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) (I had to tell the program I was using legal paper) The (X) and any * used probably mean "this line/instruction changed from previous version" Notes: Cover: "Stop the Presses", Written by Brad Kern [and] Directed by Peter Ellis are all in large bolt print. The remainder of the text is in Courier 10 (10 characters per inch) typos noted: "Alright" several times; should be "All right" --page break-- (graphic - insert logo.bmp or logo.jpg) "Stop The Presses" EPISODE TEN Prod. #465210 Written by Brad Kern Directed by Peter Ellis _Production Draft_ October 23, 1996 FULL Blue 10/31/96 Pink Rev. 11/4/96 Yellow R. 11/6/96 Green R. 11/6/96 Gold Rev. 11/8/96 White R. 11/8/96 Blue Blue 11/13/96 --page break-- _LOIS & CLARK_ "_Stop The Presses_" FULL Blue 10/31/96 _CAST_ CLARK KENT/SUPERMAN LOIS LANE JIMMY OLSEN PERRY WHITE MARTHA KENT JONATHAN KENT ________________________________________________________________ ETHAN PRESS * ERIC PRESS RALPH CARLY TECHNICIAN RESEARCHER THE COLONEL REPORTER #1 REPORTER #2 DARLENE --page break-- _LOIS & CLARK_ "_Stop The Presses_" Pink Rev. 11/4/96 _LOCATIONS_ _INTERIORS_: _EXTERIORS_: Daily Planet Research Lab Newsroom Conference Room Rocket Test Center Perry's Office Alley Lois and Clark's Townhouse Living Room Motor Home Dining Room Research Lab Kitchen Rocket Test Center Bedroom * Motor Home Bunker Silo --page break-- _LOIS & CLARK_ "_Stop The Presses_" FULL Blue 10/31/96 _CHRONOLOGY_ SC. 1 - 10A NIGHT #1 SC. 11 - 15 DAY #2 SC. 16 NIGHT #2 SC. 17 - 28 DAY #3 SC. 29 - 68 DAY #4 SC. 69 - 72 NIGHT #4 --page break-- _LOIS AND CLARK_ _The New Adventures of Superman_ "Stop The Presses" _TEASE_ FADE IN: 1 INT. DAILY PLANET - NIGHT 1 1 PICK UP LOIS and CLARK in conversation as they emerge from the elevator, comparing notes: LOIS Well, who was the last person to see Eric Press before he disappeared? CLARK (off notes) His parents. Sunday night. LOIS Eliminates kidnapping. They would've gotten a ransom demand by now. And the police don't have any leads? CLARK No. Something tells me computer (X) hackers aren't exactly a high priority for them. Lois flags down JIMMY. LOIS Jimmy, you're a cyber-guy. Ever hear of Eric Press? JIMMY (lights up) Eric Press, are you kidding? He's like the Michael Jordan of hackers! Last year, he tapped into the Pentagon's main frame, pulled off the totally _coolest_ prank. It was.. (off their stone faces) ... _childish_, really immature. Frankly, I was appalled... (CONTINUED) --page break-- "STOP THE PRESSES" (#10) FULL Blue Rev. 10/31/96 2. 1 CONTINUED: 1 CLARK (to Lois) See, if he can break into the Pentagon's computer, he can break into anyone's. LOIS And that kind of access can be pretty valuable, especially in the wrong hands... RALPH approaches: JIMMY Hey, Ralph... RALPH Hey. Hear what happened? Perry just got promoted. JIMMY Get out. RALPH Swear to God. Corporate job. He's upstairs right now getting his stripes. LOIS You're kidding! When did all this happen? RALPH This afternoon, right after they (X) let Old Man Rosen go. Circulation problems, apparently. JIMMY Heart? RALPH No, subscriptions. They're down eight percent. CLARK Hey, well good for Perry. He deserves it. LOIS Yeah, but who's going to replace him? He's the best editor there is. (CONTINUED) --page break-- "STOP THE PRESSES" (#10) Pink Rev. 11/4/96 3. 1 CONTINUED: 2 1 RALPH Scuttlebutt is, it's gonna be one of you two. CLARK (off Lois) One of... us? RALPH Uh-huh... LOIS But we're not even department heads. How's that possible? RALPH Believe me, I've been asking myself the same -- (catches himself) -- I mean, I think either one of you would make an excellent choice. Sure be interesting on the marriage, though... JIMMY I'm gonna go see what I can find out about this. Jimmy and Ralph exit leaving Lois and Clark to absorb it all. CLARK Wow. LOIS Wow is right. What're we going to do? CLARK Do about what? LOIS About what Ralph said. What if (X) one of us does get the job over the other? How are we going to handle it? CLARK Aren't we jumping the gun here? (X) I mean, maybe they'll pick (X) somebody else. (CONTINUED) --page break-- "STOP THE PRESSES" (#10) Gold Rev. 11/8/96 4. 1 CONTINUED: 3 1 LOIS Or, maybe not. I just wouldn't want it to affect our relationship, that's all. We've been through enough. CLARK Hey, look, if it'll make you feel any better, I'll take myself out (X) of the running right now. It's (X) not that important to me -- LOIS No, no, I wouldn't want you to do that, especially since you'd make such a great editor. CLARK Me? What about you? You're the one with all the Kerth awards. You deserve it. LOIS (false modesty) I don't know -- what does deserve really mean? Let's make a pact: no matter what, we're going to be okay, okay? CLARK No matter what. (X) They kiss as PERRY emerges from the elevators and is greeted by handshakes and pats on the back (including Jimmy and Ralph). Lois turns as he approaches, struggling to contain her secret ambitions. PERRY Lois, Clark... CLARK Hey, Perry, congratulations. We just heard. LOIS We're so happy for you. They exchange hugs, handshakes. PERRY Thanks, I uh... everything's happening so fast. My head's spinning like an old forty-five. (CONTINUED) --page break-- "STOP THE PRESSES" (#10) FULL Blue Rev. 10/31/96 5. 1 CONTINUED: 4 1 JIMMY I'll bet... (teases) What's a forty-five? PERRY Very funny. Listen, I've got to get back upstairs. Still trying to figure out what the hell my new job is... Everyone chuckles, no one louder than Lois who catches herself. PERRY (CONT'D) But we gotta keep the presses running, and you all need an editor to do that. Now, this is just temporary, mind you, until we all have a chance to sit down and make sense of things. Lois and Clark share an anxious look. PERRY (CONT'D) That said, it was a difficult decision to make -- one of the most difficult I've ever had to make actually. So, anyway, without further ado, the new Editor- in-Chief of the Daily Planet is -- (X) (faces her). -- _Lois._ LOIS (exults) _Yes_! She pumps her fist then, realizing, quickly tries to reign in her enthusiasm, LOIS (CONT'D) I mean, _wow_... Off Clark: FADE OUT _END OF TEASE_ --page break-- "STOP THE PRESSES" (#10) FULL Blue Rev. 10/31/96 6. _ACT ONE_ FADE IN: 2 INT. DAILY PLANET - PERRY'S OFFICE - NIGHT 2(X) Clark follows Perry as he leads Lois in, rattling off things for her to remember. Once inside, Perry picks up a (X) half-filled box and starts filling it up with the bare (X) necessities (phone book, daytimer, Elvis stuff, etc.). (X) PERRY Printing'll tell you they need copy by eight to make deadline, but don't be afraid to switch out your lead up 'til ten-fifteen if you have to... LOIS (jotting that down) Right... PERRY ... And don't let the sales people bully you around, either. Remind 'em we're a newspaper, not a bus bench. Ditto Classifieds... LOIS Okay... PERRY ... Oh, and watch your overtime sheets, especially with the Art Department, or the bean counters'll swallow you up faster than the King could down a T-bone. LOIS (still jotting) Got it... I think. PERRY You're gonna be a terrific editor, Lois. I know you will. LOIS I'd better, I've certainly learned from the best. They share a warm look. Clark leans in, proudly places LOIS' NAMEPLATE on the desk, next to PERRY'S. CLARK Ta-da! (CONTINUED) --page break-- "STOP THE PRESSES" (#10) Gold Rev. 11/8/96 7. 2 CONTINUED: 2 PERRY (grabs his nameplate) Here, lemme get this out of the Way... Perry puts it in the box. Lois and Clark take it all in. CLARK My wife, the boss.... LOIS I can't believe this is really happening! PERRY Listen, are you two going to be all right with this? I mean, I don't want to ruffle any feathers... LOIS Don't worry, we've already talked about it. We're fine. Really. PERRY Okay. You're sure...? CLARK Positive. Besides... I'm kinda (X) looking forward to sleeping with the boss. PERRY Alright, I'm outta here. C'mon, Clark, let's let the lady get to work. Clark flashes Lois an encouraging smile, then exits with Perry, who closes the door. STAY with Lois, alone in her new office, excited, scared, not sure where to begin. She eases into Perry 's chair, testing it out. Leaning back, she props her feet up on the desk, trying to look the part when -- a CROWD of REPORTERS sweep into the office. Lois nearly falls out of her chair as they bombard her with a zillion questions: ("Which story am I on?" "I thought I had column one?" "Can I take the afternoon off?" etc.). 3 INT. NEWSROOM - ELEVATORS - NIGHT 3 as Perry and Clark enter FRAME. Perry pushes the UP button. (CONTINUED) --page break-- "STOP THE PRESSES" (#10) Gold Rev. 11/8/96 8. 3 CONTINUED: 3 PERRY I'll be back and forth, picking up stuff, checking in on Lois, you know. I'll be around. CLARK Okay... PERRY Listen, Clark, I want you to know. that if I could've, I would've picked both Lois and you to run the deal, but the problem was, it's really just a one person job. CLARK It's okay, Chief. (X) PERRY I mean, right down the line, you two were neck and neck in every category. It came down to who had more experience, that's the only way I could make my decision. CLARK Believe me, you made the right (X) choice. (X) PERRY Alright... The elevator doors open. Perry gets in, looks around; PERRY (CONT'D) Hard to believe -- after thirty years in the newsroom, I won't be hanging my hat here anymore... He looks down at his nameplate and the doors close. After a beat, Jimmy urgently approaches: JIMMY Hey, C.K. -- you're okay, right? I mean with Lois and everything? CLARK Why's everyone asking me that? Of (X) course. (X) JIMMY Good, 'cause I need your help. See that girl by the vending machines? (CONTINUED) --page break-- "STOP THE PRESSES" (#10) Pink Rev. 11/4/96 9. 3 CONTINUED: 2 3 Clark looks over to see DARLENE, a sweet-faced, bright-eyed young woman, who's waving sweetly at them. Jimmy forces a smile, waves back. JIMMY (CONT'D) Darlene; she works in Research. We went out once -- I didn't want to go out twice -- and now every time I turn around, there she is. Ever see 'Fatal Attraction?' CLARK (skeptical) C'mon, her? She looks so... sweet. JIMMY No, there's something seriously wrong with her. I got dead roses delivered to my place, okay? Do me a favor -- make it look like you're ordering me to do something. Maybe she'll give up and go away... Clark SUPERHEARS a FIRE ALARM. CLARK Uh... I gotta go. Sorry. Clark loosens his tie, exits FRAME, leaving Jimmy to vamp. JIMMY (in Clark's direction) Yeah, yeah, okay. I'll get right on that for you, Mr. Kent. Jimmy forces another smile at Darlene, then takes off in the opposite direction. 4 EXT. ADVANCED STRATEGIES LABS - NIGHT 4(X) The ALARM BLARES as RESEARCHERS and OFFICE WORKERS stumble out, coughing and hacking from the noxious SMOKE. SUPERMAN CAPES up to one of the Researchers: RESEARCHER Superman, thank God! SUPERMAN What happened? (CONTINUED) --page break-- "STOP THE PRESSES" (#10) Pink Rev. 11/4/96 10. 4 CONTINUED: 4 RESEARCHER Our computers have gone haywire -- they opened all the safety valves on the nitrogen tanks. People are still inside, Superman -- it could blow any second! Superman BLURS inside the building, then CRASHES BACK OUT (X) through the window over the door holding TWO semi-conscious (X) SCIENTISTS. He lays them down and BLURS back inside for more. 5 EXT. MOTOR HOME - NIGHT 5 looking innocuous, parked next to trash bins down the street. A SENSOR CONE subtly emerges from the A/C unit on the roof, pointing at the lab. 6 INT. MOTOR HOME - NIGHT 6 CLOSE ON A MONITOR which displays an anatomical cross-section of Superman labeled: TOP SECRET - PROPERTY OF STAR LABS on the side of the split screen. The right side is black for now, except for a horizontal red/yellow/green BAR GRAPH on the side. PULL BACK past another MONITOR with (X) a live video feed to reveal the surprisingly plush interior (X) of the motor home, which is packed full with high-tech gear. At the controls is the richest 23-year-old sociopath in the world, ETHAN PRESS. Large, pompous and mean-spirited, he takes great delight in his evil ways. ETHAN (off monitor) Look at Superman, what a show-off. I hate him, I wish I could just blow him up! Wait, I _am_ going to blow him up. That's why we're here, right, Eric...? He turns to REVEAL gangly ERIC PRESS, "the hacker," 19, who's, at the moment, bound and gagged. Ethan smiles at him, then turns back to the monitor: ETHAN (CONT'D) Alright, Blueboy, let's see just how invulnerable you really are! He hits a button on the keyboard, and-- 7 7 THRU OMITTED THRU 8 8 --page break-- "STOP THE PRESSES" (#10) Pink Rev. 11/4/96 11. 9 OUTSIDE THE LAB 9 FIREBALLS BLAST out the windows as a HUGE EXPLOSION rocks the building, knocking several bystanders off their feet. A moment later, Superman walks out of the smoke, a little unsteady on his feet. RESEARCHER Whoa, are you okay? SUPERMAN Yeah. Good thing nobody else was in there, though. 10 INSIDE THE MOTOR HOME 10 ON the MONITOR, the right side of the spilt screen now shows a sophisticated INFRARED DEPICTION of Superman standing next to the Researcher. Ethan frantically tries to enter information on the keyboard: ETHAN I can't tell if the blast affected him... (tries again; frustrated) Man, I don't know how to work this stuff. You're the computer whiz _you_ do it! Ethan takes out Eric's gag, lifts him out of his chair and plops him down in front of the monitor. ERIC You kidnapped me, Ethan! (X) ETHAN So...? ERIC So?! I'm your _brother_, you can't kidnap your brother! (X) ETHAN I always used to tie you up when we were kids, what's the difference? ERIC The difference is you're forcing (X) me to help you kill Superman! (X) (CONTINUED) --page break-- "STOP THE PRESSES" (#10) Pink Rev. 11/4/96 12. 10 CONTINUED: 10 ETHAN Need I remind you, little brother, (X) that he silenced the single (X) greatest voice who ever spoke, our (X) childhood hero -- Lex Luthor? (X) ERIC Ethan, Lex died like a year (X) ago. You're just getting around (X) to this now? (X) ETHAN It's taken that long to find (X) Superman's Achilles Heel, the (X) chink in his impenetrable armor. (X) And now, thanks to you, we know (X) what it is. (X) ERIC Wait a minute, I only hacked into (X) STAR Labs' computer as a prank! ETHAN Nevertheless, you got Superman's (X) confidential medical files and, (X) with them, we know the key to his (X) powers lies in his vast energy (X) reserves. How'd you put it, he's (X) like one big battery, right? (X) ERIC Yeah, but -- (X) ETHAN So, all we have to do is figure out a way to _drain_ that battery and make him vulnerable. (possessed) Then, after he's dead, we won't be (X) remembered just as some spoiled (X) rich kids. We'll go down in (X) history like Brutus, Booth, and (X) Oswald before us. The names Ethan (X) and Eric Press will live in (X) _infamy_! ERIC You're sick. ETHAN (shrugs) I take after Dad's side. (CONTINUED) --page break-- "STOP THE PRESSES" (#10) Pink Rev. 11/4/96 13. 10 CONTINUED: 2 10 ERIC You don't have a chance, Ethan. (X) Even a blast that big hardly put a (X) dent in Superman's biolectric (X) aura. (X) ETHAN Ah! So, it _did_ affect him...? (X) ERIC _Barely_. Look -- (X) Eric rewinds Superman's infrared image (where his "aura" glows bright red) back to where he first emerges from the building. Eric freezes that image to show Superman's "aura" briefly turning blue. ERIC (CONT'D) It dipped for like a nanosecond. (X) It's gonna take a radical force to really drain him. And, even then, you're gonna need an incredibly powerful weapon to take advantage of it before he rejuvenates. ETHAN (puts his arm around him) No problem. You tapped into the (X) Pentagon once, you can do it again. 10A INT. TOWNHOUSE - NIGHT 10A as Clark unlocks the front door and enters -- but nearly runs into Lois, who's shrugging on a coat, rushing out: (X) CLARK Lois -- where're you going? LOIS I have to get down to the office. (X) Tomorrow's lead just fell through. Sorry about tonight... CLARK Oh, I understand... (X) LOIS (notices) You look a little pale, are you (X) okay? (X) (CONTINUED) --page break-- "STOP THE PRESSES" (#10) Pink Rev. 11/4/96 14. 10A CONTINUED: 10A CLARK Yeah, I just got blown up, no big (X) deal. (X) (off her concerned look) I'm fine, really. Go. LOIS We'll talk more about it when I (X) get back. CLARK Okay. Good -- (she gives him a quick (X) kiss and is gone) -- bye... Off Clark, standing there alone, as he closes the door. 11 INT. DAILY PLANET - NEWSROOM - DAY #2 11 Clark emerges from the elevator, flags Jimmy down: CLARK Jimmy, can you do something for me? JIMMY (overly eager) _Anything_, flame it. He indicates Darlene, who's lurking in the b.g. CLARK I need you to get a list of Eric Press's last outgoing calls from his modem line as soon as possible. JIMMY Gladly. Clark exits. Jimmy does a nervous double-take as Darlene, moving toward him, appears to pull a knife out of her purse. He starts to panic, looks in Clark's direction, then back to Darlene, who, closing, calmly uses the knife to open a manila envelope, and walks past. Off Jimmy, relieved: --page break-- "STOP THE PRESSES" (#10) Pink Rev. 11/4/96 15. 12 INT. DAILY PLANET - CONFERENCE ROOM - DAY 12 Packed with REPORTERS, including Ralph, munching on bagels, donuts, coffee, etc. Lois paces back and forth at the head of the table, referring to a clipboard: LOIS Annie, how's that subway hijacking story going? REPORTER #1 (off notes) Fine. Snagged an interview with the suspect, I'm meeting him at three. Shouldn't have any trouble making deadline. LOIS Okay, good... Clark enters, exchanges a secret smile with her as he takes his seat. LOIS (CONT'D) ... Harry, your Metro lead? REPORTER #2 The O'Connor murder. Got a tip (X) the wife's gonna confess. I oughta have copy for you by six. (X) LOIS Perfect. Ralph... ? RALPH I think we're talking Column One here. Everything I've got says the mayor's definitely having an affair with that call girl. LOIS Sounds more like a tabloid page one to me, though. RALPH Agreed, except for Hizzonor's pillow talk apparently spills the beans on some major corruption. I'm just waiting for my source to confirm it. LOIS That's great, keep me posted. Oh, Clark... are you any further along on that missing hacker story? (CONTINUED) --page break-- "STOP THE PRESSES" (#10) FULL Blue Rev. 10/31/96 16. 12 CONTINUED: 12 CLARK (caught off guard) Further along... ? LOIS I mean, do you have any new leads? (X) CLARK Uh, well, nothing concrete, but (X) think I'm getting close... (off her look) That lab explosion looks like it (X) was caused by somebody tapping (X) into their computers. It could've (X) been him. (X) LOIS Can you prove a connection? CLARK Not yet -- but I've got Jimmy (X) following up on something that (X) might. (X) LOIS So, there's no story there... (X) CLARK Again, not yet. I just need some time to break it. (X) LOIS Okay, good... Um, could I talk to (X) you outside? Just take a sec... (X) (to group) Be right back. 13 INT. DAILY PLANET - NEWSROOM - DAY 13 as Lois and Clark step out. We can SEE the curious reporters peering through the divider window in the b.g. CLARK Lois, what's going on? LOIS What do you mean? CLARK I mean, if I didn't know any better, I'd say you were trying to kill my story in there... (MORE) (CONTINUED) --page break-- "STOP THE PRESSES" (#10) FULL Blue Rev. 10/31/96 17. 13 CONTINUED: 13 CLARK (CONT'D) (off her reaction) Wait a minute, you _are_ killing my story. LOIS Clark, I'm sorry, but I don't have a choice. You don't know the (X) pressure I'm under to generate (X) good stories. (X) CLARK (X) Lois, it takes time to build a (X) good story, you know that better (X) than anyone... (X) CARLY, 20's, multi-racial, efficient, interrupts: (X) CARLY Excuse me, Ms. Lane, but Copy Department's on line two-five. LOIS I'll be right there... CLARK (X) (pressing his point) (X) You thought there was a story there when _we_ were working on it! (X) LOIS (X) That was when I only had one story to worry about, now I've got fifty. CARLY (prompting) They said it's really important... LOIS (to Clark) Let's talk about this later... (X) (moves off) In the meantime, I'm gonna team (X) you up with Ralph on the mayor story, okay? (X) CLARK _Ralph_? Lois, you gotta be kidding... But she and Carly are off in a whirlwind. Off Clark as he looks into the conference room and sees Ralph waving at him: FADE OUT _END ACT ONE_ --page break-- "STOP THE PRESSES" (#10) FULL Blue Rev. 10/31/96 18. _ACT TWO_ FADE IN: 14 INT. DAILY PLANET - PERRY'S OFFICE - DAY 14 Carly follows Lois in, reeling off a list of to-do's. Clark's a couple of steps behind. CARLY (off steno pad) You've got editorial at five; the printer's union rep at five-thirty, and Phil needs you to approve an orthopedic chair for him. LOIS Orthopedic chair? CARLY (reminds; exiting) Copy Department.... CLARK Lois... LOIS One sec... (into phone) Hello... I mean, Lane here... No, I don't know what my lead is yet -- better prep the subway story as back up, okay? Thanks. She hangs up, lets out a sigh, tries to remember: LOIS (CONT'D) Did I eat lunch? CLARK Lois, you've got to slow down a little, delegate. Trust me, you can only go at superspeed for so long. LOIS I know, I know... (starts editing copy) It's just that I want to do a good job, you know? I mean, Perry's put a lot of faith in me and I really, really don't want to blow it. Clark swings around the desk, takes her in his arms, forcing her away from the copy on her desk. (CONTINUED) --page break-- "STOP THE PRESSES" (#10) Yellow Rev. 11/6/96 19. 14 CONTINUED: 14 CLARK You won't blow it, honey. It's not your style. (then) Now, about me and Ralph -- that's not going to happen... LOIS Look, I know he's green, but he might be onto something, and I think you can help. Besides, Perry used to mix us up all the time and you never objected to him. They both stare at each other for a beat, a stand-off. LOIS (CONT'D) (softens) Clark, you're the best reporter I've got -- I can't afford _not_ to have you on what might be our best story. Please, try to understand. I really need your support. Please... Clark acquiesces with a look as Ralph pokes his head in: RALPH Hey, hey, no currying favor with the boss, Kent. LOIS What is it, Ralph? RALPH Staff meeting, are we through...? LOIS Oh, right. Sorry, I forgot She starts out. CLARK Honey, what about dinner? LOIS I'll just grab something here... CLARK No, my folks are coming over. LOIS Oh, yeah, okay... No problem. (X) I'll cook. (X) (CONTINUED) --page break-- "STOP THE PRESSES" (#10) FULL Blue Rev. 10/31/96 20. 14 CONTINUED: 2 14 RALPH (extends hand; grins) Put 'er there, partner. Off Clark, returning a token handshake: 15 EXT. ALLEY - DAY 15 as a large man in a trench coat and sunglasses, THE COLONEL, enters the mouth of the alley carrying a long, thick aluminum case. Ethan approaches. (X) THE COLONEL (looking around) You Press... ? ETHAN (X) That's me. THE COLONEL (skeptical) _You're_ the one who contacted me? ETHAN (X) Actually, that was my brother. He's the one with the high level... access. THE COLONEL Whatever. Just so we're clear; we're not having this conversation, this weapon doesn't exist, and I'm not really here. ETHAN (X) I understand... The Colonel kneels, opens the case and reveals a sophisticated looking, bazooka-like device. THE COLONEL What you're looking at is the most (X) deadly weapon on Earth, the (X) Quantum Disbander, a new and (X) improved version of the Quantum (X) Disruptor. It's lighter and more (X) energy conscious than it's predecessor, yet still more than capable of long range target annihilation. ETHAN (X) Cool. (CONTINUED) --page break-- "STOP THE PRESSES" (#10) Pink Rev. 11/4/96 21. 15 CONTINUED: 15 THE COLONEL A lightning blast of supercharged particles blasts the selected (X) target, departicalizing its molecular structure until it -- (X) disappears. Forever. (X) ETHAN May I? THE COLONEL (hands it over) Mind if I ask what you're going to use that for? ETHAN Actually, I'm testing to see exactly how much force it requires to drain Superman's super reserves which would, according to my theory, render him vulnerable, which would then, in turn, create a brief window of opportunity for me to be able to kill him. And, from everything you've described, this weapon sounds like it'll do just the trick. The Colonel reacts, dumbfounded. ETHAN (CONT'D) Oops, I forgot -- you're not really here. Ethan FIRES the device -- BLASTING him with it point blank. A ball of electricity hits The Colonel, systematically (X) breaking him apart into a billion bits, then -- poof! -- (X) what's left of him falls to the ground like fairy dust. ETHAN (CONT'D) Totally cool. 16 INT. LOIS AND CLARK'S TOWNHOUSE - NIGHT #2 16 as Lois, apron over her business suit, explodes out of the swinging kitchen door carrying steaming hot packaged entrees. She cuts open the packets, dumps them onto a (X) plate on the dining table, where Clark is laying down place settings: (CONTINUED) --page break-- "STOP THE PRESSES" (#10) FULL Blue Rev. 10/31/96 22. 16 CONTINUED: 16 LOIS I can't believe how late I am. (off food) Think they'll know it's frozen? (realizes) Of course they will, I cooked it. CLARK Hey, were you supposed to pick up the dry cleaning, or was I? LOIS Whoops. The doorbell BUZZES, then the phone RINGS. CLARK You get the phone, I'll get the (X) door. (X) Clark crosses to answer the door, greets MARTHA and JONATHAN: JONATHAN (offers wine) Hope we're not late. CLARK (hugs, kisses) No, you're fine. Come on in. Lois is on the phone. They exchange waves and smiles with Lois. LOIS (into phone) ... We've got to get the Evening Edition out there somehow, can't we rent a truck...? MARTHA (jokes) What, is she running the paper now? CLARK Actually, yeah, temporarily anyway. Perry got promoted. Lois is the new editor. JONATHAN Hey, that's great... (X) (off-Clark) (X) Isn't it...? (X) (CONTINUED) --page break-- "STOP THE PRESSES" (#10) Pink Rev. 11/4/96 23. 16 CONTINUED: 2 16 CLARK Oh, yeah. MARTHA (whispers to her) Congratulations! LOIS (smiles; back to phone) ... Yes, fine, just do it. You've got my approval. 'Bye. She hangs up, crosses to the table where the Kents are already seated. LOIS (CONT'D) Sorry, delivery truck broke down. JONATHAN We're so happy for you, Lois. LOIS Thanks. It's exciting. Let's eat! She and Clark start to dish up the entrees when the phone (X) RINGS again. Lois grimaces, to Clark: LOIS (CONT'D) Sorry, just start... LOIS JONATHAN (crosses; (picks up on into phone) tension) Lane, here... I Look, son, if see, how long this is a bad will it take...? time, we could... LOIS CLARK (into phone) No, no, it's just Forget it, it's a little... not worth the crazy, that's overtime... all. LOIS MARTHA (into phone) (reassures) We'll just have Well, that's to to go with the be expected. subway lead, It's perfectly that's all. Okay. understandable. Lois hangs up, sits back down. LOIS I told them no more calls. Martha? (CONTINUED) --page break-- "STOP THE PRESSES" (#10) FULL Blue Rev. 10/31/96 24. 16 CONTINUED: 3 16 MARTHA (takes dish from her) Mmm, this looks delicious. Did you make it? The phone RINGS. Lois avoids Clark's look. It RINGS again. LOIS I'd better... get that... Lois pops up, crosses to the phone. Clark frowns. JONATHAN (jokes) I guess it's your turn to watch her take off on a moment's notice, huh? MARTHA It's going to take her awhile to figure things out, you know. CLARK I know. It's just that -- Lois hurries back and sits at the table, picks up a fork: LOIS (with finality) I'm back, let's eat! Clark SUPERHEARS a POLICE CALL. JONATHAN What is it, son? CLARK A bridge just collapsed. I'd better... MARTHA Of course, _go_! CLARK Sorry... He loosens his tie and exits FRAME leaving a gust of wind in his wake. Then, the phone RINGS again. LOIS (crosses) Excuse me... She crosses to the phone again leaving Martha and Jonathan alone at the table. (CONTINUED) --page break-- "STOP THE PRESSES" (#10) Pink Rev. 11/4/96 25. 16 CONTINUED: 4 16 MARTHA (forced smile) Let's eat! DISSOLVE TO: 17 INT. DAILY PLANET - DAY #3 17 A group of REPORTERS are gathered around the coffee machine, listening to a joke, having fun. They all LAUGH at the (X) punchline as Lois, cup in hand, approaches from her office: (X) LOIS Morning, guys. What's so funny? They turn business-like and drift off, defensively ad libbing: "Nothing, Ms. Lane" and "Just having some coffee" etc. Lois curiously ponders that as: PERRY (approaching) Everyone's gonna look at you differently now that you're the boss, Lois, even though you're the same person you were yesterday. (holds out cup) Don't mind if I do. LOIS (fills his cup) Don't they have coffee upstairs? PERRY Aw, all they've got is that fancy designer espresso junk. Tastes like sludge. (takes sip) Ahhh, nothing like the taste of good ol' newsroom java. He follows her back to her office. PERRY (CONT'D) How's it going, you doing okay? LOIS Let's just say I had no idea how much stuff you juggled every day. You made it look so easy. PERRY You didn't see me when I first started. I was running around here like a roof rooster. (CONTINUED) --page break-- "STOP THE PRESSES" (#10) FULL Blue Rev. 10/31/96 26. 17 CONTINUED: 17 LOIS (glad to hear that) Really? PERRY Oh, hell yeah. I was a mess. It's a ton of responsibility, you get squeezed from every angle, and it all rests on your shoulders. That's the worst part, the job can be very isolating at times. (at office door) Give yourself some time, Lois. You've got the brass to do the job. I wouldn't've picked you if you didn't. She smiles at that, needing the vote of confidence. LOIS How're you doing with _your_ new job? Do you like it? PERRY It's nine to five, more money, less hours -- what's not to like? (covering up) I, uh, better get back... She watches him exit for a pensive beat then, as she turns to head into her office, she connects eyes with: 18 ANGLE - CLARK 18 who returns a longing look as Ralph, munching on a bagel, approaches and hands him a file: RALPH Here's what I got on the mayor, just to get you up to speed. Interview notes, corroborating witnesses, the works. (offers bagel) Want some? CLARK No. Thanks. RALPH Suit yourself. (sits) Lemme know when you're caught up. (CONTINUED) --page break-- "STOP THE PRESSES" (#10) FULL Blue Rev. 10/31/96 27. 18 CONTINUED: 18 Ralph makes himself comfortable. Clark SUPERSPEEDS through the file. CLARK I notice some of the witnesses' testimonies seem to contradict each other. RALPH Huh...? CLARK Especially the interview with the call girl. It almost reads like she's setting him up. RALPH Well, yeah, but... you read that stuff already? CLARK Speed reading classes. I thought you said you had incriminating photographs? The phone RINGS on Ralph's desk. RALPH That's probably my source now... (off Clark picking up) Uh, better let me talk to him alone. You know, he trusts me. Just sit back, watch a real pro go to work here... (picks up phone) Ralph, here... (gives Clark thumbs up) Yeah, I've been waiting for your call. Whadya got...? Uh-huh... Uh-huh... (nods to Clark) ... Interesting... Clark, not buying any of it, cocks an ear to the handset and SUPERHEARS Ralph's MOTHER berating Ralph, "Why don't you ever call?" "Do you know what your father did?" etc. Clark glares at Ralph, but then his SUPERHEARING PICKS UP an ALARM BLARING at a rocket test site. Clark heads out. RALPH (into phone) Just a second -- (to Clark) Hey, where're you going? (CONTINUED) --page break-- "STOP THE PRESSES" (#10) FULL Blue Rev. 10/31/96 28. 18 CONTINUED: 2 18 CLARK I, uh -- left my wallet in the car. Be right back... (can't resist) Say 'hi' to your mom for me. RALPH Yeah, sure, oh -- (how'd he know?) -- kay... 19 INT. PERRY'S OFFICE - DAY 19 Jimmy, printouts in hand, approaches Lois, who's trying to wade through a stack of paperwork. JIMMY Lois, seen C.K. around? I've got the phone records he asked me for. LOIS (distracted) Phone records...? JIMMY Yeah, you know, on that hacker Story he's working on... Lois reacts to that, as Carly adds another stack of paperwork onto her desk. LOIS He's not on that story anymore, Jimmy. Just... put it on my desk. JIMMY You're the boss. Off the printouts, as Jimmy drops them on the couch: 20 EXT. ROCKET TEST CENTER - DAY 20 A high-tech, high security compound with a huge, above-ground missile. ON THE CUT, all hell's broken (X) loose -- the-FIRE ALARM SCREECHES, WARNING LIGHTS FLASH and technicians scatter as a horizontally mounted ROCKET ENGINE, firing full-throttle, THUNDERS ominously! TWO TECHNICIANS frantically try to override it at the control panel: TECHNICIAN Forget it, let's get outta here! Superman CAPES in. (CONTINUED) --page break-- "STOP THE PRESSES" (#10) FULL Blue Rev. 10/31/96 29. 20 CONTINUED: 20 SUPERMAN What's wrong? TECHNICIAN We can't shut it down! The computer's actually _forcing_ the engine to overheat! SUPERMAN Can't you cut off the fuel supply? TECHNICIAN The only way is to fuse the internal pump! Superman, we've got a nuclear warhead in the silo, if (X) this thing explodes -- SUPERMAN I understand. _Go_! The Technician takes off. Then Superman _literally walks_ (X) _into the exhaust flame, leaning into the force, trying to_ _make headway_. 21 EXT. ACROSS THE STREET - MOTOR HOME - DAY 21(X) which is parked outside of the compound. The sensor cone- (X) is visible on the roof of the motor home, pointing at Superman. 22 INT. MOTOR HOME DAY 22 Ethan, The Disbander at his ready, watches Superman's (X) infrared image on the MONITOR. Eric's at the keyboard. (X) ETHAN (X) Alright, the moment it blows, we crash through the gate and zap (X) him. At the rocket, WE see only Superman's legs and boots (X) pushing his body through the rocket blast. ETHAN (CONT'D) (X) What's he doing...? (X) 23 OMITTED 23 --page break-- "STOP THE PRESSES" (#10) Pink Rev. 11/4/96 30. 24 EXT. ROCKET TEST CENTER 24 where Superman walks right up to the exhaust port, reaches inside and fuses an internal valve -- and the rocket flame instantly shuts off. As the ALARMS wind down, Superman steps away from the rocket and, feeling the effects, instinctively turns to the sun. 25 INT. MOTORHOME 25 ETHAN How'd he do that?! He wasn't supposed to be able to do that! ERIC Yeah, but look how much it drained him. The infrared depiction of Superman on the MONITOR now glows blue. The accompanying BAR GRAPH has dipped into the RED. Ethan, seeing that, jumps behind the wheel. ETHAN Alright, that's it! ERIC Wait -- (X) Eric indicates the BAR GRAPH, which quickly pulsates back up into the YELLOW and, then, into GREEN. ETHAN How's that possible? ERIC The sun recharges him, it's the source of his powers. ETHAN So, wait -- if we drain his reserves and keep him out of the sun, that's our window of opportunity to kill him? ERIC (comes to his senses) Stop saying _we_ and _us_, Ethan. What am I doing? I'm outta here! Eric heads for the door, but Ethan aims The Disbander: ERIC (CONT'D) (stops; turns) Come on... you wouldn't kill your own brother, would you? (CONTINUED) --page break-- "STOP THE PRESSES" (#10) FULL Blue Rev. 10/31/96 31. 25 CONTINUED: 25 ETHAN (X) No? Remember Sunday school? Cain and Abel? I always liked Cain. (turns on weapon) Sit down. ERIC (plops down) This sucks. 26 INT. DAILY PLANET - DAY 26 Clark emerges from the elevator, finds Jimmy: CLARK Jimmy, how you doing on those phone records? JIMMY Um... maybe you'd better talk to Lois about that, C.K. She sorta told me you weren't on that story any longer. As Clark heads off, Jimmy gets in the elevator. Just as (X) the doors start to close, Darlene jams her arm in to stop (X) it. The doors re-open, she gets in and stands right next (X) to Jimmy. He swallows-hard, avoids her look, then notices (X) her reach into her coat pocket like she's reaching for a gun. Paranoid, he dives out just as the doors close on her (X) as she applies lipstick to her smiling-face (X) JIMMY (CONT'D) (to himself) (X) This is nuts... (X) Jimmy collects himself, moves off. (X) 27 LOIS' POV - AT MASTHEAD 27 which reads: LOIS LANE, EDITOR-IN-CHIEF. REVEAL: 28 INT. PERRY'S OFFICE - DAY 28 as Lois sits in the chair, admiring her first masthead. She opens a drawer for scissors, but instead finds it packed with antacids. Clark enters: CLARK Got a minute, Lois...? (CONTINUED) --page break-- "STOP THE PRESSES" (#10) FULL Blue Rev. 10/31/96 32. 28 CONTINUED: 28 LOIS (covers) Sure, yeah... Just checking typesetting ... She shuts the drawer, then tosses the paper into the outbox: CLARK I just got back from watching Superman save a test rocket from nearly exploding... LOIS (off newsroom) Is... Superman alright? CLARK He'll live. But, whoever caused it tapped into their computer system, too. It's got Eric Press's m.o. (X) written all over it. LOIS You think it's tied to the lab explosion? CLARK Maybe, yeah, which means this obviously isn't some prank. He's up to something big. LOIS Do you have any evidence to back that? CLARK No, but... (X) LOIS So, you still can't prove a connection, right? (X) CLARK Lois, I _know_ there's a story there, okay? I just haven't found it yet. LOIS There's no story without hard (X) facts, Clark. I'm sorry. (X) CLARK I don't believe this -- as a (X) reporter, you'd _never_ take that position. (CONTINUED) --page break-- "STOP THE PRESSES" (#10) White Rev. 11/8/96 33. 28 CONTINUED: 2 28 LOIS As a reporter, no... Lois, noticing the folks in the newsroom reacting, closes the door. LOIS (CONT'D) ... But I'm talking as the editor now. Look, if I'm wrong, I'll take the heat for it, but I'm just trying to do what's best for the paper, that's all. CLARK And I'm just trying to do what's best for my story. And for the living, breathing people of Metropolis who actually buy the paper. LOIS You know you're not the only one (X) who fights for truth, justice and (X) the American way. In fact, I (X) recall I'm the person who coined (X) that phrase. (X) CLARK Your point? (X) LOIS That I'm the editor and I'm (X) assigning you to Ralph's story. (X) CLARK You don't need a reporter, you (X) need a hook and ladder, 'cause (X) Ralph's blowing smoke. He doesn't (X) have a story. (X) LOIS How do you think it makes me look when everybody sees you working on a story that I explicitly took you off of? CLARK It looks like you're letting me follow my reporter's instincts, that's what. LOIS If Perry pulled you off of it, you'd have stayed off and you know it. (CONTINUED) --page break-- "STOP THE PRESSES" (#10) White Rev. 11/8/96 33A. 28 CONTINUED: 3 28 CLARK No, I... wait. What's that supposed to mean? LOIS It means I think you have a real problem with the fact that _I'm_ the one who's wearing the tights around here. (quickly corrects) _Pants_. (CONTINUED) --page break-- "STOP THE PRESSES" (#10) Gold Rev. 11/8/96 34. 28 CONTINUED: 4 28 CLARK That's ridiculous. LOIS Really? Then why were you moping around last night at dinner? CLARK _Moping_? How would _you_ even (X) know? You were on the phone half the time! LOIS Hey, _you're_ the one who took off in the middle of it! CLARK A bridge collapsed, what did you (X) want me to do? (X) LOIS I had my own crisis to deal with here! CLARK Yeah, I noticed! LOIS See, I _knew_ this was going to affect us! CLARK Well, congratulations! Clark turns, flings open the door, inadvertently pulling it off it's hinges away from the door jamb. Lois' face drops, seeing Clark holding the door aloft for that split second before he lays it back against the jamb and exits. Jimmy, Ralph and the rest of the newsroom react to Clark as he walks out. Off Lois, watching, as she lets it all drain out of her: LOIS (sad) First fight... FADE OUT _END OF ACT TWO_ --page break-- "STOP THE PRESSES" (#10) Pink Rev. 11/4/96 35. _ACT THREE_ FADE IN: 29 INT. LOIS AND CLARK'S TOWNHOUSE - BEDROOM - DAY #4 29 Early morning. Clark, in bed, as the ALARM goes off. He reaches over and turns it off, then notices Lois' side of the bed hasn't been slept in. Off his look: 29A INT. LIVING ROOM - DAY 29A as Clark descends the stairs and spots Lois, curled up on the couch in yesterday's clothes, asleep. Opened files and other paperwork clutter the coffee table next to her. Off Clark, taking it in: 30 INT. KITCHEN - DAY 30 Clark's at the table, dressed for work, pouring milk into a glass as Lois, in a new outfit, rushes in, grabs a muffin and munches on it as she pours herself some coffee. They dance a silent, choreographed dance, passing in front of and behind each other, opening and closing cupboards, one putting milk in the fridge, the other taking it out, alternately scanning different sections of the newspaper, etc. -- each pretending this doesn't bother them at all. Clark sits at the table and opens up the sports' section, (X) blocking out Lois who, ready to leave, gives him a look. (X) LOIS Are you riding in with me? CLARK (barely looks up) I'm meeting Ralph downtown later. We're supposedly meeting his source. LOIS Oh. Good. CLARK Yeah. LOIS Well... 'bye. CLARK 'Bye... She waits, hoping for a look that doesn't come as he hides (X) behind the paper again. She leaves and, as soon she's (X) gone, Clark lowers the paper, then tosses it on the table (X) in frustration and sits back to ponder their situation. (X) --page break-- "STOP THE PRESSES" (#10) Pink Rev. 11/4/96 36. 31 OMITTED 31 32 INT. DAILY PLANET - NEWSROOM - DAY 32 as Lois heads for Perry's office, she pauses at her old desk. Reflecting, she picks up a photograph of her and Clark, smiles at it, then looks over at Clark's adjoining desk, which has another picture of them on it. She takes a moment, but it's abruptly interrupted by -- Ralph, who plops down a box of his stuff on the desk. RALPH Morning, boss. (unpacks bowling trophy) Hope you don't mind me taking your old desk. Gotta be close to Kent now, You know. LOIS Oh... sure. No problem. RALPH (off watch) Whoop, I'd better go. Don't want to keep my new partner waiting. He exits. She crosses to: 33 INT. PERRY'S OFFICE - DAY 33 A CARPENTER re-hangs the door. Lois enters and sets the photograph on her desk. She starts to dig into the day's load, when Martha sticks her head in: MARTHA Hi! LOIS Martha, hi! What a surprise -- what're you doing down here? (CONTINUED) --page break-- "STOP THE PRESSES" (#10) Gold Rev. 11/8/96 37. 33 CONTINUED: 33 MARTHA I just happened to be in the neighborhood... (off Lois' look) ... Thought maybe I could buy you a cup of coffee... LOIS Thanks, I'd love to. But I can't really leave right now... MARTHA That's what I figured... Martha sets her bag down on Lois' desk and pulls out two capped cups of coffee. She offers one to Lois: MARTHA (CONT'D) Sugar, no cream, right? Off Lois, smiling, wondering what gives... 34 INT. TOWNHOUSE - DAY 34 Clark answers the door and is surprised to find Jonathan: CLARK Dad...? What're you doing here? JONATHAN I called the office. They said you were here. (opens bag of donuts) Plain cake donuts, right? (X) Off Clark, smiling, wondering what gives.... 35 INT. PERRY'S OFFICE - DAY 35 as Martha and Lois cross to the couch. MARTHA Believe me, honey, after forty years of marriage, I can see a fight coming a mile away. LOIS (admits) Good eye... (sits on couch) ... This one's a _doozy_, too. (CONTINUED) --page break-- "STOP THE PRESSES" (#10) Pink Rev. 11/4/96 38. 35 CONTINUED: 35 MARTHA (joins her) Lemme guess, can't sleep, can't concentrate, got a knot in your (X) stomach 36 INT. TOWNHOUSE - LIVING ROOM - DAY 36(X) as Jonathan enters FRAME: (X) JONATHAN -- the size of an anvil. And you're constantly fighting the urge to call her up and apologize, even though you don't think you have anything to apologize for. Am I getting warm here? CLARK More like white-hot... I can't believe we're fighting like this. It seems like it just came out of nowhere. JONATHAN I remember your mother's and my first fight. Total sucker punch, never even saw it coming. (X) (thinking back) Although, I forget what it was (X) about now... (X) 37 INT. PERRY'S OFFICE - DAY 37 MARTHA ... He bought a new truck without talking to me about it first. We were newlyweds, he was still used to making his own decisions... LOIS And you put a stop to that. MARTHA Yeah, but then we didn't talk to each other for three days. Three very long days... --page break-- "STOP THE PRESSES" (#10) Pink Rev. 11/4/96 39. 38 INT. TOWNHOUSE - LIVING ROOM 38(X) JONATHAN ... Worst five days of my life, believe me. Felt more like fifty-five days. CLARK That's how I feel, but what am I Supposed to do? I mean, I know she's under a lot of pressure and needs my support, but in order to give it to her, I have to ignore my own gut instincts, and I don't know if I can do that. JONATHAN I can't tell you what to do there, son. But part of what you're going through is just being (X) married, learning how to deal with each other's shifting lives. CLARK The problem is, I feel like it's shifting away from us. I mean, two days ago we were a team, working together on everything... 39 INT. PERRY'S OFFICE - DAY 39 LOIS ... And now, we're apart -- for the first time since we met. That hurts me, too, but what am I supposed to do, not do the best job I can? MARTHA Of course not dear. But just because you may not be partners now, doesn't mean you're not still a team. That's what makes you two so special together -- you compliment each other. You trust each other. LOIS I think we've forgotten that, or at least I have... (hears herself say this) ... Forgotten how much we trust each other's instincts... (CONTINUED) --page break-- "STOP THE PRESSES" (#10) Pink Rev. 11/4/96 40. 39 CONTINUED: 39 MARTHA You have to give yourselves some time. This Is a big change for you two... 40 INT. TOWNHOUSE - LIVING ROOM 40(X) JONATHAN ... You can't expect to figure it out over night. CLARK (scoffs) No chance of that happening. JONATHAN Not if you don't talk to each other, there isn't. And with everything you two've been through, you oughta know that better than anybody. CLARK You're right... Jonathan gives Clark a paternal pat on the knee. 41 INT. PERRY'S OFFICE - DAY 41 Martha gives Lois a maternal pat on the knee. LOIS You're right... (then) Thanks for the coffee. MARTHA (emotional) You know, I've always wanted the best for my son, and now I want the best for my daughter, too. And, as they hug: DISSOLVE TO: 42 INT. DAILY PLANET - LATER - DAY 42 as the elevator doors open, Clark and Ralph emerge. As they cross to their desks, Clark connects eyes with: --page break-- "STOP THE PRESSES" (#10) FULL Blue Rev. 10/31/96 41. 43 INT. PERRY'S OFFICE - ON LOIS 43 who's in the middle of a meeting. She spots Clark and holds his look long enough for both of them to know each other hurts. Jimmy fills her coffee cup as: REPORTER #1 ... I'm not saying the bridge collapse isn't news, it's just not column one, that's all. JIMMY Personally, I'd go with the subway story. I mean, it's local news and we are a commuter paper... (stops meeting) ... 'Course, nobody asked me. REPORTER #1 Lois...? LOIS (refocuses) Hmm? Uh, the subway...? No, it was all over last night's TV news. It's ancient history already. What else do we have...? As they offer suggestions, Lois' eye catches something on her desk: 44 LOIS' POV - AT PRINTOUT 44 of a computerized list of phone numbers. The heading reads: METROPOLIS PHONE CO. 45 RESUME - LOIS 45 as she slides the printout over, starts to thumb through it: REPORTER #1 ... I suppose we could go with the mayor story, but I don't think -- LOIS (off printout) Jimmy, why did Clark ask you to run these phone numbers? JIMMY I think he was trying to connect up the Hacker's computer with the Research Lab. Lois, perusing the printout, spots a number that looks familiar. She pops open her Rolodex to cross-reference it. --page break-- "STOP THE PRESSES" (#10) FULL Blue Rev. 10/31/96 42. 46 INT. NEWSROOM - DAY 46 Clark, going over files, not paying much attention to: RALPH Personally, I think we had the mayor on his heels the entire interview. I mean, he was trippin over his tongue left and right... Clark SUPERHEARS another ALARM at the ROCKET TEST CENTER. CLARK (to himself) The Rocket Center... RALPH Excuse me...? Clark bolts out without saying word one to Ralph: 47 INSERT - ROLODEX CARD 47 which is labeled: STAR LABS. The phone number, 555-0165, (X) matches the number on the printout Lois is pointing at. 48 INT. PERRY'S OFFICE - ON LOIS 48 holding the card, reacting with concern. LOIS STAR Labs... JIMMY What about it? LOIS Eric Press called STAR Labs' confidential modem line from his (X) computer the day before he disappeared. REPORTER #1 (X) I'm sorry, what's this got to do with the front page? LOIS (ignores) Jimmy, is there any way you can (X) tap into his home computer, find (X) out what he wanted from STAR Labs? JIMMY (at the computer) Piece of cake. Once I'm in, all I have to do is check his Recently Downloaded Files program... --page break-- "STOP THE PRESSES" (#10) Blue Blue Rev. 11/13/96 43. 49 EXT. ROCKET TEST CENTER - DAY 49 All hell's broken loose again, ALARMS, WARNING LIGHTS, technicians running for cover, etc. 50 INT. MOTOR HOME - DAY 50 ON the MONITOR showing a live video feed of the test center, TILT DOWN to Ethan, watching with rapt attention. (X) ETHAN This looks like a job for Superman (X) to me! Now remember, Eric, our (X) timing must be very precise. The (X) window of opportunity -- (X) He looks over and spots (X) 50A ANGLE - ERIC 50A half-way out the door, trying to quietly escape. Ethan suddenly appears, SLAMS the door shut. (X) ETHAN I thought we discussed this (X) already, Eric. ERIC Wait, Ethan, I can explain... (X) Then, Ethan yanks Eric out of FRAME and throws him onto: (X) 50B ANGLE - FLOOR 50B as THUMP -- Eric lands into FRAME on his back. ETHAN (X) instantly pounces on top of him, pinning Eric's arms with (X) his legs. (X) ERIC (knows what's coming) (X) No, Ethan -- not _the typewriter_! (X) ETHAN 'Fraid so. (X) Ethan pretends to speed-type on Eric's face, while making (X) typewriter SOUNDS. Eric turns his head from side to side (X) in a futile attempt to avoid it. Then, Ethan stops. (X) ERIC No -- not the carriage return! (X) ETHAN Ding! (X) (CONTINUED) --page break-- "STOP THE PRESSES" (#10) Blue Blue Rev. 11/13/96 43A. 50B CONTINUED: 50B Ethan then slaps Eric upside the head like he's hitting the (X) carriage return. (X) ERIC _Ouch_! Knock it off! (X) Eric wriggles his arms free and shoves Ethan off, out of (X) FRAME. (X) 50C WIDE 50C as Ethan scrambles to his feet, surprised to find Eric (X) already standing and pointing The Disbander at him. (X) ERIC I've had it, Ethan. I'm tired of (X) you beating me up and telling me (X) what to do. No more! (X) ETHAN C'mon, Eric, just put that down... (X) ERIC (brandishes it) (X) I swear to God, Ethan, I'll shoot (X) you, I will! (X) ETHAN Really? Okay, go ahead. Shoot. (X) (palms up) (X) I dare you. (X) ERIC Don't tempt me. (X) ETHAN Oh, but that's exactly what I want (X) to do -- tempt you. See what (X) you're made of. See if you've got (X) the Press Family spine, or if (X) you're still just the weak runt of (X) the litter I could've snuffed out (X) in your crib any number of times. (X) (egging him on) (X) C'mon. Be a man. Pull the (X) trigger. Chicken. (X) ERIC Good-bye, Ethan. (X) To Ethan's utter surprise -- and glee, Eric pulls the (X) trigger! But nothing happens. He tires to fire it again (X) and again, but nothing. Off Eric's baffled look -- Ethan, (X) smiling, reveals a plug-in micro-chip. (X) (CONTINUED) --page break-- "STOP THE PRESSES" (#10) Blue Blue Rev. 11/13/96 43B. 50C CONTINUED: 50C ETHAN I disarmed it. You know, just in (X) case. (X) Eric deflates as Ethan takes away the Disbander from him. (X) ETHAN (CONT'D) No, no, don't feel bad, Eric. (X) Your point was, nevertheless (X) made. You turned an emotional (X) corner, it was cathartic. You (X) stood up to me. You rose to the (X) challenge. You've graduated to be (X) my equal. (X) (off monitor) And now, you and I can embark upon (X) our historic adventure together as (X) partners, brothers! (X) Ethan swings his arm around a dubious Eric, draws him (X) close. ETHAN (CONT'D) Try that again, little brother, (X) and I'll rip you to shreds and (X) turn you into shark bait. (X) (then) Now, let's go kill Superman, shall (X) we? (X) 51 INSERT - MONITOR 51 as WE SEE it cycle through different SCREENS; 'ERIC'S ABODE;' then, 'RECENTLY DOWNLOADED FILES;' then, 'STAR LABS, INC., TOP SECRET;' then, finally, _the exact same anatomical_ _cross-sections of Superman and accompanying bar graphs_ Eric and Ethan have been referring to throughout. 52 INT. PERRY'S OFFICE - LOIS AND JIMMY 52 JIMMY Whoa! What's he doing with _these_!? LOIS What _is_ it? JIMMY Dr. Klein's classified medical files on Superman. Check it out, it's like the secret to how all of his powers work! (CONTINUED) --page break-- "STOP THE PRESSES" (#10) Blue Blue Rev. 11/13/96 43C. 52 CONTINUED: 52 LOIS Why would he want that...? JIMMY I don't know, but it can't be good for Superman, that's for sure. (CONTINUED) --page break-- "STOP THE PRESSES" (#10) FULL Blue Rev. 10/31/96 44. 52 CONTINUED: 52 LOIS (piecing it together) (X) The lab explosion... The rocket... (X) What if those were all tests to see if...? (X) (heart sinks) Ohmigod -- Clark was right all along... She starts out. REPORTER #1 Hey, what about tomorrow's lead...? She exits, not even responding. 53 INT. NEWSROOM - CLARK'S DESK 53 as Lois and Jimmy rush up, confront Ralph: LOIS Ralph, where's Clark? RALPH Well, I don't wanna be a tattle-tale, especially since he's your hubby and all -- LOIS (grabs him by shirt) _Where_ _is_ _he_?! RALPH Hey, whoa, he just disappeared again, okay? He does that. Said something about a Rocket Center or something, I don't know... LOIS (registers that) Clark.... Panicked, Lois bolts out. FADE OUT _END OF ACT THREE_ --page break-- "STOP THE PRESSES" (#10) FULL Blue Rev. 10/31/96 45. _ACT FOUR_ FADE IN: 54 OMITTED 54 55 EXT. ROCKET"TEST CENTER - DAY 55 ALARMS BLARING, as Superman capes up to the same Technician at the control panel: (X) TECHNICIAN Superman! It's happening again, only this time it's the nuclear warhead! (indicates) (X) In the silo! (X) SUPERMAN Alright, I'll fly it into space. (X) TECHNICIAN Wait, no -- it's pressure sensitive. As soon as you hit the stratosphere, she'll blow! SUPERMAN (beat) Where do you put your nuclear (X) waste? TECHNICIAN In the silo, there's a mile deep (X) well. If it's all the same to you, I'd like to run for my life now! The Technician takes off. Superman BLURS into: (X) 56 INT. SILO - ON A BALLISTIC MISSILE - DAY 56(X) sitting ominously on it's pad, pointing up to the sky (X) through the open hatch doors. As nitrogen gas spews out of (X) hoses, TILT DOWN to reveal Superman as he capes in through (X) the roll-top door to assess the situation. A (X) computerized VOICE counts down to lift off. Superman, (X) spotting the vault-sized well hatch, suddenly BLURS over to (X) it, spinning the wheel and opening the hatch, then BLURS up (X) OUT OF FRAME to: (X) 56A THE ROCKET WARHEAD 56A(X) as Superman BLURS up to it, removes it and BLURS back (X) down OUT OF FRAME to: (X) --page break-- "STOP THE PRESSES" (#10) FULL Blue Rev. 10/31/96 46. 57 OMITTED 57 58 INT. SILO 58(X) as Superman BLURS down into the well and disappears for a (X) beat. A FLASH of LIGHT emanates from deep inside the well, (X) then Superman BLURS back out and lands next to the hatch, (X) just ahead of the foreboding-sounding RUMBLE and the (X) trailing orange-red radioactive blast. Superman just (X) barely gets the hatch closed as the shock waves hit and the (X) ground SHAKES with a VENGEANCE. As he leans on the hatch (X) with all his might, holding it closed -- (X) 59 59 THRU OMITTED THRU 60 60 61 ANGLE - ROLL-TOP ENTRY DOOR 61(X) as it automatically closes, and -- 61A ANGLE - SILO ROOF DOORS 61A(X) as they begin to close as well, blocking out the sky, and (X) throwing the silo into TOTAL DARKNESS, until the red (X) emergency LIGHTS kick on. 61B RESUME - SUPERMAN 61B reacting with curiosity as he continues to hold the hatch (X) shut. Then, after the shock waves pass and the danger is (X) over: (X) 62 ANGLE TO REVEAL ETHAN 62 pointing The Disbander as he steps from the darkness with (X) Eric: (X) ETHAN (X) See, Eric? Didn't I tell you he'd save the day? (to Superman; haughty) Superheroes are so predictable. SUPERMAN (turns; arms folded) Eric...? As in Eric Press? (CONTINUED) --page break-- "STOP THE PRESSES" (#10) Pink Rev. 11/4/96 47. 62 CONTINUED: 62 ERIC (quickly) I swear, Superman, I never wanted anything to do with this. ETHAN Oh, stop groveling. Anyway, you're wasting your mea culpas on him -- he won't be around long enough to exonerate you. (points weapon) To wit -- Ethan FIRES, blasting Superman with a BOLT OF ELECTRICITY which envelops him, then begins to DEPARTICALIZE his molecular structure. Superman grimaces but, unlike what the blast does to mere mortals, his body RE-PARTICALIZES back to it's original shape, leaving him dazed. (X) ETHAN Totally cool. I wonder if there's a video game in it... (aims weapon again) Now, let's see if you can handle a (X) second blast. Ethan aims but Superman HEAT VISIONS the closest red warning light, casting himself in darkness just as Ethan FIRES. The BLAST dissipates into the black. ERIC Did you hit him? ETHAN I don't know... I think so. They both strain to see. Eric sees a moving shadow, panics: ERIC Over there! As Ethan FIRES another BLAST: 63 EXT. SILO - DAY 63 Lois drives up in the Jeep and jumps out, frantically searching for: (CONTINUED) --page break-- "STOP THE PRESSES" (#10) Gold Rev. 11/8/96 48. 63 CONTINUED: 63 LOIS (calls out) Clark... ? She HEARS a muffled BLAST emanating from inside the silo. She runs over to: 63A EXT. ROLL-TOP DOOR 63A as Lois tries to force it open, but it won't budge. After another muffled BLAST from inside: 64 INT. SILO 64 Ethan and Eric move cautiously forward in the near dark, searching: ETHAN (hopeful) I think I got him... ERIC You sure...? Suddenly, Superman heroically DROPS down right in front of them, arms folded, a pissed-off look on his face. ETHAN (swallows) Nope. Superman takes The Disbander and flings it out of Ethan's hands and out of FRAME. (X) SUPERMAN Looks like you boys've got a lot... of explaining... to do... Superman staggers back, beginning to reel from the (X) cumulative force he's been hit with. He sags against a (X) pillar, drained. (X) ETHAN Well, well look at this, Eric -- it worked after all. (to Superman) I'll give you credit, though, Supes. Nuked point blank, took all those blasts... and look at you, you're still kicking. Barely... Ethan, sensing Superman's a wounded animal, cautiously (X) moves in on him. (X) (CONTINUED) --page break-- "STOP THE PRESSES" (#10) Gold Rev. 11/8/96 49. 64 CONTINUED: 64 ETHAN (CONT'D) ... 'Course, the bad news is your super reserves are all but tapped out, and it's not exactly sunny in here, is it? ERIC Ethan, c'mon, we _can't_ let Superman die! ETHAN Sure, we can. And the best part of it is, we get to watch! (closing on Superman) (X) Amazing, isn't it? Of all the villains who've wanted you dead, (X) _I'm_ going to be the one to pull (X) it off -- a spoiled dilettante with too much time on his hands. (the final nail) (X) Lex would be so proud. (X) Suddenly galvanized, Superman musters up enough energy to (X) send a HEAT VISION BEAM at -- (X) 64A INSERT - SWITCH 64A(X) marked "SILO DOORS" as the BEAM blasts it, sending (X) electrical sparks flying. (X) 65 OMITTED 65 65A ANGLE - SILO ROOF DOORS 65A as they begin to open and -- (X) 65B THE SILO 65B(X) is suddenly _flooded with sunlight_, restoring Superman to (X) full strength. He moves toward Ethan, who backs into Eric: (X) ETHAN Oh, no... In SUPERSPEED, Superman wraps a pipe around Ethan and Eric, (X) immobilizing them. (X) SUPERMAN Oh, yes. (X) (CONTINUED) --page break-- "STOP THE PRESSES" (#10) White Rev. 11/8/96 49A. 65B CONTINUED: 65B Then, a REVVING engine sound precedes -- the Jeep as it BLASTS THROUGH the roll-top door and slides to a stop. Lois jumps out on pure emotion and adrenaline. SUPERMAN Lois, what're you doing here? LOIS I came to... (perceives situation) ... save you. (X) SUPERMAN Does this mean you're not mad at me anymore? LOIS (nodding) Are you okay? (CONTINUED) --page break-- "STOP THE PRESSES" (#10) Gold Rev. 11/8/96 50. 65B CONTINUED: 2 65B SUPERMAN Now, I am. (X) As they share a smile, Eric glares at Ethan: ERIC Great, wait'll Dad finds out about (X) this -- he's gonna _kill_ us! 66 66 THRU OMITTED THRU 68 68 69 CLOSE ON - FRONT PAGE - NIGHT #4 69 actually, a cut and paste advance copy of tomorrow's Daily Planet. Above a PHOTO of Superman escorting Ethan and Eric out of the bunker, the headline reads: SUPERMAN STOPS THE PRESSES. The sub-heading reads: BROTHERS CHARGED WITH MURDER, ESPIONAGE. The by-line reads: BY CLARK KENT. REVEAL: 70 INT. DAILY PLANET - PERRY'S OFFICE - NIGHT 70 where Lois and Clark review the copy. Jimmy looks on: LOIS Looks like a lead story to me. JIMMY So, no corrections? CLARK Wait -- the by-line should have Lois' name on it too. After all, she cracked the case. LOIS Yeah, but you would've, if I hadn't sat on key evidence. CLARK Maybe, maybe not. The bottom line is, we did it together. Lois considers that, then nods her approval to Jimmy. JIMMY You're the boss... (CONTINUED) --page break-- "STOP THE PRESSES" (#10) Pink Rev. 11/4/96 51. 70 CONTINUED: 70 As Jimmy leaves, he bumps into Perry, who wanders in. JIMMY (CONT'D) Hey, chief! What're you doing down here? PERRY I just thought I'd stop by, see how things were going, you know. (deep breath) God, I love the I smell of ink in the morning. JIMMY (frowns) But, it's not morning... PERRY Aw, hell, Jimmy, I know that. (X) Just doesn't sound as good, you (X) know. JIMMY (smiles) We miss you, Chief. He claps him on the back, exits. Perry strolls around the office, having trouble saying what he's here to say to Lois, anticipating it: LOIS PERRY Look, Perry... Now, Lois... They look at each other, defer: LOIS PERRY Go ahead. After you. They stop again. PERRY Aw, look, I won't beat around the bush here, Lois. Truth is, I miss the newsroom something awful. After thirty some odd years being down here, I guess it's just become apart of me... LOIS Perry... (CONTINUED) --page break-- "STOP THE PRESSES" (#10) Pink Rev. 11/4/96 52. 70 CONTINUED: 2 70 PERRY (forges ahead) Now, I don't want you to think I'm asking you to step aside, because I'm not. I'm just saying, spending the last coupla day's upstairs with all them fancy suits, sipping (X) lattes and taking lunches is not (X) my style. (X) CLARK Chief, let Lois... PERRY Now, what I'm proposing here is (X) this -- Lois, you and I both run the paper together. Partners, Editors-in-Chief. What do you say? Lois shares a look with Clark, then turns to Perry: LOIS I say... I've already got a partner, Perry. PERRY Okay, well, it was worth a shot... LOIS You don't understand, I don't want to be Editor anymore. PERRY No, I understand, it's -- what? (X) LOIS I mean, you can have your old job back -- if I can have mine back, too. I think I missed being a (X) reporter as much as you missed (X) being in the newsroom. (X) PERRY You're sure about this, Lois? (X) LOIS Positive. PERRY (thrilled) Deal! (CONTINUED) --page break-- "STOP THE PRESSES" (#10) Pink Rev. 11/4/96 53. 70 CONTINUED: 3 70 Perry thrusts out his hand, shakes Lois' and Clark's. Ralph steps in, approaches Lois: RALPH Lois -- I gotta talk to you. (off Perry, Clark) Hey, guys (back to Lois) I got this killer scoop, guaranteed headline. Even better than the (X) mayor story... (X) LOIS Don't tell me, tell Perry. He's the editor. Lois picks up her nameplate, exits with Clark. RALPH What...? (realizes; turns to him) Perry, swear to God, you're really gonna love this... As Perry waves him off, having heard it all before: (X) 71 INT. NEWSROOM - NIGHT 71 ON Lois' nameplate, as she places it on her desk, next to Clark's desk and nameplate. REVEAL Lois and Clark, both liking the way it looks, then: LOIS Can we go home and talk...? CLARK Sure... He grabs his coat and escorts her out, passing a smiling Jimmy en route. JIMMY Hey, C.K., check it out. Looks like Darlene wasn't out to get me after all. He gestures to the vending machines, where a handsome MAN puts his arm around Darlene and gives her a kiss. JIMMY Guess I was a little paranoid, huh? (CONTINUED) --page break-- "STOP THE PRESSES" (#10) Pink Rev. 11/4/96 53A. 71 CONTINUED: 71 CLARK I think you've seen too many movies. (CONTINUED) --page break-- "STOP THE PRESSES" (#10) Green Rev. 11/6/96 54. 71 CONTINUED: 2 71 Jimmy chuckles, follows them to the elevator. JIMMY Good night, guys. The doors close on Lois and Clark, as the Man and Darlene cross past Jimmy into the other elevator. Jimmy exchanges a smile with her, and just as the elevator doors close: DARLENE (sotto; threatening) Don't forget to lock your doors at night... The doors close. Off Jimmy as his smile does a one-eighty: 72 INT/EXT. TOWNHOUSE - GARDEN - NIGHT 72 ON Lois, leaning forward at the rail, looking up at the night sky. Clark, his back to the rail next to her, listens: LOIS Kinda scary, huh? How quickly things can seem to fall apart... CLARK I guess we were a little naive to think it wouldn't affect us. LOIS (admits) I should've let you run with the story all along, Clark. (X) CLARK So you're saying if you had to do (X) it over again, you wouldn't kill (X) my story. (X) LOIS I'd kill it in a second. If I (X) were editor. Being _editor_ is (X) what I won't do over again. (X) CLARK You sure? (X) LOIS Totally. I know where I belong. (X) Where the action is. (X) (CONTINUED) --page break-- "STOP THE PRESSES" (#10) Green Rev. 11/6/96 55. 72 CONTINUED: 72 CLARK And that's...? (X) LOIS Usually, with you. (X) He takes her in his arms, holds her.. LOIS (CONT'D) Does this mean we've made up? CLARK Yes. (X) (lifts her up) Anybody watching? LOIS (looks) No, why? He kisses her, then pulls away with a suggestive look. Then, they BLUR inside, the garden door SLAMS shut, and we-- FADE OUT _THE END_