomprehensible mess: a comely (if Bishop could ever learn how to draw  Asians) Oriental lady names Suni who has not only a business involvement  but a burgeoning love relationship with the MI-6 agent we met in Part  2.  And you thought the soap operas had complexity piled on complexity.   Shit.

After a small clash of wills with a grenade-spewing helicopter, they  all end up happily ensconced in a loggy cabin back in the piney woods  and Fanni is off on her motorcycle to phone up the troops, leaving Suni  and the slowly smoldering Dawnelle to play house until she gets back.

Unfortunately for Suni, her knot work ain’t all it could be and  Dawnelle slithers free and, biding her time, waits till a propitious  moment to apply a little breath-control with a bit of line.  Suitably  roped and gagged, Suni gets dangled from the roof beams and Dawnelle  settles herself down to await Fanni’s return.  Nothing like a little  convolution to muddy things up.  And on this cheery note, we end Part  Three.  Bet ya can’t wait for Part Four