notes: To pop everything into place... use Courier 10 (or 10 nonproportional, typewriter-style characters per inch) 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) Cover pages: note that "[large,bold]" and other similar notes are printing instruction and those words should also be centered; later on in the scripts more accurate descriptions of how to print will be provided note original typos: "sholdn't" on page 19 and "Aurthur" on pg 48 --page break-- [large,bold] _LOIS & CLARK_ The New Adventures of Superman I'VE GOT A CRUSH ON YOU Episode #5 Prod. #455305 Written by THANIA ST. JOHN WARNER BROS. TELEVISION _PRODUCTION DRAFT_ August 19, 1993 --page break-- [large,bold] _LOIS & CLARK_ [italic] The New Adventures of Superman [large] "I've Got a Crush on You" EPISODE FIVE Prod. #455305 Written by THANIA ST. JOHN Directed by: GENE REYNOLDS WARNER BROS. Production Draft TELEVISION August 19, 1993 --page break-- _LOIS & CLARK_ "_I've Got a Crush on You_" _CAST_ CLARK KENT\SUPERMAN LOIS LANE PERRY WHITE JIMMY OLSEN LEX LUTHOR ____________________________________________________________________________ TONI TAYLOR JOHNNY TAYLOR LOU TOOTS BARTENDER TOASTER #1 TOASTER #2 REPORTER #1 GIRL #1 NEWSCASTER --page break-- _LOIS & CLARK_ "_I've Got a Crush on You_" _LOCATIONS_ INTERIORS: EXTERIORS: Daily Planet Metro Club Waiting Area Alley Luthor's Penthouse Burned Out Building Clark's Apartment Riverview Harbor Lois' Apartment Clark's Apartment Balcony Burned Out Building Metropolis Street Metro Club Main Room Back Room Hallway Supply Closet --page break-- _LOIS & CLARK_ "_I've Got a Crush on You_" _CHRONOLOGY_ SC. 1 - 14 DAY 1 SC. 15 - 18 NIGHT 1 SC. 19 - 35 DAY 2 SC. 30 - 46 NIGHT 2 SC. 47 - 62 DAY 3 --page break-- _LOIS & CLARK_ "_I've Got a Crush on You_" _TEASER_ FADE IN: 1 EXT. BURNING BUILDING - (DAY #1) 1 A crowd of bystanders and news crews has gathered around to watch firefighters try to contain the blaze. A NEWSCASTER stands nearby giving her viewers a play-by-play. NEWSCASTER And yet another case of arson has drawn firefighters to the Riverview area. That makes six in the last twenty-four hours and still Metropolis Fire Department officials have no leads. She listens to her earphone. NEWSCASTER (continuing) I'm getting word now that there is a custodian trapped inside the building on the top floor. The engine ladders aren't tall enough to reach him and the building's stairwells are engulfed in flames. There doesn't appear to be any way to get him out. Behind her the crowd starts to look up and react. VARIOUS CROWD VOICES Superman! It's Superman! He's got him! etc. The newscaster tries to spot the action but too many things are happening at once. NEWSCASTER It seems that Superman has been able to reach the man in question and -- over here... She walks to where a crowd has gathered along the sidewalk. Everyone cheers as Superman comes out of the burning building, a 72-year-old Custodian in his arms. They are both blackened from the fire and smoke. As Superman hands the Custodian to an awaiting Paramedic, he pats the old man on the shoulder. (CONTINUED) --page break-- 2. 1 CONTINUED: 1 SUPERMAN You'll be okay now. NEWSCASTER Superman! Superman turns to face the Newscaster and the cameras. NEWSCASTER (continuing) You've been helping the fire department all day. Any idea who could be behind the fires? SUPERMAN No, not yet. We've been too busy fighting them. NEWSCASTER We're hearing rumors the arsons might be gang related. Any comment? In the b.g. we hear SIRENS and ENGINES ROLLING OUT. B.G. VOICE Fire at Hobs and 8th! SUPERMAN (answering) I'm sure the proper authorities are trying everything they can to find out. Now, if you'll excuse me. Superman hurries off revealing firemen behind him, dousing the spreading flames with water, creating... GIRL #1 (PRELAP) (singing-off-key) Psssssss ... Steamed Heat, I got... 2 INT. METROPOLITAN CLUB - MAIN ROOM DAY 2 ... the Metropolis version of the Coconut Grove where chorus girl auditions are in progress. Several girls stand in the upstage shadows while GIRL #1 sings in the spotlight. A well-built man with a pretty-boy face sits at a table by the stage, shirt sleeves rolled up, smoking a cigar. This is JOHNNY, the epitome of macho. He has a headache. GIRL #1 ... psssss... steamed heat, I got -- (CONTINUED) --page break-- 3. 2 CONTINUED: 2 JOHNNY You got nothin'. The piano music trails off and Girl #1 stares blankly. GIRL #1 But Johnny, last night you said I had talent. JOHNNY Last night you did. Next! Refusing to give up, she starts tapping just about as well as she could sing. Before Johnny can say anything more, a smartly dressed woman slips into the chair next to his, an angelic face with brains to go with. This is TONI. TONI We have a situation. JOHNNY (dismissive) I'm busy. TONI It's another fire. This time it was Rudy's place. JOHNNY I'll take care of it. Johnny puffs on his cigar. TONI But Johnny, I think JOHNNY Look, you really wanna do me and the Metro organization some good? TONI You know I do. Johnny looks at Girl #1, still tapping badly. JOHNNY Fine. Put on your tap shoes. I need a new chorus girl. He starts to laugh. She leaves, fuming, and disappears behind an office door. JOHNNY (continuing, exploding) I said next! (CONTINUED) --page break-- 4. 2 CONTINUED: 2 2 Girl #1 scurries off the stage. Johnny squints into the upstage darkness. JOHNNY (continuing) You! With the legs! Yeah, you. 3 CLOSE ON A PAIR OF GREAT GAMS 3 ... as they step into the spotlight. We PAN up. A pair of red shorts shows off what it's supposed to. A white blouse tied midriff-style is unbuttoned far enough to notice. JOHNNY (O.S.) Uh-huh. And now the face, expectantly seductive. It's LOIS LANE. JOHNNY (O.S.) Baby cakes, you're in. Lois smiles. The other would-be's pass her disgruntledly. LOIS Sorry, girls. Better luck next time. off her mischievous look. FADE OUT. _END TEASER_ --page break-- 5. _ACT_ _ONE_ FADE IN: 4 ON A MATCH BEING STRUCK 4 ... its flame being brought to a cigarette. LOIS (O.S.) Hey! 5 INT. DAILY PLANET - WAITING AREA - DAY 5 Lois blows out the match and chastises the Smoker, pointing out the "No Smoking" sign behind him. LOIS Can't you read? She and Clark head down the ramp toward her desk. Clark holds a coffee cup. CLARK It's too dangerous. LOIS Not for me. CLARK Lois, those guys aren't just club owners, they're gangsters. LOIS Look, it's very simple. The Metro gang controls Riverview. Riverview's on fire. I'm going to find out why. PERRY walks by. Clark takes a sip of coffee; it's stone cold and he grimaces. CLARK Chief, please, talk some sense into her, would you? PERRY Ever tried to milk a steer, son? (to Lois) What's the problem today? LOIS The problem is Clark, here, would rather give up a scoop on the Riverview fires than let me take a few little chances. Clark surreptitiously blows on the coffee. --page break-- 6. 6 CLOSE ON - COFFEE CUP 6 It boils with heat. 7 BACK TO SCENE 7 PERRY A scoop, huh? LOIS A sure thing. PERRY Well, Kent, it's always been my policy to stand behind my reporters and their methods one thousand percent. Why, if you opened up that window, said you could fly, I'd back you up. I'd miss you, but I'd back you up. LOIS Thanks, Chief. PERRY Doesn't mean you shouldn't be careful, Lois. LOIS I will. PERRY (to Clark) Don't you have a press conference to get to? Perry heads for his office as Clark continues their conversation. CLARK You should've discussed this with me before you took it on. LOIS Why would I do that, Clark? CLARK Because we're a team. LOIS But sometimes players have to wait on the bench while other players carry the ball. CLARK You're in over your head. (CONTINUED) --page break-- 7. 7 CONTINUED: 7 LOIS If you can't stand the heat, stay out of the story. (beat) Besides, I am first and foremost a professional and I certainly wouldn't do anything to compromise my personal safety or the integrity of my work. JIMMY rushes up to Lois, carrying a garment bag. JIMMY Lois, here it is. The dry cleaner had a hell of a time with the feathers. Jimmy opens the bag and pulls out the object in question, a skimpy chicken costume. As they all react... 8 INT. LUTHOR'S OFFICE - DAY - CLOSE ON A WALL OF FLASHBULBS 8 ... as they go off, their white light strobing onto... 9 LEX LUTHOR 9 ... who stands, beaming, behind a model of his latest real estate project, LexHarbor: ultramodern, megalithic, a city-within-a-city. Reporters, including Clark, are jammed into the office. LUTHOR Schools, shops, restaurants, theaters, offices, apartments: a self-contained community. A giant step forward in urban reawakening. A new, bright jewel in Metropolis' crown. More flashbulbs as the reporters call out questions. REPORTER #1 Aren't you worried about making such a large investment in the Riverview area at this time? LUTHOR I never worry, I act. REPORTER #1 But what about the fires? Even Superman can't keep up with them. (CONTINUED) --page break-- 8. 9 CONTINUED: 9 LUTHOR Superman has made a valiant effort. Unfortunately, he's failed. I suppose this proves he's only human. Everyone laughs but Clark. LUTHOR (continuing) We must strike at the root of this problem. When a tree is sick, you don't merely trim it's branches. CLARK Instead you'd chop it down and plant a bigger one? LUTHOR If necessary. (beat) Riverview is currently a blight on the face of our fair city. LexHarbor will change all that. CLARK How do you respond to accusations that coercion was used to pressure the city council to approve this project without appropriate study? LUTHOR I don't respond to accusations. I'm more concerned with results. I believe in this city. I believe we can empower ourselves and take back our streets from the kind of crime and gang influence that apparently even Superman can't solve. The reporters start shouting questions again as Clark reacts to Luthor's words against Superman. Luthor slips through a back door and Clark looks at the model of his shining, prosperous waterfront. MATCH DISSOLVE TO 10 EXT. RIVERVIEW - HARBOR - DAY 10 Geographically the same as the model except that everything is seedy and run down. We HEAR a FIRE ENGINE SIREN in the distance. --page break-- 9. 11 EXT. METRO CLUB - DAY 11 The same fire engine ROARS by the club, on its way to another emergency. The large neon sign looks worn in daylight. Several shiny sedans are parked out front. 12 INT. METRO CLUB - MAIN ROOM - DAY 12 Lois, dressed as a cocktail waitress, learns the ropes from TOOTS, a platinum blonde, also in uniform. TOOTS ... and if you hold your tray like this, you'll always have one hand free for protection. LOIS Protection? TOOTS Eyes ain't the only things that wander in this joint. Meanwhile, Lois has been keeping her eye on the back room and the group of well-dressed men that has just entered it. TOOTS (continuing) So, when you're not on stage, you're out here takin' orders, got it? Now I better get in there with somethin' to wet their whistles or I'll be back slingin' hash at the truck stop. Toots tries to take the tray away from Lois who pulls it back. LOIS Let me. I could use the practice. TOOTS (pulling) They tip big. LOIS (pulling back) There's a twenty in it for you. Lois almost loses her balance as Toots lets go of the tray. --page break-- 10. 13 INT. METRO CLUB - BACK ROOM - DAY 13 The meeting of the Metros. Big men with bigger egos around an even bigger table. Johnny sits at the head. Toni is the only woman there. JOHNNY Rocko, you tell the Robertson boys they got one week to pay up, then you take care of it. Next, Lou, numbers, what's the take this week? LOU Down, Johnny. Less street traffic on account of the fires, which I think it's time we start talkin' about. Johnny glares at him. JOHNNY So, you want to run the meeting now, Lou? LOU (worried) Johnny, I didn't say -- JOHNNY Then shut up and worry about your own problems, like getting revenue up before I give Briggs your territory. LOU Okay, Johnny, no problem. JOHNNY Anybody else? The door opens. All heads turn toward Lois, carrying a tray of drinks with both hands. She feels their gaze. LOIS Thirsty, boys? JOHNNY Over here, gorgeous. Everyone mutters approvingly as Lois offers Johnny a drink from her tray. He takes it and gives her a little pat on the rear for thanks. After a momentary look of shock, she recovers and continues her task. JOHNNY (continuing) So, where were we? (CONTINUED) --page break-- 11. 13 CONTINUED: 13 TONI Johnny, Lou's right, I think we should discuss these fires. There's a rumbling of agreement around the table, although no one will come out and say anything. JOHNNY You got something to say, save it for later. TONI If I've got something to say, why shouldn't I say it now? JOHNNY Because you don't talk at meetings, that's why. TONI Maybe I should start. JOHNNY (to the group) You hear that? (to Toni) Let me tell you something, _Miz_ M.B.A. All that piece of paper means around here is; do the books and stay out of business. TONI Stay out and watch it go down the drain. Toni looks around at the men. There is an uncomfortable silence, no one wanting to look her in the eye. Even though she may be right, no one challenges Johnny in this room. Everyone is tense, waiting for him to respond. He tries to be light about it, but he is seething. JOHNNY Sure, okay. Go on, tell us how stupid we all are. Toni slowly rises to her feet. Lois smiles. Score one for the girls. TONI Ever since Papa died I've sat back and watched my brothers run this organization. (MORE) (CONTINUED) --page break-- 12. 13 CONTINUED: 2 13 TONI (CONT'D) First Tommy, who didn't stay alive long enough to do much damage, then Gus, who we won't see for another two hundred and forty years, even with good behavior. And now you, Johnny. She looks around the table. TONI (continuing) We're inefficient, we're misdirected, we're a fraction of what we could be if only we concentrated on real business instead of this nickle and dime gangster stuff. Look at us. We're more interested in the new lounge act than in preserving the family legacy. What would Papa say? JOHNNY Papa would tell you to find a good husband, start havin' some babies and leave the real work to the men. Toni looks over at him disgustedly. TONI That's what he did tell me, Johnny. only he didn't realize that you would all destroy it. She turns to go. He pulls out his gun and points it at her. JOHNNY (continuing) I'm still the head of this organization, and don't you forget it! He empties his gun into the wall above her head. Everyone, including Lois dives for cover but Toni doesn't flinch. TONI Just what we need. A cool head in charge. Toni walks out, leaving Johnny fuming and Lois wondering whether Clark was right. We hear a DRUM ROLL... --page break-- 13. 14 CLOSE ON A PAIR OF BLACK SWINGING DOORS 14 ... the kind with round windows. The glass is opaque, with letters "M" and "C" etched onto each pane. ANNOUNCER (O.S.) Ladies and Gentlemen, welcome to the Metro Club. A man's hands push the doors and we are... 15 INT. METRO CLUB - MAIN ROOM - NIGHT 15 What was just an ordinary room hours before has been transformed into a glamorous supper club, complete with sophisticated patrons, candle lit tables and a beautiful, blonde Singer on stage giving us her rendition of "Too Darn Hot." Clark, dressed in his undercover outfit of jeans, t-shirt, peacoat, and watch cap, has just entered the club. He looks and behaves like a seaman just off a ship. He walks to the bar and bangs his fist on it, which causes all the other glasses to shake. CLARK Gimme a beer. The BARTENDER serves him. Clark puts a five down, takes his drink and checks out a little more of the club. Johnny, Lou and some of the other Metros sit in the audience with their girlfriends. The Singer pays special attention to Johnny and he loves it. Clark leans against a side wall, next to a curtained doorway and watches the show. After a beat, a hand reaches out from behind the curtain and forcefully yanks him... 16 BACKSTAGE 16 ... into a little narrow hallway leading to the dressing rooms. It's Lois, all made up, a terry cloth robe covering her costume. LOIS (whispering) _What_ are you doing here? CLARK I came to see the show. LOIS You'll ruin everything. CLARK Looks like you're real close to the story. (CONTINUED) --page break-- 14. 16 CONTINUED: 16 LOIS For your information I spent the entire afternoon with the leader of the Metros in his inner sanctum. CLARK Wearing this? He tries to peek at her costume. A feather pokes out. She pokes it back in and looks at his clothes. LOIS And who are you supposed to be, Popeye the Sailor? BACKSTAGE VOICE (O.S.) Five minutes! LOIS (to Clark) _Go_ _away_! CLARK I'm here to back you up.. LOIS I don't need back up. CLARK I think you do. How'd you get so close to this guy, anyway? LOIS He's a man. I'm a woman. You want me to draw you a diagram? BACKSTAGE VOICE (O.S.) Places! That means you, sweet thing. CLARK What have you found out? LOIS Johnny and his sister don't exactly see eye to eye. There's some kind of power struggle going on. Now fly. CLARK And miss your debut? I think I'll stick around. LOIS Clark, you'll stick out like a sore thumb. (CONTINUED) --page break-- 15. 16 CONTINUED: 2 16 CLARK Thanks for worrying, but... I think you're on. (beat) Sweet thing. And with that she's off to her dressing room and Clark goes back into... 17 THE MAIN ROOM 17 ... where Clark heads back toward the bar, resuming his disgruntled sailor demeanor. CLARK Whiskey. Make it a double. The Bartender complies and Clark swigs it back. CLARK (continuing) Another one. BARTENDER It's gonna hit you like a ton of bricks, buddy. CLARK Alcohol never affects me. BARTENDER Sure, sure. CLARK Besides, can't be any worse than what's already happened to me today. Hit me again. The Bartender does. Clark downs that one too. Clearly, nothing happens to him when he drinks. There is a DRUNK at the end of the bar. Clark studies his mannerisms and, one by one, introduces them to his own behavior: slouching, slurring, staring, gesturing. CLARK (continuing) Don't you want to know what happened? I got fired, that's what. Thrown off my ship, just like that. By now Clark is getting very LOUD. He downs another shot while another number starts on stage, "Down on the Farm." As the Singer begins the verse the chorus girls make their entrance behind her. (CONTINUED) --page break-- 16. 17 CONTINUED: 17 They are all dressed in skimpy barnyard outfits. Lois is the chicken. It takes Clark a moment to get over this sight and remember what he's doing. CLARK (continuing) Gimme another. BARTENDER Sure thing, pal. He pours. Lois looks over from the stage, wondering what he's up to. CLARK Got any job openings around here? I've done some bartending. BARTENDER (disapproving) I don't think so. CLARK Why not? BARTENDER You're not the type. CLARK (too loudly) What's that supposed to mean? Meanwhile, Toni has come up next to him. TONI Is there a problem here? The Bartender indicates Clark. CLARK No problem. I was just asking your man, here, about a job. TONI I'm afraid we have no openings at present. I'm also afraid I'm going to have to ask you to leave. We have a strict dress code here at the Metro Club and-- Just then the black swinging doors BURST open and people begin to SCREAM. Four figures, dressed in metallic warm-up suits with matching hoods and masks line up facing Johnny at the table. They look like asbestos cat burglars ready to repeat the St. Valentine's Day massacre. These are THE TOASTERS. One by one, they pull out small, automatic, uzi-like weapons, also known as Toasters. --page break-- 17. 18 CLOSE ON ONE OF THE WEAPONS 18 ... a menacing sight equipped with a dial that reads "Light - Medium - Toast" with corresponding numbers one through ten underneath. A gloved hand enters the frame and turns the dial up to "Toast." TOASTER #1 Johnny, you're a dead man! People are scattering, but the Toasters aren't interested. They only want Johnny. He makes a run for the office door. They aim and fire. Literally. Instead of bullets, small pellets of flame are expelled from the guns. Clark leaps over and tackles Johnny to the ground, taking all the fire himself. The flame bullets singe his clothes but can't hurt him. Lois watches, aghast. Small fires have begun all over the club. Several Metros have raised their guns and started firing back at the Toasters who flee the scene. Clark looks over to see Toni trapped at the bar by flames. He hurries through them, picks her up, then places her out of harm's way. By now everyone has run out of the club. Lois rushes over to Clark. CLARK Out, everyone out. He pushes Lois and Toni toward the door. Lou drags Johnny Out. Clark is left there alone. He inhales deeply, then uses his SUPER BREATH again, this time with more magnitude. The small fires go out before they have time to do much more damage. Clark catches his breath as he looks over at the far wall. The word "TOASTERS" has been burned into it. It's still smoking. Lois races back in. LOIS Clark, are you okay? (off his nod) Who _were_ those guys? She sees the words on the wall, sees he's all right. CLARK I think we've just been introduced to the Toasters. Off their faces as they try to put the pieces of the puzzle together. _END ACT ONE_ --page break-- 18. _ACT_ _TWO_ FADE IN: 19 INT. METRO CLUB - MAIN ROOM - (DAY #2) - CLOSE ON THE WALL 19 ... as paint rollers begin to cover up the offensive word "Toasters." 20 PULL BACK 20 ... to reveal many employees working to clean the place up, including Lois. One by one she sees the Metros enter the back room for another meeting. She picks up a tray and heads for the door but Lou stops her. LOU Beat it. He slams the door in her face. She looks around, making sure no one sees her, then slips through the curtained doorway and into the... 21 BACKSTAGE HALLWAY 21 ... where she and Clark were the night before. She looks around again, then steps into a... 22 SUPPLY CLOSET 22 ... where she quietly removes the cleaning products from a shelf, revealing three bullet holes. She looks through one. 23 LOIS' POV 23 ... into the Back Room. These are the bullet holes that Johnny made when he shot the place up. All the Metros are at the table, as is Toni. Johnny sits in his chair, his arm in a sling. 24 BACK TO LOIS 24 ... who strains to hear. 25 BACK ROOM - CONTINUOUS 25 JOHNNY The first thing we gotta do is find out who these guys are and arrange for a little payback. (CONTINUED) --page break-- 19. 25 CONTINUED: 25 TONI I don't think so. JOHNNY Hey, I'm talking. TONI Not any more. Your days of speaking for this organization are through. You should've seen this coming and you shold've taken steps to protect us _before_ it happened. As of now, you're out. JOHNNY (laughing) Says who, you? TONI Let's leave it up to the boys. One by one the Metros stand and walk over behind her, leaving Johnny very much alone. TONI (continuing) Take a vacation, brother. A long one. Johnny starts to pull a gun on her. She nods and two Metros overtake him. TONI (continuing) Get him out of here. They do. She addresses the rest of them. TONI (continuing) I know some of you want to go back to the way things were when my father was alive, but that's not going to happen. We've got an opportunity to move our organization to the next level. Out of the back room and into the board room. If any of you disagree, you can always join Johnny in retirement. Any questions? Not a word. TONI (continuing) Good. Let's go to work. --page break-- 20. 26 BACK TO LOIS 26 ... who has heard it all from the supply closet. CUT TO: 27 INT. DAILY PLANET - DAY 27 Clark is eating a cold chicken lunch and typing into his computer as Lois rushes in. She holds a trench coat tightly around her, but her cocktail waitress fishnets and spiked heels are visible from the knee down. LOIS (breathless) You haven't sent our Toaster article down to copy yet, have you? CLARK (swallowing) Just putting the finishing touches on it now. (offering) Drumstick? LOIS (slow burn) I swear, if you breathe one word... CLARK (grinning) You were saying something about the article? LOIS Yeah. Stop the presses. The Metros just had a big meeting. Johnny's out and his sister Toni has taken over. Lois, forgetting, rips off her coat while firing up her computer. LOIS (continuing) If we hurry we can make it into the afternoon edition. People begin to stare at her outfit. CLARK Uh, Lois? LOIS Clark, I'm on a deadline here. (CONTINUED) --page break-- 21. 27 CONTINUED: 27 Before he can say anything more, Jimmy strolls by, sizing Lois up. JIMMY Professional, but naughty. I like it. Lois suddenly realizes why everyone is staring. She grabs her coat and puts it back on. Jimmy moves off. Clark leans over to Lois. CLARK So I guess if Johnny's out, so's your plan. LOIS Don't be ridiculous, I'm perfectly placed. CLARK I may be, too. LOIS What are you talking about? CLARK Toni asked me to meet her at the club this afternoon. LOIS For what? CLARK I'm a man, she's a woman. You want me to draw you a diagram? Lois looks at him, deadpan, as Perry walks up. PERRY Lois, how's the undercover work going? LOIS Fine, chief, just fine. PERRY Good. Didn't think you'd chicken out on me. He and Clark share a laugh as Lois just glares. CUT TO: --page break-- 22. 28 INT. METRO CLUB - MAIN ROOM - DAY 28 The place looks better, but people are still straightening up. Clark stands in the b.g. while Toni storms in and throws a copy of The Daily Planet down on the bar next to Lou. She is furious. TONI Since when is Metro business front page news? Clark activates his SUPER HEARING and listens in. LOU Since the Toasters declared war on US. TONI I don't mean that, I mean information that could only have come from our meeting, that I'm the new head of the Metros. Could Johnny have leaked the story? LOU Uh-uh, we put him on a plane, like you said. TONI Then it's someone else. Find him. Fast. We can't afford this kind of exposure. The Bartender comes up to them. BARTENDER It's the guy from last night. You said you wanted to see him? Toni looks over and sees Clark, back in his dock clothes. TONI Send him over. She nods to dismiss Lou and watches approvingly as Clark walks over. TONI (continuing) I've changed my mind. CLARK About what? TONI The dress code. It doesn't apply to good-looking men who save my life. (CONTINUED) --page break-- 23. 28 CONTINUED: 28 CLARK Good, cause these are the only clothes I've got. TONI Maybe we can change that. CLARK Look, I didn't come here for a handout. You said you had a job for me. TONI Bartender, right? Mr... CLARK King, Charles King. TONI (liking it) Charlie. You saved my life last night. CLARK It was worth saving. TONI Are you always that good in a crisis? CLARK Try me. TONI I may do just that. But for now we'll start with bartending. CLARK You're the boss. TONI Good. I need that kind of loyalty around here. It seems to be in short supply. Keep your eyes and ears open and we'll see about moving you up. Meanwhile, Lou has come back. LOU Don't mean to bother you but we got a small problem. Delilah just quit. Says she's too scared of the Toasters to come back here. (CONTINUED) --page break-- 24. 28 CONTINUED: 2 28 TONI (to Clark) See what I mean? No loyalty. (to Lou) Does she have a contract? LOU Yeah, of course. TONI Good. Sue the sequins off her and get another singer. LOU Done. Lou leaves. CLARK When do I start? TONI As soon as you get yourself some new clothes. She peels off five hundred dollar bills. TONI (continuing) Welcome to the good life. 29 CLOSE ON A PAIR OF BLACK SWINGING DOORS 29 ... as they are pushed open again, leading us back into the club later that night. The band on stage is playing. Lois, casually dressed but her hair perfectly coiffed and her face made-up walks across the room to the bar. She addresses the bartender who is turned away from her. LOIS Soda, please. Clark turns around and smiles. He now wears a tuxedo. CLARK coming right up. Lois, shocked to see him, lifts the bar rail and moves beside him. LOIS What are you doing here? (CONTINUED) --page break-- 25. 29 CONTINUED: 29 CLARK My job. You're looking at the Metro Club's newest bartender. Like my tux? It's Italian. LOIS What did you do, fly to Rome? I've been looking for you all day. Clark just smiles. Toni comes up to the bar. TONI Charlie! LOIS Charlie? TONI I hardly recognized you. LOIS (under her breath) Join the club. CLARK (re Lois) Just getting to know the help. TONI (sizing Lois up) Not too well, I hope. CLARK Beat it, kid. I gotta go to work. Clark pats her on the rear, a replay of Johnny's action. Lois gives him the evil eye and has no choice but to leave. Clark pours Toni a drink at _SUPER_ _SPEED_ and places it in front of her. TONI (startled) I've had one better but I've never had one faster, CLARK Sweet vermouth on the rocks with a twist? TONI (smiling) How did you know? CLARK I asked. (CONTINUED) --page break-- 26. 29 CONTINUED: 29 TONI Looking out for my best interests? CLARK That's what I'm here for. TONI I think I like that. Lou said you were having problems with the ice maker. CLARK No. No problems. 30 CLOSE ON AN ICE MAKER 30 ... broken, no ice in sight. PAN OVER to the sink where Clark fills an ice tray. Clark leans down close and, with one SUPER COLD breath, freezes the tray. He pops the ice out and drops it into some glasses. He grabs a nearby newspaper and goes back to Toni. CLARK Did you read about the Toaster's latest stunt? Burned a police station to the ground about a couple of blocks from here. TONI (shaking her head) Bad for business. They're out of control. They've got to be stopped. CLARK What are you doing about it? Toni looks at him suspiciously. CLARK Not that it's any of my business. I just don't like anything dangerous getting too close to you. TONI That's quite a line you've got. CLARK I mean every word. She spots someone at the door. (CONTINUED) --page break-- 27. 30 CONTINUED: 30 TONI We'll talk some more about this later. Right now, just stay here and look handsome. I've got some business to discuss. Clark watches as Toni goes over to the-door and greets LEX LEATHER. Clark quickly turns away so that Leather doesn't notice him. He watches through the bar mirror as Toni leads him to a center table and they sit down. He activates his _SUPER_ _HEARING_ and tries to listen to their conversation, but just as he begins to hear, a LOUD DRUMROLL nearly pops his eyes out of his head. Apparently Super Hearing amplifies everything. ANNOUNCER (O.S.) Ladies and Gentlemen, the Metro Club proudly presents Miss Lola Dane. A SPOTLIGHT hits the curtain revealing the bare back of a remarkably well-curved woman in a painted-on evening dress. We hear the opening saxophone notes of "I've Got a Crush on You." Clark and Lex look closely at the singer from opposite sides of the room. There's something awfully familiar about her. Both of-their jaws figuratively drop at the same time as she turns around and begins to sing... LOIS 'I've got a crush on you -- Sweetie Pie -- All the day and night time -- Hear me sigh -- The world will pardon my mush -- But I have got a crush on you.' It's a Lois we've never seen before. Sexy. Sultry. Seductive. Clark is stunned. Lex is appreciative. Lois continues to sing as Toni and Lex continue to talk in whispers. 31 LOIS 31 ... almost misses a beat when she sees Lex Luthor staring up at her, smiling. Uncertain about her cover now, she can do nothing but keep singing. She looks for... 32 CLARK 32 ... who shares her worry but can't do anything about it. He looks back to Lex who can't seem to take his eyes off Lois. Is he going to turn her in? --page break-- 28. 33 ANOTHER ANGLE 33 ... as Lois finishes her song. Lex takes the rose out of his lapel and tosses it to her on stage. She catches it nervously while he applauds her. LUTHOR Brava! The spotlight goes out and the curtain goes down on her. She turns around, walks past the chorus girls who are ready for another number and into the... 34 BACKSTAGE HALLWAY 34 ... where Clark intercepts her. CLARK Lois -- She puts her fingers up to her lips, looks around, then drags Clark into... 35 THE SUPPLY CLOSET 35 ... where they continue the conversation in whispers. CLARK Did you see him? LOIS Of course I saw him. CLARK Get out of here now. Don't even stop to get your things. LOIS Clark, Lex Luthor is a friend of mine. He would never do anything to hurt me and he's way too smart to let anything slip. CLARK I don't trust him. What's he doing here anyway? LOIS I'll ask him next time I see him. Clark notices the bullet holes in the wall. He looks through one. CLARK So this is how you spied on the meetings. (CONTINUED) --page break-- 29. 35 CONTINUED: 35 LOIS If you're a good boy maybe I'll teach you some more of my tricks, but right now I've got to get ready for my next number. Lois goes to open the door but before she can it flies open, revealing Toni standing there. TONI Interesting place for a bartender. Run out of olives? Clark must think fast. He turns to Toni, holding Lois by her arm. CLARK Here she is. Your leak. Lois Lane, reporter for the Daily Planet. Lois turns to Clark in fury, but holds her tongue. A scary moment ensues before Toni responds. TONI Guess I'll have to find another singer. (to Clark) Good work. CLARK (nodding) What do you want me to do with her? CUT TO: 36 EXT. ALLEY - NIGHT 36 Clark kicks open the back stage door. He carries a struggling Lois over his shoulder. LOIS (manic whisper) You'll pay for this, Kent, I swear you'll-- CLARK (under his breath) _King_, remember? He spots a row of dumpsters. He looks back at the stage door where Lou is watching. They talk softly so he won't hear. (CONTINUED) --page break-- 30. 36 CONTINUED: 36 LOIS Why are you doing this? CLARK So she'll quit looking for a leak. At least _my_ cover's still safe. LOIS Well, Merry Christmas and Happy New Year. CLARK Believe me, this is for your own good. Her eyes grow wide as they approach an-open dumpster. LOIS No... He drops her in. LOIS (screaming) No!! CLARK (loudly) And _stay_ out. He wipes his hands and walks back to Lou. As he reaches the door, a head of rotten lettuce hits the wall next to him. LOU (smiling) I guess we won't be hearing from her no more. CLARK (sighs, to himself) Speak for yourself. _END ACT TWO_ --page break-- 31. _ACT THREE_ 37 INT. CLARK'S APARTMENT - NIGHT 37 A gas flame ignites with a whoosh underneath a kettle on the stove. Clark is making tea when the door bangs open and Lois enters, still wearing her garbage-stained evening dress. LOIS You rotten, back stabbing piece of slime. You know, some people might be fooled by that innocent, boyish exterior but not me, not anymore. CLARK Tea, Lois? It's a calming herbal blend. I learned it from a medicine man in Fiji. The secret is the fresh mint. LOIS I don't suppose you care but you've completely blown the story. CLARK By the way, I don't think I told you but I really liked your song. LOIS (screeching) What?! CLARK You have a very pleasant voice. Most of the time. LOIS Clark, I don't know what you think you're doing... CLARK You know, sometimes, on a team, the person carrying the ball gets hemmed in and she has to hand off to another member of the team who's in a better position to score. There is a knock at the door. Clark X-RAYS through. To Clark's surprise, it's Toni, carrying a grocery bag. LOIS Who's that? CLARK I guess... my dinner date. (CONTINUED) --page break-- 32. 37 CONTINUED: 37 LOIS Oh, I get it. You don't need to draw me a diagram. CLARK Lois... LOIS I cuddle up to three-day-old fish heads while you play footsie with the mafia princess. Another knock. CLARK Oh, I get it. You're jealous. LOIS Jealous? Are you out of your mind? CLARK Lois, she can't see you here. You've got to hide. LOIS But -- He pushes her behind the wall that masks the circular staircase. CLARK I'll find some way to distract her and then you sneak out. Even though she's still angry, Lois acquiesces. Clark moves over to the door and opens it to admit Toni. TONI Once again I'm in your debt. I thought I'd pay you back with a home cooked meal. How does lasagna sound? CLARK Delicious. 38 ANGLE ON LOIS 38 ... rolling her eyes. LOIS (mouthing) Delicious. --page break-- 33. 39 BACK TO CLARK AND TONI 39 ... as he guides her toward the kitchen and away from Lois. TONI (looking around) Nice place. CLARK it belongs to a friend of mine. He lets me use it whenever I'm in Metropolis. (re groceries) You know, you don't really have to do this. TONI I know. I want to. CLARK Do you always get what you want? TONI Usually. How about you? CLARK Let's see. He leans in and kisses her, turning her head away from the door. He motions with his hand for Lois to get out. She stares at them for a beat, then creeps out, closing the door soundlessly behind her. Clark ends the kiss. Toni is pleasantly surprised. TONI You don't waste any time, do you? CLARK Not if I can help it. (beat) You said something about lasagna? She smiles. CUT TO: 40 INT. LOIS' APARTMENT - NIGHT 40 Lois enters, tired, angry and disgusted. She immediately starts to take off her garbage-stained clothes, dropping them on the floor behind her as she heads across the room. LOIS Jealous? Ha! (CONTINUED) --page break-- 34. 40 CONTINUED: 40 She disappears into the bedroom. A few moments later she comes back out in a schlumpy bathrobe, her hair up in an ugly scrunchy. She heads for the freezer. LOIS (continuing) Like I really care. She takes out a gallon of Rocky Road and begins to shovel it down right out of the carton. A wave of emotion hits her as she realizes this may be the case. LOIS (continuing) I am jealous. There is a knock at the door. She answers it, spoon in her mouth, revealing Lex Luthor. LUTHOR Let's do it. LOIS (through the spoon) I beg your pardon? LUTHOR A song request. (singing) 'Let's do it. Let's fall in love.' The musical question hangs in the air. LOIS I think my singing days are over. LUTHOR But why? You were magnificent. LOIS (embarrassed) It was just an act. LUTHOR I prefer to think it was the real you. Passionate. Sultry. Seductive. (beat) Got an extra spoon? LOIS Oh. Come in. Lois quickly bends to start picking up the clothes. She absently stuffs it all into the freezer along with the ice cream. (CONTINUED) --page break-- 35. 40 CONTINUED: 2 40 LUTHOR This is exactly how I pictured your apartment. LOIS I'm, uh... thinking of remodeling. (beat) Thanks for not blowing my cover. LUTHOR That's what friends are for. Tonight you look like you could use one. LOIS Lex, what were you doing at the club? LUTHOR Meeting with the new leader of the Metro gang. (beat) She called me. According to her, we have similar interests in the Riverview district. LOIS I find that hard to believe. LUTHOR So do I. She talks a good line: slum clearance, uplifting the neighborhood, micromanagement, growth and prosperity. LOIS And you believe her? LUTHOR Not for a minute. In fact, I think the whole thing was designed to get me to slow down my own plans for reviving the area. (beat) She even suggested a partnership of sorts. LOIS And what are you doing here? LUTHOR I came to warn you. I think Toni's hiding something. LOIS What? (CONTINUED) --page break-- 36. 40 CONTINUED: 3 40 LUTHOR I wish I knew. I only know that if I were a smart reporter looking for answers, I wouldn't bother to look any further for the source of all the problems in Riverview than Toni Taylor. LOIS Thanks for the tip. I guess I owe you one. LUTHOR Don't think I won't try to collect. Good night, Lois. He kisses her on the cheek, moves to the door and exits as we... CUT TO: 41 EXT. CLARK'S APARTMENT - BALCONY - NIGHT 41 Toni looks out over the city as Clark comes up behind her. CLARK That was delicious. He looks out at Metropolis as well. CLARK (continuing) No Toaster fires tonight. TONI They wouldn't dare. CLARK Have you found something out? (off her silence) if I don't know what's going on how can I help? TONI Why should I trust you? I hardly know you. CLARK In your position I'd probably feel exactly the same way. (CONTINUED) --page break-- 37. 41 CONTINUED: 41 TONI (ruefully) My position. Sometimes I think I could cheerfully trade it all for a quiet life far away from Metropolis. Growing up I used to sit at my father's knee and listen to him talk. I learned so much but I never thought I'd have to apply it. If my brother's hadn't turned out to be such idiots... CLARK I thought you enjoyed running things? TONI Someone had to. Let me tell you, Charlie. I don't want to run a crime syndicate. I want to run a conglomerate. In five years, if I have my way, all Metro business is going to be _legitimate_. A legitimate corporation with me as CEO. I want to take what my father started and make him proud, put our name up there with the captains of commerce, the Lansings, the Schwabs, the Luthors. No more dirty money, no more shady deals. CLARK Sounds like a good plan. TONI If I can just get past this thing with the Toasters. CLARK You will. (a double meaning) We will. TONI Maybe. But not tonight. I have a prior engagement. Disappointed? CLARK Nope. It'll just give me something to look forward to. TONI (turning to go) You're full of surprises, Charlie. She leaves. (CONTINUED) --page break-- 38. 41 CONTINUED: 2 41 CLARK (to himself) If you only knew. CUT TO: 42 EXT. CLARK'S APARTMENT - NIGHT 42 As Toni exits the building, Lois comes out of the shadows and follows her, a safe distance behind. CUT TO: 43 EXT. BURNED OUT BUILDING - NIGHT 43 The building that was on fire in the very first scene is still standing, but barely. A large sign has been posted: "Future LexHarbor Development Site," along with a drawing of an ultra-modern building. Toni slips into the condemned shell. She now carries a briefcase. After a beat, Lois appears. She goes around to the back of the building. 44 INT. BURNED OUT BUILDING - NIGHT 44 Eerie and dark. Toni enters. One by one, each of the Toasters appears, stepping out of different hiding places. They hold their weapons and they have her surrounded. Meanwhile, Lois has entered through the back and is watching, hidden from view by some blackened crates. TONI Is this really necessary? After a beat, Toaster #1 takes off his mask. TOASTER #1 Did you bring the money? Toni opens the briefcase. TONI One hundred thousand. TOASTER #1 (angry) You said two. TONI Considering how badly you botched the hit on my brother, you're lucky I'm even here. Do you realize I could've been killed? (CONTINUED) --page break-- 39. 44 CONTINUED: 44 TOASTER #1 Yeah, that would've been a real shame. Lois has now maneuvered herself closer to the action when she accidentally trips over a dangling cord. A rusted, old toaster falls off the crate next to her. She catches it before it crashes to the floor and reveals her position. TONI (continuing) Just don't forget who's running the show. The fires were supposed to stop as soon as I took over. What do you think you've been doing? TOASTER #I Having fun. TONI Well, the fun stops now. (holding out her hand) Give me those things. He grabs the briefcase from her instead. TOASTER #1 I don't think so. We've kind of decided to hold on to them. TONI Listen punk -- TOASTER #1 No, you listen for a change. You and the Metros, you're nothin'. We could wipe you out by just pullin' a trigger. TONI I made you! TOASTER #1 Yeah, and we're real grateful. (leveling his weapon) Take her. Toni struggles, but it's useless. Two of the Toasters grab her and begin to wrap her wrists with tape. Meanwhile... 45 LOIS 45 ... has moved even closer, avid to hear every word. --page break-- 40. 46 BACK TO TONI AND THE TOASTERS 46 TONI Four of you against the Metros? You don't have a chance. TOASTER #1 Why just four? Why not forty? Or four hundred. Recruiting's a snap. Plenty of guys out there love to see things burn. TONI You don't have the weapons for them. TOASTER #1 Not yet, but we'll figure out how to make more. We're not as dumb as you think. They hear a CRASH from behind the crates. Toasters #2 and #3 rush to find out what caused it. They search the area where Lois was just a few seconds ago, their weapons drawn and ready. They find nothing but a rolling bottle which has fallen to the ground. They bring it back to Toaster #1 TOASTER #1 Anything? The others shake their head. TOASTER #1 You wouldn't believe how big the rats get around here. TONI Oh I believe it. (beat) What now? What about me? TOASTER #1 Well, we've got a little bar-b-que planned for tomorrow. We thought we'd start with the wharf and work our way back to the Metro club. When we're done with that, we'll get back to you. If the rats haven't gotten you first. (nodding to #2) Keep an eye on her. They all leave except for Toaster #2, who settles against a crate for.the first watch. We PAN up above him, on top of some crates that almost reach the ceiling. Squeezed into the small space is Lois, looking terrified. (CONTINUED) --page break-- 41. 46 CONTINUED: 46 We PAN over to discover the cause of her worry, a large, beady-eyed rodent who has settled in to become her roommate for the night. Off Lois, stuck between a rat and a hard place, we... FADE OUT. _END ACT THREE_ --page break-- 42. _ACT FOUR_ 47 INT. BURNED OUT BUILDING - (DAY #3) 47 Sun streams through holes in the ceiling revealing a sleeping Lois, still on top of the crates, her furry roommate nowhere to be found. She rolls over in her sleep and her hand dangles over the edge directly above the head of Toaster #2 who still sits watch. 48 CLOSE ON LOIS 48 Her eyes pop open at the sound of Toaster #2's voice. TOASTER #2 All right, I see you and I'm gonna get you before you cause any more trouble. Your little tail is mine. She's awake now, adrenaline pumping. She peaks over the crate expecting to meet her demise but instead sees Toaster #2 aiming at the rat with his weapon. Toni is still tied, still asleep. Lois looks around, takes her opportunity, climbs down and rushes out the way she came in. 49 INT. CLARK'S APARTMENT - HALLWAY - DAY 49 Lois, panting with exertion, stands and waits impatiently for Clark to open the door. Yawning, wearing athletic shorts and a T-shirt, he does. Immediately she pushes inside. CLARK Lois? What's up? LOIS Tough night, Clark? (beat) Where's the phone? Clark points, follows her to it. Dust and ashes still cling to Lois' clothes. Clark begins to brush her off. CLARK You know, I thought I was hard on clothing. Lois interrupts her dialing to bat his hand away. (CONTINUED) --page break-- 43. 49 CONTINUED: 49 LOIS (to Clark) Would you stop that? (into phone) Get me whoever's in charge of your Arson Investigations unit. No, I won't hold. I said... She's on hold. CLARK (fully alert now) What's happened? Where were you? LOIS Sleeping with a rat, how about you? CLARK Lois, Toni left here around ten. LOIS I know. (into phone) Yes, I'm holding. No, don't... CLARK How do you know? LOIS Because I followed her. Prepare yourself for a shock, Clark. Toni is behind the Toasters. Was behind the Toasters, actually. Now they've got her captive. CLARK What? LOIS The Toasters are out of control and planning to burn Riverview to the ground, starting from the wharf and moving inward. Unless, that is... (voice rising) ... someone picks up the rotten line! Now, in the b.g., we hear SIRENS, lots of them. Clark rushes to the window and looks out. With his _TELESCOPIC_ _VISION_ he sees flames rising over the city. CLARK Lois, put down the phone. (off her look) You won't get through. (CONTINUED) --page break-- 44. 49 CONTINUED: 2 49 She sees the flames, hangs up. LOIS I'm going to the police station. They need to know what they're up against. I'll meet you back at the Planet. She pauses on her way out for a last look at the flames. LOIS (continuing) Superman, I hope you're out there. She exits. Clark looks at the flames, pulls off his shirt. CUT TO: 50 EXT. CLARK'S APARTMENT - BALCONY 50 Superman steps out, looks around, then takes off into the@ sky. CUT TO: 51 EXT. METROPOLIS STREET - DAY 51 CLOSE ON A CAR... as it explodes into a ball of fire. 52 THE TOASTERS 52 march down the center of the street, a trail of burning cars raging behind them. Fear has cleared the streets of traffic. The Toasters pause before a storefront. TOASTER #1 Gentlemen, I'd like to propose a toast. All begin to adjust their weapons. 53 CLOSE ON A TOASTER 53 The dial moves from "Light" all the way up to "Toast," accompanied by a WHINE of the gun charging.. 54 BACK TO SCENE 54 All are now fully charged. (CONTINUED) --page break-- 45. 54 CONTINUED: 54 TOASTER #I Let's cook. SUPERMAN (O.S.) You know what they say about people who play with fire? They turn to see Superman standing behind them. TOASTER 01 Yeah, they get burned. At his signal, the Toasters direct their maximum fire towards Superman. The bullets strike. He's seemingly engulfed in flames. But when the smoke clears, he's fine. SUPERMAN It's about time someone cooled you guys off. Using his _SUPER_ _COLD_ _BREATH_, he directs streams of frigid air towards them. 55 CLOSE ON THE WEAPONS 55 ... encased in ice. 56 THE TOASTERS 56 ... are also frozen in place. TOASTER #1 Hey! You can't leave us like this! It's cold. SUPERMAN The police are on their way. I'm sure they'll have a nice toasty cell waiting for you. And with that he's gone up into... 57 THE SKY 57 ... where Superman _HOVERS_ above the city. Below him the fires continue to spread. Off in the distance he spots... 58 A STORM 58 ... wind, rain, thunder, and lightning. --page break-- 46. 59 SUPERMAN 59 at _SUPER_ _SPEED_ he flies to the edge of the storm, and uses _SUPER_ _BREATH_ to blow it toward Metropolis. 60 INT. BURNED OUT BUILDING - DAY 60 We HEAR a CLAP OF THUNDER in the near distance. Toni still struggles helplessly with her bonds. Clark enters, moves to her side and releases her. TONI How did you find me? CLARK I had a tip. TONI We've got to get out of here before the Toasters come back. CLARK Superman took care of them. TONI Looks like you came through for me. CLARK Looks like you let me down. We HEAR the sound of RAIN beginning to pour down outside. Toni stares at him a moment, then lowers her eyes. TONI I had to create a situation that would allow me to take over the Metros. There was no other way. CLARK There's always another way. TONI Charlie, please -- CLARK My name's not Charlie. It's Clark Kent. I work at the Daily Planet. As the reality sinks in... TONI I guess both of us were hiding the truth. What happens now? We HEAR SIRENS pulling up outside the building. (CONTINUED) --page break-- 47. 60 CONTINUED: 60 CLARK I think you know. TONI Can I talk you out of it? (seeing his face) I guess not. (beat) I'll miss you, Charlie. CLARK I'll miss you too, Toni. CUT TO: 61 INT. LUTHOR'S PENTHOUSE - DAY 61 Lex is on the phone, standing next to his gleaming model of LexHarbor. Rain still engulfs the city behind him. LUTHOR (into phone) Every parcel on the list? Excellent. Nothing like a little firestorm to lower prices on real estate. Let's move directly to phase two. I'd like to break ground on LexHarbor sometime next month. (listening) No, I wouldn't worry about that. Toni Taylor and I have an arrangement. Things haven't worked out exactly the way _she_ hoped, but she won't spend much time incarcerated. When she gets out, she knows I'll be properly grateful for her silence. (beat) Destroy them. Plans, too. Should we ever need to revive the Toaster technology, it'll be easy enough. (beat; smiling) I know you will. That's what I pay you for. He hangs up, looks at the model, already looking into the future, envisioning the reality. CUT TO: 62 INT. DAILY PLANET - DAY 62 Lois is at her desk with Perry and Jimmy. (CONTINUED) --page break-- 48. 62 CONTINUED: 62 PERRY You and Kent got yourselves another headline. All the risks, all the danger, it was worth it all. JIMMY it was worth it all just to see Lois in that little cocktail waitress number. Lois throws a pencil at him and he takes the hint and leaves. PERRY (confidentially) Speaking of numbers, tell me the truth, Lois. How'd it feel to be on stage? LOIS well, it was pretty exciting, Chief. But I don't think I could handle a career in show biz. PERRY You know, in March of 1955, The King auditioned for Aurthur Godfrey's Talent Scouts. It was his first trip to New York and his first airplane flight. LOIS What happened? PERRY He was rejected. LOIS So, what are you trying to tell me? That I should consider giving it another try? PERRY Hell, no. I think you should stick with your first instinct. Perry leaves as Clark comes in. LOIS Where have you been? I'm on page six. CLARK Save some room for the wrap-up on Toni Taylor. I've just been saying goodbye. (CONTINUED) --page break-- 49. 62 CONTINUED: 2 62 LOIS A touching farewell I suppose? CLARK She wasn't all bad. LOIS No one's all bad, Clark. Or all good. Except Superman. CLARK Naturally. LOIS Superman, for example, wouldn't have tried to cut me out of a story by ratting me out to the opposing team. Good thing I managed to get back in the game on my own and score the winning touchdown. CLARK Sometimes the quarterback has to fake a throw to his primary receiver in order to free up his secondary target. LOIS I'm getting pretty tired of fumbling around with these stupid football teamwork analogies. CLARK Me, too. LOIS Let's drop them then, okay? CLARK No problem. Let's pass. She gives him a dirty look. CLARK (continuing) Okay, so fess up. You really weren't the slightest bit jealous of me and Toni Taylor? LOIS You'd like to think that, wouldn't you? Me, home alone, in a schlumpy bathrobe, crying into a tub of Rocky Road. (MORE) (CONTINUED) --page break-- 50. 62 CONTINUED: 3 62 LOIS (CONT'D) (beat) In your dreams, Kent, in your dreams. FADE OUT. _THE_ _END_