To pop everything into place... use Courier 10 (or 10 characters per inch) set top margin at 0.5", bottom margin at 0.5" (or minimums) left margin at 1" & right margin at 1" for pages---BEFORE TEASE Page For TEASE Page and after, left margin at 0.8 and right margin at .25 (or minimum) (I had to tell the program that my primitive printer was using legal-size paper) * and (X) used in script probably mean "this line changed from previous version" Notes: Cover: "And The Answer Is...." , Written by Tony Blake & Paul Jackson [and] Directed by Alan J. Levi are all in large, bold print. WARNER BROS. TELEVISION is in an arial-type font. The remainder of the script is in Courier 10. Typos noted: Page 11, mid page, Martha speaking says 'wedding. 'And apostrophe in wrong place in original occasional commas are missing, i.e., "I've always been honest with you Lois" (there should be one after "you") "all right" is misspelled here and there as "alright" Page 16., mid page, "Grimacing, lifts the receiver to his" the word "Clark" is missing from original Page 19., just below mid page: "A thoughtful look crosses Clarks's" should be "Clark's" --page break-- (graphic - insert logo.bmp or logo.jpg) And The Answer Is... EPISODE TWENTY-TWO Prod. #456472 Written by Tony Blake & Paul Jackson Directed by Alan J. Levi WARNER BROS. TELEVISION _Rev. Prod. Draft_ BLUE April 6, 1995 Pink April 7, 1995 Green April 11, 1995 --page break-- _LOIS & CLARK_ "_And The Answer Is..._" _CAST_ CLARK/SUPERMAN LOIS LANE JIMMY OLSEN PERRY WHITE MARTHA KENT JONATHAN KENT _________________________________________________________ JACE MAZIC NIGEL ST. JOHN COP MARVIN MAN AT JEWELRY EXCHANGE --page break-- _LOIS & CLARK_ "_And The Answer Is..._" _LOCATIONS_ _INTERIORS_: _EXTERIORS_: Daily Planet Street Newsroom Conference Room Centennial Park Clark's Apartment Alley Bedroom Living Room Barrington Jewelry Mart Lois' Apartment Jellico's House of Jewels Jace's Penthouse Mazik's Jeweler's Jace's Bunker Marvin's Gardens Hallway Mazik's Jeweler's Lois' Jeep --page break-- _LOIS & CLARK_ "_And The Answer Is..._" _CHRONOLOGY_ SC. 1 - 25 DAY 1 SC. 26 - 48 NIGHT 1 SC. 49 - 71 DAY 2 SC. 72 NIGHT 2 --page break-- _LOIS & CLARK_ _The New Adventures of Superman_ "And The Answer Is..." _TEASE_ FADE IN: 1 INT. LOIS' APARTMENT - DAY 1 1 There's a KNOCK at Lois' door. A beat, then she ENTERS FRAME, her hair in rollers. LOIS Hang on, Clark. She glimpses herself in a mirror. The rollers. Can't let Clark see her like this. What to do?. She TIPTOES to the door, stealthily UNLOCKS it, then scurries away. LOIS (CONT'D) It's open! She disappears into the bathroom as CLARK enters with something obviously on his mind. CLARK Lois? LOIS (O.S.) I'll be out in a minute. You're a little early. CLARK I know. It's just... there's something I want to talk to you about. The HAIR DRYER kicks in from O.S. LOIS (O.S.) I can't hear you! Hold on a minute, I'll be right out. Clark eyes a photo on a shelf showing Lois and him holding a Kerth award. Over this... LOIS (O.S.) Where are we going for breakfast? CLARK I thought we'd try Callard's. (CONTINUED) --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 2. 1 CONTINUED: 1 LOIS (O.S.) What?l I can't hear you! Clark smiles, shakes his head, then focuses on the photo. A beat, then he begins talking to the photo. CLARK Lois... I have something to tell you... I'm Superman. (no good) Lois, have you ever noticed how much I look like Superman? Well, it's funny you should say that, because... He whips off the glasses, mimes waiting for her response. No good. Then... CLARK (CONT'D) Hey! Guess what? I'm Superman! (nah) Lois... I've wanted to tell you this for some time. Before we go any further in our relationship, you have to know that I'm... LOIS (O.S.) What are you doing? Startled, Clark turns to see Lois standing at the edge of the bathroom, the long cord on the dryer allowing her to catch him in the act. As she flips off the dryer... CLARK I uh... uh... I've got something to tell you. She unplugs the dryer, absently carries it with her thru... LOIS It's not good news, is it. CLARK Well, I don't know. Maybe. LOIS No, it's not. I can tell by your face. CLARK Maybe you'd better sit down. LOIS (as she sits) Oh yeah. This is good news. (CONTINUED) --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 3. 1 CONTINUED: 2 1 Clark sits next to her on the couch. A beat, then... CLARK You know how you always complain that I run out on you Just when we're starting to talk about something important? LOIS I recall mentioning it once or twice. CLARk Well, there's a reason for that. And it has nothing to do with my having a fear of intimacy, or being afraid of falling in love, or anything like that. She waits. CLARK (CONT'D) Lois... I might as well say this honestly and simply... (deep breath) I'm Super- Her PHONE RINGS. Lois would like to ignore it; Clark's almost relieved. CLARK (CONT'D) Maybe you should just answer that. Lois snatches up the phone, unhappy with the interruption. LOIS Hello? Yes, he's right here. (extends the phone) It's for you. CLARK Who knows I'm here? (into phone) Hello? JACE (Filtered) We know everything about you, Mr. Kent. Or should I say... Superman. As Clark tries to hide his reaction from Lois... (CONTINUED) --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 4. 1 CONTINUED: 3 1 JACE (Filtered) If you don't want the world to know your secret, go to a dumpster behind the Planet. You'll find an envelope with your name on it. The phone clicks off. As Clark slowly hangs up... LOIS Who was it? CLARK Huh? Oh, uh... my barber... LOIS Your barber? CLARK Yeah. Confirming my appointment. I've got to go. LOIS Wait a minute! You were about to tell me something. CLARK I was? LOIS Yes. You said Lois, I'm super... CLARK Right, right. I'm ... super late... for my haircut! (he rises) And I'm sorry, but I can't go to breakfast with you. He backpedals for the door. CLARK (CONT'D) But I'll see you at the office and maybe we can have lunch? Okay? LOIS (confused) Clark! He opens the door. CLARK I gotta go. Bye. And he's gone. A frustrated Lois picks up the hair dryer and aims it like a gun at the door. (CONTINUED) --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 5. 1 CONTINUED: 4 1 LOIS Bang. FADE OUT: _END OF TEASER_ --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 6. _ACT ONE_ FADE IN: 2 EXT. ALLEY - DAY 2 Clark rushes into the alley, sees an automated sanitation truck idling in the alley, the bored DRIVER at the Wheel. The truck's hydraulic arm lifts the only dumpster in the alley and empties it into the back of the vehicle. 3 RESUME CLARK 3 He grimaces, realizing he's too late. He glances around to make sure no one can see, then SPINS, becoming Superman. As the hydraulic arm lowers the dumpster, Superman LEAPS unseen into the rear of the truck. Superman BURROWS through the rubbish at SUPERSPEED, trash flying out of the truck left and right. 4 ON DRIVER 4 He absently glances in his side view mirror and reacts as he sees the debris spewing out of his truck. 5 ANOTHER ANGLE 5 Superman finds the envelope. Written on the outside are the words SUPERMAN. As the driver steps out of his cab, Superman LEAPS out of the truck. SUPERMAN Don't worry. I'll take care of it. The driver stares in awe as Superman tosses the rubbish back in at SUPERSPEED. SUPERMAN (CONT'D) There you go. Oh, and I separate the recyclables. WHOOSH ---- 6 EXT. ANOTHER ALLEY - DAY - CONTINUOUS 6 ---- Superman lands and rips open the envelope. Inside, he discovers a hand-held WATCHMAN. He flips it on. A man's face appears in shadows. (JACE MAZIK) JACE (T.V.) Boy, that was fast. Guess you were movin' at _Super_ _Speed_ huh? (CONTINUED) --page break-- AND THE ANSWER IS... (#22) Pink Rev. 4/7/95 6. _ACT ONE_ FADE IN: 2 EXT. ALLEY - DAY 2 We're CLOSE ON A DUMPSTER. Rubbish spews wildly up from the (X) dumpster as someone burrows through it at high speed. A (X) beat, then the rubbish stops flying and-Superman stands up (X) in the dumpster, holding an envelope. Written on the (X) outside are the words SUPERMAN. He rips it open and pulls (X) out a handheld WATCHMAN. He flips it on. A man's face (X) appears in shadows. (JACE MAZIK) (X) JACE (T.V.) (X) Boy, that was fast. Guess you were (X) movin' at _Super Speed_ huh? (X) SUPERMAN (X) Whoever you are, you've made a big (X) mistake. (X) INTERCUT WITH: 3 3 THRU OMITTED THRU 6 6 --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 7. 6 CONTINUED: 6 SUPERMAN Whoever you are, you've made a big mistake. INTERCUT WITH: 7 INT. JACE'S PENTHOUSE - SAME TIME 7 Superman's face fills a large wall monitor. The man in shadows sits directly in front of it. SUPERMAN I'm not Clark Kent. He's a friend of mine, that's all. Jace raises a small, leather bound DIARY. JACE I have a diary here that says otherwise. And I believe it. SUPERMAN Whatever that is, it's wrong. JACE Let me ask you a question. Do you believe in time travel? You know, Back to the Future, The Time Machine, that sort of thing? SUPERMAN What are you talking about? JACE This diary was written by a man named Tempus. Ring a bell? SUPERMAN No. INSERT "TEMPUS FUGITIVE" FLASHBACK SEQUENCE JACE (V.O.) He claims to have flown through time with H.G. Wells. In this diary, he writes about how he traveled back to when you were just a baby. He wanted to kill you, but you and Lois Lane went back in time and stopped him. And for punishment, Wells dumped Tempus in an insane asylum in 1866 Smallville, where he wrote the whole story down. (CONTINUED) --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 8. 7 CONTINUED: 7 END FLASHBACK - RESUME SCENE Superman's expression says it might be coming back to him. JACE Gettin' a case of deja vu? SUPERMAN (covering) No. And only a fool would believe the ravings of a madman. JACE Yeah, at first I thought he was crazy too. But this diary accurately predicted every major historical event from 1866 'til now. He makes Nostradamus look like a freakin' palm reader. SUPERMAN He's still wrong about me being Clark Kent. JACE Then won't I have egg on my face when I tell everyone. As Superman's expression darkens... JACE (CONT'D) Now here's the deal. There's twenty million dollars in uncut diamonds in a safe at Mazik's Jewelers. If you get it for me, your secret's safe. (and then) I'll be in touch. The Watchman's screen goes dark. HOLD ON Superman's tormented expression, then... SMASH CUT TO: 8 INT. JACE'S APARTMENT - DAY 8 The lights go up, revealing JACE MAZIK, late 20's. Someone behind him starts to CLAP. Jace turns around in his chair and faces NIGEL ST. JOHN. NIGEL Bravo performance. (CONTINUED) --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 9. 8 CONTINUED: 8 Jace slips the diary into his jacket pocket. As he heads for a nearby bar... NIGEL So tell me Mister Mazik. Exactly how did you come by possession of that diary? JACE I found it. Buried in a box of my old man's stuff. He died four years ago but no one ever got around to going through his junk. NIGEL And now you're robbing one of his jewelry stores? JACE Just getting what should have been mine. The old man left everything to my suck up brother. NIGEL I see. Whereas your father made his fortune the old fashioned way, you're just going to steal yours. JACE Let me tell you something. Everyone thought he was just a humble junk man who made it big through hard work. But all he really did was follow this and invest well. Plastics in the sixties, oil in the seventies, computers in the eighties. NIGEL And why is it he never revealed Superman's identity? JACE Mainly because he died before Superman ever showed up. NIGEL How very fortunate for you. JACE Very. NIGEL I'd like to see it. (CONTINUED) --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 10. 8 CONTINUED: 2 8 JACE No can do, bucker-roo. NIGEL (annoyed) Perhaps we need to clarify our relationship. _You_ called _me_. You need Kryptonite, which I have... JACE (interrupting) Which you stole from Lex Luthor. NIGEL (ignoring him) And which I've agreed to share it with you... in return for certain rewards. JACE Right. Half of what we get by having Superman under our control. That's our deal. And the diary ain't part of it. Got it? As Nigel eyes him coldly... CUT TO: 9 INT. CLARK'S BEDROOM - DAY 9 MARTHA and JONATHAN are unpacking their suitcases. MARTHA This is so romantic. Spending our anniversary in Metropolis. JONATHAN Yeah. It was a good idea. (and then) Did Clark seem okay to you? He was acting kinda odd. MARTHA Jonathan. Of course he's acting odd. Haven't you been listening to him? He's in love. (and then) And speaking of love... She reaches into her suitcase and withdraws a small object WRAPPED in tissue paper. She hands it to Jonathan. (CONTINUED) --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 11. 9 CONTINUED: 9 MARTHA (CONT'D) Happy Anniversary. JONATHAN Aw... thank you. Jonathan unwraps the paper, revealing a beautifully hand carved wooden box, 12 inches by 12 by 3. MARTHA It's a memory box. I carved it myself. Look inside. Jonathan opens the lid, revealing it's filled with small, smooth stones. A word is painted on each one. MARTHA (CONT'D) Each pebble represents a year of our marriage. After I buffed them, I painted a word on each that corresponds to something that happened to us in different years. (lifts a few) See? This one says 'wedding. 'And this one says 'Clark.' And this one says 'Florida,' for that vacation we took in '79. Now all our memories are in one place. JONATHAN I love it. And you. They kiss, then he reaches into his suitcase and withdraws an envelope. Beaming, he extends it to Martha. JONATHAN (CONT'D) Happy Anniversary. MARTHA (forced enthusiasm) Gee... an envelope. (opens it) It's... a gift certificate. JONATHAN (enthusiastic) Yeah. To Costmart. I know some people say it's run by crooks, but they have nice stuff there. MARTHA I... don't know what to say Jonathan... except... thanks. (CONTINUED) --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 12. 9 CONTINUED: 2 9 JONATHAN (sees she's upset) You know Martha, it's hard to shop for you. I don't know what you need... MARTHA it's fine, Jonathan. Really. You're right. I don't need anything. They hear a SOUND in the living room, bailing them out. MARTHA (CONT'D) Clark? Is that you? She tosses the envelope in her suitcase and heads for the living room. Jonathan sighs, then follows. 10 INT. CLARK'S LIVING ROOM - DAY - CONTINUOUS 10 Martha steps out of the bedroom, Jonathan right behind. Clark's obviously upset. MARTHA I know that look. What's wrong? CLARK Someone found out I'm Superman. MARTHA Oh my God... JONATHAN How could that be? CLARK He said he's got some kind of diary that tells everything about me. And he's threatening to reveal who I am unless I do what he wants. MARTHA And what's that? CLARK Steal for him. (off their reaction) I don't know what to do. A beat, then... (CONTINUED) --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 13. 10 CONTINUED: 10 JONATHAN Well, looks like there's only one thing you can do. Go on the offensive. Reveal who you are. Then he'll have no power over you. CLARK I don't know Dad. Everything I've worked for would change... Martha looks at Jonathan, concerned, then... MARTHA I know how hard it will be, but I think your father's right. (and then) It's time you told Lois anyway. CLARK I've been trying to tell her, Mom. (and then) But the whole world... JONATHAN Clark. Nothing lasts forever. Maybe you need to take this as a sign that the time has come to make a change. Life may be a lot easier for you if everyone knew who you really are. As Clark considers we... CUT TO: 11 INT. DAILY PLANET BULLPEN - DAY 11 An agitated Lois pounds the keyboard of her computer fast and furious. JIMMY passes with some papers, notices. JIMMY That must be some story. He reads the screen over her shoulder a beat, then blanches. LOIS Seen enough? JIMMY Uh... you're not actually going to say those things to C.K... are you? She stops typing, fixes Jimmy with a stare. (CONTINUED) --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 14. 11 CONTINUED: 11 JIMMY (CONT'D) None of my business? (off her nod) Right. He moves on, leaving Lois to type. He approaches PERRY, who's standing at his office door, watching. PERRY That didn't look like your basic friendly, co-worker exchange. JIMMY Something's going on between her and C.K. PERRY Something always is. 12 ANOTHER ANGLE 12 As Jimmy crosses the bullpen, Clark enters. CLARK Hi Jimmy. JIMMY Nice coat. (then, sotto) Although a flak jacket might have been a better call. He nods towards Lois. CLARK Upset? JIMMY You only wish. He continues on. Clark sighs, heads for Lois. 13 AT LOIS' DESK 13 Lois finishes with a pounding flourish as Clark arrives. CLARK I think we need to talk. LOIS (no kidding) You read my mind. Or my screen. (CONTINUED) --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 15. 13 CONTINUED: 13 She rises and heads for the conference room. Confused, Clark takes a quick look at her screen, reacts, then turns it off before anyone else can see. 14 INT. CONFERENCE ROOM - DAY - CONTINUOUS 14 Lois paces as Clark enters, closes the door behind him. CLARK Look, I owe you an explanation... LOIS Don't. I can't listen to another stupid story about your barber, or your doctor, or you just remembered you have a library book due! (exhales, then) What you owe me is respect. I'm tired of the lies, Clark. What kind of relationship can we have if you're not honest with me? CLARK I've always been honest with you Lois, except for one thing. And when I tell you what it is... well, I hope you'll understand. He's so sincere it deflates her anger. She approaches him, searching his face. LOIS What is it? CLARK (beat, then) Lois, I'm... The door opens and Jimmy pokes his head in. JIMMY C.K.? LOIS Jimmy! Can't you see we're talking?! JIMMY I'm sorry, but there's someone on line one for Clark. CLARK Take a message, Jimmy. (CONTINUED) --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 16. 14 CONTINUED: 14 JIMMY Okay. But he said you'd want to talk with him. Something about a dumpster. CLARK (reacts, then, to Lois) I'm sorry. I have to take this. LOIS Wait a minute. A dumpster? You have to take a call about a dumpster over me?! Uh oh. Jimmy hotfoots it out. CLARK Lois, please... LOIS (evenly) You pick that up now... CLARK Lois... I have to. He lifts the phone. Their eyes meet, then Lois looks away and leaves the room. Grimacing, lifts the receiver to his ear. JACE (Filtered) Did I call at a bad time? CLARK There won't be any more bad times. I hate to ruin your plans, but I've decided to go ahead and tell everyone I'm Superman. Want to see who can call a press conference the fastest? INTERCUT AS NEEDED WITH: 15 INT. BUNKER - DAY 15 We're TIGHT ON JACE as he speaks into a cellular phone. JACE Interesting change of attitude. Your folks didn't have anything to do with it, did they? (CONTINUED) --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 17. 15 CONTINUED: 15 CLARK (thrown) My folks... JACE We're sharing some quality time together now. Well, I call it that. They call it kidnapping. He turns and eyes... 16 ANOTHER ANGLE 16 ... Martha and Jonathan, sitting on a cot in a sparsely furnished underground bunker. They're under the watchful eye of Nigel. JACE They're good people. And I know you wouldn't want anything to happen to them. JONATHAN Clark! We're in a lead lined room somewhere north of... Nigel slaps him. Hard. MARTHA Jonathan! As she tends to him... CLARK (he's heard it all) Let them go. They mean nothing to you. JACE Oh sure they do. Because now you have to do what I say no matter what happens. CLARK I can't steal for you. JACE You can do anything. You're Superman. Remember? END INTERCUT as Jace clicks off. HOLD ON Clark's anguished look, then... FADE OUT: _END OF ACT ONE_ --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 18. _ACT TWO_ FADE IN: 17 INT. CLARK'S APARTMENT - DAY 17 Clark quickly enters and takes in the sign of struggle: several suitcases knocked over and kicked aside; a fallen lamp; one end of the couch shoved too close to the coffee table. He lets out a sigh of anguish and frustration. CLARK (to himself) All right, whoever you are, let's see what your fingerprints look like. He turns and focuses his SUPERVISION an the doorknob of his front door. 18 SUPER CLOSEUP - DOORKNOB 18 It's clean. Not a print on it. CLARK (V.O.) (surprised) Hmph. Wiped clean. Okay, what else did you touch? 19 BACK TO SCENE 19 Clark quickly moves around the room and does a SUPER CLOSEUP SCAN of: the suitcase handles; the fallen lamp; the top of the coffee table. They're all clean. CLARK (frustrated) No fingerprints, so... what about footprints? Or a piece of your hair? He SUPERSCANS the floor. Then a throw rug. There's something an the rug, but it's a blurred series of overlapping prints... nothing definite. He spots a hair and instantly picks it up, then frowns. CLARK (CONT'D) Mom, when did you start dying your hair? He tosses it away in frustration and begins to pace around the room. He picks up the lamp; rights the suitcases. (CONTINUED) --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 19. 19 CONTINUED: 19 CLARK (CONT'D) What else?! What else?! Suddenly, the Watchman in Clark's pocket beeps. He pulls it out and punches it on. The shadowy figure of Jace appears. on the screen. JACE (T.V.) Hey, Superman, how's it going? We didn't make too much of a mass, did we? Clark immediately heads for the window, JACE (T.T.) Don't bother looking for me. I'm nowhere nearby, but my eyes are everywhere. Clark checks himself. CLARK What do you want? JACE (T.V.) Remember that little job I mentioned? Well, gosh, I forgot to tell you where to take the stuff. I want it delivered to me by midnight tonight. I'll be waiting behind the fountain in Centennial Park. No diamonds, no parents. And if I smell anything funny, you'll be an orphan, comprende? The screen goes black. A thoughtful look crosses Clarks's face. CLARK 'Smell anything funny.' Hmmmm. He sniffs the air and we ZOOM IN an his nose. A second later he SUPERSPEEDS and SNIFFS around the apartment and suddenly stops like a pointer on a scent. He takes a final sniff and smiles. CLARK (CONT'D) Gotcha! He SPINS and changes into Superman. Just as he stops, Lois runs up to the open front door and spots him. LOIS Superman! (CONTINUED) --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 20. 19 CONTINUED: 2 19 Superman turns in surprise. SUPERMAN Lois! LOIS What're you doing here? SUPERMAN I... uh... was looking for Clark. LOIS Is that why he left? Are you and he working on something? Something you don't want me to know about? SUPERMAN No! Isn't he at the Planet? I... just came by to say 'hello' to his folks, but... I guess they went out to get groceries... or frozen yogurt. Or... coffee. Superman lamely trails off. He's dying to get out of here. LOIS But if you thought he was at the Planet, why'd you think he might be here? Superman gulps. She's got him. SUPERMAN Because... I stopped here first, and if he wasn't here, I figured he'd be at the Planet. Lois digests this. It makes sense. Her antennae retract a bit. LOIS Well, he's not there. Superman starts to LEVITATE in anticipation of leaving... and cutting short any more Lois questions. SUPERMAN I guess I'll catch him later then. See ya. He FLIES out the window. Lois watches him for a moment, then turns and looks back at the apartment. Hmmm. CUT TO: --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 21. 20 EXT. STREET - DAY 20 Superman WALKS down the sidewalk, sniffing, following the scent from his apartment. Passersby pause and look at him in puzzlement Superman steps into the street, walks through oncoming traffic, oblivious to the commotion he's causing, and crosses to the other sidewalk, continuing along his way. 21 CLOSEUP - SUPERMAN'S FACE 21 as he frowns, straining to stay on the trail. As we DOLLY IN on his face, we go to... 22 SUPERMAN'S POV - THE SIDEWALK/STREET 22 In a Zarate SFX, we do an EXTREME RACK FOCUS, from the street to a flurry of floating SCENT MOLECULES. The street is a blurry background. The scent molecules appear from the distance and bob towards camera in ones and twos as Superman moves forward. It's similar to moving through the star field in Star Wars, except there are only a few molecules and they float and drift erratically, being blown by the wind. We HEAR Superman still sniffing and then we FADE IN something else that Superman's SUPERHEARING picks up: it seems like a dozen other noses sniffing. 23 SUPERMAN 23 stops on the sidewalk and slowly turns around. A whole CROWD of curious people are trailing behind him sniffing, trying to smell what he's smelling. It's as if he were the Pied Piper of Hamlin. SUPERMAN (slightly embarrassed) It's... okay. There's nothing to be worried about. Everything's under control. I'm just... (lamely) checking something out. So... don't mind me. He turns back around, does a SUPER SNIFF strong enough to roll trash along the sidewalk, whip a newspaper out of a man's hand and pull a woman's hat off. He catches the hat and hands it back to her. SUPERMAN (CONT'D) Sorry. (CONTINUED) --page break-- AND THE ANSWER IS... (#22) Pink Rev. 4/7/95 21. 20 EXT. STREET - DAY 20 Superman WALKS down the sidewalk, sniffing, following the scent from his apartment. Passersby pause and look at him in puzzlement. Superman steps into the street, walks through oncoming traffic, oblivious to the commotion he's causing, and crosses to the other sidewalk, continuing along his way. 21 CLOSEUP - SUPERMAN'S FACE 21 as he frowns, straining to stay on the trail. As we DOLLY IN on his face, we go to... 22 SUPERMAN'S POV - THE SIDEWALK/STREET 22 In a Zarate SFX, we do an EXTREME RACK FOCUS, from the street to a flurry of floating SCENT MOLECULES. The street is a blurry background. The scent molecules appear from the distance and bob towards camera in ones and twos as Superman moves forward. It's similar to moving through the star field in Star Wars, except there are only a few molecules and they float and drift erratically, being blown by the wind. We HEAR Superman still sniffing and then we FADE IN something else that Superman's SUPERHEARING picks up: it seems like a dozen other noses sniffing. 23 SUPERMAN 23 stops on the sidewalk and slowly turns around. A whole CROWD of curious people are trailing behind him sniffing, trying to smell what he's smelling. It's as if he were the Pied Piper of Hamlin. SUPERMAN (slightly embarrassed) It's... okay. There's nothing to be worried about. Everything's under control. I'm just... (lamely) checking something out. So... don't mind me. He turns back around, does a SUPER SNIFF strong enough to roll trash along the sidewalk, whip a newspaper out of a woman's hand and pulls a man's TOUPEE off. He catches the (X) toupee and hands it back to the man. (X) SUPERMAN (CONT'D) Sorry. (CONTINUED) --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 22. 23 CONTINUED: 23 Then, with a much gentler sniff, be picks up the trail again and heads off. CUT TO: 24 INT. BUNKER DAY 24 Martha stands on a chair and scrutinizes an air vent set in the wall above bar head . . It's about ten inches wide. Jonathan steadies the chair for her. MARTHA (still rankled) It must've taken a lot of thought to come up with the idea of a gift certificate. JONATHAN (halfheartedly) Well, I _did_ consider a few other things before I settled an it. Martha steps down from the chair. MARTHA (re: vent) Even if we _could_ get the grill off, neither one of us could get through it. She heads for the door and, for the lack of any other option, tries the doorknob. It gives her an electric shock, which causes her to jump back. MARTHA (CONT'D) Ow! JONATHAN Martha, are you all right?! MARTHA (shaking her hand) I'm fine. Maybe I can use your gift certificate to buy some Bandaids when we get out of here. JONATHAN if you don't like it, just come out and say it. Martha drops to the floor and tries to look under the door. Jonathan stiffly kneels down next to her. (CONTINUED) --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 23. 24 CONTINUED: 24 MARTHA I can't see anything. Must be some kind of seal. Usually you don't see that. She waves off Jonathan's help as she stands up. She studies the doorknob again and looks up at the single, overhead light. JONATHAN You want me to get you something else? Tell me. I'll be happy to. MARTHA You know, if we had some wire, maybe we could run it from the light to the doorknob and short it out, then we could really get to work on it. JONATHAN Martha, would you just look at me for a second. Martha, who's been avoiding eye contact all this time, finally looks at him. MARTHA Jonathan, I guess I'm just hurt, that's all. I guess I was expecting a little more. JONATHAN (beat) Maybe there is. Martha looks at him for a moment, then suddenly digs in her pocket and pulls out the gift certificate. She studies it for a second, sees Jonathan's encouraging look, and flips it over. On the back there's a note in Jonathan's handwriting. Her face falls. MARTHA I'm supposed to use this to get a _book_ at the book counter? JONATHAN They're holding it for you. MARTHA (pissed) It better be a really great book. And on Jonathan's sickly smile, we... CUT TO: --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 24. 25 EXT. MARVIN'S GARDENS FLORIST SHOP - DAY 25 MARVIN, a large African-American who looks like he used to play football; delicately tends the flowers on display in front of his store, in particular a cascade of orchids. Still sniffing, Superman rounds the corner and walks right up to Marvin. SUPERMAN Excuse me, sir what kind of orchids are those? MARVIN (without looking up) Oncidium Fifty-Two Blitz Go Right Stunt. Breed 'em myself. And unless you know something about getting rid of aphids, beat it. SUPERMAN Un, I could give them a stern talking to. For the first time Marvin looks up. He's surprised to see it's Superman. MARVIN Superman. Sorry, I... uh, didn't know it was you. SUPERMAN (smiles) That's okay. (studies Marvin) Didn't you used to play for the Bills? MARVIN Til my knee blew out. Now I do this. It's much more relaxing, and _definitely_ less painful. Superman picks up the stem of orchids. SUPERMAN I'm looking for a man who's wearing one of these. MARVIN Don't actually sell many of them to people off the street. Haven't sold one to a man in weeks. SUPERMAN This one was fresh. It almost smelled like cherry vanilla. (CONTINUED) --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 25. 25 CONTINUED: 25 MARVIN That's the Fifty Two Blitz Go Right Stunt alright. Only orchid that smells that way. Your friend Swiss? SUPERMAN He doesn't sound it. Why do you ask? Marvin's a bit puzzled by Superman's reply, but he answers anyway. MARVIN My biggest customer is Zurich Air. They hand them out to all their First Class transatlantic passengers. SUPERMAN Really? CUT TO: 26 INT. DAILY PLANET BULLPEN - NIGHT #2 26 Clark is on the phone, trying to keep his temper. He glances at his watch; it's getting late. CLARK (into phone) Yes? Hello? I've been on hold for twenty minutes. No, I can't call back later, I just want to speak to someone who can tell me who flew with you the last couple of days. No, I know you don't normally release passenger lists, but this is an emergency. Is there a supervisor, or someone in Zurich I could talk to? (increasing anxiety) No no no! Don't put me on hold. They put him on hold. Clark grits his teeth and checks his watch. It's almost 8:00 pm. Damn! 27 ANGLE ON JIMMY AND PERRY 27 Perry is choosing a donut from the box that Jimmy holds. Suddenly, he frowns. He's spotted Lois exiting the elevators. She sees Clark and heads for him. (CONTINUED) --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 26. 27 CONTINUED: 27 PERRY (half to himself; to Jimmy) All hands on deck Jimmy follows Perry's look and then shifts to see the unsuspecting Clark. JIMMY What? She doesn't look angry. PERRY That's when she's most dangerous. You never know what's going to happen. Could be good... could be _bad_. 28 ANGLE ON CLARK 28 He checks his watch again, makes a decision and slams down the phone. He pulls open a drawer and yanks out his copy of the Metropolis Yellow Pages. He flips to the jewelry store pages. On one page there are a dozen ads of various shapes, all for store names beginning with "M". One ad is for "Mazik's Jewelry. The only thing finer than our diamonds, is our service." Clark reads the address: "1651 N. Thornton Street". LOIS (V.O.) Oh, looking to buy me something? Clark jumps. He didn't hear her approach. He awkwardly stands; he wants to leave. CLARK Um, I... forgot to get an anniversary present for my folks. I've gotta get one before the stores close. LOIS (brightly) Good idea. You better take care of that. The lack of Lois's resistance makes Clark pause. CLARK You're not mad? LOIS At what? (CONTINUED) --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 27. 28 CONTINUED: 28 CLARK That once again I'm running off? LOIS Why should I be? Doctor Friskin really helped set me straight an this. I've come to realize, and accept, that we both have separate lives. No matter how involved we are, or become, it's perfectly all right for us to sometimes do things apart. Clark bobs his head in relief and dashes off. Lois turns away. LOIS (CONT'D) (to herself; re: separate actions) Not! She looks at the page Clark was studying. She tears it out. CUT TO: 29 EXT. ALLEY - NIGHT 29 Clark, dressed in a Cat Burglar-esque black outfit, unhappily eyes the darkened FRONT DOOR to Mazik's Jewelry for a beat, then with SUPER SPEED he picks the lock. He steps inside. CUT TO: 30 EXT. BARRINGTON JEWELRY MART - NIGHT 30 Lois pulls up in the Jeep and studies the Barrington Jewelry Mart. It's completely dark. 31 INT. JEEP - CONTINUOUS 31 Lois wrinkles her nose; another dead end. WE SEE her bend down and cross off the ad for Barrington Jewelry Mart on the yellow page she tore from Clark's directory. About three other stores have already been crossed off. She puts the Jeep in gear and heads for the next one. CUT TO: --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 28. 32 INT. MAZIK'S JEWELRY - NIGHT 32 Numerous glass display cases filled with jewelry dot the floor. Clark quickly BLOWS COLD AIR ON A SECURITY PANEL, freezing and deactivating the alarm. He makes way to an open doorway leading to a back area and stops. 33 HIS POV 33 The back area. Small and windowless. Two jeweler's work counters in the center and a six foot high double door combination lock safe against a wall. 34 RESUME SCENE 34 Clark activates his X-RAY VISION. 35 X-RAY POV 35 SCANNING a grid of alarm activating sensor pads, embedded in the floor. 36 INT. BACK AREA - NIGHT CONTINUOUS 36 Clark FLOATS across the floor to the safe and lands. CUT TO: 37 EXT. JELLICO'S HOUSE OF JEWELS - NIGHT 37 Lois pulls up across the street from Jellico's and kills her lights. The store is dark. 38 INT. JEEP - CONTINUOUS 38 Once again she looks for Clark, but there's no sign of anyone. She waits a minute, bites her lip, then flicks on her lights. She crosses off Jellico's ad on the yellow pages and puts the Jeep in gear. CUT TO: 39 INT. BACK AREA - MAZIK'S JEWELRY - NIGHT 39 Reluctantly, Clark uses his X-RAY VISION TO LOOK AT THE TUMBLERS inside the combination lock. 40 ON LOCK 40 As he spins it we see the tumblers fall into place. --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 29. 41 SCENE 41 He opens the door, reaches in and pulls oft a large black velvet box. He opens it, revealing hundreds of small uncut diamonds. He quickly closes the box, closes the safe and floats back out the doorway into the main room. 42 INT. MAZIK'S JEWELRY - NIGHT CONTINUOUS 42 Suddenly he bears the FRONT DOOR UNLOCK. MAN #1 (V.O.) It'll only take a second. I left it right under the counter. A look of alarm flashes across Clark's face. There's no place to hide. He shoots a bean of HEAT VISION to defrost the alarm. 43 ANOTHER ANGLE 43 A MAN enters the store, punches in the disarm code on the alarm. He crosses behind a counter, grabs his cellular phone, then crosses back out of the store, resetting the alarm as he does. He locks the door and as we hear his departing voice... MAN #1 (V.O.) See. Just took a second. ... the CAMERA WIDENS TO REVEAL Clark, holding the velvet box, FLOATING prone on the ceiling over the front door. Off his sigh of relief... CUT TO: 44 EXT. MAZIK'S JEWELRY - NIGHT 44 Nothing moves. Then, the front door opens and Clark slips out carrying the velvet box. He quickly slips off into the darkness. CAMERA PULLS BACK and REVEALS Lois sitting slouched in her Jeep, her head just high enough to look over the window sill of the door. Her face is a mixture of astonishment and hurt. She can't believe what she's just seen. FADE OUT. _END OF ACT TWO_ --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 30. _ACT THREE_ FADE IN: 45 EXT. PARK - NIGHT 45 Dark, still, a little spooky. Clark appears next to a fountain. He's carrying the proceeds from his heist. The Watchman BEEPS. He takes it from his pocket. The unidentifiably shadowy Jace appears an the screen. JACE (V.O.) Oh, you look fabulous in black, Clark. Where are the diamonds? Clark hates this. CLARK Right here. 46 INT. JACE'S PLACE - NIGHT 46 Nigel sits, out of viewing range, as Jace talks to Clark. Nigel is filing his nails. JACE Show them to me. No, don't bother, I'm sure you wouldn't double cross me. Not as long as I have your parents. INTERCUT AS NEEDED: CLARK I've done what you asked. Where are my mom and dad? JACE You know, I don't think they're enjoying their visit. They keep trying to find a way out. CLARK Where are they? JACE It warms my heart to watch them. There's something so... bovine about them. CLARK I'm glad you find then heart- warming. Tell me where they are. (CONTINUED) --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 31. 46 CONTINUED: 46 JACE Drop the diamonds in the fountain. Clark does so. JACE (CONT'D) Thank you so much. And, Clark, don't wait for the courier. Don't follow the courier. If you do, Ma and Pa will die... I'll be in touch. Jace reaches out to turn off the communication. CLARK Hey! Jace's hand stops aid-air. JACE Yes, Clark? CLARK I bring you these diamonds, you release my parents, was that the deal, was that what you said? JACE Yes, Clark. CLARK Well? JACE I lied. The Watchman screen goes dark. Off Clark's reaction -- 47 INT. JACE'S PLACE - NIGHT 47 Jace turns to Nigel. JACE Isn't this fun? Nigel looks up from shaping his nails. NIGEL Getting greedy? JACE I'm thinking maybe another little job or two. We might as well get stinking rich before we kill him. He smiles. Nigel remains stony-faced. --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 32. 48 EXT. CLARK'S APARTMENT - NIGHT 48 Lois is waiting, not calmly. Clark appears. Lois plunges right in: LOIS You look good in black. Perfect for your skin tones. Perfect for a funeral, maybe yours. Perfect for robbing a jewelry store. He opens his mouth, and: CLARK AND LOIS (simultaneously) Lois, I can explain. LOIS I thought I knew you. I thought you were decent and straight-up and good. I thought you were the last honest man. I thought you were... you were... She searches for the perfect word. LOIS (CONT'D) I thought you ware Clark Kent... Who are you? They gaze at each other for a moment, then: CLARK Mom and Dad have been kidnapped. This stops Lois in her tracks. LOIS What? CLARK Mom and Dad have b -- LOIS (overriding) So that's why you ran out this morning. That's why you robbed the jewelry store... CLARK He threatened to kill them. I had to rob that store... LOIS Have you called the police? The FBI? --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 33. 48 CONTINUED: 48 CLARK I can't take that chance, Lois. LOIS So, he's letting them go now? CLARK I don't think so. I think he wants more. Lois has moved closer to him during the preceding exchange. LOIS Clark, I'm so sorry.... CLARK Thank you. A moment, then: LOIS Why?... Why would anybody kidnap your parents? A question Clark was no doubt hoping she wouldn't ask. He can tell her the truth, or he can say: CLARK I wish I knew, Lois. I only know that I have to keep doing what he says while I try to find them. LOIS What about Superman? CLARK He hasn't been able to find then yet. She puts a hand on his chest. LOIS I'll do anything I can to help... He runs a gentle hand along her hair, gazing deeply into her eyes. CLARK Thank you, Lois. He folds his arms around her, and they stand there in a tender embrace. --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 34. 49 INT. DAILY PLANET - DAY #2 49 Lois and Clark are at Lois's desk, sitting so close to each other they're practically one person. They don't look like they've gotten much sleep. Lois in wearing what she wore yesterday. She's an the phone. LOIS (into phone) Do _not_ put as an hold, it's taken me eight hours just to find a human being to talk to, you're an international airline you should have your phones covered 24 hours a day, (unintelligible squawking from the phone) Voice mail doesn't count. She gets to the purpose of her call: LOIS (CONT'D) I need to talk to somebody who can authorize the release of passenger lists... Perry's across the room checking a layout, keeping an eye on Lois and Clark. As Jimmy walks-by him: 50 WITH PERRY AND JIMMY 50 The layout is a banner headline about the jewelry heist. PERRY Jimmy. (to the layout person) That's fine, Maxwell. Get it composited. Maxwell moves off. Jimmy has stopped, awaiting the boss' pleasure. PERRY (CONT'D) That dress Lois has on, didn't she wear that yesterday? Jimmy looks. JIMMY I don't know, chief. PERRY You want to be a newspaperman, you gotta be observant. Does Clark look a little haggard to you? (CONTINUED) --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 35. 50 CONTINUED: 50 Jimmy looks. Clark does look a little haggard. JIMMY Yes. Lois is talking rather animatedly, if quietly, on the phone. PERRY Like he hasn't had much sleep lately? Like he's got something worrying him? Like a dog trapped in a cage? JIMMY Yeah, I guess.. . PERRY You know what I think, Jimmy? Jimmy has no idea. PERRY (CONT'D) I think they eloped. Jimmy looks back toward: 51 LOIS AND CLARK 51 Lois, still an the phone. LOIS (into phone) I don't usually do this, but how about this: I'll give you a free one-year subscription to the Daily Planet, delivered every morning to your doorstep in Zurich... well, all right, to your doorstep in Fresno... (the phone squawks, then) May I speak to your supervisor? Some more SQUAWKING from the phone, then she's on hold. She sees Perry and Jimmy staring at her and Clark. They quickly turn away and go about their business. LOIS (CONT'D) (to Clark) I don't think this is going to work. We don't have any leverage. The doughnut-scarfing COP from "Chi of Steel" has entered the room, moves over to Lois and Clark. (CONTINUED) --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 36. 51 CONTINUED: 51 COP Could I talk to you, Kent? CLARK Sure, Sergeant. The cop takes a photo out of his pocket, doesn't show it to Clark yet. COP That jewelry store that got hit last night? He gets a guarded reaction from Lois and Clark. COP (CONT'D) They've got a hidden security camera. He hands the photo to Clark. 52 INSERT - PHOTO 52 It's a grainy three-quarter profile, but it really does look like Clark. 53 BACK TO SCENE 53 Clark's holding the picture, Lois -- still on hold -- is looking at it, too. LOIS That could be anybody, Zymak. Zymak holds the photo up next to Clark's face. COP Same nose, same chin, same glasses. He and Lois both look from the picture to Clark's glasses. Clark adjusts his glasses, hanging onto them lest somebody decide to take them off his face for comparison purposes. COP (CONT'D) (to Clark) Where were you last night from, say, nine o'clock on? Into the silence that greets this question: LOIS He was with me. (CONTINUED) --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 37. 53 CONTINUED: 53 COP Yeah LOIS Yeah. COP All night? LOIS All night. Zymak looks skeptical. CLARK Sergeant, you _know_ us. Do you really think I'd commit a burglary? Do you really think Lois would lie about it? Zymak considers this. COP No. No, I don't. But you've got a double out there somewhere, Kent. He's going to leave, but: CLARK Ah, Sergeant? If I ask Superman to help you find this thief, could you do me a favor? We need some information from Zurich Air, uh, for something we're working on... Zymak raises his eyebrows. 54 WITH PERRY 54 in yet another part of the room, watching Lois and Clark and the cop as he gets himself a cup of coffee. Clark says something to the cop, who shrugs, then Lois hands the phone to the cop. 55 AT LOIS' DESK 55 The cop takes the receiver. COP (into phone) This is Sergeant Zymak, Metropolis Police Department, Badge number 0648... --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 38. 56 INT. BUNKER - DAY 56 Jonathan and Martha have given up trying to escape. They're sitting. After a moment: JONATHAN Clark will find us... MARTHA I know. (then) But if he doesn't -- JONATHAN He will. MARTHA But if he doesn't, I want you to know I wouldn't trade one minute of the life we've had together. JONATHAN How about the time I told your mother to stuff a sock in it? MARTHA (smiles) _That's_ what made me fall in love with you. He smiles back, then gets more serious: JONATHAN How about when we found out we couldn't have children? MARTHA You were a tower of strength and understanding... You're the best man I know, the best I've ever known. I loved you then, and I love you now. Jonathan may cry. JONATHAN I love you, too. She takes his hand. After a moment: JONATHAN (CONT'D) Martha? About that gift certificate... She's moving into his arms. (CONTINUED) --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 39. 56 CONTINUED: 56 MARTHA Shhh... shhh... He stops talking and just holds her gently. 57 INT. DAILY PLANET - DAY 57 The cop has gone. Lois and Clark are working at her desk. They've got the applicable passenger manifests now. Clark looks up. CLARK Look at this, Lois. He shows her his manifest, pointing to a name. CLARK (CONT'D) Does this ring a bell? Lois looks. She's galvanized by what she sees. LOIS It sure does. It's one of the names Nigel St. John uses. What is going on, Clark? What could Nigel St. John possibly have to do with your parents? He's pulled the phone toward him and has dialed. CLARK (into phone) This is Sergeant Zymak again, M.P.D., you had a passenger Nicholas S. Janacek, Flight 697, two days ago. Can you tell me how the fare was paid? While he's waiting: LOIS Is Nigel your kidnapper? CLARK No. My guy doesn't have an accent, but it's too coincidental that the -- He's cut off by the other phone party. He listens, then: CLARK (CONT'D) (into phone) Mazik? Jason T. Mazik? (CONTINUED) --page break-- AND THE ANSWER IS... (#22) Green Rev. 4/11/95 39. 56 CONTINUED: 56 MARTHA Shhh... shhh... He stops talking and just holds her gently. 57 INT. DAILY PLANET - DAY 57 The cop has gone. Lois and Clark are working at her desk. They've got the applicable passenger manifests now. Clark looks up. CLARK Look at this, Lois. He shows her his manifest, pointing to a name. CLARK (CONT'D) Nicholas S. Janacek. Name ring a bell? Lois looks. She's galvanized by what she sees. LOIS It sure does. It's one of the aliases used by Nigel St. John (X) when he was working with Lex (X) Luthor. (and then) What's going on Clark? What could (X) Nigel possibly have to do with (X) your parents? He's pulled the phone toward him and has dialed. CLARK (into phone) This is Sergeant Zymak again, M.P.D., you had a passenger Nicholas S. Janacek, Flight 697, two days ago. Can you tell me how the fare was paid? While he's waiting: LOIS Is Nigel your kidnapper? CLARK No. My guy doesn't have an accent, but it's too coincidental that the -- He's cut off by the other phone party. He listens, then: (CONTINUED) --page break-- AND THE ANSWER IS... (#22) Green Rev. 4/11/95 39A. 57 CONTINUED: 57 CLARK (CONT'D) (into phone) Mazik? Jason T. Mazik? (CONTINUED) --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 40. 57 CONTINUED: 57 LOIS As in Mazik Jewelers? CLARK (phone) Thank you. (hangs up) Yes, as in Mazik Jewelers. He gets up, energized. CLARK (CONT'D) You wait here. She nails him with a look. LOIS When pigs fly. 58 INT. JACE'S PLACE - DAY 58 Lois and Clark are sitting across from Jace. No Nigel. Jace is being very charming. JACE (to Lois) But you're not bothering me at all, Miss Lane. I'm honored. I read your articles all the time. They're wonderful. And yours, too, Mr. Kent. Yours are just... super. Clark blanches as Lois plows ahead: LOIS Thank you. Do you know a Nicholas S. Janacek? Clark's looking at the wall behind Jace. He activates his X-RAY VISION and sees a bedroom -- empty. JACE Janacek? No, I don't believe I do. Why do you ask? LOIS We're trying to trace him for a story we're doing. You paid his plane fare from England a couple of days ago. Clark's LOOKING THROUGH the wall to his left. A roof garden. Nobody there. (CONTINUED) --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 41. 58 CONTINUED: 58 JACE No, I didn't. LOIS Yes, you did. JACE (shrugs) I lost my wallet last week. All my credit cards were in it. Clark's looking through the wall to his right. A kitchen. Nobody there. LOIS You don't seem very concerned. JACE You report them lost, you get new ones. But I'm really impressed at your resourcefulness. I thought it would take, oh, I don't know, _Superman_ to pry that kind of information out of an airline. Clark looks at Jace, who smiles at him. Isn't this fun? Jace stands up. JACE (CONT'D) I'm so sorry I can't be of any help to you. He opens the door for them. LOIS Thank you for your time. JACE Oh, the pleasure was all mine, believe me. He closes the door behind them. As we hear their RECEDING FOOTSTEPS, we also hear the WHIR of an ELEVATOR. Jace's private elevator, which opens into his living room. After a moment, it stops and the doors open to reveal Nigel. NIGEL What did they want? JACE I think you were wrong, Nigel. I thought she was sweet. (CONTINUED) --page break-- AND THE ANSWER IS... (#22) Green Rev. 4/11/95 41. 58 CONTINUED: 58 JACE No, I didn't. LOIS Yes, you did. JACE (shrugs) I lost my wallet last week. All my credit cards were in it. Clark's looking through the wall to his right. A kitchen. Nobody there. LOIS You don't seem very concerned. JACE You report them lost, you get new ones. But I'm really impressed at your resourcefulness. I thought it would take, oh, I don't know, _Superman_ to pry that kind of information out of an airline. Clark looks at Jace, who smiles at him. Isn't this fun? Jace stands up. JACE (CONT'D) I'm so sorry I can't be of any help to you. He opens the door for them. LOIS Thank you for your time. JACE Oh, the pleasure was all mine, believe me. He closes the door behind them. As we hear their RECEDING FOOTSTEPS, we also hear the WHIR of an ELEVATOR. Jace's private elevator, which opens into his living room. After a moment, it stops and the doors open to reveal Nigel. (CONTINUED) --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 42. 58 CONTINUED: 2 58 NIGEL The woman is a menace. We have to do something about her. JACE We're following my agenda, not yours. NIGEL I have the Kryptonite. You want it, you do something about that woman. Jace doesn't care much one way or the other. JACE All right. Anything to see your sunny smile. He pats Nigel's cheek. Nigel would like to strangle him. 59 INT. DAILY PLANET - DAY 59 Lois and Clark, standing by-the fax machine, waiting for something to come through. CLARK I'm telling you, it's him. It's the same voice. LOIS All right, Clark, I'm not arguing with you. The fax is coming through. Jimmy calls over: JIMMY C.K., phone for you. You can take it at Stanley's desk. As Clark reaches for the phone, Lois looks up from the fax: LOIS He lied, Clark. He didn't report his cards missing. CLARK (into phone) Hello? JACE (V.O.) Hello, Clark. It was so nice of you to visit. (CONTINUED) --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 43. 59 CONTINUED: 59 CLARK Just tell me what you want. JACE (V.O.) I've called with your new assignment. But first, let me ask you this -- you and Lois? Are you guys close? CLARK (tight) Yes. JACE (V.O.) Ooooh. Bummer. Well, here's the assignment: You have 30 minutes, otherwise Ma and Pa will die. Bring it to the old airbase outside of town. Lois knows something's up, is watching Clark's face. CLARK Bring what? JACE (V.O.) Oh, didn't I say? The body. Bring the body. Your new assignment is to kill Lois Lane. Off Clark's reaction -- FADE OUT. _END OF ACT THREE_ --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 44. _ACT FOUR_ FADE IN: 60 INT. DAILY PLANET - CONTINUOUS 60 Clark hangs up the phone, numb. Lois is near. LOIS That was him... Jace... wasn't it? CLARK Lois, don't -- LOIS What'd he say to you? (beat) What did he say, Clark? CLARK He wants you dead... in thirty minutes... or he's going to kill my parents. A silence as their eyes meet. LOIS It's Nigel... we got too close. CLARK I want you to get out of town. Get on a plane, go far... LOIS (as a thought strikes) No... I have an idea... CLARK Lois -- LOIS (in motion) Find Superman and have him meet me at my apartment. CLARK (following) Lois. Stop. LOIS Everything's going to be all right. She turns and kisses him hard on the lips, then moves off, passing Jimmy and Perry, who exchange a look. (CONTINUED) --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 45. 60 CONTINUED: 60 JIMMY What do you think? PERRY I think... They watch Clark loosen his tie and move off to the back hall. PERRY (CONT'D) ... I'm done thinking. I don't have clue one what's going on. CUT TO: 61 INT. LOIS's APARTMENT - DAY 61 Superman cocks his head as Lois paces past him. SUPERMAN Freeze you? LOIS Like cryogenics... people who fall in frozen lakes but get revived? You freeze me with your breath, fast -- I've seen you do it a hundred times -- then it looks like I'm dead, you bring the body and -- SUPERMAN Lois, do you have any idea how dangerous that is? There could be arterial ruptures, permanent brain damage... you could die. LOIS Yes. I could die. But Clark's parents _will_ die unless we help. (pleading) Please, Superman. You haven't seen him... (crying) ... you don't know what he's going through. (as he almost disagrees) He needs me and I've never needed you more than right now - you can't turn me down... (close; he holds her) ... you can't. He looks at her, torn, then -- (CONTINUED) --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 46. 61 CONTINUED: 61 SUPERMAN All right. She wipes her eyes. LOIS If anything happens, tell Clark I love him. He looks at her, tears quivering in his eyes, his voice breaking -- SUPERMAN He knows, but I will. Close your eyes. She does. He pushes her hair back, just the way Clark did. Her face registers the shock of recognition at this intimate, familiar touch. LOIS The way you -- you touched -- SUPERMAN Close your eyes. One last curious look at him, then she does as she's told. He takes an enormous breath and BLOWS A HUGE, ICY BLAST at her that FILLS THE SCREEN. And as we PUSH IN ON HER, face barely visible in the sudden storm -- CUT TO: 62 INT. JACE'S BUNKER - HALL - DAY 62 START TIGHT ON LOIS' FACE -- rigid, eyes closed, as it is gently lowered into frame then REVEAL -- Superman setting her stiff body down on the floor. His face full of pain and doubt, as -- Jace and Nigel appear. NIGEL Well, well.. Dream all you want... (moving close to Lois' body) ... but nothing quite prepares you for the sheer thrill of the moment. JACE Not a mark on her. How'd you do it, Superman? (CONTINUED) --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 47. 62 CONTINUED: 62 SUPERMAN Where are my parents? JACE 'Where are my parents, _sir_?' Superman grabs Jace by the collar. NIGEL Now boys, boys, let's not fight, particularly, since... (pulls out a small lead box, opens it) ... it wouldn't exactly be fair. (in the box: Kryptonite) To Superman. He backs up and suddenly weakens, shielding his face with his hand. Nigel gets right in his face with it. NIGEL (CONT'D) It's relatively simple to use, Jace. Very few moving parts. Short term exposure... Superman leans against the wall. NIGEL (CONT'D) ... leads to lasting effect. Give it a whirl. He hands the box of Kryptonite over. Jace takes it and taunts Superman with it. JACE Superman... do the words 'Nyah-nyah, nuh-nyah-nyah' have any meaning to you? 63 INT. BUNKER ROOM - DAY 63 Jace uses the Kryptonite to "push" Superman into the room. Superman trips and falls in a heap. MARTHA Clark! She rushes to him, cradling her boy. Jonathan rushes him but Nigel's gun stops him. JACE I know you must be in a lot of pain but here's the good news -- it'll all be over soon. (CONTINUED) --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 48. 63 CONTINUED: 63 Jace tosses the Kryptonite into the room as he and Nigel back out. 64 INT. BUNKER HALL - DAY 64 Jace closes the door and locks it. Then he throws a switch on the wall and - 65 INT. BUNKER ROOM - DAY 65 The vent near the ceiling begin to HISS gas. Superman sees this. The Kents cough. He tries to got up but can't. SUPERMAN Move me... over there... 66 INT. BUNKER HALL - DAY 66 Standing over Lois' stiff body, Jace uncaps a flask, using the cap as a shot glass. He hands the full cap to Nigel. JACE My father always said, close a good deal with a toast. NIGEL No doubt a man of excellent breeding. Nigel toasts and drinks. JACE He was a pig. If it hadn't been for that diary -- Nigel raises his pistol. NIGEL Ah, yes, the diary. Subject of our next negotiation. JACE Aw, man. I guess I shoulda known. (pulls diary out) I read all about how you did the same thing to Luthor. Kind of reminded me of what happened with my old man. I ever tell you how I killed him? Poison. Nigel's eyes widen, then he keels over dead, falling near Lois. (CONTINUED) --page break-- AND THE ANSWER IS... (#22) Green Rev. 4/11/95 48. 63 CONTINUED: 63 Jace tosses the Kryptonite into the room as he and Nigel back out. 64 INT. BUNKER HALL - DAY 64 Jace closes the door and locks it. Then he throws a switch on the wall and 65 INT. BUNKER ROOM - DAY 65 The vent near the ceiling begin to HISS gas. Superman sees this. The Kents cough. He tries to get up but can't. SUPERMAN Move me... over there... 66 INT. BUNKER HALL - DAY 66 Standing over Lois' stiff body, Jace uncaps a flask, using the cap as a shot glass. JACE (X) Well, you must be feeling pretty (X) good, now that Lois Lane is dead. (X) NIGEL (X) It would warm my heart. If I had (X) one. (X) He hands the full cap to Nigel. (X) JACE My father always said, close a good deal with a toast. NIGEL No doubt a man of excellent breeding. Nigel toasts and drinks. JACE He was a pig. If it hadn't been for that diary -- Nigel raises his pistol. NIGEL Ah, yes, the diary. Subject of our next negotiation. (CONTINUED) --page break-- AND THE ANSWER IS... (#22) Green Rev. 4/11/95 48A. 66 CONTINUED: 66 JACE Aw, man. I guess I shoulda known. (pulls diary out) This says you double crossed Lex Luthor. NIGEL It's what I'm best at. JACE Did I ever tell you how my old man died? NIGEL No. JACE I poisioned him. Nigel's eyes widen, then he keels over dead. (CONTINUED) --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 49. 66 CONTINUED: 66 JACE (CONT'D) Guess it's true what they say. Reading _is_ fundamental. He turns and strolls down the hall. 67 INT. BUNKER ROOM - DAY 67 The gas is filling the room. The Kryptonite is on one side, Superman and the Kents on the other, right under the vent, as the Kents try to keep from passing out. SUPERMAN Mom, prop me up. (she does) Dad, go get the Kryptonite. He moves back across the room. Summoning the very last of his strength, Superman BLOWS an ICY JET of air at the vent. It FREEZES white and -- SUPERMAN (CONT'D) Throw it! At the vent! Jonathan winds up and throws the rock. It SHATTERS the vent like balsa and goes RATTLING AWAY. 68 INT. BUNKER HALL - DAY 68 The door is KICKED out. Superman and the coughing Kents emerge. Superman moves straight to Lois and kneels to her. MARTHA Oh, no... Lois... The Kents stand back, holding each other and watching, as he blows a BREATH OF RIPPLING HEAT across her body. Her body relaxes but there is still no life. He grips her hand in his. SUPERMAN Live. He gives her mouth to mouth. SUPERMAN (CONT'D) Lois, come back, you come back to me... Nothing. He uses a SPRAY OF HEAT RAYS across her body, warming it more. (CONTINUED) --page break-- AND THE ANSWER IS... (#22) Green Rev. 4/11/95 49. 66 CONTINUED: 2 66 JACE (CONT'D) Guess it's true what they say. Reading _is_ fundamental. He turns and strolls down the hall. 67 INT. BUNKER ROOM - DAY 67 The gas is filling the room. The Kryptonite is on one side, Superman and the Kents on the other, right under the vent, as the Kents cough... (X) MARTHA (X) Clark! I've got an idea! Do you (X) have enough strength to freeze that (X) vent?! (X) SUPERMAN (X) I'll try. (X) MARTHA (X) Jonathan, get the Kryptonite! (X) He moves back across the room as Superman summons the very (X) last of his strength, then BLOWS an ICY JET of air at the (X) vent. It FREEZES white and -- (X) MARTHA (CONT'D) Throw it! At the vent! Jonathan winds up and throws the rock. It SHATTERS the vent like balsa and goes RATTLING AWAY. 68 INT. BUNKER HALL - DAY 68 The door is KICKED out. Superman and the coughing Kents emerge. Superman moves straight to Lois and kneels to her. MARTHA Oh, no... Lois... The Kents stand back, holding each other and watching, as he aims a diffused BEAM OF HEAT VISION across her body. Her body relaxes but there is still no life. He grips her hand in his. SUPERMAN Live. He gives her mouth to mouth. (CONTINUED) --page break-- AND THE ANSWER IS... (#22) Green Rev. 4/11/95 49A. 68 CONTINUED: 68 SUPERMAN (CONT'D) Lois, come back, you come back to me... Nothing. He USES HEAT VISION AGAIN, warming her more. (CONTINUED) --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 50. 68 CONTINUED 68 SUPERMAN (CONT'D) You come back now! Do you hear me, Lois, don't go! Don't go! Fight! More mouth to mouth. His face close to hers. No breathing. SUPERMAN (CONT'D) You are not dying an me, you are not giving up, now breathe! You breathe, dammit! Nothing. Stillness... then, a racking cough from her. She grips him hard and takes a ragged breath. SUPERMAN (CONT'D) That's right, that's it... Oh, my God... It's hard to tell if he's laughing or crying. He holds her, rocking her as her eyes open and the first thing she sees is his face. LOIS You were calling... I heard you calling... SUPERMAN Shhhhhhh, shhhhhh... Jonathan kneels and puts a hand on his son's shoulder. Martha brings a blanket from the bunker room and she and superman wrap it around Lois' shivering body. JONATHAN You get her to a hospital, we'll be fine. He nods and they're gone with an O.S. WHOOSH. 69 INT. JACE'S APARTMENT - DAY 69 Jace is on the phone, playing with the stack of diamonds on his desk. JACE How much is your biggest yacht? Really, that all? He moves past the window and doesn't see that Superman has just landed there. JACE (CONT'D) You sure you don't have anything bigger? (CONTINUED) --page break-- AND THE ANSWER IS... (#22) Green Rev. 4/11/95 50. 68 CONTINUED: 2 68 SUPERMAN (CONT'D) You come back now! Do you hear me, Lois, don't go! Don't go! Fight! More mouth to mouth. His face close to hers. No breathing. SUPERMAN (CONT'D) You are not dying on me, you are not giving up, now breathe! You breathe! (X) Nothing. Stillness... then, a racking cough from her. She grips him hard and takes a ragged breath. SUPERMAN (CONT'D) That's right, that's it... Oh, my God... It's hard to tell if he's laughing or crying. He holds her, rocking her as her eyes open and the first thing she sees is his face. LOIS You were calling... I heard you calling... SUPERMAN Shhhhhhh, shhhhhh... Jonathan kneels and puts a hand on his son's shoulder. Martha brings a blanket from the bunker room and she and Superman wrap it'around Lois' shivering body. JONATHAN You get her to a hospital, we'll be fine. He nods and they're gone with'an O.S. WHOOSH. 69 INT. JACE'S APARTMENT - DAY 69 Jace is on the phone, playing with the stack of diamonds on his desk. JACE How much is your biggest yacht? (X) He moves past the window and doesn't see that Superman has just landed outside. JACE (CONT'D) You sure you don't have anything bigger? (CONTINUED) --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 51. 69 CONTINUED: 69 He freezes. Turns. Sees. JACE (CONT'D) Call you back. (hangs up) Superman, I think you should know... I had a horrible childhood. SUPERMAN (moving toward him) It's going to seem idyllic... (hoists him) compared to your life in prison. He reaches in with his free hand and extracts the diary. Flips through at SUPER-SPEED as -- JACE Look, you better let me go or I'll tell the world you're Superman. SUPERMAN Well, I've decided I like my secret identity and since we live in skeptical times... He IGNITES the diary with a BLAST of HEAT VISION. SUPERMAN (CONT'D) ... where people demand proof... I'd say I'm pretty safe. And so is everyone close to me. Off Jace's reaction -- CUT TO: 70 INT. PLANET - CONFERENCE ROOM - DAY 70 Clark gives his parents a last good-bye hug. CLARK You guys are really okay? MARTHA Kidnapping, getting gassed... we're farmers, Clark, it takes a lot more than that to beat us down. JONATHAN How's Lois? (CONTINUED) --page break-- AND THE ANSWER IS... (#22) Green Rev. 4/11/95 51. 69 CONTINUED: 69 He freezes. Turns. Sees. As Superman steps in... JACE (CONT'D) Call you back. (hangs up) Superman, I think you should know... I had a horrible childhood. SUPERMAN (moving toward him) It's goinq to seem idyllic... (hoists him) ... compared to where you're going. (X) He reaches in with his free hand and extracts the diary. Flips through at SUPER-SPEED as -- JACE I'm not going anywhere unless you (X) want the world to know you're (X) Superman. (X) SUPERMAN I've decided that's not such a (X) good idea after all. You've (X) proven if the world knows too much (X) about me, people I care about can (X) get hurt. (X) JACE Not much you can do about that, is (X) there? I know the truth. (X) SUPERMAN Unfortunately for you, we live in (X) skeptical times, where people (X) demand proof (X) He IGNITES the diary with a BLAST of HEAT VISION. SUPERMAN (Cont'd) And you don't have any. (X) Off Jace's reaction -- CUT TO: 70 INT. PLANET - CONFERENCE ROOM - DAY 70 Clark gives his parents a last good-bye hug. CLARK You guys are really okay? (CONTINUED) --page break-- AND THE ANSWER IS... (#22) Green Rev. 4/11/95 51A. 70 CONTINUED: 70 MARTHA Kidnapping, getting gassed... we're farmers, Clark, it takes a lot more than that to beat us down. JONATHAN How's Lois? (CONTINUED) --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 52. 70 CONTINUED: 70 CLARK She's home, resting. Caught a little cold. We better get going, gonna miss our flight. Oh, that reminds me. 1, uh, hope you don't mind, Martha, but I used that gift certificate... MARTHA You used my gift certificate? JONATHAN To get you the book they're holding. He hands her a wrapped gift. As she opens it, father and son exchange sly smiles. The gift is a book on Italian art. JONATHAN (CONT'D) You like it? MARTHA Oh, anything from you, I love... JONATHAN The kidnapping kind of screwed up my plan but... the idea was, gift certificate to book... book is in Italian and hopefully we both know some Italian by the time we get back from... (Martha finds two plane tickets) ... Florence. MARTHA (stunned) Oh, Jonathan. She hugs him. Clark looks on at his parents, so in love. A wistful smile. 71 INT. PLANET - DAY 71 Clark leads his parents across the bullpen to the elevators as Jimmy and Perry look on. PERRY Heard from Lois? JIMMY Feeling better. (CONTINUED) --page break-- AND THE ANSWER IS... (#22) Green Rev. 4/11/95 52. 70 CONTINUED: 2 70 CLARK She's home, resting. Caught a little cold. JONATHAN We better get going, gonna miss our flight. Oh, that reminds me. I, uh, hope you don't mind, Martha, but I used that gift certificate... MARTHA You used my gift certificate? JONATHAN To get the book I had them (X) holding for you. (X) He hands her a wrapped gift. As she opens it, father and son exchange sly smiles. The gift is a book on Italian art. JONATHAN (CONT'D) You like it? MARTHA Oh, anything from you, I love JONATHAN The kidnapping kind of screwed up my plan but... the idea was, gift certificate to book... book is in Italian and hopefully we both know some Italian by the time we get back from... (Martha finds two plane tickets) ... Rome. (X) MARTHA (stunned) Oh, Jonathan. She hugs him. Clark looks on at his parents, so in love. A wistful smile. 71 INT. PLANET - DAY 71 Clark leads his parents across the bullpen to the elevators as Jimmy and Perry look on. PERRY Heard from Lois? JIMMY Feeling better. (CONTINUED) --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 53. 71 CONTINUED: 71 PERRY She or Clark tell you how they bagged this? He lifts the paper. Headline reads: HEIR KILLS EX-SPY. Pictures of Jace and Nigel. JIMMY They're a couple clams. PERRY You ever get the feeling we'll never really know everything that's going on with them? JIMMY Hey, Chief? PERRY Yeah? JIMMY Instead of always standing around watching Lois and Clark, wondering what they're doing, what if we... I don't know... got lives of our own that were a little more interesting? This stops Perry in his tracks. He looks at the lad. PERRY Son, you're shootin' a bullseye. It's like we're supporting character in some TV show that's _only_ about them... JIMMY ... and all we do is advance their plots... PERRY ... and I, for one, am sick of it. JIMMY (as they move off) Man, me, too. 72 EXT. PARK - NIGHT #2 72 Lois and Clark walk. A gentle breeze blows. Clark puts his arm around her. (CONTINUED) --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 54. 72 CONTINUED: 72 CLARK Chilly? LOIS No. He starts to draw his arm away but she snuggles closer. CLARK Lois, I've been thinking... LOIS Me too. CLARK What about? LOIS You first. CLARK Okay. They stop at a fountain. He looks at her. CLARK (CONT'D) I've been thinking about how when something bad happens, it makes you realize that most of what you spend your days worrying about doesn't matter at all... (pause) Almost losing you the way I did, I... I feel ashamed. LOIS Ashamed, why? CLARK I kept pushing you away, even when I promised I'd stop. And if you'd died not knowing how much I love you, I'd've never forgiven myself. Because you are the most beautiful, unique soul I've ever come across. (pause) Lois... It starts to THUNDER and LIGHTNING. Clark looks heavenward. CLARK (CONT'D) Oh, come on, give me a break here... (CONTINUED) --page break-- AND THE ANSWER IS... (#22) Pink Rev. 4/7/95 54. 72 CONTINUED: 72 CLARK Chilly? LOIS No. He starts to draw his arm away but she snuggles closer. CLARK Lois, I've been thinking... LOIS Me too. CLARK What about? LOIS You first. CLARK Okay. They stop at a fountain. He looks at her. CLARK (CONT'D) Sometimes you think you're (X) immortal and you start to think (X) the people around you are, too. (X) It can just take a second to (X) realize how wrong you are about (X) everything. (X) (pause) What I'm trying to say is, I (X) almost lost you, Lois, and I'm (X) ashamed. LOIS Ashamed, why? CLARK I kept pushing you away, even when I promised to stop. And if you (X) died not knowing why, I'd never (X) forgive myself. Because I love (X) you, Lois, and... (X) It starts to THUNDER, LIGHTNING and DRIZZLE. Clark looks (X) heavenward. CLARK (CONT'D) Oh, come on, give me a break... (X) (CONTINUED) --page break-- AND THE ANSWER IS... (#22) BLUE Rev. Prod. Draft 4/6/95 55. 72 CONTINUED: 2 72 LOIS Do you want to go back? CLARK If the Earth opened up at my feet, I wouldn't move till I'd finished saying this. (sits bar on edge of fountain) Lois... (he drops to one knee) will you marry me? He offers her a ring. The rain begins to beat down on them. She leans, so close her wet lips almost touch his. LOIS Who's asking? Clark... or Superman? Off his shock, and the cryptic look on her race we... SUPERIMPOSE: TO BE CONTINUED. _THE END_ --page break-- AND THE ANSWER IS... (#22) Pink Rev. 4/7/95 55. 72 CONTINUED: 2 72 LOIS Do you want to go back? CLARK If the Earth opened up at my _feet_, I wouldn't move till I (X) said this: (sits her on edge of fountain) Lois... (he drops to one knee) ... will you marry me? He offers her a ring. The rain begins to beat down on them. She leans, so close her wet lips almost touch his. LOIS Who's asking? Clark... or Superman? Off his shock, and the cryptic look on her face we... SUPERIMPOSE: TO BE CONTINUED. _THE END_