Watchmen Part 11 of 12.
Writer, Alan Moore.
Illustrator, Dave Gibbons.
Described by Liana Kerr https://twitter.com/lianaleslie
Last modified March 2, 2015.

Chapter 11.
Cover.
The words "Chapter XI" are printed vertically in white on black over the left third of the page. Above them is a white and black clock with no numbers or markings that indicates that the time is 11:59. The right two-thirds of the page show a blank white field with a splash of vivid color in the middle. The splash of color shows part of a brightly colored purple and gold butterfly with its wings spread out and lush, tropical pink and red flowers and greenery packed closely together on a blue field. A red ladybug dotted with black spots crawls over one of the leaves, and a drop of water falls near the butterfly's wing. The edges of the splash of color are irregular but definite, with a clear boundary between the white and the color. The splash of color is in the same shape as the splash of blood on the Comedian's smiley face pin. There's no line between the white field and the white letters, making it look as if the letters are connected to the cover.
Page 1.
Panel 1.
A blank white panel. An unknown speaker says "Observation:"

Panel 2. 
The speaker continues, "Multi-screen viewing is seemingly anticipated by Burrough's *cut-up* technique. He suggested re-arranging words and images to evade rational analysis, allowing subliminal hints of the *future* to leak through... An impeding world of exotica, glimpsed only peripherally." An image similar to the one on the cover, with the bloodstained-shaped splash of color against the white. Snow falls in the foreground, with a large flake in front of the splash of color. A butterfly's wings and some greenery and flowers can be seen within the splash of color. In the upper right hand corner, partially covered by the speech bubble, is a similar patch of greenery, flowers and dark shapes. The edges of the patches of color are irregular but definite, with a clear boundary between the white and the color.

Panel 3. 
The speaker continues, "Perceptually, this simultaneous input engages me like the kinetic equivalent of an abstract or impressionist painting... Phosphor-dot swirls juxtapose; meanings coalesce from semiotic chaos before reverting to incoherence." The scene is mostly covered by white and thin black lines that seem to obscure the area to the top right of the panel, although revealing that there are shapes behind it. The splash of color, too, is obscured by thin black lines, hiding the color but keeping the shape revealed and giving the impression of quick movement from side to side. The speaker continues, "Transient and elusive, these must be grasped *quickly*:"

Panel 4.
The speaker continues, "Computer animations imbue even *breakfast cereals* with an hallucinogenic futurity; music channels process *information-blips*, avoiding linear presentation, implying limitless personal choice... These reference points established, an emergent *worldview* becomes gradually *discernible* amidst the media's *white noise*." A lush jungle seems to rise from a white field of snow with jagged, irregular edges. The sky as seen between the leaves of the trees is light blue, although at the very top left hand corner, past a thick stripe of white, the sky seems darker. A bird with a long tail flies within the jungle sky, and flakes of snow fall in the foreground over the jungle and the white field. The shape of the splash is still visible, although it is smaller, as if the reader is viewing it from a distance. 

Panel 5. 
The speaker continues, "This jigsaw-fragment model of tomorrow aligns itself piece by piece, specific areas necessarily obscured by indeterminacy. However, broad assumptions regarding this postulated future may be drawn. We can imagine its *ambience*. We can hypothesize its *psychology*." The scene is mostly covered by white and thin black lines that seem to obscure the area near the top of the panel where the jungle had been glimpsed earlier, although revealing that there are shapes behind it and giving the impression of quick movement. The splash of color, too, is all but obscured by thin black lines, although the base of the panel is mostly white, without many black lines.

Panel 6.
The speaker continues, "In conjunction with massive forecasted technological acceleration approaching the millennium, this oblique and shifting cathode mosaic uncovers the blueprint for an era of new sensations and possibilities." The black lines over the white background are drawn with more thickness and depth, revealing the shapes, although not the colors, of the trees hidden by the white background while still conveying the impression of quick movement. At the base of the jungle is the field of white, separated from the other white part of the background by a jagged line. The snow continues to fall over the scene. The speaker continues, "An era of the conceivable made *concrete*...."

Panel 7.
A large panel the size of three regular panels. The speaker continues, saying "...And of the casually *miraculous*." The reader sees that we have been looking at a portion of a gigantic glass dome enclosing a greenhouse filled with tall trees and flowering bushes. The left side of the greenhouse is covered with a snow drift, which reaches nearly to the top of the snow dome near the left but gradually falls to the ground toward the middle of the dome, exposing the entire right side and a good portion of the left side to view. Within the dome, the sky seems bright and blue, but outside, it is dark and cloudy, with sharp, thin winds blowing high overhead. The snow drift partially covers a glass tunnel leading away from the dome, and in the background, to the right of the dome, is Karnak, Veidt's fortress, which is built like a modern take on an Egyptian temple. To the left of the dome are two thin smokestacks poking out of the snow, with grey smoke drifting out of them and being pushed to the left by the wind. Flakes of snow fall over the scene.

Under this panel is the chapter title, Look On My Works, Ye Mighty...
Page 2.
Panel 1.
The speaker continues, "As an *afterthought*, the method has an *earlier* precursor than Burroughs in the *shamanistic* tradition of divining randomly scattered *goat innards*... the subject for a subsequent discourse, perhaps." The glass dome and the jungle inside as seen through a window from nearby Karnak. Purple pillars border the window, framing the dome, and the snowy field spreads out in front of the dome, while the wind picks up in the background.

Panel 2.
The speaker continues, "Observation ends. Veidt. New York time, eleven eighteen P.M. Log and file." Bubastis' long, thin ears appear next to the window, and she makes a "Houf" noise. Outside, the wind picks up, blowing snow over the dome and obscuring the jungle inside in a field of white. The shapes of the trees within the dome are represented by shapes made of thin black lines that give the impression of the wind's quick movement across the dome.

Panel 3.
Adrian says "It's all right, girl. No need for restlessness. The insight wasn't major, but deserved recording. Besides, we're in no hurry. In *these* conditions, our visitors won't yet be within ten *miles* of Karnak. Let's take a look..." His hand picks up a remote control as Bubastis pads toward him, away from one of the thin, tall windows. The screens in front of him are showing several TV channels, although the only one that's fully visible is the one in the lower right corner, which shows Richard Nixon, looking grouchy and standing in front of the flag. 

Panel 4.
A large panel the size of three regular panels. Dan and Rorschach are shown from several different angles in every screen. One of the screens appears to be a radar image showing how far the two of them are from Karnak. Adrian says "Aa. You *see*?" as Bubastis walks behind his chair, looking at the screens. To the left of the screens is a wall of clocks with no markings set to different times around the world, although the only visible one is for New York, reading 11:14. To the right, the wind blows harshly past the windows, obscuring the glass dome.

Panel 5.
Adrian continues, "Really, getting even *this* far is a *breathtaking* effort, given their *limitations*. It must be so *disorientating*. Their pursuit leads them deeper into moral and intellectual regions as uncharted and devoid of landmark as the territories currently *surrounding* them." He scratches Bubastis' chin, and she looks up at  him. In front of her is a screen numbered 73 which shows what looks like a nearly blank white field, with Rorschach and Dan barely visible as abstract shapes made of thin black lines.

Panel 6.
Adrian continues, "Of course, the ice they're *skating* on is *slippery*, and thinner than it *looks*. Let's hope they don't become too *reckless* and *overstep* themselves." The wind dies down, and they're shown on the same screen, continuing forward on their hoverbikes, Rorschach slightly behind Dan and clouds being raised in their wake. The other screens show them from different angles, although the screens are mostly cut off by the panel borders.

Panel 7.
Adrian continues, "Let's hope they know where to *stop*." A close-up of Dan and Rorschach on one of the screens. Dan, still slightly ahead of Rorschach, raises one gloved hand.

Page 3.
Panel 1.
Dan points with his raised hand, saying "Okay... There it *is*, up *ahead*. Looks like there's no option other than a direct approach. We can't creep *up* without *cover*, and it's pointless waiting for *darkness* up here... There *isn't* any." Behind him, Rorschach looks out where Dan is pointing. The snow blows around them.

Panel 2. 
Rorschach pushes up the base of his mask with one hand, reaching into his pocket with the other hand. He says "Untrue. Just isn't any of kind we can use. If Veidt truly engineering Third World War, we are approaching heart of darkness." Dan, facing away from Rorschach, adjusts his glove as he says "Hmm. I've been *wondering* about that..." The snow swirls around them as the wind starts to pick up. 

Panel 3.
Dan, still facing Karnak which can barely be seen rising from the snowy field in the distance, continues "Those *brochures*, all that crap we took from his *desk*... The *tone* was wrong, somehow. Not *optimistic* exactly, but... well, planning for a *future*. It didn't read like someone out to carve a *headstone* for *humanity*." In the foreground, Rorschach's hands are removing the green wrapper from a sugar cube.

Panel 4.
Dan turns back to look at Rorschach, gesturing as he says "...And *anyway*, this is *Adrian*, for God's sake! We *know* him. He never *killed* anybody, ever. Why would he want to destroy the *world*?" Rorschach puts the sugar cube in his mouth, flicking the wrapper away towards the ground. He chews it, making "Ronch, ronch, ronch" noises, then says "Insanity, perhaps?"

Panel 5.
Dan turns back to his hoverbike, saying "Ha. Well, that's a *tricky* one... I mean, who's qualified to *judge* something like *that*? This is the world's smartest *man* we're talking about here, so how can you *tell*?" Rorschach pulls his mask back down over his face, and the sugar cube wrapper blows in the air in the foreground, the S printed on the wrapper clearly visible.

Panel 6.
As Dan starts riding his hoverbike forward, he asks "How can anyone tell if he's gone *crazy*?" Rorschach follows on his own bike, and the two of them produce large clouds of snow as they go. The wind picks up, blowing Rorschach's scarf and trenchcoat belt over to the side, and the sugar cube wrapper floats in front of the clouds.

Panel 7.
A large panel the size of three regular panels. The S-marked sugar cube wrapper blows in the air in the foreground as Dan and Rorschach zip along on their hoverbikes, far away enough that they are nothing but two indistinct shadows on the horizon followed by clouds of snow. On a nearby hill behind them, a camera in a small domed shelter raises from the ground and watches their progress as they move closer towards the faint figure of Karnak far in the distance.
Page 4.
Panel 1.
The view from the camera seen in the previous panel, projected onto one of Adrian's screens. The wind is blowing heavily, and Dan and Rorschach look like small, blurry, blue figures progressing toward a large building far in the distance.

Panel 2.
The same screen seen from further away, with Dan and Rorschach seen from different angles on two of the other screens. In the foreground, Bubastis licks her paw.

Panel 3.
Adrian stretches, making a "Hhahhh" noise, and pushes a button on the remote control. The screens go white as he says "Ah well." Bubastis stops licking her paw and looks over at him.

Panel 4.
A long thin vertical panel the size of two regular panels. Adrian stands up, placing the remote control on top of his recording equipment as he walks away from his rows of screens, his cape trailing behind him. His expression is somber as he says "Come on, old girl. We have a few matters to attend to before they get here. I suppose I've been waiting for an opportune moment, but there's no point putting things off any *longer*..." Bubastis pads in front of him, her paws reflected on the polished floor.

Panel 5.
A large panel the size of four regular panels. Adrian continues, "...And no time like the *present*," He pushes open one door of a set of double doors, following Bubastis through them into a dark room. His chair and recording equipment remain where they were, reflected in the polished floor, and the thirty-six screens are white. Next to them are three clocks reading Tokyo, where it is apparently 8:20, London, where it is 4:20, and New York, where it is 11:20. There are three sets of double doors all next to each other, each set of two decorated with a golden eagle with outstretched wings. In the foreground is a display of purple, red and gold flowers, and above the set of doors is a large painting, perhaps twenty feet high and thirty feet wide with the frame included. It depicts a serious-looking young man in Greek armor, a short-sleeved red shirt and a white loincloth similar to the one that Adrian wears as part of his costume. He's white and blonde. He is standing in an open area, perhaps a town square or a marketplace, next to a pillar and a brazier. He holds a sword in his right hand. In front of him is a long wooden pole attached to a cart, with a length of thin rope twisted and knotted around it in several places near one end. Another pole lies on the ground, and it, too, has a length of thin rope twisted and knotted around it in several places near the middle. Several men wearing long robes and tall hats with thick beards and long hair are standing around him, looking at the scene.
Page 5.
Panel 1.
Adrian walks through a large, open hallway to the entrance to a large chamber. There is a thin door to one side, with a large, arc-shaped handle, a glass window that is mostly cut off by the panel border, and a control panel under the window with several small buttons and labels and what appears to be a small rectangular lid sectioned off in a square area by itself. Opposite this control panel is a table with a bottle of wine and four wineglasses. Bubastis hangs back in the hallway, and Adrian calls back to her, saying "Not coming any further? No? Fair enough. You wait there. This won't take a moment."

Panel 2.
Adrian looks through the window. The room inside is dark, but due to the composition of the scene nothing inside can be seen. However, his expression is grave. He reaches for the control panel. There is writing on the door, which was previously hidden by the speech bubble and is now mostly hidden by Adrian's shoulder. The visible writing reads "Do not enter." Between the door and the window, also previously hidden by the speech bubble, is a light that's not lit, what looks like an intercom and a small square of buttons. Bubastis sits by the door leading to the other room, watching him.

Panel 3.
We see the inside of the room as if we're inside it, with Adrian's shadowy figure visible through the window. The room is apparently very large, and apparently something very large is inside it. However, only one small portion of it can be seen. It appears round and dark green, and is sitting on some sort of pedestal. Under the window, the area corresponding to the control panel on the other side has several wires running from it to parts of the walls.

Panel 4.
Adrian pushes some buttons on the control panel, and the displays light up, as does the red light by the door. He opens the lid, revealing a large button. Behind him, Bubastis sits, watching him. The text on the door can now be seen to read "Do Not Enter When Red Light Is On."

Panel 5.
Adrian's finger presses the large button. A field to the left of the button reads "11:25 P.M." and is labeled "Eastern Standard Time." Bubastis watches from her spot by the doors to the other room.

Panel 6.
The room goes dark, and a bright blue light shines from inside the room, bathing the side of Adrian that's facing the window in a bluish-teal color and casting the rest of him in dramatic shadows. The red light appears brighter in the darkness, and Bubastis, in the background, looks to the side. Adrian faces the window, but his eyes are averted from it, and his expression is solemn.

Panel 7.
Adrian replaces the lid over the large button, and presses the button on the intercom next to the door. Bubastis starts to walk toward him.

Panel 8.
We see the inside of the room as if we're inside it, with Adrian's shadowy figure visible through the window. Whatever was in the room is no longer there. Adrian says "Hello, my friends. I've finished my work now, and I'd be honored if the three of you would join me for a small drink in the *Vivarium*, before *dinner*."

Panel 9.
Adrian continues, "I have something to celebrate. Thank you. Veidt out." He picks up the bottle of wine, still holding down the button on the intercom, and turns away from the control panel, facing the doors to the other room. Bubastis is by his feet.
Page 6.
Panel 1.
The newsvendor is turned toward the side of his stall, his back to the reader and to the comic-book reading boy sitting against the spark hydrant behind him. He pours steaming coffee from a thermos into a small mug and says "*Partyin'*! *Holocaust* common', goddamn *knot-heads* gotta *party*! I can hear that God-forbid-I-call-it-music clear from *Madison Square*! *Yang yang yang!* Music to drop *bombs* by is what it is..."  The comic book text reads, "Davidstown slept, deserted save for silence." Smoke from the boy's cigarette drifts past the back of the newsvendor's coat. In the background, a woman in a knee-length coat walks in front of the fallout shelter sign and another figure passes near the mail box on the corner.

Panel 2.
The comic book text continues, "Tethering both horses to the verandah, I entered my former residence noiselessly, careful not to rouse the butchers *occupying* it from their debauched *slumber*." The sailor, wearing the moneylender's handsome clothing, steps up to the front door of his house, his back to the reader and his shadow looming large in front of it. The horses are waiting outside, one with the woman's corpse still tied to it. From offscreen, the newsvendor continues "They'll all come out fightin' *drunk*, covered in *tattoos* and *earrings*..."

Panel 3.
The newsvendor continues, "An' it's right down the *avenue*! I *tellya*, this is a *bad* intersection. You never know what's gonna turn up *next*." The comic book text continues, "Unaware that Death was amongst them, they'd know its dark embrace without ever understanding *why*." The figure passing the mail box approaches the corner. It's a petite white woman wearing a leather jacket with a faux Japanese character on the back, a long shirt and her hair in a knot at the top of her head. She walks with her shoulders slumped, her back to the reader, and carries a large satchel slung over one shoulder. The woman who had been in front of the fallout sign is standing near the lamppost on the curb, looking at her watch. In the foreground is the graffiti of the embracing lovers and an empty Gunga Diner takeout box. The newsvendor stands by his stall near the building labeled "Institute for Intraspatial Studies," looking out at the street, while the boy continues to read his comic. 

Panel 4.
The comic book text continues, "One, however, was awake. Frantic lest he should raise alarums, I set upon him as he entered the night-wrapped chamber." The sailor raises his fist to strike the person that he's holding down. His target's arms reach into the sky, the fingers curled, and blood from the target's mouth stain the moneylender's scarf. The sailor and the person he's attacking are both colored in vivid magenta and dark shadows, although the sailor's eyes are bright yellow, a startling sight in the dark room. From offscreen, the newsvendor says "In fact, I see one more stupid *haircut*, I'm gonna... Oh. Hi. Getcha something?"

Panel 5.
The woman with the knot-top hairdo is standing in front of him, gesturing to the Gay Women Against Rape poster and smiling slightly as she says "Nah. Guess *Josephine* posted this, like she said. Y'know, sometimes she really *tries*. She finished *work* yet?" The newsvendor faces her, gesturing with his thermos and cup of coffee, and says "Josephi...? Ohh... *Joey*! You must be her... uh..." The woman answers "Girlfriend. Ex. We've been *fighting*." The boy continues to read, and the comic book text continues "In cataract darkness, I bludgeoned him, his screams unnervingly shrill."

Panel 6.
From offscreen, the newsvendor answers "Oh. Well, I ain't seen her lately..." The woman says "No sweat. I'll wait outside the *Promethean*. I'm not *relishing* the encounter." The comic book text reads, "No *pirates* came, but something *worse*. I looked up into faces familiar save for their *terror*." The sailor, kneeling on the ground over his target, looks up to see his two daughters, looking at the scene in horror. The person he's been attacking looks at him in fear, raising her hands to protect herself. It is his wife. The sailor and his wife are colored in bright red, while his daughters are colored in brown.

Panel 7.
As the woman walks away, the newsvendor calls, "Listen, tell her *Hustler's* due in tomorrow!" The woman makes a dismissive gesture without turning around and says "*Hustler*? God, if it's *okay*, I'll let her find out *herself*." The comic book text continues, "The children wailed. I looked down at the figure beneath me. Through puffed and bloodied lips she mouthed my name." A van reading Gordian Knot on the front passes by, and the watch seller can be seen at his table down the sidewalk.

Panel 8.
From offscreen, the newsvendor says "Huh? Whaddi *say*? Don't go away *mad*..." The comic book text continues, "There came an understanding so large, it left no room for sanity. As I fled past the mounted cadaver outside, lanterns flared in nearby windows." The sailor is running into the deserted street, past the corpse of the woman, whose head tilts to the side and mouth hangs open. His wife, clutching a hand to her bloody mouth, follows him, looking out at him from the veranda, and their daughters hug each other closely, one watching him run into the night. Lights in nearby houses come on in the windows, and the full moon shines down on the scene.

Panel 9.
The newsvendor's hands set down his coffee mug, next to a magazine cover showing a tropical scene, with palm trees and flowering bushes. He prepares to pour himself more coffee as he says "Huh! Times like *these*, people gotta be *hostile*? Me an' *Rosa* shoulda quit this town like she *wanned*, an' escaped from *everything*." The comic book text continues, "I ran, but the knowledge of my damnation *paced* me, gloating, celebrating its awful *victory*." A drop of coffee splashes from the side of the mug onto the counter.
Page 7.
Panel 1.
A large panel taking the space of six regular panels. Adrian and his three assistants are in the large glass dome, surrounded by lush greenery. Two of the assistants are holding full wine glasses and sitting on a purple bench inlaid with gold Egyptian patterns, while the other is standing next to Adrian, holding his wineglass and saying "Mr. Veidt. This is indeed an honor. Might we enquire what it is that provides *occasion* for such generosity?" Adrian gestures expansively and says "A life such as *mine* offers *many* things worthy of celebration, my friend. You need only look *about* you."  To the side, Bubastis is chasing a graceful pink bird with a long tail split in two at the base, and a second red bird flies above the two of them.. A fountain splashes into a purple basin patterned with Egyptian motifs and a black obelisk, and at the base of the basin is a golden statue of a jackal. Water pours from the jackal's mouth and travels down a straight gold channel set into the polished floor, which reflects the fountain and the four men. A small table in front of the bench holds Adrian's full wineglass. In the foreground, a ladybug crawls over a long, thin leaf, and a frog clings to the leaf of a palm tree, while a gold and purple butterfly flutters through the air. There's an impressive variety of trees and flowers, all harmonizing beautifully with each other. 

Panel 2.
A large panel the size of two regular panels. Adrian faces away from his assistants, holding his wineglass and walking towards a fountain as he gestures with both hands. He says "Might I not celebrate the fortunes that have made this *vivarium* possible? A miraculous bubble of *tropicana* set into endless sub-zero *wastes*... Two alien *universes*, separated by a membrane of fragile *glass*. What, in my life, does not deserve celebrating?" The third assistant sits down on the bench next to the other two, and Bubastis hops over one of the golden channels in the ground. The reader sees the scene as if we are on top of the dome looking in. From this angle, we can see that the black basin is triangular, with obelisks and statues at each point leading to three channels that pass through the vivarium's floor. Snow falls in flakes overhead, and the light catches the glass, reflecting off of it.

Panel 3. 
Veidt, putting one foot on the edge of the fountain basin, gestures with one hand, looking into the water, as he says "...But you are *right*, of course. Today marks an event *especially* worthy of such attentions. In many ways, it represents the culmination of a dream more than two thousand years old." One of the attendants' hands is visible in the foreground, holding his half-full wine glass.
Page 8. 
Panel 1.
Adrian's foot rests on the rim of the basin, his elbow resting on his knee and his hand holding his full wineglass. He looks at his reflection in the dark water, dotted with lily pads and populated with small fish, and continues "...Although to uncover the reasons for my current elation, one need not delve quite so deeply into *antiquity*. A mere forty years will suffice, back to my *childhood*."

Panel 2. 
Adrian narrates, "My parents reached America the year I was born, 1939. Entering school, I was already exceptionally bright, my perfect scores on early *test papers* arousing such *suspicion* that I carefully achieved only *average* grades thereafter." A man and a woman, their heads hidden by the speech bubble, stand in front of Adrian. The man, a portly man in a suit and vest with a bow tie, has one hand on his hip and is holding up a paper, and the woman, wearing a cardigan and a long skirt, is wagging her finger at him. A young Adrian is shown in silhouette in front of them, holding a purple book. The three are standing at the front of a classroom, with other pupils sitting at the desks behind them. There's a globe on the desk and an American flag in the corner.

Panel 3.
The attendants listen attentively to Adrian, their expressions serene, as he continues "What *caused* such precociousness? My parents were intellectually *unremarkable*, possessing no obvious genetic *advantages*. Perhaps I *decided* to be intelligent, rather than otherwise? Perhaps we *all* make such decisions, though that seems a *callous* doctrine." Adrian turns and faces the men, spreading out his arms. The men's glasses are half empty, while his rests behind him on the edge of the basin, still full.

Panel 4.
Adrian continues, "By seventeen, my parents were both dead and I faced a *different* decision. My *inheritance* offered life-long idle *luxury*, and yet, needing *nothing*, I burned with the paradoxical urge to do *everything*. Do you *understand*?" A young Adrian sits on a gravestone, his back to the reader, thrown in shadow by the leaves of a nearby tree. He holds a flower in his left hand, and is looking toward the horizon. The grave is fresh, and a bouquet of puffy white flowers has been left by the gravestone. The gravestone has a design of a circle within a circle, underneath which is the name Veidt, his father's name Friedrich Werner and the dates he was born and died, which are too small to be readable, his mother's name Ingrid Renata and the dates she was born and died, which are also too small to be readable. Other headstones and monuments are in the graveyard, and leaves from the tree overhead fall among them.

Panel 5.
Veidt turns back toward the fountain, his hands behind his back, tucked under his cape. He watches the water fall as he continues "My intellect set me *apart*. Faced with difficult *choices*, I knew *nobody* whose advice might prove *useful*. Nobody *living*. The only human being with whom I felt any kinship died three hundred years before the birth of Christ." In the background, Bubastis chases after a butterfly, and in the foreground, one of the servants' hands holds the stem of his wineglass, which is half empty.

Panel 6.
Veidt continues, "*Alexander* of *Macedonia*. I *idolized* him. A young army commander, he'd swept along the coasts of *Turkey* and *Phoenicia*, subduing *Egypt* before turning his armies towards *Persia*..." Adrian as a young man is standing in front of an enormous picture of Alexander the Great, studying it. Adrian is shown in shadow and from behind, holding a piece of paper behind his back in both hands. He carries a camera and a bag slung over his shoulder. The picture of Alexander shows him as a handsome man with blond hair and a facial structure very similar to Adrian's own. Behind him are soldiers in identical helmets, holding spears. In the foreground is a bust of a young woman and a headless marble statue of a woman with her arms out. Adrian continues, "He died, aged thirty-three, ruling most of the civilized world."

Panel 7.
Adrian looks deeply affected, looking up toward the sky and saying "Ruling without *barbarism*! At *Alexandria*, he instituted the ancient world's greatest seat of *learning*. True, people died... perhaps unnecessarily, though who can judge such things? Yet how *nearly* he approached his vision of a united *world*!" Behind him, his attendants' expressions are unchanged. The butterfly flutters a foot over the head of one of the men.

Panel 8.
Adrian continues, saying "I was determined to measure *my* success against *his*. Firstly, I gave away my *inheritance* to demonstrate the possibility of achieving anything, starting from *nothing*. Next I departed for northern Turkey, to retrace my hero's steps." Adrian, shown again in shadow from behind and carrying a large bag over one shoulder, is shown walking down a set of stairs by a pier. In front of him are men in long robes and men with fez hats standing around, with low buildings and buildings with domed roofs and minarets in the background. Some seagulls fly around the scene.

Panel 9.
Adrian continues "I wanted to match his *accomplishment*, bringing an age of *illumination* to a benighted *world*. Heh. I wanted to have something to *say* to him, should we meet in the hall of *legends*." The reader sees Adrian as if we are looking up from the base of the fountain, past the small golden fish and the lily pads. He is tinted green as he looks down at the water, and his expression is amiable.
Page 9.
Panel 1.
Joey is standing outside the office of the Promethean Cab Company. Its logo is a torch, and its slogan is "Bringing Light To The World." She looks over to the side, her cigarette in her mouth and her hands in her pockets, as a voice offscreen says "Hi. Boy, this is some kinda *dump*, right?" The garage door is open, with a taxi inside, and a clock within the office reads 11:20. A purple truck pulls up near the sidewalk.

Panel 2. 
Joey turns to face Aline, the woman with the knot top hairstyle, gesturing with her thumb toward the office and saying "It's where I *work*, okay? Not in some dinky little *magazine* office with a bunch of *guppies!*" Aline gestures with one hand, looking at Joey, and says "You *know* I don't like that term. We should *respect* gay professionals working openly..." The purple truck stops, and the locksmith who repaired Dan's lock climbs out, saying "Hey. Hey, fella, excuse me..." A book titled Knots is poking out of Aline's satchel.

Panel 3.
The man points toward the cab company office, saying "I'm meeting my *brother*, he's the *manager* here. Know where he's *at*?" Joey turns to him, holding her cigarette, and says "Milo's in the front office. Gets off around eleven-thirty." Aline turns away from the two of them, looking back at Joey and saying "Josephine, can we *walk* for a while? I don't *like* this kind of neighborhood." In the background, the woman in the knee-length coat is leaning against the wall, in front of the fallout shelter sign.

Panel 4.
Joey and Aline walk along the sidewalk toward the corner, and Joey points at her, saying "Sure. *You'd* rather be at Madison Square with a bunch'a doped-up *knot-tops*. Like that's more important than *us*, right?" Aline puts her hand to her forehead and says "Oh shit, look, this isn't working out. I don't think there's any way we can salvage this relationship." In the foreground, the woman standing in front of the fallout shelter sign checks her watch. Seen from closer, the reader can tell that she's Gloria. 

Panel 5.
Joey says "Uh-huh. So that's it, just like that? I tried my goddamned *best*, actin' like you *wanted* me to..." She points at the newsstand across the street, saying "See? Over *there*? I put your stupid dyke *disco* poster up..." Aline doesn't look over as she answers "Sure. Same place you buy *Hustler.*" In the foreground, the newsvendor is holding a stack of newspapers, with the headline blaring "*War*?" He looks like he's saying something to the comic-book reading kid, who is sitting against the spark hydrant, reading the comic placidly. Gloria crosses the street, heading for the newsstand, and a car passes by.

Panel 6. 
Standing on the corner of the sidewalk, Joey says "I... Listen, I don't have to justify anything to *you*. I like nice *chicks*, you give me this *political* shit..." Aline, standing in front of her and facing her, says "Josephine, look, I... Aw, please. Don't cry." Josephine answers "*I'm not crying*! Who the hell says I'm *crying*?" In the foreground, the graffiti of the shadow lovers is on the wall of the building near them, and the way Joey and Aline are posed is similar to the way the shadow lovers are posed. The mailbox is in the foreground, with a ripped poster saying "Badges Not Masks" taped to it. In the background, Gloria is near the newsvendor's stall.

Panel 7.
Aline hands Joey a book, pointing to the title, Knots. She looks apologetic, saying "Okay. I'm sorry, I... Look, this book's about *relationships*. I think if you *read* it, it'll help you understand what's *happened* to us..." Joey takes the book, making a fist and saying "I don't wanna understand *shit*! I just wanna go to *bed* with you one time!" In the background, Gloria and the newsvendor are talking next to the stall, outside of the Institute for Extraspatial Studies. The boy continues to read his comic book.

Panel 8. 
Joey's hands are seen ripping the book, Knots by R.D. Laing, in half. She continues, "I, I wanna go to *bed* with you, and..." Aline brings a hand to her mouth, reaching tentatively for the book, and says "Joey, *please*, I can't *handle* this..." Joey says "...And I wuh-wanna be *straight*..." Aline says "Oh Joey, don't..." Between them and across the street, the boy is reading his comic, smoke from his cigarette rising and blowing off to the side.

Panel 9. 
From offscreen, Joey continues "...And, and I wanna be *dead*...!" The boy is reading his comic book, his cigarette in his mouth. The reader sees the scene as if we're reading over his shoulder, looking at a panel of the sailor running through the surf, his hands on his head. The comic book text reads "Eventually I came to an ash-colored shore, a dismal black ocean stretching endless before me. How had I reached this appalling position with love, only love, as my guide?"
Page 10.
Panel 1.
Adrian continues, "I followed the path of Alexander's war machine along the Black Sea coast, imagining his armies taking port after port; ancient blood on ancient bronze. Strangely, before subduing *Phoenicia*,  he struck north towards *Gordium*..." A young Adrian is shown from behind and in shadow, wearing pants with the cuffs rolled up and holding his shoes in one hand as he walks into the surf. The sea ahead of him is placid, and the sun is rising or setting, bathing the scene in shades of yellow and orange. Adrian's bag is on the beach, with books and some other personal items in it, next to his shirt.

Panel 2.
Adrian continues, "...Perhaps because of the *challenge* it presented: the ancient world's greatest *puzzle* was there, a *knot* that couldn't be *untied*. Alexander cut it in two with his sword. Lateral thinking, you see. Centuries ahead of his time." Adrian is pacing with his hands behind his back in front of the container, looking to the water. A golden butterfly flutters behind his head. His wineglass rests behind him on the edge of the basin, still full, and Bubastis stalks around behind the fountain. One of his attendants' hands is visible, holding the stem of his half-full wineglass.

Panel 3.
Adrian continues, "Heading south, he entered Egypt through *Memphis*, where they proclaimed him son of *Amon*, judge of the dead, whose name means quote the hidden one unquote." Adrian is shown as a young man from behind and in shadow, standing with his hands on his hips in front of the Sphinx. The large statue looms in front of him, its face disfigured by its missing nose. Adrian holds his hat in one hand, and his bag is next to him. One of the Pyramids is in the distance, and the sky is clear and light blue. Adrian continues, "Under rule from Alexandria, the classic culture of the great pharaohs was restored."

Panel 4.
A large panel the size of three regular panels. Adrian faces his attendants, gesturing with one hand, and saying "I followed him through *Babylon*, up through *Kabul to *Samarkhand*, then down the *Indus*, where he first met elephants-of-war. Where he'd turned *back* to quell dissent at *home*, I travelled *on*, through *China* and *Tibet*, gathering martial wisdom as I went." In the foreground, Bubastis is pouncing, attempting to catch a frog which leaps away from her. She looks savage and delighted as she leaps into the undergrowth. Adrian's attendants are still sitting on the bench. The one on the right side of the bench is sitting up straight, holding his half-full wineglass by the stem, while the one in the middle has his head bowed, holding his half-full wineglass by the stem on the table in front of him. The one on the left is sitting up straight, mirroring the one on the right.

Panel 5.
Adrian continues, "Alexander returned to Babylon to die of an *infection*, aged *thirty-three*. Amongst its ruined ziggurats, I saw at last his *failings*... He'd not united *all* the world, nor built a unity that would *survive* him." A young Adrian is shown in shadow and from behind. He has his hat on and his bag over his shoulder and is carrying a long walking stick as he stands near a pond, between two palm trees. Far in the distance is one of the ziggurats, hazy in the light of the setting sun. Thin lines of clouds drift behind the structure, and the sky is a deep orange.

Panel 6.
Adrian walks to the side of the bench, facing away from his attendants and gesturing as he says "Disillusioned but determined to complete my odyssey, I followed his corpse to its resting place in *Alexandria*. The night before returning to America, I wandered into the *desert* and ate a ball of *hashish* I'd been given in *Tibet*." In the foreground, the attendant on the left side of the bench is sitting up straight, looking ahead of him with a serious expression. He is still holding the stem of his half-full wineglass, on which a butterfly is perching.

Panel 7.
Adrian continues, "The ensuing vision *transformed*  me: wading through powdered *history*, I heard dead kings walking underground; heard fanfares sound through human skulls." Adrian is shown from behind, entirely naked and colored in shades of hot pink, as his clothes swirl in the wind around him, blowing to the side. He is standing on pink-colored ground amidst small dunes, with his hair blowing in the wind, his legs apart and his arms out to his sides, looking at the sky. The stars in the night sky blaze brilliantly in front of him. He continues, "Alexander had merely resurrected an age of *pharaohs*. *Their* wisdom, *truly* immortal, now inspired *me*!"
Page 11. 
Panel 1.
Adrian, his back to his attendants raises his arms to the sun, saying "What intellectual *magnificence* their system encouraged... *Ptolemy*, seeking the universe's *pivot* from his light-house at *Pharos*; *Eratosthenes*, measuring the world using only *shadows*... Their *greatest* secrets, however, were entrusted to their *servants*, buried *alive* with them in sand-flooded *chambers*." In the foreground, the attendant's expression has not changed as the butterfly leaves his cup, fluttering towards him.

Panel 2. 
Adrian continues, "Adopting Rameses the Second's Greek *name* and Alexander's free-booting *style*, I resolved to apply antiquity's *teachings* to today's *world*. Thus began *my* path to conquest... Conquest not of *men* but of the evils that *beset* them." A young Adrian is shown, from behind and in shadow, placing his circlet on his head. Although he's mostly in shadow, he's clearly wearing his costume, and the sides of his arms and legs gleam gold in his metallic bodysuit. He is looking at himself in a floor-length mirror. To his left is a clock that reads 11:55, and to his right is a large bookcase. The wall is decorated with Egyptian hieroglyphics. In the foreground, on a small circular table patterned with Egyptian designs, is a purple mask and a golden barbell.

Panel 3.
Adrian turns to his servants, his face and body in shadow, and gestures with both hands, saying "Today, that conquest becomes *assured*, in which your unquestioning *assistance* has proven *invaluable*. Do you comprehend the *triumph* to which you have *contributed*, the *secret glory* that it *affords*?" The butterfly lands on the assistant's forehead. His expression does not change, and he continues holding his half-full wineglass by its stem. Adrian continues "Do you understand my *shame* at so *inadequate* a *reward*?" Bands of dark clouds pass overhead, partially covering the sun.

Panel 4.
A large panel the size of three regular panels. The three attendants are sitting on the bench. The head of the one on the right side of the bench is bent backwards, while the one in the middle is leaning forwards slightly. The one on the left side of the bench is sitting with his back straight, the butterfly still on his forehead. Adrian stands in front of them, his hands clasped behind his back. He looks at the three of them with an expression of deeply moved sadness. The bottle of wine, with about a fourth of the bottle remaining, is on the table in front of them, and his own untouched wineglass is on the rim of the fountain basin behind him. To Adrian's left, Bubastis comes padding back out of the undergrowth.

Panel 5.
Adrian walks slowly to a control panel at the end of the pathway, leaving his servants sitting on the bench. The butterfly flutters away from the man's face, and Bubastis follows Adrian. The control panel is futuristic and oval-shaped, with a logo of a golden V over a purple triangle, and there are red roses growing up its base.

Panel 6. 
Adrian opens the control panel, revealing a set of buttons and a display. His expression is mournful. Bubastis stands next to him. A bird flies by in the background.

Panel 7.
Adrian presses a button, looking out towards the glass of the vivarium, his expression sober. Several large flakes of snow appear within the vivarium, and Bubastis looks up, putting her paw up to bat at one.
Page 12.
Panel 1.
The vivarium's dome starts to split open, making a V formation as it parts slowly, and wind and snow blow in from outside, already piling up on the ground at the base of the V. A white long-billed bird and a bird with a long tail split into two fly near the opening, and in the foreground is an exotic yellow trumpet-shaped flower with a ring of orange petals among other red and yellow flowers.

Panel 2.
The dome continues to open, and gusts of snow and wind buffet the plants inside. The birds fly towards the opening, and a huge snowdrift piles up at the base of the V. The trees are already covered with snow, and the delicate plants in the foreground freeze almost instantly, wilting and starting to turn brown.

Panel 3.
The dome opens even wider, exposing everything inside to the snow and wind. Butterflies fly towards the opening as the birds fly out, and the ground is entirely covered by a wave of snow. In the foreground, the plants are now brown and covered with snow. their petals drooped and bent.

Panel 4.
A large panel the size of three regular panels. The sides of the vivarium are continuing to open, and the paradise within it is entirely exposed to the harsh Antarctic wind and snow, with only the tallest trees and some puffs of greenery still visible on the side that was first exposed to the snow. Butterflies and birds fly away, and the snowdrifts cover the bushes and trees as the fountain in the middle ices over and snow starts to pile at the feet of the servants. Adrian and Bubastis stand by the control panel, near a portal leading to a glass tunnel. The area around them still has more greenery, but the snow is encroaching quickly on that side of the dome as well, and the wind blows Adrian's cape around his neck.

Panel 5.
Adrian turns to a rosebush near the control panel, picking a red rose from it as his cape blows wildly in the wind. Bubastis watches him. In the foreground, a snowdrift starts to form on the left side of the assistant with his head thrown back, mostly covering his shoulder and his ear, seeping between his neck and his shirt and starting to collect on his face.

Panel 6.
Adrian holds the rose to his nose as he and Bubastis walk into the glass tunnel leading away from the vivarium. In the foreground, the snowdrift grows over the assistant, covering half of his face and both of his shoulders.

Panel 7.
The tunnel closes behind Adrian and Bubastis as the snowdrift nearly covers the man. Only his nose, his open mouth, part of his chin and a few tufts of his hair can now be seen as the snow and wind blow past him.
Page 13.
Panel 1.
The comic book text reads, "Behind me, distantly, a lynch mob howled. The moneylender floated at my feet. Noble intentions had led me to atrocity. The righteous anger fueling my ingenious, awful scheme was but delusion." The sailor, colored in red, is seen running on the shoreline, his feet splashing in the green water. In the foreground, the face of the moneylender he killed is shown face up almost completely submerged in the water, with only his nose, mouth, chin and forehead visible. The clouds in the background are black and ominous. From offscreen, a voice says "*Morally*, we oughtta strike *first*."

Panel 2. 
The newsvendor is holding a stack of newspapers, with the headline blaring "*War*?" He faces the comic-book reading kid, who is sitting against the spark hydrant, reading his comic placidly, and says "We gotta protect *our* women and kids, even if *theirs* die. That's morally logical." Gloria crosses the street, heading for the newsstand, and a car passes by. In the background, Joey and Aline pass the fallout shelter sign, walking towards the corner of the sidewalk. The comic book text continues "Where was my *error*? The freighter was heading for *Davidstown*. It should have already *arrived*. My deduction was *flawless*, step by step..." 

Panel 3. 
The comic book text continues, "Pausing, I stood panting, sobbing, listening to the windburn sound of my pursuers, closer now as breath returned. Planning to resume my flight, I raised my head..." The sailor is pictured standing by the sea, his hand starting to reach toward a ship on the horizon. The ship is a large freighter with black sails, and it's silhouetted by the full moon, the light from which reflects on the sea, turning it a sickly shade of green. A voice from offscreen says "Excuse me?" Another voice answers "Oh. Hi." The comic book text continues "...and *saw* her."

Panel 4.
Gloria is standing in front of the newsvendor, asking "My husband's a gentleman of *color*, buys his *paper* here nights? Has he been *by*?" The newsvendor gestures with one hand, pointing his thumb towards the sidewalk down the street as he says "Hm. Dunno. Maybe the black guy sells watches up the *street* knows him..." The boy continues to read the comic, and the comic book text reads "She seemed to be *waiting*, not hovering to *strike*..."  In the background, Aline is offering Joey the book.

Panel 5. 
From offscreen, Gloria says "*What*? You think we're all in some *Negro* club; that we all *know* each other?" From offscreen, the newsvendor replies "Huh? Say, I didn't mean no *harm*..." The sailor is wading through water up to his elbows, making his way toward the freighter. Seen closer, there's a skull and crossbones logo on its black sails. The full moon shines behind it, and the dark clouds billow out behind it. The comic book text continues, "Gradually, I understood what innocent intent had brought me to, and, understanding, waded out beyond my depth."

Panel 6.
Gloria, her hands in her pockets, looks down the street and says "Look, forget it. I see my husband now. Thanks for your *time*." The newsvendor turns back to his stall, patting down the Gay Women Against Rape poster and saying "Sure. Don't *mention* it." The comic book reading boy continues to read, and the comic book text continues, "The unspeakable truth loomed unavoidably before me as I swam towards the anchored freighter, waiting to take extra hands aboard." In the background, Joey is tearing apart the book.

Panel 7.
The comic book text continues, "There'd *been* no plan to capture Davidstown, What could a mortal township offer those who'd reaped the wealth of the *Sargasso*?" From offscreen, the newsvendor says "See? Brink o' *war*, everybody gotta *fight*!" The sailor is now swimming through the green-tinted sea, drawing ever closer to the Black Freighter. The comic book text continues "The ship was larger, nearer. I kept swimming." 

Panel 8. 
The newsvendor continues "That's what's *wrong* with this world: no incentive to be *nice*: you try to *help*, you wind up in *trouble*..." The boy continues reading, and the comic book text reads "All my well-meaning plans had come to this. I choked, spat out brine and struck grimly on." Gloria crosses the street, walking towards Malcom, who is walking on the opposite sidewalk. In the background, the Utopia Theater can be seen, with its marquee poster advertising The Day The Earth Stood Still.

Panel 9.
The newsvendor continues, "...So where's the *percentage*?" The comic book text continued, "They'd come to Davidstown to wait until they could collect the only prize they'd ever valued, claim the only soul they'd ever truly wanted." The Black Freighter looms large in front of the sailor's hands as he swims. Its shadowy crew can be seen on its deck, waiting for him, and a seagull flies overhead. The comic book text continues, "My shoulders ached. The ship was massive now."
Page 14.
Panel 1.
Dan and Rorschach approach Karnak. We see the scene as if from Rorschach's perspective, with his gloved hands gripping the handlebars of the hovercraft in the foreground. Dan is several feet in front, his white feather-patterned coat curving around his body. The wind is blowing furiously, and the hovercrafts stir up large clouds that billow out to the right and left of Dan and Rorschach. To the left is a black obelisk, and in the distance is a ruined palm tree, its dead leaves fluttering in the gales of wind. Karnak looms large ahead of them, its thin, tall windows like stripes of light in the distance. There are no longer any traces of the glass vivarium walls.

Panel 2.
As they come nearer the building, Dan turns his head, gesturing to something ahead of him, and says in small text "... On the... think.. see an entrance... going to .. her up..." Rorschach calls "What?" The closed tunnel entrance is still far ahead of Dan, but the palm tree is closer.

Panel 3.
As Dan makes his way past the palm tree towards the closed tunnel entrance, Rorschach follows him, saying "Hurm." The wind dies down slightly, and the leaves of the palm trees hang limply off the top of the tree. 

Panel 4.
A large panel the size of three regular panels. Dan is standing in front of the circular tunnel entrance, which is tightly closed with a retractable door. He says "Yeah.. It's some sort of door. I think I can burn out the *lock mechanism*." To his left is the rose bush, with its red roses still visible, and behind him are the doors of the control panel Adrian used to open the vivarium. The panel itself is nearly entirely buried in snow. Rorschach stops to observe the palm tree, standing with one foot on his hoverbike and saying "Palm trees, buried in snow. Doesn't make sense." Behind them, Karnak is all lit up.

Panel 5.
Dan is kneeling near the door, burning at the lock mechanism with a small laser tool. He says "Please, let's just get *inside* and worry about one mystery at a *time*. All this *whiteness*, I'm feeling sort of *exposed*. Up *here*, we don't have any *camouflage*. We're out of our natural *environment*." Rorschach parks his hoverbike next to Dan's, walking over to the door. In the foreground, the gold and purple butterfly is lying in the snow, one wing partially covered by a snowdrift.

Panel 6.
Rorschach, standing near the portal, says "Nervous?" The door retracts, and Dan slides into the glass tunnel on a flood of snow, replacing his laser tool back in his utility belt and saying "There. Open sesame. Well, my *stomach* feels weird and my *balls* are all shriveled up, so, yeah, I guess quote nervous unquote will do." 

Panel 7.
The two of them walk through the glass tunnel toward Karnak as Dan continues, "Y'know, this must be how *ordinary* people feel. This must be how ordinary people feel around *us*."
Page 15.
Panel 1.
Dan and Rorschach walk into a large room with a high ceiling that is covered with various machines, computers and tools. There's a large domed piece of machinery to the left, and several control panels to the right. In the foreground, seen from the side, is the control panel, window and door leading to the now empty room. The side of the window is colored red. Dan looks around as he removes one of his gloves, saying "Jesus, *look* at this place. I thought *I* had some *stuff* in the *Owl's Nest*... I mean, what the hell is *that* thing? Half this equipment I don't even *recognize*..." Rorschach adjusts his coat as he answers "Can ask Veidt, when we find him." 

Panel 2.
Dan and Rorschach look through the window to the empty room, and the reader sees them through it as if we're inside the room. Dan says "Hm. Actually, that's a *point*. How *do* we approach him? What do we *say*?" Rorschach, looking at Dan, says "Nothing. Subdue him first, if possible. May not get second chance. Ask questions later." 

Panel 3. 
Dan and Rorschach walk away from the window and the control panel, going up a couple of steps towards the two sets of double doors. Dan, still wearing his white coat with the hood pushed back, looks back toward Rorschach as he says "Yeah. I suppose you're right, but it's going to feel awfully *strange*. He's such a caring, conscientious *guy*. He's a *pacifist*, he's a *vegetarian*..." Rorschach, his hands in his pockets, answers "Hitler was vegetarian. If bothers you, leave Veidt to me. Suggest we proceed quietly from here."

Panel 4.
A large panel taking the space of three regular panels. Dan and Rorschach walk into Adrian's large observation room, underneath the painting of Alexander cutting the Gordian knot. To their left is Adrian's chair and recording equipment, facing the thirty-six screens, which are on and showing an array of people, buildings, advertisements and images of war. To the left are the clocks showing the time in London and New York. In London it's 4:43, while in New York it's 11:43. The flowerbed in the foreground is sunken into the ground, and the grand pillars are designed with V-shaped Egyptian-style patterns.

Panel 5.
Rorschach, his hands in his pockets, looks around the room as Dan starts walking up the stairs.

Panel 6.
Rorschach looks around as he reaches the top of the stairs. Dan walks through the hall near a line of pillars decorated with Egyptian-style patterns.

Panel 7.
Dan, standing partially behind one of the pillars, looks toward a lit area and motions to Rorschach, who is a few paces behind him.
Page 16.
Panel 1.
Dan and Rorschach are seen from the waist down, standing near some pillars. Dan gestures to Adrian, who is sitting at a dining room table with his back to them. He's eating alone, and seems entirely unconscious of their presence.

Panel 2.
Rorschach walks cautiously down a couple of stairs onto the dining room floor, with Dan hanging back near the pillars. The reader sees the scene as if we're sitting across from Adrian at the table. His tableware is golden, and he holds his knife and fork, looking at the large V-patterned golden tureen in front of him with a suspicious expression. There are a few other, smaller covered golden dishes on the table, along with a bottle of wine and a golden glass. The red rose is placed by the tureen. 

Panel 3.
The scene as seen from Adrian's perspective. His hands put his fork down on his plate and reach for the napkin. His head and shoulders are indistinctly reflected in the gleaming surface of the  tureen in front of him. A second figure approaching him from behind is also faintly reflected in the tureen.

Panel 4.
The scene as seen from Rorschach's perspective. Only a few feet away from the back of Adrian's chair, he reaches his gloved hands toward him. In front of him, Adrian wipes his mouth with his napkin, continuing to look toward the table. His posture and demeanor seem unchanged from behind.

Panel 5.
Adrian is shown in profile as Rorschach's hands reach for his neck, only inches away. Adrian's posture does not change and he continues to look straight ahead of him, but his eyes look off to the side. He tosses his napkin onto the table and holds his fork in his left hand. The background is black.

Panel 6. 
Adrian dodges to the side, grabbing Rorschach's right arm and pinning the cuff of his coat to the table with a fork. Rorschach, thrown off balance, falls forward slightly. Adrian's expression is calm and serious. The background is bright orange.

Panel 7.
A large panel the size of three regular panels. Adrian knocks Rorschach backwards with a punch, saying "Manners." Rorschach's right arm is still pinned to the table, but his body and other arm fly backwards, and his hat falls off his head. Dan approaches the two of them, removing his small laser tool from his utility belt.
Page 17.
Panel 1.
Dan stands behind Adrian, raising the laser and gesturing as if he's hesitant to use it. He says "Adrian..." Adrian, facing the table, turns his head toward Dan. He pulls the golden lid off of the tureen. Rorschach's hand is visible on the table next to him, still pinned down by the fork.

Panel 2. 
Dan and the background are bathed in red as he activates the laser tool, which appears to be a small circle of light in his hand. He points it at Adrian and says "...Don't..." 

Panel 3.
Dan continues, "...Make..." He fires the laser at Adrian, but Adrian, smiling confidently, uses the back of the tureen lid as a shield, blocking the beam of white light and causing it to reflect harmlessly towards the ceiling. Adrian and the background are also bathed in red.

Panel 4.
Dan continues to fire the laser, sending a beam of white light towards Adrian, but Adrian ducks and it passes over his shoulder as he throws the tureen lid toward Dan. Dan is saying "...Me..." The scene is bathed in red, except for the gleaming golden tureen lid.

Panel 5. 
Dan makes a "Kgguh" noise and drops his laser tool as the tureen lid smacks him in the nose and bounces off of his face, flying up and away from him. The force of the impact knocks Dan backwards, causing a spurt of blood to erupt from his nose. The background is bright yellow.

Panel 6. 
Adrian walks over in front of Dan, crunching the laser tool under his right foot. Dan is kneeling on the ground, holding his hand to his nose, which is pouring blood. A thin stream of blood falls to the polished floor, forming a puddle between his knees.

Panel 7.
A large panel the size of three regular panels. Adrian walks over to the table and pours a glass of wine, his posture regal and one hand resting behind his back. He is facing away from the two kneeling men as he says "Now... What can I *do* for you?" Rorschach is by the table next to Adrian's overturned chair, attempting to free his coat from the fork that's pinned him down, while Dan is kneeling a few feet away from the table, wiping his nose. His other hand is covered in blood, and there's a pool of blood in front of him, next to the tureen lid and the broken laser tool. In the background of the dining room is a huge map that nearly covers one of the large, wide walls, a few framed pictures, a full bookshelf decorated with a globe and a replica of a boat, and a smaller table with a pyramid on it.
Page 18.
Panel 1.
Dan, holding his bloody nose, grimaces and curls his hand into a fist as he looks up and says "You *know* Dammit, you *know* what this is about! *Pyramid Deliveries* are behind this whole *mess*, and *you're* behind *Pyramid*. Christ, Adrian. What are you trying to *do*?"

Panel 2. 
Adrian, holding his wineglass and standing with his back to the two men, answers "What we *all* tried to do, after our initial struggle to find our feet. I'm trying to *improve* the world. Like when I started out." Dan, still holding his nose, starts to stand up, while Rorschach is trying to pull the fork out of the table.

Panel 3. 
Adrian continues, "My first *case* made it seem possible to end injustice by demolishing *crime syndicates*." Adrian is shown in his costume with his back to the reader, facing a large man sitting at a table with a young woman. The man is Asian, wears a blue suit and black tie, is bald and has a beard and mustache. He looks up fearfully at Adrian, raising one hand in a protective gesture. The woman is Asian, has long black hair and is wearing a blue sleeveless dress. She clings to the man and looks up at Adrian with a frightened expression. In the foreground is a third Asian man, sitting next to a large brown paper-wrapped package with his head bowed. He's grimacing, and there's blood on the front of his shirt. There's a folding screen with a Japanese landscape pattern behind the man and woman, and the scene is lit with Japanese-style lanterns. Adrian continues, "This notion, that criminals monopolized evil was *itself* demolished by my *second* case."

Panel 4.
Adrian turns to face Dan, turning his back to Rorschach, putting his wineglass down on the table and gesturing as he says "Researching my masked *predecessors* I investigated the mid-fifties disappearance of *Hooded Justice*. An *operative*, government sources revealed, had tried *unearthing* him back then, reporting *failure*." Dan is holding a white handkerchief to his nose, not meeting Adrian's eyes. In the foreground, Rorschach has freed his cuff and is using both hands to pull the golden fork out of the table. The background is golden yellow.

Panel 5.
Adrian continues, "Unearthing the operative, tracing him to *Dockland*, proved *easier*. Edward Blake." Adrian is shown from behind, facing Blake, who is standing in a relaxed position, one ankle crossed over the other, his hand at his belt, and his elbow resting on a nearby box next to a bottle as he smokes a cigarette.  Thin clouds of fog drift through the scene, and a rat is climbing on a box in the foreground. Adrian continues, "As intelligent men facing lunatic times, we were very *alike*, despising each other *instantly*."

Panel 6.
Adrian continues to talk to Dan, who is now facing him, but still holding the handkerchief to his nose. Adrian says, "*Recognizing* me, he attacked *anyway*, quote 'mistaking me for a criminal' unquote. I studied his *limitations*: skillful *feint*; devastating *uppercut*; little *else*... He won. In the *short* term." Adrian gestures and picks up a placemat that one of the golden vessels had been resting on. The placemat is also branded with the V over a triangle. In the foreground, Rorschach manages to pull the fork free of the table, recoiling as it comes loose. The background is golden yellow.

Panel 7.
Adrian continues, "Had Blake *found* Hooded Justice, *killed* him, reporting *failure*? I can prove nothing. We next met in 1960. I *avoided* him, more fascinated by *Jon*." Adrian is at a party of some sort. He's shown from behind in his costume, shaking hands with Jon. Jon is wearing the first version of his costume, the black bodysuit that covers everything but his hands, head and neck. Some other people mill about in the background under an orange banner, including Blake, who is talking to a woman. In the foreground, Hollis Mason is standing with his hands on his hips. He's wearing his costume, and apparently talking to Mothman, who is offscreen except for the edges of his semi-transparent wings, which cover up Mason's face and the face of the woman that Blake is talking to.

Panel 8.
Adrian looks down at the placemat as he faces Dan, saying "Still, I *observed* Blake over the *years*... Know what? He was in *Dallas*, minding *Nixon*, the day *Kennedy* died. Nobody's sure why *Nixon* was there." In the foreground, Dan holds the bloodied handkerchief up to his nose, some blood spilling onto his glove. Rorschach attempts to sneak up on Adrian, raising the fork above his head as if intending to strike with it. The background is golden yellow.
 
Panel 9.
Adrian continues, "Ever read J.F.K.'s intended speech? Quote We in this country, in this generation, are by destiny, rather than choice, the watchmen on the walls of world freedom unquote." Adrian is shown from behind in his costume, sitting in a chair in front of a shelf holding three T.V.s stacked in a pyramid formation on top of each other. The T.V. on top shows the Capitol building and the tall obelisk of the Washington Monument, the one on the bottom left shows J.F.K. standing in front of a flag, and the one on the bottom right shows J.F.K. being assassinated as he rides in an open limousine. A large box containing recording equipment and a microphone are on an Egyptian-patterned table next to Adrian, and the clock in the background reads 11:55. There is a cat sitting on the ground next to him, looking up at the screens, and his cape hangs on a coat hanger in the foreground.
Page 19. 
Panel 1.
Without turning around, Adrian twists his body and reaches behind him with the placemat, blocking Rorschach's attempt to stab him in the neck with the golden fork. The tines of the fork pierce through the placemat. Adrian continues "Was he *rehearsing* it, perhaps, as the motorcade reached the *plaza*... Never suspecting that on the walls of world *tyranny*, cross-hairs watched *him*." The background is a vibrant red.

Panel 2. 
Adrian continues, "We all realized then how *bad* things were. I continued *adventuring*, but it seemed *hollow*. I fought only the *symptoms*, leaving the disease itself *unchecked*." Adrian is shown from behind in his full costume, holding a man's limp body by the lapels in one hand and facing down a young Moloch. Moloch has his back to the wall, his expression trapped, and is wearing a tuxedo with long tails. Above him is a large picture showing several naked female demons stabbing at men with pitchforks while surrounded with flames. Tables to the right and left of the two men hold slot machines, while a roulette wheel has been thrown to the ground in the foreground, chips and papers spread all over the floor. Another person lies on the ground behind Adrian, apparently senseless.

Panel 3.
Adrian turns to Rorschach, pulling his mask to the side of his face and using the placemat to knock the fork out of his hand. Rorschach stumbles backward as Adrian continues "I despised myself; my sham *crusade*. Knowing mankind's problems, I'd *blinded* myself to them. I felt *hopeless* against forces greater than any I'd *anticipated*." The background is red.

Panel 4.
Adrian continues "Too *cowardly* to *confront* my *anxieties*, I had life's black comedy explained to me by the Comedian himself at the *Crimebusters* fiasco in '66. I'm sure you *remember*." Adrian is shown from behind, sitting in a chair while Blake stands in front of him, looking down at him scornfully and pointing at him as he smokes his cigar. Dan stands behind Blake and to the left, touching his hand to his mouth thoughtfully, while Rorschach stands behind Blake and to the right, checking his watch. Behind Rorschach, Laurie smiles over at Jon, who is looking at her. Nelson's map is on an easel next to Dan, and the clock in the background reads 11:55.

Panel 5.
Adrian holds Rorschach by the shoulder as he frantically tries to re-adjust his mask with both hands. Adrian's expression is serious and calm as he brings his fist back behind his head. He says "He discussed nuclear war's *inevitability*; described my future role as quote 'smartest guy on the cinder' unquote... and opened my *eyes*. Only the *best* comedians accomplish *that*." The background is red. 

Panel 6.
Adrian continues, "I remember the charred *map* between my *fingers*; Nelson saying quote 'Someone's got to save the world' unquote, his tremulous, complaining voice... That's when I understood." Adrian is shown from behind, looking at the map as it burns up from the bottom, smoke rising from the charred edges to the ceiling. To his right is Nelson, looking distraught as he looks away from Adrian and gestures.

Panel 7.
Adrian continues "That's when it hit me." He's laid Rorschach flat with a punch, and Rorschach tumbles to the ground, his mask still askew and his fingers curling. Dan holds his handkerchief in his hand, watching the scene with dismay. The background is red.

Panel 8.
Adrian continues, "Consoling Nelson, I *left*. Outside, Blake argued with *Laurie* and her mother. I swore to deny his kind their last black laugh at Earth's expense." Adrian is shown from behind near his car, watching Sally pointing at Blake and pushing Laurie behind her near the front gate of Nelson's mansion. Blake is standing in front of Sally and facing away from Adrian, his arms spread out. A cloud passes over the full moon, and the scene is lit by the skyscrapers in the distance.

Panel 9.
Adrian walks away from Rorschach and Dan, saying "I *also* swore that when next I met *Blake* or any *other* foe, though perhaps not on my *territory*... It would certainly be on my *terms*." In the foreground, Dan helps Rorschach stand up, his head turned to watch Adrian walk toward the pillars in the background.
Page 20. 
Panel 1.
The newsvendor is standing in front of his stall, holding a newspaper and looking across the street, where Gloria is standing next to the curb, facing Malcom on the sidewalk near the Promethean Cab Company's open garage, underneath the company's sign. She says "Hi. Fancy meeting you here." Malcom answers "Gloria?" In the foreground, the comic-book reading boy continues to read his comic, smoke from his cigarette trailing past the spark hydrant. The newsvendor's newspaper headline reads "War?" in huge letters, while the back of the boy's comic advertises "The Veidt Method." 

Panel 2.
Gloria's face is tired and concerned as she gestures toward him and says "I knew you came this way *home*, so I figured I'd meet you from *work*. I'm not ready to visit back at the *apartment* just yet." Malcom, facing her, repeats "quote 'Just yet' unquote?" On the corner of the sidewalk behind them, Joey is ripping pages out of the book Aline gave her, and Aline has her hands to her mouth. 

Panel 3.
The two continue their conversation in the background, with Gloria saying "Well, I *want* to come back. I *miss* you, Malcom. I miss the person you *were*... But I can't live with someone who feels driven to help *hopeless cases*, then lets *their* misery affect *our* lives." In the foreground, Joey is throwing the book and the pages at Aline's face. Aline steps back, holding her hands up protectively and looking terrified.

Panel 4.
Gloria gestures toward Malcom, her expression worried, and says "If you can promise me you'll ask for a transfer to different work with different *patients*, I can come home... If that's what you *want*." Malcom answers "Gloria, of *course* that's what I want, but, uh..." He is looking down the street, at Joey and Aline. Joey is holding Aline by the lapels of her jacket, facing her angrily, while Aline gestures and steps backward.

Panel 5.
Gloria says "Well, *do* it! I'm not going to share you with a world full of *screw-ups* and *manic depressives*. I'm not going to share *my* life with them. Malcom? Malcom, are you *listening* to me?" Gloria has her hands to her hips and is facing toward him, while Malcom is looking past her, at Joey and Aline. Joey is pushing Aline down to the ground, and Aline loses her balance, her hands flying to the side as she falls among the scattered pages of the book.

Panel 6.
Malcom walks away from Gloria towards Joey and Aline, saying "Gloria, I'm sorry... Those *people*... they're *hurting* each other..." Gloria, standing behind him, says "*Malcom*? Don't you *dare*! Don't you *dare* get involved! Didn't you listen to a word I just *said*?" Aline is on the sidewalk, pushing her upper body up with her elbow and protecting her head, her expression terrified as Joey starts to kick her leg. Pages from the book swirl around them and fall on the ground near Aline. The clock in the Promethean Cab Company garage reads 11:20.

Panel 7.
Malcom faces away from Gloria, but turns his head back to her, looking apologetic and sad as he answers "Gloria, please. I *have* to. In a world like *this*... I mean, it's all we *can* do, try to *help* each other. It's all that *means* anything... Please. Please understand." Gloria looks at him angrily. In the background, Joey is kicking Aline in the chest, and Aline reaches out as she falls backwards. Across the street, the comic-book reading boy continues reading his comic. On the other side of the street behind them, the Utopia Theater is advertising The Day The Earth Stood Still.

Panel 8.
 The comic-book boy continues reading his book, smoke from his cigarette drifting toward the sky in a thin, wavy line. From offscreen, Gloria answers "Malcom, I'm *warning* you! You let yourself get drawn towards another heap of somebody else's *grief*, I don't want to *see* you again!" Malcom's hand gestures as he walks away from her, and he answers "Gloria... I'm *sorry*. It's the *world*..."

Panel 9.
From offscreen, Malcom continues, "I can't *run* from it." The comic book reading boy continues to read, and we see the scene as if we're reading over his shoulder. The comic book art shows the sailor reaching the side of the boat, while the text continues "Its dark and lurching mass filled all my vision. I saw the heads nailed to its prow, heard drunken laughter; encouragements barked from the decks above... Closer, it came. Closer."
Page 21.
Panel 1. 
Adrian continues from offscreen, "Brutally, I'd been brought nose to nose with mankind's *mortality*; the dreadful, irrefutable *fact* of it. For the first time, I genuinely understood that Earth might *die*. I recognized the *fragility* of our world in increasingly hazardous times..." In the foreground, the purple and gold butterfly lies in a snowdrift outside the tall, thin windows of Karnak. Snow continues to fall on the scene, partially burying the butterfly, and the bright light from inside the building spills out over the snow.

Panel 2.
The reader sees Adrian through one of those windows, as if we're looking in from outside. The walls to the side of the window are purple, while everything seen through the window is overlaid with a bright yellow tone. Adrian is standing on a balcony near large Egyptian-patterned pillars, holding on to the rail and looking over the side. In front of him is the grand staircase leading to his room with the screens. He continues "...And yet what could I *do*? My *first* step was to stand back as far as I could, to view the problem from a fresh *perspective*, my *vista* widening with my *comprehension*." Large flakes of snow fall outside, passing the window. 

Panel 3.
Adrian, standing on the balcony between two pillars and looking down, continues, "I saw *East* and *West*, locked into an escalating *arms spiral*, their mutual terror and suspicion mounting with the *missiles*, making the possibility of disarmament progressively more *remote*. Gradually, I closed upon the *heart* of the dilemma." 

Panel 4.
A large panel the size of three regular panels. Adrian continues as he stands with his back to Dan and Rorschach, "Here was a knot to try even *Alexander's* ingenuity. Both sides *realized* the suicidal *implications* of nuclear conflict, yet couldn't stop racing *towards* it lest their *opponents* should *overtake* them. Afraid of their *weapons*, afraid of *losing* them, afraid to *blink* or turn their *backs*..." Dan and Rorschach walk away from the table toward the balcony where Adrian is standing. Rorschach is adjusting his mask, while Dan is still holding his handkerchief to his nose. On the floor behind them are the tureen lid, the puddle of Dan's blood, the broken laser and the placemat with the fork sticking out of it. To their right is a living room-like space, with a couch, a coffee table with a pyramid sculpture on it, a large stereo system, a tall potted plant and a cabinet with bottles on top of it.

Panel 5.
Adrian is still standing near the balcony, his hands on the railing and his back to Rorschach and Dan, as he says "Meanwhile, expensive arsenals meant less cash to spend upon their *old*, their *sick* and *homeless*; on their children's *educations*. As stockpiles *grew*, as *computers* reduced human *involvement*, the spectre of *accidental apocalypse* stalked ever *closer*." Rorschach walks a few feet in front of Dan, approaching Adrian's back with his hands in front of him, as if he means to strike. Dan walks behind him, reaching a hand out toward Rorschach. In the foreground, Bubastis walks towards the three men, and the reader sees the scene as if we're walking behind her. The hallway is dotted with sarcophagi leaning against the wall.

Panel 6.
Adrian, still facing away from the two men, walks toward the end of the balcony, gestures with one hand and says "Simply given the *mathematics* of the situation, sooner or later *conflict would be inevitable*. However, without a practical *solution* at hand, what use was it to suddenly notice the *perils* of the situation?" Rorschach reaches out for Adrian's back, but Dan puts a warning hand on his back, looking towards Bubastis. Bubastis is walking closer to the three men, and the reader sees the scene as if we're standing behind her.

Panel 7.
Adrian continues to walk to the top of the stairs, his back to the two men as he says "Similarly, a *solution* would be *equally* useless... unless one possessed the *muscle* to back it up; the brute *power* to see one's will *implemented*." Rorschach hangs back next to Dan, his hands still out in front of him, and the two of them look warily at Bubastis, who is now very near them. Adrian continues, "I took another step back, and thought again." The reader sees the scene as if we're standing behind Bubastis.
Page 22.
Panel 1.
Adrian, followed at a distance by Dan and Rorschach and accompanied by Bubastis, starts to descend the grand staircase. He says "*Other* factors emerged: *arms expenditures* boosted international *lending* rates. To repay soaring *debt interest*, nations like *Brazil* levelled their *forests*. Nuclear *power*, providing vital weapons-grade *waste*, became *mandatory*. War *aside*, atomic deadlock guided us downhill towards environmental *ruin*." In the foreground, past the bottom of the stairs, are a vase and a sculpture of an ancient boat.

Panel 2. 
Adrian and Bubastis are about halfway down the stairs, with Dan and Rorschach just starting to go down them. Adrian, his hands clasped behind his back, continues, "*Jon's* presence *accelerated* this, though less than you'd *imagine*. *Any* significant *power imbalance* would yield *similar* results. Nevertheless, he somehow *symbolized* mankind's *problems*. As tensions *rose*, the *elevation* of costumed heroes became a *descent*..."

Panel 3.
Adrian has nearly reached the bottom of the staircase, Bubastis padding a couple of stairs in front of him, and Dan and Rorschach are halfway down. Adrian looks to the side and continues, "I foresaw that by the late *seventies*, it would reach *bottom*. This left *ten years* to build a *fortune* and *reputation* to sustain me *beyond* that point, allowing me the *power* and *leverage* I'd surely *need*."

Panel 4.
A large panel the size of three regular panels. Adrian, turning right to walk towards the side of the large room with the monitors, continues "Developing the basic patent for public *spark hydrants*, I financed *Dimensional Developments* with the *proceeds*. My plan required preparation for the day when I'd assume the aspect of kingly *Rameses*, leaving Alexander the *adventurer* and his trappings to gather *dust*." Dan and Rorschach follow him down the stairs. The reader sees the three of them as if we're standing in the room to the left of the staircase. This room appears to be devoted to artifacts, and in the foreground is a large glass case containing a set of Greek armor patterned with graceful swirls, stars and geometric shapes. There is a gorgon's head over the chest, while over the stomach is what looks like a creature that's half man, half sea creature with long, gracefully curling tentacles. In front of this is an ancient sword and a Greek helmet with a tall plume, with a design that leaves only the eyes, mouth and chin exposed, as well as some small fragments and what looks like a cat's head statue. There are more statues and artifacts behind this case, although they can't be made out, and what looks like pottery underneath it. Another case is set against the side of the great staircase, and it holds a cart with a long pole coming from it, similar to the one in the painting by Veidt's monitors. There's a large vase and a chair on opposite sides of this case, and above it is a painting of an ancient-style wooden ship with one sail.

Panel 5.
Veidt continues walking, gesturing and holding one hand behind his back, as he continues, "Each step had to be taken *carefully*, constantly striving to keep in mind the enormous *scale* of what was at *stake*! The *Earth*. *Humanity*. All we've ever *known*... Quote 'End of the world' unquote does the concept no *justice*." Dan follows, with Rorschach hanging a step behind, looking around him. Bubastis pads alongside Adrian. The tall, thin windows of Karnak show the dark, snowy night outside.

Panel 6.
Adrian gestures as he continues, "The world's *present* would end. Its *future*, immeasurably *vaster*, would *also* vanish. Even our *past* would be cancelled. Our struggle from the primal *ooze*, every *childbirth*, every personal *sacrifice* rendered *meaningless*, leading only to *dust*, tossed on the *void-winds*." Bubastis walks ahead of Adrian, and Dan and Rorschach walk side by side behind him. The group is seen as if the reader is looking from outside Karnak through one of the windows. Snow falls, and snowdrifts pile up over the windows and the base of the building.

Panel 7. 
Adrian continues, "Save for Richard Nixon, whose name adorns a plaque upon the *moon*, no human vestige would remain. Ruins become *sand*, sand blows *away*... all our *richness* and *color* and *beauty* would be *lost*... as if it had never *been*." The same window, seen from slightly further away. The three men are no longer visible, but in the foreground, only one tip of the gold and purple butterfly's wing is visible poking out of the snow.
Page 23.
Panel 1. 
The comic book text continues, "The world I'd tried to save was lost beyond recall. I was a *horror*: amongst horrors must I *dwell*. A rope snaked down. Spluttering, I grabbed it..." The sailor's hand is shown reaching out of the sickly green water towards a thick rope, knotted at the end, with the Black Freighter's prow looming in front of him. From offscreen, a voice says "See, people don't reach *out* and make contact."

Panel 2.
The comic book text continues, "...And from the decks above a cheer went up, both gross and black, its stench affronting heaven." A banner underneath this reads "The End." The newsvendor is standing next to his stall, looking down at the stack of papers that he's holding. One of the papers is flipped over his hand, revealing the headline, which reads "War?" He continues, "That's why there's this *commotion* all the time, this *conflict*. People don't *connect* with each other." He takes a piece of string from his pocket. Beside him, the comic book reading boy continues to read, taking a drag from his cigarette. Their backs are to the scene on the opposite sidewalk, where Joey is throwing the torn pages at Aline near the fallout shelter sign.

Panel 3. 
The newsvendor looks over at the boy, his expression glum, as he starts to tie up the bundle of papers and says "It's like, you been coming here *weeks*, readin' that junk over an' over, an' yet we ain't exactly *close*..." The boy doesn't look up from his comic book as he answers "'Cause they don't make *sense*, man! *That's* why I gotta read 'em over." He holds his cigarette, exhaling a line of smoke. Behind the two men on the opposite side of the street, Joey is pushing Aline onto the ground.

Panel 4.
The newsvendor looks straight ahead, his expression melancholy as he ties a knot on top of the bundle of papers. He says "That ain't the *point*. Listen, when my *Rosa* died, most of our *friends* were *her* friends: they stopped *calling*. I took this job to *meet* people, y'know? *So*... what's your *name*? Whaddya *doin'* here?" The boy looks up from his comic and off to the side. Behind them on the opposite side of the sidewalk, Joey is kicking Aline's leg.

Panel 5. 
The boy looks up at the newsvendor and says "My name's *Bernie*. I'm here because my mom's *working*, an' my sister, she's out too, and these *hydrants* are *warm*, y'know?" The newsvendor looks down at the boy, holding his bundle of papers in both hands in front of him, and smiles warmly. He says "*Bernie*? Short for *Bernard*? Well I'll be *horsewhipped*! That's *my* name!" Behind them, on the opposite sidewalk, Aline is trying to get up, and Joey is kicking her in the chest.

Panel 6. 
Bernie looks back over at his comic book, saying "So? Ain't no big *deal*. *Lotta* people called *Bernard*, man. Don't *signify* for nothin'." Bernard answers "Well, sure, but..." He looks over at the sidewalk opposite them, where  Aline is hunched over and Joey is kicking her shoulder. Malcom is running toward the two of them, his hand outstretched. Bernard says "*Wait* a minute. What the hell's going *on*...?"

Panel 7.
Steven Fine and Joe Bourquin are riding in a police car, passing the graffiti of the shadow lovers. Joe is driving, while Steve is in the driver's seat, holding a cigarette. Steve looks to the left, where Joey is still kicking Aline, and says "*Fight*. Pull *over*." Joe answers "Steve, you just got *suspended*. This ain't your *problem*. Some *other* unit can handle it." Steve answers "I'm still *me*, Joe. Pull her *over*." In the background, Malcom is approaching the two women, gesturing pleadingly, while Gloria is behind him.

Panel 8.
Joe turns on the sirens, pulls the car up to the corner of the sidewalk and gets out as Joey continues to kick Aline and Malcom takes her arm to try to hold her back. Gloria stands behind him, her arms out. In the foreground, the man selling watches starts packing up his table as he looks to the side, saying "Aw *shit*..." From offscreen, a voice says "Listen, *Milo*, you leave work *early* for a beer with your *brother*, business ain't gonna *collapse*." Another voice, presumably that of Milo, answers "No, but... Hey... *police*. What's *happening*?"

Panel 9.
Milo and the locksmith from the Gordian Knot Lock Company are standing outside the open garage. Milo points down the street, saying "That's *Joey*! That's one of my *drivers*, in a *fight*..." The locksmith adjusts his baseball cap, one hand on his hip as he says "*Hell*! Another *minute*, we'd have been *gone*. Talk about lousy *timing!" In the foreground, the watch-seller's hands close the lid of his case. The clock in the cab company's garage reads 11:24.
Page 24.
Panel 1.
Adrian walks toward his wall of screens, Bubastis in front of him and Jon and Rorschach behind him. He continues, "Each step was *synchronized*. Jon, being too *powerful* and *unpredictable* to fit my *plans*, needed *removing*. Thus, Dimensional Developments hired his past *associates*..." Dan, gesturing at Adrian, says "...And gave them *cancer*?"

Panel 2. 
Adrian stands in front of the screens, petting Bubastis' head as she sits down and starts licking her paw contentedly. He answers "Yes. Weaver first, Slater and Moloch *later*. Unwittingly exposed to *radiation*, they were closely *observed*, cultivated as weapons against *Jon*. Meanwhile, taking advantage of new *technology*, I researched *genetics*... Bubastis was an early success... and *teleportation*." Dan stands and looks at Adrian, with Rorschach standing slightly behind him.

Panel 3.
Adrian looks back at the two of them and, gesturing, says "Since Jon proved teleportation *possible*, why develop electric *cars*? My researches were *vital*... like my *island*, secretly purchased in 1970. The only hero retaining public *sympathy*, I quit two years before the *Keene Act*, concentrating on my *plan*." Dan and Rorschach stand, watching him.

Panel 4.
Adrian continues, "Unable to unite the world by *conquest*... Alexander's method... I would *trick* it; frighten it towards salvation with history's greatest *practical joke*. That's what upset the *Comedian*, when awareness of my scheme crashed *in* upon him: professional *jealousy*." There is a booted foot kicking in a door, breaking the chain lock and the strike plate. The Comedian, sitting in a chair facing the TV and holding a drink, turns away from the evening news to look as the door is kicked in, an expression of surprise and dismay on his face. The scene is colored in yellows, oranges and reds.

Panel 5.
Rorschach's finger points at Adrian's face, and Rorschach says "Blake's murder. You confess?" Adrian looks steadily at Rorschach and answers "Confession implies *penitence*. I merely regret his accidental *involvement*. Returning from *Nicaragua* by *air*, he spotted a *ship* docking at an uncharted *island*. Suspecting *Sandinista bases*, he resolved to *investigate*." Adrian's front side is in purple shadow as he turns to face Rorschach, with the bright screens behind him showing different images. Most of them are cut off, but the one right behind Adrian's head shows a naked long-haired woman climbing onto a bed.

Panel 6.
Adrian continues, "I *picture* him, swimming to the *island*, dagger in *teeth*, penetrating his *installations*. What he *found* must have come as a terrible *blow*." Blake has just taken a punch from Adrian's gloved left hand. His head snaps to the side and his arms fly out to each side, and his head hits the wall, knocking over an illustration of a cheerful naked woman posing in front of a pulp-fiction style lunar landscape. A spurt of blood erupts from his mouth. The smiley face pin is fastened to the front of his robe. The scene is colored in yellows, oranges and reds. Adrian continues, "Imagine.. the perfect *fighting man* discovering a plot to put an end to *war*..."

Panel 7.
A large panel the size of three regular panels. Adrian continues, "...An end to *fighting*..." Steve and Joe rush out of the police car, their sirens blaring with red light. Malcom puts his hand on Joey's shoulder, pushing her away from Aline in mid-kick. Joey and Aline both look up at him in shock. They both have tears streaming down their faces. Across the street, near the Institute for Extraspatial Studies, Bernard starts crossing the street toward the fight with his newspapers under his arm, and Bernie stands up. Kitty-corner from the fight, people are starting to leave the Utopia Theater, and Madison Square Garden can be seen down the road a block or two away, with its large sign advertising Pale Horse and Krystalnacht. In the foreground, the shadow lovers embrace.
Page 25.
Panel 1.
Dan gestures with his thumb, looking at Adrian and asking "How could *genetics* and *teleportation* end *war*?" Behind him, Rorschach is standing with his hand on his chin, looking to the side. Adrian's hands are in the foreground, gesturing with their palms up, as he answers "Well, without Jon's guiding *mind*, teleportation proved *limited*. Anything *living* died of shock upon *transfer*, or materialized in an occupied *space* and *exploded*..." 

Panel 2.
Adrian continues, "...But *that* wasn't what Blake found on the island. He found a collection of missing *artists* and *scientists*, working upon a monstrous new *life form*. Upon learning the creature's intended *purpose*, Blake's practiced cynicism *cracked*." Adrian's hands are holding Blake by the front of his robe and bashing the back of his head into the mirror. Blake has his eyes closed and is grimacing, one of his bottom front teeth missing and blood pouring from his mouth. The scene is colored in yellows, oranges and reds, with the smiley face bright yellow.

Panel 3.
Adrian turns away from the two men, his hands clasped behind his back, and continues, "Though *appalled*, *exposing* my plan would precipitate *greater* horrors preventing humanity's *salvation*. Even *Blake* balked at *that* responsibility, telling only *Moloch*, who he knew wouldn't *understand*... But I had Moloch's place *bugged*, and *I* understood *perfectly*." Bubastis walks next to him, her long, thin ears framing Dan's worried face. Rorschach stands behind Dan, watching Adrian.

Panel 4.
Adrian continues, "The plan Blake had uncovered was *this*: to frighten governments into *co-operation*, I would convince them that Earth faced imminent *attack* by beings from another *world*. I'm afraid the discovery rather drove the *wind* from his sails." Blake is on the floor, trying to push himself up with one arm, blood pouring from his mouth onto the carpet. His eyes are squeezed shut and he looks like he's gasping. Adrian is beside him, visible from the knees down. In the background is the window and beyond that are the other buildings of the city, their windows lit up. The scene is colored in yellows, oranges and reds. 

Panel 5.
Dan's hands are visible in the foreground, raised toward Adrian with the palms up as he starts laughing, saying "Ahha... Ha ha ha! Adrian, come on, what... You're *serious*?" Adrian, facing away from the two men and walking toward the large doors underneath the painting, turns back towards Dan. His face is serious, and he gestures as he says "Perfectly. An intractable problem can only be resolved by stepping beyond *conventional solutions*. *Alexander* understood that, two thousand *years* ago, in *Gordium*."

Panel 6.
Adrian continues, "*Blake* understood, too. He *knew* my plan would *succeed*, though its scale *terrified* him. That's why he told *nobody*. It was too big to *discuss*... But he *understood*. At the *end*, he understood." Blake is being held upright by the front of his robe. Blood covers his face and chest, his mouth hangs open, and he looks wearily at Adrian. His pin has been spattered with blood. The scene is colored in yellows, oranges and reds.

Panel 7.
A large panel, the size of three regular panels. Adrian continues, "He understood the *portents*, knew a dazzling *transformation* was at hand for *mankind*. The brutal world he'd *relished* would simply cease to *be*, its *fierce* and brawling *denizens* rushing to join the *mastodon* in *obsolescence*... In *extinction*." Joey looks angrily at Malcom, knocking his hand away and pushing him back. His cap goes flying as Gloria comes up behind him. Aline is sitting up on the sidewalk, shielding her face with her hand. Steve and Joe are approaching the sidewalk, while a man leaving the Gunga Diner with several boxes of takeout looks over at the scene. Bernard has started to cross the street, his newspapers with the "War?" headline under his arm, while Bernie has also stood up and has dropped his cigarette in the street by the curb, putting it out with his foot. The watch seller has his case in his arms as he walks past the newsstand, looking over at the scene. One of the men coming out of the Utopia Theater, wearing a leather jacket, long shirt and knot-top hairdo, starts walking towards the corner where Joey is attacking Aline, while a couple behind him watches the scene and other people leave the theater. In the distance, in the sky beyond the buildings, is a large elephant balloon advertising the Gunga Diner.
Page 26.
Panel 1.
Adrian faces Dan and Rorschach as he continues, his expression dignified and serious, "After *Blake*, I neutralized *Jon*. Stolen  *psychiatric reports* indicated his mental *withdrawal*. The *cancer allegations* made it *physical*. By then, Rorschach's *mask killer* hunt needed stopping. My *own* quote assassination unquote, confirming his erroneous theory, placed me beyond *suspicion*."

Panel 2.
Adrian continues, "I'd hired my own killer through a third *party*. When I fed him the *cyanide capsule*, perhaps he *realized* this. *I* knew only *triumph*... *Nothing* now stood between *me* and my *goal*. Humanity's *fate* rested safely in my *hands*." Adrian holds Blake's limp body over his head, looking down. There's a large splash of blood covering the right side of his face, and his expression is determined. Blake's smiley face pin hangs down from the front of his robe, stained with blood, and Blake's bloodstained face is mostly hidden by Adrian's head. The scene is colored in yellows, oranges and reds.

Panel 3.
From offscreen, Dan asks "Adrian, this is *crazy*. Who'd believe an alien *invasion*?" Dan, facing the two men, has a serious expression on his face as he answers "*Hitler* said people swallow lies *easily*, provided they're *big* enough. I planned to build my *monster*, teleport it to a certain *destination*..." From offscreen, Rorschach says "Said teleportation unworkable." 

Panel 4. 
A large panel the size of two regular panels. Adrian answers "It works *fine*, assuming you *want* things to explode on *arrival*. Teleported to *New York*, my creature's *death* would trigger mechanisms within its massive *brain*, cloned from a human *sensitive*... The resultant psychic *shockwave* killing half the *city*." In lurid reds and black, Blake has just been thrown out of the window. Shards of glass fly as he splays out his arms and legs, looking back at Adrian in shock as he falls. His smiley face pin has come off his robe, and it flies in the air above him. We only see Adrian's forearms and hands. In the background are the skyscrapers and lights of the city.

Panel 5.
Dan's expression is compassionate and sad as he turns to Adrian, gesturing with the palms of both hands face up. He says "Adrian, I'm *sorry*... you need *help*. I know this quote *half New York* unquote plan is bullshit, but I'm *still* glad we got here before you got deeper *into* this mess. Christ, you seriously *planned* all this mad scientist stuff?" There's a splash of red blood over the left side of Dan's white cape. Behind him, Rorschach stands with his hands in his pockets. The background is light yellow.

Panel 6.
A large panel the size of three regular panels. Dan continues, "I mean, when was this hopeless black fantasy supposed to *happen*? When were you planning to *do* it?" Malcom is holding his briefcase in front of his head, shielding himself from Joey, who is grabbing at it. Aline is trying to get to her feet and reaching out to Joey. Gloria has her hand on Malcom's arm. Steve and Joe run towards them, with Steve nearly reaching Joey and Joe carrying a pair of handcuffs. Bernard is halfway across the street, with Bernie adjusting his glasses as he follows him, and the watch-selling man looks at the scene as he turns the corner, holding his case close to his chest. The man from the Utopia theater looks behind him, pointing at the scene as he walks toward it, and the man leaving the Gunga Diner stands outside the door, still carrying his takeout. There are some other patrons in the Gunga Diner, their faces obscured by the glass, and a few more pedestrians walking down the street. In the distance, beyond the police car parked in the street, there's an ad for mmmeltdowns and a clock that reads 11:24. A zeppelin flies in the sky over a tall skyscraper.
Page 27.
Panel 1.
A large panel the size of three regular panels. Adrian stands before Dan and Rorschach, his hands clasped behind his back and his expression solemn. He answers "*Do* it? Dan, I'm not a Republic *serial* villain. Do you seriously think I'd explain my *masterstroke* if there remained the slightest chance of you affecting its *outcome*? I did it thirty-five minutes ago." He is framed by the gigantic painting of Alexander cutting the Gordian knot.

Panel 2.
Dan and Rorschach look at Adrian. Rorschach's face is hidden by his mask, but Dan is aghast and stunned. They're shown in profile, in front of the two rows of yellow clocks showing the time in various locations. The only one that can be made out is the time for New York, reading 11:59.

Panel 3.
A large panel the size of three regular panels. Joey has opened Malcom's briefcase, and papers scatter down around them. Aline is still getting to her feet, reaching out to Joey, and Gloria is still behind Malcom. Steve is standing next to the group, his arms out warningly, while Joe is grabbing Joey's shoulder, holding the handcuffs. Milo and his brother walk toward the scene, the Gordian Knot delivery truck parked behind them, the watch vendor rounds the corner past the Institute for Extraspatial Studies, the man with the knot-top heads through the empty intersection and Bernard is about halfway across the street, looking over at the fight. Bernie, following him with his comic book under his arm, looks behind him, where the glass windows of the Institute for Extraspatial Studies are starting to shatter.
Page 28.
Panel 1.
This panel, and all of the other panels until the final one, is half the size of a regular panel. Steve and Joe are seen through the windshield of their police car, looking behind them. The light behind them is bright blue, and whatever they're looking at is reflecting light onto their faces, turning them an unnatural shade of light green. The clock on the dashboard of the car reads "11:25."

Panel 2.
Joey and Aline turn toward the light. Joe's hand is still on Joey's shoulder, while Steve's hand is reaching towards Aline. Joey is frozen with her hands curled up in fists, tears streaming down her face as she looks toward the light in horror. Aline, still kneeling on the ground in front of her, raises her hand in in front of her face as she looks toward the light with a shocked expression. Malcom's Rorschach blot cards fall around them, and the fallout shelter sign is behind Joey's head. The light is turning them light bluish-green.

Panel 3.
Malcom is kneeling on the ground, the contents of his open briefcase falling out in front of him. Gloria is standing behind him, her arm over his chest. They both look to the side, their faces filled with fear and shock. The light washes them out in shades of light green and light blue.

Panel 4.
Milo and his brother stand underneath the Promethean Cab Company sign. Milo is raising his hands out in front of him, looking on horrified, while his brother is turning his body away, but is still looking in front of him, his expression also fearful. The light seems to be growing stronger, as it's bleaching the two of them into a shade of unnatural light blue.

Panel 5.
The watch-selling man looks behind him with a shocked expression, his case opening and the watches spilling out of it. The light is growing increasingly strong, making his skin and clothing appear light blue and white.

Panel 6.
Bernie looks up, dropping his comic book and raising his hand to his chest. His mouth is open, and his eyes are hidden by the reflection from his glasses. Behind him, Bernard looks up, his expression horrified. The bright light in front of them turns their faces entirely white. The watch on the boy's wrist reads 11:25.

Panel 7.
Bernie stands in the street, facing the Institute for Extraspatial Studies with one hand up to his face and the other out to the side, and Bernard turns back toward him, reaching out for him. Glass rains down from the Institute's windows, and the papers attached to the side of the newsstand start to tremble. The building in front of them appears to be totally white.

Panel 8.
Bernard drops his bundle of newspapers, the knot coming untied, and runs toward Bernie, reaching for him. Bernie turns around towards him, his arms askew. A bright light from the Institute causes their shadows to stretch out far beyond them, and the Institute's sign can barely be read any longer.

Panel 9.
Bernie and Bernard are shown in profile, reaching for each other. Bernie looks up at Bernard, and his cap flies off. They're colored in bright blue where the light hits them and heavy black shadows everywhere else. The dropped newspapers skid away across the street. The background is entirely white, with small black flecks and dots.

Panel 10.
Bernard maneuvers himself between Bernie and the Institute, leaning forward and attempting to shield Bernie as they catch hold of each other. The two are colored entirely in heavily shadowed black and white. The black dots around them grow smaller, and the newspapers blow away, the question mark on the headline of one of them visible in the corner. 

Panel 11. 
Bernard holds Bernie to him, cradling the boy's head against his chest as Bernie's left arm stretches out. They're colored all in black against a white background with just a few, tiny dots, and seem to be disintegrating.

Panel 12.
Bernard and Bernie appear to be one large shadow of disintegrating black dots against a pure white field, the shape of their embracing bodies reminiscent of the shape of the blood on the Comedian's smiley-face pin.

Panel 13.
A large panel the size of two and a half regular panels. It is entirely white.

Panel 14.
A half-sized panel with a white background and white text that reads "My name is Ozymandias, king of kings: Look on my works, ye mighty, and despair! Ozymandias, Percy Bysshe Shelley." 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 11:59.

Supplementary Material Page 1.

A page from a magazine. The left half of the page shows a picture of Adrian Veidt standing between two horizontal bars, with a pair of gymnastics rings hanging down to the side. The thin, tall windows of Karnak are in the background. Veidt has his tunic slung over one shoulder like a towel, showing off his muscular chest and torso in his tight golden bodysuit, and is smiling confidently. Bubastis is posed behind him, lying on the ground with one paw crossed over the other and looking directly at the camera.
The title of the piece is After the Masquerade, which is in ornate type, while the subtitle is "Superstyle and the art of humanoid watching." Underneath this is a black and white image of a domino mask, its strings trailing to each side.
A second subtitle reads: 
Doug Roth visits Antarctica to interview Adrian Veidt.
 
VEIDT: "The frightening thing about the campaign to re-elect the president is that in the wake of the victory in Vietnam, I don't see how they can fail. C.R.E.E.P.! What a terrible acronym. I wonder who coined that one? Somebody who watched too many ‘Man From U.N.C.L.E.' episodes in the sixties... Liddy, or one of those other Washington humanoids."

Quote "Humanoids" unquote. I'm sitting talking with a retired superhero in a glass dome filled with tropical flowers and hummingbirds, while outside the Antarctic wind builds snowdrifts against the glass. I would imagine myself beyond surprise by this point, yet the sudden use of such an odd term is startling. Have I detected a hitherto unnoticed contempt for we humans behind that eminently likable golden facade? Why quote "humanoids" unquote? I put this to him, and he chuckles.

VEIDT: "I'm sorry, it's a sort of one-man private joke. I've been referring to Nixon's close subordinates as humanoids since I heard about the banquet... and this is true, I promise... where one of the presidential aides spilled a glass of water over Vice-President Ford. The aide was incredibly apologetic, obviously, but Ford just smiled and said quote Oh, that's okay. Nobody's human unquote. (Laughter) I've called 'em humanoids ever since." 

Small text at the base of the page says "Continued." Under the column of text is the line "Photo Courtesy of Triangle Inc. Copyright 1975.

On the top of the page is the line "Nova Express / July 12, 1975." The text is bordered with an elegant frame made with a thick line and a thin line. The article continues.

The laughter of Adrian Veidt is deep and rich, filled with a warmth I hadn't anticipated as the jet he'd arranged lowered me gently from the black white Antarctic sky towards the dangerously small-looking black hyphen of the landing strip, set into the endless pack ice far below. The landscape was hard and cold, too big to get grips with, and I expected much the same of any man who'd choose to live in it.
The plane was met at the landing strip by three enthusiastically friendly Vietnamese men who led me between obelisks of dark marble with rolling purple highlights towards the fortress dominating the nude white reaches beyond.
Servants? My liberal sensibilities recoiled at the concept with a predictable knee-jerk. Later, however, on learning that the men had been Vietcong refugees in danger of losing their lives in the purges following America's victory without Veidt's intervention, I wasn't so sure. Since Antarctica is owned by no nation, the men are theoretically safe from extradition, and their nominal boss seems to treat them more as respected friends than as lackeys. Certainly, they themselves seem deliriously happy with both their lot and their landlord.
"Quote Mr. Veidt has made the effort to understand our culture. He talks to us often concerning our religious beliefs, asking many questions unquote." The man who tells me this is sincere and heartfelt in his testimonial, showing an almost fatherly protective anxiety that this magazine should not misrepresent his employer.
"Quote He is not one of your pop music stars. He does not inject drugs, or treat young women badly. Make sure that you say that unquote."
When we reach the fortress, Veidt is still completing his daily workout in a gymnasium of vast, almost dreamlike proportions, where parallel bars meet at infinity. I'm cordially invited to watch while he finishes up, and as I observe that perfect swiss-watch of a body twirling and circling above me in easy defiance of gravity, all my earlier doubts concerning Veidt's accessibility return.
There he is, right up there above me: the man. Adrian Veidt. Ozyman... whoops. Uh-uh. We don't call him that anymore, do we? The mask is gone, but as he loops the high bar in slow, graceful centrifuge he still wears the golden leotard, and the headband. Every girlfriend I've had in the past four years has wanted to lay this guy, more than Jagger, more than Springsteen or D'Eath or any of those also-rans, and now here I am, squinting up at him, and yes, goddamn it, I have to goddamned admit that he looks like a goddamned god! I can't quite believe he'll submit to being interviewed by someone so obviously mired in the dregs of the gene pool as myself...
...but here he comes, dropping to the floor, picking up the purple towel that I realize later is actually the tunic of his costume, and wiping himself beneath the arms with it in a distinctly Homo sapiens fashion. He's walking towards me, his smile somewhere between Jackie Coogan and J.F.K., sticking out a hand that grips mine strongly enough to make me glad it's friendly. He glances towards the gymnasium windows, outside which a blizzard seems to be commencing and smiles again.
"Quote Not the sort of snow you're used to in California, Mr. Roth unquote."
A coke joke! Adrian Veidt, Ozy-freakin'-mandias himself has just told me a *coke joke*! Whoooo-ee! We fall easily into conversation from that point on, and after he's dressed he takes me for a tour of his fortress, opulent beyond the wildest dreams of Versailles. We end up in a large section of the main hall where one wall appears to be entirely covered with TV screens, all tuned to different channels. It is here that we hold our interview, and I notice his eyes often drifting across the riot of clashing images as we speak. It's only after I express worries concerning background noise and my recording equipment that he thinks to turn the sound of the multiple televisions down. They don't seem to affect *his* concentration at all.

Before launching into my interview spiel, I take a breath and remember why I'm here. Almost lost in the cacophony surrounding the old Trickster's Constitutional amendment scam, one of America's best-respected and most consistently left-leaning super heroes quietly retired from crimefighting to pursue a career in business. When this magazine phoned him to ask why, he kindly offered to fly me up to his Antarctic retreat where he could conduct the interview in comfort. Exhaling, I press the record button and begin. 

NOVA: So, how do you get to be a superhero? Were your parents rich? I mean, did that give you advantages?
VEIDT: No more than I could help. My mother left me a lot of money when she died, but I gave it to charity when I was seventeen. I wanted to prove that I could accomplish anything I wanted starting from absolutely nothing. Also, I wanted to free myself of concern for money. Consequently, it's never been a problem for me. To answer your question, you get to be a superhero by believing in the hero within you and summoning him or her forth by an act of will. Believing in yourself and your own potential is the first step to realizing that potential. Alternatively, you could do as Jon did: Fall into a nuclear reactor and hope for the best. On the whole, I prefer to stick to my own methods. (Laughter)
NOVA: You'll forgive me for saying so, but isn't that philosophy a little Norman Vincent Peale? That self-realization stuff? How exactly do you exploit that potential to the degree that you obviously have?
VEIDT: The disciplines of physical exercise, meditation and study aren't terribly esoteric. The means to attain a capability far beyond that of the so-called ordinary person are within reach of.

Page 3.

The interview continues:
everyone, if their desire and their will are strong enough. I have studied science, art, religion and a hundred different philosophies. Anyone could do as much. By applying what you learn ordering your thoughts in an intelligent manner it is possible to accomplish almost anything. Possible for the quote "ordinary person" unquote. There's a notion I'd like to see buried: the ordinary person. Ridiculous. There is no ordinary person.

Above the interview is a picture of Adrian, wearing an elegant smoking jacket and turtleneck. His arms are crossed, and he's looking at the camera, his expression wise and confident. His face is heavily shadowed, as he's standing in front of his wall of TV screens, and the light from the screens illuminate the sides of his face and his shoulders and arms. The screens show a baseball game, a politician in front of the American flag, scenes of protesters holding signs, an ad for Nostalgia perfume showing the bottle on a table next to a champagne glass and cufflinks, the news, an advertisement for mmmeltdowns, several missiles in the air, a mushroom cloud, a classroom, Benny Anger, a pirate, a woman sitting on a couch, scenes of a devastated city, a Mickey-Mouse like cartoon character and a boxing match.

NOVA: Returning to your costumed career, why did you quit?
VEIDT: There were a number of reasons, but I suppose basically it boiled down to my increasing uncertainty about the role of the costumed hero in the seventies. What does fighting crime mean, exactly? Does it mean upholding the law when a woman shoplifts to feed her children, or does it mean struggling to uncover the ones who, quite legally, have brought about her poverty? Yes, I've busted drug rings and been accused of being an establishment spawn for doing so... that happened a lot in the sixties. I've also uncovered plots by breakaway extremist factions within the Pentagon, for example the plot to release some unpleasantly specific diseases upon the population of Africa, the exposure of which led to the New Frontiersman denouncing me as a quote "Puppet of Peking" unquote on the strength of my youthful travels through the East. I guess I've just reached a point where I've started to wonder whether all the grandstanding and fighting individual evils does much good for the world as a whole. Those evils are just symptoms of an overall sickness of the human spirit, and I don't believe you can cure a disease by suppressing its symptoms. That whole Contac-400 approach to our society's problems, I despair of it. It doesn't work. Maybe as a businessman I can do more good, on a more meaningful scale.
NOVA: What sort of world do you see it being, in the future?
VEIDT: That depends upon us... each and every one of us. Futurology interests me perhaps more than any other single subject, and as such I devote a great deal of time to its study. Even so, technology is progressing at an ever-accelerating pace, and by early next century I would hesitate to predict *any* limitations upon what we might be capable of. I would say without hesitation that a new world is within our grasp, filled with unimaginable experiences and possibilities, if only we want it badly enough. Not a utopia... I don't believe that any species could continue to grow and keep from stagnation without *some* adversity... but a society with a more human basis, where the problems that beset us are at least *new* problems.
NOVA: You don't think there's possibility we may have damaged the environment beyond repair, or that we might someday have a fatal nuclear showdown with the Soviets? Continued.
Another line of text at the bottom of the page reads "Photo courtesy of Triangle Inc. Copyright 1975.

Page 4.

VEIDT: Of course. Of course I do. I'd be ignoring the facts if I didn't accept those things as strong possibilities. As I said, it all depends on us, on whether we, individually, want Armageddon or a new world of fabulous, limitless potential. That's not such an obvious question as it seems. I believe there are some people who really do want, if only subconsciously, an end to the world. They want to be spared the responsibilities of maintaining that world, to be spared the effort of imagination needed to realize such a future. And of course, there are other people who want very much to live. I see twentieth century society as a sort of race between enlightenment and extinction. In one lane you have the four horsemen of the apocalypse..
NOVA: ...and in the other?
VEIDT: The seventh cavalry. (Laughter)
NOVA: Changing the subject entirely, do you listen to music? I wondered what your tastes might be, as a superhero...
VEIDT: I like electronic music. That's a very superhero-ey thing to like, I suppose, isn't it? I like avant-garde music in general. Cage, Stockhausen, Penderecki, Andrew Lang, Pierre Henry. Terry Riley is very good. Oh, and I've heard some interesting new music from Jamaica... a sort of hybrid between electronic music and reggae. It's a fascinating study in the new musical forms generated when largely a pre-technological culture is given access to modern recording techniques without the technological preconceptions that we've allowed to accumulate, limiting our vision. It's called dub music. You'd like it, I'm sure.
NOVA: How do you get on with the rest of the superhero fraternity? Some of them seem very right-wing in contrast with your own stance. I'm thinking of Rorschach, the Comedian, Dr. Manhattan...
VEIDT: *Jon*? Right-wing? (Laughs) If there's one thing in this cosmos that man *isn't* capable of doing it's having a political bias. Believe me... you have to meet him to understand. I mean, which do you prefer, red ants or black ants?
NOVA: Uh...? Well, I don't have any particular preference...
VEIDT: Exactly. Well, imagine how Jon feels. Rorschach, I don't know very well. I believe he's a man of great integrity, but he seems to see the world in very black and white, Manichean terms. I personally believe that to be an intellectual limitation.
NOVA: And the Comedian? I understand there's no love lost between you. I heard that he beat you in combat, back when you were just starting out...
VEIDT: Yes, well, that was a case of mistaken identity and general misunderstanding. For some reason it happens a lot when costumed crime-fighters meet for the first time. (Laughter)
NOVA: But you and the Comedian don't like each other?
VEIDT: My, but you're determined, aren't you? (Laughs) No, we're not great friends. It's largely a political difference. He sees me as an intellectual dilettante dabbling in national affairs that don't concern me. I see him as an amoral mercenary allying himself to whichever political faction seems likely to grant him the greatest license. The difference is as simple and as profound as that.
NOVA: There's no general sense of disillusionment with your fellow crime-fighters, then?
VEIDT: Not at all. Some of my dearest friends are numbered amongst them. I wish them all nothing but luck in the years that lie ahead.
NOVA: In closing, you've often been referred to in the press as the world's smartest man. Is that true, and does it bother you?
VEIDT: No, that isn't true, but it's flattering and I don't mind a bit. If somebody wants to call me the world's best-groomed man, then hey, that's okay too. (Laughs) No, no, I don't mind being the smartest man in the world. I just wish it wasn't this one. 
The interview ends with an icon of a star similar to the one used in the Nova Express logo.

Underneath the end of the interview is an advertisement for Nostalgia perfume. It shows a black-and-white drawing of the perfume bottle, and it reads "The Times They Are A 'Changing." The sentence is split into three lines, and the top line is in a rounded font reminiscent of the 1960s and 70s, the middle line is in a more futuristic font while the bottom line is in a computer readout font. Underneath the lines is the text "Nostalgia by Veidt."

The page opposite the end of the interview is almost entirely red. At the very bottom is half of a clock, with a red, white and black edge and Roman numerals. The time is 11:59. Blood has covered nearly the entire page. Most of the clock is still visible, along with some of the black field behind it, but the blood has breached the border of the clock, oozing between the 10 and 11.