notes: To pop everything into place... use Courier 10 (or 10 characters per inch) set top margin at 0.5", bottom margin at 0.5" (or minimums) left margin at 1", right margin at .25 (or minimum) (I had to tell the program my primitive printer was using legal paper) the "*" at the end of many lines probably means "this line changed from previous version" NOTES: on front page LOIS & CLARK is large, bold, underlined. The New Adventures of Superman is in not so large, italics "Foundling" in same size font, not italicized EPISODE 15, Written by: Dan Levine, Directed by: Bill D'Elia are somewhat smaller WARNER BROS. TELEVISION is in all caps, maybe a CG Times all other text in courier 10 (like a typewriter) NOTES: note how 66A was cut from the final aired version... on "Locations" page, under "Exteriors", "Kypton" should be "Krypton"; it's spelled wrong in original Page 36, 2nd Lois speaking: my speller spells "nicknack" as knickknack and "momento" as memento Page 39, "Reluctanly", mid page, is misspelled in original --page break-- _LOIS & CLARK_ The New Adventures of Superman "Foundling" EPISODE 15 Prod. #455315 Written by. Dan Levine Directed by Bill D'Elia WARNER BROS. TELEVISION Production Draft Dec. 21, 1993 Blue (Full) 1/5/94 Pink Rev. 1/6/94 Yellow Rev. 1/6/94 --page break-- _LOIS & CLARK_ "_Foundling_" Blue Rev. 1/5/94 _CAST_ CLARK KENT/SUPERMAN LOIS LANE PERRY WHITE JIMMY OLSEN CAT GRANT MARTHA KENT JONATHAN KENT LEX LUTHOR ____________________________________________________ NIGEL JACK JOR-EL * INSPECTOR HENDERSON LOUIE DENNY --page break-- _LOIS & CLARK_ "_Foundling_" Pink Rev. 1/6/93 _LOCATIONS_ INTERIORS: EXTERIORS: Daily Planet Kypton (view from space) The Pit Lunch Area Metropolis Skies Metropolis Street Clark's Apartment Living Room Alley (Abandoned Bldg) Bedroom Kent Farmhouse Kent Farm Kitchen "Fortress of Solitude" (Tree House) Jor-El's Lab * Abandoned Building Pool Hall Luthor's Museum --page break-- _LOIS & CLARK_ "_Foundling_" Blue Rev. 1/5/94 _CHRONOLOGY_ SC. 1 - 5 NIGHT 1 SC. 6 - 17 DAY 2 SC. 16 - 19 NIGHT 2 SC. 20 - 25 DAY 3 SC. 26 - 36 NIGHT 3 SC. 37 - 39 DAY 4 * SC. 40 - 80 NIGHT 4 * SC. 81 - 86 DAY 5 --page break-- Foundling (#15) Yellow Rev. 1/6/94 _LOIS & CLARK_ _The New Adventures of Superman_ "_Foundling_" _TEASER_ FADE IN: 1 INT. CLARK'S APARTMENT - (NIGHT #1) 1 We are CLOSE ON CLARK in bed an he tosses in troubled sleep. Clock reads 4:02 AM. Suddenly the room pulses with light. Clark awakens, looks toward the source. 1A CLARK'S POV 1A On his bookcase, a locked box, light streaming through the cracks. 1B CLARK 1B gets out of bed, takes a key from his desk, unlocks the box, lifts out the artifact/globe he recovered from the spaceship that brought him to Earth. Under his touch the earth-map face changes to the red-tinged map of Krypton. Then, it FLARES with a brilliant white light. Light streams from the globe to form the life-size HOLOGRAPHIC IMAGE of a man (JOR-EL). On Jor-El's tunic is Superman's "S." Clark stares in awe at the image. Then, the image SPEAKS. JOR-EL My name is Jor-El. And you are Kal-El, my son. The object you hold has been attuned to you. That you now hear these words is proof that you survived the journey in space and have reached your full maturity. Now it is time for you to learn our heritage. To that end, I will appear to you five * times. Watch for the light, * listen, and learn. We MOVE into the globe, into the light. --page break-- FOUNDLING (#15) Yellow Rev. 1/6/94 2. 2 EXT. KRYPTON 2 Hanging in space. 3 OMITTED 3 4 INT. - JOR-EL'S LABORATORY 4 JOR-EL stands before a waist-level console, which he manipulates by weaving his hands in the air above it. Attached to the console is a large view screen on which multicolored lights swirl. To one side is a long work table, strewn with odd bits of metal and plastic. To the other side, a large, plain pedestal upon which, egg-like, rests a capsule of some transparent material. The interior of the capsule is suffused with mist. JOR-EL (V.O) Time grows short and we continue to search. The immensity of space is both a blessing and a curse. In that near infinite variety there must be _some_ place suitable. * (beat) Hope and desperation drive us in equal measure. The man is joined by a tall, elegant woman, LARA. She gestures toward the screen, he shakes his head. They both stare into the capsule's mists. Hidden in the mists... something. JOR-EL (V.O.) Lara works by my side. She is tireless and endlessly patient. * Considering what is soon to come, this is my greatest consolation: that we are together. Then, a tremor shakes the lab. Indicators on the console flare. Jor-El takes Lara in his arms. The tremor subsides; indicators return to normal. * --page break-- FOUNDLING (#15) Full Blue Rev. 1/5/94 3. 5 INT. CLARK'S APARTMENT - NIGHT 5 Clark still holds the glowing globe. The HOLOGRAM FLOWS * back into it and disappears. The glow dies, but the * globe retains its Krypton-map face. With trembling hands * Clark carefully sets it back in the box. He looks out at * the night sky. * CLARK Kal-El. * FADE OUT. _END TEASER_ --page break-- FOUNDLING (#15) Full Blue Rev. 1/5/94 4. ACT ONE FADE IN: 6 INT. KENT FARMHOUSE KITCHEN - (DAY #2) 6* Clark talks with his parents, JONATHAN and MARTHA. Serious expressions all around. JONATHAN Tell me more about this globe. * CLARK It was in the ship that brought me * to Earth. When Lois and I broke * into Bureau 39's warehouse... * 6A INT. BUREAU 39 WAREHOUSE - (FLASHBACK) 6A* Clark lifts up the globe and it changes from Earth to * Krypton. * 6B BACK TO SCENE 6B* CLARK I hid it from Lois. I never knew * it was anything more than what it * seemed: maps of Earth and Krypton. * Until last night. * MARTHA But why now? You've had it for * months. * CLARK I don't know, Mom. Except, Jor-El * said it was 'attuned to me.' * Maybe it and I weren't meant to be * separated for so long. Maybe it's * taken a while to... warm up. * JONATHAN (awkwardly) * The people, Jor-El and Lara, any * memory of them at all? * CLARK (shaking his head) * None. * A moment of shared silence. * MARTHA How do you feel about this, Clark? * (CONTINUED) --page break-- FOUNDLING (#15) Yellow Rev. 1/6/94 5. 6B CONTINUED: 6B CLARK Scared. Excited. overwhelmed. (beat) I've gone my entire life not knowing how or why I was left on your doorstep. So many unanswered questions... What was Krypton file? Who were my parents? Did everyone there have powers like me? Will continue to age normally? Can I die? (beat) Now I'm about to find out. 7 7 THRU OMITTED THRU 8 8 9 INT. DAILY PLANET - DAY 9 A normal, busy day in the newsroom. LOIS, CAT and JIMMY are the exceptions: Lois stares at her computer as if hoping it will go to work on its own, Jimmy reads a magazine, Cat files her nails with geometric precision. Then, Jimmy sets down the magazine. JIMMY (impressed) Huh. LOIS What? JIMMY According to Metropolis Science Magazine, the statistical probability that any two people living in Metropolis are blood relations, is over ninety percent. CAT (stops filing) You and I are related? JIMMY (nodding) As long as our families have lived in the area at least three generations. CAT I don't think SO. Lois gets up, cups Jimmy's chin, looks over at Cat. (CONTINUED) --page break-- FOUNDLING (#15) Pink Rev. 1/6/94 6. 9 CONTINUED: 9 LOIS (teasing) I don't know... There _is_ a definite family resemblance. CAT (returns to filing) I don't think so. JIMMY Wanna bet? That you and I are related by blood? CAT (puts file down) What are the stakes? Clark enters, a bit subdued, sets his briefcase down on his desk. CLARK 'Morning. The trio is too focused on the impending bet to respond with more than vague nods. JIMMY If I win... a night of passion. CAT Yours or mine? JIMMY Optimistically, ours. Realistically, mine. LOIS (into it) And if you lose? CAT _When_ you lose. JIMMY (confidently) Name it. CAT You repaint my apartment, every room, top to bottom. Pink fades. (CONTINUED) --page break-- FOUNDLING (#15) Full Blue Rev. 1/5/94 7. 9 CONTINUED: 2 9 Both hesitate, then shake on the bet. LOIS (taking charge) I expect detailed family histories including charts from both of you no later than tomorrow. Also, blood tests. PERRY approaches. PERRY Everyone, listen up. Your editor-in-chief has an announcement. None of them react. CAT Why blood tests? JIMMY She's kidding. LOIS No I'm not. PERRY Your editor-in-chief has an announcement to make to anyone currently employed by the Daily Planet and about to undergo their quarterly salary and expense review. Lois, Cat and Jimmy freeze, turn to Perry, wait politely. PERRY Much better. . (raising his voice) Everyone! The newsroom stills. PERRY (Cont'd) It is my pleasure to announce that this year's candidates for the Meriwether Award for Journalistic Excellence have just been released and the Daily Planet's very own writing team of Lois Lane and Clark Kent are among the nominees. APPLAUSE and CONGRATULATIONS. Both Lois and Clark are pleased, but try to appear humble. (CONTINUED) --page break-- FOUNDLING (#15) Pink Rev. 1/6/94 8. 9 CONTINUED: 3 9 (high five) C.K.! You're the man! (off Lois' glare) And you're the woman. CAT More or less. PERRY All right, all right, back to work. It's an announcement, not a national holiday. Everyone obeys. PERRY (Cont'd) (to Lois and Clark) Good job you two. Just don't * expect to rest on your laurels. (to Lois) How you coming on that piece on the recent rise in crime in Metropolis? LOIS (vaguely) You know, gathering information, checking sources, compiling data. That sort of thing. She looks over at her blank computer screen. PERRY That bad, huh? LOIS I'm still looking for an angle. PERRY Angles just don't drop from the sky, Lois. (Perry points up, Lois looks up) We have to create them. (MORE) (CONTINUED) --page break-- FOUNDLING (#15) Full Blue Rev. 1/5/94 9. 9 CONTINUED: 4 9 PERRY (cont'd) (beat, semi-teasing) The Committee vote on the * Meriweather Award is only a couple * of days away. Be nice to show * them a strong finishing kick. * Perry's leaves. Lois sighs. Clark's phone RINGS. He * picks up. CLARK Clark Kent. Clark listens... more and more carefully. CLARK (Cont'd) I'll be right there. He hangs up, obviously upset. LOIS What? CLARK My apartment's been robbed. (beat, rising to leave) * I've got to go. * LOIS Clark, how awful. I am _so_ * sorry. To be violated like that, * to have absolute strangers pawing * through you personal belongings, * to endure... * Lois has a thought. Clark's halfway to the exit. * * LOIS (Cont'd) (grabbing her coat, calling after him) Wait! I'm coming with you! * (looking to heaven) * Thank you. 10 INT. CLARK'S APARTMENT - LIVING ROOM - DAY 10 A mess: books tossed from shelves, clothing strewn, drawers emptied, pictures hanging crookedly, sofa cushions overturned. Not vandalism per se, but a definite scouring Lois and Clark wander through the debris. Clark's a bit dazed; Lois is furious. Clark kneels to rescue a book that's flopped open on its spine. (CONTINUED) --page break-- FOUNDLING (#15) Full Blue Rev. 1/5/94 10. 10 CONTINUED: 10 LOIS Clark, don't touch anything! This is a crime scene. Stubbornly, Clark retrieves the book anyway. CLARK It's My crime scene. LOIS (exasperated) How do you expect the police to catch whoever did this... CLARK I don't. LOIS ... if you insist on tainting the evidence? HENDERSON (O.S.) Someone call a cop? Both turn as INSPECTOR HENDERSON enters the room. LOIS _Finally_. Okay, Henderson, * what's our first move? HENDERSON You live here, Lois? LOIS No. HENDERSON Then our first move is for you to butt out. (to Clark) 'Morning, Clark. Anything missing? CLARK Yes, Inspector. I mean, I haven't * checked everything. Henderson produces a form from his pocket, hands it to Clark. HENDERSON Fill this out. Bring it down to the station. CLARK What is it? (CONTINUED) --page break-- FOUNDLING (#15) Full Blue Rev. 1/5/94 11. 10 CONTINUED: 2 10 HENDERSON Inventory of stolen items. Don't forget serial numbers. Something turns up, we'll call you. (beat) Don't hold your breath. We've had a lot of these type break-ins in this neighborhood lately. Henderson turns to leave. LOIS (appalled) That's it? That's all? Don't you look for clues? Dust for prints? HENDERSON Waste of time. LOIS (really ticked off) Waste of... let me tell you a little story, Henderson. HENDERSON Shoot. LOIS It's late at night. A sweet, innocent little old lady, probably someone's grandmother, is preparing for bed. Suddenly, burglars burst in, knock her down, and steal her life savings from underneath her mattress. (beat) Wanna know why? HENDERSON Why? LOIS Because some cop like you was too lazy to dust for prints on a prior, so the burglars were never caught. HENDERSON Good story. LOIS Thank you. HENDERSON Now I got one. Wanna hear it? (CONTINUED) --page break-- FOUNDLING (#15) Full Blue Rev. 1/5/94 12. 10 CONTINUED: 3 10 LOIS Shoot. HENDERSON That same sweet, innocent, little old grandmother is preparing for bed when she hears burglars breaking into her house. She rushes to the phone and dials 911, but, by the time help comes, it's too late. Wanna know why? LOIS Why? HENDERSON Because all the good cops are out somewhere else _dusting_ _for_ _prints_. Henderson leaves. Lois is temporarily speechless with fury. CLARK Calm down, Lois. This is _my_ problem. Clark walks into the bedroom. LOIS (calling after) Hey, I'm sympathetic! She follows. 11 BEDROOM 11 Equally trashed. Clark surveys the wreckage. Then... the bookcase! He hurries to it: the box containing the globe is empty. A quick scan of the room with _TELESCOPIC_ _VISION_: nothing. CLARK (stunned) It's gone. LOIS Clark, what's gone? What's missing? (CONTINUED) --page break-- FOUNDLING (#15) Pink Rev. 1/6/94 13. 11 CONTINUED: 11 CLARK Just some... personal things. (to answer her question before it's asked) Trophies, keepsakes... irreplaceable. LOIS (into her article) Not bad. Forget the monetary loss: it's stealing parts of a person's past. The sense of vulnerability, the sense of invasion. Urban angst. You feel... Lois, observing the stricken Clark, changes direction. She goes to his side and takes his arm. LOIS (Cont'd) Don't worry, partner. We'll get your stuff back. Maybe the police can't help, but I know who can. CUT TO: 12 EXT. ALLEY BY ABANDONED BUILDING - DAY 12 JACK, 16, raggedly dressed, carrying a canvas sack, moves warily along the alley. A POLICE SIREN wails nearby and he flattens himself against a wall until it passes. He reaches an entrance to an abandoned building, bends back the wire-fence that guards it, slips inside. 13 INT. ABANDONED BUILDING - DAY 13 A mess, a shell. Jack appears up a rickety staircase and moves through open beams to a corner of the room. There, sleeping under blankets on a bare cot is DENNY, 14. Jack looks down at him a moment, then quietly moves to a second cot, turns up an oil lantern, and dumps the contents of his sack on the bed. Amidst the meager haul of clock radio, Polaroid-like camera, VCR, walkman, CD player and CD's, a watch, trophies and plaques, and a small TV rests the globe (Krypton-map face). Jack picks it up, turns it in his hands. JACK What _are_ you? As if in answer, the globe starts to GLOW, then FLARES WITH LIGHT and the HOLOGRAM PROJECTION of Jor-El appears. (CONTINUED) --page break-- FOUNDLING (#15) Full Blue Rev. 1/5/94 14. 13 CONTINUED: 13 JOR-EL This is the second of the five * times I will appear. * Jack, startled, drops the globe with a CRACK to the * floor. The hologram disappears, but the globe is intact. * Denny jerks awake at the noise. DENNY Jack? * Jack sets the globe carefully back on the bed, moves toward Denny. JACK Here. He sits on the edge of Denny's cot. Denny sits up, rubs * sleep from his eyes. * JACK (Cont'd) Thirsty? Denny nods. Jack unscrews and hands him a canteen. * DENNY (after drinking deeply) * How'd you do? * JACK I did good. DENNY (jumping up) * Lemme see. * He moves to Jack's bed, begins to paw through the stuff, * picks up the Polaroid-like camera, aims it at Jack. * DENNY (Cont'd) Cheese. * He presses the button. The camera FLASHES, takes a * picture. Jack grabs the camera from him. * JACK Cut it out. * Denny sees the globe, points. * DENNY What's that thing? * JACK Our ticket out of here. * (CONTINUED) --page break-- FOUNDLING (#15) Yellow Rev. 1/6/94 15. 13 CONTINUED: 2 13 He waves at the grim surroundings. Denny reaches for the globe. JACK (Cont'd) Careful! Don't touch it. Denny jerks his hand back. DENNY What'll happen? JACK Never mind. DENNY (eying the globe suspiciously) You think it's worth something? JACK Yeah. A lot. But we've got to find the right buyer. DENNY How do we do that? Jack looks at the camera in his hand, then back at the globe. JACK We advertise. Jack readies the camera, then reaches to touch the globe * as we... * CUT TO: 14 INT. POOL HALL 14 Smokey, dark, few players: a hangout. Lois and Clark' enter. Lois is completely at ease; Clark doesn't want to be there. Lois approaches one of the players. LOIS I'm looking for Louie. The player doesn't even acknowledge her. Instead, he bends to take his next shot. CLARK He's not here. Let's go. Lois picks up the cue ball and tosses it to Clark. (CONTINUED) --page break-- FOUNDLING (#15) Yellow Rev. 1/6/94 15A. 14 CONTINUED 14 LOIS Louie. Tell him it's Lois Lane. The player puts down his cue, stares at Lois and Clark a moment, then exits through a door at the back of the room. (CONTINUED) --page break-- FOUNDLING (#15) Pink Rev. 1/6/94 16. 14 CONTINUED: 14 CLARK This is a mistake. Absently Clark picks up the cue stick, puts the ball down. LOIS What are you so nervous about? CLARK Where do you know this guy from? Clark lines up a shot. LOIS Around. I'm a reporter, Clark. It's my business to know the people who know what's going on in this city. Clark shoots, makes it. CLARK (not buying it) And? LOIS And, his daughter was my tennis doubles partner in college. LOUIE (O.S.) Hey, kid. Over here. 15 LOUIE 15 has entered by the door through which the pool player exited, seated himself at a table, and is waving at them. Louie is fat, sloppy, middle-aged, serene. 16 LOIS AND CLARK 16 exchange a glance. Lois moves to join Louie; Clark pauses to look over the pool table: a rack of-six balls left. * He strokes the cue ball to break the rack, then with * _SUPER-BREATH_ blows the balls, one at a time, into the * pockets. The last ball teeters on the edge of the cup. * A short burst of _SUPER BREATH_ and the cue ball reverses * direction to sink it. He puts the stick down, follows * after Lois. 17 LOUIE'S TABLE - FIVE MINUTES LATER 17 Louie, Lois, and Clark are seated. Louie eats a hero sandwich as he talks. (CONTINUED) --page break-- FOUNDLING (#15) Full Blue Rev. 1/5/94 17. 17 CONTINUED: 17 LOUIE Kicked in the door? Clark nods. LOUIE (Cont'd) (scornful) Amateurs. LOIS What do you think? Louie pauses with his mouth open, considering. Then he bites. LOUIE I can maybe find 'em. CLARK How? LOUIE They gotta try and sell the loot. I know guys who know guys. (beat) I'll need a list. Anything special I should watch for? Clark desperately wants to recover the globe, but he doesn't want Lois or Louie around when he does. CLARK No. Look, the police have all the information. Maybe we should just leave it to them. Louie shakes his head in disgust. Lois, too, is embarrassed by Clark's apparent cold feet. LOIS Clark, this is great stuff. If nothing else, for my article. LOUIE Uh, Lois, these guys I know don't exactly like to read their name in the papers. LOIS (insulted) Louie, this is Lois. CLARK (feeling trapped) So, if you do this, what are we supposed to do for you? (CONTINUED) --page break-- FOUNDLING (#15) Pink Rev. 1/6/94 18. 17 CONTINUED: 2 17 LOUIE (points to Lois with his sandwich) For the kid? It's a freebie. What a backhand she had. LOIS When do you think... LOUIE I'll call ya. (to Clark) You need help on the insurance claim? I know guys who know guys. CLARK Uh, no thanks. LOUIE (to Lois, per Clark) Straight arrow, huh? LOIS Tell me about it. 18 EXT. ALLEY BY ABANDONED BUILDING (NIGHT #2) 18 Jack paces. At the sound of approaching FOOTSTEPS he looks up to see... 19 LUTHOR AND NIGEL 19 approaching, dressed in long overcoats. LUTHOR, wearing a hat pulled low over his eyes, hangs back in the shadows. NIGEL steps forward into the dim light, removes a photo from his pocket and holds it up. NIGEL You have something for me? * Jack takes a wary step closer. JACK (nodding to Luthor) Who's he? NIGEL (ignoring the question) Where is the item? JACK It's a thousand. (CONTINUED) --page break-- FOUNDLING (#15) Yellow Rev. 1/6/94 19. 19 CONTINUED 19 Nigel removes an envelope from another pocket, fans out ten hundred dollar bills. NIGEL The item? Jack retrieves his canvas bag from behind a crate, hesitates, then unwraps the GLOWING globs, being careful not to touch it with his bare hands. LUTHOR (voice hoarse with controlled excitement) We understand there's a display. Jack drops the bag, touches the globe with his hands. The OF LIGHT, then the HOLOGRAM of Jor-El ensue. JOR-EL This is the second of the five times... Jack returns the globe to the bag. The HOLOGRAM dies. LUTHOR (still hoarse) Pay him Nigel holds out the money. As the transfer of money and globe is made... LUTHOR (Cont'd) (trying to sound casual) You found this, you say? JACK (examining the money) In a dumpster on Third. People throw away strange stuff sometimes. (beat, fishing) I guess it has something to do with Superman. LUTHOR (doesn't take the bait). If you find any more 'strange stuff,' you'll let us know? JACK I'll do that. How do I get in touch? LUTHOR Just leave word. We'll find you. (CONTINUED) --page break-- FOUNDLING (#15) Full Blue Rev. 1/5/94 20. 19 CONTINUED: 2 19 Luthor holds out a gloved hand and Nigel passes him the bag. Jack, sensing he's been dismissed, hurries away. * Luthor steps forward into the light. * LUTHOR Something to do with Superman. * FADE OUT. _END ACT ONE_ --page break-- FOUNDLING (#15) Full Blue Rev. 1/5/94 21. _ACT TWO_ FADE IN: 20 INT. DAILY PLANET - (DAY #3) 20 Another typical day. 21 CAT AND JIMMY 21 huddle over as yet incomplete, but still detailed, family trees. Cat points to one of Jimmy's charts. CAT Your Great-Uncle Howard married the same woman twice? JIMMY Well, see, he didn't _realize_ it was the same woman... until after. (beat) Howard had poor eyesight, and Aunt Millie suffered from a hormonal imbalance. She used to go through these huge weight fluctuations. Cat stares at Jimmy in horror. CAT If it does turn out we have any of the same genes, I'm having mine altered. 22 LOIS 22 briskly types on her word processor, talking as she types. LOIS 'And so the cycle repeats itself. Stolen goods traveling from owner, to thief, to fence, to wholesaler, to retailer, and finally to a new and unsuspecting owner...' (beat) You think it's too wordy? Clark has rolled his chair over by her to look over her shoulder. He's less than his usual alert, bright-eyed self: he yawns, shrugs, then tiredly rubs the back of his neck. Lois notices, stops typing, rolls behind him, begins to massage his neck. LOIS (Cont'd) You're so tight. You're like _iron_. (CONTINUED) --page break-- FOUNDLING (#15) Full Blue Rev. 1/5/94 22. 22 CONTINUED: 22 CLARK (absently) Steel. LOIS What? CLARK (covering) Still... trying to recover. You know, from my loss. LOIS (exaggerated concern) You poor sensitive baby. I bet you hardly slept. CLARK (truthfully) Not a wink. * Lois stops massaging, returns to work. * LOIS Clark, it happened, but it's over. * Snap out of it. Put it behind * you. * CLARK Thanks for the concern. * LOIS You're welcome. * (beat) * Did you finish that inventory list? CLARK Uh, no. LOIS Clark, why are you stalling on this? CLARK Why are you so curious? LOIS I'm not curious. Believe me, I have no interest in your collection of bottle caps, love letters from Lula-Mae, or the blue ribbon from the Smallville soapbox derby. I'm just trying to help out a friend. CLARK You're trying to write an article. (CONTINUED) --page break-- FOUNDLING (#15) Full Blue Rev. 1/5/94 23. 22 CONTINUED: 2 22 LOIS That, too... See, I put the list in the article as an example of how some people get unreasonably, sentimentally attached to their old junk. CLARK Lois, I'm taking your advice and putting this behind me. I want you off the case. I appreciate you wanting to help but, as I said before, it's my problem. LOIS (distressed) You can't do that. (grasping at straws) What about Louie? CLARK There's no way that guy will come * up with anything. The PHONE RINGS. They exchange a glance. 23 OMITTED 23 24 INT. POOL HALL - DAY 24 Lois and Clark enter and cross to join Louie and his pool-playing henchman. LOIS Where is he? Louie jerks his thumb toward a bench against the wall where Jack, arms behind his back, sits sullenly. On one of the pool tables is a pile of Clark's belongings. * CLARK Are you sure he's the one? LOUIE (points to the pool * table) * That your stuff? Clark eagerly paws through the contents of the bag. No globe, but everything else is there. Clark, hiding his disappointment, nods to Lois. CLARK Most of it. * (CONTINUED) --page break-- FOUNDLING (#15) Yellow Rev. 1/6/94 24. 24 CONTINUED: 24 LOUIE (Cont'd) Kid tried to move it through a guy who knows a guy I know. (holding up the ten hundred dollar bills) Had this on him, too. Yours? CLARK No. Louie offers it to Lois. After a moment of thought she takes it and she and Clark approach Jack. Rolls scared, but putting on a tough act. JACK That's my money, Lady. * * LOIS (re Clark) You robbed this man's apartment? JACK I found that junk in a dumpster. I should of left it there. Despite the attitude, Clark can't bring himself to be angry. CLARK (to Jack) How old are you? JACK How old are _you_? Look, I don't know anything. Just let me go. Now we see he is handcuffed LOIS (chastising) Louie. Louie nods to the pool player, who tosses Lois the keys. LOUIE Careful. You got yourself a real rabbit there. Lois hesitates. (CONTINUED) --page break-- FOUNDLING (#15) Full Blue Rev. 1/5/94 25. 24 CONTINUED: 2 24 CLARK We're not the law, Lois. He's just a kid. She uncuffs him. Jack rubs his wrist. JACK Yeah, I could sue you for kidnapping. Louie mocks a shiver of fear. LOIS I'm waiting for an answer. Did you rob this man's apartment? No answer. Jack shiftily eyes an escape route. LOIS (Cont'd) Where'd you get the money? * Still no answer. * CLARK (breaking in) * Look, this doesn't have to go to the police. I just want to ask you some questions about... some * personal items that are still * missing. One in particular. * At this, Jack looks up quickly, then, just as quickly, drops his eyes again. This is exactly the reaction Clark is hoping for. LOIS You could save yourself a lot of trouble... hey! Jack grabs the money out of her hand and bolts. Louie's friend makes a stab for him, misses, and he's out the door. Oddly enough, though he passes right by Clark, Clark doesn't try to stop him. LOIS (Cont'd) Clark, grab him. Clark! CLARK I'll go after him. Clark rushes out. Lois is left with Louie and his pal. She throws up her hands in frustration. LOUIE (chuckling) A real rabbit. (CONTINUED) --page break-- FOUNDLING (#15) Full Blue Rev. 1/5/94 26. 24 CONTINUED: 3 24 Lois moves over to the pile of Clark's stuff, absently picks up some photos. She looks at them, then looks more closely, then off in the direction in which Clark and Jack disappeared. LOUIE Problem, sweetheart? LOIS (shocked) Clark's been holding out on me. LOUIE Figures. (beat) You want him tossed around a little? I know guys who know guys. On Lois, expression we... CUT TO: 25 EXT. ALLEY - MOMENTS LATER 25 Jack runs for all he's worth stops, flattens himself against the alley wall, breathing hard. He listens for sounds of pursuit. Hearing none, he steps away from the wall, takes a deep breath, starts to jog away, turns a corner into... Clark. He tries to struggle free, can't. CLARK I'm not going to hurt you. I'm not going to hurt you. Abruptly Jack stops struggling, looks into Clark's eyes. Whatever he sees there settles him down. CLARK (Cont'd) Be straight with me and I'll let you go. I promise. * (deep breath) * Do you have the globe? * Jack shakes his head. JACK I sold it. (beat, defiantly) * I had to. * * CLARK (crestfallen) * Sold it to who? * (CONTINUED) --page break-- - FOUNDLING (#15) Yellow Rev. 1/6/94 27. 25 CONTINUED 25 JACK I don't know. Some guys. I took * pictures of it, passed 'em around, * you know. Older guys. Kinda strange. * CLARK What did they look like? * JACK (obviously lying) * I don't remember. * * CLARK (after a pause) Do you have any idea where the globe is now? JACK No. That's the truth, man. Clark thinks for a moment, then releases his grip an Jack. CLARK What's your name? JACK Jack. CLARK Just Jack? JACK Yeah, just Jack. (beat, significantly) Is the globe yours? * CLARK (carefully) I've been... keeping it. JACK How does it work? Who's the guy with Superman's 'S' on his shirt? Inadvertently, Clark grips Jack's arms again, too tight. Jack gasps in pain. Clark immediately releases him. CLARK (shaken) I'm sorry. I... How do you know about him?! (CONTINUED) --page break-- FOUNDLING (#15) Yellow Rev. 1/6/94 28. 25 CONTINUED: 2 25 JACK (confused, a little scared) When I touched it. A man * appeared. He talked to me. * CLARK (strangled) What did he say? JACK Something like... 'This is the second time I'll appear.' Something like that. CLARK Was that all? JACK Yeah. It stopped when I dropped it, stopped touching it. * (beat) You gonna cut me loose? Clark, though shaken to his core, looks at Jack: scared, confused, exhausted, and so very young. CLARK Where will you go? JACK No way I tell you. And don't try to follow me. Jack begins to shiver from the cold. CLARK I won't follow you. * (hands him a card) * Call me if you want to talk. * Jack stares at the card. A final gesture, Clark removes his overcoat and hands it to Jack. Jack hesitates to take it. CLARK (Cont'd) Take it. (CONTINUED) --page break-- FOUNDLING (#15) Yellow Rev. 1/6/94 29. 25 CONTINUED: 3 25 Jack looks at him, then puts on the coat. It's ridiculously long, but it's warm. Jack starts to back away. When he sees Clark isn't following, he turns and * hurries off. CLARK (PRE-LAP) I didn't know what else to do. CUT TO: 26 INT. CLARK,'S APARTMENT (NIGHT #3) 26 Clark talks long distance. CLARK I couldn't hold his. * 27 INT. KENT FARMHOUSE - KITCHEN - SAME TIME 27 JONATHAN You believed him, then. That he didn't have it or know who did? 28 INTERCUT 28 Everyone's tense, frustrated, very sober. CLARK Yes, I believed him. MARTHA Which doesn't change anything. You've got to get the globe back before it gives up any more information about your past. CLARK I know. I've never felt so _exposed_, Mom. And if I'm exposed, you and Dad and everyone else close to me are, too. Even Lois is a problem. If she puts me and the globe together... What if she discovers I'm Superman? JONATHAN We'll jump that fence when we get to it. (CONTINUED) --page break-- FOUNDLING (#15) Yellow Rev. 1/6/94 30. 28 CONTINUED: 28 MARTHA You just concentrate on finding that globe. CLARK (feeling helpless) No luck so far. I'm spending every moment I have looking, but it's a big city. Assuming it's still _in_ the city. (beat) I'll keep you posted. MARTHA Good luck, son. CLARK Bye. Clark hangs up. 29 KENT KITCHEN 29 They hang up. 29A INT. LUTHOR'S MUSEUM - NIGHT 29A Nigel unlocks a heavy metal door, leads Luthor into a dark room, and hits a switch that illuminates alcoves spaced around the room. Luthor, again wearing gloves, carries an ornate black lacquered box. In the alcoves are the "exhibits": priceless paintings and objects d'art. The collection includes a full-figure painting of the Mona Lisa, the Venus de Milo's arms, Gainsborough's lost masterpiece "Yellow Boy," the original score to Beethoven's "Tenth Symphony," Van Gogh's portrait of his own severed ear. Luthor moves to a flawless crystal pedestal in the center of the room. The pedestal is empty. Luthor removes the GLOWING globe from the box and places it on the pedestal. Nigel joins him in staring at the artifact. (CONTINUED) --page break-- FOUNDLING (#15) Pink Rev. 1/6/94 31. 29A CONTINUED: 29A LUTHOR Magnificent. See how the light catches its depth, Nigel. Like a perfect jewel. I want it analyzed atom by atom. NIGEL As you wish. LUTHOR We stand on the verge of an historic moment. NIGEL I can feel the vibrations. LUTHOR Can you? (waving around the room) The accumulated plunderings of a lifetime: the Venus de Milo's * missing arms, Gainsborough's * 'Yellow Boy', Beethoven's 'Tenth Symphony', Van Gogh's _better_ * self-portrait, the full figure * 'Mona Lisa'. Unknown and unseen by the world at large, they exist solely for my pleasure. But, my private collection is incomplete. _I_ am incomplete. (he removes his gloves) No more. In many ways Superman remains a mystery. Despite all our conflicts, I still lack the knowledge, the wedge that will bend him to my will, or break him. Perhaps, finally, this globe will shed some light. Luthor closes his eyes, savoring the moment, then opens them, grasps the globe with both hands. The HOLOGRAM appears. JOR-EL This is the second of the five times I will appear. You may wonder that I speak your language, and not my native Kryptonian: I don't. That is another property of the object. As we MOVE into the globe we... CUT TO: --page break-- FOUNDLING (#15) Yellow Rev. 1/6/94 32. 30 INT. CLARK'S APARTMENT - BEDROOM - SAME TIME 30 Clark sits at his desk studying by lamplight a map of Metropolis that has been sectional off into squares with some of the squares shaded in. Suddenly he drops his pen, stares at the light. CLARK No! Not the globe. 31 INT. JOR-EL'S LAB 31 On a gleaming white work table, Jar-El and Lara perform delicate "surgery" on a helix-shaped object of thinly-twisted metal (or what appears to be metal) using instruments whose purpose and application we can't even guess at. With a sensor/probe, Jor-El touches various points on the object's surface and is rewarded with corresponding musical TONES. Above the object itself floats a HOLOGRAPHIC DEPICTION of the helix. As TONES sound, corresponding POINTS OF LIGHT BLINK on the HOLO. JOR-EL (V.O.) Unmanned Kryptonian probes have, * explored every corner of the known galaxy and beyond. For thousands of centuries we have received data back from those probes. I have every confidence that, given enough time, we _can_ achieve the * conversion to a manned vessel. * But, will we have the time? Then, another tremor, longer in duration and far more violent than the first. Jor-El and Lara grab the table for support until the shaking ends. When-it finally subsides, both immediately turn to the capsule on the pedestal. It's intact, and they breathe a sigh of relief, but the view screen above the nearby console blazes and flickers with light. Jor-El helps Lara up; both approach the console. As before, Jor-El weaves his hands above it. It responds with new patterns of light. Whatever Jor-El reads in the display clearly worries him. (CONTINUED) --page break-- FOUNDLING (#15) Pink Rev. 1/6/94 33. 31 CONTINUED: 31 JOR-EL (V.O.) (Cont'd) The pattern of core disintegration * continues to accelerate. Even I cannot predict where it will end. Both look again to the capsule. JOR-EL (V.O.) (Cont'd) There is an ancient Kryptonian saying: 'On a long road, take small steps.' Precision and care are our watchwords. Yet, we still have far to go. As they return to the work table, we MOVE CLOSE IN on the bright-lit view screen and inside to 32 32 THRU OMITTED THRU 36 36 36A INT. LUTHOR'S MUSEUM - NIGHT 36A Luthor releases the globe. It has ceased to glow. Nigel * looks at him. LUTHOR Interesting NIGEL To say the least.. Luthor grasps the globe again: nothing. After a moment, he releases. NIGEL (Cont'd) Resting? Re-charging? LUTHOR Too bad. I can hardly wait for Chapter Three. 36B INT. CLARK'S APARTMENT - SAME TIME 36B Clark still stares fixedly at the desk light, then shakes his head to clear it. He hurriedly picks up the phone, hesitates, dials. JONATHAN (O.S.) (from phone) Hello? (CONTINUED) --page break-- FOUNDLING (#15) Full Blue Rev. 1/5/94 34. 36B CONTINUED: 36B CLARK (grimly) Someone else is using the globe. * I saw the message, but so did * they. * (beat) * They're closing in on me, Dad. FADE OUT. _END ACT TWO_ --page break-- FOUNDLING (#15) Full Blue Rev. 1/5/94 35. _ACT THREE_ FADE IN: 37 INT. DAILY PLANET - LUNCH AREA - (DAY #4) 37 Clark, tired and distracted, makes notes on a pad and eats a donut. Lois picks at a croissant, casting occasional sidelong glances in Clark's direction. She seems unusually edgy. Jimmy and Cat are again bent over their charts. Now, almost all of the blanks are filled in. JIMMY (excitedly) Wait a minute! Wait a minute! See here, your mother's half-sister, Elena by your grandfather's second marriage -- married, for her _third_ marriage, a man named Stanley Nugent. CAT I never liked that man. JIMMY And Stanley was, in fact, my Great-Aunt Edna's son out of wedlock, by a man named David Wilson, Uncle Dave, who she later * married, but not until after her marriage to Uncle Harvey. CAT This is a nightmare. JIMMY (opening his arms wide) Cuz! (beat) Your place or mine? Perry approaches. PERRY (to Lois) Good piece. I loved the personal angle. CLARK (bitterly) * Yeah, my robbery really came in handy. JIMMY I thought you got all your things back. No harm, no foul. (CONTINUED) --page break-- FOUNDLING (#15) Full Blue Rev. 1/5/94 36. 37 CONTINUED: 37 CLARK I guess so. LOIS (sharply) Everything? You're sure? CLARK (looking away) Most everything. * LOIS I mean, there wouldn't be some * totally unimportant item, some * nicknack, some momento still * missing, would there? Because, if * there is, we should keep looking. * Leave no stone unturned. No matter how long it takes. * (voice rising) * Just so you get your useless, * valueless keepsakes back! * All stare at her in the aftermath of her outburst. * CLARK Lois, what are you talking about? * Lois stares at him, then returns to ripping apart her * croissant. * LOIS Obviously nothing. * Clark shrugs, rises to leave, gathers his things. * CLARK I've got to go. * LOIS Then go. * Clark's gone. Lois throws down her croissant. PERRY (gently) * You okay, Lois? * LOIS No. Cat and Jimmy exchange a glance, then both get up to leave Lois and Perry in private. LOIS (Cont'd) Okay, lay it on me. (CONTINUED) --page break-- FOUNDLING (#15) Full Blue Rev. 1/5/94 37. 37 CONTINUED: 2 37 PERRY (innocently) What? Oh, I suppose you expect me to pry into what's bothering you, * then tell you a story relating what's going on in your life to some obscure event in the life of Elvis Presley. Well, I'm not going to do that. LOIS You're not? PERRY No. For one thing, any connection I made would probably be vague and not particularly useful. For another, if I did that it would seem like I cared more about telling _my_ story than helping _you_ with your problem. Lois stares at Perry for a moment. LOIS I'm not sure I can trust Clark * anymore. PERRY You want to tell me why? LOIS He lied to me. * PERRY You never lie to him? * LOIS Of course I lie to him. All the * time. * PERRY I... think I'll leave that one * alone. * (beat) * So what do you want to do about * this? Have you faced him? * LOIS You saw! I gave him every * opportunity. * PERRY (patiently) * Have you told him you know he lied * to you? * (CONTINUED) --page break-- FOUNDLING (#15) Yellow Rev. 1/6/94 38. 37 CONTINUED: 3 37 LOIS (grudgingly) No. PERRY Then maybe there's a good reason. LOIS How could there be? PERRY Ask and find out. Trust shouldn't be abandoned without a fight. Especially between you two. Lois lets this sink in, then gives Perry a wan smile. LOIS I think I like Elvis stories * better. PERRY Next time. I got a million of * 'em. Perry leaves. 38 EXT. ALLEY ENTRANCE TO ABANDONED BUILDING - DAY 38 Clark approaches the chain fence barrier, bends it back, slips inside. 39 INT. ABANDONED BUILDING - DAY 39 Clark comes up the stairs. On first glance, the room is deserted. CLARK (calling out) Jack! Jack steps from the gloom brandishing a two-foot section of pipe. Clark puts up his hands until Jack lowers the pipe. JACK What are you doing here? How'd you find me? CLARK Louie. He knows guys who know * guys. * (beat) * I need an answer to a question. * (CONTINUED) --page break-- FOUNDLING (#15) Yellow Rev. 1/6/94 38A. 39 CONTINUED: 39 Clark pauses, peering into the shadows behind Jack. (CONTINUED) --page break-- FOUNDLING (#15) Full Blue Rev. 1/5/94 39. 39 CONTINUED: 39* CLARK (Cont'd) Who's there? * Denny moves nervously to Jack's side, armed with a length * of two-by-four, and wearing Clark's coat trailing on the * ground. * JACK (to Denny) * It's all right. * (beat) * I want you to take a walk. * DENNY Aw, Jack... * JACK Do it. Not too far. * Reluctanly, Denny leaves. Clark watches him go, then * takes in his surroundings. * CLARK You can't expect to live here like * this. * JACK We've got a plan. Soon as I get * enough money together. * CLARK By stealing? * JACK Ask your question and get out. * CLARK (ignoring him) * Who's the other boy? * JACK What's it to you? * (beat) * He's my brother. * CLARK What about your parents, your * home? * Jack's shaking his head. * CLARK (Cont'd) Isn't there someplace you can go? * Someone...? * (CONTINUED) --page break-- FOUNDLING (#15) Yellow Rev. 1/6/94 40. 39 CONTINUED 3 39 JACK We tried that. Lots of times. We're better off this Way. What's your question? CLARK The men who bought the globe: What did they look like? Please. The * truth. * JACK I only saw one. A tall, skinny English dude. Never saw him before, or since. Denny's coming back up the stairs, pauses. Clark looks at Denny, then Jack. CLARK I can help you, both of you, if you'll let me. JACK You want to help? Leave us alone. It's in the boys' faces: Clark has no choice but to do as they ask. For now. 40 INT. LUTHOR'S MUSEUM - (NIGHT #4) 40 Nigel has just handed Luthor some papers. Luthor refers to then as he speaks. LUTHOR Let's see... Impervious to harm by any force known to man: heat, cold, radiation, pressure, puncture, nothing. So dense it can't be scanned for content or composition. Warm to the touch, but with no obvious moving parts or power source. Definitely of... (looking up) ...alien origin. NIGEL Definitely. Luthor gestures toward the globe. It has begun to GLOW again. LUTHOR Shall we? (CONTINUED) --page break-- FOUNDLING (#15) Pink Rev. 1/6/94 40A. 40 CONTINUED: 40 NIGEL (bowing) After you, sir. (CONTINUED) --page break-- FOUNDLING (#15) Yellow Rev. 1/6/94 41. 40 CONTINUED 2 40 Luthor grasps the globe. It FLARES. * * 41 41 THRU OMITTED THRU 47 47 48 INT. DAILY PLANET - NIGHT 48 Clark in entering the newsroom# almost to his desk, when he staggers, clutches his forehead. 49 INT. JOR-EL'S LAB 49 JOR-EL (V.O.) There is no longer any doubt. The * chain reaction has begun. As * panic spreads, the population * awakens, too late, to its fate. * Our future is inevitable. * Jor-El and Lara endure another tremor. When the shaking * subsides, an urgent TONE (an alarm) begins to sound. Jor-El struggles to his feet and does something at the console that turns the alarm off. Lara joins him. Another, different TONE from the console. The console screen blinks in sequence with the tone, then scrolls data. (CONTINUED) --page break-- FOUNDLING (#15) Yellow Rev. 1/6/94 42. 49 CONTINUED: 49 JOR-EL (V.O.) At last the computers have located a suitable destination: a planet * physically and biologically compatible with Krypton whose inhabitants resemble ours, and * whose society in based on ethical * standards which we, too, embrace in concept, if not always in deed. 50 ON SCREEN 50 The pattern of light dissolves to be replaced by the image of Earth floating in space. JOR-EL (V.O.) The inhabitants call it, simply, Earth. 51 CLARK 51 Tears his hands away from his face. LOIS (O.S.) Clark Kent, you and I are going to talk! Clark looks up. 52 LOIS 52 comes down the stairs and directly up to Clark's desk. LOIS (Cont'd) I want the truth. CLARK About what? LOIS About why you had _in_ your apartment some mysterious globe that projects an image of a man wearing Superman's 'S'. Why you never told me about it before. And why, after it was stolen, you lied to me. (MORE) (CONTINUED) --page break-- FOUNDLING (#15) Yellow Rev. 1/6/94 43. 52 CONT 52 LOIS (cont'd) (she slams two of the Polaroid-type photos down on his desk) You're a weird guy, Clark. That's * a given. You may be my partner * and, I thought, my friend, but * half the time I don't know where * you are or where you're coming * from. And that's usually okay. * But, this is different. I want an * explanation, and I want it now. * _What's_ _going_ _on_? * Clark looks down at the photos. 52A THE PHOTOS 52A One of the globe, one of the hologram or Jor-El. 52B BACK TO SCENE 52B CLARK I thought it was for the best. I guess you deserve the truth after all. (beat) You'd better sit down. Slowly, caught up in the gravity of Clark's mood, Lois sits... and waits. Clark waits, too. What can he tell 53 53 THRU OMITTED THRU 54 54 55 INT. LUTHOR'S MUSEUM - NIGHT 55 The HOLO-LIGHT flows back into the globe, and the GLOW DIES. Luthor releases it. He's in the best of spirits. LUTHOR (quoting) '... simply, Earth.' NIGEL Better than cable. (CONTINUED) FOUNDLING (#15) Yellow Rev. 1/6/94 43A. 55 CONTINUED: 55 LUTHOR _Much_ better. And the production values: Sound, visual clarity... truly remarkable. (CONTINUED) FOUNDLING (#15) Pink Rev. 1/6/94 44. 55 CONTINUED: 55 NIGEL Every home in America should have one. * * Luthor touches the globe: nothing. * LUTHOR (Cont'd) Patience. (beat) There is _one_ thing you could do for me in the interim. NIGEL Ask away. LUTHOR I'm suddenly more than ever * interested in where this thing * came from. Can we do something * about that? * 56 INT. DAILY PLANET - NIGHT 56 The newsroom is almost deserted. Lois and Clark talk in relative privacy, though Lois is irate enough not to care. LOIS Bureau 39? My Bureau 39! I was right there, and you didn't tell me? You just picked it up, put it in your pocket, took it home, and kept it? CLARK Yes. LOIS Knowing full well that it probably had some connection to Superman, and that _I_, your partner, would kill to know about it. CLARK We weren't partners then. LOIS 'Then,' Clark? Try, 'never again.' (ticking off on her fingers) You lied. You stole. You... (CONTINUED) FOUNDLING (#15) Full Blue Rev. 1/5/94 45. 56 CONTINUED: 56 CLARK Betrayed? LOIS Don't edit my tantrums, Clark. I won't be responsible. CLARK And you never lied to me? * LOIS _You_ grew up on a farm in Kansas. * _I_ grew up in Metropolis. * CLARK So? LOIS So... there are different standards. CLARK That's ridiculous. LOIS (changing direction) What if it belongs to Superman? What if it's something he needs? How did _you_ feel when your things were taken? He has feelings, you know. CLARK I know. (beat) So this is about Superman? LOIS No! This is about us. (agonized) How am I supposed to ever trust you again? Clark's PHONE RINGS. * LOIS (Cont'd) Don't pick that up! * Clark picks it up. * CLARK Clark Kent. * FOUNDLING (#15) Full Blue Rev. 1/5/94 46. 56A EXT. METROPOLIS STREET - NIGHT 56A* Denny talks into a phone at a booth. He holds Clark's * business card. He's shaking with fear. * DENNY This is Denny, Jack's brother. * Something's happened. They took * Jack. I don't know who. Men. * (beat, voice breaking) * They're gonna hurt him. * 56B INT. DAILY PLANET PIT - NIGHT 56B* CLARK Where are you? Okay. I want you * to go straight to the 12th * Precinct police station and ask * for Inspector Henderson. Got that? Inspector Henderson. Tell * him I sent you. Don't worry about * Jack. I'll find him. * Clark hangs up, starts to leave. * LOIS You can't leave. I'm not finished * with you yet. * Clark pauses. CLARK Could you go down to the 12th and * stay with a kid named Denny. He's * 13 or 14. I'll check in with you * there. * LOIS I will not... * CLARK Lois, I admit I haven't been * truthful, okay? But I can't talk * about that right now. Please, * as my partner and my friend, leave it there. Will you? This * one time? * LOIS (after a beat) * Okay. This one time. * Clark exits. * (CONTINUED) FOUNDLING (#15) Full Blue Rev. 1/5/94 47. 56B CONTINUED: 56B LOIS (Cont'd) (calling after) * But I don't have to like it! * FADE OUT. _END ACT THREE_ FOUNDLING (#15) Full Blue Rev. 1/5/94 48. _ACT FOUR_ FADE IN: 57 EXT. SKIES ABOVE METROPOLIS - NIGHT 57 Superman _FLIES_, searching everywhere. 58 INT. LUTHOR'S MUSEUM CLOSE ON GLOBE - NIGHT 58 Quiescent, waiting. * 59 PULL BACK TO 59 Jack, unconscious, is blindfolded and tied to a chair. * Nigel has just finished taking his blood pressure. * Luthor joins them, toweling his freshly-washed hands * dry. * LUTHOR How is the patient? * NIGEL He should come around soon. Sorry * for the delay, sir. The lad put * up quite a struggle. The boys * thought it best to zap him. * LUTHOR (fondly chastising) * Ah, the boys. * (beat) * What did we learn from the * fingerprint check? Tell me about * our Jack. * NIGEL Abandoned by his parents. Raised * in a succession of foster homes * and state institutions. Escaped * from the last with his younger * brother three months ago. Living * on the street, supporting himself * by acts of petty crime. * LUTHOR (a sigh) * A young life failed by the system. * NIGEL I'm afraid so. * (CONTINUED) FOUNDLING (#15) Yellow Rev. 1/6/94 49. 59 CONTINUED: 59 LUTHOR No one will miss him. (beat) If Jack can tell us where he got this globe... The globe starts to GLOW. LUTHOR (Cont'd) But that will have to wait. It's showtime. Luthor touches his finger to the globe. It FLARES. * * 60 60 THRU OMITTED THRU 61 61 62 EXT. SKIES ABOVE METROPOLIS - NIGHT 62 Superman _FLIES_, still searching. Suddenly he grabs his head, almost tumbles out of control, catches his equilibrium, hangs in midair. 63 INT. JOR-EL'S LAB 63 The helix, the core of the hyperspace drive, has been attached to the rear of the ship. JOR-EL (V.O.) We have installed the hyperlight drive and tested it an best we can. So much is unknown. Now Jor-El and Lara unhook something attached to the console: the globe, Krypton map face. (CONTINUED) FOUNDLING (#15) Yellow Rev. 1/6/94 50. 63 CONTINUED: 63 JOR-EL (V.O.) Contained within the sphere is the navigational computer that will guide the ship through the maze of hyperspace, as well as this account of our final days. Jor-El carries the globe to the ship, fits it into the mounting designed for it. Once in place, it CHANGES to display the Earth map face. 64 SUPERMAN 64 snaps out of it, shakes his head to clear it, begins _FLYING_ again, faster, in one direction. Now he knows * where he's going. * 65 OMITTED 65 66 INT. JOR-EL'S LAB 66 Jor-El moves to the capsule. He touches its surface with thee probe and the mist disperses. JOR-EL (V.O..) All is in readiness. We have selected the ship's exact, destination on Earth and programmed it into the computer. Jor-El lifts the capsule off the pedestal. Lara opens the main compartment of the ship. Jor-El fits the capsule inside. 66A ON CAPSULE 66A An infant boy swaddled in blankets. JOR-EL (V.O.) Kal-El, our child. Under Earth's sun his Kryptonian calls will give him powers and abilities no Kryptonian has ever had. (beat) He is the last son of Krypton. Another tremor begins. 67 OMITTED 67 FOUNDLING (#15) Full Blue Rev. 1/5/94 51. 68 EXT. SKIES ABOVE METROPOLIS - NIGHT 68 Superman stops his headlong FLIGHT in mid-air, looks * down, dives. * 69 69 THRU OMITTED THRU 71 71 72 INT. LUTHOR'S MUSEUM - NIGHT 72 The HOLO ends. Luthor removes his finger. Jack stirs in * his chair. Suddenly an ALARM sounds. Luthor whirls to * look at Nigel. NIGEL Incoming. LUTHOR Activate defenses. From outside the room, the sounds of a series of DOORS CLOSING, each heavier and more solid than the previous one. Then, far away, a CRASH. NIGEL (studying wall panel) * Level One breached. LUTHOR It can't be! Another CRASH, louder, nearer. NIGEL Level Two. LUTHOR (realizing) It's him. Another louder, nearer CRASH. NIGEL Level Three. LUTHOR Emergency evacuation, on my count... now! Nigel throws a wall switch. Red lights begin to blink on the panel and a timer begins to count down from 30. * Jets of steam are released into the room. A small metal * door pops-open in the wall. Nigel moves toward the Venus de Milo's arms; Luthor restrains him. (CONTINUED) FOUNDLING (#15) Yellow Rev. 1/6/94 52. 72 CONTINUED: 72 LUTHOR (Cont'd) No, leave it, leave everything. NIGEL, The boy? LUTHOR Him, too. There's only one thing I want. He steps toward the globs, but... it rises from its pedestal and floats in the air. Luthor lunges and misses as the globe floats above his reach. LUTHOR (Cont'd) MCI Another CRASH, very loud, very near. NIGEL Level Four, sir. Desperately, Luthor leaps, fails to grab the globe, then joins Nigel in rushing through the door. It shuts behind them. The timer is at 10. 73 ANGLE ON MAIN ENTRY DOOR 73 Superman kicks it down with a CLANG. He quickly moves to Jack, sees he's all right. He _SUPER-SPEEDS_ to the wall panel, reverses the switch: nothing. The timer it at three. He aims a blast of _SUPER-COLD BREATH_ at the panel, freezing the circuitry. The ALARM dies, the steam dissipates, the timer stops at 1. He walks beneath the globe, lifts his arm to it: it descends to land in his hand. Now, he looks around in wonder at the art treasures that surround him. 74 OMITTED 74 FOUNDLING (#15) Yellow Rev. 1/6/94 53. 75 INT JOR-EL'S LAB 75* Jor-El and Lara stand over the ship. * JOR-EL I try to picture where you are now * an you hear this last chapter. * What do you look like? Are you * alone? What have you become? * Lara and I will never know. But * that you should live to experience * this... that is enough. We are * content. * Jor-El begins to seal the spaceship door. Lara lightly touches the capsule's surface and the infant reaches for her. The ship's door closes. The tremor begins. * JOR-EL (V.O.) We give you to Earth, to a realm called America, and a place called * Kansas. Remember us, but do not * regret our passing. All is fate. * 76 76 THRU OMITTED THRU 78A 78A 79 EXT. KRYPTON (VIEW FROM SPACE) 79 The pinpoint of brilliant light flares and arcs off the planet's surface. As it goes extra-planetary and NEARS, we recognize it as the spaceship. It passes from our view. A moment... Krypton hangs in space, beautiful, alien, at peace. Then, in a flash of GREENISH LIGHT, IT EXPLODES, reduced to dust and space debris. Another moment... and it's as if it never was. 80 INT. KENT KITCHEN - NIGHT 80 Clark sits back from the globe, his face wet with tears. His parents are equally affected. (CONTINUED) FOUNDLING (#15) Yellow Rev. 1/6/94 54. 80 CONTINUED. 80 The globe -- Earth map face -- has ceased to glow: mission accomplished. Clark stands. CLARK I wasn't abandoned by my parents. I was saved. MARTHA Why couldn't they save themselves? CLARK (shakes his head) I don't know. (re the globe) Maybe it does. Maybe it'll tell me someday. Clark puts his arms around Jonathan and Martha. JONATHAN Jack'll be all right? And his brother? CLARK We got Denny into a good home, and Jack into a decent halfway house... and a job. He's a good kid. He just didn't end up on the right doorstop like I did. Until now. JONATHAN No idea who took him and the globe? CLARK (grimly) No. * 81 EXT. METROPOLIS STREET (DAY #5) 81 Luthor buys the morning Daily Planet from a newsstand and joins Nigel nearby. 82 CLOSE ON PAPER 82 Headline: "Superman Unearths Treasure Trove Beneath Metropolis Art Museum." Sub-Head #I: "Lost and Stolen Masterworks Donated to Metropolis Museum of Art." Picture: Superman holding up the Venus de Milo arms. FOUNDLING (#15) Full Blue Rev. 1/5/94 55. 83 LUTHOR 83 NIGEL You could visit them on exhibit. * LUTHOR It won't be the same. * NIGEL Quite right. * (beat) * If you don't mind my saying so sir, you seem remarkably composed considering your loss. LUTHOR Give and take, Nigel, win some, lose some. One step backward, two steps ahead. NIGEL In what direction? LUTHOR Before we were so rudely interrupted by Superman, I had just learned that a Kryptonian infant, * the _last_ Kryptonian infant, was * about to be sent to Earth. * (beat) Superman _didn't_ arrive on Earth * when we assume he did. He * arrived as an infant, and was * raised here as a common Earthling. * NIGEL If that's true... LUTHOR He walks among us. And, when I * discover his earthly identity, he and those who share his secret will be at my mercy. NIGEL A pleasing thought. LUTHOR Very. 84 INT. DAILY PLANET - DAY 84 Perry, Jimmy and Cat cluster around Lois' desk. Clark sits at his own desk, busily typing. (CONTINUED) FOUNDLING (#15) Full Blue Rev. 1/5/94 56. 84 CONTINUED: 84 PERRY Incredible piece of journalism, Lois. Too bad about the * Meriwether Award, though. Maybe * next year. * LOIS Thanks, Chief. She looks over toward Clark, who doesn't lift his head. Cat satirically mouths the words "Thanks, Chief." Perry looks at her sidelong. CAT Well, _I_, for one, am not satisfied. LOIS Big surprise there. CAT We still have no idea where the art works came from, or who was keeping them in a secret vault underneath * the Museum. * PERRY I hear questions, but I see * follow-up stories. Lots of them. (to a passing copy boy) Hey! How 'bout some coffee here? The copy, boy stops, turns: it's Jack. He's cleaned up, looking healthy and full of energy. JACK I don't do coffee. It's not in the job description. Read the manual, Gramps. Jack continues on. PERRY (irate) Who is that kid? Hey, you! Perry goes after him. JIMMY I love it. I no longer occupy the bottom rung of the food chain. (beat) But you better hide the silver. Cat starts to leave. Jimmy stops her. (CONTINUED) FOUNDLING (#15) Yellow Rev. 1/6/94 57. 84 CONTINUED 2 84 JIMMY (Cont'd) So... When's the big night? * Cat sighs, faces Jimmy. CAT I've been meaning to talk to you about that. (beat) I think I'm going to have to declare the bet null and void. * JIMMY (dismayed) Null and void? * CAT Jimmy, I've always thought you were kind of cute. And, if before you'd told as that you also found me attractive, who knows what might have happened? But, now that I know we're related by blood, I can't go through with it. After all... (pats him on the cheek) ... we're family. She leaves. Jimmy, stunned, hesitates, then follows her. JIMMY (calling after) It's not illegal! 85 LOIS 85 Looks over to Clark again, gets up, approaches his desk. LOIS You know, you didn't have to give me the whole story. I would have been glad to share... some of the credit with you. CLARK No, I owed you one. I just hope this gets us even. LOIS Partner... CLARK (hopefully) Partner? (CONTINUED) FOUNDLING (#15) Yellow Rev. 1/6/94 58. 85 CONTINUED: 85 LOIS Yes, partner. I've decided to forgive you. CLARK Thank you, Lois. (beat) Why? LOIS Because I thought about what you * did and I realized something. * What? LOIS I realized if I'd seen the globe * first I would have taken it, * hidden it, and not told a soul... * just like you. * (beat) * We're not that different after * all. * CLARK You think so? * LOIS Sure. According to Jimmy, if you * go back far enough we're probably related. CLARK Somehow, I doubt that. (off Lois' look) I'm from Kansas, remember LOIS (wryly) * How could I forget? * (beat) I only wish... CLARK What? LOIS I wish I knew what the globe really was. Superman wouldn't say. All he said was that it was his and he was glad to have it back. (beat) I wonder where it is now. * (CONTINUED) FOUNDLING (#15) Yellow Rev. 1/6/94 59. 85 CONTINUED: 85 * CLARK I'm sure Superman has it someplace safe. LOIS (sadly) I guess. She departs for her desk. Clark smiles after her. 86 EXT. KENT FARM - DAY 86 Jonathan descends a ladder propped against a large tree, joins Martha an the ground. They the ladder away with them. We travel IN and UP the branches to a tree house. Burned crudely into the door, in a child's awkward "scrawl," is "Fortress of Solitude." The door opens and we MOVE inside. There, on a crude shelf, is the deactivated globe. Then, suddenly, it begins to glow again. FADE OUT. _END ACT FOUR_