To pop everything into place... use Courier 10 (or 10 characters per inch) set top margin at 0.5", bottom margin at 0.5" (or minimums) left margin at 1" & right margin at 1" for pages---BEFORE TEASE Page For TEASE Page and after, left margin at 0.8 and right margin at .25 (or minimum) (I had to tell the program that my primitive printer was using legal-size paper) sometimes the formatting changes slightly (as in the numbers at the end of the lines), but I'm going to keep consistent because it's easier (X) used in script probably means "this line changed from previous version" Notes: Cover: "Ordinary People", Written by Eugenie Ross-Leming & Brad Buckner [and] Directed by Michael Watkins are all in large bolt print. WARNER BROTHERS TELEVISION is in an Ariel-type font. The remainder of the text is in Courier 10 (10 characters per inch) General notes: See how Lois describes her family members when you get to page 34... Typos noted: "alright" misspelled twice; should be "all right" Page 3, FULL Blue, scene two is simply missing. Page 10A., end of longer paragraph, "phone cradeld at his neck" in original; should be "cradled" Page 30.: 1/3 page down, "going, you know... Forward." "Forward" is unnecessarily capitalized in original. Page 31, mid page, of 'Tora, Tora, Tora?' "?" should be outside of quotes, but in the original it's inside --page break-- graphic (see script.bmp) "Ordinary People" EPISODE TWO Prod. #457402 Written by Eugenie Ross-Leming & Brad Buckner Directed by Michael Watkins WARNER BROS. TELEVISION _Production Draft_ July 10, 1995 FULL Blue 7/18/95 Pink Rev. 7/21/95 Yellow R. 7/25/95 --page break-- _LOIS & CLARK_ "_Ordinary People_" Blue Rev. 7/18/95 CAST CLARK KENT/SUPERMAN LOIS LANE JIMMY OLSEN PERRY WHITE _______________________________________________________________ SPENCER SPENCER DR. PESCADO KLAVEL HEIDI BELZER PATIENT T.V. NEWSCASTER --page break-- _LOIS & CLARK_ "_Ordinary People_" Blue Rev. 7/18/95 _LOCATIONS_ _INTERIORS_: _EXTERIORS_: Daily Planet Metropolis Street Bullpen Perry's Office Spencer's Island Dock Lois' Apartment Beach Living Room Stream Spencer's Bunker Office Operating Room Corridor Dungeon --page break-- _LOIS & CLARK_ "_Ordinary People_" Blue Rev. 7/18/95 _CHRONOLOGY_ SC. 1 - 21 DAY 1 SC. 22 - 27 NIGHT 1 SC. 28 - 32 DAY 2 SC. 33 NIGHT 2 SC. 34 - 59 DAY 3 SC. 60 - 110 NIGHT 3 --page break-- _LOIS & CLARK_ _The New Adventures of Superman_ "Ordinary People" _TEASE_ FADE IN: 1 INT. DAILY PLANET BULLPEN - FRONT PAGE - TRACKING - DAY #1 1 The lead headline reads: "Love Fortress Linked to organized (X) Crime." We PULL BACK to find the paper in the hands of PERRY WHITE as he moves through the desks to LOIS LANE, who sits at her desk watching a morning news report with other (X) Reporters. From the TV SET, a coiffed male NEWSCASTER: TV NEWSCASTER ... and Love Fortress International had no response to this morning's (X) Daily Planet story. The paper reported the Love Fortress magazine and night club operation (X) is little more than a cover-up for crime, including gambling, prostitution, money laundering, and... PERRY (to TV) She scooped you, pretty boy! They all suddenly notice Perry standing there, sheepishly SNAP OFF the TV. LOIS Perry. Hi. PERRY Just wanted to congratulate you. Heck of a story. (X) CLARK comes up, perches on the desk very near Lois. (X) CLARK Heck of a story, Lois. (X) PERRY (to Clark) Weren't you assigned to this (X) thing, too? I kinda thought you were permanent partners. (CONTINUED) --page break-- "Ordinary People" (#2) Yellow Rev. 7/25/95 2. 1 CONTINUED: 1 CLARK Well, we're not permanent permanent partners yet, Chief. LOIS (with a look at Clark) That'd be a pretty big step, Chief. CLARK (with a look at Lois) The kinda thing someone would really have to think through. Perry looks from one to the other. PERRY Well. Thanks for that cryptic (X) exchange. (X) (then) And all of you interpreters, back (X) to work. We're all proud of you, (X) Lois. JIMMY OLSEN hurries up, waving a copy of Love Fortress Magazine. JIMMY Lois! I can't believe the number you did on my man, here! LOIS Your 'man?' JIMMY Spencer Spencer! The owner of Love Fortress International! You ever read his work? PERRY His 'work?' Son, that's a skin book! JIMMY Hey, he takes on the serious topics, Chief. I've read him so much, I feel like I know him. LOIS No one knows him, Jimmy, he hides out from everyone. (CONTINUED) --page break-- "Ordinary People" (#2) Yellow Rev. 7/25/95 2A. 1 CONTINUED: 2 1 JIMMY If I had the looks, the women, the cars, and the life he has, _I'd_ hide out! (CONTINUED) --page break-- "Ordinary People" (#2) FULL Blue Rev. 7/18/95 3. 1 CONTINUED: 2 1 Lois' phone RINGS, she grabs it. (X) LOIS (into phone) Yes? (startled, covers mouthpiece) It's Spencer Spencer. JIMMY Oh my God. The man himself. LOIS (sighs) Shut up, Jimmy. (into phone) Hello? 3 INT. SPENCER SPENCER'S BUNKER - ON MAGAZINE COVER - DAY 3 We TRACK PAST several Love Fortress magazine covers, (X) featuring stunningly beautiful women, as: SPENCER SPENCER (O.S.) (all charm) Ms. Lane! Lois! Spencer Spencer here. Quite a colorful article you did on my little operation. I'd like to make you a proposal. We now MOVE PAST several beautiful Women almost wearing scant, filmy items, bearing champagne bottles, trays of snacks. The windowless room is richly done in "gentleman's club" decor, its every piece of artwork a tribute to physical perfection and hedonism. Several large, handsome Bodyguards stand watchfully about. We come to a TIGHT CLOSE-UP of SPENCER SPENCER, in his 30's, all oily charm and smoothness, a phone pressed to his ear. SPENCER SPENCER (CONT'D) What say you meet with one of my spokesmodels, and let us give you (X) an _accurate_ picture of my world? (provocatively) Believe me, I can make it worth (X) your while. --page break-- "Ordinary People" (#2) FULL Blue Rev. 7/18/95 4. 4 LOIS 4 LOIS Mr. Spencer, I have an accurate picture of your world. And a truly disgusting place it is. Read part two tomorrow. She hangs up. Jimmy is horrified. JIMMY Lois! LOIS (muttering) Mister Charm. Probably lying there in his legendary silk pajamas, sipping absinthe, girls massaging him... 5 INT. SPENCER SPENCER'S BUNKER - TIGHT ON SPENCER - DAY 5 SPENCER SPENCER (livid) I... _disgust_... her?! We now PULL BACK to find the phone was being held to his head by a Handmaiden, who hangs it up as we reveal Spencer Spencer: His entire body is encased in an elaborately carved cabinet featuring the perfect body of a Greek god. Only his head protrudes from the top of the cabinet, and next to his head are several brass levers. SPENCER SPENCER (CONT'D) I.... _DISGUST_... HER?!! You're finished, Ms. Lane. When I'm done with you, we'll see who disgusts whom!! And he violently hits a lever with the side of his head. The motorized cabinet WHIRS from view and... BLACK. _END OF TEASE_ --page break-- "Ordinary People" (#2) FULL Blue Rev. 7/18/95 5. _ACT ONE_ FADE IN: 6 INT. DAILY PLANET BULLPEN - WITH LOIS - DAY 6(X) She comes up the ramp to the lunch area where Clark is (X) buying something from a machine. He looks up, smiles. LOIS I know you think I'm not thinking (X) about it. Just because I'm not talking about it doesn't mean I'm not thinking about it. CLARK Lois... Getting married's a big (X) deal. I said I'd wait. I'll wait. She drops coins in machine, gets sandwich out, as: LOIS I'm glad you understand. (X) CLARK I mean, if I were the paranoid (X) type, I might think you'd been avoiding the whole thing. LOIS (chuckling merrily) Of course I haven't! '_Avoid_ (X) it?' No. (stares at sandwich) You notice how lousy the cheese sandwiches are in this machine? CLARK (lost) What? LOIS I'm just saying you can't get a good cheese sandwich here. I'd kill for a piece of Camembert. The kind you get in France? You notice it's tough to get good Camembert outside of France? CLARK It's... great you're not avoiding (X) it. --page break-- "Ordinary People" (#2) FULL Blue Rev. 7/18/95 6. 7 NEW ANGLE 7 as Perry enters from a doorway. PERRY Oh, Lois.... You busy? 8 INCLUDE LOIS 8 LOIS Hmm? No, no... I was just speaking to Clark, here. WIDEN as she glances around, notices she's alone. LOIS (CONT'D) Clark? Clark? CUT TO: 9 EXT. PARIS - AERIAL VIEW - DAY 9 A swell of SCORE and a BLUE BLUR streaks across the Eiffel (X) Tower, clears FRAME, as: LOIS (V.O.) Perry, I'm fine! Don't worry about me. CUT TO: 10 INT. PERRY'S OFFICE - DAY 10 An agitated Lois paces as Perry perches on the edge of his desk, watching her. LOIS I'm not working too hard! Can I get back to work? PERRY Lois, I know you like a book. When things in your life get rough, you (X) wrap yourself in work like it was gonna save you. LOIS (glaring) Look. Chief. I really have to draw the line here. I have a professional life and a personal life and... (MORE) (CONTINUED) --page break-- "Ordinary People" (#2) FULL Blue Rev. 7/18/95 7. 10 CONTINUED: 10 LOIS (CONT'D) (covers her eyes, suddenly emotional) Clark asked me to marry him! PERRY What?! Wouldn't you like to try dating first? LOIS But see, I really love him. PERRY Then there's no problem! LOIS Yes! Yes, there is! Perry, have you ever thought someone was exactly right for you, and then found out some... thing... you never knew about them that could just... wreck it all? PERRY Yes. After Alice and I were married, I found out her right leg was an inch shorter than her left. LOIS (wearily) Chief... PERRY Wore these little wedges inside her shoe. Made in Portugal. Anyways, on our wedding night we stood before each other, her listing a bit to the starboard, and her secret was out. But it didn't matter, 'cause I loved her. LOIS That is so beautiful. PERRY You and Clark gotta deal with whatever it is, and I don't mean at your desk over a sandwich. LOIS Where _do_ you mean? (CONTINUED) --page break-- "Ordinary People" (#2) FULL Blue Rev. 7/18/95 8. 10 CONTINUED: 2 10 PERRY Get outta town! Go focus on what really counts. The PHONE rings, Perry picks it up, during: LOIS Perry, I certainly think I'm disciplined enough not to be distracted by work when... PERRY (holds out phone) For you. LOIS (grabs phone) Hello? Yes. What? Are you sure? Yeah, yeah... I'll be right down. (slams down phone, excitedly) My police source says they found four bodies, all male, in a shallow grave. Two victims were I.D.'d and were last seen at one a Spencer (X) Spencer Love Fortress. (X) (starts out) Oh, and get this. (beat) All four bodies were headless. PERRY Good Lord. LOIS I gotta go. PERRY Lois? Word to the wise? LOIS What? PERRY Honey, there'll always be another headless corpse. Love comes maybe once. CUT TO: 11 INT. DAILY PLANET BULLPEN - WITH LOIS - TRACKING - DAY 11 Lois charges toward her desk, as Jimmy joins her. (CONTINUED) --page break-- "Ordinary People" (#2) FULL Blue Rev. 7/18/95 9. 11 CONTINUED: 11 JIMMY There you are! Guess you haven't seen your desk, yet, huh? LOIS Not right now, Jimmy. I just got a major tip and I have to.... (stops) What about my desk? She slowly turns and approaches her desk, mouth open. 12 INCLUDE DESK 12 on it is stacked a mound of wrapped cheese, surmounted by a (X) tiny French flag. Lois slowly picks up one of the colorful boxes. LOIS Camembert. She glances up as Clark appears, smiling shyly. LOIS (CONT'D) Let me guess. France? CLARK (French accent) Oui, but of course. (X) LOIS (searching for words) Clark... this is so... sweet. CLARK (watching her) 'But...' LOIS We have to talk. (X) CLARK And I think Perry's idea about going away was great. LOIS How'd you know ... ? CLARK (sheepish) Super hearing. (X) (CONTINUED) --page break-- "Ordinary People" (#2) Pink Rev. 7/21/95 10. 12 CONTINUED: 12 LOIS (uncomfortably) Right. (then) And we will talk! Right after I get back! (a helpless shrug) I'm _sorry_! I have to get a statement! (doubles back) But we are going to do this! Really! I swear! And she's gone. Clark stares glumly after her. CAMERA ADJUSTS to include a cruel-looking thug, BELZER, in Daily Planet coveralls, pausing with a janitorial cart, watching. CUT TO: 13 EXT. STREET - WITH LOIS - DAY 13 She comes down the sidewalk, preoccupied, with large shoulder satchels of notebooks, tape recorders, etc. Taking keys from purse, she arrives at a curbside parking spot marked with a sign: "Lois Lane," drops bags next to her car. Now she stares, irritated. 14 LOOSER 14 Lois' car is blocked by a Daily Planet forklift with a load of paper. Frustrated, Lois is about to charge over to it, (X) when the cellular phone in one of her bags RINGS. It keeps (X) RINGING as she digs it out. (X) LOIS (into phone) Yes? (X) VOICE ON PHONE (V.O.) Ms. Lane, you have an overseas (X) call. (X) LOIS What? No, I... (X) (sighs) Alright. (X) We TILT UP and MOVE IN on a huge flagpole mounted on the (X) building above her. (X) LOIS (CONT'D) Hello? Hello? (X) --page break-- "Ordinary People" (#2) Pink Rev. 7/21/95 10A. 15 OMITTED 15 16 FLAGPOLE - CLOSER 16 MOVE IN on the plate that anchors it to the building. Two of the four bolts are missing and the plate is starting to pull away from the building. A hand with wrench reaches into FRAME, unbolting the third bolt as we PAN to find Belzer, leaning from a window, working on the bolt, a (X) cellular phone cradeld at his neck. (X) BELZER Please hold, I'm transferring. (X) He rests the cellular on the windowsill. (X) --page break-- "Ordinary People" (#2) Pink Rev. 7/21/95 11. 17 LOIS 17 LOIS (into phone) Yes, yes. I'm holding. Hey, can (X) you call down to maintenance? (X) Someone's blocked me in! Hello? (X) Above her, she hears a CRACK. She stares up. 18 INTERCUT THE FLAGPOLE 18 It pulls away from the building with a horrible GROAN. Lois can only stare upwards, frozen, dropping phone. The flagpole hurtles toward her, when suddenly there's a BLUR OF BLUE and Lois is snatched off her feet, just as the flagpole and flag CRASHES down, destroying a sidewalk news kiosk in an explosion of splintering wood. Where Lois once stood, the flagpole now rests, having totally squashed her satchels of equipment. 19 LOIS AND SUPERMAN 19 They float to earth, both very shaken. 20 BELZER 20 He glares down at Superman and Lois, leaves the window. 21 LOIS AND SUPERMAN 21 He continues to carry her in both arms, as: SUPERMAN Are you alright? LOIS (dazed and breathless) Yes. Thank you. I know it's not enough to say, but it's the best I can... (stares at him; gently:) Wow... Look at you. You've gotten me out of a lot of jams I but I've never seen you like this. She gently touches his cheek; his eyes are full of concern. SUPERMAN (simply) Things are different, now. (X) (CONTINUED) --page break-- "Ordinary People" (#2) FULL Blue Rev. 7/18/95 12. 21 CONTINUED: 21 Running people and SIRENS in b.g. Superman continues to hold her, he and Lois continue to stare at each other, we CUT TO: 22 INT. SPENCER SPENCER'S BUNKER - CLOSE ON SPENCER - NIGHT #1 22 The phone is pressed to his ear. He is livid. SPENCER SPENCER What do you mean she's alive?!! Idiot! High school drop-out! I'll deal with you when I see you! We have PULLED BACK to find the phone held to his ear by one of the muscular attendants, KLAVEL. A Handmaiden fans Spencer while another holds a drink on a tray. SPENCER SPENCER (CONT'D) (to Klavel) Slam the phone down definitively. Klavel SLAMS the receiver to the hook, Spencer sneers at it. KLAVEL Take it easy, Mr. Spencer. It's always darkest before the dawn. SPENCER SPENCER (dripping contempt) Interesting insight. Funny, you (X) don't _look_ like a fortune cookie! (crying out) (X) What do any of _you_ know about pain?! I make Quasimodo look like a Rockette, for crying out loud!! (X) (turns on Klavel) _Your_ father ever look at your (X) body and call you Fish Boy?!! I don't think so!! 23 NEW ANGLE 23 Smooth, arrogant, impeccably tailored Argentinean DR. ARTURO PESCADO sweeps in through a draped archway. DR. PESCADO Hola! It's Happy Hour, is it not? (CONTINUED) --page break-- "Ordinary People" (#2) FULL Blue Rev. 7/18/95 13. 23 CONTINUED: 23 SPENCER SPENCER Oh yeah, we're all happy as hell in here. The Lane woman's still alive and bodies with no heads are popping up all over Metropolis. Pescado plucks a drink from a Handmaiden's tray. DR. PESCADO (haughtily) I merely do the experiments, I don't dispose of the refuse. Do I look like a grave digger? SPENCER SPENCER No, you look like an alcoholic quack. DR. PESCADO (pleasantly) Very well, perhaps I do not share my breakthrough with you. SPENCER SPENCER Breakthrough, Dr. Pescado? Tell me! DR. PESCADO I don't think so. SPENCER SPENCER (too jolly) Hope I wasn't outta line with that 'quack' thing. What can I say, I'm a tortured human being. DR. PESCADO (coolly) Yes. (then, calls:) Heidi!! The lovely, stern, zaftig HEIDI, in braids and nurse's uniform, instantly appears in the archway. HEIDI Jawohl! DR. PESCADO Heidi, the data! HEIDI Jawohl, Herr Doktor! (CONTINUED) --page break-- "Ordinary People" (#2) FULL Blue Rev. 7/18/95 14. 23 CONTINUED: 2 23 She rushes out. DR. PESCADO After all these long months. My brilliance and your millions have finally won out. SPENCER SPENCER (trembling with anticipation) Do you mean to tell me you've performed the transplant... successfully? Heidi's wheeled in a large graphic covered by two panels, positions it with back to CAMERA. DR. PESCADO Behold. Patient 'X.' He flips up the top panel. SPENCER SPENCER (staring) Hmmm. Here we have a man with a face like Abe Vigoda.... Pescado flips the lower panel. SPENCER SPENCER (CONT'D) (beside himself) And a body.... And a body... like Sylvester Stallone! In the first 'Rocky.' Before things got crazy. God, I'm gonna cry. (as Klavel whips hankie to his head) I'm not gonna cry, you moron. Pescado... this surgery will work? For me? DR. PESCADO (starting out) You have merely to select the body you wish. SPENCER SPENCER (an unpleasant smile) But Doctor, I already have. (beat) Allow me to introduce the new.... _improved_... Spencer Spencer. And he slams his head against one of the levers. --page break-- "Ordinary People" (#2) FULL Blue Rev. 7/18/95 15. 24 ANGLE - PORTRAIT ON WALL 24 A huge painting is atop the mantle, concealed by a draped panel. A soft WHIR of motors; the drape begins to lower. 25 INTERCUT - PESCADO - HEIDI - SPENCER SPENCER 25 They all stare, transfixed, as the drape clears the top of the portrait, revealing the beaming face of Spencer Spencer. Then the drape reveals the body attached to Spencer's head: The body of... Superman! SPENCER SPENCER Well, I always say, shoot for the moon. BLACK. _END OF ACT ONE_ --page break-- "Ordinary People" (#2) Pink Rev. 7/21/95 16. _ACT TWO_ FADE IN: 26 INT. LOIS' LIVING ROOM - NIGHT 26 Lois comes out of the bathroom in hang-out wear, drying her hair, preoccupied. A RAPPING at the window. LOIS (absently) Who is it? Superman enters through the window. SUPERMAN 'Who _is_ it?' Lois who else (X) knocks on your third story window? (X) She crosses away, flops in a chair not facing him. LOIS I ... guess I didn't seem very appreciative today about all that cheese. But a boyfriend who can turn my every whim into reality takes getting used to. I mean, my God, what if I said I wanted a perfect pearl from Japan? ... WHOOSH. In the b.g. Superman is gone in a blur of blue, unnoticed by Lois, who rambles on. LOIS (CONT'D) ... I'd never expect it to just appear. WHOOSH. He returns and places a pearl in an oyster on the table behind her. LOIS (CONT'D) Or if I casually expressed a craving for Swiss Chocolate... WHOOSH, he's gone. LOIS (CONT'D) ... You think I'd really expect you to go zipping off to Switzerland... WHOOSH, he's back with huge wrapped blocks of chocolate. LOIS (CONT'D) ... No more than if I said I wanted snow from the Andes... (CONTINUED) --page break-- "Ordinary People" (#2) FULL Blue Rev. 7/18/95 17. 26 CONTINUED: 26 WHOOSH gone. LOIS (CONT'D) These are just idle fantasies, not the kind of thing... WHOOSH he's back with a pile of clean snow, which he deposits on the table with the other items. LOIS (CONT'D) ... that's really important between two... (she turns and looks, jumps up) You've gotta stop _doing_ this! CLARK Why?? Making you happy makes me (X) happy. She drinks this in for a long beat. Then: LOIS Do you know why I gave up my crush on Superman? (he shakes his head) Because I realized he was a fantasy. Do you know why I fell in love with Clark? (another "no") Because he's real. That's what I want. SUPERMAN (elated) You _do_? LOIS He's got problems, insecurities, hat hair... SUPERMAN I do not! LOIS When I say to Clark I like the scent of tulips from Holland, that's not your cue to start taxiing down the runway, it just means Clark and I would figure out a way we could put aside the money to take a vacation... Together. Like normal couples. (CONTINUED) --page break-- "Ordinary People" (#2) FULL Blue Rev. 7/18/95 18. 26 CONTINUED: 2 26 SUPERMAN Lois, I am Clark! LOIS You're also a guy who's off saving the world from killer bees or propping up the Golden Gate Bridge or... SUPERMAN Couldn't you think of me as a very busy... very fast... very strong... doctor? Superman's suddenly distracted by a distant distress call. LOIS It's just that I need stability... SUPERMAN Uh, Lois... LOIS ... some sense I'm not always sharing you with five billion other people on the planet... SUPERMAN If you could just hold that thought... LOIS Can you tell me you'll be there when _I_ need you? (X) SUPERMAN I... gotta go. And he takes off. 27 LOIS 27 WHOOSH, she stands there, hair fluttering in the breeze, sighing wistfully as if her question were answered. CUT TO: 28 EXT. SPENCER SPENCER'S ISLAND - ESTABLISHING - DAY #2 28 (STOCK) Small, tropical, set in a turquoise sea. Over this, we hear Aerobics MUSIC. --page break-- "Ordinary People" (#2) FULL Blue Rev. 7/18/95 19. 29 INT. SPENCER SPENCER'S BUNKER - ON TV - DAY 29 The "Body by Jake" exercise show. 30 THE ROOM 30 CAMERA MOVES past Spencer Spencer's spectacular Attendants, attired in exercise wear, doing aerobics, finally arriving at Spencer Spencer. His box moves feverishly up and back and side to side in time to the music, as: JAKE (V.O.) Okay you guys, let's cool down. Spencer's box rolls to a halt. SPENCER SPENCER Klavel! Towel me! Klavel brings over as towel, wipes Spencer's brow as the other Attendants exit, taking TV with them. SPENCER SPENCER (CONT'D) Easy! Think you're scrubbin' a bowling ball? First day I got new arms, I'm gonna wring your neck. DR. PESCADO (O.S.) There is one little wrinkle, Senor Spencer! 31 NEW ANGLE 31 as Dr. Pescado enters, followed by Heidi. DR. PESCADO As Heidi and I were making final preparations for surgery, she raised a rather important issue. Didn't you, Heidi? HEIDI Jawohl, Herr Doktor! DR. PESCADO My understanding is that this Superman is invulnerable. How do I perform the excision of his head? My scalpels will not even nick El Hombre de Acero! (X) SPENCER SPENCER What? (CONTINUED) --page break-- "Ordinary People" (#2) FULL Blue Rev. 7/18/95 20. 31 CONTINUED: 31 HEIDI His scalpels will not even nick... SPENCER SPENCER I speak English, Heidi. HEIDI (coldly) ... The Man of Steel! SPENCER SPENCER You crepe hanging crybabies! Think you're playin' with kids here?! The guy'll cut like butter! Ever hear of Kryptonite? DR. PESCADO I know only a few specimens exist. How could you get it? SPENCER SPENCER (exploding) I'm gettin' a body transplant! You think I can't pull off a piece of Kryptonite?! Cash and connections, Doc! Without 'em I'm just a head with a dream! HEIDI And I suppose Superman will just cha cha into our waiting clutches? SPENCER SPENCER (lips curling) No, Miss Reichstag. His two best friends, Lois Lane and Clark Kent will lure him here. My man in Metropolis says their boss is pushin' 'em to go off to some remote little spot. He says this Clark guy is all for it. Well, gee whiz, I _live_ in a remote little spot! And when they think they're stranded here, their buddy'll show up, and I _got_ him! Am I smart or what?? An awkward silence as they all wait in fear. SPENCER SPENCER (CONT'D) This would be the appropriate time for a resounding 'oh yes.' (CONTINUED) --page break-- "Ordinary People" (#2) FULL Blue Rev. 7/18/95 21. 31 CONTINUED: 2 31 KLAVEL/HEIDI/DR. PESCADO Oh yes! SPENCER SPENCER Too late. CUT TO: 32 INT. DAILY PLANET BULLPEN - ON HUGE BASKET - DAY 32 It's a huge promotional basket loaded with tropical fruit and flowers, leis, photos, brochures, and wrapped in cellophane. Jimmy struggles into Perry's office with it. JIMMY This promotional basket just came. PERRY (shaking his head) They get worse every year. People are fleeing Cuba in things smaller than this. He whips the letter from the envelope. JIMMY They're hoping you'll send the Travel Editor to review this new private island resort. They say it's the perfect spot to fall in love. PERRY (slowly looks up) Should I read _any_ of my mail, or just ask you for a summary? JIMMY (hinting) (X) I was kinda thinking the Travel Editor's awful busy and you might wanna send someone oh... younger and more in need of a vacation. Perry looks thoughtful as Jimmy waits eagerly, hoping Perry's taken the hint. PERRY You know, son, I think you're onto something? JIMMY Great! (CONTINUED) --page break-- "Ordinary People" (#2) FULL Blue Rev. 7/18/95 22. 32 CONTINUED: 32 PERRY Tell Lois to get in here. ON Jimmy's deflated reaction, (X) CUT TO: 33 INT. LOIS' LIVING ROOM - ON FRONT DOOR - NIGHT #2 33 Lois struggles to unlock door and retrieve her keys while carrying the huge promotional basket. She kicks the door closed and carries it straight to a trash can, trying to stuff it in. KNOCK at DOOR. She opens it to find Clark. CLARK See? I used the door. Just like a regular guy. LOIS Very impressive. She returns to stuffing the basket into the trash. CLARK Yessir. Walked down the old street, came up the old stairs... (notices her efforts) Lemme help. He takes the basket and compresses it into a tiny cube of matter, tosses it over his shoulder, kicks it with his heel into the trash. CLARK (CONT'D) Just like a regular guy. (off her look) Sort of. (eying trash) Uh, what _was_ that thing we just... LOIS Promotion for this stupid tropical resort. CLARK Oh, so Perry got to you, too. LOIS He's practically ordering us to go! I told him I'm way too busy. (CONTINUED) --page break-- "Ordinary People" (#2) FULL Blue Rev. 7/18/95 23. 33 CONTINUED: 33 CLARK Yeah, I guess work'd be a lot safer than seeing what an uninterrupted weekend with me would be like. LOIS Hold it, _hold_ it. I'm not the one leaping off big buildings at every distant S.O.S... CLARK What're you saying? LOIS Just that you couldn't stand letting the world get by on its own for two whole days. (X) CLARK And you'd rather write about other people's lives, 'cause it's less scary than living one of your own! LOIS Oh yeah? CLARK Yeah! He hears something. She knows he hears something. LOIS (casually) Someone... want you? CLARK (lying) Nope, nope. (relents) Yes. LOIS Go. He SPINS into Superman, heads for the window, looks back. SUPERMAN I could do it if you could. She looks at him, starts to smile mischievously. (X) LOIS Wanna bet? (X) (CONTINUED) --page break-- "Ordinary People" (#2) FULL Blue Rev. 7/18/95 24. 33 CONTINUED: 2 33 CLARK Bet. (X) CUT TO: 34 EXT. TROPICAL ISLAND - DAY #3 (STOCK) 34 A small boat makes its way toward the island. 35 EXT. DOCK - DAY 35 The boat pulls up and the aging Captain helps Lois and Clark, wearing casual resort wear, ashore. He sets down their bags as they look around. The place is deserted. LOIS Excuse me, sir, where do we check in? The Captain waves vaguely off in the distance. LOIS (CONT'D) The brochure mentioned a 'Welcoming Hukilau...' Do we (X) wait here for the hotel jitney? (X) The man has lugged two beach chairs onto the beach, hands Clark a sun umbrella. Clark senses Lois' growing alarm (X) and, for her benefit: (X) CLARK (to Captain) Captain, I guess you're saying we (X) shouldn't be fooled by the casual elegance here. Big city tourists (X) like us might think it looks kinda rustic... or even... primitive. The Captain has cast off, and as Lois and Clark stare, he CHUGS away. They smile weakly at each other. DISSOLVE TO: 36 EXT. SAME BEACH - LATER 36 Lois sits forlornly in her chair, holding her umbrella. She scribbles something on the notepad in her lap. Clark (X) appears through the trees. (CONTINUED) --page break-- "Ordinary People" (#2) FULL Blue Rev. 7/18/95 25. 36 CONTINUED: 36 CLARK Aha, I knew you couldn't live up to our bargain. Two hours and already you're working. LOIS I'm writing my will. Someday when they find our bleached bones they'll read my last wishes. CLARK Well if these are my last minutes, who better to spend them with? He plops down on the sand next to her. CLARK (CONT'D) Alone in paradise with the woman I love. It's almost biblical. LOIS Clark, when you went exploring, did you see any proof whatsoever that there is in fact a hotel? CLARK No, but why wouldn't there be a hotel? LOIS (trying to stay calm) Well... Oh... Maybe no one ever built one... Maybe we're on the wrong island... Maybe this is a penal colony. Or maybe no other living being has ever been here in the history of the earth!! (gets a grip) Why don't you take a quick buzz around and look? CLARK (innocently) Why would I do that? I don't buzz anywhere. LOIS Yes, but... (silently mouths) ... Superman... (audible) Does. (CONTINUED) --page break-- "Ordinary People" (#2) FULL Blue Rev. 7/18/95 26. 36 CONTINUED: 2 36 CLARK But... (silently mouths) ... Superman... (audible) isn't here. LOIS That's cute. That's really, really, really cute. Clark smiles, reaches for shirt buttons, Lois is relieved. LOIS (CONT'D) Thanks. I knew you'd come through. A joke's a joke, but... He pulls open his shirt. Only flesh beneath. LOIS (CONT'D) Okay, where's the suit? CLARK No suit. Left it at home. (stretches out) It's just you and me. Joe and Judy Regular. She stares at him in horror as he glances lazily up at her. CLARK (CONT'D) So... Wanna neck? CUT TO: 37 INT. SPENCER SPENCER'S BUNKER - ON TV MONITOR - DAY 37 Beneath the monitor is an electronic control panel. On the screen is a silent, black and white picture from a high angle camera. Lois and Clark are on the beach, and she is getting more annoyed. PULL BACK to find Spencer Spencer, Klavel and Belzer watching. On the screen, Lois flops back, puts a sun hat over her face, folds her arms. Clark grins at her, lies back, closes his eyes to doze. SPENCER SPENCER Pretty quick it'll hit 'em they're in trouble and that's when they call in the big boy. He hits a lever with the side of his head, the monitor snaps off. He starts to roll away, then: (CONTINUED) --page break-- "Ordinary People" (#2) Pink Rev. 7/21/95 27. 37 CONTINUED: 37 SPENCER SPENCER (CONT'D) Oh well, I've never been a patient man. Do it. Klavel hits a button on the control panel. Spencer Spencer chuckles and rolls on out. 38 EXT. BEACH - DAY 38 A foliage-covered panel opens in the brush. In the gloom within we now see two glittering eyes, and then a sleek tiger emerges through the grass. (X) WIDEN to reveal the cat just a short distance from Lois, headed straight for her. BLACK. _END OF ACT TWO_ --page break-- "Ordinary People" (#2) Pink Rev. 7/21/95 28. _ACT THREE_ FADE IN: 39 EXT. BEACH - LOIS AND CLARK - DAY 39 They lie dozing on the beach. CAMERA MOVES to SHOOT across Lois. The tiger is nearing her. Clark lazily stretches, (X) glances over at Lois, reacts to the sight of the approaching cat. Lois rolls over toward him, her eyes closed. Clark dips his glasses and beams of HEAT VISION appear. 40 THE TIGER 40(X) It slinks forward. A strip of sand, hit by the heat vision, turns a pale shade of pink and steams slightly. The animal reaches the heated area, pauses, stares at the sand, and abruptly turns and runs off into the brush. 41 LOIS AND CLARK 41 She groggily looks up at him as he quickly replaces his glasses and smiles at her. LOIS Hi. CLARK Hi. LOIS (then, looking around) God, it's not a dream. We are here. He grins, jumps up, trots out of FRAME. She sits up, swats a bug on her arm, watches him. LOIS (CONT'D) What're you doing? 42 LOOSER 42 Clark is enthusiastically dragging a bunch of palm fronds to a spot, going off for more. CLARK Building our hut. LOIS 'Our hut?!' (CONTINUED) --page break-- "Ordinary People" (#2) FULL Blue Rev. 7/18/95 29. 42 CONTINUED: 42 CLARK Well, I'm sure the hotel people will be here before night... or the boat people will realize they took us to the wrong place... But just in case... We'll need shelter. LOIS What we need is a sauna, massage, and room service! Look, why don't you just scoop me up in your arms and fly us off? Maybe we're near Rio. CLARK No scooping, no flying. LOIS You've been scooping and flying on a fairly regular basis ever since I've known you, but _now_, now when we're surrounded by crazed insects and murderous plants... now you figure would be a bad time?! CLARK You challenged me to let the world get along without me for a weekend. The world and I seem to be doing fine. You, on the other hand, are a wreck. LOIS (steamed) Really? 'Wreck?' I'll show you who's the wreck. And she picks up branches and throws herself into the task with a vengeance. He grins, starts back in, himself. LOIS (CONT'D) I wish you didn't look like you were having so much fun! CLARK I haven't had a vacation in years. LOIS Trust me. There are better ones. CUT TO: --page break-- "Ordinary People" (#2) Pink Rev. 7/21/95 30. 43 INT. SPENCER SPENCER'S BUNKER - DAY 43 Spencer Spencer has been approving page lay-outs for "Love Fortress" Magazine. He dismisses the Handmaiden who's been holding the lay-out boards while turning on Klavel. SPENCER SPENCER The tiger 'ran away?!' You said (X) this is the most vicious animal alive! KLAVEL (dying) And it is! Assuming it keeps going, you know... Forward. SPENCER SPENCER (rolling away) Contaminate the drinking water! CUT TO: 44 EXT. BEACH - LOIS AND CLARK - DAY 44 They stand staring at their work. CLARK Well, it's not so bad. LOIS No, no, I think it looks pretty sturdy. CLARK I guess _this_ shows what we can do without super powers, right? They high five. 45 THE HUT 45 It's lopsided, wobbly, and sheds the occasional branch. 46 INCLUDE LOIS AND CLARK 46 CLARK Gee. Our first house. She smiles in disbelief. Impulsively, he lifts her up. LOIS Hey, I thought no scooping! (CONTINUED) --page break-- "Ordinary People" (#2) FULL Blue Rev. 7/18/95 31. 46 CONTINUED: 46 CLARK This isn't scooping, it's carrying. I'm carrying you over the threshold. He carries her toward the hut, which suddenly shudders and collapses into a pile of rubble. They stare, we CUT TO: 47 INT. PERRY'S OFFICE - DAY 47 Perry's on the phone. PERRY Yes, Alice my pet, of course I'll stop at the video store. What's your second choice if they're out of 'Tora, Tora, Tora?' Jimmy enters with photos for Perry to approve. PERRY (CONT'D) Oops, breaking news, Dumplin'. Gotta go. JIMMY Chief, sometimes it seems you're afraid of Alice. PERRY (casually, looking at photos) I am. So... any word from Lois or Clark? JIMMY No, and there won't be any. C.K. said the island doesn't even have phones. PERRY (wistfully eying his own phone) Really. Olsen, lad, learn to value life's treasures. A beautiful woman and a pitcher of rum. (sigh) I envy Clark. Those two must be in heaven right now. CUT TO: --page break-- "Ordinary People" (#2) Pink Rev. 7/21/95 32. 48 EXT. STREAM - DAY 48 Lois, now wearing shorts, tries to cross the water on a series of slimy rocks, falls screaming into the water, sits there sputtering. Clark, also wearing less, trots back with an armload of bananas. CLARK What happened? LOIS I thought a swim might be nice. She cups her hands, scoops up water for a drink. 49 ON CLARK 49 He peers over his glasses, squints at the water. 50 POV - SUPER CLOSE-UP VISION 50 Close, closer, CLOSEST. The water is teaming with bacteria. 51 BACK TO SCENE 51 CLARK Lois! Startled, she drops the water. CLARK (CONT'D) That water doesn't look so good... But look... There's an underground spring right over here... She wearily climbs out of the water as Clark steps behind a boulder. LOIS Where've you been, anyway? 52 CLARK 52 Behind the boulder, he punches a hole into rocky ground surface and pushes down the length of his arm, with a low (X) DRILLING SOUND, as: CLARK I was searching for food. Boy are we lucky. Look at all those bananas! (CONTINUED) --page break-- "Ordinary People" (#2) FULL Blue Rev. 7/18/95 33. 52 CONTINUED: 52 He withdraws his arm and water bubbles up out of the hole just as Lois appears around the side of the boulder. CLARK (CONT'D) Here, this looks better. (X) LOIS Great. By the way, I hate (X) bananas. She gratefully scoops up the water, drinks, washes off her face as Clark smiles. CLARK Well, there's always roots and snails. She picks up the bunch of bananas, stares at them distastefully. LOIS And to think I was complaining about Camembert from France. It's like those words came from another woman. A clean woman. A dope. She flops down as Clark peers into the stream. (X) CLARK If there's fish, I bet I could figure out a way to catch one. My pop used to take me fishing all the time when I was a kid. I got pretty good. Lois stares off, chewing a banana with distaste. LOIS I've never been fishing. (X) CLARK He's just an ordinary guy, you know ...? And he loved doing this ordinary thing.... fishing. And I guess I loved it because he did. Lois slowly looks at him. LOIS Your parents are wonderful. (CONTINUED) --page break-- "Ordinary People" (#2) FULL Blue Rev. 7/18/95 34. 52 CONTINUED: 2 52 CLARK (smiles) Maybe I wanna get married and have kids because they made it look like so much fun. She covers her eyes, suddenly emotional. LOIS Oh God. CLARK (startled) What? LOIS (near tears) I'll never be as good a mom as yours was! What do _I_ know about it?! My parents didn't make marriage look fun, they made it look like root canal! CLARK (going to her) Lois... LOIS My mother's depressed, my brother won't come out of his room, and my father only relates to cyborgs! I didn't _want_ a family! I ran as far away from it as I could! He lifts her up, holds her. CLARK Okay, your parents made a mistake! That doesn't mean _you're_ going to! LOIS How do you know?! CLARK (softly) Because I hear the guy who wants to marry you is really, really terrific. CUT TO: --page break-- "Ordinary People" (#2) FULL Blue Rev. 7/18/95 35. 53 INT. CORRIDOR - SPENCER'S BUNKER - HEIDI - TRACKING - DAY 53 Heidi, in surgical gown, pushes a gurney briskly down the gloomy stone corridor. 54 INCLUDE GURNEY 54 A terrified male PATIENT is strapped to the gurney, struggling and looking around wildly. Heidi nears Spencer Spencer, who waits outside a door to the operating room. SPENCER SPENCER One last trial run before the big event? HEIDI Jawohl, Herr Spencer Spencer! The Patient struggles to tilt back his head to see Spencer Spencer, who's behind him. 55 PATIENT'S UPSIDE-DOWN POV 55 Spencer wiggles his eyebrows impishly. 56 BACK TO SCENE 56 The Patient screams in fright, irking Spencer. SPENCER SPENCER Get him outta here. Heidi pushes him into the operating room as CAMERA MOVES to reveal Dr. Pescado, in mask and cap, standing amidst an array of terrifying machines, tubes, and blinking lights. PATIENT No.... no... ! The door swings closed, muffling the shouts. CAMERA MOVES to a side ANGLE as Spencer moves to watch the procedure (which we can't see) through the glass in the door. Belzer comes up. BELZER Well, they're not sick, and no sign of Superman anywhere. Why don't I just go grab those two? SPENCER SPENCER No. I don't want Superman even _thinking_ he's walkin' into a trap. (CONTINUED) --page break-- "Ordinary People" (#2) FULL Blue Rev. 7/18/95 36. 56 CONTINUED: 56 BELZER I'm telling you... They look like they don't want to be rescued. SPENCER SPENCER (considers, then:) I'm not a patient man. Grab (X) 'em. Belzer goes as Spencer stares through the glass. 57 INT. OPERATING ROOM - VARIOUS ANGLES (INSERTS) 57 Electricity arcs, lights blink, chemicals swirl through tubes, the Patient looks up, eyes wide with horror at: 58 DR. PESCADO 58 He approaches with a scalpel, moving into CAMERA. (X) 59 SPENCER SPENCER 59 Spencer Spencer winces, then smiles nastily. (X) SPENCER SPENCER Oh, Superman... What a way to go. CUT TO: 60 EXT. CLEARING - NIGHT #3 60 Clark, changed for nighttime, is trying to build a fire by rubbing one stick against a wood block. He's not having much luck. Lois, also in clean clothes, comes up, watches. LOIS I guess you never learned how to do this. CLARK Think about it, Lois. Why would I _have_ to learn how to do this? She yanks a drawstring from a sweatshirt hood on the ground, rigs a bow with a long twig, inserts a second stick in a loop in the bowstring, starts spinning the second stick against the wood block by rocking the bow back and forth, all during: (CONTINUED) --page break-- "Ordinary People" (#2) FULL Blue Rev. 7/18/95 37. 60 CONTINUED: 60 LOIS It just so happens I'm a former Girl Scout. CLARK Good. I'm a strange visitor from another planet. LOIS I guess by now you'd pretty much (X) concede we're on the wrong island. CLARK Well... Yeah. (X) (glances up at her) Did you wanna leave? (X) LOIS (working away) (X) I...suppose I could stick it out for one night. (X) She sneaks a glance at him, then notices a wisp of smoke rising from the wood. LOIS (CONT'D) Quick, add some dried leaves! Okay... blow! Clark blows a short blast of super breath, which kicks up the dirt all around Lois. LOIS (CONT'D) (wiping dust out of her eyes) One more time, and remember it's a campfire, not a nuclear reactor. He blows gingerly. LOIS (CONT'D) Harder (he blows) More leaves. (adds leaves) Faster! (more blowing) Not so fast! Clark is gamely trying to cooperate and finally Lois bursts out laughing at their predicament. CLARK What's so funny? (CONTINUED) --page break-- "Ordinary People" (#2) FULL Blue Rev. 7/18/95 38. 60 CONTINUED: 2 60 LOIS This is exactly what I thought camping with Clark would be like! CLARK Lois, you are camping with Clark, remember? And suddenly the little leaf pile catches fire. LOIS Oh! Oh! We did it! Boy, why don't we have any hot dogs on sticks? Clark reaches around to grab something. CLARK Next best thing. And he impales a banana on a stick, holds it over the fire, as she sighs, begins to smile, we DISSOLVE TO: 61 EXT. CLEARING - ON BANANA PEELS - NIGHT 61 The peels are scattered on the ground with the roasting sticks. TILT UP to find a CRACKLING fire, and Lois and Clark, clothes from their suitcase spread under them for a bed, snuggled in each other's arms, staring at the fire. LOIS You know, I dreamed of this? Of spending the night this close to you? (smiles up at him) I mean, first it was Superman I dreamed of. But then... it was Clark. CLARK What happened? LOIS Well, I'd be in your arms.... (X) (he holds her closer) We'd kiss... (they do) And.... (CONTINUED) --page break-- "Ordinary People" (#2) FULL Blue Rev. 7/18/95 39. 61 CONTINUED: 61 CLARK And ... ? LOIS (a little timid; searching) And you'd tell me how you felt (X) about me. CLARK I don't know how I feel about you. She's a bit taken aback. CLARK (CONT'D) There's no one way I feel. I feel so many things. And all at once... Happy but kinda scared... Excited.. calm. Lost... found. Safe in a way I've never known, but in danger, too. This thing with us, whatever it is... is stronger than me. Being with you is stronger than me alone. That's new for me. She is staring up at him, very moved by this. She gently reaches up touches his cheek, and he kisses her. It's tender at first, then, as things heat up: 62 EXT. JUNGLE - ON FEET - TRACKING - NIGHT 62 Black boots into which are bloused black jumpsuits. TILT UP to find Klavel and Belzer, wearing goggles to which are attached tiny, powerful spotlights. They carry automatic weapons and make their way through the steaming jungle, finally approach a clearing up ahead. BELZER There they are. 63 LOIS AND CLARK 63 They're kissing as the muzzles of the guns enter FRAME. BELZER (O.S.) On your feet. Lois and Clark dive apart and stare up. Clark stifles his impulse to leap up when he looks over and finds the gun aimed at Lois. BLACK. _END OF ACT THREE_ --page break-- "Ordinary People" (#2) FULL Blue Rev. 7/18/95 40. _ACT FOUR_ FADE IN: 64 INT. BASEMENT DUNGEON - LOOSE - NIGHT 64 CAMERA MOVES IN on side by side cells in which Lois and Clark have been placed, their hands chained to the wall, over their heads. Fast and hushed: LOIS Tell you what. I'll forego the bet. Any time you wanna change into.. (silently mouths) Superman... (audible) ... would be fine with me. CLARK Look, I have to pick my moments for changing into (silently mouths) ... Superman. LOIS _This_ one! This moment! Pick _this_ one! CLARK Maybe we're being watched. I don't have the suit. Maybe we'd bust outta here and never find out what's behind all this.... LOIS What, do you have rules for everything?! LOIS CLARK It's good to Being impulsive know, because I'd can get you into really have to even more think twice about trouble, as I'd marrying that think, you, of kind of all people, compulsive surely woulda personality! learned by now! BELZER (O.S.) Hey, pipe down! They both look up as: --page break-- "Ordinary People" (#2) FULL Blue Rev. 7/18/95 41. 65 NEW ANGLE 65 Belzer and Klavel approach. Klavel covers Lois with a gun as Belzer swiftly opens her cell, frees her hands during: BELZER Your host requests the honor of your company upstairs. 66 CLARK 66 He surreptitiously snaps the manacles at his wrists without lowering his hands. He peers over the top of his glasses and aims a beam of HEAT VISION at the lock. LOIS (O.S.) I'm gonna have to pass. I didn't pack party clothes. 67 THE LOCK 67 It heats and a small puff of smoke issues from inside it. BELZER (O.S.) Spencer Spencer says it's come-as-you-are. 68 BOTH CELL 68 Lois and Clark react to the name and Clark pulls his wrists through the manacles. Belzer spots him, whips a hypodermic syringe from his pocket. BELZER Hold, it Houdini! He plunges the needle into Lois' arm. LOIS OW! BELZER I don't know how you got outta those chains, but this toxin takes just seconds to kill. The antidote's upstairs. You so much as blink, she won't get it, and you can say good-bye to your babe. LOIS Don't call me 'babe.' And she passes out. (CONTINUED) --page break-- "Ordinary People" (#2) Pink Rev. 7/21/95 42. 68 CONTINUED: 68 BELZER (to Klavel) He even breathes wrong, push the (X) alarm, and this one's dead. CUT TO: 69 INT. SPENCER SPENCER'S BUNKER - ON SPENCER SPENCER - NIGHT 69 He sips a martini through surgical tubing as chamber MUSIC plays somewhere. SPENCER SPENCER C'mon, wake up. I've had lousy dates before, but this is ridiculous. 70 LOIS AND BELZER 70 Belzer is holding a second syringe, gives Lois a couple gentle slaps and exits. She groggily tries to focus, then: 71 LOOSER 71 as Lois sees she's ringed by crossbows on stands, the arrows all aimed at her. Then she sees: SPENCER SPENCER Hiya, Toots. I'm Spencer Spencer. Welcome to my windowless lair. LOIS _You're_ Spencer Spencer? (stares, taken aback) I pictured you... taller. SPENCER SPENCER You know, you're lovely when you're revolted? LOIS I don't know what this is all about, but you might as well let me go. Superman'll be here any minute. SPENCER SPENCER (leers at her) Well. That'd just be hunky-dory with me. --page break-- "Ordinary People" (#2) FULL Blue Rev. 7/18/95 43. 72 INT. CLARK'S CELL - NIGHT 72 He paces, agitated, CAMERA MOVES IN ON his eyes as he lowers glasses, stares at ceiling. 73 POV - X-RAY VISION 73 It penetrates the plaster ceiling to reveal: A square of dark nothing. 74 CLARK AND KLAVEL 74 as Clark reacts, turns to Klavel, who watches, hand poised over an alarm button. CLARK This place lined with lead? KLAVEL It was built as a fallout shelter. Quiet. Another agitated moment, Clark can't stand it. CLARK What's he doing with her? KLAVEL Anything he wants. CLARK What _does_ he want? KLAVEL (a beat) Superman. CAMERA MOVES IN on Clark. 75 INT. SPENCER SPENCER'S BUNKER - NIGHT 75 SPENCER SPENCER You know, I was gonna kill you for all that crap you wrote about me, but I thought you might prefer an exciting career opportunity. LOIS What do you mean? SPENCER SPENCER You can be my sex slave. (CONTINUED) --page break-- "Ordinary People" (#2) FULL Blue Rev. 7/18/95 44. 75 CONTINUED: 75 LOIS Kill me. SPENCER SPENCER I know, I know, the body. Maybe I shouldn't hide it in a box, maybe (X) you imagine it worse than it is. LOIS Maybe. (X) SPENCER SPENCER (exploding) You _couldn't_ imagine worse than (X) this!! My only chance at girls (X) like you is shootin' 'em up with cobra venom, and _then_ it's iffy!! (calming) Well, all that's about to change, thanks to modern medicine... And he nods toward the wall. 76 THE PORTRAIT 76 The drape falls to reveal Spencer with Superman's body. 77 BACK TO SCENE 77 Lois stares in shock and horror. LOIS (hollow) Oh my God. SPENCER SPENCER What? I don't look good in tights? LOIS The bodies without heads... It was you. A door opens and Klavel shoves Clark into the room. KLAVEL (re Clark) He says he can get you what you want. CLARK Lois! (CONTINUED) --page break-- "Ordinary People" (#2) FULL Blue Rev. 7/18/95 45. 77 CONTINUED: 77 LOIS Clark! SPENCER SPENCER Shaddup. (to Klavel) Blow. Klavel leaves, Spencer places his head against a red lever. SPENCER SPENCER (CONT'D) Mess up and she'll look like a goalie for a dart team. Clark stares from Spencer to Lois to the lever. CLARK Okay, Spencer, here's the deal. I'm Superman. SPENCER SPENCER What? CLARK I'm Superman. LOIS No, you're not! CLARK Stop it, Lois. (to Spencer Spencer) Yes, I am. LOIS No, he's not. You might as well know, this man is insane. CLARK Lois! (X) SPENCER SPENCER So where's the suit? No, don't (X) tell me, you left it at home. CLARK As a matter of fact, I did. (X) LOIS Oy. SPENCER SPENCER (yelling) Someone get him outta here! (CONTINUED) --page break-- "Ordinary People" (#2) FULL Blue Rev. 7/18/95 46. 77 CONTINUED: 2 77 CLARK (dramatically) Keep your eye on the candelabra! LOIS (helplessly) Clark... Clark lowers his glasses, a very faint beam of HEAT VISION. 78 INTERCUT CANDELABRA 78 The candles flicker slightly, but nothing happens. Clark bears down. Nothing. SPENCER SPENCER Gee. Am I impressed. (X) 79 LOIS AND CLARK 79 Clark turns toward her. CLARK (through clenched teeth) Is there Kryptonite here? LOIS (clenched teeth) I have the feeling. CLARK (brightly, to Spencer) Well! You figured me out. I'm not Superman. LOIS He's not Superman. CLARK A passing resemblance, maybe... LOIS It's a thing he does at parties... CLARK Let her go and we'll figure out a way to... (CONTINUED) --page break-- "Ordinary People" (#2) Pink Rev. 7/21/95 47. 79 CONTINUED: 79 SPENCER SPENCER (had it) Enough!!! I don't know what's goin' on here, but something is. (into intercom) Pescado! Bring in the you-know-what! A panel in the wall slides up, and Dr. Pescado wheels in a large metal box on a cart. As Lois and Clark watch fearfully, he opens the box to reveal a GLOWING nugget of Kryptonite. CLARK (weakly) Oh boy. His knees buckle and he collapses into a chair. LOIS Clark! SPENCER SPENCER (staring) It _is_ him! (then) Doctor... ! (an evil smile) Scrub for surgery. CUT TO: 80 INT. BASEMENT DUNGEON - NIGHT 80 Belzer drags a struggling Lois into the room, flings her into the cell Clark once occupied, locks it, and leaves. Lois fearfully clutches the bars as CAMERA RUSHES IN on her. 81 INT. OPERATING ROOM - NIGHT 81 Clark, shirtless, is strapped to a surgical table by a gowned Dr. Pescado, and a drape pulled up over his chest. On a cart, the Kryptonite glows nearby. WIDEN to find Spencer Spencer, several feet away, watching with (X) fascination. Dr. Pescado positions a suspended tank marked (X) "Liquid Nitrogen" overhead between the two tables. Attached to it are two thick hoses. Red arrows point to a trap door in the tank's bottom marked "Emergency Flush." (CONTINUED) --page break-- "Ordinary People" (#2) FULL Blue Rev. 7/18/95 48. 81 CONTINUED: 81 DR. PESCADO (to Spencer) Following removal of the head, we will immediately freeze the body in liquid nitrogen for attachment to you. Now Pescado looms approaches with a long I.V. needle. 82 LOIS' CELL 82 Lois glumly stares through the bars, then glances down. 83 HER POV 83 The inside of the lock is badly scorched where Clark had melted the mechanism. 84 LOIS 84 She gives the cell door a hard push, the lock gives way, door opens. 85 OPERATING ROOM 85 Pescado tapes the needle into place on Clark's arm. DR. PESCADO (to Spencer Spencer) The Kryptonite has rendered his flesh completely vulnerable. SPENCER SPENCER 'Night, 'night... Superman. CAMERA MOVES IN ON Clark, eyes filled with dread. 86 INT. SHADOWY CORRIDOR - NIGHT 86 Lois creeps along the slimy stones, freezes, presses herself into the shadows as Klavel passes through the far end of the hall, pauses, lights a cigarette, moves off down another passageway. Lois moves to where he was, goes the opposite way, up the other corridor. 87 WITH LOIS 87 She stops, spotting an open doorway, someone's shadow visible on the wall inside. She creeps forward, peers around the doorway. --page break-- "Ordinary People" (#2) FULL Blue Rev. 7/18/95 49. 88 HER POV 88 Heidi is pulling on her surgical gown and cap. HEIDI (singing softly) 'Deutschland, Deutschland, uber alles... Einigkeit und recht und freiheit...' 89 LOIS 89 She picks up a brick from rubble in the corridor, bounces it in her hand, creeps inside. The shadows on the wall show her poised to brain Heidi. 90 OPERATING ROOM - VARIOUS ANGLES (INSERTS) 90 The machines ROAR, chemicals boil through tubing, lights blink! Clark's head is strapped, eyes heavy. Dr. Pescado approaches with the scalpel. (X) DR. PESCADO Heidi! "Heidi" enters, gowned, capped, masked. She approaches the table as Clark stares. 94 CLOSE ON "HEIDI" 91 Her eyes are familiar. She winks slightly. It's Lois. 92 OPERATING TABLE 92 Clark's eyes close as Pescado comes within inches of Clark's neck, about to make his incision, not noticing Lois gently rock back out of FRAME. 93 LOOSER 93 Lois grabs the Kryptonite cart and dashes from the room. DR. PESCADO Heidi!! SPENCER SPENCER Belzer!! Belzer rockets in. (CONTINUED) --page break-- "Ordinary People" (#2) Pink Rev. 7/21/95 50. 93 CONTINUED: 93 SPENCER SPENCER (CONT'D) Get whoever just ran outta here! Belzer takes off after Lois. SPENCER SPENCER (CONT'D) Do it, Pescado! 94 INT. CORRIDOR 94 Lois races down the hall with the cart, out of FRAME. A beat later, Belzer comes into view, dashes after her. 95 CLOSE ON DR. PESCADO 95 Flustered, he comes close to Clark again, his knife about to touch flesh. A SNAPPING sound, and suddenly a strong hand grabs Pescado's wrist. Dr. Pescado goes pale, as: 96 LOOSER - VARIOUS ANGLES 96 Clark has burst through the arm strap. Still gripping the Doctor, he bursts through the head strap. (X) SPENCER SPENCER Dammit, Doctor, make the cut! Before he regains full strength!! Heidi staggers into the room, sees Dr. Pescado struggling with Clark who pulls through a chest strap. Spencer Spencer hits another lever with his head, an ALARM sounds. DR. PESCADO Heidi! The nitrogen! Heidi shoves the overhead tank into place over Clark, Dr. Pescado backs away, Heidi pulls a cord. 97 CLOSE ON TANK 97 The door marked "Emergency Flush" drops open and fumes start pouring forth. 98 VARIOUS ANGLES 98 Clark takes a deep breath. Pescado, Heidi, and Spencer move back, clumped together some distance away. (X) (CONTINUED) --page break-- "Ordinary People" (#2) FULL Blue Rev. 7/18/95 51. 98 CONTINUED: 98 A blast of Clark's SUPER COLD breath sends the cloud of fumes swirling over their heads, now turning deep blue, until they entirely encircle the villains. 99 INT. CORRIDOR 99 Belzer, hearing the ALARM, stops his pursuit, doubles back. 100 OPERATING ROOM 100 Clark is now off the table, continuing his blast of frigid air. Heidi, Pescado, and Spencer Spencer are frozen in place, completely encased in a glittering block of ice. CLARK Okay, that'll hold you 'til... (X) 101 CORRIDOR OUTSIDE OPERATING ROOM 101 Belzer, joined by Klavel, automatic weapons ready, flings open the door. A blast of mist. Clark is barely visible as he turns to face Belzer. The mist obscures Clark, but Belzer and Klavel FIRE. 102 A CORRIDOR - LOIS 102 She crouches in a recess in the gloom, hears the GUNFIRE, leaves the cart, rushes back toward the operating room. 103 OPERATING ROOM - CLARK 103 The bullets RICOCHET off Clark and strike the ice block, creating a thousand hairline fractures. 104 OUTSIDE OPERATING ROOM - BELZER AND KLAVEL 104 They blink into the mist, which is beginning to clear, and step cautiously inside. Now they stare at the ice block. 105 BLOCK OF ICE 105 The block of ice, along with the villains inside, collapses into a pile of tiny chips. --page break-- "Ordinary People" (#2) FULL Blue Rev. 7/18/95 52. 106 BELZER AND KLAVEL 106 They stand staring, stunned. Clark suddenly appears behind them, grabs their heads, knocks them together, and the thugs go down. WIDEN as Clark stands surveying the wreckage and Lois arrives. LOIS (stunned) Oh. Oh gee. Clark moves into the room, looking at the rubble, disturbed. CLARK I really didn't mean for this to happen... LOIS (looks around) Where's Spencer Spencer? CLARK (soberly) He's a broken man. Lois recoils, Clark follows her into the corridor. 107 WITH LOIS AND CLARK 107 As they move up the corridor. CLARK I'll call someone to pick up those two. LOIS (exhausted) And then could we please go home? CLARK You... want to wait for a boat? LOIS (a little smile) I wanna fly. (she touches his chest) First class. And he scoops her up in his arms, grins, we CUT TO: --page break-- "Ordinary People" (#2) FULL Blue Rev. 7/18/95 53. 108 INT. PERRY WHITE'S OFFICE - ON PERRY - NIGHT 108 Perry, working late, is on the phone. PERRY (into phone) ... So he tried to decapitate Superman and make you his love slave?! This is terrific! (catches himself) You must be very shaken. Even unable to write. 109 INTERCUT LOIS' LIVING ROOM - LOIS - NIGHT 109 Lois, on phone in nightgown and robe, smiles resignedly. on the table, her laptop glows, attached to modem. LOIS The story's on its way to you. (pushes computer key) Now. PERRY Lois... About the other thing... with Clark... You thought it over, yet? 110 EXT. LOIS' WINDOW - NIGHT 110 Superman, holding flowers, floats down into f.g., some distance from window, unnoticed by Lois. He hovers, as: LOIS Well, it's been a little hectic, Chief. (beat) But that other side of him I mentioned? I ... decided it's something I could put up with. Superman smiles. LOIS (CONT'D) G'night, Perry. Superman flies in through Lois' window. She turns, and: SUPERMAN I was out... (X) (flying hand motion) And just... wondered how you were. (X) He gives her the flowers, then: (X) (CONTINUED) --page break-- "Ordinary People" (#2) Pink Rev. 7/21/95 54. 110 CONTINUED: 110 LOIS (teasing) Dare I ask where these came from? SUPERMAN Down the street. Tony's. Paid cash. Wanna see a receipt? LOIS Nope. She puts her arms around his neck and they kiss. CLARK (still watching her) (X) Well, gotta... (X) He makes the flying hand motion, she nods, he turns and (X) FLIES off. Lois moves to the window, watching him soar away, smiling, and, for the moment, at peace. BLACK. _THE END_