notes: use Courier 10 (or a 10 characters per inch, nonproportional, san serif font) set top margin at 0.5", bottom margin at 0.5" (or minimums) left margin at 1", right margin at .25 (or minimum) (I had to tell the program I was using legal paper) the * used below in the script probably mean "this line was changed from a previous version" Note extra pages sent to me by a person with an earlier version of this script. She typed them out in Word for Windows and used styles to format the pages. They may not look *exactly* like the original, but all the words will be there. These are pages 4, 32, 34, 54, 76, 82, 83-84, 91, 91A -- page break -- LOIS & CLARK THE NEW ADVENTURES OF SUPERMAN "Pilot" Written by Deborah Joy LeVine PRODUCTION DRAFT March 1, 1993 * All Blue Rev. 3/9/93 (pink) Rev. 3/11/93 (yellow) Rev. 3/17/93 (green) Rev. 3/22/93 (goldenrod) Rev. 3/23/93 (tan) Rev. 3/30/93 (white) Rev. 3/31/93 (blue) Rev. 4/2/93 (pink) Rev. 4/5/93 (yellow) Rev. 4/5/93 (green) Rev. 4/14/93 (goldenrod) Rev. 4/15/93 (tan) Rev. 4/20/93 (white) Rev. 4/26/93 (blue) Rev. 4/27/93 (pink) -- page break -- LOIS AND CLARK THE NEW ADVENTURES OF SUPERMAN ACT ONE FADE IN: 1 1 THRU OMITTED THRU 7 7 8 EXT. DAILY PLANET - DAY - TO ESTABLISH 8 The famous Globe sits atop the fifty story building, scraping the bright blue sky. 8A EXT. STREET IN FRONT OF DAILY PLANET - EARLY MORNING 8A* A few early bird newspaper Employees are arriving. We FOLLOW a slight Young Man with a mustache and beard wearing baggy jeans, jeans jacket, cap pulled low over his eyes, tool belt around his waist as he enters the Daily Planet building. 8B INT. DAILY PLANET LOBBY - CONTINUOUS 8B* The Young Man passes a newspaper stand on the way toward the elevators. As an elevator arrives and the Young Man steps inside we CUT TO: * 8C INT. DAILY PLANET NEWSROOM - ELEVATOR STAND - CONTINUOUS 8C* The Young Man exits the elevators and proceeds toward the * "Pit" -- the area of desks reserved for reporters. He * sits down at his desk with a tired sigh, takes off his * shoes, rubs his feet. * THE YOUNG MAN * now takes off his jacket. He wears a T-shirt underneath. * He puts both his hands on his chest, feeling a terrible * tightness, looks around for then grabs a scissors off the * desk, then lifts up his T-shirt just enough to reveal the * bottom of a large Ace Bandage and starts to cut. The * Young Man expertly maneuvers under the T-shirt, cutting * away, finally unravelling the bandage and pulling it * through the sleeve of the T-shirt. The Young Man takes a * deep breath, sitting back in his chair... * FROM THE BACK * The Young Man now removes his cap, shakes his long curly * hair loose, letting it fall to his shoulders. * -- page break -- Rev. 3/9/93 1A. 8C CONTINUED: 8C JIMMY (O.S.) * You're in early. * JIMMY OLSEN, cub reporter, approaches. He is twenty-one, * looks years younger. In white T-shirt and jeans, Jimmy's boyish good looks make him a potential heartbreaker. Jimmy moves to the front of the desk and now stares at a * rather beautiful young woman, still sporting the * mustache and beard. * JIMMY (CONT'D) (taking a thoughtful pose) * I like the beard. But the * mustache isn't working for me. * The woman remembers, touches her face. * JIMMY (CONT'D) Want me to do it? * The woman nods and Jimmy sits on the edge of her desk, * taking the corner of the mustache and then ripping it off. * The woman squeals, but when she picks her head up we now * see the real face of LOIS LANE, intrepid reporter for the * Daily Planet. Lois is a twenty-six year old spitfire with a "Just Do It" body. Momentarily forgetting her pain, * Lois pulls out a tiny video recorder from her jacket, sets * it on her desk and Dresses Play. * LOIS (proudly) * I nailed 'em cold. * We MOVE IN to the tiny picture on the video screen and * then * CUT TO: * 9 INT. DAILY PLANET NEWSROOM - TWO HOURS LATER 9* We are still watching the video playback from Lois' * adventures from the previous night -- Lois, in her young * man get-up, helps make the arrest of a band of car thieves * at the Metropolis pier. When we PULL BACK we see a * beehive of activity in the open nerve center on the top floor. Reporters are at their desks typing, sipping coffee, speaking on phones. Assistants and staff race to pick up copy, deliver messages, etc. A large screen TV is tuned to LTC (LexTeleCommunications News). We continue to PAN until we stop at A PAIR OF SHAPELY LEGS dangling from a desk and belonging to Lois Lane, now * sporting a short skirt with high heels. * -- page break -- Rev. 3/9/93 1B. 9 CONTINUED: 9 LOIS Come on, you guys, it was nothing, really. PULL BACK to reveal that Lois is being feted, coffee cups raised high in a toast, by several staff members. A copy of today's Late Edition Daily Planet lies in front of her. * CU - DAILY PLANET NEWSPAPER A picture of a ring of-car thieves and Lois Lane dressed as a young man with the headline: Million Dollar Car Theft Ring Exposed. The by-line is: Lois Lane. JIMMY I still can't believe they thought you were a boy. -- page break -- Rev. 3/9/93 2. 9 CONTINUED: 9 LOIS The mustache helped. And thanks for teaching me how to boost a car. JIMMY No problemo. (raising his mug) To Lois Lane... still going where no reporter has gone before... Managing Editor PERRY WHITE strides by en route to his office. In his early fifties, Perry's badly in need of a * stress management class. He growls like a lion, but it's a well known secret it's all show. PERRY Don't, encourage her, Jimmy. Her head's as big as the Metrodome as it is. LOIS Nice to know I'm appreciated around here, Chief. PERRY What do you expect? Garlands strewn at your feet? LOIS No, but I'd like a raise. PERRY Yeah? Well, _I'd_ like a 145 foot triple masted schooner with a teak interior, but times are tough. (then, to Jimmy) By the way, where did you learn how to boost a car? Lois looks at Jimmy, who grins. JIMMY One man's felony is another man's skill. PERRY Okay, what's everybody standing around for? This is a newspaper, not happy hour at Buckingham Palace. Perry continues toward his office, Jimmy catches up to him. JIMMY Chief? I've got an angle on the mini-mall murders. I figure there was blood on the burritos because... -- page break -- Rev. 4/27/93 (Pink) 3. 9 CONTINUED: 9 PERRY Did you finish those obituary updates? (Off Jimmy's look) Never underestimate the need for a good obituary. Perry strides on. Jimmy stares after him, disgusted. JIMMY I can think of one right now. Jimmy wanders back to Lois' desk, idly fiddles through her phone messages, stops at one in particular. JIMMY (CONT'D) Whoa. I guess you finally hit the big time. LOIS Huh? JIMMY This time Lex Luthor's _personal_ assistant returned your call. Lois grabs the slip from him, pissed off. JIMMY (CONT'D) Give it up. Luthor never gives one-on-one interviews. LOIS * Well, he's never met Lois Lane * before, either. * CUT TO: -- page break -- Rev. 3/22/93 4. 9 CONTINUED: 9 PERRY (losing it) ... Run a five-hundred thousand * dollar Vector off the Metropolis * pier?! (before she can respond) Lois, I know you won't be satisfied until you get the Pulitzer, but would you mind not bankrupting the Daily Planet en route? LOIS Yes, sir. I mean, no sir. It won't happen again, Chief. Lois backs away as Perry stares after her and we CUT TO: 10 EXT. METROPOLIS STREET - SAME TIME 10 CU - THE BATTERED SUITCASE WITH THE INITIALS "C.K." rests on a cement sidewalk in downtown Metropolis. PULL BACK TO REVEAL CLARK KENT picking up the suitcase. In his late twenties, Clark has the wisdom of Solomon in his brown eyes, the power of Samson in his dark hair. His muscular physique is concealed behind a grey suit, but his sense of wonder at his new surroundings cannot be hidden, even behind thick black- rimmed glasses. METROPOLIS - CLARK'S POV A city of majesty: shiny spires atop state-of-the-art buildings of glass and steel, crowded sidewalks, blasts of neon advertising, taxi cabs, subway stations. Clark remains still as walkers brush by him, everyone in a hurry. Life teems in this, the biggest city of them all, and its pulse is infectious. Clark checks his watch, walks down the street. 11 OMITTED 11 -- page break -- Rev. 4/27/93 (Pink) 4. 9 CONTINUED: 9 10 EXT. METROPOLIS STREET - SAME TIME CU - THE BATTERED SUITCASE WITH THE INITIALS "C.K." rests on a cement sidewalk in downtown Metropolis. PULL BACK TO REVEAL CLARK KENT picking up the suitcase. In his late twenties, Clark has the wisdom of Solomon in his brown eyes, the power of Samson in his dark hair. His muscular physique is concealed behind a grey suit, but his sense of wonder at his new surroundings cannot be hidden, even behind thick black-rimmed glasses. METROPOLIS - CLARK'S POV A city of majesty: shiny spires atop state-of-the-art buildings of glass and steel, crowded sidewalks, blasts of neon advertising, taxi cabs, subway stations. Clark remains still as walkers brush by him, everyone in a hurry. Life teems in this, the biggest city of them all, and its pulse is infectious. Clark checks his watch, looks down the street toward the Daily Planet, continues walking. 11 OMITTED 11 -- page break -- Rev. 3/9/93 5-6. 12 EXT. DOWNTOWN METROPOLIS INTERSECTION - DAY 12 Clark waits with a crowd at a busy intersection for the light to change. He casually glances around him: an OLDER WOMAN with an armful of shopping bags, a young mother wheeling her infant twins, two school girls in newly ironed uniforms, a hip-hopper with a boom box, several businessmen and women. 13 ANOTHER ANGLE 13 A CITY BUS, barreling down the boulevard. 14 INT. BUS - SAME TIME 14 The Driver, humming merrily, speeds along, then, seeing the red light up ahead, casually steps on his brakes. When his foot goes all the way to the floor, he panics, frantically pumping, then trying the emergency brake. Nothing works. His eyes widen as he sees the red light straight ahead. 15 AT THE INTERSECTION 15 Clark and the group start across, the older woman and young mother with twins just to Clark's right. When Clark looks left, he sees the bus, inches away, coming straight toward them. 16 IN THE BUS 16 The Driver is astounded when the bus suddenly stops dead right at the intersection. He waits until Clark and other pedestrians safely cross, then opens the door to the bus, jumps outside. 17 EXT. STREET - CONTINUOUS 17 The light has changed, but the driver stands motionless, staring at the front of the bus. Beside him, the older woman with the shopping bags looks like she's seen... a _miracle_. She looks at the bus driver, then across the street, where Clark seems to have disappeared into the crowd. She points... OLDER WOMAN He... he... -- page break -- Rev. 3/9/93 7. 17 CONTINUED: 17 Cars start honking, but the driver and the older woman are frozen, staring at a hand print embedded in the grillwork of the bus. 17A CLARK 17A ducks into an alleyway, hoping he wasn't noticed. He peeks his head out to see if anyone has followed him. No one has. On his sigh of relief we CUT TO: 17B INT. DAILY PLANET NEWSROOM - SAME TIME 17B The newsroom is business as usual when suddenly the SOUND of YELLING causes everyone to turn. A wild-eyed crazy man (SAMUEL PLATT), filthy, ragged, in a long trench coat, bursts into the newsroom frantically in search of... PLATT Lois Lane! When he spots her, he races for her desk, followed by two Security Guards. PLATT (CONT'D) It's going to explode! Here... He reaches into his trench coat and someone yells... NEWSPAPER WORKER He's got a bomb! Instant pandemonium.. Everyone drops to the ground. Platt looks around, confused, slowly removes a brown paper-wrapped package from under his coat. PLATT It's my credentials. He takes another step closer to Lois, and is grabbed by the guards. His package falls to the floor in the ruckus. PLATT (CONT'D) You don't understand! The space station has been sabotaged! The * Messenger is going to explode! * Miss Lane! You must tell my story! SECURITY GUARD (to Perry) Sorry, sir. He ran right past reception. The Guards cuff him, and start to drag him away as he continues to rant. Lois protest the rough treatment. -- page break -- Rev. 3/9/93 7A. 17B CONTINUED: 17B LOIS Wait a minute, don't... SECURITY GUARD We've had trouble with him before. The guy's a box short of a variety pack. They continue to haul him off, but he's still desperate to get his message to Lois. PLATT Please! You have to believe me! The space program is doomed! The security guards drag him into the elevator and the doors close. Perry breaks the silence. PERRY Okay, folks. Show's over. Everybody back to work. The staff returns to work, chatting about the intrusion. Lois sits down at her desk, watches as a secretary picks up the package left on the floor, dumps it in a nearby trash can. Lois, always on the trail of a possible story, walks * nonchalantly from her desk to the trash can and retrieves * the package... * CUT TO: * 17C EXT. DAILY PLANET BUILDING - DAY 17C* Clark stands at the foot of the building. He stops to * straighten his tie, smooth his jacket, then looks straight * up toward the globe. We follow his gaze up and into... * 18 OMITTED 18 19 INT. DAILY PLANET NEWSROOM - SAME TIME 19 Lois, at her desk, leans back in her chair, casually looks at one of the television monitors above her, turns up the sound. ON TV A picture of the Space Launch Vehicle Messenger on the * launching pad. TV ANNOUNCER The transport vehicle Messenger, * piloted by Commander Jack Laderman and carrying the final propulsion * module for Space Station * Prometheus, is scheduled for lift-off Friday at 9 A.M. (MORE) -- page break -- Rev. 3/9/93 7B. 19 CONTINUED: 19 TV ANNOUNCER (CONT'D) Many hopes are riding on the success of this mission, especially in light of the failure of last week's unmanned launch. -- page break -- Rev. 3/9/93 8. 19 CONTINUED: 19 ON TV Space Station Prometheus, minus the habitation module, floating in space. TV ANNOUNCER (CONT'D) Space Station Prometheus, an international effort, is still lying in its low orbit, awaiting the arrival of the remaining modules, including the colonist habitation module scheduled to launch next week. once all are in place, the Station will be lifted into permanent orbit. ON TV Videotape of many white-coated scientist-types at Extra * Planetary Research And Development (EPRAD) including DR. * ANTOINETTE BAINES, a beautiful Physicist in her late * thirties. * TV ANNOUNCER (CONT'D) Dr. Toni Baines, Director of the Extra Planetary Research And * Development agency, reminds us * that timing is crucial. A series * of delays and launch failures has put EPRAD's back to the wall. * DR. BAINES Unless all modules are in place * within the next weeks, Space * Station Prometheus will lose its * orbit and fall back into Earth's * atmosphere. That kind of * occurrence would surely spell the * end to any future projects and the * space program as a whole. * LOIS turns the sound down, turns her attention back to Platt's "credentials" but accidentally sweeps them onto the floor. As Lois stoops to retrieve them" she notices a pair of three inch spiked heels standing directly in front of her. CAT (O.S.) Morning, Lois. On your hands and knees again, I see. Lois rises slowly, taking in the amazing jump-suited shape of her co-worker CATHERINE (CAT) GRANT. A white Tina Turner, all sex and plenty of bite, Cat is every working woman's nightmare. -- page break -- Rev. 3/9/93 8A. 19 CONTINUED: 19 LOIS Isn't it a little too early for you to be in, Cat? I thought ladies like you only worked nights. CAT (all smiles) Part of my job as a society columnist... -- page break -- 9. 19 CONTINUED: 19 LOIS (correcting her) ...mud-slinging rumor monger. CAT is to maintain an active social life. You remember what that's like... or do you? Lois watches as Cat swishes her way passed the appreciative stares of the newsroom's males. Jimmy appears beside Lois. He gives Cat the once-over as well. LOIS What do men see in her, anyway? Don't they realize she's just looking for another notch on her garter belt? JIMMY (shaking his head) Pathetic. (then, impressed) Have you actually seen this garter belt? Lois punches him in the stomach as we CUT TO: 20 INT. PERRY WHITE'S OFFICE - SAME TIME 20 Perry, seated behind his desk, interviews a prospective reporter whose broad back is to us. PERRY So, Mr. ... CLARK Kent. Clark Kent. PERRY (studying his resume) Yes. Kent. Professor Carlton called me about you. Haven't seen him in... let's see... editor of the Smallville Press... that's... CLARK Kansas. Perry's intercom buzzes. He listens, then yells into the receiver. -- page break -- Rev. 3/11/93 10. 20 CONTINUED: 20 PERRY Well, tell him to keep his pants on. And where's my lunch? If Carlini's can't deliver on time, find a place that can. (a sigh, to Clark) I bought a blood pressure monitor last week, you believe it? Hell, I'm only fifty-two. CLARK Paava leaves. PERRY Excuse me? CLARK The Yolngu tribe in New Guinea eat paava leaves to relieve stress.... puts them in a meditative state. Maybe you should try it. PERRY Uh huh. Sounds like you've done some travelling. CLARK (nodding) I spent some time in a Llamasary in Tibet and with the Sherpas in Nepal. I just got back from Australia. I've been studying the Dreamtime theory in Aboriginal mythology. PERRY A citizen of the world. CLARK Not really. It's my first time in Metropolis. (handing him his portfolio) I brought some samples of my work. Perry gives Clark a strange look as Clark gives him his portfolio. PERRY Well, let's take a look... (reading, then raising his eyebrows) The Borneo Gazette? "Mating rituals of the knob-tailed gecko?" (MORE) -- page break -- Rev. 3/9/93 11. 20 CONTINUED: 20 PERRY (CONT'D) (looking at Clark) Look, Kent, I'm sure these stories are fascinating, but this is the Daily-Planet, the greatest newspaper in the world! Our people are dedicated servants of the fourth estate who deal routinely with matters of international significance. Just then, the door swings open and Jimmy enters, tosses a set of keys on his desk. JIMMY Okay, Chief, I fixed the horn on your golf cart. PERRY Not now, Jimmy. JIMMY The tone's still off, but... Jimmy takes a look at Clark, sizes him up, dismisses him. PERRY _Not now._ Jimmy shrugs, exits, closing the door. PERRY (CONT'D) As I was saying, I just don't think that... Now it's Lois who throws open the door and enters. LOIS Chief, I think there's a * here and we should check this guy * out. The crazy one this morning? * His name is Samuel Platt and he was an engineer at EPRAD for ten years. He's... PERRY Can't you see I'm in the middle of something here? LOIS Oh. She doesn't make a move. Perry has no choice. PERRY Lois Lane, Clark Kent. Clark begins to stand. Lois nods, barely. -- page break -- Rev. 3/9/93 12. 20 CONTINUED: 20 LOIS Nice to meet you. (then, to Perry) Anyway, this guy worked on the Messenger, he... PERRY Lois, what happened to that mood piece I gave you? The razing of that old theatre on Forty-second? LOIS I wasn't in the "mood." CLARK cracks a smile at her comeback. PERRY Now listen here, Lois, I ... Jimmy appears at the glass window, knocks on it to get Lois' attention. LOIS Gotta run. Catch you later, Chief. Lois exits. Perry shakes his head. PERRY If that woman wasn't one of the best damn investigative reporters I've ever seen, I'd... (beat) Look, Kent, you seem like an intelligent guy, but you can't just walk in here with this kind of resume and expect a job. Hell, I've got PH.D.s in journalism _delivering_ newspapers. Clark voices an appeal. CLARK Mr. White. I know I lack experience, but I'm a hard worker and a good writer. I ... PERRY (forcefully) Kent. I haven't got anything for you. CLARK (sadly yielding) Thank you, sir. I appreciate your taking the time to see me. -- page break -- Rev. 3/23/93 13. 20 CONTINUED: 20 Clark stands, extends his hand to shake. Perry takes it, and they do so. Clark exits. We hold on Perry for a moment, who then shakes his hand and winces in pain. CUT TO: 21 JUST OUTSIDE PERRY'S OFFICE - CONTINUOUS 21 Clark leans against the door, weighing his options. He takes a wallet from his jacket pocket, opens it. Two five dollar bills. Clark puts the wallet back, walks through the bustling newsroom as we CUT TO: 22 EXT. METROPOLIS STREET - DAY 22 Clark, still carrying his suitcase, walks slowly down the street, stops in front of a building with a sign that * reads "ROOMS FOR RENT." * 23 INT. CLARK'S ROOM - DAY 23* Clark, in shirtsleeves, speaks on the pay phone in his room. It's a barren little place: bed, table, small kitchenette with hot plate. Clark's unpacked suitcase is on the floor. 23A INT. KENT FARM - DUSK - INTERCUT 23A On the other end of the phone are Clark's parents MARTHA and JONATHAN KENT. CLARK Sorry to have to call collect, Dad. JONATHAN You want me to wire you some cash? CLARK No. I'll be okay. MARTHA How'd the interview go? CLARK Not so good. But, something'll turn up. JONATHAN I think I'd better wire you some cash. CLARK I'm fine. -- page break -- 14. 23A CONTINUED: 23A MARTHA Are you still going to make it home Friday? CLARK And miss your home cooking? JONATHAN What home cooking? I haven't had a home cooked meal in... MARTHA (ignoring her husband) Clark, you're being careful, aren't you? CLARK Sure. Other than the bus incident * this morning... * MARTHA Bus incident? Clark... * JONATHAN Metropolis isn't the cutback, you know. People in the city are always looking to make a quick buck. If they find out about you they'll put you in a laboratory and... CLARK (knows this by now) ... "dissect me like a frog." I * know, Dad. Believe me, I'm trying * my best to be like everybody else * here. Look, don't worry about me. * I'll see you both in a few days. * JONATHAN I'll get that cash out to you tonight. CLARK Dad... (then, relenting) Thanks. I'll pay you back. Clark ends his call, rises as we CUT TO: 24 INT. LOIS LANE'S APARTMENT - NIGHT 24 A key opens the five deadbolts leading into her dark apartment. When the last is unbolted, Lois enters, trying to balance three shopping bags, dry cleaning, and files from work. She kicks open the door, switches on the light. -- page break -- 15. 24 CONTINUED: 24 LOIS Lucy! You home? I brought dinner! No response. Lois walks into the tiny kitchen. 25 INT. KITCHEN 25 Lois puts the bags on the counter, starts unpacking. She unloads several gallons of milk, opens the refrigerator to discover there are several unopened gallons already inside. She unpacks an entire bag of frozen entrees and opens the freezer to find it's already full with frozen entrees. She manages to stuff the new ones in and slams the freezer shut. Lois pops a frozen dinner into the microwave, then turns to see her sister, in a robe, towel drying her hair, enter from the bedroom. LUCY LANE is five years younger than Lois, a living Barbie whose major goal is to find a living Ken. LOIS Hi! You in for the night? LUCY (shaking her head) I'm meeting Jose. LOIS Jose? Is he new? LUCY Lab tech. Works on my floor. The Microwave timer goes off with a PING. LUCY (CONT'D) (innocently) So... what are _you_ up to tonight? LOIS I've got a ton of work and... (defensively) Luce, don't start. LUCY (starting anyway) Did you find an escort to Lex Luthor's White Orchid Ball? * LOIS Not yet. LUCY Lois, it's tomorrow night! * (thinking... * What about Alan? I thought you liked him. * -- page break -- 16. 25 CONTINUED: 25 LOIS I did. But after the second date he didn't call, so... LUCY What happened with that other guy, Barry? He still leaves messages on the machine. LOIS Please. LUCY He was a very nice guy. He brought flowers. LOIS He's a periodontist. LUCY And Mitchell? LOIS Hypochondriac. LUCY They can't all be bad, Lois. They can't all be stupid or boring. What are you waiting for? LOIS Fine. I'll ask Mitchell to take me. LUCY I'm not just talking about the ball, Lois. You have to get out * more. LOIS Will you stop? You sound like Dad. Jeez, I'm only twenty-six. LUCY Twenty-six today. Thirty-six * tomorrow. * LOIS Give it a rest, Luce. * LUCY And I know why Alan never called you again... dragging him to that Women in Journalism seminar, "Weak * Men And The Wise Women Who Love Them." You've got to stop scaring them off, Lois! -- page break -- Rev. 3/23/93 17. 25 CONTINUED: 25 LOIS What are you talking about? LUCY Look in the mirror. You could get any guy you wanted, but... do you have to be so smart all the time? So... intense? LOIS Look, I'm just being myself. If they're not man enough to handle me, then... I'll wait for someone who is. LUCY I just hate to -see you sitting home. LOIS I get out plenty. I have dates. LUCY You have _interviews_. It's not the same thing. (beat) Lois, I just want you to meet a super guy. LOIS Hey. I'm supposed to be the big sister here, remember? Go meet... LUCY Jose. (starting in again) Lois... LOIS (waving goodbye) Have fun. Lucy shrugs, exits into the bedroom. Lois turns to her microwave dinner, already crusty as we CUT TO: 26 INT. CLARK'S ROOM - NIGHT 26* Clark lies on the single bed, his feet sticking out over the end, arms crossed behind him, staring at the ceiling. The bulb in the overhead light keeps flickering on and off. Clark, still in the horizontal position, "floats" up to the ceiling to fix it, then "floats" back down. Clark looks around, bored, mischievous, notices how on the opposite wall some of the previous tenants have left their mark, decides to leave his as well. -- page break -- Rev. 3/9/93 17A. 26 CONTINUED: 26 He sits up, gazes at the wall and, using his Heat Vision, burns his initials in. He lies back down, then guilty, sits up. -- page break -- Rev. 3/17/93 18. 26 CONTINUED: 26 Using his heat vision he "erases" all the graffiti from the wall. Still restless, Clark stands, paces, walks up one of the side walls, stopping to think, parallel with the floor. After a moment, he walks back down to the floor, sighs, turns and walks toward the door. 27 INT. LOIS' BEDROOM - LATER THAT NIGHT. 27 Lois sits cross-legged on her bed in-pajamas, the half-eaten contents of the microwave dinner beside her. There is paper work spread across the bed, and she has donned her reading glasses. She stretches, takes off her glasses, gathers up the paperwork and dumps it on the floor next to her, the microwave tray beside it. She moves to her TV, rewinds a tape in the VCR, switches the TV on, hops back onto the bed, grabbing an unopened box of Kleenex from a stack on her bedside table. ON TV Titles to Lois' favorite Soap Opera, "The Ivory Tower." LOIS is glued to the tube, opens the box of Kleenex and gets ready for a good cry. ON TV A gorgeous man pulls a gorgeous woman into his arms. SOAP ACTOR (ON T.V.) Gwendolyn... Have you made your * decision? * SOAP ACTRESS (ON T.V.) All right. You win. I'll keep my promise. Tonight, my body is yours. But my heart... my heart beats only for one man. LOIS lets herself go, the tears falling freely down her cheeks. She gets under the covers, snuggles in for the night as we... CUT TO: 28 28 THRU OMITTED THRU 29 29 -- page break -- Rev. 3/17/93 18A. 30 EXT. FORTY-SECOND STREET - MORNING 30 Clark walks down the street, SEES a small crowd which has gathered to watch the wrecking ball come down on an ornate building. -- page break -- Rev. 3/23/93 19. 30 CONTINUED: 30 In a matter of moments, the Sarah Bernhardt Theatre will be a pile of rubble. Clark joins the group, mostly elderly men and women, shaking their heads at the cruel fate awaiting this relic of a time long ago. Some of the elderly carry signs: "Save the Sarah Bernhardt", "No More Parking Garages", etc. Clark notices as an ELDERLY WOMAN looks around, asks aloud to a friend... ELDERLY WOMAN Where's Beatrice? Her friend shrugs her shoulders, and the elderly woman begins to panic, searching the faces in the crowd. ELDERLY WOMAN (CONT'D) Bea? Intuitively, Clark looks beyond the crumbling walls of the theatre, inside. 31 CLARK'S POV - INSIDE THE THEATRE 31 There, a woman in a long gown and feathered hat, stands on the stage, emoting to a nonexistent audience. 32 CLARK 32 looks quickly toward the wrecking ball. The driver of the truck has started his engine. Clark uses his heat vision to fuse a screw and the engine suddenly dies. As the driver gets out to look and the crowd CHEERS, Clark disappears behind the building. CUT TO: 33 OMITTED 33 34 INT. THE SARAH BERNHARDT THEATRE - DAY 34 BEATRICE, an elderly woman, is on stage, mid-soliloquy. BEATRICE "oh, for the days of my childhood! * Back when my soul was pure! I * slept right here in this nursery, * looking out at the orchard from * this very room,,and every morning * I awoke with such joy in my heart! * My orchard is just the same as it * was then. Nothing different." * (laughs with joy) * "All of it, all of it dressed in * white! My lovely orchard! * Suddenly, the sound of applause from the dark house. -- page break -- Rev. 3/23/93 19A. 34 CONTINUED: 34 BEATRICE (CONT'D) Who ... who's there? -- page break -- Rev. 4/27/93 (pink) 20. 34 CONTINUED: 34 Clark stands and steps into the light from the open ceiling. CLARK Just ... a fan. BEATRICE I'm not leaving. Not until I finish. CLARK All right. Mind if I watch? I always loved this play. BEATRICE (still skeptical) You know it? CLARK The Cherry Orchard. Anton Chekhov. BEATRICE (relaxing) His finest, don't you think? Clark nods, walks up the stairs to the stage. CLARK Definitely. BEATRICE They don't understand. A theatre is more than bricks and mortar. It's drama and passion and mystery and comedy and... _life_ (beat) Don't make me go. I'm not ready. CLARK We have some time. Beatrice looks around the grand old theatre, the empty house. BEATRICE You understand, I just wanted to say goodbye. Beatrice smiles. Clark nods. He _does_ understand. CUT TO: 34A OMITTED 34A* -- page break -- Rev. 4/27/93 (Pink) 21. 35 INT. CLARK'S ROOM - LATE AFTERNOON 35 Clark is at the table hunched over a portable computer, working on his story. As he gets into it his hands move faster and faster. When a puff of smoke comes out of the computer he slows down to normal speed, reads what he has written. CLARK (V.0.) Beatrice was eighteen when she made her debut. Warren G. Harding was President, the unknown soldier was interred at Arlington, and Babe Ruth was sold to the Yankees... 36 INT. CLARK'S ROOM - LATER THAT NIGHT 36 Clark is still typing away... -- page break -- 22. 36 CONTINUED: 36 CLARK (V.0.) It was a different era, a time of promise and renewal. Beatrice was filled with all those emotions and more when she stepped onto the Sarah Bernhardt stage for the first time... As Clark continues to type we now hear Perry's voice and slowly begin another DISSOLVE... PERRY (O.S.) ... she came to say goodbye. Goodbye to a young girl in a gossamer dress, goodbye to the players, long dead, to the spirit of the theatre, so strong that nothing, not even the wrecking ball, could destroy it. 37 INT. DAILY PLANET - PERRY WHITE'S OFFICE - EARLY MORNING 37 Perry reads the last sentence. PERRY (CONT'D) She came to say goodbye, as we all must, to the past, and to a life and a place that soon would exist only in a bittersweet memory. We pull back to reveal Clark sitting in front of Perry's desk, Jimmy standing beside him and Lois leaning against a wall. Jimmy looks over at Clark, eyes him differently than he did on their first meeting. JIMMY Smooth. Perry looks over at Lois, and _keeps_ looking, until she shifts positions and responds. LOIS (begrudgingly) Yeah. If you like that sort of thing. Perry stands. PERRY You know, Kent, there's one attribute I value as much as experience, and that's initiative. He holds his hand out to Clark. PERRY (CONT'D) Clark Kent, welcome to the Daily Planet. -- page break -- Rev. 3/9/93 23. 37 CONTINUED: 37 Clark has little time to revel in his new position. Outside the office, a commotion and muted voices. Perry, Lois, Clark and Jimmy exit the office and enter the pit. 38 INT. DAILY PLANET NEWSROOM - CONTINUOUS 38 The staff is gathered around a TV monitor. On the screen, the rocket Messenger is being readied for launch. As the * boosters ignite, a PUBLIC RELATIONS OFFICER comments... PUBLIC RELATIONS OFFICER Wait a minute... there's something wrong! There's a fire... there's * a fire... ON TV the rocket EXPLODES in flames. * A SCREAM as one woman in the newsroom watches the disaster unfold. Lois, as if in a trance, walks slowly toward the huge screen, until she is almost in the picture. Lois covers her eyes to try and block out the horror, but it can never be forgotten.now and we FADE OUT: END OF ACT ONE -- page break -- Rev. 3/17/93 24. ACT TWO FADE IN: 38A INT. DAILY PLANET - DAY 38A Many of the staff, including Jimmy, Lois and Clark gather to watch the morning news. Perry, just coming in, stops to listen as well. ON TV - NEWSCASTER CARMEN ALVARADO CARMEN ALVARADO The world mourns the loss of Commander Laderman and the * transport vehicle Messenger, which exploded in its pre-dawn launch Friday morning. LOIS turns to Perry LOIS I knew there was something to Platt's story. I _knew_ it. PERRY Lois, just because one madman's prediction came true doesn't mean there's a conspiracy to sabotage the entire space program. LOIS Maybe not. But with more than a hundred colonists going up in the next launch, are you willing to take that chance? Perry's expression tells Lois that he's not. BACK TO TV - DR. ANTOINETTE BAINES DR. BAINES There are no clues as to the cause of this disaster, and, so far, no link to the previous setbacks EPRAD has encountered during the past year. ON TV - NEWSCASTER CARMEN ALVARADO CARMEN ALVARADO Suddenly in doubt, however, is the fate of Space Station Prometheus. (MORE) -- page break -- Rev. 3/9/93 24A. CONTINUED: CARMEN ALVARADO (CONT'D) The Congress of Nations will call a special meeting to debate whether or not to continue the internationally financed floating space laboratory. And what about the future of the colonists who have sacrificed everything in order to make this voyage? Is man destined to live in outer space? Perhaps not. For LTC news, this is Carmen Alvarado. * The sound is turned off and the staff starts to disperse. Jimmy turns to Clark, within hearing distance of Lois. JIMMY. Of course we were destined for outer space! You believe in life on other planets, don't you? CLARK Absolutely. LOIS Oh? How can you be so sure? CLARK Just a hunch. JIMMY What do _you_ think, Chief? Is there intelligent life on other planets? -- page break -- Rev. 4/27/93 (pink) 25. CONTINUED: PERRY Hell, what do I know? I can't even find a decent dry cleaners. Perry continues toward his office, Lois determinedly following. When Perry opens the door to his office, he turns to face Lois, right on his heel. PERRY (CONT'D) Give me a minute. LOIS But, Chief ... PERRY (controlling himself) One minute. Please. LOIS No problem, Chief. Take two. Lois looks at her watch. Perry shakes his head, enters his office as we CUT TO: 39 OMITTED 39 -- page break -- Rev. 3/9/93 25A. 40 AT THE COFFEE MACHINE 40 Newsroom staff get their morning hit of java. A spandex- skirted Cat gives Clark the once over as he passes, wolf whistles softly. CAT Who's the new tight end? -- page break -- 26. 40 CONTINUED: 40 Lois glances up, watches as Jimmy shows Clark his desk. LOIS Why don't you just throw your usual forward pass and find out? Lois walks back toward her desk. 41 CLARK AND JIMMY 4. JIMMY These four stations use the same printer. Any questions, just ask. CLARK A real veteran, huh? JIMMY I started as a copy person, then worked my way up as Ms. Lane's assistant. Chief gave me a desk two months ago. CLARK Congratulations. JIMMY Yeah, well, he still has me doing grunt work. But, I get to hang * with Lois. She usually takes me * along on her big stories. We're * pretty tight. * Clark turns, runs smack into the substantial chest of Cat Grant. She eyes him like a hungry man would a T-bone steak. CLARK Excuse me. CAT Catherine Grant, "Cat's Corner." CLARK Yes, I've read your column. CAT Then my reputation precedes me. Lois, returning, overhears, sneers at Cat's ample chest. LOIS Among other things. -- page break -- Rev. 3/9/93 27. 41 CONTINUED: 41 CAT (in for the kill) I know what it's like to be new in town. I'd be happy to show you around. CLARK That's very nice of you, Ms. Grant. CAT Cat. CLARK Cat. Maybe when I get settled. CAT (loudly) It's a date. Lois proceeds towards Perry's office, knocks, then enters. * 42 OMITTED 42 43 INT. PERRY WHITE'S OFFICE - CONTINUOUS 43* Lois paces in front of Perry's desk as he settles in. LOIS (CONT'D) I'll need a task force. I can't cover this story alone. PERRY You can have Jimmy. -- page break -- 28. 43 CONTINUED: 43 LOIS Chief, we're talking about the space program... PERRY All right. Take Kent. LOIS Kent?! PERRY Kent. LOIS What about Myerson? PERRY Busy. LOIS Burns? PERRY Budapest. LOIS Forget Kent. PERRY He's a good man. LOIS He's a hick. From "Smallville." I couldn't _make_ that name up. PERRY Kent or nobody. LOIS Nobody. * (re-thinking this) * Why don't you just hang an albatross around my neck? (off Perry's look) Okay. But don't ever tell me I'm not a team player. 44 INT. DAILY PLANET NEWSROOM - MOMENTS LATER 44 Lois strides up to Clark's desk. He looks up from his computer with a smile which Lois quickly wipes off. Lois' * take-charge attitude covers up a multitude of * insecurities. * LOIS Let's hit it. * -- page break -- Rev. 3/9/93 29. 44 CONTINUED: 44 When she starts walking away Clark realizes he's supposed to follow her. He shrugs, does so. On the move... CLARK Mind if I ask where're we going? LOIS To interview Samuel Platt. He's * convinced that the Messenger was * sabotaged. I'll brief you on the * way. (stopping to face him) And let's get something straight. I didn't work my buns off to become an investigative reporter for the Daily Planet just to baby-sit some hack from Nowheresville. She continues to walk with Clark right behind her. Then, she whirls on him again. LOIS (CONT'D) And another thing. You're not working _with_ me, you're working _for_ me. I call the shots. I ask the questions. You're low man. I'm top banana. That's the way I like it. Comprende? CLARK You like to be on top. Got it. Lois gives him a sneer. LOIS Don't push me, Kent. You are way out of your league. Lois and Clark enter the elevator, Clark all smiles as we CUT TO: 45 EXT. ABANDONED APARTMENT BUILDING - DAY - TO ESTABLISH 45 There are signs posted around the crumbling tenement indicating "This Building Is Condemned," "No Entry," etc. Lois and Clark exit a Taxi, walk up the steps. * 46 INT. TENEMENT HALLWAY - DAY 46 Lois and Clark stand in a dark hallway, knock on a door. LOIS Dr. Platt? Samuel Platt? -- page break -- Rev. 3/9/93 29A. 46 CONTINUED: 46 PLATT (O.S.) (harsh whisper) Nobody's home. A rat scurries by. Lois looks at Clark, tries again. -- page break -- Rev. 3/17/93 30. 46 CONTINUED: 46 LOIS Dr. Platt? It's Lois Lane. The door instantly opens to reveal Platt, wearing a woman's robe over a pair of pajamas, a WWII steel-pot helmet, and holding a tire iron. DISSOLVE TO: 47 INT. SAMUEL PLATT'S APARTMENT - ONE HOUR LATER 47 Lois sits on a pile of books, Clark leans against a wall. We PAN the room as Platt speaks, a mile a minute. His living room is filled with items collected out of other people's garbage: a bird cage, a headless hobby horse, a windmill from a miniature golf course. Magazines and newspapers are stacked everywhere. PLATT They said I was crazy, but wouldn't _you_ be? After the drugs... they drugged me, you know, right after I submitted my report to Dr. Baines. LOIS Dr. Platt, how could the Messenger have been sabotaged? In order to bypass security... (beat, thinking) Unless the orders came from high up. PLATT You see, under extreme temperature conditions, the particle isolators * were in danger of shutting down. * To prevent that, we installed heating devices. But when I broke into one of the off limit labs, I discovered that the heating devices had been replaced by coolant systems. CLARK To freeze the ion particles? * PLATT Of course! So that they'd fuse * and the Messenger would blow up! It's all in my report! LOIS What report? PLATT The report I gave to Dr. Baines. -- page break -- Rev. 3/17/93 30A. 47 CONTINUED: 47 LOIS Do you have a copy of that report? -- page break -- Rev. 3/22/93 32. 49 INT. EPRAD PLANT - DAY 49 Lois and Clark walk through the vast EPRAD complex; following Dr. Antoinette Baines. Even under the white lab coat, it's obvious that Baines is even more beautiful than she looks on TV. DR. BAINES Naturally, we're all still in a state of shock. I don't suppose I have to tell you what a * catastrophe the explosion was. * Commander Laderman... he was one * of our best. Three kids, his wife Anna... LOIS Dr. Baines, what's being done to investigate the cause of the explosion? DR. BAINES Well, we won't know anything until we examine the burned wreckage. We're in the process of moving it to a hangar for inspection. LOIS Can we take a look at it? DR. BAINES Sorry. No press allowed. CLARK No exceptions? Baines gives Clark an almost provocative scan. DR. BAINES I'll see what I can do. LOIS On the subject of Dr. Samuel Platt... -- page break -- Rev 3/22/93 32. 49 INT. EPRAD PLANT - DAY Lois and Clark walk through the vast EPRAD complex, following Dr. Antoinette Baines. Even under the white lab coat, it's obvious that Baines is even more beautiful than she looks on TV DR. BAINES Naturally, we're all still in a state of shock. I don't suppose I have to tell you what a catastrophe the explosion was. Commander Laderman... he was one of our best. Three kids, his wife Anna... LOIS Dr. Baines, what's being done to investigate the cause of the explosion? DR. BAINES Well, we won't know anything until we examine the burned wreckage. We're in the process of moving it to a hangar for inspection LOIS Can we take a look at it? DR. BAINES Sorry. No press allowed. CLARK No exceptions? Baines gives Clark an almost provocative scan. DR. BAINES I'll see what I can do. LOIS On the subject of Dr. Samuel Platt. -- page break -- Rev. 3/17/93 33. 49 CONTINUED: 49 DR. BAINES I have his file right here. A real waste of talent. Seems that the pressure of building the space station, along with his divorce, finally got to him. He started drinking and taking drugs. It went from bad to worse. We kept him on as long as we could. But, after he set-fire to one of the laboratories, we had to let him go. Lois takes a moment to study Baines before her next question. LOIS Dr. Platt said he submitted a report to you... something about coolant devices installed to freeze the ion particles? DR. BAINES Coolants? No, I don't recall any report. I could check my records. LOIS Could you? And give us a call? Lois hands Baines a card, which she takes. DR. BAINES No problem at all. (beat) Let me know if I can be of further assistance. Lois is still looking at Baines, hard, as we CUT TO: 50 EXT. EPRAD BUILDING - MOMENTS LATER 50 Lois and Clark exit an EPRAD van. CLARK She seemed... cooperative. LOIS I don't trust her. CLARK Very attractive. _Young_ for a woman in her position. LOIS (after a beat) Typical. -- page break -- Rev. 3/22/93 34 34. 50 CONTINUED: 50 CLARK What? LOIS Typical male response. CLARK Lois, trust me on this, I'm not your typical male. LOIS No? Just because she's okay looking... CLARK Very okay. LOIS You immediately assume she's telling the truth. CLARK And you assume she's not? Does everyone have "an angle?" No honest people left in the world? (off her look) Pretty cynical, Lane. LOIS Realistic, Kent. At least I * don't go through life disappointed. A taxi pulls up and they enter as we CUT TO: 51 INT. DAILY PLANET - EVENING 51 By the time Lois and Clark get back, the newsroom is nearly deserted. They pass Jimmy en route to the elevator. He hands Lois her messages. LOIS Thanks, Jimmy. JIMMY See you tonight! Lois waves him off. Perry exits his office in black tie. He walks up to Clark as Lois returns to her desk, looks at her messages. CLARK What's the occasion? -- page break -- Rev. 4/27/93 (Pink) 34. 50 CONTINUED: 50 CLARK What? LOIS Typical male response. CLARK Lois, trust me on this, I'm _not_ your typical male. LOIS No? Just because she's _okay_ looking... CLARK _Very_ okay. LOIS You immediately assume she's telling the truth. CLARK And you assume she's not? Does everyone have "an angle?" No honest people left in the world? (off her look) Pretty cynical, Lois. LOIS _Realistic_, Kent. At least I don't go through life disappointed. A taxi pulls up and they enter as we CUT TO: 51 INT. DAILY PLANET - EVENING 51 By the time Lois and Clark get back, the newsroom is nearly deserted. * -- page break -- Rev. 4/27/93 (Pink) 35. 51 CONTINUED: 51 Clark sits down at his desk, watching as the last newsroom employee leaves with a wave. He glances at Lois who picks up the phone, dials. She starts speaking, looks upset. Clark can't help himself, he tunes in with his super hearing to pick up the conversation. LOIS (into phone) No, Mitchell, I'm not mad. (beat) If you've got the sniffles, you've got the sniffles. Yes, that could lead to complications. No, don't call me. I'll call _you_. Lois slams down the phone, disgusted. She glances around the newsroom, sees Clark looking at her. Clark immediately turns away. Lois, having no choice, slowly approaches Clark's desk. LOIS (CONT'D) I don't suppose _you_ own a tuxedo? CLARK I can get one. Why? LOIS Oh. Well, the man I was going to Lex Luthor's ball with has the flu, and... CLARK Yes? LOIS ...well, I was wondering if you'd like to... (finally) Look, do you want to take his place or not? Clark has her on the ropes, decides to milk it. CLARK Thanks anyway, Lois, but I thought I'd get to bed early tonight. -- page break -- 36. 51 CONTINUED: 51 LOIS (jumping on him) Are you crazy? This is _the_ social event of the season. Everyone who's anyone will be there and you're just lucky that I'm being stood up-and _you_ want to go to bed early? CLARK So.... is this a date? LOIS (appalled) Date? Oh, you mean like in Kansas where you meet my parents and then try and give me a hickey in the vacant lot behind the Dairy Freeze? No, this is not a date. It's business. I'm going to land Lex Luthor's first one-on-one interview if it kills me. And I will not walk into his party unescorted. Clark takes a few more moments to decide, infuriating Lois no end. CLARK (grudgingly) O... kay. LOIS Meet me in front of LexCorp. Nine. Sharp, (beat) You're _sure_ you can get a tuxedo? CLARK I'll see you there. Lois turns and walks back to her desk, grabs her things and exits the newsroom. Clark quickly grabs a phone book, searches through it at super speed, finds the number, dials... CLARK (CONT'D) (into phone) Sam's Tuxedo Rentals? What time are you open to? (checking his watch) Five minutes? No problem. I'll fly. 52 OMITTED 52 -- page break -- Rev. 3/23/93 36A. 52A EXT. "ROOMS FOR RENT" BUILDING - NIGHT 52A* Clark exits the building and walks down the street. -- page break -- Rev. 4/20/93 (White) 37. 53 EXT. ALLEY - NIGHT 53 Clark walks into an alley, carefully looking around to see if it's safe to "take off." The alley is barely three feet in width between two massive high rises. Clark begins his vertical lift when... HOMELESS MAN Hey, buddy... you got a buck? Clark looks down toward the voice. A HOMELESS MAN is lying in a cardboard refrigerator box. Clark digs into his pocket, pulls out his last five dollar bill, hands it to him. The homeless man stares at the money. HOMELESS MAN (CONT'D) You must be some kind of angel, brother. Clark nods at the man, who crawls back into his box. Then, Clark slowly begins his vertical lift between the buildings, rising higher and higher, faster and faster, until he clears the highrises... 54 OMITTED 54 55 THE HOMELESS MAN 55 who has watched from below, stares upward. HOMELESS MAN Some kind of angel ... CUT TO: 56 OMITTED 56 57 OMITTED 57* -- page break -- Rev. 4/26/93 (Blue) 38. 58 INT. KENT DINING ROOM - LATER 58 The only clues to the enormity of the dinner are the number of empty platters on the table. CLARK * Dinner was great, Mom. Thanks. * JONATHAN More than I get these days. (beat) Your mother is now an _artiste_. They all take a moment to turn toward Martha's sculpture. MARTHA I call it, "Too Much, Too Soon, Tortured Heart, Waning Moon." (beat) What do you think? Too cerebral? CLARK No, no. It's very... imaginative. JONATHAN Uh, huh. MARTHA * Tell me more about this woman you're going to Lex Luthor's Ball * with. * -- page break -- Rev. 4/26/93 (Blue) 39. 58 CONTINUED: 58 CLARK Lois is ... well, she's ... complicated. Domineering, uncompromising, pig-headed... brilliant. (beat) And we're not really going out. It's business. MARTHA Uh, huh. Clark stands, kisses his Mom on the cheek, and grabs his * jacket off the chair. CLARK I gotta go. Thanks for sewing my jacket, Mom. That electrical storm over Cleveland was brutal.. MARTHA Maybe you should take another route. See you next week. 59 EXT. KENT FARM - NIGHT - MOMENTS LATER 59 Jonathan walks Clark outside. The two men stand in silence for a beat, looking out at the night sky, filled with stars. CLARK I forget how beautiful it is here. The only stars you see in Metropolis are riding in limos. JONATHAN You're the one who wanted the rat race. _I_ couldn't live there. Not for a minute. CLARK There's something about the city... the pace... everyone going somewhere... Clark absentmindedly kicks a stone. It is launched to the moon. -- page break -- Rev. 4/20/93 (White) 39A. 59 CONTINUED: 59 JONATHAN Impatient. Like you. (beat) Guess you've finally found your niche. You can stop living out of that old suitcase. -- page break -- Rev. 3/11/93 40. 59 CONTINUED: 59 CLARK I hope so, Dad. Being in Metropolis, working at the Planet, the Daily Planet, it's a dream come true, but... JONATHAN You still feel like you don't fit in. CLARK I _don't_. I don't fit in. I have to control myself all the time, never use my powers because I might jeopardize my chance to lead a normal life. JONATHAN Whatever "normal" means. CLARK Being human. Like you and Mom. Living, working, meeting someone... having a family. JONATHAN Clark, we don't know if that's possible. And you can't risk anyone finding out about you. If they knew you came from another planet... CLARK But I can't hide forever. There has to be a way I can be Clark Kent and still use what I've been given to do some good. There's no immediate solution. Jonathan hugs his boy, takes the opportunity to tuck a few bills into his pocket. JONATHAN You'll find a way. CLARK Thanks, Dad. And thanks for listening. See you next week. Clark turns to leave as we CUT TO: -- page break -- Rev. 3/9/93 41. 60 EXT. LEXCORP BUILDING - NIGHT 60 The tallest building in the city. The storm has brought lightning and thunder. Clark, dressed in his tuxedo, stands under the awning, waiting. Several other party-goers enter. A cab pulls up and Lois exits in a full length raincoat and hat, carrying an umbrella. She breezes by Clark, barely giving him a nod. LOIS I've got to fix my hair. I'll meet you inside. Clark stands there a moment, shaking his head. Some date. 61 INT. LEX LUTHOR'S PENTHOUSE - BALLROOM - NIGHT 61 Lois was right. Everyone who is anyone is at this shindig, and dressed to the hilt. The grandeur of the penthouse is awe inspiring. This is the home of a very wealthy man. Clark sees Perry standing with a group of people, waves to him. Jimmy walks over, stands next to Clark. JIMMY Incredible, huh. CLARK Yeah. (beat) Have you ever met him -- Lex Luthor? JIMMY No, but I read all five of his unauthorized biographies. Rags to riches, wrong side of the tracks, self-made billionaire, owns dozens of companies, employs thousands of people. Man Of The Year, every year, has his finger in every pie, but rarely appears in public. Won't give personal interviews. (beat) Hey. There he is. TOP OF STAIRS - CLARK'S POV Atop the grand staircase, a tall figure steps into the light. At that exact moment, a bolt of lightning strikes outside, illuminating the stained glass window behind him. LEX LUTHOR is ageless, dashingly handsome, suave, brilliant, a force to be reckoned with. When he reaches the ballroom floor, he's immediately surrounded by his admiring guests, shakes hands with them and pays his respects. LUTHOR Good evening, Margaret. Thanks for coming, Charles. I ... -- page break -- 42. 61 CONTINUED: 61 LOIS (O.S) (boldly) Lex Luthor... why haven't you returned my calls? Luthor turns to see who's addressing him. His other guests step aside to reveal... Lois Lane. In a strapless gown, she is suddenly stunning. Luthor smiles, slowly walks up to her, takes her hand. LOIS (CONT'D) Lois Lane. Daily Planet. * LUTHOR (admiring her) I can assure you, I'll never make that mistake again. Lois smiles. Luthor still holds her hand. As they stand there, very close, we go to... 62 ANOTHER ANGLE 62 Clark, standing with Jimmy, is staring at Lois. In fact, he can't take his eyes off her. Unconsciously, he's floated an inch off the floor. JIMMY She's something, isn't she? (beat) Clark? Clark, literally, comes back to earth. CLARK Yeah. She's something. 63 ON THE DANCE FLOOR - MINUTES LATER 63 Lois is in Luthor's arms. They glide across the floor to the strains of a waltz. LOIS I hope you'll forgive me for being * so bold, but... * LUTHOR Boldness is a trait I find very * attractive in a woman, Ms. Lane. * LOIS Oh. Thank you. Anyway, I was * wondering, Mr. Luthor... * LUTHOR Lex. -- page break -- 43. 63 CONTINUED: 63 LOIS Lex. I know you're hesitant to give interviews... LUTHOR I hope you can understand, a man * in my position. I wouldn't want * to be misinterpreted, and I have * had one or two bad experiences * with the media. * LOIS But not with me. * Luthor looks into her eyes, smiles. * LUTHOR Why don't we make it dinner? Lois' eyes widen. She's done it. But before she can say another word... CLARK (O.S.) Mind if I cut in? Lois and Luthor stop dancing. Lois is pissed, grudgingly introduces them. LOIS Lex, this is Clark Kent. He works at the Planet. LUTHOR A pleasure. * (beat, to Lois) Later, then? Luthor hands Lois over to Clark and walks off. Lois speaks in a heated whisper. LOIS Clark, you idiot. It's taken me a year to get this close... Clark pulls her into his arms and they begin to dance. CLARK _This_ close? Lois pushes him back a few inches. LOIS I would have thought square dancing was more your style. CLARK Actually, I learned from a Nigerian princess who studied ballroom dancing in England. -- page break -- 44. 63 CONTINUED: 63 LOIS (feigning boredom) Really? How fascinating. Lois breaks from him, walks off the dance floor. Clark follows, catches up with her. CLARK Where are you going? Lois doesn't answer, pushes through a door leading out of the ballroom. Clark shrugs, still follows. 64 INT. LUTHOR'S PRIVATE STUDY - MOMENTS LATER 64 The door opens and Lois walks inside, shadowed by Clark. CLARK Lois, what are you doing? LOIS Being a reporter. You should try * it sometime. * The study is dark,,paneled, rich with leather furniture, collections of ceremonial weapons, dueling pistols, etc. Lois disappears through another door while Clark stops to examine an antique crossbow, then, hearing something, he turns... and walks directly into a sword held by Lex Luthor, the tip of which is pointed directly at his heart. Clark takes a moment to study the weapon. CLARK Macedonian? LUTHOR (nodding) It belonged to Alexander the Great. A brilliant tactician. Luthor lowers the sword, hands it to Clark, who examines it. LUTHOR (CONT'D) Alexander's strategy was simple: always control the high ground. It was with this sword that he... CLARK ... defeated Darius III, and was proclaimed King of Asia. LUTHOR You surprise me, Mr. Kent. I'm not often surprised. Lois returns through the same door. She sees Luthor, tries to cover her intrusion of his private domain. -- page break -- Rev. 3/17/93 45. 64 CONTINUED: 64 LOIS I hope you don't mind our looking around... you have a beautiful home, Lex. Luthor, of course, _does_ mind, but masks it with a smile. LUTHOR Have you seen the view from here? They move toward the terrace. The lights of Metropolis shine below. LUTHOR (CONT'D) Tallest building in Metropolis. I must confess a certain pleasure * in knowing that everyone in the * city has to look _up_ in order to see me. Luthor stops himself, afraid that he may have revealed too much already. LUTHOR (CONT'D) Let's get back to the party. I think my announcement will interest you. CLARK After you. Lois and Clark follow Luthor out as we CUT TO: 65 INT. BALLROOM - MINUTES LATER 65 The crowd has started to gather near the small, curtained stage for Luthor's announcement. Lois stands with Jimmy and Clark. JIMMY (looking around) I guess this is what you call the "All list. CAT (O.S.) Did someone mention my name? The threesome turn to see Cat clad in a skin-tight, semi- transparent gold lame jumpsuit. LOIS How did you pass the metal detector? -- page break -- Rev. 3/17/93 46. ON THE STAGE Luthor has arrived, stands in front of the curtain. The crowd falls silent. LUTHOR Honored guests. We're here tonight for a good cause. Thanks to your generosity, Luthor House for Homeless Children will soon be a reality. As you know, I have dedicated my life to improving the quality of the lives of the citizens of Metropolis. Tonight, I'd like to go further. It is my sad understanding that due, in part, to the terrible tragedy that befell the Messenger last week, the Congress of Nations intends to cancel Space Station Prometheus. (beat) I cannot stand by and allow that to happen to the citizens of this planet. Profit aside, potential benefits that a zero gravity laboratory could bring -- most importantly, pharmaceuticals that could end crippling diseases here on Earth -- must not be lost. Therefore, I have decided to commit my total.financial support toward the building of a privately owned space laboratory. I have submitted my proposal to the Congress of Nations and I am awaiting their go-ahead. Ladies and Gentlemen, I give you... Space Station Luthor. Luthor pulls the curtain. There, on the stage, is a huge mock-up of the proposed space station with the insignia, LL, emblazoned on its side. The crowd oohs and aahs, breaks into thunderous applause. LUTHOR (CONT'D) An engineering marvel. Signpost to a new age in exploration and scientific advancement. A gift to the future of mankind. ON CLARK, LOIS AND JIMMY Lois, clapping enthusiastically, makes eye contact with Luthor on stage, who smiles at her. As Clark unhappily notices the by-play we CUT TO: -- page break -- Rev. 3/9/93 46A. 66 INT. LUTHOR'S STUDY - LATE THAT NIGHT 66 Luthor, still in his tux, enters his dark study, closes the door, and sits down at his desk which overlooks the lights of the city below. The rain outside is still falling, lightning streaking the black sky. Luthor opens a humidor, takes a cigar out, lights it, leans back in his chair. -- page break -- 47. ANOTHER ANGLE The door to his study opens a crack. Nothing. Then, something. Something slithering across the floor. LUTHOR takes another puff from his cigar, puts it out, stares out at the sky. SOMETHING SLITHERING up the side of Luthor's desk. LUTHOR opens his eyes to face the COBRA, inches from him, hood up. Luthor does not move. He does not flinch, he does not blink. Doing so would mean certain death. It is a test of wills. Luthor stares down the cobra. Seconds turn into lifetimes, but still Luthor does not move. Finally, the Cobra, beaten, lowers its hood, slithers away. Luthor sits back with a sigh. ASABI (O.S.) Will that be all for this evening, sir? ASABI, Luthor's turbaned valet, holds the snake at the end of a professional rod with a wire trap. LUTHOR Yes, Asabi. Thank you. That will be all. Luthor stands, steps onto his balcony, the rain falling down upon him. He begins to laugh, a resounding roar of triumph and we FADE OUT: END OF ACT TWO -- page break -- Rev. 3/17/93 48. ACT THREE FADE IN: 67 EXT. METROPOLIS STREET - MORNING 67 Clark walks briskly down the street toward the Daily Planet. A cab pulls over to the curb beside him and Lois gets out. CLARK 'Morning. Lois pays the driver, turns to Clark. LOIS Maybe for you. I've been at it for hours. I went back to EPRAD and followed the truck with the wreckage from the Messenger inside. They brought it to this hangar. I tried to get inside, but your friend Dr. Baines threw me out. Just then, less than a hundred feet in front of them, the sound of an EXPLOSION. 68 STREET - LOIS AND CLARK IS POV 68 A "People Working Sign" surrounds an area of excavation in the middle of the street. The explosion below has caused smoke to belch out from a manhole. A horrified SUPERVISOR screams... SUPERVISOR There's a man down there! Call the fire department! 69 LOIS AND CLARK 69 Race to the scene. Clark lags behind as Lois disappears into the gathering crowd and smoke. Clark spies a manhole at the other end of the street, runs to it, opens it and jumps down. SUPERVISOR There was an explosion! Did someone call the police? (beat) Keep those people back! The Supervisor and his fellow workers try and keep the * people away from the scene. * SUPERVISOR (CONT'D) * Back off! one of my men is down * there! Where are the fire trucks? * Hurry up! He's dying down there! * -- page break -- 48A. 70 OMITTED 70 71 EXT. STREET - SAME TIME 71 The SIRENS from approaching Ambulances and Fire Trucks can be heard in the distance as the crowd strains to see through the blinding smoke. -- page break -- Rev. 3/17/93 49. ANGLE - THE OPEN MANHOLE A pair of strong arms lifts the WORKER up and onto the street. THE SUPERVISOR thinks he sees something through the-smoke. As it begins to clear, he and the crowd now gathered are astounded to see the Worker laying on the street just in front of the manhole. The Ambulances and Fire Trucks arrive as the Supervisor bends over the Worker. SUPERVISOR You okay? The worker stops coughing, opens his eyes for a second, looks at the crowd. CROWD - WORKER'S POV By this time, Clark is standing next to Lois. THE WORKER Points to Clark. WORKER That man. He... he saved me. LOIS looks at Clark. His sportscoat has been torn and singed. CLARK I ... he's delirious. LOIS Obviously. (re: his suit) You're a mess. From now on, do what I do: bring a change of clothing to work. As the Ambulance workers appear with a stretcher we CUT TO: 72 INT. LEX LUTHOR'S STUDY - MORNING 72* Lex Luthor, in his bathrobe, enters from the terrace into * his study. In a large swivel chair, back to us, we can * HEAR a woman's voice, speaking into the telephone. * -- page break -- Rev. 3/17/93 49A. 72 CONTINUED: 72 WOMAN'S VOICE Thank you. Call me when everything is in place. When the woman swivels around to face us, we see that she is none other that Dr. Antoinette Baines, scantily clad in a negligee. Baines hangs up the phone and moves toward Luthor. -- page break -- Rev. 3/17/93 50. 72 CONTINUED: 72 DR. BAINES It's done. The Messenger's at the hangar. LUTHOR I knew I could leave everything in your capable hands. Luthor lifts one of her hands, kisses her palm. ANOTHER ANGLE - THE DOOR TO LUTHOR'S STUDY A giant, Tattooed Man enters. LUTHOR turns to see him. LUTHOR (CONT'D) What's he doing here? DR. BAINES I have an errand for him to run. (off Luthor's look) Platt has to be... silenced. And those reporters, Clark Kent and Lois Lane are also becoming a problem. Lois Lane was there this morning. She took pictures of the Messenger, followed the truck to the hangar. LUTHOR (sternly) Do what you want with Platt.. But leave the reporters to me. Dr. Baines turns toward the Tattooed Man, waves for him to * leave. When he exits, Baines turns back to Luthor. * DR. BAINES Tell me, Lex, do you have any special interest in those reporters? Clark Kent, for example? LUTHOR (sternly) Kent is nothing, a mere... giblet. DR. BAINES And Lois Lane? -- page break -- Rev. 3/17/93 51. CONTINUED: LUTHOR (trying to soothe) Have I seduced you? I thought it was _you_ who seduced me. DR. BAINES I'm warning you. Stay away from her. LUTHOR Antoinette. You know me, perhaps, a little too well. I don't like threats. DR. BAINES I don't care. Everything we've worked for... we're so close. I won't let her interfere. (deadly) You know what I'm capable of. Luthor grins, leans over and kisses her on the mouth. LUTHOR Yes, Antoinette, I do. That's part of the appeal. Luthor stands, lifts Antoinette in his arms, carries her * through his secret passageway as we * CUT TO: 73 73 THRU OMITTED THRU 74 74 75 INT. DAILY PLANET NEWSROOM - DAY 75 Clark enters through the stairwell doors, bumps into Jimmy on his way down. JIMMY Hey, C.K. CLARK Where're you off to? JIMMY To pick up that report from Platt. He called this morning -- said he "hoped we could read it." I'm also going to take a copy over to my friends at S.T.A.R. labs to analyze. (beat) What happened to your suit? -- page break -- Rev. 3/17/93 51A. 75 CONTINUED: 75 CLARK Don't ask. See you later. -- page break -- 52. 75 CONTINUED: 75 Jimmy nods and Clark walks toward the conference room, but, once again, Cat steps out of nowhere and impedes his path. Her outfit, as usual, leaves little to the imagination, and her open sensuality unnerves Clark, who tries to get by... CAT 'Morning, handsome. CLARK Oh, hi, Cat. If you'll excuse me... CAT No, I don't think I will excuse you. (pouting) I've asked you to have dinner with me two times. (her hand on his chest) That's two times more than I've ever had to ask _any_ man to do anything. Lois enters from the stairway and walks past them on her way to the conference room. CLARK I'm sorry, Cat, but I've been really swamped. Lois and I... CAT Poor Lois. All work and no personality. CLARK Anyway, can I take a raincheck on that dinner? CAT Sure. But don't wait too long. As he walks on, Cat comments to herself. CAT (CONT'D) I love it when they play hard to get. 76 INT. CONFERENCE ROOM - CONTINUOUS 76 Clark enters to find Lois flipping through her notes. LOIS Cat-napping? Clark ignores the barb, motions towards her notes. CLARK Anything? -- page break -- Rev. 3/22/93 (goldenrod) 54. 77 CONTINUED 77 CLARK I read a lot of scientific journals. LOIS Isn't that stuff kind of dense? CLARK Yeah, but... I'm a speed reader. LOIS Oh. (beat) I'm starving. CLARK We could go for a bite. LOIS Nah. What I'd really like is some good Chinese take-out, but not from that lousy joint across the street. CLARK I know a place. LOIS Do they deliver? CLARK No, but it's no problem. I'll be right back. Clark starts to exit... LOIS Don't you want to know what I want? CLARK I'll bring an assortment. Clark exits the newsroom. 78 78 THRU OMITTED THRU* 79 79 -- page break -- Rev. 4/27/93 (Pink) 53 -54. LOIS (shaking her head) I must have called fifty ex-employees who worked at EPRAD when Platt did. None of them are talking. I don't know, maybe there's nothing to talk about. CLARK So, what do we do now? LOIS First off, we piece together Platt's report, if that's possible. Then, we figure out how to prove that Dr. Baines got a copy of it. If we have any written evidence that Platt found coolant devices and Baines ignored it... (beat) I hope you haven't made any dinner plans. CLARK I'm all yours. Lois gives him a annoyed look as we CUT TO: 77 INT. DAILY PLANET NEWSROOM - NIGHT 77 Lois and Clark are the only people left in the deserted newsroom. Platt's report -- hundreds of scraps of paper -- is piled all around them. LOIS This is impossible. Nothing matches, no dates... (beat) * We'll never get through this... * and I'm starving. I wish I knew a * good Chinese take-out. * CLARK * I know a place. I'll be right * back. * Clark starts to exit... LOIS Don't you want to know what I want? CLARK I'll bring an assortment. Clark exits the newsroom. 78 78 THRU OMITTED THRU 79 79 -- page break -- Rev. 4/15/93 (Tan) 55. 50 80 TTHRU OMITTED THRU 81 81 81A EXT. NIGHT SKY 81A Clark flies west, away from the eastern shore, across the Great Plains, above the Grand Canyon, and to the California coastline. He continues across the ocean-towards China... 82 OMITTED 82* 83 INT. DAILY PLANET NEWSROOM - MINUTES LATER - NIGHT 83 Clark re-enters carrying several bags of Chinese food. LOIS That was quick. CLARK I took a short cut. Clark starts unloading. It's quite a spread. Lois opens one of the steaming containers, takes a bite. LOIS Mmm... still hot. (swallowing) This is out of this world. CUT TO: 84 INT. DAILY PLANET NEWSROOM - LATER THAT NIGHT 84 Lois and Clark have devoured the Chinese food. They're exhausted. Lois has kicked off her shoes, has her feet up on the desk. Clark hands Lois a fortune cookie. Lois cracks it open, looks at Clark in disgust. LOIS It's in Chinese. Clark takes it from her, starts to read. LOIS (CONT'D) Don't tell me you can read.... -- page break -- Rev. 4/27/93 (Pink) 56. CLARK (reading) "A good horse is like a member of the family." LOIS I hate that. That is not a fortune. Clark laughs, warm and deep. Lois stares at him. LOIS (CONT'D) You're a strange one, Clark Kent. CLARK Am I? LOIS Yeah. But I think I've got you figured out. CLARK Really? LOIS Uh huh. CLARK Didn't take you long. LOIS That's my business, looking beyond the external. CLARK I guess I didn't think I was so transparent. At least, not _nearly_ as transparent as you are. Clark adjusts his glasses. We can only imagine what _he_ sees "beyond the external." -- page break -- Rev. 4/27/93 (Pink) 57. For a brief Moment, which feels like a lifetime, Lois and * Clark lock eyes. The darkened newsroom, exotic food, and the late hour have taken their toll on Lois' defenses. Before she lets them go... LOIS Don't fall for me, farmboy. I haven't got the time to deal with it. Clark just stares. Lois-gathers up the scraps of paper that make up Platt's report, throws them in a box, grabs her purse, starts toward the elevators. LOIS (CONT'D) Come on. Maybe Platt can help us decipher this. On their exit we CUT TO: 85 EXT. SAMUEL PLATT'S APARTMENT BUILDING - LATE NIGHT 85 Lois and Clark exit a taxi, enter the building. 86 INT. HALLWAY OUTSIDE PLATT'S APARTMENT - LATE NIGHT 86 Lois starts to knock on the door, finds it's partly open. She looks at Clark, who gently pushes her aside. CLARK Lois, let me look first. LOIS Don't be silly. Lois, without a moment's hesitation, steps into the dark living room, searches for a light switch. LOIS (CONT'D) Listen, Kent. I've seen it all, okay? War, crime, famine... Lois finds the light switch, turns it on. LOIS AND CLARK'S POV Platt is sitting, back to them, in a chair. LOIS (CONT'D) Dr. Platt? We... -- page break -- Rev. 3/9/93 58. CONTINUED: Lois takes a step forward and Clark stops her, pulls her back. CLARK Wait. The water... They notice, under Platt's chair, a puddle of water. Clark maneuvers Lois so that they walk around it. Once around, Lois takes a look, gasps... PLATT -- LOIS AND CLARK'S POV Platt, bare feet in a pan of water, holds a live electrical cable (from the wall) in his hands. He's made his own electric chair and is very much _dead_. * LOIS starts to sway, Clark grabs her. She turns her face into his jacket as we FADE OUT: END OF ACT THREE -- page break -- Rev. 3/9/93 59. ACT FOUR FADE IN: 87 INT. PLATT'S APARTMENT - NEAR DAWN 87 Lois and Clark speak with HENDERSON, a hard-nosed but straight talking homicide detective. Several other people that make up the forensic team are busy dusting for prints, etc. Lois looks at Henderson in amazement. LOIS Suicide? That's ridiculous. HENDERSON He's tried it before. (beat) There's no sign of forced entry, no sign of struggle, nobody saw anybody come in or out. LOIS But we were on the verge of proving his theory that... well, that something he was working on was right. There's no way he... Two men from the city morgue carry Platt out on a stretcher. An overweight COP/comedian follows. COP Man's gonna barbecue himself he oughta use sauce. The Cop laughs at his own joke until Clark steps up to him, one huge hand gripping his lapel. Clark's voice is low, controlled, but there's a volcano underneath. CLARK The man's name was Samuel Platt. He was brilliant, a scientist, and * someone who cared about others. * Under the circumstances, I don't believe that kind of humor is appropriate. Clark's understated rage is very scary, and, to Lois, very impressive. COP Sorry, buddy. Really, I'm sorry. They now carry Platt from the room. The Cop follows. HENDERSON We tracked down his wife and kid. You know about them? -- page break -- Rev. 3/23/93 60. 87 CONTINUED: 87 CLARK (nods) If you don't mind, I'd like to call them personally. HENDERSON (handing him a sheet of paper) Never was one of the perks of this job. (to Lois) Check back with me after the autopsy. Henderson exits. Lois looks at Clark. LOIS You okay? CLARK We should have known. We should have protected him. LOIS How? CLARK I don't know, but... LOIS Look, Clark. All we can do now is try and prove him right. Whoever did this sabotaged Messenger and is probably planning the same thing for the colonist transport. (beat) We've got a lot of work to do. Clark stares at her, fury abating. Lois looks at her watch. LOIS (CONT'D) It's only six. Why don't we try and get a few hours sleep. I'll come by for you at nine. Clark nods. On their exit we CUT TO: 88 INT. CLARK'S ROOM - MORNING 88* Clark, clad only in a towel around his waist, is mid- conversation with his mother and father on the phone. CLARK I can't help it, Mom. I feel responsible... -- page break -- Rev. 3/23/93 6OA. 88A INT. KENT FARM - KITCHEN - INTERCUT 88A MARTHA Now you listen to me, Clark Kent. You may be the strongest man on Earth, but the world and all of it's problems does not rest on your shoulders. If you could have helped him, you would have. CLARK I guess so, Mom, but... JONATHAN Clark? What was this about a worker caught in an explosion down a manhole? Your mother told me he recognized you. CLARK Dad, the workman was semi- conscious. Nobody believed him when he pointed to me. -- page break -- Rev. 3/17/93 61. JONATHAN Maybe, but one of these days you're going to pull some stunt, and some nut with a video camera is going to... MARTHA What was he supposed to do, Jonathan? Let the man die? (beat) Clark, how're your clothes holding up? Do you have any suits left? JONATHAN Don't change the subject... * CLARK Listen, I have been thinking about this. Maybe it's a crazy idea, but... Mom? Hows your old sewing machine? Still working? MARTHA I think so. CLARK Well, I have a favor to ask. I think I need some kind of outfit... JONATHAN Outfit? CLARK You know, like a disguise that I could wear when things like that explosion happen. I could... The sound of a knock on the door interrupts. CLARK (CONT'D) Mom? I have to go. Lois is here. MARTHA Lois again, huh? CLARK Talk to you later. Clark moves to the door and, momentarily forgetting his lack of attire, flings it open. The expression on Lois' face says she was not prepared to see Clark without his clothes on. Although she does her best to hide it, the sight of Clark's bare chest and rippling stomach muscles has sent her body temperature way above normal. She covers by pretending to be mad. -- page break -- Rev. 3/9/93 62. CONTINUED: LOIS I said nine. I thought you'd be naked... ready. CLARK I was on the phone. I'll be out in jiff. Clark grabs his clothes, walks into the bathroom, shuts the door. Lois, suddenly hot, looks around, finds a paper cup, opens the tiny refrigerator, looks inside. INSIDE REFRIGERATOR - LOIS' POV Six jars of peanut butter and jelly, two gallons of orange juice, Kool-Aid, root beer, etc. LOIS pours herself a glass of orange juice, looks around, opens the cabinets. They're filled with animal crackers, sugary cold cereals, Ding-Dongs. Lois closes the cabinets, turns, bumps into Clark. LOIS We'd better go. They walk toward the door. On their exit... LOIS (CONT'D) (snidely) So, explain something to me. You eat like an eight-year-old but you look like Mr. Hardbody. What's * your secret, and can I have it? CUT TO: 89 89 THRU OMITTED THRU 90 90 91 INT. DAILY PLANET - DAY 91 Lois is at her desk on the speaker phone. We can HEAR Detective Henderson on the other end. LOIS ... but, Henderson, if there were contusions on Dr. Platt's head... -- page break -- 63. 91 CONTINUED: 91 HENDERSON (O.S.) Inconclusive. He could have gotten * them last week. I'm sorry, but the autopsy result is going to read "suicide." LOIS This isn't over. I'll call you * back. * Lois ends the call as Clark approaches, hands her a * message slip. CLARK I spoke to Platt's wife. She wants to see us right away. Lois grabs her purse and the twosome are off as we CUT TO: 92 EXT. MRS. PLATT'S HOUSE - DAY 92 A small house in the suburbs. Lois and Clark walk up the driveway. 93 INT. MRS. PLATT'S HOUSE - DAY 93 MRS. PLATT (O.S.) There is no other explanation. My husband was killed. Lois and Clark sit on the sofa facing MRS. PLATT, an attractive woman in her late forties. She's very upset. * LOIS When you and Amy left your * husband... * MRS. PLATT (shaking her head) No. We never left him. He made * us leave. He was sure they'd come * after him. He was afraid that Amy and I would get hurt, so he sent us away. Mrs. Platt tries to control her grief, but can not. When * her daughter, AMY, twelve, enters the room in her wheelchair, she quickly wipes her tears. MRS. PLATT (CONT'D) Amy, this is Lois Lane and Clark Kent. ANY Hello. -- page break -- Rev. 3/9/93 64. 93 CONTINUED: 93 LOIS It's very nice to meet you, Amy. AMY Mom? Can I go over to Susan's? MRS. PLATT Okay. Ask her if she'd like to come here for lunch. Amy nods, wheels from the room. Mrs. Platt turns back to Lois and Clark. MRS. PLATT (CONT'D) I haven't told her yet. (beat) Everything we worked for was for Amy. The space lab Prometheus was the only hope... and now... (breaking down once more) My husband was not insane. LOIS Mrs. Platt, do you have any idea * who might have killed your * husband? * MRS. PLATT All I know is that Samuel knew * that Prometheus was being sabotaged and that knowledge got him killed. (a desperate plea) * Please. Help me. Don't let his daughter grow up believing her father committed suicide. You have to clear his name. Clark takes her hand. CLARK We'll try. We promise. Lois and Clark exchange looks as we CUT TO: 94 INT. PRESS ROOM - 6:00 PM 94 A table with microphones has been set up for various members of the Congress of Nations. The CHAIRPERSON is a Hindu woman in traditional garb. She addresses a packed room of journalists, photographers, and TV news crew. CHAIRPERSON I am pleased to announce that we have unanimously decided that Space Station Prometheus will _proceed_. -- page break -- Rev. 3/9/93 64A. 94 CONTINUED: 94 FIRST REPORTER What about Lex Luthor's proposal? 95 INT. LEX LUTHOR'S STUDY - SAME TIME 95 Luthor watches the news conference on his giant screen TV, Asabi attentive at his side. -- page break -- Rev. 3/11/93 65. 95 CONTINUED: 95 On the desk in front of Luthor is a model of his proposed space station in a glass enclosed globe. ON TV CHAIRPERSON This body would like to extend our deepest gratitude to Mr. Lex Luthor for his generous offer... but it is our firm belief that the Space Station should go forward as originally planned: a project dedicated to global cooperation for the advancement of the sciences. Luthor stares at the screen in disbelief. SECOND REPORTER What about the safety of the colonists Can you assure the public that this next launch will be problem-free? CHAIRPERSON We have suffered losses in the past, but we shall take extra precautions to ensure the safety of future space travelers. However, should, any serious problems arise from this point on, we shall be forced to cancel the mission. We don't anticipate that happening. We anticipate success. 96 INT. THE DAILY PLANET NEWSROOM - SAME TIME 96 Staff and reporters, including Lois, Jimmy, and Clark, watch the news conference on TV. CHAIRPERSON The colonist launch, scheduled for next week, will proceed as planned. 97 INT. LEX LUTHOR'S STUDY - SAME TIME 97 Luthor smashes his hand through the globe... CHAIRPERSON (O.S.) The rocket will also carry an auxiliary propulsion module so that the space station can be lifted into its permanent orbit without delay. -- page break -- Rev. 4/27/93 (Pink) 66. 97 CONTINUED: 97 Luthor removes the brass model of the station, throws it at his TV monitor, smashing it. His hand is bleeding, _badly_, but when Asabi offers him a cloth, he refuses it, stares at his bleeding hand, letting the blood drip onto his desk... JIMMY (O.S.) So I gave S.T.A.R. Labs Dr. Platt's report. 98 INT. DAILY PLANET CONFERENCE ROOM - DAY 98 Jimmy hands Lois a file. JIMMY ... they re-created the launch in a hologram, it was really smooth... (beat) Anyway, they concluded that Platt's theory was right on. There was deliberate sabotage. The transport explosion was no accident. Congrats. -- page break -- Rev. 4/27/93 (Pink) 67. 98 CONTINUED: 98 Jimmy exits as Lois and Clark stand, turn to each other, take a beat, then _hug_. LOIS He was right! Platt was right! CLARK Now we can write the story... LOIS _I_ write the story. CLARK With my help. LOIS With your help. And, if we can convince people there was sabotage and who was behind it... CLARK We can stop them. Lois and Clark suddenly become aware that they still have their arms around each other. They quickly part, but just far enough to stare into each other's eyes. Clark can hear, _see_ Lois' heart beating, _fast_. Clark doesn't want to let this intimate opportunity go by. CLARK (CONT'D) Why don't we have dinner? LOIS I don't know, I ... CLARK We should celebrate. LOIS Okay. Dinner. (beat) Wait. What am I saying? I have plans tonight. Lois exits the conference room, Clark right behind her. CLARK Luthor? 99 INT. DAILY PLANET NEWSROOM - CONTINUOUS 99 Clark follows Lois toward her desk, where she gathers her things. -- page break -- Rev. 3/17/93 68. 99 CONTINUED: 99 LOIS Uh huh. CLARK Tell me something... how far are you willing to go to get this interview? LOIS (whirling on him) What is that supposed to mean? CLARK I don't think I have to spell it out for you. Lois and Clark enter the elevator, crowded with other people. CUT TO: 100 INT. DAILY PLANET LOBBY - CONTINUOUS 100 Lois and Clark exit the elevator. LOIS Not that it's any of your concern, but, as I told you before, this _is business_. CLARK Is it always business? LOIS Look, I wouldn't expect you to understand... CLARK What's your problem, anyway? LOIS I don't have a problem. CLARK Yeah, and _that's_ your problem. You've had a chip on your shoulder since the day I met you. By this time they have crossed the lobby. Lois moves through the revolving doors, Clark slipping inside the same compartment. LOIS That's ridiculous. -- page break -- Rev. 3/17/93 69. 101 EXT. DAILY PLANET BUILDING - DUSK 101 Lois searches the street for Luthor's limo, which has not arrived. CLARK Or was it the day Perry put me on this case with you? (off her look) That's it. You resented the fact that... LOIS Perry foisted an inexperienced... CLARK Snob. LOIS What? CLARK You're a snob, Lois. LOIS Well, coming from Mr. Green Jeans ... Lois hears a honk, turns to see Luthor's limo pull up. In a huff, she spins on her heel and walks toward it, then turns again to get back in Clark's face. LOIS (CONT'D) I live by three rules: Never get involved in your stories, never let anyone else get there first, and never sleep with anyone you work with. (beat) This is business. Lois again turns and runs toward the limo. She slides inside the open door. Clark stares after her. CUT TO: 102 EXT. LEXCORP - NIGHT 102* The LEX limo parks in front. Asabi exits, opens the * passenger door, and Lois steps from the limo and enters * the building. * -- page break -- Rev. 3/17/93 69A. 103 EXT. LEX LUTHOR'S PENTHOUSE BALCONY - NIGHT 103* Lois and Luthor sit at the table for two on Luthor's * terrace. With candlelight, under starry skies, and with a * soft night breeze blowing, the scene is set for romance. * Lois wears a cocktail dress, but she's got her pad out and is taking notes. Her meal is barely touched. Luthor has cleaned his plate. -- page break -- 70. 103 CONTINUED: 103 LOIS (all business) * Both your father and mother died * when you were fourteen, correct? * LUTHOR Why don't I have my office send * you a biography? * LOIS Because I don't want the standard * line. I want to know the real Lex * Luthor. What makes you tick. * What you want, what you strive * for... * LUTHOR Pleasure. The pursuit of * pleasure. * (beat, off her look) * Does that surprise you? * LOIS I would have guessed you'd say * "power." * LUTHOR Power is a means, not an end. * LOIS But, achieving power must give-you * pleasure. * LUTHOR (nodding, impressed) * Very good. * Lois smiles. One point for her. * LOIS You took over your first big * company at age twenty-one, but * there were rumors that the buy-out * was coerced. * Luthor stiffens, says nothing. * LOIS (CONT'D) Is it true the Board of Directors * were paid substantial, unreported * fees... * Luthor reaches across the table and takes Lois' hand. * LUTHOR Was the food not to your liking? * -- page break -- Rev. 3/11/93 71. 103 CONTINUED: 103 LOIS (thrown off-guard) Sure. It was delicious. (embarrassed, re her full plate) Sometimes when I'm working... LUTHOR All work and no play... your credo, Lois Lane?. LOIS I don't think... LUTHOR Can't we just enjoy the evening? Enjoy each other? Let down your hair, Lois. Loosen the tie.. * LOIS But I'm not wearing... Luthor turns Lois' hand palm up, unclenches the fingers. LUTHOR You're so tense. Let the defenses down. LOIS (removing her hand) Lex, I think you have the wrong idea about this dinner. LUTHOR I hope you don't think we're here merely because you are a beautiful young woman. That wouldn't speak well for either of us. (beat) You wanted an interview. A scoop. I understand that. But, quid pro quo, let me tell you what _I_ want. (leaning closer to her) My talent in life is not making money or juggling companies. It's character assessment. I sense things about you. Possibilities. Potentials. You have the intelligence, spirit, and vision to transcend the mundane. Lois is blown away. At last, someone sees her as she really is. She's uncharacteristically speechless. -- page break -- 72. 103 CONTINUED: 103 LUTHOR (CONT'D) And, so there are no * misunderstandings, you _are_ * beautiful. * Lois struggles to pull herself together. * LOIS Lex, I have a story to write * tonight. I think we'd better be * going. * LUTHOR No dessert? * LOIS No thanks, I never have dessert. * LUTHOR Really? You don't know what * you're missing. * Lois stares into his eyes as we * CUT TO: 104 INT. CLARK'S ROOM AT THE Y - NIGHT 104 Clark, frustrated, is busy making, then devouring, at superspeed, peanut butter and jelly sandwiches, washing them down with a couple of gallons of milk. Finally sated, he gets up and calls Lois on the pay phone. We HEAR her * recorded message. * LOIS Hi. Sorry we're not home to take your call. If you'd like to leave a message for Lois, or Lucy, you can do so at the... Clark ends the call, stares out at the night sky, walks to the window, looks around, grabs his jacket and heads out * the door. * 105 EXT. METROPOLIS STREET - NIGHT 105* Clark walks around the corner, sees the LEX Limo park in * front of Lois' building. Clark stops dead in his tracks. * Asabi opens the door for Luthor and Lois and they head up * the stairs and inside. When the camera moves back to * where Clark was standing -- he's gone. * 106 INT. LOIS' APARTMENT BUILDING - HALLWAY - MOMENTS LATER 106* Luthor has walked Lois to her door. Lois opens it, turns * back to Luthor. -- page break -- Rev. 3/11/93 73. 106 CONTINUED: 106 LOIS Thank you for a wonderful evening. 107 CLARK 107 standing on an adjacent rooftop, watches through the brick walls of Lois' building, rolls his eyes in disgust. 108 LOIS AND LUTHOR - CLARK'S POV 108 LOIS (ruefully) I think you learned a lot more about me tonight than I learned about you. LUTHOR I think we've both only scratched * the surface. * 109 CLARK 109 Throws up his hands. CLARK I don't believe this guy. 110 LUTHOR AND LOIS - CLARK'S POV 110 Lois looks at him, isn't sure. CLARK (O.S.) Don't... She extends her hand. We HEAR Clark's sigh of relief. LOIS Good night. Luthor takes her hand, pulls her toward him, kisses her lightly on the lips. She slowly breaks from him, turns and walks into her apartment. 111 CLARK 111 is miserable, fights off an unexpected wave of jealousy. CUT TO: 112 INT. LOIS' APARTMENT - LIVING ROOM 112 Lois enters. Lucy exits from the bedroom in her nightgown, excitedly approaches her sister. -- page break -- 74. 112 CONTINUED: 112 LUCY Well? How'd it go? LOIS (angry at herself) * I blew it. Not only didn't I get * the interview, but the guy charmed * the pants off me. * LUCY (wide-eyed) * Literally? * LOIS (offended) * Luce! * LUCY Why not? Do you have any idea how * lucky you are? Lex Luthor, the world's most eligible bachelor, takes you to dinner. Give * yourself a break! It's okay to * have fun once in awhile instead of constantly worrying about your * career. (beat) Did he ask you out again? LOIS I guess so. Sort of. LUCY Sort of? I hope you said "yes." * (pointing dramatically * toward the window) * Mr. Right may be right out there. * LOIS Come back to Earth, Lucy. This is * reality we're talking about. * 112A EXT. OUTSIDE LOIS' APARTMENT - SAME TIME 112A Clark is right outside -- hanging in mid-air. He * zooms up as Lois approaches the window from the inside and * closes the drapes. * FADE OUT: END OF ACT FOUR -- page break -- Rev. 3/17/93 75. ACT FIVE FADE IN: 113 INT. PERRY WHITE'S OFFICE - DAY - 5PM Lois, Clark, and Jimmy eagerly wait while Perry reads their article. Perry, editing pencil in hand, is red-lining through the pages. When he finishes, he sits back in his chair, smiles at the trio, a smile that hides his real urge, which is to throw his desk set at them. PERRY You want me to publish a story that says that the Prometheus Project is being sabotaged. That the Space Transport Messenger exploded because instead of heating the ion * particles, the "saboteurs" and * their "henchmen" purposely cooled them. Perry indicates their written words with a "quote" hand signal. PERRY (CONT'D) Also that the transport carrying the habitation module to Space Station Prometheus, scheduled to be launched in less than three days, is probably also going to "blow up." (building) And all of this information you got from interviewing Samuel Platt, a man who was banned from the scientific community, underwent psychiatric treatment, and committed suicide -- although he was "probably murdered." (staring at them) Does that about sum it up? LOIS (swallowing hard) Chief... PERRY Hard facts. That's the name of the game, boys and girls. Now get out there and find me some. Lois, Clark, and Jimmy exit the office. Perry reaches into his desk drawer and takes out a medicine bottle. CU - BOTTLE The label reads: PAAVA LEAF EXTRACT. -- page break -- Rev. 3/22/93 76 76. PERRY takes a swig, grimaces. 114 INT. DAILY PLANET - NEWSROOM - MOMENTS LATER 114 Lois, Clark, and Jimmy stride down the newsroom corridor. LOIS What we need is physical evidence. We need pictures of those things, those... CLARK Ion particles. LOIS Right. Clark stops short, struck by a thought. CLARK Maybe there'll be some sign that * they were cooled, not heated. JIMMY I bet S.T.A.R. Labs could tell. CLARK I'll call Dr. Baines' office and ask for permission to set up an independent examination. LOIS Clark! Baines isn't going to let you do that! She could be * involved! Besides, we don't have * time to play by the rules. The Colonist Transport goes up in two days! CLARK (walking away) I'm making the call. Maybe someone else at EPRAD will authorize it. LOIS You do that. Clark heads toward his desk. Lois stands there a minute, then heads toward the exit. JIMMY Where are you going? LOIS Nowhere. JIMMY I'm coming, too. -- page break -- Rev. 4/27/93 (Pink) 76. PERRY takes a swig, grimaces. 114 INT. DAILY PLANET - NEWSROOM - MOMENTS LATER 114 Lois, Clark, and Jimmy stride down the newsroom corridor. LOIS What we need is physical evidence. CLARK I'll call Dr. Baines' office and ask for permission to set up an independent examination. LOIS Clark! Baines isn't going to let you do that! She could be involved! Besides, we don't have time to play by the rules. The Colonist Transport goes up in two days! CLARK (walking away) I'm making the call. Maybe someone else at EPRAD will authorize it. LOIS You do that. Clark heads toward his desk. Lois stands there a minute, then heads toward the exit. JIMMY Where are you going? LOIS Nowhere. JIMMY I'm coming, too. -- page break -- Rev. 3/17/93 76A. 114 CONTINUED: 114 They proceed toward the stairs as we CUT TO: -- page break -- 77. 115 EXT. HANGAR SOMEWHERE IN THE DESERT - DUSK 115 Lois and Jimmy crouch behind a bush, a hundred yards from the security gate of the hangar complex. Lois quickly hatches a plan. LOIS I'll create a diversion. You sneak into the guard house and disconnect the alarm system... you're good at that kind of thing. Jimmy looks at her as if she were insane. JIMMY (caustic) Why don't we just crawl up behind the guards and slit their throats? LOIS (ignoring him) * You brought your goody-bag, didn't * you? * JIMMY Yeah, but Lois, this may be a * really stupid question, but what do you hope to find in there anyway? LOIS I don't know. Answers. Just take pictures of every inch of the wreck and we'll have them analyzed later. (beat) Then we'll have to break into Baines' office. I'm positive she's lying about that report. Jimmy sighs, takes a second to let the plan sink in. JIMMY I guess I don't need to point this out to you... but this is _dangerous_. LOIS Fine. You go back to writing obituaries and _I'll_ grab the scoop of the century all by myself. JIMMY (beat) What kind of a diversion did you have in mind? CUT TO: -- page break -- 78. CONTINUED: LOIS I don't suppose you two big strong men can help me change a tire? ANOTHER ANGLE Jimmy comes out of the darkness and moves into the guardhouse. LOIS AND THE GUARDS FIRST GUARD I'm sorry, Ma'am, but we're not supposed to... LOIS Oh, come now. Surely no one would get mad for helping a lady in distress. (suggestively) I would really appreciate it. The Guards look at one another. 117 INT. GUARD HOUSE 117 Jimmy, on hands and knees, looks around for... THE SECURITY CONTROL PANEL - JIMMY'S POV There's a flashing green light indicating no breaches in the security system. JIMMY peruses the counter top, spots a small, dusty, plug-in * radio. He unzips his "goody-bag", removes a tiny wire * cutter and a mini blow torch. He grabs the radio, cuts * the cord, replaces the radio. He moves to the panel, * still on his knees ' opens it to reveal the circuitry. He looks over the counter to... 118 EXT. GUARD HOUSE - JIMMY'S POV 118 While the second Guard is changing the tire, Lois leans against the other one's chest, touches his shoulder holster. LOIS Is that a real gun? FIRST GUARD Yes, ma'am. -- page break -- 79. 118 CONTINUED: 118 LOIS Does it fire really big bullets? 119 INT. GUARD HOUSE - SAME TIME 119 Jimmy places the now-exposed wires from the radio cord over the indicator light circuitry. Once in place, he holds the mini blow torch over it, fusing the wire to the indicator * circuit. He cuts through the remaining wires leading to the indicator light. Even after they are cut, the light still flashes green. With a sigh of relief, Jimmy closes the panel, crawls from the guard house. 120 EXT. GUARD GATE - SAME TIME 120 The second Guard is just finishing up changing the tire. Lois notices Jimmy safely back in the bushes. She stands on tip-toes, kisses the first Guard on the cheek. LOIS Thank you. You are a true gentleman. FIRST GUARD Can I call you? Lois gets into her car, closes the door, rolls down the window. LOIS Sure thing, honey. I'm in the book under... Catherine Grant. The Guards smile as she waves, pulls back and we CUT TO: 121 EXT. HANGAR - NIGHT 121 Lois and Jimmy are now on the opposite side of the compound. Lois snips the fence with a pair of wire cutters. No alarm sounds. She smiles, turns to Jimmy. LOIS You're amazing. Where did you learn to... JIMMY Reform school. (off her look) It was a bum rap. -- page break -- Rev. 3/11/93 80. 122 INT. GUARD HOUSE SAME TIME 122 One of the Guards nonchalantly looks over to the control panel. All the lights are green. He goes back to reading his Batman comic book as we CUT TO: 123 EXT. MAIN HANGAR - MOMENTS LATER 123 The hangar is floodlit, inside and out. Lois and Jimmy peer through a window. 124 INT. MAIN HANGAR - LOIS AND JIMMY'S POV 124 A vast cavern where the transport shell hangs from a complex harness. There are swarms of lab-coated scientist-types, watched by armed guards. 125 LOIS AND JIMMY 125 JIMMY Now, what? We'll never get inside. LOIS We don't have-to. (off Jimmy's look) I watched them load the Messenger wreckage onto the truck. The whole left side of the shell was bashed in -- _that_ one isn't. (beat, to Jimmy) They're working on a phony shell. Jimmy and Lois exchange a glance. Lois looks beyond the hangar to another hangar in the distance, smaller, unlit, unobtrusive. 126 EXT. UNLIT HANGAR - MINUTES LATER 126 Lois and Jimmy are at the front door. Jimmy tries it, it's locked. JIMMY What we need is a hair pin. * Lois pulls out a paper clip from her pocket. * LOIS Try this. * JIMMY Smooth. * -- page break -- Rev. 3/11/93 80A. 126 CONTINUED: 126 Jimmy takes it, fiddles with the lock and... the door opens. As they move inside we CUT TO: -- page break -- Rev. 3/9/93 81. 127 INT. HANGAR - OFFICE - SAME TIME 127 On a small monitor, Dr. Toni Baines watches Lois and Jimmy enter the hangar. The Tattooed Man sits Across the desk from her. Baines picks up the phone and dials a number. Lex Luthor answers from his study. DR. BAINES Your friend Lois Lane is here. She's found the real Messenger * wreckage. * (beat) I think it's time we eliminated her. 127A INT. LEX LUTHOR'S STUDY - INTERCUT 127A LUTHOR Kill off the Daily Planet's star reporter? I'm surprised at the suggestion, Antoinette. DR. BAINES (worried), But she suspects me, Lex. You said I'd never be implicated. LUTHOR She lacks evidence. Evidence is sometimes all that separates the criminal from the successful businessman... or woman. (beat) I told you I'd take care of her. DR. BAINES (pleading) Lex, I did this for you... LUTHOR And you've been paid very well. In fact, your final installment is waiting for you in the helicopter. Proceed as planned. I promise... there will be no loose ends. Baines hears a dial tone on the other end. She looks up at the monitor, nervously reaches to open a drawer. Baines removes an automatic pistol, looks at the Tattooed Man. CUT TO: 128 INT. LEX LUTHOR"S STUDY - SAME TIME 128 Luthor still has Baines and the Tattooed Man on his telephone video monitor. He now turns off his screen. -- page break -- Rev. 3/22/93 82. 129 INT. DAILY PLANET CONFERENCE ROOM - 10:00 PM 129 Perry and his staff, now including Clark, convene around the large table. PERRY Sorry about the late hour, folks. There's just not enough time in the day... (looking around the table) Where are Lois and Jimmy? Clark? CLARK I don't know. I haven't seen them since this afternoon. I assumed they'd be here. PERRY We'll start without them. Clark leans back in his chair, concerned, as we CUT TO: 130 INT. UNLIT HANGAR - NIGHT 130 Empty except for the real salvaged shell resting on a platform. Lois walks around the shell, flashes her pocket flashlight on the damaged side, looks at Jimmy and nods. He begins to take pictures. LOIS This is beginning to make sense. Obviously, someone didn't want the scientists seeing the particle * isolators so they dummied up another shell for them to examine. Lois heads off to explore the rest of the interior. A SHADOW suddenly appears behind Jimmy and karate chops him in the neck. Jimmy collapses to the floor. LOIS (CONT'D) This is a cinch. We'll just go over to the other hangar, tell the scientists, make a call (reacting to the silence) Jimmy? Lois wanders around the shell, sees Jimmy lying on the floor. As the shadow comes up behind her, Lois whirls, goes into her best Tae Kwon Do stance and crescent kicks the Tattooed Man to the solar plexus. -- page break -- Rev. 3/22/93 82. 129 INT. DAILY PLANET CONFERENCE ROOM - 10:00 PM 129 Perry and his staff, now including Clark, convene around the large table. PERRY Sorry about the late hour, folks. There's just not enough time in the day... (looking around the table) Where are Lois and Jimmy? Clark? CLARK I don't know. I haven't seen them since this afternoon. I assumed they'd be here. PERRY We'll start without them. Clark leans back in his chair, concerned, as we CUT TO: 130 INT. UNLIT HANGAR - NIGHT 130 Empty except for the real salvaged shell resting on a platform. Lois walks around the shell, flashes her pocket flashlight on the damaged side, looks at Jimmy and nods. He begins to take pictures. LOIS This is beginning to make sense. Obviously, someone didn't want the scientists seeing the particle * isolators so they dummied up another shell for them to examine. Lois heads off to explore the rest of the interior. A SHADOW suddenly appears behind Jimmy and karate chops him in the neck. Jimmy collapses to the floor LOIS (CONT'D) This is a cinch. We'll just go over to the other hanger, tell the scientists, make a call... (reacting to the silence) Jimmy? Lois wanders around the shell, sees Jimmy lying on the floor. As the shadow comes up behind her, Lois whirls, goes into her best Tai Kwon Do stance and crescent kicks the Tattooed Man to the solar plexus. -- page break -- Rev. 3/9/93 82A. CONTINUED: When he doubles over, she continues with a kick to his chest, knocking him down. -- page break -- Rev. 3/22/93 (goldenrod) 83-84. CONTINUED: The man, winded, reaches into his jacket for a knife, but Lois, still with the upper hand, front kicks that away as well. The man starts to rise once again, but Lois is ready. She does a running jump, kicks him in the side of the head, and he goes down into a heap. Lois quickly turns... and runs right into Baines, who points the gun at Lois, stopping her dead in her tracks. DR. BAINES Very impressive, Lois. These days, a woman has to know self defense. Baines motions with the gun for her to turn around. Lois has no choice. She turns, gun to her back as we CUT TO: 131 INT. DAILY PLANET CONFERENCE ROOM - SAME TIME 131 Perry continues through the weekly stories, but Clark can't concentrate. He pushes back his chair, heads for the door. PERRY The piece on the recent sex change operation in the Royal Family... (seeing Clark) Kent. This meeting isn't over. CLARK It's not like Lois or Jimmy to miss a staff meeting. I thought I'd call around. PERRY Okay. Go. Clark exits. 132 132 THRU OMITTED THRU* 133 133 134 EXT. UNLIT HANGAR - MINUTES LATER 134 Clark, having torn up the last of his suits, lands just outside the hangar. He looks beyond the metal walls, sees Lois gagged, tied to a chair. Jimmy, also bound and gagged, lies beside her. -- page break -- Rev. 4/14/93 (goldenrod) 83-84. CONTINUED The man, winded, reaches into his jacket for a knife, but Lois, still with the upper hand, front kicks that away as well. The man starts to rise once again, but Lois is ready. She does a running jump, kicks him in the side of the head, and he goes down in a heap. Lois quickly turns... and runs right into Baines, who points the gun at Lois, stopping her dead in her tracks. DR. BAINES Very impressive, Lois. These days a woman _has_ to know self defense. Baines motions with the gun for her to turn around. Lois has no choice. She turns, gun to her back as we CUT TO: 131 INT. DAILY PLANET CONFERENCE ROOM - SAME TIME 131 Perry continues through the weekly stories, but Clark can't concentrate. He pushes back his chair, heads for the door. PERRY The piece on the recent sex change operation in the Royal Family-- (seeing Clark) Kent. This meeting isn't over. CLARK It's not like Lois or Jimmy to miss a staff meeting. I thought I'd call around. PERRY Okay. Go. Clark exits. 132 132 THRU OMITTED THRU* 133 133 134 EXT. UNLIT HANGER - MINUTES LATER 134 Clark, having torn up the last of his suits, lands just outside the hangar. He looks beyond the metal walls, sees Lois gagged, tied to a chair. Jimmy, also bound and gagged, lies beside her. -- page break -- Rev. 3/17/93 85. 134 CONTINUED: 134 Without stopping to think things through, Clark uses his shoulder weight to break down the outside door. 135 INT. UNLIT HANGAR - MOMENTS LATER 135 Clark bursts in, sending the door flying. * DR. BAINES Good evening, Mr. Kent. * (re: the door) * I guess you don't know your own * strength. * THE ROOM - CLARK'S POV Lois looks up in utter amazement. Baines stands by Lois, gun pointed at her. Jimmy is still unconscious on the floor. The Tattooed Man raises an Uzi to cover Clark. CLARK Put down those guns. DR. BAINES Or you'll ... what? CLARK has a strained look on his face. With guns trained on him and Lois, Clark has no way of saving anyone without revealing his powers. With no choice but to play along, completely frustrated, that's where we leave him as we FADE OUT: END OF ACT FIVE -- page break -- 86. ACT SIX FADE IN: 136 INT. HANGAR - NIGHT 136* Lois and Clark are tied, not to each other, but back to back in high back chairs, bound with fine link chains secured by multiple locks. Lois is mid-diatribe. LOIS I told Perry I needed a task force. A _task_ _force_. What do I get? _Amateurs_. Jimmy is still on the ground, semiconscious, his hands and feet bound. From the look on Clark's face, Lois has been on a non-stop harangue for what seems like hours. CU - CLARK'S HANDS Clark, bored with the tirade, keeps opening, then closing * the padlocks as a diversion. * LOIS (CONT'D) I still can't _believe_ you came barreling in here like some five hundred pound gorilla. If you really thought we were in trouble, why didn't you bring the police? CLARK Look, I ... LOIS Don't tell me. I already know. You're like every other man in Metropolis. You've got this testosterone surplus that says, "I can do it myself." Clark has just about had it. He snaps the padlock once * again. LOIS (CONT'D) Baines has to kill us now. I don't know why she hasn't done it already. Clark lifts his hands up, but Lois can't see them. CLARK Lois, I've somehow managed to... LOIS ... mess up everything? No kidding. -- page break -- Rev. 3/17/93 87. CONTINUED: CLARK Now wait a second. I wasn't the one who snuck in here... LOIS What are you saying? That this is _my_ fault? At least I had the guts to... (then, with a noticeable sigh) What am I saying? It probably _is_ my fault. Clark quickly puts his hands back down, anxious to hear what she has to say next. LOIS (CONT'D) I know that I sometimes do things... you know, like jump into the pool without checking the water level. But, I have to. I mean, it isn't easy trying to make it in this business, especially if you're wearing pantyhose. (beat) Maybe I do have a chip on my shoulder, maybe Lucy's right about me, too, but... this is the only way I know how to do it. To get the job done. To get the respect that I want. That I _deserve_. For the first time, Lois is opening up to Clark and he's all ears. LOIS (CONT'D) Remember when I told you my three rules? I've broken every one of them. I seem to _always_ get involved in my stories, I ... CLARK ... slept with someone at work? (Lois nods guiltily) It wasn't Jimmy, was it? LOIS Don't be ridiculous. It was a long time ago. When I first started at the Daily Planet. Claude -- he was French -- he had this accent... * -- page break -- Rev. 3/17/93 88. CONTINUED: LOIS (CONT'D) (beat) I guess I must have been in love. Or thought I was. I was only twenty-one, working on my first big scoop: this perfectly ordinary middle-age couple -- gun runners. One night, I told him about it and when I woke up the next morning he was gone. So was my story. He won an award for it. Didn't even thank me for my... input. Clark quickly re-padlocks himself. There's no way he wants to extricate himself now. CLARK I guess, when yours in love with someone... it doesn't matter how smart you are or how many rules you've set for yourself. You're still vulnerable. LOIS We're only human... (beat) What difference does it make now, anyway? We're all going to die. CLARK Lois? What you said, about respect? I just want you to know that everyone on the Daily Planet, _everyone_, thinks you're just about the best reporter they've ever worked with. Perry told me that the day I interviewed with him. LOIS He did? CLARK Yes. (beat) And not that it means anything, coming from a "hack from Nowheresville", but I think you're pretty terrific, too. LOIS Clark, I'm sorry. About everything. I know it's too late for apologies, but I never meant... Baines enters into the room carrying a suitcase. -- page break -- Rev. 3/17/93 88A. CONTINUED: DR. BAINES I hope you'll forgive the * accommodations, but then again, * I've never been much of a hostess. * Baines disappears behind the shell for a moment. * -- page break -- Rev. 3/1 7/93 89. 137 BEHIND MESSENGER CLARK'S TELESCOPIC POV - NIGHT 137 Baines opens a valve in the rocket booster allowing a liquid substance to leak out and spread toward another liquid substance. 138 LOIS AND CLARK 138 Baines re-appears, suitcase in hand. DR. BAINES Sorry you won't be around to enjoy the-rest of the evening, but accidents do happen. LOIS Accidents? DR. BAINES Yes. You see, while dissecting the orbital maneuvering systems, the monomethyl hydrozene leaked and mixed with the nitrogen tetroxide... Unfortunately, the blast killed three nosy reporters who didn't bother to read the signs. Baines points to a sign on the wall. CU - SIGN "Trespassers Will Be Prosecuted." LOIS AND CLARK LOIS Answer one question. Why? DR. BAINES It's very simple, Lois. Profit. Outer space is no different from any new frontier. It will belong to those who get there first and seize the high ground. CLARK reacts to the words "high ground". He's heard that phrase before... DR. BAINES turns and exits with the Tattooed Man by her side. No sooner does she close the door than Clark breaks loose. -- page break -- Rev. 3/9/93 90. CONTINUED: LOIS Clark! How did you... CLARK Missing link. Clark unties Lois, who rushes to Jimmy. He's still pretty groggy. Clark disappears behind the shell. 139 THE SHELL - CLARK'S POV 139 The two liquids are mixing, starting to bubble. Clark inhales, readies to freeze the chemicals with his breath, when Lois suddenly appears beside him. LOIS What is it? With Lois there, Clark realizes it's too late to stop the chemicals from mixing. He grabs Lois' hand, runs back to Jimmy, lifts him over his shoulder, and they race for the exit. When the mixture starts to blow, Clark holds Lois and Jimmy, one in each arm, in front of him. Just as they reach the exit the BLAST occurs. 140 EXT. JUST OUTSIDE HANGAR - CONTINUOUS 140 Clark makes it look like the impetus of the blast is enough to send them flying, but in fact he is flying them. They land several hundred feet from the hangar, in a large puddle of mud. 141 EXT. HANGAR - MOMENTS LATER 141 Lois and Jimmy slowly open their eyes. Lois looks back at the hangar, reduced to rubble. Scientists and staff from the adjacent hangars are running from the buildings. LOIS What happened? CLARK I'm not sure... I guess the force of the explosion must have carried us here. LOIS Look! Up in the sky, Baines' helicopter. A beat, then the helicopter EXPLODES in a fireball. After the last piece of wreckage falls ... JIMMY Do you think the explosion... -- page break -- Rev. 3/22/93 91. 141 CONTINUED 141 CLARK No. I think things went exactly as planned. 141A INT. LEX LUTHOR'S STUDY - SAME TIME 141A Luthor has watched the helicopter explosion from his monitor. He shakes his head, leans back in his chair. LUTHOR Good night, Antoinette. Sweet dreams. CUT TO: 142 INT. DAILY PLANET NEWSROOM - DAY 142 PLASTIC CHAMPAGNE GLASSES This time, it's Lois, Clark and Jimmy who are being feted by the newsroom staff. Ali holds up the front page. CU - FRONT PAGE It reads: MESSENGER SABOTAGED, SABOTEUR DIES IN FIERY EXPLOSION. The by-line is: Lois Lane. Contributing reporters: Clark Kent, Jimmy Olsen. Jimmy is surrounded by a group of doe-eyed secretaries. JIMMY Scared? No, not really. I was more concerned with the larger issue -- unless we got out of there alive the colonist launch could blow up as well. Perry walks up to Lois. PERRY I just spoke to ground control over at EPRAD. They went back over the colonist launch vehicle with a fine tooth comb -- discovered the same coolant problem in the protective bands and fixed it. The launch is * all set for tomorrow morning. (beat) But... it's a no go for you, Lois. No reporters allowed. -- page break -- Rev. 3/22/93 91. 141 CONTINUED 141 CLARK No. I think things went exactly as planned. 141A INT. LEX LUTHOR'S STUDY - SAME TIME 141A Luthor has watched the helicopter explosion from his monitor. He shakes his head, leans back in his chair. LUTHOR Good night, Antoinette. Sweet dreams. CUT TO: 142 INT. DAILY PLANET NEWSROOM - DAY 142 PLASTIC CHAMPAGNE GLASSES This time, it's Lois, Clark and Jimmy who are being feted by the newsroom staff. Ali holds up the front page. CU - FRONT PAGE It reads: MESSENGER SABOTAGED, SABOTEUR DIES IN FIERY EXPLOSION. The by-line is: Lois Lane. Contributing reporters: Clark Kent, Jimmy Olsen. Jimmy is surrounded by a group of doe-eyes secretaries. JIMMY Scared? No, not really. I was more concerned with the larger issue -- unless we got out of there alive the colonist launch could blow up as well. Perry walks up to Lois PERRY I just spoke to ground control over at EPRAD. They went back over the colonist launch vehicle with a fine tooth comb -- discovered the same coolant problem in the protective bands and fixed it. The launch is all set for tomorrow morning. (beat) But... it's a no go for you, Lois. No reporters allowed. -- page break -- Rev. 3/22/93 91A. CONTINUED: LOIS (protesting) But, Chief, imagine the Daily * Planet getting an exclusive * personal account of being on the * colonist transport? * PERRY No can do, Lois. * -- page break -- Rev. 3/22/93 91A. CONTINUED: LOIS (protesting) But, Chief, imagine the Daily Planet getting an _exclusive_ personal account of being on the colonist transport? PERRY No can do, Lois -- page break -- Rev. 3/9/93 92. CONTINUED: LOIS (mind racing) Oh, well. Another time, maybe. PERRY (to Clark) You'll be pleased to know that Platt's widow and daughter are back on board. CLARK Thank you, sir. Perry walks off. Lois takes Clark aside. LOIS (sweetly) Clark. I just wanted to... well, thank you for your help in getting us out of there. CLARK I'm glad it all worked out. LOIS one other thing... (her usual tone back) If you ever breathe one word of what I told you in there, I'll deny it and have you back on the unemployment line before you can say "hayseed." They lock eyes. CLARK You can trust me. LOIS Right. I've heard that one before. Lois turns on her heel and walks off. CUT TO: 142A EXT. KENT FARM HOUSE - TO ESTABLISH - NIGHT 142A* Clark enters the house.* 143 INT. KENT HOUSE IN SMALLVILLE - NIGHT 143 Clark sits at the dining room table with his parents. JONATHAN I don't know about this costume thing, Clark. -- page break -- Rev. 3/9/93 93. 143 CONTINUED: 143 CLARK It'll work. It has to. If I have an effective disguise, I won't have to worry about people finding out about me. Martha stands. MARTHA Come on. Let's get started. 144 INT. KENT MASTER BEDROOM - NIGHT 144 To the strains of ZZ Top's "Sharp Dressed Man" we see, in QUICK CUTS, Clark standing in front of a full length mirror dressed in various outfits, some reminiscent of previous super-heroes. After four or five of these changes, each more ridiculous, scary, etc. than the last we CUT TO: 145 INT. KENT MASTER BEDROOM - NIGHT 145* Martha, nearly spent, eyes closed, lies on the bed, rejected outfits piled high around her. Clark is in the bathroom. Tiredly, she calls out to him. MARTHA What about that one? CLARK (O.S.) I don't know. It's certainly... colorful. When Martha hears Clark open the door and exit the bathroom, she opens her eyes, sits up, eyes opening even * further. * Clark steps to the mirror, and, for the first time, we see him in his rightful garb. We slowly PAN up: red boots, blue tights, yellow belt, red "leotard" and long red cape. There's a long beat, then... CLARK What do you think? MARTHA (staring below the belt) One thing's for sure. Nobody's going to be looking at your face. -- page break -- Rev. 3/9/93 94. 145 CONTINUED: 145 CLARK Mom! MARTHA Well, they don't call them tights for nothing. (looking at his chest) I don't know... something's missing. Something... The light-bulb suddenly lights inside Martha's head and she rises from the bed, looks underneath it, drags a large trunk out from under it. She opens the trunk, finds a baby blanket. CU - THE BABY BLANKET The blanket is red, with the "S" insignia on it. CLARK I'd forgotten about that. * Martha hands the blanket to Clark. MARTHA The blanket we found you in. So * long ago. * Martha walks over to Clark, positions the "S" on the front of his outfit. Clark gets the idea, "cuts" the "S" out with his heat vision, then sews it onto the outfit in superspeed. When he turns around again, the "S" is positioned correctly. MARTHA (CONT'D) Your parents would have been proud of you. We are. CLARK Thanks, Mom. Clark turns and looks in the mirror once more. CLARK (CONT'D) I'm not sure about the cape. MARTHA Really? I love it. It'll look grand when you're flying. Here, try the mask on. Clark dons a red stocking-type mask that disfigures his features. JONATHAN (O.S.) Come on in here, you two! Launch vehicle's going up! -- page break -- Rev. 3/9/93 95. CONTINUED: Clark takes his mother's hand and they exit the bedroom. 146 INT. KENT LIVING ROOM NIGHT 146* Jonathan Kent is glued to the tube. Clark and Martha enter, stand behind his chair, Jonathan unaware that Clark's in his new get-up. JONATHAN The colonists are just about all on board. ON SCREEN The last few Colonists, in specially designed outfits, are in line to board. We move in closer, and closer... 147 EXT. LAUNCH SITE - COLONIST HABITATION MODULE - NIGHT 147* We are now in line with the colonists. One in particular gets our attention. It's Lois, dressed in a colonist outfit and apparently about to successfully stow away. When Lois reaches the entrance, she walks inside the capsule. 148 INT. COLONIST HABITATION MODULE - CONTINUOUS - NIGHT 148* As the colonists are herded to the right, Lois breaks left, slips away unseen. 149 INT. GROUND CONTROL - DAWN 149* All personnel ready for take-off. PUBLIC AFFAIRS OFFICER We are T minus three minutes. All technical personnel should deplane at this time. 150 INT. HABITATION CAPSULE - CONTINUOUS 150 Lois sneaks down the hallway, ducks into a room, closes the door. 151 INT. KENT LIVING ROOM - NIGHT 151* -- page break -- Rev. 4/15/93 (Tan) 96. ON SCREEN - THE MODULE READY FOR TAKE OFF JONATHAN Historic occasion. (turning around) Remember when you were little, Clark, and we saw the first moon landing... Jonathan sees Clark in his new "outfit," slowly stands to give him the once-over. JONATHAN That's my boy. MARTHA He's right. what if someone recognizes you? CLARK I don't think they will -- because I won't be me. CUT TO: 152 INT. HABITATION MODULE - LOIS' "ROOM" - DAWN 152 Lois has found a seat in a dark corner of the small room. She settles down, "strapping" herself in with plastic webbing, getting out her oxygen mask and micro recorder. Just then, the door to the room opens. Lois scrunches up to remain out of sight, but she can see very well. A man in a white uniform walks inside, shoves a gooey substance holding some kind of device onto the wall. It immediately sticks, bonding a lot quicker and stronger than Crazy Glue. He exits, shuts the door behind him. LOIS can't believe what just happened. She stands, walks over to the wall, checks out the device. There's a digital countdown timer attached to... LOIS (softly) Oh my God. Baines must of had an alternate plan. It's a bomb. (starting to scream) It's a bomb! 152A INT. GROUND CONTROL - DAWN 152A PUBLIC AFFAIRS OFFICER one minute and counting... -- page break -- Rev. 4/15/93 (Tan) 96A. 152B INT. LOIS' "ROOM" IN MODULE - SAME TIME 152B Lois tries to scream, but the noise of the rocket boosters warming up deafens everything. -- page break -- Rev..3/9/93 97. 152B CONTINUED: 152B Lois tries to pull the bomb off the wall, but it won't budge. She rushes to the door, tries to open it. It's _locked_. 153 INT. GROUND CONTROL - SAME TIME 153 PUBLIC AFFAIRS OFFICER Forty-five seconds and counting. 154 INT. KENT LIVING ROOM - NIGHT 154* JONATHAN There she blows. 155 INT. LOIS' "ROOM" ON MODULE - DAWN 155* Lois, desperate, grabs her purse and takes out her Swiss Army Knife. Looking around, she tears open one of the cabinets, revealing a million wires. She looks at the plastic explosive. LOIS I have to warn them.. She starts slashing at the wires. 156 INT. GROUND CONTROL - SAME TIME 156 A YOUNG TECHNICIAN runs over to the Public Affairs officer. PUBLIC AFFAIRS OFFICER Thirty seconds and... YOUNG TECHNICIAN Sir, we have a circuit failure in the main panel. 157 OMITTED 157 158 INT. KENT LIVING ROOM - NIGHT 158* ON TV PUBLIC AFFAIRS OFFICER Due to a mechanical failure, we have suspended countdown at twenty-nine seconds. We will advise. -- page break -- 98. 158 CONTINUED: 158 JONATHAN I don't believe it. Something's gone wrong. Clark... He turns, but Clark has flown... FADE OUT: END OF ACT SIX -- page break -- Rev. 3/9/93 99. ACT SEVEN FADE IN: 159 EXT. LAUNCH SITE - DAWN 159* Hundreds of spectators watch and wait to see if the transport will be taking off. Suddenly, they see something else -- our hero, in full costume, flying across the field to the launch pad. 160 IN THE SPECTATOR FIELD - DAWN 160 * A bunch of good old boys in a flat bed truck are polishing off their third six pack. They stare up at the flying object. FIRST MAN What the hell is that? SECOND MAN Is it a bird? THIRD MAN Is it a plane? MAN WITH BINOCULARS (looking through his binoculars) Nope. It's just a guy in a pair of tights and a cape. A beat, then the Man With Binoculars is pelted with empty beer cans. CUT TO: 161 INT. GROUND CONTROL - SAME TIME 161 The LAUNCH COMMANDER and other personnel gather around the monitor. They stare at the flying man, but are afraid to look at one another to confirm the sighting. The Public Affairs Officer, who hasn't seen the monitor, approaches and taps the Launch Commander on the shoulder. PUBLIC AFFAIRS OFFICER Are we scrubbing the mission? The Launch Commander turns to stare at him. 162 OMITTED 162 163 EXT. ON THE LAUNCH PAD - SAME TIME 163 Superman has reached the transport vehicle, pries open the * payload doors, jumps inside. -- page break -- Rev. 3/9/93 100. 164 INT. COLONIST MODULE - CONTINUOUS 164* Superman closes the doors, looks around. With his X-ray vision, he sees Lois in the Control Panel Room, the bomb planted on the wall, the cut wires dangling. SUPERMAN (shocked) Lois? He pauses for an instant, looking down at his costume. Will she recognize him? No time to worry about that now. 165 INT. CONTROL PANEL ROOM - CONTINUOUS 165 Superman opens the door. Lois, on the floor, looks up, and keeps looking. Superman moves directly to the bomb. Lois leaps to her feet, starts pounding on him. LOIS Hey! Get away from that! Superman, ignoring her, pulls the bomb from the wall. LOIS (CONT'D) What kind of lunatic... Buried inside the mass of "crazy glue" Superman finds a C-4 plastic explosive, the size of an Oreo. He pops the explosive in his mouth and swallows. Lois gasps. A moment later, Superman burps. SUPERMAN Excuse me. They face each other for the first time. After a beat... LOIS What the hell are you? On Superman's smile we CUT TO: 166 INT. GROUND CONTROL - SAME TIME 166 The Launch Commander picks up a phone, dials an extension. LAUNCH COMMANDER Sir? Due to our equipment problems and... an unexplained occurrence, I don't think we have any alternative but to abort. 167 INT. CONTROL PANEL ROOM - SAME TIME 167 Lois stares dumbfounded as Superman now turns his attention to the control panel board, studies the slashed wires. -- page break -- Rev. 4115/93 (Tan) 101. 167 CONTINUED: 167 Several colonists appear in the doorway. Among them, we recognize Mrs. Platt and her daughter Amy. Superman turns to face the group. The Head Colonist takes a step inside, looks at the disarmed bomb, the ruined circuitry, then back at the unknown duo of Lois and Superman. His anger and confusion are obvious.. LOIS (pointing to it) There was a bomb. (looking at Superman, still in semi-shock) He... he ate it! Before anyone else reacts, Amy, unafraid, rolls her chair forward and stops in front of Superman. He smiles down at her. SUPERMAN Hi. AMY Hi. I like your costume. SUPERMAN Thank you. My mother made it for me. (beat) * What's your name? * AMY Amy. Amy Platt. (beat) Who're you? SUPERMAN I'm... a friend. AMY * Can you really fly? * SUPERMAN * Yes, I can. * AMY * Can you teach me? * Superman kneels beside her wheelchair. SUPERMAN * Not to fly, but once this lab is * operational, walk... that's very * possible. * The public address speaker CRACKLES into life. We HEAR the booster rockets die outside. -- page break -- Rev. 4/15/93 (Tan) 101A. 167 CONTINUED: 167 LAUNCH COMMANDER (OVER.P.A.) Attention, colonists. The mission has been scrubbed. Prepare to disembark. The disappointment in the room is palpable. HEAD COLONIST That's it then. It's over. -- page break -- Rev. 4/15/93 (Tan) 102. 167 CONTINUED: 167 LOIS Why? * MRS. PLATT Once the thrusters have been * fired, they have to be replaced. * HEAD COLONIST We'll lose our launch window. * (beat) We just have to forget about Space Station Prometheus. SUPERMAN No you don't. (off their looks) There's nothing wrong with this transport vehicle _or_ the station. You only need to get there. LOIS (exasperated) And how are they supposed to do that? SUPERMAN Easy. I'll give them a boost. On Superman's exit we 167A EXT. LAUNCH PAD - MOMENTS LATER 167A Without any booster ignition, the rocket starts to take off. 167B INT. GROUND CONTROL - DAWN 167B The Launch Commander, Public Relations Officer, and others are still gathered. On the monitor in front of them, the transport is leaving the ground, but they haven't yet noticed. LAUNCH COMMANDER I want security and tech teams over every inch of that transport. We have... PUBLIC AFFAIRS OFFICER (staring at the monitor) Lift off. -- page break -- Rev. 4/15/93 (Tan) 102A. 167B CONTINUED: 167B LAUNCH COMMANDER What? Impossible. You mean... (looks at the monitor) ... lift off. -- page break -- Rev. 4/15/93 (Tan) 103. 167C EXT. IN THE ATMOSPHERE - FIFTY MILES ABOVE EARTH 167C The rocket is moving straight up, lifted and guided by a tiny figure. 168 168 THRU OMITTED THRU 172 172 173 A WHIRLING LONDON VOICE 173 with the headline: "MYSTERIOUS PHENOMENA IN SPACE!" A WHIRLING PARIS BULLETIN with-a picture of Superman and the headline: "CIEST MANIFIQUE!" A WHIRLING NEW YORK DAILY STAR with the headline: "ALIEN INVASION OF EARTH!" A WHIRLING NATIONAL INQUISITOR with the headline: "I'M HAVING THE SPACEMAN'S BABY!" 173A EXT. OUTER SPACE - SPACE STATION PROMETHEUS - SEEN FROM 173A AFAR The station is completely assembled, habitation module in place, just another star twinkling in the galaxy. 174 OMITTED 174 * -- page break -- Rev. 4/15/93 (Tan) 104. 175 INT. DAILY PLANET NEWSROOM - DAY 175 Bedlam. Reports coming in about the Man Who Flies from all over the world. Reporters and staff race around. Perry crosses the newsroom floor, faxes overflowing in his hands. PERRY A man who flies... I still don't believe it. JIMMY But Chief, it's all over the TV! PERRY Don't believe everything you see on TV, Jimmy. (beat) I'll tell you one thing though, whoever pulled off a hoax like this... Just then, Perry turns toward the window and sees Superman hovering in the air, Lois in his arms. A moment later, Superman flies Lois in through a high window, deposits her near her desk. PERRY Great Shades of Elvis! Cat, along with several other women from the staff stare agog. -- page break -- Rev. 3/22/93 104A. 175 CONTINUED: 175 CAT I see it but I don't believe it. CO-WORKER What? A man who flies? CAT No. Lois Lane, finally _literally_, swept off her feet. (beat) Too bad he's an alien ANGLE ON LOIS AND SUPERMAN Lois wastes no time in trying to get the story. LOIS I think, considering the fact that I saw you first, you owe me an exclusive -- page break -- Rev. 3/17/93. 105-105A 175 CONTINUED: 175 SUPERMAN Is that the rule? * LOIS Well, um, no. But... I'd * appreciate it. Very much. * Superman starts to fly out but Lois races after him, calls * out... * LOIS (CONT'D) Wait a minute. How do I find you? * SUPERMAN I'll be around. * Superman flies out the top window. Jimmy stares after * him. * JIMMY _Real_ smooth. * Cat and the other women push their way through to Lois. * CAT Did you find out what the "S" * stands for? * A rocket of red, blue, and yellow flashes by the window, * disappears into the sky. * LOIS (breathless) * Super. Superman. * Perry wades into the group, smiles sweetly at them, then * starts to bellow. * PERRY What the hell is this, the Betty * Crocker bake off! Get back to * work! We've got a newspaper to * run! * CUT TO: 176 176 THRU OMITTED THRU 177 177 -- page break -- Rev. 3/17/93 106. 178 INT. LEX LUTHOR'S PENTHOUSE - DAY 178 Superman lands on Luthor's wide penthouse balcony, enters Luthor's study. Luthor sits behind his enormous computerized desk in his leather chair. When he sees Superman enter he rises to greet him. LUTHOR An astonishing debut, Superman. SUPERMAN Super... LUTHOR Haven't you heard? That's what they're calling you. It's international news. (beat) To what do I owe this honor? SUPERMAN I came to tell you that I know who you are. Who you _really_ are. I suppose, on its face, it was a good plan. Destroy Prometheus so you could put your own space station in its place. Then, not only would you make billions from the patents of vaccines developed, but you'd also be the supposed savior of the space program. LUTHOR A very interesting theory, Superman. But that's all it is. SUPERMAN And _profits aside_, you are also responsible for the deaths of at least three people. Commander * Laderman, Samuel Platt... Dr. Baines. (beat) Those probably aren't the only skeletons in your closet. LUTHOR So, you become both my judge and executioner? SUPERMAN Like any other citizen of the planet, I must obey the law. I am not above it. You, it seems, believe you are. LUTHOR I hold a certain position in this city. -- page break -- Rev. 3/9/93 106A. 178 CONTINUED: 178 SUPERMAN Yes. And there is nothing that would please me more than to see you dethroned and behind bars, like any common criminal. That day will come. LUTHOR I trust not. But, then, as they say... let the games begin. -- page break -- 107. 178 CONTINUED: 178 Superman walks back onto the terrace, Luthor following. As Luthor watches, Superman begins a slow vertical ascent. SUPERMAN One other thing. If you ever need to find me, all you have to do is look _up_ Luthor does, indeed, have to look up as he watches the Man of Steel go ever higher, then disappear into the clouds. Luthor turns, walks back into his study, his anger building. At that moment, Asabi enters carrying a wet suit, oxygen tank, and harpoon. ASABI The tank is ready sir. The Mako is a particularly fine specimen. LUTHOR Send it back to the aquarium. ASABI Sir? Luthor slowly walks to his desk, sits down in his chair, swivels it toward the lights of the city. LUTHOR I have bigger fish to fry. 179 INT. DAILY PLANET - NEWSROOM - DAY 179 Clark Kent enters the newsroom, only to be accosted by Lois and led out once again. LOIS Clark, where've you been? CLARK Around. LOIS (sarcastically) Well, not that it's anywhere near as exciting as the stories you covered on the Smallville Press, but Superman was here in the * newsroom and I've just about * nailed down the exclusive. * CLARK Congratulations. LOIS You should see him, Clark, up * close. He's the most magnificent * figure of a man I've ever... * -- page break -- 108. 179 CONTINUED: 179 CLARK (annoyed) * Sounds like he made quite an * impression on you. * LOIS He did... why? Are you jealous? * CLARK Of Superman? Should I be? * Lois takes Clark by the arm, leading him toward the * elevators. * LOIS Come on, let's get going. * CLARK Where to? * LOIS Terrorist shoot-out on Sixth. They reach the elevators, but Lois suddenly stops, turns to Clark. * LOIS (CONT'D) And Kent? (beat) _I'll_ ask the questions. Lois turns back, is off again. Clark shakes his head, follows. The elevator doors close, but this is just the beginning. Lois and Clark are off in search of another story, another adventure in the city of Metropolis and so we FADE OUT: FINIS