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19: Huey's Place

This issue takes place a few days after the previous issue. But it's obviously been a rough few days (on the run) so people won't have changed clothes and they look pretty much the worse for wear (especially Don).

Most narration in this issue is in the form of FRED's WEB LOG ("BLOG"). This should be indicated by a common but distinctive computer font. These captions will be marked in the script as "FRED's BLOG".

PAGE ONE. Five panels.

Panel 1

A close up of a hand (DON's hand) knocking on a door.

CAPTION (FRED'S BLOG):

It's been a hell of a week. Racing across Illinois, one step ahead of the Krai.

CAPTION (FRED'S BLOG):

Now Don says we'll be safe with one of his old friends, here in Chicago.

Panel 2

The door is open and we see HUEY for the first time. He's about Don's age (mid-50s). He has long, black hair tied back in a pony tail and a small goatee. He is dressed immaculately in sharply-creased pants (which we don't need to see here, if this is just an upper-body view) and a buttoned-up shirt. He's obviously surprised to see Don.

HUEY:

Don! You look like hell.

Panel 3

Now a view of DON -- and he looks like hell. He's got a dressing on one temple and his arm is in a sling and he's in need of a shave. (In fact, he looks pretty much as he did at the end of last issue.) This should be a tight view of just him -- so if we do see the others standing behind him, it's not in any detail.

DON:

Thanks, Huey. I feel like hell.

DON:

Can we come in?

Panel 4

Back to HUEY.

HUEY:

It's not really a great time—

Panel 5

Now a view of them both in profile, face to face. (Note that this POV is probably not actually possible in the real world, because they are either side of a doorway and we would have to be standing in the wall... but it should work ok in the panel.)

HUEY:

I've got a date—

DON:

Well put him off!

HUEY:

And a hell of lot of work—

DON:

For God's sake, Huey!

DON:

I've got Krai on my tail!

PAGE TWO. Two panels.

Panel 1

Big splash panel showing the full group in HUEY's sitting room. (The sitting room, by the way, is very modern, chrome-and-glass furniture, dominated by TV and hi-fi equipment. The same style should be repeated throughout the house.) The "full group" is: DON, JAMES, SARA, FRED, CHI-YUN, and HARRY. Note that JAMES wears his costume and mask and (of course) carries the SHIELD on his arm. The group should be arranged so that each of DON's captions can be placed next to the correct person in the panel.

CAPTION:

Chicago.

CAPTION:

Monday October 6, 2014.

DON:

This is Sara

DON:

Fred

DON:

Chi-Yun

DON:

Harry

DON:

And—ah—James. I'll explain that later.

Panel 2

A small close-up on HUEY. This can be a small panel overlaid on the main, full-page panel. HUEY's eyes are popping out of his head.

DON (off panel):

Gang, this is Elmer Baker—but you can call him Huey.

DON (off panel):

We go way back.

HUEY:

Er—Hi?

PAGE THREE. Five panels.

Panel 1

CHI-YUN has a big grin on her face, as if she's just thought up the best joke in the world.

CHI-YUN:

Hey, we've already met Luey! What happened to Dewey?

Panel 2

DON and HUEY share a look, their faces sad.

No dialogue.

Panel 3

Back to CHI-YUN, who still thinks it's funny.

CHI-YUN:

Get it? Huey, Luey—

CAPTION (FRED'S BLOG):

That's Chi-Yun. Big mouth, small brain.

Panel 4

A wider shot, to include DON, HUEY, and SARA, as well as CHI-YUN.

SARA (softly):

Drop it, Chi-Yun.

CHI-YUN:

But—

HUEY:

Don, can I talk to you? Privately.

CAPTION (FRED'S BLOG):

I don't need my telepathy to tell me we're not welcome.

Panel 5

DON and HUEY are moving into another room.

DON:

You guys just makes yourselves at home.

HUEY (softly):

Sure, take over the place.

CAPTION (FRED'S BLOG):

But it's not just us that's the problem. There's something else bothering Huey.

PAGE FOUR. Four panels.

Panel 1

HUEY's study. It's modern, tidy, efficient. Dominated by the desk, but one wall contains a long bench covered in bits of electronic hardware (circuit boards, computer screens, wires everywhere). In one corner is a small drinks cabinet. The back wall is a picture window looking out onto HUEY's large, tree-lined garden.

There is also a plush couch, which DON is hobbling towards. HUEY is standing by the closed door.

HUEY:

What the hell, Don?

HUEY:

Krai!?

Panel 2

DON eases himself down onto the couch.

DON:

They've been following us for a month now.

DON:

Coming here has probably put you in danger. But I'm short on options.

Panel 3

HUEY walks over to his desk, his back to DON.

DON:

They damn near got me a couple of days ago—as you can see. It's serious, Huey.

Panel 4

HUEY is sitting on the edge of his desk, facing DON.

HUEY:

Tell me everything.

DON:

I can't tell you everyth—

HUEY:

Tell me everything, or I can't help you.

PAGE FIVE. Five panels.

Panel 1

Another study, again modern and scrupulously tidy. A man sits in darkness, face illuminated by the glow of his computer screen. It's the K-MAN's SPY, last seen in ISSUE 14. As always, he's dressed in an anonymous black suit.

CAPTION:

K-Men Headquarters.

SPY:

No, I don't have a lead on Newman's whereabouts, General. If I had some more manpower—

GENERAL (from screen):

I can't authorize K-Men for more undercover work. They're too volatile.

Panel 2

A reverse angle, showing the GENERAL's face in a window on the screen. The GENERAL, of course, wears his full Marine Corps uniform.

GENERAL:

Give me a solid lead, then you can have an assault team.

SPY:

There are a number of places he could be. He's got contacts all over the Midwest—he grew up there. My agents can't cover them all. Not with our other commitments.

GENERAL:

What about the woman who was hiding him?

Panel 3

The SPY is lighting a cigarette while speaking.

SPY:

They left her with a relative and then vanished. It's unlikely she knows where they went. But—

SPY:

If you could authorize her interrogation?

Panel 4

Close-up on the GENERAL, looking stricken.

GENERAL:

My God, man! Do you know what kind of repercussions that could have? We can't afford that kind of political fallout.

GENERAL:

We have too many enemies in Washington who are looking for an excuse to shut this program down.

Panel 5

The GENERAL is shaking his fist.

GENERAL:

I will not let that happen!

PAGE SIX. Seven panels.

Panel 1

A gymnasium. Two young men are sparring in a boxing ring. They are wearing gloves and protective headgear and circle each other warily. They are alone in the gym. Both are heavily muscled and have short, military-style haircuts. One wears red and one wears blue , so readers can tell them apart. So We will call them K-MAN RED and K-MAN BLUE for now. K-MAN RED is the same man I called K-MAN #2 back in ISSUE 17.

CAPTION:

Gymnasium, K-Men Headquarters.

K-MAN BLUE:

Hear you killed Weaver's old man?

K-MAN RED:

He was a security risk. I had no choice.

Panel 2

BLUE jabs at RED, who blocks with his gloves.

K-MAN BLUE:

But jeez, bro, Weaver's old man! Does Weaver know?

K-MAN RED:

No.

Panel 3

RED jabs and catches BLUE on the chin.

K-MAN BLUE:

He'll kill you!

K-MAN RED:

He'll get over it. We gave up family ties when we signed up for this outfit.

Panel 4

BLUE smacks RED with a right hook that knocks him to the canvas.

K-MAN BLUE:

You killed a civilian!

Panel 5

BLUE looks down at where RED lies.

K-MAN BLUE:

Admit it, man, you screwed up! You're dead meat!

Panel 6

RED is back on his feet and swinging an uppercut at BLUE. But he's changed. He's morphed into wolf form (the change splitting his headgear and gloves open, the tattered remains falling to the floor). And in wolf form his punch is POWERFUL. BLUE, still in human form, is lifted clean off the floor.

SFX:

KRACK!!!

K-MAN RED:

Rrrrrraaaaaaarrrrrrr!

Panel 7

RED, still in wolf form, walks away from the ring. BLUE lies dazed and bloody on the canvas, looking after him.

K-MAN BLUE:

Dead meat, man.

PAGE SEVEN. Five panels.

Panel 1

In the kitchen, CHI-YUN is examining the contents of the refrigerator (which we don't need to see). JAMES is pouring a glass of milk, while HARRY looks on.

JAMES:

They were all part of the same unit. Huey, Luey—they're just code names.

CHI-YUN:

So do you think that probably—

CHI-YUN:

Cool! He's a vegetarian!

HARRY:

Oh, fer cryin' out loud! Let's eat out tonight.

Panel 2

FRED and SARA are in the back garden. It seems to be pretty big and is screened by trees and bushes. From what we can see of the house, it is also pretty big. They are just walking and talking.

FRED:

Nice place. Definitely big enough for us to hide out at.

SARA:

Did you get the sense that something was wrong?

Panel 3

FRED stops and looks at SARA

FRED:

Sure! Wouldn't you be pissed if a group of superhuman kids landed on your doorstep and took over your house?

SARA:

I don't mean just that. Huey was worried before we even went in.

Panel 4

FRED looks back at the house.

FRED:

Yes, I did sense that.

FRED:

You want me to read his mind to see what's up?

Panel 5

SARA stares at FRED.

SARA:

No way!

SARA:

I mean—would you?

PAGE EIGHT. Five panels.

Panel 1

Close-up on FRED.

FRED:

You daring me?

CAPTION (FRED'S BLOG):

It would be easy. Little uses of my power—skimming surface thoughts or strong feelings—get easier and easier.

Panel 2

Extreme close-up on FRED's eyes. And in the eyes we see DON and HUEY, together in HUEY's study, talking.

CAPTION (FRED'S BLOG):

I used to need eye contact. Now I can just feel for a mind and—

SARA (off-panel):

Fred?

Panel 3

A wider shot as FRED looks at SARA, who is looking back with a frown.

FRED:

Hmmm?

SARA:

I said, are you—

SARA:

You were! You were reading Huey's mind!

Panel 4

Close up on FRED again.

FRED:

You really think I would do that? To a friend of Don's?

Panel 5

FRED is now walking away from her.

FRED:

I guess you don't know me very well.

PAGE NINE. Four panels.

Panel 1

DON and HUEY together in HUEY's study, the scene similar to that depicted in FRED's vision on the previous page. DON is sitting on a couch. HUEY is pouring them both drinks. (They both drink scotch over ice. Not really an important detail, but...)

DON:

C'mon Hu. You're as easy to read as a book. What's going on?

HUEY:

It's business, Don. You came at a bad time, that's all.

DON:

Can I help with it?

Panel 2

HUEY carries the drinks over to DON, and smiles.

HUEY:

Not banged up like that, you can't. Geez, Don, you're not as young as you were.

DON:

It's not the years it's the—

Panel 3

As HUEY hands DON his drink, they speak simultaneously (we'll have a single speech bubble coming from both men).

DON & HUEY:

—mileage!

Panel 4

SARA sits alone in the sitting room, cradling a mug of coffee. She frowns. Laughter comes through the door to HUEY's study.

DON (through door):

Ha ha ha!

HUEY (through door):

Ha ha ha ha!

PAGE TEN. Six panels.

Panel 1

FRED sits alone on the back porch. He's smoking (and the cigarette looks hand rolled, if you get my drift). It's now dark and he gazes moodily into the darkness.

No dialogue.

Panel 2

FRED is suddenly bathed in light from behind, from the back door being opened.

HUEY (off-panel):

That stuff will rot your brain cells, you know.

Panel 3

Close up on FRED taking a puff on the joint.

FRED:

Good.

Panel 4

HUEY sits on the porch, regarding FRED.

FRED:

Suppose you disapprove?

HUEY:

Hell, no. Pass it here.

Panel 5

FRED watches HUEY smoking the joint.

HUEY:

But if Don finds out he'll hit the roof. You know that, right?

CAPTION (FRED'S BLOG):

I do it because it dulls my mind. Shuts out the buzz of thoughts around me.

Panel 6

FRED is opening the back door, heading back into the house. HUEY still sits on the porch, smoking.

CAPTION (FRED'S BLOG):

Like he's gonna understand that.

HUEY:

Turning in?

FRED:

Yeah, whatever.

PAGE ELEVEN. Six panels.

Panel 1

FRED lies, partially dressed, on top of a bed in small guest room. The light is on and he's staring at the ceiling.

CAPTION (FRED'S BLOG):

He does need help. I could see it in his mind. But it's not our problem. We don't owe him anything.

CAPTION (FRED'S BLOG):

The best thing we could do for him is get out of here. While we're here, he's in danger.

Panel 2

Close-up on his hand reaching to turn out the light. A clock on the nightstand reads 1:35.

CAPTION (FRED'S BLOG):

More importantly, we're in danger.

CAPTION (FRED'S BLOG):

If I was hunting us, I would have a list of Don's old friends and I would stake them out, waiting for us to turn up.

Panel 3

A close-up of FRED's sleeping face.

No dialogue.

Panel 4

Extreme close-up on FRED's eyes, now open, and in each one is a face: an attractive young woman with long, straight, blonde hair: in fact, observant readers should be able to recognise FAITH. (Last seen in ISSUE 14 PAGE 6.)

FRED:

No!

Panel 5

FRED sits on the edge of the bed, head cradled in his hand. The clock now reads 3:31 (it's luminous, obviously), to indicate that he's been sleeping for some time.

CAPTION (FRED'S BLOG):

Dreams again. But that woman—do I know her? Will I know her?

Panel 6

FRED stands at the window, looking out into the night.

CAPTION (FRED'S BLOG):

Just because I dream it, doesn't mean it's precognition.

CAPTION (FRED'S BLOG):

I mean, she's cute.

CAPTION (FRED'S BLOG):

And sometimes a cigar is just a cigar.

PAGE TWELVE. Five panels.

Panel 1

Imagine you're lying flat on a bench and holding a heavy barbell above your chest -- that's our POV in this panel. Just two bare, muscular arms, hands gripping a steel bar.

CAPTION:

Tuesday morning.

CAPTION (FRED'S BLOG):

If Huey has problems, they're not our problems. No reason for us to get involved.

JAMES (off-panel):

Unnnghhh

Panel 2

Same view, the bar held high above our POV (maybe the arms quivering slightly) -- and SARA's head looking down at us. Her face is upside down in this panel, as she's standing at the "head" of our bench. (Did that make sense?)

CAPTION (FRED'S BLOG):

Unless somebody tells Captain Boyscout.

SARA:

We need to help Huey.

Panel 3

Now a long "regular" view of the scene. It's a gym -- possibly a YMCA or similar. JAMES, in workout clothes, is lying on a bench and pressing a pretty impressive amount of weight. (There should be three plates on each end of the bar.) SARA, in street clothes, is at the head of the bench and looking down into his face.

JAMES:

Thought—you were—swim—ming?

SARA:

I finished. Put that down, this is important.

Panel 4

The weight is now safely racked and JAMES sits on the bench looking at SARA.

SARA:

Don't tell me you haven't seen it. He spent all night locked up with Don then he wouldn't say a word over breakfast.

JAMES:

They were probably talking about us. And maybe he likes his privacy!

Panel 5

Close up on their faces.

JAMES:

We can't just barge into his life and—

SARA:

I think you should talk to him.

JAMES:

Me? Oh, no—

PAGE THIRTEEN. Three panels.

Panel 1

HUEY sits at his desk, studying his computer screen. He's deep in thought, so he evidently hasn't seen the others enter the room. Yes, they are all here -- we only need to show JAMES, though. JAMES is in costume.

JAMES:

We need to talk.

Panel 2

A big panel showing the whole group from HUEY's POV: JAMES, FRED, SARA, HARRY, CHI-YUN. FRED's BLOG captions should be arranged so each is by the person he's talking about but they still read clearly in the order given here.

CAPTION (FRED'S BLOG):

Funny thing about this group. When James decides something, we do it.

CAPTION (FRED'S BLOG):

Sara figured this out a while ago and makes sure that what James decides is what she wants.

CAPTION (FRED'S BLOG):

Harry can't resist a mystery.

CAPTION (FRED'S BLOG):

And Chi-Yun will go along because she can't think of anything else to do.

CAPTION (FRED'S BLOG):

We're like a poorly-oiled machine teetering on the brink of a breakdown. It works in spite of ourselves.

CAPTION (FRED'S BLOG):

Pretty scary, really.

Panel 3

Back to HUEY, looking at them seriously.

CAPTION (FRED'S BLOG):

Don't ask me why I'm here.

HUEY:

Did Don put you up to this?

PAGE FOURTEEN. Four panels.

Panel 1

Close-up on JAMES

JAMES:

No, sir, he doesn't know we're talking to you.

Panel 2

SARA steps forward. HARRY is just behind her.

SARA:

We just want to help.

HARRY:

You've put yourself in danger, letting us stay here. The least we can do is help you with—whatever.

Panel 3

CHI-YUN has sat down on the couch.

CHI-YUN:

Besides, we can't think of anything else to do.

Panel 4

HUEY leans back in the chair, smiling.

HUEY:

You're right, I do have a problem. And I could really use some help.

PAGE FIFTEEN. Four panels.

Panel 1

A lot of exposition from HUEY in this panel. So we'll try to make it interesting by including a montage of images in a big panel. The order of images isn't particularly important but will include: (1) HUEY sitting at his desk, giving this explanation; (2) the exterior of a small high-tech corporate headquarters, with a sign out front reading "FORWARD TECHNOLOGIES"; (3) a communications satellite circling the earth; (4) the interior of a high-tech electronics workshop with various bits of cool-but-unidentifiable equipment.

HUEY:

I run a small high-tech start-up. All my savings are in it. And all our resources are committed to one big project.

CAPTION (continuing HUEY's speech):

"It's a secure communications module for satellites—breakthrough technology. Everybody's interested in it."

CAPTION (continuing HUEY's speech):

"The product launch should be tomorrow. We're anticipating some big orders. It's going to push our stock through the roof."

CAPTION (continuing HUEY's speech):

"Except—"

CAPTION (continuing HUEY's speech):

"—The launch isn't going to happen. Somebody broke into the plant and stole the only working prototype."

CAPTION (continuing HUEY's speech):

"We can't get another prototype ready in time. But canceling the launch—well, we miss the market window and rival products get the contracts. It will be disastrous."

Panel 2

Close-up on JAMES's face.

JAMES:

Have the police turned up any—

HUEY (off-panel):

I haven't been to the police!

Panel 3

HUEY has his head in his hands -- not exactly "despairing", more frustrated.

HUEY:

I can't!

HUEY:

If word gets out that we've had a security breach—we'd be finished anyway. This is a very security-conscious market sector.

Panel 4

Close-up on FRED.

FRED:

So you're screwed either way.

HUEY (off-panel):

That's the short way of putting it, yes.

PAGE SIXTEEN. Six panels.

Panel 1

Close-up on JAMES.

JAMES:

How can we help?

Panel 2

HUEY gestures at his computer screen (which currently faces him, of course).

HUEY:

The module puts out a distinctive telemetry signal. Earlier today, they must have powered it on to test it. Because I got a signal—

Panel 3

Close-up on the screen, which HUEY has turned to face the group. It shows a street map of a waterfront area in Chicago.

HUEY (off-panel):

From right here.

Panel 4

HARRY bends down to study the screen more closely.

HARRY:

I know the area. Warehouses. Should be quiet tonight if we—

Panel 5

HARRY turns to see everybody looking at him.

HARRY:

I grew up here.

JAMES:

It's probably changed a bit since your day, Harry.

Panel 6

HARRY moves towards the door.

HARRY:

Well then let's go and see.

FRED:

Shouldn't we find out what this prototype looks like first?

HARRY:

Yeah—

PAGE SEVENTEEN. Four panels.

Panel 1

It's night but streets are lit sufficiently for us to see the action. A distant view of a car pulling up alongside a large, dark warehouse.

CAPTION (vice-over, continuing HARRY's speech):

"—that was gonna be my next question."

Panel 2

In the car, we see HARRY is driving and SARA is next to him. SARA is holding some small device and staring at its screen. FRED, JAMES, and CHI-YUN are squeezed into the back seat. They are all in dark clothing (JAMES in costume, obviously).

SARA:

This is it.

HARRY:

You're sure?

SFX (gadget):

ping ping ping

SARA:

Pretty sure.

Panel 3

JAMES leans forwards.

JAMES:

Remember, we're not here to fight bad guys or draw attention to ourselves. We go in, find Huey's property, and bring it out again.

Panel 4

In the front seat, HARRY is furtively checking that his revolver has a full cylinder.

HARRY:

Sure. In, find the doohickey, out again. Fine.

PAGE EIGHTEEN. Four panels.

Panel 1

JAMES, HARRY, SARA, FRED, and CHI-YUN are leaving the car.

SARA:

It's in there somewhere. I'm not sure where.

HARRY:

It's leg work from here, then. Come on.

Panel 2

Close-up on HARRY leaning down by a padlocked door, picking at the lock with a small tool.

HARRY:

This is the time for you to lecture me about breaking and entering, kid.

Panel 3

Wider view, showing JAMES and SARA standing next to HARRY.

JAMES:

We know there are stolen goods inside. That's "probable cause".

SARA:

Less bickering, more lock picking!

Panel 4

Still wider view, including CHI-YUN and FRED in the panel.

SFX (lock):

click

HARRY:

That's it, come on. But quiet! We don't know who is in here.

PAGE NINETEEN. Four panels.

Panel 1

A distant, high POV, showing the group furtively slipping in through the warehouse door.

No dialogue.

Panel 2

Pulling back the POV still further, we see a figure watching them from a nearby rooftop. We only see him from behind (as we're looking past him to the warehouse door). He's a dark form, wearing a long, black cape that pools around him as he crouches on the edge of the roof. On his head is some form of helmet, or cowl, with two small, pointy "ears" on top. This is KNIGHT OWL, as our readers will discover shortly.

No dialogue.

Panel 3

A small close-up of black-gloved hands attaching a small grapping hook to the edge of the roof.

No dialogue.

Panel 4

The figure swings down off the roof, using a thin line attached to the grapple. Note that we should still only see him from the back, so he's just a caped, cowled shape.

No dialogue.

PAGE TWENTY. Six panels.

Panel 1

Inside the warehouse, the group sneaks along a wall towards a lit area. HARRY leads the way, SARA is behind him carrying the little tracking device. Then CHI-YUN, FRED, and JAMES bringing up the rear.

SARA:

Right ahead, I think.

Panel 2

A close-up on JAMES.

JAMES (softly):

Quietly! It's probably—

Panel 3

Same view of JAMES, as a black-gloved hand grabs him by the shoulder.

No dialogue.

Panel 4

JAMES has grabbed the hand and has thrown his assailant flat on his back on the ground. The assailant isn't Knight Owl! That surprised you, didn't it? It is a man dressed all in black with a black full face mask, but no silly cloak or pointy owl-ears. The dress should be reminiscent of a ninja costume. We will call him NINJA #1, for convenience.

NINJA #1:

Aaaaaaaa!

SFX:

THUD

Panel 5

JAMES punches NINJA #1 to make sure he won't cause any trouble.

SFX:

CRACK

JAMES:

—Guarded.

Panel 6

FRED looks at JAMES and the unconscious guy.

FRED:

Oh yeah. That was stealthy.

VOICE (off-panel, shouting):

Hey!

PAGE TWENTY-ONE. Four panels.

Panel 1

Now we see HARRY, CHI-YUN, and SARA facing the person who yelled. They are at the edge of an open area, surrounded by shelves and crates and other such things. To one side is a kind of low cabin that obviously serves as the office. The ceiling is very high, with skylights. (This isn't actually important yet but will be later so I need to mention it now in case it features in any of the upcoming panels.) In the open area are a total of eight men, all dressed like NINJA #1. Some of them are carrying crates. It could be the night shift going about its business -- but the ninja costumes kind of suggest otherwise. All the ninjas are looking back towards our heroes. One of them (evidently the guy who just shouted) is pointing at them.

SARA (softly):

Terrific.

Panel 2

Similar view, nobody has moved, but CHI-YUN has changed (or is changing, whichever looks best). Her new form is a human woman, several inches taller than her usual form, with long black hair, a very "top-heavy" physique, and a completely impractical, low-cut, red, white and blue swimsuit.

No dialogue.

Panel 3

And before anybody else can react, CHI-YUN is charging across the floor towards a pair of ninjas --

CHI-YUN

Yaaaaaaaaaaaaaaaa—

Panel 4

-- and straight past them as they side-step. Completely out of control, she is crashing into a huge stack of crates behind them. The impact is massive. Crates fly everywhere. The ninjas just look dumbfounded. (How you show them looking dumbfounded in full-face masks is beyond me. Body language?)

CHI-YUN

—aaaaaaaaaaaaaaaa!

SFX:

KA-SMASH!!!!

PAGE TWENTY-TWO. One panel.

Panel 1

A high view of the scene -- our heroes are being menaced by the ninja types and it looks like all-out action is about to begin. We are actually looking through a roof window. In the foreground of the panel, the mysterious caped figure is looking down through the window. Well, this is the last page so it looks like the readers don't get to learn his name this issue -- it can be a mystery for the next.

KNIGHT OWL:

Very interesting.

Next issue: Chicago Knight

Copyright © 2004, 2017 by David Meadows. All rights reserved.