FADE IN:
EXT. SPACE - VISUAL
PERFECT SILENCE as the sun shines down upon Earth. From this
point of view everything looks peaceful and calm.
Suddenly, a satellite moves into frame. A silent reminder of
life on the planet below. On the satellite is the logo for
LexCorp.
WOMAN'S VOICE (V.O.)
It was nearly twenty-five go. I still
can't believe it. We found you in a
crater the size of this house, and
not a bruise on you. At first I
thought it was a miracle that you
survived what I thought was a meteor
landing right on top of you.
DISOLVE TO:
INT. KENT HOUSE - KITCHEN - MORNING
MARTHA KENT stands next to the stove, looking off camera.
She is a woman in her late 50's, but with a youthful energy
about her. She looks as though she might cry. It is her voice
that we are listening to.
MARTHA
But that was not the miracle.
CLARK (O.S.)
I know, Mom. The miracle is that my
ship found its way to you and Dad
and your family was complete and we
all lived happily ever after.
MARTHA
You've heard this one before?
ANGLE ON : CLARK KENT
A tall, dark, well built man in his mid 20's. He is wearing
jeans, a t-shirt and a warm smile on his face.
CLARK
Only six hundred times. No, wait...
Seven hundred.
MARTHA
And you couldn't humor an old woman
one last time.
Clark moves toward his mother. She looks up into his eyes.
-----------------------------------------------------------------------------------------------------
2.
CLARK
I'm only going to Metropolis. I'm
not dying.
MARTHA
I know.
CLARK
I'll call.
MARTHA
Every night?
CLARK
At least once a week.
Martha puts a hand on her heart and takes a deep breath. She
puts her other hand on her head and moans ever so slightly.
Clark rolls his eyes.
CLARK (CONT'D)
Twice a week. Final offer.
MARTHA
And you'll visit?
CLARK
I will visit.
MARTHA
You'd better. Not like that last
time you left. A full year and I was
lucky if I got an e-mail.
CLARK
I was in a jungle, Mom. I couldn't
exactly use my cell phone.
Martha shoots him an "oh, please" look.
CLARK (CONT'D)
Fine. I'm sorry. I will call. I will
visit. I will e-mail. I will text
message. I will--
MARTHA
Be careful.
Clark knows that she isn't talking about driving habits or
turning the coffee pot off in the morning. This goes deeper.
CLARK
(beat)
I will.
-----------------------------------------------------------------------------------------------------
3.
MARTHA
You're going into a dangerous
profession. You're putting yourself
out there.
CLARK
I know how to behave.
MARTHA
No more speeding off to stop a bank
robbery.
Clark looks down.
MARTHA (CONT'D)
There are cameras everywhere. One
whoosh by a red light and your secret
will be out there for everyone to
see. Now, I don't mean to lecture
and I don't mean to sound like I
don't have faith in you, because I
do. I have too much faith in you. I
know that it's hard to let the world
carry on its own business, but you
have to.
Clark keeps his eyes on the floor, giving only a nod. Martha
picks his head up and looks him in the eyes again.
MARTHA (CONT'D)
I am so sorry that it has to be this
way.
Clark hugs Martha.
CLARK
I love you, Mom.
MARTHA
I know you do, my baby. I love you
too.
They hold the hug for a moment before letting go. They each
take a step back. Martha wipes a tear from her eye and smiles.
MARTHA (CONT'D)
Now, enough of this. Are you sure
you have enough food for the trip?
CLARK
I'm fine.
MARTHA
And you're sure you don't want to
take the car?
-----------------------------------------------------------------------------------------------------
4.
CLARK
I'm sure. The parking would be too
much on my salary.
MARTHA
Okay then. If you change your mind,
you just come back here and get it.
I have the truck and your father
wanted you to have that old car of
his.
Clark nods.
CLARK
I should go.
Clark walks to the other side of the room and picks up a
suitcase.
MARTHA
Call me when you get there.
Clark smiles and takes a look around the room. Finally, he
opens the back door and walks out of the house.
Martha walks to the back door and looks out as we PULL BACK
through the big, quiet, empty house.
After a few moments, THE PHONE RINGS.
EXT. THE DAILY PLANET - METROPOLIS - DAY
Clark walks up the street in a cheap suit and stops in front
of the Daily Planet. He looks up to the top of the building
where he can see the giant Daily Planet globe. He takes a
deep nervous breath.
CLARK
A year living with a tribe of diseased
cannibals and I'm scared of a giant
globe.
He takes a step toward the doors of the building, and then
stops short as a sudden realization rushes over him.
He reaches into his jacket pocket and pulls out a pair of
old glasses. He looks down at them for a moment and then
puts them on. Afer another brief pause, he walks into the
building.
INT. DAILY PLANET BUILDING - LOBBY/ELEVATOR- CONTINUOUS
Clark walks into the lobby, and takes a look around the lobby
which features some impressive art deco architecture. He
walks to the receptionists desk where there is a RECEPTIONIST
talking on the phone.
-----------------------------------------------------------------------------------------------------
5.
RECEPTIONIST
No, I'm sorry I can't help you. He
doesn't work for the Daily Planet
anymore.
(beat)
I'll tell them you said so.
She presses a button on the phone as she looks up at Clark.
RECEPTIONIST (CONT'D)
Can I help you?
CLARK
Yes. On what floor could I find Perry
White?
RECEPTIONIST
His office is on the 18th.
CLARK
Thanks.
Clark walks away from the desk, toward the elevators. He
steps inside the elevator and presses the button for the
18th floor, causing the button to light up. The doors begin
to close. Before they fully close, a woman's arm reaches
through and opens them again.
LOIS LANE then walks into the elevator, carrying three large
coffee cups. She is about the same age as Clark, but looks a
lot more comfortable in the city environment. She looks him
up and down.
LOIS
Thanks for holding the elevator.
CLARK
I'm sorry. I didn't see you.
Lois pushes the button for the 18th floor, regardless of the
fact that it's already been pushed. Clark smiles as the doors
close.
The two of them stand in silence as the elevator makes its
way up the building. Lois is watching the numbers tick by
above the door. Clark is watching Lois' reflection in the
doors.
INT. DAILY PLANET BUILDING - CITY ROOM - DAY
The elevator doors open and Lois walks out, quickly making
her way toward her desk.
Clark walks out of the elevator and starts to walk through
the room, which is a frenzy of REPORTERS and RINGING
TELEPHONES.
As a MAN walks past, Clark stops him.
-----------------------------------------------------------------------------------------------------
6.
CLARK
I'm looking for Perry White's office.
The man points Clark in the right direction and continues to
walk.
CLARK (CONT'D)
Thanks.
Clark heads for the office.
INT. LEXCORP BUILDING - LEX'S OFFICE - DAY
LEX LUTHOR is in his early 40's and is dressed in a perfectly
taylored designer suit. He has a bluetooth earpiece in his
ear as he paces in front of his desk.
LEX
I understand, Senator. We've been
making every effort possible to refine
our filters. It will take some time.
(beat)
I am aware of that.
(beat)
I am aware of that.
(beat)
I assure you that the problem is
being handled and will be resolved
as we discussed.
(beat)
No. Thank you.
Lex taps the ear piece, turning it off. He walks to his desk
and hits the intercom.
LEX (CONT'D)
Marie, get George Reyes on the phone.
(beat)
And cancel my two o'clock.
MARIE (V.O.)
Yessir. Sir, Professor Vale is waiting
to see you.
LEX
Who?
MARIE
He says that you've been funding one
of his projects.
(beat)
A cybernetic development project.
LEX
I suppose he knows I'm in my office?
MARIE
Yes, sir.
-----------------------------------------------------------------------------------------------------
7.
LEX
Send him in.
Lex walks behind his desk and takes a seat as his office
door opens and PROFESSOR VALE enters. He is carrying a folder
full of papers.
LEX (CONT'D)
What can I help you with, Professor?
PROFESSOR VALE
Well, it seems as though my funding
has been cut in half.
LEX
Okay.
PROFESSOR VALE
I've come to see about changing that.
LEX
I don't think I'm the person to be
talking to. Each branch of LexCorp
has it's own department head. You
should be--
PROFESSOR VALE
I know. And I have spoken with her.
It's just... She's not very interested
in what I'm doing.
LEX
Your cybernetic research.
PROFESSOR VALE
Yes, but it's not just that. I've
developed an alloy to be used in my
experiments.
Professor Vale reaches into his pocket and pulls out a small
cube of metal. He places it in front of Lex. Lex picks it up
and looks it over.
PROFESSOR VALE (CONT'D)
I call it metallo.
LEX
Nice name. What makes this "metallo"
so special?
PROFESSOR VALE
It's strong. It's versatile.
LEX
I'm not hearing your selling point.
There are a lot of alloys that are
strong and versatile.
-----------------------------------------------------------------------------------------------------
8.
PROFESSOR VALE
But metallo is different. Metallo is
alive.
LEX
Pardon?
PROFESSOR VALE
Or... Well, it will be. I've been
experimenting with integrating new
robotic technology into this alloy.
More to the point, making the robotics
one with the alloy on a molecular
level.
LEX
I've never heard of technology working
in such a way.
PROFESSOR VALE
That's because I haven't perfected
it yet. I'm still working on the
finer details, like how to actually
power the metallo. Once I do that,
it's only a matter of baby steps
before we accomplish the bigger task.
LEX
Which is?
Professor Vale is a little annoyed at having to explain all
of this, but he will anyway. He opens his file and pulls
out a photograph. He places it on Lex's desk and Lex takes a
look.
The photo is of a corpse, riddled with bullet holes. When
Lex sees this, he cringes ever so slightly and looks away.
PROFESSOR VALE
This is a picture of a Metropolis
police office after a shooting last
month. Dead.
LEX
Thank you. I see that.
PROFESSOR VALE
It's a meaningless death. This man
didn't have to die.
LEX
To die a hero is considered an honor
by some.
PROFESSOR VALE
My point is, this man didn't have to
die because we have the ability to
(MORE)
-----------------------------------------------------------------------------------------------------
9.
PROFESSOR VALE (CONT'D)
create officers capable of
withstanding not just gunfire, but
explosions, floods... The
possibilities are endless.
LEX
This is your project? Robots?
PROFESSOR VALE
Androids. Cybernetic beings capable
of saving us from ourselves.
LEX
How poignant. But you haven't created
one of these androids?
PROFESSOR VALE
No.
(beat)
But I'm well on my way, and I believe
that with enough time and with the
proper resources I can make this
work.
LEX
Right. Well, I'll see what I can do.
PROFESSOR VALE
Forgive me for being so blunt, but
if you're just saying that to get me
out of your office, I wish you'd
tell me. At least then I could pursue
other options. I hear that Wa--
LEX
Professor, I told you that I would
do what I can to help you. I am a
man of my word.
Professor Vale nods.
PROFESSOR VALE
I'm sorry. I didn't mean to imply
that you weren't. Thank you.
LEX
It's fine. Now, if you'll excuse me.
PROFESSOR VALE
Of course.
Professor Vale smiles and turns to walk out.
LEX
Professor.
-----------------------------------------------------------------------------------------------------
10.
Vale turns around. Lex picks up the photo of the corpse and
holds it out for the Professor to take.
LEX (CONT'D)
I don't think I'll be needing this.
Professor Vale quickly grabs the picture from Lex and then
walks out of the room.
Once Lex is alone, he looks down at the sample of metallo in
his hand. He is intrigued.
INT. DAILY PLANET BUILDING - PERRY WHITE'S OFFICE - DAY
Clark is now sitting in front of PERRY WHITE. Perry has a
mess of papers on his desk, and another paper in his hand
which he is scanning.
PERRY
Where did you go to college?
CLARK
Here. I mean, Metropolis University.
PERRY
And where have you been since you
graduated?
CLARK
Traveling some. Seeing what's out
there. I also wrote a little for the
paper back home in Smallville.
PERRY
Right. I got a call from your editor
last week. Old friend of mine. She
likes you.
Perry puts the paper down and looks to Clark.
PERRY (CONT'D)
My problem is that this isn't the
Smallville Gazette.
CLARK
Ledger. Smallville Ledger.
PERRY
Hmm.
CLARK
But Gazette's fine too.
PERRY
It doesn't matter what it's called,
Kent.
(MORE)
-----------------------------------------------------------------------------------------------------
11.
PERRY (CONT'D)
My point is that I'm not sure you're
ready to be working at a paper like
this. You have telent, I'll give
you that. I'm just not convinced
that you're there yet.
CLARK
There?
PERRY
There. Here... You know what I mean.
You're not ready. Frankly, I wouldn't
even be giving you a chance if it
weren't for the reference.
CLARK
But I am ready. I've been working
toward this for a long time. And I
didn't just study journalism at
school. I took courses in astronomy,
physics, bio--
PERRY
I get it. You're smart.
CLARK
My point is that I know a little bit
about a lot of things and I'm willing
to learn more about what I don't
know. You've seen my writing and you
know that I can do this. I'm just
asking for a chance.
Perry takes a moment to consider this. He looks Clark up and
down, admiring the kid's drive.
PERRY
You remind me of a kid I used to
know. Came from nowhere and worked
his way up.
(beat)
I'll give you a chance, kid. Nothing
fancy, just a small piece in the
Metropolis Life section. A fluff
piece to fill a couple of paragraphs.
After that... Well, after that we'll
see how it goes.
Clark smiles and stands up, extending a hand to shake Perry's.
CLARK
Thank you, sir.
Perry shakes Clark's hand.
-----------------------------------------------------------------------------------------------------
12.
INT. DAILY PLANET BUILDING - CITY ROOM - DAY
Clark and Perry walk out of the office. Perry walks Clark
through the room, giving him a quick tour.
PERRY
I don't have time to give you the
whole tour. Suppies are back there
and if you need anything else, just
ask someone.
They reach an empty desk, which is right next to Lois'. She
doesn't look up from her computer.
PERRY (CONT'D)
Use this desk for now. I'll be in my
office.
Perry turns and walks back toward his office.
Clark takes a seat at his desk and tries to get a feel for
it. He turns on his computer screen and sits back in his
chair.
After a moment, his attention turns to Lois. She still doesn't
look in his direction.
CLARK
Hi.
No response.
CLARK (CONT'D)
Okay then.
Clark turns back to his computer. After a moment, Lois types
a quick sentence into her computer. Once she's finished
with the thought, she sits back in her chair.
LOIS
I guess you're the new guy?
Clark looks at her again. Finally, she looks at him.
CLARK
Hmm?
LOIS
You're the new guy. Yes?
CLARK
Yes.
Lois looks him up and down.
LOIS
Nervous?
-----------------------------------------------------------------------------------------------------
13.
CLARK
No.
Lois smiles.
LOIS
I'm Lois.
CLARK
Clark Kent.
LOIS
Nice to meet you, Clark.
CLARK
You too.
Lois turns back to her computer and resumes her work.
LOIS
(under her breath)
I give you a week, tops.
Lois assumes that Clark can't hear her, of course.
Of course, she is wrong. He's a little thrown by the comment
as he turns toward his computer screen. After shaking off
Lois' comment, he looks around his desk and the room. Things
are looking up.
INT. DAILY PLANET BUILDING - CITY ROOM - NIGHT
FIVE YEARS LATER
Clark's desk is now full of pictures, papers and notes. He's
made it his own. He is currently sitting in his chair, wearing
a more expensive suit, talking on the phone. He's not happy.
CLARK
I understand that, but the crime
rates in Suicide Slum have increased
by twenty percent in the last five
years. How can you deny this?
(beat)
I understand that. That's why it's
called Suicide Slum.
(beat)
That doesn't excuse the lack of police
protection for its citizens.
(beat)
There have been six convenience store
robberies in the past week. Two
apartments were robbed while the
families were held at gunpoint. Three
carjackings. An attempted rape. One
man was killed and two others were
shot. What is being done to put an
end to this crime spree?
-----------------------------------------------------------------------------------------------------
14.
The line goes dead. Clark stops mid-sentence as he realizes
this.
CLARK (CONT'D)
No comment. Of course there's no
comment.
Clark turns toward Lois' desk where she is working on a story
of her own.
CLARK (CONT'D)
That's the third time this week.
LOIS
Maybe you're losing your charm,
Smallville. I, on the other hand,
just scored the interview of a
lifetime.
(beat)
Well, the interview of the week
anyway.
CLARK
The mayor?
LOIS
Nope. Lex Luthor. He's agreed to
give me a one-on-one interview after
the opening of the new Luthor Medical
Research Center.
CLARK
Good luck. Talking to that man is
like talking to a brick wall.
LOIS
For most reporters. For me, it is
just another challenge to be met and
conquered.
CLARK
Yeah. You might want to look over
your personel file. Make sure your
"next of kin" contact number is up
to date.
LOIS
So, I'm guessing you believe the
rumors.
CLARK
I'm starting to.
Lois stands up.
-----------------------------------------------------------------------------------------------------
15.
LOIS
This is why nobody trusts the media
anymore. Every time someone makes a
few bucks, every paper in the world
tries to bring them down. Score the
next big headline. By the time there's
actual news to report, nobody wants
to listen.
CLARK
So, I'm guessing you don't believe
the rumors.
LOIS
I neither believe nor disbelieve the
rumors. Until I see hard evidence, I
remain impartial. That's what good
reporters do. Report facts, not spread
gossip. Frankly, I'm surprised that
you're so quick to judge. You're
usually all ethical and stuff.
CLARK
It's getting harder to see the glass
half full. It seems like we're writing
the same headlines every day. I'm
starting to think everyone has
something to hide these days.
LOIS
Everyone does.
(beat)
Besides you. You're this big ball of
boy scout goodness and it was only a
matter of time before this job wore
you down. You have to stop letting
the world get to you.
CLARK
How?
LOIS
I wish I could tell you. It's just
something you have to learn for
yourself. Like riding a bike, or the
birds and the bees.
(off Clark's puzzled
reaction)
My parents worked a lot.
CLARK
Seems like.
LOIS
Anyway, it's late. I'm getting out
of here. You should do the same. Get
something to eat. Sleep. Come at it
again in the morning.
-----------------------------------------------------------------------------------------------------
16.
CLARK
Sage advice. Want to grab some dinner?
LOIS
I would, but I have a date.
Clark's a little disappointed by this. Lois doesn't notice.
CLARK
Richard?
LOIS
Yup. Third time's a charm, right?
Who knows. Maybe I found me a good
one for a change.
CLARK
Good luck.
Lois grabs her coat and starts to walk away.
LOIS
Thanks. I need all the help I can
get. G'night.
CLARK
G'night.
Once Lois is gone, Clark is the only person remaining in the
office. He looks at a stack of notes, but doesn't feel much
like writing. He gets up, grabs his coat and walks out of
the office.
EXT. METROPOLIS STREET - NIGHT
Clark walks down the street. As he walks, MANY SOUNDS FLOOD
HIS EARS. He is finding it hard to ignore the sounds, which
include babies crying, couples fighting, people laughing,
cars honking and sirens wailing their way across town.
Suddenly, a loud scream breaks through all of the other
noises. This is a sound which he would have heard with or
without super hearing.
Clark looks up in time to see a MUGGER grab the purse of a
WEALTHY OLDER WOMAN who has been knocked to the ground. The
mugger is holding a gun to the woman's head.
WEALTHY OLDER WOMAN
No. Please no. Take it!
MUGGER
I want your jewelry.
The mugger snatches the woman's necklace right off of her
neck and shoves it into his pocket.
-----------------------------------------------------------------------------------------------------
17.
MUGGER (CONT'D)
Now give me the earings, or I'll
take them the same way I took the
necklace.
Clark looks around the street. Several people are watching
this happen, but nobody is doing anything to stop it. This
confuses Clark.
As the woman struggles to get her earrings off, Clark takes
a few steps toward the mugger, but hesitates as he thinks of
what he will do. Finally, he decides to just go for it and
walks toward the mugger with more determination.
CLARK
Hey!
The mugger turns toward Clark, aiming the gun at Clark.
MUGGER
Don't be a hero.
CLARK
I'm not a hero.
MUGGER
Good.
The wealthy older woman notices that the mugger's attention
is off of her and attempts to sneak away. The mugger quickly
sees this and turns the gun back to her.
MUGGER (CONT'D)
Stop!
CLARK
No!
Clark starts to take a step toward the mugger. When the mugger
sees this, he turns the gun back to Clark. The gun goes off.
THE WORLD SLOWS DOWN around Clark.
The bullet makes it's way from the gun, toward Clark's chest.
Clark watches it get closer and closer. He could easily swat
it out of the way, but that would attract too much attention.
He looks around to see how many people are watching. There
are too many to overlook any use of super powers.
The bullet gets closer and closer to Clark.
Finally, THE WORLD RESUMES NORMAL SPEED.
The bullet hits Clark in the gut. Clark stumbles back a little
and puts his hand on his stomach.
-----------------------------------------------------------------------------------------------------
18.
The wealthy older woman screams. The crowd gasps. The mugger
and Clark lock eyes, both of their eyes widening as they
start to panic.
The mugger takes off down the street.
WEALTHY OLDER WOMAN
Someone call 911!
The wealthy older woman stands up and looks at Clark.
WEALTHY OLDER WOMAN (CONT'D)
Are you okay?
Clark keeps his hand over the bullet hole in his suit as he
looks down, pretending to examine the damage. Finally, he
looks back up at the woman and the crowd around her.
CLARK
Blanks.
(beat)
They were blanks.
The woman lets out a sigh of relief. Clark turns to face a
wall, taking a deep breath of his own and buttoning his jacket
as discreetly as possible.
A police car pulls up. Clark looks toward it, wondering how
to explain all of this.
INT. CLARK'S APARTMENT - LIVING ROOM - NIGHT
Clark walks into his apartment and tosses his coat onto the
couch as he walks toward the bedroom.
INT. CLARK'S APARTMENT - BATHROOM - NIGHT
Clark walks into the bathroom and turns on the light. He
stands in front of the mirror, looking at the hole in his
shirt.
He unbuttons his shirt and opens it, revealing an undershirt
with a bullet hole in it.
He lifts the undershirt revealing the completely undamaged
skin beneath. He looks at the reflection for a moment.
THE PHONE RINGS. Clark looks toward the bedroom and finally
leaves the bathroom, turning off the light behind him.
The PHONE RINGS AGAIN, but this time it's answered mid-ring.
CLARK (O.S.)
Hello?
(beat)
Hi, Mom.
(MORE)
-----------------------------------------------------------------------------------------------------
19.
CLARK (O.S.) (CONT'D)
(beat)
Well... I was shot in the stomach.
(beat)
Yeah, it's ruined.
(beat)
The one you gave me for Christmas.
(beat)
I know. I liked the shirt too.
INT. KENT HOUSE - LIVING ROOM - NIGHT
Martha is on the phone with Clark.
MARTHA
Did anyone see you get shot?
intercut with:
INT. CLARK'S APARTMENT - LIVING ROOM - NIGHT
Clark walks out of the bedroom with the phone in his hand.
CLARK
Actually, yeah. There were a few
people watching. I was trying to
stop a mugger.
MARTHA
Did you?
CLARK
He ran. I couldn't really do anything
about it. I told everyone that he
was using blanks.
MARTHA
And they believed you?
CLARK
No reason not to. How many times
have you suspected someone of being
from another planet?
MARTHA
You didn't live through the 60's.
Martha waits for a chuckle, but none comes.
MARTHA (CONT'D)
Clark, are you okay?
CLARK
I'm really not.
Martha's not sure what to say. She knows what's bothering
Clark, but she has no way of making it better. Especially
over the phone.
-----------------------------------------------------------------------------------------------------
20.
MARTHA
Listen. Pete and Lana are in town.
I'm having them over for dinner
tomorrow.
CLARK
I don't know.
MARTHA
It'll do you some good to be around
people who know. You've been so
isolated lately.
CLARK
I'll see if I can make it.
INT. DAILY PLANET BUILDING - CITY ROOM - DAY
Clark is sitting at his desk, typing away at his computer
when JIMMY OLSEN walks up to him.
JIMMY
Clark.
Clark looks up.
JIMMY (CONT'D)
Have you checked out the John Corben
blog?
CLARK
No. Why?
JIMMY
I just thought you might wanna.
Jimmy looks up and sees Perry walking toward them.
JIMMY (CONT'D)
Or you might want to play sick. A
little post traumatic stress.
Something like that.
CLARK
Jimmy, what are you talking about?
Perry reaches the desk. He doesn't appear happy. He looks at
Jimmy.
JIMMY
I should go develope some film.
PERRY
Develope--? How many times have I
told you to use digital?
-----------------------------------------------------------------------------------------------------
21.
JIMMY
But film has more depth. More
personality.
PERRY
We're not opening an exhibit, we're
printing the news. Digital can be up
on the website in five minutes.
JIMMY
Yessir.
(to Clark)
I'll see you later.
CLARK
See ya.
Jimmy walks off. Perry pulls up a chair and sits near Clark.
PERRY
Would you say that I'm a nice guy,
Clark?
CLARK
I... guess so. Yes.
PERRY
Easy going? Not one of those bosses
that everyone hates?
CLARK
Sure.
PERRY
So, why do you hate me?
CLARK
I don't.
PERRY
You don't hate me?
CLARK
Sir, did I...? What's...? Huh?
PERRY
We're a newspaper, Kent. We report
the news, correct?
CLARK
Yes.
PERRY
Then why is there a police report
online which claims that you were
not only witness to, but the victim
of a shooting last night?
-----------------------------------------------------------------------------------------------------
22.
CLARK
I-- It was blanks.
PERRY
You had a gun aimed at you. The
trigger was pulled. You don't see a
story here?
Clark doesn't respond.
PERRY (CONT'D)
Your life flashed before your eyes.
Your heart was pounding in your chest.
For a moment, you thought you might
have been shot. You thought you were
dying. For a moment, the rest of
the world didn't exist and you saw a
light at the end of a tunnel.
CLARK
I did?
PERRY
Work with me. There's a story here.
Not only that, but it fits in with
the series you've been working on.
The only way this could be better is
if you were actually shot. And you
know what I mean by that so don't
get all emotional.
CLARK
I'm sorry, sir. I'll work on it.
PERRY
Damn straight, you will. And I will
never see a story like this on that
hack's blog ever again, right?
Perry stands up.
PERRY (CONT'D)
I'll be in my office.
Perry walks away.
PERRY (CONT'D)
What does that mean anyway? "Blog."
Clark turns back to his computer and pulls up John Corben's
website. On it are links to several stories relating to crimes
in Metropolis under the headline "War On The Streets".
Clark clicks on one of the stories and begins reading.
-----------------------------------------------------------------------------------------------------
23.
EXT. LUTHOR MEDICAL RESEARCH CENTER - DAY
A CROWD is gathered in front of the building for it's opening.
Lex is standing on a small platform in front of the crowd.
Next to him stand several doctors and men in suits.
LEX
Ladies, gentlemen and members of the
press, it is an honor to welcome you
here today as we take another step
toward the future. The Luthor Medical
Research Center has been a dream of
mine since I was a child, watching
helplessly as disease claimed the
life of my beloved mother. Since
that time, I have wanted to do my
part to aid in the battle against
not only disease, but all of the
physical setbacks that keep us from
achieving our true potential. I
won't bore you with drawn out speeches
and self-congratulatory rhetoric.
That is not what this day is about.
This day is about the dawning of
what I hope will be a new era of
medical research. Already, I have
assembled a team of the world's most
skilled scientists to face this task
and they have begun work on some
very exciting experiments which I
look forward to sharing with you in
the coming years.
ANGLE ON : THE CROWD
Lois and Jimmy stand with the rest of the crowd, watching
Lex speak. Jimmy snaps a few photos with a digital camera.
He's having a difficult time with the camera.
LOIS
I thought he said he wasn't going to
make a drawn out speech.
JIMMY
Well, I hope he keeps talking. I
can't get this camera to work right.
LOIS
Is the lense cap on?
JIMMY
No.
Jimmy pushes a button and it BEEPS.
JIMMY (CONT'D)
Ah.
-----------------------------------------------------------------------------------------------------
24.
Jimmy aims the camera again and takes a picture. He looks at
the shot on the camera's screen.
JIMMY (CONT'D)
Works now.
LOIS
Great. I think he's just about to
get around to the self-congradulatory
rhetoric.
LEX
(continuing the speech)
So I thank you. With your help, we
really can make this world a brighter
place.
LOIS
Okay, I guess I was wrong.
LEX
I am but the monetary supplier.
LOIS
Or not.
LEX
I am a small part of this larger
machine. The millions of dollars
given to fund this facility are
nothing compared to the dedication
of those who will work here. The
support given to them by the city of
Metropolis -and indeed, the world -
will drive them more than any amount
of money ever could.
(beat)
Without further delay, I present to
you the Luther Medical Research
Center. I present to you the future
of mankind!
The crowd applauds. Lois claps despite being a little bored.
Meanwhile, Lex is busy shaking hands and greeting guests.
Lois keeps her eye on him, waiting for her chance.
LOIS
(to Jimmy)
When we get inside, keep up. I don't
want to miss a thing.
(beat)
Oh, and make sure you get his
reactions to the hard hitting
questions. If I hit on something, I
want to see the look on his face
plastered all over the front page.
-----------------------------------------------------------------------------------------------------
25.
JIMMY
I'll do what I can.
Lex turns and starts to walk toward the building. Lois starts
after him.
LOIS
Let's go.
Jimmy follows.
JIMMY
Shouldn't we wait until someone calls
us?
LOIS
A lesson for you Jimmy. Always try
to keep them off balance. Once you
let them dictate the order of things,
you might as well be their PR guy.
As Lois and Jimmy get closer to the building, a GUARD steps
in front of them.
GUARD
I'm sorry, but the tours haven't
begun yet.
LOIS
That's okay. I'm getting mine from
Mr. Luthor. If you'll just let me
in.
GUARD
You must be Miss Lane.
LOIS
You've heard of me. I'm touched.
GUARD
Lois Lane, Daily Planet. It's on the
guest list.
LOIS
Oh.
GUARD
You'll have to wait a little longer,
Miss Lane. Mr. Luthor will let me
know when he's ready to see you.
JIMMY
So much for keeping him off balance.
GUARD
And the kid will have to wait out
here.
-----------------------------------------------------------------------------------------------------
26.
JIMMY
Kid?
LOIS
He's my photographer.
GUARD
Invitation for one person only. I'm
sure the boy got enough pictures
during the speech.
JIMMY
Jimmy-- Jim Olsen. Not kid. Not
boy. Mr. Olsen if you want.
GUARD
(ignoring Jimmy)
Sorry. I don't make the rules.
LOIS
Whatever. Just let me know when he's
ready.
The guard nods. Lois and Jimmy turn and start to wander back
toward the crowd.
JIMMY
A lesson for you, Lois...
Lois shoots Jimmy a look that warns him not to continue.
JIMMY (CONT'D)
I mean, Miss Lane.
LOIS
Do you have any smaller cameras?
JIMMY
Not on me.
LOIS
Damn.
JIMMY
Sorry.
LOIS
You might as well go back to the
office.
JIMMY
You sure? I could wait.
LOIS
No thanks, Jim. I'm good.
Jimmy nods and walks off. Lois sits on a nearby bench and
starts waiting.
-----------------------------------------------------------------------------------------------------
27.
INT. LUTHOR MEDICAL RESEARCH CENTER - LEX'S OFFICE - DAY
Lex is sitting at his desk in the new office, which looks
nothing like his other office. It has a much more high-tech
feel to it.
On his computer monitor is video from the security cameras.
On the video, Lex watches Lois wait for him. She checks her
watch and sighs.
Lex grins. He's in control of this situation.
Lex hits the intercom.
LEX
Miss Ambrose.
MISS AMBROSE (V.O.)
Yes, sir?
LEX
Wait another ten minutes and then
tell Miss Lane that she can wait in
the hall.
INT. LUTHOR MEDICAL RESEARCH CENTER - HALLWAY - DAY
Lois is pacing in the hallways as the guard from before stands
nearby to keep an eye on her. She smiles and waves at him,
growing more impatient. As she looks at her watch, Lex turns
the corner and walks toward her. When she sees him, Lois
pulls out her pad and pen.
LEX
Miss Lane, I presume?
LOIS
Mr. Luthor. How nice of you to meet
with me.
LEX
I hope I didn't keep you waiting.
LOIS
Not at all.
LEX
Good. Shall we? There are a lot of
exciting things to show you in this
facility.
LOIS
I'm sure there are, but I'm not here
to write an ad for you. I think you
should know that.
-----------------------------------------------------------------------------------------------------
28.
LEX
Of course. What is it they say?
(beat)
"Hit me with your best shot."
LOIS
Tell me that you didn't just start
off the interview by quoting Pat
Benatar.
LEX
We all have our weaknesses, Miss
Lane.
Lois writes something in her pad.
LEX (CONT'D)
I thought most reporters used digital
recorders these days.
LOIS
It's running in my purse.
(beat)
Shall we?
Lex nods and starts leading Lois down the hall.
INT. LUTHOR MEDICAL RESEARCH CENTER - OTHER HALLWAY - DAY
Lex continues to lead Lois as he conducts a tour and she
conducts an interview.
LEX
The entire east wing of the center
is a functional hospital, complete
with emergency room, and surgical
facilities. It's equipped with the
latest technology, of course. All in
an effort to provide the common
citizens of Metropolis with the best
care at prices they can afford.
Lex motions toward a door.
LEX (CONT'D)
In here we have the lab of Dr. Aaron
Strong. He's working on developing a
type of cancer vaccine that uses
spores found in the Alaskan forests.
I'm sure he could explain it much
better than I, but it's fascinating
to hear about.
LOIS
Cancer cure. Great.
(MORE)
-----------------------------------------------------------------------------------------------------
29.
LOIS (CONT'D)
So, how do you respond to rumors of
LexCorp emissions far exceeding the
legal limits in almost all of your
manufacturing plants? I bet they're
not helping the cancer rates very
much.
LEX
I've only recently been made aware
of such rumors and I assure you that
I'm making every effort to get to
the bottom of the situation. I
thought I'd hired a team of managers
that I could trust to run my plants
effectively and safely, and I'm truly
saddened to think that my trust might
have been betrayed.
Lois nods and makes a note.
LOIS
So these managers are going to be
fired?
LEX
If it's discovered that they've been
neglecting their duties, absolutely.
At LexCorp we take the safety of the
environment as seriously as those of
our own employees. Our own families.
LOIS
Right. In your speech, you made
mention of your mother. How do you
think she'd react to the opening of
this center?
LEX
I would hope that she'd be proud.
Though it might be too late to help
her, I think that she would be happy
that I was doing something in my own
way to help the world's growing health
concerns. To truly make the world a
better place, free of disease.
As Lex says this, Professor Vale walks down the hallway.
Vale isn't paying attention to where he is going. He's looking
over papers and making notes on them.
As he walks, Professor Vale bumps into Lois. Both drop their
papers. As they bend down to pick them up, Lois sees the
word "metallo" on one of the papers. She doesn't think much
of it and moves on.
PROFESSOR VALE
I'm sorry. My mind isn't here today.
-----------------------------------------------------------------------------------------------------
30.
LOIS
Don't worry about it.
Professor Vale smiles and walks off. Lois turns back to Lex.
LOIS (CONT'D)
One of your doctors?
LEX
Yes. I can't discuss his project
right now, but I think it's safe to
say that it could change the face of
Metropolis- and the world really- as
we know it.
LOIS
Lovely.
(beat)
Now, you mentioned that your mother
died of a disease?
LEX
Yes.
LOIS
I thought I read that your mother
burned to death in an apartment fire.
Lex takes a moment and then looks down.
LEX
Both are true, really. It's a hard
topic for me to discuss.
LOIS
I understand. If you'd rather not...
LEX
No.
(beat)
My mother was sick. For a year I
watched her grow weaker and weaker
before my eyes. The woman that I
knew was gone long before her death,
and my father couldn't stand to watch
her suffer any longer.
LOIS
Are you saying that your father killed
her?
LEX
I'm saying that my father was human,
Miss Lane. With all of the weaknesses
that we all have.
-----------------------------------------------------------------------------------------------------
31.
LOIS
But he did set the fire that killed
her?
LEX
And himself.
Lois makes a note.
LOIS
How did you learn about this? If you
don't mind my asking.
LEX
I was at work. This was before I had
the security that I have today. I
was working in a small print shop
across town. I remember a police
officer coming into the shop with my
family's minister and I knew right
away that something was terribly
wrong.
LOIS
I'm sorry.
LEX
For years I hated my father for what
he did, but once I learned to see
what he was going through, I learned
that illness doesn't just hurt those
infected. Those around the ill can
also be made weak.
LOIS
Interesting.
LEX
But enough about myself. Let me show
you our genetics lab.
INT. DAILY PLANET BUILDING - CITY ROOM - DAY
Clark is at his desk, reading a website. Lois slumps into
her chair next to Clark.
LOIS
I've never interviewed someone for
so long without getting anything
interesting to write.
CLARK
Interview didn't go well?
LOIS
It was like listening to white noise
for an hour.
(MORE)
-----------------------------------------------------------------------------------------------------
32.
LOIS (CONT'D)
Either this guy is squeakier than
you or he's an evil genius. I'm kinda
leaning toward the latter.
Clark smiles.
CLARK
What happened to journalistic
impartiality?
LOIS
I still have it. It's just asleep,
next to the part of my brain that's
been listening to the man speak all
day.
CLARK
Do you at least have something to
write about?
LOIS
I'm sure I'll work it out. I am
brilliant after all.
(beat)
How about you? Any breaking news?
CLARK
Besides the fact that Perry had me
write a story about my near death
experience last night?
LOIS
Huh?
Clark moves over and shows Lois his computer screen with
John Corben's page loaded on it. The story about Clark is
displayed.
LOIS (CONT'D)
Wait... You were almost killed?
CLARK
The guy was shooting blanks.
Lois smirks.
CLARK (CONT'D)
I wasn't almost killed.
LOIS
Still, it had to be scary right?
CLARK
Yeah. It was scary.
-----------------------------------------------------------------------------------------------------
33.
LOIS
So Corben scooped you on a story
about you? That's just not making
you look good.
CLARK
Thank you.
(beat)
So, what do you know about John
Corben?
LOIS
What do you mean?
CLARK
I mean, I've been reading his site
all day and something seems off about
it. I can't put my finger on it.
LOIS
Well, it wouldn't be the first time.
John isn't know for his integrity.
CLARK
You know him?
LOIS
Used to. He worked here a while before
you. Actually, you're sitting at his
desk.
CLARK
What happened?
LOIS
Perry found out that John wasn't
into checking facts, he was more
into making them up. Half of what he
wrote was fictional. Made the Planet
look like a joke. Made Perry look
worse.
(beat)
Perry trusted him. He was ivy league,
smart... Everything that's supposed
to make a good reporter. After that,
Perry changed. He went for people he
thought he could trust rather than
people who just had an impressive
resume. That would be why you're
here.
CLARK
And yet somehow Corben's website
still attracts all of this attention.
-----------------------------------------------------------------------------------------------------
34.
LOIS
As far as I know, the stories on his
site are legit. The guy still seems
a little strange to me, but he has a
talent for getting to the scene before
anyone else.
Clark sits back in his chair and thinks this over.
CLARK
Still, something seems off.
LOIS
Let me know if you figure it out.
Until then I have to go listen to my
Luthor interview and try to put a
few paragraphs together without
sounding like I'm on the payroll.
CLARK
Good luck.
INT. LUTHOR MEDICAL RESEARCH CENTER - VALE'S LAB - NIGHT
Professor Vale's lab is a dark room that's filled with a lot
of semi-creepy robotics equipment. At the moment, Professor
Vale is sitting at a desk, looking down at a small rod made
of metallo.
Lex walks into the lab behind him.
LEX
It's late, Professor. Please tell me
that there's good reason for this
meeting.
PROFESSOR VALE
There is. Look.
Lex walks to the desk and looks at the rod.
LEX
It looks like a piece of metal.
PROFESSOR VALE
But it's not. This is the latest
metallo experiment. The piece of the
puzzle that makes the picture clear.
LEX
And yet, it looks like a piece of
metal.
PROFESSOR VALE
Watch.
Professor Vale grabs some jumper cable-type wires from under
the table and attaches them to the rod.
-----------------------------------------------------------------------------------------------------
35.
He then presses a button which activates the power.
The lights in the room dim.
EXT. LUTHOR MEDICAL RESEARCH CENTER - NIGHT
Every light in the building dims, along with the lights of
several other nearby buildings.
INT. LUTHOR MEDICAL RESEARCH CENTER - VALE'S LAB - NIGHT
Lex looks around the room, noticing the power drain. He looks
back at the metallo rod and notices the rod bend itself into
a square.
Professor Vale shuts the power off. The metallo returns to
its rod form.
Lex stands in silence for a moment.
LEX
That's it? That is the breakthrough?
PROFESSOR VALE
It may not look like much, Mr. Luthor,
but it is. There are no standard
mechanics in the metallo. No joints.
No weak spots. The metal is as strong
as any substance on the planet and
can move as freely as the human body,
given the proper programming and
energy.
LEX
Can you make full scale androids out
of this?
PROFESSOR VALE
Yes. I could mold the body at any
time. The only setbacks will be the
power supply and the central
processor. The computing power needed
to process the metallo commands would
be extraordinary. This rod is only
capable of the most basic commands
and those are preprogrammed.
LEX
Do we have the ability?
PROFESSOR VALE
We may on some larger level. The
challenge will be to scale it down
to a reasonable size without losing
any functionality. In essence, I
would have to find a computer capable
of functioning on the same level as
the human brain.
-----------------------------------------------------------------------------------------------------
36.
LEX
Do it. I want a prototype ready within
the month.
PROFESSOR VALE
But--
LEX
No excuses, Professor. This won't
just give the Center the publicity
it needs. It will put LexCorp on the
map as the only source for law
enforcment robotics. Do you know
what that would mean for me?
PROFESSOR VALE
Millions of dollars.
Lex chuckles and shakes his head. Vale just doesn't get it.
LEX
Get back to work.
INT. DAILY PLANET BUILDING - CITY ROOM - NIGHT
While it is dark out, there are still plenty of people working
in the office.
Clark is going over news reports on the Daily Planet's
website. Lois is still at her desk, just finishing up her
piece on Lex Luthor. After finishing, she sits back and rubs
her eyes.
LOIS
I feel a sudden need to wash my hands.
Clark doesn't respond. He is flipping back and forth between
the Planet's site and Corben's site.
LOIS (CONT'D)
Clark?
Lois looks back at Clark's screen.
LOIS (CONT'D)
You're still reading crime reports?
You're going to drive yourself insane.
Or at least blind.
CLARK
Only a few more minutes, Mom? Please?
LOIS
Ha ha. At least tell me you're onto
some kind of story here and not just
obsessed with creepy stuff.
-----------------------------------------------------------------------------------------------------
37.
CLARK
Other than the fact that Corben is a
hack writer who only writes about a
handful of the crimes down in Suicide
Slum while ignoring the others? Not
really.
LOIS
Maybe he only reports on the really
bad ones?
CLARK
No. He's completely ignored murders,
rapes, and child abductions. He
usually focuses on armed robberies
and stuff like that.
LOIS
(sarcastic)
Weird. Who would have thought John
Corben was a half-assed reporter?
Lois stands up and stretches.
LOIS (CONT'D)
I'm gonna get going. I have a date.
CLARK
Richard?
LOIS
John. Richard's not getting past the
third date.
CLARK
I thought you liked him.
LOIS
I thought I did. Then, the last time
we went out I spend the whole night
wondering why I liked him. He's not
incredibly bright or funny. I'm not
comfortable around him. Good looking,
yes.
(beat)
I just want someone who will wow me.
Sweep me off my feet. Bring me soup
when I'm sick.
CLARK
Sweeping and food preparation. Sounds
more like you want a maid.
LOIS
(smiling)
Whatever, Smallville. At least I
date.
-----------------------------------------------------------------------------------------------------
38.
Clark looks at his watch.
CLARK
Actually, I have dinner plans tonight.
With an old girlfriend.
INT. KENT HOUSE - FOYER/LIVING ROOM - NIGHT
Martha opens the front door and smiles when she sees LANA
LANG and PETE ROSS standing outside. Lana is very pregnant.
MARTHA
Lana! Pete! Come in here. Let me
have a look at you.
PETE
Hi, Mrs. Kent.
MARTHA
We're all grown up now, Pete. Call
me Martha.
PETE
That would be weird, Mrs. Kent.
Martha gives Pete a hug, and then Lana.
MARTHA
Lana, you look amazing. Exactly the
same as you did ten years ago. Pete,
are you putting on weight?
Everyone laughs.
LANA
So, is Clark coming tonight?
MARTHA
He's here. He's just too rude to
come to the front door. Come inside.
Pete and Lana walk further into the house as Martha closes
the door. They walk into the living room where Clark is
sitting in jeans and a t-shirt, with his laptop in front of
him.
PETE
Clark!
Clark looks up and sees Pete and Lana. He puts his laptop
down and stands up.
CLARK
Hey. Sorry.
PETE
Big breaking news?
-----------------------------------------------------------------------------------------------------
39.
CLARK
Actually, the same old story. Just a
lot more of it these days.
LANA
You look worn.
Clark looks at Lana.
CLARK
You look pregnant. How are you
feeling?
LANA
Y'know, now that you mention it,
pregnant sounds just about right.
CLARK
Sit.
LANA
Yes, sir.
Lana walks to where Clark is sitting and takes a look at his
laptop. She winces and shuts it.
LANA (CONT'D)
Sorry. Weird things make me nauseous
these days. Murder scene photographs
would be one of them.
MARTHA
It's about time Clark put work aside
anyway. Dinner's almost done.
LANA
It smells great.
PETE
I hope you made a lot.
MARTHA
You kids go sit down at the table
and I'll bring the food.
LANA
I'll help.
MARTHA
You'll do no such thing. In my house,
the pregnant ones get to relax.
Martha walks into the kitchen.
CLARK
Plus, she hates having anyone else
in her kitchen.
-----------------------------------------------------------------------------------------------------
40.
MARTHA (O.S.)
I heard that.
Clark stands up and puts an arm around Lana.
CLARK
It is good to see you guys. I've
missed you.
PETE
Are you hitting on my wife?
CLARK
No.
LANA
I have a jealous husband. Be careful
or he might come after you.
PETE
I'm jealous, not stupid.
The three of them start to walk toward the dining room.
PETE (CONT'D)
So how's work in the big city?
CLARK
It's tiring.
INT. KENT HOUSE - DINING ROOM - NIGHT
Clark, Pete and Lana walk into the dining room. Pete pulls
out Lana's chair as Clark takes his seat.
LANA
At least you're able to get away
from work for a while.
CLARK
I can run, but I'm not sure I can
hide. I can't stop thinking about
these things. I can't let go of it.
LANA
That doesn't sound healthy.
PETE
We're in town until Monday. Why don't
you spend the weekend here? We can
hang out just like the old days.
CLARK
Maybe.
Martha walks into the room with large bowl of salad in her
hands.
-----------------------------------------------------------------------------------------------------
41.
MARTHA
The roast isn't quite there yet, but
we can start on the salad.
She starts dishing out the salad as the conversation
continues.
CLARK
So, did you come back home for any
particular reason, or just to visit?
LANA
Oh, we have reasons.
CLARK
Nothing bad, I hope.
PETE
Depends on who you're talking to at
the time. To my mother, it's bad.
MARTHA
What is it? You two aren't getting a
divorce are you? There are too many
people getting divorced these days.
I don't like it.
LANA
No. We're not getting a divorce.
CLARK
Then what?
PETE
I'm... Umm--
(beat)
Well, I've decided to join the Army.
MARTHA
What?
LANA
Pretty much what I said.
CLARK
What brought this on?
PETE
I don't know. I guess I've felt like
I owed the world something since I
was a teenager. Some part of me feels
like I'm not really supposed to be
here, so I should give back.
MARTHA
What do you mean, you're not supposed
to be here?
-----------------------------------------------------------------------------------------------------
42.
PETE
You know what I mean. If it wasn't
for Clark, I would have died years
ago.
CLARK
Pete--
PETE
It's true. And it's not about being
depressed or anything like that. I'm
here because someone saved me. I
think I owe it to the world to pay
back the favor. I've been given a
second chance and I want to do
something with it.
Clark doesn't say anything. His mind goes elsewhere.
MARTHA
It's so dangerous.
PETE
I know, but I have faith that I'll
be okay.
LANA
And in the meantime, I'll be here in
Smallville with the baby.
MARTHA
It sounds like you've thought this
through.
PETE
We have. Lana will stay with my
parents until I get back.
MARTHA
I guess we'll be seeing a lot of
each other then.
Pete looks over at Clark. He notices that Clark's mind is
somewhere else.
MARTHA (CONT'D)
Well, how 'bout that salad?
LANA
I'm starving.
EXT. KENT HOUSE - FRONT PORCH/LAWN - NIGHT
Clark is leaning against the railing, looking out across the
open fields and the stars above them. Pete walks out of the
house holding a copy of the Daily Planet.
-----------------------------------------------------------------------------------------------------
43.
PETE
You look deep in thought.
CLARK
Taking in the quiet.
PETE
Y'know, I've always wondered
something. Is it actually quiet here
for you, or is it just slightly less
noisy?
CLARK
You mean, can I hear Mom and Lana
talking about baby names in the
kitchen, or Mrs. Dauber yelling at
her husband down the road?
(beat)
If I try. It's a lot easier to tune
it all out though. Easier to forget
what's going on in the rest of the
world.
PETE
Is that what you've been thinking
about all night?
CLARK
Kinda.
(beat)
Can I ask you a question?
PETE
Yeah, anything.
CLARK
Why the Army? Why do something so
huge? You could just help the world
in some other way.
PETE
Because someone needs to do it. I'm
about to have a kid and I want that
kid to know a world that's better
than this. I need to stand up for
what I believe in. The American way
of life, y'know? Truth and justice
and all that good stuff.
CLARK
Yeah.
Clark starts to walk down the steps and across the lawn.
Pete follows.
PETE
So, what about you?
-----------------------------------------------------------------------------------------------------
44.
CLARK
I'm doing nothing.
PETE
Not true. You show people what's
out there. You make it harder for
them to ignore it.
CLARK
I talk, Pete. I could be doing so
much more to help this world, but
instead I hide.
Pete holds up the newspaper, which has a large (and bad)
picture of Clark on it, with the headline "Daily Planet
Reporter Nearly Killed In Attempt To Stop Mugging"
PETE
And you're doing a bang-up job of it
too.
Clark grabs the paper away from Pete and folds it up.
CLARK
You know what I mean.
(beat)
The woman that was being mugged could
have been killed and I was more
concerned about people finding out
what I am.
PETE
The guy was using blanks, right?
Clark doesn't answer, which causes Pete to realize the truth.
PETE (CONT'D)
Oh.
CLARK
Every day, it's the same thing. I
report on all of this stuff happening
in the world, but I do nothing to
stop it. I watch it happen. I let it
happen.
PETE
You're putting a lot of blame on
yourself.
CLARK
Why shouldn't I? Like you said, that
boy of yours is going to grow up in
a world much worse than this unless
we do something to stop it.
-----------------------------------------------------------------------------------------------------
45.
Pete doesn't respond for a moment. Finally, he looks back to
the house to make sure that the women aren't around and then
looks Clark in the eyes.
PETE
Then stop hiding.
(beat)
Your mother would kill me for saying
this, but you've been doing this for
so long and it's wearing you down.
You're a good man, Clark. Good men
don't sit back when they could be
doing something.
Clark allows Pete's words to sink in. The thought of revealing
himself to the world scares the hell out of him, but at the
same time it's the only thing that makes sense.
EXT. KENT HOUSE - FRONT PORCH - LATER
Martha and Lana are sitting on the porch now. Clark and Pete
walk up the steps.
LANA
We were starting to worry about the
two of you.
PETE
We should go.
CLARK
No. Stay.
Pete looks down to Martha, not wanting to be here for this.
PETE
Do we have to?
(beat)
I mean... Are you sure?
CLARK
Please.
Pete nods and sits on the railing.
PETE
Fun.
LANA
What is wrong with you?
MARTHA
Clark?
(beat)
You're not joining the Army too, are
you?
-----------------------------------------------------------------------------------------------------
46.
CLARK
No.
MARTHA
Oh. I was worried for a moment.
CLARK
But I've decided to do something
else.
(beat)
I'm not hiding anymore. I can't.
LANA
(confused)
Wait... What are you talking about?
You're not...
(to Pete)
What did you do?
PETE
Me?
CLARK
It's not Pete. It's me. I've been
thinking about this for a long time
now. Every time I read a police report
and know that I could have done
something about it.
MARTHA
It's too dangerous.
CLARK
What's the alternative? Let more
people suffer? I can't do that
anymore.
(beat)
Mom, I know you worry about what
people would do to me if they found
out, but I can't live like this
anymore.
As Clark explains this, it's like he's a new man. He already
seems happier than before.
Martha walks to Clark and puts a hand on his shoulder.
MARTHA
Do you know what this will do to
your life?
CLARK
I've thought about it. I think so.
MARTHA
Then I will support you.
(MORE)
-----------------------------------------------------------------------------------------------------
47.
MARTHA (CONT'D)
But know that once you do this...
Everything we've known for the past
thirty years will change. Clark Kent
won't exist as you know him. People
won't look at you the same way, or
treat you the same way. You'll be
the same person inside, but everyone
else will change.
Clark looks down.
CLARK
I know.
Martha takes the glasses off of Clark's face and looks down
at them.
MARTHA
Your father's glasses.
Martha attempts to look through them, but the prescription
is too much for her eyes. Clark smiles.
CLARK
To help me see the world through his
eyes. To remind me of where I come
from.
(beat)
If he were in my shoes, I know he'd
be doing the same thing.
MARTHA
I know.
Martha puts her arms around Clark and holds him tight.
LANA
Maybe it doesn't have to mean the
end of your life as you know it.
Clark and Martha both look to Lana.
CLARK
I think people will catch on to the
fact that I'm flying around, shooting
lasers out of my eyes.
LANA
What if they don't know it's you?
CLARK
How? I don't want to wear a mask. I
don't want people to fear me.
-----------------------------------------------------------------------------------------------------
48.
LANA
(to Pete)
Look at him. Without the glasses he
almost looks like a different person
already.
(to Clark)
If you don't dress like Clark or
talk like Clark, maybe they won't
see Clark.
PETE
It's true. My uncle used to work in
a circus. There were these performers
who would do their acts in big flashy
costumes. I'm talking slicked back
hair, capes, the whole thing. When
the show was over and they put on
their normal clothes, you could hardly
tell that they were the same people.
It's all about the illusion.
CLARK
So, I wear a costume?
MARTHA
(smiles)
You wear a costume.
PETE
But a strong costume. Something that
can stand up to the things you can
do. I mean, Clark can fly through an
explosion, but that doesn't mean his
clothes can, right? That could make
for an awkward moment.
Clark thinks for a moment before remembering something.
CLARK
Pete, come with me.
PETE
Where?
CLARK
Just come.
(to Martha and Lana)
We'll be right back.
Clark walks off of the porch, toward the barn. Pete follows.
INT. KENT BARN - NIGHT
Clark walks into the barn with Pete close behind. As they
walk, Clark grabs a flashlight off of a table.
They walk to one side of the barn where there is a door in
the floor, which is covered by hay.
-----------------------------------------------------------------------------------------------------
49.
Clark sweeps the hay off of the door and opens it. He starts
to walk down a set of stairs, into a cellar.
INT. KENT BARN - CELLAR - CONTINUOUS
Clark and Pete walk into the dark cellar. Clark turns on the
flashlight and points it to the center of the small cellar.
The light reflects off of the metalic surface of a small
alien ship. The ship that Clark was sent to Earth in.
PETE
What are we looking for?
CLARK
Hold this.
Clark hands the flashlight to Pete. Clark then walks to the
ship and looks down at it.
On the top of the ship is the familiar "S" shield, right
below a small black stone.
Clark touches the stone. Under his hand, the STONE BEGINS TO
GLOW BRIGHT RED.
Soon, the top of the ship slides back, revealing a small
compartment within. This compartment is padded with a deep
red cloth lining.
PETE
Is that what you plan to use for the
suit?
CLARK
No.
(beat)
When I was a teenager, I came down
here one night. I opened the ship,
just to look inside. To try to feel
some connection.
PETE
Did it work?
CLARK
Not really.
(beat)
Then I rested my hand on the top of
the ship.
Clark puts his hand over the "S" shield on the top of the
ship. The "S" BEGINS TO GLOW BRIGHT BLUE, and then slides
open, revealing a compartment even smaller than the other.
PETE
Whoa. You never told me about that
part.
-----------------------------------------------------------------------------------------------------
50.
CLARK
I never told a lot of people.
Clark looks inside the "S" compartment for a moment, and
then reaches inside.
CLARK (CONT'D)
It's a time capsule, I think. My
parents must have wanted me to have
something from my own world, so they
put these in here.
Clark pulls out a crystal. It's long and beautiful, but he
doesn't think much of it as he looks it over and hands it
back to Pete. Pete looks more closely.
PETE
Think it's worth anything?
Clark doesn't respond. He reaches inside once again, this
time pulling out a handful of folded blue cloth. The cloth
has the "S" shield on it too, with the standard Superman
colors.
Clark unfolds the cloth, showing Pete that it is actually a
piece of clothing. It looks small, but it's obviously a
uniform of some sort. The "S" shield and red feet are the
only parts of the uniform that aren't blue.
PETE (CONT'D)
Wow.
(beat)
So, your parents were psychic?
CLARK
No. I think the shield is like a
family crest or something. This might
be my planet's version of a suit of
armor.
PETE
It's kinda small though.
Clark pulls on the material, which stretches for him.
PETE (CONT'D)
Oh. Any idea what the symbol means?
CLARK
I think it means whatever I want it
to mean. Who's going to tell me I'm
wrong?
Clark and Pete stand in silence for a moment, looking at the
costume.
PETE
Can I keep the crystal?
-----------------------------------------------------------------------------------------------------
51.
CLARK
No.
INT. KENT HOUSE - CLARK'S ROOM/SEWING ROOM - NIGHT
Martha, Pete and Lana are sitting in the room, waiting.
MARTHA
So, there was another part of the
ship?
PETE
Yeah.
MARTHA
I wonder why he never told me about
it.
PETE
Don't know.
LANA
He didn't want to hurt you. Didn't
want you to think that he didn't
love you, or that he wanted to find
his own people. He wanted it to go
away. He wanted to be normal.
Martha and Pete look at Lana, wondering how she knows all of
this and they don't. She shrugs.
LANA (CONT'D)
I mean... Maybe that's it, right?
Lana tries to pass off an innocent smile, and puts her hand
on her belly to remind everyone that she's in a delicate
condition.
Martha turns toward the bedroom door.
MARTHA
(calling out)
Clark, are you okay in there?
CLARK (O.S.)
Yeah. It's just... Well...
We can hear the BATHROOM DOOR OPEN and a moment later, Clark
walks into the room wearing his new costume.
The costume is skin tight. As stated before, it's all blue
except for the shield on his chest and the red feet, which
meets the blue somewhere around his shins.
CLARK (CONT'D)
It's a little form fitting.
-----------------------------------------------------------------------------------------------------
52.
PETE
Yeah.
Clark walks to the mirror and looks at his reflection.
LANA
It looks fine to me.
Pete fires a look toward Lana, which she quickly shoots down.
CLARK
Maybe we can add another layer around
the middle so it's not so... form
fitting.
Clark turns and looks at his ass in the mirror.
CLARK (CONT'D)
And a cape. I think I'd like a cape.
PETE
There's always the material in the
other part of the ship. The red.
CLARK
And there's a yellow belt looking
thing in the storage compartment.
Maybe I can use that.
PETE
It's like an amazing technicolor
dream costume.
MARTHA
Children will like it. It'll be easy
for them to draw.
LANA
Women will like it.
CLARK
I'm going to change now.
EXT. KENT HOUSE - FRONT PORCH - DAWN
Clark is standing on the porch, watching the sun come up.
The world is quiet around him.
After a few moments, Martha walks out of the house with two
cups of coffee. She hands one to Clark, and sits down in a
nearby rocker.
Neither one of them says a word. They just take in this
moment. Both know that one way or the other, their lives
will soon change forever.
-----------------------------------------------------------------------------------------------------
53.
INT. REED APARTMENT - MORNING
The apartment is small and hasn't been cleaned in quite some
time. Baby clothes and toys are scattered around, along with
dirty dishes and take-out boxes.
In the background, the RADIO IS ON. It's tuned to a talk
show. The radio host is discussing bombings in foreign
countries.
RADIO HOST
What I don't get is how the rest of
the world can stand by and watch
this happen. One of our allies is
being attacked and we're looking the
other way. It's time that our
government woke up and did something
to defend these people. It's time
for the rest of us to stop watching
the news and shaking our head. It's
time to make a change in the world,
because if we don't, w