Watchmen Part 10 of 12. Writer, Alan Moore. Illustrator, Dave Gibbons. Described by Liana Kerr https://twitter.com/lianaleslie Last modified March 2, 2015. Chapter 10. Cover. The words "Chapter X" are printed vertically in red on black over the left third of the page. Above them is a red and black clock with no numbers or markings that indicates that the time is 11:58. The right two-thirds of the page show a close-up view of a radar screen. A panel at the top reads "Defcon" in yellow over a green background. Next to it is an LCD display that reads 2, with black text over a red background. To the left of the words "Defcon 2" are a panel showing the date, 10/31, and Eastern Standard Time, 11:59. A small dial at the top is turned from 1 to 2, then there is a large circular radar screen. It's glass over a black field, and the light catches it at several points, creating bright white reflections, including a large semi-circle near the base. In the center is a green dot over a yellow structure that appears to be a large compound, then a series of five thin green circles expand over the field at regular intervals. Thin yellow lines come from the compound and extend in front of it, probably representing roads or runways, and a handful of other yellow and red shapes may represent other buildings or units. Two dotted yellow lines converge on a point at the left, and two wavy yellow lines block off an area to the right. Two units marked A2 and A1, with code numbers underneath them, are to the northwest and northeast of the compound respectively. Yellow lines show the path of these two units from the north toward the compound, ending in fuzzy yellow dots showing the location of the planes. A white line that continually circles the screen, reflecting the updated information, is pointing from the center to the upper left hand side, crossing almost right over the unit marked A2. The two units recall the two eyes of the smiley face button and the large reflection at the base of the screen recalls its smile, while the white line recalls the blood over the pin's eye. Underneath the screen is a line of buttons marked "A, B, C, D, E," a lever, three dials set to different positions, and a monitor flanked with more buttons. The monitor reads "A1 A2 Incoming 256 SAC Confirm." Page 1. Panel 1. A man wearing glasses, a headset and a shirt labeled on the right sleeve with a shield-shaped emblem is looking at the radar screen from the cover, with the two units closing in on the compound. The field above the screen reads Defcon 2, and the monitor reads "A1 A2 Incoming 256 SAC Confirm." Panel 2. The man continues to look at the screen as he says "Incoming Air Force One, Air Force Two, confirmed..." Another man behind him, looking at another monitor with several dials and buttons and wearing a headset, presses a button and says "Landing strip, the President and Vice President are confirmed. Please confirm 'copter reception..." Panel 3. A large, sleek blue and white airplane is preparing to land on a runway, and a second similar airplane is circling overhead. A man standing on the runway next to a futuristic vehicle leans against it, holds a telephone receiver to his ear and says "'Copters confirmed." The sky is bright, with large white clouds covering most of it. The ground is flat, and there appear to be mountains and mesas in the background. Panel 4. A large panel taking the space of six regular panels. Two men are standing in the shadow of the first airplane, which has landed on the runway. One uses paddles to direct a vehicle approaching the airplane which is carrying a portable staircase, and one carries a clipboard and is saying something into a walkie-talkie. The men both wear earphones, hats and jackets that read "USAF SAC" and have the Air Force logo on the shoulders. A second, shield-shaped logo showing a winged pillar and lightning bolts over a globe is on the backs of the jackets. The vehicle with the staircase approaches the plane, its lights blaring and its wheels kicking up dust clouds, while a second airplane labeled "2" prepares to touch down on the runway. There are some helicopters and another vehicle in the distance, and further beyond them is a large yellow rock formation and what appears to be a mountain in the background. Under this panel is the chapter name, "Two Riders Were Approaching." Page 2. Panel 1. President Nixon, a white-haired white man in a blue suit, leaves Air Force One, looking to the side and holding on to the handrail of the portable stairs as he passes under a sign marked "Exit." The reader sees him from behind, as if we're standing at the top of the stairs inside the plane. An attendant behind him watches him leave, while a man in uniform is standing near the base of the stairs, saluting. Nixon is holding something metallic and football-shaped under his arm. The item has a chain looped from its end under his arm. Panel 2. The man watching the radar screen says "They're in the 'copters." The man looking at the monitor behind him presses a button and says "'Copters proceed to Entrance Alpha. Entrance Alpha, stand by..." Panel 3. A blue and white painted helicopter lifts off, with men in uniform on the ground watching it go. The helicopter is labeled with the Air Force logo, the words "SAC" and "USAF." Another helicopter is already in the air, flying past the mountain nearby through the white clouds. Panel 4. Nixon sits in the back of the helicopter, holding the football-shaped object in his lap. It appears to be chained to one of his wrists. His expression is grim, and he has a lined forehead, intense eyes, a large nose with a round tip and heavy jowls. The pilot wears a USAF cap, a headset and goggles. Panel 5. The two helicopters descend upon a landing point outside what appears to be a base cut into the side of a mountain. It's fenced off, and there are a handful of buildings on the ground far below them, along with two helicopter landing pads. The people on the ground are little more than dots. The entrance to the base is a large wall set into the side of the mountain, with a large, wide arch and a road running through it into the base. Panel 6. Vice President Ford, a white grey-haired, balding man in a brown suit, stumbles slightly as he climbs the steps down from his helicopter. He raises his hand for balance and looks chagrined. A soldier salutes as he comes down, holding a door open for him. Nixon is already in a second car headed inside the base, sitting in the back seat with the driver in the front seat. The logo of a winged obelisk over a globe in a shield is on the back of the car. Panel 7. The two cars proceed further inside the base, their headlights and flashers on. The tunnel is only dimly lit with small orange lights on the sides of the walls and dim green lights along the ceiling. Panel 8. As Nixon rides in the car, he holds one hand thoughtfully to his mouth, tapping on the football-shaped object with one finger. It's quite clearly handcuffed to his right wrist. This area of the base is better lit, and there are soldiers standing at attention as the car passes. A sign in the background says "Defcon 2." A large door is being opened for them to pass by. Panel 9. The man watching the radar screen says "Cars one and two now approaching main concourse..." The man looking at the monitor behind him presses a button and says "The presidential party is now inside the complex. Entrance alpha remain open until Defcon One is achieved. Main concourse, all units prepare to receive visitors..." Page 3. Panel 1. A large panel taking the space of three regular panels. The car has arrived in a large garage. Nixon climbs out of the car, with a soldier saluting and holding the door open for him. There are two men in suits standing several feet from the car, one heavy-set, wearing glasses and holding his hands behind his back, and another taller, holding his hands in his pockets and smoking a long, thin cigarette holder with a ball at the tip. The second man says "Mr. President. You were able to see Mrs. Nixon to safety, I take it?" Nixon replies "Uh, yes, yes, Pat, she, uh, that is, Mrs. Nixon, she wasn't too happy about, well, you know, but she's okay now, I guess. How are things hanging here?" In the foreground, another soldier is talking into a communications device, and in the background, another soldier is directing the second car into the garage. A sign above the arch leading to the garage says "Defcon 2", and there are small windows near the ceiling of the garage showing rooms where other soldiers are working. Soldiers are walking around in the background, and one is piloting a scooter with a flasher attached to the side. The scene is colored in heavily shadowed oranges and yellows, giving it a dark, earthy feeling. Panel 2. Nixon walks next to the shorter man in glasses up a dark staircase, with the cigarette-smoking man and Ford behind them. The man in glasses gestures and looks toward Nixon as he says "Well, as you know, I see no profit in employing mad bomber tactics." Nixon turns to the man, his expression angry, and points at him as he says "Don't... Don't you start that quote 'mad bomber' unquote shit. That whole image, it was *your* suggestion. I..." The cigarette-smoking man behind him says "Mr. President, our analysis shows good percentages on a first strike..." In the background, the dark staircase leads to a brightly lit room. A soldier is holding the door to the room open and saluting. Panel 3. The four men arrive at the doorway to the bright room, and Nixon says "Don't *pressure* me. Liddy, you're ex-C.I.A., I know your loyalties in this, but I will not be pressurized! I'm tense *enough*. Now, what's the *latest*?" Liddy answers "East Germany: Tanks massing, allegedly in response to quote "Western alarmism" unquote." The room they're stepping into is a large one with a walkway around the side and a staircase that leads down into a lower level. There's a third level below this one, where several men are sitting at computers and desks, talking into headsets and on telephones. On the wall behind the third level is the Presidential Seal, and next to the balcony overlooking the third level are several chairs pushed up against a desk that curves around the side of the third level wall. The door is flanked by two saluting soldiers, and a couple of people are standing on the walkway, talking to each other. The second level is empty except for a man waiting there with a clipboard. A sign on the wall says "Defcon 2." The room is colored in vibrant golden yellows, oranges and reds. Panel 4. Ford gestures with one hand and says "Uh, that might possibly be genuine. This last week we've *both* been on full alert..." The man in glasses stands with both hands clasped behind his back and says "The question *is*, what do we do *next*?" Nixon takes one of the chairs, which is marked with the presidential seal. He answers "We do what we came *down* here for: we stay at Defcon Two..." Liddy stands to the side, taking a drag from his cigarette holder. Below them is the open third level. We see the scene as if we're standing on the walkway behind the President and his aides, and from this perspective we can see that at least two dozen people are working on the third level. In front of them, mounted on the wall across from the President and his aides, are several large maps of the world and several posters and graphs. The scene is colored in vibrant, warm colors, with the President, his men and the second level where they're sitting colored in reds and deep shadows. Panel 5. A large panel taking the space of three regular panels. Nixon, sitting at the desk, says "And we sit... and we *wait*." His hand is resting on the football-shaped object, which is on the desk in front of him, chained to his wrist. Behind him, Ford, the man in glasses and Libby look over at him with concerned, anxious expressions. Near Nixon's hand is a telephone with four buttons and two microphones. The screens on the wall in front of them show a map of Afghanistan and surrounding countries, with Afghanistan colored in the same orange shade as the U.S.S.R. and other countries in yellow. Green arrows show army movements from the U.S.S.R. through Afghanistan to the surrounding countries. Other screens show radar screens and an array of graphs and charts. Nixon and his men are colored in bright reds, deep purples and dark shadows. Page 4. Panel 1. Rorschach is shown in profile, standing in the Owlship. He has removed the bandage from his forehead, leaving a vertical scar about an inch or two long. His face is expressionless as he says "How much longer? Tired of skulking down here. Impatient. Work to be done." Dan is sitting in the driver's seat, wearing his full costume and pressing a button on the control panel in front of him. He doesn't look behind him as he says "Rorschach, we just got you *out* of prison. Everybody's looking for us, and unless we *both* want to go *back* there we'd better be *careful*." The view outside the large, round Owlship window is black with wavy green lines and bubbles. Panel 2. Rorschach, his posture and expression unchanged, says "Down here hours already. Need to collect spare uniform and personal effects, so that we can proceed." Dan reaches for a lever above his head and says, without looking behind him, "All right, all right. That's what I'm *doing*. We're near the wharves backing onto your neighborhood right now. I'm taking her up." A large fish and a couple of small fish swim by outside the window. Panel 3. Rorschach's expression doesn't change, but he says "At last. It feels good to be working with you again, Daniel. Pity Miss Juspeczyk couldn't stay with us." Dan nods, saying "Yes. Yes, it's a pity." The Owlship is half submerged in the dark water, and half out of it, showing broken wooden pillars and water dripping down the front of the glass. Panel 4. A large panel the size of six regular panels. Dan is standing on top of the Owlship, holding his remote control, while Rorschach jumps from the top of the ship onto an old pier. The Owlship is half submerged, water dripping from the top and its lights turning the murky water a shade of light green. An old tire and some trash float by the pier, and several of the pillars have mostly rotted away, held together by old ropes. In the background is the city skyline. The Twin Towers are to the left, near the full moon, while the Chrysler Building and the Astrodome are recognizable among the other, more blocky skyscrapers and buildings to the right. Two zeppelins fly in the sky, and thin yellow clouds snake across the sky and over the water. The light from the city is too strong to make out any stars. Beyond the docks are old wooden buildings by the water, with tires stuck to the outside of the pier nearby. Page 5. Panel 1. Dan and Rorschach walk through the thick fog on the pier as the Owlship sinks back into the water behind them, leaving ripples and bubbles. In the low light, they appear shadowy as they walk next to each other, Dan holding his remote and Rorschach putting his hands in his pockets. Dan asks "So, assuming your spare outfit's where you *left* it, where do we start?" Rorschach answers "Make inquiries amongst underworld. Whatever's behind elimination of masked heroes is something big. Makes ripples. Out there, somewhere... Somebody knows." Panel 2. Dan walks behind Rorschach as they go through an alley. Dan says "Yeah, I guess so. Also, with this *mask killer* thing, we should contact Adrian." Rorschach, his face impassive, answers "Hurn. Yes. Perhaps he'll be less dismissive of idea after attempt on own life... Down this way. Rear fire escape." Panel 3. Dan, putting out both hands in a pleading gesture, says "The thing *is*, we've got so little *time* to figure out who's *doing* this. I mean, neutralizing *Jon*, framing *you*, we're talking somebody *major*." Rorschach, walking a few paces ahead of him past the end of the alley to a trash-strewn lot behind a three-story apartment building, doesn't look back as he says "Yes. All accomplished so easily. Lesson in vulnerability. Must be more careful in future." The lights of the apartment building are on, and the rooms on the second and third floors have balconies connected by thin fire escape ladders. A high wooden fence borders the vacant lot. Panel 4. A large panel taking the space of three regular panels. Dan, standing at the base of the fire escape as Rorschach starts to climb, puts out his hands in a questioning gesture and looks up at Rorschach as he says "Future? *What* future?" Behind them, the fence is worn down and uneven at the top, and it has been covered with old posters, torn and pasted over each other. From left to right: A poster reading "Madison Square Garden, Pale Horse with Krystalnach, November 2nd 8:00 Only." A smaller poster over this one reads "Sold Out." This is posted over a smaller poster which reads "The End is Nigh" and another poster advertising Nostalgia perfume. The text reads "Oh, how the ghost of you clings," and the only thing that's visible is a table and the bottle of Nostalgia perfume. Underneath the image are the words "Nostalgia by Veidt." The Veidt is the Veidt logo. Underneath this is a poster of Nixon, his arms held high in a V shape and two fingers on each hand out in a V shape, standing in front of a flag. The text underneath is mostly ripped away but says "Four." To the right of that poster is one for Ozymandias' Famine Relief event, showing Adrian in full costume holding himself upside down on one arm. A poster behind this one is barely visible but reads "Badges Not Masks, Support the Keene Bill." Underneath it is another poster of Nixon, then behind Dan is another one reading "The End is Nigh", another poster for the Pale Horse concert," a layer of torn posters that are nearly indistinguishable from each other and repeat the posters we've already seen, a poster saying "Nixon's The One" and a Pink Triangle Gay Women Against Rape poster. Behind Dan, partially blocked by his body, is graffiti reading "One In Eight Go Mad," and a downward-spiraling arrow points to a trash can that's nearly overflowing, with a Gunga Diner box on the top. Panel 5. Dan, following Rorschach up the ladder and onto the roof of the building, continues "That's my whole *point*: we're looking at World War Three within the *week*! I mean, what do we *do*? The stakes are so *high* and humanity is so close to the *edge*..." Rorschach, his hands in his pockets, does not look back at Dan. He is already approaching the opposite edge of the roof. The roof is covered with puddles, and is bordered with a knee-high brick ridge. Panel 6. Rorschach has lowered himself from the roof to the nearest window, and is standing lightly on the windowsill, holding onto the ridge on the roof with one hand as he pushes the window open. He answers, "Some of us have always lived on edge, Daniel. It is possible to survive there if you observe rules: Just hang on by fingernails... and never look down." Dan, standing on the edge of the roof with his knees bent slightly, looks down at Rorschach with a small frown on his face. Panel 7. Rorschach sits on the edge of the windowsill, holding onto the sides of the window. The curtains blow out to the sides, and he is shown with most of his face and body in shadow as he enters the dark room. In front of him, his table has been mostly cleared off, leaving bits of trash on the table and on the floor, while on his stained mattress is a copy of the New Frontiersman. The plaster on the walls is stained and peeling. Page 6. Panel 1. Rorschach kneels on the ground, raising a floorboard and saying "Hunh. Still here. Good. Police didn't find it." Dan struggles to fit his torso through the window, making an "Mph" noise, then says "Exactly what, uh, personal effects were you *looking* for?" Panel 2. Rorschach withdraws a bloodstained coat from the space under the floor, placing it next to a hat, a pair of gloves and a book labeled "Journal 1984-1985." He answers "Spare clothes. Spare face. Final draft of journal. Police only found rough notes. Gloves. Hat. Shoes. There. Think that's everything. We..." The door opens, flooding the room with yellow light. Rorschach's landlady puts her hand to her heart, her expression shocked, and says "Oh *God*!" Three of her children are with her, two hanging back and one hanging around her waist. Panel 3. The woman stands in the doorway as Rorschach approaches her, his clothing underneath his arm. She holds on to the child hanging around her waist and puts a trembling hand to her mouth, looking at him fearfully and saying "I-It's... Oh God, what are you *doing* here? I... look, please, I don't want any *trouble*, okay? I..." Rorschach answers "Mrs. Shairp. long time no see." Dan hangs back behind Rorschach, partially visible and partially in the shadows. One of her children hides behind her back, looking at Rorschach, and another one holds onto her hand. Panel 4. Rorschach, facing the woman, says "Told press I'd made sexual advances to you. Not true. Very bad." She looks horrified as she answers "*No!* I never *said* that! I got *misquoted*! Oh, *God*, please, don't..." Dan puts a hand on Rorschach's shoulder, saying "Rorschach? Come on, man, leave it..." Panel 5. Rorschach continues to look at the woman, his face impassive as he says "Can't. Serious business. Slur on reputation. How much did they pay you to lie about me, whore?" The woman holds on to her child, bringing her hand to her mouth and saying "Oh *please*, don't say *that*. Not in front of my *kids*..." Two of the children look up at Rorschach, and the hand of the third clutches her mother's elbow. Panel 6. The woman holds her son tightly around his shoulders, and he holds her around her waist, looking up at Rorschach. Tears and snot pour from the boy's eyes and nose, and he seems terrified. She says "*Please*. They... They don't know." Panel 7. Rorschach looks down at the boy, his expression sad and knowing. Panel 8. Rorschach, his face in shadow, turns toward the window, saying "Got what we came for. Finished here now. Let's go." Dan looks at him, his mouth slightly open. Panel 9. The landlady sits slumped against the doorframe, holding her hand to her face and hugging her son, who is hugging her tightly. Her daughter stands next to her, looking over at the open window, and her other son stands to the side, wearing nothing but a long shirt and looking out the window. Page 7. Panel 1. Two men are standing in front of a large window, watching a purple jet with V logos land in the snow. The genetically modified lynx Bubastis is sitting between them, and one of the men is petting her on the neck. The men both wear purple shirts, gold belts, black pants and black slippers, and both have black hair. They're both Asian, and their expressions are serene. One of the men holds a length of purple fabric. They're standing on a highly polished floor, with marbled gold panels on the base of the purple walls on each side of the window. Panel 2. The pilot, wearing a purple uniform and a golden V on his hat, gestures toward the door of the plane, and the shoulder and arm of a figure in a fur coat can be seen inside the plane. The reader sees the scene as if we're inside the plane as well, looking out the door to a long cleared walkway lined with lights, leading to a door opened by a third attendant in a purple shirt and black pants leading to a large, modern-looking structure. There are three long, tall windows on the second floor, and the shapes of the men from Panel 1 can be seen in the middle window. It is snowing. Panel 3. Two of the men turn toward the figure in the fur coat and say "Welcome back, sir. It is good to have you safe with us. We received bulletins from New York..." The figure answers "The attempted shooting? Ah yes. Yes, these are dangerous times..." Bubastis licks the figure's hand, and he says "Hello, Bubastis. Hello, old girl." The figure is still wearing his fur coat, and has golden V cuff links at his wrists. One of the two attendants facing him is holding a neatly folded pile of purple fabric and some golden accessories. The purple shirts of the attendants have mandarin collars with a subtle V logo at the middle of the neck. Panel 4. A large panel the size of three regular panels. The three attendants are standing behind Adrian Veidt as he descends a long, gently sloped golden staircase. One asks "Do you still wish to study the *monitors* and record your *observations* before dinner? If you are hungry?" Adrian passes one of them his fur coat and starts to undo his shirt as he walks, saying "No. Let dinner wait. The work comes first, as ever. There are things to do, problems to solve... It's the same old story." Bubastis walks a few paces ahead of him down the stairs. On the main floor to each side of the staircase are rows of golden treasures, such as trunks, vases, and a sarcophagus, while the staircase leads to a lower level with polished floors, a seat in front of several screens, a large painting and machines that look like computer-related equipment. Panel 5. Adrian, pulling his shirt off, exposing his muscular chest, looks to the left, asking "Incidentally, did the delivery run smoothly in my absence?" The attendant behind him answers "Oh yes. We three supervised the reception unaided, as instructed." The attendant to his left, carrying his fur coat, asks "The monitors have been prepared, sir. How many screens did you wish to view?" Bubastis continues walking down the stairs in front of Adrian. Panel 6. Adrian is pulling his golden bodysuit on over his arm as he answers "All of them. Random channel change every hundred seconds. The planet is currently swarming with events. In such times, *none* of them are insignificant. I need information. Information in its most concentrated form." His attendants continue to walk behind him. Panel 7. At the base of the stairs, one of the attendants places Adrian's cape over his shoulders, under his wide Egyptian-style golden collar, and says "Ha ha! Sir, do you not fear that you might become *drunk* upon so concentrated a draft of knowledge?" Adrian replies "Ha ha ha. No, I don't think so. Indeed, it is the most sobering potion that I know." Another attendant reaches towards Adrian's head with a golden circlet. To the left, there is a panel with several clocks showing different times and the wall with several screens, and ahead of him is the wall with the large picture and a set of golden doors. Bubastis continues walking onward, in front of Adrian. Page 8. Panel 1. A large panel the size of three regular panels. Adrian stands behind a seat placed in front of a wall with 36 T.V. screens mounted on it, each one showing a different image. Not all of them are visible in this image, but the visible ones show a Rambo-like man with a gun, three planes in flight, a teddy bear with a heart on its chest, a figure standing in a kitchen, two men in a boxing ring, a man and a woman talking, an ad for Nostalgia perfume, Benny Anger standing in front of the word "Anger," a pirate, a mushroom cloud, an ad for meltdowns, a talk show host and guest, a naked woman and a row of soldiers. The light from the screens reflects off of Adrian's face and gleaming costume as he puts a hand to his mouth and one hand on the seat in front of him, saying "Hm. Let me *see*... First impressions: Oiled muscleman with machine gun... cut to pastel bears, Valentine hearts. Juxtaposition of wish fulfillment violence and infantile imagery, desire to regress, be free of responsibility... This all says quote 'War' unquote. We should buy accordingly." Adrian's three attendants stand behind him, looking at the screens, while Bubastis sits to the side of the chair. In the foreground is a row of red flowers, and the scene is framed by two large golden pillars with Egyptian-style patterns. The large painting behind Adrian appears to show a man looking at something, although the details are not clear. Panel 2. One of the attendants says "But... Sir, we have *never* bought into *munitions*..." Adrian answers "Of course not. You're ignoring the *subtext*: increased sexual imagery, even in the candy ads. It implies an erotic undercurrent not uncommon in times of war. Remember the *baby boom*..." The panel shows six of the screens, although the fifth image isn't visible due to the placement of the speech balloons. On the top left are the pastel bears with heart patterns, underneath is a blonde woman looking seductively at the camera as she puts a chocolate bar in her mouth, and underneath is a line of soldiers marching. To the right of the woman is a man firing a machine gun, and underneath is Benny Anger. The channel numbers appear below the screens, although the only number that can be made out is #35, possibly referring to the screen with the woman or the screen with the soldiers. Adrian Panel 3. One of the attendants gestures toward Adrian and asks "So, should we buy into... uh...?" Adrian, sitting in his chair and looking up at the screens, answers "Into the major erotic video companies. That's *short* term. Also, we should negotiate controlling shares in selected *baby food* and *maternity goods* manufacturers. I think I'm ready to begin *recording* now." Adrian has one finger to his lips and one hand scratching Bubastis between her long, thin ears, and is sitting with one ankle crossed over his knee. Bubastis looks satisfied as she sits next to him, and his other attendants stand behind him. Panel 4. One of the attendants pushes a small cart towards Adrian's right, saying "Very good. The equipment is ready, sir. We shall retire and leave you to your work. We know that you prefer to be *alone* down here." Adrian, looking at the thirty-six screens in front of him, answers "Yes, that's right. All alone..." The other two attendants start to walk away, one carrying his discarded coat and clothes. Panel 5. A large panel the size of three regular panels. Adrian scratches Bubastis' head and holds a microphone attached to the recording equipment loaded on the cart to his right, as he watches the changing screens and says "Just me and the world." He is colored in dark shades of purplish-red, and his chair is richly patterned with Egyptian designs. The reels of tape stored in the second level of the cart have the appearance of the radiation symbol, and the recording device above them is already loaded with two reels. The visible TV screens show an ad for mmmeltdowns, a man running cartoonishly with his hat falling off and a dust cloud rising at his feet, a man holding up some object and pointing to it with a smile, a woman in front of a washing machine holding up a sheet and smiling, a tank with a star on it, a news announcer, a teddy bear, Richard Nixon in front of a flag, a map of Afghanistan and neighboring countries with arrows moving through them, a scene with some men and three planes in flight. Page 9. Panel 1. The screens in the Owlship are showing the docks, radar information, a map of the area and the view from Archie's cameras. In the foreground, Rorschach's hands are pulling on his gloves. He says "Hate this. All day on river bed. Drowned corpses more useful. You said we could proceed." From offscreen, Dan replies "These *computer searches* I've been running *are* procedure. When it's *dark* again, we'll go *up*. This is no *picnic* for *me*, either." Panel 2. Rorschach's hands tie the belt of his trenchcoat in a tight knot. The trenchcoat is filthy, and the left side is covered in a large, dried blood stain. Rorschach says "Implying something? About coat perhaps? Old. Slightly musty. Apologies. Can't all be fastidious. Can't all keep hands clean." Dan looks back toward Rorschach, grimacing, and says "I wasn't... Look, I just meant we took *enough* unnecessary risks retrieving your *outfit* this morning..." In the foreground, Rorschach's hat rests on top of his book, which is next to his spare mask. Panel 3. Rorschach's hands pick up his mask, pulling it flat. He answers "Unnecessary? Cowering down here in sludge and pollution, conjuring names on screens, learning nothing: that is unnecessary. Give me smallest finger on man's hand. I'll produce information. Computer unnecessary. This face all that's necessary..." In the foreground, Dan's hands are grasping the steering column. Panel 4. Rorschach pulls the mask on over his head, tugging it over his face. He continues, "All I need." Whenever he's spoken without his mask on, his speech bubbles have been normal, but with his mask on, his speech bubbles have rough, jagged edges. Panel 5. Dan, sitting in the driver's seat, looks toward Rorschach, gesturing. He says "That's bullshit. You need *darkness* to work with, just like *I* do. And we *both* needed the *sleep* we grabbed. Right *now*, I need some *pattern* that makes sense of the *data* we have..." The reader sees the Owlship and Dan as if we're in the water outside, looking through the window. A school of fish crosses in front of the Owlship's wide windows, and sea grass waves in the water below the ship. Panel 6. A continuation of the previous panel, showing Rorschach picking up his hat through the other one of the Owlship's windows. Dan continues, "The *Comedian* mentioned an *island* and some plot against *Jon*. My *computers* suggest Jon could have been *set up*, possibly by the company all his supposed quote victims unquote *worked* for..." Rorschach answers "Quote 'possibly' unquote. We should ask questions in the underworld." The school of fish continues swimming past the Owlship's windows. Panel 7. A large panel the size of three regular panels. Dan answers "Isn't that what I'm *doing*?" The Owlship floats through the water near the pier. Fish swim through the sunken pillars of the pier, and there's a great deal of trash such as bottles and tires partially submerged in the thick sea grass. The scene is colored in murky greens and browns, and above the water, the sky appears black and distorted. Page 10. Panel 1. The Owlship continues moving underwater, with what looks like the rotted ribs of a medium-sized boat in the foreground, partially buried in the silt and trash. Part of an old car is lying in the middle of the boat, the hood popped up. From inside, Rorschach's voice says "Don't play games with me. You waste time looking for pattern when pattern is obvious. The Mask Killer..." Dan interrupts, saying "If you'd *listen*, that's what I'm trying to *say*! What if there *is* no *Mask Killer*?" Panel 2. A continuation of the previous panel, with the middle of the boat wreckage in the foreground. The rest of the car is visible, with the driver's side door open. The Owlship moves closer to it as Dan continues "Look, the Comedian learned, *accidentally*, about some *island*, some scheme against *Jon*. The plot against Jon comes *first*. *Blake's* killed when he *discovers* it. Rorschach answers from the other side of the ship, "Who knew Blake suspected anything?" Panel 3. A continuation of the previous panel, showing the Owlship passing through the left side of the boat wreckage. Dan, who's visible through the window of the Owlship piloting it, says "This *Dimensional Developments* company employed *Moloch*. Maybe his place was *bugged* when Blake *visited*? That'd also explain how they knew about *your* investigations and were able to *frame* you... without *requiring* any quote 'Mask Killer' unquote." Rorschach, who's visible through the other window looking over at Dan, asks "And Veidt?" Panel 4. As Dan pilots the Owlship and pushes a button on the control panel, he answers "Mm. Adrian's a *problem*. That *was* a clear-cut assassination attempt, using a hired *killer*..." Rorschach looks over at Dan, tucking his journal in the front of his coat and saying "Exactly. So trace killer. Visit bars. Squeeze people. Been lazing around a long time. Maybe you've forgotten how we do things." Panel 5. Dan stands up and turns around, curling one hand into a fist and pointing at Rorschach with the other. He says "Lazing...? Listen, I've *had* it? Who the hell do you think you *are*? You *live* off people while *insulting* them, nobody complains because they think you're a goddamned *lunatic*... You know how *hard* it is, being your friend?" Rorschach stands in front of him, not saying anything. Panel 6. Dan turns back toward the control panel, covering his mouth with one hand and gesturing with the other. He says "I... Look, Rorschach, I'm *sorry*. I shouldn't have said all that... Listen, you're *right*. We've both been down here too long. It must be dark enough to surface by now. I'll take him up." Rorschach stands behind him, watching him. Panel 7. As Dan's back is turned, Rorschach's hand extends toward him. We see the scene over this and the next two panels as if from Rorschach's perspective. Rorschach says "Daniel..." Panel 8. Dan turns his head, startled, and Rorschach continues to extend his hand, saying "You are... a good friend. I know that. I am sorry... that it is sometimes difficult." Panel 9. Dan turns to Rorschach, his expression awkward as he takes Rorschach's hand in both of his own, shaking it. He says "Uh... Hey... Hey, forget it. It's okay, man. It's okay." Page 11. Panel 1. Rorschach and Dan are standing facing each other. Dan moves his left hand away from Rorschach's, but Rorschach is continuing to hold his right hand. Dan says "Uhh..." Panel 2. Dan says "Well, anyway, there's..." He holds Rorschach's hand with his left hand, extracting his right hand from Rorschach's handshake, and makes a "Ng" sound. He looks away, saying "...There's no sense waiting down here any longer." Panel 3. Dan starts to sit back down in the driver's seat, hitting a button on the control panel. Rorschach turns away, bringing his hands up to his chest. Dan says "I mean, down here in this *junk garden*, is this any place to hold the reunion of the *Nite Owl-Rorschach team*? Let's go up to visit the *criminal fraternity*... and *really* start plumbing the depths." Panel 4. A large panel the size of six regular panels. The Owlship emerges from the water, moving so quickly that the water rises along with it, creating a giant wave upon which the Owlship seems to be floating. A lighted buoy in the foreground tilts to one side, and the light from it tints the water shades of red and yellow. Other boats and cranes are shown in silhouette in the background, along with the New York skyline and the light of the full moon cutting through the dark clouds.From inside, Dan says "Y'know, some nice straightforward brutality, after wading knee-deep in this *conspiracy* weirdness for so long... Hell, it'll be like coming *home*." Page 12. Panel 1. The comic book text continues, "I was returned, splashing noisily through the encumbering shallows, sun mulling the horizon behind me, a poker in a glass of sack. I could be no more than twenty miles from Davidstown. I was home." The sailor walks unsteadily through the water, his feet splashing through the shallows, only about two feet away from the sandy beach. His raft, with the shark still tied to it, remains several feet behind him in the water. The setting sun tints the entire ocean a shade of bright yellow, although the water is red where it meets the beach. The sailor is colored in red and heavily shaded, his face hidden. Panel 2. The comic book text continues, "In broad charcoal strokes, night shaded the sky. I sat amongst skull-colored dunes, sharp grass clinging like hair in black, obstinate tufts. By now, Davidstown was over-run, my family slaughtered. Only revenge remained." The sailor sits on top of a small dune, his knees tucked up against his chest and his arms wrapped around them. Several feet in front of him, his raft has washed up to the store, and a foot and an arm stick out of the shallow water to the side of the planks. To the side are some short wooden posts. The moon is full, and the sailor is colored in dark purple. Panel 3. The comic book text continues, "Deliberating upon this, I startled at the sound of horses approaching, picking daintily across the shingle; voices, male and female..." The sailor slides down the back of the dune, raising his arm in front of his face and looking startled. His hair is wild, and his clothes are torn and tattered. In the distance, a man stands to the side of his horse, reaching out to a cloaked woman on another horse. There are some more wooden posts near the two horses. The comic book text continues, "Huddled in the dune's lap, I watched through a curtain of whispering Maram grass." Panel 4. The comic book text continues, "Dismounting, they tethered their steeds to dark wooden groins, jutting out like charred ribs from the beach. I recognized the man: a moneylender from Davidstown. Laughing, he walked his woman over pebbles, down towards the surf." The woman is looping her horse's reins to a wooden post, smiling at the man who is leading his horse over next to hers. She's white and wearing a pink hat, and a pink coat with a cape and slits for her arms, while he's white and wears a knee-length black coat over a long purple shirt and blue trousers. His grey hair is pulled back in a ponytail. Panel 5. The comic book text continues, "With Davidstown captured, why would brigands allow this scoundrel free passage for his midnight trysts? Had he *collaborated*? The ribald chuckling reached the water's edge; ceased; became a scream." The shoes of the man and woman are on the beach, next to a corpse's head lashed to the bottom of the raft which has washed up on the shore. The corpse's eyes are staring out of its head, and its hair drifts in thin tufts along the sand. Its nose is mostly gone, and its mouth is sunken. The comic book text continues, "My raft was discovered." Panel 6. The comic book text continues, "He comforted the weeping, hysterical woman, and my heart grew cold. Was my wife comforted before her execution, while this collaborator and his pirate masters sneered? Now they would report my raft. My decision was hurried, but not difficult." The sailor's arm, colored in bright red, clutches a large rock in the foreground, and the side of his torso and leg are visible as he steps forward through the sand. In the background, the man is embracing the woman, and her hat is falling off. Panel 7. The comic book text continues, "Screaming my hatred, I rushed down the night slope towards them, but all that escaped my lips was the black language of gulls. Clutching the rock, my hand felt huge, deformed. Startled, they turned." The sailor is rushing toward the two, his mouth open and the rock raised above his head, framed by the large, full moon. The man and woman, seeing him, look fearful. The two horses are in the background, their heads down to chew on the grass. The sailor is colored in bright red, while the man and woman are in orange. Panel 8. The comic book text continues, "Over-ripe, the moneylender's head burst with a single blow, exploding as if pressurized by the guilt within. Suddenly slick, the rock shot from between my red fingers and was lost." The sailor grimaces as he brings the rock down. There is a shower of blood in the bottom right hand side of the panel, although the actual blow is not shown. Behind the sailor, the woman brings her hands to the sides of her face and screams. The scene is bathed in bright red, but the sailor's wild eyes and teeth are colored in yellow. Panel 9. The comic book text continues, "The woman I strangled. This took considerably longer than I had anticipated." The two horses look placidly over to the side, making no move toward the three. The sky is black, and the scene is lit by the full moon. Page 13. Panel 1. The newsvendor, standing next to his stall, says "Y'know, I didn't expect all this to take so *long*. Didn't expect this *waiting*... Look: Everybody's scared they'll drop it tonight, gatherin' on corners, looking for *trouble*..." He's holding up a newspaper, the headline of which is mostly cut off and can only be read as "East Tanks Conflict." The comic-book reading boy brings his cigarette to his mouth, holding the book in front of him. The comic book text continues, "At Death's approach, all creatures discover an aptitude for violence." On the back of the comic book is an advertisement for "The Veidt Method," with a picture of two men posing, one skinny and one muscular, and the text "I will give you bodies beyond your wildest imaginings." In the background, two white men in black suits and hats on bicycles with large baskets pass underneath the sign for the Promethean Cab Company. Panel 2. The comic book text continues, "Flailing, scratching, she was a briar rose in the wind. The wind dropped. Her thrashings became weaker... The horses watched, understanding only a little." The two horses, tied to the posts, are shown standing in the sand dunes underneath the full moon, one looking over toward the scene. From offscreen, the newsvendor continues "Like, it's too big to take *in*, but people know something *bad's* happening..." Panel 3. The newsvendor continues, "People know something's *coming*. Ask me, it's *doomsday*, like in the book o' revolutions. I mean, tanks in East Germany, there's no mistakin' it..." The newsvendor gestures as he holds up the newspaper. The boy takes a drag from his cigarette, still holding up the comic book. The comic book text continues, "When death was assured, resignation lent her eyes a certain maturity." The two men on bicycles cross the street and pedal behind the newsvendor's stall toward the sidewalk, smiling over at him. Panel 4. The comic book text continued, "Thumbs crossed, I closed her windpipe. A buccaneer's whore deserved no pity. Eventually I stood, legs trembling, barely supporting me. In the foam about my ankles, two worlds lay ended." The sailor stands up, his knees still bent. His leg, torso and hand is visible, and his hand is dripping with blood. The woman's pink, rose-trimmed hat lies on the sand, and one horse looks over at him while the other leans down for another bite of grass. From offscreen, the newsvendor continues "Maybe today, maybe tomorrow, but *soon* for *sure*." Panel 4. One of the men on the bicycles gets off and stands behind the newsvendor, holding out a coin and saying "Good day, sir. I'd like to purchase a gazette, if I may." The newsvendor turns around, holding out his hand and saying "Uh, sure. That's what I'm *here* for..." Behind him, the other man is taking a copy of the Watchtower out of the basket on his bicycle. In the foreground, the comic-book reading boy exhales a puff of smoke and continues reading. The comic book text continues, "My purpose almost forgotten in the giddy whirl of murder itself, I gazed stupidly at the horses." Panel 6. The comic book text continues, "Recovering, I became more rational. Seeking vengeance, might I turn this unforeseen circumstance to my advantage? An idea blossomed, plausible, tempting..." The sailor sits on the sand, a few feet away from the shoreline. The moneylender is lying in the water, with his foot visible at the shoreline, the toes sticking up next to one of the woman's shoes. The hat lies on the sand near the water, next to the woman's hand. The horses continue to feed in the background. The sailor is colored in purple, while the corpses are colored in reddish-orange. From offscreen, one of the two men asks "There. Now, we've bought one of *your* papers. Perhaps you'd like to try *ours*?" Panel 7. The newsvendor looks down at the copy of the Watchtower which the second man is holding, which shows a mushroom cloud on the cover. He grimaces and says "Huh?" Smiling, the first man points with his finger and says "I'll explain. You see, we, like many people today, believe God will shortly end the world. How does that idea strike you?" The smoke from the comic-book reading boy's cigarette floats up, and the comic book text continues, "The notion fascinated me. It was terrible and yet terribly *convenient*..." Panel 8. From offscreen, the newsvendor answers "*Baloney*! End the *world*? No way, José!" From offscreen, the man answers "Oh. I see. Well, we're just *leaving*..." The sailor is arranging the woman's corpse on the back of one of the horses so that she looks like she's riding it. Her head is bowed and her body limp. The comic book text continues, "This couple left Davidstown unhindered, despite the pirate sentries there must be. They'd be allowed *back*, also... Tied to her saddle, she looked quite natural." The full moon shines down on the sailor as he works. Panel 9. The newsvendor says "Goddamn *fanatics*. Itchin' to say quote I told ya so! unquote. Wouldn't give'em the *satisfaction!*" The comic book text continues, "Two figures had ridden here, now two rode back. Soon. Soon I would venture amongst evil men, and make them fear me..." The reader sees the scene as if through the newsvendor's eyes. The full headline of the newspaper he is holding read "Eastern Europe: Tanks Mass As Conflict Escalates." To the right, the comic book reading boy continues to read. The two men pedal away, riding through a puddle which splashes up around their wheels. On the opposite side of the street is the Utopia Theater. A billboard on the side of the street advertises The Day The Earth Stood Still, with a picture of a large humanoid figure and a smaller one standing together. Page 14. Panel 1. Rorschach's gloved hand is pushing open the door to a crowded bar. Just inside the door, a man wearing a ski cap and a red jacket moves backward and brings his hands to his face, hiding it. Blood is spreading over the front of his shirt. Happy Harry, standing behind the bar, looks over at the door in shock, saying "Oh no." Other patrons near the door also look over, their expressions fearful. Panel 2. Rorschach, standing just inside the door, says "Oh yes. Missed you while in prison, boys. Feels good to be back." Behind him, Dan steps into the bar, turning the sign on the door to read "Closed" from the outside. Smoke drifts behind Rorschach's head. Panel 3. Rorschach continues, "Visited two bars before this. You may have heard ambulances. Hopefully, luckier here. Need information: Adrian Veidt shot at. Press gave killer's name as Roy Victor Chess. Dead now." The people at the bar and sitting at the tables all look toward Rorschach, except for one man, a hefty white man with a little mustache sitting with his back turned towards the door and taking a drink. Dan stands right behind Rorschach, his arms crossed over his chest. The two of them are colored in red, while the other patrons are colored in light pinks and purples, except for Happy Harry and the man at the bar. Panel 4. Rorschach continues, "Somebody knew Roy Chess. Somebody hired him. Don't worry... Won't insult legendary underworld solidarity by suggesting you surrender name without torture." Most of the people in the bar are listening to this speech without moving, but the man at the bar with his back to Rorschach looks to the side, his expression troubled. Panel 5. Everybody in the bar turns to look at the man sitting at the bar with his back to Rorschach. A woman who had been sitting at the bar between Rorschach and the man stands up and moves to the side, clinging to a man in a suit. The hefty man doesn't turn toward Rorschach, but he looks up, still holding his glass in his hand, and his expression is startled. Panel 6. The hefty man turns towards Rorschach, who is approaching him. He gestures with his glass, his expression threatening, as he says "You *bastards*! I buy ya *drinks*, you sell me *out!* What kinda town *is* this? You keep *away* from me! You come any closer, you're gonna get this in your goddamn squidgy *face*!" A man in an eyepatch behind him watches the scene, his expression dismayed. Panel 7. The hefty man looks up angrily at Rorschach, who has placed his hand over the man's hand and is looking down at him. The man says "You're gonna..." The background is vibrant orange, and Rorschach and the man are colored in yellows and shades of red. Panel 8. Rorschach squeezes the man's hand, and the glass breaks. Bits of glass fly up and out of the man's fist, and he looks down at it, screaming "*Aaaaooogoddd*!" Rorschach's position doesn't change as he says "Stupid." Panel 9. Dan, standing to the side with his hands on his hips, says "All right... Everybody stay calm, we'll try to keep this brief." The man leans back, his fist still trapped in Rorschach's hand. He says "*No!* No, don't squeeze it..." Rorschach has his other hand in his pocket as he holds the man's fist, saying "Roy Chess. How's your game?" Page 15. Panel 1. The man leans back, his hand still held tight by Rorschach, and says "Listen, please, I just handed over these *envelopes* to the guy. *I* don't know anything about *aaaa*!" Rorschach squeezes the man's hand and asks "What envelopes?" A spot of blood appears on the man's shirt. Behind him, one of the other patrons is covering his face with his hand. Dan notices a man sitting at a table in the foreground, not watching the proceedings behind him. The man is white, looks like he's in his thirties, and wears his hair in a knot on the top of his head and a leather jacket. His expression is grim and evasive. He has several earrings and a bandage on his forehead. Panel 2. Tears stream from the man's face as he looks up at Rorschach and says "Sealed envelopes, one with *cash*, one with *instructions*. I had to find a reliable contract *hit*, give him *both*. Nobody mentioned *Veidt*! Got offered the errand by my *boss*, freight co-ordinator at Pyramid Deliveries..." Dan, watching the scene, looks thoughtful, saying "Ah." Panel 3. Rorschach, leaning over the man, asks "Poison capsules: in envelopes?" The man answers "M-Maybe. Hell, I dunno. I took the job, lot of other guys were gettin' some action, I figure why *not*? Now everybody's getting *killed*, my life's a *nightmare*..." Rorschach says "Killed?" Dan looks over at the man with the knot top, touching his finger to his lips. The man continues to have his back to the scene, a frown on his face. Panel 4. The man leans back, looking at Rorschach with tears running down his face. He says "All the other *freight handlers* who were *in* on things. Supposed to be *accidents*; *overdoses*... *Bull*shit! My boss, guy gave me the envelopes, he fell under a *subway train*. I'm *next*. I need *protection*." Blood seeps from between his fingers onto Rorschach's gloves. In the background, Dan is seen reflected in the mirror behind the bar facing away from the man and Rorschach, toward the man with the knot top. Panel 5. The hefty man continues, his expression anguished as he says "See, I *understand*, you guys are pissed, your own people are threatened, that's *understandable*. But I *swear*, not 'til I saw Chess on the *news*, I didn't know *Veidt* was the *contract*." Blood is staining the man's jacket cuff and dripping onto his pants. Dan looms over the man with the knot-top and says "Something *bothering* you, son?" The man, still facing away from Rorschach and the other man, rolls his eyes. Panel 6. From offscreen, the man continues, "I'd never *cross* one o'you people. Not *knowingly*..." The man with the knot-top turns around, his expression indignant as he faces Dan, who is standing over him intimidatingly. He says "I *knew* it! I *knew* you'd *victimize* me! Get off my *case*! Wearing a *knot* doesn't mean I'm connected with that stuff last *night*. *Lotta* people dress like this, man." Panel 7. The man with the knot-top continues "I heard the *news*, blaming that *Mason* guy's murder on knot tops, I thought, Shit! Like they *needed* excuses to hassle us!" Dan looks down at him, his expression shaken and uncertain. From behind him, the man continues "So you gotta *protect* me. Somebody's *after* me, and these days *nobody's* safe!" Panel 8. Rorschach looks down at the man as he holds his fist tightly and answers "Protect you? Because you were unaware whose execution you were arranging? Maybe person arranging yours doesn't know either. Nothing personal, hehn? Hope that thought comforts you while waiting for ax to fall." Some of the other bar patrons look over at the scene, peering from behind Rorschach's shoulders. Panel 9. Rorschach lets go of the man's bloody hand and quickly turns around as he hears a "*Yiiaaaaagh!*" sound from behind him. The bar patrons who had been watching Rorschach work turn their attention to something behind him. Page 16. Panel 1. Dan is leaning over the man with the knot-top hairstyle, his hands around his neck and his expression enraged as he says "Who *did* it? Tell me who *did* it, you *slime*! Who murdered *Hollis*?" The man's expression is desperate and he clings to Dan's forearms as he says "Kcuh... No. Don't know... Ghuch... Gang... Kids saw gang... Running away..." Rorschach approaches Dan, taking his hand out of his pocket. The other bar patrons turn their attention to the new scene. Panel 2. Dan answers "You *tell* them! Tell them they're *dead!* You know how much *fire power* I have floating out there? I oughtta take out this entire rat-hole *neighborhood!* I oughtta... oughtta break your neck, you... you..." Rorschach stands behind Dan, reaching for his shoulder. Panel 3. Dan looks like he's going to pieces as he says "Oh God *damn*. God damn god damn god *damn!*" Rorschach lays a hand on his shoulder as he says "Not in front of civilians. We have the knowledge that we wanted..." Panel 4. Dan heads for the door, saying "Yeah. Yeah, and then some. Hell, let's get *out* of here." Rorschach, his hands in his pockets, looks around the bar. Behind him, the man who helped arrange Veidt's assassination is crying, holding his hand in his other hand, and the man with the knot-top is breathing heavily. The other patrons watch Dan leave. Panel 5. As Dan leaves the bar, he says "Hollis. Oh *Christ*, man, *why*? W-We must have *missed* it on the news. Probably not *important* enough for repeat bulletins. Just some... some useless old *guy*..." He hands Rorschach the remote control, pushing his goggles up over his forehead, and says "Oh shit. Take this and bring Archie down. I can't see." Behind him, Rorschach closes the door to the bar. Panel 6. Rorschach presses some buttons on the remote control, and the Owlship flies over a building across the street towards them. Turning his head to face Dan, he says "Unidentified gang murders Mason. Supports mask-killer theory..." Dan is facing away from Rorschach, his hand over his face and his head bowed. He says "Look, I don't *care*! Right now I don't *care* about whose theory is best! Just *shut up* and bring the *ship* down." Panel 7. The Owlship's lights flood the street as Rorschach turns back to face it, saying "Merely suggesting that by finding Mask Killer, can have revenge for Mason's death. Meant to comfort you." Dan, still turned away from Rorschach, pushes his goggles back over his eyes. His expression is upset as he answers "*Comfort* me? Who in their right mind could take comfort from... uh... Yeah, okay. Thanks, Rorschach. Really. Thank you." Panel 8. Rorschach, using the remote control to bring the Owlship nearer, faces the street as he says "You're welcome. Now know who paid to kill Veidt. Information should convince him to help us." Dan, adjusting his goggles and turning toward the Owlship, answers "Sure. I can't believe he's dead. I remember *Adrian* once telling me that the *Egyptians* regarded death as a *voyage*..." Panel 9. The two men walk toward the Owlship, the vessel's bright lights silhouetting them and casting long shadows behind them. Rorschach answers "Hurn. Nice idea if you can afford to go first class, with pharaohs... But judging by our departures, most of us travel steerage." Page 17. Panel 1. A large panel, the size of three regular panels. A purple ocean liner is anchored at the end of a long wooden pier. In the foreground, an arc of driftwood is sunken into a sandy beach, with a seagull sitting on one of the branches. It's night time, and a few other seagulls are flying near the boat as the stars twinkle overhead. Some people mill about on the deck, and a few containers are being lifted onto the ship by crane. There is a logo of a triangle within a circle on the side of the boat and on the funnel. A voice from offscreen says "Oops. Mr. Shea, it's very *dark* down here. What if someone should *discover* us?" Another voice, presumably Max Shea, answers "Relax. Everybody's up on deck for the *evacuation* party. Once the last of the equipment's aboard, the ship's ready to put out." There's a pause, and he continues "How about you?" Panel 2. From offscreen, the first voice answers "What...? Mr. *Shea*, *really*! Ha ha ha hah!" Shea says "Hira, come *on*, we're *celebrating*. Tonight we *leave* this place after all these *months*. Hell, I saw Norm Leith and Lin Paley up on deck. Even *they* were smiling." A scene on the deck of the boat. A white man with blonde hair and a pert, rounded nose is smiling and holding a tray with some food and a drink. Behind him, a purple-haired white man in a green sweater is holding a drink and talking to a black-haired white woman in a purple jacket, holding a long, thin cigarette holder with a ball on the tip and a drink. To the side is a black-haired white man with sunglasses, also holding a drink, and a white-haired white man clapping him on the shoulder. In the foreground is a white man wearing a red checked suit, holding a paper labeled with rectangles. On the railing behind the group is a purple life saver and a purple flag with the triangle and circle logo, and in the background is a grassy hill. Panel 3. Hira Manish replies "Well, they're being paid enough to *vanish* and forget their *cares*. You know, this *movie* has involved extra-ordinary *secrecy*..." Shea replies "Yeah... and I know *why*. That *geneticist* guy, *Furnesse*, told me they'd used a human *brain* making that god-damned *special effect*." The black-haired lady smiles, and the black-haired man turns to the side, also grinning. In the foreground, the man in the checked suit, who is an older man with curly white hair and glasses, shows the paper to a balding purple-haired man in a Hawaiian shirt smoking a pipe, who grins and touches the older man's upper arm. The paper appears to show a yellow brain connected by two lines to an eye-like object. The parts of the brain and the eye are labeled with rectangles, and there is more writing at the base of the paper that is unreadable. Panel 4. Shea continues, "Probably illegal, but who cares? *I'm* content to be a rich missing person and finally off that *island*." Manish replies, "Like your shipwrecked *voyager*? Did he escape *his* island?" Shea answers "Well, yes, but... Hey! Feel *that*? We're *moving*." The people on the deck move away from the side of the boat, showing that the boat is rapidly sailing away from a grassy, hilly island. The seagulls follow the boat as it leaves. Panel 5. A large panel, the size of three regular panels. The purple ocean liner is sailing away from the long wooden pier. In the foreground, an arc of driftwood is sunken into a sandy beach, and the seagull that was on the branch is flying away, towards the boat. It's night time, and a few other seagulls are flying near the boat as the stars twinkle overhead. Manish says "That isn't *all* I can feel. Max, please, at least let me put down my *drawing equipment*... There. How's *that*?" Max replies "Mmm. Hira, meeting you makes up for *everything*. We'll find some place together and... Hell, what's digging into my *arm*?" Page 18. Panel 1. Hira Manish is lying in the hold of the ship underneath Max Shea, embracing him and smiling at him. She says "Forget it, whatever it is. I can't wait until a hotel on the *mainland*. After years with that sexless oaf and his spoiled sons, I'm *impatient*." Shea, looking to the side and reaching out, says "Some kinda box under the *tarpulin*. Lemme switch this *light* on..." Manish says "Max, *please*..." The light switches on, showing that they're surrounded by coils of rope and cargo. There's a box to Max's right. Manish's drawing of the alien creature that she had been working on in her previous appearance is lying on the ground behind them, along with her pencils and a box of watercolors. Panel 2. Shea pulls the tarp off the box, saying "What's that *counter*? Let me *see* that. It's..." Manish, looking up at him and putting her hand on his outstretched arm, says "Max, for God's sake, concentrate on *me*. The crew must *visit* this part of the ship, and I think we might not have very long. Max? You're so *pale*. What's *wrong*?" Shea has uncovered a large box labeled "Danger: High Explosives." It's connected to a timer of some sort, with several wires looping from it. There's a large clock with no markings on the left side of the timer, which reads 11:59. Panel 3. Shea embraces Manish, staring at the box of explosives with fear and understanding dawning on his face. He holds her head, ensuring that she faces the other way as she embraces him, and says "Nothing, love. Nothing's wrong. Hold me." Panel 4. A large panel the size of three regular panels. The boat, still within range of the long pier, explodes in a flash of brilliant white light. The arc of driftwood is thrown into shadow, with the side mostly facing away from the reader reflecting the brilliant light of the explosion. Panel 5. A large wave crashes against the base of the driftwood, and the ship sinks into the water, a large cloud of red smoke drifting up towards the moon and fragments from the ship making red arcs of smoke as they fall into the turbulent water. A thin circle of smoke surrounds the spot where the boat was floating. Panel 6. A continuation of the previous panel. The wave recedes from the driftwood towards the calmer sea, leaving a puddle on the sand underneath it. The smoke circle expands, dissipating and rising toward the moon, which has moved further down in the sky, showing the passage of time. Panel 7. A continuation of the previous panel. The water near the driftwood and the pier is now mostly still, and the smoke circle has expanded and risen further, while the moon has moved further down towards the pier. The picture of the alien creature, now torn in several places, the box of watercolors and a pencil have all washed up onto the shoreline, framed by the arc of the driftwood. Page 19. Panel 1. Dan steps tentatively into Adrian's dark, empty penthouse office, looking around and saying "Gone. Vanished without trace." Behind him, Rorschach is climbing through the open window. In the foreground is a large, boat-shaped sarcophagus with a smaller, golden, human-shaped sarcophagus placed on top of it. Their reflections are visible on the polished floor, and the moon rises over the New York skyline. The scene is rendered in shades of purple. Panel 2. Rorschach slips through the window, saying "Funny. Usually works here until early in morning." Dan, standing near Adrian's desk, says "The whole *building* looked deserted as we came in. Maybe he..." Dan picks up a small book labeled with a V and looks down at it as he says "Wait a minute, what's this? Appointment book?" Panel 3. Dan's hands hold up the appointment book, which shows November 1-7. The entire book is blank except for one entry by November 1st: 4:30 am: leave for Karnak. The handwriting is casual and handsome, and in the low light, the paper appears purple. Dan reads "Quote November 1st, 4:30 A.M.: Leave for Karnak unquote. Karnak...?" In the background, Rorschach adjusts his fedora as he says "Question, is, what next? Veidt unavailable. Can't count on his help. Must review plans." Panel 4. A large panel the size of three regular panels. Rorschach, his hands in his pockets, walks toward the wall to the left of Adrian's desk, on which are several graphs, posters and an array of artifacts on a shelf, including a large vase with a dotted pattern and a small pyramid. Rorschach says "Know delivery company behind Veidt murder bid. According to you, also owners of Dimensional Developments, thus maybe behind Manhattan frame. What's their angle?" Dan, standing by Adrian's desk and reading a pamphlet, answers "I'd hoped *Adrian* might help with that. Heh. Incredible stuff he has here..." On Adrian's desk are a few other papers, his name plate and pen and a computer. The skyline of New York rises over the distance, colored in bluish-purple except for through the open window. Panel 5. Rorschach, studying a complex poster-size graph on the wall, says "Mostly reflecting vanity: pictures of self, pretentious Egyptian trappings, impressive sales chart showing... Hurm. Not sales chart. What is it?" Dan replaces the pamphlet on the desk, next to a folder and a few other papers, and turns toward Rorschach. The graph Rorschach is looking at has a large square at the top with five lines, one jagged and the others relatively smooth, all trending upward. The lines are labeled, and underneath is another section that can't be read. Panel 6. Rorschach touches one of the lines and reads "Global population... Nuclear hazard escalation index... Environmental decline... Multiple crisis graph, lines converging mid 1990s. Optimistic. Crisis arrives decade early unless we get lead on Pyramid Deliveries." Dan, standing to the side, looks at the graph. Behind him are more artifacts, including a sarcophagus. Panel 7. Rorschach, looking to the side, says "Company traceable presumably, but obviously not amateurs: engineered mask killer campaign, maybe third world war into bargain. Very competent. Very careful. Difficult quarry. Need direct route to people behind Pyramid, indication where to start..." In the foreground, Dan is looking thoughtfully at a small, shiny pyramid statue next to a large vase, touching his finger to his mouth. Page 20. Panel 1. Rorschach, gesturing with one hand toward Dan, his other hand in his pocket, says "Also need motive. Why should corporation wish to kill costume heroes? Controlled by some old enemy perhaps? But then, who has reason for triggering Armageddon? We have so few pointers." Dan walks back toward Adrian's desk, his hands at his side. The pyramid is shown in the foreground, between the two of them. Panel 2. Rorschach, walking around to the artifacts on the wall across from Adrian's desk, studies the sarcophagus, saying "Insanity would seem only motive. Someone wishes to destroy world, removes heroes to prevent their intervention. Someone terminally ill, perhaps... Huhn. Moloch better suspect than previously apparent. Pity deceased..." Next to the sarcophagus on Rorschach's right side is a picture of the Pyramids, and on his right side is another life-size statue of Anubis, the Egyptian jackal-headed god. Dan reaches for Adrian's chair as he turns on the computer on his desk. Panel 3. Rorschach moves on to the statue of Anubis, continuing "...Unless plot from beyond grave, pre-arranged...? No, too fantastic. Egyptian decor coloring logic... Recognize dog-headed bust. Anubis, watcher over dead. Whole culture death-fixated, obsessively securing their tombs against intruders..." The screen of Adrian's computer glows green, and the prompt says "Ready." Dan types in "Request access all files: Pyramid Deliveries." Panel 4. Rorschach, turning around to face Dan from the other side of the room, says "Didn't like thought of corpses interfered with. Can't afford to be so squeamish. Disturbing dead our job. Need to unearth facts concerning murders: Blake's and Jacobi's. If that offends Anubis, too bad. Handled watchdogs before." Dan's request vanishes from the computer screen, and the screen prompts "Password?" Panel 5. Rorschach starts walking toward the desk, saying "However, seems inadvisable to confront this enemy's watchdogs before considering situation carefully. Case is logic problem. Simply needs application of intelligence." In the foreground, Dan rests one elbow on the desk, touching his finger to his mouth and looking down thoughtfully. The computer prompt still reads "Password?" Panel 6. Rorschach, approaching the desk, gestures as he continues, "Must admit, despite personal dislike, Veidt's absence unfortunate. Allegedly smartest man on earth. Could no doubt have provided some answers." In the foreground, Dan is typing in "Rameses." Panel 7. Rorschach, facing away from the desk, turns his head to Dan, saying "Need answers quickly. World on verge of apocalypse. Death and war already here. Other horsemen can't be far behind." Under the word "Rameses" that Dan input earlier, the computer returns "Password incomplete: do you wish to add rider?" Dan puts his finger to his mouth, looking at the screen and tapping on the table with his other hand. Panel 8. Rorschach, wandering back toward the sarcophagus, continues "Funny... ancient Pharaohs looked forward to end of world: believed cadavers would rise, reclaim hearts from golden jars. Must be currently holding breath with anticipation. Understand now why always mistrusted fascination with relics and dead kings..." In the foreground, Dan types "Rameses II." Panel 9. Rorschach studies the death mask of the sarcophagus as he says "...In final analysis, it's us or them." The computer returns "Password accepted: Hello Adrian, here are the files you want......." Dan quickly moves his hands up off the keyboard and says "Oh shit." Page 21. Panel 1. Rorschach approaches the desk, saying "Daniel? Found something?" Daniel gestures at the screen, saying "Oh God, yes. Yes, I've found something... Rorschach, I think we're in *bad* trouble. The person *behind* this, the person we're *up* against..." The screen reads "Pyramid Deliveries Financial Analysis Year Ending 3.31.85. Net Income [$M] 115.49 Breakdown follows." Panel 2. Dan, his expression disbelieving and worried, says "I think it's Adrian." The green light from the computer reflects on his face and costume, turning him a sickly shade of green against the purple background. Panel 3. Dan, standing up and placing a hand over the front of his utility belt, gestures as he says "All this *Egyptian* stuff... I thought I'd check out Pyramid Deliveries on his computer. As password I tried Rameses II, the Egyptian name for *Ozymandias*. He *runs* it, Rorschach! Runs *Pyramid Deliveries*, *Dimensional Developments*, the whole *show!*" Rorschach picks up an envelope and some stamps from the desk as he says "But Veidt was target." Behind them is a framed poster for Adrian's Famine Relief event. Panel 4. A large panel the size of three regular panels. Rorschach is tucking the folder and stamps into his coat front as Dan answers "I know it's crazy, and I don't want to *believe* it, but perhaps we should find Adrian *fast*." He picks up the appointment book and holds it open as he pulls out his remote control, looking at the book as he says "Quote *Karnak* unquote... Rameses built a gigantic *hall* there; a *monument*. Karnak must be Veidt's Antarctic *retreat*. Better grab those papers from his *desk*..." The skyline of New York spreads out behind them, tinted purple except for where the window is still open, where the buildings are orange. Panel 5. A large panel the size of three regular panels. Dan uses the remote control to bring the Owlship up outside the window, flooding the room with blinding light. The appointment book under his arm, he walks over toward the open window, saying "It's a long *journey*, and they'll make better reading than the *lifejacket instructions*." Rorschach gathers the papers from the desk. He, the desk, the computer and chair are all thrown into dramatic shadow by the Owlship's lights behind them. Page 22. Panel 1. A long, vertical panel the size of three panels. A label reads "Rorschach's Journal, November 1st, 1985: Final entry? Left Veidt's office just before midnight. Dreiberg, convinced Veidt's behind everything, is serious about visiting Antarctica. Owlship capable, apparently, but are we?" Rorschach jumps from the window to the top of the Owlship, where Dan is already standing. The logo of the Veidt building is partially visible, and it towers above the other skyscrapers and the Astrodome. The Owlship's reflection is red, its lights reflecting off the glass windows of the Veidt building. Far in the distance, a zeppelin docks at the Chrysler building, and some dark clouds pass over the full moon. Rorschach's journal continues, "Veidt. Cannot imagine more dangerous opponent." Panel 2. The journal continues "Assuming journey possible, tracking him to his lair only option. Still feel uneasy. Unfamiliar territory... He could kill us both, there in snow. Nobody would ever know... First night in November. I am cold tonight." The Owlship speeds away from the Veidt building, the window still open and Veidt's office still and empty, colored in purple tones. Panel 3. The journal continues, "Offices below, headstones marking daily graves of thousands. Inside, across clock faces, as observed as those of celebrities, hands commence final laps." The Owlship flies over Madison Square Garden, a large building several stories tall. A sign advertises "November 2nd Pale Horse In Concert With Krystalnacht." A clock on the front of the building reads 11:55. The journal continues "Oblivion gallops closer, favoring the spur, sparing the rein. I think we will be gone soon." Panel 4. The journal continues, "Veidt is faster than Dreiberg. Perhaps faster than me. Return from mission seems unlikely. This last entry. Will shortly mail journal to only people can trust." Dan is piloting the Owlship low over an empty street, with buildings rising to each side. Rorschach is standing behind him, facing away from him and writing in his journal. The journal continues, "Tell Dreiberg I need to check my maildrop. He believes me." Panel 5. The journal continues, "If reading this now, whether I am alive or dead, you will know truth: whatever precise nature of this conspiracy, Adrian Veidt responsible. Have done best to make this legible. Believe it paints disturbing picture." The Owlship is hovering near the Promethean Cab Company, and Rorschach hangs from a flexible ladder being lowered from its base. Underneath him is the street corner with the garbage can he uses as his mail drop, a mailbox and the graffiti of the two shadow lovers embracing. Panel 6. The journal continues, "Appreciate your recent support and hope world survives long enough for this to reach you, but tanks are in East Berlin, and writing is on wall. For my own part, regret nothing. Have lived life, free from compromise..." Rorschach, still holding onto the flexible ladder, leans over and drops an envelope marked "Urgent" with three stamps on it into the mail box, near the shadow lover graffiti. Panel 7. The journal continues, "...And step into the shadow now without complaint. Rorschach, November 1st, 1985." At the end is Rorschach's logo, two symmetrical lowercase Rs and two dots. The R on the right is right side up, while the R on the left is flipped, as if it's a mirror image of the other one. Rorschach's body is in shadow as he climbs up the ladder while the Owlship pulls away from the street and back into the air. The street he leaves behind is deserted and quiet, with the fallout shelter sign on the side of the Promethean Cab Company building, and part of the spark hydrant and the newsvendor's stall visible in the foreground. Page 23. Panel 1. The scene from the last panel of page 22, composed in the exact same way but showing a scene from early the next morning. In the foreground, the newsvendor is taking down the copy of Nova Express that was hanging on the side and putting up a newspaper. Underneath the newspaper is the Gay Women Against Rape poster. The newsvendor says "It ain't *fair*. *We* didn't ask for no *war*. There's no goddamn *justice* in this world!" The comic-book reading boy continues to read, leaning against the spark hydrant. The comic book text continues, "Unrecognizable in corpse's clothing, I was the concealed implement of God's retribution." People walk along the sidewalk on the opposite side of the street, and the postman is collecting the mail from the mail box in the background. The scene is brightly lit, in contrast with the dark streets shown in the previous panel. Panel 2. The newsvendor continues from offscreen, "All this *craziness* goin' down, the ordinary guy got no *protection*. Like a *turtle* with no *shell*. He's all washed up!" The comic book text continues "Abandoning the naked moneylender to the cold surf, I led the horses from the beach." The moneylender's bloody, naked corpse is lying face down in the shallow water. In the distance, the sailor and the woman's corpse are on the two horses, riding away from the dunes. The horses' footprints show their path through the sand, and the woman's head slumps to one side. The sailor's head, covered with the moneylender's tricorn hat, is framed by the full moon, and he holds the reins of her horse as they ride side by side. Panel 3. The comic book text continues, "Ahead, Davidstown lay sleeping, little dreaming what approached." The newsvendor looks unhappily at the Nova Express that he's just removed, which shows Dr. Manhattan, Rorschach and Ozymandias on the cover. Removing the clip from the top, he says "I mean, at least those *super* guys *tried* to *protect* folk. Maybe we shoulda *listened*. Maybe they had a *message*, y'know?" The comic book reading boy takes a drag from his cigarette. The postman crosses the street and walks toward them, his bag over his shoulder, looking through the mail he's just collected. Panel 4. From offscreen, the newsvendor continues "I mean, there's gotta be *somebody* lookin' out for us, right?" The comic book text continues, "Cantering down moonlit lanes, I spied the dark, unmoving form of a pirate sentry, watching sullenly from atop an embankment. I held my breath..." We see the scene as if from the sailor's perspective, as his hands hold both his horse's reins and the reins of the woman's horse. The woman's hands are tied to her saddle, and her head slides to the side. In the distance, past a low wooden fence, is a gently sloping hill. A shadowy figure stands on the top of the hill, apparently holding a rifle. He's framed by the large, full moon, and no details about him can be seen. Panel 5. The comic book text continues, "...Dreading lest he should attempt conversation." The newsvendor reaches for the newspaper on the side of the stall, gesturing toward the postman, and says "Hi there! Boy, this *war* business, huh? *Crazy*! Me, I always bin against that *atomic weapons* stuff." The postman holds the letters to his chest and has his hand in his pocket as he answers "Uh, just a Gazette, please. No offense, man..." The postman is a black man in a hat and uniform which reads U.S. Mail on the back, and his large sack of mail hangs over his shoulder. One of the letters he's holding has a "U" in Rorschach's handwriting, although the rest is hidden. Smoke from the boy's cigarette rises from the lower left corner, and a garage in the background opens as Joey crosses the street towards the newsstand, her hands in her pockets. Panel 6. The postman continues from offscreen, "...But I'm in kind of a *rush*." The comic book text continues, "Trotting unhurriedly to avoid suspicion, I rode past. If he noted the lovers' unusually early return from their assignation, the sentinel said nothing, perhaps assuming we'd *argued*." The sailor and the woman's corpse continue on their horses past the fence. In the foreground, we see the shadowy figure from another perspective. It is a scarecrow, its head stitched together and stuffed with straw. Rope is looped around its neck, and it's dressed in tattered clothing. What the sailor had taken for a rifle is the stick on which the figure is supported, sticking out of its chest and extending past its head. Panel 7. The comic book text continues, "The woman's head lolled stupidly. No *living* companion was ever so agreeable." The newsvendor looks over at Joey and says "Hi, Joey. How's *things*?" Joey, her shoulders slumped, says "Dunno. *Aline*'s meeting me from *work* tonight, to *discuss* things. *Now* she's pissed 'cause that clashes with Pale Horse's *Madison Square* gig!" In the foreground, the postman continues to walk past the newsvendor's stall, sorting through the mail he's recently taken from the mailbox. The comic book reading boy continues to read as a taxi passes by. Panel 8. The comic book text reads, "I spurred the horses on, whinnying, unnerved by Death's scent, towards that inevitable confrontation." From offscreen, the newsvendor answers "Hey, lighten up. It ain't the end o' the *world*..." The sailor brings the horses to a gallop, holding tightly to the reins of the woman's horse as her head tilts to the side. The fence to each side of the street and the trees seem to curve around them, and the horses' hooves form a large dust cloud as they beat against the road. The sailor and the woman's corpse are colored in red. The comic book text continues "Dear God, let me have vengeance, then die swiftly..." Panel 9. The newsvendor continues, "...Uh... I mean, at least, y'know, figuratively *speakin'*." The newsvendor continues walking down the street, looking at the mail. Rorschach's envelope is in his hands with some other envelopes, the back of the envelope also marked "Urgent" with two lines underneath the word. Behind the postman, the Rolex seller holds up a watch and points angrily at the postman's back, apparently shouting at him. In the background is the Gunga Diner, and far in the sky is an elephant-shaped balloon and a zeppelin. The comic book text continues "... Delivered at last into the hands of a higher *judgment*." Page 24. Panel 1. The postman arrives at a building marked U.S. Mail Sorting Depot, pushing the door open and heading inside. A car splashes past, and a pedestrian on the opposite side of the street brings out his umbrella and prepares to open it as the rain starts to fall. Other pedestrians pass by the mail sorting building, holding umbrellas. Panel 2. The postman walks through the building, looking at the newspaper he bought earlier. His sack is being emptied onto a conveyor belt by another worker, and the letters pass by some workers who sort them. One picks up Rorschach's envelope, labeled "Urgent." In the background, a woman pushes a cart labeled U.S. Mail filled with envelopes. The clock on the wall reads 10:50. Panel 3. A second postman wearing a heavy jacket and hat picks up Rorschach's envelope and another envelope, looking down at them. He's standing next to a window, behind which another worker is sorting piles of paper. Other mail carriers are picking up their sacks and heading out. Underneath the window is a sign with the United States Postal Service creed. It's partially blocked by the bodies of the mail carrier holding Rorschach's envelope and another carrier, but it can mostly be read, and it says "Neither snow nor rain nor heat nor gloom of night stay these couriers from the swift completion of their appointed task." A clock on the wall reads 12:20. Panel 4. The postman opens the door to Pioneer Publishing, Incorporated, holding Rorschach's envelope and some other letters in his hand as he enters. There's a good deal of graffiti in the hallway. Underneath the sign is a swastika and the word "Scum," and on the wall opposite the sign are the words "Sieg Heil." A bag of trash is lying on the floor, and the walls are cracked and peeling. Pedestrians pass through the rain in the background, their umbrellas up, and on the opposite side of the street is a Woolworth's underneath a billboard for mmmeltdowns and a clock that reads 2:40. Panel 5. The postman opens the door to the New Frontiersman office and hands Rorschach's envelope and the other four letters to Seymour, saying "Mail for ya." Seymour takes the mail, saying "Uh, thanks..." Further inside the office, Hector is sitting at a desk, facing away from the door. Without turning around, he gestures and says "Seymour, bring that in here and *open* it! Maybe that lazy jerk *Feinberg* managed to get his *editorial* cartoon in on time!" The window on the door of the New Frontiersman office is cracked and poorly repaired, and there's pages tacked to the wall in front of Hector. Seymour is still wearing his smiley face shirt. Panel 6. Hector looks to the side, his expression crabby and overworked as he types at a typewriter. He says "I mean, red holocaust about to *break*, everything happening at *once*, am I supposed to handle things by *myself*?" Standing behind him, Seymour looks down at Rorschach's journal, holding it open and saying "Uh, this *first* one's some *journal*... Quote Dead dog in alley this morning, tire tread on burst stomach unquote..." There's an American flag on Hector's desk, and the sign on his door reads "Hector Godfrey, Editor." Panel 7. Hector looks back at the paper he's typing, grimacing as he says "Jesus, who's it *from*? Son of *Sam*? Sling it on the *crank file*. New Year, we'll burn that garbage heap and start *over*!" Seymour places the journal on top of a box overflowing with paper, looking towards a second letter and saying "Here's one about fluoride turning people into *homos*..." Next to the crank file are some old coffee cups, one overturned. Panel 8 Hector pulls the paper out of the typewriter, scowling as he says "*Crank file!* Throw 'em *all* on the crank file and get some *work* done! *War's* coming, and this paper has a *mission*, goddamnit. I won't see *truth* and *integrity* buried beneath an avalanche of *drivel*!" Seymour looks at another envelope, standing slack-jawed behind Hector. A couple of letters cover Rorschach's journal on top of the crank file. Panel 9. Hector crumples the paper he was typing, glaring at Seymour and pointing to the main office, saying "While we stand around sorting *junk mail*, we could miss something *important*! Hell, *face* it, the Reds could have emptied their silos five *minutes* ago... The birds could be in the air right *now!*" Seymour tosses the rest of the envelopes unopened on the crank file, burying Rorschach's journal, and starts walking toward the office. Page 25. Panel 1. A large panel taking the space of three regular panels. The Owlship flies in the sky over a layer of billowy white clouds. Panel 2. Rorschach stands behind Dan and puts one hand on the driver's seat, saying "How much further? Said we were over Antarctica hours ago." Dan, sitting in the driver's seat behind the steering column, continues to pilot the Owlship as he reaches for a lever above his head. He says "Veidt's fortress is nearby, along the *coastline*. That's what I'm *following*. Listen, I don't like the way Archie's *handling*. I'm going to take him *down*." The area around the window of the Owlship is frozen over, and icicles are starting to form along the edges of the window. Panel 3. Rorschach answers "Sensible move. Make final approach low, beneath radar." Dan replies "I don't think we've got much *choice*. You feel that sort of *kicking* in the *engine*, like it's about to *seize*? Ice. Shit, I bet it's ice..." The Owlship flies through the clouds, the front tilted down. Panel 4. Dan turns to the side, shaking one fist. There's an angry expression on his face as he says "I had him soaking on a *river bed* all yesterday, then bring him straight into sub-zero *temperatures*! Why didn't I *think*?" Rorschach, his hand on the back of the chair, points out the window and says "Daniel... Coming in too low towards cliffs..." The Owlship is flying low over greenish water, and in the distance are tall cliffs of ice. Panel 5. A large panel the size of three regular panels. The Owlship flies over the choppy sea, tilted up as the icy cliffs loom large nearby. Rorschach says "Don't wish to interfere with running of ship, but should perhaps pull up sharply before..." Dan says "I'm *trying*! I'm *trying* to pull him up, goddamn it! *Wait*! Wait, I think it's coming. I think we've..." Snow falls all around the scene, and there are wispy white clouds in the sky above the cliffs. Page 26. Panel 1. The Owlship floats over the edge of the cliff as Dan says "...*Made* it!" Rorschach says "Daniel..." Dan says "It's *okay*, we *did* it! We cleared the..." Rorschach interrupts, saying "Daniel, engine just stopped." Dan says "What?" In the background are the dark waters of the Southern Ocean, a line of thick, dark clouds and another line of blue sky cut by a slash of white clouds. Panel 2. A continuation of the art from the previous panel. The Owlship continues to move forward, just a few feet above the snow, as Rorschach says "Said engine just..." Dan says "*Alright* alright, I *know*! Jesus Christ... Lemme try to... *Whoo-ooah*..." Snow falls in the foreground, and the snowy ground fills most of the panel, with the bands of dark-colored water, clouds and sky in the background. Panel 3. A continuation of the art from the previous panel. The Owlship starts to fall to the ground, and Rorschach makes an "Ennk" noise as Dan says "Hold *on* to something! I'm *losing* it. He's *rolling*. I think we're going to..." Dan can barely be seen through one of the Owlship's brightly lit windows, clutching the steering column. In the background, several bands of light and dark colored clouds alternate over the blue sky, and a mountain rises far on the horizon. Panel 4. A large panel the size of six normal panels. The Owlship crashes on the snowy ground, skidding and raising waves of snow to each side and huge billowing clouds of snow and smoke behind it. Its front is buried in the light snow, and Rorschach and Dan are visible through one of the windows. Dan is holding tightly to the steering column, bracing himself, and Rorschach is holding onto the seat and one of the control panels. Through the other window, a box of Dan's personal belongings is jostling, spilling papers all over the ship. The Southern Ocean is visible in the background, with light and dark clouds rising in great puffs and bands above it. Page 27. Panel 1. The Owlship has skidded several feet away from where it first landed, leaving a trail of smoothed out snow in its wake as it rests in a snowdrift. Ahead of it are several larger snowdrifts, including one that looks more like a large hill. The landscape is desolate, with no sign of human habitation, and the snow is blindingly bright. Panel 2. The snow continues to fall around the Owlship. From inside, Dan says "Ow. You okay?" Rorschach answers "Twisted ankle. Nothing serious. Landed on it badly night police took me. How bad is damage to ship?" Panel 3. Dan stands up. The ship is tilting to one side, and as he reaches for the control panel he keeps himself steady by holding on to the back of the driver's seat. He says "Difficult to *say*. Probably nothing I couldn't fix given a few *hours*... It'd be *quicker* to cover the remaining distance on the *hoverbikes*. The instruments put us within twenty miles of Veidt's *fortress*." In the foreground, Rorschach kneels down and reaches for his hat. Some of the papers he took from Veidt's desk are lying scattered on the floor at his feet. Panel 4. Dan pulls out the rack on which his alternate suits are hanging, taking one of the hangers as he says "You break out the *bikes* while I get into my *snow suit*. Uh... You're *sure* I can't fit you out in something a little *warmer*?" Rorschach places his hat on his head and adjusts the brim as he answers "Fine like this." The light reflecting off of the snow comes through the windows of the Owlship, washing the two men out and making them appear pale and blue. Panel 5. Dan, wearing gloves and a thick, hooded cape over his outfit, brings out his remote control, saying "Well, whatever you *want*. Give me a second and I'll open the rear *door* so you can *unload* those... Rorschach is pulling a hoverbike up by the steering column, saying "Used these when we took underboss. Remember riding along sewer." A second hoverbike is sitting next to the first one. Dan's cape design also appears to be based on an owl, with a stylized feather-like pattern around the shoulders. Panel 6. Rorschach moves the bike to the back door as it gradually opens and a ramp slides down to the snowy ground. From inside the Owlship, Dan answers "God, *yes*! They knew we couldn't get *Archie* down there and figured they were *safe*... Then *you* shoot out of that *tunnel*, with the *gas* cloud, all the rats running ahead of you... Man, their *faces!*" Ice has formed on the Owlship, hanging down over the sides in small icicles. Panel 7. Rorschach holds his hoverbike as he walks down the ramp, saying "Yes. Good night. Think of it often. As I recall, controls simple; just two pedals and steering column." Dan follows, holding his own hoverbike and saying "You got it." He looks at the side of the Owlship and says "Tch. Look at that *ice*. Better fix it soon as we get back..." When fully zipped up, his hood gives him the appearance of a snowy owl, with a heart-shaped mask that covers most of his face and two little horns to each side of his head. Panel 8. Rorschach, stepping on his hoverbike, looks down at the controls and says "If we get back." Dan, stepping on his own bike, turns back to the ship, holding his remote control in his hand. He answers "Yeah. Yeah. *If* we get back. I'm going to secure the ship *anyway*." The door starts to close, and the ramp retracts. Dan continues, "There. Okay, I guess that's it..." Panel 9. Dan speeds off on his hoverbike, with Rorschach following. Dan says "What are we waiting for?" Clouds of smoke and snow billow out to the sides as the two men head off into the vast field of snow, leaving the Owlship behind. Page 28. Panel 1. Dan and Rorschach ride over the horizon, huge clouds billowing out behind them. The snow falls and wisps of clouds line the sky behind them. Panel 2. Dan and Rorschach come closer. Dan looks warm in his snowy owl cape and hood, while Rorschach's scarf, trenchcoat belt and loose epaulet blow to the side as he rides. Panel 3. Dan and Rorschach draw closer, clouds billowing behind them and nearly obscuring the sky. Panel 4. The two of them are seen on a monitor, facing the viewer. They seem unaware that they are being monitored. Panel 5. The monitor showing them riding towards the viewer is shown in Adrian's wall of screens. The screen underneath them shows them from a different angle, while the screens around them are only partially visible, but appear to show them from other angles. Bubastis raises a paw in the foreground and makes a "Rr?" noise. Panel 6. In the foreground, Adrian's hand scratches Bubastis behind her long, thin ears, and she licks her paw. Adrian says "Shh. It's all right, girl..." The screens each show a different view of Dan and Rorschach as they continue to ride on their hoverbikes. One shows their faces together, one shows a close-up of Dan's face and one a close-up of Rorschach's face, one shows them from behind, one shows them from in front, one shows them from far above as if on a radar screen, one shows them in profile, one shows their torsos and other screens show different angles but are mostly hidden by the panel border. Panel 7. A large panel taking up the space of two and a half regular panels. Adrian Veidt, sitting in his full costume with his ankle crossed over his knee, raises one hand to his chin and pets Bubastis, his expression thoughtful as he looks up at the monitors and says "Everything's all right." The background is entirely black. Panel 8. A half-sized panel with a white background and black text that reads "Outside in the distance a wild cat did growl, two riders were approaching, the wind began to howl. Bob Dylan." Underneath the quote is a round clock with no numbers or other indications of time on it. The minute and hour hands indicate that it is 11:58. Supplementary Material Page 1. A letter laid over a large calendar. The calendar is from November, and the first three numbers of the year are visible but not the last one, so it could be from any year between 1980 and 1989. Some notes are written in Adrian's casual handwriting on the visible dates, such as Board Mtg. 3 PM on the 27th and Ted's Birthday on the 28th. The letter is on paper with the Veidt logo, and the heading reads: Leo Winston President Marketing and Development The typewritten letter reads: Dear Adrian, Even though you vetoed an expanded range of dolls based upon former adversaries, I still feel that the Ozymandias action figure line needs to attain a higher profile on the marketplace, and that to me indicates an extended range of product. Several possibilities have occurred to me, outlined below. Firstly, figurines based upon Rorschach and Nite Owl seem to be viable. From a legal viewpoint, we're currently investigating the situation regarding the trademark and copyright laws. Our lawyers seem to think that since the costumed identities themselves are outlawed and illegal, there can be no legal claim to copyright their costumed images, leaving us free to register a copyright ourselves. This seems okay to me, but I'm advised that since you may have some personal connection with these individuals, there's a possibility that you'll feel differently. Secondly, the Moloch figurine. Since Edgar Jacobi died recently, there may be a question of taste, but from what our lawyers can determine, Jacobi left no estate likely to oppose such a marketing move. Also, once again there can be no legal claim on Jacobi's part concerning infringement of an identity which is illegal in the first place. Thirdly, and on a somewhat lighter note, I hope you will approve the inclusion of Bubastis. I know that she really didn't play any part in your exploits while you were an adventurer, but I understand that the people doing the Saturday morning Ozymandias cartoon show, scheduled for next fall, are keen that Bubastis should play a major role as a feline sidekick, making it therefore appropriate to play her up in our other merchandising. Anyway, in anticipation of your approval concerning this expansion of the line and in the absence of any immediate legal difficulties, I had some of the boys in production put together this dummy promotional leaflet. Hope you get a kick out of it, and I'll be calling next week to discuss the quote "Ziggurat of Death" unquote role playing game, so we can discuss all this then. Best, as always, The letter is signed "Leo Winston" in graceful, dramatic cursive. Underneath, a typewritten signature reads: Leo Winston Marketing and Development Page 2. A mockup of an advertisement for a line of toys, placed on top of another calendar page with an arrow doodled on one page and "Call Laurie" and the first two numbers of a phone number starting with 75 on another page. The top half of the page shows a picture of action figures in front of a model of the Owlship. From left to right, there's a young Moloch, Rorschach, Bubastis, Ozymandias and Nite Owl. Moloch's hands are raised threateningly and he's wearing a tuxedo coat and cummerbund over briefs and leggings. His hair is slicked back and styled into a point over his forehead, his ears are pointed and he has a little beard and mustache. Underneath him is a logo reading "Moloch the Mystic." The text style is dramatic, recalling the style of an old circus poster. Rorschach is wearing his trenchcoat, fedora, mask and suit, and is carrying his grappling hook. Underneath him is a logo reading "Rorschach." The text is handwritten in a quick, casual style, and the O of his name is replaced by a blob of ink. Bubastis' fur is shining, and she's facing Ozymandias. Under her is a logo reading "Bubastis" in a curvy, old-fashioned font, with a striped background similar to the striped pattern on her fur. Ozymandias stands next to Bubastis, in his Egyptian-themed purple and gold costume with one hand on his hip and a serious look on his face. Under him is a logo reading "Ozymandias" in a bold font, patterned to look as if it's made out of gold. At the far right side is Nite Owl, wearing his brown owl-shaped cowl and hood and his crescent moon utility belt. He's holding his remote control in one hand. Under him is a logo reading "Nite Owl" in thin, casual handwritten letters. All of the logos have trademarks except Rorschach's. Behind them is the model of the Owlship, which also has a logo in the same writing as Nite Owl's. It looks like the real Owlship, with its sleek shape and two large round windows at the front, but most of the top is cut away so that the inside can be played with. The inside is very detailed, with several control panels, the steering column and driver's seat, and panels that open to show more accessories. The picture is branded at the top right with the Veidt logo. Underneath the picture, the text reads: (OZ0001): Ozymandias: This fully posable action doll, with removable cloak, tunic and headband, is authentically molded to duplicate accurately the world-famous physique of athlete and former adventurer Adrian Veidt. (OZ0002): Rorschach: *New Figure!* Fully jointed and posable, this scale facsimile of the feared vigilante has a removable trenchcoat and hat. (OZB001): Rorschach's Grappling Gun: *New Accessory!* This scale model of the famous gas-powered grappling gun is spring loaded, and will fire a miniature hook, along with a length of line. Safe for children over five. (OZ0003): Nite Owl: *New Figure!* With removable cowl and belt, this fully posable model of the former nocturnal adventurer offers hours of exciting fun. (OZB002): The Owlship: *New Accessory!* Painstakingly assembled from existing photographs of this famous craft, our Owlship has an accessible and fully detailed cabin area, built to scale with OZ0003. Fully lighted cabin! Batteries not included. (OZ0004): Moloch: *New Figure!* With detachable handgun and stage magician's jacket, now you can thrill to the misdeeds of the infamous crown prince of the underworld in the safety of your own home. (OZB003): Bubastis: *New Accessory!* Fully posable, see the giant mutant Lynx of Ozymandias. Now she can help Adrian Veidt fight evil and help the innocent in *your* adventures, just like she does on TV. There's another note after this mockup, handwritten on paper with the Veidt logo in Adrian's casual, handsome handwriting. Leo - Agree with you re: expansion of line. My study of recorded sales figures in a historical context suggests an increase in the sales of soldiers and action figures in times immediately prior to a period of anticipated war or bloodshed, and we should take advantage of this syndrome for as long as it lasts. However, ethically very uncertain about Rorschach, Nite Owl and Moloch, plus accessories. Suggest instead we create costumed army of terrorists, introduce as main villains in Saturday cartoon, then duplicate here along with weapons, accessories and vehicles. More militaristic flavor will sell better, the American public has never gone in for super-heroes in a big way. We'll discuss this next week. Best, Adrian Veidt P.S.- Loved Bubastis. As soon as they're made, I must have one to give to her. Regards to Josephine and your children. Page 3. Two letters and a picture over the November calendar, details of which are covered up by the papers. The letter at the top right is on paper with the Veidt logo, labeled with the name Adrian Veidt, President and C.E.O. Underneath it is the title "The Veidt Method." It is mostly covered up by the other letter and the large picture, but what is visible reads: *Hello*. If you're reading... *that*, it's because you think you... and magnetism? Advanced mental... we can offer you all these things... *You!* More than just a bodybuilding... capable young men and women... difficult world that awaits in... understand, and if you follow... as a whole..." To the left of the letter is a large advertisement for Nostalgia perfume, paper clipped to the second letter. It shows a white woman with long, straight, blonde hair and a strong jaw looking seductively at the camera, balancing one leg on a footstool and adjusting her stocking. She's in full makeup and is wearing a sheer sleeveless slip with a ruffled hem and neckline. Her other leg is bare. In the background is a bed, on which rests her other stocking, and beyond that is a shelf with a large flower arrangement. To her side is a vanity, on which a bottle of Nostalgia perfume is resting near another flower arrangement, and the curtains are parted slightly on the window behind her. The letter to which this photo is paper clipped is typewritten on paper with the Veidt logo, labeled with the name Adrian Veidt, President and C.E.O. It reads: Dear Angela, Enclosed you'll find a representative sample of our current magazine and bill-board advertising, promoting Nostalgia. The sexual imagery is obvious, the woman adjusting her stocking being overtly erotic, yet layered with enough romantic ambiance to avoid offense. In our choice of models for the Nostalgia ads I note that we have consistently chosen models with a slightly androgynous quality to their beauty, which I presume is to afford us a window into the gay marketplace, a tendency more pronounced in the ads for Nostalgia aftershave. This is all well and good, but it avoids the most significant element of the Nostalgia campaign: In the soft focus imagery and romantic atmosphere, the advertisements conjure an idyllic picture of times past. It seems to me that the success of the campaign is directly linked to the state of global uncertainty that has endured for the past forty years or more. In an era of stress and anxiety, when the present seems unstable and the future unlikely, the natural response is to retreat and withdraw from reality, taking recourse either in fantasies of the future or in modified visions of a half-imagined past. While this marketing strategy is certainly relevant and indeed successful in a context of social upheaval, I feel we must begin to take into account the fact that one way or another, such conditions cannot endure indefinitely. Simply put, the current circumstances our civilization finds itself immersed in will either lead to war, or they won't. If they lead to war, our best plans become irrelevant. If peace endures, I contend that a new surge of social optimism is likely, necessitating a new image for Veidt cosmetics, geared to a new consumer. To this end, starting next year we will begin to phase out the Nostalgia line of ladies' and men's cosmetics, successful though they be, and replace them with a new line that better exemplifies the spirit of our anticipated target group. This new line is to be called the "Millenium" line. The imagery associated with it will be controversial and modern, projecting a vision of a technological Utopia, a whole new universe of sensations and pleasure that is just within reach. I would like the new line to be ready for launch in the summer, and would appreciate it if some dummy ad copy and artwork could be assembled for my perusal and comment sometime before Christmas. Anticipating your cooperation, and looking forward to working with you on this one. My fondest regards to Frank. We must have lunch soon. Love, Adrian's signature is handwritten, then Adrian Veidt is typewritten underneath. Page 4. Another letter over the calendar from November, which has some other notes that are mostly covered up by the paper. Paper clipped to the letter is a note in Adrian's handwriting that reads "Attached, manuscript for revised introduction, updated quote Veidt Method unquote self-improvement booklet. Please forward to relevant department. V. The letter is printed on paper with the Veidt logo, labeled with the name Adrian Veidt, President and C.E.O. The type appears as if it was set with a 1980s Macintosh program. It reads: *The Veidt Method:* An Introduction. *Hello*. If you're reading this, it's because you sent away for my course, and if you did *that*, it's because you think you need a change in your life. A better body? Increased confidence and magnetism? Advanced mental techniques that will help you at home or in business? Well, yes, we can offer you all these things... but in order to have and enjoy them, there's got to be a new *you*! More than just a bodybuilding course, the Veidt Method is designed to produce bright and capable young men and women who will be fit to inherit the challenging, promising, and often difficult world that awaits in our future. The course is designed to be easy to red and to understand, and if you follow it through, I can assure you that you and your friends will quickly notice the results as a whole new realm of ability and experience is opened up to you. Below is a brief summary of what you can expect to find in the later chapters of this volume. *UNDERSTANDING THE SELF.* Both the body and the mind are parts of a biological robot that our immaterial souls inhabit. Like any machines, they can be tuned, improved and made to run more efficiently, as long as one understands the process for doing so. Through meditation and intellectual exercise, we may come to use our minds in ways that we never thought possible. In this first chapter of our manual we will discuss lateral thinking, Zen meditation and the power of dreaming and the subconscious, along with other useful techniques for the advancement of the mind and intellect. Though not a religion, there are powerful spiritual disciplines behind the Veidt Method that must be understood if the student is to proceed. *HEALTH AND THE BODY.* In our second chapter, we explore the connection between body and mind, and learn how this helps us to conquer pain and illness without recourse to drugs and medicines. We will show you, step by step, a number of techniques for focusing the mind's healing power upon any ailing part of the body. In relation to this, we also examine how the actions of the body can be used to aid and focus the mind, taking into account Yogic doctrines and martial training. *CREATING A NEW YOU.* Our third and longest chapter presents a carefully coordinated series of physical and intellectual exercise systems which, if followed correctly, can turn *YOU* into a superhuman, fully in charge of your own destiny. All that is required is the desire for perfection and the will to achieve it. No special equipment or other hidden cash extras are necessary. The Veidt Method paves the way for a bright and hopeful future in which anyone can be a hero. *YOU AND THE WORLD.* Just as you are a whole organic being, complete unto yourself, so are you also a part of a larger social organism consisting of the people around you, the people you work with and ultimately the whole world. When you yourself are strong and healthy in mind and body, you will want to react in a healthy and positive way to the world around you, changing it for the better if you are able, and improving the lot of both yourself and your fellow man. Our final chapter will help you to understand the organism that is the world and your part in it. You will learn that one can either surrender responsibility for one's actions to the rest of the social organism, to be pulled this way and that by society's predominating tension, or that one can take control by flexing the muscles of the will common to us all, affecting our environment positively and responsibly. So, in conclusion, welcome to the Veidt Method for physical fitness and self-improvement, a step by step guide to realizing exciting potentials latent within every one of us. I hope that you'll be intrigued by what you find within, and I know that if you persevere you'll walk away from this book a different person. There's a bright new world just around the corner. It's going to need heroes just as badly as this one does, and one of them could be *you!* All best wishes and encouragement, Adrian Veidt. The signature is handwritten, then typed again to the side. The page opposite the final letter is mostly red. At the very bottom is half of a clock, with a red, white and black edge and Roman numerals. The time is 11:58. Blood has covered nearly the top two-thirds of the page and continues to seep down the page, leaving only a small amount of black background between the edge of the blood and the clock.