The story opens a few days after the previous issue. It's December in New England and clothing and outdoor scenes should be depicted appropriately. (Note that JAMES will spend the entire issue in full costume, which is insulated against the cold).
The issue is narrated by ALICE WINKERNIKLE, in the form of her diary. Her narrative captions will be clearly labelled ALICE's DIARY in the text and should be lettered in a "handwriting" typeface.
A young boy (12 years old, unremarkable appearance, short curly brown hair, wearing glasses, dressed as a typical teenager circa 1990) is cowering behind the larger-than-life figure of MAJOR DEMOCRACY. The MAJOR is using his SHIELD to deflect bullets (from an off-panel source) away from the boy.
1. ALICE's DIARY:
When he was twelve years old, my father met Major Democracy and helped him solve an important case.
The boy stands in front of MAJOR DEMOCRACY and looks up in awe. The MAJOR looks down at the boy and seems to be lecturing him about something.
2. ALICE's DIARY:
He wanted to become the Major's partner though of course the Major couldn't work with a kid. He told Dad to wait until he was older. And get some superpowers first.
The boy sits in a room at an engineer's drawing board. We can't see what he's drawing but he's concentrating very intently.
3. ALICE's DIARY:
But Dad was the original boy genius.
A figure in an all-over suit of sleek, metallic, red armour flies above a city skyline. This the RED DWARF.
4. ALICE's DIARY:
He built himself superpowers.
The RED DWARF stands next to some other "superhero" types, looking out of the page at us in a "posed" group shot. Two are beautiful blonde women so similar that they might be identical twins, wearing identical skin-tight red-and-white lycra bodysuits. One woman carries a "light saber" type of weapon, the other is empty-handed. The fourth figure in the group is a very tall (around 6'8"), well-muscled man wearing camouflaged military-style combat armour and carrying a huge shotgun (we can't see this man's face properly because of his combat helmet and night-sight goggles, but astute readers should be able to recognise the shotgun from ISSUE 14 PAGE 16). The final figure is a hugely-muscled, square-jawed man wearing a plain T-shirt. This man stands in the centre of the group with his arms stretched to un-natural lengths to lie around the shoulders of the entire group. (Of course, we can't see these figures in great detail in a single small panel, but the key features mentioned above should be obvious.) Note that the RED DWARF is very short in comparison to the others -- about the height of a 13-year-old boy, in fact.
5. ALICE's DIARY:
And when he was older (i.e. 13) he took up the identity of the Red Dwarf, Canada's greatest superhero.
Now we see ALICE WINKERNIKLE (see LAST ISSUE) who is sitting and writing in a small notebook ("SECRET DIARY" the cover says). It's an outdoor scene and daylight but this is a close-up on her so we don't see much of where she is. She is leaning against a rock and there is foliage around her. Her clothes are the same as those she wore in her last appearance, though she isn't wearing the wooly hat.
6. ALICE's DIARY:
Well, I'm 13.
7. ALICE's DIARY:
And a certified hyper-genius.
A wide view of ALICE's location. She is on the shore of a lake in a forest, with her back against a low but steep bank, sheltered by overhanging bushes on top of the bank. Next to her is the crate she "discovered" last issue. A pair of men walk along the top of the bank, their boots only two or three feet from her head. They are dressed in military police uniforms and each is armed with a rifle. They are looking to either side, as if searching, but they don't look down and it is evident that she is totally hidden from their view.
1. ALICE's DIARY:
But carrying on my father's legacy isn't as easy as I was expecting.
An urban area. A young thug is running towards our POV, carrying a woman's purse. In the background we can see a young woman lying on the ground, as if flung there, with books strewn around her.
A flying, spinning, disc-shaped object is arcing across the panel and straight towards the thug's running feet. Of course, it's the SHIELD.
1. ALICE's DIARY:
I wish there was a Major Democracy around to help me out!
2. WOMAN:
Help! Thief!
3. CAPTION:
Harvard University campus, Cambridge Massachusetts.
4. CAPTION:
12 December 2014.
The SHIELD ricochets off the floor at the thug's feet, tripping him. He is crashing to the ground.
5. SFX (SHIELD):
Spang!
6. THUG:
Aaaaaaaa!
JAMES, in full costume, stands over the thug (who lies there dazed or unconscious). JAMES is bending down to pick up the purse with his left hand while simultaneously (and without even looking) stretching out his right to grab the SHIELD which is arcing back towards him.
7. JAMES:
I've called campus security. I suggest you lie there until they arrive.
JAMES is now next to the young woman. His SHIELD is strapped to its usual place on his left forearm, leaving his hands free to help her to her feet and hand her purse back.
8. JAMES:
Are you all right miss?
9. WOMAN:
Yes... yes, I think so...
While the woman stands there in a daze, clutching her purse, JAMES starts picking her books up.
10. JAMES:
Can I carry your books somewhere for you?
11. VOICE (off-panel):
A-hem!
JAMES turns, arms full of books, in the direction of the voice. SARA stands there, hands on her hips.
1. SARA:
When you've quite finished hitting on the students...
2. JAMES:
I wasn't—I didn't—
SARA and JAMES walk round the corner of a building (JAMES no longer carries the books, presumably having handed them back). FRED and WANE wait for them.
3. FRED:
How's the crime patrol going?
4. JAMES:
It's going very well thank you, Fred.
FRED turns away. He has a cigarette in his mouth and is holding his Zippo (not yet lighting it).
5. FRED (softly):
That was sarcasm—
6. JAMES:
Fred—
FRED turns back to look at JAMES.
7. JAMES:
This is a no-smoking campus.
The regard each other -- no animosity, just appraising looks.
No dialogue.
FRED turns away, putting his unlit cigarette back in its carton.
8. JAMES:
Has Paul called in yet?
An office in the university. It's got computers, filing cabinets, and a neatly-dressed, elderly lady sitting behind a desk. Her expression is stern and forbidding. On the other side of the desk is PAUL SMITHSTEEN. There is a chair for visitors but he is standing.
1. LADY:
As I explained on the telephone Mr—
2. PAUL:
Doctor.
3. LADY:
Doctor Smithsteen, I can't release student records unless—
PAUL sinks into the chair.
4. PAUL:
It really is important to me that I find her.
5. LADY:
Have you tried Friends Reunited?
Close-up of PAUL.
6. PAUL:
We were very close once. If I could just see her again...
Close-up on the woman, whose expression is now sympathetic.
7. LADY:
Take it from me, dear, you can't recapture a past romance. If you were meant to be together, you would never have let her go.
View of the two of them again. PAUL looks glum.
8. PAUL:
I didn't let her go. Not intentionally. I just—
9. PAUL:
I don't know what happened. I just need to understand.
She regards him in silence.
No dialogue.
She pulls her computer keyboard towards herself.
10. LADY:
What was the name again, dear?
FRED, JAMES, SARA, and WANE walk along together.
1. WANE:
I don't get you people. We're on the run and supposed to be keeping our heads down, not putting on green pajamas—
2. JAMES:
It's spider silk, Wane.
3. WANE:
Whatever!
FRED, slightly ahead of the others, has thrown out his arm to halt them. They are by some bushes (which will be important to hide them from view in a moment).
4. SARA:
Wane, there's no way the government is going to be looking for us here. And by the time they get news of the sighting, we'll—
5. FRED:
Hold it!
The group looks across a wide, empty road to where two men walk side by side. The men wear tailored suits with heavy overcoats and dark glasses. (If necessary for an uncluttered perspective, our heroes don't have to be on panel, though we should be looking from their POV.)
6. FRED:
Call me paranoid, but the only people that wear dark glasses in December are government men.
Close-up of our heroes peering through bushes.
7. SARA:
That's impossible!
8. WANE:
Told you!
9. JAMES:
We only arrived last night!
Close-up of FRED's face.
10. FRED:
Let's see why they're here.
Still in close-up on FRED, showing the two suited men reflected in his eyes.
1. FRED:
They are searching for someone... not us... a girl... Alice?
A wider view of the full group of FRED, JAMES, SARA and WANE. FRED still stares across the street.
2. WANE:
Dude, you're seriously spooky.
3. SARA:
Who are they? Why are they searching for her?
FRED turns to them, irritated.
4. FRED:
Can't you people be quiet for two minutes? You think this is easy?
FRED points off towards a large house across the street. This will have to be a panoramic view to include the group and the building -- and the two men are walking on down the street, oblivious to FRED & co.
5. FRED:
They were asking questions in there. No I don't know who this girl is, but they didn't find her there. They don't know where to look next.
WANE sets off across the street.
6. WANE:
Come on then, let's find out who lives there.
SARA sets off after WANE, looking back to speak to FRED and JAMES.
1. SARA:
I'll go with Wane. You two stick with the men.
2. FRED:
Right. We'll do the easy job.
3. JAMES:
Keep in touch.
Across the street, SARA catches up with WANE as he stops a student walking past the building.
4. WANE:
Excuse me, miss? What that building?
5. STUDENT:
The Baxter house? It's the freaks' dorm.
They all look at the building.
6. SARA:
Freaks?
7. STUDENT:
It's the special scholarship, you know?
8. STUDENT:
Guys who have exceptional ability but they need... you know... extra care.
The student is hurrying away. WANE and SARA still look at the building.
9. SARA:
Are you thinking what I'm thinking?
10. WANE:
Special abilities like... Fred?
11. SARA:
Uh-huh.
They mount the steps to the front door.
12. SARA:
I don't like how she said "freaks".
13. WANE:
I don't like a lot of things folks say.
Back in the office with PAUL and the nice lady. She is looking at the screen.
1. LADY:
There was no Julie Martin graduating from here in 2002.
2. PAUL:
That's impossible.
3. LADY:
I'm sorry, dear, she's not in the computer.
Close-up on the lady, looking at her screen in a puzzled manner.
4. LADY:
Wait... oh, she was enrolled here but... oh.
5. PAUL (off-panel):
What?
Just to break up the talking heads, this panel shows her fingers tapping away on the keyboard.
6. LADY (off-panel):
She didn't graduate.
7. PAUL (off-panel):
What? No, that's not possible. We were both honors students!
The lady again...
8. LADY:
She withdrew from her course mid-way through the year.
9. PAUL (off-panel):
That's crazy! Why would she—?
Close up on PAUL, and his expression is suitable for the bombshell just about to be dropped.
10. LADY (off-panel):
Because of the baby. She was pregnant.
SARA and WANE are standing in the spacious entrance of an old-style house -- wooden panels, a curving staircase, several doors off the hall. The walls are decorated with random generic pictures and there are various "genteel" furnishings. A woman is coming out of a side door and walking towards them. She is older than you would expect the resident of a student dorm to be. (And in fact the sign next to her door reads "Housekeeper", so we'll take a guess and call her the HOUSEKEEPER.)
1. HOUSEKEEPER:
Can I help you?
2. SARA:
We're looking for Alice.
Close-up on the HOUSEKEEPER looking suspicious.
3. HOUSEKEEPER:
Oh, really?
4. HOUSEKEEPER:
I'm afraid she's not in.
5. HOUSEKEEPER:
A lot of people looking for her today.
Wider view of the three of them.
6. WANE:
Oh, we're not with the government men!
7. HOUSEKEEPER:
How did you know those men were from the government?
WANE and SARA exchange uneasy looks.
8. HOUSEKEEPER (off-panel):
Listen, a lot of these students come from troubled backgrounds or have... behavioral difficulties. I can't let you—
The woman scrutinises them in silence.
No dialogue.
WANE and SARA are ascending the staircase.
1. CAPTION (voice-over):
"All right. You should speak to her friend, Brian Prescott. Room 12, second floor."
2. CAPTION (voice-over):
"Please don't upset him."
3. SARA (softly):
That was a sudden about-face.
4. WANE (softly):
She could probably sense that you had behavioral difficulties too.
5. SARA (softly):
Gee, thanks.
They walk down a panelled corridor.
6. WANE:
But it sounds like these kids don't have, you know, powers. Just hang-ups.
7. SARA:
Just because this Alice is not one of us doesn't mean we shouldn't help her.
8. WANE:
Do you and James share the same script writer?
SARA glares at WANE. He holds up his hands in surrender. From this perspective we can see that the door behind him bears the number "12"
9. WANE:
Kidding!
10. SARA:
Hey, there it is!
WANE is now pointing behind SARA and she turns to see where he points. The door opposite "12" is marked "11". But unlike the bare door 12, #11 is decorated with a variety of signs and pictures. There's a sticker of the Canadian flag; there's a picture of a young boy with round glasses and a black robe, brandishing a magic wand at us, with the caption "Colloportus"; there's a printed sign saying "Warning: Guard Sasquatch on Patrol"; and there's a hand-drawn sign saying "Alice" in decorative lettering.
11. WANE:
Let's try that one first.
Close-up of WANE's hand turning the doorknob. The door is opening.
12. WANE:
It's open!
WANE and SARA stand in the doorway to a bedroom that had been completely overturned. Draws and cupboards are open, clothes thrown all over the place, books are pulled off shelves, even the bed is stripped. The room obviously belongs to a teenage girl (though one with a large number of advanced physics text books). This should be the page's dominant panel, to suitably portray the mess.
1. WANE:
Oh. I see why.
2. SARA:
Gee, college kids sure are untidy!
3. WANE:
Sara!
4. SARA:
I'm kidding!
A view of the corridor. They are turning round to look at the closed door of room 12.
5. VOICE (through door):
I can hear you out there.
SARA has stepped up to door 12.
6. SARA:
We're looking for Alice.
7. VOICE (through door):
I know.
8. SARA:
We want to help her.
9. VOICE (through door):
I know.
SARA and WANE stand looking at the door.
No dialogue.
Same view.
1. WANE:
Dude, can we just come in?
2. VOICE (through door):
Only if you don't look at me while we talk.
SARA and WANE look at each other, perplexed.
3. WANE:
Ohhh-kay.
They are in the room -- and it's GEEK's bedroom, glimpsed last issue. The voice was of course his. The room is darkened, curtains drawn, with only a single desk lamp which is angled to point at SARA and WANE. GEEK's face is illuminated by the glow from his computer screen and he keeps his back to his visitors while they converse.
4. SARA:
Brian?
5. GEEK:
Don't use my name!
6. SARA:
Ok... sorry.
7. WANE:
We know the government is after your friend. Is it because she has— because of what she can do?
Close-up of the back of GEEK's head.
8. GEEK:
No. It's because of what she knows.
9. WANE (off-panel):
What does she know?
ALICE is in the same hiding place as before. In one hand she holds a small device with a printed circuit board exposed. It's about the size of an iPod -- in fact, it *is* an iPod with the case open. A thin wire runs from it to her wrist watch. She has a tiny screwdriver in her other hand and another one in her mouth.
1. CAPTION (voice-over):
"Everything."
2. ALICE's DIARY:
I lost my phone somewhere during the chase last night.
3. ALICE's DIARY:
But using the amplifier in my iPod and the radio receiver in my GPS watch—
GEEK is still looking at his computer, not SARA and WANE. ALICE's voice comes from his computer speakers.
4. SARA:
Can you be a bit more specific?
5. VOICE (from speakers):
Geek? Are you there?
6. GEEK:
Alice?
ALICE holds one of the iPod earphones to her mouth, using it as a microphone.
7. ALICE:
Geek, I can't receive so don't speak just listen. I need a little bit of a rescue. Find someone you can trust to pick me up. Oh and—
Wider view of ALICE's location, to show the big PALADIN crate.
8. ALICE:
It will help if they've got a truck.
Back in GEEK's room.
1. VOICE (from speakers):
I'm hiding out with the Captain. Did you get that? The Captain.
2. GEEK:
The Captain?
3. ALICE's DIARY:
Geek will understand the clue but it won't give me away to any eavesdroppers.
4. SARA:
Who's the Captain?
5. GEEK:
She doesn't know any—
Close-up of GEEK slapping his forehead.
6. GEEK:
D'oh!
7. GEEK:
It's a code. She's at the lake.
SARA has her phone out and is dialling.
8. SARA:
Great. Which lake?
JAMES is outside, lurking by a building wall, taking a phone call...
9. JAMES:
Uh-huh. Sparrow Lake. Yes, we'll find it.
10. JAMES:
How did you—
11. JAMES:
Captain who?
JAMES turns to FRED, putting his phone away in a belt pouch.
1. JAMES:
She's at a nearby lake. We need to find somewhere that sells local maps.
FRED is taking out his hand-held PDA.
2. FRED:
Or I could just download a map.
3. JAMES:
Well, if you want to trust that...
FRED and JAMES are walking towards the parked RV. FRED is using his PDA as he walks but is looking sideways at JAMES in bafflement.
4. JAMES:
Who's Jack Sparrow?
5. FRED:
You're serious?
6. FRED:
You must be the only person in the western hemisphere who hasn't seen those movies.
7. JAMES:
Oh, a movie character.
They are entering the RV.
8. JAMES:
I was always more into the Lone Ranger.
The RV drives off down the street.
9. FRED (from vehicle):
Why am I not surprised?
The RV is parked on an unpaved track in a wooded area. JAMES is next to it and looking round the area. FRED is climbing out to join him.
1. JAMES:
It will be difficult to reverse out in a hurry if we run into trouble.
2. FRED:
Relax. Those two guys aren't coming here. They didn't have a clue where she was.
They are moving along the track. Ahead, we can see a small lake.
3. JAMES:
Nevertheless. Keep alert.
4. FRED:
Aye-aye, Captain Obvious.
They stand at the edge of the lake. The banks are overgrown with vegetation, enough to provide plenty of hiding places (similar to where we have seen ALICE).
5. JAMES:
Alice?
6. JAMES:
Alice!
7. JAMES:
We'll have to circle it. I'll go clockwise, you go—
Same view. JAMES holds his hands to his temple.
8. FRED (thought):
Alice!
9. JAMES (softly):
Ouch!
10. VOICE (off-panel):
Ouch!
Looking in the direction of the voice, we see ALICE poking her head above cover a few dozen yards away.
1. ALICE:
Do you have to shout so loud?
2. ALICE:
The place is crawling with soldiers!
JAMES is striding through the undergrowth towards ALICE. FRED hangs back.
3. JAMES:
It's all right, we're here to help.
4. FRED:
Exactly why are soldiers searching for you?
Close-up on ALICE, looking guilty.
5. ALICE:
Er—long story. It's a diplomatic thing.
Close-up of FRED's eyes, ALICE reflected in them.
6. ALICE (off-panel):
Er—because I'm Canadian?
7. ALICE (thought):
Better not tell them what I stole!
8. FRED:
Huh.
JAMES is standing on a bank above the hollow ALICE is hiding in. She gestures at the crate.
9. ALICE:
You'll have to carry my trunk for me.
10. JAMES:
How did you get that out here?
11 ALICE:
Wasn't easy!
DON is outside HUEY's house in Chicago. He is dressed for travelling and loading a bag into the trunk of a hire car -- the same plain saloon he was driving back in ISSUE 39. HUEY looks on (dressed for indoors, not for travelling).
1. HUEY:
You sure you want to confront Franklyn by yourself? We don't know who's side he's on.
2. DON:
He's the only lead I've got. But if you turn up anything else—
3. HUEY:
I'll keep you posted.
DON is climbing into the car.
4. HUEY:
Watch the weather. They're getting a lot of snow out there this month.
5. DON:
Snow's the least of my worries.
6. DON:
Catch you later.
HUEY watches DON drive off.
7. HUEY:
Yeah.
8. HUEY:
Not if they catch you first.
HUEY walks back up the path to his suburban house.
9. HUEY:
Hell, we don't even know for sure that Franklyn's still in Nebraska.
A man hands his passport to the woman at the arrivals desk of a busy airport. He is HENRY FRANKLYN, who we saw back in ISSUE 26. He's casually (and warmly) dressed and carrying a large shoulder bag and an attaché case.
1. CAPTION:
Ronald Reagan International Airport, Virginia.
2. WOMAN:
Welcome to DC, Dr. Franklyn. Business trip or pleasure?
3. FRANKLYN:
Business.
FRANKLYN walks through the arrivals building.
No dialogue.
Close-up of a man in a dark suit and heavy overcoat. We don't need to see his face -- the focus of the panel is his hand drawing a silenced pistol from within his coat.
A wider view and we see the is man walking past FRANKLYN in the terminal building. FRANKLYN isn't even looking as the man fires his pistol at him at close range.
4. SFX (gun):
blam! blam! blam!
The man is nowhere is sight. FRANKLYN lies on the floor in a large pool of blood. The crowd reacts appropriately. (There are probably screams, but I'll leave off the sound effects as they will spoil the impact of the panel.)
No dialogue.
JAMES is sliding the PALADIN crate through the side door of the RV. ALICE and FRED look on.
1. FRED:
Careful with the girl's...
2. ALICE:
Books!
3. FRED:
Books. Yeah.
4. FRED:
Careful with her books, James.
The crate is in and JAMES politely gestures to ALICE to enter.
5. ALICE's DIARY:
Man, these guys are naive.
6. JAMES:
We have to pick up our friends then we'll get you somewhere safe.
The RV is driving back down the track (reversing, obviously)
7. JAMES (from vehicle):
As our rescues go, that one was pretty easy.
8. ALICE's DIARY:
This is where Leia says "they let us go".
9. ALICE's DIARY:
"It's the only explanation for the ease of our escape."
In a darkened room, a man in an air force uniform bends over a computer screen (we don't need to see any detail on the screen).
10. ALICE's DIARY:
But I'm just being paranoid.
11. MAN:
Major Kim! The homing beacon is on the move!
12. KIM (off-panel):
I knew she would lead us to her accomplices if we gave her enough rope.
Now we see KIM -- air force Major, Chinese-American, mid-30s, fit and alert man-of-action type). He is addressing another officer (a Captain, details unimportant as he's probably not going to appear again after this panel).
13. KIM:
Captain, order Paladin Flight to prep for action.
Next: PALADIN
All comments to: editor@heroes.force9.co.uk
© 2007 by David Meadows