Police Action! Featuring Joe Thursday

Full-page introductory panel. It's an autumn afternoon in central Los Angeles. The scene is a big open plaza in front of a big police station. In the plaza, people are going about their daily business. Quite a high proportion of them are, not surprisingly, uniformed police officers. Two police officers (both sergeants) are central to the scene. One is JOE THURSDAY. The other isn't important to the story -- we'll call him SERGEANT GIBSON. They are buying hot dogs from a street vendor. THURSDAY looks like a younger version of the man seen last issue (probably early 30s).

1. CAPTION (JOE's narration):

It was the fall of 1987. I was a 15-year veteran of the LAPD and I'd had my sergeant's stripes for a few years.

2. CAPTION (JOE's narration):

In those days, no one in Los Angeles thought much about superheroes. The Defense League had been operating for about five years and we saw them on the TV, but that was New York.

3. CAPTION (JOE's narration):

Strikeforce had only just come on the West Coast scene. They'd grabbed some headlines but there was a bit of uncertainty about whether they were heroes or terrorists. Their leader was some shadowy guy calling himself Scorpio.

4. GIBSON:

So what do you think about these Strikeforce clowns, Joe?

5. THURSDAY:

I'm more worried about who my new partner's going to be.

6. THURSDAY:

Superheroes! It's all some studio publicity stunt.

As they eat their hot dogs, a motorcycle drives past on the road that runs along the side of the plaza. They watch it pass. The rider is in something close to the MAJOR DEMOCRACY costume -- it's the same form-fitting, green-and-black suit that we have seen on JAMES but instead of the cowl concealing his upper face there is a sinister, full-face black helmet. There is no sign of the SHIELD we might expect MAJOR DEMOCRACY to carry. In fact, there's nothing to say it's not just a motorbike rider in a fancy outfit, though readers should know enough to suspect otherwise.

No dialogue.

THURSDAY and GIBSON just look at the road (the motorcycle has gone now).

1. GIBSON:

Yep.

2. THURSDAY:

Uh-huh.

They continue eating hot dogs.

3. VOICE (off-panel):

Hey, Thursday! Captain wants to see you.

THURSDAY walks back towards the police station, throwing the remains of his hot dog into a trash can.

4. THURSDAY:

Thanks, Grady.

5. THURSDAY:

This'll be my new partner.

6. GIBSON:

Go easy on this one!

7. THURSDAY:

Right.

THURSDAY is simultaneously knocking on the frosted glass of an office door, pushing the door open, and speaking.

1. SFX:

knock knock

2. THURSDAY:

You wanted to see me, Captain?

3. VOICE (from inside):

Come in, Thursday.

THURSDAY stands in the room, not exactly at attention. It's a spacious office with a big desk, some chairs off to one side, a big window, and a Los Angeles city map on one wall. The CAPTAIN sits behind the desk -- a middle-aged Caucasian male, uniformed (but not wearing a cap). But he's not terribly important to the story. The main figure in this panel should be the uniformed officer sitting on our side of the desk -- JAMES LANG. He's a few years younger than THURSDAY, maybe late 20s, tall, muscular, and good-looking. Dark hair and dark eyes, and a slightly dour expression.

4. CAPTAIN:

Sergeant Joe Thursday, Officer James Lang. Lang has transferred in from—

5. LANG:

Minnesota.

6. CAPTAIN:

—Minnesota. I want you to take him in hand, Joe. Show him around.

LANG is standing and he and THURSDAY shake hands while sizing each other up.

7. LANG:

Pleasure to work with you, Sergeant.

8. THURSDAY:

Likewise.

9. CAPTION (JOE's narration):

I remember thinking his accent was a little strange. But — Minnesota! Who knows?

THURSDAY and LANG walk through a crowded police station.

10. THURSDAY:

Got much experience, Lang?

11. LANG:

A few years on the force. But I think we probably do things a little differently where I come from.

Close-up on them as a smiling JOE THURSDAY claps the grim-looking LANG on the shoulder.

12. THURSDAY:

I'll show you how we do things in the LAPD.

13. THURSDAY:

You can learn about the paperwork later, the best way to learn the ropes is out on the street. Come on!

THURSDAY and LANG "walk the beat", on the sidewalk of a busy street lined with commercial properties.

1. LANG:

It's not an efficient way to work.

2. LANG:

We've wasted half a day walking round looking for a crime that's probably happening somewhere else. With video cameras on the streets we could wait at the station house and react to incidents as they happen.

3. THURSDAY:

Cameras on every street. Sure. We'll get those in 1984, maybe.

4. LANG:

But it's 1987...

5. LANG:

And we could tag citizens, too—

THURSDAY has stopped and is scratching his head beneath his cap, regarding LANG with the sort of expression you use for hicks from Minnesota who are three sandwiches short of a picnic.

6. THURSDAY:

What are you Lang, some sort of commie? You can't trample on people's rights like that.

7. LANG:

It would be for their own security—

8. THURSDAY:

"Those who would give up liberty for security..."

LANG and THURSDAY face each other.

No dialogue.

Same view.

9. LANG:

What about them?

THURSDAY is walking away down the sidewalk, throwing up his hands in despair.

10. THURSDAY:

It's a quote, Lang! Don't they teach civics where you come from?

11. THURSDAY:

Benjamin Franklin! Look him up!

They continue along, side-by-side.

1. LANG:

We still haven't found any crimes being committed.

2. THURSDAY:

Lang, you're looking at it all wrong. We don't want to find any crimes. We're a deterrent. People see us, they might think twice about whatever they were thinking of doing.

3. THURSDAY:

Here on the street, we're accessible if anyone needs help. We're symbols that people can look up to and rely on.

4. THURSDAY:

Our job is to help people, not beat up bad guys.

A wider view of the street. The road is quiet at the moment but cars are parked bumper-to-bumper. THURSDAY is exchanging waves with a Hispanic man who is arranging boxes of fruit outside a store.

5. THURSDAY:

Hola, Ramirez! How's señora Ramirez?

6. MAN:

My wife is much better, thank you officer Thursday!

A few steps further down the street, and they are outside a windowless building which a shabby sign proclaims as a "BOXING GYM". The gym is on the corner of a narrow alley.

7. THURSDAY:

Get to know the community. Get to the know the people. They're why we're here.

8. THURSDAY:

And you'll get to know which bad apples to look out for.

9. THURSDAY:

Watch this.

An open-topped car -- red Corvette Stingray -- screeches round the corner and to a halt in the alley that's a few feet ahead of them. Note that it has stopped in such a way that it's completely blocking access to the alley. The driver is a good-looking young man (about the age of a high-school senior) with short fair hair, wearing a sleeveless t-shirt that shows off impressive muscles. We've seen him before -- he was depicted in the photographs in ASTRA's study back in ISSUE 32 PAGE 9. This is BRUCE KIRBY.

10. SFX:

Screeeeeeeeech

The youth is vaulting out of the car (without opening a door), swinging a gym bag over his shoulder.

11. THURSDAY:

You can't park there, son.

BRUCE faces down THURSDAY belligerently. THURSDAY's face remains calm and reasonable.

1. KIRBY:

Why the hell not?

2. THURSDAY:

Down there's the rear exit of a daycare center. You're blocking their emergency exit route. I'm going to have to ask you to move.

Close-up on KIRBY, scowling angrily.

3. KIRBY:

Do you know who I am?

4. THURSDAY (off-panel):

Yes I know you're the mayor's son, Mr. Kirby.

5. KIRBY:

And?

6. THURSDAY (off-panel):

And I'm going to have to ask you to move your vehicle.

KIRBY has backed down. He's opening the car door, still scowling at JOE.

7. KIRBY:

They should've put up a sign or something.

8. THURSDAY:

You shouldn't need a sign to tell you to do the right thing, son.

THURSDAY and LANG watch KIRBY reverse his car back out of the alley.

9. LANG:

Why didn't you charge him? Because he's the mayor's son?

10. THURSDAY:

No. Because he's a good kid who just needs a bit of guidance.

They continue their way along the sidewalk.

11. THURSDAY:

I look for the good in people.

12. THURSDAY:

I'd treat anybody the same way.

A bar at night. It's evidently where all the off-duty cops come to drink. THURSDAY and GIBSON sit at the bar with beers. This POV is looking at them over the bar, so we can see the rest of the bar in the background. The place is pretty full. Some guys are playing darts and others are watching a game of pool -- LANG is one of the pool players. The cops are all in civilian clothes, being off duty.

1. CAPTION (JOE's narration):

In his first month, Lang's arrest record was the highest in the department. I couldn't fault his devotion to duty. But still—

2. GIBSON:

So what's it like working with the boy wonder?

3. THURSDAY:

He's good. Damn' good. He can out sprint me on my best day without breaking a sweat. And have you seen him box?

4. THURSDAY:

But...still...

THURSDAY and GIBSON turn to look at where LANG is just leaning down over the pool table to break.

5. THURSDAY:

I don't know. His attitude is all wrong. It's like the people aren't important to him. Just the job. You know what I mean? Not bad... just... cold.

Close-up on LANG striking the cue ball.

6. SFX:

clack

The rest of the panels on the page are tight close-up shots of balls going into different pockets. One...

7. SFX:

clack

Two...

8. SFX:

clack

Three...

9. SFX:

clack

Four...

10. SFX:

clack

Five.

11. SFX:

clack

As LANG straightens up, his fellow officers show various expressions of surprise, disbelief, and consternation. LANG is unperturbed.

1. COP #1:

Damn!

2. COP #2:

Lang, I ain't never betting against you again!

3. COP #3:

How do you do that?

LANG coolly chalks the tip of his cue.

4. LANG:

Precision.

5. LANG:

But that's nothing. You should see my reactions.

As LANG is leaning down with his cue to line up another shot, two more cops are talking in the background.

6. COP #4:

You heard Strikeforce were in action, up in San Fran?

7. COP #5:

Yeah. Got messy. Some super villain got killed, I hear.

Extreme close-up on LANG's face as he cues. He looks grim.

8. SFX:

CLUNK

9. VOICE #1 (off panel):

Ohh, bad one, Lang.

10. VOICE #2 (off panel):

No so perfect after all, huh Lang?

Another day-time street scene. THURSDAY and LANG approach a run-down, boarded-up apartment building. They are by an alley that runs along the side of the building, but the alley is blocked with a high fence.

1. THURSDAY:

This is the place. Looks quiet. I'll call it in.

THURSDAY is speaking on his radio. His attention is on the front of the building so he doesn't notice LANG (in the background of the panel) pulling himself up over the fence into the alley.

2. THURSDAY:

We're at the location of that ten fourteen. It all looks quiet.

THURSDAY is looking around. There's no sign of LANG.

3. THURSDAY:

Lang, we'll—

4. THURSDAY:

Lang?

5. THURSDAY:

Lang? Oh, for pete's—

At the back of the building, LANG is peering through a crack in a boarded-up window.

No dialogue.

Close-up of LANG's boot kicking open a door.

6. SFX:

CRASH!!!

LANG stands in the doorway. The interior is in bad shape -- walls full of holes, refuse on the floor -- but shows some signs that somebody has been living (or at least hiding out) here. And that somebody is presumably the scared-looking youth who is waving a gun at LANG. Note that LANG's gun is still holstered.

1. CAPTION (JOE's narration):

One of Lang's problems was his irrational confidence in his methods.

2. LANG:

Put it down, mister.

3. YOUTH:

I'll shoot. I mean it!

Cut to the front of the building, where THURSDAY is waiting.

4. SFX:

BANG!

5. THURSDAY:

Oh, God.

THURSDAY is at the boarded-up front door, standing to one side of it, revolver drawn.

No dialogue.

The youth crashes through the door, in obvious panic. One of the wooden planks that was holding it shut flies at THURSDAY and gives him a hard blow to the head.

6. SFX (door):

CRASH!

7. SFX (plank):

THWACK!

8. THURSDAY:

Uhhhh

Back inside the gloomy back room, LANG lies immobile on the floor.

1. LANG:

uhhhh

LANG is sitting up and poking his finger through his uniform tunic. There's a neat hole right in the centre of the chest. It's a miracle he's still alive. (Well, it's a miracle if you don't know about spider-silk armour.)

2. LANG:

Huh.

3. SFX:

CRASH!

4. LANG:

Joe!

LANG charges out of the front door of the building (gun still holstered). We see THURSDAY lying slumped against the wall. Blood is running down his face but he's conscious and gesturing down the street.

5. LANG:

Thursday?

6. THURSDAY:

I'm ok. That way. Go!

LANG races down the sidewalk in pursuit of the perp, who we can see some distance ahead and running in a complete panic. The street isn't crowded but there are a few people on the sidewalk and cars in the road. A young woman with a baby carriage, about to cross the road, is in the path of the fleeing youth. LANG still doesn't have his gun drawn. He's speaking into his radio.

7. LANG:

Officer down, corner of—oh no—

Our focus switches to the running youth, who is colliding with the woman.

1. SFX:

Thud

2. WOMAN:

Eeeeeeeeeeee!

The youth pushes the woman one way, to the ground, and the baby carriage the other way -- towards the road!

No dialogue.

The youth continues down the street. LANG is still in hot pursuit. In fact, LANG is sprinting right past the woman -- and ignoring the baby carriage wheeling directly into the path of a speeding car!

3. WOMAN:

Help!

4. THURSDAY (off-panel):

Lang!

LANG looks back up the street to where JOE is gesticulating wildly.

5. THURSDAY:

The baby!

Close-up of LANG's face, brow furrowed, eyes narrowed. A moment of indecision...

No dialogue.

...and he acts. He's leaping towards the baby carriage, a desperate race against the car which is mere feet away from catastrophe...

1. SFX (car):

PARP! PAAAAAARP!

2. SFX (tyres):

Screeeeeeeeeeee

LANG scoops the baby from the carriage, his back to the car which is now inches away from smearing both of them all over the road.

3. SFX (tyres):

Screeeeeeeeeeee

And at the last possible split second, he performs an impossible back flip, over the hood of the car, the baby carefully cradled in his arms. The car is crushing the now-empty carriage.

4. SFX (types):

Screeeeeeee

5. SFX:

CRUNCH!

As the car's driver gets out and looks on with disbelief, LANG calmly walks towards the woman and holds out her baby.

No dialogue.

A still-bleeding THURSDAY catches up to LANG, who is ignoring the hysterical woman and looking in the direction the youth ran.

1. THURSDAY:

Good work, Lang.

2. THURSDAY:

For a second there I thought you were gonna—

3. LANG:

He got away.

4. THURSDAY:

He'll be picked up. The LAPD isn't just you, it's a team.

THURSDAY mops at his bleeding forehead with a pocket handkerchief. LANG looks angry.

5. LANG:

But I should have thought of a way to—

6. THURSDAY:

You did the right thing. You did your job.

7. LANG:

My job is to—

A police patrol car is pulling up, lights flashing. THURSDAY claps LANG on the shoulder and points to the car.

8. THURSDAY:

Lang, what does it say there?

A close-up of the open door of the patrol car, which displays the seal of the LAPD and the words of the LAPD motto: "To Protect and Serve"

No dialogue.

THURSDAY is walking away from LANG and towards the woman and baby.

9. THURSDAY:

You did your job.

THURSDAY AND LANG are leaving a bar. It's late at night. THURSDAY has a large sticking-plaster covering the wound on his forehead. He's not walking too steadily and LANG is supporting him.

1. THURSDAY:

'M not drunk. Ish a concush. Cushon. On. Ushon.

2. LANG:

Sure it is, Thursday. Come on, I'll get you a cab.

3. THURSDAY:

Gonna walk. Clear m'head of the conshushush.

The pair are walking down a different street. LANG still supports THURSDAY.

4. THURSDAY:

Don' get it, Lang. Every Friday y'drink as mush as any of ush. You never get drunk! What'sh th' deal with that, huh?

5. LANG:

Twenty-fourth century biochemistry.

6. THURSDAY:

Wha'?

7. LANG:

Nothing.

They turn into a different street. THURSDAY is now walking unassisted, though still weaving a little. (No, I have no idea how you show "weaving" in a static picture.)

8. THURSDAY:

We've been partnersh for a month, Lang, and I don't know a thing about you. Wha' d'y do when you're off duty?

9. LANG:

I keep busy.

10. THURSDAY:

Y'got family?

11. LANG:

None... living now.

They have stopped by the door to an apartment building. Nothing too fancy, just something you could afford on a cop's income.

12. THURSDAY:

Ok! You've got to come to—

13. THURSDAY:

This is my place.

14. THURSDAY:

—Dinner on Sunday!

15. LANG:

I couldn't—

THURSDAY is fumbling with a key in the door.

1. THURSDAY:

Course you could! Martha would love it.

2. THURSDAY:

Be here at six, ok?

LANG is walking away from the apartment building. (There is no sign of THURSDAY, who is presumably now inside.)

No dialogue.

He turns into a dark alley...

No dialogue.

Same view of the alley. A beam of white light comes out of the sky and envelops LANG.

No dialogue.

Same view of the alley. The beam has vanished -- and so has LANG.

No dialogue.

The exterior of THURSDAY's apartment building. It is now daylight (actually 6 p.m. (precisely)).

3. VOICE (from building):

Hey, Lang! Right on the dot!

4. VOICE (from building):

Hello, Thursday. I—er—I brought wine.

Inside the apartment. It's comfortable, tidy, lived-in. See the description of the Thursday home in ISSUE 35 for an idea of what this will look like (it's not the same home but it's going to be furnished similarly). No evidence of children. THURSDAY and LANG are in the living room. Both are casually dressed (note that LANG wears a long-sleeved shirt -- recall that JAMES THURSDAY always does, too, to hide the costume beneath). THURSDAY has a small sticking-plaster on his head. LANG holds a bottle of wine.

1. THURSDAY:

Take a seat.

2. THURSDAY:

Martha! Company's here.

MARTHA THURSDAY has entered from the kitchen. It's a younger version of the MARTHA we met in ISSUE 35. She's walking forwards with her hand out, smiling.

3. MARTHA:

I've heard a lot about you, Mr. Lang.

MARTHA and LANG are shaking hands.

4. LANG:

It's James, ma'am.

5. MARTHA:

Martha. Nice to meet you at last.

6. MARTHA:

Dinner will be ready soon. Take a seat. Joe, get James a beer!

THURSDAY and LANG sit in armchairs, facing each other but not exactly looking at each other. Each has a beer in his hand.

No dialogue.

Identical panel.

No dialogue.

Identical panel.

7. MARTHA (off panel):

Dinner's ready!

The three of them sit around a small dining table, empty dessert dishes in front of them.

1. LANG:

Martha, that apple pie was extraordinary! They don't have that where I come from.

2. MARTHA:

Oh, James, you smooth talker! Of course they have apple pie in Minnesota!

3. THURSDAY:

Another beer, Lan—Jim?

4. LANG:

Sure, thanks Joe.

MARTHA and LANG are alone at the table.

5. LANG:

No children, Martha?

6. MARTHA:

No, we—ah—tried but—

7. LANG:

Oh. I'm sorry.

THURSDAY comes back into the room carrying two beers.

8. MARTHA:

No, it's ok. We just—well, maybe one day.

9. LANG:

And I'm sure they will make you very proud.

10. THURSDAY:

Hey, Jim, you play softball as well as you play pool?

11. LANG:

Better.

12. THURSDAY:

Great! We'll have to get you on the team.

THURSDAY sits alone in the apartment, watching TV. He's dressed differently from the last scene, to indicate that it's a different day. He might have a beer nearby. We can't see the TV screen in this panel.

1. VOICE (from TV):

And this is the incredible scene of destruction following a pitched battle between members of Strikeforce and an unidentified armored figure.

2. VOICE (from TV):

Eyewitnesses report that the villain escaped after burying Strikeforce's Scorpio and several bystanders in that collapsed building. As you can clearly see—

3. VOICE (from TV):

Wait! There's—there's movement in the rubble!

We now see the TV picture. The banner along the top of the screen reads "THIRTEEN NEWS NETWORK". We see the ruins of a collapsed building somewhere in downtown Los Angeles. Emerging from the rubble is the figure of MAJOR DEMOCRACY. Yes, it's the same guy we saw on the motorcycle back on PAGE TWO, but he's swapped the sinister black helmet for the half-face cowl we're used to seeing JAMES wearing. And he's carrying a SHIELD -- not the pentagram shield but the plain grey disk we first saw in ISSUE 33 PAGE 11. He's coated in dust, as you might expect from a man who's had a building fall on him, but appears unharmed. He's bracing a fallen beam to allow several civilians to crawl out of the rubble.

4. VOICE (from TV):

My God! They're alive!

The camera POV is now closer. MAJOR DEMOCRACY is clear of the rubble and in the background we see paramedics and other rescue workers taking care of the rescued people. In the foreground, a young woman is thrusting a microphone into the MAJOR's face.

5. REPORTER:

Jessica Spencer, Channel Thirteen. Scorpio, why the costume change?

6. MAJOR DEMOCRACY:

Yes, the trapped people are all safe, Ms. Spencer.

7. MAJOR DEMOCRACY:

And the name isn't Scorpio any longer. From now on, call me Major Democracy.

Back to a view of THURSDAY watching TV, in the act of lifting his beer to his mouth.

8. THURSDAY:

Grandstanding jerk.

9. VOICE (from TV):

And what exactly does that mean?

10. VOICE (from TV):

I want my name and my uniform to be symbols. Symbols that people can look to and rely on.

A close-up on MAJOR DEMOCRACY, showing his upper torso and the shield strapped to his arm. He's looking right at us.

11. MAJOR DEMOCRACY:

The name symbolizes my mission to serve the people of the world above all else. The shield shows that I'm here to protect them.

12. MAJOR DEMOCRACY:

Protect and serve. That's the motto I've sworn to uphold.

THURSDAY has frozen, beer half way to his mouth and mouth hanging open.

13. VOICE (from TV):

My job is to help people, not beat up bad guys.

Another day on the streets of Los Angeles. LANG and THURSDAY walk the beat, exchanging greetings with miscellaneous citizens.

1. CAPTION (JOE's narration):

I kept his secret, of course.

2. CAPTION (JOE's narration):

Not that he ever told it me directly. We never even discussed it. But somehow, I think he knew I knew.

An action scene: THURSDAY and LANG arresting two armed men. THURSDAY has one wrestled to the ground and is handcuffing him. The second man was running away but a circular trash-can lid, flung after him, has swept his legs from under him. LANG is standing by a lid-less trash can and is in a throwing posture, so we can tell where the lid came from. The similarity with a thrown SHIELD should be obvious.

3. CAPTION (JOE's narration):

And I even think he wanted me to know.

THURSDAY and LANG in a locker room. LANG, in civilian clothes, is emptying a locker into a large sports bag. THURSDAY, in uniform, sits on a bench nearby.

4. CAPTION (JOE's narration):

We worked together for a few years. Then he had to leave the department. Some cushy Federal assignment, the gossip said.

5. CAPTION (JOE's narration):

And you know the story of Major Democracy, of course. How he got that U.N. job, helped the Soviet Union through its revolution, formed a new international version of Strikeforce.

6. CAPTION (JOE's narration):

Saved the world. A lot.

THURSDAY is out on patrol with a different partner. He's standing still and looking up at where a star-like point of light glows brightly in the clear blue sky.

7. CAPTION (JOE's narration):

And then came that thing they called the Event, when all the super-powered guys just vanished or retired.

8. CAPTION (JOE's narration):

I still heard occasional reports about the Major after that but I didn't see him or Lang again. Until—

Night on a busy street in Los Angeles. Several patrol cars have pulled up, lights flashing. THURSDAY is getting out of one car. And walking towards him is MAJOR DEMOCRACY. The MAJOR is now carrying THE SHIELD, the demon-eating one with the pentagram on it.

1. CAPTION (JOE's narration):

One night, several months after the Event, I was responding to a request for backup. And there he was.

MAJOR DEMOCRACY and THURSDAY face each other. They are far enough from the other officers on the scene that they can't be overheard. From this POV we can see the scene behind the MAJOR -- and it's the building we should recognise as the BOULEVARD CLUB, which we saw in ISSUE 32 PAGE 17. The many windows glow with a kaleidoscope of coloured energy. Standing between the MAJOR and the building -- and looking towards him, obviously waiting for him -- are several other people we might recognise from earlier flashbacks: ASTRA, the tonfa wielder from ISSUE 33 PAGE 20, and the cat man also from ISSUE 33 PAGE 20. (Those guys keep popping up. It's probably about time I gave them names...)

2. MAJOR DEMOCRACY:

We need someone to keep the crowd back while we—

3. THURSDAY:

What's happening in there?

4. MAJOR DEMOCRACY:

A loose end left over from the Event. Cracks in the fabric of reality. End of the world. Nothing we haven't dealt with before.

5. THURSDAY:

But you've got no powers...

Close up on the MAJOR's serious face. In the background, we can see ASTRA's face equally solemn.

6. MAJOR DEMOCRACY:

Strikeforce always goes in.

7. MAJOR DEMOCRACY:

But I don't think we're coming out of this one.

MAJOR DEMOCRACY is handing a small object to THURSDAY -- a set of keys.

8. MAJOR DEMOCRACY:

The keys to my old apartment. You'll find some things in a trunk in the closet.

9. THURSDAY:

Jim—

10. MAJOR DEMOCRACY:

Keep them safe, Joe. They can't fall into the wrong hands.

The MAJOR has moved back towards his fellow superheroes but is turning back to look at THURSDAY as they exchange last words. He's smiling.

11. THURSDAY:

Martha is—we're expecting a baby. A boy.

12. MAJOR DEMOCRACY:

Congratulations, Joe. You'll make fine parents.

13. THURSDAY:

We wanted to call him James.

14. MAJOR DEMOCRACY:

I'm sure he'll make you proud.

THURSDAY and the other officers watch the building. Strikeforce are no longer in the scene. Coloured light bursts out of every window, like beams from a lighthouse. Apart from this, there is no sign of what is taking place inside.

1. CAPTION (JOE's narration):

It was the only time I ever heard Jim — or Major Democracy — express anything short of total confidence.

2. CAPTION (JOE's narration):

And just like that I let him walk off into—

3. CAPTION (JOE's narration):

I can't even understand what he was walking into.

4. CAPTION (JOE's narration):

But I understand duty. And he had a job to do that no one else could do.

The lights have gone. The building stands there like a... regular building. The front doors stand open and four figures are walking towards THURSDAY and the other officers. ASTRA leads. Tonfa-guy immediately behind. Behind them is the cat-man, who supports the stumbling figure of SYLVIA ROTH. They all look grim. There is no sign of MAJOR DEMOCRACY.

5. CAPTION (JOE's narration):

And that was the last time any one on Earth saw Major Democracy.