notes:

use Courier 101 (or 10 characters per inch)

set top margin at 0.4", bottom margin at 0.4" (or minimums)

left margin at 1", right margin at .25 (or minimum)
(I had to tell the program I was using legal paper)

Note extra pages sent to me by a person with an earlier version of

this script. She typed them out in Word for Windows and used
styles to format the pages. They may not look *exactly* like
the original, but all the words will be there. These are pages
4, 32, 34, 54, 76, 82, 83-84, 91, 91A

LOIS & CLARK

THE NEW ADVENTURES OF

SUPERMAN

"Pilot"

Written by

Deborah Joy LeVine

PRODUCTION DRAFT
March 1, 1993

* All Blue
Rev. 3/9/93 (pink)
Rev. 3/11/93 (yellow)
Rev. 3/17/93 (green)
Rev. 3/22/93 (goldenrod)
Rev. 3/23/93 (tan)
Rev. 3/30/93 (white)
Rev. 3/31/93 (blue)
Rev. 4/2/93 (pink)
Rev. 4/5/93 (yellow)
Rev. 4/5/93 (green)
Rev. 4/14/93 (goldenrod)
Rev. 4/15/93 (tan)
Rev. 4/20/93 (white)
Rev. 4/26/93 (blue)
Rev. 4/27/93 (pink)
 LOIS AND CLARK

THE NEW ADVENTURES OF SUPERMAN

ACT ONE

FADE IN:
1 1
THRU OMITTED THRU
7 7

8 EXT. DAILY PLANET - DAY - TO ESTABLISH 8

The famous Globe sits atop the fifty story building,

scraping the bright blue sky.

8A EXT. STREET IN FRONT OF DAILY PLANET - EARLY MORNING 8A *

A few early bird newspaper Employees are arriving. We

FOLLOW a slight Young Man with a mustache and beard
wearing baggy jeans, jeans jacket, cap pulled low over his
eyes, tool belt around his waist as he enters the Daily
Planet building.

8B INT. DAILY PLANET LOBBY - CONTINUOUS 8B *

The Young Man passes a newspaper stand on the way toward

the elevators. As an elevator arrives and the Young Man
steps inside we

CUT TO: *

8C INT. DAILY PLANET NEWSROOM - ELEVATOR STAND - CONTINUOUS 8C *

The Young Man exits the elevators and proceeds toward the *
"Pit" -- the area of desks reserved for reporters. He *
sits down at his desk with a tired sigh, takes off his *
shoes, rubs his feet. *

THE YOUNG MAN *

now takes off his jacket. He wears a T-shirt underneath. *

He puts both his hands on his chest, feeling a terrible *
tightness, looks around for then grabs a scissors off the *
desk, then lifts up his T-shirt just enough to reveal the *
bottom of a large Ace Bandage and starts to cut. The *
Young Man expertly maneuvers under the T-shirt, cutting *
away, finally unravelling the bandage and pulling it *
through the sleeve of the T-shirt. The Young Man takes a *
deep breath, sitting back in his chair... *

FROM THE BACK *

The Young Man now removes his cap, shakes his long curly *
hair loose, letting it fall to his shoulders. *

Rev. 3/9/93 1A.

8C CONTINUED: 8C

JIMMY (O.S.) *
You're in early. *

JIMMY OLSEN, cub reporter, approaches. He is twenty-one, *

looks years younger. In white T-shirt and jeans, Jimmy's
boyish good looks make him a potential heartbreaker.

Jimmy moves to the front of the desk and now stares at a *

rather beautiful young woman, still sporting the *
mustache and beard. *

JIMMY (CONT'D)
(taking a thoughtful
pose) *
I like the beard. But the *
mustache isn't working for me. *

The woman remembers, touches her face. *

JIMMY (CONT'D)
Want me to do it? *

The woman nods and Jimmy sits on the edge of her desk, *
taking the corner of the mustache and then ripping it off. *
The woman squeals, but when she picks her head up we now *
see the real face of LOIS LANE, intrepid reporter for the *
Daily Planet. Lois is a twenty-six year old spitfire with
a "Just Do It" body. Momentarily forgetting her pain, *
Lois pulls out a tiny video recorder from her jacket, sets *
it on her desk and Dresses Play. *

LOIS
(proudly) *
I nailed 'em cold. *

We MOVE IN to the tiny picture on the video screen and *

then *

CUT TO: *

9 INT. DAILY PLANET NEWSROOM - TWO HOURS LATER 9 *

We are still watching the video playback from Lois' *

adventures from the previous night -- Lois, in her young *
man get-up, helps make the arrest of a band of car thieves *
at the Metropolis pier. When we PULL BACK we see a *
beehive of activity in the open nerve center on the top
floor. Reporters are at their desks typing, sipping
coffee, speaking on phones. Assistants and staff race to
pick up copy, deliver messages, etc. A large screen TV is
tuned to LTC (LexTeleCommunications News). We continue to
PAN until we stop at

A PAIR OF SHAPELY LEGS

dangling from a desk and belonging to Lois Lane, now *

sporting a short skirt with high heels. *
 Rev. 3/9/93 1B.

9 CONTINUED: 9

LOIS
Come on, you guys, it was nothing,
really.

PULL BACK to reveal that Lois is being feted, coffee cups

raised high in a toast, by several staff members. A copy
of today's Late Edition Daily Planet lies in front of her. *

CU - DAILY PLANET NEWSPAPER

A picture of a ring of-car thieves and Lois Lane dressed as

a young man with the headline: Million Dollar Car Theft
Ring Exposed. The by-line is: Lois Lane.

JIMMY
I still can't believe they thought
you were a boy.

Rev. 3/9/93 2.

9 CONTINUED: 9

LOIS
The mustache helped. And thanks
for teaching me how to boost a car.

JIMMY
No problemo.
(raising his mug)
To Lois Lane... still going where
no reporter has gone before...

Managing Editor PERRY WHITE strides by en route to his

office. In his early fifties, Perry's badly in need of a *
stress management class. He growls like a lion, but it's a
well known secret it's all show.

PERRY
Don't, encourage her, Jimmy. Her
head's as big as the Metrodome as
it is.

LOIS
Nice to know I'm appreciated around
here, Chief.

PERRY
What do you expect? Garlands
strewn at your feet?

LOIS
No, but I'd like a raise.

PERRY
Yeah? Well, I'd like a 145 foot
triple masted schooner with a teak
interior, but times are tough.
(then, to Jimmy)
 By the way, where did you learn
how to boost a car?

Lois looks at Jimmy, who grins.

JIMMY
One man's felony is another man's
skill.

PERRY
Okay, what's everybody standing
around for? This is a newspaper,
not happy hour at Buckingham
Palace.

Perry continues toward his office, Jimmy catches up to him.

JIMMY
Chief? I've got an angle on the
mini-mall murders. I figure there
was blood on the burritos
because...

Rev. 4/27/93 (Pink) 3.

9 CONTINUED: 9

PERRY
Did you finish those obituary
updates?
(Off Jimmy's look)
Never underestimate the need for a
good obituary.

Perry strides on. Jimmy stares after him, disgusted.

JIMMY
I can think of one right now.

Jimmy wanders back to Lois' desk, idly fiddles through her

phone messages, stops at one in particular.

JIMMY (CONT'D)
Whoa. I guess you finally hit the
big time.

LOIS
Huh?

JIMMY
This time Lex Luthor's personal
assistant returned your call.

Lois grabs the slip from him, pissed off.

JIMMY (CONT'D)
Give it up. Luthor never gives
one-on-one interviews.

LOIS *
Well, he's never met Lois Lane *
before, either. *
 CUT TO:

Rev. 3/22/93 4.

9 CONTINUED: 9

PERRY
(losing it)
... Run a five-hundred thousand *
dollar Vector off the Metropolis *
pier?!
(before she can respond)
Lois, I know you won't be satisfied
until you get the Pulitzer, but would
you mind not bankrupting the Daily
Planet en route?

LOIS
Yes, sir. I mean, no sir. It won't
happen again, Chief.

Lois backs away as Perry stares after her and we

CUT TO:

10 EXT. METROPOLIS STREET - SAME TIME 10

CU - THE BATTERED SUITCASE WITH THE INITIALS "C.K."

rests on a cement sidewalk in downtown Metropolis.

PULL BACK TO REVEAL

CLARK KENT picking up the suitcase. In his late twenties,

Clark has the wisdom of Solomon in his brown eyes, the power
of Samson in his dark hair. His muscular physique is
concealed behind a grey suit, but his sense of wonder at his
new surroundings cannot be hidden, even behind thick black-
rimmed glasses.

METROPOLIS - CLARK'S POV

A city of majesty: shiny spires atop state-of-the-art

buildings of glass and steel, crowded sidewalks, blasts of
neon advertising, taxi cabs, subway stations. Clark remains
still as walkers brush by him, everyone in a hurry. Life
teems in this, the biggest city of them all, and its pulse is
infectious. Clark checks his watch, walks down the street.

11 OMITTED 11

Rev. 4/27/93 (Pink) 4.

9 CONTINUED: 9

10 EXT. METROPOLIS STREET - SAME TIME

CU - THE BATTERED SUITCASE WITH THE INITIALS "C.K."

 rests on a cement sidewalk in downtown Metropolis.

PULL BACK TO REVEAL

CLARK KENT picking up the suitcase. In his late twenties,

Clark has the wisdom of Solomon in his brown eyes, the
power of Samson in his dark hair. His muscular physique is
concealed behind a grey suit, but his sense of wonder at
his new surroundings cannot be hidden, even behind thick
black-rimmed glasses.

METROPOLIS - CLARK'S POV

A city of majesty: shiny spires atop state-of-the-art

buildings of glass and steel, crowded sidewalks, blasts of
neon advertising, taxi cabs, subway stations. Clark
remains still as walkers brush by him, everyone in a hurry.
Life teems in this, the biggest city of them all, and its
pulse is infectious. Clark checks his watch, looks down
the street toward the Daily Planet, continues walking.

11 OMITTED 11

Rev. 3/9/93 5-6.

12 EXT. DOWNTOWN METROPOLIS INTERSECTION - DAY 12

Clark waits with a crowd at a busy intersection for the

light to change. He casually glances around him: an OLDER
WOMAN with an armful of shopping bags, a young mother
wheeling her infant twins, two school girls in newly ironed
uniforms, a hip-hopper with a boom box, several businessmen
and women.

13 ANOTHER ANGLE 13

A CITY BUS, barreling down the boulevard.

14 INT. BUS - SAME TIME 14

The Driver, humming merrily, speeds along, then, seeing the

red light up ahead, casually steps on his brakes. When his
foot goes all the way to the floor, he panics, frantically
pumping, then trying the emergency brake. Nothing works.
His eyes widen as he sees the red light straight ahead.

15 AT THE INTERSECTION 15

Clark and the group start across, the older woman and young
mother with twins just to Clark's right. When Clark looks
left, he sees the bus, inches away, coming straight toward
them.

16 IN THE BUS 16

The Driver is astounded when the bus suddenly stops dead

 right at the intersection. He waits until Clark and other
pedestrians safely cross, then opens the door to the bus,
jumps outside.

17 EXT. STREET - CONTINUOUS 17

The light has changed, but the driver stands motionless,

staring at the front of the bus. Beside him, the older
woman with the shopping bags looks like she's seen... a
miracle. She looks at the bus driver, then across the
street, where Clark seems to have disappeared into the
crowd. She points...

OLDER WOMAN
He... he...

Rev. 3/9/93 7.

17 CONTINUED: 17

Cars start honking, but the driver and the older woman are
frozen, staring at a hand print embedded in the grillwork
of the bus.

17A CLARK 17A

ducks into an alleyway, hoping he wasn't noticed. He peeks

his head out to see if anyone has followed him. No one
has. On his sigh of relief we

CUT TO:

17B INT. DAILY PLANET NEWSROOM - SAME TIME 17B

The newsroom is business as usual when suddenly the SOUND

of YELLING causes everyone to turn. A wild-eyed crazy
man (SAMUEL PLATT), filthy, ragged, in a long trench coat,
bursts into the newsroom frantically in search of...

PLATT
Lois Lane!

When he spots her, he races for her desk, followed by two

Security Guards.

PLATT (CONT'D)
It's going to explode! Here...

He reaches into his trench coat and someone yells...

NEWSPAPER WORKER
He's got a bomb!

Instant pandemonium.. Everyone drops to the ground. Platt

looks around, confused, slowly removes a brown
paper-wrapped package from under his coat.

PLATT
It's my credentials.
 He takes another step closer to Lois, and is grabbed by the
guards. His package falls to the floor in the ruckus.

PLATT (CONT'D)
You don't understand! The space
station has been sabotaged! The *
Messenger is going to explode! *
Miss Lane! You must tell my story!

SECURITY GUARD
(to Perry)
Sorry, sir. He ran right past
reception.

The Guards cuff him, and start to drag him away as he

continues to rant. Lois protest the rough treatment.

Rev. 3/9/93 7A.

17B CONTINUED: 17B

LOIS
Wait a minute, don't...

SECURITY GUARD
We've had trouble with him before.
The guy's a box short of a variety
pack.

They continue to haul him off, but he's still desperate to

get his message to Lois.

PLATT
Please! You have to believe me!
The space program is doomed!

The security guards drag him into the elevator and the
doors close. Perry breaks the silence.

PERRY
Okay, folks. Show's over.
Everybody back to work.

The staff returns to work, chatting about the intrusion.

Lois sits down at her desk, watches as a secretary picks up
the package left on the floor, dumps it in a nearby trash
can. Lois, always on the trail of a possible story, walks *
nonchalantly from her desk to the trash can and retrieves *
the package... *

CUT TO: *

17C EXT. DAILY PLANET BUILDING - DAY 17C *

Clark stands at the foot of the building. He stops to *

straighten his tie, smooth his jacket, then looks straight *
up toward the globe. We follow his gaze up and into... *

18 OMITTED 18
19 INT. DAILY PLANET NEWSROOM - SAME TIME 19

Lois, at her desk, leans back in her chair, casually looks

at one of the television monitors above her, turns up the
sound. ON TV

A picture of the Space Launch Vehicle Messenger on the *

launching pad.

TV ANNOUNCER
The transport vehicle Messenger, *
piloted by Commander Jack Laderman
and carrying the final propulsion *
module for Space Station *
Prometheus, is scheduled for
lift-off Friday at 9 A.M.
(MORE)

Rev. 3/9/93 7B.

19 CONTINUED: 19

TV ANNOUNCER (CONT'D)
Many hopes are riding on the
success of this mission, especially
in light of the failure of last
week's unmanned launch.

Rev. 3/9/93 8.

19 CONTINUED: 19

ON TV

Space Station Prometheus, minus the habitation module,

floating in space.

TV ANNOUNCER (CONT'D)
Space Station Prometheus, an
international effort, is still
lying in its low orbit, awaiting
the arrival of the remaining
modules, including the colonist
habitation module scheduled to
launch next week. once all are in
place, the Station will be lifted
into permanent orbit.

ON TV

Videotape of many white-coated scientist-types at Extra *

Planetary Research And Development (EPRAD) including DR. *
ANTOINETTE BAINES, a beautiful Physicist in her late *
thirties. *

TV ANNOUNCER (CONT'D)
Dr. Toni Baines, Director of the
Extra Planetary Research And *
Development agency, reminds us *
 that timing is crucial. A series *
of delays and launch failures has
put EPRAD's back to the wall. *

DR. BAINES
Unless all modules are in place *
within the next weeks, Space *
Station Prometheus will lose its *
orbit and fall back into Earth's *
atmosphere. That kind of *
occurrence would surely spell the *
end to any future projects and the *
space program as a whole. *

LOIS

turns the sound down, turns her attention back to

Platt's "credentials" but accidentally sweeps them onto
the floor. As Lois stoops to retrieve them" she notices a
pair of three inch spiked heels standing directly in front
of her.

CAT (O.S.)
Morning, Lois. On your hands and
knees again, I see.

Lois rises slowly, taking in the amazing jump-suited shape

of her co-worker CATHERINE (CAT) GRANT. A white Tina
Turner, all sex and plenty of bite, Cat is every working
woman's nightmare.

Rev. 3/9/93 8A.

19 CONTINUED: 19

LOIS
Isn't it a little too early for you
to be in, Cat? I thought ladies
like you only worked nights.

CAT
(all smiles)
Part of my job as a society
columnist...

9.
19 CONTINUED:
19
LOIS
(correcting her)
...mud-slinging rumor monger.

CAT
is to maintain an active social
life. You remember what that's
like... or do you?

Lois watches as Cat swishes her way passed the appreciative

stares of the newsroom's males. Jimmy appears beside Lois.
He gives Cat the once-over as well.

LOIS
 What do men see in her, anyway?
Don't they realize she's just
looking for another notch on her
garter belt?

JIMMY
(shaking his head)
Pathetic.
(then, impressed)
Have you actually seen this garter
belt?

Lois punches him in the stomach as we

CUT TO:

20 INT. PERRY WHITE'S OFFICE - SAME TIME 20

Perry, seated behind his desk, interviews a prospective

reporter whose broad back is to us.

PERRY
So, Mr. ...

CLARK
Kent. Clark Kent.

PERRY
(studying his resume)
Yes. Kent. Professor Carlton
called me about you. Haven't seen
him in... let's see... editor of
the Smallville Press... that's...

CLARK
Kansas.

Perry's intercom buzzes. He listens, then yells into the

receiver.

Rev. 3/11/93 10.

20 CONTINUED: 20

PERRY
Well, tell him to keep his pants
on. And where's my lunch? If
Carlini's can't deliver on time,
find a place that can.
(a sigh, to Clark)
I bought a blood pressure monitor
last week, you believe it? Hell,
I'm only fifty-two.

CLARK
Paava leaves.

PERRY
Excuse me?

CLARK
The Yolngu tribe in New Guinea eat
 paava leaves to relieve stress....
puts them in a meditative state.
Maybe you should try it.

PERRY
Uh huh. Sounds like you've done
some travelling.

CLARK
(nodding)
I spent some time in a Llamasary in
Tibet and with the Sherpas in
Nepal. I just got back from
Australia. I've been studying the
Dreamtime theory in Aboriginal
mythology.

PERRY
A citizen of the world.

CLARK
Not really. It's my first time in
Metropolis.
(handing him his
portfolio)
I brought some samples of my work.

Perry gives Clark a strange look as Clark gives him his

portfolio.

PERRY
Well, let's take a look...
(reading, then raising
his eyebrows)
The Borneo Gazette? "Mating
rituals of the knob-tailed gecko?"
(MORE)

Rev. 3/9/93 11.

20 CONTINUED: 20

PERRY (CONT'D)
(looking at Clark)
Look, Kent, I'm sure these stories
are fascinating, but this is the
Daily-Planet, the greatest
newspaper in the world! Our people
are dedicated servants of the
fourth estate who deal routinely
with matters of international
significance.

Just then, the door swings open and Jimmy enters, tosses a
set of keys on his desk.

JIMMY
Okay, Chief, I fixed the horn on
your golf cart.

PERRY
Not now, Jimmy.
 JIMMY
The tone's still off, but...

Jimmy takes a look at Clark, sizes him up, dismisses him.

PERRY
Not now.

Jimmy shrugs, exits, closing the door.

PERRY (CONT'D)
As I was saying, I just don't think
that...

Now it's Lois who throws open the door and enters.

LOIS
Chief, I think there's a *
here and we should check this guy *
out. The crazy one this morning? *
His name is Samuel Platt and he was
an engineer at EPRAD for ten years.
He's...

PERRY
Can't you see I'm in the middle of
something here?

LOIS
Oh.

She doesn't make a move. Perry has no choice.

PERRY
Lois Lane, Clark Kent.

Clark begins to stand. Lois nods, barely.

Rev. 3/9/93 12.

20 CONTINUED: 20

LOIS
Nice to meet you.
(then, to Perry)
Anyway, this guy worked on the
Messenger, he...

PERRY
Lois, what happened to that mood
piece I gave you? The razing of
that old theatre on Forty-second?

LOIS
I wasn't in the "mood."

CLARK

cracks a smile at her comeback.

PERRY
Now listen here, Lois, I ...
 Jimmy appears at the glass window, knocks on it to get
Lois' attention.

LOIS
Gotta run. Catch you later, Chief.

Lois exits. Perry shakes his head.

PERRY
If that woman wasn't one of the
best damn investigative reporters
I've ever seen, I'd...
(beat)
Look, Kent, you seem like an
intelligent guy, but you can't just
walk in here with this kind of
resume and expect a job. Hell,
I've got PH.D.s in journalism
delivering newspapers.

Clark voices an appeal.

CLARK
Mr. White. I know I lack
experience, but I'm a hard worker
and a good writer. I ...

PERRY
(forcefully)
Kent. I haven't got anything for
you.

CLARK
(sadly yielding)
Thank you, sir. I appreciate your
taking the time to see me.

Rev. 3/23/93 13.

20 CONTINUED: 20

Clark stands, extends his hand to shake. Perry takes it,

and they do so. Clark exits. We hold on Perry for a
moment, who then shakes his hand and winces in pain.

CUT TO:

21 JUST OUTSIDE PERRY'S OFFICE - CONTINUOUS 21

Clark leans against the door, weighing his options. He

takes a wallet from his jacket pocket, opens it. Two five
dollar bills. Clark puts the wallet back, walks through
the bustling newsroom as we

CUT TO:

22 EXT. METROPOLIS STREET - DAY 22

Clark, still carrying his suitcase, walks slowly down the

street, stops in front of a building with a sign that *
reads "ROOMS FOR RENT." *
23 INT. CLARK'S ROOM - DAY 23 *

Clark, in shirtsleeves, speaks on the pay phone in his

room. It's a barren little place: bed, table, small
kitchenette with hot plate. Clark's unpacked suitcase is
on the floor.

23A INT. KENT FARM - DUSK - INTERCUT 23A

On the other end of the phone are Clark's parents MARTHA

and JONATHAN KENT.

CLARK
Sorry to have to call collect, Dad.

JONATHAN
You want me to wire you some cash?

CLARK
No. I'll be okay.

MARTHA
How'd the interview go?

CLARK
Not so good. But, something'll
turn up.

JONATHAN
I think I'd better wire you some
cash.

CLARK
I'm fine.

14.

23A CONTINUED: 23A

MARTHA
Are you still going to make it home
Friday?

CLARK
And miss your home cooking?

JONATHAN
What home cooking? I haven't had a
home cooked meal in...

MARTHA
(ignoring her husband)
Clark, you're being careful, aren't
you?

CLARK
Sure. Other than the bus incident *
this morning... *

MARTHA
Bus incident? Clark... *
 JONATHAN
Metropolis isn't the cutback, you
know. People in the city are
always looking to make a quick
buck. If they find out about you
they'll put you in a laboratory
and...

CLARK
(knows this by now)
... "dissect me like a frog." I *
know, Dad. Believe me, I'm trying *
my best to be like everybody else *
here. Look, don't worry about me. *
I'll see you both in a few days. *

JONATHAN
I'll get that cash out to you
tonight.

CLARK
Dad...
(then, relenting)
Thanks. I'll pay you back.

Clark ends his call, rises as we

CUT TO:

24 INT. LOIS LANE'S APARTMENT - NIGHT 24

A key opens the five deadbolts leading into her dark

apartment. When the last is unbolted, Lois enters, trying
to balance three shopping bags, dry cleaning, and files
from work. She kicks open the door, switches on the light.

15.

24 CONTINUED: 24

LOIS
Lucy! You home? I brought dinner!

No response. Lois walks into the tiny kitchen.

25 INT. KITCHEN 25

Lois puts the bags on the counter, starts unpacking. She

unloads several gallons of milk, opens the refrigerator to
discover there are several unopened gallons already inside.
She unpacks an entire bag of frozen entrees and opens the
freezer to find it's already full with frozen entrees. She
manages to stuff the new ones in and slams the freezer
shut. Lois pops a frozen dinner into the microwave, then
turns to see her sister, in a robe, towel drying her hair,
enter from the bedroom. LUCY LANE is five years younger
than Lois, a living Barbie whose major goal is to find a
living Ken.
 LOIS
Hi! You in for the night?

LUCY
(shaking her head)
I'm meeting Jose.

LOIS
Jose? Is he new?

LUCY
Lab tech. Works on my floor.

The Microwave timer goes off with a PING.

LUCY (CONT'D)
(innocently)
So... what are you up to tonight?

LOIS
I've got a ton of work and...
(defensively)
Luce, don't start.

LUCY
(starting anyway)
Did you find an escort to Lex
Luthor's White Orchid Ball? *

LOIS
Not yet.

LUCY
Lois, it's tomorrow night! *
(thinking... *
What about Alan? I thought you
liked him. *

16.

25 CONTINUED: 25

LOIS
I did. But after the second date
he didn't call, so...

LUCY
What happened with that other guy,
Barry? He still leaves messages
on the machine.

LOIS
Please.

LUCY
He was a very nice guy. He brought
flowers.

LOIS
He's a periodontist.

LUCY
 And Mitchell?

LOIS
Hypochondriac.

LUCY
They can't all be bad, Lois.
They can't all be stupid or boring.
What are you waiting for?

LOIS
Fine. I'll ask Mitchell to take
me.

LUCY
I'm not just talking about the
ball, Lois. You have to get out *
more.

LOIS
Will you stop? You sound like Dad.
Jeez, I'm only twenty-six.

LUCY
Twenty-six today. Thirty-six *
tomorrow. *

LOIS
Give it a rest, Luce. *

LUCY
And I know why Alan never called
you again... dragging him to that
Women in Journalism seminar, "Weak *
Men And The Wise Women Who Love
Them." You've got to stop scaring
them off, Lois!

Rev. 3/23/93 17.

25 CONTINUED: 25

LOIS
What are you talking about?

LUCY
Look in the mirror. You could get
any guy you wanted, but... do you
have to be so smart all the time?
So... intense?

LOIS
Look, I'm just being myself. If
they're not man enough to handle
me, then... I'll wait for someone
who is.

LUCY
I just hate to -see you sitting
home.

LOIS
 I get out plenty. I have dates.

LUCY
You have interviews. It's not
the same thing.
(beat)
Lois, I just want you to meet a
super guy.

LOIS
Hey. I'm supposed to be the big
sister here, remember? Go meet...

LUCY
Jose.
(starting in again)
Lois...

LOIS
(waving goodbye)
Have fun.

Lucy shrugs, exits into the bedroom. Lois turns to her

microwave dinner, already crusty as we

CUT TO:

26 INT. CLARK'S ROOM - NIGHT 26*

Clark lies on the single bed, his feet sticking out over
the end, arms crossed behind him, staring at the ceiling.
The bulb in the overhead light keeps flickering on and off.
Clark, still in the horizontal position, "floats" up to the
ceiling to fix it, then "floats" back down.

Clark looks around, bored, mischievous, notices how on the

opposite wall some of the previous tenants have left their
mark, decides to leave his as well.

Rev. 3/9/93 17A.

26 CONTINUED: 26

He sits up, gazes at the wall and, using his Heat Vision,
burns his initials in. He lies back down, then guilty,
sits up.

Rev. 3/17/93 18.

26 CONTINUED: 26

Using his heat vision he "erases" all the graffiti from the
wall.

Still restless, Clark stands, paces, walks up one of the

side walls, stopping to think, parallel with the floor.
After a moment, he walks back down to the floor, sighs,
turns and walks toward the door.
27 INT. LOIS' BEDROOM - LATER THAT NIGHT. 27

Lois sits cross-legged on her bed in-pajamas, the

half-eaten contents of the microwave dinner beside her.
There is paper work spread across the bed, and she has
donned her reading glasses. She stretches, takes off her
glasses, gathers up the paperwork and dumps it on the floor
next to her, the microwave tray beside it. She moves to
her TV, rewinds a tape in the VCR, switches the TV on, hops
back onto the bed, grabbing an unopened box of Kleenex from
a stack on her bedside table.

ON TV

Titles to Lois' favorite Soap Opera, "The Ivory Tower."

LOIS

is glued to the tube, opens the box of Kleenex and gets

ready for a good cry.

ON TV

A gorgeous man pulls a gorgeous woman into his arms.

SOAP ACTOR (ON T.V.)

Gwendolyn... Have you made your *
decision? *

SOAP ACTRESS (ON T.V.)

All right. You win. I'll keep my
promise. Tonight, my body is
yours. But my heart... my heart
beats only for one man.

LOIS

lets herself go, the tears falling freely down her cheeks.
She gets under the covers, snuggles in for the night as
we...

CUT TO:

28 28
THRU OMITTED THRU
29 29

Rev. 3/17/93 18A.

30 EXT. FORTY-SECOND STREET - MORNING 30

Clark walks down the street, SEES a small crowd which has
gathered to watch the wrecking ball come down on an ornate
building.

Rev. 3/23/93 19.

30 CONTINUED: 30
 In a matter of moments, the Sarah Bernhardt Theatre will be
a pile of rubble. Clark joins the group, mostly elderly
men and women, shaking their heads at the cruel fate
awaiting this relic of a time long ago. Some of the
elderly carry signs: "Save the Sarah Bernhardt", "No More
Parking Garages", etc. Clark notices as an ELDERLY WOMAN
looks around, asks aloud to a friend...

ELDERLY WOMAN
Where's Beatrice?

Her friend shrugs her shoulders, and the elderly woman

begins to panic, searching the faces in the crowd.

ELDERLY WOMAN (CONT'D)

Bea?

Intuitively, Clark looks beyond the crumbling walls of the

theatre, inside.

31 CLARK'S POV - INSIDE THE THEATRE 31

There, a woman in a long gown and feathered hat, stands on

the stage, emoting to a nonexistent audience.

32 CLARK 32

looks quickly toward the wrecking ball. The driver of the

truck has started his engine. Clark uses his heat vision
to fuse a screw and the engine suddenly dies. As the
driver gets out to look and the crowd CHEERS, Clark
disappears behind the building.

CUT TO:

33 OMITTED 33

34 INT. THE SARAH BERNHARDT THEATRE - DAY 34

BEATRICE, an elderly woman, is on stage, mid-soliloquy.

BEATRICE
"oh, for the days of my childhood! *
Back when my soul was pure! I *
slept right here in this nursery, *
looking out at the orchard from *
this very room,,and every morning *
I awoke with such joy in my heart! *
My orchard is just the same as it *
was then. Nothing different." *
(laughs with joy) *
"All of it, all of it dressed in *
white! My lovely orchard! *

Suddenly, the sound of applause from the dark house.

Rev. 3/23/93 19A.

34 CONTINUED: 34
 BEATRICE (CONT'D)
Who ... who's there?

Rev. 4/27/93 (pink) 20.

34 CONTINUED: 34

Clark stands and steps into the light from the open
ceiling.

CLARK
Just ... a fan.

BEATRICE
I'm not leaving. Not until I
finish.

CLARK
All right. Mind if I watch? I
always loved this play.

BEATRICE
(still skeptical)
You know it?

CLARK
The Cherry Orchard. Anton Chekhov.

BEATRICE
(relaxing)
His finest, don't you think?

Clark nods, walks up the stairs to the stage.

CLARK

Definitely.

BEATRICE

They don't understand. A theatre

is more than bricks and mortar.
It's drama and passion and mystery
and comedy and... life
(beat)
Don't make me go. I'm not ready.

CLARK
We have some time.

Beatrice looks around the grand old theatre, the empty house.

BEATRICE

You understand, I just wanted to

say goodbye.

Beatrice smiles. Clark nods. He does understand.

CUT TO:
34A OMITTED 34A *

Rev. 4/27/93 (Pink) 21.

35 INT. CLARK'S ROOM - LATE AFTERNOON 35

Clark is at the table hunched over a portable computer,

working on his story. As he gets into it his hands move
faster and faster. When a puff of smoke comes out of the
computer he slows down to normal speed, reads what he has
written.

CLARK (V.0.)
Beatrice was eighteen when she made
her debut. Warren G. Harding was
President, the unknown soldier was
interred at Arlington, and Babe
Ruth was sold to the Yankees...

36 INT. CLARK'S ROOM - LATER THAT NIGHT 36

Clark is still typing away...

22.
36 CONTINUED: 36

CLARK (V.0.)
It was a different era, a time of
promise and renewal. Beatrice was
filled with all those emotions and
more when she stepped onto the
Sarah Bernhardt stage for the first
time...

As Clark continues to type we now hear Perry's voice and

slowly begin another DISSOLVE...

PERRY (O.S.)
... she came to say goodbye.
Goodbye to a young girl in a
gossamer dress, goodbye to the
players, long dead, to the spirit
of the theatre, so strong that
nothing, not even the wrecking
ball, could destroy it.

37 INT. DAILY PLANET - PERRY WHITE'S OFFICE - EARLY MORNING 37

Perry reads the last sentence.

PERRY (CONT'D)
She came to say goodbye, as we all
must, to the past, and to a life
and a place that soon would exist
only in a bittersweet memory.

We pull back to reveal Clark sitting in front of Perry's

desk, Jimmy standing beside him and Lois leaning against a
 wall. Jimmy looks over at Clark, eyes him differently than
he did on their first meeting.

JIMMY
Smooth.

Perry looks over at Lois, and keeps looking, until she

shifts positions and responds.

LOIS
(begrudgingly)
Yeah. If you like that sort of
thing.

Perry stands.

PERRY
You know, Kent, there's one
attribute I value as much as
experience, and that's initiative.

He holds his hand out to Clark.

PERRY (CONT'D)
Clark Kent, welcome to the Daily
Planet.

Rev. 3/9/93 23.

37 CONTINUED: 37

Clark has little time to revel in his new position.

Outside the office, a commotion and muted voices. Perry,
Lois, Clark and Jimmy exit the office and enter the pit.

38 INT. DAILY PLANET NEWSROOM - CONTINUOUS 38

The staff is gathered around a TV monitor. On the screen,

the rocket Messenger is being readied for launch. As the *
boosters ignite, a PUBLIC RELATIONS OFFICER comments...

PUBLIC RELATIONS OFFICER

Wait a minute... there's something
wrong! There's a fire... there's *
a fire...

ON TV

the rocket EXPLODES in flames. *

A SCREAM as one woman in the newsroom watches the disaster

unfold. Lois, as if in a trance, walks slowly toward the
huge screen, until she is almost in the picture. Lois
covers her eyes to try and block out the horror, but it can
never be forgotten.now and we

FADE OUT:

END OF ACT ONE

 Rev. 3/17/93 24.

ACT TWO

FADE IN:
38A INT. DAILY PLANET - DAY 38A

Many of the staff, including Jimmy, Lois and Clark gather

to watch the morning news. Perry, just coming in, stops to
listen as well.

ON TV - NEWSCASTER CARMEN ALVARADO

CARMEN ALVARADO
The world mourns the loss of
Commander Laderman and the *
transport vehicle Messenger, which
exploded in its pre-dawn launch
Friday morning.

LOIS

turns to Perry

LOIS
I knew there was something to
Platt's story. I knew it.

PERRY
Lois, just because one madman's
prediction came true doesn't mean
there's a conspiracy to sabotage
the entire space program.

LOIS
Maybe not. But with more than a
hundred colonists going up in the
next launch, are you willing to
take that chance?

Perry's expression tells Lois that he's not.

BACK TO TV - DR. ANTOINETTE BAINES

DR. BAINES
There are no clues as to the cause
of this disaster, and, so far, no
link to the previous setbacks EPRAD
has encountered during the past
year.

ON TV - NEWSCASTER CARMEN ALVARADO

CARMEN ALVARADO
Suddenly in doubt, however, is the
fate of Space Station Prometheus.
(MORE)

Rev. 3/9/93 24A.

CONTINUED:
CARMEN ALVARADO (CONT'D)
 The Congress of Nations will call a
special meeting to debate whether
or not to continue the
internationally financed floating
space laboratory. And what about
the future of the colonists who
have sacrificed everything in order
to make this voyage? Is man
destined to live in outer space?
Perhaps not. For LTC news, this is
Carmen Alvarado. *

The sound is turned off and the staff starts to disperse.

Jimmy turns to Clark, within hearing distance of Lois.

JIMMY.
Of course we were destined for
outer space! You believe in life
on other planets, don't you?

CLARK
Absolutely.

LOIS
Oh? How can you be so sure?

CLARK
Just a hunch.

JIMMY
What do you think, Chief? Is
there intelligent life on other
planets?

Rev. 4/27/93 (pink) 25.

CONTINUED:

PERRY
Hell, what do I know? I can't even
find a decent dry cleaners.

Perry continues toward his office, Lois determinedly

following. When Perry opens the door to his office, he
turns to face Lois, right on his heel.

PERRY (CONT'D)
Give me a minute.

LOIS
But, Chief ...

PERRY
(controlling himself)
One minute. Please.

LOIS
No problem, Chief. Take two.

Lois looks at her watch. Perry shakes his head, enters his
office as we
 CUT TO:

39 OMITTED 39

Rev. 3/9/93 25A.

40 AT THE COFFEE MACHINE 40

Newsroom staff get their morning hit of java. A spandex-

skirted Cat gives Clark the once over as he passes, wolf
whistles softly.

CAT
Who's the new tight end?

26.

40 CONTINUED: 40

Lois glances up, watches as Jimmy shows Clark his desk.

LOIS
Why don't you just throw your usual
forward pass and find out?

Lois walks back toward her desk.

41 CLARK AND JIMMY 4.

JIMMY
These four stations use the same
printer. Any questions, just ask.

CLARK
A real veteran, huh?

JIMMY
I started as a copy person, then
worked my way up as Ms. Lane's
assistant. Chief gave me a desk
two months ago.

CLARK
Congratulations.

JIMMY
Yeah, well, he still has me doing
grunt work. But, I get to hang *
with Lois. She usually takes me *
along on her big stories. We're *
pretty tight. *

Clark turns, runs smack into the substantial chest of Cat

Grant. She eyes him like a hungry man would a T-bone
steak.

CLARK
Excuse me.
 CAT
Catherine Grant, "Cat's Corner."

CLARK
Yes, I've read your column.

CAT
Then my reputation precedes me.

Lois, returning, overhears, sneers at Cat's ample chest.

LOIS
Among other things.

Rev. 3/9/93 27.

41 CONTINUED: 41

CAT
(in for the kill)
I know what it's like to be new in
town. I'd be happy to show you
around.

CLARK
That's very nice of you, Ms.
Grant.

CAT
Cat.

CLARK
Cat. Maybe when I get settled.

CAT
(loudly)
It's a date.

Lois proceeds towards Perry's office, knocks, then enters. *

42 OMITTED 42

43 INT. PERRY WHITE'S OFFICE - CONTINUOUS 43*

Lois paces in front of Perry's desk as he settles in.

LOIS (CONT'D)

I'll need a task force. I can't

cover this story alone.

PERRY
You can have Jimmy.

28.

43 CONTINUED: 43
 LOIS
Chief, we're talking about the
space program...

PERRY
All right. Take Kent.

LOIS
Kent?!

PERRY
Kent.

LOIS
What about Myerson?

PERRY
Busy.

LOIS
Burns?

PERRY
Budapest.

LOIS
Forget Kent.

PERRY
He's a good man.

LOIS
He's a hick. From "Smallville." I
couldn't make that name up.

PERRY
Kent or nobody.

LOIS
Nobody. *
(re-thinking this) *
Why don't you just hang an
albatross around my neck?
(off Perry's look)
Okay. But don't ever tell me I'm
not a team player.

44 INT. DAILY PLANET NEWSROOM - MOMENTS LATER 44

Lois strides up to Clark's desk. He looks up from his

computer with a smile which Lois quickly wipes off. Lois' *
take-charge attitude covers up a multitude of *
insecurities. *

LOIS
Let's hit it. *

Rev. 3/9/93 29.

44 CONTINUED: 44
 When she starts walking away Clark realizes he's supposed
to follow her. He shrugs, does so. On the move...

CLARK
Mind if I ask where're we going?

LOIS
To interview Samuel Platt. He's *
convinced that the Messenger was *
sabotaged. I'll brief you on the *
way.
(stopping to face him)
And let's get something straight.
I didn't work my buns off to become
an investigative reporter for the
Daily Planet just to baby-sit some
hack from Nowheresville.

She continues to walk with Clark right behind her. Then,

she whirls on him again.

LOIS (CONT'D)
And another thing. You're not
working with me, you're working
for me. I call the shots. I ask
the questions. You're low man.
I'm top banana. That's the way I
like it. Comprende?

CLARK
You like to be on top. Got it.

Lois gives him a sneer.

LOIS
Don't push me, Kent. You are way
out of your league.

Lois and Clark enter the elevator, Clark all smiles as we

CUT TO:

45 EXT. ABANDONED APARTMENT BUILDING - DAY - TO ESTABLISH 45

There are signs posted around the crumbling tenement

indicating "This Building Is Condemned," "No Entry," etc.
Lois and Clark exit a Taxi, walk up the steps. *

46 INT. TENEMENT HALLWAY - DAY 46

Lois and Clark stand in a dark hallway, knock on a door.

LOIS
Dr. Platt? Samuel Platt?

Rev. 3/9/93 29A.

46 CONTINUED: 46

PLATT (O.S.)
 (harsh whisper)
Nobody's home.

A rat scurries by. Lois looks at Clark, tries again.

Rev. 3/17/93 30.

46 CONTINUED: 46

LOIS
Dr. Platt? It's Lois Lane.

The door instantly opens to reveal Platt, wearing a woman's

robe over a pair of pajamas, a WWII steel-pot helmet, and
holding a tire iron.

DISSOLVE TO:

47 INT. SAMUEL PLATT'S APARTMENT - ONE HOUR LATER 47

Lois sits on a pile of books, Clark leans against a wall.

We PAN the room as Platt speaks, a mile a minute. His
living room is filled with items collected out of other
people's garbage: a bird cage, a headless hobby horse, a
windmill from a miniature golf course. Magazines and
newspapers are stacked everywhere.

PLATT
They said I was crazy, but wouldn't
you be? After the drugs... they
drugged me, you know, right after I
submitted my report to Dr. Baines.

LOIS
Dr. Platt, how could the Messenger
have been sabotaged? In order to
bypass security...
(beat, thinking)
Unless the orders came from high
up.

PLATT
You see, under extreme temperature
conditions, the particle isolators *
were in danger of shutting down. *
To prevent that, we installed
heating devices. But when I broke
into one of the off limit labs, I
discovered that the heating devices
had been replaced by coolant
systems.

CLARK
To freeze the ion particles? *

PLATT
Of course! So that they'd fuse *
and the Messenger would blow up!
It's all in my report!

LOIS
 What report?

PLATT
The report I gave to Dr. Baines.

Rev. 3/17/93 30A.

47 CONTINUED: 47

LOIS
Do you have a copy of that report?

Rev. 3/22/93 32.

49 INT. EPRAD PLANT - DAY 49

Lois and Clark walk through the vast EPRAD complex;

following Dr. Antoinette Baines. Even under the white lab
coat, it's obvious that Baines is even more beautiful than
she looks on TV.

DR. BAINES
Naturally, we're all still in a
state of shock. I don't suppose
I have to tell you what a *
catastrophe the explosion was. *
Commander Laderman... he was one *
of our best. Three kids, his wife
Anna...

LOIS
Dr. Baines, what's being done to
investigate the cause of the
explosion?

DR. BAINES
Well, we won't know anything until we
examine the burned wreckage. We're in
the process of moving it to a hangar
for inspection.

LOIS
Can we take a look at it?

DR. BAINES
Sorry. No press allowed.

CLARK
No exceptions?

Baines gives Clark an almost provocative scan.

DR. BAINES
I'll see what I can do.

LOIS
On the subject of Dr. Samuel Platt...
 Rev 3/22/93 32.

49 INT. EPRAD PLANT - DAY

Lois and Clark walk through the vast EPRAD complex,

following Dr. Antoinette Baines. Even under the white lab
coat, it's obvious that Baines is even more beautiful than
she looks on TV

DR. BAINES
Naturally, we're all still in a
state of shock. I don't suppose I
have to tell you what a
catastrophe the explosion was.
Commander Laderman... he was one
of our best. Three kids, his wife
Anna...

LOIS
Dr. Baines, what's being done to
investigate the cause of the
explosion?

DR. BAINES
Well, we won't know anything until
we examine the burned wreckage.
We're in the process of moving it
to a hangar for inspection

LOIS
Can we take a look at it?

DR. BAINES
Sorry. No press allowed.

CLARK
No exceptions?

Baines gives Clark an almost provocative scan.

DR. BAINES
I'll see what I can do.

LOIS
On the subject of Dr. Samuel
Platt.

Rev. 3/17/93 33.

49 CONTINUED: 49

DR. BAINES
I have his file right here. A real
waste of talent. Seems that the
pressure of building the space
station, along with his divorce,
finally got to him. He started
drinking and taking drugs. It went
from bad to worse. We kept him on
as long as we could. But, after he
set-fire to one of the
 laboratories, we had to let him go.

Lois takes a moment to study Baines before her next

question.

LOIS
Dr. Platt said he submitted a
report to you... something about
coolant devices installed to freeze
the ion particles?

DR. BAINES
Coolants? No, I don't recall any
report. I could check my records.

LOIS
Could you? And give us a call?

Lois hands Baines a card, which she takes.

DR. BAINES
No problem at all.
(beat)
Let me know if I can be of further
assistance.

Lois is still looking at Baines, hard, as we

CUT TO:

50 EXT. EPRAD BUILDING - MOMENTS LATER 50

Lois and Clark exit an EPRAD van.

CLARK
She seemed... cooperative.

LOIS
I don't trust her.

CLARK
Very attractive. Young for a
woman in her position.

LOIS
(after a beat)
Typical.

Rev. 3/22/93 34 34.

50 CONTINUED: 50

CLARK
What?

LOIS
Typical male response.

CLARK
Lois, trust me on this, I'm _not_ your
typical male.
 LOIS
No? Just because she's _okay_
looking...

CLARK
_Very_ okay.

LOIS
You immediately assume she's telling
the truth.

CLARK
And you assume she's not? Does
everyone have "an angle?" No honest
people left in the world?
(off her look)
Pretty cynical, Lane.

LOIS
_Realistic_, Kent. At least I *
don't go through life disappointed.

A taxi pulls up and they enter as we

CUT TO:

51 INT. DAILY PLANET - EVENING 51

By the time Lois and Clark get back, the newsroom is nearly
deserted. They pass Jimmy en route to the elevator. He hands
Lois her messages.

LOIS
Thanks, Jimmy.

JIMMY
See you tonight!

Lois waves him off. Perry exits his office in black tie. He
walks up to Clark as Lois returns to her desk, looks at her
messages.

CLARK
What's the occasion?

Rev. 4/27/93 (Pink) 34.

50 CONTINUED: 50

CLARK
What?

LOIS
Typical male response.

CLARK
Lois, trust me on this, I'm not
your typical male.

LOIS
 No? Just because she's okay
looking...

CLARK
Very okay.

LOIS
You immediately assume she's
telling the truth.

CLARK
And you assume she's not? Does
everyone have "an angle?" No
honest people left in the world?
(off her look)
Pretty cynical, Lois.

LOIS
Realistic, Kent. At least I
don't go through life disappointed.

A taxi pulls up and they enter as we

CUT TO:

51 INT. DAILY PLANET - EVENING 51

By the time Lois and Clark get back, the newsroom is nearly
deserted. *

Rev. 4/27/93 (Pink) 35.

51 CONTINUED: 51

Clark sits down at his desk, watching as the last newsroom

employee leaves with a wave. He glances at Lois who picks
up the phone, dials. She starts speaking, looks upset.
Clark can't help himself, he tunes in with his super
hearing to pick up the conversation.

LOIS
(into phone)
No, Mitchell, I'm not mad.
(beat)
If you've got the sniffles, you've
got the sniffles. Yes, that could
lead to complications. No, don't
call me. I'll call you.

Lois slams down the phone, disgusted. She glances around

the newsroom, sees Clark looking at her. Clark immediately
turns away. Lois, having no choice, slowly approaches
Clark's desk.

LOIS (CONT'D)
I don't suppose you own a tuxedo?

CLARK
I can get one. Why?

LOIS
 Oh. Well, the man I was going to
Lex Luthor's ball with has the flu,
and...

CLARK
Yes?

LOIS
...well, I was wondering if you'd
like to...
(finally)
Look, do you want to take his place
or not?

Clark has her on the ropes, decides to milk it.

CLARK
Thanks anyway, Lois, but I thought
I'd get to bed early tonight.

36.

51 CONTINUED: 51

LOIS
(jumping on him)
Are you crazy? This is the
social event of the season.
Everyone who's anyone will be there
and you're just lucky that I'm
being stood up-and you want to go
to bed early?

CLARK
So.... is this a date?

LOIS
(appalled)
Date? Oh, you mean like in Kansas
where you meet my parents and then
try and give me a hickey in the
vacant lot behind the Dairy Freeze?
No, this is not a date. It's
business. I'm going to land Lex
Luthor's first one-on-one interview
if it kills me. And I will not
walk into his party unescorted.

Clark takes a few more moments to decide, infuriating Lois

no end.

CLARK
(grudgingly)
O... kay.

LOIS
Meet me in front of LexCorp. Nine.
Sharp,
(beat)
You're sure you can get a tuxedo?

CLARK
 I'll see you there.

Lois turns and walks back to her desk, grabs her things and
exits the newsroom. Clark quickly grabs a phone book,
searches through it at super speed, finds the number,
dials...

CLARK (CONT'D)
(into phone)
Sam's Tuxedo Rentals? What time
are you open to?
(checking his watch)
Five minutes? No problem. I'll
fly.

52 OMITTED 52

Rev. 3/23/93 36A.

52A EXT. "ROOMS FOR RENT" BUILDING - NIGHT 52A*

Clark exits the building and walks down the street.

Rev. 4/20/93 (White) 37.

53 EXT. ALLEY - NIGHT 53

Clark walks into an alley, carefully looking around to see

if it's safe to "take off." The alley is barely three feet
in width between two massive high rises. Clark begins his
vertical lift when...

HOMELESS MAN
Hey, buddy... you got a buck?

Clark looks down toward the voice. A HOMELESS MAN is lying

in a cardboard refrigerator box. Clark digs into his
pocket, pulls out his last five dollar bill, hands it to
him. The homeless man stares at the money.

HOMELESS MAN (CONT'D)

You must be some kind of angel,
brother.

Clark nods at the man, who crawls back into his box. Then,
Clark slowly begins his vertical lift between the
buildings, rising higher and higher, faster and faster,
until he clears the highrises...

54 OMITTED 54

55 THE HOMELESS MAN 55

who has watched from below, stares upward.

HOMELESS MAN
Some kind of angel ...
 CUT TO:

56 OMITTED 56

57 OMITTED 57*

Rev. 4/26/93 (Blue) 38.

58 INT. KENT DINING ROOM - LATER 58

The only clues to the enormity of the dinner are the number
of empty platters on the table.

CLARK *
Dinner was great, Mom. Thanks. *

JONATHAN
More than I get these days.
(beat)
Your mother is now an artiste.

They all take a moment to turn toward Martha's sculpture.

MARTHA
I call it, "Too Much, Too Soon,
Tortured Heart, Waning Moon."
(beat)
What do you think? Too cerebral?

CLARK
No, no. It's very... imaginative.

JONATHAN
Uh, huh.

MARTHA *
Tell me more about this woman
you're going to Lex Luthor's Ball *
with. *

Rev. 4/26/93 (Blue) 39.

58 CONTINUED: 58

CLARK
Lois is ... well, she's ...
complicated. Domineering,
uncompromising, pig-headed...
brilliant.
(beat)
And we're not really going out.
It's business.

MARTHA
Uh, huh.

Clark stands, kisses his Mom on the cheek, and grabs his *
 jacket off the chair.

CLARK
I gotta go. Thanks for sewing my
jacket, Mom. That electrical storm
over Cleveland was brutal..

MARTHA
Maybe you should take another
route. See you next week.

59 EXT. KENT FARM - NIGHT - MOMENTS LATER 59

Jonathan walks Clark outside. The two men stand in silence

for a beat, looking out at the night sky, filled with
stars.

CLARK
I forget how beautiful it is here.
The only stars you see in
Metropolis are riding in limos.

JONATHAN
You're the one who wanted the rat
race. I couldn't live there.
Not for a minute.

CLARK
There's something about the city...
the pace... everyone going
somewhere...

Clark absentmindedly kicks a stone. It is launched to the

moon.

Rev. 4/20/93 (White) 39A.

59 CONTINUED: 59

JONATHAN
Impatient. Like you.
(beat)
Guess you've finally found your
niche. You can stop living out of
that old suitcase.

Rev. 3/11/93 40.

59 CONTINUED: 59

CLARK
I hope so, Dad. Being in
Metropolis, working at the Planet,
the Daily Planet, it's a dream
come true, but...

JONATHAN
You still feel like you don't fit
in.
 CLARK
I don't. I don't fit in. I
have to control myself all the
time, never use my powers because I
might jeopardize my chance to lead
a normal life.

JONATHAN
Whatever "normal" means.

CLARK
Being human. Like you and Mom.
Living, working, meeting someone...
having a family.

JONATHAN
Clark, we don't know if that's
possible. And you can't risk
anyone finding out about you. If
they knew you came from another
planet...

CLARK
But I can't hide forever. There
has to be a way I can be Clark Kent
and still use what I've been given
to do some good.

There's no immediate solution. Jonathan hugs his boy,

takes the opportunity to tuck a few bills into his pocket.

JONATHAN
You'll find a way.

CLARK
Thanks, Dad. And thanks for
listening. See you next week.

Clark turns to leave as we

CUT TO:

Rev. 3/9/93 41.

60 EXT. LEXCORP BUILDING - NIGHT 60

The tallest building in the city. The storm has brought

lightning and thunder. Clark, dressed in his tuxedo,
stands under the awning, waiting. Several other
party-goers enter. A cab pulls up and Lois exits in a full
length raincoat and hat, carrying an umbrella. She breezes
by Clark, barely giving him a nod.

LOIS
I've got to fix my hair. I'll meet
you inside.

Clark stands there a moment, shaking his head. Some date.

61 INT. LEX LUTHOR'S PENTHOUSE - BALLROOM - NIGHT 61

 Lois was right. Everyone who is anyone is at this shindig,
and dressed to the hilt. The grandeur of the penthouse is
awe inspiring. This is the home of a very wealthy man.
Clark sees Perry standing with a group of people, waves to
him. Jimmy walks over, stands next to Clark.

JIMMY
Incredible, huh.

CLARK
Yeah.
(beat)
Have you ever met him -- Lex
Luthor?

JIMMY
No, but I read all five of his
unauthorized biographies. Rags to
riches, wrong side of the tracks,
self-made billionaire, owns dozens
of companies, employs thousands of
people. Man Of The Year, every
year, has his finger in every pie,
but rarely appears in public.
Won't give personal interviews.
(beat)
Hey. There he is.

TOP OF STAIRS - CLARK'S POV

Atop the grand staircase, a tall figure steps into the

light. At that exact moment, a bolt of lightning strikes
outside, illuminating the stained glass window behind him.
LEX LUTHOR is ageless, dashingly handsome, suave,
brilliant, a force to be reckoned with. When he reaches
the ballroom floor, he's immediately surrounded by his
admiring guests, shakes hands with them and pays his
respects.

LUTHOR
Good evening, Margaret. Thanks for
coming, Charles. I ...

42.

61 CONTINUED: 61

LOIS (O.S)
(boldly)
Lex Luthor... why haven't you
returned my calls?

Luthor turns to see who's addressing him. His other guests

step aside to reveal... Lois Lane. In a strapless gown,
she is suddenly stunning. Luthor smiles, slowly walks up
to her, takes her hand.

LOIS (CONT'D)
Lois Lane. Daily Planet. *

LUTHOR
(admiring her)
 I can assure you, I'll never make
that mistake again.

Lois smiles. Luthor still holds her hand. As they stand

there, very close, we go to...

62 ANOTHER ANGLE 62

Clark, standing with Jimmy, is staring at Lois. In fact,

he can't take his eyes off her. Unconsciously, he's
floated an inch off the floor.

JIMMY
She's something, isn't she?
(beat)
Clark?

Clark, literally, comes back to earth.

CLARK
Yeah. She's something.

63 ON THE DANCE FLOOR - MINUTES LATER 63

Lois is in Luthor's arms. They glide across the floor to

the strains of a waltz.

LOIS
I hope you'll forgive me for being *
so bold, but... *

LUTHOR
Boldness is a trait I find very *
attractive in a woman, Ms. Lane. *

LOIS
Oh. Thank you. Anyway, I was *
wondering, Mr. Luthor... *

LUTHOR
Lex.

43.

63 CONTINUED: 63

LOIS
Lex. I know you're hesitant to
give interviews...

LUTHOR
I hope you can understand, a man *
in my position. I wouldn't want *
to be misinterpreted, and I have *
had one or two bad experiences *
with the media. *

LOIS
But not with me. *
 Luthor looks into her eyes, smiles. *

LUTHOR
Why don't we make it dinner?

Lois' eyes widen. She's done it. But before she can say
another word...

CLARK (O.S.)
Mind if I cut in?

Lois and Luthor stop dancing. Lois is pissed, grudgingly

introduces them.

LOIS
Lex, this is Clark Kent. He works
at the Planet.

LUTHOR
A pleasure. *
(beat, to Lois)
Later, then?

Luthor hands Lois over to Clark and walks off. Lois speaks
in a heated whisper.

LOIS
Clark, you idiot. It's taken me a
year to get this close...

Clark pulls her into his arms and they begin to dance.

CLARK
This close?

Lois pushes him back a few inches.

LOIS
I would have thought square dancing
was more your style.

CLARK
Actually, I learned from a Nigerian
princess who studied ballroom
dancing in England.

44.

63 CONTINUED: 63
LOIS
(feigning boredom)
Really? How fascinating.

Lois breaks from him, walks off the dance floor. Clark
follows, catches up with her.

CLARK
Where are you going?

Lois doesn't answer, pushes through a door leading out of

the ballroom. Clark shrugs, still follows.
64 INT. LUTHOR'S PRIVATE STUDY - MOMENTS LATER 64

The door opens and Lois walks inside, shadowed by Clark.

CLARK
Lois, what are you doing?

LOIS
Being a reporter. You should try *
it sometime. *

The study is dark,,paneled, rich with leather furniture,

collections of ceremonial weapons, dueling pistols, etc.
Lois disappears through another door while Clark stops to
examine an antique crossbow, then, hearing something, he
turns... and walks directly into a sword held by Lex
Luthor, the tip of which is pointed directly at his heart.
Clark takes a moment to study the weapon.

CLARK
Macedonian?

LUTHOR
(nodding)
It belonged to Alexander the Great.
A brilliant tactician.

Luthor lowers the sword, hands it to Clark, who examines

it.

LUTHOR (CONT'D)
Alexander's strategy was simple:
always control the high ground. It
was with this sword that he...

CLARK
... defeated Darius III, and was
proclaimed King of Asia.

LUTHOR
You surprise me, Mr. Kent. I'm not
often surprised.

Lois returns through the same door. She sees Luthor, tries
to cover her intrusion of his private domain.

Rev. 3/17/93 45.

64 CONTINUED: 64

LOIS
I hope you don't mind our looking
around... you have a beautiful
home, Lex.

Luthor, of course, does mind, but masks it with a smile.

LUTHOR
Have you seen the view from here?

They move toward the terrace. The lights of Metropolis

shine below.
 LUTHOR (CONT'D)
Tallest building in Metropolis.
I must confess a certain pleasure *
in knowing that everyone in the *
city has to look up in order to
see me.

Luthor stops himself, afraid that he may have revealed too

much already.

LUTHOR (CONT'D)
Let's get back to the party. I
think my announcement will interest
you.

CLARK
After you.

Lois and Clark follow Luthor out as we

CUT TO:

65 INT. BALLROOM - MINUTES LATER 65

The crowd has started to gather near the small, curtained

stage for Luthor's announcement. Lois stands with Jimmy
and Clark.

JIMMY
(looking around)
I guess this is what you call the
"All list.

CAT (O.S.)
Did someone mention my name?

The threesome turn to see Cat clad in a skin-tight, semi-

transparent gold lame jumpsuit.

LOIS
How did you pass the metal
detector?

Rev. 3/17/93 46.

ON THE STAGE

Luthor has arrived, stands in front of the curtain. The

crowd falls silent.

LUTHOR
Honored guests. We're here tonight
for a good cause. Thanks to your
generosity, Luthor House for
Homeless Children will soon be a
reality. As you know, I have
dedicated my life to improving the
quality of the lives of the
citizens of Metropolis. Tonight,
I'd like to go further. It is my
 sad understanding that due, in
part, to the terrible tragedy that
befell the Messenger last week, the
Congress of Nations intends to
cancel Space Station Prometheus.
(beat)
I cannot stand by and allow that to
happen to the citizens of this
planet. Profit aside, potential
benefits that a zero gravity
laboratory could bring -- most
importantly, pharmaceuticals that
could end crippling diseases here
on Earth -- must not be lost.
Therefore, I have decided to commit
my total.financial support toward
the building of a privately owned
space laboratory. I have submitted
my proposal to the Congress of
Nations and I am awaiting their
go-ahead. Ladies and Gentlemen, I
give you... Space Station Luthor.

Luthor pulls the curtain. There, on the stage, is a huge

mock-up of the proposed space station with the insignia,
LL, emblazoned on its side. The crowd oohs and aahs,
breaks into thunderous applause.

LUTHOR (CONT'D)
An engineering marvel. Signpost to
a new age in exploration and
scientific advancement. A gift to
the future of mankind.

ON CLARK, LOIS AND JIMMY

Lois, clapping enthusiastically, makes eye contact with

Luthor on stage, who smiles at her. As Clark unhappily
notices the by-play we

CUT TO:

Rev. 3/9/93 46A.

66 INT. LUTHOR'S STUDY - LATE THAT NIGHT 66

Luthor, still in his tux, enters his dark study, closes the
door, and sits down at his desk which overlooks the lights
of the city below. The rain outside is still falling,
lightning streaking the black sky. Luthor opens a humidor,
takes a cigar out, lights it, leans back in his chair.

47.

ANOTHER ANGLE

The door to his study opens a crack. Nothing. Then,

something. Something slithering across the floor.
 LUTHOR

takes another puff from his cigar, puts it out, stares out
at the sky.

SOMETHING SLITHERING

up the side of Luthor's desk.

LUTHOR

opens his eyes to face the COBRA, inches from him, hood up.
Luthor does not move. He does not flinch, he does not
blink. Doing so would mean certain death.

It is a test of wills. Luthor stares down the cobra.

Seconds turn into lifetimes, but still Luthor does not
move. Finally, the Cobra, beaten, lowers its hood,
slithers away. Luthor sits back with a sigh.

ASABI (O.S.)
Will that be all for this evening,
sir?

ASABI, Luthor's turbaned valet, holds the snake at the end

of a professional rod with a wire trap.

LUTHOR
Yes, Asabi. Thank you. That will
be all.

Luthor stands, steps onto his balcony, the rain falling

down upon him. He begins to laugh, a resounding roar of
triumph and we

FADE OUT:

END OF ACT TWO

Rev. 3/17/93 48.

ACT THREE

FADE IN:

67 EXT. METROPOLIS STREET - MORNING 67

Clark walks briskly down the street toward the Daily

Planet. A cab pulls over to the curb beside him and Lois
gets out.

CLARK
'Morning.

Lois pays the driver, turns to Clark.

LOIS
Maybe for you. I've been at it for
 hours. I went back to EPRAD and
followed the truck with the
wreckage from the Messenger inside.
They brought it to this hangar. I
tried to get inside, but your
friend Dr. Baines threw me out.

Just then, less than a hundred feet in front of them, the

sound of an EXPLOSION.

68 STREET - LOIS AND CLARK IS POV 68

A "People Working Sign" surrounds an area of excavation in

the middle of the street. The explosion below has caused
smoke to belch out from a manhole. A horrified SUPERVISOR
screams...

SUPERVISOR
There's a man down there! Call the
fire department!

69 LOIS AND CLARK 69

Race to the scene. Clark lags behind as Lois disappears

into the gathering crowd and smoke. Clark spies a manhole
at the other end of the street, runs to it, opens it and
jumps down.

SUPERVISOR
There was an explosion! Did
someone call the police?
(beat)
Keep those people back!

The Supervisor and his fellow workers try and keep the *
people away from the scene. *

SUPERVISOR (CONT'D) *
Back off! one of my men is down *
there! Where are the fire trucks? *
Hurry up! He's dying down there! *

48A.

70 OMITTED 70

71 EXT. STREET - SAME TIME 71

The SIRENS from approaching Ambulances and Fire Trucks can

be heard in the distance as the crowd strains to see
through the blinding smoke.

Rev. 3/17/93 49.

ANGLE - THE OPEN MANHOLE

A pair of strong arms lifts the WORKER up and onto the

 street.

THE SUPERVISOR

thinks he sees something through the-smoke. As it begins

to clear, he and the crowd now gathered are astounded to
see the Worker laying on the street just in front of the
manhole. The Ambulances and Fire Trucks arrive as the
Supervisor bends over the Worker.

SUPERVISOR
You okay?

The worker stops coughing, opens his eyes for a second,

looks at the crowd.

CROWD - WORKER'S POV

By this time, Clark is standing next to Lois.

THE WORKER

Points to Clark.

WORKER
That man. He... he saved me.

LOIS

looks at Clark. His sportscoat has been torn and singed.

CLARK
I ... he's delirious.

LOIS
Obviously.
(re: his suit)
You're a mess. From now on, do
what I do: bring a change of
clothing to work.

As the Ambulance workers appear with a stretcher we

CUT TO:

72 INT. LEX LUTHOR'S STUDY - MORNING 72*

Lex Luthor, in his bathrobe, enters from the terrace into *

his study. In a large swivel chair, back to us, we can *
HEAR a woman's voice, speaking into the telephone. *

Rev. 3/17/93 49A.

72 CONTINUED: 72

WOMAN'S VOICE
 Thank you. Call me when
everything is in place.

When the woman swivels around to face us, we see that she
is none other that Dr. Antoinette Baines, scantily clad in
a negligee. Baines hangs up the phone and moves
toward Luthor.

Rev. 3/17/93 50.

72 CONTINUED: 72

DR. BAINES
It's done. The Messenger's at the
hangar.

LUTHOR
I knew I could leave everything in
your capable hands.

Luthor lifts one of her hands, kisses her palm.

ANOTHER ANGLE - THE DOOR TO LUTHOR'S STUDY

A giant, Tattooed Man enters.

LUTHOR

turns to see him.

LUTHOR (CONT'D)
What's he doing here?

DR. BAINES
I have an errand for him to run.
(off Luthor's look)
Platt has to be... silenced. And
those reporters, Clark Kent and
Lois Lane are also becoming a
problem. Lois Lane was there this
morning. She took pictures of the
Messenger, followed the truck to
the hangar.

LUTHOR
(sternly)
Do what you want with Platt.. But
leave the reporters to me.

Dr. Baines turns toward the Tattooed Man, waves for him to *
leave. When he exits, Baines turns back to Luthor. *

DR. BAINES
Tell me, Lex, do you have any
special interest in those
reporters? Clark Kent, for
example?

LUTHOR
(sternly)
 Kent is nothing, a mere... giblet.

DR. BAINES
And Lois Lane?

Rev. 3/17/93 51.

CONTINUED:
LUTHOR
(trying to soothe)
Have I seduced you? I thought it
was you who seduced me.

DR. BAINES
I'm warning you. Stay away from
her.

LUTHOR
Antoinette. You know me, perhaps,
a little too well. I don't like
threats.

DR. BAINES
I don't care. Everything we've
worked for... we're so close. I
won't let her interfere.
(deadly)
You know what I'm capable of.

Luthor grins, leans over and kisses her on the mouth.

LUTHOR
Yes, Antoinette, I do. That's part
of the appeal.

Luthor stands, lifts Antoinette in his arms, carries her *

through his secret passageway as we *

CUT TO:

73 73
THRU OMITTED THRU
74 74

75 INT. DAILY PLANET NEWSROOM - DAY 75

Clark enters through the stairwell doors, bumps into Jimmy

on his way down.

JIMMY
Hey, C.K.

CLARK
Where're you off to?

JIMMY
To pick up that report from Platt.
He called this morning -- said he
"hoped we could read it." I'm also
going to take a copy over to my
 friends at S.T.A.R. labs to
analyze.
(beat)
What happened to your suit?

Rev. 3/17/93 51A.

75 CONTINUED: 75

CLARK
Don't ask. See you later.

52.

75 CONTINUED: 75

Jimmy nods and Clark walks toward the conference room, but,
once again, Cat steps out of nowhere and impedes his path.
Her outfit, as usual, leaves little to the imagination, and
her open sensuality unnerves Clark, who tries to get by...

CAT
'Morning, handsome.

CLARK
Oh, hi, Cat. If you'll excuse
me...

CAT
No, I don't think I will excuse
you.
(pouting)
I've asked you to have dinner with
me two times.
(her hand on his chest)
That's two times more than I've
ever had to ask any man to do
anything.

Lois enters from the stairway and walks past them on her
way to the conference room.

CLARK
I'm sorry, Cat, but I've been
really swamped. Lois and I...

CAT
Poor Lois. All work and no
personality.

CLARK
Anyway, can I take a raincheck on
that dinner?

CAT
Sure. But don't wait too long.

As he walks on, Cat comments to herself.

CAT (CONT'D)
 I love it when they play hard to
get.

76 INT. CONFERENCE ROOM - CONTINUOUS 76

Clark enters to find Lois flipping through her notes.

LOIS
Cat-napping?

Clark ignores the barb, motions towards her notes.

CLARK
Anything?

Rev. 3/22/93 (goldenrod) 54.

77 CONTINUED 77

CLARK
I read a lot of scientific journals.

LOIS
Isn't that stuff kind of dense?

CLARK
Yeah, but... I'm a speed reader.

LOIS
Oh.
(beat)
I'm starving.

CLARK
We could go for a bite.

LOIS
Nah. What I'd really like is some
good Chinese take-out, but not from
that lousy joint across the street.

CLARK
I know a place.

LOIS
Do they deliver?

CLARK
No, but it's no problem. I'll be
right back.

Clark starts to exit...

LOIS
Don't you want to know what I want?

CLARK
I'll bring an assortment.

Clark exits the newsroom.

78 78
THRU OMITTED THRU*
79 79

Rev. 4/27/93 (Pink) 53 -54.

LOIS
(shaking her head)
I must have called fifty
ex-employees who worked at EPRAD
when Platt did. None of them are
talking. I don't know, maybe
there's nothing to talk about.

CLARK
So, what do we do now?

LOIS
First off, we piece together
Platt's report, if that's possible.
Then, we figure out how to prove
that Dr. Baines got a copy of it.
If we have any written evidence
that Platt found coolant devices
and Baines ignored it...
(beat)
I hope you haven't made any dinner
plans.

CLARK
I'm all yours.

Lois gives him a annoyed look as we

CUT TO:

77 INT. DAILY PLANET NEWSROOM - NIGHT 77

Lois and Clark are the only people left in the deserted
newsroom. Platt's report -- hundreds of scraps of paper --
is piled all around them.

LOIS
This is impossible. Nothing
matches, no dates...
(beat) *
We'll never get through this... *
and I'm starving. I wish I knew a *
good Chinese take-out. *

CLARK *
I know a place. I'll be right *
back. *

Clark starts to exit...

LOIS
Don't you want to know what I want?

CLARK
I'll bring an assortment.
 Clark exits the newsroom.

78 78
THRU OMITTED THRU
79 79

Rev. 4/15/93 (Tan) 55.

50 80
TTHRU OMITTED THRU
81 81

81A EXT. NIGHT SKY 81A

Clark flies west, away from the eastern shore, across the
Great Plains, above the Grand Canyon, and to the California
coastline. He continues across the ocean-towards China...

82 OMITTED 82 *

83 INT. DAILY PLANET NEWSROOM - MINUTES LATER - NIGHT 83

Clark re-enters carrying several bags of Chinese food.

LOIS
That was quick.

CLARK
I took a short cut.

Clark starts unloading. It's quite a spread. Lois opens

one of the steaming containers, takes a bite.

LOIS
Mmm... still hot.
(swallowing)
This is out of this world.

CUT TO:

84 INT. DAILY PLANET NEWSROOM - LATER THAT NIGHT 84

Lois and Clark have devoured the Chinese food. They're

exhausted. Lois has kicked off her shoes, has her feet up
on the desk. Clark hands Lois a fortune cookie. Lois
cracks it open, looks at Clark in disgust.

LOIS
It's in Chinese.

Clark takes it from her, starts to read.

LOIS (CONT'D)
Don't tell me you can read....

Rev. 4/27/93 (Pink) 56.

 CLARK
(reading)
"A good horse is like a member of
the family."

LOIS
I hate that. That is not a
fortune.

Clark laughs, warm and deep. Lois stares at him.

LOIS (CONT'D)
You're a strange one, Clark Kent.

CLARK
Am I?

LOIS
Yeah. But I think I've got you
figured out.

CLARK
Really?

LOIS
Uh huh.

CLARK
Didn't take you long.

LOIS
That's my business, looking beyond
the external.

CLARK
I guess I didn't think I was so
transparent. At least, not
nearly as transparent as you are.

Clark adjusts his glasses. We can only imagine what he

sees "beyond the external."

Rev. 4/27/93 (Pink) 57.

For a brief Moment, which feels like a lifetime, Lois and *

Clark lock eyes. The darkened newsroom, exotic food, and
the late hour have taken their toll on Lois' defenses.
Before she lets them go...

LOIS
Don't fall for me, farmboy. I
haven't got the time to deal with
it.

Clark just stares. Lois-gathers up the scraps of paper

that make up Platt's report, throws them in a box, grabs
her purse, starts toward the elevators.

LOIS (CONT'D)
Come on. Maybe Platt can help us
decipher this.
 On their exit we

CUT TO:

85 EXT. SAMUEL PLATT'S APARTMENT BUILDING - LATE NIGHT 85

Lois and Clark exit a taxi, enter the building.

86 INT. HALLWAY OUTSIDE PLATT'S APARTMENT - LATE NIGHT 86

Lois starts to knock on the door, finds it's partly open.

She looks at Clark, who gently pushes her aside.

CLARK
Lois, let me look first.

LOIS
Don't be silly.

Lois, without a moment's hesitation, steps into the dark

living room, searches for a light switch.

LOIS (CONT'D)
Listen, Kent. I've seen it all,
okay? War, crime, famine...

Lois finds the light switch, turns it on.

LOIS AND CLARK'S POV

Platt is sitting, back to them, in a chair.

LOIS (CONT'D)
Dr. Platt? We...

Rev. 3/9/93 58.

CONTINUED:

Lois takes a step forward and Clark stops her, pulls her back.

CLARK
Wait. The water...

They notice, under Platt's chair, a puddle of water. Clark

maneuvers Lois so that they walk around it. Once around,
Lois takes a look, gasps...

PLATT -- LOIS AND CLARK'S POV

Platt, bare feet in a pan of water, holds a live electrical

cable (from the wall) in his hands. He's made his own
electric chair and is very much dead. *

LOIS

starts to sway, Clark grabs her. She turns her face into
his jacket as we
 FADE OUT:

END OF ACT THREE

Rev. 3/9/93 59.

ACT FOUR

FADE IN:

87 INT. PLATT'S APARTMENT - NEAR DAWN 87

Lois and Clark speak with HENDERSON, a hard-nosed but

straight talking homicide detective. Several other people
that make up the forensic team are busy dusting for prints,
etc. Lois looks at Henderson in amazement.

LOIS
Suicide? That's ridiculous.

HENDERSON
He's tried it before.
(beat)
There's no sign of forced entry, no
sign of struggle, nobody saw
anybody come in or out.

LOIS
But we were on the verge of proving
his theory that... well, that
something he was working on was
right. There's no way he...

Two men from the city morgue carry Platt out on a

stretcher. An overweight COP/comedian follows.

COP
Man's gonna barbecue himself he
oughta use sauce.

The Cop laughs at his own joke until Clark steps up to him,
one huge hand gripping his lapel. Clark's voice is low,
controlled, but there's a volcano underneath.

CLARK
The man's name was Samuel Platt. He
was brilliant, a scientist, and *
someone who cared about others. *
Under the circumstances, I don't
believe that kind of humor is
appropriate.

Clark's understated rage is very scary, and, to Lois, very

impressive.

COP
Sorry, buddy. Really, I'm sorry.

They now carry Platt from the room. The Cop follows.

HENDERSON
We tracked down his wife and kid.
 You know about them?

Rev. 3/23/93 60.

87 CONTINUED: 87

CLARK
(nods)
If you don't mind, I'd like to call
them personally.

HENDERSON
(handing him a sheet of paper)
Never was one of the perks of
this job.
(to Lois)
Check back with me after the
autopsy.

Henderson exits. Lois looks at Clark.

LOIS
You okay?

CLARK
We should have known. We should
have protected him.

LOIS
How?

CLARK
I don't know, but...

LOIS
Look, Clark. All we can do now is
try and prove him right. Whoever
did this sabotaged Messenger and is
probably planning the same thing
for the colonist transport.
(beat)
We've got a lot of work to do.

Clark stares at her, fury abating. Lois looks at her

watch.

LOIS (CONT'D)
It's only six. Why don't we try
and get a few hours sleep. I'll
come by for you at nine.

Clark nods. On their exit we

CUT TO:

88 INT. CLARK'S ROOM - MORNING 88 *

Clark, clad only in a towel around his waist, is mid-

conversation with his mother and father on the phone.

CLARK
 I can't help it, Mom. I feel
responsible...

Rev. 3/23/93 6OA.

88A INT. KENT FARM - KITCHEN - INTERCUT 88A

MARTHA
Now you listen to me, Clark Kent.
You may be the strongest man on
Earth, but the world and all of
it's problems does not rest on your
shoulders. If you could have
helped him, you would have.

CLARK
I guess so, Mom, but...

JONATHAN
Clark? What was this about a
worker caught in an explosion down
a manhole? Your mother told me he
recognized you.

CLARK
Dad, the workman was semi-
conscious. Nobody believed him
when he pointed to me.

Rev. 3/17/93 61.

JONATHAN
Maybe, but one of these days you're
going to pull some stunt, and some
nut with a video camera is going
to...

MARTHA
What was he supposed to do,
Jonathan? Let the man die?
(beat)
Clark, how're your clothes holding
up? Do you have any suits left?

JONATHAN
Don't change the subject... *

CLARK
Listen, I have been thinking
about this. Maybe it's a crazy
idea, but... Mom? Hows your old
sewing machine? Still working?

MARTHA
I think so.

CLARK
Well, I have a favor to ask. I
think I need some kind of outfit...
 JONATHAN
Outfit?

CLARK
You know, like a disguise that I
could wear when things like that
explosion happen. I could...

The sound of a knock on the door interrupts.

CLARK (CONT'D)
Mom? I have to go. Lois is here.

MARTHA
Lois again, huh?

CLARK
Talk to you later.

Clark moves to the door and, momentarily forgetting his

lack of attire, flings it open. The expression on Lois'
face says she was not prepared to see Clark without his
clothes on. Although she does her best to hide it, the
sight of Clark's bare chest and rippling stomach muscles
has sent her body temperature way above normal. She covers
by pretending to be mad.

Rev. 3/9/93 62.

CONTINUED:

LOIS
I said nine. I thought you'd be
naked... ready.

CLARK
I was on the phone. I'll be out in
jiff.

Clark grabs his clothes, walks into the bathroom, shuts the
door. Lois, suddenly hot, looks around, finds a paper cup,
opens the tiny refrigerator, looks inside.

INSIDE REFRIGERATOR - LOIS' POV

Six jars of peanut butter and jelly, two gallons of orange

juice, Kool-Aid, root beer, etc.

LOIS

pours herself a glass of orange juice, looks around, opens

the cabinets. They're filled with animal crackers, sugary
cold cereals, Ding-Dongs. Lois closes the cabinets, turns,
bumps into Clark.

LOIS
We'd better go.

They walk toward the door. On their exit...

 LOIS (CONT'D)
(snidely)
So, explain something to me. You
eat like an eight-year-old but you
look like Mr. Hardbody. What's *
your secret, and can I have it?

CUT TO:

89 89
THRU OMITTED THRU
90 90

91 INT. DAILY PLANET - DAY 91

Lois is at her desk on the speaker phone. We can HEAR

Detective Henderson on the other end.

LOIS
... but, Henderson, if there were
contusions on Dr. Platt's head...

63.

91 CONTINUED: 91
HENDERSON (O.S.)
Inconclusive. He could have gotten *
them last week. I'm sorry, but the
autopsy result is going to read
"suicide."

LOIS
This isn't over. I'll call you *
back. *

Lois ends the call as Clark approaches, hands her a *

message slip.

CLARK
I spoke to Platt's wife. She wants
to see us right away.

Lois grabs her purse and the twosome are off as we

CUT TO:

92 EXT. MRS. PLATT'S HOUSE - DAY 92

A small house in the suburbs. Lois and Clark walk up the

driveway.

93 INT. MRS. PLATT'S HOUSE - DAY 93

MRS. PLATT (O.S.)

There is no other explanation.
My husband was killed.

Lois and Clark sit on the sofa facing MRS. PLATT, an

 attractive woman in her late forties. She's very upset. *

LOIS
When you and Amy left your *
husband... *

MRS. PLATT
(shaking her head)
No. We never left him. He made *
us leave. He was sure they'd come *
after him. He was afraid that Amy
and I would get hurt, so he sent us
away.

Mrs. Platt tries to control her grief, but can not. When *
her daughter, AMY, twelve, enters the room in her
wheelchair, she quickly wipes her tears.

MRS. PLATT (CONT'D)

Amy, this is Lois Lane and Clark
Kent.

ANY
Hello.

Rev. 3/9/93 64.

93 CONTINUED: 93

LOIS
It's very nice to meet you, Amy.

AMY
Mom? Can I go over to Susan's?

MRS. PLATT
Okay. Ask her if she'd like to
come here for lunch.

Amy nods, wheels from the room. Mrs. Platt turns back to
Lois and Clark.

MRS. PLATT (CONT'D)

I haven't told her yet.
(beat)
Everything we worked for was for
Amy. The space lab Prometheus was
the only hope... and now...
(breaking down once
more)
My husband was not insane.

LOIS
Mrs. Platt, do you have any idea *
who might have killed your *
husband? *

MRS. PLATT
All I know is that Samuel knew *
that Prometheus was being sabotaged
and that knowledge got him killed.
(a desperate plea) *
 Please. Help me. Don't let his
daughter grow up believing her
father committed suicide. You have
to clear his name.

Clark takes her hand.

CLARK
We'll try. We promise.

Lois and Clark exchange looks as we

CUT TO:

94 INT. PRESS ROOM - 6:00 PM 94

A table with microphones has been set up for various

members of the Congress of Nations. The CHAIRPERSON is a
Hindu woman in traditional garb. She addresses a packed
room of journalists, photographers, and TV news crew.

CHAIRPERSON
I am pleased to announce that we
have unanimously decided that Space
Station Prometheus will proceed.

Rev. 3/9/93 64A.

94 CONTINUED: 94

FIRST REPORTER
What about Lex Luthor's proposal?

95 INT. LEX LUTHOR'S STUDY - SAME TIME 95

Luthor watches the news conference on his giant screen TV,

Asabi attentive at his side.

Rev. 3/11/93 65.

95 CONTINUED: 95

On the desk in front of Luthor is a model of his proposed

space station in a glass enclosed globe.

ON TV

CHAIRPERSON
This body would like to extend our
deepest gratitude to Mr. Lex Luthor
for his generous offer... but it is
our firm belief that the Space
Station should go forward as
originally planned: a project
dedicated to global cooperation for
the advancement of the sciences.
 Luthor stares at the screen in disbelief.

SECOND REPORTER
What about the safety of the
colonists Can you assure the
public that this next launch will
be problem-free?

CHAIRPERSON
We have suffered losses in the
past, but we shall take extra
precautions to ensure the safety of
future space travelers. However,
should, any serious problems arise
from this point on, we shall be
forced to cancel the mission. We
don't anticipate that happening.
We anticipate success.

96 INT. THE DAILY PLANET NEWSROOM - SAME TIME 96

Staff and reporters, including Lois, Jimmy, and Clark,

watch the news conference on TV.

CHAIRPERSON
The colonist launch, scheduled for
next week, will proceed as
planned.

97 INT. LEX LUTHOR'S STUDY - SAME TIME 97

Luthor smashes his hand through the globe...

CHAIRPERSON (O.S.)
The rocket will also carry an
auxiliary propulsion module so that
the space station can be lifted
into its permanent orbit without
delay.

Rev. 4/27/93 (Pink) 66.

97 CONTINUED: 97

Luthor removes the brass model of the station, throws it at

his TV monitor, smashing it. His hand is bleeding,
badly, but when Asabi offers him a cloth, he refuses it,
stares at his bleeding hand, letting the blood drip onto
his desk...

JIMMY (O.S.)
So I gave S.T.A.R. Labs Dr.
Platt's report.

98 INT. DAILY PLANET CONFERENCE ROOM - DAY 98

Jimmy hands Lois a file.

JIMMY
 ... they re-created the launch in
a hologram, it was really
smooth...
(beat)
Anyway, they concluded that
Platt's theory was right on. There
was deliberate sabotage. The
transport explosion was no
accident. Congrats.

Rev. 4/27/93 (Pink) 67.

98 CONTINUED: 98

Jimmy exits as Lois and Clark stand, turn to each other,

take a beat, then hug.

LOIS
He was right! Platt was right!

CLARK
Now we can write the story...

LOIS
I write the story.

CLARK
With my help.

LOIS
With your help. And, if we can
convince people there was sabotage
and who was behind it...

CLARK
We can stop them.

Lois and Clark suddenly become aware that they still have
their arms around each other. They quickly part, but just
far enough to stare into each other's eyes. Clark can
hear, see Lois' heart beating, fast. Clark doesn't
want to let this intimate opportunity go by.

CLARK (CONT'D)
Why don't we have dinner?

LOIS
I don't know, I ...

CLARK
We should celebrate.

LOIS
Okay. Dinner.
(beat)
Wait. What am I saying? I have
plans tonight.

Lois exits the conference room, Clark right behind her.

CLARK
Luthor?
 99 INT. DAILY PLANET NEWSROOM - CONTINUOUS 99

Clark follows Lois toward her desk, where she gathers her
things.

Rev. 3/17/93 68.

99 CONTINUED: 99

LOIS
Uh huh.

CLARK
Tell me something... how far are
you willing to go to get this
interview?

LOIS
(whirling on him)
What is that supposed to mean?

CLARK
I don't think I have to spell it
out for you.

Lois and Clark enter the elevator, crowded with other people.

CUT TO:

100 INT. DAILY PLANET LOBBY - CONTINUOUS 100

Lois and Clark exit the elevator.

LOIS

Not that it's any of your concern,

but, as I told you before, this
is business.

CLARK
Is it always business?

LOIS
Look, I wouldn't expect you to
understand...

CLARK
What's your problem, anyway?

LOIS
I don't have a problem.

CLARK
Yeah, and that's your problem.
You've had a chip on your shoulder
since the day I met you.

By this time they have crossed the lobby. Lois moves

through the revolving doors, Clark slipping inside the same
compartment.
 LOIS
That's ridiculous.

Rev. 3/17/93 69.

101 EXT. DAILY PLANET BUILDING - DUSK 101

Lois searches the street for Luthor's limo, which has not
arrived.

CLARK
Or was it the day Perry put me on
this case with you?
(off her look)
That's it. You resented the fact
that...

LOIS
Perry foisted an inexperienced...

CLARK
Snob.

LOIS
What?

CLARK
You're a snob, Lois.

LOIS
Well, coming from Mr. Green
Jeans ...

Lois hears a honk, turns to see Luthor's limo pull up. In

a huff, she spins on her heel and walks toward it, then
turns again to get back in Clark's face.

LOIS (CONT'D)
I live by three rules: Never get
involved in your stories, never let
anyone else get there first, and
never sleep with anyone you work
with.
(beat)
This is business.

Lois again turns and runs toward the limo. She slides
inside the open door. Clark stares after her.

CUT TO:

102 EXT. LEXCORP - NIGHT 102 *

The LEX limo parks in front. Asabi exits, opens the *

passenger door, and Lois steps from the limo and enters *
the building. *

Rev. 3/17/93 69A.

103 EXT. LEX LUTHOR'S PENTHOUSE BALCONY - NIGHT 103 *

Lois and Luthor sit at the table for two on Luthor's *

terrace. With candlelight, under starry skies, and with a *
soft night breeze blowing, the scene is set for romance. *
Lois wears a cocktail dress, but she's got her pad out and
is taking notes. Her meal is barely touched. Luthor has
cleaned his plate.

70.

103 CONTINUED: 103

LOIS
(all business) *
Both your father and mother died *
when you were fourteen, correct? *

LUTHOR
Why don't I have my office send *
you a biography? *

LOIS
Because I don't want the standard *
line. I want to know the real Lex *
Luthor. What makes you tick. *
What you want, what you strive *
for... *

LUTHOR
Pleasure. The pursuit of *
pleasure. *
(beat, off her look) *
Does that surprise you? *

LOIS
I would have guessed you'd say *
"power." *

LUTHOR
Power is a means, not an end. *

LOIS
But, achieving power must give-you *
pleasure. *

LUTHOR
(nodding, impressed) *
Very good. *

Lois smiles. One point for her. *

LOIS
You took over your first big *
company at age twenty-one, but *
there were rumors that the buy-out *
was coerced. *

Luthor stiffens, says nothing. *

LOIS (CONT'D)
Is it true the Board of Directors *
 were paid substantial, unreported *
fees... *

Luthor reaches across the table and takes Lois' hand. *

LUTHOR
Was the food not to your liking? *

Rev. 3/11/93 71.

103 CONTINUED: 103

LOIS
(thrown off-guard)
Sure. It was delicious.
(embarrassed, re her
full plate)
Sometimes when I'm working...

LUTHOR
All work and no play...
your credo, Lois Lane?.

LOIS
I don't think...

LUTHOR
Can't we just enjoy the evening?
Enjoy each other? Let down your
hair, Lois. Loosen the tie.. *

LOIS
But I'm not wearing...

Luthor turns Lois' hand palm up, unclenches the fingers.

LUTHOR
You're so tense. Let the defenses
down.

LOIS
(removing her hand)
Lex, I think you have the wrong
idea about this dinner.

LUTHOR
I hope you don't think we're here
merely because you are a beautiful
young woman. That wouldn't speak
well for either of us.
(beat)
You wanted an interview. A scoop.
I understand that. But, quid pro
quo, let me tell you what I want.
(leaning closer to her)
My talent in life is not making
money or juggling companies. It's
character assessment. I sense
things about you. Possibilities.
Potentials. You have the
intelligence, spirit, and vision to
transcend the mundane.
 Lois is blown away. At last, someone sees her as she
really is. She's uncharacteristically speechless.

72.

103 CONTINUED: 103

LUTHOR (CONT'D)
And, so there are no *
misunderstandings, you are *
beautiful. *

Lois struggles to pull herself together. *

LOIS
Lex, I have a story to write *
tonight. I think we'd better be *
going. *

LUTHOR
No dessert? *

LOIS
No thanks, I never have dessert. *

LUTHOR
Really? You don't know what *
you're missing. *

Lois stares into his eyes as we *

CUT TO:

104 INT. CLARK'S ROOM AT THE Y - NIGHT 104

Clark, frustrated, is busy making, then devouring, at

superspeed, peanut butter and jelly sandwiches, washing
them down with a couple of gallons of milk. Finally sated,
he gets up and calls Lois on the pay phone. We HEAR her *
recorded message. *

LOIS
Hi. Sorry we're not home to take
your call. If you'd like to leave
a message for Lois, or Lucy, you
can do so at the...

Clark ends the call, stares out at the night sky, walks to
the window, looks around, grabs his jacket and heads out *
the door. *

105 EXT. METROPOLIS STREET - NIGHT 105 *

Clark walks around the corner, sees the LEX Limo park in *
front of Lois' building. Clark stops dead in his tracks. *
Asabi opens the door for Luthor and Lois and they head up *
the stairs and inside. When the camera moves back to *
where Clark was standing -- he's gone. *
106 INT. LOIS' APARTMENT BUILDING - HALLWAY - MOMENTS LATER 106 *

Luthor has walked Lois to her door. Lois opens it, turns *
back to Luthor.

Rev. 3/11/93 73.

106 CONTINUED: 106

LOIS
Thank you for a wonderful evening.

107 CLARK 107

standing on an adjacent rooftop, watches through the brick

walls of Lois' building, rolls his eyes in disgust.

108 LOIS AND LUTHOR - CLARK'S POV 108

LOIS
(ruefully)
I think you learned a lot more
about me tonight than I learned
about you.

LUTHOR
I think we've both only scratched *
the surface. *

109 CLARK 109

Throws up his hands.

CLARK
I don't believe this guy.

110 LUTHOR AND LOIS - CLARK'S POV 110

Lois looks at him, isn't sure.

CLARK (O.S.)
Don't...

She extends her hand. We HEAR Clark's sigh of relief.

LOIS
Good night.

Luthor takes her hand, pulls her toward him, kisses her
lightly on the lips. She slowly breaks from him, turns and
walks into her apartment.

111 CLARK 111

is miserable, fights off an unexpected wave of jealousy.

 CUT TO:

112 INT. LOIS' APARTMENT - LIVING ROOM 112

Lois enters. Lucy exits from the bedroom in her nightgown,

excitedly approaches her sister.

74.

112 CONTINUED: 112

LUCY
Well? How'd it go?

LOIS
(angry at herself) *
I blew it. Not only didn't I get *
the interview, but the guy charmed *
the pants off me. *

LUCY
(wide-eyed) *
Literally? *

LOIS
(offended) *
Luce! *

LUCY
Why not? Do you have any idea how *
lucky you are? Lex Luthor, the
world's most eligible bachelor,
takes you to dinner. Give *
yourself a break! It's okay to *
have fun once in awhile instead of
constantly worrying about your *
career.
(beat)
Did he ask you out again?

LOIS
I guess so. Sort of.

LUCY
Sort of? I hope you said "yes." *
(pointing dramatically *
toward the window) *
Mr. Right may be right out there. *

LOIS
Come back to Earth, Lucy. This is *
reality we're talking about. *

112A EXT. OUTSIDE LOIS' APARTMENT - SAME TIME 112A

Clark is right outside -- hanging in mid-air. He *

zooms up as Lois approaches the window from the inside and *
closes the drapes. *

FADE OUT:
 END OF ACT FOUR

Rev. 3/17/93 75.

ACT FIVE

FADE IN:
113 INT. PERRY WHITE'S OFFICE - DAY - 5PM

Lois, Clark, and Jimmy eagerly wait while Perry reads their
article. Perry, editing pencil in hand, is red-lining
through the pages. When he finishes, he sits back in his
chair, smiles at the trio, a smile that hides his real
urge, which is to throw his desk set at them.

PERRY
You want me to publish a story that
says that the Prometheus Project is
being sabotaged. That the Space
Transport Messenger exploded
because instead of heating the ion *
particles, the "saboteurs" and *
their "henchmen" purposely cooled
them.

Perry indicates their written words with a "quote" hand

signal.

PERRY (CONT'D)
Also that the transport carrying
the habitation module to Space
Station Prometheus, scheduled to be
launched in less than three days,
is probably also going to "blow
up."
(building)
And all of this information you got
from interviewing Samuel Platt, a
man who was banned from the
scientific community, underwent
psychiatric treatment, and
committed suicide -- although he
was "probably murdered."
(staring at them)
Does that about sum it up?

LOIS
(swallowing hard)
Chief...

PERRY
Hard facts. That's the name of the
game, boys and girls. Now get out
there and find me some.

Lois, Clark, and Jimmy exit the office. Perry reaches into
his desk drawer and takes out a medicine bottle.

CU - BOTTLE

The label reads: PAAVA LEAF EXTRACT.

 Rev. 3/22/93 76 76.

PERRY

takes a swig, grimaces.

114 INT. DAILY PLANET - NEWSROOM - MOMENTS LATER 114

Lois, Clark, and Jimmy stride down the newsroom corridor.

LOIS
What we need is physical evidence.
We need pictures of those things,
those...

CLARK
Ion particles.

LOIS
Right.

Clark stops short, struck by a thought.

CLARK
Maybe there'll be some sign that *
they were cooled, not heated.

JIMMY
I bet S.T.A.R. Labs could tell.

CLARK
I'll call Dr. Baines' office and ask
for permission to set up an
independent examination.

LOIS
Clark! Baines isn't going to let you
do that! She could be *
involved! Besides, we don't have *
time to play by the rules. The
Colonist Transport goes up in two
days!

CLARK
(walking away)
I'm making the call. Maybe someone
else at EPRAD will authorize it.

LOIS
You do that.

Clark heads toward his desk. Lois stands there a minute, then
heads toward the exit.

JIMMY
Where are you going?

LOIS
Nowhere.

JIMMY
I'm coming, too.
 Rev. 4/27/93 (Pink) 76.

PERRY

takes a swig, grimaces.

114 INT. DAILY PLANET - NEWSROOM - MOMENTS LATER 114

Lois, Clark, and Jimmy stride down the newsroom corridor.

LOIS
What we need is physical evidence.

CLARK
I'll call Dr. Baines' office and
ask for permission to set up an
independent examination.

LOIS
Clark! Baines isn't going to let
you do that! She could be
involved! Besides, we don't have
time to play by the rules. The
Colonist Transport goes up in two
days!

CLARK
(walking away)
I'm making the call. Maybe someone
else at EPRAD will authorize it.

LOIS
You do that.

Clark heads toward his desk. Lois stands there a minute,

then heads toward the exit.

JIMMY
Where are you going?

LOIS
Nowhere.

JIMMY
I'm coming, too.

Rev. 3/17/93 76A.

114 CONTINUED: 114

They proceed toward the stairs as we

CUT TO:

77.

115 EXT. HANGAR SOMEWHERE IN THE DESERT - DUSK 115

Lois and Jimmy crouch behind a bush, a hundred yards from
the security gate of the hangar complex. Lois quickly
hatches a plan.

LOIS
I'll create a diversion. You sneak
into the guard house and disconnect
the alarm system... you're good at
that kind of thing.

Jimmy looks at her as if she were insane.

JIMMY
(caustic)
Why don't we just crawl up behind
the guards and slit their throats?

LOIS
(ignoring him) *
You brought your goody-bag, didn't *
you? *

JIMMY
Yeah, but Lois, this may be a *
really stupid question, but what do
you hope to find in there anyway?

LOIS
I don't know. Answers. Just take
pictures of every inch of the wreck
and we'll have them analyzed later.
(beat)
Then we'll have to break into
Baines' office. I'm positive she's
lying about that report.

Jimmy sighs, takes a second to let the plan sink in.

JIMMY
I guess I don't need to point this
out to you... but this is
dangerous.

LOIS
Fine. You go back to writing
obituaries and I'll grab the
scoop of the century all by myself.

JIMMY
(beat)
What kind of a diversion did you
have in mind?

CUT TO:

78.

CONTINUED:

LOIS
I don't suppose you two big strong
men can help me change a tire?
 ANOTHER ANGLE

Jimmy comes out of the darkness and moves into the

guardhouse.

LOIS AND THE GUARDS

FIRST GUARD
I'm sorry, Ma'am, but we're not
supposed to...

LOIS
Oh, come now. Surely no one would
get mad for helping a lady in
distress.
(suggestively)
I would really appreciate it.

The Guards look at one another.

117 INT. GUARD HOUSE 117

Jimmy, on hands and knees, looks around for...

THE SECURITY CONTROL PANEL - JIMMY'S POV

There's a flashing green light indicating no breaches in

the security system.

JIMMY

peruses the counter top, spots a small, dusty, plug-in *

radio. He unzips his "goody-bag", removes a tiny wire *
cutter and a mini blow torch. He grabs the radio, cuts *
the cord, replaces the radio. He moves to the panel, *
still on his knees ' opens it to reveal the circuitry.
He looks over the counter to...

118 EXT. GUARD HOUSE - JIMMY'S POV 118

While the second Guard is changing the tire, Lois leans

against the other one's chest, touches his shoulder
holster.

LOIS
Is that a real gun?

FIRST GUARD
Yes, ma'am.

79.

118 CONTINUED: 118

LOIS
 Does it fire really big bullets?

119 INT. GUARD HOUSE - SAME TIME 119

Jimmy places the now-exposed wires from the radio cord over
the indicator light circuitry. Once in place, he holds the
mini blow torch over it, fusing the wire to the indicator *
circuit. He cuts through the remaining wires leading to
the indicator light. Even after they are cut, the light
still flashes green. With a sigh of relief, Jimmy closes
the panel, crawls from the guard house.

120 EXT. GUARD GATE - SAME TIME 120

The second Guard is just finishing up changing the tire.

Lois notices Jimmy safely back in the bushes. She stands
on tip-toes, kisses the first Guard on the cheek.

LOIS
Thank you. You are a true
gentleman.

FIRST GUARD
Can I call you?

Lois gets into her car, closes the door, rolls down the
window.

LOIS
Sure thing, honey. I'm in the book
under... Catherine Grant.

The Guards smile as she waves, pulls back and we

CUT TO:

121 EXT. HANGAR - NIGHT 121

Lois and Jimmy are now on the opposite side of the

compound. Lois snips the fence with a pair of wire
cutters. No alarm sounds. She smiles, turns to Jimmy.

LOIS
You're amazing. Where did you
learn to...

JIMMY
Reform school.
(off her look)
It was a bum rap.

Rev. 3/11/93 80.

122 INT. GUARD HOUSE SAME TIME 122

One of the Guards nonchalantly looks over to the control

panel. All the lights are green. He goes back to reading
his Batman comic book as we
 CUT TO:

123 EXT. MAIN HANGAR - MOMENTS LATER 123

The hangar is floodlit, inside and out. Lois and Jimmy

peer through a window.

124 INT. MAIN HANGAR - LOIS AND JIMMY'S POV 124

A vast cavern where the transport shell hangs from a

complex harness. There are swarms of lab-coated
scientist-types, watched by armed guards.

125 LOIS AND JIMMY 125

JIMMY
Now, what? We'll never get inside.

LOIS
We don't have-to.
(off Jimmy's look)
I watched them load the Messenger
wreckage onto the truck. The whole
left side of the shell was bashed
in -- that one isn't.
(beat, to Jimmy)
They're working on a phony shell.

Jimmy and Lois exchange a glance. Lois looks beyond the

hangar to another hangar in the distance, smaller, unlit,
unobtrusive.

126 EXT. UNLIT HANGAR - MINUTES LATER 126

Lois and Jimmy are at the front door. Jimmy tries it, it's
locked.

JIMMY
What we need is a hair pin. *

Lois pulls out a paper clip from her pocket. *

LOIS
Try this. *

JIMMY
Smooth. *

Rev. 3/11/93 80A.

126 CONTINUED: 126

Jimmy takes it, fiddles with the lock and... the door
opens. As they move inside we

CUT TO:
 Rev. 3/9/93 81.

127 INT. HANGAR - OFFICE - SAME TIME 127

On a small monitor, Dr. Toni Baines watches Lois and Jimmy

enter the hangar. The Tattooed Man sits Across the desk
from her. Baines picks up the phone and dials a number.
Lex Luthor answers from his study.

DR. BAINES
Your friend Lois Lane is here.
She's found the real Messenger *
wreckage. *
(beat)
I think it's time we eliminated
her.

127A INT. LEX LUTHOR'S STUDY - INTERCUT 127A

LUTHOR
Kill off the Daily Planet's star
reporter? I'm surprised at the
suggestion, Antoinette.

DR. BAINES
(worried),
But she suspects me, Lex. You said
I'd never be implicated.

LUTHOR
She lacks evidence. Evidence is
sometimes all that separates the
criminal from the successful
businessman... or woman.
(beat)
I told you I'd take care of her.

DR. BAINES
(pleading)
Lex, I did this for you...

LUTHOR
And you've been paid very well. In
fact, your final installment is
waiting for you in the helicopter.
Proceed as planned. I promise...
there will be no loose ends.

Baines hears a dial tone on the other end. She looks up at

the monitor, nervously reaches to open a drawer. Baines
removes an automatic pistol, looks at the Tattooed Man.

CUT TO:

128 INT. LEX LUTHOR"S STUDY - SAME TIME 128

Luthor still has Baines and the Tattooed Man on his

telephone video monitor. He now turns off his screen.
 Rev. 3/22/93 82.

129 INT. DAILY PLANET CONFERENCE ROOM - 10:00 PM 129

Perry and his staff, now including Clark, convene around the
large table.

PERRY
Sorry about the late hour, folks.
There's just not enough time in the
day...
(looking around the table)
Where are Lois and Jimmy? Clark?

CLARK
I don't know. I haven't seen them
since this afternoon. I assumed
they'd be here.

PERRY
We'll start without them.

Clark leans back in his chair, concerned, as we

CUT TO:

130 INT. UNLIT HANGAR - NIGHT 130

Empty except for the real salvaged shell resting on a

platform. Lois walks around the shell, flashes her pocket
flashlight on the damaged side, looks at Jimmy and nods. He
begins to take pictures.

LOIS
This is beginning to make sense.
Obviously, someone didn't want the
scientists seeing the particle *
isolators so they dummied up another
shell for them to examine.
Lois heads off to explore the rest of the interior.

A SHADOW

suddenly appears behind Jimmy and karate chops him in the

neck. Jimmy collapses to the floor.

LOIS (CONT'D)
This is a cinch. We'll just go over
to the other hangar, tell the
scientists, make a call
(reacting to the silence)
Jimmy?

Lois wanders around the shell, sees Jimmy lying on the floor.
As the shadow comes up behind her, Lois whirls, goes into her
best Tae Kwon Do stance and crescent kicks the Tattooed Man to
the solar plexus.

Rev. 3/22/93 82.

129 INT. DAILY PLANET CONFERENCE ROOM - 10:00 PM 129

 Perry and his staff, now including Clark, convene around
the large table.

PERRY
Sorry about the late hour, folks.
There's just not enough time in the
day...
(looking around the
table)
Where are Lois and Jimmy? Clark?

CLARK
I don't know. I haven't seen them
since this afternoon. I assumed
they'd be here.

PERRY
We'll start without them.

Clark leans back in his chair, concerned, as we

CUT TO:

130 INT. UNLIT HANGAR - NIGHT 130

Empty except for the real salvaged shell resting on a

platform. Lois walks around the shell, flashes her pocket
flashlight on the damaged side, looks at Jimmy and nods.
He begins to take pictures.

LOIS
This is beginning to make sense.
Obviously, someone didn't want the
scientists seeing the particle *
isolators so they dummied up
another shell for them to examine.

Lois heads off to explore the rest of the interior.

A SHADOW

suddenly appears behind Jimmy and karate chops him in the

neck. Jimmy collapses to the floor

LOIS (CONT'D)
This is a cinch. We'll just go
over to the other hanger, tell the
scientists, make a call...
(reacting to the
silence)
Jimmy?

Lois wanders around the shell, sees Jimmy lying on the

floor. As the shadow comes up behind her, Lois whirls,
goes into her best Tai Kwon Do stance and crescent kicks
the Tattooed Man to the solar plexus.

Rev. 3/9/93 82A.

CONTINUED:
 When he doubles over, she continues with a kick to his
chest, knocking him down.

Rev. 3/22/93 (goldenrod) 83-84.

CONTINUED:

The man, winded, reaches into his jacket for a knife, but
Lois, still with the upper hand, front kicks that away as
well. The man starts to rise once again, but Lois is ready.
She does a running jump, kicks him in the side of the head,
and he goes down into a heap. Lois quickly turns... and runs
right into Baines, who points the gun at Lois, stopping her
dead in her tracks.

DR. BAINES
Very impressive, Lois. These days, a
woman _has_ to know self defense.

Baines motions with the gun for her to turn around. Lois has
no choice. She turns, gun to her back as we

CUT TO:

131 INT. DAILY PLANET CONFERENCE ROOM - SAME TIME 131

Perry continues through the weekly stories, but Clark can't

concentrate. He pushes back his chair, heads for the door.

PERRY
The piece on the recent sex change
operation in the Royal Family...
(seeing Clark)
Kent. This meeting isn't over.

CLARK
It's not like Lois or Jimmy to miss a
staff meeting. I thought I'd call
around.

PERRY
Okay. Go.

Clark exits.

132 132
THRU OMITTED THRU*
133 133

134 EXT. UNLIT HANGAR - MINUTES LATER 134

Clark, having torn up the last of his suits, lands just

outside the hangar. He looks beyond the metal walls, sees
Lois gagged, tied to a chair. Jimmy, also bound and gagged,
lies beside her.

Rev. 4/14/93 (goldenrod) 83-84.

 CONTINUED

The man, winded, reaches into his jacket for a knife, but
Lois, still with the upper hand, front kicks that away as
well. The man starts to rise once again, but Lois is
ready. She does a running jump, kicks him in the side of
the head, and he goes down in a heap. Lois quickly
turns... and runs right into Baines, who points the gun at
Lois, stopping her dead in her tracks.

DR. BAINES
Very impressive, Lois. These days
a woman has to know self defense.

Baines motions with the gun for her to turn around. Lois
has no choice. She turns, gun to her back as we

CUT TO:

131 INT. DAILY PLANET CONFERENCE ROOM - SAME TIME 131

Perry continues through the weekly stories, but Clark can't

concentrate. He pushes back his chair, heads for the door.

PERRY
The piece on the recent sex change
operation in the Royal Family--
(seeing Clark)
Kent. This meeting isn't over.

CLARK
It's not like Lois or Jimmy to miss
a staff meeting. I thought I'd
call around.

PERRY
Okay. Go.

Clark exits.

132 132
THRU OMITTED THRU *
133 133

134 EXT. UNLIT HANGER - MINUTES LATER 134

Clark, having torn up the last of his suits, lands just

outside the hangar. He looks beyond the metal walls, sees
Lois gagged, tied to a chair. Jimmy, also bound and
gagged, lies beside her.

Rev. 3/17/93 85.

134 CONTINUED: 134

Without stopping to think things through, Clark uses his

shoulder weight to break down the outside door.

135 INT. UNLIT HANGAR - MOMENTS LATER 135

 Clark bursts in, sending the door flying. *

DR. BAINES
Good evening, Mr. Kent. *
(re: the door) *
I guess you don't know your own *
strength. *

THE ROOM - CLARK'S POV

Lois looks up in utter amazement. Baines stands by Lois,

gun pointed at her. Jimmy is still unconscious on the
floor. The Tattooed Man raises an Uzi to cover Clark.

CLARK
Put down those guns.

DR. BAINES
Or you'll ... what?

CLARK

has a strained look on his face. With guns trained on him

and Lois, Clark has no way of saving anyone without
revealing his powers. With no choice but to play along,
completely frustrated, that's where we leave him as we

FADE OUT:

END OF ACT FIVE

86.

ACT SIX

FADE IN:

136 INT. HANGAR - NIGHT 136 *

Lois and Clark are tied, not to each other, but back to
back in high back chairs, bound with fine link chains
secured by multiple locks. Lois is mid-diatribe.

LOIS
I told Perry I needed a task force.
A task force. What do I
get? Amateurs.

Jimmy is still on the ground, semiconscious, his hands and

feet bound. From the look on Clark's face, Lois has been
on a non-stop harangue for what seems like hours.

CU - CLARK'S HANDS

Clark, bored with the tirade, keeps opening, then closing *

the padlocks as a diversion. *

LOIS (CONT'D)
 I still can't believe you came
barreling in here like some five
hundred pound gorilla. If you
really thought we were in trouble,
why didn't you bring the police?

CLARK
Look, I ...

LOIS
Don't tell me. I already know.
You're like every other man in
Metropolis. You've got this
testosterone surplus that says, "I
can do it myself."

Clark has just about had it. He snaps the padlock once *
again.

LOIS (CONT'D)
Baines has to kill us now. I
don't know why she hasn't done it
already.

Clark lifts his hands up, but Lois can't see them.

CLARK
Lois, I've somehow managed to...

LOIS
... mess up everything? No
kidding.

Rev. 3/17/93 87.

CONTINUED:

CLARK
Now wait a second. I wasn't the
one who snuck in here...

LOIS
What are you saying? That this
is my fault? At least I had the
guts to...
(then, with a noticeable
sigh)
What am I saying? It probably
is my fault.

Clark quickly puts his hands back down, anxious to hear

what she has to say next.

LOIS (CONT'D)
I know that I sometimes do
things... you know, like jump into
the pool without checking the water
level. But, I have to. I mean, it
isn't easy trying to make it in
this business, especially if you're
wearing pantyhose.
(beat)
 Maybe I do have a chip on my
shoulder, maybe Lucy's right about
me, too, but... this is the only
way I know how to do it. To get
the job done. To get the respect
that I want. That I deserve.

For the first time, Lois is opening up to Clark and he's

all ears.

LOIS (CONT'D)
Remember when I told you my three
rules? I've broken every one of
them. I seem to always get
involved in my stories, I ...

CLARK
... slept with someone at work?
(Lois nods guiltily)
It wasn't Jimmy, was it?

LOIS
Don't be ridiculous. It was a long
time ago. When I first started at
the Daily Planet. Claude -- he was
French -- he had this accent... *

Rev. 3/17/93 88.

CONTINUED:

LOIS (CONT'D)
(beat)
I guess I must have been in love.
Or thought I was. I was only
twenty-one, working on my first big
scoop: this perfectly ordinary
middle-age couple -- gun runners.
One night, I told him about it and
when I woke up the next morning he
was gone. So was my story. He won
an award for it. Didn't even thank
me for my... input.

Clark quickly re-padlocks himself. There's no way he wants

to extricate himself now.

CLARK
I guess, when yours in love with
someone... it doesn't matter how
smart you are or how many rules
you've set for yourself. You're
still vulnerable.

LOIS
We're only human...
(beat)
What difference does it make now,
anyway? We're all going to die.

CLARK
Lois? What you said, about
 respect? I just want you to know
that everyone on the Daily
Planet, everyone, thinks you're
just about the best reporter
they've ever worked with. Perry
told me that the day I interviewed
with him.

LOIS
He did?

CLARK
Yes.
(beat)
And not that it means anything,
coming from a "hack from
Nowheresville", but I think you're
pretty terrific, too.

LOIS
Clark, I'm sorry. About
everything. I know it's too late
for apologies, but I never meant...

Baines enters into the room carrying a suitcase.

Rev. 3/17/93 88A.

CONTINUED:

DR. BAINES

I hope you'll forgive the *

accommodations, but then again, *
I've never been much of a hostess. *

Baines disappears behind the shell for a moment. *

Rev. 3/1 7/93 89.

137 BEHIND MESSENGER CLARK'S TELESCOPIC POV - NIGHT 137

Baines opens a valve in the rocket booster allowing a

liquid substance to leak out and spread toward another
liquid substance.

138 LOIS AND CLARK 138

Baines re-appears, suitcase in hand.

DR. BAINES
Sorry you won't be around to enjoy
the-rest of the evening, but
accidents do happen.

LOIS
Accidents?

DR. BAINES
Yes. You see, while dissecting the
 orbital maneuvering systems, the
monomethyl hydrozene leaked and
mixed with the nitrogen
tetroxide... Unfortunately, the
blast killed three nosy reporters
who didn't bother to read the
signs.

Baines points to a sign on the wall.

CU - SIGN

"Trespassers Will Be Prosecuted."

LOIS AND CLARK

LOIS
Answer one question. Why?

DR. BAINES
It's very simple, Lois. Profit.
Outer space is no different from
any new frontier. It will belong
to those who get there first and
seize the high ground.

CLARK

reacts to the words "high ground". He's heard that phrase

before...

DR. BAINES

turns and exits with the Tattooed Man by her side. No

sooner does she close the door than Clark breaks loose.

Rev. 3/9/93 90.

CONTINUED:

LOIS
Clark! How did you...

CLARK
Missing link.

Clark unties Lois, who rushes to Jimmy. He's still pretty

groggy. Clark disappears behind the shell.

139 THE SHELL - CLARK'S POV 139

The two liquids are mixing, starting to bubble. Clark

inhales, readies to freeze the chemicals with his breath,
when Lois suddenly appears beside him.

LOIS
What is it?
 With Lois there, Clark realizes it's too late to stop the
chemicals from mixing. He grabs Lois' hand, runs back to
Jimmy, lifts him over his shoulder, and they race for the
exit. When the mixture starts to blow, Clark holds Lois
and Jimmy, one in each arm, in front of him. Just as they
reach the exit the BLAST occurs.

140 EXT. JUST OUTSIDE HANGAR - CONTINUOUS 140

Clark makes it look like the impetus of the blast is enough

to send them flying, but in fact he is flying them. They
land several hundred feet from the hangar, in a large
puddle of mud.

141 EXT. HANGAR - MOMENTS LATER 141

Lois and Jimmy slowly open their eyes. Lois looks back at
the hangar, reduced to rubble. Scientists and staff from
the adjacent hangars are running from the buildings.

LOIS
What happened?

CLARK
I'm not sure... I guess the force
of the explosion must have carried
us here.

LOIS
Look!

Up in the sky, Baines' helicopter. A beat, then the

helicopter EXPLODES in a fireball. After the last piece of
wreckage falls ...

JIMMY
Do you think the explosion...

Rev. 3/22/93 91.

141 CONTINUED 141

CLARK
No. I think things went exactly as
planned.

141A INT. LEX LUTHOR'S STUDY - SAME TIME 141A

Luthor has watched the helicopter explosion from his monitor.

He shakes his head, leans back in his chair.

LUTHOR
Good night, Antoinette. Sweet dreams.

CUT TO:
142 INT. DAILY PLANET NEWSROOM - DAY 142

PLASTIC CHAMPAGNE GLASSES

This time, it's Lois, Clark and Jimmy who are being feted by
the newsroom staff. Ali holds up the front page.

CU - FRONT PAGE

It reads: MESSENGER SABOTAGED, SABOTEUR DIES IN FIERY

EXPLOSION. The by-line is: Lois Lane. Contributing
reporters: Clark Kent, Jimmy Olsen.

Jimmy is surrounded by a group of doe-eyed secretaries.

JIMMY
Scared? No, not really. I was more
concerned with the larger issue --
unless we got out of there alive the
colonist launch could blow up as well.

Perry walks up to Lois.

PERRY
I just spoke to ground control over at
EPRAD. They went back over the
colonist launch vehicle with a fine
tooth comb -- discovered the same
coolant problem in the protective
bands and fixed it. The launch is *
all set for tomorrow morning.
(beat)
But... it's a no go for you, Lois. No
reporters allowed.

Rev. 3/22/93 91.

141 CONTINUED 141

CLARK
No. I think things went exactly as
planned.

141A INT. LEX LUTHOR'S STUDY - SAME TIME 141A

Luthor has watched the helicopter explosion from his

monitor. He shakes his head, leans back in his chair.

LUTHOR
Good night, Antoinette. Sweet
dreams.

CUT TO:

142 INT. DAILY PLANET NEWSROOM - DAY 142

PLASTIC CHAMPAGNE GLASSES

This time, it's Lois, Clark and Jimmy who are being feted
by the newsroom staff. Ali holds up the front page.
CU - FRONT PAGE

It reads: MESSENGER SABOTAGED, SABOTEUR DIES IN FIERY

EXPLOSION. The by-line is: Lois Lane. Contributing
reporters: Clark Kent, Jimmy Olsen.

Jimmy is surrounded by a group of doe-eyes secretaries.

JIMMY
Scared? No, not really. I was
more concerned with the larger
issue -- unless we got out of there
alive the colonist launch could
blow up as well.

Perry walks up to Lois

PERRY
I just spoke to ground control over
at EPRAD. They went back over the
colonist launch vehicle with a fine
tooth comb -- discovered the same
coolant problem in the protective
bands and fixed it. The launch is
all set for tomorrow morning.
(beat)
But... it's a no go for you, Lois.
No reporters allowed.

Rev. 3/22/93 91A.

CONTINUED:

LOIS
(protesting)
But, Chief, imagine the Daily *
Planet getting an _exclusive_ *
personal account of being on the *
colonist transport? *

PERRY
No can do, Lois. *

Rev. 3/22/93 91A.

CONTINUED:

LOIS
(protesting)
But, Chief, imagine the Daily
Planet getting an exclusive
personal account of being on the
colonist transport?

PERRY
No can do, Lois

Rev. 3/9/93 92.

 CONTINUED:
LOIS
(mind racing)
Oh, well. Another time, maybe.

PERRY
(to Clark)
You'll be pleased to know that
Platt's widow and daughter are back
on board.

CLARK
Thank you, sir.

Perry walks off. Lois takes Clark aside.

LOIS
(sweetly)
Clark. I just wanted to... well,
thank you for your help in getting
us out of there.

CLARK
I'm glad it all worked out.

LOIS
one other thing...
(her usual tone back)
If you ever breathe one word of
what I told you in there, I'll deny
it and have you back on the
unemployment line before you can
say "hayseed."

They lock eyes.

CLARK
You can trust me.

LOIS
Right. I've heard that one before.

Lois turns on her heel and walks off.

CUT TO:

142A EXT. KENT FARM HOUSE - TO ESTABLISH - NIGHT 142A *

Clark enters the house.*

143 INT. KENT HOUSE IN SMALLVILLE - NIGHT 143

Clark sits at the dining room table with his parents.

JONATHAN
I don't know about this costume
thing, Clark.

Rev. 3/9/93 93.

143 CONTINUED: 143

CLARK
It'll work. It has to. If I
have an effective disguise, I won't
have to worry about people finding
out about me.

Martha stands.

MARTHA
Come on. Let's get started.

144 INT. KENT MASTER BEDROOM - NIGHT 144

To the strains of ZZ Top's "Sharp Dressed Man" we see, in

QUICK CUTS, Clark standing in front of a full length mirror
dressed in various outfits, some reminiscent of previous
super-heroes. After four or five of these changes, each
more ridiculous, scary, etc. than the last we

CUT TO:

145 INT. KENT MASTER BEDROOM - NIGHT 145 *

Martha, nearly spent, eyes closed, lies on the bed,

rejected outfits piled high around her. Clark is in the
bathroom. Tiredly, she calls out to him.

MARTHA
What about that one?

CLARK (O.S.)
I don't know. It's certainly...
colorful.

When Martha hears Clark open the door and exit the
bathroom, she opens her eyes, sits up, eyes opening even *
further. *

Clark steps to the mirror, and, for the first time, we see
him in his rightful garb. We slowly PAN up: red boots,
blue tights, yellow belt, red "leotard" and long red cape.
There's a long beat, then...

CLARK
What do you think?

MARTHA
(staring below the belt)
One thing's for sure. Nobody's
going to be looking at your face.

Rev. 3/9/93 94.

145 CONTINUED: 145

CLARK
Mom!
 MARTHA
Well, they don't call them tights
for nothing.
(looking at his chest)
I don't know... something's
missing. Something...

The light-bulb suddenly lights inside Martha's head and she

rises from the bed, looks underneath it, drags a large
trunk out from under it. She opens the trunk, finds a baby
blanket.

CU - THE BABY BLANKET

The blanket is red, with the "S" insignia on it.

CLARK
I'd forgotten about that. *

Martha hands the blanket to Clark.

MARTHA
The blanket we found you in. So *
long ago. *

Martha walks over to Clark, positions the "S" on the front

of his outfit. Clark gets the idea, "cuts" the "S" out
with his heat vision, then sews it onto the outfit in
superspeed. When he turns around again, the "S" is
positioned correctly.

MARTHA (CONT'D)
Your parents would have been proud
of you. We are.

CLARK
Thanks, Mom.

Clark turns and looks in the mirror once more.

CLARK (CONT'D)
I'm not sure about the cape.

MARTHA
Really? I love it. It'll look
grand when you're flying. Here,
try the mask on.

Clark dons a red stocking-type mask that disfigures his

features.

JONATHAN (O.S.)
Come on in here, you two! Launch
vehicle's going up!

Rev. 3/9/93 95.

CONTINUED:

Clark takes his mother's hand and they exit the bedroom.
146 INT. KENT LIVING ROOM NIGHT 146*

Jonathan Kent is glued to the tube. Clark and Martha

enter, stand behind his chair, Jonathan unaware that
Clark's in his new get-up.

JONATHAN
The colonists are just about all on
board.

ON SCREEN

The last few Colonists, in specially designed outfits, are

in line to board. We move in closer, and closer...

147 EXT. LAUNCH SITE - COLONIST HABITATION MODULE - NIGHT 147 *

We are now in line with the colonists. One in particular

gets our attention. It's Lois, dressed in a colonist
outfit and apparently about to successfully stow away.
When Lois reaches the entrance, she walks inside the
capsule.

148 INT. COLONIST HABITATION MODULE - CONTINUOUS - NIGHT 148 *

As the colonists are herded to the right, Lois breaks left,

slips away unseen.

149 INT. GROUND CONTROL - DAWN 149 *

All personnel ready for take-off.

PUBLIC AFFAIRS OFFICER

We are T minus three minutes. All
technical personnel should deplane
at this time.

150 INT. HABITATION CAPSULE - CONTINUOUS 150

Lois sneaks down the hallway, ducks into a room, closes the
door.

151 INT. KENT LIVING ROOM - NIGHT 151 *

Rev. 4/15/93 (Tan) 96.

ON SCREEN - THE MODULE READY FOR TAKE OFF

JONATHAN
Historic occasion.
(turning around)
Remember when you were little,
Clark, and we saw the first moon
landing...

Jonathan sees Clark in his new "outfit," slowly stands to

 give him the once-over.

JONATHAN
That's my boy.

MARTHA
He's right. what if someone
recognizes you?

CLARK
I don't think they will -- because
I won't be me.

CUT TO:

152 INT. HABITATION MODULE - LOIS' "ROOM" - DAWN 152

Lois has found a seat in a dark corner of the small room.

She settles down, "strapping" herself in with plastic
webbing, getting out her oxygen mask and micro recorder.

Just then, the door to the room opens. Lois scrunches up

to remain out of sight, but she can see very well. A man
in a white uniform walks inside, shoves a gooey substance
holding some kind of device onto the wall. It immediately
sticks, bonding a lot quicker and stronger than Crazy Glue.
He exits, shuts the door behind him.

LOIS

can't believe what just happened. She stands, walks over

to the wall, checks out the device. There's a digital
countdown timer attached to...

LOIS
(softly)
Oh my God. Baines must of had an
alternate plan. It's a bomb.
(starting to scream)
It's a bomb!

152A INT. GROUND CONTROL - DAWN 152A

PUBLIC AFFAIRS OFFICER

one minute and counting...

Rev. 4/15/93 (Tan) 96A.

152B INT. LOIS' "ROOM" IN MODULE - SAME TIME 152B

Lois tries to scream, but the noise of the rocket boosters

warming up deafens everything.

Rev..3/9/93 97.

152B CONTINUED: 152B

Lois tries to pull the bomb off the wall, but it won't
 budge. She rushes to the door, tries to open it. It's
locked.

153 INT. GROUND CONTROL - SAME TIME 153

PUBLIC AFFAIRS OFFICER

Forty-five seconds and counting.

154 INT. KENT LIVING ROOM - NIGHT 154 *

JONATHAN
There she blows.

155 INT. LOIS' "ROOM" ON MODULE - DAWN 155 *

Lois, desperate, grabs her purse and takes out her Swiss
Army Knife. Looking around, she tears open one of the
cabinets, revealing a million wires. She looks at the
plastic explosive.

LOIS
I have to warn them..

She starts slashing at the wires.

156 INT. GROUND CONTROL - SAME TIME 156

A YOUNG TECHNICIAN runs over to the Public Affairs officer.

PUBLIC AFFAIRS OFFICER

Thirty seconds and...

YOUNG TECHNICIAN
Sir, we have a circuit failure in
the main panel.

157 OMITTED 157

158 INT. KENT LIVING ROOM - NIGHT 158 *

ON TV

PUBLIC AFFAIRS OFFICER

Due to a mechanical failure, we
have suspended countdown at
twenty-nine seconds. We will
advise.

98.

158 CONTINUED: 158

JONATHAN
I don't believe it. Something's
gone wrong. Clark...
 He turns, but Clark has flown...

FADE OUT:

END OF ACT SIX

Rev. 3/9/93 99.

ACT SEVEN

FADE IN:

159 EXT. LAUNCH SITE - DAWN 159 *

Hundreds of spectators watch and wait to see if the

transport will be taking off. Suddenly, they see
something else -- our hero, in full costume, flying across
the field to the launch pad.

160 IN THE SPECTATOR FIELD - DAWN 160 *

A bunch of good old boys in a flat bed truck are polishing

off their third six pack. They stare up at the flying
object.

FIRST MAN
What the hell is that?

SECOND MAN
Is it a bird?

THIRD MAN
Is it a plane?

MAN WITH BINOCULARS

(looking through his
binoculars)
Nope. It's just a guy in a pair of
tights and a cape.

A beat, then the Man With Binoculars is pelted with empty

beer cans.

CUT TO:

161 INT. GROUND CONTROL - SAME TIME 161

The LAUNCH COMMANDER and other personnel gather around the

monitor. They stare at the flying man, but are afraid to
look at one another to confirm the sighting. The Public
Affairs Officer, who hasn't seen the monitor, approaches
and taps the Launch Commander on the shoulder.

PUBLIC AFFAIRS OFFICER

Are we scrubbing the mission?

The Launch Commander turns to stare at him.

162 OMITTED 162

163 EXT. ON THE LAUNCH PAD - SAME TIME 163

Superman has reached the transport vehicle, pries open the *

payload doors, jumps inside.

Rev. 3/9/93 100.

164 INT. COLONIST MODULE - CONTINUOUS 164 *

Superman closes the doors, looks around. With his X-ray

vision, he sees Lois in the Control Panel Room, the bomb
planted on the wall, the cut wires dangling.

SUPERMAN
(shocked)
Lois?

He pauses for an instant, looking down at his costume.

Will she recognize him? No time to worry about that now.

165 INT. CONTROL PANEL ROOM - CONTINUOUS 165

Superman opens the door. Lois, on the floor, looks up, and
keeps looking. Superman moves directly to the bomb. Lois
leaps to her feet, starts pounding on him.

LOIS
Hey! Get away from that!

Superman, ignoring her, pulls the bomb from the wall.

LOIS (CONT'D)
What kind of lunatic...

Buried inside the mass of "crazy glue" Superman finds a C-4

plastic explosive, the size of an Oreo. He pops the
explosive in his mouth and swallows. Lois gasps. A moment
later, Superman burps.

SUPERMAN
Excuse me.

They face each other for the first time. After a beat...

LOIS
What the hell are you?

On Superman's smile we

CUT TO:

166 INT. GROUND CONTROL - SAME TIME 166

The Launch Commander picks up a phone, dials an extension.

LAUNCH COMMANDER
Sir? Due to our equipment problems
and... an unexplained occurrence, I
 don't think we have any alternative
but to abort.

167 INT. CONTROL PANEL ROOM - SAME TIME 167

Lois stares dumbfounded as Superman now turns his attention

to the control panel board, studies the slashed wires.

Rev. 4115/93 (Tan) 101.

167 CONTINUED: 167

Several colonists appear in the doorway. Among them, we

recognize Mrs. Platt and her daughter Amy. Superman turns
to face the group.

The Head Colonist takes a step inside, looks at the

disarmed bomb, the ruined circuitry, then back at the
unknown duo of Lois and Superman. His anger and confusion
are obvious..

LOIS
(pointing to it)
There was a bomb.
(looking at Superman,
still in semi-shock)
He... he ate it!

Before anyone else reacts, Amy, unafraid, rolls her chair

forward and stops in front of Superman. He smiles down at
her.

SUPERMAN
Hi.

AMY
Hi. I like your costume.

SUPERMAN
Thank you. My mother made it for
me.
(beat) *
What's your name? *

AMY
Amy. Amy Platt.
(beat)
Who're you?

SUPERMAN
I'm... a friend.

AMY *
Can you really fly? *

SUPERMAN *
Yes, I can. *

AMY *
Can you teach me? *
 Superman kneels beside her wheelchair.

SUPERMAN *
Not to fly, but once this lab is *
operational, walk... that's very *
possible. *

The public address speaker CRACKLES into life. We HEAR the

booster rockets die outside.

Rev. 4/15/93 (Tan) 101A.

167 CONTINUED: 167

LAUNCH COMMANDER (OVER.P.A.)

Attention, colonists. The mission
has been scrubbed. Prepare to
disembark.

The disappointment in the room is palpable.

HEAD COLONIST
That's it then. It's over.

Rev. 4/15/93 (Tan) 102.

167 CONTINUED: 167

LOIS
Why? *

MRS. PLATT
Once the thrusters have been *
fired, they have to be replaced. *

HEAD COLONIST
We'll lose our launch window. *
(beat)
We just have to forget about Space
Station Prometheus.

SUPERMAN
No you don't.
(off their looks)
There's nothing wrong with this
transport vehicle or the station.
You only need to get there.

LOIS
(exasperated)
And how are they supposed to do
that?

SUPERMAN
Easy. I'll give them a boost.

On Superman's exit we

167A EXT. LAUNCH PAD - MOMENTS LATER 167A

 Without any booster ignition, the rocket starts to take off.

167B INT. GROUND CONTROL - DAWN 167B

The Launch Commander, Public Relations Officer, and others

are still gathered. On the monitor in front of them, the
transport is leaving the ground, but they haven't yet
noticed.

LAUNCH COMMANDER
I want security and tech teams over
every inch of that transport. We
have...

PUBLIC AFFAIRS OFFICER

(staring at the monitor)
Lift off.

Rev. 4/15/93 (Tan) 102A.

167B CONTINUED: 167B

LAUNCH COMMANDER
What? Impossible. You mean...
(looks at the monitor)
... lift off.

Rev. 4/15/93 (Tan) 103.

167C EXT. IN THE ATMOSPHERE - FIFTY MILES ABOVE EARTH 167C

The rocket is moving straight up, lifted and guided by a

tiny figure.

168 168
THRU OMITTED THRU
172 172

173 A WHIRLING LONDON VOICE 173

with the headline: "MYSTERIOUS PHENOMENA IN SPACE!"

A WHIRLING PARIS BULLETIN

with-a picture of Superman and the headline: "CIEST

MANIFIQUE!"

A WHIRLING NEW YORK DAILY STAR

with the headline: "ALIEN INVASION OF EARTH!"

A WHIRLING NATIONAL INQUISITOR

 with the headline: "I'M HAVING THE SPACEMAN'S BABY!"

173A EXT. OUTER SPACE - SPACE STATION PROMETHEUS - SEEN FROM 173A
AFAR

The station is completely assembled, habitation module in

place, just another star twinkling in the galaxy.

174 OMITTED 174 *

Rev. 4/15/93 (Tan) 104.

175 INT. DAILY PLANET NEWSROOM - DAY 175

Bedlam. Reports coming in about the Man Who Flies from all
over the world. Reporters and staff race around. Perry
crosses the newsroom floor, faxes overflowing in his hands.

PERRY
A man who flies... I still don't
believe it.

JIMMY
But Chief, it's all over the TV!

PERRY
Don't believe everything you see on
TV, Jimmy.
(beat)
I'll tell you one thing though,
whoever pulled off a hoax like
this...

Just then, Perry turns toward the window and sees Superman
hovering in the air, Lois in his arms. A moment later,
Superman flies Lois in through a high window, deposits her
near her desk.

PERRY
Great Shades of Elvis!

Cat, along with several other women from the staff stare
agog.

Rev. 3/22/93 104A.

175 CONTINUED: 175

CAT
I see it but I don't believe it.

CO-WORKER
What? A man who flies?

CAT
No. Lois Lane, finally
literally, swept off her feet.
(beat)
 Too bad he's an alien

ANGLE ON LOIS AND SUPERMAN

Lois wastes no time in trying to get the story.

LOIS
I think, considering the fact that
I saw you first, you owe me an
exclusive

Rev. 3/17/93. 105-105A

175 CONTINUED: 175

SUPERMAN
Is that the rule? *

LOIS
Well, um, no. But... I'd *
appreciate it. Very much. *

Superman starts to fly out but Lois races after him, calls *
out... *

LOIS (CONT'D)
Wait a minute. How do I find you? *

SUPERMAN
I'll be around. *

Superman flies out the top window. Jimmy stares after *

him. *

JIMMY
Real smooth. *

Cat and the other women push their way through to Lois. *

CAT
Did you find out what the "S" *
stands for? *

A rocket of red, blue, and yellow flashes by the window, *

disappears into the sky. *

LOIS
(breathless) *
Super. Superman. *

Perry wades into the group, smiles sweetly at them, then *

starts to bellow. *

PERRY
What the hell is this, the Betty *
Crocker bake off! Get back to *
work! We've got a newspaper to *
run! *

CUT TO:
176 176
THRU OMITTED THRU
177 177

Rev. 3/17/93 106.

178 INT. LEX LUTHOR'S PENTHOUSE - DAY 178

Superman lands on Luthor's wide penthouse balcony, enters

Luthor's study. Luthor sits behind his enormous
computerized desk in his leather chair. When he sees
Superman enter he rises to greet him.

LUTHOR
An astonishing debut, Superman.

SUPERMAN
Super...

LUTHOR
Haven't you heard? That's what
they're calling you. It's
international news.
(beat)
To what do I owe this honor?

SUPERMAN
I came to tell you that I know who
you are. Who you really are. I
suppose, on its face, it was a good
plan. Destroy Prometheus so you
could put your own space station in
its place. Then, not only would
you make billions from the patents
of vaccines developed, but you'd
also be the supposed savior of the
space program.

LUTHOR
A very interesting theory,
Superman. But that's all it is.

SUPERMAN
And profits aside, you are also
responsible for the deaths of at
least three people. Commander *
Laderman, Samuel Platt... Dr.
Baines.
(beat)
Those probably aren't the only
skeletons in your closet.

LUTHOR
So, you become both my judge and
executioner?

SUPERMAN
Like any other citizen of the
planet, I must obey the law. I am
not above it. You, it seems,
believe you are.
 LUTHOR
I hold a certain position in this
city.

Rev. 3/9/93 106A.

178 CONTINUED: 178

SUPERMAN
Yes. And there is nothing that
would please me more than to see
you dethroned and behind bars, like
any common criminal. That day will
come.

LUTHOR
I trust not. But, then, as they
say... let the games begin.

107.

178 CONTINUED: 178

Superman walks back onto the terrace, Luthor following. As

Luthor watches, Superman begins a slow vertical ascent.

SUPERMAN
One other thing. If you ever need
to find me, all you have to do is
look up

Luthor does, indeed, have to look up as he watches the Man

of Steel go ever higher, then disappear into the clouds.
Luthor turns, walks back into his study, his anger
building. At that moment, Asabi enters carrying a wet
suit, oxygen tank, and harpoon.

ASABI
The tank is ready sir. The Mako is
a particularly fine specimen.

LUTHOR
Send it back to the aquarium.

ASABI
Sir?

Luthor slowly walks to his desk, sits down in his chair,

swivels it toward the lights of the city.

LUTHOR
I have bigger fish to fry.

179 INT. DAILY PLANET - NEWSROOM - DAY 179

Clark Kent enters the newsroom, only to be accosted by Lois

and led out once again.

LOIS
 Clark, where've you been?

CLARK
Around.

LOIS
(sarcastically)
Well, not that it's anywhere near
as exciting as the stories you
covered on the Smallville Press,
but Superman was here in the *
newsroom and I've just about *
nailed down the exclusive. *

CLARK
Congratulations.

LOIS
You should see him, Clark, up *
close. He's the most magnificent *
figure of a man I've ever... *

108.

179 CONTINUED: 179

CLARK
(annoyed) *
Sounds like he made quite an *
impression on you. *

LOIS
He did... why? Are you jealous? *

CLARK
Of Superman? Should I be? *

Lois takes Clark by the arm, leading him toward the *

elevators. *

LOIS
Come on, let's get going. *

CLARK
Where to? *

LOIS
Terrorist shoot-out on Sixth.

They reach the elevators, but Lois suddenly stops, turns to

Clark. *

LOIS (CONT'D)
And Kent?
(beat)
I'll ask the questions.

Lois turns back, is off again. Clark shakes his head,

follows. The elevator doors close, but this is just the
beginning. Lois and Clark are off in search of another
story, another adventure in the city of Metropolis and so
we
 FADE OUT:

FINIS