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

Chapter 12.
Cover.
The words "Chapter XII" are printed vertically in chartreuse on black over the left third of the page. Above them is a chartreuse and black clock with no numbers or markings that indicates that the time is 12:00. The right two-thirds of the page show part of a yellow clock face seconds away from midnight, with the little hand already pointing to the XII and the big hand nearly lined up with it. Two wide, fresh streams of blood are pouring down the face of the clock to either side of the number and the hands, dripping from the top of the page and continuing down the length of the page. Several drops and rivulets of blood spread away from the two main streams, with a couple of drops on the small hand. The clock appears to be on a dark surface with a few shallow pits in it.
Page 1.
The entire page consists of one panel. The blood-stained clock, part of which was shown on the cover and now reads 12:00 exactly, is on a wall in the middle of the page, mounted over six large windows. All of them besides the leftmost window are broken, with only shards of glass still attached to the frames, and the leftmost window is heavily cracked, with a corpse's cheek and hand pressing up against a large crack at its base. Dozens of corpses are shown piled up by those windows, slumped over each other three or four people deep. Their positions and expressions are contorted and chaotic. Two people are nearly falling out of the windows, one face down and bent at the hips, his arms and long ponytail trailing to the left of the clock, and one face up, his chest pierced by a large triangle of glass still attached to the windows and a length of chain wound around his wrist. Most, if not all of the dead people are white and appear to have been wearing knot-top hairstyles, leather jackets and similar symbols of that subculture. Derf and his girlfriend are among them, their contorted faces pushed up against the window frame. Blood drips down from the unseen upper levels of the building and streams from the corpses over the wall and over the large clock in torrents down to the ground floor, where even more contorted, tightly-packed corpses are piled up several people deep. There are easily hundreds of corpses visible in this picture, with a layer of corpses near the cracked and askew glass doors, then another layer ringed around the outer hallway of the stadium and even more visible within the stadium itself. One of the cracked plate glass doors has a sign on it reading "Madison Square Garden, Pale Horse and Krystalnacht, November 2nd," with a banner pasted over the top reading "Sold Out." There's a splash of blood on the door that's shaped like the one on the Comedian's smiley face pin, as well as a bloody handprint near the sign. Several small pieces of yellow paper are floating down from the upper level to the ground level, and one reads "G-3265." Clouds of smoke are coming from within the first and second levels of the building, floating past the corpses and outside the building. A sign on the inside hallway of the building reads "November 2nd Pale Horse" and shows pictures of the band members. The scene is liberally splattered with blood, with blood from the upper levels starting to reach the corpses on the lower levels, and several splotches of blood on the walls of the inner hallway.
Page 2.
The entire page consists of one panel. Madison Square Garden as seen from the street in front of it. The scene from the previous page is shown to be only a small fraction of the ground level and first floor of a ten story-high stadium. Corpses spill out of the doors and into the street, where cars are overturned and bodies slung over them. A huge sign, more than twice the size of the scene from the previous page, reads "November 2nd Pale Horse in concert with Krystalnacht," while the sign underneath it reads "Madison Square Garden," with large pictures of the members of Pale Horse underneath it. Several corpses are slumped in a bus shelter near the pictures, and other bodies are piled up near the building's walls. The windows on the higher levels are almost all broken or cracked, with more corpses behind them or nearly falling out of them. Thick red smoke pours from several of the windows and floats up toward the sky. In the foreground of the image is part of what looks like a large, multicolored tentacle, apparently arcing down from a high spot offscreen towards the ground offscreen. The tentacle is patterned with a series of raised rounded rectangles on the cool-colored bottom side, giving it a textured look, three wavy lines down its length and red bumps over the pink and green top of the tentacle. Far beyond it, a zeppelin has crashed into the top of a skyscraper, with smoke drifting into the air at the site of impact. Smoke rises from the windows of another skyscraper in the background. To the right, on the block in front of the stadium, all of the windows of an apartment building are broken. One woman slumps out of a window, her hair blowing in the wind and a stream of blood pouring onto the wall below her. Red curtains blow out of another broken window. A car has crashed into the windows on the bottom floor of the building, and the driver has fallen out, his back on the sidewalk and his hat nearby. A dog's corpse is nearby him. Another corpse seems to have fallen from a window above onto the car, and he lays limply on the roof, blood pouring down the back windshield and onto the sidewalk. The street is scattered with corpses and large chunks of concrete, as well as some of Bernard's scattered newspapers, with their headlines reading "War?" Across the street from the apartment building is another building with shattered windows. The fire hydrant on the corner is spouting water, and the streetlamp on the sidewalk is bent at an angle, its light broken. Near the streetlamp is another one of the tentacles, green blood oozing around the spot between the sidewalk and the street where it's sunken deep into the ground. On the street in the foreground, a man lies face up with a large block of concrete on his chest, surprise on his face, another man is lying face down, his arms at an awkward angle, and a woman is lying on her side, her blood running into the gutter. Several of the watch-seller's watches are on the street, and his case lies on the ground near a block of concrete.
Page 3.
The entire page consists of one panel. The front of the Utopia Theater, with the corpses of about a dozen patrons spilling out of the ticket office and down the stairs onto the sidewalk, their blood running down the steps and into the gutter. Some of them have the knot-top hairstyle, while some are dressed conventionally. The poster reading "The Day The Earth Stood Still" is tattered, and a stream of blood runs down from the top of the building, partially covering the text and dripping onto the stairs underneath. There are chunks of concrete on the stairs and on the street. The T from the Utopia sign has fallen down, lying against the leg of one of the corpses, so that the sign reads U Opia. Smoke is billowing from inside the building, and the windows are smashed. One of the corpses leans against a partially knocked over lamp-post with a sign on it reading "One Way" which has been tilted towards the theater. Another lamppost is poking through the Gunga Diner elephant balloon, which has fallen to the ground next to the theater. It is ripped in places, showing the framework beneath it, and the glass of the cab is broken. The sidewalk sign for The Day The Earth Stood Still is leaning against the balloon. One of the newspapers reading "War?" is blowing in the air near the stairs. Another multi-colored, alien-looking tentacle arcs from the top of the left side to the middle of the street, a pool of green visible where it's sunk through the asphalt. The watch-selling man is lying on his back with a fearful expression and his limbs posed awkwardly, one tail of his long scarf blowing above him. He's holding one of his watches, while some of the others are scattered by his feet, next to the tentacle. One of Bernard's newspapers lies on the ground by him, partially covered with blood.
Page 4.
The entire page consists of one panel. Another large tentacle has skewered the back of a taxi and landed in the corner of the Gunga Diner, wrecking the restaurant's sign and breaking the glass windows. The taxi hangs at an angle off of the tentacle, while the driver of the taxi is nearly falling out of the open door, blood coming from his head and dripping onto the base of the car. A lamppost and the corner pillar of the Gunga Diner are embedded into the base of the tentacle, and green blood splashes on the creature and covers the lamppost, pillar and back of the taxi. One tusk and the trunk of the elephant balloon are visible to the left of the restaurant. In the foreground, another tentacle has sunk into the middle of the street, and there's a thick stream of white smoke drifting to the right starting somewhere behind it. One of Bernard's newspapers is blowing above the tentacle, another is lying on the ground nearby, the headline reading "*War*?", and a third newspaper is on the ground near the back of the taxi. The taxi has evidently crushed part of the wall and another person, whose foot sticks out from underneath it. A man is lying awkwardly against the building, his eyes blank and blood covering his mouth and spilling onto the corner pillar. His boxes of takeout are splattered against the sidewalk and the side of the building. The windows on the floors above the Gunga Diner are all broken, and a man is hanging out of one of them, blood streaming down the wall. Thick red smoke is coming from the ruined restaurant. In the foreground, Joe Bourquin is lying face down with his legs on the ground and his body propped up against the dented police car. One shoe is off, and his ankles are crossed over each other. The handcuffs he had been carrying are lying on the street near his hand, and there is blood on his face and coat. The glass windows of the police car have been shattered. Near him is a man's outstretched arm, beside which rests one of Malcom's Rorschach blot cards.
Page 5.
The entire page consists of one panel. Another large, multicolored tentacle has crashed through the window of the Promethean Cab Company building, right above the fallout shelter sign. Green blood is splashed around the wall and drips onto the sign, and the window on the adjoining wall is broken, revealing part of the disarray caused by the tentacle inside the building. Other walls on the upper floors of the building are also shattered, and red smoke billows from one of them. The One Way sign on the nearby lamppost is dented, pointing toward the source of the tentacle. The Promethean Cab Company sign, with its torch logo and its slogan, "Bringing Light To The World," is hanging lopsided off of only one hanger, and the shutter of the garage is broken into strips. The clock inside the garage reads 12:05. The Chrysler building is far in the distance, with a thick band of smoke rising in front of it. The Gordian Knot delivery van is lying on its side on the sidewalk, the windshield shattered. Near it, Milo is lying face down, his head turned to the side and partially hanging off the curb, a pool of blood underneath it. His brother is propped up against the wall, a bloodstain behind him. Near the corner of the building are Malcom, whose head and chest are propped up against the wall, his helmet tucked under one arm. His eyes are open, and his expression is shocked. Gloria is lying on his chest face down, and her blood is covering his jacket. Aline's open satchel is near Malcom's foot, her personal items spilling onto the street, including a bottle of Nostalgia perfume. Aline is lying on the ground with her head in Joey's lap, soaking it in blood, while Joey's upper body is propped up against the building, her blood staining the wall. The graffiti of the shadow lovers is on the wall behind them. A small chunk of concrete has fallen onto Aline's hip, and more concrete is scattered on the street and sidewalk. Malcom's briefcase is open on the street in front of them, his notes blowing in the wind, and one of his Rorschach blot cards is lying in the street next to where another tentacle has sunk into the ground, spilling green blood over the intersection. A line of thin yellow smoke comes from the ground near the tentacle and drifts towards the sky. Another body is lying in the street, face up and arms and legs akimbo. His face is covered with one of Bernard's newspapers, a large bloodstain on it covering up all but the word "*War*?", and more blood pools underneath his head. The face is not visible, but from the position and clothes it appears to be Steven Fine. In the foreground are Joe's feet and another of Bernard's newspapers. 
Page 6.
The entire page consists of one panel. Only the wall of the first floor of the Institute for Extraspatial Studies is still partially intact, and is covered with green blood; the rest of the building has been destroyed by an alien monster resting within it. The monster has a pinkish, spongy mass at the top of its head over a single, large eye with a tiny pupil. The eyelids aren't open all the way, and are turned with the points of the eye up and down, instead of side to side as with a normal human eye. The eye is white and has a tiny black pupil, while the sclera is bright red. There are rows of lumps to each side of the eye. Large and small greenish tentacles extend from under the eye and to each side, curved and mottled with large spots, and underneath them is what looks like a brown-colored puckered mouth or an anus, surrounded by a number of curved lines as if it's showing from underneath a layer of pink skin. The mouth is surrounded by four smaller tentacles that bulge at the end like teardrops. The large, multicolored tentacles that have been crashing through buildings and into the street in previous panels come from this creature, and two of them come from underneath its puckered mouth and arc out in front of it. One of them has smashed the roof of the newsvendor's stand, covering it with green blood, and sunken into the street behind it, while the other extends into the foreground, into the intersection, green blood flowing over it where it's been pierced by a lamppost. Another couple of tentacles seem to be anchoring the creature within the building. Smaller, limp tentacles with bulbous ends dotted with boil-like growths curve over the base of the tentacles. Green blood streams down from the creature, partially covering the name carved on the side of the building. The only parts that are not covered by blood read "Or Al Die." The poster on the side of Bernard's stall hangs by one piece of tape, several parts of it ripped away so that it reads "Women Against Rape," with the first three letters of each word written more prominently and reading WAR. One of Bernard's newspapers is pressed against the base of one of the large tentacles, while another is fluttering in the sky over the street, the pages separating from each other and the headline "*War*?" in the middle of the image. Bernie's copy of the Black Freighter comic is also blowing in the wind near the foreground of the image, its pages spread out and the front and back covers visible. The back reads "The Veidt Method," and has a picture of a skinny man and a muscular man posing. The text reads "I will give you bodies beyond your wildest imaginings." The top of the spark hydrant has been torn off, exposing the machinery inside, and the yellow domed top has fallen onto the street, covered with blood. One spot of blood has fallen over part of the outlet, recalling the Comedian's smiley face pin. There are several chunks of concrete on the street and sidewalk, and several sheets of paper from Aline's book are drifting above the street. In the foreground, Bernard is lying face down, his back toward the creature. One arm is lying to his side, and one hand is cradling the top of Bernie's head. Bernie is lying face up under Bernard, his blood on Bernard's jacket. Bernie's arms are out in front of him, bent around Bernard's body, his palms turned out towards the creature. Blood pools under the two of them. Bernie's glasses are broken in two on the street, and his hat is off to the side. Malcom's butterfly-shaped Rorschach blot card is lying on the street near them, along with the string that Bernard had used to tie up his newspapers. 

Underneath the panel is the chapter title, A Stronger Loving World.
Page 7.
Panel 1.
A large panel the size of three regular panels. Laurie's face is seen in profile. She's looking at the scene in shock and horror, tears spilling from her eyes. The shape of her tears are similar to the blood spatter on the Comedian's smiley face pin. Her hair blows around her neck, over her choker with the skull emblem on it. In front of her is one of the large tentacles arcing out from the alien creature, while another one pierces the Promethean Cab Company building behind her. The clock in the Promethean Cab Company reads 12:05, and Jon's voice from offscreen says "Midnight." Some pages from Aline's book flutter in the air, and there are several lines of smoke coming from buildings in the background, as well as one crossing over the tentacle in the foreground.

Panel 2.
A large panel the size of three regular panels. Jon is standing in the intersection, looking down at one of Bernard's papers. He's picked it up and is looking at the headline, which reads "*War*?" He continues "Midnight, November *second*. That's unusual. I'd expected us to reappear on Earth much *earlier*. The *static interference* I noticed *earlier* makes everything so *unpredictable*. Obviously, it *wasn't* caused by a *warhead* detonation. What, then?" Laurie is walking toward him, wiping the tear from her eye. The shadow graffiti of the two lovers is visible on the building behind Jon, next to Joey's shoulder and hair. The streets are filled with rubble and bodies, and book pages continue to drift among the streams of smoke.

Panel 3.
A large panel the size of three regular panels. Jon, holding the newspaper by his side, looks up, moving forward a step and gesturing with one hand as he says "Not *tachyons*, surely... *Yes*! *Definitely*! A squall of *tachyons*. Where can they be *coming* from? I'd almost *forgotten* the *excitement* of not *knowing*, the delights of *uncertainty*..." Laurie, stepping nearer to Jon and looking around with her hand over her mouth, says "Tandoori to go. That's all they went out for, these people... Tandoori to go." The sirens of the police car continue to blare, while the wreckage and corpses are spread around the intersection where Jon and Laurie are standing, with the gigantic tentacles spreading out over the scene from the creature in the Institute for Extraspatial Studies. Bernie's comic book continues to flutter in the wind, along with one of Bernard's newspapers and some of the pages from Aline's book.
Page 8.
Panel 1.
Laurie, fresh tears streaming from her eyes, reaches toward her face as she turns away from Jon and says "...And *instead*, they got... I *mean*, wh-who's *safe*? How can *anyone* protect themselves against a world where *this* happens? I... Uhh..." Jon, touching his hand to his chin as he looks toward the creature, says "Now, let me *see*..." 

Panel 2.
Jon continues offscreen, "Tachyon particles, travelling backwards in *time*, occur *rarely*. Someone must be *generating* them. If I probe *far* enough, I should stumble upon the *source* of the disturbance..." Laurie's legs are shown, the toe of one of her high-heeled shoes standing on the edge of Steve's jacket and pushing it back slightly, revealing a gun in a holster at his side.

Panel 3.
Jon continues offscreen, "...Though this *static* makes scanning *difficult*. Also, there's apparently more than one *generator*. Most are *faint*, but a pulse from the southern *polar* region is *strong*... Reassuringly *powerful*." Laurie looks down at the gun on the dead man's body.

Panel 4.
Jon looks to the side, his expression neutral as he says "Logically, we should investigate the Antarctic signal *immediately*, assess its connection with this *catastrophe*... Working *blind*, we can't usefully *prepare* ourselves..." In the background, Laurie kneels down. Without looking back at Jon, she says "Get me out of here."

Panel 5.
Jon, looking to the other side, answers "Out? Certainly. We can trace the tachyons to their *source*, and..." Laurie, hugging her bag to her chest and walking toward Jon with a distressed expression, says "Jon, I just wanna be away from these *people*, and that *thing*, and, and... Hhrreughh..."

Panel 6.
Jon turns toward Laurie, reaching out to her, and says "I'm sorry. How *thoughtless* of me. This must be a distressing *time* for you..." She stands in front of him, hugging her bag to her chest and holding her hand to her forehead. She says "*Jon*, for Christ's *sake*! I want to be *out* of here, okay? Just take it *away* is all..." Behind them, the lights of the police car continue blaring, and in the foreground is the torso of the watch-selling man, one of his watches draped over his chest and one side of his scarf blowing straight up in the wind.

Panel 7.
Laurie has her face in both hands as she says "Take it away." Jon looks to the side. The two of them are framed by two large tentacles, with a line of smoke coming from the ground behind them. An amputated foot is in the foreground, next to the watch-seller's case.

Panel 8.
The area is lit by a brilliant blue light, obscuring Jon and Laurie.

Panel 9.
The two of them are gone, leaving only a second trail of smoke that rises to the sky parallel to the other one. The two lines of smoke frame the corpses of Joey and Aline, in front of the shadow graffiti of the two lovers.
Page 9.
Panel 1
Bubastis is standing behind Rorschach and Dan, her posture suggesting that she's circling them. Rorschach is looking towards Adrian's back, his fists in the air as he says "Take cat away, Veidt. Take cat away and face me..." Dan, standing near Rorschach, looks at Adrian's back as he gestures toward him with both hands and says "Whoa. Adrian, I'm sorry, I don't buy this *hoax invasion* story. Come *on*, what are you *really* up to?" Adrian is walking away from the two of them. We see the scene as if we're looking at them from the ceiling, with their reflections visible on the floor and the wall of screens and clocks beside them.

Panel 2.
Adrian, facing away from Dan and Rorschach, stands with his hands behind his back, his expression resigned. He sighs, making a "*Hhahhh*" noise, and says "Very well. Once more: I engineered a *monster*, cloned its *brain* from a human *psychic*, sent it to *New York* and killed half of the *city*." Dan, gesturing toward Adrian with his palm out, says "Adrian, that's *bullshit*..." Rorschach, his hands still curled into fists, says "No. Telling truth. Listen to voice. He did it."

Panel 3.
Dan gestures with both hands out to his sides in disbelief, saying "Look, *nobody* could do that. You're being..." Rorschach turns back toward Dan, pointing at Adrian and saying "He did it. Half New York. Veidt, get rid of cat." Adrian continues walking away from them, his hands behind his back, and Bubastis continues circling them.

Panel 4.
A large panel the size of three regular panels. Adrian turns back toward the two men, gesturing towards Bubastis and saying "No, I don't *think* so. After *all*, her presence saves you the humiliation of another *beating*." Rorschach, his hands still in fists, looks toward Adrian and makes a "Hurrr..." noise, while Dan puts a hand on Rorschach's back and, gesturing, says "Rorschach, he's *kidding* you. His *story*, it's full of *holes*... Adrian, your *assassination* attempt: you *couldn't* have planned it! What if he'd shot *you* first instead of your *secretary*?" Bubastis continues walking around the two men, her expression calm. In the background is the grand staircase, on which a picture of six people is hung.

Panel 5.
Adrian, smiling at them, says "I suppose I'd have had to catch the *bullet*, wouldn't I?"

Panel 6.
Dan looks taken aback as he says "You...? *Nahh*. Come *on*. That's completely..." There's a pause, and he says "You couldn't *really* do that?"

Panel 7.
Adrian just smiles. His expression is imperial and smug. The background is black, and he is dramatically lit by the screens to his side.
Page 10.
Panel 1.
Dan reaches out toward Adrian, saying "No. I just don't *buy* it. *Any* of it. You *wouldn't* kill half New York. You *couldn't*..." Adrian, turning away from the two of them, answers "I could. I did. If you like, I'll tell you *how*." Dan and Rorschach, standing side by side, are colored in red, while Adrian and the background are colored normally.

Panel 2.
Adrian turns his head toward the two men, saying "The *psychic* was the key. Poor young *Robert Deschaines*. I acquired his brain after death and my geneticists cloned something much *bigger* and more *powerful* from it, incorporating it into my *creature*."

Panel 3.
Adrian starts to turn towards the two men, his expression grave as he continues "The brain was a psychic *resonator*. It would amplify a *signal pulse* and *broadcast* it, the signal triggered by the onset of death. We coded a lot of information into that signal. Terrible information."

Panel 4.
Adrian continues from offscreen, "Max *Shea's* descriptions of an alien *world*, *Hira Manish's* images and Linette Paley's *sounds*... Other than those killed outright by the shock, many will be driven mad by the sudden flood of grotesque *sensation*..." Rorschach is listening intently, his face hidden by his mask, while behind him, Dan looks aghast. The two are still colored in red tones.

Panel 5.
Adrian, facing the two of them, has his hands behind his back as he continues "...And sensitives worldwide will have bad dreams for years to come. No one will doubt this Earth has met a force so *dreadful* it must be *repelled*, all former *enmities* aside." Bubastis is circling behind him. Dan and Rorschach's torsos are seen in the foreground, framing Adrian. Dan's hand is resting loosely at his side, while Rorschach's hands are still curled into fists.

Panel 6.
Adrian continues "No one will know. Those involved are all dead, killed by killers who killed each *other*, a lethal *pyramid*... My *servants'* deaths from exposure, after drunkenly opening my *vivarium*, provides its silent *capstone*." Dan, gesturing with his thumb toward himself, asks "What about us?" In the foreground, Bubastis seems to have noticed something, and she looks suspiciously at the area behind Adrian. Adrian is now colored in shades of red, while Rorschach and Dan are in cool blues.

Panel 7.
Adrian turns to the side, putting one hand to his chin, looking down and saying "Yes. Yes, I'd been rather *wondering* about that, myself..." Behind him, Dan looks worried, and Rorschach continues watching Adrian. Bubastis, still looking disturbed by something, makes an "Orrr?" noise. 

Panel 8.
Adrian asks "Bubastis? What is it, girl? Is somebody out there?" He steps over to the wall of screens, the remote control in his hand, and says "Just a moment. I'll check the *screens*... Ah." Bubastis steps over to the wall as well, looking up at the panel of screens. Adrian is half colored in red, and half colored in blue reflected by the light from the screens.

Panel 9.
Adrian's hand holds the remote control as he says "I see." The screen in front of him shows Jon and Laurie standing in the snow, close to each other in a cloud of smoke.
Page 11.
Panel 1.
Jon is standing in the snow a ways away from Karnak, looking at the building and saying "Veidt. Of course. Who *else* has the *intelligence* or *resources* for *tachyon interference*? Hmm. Eight generators throughout *Antarctica*, eight in orbiting *satellites*. It displays remarkable *foresight*, don't you think?" Laurie is offscreen, making "*Uccuk, hut* noises. Her bag is in the snow a few feet behind Jon. Some smoke rises from the spot where they appeared, and the wind and snow are blowing fiercely. Karnak looms in the distance, framed by two large black obelisks.

Panel 2. 
Jon, putting a finger to his chin, continues to look at the building, saying "After all, since tachyons only affect *me*, he's obviously anticipated my possible *discovery* of his plot for some considerable *time*..." Laurie is leaning over to the side, but she raises her head, saying "Plot? Wait a minute. I've *been* here. This is *Antarctica*. That's... That's Adrian's *fortress*." Laurie's face is still tear stained, and there's a shimmering white field around her.

Panel 3.
Laurie, picking up her bag and straightening herself out unsteadily, gestures toward Jon and says "A-Are you saying someone *planned*... that *Adrian* planned all that... that stuff in *New York*? That he... that Veidt..." Jon starts to walk away from her, looking toward the building as he answers "Yes. Yes, he killed Blake and half New York. Excuse me, Rorschach. I'm informing Laurie ninety seconds ago." His back is straight, and one knee is slightly bent.

Panel 4.
A large panel the size of three regular panels. Laurie starts to follow Jon, reaching out toward him and calling, "*Rorschach*? Jon, *don't*! Don't start all your crap *now*! Did he *kill* them? Did Vuh-Veidt kill all those puh-*people*? Jon, *answer* me!" Jon continues walking toward the building, moving his hand as if he's opening an invisible door and not looking toward Laurie as he says "I-I'm sorry. It's these *tachyons*. They're muddling things *up*... I'd better follow him inside." The two of them are drawing nearer to the building.

Panel 5.
Laurie follows Jon, gesturing toward him and saying "*No!* Don't you *dare* leave me out here! Jon, *wait*!" In front of her, Jon's body starts to go transparent. He is looking straight ahead of him, his expression neutral. 

Panel 6.
Adrian's hand is holding the remote control, watching a monitor which shows Laurie standing behind a large trail of smoke, looking up into the air and holding her hands out to the sides. From offscreen, he says "Oh..."

Panel 7.
He continues, "...Dear." He is standing behind his chair, looking toward Jon. The reader sees the scene as if we're right behind Jon's legs, and his knees and calves frame Adrian, Dan and Rorschach. Dan is looking at Adrian, while Rorschach turns his head to look at Jon. Bubastis is walking toward the doors behind Adrian.
Page 12.
Panel 1.
Adrian pushes open the door leading to his large room full of machines, Bubastis following him. Adrian says "Bubastis. Quickly..." Rorschach, Dan and Jon are in the room behind him, and Rorschach says "No. Don't let him escape." 

Panel 2. 
Rorschach looks at Jon, one hand clenched into a fist, and points toward the door, saying "Must stop him. Killed Blake. Killed half New York." Dan, standing behind Rorschach, looks startled. Adrian is already in the other room, and the door is swinging closed.

Panel 3. 
Jon walks past the two of them, saying "Yes. Yes, he killed Blake and half New York. Excuse me, Rorschach. I'm informing Laurie ninety seconds ago." His back is straight, and one knee is slightly bent. Rorschach and Dan, still colored in red, watch him go. Dan's expression is curious. The wall with the clocks and the screens is behind them, and the screens are all blank.

Panel 4.
A large panel the size of three regular panels. Dan, gesturing questioningly with both hands, asks "What? *Where's* Laurie? Jon? Are... Are you *okay*? You seem sort of... I dunno... *drugged* or something..." Jon continues walking away from the two of them, moving his hand to push open a door and not looking toward Dan as he says "I-I'm sorry. It's these *tachyons*. They're muddling things *up*... I'd better follow him inside." Rorschach's arm and side are in the foreground, and his hands seem to be uncurling somewhat.

Panel 5.
A large panel the size of three regular panels. Laurie, hugging her arms to her chest, approaches the glass tunnel that once connected the vivarium to Karnak. Dan and Rorschach's hoverbikes are parked outside, next to a butterfly whose wings are all but buried in the snow. There are some scattered spots of mossy green from the frozen bushes, and a few roses are still visible on the rosebush near the entrance. Snow and wind blow over the area, and clouds in the background billow over the dark sky.
Page 13.
Panel 1.
A large panel the size of three regular panels. Dan stands near the entrance to Veidt's chamber of machinery, saying "*Veidt*?" Dan and Rorschach are standing in the doorway, their bodies in shadow. The area with the window, door and control panel is shown to be a small part of a much larger structure, with a large pipe running from it underneath the highly polished floor. There are several gleaming cylindrical and dome shaped structures on the other side of the room, and a line on the floor leads from the doors to the end of the structure, where there is what looks like a concrete door with a radiation symbol on it.

Panel 2.
Jon walks through the room, passing all the gleaming instruments and devices and saying "Veidt, even if I can't predict where I'm going to *find* you, I can turn this place to *glass*. You can't hide. You're being *stupid*."

Panel 3.
Jon continues, "The *tachyons* were clever, but this is *stupid*. It isn't *like* you to..." He sees Bubastis standing on the opposite side of a structure that consists of two large, rectangular panels facing each other with about four feet of space between them, with machines on either side of the panels and two bars connecting them on top. Jon says "Ah."

Panel 4.
Jon walks towards the structure, preparing to pass through the two rectangles. Bubastis is walking toward him from the other side. Jon says "Very well. If I *must*... If I must follow this through to the bitter *end*..." The reader sees the scene as if we're looking down at Jon, Bubastis and the structure. Adrian is standing in a small booth behind one of the rectangles, his hand over a control panel. The wall to his right, at the edge of the structure near Bubastis, is marked with arresting yellow and red stripes, a skull and crossbones and the words "Stand Behind Screen When I.F. Subtractor Is Activated." 

Panel 5.
Laurie's hair blows in the wind and she continues to hug her chest for warmth as she enters the glass tunnel connecting the destroyed vivarium to Karnak. In the foreground is the trunk of one of the palm trees and the control panel that Veidt used to destroy it, its lid still open. The wind and snow continue to blow over the scene, and icicles and snowdrifts have formed over the entrance to the tunnel.
Page 14.
Panel 1.
Jon is shown walking between the two large rectangles, frowning slightly. Bubastis is walking toward him, and looks to the side as Adrian's voice from offscreen says "Bubastis..."

Panel 2.
Adrian is standing in front of a control panel filled with bright lights, displays and buttons. A panel reads "Intrinsic Field Subtractor," then has the word "Caution" and two panels of small text, under which is the Veidt logo. Adrian's finger is hovering over a large red button labeled with the word "Activate." He's not looking directly at the button, and his expression is pained and sorrowful as he says "Forgive me."

Panel 3. 
There's a bright blue light between the two rectangles. Bubastis' hair stands on end, her tail curls up and she lifts one paw as she makes "*Aaaaaaaawrrr! Oowaaaaarrowr!" noises. Jon raises his hands in front of him with trepidation and, looking troubled, says "*Veidt*? Don't..."

Panel 4.
A large panel the size of four regular panels. A bright white light seems to be pushing against Jon and Bubastis from both sides. Jon's body and bones turn black, his flesh and entrails seeming as if they're burning off of his skeleton and flying out to the sides, becoming dotted lines of matter curving in an hourglass shape. His arms and legs are spread out, and  he is screaming. His skull is visible, with the hydrogen atom icon still on his forehead. His skeleton is starting to come apart, ribs coming loose and finger bones being pulled away from each other. Bubastis, too, is a disintegrating black skeleton, her long tail and long ears curving in an hourglass shape around Jon's waist and her eyes wide open.

Panel 5.
A large vertical panel the size of two regular panels. Adrian steps out of the booth and at the entrance to the two rectangles, standing with his hands behind his back and looking at two thin lines of green smoke that merge and drift up to the ceiling. He says "Hm. Do you know, I really wasn't sure that would work. Of course, it was the *tachyons* that made it possible to give him something he wasn't *expecting*..." There are some large puddles of water on the floor several feet behind Veidt, and Laurie's left arm and foot can be seen standing in the largest one. Laurie is carrying her large bag in her hand, and water is dripping from its base onto the puddle on the floor, where she stands, still wearing her high heels.
Page 15.
Panel 1.
As Adrian continues looking at the space where Jon and Bubastis had been, a voice from behind him says "Veidt..." Dan and Rorschach are still standing at the entrance to the room in the background.

Panel 2.
Laurie is aiming the gun at him. Her expression is determined and wrathful as she says "You're an asshole." Her mascara is running down her cheeks, and her hair spreads out around her shoulders. There are small pools of water trailing out behind her into the glass tunnel.

Panel 3. 
Adrian, looking genuinely shocked, makes a "Hhhhhiiii*iiiii*..." noise as he turns toward Laurie, his hand moving out over his chest and his knee bent. The panel shows his hand and knees in several positions, in a visual representation of the quickness and trajectory of his motions.

Panel 4.
A large panel the size of three normal panels. Laurie braces herself as she fires the gun at Adrian's chest, and a bright light flashes from the muzzle and zips toward Adrian. Adrian is apparently jumping toward her, making a "*Yaaa--*" noise, his bodysuit and collar gleaming in the reflected light from the shot and his cape floating out behind him.. One leg is bent underneath him, while the other is pointing out toward her, and he has his hands clasped over his abdomen. His body only about four or five feet away from her. Laurie's bag lies on the ground behind her, and in the background, Dan and Rorschach are starting to move toward the two of them.

Panel 5.
A large panel the size of two normal panels. Laurie stands over Adrian's body, still holding the smoking gun and leaning backward slightly, her posture tense. Adrian is lying face up in front of her, his tunic stained with blood under the wide collar he wears. His left hand is lying over the blood stain, and his right hand is out to his side, clenched into a fist. There's a blood stain underneath it. Dan and Rorschach are hurrying toward the two.

Panel 6.
Laurie approaches Adrian. His head is turned to the side, and he still has one hand on his bloody chest and one hand starting to uncurl on the floor near her. There's blood underneath his hand and some in the palm of his hand.
Page 16.
Panel 1.
Adrian's hand is lying on the polished floor, his fingers folded over his palm. There's blood on the palm of his hand and on the floor underneath his hand.

Panel 2. 
Adrian uncurls his fingers to reveal the bullet lying in his palm.

Panel 3. 
Laurie steps back, looking down at the bullet apprehensively and says "Oh sh..."

Panel 4.
A large panel the size of three regular panels. Adrian, still on the floor, props his upper body up with his arm and elbow and kicks Laurie in the stomach. She doubles over and flies backward, dropping her gun and making an "*Uuuuuhhh*" noise. 

Panel 5.
Adrian is standing up over Laurie, rubbing his hands together. He says "There. Something *else* I wasn't sure would work." Laurie is curled in the fetal position, pressing her hands to her stomach and making a "Oooouuww..." noise. Dan approaches Adrian, his hands curled into fists, and says "*Veidt*!" Rorschach hangs back a few paces behind.

Panel 6.
Dan points at Adrian, saying "Veidt, you *bastard*. If you've *hurt* her, I'll..." Adrian, walking casually away from Laurie towards Dan and Rorschach and rubbing his hands together, doesn't look over at Dan as he says "Oh *Daniel*. Daniel, Daniel, Daniel... Please..." Rorschach is standing behind Dan, while, in the background, Laurie is getting to her feet.

Panel 7. 
Adrian walks by Dan and Rorschach, saying "Do grow up." Dan turns to watch him go, his face angry and incredulous and his hands curled into fists. Rorschach also watches Adrian as he walks by. In the background, Laurie is back on her feet, although still stooped over and pressing her hand to her stomach.
Page 17.
Panel 1.
Adrian walks through the doors back into the room with the screens, his back to Rorschach, Dan and Laurie and his expression serious as he continues "My new world demands less *obvious* heroism, making your schoolboy heroics *redundant*. What have they *achieved*? Failing to prevent Earth's *salvation* is your only *triumph*..." Rorschach is already in the room, hanging back a few paces from Veidt, while Dan has his arm around Laurie's shoulder, comforting her as she puts a hand to her chest.

Panel 2. 
Adrian turns to face the three of them, saying "...And yet that *failure* overshadows every past *success*! By default, you usher in an age of *illumination* so *dazzling* that humanity will reject the *darkness* in its heart..." Rorschach and Dan are standing and watching Adrian, Dan with his arm around Laurie's waist, but Laurie is looking offscreen, towards the wall nearby. Her expression is shocked, and she's colored an eerie green, as if light is reflecting off of her, while the other three are colored more neutrally.

Panel 3.
Adrian continues "...And turn instead towards the... uh..." He, Rorschach, Dan and Laurie are all looking toward the window, where a bright light has washed them all out in shades of light green and blue. Rorschach's hand position indicates his surprise, while Dan has his mouth hanging open, moving protectively toward Laurie, and Laurie is covering her mouth with her hand. Adrian looks dismayed.

Panel 4.
A large, vertical panel the size of two regular panels. A gigantic Jon is standing behind one of Karnak's long, thin, tall windows, reaching towards the glass. He is in a crouching position, with his knees bent and his body folded over, and he's twenty times larger than Adrian. His expression is stern. Adrian stands in front of the window and looks up at Jon, his arms out to his side.

Panel 5.
A large panel the size of four regular panels. Jon's gigantic blue hand breaks through the window and the wall, showering shards of glass and chunks of concrete onto the polished floor and knocking over Adrian's cart of recording equipment. Adrian dives to the side to avoid it, while Rorschach, Dan and Laurie all lean up against the doors. Rorschach is shielding his face with his arm as he looks up, and Dan is turning his head towards Jon, but has his back to him in an attempt to shield Laurie. Laurie clings to Dan, her mouth open.
Page 18.
Panel 1.
A large panel the size of three regular panels. Jon's large feet are visible in the background, stepping through the broken wall and onto the floor as he says, in large text, "I am disappointed, Veidt. *Very* disappointed." Snow and wind follow him as he enters. His feet are still gigantic. Adrian crawls on the floor, reaching for the remote control behind his chair. Rorschach is standing near the door and looking up at Jon, his hand shielding his eyes, while Dan is still holding on to Laurie's waist, attempting to shield her as they look up at Jon. The screens are still operational, although Adrian's cart of recording equipment leans over his chair, his microphone is on the ground and one of the reels is on the chair.

Panel 2.
Jon's gigantic legs walk toward Adrian. He is still several times the size of an ordinary man, but appears to be gradually shrinking. He says "*Restructuring* myself after the subtraction of my *intrinsic field* was the first trick I *learned*. It didn't kill *Osterman*... Did you think it would kill *me*?"  Adrian, squatting in front of him with the remote control in his hand, looks up at him, while Dan and Rorschach are standing behind Jon.

Panel 3.
Jon gestures with both hands as he says "I've walked across the sun. I've seen events so tiny and so fast they hardly can be said to have occurred at *all*, but *you*... You are a *man*." He's turning to face Adrian as Adrian, still looking up at him, walks toward the screens. Although he's still much larger than a regular human, he is rapidly shrinking. Dan and Rorschach are still visible in the foreground.

Panel 4.
Jon, now at his human-sized height, looks at Adrian and gestures with one hand, his expression neutral as he says "...And this world's *smartest* man means no more to me than does its smartest *termite*. What's that in your hand, Veidt? Another ultimate weapon?" Adrian's bloodstained hands are holding the remote control, pointing it at the screens. In the background, Rorschach, Dan and Laurie draw nearer.

Panel 5.
A large panel the size of three regular panels. Adrian stands in front of the T.V. screens, his expression serious and defiant as he says "Yes. Yes, you could say that." An announcer says "...From New York. Pictures coming up..." The screens behind him show several images of the disaster. There's an image of the tentacles among the rubble, a news announcer, a blood splatter, a downed airship, corpses on the ground, smoke rising on the New York skyline, an aerial picture of the creature with its tentacles spreading all over, a wild-eyed looking man, another news announcer and the words "News Flash." Three of the screens are blank.
Page 19.
Panel 1.
The screens show more scenes of devastation and people's reactions. There's another shot of the creature, a man with a haunted look in his eyes standing in front of smoke, more smoking buildings and more corpses. The speech bubbles of the news announcers are layered over each other. One says "Scene here, utterly horrible. I can't describe..." Another says "Death toll in the millions," another says "People insane. A pregnant woman, convinced her unborn child was eating her, terminated her," while another says "Join B.B.C. 2 for news from America. In New York, millions." 

Panel 2. 
Dan and Rorschach look up at the screens. Dan's mouth is hanging open. More announcers are speaking over each other. One says "From New York." Another says "Institute researching other dimensions." Another says "These first pictures show... uh... what exactly *is* that, Bob? Is." Another says "Have we been invaded? We ask." Another says "Millions." Another says "Millions dead or." Another says "Implausible as it seems we cannot dismiss the possibility of." Another says "Alien contact or."

Panel 3.
The images on the screen change, showing New York's smoking skyline, a crying announcer, more corpses, another aerial view of the monster, a close-up of its eye, first responders on the scene. An announcer says "And in New York millions of... Wait a minute, this can't be right... Quote Millions of unquote." Another says "Are we looking at an alien invasion? Things from another dimension? Is that." Another says "No comment. We have no comment at." Another says "I can't believe this. I can't believe." 

Panel 4.
Jon watches the screen, his face thoughtful and grave. To his side, Laurie watches, her expression horrified and her hand over her mouth. The announcers continue, "The dead, the insane. There are children, children, children... I can't go on. I'm sorry. I'm so sorry." Another says "Millions." Another says, "From London, Mr. Healey sent a message of." Another says "New York." Another says "World leaders, responding to the tragedy." Another says "Millions of people." Another says "And news just in of a response from Russia."

Panel 5.
The channels have changed on the screens, and they show an announcer, another overhead view of the monster, an announcer holding his hand to his forehead, and the Kremlin. The announcers continue, "After studying satellite photographs, the Kremlin issued a cautious bulletin." Another says "From Russia." Another says "Over two million." Another says "Gorbachev stated that in light of alarming developments in New York." Another says "quote Threatening us all unquote. He went on to suggest suspension of hostilities until." Another says "Promising withdrawal from Afghanistan as soon as." Another says "New York."

Panel 6.
The announcers continue, "Immediate end to hostilities until we've evaluated this new threat to." Another says "In complete confusion here." Another says "End to hostilities." Another says "An immediate summit in Geneva." Another says "And end the war in Afghanistan as a gesture of." Another says "York tonight, three million." Another says "End the war." Adrian is looking up at the screens, tears in his eyes and a deeply moved expression on his face as he says "I did it."

Panel 7.
A large panel the size of three regular panels. Adrian faces away from the screens, which show the Kremlin, Nixon, a close-up of the creature's face, the smoking new York skyline and a street filled with corpses. He throws his arms up in the air, his hands balled into fists, and shouts, in large text, "*I did it!*" His expression is triumphant. He stands right in front of his large picture of Alexander cutting the Gordian knot. Jon's shoulder and arm are visible in the foreground.
Page 20.
Panel 1.
Adrian stands with his legs apart and his arms out to the sides, palms up. He looks up, his expression intense, and says "I saved Earth from *hell*. Next, I'll help her towards *Utopia*. It is as Rameses said: Quote Canaan is devastated, Ashkelon is fallen, Gezer is ruined, Yenoam is reduced to nothing... unquote." The reader sees him as if we're above him. Adrian, the screens behind him and Laurie are all reflected on the polished floor, although his figure is the only one that is actually visible.

Panel 2. 
Adrian continues "quote ...Israel is desolate and her seed is no more, and Palestine has become a widow for Egypt..." Laurie steps up behind him, pointing at him accusingly and curling one hand into a fist. She says "*Wait* a minute... Quote *Next* unquote? After what *you* did? You can't get away with *that*..." Jon stands a few feet behind her, while Dan and Rorschach stand a foot behind him. In the background, the screens continue to show New York, Nixon and scenes of the attack.

Panel 3.
Adrian turns his head to face her, his expression questioning and grave. He continues "quote All the countries are *unified* and *pacified* unquote. Can't get away with it? Will you *expose* me, undoing the peace millions *died* for? *Kill* me, risking subsequent *investigation*? Morally, you're in *checkmate*, like *Blake*. Let's *compromise.*" From offscreen, Laurie says "*Whaat*?"

Panel 4.
Jon's expression is neutral, and he gestures as if he's explaining something. Facing Adrian, he says "Logically, I'm afraid he's *right*. *Exposing* this plot, we destroy any chance of peace, dooming Earth to *worse* destruction. On *Mars*, you demonstrated life's *value*. If we would preserve life *here*, we must remain *silent.*" Laurie turns to him, her tear and mascara-stained face appalled. Dan, too, looks appalled, while Rorschach stands behind the two of them looking straight ahead of him, his face unreadable behind his mask. Scenes from New York and the Kremlin appear on the screens behind them.

Panel 5.
Laurie gestures questioningly, her eyes open wide as she says "Never *tell* anyone? W-We really have to *buy* this? Jesus, he was *right*. All we did was fail to stop him saving *Earth*. Jesus." Behind her, Dan is standing turned to the side, his hand to his chin as he looks down thoughtfully. Rorschach continues to stand behind the two of them, his back to the screens and his face unreadable. Behind him, the screens show images of the monster, newscasters and general devastation.

Panel 6.
Dan continues looking down, his expression dismayed and the back of his hand by his mouth. He says "How... How can *humans* make decisions like *this*? *We're* damned if we stay *quiet*, *Earth's* damned if we *don't*. We..." He pauses, then says "Okay. Okay, count me in. We say nothing." Rorschach stands behind him, his posture and even the pattern on his mask the same as they have been over the previous two panels. Behind him, the channels have changed again, showing a newscaster, Nixon behind the American flag, the smoking New York skyline and scenes of corpses and devastation. 

Panel 7.
A close-up of Rorschach, standing in front of a screen showing first responders on the scene. He says "Joking, of course." His posture and pattern on his mask remain the same.

Panel 8.
Rorschach starts to walk toward Adrian's room of machines, and Dan steps toward him, gesturing with both hands and saying "Rorschach...? Rorschach, *wait*! Where are you *going*? This is too *big* to be *hard-assed* about! We have to compromise..." Rorschach, his back to the others as he pushes open the door, answers "No. Not even in the face of Armageddon." The shoulders of Laurie and Adrian are visible in the foreground, Laurie looking as if she might reach forward, and Adrian with his arm behind his back, under his cloak. 

Panel 9.
Rorschach answers "Never compromise." Dan stands several feet from the door, his hands by his sides as he watches it swing shut. Laurie takes a step forward, her hand by her side, while Adrian doesn't seem to move. 
Page 21.
Panel 1.
Adrian turns away from the doors, putting one bloodstained hand to his chin and looking thoughtful as he says "Hmm. Now what would you call *that*, I wonder? Quote blotting out reality unquote perhaps?" Dan and Laurie turn to look at him.

Panel 2.
Adrian starts walking back toward the staircase, his back to Dan and Laurie as he says "Ah well... In all likelihood it's of no consequence. As a *reliable witness*, Rorschach is hardly... how shall we put it? quote Without stain unquote? Still... Still. I think I shall *meditate* now, in my *orrery*." His retreating figure, colored in shades of red, is framed by Dan and Laurie, standing side by side, their hands by their sides. All except for their arms and thighs are cut off by the panel border. Their hands aren't curled into fists, but they aren't relaxed either.

Panel 3.
As Adrian starts to walk up the stairs, he says "Obviously, you must both make yourselves at *home*. There are several *restrooms*, should you wish to *freshen up*." Dan turns to look at Laurie, saying "Quote both unquote?" Laurie looks to the side, her hand in front of her mouth, saying "I just want to go somewhere *else*. Can you get us *out* of here, Jon?" The screens behind them continue to show scenes of devastation, close-ups of the creature and newscasters.

Panel 4.
A large panel the size of three regular panels. Laurie looks around the room, saying "Jon?" Dan stands by her side, looking around. The two of them suddenly seem very small in the large, high-ceilinged room with its mirror-like floor, tall, thin windows and large, Egyptian-patterned pillars. To their left is the wall with the clocks and TV screens, as well as Adrian's chair and toppled recording equipment. Several chunks of concrete and shards of glass lay on the floor in the foreground. 

Panel 5.
Laurie and Dan walk past the base of the staircase together, away from the large area with the screens and clocks. Laurie is holding her forehead and gesturing, saying "Where'd he *go*? Where'd *everybody* go? I mean... In New *York*, all those *bodies*... How can everybody just walk *away* from that?" Dan has his arm around her shoulders and looks over at her, gesturing as he says "I know. Listen, let's find someplace quiet, away from these *lights*. We need to *think*, to *talk*..."

Panel 6. 
Laurie, walking a pace or two ahead of Dan, gestures with both hands, saying "But where's *Jon*? He's been acting so *strange*: He predicted I'd tell him about *you* and *me*, then seemed *angry* when I *did*!" Dan adjusts his goggles and asks "Uh... how *angry*?" Laurie answers, "Oh, I dunno. He *confuses* me, and I don't *need* confusing." A corner of the glass case holding several artifacts is visible in the foreground as they walk past the large staircase.

Panel 7.
The two of them pass through a large doorway flanked by pillars into a large, dimly lit room, walking toward a large swimming pool set into the floor. Laurie puts both hands on her head as she walks, saying "I'm screwed up *already*. I learned stuff on *Mars* and then New *York*... Dead. Everybody was just... dead." Dan, walking next to her and gesturing, says "I... I still can't *imagine*. This whole thing, we're just, I dunno... Out of our *depth*."
Page 22.
Panel 1.
Laurie steps down the two stairs to the swimming pool, gesturing as she looks at it and saying "But... there were *people*, just stepped out the Gunga *Diner*. That pink and yellow *rice*, it was all *spilled*, and... I keep wanting to *cry*, but my throat, it's not *big* enough. I... Dan? can we sit *down*?" Dan is behind her, following her toward the pool and removing his snowy owl-patterned cape. The area around the pool is dark, but the pool seems to be illuminated from under the water, giving it a soft greenish tint.

Panel 2. 
Dan spreads his thick cape on the floor near the pool, looking at Laurie as he says "Sure. Laurie, listen, about *us*... Do you think Jon *minds*?" Laurie stands next to him, hugging one arm around her waist and holding her hand to her chin. She's looking down, her expression distressed as she says "It doesn't *matter*. After New York, *nothing* matters. That's what I'm trying to *say*. Dan, please... Sit with me. I need you." The inside of Dan's cape is white and furry, like a blanket or a rug.

Panel 3.
Dan holds Laurie's hand in both of his hands as she kneels on the cape, holding her forehead in her hand and leaning over. Dan says "I need you too." Laurie answers, "No. I mean I *need* you. Need you *now*. Dan, all those *people*, they're *dead*. They can't *disagree* or eat Indian *food*, or *love* each other... Oh, it's *sweet*. Being alive is so damn *sweet*."

Panel 4.
Dan sits down with her, supporting himself with one hand and holding her hand as he asks "Laurie? Wh-What do you want me to *do*?" She looks toward him, putting her other hand on his shoulder, and says "I want you to love me. I want you to love me because we're not dead." 

Panel 5.
Dan and Laurie are shown in profile facing each other. Dan's hood has been pushed back, and Laurie pushes his goggles up over his forehead, looking at him and saying "Here... Take these off. I want to *see* you. I want to see you and *taste* you and *smell* you, just because I *can*. What *is* that, Dan? What's that you smell of?" Tears are streaming down Dan's weary face, and he holds Laurie's head and neck in both of his hands.

Panel 6.
Dan and Laurie, kneeling across from each other, embrace and lean in to kiss. Tears are still pouring down Dan's face, while Laurie's mascara runs in a black line down her cheek. His goggles lie by his knees. He answers "Nostalgia." 

Panel 7.
A large panel the size of three regular panels. As Dan and Laurie kiss, their shadow looms above them on the wall nearby, several times larger than life. The shadow is reflected in the pool in front of them, broken up by the gentle yellow waves over the greenish tinted water.
Page 23.
Panel 1.
A large panel the size of three regular panels. A close-up of Rorschach's face. A shape similar to Dan and Laurie's shadow can be seen among the blobs and dots that make up his mask. He is wearing his fedora and the collar of his trenchcoat is turned up around his neck. The sky is dark.

Panel 2.
Rorschach, his hands in his pockets, walks out of the glass tunnel and toward his hoverbike, which is partially covered in a snowdrift. The tall, bright lights of Karnak shine behind him.

Panel 3. 
Rorschach reaches his hoverbike and puts a hand on the steering column. The wind and snow blow all around him, and in the foreground, all but a small part of a butterfly's wings are covered in snow.

Panel 4.
Jon appears as Rorschach turns on the hoverbike, saying "Where are you going?" Jon's foot crushes the butterfly in the foreground. Rorschach doesn't turn to look at Jon, but continues working with the hoverbike.

Panel 5.
Rorschach steps on the hoverbike, his back to Jon as he answers "Back to Owlship. Back to America. Evil must be punished. People must be told." Jon stands behind him, watching him.

Panel 6.
Rorschach stands on the hovercraft, still facing away from Jon as he kicks away the snowdrift. From offscreen, Jon says "Rorschach..." The light from one of Karnak's long, thin windows frames Rorschach, and the second hoverbike stands behind Rorschach's.

Panel 7.
Jon reaches a hand out toward Rorschach, his face solemn as he says "You know I can't let you do that." The snow and wind swirl around him.
Page 24.
Panel 1.
Rorschach steps off of the hoverbike, his hand moving up towards his head, and says "Huhhh." In the foreground, Jon's hand reaches out toward Rorschach, his fingers pointed at him.

Panel 2.
Rorschach begins to pull off his mask with both hands. Underneath, his expression appears weary. He turns toward Rorschach, saying "Of course. Must protect Veidt's new utopia. One more body amongst foundations makes little difference. Well? What are you waiting for? Do it." Jon's fingers are visible in the foreground, and he says "Rorschach..."

Panel 3.
Rorschach holds his mask in his hand, staring wildly at Jon and yelling, in large text, "*Do it!*" The speech bubble is normal, not jagged. Rorschach's face is contorted with anger and pain, and tears are streaming down his face. Snow swirls around him.

Panel 4.
A large panel the size of three regular panels. Jon is standing with his hand pointing toward Rorschach. Rorschach is falling backwards, his arms out to the sides and his scarf blowing loose. His features are no longer visible, and small lines of black dots speed away from him, as if he's disintegrating. His torso is colored bright white, while his limbs and head are a light, slightly less intense blue. The area around him is a hazy pink, while the entire rest of the scene is bathed in a hot pink tone. The reflection from the bright light shines off of the hoverbikes and lights up the snow and the palm tree in the foreground, while the tall yellow lights of Karnak are visible in the background.

Panel 5.
A large panel the size of three regular panels. There's a large stain of blood on the snow, surrounded by small spatters of blood. Rorschach's hat lies next to it. Blood is on the two hoverbikes, one of which has fallen over, on the palm tree's trunk, and on the control panel to the vivarium. A line of pink smoke at the middle of the stain trails toward the sky, blown to the left by the wind. A similar line of blue smoke is at Jon's feet, as he walks away from the scene towards Karnak. The glass tunnel leading to the building is to the left, but he doesn't appear to be heading that way. Some frozen plants still poke out of the snow, including the rosebush by the tunnel entrance.
Page 25.
Panel 1.
Jon walks through the wall into the room with the wall of screens, part of his leg passing through a toppled pillar near where he broke through the wall earlier. The screens are still changing channels, showing images of the skyline and of the creature. An announcer says "Mosphere here's difficult to *describe*: *elation* that an almost certain war has been *averted*, mingled with horror and..." Another one says "Russia, offering help." Another one says "Arently, the creature died upon accidentally breaching our dimension, but, in its death throes it."

Panel 2. 
Jon continues through the room and out to the hallway, passing the large pillars. In the foreground, the recording equipment is still laying against Adrian's chair, next to several chunks of concrete and shards of glass. The announcers continue, one saying "Have described the scene as quote Like Hiroshima but with buildings unquote. We asked." Another says "From another dimension." Another says "Could further attacks be imminent?" Another says "And literally millions are." Another says "We think not. Imagine an alien bee, not very intelligent, that stings reflexively upon death. If."

Panel 3.
Jon continues past the staircase and the room with the artifacts, passing under the large doorway flanked with pillars into the room with the swimming pool. In the foreground, the very tip of Dan's cloak has gone over the edge of the swimming pool, trailing in the water. On top of it, Dan and Laurie's naked feet can be seen, with part of Laurie's uniform and one shoe on the ground nearby.

Panel 4. 
A large panel the size of two regular panels. Dan and Laurie are sleeping on the spread-out cloak. They're both entirely naked and cuddled up together, with Laurie's front to Dan's back. Laurie has her arm around Dan's chest, and he's put his arm over hers, holding her hand. Their discarded clothes lay on the ground and on the stairs around them. Jon's feet stand to the right of the cloak.

Panel 5. 
Jon looks down at the two of them, smiling gently.

Panel 6.
A large panel the size of three regular panels. Jon leaves the two of them sleeping on the cloak and turns, walking on the surface of the water over the swimming pool. His feet leave little ripples of water as he walks.
Page 26. 
Panel 1.
Jon reaches the end of the swimming pool, and steps up onto the floor. He reaches one leg up, touching his toes to the wall in front of him. Some water drips from his feet onto the wall.

Panel 2. 
Jon walks up the wall toward the ceiling. His body is perfectly parallel to the ground, and he doesn't show the slightest strain or discomfort. His wet footprints follow him up the wall.

Panel 3.
Jon emerges from the floor of the room above the swimming pool, part of his arm and leg still hidden as he walks. The room appears to have aquariums in it, and there are some butterflies mounted in frames on the wall. 

Panel 4.
Jon continues walking up the wall in this room, soon leaving the butterflies behind and reaching the tall ceiling.

Panel 5.
Jon steps through the ceiling and onto the wall of another room. In the background, Adrian is sitting with his back to Jon on a large pedestal draped with purple fabric. The ceiling appears to be decorated with constellations, as if it's a planetarium. 

Panel 6.
Jon's entire body is now in this room, and he brings his feet to the floor as Adrian continues to sit quietly, his posture unchanged.

Panel 7.
A large panel the size of three regular panels. Without turning around, Adrian says "Hello, Jon. I was hoping we'd have the chance to talk." Jon is approaching Adrian from behind, looking over at him. Adrian is sitting cross-legged on the pedestal, his hands on his knees with two fingers of each hand extended in a meditative posture. In front of his pedestal is a large glass ball with a model of the Solar System inside it, the planets and their moons all mounted on small poles on a disc cutting through the middle with the orbits drawn on it. The Sun appears to be lit up, casting light on the planets. The room is large, with Egyptian-style pillars at each corner. Near one corner is a display of a pyramid and a cube on top of a larger cube, while near the other visible corner is a display of a cylinder and a cone on top of a cube.
Page 27.
Panel 1.
Adrian continues to sit on his pedestal in his meditative position, looking straight ahead of him. He says "Jon... I *know* people think me callous, but I've made myself *feel* every *death*. By day I imagine endless *faces*. By night... Well, I *dream*, about swimming towards a hideous... No. Never mind. It isn't *significant*..." His tunic is still bloodstained, and his pedestal is decorated with ankhs and pharaonic scepters. It's shaped like a pyramid, but the tip is cut off, providing a place to sit and also making it appear as if Adrian himself is the capstone, and his head is the tip of the pyramid. The constellations twinkle above him.

Panel 2.
A continuation of the previous panel, with the tip of Adrian's pyramid visible on the left, in front of the model of the Solar System inside the glass ball. Adrian continues "What's significant is that I *know*. I *know* I've struggled across the backs of murdered innocents to save humanity... But *someone* had to take the weight of that awful, necessary crime. I'd hoped *you'd* understand, unlike *Rorschach*..." Jon's hand is on the surface of the glass ball, across from Adrian. The ball is circled with thin black lines, and a mechanism at the base of the globe connected to the planets indicates that the planets are probably designed to move around the sun. The ball rests on a simple stand with X patterns on the sides.

Panel 3.
A continuation of the previous panel, with Jon standing across from Adrian on the opposite side of the glass ball, walking slowly and gesturing with one hand as he looks at Adrian. He says "You needn't consider Rorschach. I strongly doubt he'll reach civilization. ... But yes, I understand, without condoning or condemning. Human affairs cannot be my concern. I'm *leaving* this galaxy for one less *complicated*." From offscreen, Adrian says "But you'd regained interest in *human life*..." 

Panel 4.
Jon walks into the glass ball, his thighs sunk into the disc on which the planets are mounted. He puts one hand to his chin as he says "Yes, I have. I think perhaps I'll *create* some. Goodbye, Adrian." Adrian starts to stand up, looking expectantly at Jon and saying "Jon, wait, before you *leave*... I did the right thing, didn't I? It all worked out in the end." 

Panel 5.
Jon stands in the glass ball with his hands facing palms out toward Adrian. The top of the ball reaches his armpits, and his hands are near the planets, as if he's holding the Solar System in his hands. He smiles and says "Quote In the end unquote? *Nothing* ends, Adrian. Nothing *ever* ends." Adrian's hand reaches out toward Jon, saying "Jon? *Wait*! What do you mean by..."

Panel 6.
Jon vanishes, filling the ball with smoke that resembles a giant mushroom cloud. Another cloud of smoke appears above the ball, drifting off toward the ceiling. Adrian's hand moves back down.

Panel 7.
A large panel the size of three regular panels. Adrian steps away from the pedestal and the glass ball, standing near the wall with his hands behind his back. He's turned away from the glass ball, but looks over to the side, his expression uncertain. His shadow looms large on the wall in front of him. The smoke starts to clear, and the planets continue to move in the foreground.
Page 28.
Panel 1.
A large panel three times the size of a normal panel. Sally is in her brightly lit apartment, her back to the reader as she reaches for the doorknob, remote control in hand. She's wearing her pink robe, and her curly white hair is arranged in her signature 1940s hairstyle. She calls "All *right*, I'm *coming*! Already I had the *cleaning people* calling for tips! On Christmas Day, people gotta come *begging*? Jesus Christ, isn't anything *sacred*? It never ends. Never." Behind her, her TV is on, and the announcer is saying "And now more Christmas excitement with tonight's return visit..." There's a Christmas tree by the window, decorated with golden ropes, shining glass balls and bells. Some Christmas cards set up on a table nearby are mostly cut off by the panel border, but one says "Happy" and has a picture of a snowflake, one says "Accord" and has a picture of the globe, and one says "Peace on Earth" and has a picture of the Three Wise Men looking at the Star of Bethlehem. The Tijuana Bible starring the young Sally Jupiter is sitting next to the cards. On top of the TV is a toy Santa in a sleigh being pulled by two reindeer, and Sally's old costume is on a mannequin next to the TV.

Panel 2.
One of the rest home attendants is standing near the door, along with two other people. The attendant is a black woman in a pink uniform and white apron, holding a clipboard and a pen. She gestures with the pen towards the two people, a blond white man in a brown suit and a short-haired blonde white woman holding on to his arm. She says "I'm *sorry*, Ms. Jupiter, we *tried* calling from *reception*, but your *phone* was off. Your friends Mr. and Mrs. *Hollis* are here to see you." Sally, standing at her front door, looks at the two and says "*What*? But I don't *know* any..." From inside her living room, the announcer continues "...To the outer limits..." In the background a man is standing next to a wheelbarrow, trimming the bushes by one of the other buildings.

Panel 3.
Offscreen, Sally says "...Uh..." The man and woman standing at her door are Laurie and Dan. Laurie's hairstyle has been entirely changed from her long dark brown hair to a short blonde bob. She's smiling and holding a bouquet of puffy red flowers. Dan's brown hair is now blonde as well, and he has a blonde mustache. The attendant waits outside the door, and the announcer continues "...In which Robert Culp is physically transformed by... *The Architects Of Fear*!"

Panel 4.
Sally steps outside the door, escorting the two of them inside with a large smile. She says "...I don't know *anyone* I'd rather *see*! Come *inside*! How *wonderful*, my dear friends, Mr. and Mrs. ..." As Dan goes inside, past the wreath on the door, he answers "Hollis." Sally says "*Ha ha ha!* Of *course*! Thank you *so* much for bringing them over." The attendant walks away, smiling and carrying the clipboard under her arm as she says "You're welcome. Have a nice day."

Panel 5.
Inside Sally's apartment, Laurie turns to her, saying "Mother, we..." Sally looks appalled, saying "What the *hell* are you trying to *do*? You're trying to *kill* your mother with a *heart attack*? I thought you were *dead*! Who did that to your *hair*? You should *sue*, you look like a *waitress*..." The announcer says "There is nothing wrong with your television se--" Sally continues to look at Laurie as she reaches behind her with the remote control and turns off the TV.

Panel 6.
Laurie smiles and pats her mom on the shoulder as she gives her the bouquet. She says "Mother, shut *up*! We can't stay *long*, but we had to let you know we're *okay*. We brought *flowers. Merry Christmas, Mom." Sally looks down at the flowers as she takes them, smiling. She says "Oh *Laurie*. Oh sweetheart, I'm so glad to *see* you." She sniffles, making a "Gnff" sound, then says, "So, who's the stud?" Dan stands apart from the two women, looking around.

Panel 7.
Laurie puts the bouquet in a vase, turning her head toward her mom and saying "He *was* Dan *Dreiberg*. We're Sam and Sandra *Hollis* now." Sally smiles sweetly at Dan as she shakes his hand, saying "Not legally married, huh? Well, let's hope he's *rich*. Delighted to *meet* you, Dan." Dan smiles at her, saying "Equally delighted, Ms. Jupiter. I'm a fan from way back." Sally says "Oh, I *like* this one."
Page 29.
Panel 1.
Sally turns away from the two of them, gesturing with her index finger as she says "Now, lemme *see*, I *must* have some gifts for *you*... I know! There's a bottle of that new *Millennium* stuff..." Laurie puts both hands out to her sides and looks at Sally, saying "Mom, we don't have *long*, and there's important *things* to discuss." Dan reaches out towards the Silk Spectre comic on the coffee table.

Panel 2. 
Sally, still facing away from the two of them, waves dismissively and says "At *Christmas*, what's more important than *gifts*? I remember when you were a little *girl*, always you used to..." Laurie, standing behind Sally and gesturing with both hands out to the sides, says "Mom, I found out who my real dad was." Dan is flipping through the comic. 

Panel 3.
Sally, still turned away from Laurie and Dan, freezes, her hand still in the air. Dan looks up, and Laurie looks at her mom.

Panel 4.
Sally clutches a square bottle of perfume to her chest, her expression panicked and frozen. She says "You...? Oh *Jesus*... Oh *Laurel*, I'm so *sorry*. Wh-What must you *think*? It... It was just an afternoon, in summer. He stopped by..." Laurie, standing behind Sally, gestures and says "Mom..." Her expression is worried and sympathetic. The background is bright yellow.

Panel 5. 
Sally turns to Laurie, gesturing as she says "I *tried* to be angry, but... I mean, I never wanted you to know. I should have *told* you but... I don't know, I just felt *ashamed*, I felt *stupid, and..." Laurie steps toward Sally, reaching out to her with both hands and saying "Mom... It doesn't matter." 

Panel 6.
Laurie hugs Sally, her head on her mom's shoulder and her expression understanding as she says "People's *lives* take them strange *places*. They do strange *things*, and... Well, sometimes they can't *talk* about them. I know how that is. I love you, Mom. You never did anything wrong by me." The background is bright yellow.

Panel 7.
Laurie steps back, holding her mom's hands and patting her shoulder as she says "That's all I came to *tell* you, I guess. We have to *go*, but we'll visit *soon*." Sally answers "Sure. Listen, take this. It'll help you hold onto *Blondie*. Guess I better find *him* something, too..." She's still holding the bottle of perfume, which she presses into Laurie's hands. Dan is standing behind them, reading the comic.

Panel 8.
Laurie steps toward the window, looking past the curtain. Her face is partially in shadow and partially lit up as she says "Well, yeah, but *hurry*. I get *nervous*, waiting around..." Sally moves toward Dan, putting her hand on his shoulder and saying "What's that you're... *Ohh*. *That* old thing. Hope it hasn't *embarrassed* you." She puts her hand on her cheek. Dan holds the comic out in front of him and, gesturing at himself with his thumb, says "Oh *no*. Not at *all*. To tell the *truth*, I... Well, in 1952, I *owned* a copy."

Panel 9.
Sally, turning to face Dan, touches his wrist and presses the comic into his hand, smiling and saying "You *did*? Why, *bless* you, you *keep* it." Dan says "But... These are *valuable*. *Really*, Ms. Jupiter, I couldn't..." Sally replies "Sally. Take it. Just don't tell the wife." Laurie is opening the front door, and looks behind her, saying "Dan... Uh, Sam, honey? Come on... We have to *go*."
Page 30.
Panel 1.
Sally stands just inside the front door, waving to Dan and Laurie as they walk away from her building and saying "Yeah, well, you kids take *care* of each other. And don't wait too long to have *children*! I'm an old woman!" Laurie, taking Dan's arm, looks back and waves, saying "Good*bye*, Mom."

Panel 2.
Dan, putting an arm around Laurie's shoulders as they walk away, gestures and looks at her, smiling, and says "Well, that was pretty *painless*, huh? Y'know, maybe that wasn't such a bad *idea* of your mother's..." Laurie smiles roguishly at him, poking him in the chest, and says "*Children*? *Forget* it. Not *yet*. You were talking about *adventuring*, and *I'm* not staying home changing *diapers*." The door closes behind them.

Panel 3.
In the foreground, Dan's finger is pointing at Laurie's shoulder, and he's saying "Quote Nite Owl and Silk Spectre unquote. Sounds *neat*." Laurie's hand is gesturing towards herself with her thumb and she answers "Quote Silk Spectre's unquote too *girly*, y'know? Plus, I want a better *costume*, that *protects* me: maybe something *leather*, with a *mask* over my face... Also, maybe I oughtta carry a *gun*." In the background, Sally can be seen through her living room window, watching the two of them leave with her shoulders slightly slumped.

Panel 4.
Sally closes the curtains, looking off towards the bed. Her face looks tired and sorrowful. The picture of the eight original Minutemen is on the night stand next to the bed, near a vase and a small round container, while there's a small box and a bottle of Nostalgia perfume on the table next to her.

Panel 5.
Sally picks up the picture in both hands, looking down at it with a weary, nostalgic expression. With the curtains drawn, the room feels dark and quiet.

Panel 6.
Sally brings the picture to her lips, kissing it with tears streaming from her eyes. The background is black.

Panel 7.
A large panel the size of three regular panels. Sally is sitting on the side of the bed furthest from the nightstand and the picture, her back to it. Her head is bowed, and she holds a lace-edged handkerchief to her face.  On the wall across from her are some pictures of herself as young woman. In the foreground is the picture of the eight original Minutemen. The panel border crops away the faces of all of them except for Blake, who is kneeling in front of Hollis, Nelson and Sally, his smile wide. A print of Sally's lips is left in her red lipstick on the picture, framing Blake's face between the upper and lower lip prints.
Page 31.
Panel 1.
A large panel the size of three regular panels. The intersection where Bernard's newsstand used to be. The sky is dark, with black billowing clouds, a few birds and a zeppelin far in the distance, and there are only a few cars and pedestrians several blocks down the street, with almost no people at all in the intersection and surrounding sidewalks. There's no trace of the devastation or the creature, and the lampposts are all straightened out. A tall fence closes off the area where the Institute for Extraspatial Studies used to be, and a sign on the wall says "Pyramid Construction." There's a poster on the fence reading "New Deal," as well as graffiti of an A in a circle and the phrase "One In Eight Go Mad." The Eight has been crossed out, and a 3 written over it. Inside the lot are a crane and some scaffolding. The newsstand is gone, replaced with a newspaper box, and the spark hydrant has been replaced with a sleek, newer model that resembles a joystick. Across from the street, a sign for the New Utopia advertises Tarkovsky Season, This Week "The Sacrifice" and "Nostalgia." There are some pieces of trash on the street near the sign. Across the street on the other side from the old Institute area is the Promethean Cab Company, the windows and shutters now repaired and a differently-shaped sign hanging in front of it. A white truck with an apple logo and the words "NY" is parked outside, and one worker is removing the fallout shelter sign, while another one is erasing the graffiti of the shadow lovers. The trashcan has been replaced by a newer one. Across the street from the New Utopia is the replacement for the Gunga Diner, the Burgers 'N' Borscht. The O of the word "Borscht" has a star in it, and the R is turned backwards. The windows are decorated with a star. A sign on the door says "Happy New Year to all our customers," and there's some trash scattered on the sidewalk. Seymour is coming out of the Burgers 'n' Borscht, carrying some boxes. He wears a brown jacket over his green shirt and jeans.

Panel 2.
Seymour crosses the street, past the Promethean Cab Company building. Around the corner, the worker is scrubbing at the wall, and the second worker is placing the fallout sign in the back of the truck, next to a row of similar signs. In the foreground is the new, joystick-shaped spark hydrant with a lightning bolt symbol on the side, next to the newspaper box. It reads "New York Gazette, 35 cents," and the newspaper inside has a headline reading "RR To Run In 88?" Next to it is an indistinct picture of a smiling man.

Panel 3.
The worker who took down the fallout sign is placing a poster in its place. It's a bright blue poster with an image of the Soviet and American flags crossed over the glove, and it reads "One World, One Accord." The man's arms frame Seymour as he continues to walk down the street, under a sign that reads "Promethean Cabs + Limo, Bringing Light To The World." A banner pasted on top of the sign reads "Under New Management." 

Panel 4.
Seymour continues to walk with his boxes past a wall on which a large billboard is framed. The billboard text reads, in a modern font, "This Is The Time. These Are The Feelings." It shows an athletic-looking blond white man standing next to an attractive, fresh-faced blonde white woman, both of them shown in profile. They're smiling optimistically, clasping hands and looking toward a sunburst, while the area behind them is dark and starry.  The text underneath their clasped hands reads "Millennium" in bold letters, with "By Veidt" in smaller text underneath. The Veidt is the Veidt logo. Underneath, there's some graffiti and posters on the wall. The graffiti reads "Quantum Jump" and "New Deal," and there's also a loop symbol. A sleek red car passes by, and a man walks by on the other side of the street. He's white, wearing headphones, smoking a pipe and wearing a black armband around his left upper arm.

Panel 5.
Seymour's legs are shown from the knees down. His shoes are branded with Vs on the heels, and the shoelaces of his right shoe are untied, trailing onto the sidewalk. He's walking near a garbage can, stepping on a piece of newspaper in a puddle, which reads "NY Survivors Reveal Nightmare Under Hypnosis." There's a picture of two men shaking hands beside it, and the rest of the newspaper page is torn off. There's also a comic book on the ground, the title of which reads "Tales From The Morgue." Morgue is written in larger, messy-looking red letters than the rest of the title. Graffiti on the wall near Seymour reads "Watch The Skies." Seymour is approaching Pioneer Publishing's offices. The logo of Pioneer Publishing is two Ps, arranged in a symmetrical way.

Panel 6.
Seymour pushes open the door to the building. The graffiti from earlier has been painted over sloppily, so that the graffiti isn't readable but it's clear that something was there. Across the street is a Woolworth's, and above it is an advertisement for Sunbursts and a clock that reads 11:55. There are stacks of bundled-together papers in the hallway.

Panel 7.
Hector, standing in front of a file cabinet and pulling out a piece of paper, scowls at Seymour as he returns, saying "*Ooohh*, so you finally came *back*? What, did you go to *Dimension X* for 'em? Hm? Seymour, Christ, I don't know... Three million New Yorkers died and you weren't one of them."  Seymour, holding two Burgers 'n' Borscht boxes, looks over toward him, his expression characteristically dull.
Page 32.
Panel 1.
Seymour, putting the boxes down, looks up at Hector and says "I hadda go to the *Burgers 'n' Bor*..." Hector, holding the paper in front of him, turns angrily toward him, saying "Don't *say* it. Don't say that *word*. I'll eat *food* from the place if I *must*, but I won't have *Russian* spoken in this office. Seymour, don't you have anything to do?" Seymour answers, "Well, I was gonna *eat*." In the foreground are two knocked-over cups and the overflowing crank file, with Rorschach's diary near the top, partially covered by one letter.

Panel 2.
Hector shuts the file cabinet, glaring as he says "*Oh* no. You got two more *pages* to fill before *you* eat, thanks to this goddamned, ass-kissing *accord*!" Seymour takes off his coat, showing his smiley face shirt, and says "I thought your column..."

Panel 3.
Hector, leaning forward and shaking his fist, says "Yeah, well,  you thought *wrong*! Nobody's *allowed* to say bad things about our good ol' buddies the *Russians* anymore, so bang goes a two-page *column*! Get some *filler* from somewhere." Seymour, looking intimidated as he takes a burger out of one of the boxes, says "Robert *Redford* says he'll be running for president in '88. We could run a piece on..."

Panel 4.
Hector starts to sit back down at his desk, adjusting his tie as he sneers and says "Seymour, we do *not* dignify *absurdities* with *coverage*. This is still *America*, god damnit! Who wants a *cowboy actor* in the White House?" Seymour, touching his finger to his mouth and holding his burger, says "Hm. Well, then I guess it's somethin' from the *crank file*." He approaches the file, a drop of ketchup sliding out of the burger.

Panel 5.
Hector takes his burger out of the box, saying "Yes, yes. Whatever's within your limited *abilities*. Just please let me eat my lunch in *peace*." Seymour looks toward him, bringing the burger to his mouth and gesturing as he says "Well, which piece should I *run*? I..." The drop of ketchup falls off of the burger, splashing on the front of Seymour's shirt.

Panel 6.
Hector holds his burger with both hands, both pinky fingers sticking up, and prepares to take a bite, saying "*Seymour*, for God's *sake*! I'm *asking* you to take *responsibility* for once in your miserable life, while *I* eat lunch! Is that too *much*? Go *on*. Just run whichever you *want*..." Seymour chews his burger with his eyes closed as he reaches toward the crank file. The ketchup on his shirt has fallen over one of the eyes of the smiley face on his shirt.

Panel 7.
A large panel the size of two and a half regular panels. From offscreen, Hector says "I leave it entirely in your hands." A close-up of Seymour's hand reaching toward the crank file, inches away from Rorschach's journal. The ketchup-splattered smiley face logo on his chest fills the background.

Panel 8.
A half-size panel with a black background and white text that reads "It would be a stronger world, a stronger loving world, to die in. John Cale." 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 midnight.

The page opposite this one is nearly entirely red. The clock is nearly covered with blood, with the minute and hour hands still visible. The time is midnight. The twelve, nine, two and three are also still visible, but the rest of the clock has been coated in blood, and only a tiny spot of black is still visible to the right of the clock.

On the very final page is a quote in black text on white, reading "Quis custodiet ipsos custodes. Who watches the watchmen? Juvenal, Satires, Vi, 347. Quoted as the epigraph of the Tower Commission report, 1987."