print this pageOBSCURA
Airdate: May 14, 2002
Written by: Greg Walker and teleplay by Michael Green and Mark Verheiden
Directed by: Terrance O'Hara
Transcript by: Tavia
SCENE 1 (TEASER)
Open to aerial view of trees and green rolling pastures, a rural idyll. Pan to view two horse-riders, LANA LANG (pale pink jacket, pastel blue top, jeans, hair back in plaits) and WHITNEY FORDMAN (in rust-coloured corduroy jacket, dark sweater over white tee-shirt, jeans), as they gallop across the countryside and romantic instrumental music plays. They slow to a walk as the music fades.
Lana: It's been a long time since we've done this.
Whitney: Yeah.
Lana: Thought it be nice, y'know? Something to keep your mind off of… (trails off)
Whitney: It's ok, you can say it, I'm not gonna break. (He sighs.) Sorry, I've just been kinda out of it lately.
Lana: (Takes Whitney's hand.) If you need to talk.
Whitney: Yeah (quietly). There's one thing I wanted to ask you. (Lana looks slightly uncertain.) Would you be my date to the Spring Formal?
Lana: (Laughs, nods and rolls her eyes.) Of course! You didn't have to ask.
Whitney: Guess I'm not taking anything for granted anymore.
In the distance there's the sound of an explosion. Lana's horse rears. There's a shout. Black smoke rises from behind a nearby mixed copse. Both dismount, and Whitney tethers the horses to a fence post. A siren wails. Lana and Whitney start running towards the smoke.
Cut to adjacent field. Three workmen dressed in red boiler-suits, decorated with yellow-and-black harnesses, blue sweatshirts, red gauntlets and red or white helmets are working round a plume of fire. Several pieces of red machinery/pipework are visible.
Shouting in background: Roger's here! … Kevin… (Other words inaudible.)
A gold-and-white police car marked Sheriff drives up, sirens blazing. Behind the car, a yellow van is visible, labelled ‘Kansas State Water & Power'. Two police officers, in brown sheriff's uniforms with grey shirt and tie, get out of the car. They both have short dark-brown hair, WATTS has a sharper face than square-jawed BERTIGO.
Deputy Watts (Speaking into hand-held radio): This is Watts and Bertigo. We have a gas main fire just off of Route twelve, mile-marker eighteen.
Lana and Whitney arrive, running. They stop and survey the scene.
Lana: Whitney look! (She points to a nearby red pipe, labelled 4a, which is shaking.)
Whitney (Waving both arms): Hey!
Lana: Hey!
Whitney: Hey!
Lana waves. They fail to attract anyone's attention.
Whitney: Lana. (Starts away from her.) Get out of here.
Whitney runs off towards the workmen.
Lana: Whitney… (inaudible)
Whitney (Back towards Lana): Get out of here! Run!
Whitney grabs one of the workmen, turns him round, indicates the pipe.
Whitney: Look at the pipe!
Lana is still standing by the pipe.
Workman: Everybody clear on out!
Whitney: Lana, get out of here, go on, run!
Lana finally starts to run away, in the opposite direction from Whitney and the others, who run towards the police car.
A huge explosion throws Lana through the air, screaming. She lands face down in the field, and is covered with earth containing sparkly green meteorite rocks. She's apparently knocked out.
Whitney (standing behind police car with workman and Watts): Lana!
Watts (pulling Whitney down behind the police car): Get down!
A second explosion is followed by a huge fireball. Debris rains down. Lana slowly comes round, lying on her side. She looks up, and we see from her viewpoint, out of focus, Deputy Watts and Bertigo running towards her, then both sheriffs and Whitney are bending over her.
Whitney: Lana! Lana.
Lana lies on her back, breathing heavily and looking disorientated.
SCENE 2 (TEASER)
Cut to hospital corridor. CLARK KENT (in tan jacket, blue-and-black check shirt, jeans) hurries towards camera passing a white-coated medic, then an orderly in pink. He turns into a hospital room. LANA (grey-and-pale-pink striped pyjamas) is lying in bed, apparently asleep; Whitney (dark sweater over white tee-shirt) is seated by the side of the bed. A vase of flowers is visible in the corner.
Clark: Hey, I just heard, is she alright?
Whitney: Yeah. They gave her something to help her rest.
Clark: How are you holding up?
Whitney: Kind of hoped I'd seen my last hospital room in a while.
CHLOE SULLIVAN (dark jacket over stripy top, short white skirt with leaf patterns over dark jeans, carrying red bag) enters behind Clark, smiles and puts her hand on his arm.
Clark: Hey. (Noticing Chloe.) Hey!
Chloe (Quietly To Clark): Hi.
Clark and Chloe go back into the corridor, Clark's arm round Chloe's shoulder.
Clark: I thought you'd be half-way to Metropolis by now.
Chloe: Ah, it's just the summer intern trip, I can always reschedule.
Clark: You've been waiting for the interview at the Planet for weeks.
Chloe: I know, I just feel weird taking off right now.
Clark: Lana's going to be ok. It's just a mild concussion.
Chloe: (Sighs.) Ok. I'm crashing in my cousin's dorm. Call me on my cell if anything goes wrong with the Torch.
Clark: We can survive one day without you.
Chloe: (Pause.) Are you gonna wish me luck?
Clark: You don't need it.
Clark smiles, pats her shoulder, rubs it.
Chloe: All right. Bye.
Clark: Bye.
Chloe leaves. Clark watches her go, then returns to Lana and Whitney.
Clark: Can I buy you a cup of coffee?
Whitney: Yeah.
Whitney leans over and gently kisses sleeping Lana on the forehead, while Clark watches. Clark turns to leave.
Cut to exterior shot of hospital, night-time. A sign over the doors says ‘Smallville Medical Center'. Chloe exits the hospital through double doors as an emergency vehicle passes, siren blaring.
Cut back to Lana lying in hospital bed, eyes shut. She looks as if she's dreaming (rapid eye movement).
Cut to distorted view through foliage; a woman can be seen walking across a road towards several parked cars.
Cut to close-up of Lana's face. She opens her eyes.
Cut to distorted view, which focuses in on the woman, who is now clearly seen to be Chloe. She walks over a grass verge, past a noticeboard headed ‘Smallville Medical Center', then stands still for a moment, between a truck and a car, looking around her. She looks worried.
Cut to Lana, eyes wide, breathing heavily.
Cut to distorted view of Chloe as she bends and unlocks the car. The view gets closer. The red bag she is carrying, with a butterfly motif, is now seen clearly. The view gets closer, Chloe turns, looks horrified.
Cut to Lana, who takes a deep breath and starts to sit up.
Cut to distorted view of Chloe as a cloth is placed over her face. She struggles, then sinks down.
Lana sits up in bed, eyes wide, hyperventilating.
Lana: Chloe!
Cut to OPENING CREDITS
SCENE 3
Open to exterior view of the Kent Farm. Sunny day. Bright-red mail box labelled ‘Kent Farm' in the foreground, with cow peacefully grazing beside it. Cut to interior view of the kitchen. JONATHAN KENT (in denim jacket over white top, jeans) is crouched by the sink, trying to remove the under-sink trap. He grunts with effort. MARTHA KENT walks past, wearing maroon sweater and dark pants.
Martha (into portable phone): Ok, well, I'll let you know. Bye. (She puts down phone.)
CLARK enters from the stairs, wearing brown-and-white check shirt, jeans and carrying a book and dark jacket.
Clark (putting down the jacket): Who was that, the plumber?
Martha: No, your school. (She walks up to stand next to Clark.) Don't worry, you're not in trouble. They're looking for chaperones for the (slight sarcastic emphasis) Spring Formal. (She grins up at Clark.)
Clark (putting stuff into bag): Oh, what did you say?
Martha: I said you hadn't even mentioned it.
Clark (still putting stuff into bag): I don't think the whole tux and limo thing is for me. Besides it's customary to have a date to a dance.
Martha: Which is why it's customary to ask someone.
There's a clatter. Jonathan stands up behind them.
Jonathan: Martha, stay out of it. Son, can you see if you can get that trap out of there for me?
Jonathan wipes his hands on a blue cloth.
Clark: Uh, sure Dad.
Martha turns to Jonathan, raises her eyebrows and gives him a pointed look. Clark removes the pipe with ease, one-handed, hands it to his father.
Jonathan: Thank you.
Clark: Uh hmm.
Martha: So, are you planning on asking Chloe or or not?
Jonathan: She just can't help herself. (Laughs.) Don't use the sink till I get back.
Jonathan leaves the kitchen, carrying the pipe.
Clark (turning back to Martha): I'm not sure.
Martha: Well you said you had feelings for her.
Clark: It's not about Chloe.
Martha (earnestly): You can't keep putting your life on hold because of Lana.
Clark: (Pause.) But if she sees me with someone else it's like I'm saying the door's closed.
Martha (again, earnestly): The door is closed, Clark. You need to admit that to yourself.
A pause is broken by a knock on the door. LEX LUTHOR is seen through the glass door, wearing a black coat and pale blue shirt.
Martha: Hi Lex, come on in.
Lex enters the kitchen, and Clark and Martha move apart.
Lex: Sorry to barge in, I came by to see you and Mr Kent.
Martha: Oh, uh. I'll go get him.
Martha leaves. Clark picks up an apple and walks to the door, tossing the apple. He's also carrying his navy-and-red rucksack and jacket.
Lex: In a hurry?
Clark: Yeah. I'm taking over at the Torch while Chloe's out of town. I'll catch up with you later.
Clark leaves and Jonathan enters, followed by Martha.
Jonathan: Hi Lex.
Lex: Hey.
Jonathan: What can I do for you?
Jonathan crouches down by the sink again, turning away from Lex.
Lex: The paper work on the chemical spill finally came through.
Jonathan (looking back up at Lex): Well I never thought I'd live to see the day.
Lex: Since the dumping wasn't done by an actual LuthorCorp employee, it did require … jumping through some corporate hoops. (Jonathan gets up.) The uh accident was unfortunate and I know your … loss can't be fixed entirely with money, but… (Lex takes out a white envelope from under his coat) I hope this helps.
Lex hands the envelope to Jonathan.
Jonathan: (He opens the envelope, looks at the contents and raises his eyebrows.) Well, I appreciate the gesture but …(he hands the envelope to Martha) I hope we're not getting special treatment because of your friendship with Clark.
Lex: I assure you, Mr Kent, that has nothing to do with this.
Martha: This is very generous, Lex. (She smiles.)
Lex (smoothly): Actually it isn't. It reflects the exact value of the herd and grazing land you lost. I wouldn't insult you by putting you in my debt, all I want is to leave the doubt between us in the past.
There's a pause, as all three look at one another, then Lex holds out his hand to Jonathan, who hesitates for a moment, and then shakes it.
SCENE 4:
Open to exterior view of Smallville High School, with a group of students sitting on a bench. Cut to Torch office. CLARK (outfit as earlier) is fiddling with a printer. LANA enters, in white jacket and pastel-blue top.
Clark: Hey! How are you feeling?
Lana: Better. (Smiles.) Now it only hurts when I walk (?), sit or breathe.
Clark (still fiddling with the printer): I'm surprised to see you. Usually a hospital visit comes with a get-out-of-jail-free card.
Lana: Actually I was looking for Chloe.
Clark: She's not here, she's in Metropolis until tonight.
Clark sits down at a computer with his back to Lana.
Lana: You covering?
Clark: Well if you can call it that. (He gestures at the printer.) The printer's jammed, the scanner's broken, and the Spring Formal event schedule's late. Chloe leaves for a day, and the Torch goes out in flames.
Lana (walking round the desk to face Clark): Safe to say we won't lose you to the entrancing world of journalism. (She touches her hair nervously.) So have you talked to Chloe?
Clark: Er, I left a message on her cell phone. I think she's busy convincing the Planet they were insane ever to publish without her. (Pause.) What's up?
Lana: I had this intense dream about Chloe I just can't shake. It was totally surreal, but I dreamed that she was attacked outside of the hospital. I know, sounds crazy.
Clark (getting up): But it's got you freaked.
Lana: It's just it felt like I was right there. She was walking to her car, and she was getting her keys out of that red bag with the butterflies on it. (Pause.) What is it?
Clark: She… she was carrying that red bag when she left the hospital. (Pause.) D'you want me to call her Dad to see if she's all right?
Lana: You know, I'm sure it's just the concussion. I don't want to scare him just because I spent the night on painkillers. (She laughs.)
Clark (grinning): Yeah, it's probably just a nightmare.
Lana: Um… I'll see you later.
Lana turns and leaves. Clark remains standing, looking concerned.
SCENE 5:
Luthor Mansion, interior of library. LEX (pale blue shirt, black pants) is marking sheets of paper spread out over the pool table, secured by a pool ball. ROGER NIXON enters, carrying a newspaper. He's a middle-aged man with dark hair and a faint birthmark on one cheek. He's wearing a light-grey suit, over a black shirt and light-grey striped tie.
Nixon: Lex?
Nixon stands behind Lex.
Lex (without turning round): Since I didn't call you and I haven't heard of any three-headed sheep born in Smallville recently… What brings the Inquisitor to town, Roger?
Nixon: We need to talk.
Lex (still marking sheets): Oh, I seriously doubt that.
Nixon: Seems you're giving out gifts to the competition. (Throws the newspaper down on the pool table.) Now we had an arrangement.
Lex picks up the newspaper. It's the business page, headed by ‘A Rising Star – Lex Luthor' with a photograph of Lex.
Nixon: You give me stories, I give you information. Now what did Kerry Castle do for you that I couldn't?
Lex (turning to face Nixon for the first time): She gave me a pretty mean shiatzu massage.
Lex throws the paper back on the table, and turns away, smiling.
Nixon: Well, mock all you want Lex, it just means I've had to take the initiative, develop my own leads.
Nixon takes out an orange folder from under his arm. Lex pours a glass of orange juice from a jug.
Nixon: There's a story here in Smallville and I am going to make my name on it.
Lex (slowly turning to face Nixon): I thought my position was clear. (He gestures with the glass of juice.) I don't want you going anywhere near the Kents they're more than off-limits they're under my protection.
Nixon: And what about the meteors. Are they under your protection too?
Lex (patience apparently running out): You have something?
Nixon: I found a man who had a very interesting view of the meteor shower. Claims he saw something fall out o' the sky.
Lex: We all did.
Nixon: Yeah, well not like this.
Nixon throws the orange folder onto the table.
Lex: (Pause. He walks slowly towards the table.) If you're feeling so abused why are you bringing this to me?
Lex picks up the folder, examines its contents: a couple of sheets of paper.
Nixon: Getting the full story takes money, and access, and unlike some, I always hold up my end of the deal. (He walks out, adding over his shoulder:) Get ready to thank me.
The top sheet of paper is a crudely printed colour advert for Eddie Cole Crop Dusting, with a photo of a light aircraft. The text reads ‘Great rates for all jobs, nothing to large, nothing to small [sic] Call Eddie Cole 785-555-0532'. Lex looks thoughtful.
SCENE 6:
Exterior Kent Farm, pasture with brown cows in background. We pan down on CLARK (navy zip jacket, brown-and-white check shirt, jeans) sitting on a red tractor, turning the engine over. When it won't start he punches the side, leaving a large dent. JONATHAN (brown jacket, blue denim shirt, white tee-shirt, jeans) walks towards the tractor.
Jonathan: Hey, hey! Clark! (He climbs over a farm gate.) Take it easy, will ya! She's been in our family a long time.
Jonathan leans against the tractor.
Clark: Stupid thing won't start!
Clark turns the engine again.
Jonathan: Clark! What's going on, son?
Clark: I'm worried.
Jonathan: I'm sure that Chloe's going to call any minute and you'll … realise you've been worrying about nothing.
Clark: Yeah. (Sighs.) I'm glad we'll finally be able to get rid of this. (He dismounts.) We spend more time fixing it than we do riding it.
Jonathan (walking round the tractor): Well, I'm not … sure that I'm quite ready to retire the old girl yet.
The two stand side by side in front of the tractor.
Clark: Well, with Lex's cheque we can get a new one.
Jonathan: Actually I haven't decided to deposit that cheque.
Clark: Dad, Lex is just trying to do the right thing.
Jonathan (his voice becoming more agitated through the speech): I know he is, Clark, I know he didn't … try to buy me off, he's just trying to repay me for damages that he thinks he caused. (He starts to walk away.) You're right, I've got no real reason to doubt him, it's just something in my gut tells me I should.
Clark (following his father): Lex isn't perfect, Dad, I know that. But slamming the door in his face over and over … only helps turn him into exactly what you think he already is.
Jonathan: When did you get to be so wise?
They walk together past a red-painted shed door.
Clark: Ask my Dad.
Jonathan: (Smiles.) I'll sleep on it.
SCENE 7:
Talon, exterior. Sunny day. The sign reads ‘Jumpin Java Bebop Fridays'. Someone on a step-ladder is finishing the lettering of the left-hand panel. Cut to interior of Talon. A blonde girl runs down the stairs.
CLARK enters (dressed as earlier) and meets PETE ROSS (in cream jacket over red shirt). They walk in together.
Pete: Hey, Clark. (He claps Clark on the back.)
Clark: Have you talked to Chloe yet?
Pete: No, but the Planet better not have turned her down if they know what's good for them.
Clark: Just thought she would have called by now to get an update on the Torch.
Pete: Ah, she probably already got the internship and is out partying with her cousin. (Pete mimes dancing. They reach the bar, and Clark sits down.) So, did I mention, I'm taking Erica Fox to the Spring Formal?
Clark: Several times, yes. (He turns away.)
Pete: The hottest girl in our class, just … wanted to make sure that that was clear.
Clark: It is.
Pete: So, do you want to know my secret? You do, don't you? I asked her. You ought to try it, Clark. Getting up off your butt is the way for the future. (Clark laughs, and Peter shakes his head.) I gotta go reserve my limo for the Spring Formal. (Pete claps Clark on the shoulder, walks away, then turns back to add:) To which, incidentally, I'm taking Erica Fox!
LANA enters, carrying a tray. She's in a turquoise blue top and jeans.
Clark (quietly): I hadn't heard. (He grins.)
Lana: Any word on our intrepid reporter?
Clark: I called her Dad. He was stuck in a seminar. (Pause.) I'm sure she'll be ok.
Lana (unconvincingly): Yeah, me too.
Cut to a blackboard; it reads ‘Spring Formal tickets. Now on sale.'
Clark: Oh, you can buy tickets to the Spring Formal here. That's a cool idea.
Lana: You ask anyone yet?
Clark: I've got my eye on someone.
Lana (turning away to clear a table): Well, you'd better hurry up. No-one likes to look for a dress last minute. (She walks back up to Clark.) Not even Chloe.
Clark: (Pause. Gives sheepish smile.) What makes you think I'm asking Chloe?
Lana laughs, then turns away and walks towards the camera. Suddenly she has another vision. Cut to colour-distorted view. Cut back to close-up of Lana's face. Cut to distorted view showing a blindfolded, seated Chloe. Cut back to Lana. Cut to a gloved hand opening a locked door (which has a regular pattern of holes), then to glass smashing.
Cut back to Lana as she drops the tray, and the cups cascade to the floor.
Clark (getting up): Lana?
Lana (hyperventilating): It happened again!
Clark: You saw, you saw something?
Lana (very agitated, hyperventilating): I saw Chloe. Somebody's got her. You have to believe me, Clark!
SCENE 8:
Open to arc light, then a masked figure in black with white trim, welding something. Cut to where CHLOE sits blindfolded, in a darkened room, hands taped behind her back, frantically sawing the tape on her hands against a metal rail. She's wearing a blue jacket, white skirt over jeans.
Chloe (continuing to saw her hands): Come on, Chloe. Come on! Agh. You've been through worse than this, come on, Chloe! Now deliver your line.
Chloe frees her hands, grunting with effort, tears off the blindfold, removes the tape on her legs. She walks through hanging plastic-wrapped fluffy toys to a door just like the one in Lana's vision. As she peers through the door, a masked figure with glowing red eyes comes up behind her. She screams. The masked figure quickly subdues her.
SCENE 9:
Talon interior. Three men enter, GABE SULLIVAN (a middle-aged thickset man, with dark-brown hair, wearing a grey jacket over white shirt with faint grey stripes), DEPUTY BERTIGO and DEPUTY WATTS. They walk to the counter, where CLARK and LANA are waiting. Lana is holding a glass.
Mr Sullivan: Hey guys. I, er, I called the Sheriffs' office because I wanted them to hear this too.
Clark: Any luck reaching Chloe, Mr Sullivan?
Mr Sullivan: No, I haven't heard from her all day, I'm starting to get concerned. I called her cousin but all I get is the machine.
Deputy Watts: You said you had some proof that Chloe might have been abducted?
Lana: Well, I sort of had a vision.
Deputy Bertigo (pen poised on a notepad): A vision.
Clark: She saw Chloe being kidnapped.
Deputy Bertigo (replacing the notepad and pen): Maybe you should have called the psychic friends network instead, then.
Deputy Watts: What makes you think it was real?
Lana: I saw Chloe bound and blindfolded in a dark room.
Deputy Bertigo: Oh wow, it's too bad you didn't see anything a little bit more useful, like an address where we might find her.
Mr Sullivan's cell phone rings.
Mr Sullivan: Uh, excuse me. (He walks away.)
Deputy Watts: Ms Lang, you went through a pretty rough ordeal, yesterday. Are you sure you're feeling ok?
Mr Sullivan (background, into cell phone, simultaneously): Yes.
Lana (determinedly): You mean do I think I'm hallucinating? Felt like I was right there, like I was seeing through the kidnapper's eyes.
Deputy Watts (earnestly): I promise, we'll take this seriously and look into it.
Mr Sullivan (to cellphone): Thanks.
Mr Sullivan turns back to them. He looks shocked.
Clark: Mr Sullivan? What is it?
Mr Sullivan (distraught): They've found Chloe's car. It's been abandoned in the woods.
SCENE 10:
A silver soft-top sports car drives along wooded highway, turns down mud-track driveway. It's overcast. An ageing yellow light aircraft sits to the side of the driveway. The buildings look in rather poor repair. A dog is barking.
LEX and NIXON get out of the car (outfits as earlier, except that Lex is wearing a black coat) and walk towards the aircraft. Nixon splashes through a deep puddle.
Lex: So far I'm unimpressed.
Nixon: Reserve judgement for five minutes.
Lex (looking at his watch): Starting now.
EDDIE COLE emerges from the house. He's a thin, middle-aged/elderly man, with lank dark hair and wispy stubble, wearing a red-and-black check over-shirt, brown-and-white check shirt and jeans. He has a strong regional accent.
Nixon: Mr Cole! This is Lex Luthor.
Mr Cole: I know who he is.
Nixon: He's very interested in your story. Twelve years ago, Eddie Cole had more clients than he could handle. Spent eight hours a day dusting fields all over Smallville.
Lex: And now?
Mr Cole: FAA pulled my licence.
Lex: And why would they do that?
Mr Cole: Decided I wasn't fit in the head to fly anymore. Cos I couldn't keep my dumb mouth shut.
Lex (walking away): What were your rates for crop dusting, Mr Cole?
Mr Cole: Six hundred a day.
Lex: (Quirks his eyebrows, sighs heavily, pulls out a roll of dollar bills, turns back and goes up to Cole.) I'd very much like to hear your story.
Lex counts out notes from the roll and gives them to Cole. Lex's tone throughout the conversation with Mr Cole is polite but sceptical.
Mr Cole (holding the bills): I was up in my prop. Dusting the Baker's field, fifty acres of sweetcorn, when it happened.
Lex: The meteors?
Mr Cole: It was like lightning all around. Pretty sure I was going to die, right there. (Pause.) Then one … (instrumental music starts and continues throughout Lex and Cole's conversation) just missed my tail by about ten feet. I saw it go straight down, and then it swerved just before it hit.
Lex: Doesn't sound like a meteor.
Mr Cole: I know air-aircraft better than most. The way that thing moved, it had to be a ship.
Lex: You saw a ship crash?
Mr Cole: Well, it's not just that I saw a ship crash. Coupla hours later, went n'look for it, was gone.
Lex: Maybe it burned.
Mr Cole: Or maybe it was taken. Nobody believes me. Gave Mr Nixon a … map of the crash site.
Lex: I've seen it.
Mr Cole: So you believe me?
Lex: It's a good story. (Cole exhales.) Thanks for your time, Mr Cole.
Lex walks back to the car; Nixon waves to Cole, then hurries after him. Eddie Cole is left stroking the notes in his hand.
Nixon (from behind): Hey! Thought you'd be pleased. I just brought you the story you'd been waiting for.
Lex (turning; his tone is much more brusque than with Cole): You brought me a desperate man and a tall tale. It's about what I expected from you. (He glances down.) Sorry Roj, time's up.
Lex gets in the car, leaving Nixon standing.
SCENE 11:
Silhouetted trees against a rising moon. Cut to interior of the Fortress of Solitude. Clark is sitting on a trunk (brown check shirt, jeans), staring out of the window. LANA slowly climbs the stairs. She's in a white jacket over a turquoise top.
Lana: Any word on Chloe?
Clark: My my Dad and I went out with Mr Sullivan, and the police. We searched the woods, but… we didn't find anything. (He stands up.) They've organised a search party first thing tomorrow morning. (Pause.) How are you doing?
Lana: (Her arms are crossed. She shrugs.) Spent the afternoon at the Sheriffs' station telling them what I saw. Kept looking at me like I was crazy.
She walks over and sits down on the couch.
Clark: I don't think you're … crazy.
Lana laughs. Clark comes and sits next to her. He's holding something black in his hands (presumably part of his telescope?).
Lana: How are you holding up?
Clark: I keep wishing Chloe would just walk up those steps. Never appreciated how much she meant to me till now. Thought of never seeing her again…
Lana: Clark. (She puts her hand on Clark's arm, and looks at him earnestly.) You can't think that way.
Clark: (Pause. He's fiddling with his hands. He smiles.) You know, I remember the first time I met her. It was eighth grade. (He gets up, walks away towards the window.) She'd just transferred from Metropolis and … I was assigned to show her around. (He stands by the telescope.) The first thing she wanted to know was where she could buy a copy of the Planet so she could keep in touch with civilisation. (Lana laughs.) When she found out I lived on a farm, she insisted I invite her over to experience it firsthand. Think she thought I was Amish. (Lana laughs. Clark walks back and sits down on the couch again.) When I brought her up here … she just kissed me, right out of the blue.
Lana: Why did she do that?
Clark: She said I know you've been thinking about that all day, so I figured we'd get it out of the way and be friends. (They both smile.) It was my first kiss.
Lana: It's nice it was with someone you still care about. (Pause.) We're gonna see her again, Clark.
Lana gets up to leave. As she gets to the stairs, she has another vision. Cut to a tall metal windmill in a field. Cut back to Lana's face. Cut to a hole in the ground, the edge of a coffin. Cut to Lana's face in close up. Cut to a coffin with glass window, with Chloe inside alive, then to soil being shovelled on top of the coffin. Cut back to Lana close-up; she's hyperventilating.
Clark (getting up): Lana?
Lana (turning towards Clark): I just saw her again.
Clark: Chloe? Where?
Lana: Buried. She's still alive.
Clark: Did you see where she was?
Lana: I'm not sure, but but there was a windmill, a big one.
Clark: She must be on Chandler's Field. I'll get help.
Clark leaves hurriedly, leaving Lana still breathing heavily.
SCENE 12:
Inside coffin, lit by green light. Pan along CHLOE's body, from legs to head, laboured breathing in background. Chloe closes her eyes, then the light fails.
Cut to windmill in dark field, as in the vision. CLARK superspeeds up, pauses to look around, then speeds to the windmill, climbs up the ladder and scans the surrounding field. He uses X-ray vision to locate the coffin, superspeeds back to it and punches into the soil. He pulls the coffin out of the ground with one arm, then flings it open to reveal a pale-looking Chloe inside.
Clark: Chloe, Chloe!
Clark pulls her head up, and she takes two deep breaths.
Clark: Chloe! It's ok.
Chloe: Oh Clark. Clark. (She's half laughing, half crying.) I knew it was you. It's always you.
Chloe wraps her arms around his neck and they hug. Cut from close-up to distance shot of the two hugging, suggesting that there's an observer.
SCENE 13:
Exterior view of hospital ‘Smallville Medical Center', night-time. Cut to interior room. CHLOE is lying in bed, in a red top, speaking on the telephone.
Chloe (animatedly, into telephone): Thanks. I appreciate that.
CLARK (black jacket, brown-and-white check shirt) and LANA (as earlier) enter the room.
Chloe (into telephone): Oh, I've gotta go, some real people just came in. Ok, bye. (She puts the phone down.)
All three simultaneously: Hi!
Clark: Who's that?
Chloe (smugly): The Daily Planet.
Lana: Thought you missed your appointment for the internship?
Chloe: I did. They were calling about an interview.
Clark: Are you gonna do it?
Chloe: (Shakes her head.) No. I've always wanted my name in the Daily Planet, but not like this. Besides, I figured that the Torch could use an exclusive. (Clark smiles.) Which, I will write, as soon as I get outta here.
Clark walks up to the bed, sits down on the side.
Clark (seriously): Chloe, do you remember anything?
Chloe: (Pause.) I remember… tripping on some metal rails, and I remember… hundreds of teddy bears, hanging from the ceiling. (She smiles. Then, emotionally:) Hmm, anyway, that's where I was kept until I… (Her face crumples.) I'm sorry you guys, flashback, I can still hear the dirt flying on the coffin. Sorry. If you hadn't found me, I don't know … where I'd be.
Clark: Don't thank me, thank Lana.
Lana smiles and looks embarrassed.
Chloe: Yeah. (Sighs.) You know, I gotta hand it to you, you sure picked a perfect time to take a walk on the weird side.
Lana laughs and nods. Chloe smiles.
Clark: You should get some rest.
Chloe nods. Clark stands up, and Chloe grabs his hand.
Chloe: Clark, um… Would you mind sticking around for a little while? Whoever did this is still out there.
Clark: Of course not, I'll stay here as long as you need me to.
Chloe: (Nods and smiles.) Thanks. (She holds onto Clark's hand. He smiles.)
Lana: Ok, well, I guess I'll see you guys tomorrow.
Chloe: Oh. Bye Lana. (She waves her hand.)
Clark (softly): Ok.
Lana: Bye.
As Lana leaves, she looks back through the window to see Clark reach down to touch Chloe's face. As she walks slowly down the corridor, she has another flash of vision. Cut to a distorted view of Lana from behind. Cut back to a normal view of Lana, looking confused and nervous. She turns, but there's no-one visible in the corridor.
SCENE 14:
Open with exterior view of the Kent Farm, seen from a distance. The weather is fine but cloudy. Cut to JONATHAN, by one of the farm outbuildings, wearing a brown jacket over blue/white/red check shirt, and gloves. He's carrying sacks of feed on his shoulder to the truck. CLARK walks up, wearing red tee-shirt and black zip jacket.
Jonathan (breathing heavily): Hey, glad you could join me! How late were you at the hospital?
Clark: All night. I snuck in after visiting hours.
As they talk, Clark casually picks up three sacks of feed at a time as if they weigh nothing and puts them in the truck.
Jonathan: Well I'm sure Chloe appreciated that.
Clark: I'm just worried that the person who did this to her is still out there.
Jonathan: Clark, you got her back safe and sound. That's what's important.
Clark: Not without Lana I wouldn't of.
Jonathan: Hey! She hasn't had any more visions, has she?
Clark: No. I think they're connected to the gas pipe explosion, that's when they started. I'm gonna check that out.
Jonathan: No, son. Let the police do it, it's their job.
Clark: I still wish I knew whose eyes she was seeing through.
Jonathan: (He shuts the tailgate of the truck.) What you need to focus on right now is getting this truckload of feed over to Miller's.
Clark: So you've had a night to sleep on it, what are you gonna do with Lex's cheque?
Jonathan: I might be stubborn, but I'm not blind. (Clark smiles. Jonathan walks round the truck.) Yeah. (Chuckles.) I had a talk with your Mom. Soon as we deliver the feed (he opens his jacket and points to the pocket), taking it to the Savings and Loan.
Jonathan gets in the driver's seat of the truck. Cut to distant view, as the truck reverses out, framed by binoculars. Ominous music plays, which carries on into the next scene.
SCENE 15:
Open with view of the ‘Welcome to Smallville' sign, as the Kent's blue truck goes past. Cut to the truck turning into a layby, in which Lex's silver sports car is parked. Pan across a field, in which numerous workmen in yellow suits, black helmets and face masks are working with metal detectors, trenches etc. Several squares of land have been surrounded by tape. In the foreground, a mini-digger is moving earth. There's a white canopy protecting tables with various equipment. Various vehicles are parked around the field.
CLARK and JONATHAN get out of the truck.
In the centre of the activity is LEX, in a black suit jacket over a dark-blue sweater. Lex is signing something on a clipboard, which he hands back to the foreman when he notices Clark and Jonathan's arrival.
Foreman: Sir.
Lex (to foreman): Keep them moving.
Foreman: All right.
Lex walks across to join Clark and Jonathan, as they walk over to him.
Clark: What's up, Lex?
Lex: Considering buying this land for a pilot agricultural project, but I wanted to test the soil first. Standard operating procedure.
Jonathan: Since when does standard operating procedure include metal detectors and hazmed suits?
Lex: To be honest, we've learned there may have been a major meteor strike on the site. Of course, there's no proof the meteors are actually harmful, but…
Jonathan: Never hurts to dot your i's and cross your t's, right? (He walks away from the others, further into the field.)
Lex: As you're aware, LuthorCorp's environmental record's taken some serious hits in recent weeks. Better safe than sorry. Is there a problem?
Clark: Dad?
Jonathan (standing apart from the other two, looking troubled): The problem is, Lex that… what's good for LuthorCorp isn't always what's good for this town.
Background, workman: Mr Luthor!
Jonathan (walking past Lex towards the road): Looks like you've got business to attend to. (Jonathan stops, comes back up to Lex and holds out a white envelope.) Uh… Lex… I've decided I can't accept your money.
Clark looks confused and upset.
Lex (sounding genuinely confused): Mr Kent, I don't understand.
Jonathan wraps Lex's hand round the envelope.
Jonathan: I wouldn't expect you would. (He walks off towards the truck.)
Clark (turning to Lex): Lex…
Lex: It's ok, Clark. I'll talk to you later.
Lex walks back into the field, Clark stares after him for a moment, then runs after his father.
Clark: Dad. Dad! Lex didn't deserve that. People test some land all the time.
Jonathan (emotionally, turning back to face Clark): I know that, Clark. But this field is where your ship crashed down. If Lex's scientists find anything out here, they could trace it right back to you.
Background, foreman: Keep swinging the detectors, crew, until we get a reading. Excavation… (remainder is inaudible.)
Jonathan: Come on.
Clark and Jonathan get back in the truck. Meanwhile, Lex walks back to the canopied area. DR STEVEN HAMILTON, a black man wearing a yellow suit, hood up, dust mask over his nose and mouth, comes to meet him.
Dr Hamilton: Lex, you've gotta see this.
Hamilton hands Lex a plastic bag, marked with a red biohazard sign. Lex examines it. As he does so, Hamilton pulls off the mask, hood and gloves, and the truck engine appears to start in the background. Hamilton points to something out of camera, in the bag.
Dr Hamilton: You understand what this could mean.
Lex (holding the bag): More than you know. (Looks directly at Hamilton.) I want you to handle all the tests personally then report directly to me.
Hamilton smiles and walks off. Lex stares across the field, his expression unreadable.
SCENE 16:
Interior of Talon. It's empty, apart from LANA, who's dusting tables, wearing a fuschia pink cardigan over white tee-shirt. WHITNEY FORDMAN enters slowly. He's wearing a black coat over a striped tee-shirt, and carrying a flat box. Lana doesn't initially notice him.
Whitney (quietly): Hey!
Lana (enthusiastically): Hey!
Lana smiles, gets up and goes over to him.
Whitney: How are you feeling?
Lana: Better. At least the nightmares seem to have stopped. Glad you came by.
Whitney: I got caught up in the store, went home early, started going through some of my Dad's things.
Lana: Sure you're ready for that?
Whitney: It's ok. (He smiles.) Actually brought back some nice memories. And I found this.
They both sit at a table, and Whitney opens the presentation box. Within are three medals, a star, a circular medal and a heart-shaped one.
Lana: These were your father's?
Whitney (softly): Yeah. I knew he served in Vietnam, but he, he never talked about it.
Lana: Do you know what they're for?
Whitney (with obvious pride): Yeah. They keep a registry on the internet. The … silver star's for exceptional valour. He rescued three men in his unit during a fire-fight. He was wounded, but he wouldn't leave his men behind.
Lana: Sounds like your Dad. (She nods and smiles.) Wonder why he never told you.
Whitney (emotionally): Maybe he just did. (Pause.) You know (exhales)… you win a coupla football games and people start calling you a hero. (Sigh.) It feels good but… maybe he's just trying to tell me that throwing a ball isn't the only way to do something important with your life.
As they stare at each other for a long moment, Whitney appears emotional, but Lana looks a little uncertain.
SCENE 17:
Exterior of Fortress of Solitude. Night-time. Light is shining through the open window. Cut to interior, where a newspaper is open on the desk; the headline is ‘Teen hurt in gas explosion.' CLARK (in red sweater, jeans) is sitting at the desk, sorting through photographs. Footsteps are heard, and LEX enters (same outfit as earlier).
Lex: Glad to see I'm not the only one who's curious in Smallville.
Clark smiles broadly and gets up from his chair.
Clark: Hey Lex, what are you doing here?
Lex (walking up to Clark): I feel like I owe your father an apology, but I'm not exactly sure why.
Clark: Um… It's not you. It's everything. Money problems, the farm… I guess he just didn't understand what you were doing out in that field.
Lex: I thought I made myself clear.
Clark (slightly strained tone): You did. (He looks down at the photos in his hand.)
Lex: You don't believe me either.
Lex walks away to the window, looks out at the stars.
Clark: I know you get obsessed about things, like… the car accident. I find it hard to believe that you'd waste your time supervising a routine land survey, if that's what it was.
Lex (turning back): My life changed when the meteors hit and I need to know why.
Clark: You can't let it go?
Lex: This isn't some empty emotional quest, Clark, it's about finding the truth.
Clark: The truth.
Lex: I found a man. (Instrumental music starts.) He said something besides the meteors came down that day.
Clark: Like what?
Lex: A ship.
Clark: (Pause, then smiles incredulously.) And you believe him?
Lex: I listened. Chances are he's just another crackpot, but I'd be remiss if I didn't check it out.
Clark: (Nods.) And when the next story crops up you'll be sure to check that one out too.
Lex: Clark.
Clark: When are you going to be able to put your past behind you?
Lex (looking out of the window): You look at the stars, Clark. Some of them have been extinguished for thousands of years. But their light is only reaching us now. The past is always influencing the present. (He turns back to Clark.) I can't change that. All I can do is try to understand it.
SCENE 18:
The Torch office, interior. CHLOE enters (bright pink jacket, orange tee-shirt). CLARK is there (same outfit as earlier).
Chloe: Hey!
Clark: Chloe! Why aren't you at home sleeping?
Chloe (putting her bag down on the desk): If I fall asleep, I'll have nightmares. So I figured the best thing to do is to keep busy. God knows, you left enough of a mess for me to clean it up.
Clark: Well, I'm glad you're here.
WHITNEY enters (same outfit as earlier), looking uncertain.
Chloe: Hey Whitney! You're sure you're in the right place?
Whitney (coming to stand next to Chloe): Clark called, said he needed my help.
Clark: I think I've figured out how Lana got her visions. Was the explosion.
Chloe: You think the blast somehow caused them?
Clark: There's more than that. It connected her with someone at the accident.
Chloe: Clark Kent leaps tall theories in a single bound. (She crosses her arms.) How did you arrive at this one?
Clark: Well apparently there were meteor rocks at the explosion. And I found this article.
Clark hands two sheets to Chloe from a green folder. Chloe passes on piece on to Whitney, and both study them. The headline in the colour printout reads ‘De Kretser syndrome. New form of post-traumatic stress disorder named.'
Chloe: The De Kretser syndrome?
Clark: It's kind of like a post-traumatic stress disorder. There were seven cases reported during the London Blitz.
Chloe (reading from the article): Some people who were huddled in shelters would find themselves psychically linked after a bomb hit nearby. Ok, I'm, I'm sold.
Whitney: According to this, it's in times of stress, anger or excitement that triggers the visions.
Clark (standing up): Who was around Lana after the explosion?
Whitney: Myself and two deputies, Watts and Bertigo.
Clark: They were with your Dad when we told them about Lana's vision!
Chloe: (Nods.) He probably called them himself. They're in a bowling league together.
Clark: Whitney, which one got to her first?
Whitney: It's tough to say, it all happened so fast. You think one of these cops kidnapped Chloe?
Clark: Who would suspect a cop? We have to warn Lana, if one of these guys is the kidnapper… He knows that Lana's seeing through his eyes.
Whitney: Great. I'll drive.
Chloe (sounding slightly ill at ease): Um… That's ok. (She puts her hand up to Whitney's chest.) Uh, we'll take my car.
Chloe leads the way, and the three leave the office.
SCENE 19:
The Talon, interior. LANA (dressed as earlier) is walking downstairs carrying a vase of yellow flowers. DEPUTY BERTIGO enters. He seems rather stiff and uncomfortable.
Deputy Bertigo: Miss Lang. I know it's late, but I just wanted to ask you a few more questions.
Lana initially looks shocked at the voice, but visibly relaxes when she recognises the Deputy.
Lana: Surprised you found the time.
Deputy Bertigo: I know I deserve that.
Lana: D'you want a cup of coffee?
Deputy Bertigo: Sure.
Lana: Ok.
Lana smiles, puts down the vase and turns away. As she walks away, she gets another vision. Cut to outside of Talon (Smallville's best cappuccino), then to a gloved hand pushing open the door. Cut to Lana's face. Cut to distorted view of the Talon interior, showing the back of Deputy Bertigo, with Lana in the distance. Bertigo turns. He is hit and falls. Cut to Lana's face in normal view. Cut to distorted view, moving closer and closer to Lana's back.
Cut to Lana's face, normal view. A black masked figure with glowing red eyes comes up behind her. She wheels round and screams.
SCENE 20:
Exterior, Talon sign. Night-time. Cut to interior of the Talon. CHLOE, WHITNEY and CLARK help up DEPUTY BERTIGO, settle him in a chair.
Whitney: Where's Lana?
Deputy Bertigo (rubbing his cheek): I don't know. She was here. Ugh. Guy must have grabbed her.
Whitney (running off): Gonna check the back.
Clark: Deputy, where's your partner tonight?
Deputy Bertigo: Gary? Er, he's working his second job at the carnival ground. He's a security guard.
Clark: You said you saw stuffed animals and train tracks!
Chloe: The carnival's closed this time of year, it's a perfect place to hide someone.
Clark leaves.
SCENE 21:
Exterior, the Carnival. Night-time. There's a roller coaster track and stalls with fairy lights but it's deserted. Pan past sign ‘Funhouse' illustrated by clowns. Cut to interior, stuffed toys hang in plastic bags. LANA is lying on some sheeting, bathed in red light.
Lana: Hello? Hello?
Lana slowly sits up. Her ankles and wrists are bound with tape.
Lana: Help! Somebody please help me! (She gasps.)
Male voice: No-one can hear you.
DEPUTY WATTS steps slowly out from the shadows, dressed in a black outfit with grey piping at the shoulders (no mask). He's surrounded by stuffed animals.
Deputy Watts: How could you see through my eyes?
Lana: I don't know.
Watts steps into Lana's line of sight, a huge smiling clown face behind him.
Lana: (Gasps.) Deputy Watts? Why are you doing this?
Deputy Watts (walking slowly towards Lana; earnestly): I never wanted to hurt Chloe. I didn't even want money. I wanted to rescue her.
Lana (incredulously): You kidnapped Chloe so you could take credit for finding her?
Deputy Watts (yelling, face contorted): I could have been a good cop! The best cop this town's ever seen! This case would have made! … my! … career!
Watts turns and walks away from Lana, who is seated, cowering on the sheeting.
Deputy Watts (in a normal tone): But it doesn't matter now. I can still be the hero.
Lana: What are you gonna do?
Deputy Watts (turning back to face Lana): Solve your murder.
Watts slowly pulls out a gun and raises it.
Lana (holding out her bound hands in front of her in a pleading gesture): No, please, please don't do this.
Cut to exterior of carnival. CLARK arrives at superspeed. He scans around, uses X-ray vision to see through the clown picture to Watts raising the gun against Lana.
Clark: Lana!
Cut to interior of Funhouse. Clark speeds into the Funhouse, pushes past the stuffed animals, just as Watts fires at Lana, and Lana throws herself backwards. The bullet heads in slow motion for Lana's body; Clark deflects it with his hand. The bullet heads up towards the skylight, and Clark throws himself on top of Lana to prevent it from showering her with glass. Pieces of glass crash down on top of them. Deputy Watts turns and runs.
(Normal speed.) Clark sits, then helps Lana up.
Clark: Lana, you all right?
Lana: What? Watts. Deputy Watts.
Clark rips off the tape on Lana' hands.
Clark: Ok. Stay here.
Cut to exterior of building, showing blue doors labelled ‘Service entrance'. Watts runs through it, gun still in hand, then out to main carnival area. Police sirens are heard. Watts shelters behind a dumpster.
Clark (off camera): It's over, Watts.
Watts turns, stands and shoots Clark five times in the chest at close range. The bullets make holes in his shirt; Clark stands motionless.
Deputy Watts: What the hell are you?
Clark picks up Watts one handed and throws him against a ticket booth. Cut to show two police cars arriving, sirens on, lights flashing. Cut to Watts lying on the ground. He tries to get up. Clark looks towards the police cars then down at Watts, then superspeeds away.
Cut to Lana, in the Funhouse, undoing the tape from her legs. She has another vision. Cut to distorted view of police cars as they skid to a halt outside. Cut back to Lana's face, eyes wide. Cut to distorted view of carnival exterior, as three police marksmen get out, train their guns on Watts. Cut to Lana, as Clark runs up to her.
Clark: Lana!
Cut to exterior, normal view.
Marksman: Police! (?) Drop the gun.
Cut to the standing figure of Watts.
Deputy Watts (raising the gun): Aargh!
Cut to carnival exterior. Indistinct words are heard over police radio. Pan across to blue service entrance again, as Clark shepherds Lana out, and they walk to the police cars. Cut to view through binoculars, as Clark and Lana meet BERTIGO and another police officer. Cut to NIXON in dark coat adjusting binoculars, with carnival lights flashing behind him.
SCENE 22:
Interior of barn, daylight. There's a warm tone to the lighting. Pan past wooden staircase to reveal CLARK, who is raking straw, dressed in jeans, white short-sleeved tee-shirt and gloves. CHLOE walks in slowly, dressed in grey jacket, over dark top, with wide red belt, carrying a purse. She is seen against the sunny exterior.
Chloe: Your mum told me you'd be out here.
Clark: Hey. Hey! (He walks towards Chloe, carrying the fork.) I haven't seen that smile in a week. What's up?
Chloe: Well, I've got good news. The Daily Planet called and I got an internship.
Clark: That's great! (He hugs her, fork in hand.) Wow. You didn't even have to interview!
Chloe: I know! Well, they read my article in the Ledger on the kidnapping cop and I guess my work spoke for itself!
Clark: Well, congratulations.
Chloe: Thank you.
Clark: Oh, so I guess that means you'll spend the summer in Metropolis?
Chloe: Yeah. (Pause. Clark nods slowly.) Will you come visit me?
Clark: Yeah! Of course. I would never pass up an opportunity to see you in your natural habitat.
Chloe: (Laugh. Pause, which lengthens till it becomes awkward. Music starts, ‘No Such Thing', and crescendos gradually throughout the rest of the scene.) Well I, I just wanted you to be the first to know so …um… I'll see you. Bye.
She turns and walks away.
Clark (still holding the fork): Er Chloe? (Chloe turns back.) Um. (Pause.) I was---Do you have plans for the Spring Formal?
Chloe: (Pause.) None at the moment. (Smiles and exhales.)
Clark: I was hoping, uh… I was hoping… you'd go with me. As my date.
Chloe slowly walks back towards Clark, smiling broadly.
Chloe: I would love to, Clark. (Pause. Both smile.) Now I'm gonna go before my good karma runs out. (She laughs, then turns away.)
Clark: Chloe! (She turns back.) I'm sorry I didn't ask sooner.
Chloe: It's ok. It was worth the wait.
Chloe walks out with a bounce in her step, and Clark watches her leave the barn, then stands staring after her, still holding the fork, as the song plays in the background (‘I just found out there's no such thing as a real world!'), before turning back towards the heap of straw. He looks over the moon.
SCENE 23:
Exterior of Luthor Mansion. Sunny day. Cut to interior. DR HAMILTON walks into the library, wearing a tan coat, patterned shirt and jeans.
Dr Hamilton: Lex! (Knocks in a perfunctory fashion as he passes.) Where's that er crop-duster of yours? I wanted to talk to him. He walks up to the desk where LEX is seated, wearing a grey sweatshirt.
Lex: He seems to have disappeared. (He puts down the phone.)
Dr Hamilton: Er, maybe your visit scared him.
Lex: Something or someone did. What d'you have for me?
Dr Hamilton (sitting down opposite Lex, holding up a plastic biohazard bag): The preliminary results of the fragment we recovered.
Lex: So what is it?
Dr Hamilton: Well, all I can tell you (pause, he reaches into the bag) is what it is not.
He pulls out a small grey metal octagon and holds it up.
Lex: I don't like riddles, Doctor.
Dr Hamilton: Then this object will make you profoundly unhappy. To be honest, Lex (he reaches across and puts the octagon on the desk in front of Lex; seriously) there is nothing … like this alloy … on this Earth.
Lex (viewed through the glass desk from below the octagon) leans forward and stares pensively at the octagon, then up at Dr Hamilton, then back to the octagon. He puts his elbows on the desk and continues to stare. The focus changes to the octagon, which has symbols on it. Fade into an octagonal recess in a metal surface, then pan out, as the background music crescendos, to reveal the surface is part of Clark's spaceship in the Kents' storm cellar.
END CREDITS