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. Everythin