Vince wakes up in a bed. What kind of show is this where I have to specify "in a bed"? Isn't that the usual way of waking up? Well, it's a nice bed. I think it might be Max's. Max has decided not to give the cape back to Vince. He explains his decision by means of a high-wire analogy, which he follows up with something about a lion's cage. I don't think this circus has either a high wire or an animal act. Max has a suggestion as an alternative to cape-based crimefighting: train tickets! What if Vince went and got his family, then they all left town and changed their names? But Vince won't go along with it. He wants revenge. He tells Max, "You have no idea what I can pull off." Aren't we all sick of that line? Come on. Vince claims that he doesn't need the cape and stalks off. Max chuckles.

Vince (wearing a hooded sweatshirt that apparently renders him invisible to all the people that have seen his face on every newspaper and television) stops by a comic rack. It features an issue of THE CAPE, and also the latest "RAD LASS". She's having her Final Stand! There's also an issue of HELL DEMON, and BRUCIE something. And a comic with a big ad for X-Ray Specs on the back. It's nice to have a gig where I can justify my urge to freezeframe every time there might be something interesting on the screen. Vince gets the last issue of The Cape and pays the guy at the hot dog stand. He walks in slow motion with ripped jeans through out-of-focus crowds. It's very 1992-music-video. He's silhouetted in an alley when he slips through a couple of doors and ends up in a big... room. He does some more shopping and outfits his secret lair. I guess.

Peter Fleming lifts a chessboard up in his apartment and reveals a projector. He's surrounded by holographic doodads, and he moves them around. They become a chessboard, which he spins arond. Hey, if you've got a 3D touchscreen, you're going to screw with it sometimes. Something labeled "SIREN" appears. We don't appear to have learned anything in that scene.

Portman walks alone through a lobby and passes Cain, who is posing as a janitor. Orwell finds Portman and hustles him into an elevator. Cain rather obviously dangles a knife out of his sleeve, but neither Portman nor Orwell notices.