notes: 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) (I had to tell the program that my primitive printer was using legal-size paper) left margin at 1", right margin at 0.5" (as this is a Production draft, there aren't any (X)s or *s to require a narrower right margin) Notes: Cover: "When Irish Eyes Are Killing" is in large, bold print. My copy has what is typical there blanked out! The writer was G. Rosenberg and into the script, you'll note that atop each page is 8/1/95, and this appears to be the "Production" drat. Typos noted: "alright" misspelled in 3 places (should be "all right") an obscure inconsistency noted: page 46, scene 58, Lois mentions it's 9am, then she goes to meet Patrick. He captures her and in the midst of his fight with Superman, a maid enters offering "turn down service". Seems a bit early in the day for this... --page break-- (graphic - insert logo.bmp or logo.jpg) "WHEN IRISH EYES ARE KILLING" --page break-- _LOIS & CLARK_ "_When Irish Eyes Are Killing_" _CAST_ CLARK KENT/SUPERMAN LOIS LANE JIMMY OLSEN PERRY WHITE ________________________________________________________________ PATRICK SULLIVAN COLLEEN FOLEY SHAMUS/ROBBER STAR VERONICA KIPLING MCCARTHY WALLY WOMAN AT AUCTION MAN O.S. (AUCTION) MAN O.S. (PUB) --page break-- _LOIS & CLARK_ "_When Irish Eyes Are Killing_" _LOCATIONS_ _INTERIORS_: _EXTERIORS_: Daily Planet Daily Planet Street Newsroom Estate Lois's Apartment Living Room Metropolis Street Hallway Outside Park Clark's Apartment Casey's Pub Estate Courtyard Street Patrick's Suite Art Museum Bank Clark's Car --page break-- _LOIS & CLARK_ "_When Irish Eyes Are Killing_" _CHRONOLOGY_ SC. 1 - 8 DAY 1 SC. 9 - 17 NIGHT 1 SC. 18 - 22 DAY 2 SC. 23 - 26 NIGHT 2 SC. 27 - 41 DAY 3 SC. 42 - 57 NIGHT 3 SC. 58 - 69 DAY 4 SC. 70 - 71 NIGHT 4 --page break-- _LOIS & CLARK_ _The New Adventures Of Superman_ "When Irish Eyes Are Killing" _TEASE_ FADE IN: 1 INT. CLARK'S CAR - LOIS AND CLARK - ROLLING - DAY #1 1 CLARK drives as he and LOIS move through an upscale area. LOIS (sarcastic) I love these charity events in the middle of the day. I say we make a cameo appearance and get out of there. CLARK Isn't Perry expecting you to be one of the bachelorettes auctioned off? LOIS I told him I wasn't available. (beat-pointedly) Am I? CLARK (uncomfortable) We've already been over this. LOIS Oh, yeah. You love me too much for us to be together. Right? CLARK How come when you repeat what I say it sounds so dumb? LOIS Because this _is_ dumb. You're completely overreacting. CLARK Really? If you'd never met me... (CONTINUED) --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 2. 1 CONTINUED: 1 LOIS (bored) I wouldn't constantly be putting myself in danger 'cause I know you'll get me out, and _bad_ guys wouldn't be putting me in danger in order to get to you. CLARK Trouble has a way of finding you, especially when I'm around. Maybe I'm a jinx. Clark pulls over to the curb in front of a large estate. CLARK (CONT'D) Why don't you go in and I'll park the car. 2 EXT. ESTATE - DAY 2 Lois opens the door and gets out, then leans back in. LOIS I know you worry about me, but you've got to relax. It's not like bombs are exploding everywhere I go. Lois shuts the car door and Clark pulls away. The CAMERA STAYS WITH HER as she walks up to the house, then PANS to find a shadowy figure hiding around the corner. He is holding something that looks suspiciously like... a bomb. 3 INT. ESTATE - LIVING ROOM - DAY 3 Dozens of well dressed people are gathered in a very large, beautifully decorated room. A banner stretching across the room proclaims this to be the "Daily Planet Benefit For the Coates Home For Children." PERRY stands in front of the room next to a woman in her late 30s (BRENDA). PERRY Come on guys. Thirty dollars for dinner with Brenda Bessolo. It's a steal. MAN (O.S.) Thirty. PERRY Thank you George. We have thirty. Who'll give me forty? --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 3. 4 ANGLE ON LOIS 4 She enters and crosses the room as the auction continues in the background. JIMMY approaches. JIMMY Lois! I'm glad you're finally here. Could you loan me twenty dollars? Monica Sherwin is up next and I think she'll go for around fifty bucks. I'm a little light. LOIS (smiling) Ah, young love. She digs in her purse as, out of the corner of her eye, Lois sees a bomb roll into the crowd. Suddenly, it EXPLODES, emitting thick white GAS which quickly fills the room. People coughing, pass out. Lois desperately looks around. LOIS (CONT'D) (weakly) Clark...? Finally the fumes get to her and she slumps to the floor. 5 EXT. ESTATE - DAY 5 Clark is trying to parallel park in a space that is too small. Frustrated, he pulls the car even with the small space and gets out of his car. He nonchalantly leans up against the passenger side of his car and then, using his SUPER STRENGTH, gives it a nudge with his butt. The car slides into the tight slot sideways, with only inches to spare. Clark smiles and moves away. 6 INT. ESTATE - LIVING ROOM - DAY 6 A shadowy figure quickly moves through the smoke. 7 EXT. ESTATE - DAY 7 Clark casually strolls up the walkway and opens the door to the house. A thick plume of gas rolls out. 8 INT. ESTATE - LIVING ROOM - DAY 8 Clark hurries into the house to see that the guests are out cold. He takes a deep breath and SUCKS IN the gas fumes until the room is clear, then quickly moves to the fireplace and blows the gas up the chimney. (CONTINUED) --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 4. 8 CONTINUED: 8 As Lois starts to regain consciousness, Clark moves over to her and helps her to her feet. CLARK Are you alright? LOIS (slightly woozy) I think so. Someone set off a gas bomb. Clark is about to say something when Lois cuts him off. LOIS (CONT'D) Don't say it. This was a total fluke, a freak occurrence. CLARK Did I say anything? Just then, an ear piercing SCREAM fills the house. An older, well dressed WOMAN run in from another room. WOMAN (wildly panicked) Somebody, please help! Lois and Clark cross to her. LOIS What is it? WOMAN The Scepter of Claudius has been stolen! CLARK The Scepter of who? WOMAN (to Clark) Claudius. The Roman Emperor. It's worth over a million dollars. LOIS (to Clark) Maybe you are a jinx. FADE OUT: _END OF TEASE_ --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 5. _ACT ONE_ FADE IN: 9 INT. HOTEL ROOM - CLOSE ON CANDLE HOLDER - NIGHT #1 9 The elaborate gold candle holder ends in a small gold skull at the base of the candle. CAMERA slowly MOVES from this to another just like it as we become aware of a low CHANTING in a foreign tongue. We MOVE to the face of a young woman, lying down, eyes closed. Her eyes flutter and she groggily tries to focus, then: 10 HER POV 10 Glowing candles ring her; otherwise gloom and shadows. Two hooded figures appear from the shadows as the CHANTING continues. 11 THE WOMAN 11 Her eyes grow wider. 12 HER POV 12 One of the hooded figures produces a large, elaborately carved knife from his robes. A SCREAM O.S., we CUT TO: 13 INT. DAILY PLANET - ON POSTER - NIGHT 13 A picture of Lois and Clark. The poster reads, "LANE AND KENT...THE TEAM THAT DELIVERS THE NEWS TO YOUR DOOR." PAN to Lois and Clark, who are working away in a relatively quiet news room. Lois finishes typing with a flourish. CLARK Pulitzer time? LOIS You know what they say, 'Lane and Kent deliver...' CLARK So I've read, on billboards, bus stops, park benches... (CONTINUED) --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 6. 13 CONTINUED: 13 LOIS With our faces plastered around the entire city, people might get the wrong impression and think we're a couple or something. CLARK (sighs) Here it comes. LOIS (not believing) So... What, you've decided to never let anyone get close to you again? CLARK That's right. LOIS (playful) No wife, no girlfriend, no dating. You're ready to spend the rest of your life completely alone? CLARK If that's what it takes. Lois looks at Clark for a moment, then reaches over and gently touches his face. LOIS You're serious, aren't you? CLARK I'm afraid so. LOIS Maybe you should change your insignia from an 'S' to an 'M' for Martyr Man. 14 PERRY 14 approaches, reading a message, trailed by Jimmy. PERRY Judas Priest, there's been another one. JIMMY Another murder? (CONTINUED) --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 7. 14 CONTINUED: 14 PERRY Same deal as the last one. Young woman... body dumped in an alley... (peers up over his glasses) Her heart had been removed. They reach Lois and Clark. Lois hears this last, reacts. LOIS God. PERRY This thing heats up any more, I'm gonna pull you two off the robbery story. How's it coming, anyway? LOIS Just finished it. PERRY You guys are the greatest. I was just telling Jimmy, I haven't seen a more natural pairing since Hepburn and Tracy. JIMMY Yeah or Yogi and BooBoo. LOIS (glancing at Clark) ... Charles and Di. Perry is standing behind Lois, looking at the story on her computer screen. PERRY You know who took that scepter? CLARK (reacting) What are you talking about? PERRY It says right here that LOIS '...we have a strong lead on the robber's identity and we're waiting for police corroboration.' (beat) I think we can smoke the culprit out. (CONTINUED) --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 8. 14 CONTINUED: 2 14 CLARK And get yourself right back in jeopardy. LOIS Relax. Nothing's going to happen. CLARK Where have I heard _that_ before? Suddenly, Clark turns his head slightly to the side. He is listening to something far off in the distance. CLARK (CONT'D) I gotta pick up a prescription before the drug store closes. 15 LOIS AND CLARK 15 Clark toward an exit, Lois right behind. Rapid fire: LOIS What did you hear? CLARK A cry for help. I think it's coming from the museum. LOIS There's been one ancient artifact stolen today already. I'm going. CLARK No you're not, you're staying. LOIS Forget it. We're a team, 'Lane and Kent,' remember? CLARK Lois, there's a killer loose in this city! LOIS It's Metropolis! Killers are loose all _over_ this city! What's your point?! CLARK (starts to react, thinks better of it, calms) 'Bye. (CONTINUED) --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 9. 15 CONTINUED: 15 On her frustrated look, CUT TO: 16 INT. GALLERY OF ART MUSEUM - NIGHT 16 A HOODED ROBBER is handcuffing a museum curator, a very PETITE woman named VERONICA KIPLING to a chair. While she's small in stature, her voice is BOOMING, and has a grating quality like fingernails on a chalk board. Fran Dresher meets Gilbert Gottfried. VERONICA You won't get away with this! The police will hunt you down! You'll spend the rest of your life in jail!! The robber pulls a hammer from his belt and turns toward Veronica. He looks at the hammer in his hand for a moment and considers putting her, and him, out of his misery, but holds back. ROBBER (slight Irish accent) Enough! Veronica shuts up. The robber sighs as he crosses to a nearby glass case, and SMASHES it with the hammer, then reaches in and pulls out a jewel encrusted crown. SUPERMAN (O.S.) You're going to have to pay for that case. 17 NEW ANGLE 17 reveals Superman standing there. VERONICA Oh, Superman! Thank God you're here! I was just telling this thug that he was not going to get away..! Superman winces, and holds up his hand to silence Veronica. He turns to the robber. SUPERMAN Put the crown back. (CONTINUED) --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 10. 17 CONTINUED: 17 Instead, the robber pulls a small remote device out of his pocket and holds it up for Superman to see. ROBBER I thought you might show up so I brought along some insurance. At that moment, Lois breathlessly appears in the open archway. SUPERMAN Lois! The Robber presses down on the remote and a TREMENDOUS EXPLOSION rocks the museum. Smoke fills the room, chunks of debris fall, display cases shatter. Lois and Veronica are thrown to the floor. The Robber vanishes in the smoke as Superman rushes to Lois, helps her to sit up. SUPERMAN Are you alright?! LOIS (dazed) Yes, yes... He got away! If you hurry you might... SUPERMAN (crossing to Veronica) I've got to check out the rest of this building to make sure it's safe. (to Veronica) You okay? VERONICA I'll live. SUPERMAN (as; he rights Veronica's chair; to Lois:) Maybe you can tell me what you're doing here. I thought we agreed you were going to wait for me. LOIS No, you wanted me to wait, I wanted to come. I came. SUPERMAN What if the explosion had been bigger? What if I didn't see you? What if I was in the... (MORE) (CONTINUED) --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 11. 17 CONTINUED: 17 SUPERMAN (CONT'D) (flustered) ... dinosaur exhibit? You could've died, and all because of me. Veronica, who is still handcuffed, is watching this exchange. As Superman and Lois exit: LOIS Quit being so noble. If I'd gotten hurt it would've been my fault, not yours. Veronica is alone. She stares, then: VERONICA Hey! Superman? Hel-lo?! Superman sheepishly re-enters, sets to freeing her as we... CUT TO: 18 EXT. DAILY PLANET ESTABLISHING - DAY #2 18 PERRY (V.O.) Alright. Hopefully we can finish off this auction with no further interruptions. 19 INT. NEWS ROOM - ON LOIS - DAY 19 She's got one ear covered, straining to hear someone on the phone. Clark hovers nearby. In the b.g. the bachelorette auction has moved here, banners and all. Perry stands on top of a desk. PERRY ...Gentlemen, get those wallets out and be generous. It's for charity... (etc.) LOIS (into phone) Uh-huh. Thanks. I'll get back. She hangs up, looks up at Clark. LOIS (CONT'D) Another murder. A woman; cut up the same way. Right after the robbery last night. (CONTINUED) --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 12. 19 CONTINUED: 19 CLARK And you want the story. It's not bad enough you almost got blown up... LOIS (glares) Maybe we're already on the story! Look, a robbery, then a murder. Robbery, then a murder. Three times. PERRY (sharply, to them:) Could you two take a break for maybe five minutes? (to the room) Well now, who's first an the block this morning? Lois glances over at Clark, then: LOIS I think I'm next, Perry. Perry is surprised. 20 INTERCUT CLARK 20 who is shocked. PERRY But I thought you... and Clark... LOIS Let's make some money for the kids. She steps up on the desk. PERRY Whatever you say. (to the crowd) Here she is, boys. one of our prized reporters, Lois Lane. Let's start the bidding at twenty-five dollars. A reporter, WALLY, raises his hand. WALLY Twenty-five. (CONTINUED) --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 13. 20 CONTINUED: 20 PERRY I've got twenty five. Who'll give me thirty? CLARK Thirty. Lois looks at Clark and glowers. Perry smiles. PERRY Good move, Clark. WALLY One hundred dollars. CLARK One fifty. The crowd reacts. There is a pause in the action. PERRY I've got one-fifty, Wally. Are you going to let Clark steal her away for a measly hundred and a half? LOIS Come on Wally. It's tax deductible. Wally shrugs. He's tapped out. PERRY We've got one fifty. Going once, going twice... MAN (O.S.) Ten thousand. Perry, Clark and the rest of the crowd are stunned. All whip around to see a very vibrant, handsome man in his early 30s. This is PATRICK SULLIVAN. 21 INTERCUT LOIS 21 who suddenly realizes that she knows this man. LOIS Patrick? Patrick smiles and cheerfully waves. PATRICK In the flesh, love. (CONTINUED) --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 14. 21 CONTINUED: 21 PERRY Is that ten thousand _dollars_... American? PATRICK Any way you want it. Dollars, pounds, rubles, gold bars, just name it. PERRY Dollars... would be fine, assuming there are no more bids. (beat) Clark? Clark does a slow burn as he shakes his head. PERRY (CONT'D) Sold, for ten grand. I thank you and the children thank you. Auction continues in b.g. as Lois is down off the desk and walking toward Patrick. LOIS What are you doing in Metropolis? PATRICK I'm here on business. (beat-taking her in) You look great. You've filled out in all the right places. LOIS (embarrassed) You look good yourself. Clark who has inched his way over. LOIS (CONT'D) Uh... Clark, this is Patrick Sullivan. I met him when I was an exchange student in Ireland. PATRICK (to Clark) Sorry for outbidding you, lad, but Lois and I go way back. The very thought of having her all to myself for a night sent shivers down my spine and directly into my wallet. (CONTINUED) --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 15. 21 CONTINUED: 2 21 LOIS (jumping in) Clark Kent is my... (beat) colleague here at the Planet. PATRICK I saw the posters. The other half of 'Lane and Kent.' Patrick extends his hand and they shake. 22 INTERCUT CLOSE ANGLE ON THEIR HANDS 22 as Patrick squeezes hard. Clark can't help himself and gives Patrick a "little" squeeze back, almost breaking his hand. Patrick lets go and shakes his hand in the air. PATRICK Quite a grip you've got there, Clark. You must work out. Lois gives Clark a disapproving look, then turns to Patrick. LOIS How's your father? PATRICK I'm afraid he's come down with a bit of an illness and had to check into the hospital. LOIS I'm sorry. (to Clark) Patrick's Dad was the greatest storyteller... Druids and wizards and virgin sacrifices... He made up the creepiest stuff... PATRICK What makes you think he made it up? He and Lois share a laugh, Clark smiles wanly. LOIS So, ten thousand dollars. You didn't see 'Indecent Proposal' by any chance, did you? PATRICK Yes, yes... _Loved_ it. (CONTINUED) --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 16. 22 CONTINUED: 22 Both Lois and Clark react. PATRICK (CONT'D) Anyway, I thought we'd just have a little dinner at my hotel. CLARK At your hotel? LOIS (to Clark-pointedly) Excuse me. (to Patrick) Your hotel sounds great. off Clark's look... CUT TO: 23 INT. PATRICK'S SUITE - ON TABLE - NIGHT #2 23 PULL BACK to find Patrick looking at the scepter and the crown, laid out on a velvet cloth in the lavish living room. Standing nearby is SHAMUS, his Irish associate. SHAMUS I could've taken more. That explosion stopped Superman cold. Patrick smiles and pats Shamus on the shoulder, then suddenly grabs him by the neck and pulls Shamus's face close to his. Patrick still smiles, but has a crazy gleam in his eye. PATRICK We're here for specific reason, or have you _forgotten_? Shamus, choking and red faced, shakes his head. Patrick smiles, releasing Shamus's neck and playfully pats him on the cheek. CAMERA ADJUSTS to find COLLEEN, the old and odd Irish Nursemaid, watching nervously from the bedroom. PATRICK (CONT'D) Good. Now is no time for greed. (notices Colleen) Yes? DOORBELL. (CONTINUED) --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 17. 23 CONTINUED: 23 PATRICK (CONT'D) My guest is here. (to Shamus) Make yourself scarce. Shamus scoops the crown and scepter up in the cloth, exits, as Colleen crosses to door, opens it reveal Lois. LOIS (delighted) Colleen! They hug. Patrick comes over. PATRICK So you do remember her. (arm around Colleen) Colleen raised me from a pup, and I just never figured out how to get along without her. Colleen nervously eyes his arm around her shoulder, gently disengages herself. COLLEEN So nice to see you again. (going off) Well, I'm sure you two must have a lot to talk about... LOIS Colleen, you don't have to leave PATRICK Oh, Colleen would sooner die than feel in the way. Wouldn't you, Colleen? Colleen smiles weakly, goes. LOIS (looking around) You're obviously doing very well at whatever it is you're doing. PATRICK I took over father's business. I always thought he was a junk man, but I've learned that one man's junk is another man's 'fine antique.' He smiles, crosses to a sideboard to pour two glasses of champagne. (CONTINUED) --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 18. 23 CONTINUED: 2 23 CAMERA MOVES IN on Lois, who runs her hand over the candlesticks we saw earlier with the gold skulls. LOIS Oh, you deal in antiques. These are beautiful. CAMERA RACKS to include Patrick, watching her fixedly as she touches the candlesticks. PATRICK But not for sale. They've been in the family for years; I always travel with a piece of home. He hands her champagne, their faces are almost touching. Lois looks into Patrick's eyes for a moment, then backs off. PATRICK (CONT'D) What about you? My Lois has become a famous reporter. LOIS (self effacing) I'd hardly say famous. PATRICK You're too modest. As a matter of fact, I read your story this morning about that theft. I find it amazing you already know who the guilty party is. LOIS Well, I may have exaggerated... a little. PATRICK (smiling pleasantly) How little? LOIS Let's forget about work for a while. Patrick grabs the champagne bottle and refills Lois's glass, then raises his. PATRICK Let's toast... to us. CLARK (somewhat flustered) Us? (CONTINUED) --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 19. 23 CONTINUED: 2 23 PATRICK I'm sorry. Of course, you're probably seeing someone. Clark? LOIS It's complicated. PATRICK What can be complicated? Either you're seeing him or not. LOIS Well, at the moment... not. Exactly. PATRICK Splendid! I mean, he seems like a fine man, but he doesn't strike me as the romantic type. Did he sweep you off your feet? LOIS At times. Uh, how about you, Patrick? Are you seeing someone? PATRICK (watching her with a rueful smile) No. You see, I had the love of my life in my clutches, but I let her get away. If I had to do it over again, I'd make sure she never left me. Patrick smiles. Lois gives a vague smile, lost in thought. FADE OUT: _END OF ACT ONE_ --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 20. _ACT TWO_ FADE IN: 24 INT. CLARK'S APARTMENT - NIGHT 24 Clark is dressed in jeans and a cutoff sweat shirt. He paces as he talks into a cordless phone. CLARK Mom, people _already_ use her to get to me! Imagine if it got out we were married! The trouble is, I can't stop thinking about her. (beat) Of course I still love her. And that's why this hurts so much. There is a knock on the door. CLARK (CONT'D) I've gotta go. Say 'hi' to Dad for me. (beat) Love you too, Mon. He hangs up and crosses to open the door to reveal Veronica, the curator from the museum. As always, she is full of loud, grating energy. VERONICA Mr. Kent? I'm Veronica Kipling, from the museum. May I come in? (she barrels in) I was on my way home, I live conveniently nearby, and I thought I'd drop off the photos you wanted. You're cuter in person than your poster. She's pulling 8 x 10 glossies from her bag. CLARK How did you know my address? VERONICA My cousin Isadore works for the DMV. Oh, this place has such possibilities; just move in? CLARK No. VERONICA Oh. Clark reacts, then examines the photos. --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 21. 25 PHOTOS -- INSERT 25 One is a photo of the stolen scepter. The other is of the stolen crown. 26 BACK TO SCENE 26 CLARK What can you tell me about the stolen crown? VERONICA It was made for Claudius, the ruler of Rome from 41 AD until 54 AD. Think it has anything to do with the stolen scepter? CLARK (studying photos) Definitely. I'm looking for something that might tie them together. Oh, can I offer you something to... VERONICA Got any meat? CLARK Uh... no.... (back to photos) This might be something. Both the scepter and the crown have large emeralds. The stones look almost identical. Veronica presses in close to study the photo, gripping Clark's biceps for support. He notes her hand, as: VERONICA It's possible they both came from an earlier artifact. It was common practice for the Romans, after they finished pillaging, plundering raping, impaling, and whatever: to take precious stones from their spoils of war and make new stuff they liked better. (glancing around) You're not married, am I right? Clark slowly looks up and looks at her. A KNOCK on the door, and Clark disengages himself, hurries to open the door. Lois charges in with a head of steam. (CONTINUED) --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 22. 26 CONTINUED: 26 LOIS Okay, I admit I'm high maintenance in the relationship area. I can be demanding, headstrong, occasionally stubborn... CLARK Lois... LOIS ...But only because I care! And I am not ready to let you walk away just because you think I... She suddenly notices Veronica, then sidles up to Clark, speaking quietly. LOIS (CONT'D) Clark, there's a woman in your apartment. CLARK I know. You remember Ms. Kipling from the museum. She brought me these photos. VERONICA Turns out Clark and I are practically neighbors. Now I know who to call when I blow a fuse. LOIS (composing herself) Yes. Well, this probably isn't a good time to bare my soul. I'll be leaving. She swiftly heads for the door, Clark follows. CLARK Lois, c'mon, this isn't what it looks like. CAMERA MOVES IN on them. LOIS Oh? It looks like it's ten at night and you're entertaining a woman. CLARK Aha! See, 'entertaining' would be the wrong word. (MORE) (CONTINUED) --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 23. 25 CONTINUED: 2 26 CLARK (CONT'D) We are 'investigating.' She is helping me 'investigate.' LOIS I thought I did that. Or did you dump me in that department, too? CLARK Would you cut it out?! LOIS Okay, let's say tonight is perfectly platonic. But the night will come when it won't be. For one of us. How do you think we should handle that? CLARK I... hadn't actually thought about that... LOIS Maybe you should. Good night, Ms. Kipling. She crisply leaves. Clark stands staring after her as Veronica comes up. VERONICA Boy, she is just not taking it well at all, is she? He slowly looks over at her, we... CUT TO: 27 INT. PATRICK'S SUITE - MORNING - DAY #3 27 Patrick watches Shamus pry the emerald out of the crown. PATRICK Careful with that, lad. Shamus finishes prying the jewel out and hands it to Patrick. Patrick opens a box to reveal the other emerald, which has been removed from the scepter. He brings the emeralds close together and suddenly there is an electric crackling sound and a GREEN BEAM OF ENERGY arcs between the two emeralds. (PROD. NOTE: The color of the emeralds and the glow that they emit should be very distinct and not resemble Kryptonite.) (CONTINUED) --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 24. 27 CONTINUED: 27 PATRICK The eyes of Ireland. I can feel the power of the ancient Druids flowing through them. Shamus nods. Patrick places the emeralds together in the open box, opens a door in the armoire, sets the box within, closing the door (and revealing nothing inside). CAMERA MOVES IN on Patrick. PATRICK (CONT'D) The power flows down through the centuries... Undimmed by time... And into my hands. CUT TO: 28 INT. DAILY PLANET - MORNING 28 Perry walks through the news room and stops at Clark's desk. PERRY Great article about the thefts, Clark. I didn't know you were so well read on Roman history. CLARK I had a little help. Perry leaves as Lois, at her desk, turns to Clark. LOIS (light) Very complete story. Ms. Kipling must've been there most of the night. CLARK How was your dinner with Patrick? LOIS (smiling) Really nice. As a matter of fact, I'm having lunch with him this afternoon. CLARK Lunch. That's great. Lois smiles and nods. He smiles back, returns to work. Their smiles fade. She sneaks a glance at him, he glances at her, they both go back to smiling. CUT TO: --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 25. 29 INT. PATRICK'S SUITE - DAY 29 Colleen is straightening up the suite when she hears a faint CRACKING sound. She looks at the armoire and sees a greenish glow coming from inside of it. She tries the door, but it's locked. She grabs a paring knife from a basket of fruit on the table and forces it between the doors. After a moment, the armoire pops open. Colleen is taken aback by the sight of the emeralds. She reaches out to touch one, then quickly pulls her finger back in fear. She opens the door further and stares in horror at an eerie shrine to Lois, surrounded by candles and flowers. There, dozens of photos, newspaper articles written by her,photos from the past when she first met Patrick, and a large, glamorous shot, beneath which rests the ceremonial knife. ON her shock, we... CUT TO: 30 EXT. PARK - DAY 30 Lois and Patrick are sitting on a blanket amidst a grove of trees. A huge picnic basket is open and there is an impressive array of food spread out around them. LOIS This was a lovely idea. I hope you don't mind if I pick your brain for a few minutes. PATRICK You can pick any part of me you'd like. I'll bet you want to know about the emeralds in Clark's article. LOIS (nods) Does his theory make sense? PATRICK I haven't seen the stones myself, but if they're close in size and cut, they may've come from the same source. LOIS So, someone could have stolen the scepter and crown just to recover the emeralds? PATRICK It's possible. (CONTINUED) --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 26. 30 CONTINUED: 30 LOIS If I can determine where the stones originally came from, I might be able to figure out who took them. PATRICK (smiling) You always were the most tenacious girl I'd ever met. LOIS I've gotten worse with age. PATRICK I think you've gotten better. CUT TO: 31 EXT. DAILY PLANET - DAY 31 Clark exits the Daily Planet building and walks down the street. When he passes by an alley, he hears... COLLEEN (O.S.) (loud whisper) Clark Kent? Of Lane and Kent? He follows the voice into the alley and sees a terrified Colleen in the shadows. CLARK Yes? COLLEEN I'm Colleen Foley... I was his nurse, you see... Oh, I don't want him to see me! CLARK 'Him?' COLLEEN He doesn't mean to do ill! He just can't free himself from the curse. CLARK Who can't free himself from what curse? COLLEEN (hurrying away) I can say no more! (CONTINUED) --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 27. 31 CONTINUED: 31 CLARK But you haven't said _any_thing! COLLEEN (halts; puzzled) I didn't mention you must keep Lois Lane away from my Patrick? CLARK No. But believe me, there's nothing I'd like better... What's this curse? COLLEEN (wretchedly) I dare not speak of it! CLARK Look, if Lois is in danger, I have a right to... COLLEEN (holds up a hand) Excuse me... (listens; speaks to shoulder) What? What? Very well. (to Clark) Erin says to tell you. CLARK Who's Erin? COLLEEN The wee leprechaun who sits on my shoulder. CLARK You... have a leprechaun on your shoulder... COLLEEN My Patrick has changed in the past few days. Since he got hold of the sacred emeralds.... CLARK Sacred _emeralds_... ? Big... identical emeralds? COLLEEN Why, yes... (CONTINUED) --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 28. 32 CONTINUED: 2 31 CLARK From the stolen scepter and crown? COLLEEN What stolen scepter and crown? CLARK Ms. Foley, haven't you read the newspapers? COLLEEN No, but I see a lot of musical comedies. CLARK (getting a grip) How... has he changed? COLLEEN Patrick's father was a wonderful man. All the Sullivan men are wonderful men. Until the day the darkness passes over their minds and they... go mad. CLARK Patrick's father... He's in a hospital... COLLEEN For the criminally insane. He believes he's a Druid priest! Can you imagine anything so silly? (sharply, to shoulder) Quiet, Erin, I'm gettin' to that! (to Clark) One night... He conducted a ritual in the woods... And sacrificed Patrick's mother to his Druid faith.... She covers her mouth and stifles a sob. CLARK (quietly) What? COLLEEN (in tears) He cut out her heart. CLARK ... Like the women who've been dying in Metropolis... (CONTINUED) --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 29. 31 CONTINUED: 3 31 COLLEEN Oh! Oh, my Patrick! It's starting! CLARK And you think Patrick is going to kill Lois?! COLLEEN He loves her. And he's built a shrine to his beloved like his father did before him. CLARK Ms. Foley, gimme a minute here... This is all pretty hard to swallow... COLLEEN Mr. Kent! Now that he has the emeralds, he has only to sacrifice the one he loves most... And ultimate power is his. CLARK Ultimate power. Over the world? COLLEEN Worse. Over the fairies and sprites and all the dear wee forest folk... CLARK (uh-oh) I'll do what I can, Ms. Foley. COLLEEN I knew you would! (touches his cheek) I can always spot an Irish lad. Clark smiles weakly and leaves. Colleen hesitates in the alley for a second, then exits. THE CAMERA stays on the alley. After a beat, a shadow moves around the alley corner. It is Shamus, who has heard the whole conversation. CUT TO: 32 INT. DAILY PLANET - ON PHONE - DAY 32 RING! PULL BACK as Jimmy answers the phone. JIMMY Jimmy Olsen here. --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 30. 33 INTERCUT PHONE BOOTH - CLARK 33 CLARK Jimmy, do you know where Lois is having lunch? JIMMY She didn't say. Maybe you could beep her. CLARK Good idea. Do me a favor. Get the phone numbers of all the psychiatric hospitals in and around Dublin. And call Veronica Kipling at the museum and see what she knows about Druids. JIMMY Druids? CLARK Thanks. CAMERA is CIRCLING AROUND as he dials another number, waits, punches in another number. CAMERA PASSES an opaque section of the booth, and as it clears, we now see SUPERMAN standing in the phone booth. He hangs up the phone and uses his SUPER HEARING to pick up a faint BEEPING NOISE. CUT TO: 34 ABOVE METROPOLIS 34 Superman scours the ground below, homing in on the sound of Lois's beeper. 35 EXT. PARK - DAY 35 Lois and Patrick are still sampling the food and talking. A very faint BEEPING sound comes from Lois's purse. PATRICK ... and I'd love to show you my home in Balbriggan. On a clear day you can see England from the bedroom window. LOIS It sounds wonderful. (CONTINUED) --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 31. 35 CONTINUED: 35 PATRICK I always hoped I'd see you again, but figured by the time I did, we'd be old and gray. And here we are, still young and single. LOIS (nervous laughter) Imagine that. PATRICK Your purse is beeping. 36 BACK TO SUPERMAN 36 who hovers a few hundred feet above the park. Using his TELESCOPIC VISION he scans the ground below. 37 SUPERMAN'S TELESCOPIC POV 37 He can see Lois and Patrick below. 38 ON SUPERMAN 38 who swoops downward, 39 LOIS AND PATRICK 39 Lois roots through her purse and finally comes up with her beeper, flips it off as Clark nonchalantly walks by and is "surprised" to see Lois and Patrick. CLARK Lois. Patrick. What a surprise. LOIS It certainly is. You just happened to be out for a stroll? CLARK (innocently nods) I was sitting in the news room and a walk in the park suddenly seemed like a good idea. LOIS (to Patrick) I've got to be getting back. Thanks for lunch. We'll do it again, soon. (CONTINUED) --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 32. 39 CONTINUED: 39 PATRICK How about dinner tonight? There's a great little Irish pub... Casey's... on Main Street. Lois hesitates, then throws caution to the wind. LOIS I'll meet you there. She accepts a kiss on the cheek from Patrick, turns to Clark. LOIS (CONT'D) (with an attitude) Maybe you'd like to walk me back to the office? CUT TO: 40 EXT. METROPOLIS STREET - LOIS AND CLARK - TRACKING - DAY 40 Lois and Clark are walking back to work. LOIS Okay. Let's hear it, and don't tell me you were out for a walk. CLARK I think Patrick could be dangerous. LOIS (sighs) You're right. He was trying to kill me with truffles. CLARK I'm serious! The guy is trouble. Lois stops and faces Clark. They are right in front of a large "Lane and Kent" poster, showing them in a warm, friendly pose. LOIS I don't understand you! First you want me out of your life, but the minute anyone else shows interest, you charge in like an obsessed bodyguard with this crazy story! CLARK It is not a crazy story! (CONTINUED) --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 33. 40 CONTINUED: 40 LOIS Oh, it's not?! CLARK No! LOIS Then what is it?! CLARK It's possible Patrick stole the emeralds and he's uh, gonna sacrifice you to the, you know, ancient gods. LOIS 'Bye now. CLARK I got it straight from his old nurse, Colleen! LOIS _Colleen_? Clark, she talks to leprechauns! CLARK (uncomfortably) I can't argue with you there. (as she starts to go) Look, she told me about the Druids and the sacrifices of women to... LOIS (exasperated) Oh she's confusing reality with those dopey stories Patrick's father told us! CLARK ... And the father's in a hospital because he's criminally insane! CLARK No, he's having a fatty cyst removed. Patrick told me all about it. (beat) Clark, either we're together or we're not. You can't have it both ways. They are at the doors of the Daily Planet. Lois enters, letting the door swing shut in Clark's face. CUT TO: --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 34. 41 INT. PATRICK'S SUITE - DAY 41 Patrick is standing in the living room, looking out over Metropolis. Colleen enters the room behind him. He doesn't turn when he speaks. PATRICK Colleen. After all these years, how could you betray me? COLLEEN Betray you? What are you... ? Patrick spins around, his face contorted with rage. PATRICK Don't! Shamus told me about your meeting with Mr. Kent. COLLEEN (frightened) I'm only trying to help you. PATRICK (suddenly calm-smiling) The mask is all the help I need. Once I possess it, the power of the ancients will be restored, and with it, the honor of our family. Patrick reaches out to Colleen, who recoils in fear. He softly runs his hand over Colleen's hair. PATRICK (CONT'D) But we can't have you running all over the city shouting, 'The Druids are coming!, now can we? Patrick slips his hand from Colleen's hair to her neck, then suddenly around her throat. Colleen's eyes grow large with fear and disbelief. FADE OUT: _END OF ACT TWO_ --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 35. _ACT THREE_ FADE IN: 42 INT. DAILY PLANET - CLARK AND JIMMY - NIGHT #3 42 Clark's on the phone, Jimmy sits nearby with clipboard. CLARK (into phone) So Mr. Sullivan isn't a patient there? Sorry. My mistake. Jimmy crosses a line through a list of hospitals. JIMMY Four nut houses down, one to go. Clark is about to dial, then that voice: VERONICA (O.S.) Oh, Clark... There you are! Clark freezes like a trapped animal, turns as: 43 VERONICA 43 Dressed for allure, she staggers across the room with books and boxes of papers as other staffers stare. VERONICA The things I do for _you_, Mister! It took me _hours_ in the museum vaults, but I found the stuff you wanted on Druids. God, I inhaled enough dust bunnies to clog a Hoover. (to Jimmy, who's staring) The Druids were a powerful order of ancient Celtic Priests, driven from power by the Romans. JIMMY I know what Druids are. VERONICA So few do. CLARK Veronica, this was _really_ nice of you, but you didn't have to bring it all down here yourself. (CONTINUED) --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 36. 43 CONTINUED: 43 VERONICA How else do you think I stay in this kind of shape? Hours in the gym alone won't do it. (lightly touches his biceps) How do you stay in shape? CLARK Uh, listen, thanks again, but I.... gotta get back. VERONICA (curtly) Oh. Okay. Fine. You don't have to drop a house on _me_. She gives him a look, starts away. Clark starts to say something, then sighs, sits, picks up phone, dials. CLARK (sensing Jimmy's stare) Just don't say... anything. (into phone) Hello. I'd like to speak to Colin Sullivan please. (beat) But it's important. It's... um... regarding his son. (beat) I see. Well, thank you. Clark hangs up and turns to Jimmy. CLARK (CONT'D) Bingo. He's there, but he can't come to the phone because he is a criminally restricted patient. JIMMY You think this whole Druid sacrifice thing could be true? CLARK I don't know, but I'm not taking any chances. (gets up) Lois is having dinner with the guy tonight. JIMMY And you're... what, just gonna go stand there by yourself and stare at 'em? (CONTINUED) --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 37. 42 CONTINUED: 2 43 Clark stops, glances at Jimmy, then slowly turns as CAMERA ADJUSTS to include Veronica, impatiently waiting for an elevator. Clark sighs, goes to the railing near the elevators, and: CLARK So Veronica... You like Irish food? CUT TO: 44 EXT. COURTYARD DINING AREA - NIGHT 44 A noisy place with a boisterous crowd. Patrick plays darts against another MAN as Lois sits nearby, watching. Patrick throws his final dart and it's a bulls eye. His opponent shakes his head and hands Patrick a twenty dollar bill. Patrick pulls his darts from the board and then plops down at the table. LOIS Undefeated. I'm impressed. PATRICK Don't be. What you're seeing is how I spent four years of college. I can't tell you much about literature or geology, but I can hit a bulls eye nine out of ten times. 45 NEW ANGLE CLARK AND VERONICA 45 who are making their way through the crowd, heading toward Lois and Patrick. At first Lois doesn't notice, but as she turns to set down her glass of wine, she sees Clark standing near her table and the glass drops from her hand. Using his SUPER REFLEXES, Clark catches the glass before it hits the floor. It happens so quickly, that no one other than Lois realizes what he did. Clark gently sets the glass back on Lois's table as she glares at him. CLARK Imagine running into you two. This town's smaller than you'd think. PATRICK (with a forced smile) Yes. Seems like every time I turn around, you're there. (CONTINUED) --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 38. 45 CONTINUED: 45 CLARK (smiles) I tend to cover a lot of ground. LOIS (sotto to Clark) I can't believe you followed me. CLARK Patrick, I'd like you to meet Veronica Kipling. Veronica, Patrick Sullivan. VERONICA (in "that" voice) Not Patrick Sullivan, dealer in ancient antiquities, not _that_ Patrick Sullivan! PATRICK (wincing) I'm afraid so. CLARK (to Patrick) How is the antique business? Made any new acquisitions lately? Lois shoots Clark a look. PATRICK I'm always on the lookout for interesting trinkets. MAN (O.S.) Patrick, the board's open. Patrick holds a dart up to Clark with a pleasant smile. PATRICK You play? CLARK (smiling pleasantly back) A little. Lois looks from one to the other, sensing the rivalry. LOIS Patrick, I'm not all that hungry, why don't we just... (CONTINUED) --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 39. 45 CONTINUED: 2 45 PATRICK (eying Clark) I never back away from a challenge, Lois. CLARK (eying Patrick) Gee, I thought you challenged me. And they go off toward the dart board. VERONICA Men! Can't live with 'em, can't shoot 'em. She laughs a nasal honking laugh; Lois stares at her. 46 CLARK AND PATRICK 46 Patrick concentrates. Just as he is about to throw... CLARK So, do your 'trinkets' include rare gems? Lois reacts, Patrick throws. The dart sticks to the right of the bulls eye. He turns to Clark, a bit frustrated. PATRICK I deal in all sorts of things. Your throw. Clark aims and throws. It's just barely inside of Patrick's. Clark smiles. Veronica claps. Lois glowers. Patrick holds up his second dart and aims. As he pulls it back... CLARK What brought you to Metropolis? Some big deal? Here to make a killing? Patrick throws. This time the dart is wide to the left. His anger is building. PATRICK You never know. Clark throws his second dart, just inside of Patrick again. PATRICK (CONT'D) Last dart. I'd appreciate a little silence. (CONTINUED) --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 40. 46 CONTINUED: 46 CLARK Sure, no problem. I don't want to ruin your concentration. Patrick carefully aims, then lets his dart fly. Dead in the heart of the bulls eye. The crowd applauds. Patrick turns with a triumphant smile. PATRICK Your turn. Just then, Clark cocks his head, hearing something. Lois knows that look. LOIS Clark, is everything... ? CLARK I just remembered I've got to make a call. PATRICK (cocky) A call. You're conceding the game? Clark looks at Patrick and smiles, then lets his dart fly. 47 CLOSE ON DART 47 In the best tradition of Robin Hood, it splits Patrick's dart right down the middle and lodges itself into the bulls eye. The crowd is stunned, Lois buries her face in a hand. 48 BACK TO SCENE 48 CLARK This was fun. We'll have to do it again some time. Clark quickly crosses the courtyard. In the background, one of the bar patrons is trying to get the final dart out of the board, but it's not budging. 49 EXT. CASEY'S PUB - NIGHT - MOMENTS LATER 49 Clark is hurrying out of the courtyard to the sidewalk as Lois hurries out after him. LOIS Hold it right there. (CONTINUED) --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 41. 49 CONTINUED: 49 CLARK (stops, faces her) Lois, I've really got to go. LOIS First you owe me an apology, then you owe me an explanation, and they both better be awfully good. CLARK Okay, I'm sorry. I'll have to save the explanation for later. LOIS Not this time. You're acting like a super schizophrenic. First you push me away and then you're all over me like a stalker. CLARK I found out Patrick's father is locked away in a home for the criminally insane. LOIS You actually checked out Colleen's story? CLARK (fidgeting) Can we talk about this when I get back? LOIS For once I want to finish a conversation with you. (beat; firmly) We can talk on the way. CLARK On the way? You're serious? VERONICA (O.S.) Oh, Clar--key... 50 NEW ANGLE 50 Veronica and Patrick stand in the restaurant entrance. VERONICA Clarkey, where are you two going? (CONTINUED) --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 42. 50 CONTINUED: 50 LOIS That call he has to make? I have to make it, too. We're a team. We have to do things together. Lois and Clark smile apologetically, start to leave, when: PATRICK (to Veronica) I'll see you home. CLARK No! He dashes back to Veronica, hands her some cash. CLARK (CONT'D) Here's cab fare. And he and Lois dash out of FRAME. VERONICA (to Patrick) He is just so jealous. CUT TO: 51 THE SKY OVER METROPOLIS 51 Superman is carrying Lois, flying through the night sky. LOIS (in disbelief) 'Clarkey?' I mean, I can live with being replaced, but _really_. SUPERMAN At least she's never sacrificed anyone. That I know of. LOIS Just because the father's in an institution doesn't mean his son thinks he's a Druid! SUPERMAN But it could! LOIS I think you _want_ Patrick to be guilty! If I was seeing _Ghandi_ you'd find some reason to think he was an embezzler! (CONTINUED) --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 43. 51 CONTINUED: 51 SUPERMAN 'Jealousy?!' You think that's what all this is about? LOIS Apparently the Green-Eyed Monster's more powerful than you are! And by the way, I wouldn't be seeing Patrick _or_ Ghandi if you hadn't started this whole thing to begin with! SUPERMAN (gives her a look; glances down) There's the bank. I'll drop you at the corner where you'll be... SUPERMAN LOIS ...Out of danger. ...Out of danger. He sighs, they shoot downward. CUT TO: 52 INT. BANK NIGHT - MOMENTS LATER 52 Superman enters to find a GUARD and the BANK MANAGER (MR. McCARTHY) tied up and gagged with duct tape. The vault is open. As Superman breaks the thick tape around the guard and the bank manager, Lois quietly slips in, ducking behind the teller counter. Mr. McCarthy pulls down his gag. SUPERMAN What happened? McCARTHY Some guy in a hood came in as we were locking up for the night. He made me open the vault and then he tied us up and broke into one of the safe deposit boxes. SUPERMAN Do you know what he took? McCARTHY I'm not sure, but it looked like some kind of mask. Crouching down, Lois moves to the vault and looks in. --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 44. 53 LOIS'S POV 53 She can see that box #532 has been pried open. 54 BACK TO SCENE 54 SUPERMAN How long ago did he leave? McCARTHY He's long gone by now. I wish you could've gotten here sooner. SUPERMAN I was... detained with other business. 55 INTERCUT ANGLE ON LOIS 55 as she grabs the safe deposit box card file and quickly rifles through it. SUPERMAN Can you tell me who owns the box that was broken into? McCARTHY No offense, Superman, but we have to keep that information confidential. Lois finds the card for box #532 and stuffs it into her blouse. A moment later, SIRENS are heard outside. SUPERMAN The police can take over from here. Superman turns just a moment too late to see Lois slip back out the front door. CUT TO: 56 EXT. PATRICK'S HOTEL - ESTABLISHING - NIGHT 56 PATRICK (O.S.) It's beautiful. 57 INT. SUITE - CONTINUOUS 57 Patrick is holding an ornate mask in his hands. The eye sockets in the mask are empty holes. Shamus stands nearby, dressed entirely in black. (CONTINUED) --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 45. 57 CONTINUED: 57 PATRICK (excited) The Mask of The Ancient Ones will finally be restored and its power will be mine. Patrick takes one of the emeralds from the armoire and places it into one of the eye's sockets in the mask. As he does, the emerald GLOWS for a moment, then seems to weld itself in place. PATRICK (CONT'D) For centuries, the Druid priests of my clan have been forced into hiding... Scorned and ridiculed. No longer. Patrick places the second emerald into the mask. once it is set in place, the entire mask GLOWS. He stares at it, crazed with power. PATRICK (CONT'D) You can feel the magic... Shamus nods with a silent reverence. PATRICK (CONT'D) It's time we made our final offering to The Ancient Ones. Patrick kisses his finger and lightly touches it to the lips of Lois's photo. FADE OUT _END OF ACT THREE_ --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 46. _ACT FOUR_ FADE IN: 58 INT. DAILY PLANET - MORNING - DAY #4 58 Lois is at her desk, on the phone. She is holding the card from the bank in her hand. LOIS (into phone) ...it's very important I speak to Mr. O'Neil as soon as he gets in. (beat) Thanks. STAR charges in. STAR Hi, Lois. Got your message. LOIS What message? I didn't leave any message. STAR Sure, you did. Your mind reached out and told me to drop off some egg roll if I was in the vicinity. LOIS No it didn't. I swear. It's nine a.m. STAR Oh, good, 'cause all I could find was bagels! (plops them on desk, as:) You're right, I couldn't agree more. LOIS Excuse me? STAR I was responding to your thought that small weddings are more romantic. LOIS I wasn't thinking about my wedding, Star. What would be the point? I don't think there's gonna be one. (CONTINUED) --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 47. 58 CONTINUED: 58 STAR Well not if you keep seeing other men. LOIS (startled) Lucky guess, right? STAR Lois, your brain's like a cheap TV... Full of static. But one thing is coming through loud and clear. So loud it's giving me a migraine. Got any aspirin? LOIS What is coming through loud and clear? STAR Don't you know? You love Clark! if I was giving free advice, I'd say simplify your life 'cause there's only room for one guy in there... (points to Lois' head) And there. She points to Lois' heart. Lois turns miserably away. LOIS (emotionally) There _is_ only one, Star. I love him so much and he is so dumb! STAR He's human! He's entitled! He'll un-dumb sooner or later. LOIS Well, it's hard not to feel flattered by Patrick when I'm feeling this rejected. STAR (carefully) But Patrick... He's not the real thing... Is he? LOIS (sighs) No. (gets up) Thanks. I've gotta run. (CONTINUED) --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 48. 58 CONTINUED: 2 58 STAR Go! (suddenly) Oh! Oh! Don't open that cabinet! LOIS What cabinet?! STAR You were just thinkin' about this cabinet... With glowing rocks.,.. LOIS (unnerved) No, I wasn't. I was thinking about... Patrick. STAR Oh... (gives her head a knock) I gotta get this thing fixed. CUT TO: 59 INT. PATRICK'S SUITE - MORNING 59 A KNOCK on the door and Patrick, dressed in elegant casual clothes, opens it to reveal Lois. He smiles. PATRICK So nice to see you again. I'm on the phone in the other room. I'll be just a few minutes. Make yourself comfortable. Patrick leaves the room. Lois can't help herself and nonchalantly stands up and starts looking around. 60 INT. DAILY PLANET - SAME TIME 60 Clark is at his desk, pondering his next move. He glances over to Lois's desk and sees the deposit box card. Clark tips his glasses and, using his TELESCOPIC VISION, reads the card. 61 CLOSE ON CARD 61 which reads, "BOX #532: DENNIS O'NEIL" PH: 555-0393 --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 49. 62 BACK TO SCENE 62 Clark shakes his head and smiles. CLARK (to himself) How does she do it? Clark picks up his phone and dials. Jimmy walks over carrying some of research material Veronica brought, JIMMY I have now read Everything you Always Wanted to Know about Druids, but were Afraid to Ask. CLARK Hang on. (into phone) Mr. O'Neil? This is Glen Whitmore with the FDIC. We'd like to process the paperwork on your loss as quickly as possible, and need a description of the item that was stolen from your box. (beat) Uh huh. Right. I see. (beat) We'll get back to you. Have a good day. Clark hangs up and turns to Jimmy. JIMMY Let me guess. Something else from the Claudius Collection. CLARK Not this time. It's an Irish artifact called the Mask Of The Ancient Ones. JIMMY That sounds familiar. Jimmy starts digging through the papers. 63 INT. PATRICK'S SUITE - SAME TIME 63 Lois is looking around the living room, talking to herself as she peeks in drawers, behind furniture, etc. (CONTINUED) --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 50. 63 CONTINUED 63 LOIS (to herself) I don't know why I let Clark do this to me. I'm not going to find anything here. It's ridiculous to think Patrick has anything to do with... Just then, she sees a greenish glow seeping out of the armoire. LOIS (CONT'D) A cabinet and a green glow She crosses over and sees that the lock on the cabinet is broken. Lois opens the door to see the array of photos and she gasps. A moment later, she sees the mask. LOIS (CONT'D) I don't believe it. Lois takes the mask out of the armoire. PATRICK (O.S.) I'm afraid it's true. Lois spins to see Patrick. Standing next to him is Shamus. LOIS Is this the mask that was taken from the bank last night? PATRICK (nodding) The Mask Of The Ancient Ones. He nods to Shamus, who crosses the room and roughly takes the mask from Lois's hands. LOIS (suddenly wary) What's going on here, Patrick? PATRICK It's quite simple. The power of my people is about to be returned. Now that you're here, the ceremony can begin. Lois's eyes open wide and she suddenly bolts for the door, but is caught by Shamus. Patrick smiles and slowly moves in on her. She is too afraid to scream. --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 51. 64 BACK TO THE DAILY PLANET - ANGLE ON PHOTO OF MASK - DAY 64 It's the same mask that Patrick has. CLARK (O.S.) The mask was made by a Druid sorcerer. Anyone who wears the mask is supposed to take on his powers. 65 INCLUDE CLARK AND JIMMY 65 JIMMY It says here that it had matching emeralds set into the eyes, but the gems were stolen. CLARK (realizing) Of course. The Druids were overthrown by the Romans during the reign of Claudius. JIMMY (picking up on it) ...who pulled the emeralds out of the mask and used them in his scepter and crown. CLARK So Sullivan is trying to repair the mask, hoping its powers will be restored. Just then, Perry comes striding over to Clark's desk. PERRY Bad news. I just got off the phone with the police. They fished a body out of the lake. It's been I.D.'d as Colleen Foley. CLARK (dashing out) Jimmy, Get hold of Lois! Tell her to stay away from Patrick Sullivan! 66 INT. PATRICK'S SUITE - DAY 66 Lois is laying on top of a table, her hands and feet are tied down to the legs. She is alone in the room. (CONTINUED) --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 52. 66 CONTINUED: 66 LOIS (pleading) Patrick, please. Don't do this. Patrick and Shamus enter the living room. Both are dressed in black, hooded robes. Patrick carries the ornate, ceremonial knife. PATRICK (finger to his lips) Hush, my sweet. He lightly caresses Lois's face. She is revolted. 67 THE SKY OVER METROPOLIS 67 Superman is soaring. 68 BACK TO PATRICK'S SUITE 68 PATRICK (smiling) I've loved you ever since we met, Lois, which makes this such a special gift for the Ancient Ones. LOIS Wait, wait Don't you guys usually sacrifice virgins? I've got some really bad news for you Patrick moves closer to Lois. He takes the tip of the knife and gently slips it under one of the buttons on her blouse. PATRICK The Ancient ones are flexible. He jerks the knife up, slicing off the button. Lois SCREAMS. A moment later, Superman CRASHES in through the window. LOIS (relieved) Am I glad you didn't listen when I told you to stay away from me. SUPERMAN (to Patrick) It's over. PATRICK Not yet. Shamus! (CONTINUED) --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 53. 63 CONTINUED: 68 Shamus raises up the ceremonial knife and gets ready to plunge it into Lois. Superman uses his HEAT VISION on the knife, turning it RED HOT in a second. Shamus flings the knife aside, looking at the burnt flesh on the inside of his hand. He turns to run, but Superman blows out a concentrated burst of SUPER BREATH which slams Shamus's body against the wall. He crumbles to the floor. Superman turns to Patrick. SUPERMAN Your turn. PATRICK I'm ready. Patrick puts the mask up to his face. A moment later, a SHADOWY FIGURE in a hooded robe materializes out of thin air and melds with Patrick's body, which is suddenly surrounded by an eerie greenish glow that serves as a type of force field. As Patrick lowers his hands, the mask stays in place, almost becoming one with his face. Suddenly, a GREEN BLAST OF ENERGY is unleashed from the eyes of the mask. The blast hits Superman in the chest and drives him back against the wall. Just then, a MAID opens the door to the suite. MAID Turn-down ser... Superman and Patrick are locked in combat, power beams explode, Lois squirms on the table. MAID (CONT'D) I'll come back later. She shuts the door and the fight continues. Superman charges Patrick. However, when he hits the green force field, an otherworldly electrical charge hits Superman. Superman reacts in pain and confusion. When Patrick speaks, his voice is now very low and haunting... the voice of The Ancient One. PATRICK Your power does not compare to mine. SUPERMAN We'll see. Superman shoots out a beam of HEAT VISION. At the same time, Patrick emits a beam of greenish energy from the eyes of the mask. The two forces collide in the air between them. The green beam actually begins pushing the heat vision backwards, toward Superman. --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 54. 69 INTERCUT LOIS 69 who's struggling with her bonds. She can almost slip her left foot out, but the rope gets snagged on her shoe. Superman doubles his efforts and the intensity of his heat vision grows, but the green energy force continues to push in Superman's direction. Lois is finally able to flip her shoe off and her foot pops out of her bonds. Lois draws back her leg and kicks Patrick hard in the butt. LOIS How's that for a bulls eye? As Patrick stumbles, his energy force immediately weakens. and the green beam is rapidly forced back toward the eyes of the mask. When the green beam hits the force field around Patrick, there is a tremendous EXPLOSION. Superman immediately covers Lois from the blast. A beat later, the dust clears and Patrick is gone! LOIS What happened? SUPERMAN I guess the green eyed monster wasn't so powerful after all. Superman easily breaks the ropes holding Lois as: LOIS Well. I have some batting average. Two men in my life; one unloads me, the other tries to kill me. SUPERMAN (emotionally) Lois... LOIS (arms around him) Thanks for being there for me. SUPERMAN I'll always be there for you. Off their hug... CUT TO: --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 55. 70 INT. LOIS'S APARTMENT - NIGHT #4 70 Lois is doing some work on her lap top when there is a knock on the door. She crosses to the door, and opens it to reveal Clark. CLARK Got a minute? LOIS No hot date tonight with... (imitating her) Veronica?' CLARK (wincing) There was nothing between us. LOIS (smiling) I should hope not. She motions for Clark to enter. LOIS (CONT'D) Come on in. Clark enters and Lois shuts the door behind him. CLARK So here we are 'Lane and Kent.' The hottest team in town. LOIS The hottest _news_ team. There is an awkward silence, broken by... LOIS/CLARK We need to talk. LOIS You first. CLARK I want to apologize for the things that I said. I didn't realize that being in love would throw my sense of judgment so far out of whack. (beat) I was so worried about you walking into trouble, that I went overboard. It ended up that I became the problem instead of the cure. (MORE) (CONTINUED) --page break-- "When Irish Eyes Are Killing" G. Rosenberg 8/1/95 56. 70 CONTINUED: 70 CLARK (CONT'D) (beat) I know there'll always be some danger out there, but I've given it a lot of thought and I can deal with it. So... what I'm saying is, if it's okay with you, I'd like to give us another shot. LOIS That's very sweet. There aren't many guys who can see their mistakes, let alone admit them. But, that doesn't mean that the problems simply go away. Clark starts to talk, but Lois silences him with a raise of her hand. Less with anger than sadness. LOIS (CONT'D) You saved my life today, for maybe the hundredth time, and I can never repay you for that, but you also made decisions about how I should live my life and you never even listened to what _I_ had to say. (beat) I love you, Clark, but no one can be in charge of my life but me. Not even Superman. Clark starts to speak, but Lois puts her finger on his lips. LOIS (CONT'D) Don't say it. I'll see you tomorrow at the office. Lois ushers Clark out the door and gently shuts it behind him. She slumps back against the door and sighs. 71 INT. HALLWAY OUTSIDE OF LOIS'S DOOR - CONTINUOUS 71 Clark slumps against the door and sighs. FADE OUT: _END_