Smallville "Judgment" TEASER EXT. GEM EXCAVATION SITE - DAY MONTAGE: 1) A small, quiet pond glimmers in the sun beside a massive crater. MINERS dig all around the pit, claiming hunks of black rock embedded with familiar-looking green gems. 2) A conveyor belt laden with black and green rocks zips along toward an automated drill bit, pounding the rock into smaller pieces. The smaller bits slip down through the sieve like floor. 3) FACTORY WORKERS wearing jumpsuits labeled "Jorsen's Jewelry" mindlessly sort through the broken chunks of black and green rock. One worker reaches into the mess, spreading it out for a better view. Speedily, she grabs the chunks of black and green, revealing beneath them a glimmer of red. She tosses the black and green into a waste chute. What they're after is the red. INT. LUTHOR MANSION. CORRIDOR - EARLY MORNING Coffee cup in hand, LEX walks out the door at the end of the hallway. Dressed casually, he's starting his day calmly and quietly. He strolls along, taking a sip of coffee and perusing the copy of The New York Times in his other hand. Cool, secure. Lord of the manor. Then, the clunking and whirring of construction breaks the silence. Lex looks up curiously. The distinct din of chattering voices and busy activity floods out from his office. WORKERS bustle in and out. INT. LUTHOR MANSION. LEX'S OFFICE - CONTINUOUS Lex enters to see a flurry of construction activity. Scaffolding spans the room as workers alter the light fixtures and paint the walls. And there, sitting at a new desk, is LIONEL. A roll of blueprints in hand, a FOREMAN stands beside him, conferring. Lex strides angrily toward his father. LEX When I went to bed last night, I was pretty sure this was my office. The foreman looks up at Lex and several of the nearby workers pause. Lionel laughs. LIONEL Lex. I thought you wouldn't mind if I had a few changes made, since I'm to go be staying here a while. (to the workers) Go on. LEX What I mind is not being consulted. Lionel's face grows rigid. He grabs his walking stick. LIONEL I didn't realize I needed my son's permission to try to make my situation here a trifle more bearable. His walking stick before him, the elder Luthor moves toward the door, indignant. But it seems like the calculated, guilt inducing indignation of a child. LIONEL (cont'd) I've lost my sight. Allow me to at least retain a modicum of dignity. Lex stands, looking a churning mixture of guilt and anger. The foreman looks expectantly at Lex, waiting to hear the final word. LEX You and my father have discussed the precise changes he wishes to make? FOREMAN In detail. LEX Then give him whatever he wants. The foreman nods to the workers. Lex storms from the room. EXT. SMALLVILLE. STREET - MORNING The Kent's pick-up truck pulls to a stop outside the hardware store. Martha, Jonathan and Clark step out. Jonathan carries a worn and bent doorknob. CLARK I don't know, Dad. That doorknob has squeaked since I was a kid. I feel like we're messing with history here. JONATHAN It's been bothering your mother for at least two years, so I think it's just keeping the peace. Martha smiles slyly at her husband. MARTHA I'm going to go by the bank. I'll meet you two at the hardware store. JONATHAN Meet us at the feed store. We won't be in here long. Martha separates from them. The two men walk toward the hardware store, but Clark halts when he hears: LEX I already told you no. Clark and Jonathan both look down the sidewalk to the Talon where, purchased coffee in hand, Lex argues with a jumpy young man, a REPORTER. Lex has little patience left this morning. REPORTER Mr. Luthor, you didn't know what it was about when you said no. Jonathan and Clark exchange a look. Then, to his father's chagrin, Clark walks off toward Lex. Jonathan continues into the store. LEX I know now and my original answer stands. REPORTER But this article would be different than any that's ever been written about you. LEX I'm sure you believe that, but I don't want to be a part of it. REPORTER But, Mr. Luth- LEX All you've accomplished by coming here and harassing me in person is give me a strong inclination to have you fired. Is that how you want to begin your promising career? Lex stares him down. The reporter looks downright scared. REPORTER Thank you for your time, Mr. Luthor. Tail tucked, the reporter retreats down the sidewalk just as Clark approaches. Angrily watching the reporter go, Lex doesn't see him. CLARK Hey, Lex. LEX Morning, Clark. Lex turns to him. LEX (cont'd) Isn't it a little early for you on a Saturday? CLARK Harvest time. Sleep isn't a priority anymore. LEX The pleasures of the farm. CLARK You're not exactly sleeping in either. Do you always go into the plant this early? LEX I felt the sudden need to be somewhere other than the mansion. At least at the plant I'm fairly confident I still have an office. Clark grimaces sympathetically. CLARK Your dad kind of taking over? LEX The business term would be "hostile takeover." He's got his contract workers rearranging half the rooms. CLARK On a Saturday? Lex glances in the direction of the retreating reporter. LEX Apparently no one rests on Saturdays anymore. Clark follows his gaze, then, fidgeting uncomfortably he asks: CLARK What did that guy want? LEX He's doing a story on the recovery of Metropolis' troubled youth and he wants to use me as a success story. CLARK That's really cool, Lex. Lex clearly doesn't agree. CLARK (cont'd) I thought - I mean, you might be able to help a lot of kids by telling them how you got out. LEX I doubt any of them have my particular motivations and I can't tell them how I got out without exposing how deeply I was in. Clark looks as if he has a million questions, but instead of asking, he just smiles uneasily. CLARK Sometimes I wonder what you were like back then. Lex looks up at him, his expression weighty, thinking, deciding whether or not to continue this conversation. LEX Don't bother. JONATHAN (O.S.) Clark. Jonathan and Martha step over to them, clearly not happy to see Lex. Lex, however, puts on his most respectable demeanor. LEX Good morning, Mr. Kent, Mrs. Kent. JONATHAN Hello, Lex. Clark, I already grabbed the feed and it's going to take them a while to fix that knob. Your mother and I thought we might grab some breakfast at the diner while we're waiting. CLARK Sounds good. (to Lex) You want to come with us? I bet you haven't had a real breakfast at the Smallville Diner. Lex glances at Jonathan, who averts his eyes, his face an open book: he doesn't want Lex to come. Martha looks at him disapprovingly, but doesn't say a word. LEX No, that's all right, Clark. I've already eaten. Clark looks confused, then chances a look at his father. He figures out why Lex is saying no. LEX (cont'd) Excuse me. I have to get to work and salvage this day if possible. Frustrated, Clark looks back and forth between the two. LEX (cont'd) I hope the three of you have a good day. Lex climbs into his car. Clark, curious and disappointed, watches as he drives off. Jonathan and Martha move to cross the street, then turn, noticing Clark is not with them. JONATHAN Son? CLARK Why won't he ever tell me about when he was in Metropolis? MARTHA He probably doesn't want to drudge up old memories, honey. CLARK I can't figure out what he could've done that's so bad. JONATHAN If it was bad enough Lex Luthor himself won't talk about it, then speaking as a father, I hope you never know. Jonathan and Martha continue across the street, but Clark watches the sports car disappearing in the distance, curious. BLACK OUT. END OF TEASER Red Act OneScript created with Final Draft by Final Draft, Inc. [ bottom ] ACT ONE INT. JEWELER WHAREHOUSE. - MORNING MONTAGE: 1) A JEWELER gently brushes the remaining dust from a red jeweled ring - the same red jewel we saw on the conveyer belt. A row of red-rocked class rings line the cloth-covered table. 2) An ASSEMBLY LINE of people tuck the rings into ring boxes. 3) SHIPPING WORKERS load ring boxes into large cardboard containers bearing the name "Jorson's Jewelry, Smallville. Since 1987." INT. SMALLVILLE HIGH SCHOOL. LIBRARY - MORNING A few STUDENTS mill through the tables and shelves, but like a high school library, the room is largely deserted. PETE and Clark enter, papers in hand and backpacks on shoulders. PETE All right. You get the books and I'll check what we've got in the newspaper archives. CLARK Where's Chloe? Why isn't she helping with this? PETE Did you fall asleep? She told us on the bus she had to finish a story for the Torch. CLARK Hey, give me a break. My dad made me get up really early this morning. PETE Ah, harvest time. The Kent produce is always at its freshest when Clark is tired all day. Pete disappears into the bookshelves. Glancing at his paper, Clark turns down into the stacks. He walks along slowly, scanning the spines, then through the gaps in the books, he sees LANA flipping through texts on the other side. He opens his mouth for a "Hey, Lana," when he hears: ANDREW Hey, Lana. LANA Hi, Andrew. How're you doing? Clark peers through the narrow slot above the books, watching as a cute, smart-looking boy, ANDREW, walks over to Lana. ANDREW I'm good. Check out what I found. He proudly hands her a hardcover book. ANDREW (cont'd) It's a whole book of Voltaire quotes. I figured we could slip a couple into our paper for that special "we actually know what we're talking about" feel. LANA Just what it needs. ANDREW Did you want to get together Saturday to work on it? I can come by the Talon if that'd be easier for you...and maybe take you out to dinner beforehand. He's not just being an overzealous study partner: this is a serious request for a date. Smiling shyly, Lana hesitates a moment. Unseen on the other side of the shelf, Clark listens intently, waiting for her answer. LANA Saturday would be perfect. ANDREW Great. I'll bring the Voltaire, you supply the coffee? LANA Sounds fair. Andrew smiles happily, charmingly. And he's now used up all his cool. ANDREW Good. Great. All right. Then, I'll see you in English. Bye, Lana. LANA Bye. Lana watches him go, a light smile on her face. She doesn't hear Clark come around the shelf behind her. CLARK Morning, Lana. LANA Hi, Clark. CLARK (oh so casual) So, you working on a project with Andrew Simmons? She continues flipping through the books. LANA Yes, I am. For English. CLARK He seems nice. LANA He is. CLARK You're going out with him this Saturday, to work on your paper? LANA Yes. Is there any reason I shouldn't, Clark? She trains her gaze steadily on him, her stare unrelenting. She wants to hear yes. CLARK No. Lana looks away. CLARK (cont'd) No, of course not, Lana. I was just - just wondering. Lana nods absently, frustrated, and collects her things. LANA Okay. Well, I'm done here, so I'll see you in class. CLARK Okay. Looking as if he's mentally flogging himself, Clark watches her walk away. INT. SMALLVILLE HIGH SCHOOL. TORCH OFFICE - MORNING CHLOE types at the computer, a sour expression on her face. She doesn't even notice as Pete and Clark walk in. PETE What freaked you out in the library? Suddenly, Clark groans. Looking down at his hand, he sees the familiar weakening green veins pulsing beneath his skin. A meteor must be nearby. PETE (cont'd) What's going on? Why is that happening? CLARK I don't know. Then, Pete sees it: a hunk of black meteor encrusted with green lying atop the filing cabinet. PETE It's okay. I got it. He sighs in frustration and grabs it. PETE (cont'd) Hey, Chloe. Do you want to not keep rocks in the office that turn people into mutants? Looking up, Chloe catches the rock just as he tosses it to her. CHLOE Hey! Be careful with that. It's evidence. PETE It's dangerous. CHLOE All right. I'll put it in the back room. She disappears into the back room. PETE (shouting, to Chloe) Yeah, 'cause the cardboard walls will protect us from the radiation. (hushed, to Clark) Will the cardboard walls protect you from the radiation? CLARK No, but it's far enough away now. Let's just hope she's not planning to add it to her collection. Chloe walks back in, none the wiser. CHLOE Did you get the raw materials for the study session tonight? PETE I got what I could find in archives and we got the books once Clark was done spacing it. CHLOE Ah, harvest time. CLARK What do we know about Andrew Simmons? PETE Nice guy. Likes to read. CHLOE And he's really hot. Both boys look at her. CHLOE (cont'd) I call 'em as I see 'em. CLARK He just asked Lana out on a date. CHLOE And this is important because...? CLARK Because she said yes. Chloe and Pete exchange glances. PETE You can't expect the girl to wait around for you. CLARK I'm not expecting her to wait, I just - CHLOE Want her to say 'no' to all the other guys until you get up the nerve to ask her? That's called 'waiting,' Clark. CLARK So what am I supposed to do now? PETE Tell her you want her for yourself. CLARK (sarcastic) Yeah, I can really hear myself saying that. CHLOE Then your only other option is to stay home Saturday night to make sure you don't accidentally run into Lana and Andrew on their date. Clark is unimpressed by his friends' advice. PETE Come on. We've got to get to class. INT. SMALLVILLE HIGH SCHOOL. HALLWAY - MORNING Two suited ADULTS push a cart loaded with boxes through the curious students. The boxes read "Jorsen's Jewelry." Chloe, Clark and Pete wander out of the Torch's office. PETE Jorsen's Jewelry? CHLOE Our class rings. Now my detective work begins. Chloe and Pete continue to watch the boxes, but Clark has spied Lana down the hallway. PETE (O.S.) What are you working on now? Clark watches as Lana kneels to get a book from her backpack. CHLOE (O.S.) Can't tell you. I don't want you blabbing about it and ruining my well-earned shock value. Glancing up, Lana's eyes lock on Clark's. Standing, she smiles weakly at him and walks into class. PETE Clark, man, you want to get our class rings? Clark pulls his attention back to his friends. CLARK Sure, Pete. INT. SMALLVILLE HIGH SCHOOL. CAFETERIA - MORNING Clark, Pete and Chloe walk toward the long cafeteria tables, now manned by the two adults from the hallway. The walls bear signs touting the rings in bold, bright letters. The trio pull their claim tickets from their pockets and hand them over. They are handed red ring boxes. Pete and Chloe open theirs and compare. CHLOE What do you think, Pete? Does it look real to you? Clark flips his open to reveal a thick, engraved golden band bearing a large chunk of red ruby. We've seen this ring before, at the jewelers'. He slips it on his finger and instantly, the red gem flickers to life. Vibrant red veins snake across Clark's hands, traveling up his arm to disappear beneath his sleeve. Clark lifts his gaze and the same red streak sweeps through the veins in his eyes until it disappears with a red bloom in his pupils. He closes his eyes. Pete glances at his friend. Still dazed, Clark stands unnaturally still. PETE Hey, man. I don't care if it is harvest time. You're not going to fall asleep on me in class, are you? CLARK Not a chance. Breathing in deeply, Clark smiles - but it's not a wholesome Clark-smile. There's something sinister and dangerous behind it, something wholly unlike Clark. CLARK (cont'd) I've never been more awake. BLACK OUT. END OF ACT ONE [ top ] Script created with Final Draft by Final Draft, Inc. [ top ] Script created with Final Draft by Final Draft, Inc. Red Act TwoScript created with Final Draft by Final Draft, Inc. [ bottom ] ACT TWO INT. SMALLVILLE HIGH SCHOOL. CLASSROOM - MID-DAY The TEACHER stands at the chalkboard. The words "Red Scare: test tomorrow" are emblazoned across it in yellow chalk. TEACHER Pass back these study guides and we'll go over your questions. The teacher hands the papers to the first student in a row. She takes one and passes it to the student behind her, the next student does the same, all the way to Clark in the back. He taps his red-jeweled ring idly against his desk. Accepting the stack of papers, he hands them to Chloe on his left without even glancing at them. CHLOE Clark, don't you want a study guide? CLARK What I want is to not be here. I spent the whole morning being farm machinery. Now I want to have some fun. CHLOE Don't we all, but the test's tomorrow. CLARK Then I don't need to be here today. He tosses his books into his backpack. His friends stare. PETE Clark, man, what are you doing? CLARK Ditching. Who wants to come with me? Chloe glances at Lana beside her and Pete in front of her. CHLOE You can commit academic Hari-Kari, but the rest of us really need to cram for this test. CLARK How about you, Lana? Lana swallows and averts her eyes uncomfortably. CLARK (cont'd) Whatever. Have fun with history. Swinging his backpack on his shoulder, he saunters out through the door at the back of the room. Lana slouches down in her chair, thinking, her brow furrowed. CHLOE (O.S.) Okay, what was that? PETE (O.S.) I have no idea. CHLOE (O.S.) Should one of us talk to him? LANA I'll go. Chloe and Pete watch as Lana slips quietly out of her seat. INT. SMALLVILLE HIGH SCHOOL. HALLWAY - MINUTES LATER Clark throws his entire backpack into his locker and slams it shut. Lana walks down the hallway toward him. LANA Clark? Clark surveys her approaching figure with a predatory look. CLARK Hey, Lana. Changed your mind? LANA You should really come back to class. He steps close to her. A little too close. LANA (cont'd) Are you feeling all right? CLARK I am now that you're here. His gaze is intense, powerful and not so much warm as hot: this is an attempted seduction right here in the school hallway. LANA What are you doing? CLARK Trying to persuade you. Is it working? He smiles, disarmingly handsome. CLARK (cont'd) We could go for a drive. We could do whatever you want. LANA Are you asking me on a date? Her eyes flicker with confused excitement. CLARK I'm asking you to have some fun with me. LANA Well, maybe tonight, after the study session - CLARK Why wait till tonight? We have the whole day. LANA We're in school. CLARK I can't think about school when you're around. Lana's expression falls serious. She senses it: this could be an confession. LANA Why is that? CLARK You know why. LANA No, I really don't, Clark. CLARK Don't you think we've been playing these innocent games long enough? You know I want you. She blinks in surprise at finally hearing the words - and spoken so blatantly. CLARK (cont'd) And I think you want me too. She laughs uncomfortably. LANA That's a - Okay, uh, so, what is this? An all-new Clark Kent? CLARK That depends. Do you like him? Before she can answer, he slips an arm around her waist and pulls her tightly against him. He kisses her hungrily. Eagerly, Lana kisses him back. She clings to his shoulders, grasping his shirt and pulling him nearer, lost in the passion of the moment. They part and Lana can't immediately lift her eyes, still in a daze. Clark nuzzles his cheek against hers. CLARK (cont'd) Come with me. Lana opens her eyes and slowly reality sinks back in: she is clutching wantonly to Clark Kent...by their lockers...in the middle of the school day. A FEMALE STUDENT passes, curiously arching a brow. Embarrassed, Lana extracts herself from Clark's embrace. LANA I can't. CLARK Your loss. Have a blast with your study guide. He callously turns and walks away. LANA What? Lana watches him, totally baffled - and then she hears laughter. Through the open doorway of their room, an entire class peers out at her, laughing and whispering to each other. They saw it all. TEACHER 2 (O.S.) Class, your attention up here, please. Lana looks down, hurt, puzzled - and humiliated. INT. KENT FARMHOUSE. KITCHEN - AFTERNOON Martha sits at the table, receipts and checkbook set out before her. Jonathan enters, grabbing a cup and filling it with water from the tap. A knock sounds at the screen door. JONATHAN Hi, Pete. Come on in. PETE Hey, Mr. Kent. I came to see Clark. JONATHAN He's not home yet. Want us to tell him you came by? PETE Yeah, sure. Pete fidgets. MARTHA Pete, is something wrong? Pete looks to his friend's parents with the eternal question: to tattle or not to tattle. PETE Not really. It's just, well - Clark kind of left school. Martha looks concerned. Jonathan just looks angry. JONATHAN What do you mean he left? PETE He ditched. We were in history class and he walked out. JONATHAN He just walked out? MARTHA Jonathan, stay calm. (to Pete) Did he say where he was going? PETE Just to have some fun. MARTHA He probably went to the Talon, then. JONATHAN In the middle of the school day? MARTHA I'm not saying it's okay, but it's not something we should get irate about. Clark is a teenager and teenagers sometimes skip school. Right, Pete? PETE Well, I never have, of course, but I've heard that some do. MARTHA He's so good about everything, Jonathan, he really is. And he's never done anything like this before despite all the pressures he has to deal with. Jonathan sighs. Martha's argument is beginning to work. MARTHA (cont'd) Cut him some slack and don't kill him when he gets home, okay? JONATHAN Okay, but this is the last time. Heat vision or not, he can't just leave school whenever he wants to. MARTHA Then we agree. JONATHAN Pete, do me a favor. If you go by the Talon and see Clark, tell him to come home immediately. PETE I actually went by the Talon before I came here. He wasn't there. JONATHAN He'd better not be getting into any trouble. MARTHA Sweetheart, it's Clark. He would never go looking for trouble. INT. LUTHOR MANSION. LEX'S OFFICE - AFTERNOON In walks Clark, dressed in a sleek black suit more befitting Lex himself. Lex stands at his desk, loading books into a box, his back to the door. Clark looks around. What had been antique is now flashy: computer screens, electronic boards scrolling stock quotes. Clark admires a state-of-the-art flat-screened monitor. CLARK Don't take this the wrong way, Lex, but if I ever become a thief, this is the first place I'm hitting. LEX Be my guest. There's nothing in the room that couldn't be replaced for the right price. Around here, anything of any real value is kept in a vault and... His words trail off as he turns around, momentarily struck silent by the sight of an unusually-dressed Clark. LEX (cont'd) ...that would be much more difficult to get through. CLARK Oh, I don't know about that. LEX What brings you here, Clark? CLARK I came to shoot some pool, but it looks like this establishment's been closed. Clark wanders through the room, Lex watching him curiously. CLARK (cont'd) I went to the plant, but they said you'd come back here. LEX I decided I didn't want my father's incompetent contract workers moving my things. CLARK So you're moving your stuff yourself? That's sad, Lex. Why don't you just throw him out? LEX I wasn't aware a two-thousand dollar coat came with a backbone. What's going on? CLARK I'm here for you and your car. Road trip to Metropolis, Lex. You and me. LEX Right now? CLARK No time like it. Let's just say I've had enough of the pleasures of the farm. LEX And your father's okay with this? CLARK If he knew, he wouldn't be. And I'm betting yours wouldn't be either. Lex slowly smiles, almost impressed: Clark knows his Achilles Heel. CLARK (cont'd) Come on, Lex. It'll be fun. We can visit some of your old haunts, see your old friends. LEX Maybe some other time, Clark. He turns to go back to his task. CLARK The fact is, I'm going to go with you or without you. So, what's it gonna be? Lex turns to him, surprised, but there's no doubt that Clark means it. CLARK (cont'd) You wouldn't want me to go into the big city all by myself now, would you? It'd be pretty dangerous. Lex eyes Clark, thinking. After a few moments: LEX All right, Clark. He surveys the boy's dressy attire once more. LEX (cont'd) I'll just go change. I can't be under-dressed for a trip down memory lane. He walks out. INT. LUTHOR MANSION. CORRIDOR - CONTINUOUS Lex sweeps out of the room and instantly comes to a stop. His face pensive, he glances back at the office door, then continues down the hallway. INT. LUTHOR MANSION. LEX'S OFFICE - MINUTES LATER Alone in the room, Clark steps to the box Lex had been packing. He picks up a book and idly flips through it. With a thunk of metal against wood, Lionel feels his way through the door. Clark glances back at the blind man, laughs silently, and lets the book close with a loud clap. LIONEL Lex? Is that you? Clark moves soundlessly toward him. A mischievous glint in his eye, he grabs the sunglasses from Lionel's face. Instinctively, Lionel raises his cane to defend himself. LIONEL (cont'd) What do you want? CLARK Lionel, go back to your room. Or better yet, pack your bags and get the hell out. LIONEL I beg your pardon. CLARK Lex may be too afraid to tell you, but I'm not. No one wants you here. LIONEL You seem to know a lot about me. Do you have a name? CLARK Clark Kent. LIONEL Jonathan and Martha Kent's son? As far as I know, they're good people, salt of the earth. I'm astonished they've raised such a blatantly aggressive offspring. Lionel narrows his eyes in the direction of Clark's voice. Clark slips on the stolen sunglasses. CLARK You know, if you like them so much, I'm sure they'll put you up. They could definitely use the cash. LIONEL You've got a lot to learn about tact, young man, but you speak your mind. That's good. It'll take you far. CLARK Oh, I'm going to the top. Smiling slyly, Clark strolls from the room. EXT. LUTHOR MANSION - MINUTES LATER Lex, now dressed in a fine silk suit, opens the door of his red Ferrari. Clark joins him on the driver's side. CLARK I'll drive. Lex looks at him skeptically. LEX This is a Ferrari, Clark. It's a very expensive piece of machinery, difficult to handle. CLARK Do you really want me to compare driving records? I'm pretty sure I've never driven off a bridge. Lex smiles wryly, almost admiringly. He hands over the keys. LEX Ruthless, Clark. He walks around the car and opens the passenger side door. LEX (cont'd) You're just lucky I have four more in the garage. EXT. SMALLVILLE. HIGHWAY - EVENING Music blaring from the car, Clark and Lex speed down the two lane road. They pass a sign reading "Now leaving Smallville." The skyline of Metropolis looms on the horizon. BLACK OUT. END OF ACT TWO [ top ] Script created with Final Draft by Final Draft, Inc. Script created with Final Draft by Final Draft, Inc. [bottom] ACT THREE INT. TALON - EVENING Lana fights with the espresso machine, which clunks and sputters so loudly she doesn't hear Chloe approaching the counter behind her. With one final exasperated groan, Lana slaps the machine. It instantly starts pouring noiselessly. CHLOE Who knew that method working for espresso machines too? Giving Chloe a tight smile, Lana walks right past her to deliver the drinks. Hearing whispers, Chloe turns to see a table of Smallville High students quietly laughing and pointing - at Lana. Lana returns to the counter. By the expression on her face, she's noticed the whispering. LANA Did you want some coffee? CHLOE Sure, but I also sort of wanted to talk to you. Lana turns her attention to the coffee dispenser. She doesn't want to hear whatever Chloe has to say. CHLOE (cont'd) I kind of - well, I heard what happened. LANA And you wanted to get a quote for the front page of the Torch? CHLOE I wouldn't do that, Lana. Lana sighs, apologetically. LANA I know you wouldn't. CHLOE Not the front page anyway. This is strictly gossip column material. LANA It's all over school, isn't it? CHLOE Yeah, kind of. But gossip moves fast at Smallville High. As Mistress of the Unprovable Theory, I know what I'm talking about. Next week, no one will remember it. LANA I will. Chloe's counterfeit cheer fades. CHLOE Can't say it's likely to slip my mind either. LANA It's just so stupid. I keep playing it over and over again in my mind and I still have no idea what happened. CHLOE That's Clark for you. He's the most confusing simple small-town boy ever. With a shake of her head, Lana begins wiping down the counters with a vengeance. LANA I'm through with it. I don't care anymore. CHLOE Forgive me for saying this, but if the reports of your...reaction aren't greatly exaggerated, then you sort of lack credibility now. LANA All right, so I do care, but I can't do this anymore. I constantly feel like I'm stumbling around trying to figure out what direction Clark's going to take us today. I'm exhausted and I have other things in my life I should be worrying about. CHLOE So what are you going to do? LANA I don't know, but something's got to give. Clark and I, we're not friends. I'm not sure what we are, but it's not friends. Friends don't- CHLOE French kiss each other in the hallway? LANA Not in my experience anyway. CHLOE For what it's worth, I'm on your side. Lana looks up at her, surprised. CHLOE (cont'd) And please don't read any ulterior motive into that, really. It's just, when I found out, I wasn't mad for the reason I thought I would be. I don't think he's being fair to you. LANA Or to you. CHLOE Well, yeah, but I was nobly ignoring that part of it. Touched and grateful, Lana grabs a muffin from the tray on the counter and sets it down in front of Chloe. LANA On the house. CHLOE Free sweets? I'll have to perform random acts of nobility more often. The two girls smile at one another. INT. METROPOLIS. CLUB CASINO - NIGHT Strobe lights flash, techno music blares, sexually-charged CLUBBERS dance. High above on the balcony is a casino complete with gaming tables. It's a one-stop shop for sin. Eyes glinting with excitement, Clark enters. Lex follows, eyeing the action dryly, warily. He knows this place well. LEX So, Clark, will this do? Seeing Lex, a pretty WAITRESS carrying a tray of drinks stops dead in her tracks. WAITRESS Lex Luthor! We haven't seen you in ages. She hands him a drink from her tray. WAITRESS (cont'd) Here, complimentary "welcome back" drink. CLUBBER Hey, Lex! How's it going? A CLUBBER rushes over, his arm around the waist of a sexy redhead, EVE. Several club kids walk with them in a big clump. They all greet Lex with smatterings of "Lex!" "Hi, Lex." "Where ya been, Luthor?" CLUBBER (cont'd) We haven't seen you in forever, man. Lex and Eve eye one another. There's a history there. CLUBBER (cont'd) Come on, bring your friend. The others already got a table. Lex glances at a slyly smiling Clark, then follows Eve and the clubber. INT. METROPOLIS. CLUB CASINO. DANCE FLOOR - NIGHT Lex and Clark follow Eve and the clubber to a table at the edge of the dance floor and sit down. As they walk across, various clubbers greet Lex, shaking his hand, patting him on the shoulder, welcoming him back. Eve watches Lex, but the clubber keeps his arm around her as they stand, talking to the others. Another waitress sets a drink down on the table in front of Clark and gives him a wink. He smiles, watching her go with a lusty look. CLARK (to Lex) Do I have you or my height to thank for not getting carded? LEX Probably a combination. This crowd learned a long time ago to not look too closely at who's with me. You're not the first minor whose delinquency I've contributed to. CLARK I can believe that. LEX So what are your plans, Maestro? I directed us here, but you're the mastermind behind all this. CLARK I may be the mastermind, but you're the prodigal son returned. Lex smiles thinly. CLARK (cont'd) And to celebrate, I think we should get drunk. Lex can't hide his surprise at that one. LEX I can honestly say I never thought I'd hear that suggestion from you. CLARK Consider it an experiment. I'm curious to see if you even can get drunk. LEX If I even can? I assure you, I can. And I won't, but some of the people here could tell you stories. Clark eagerly stands to seek these people out. Lex stops him with a grip on his arm and a deadly serious look. LEX (cont'd) Don't test that. With a carefree smile, Clark sits back down. CLARK I probably don't have enough money to make them talk anyway, right? Lex takes a sip of his previously ignored drink. LEX Not if it was handled right in the first place. CLARK Did you have your own police code? A nine-eighteen means "Lex Luthor on the premises?" LEX Probably. But I stopped all that a long time ago. CLARK I don't see why. And he means it. CLARK (cont'd) All anyone knew or expected of you was that you would do whatever you had to to have a good time. How could that not be cool? LEX It is, until you want to do something noble and no one will trust you. CLARK But it must have been great. The buzz, the complete lack of responsibility: break open the drinks, bring out the dancing girls, mothers hide your daughters, Lex Luthor's in town. LEX I haven't been a reason for a mother to hide her daughter in quite some time. CLARK I don't know about that. Some of the Smallville moms have been pretty careful with their young, innocent daughters since you moved in. LEX Really. That's interesting. CLARK You can't tell me you don't miss it. LEX Yes, I can. I found there are more effective ways of living than wallowing in self-pity. Just then, the redheaded Eve drapes herself across Lex's lap. LEX (cont'd) Hello, Eve. EVE Enough of that. I want a proper greeting. She gives him a deep, hungry kiss, her hands sliding beneath his jacket, smoothing across his chest. EVE (cont'd) Welcome back, Lex. With a parting lick across his upper lip, she stands and walks off. CLARK Yeah, the wallowing must have been awful. Smiling, Lex watches Eve. LEX It did have its moments. INT. SMALLVILLE HIGH SCHOOL. TORCH OFFICE - NIGHT Chloe types away, the room lit only by the glow of her computer screen and a desk lamp. The black rock encrusted with stones of dull red and green, like those we saw at the Jorsen's mine, rests beside her. Pete enters, looking worried. Behind him, the school hallways are dark and deserted. PETE Chloe - CHLOE Pete, you're not going to believe what I found out. Our el cheapo class rings are, in fact, fake. PETE That's great. Have you see Clark? Chloe bristles at his name. CHLOE No, I haven't. Lucky for him. PETE I think there's something really wrong with him. CHLOE There is. He's becoming a guy, just like all the other stupid guys in this school. PETE (offended) Hey. What do you mean by that? CHLOE You know what I'm talking about. He's playing all those stupid guy games: "I really want to be with you, only maybe I don't because I don't know what I want anyway, but you'll wait because what else are you going to do as I am god's gift to your gender." PETE You're the one who told him you just wanted to be friends. CHLOE I know, and Clark's powers of perception being what they are, he believed me, so I realize that I forfeited all rights to complain, but I'm not mad for me. I'm mad for Lana. Being honest and telling her how he feels doesn't mean kissing her in front of an entire algebra class and leaving her to her humiliation. I'm not going to turn this into a battle of the sexes or anything, but I'd really rather not see Clark right now. PETE Chloe, he's missing. Even through her anger, Chloe is given pause. She may be mad, but she's still his friend. CHLOE What do you mean? PETE He never came home. CHLOE Where'd he go? PETE We don't know; that's the part where he's missing. Mr. and Mrs. Kent and I have been looking around town for the last hour. CHLOE You checked the Talon and the movies? You asked Lana? PETE We checked every place. We talked to Lana, we even tried to get a hold of Lex. Mr. and Mrs. Kent have had me tell them over and over again all the stuff Clark did this morning. They think he's on drugs or something. CHLOE Clark would have to be on drugs to be on drugs. PETE What is it, then? Not even "guys" just walk off like that. CHLOE Let me come with you. I'll help look. PETE No, just stay here. We have Lana camping out at the Talon in case he shows up, so stay here. CHLOE All right. I guess. Chloe shifts guiltily. CHLOE (cont'd) Well, now I feel bad for launching into the whole "Hear me roar" monologue. Pete smiles sympathetically. PETE It was pretty good, actually. For, you know, being totally wrong about guys. Chloe opens her mouth to vehemently defend her position. PETE (cont'd) Truce! Agree to disagree. She forces her argument back down. PETE (cont'd) So, what story are you working on? CHLOE Just an expose'. Turns out our three-hundred-fifty dollar symbols of school spirit are worthless. The jeweler was substituting meteor rocks for rubies to save money. PETE But the ring's red. Meteor rocks are green. CHLOE Not the load they found near Hobb's Pond. Note the red vein. She claims the rock off her desk and hands it to Pete, pointing out a patch that is distinctly red. CHLOE (cont'd) I want this in tomorrow's Torch so I can start demanding a recall. Processing the pieces of information, Pete looks down at his own ring, then back to the rock. He's figured it out. CHLOE (cont'd) I'll be here late, but if you find Clark - PETE We'll call. Thanks, Chloe. Pete darts out the door, taking the rock with him. CHLOE Hey! Why are you taking my rock? INT. METROPOLIS. CLUB CASINO. GAMING FLOOR - NIGHT Techno music blares loudly, even in the club's balcony. A crowd gathers around one gaming table, cheering and clapping. The mood is recklessly happy. Lex, relaxed back into his old environment, sits beside Clark at the Black Jack table. A hot blonde, MARIE, clings to Clark and he's not minding it. A large stack of chips rests on the table in front of him. BLACK JACK DEALER This would be fourteen straight wins. What do you think? The crowd becomes a drunken muddle of "No!" and "Yes!" MARIE No way. It's impossible. The Black Jack dealer throws down two tens. BLACK JACK DEALER House gets twenty. LEX All right, Clark. Beat that. Clark smiles confidently, then steadies his stare on the deck of cards. The layers are stripped away through x-ray vision, revealing the numbers and suits of the cards below. Grinning slyly, Clark nods to the dealer, who throws out an eight, a ten and a two. The crowd claps, mildly disappointed. LEX (cont'd) A tie. That's not very impressive. CLARK Just wait. (to the dealer) Hit me. The crowd laughs and chitters. LEX That's a bold move, but there's no way you can hit twenty-one without going over. You're going to lose it all. CLARK Hit me. The dealer shrugs and throws out a final card: an Ace. The crowd erupts. Clark triumphantly raises his arms. CLARK (cont'd) Drinks are on me! If the crowd cheered before, it's nothing compared to this. Lex watches Clark, amused but suspicious as Marie grabs him and turns him toward her, giving him a hot, wet kiss. To Lex's surprise, Clark returns the kiss in kind. LEX So, Clark. He waits for Clark to disentangle himself from Marie and turn to him. LEX (cont'd) Not to bring an end to your winning streak, but it's late. Don't you think we should be heading back? CLARK Actually, I'm thinking the exact opposite. I'm thinking I might not go back at all. LEX Kind of sudden, isn't it? CLARK You're the one always telling me I've got to find my destiny. Well, one thing's for certain, it's not in Kansas. LEX That's a fair assumption, but your parents are in Kansas. You should at least call them before finding your destiny. They're probably worried. CLARK Probably. They're always worried about something. LEX Then don't you think they'd like to know you're all right? CLARK I'll still be all right in the morning and the next day and the day after that. I've got all the time in the world to call. LEX It doesn't really work that way. I think you should call them now. He hands Clark his cell phone, but Clark holds his stare. The battle of wills has begun. CLARK What should I tell them? That I'm in Metropolis partying with Lex Luthor? I don't think they'd like that. LEX Just call them, Clark. With a slight smile, Clark squeezes the cell phone in his hand. Not an inhuman display of strength, but enough to do damage. The flip-top snaps clean off and the shell cracks. CLARK I would, but your phone seems to be out of order. Lex now has his confirmation: something is seriously wrong. Clark smiles reassuringly and pats him on the back. CLARK (cont'd) Don't worry about it, Lex. When I cash in, I'll buy you a new one. Now, why don't you go find Eve and the four of us will see how much money this place has to spare. Lex smiles back. LEX Who am I to argue with the mastermind? Clark watches Lex as he walks toward the stairs, then turns his attention back to Marie and the Black Jack table. All the ease Lex had been faking is gone. He strides down the steps, calculating, formulating a plan. At the base of the stairs, he pauses, rubbing his brow, oblivious of the club kids still swarming. He's weighing options, deciding what to do. Then, he looks up, his eyes searching the club until he sees a pay phone. INT. KENT FARMHOUSE. KITCHEN - NIGHT Pete stands with Jonathan and Martha. The nabbed chunk of meteor rests on the counter between them. PETE I know Clark doesn't always like getting up early to do chores, but even mad-Clark wouldn't make you guys worry this much. JONATHAN And you think this is affecting his behavior? PETE That's when he got weird, right after he put the ring on. Both parents look distraught, concerned. MARTHA The green affects him physically, so maybe the red rock affects him emotionally. And the longer he's exposed to the green, the worse he gets. She exchanges a weighty, frightened glance with Jonathan. JONATHAN He wouldn't tell anyone what he is, would he, Pete? Pete really doesn't want to answer that question. PETE I - I don't know. He said a lot of stuff that Clark wouldn't say. JONATHAN We have to get that ring. MARTHA But how are we going to do that, Jonathan? We don't even know where he is and if he doesn't want to get rid of it, then we're not strong enough to stop him. No one's strong enough. Oh, god, Jonathan. What if he's in Metropolis? What if he's telling people? Jonathan hugs her to him. JONATHAN I don't know, sweetheart. I really don't know. Upset, Pete looks on as the adults comfort one another. Then, with a deep breath, Jonathan raises his eyes to Pete. JONATHAN (cont'd) We'll keep looking for him. We'll get some flashlights and check through the fields. Martha looks at her husband bleakly. They all know they're not going to find him that way. JONATHAN (cont'd) It's all we can do. Come on, Pete. Determined, Pete follows Jonathan out the door. Martha stands alone, tears in her eyes, trying to calm herself. The phone rings and she answers. MARTHA Hello?...Lex? Why are you calling at this hour? INT. METROPOLIS. CLUB CASINO. DANCE FLOOR - CONTINUOUS Lex stands at the pay phone, free hand covering his ear. Music blares and clubbers churn about him. LEX Clark is missing, Mrs. Kent. I knew you wouldn't be asleep. INT. KENT FARMHOUSE. KITCHEN - CONTINUOUS Martha listens to the phone. Her expression relaxes marginally. MARTHA Oh, thank God. She lowers the phone. MARTHA (cont'd) Jonathan. Jonathan! Both Jonathan and Pete dart back in. JONATHAN What is it? MARTHA It's Lex. He's with Lex. Jonathan grabs the phone from her. INT. METROPOLIS. CLUB CASINO. DANCE FLOOR - CONTINUOUS Lex holds the phone tightly to his ear, straining to hear. JONATHAN (V.O.) Lex, where are you? LEX We're in Metropolis. Clark is fine. JONATHAN (V.O.) No, he is not fine. Tell me where you are. We're coming to get him. LEX That's not necessary, Mr. Kent. I'll get him home. INT. KENT FARMHOUSE. KITCHEN - CONTINUOUS Martha stands beside Jonathan. JONATHAN (to Lex on phone) Sorry, Lex, but I don't trust your judgment. What were you thinking, taking a teenage boy into the city? MARTHA (HUSHED VOICE) Jonathan, don't. Just find out where they are. INT. METROPOLIS. CLUB CASINO. DANCE FLOOR - CONTINUOUS Lex grimaces and moves against the wall beside the phone, tucking himself out of the walking traffic. LEX He would have come anyway. I was trying to help. JONATHAN (V.O.) This is your idea of helping? Taking him to one of your old hang outs? LEX I brought him someplace where I could control the situation. JONATHAN (V.O.) And are you controlling the situation? Lex closes his eyes, pained. JONATHAN (V.O.) (cont'd) The city is no place for a boy, Lex. I expected better - even from you. You - LEX Mr. Kent, please. Lex sighs, trying to reclaim his composure. LEX (cont'd) Do you want the address or not? BLACK OUT. END OF ACT THREE [top] Script created with Final Draft by Final Draft, Inc. Red Act FourScript created with Final Draft by Final Draft, Inc. [ bottom ] ACT FOUR INT. METROPOLIS. CLUB CASINO. DANCE FLOOR - NIGHT A slow song plays. Clark and Marie sway lazily together, but it's more about touching than dancing. Nearby, Lex leans against the wall, chaperoning. He glances at his watch. EVE Bored already? Eve leans beside him. There's a comfortable air between them. Old friends reunited. LEX This place is less entertaining when I'm sober. EVE Then get un-sober. LEX I have to keep an eye on someone. EVE Don't worry about your friend. My gal Marie is taking good care of him. LEX That's why I'm keeping an eye on him. Eve laughs, rolling her eyes. Lex turns to her. LEX (cont'd) Why do you still hang around here, Eve? EVE "Still hang around here?" You are such an arrogant bastard, Lex. Not all of us decide the party's over at the ripe old age of twenty. She turns to him, her look sharp, but she speaks sweetly. EVE (cont'd) We really weren't that upset when you moved to Tinytown or Littleburg or wherever the hell it was, because being friends with you is a gift that keeps on giving. Half of the old crowd is still on the Luthor payroll to keep quiet with all the stories we have about you, so don't act superior. It's your daddy's money that let's me keep coming back here. She smiles kindly, caustically. LEX You're also less entertaining when I'm sober. They both turn back to the dance floor. Clark and Marie move as one. Marie reaches down into her pocket and pulls out a small metal tin. She opens it, revealing a few round tablets that are clearly not mints. She seductively deposits one on her tongue. Picking up a second, she offers it to Clark. He opens his mouth. Marie is about to drop it on his tongue when Lex grabs her wrist. LEX Not him, Marie. He knocks the pill to the floor where it is immediately crushed beneath a dancer's heel. MARIE Do you realize how much that costs? LEX You can bill me, but from what I saw, you were about to give it away. MARIE I was just trying to show my new friend a good time. LEX He's sixteen. MARIE I hear you were fourteen when you tried it. CLARK She's got a point, Lex. LEX Not really, but she does help me prove mine. I know what I'm talking about and that "good time" comes in a packaged deal with some very bad times. CLARK Oh, good. More advice. I was getting worried. It's been almost two hours since you've given me some of your one-liner wisdom. MAN Marie? Marie looks over to see the MAN and his three FRIENDS. He's well-dressed and looking remorseful. Marie clings possessively to Clark. MAN What are you doing here? MARIE Just hanging out with my new guy. MAN Come on. Don't be like that. MARIE Be like what? Purposely goading him, she kisses Clark, who willingly kisses her back. The man grabs Marie's arm, pulling her off. MAN Hey, come on, Marie. In a flash, Clark grabs the man's arm and twists. CLARK I think she's made her choice. The man grimaces in pain. MARIE What are you doing? LEX Clark, don't. Bones crack audibly and the man sinks to the floor in agony. Marie rushes to his side while his friends rush at Clark. One throws a punch. Clark catches his fist in his hand and squeezes. Lex grabs Clark, but he doesn't budge, he doesn't even glance back. The friend collapses to the ground, cradling a shattered fist and the two remaining friends attack. Clark snatches them up by their collars and throws them. They slam hard into a throng of dancers, sending all of them to the ground. A crowd gathers, staring at Clark and Lex. Knowing he's completely lost control, Lex glances desperately around only to see the BARTENDER picking up the phone. Three guesses as to whom he's calling. LEX (cont'd) Clark, we have to go. Ignoring him, Clark stalks toward the first man on the floor, Marie crouching beside him. Lex rushes to Clark and grabs his arm. LEX (cont'd) Clark! Clark turns to him, smiling. LEX (cont'd) Follow me. On the phone, the bartender watches as Lex pulls Clark through the crowd. EXT. METROPOLIS. DEAD-END ALLEYWAY - CONTINUOUS Techno music floods the deserted alley as Lex and Clark rush out. Lex starts to run toward the main road, but Clark stops, his laughter echoing off the brick walls. Lex turns to him. LEX I can't imagine what you find funny right now. CLARK You. LEX Me? CLARK Do you have an escape route out of every club in Metropolis? Clark lowers himself to sit on the ground against the wall. LEX We need to leave, Clark. The police will be here soon. CLARK Let them come. We'll hear the sirens. LEX And then wait for them to arrest you? CLARK They won't get me. I run fast. He raises his eyebrows with a grin. Lex is reaching total exasperation. If he had hair, he'd be dragging his hand through it. CLARK (cont'd) So, this was your wild life in Metropolis? Bar fights and back alleys? LEX No, this is rather tame by my old standards. CLARK Tame? Really. I was trying my best. I guess you can't take the Smallville out of the boy. He eagerly hops to his feet and heads for the door. CLARK (cont'd) Or maybe I just have to try harder. Lex grabs his shoulder, stopping him. LEX No, Clark. He looks at him severely. He means business and he's not backing down. LEX (cont'd) You want to wait for the cops, we wait for them here. Clark grins and steps back from the door. CLARK Think they'll recognize you? LEX What's wrong with you today? CLARK What do you mean? LEX You're not yourself. CLARK I'm not. This is the new Clark Kent. LEX I don't like him. CLARK Why not? Remind you too much of the old Lex? That stung. Lex regards Clark and straightens his posture. He's not going to be stung again. LEX A bit, but you lack my creativity. Isn't a bar fight a little spaghetti-western for Metropolis? CLARK How was it in your day? The night wasn't over until you'd committed a petty felony? LEX Petty? I never saw the point in stopping there. CLARK So, you weren't so much a bad boy as a criminal? Or would you just call yourself a juvenile delinquent? LEX Why this sudden obsession with my past? CLARK I'm just trying to figure you out. LEX And how are you doing? CLARK Not good. You're really inconsistent. Secret teenage scandals, corporate intrigues, then you come here tonight acting like my big brother. I can't figure out if you're good or bad. LEX Are those my only choices? CLARK Yes. Want to pick one? LEX It's time you went home, Clark. You don't want to wait for the police. I've been down this path and I know where it ends. Clark lets out an amused laugh. CLARK Is the advice a defense mechanism? 'Cause it's a really good one. LEX This isn't the right choice for you, trust me. CLARK That's just the catch, isn't it, Lex? I don't trust you. Lex's cool facade takes a hit. Clark speaks lightly, as if this is all terribly amusing. CLARK (cont'd) You are innately untrustworthy, Lex. Maybe it's in your blood. Lex swallows. His armor is rapidly failing. CLARK (cont'd) You don't even have friends. I saw you with those people. They don't like you. Hell, they don't even know you and I think you did that on purpose. Do you realize that for an hour - for a whole hour in there - we were actually friends? I thought that was pretty cool, but I'm betting it freaked you out. Clark paces back and forth in front of Lex, almost like a predator. CLARK (cont'd) You have no idea what to do with a relationship that isn't screwed up, so you have to screw up all of them, including this one. You don't even know how to be a friend. Lex's armor is gone and every words stings. He stands resolutely, unmoving, taking it all. CLARK (cont'd) It's how you operate, Lex. You've made entire towns of people hate you before they've even seen you and I'm not sure I buy your excuses for it anymore. I think it's all carefully crafted. But not even you are smart enough hide who you are forever, Lex. Eventually, someone will find out. He stands imposing in front of Lex, leveling their eyes. CLARK (cont'd) And I just hope it's me. Lex stands silently, his eyes locked on Clark's, but no words coming to his mouth. He looks angry - and hurt. Tires squeal as the Kent's truck suddenly slows down on the main street behind Lex. Martha jumps out of the passenger side before the truck has come to a full stop. MARTHA Clark! Jonathan and Pete both jump out, rushing after Martha into the alley. Seeing his parents, Clark shakes his head at Lex. CLARK This, from Metropolis' former resident bad boy? I'm disappointed, Lex. He moves toward the door back into the club, but Lex darts in front of him to block his way, his expression angry and determined. Clark looks at him only a moment before back-handing him hard across the face. Martha shrieks as Lex slams forcefully against the brick wall and falls to the ground, conscious, but injured. Clark tries to speed off to the street, but this time he's blocked by Pete - armed with green meteors. Martha rushes to Lex, removing her cardigan to tend to his wounds. MARTHA Lex, are you all right? She purposely kneels right beside his head, blocking his view of Clark and Pete. But he's not looking at them anyway. His eyes are locked on the mother gently pressing the edge of her sweater to his split lip. Pete holds the lead box bearing the green meteors straight out toward Clark who recoils in pain, clutching his stomach. CLARK Pete... He falls to the ground and Jonathan is there to catch him. Instantly, he grabs his son's hand and yanks off the ring. He throws it as far as he can. With a clatter, it falls through the slats of a storm drain. Clark leans back against his father, looking confused, but also looking like good, old, normal Clark. CLARK (cont'd) Dad? JONATHAN It's all right, son. You're all right. Tears in her eyes, Martha smiles over her shoulder at her family, but she doesn't abandon Lex. She looks back down at him and smiles comfortingly, stroking his head. MARTHA It's okay. It's going to be okay. Lex gazes at her...then police sirens rise faintly into the air, growing louder. He shifts, trying to stand. MARTHA (cont'd) No, Lex. Stay still. You'll hurt yourself. Ignoring her, he staggers to standing and stumbles past her toward the other three. LEX You have to go. Jonathan stands, pulling a weak and bewildered Clark up with him. JONATHAN Come on, Clark. Come on. Pete and Jonathan help Clark toward the waiting truck. Martha follows closely behind. The sirens grow nearer. EXT. METROPOLIS. STREET - CONTINUOUS Pete, Jonathan and Clark lumber toward the truck. They help Clark in as Martha rushes around to the passenger side. The club's bartender stands at the main entrance, watching helplessly as the four pile into the truck. Lex staggers out of the alleyway, Martha's sweater in his hands. He looks into the truck to see Clark's head resting against his father's shoulder. Then, the truck speeds off, just as the squad car rounds the corner behind them. The POLICE shriek to a stop beside the club, switching off their sirens. The bartender rushes to them, pointing frantically after the Kents. BARTENDER They just left. They're in the truck. The squad car rolls to follow, but Lex darts to the driver's window, slamming his hands on the car. LEX No! No, I don't want them involved. The officer looks at the retreating truck, then back at Lex. OFFICER That's not standard police procedure, but we could probably be persuaded...Mr. Luthor. He eyes Lex expectantly. Wiping the blood from his mouth, Lex sighs and pulls out his wallet, glancing at the truck as its red tail-lights disappear in the distance. INT. LUTHOR MANSION. CORRIDOR - THE NEXT DAY Lionel, walking stick in had, makes his way down the hall. Workers zip in and out of the disputed office. LIONEL Who is that? What's going on here? INT. LUTHOR MANSION. LEX'S OFFICE - CONTINUOUS Lionel enters. LIONEL Lex? I didn't order any more work to be done. LEX This is by my order. Lex sits at his desk, sporting a bruise on his cheek from Clark and one on the opposite side of his head from impact with the wall. A small cut mars his bottom lip. He brusquely sorts through file folders. LEX (cont'd) I'm putting the office back the way it was. LIONEL I see. You've been very inconsistent lately, Lex. First, the office is yours, then you relinquish it to me. Now you take it back by force. Then, there's the peculiar matter of your unexpected trip to Metropolis. Lex listens icily. LIONEL (cont'd) If what the servants are whispering is true, you look quite a mess, Lex. Didn't you learn when you were a boy that this method of getting my attention doesn't work? Lex stands and rounds the desk, stalking toward his father. LEX I've been thinking about the months after the meteor shower, the way people look at me; a bald-headed boy, thinking I was a freak - LIONEL Please, Lex, not another tale of your tortured youth and how I failed you as a father. LEX You gave me some excellent advice. You told me to stop feeling sorry for myself. These were the cards fate had dealt me. It was best that I accept it and move on. He narrows his gaze on the older man. LEX (cont'd) Stop acting like your blindness gives you an excuse for self-pity. Lionel stands still as Lex returns to the desk. LIONEL So the son becomes the father. LEX Not at all. That's precisely the point. I'm through indulging you like a child. My office will remain my office. If you don't like it, leave. LIONEL It seems I've done a better job raising you than I thought. Or perhaps you finally learned the value of directness from your friend Clark Kent. Lex's eyes flash to his father, surprised, hurt and angry. LIONEL (cont'd) He's a very interesting young man. Lex's expression hardens. LEX Dad, you're still in my office. Lionel smiles, almost proudly. LIONEL An unforgivable trespass, I agree. I shall leave the victor to his spoils. Lionel turns, walking from the room. EXT. SMALLVILLE. FIELD - DAY Lana sits atop her horse, laughing at Chloe who uneasily rides beside her. Chloe is beyond uncomfortable and not hiding it, but even she is having fun. The mood is light: two friends hanging out. LANA You've been walking him around for almost an hour, if he were planning a sneak attack he would have done it by now. CHLOE This isn't a skill I need in my daily life. LANA Sure it is. Think about it: no more off-roading to go searching through the wilds for evidence. You can just saddle up Barry here and save your tires some mud. CHLOE I am too young and too obscure to die for my profession. Lana laughs. Then slowly, her happy expression falls. Chloe turns to see Clark approaching the nearby fence. Silent, her face firmly set, Lana turns her horse toward him. Chloe respectfully looks away, but she is well within hearing range. Clark smiles awkwardly, holding a bouquet of field-picked flowers. CLARK Nell told me you were out riding with Chloe. I almost didn't believe her about the Chloe part. He laughs weakly, but Lana simply looks at him, impassive. CLARK (cont'd) I can see why you like it out here. It's pretty. I got a little lost on the way, but here I am. He tries to smile like that's a good thing. Lana nods toward the flowers. LANA Those for me? CLARK Yeah, I just - I wanted to apologize. I wasn't myself. The things I said and did, I didn't mean them. LANA None of it? She looks carefully at him. He knows it's a loaded question. CLARK It's tough to explain. LANA It doesn't have to be: was it you or not? CLARK I don't understand. LANA In the hallway. Was it you or not? Pick one. CLARK Lana - LANA Pick one. CLARK It's not that simple. LANA It never is with you, is it? CLARK I'm so sorry, Lana. LANA I know you are, Clark. She straightens her posture, distancing herself further. LANA (cont'd) Can you find your way home? CLARK I think so. Instantly, she turns around and rides back toward Chloe, steering her horse smoothly past her. Chloe looks back at Clark. They lock eyes. Chloe has a choice. Sympathy plain on her face, she shrugs apologetically and spurs her horse to follow Lana. Both girls ride off, leaving Clark standing alone at the fence. INT. LUTHOR MANSION. LEX'S OFFICE - AFTERNOON The last worker gathers up his tools and walks out. The room is back to the way it was. Lex stands at the bookshelf, putting away the last of the books. Warily, Clark enters. CLARK This place looks good as new. Lex's back remains toward Clark. LEX Is there something I can help you with, Clark? CLARK I'm just doing the rounds, apologizing to everyone for being such a jerk. Lex crosses to his desk. LEX In the thirteenth century, an order of fanatical monks would wander through cities beating themselves with leather straps in penance for their wrong-doings. CLARK Did it make them feel better? 'Cause, you know, I'd be willing to give it a try if it did. Not amused, Lex sits down at his desk, looking at Clark as if he's a common client. CLARK (cont'd) Lex, I didn't mean all those things I said. LEX I appreciate you coming in person to tell me that, but I think you meant every word. Do me a favor, Clark, if you will: whatever you were on last night, never do it again. CLARK I can promise that. Lex turns his attention to his computer; this meeting is over. Clark shifts nervously, looking almost sick with guilt. CLARK (cont'd) Okay, so, maybe I did mean what I said, but not in the way you think. LEX I don't recall many of your comments being open to interpretation. CLARK You are hard to be friends with and you are difficult to trust sometimes, but that's sort of why I want to be your friend. Lex leans back in his chair, giving Clark his full attention. CLARK (cont'd) Sometimes it feels like you don't have friends on purpose, like you don't want to let people that close or something and I can understand that. But I don't know - I like you and so it's worth all that other stuff for me. Not eloquent, but it is heartfelt and every word is getting through to Lex. CLARK (cont'd) So, I'd still like to call myself your friend. Lex waves away the comment and looks back to his computer, trying to feign indifference. LEX I won't deny you the title. Clark stands in front of the desk, expecting more and not getting it. Lex's eyes remain locked on the screen. Disappointed and still guilty, Clark turns to leave. He's almost to the door when: LEX (cont'd) Clark. He turns back to see Lex with his eyes still on his computer, but clearly not really looking at it. LEX (cont'd) If it's so difficult, why bother? Lex's eyes flicker only momentarily to Clark before returning to his computer. CLARK I figure it's like you said: around here, anything of any real value is kept in a vault. Lex laughs at the pure sappiness of the statement, but the sentiment is not lost on him. In fact, it seems to hit rather resoundingly home and Lex tries hard to hide it. Clark waits a moment, but Lex doesn't look up at him. Smiling lightly and worriedly, he walks out. Lex's stare remains locked on his computer screen. Then, slowly, he smiles. BLACK OUT. THE END [ top ] Script created with Final Draft by Final Draft, Inc.