Here we have two versions, the production and a very late color version with many changes from the production version. They are intertwined in hopes that you can more easily compare them. To pop everything into place... use Courier 10 (or a 10-characters-per-inch, nonproportional, san serif font) set top margin at 0.5", bottom margin at 0.5" left margin at 1", right margin at .25 (or minimum) (due to my primitive printer, I had to tell my WP51 program that I was using legal paper; you may not have to) The (X) and any * used probably mean "this line/instruction changed from previous version" Cover: "Through a Glass, Darkly", Written Chris by Ruppenthal [and] Directed by Chris Long are all in large bolt print. The remainder of the text is in Courier 10 (10 characters per inch) Typos noted: "alright" misspelled twice in original (should be "all right") Page 5, Blue Blue, mid page "disintingration" should be disintegration On all pages 50 and 51, force field is also spelled forcefield in originals --page break-- [logo.bmp or logo.jpg] "Through a Glass, Darkly" EPISODE TWENTY-ONE Prod. #457421 Written by Chris Ruppenthal Directed by Chris Long _Production Draft_ March 5, 1996 Blue Rev. 3/8/96 Pink Rev. 3/11/96 Yellow R. 3/14/96 Green Rev. 3/14/96 Gold Rev. 3/18/96 White Rev. 3/22/96 Blue Blue 3/25/96 Pink Pink 3/26/96 Yellow Yellow 3/27/96 --page break-- _LOIS & CLARK_ "_Through a Glass, Darkly_" _CAST_ CLARK KENT/SUPERMAN LOIS LANE JIMMY OLSEN PERRY WHITE MARTHA KENT JONATHAN KENT ________________________________________________________________ SARAH CHING DR. KLEIN MRS. HOFAKER LITTLE BOY LITTLE GIRL ANNOUNCER --page break-- _LOIS & CLARK_ "_Through a Glass, Darkly_" Goldenrod Rev. 3/18/96 _CAST_ CLARK KENT/SUPERMAN LOIS LANE JIMMY OLSEN PERRY WHITE * * ________________________________________________________________ SARAH CHING DR. KLEIN MRS. HOFAKER LITTLE BOY LITTLE GIRL ANNOUNCER --page break-- _LOIS & CLARK_ "_Through a Glass, Darkly_" _LOCATIONS_ _INTERIORS_: _EXTERIORS_: Daily Planet Daily Planet Newsroom Conference Room Alley Lobby Natural History Museum Star Labs Kents' Shed Suite 106 House on Charlotte Drive Shadowy Void Barreto Brownstone Clark's Patio Space --page break-- _LOIS & CLARK_ "_Through a Glass, Darkly_" Goldenrod Rev. 3/18/96 _LOCATIONS_ _INTERIORS_: _EXTERIORS_: Daily Planet Daily Planet Newsroom Conference Room Alley Lobby Natural History Museum Star Labs Fishing Cabin * Suite 106 House on Charlotte Drive Shadowy Void Barreto Brownstone Clark's Patio Space --page break-- _LOIS & CLARK_ "_Through a Glass, Darkly_" _CHRONOLOGY_ SC. 1 - 58 DAY #1 SC. 59 NIGHT #1 --page break-- _LOIS & CLARK_ The New Adventures of Superman "Through A Glass, Darkly" _TEASE_ FADE IN: 1 INT. DAILY PLANET LOBBY - DAY #1 1 LOIS and CLARK head for the cappuccino stand. They're in mid-conversation. As they arrive at the stand, Clark will signal for two with his fingers and pay for them. CLARK Okay okay okay, barring any further bouts of amnesia -- LOIS -- or shrinking -- CLARK -- or cloning, or Kryptonite, or time travel, or voodoo, I say I'd rather get married sooner rather than later. (to Cappuccino Guy) Thanks. Clark takes his cappuccino and hands Lois hers. LOIS Me, too. I just want to give my Mother long enough to recover from our last wedding. CLARK Lois, I'd like to get married _this_ century, okay? Lois laughs and spits out a little cappuccino. LOIS Don't do that when I'm drinking! She gives him a playful swat on the arm and Clark laughs. They head for the elevators. CLARK Come on. CAMERA PANS with them and comes to REST on CHING, a man in his early Thirties who has been observing them from across the lobby. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 2. 1 CONTINUED: 1 He pretends to read a paper and sip a cappuccino. Ching continues to watch Lois and Clark as they enter the elevators; they haven't noticed him at all. He wears what looks like a black, long-sleeved spandex body suit under his regular shirt and jeans. There is something spooky about his calmness and focus. 2 INT. DAILY PLANET - NEWSROOM - DAY 2 DING. Lois and Clark exit the elevator. SARAH, about 30, exits the other elevator, her arms filled with files, clippings and books. She falls in next to Lois and Clark as they walk towards their desks. Sarah always wears long sleeves and skirts over colored tights. SARAH Here's that research you wanted on the subway project. LOIS Really? That was fast, I only asked for it yesterday. SARAH I, uh, stayed late. CLARK For that you deserve a donut. Sarah is about to decline, but something about Clark's smile makes her accept. SARAH Well, uh, okay. Clark grabs a donut from a passing JIMMY. There's only one left in Jimmy's box now. JIMMY Not the banana creme! The Chief'll kill me. Jimmy eyes Sarah as Clark puts back the donut; though she plays down her looks, she's a babe and he's smitten. JIMMY (CONT'D) (to Sarah) Here, take mine. Clark and Lois share a look and suppress their smiles. PERRY (O.S.) Jimmy?!!! (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) Pink Rev. 3/11/96 2. 1 CONTINUED: 1 He pretends to read a paper and sip a cappuccino. Ching continues to watch Lois and Clark as they enter the elevators; they haven't noticed him at all. He wears a regular shirt and jeans. There is something spooky about (X) his calmness and focus. 2 INT. DAILY PLANET - NEWSROOM - DAY 2 DING. Lois and Clark exit the elevator. SARAH, about 30, exits the other elevator, her arms filled with files, clippings and books. She falls in next to Lois and Clark as they walk towards their desks. (X) SARAH Here's that research you wanted on the subway project. LOIS Really? That was fast, I only asked for it yesterday. SARAH I, uh, stayed late. CLARK For that you deserve a donut. Sarah is about to decline, but something about Clark's smile makes her accept. SARAH Well, uh, okay. Clark grabs a donut from a passing JIMMY. There's only one left in Jimmy's box now. JIMMY Not the banana creme! The Chief'll kill me. Jimmy eyes Sarah as Clark puts back the donut; though she plays down her looks, she's a babe and he's smitten. JIMMY (CONT'D) (to Sarah) Here, take mine. Clark and Lois share a look and suppress their smiles. PERRY (O.S.) Jimmy?!!! (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 3. 2 CONTINUED: 2 JIMMY Gotta fly! He's gone. Lois and Clark turn back to Sarah, who gives a sheepish smile, then screws up her courage and speaks to Clark. SARAH Um, I know I'm sorta new here, I mean, not _that_ new, I have been here a month, but... do you guys ever take suggestions for stories from somebody else? LOIS (friendly) If it's a good idea. SARAH Well, I was thinking; there's always so much bad news, what if you did a series on people who make personal sacrifices for the _good_ of society? Like astronauts -- CLARK -- or medical missionaries -- LOIS -- or Superman? SARAH Exactly! What really drives him... or people like him? CLARK I'd say it was -- PERRY charges out of his office, heading for the TVs. PERRY Turn those things up! They're about to christen the space station! Everyone turns to the monitors as Jimmy grabs a remote and punches up the volume. 3 ON THE MONITORS 3 We see an ANNOUNCER with a shot of a large space station against a black sky filled with stars next to him. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) Gold Rev. 3/18/96 3. 2 CONTINUED: 2 JIMMY Gotta go! He's gone. Lois and Clark turn back to Sarah, who gives a sheepish smile, then screws up her courage and speaks to Clark. SARAH Um, I know I'm sorta new here, I mean, not _that_ new, I have been here a month, but... do you guys ever take suggestions for stories from somebody else? LOIS (friendly) If it's a good idea. SARAH Well, I was thinking; there's always so much bad news, what if you did a series on people who make personal sacrifices for the _good_ of society? Like astronauts -- CLARK -- or medical missionaries -- LOIS -- or Superman? SARAH Exactly! What really drives him... or people like him? CLARK I'd say it was -- PERRY.charges out of his office, heading for the TVs. He wears a fly fishing hat studded with lures, plus a fishing (X) vest over his shirt and tie. He's got a fly rod in two (X) pieces in his hand. (X) PERRY Turn those things up! They're about to christen the space station! Everyone turns to the monitors as Jimmy grabs a remote and punches up the volume. --page break-- "THROUGH A GLASS, DARKLY" (#21) Gold Rev. 3/18/96 3A. 3 ON THE MONITORS 3 We see an ANNOUNCER on the screen. As desired, we will DISSOLVE or CUT TO Full Frame shots of a large space station against a black sky filled with stars next to him. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 4. 3 CONTINUED: 3 ANNOUNCER (on TV) ... and in just five minutes, at nine o'clock Eastern Standard Time, we'll take you live to the opening ceremonies of the United Nations Space Station. Home to over one hundred orbiting scientists and astronauts... 4 ANGLE ON LOIS AND CLARK 4 As they proudly watch with Perry, Jimmy and Sarah. CUT TO: 5 INT. DAILY PLANET LOBBY - DAY - CONTINUOUS 5 Ching listens to the Announcer's voice coming from a radio at the cappuccino stand. He raises a small, complex, sinister looking device in one hand. ANNOUNCER (V.O.) ... lead by Commander Bob Razikis. Razikis, by the way, is on his eleventh... Ching presses a button on the device. CUT TO: 6 CLOSEUP - TV MONITOR 6 Huge thruster rockets fire on the station, pushing it out of orbit and down towards Earth. (NOTE: AS DESIRED, WE COULD CUT BACK AND FORTH BETWEEN FULL FRAME PICTURES OF EITHER THE ANNOUNCER OR THE SPACE STATION.) ANNOUNCER (on TV) ... space -- just a moment... I'm... He presses his hidden earphone; what he's just heard he knows is a huge disaster. He's rocked. He relays the news as it comes in to him over his earphone. ANNOUNCER (CONT'D) (on TV) Apparently, um, there has been some kind of... technical difficulty. (MORE) (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) Pink Rev. 3/11/96 4. 3 CONTINUED: 1 3 ANNOUNCER (on TV) ... and in just five minutes, at nine o'clock Eastern Standard Time, we'll take you live to the opening ceremonies of the United Nations Space Station. Home to over one hundred orbiting scientists and astronauts... 4 ANGLE ON LOIS AND CLARK 4 As they proudly watch with Perry, Jimmy and Sarah. CUT TO: 5 INT. DAILY PLANET LOBBY - DAY - CONTINUOUS 5 Ching listens to the Announcer's voice coming from a radio at the cappuccino stand. He raises a small, complex, sinister looking device in one hand. ANNOUNCER (V.O.) ... lead by Commander Bob Rozakis. Rozakis, by the way, is on his (X) eleventh... Ching presses a button on the device. CUT TO: 6 CLOSEUP - TV MONITOR 6 Huge thruster rockets fire on the station, pushing it out of orbit and down towards Earth. (NOTE: AS DESIRED, WE COULD CUT BACK AND FORTH BETWEEN FULL FRAME PICTURES OF EITHER THE ANNOUNCER OR THE SPACE STATION.) ANNOUNCER (on TV) ... space -- just a moment... I'm... He presses his hidden earphone; what he's just heard he knows is a huge disaster. He's rocked. He relays the news as it comes in to him over his earphone. ANNOUNCER (CONT'D) (on TV) Apparently, um, there has been some kind of... technical difficulty. (MORE) (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 5. 6 CONTINUED: 6 ANNOUNCER (CONT'D) The station's thrusters have... misfired and are driving... the station towards the Earth's atmosphere. (beat) Where the astronauts will burn up... if re-entry can't be prevented. 7 ANGLE ON CLARK, LOIS, PERRY, JIMMY, SARAH 7 They're stunned. PERRY Good Lord in Heaven. Jurgens, get me Binder in Houston! Swan, I want our stringer at the Cape right now! Jurgens and Swan run for their desks. PERRY (CONT'D) Lois! Clark! Lois shoots Clark a glance as she moves towards her desk. LOIS I'm already writing! CLARK And I'll try to... call my friend at NASA. He dashes towards the rear hallway. Sarah watches him go. Perry and Jimmy don't notice he's not headed for his desk. PERRY Damn. If only he had Superman's number. As they intently watch the TVs, we... FADE OUT. _END OF TEASE_ --page break-- "THROUGH A GLASS, DARKLY" (#21) Blue Blue 3/25/96 5. 6 CONTINUED: 6 ANNOUNCER (CONT'D) (CONT'D) The station's thrusters have... misfired and are driving... the station towards the Earth's atmosphere. (beat) Where the space station will burn up... if re-entry can't be prevented. Mission Control... is in contact with the station... but (X) so far they are unable to (X) ascertain the reasons for the (X) station's thrusters firing. For (X) those of you just tuning in, the (X) United Nations' Space Station's (X) thrusters have inexplicably (X) ignited and are driving the (X) station towards the Earth's (X) atmosphere... (X) (tense; listens to earpiece) So far, the crew has _not_ been (X) able to shut down the engines. (X) Mission Control now estimates that (X) the friction from the Earth's (X) atmosphere will cause (X) disintingration of the station to (X) commence in... (X) (stops; listens) Just a minute... we've just (X) received an unconfirmed report (X) that Superman has arrived at the (X) Space Station! We don't know yet (X) what he will attempt, but... he (X) appears... to be trying to _stop_ (X) the station's descent. (X) 7 ANGLE ON CLARK, LOIS, PERRY, JIMMY, SARAH 7 They're stunned. PERRY Good Lord in Heaven. Jurgens, get me Binder in Houston! Swan, I want our stringer at the Cape right now! Jurgens and Swan run for their desks. PERRY (CONT'D) Lois! Clark! Lois shoots Clark a glance as she moves towards her desk. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) Blue Blue 3/25/96 5A. 7 CONTINUED: 7 LOIS I'm already writing! CLARK And I'll try to... call my friend at NASA. He dashes towards the rear hallway. Sarah watches him go. Perry and Jimmy don't notice he's not headed for his desk. PERRY Damn. If only we had Superman's number. As they intently watch the TVs, we... FADE OUT. _END OF TEASE_ --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 6. _ACT ONE_ FADE IN: 8 EXT. SPACE - ETERNAL DAY 8 The space station rockets towards disaster. SUPERMAN shoots up and grabs hold right next to the command center window. Inside, the crew can look out and see him as he struggles to stop the station and keep it from burning up in the atmosphere. 9 SUPERMAN 9 strains against the massive and ever increasing weight of the station, but it shoves him backward like he doesn't exist. Superheated molecules of the atmosphere streak around him and the command center, glowing from the friction. Superman looks over his shoulder, the Earth is getting closer. The huge thrusters continue to thunder. He grits his teeth and pushes himself to the limit... and beyond. A sheet of burning atmosphere almost completely obscures him. Finally, with the last bit of strength he has, he shoves and deflects the station. It begins to head out of the atmosphere and the fiery burning disappears. Inside the command center, the crew screams in relief. A second later, the thrusters cut off. Superman gives a final tweek of correction, then wearily salutes the crew and turns for Earth. CUT TO: 10 INT. DAILY PLANET - NEWSROOM - DAY 10 Clark drags himself back into the bullpen, where Lois gets up as soon as she sees him. They join Jimmy, Perry and Sarah and the others who're still riveted to the monitors. CLARK (exhausted) Did I miss anything? I heard cheering. LOIS Superman saved the space station. PERRY Man, he was like a fly on the windshield, 'cept this time the fly stopped the car. Whammo! (chuckles; then) Lois, Clark, I want everything we've got on this story pronto. (MORE) (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 7. 10 CONTINUED: 10 PERRY (CONT'D) I want to know why a sixty-four billion dollar space station tried to turn itself into a charcoal briquette. Perry suddenly glares at Sarah and Jimmy, who are just standing there, smiling. PERRY (CONT'D) Hey, what is this, a rock garden?! He claps his hands twice and they scurry off. JIMMY SARAH I think I'll go (to Clark) load some film. See ya. Perry smiles and winks at Lois and Clark and jauntily heads back to his office. Clark gratefully slumps on Lois's desk. LOIS (sotto) Are you okay? Clark rotates a shoulder and stretches his back as he tries to shake-off some pain. CLARK (sotto) That was the toughest thing I've ever done. I almost didn't stop it. LOIS But you did, and that's the important thing. So... Star Labs? CLARK Absolutely. He heaves himself up and they're a bit surprised to come face to face with Sarah again. She glances at Clark. SARAH Hi. I, uh, just wanted to say that if you need any research for your story, let me know. LOIS (suppresses a smile) Thanks, Sarah, we will. She bobs her head and shoves off. Lois looks at Clark as they walk towards the elevator. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) Gold Rev. 3/18/96 7. 10 CONTINUED: 10 PERRY (CONT'D) I want to know why a sixty-four billion dollar space station tried to turn itself into a charcoal briquette. And I want it by one, (X) 'cause that's when I got a car (X) taking me and Jimmy to the airport (X) and _nothing's_ coming between me (X) and this fishing trip! (X) Understand? Perry suddenly glares at Sarah and Jimmy, who are just standing there, smiling. PERRY (CONT'D) Now, what is this, a rock garden?! (X) He claps his hands twice and they scurry off. JIMMY SARAH I think I'll (to Clark) go... check my See ya. flannel shirt (X) supply. (X) Perry smiles and winks at Lois and Clark and jauntily heads back to his office. Clark gratefully slumps on Lois's desk. LOIS (sotto) Are you okay? Clark rotates a shoulder and stretches his back as he tries to shake off some pain. CLARK (sotto) That was one of the toughest things I've ever done. I almost didn't stop it. LOIS But you did, and that's the important thing. So... Star Labs? CLARK Absolutely. He heaves himself up and they're a bit surprised to come face to face with Sarah again. She glances at Clark. SARAH Hi. I, uh, just wanted to say that if you need any research for your story, let me know. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 8. 10 CONTINUED: 2 10 LOIS (CONT'D) I think someone has a bit of a crush on someone. CLARK But I'm an engaged man. LOIS All the more tempting. CLARK Someone else isn't jealous, are they? LOIS (smiling) Not in the least. CLARK What a pity you lack self-confidence. We should work on that. LOIS Perhaps I need some private instruction. They step into the open elevator. CLARK It could be rigorous and intensive. LOIS (pushing a button) No pain, no gain. How 'bout if we start... (smiles) ... right now? And as the doors close, they go into a passionate kiss. CUT TO: 11 INT. STAR LABS - DAY 11 DR. KLEIN is in the midst of explaining things to Clark and Lois. During the course of Klein's explanation, Lois becomes intrigued with an ongoing laser experiment on a nearby workbench. We see a laser beam split into two separate beams as part of the setup. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) Gold Rev. 3/18/96 8. 10 CONTINUED: 2 10 LOIS (suppresses a smile) Thanks, Sarah, we will. She bobs her head and shoves off. Lois looks at Clark as they walk towards the elevator. LOIS (CONT'D) I think someone has a bit of a crush on someone. CLARK But I'm an engaged man. LOIS All the more tempting. CLARK Someone else isn't jealous, are they? LOIS (smiling) Not in the least. CLARK What a pity you lack self-confidence. We should work on that. LOIS Perhaps I need some private instruction. They step into the open elevator. CLARK It could be rigorous and intensive. LOIS (pushing a button) No pain, no gain. How 'bout if we start... (smiles) ... right now? And as the doors close, they go into a passionate kiss. 10A SARAH 10A watching. CUT TO: --page break-- "THROUGH A GLASS, DARKLY" (#21) Gold Rev. 3/18/96 8A. 11 INT. STAR LABS - DAY 11 DR. KLEIN is in the Midst of explaining things to Clark and Lois. During the course of Klein's explanation, Lois becomes intrigued with an ongoing laser experiment on a nearby workbench. We see a laser beam split into two separate beams as part of the setup. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 9. 11 CONTINUED: 11 DR. KLEIN Seconds before the main thrusters ignited, the station received a very brief, tight beam microwave transmission. It sent in a computer code that overrode the automatic controls and fired the thrusters. CLARK Do we know where the transmission came from? Klein spots Lois about to touch some irresistible gizmo on the laser experiment. DR. KLEIN Don't touch that! Lois jerks back. DR. KLEIN (CONT'D) I'm measuring the electron flow along the plasma wake as the laser passes through two different gases! LOIS Sorry. Klein stares intently at the laser; it's given him an idea. He snaps his fingers. DR. KLEIN Plasma wake. That's it! He zips over to a computer keyboard and starts typing madly. LOIS Dr. Klein? He's so absorbed he ignores her. Lois looks at Clark. CLARK (sotto) Caution. Mad scientist at work. DR. KLEIN (beat; still typing) No matter how brief it was, the microwave beam must have left a trail of agitated molecules along its path. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 10. 11 CONTINUED: 2 11 LOIS (re: Klein) Well, I'd say something was agitated. DR. KLEIN (oblivious) Agitation means heat. Therefore, by using the infrared detectors on some low orbiting satellites, we should be able to identify and backtrack down the column of heated molecules to its source. Ha ha gotcha! The computer screen is just columns of streaming numbers. CLARK I don't see anything. DR. KLEIN I'm switching to an N.I.A. spy satellite. We'll get real-time photos now that I have a lock on the molecules. LOIS A spy satellite? You can do that? DR. KLEIN (a la James Bond) The name's Klein. Bernard Klein. He gives a suave smile. The other lab assistants grin; they think Klein is cool. Lois and Clark have blank looks on their face. Klein deflates. DR. KLEIN (CONT'D) You know, James Bond? CLARK (covering) Oh! Yeah! LOIS We were just teasing. That was really very good. Klein happily smiles and returns to work. Lois and Clark look at each other. Suddenly, a very high altitude shot of North America fills the computer screen. DR. KLEIN Here we go! (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 11. 11 CONTINUED: 3 11 The picture starts jumping in closer and closer until we can see a suburb; then a neighborhood; then a house with a satellite dish in its backyard. The picture freezes there. coordinates spring up on the screen, plus an address. CLARK (reading) Thirty-Fifteen Charlotte Drive, Metropolis. LOIS Of course. Where else would it be? Every villain in the universe seems to operate out of Metropolis! For once, I just wish we could have a villain in Maui. Or Aspen. (enviously) Or Monte Carlo. CLARK How accurate is this? DR. KLEIN Plus or minus six feet. CLARK I'd say that's close enough. Thanks. They dash out. CUT TO: 12 CLOSEUP - BRASS DOOR KNOCKER 12 Lois's hand reaches in and raps it a few times. 13 EXT. 3015 CHARLOTTE DRIVE - DAY 13 Lois and Clark stand on the front porch. Lois's Jeep is parked by the curb. There's a "For Sale" sign in the front yard from Century 22 Realty. No one answers. Lois knocks again. Clark takes a moment to study the house. CLARK Nice yard. Lois, focused on the task at hand, gives casually polite responses. LOIS Yeah. It's cute. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 12. 13 CONTINUED: 13 CLARK Nice fence. Good driveway, too. LOIS I know. I like the little brick accents. Clark is pleased and surprised by Lois's answers. Lois attempts to look in a window. CLARK And I've always liked this style of house. LOIS No, it's pretty great. CLARK It's definitely the type of place I could go for. LOIS (distracted) Me, too. She steps back from the window and heads off the porch. LOIS (CONT'D) Let's try around back. 14 EXT. BACKYARD - DAY 14 They round the corner and approach the TV satellite dish. Clark inspects it closely. CLARK Okay, we know this sent the signal, but where's the device the signal came from? CHING (O.S.) Can I help you? Lois and Clark spin around to see Ching exiting the rear of the house. He's now dressed in dark slacks, shirt, tie, and a pale blue polyester Century 22 Realty sports coat. LOIS Oh, yes, we were just looking at the house. We saw the sign and thought we'd stop. Ching smiles and extends his hand. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) Green Rev. 3/14/96 12. 13 CONTINUED: 13 CLARK Nice fence. Good driveway, too. LOIS I know. I like the lattice work around the porch. (X) Clark is pleased and surprised by Lois's answers. Lois attempts to look in a window. CLARK And I've always liked this style of house. LOIS No, it's pretty great. CLARK It's definitely the type of place I could go for. LOIS (distracted) Me, too. She steps back from the window and heads off the porch. LOIS (CONT'D) Let's try around back. 14 EXT. BACKYARD - DAY 14 They round the corner and approach the TV satellite dish. Clark inspects it closely. CLARK Okay, we know this sent the signal, but where's the device the signal came from? CHING (O.S.) Can I help you? Lois and Clark spin around to see Ching exiting the rear of the house. He's now dressed in dark slacks, shirt, tie, and a pale blue polyester Century 22 Realty sports coat. LOIS Oh, yes, we were just looking at the house. We saw the sign and thought we'd stop. Ching smiles and extends his hand. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 13. 14 CONTINUED: 14 CHING Well, you found a good one. Hi, I'm Dave Miller. LOIS Lois Lane. And this is my fiance, Clark Kent. CLARK We knocked, but... CHING I know, I heard. I'm afraid I was in the restroom. Is this something you'd be interested in? Lois decides to smooth talk this guy. LOIS (very enthusiastic) Oh, we love it. It's just what I've always dreamed of! Clark makes a note of this. LOIS (CONT'D) And we love the neighborhood, but... we drove by here at about five of nine this morning and thought we saw some... She looks at Clark, who catches on. CLARK ... strange people... LOIS ... hanging around. You didn't happen to see them, did you? CHING No, I haven't seen anyone all morning, except my clients; they're an older couple in their sixties. (smiles) This _is_, of course, one of the safest neighborhoods in Metropolis. If you like, I'll give you the name of the listing agent. CLARK Oh, don't you handle this house? (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 14. 14 CONTINUED: 2 14 CHING (grins) No. I represent some buyers. Janet Gardino is the agent for the sellers. She had another showing and I said I'd close up for her. We're old buds. But I'd be happy to show you some of my listings, if you like. LOIS Thanks, but, we're really just starting. CHING I understand. Well, don't hesitate to call. At Century Twenty-Two, 'We bring your future, to you'. Ching's broad grin is punctuated by the muted screech of tires from a Star Labs van that pulls to a stop in the driveway. An INVESTIGATIVE TEAM jumps out as a non-descript sedan with GOVERNMENT AGENTS also pulls up. CUT TO: 15 INT. DARK SHADOWY VOID - DAY 15 We can't tell where we are. There are no windows. No walls. Just blackness. Strange, foreboding music plays softly in the background. Ching sits on a chair and loosens his tie and collar; we see a hint of his black spandex body suit underneath; he is assembling an exotic looking bomb. Half of it looks like a star, with angular, colored, pieces of lucite that glow. It's about eight or nine inches across. We'll call it the Star Bomb. He whistles along to the disjointed tones of the music that plays softly in the background. He checks his watch, then stops his work. He closes his eyes and briefly frowns in concentration. CHING (V.O.) (whispery) Are you alone? Or are you having another donut? Ching's lips don't move; he's speaking telepathically. 16 INT. DAILY PLANET - NEWSROOM - DAY 16 Sarah, climbing the stairs to shelves of books by the great window, pauses for a moment. She looks around and spots Clark at his desk on the phone; he's slightly hunched over as if he doesn't want anyone to hear his conversation. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) White Rev. 3/22/96 14. 14 CONTINUED: 2 14 CHING (grins) No. I represent some buyers. Janet Gardino is the agent for the sellers. She had another showing and I said I'd close up for her. We're old buds. But I'd be happy to show you some of my listings, if you like. LOIS Thanks, but, we're really just starting. CHING I understand. Well, don't hesitate to call. At Century Twenty-Two, 'We bring your future, to you'. Ching's broad grin is punctuated by the muted screech of tires from a Star Labs van that pulls to a stop in the driveway. An INVESTIGATIVE TEAM jumps out as a non-descript sedan with GOVERNMENT AGENTS also pulls up. CUT TO: 14A INT. CLARK'S APARTMENT - DAY 14A Clark dashes in as Lois just steps inside and waits; she's (X) finishing a conversation on her cell phone. Throughout the (X) following, Clark will search the living room/kitchen area (X) for something, we don't know what. (X) CLARK I'll just be a second. (X) LOIS (nods; into phone) (X) Right. Okay. Thanks. (X) (hangs up; urgent, to (X) Clark) (X) The U.N. is in an uproar. They (X) cancelled their science conference (X) to deal with the space station. (X) No terrorist group has claimed (X) responsibility; the N.I.A. thinks (X) it's a 'lone gunman.' (X) CLARK (stops searching) (X) Great. Where's he strike next? (X) The Eiffel Tower? The Parthenon? (X) (MORE) (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) Yellow Yellow 3/22/96 14A. 14A CONTINUED: 14A CLARK (CONT'D) (shaking his head) All it takes is a single lunatic to bring something crashing down. LOIS (looks off) Yeah. Not unlike our wedding. CLARK No kidding. LOIS You know, for our next wedding, maybe we should try something different. I was thinking... we could just elope. CLARK Elope?! LOIS (rambling) It could be fun! And spontaneous! Intimate, less complicated... Spur of the moment, romantic. Just us, a few friends, our parents. An amiable passerby. She catches Clark staring lovingly at her. LOIS (CONT'D) What? What're you looking at? CLARK You. I was just thinking how different my life would've been if we'd never met. (X) LOIS (musing) (X) What if you'd never left Smallville? (X) CLARK Smallville? What if I'd never (X) left Krypton? (X) LOIS (hugs him) Yeah. Your family there might have had their hearts set on a daughter-in-law from Jupiter? (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) Pink Pink. 14B. 14A CONTINUED: 2 14A CLARK (joking) How'd you know about her? (beat) (X) You know, I bet they would've (X) really liked you. (X) (off her) (X) Jor-El and Lara. (X) LOIS (gently) (X) You think about them much? CLARK Sometimes. But that's behind me now. What's in front of me is US. (X) They, kiss, then Lois pulls back smiling. LOIS Okay, then let's find this fake (X) bug on a hook and go. (X) Clark smiles and resumes searching. CLARK (laughing) (X) Fake bug on a hook? That's my (X) lucky fly. I told Jimmy since he, was going on this fishing trip, I'd I'd lend it to him... but I couldn't (X) find it this morning and now... oh, (X) here it is! He finds a tiny, old, crumpled up envelope folded in thirds. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) White Rev. 3/22/96 14C. 14A CONTINUED: 3 14A CLARK (CONT'D) My dad gave this to me when I was (X) seven. It never misses. (X) He opens the envelope and pulls out a tiny hook, with one (X) or two moth eaten threads still wrapped around the shank. (X) It's pathetic. (X) LOIS Looks like the moths don't miss. (X) either. (X) CLARK Man, I loved this fly. (X) Lois starts tugging him towards the door. (X) LOIS Come on, I'll buy you a new one on (X) our honeymoon. (X) And with that, Clark puts down the fly and they leave. (X) CUT TO: 15 INT. DARK SHADOWY VOID - DAY 15 We can't tell where we are. There are no windows. No walls. Just blackness. Strange, foreboding music plays softly in the background. Ching sits on a chair and loosens his tie and collar; he is assembling an exotic looking bomb. Half of it looks like a star, with angular, colored, pieces of lucite that glow. It's about eight or nine inches across. We'll call it the Star Bomb. He whistles along to the disjointed tones of the music that plays softly in the background. He checks his watch, then stops his work. He closes his eyes and briefly frowns in concentration. CHING (V.O.) (whispery) Are you alone? Or are you having another donut? Ching's lips don't move; he's speaking telepathically. 16 INT. DAILY PLANET - NEWSROOM - DAY 16 Sarah, climbing the stairs to shelves of books by the great window, pauses for a moment. She looks around and spots Clark at his desk on the phone; he's slightly hunched over as if he doesn't want anyone to hear his conversation. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 15. 16 CONTINUED: 16 She continues on her way to the shelves. Throughout the conversation she'll glance at Clark. SARAH (V.O.) (annoyed; telepathically) I'm alone. Did they find it? (NOTE: INTERCUT WITH CHING AS NECESSARY. THE ENTIRE CONVERSATION IS TELEPATHIC; THE ACTORS NEVER ACTUALLY 'SPEAK'.) CHING (opening his eyes now) No. And it was 'super' obvious. A child of two could've discovered it. Perhaps we should've laid down breadcrumbs, or a neon sign, or a large -- SARAH Ching! Don't start. Sarah glances down. 17 SARAH'S POV - CLARK 17 Clark smiles, nods and hangs up the phone. Lois appears out of the back hallway, returning from the restroom. Clark slides a legal pad held been making notes on under some other papers on his desk and rises up to meet her. Jimmy comes by with a new box of donuts. Clark says something that makes everyone laugh. 18 SARAH 18 smiles. CHING Why are you so protective? Do I detect... fondness? SARAH Not at all! In spite of herself, she glances at Clark's butt. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) Gold Rev. 3/18/96 15. 16 CONTINUED: 16 She continues on her way to the shelves. Throughout the conversation she'll glance at Clark. SARAH (V.O.) (annoyed; telepathically) I'm alone. Did they find it? (NOTE: INTERCUT WITH CHING AS NECESSARY. THE ENTIRE CONVERSATION IS TELEPATHIC; THE ACTORS NEVER ACTUALLY 'SPEAK'.) CHING (opening his eyes now) No. And it was 'super' obvious. A child of two could've discovered it. Perhaps we should've laid down breadcrumbs, or a neon sign, or a large -- SARAH Ching! Don't start. Sarah glances down. 17 SARAH'S POV - CLARK 17 Clark smiles, nods and hangs up the phone. Lois appears out of the back hallway, returning from the restroom. Clark slides a legal pad held been making notes on under some other papers on his desk and rises up to meet her. Jimmy comes by with a pair of fishing waders, suntan lotion and a (X) creel. Clark says something that makes everyone laugh. (X) 18 SARAH 18 smiles. CHING Why are you so protective? Do I detect... admiration? SARAH Not at all! In spite of herself, she glances at Clark's butt. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 16. 18 CONTINUED: 18 CHING Wait. I sense... (amazed) You're attracted to how tight his clothing is across the muscles in his posterior? SARAH No, I'm not! I was thinking about... Phase Two. CHING Ah, is that what they call it here? Good. Then we'll continue as planned. It should be interesting to see if he can survive that. Ching blinks as if breaking the connection. He returns to working on the bomb. 19 INT. DAILY PLANET - DAY 19 Sarah's face hardens at this. She looks back to Clark, who is heading into the conference room behind Lois. FADE OUT. _END OF ACT ONE_ --page break-- "THROUGH A GLASS, DARKLY" (#21) Blue Blue 3/25/96 16. 18 CONTINUED: 18 CHING Wait. I sense... (amazed) You're attracted to how tight his clothing is across the muscles in his posterior? SARAH No, I'm not! I was thinking about... Phase Two. CHING Ah, is that what they call it here? Good. Then we'll continue as planned. It should be interesting to see Superman try to survive that. Ching blinks as if breaking the connection. He returns to working on the bomb. 19 INT. DAILY PLANET - DAY 19 Sarah's face hardens at this. She looks back to Clark, who is heading into the conference room behind Lois. FADE OUT. _END OF ACT ONE_ --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 17. _ACT TWO_ FADE IN: 20 INT. DAILY PLANET - CONFERENCE ROOM - DAY 20 Lois paces as Clark sits at the desk, shooting rubberbands at a paper cup across the room. He _never_ misses, a point that will get on Lois's nerves fairly soon. He's also secretly excited about something, but we don't know what. LOIS So we've got the satellite dish, but no transmitter... CLARK ... and no suspects. Off the lamp. Ba-ding. The rubberband ricochets off a lamp into the cup. LOIS Can't be Lame Brain, or the Prankster, or Tempus... CLARK ... because they're all in jail. Off the door with a backflip. Zip-ding. The rubberband hits the door and bounces backwards into the cup. LOIS And Lex and Bad Brain are dead. CLARK Also correct. Combo; soda can to coat rack to cup. Zing. He fires and Lois snatches it out of the air in annoyance. LOIS At least you could miss every once in awhile! Jimmy pokes his head into the room. JIMMY Guys, it's Dr. Klein on three. Sarah appears next to him, arms filled with folders. SARAH Here's all I've been able to find on companies involved in microwave technology. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 18. 20 CONTINUED: 20 LOIS That was quick. SARAH I, uh, knew it was important, so I kinda jumped you to the head of the list. CLARK Thanks. JIMMY (re: phone) Guys...? Sarah leaves and Lois reaches for the phone. Jimmy looks at the departing Sarah. JIMMY (CONT'D) She seeing anybody? CLARK We'd be the last to know. JIMMY And you call yourselves reporters? He turns and drifts after her. Lois punches the blinking light on the phone, plus the speaker phone button. (INTERCUT FOLLOWING WITH KLEIN IN HIS LAB AS NEEDED) 21 INT. STAR LABS - DAY 21 LOIS Sorry to keep you waiting, Dr. Klein. DR. KLEIN I just finished deciphering the last of the computer code that was sent to the space station. It was very interesting, actually, it's encryption was based on multiples of the wavelength of -- CLARK Dr. Klein? (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) Gold Rev. 3/18/96 18. 20 CONTINUED: 20 LOIS That was quick. SARAH I, uh, knew it was important, so I kinda jumped you to the head of the list. CLARK Thanks. JIMMY (re: phone) Guys...? Sarah leaves and Lois reaches for the phone. Jimmy looks at the departing Sarah. JIMMY (CONT'D) She seeing anybody? CLARK We'd be the last to know. JIMMY And you call yourselves reporters? LOIS (good naturedly) (X) Don't you have a limo to catch? JIMMY Hey, some things are more (X) important than trout. (X) Jimmy grins and drifts after Sarah. Lois punches the (X) blinking light on the phone, plus the speaker phone button. (INTERCUT FOLLOWING WITH KLEIN IN HIS LAB AS NEEDED) 21 INT. STAR LABS - DAY 21 LOIS Sorry to keep you waiting, Dr. Klein. DR. KLEIN I just finished deciphering the last of the computer code that was sent to the space station. It was very interesting, actually, it's encryption was based on multiples of the wavelength of -- (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) Gold Rev. 3/18/96 18A. 21 CONTINUED: 21 CLARK Dr. Klein? (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 19. 21 CONTINUED: 21 DR. KLEIN Right. Okay. To the point. If Superman hadn't been able to save the space station, the main thrusters were programmed to stop and the altitude thrusters would've fired anyway and the station would've saved itself. LOIS You mean, it was never in danger? DR. KLEIN Exactly. CLARK But why program it to put itself in jeopardy and then rescue itself? DR. KLEIN That's the sixty-four billion dollar question. LOIS Thanks, Dr. Klein. 22 BACK TO SCENE 22 She hangs up. Lois and Clark look at each other. LOIS I think we better call that real estate guy. (trying to remember) What's his name? CLARK Dave Miller. Clark takes the phone from her and dials. CLARK (CONT'D) Never let it be said that I don't pull my weight in this marriage. (into phone) Yes. I'd like to speak to Dave Miller. (beat) Yes, he's one of your brokers. I saw him at a house today. (beat) Okay, thanks. He looks at Lois. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) Yellow Rev. 3/14/96 19. 21 CONTINUED: 21 DR. KLEIN Right. Okay. To the point. If Superman hadn't been able to save the space station, the main thrusters were programmed to stop and the altitude thrusters would've fired anyway and the station would've saved itself. LOIS You mean, it was never in danger? DR. KLEIN Exactly. CLARK But why program it to put itself in jeopardy and then rescue itself? DR. KLEIN That's the sixty-four billion dollar question. LOIS Thanks, Dr. Klein. 22 BACK TO SCENE 22 She hangs up. Lois and Clark look at each other. LOIS Maybe that real estate guy wasn't (X) telling us everything. (X) (trying to remember) What's his name? CLARK Dave Miller. She starts to dial. Clark takes the phone and dials. (X) CLARK (CONT'D) Never let it be said that I don't pull my weight in this marriage. (into phone) Yes. I'd like to speak to Dave Miller. (beat) Yes, he's one of your brokers. I saw him at a house today. (beat) Okay, thanks. He looks at Lois. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 20. 22 CONTINUED: 22 LOIS They don't have a broker named 'Dave Miller'? CLARK Bingo. LOIS & CLARK Jimmy! Jimmy materializes in the doorway. JIMMY Good news. She's single. CLARK Great. Call Det. Kuryama and see if we can get some mug shots on guys who might do real estate scams and/or be an expert in microwave technology. JIMMY (sarcastic) Oh, they're related. LOIS (smiling) Less sarcasm, more abject servitude. Jimmy backs out bowing and scraping. JIMMY We are not worthy. We are not -- Jimmy suddenly backs into Perry, who rushes in. PERRY Clark! Lois! I just got an anonymous call that there's a bomb scheduled to go off across town in front of the Metropolis Natural History Museum in one minute. It's in a backpack by the lion. LOIS (to Clark) Clark, you get the Jeep! Clark bolts out of the room to change into Superman. Lois gathers up her notepad and Clark's as she prepares to run out. OFFSCREEN we HEAR the familiar WHOOSH of Superman. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) Gold Rev. 3/18/96 20. 22 CONTINUED: 22 LOIS They don't have a broker named 'Dave Miller"? CLARK Bingo. LOIS & CLARK Jimmy! Jimmy materializes in the doorway. How he's wearing a (X) goofy fly fishing hat peppered with lures. (X) JIMMY Good news. She's single. CLARK Great. Call Det. Kuramoto, and see if we can Vet some mug shots on guys who might do real estate scams and/or be an expert in microwave technology. JIMMY (sarcastic) Oh, they're related. LOIS (smiling) Less sarcasm, more abject servitude. Jimmy backs out bowing and scraping. JIMMY I'm not worthy. I'm not -- Jimmy suddenly backs into Perry, who rushes in. Perry (X) absent-mindedly carries a fly fishing reel with about (X) twenty feet of line in loops hanging from his hand. (X) PERRY Clark! Lois! I just got an anonymous call that there's a bomb scheduled to go off across town in front of the Metropolis Natural History Museum in one minute. It's in a backpack by the lion. LOIS (to Clark) Clark, you get the car! (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 21. 22 CONTINUED: 2 22 LOIS (CONT'D) Has anybody called the -- PERRY Cops have already been notified. From inside the conference room we watch as Perry shoots after Lois out into the bullpen. PERRY (CONT'D) Jimmy, pull me what we got on the museum! Jimmy dashes off. PERRY (CONT'D) (shouting furiously) Jane, yank Plastino off whatever he's doing and get him up here! Ricky, you and Dwyer head over to the police station. Come on, people, move Move MOVE! It's called 'news' because we get it before anybody else! CUT TO: 23 EXTREME CLOSEUP - THE STAR BOMB 23 The Star Bomb silently counts down. It's in a dark space. CUT TO: 24 EXT. METROPOLIS NATURAL HISTORY MUSEUM - AFTERNOON 24 MRS. HOFAKER, a teacher in her 40's, sits on the steps on the museum with twenty kids from her 2nd Grade Class, having lunch. They sit under one of the two statues positioned on the steps. Every single kid seems to wear a backpack or have one near him. There's a WHOOSH and a swirling of lunch bags and napkins and Superman JUMPS IN to a landing. The kids all oooh and ahhh excitedly. MRS. HOFAKER Superman! SUPERMAN You've got to leave immediately. There may be a bomb. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) Gold Rev. 3/18/96 21. 22 CONTINUED: 2 22 Clark bolts out of the room to change into Superman. Lois gathers up her notepad and Clark's as she prepares to run out. OFFSCREEN we HEAR the familiar WHOOSH of Superman. PERRY Jenkins, call the police! From inside the conference room we watch as Perry shoots after Lois out into the bullpen. PERRY (CONT'D) Jimmy, pull me what we got on the museum! Jimmy dashes off. PERRY (CONT'D) (shouting furiously) Dwyer, yank Plastino off whatever (X) he's doing and get him up here! Come on, people, move Move MOVE! (X) It's called 'news' because we get it before anybody else! CUT TO: 23 EXTREME CLOSEUP - THE STAR BOMB 23 The Star Bomb silently counts down. It's in a dark space. CUT TO: 24 EXT. METROPOLIS NATURAL HISTORY MUSEUM - AFTERNOON 24 MRS. HOFAKER, a teacher in her 40's, sits on the steps on the museum with twenty kids from her 2nd Grade Class, having lunch. They sit under one of the two statues positioned on the steps. Every single kid seems to wear a backpack or have one near him. There's a WHOOSH and a swirling of lunch bags and napkins and Superman JUMPS IN to a landing. The kids all oooh and ahhh excitedly. MRS. HOFAKER Superman! SUPERMAN You've got to leave immediately. There may be a bomb. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 22. 24 CONTINUED: 24 LITTLE GIRL Cool! LITTLE BOY I want to stay! Superman quickly X-RAYS the area and finds the backpack with something suspicious in it. He wades through the kids and rips it open. MRS. HOFAKER Is that the bomb?! There's a jumble of electronic parts and another note. SUPERMAN It's not here. Mrs. Hofaker sags in relief. Superman reads the note. SUPERMAN (CONT'D) (reading aloud) 'Superman, if you're reading this, I assume you got my message. Here's the location of the real bomb. It's on this micro-CD. Unfortunately, you have to assemble the player in time to play it. One more minute. Good luck.' Sarah, who's exited the museum while Superman was reading the note, hurries up to him. SARAH Superman, what's going on? SUPERMAN A very dangerous riddle. Now if you'll excuse me, I've got to concentrate. Sarah picks up the note that Superman drops as he kneels down on the steps and immediately tries to piece the parts together at SUPERSPEED. LITTLE BOY Can we help? LITTLE GIRL I can do my Four Times Table; wanna hear? Four times one is four. Four times two is eight. Four times three is fourteen. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 23. 24 CONTINUED: 2 24 LITTLE BOY Twelve. LITTLE GIRL No, it's not! SUPERMAN Kids! They stop and look at Superman, who glances back at what he's just built. It looks like a jumbled Walkman. LITTLE BOY (re: the device) That's stupid. MRS. HOFAKER Shhh. Stupid's not a nice word. Superman's hands BLUR again, rebuilding the device. CUT TO 25 SOMEWHERE DARK 25 The Star-Bomb continues counting down. It seems stuck to the ceiling of someplace. CUT TO: 26 EXT. METROPOLIS MUSEUM OF NATURAL HISTORY - DAY 26 This time it looks like a smashed mass of electronic spaghetti. The micro-CD won't fit anywhere. SARAH Oh, dear. She looks like she's about to say more, but then restrains herself. Anxious, Superman takes a deep breath and starts again. His hands BLUR and this time he produces something plausible. He slips the micro-CD in and pushes a button. A VOICE 'Congratulations. Hope it's not too late. Here's another puzzle: Twice the square root of Holst is where you start. Cary Grant knew the direction. Patrick Henry.' MRS. HOFAKER That's it? (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) Yellow Rev. 3/14/96 23. 24 CONTINUED: 2 24 LITTLE BOY Twelve. LITTLE GIRL No, it's not! SUPERMAN Kids! They stop and look at Superman, who glances back at what he's just built. It looks like a jumbled Walkman. LITTLE BOY (re: the device) That's stupid. MRS. HOFAKER Shhh. Stupid's not a nice word. Superman's hands BLUR again, rebuilding the device. CUT TO 25 SOMEWHERE DARK 25 The Star Bomb continues counting down. It seems stuck to the ceiling of someplace. CUT TO: 26 EXT. METROPOLIS MUSEUM OF NATURAL HISTORY - DAY 26 This time it looks like a smashed mass of electronic spaghetti. The micro-CD won't fit anywhere. SARAH Oh, dear. She looks like she's about to say more, but then restrains herself. Anxious, Superman takes a deep breath and starts again. His hands BLUR and this time he produces something plausible. He slips the micro-CD in and pushes a button. CHING (V.O.) (slightly disguised) 'Congratulations. But the bomb's (X) still ticking. Here's another (X) puzzle: Twice the square root of Holst is where you start. Cary Grant knew the direction. Patrick Henry.' (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) Yellow Rev. 3/14/96 23A. 26 CONTINUED: 26 MRS. HOFAKER That's it? (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 24. 26 CONTINUED: 26 Superman glances at Sarah. SARAH Don't look at me, I can't even do crosswords. SUPERMAN (thinking aloud) Okay. The only Holst I know of is Gustav Holst, the composer. He wrote a symphony called 'The Planets'. There are nine planets, so the square root of nine is three. LITTLE BOY I can do my Three Tables! Three times one is three! Three times two is -- ! MRS. HOFAKER Not now, Sammy. SUPERMAN Twice three is six. LITTLE BOY I knew that! SUPERMAN But the sixth what? Or six of what? SARAH It could be anything. SUPERMAN But if it's based on the symphony 'The Planets', the sixth planet is Saturn. LITTLE GIRL Is that like the Moon? SUPERMAN No, Saturn has rings around it. Superman suddenly notices the logo for the Daily Planet on a newspaper inside a newspaper vending machine on the sidewalk. (Or, the Planet logo on the side of the vending machine). SUPERMAN (CONT'D) Just like The Daily Planet logo! (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 25. 26 CONTINUED: 2 26 WHOOSH! He jumps up out of frame. The kids all ooh and ahhh again. CUT TO: 27 THE STAR BOMB 27 It starts to pulse, as if agitated... or getting ready to explode. CUT TO: 28 EXT. DAILY PLANET - AFTERNOON 28 Jimmy runs out of the Planet with Lois's cel phone as Lois zips around the corner in her Jeep. JIMMY Lois, you forgot your...! Superman JUMPS into frame next to him. JIMMY (CONT'D) Superman, there's a bomb at the Natural History Museum! SUPERMAN No, it's not, it's somewhere around here. JIMMY What?! But Lois just -- SUPERMAN I'll explain later. (shifting gears) Cary Grant was in 'North by Northwest', right? JIMMY Yeah. SUPERMAN Was he in any other movie with compass headings in the title? Or was there a memorable scene where he talked about some direction? JIMMY Gee, I'm not a big Cary Grant fan. I'm more of a _Jim_ Carrey kind of... (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) Gold Rev. 3/18/96 25. 26 CONTINUED: 3 26 WHOOSH! He BLURS up out of frame. The kids all ooh and ahhh again. CUT TO: 27 THE STAR BOMB 27 It starts to pulse, as if agitated... or getting ready to explode. CUT TO: 28 EXT. DAILY PLANET - AFTERNOON 28 Jimmy, still wearing his hat, runs out of the Planet with (X) Lois's cel phone as Lois zips around the corner in her Jeep. JIMMY Lois, you forgot your...! Superman JUMPS into frame next to him. JIMMY (CONT'D) Superman, there's a bomb at the Natural History Museum! SUPERMAN No, it's not, it's somewhere around here. JIMMY What?! But Lois just -- SUPERMAN I'll explain later. (shifting gears) Cary Grant was in 'North by Northwest', right? JIMMY Yeah. SUPERMAN Was he in any other movie with compass headings in the title? Or was there a memorable scene where he talked about some direction? JIMMY Gee, I'm not a big Cary Grant fan. I'm more of a _Jim_ Carrey kind of... (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 26. 28 CONTINUED: 28 SUPERMAN Jimmy! JIMMY Not that I know of! Superman positions himself under the Daily Planet sculpture and starts walking North. SUPERMAN All right, north is this way. Jimmy trails along. SUPERMAN (CONT'D) And Patrick Henry? What? A patriot, the Revolutionary war... JIMMY 'Give me liberty or give me death.' SUPERMAN And death is what'll happen if we don't find that bomb. So, what's 'liberty?' JIMMY Freedom? Escape? Get Out of Jail Free Card? Superman shoots him a quick glare. He looks around, thinking aloud. SUPERMAN Liberty. Liberty. Liberty. Suddenly, his eyesight zeroes in on something. SUPERCLOSEUP a round, decorative concrete planter on the sidewalk. (The type that's three feet across, small plants in the top, looks like it would weigh 500 hundred pounds). Stamped near the base it reads "LIBERTY MFG." Superman dashes over, lifts and turns over the planter as easily as if it were made of styrofoam... revealing the bomb attached inside its hollowed out center. The timer is down to 2 seconds. He flicks the planter straight up and it disappears in a BLUR. A second later, from high high up we hear a BOOM! and the echoes of the blast like distant thunder. JIMMY Oh! I just remembered! Cary Grant was also in 'Destination Tokyo'. SUPERMAN (smiling) Thanks, Jimmy. --page break-- "THROUGH A GLASS, DARKLY" (#21) Gold Rev. 3/18/96 26. 28 CONTINUED: 28 SUPERMAN Jimmy! JIMMY Not that I know of! Superman positions himself under the Daily Planet sculpture and starts walking North. SUPERMAN All right, north is this way. Jimmy trails along. SUPERMAN (CONT'D) And Patrick Henry? What? A patriot, the Revolutionary war... JIMMY 'Give me liberty or give me death.' SUPERMAN And death is what'll happen if we don't find that bomb. So, what's liberty'? JIMMY Freedom? Escape? Get Out of Jail Free Card? Superman shoots him a quick glare. He looks around, thinking aloud. SUPERMAN Liberty. Liberty. Liberty. Suddenly, his eyesight zeroes in on something. SUPERCLOSEUP a round sewer cover. Stamped on it are the words "LIBERTY MFG." Superman dashes over, lifts up the cover as easily as if it were made of styrofoam... revealing the bomb attached underneath. The timer is down to 2 seconds. He plucks off the bomb and throws it straight up and it disappears in a BLUR. A second later, from high high up we hear a BOOM! and the echoes of the blast like distant thunder. JIMMY Oh! I just remembered! Cary Grant was also in 'Destination Tokyo'. SUPERMAN (smiling) Thanks, Jimmy. By the way, nice hat. (X) Jimmy rolls his eyes upwards and for the first time (X) realizes he's still wearing his flyfishing hat. He feels (X) like a dope. --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 27. 29 CHING'S POV - SUPERMAN AND JIMMY 29 Talking on the street. 30 EXT. ALLEY - AFTERNOON 30 Unseen by Superman, Ching watches from the mouth of the alley. As he continues to watch, Sarah walks up behind him from inside the alley. CHING (clinical) He found it just in time. SARAH We need to talk. Ching turns to look at her. 31 EXT. DAILY PLANET - AFTERNOON 31 Jimmy looks at Superman. JIMMY Man, what kind of sick person does something like that? SUPERMAN I don't -- Superman suddenly stops in mid-sentence. 32 SUPERMAN'S POV - CHING 32 Just barely sticking out past the mouth of the alley. _Sarah cannot be seen_. Ching realizes that he's been spotted and quickly ducks back. 33 BACK TO SUPERMAN 33 Who BLURS out of frame. 34 EXT. ALLEY - AFTERNOON 34 He BLURS to a stop at the mouth of the alley, but when he gets there, Ching and Sarah are gone. Jimmy sprints up as Superman looks around the alley in surprise... where could Ching have gone. JIMMY Superman, what'd you see? (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 28. 34 CONTINUED: 34 SUPERMAN Dave Miller. JIMMY The real estate guy? Where'd he go? SUPERMAN (beat) I don't know. FADE OUT. _END OF ACT TWO_ --page break-- "THROUGH A GLASS, DARKLY" (#21) Pink Rev. 3/11/96 28. 34 CONTINUED: 34 SUPERMAN Dave Miller. A guy Clark told me about. (X) JIMMY The real estate guy? Where'd he go? SUPERMAN (beat) I don't know. FADE OUT. _END OF ACT TWO_ --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 29. _ACT THREE_ FADE IN: 35 EXT. ALLEY - DAY 35 Superman and Jimmy stand in the mouth of the alley. JIMMY Are you sure you saw him? SUPERMAN I saw Dave Miller. Look, beep Lois and Clark and tell them to meet me at the house they went to this morning. I want to see if there're any clues they might've overlooked. JIMMY You got it. He starts to back away and there's an OFF SCREEN Whoosh and Jimmy enviously shakes his head as he watches Superman go. JIMMY (CONT'D) Up, up and awayyyy. He turns and jogs towards the Planet. CUT TO: 36 INT. DARK, SPOOKY VOID - AFTERNOON (AS IF WE COULD TELL) 36 Sarah paces as Ching sits at the same table we saw when he was building the bomb. The strange MUSIC plays in the background. A small plate is before Ching, the remnants of a meager, ascetic meal on it. A short, tubular glass of water is next to the plate. Sarah's food and glass are untouched. SARAH The bomb almost exploded. CHING Correction. It did explode, but your able-bodied friend managed to toss it into the ionosphere in another modest display of strength. SARAH He's not my 'friend'. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) Gold Rev. 3/18/96 29. _ACT THREE_ FADE IN: 35 EXT. ALLEY - DAY 35 Superman and Jimmy stand in the mouth of the alley. JIMMY Are you sure you saw him? SUPERMAN Absolutely. Look, beep Lois and Clark and tell them to meet me at the house they went to this morning. I want to see if there're any clues they or the guys from (X) Star Labs might've overlooked. (X) JIMMY You got it. He starts to back away and there's an OFF SCREEN Whoosh and Jimmy checks his watch. He shakes his head and whistles. (X) JIMMY (CONT'D) (to himself) (X) Time to rock. (X) He turns and jogs towards the Planet. CUT TO: 36 INT. DARK, SPOOKY VOID - AFTERNOON (AS IF WE COULD TELL) 36 Sarah paces as Ching sits at the same table we saw when he was building the bomb. The strange MUSIC plays in the background. A small plate is before Ching, the remnants of a meager, ascetic meal on it. A short, tubular glass of water is next to the plate. Sarah's food and glass are untouched. SARAH The bomb almost exploded. CHING Correction. It did explode, but your able-bodied friend managed to toss it into the ionosphere in another modest display of strength. SARAH He's not my 'friend'. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 30. 36 CONTINUED: 36 CHING No, no, you're right. Perhaps friend is too mild a word. Perhaps your feelings are stronger. How else could you explain that when he tempts you with a donut you succumb? SARAH Who had a cappuccino? CHING (stiffly) I didn't enjoy that. SARAH Ching, you're being ridiculous. You know where my feelings lie. Ching points at her earrings. CHING Really? What about these... these ear adornments!? And these clothes? And... (he sniffs, then wrinkles his nose) ... you're wearing chemical compounds! SARAH Everyone does. It's harmless. It means nothing. CHING What's next, liposuction? It must mean something otherwise _you_ wouldn't take the time to seek it out and apply it. I suppose _he_ likes it. Ching touches Sarah on the forearm as she was about to turn away. She jerks it away. SARAH You forget yourself. CHING (pissed) On the contrary, _you_ have forgotten who _you_ are. And why we are here. What about all those who depend on us? (MORE) (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) Blue Blue 3/25/96 30. 36 CONTINUED: 36 CHING No, no, you're right. Maybe (X) friend is too mild a word. Maybe (X) your feelings are stronger. How else could you explain that when he tempts you with a donut you give (X) in? SARAH Who had a cappuccino? CHING (stiffly) I didn't enjoy that. SARAH Ching, you're being ridiculous. You know where my feelings lie. Ching points at her earrings. CHING Really? What about these... these ear adornments!? And these clothes? And... (he sniffs, then wrinkles his nose) ... you're wearing chemical compounds! SARAH Everyone does. It's harmless. It means nothing. CHING What's next, liposuction? It must mean something otherwise _you_ wouldn't take the time to 'go (X) shopping' and use it. I suppose (X) he likes it. Ching touches Sarah on the forearm as she was about to turn away. She jerks it away. SARAH You forget yourself. CHING (pissed) On the contrary, _you've_ (X) forgotten who _you_ are. And why we're here. (X) (MORE) (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 31. 36 CONTINUED: 2 36 CHING (CONT'D) While you've been indulging yourself, I have been pushing ahead to complete our plan. SARAH (flaring) And you're pushing too hard. CHING _Life_ is _hard_. _Our life is_ _hard_. People may die, but remember our goal. He stares at Sarah. She meets his eyes. SARAH (beat; a shade of sadness) I remember. There is a further beat of awkwardness between them, then Sarah slowly swims out of it. She seems to steel herself for a hard task she must face. CHING Good, then I suggest we should proceed. Sarah nods slightly in agreement. CHING (CONT'D) We know his strength and intelligence, now we shall plumb the depths of his soul. He picks up a small, thin glass and toasts. CHING (CONT'D) (in a foreign language) L'ete ve'me com emmeg. Ozemo ta'me com, l'ete. Leo ze'me com ozemo. SUBTITLED ON SCREEN: "The Code before nation. Nation before family. Family before self." Sarah raises her glass. SARAH (same foreign language) Leo ze'me com ozemo. SUBTITLED ON SCREEN: "Family before self." They both drink. CUT TO: --page break-- "THROUGH A GLASS, DARKLY" (#21) Blue Rev. 3/8/96 31. 36 CONTINUED: 2 36 CHING (CONT'D) While you've been indulging yourself, I have been pushing ahead to complete our plan. SARAH (flaring) And you're pushing too hard. CHING _Life_ is _hard_. _Our life is_ _hard_. People may die, but remember our goal. He stares at Sarah. She meets his eyes. SARAH (beat; a shade of sadness) I remember. There is a further beat of awkwardness between them, then Sarah slowly swims out of it. She seems to steel herself for a hard task she must face. CHING Good, then I suggest we should proceed. Sarah nods slightly in agreement. CHING (CONT'D) We know his strength and intelligence, now we'll see where (X) his heart really lies. He picks up a small, thin glass and toasts. CHING (CONT'D) (in a foreign language) L'ete ve'me com emmeg. Ozemo ta'me com l'ete. Leo ze'me com ozemo. SUBTITLED ON SCREEN: "The Code before nation. Nation before family. Family before self." Sarah raises her glass. SARAH (same foreign language) Leo ze'me com ozemo. SUBTITLED ON SCREEN: "Family before self." They both drink. CUT TO: --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 32. 37 EXT. BACKYARD - 3015 CHARLOTTE DRIVE - AFTERNOON 37 Clark stands near the satellite dish as we hear a car door SLAM and Lois appears, striding around the corner. LOIS So you think you saw Dave Miller in the alley? CLARK Yes, but when I got there, he was gone. (holds up a hand) Don't ask me, he just was. LOIS So what are we looking for? CLARK Anything unusual, no matter how unimportant it seems. LOIS Roger... She starts hunting around the yard as Clark slowly approaches the satellite dish. He quickly checks to make sure no neighbors are looking, then he X-RAYS the whole thing. They talk throughout. LOIS (CONT'D) ... but one thing's been bugging me. What's in it for Dave Miller? Why would he do all this? The space station was a self-correcting disaster. CLARK But the bomb in the planter wasn't. Lois just shrugs; she doesn't have an answer for that. Clark finishes x-raying and shakes his head. CLARK (CONT'D) El zippo. (looks at Lois) It's definitely strange. For a moment I thought they might've been attempts to get me out of the way so some other crimes could be committed, but nothing's happened. LOIS Or been reported. (Clark nods) It's almost like you're being tested. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) Pink Rev. 3/11/96 32. 37 EXT. BACKYARD - 3015 CHARLOTTE DRIVE - AFTERNOON 37 Clark stands near the satellite dish as we hear a car door SLAM and Lois appears, striding around the corner. LOIS Okay, I'll bite, why would Dave Miller have been lurking in the alley? CLARK You've got me; but if he _is_ connected to the space station and the bombing, he's either crazy, or really smart. LOIS. Or worse... a really smart madman. (looks around) So what are we looking for? CLARK Anything unusual, no matter how unimportant it seems. She starts hunting around the yard as Clark slowly approaches the satellite dish. LOIS (thinking aloud) All right, let's assume the worst case scenario: he's a really smart madman. This has got to be something big. Here's a guy who can out-think the space program... CLARK ... and is willing to risk hundreds of lives. LOIS But why would he do all this? The space station was a bluff... CLARK The bomb under that manhole cover (X) wasn't a bluff. Lois just shrugs; she doesn't have an answer for that. Clark X-RAYS the satellite dish, then shakes his head. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 33. 37 CONTINUED: 37 CLARK Or set up for something bigger. LOIS (pointing) Here's a dime. We can use it towards a downpayment. Clark decides this is the opportunity he's been waiting for to blurt out his happy secret. CLARK Speaking of money, I made a deposit on this house today. LOIS (smiling) Very funny. CLARK No, I'm serious. LOIS Clark, are you out of your mind?! CLARK (defensive) Wait a minute! You're the one who's always telling me to be spontaneous! You know, 'take a chance!' Carpe diem! Seize the day! LOIS (backpedaling) Sure, but that's about little things, like brown shoes with a grey suit! Or coleslaw on a pastrami sandwich. But not this! This is huge! This is colossal! This is a life altering decision that could have repercussions for decades! CLARK Are we talking about more than buying a house here? LOIS Yes! You made a downpayment on the assumption that -- (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) Pink Rev. 3/11/96 33. 37 CONTINUED: 37 CLARK El zippo. (looks at Lois) It's definitely strange. For a moment I thought they might've been attempts to get me out of the way so some other crimes could be committed, but nothing's happened. LOIS It's... almost like you're being... tested. CLARK Or set up for something bigger. (beat; mulls) Yeah. Definitely. Something bigger. LOIS (pointing) Here's a dime. We can use it towards a down payment. Clark decides this is the opportunity he's been waiting for to blurt out his happy secret. CLARK Speaking of money, I was thinking (X) of making an offer on this house (X) today. LOIS (smiling) Very funny. CLARK No, I'm serious. LOIS What? CLARK You're happy, right? That's your happy look, right? _Surprised_, but happy... LOIS Clark, are you out of your mind?! (X) (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 34. 37 CONTINUED: 2 37 CLARK Whoa whoa whoa, Lois. It's just a deposit, a couple thousand bucks to hold the house for two weeks so we can have some time to talk about it. We can always back out. LOIS Great! Fine! But how do you know I even want a house now? CLARK Because when we came here this morning you said you could definitely go for a place like this! LOIS Hey, I like the Grand Canyon, but I don't want to buy it! (calming a bit) Oh, Clark... (gestures at backyard) ... look at this. It's like every backyard I grew up in; I'm having hot flashes just thinking about it. The barbecue's over there, the swing set's over here. Mom's in the lounge chair getting drunk, Daddy's burning steaks trying to explain why he was kissing Mrs. Bellcanto in the kitchen and I'm in _hell_. Clark comes over to comfort Lois. CLARK Lois, we're talking about us. LOIS (twisting away) It's not just that. CLARK What? Are you afraid of... putting down roots? LOIS (beat) What if I am? It's just that, your memories of growing up are so different from mine. Your family life was so _good_ and _nice_. I don't know if I can give you what you want. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) Pink Rev. 3/11/96 34. 37 CONTINUED: 2 37 CLARK (defensive) You're the one who's always (X) telling me to be spontaneous! You know, 'take a chance!' Carpe diem! Seize the day! LOIS (backpedaling) Sure, but that's about little things, like brown shoes with a grey suit! Or coleslaw on a pastrami sandwich. But not this! This is huge! This is colossal! This is a life altering decision that could have repercussions for decades! CLARK Whoa whoa whoa, Lois. I haven't done anything yet. (X) LOIS How do you know I even want a (X) house? CLARK This morning you said you really liked this place. LOIS I really like the Grand Canyon, but I don't want to buy it! (calming a bit) Oh, Clark... (beat) It's just such a big step. You know? (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 35. 37 CONTINUED: 3 37 Clark pulls Lois close and this time she doesn't pull away. CLARK Lois, you've already given me what I want. You. I don't care if we live in a yurt, as long as we're together. Lois wraps her arms around Clark's neck and they kiss. She suddenly pulls back, her mind still partially spinning over the whole idea of buying this house. LOIS And besides, do you really want to buy this house? A place from where some bad guy nearly crashed the space station? What's next, we find out it's built over an Indian graveyard?! Clark smiles and holds up his hands in mock surrender. CLARK All right. I apologize. Maybe I was a little hasty. So let's drop it for now and get back to work. LOIS And that money's definitely refundable? CLARK Lois... LOIS Just checking. Her mind still on money, she stoops to pick up the dime she saw earlier, but when she does, she frowns in surprise. LOIS (CONT'D) Clark, look. It's not a dime at all. CLARK It's a micro-transmitter. LOIS Then this is what Dr. Klein homed in on. The satellite dish was a decoy. CLARK He did say plus or minus six feet. Let me see. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) Blue Rev. 3/8/96 35. 37 CONTINUED: 4 37 CLARK I just... thought, after we got (X) married, we'd wanna put down (X) roots. (X) (off her nervous look) (X) Lois...? LOIS I just don't know... if I'm gonna be very good at that. (X) He watches her, puzzled by her reaction. She recovers, leans down to pick up the "dime." LOIS (CONT'D) We'd better get back to work. So far my search has turned up one... (X) (stares at it) (X) Clark, look. It's not a dime at all. CLARK It's a micro-transmitter. LOIS Then this is what Dr. Klein homed in on. The satellite dish was a decoy. CLARK He did say plus or minus six feet. Let me see. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 36. 37 CONTINUED: 4 37 Lois drops the micro-transmitter into Clark's hand. As soon as it touches him, a hologram of the black body-suited Ching springs up. Both Clark and Lois jump back in surprise. CHING HOLOGRAM Finally, it's about time you found this, Superman. Or should I say Super-slow-man? Wait, don't answer. I just wanted to say 'Hello' and tell you that you'll be seeing a lot more of me soon. The best... and worst... are yet to come. Farewell. The hologram snaps out of existence. Lois and Clark look at each other. CUT TO: 38 EXT. KENTS' UTILITY SHED - SMALLVILLE - AFTERNOON 38 JONATHAN and MARTHA emerge from the shed, carrying old, empty milking cans, two long fluorescent tubes, and some electrical wire. They both turn back as Jonathan locks the door. MARTHA These'll be perfect for my modern sculpture class. JONATHAN But how're you going to light up both of them? MARTHA (smiling) I haven't figured that part out yet. They turn around and suddenly there is a person standing there who hadn't been there a moment before: it's Ching. He wears jeans and a flannel shirt over his black body suit. CHING (smiling) Mr. and Mrs. Kent? JONATHAN Yes? Ching holds out his hand. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) Gold Rev. 3/18/96 36. 37 CONTINUED: 4 37 Lois drops the micro-transmitter into Clark's hand. As soon as it touches him, a _hologram_ of Ching's face and head springs up. Both Clark and Lois jump back in surprise. CHING HOLOGRAM Finally, it's about time you found this, Superman. Or should I say Super-slow-man? Wait, don't answer. I just wanted to say 'Hello' and tell you that you'll be seeing a lot more of me soon. The best... and worst... are yet to come. Farewell. The hologram snaps out of existence. Lois and Clark look at each other. CUT TO: 38 OMITTED 38 38A EXT. SMALL FISHING CABIN - AFTERNOON 38A Perry and Jimmy, in full flyfishing gear, emerge from the (X) cabin with their rods and creels. Perry shows Jimmy a fly. (X) PERRY Now this here is a wooly coachman, (X) also known as a goopie worm. (X) JIMMY And fish actually eat these? (X) Perry turns to lock the door. Jimmy turns with him. (X) PERRY Faster than you can say 'trout (X) almondine'. They turn back around and suddenly there is a person (X) standing there who hadn't been there a moment before: it's Ching. He wears jeans and a flannel shirt. CHING (smiling) Mr. White? Mr. Olsen? (X) PERRY Yes? (X) Ching holds out his hand. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 37. 38 CONTINUED: 38 CHING I'm Dave Miller. As they all shake, Ching's eyes go hard. CUT TO: 39 INT. STAR LABS - DAY 39 Dr. Klein stands in front of a computer keyboard and monitor hooked up to a sophisticated microscope. Lois and Clark watch from behind him. DR. KLEIN I've gotta tell you it's like nothing I've ever seen. We see the interior of the micro-transmitter on the computer monitor. The magnification of the circuitry is so great we're almost down to the atomic level, and yet still we see wiring. DR. KLEIN (CONT'D) Whoever built this is a genius. I'm down to almost the atomic-level and there's still circuitry. Oh... hold on... there seems to be some lettering here... On the monitor screen, as Klein works the mouse and the picture seems to pan across the circuitry, we slowly reveal the words "CHING CO." CLARK (reading) 'Ching Co.' Lois quickly dials a phone. LOIS (into phone) Jimmy! We need the address of a company called 'Ching Co.', two words, last's an abbreviation. 40 INT. DAILY PLANET - AFTERNOON 40 Jimmy's on the phone at his desk, his hands already flying over the keyboard of his computer. JIMMY If you hold a sec, I'll try to find it now. --page break-- "THROUGH A GLASS, DARKLY" (#21) Gold Rev. 3/18/96 37. 38A CONTINUED: 38A CHING I'm Dave Miller. As they all shake, Ching's eyes go hard. CUT TO: 39 INT. STAR LABS - DAY 39 Dr. Klein stands in front of a computer keyboard and monitor hooked up to a sophisticated microscope. Lois and Clark watch from behind him. DR. KLEIN I've gotta tell you it's like nothing I've ever seen. We see the interior of the micro-transmitter on the computer monitor. The magnification of the circuitry is so great we're almost down to the atomic level, and yet still we see wiring. DR. KLEIN (CONT'D) Whoever built this is a genius. I'm down to almost the atomic level and there's still circuitry. Oh... hold on... there seems to be some lettering here... On the monitor screen, as Klein works the mouse and the picture seems to pan across the circuitry, we slowly reveal the words "CHING LTD." CLARK (reading) 'Ching Limited.' Lois quickly dials a phone. LOIS (into phone) Hello, Roberta? We need the (X) address of a company called 'Ching Limited', two words, last's an abbreviation. (beat) Sure, I'll hold. (X) CLARK Dr. Klein, is there anything else? DR. KLEIN No, but if I find more, I'll call. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 38. 41 BACK TO LOIS 41 LOIS Go for it. CLARK Dr. Klein, is there anything else? DR. KLEIN No, but if I find more, I'll call. CLARK Thanks. JIMMY Ask and ye shall receive! Ching Co. is at Four-seventy-three Barreto. Suite One-Oh-Six. LOIS Got it! (to Clark) Let's go pay'em a visit. They dash out. CUT TO: 42 EXT. 473 BARRETO - A BROWNSTONE - DAY 42 Lois and Clark pull up in Lois's Jeep and jump out. They take the steps two at a time. 43 INT. SUITE 106 - DAY 43 Ching, in his black body suit, sits alone on a metal folding chair in the middle of an empty apartment. He watches two television sets; their sound is turned off. We CAN'T see what's on them. The doorbell rings. CHING (without looking) It's open. Lois and Clark cautiously enter. CHING (CONT'D) Good. You're here. Now the real fun begins. LOIS Listen, Miller, or whoever you are, if we don't get some answers, Superman's going to come through that door in about two seconds. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) Gold Rev. 3/18/96 38. 39 CONTINUED: 39 CLARK Thanks. LOIS (listens to phone) (X) Yes! (grabs pen, writes) (X) Four-seventy-three Barreto. Suite One-Oh-Six. Got it! Thanks! (X) (to Clark) Let's go pay'em a visit. They dash out. CUT TO: 40 40 THRU OMITTED THRU 41 41 42 EXT. 473 BARRETO - A BROWNSTONE - DAY 42 Lois and Clark pull up in Lois's Jeep and jump out. They take the steps two at a time. 43 INT. SUITE 106 - DAY 43 Ching, in a black commando-type outfit, sits alone on a metal folding chair in the middle of an empty apartment. He watches two television sets; their sound is turned off. We CAN'T see what's on them. The doorbell rings. CHING (without looking) It's open. Lois and Clark cautiously enter. CHING (CONT'D) Good. You're here. Now the real fun begins. LOIS Listen, Miller, or whoever you are, if we don't get some answers, Superman's going to come through that door in about two seconds. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 39. 43 CONTINUED: 43 CHING Oh, really? One. Two. Nothing happens. CHING (CONT'D) Oops, did I miss him? Or perhaps you were exaggerating a bit? I guess we'll have to go on without him then. He gestures at the TVs. For the first time, Lois and Clark notice what's on the screens. 44 CLARK'S POV - THE TWO TV SCREENS 44 on one we see Jonathan and Martha tied up outside their utility shed, a larger, more sophisticated Star Bomb next to them than the one we saw Superman dispose of earlier. On the second screen, another Star Bomb that is the twin to the one next to the Kents. This one on the patio outside Clark's apartment. 45 BACK TO SCENE 45 CLARK No! CHING Now here's the interesting dilemma: the two bombs are electronically linked. Stop one, the other one goes off. Separate them, say by throwing one into space, the other one goes off. So... do you save Metropolis, or your parents? What do you say, Clark... or should I say, Superman? Clark grabs Ching by the neck, but Ching remains completely relaxed. CLARK Why are you doing this?! SARAH (O.S.) Because we need to know. Lois and Clark turn to see Sarah in a black body suit identical to Ching's; she's been hiding it under her regular clothes all along. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) Gold Rev. 3/18/96 39. 43 CONTINUED: 43 CHING Oh, really? One. Two. Nothing happens. CHING (CONT'D) Oops, did I miss him? Or perhaps you were exaggerating a bit? I guess we'll have to go on without him then. He gestures at the TVs. For the first time, Lois and Clark notice what's on the screens. 44 CLARK'S POV - THE TWO TV SCREENS 44 On one we see Perry and Jimmy tied up outside their cabin, (X) a larger, more sophisticated Star Bomb next to them than the one we saw Superman dispose of earlier. On the second screen, another Star Bomb that is the twin to the one at the cabin. This one on the patio outside Clark's apartment. (X) 45 BACK TO SCENE 45 CLARK No! CHING Now here's an interesting problem: the two bombs are electronically linked. Stop one, the other one goes off. Separate them, say by throwing the one at your apartment into space, the other one goes off. So... do you save Metropolis, or White and Olsen? What do you say, (X) Clark... or should I say, Superman? Lois reacts and looks at Clark, but Clark's surprise is quickly overshadowed by his anger. Clark grabs Ching by the neck, but Ching remains completely relaxed. CLARK Why are you doing this?! SARAH (O.S.) Because we need to know. Lois and Clark turn to see Sarah. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 40. 45 CONTINUED: 45 LOIS Sarah! What're you doing here? What do you need to know? CHING (to Clark) Thirty seconds. Now is not the time to really dawdle. Do you save two people you love dearly, or a million strangers? LOIS It's not fair! You can't make him choose! Ching glances at Sarah and then turns his gaze back to Clark. CHING People have to make choices all the time. Low-fat or regular? Calvin Klein or Versace? (to Clark) Life, or death? What'll it be? CLARK Stop the bombs! CHING Did you just think of that? That's good, but, I can't. LOIS Nobody can be in two places at once, held have to split himself in two! Clark suddenly looks at Lois, she's given him an idea. WHOOSH! He blurs out of the apartment. 46 EXT. CLARK'S PATIO - DAY 46 Superman leaps in and inspects the Star Bomb. It's exactly as Ching said. 47 TV MONITOR - IN SUITE 106 47 We see Superman leap out. --page break-- "THROUGH A GLASS, DARKLY" (#21) Gold Rev. 3/18/96 40. 45 CONTINUED: 45 LOIS Sarah! What're you doing here? What do you need to know? CHING (to Clark) Thirty seconds. Now is not the time to really dawdle. Do you save two people you care about a great deal, or a million strangers? (X) LOIS It's not fair! You can't make him choose! Ching glances at Sarah and then turns his gaze back to Clark. CHING People have to make choices all the time. Low-fat or regular? Calvin Klein or Versace? (to Clark) Life, or death? What'll it be? CLARK Stop the bombs! CHING Did you just think of that? That's good, but, I can't. LOIS Nobody can be in two places at once, he'd have to split himself in two! Clark suddenly looks at Lois, she's given him an idea. WHOOSH! He blurs out of the apartment. 46 EXT. CLARK'S PATIO - DAY 46 Superman leaps in and inspects the Star Bomb. It's exactly as Ching said. 47 TV MONITOR - IN SUITE 106 47 We see Superman leap out. --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 41. 48 INT. STAR LABS - DAY 48 Dr. Klein putters on the laser beam splitting experiment. WHOOSH! there's a blue and red BLUR and suddenly the beam splitter is gone and Dr. Klein is staring at a note suddenly taped before him. DR. KLEIN (startled, reads note) 'Sorry, I need to borrow this. Superman.' (beat) 'P.S. Thank you.' 49 INT. SUITE 106 - DAY 49 Lois is frantic. LOIS Why are you doing this?! It's insane! CHING No, it's a test. And one I'm deadly serious about. SARAH And now we know the answer! He's trying to save Metropolis. We can stop. She reaches behind one of the TV's and pulls out a small transmitter. Ching suddenly grabs it from her and crushes it, he throws the pieces to the floor. CHING No! We need to see it through! We have to know, _absolutely_. 50 EXT. SKY - DAY 50 Superman streaks upwards, carrying the laser beam splitter. He suddenly stops, looks down to his left and right, and then positions the beam splitter in front of and slightly below his face. With all his strength he beams his HEAT VISION into it. It emerges from the other end split in two, angling off to the left and right, lancing towards the ground. 51 EXT. CLARK'S PATIO - DAY 51 One beam of Superman's HEAT VISION hits the timer just as it's about to hit 0:00 on the Star Bomb, shorting it out and stopping it. While at the same time... --page break-- "THROUGH A GLASS, DARKLY" (#21) Yellow Rev. 3/14/96 41. 48 INT. STAR LABS - DAY 48 Dr. Klein putters on the laser beam splitting experiment. WHOOSH! there's a blue and red BLUR and suddenly the beam splitter is gone and Dr. Klein is staring at a note suddenly taped before him. DR. KLEIN (startled, reads note) 'Sorry, I need to borrow this. Superman.' (beat) 'P.S. Thank you.' 49 INT. SUITE 106 - DAY 49 Lois is frantic. LOIS Why are you doing this?! It's insane! CHING No, it's a test. And one I'm deadly serious about. SARAH And now we know the answer! He's trying to save Metropolis. We can stop. She reaches into a drawer and pulls out a small (X) transmitter. Ching suddenly grabs it from her and crushes it, he throws the pieces to the floor. CHING No! We need to see it through! We have to know, _absolutely_. 50 EXT. SKY - DAY 50 Superman streaks upwards, carrying the laser beam splitter. He suddenly stops, looks down to his left and right, and then positions the beam splitter in front of and slightly below his face. With all his strength he beams his HEAT VISION into it. It emerges from the other end split in two, angling off to the left and right, lancing towards the ground. 51 EXT. CLARK'S PATIO - DAY 51 One beam of Superman's HEAT VISION hits the timer just as it's about to hit 0:00 on the Star Bomb, shorting it out and stopping it. While at the same time... --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 42. 52 EXT. KENTS' UTILITY SHED - DAY 52 The other beam of Superman's HEAT VISION has done the same exact thing to the timer on the Star Bomb next to the Kents. When they hear the fizz of the timer shorting, they flinch... and then relax. 53 INT. SUITE 106 - DAY 53 Lois sees both bombs defuse. LOIS Yes! Sarah beams in spite of herself. SARAH He did it! Ching glares at her. 54 EXT. KENTS' UTILITY SHED - DAY 54 Superman JUMPS into the frame, still carrying the beam splitter. He quickly unties, his parents. SUPERMAN Mom, Dad, are you guys okay? JONATHAN Now we are. But that was a little more excitement than I think we'd normally care for. SUPERMAN Don't worry, you're not the only ones in for some excitement. Mom, can you hold this for a second? He jumps out of frame. Martha studies the beam splitter. MARTHA Hmmph, I think I can use this in my class. 55 INT. SUITE 106 - DAY 55 Lois looks at Sarah. LOIS Sarah, I don't understand. Why'd you do this? What's going on? (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) Gold Rev. 3/18/96 42. 52 EXT. SMALL FISHING CABIN - DAY 52(X) The other beam of Superman's HEAT VISION has done the same exact thing to the timer on the Star Bomb next to Perry and Jimmy. When they hear the fizz of the timer shorting, they (X) flinch... and then relax. 53 INT. SUITE 106 - DAY 53 Lois sees both bombs defuse. LOIS Yes! Sarah beams in spite of herself. SARAH He did it! Ching glares at her. 54 EXT. SMALL FISHING CABIN - DAY 54(X) Superman JUMPS into the frame, still carrying the beam splitter. He quickly unties Perry and Jimmy. (X) SUPERMAN Jimmy, Perry are you guys okay? (X) PERRY We are now. But that was a little (X) more excitement than I normally (X) have on a fishing trip. (X) SUPERMAN Don't worry, you're not the only ones in for some excitement. Jimmy, can you hold this for a (X) second? Gotta fly! (X) He jumps out of frame. Jimmy studies the beam splitter. (X) JIMMY (hopeful) (X) Maybe we better cancel, huh? (X) PERRY Nonsense! There's a steelhead out (X) there with your name on it! Come (X) on! As they head off, we... CUT TO: --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 43. 55 CONTINUED: 55 SARAH I... I can't explain now. Ching suddenly wheels on Lois. CHING You! You gave him the idea! He would've failed if you hadn't been here! (to Sarah) Come on. We've got to leave. Now! Lois grabs him by the arm. LOIS Wait a minute! Ching casually flicks his arm out like he was shaking off raindrops. Lois flies back and slams against the wall, hard. She slumps over onto the floor, dazed. CHING As another block of muscle once said, 'Hasta la vista, baby.' Ching chuckles and he and Sarah dash out of frame. FADE OUT. _END OF ACT THREE_ --page break-- "THROUGH A GLASS, DARKLY" (#21) Pink Rev. 3/11/96 43. 55 INT. SUITE 106 - DAY 55 Ching suddenly wheels on Lois. CHING You! You gave him the idea! He would've failed if you hadn't been here! (to Sarah) Come on. We've got to leave. Now! Lois grabs him by the arm. LOIS Wait a minute! Ching casually flicks his arm out like he was shaking off raindrops. Lois flies back and slams against the wall, hard. She slumps over onto the floor, dazed. CHING As another block of muscle once said, 'Hasta la vista, baby.' Then he and Sarah dash out of frame. (X) FADE OUT. _END OF ACT THREE_ --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 44. _ACT FOUR_ FADE IN: 56 INT. SUITE 106 - CLOSEUP - LOIS - AFTERNOON 56 Lois lies limp on the floor, her face pressing into the carpet. There's a WHOOSH offscreen and Superman bends down next to her. SUPERMAN (alarmed) Lois? (beat) Lois, can you hear me? Lois murmurs and rolls over. Superman helps her sit up. SUPERMAN (CONT'D) Lois, are you okay? What happened? Lois rubs her head. LOIS He threw me away. Like he was flinging spaghetti against the wall to see if it would stick. (beat) It was weird. SUPERMAN If he's that strong, he's even more dangerous than we thought. LOIS No, it's not that. When I was lying here, I had this... dream. I was standing in the backyard of a house, wearing an apron and a chef's hat, barbecuing hamburgers, my legs growing into the ground, and all I kept saying was 'I am not an oak; I am a free man!' Superman looks at her a beat. SUPERMAN Maybe you better lie back down. CUT TO: 57 INT. DARK, SPOOKY VOID - AFTERNOON 57 Ching and Sarah are arguing. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) Yellow Rev. 3/14/96 44. _ACT FOUR_ FADE IN: 56 INT. SUITE 106 - CLOSEUP - LOIS - AFTERNOON 56 Lois lies limp on the floor, her face pressing into the carpet. There's a WHOOSH offscreen and Superman bends down next to her. SUPERMAN (alarmed) Lois? (beat) Lois, can you hear me? Lois murmurs and rolls over. Superman helps her sit up. SUPERMAN (CONT'D) Lois, are you okay? Lois rubs her head. LOIS He knew you were Superman. SUPERMAN I know, but don't ask me how. And what's _Sarah_ have to do with this? (X) (concerned) What happened after I left? LOIS He threw me away. Like he was flinging spaghetti against the wall to see if it would stick. (beat) It was weird. SUPERMAN If he's that strong, he's even more dangerous than we thought. LOIS (still fuzzy) (X) No, it's not that. When I was lying here, I had this... dream. I was standing in the backyard of a house, wearing a chef's hat, barbecuing burgers, my legs turning into roots and growing into the ground... And I kept yelling 'I am not an oak; I am free!' Superman looks at her a beat. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) Blue Rev. 3/8/96 44A. 56 CONTINUED: 56 SUPERMAN Maybe you better lie back down. CUT TO: 57 INT. DARK, SPOOKY VOID - AFTERNOON 57 Ching and Sarah are arguing. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 45. 57 CONTINUED: 57 SARAH _Now_ are you satisfied?! CHING He would've failed without Lane's help! No doubt he would put that ridiculous suit of his on backwards if she wasn't around! SARAH Why do you keep denying what we've both seen?! CHING And what was that?! Someone who dashes about like a... (searches for the word) ... hummingbird? Who goes from disaster to disaster with no principle other than to be of help? What kind of code is that? A worm eats dirt because that's all it knows how to do. Yes, I admit he has ability, but look at him! Skulking around, wearing glasses, when I know for a fact they are completely unnecessary! And his modest style of living and dress! For whom is he pretending? Why pretend at all?! He could rule this world if he wanted to, and enforce what he knew to be a better way, and yet he refuses to. SARAH Perhaps there is a higher lesson there. Ching whirls on her, bitter. He hears the death of his dreams in her tone of voice. CHING I know one lesson that I have learned from this. SARAH (conciliatory) Ching... She reaches out to touch him. CHING No! (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) Yellow Rev. 3/14/96 45. 57 CONTINUED: 57 SARAH _Now_ are you satisfied?! CHING He would've failed without Lane's help! No doubt he would put that ridiculous suit of his on backwards if she wasn't around! SARAH Why do you keep denying what we've both seen?! CHING Because you find him worthy and I (X) find him wanting! (X) (searches for the word) Yes, I admit he has ability, but (X) look at him! Skulking around, wearing glasses, when I know for a fact they're completely unnecessary! And why pretend at (X) all?! He could rule this world if he wanted to, and enforce what he knew to be a better way, and yet he refuses to. SARAH Perhaps there is a higher lesson there. Ching whirls on her, bitter. He hears the death of his dreams in her tone of voice. CHING I know one lesson I've learned from this. SARAH (conciliatory) Ching... She reaches out to touch him. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 46. 57 CONTINUED: 2 57 SARAH Now what? CHING You know _exactly_ what. Or do you need Lois Lane to come here and help you figure it out? (contemptuous) This kaleidoscope of virtues, this hyperpituitary 'Boy Scout', this 'superman', doesn't deserve what's been handed to him! One more test, and I'll prove it, and then you'll see. He looks her square in the eyes. CHING (CONT'D) And then you'll see. CUT TO: 58 INT. SUITE 106 - AFTERNOON 58 The light outside is fading as dusk approaches. Lois sits in the chair Ching once used, recovering. Superman has spread out on top of one of the TVs the crushed pieces of the transmitter that Ching and Sarah left behind. He studies them intently. LOIS Obviously I have ambivalent feelings about owning a house and all that that means. SUPERMAN (more to himself than Lois) Maybe if I can reassemble this, we'll have a way to locate Sarah and Ching. LOIS I mean, you don't have to be Carl Jung to see that in my dream. SUPERMAN (still working on the gizmo) There, that piece fits. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) Yellow Rev. 3/14/96 46. 57 CONTINUED: 2 57 CHING No! (X) (contemptuous) This kaleidoscope of virtues, this (X) 'superman', doesn't deserve what's been handed to him! (beat) (X) And I'll prove it. (X) Ching looks her square in the eyes. (X) CUT TO: 58 INT. SUITE 106 - AFTERNOON 58 The light outside is fading as dusk approaches. Lois sits in the chair Ching once used, recovering. Superman has spread out on top of one of the TVs the crushed pieces of the transmitter that Ching and Sarah left behind. He studies them intently. LOIS Obviously I have ambivalent feelings about owning a house and all that that means. SUPERMAN Obviously. (staring at pieces) Maybe if I can reassemble this, we'll have a way to locate Sarah and Ching. LOIS (pacing) ... I mean I move from place to place, take assignments all over the world... It's like I deliberately _run_ from putting down roots... Like that was a _bad_ thing... SUPERMAN There... That piece fits... (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 47. 58 CONTINUED: 58 LOIS But it doesn't mean I love you any less, just because I don't want a house. (beat) Does it? SUPERMAN (about gizmo) No... LOIS (misunderstanding) Good. SUPERMAN ... that's not right. LOIS Clark, I'm talking about something important here. SUPERMAN (looking up) What? Oh. Honey, I was... He gestures lamely towards the broken pieces. LOIS But doesn't buying a house scare you? Torn, Superman decides he had better handle this crisis first. SUPERMAN Lois, maybe this house is not the right house, but, no, I'm not afraid. LOIS Sure, you say that, but how can you know? Right now we only see each other when we want to, but what about when we don't? Are we each going to have our own space? What if you're in a bad mood, assuming that's possible, should I go stay in Missouri for awhile? SUPERMAN Lois, it's like marriage, I'm sure there'll be hard times, but we'll work it out. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) Blue Rev. 3/8/96 47. 58 CONTINUED: 58 LOIS Clark, I'm talking about something important here. SUPERMAN (looking up) What? Oh. Honey, I was LOIS When I saw that house today, it (X) was suddenly really clear to me (X) what you want. And I don't know (X) if I can give you that. (X) He puts his arms around her. (X) SUPERMAN Lois, you've already given me what (X) I want. You. I don't care if we (X) live in a house, a boxcar or a (X) yurt, as long as we're together. (X) LOIS But a house is important to you... (X) SUPERMAN When I was a kid, my home meant (X) permanence... a place to be safe. My life's so chaotic... (X) Going from one disaster to the (X) next.. I've always dreamed of a (X) real... Home. (X) She's touched; presses a hand to his cheek. LOIS And see, when _I_ was a kid, home was where Mother sat in the lounge chair, getting drunk, while Daddy (X) burned steaks at the barbecue (X) trying to explain why he was (X) kissing Mrs. Bellcanto in the (X) church parking lot... (X) (beat) Permanence... wasn't so permanent (X) at my house. (X) (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 48. 58 CONTINUED: 2 58 LOIS A house is just such a giant step; it brings up all sorts of issues. SUPERMAN Lois, I'm sorry your childhood wasn't all you wanted it to be, but committing to buying a house doesn't commit you to that kind of life. LOIS But I'm afraid that's exactly what'll happen. (remembering her childhood) We'll always plan vacations, but then cancel them at the last minute because of some emergency... or I'll get bitter because if we buy a house now, we'll never live overseas and work in the Paris Bureau, or interview rebels in the mountains of -- SUPERMAN Lois. No one knows the future... Then he remembers their experiences with Tempus. SUPERMAN (CONT'D) ... at least, we don't know our near future, but I do know I love you. And you love me. And if we're ever going to have a home, and build a life there, that's the best, and strongest, foundation we can have. He looks into her eyes. SUPERMAN (CONT'D) And I don't care if that house is in Paris, or Sydney, or Kowloon, but I would like to have a house with you. LOIS (beat) And I'd like to have one with you. They kiss again. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) Blue Rev. 3/8/96 48. 58 CONTINUED: 2 58 SUPERMAN Lois. You and I are gonna be as (X) permanent as it gets. (X) LOIS So I guess I might as well stop (X) running. (X) SUPERMAN I won't burn the steaks, I swear. (X) LOIS Forget the steaks, just don't be kissing Mrs. Bellcanto. (X) Another kiss. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 49. 58 CONTINUED: 3 58 LOIS (CONT'D) But let's look around a little more, okay? He smiles back. SUPERMAN Okay. Suddenly, we hear Ching's WHISPERY voice again... he's speaking telepathically. CHING (V.O.) Superman... Superman cocks his head, surprised. LOIS What? Superman gestures for quiet. CHING (V.O.) Yes, it's me... I'm here... at your apartment. Don't keep me waiting. Then his presence is gone. LOIS What'd you hear? SUPERMAN (disturbed) A voice... in my head. He's at my apartment. LOIS (beat) Then we have to go. Superman looks at Lois for a moment. CUT TO: 59 EXT. CLARK'S PATIO - NIGHT #1 59 Ching and Sarah wait at the end near the door. We hear a WHOOSH offscreen and Superman and Lois walk float down onto the other end. SUPERMAN I'm going to put you away for the rest of your life. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) Pink Rev. 3/11/96 49. 58 CONTINUED: 3 58 LOIS (CONT'D) But we can look around a little more, first... right? He smiles back. SUPERMAN Sure. Suddenly, we hear Ching's WHISPERY voice again... he's speaking telepathically. CHING (V.O.) Superman... Superman cocks his head, surprised. LOIS What? Superman gestures for quiet. CHING (V.O.) Yes, it's me... I'm here... at your apartment. Don't keep me waiting. Then his presence is gone. LOIS What'd you hear? SUPERMAN (disturbed) A voice... in my head. He's at my apartment. LOIS. (beat) Then we have to go. Superman looks at Lois for a moment. CUT TO: 59 EXT. CLARK'S PATIO - NIGHT #1 59 Ching and Sarah wait at the end near the door. They both wear sleek black outfits. We hear a WHOOSH offscreen and (X) Superman and Lois float down onto the other end. (X) SUPERMAN I'm going to put you away for the rest of your life. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 50. 59 CONTINUED: 59 CHING That would be an extremely long time. But before you can attempt that, you'll have to pass one last test. How much are you willing to sacrifice to personally 'put me away.'? SUPERMAN (hard) Plenty. Sarah approaches Superman and Lois, but Ching hangs back. CHING Bravo! That's the attitude. Then by all means, come and get me. Superman starts forward and BZZZZZ! A force field of Kryptonite light springs up between Ching and Superman. A glowing green line along the bricks and cement delineates the large cube-shape of the forcefield around Ching. (Some of the lines extend out of frame suggesting the huge size of the cube). Superman recoils in pain. CHING Two guesses as to what this is; it rhymes with 'Kryptonite.' Lois, no helping. LOIS Turn it off! CHING (to Superman) Okay, it's Kryptonite. Actually, a Kryptonite force field. What's the matter, Superman? Don't you still want me? LOIS I'll take a piece of you. She starts forward but Sarah restrains her. LOIS (CONT'D) Let go. But she can't pull her arm free. SARAH He must do this alone. Superman backs up to reduce his pain. He and Ching are about the same distance from the force field. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) Blue Rev. 3/8/96 50. 59 CONTINUED: 59 CHING Really? How much are you willing (X) to sacrifice to personally 'put me away'? SUPERMAN (hard) Plenty. Sarah approaches Superman and Lois, but Ching hangs back. CHING Bravo! That's the attitude. Then by all means, come and get me. Superman starts forward and BZZZZZ! A force field of Kryptonite light springs up between Ching and Superman. A glowing green line along the bricks and cement delineates the large cube-shape of the forcefield around Ching. (Some of the lines extend out of frame suggesting the huge size of the cube). Superman recoils in pain. CHING Two guesses as to what this is; it rhymes with 'Kryptonite.' Lois, no helping. LOIS Turn it off! CHING (to Superman) Okay, it's Kryptonite. Actually, a Kryptonite force field. What's the matter, Superman? Don't you still want me? LOIS I'll take a piece of you. She starts forward but Sarah restrains her. LOIS (CONT'D) Let go. But she can't pull her arm free. SARAH He must do this alone. Superman backs up to reduce his pain. He and Ching are about the same distance from the force field. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 51. 59 CONTINUED: 2 59 CHING Good idea. Better yet, why don't you just run away. (to Sarah) See? I told you. SUPERMAN (backing away further) You can't hide in there forever. CHING I don't intend to. He takes a step forward and seems to pinch an invisible something from the thin silver metal cuff on the left sleeve of his bodysuit. He rolls his hand over, palm up. CHING (CONT'D) Expand. FFFFFT! Faster than the eye can see, a sleek, futuristic handgun seemingly pops into existence in his hand. SARAH (alarmed) Ching! What're you doing?! Ching begins to sweat. Is it nerves? Or is he trying to hide some pain? Or both? CHING Simple. Testing the Man of Steel. I intend to shoot myself. Now of course, you can try to stop me, but to do that you'll have to pass through the force field, which, as you can tell, is lethal. SARAH Ching! I order you to stop this now! CHING But I'm beyond orders. (to Superman) So, you can either let me die, the man who tried to kill your parents, plus a million or so other people, or you can kill yourself trying to save me. It's quite, how do you say? ...the Gordian Knot. LOIS You're bluffing! (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) Gold Rev. 3/18/96 51. 59 CONTINUED: 2 59 CHING Good idea. Better yet, why don't you just run away. (to Sarah) See? I told you. SUPERMAN (backing away further) You can't hide in there forever. CHING I don't intend to. He takes a step forward and seems to pinch an invisible something from the thin blue-metal cuff on the left sleeve of his bodysuit. He rolls his hand over, palm up. CHING (CONT'D) Expand. FFFFFT! Faster than the eye can see, a sleek, futuristic handgun seemingly pops into existence in his hand. SARAH (alarmed) Ching! What're you doing?! Ching begins to sweat. Is it nerves? Or is he trying to hide some pain? Or both? CHING Simple. Testing the Man of Steel. I intend to shoot myself. Now of course, you can try to stop me, but to do that you'll have to pass through the force field, which, as you can tell, is lethal. SARAH Ching! I order you to stop this now! CHING But I'm beyond orders. (to Superman) So, you can either let me die, the man who tried to kill Olsen and (X) White, plus a million or so other (X) people, or you can kill yourself trying to save me. It's quite, how do you say? ...the Gordian Knot. LOIS You're bluffing! (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 52. 59 CONTINUED: 3 59 CHING I wasn't bluffing with those bombs, was I? He cocks the gun. Superman takes a few steps forward, but he grunts in pain and stumbles back. CHING (CONT'D) Five... SARAH (almost crying) Ching, don't do it! CHING It's the only way I can prove it, don't you see?! Four. He starts to raise the gun. SARAH I believe you! CHING (steeling himself) No, you don't! Three. The gun goes higher. LOIS What's killing yourself going to prove? CHING That I'm right, and he's not! (beat) Two. SUPERMAN Ching, whatever it is, it can't be worth dying for. CHING Oh, yes it is. As Ching starts to pronounce the word "One", a look of resolve and determination crosses Superman's face. CHING SARAH One. Nooooooo! Superman dashes forward in SUPERSPEED as Ching pulls the trigger. The barrier FLASHES bright green as Superman crosses through it and we hear his scream of pain. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) Yellow Rev. 3/14/96 52. 59 CONTINUED: 3 59 CHING I wasn't bluffing with those bombs, was I? He cocks the gun. Superman takes a few steps forward, but he grunts it pain and stumbles back. CHING (CONT'D) Five... SARAH (almost crying) Ching, don't do it! CHING it's the only way I can prove to you I'm right about him!! Four. (X) He starts to raise the gun. SARAH I believe you! CHING (steeling himself) No, you don't! Three. The gun goes higher. LOIS What's killing yourself going to prove? CHING That I'm right, and he's not! (beat) Two. SUPERMAN Ching, whatever it is, it can't be worth dying for. CHING Oh, yes it is. As Ching starts to pronounce the word "One", a look of resolve and determination crosses Superman's face. CHING SARAH One. Nooooooo! EVERYTHING GOES TO SLOW MOTION: Superman dashes forward as Ching pulls the trigger. The barrier FLASHES bright green as Superman crosses through it and we hear his scream of pain. (CONTINUED) --page break-- "THROUGH A GLASS, DARKLY" (#21) C. Ruppenthal 3/5/96 53. 59 CONTINUED: 4 59 Superman deflects the gun as it fires an invisible charge that blows a chunk of brick off the wall. He knocks Ching aside as he crashes to the ground, grievously injured. LOIS Superman! Sarah lets go as Lois rushes forward. Ching rolls to a sitting position, surprised to be alive. He touches the silver band on his wrist and the Kryptonite barrier disappears. Superman is in terrible pain. LOIS (CONT'D) (to Ching) Why did you do this? Surprisingly, Ching appears equally anguished at Superman's fate. CHING (faltering) I... I... (to Sarah) What have I done? He _is_ the one. Sarah leans down and places her hand on the "S" on Superman's chest. She remains that way for a beat, then straightens. SARAH He's going to make it. Come, we must tell the others. Ching stands and then together, they both float up and BLUR UP and into the sky. Lois's mouth falls open. A beat later, the pain subsides enough for Superman to open his eyes. SUPERMAN Did I save him? Lois? Where'd they go? But Lois can only turn with widened eyes towards Superman, FADE OUT. _TO BE CONTINUED..._ --page break-- "THROUGH A GLASS, DARKLY" (#21) Pink Rev. 3/11/96 53. 59 CONTINUED: 4 59 Superman deflects the gun as it fires an invisible charge that shatters a potted plant. He knocks Ching aside as he (X) crashes to the ground, grievously injured. THE SLOW MOTION ENDS HERE. LOIS Superman! Sarah lets go as Lois rushes forward. Ching rolls to a sitting position, surprised to be alive. He touches the silver band on his wrist and the Kryptonite barrier disappears. Superman is in terrible pain. LOIS (CONT'D) (to Ching) Why did you do this? Surprisingly, Ching appears equally anguished at Superman's fate. CHING (faltering) I... I... (to Sarah) What have I done? He _is_ the one. Sarah leans down and places her hand on the "S" on Superman's chest. She remains that way for a beat, then straightens. SARAH He's going to make it. Come, we must tell the others. Ching stands and then together, they both float up and BLUR UP and into the sky. Lois's mouth falls open. A beat later, the pain subsides enough for Superman to open his eyes. SUPERMAN Did I save him? Lois? Where'd they go? But Lois can only turn with widened eyes towards Superman. FADE OUT. _TO BE CONTINUED..._