Paladin

Close-up of a stationary armoured Humvee (a M998 High Mobility Multipurpose Wheeled Vehicle, if you want to be technical). The panel represents the view through binoculars. The scene is flat, open desert such as might be found in Nevada.

1. VOICE (off-panel):

In today's urban theatres, against a highly-mobile guerilla enemy, fast reaction and maneuverability is of prime concern.

Still seen through binoculars, the Humvee is subject to a hail of gunfire from off panel. It explodes into flames.

2. VOICE (off-panel):

Though naturally not at the expense of firepower.

Close up of two men observing through binoculars. One is an elderly man in a business suit. We will just call him SENATOR (actual name unimportant). The other is a (relatively) young air force general in full uniform. We will call him GENERAL HAYNES. The scene is the desert shown in the previous panels. There may be other junior officers and flunkies standing around but they are not important.

3. HAYNES:

And that concludes our demonstration of the Personal Assault Lifting Armor for Defense and Insurgent Neutralization.

Both men have lowered their binoculars.

4. SENATOR:

I am very impressed with this PALADIN unit, General Haynes.

5. HAYNES:

Thank you, Senator.

6. SENATOR:

How many units do you have ready for deployment?

Both men are walking towards a staff car (a big black limousine) where a non-commissioned officer stands saluting and holding the rear door open.

7. HAYNES:

This is just our demonstration prototype. We have six combat-ready units undergoing final testing at Hanscom Air Force Base.

They pause at the car.

8. HAYNES:

Five are ready for deployment now. There is a delay on the sixth unit but—

A traditional Heroes page 2 splash panel. This shows the interior of our Heroes' RV. The normally cramped interior is even more cramped by the addition of a big crate. ALICE WINKERNIKLE sits on the crate, but we can still clearly read the stencilled lettering on the lid: P.A.L.A.D.I.N. ALICE is reading from a small PDA.

1. CAPTION (voice-over, continuing HAYNES's speech):

"—We expect rectify that very soon.

2. ALICE:

I've found us a place to stay in Boston. The Bates Motel. Sounds nice.

3. CAPTION:

Boston, Massachusetts.

4. CAPTION:

12 December 2014.

The rest of our main cast (JAMES, WANE, SARA, FRED, PAUL) are clustered at the front of the vehicle. JAMES is driving (although he is in costume, he has a coat over it and his cowl is pulled back).

1. WANE:

Who put her in charge?

2. PAUL:

Why is she with us, anyway?

3. FRED:

You really need to talk to her, James.

Same view. JAMES doesn't take his eyes off the road while he answers them.

4. JAMES:

Now, give her a chance. She's young and in an unfamiliar situation. She just needs time to—

5. ALICE (off-panel):

In fact, give me a minute to fix your SatNav and I'll guide us right there.

Same view. Everybody looks at JAMES, who has a particular set to his jaw.

No dialogue.

Same view.

6. JAMES:

I'll talk to her.

The RV is parked at a CRUNCHY MUNCHY BURGER restaurant in the suburbs of a big city. FRED, PAUL, and WANE are walking towards the building.

1. VOICE (from vehicle):

Better make the fries large!

2. VOICE (from vehicle):

And don't forget, diet cola!

3. VOICE (from vehicle):

Oh, and if you get a choice of toy I'll have the robot!

4. VOICE (from vehicle):

But not the pony, I'm not a kid!

5. VOICE (from vehicle):

Oh, and—

In the back of the RV, JAMES and SARA sit across the small table from ALICE and look earnestly at her.

6. ALICE:

Do you think they got all that? Should I go and check?

7. JAMES:

Alice, we need to talk about what we're going to do.

8. ALICE:

Do?

9. JAMES:

With you.

Close-up on ALICE.

10. ALICE:

That's easy. I'll join your team.

11. ALICE:

Frankly, Major, you're not very organised. Plus you've actually given away your secret identity to me already. I'm obviously going to be a big asset to your team because you really need someone like me to handle strategic planning, that sort of stuff.

JAMES and SARA exchange bemused glances.

No dialogue.

They look back at ALICE and try again.

1. JAMES:

It's not that simple. You're a minor and there will be people worried about you. Your family...

2. ALICE:

My mother's in Canada. I can call her, but there's no hurry.

SARA is looking out of the side window of the RV.

3. JAMES:

I really think—

4. SARA:

The others are coming back.

We see from SARA's POV, looking out of the window towards the CRUNCHY MUNCHY. FRED, PAUL, and WANE are come back towards the RV at high speed, dropping cartons of food and drinks as they run.

5. SARA:

And—ah—they're running!

A view of the RV as the three running men reach it. WANE is swinging himself up through the driver's door. FRED and PAUL are scrambling through the small side door.

6. PAUL:

Start her up!

7. WANE:

Way ahead of you, doc!

In the back of the RV, JAMES and SARA are now standing and facing PAUL and FRED. JAMES is pulling his cowl up to complete his costume.

8. JAMES:

What's going on?

9. PAUL:

We've been followed.

Exterior view of the RV pulling off the parking lot and swerving into traffic.

1. JAMES (from inside vehicle):

You're sure?

2. PAUL (from inside vehicle):

Fred's sure, and that's good enough for me!

In the back of the RV they are all hanging on to something, as WANE appears to be driving a little recklessly.

3. JAMES:

How many, Fred?

4. FRED:

Just two, in a car. They're just watching us at the moment but they're waiting for backup.

ALICE is looking out of the rear window of the RV.

5. ALICE:

Do you think their backup would be in a big, black van?

Exterior view of the busy road, showing the RV swerving dangerously across lanes of traffic and, several cars behind, a big, black van swerving through traffic to keep up.

6. VOICE (from rear of RV):

This is so cool!

The front of the RV, JAMES is leaning over WANE's shoulder to point ahead.

1. JAMES:

Take the right turn up ahead.

2. WANE:

Why, what's down there?

3. JAMES:

I have no idea—

Exterior again as the RV cuts across a lane of traffic, causing cars to swerve and one to spin out of control.

4. VOICE (from front of RV):

—But we need to get out of traffic before your driving kills somebody.

The RV takes a sharp right corner.

5. VOICE (from front of RV):

Fine! You drive!

6. VOICE (from front of RV):

Wane, please don't take your hands off the wheel.

The vehicle takes another sharp corner, turning into a narrow road between high industrial buildings. The buildings look old and derelict.

Back in the cab of the RV with JAMES and WANE. Somehow JAMES is now driving and WANE is next to him.

7. JAMES:

Uh-oh.

8. WANE:

Kinda looks like you picked a dead end, dude.

The RV pulls into an enclosed yard surrounded by high buildings. They look like old factory buildings or warehouses, long abandoned. It is, indeed, a dead end.

No dialogue.

Inside the RV, JAMES is moving in to the back of the vehicle, picking up his SHIELD as he addresses his team-mates.

1. JAMES:

We'll make a stand here. We'll have cover inside the buildings and we can assess who's coming after us.

Outside the RV. WANE and SARA are already out and looking around cautiously. ALICE has just left the side door and is dragging her crate out. JAMES is in the doorway behind the crate.

2. JAMES:

Alice! Leave that, go with Wane and hide inside.

3. ALICE:

I can't! This is what those bad guys are after!

4. JAMES (softly):

Oh, terrific.

JAMES and WANE are carrying the crate between them, through an open doorway and into a spacious room beyond. We don't need to show much of the interior here; it's going to be revealed soon. FRED is looking back towards the courtyard entrance.

5. FRED:

Hurry it up!

Inside. JAMES and ALICE, with her crate, crouch on a concrete floor with a brick wall at their back and a big, wide concrete block in front of them. The block is three feet high, just enough to provide cover for JAMES and ALICE. Also note that the light is dim in here -- there are windows but they are high in the walls and leave much of the floor in shadow.

1. JAMES:

Do you want to come clean about what's going on?

2. ALICE:

I told you! This is Canadian property and these American goons stole it!

3. JAMES:

So how did you get it?

4. ALICE:

Err...

Elsewhere in the abandoned building. WANE and FRED are in a tiny, windowless, alcove.

5. WANE:

What the hell is it she's got?

6. FRED:

She stole some secret air force weapons.

7. WANE:

Say what?

8. FRED:

Shhh!

PAUL and SARA crouch on a metal walkway, looking down at the floor 20 feet below them (yes, the building has a very high ceiling). A pile of debris (mostly broken wooden crates) is beneath them. There is a ladder up to the walkway but it's not near them (it's actually closer to JAMES and ALICE) so there's no need to show it in this panel (though it could be shown, for completeness, if convenient).

9. SARA:

Paul—no offense but we're going to need a fighter.

10. PAUL:

I know. I'll turn control over to Jerome.

11. SARA:

Will he know that I've told you—

Close up on PAUL. He has his eyes closed.

12. PAUL:

About losing your powers?

13. PAUL:

Probably. We don't share thoughts but we share sensory input to an extent.

Close up on PAUL, now with his eyes open and a smile on his face. This is the moment that JEROME's personality takes over, so I'll label his captions JEROME from now on. There is no change in appearance, of course, but I'll try to convey the change in dialogue (and of course the body language is different, especially in a fight).

14. JEROME:

Don't worry, lass. You may trust me to keep your secret.

Back to FRED and WANE. WANE is aghast.

1. WANE:

I can't believe we're helping a Canadian arms thief!

2. FRED:

Don't blame me. It was Captain Boyscout's idea.

3. WANE:

Dude, you could have told him!

Close-up on FRED, whose expression is best described as "smug".

4. FRED:

Yes. I could, couldn't I?

Back to ALICE and JAMES in their hiding place.

5. JAMES:

Alice, you've got to tell me what you've done. The truth.

6. Alice:

I have told you the truth!

7. ALICE:

Look, this weapon was designed by my father—

8. JAMES:

Weapon?

Close-up on ALICE, who has realised she's just digging herself a deeper hole.

9. ALICE:

I mean—Well it's—

10. JAMES (off-panel):

Alice, what exactly is this weapon?

11. SFX (off-panel):

CLUNK CLUNK CLUNK CLUNK

ALICE turns to face JAMES.

12. ALICE:

I think we're about to find out.

13. SFX (off-panel):

CLUNK CLUNK CLUNK CLUNK

JAMES is peeking over the top of his cover and looking towards the door. We can also see the door in this POV -- just a rectangle of light through which the CLUNKING sound is coming.

14. SFX (from door):

CLUNK CLUNK CLUNK CLUNK

15. JAMES (softly):

Marvelous.

The doorway is the dominant panel on the page. In the doorway is a silhouette of a PALADIN (we'll call him #1 because, oh yes, there is going to be more of them). It's basically a man in a full suit of body armour, but for this panel there will be no details -- just the silhouette. The silhouette is more bulky than a normal man but it is still unmistakably the size and shape of a man.

PALADIN armour (when we see it clearly) is dull metallic grey. It has smooth curves. It includes a full-face helmet so appears to be completely sealed from head-to foot, even at the joints. The helmet has on opaque (from the outside) eye slit. On the back is a slim jet pack. Running down each forearm is a bulge that obviously houses some form of weapon (the muzzles project from the wrists and over the backs of the hands) The LEFT arm weapon has a wide bore, like a grenade launcher. The RIGHT arm weapon is a smaller calibre, like an assault rifle. The armour has the US flag painted on one shoulder and the code "P-X1" stencilled on the chest (the others will be "P-X2", etc.).

PALADINs communicate by internal radios and their captions should be "disembodied" because of this -- they don't originate from a particular person because other characters cannot hear who is speaking. Also, PALADINs who are off-panel may be speaking via radio (this includes PALADIN COMMAND, who will never appear on panel but will do a lot of talking).

1. PALADIN #1:

Building appears clear.

2. PALADIN COMMAND:

Scan on infra-red.

3. PALADIN #1:

Roger that.

In the smaller panel on the page, we see the PALADIN's POV. The view is a long, thin slit, to match the eye-slit. This is an infra-red image of the room, so there is almost no detail (it's all cold concrete and metal) except for a point high above the floor -- the walkway where JEROME and SARA were hiding. They show up as bright red-orange blobs, of course. Superimposed over the image is some "computer" text. This is the PALADIN's head-up display (HUD). The following text is at the left:

IMAGING MODE: IR
TARGETING: ON

And the following on the right:

BEARING: 185
ELEVATION: 35
RANGE: 25

(All in neat columns.)

4. PALADIN #1:

Two targets located. Repeat, two targets.

5. PALADIN COMMAND:

PALADIN One, you are cleared for non-lethal munitions.

Another view of the PALADIN silhouette. It has raised its LEFT arm to aim its weapon up (at SARA and JEROME, though we don't see them in this panel).

1. PALADIN #1:

Roger that.

In a wider view (and by now we should be seeing more detail on the PALADIN suit), the PALADIN is firing a projectile towards JEROME and SARA. JEROME is rolling off the edge of the walkway, pulling SARA after him.

2. SFX (weapon):

FOOM!

3. JEROME:

Down!

The projectile explodes in the space where JEROME and SARA were. They are falling towards the debris pile, JEROME beneath SARA.

4. SFX:

BOOM!!!

JEROME lands on his back, SARA on top of him.

5. SFX:

Crash!

6. JEROME:

Aaaa!

SARA is on her knees, facing the PALADIN. JEROME is still on his back -- out cold. The PALADIN raises its LEFT arm to point at her.

7. SARA:

Uh-oh.

Same scene -- but just as the PALADIN fires his grenade, a spinning SHIELD comes in from out of panel and hits his arm. The grenade goes wide and explodes against the wall high above SARA.

1. SFX (shield):

SPANG!

2. SFX (weapon):

FOOM!

3. SFX (grenade):

BOOM!!!

The PALADIN has turned to see JAMES, standing in full view on the concrete block. JAMES is catching the returning SHIELD.

4. JAMES:

Can we talk this over?

The PALADIN raises his RIGHT arm at JAMES. A red laser from his arm (visible as a beam in the air) illuminates a spot JAMES's chest.

5. PALADIN COMMAND:

Take no chances with this bunch.

6. PALADIN #1:

Roger that, command.

This PALADIN obviously has NO tactical awareness of his surroundings, because just as he fires ANOTHER interruption knocks his aim off -- this in the form of WANE delivering a flying kick to his chest, staggering the PALADIN but not putting him down. Bullets from his weapon spray the wall behind JAMES.

7. SFX:

THUD

8. SFX (weapon):

bra-a-a-a-a-t

WANE, crouching, looks up at the PALADIN.

1. WANE:

That's why they call me Flying Fist!

From his alcove, FRED watches as WANE cartwheels away from the PALADIN's fire.

2. SFX (weapon):

bra-a-a-a-a-t

3. FRED (thought):

Wane, you moron, that made no sense!

While the PALADIN's attention is on WANE, JAMES has slammed into him from the side, his SHIELD held in front of him like a battering ram and knocking the PALADIN to the ground. Unfortunately for WANE, more bullets strike him from off-panel (from the direction of the door). WANE falls to the ground -- it shouldn't be obvious how badly he is hurt (there is no visible blood), but he's been hit by SEVERAL bullets.

4. SFX (SHIELD):

KLANG!

5. WANE (thought):

That's ok, nobody calls me it anywa—

6. SFX (bullets from off-panel):

bra-a-a-a-a-t

7. WANE:

—aaaAAAWWWWW!

JAMES leaps from the downed PALADIN to shield the fallen WANE from more gunfire. In this view, we can see the doorway and two more PALADINS stand there -- both firing at JAMES, who is saved by his SHIELD. (These are going to be called PALADIN #2 and PALADIN #3.)

1. JAMES:

Wane!

2. SFX (PALADIN #2):

bra-a-a-a-a-t

3. SFX (PALADIN #3):

bra-a-a-a-a-t

JAMES crouches in front of WANE, still shielding them both from gunfire (the SHIELD will be mainly protecting WANE, and JAMES is probably hit by several bullets -- his costume is bullet proof, of course). But WANE is climbing to his feet.

4. SFX (PALADIN #2):

bra-a-a-a-a-t

5. SFX (PALADIN #3):

bra-a-a-a-a-t

6. WANE:

It's ok, they're firing plastic bu—

Close up of WANE's head as a single bullet, obviously slipping past JAMES's SHIELD, strikes him squarely on the temple.

7. WANE:

—uhhhh

Close up of JAMES still keeping his SHIELD in front of the fallen (and obviously unconscious) WANE.

8. SFX (PALADIN #2):

bra-a-a-a-a-t

9. SFX (PALADIN #3):

bra-a-a-a-a-t

10. JAMES (thought):

A little help here, Fred?

Close-up on FRED, crouching in the doorway.

1. FRED (thought):

Vertigo.

JAMES is steadily advancing into the PALADIN's fire, holding his SHIELD ahead of himself. One of them (#2) continues to fire on him but the other (#3) is reeling around, off-balance and disoriented.

2. SFX (PALADIN #2):

bra-a-a-a-a-t

3. PALADIN #3:

Uhhhhh...

JAMES has reached PALADIN #2 by the door and is smashing the SHIELD heavily into him.

4. SFX (SHIELD):

KLANG!

A fourth PALADIN has come through the door and is swinging an armoured fist at JAMES, who is forced to duck and deflect it with his SHIELD.

5. SFX (punch):

KLANG!

6. JAMES (thought):

Fred?

Another close up of FRED, who is bleeding from the nose.

7. FRED (thought):

I can't do this all day.

8. FRED (thought):

Pain.

The ladder up to the walkway. SARA and ALICE are at it, SARA lifting ALICE up on to the lower rungs.

1. SARA:

Fast as you can! Find somewhere to—

While ALICE climbs, SARA turns round to confront PALADIN #1, who is right behind her. Oh yes, their armour is far too tough for a couple of blows -- even from JAMES and WANE -- to put them down for good.

No dialogue.

The PALADIN has raised his LEFT arm to aim at the climbing girl, but before he can fire SARA has grabbed the arm and is wrestling to pull his aim off.

2. SARA:

She's thirteen you creep!

3. PALADIN #1:

Command, did you copy that?

4. PALADIN COMMAND:

Affirmative. You are still approved for non-lethal force.

5. PALADIN #1:

Roger that.

With no apparent effort, PALADIN #1 flings SARA across the room.

6. SARA:

Waaaaaaaaa!

PALADIN #1 has grabbed the metal ladder and is tearing it away from its supports. The twisting metal makes it obvious that the suit has enhanced strength.

1. SFX:

SCRUNNNNCHHHH

ALICE has just reached the walkway as the ladder is torn from beneath her. She is desperately pulling herself up, just making safety in time.

2. SFX:

WRRRRENCHHHH

3. ALICE:

EEP!

As Alice sits in a heap on the walkway, clearly too off-balance -- and possibly too terrified -- to move any further, PALADIN #1 hovers next to her. Yes, they can fly, as we can plainly see from the flame exhaust from the jet pack on his back. Note that the PALADIN's speech in this panel (and the following one) is "normal" speech, to ALICE, not radio speech. We don't see the full length of the walkway at the moment, so the off-panel speaker remains hidden from the reader.

4. SFX (jets):

Fwooooosh

5. PALADIN #1:

Please surrender. We have you surrounded.

6. VOICE (off-panel):

That's a negative, soldier. He he!

ALICE and the PALADIN both look along the walkway (at something out-of-panel). ALICE has a huge grin.

7. PALADIN #1:

Wha—?

8. ALICE:

It's—

A full-page splash shows the newcomer. He's very tall (around 6'8") and well-muscled. He wears camouflaged military-style combat armour, including a helmet and night-sight goggles, and is carrying a huge shotgun. We've seen him before -- in ALICE's flashback to her father's old team-mates LAST ISSUE. Regular readers who have been paying attention will know exactly who it is (but ALICE's dialogue will spell it out for those who haven't got it). It's SEBASTIAN MAKEPEACE, of course.

MAKEPEACE has leaped from the walkway straight at the hovering PALADIN, crashing into him with very effectively. The PALADIN is reacting much as you would expect him to react to 6'8" of muscle smashing into him -- bulletproof armour doesn't do much against that kind of impact, and the jet pack wasn't designed for it either.

1. ALICE:

Makepeace!

2. SFX:

CRASH!!!

MAKEPEACE and the PALADIN crash to the floor, MAKEPEACE on top.

1. SFX:

THOOM

MAKEPEACE is on his feet. The downed PALADIN hasn't moved. Off to one side, another PALADIN (#4) is aiming BOTH arms at MAKEPEACE.

2. PALADIN #4:

Command, we have a situation.

MAKEPEACE holds his shotgun in one hand and fires at PALADIN #4. The blast lifts the PALADIN off his feet and flings him backwards.

3. MAKEPEACE:

Indeed you do!

4. SFX (shotgun):

BOOM

Over by the entrance, JAMES is fighting PALADIN #2. JAMES steps inside the swing of an armoured fist...

No dialogue.

...and grabs the swinging arm, using the swing's momentum to throw the PALADIN over his shoulder...

No dialogue.

...and crashing to the floor.

5. SFX:

CRASH!

JAMES stands poised over the fallen PALADIN, fist poised and SHIELD raised ready... but there is no sign of the PALADIN rising.

No dialogue.

JAMES looks around the room. There is no sign of movement from any of the four PALADINs. FRED is helping SARA to her feet. WANE is sitting and holding his head. MAKEPEACE is holding his shotgun in a non-threatening manner. JEROME is still lying motionless. ALICE is sitting on the edge of the walkway, legs dangling right above MAKEPEACE. (This will have to be the dominant panel on the page to fit everybody on.)

1. JAMES:

Everyone ok?

2. WANE:

Yeah.

3. MAKEPEACE:

Dandy!

4. SARA:

Wane, you'd better have a look at Jerome.

Close-up of MAKEPEACE looking straight up.

5. ALICE (from above):

Makepeace! Catch me!

6. MAKEPEACE:

Alice, that's a six metre—

ALICE drops into MAKEPEACE's arms -- despite his protest, he does catch her safely.

7. MAKEPEACE:

Ufff!

MAKEPEACE has removed his combat helmet in order to scowl down at ALICE (he's massive compared with her). She stands in front of him, looking up at him and not at all intimidated.

1. MAKEPEACE:

You're very lucky I picked today to visit your dorm, young lady, eh?

2. ALICE:

Pffft. I wasn't in any danger.

3. ALICE:

What do you think of my new team?

FRED, JAMES and SARA are now approaching. MAKEPEACE is looking at them.

4. JAMES:

We are not her new team!

5. FRED (softly):

We're not even our own team.

6. MAKEPEACE:

Regardless, I thank you for keeping her safe.

Close-up of MAKEPEACE and ALICE as he is back to frowning at her.

7. MAKEPEACE:

Now, what exactly did you do to tick off the United States Air Force?

8. ALICE:

Well...

Close-up on ALICE as she talks, gesturing to illustrate her points. She looks very pleased with herself.

9. ALICE:

It started when Geek — he's my lab buddy — hacked into their systems and found some secret weapon plans, well of course he didn't know what it was but I recognised some design elements that they stole from my father — he was the Red Dwarf, you know, I didn't have chance to tell you guys that — and so anyway I thought that if the Americans had stolen them then I had better steal them right back, or at least one of the suits, it's my duty as a Canadian you know, and anyway they're rightfully my intellectual property anyway, not to mention really cool suits, so anyway then we broke into—

MAKEPEACE is holding up his hands in horror. ALICE is looking a bit offended.

1. MAKEPEACE:

Whoa, whoa, stop! Do you have any idea what diplomatic incident means?

2. ALICE:

Of course I do! I'm not a kid, you know.

Still the two of them talking.

3. MAKEPEACE:

Here's what we'll do. First I'll get you to your grandfather at the embassy. Then we'll give the stolen property back—

4. ALICE:

B—

5. MAKEPEACE:

No, that part is not negotiable!

6. MAKEPEACE:

Then we'll hope that your grandfather's position will keep the yanks from locking you up for a bazillion years. Luckily for us, I rather think they'll want to hush up the whole incident.

Wider view to include the entire group -- and we should see WANE and JEROME walking over, just to show that JEROME isn't hurt.

7. JAMES:

We really need our part in this to be kept quiet. If you don't mind, sir.

8. MAKEPEACE:

Not at all, Major! I owe you for looking after this reprobate.

9. MAKEPEACE:

And it's the least I can do—

JAMES and MAKEPEACE shake on it.

10. MAKEPEACE:

—For a member of Strikeforce.

11. MAKEPEACE:

He he!