To pop everything into place... use Courier 10 (or 10 characters per inch) set top margin at 0.5", bottom margin at 0.5" (or minimums) (I had to tell the program that my primitive printer was using legal-size paper) left margin at 1" & right margin at 1" for pages---BEFORE TEASE Page For TEASE Page and after, left margin at 0.8 and right margin at .25 (or minimum) * and (X) used in script probably mean "this line changed from previous version" Notes: Cover: "Just Say Noah", Written by Brad Buckner & Eugenie Ross- Leming [and] Directed by David Jackson are all in large bolt print. The remainder of the text is in Courier 10 (10 characters per inch) Typos noted: "alright" misspelled frequently; should be "all right" --page break-- (graphic - insert logo.bmp or logo.jpg) "Just Say Noah" EPISODE FIVE Prod. #457405 Written by Brad Buckner Eugenie Ross-Leming Directed by David Jackson _Production Draft_ August 14, 1995 Blue Rev 8/16/95 FULL PINK 8/18/95 --page break-- _LOIS & CLARK_ "_Just Say Noah_" FULL PINK 8/18/95 _CAST_ CLARK KENT/SUPERMAN LOIS LANE JIMMY OLSEN PERRY WHITE MARTHA KENT JONATHAN KENT ___________________________________________________________ STAR LARRY SMILEY MICHELLE SITKOWITZ ARNOLD SITKOWITZ JEREMY KATHY BETTY BRIAN NUN PETE HANSEN * * CASSANDRA SMILEY --page break-- _LOIS & CLARK_ "_Just Say Noah_" FULL PINK 8/18/95 _LOCATIONS_ _INTERIORS_: _EXTERIORS_: Daily Planet Daily Planet Street Newsroom Perry's Office Sidewalk Cafe Lois's Apartment Movie Theatre Hallway Living Room Smiley Institute Campground Clark's Apartment Warehouse Rooftop Lois' Car * Cabin Entrance Gate * Cab Smiley Institute Reception Room Anteroom Warehouse Cabin --page break-- _LOIS & CLARK_ "_Just Say Noah_" FULL PINK 8/18/95 _CHRONOLOGY_ SC. 1 NIGHT 1 SC. 2 - 8 DAY 2 SC. 9 NIGHT 2 SC. 10 - 27 DAY 3 SC. 28 - 34 NIGHT 3 SC. 25 - 36 DAY 4 SC. 37 - 72 NIGHT 4 --page break-- _LOIS & CLARK_ _The New Adventures of Superman_ "Just Say Noah" TEASE FADE IN: 1 EXT. METROPOLIS MOVIE THEATRE - NIGHT #1 1 LOIS comes out of a door on the right side of the ticket box. She heads for a trash can on the sidewalk to dump her popcorn. CLARK appears from the left hand door and heads for the same place. As they meet: LOIS What are you doing here? CLARK Seeing a movie. LOIS Because it's oddly coincidental that of all the movies playing in all the movie theatres we end up at the same one. At the same time. CLARK Maybe it shows we have the same tastes. She starts walking briskly down the street. LOIS Except I walked out. CLARK (indicates himself) Yo. LOIS Well _I_ walked out because the plot was just warmed-over 'Bambi' without the political sub text. You? CLARK I fell asleep! What difference does it make why I walked out?! LOIS Because it shows how we look at the same thing differently! (CONTINUED) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 2. 1 CONTINUED: 1 CLARK I think we're completely in synch! LOIS Yeah, we're so 'in synch' that when you broke up with me, for 'my own good,' you figured 'Why bother talking to Lois about this life-altering decision, she probably knows it's best because we're so _in_ _synch_!! We're about as 'in synch' as the English in a Japanese horror film. CLARK Lois, I was wrong and I admit it. C'mon, you can't stay mad... LOIS Yes I can. You can fly, I can stay mad. It's a gift. They've reached the stairs to Lois' building, out of which comes a couple in their 30's, MICHELLE and ARNOLD SITKOWITZ, holding hands, laughing and chatting. MICHELLE Hi, Lois. LOIS Michelle. Clark, meet Michelle and Arnold Sitkowitz, my neighbors. MICHELLE The 'Clark' I keep hearing about. (X) May you two be as happy as Arnold (X) and me. ARNOLD (gazing warmly at her) Ten years and never a cross word. Suddenly they're kissing, completely losing track of Lois and Clark. Lois and Clark stare, wait for them to stop, they don't. Clark glances at his watch. LOIS It's... getting late. CLARK Yeah. They look at each other. Kiss? Shake hands? Where are we? (CONTINUED) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 3. 1 CONTINUED: 2 1 LOIS Well. See you tomorrow. He smiles, nods, a bit sad, passes Arnold and Michelle, still kissing. CLARK Nice meeting you. And he's gone. Lois glances over at Arnold and Michelle. LOIS Ten _years_? She goes inside. A beat, then: VOICE (O.S.) (echo; with import) Arnold and Michelle Sitkowitz.... Arnold and Michelle dazedly stop kissing, look around for the voice. ARNOLD Where'd that come from? A potted bush near the stairs bursts into flames. MICHELLE Look, Arnold, a burning bush. VOICE (V.O.) Do not be afraid, for you have been chosen. ARNOLD Chosen for what? Dense SMOKE pours from the bush as Michelle and Arnold reel and cough. A cab pulls up with an evil, wizened Driver, and two Thugs in gas masks jump out and wrestle a weakened (X) Arnold and Michelle into the cab. It SCREECHES off, and BLACK. _END OF TEASE_ --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 4. _ACT ONE_ FADE IN: 2 INT. LOIS'S APARTMENT - ON DOOR - MORNING - DAY #2 2 Lois opens her door en route to work, nearly running into a Cop heading down the hall. Puzzled, Lois trails after him (X) and comes upon STAR. The Cop continues on to an open doorway to speak to a distraught Woman. STAR You _do_ have an alibi for where you were last night. LOIS Alibi? Why do I need an alibi? STAR That lady with the cop? Michelle Sitkowitz's sister, Louise. She lives cross town and the Sitkowitz's were supposed to be at her place for poker last night. They play poker every Thursday... LOIS (amused) Does anything happen in this building you _don't_ find out about? STAR No. Anyway, Arnold and Michelle _never_ _made_ _it_. LOIS So? Maybe they did something else last night. STAR Michelle and Louise are very close. Michelle woulda called. Anyway, Louise got worried, so she came over _here_ late last night. The Sitkowitz's never came home. LOIS (now concerned) What? STAR That's right. Vanished. (CONTINUED) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 5. 2 CONTINUED: 2 LOIS Is there... anyone who'd wanna (X) hurt them? STAR They both teach horticulture. Who'd be angry with 'em? Plants? (X) LOIS I don't believe this! They're the (X) nicest people in the world. STAR Happiest couple I ever saw, except (X) for you and Clark. (off Lois' look) From time to time. (X) LOIS (starting toward Woman) Well, I hope Louise doesn't mind (X) my butting in... STAR What can _you_ do? (X) LOIS I'm a reporter! I can make some (X) noise about this. People (X) disappear in this city all the (X) time and no one seems to care. (X) That's not gonna happen to Arnold (X) and Michelle. (X) She marches down the hall, we... CUT TO: 3 INT. CLARK'S APARTMENT - MORNING 3 MARTHA and JONATHAN KENT are in town. She's unpacking goodies from home. Clark's tying his tie. MARTHA I unpacked some brownies for now and I'll freeze the rest. Oh and (X) my homemade applesauce is in the fridge, too. CLARK Mom, every time you guys pass through town, you bring me enough food for the winter. (CONTINUED) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 6. 3 CONTINUED: 3 MARTHA It's what we do, Honey. Take care of our son with his favorite foods, good advice, and unconditional support. No big deal. CLARK I wish the rest of the world worked that way. A guy makes one, admittedly big, mistake, and suddenly I'm pond scum. Bam! The door slams in my face and the Supreme Court isn't hearing any more appeals. JONATHAN Trouble with Lois, huh? CLARK Remember that great idea I had about breaking up with Lois? 'Cause being close to me put her at risk? JONATHAN Yeah, we were afraid that wouldn't sit too well. MARTHA You said you'd tell her you were wrong and everything would be fine. CLARK Yeah, well everything's not fine! We're hardly speaking! Don't you think she's making a mountain out of a molehill? (off their uncomfortable silence) Folks? MARTHA Frankly, I have to go with Lois on this one, Clark. Jonathan? CLARK Dad? JONATHAN I have to go with your mother. CLARK This isn't how it works. You're (X) my parents, you side with me. (CONTINUED) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 7. 3 CONTINUED: 2 3 MARTHA We _are_ on your side in the big picture. We want you to be happy and Lois makes you happy. Unless you make her unhappy. Then she makes you unhappy. And that makes us unhappy. JONATHAN Son, love and marriage are a partnership. Both people are equal in the partnership. Bottom line, they make their decisions together. CLARK So you're saying I should go crawling back on my hands and knees. MARTHA No, sweetheart. Fly back. It's faster. CUT TO: 4 INT. DAILY PLANET - PERRY WHITE'S OFFICE - DAY 4 PERRY is reading copy, while keeping one eye on some disaster playing silently on TV in b.g. Lois enters. LOIS Chief, I really do want to devote some time to the Sitkowitz disappearance... PERRY (still reading) So you said. Lois, I'm sure your neighbors are lovely people, but this isn't exactly hard news. LOIS (glancing at paper) I think it is! Would it surprise you to know that of the five hundred thirty-one missing persons last year, a fairly large percentage were married couples? Not lost children, not ransom victims, but married couples. What's _happening_ to them? (CONTINUED) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 8. 4 CONTINUED: 4 PERRY You're reaching, Lois. (glancing at TV) Sshh. My man, Larry Smiley. He uses the remote to raise volume. On TV is a back-lit couch with three people in silhouette. LOIS ANNOUNCER (V.O.) Larry Smiley? ...And now, the Isn't he the guy world's foremost who runs that expert on what it place... The takes to make Institute of Love that relationship and Dependence? work... Larry Smiley! APPLAUSE from audience, MUSIC as light comes up on a CLOSE UP of LARRY SMILEY, 401's, energetic, jock-like, in baseball cap, seated beneath a portrait of CASSANDRA SMILEY, 60's. PERRY Commitment. Love and Commitment. Man's a visionary. Alice and I (X) went to his retreat, and it sure (X) opened our eyes. (X) 5 INTERCUT TV SCREEN 5 SMILEY Just by using the simple steps I learned at the knee of my beloved Mama... (indicates portrait) Who made her marriage a true (X) romance. But don't take my word for it! Talk to folks like my guests here to get the straight poop. SHOT has widened to include Larry's guests, Michelle and Arnold Sitkowitz. LOIS (stunned) That's them! Michelle and Arnold! (X) She told me last month she taped (X) something I didn't know it was (X) this... MICHELLE Larry, Arnold and I always thought (X) we had the perfect marriage... (X) (CONTINUED) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 9. 5 CONTINUED: 5 ARNOLD Ten years and never a cross word. (X) MICHELLE But thanks to your lessons of (X) sharing and unity we now are (X) unified in our sharing. SMILEY And you joined the team and scored as winners in the Love and (X) Commitment All Stars. 6 THE ROOM 6 LOIS They sounded like they really (X) believe in this guy. PERRY (snapping off TV) Without Larry, my marriage woulda been a shut-out, but we're headed into extra innings. CLARK Morning, Chief (sensing the coolness) Lois. Listen, I can come back... PERRY No, no... I've been meaning to talk to you two. (with import) 'Negative thoughts breed negative results. (off their blank looks) Larry Smiley's Play book on Marriage, third chapter. I can't help noticing the chill between you two, and believe me, you need a friendly ear to bend, I'm it. But just don't let whatever it is hurt your work. LOIS Chief, I think Clark and I are professional enough to behave, uh, professionally. (CONTINUED) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 10. 6 CONTINUED: 6 PERRY Good, because partners have to know they can count on each other, trust each other... Clark is HEARING a call for help. CLARK (an appeal to Lois) Cover... for... each other. (quickly backs toward door) Geez, look at the time. I gotta go get... LOIS (reliably) ... Choco-Chocolate Monster Chip (X) Ice Cream. Clark stares at her like she's nuts. She shrugs back; best she could do on short notice. (X) LOIS (CONT'D) Go. Before they sell out! (X) Clark smiles weakly, dashes out. PERRY (awed) You know, that boy'll walk on water for you. Or drown trying. CUT TO: 7 EXT. DAILY PLANET STREET - DAY 7 Smoking cars are piled up on the street, with SUPERMAN pulling a Man out of the rubble. Terrified Nuns stand staring at their mini-van, in the heart of the mess. Lois exits The Daily Planet. Distant SIRENS. Superman sits the Man on the curb, makes sure he's okay, stands, as: SUPERMAN Hi, where're you off to? LOIS The interview. They both keep looking around, speaking under their breath, trying not to be observed. Superman keeps smiling, waving to well-wishers who wave, give him "thumbs-up," etc. (CONTINUED) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 11. 7 CONTINUED: 7 SUPERMAN What interview? LOIS Didn't I tell you? SUPERMAN No, but since you're barely speaking to me, I guess this is one of the things you barely spoke to me _about_. LOIS I want to talk to friends and relatives of some of the other (X) missing couples... See if there's a common link of any kind... We're due at the Metropole Cafe at noon... SUPERMAN (indicates street) Lois, I'm working... Excuse me. He dashes off to where smoke pours from a car, disperses it with SUPER BREATH. Meanwhile a NUN has come up to Lois. NUN Oh, he's somethin', isn't he? LOIS (a weak smile) Yes. NUN Thanks to him, the Sisters and I will still be able to bring our toy collection to the orphanage. Superman is a national treasure. Superman returns. The Nun grabs him, gives him a kiss on the cheek, goes. A cop car and ambulance arrive. LOIS You know how wonderful it feels being angry with a 'national treasure?' SUPERMAN People like me. Can I help it? You used to like me. (CONTINUED) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 12. 7 CONTINUED: 2 7 LOIS I still like you! But I'm upset, and even though it is your fault, I feel like it's mine! Good ol' Clark! Good ol' Superman! Crabby ol' stubborn Lois! And even if I could tell someone the issue, which I can't, they'd _still_ think _you're_ the good guy and I'm... SUPERMAN Uh, hang on... He dashes off, she clutches her head. NUN Sisters, look! He's saving the toys from being scorched. LOIS (throwing up a hand) Of course. Superman returns with two huge bags, sets them on the sidewalk, where the Nuns fall to inspecting them. SUPERMAN I'm sorry, you were saying? LOIS (calmly) Nothing. I'm going to be a professional. And go to the interview. And internalize my feelings so I can have an ulcer the size of Cleveland. She goes to her car, climbs in. SUPERMAN (shaking his head) Earth women. CUT TO: 8 EXT. SIDEWALK CAFE - WITH LOIS - DAY 8 She hurries down the street, pulling tape recorder and notebook from her bag, then stops, sees Clark sitting at a table with PETE HANSEN, brother of another missing couple. (CONTINUED) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 13. 8 CONTINUED: 8 LOIS (to Clark, sitting) I guess you had no trouble 'Parking.' CLARK Mr. Hansen here says his brother and sister-in-law vanished last month. They were struggling artists. Had only been married a year. Moved here from Sweden. LOIS (eying notes) So in other words, they had absolutely nothing in common with the Sitkowitz's. (to Hansen) By any chance did they have a wonderful, seemingly perfect marriage? HANSEN Oh no, not at all. LOIS (to Clark) It was a shot. HANSEN In fact, until two months ago, Inga even spoke of divorce and moving back to Sweden. LOIS What changed her mind? HANSEN A place called the Larry Smiley Institute.... LOIS ... For Love and Commitment. They went there? HANSEN They said this Smiley fellow restored their relationship. He rebuilt their trust in one another and promised them a hopeful future. LOIS Yeah, and then they disappeared. CUT TO: --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 14. 9 INT. CORNER OF WAREHOUSE - NIGHT #2 9 Shadows and gloom. Arnold Sitkowitz is dragged by the dark-clad Henchmen in from darkness, passing between two flaming altar torches. He struggles to no avail. ARNOLD What is this?! What do you want with us?! Then he stops, staring in shock. ARNOLD (CONT'D) (hollow) Oh no. Oh my God. CAMERA ARCS to reveal a clear plastic tube stands upright, connected to tubes and wires and glowing with a blue mist. Inside, supported by braces at neck and waist, is Michelle Sitkowitz, eyes closed, motionless. ARNOLD (CONT'D) Michelle!! Stricken, he can only stare as a second tube is wheeled from the shadows. Arnold is wrestled into the tube, locked into the braces, and a clear panel slid shut. A blue mist begins filling the tube. Stepping into the foreground is a silhouetted shape, just head and a shoulder. Arnold notices, stares, his eyes filling with utter astonishment. BLACK. _END OF ACT ONE_ --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 15. _ACT TWO_ FADE IN: 10 INT. DAILY PLANET - ON ELEVATORS - DAY #3 10 The doors open and Lois charges out holding two 8x10 group photos with printing at the bottom. Clark crosses from bullpen, carrying a thick stack of computer print-outs. (X) CLARK Hi. LOIS (heading for her desk) Come see these. I got hold of a (X) group photo of the Sitkowitz's when they were at the Larry Smiley Institute, and another of the Hansen's with their group.... CLARK (following her) I had the computer narrow the missing persons for the past two years down to just the missing married couples... LOIS ... We can cross-reference the names on these pictures with your list of missing couples and see if anything matches. CLARK Is this the kind of conversation (X) we'll be having from now on? We (X) sound like characters from 'The X Files.' LOIS (smiles, takes print-out) I'll run this downstairs for the cross-check. (X) He takes the print-out back from her. (X) CLARK (patiently) (X) Lois... (X) Clark glances at the names on the photos, then, in an instant, flips through the thick print-out, scanning it, looks up at her with concern. (X) (CONTINUED) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 16. 10 CONTINUED: 10 CLARK (CONT'D) (soberly) Four matches. CUT TO: 11 INT. PERRY'S OFFICE - ON GROUP PHOTOS - DAY 11 The photos are in Perry's hands, PULL BACK to find Lois and Clark standing before his desk, as: LOIS And from these two photos alone, _four_ couples have vanished in the past two years! Who knows how many have disappeared from _other_ sessions at the Institute? Perry, _you_ might even be at risk. (X) PERRY Oh, come now. Lois, if there was (X) anything sinister there, don't you (X) think an old news hound like me woulda sensed it? CLARK Maybe. Or maybe it's just really (X) well hidden. PERRY (considering) (X) Yeah... possibly. If you were (X) gonna snoop around it'd have to be (X) an undercover sniff-it-out kinda (X) thing. CLARK That's not exactly what I was... PERRY (picks up phone) I'll make arrangements for you to join the next retreat as a married couple. LOIS (quickly) I don't think that's such a good idea, Chief... CLARK Not right at this moment, Chief. (CONTINUED) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 17. 11 CONTINUED: 11 PERRY Oh? Why? Surely not for personal reasons since you both said _nothing_ would get in the way of your professionalism... LOIS (uncomfortably) No, no... We just don't think it's a good idea. PERRY (cheerfully) And your sentiments are duly noted. (dialing phone) You guys wanna run home and pack? CUT TO: 12 INT. LOIS' CAR - LOIS AND CLARK - ROLLING - DAY 12(X) Clark drives, Lois studies pages of a handwritten letter. CLARK It's great getting outta the city for a while. I love the mountains. Big trees... Fresh air... Smell of campfires... (off her silence) Yessir. Love those mountains. (beat) I could get mad myself, you know. I could say you're overreacting here, okay, not a lot, a little... And I could get pretty darn mad, too. LOIS (calmly glancing up) But your anger would be (X) unjustified. Mine is justified. (X) And therefore righteous. That would be the difference. She goes back to reading. CLARK Oh, well, this trip is just going to be _so_ much fun. (CONTINUED) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 18. 12 CONTINUED: 12 LOIS (studying letter) Michelle Sitkowitz wrote a letter to her sister while she was at the Smiley Institute. (reads) '... There's something eerie about (X) this place, Louise. Something not (X) quite right. But maybe it's just (X) me. Arnold says coming here is the best thing we ever did.' (gravely looks up) I wonder what scared her. DISSOLVE TO: 12A EXT. SMILEY INSTITUTE ENTRANCE GATE - DAY 12A Lois and Clark drive into the wooded compound. 13 EXT. SMILEY INSTITUTE COMPOUND - TRACKING - DAY 13 An Attendant, JEREMY, wears khakis and a long-sleeved t-shirt emblazoned with a large heart in which are the initials L.S.I.L.C. He leads Lois and Clark on a trail through trees, beyond which we see hints of tiny cabins. JEREMY Each of our guests goes by the name of an animal species, symbolic of the primal urge to mate and further the species. Larry wants two of every kind. You guys'll be known as 'The Hawks.' (meaningfully) They mate for life. CLARK (quietly, to Lois) You know what the Sitkowitz's were called? LOIS 'The Badgers.' They reach the steps of a cabin. JEREMY Here we are. I'll just write your code name on the doorway and you'll be... (CONTINUED) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 19. 13 CONTINUED: 13 He's about to write an the large piece of blank adhesive tape on the doorway; Clark tips glasses, peers at the tape. (X) CLARK Nope. JEREMY/LOIS What? CLARK We don't like this cabin. LOIS Clark, it's fine. CLARK _Honey_. It faces east, the winds are from the south, you know how you get. He is watching her fixedly, she hasn't a clue, but: LOIS (to Jeremy) I get ugly. Darn ugly. ON Jeremy's dazed look, DISSOLVE TO: 14 EXT. SECOND CABIN - DAY 14 (They're all identical, so it could be the same structure.) Jeremy leads them to the door. JEREMY (patience waning) Sir, I'm running out of cabins. Perhaps this one will... CLARK (staring at tape) This'll be great. (turns to Lois) Won't it, Punkin. She smiles weakly as Jeremy sourly writes "HAWKS" on the tape, starts away, during: JEREMY Fine. Your bags'll be up in a few minutes. Enjoy your stay. (MORE) (CONTINUED) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 20. 14 CONTINUED: 14 JEREMY (CONT'D) (glancing back as he goes) Hope things work out. He's gone, Lois turns to Clark. LOIS Okay, what was that all about? CLARK You said the Sitkowitz's were the Badgers? He lowers his glasses, gazes at "HAWKS" tape. 15 CLARK'S X-RAY POV 15 CAMERA seems to ZOOM through a dozen layers of names, sitting transparently on top of each other, then: 16 BACK TO SCENE 16 Clark pulls several layers of tape off at once, revealing "BADGERS." Lois leans in close to stare. LOIS This was their cabin! CLARK (modestly) Thought it might be useful... 17 INT. LOIS AND CLARK'S CABIN - DAY 17 Basic, rustic, cozy. Lois races inside, not noticing her dress catching on a nail in the doorway. RIP! A long tear. CLARK Lois, your skirt.... She's hot on the trail, preoccupied. LOIS It's okay, I'll change... (stares at bed; a little sad) Awww, this is where they slept. Arnold probably sat in that chair... Happy he came here. (MORE) (CONTINUED) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 21. 17 CONTINUED: 17 LOIS (CONT'D) Michelle sat at this desk... Scared of something and writing her sister about it. Lois stares at the desktop, runs her hand over it. LOIS (CONT'D) Look how soft the wood is, you can see imprints of... years of writing. (an idea) Clark... Think you could separate out Michelle's handwriting from all the others... Using your vision gizmo? She fishes the letter from her purse. CLARK Lois, 'vision gizmo' doesn't sound particularly... cool. You know? But he lowers his glasses, stares first at Michelle's letter, then at the desk, and: 18 HIS TELESCOPIC POV 18 Layers and layers of at first meaningless scribble jump and shimmer, turning from distinct forms to translucent grays until the inprint of Michelle's letter, starting "Dear Louise," is very distinct. 19 BACK TO SCENE 19 He continues to stare. CLARK Got it. This is where she wrote it, alright. LOIS (excited) Anything else? Maybe she kept a journal or something. 20 HIS TELESCOPIC POV 20 Now visible are the words: "Kathy 4:30. The Meditation (X) Tree" --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 22. 21 BACK TO SCENE 21 CLARK (studying desk) There's one more thing in her handwriting: 'Kathy. 4:30. (X) Meditation Tree' (X) LOIS I guess she was seeing this 'Kathy' at 4:30. But who's Kathy? (X) JEREMY (O.S.) Male and Female Hawk? They whirl, as: 22 NEW ANGLE 22 Reveals Jeremy dropping a small suitcase, garment bag and briefcase the doorway. JEREMY Your bags. LOIS (crossing to bags) Good, I've gotta change. Thanks. JEREMY The First Session's starting now. Lois lifts the garment bag to reveal only Clark's things. LOIS Wait a minute... Where's my suitcase... ? (turns to Clark) Where's _my_ suitcase?? JEREMY Gotta go, people. (X) CUT TO: 23 INT. RECEPTION ROOM - ON PORTRAIT OF CASSANDRA SMILEY - DAY 23 She gazes severely from the ornate frame as we WIDEN, and: SMILEY 'Harmonicity.' Now put away your Funk & Wagnalls, that ain't English, it's what I call a 'Larryism.' (CONTINUED) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 23. 23 CONTINUED: 23 The room is rustic, lodge-like, with huge bookcases on one wall. Appreciative chuckles from the couples seated all around, cross-legged, on the floor. Larry, in baseball cap, is seated in an easy chair on a low platform, behind him is the portrait. Attendants move about the room, setting out refreshments, making name badges, etc. SMILEY (CONT'D) 'Harmonicity, is a blend, if you will, of complimentary desires. (nod to portrait) And as my dear mama would tell ya, that's what nature meant marriage to be. How 'bout it, folks? We got harmonicity? Excited nods and smiles. SMILEY (CONT'D) Well heck, then take hands! Smile on yourselves! They hold hands, bob heads, smile like crazy. SMILEY (CONT'D) Mama! Darn if I can't feel it! I feel the harmony! I feel the love! CLARK (O.S.) It's not like I did it on purpose! LOIS (O.S.) I left my bag right there on the stoop! All eyes turn to the arched entry to a vestibule. CLARK (O.S.) I thought you put it in the car! And they appear. Lois wears a pair of Clark's khakis and a chambray shirt. She actually looks cute, but don't try telling her. LOIS Maybe subconsciously you felt the need to... They freeze, aware everyone's staring. SMILEY Male and Female Hawk. And not a moment too soon. (CONTINUED) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 24. 23 CONTINUED: 2 23 CLARK Oh, hi. He and Lois sheepishly start to sit. SMILEY No, no, stay standing, let's get right to work. Now 'round here we speak 'Bluntspeak,' and that's a... what?... Hands up all around, Smiley points to a woman, BETTY, sitting with her husband, BRIAN. (X) BETTY 'Larryism!' SMILEY Right you are, Female Lemur! Excited murmurs and light applause. Lois and Clark look at each other. SMILEY (CONT'D) And bluntly speaking, you two have gotta stop dressin' alike! I mean honey, look at yourself. Do you hate your feminine side? LOIS What? No! CLARK Look, she's very feminine... SMILEY Ah! See, this is what I call the 'Echo Pattern.' She says something and you gotta chime in. That pretty much how it works? LOIS No! CLARK 'Course not! They stare at each other as Smiley smiles knowingly at the group who cluck their tongues and nod sadly. (CONTINUED) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 25. 23 CONTINUED: 3 23 SMILEY Son! Don't allow this! Sing your own song! Takes _two_ tones for... (to group) What?? GROUP HARMONICITY!! SMILEY Harmonicity! (gestures for Lois and Clark to sit) Let's close our eyes and go to that safe place where we find our own pare tone. Everyone closes their eyes, including Smiley. 24 LOIS 24 She opens one of her eyes. 25 INTERCUT HER POV 25 An attractive young Attendant with a "KATHY" name badge, finishes filling paper cups from a pitcher. Lois nudges Clark. LOIS (hissing) It's 'Kathy!' 26 THE ROOM 26 Betty's hand immediately goes up. BETTY Larry! Larry! Female Hawk is whispering! All eyes open, Smiley stares at Lois reproachfully. SMILEY Female Hawk. Honey, you're ridin' a horse called 'Domination' and won't get off. (to group) Does she need a time out? Lois watches Kathy head out through the vestibule, as: (CONTINUED) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 26. 26 CONTINUED: 26 GROUP Yes!! SMILEY (to Lois) Step on outside, Female Hawk, and return when you're a-singin, with the choir. LOIS (eagerly heading out) Really? Do I have to? Shucks. She's gone. All eyes turn sympathetically to Clark. SMILEY You got a tiger by the tail there, boy. CUT TO: 27 EXT. INSTITUTE COMPOUND - WITH KATHY - TRACKING - DAY 27 Carrying a clipboard, she crosses the grounds as Lois catches up with her. LOIS Kathy? KATHY (stops) Hmm? Oh hi, Female Hawk. LOIS Hi. We're having _such_ a great time here... Friends of ours recommended it. Michelle and Arnold Sitkowitz? Kathy suddenly sobers, fear creeping into her eyes. LOIS (CONT'D) (watching her) Wonderful people. Ever have a chance to talk to them? KATHY No. Never. I don't know them. LOIS Are you sure? I could swear they mentioned you... (CONTINUED) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 27. 27 CONTINUED: 27 KATHY I don't know them! Really scared, Kathy hurries off as Lois stares and we CUT TO: 28 INT. WAREHOUSE - ON ALTAR STAND - NIGHT #3 28 A torch is put to the altar stand and a flame leaps up as CAMERA PULLS BACK to find Larry Smiley, surrounded by the Institute Attendants, including Jeremy and Kathy. It's dark and shadowy. Behind Larry is a pair of curtains and next to him a red phone on a stand. SMILEY Fire. Symbol of light where there was darkness. Warmth where there was cold... He walks among them, turning his attention to Kathy. SMILEY (CONT'D) And most assuredly, the purification of the impure. (touching Kathy's face) Hear that, Kathy? Betrayin' my trust would be an _awful_ impure thing to do. KATHY (trembling) Larry, I'd never betray your... SMILEY Wouldn't, you honey? You real (X) sure about that? (X) (gazing into her eyes) You mess with fire, you're gonna (X) get burned. (suddenly faces phone) Whoa! Hear that? The phone! The phone hasn't rung, but everyone assures Larry they heard it: "oh yes!" "Loud and clear, Larry," etc. Larry rushes to the phone, answers it. SMILEY (CONT'D) (into phone) Hello? Yeah, Boss, Smiley here. Uh-huh, uh-huh... You don't say. (MORE) (CONTINUED) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 28. 28 CONTINUED: 28 SMILEY (CONT'D) Okay, I know you're busy, say 'hi' to everyone for me. (hangs up; to group) Yep, yep, that was God. Applause and smiles all around. SMILEY (CONT'D) (building) God has news. Seems everyone in heaven's talkin' about us! Everyone in heaven's sayin' 'Them (X) Smiley people are gonna be the rulers of the New Dawn!!' That's what I promised you, isn't it? A place by my side in a better world?! (X) Applause, whistles. CAMERA MOVES IN ON SMILEY. SMILEY (CONT'D) Boys and girls, the day is at hall. The countdown has started. He spins to a cylindrical curtain behind him. (X) SMILEY (CONT'D) Darlin', did ya hear? We're (X) almost there! (X) The curtain begins to rise, before revealing what's within: (X) 29 CURTAINS' POV OF SMILEY 29 His arms are spread as curtain clears CAMERA and he stares, (X) transfixed. The Attendants smile in awed silence. SMILEY (CONT'D) The New Dawn! I'll meet ya for bacon and eggs!! CUT TO: 30 EXT. DAILY PLANET - NIGHT 30 Perry, in tuxedo, hurries out, followed by JIMMY. (CONTINUED) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 29. 30 CONTINUED: 30 PERRY Those photos don't come, tell 'em to lock the front page and roll! (glances at watch) Where is she? JIMMY I thought you hated the symphony. PERRY I do, Jimmy, that's why I'm in this monkey suit waitin' for my wife, who loves the symphony, and with whom I'm on thin ice, so I can (X) plunk down a thousand smackers for bad seats on a charity opening night. When you're married, this will make sense. A cab pulls up with a silhouetted Woman in the rear. PERRY (CONT'D) Hello, Dumplin'. JIMMY H'lo, Mrs. White. I'll stay 'til we roll, Chief. He goes back inside, grinning, as Perry climbs in the cab. CAMERA MOVES AROUND to reveal the same wizened Driver. 31 OMITTED 31 32 REAR OF CAB 32(X) Yellow gas WHOOSHES up inside as: (X) PERRY Judas Priest! What in blazes is goin, on?!! Perry pounds the glass dividing front seat from back, then (X) on the side window, rattles door. Alice slumps against him. PERRY (CONT'D) Alice! (X) Perry looks around in confusion, stares pleadingly out the (X) side window, growing faint as the cab SCREECHES away from CAMERA, rounds a corner and vanishes. (X) BLACK _END OF ACT TWO_ --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 30. _ACT THREE_ FADE IN: 33 INT. LOIS AND CLARK'S CABIN - NIGHT 33 Lois, in one of Clark's t-shirts, lies in bed. LOIS Scared to death. I just mentioned the Sitkowitz's names, Kathy went white as a sheet. PAN TO Clark, in cut-off sweatshirt, draped between two wicker chairs, looking miserable. CLARK Well, I scanned the place, and no sign, no sound of 'em. Either they're not here, or they're in a lead-lined room... LOIS (soberly) Or they're dead. Clark shifts, tries to get comfortable, leaps up in a frenzy of blankets and pillows, points accusingly at the chairs. CLARK This is not a bed! LOIS (pleasantly) No, this is a bed. CLARK A... kind of large bed, actually. LOIS And this is business. CLARK Okay, fine. You think I can't handle this? I can handle this. And he stretches out in thin air as if climbing into an upper bunk. Lois sits up, stares. He puts his hands behind his head, floating, comfy. LOIS (flopping back) Your life is so strange. (CONTINUED) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 31. 33 CONTINUED: 33 CLARK And getting stranger by the minute. (facing her) Lois, for me flying is a piece of cake. I've been doing it since high school. If I screw up, what's the worst that can happen? Lose a little altitude? (he demonstrates a bit of drop) But being in a relationship is new. If I blow it with you... I lose everything. LOIS (softening) Look, Clark... I'm actually not as good at romance as I might look... CLARK (stifles a smile) Really? LOIS I mean, my life's basically been about work. So I'm trying to figure this out, just like you are. He smiles, floats a little nearer. CLARK So we'll... help each other... LOIS I know I don't always respond appropriately... CLARK (floating closer) Hey, me neither... LOIS ... I don't always know how to express how I feel... CLARK (floating closer) ... I get so tongue tied sometimes! It's heating up; but before she completely thaws: LOIS But I do know you broke my heart. (CONTINUED) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 32. 33 CONTINUED: 2 33 He suddenly halts, mid-air, as she looks over at him. LOIS (CONT'D) And you have to let me work that through. And not expect me to just snap out of it. He floats back over by the chairs. CLARK (softly) I will. And I don't. (beat) Good night, Lois. LOIS 'night, Clark. DISSOLVE TO: 34 EXT. COMPOUND - NIGHT 34 Late. Lights are out. 35 INT. LOIS AND CLARK'S CABIN - NIGHT 35 Lois and Clark are both asleep. Clark floats by the open window. A breeze WHISTLES through the trees, the curtains flutter. It pushes Clark toward the bed until he is floating directly over Lois. Clark turns in his sleep onto his stomach; he is now directly facing Lois. She stirs in her sleep, her eyes open, she finds herself face-to-face with a floating man. LOIS Aaaah!!! Clark wakes with a start. CLARK Whaaaa....!! Startled, he falls out of the air and onto Lois. Much thrashing of limbs and blankets as: LOIS What're you doing?! 36 INT. NEIGHBORING CABIN - ON BED - NIGHT 36 Brian and Betty listen to the commotion next door. (CONTINUED) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 33. 36 CONTINUED: 36 LOIS (O.S.) Will you please get off of me?! CLARK (O.S.) If you'd hold still a second, I would!! BRIAN (sympathetic) Hey pal, been there. 37 LOIS AND CLARK'S CABIN - NIGHT 37 Clark climbs off the bed, Lois glares. CLARK It was an accident! LOIS Fall when you're floating?! It's not possible! CLARK Well I guess you must be better at it than me! LOIS Alright, alright... I was just scared... Let's calm down... A rock flies through the window, sends a lamp SMASHING to the floor. Lois screams again. CLARK It's okay! It's just a rock! LOIS You know, in Metropolis I sleep like a baby?! What's so relaxing about the stupid mountains?! Clark has retrieved the rock, pulled a paper from it. CLARK (reading) 'Meet me at the Meditation Tree (X) tomorrow at midnight. (looks up) It's signed... 'Guess Who?' CUT TO: --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 34. 38 INT. CORNER OF WAREHOUSE - NIGHT 38 A blindfolded Perry emerges from the shadows, held by two of Smiley's Henchmen. PERRY If this is some pathetic bid for notoriety, I'm telling you now the Daily Planet will not deal with kidnappers. The shove him into a chair, CAMERA PULLS BACK to include Larry Smiley in the f.g. The blindfold is removed. SMILEY Greetings, Male Wombat. PERRY Larry Smiley! SMILEY Things okay with you and Female Wombat? PERRY (confused) Uh-huh. Sure. Where is Alice, Larry? Is this a spot progress check or somethin'? 'Cause lemme tell you, you're taking years off my life here. SMILEY But you'll gain 'em all back. In the New Dawn. PERRY The New _what_? SMILEY It's where we're all goin'. All the most promising graduates of the Larry Smiley Institute for Love and Commitment! I got me two of every kind. Doctors, teachers, farmers, lawyers, artists... And you. A real thinker and a visionary! You of all people can see where I'm headed! PERRY To a quiet little room with rubber on the walls. (CONTINUED) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 35. 38 CONTINUED: 38 SMILEY Don't rile me, boy, I'll leave you to drown. PERRY _Drown_? SMILEY Didn't I mention? I'm floodin' the earth. PERRY (jumping up) Well, I'll just grab my wife and go now, thanks... The Henchmen grab his arms. SMILEY All life as we know it will end. Know how many couples I've seen (X) over the years? Thousands. (X) Nothin' but cheatin', (X) philanderin', lousy attempts at mating that do nothin' but pollute the species! God made it real (X) clear what I gotta do! Start over! Get rid of everyone! (X) (indicates Perry) Except for The Chosen. PERRY Larry, Larry.... Stay with me, son. You can't flood the earth, it's not possible. SMILEY You know, part of the advantage of healin' the famous and the accomplished is the little devils are capable of buildin' the darndest things. He clicks a button on a remote control and lights come up on a huge, sleekly sinister machine with a ray-emitting tube. SMILEY (CONT'D) Behold... The Aquaplus 1000 storm-maker. Neat, huh? (CONTINUED) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 36. 38 CONTINUED: 2 38 PERRY (beside himself; struggling) Dammit, man! Where's Alice?! I wanna see her now!! Larry shrugs, and as CAMERA PULLS BACK, he clicks another button. Lights come up on a plastic tube in the f.g. in which Alice stands motionless, back to us. Perry shakes off the Henchmen and approaches the tube, stunned. PERRY (CONT'D) What have you done to her? SMILEY Suspended animation. Her vital signs are hoverin' just above death. Like all the others, she'll be revived when the waters recede, and a New Dawn breaks. With a roar, Perry lunges at Smiley, but is grabbed by the Henchmen. Light comes up on another tube in the b.g. Perry stares in horror as he is dragged toward it. Larry reacts as if the phone had rung, grabs it. SMILEY (CONT'D) (into phone) Hello? Yessir? Monday? I can (X) flood the earth Monday, I got (X) nothin' else doin'. CUT TO: 39 INT. LOIS AND CLARK'S CABIN - LOIS - MORNING - DAY #4 39 Lois awakens, and CAMERA PULLS BACK to find she's alone. LOIS Clark? The door swings open and Superman floats in, carrying her luggage. He gives a small puff of air, the door closes. LOIS (CONT'D) You're sure racking up those frequent flyer miles. (re luggage) That is just so sweet. SUPERMAN I know. (CONTINUED) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 37. 39 CONTINUED: 39 KNOCK, door opens and Betty's there. (X) BETTY Group time! Ready? (notices) Superman! Female Hawk, you know Superman? LOIS (crosses to bathroom) Well, yeah, kind of. We have the same dentist. (bangs on door) Clark? You outta the shower? Superman's _leaving_... Jeremy comes up. BETTY (an idea) Oh! Oh! You know what would be (X) great? Superman could join our session! JEREMY _Superman's_ here? (X) BETTY _So_ many people here could (X) benefit from your fairness and wisdom... LOIS SUPERMAN No, no, he really I'm real late for has to be going. a thing I... JEREMY Isn't your _job_ to help people in need? CUT TO: 40 INT. RECEPTION ROOM - THE GROUP - DAY 40 CAMERA MOVES around the group, seated on the floor, finding an uncomfortable Superman with Larry Smiley on the platform. BETTY I just want Brian to make me feel validated, is all... (CONTINUED) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 38. 40 CONTINUED: 40 BRIAN You want validation, go to a parking lot! This is the same argument we've been having for weeks. I take a job for more money and better benefits, and she complains because we didn't discuss it, BETTY The job is in Tibet! All I'm saying is, we shoulda talked it through. LOIS (without thinking) I hear you there. All eyes turn to her. SMILEY (sighs) Female Hawk. Must you? LOIS Sorry. SMILEY (to Superman) She's a challenge. BRIAN Okay, so maybe I was rash! I said I was sorry! I only had our best interest at heart. LOIS Ha! Again the eyes turn to her, Superman looks heavenward. LOIS (CONT'D) None of my business. Sorry. BETTY Superman, what do you think? Cries of agreement, "hear, hear," etc. (CONTINUED) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 39. 40 CONTINUED: 2 40 SUPERMAN (reluctant, then gathering steam) Well, I'm no expert... But I think if you care for someone, and they make a mistake... Because they're only human after all... And then they sincerely apologize... You cut them some slack, for Pete's sake. Brian's thrilled. APPLAUSE. LOIS (watching him) A mistake's one thing, but this is a whole attitude. Just because (X) someone says 'I love you' doesn't put them in charge of your life. SUPERMAN (gently) True. But 'I love you' does mean 'I'd never hurt you on purpose. And maybe I'll make more mistakes, just as you will. But we'll learn from them. And move on.' Wild APPLAUSE as the group rises to its feet. Lois stares at him, moved. He smiles back. SMILEY Son, you pack a lotta horse sense in them tight britches. SUPERMAN I really do have to go. You guys keep up the good work. And he streaks out the vestibule in a BLUR of blue. Clark immediately enters through vestibule, scratching a bit. CLARK Wow, finally got that poison oak under control. How was Superman? BETTY (emotionally) He was... wonderful. LOIS (relenting) (X) I... suppose he made some interesting points. CUT TO: --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 40. 41 EXT. COMPOUND GROUNDS - WITH LOIS AND CLARK - NIGHT #4 41 They head toward a tree marked "Meditation Tree." CLARK I don't think that group therapy stuff was all that bad. LOIS I did think a standing ovation was a little excessive. Here we are. CLARK You're convinced the note was from Kathy. LOIS (sitting on bench) Yes. I think she wants to tell us what she never got to tell Michelle Sitkowitz. CLARK Unless this is a hoax. Or a trap. LOIS I just hope she didn't get... A loafer suddenly falls into Lois' lap. She looks up and SHOT WIDENS to reveal, in the foliage, two dangling feet. LOIS (CONT'D) ... cold feet. CLARK Oh boy. He glances around, then flies up, out of FRAME as Lois (X) stares anxiously up, then glances at the shoe, pulls a crumpled paper from inside it. LOIS (squints upward) Clark, what's happened? 42 ANGLE UP - THE TREE 42 Clark appears through the branches. CLARK It's Kathy, Lois. She's dead. BLACK. _END OF ACT THREE_ --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 41. _ACT FOUR_ FADE IN: 43 INT. RECEPTION ROOM - NIGHT 43 Outside the windows we see cop car LIGHTS. Larry Smiley, in robe and baseball cap, herds three cops, along with sleepy campers and Attendants in night wear toward the vestibule. SMILEY I always knew the girl had troubles... Many's the time her little tears would splash down my shoulder... But suicide? Who woulda thought? Everyone's out. Smiley takes one last look around the room, shuts off lights, exits, LOCKING doors. CAMERA PANS through the shadows to where Lois and Clark emerge from a hiding place. They click on FLASHLIGHTS. LOIS Got that paper from Kathy's shoe? CLARK (staring at torn page) It's ancient... Torn from a book. (X) I can't read the language. (X) LOIS Well, there has to be a reason Kathy wanted us to see it. (shines light on books) Which one do you think it came from? Clark does an instant scan of the books. CLARK None of 'em; they're all too new. (X) (stares closer) But there may be something in the next room. LOIS What next room? Clark gives a bookshelf a tug and it opens to reveal a small anteroom hidden on the other side. --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 42. 44 INT. ANTEROOM - NIGHT 44 Lois and Clark step into the gloomy room which features a collection of musty, ancient books and a desk stacked in file folders and other papers. Lois looks at the clutter while Clark examines the books. LOIS Smiley must work in here. Look, these files are divided into piles marked 'rejected' and 'candidates.' Candidates for what? (looks closer) Clark, we're in the 'rejected' pile! CLARK Lois, don't you think that's probably a good thing? LOIS But I like to at least feel wanted. (reads notes on file) Smiley says we're not compatible! He says I don't trust you or respect you and doesn't know _why_ you put up with me... ! CLARK The man is a murderer! LOIS (it just pours out) Of course I trust you! I respect you more than anyone I ever met! And if I get angry, it's just because I never opened up to anyone so totally in my whole life and I get hurt if I think that trust isn't returned! And you put up with me for the same reason I put up with you..! Because I love you completely! She's breathing hard, realizing all she's just said. CLARK (quietly) And... I love you. (then) Did we just make up? LOIS I think so. They kiss violently. (CONTINUED) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 43. 44 CONTINUED: 44 LOIS (CONT'D) (a bit breathless) Could we maybe do this in a room that's not musty and owned by a killer? They recover, force themselves back on track. CLARK I... found the book the page came out of. 45 BOOK - INSERT 45 The torn page fits neatly into the crumbling pages of a hand-lettered ancient book. (X) 46 BACK TO SCENE 46 CLARK The book's hand copied... It may be a dead language. We need an (X) expert to read it. LOIS Sure. It's two a.m. (then) Star. Take it to Star. CLARK Star? CUT TO: 47 EXT. METROPOLIS SKYLINE - TO ESTABLISH - NIGHT 47 48 INT. FIRST FLOOR HALLWAY - LOIS' BUILDING - NIGHT 48 Outside the entrance door we hear a WHOOSH, the sound of landing FEET, then the door opens and Clark enters. He starts to knock on Star's door, which is decorated with stars and moons, when he notices her asleep on the stairs. CLARK Star! Hello? Why're you out here? STAR Hi, Clark. I'm purging my place of evil spirits and it got a little intense in there. (CONTINUED) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 44. 48 CONTINUED: 48 From inside Star's door we hear PLATES CRASHING. (X) STAR (CONT'D) (standing) I thought you were at a love retreat with Lois. No! Don't tell me, I'm psychic. (concentrates) You came home 'cause you're feeling blue. No... You wanna sail around the cape. No. Lois gave you the boot. No. Blue. Cape. Boots. Blue. Cape. Boots... CLARK (jumping in) I need you to contact an ancient scholar and get him to read some archaic writing. STAR Yeah, I was gonna say that next. CUT TO: 49 INT. LOIS AND CLARK'S CABIN - LATE NIGHT 49 Lois paces anxiously, as: LOIS C'mon, Clark, c'mon. Where are you? KNOCK at door, Lois swiftly crosses to it. LOIS (CONT'D) Well, come in, why're you... She opens the door, startled to see Jimmy, a bit scruffy and leaf-covered. JIMMY I tried calling, but you're not allowed phone calls. So I climbed the fence. LOIS Jimmy, look at you. What's wrong? (CONTINUED) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 45. 49 CONTINUED: 49 JIMMY It's the Chief. Last I saw him, (X) he was going to a concert with (X) Alice. They never made it home (X) and he didn't come to work. (X) LOIS God, I'll bet it's Smiley. Suddenly there's the sound of TRUCK ENGINES, headlights play on the walls from outside as Lois and Jimmy rush to a window and peer out, trying to remain unobserved. 50 THEIR POV 50 The cabins are dark. A convoy of small covered trucks and trailers is being readied, with the Attendants scrambling into the trucks with cartons of books and papers. Smiley strides out, climbs into a truck, it starts off. 51 LOIS AND JIMMY 51 LOIS Smiley and his people are abandoning the camp. Let's go. JIMMY (nervously) Shouldn't we wait for C.K.? LOIS _Jimmy_. 52 EXT. COMPOUND - VARIOUS ANGLES - NIGHT 52 The Attendants hurry to board trucks which are starting to pull away. Lois and Jimmy slither along a row of bushes toward the clearing. Boxes and books are dumped into a small, canvas-covered trailer behind a truck, and the last of the Attendants leaps into the cab. The truck starts to pull away, Lois and Jimmy rush out and jump into the small trailer, and the convoy heads off in an eerie cloud of dust. CUT TO: 53 INT. LOIS' APARTMENT - NIGHT 53 Star sits cross-legged on the couch, fingers to her temples, eyes closed. Clark, full of anxiety, stands watching. (CONTINUED) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 46. 53 CONTINUED: 53 CLARK Anything? Lois says you can call up voices from the distant past and get 'em to speak through you. STAR (eyes still closed) Clark? Honey? I know you're real stressed and you want this to work an' all, but you're gonna have to do me this itty bitty favor. CLARK Sure, absolutely, what? STAR Shut up. CUT TO: 54 EXT. WAREHOUSE - HIGH ANGLE - NIGHT 54 The tail end of the convoy is pulling up outside a run-down warehouse as we CRANE DOWN to the trailer where Lois and Jimmy hide. They peer out of the canvas flap, watch the last of the Attendants go inside, then climb out and creep up to the huge door. Their mouths fall open in shock. 55 INT. WAREHOUSE - THEIR POV 55 Mounted atop a curtained platform, lit by spotlights, is what appears to be an enormous... ark. Though modern technology is evident, the shape is distinctly ark-like. A ramp leads up the curtained platform to an open door in the ark's side. 56 INT. CORNER OF WAREHOUSE - NIGHT 56 Smiley holds forth, Attendants at his feet. Behind him is the phone, along with the Aquaplus 1000 and the thin curtained area. SMILEY This is it. Lift-off, T-Minus Zero, anchors aweigh. We only await The Sign. --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 47. 57 INTERCUT LOIS AND JIMMY 57 They have crept forward and stare at all this, stunned. Smiley turns and stares at the phone; the others do, too. SMILEY I hate waitin' for the phone to ring, don't you? (silence; but:) There it is! (picks up, into phone:) Hello? (to others) Yep, it's Him. (into phone) Yessir. Yessir. All systems are go. Vaya con Dios to you, too, sir. He hangs up, turns beaming to the followers. SMILEY (CONT'D) Well, it's gonna be a heck of a storm, boys and girls!! Wild APPLAUSE, shouts, whistles. Smiley grows louder and more impassioned. SMILEY (CONT'D) Forty days and forty nights! The flood waters will wipe out all of mankind, but that which floats with us in the ark! (X) JIMMY (in horror) Oh man, it's just like Waterworld. LOIS Except much cheaper. Smiley yanks a lever on the device. A horrible, THROBBING SOUND and a thick blue beam shoots from the machine straight up and explodes through a skylight in the- (X) ceiling. Smiley whirls on the narrow draped area. (X) SMILEY Darlin'! We are about to be joined together once more! The cylindrical drape rises to reveal Cassandra Smile (X) her 60's, inside a plastic tube, frozen in a pose of suspended animation. (CONTINUED) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 48. 57 CONTINUED: 57 SMILEY (CONT'D) (emotionally) Hello, Mama. Lois and Jimmy shrink back, scared. 58 INT. LOIS' APARTMENT - NIGHT 58 Lights are low. As Clark stares, Star begins rocking back and forth. She swings her head back and forth, then (X) suddenly it goes rigid and her eyes fly open. (X) STAR (somber and dramatic) I am the citizen Landicus, philosopher and prophet. Who seeketh me? CLARK Uh... I do. STAR (as prophet) Seeker, surely thou hast summoned me because thou art a thinker and prophet also, eager for an exchange of thought and prophecy? CLARK Well no, actually, I wanted you to read this piece of paper. Star just looks at him, deadpan. 59 INT. WAREHOUSE - WITH JIMMY AND LOIS - NIGHT 59 They hurry back along the curtained platform, round a corner and stare at the storage area of plastic tubes in which have been placed several people, among them the Sitkowitz's. Lois and Jimmy stagger forward, moving through the tubes, when: JIMMY Lois! She's stunned to see Perry White, suspended in his tube. --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 49. 60 THE SMILEY AREA 60 SMILEY Alright, look lively, folks! Load "em up!! The Attendants jump up. 61 LOIS AND JIMMY 61 Look at each other in fright as we hear APPROACHING FEET. LOIS They're coming. 62 SMILEY 62 He makes adjustments to his machine, and outside there is THUNDER and LIGHTNING. Now he smiles as Attendants start wheeling tubes toward the ramp up to the arc. Suddenly: SMILEY Hold it. Scowling, he approaches the tubes. SMILEY (CONT'D) Here's a couple of 'Chosen Ones' (X) who didn't make the cut. (X) 63 NEW ANGLE 63 reveals Jimmy and Lois, "hiding" in plastic tubes. They glance at each other. Smiley opens a port in the tube and: SMILEY Female Hawk, I distinctly recall eliminatin' you from the New Dawn. LOIS You're right. Sorry. I'm really not worthy. Let's go, Jimmy. SMILEY I can see I gotta do a little better job of eliminatin'. 64 INT. LOIS' APARTMENT - NIGHT 64 Clark holds the scrap of paper before Star's face. (CONTINUED) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 50. 64 CONTINUED: 64 STAR (studying page, as prophet) The language is ancient. Aramaic. It is a passage... from what you call The Dead Sea Scrolls. (reads) 'The end of all flesh is come before me; for the earth is filled with violence through them; and behold, I will destroy them from the earth. They entered the ark, male and female, and the Lord shut them in...' CLARK Isn't that the story of Noah and the Ark? STAR (as prophet) Verily. CLARK (with growing alarm) Smiley's nabbing couples... 'Two (X) of every kind,' that guy said... (X) Oh man, he thinks he's Noah. Outside, a huge hit of THUNDER and LIGHTNING. Clark stares. 65 SMILEY 65 Smiley holds a hand microphone. He cranks a wheel on the machine and the SOUND INTENSIFIES. SMILEY This storm's the daddy of 'em all, my friends! 66 EXT. WAREHOUSE ROOFTOP - LOIS AND JIMMY - NIGHT 66 They are tied to an enormous lightning rod. A large speaker rests nearby, and from it issues SMILEY'S VOICE. The blue beam shoots through a skylight near them and in the b.g. (X) are pitchforks of lightning. SMILEY (V.O.) ... I sure wouldn't wanna be anywheres near a lightning rod... But then, that's just me. (CONTINUED) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 51. 66 CONTINUED: 66 JIMMY Lois, he can't really flood the earth, can he? LOIS No Jimmy. It's the turning us into toast thing that has me worried. THUNDER, LIGHTNING. Lightning bolts flash near, they wince. JIMMY (emotionally Well, since this it, I'm gonna confess. I used to have a I little crush on you. In fact, I had this dream... She stares around at him in disbelief. 67 EXT. NIGHT SKY - WITH SUPERMAN 67 Flashes of LIGHTNING, crackles of THUNDER. He squints up (X) ahead and, then dives down. (X) 68 OMITTED 68 69 WAREHOUSE ROOF 69 Lois sits dazedly staring at Jimmy. JIMMY ... And then you took my hand and said, 'Jimmy, _I_ can make a man of you...' 70 INTERCUT WAREHOUSE 70 Smiley cranks up the wheel of the machine. 71 WAREHOUSE ROOF 71 Lois and Jimmy cower as lightning bolts SIZZLE in the sky near the rod. Suddenly, Superman alights on the roof just as there's an enormous boom of THUNDER and a flash of LIGHTNING. A bolt of lightning strikes the rod, Superman grabs it, the whole rod glows and the glowing passes down the rod, through Superman's arm, until his body glows and the lightning discharges into the roof, just missing Lois and Jimmy. He quickly frees them, as: (CONTINUED) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 52. 71 CONTINUED: 71 JIMMY Uh Lois, panic makes a man say strange things. If you could just sorta forget what I... LOIS Trust me. 72 INT. WAREHOUSE - NIGHT 72 The Attendants have once again begun wheeling the tubes, which are now all clustered at the base of the ramp. Smiley is looking joyfully about, when: SUPERMAN (O.S.) Alright, Smiley. Shut it off. 73 NEW ANGLE 73 As Smiley spins, spots Superman hovering near the beam. (X) SMILEY You can't stop this! This day has been foretold! SUPERMAN Only by you, Smiley. And that's not enough. Superman flies into the beam, forcing it back down toward the machine. Smiley tries turning up the power and the (X) NOISE INTENSIFIES, but Superman continues forcing the beam (X) down into the device, which suddenly EXPLODES in a shower of sparks and smoke, its THROBBING SOUND winding down to a dull THUD. Outside, the THUNDER and LIGHTNING ends. Lois and Jimmy rush in from outside. SMILEY Just brilliant! You've ruined everything! That machine was the source of all power in the New Dawn! (indicates tubes) It was going to bring them back! (X) Now they'll all die! (X) He rushes to the foot of his mother's tube. SMILEY (CONT'D) (emotionally) Mama, forgive me. (X) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 53. 74 SUPERMAN, ROOM - VARIOUS ANGLES 74 Superman pans his eyes from cylinder to cylinder, his HEAT VISION making each glow with a faint HISS. The occupants of each tube slowly open their eyes, begin to stretch and move. Finally, we come to Perry White. PERRY (groggy) Olsen! Late edition get put to bed? (then) Alice? Honey? You alright? No, don't try to talk... WIDEN to include Alice's tube, her face and part of her body hidden by a pile of crates. One of her hands reaches out toward Perry, touches the side of her tube. He smiles. 75 SMILEY 75 He looks up to see his mother glaring down at him. CASSANDRA Lawrence. You've been a very (X) naughty boy. CUT TO: 76 INT. LOIS' APARTMENT - NIGHT 76 Superman and Lois float down to the window, step inside. She turns to face Superman, smiles shyly. SUPERMAN Smiley had pretty much given up on people finding happiness together. I haven't. Have you? LOIS (gently touches his face) No. SUPERMAN But we do seem to keep messing up. Why is that? LOIS Well, first of all, people mess up. But I think adjusting to this whole idea of marriage on top of... everything else we're adjusting to... is making us both a little nuts. (CONTINUED) --page break-- "JUST SAY NOAH" (#5) FULL PINK Rev. 8/18/95 54. 76 CONTINUED: 76 SUPERMAN So... LOIS So maybe we should just take a little break from the idea of marriage. Not even say the 'M' word. And just be in love. SUPERMAN I can do that. LOIS It's a lot of pressure... That 'forever' thing... SUPERMAN Lois... LOIS What? SUPERMAN It's not the 'M' word that makes it forever for me. (beat) My love's forever because... It just is. She stares at him, swept away. He kisses her and FLOATS off into the night. LOIS Wow. BLACK. _THE END_