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| Publisher |
Now |
| Artist |
Gerald DeCaire |
| Writer |
Ron Fortier |
| Inker |
Tony DeZuniga |
| Colorist |
Holly Sanfelippo |
| Colorist |
Suzanne Dechnik |
| Cover Artist |
Suzanne Dechnik |
| Letterer |
Andrea Albert |
| Cover Artist |
Dan Schaefer |
| Published | November 1992 |
An elderly artist has a reputation for clairvoyantly creating crime-solving paintings. During a TV interview about her latest such success, she shows a canvas she has just begun, depicting an as yet unclear figure in the background and, on a foreground tabletop, the mask of the Green Hornet! Diana Reid is frantic, but the only viable course of Green Hornet action anybody can come up with is to steal the painting, which will only delay the crisis. Upon arriving at the home of the artist and her sister, the masked men see the two women being kidnapped. They manage to apprehend one of the thugs, who is "convinced" to reveal the identity of his employer, a boss called The Undertaker, based in a funeral home. He figures to force the artist to complete the work, then sell the Hornet's identity to other crime figures. The two heroes arrive and rescue the women, releasing them and even letting them retain the canvas. The very next day the completed work is unveiled on television, showing a young boy--specifically Danny--watching TV with a Hornet mask, that Paul submits will be taken only as "a kid's toy imitation," on a table. "We're home free!" he concludes. (However, the finished painting is fundamentally different from the earlier seen work-in-progress, e.g., the mask has moved from the right foreground to the left.)
