"CHIAROSCURO"
TEASER
FADE IN
EXT – DAY – FARMER'S MARKET – ESTABLISHING SHOT
ANGLE ON CLARK
With Pete, Chloe and Lana visible in the background. Chloe is waving her arms about in agitation. Clark watches as he packs up crates from the booth. Pete approaches.
PETE
It's getting ugly over there.
CLARK
Standard rant or something specific?
PETE
Does it matter?
(looks over his shoulder to see Chloe becoming even more upset.)
My advice to you is - run.
Clark grins as Pete takes off. Jonathon passes.
JONATHON
We've got to head on, Clark – I told Bill Reilly we'd have his delivery there by one.
Clark grabs a crate and heads for the truck.
CUT TO
EXT – REILLY'S FARM
as Kents' truck pulls up into the drive. Jonathon, Martha and Clark get out.
CUT TO
a craggy-faced gray-haired old man coming out to meet them as they approach the house, each carrying a small case of vegetables. There is the sound of a small chainsaw in the background.
MARTHA
Hi, Bill. Got your order.
REILLY
(takes the box from her, looking it over critically)
Hope those tomatoes aren't bruised. And you checked them potatoes too? I don't want just the rejects from your booth.
JONATHON
(smiling tolerantly)
Now, you know we pull your order before we go to market.
CLARK
Best of the bunch, Mr. Reilly.
REILLY
Ought to go back to growing my own. Don't look so smug, boy! You'll get arthritis too one day.
Reilly turns, still grumbling, and the Kents exchange amused looks as they follow him to the porch. The chainsaw stops and Clark looks over – LS on a young man next to an old fence, putting down the saw and beginning to stack wood in a wheelbarrow from where he's been tearing the fence down.
ANGLE ON THE PORCH
as everyone puts down their boxes and Reilly takes money out of his back pocket.
JONATHON
(looking over at the boy)
I see you've got a new hand. Who does he belong to?
REILLY
He's not from around here. Just showed up looking for work about a week ago.
CLARK
Where's he from?
REILLY
Don't know and don't care. He doesn't like to talk and neither do I, so it works out fine.
MARTHA
He looks awfully young, Bill. Shouldn't he be in school?
REILLY
Says he's eighteen.
MARTHA
But that doesn't mean he is. What's his name?
REILLY
Tom Black. If you're going to start nagging me, Martha, you're going to have to marry me.
JONATHON
Do you know anything about him?
REILLY
(shrugs and speaks grouchily)
Seems like a city kid. If he's not of age, he's pretty damn close and I ain't seen no evidence
he can't take care of himself.
JONATHON
All right, Bill. Let us know if you need anything else.
REILLY
This ought to keep me for a while.
Reilly turns without another word, going into the house, letting the screen door slam and Kents exit the porch, going to their truck. Clark watches Tom move further along the fence and start the chainsaw back up.
Who looks up as they drive past. He waits until they are out of sight, then walks along the fence, away from Reilly's house.
CUT TO
Tom working cutting down and stacking the pieces of fence on the side bordering the LuthorCorp plant. He surreptitiously pulls out a small camera and photographs the security station at the gate.
ANGLE THROUGH CAMERA LENS
zooming in on each guard and the gate as the camera snaps. A car can be heard coming along the road.
ANGLE ON TOM
as he quickly hides the camera and picks up the chainsaw again. Lex's black sports car appears over the rise, speeding towards the plant. After it passes, Tom again pulls out the camera. Photographs the car as the guards scramble to get the gate open. Tom notices Lex's car does not stop or get checked at the gate – it is just allowed to pass. This seems to please him. Goes back to work on the fence.
END TEASER ACT ONEFADE IN
EXT – MAIN STREET – NIGHT – ESTABLISHING SHOT
EXT – TALON
As Clark and Chloe exit and walk up the street.
CHLOE
Do we need a new scoreboard? No. Does the Torch need a complete software upgrade? Yes. Does anybody care?
CLARK
No?
CHLOE
It's not funny, Clark.
CLARK
I'm not laughing. But there's such a thing as picking your battles.
CHLOE
Oh, you probably agree with the decision. Just don't give me a lecture on the redeeming social values of football – I've had enough from everyone else. Just forget the fact that journalism is something that's actually going to matter in our lives –
CLARK
See, you're not going to get anywhere around here if you try to convince people that football doesn't matter after high school.
CUT TO
EXT – END OF MAIN STREET
A car going too fast weaves a little.
ANGLE INSIDE CAR
Two teens, Matt and Angela, loud music. Angela is halfway wrapped around Matt while he drives and climbing further and further onto him. He's going with it, both are laughing as they kiss.
ANGLE ON CLARK AND CHLOE
Looking down the street as they hear the car approaching, watching as it zooms past, swerving. Chloe steps forward, looking afraid.
ANGLE INSIDE CAR
Angela shifts into Matt's lap and pins his foot against the accelerator. He shouts, she jumps, his hands slip on the steering wheel.
ANGLE ON STREET
Clark and Chloe watching as the car spins out. For one instant Clark hesitates behind her – then he streaks off. Chloe, panicked, turns to where he was and frowns when she sees he's not there.
SLOW MOTION EFFECT
as the car freezes and the air bags blow. Clark steps up beside her.
CLARK
That was close.
She starts, and spins back to him. Blinks. Clark brushes past her.
CLARK
Let's see if they're all right.
Bewildered, Chloe follows. They reach the car as Matt and Angela climb out.
CLARK
Are you okay?
ANGELA
Yeah, I think so. Just bruises.
MATT
Man, I think I saw my life flash before my eyes.
They all look at how close the car came to slamming into several parked trucks.
CHLOE
What happened?
MATT
We were… clowning around some. My foot got jammed down on the accelerator, the steering wheel slipped. Then we just – stopped.
ANGELA
F – for a second there, I thought we'd crashed.
CLARK
CLARK
If you're okay then…?
Matt nods, still staring at the car. Clark draws Chloe off. They walk in silence for a few beats, Chloe looking back over her shoulder, then at Clark.
CHLOE
What just happened?
CLARK
Matt just got really lucky. If he hadn't caught the brake -
CHLOE
Caught the brake? Hard enough to blow the airbags? I don't think that's possible.
CLARK
Maybe they were set on a hair trigger.
CHLOE
(shakes her head)
My weird-o-meter is going off.
CLARK
Well, that we know is on a hair trigger.
Chloe laughs but her smile fades quickly as she watches Clark intently.
CUT TO
EXT – COUNTRY ROAD – DAY
ANGLE ON KENT'S TRUCK
Clark driving alone.
ANGLE ON ROAD THROUGH WINDSHIELD
As he sees a car pulled to the side, someone bent down, changing a tire. Clark slows and pulls over.
ANGLE ON THE YOUNG MAN
loosening lug nuts. He looks up as Clark approaches. It is Tom Black.
CLARK
Hi. Need a hand?
Tom stands and regards Clark for a moment.
TOM
Sure. Thanks.
(fishes keys out of his pocket and hands them to Clark)
Could you get the spare out of the trunk?
CLARK
You bet.
(offers his hand)
Clark Kent.
TOM
(shakes)
Tom Black.
Tom returns to removing the nuts. Clark goes to the back of the car.
TOM
That was you and your folks who stopped by yesterday, wasn't it?
CLARK
Yeah, we live a couple of farms down from Mr. Reilly.
ANGLE INSIDE THE TRUNK
as Clark opens it. It is filled with what looks like the whole of Tom's life – a couple of battered duffle bags, maps, an old cooler, a tent. Clark has to move some things aside to pull out the ancient tire.
CLARK
Doing the Kerouac thing?
TOM
Something like that, with a side of "Go west, young man."
Tom jacks up the car while Clark rolls the tire over.
CLARK
(indicates the bald tire)
I hate to tell you, but I don't think you'll get very far on this.
TOM
(laughs as he takes the tire to place it on the car)
I know. That's why I stopped here – needed to make a little money before I could move on.
CUT TO
EXT – LEX'S MANSION – DAY – ESTABLISHING SHOT
INT – STUDY
Lex is at the desk, talking to Dr. Hamilton via videolink.
HAMILTON
Where did this come from, Lex? Have you lost your mind?
LEX
Just tell me what the data say.
HAMILTON
No way – I'm out. I didn't sign on for this. I could be put away for life just for having seen this!
LEX
You're under my protection, Doctor. Now I need to understand the extent of this. You're the only one who can interpret this information.
HAMILTON
Forget it! I can't afford to trust you if you're running something like this without my knowledge. Did you use my findings for any of this?
LEX
I don't know what's been used. I need to understand exactly what's going on, so just do it and you will do it quickly. Don't call me back until you've got some answers.
Lex snaps the connection off and stands, clearly agitated. Moves to stare out the window. Clark enters behind him.
CLARK
If brooding is good for the soul then your place in heaven is a lock.
LEX
I thought that was supposed to be "suffering".
CLARK
Is there a difference?
LEX
Maybe not.
CLARK
Trouble?
LEX
No – just the uniquely Luthor substitute for familial relations.
CLARK
And what's that?
LEX
Secrets, lies, betrayal.
(beat)
My company spies have just delivered some disturbing news about a project of my father's.
CLARK
You have spies on your father?
LEX
Quid pro quo, Clark. He has them on me so…
(turns away, pained)
Which means I may be ultimately responsible.
CLARK
Responsible for what, Lex?
LEX
Responsible for my father. It's getting to where I can't ignore the greater damage our battles may be causing.
CLARK
I'm just sorry you have to battle him at all.
LEX
War is never declared by both sides at once. But when someone like my father makes himself your enemy, you fight back – or you are destroyed.
CLARK
So, what are you going to do?
LEX
Gather information and save it for the proper time. What's one more lie between father and son?
CLARK
Do you – ever worry about that? Using his tactics?
Lying. Keeping secrets. Are you ever afraid that –
LEX
I'll become what I'm fighting?
Clark nods.
LEX
I will never be like him.
CUT TO
CUT TO
INT – CLARK READING ON THE COUCH
as Chloe comes up the stairs.
CHLOE
Great – I was hoping you wouldn't be doing anything.
(takes the book out of his hands)
Come on, we have a mystery to solve.
CLARK
What mystery?
CHLOE
Matt's car. He said I could come over and take some pictures.
CLARK
(reaching to take his book back)
Yes – but that was probably so you'd stop stalking him.
CHLOE
I haven't been stalking him. Persistence is a trait highly valued in journalists. Come on, Clark – I investigate things I just hear about. You don't honestly expect me to ignore something I saw with my own eyes?
CLARK
You didn't see anything strange happen. I was there too, remember? It was noth-
CHLOE
You were there too – that's why I don't understand you not wanting to find out what happened.
CLARK
Because nothing happened. You're just frustrated over the scoreboard and need a project to take it out on.
Chloe turns away, tense and uncertain. Then she decides and spins back around.
CHLOE
Where did you go?
CLARK
Go? When?
CHLOE
Last night. Right before the car stopped, I turned around and you weren't there.
CLARK
What are you talking about?
CHLOE
You weren't there, Clark – and a second later, you were!
CLARK
Chloe, that – that doesn't even make sense. I was standing right beside you the whole time.
Chloe gives him a look of stunned disbelief.
CHLOE
You're lying to me. You are actually lying right to my face.
CLARK
Where could I have gone in one second? Chloe – Chloe, come on, why would I lie to you?
CHLOE
(near tears)
I don't know! I put up with it, Clark, all of your mysteries, all your walls, all your 'this far and no further' signals. I make jokes and I don't ask questions because you're my best friend in the world and I can't – I can't imagine living without you.
CLARK
Chloe…
CHLOE
But it can't go on forever. I can't take it. Sooner or later – something is going to have to give.
ANGLE ON CLARK
as he watches her exit swiftly.
CUT TO
EXT – THE PRAIRIE INN, A SMALL ROADSIDE MOTEL – EVENING (DUSK)
INT – A CLOSE, SHABBY ROOM
with only a small table beside the bed. A laptop computer and a mini-tape recorder, as well as several unidentifiable electronic devices are on the table. Tom sits before the computer, with a cell phone at his ear.
TOM
Get me copies of the blueprints for the LuthorCorp Fertilizer Plant Number 3, Smallville, Kansas….
(evenly responding to the person on the other end of the line)
Obviously that's where I am…. I don't know. Perhaps another week or so. Overnight the plans to PO Box 48B…. Don't be silly, old man. When have I ever done anything illegal?….
(raises an eyebrow)
You can't prove that, and you know it. Save the lecture. I have to go. I'll contact you again soon.
He folds the phone and sets it on the table. Pulling the chair up he types at the computer, inputting a search for 'Clark Kent'. An article detailing Lex's accident comes up. Tom nods as he reads.
FADE OUT
END ACT ONE
ACT TWO
Clark and Jonathon are unloading feed from the truck bed into the barn
CLARK
But what could I do? They would have crashed – maybe been killed.
JONATHON
You did the right thing, Clark.
CLARK
There was no time, no way to hide that I had been gone for a second. Chloe knows something happened, she just can't figure out what. How could she?
JONATHON
I think right now, you should just be grateful for that.
CLARK
Grateful that I have to lie to my friends? That I'm something so different from them they can't even imagine it? That there's never going to be a time when I can tell them the truth?
JONATHON
Grateful you were able to keep Matt and Angela from being hurt. That Chloe will never find herself stuck where you are – between your secret and what's best for the people she loves. I'm sorry, son, but you're being selfish.
CLARK
It's selfish to wish I didn't have to lie? I feel like I'm betraying her, Dad. She was so hurt…
(beat)
And I'm afraid.
JONATHON
Of what?
CLARK
What kind of person I'm going to be if I have to lie to everybody all the time. What was it Grandpa Hiram used to say? Even a little white lie blackens your soul.
JONATHON
I know it seems like it should be clear cut, that you should be able to draw a line between right and wrong – but it's not that simple all the time, Clark. You just have to trust yourself to know. It may be that you can do more good by doing a little bad every now and then.
CUT TO
INT – KENTS' KITCHEN – EARLY EVENING
as Clark enters. Martha is cleaning vegetables in the sink and Lana stands nearby
CLARK
Hi, Lana.
LANA
Hey, Clark. I'm being pathetic. Nell's in Metropolis until tomorrow and I needed some company.
CLARK
(grinning)
Staying for dinner?
LANA
Well…
She looks back and forth between he and Martha.
MARTHA
Of course, she is.
LANA
No, I shouldn't…
MARTHA
We're already having company. One more is no trouble. Why don't you guys set the table?
CUT TO
ANGLE INTO THE DINING ROOM
where Clark and Lana are finishing the table settings. There is a knock at the front door.
MARTHA
(starting towards the door)
Clark, would you get your father? Tom's here.
CLARK
Sure, Mom.
ANGLE ON KITCHEN
Martha returns leading Tom into the room. Jonathon turns from washing his hands at the sink to greet the young man. The atmosphere is warm and friendly with everyone crowding into the kitchen. Tom stands off to the side.
MARTHA
Tom, this is Lana Lang. She's our next door neighbor.
LANA
Pleasure to meet you, Tom.
Tom smiles and nods a greeting to her.
JONATHON
Well – let's eat.
Everyone moves to the table. Clark and Lana on one side, Tom across from them and Jonathon and Martha at each end. They begin passing dishes around.
MARTHA
How are things with Mr. Reilly, Tom?
TOM
Quiet.
JONATHON
That's probably a good thing, knowing Bill. I imagine it's pretty heavy work. He's had to let a lot of things go over the last few years.
TOM
I like hard work.
CLARK
How did you end up in Smallville?
TOM
Working my way across the country.
LANA
Where are you from?
TOM
New York City.
There is a pause as they wait for him to go on, but he doesn't. Martha and Jonathon exchange a look.
MARTHA
(casually)
Why'd you leave?
TOM
The city can be an ugly place.
CLARK
What about your family, Tom? Are they back in New York?
TOM
I don't have a family.
MARTHA
Now come on, everyone has family – even when we don't want to admit they're related. I've got a cousin who –
TOM
I don't have a family.
CLARK
Not even parents?
TOM
My parents were killed several years ago.
MARTHA
Oh, I'm so sorry, Tom.
TOM
It was a long time ago.
Everyone's plate is full and Tom lifts his fork to dig in, then notices everyone else has lifted their clasped hands. He puts down his fork and bows his head slightly along with the others. The camera pans around the table as they say grace, resting on Clark when Jonathon says "light" and Tom when he says "dark".
JONATHON
Bless us, O Lord, and these thy gifts which we are about to receive. Look over us and guide us through the trials of our lives, through both the light and the dark, that we may always do our best to do right. Amen.
They begin to eat.
CUT TO
EXT – KENTS' PORCH – NIGHT
Clark, Lana and Tom are ranged around.
TOM
You know, Clark, I couldn't place your name when we met, but I knew I'd heard it before. I read about an accident you were involved in with Lex Luthor a couple of years ago?
CLARK
Oh, yeah. I was just in the right place at the right time. Lex's car went out of control on a bridge and he was trapped underwater. What do you do when you see something like that? So, I just dove in after him.
LANA
Lex almost seems to have a complex about that.
CLARK
(embarrassed)
He does not.
LANA
I've heard him talk about how Smallville changed his life twice. The meteor shower, and you saving his life.
TOM
You're both friends with him?
LANA
Well, I got to know him through Clark.
TOM
(smiling easily)
I don't think I would have pegged you for hanging out with multi-millionaires, Clark. What's the meteor shower?
CLARK
Thirteen years ago the town was hit by a series of meteor strikes.
TOM
'Meteor Capital of the World'. I thought it had to mean something from a long time ago, but that's – do you remember it?
Clark looks at Lana, who takes a deep breath.
LANA
Yes. My parents were killed that day. It happened right in front of me.
TOM
(looks away, a shadow covering most of his face)
That must have been a terrible thing to see.
Lana nods sadly as Clark looks at her, shaken by his sorrow and guilt.
TOM
(looks around the farm)
Such a pretty, quiet little place – I envy you a home like this.
CLARK
It must seem pretty sleepy to someone from the big city.
TOM
It seems … safe.
LANA
(laughs, trying to recover)
You'd be surprised.
Tom turns a hard, impassive stare on her and her smile fades under it.
TOM
It should be safe. Someplace should be. (stands)
I've got to get going. Thank your parents for me, Clark. Good night.
Clark and Lana watch him go down the steps and Clark gives Lana a worried look.
CLARK
I'll be right back.
Clark moves to catch Tom by his dusty black sedan.
CLARK
Tom –
(beat as Tom looks at him)
I just wanted to tell you… well, it may not look like it, but I know what it's like to be alone in the world so, if there's ever anything on your mind that you want to talk about –
TOM
I doubt you'd like – or understand – the kinds of things that are on my mind, Clark.
Tom gets into his car and pulls out as Lana comes up behind Clark.
LANA
Is it possible for a lost soul to come to Smallville and not end up here?
They start walking towards Lana's house.
CLARK
I don't know – he doesn't seem so lost to me. Mysterious maybe, but not lost.
LANA
That could be a description of you, Clark.
CLARK
Not these days. These days I'm pretty confused.
LANA
(sympathetically)
Chloe stopped by to talk to me after she'd been over here yesterday.
CLARK
How mad is she?
LANA
You might want to look into a bulletproof vest.
CLARK
Are you – ?
CLARK
Easier to maintain neutrality without hearing the two sides?
LANA
Much.
They arrive at Lana's, climbing the steps and pausing on the porch.
LANA
You'll work it out, Clark. No one could stay mad at you for long. You're the best person I know.
CLARK
I'm far from perfect.
LANA
I didn't say perfect – I said best.
Lana smiles and squeezes his hand, then goes in. Close on Clark.
CUT TO
EXT – REILLY'S FARM – DAY
Tom working with the chainsaw to cut down the fence, observing a car that passes, going to the plant. Starts to go back to work. Stops, looks around carefully to make sure he's alone. Sets the chainsaw down. Strips off his shirt, stepping back from the fence. Takes a deep, controlled breath – then lashes out with a tightly executed punch that splits the top rail in half, followed by a quick kick that shatters the second rail. Moving in an efficient turn, his elbow takes out the next section's top rail and a chop splinters the second. Coming back in a pivot, his foot chops the upright pole in half with a powerful kick, the top piece of the pole spinning through the air and slamming to the ground – at the feet of Chloe, in jogging gear, with headphones down around her neck.
CHLOE
Everybody was kung-fu fighting. Where'd you pick that up?
TOM
(moving past her to grab his shirt off the ground)
Just a hobby.
CHLOE
Hobby? That looked like black belt style to me. Most impressive. Hi – I'm Chloe Sullivan. You're Tom, right? I'm a friend of Cl – Lana Lang's. She said she met you last night.
TOM
(pulling his shirt on, shaking his head)
The small town grapevine really takes some getting used to.
CHLOE
Doesn't it? When I first moved here from Metropolis, in two days every person I met knew my name. Kinda makes you feel like you're being watched all the time, but it's really just that so little happens, a new arrival is Big News.
TOM
Sullivan? You're the one who writes for the high school paper. What's it called, the –
CHLOE
Torch – you've heard of the school paper?
TOM
It has an … interesting reputation around town.
CHLOE
And the grapevine continues to be my friend. I'll just move along then…
TOM
No, I think it's very intriguing.
(laughs at her dubious look)
Really. You wouldn't believe some of the stories I've heard driving cross country. There are all sorts of weird things out there. Maybe you could tell me some of Smallville's secrets.
CHLOE
(realizing she's being hit on)
Oh, um, you know – why not? Yeah, sure I could. Just, give me fair warning when you start to think I'm a freak.
TOM
I promise.
CHLOE
Okay, well, let me finish my run – can you meet me at the school in two hours?
TOM
That sounds good.
Chloe, smiling, jogs off. Tom watches her and his smile fades, replaced by a dark stare. He turns swiftly and strikes the remaining upright pole, cutting it in half.
CUT TO
INT – LEX'S STUDY
Lex sits at the desk as Lionel comes bursting in.
LIONEL
If you ever lie to me to get me down here again –
LEX
I thought it more prudent than transmitting the truth in any way. And under the circumstances I could not afford to leave Smallville to come to you.
LIONEL
What circumstances?
LEX
It took a long time, Dad, a long time before I understood why you put me here and why, at the first signs of my independence, you tried to jerk me away. And I've spent a couple of years now, twisting in the wind, positive every move you made was personal – about you and me. I should have known better.
Lionel moves away, going to pick up a foil from its holder on the wall, hiding a secret smile from Lex.
LIONEL
And now you think you do? Know better?
LEX
Yes.
LIONEL
I'm waiting. Dazzle me with your deductions.
LEX
I have no intention of dancing for your amusement. It has to stop. Now.
LIONEL
Or what?
LEX
Or this town is going to be destroyed – and LuthorCorp along with it.
LIONEL
That's rather hysterical, son. And I thought you prided yourself on your control. But then Smallville does have a way of – changing a person, doesn't it? You've no problem manipulating lives through layoffs and market shares but get a little close and suddenly you're squeamish? Do you see now why personal attachments are dangerous? Resources were made to be exploited, Lex.
LEX
Don't patronize me. I'm aware of that and I have no objection to it – as long as it doesn't threaten the company at large. You're moving too fast and too obviously – if you weren't your labs wouldn't have been discovered. At least you had enough caution not to set them up in Metropolis.
(calmly notes Lionel's expression)
Surprised I know about that? You barely kept it from being public knowledge, did you honestly think I wouldn't find out?
LIONEL
Lex, you can't even see what's right under your nose or you'd have put together my interest in Smallville much earlier. Of course, I knew you'd be too busy fighting me to pay attention.
LEX
(seething)
Well, now I have no choice but to work with you. You've put my future in jeopardy. I've been pursuing my own investigation into these matters…
LIONEL
Yes, I know all about Cadmus Labs and your Dr. Hamilton.
LEX
If you knew and were interested – why didn't you tell me? We've both been wasting our time when we could have been pooling our knowledge.
LIONEL
(flexing foil)
We'd have to trust each other for that.
LEX
(seizes Lionel's wrist)
You're right. I don't trust you and you don't trust me. Our whole relationship is built on lies. But this is too dangerous – we can't be fighting each other over it or we'll both go down. You have to stop until we know what we're dealing with!
LIONEL
I am fully aware of what we're dealing with – even if you are not.
LEX
It's wrong!
LIONEL
There it is – I was waiting for it. Don't try to tell me this is about business. Your conscience is your weakness. It's why I'll never really have to worry about you threatening me – just like I don't have to worry now. You won't do a thing. You said it – we can't fight each other over this or it's the end of LuthorCorp. And as much as we might like to see each other destroyed – there's not much point if the prize is obliterated in the process. Is there?
Lex can only stare at him in impotent rage.
FADE OUT
END ACT TWO
ACT THREE
EXT – SMALLVILLE HIGH – DAY – ESTABLISHING SHOT
CUT TO
INT – TORCH OFFICE – DAY
Tom and Chloe stand before the Wall of Weird, many of Chloe's files spread around them. Tom half sits on one of the desks, contemplating the many articles and pictures very seriously, one file open in his hand.
TOM
So, it all began with the meteor shower in '89. And it's the fragments, the meteorites, that are causing the… mutations?
CHLOE
Near as we can tell.
TOM
We?
What hasn't anyone official taken an interest in this? Scientists, the government… business? You mean to tell me LuthorCorp doesn't know about the strange properties of these rocks?
CHLOE
Actually, we found out a while back
(she searches for a particular file, pulling it out from under several others)
that LuthorCorp was running secret experiments on crops using an extract from the fragments.
She hands Tom the file and sits beside him as he opens it.
CHLOE
And I wouldn't be half surprised if LuthorCorp has found some way to keep anything having to do with that – or the fragments, out of the way of the authorities.
TOM
This is really impressive, Chloe, how much you've got on these phenomena. You're my kind of girl, very – thorough.
CHLOE
It's about time somebody noticed.
Clark enters, Tom and Chloe look up. There is an awkward silence.
CLARK
Hey, Tom. Chloe, I was… looking for you.
CHLOE
I'm busy.
TOM
(stands)
No – I've got to get back to work.
CHLOE
Don't – can't you stay a little longer?
TOM
I wish I could. Thanks, Chloe.
(nods as he passes)
Clark.
Tom exits, Clark and Chloe just look at each other.
CLARK
How, um – how'd you meet Tom?
CHLOE
(turns away to clean up files)
Weirdest thing – I was out running and saw him working out or something. He was taking an old fence apart with his bare hands.
CLARK
Really? Like how?
CHLOE
Karate, I guess – I don't know. What do you want, Clark?
CLARK
Just to – talk. See if we couldn't get past this.
CHLOE
I don't think so. Not right now.
CLARK
Is time going to help? I'll back up, or wait, or – whatever will make things better. Just tell me.
CHLOE
I don't know. Maybe time. I don't know.
CUT TO
EXT – PRAIRIE INN – EVENING (DUSK)
ANGLE ON PARKING LOT
Clark, in the truck, pulls in next to Tom's car. Gets out and goes Tom's door. Knocks.
Tom opens the door.
CLARK
Hi. I just thought I'd drop by and see how you're doing.
TOM
Thanks. I'm fine. I'm pretty busy right now, Clark, so –
CLARK
I don't want to sound like a big brother or anything, but about Chloe…
TOM
You've got nothing to worry about, Clark. I'm not going to be in Smallville much longer.
CLARK
Oh, because –
Inside the room a cell phone rings.
TOM
Sorry, Clark.
He shuts the door in Clark's face.
CUT TO
The plans of the LuthorCorp plant are tacked up on the wall, alongside photos of the guard station, Lex's car, Lex's house, and Lex.
TOM
Did you get the car?… Good. No time to talk now, old man. I've got work to do.
He hangs up.
CUT TO
EXT – OUTSIDE OF TOM'S ROOM
Clark frowns at the closed door. Hesitates a moment, then peers through the walls. He sees the blueprints and photos, and Tom putting some things into a backpack. Clark runs for the truck.
CUT TO
EXT – THE ROAD LEADING TO THE LUTHORCORP PLANT – EVENING (DUSK)
A black sports car races down the road.
ANGLE ON THE LICENSE PLATE
which reads Metropolis, LEX.
ANGLE ON GUARDS
as they scramble to get the gate open when they recognize the car. The car zooms through and pulls around as far from the guard house as possible.
ANGLE FROM THE GUARDS' POV
a figure can be seen getting out of the car, but only in silhouette. The guards turn back to their conversation.
ANGLE ON FIGURE ENTERING PLANT
It is Tom. He has an ID badge to operate the electronic lock. Carefully he slips in.
CUT TO
Clark streaks up, looking over front of plant. He sees Lex's car, no signs of any trouble, so he begins a circuit around the plant towards Reilly's farm.
CUT TO
INT – PLANT CORRIDOR
Tom is moving quickly along it, silent and keeping to the shadows. A guard walks by on patrol, but Tom has disappeared into an alcove. As the guard passes, hands reach out and grab him, quickly knocking him out and dragging him back into the shadows. Tom continues down the hall, turning a corner. He looks up, jumps and catches a pipe, pulling himself up on top of it so he can reach the ceiling tiles. He lifts one and disappears into the ceiling.
CUT TO
INT – CEILING CRAWL SPACE
Tom finds the wires on the camera in the room below and wires one of his electronics into it.
CUT TO
INT – FILE ROOM
A ceiling panel moves and Tom lowers himself into the room. Turns to look at camera high in the corner.
CUT TO
INT – SECURITY GUARD MONITORING STATION
ANGLE PAST A GUARD'S FEET
on the desk showing the bank of security monitors. The file room still shows an empty room.
CUT TO
INT – FILE ROOM
Tom searches the cabinets, finding one that is locked. Brings out a lockpick and opens it. Begins searching through files.
CUT TO
INT – CORRIDOR
A guard grumbles as he stalks down the hall. He raises his radio.
GUARD
Jalnak, when I find you sleeping in the john, I'm going to fire you.
Making perfunctory glances in between the machinery he spots something and moves closer. Reaching into the shadows, he pulls out Jalnak's unconscious body. Jerks his radio up to his mouth.
GUARD
Alarm! We have an intruder!
CUT TO
INT – PLANT FILE ROOM
Tom looks up as an alarm shatters the silence. Swiftly he shuts the drawers he was searching, obviously frustrated that he hasn't found what he's looking for. Moving to the door, he slips out, but three guards emerge into the corridor. Tom attacks from the shadows. The guards get a few shots off before he takes them down with quick spinning kicks and tight punches. Then he runs.
CUT TO
EXT – PLANT
Lex pulls up, getting out and going to examine the duplicate of his car. Several Guards are in attendance. Guards inside can be heard talking over the radios.
GUARD 2
There was a sighting but they've lost him. The plant is locked down though. No one could get out.
CUT TO
EXT – THE FAR SIDE OF THE PLANT
Clark streaks up and X-rays to see what's happening inside. Guards are searching along corridor, while one bends over unconscious men Tom left behind. Clark moves around quickly, searching for Tom. Reaching the corner of the plant, he spots Tom going over the fence surrounding the plant. Clark streaks off. Tom drops over the far side of the fence. Straightens and turns to run. Clark steps out in front of him.
TOM
Clark? What are you doing here?
CLARK
Trying to find out what you're doing. Why did you break into the plant? What do you want with Lex?
TOM
Stay out of this. It doesn't concern you and I don't have time to –
Tom turns to go, but Clark stops him with an iron hand on his arm.
CLARK
You're targeting my friend. It concerns me.
TOM
All right. Let's talk.
Clark releases him, ready to listen. But the instant he is free, Tom attacks Clark with a powerful kick. Clark throws him easily to the side. Tom lands heavily, obviously shocked, but rolls instantly to his feet and launches again. Slow Motion, on his contact with Clark, who again deflects him with a mere gesture. Tom jumps up again, staring at Clark, his eyes calculating.
TOM
It's done something to you, hasn't it? Are you what they're trying to turn people into?
CLARK
I don't know what you're talking about.
Almost before he finishes, Tom attacks again. This time he's ready to be deflected and spins with it to land on his feet.
TOM
That's what I'm talking about. That – and these little green rocks.
Tom pulls a chunk of meteor fragment from his pocket. Clark winces slightly.
TOM
They do something to people – change them. LuthorCorp was running human experiments in my city. I came to find out what they're using.
(he notices Clark swaying, frowns)
Is this why you're protecting Luthor? Did they make you with this?
Tom thrusts the rock toward Clark who nearly doubles over. Tom looks at the rock, at Clark – then steps back and slowly pockets the rock. Clark recovers.
TOM
What are you?
Their eyes lock for a long, tense moment.
CLARK
I'm Lex's friend. Even if what you say is true – this isn't the way to fix it. Come with me, we'll talk to Lex…
TOM
Lex is part of this!
CLARK
No, he isn't. He couldn't be.
TOM
I don't expect you to believe me. The truth doesn't fit into your perfect little world.
CLARK
Why should I believe you over my friend? All I know about you is you just committed a crime. You could be some revenge-driven psychopath blaming LuthorCorp for something they didn't even do. But I'm willing to trust you far enough to try to find out what's going on. If you can trust me.
TOM
(hesitates)
I can't afford to.
(he holds up the meteorite)
Don't follow me.
Tom backs up and then turns, running to disappear into the night.
END ACT THREE
ACT FOUR
FADE IN
EXT – LEX'S MANSION – NIGHT – ESTABLISHING SHOT
INT – LEX'S BEDROOM
Lex asleep in his bed. A shadow covers him, then utter blackness. He wakes, struggling, a black gloved hand over his mouth.
TOM
Time for a little truth, Luthor. Get up!
Tom drags him up, forcing him across the room in a tight hold.
LEX
Who are you? What do you want?
Tom throws him across to slam into the dresser, above which crossed swords hang.
TOM
I'm nobody – just like the people you've killed!
Lex seizes one of the swords and attacks with great skill but Tom dodges and comes up with a kick that knocks Lex flying. He climbs to his feet, sword out. Tom advances on him, his face dark and dangerous, completely unafraid of the weapon. He stops just outside the sword's reach.
LEX
(breathing hard)
I don't know what you're talking about. I haven't killed anyone.
TOM
I saw them, Luthor! I saw them with my own eyes! You cleaned it up, swept it under the rug – but I know.
Tom feints and delivers a kick that knocks the sword out of his hand. He leaps on Lex and they go down, grappling. Lex gets in a punch to Tom's face. Tom throws him violently back to slam against a wall. Tom advances on him slowly. Lex tries to get around him, but he seizes Lex and locks him in a painful hold.
TOM
You've just met somebody who can't be paid off or intimidated or made to disappear. All your political connections, your spin doctors, your money – all that makes you think you're protected, that you can do anything you want –
(he forces Lex down, twisting his arm viciously)
None of that means anything to me. None of it can stop me. I will make you answer for your crimes.
CUT TO
Clark streaking up to the gate. Finds two unconscious security guards. Leaps over gate and races to the house. Streaks to Lex's room, bursting in to find Tom binding Lex to a chair.
CLARK
Let him go!
LEX
Clark – get out of here!
Clark takes one step toward them. Tom lays a hand on Lex's neck. Clark stops.
CLARK
Tom – this isn't the way to stop whatever's happening here.
TOM
This is the only way to stop it. Lex is going to tell me everything I want to know – or he'll suffer the fate LuthorCorp has laid on others.
Tom holds up a glass vial filled with green dust.
LEX
I don't know what you're talking about.
CLARK
(unable to move closer with the threat of the meteor dust)
Listen to him, Lex. Tom thinks LuthorCorp has been running human experiments -
TOM
I don't think it – I know it.
(pulls out file and tosses it to Clark)
That's evidence from the lab I found – a LuthorCorp lab –
(holds up vial)
using this. The meteor fragments.
LEX
You're out of your mind.
TOM
Then I'll break this vial, let the dust into the air and we can see how it affects you. Or do you want to tell me the truth?
Lex looks at Clark who is going through the file quickly. CU on reports, people's photographs clipped to them, then larger photographs of these people mutated – glowing, deformed, having seizures. Clark meets Lex's gaze.
CLARK
(taking another step toward them)
Lex isn't LuthorCorp. If he says he didn't know – he didn't.
TOM
(jerks vial at him)
Are you ready to take this risk for him, Clark? Are you sure you're such good friends that there are no secrets between you?
Reaction shots – both Clark and Lex.
TOM
Think about it. This is the only place the fragments come from. And out of all LuthorCorp's vast global empire, Lionel Luthor's only son just happens to be tucked away in this small town. It's too much of a coincidence.
This logic shakes Clark for a moment.
CLARK
Lex? Did you know about this?
LEX
No. Not until a few days ago. I had no idea.
(to Tom)
It's my father.
TOM
Then your father is making monsters out of people.
LEX
He's good at that. Look, this isn't something you can stop on your own. The experiments have been shut down –
TOM
I know. Where's the data?
LEX
It's been destroyed. Look this isn't something you can stop, especially now that there's no evidence. But I can, from the inside.
CLARK
We can find a way to stop the shipments of meteorites now that we know. I know Smallville and Lex knows his father. You're going to have to trust us to take care of this.
Clark and Tom share a long look. Tom looks at Lex and back to Clark. Sirens suddenly sound as police cars approach. Clark and Lex look through the open balcony doors towards the sound.
LEX
You must have missed the silent alarm. Go -
(he turns, but Tom is gone)
now…
Clark and Lex look around, but they are alone. Surprised looks from both. Clark moves to release Lex.
CLARK
Who was that masked man?
LEX
Hi Yo Silver.
CLARK
Are you all right, Lex? I mean, about your father? About all this?
LEX
So much makes sense now. He put me here, knowing I'd hate being banished to what I perceived as a dead end. I thought it was because he felt that here I'd have no power, but it was because he thought I'd have no interest. That I wouldn't pay attention – and he could do what he wanted.
(looks at Clark)
But he hasn't accounted for how I was changed.
CLARK
We have to find a way to stop him.
LEX
I don't want you involved in this, Clark. My father is a very dangerous man. He'll stop at nothing to carry out his plans.
CLARK
He wouldn't hurt his own son, Lex.
LEX
(flashing red lights play on the walls, lighting his face as the police cars pull up outside)
He'll stop at nothing.
(beat)
But neither will I.
CUT TO
EXT – SMALLVILLE HIGH – DAY – ESTABLISHING SHOT
CUT TO
INT – TORCH OFFICE
Chloe is working at her computer. Clark enters.
CLARK
I just have to check on that assignment.
CHLOE
Go ahead.
Clark crosses to an upright file and flips through it. He glances at Chloe who steadfastly keeps typing.
CLARK
You're right – sometimes there are things I can't tell you.
Chloe's hands stop. Clark comes closer.
CLARK
You know what's weird about being adopted? You can't help but feel like there's all this stuff missing inside you, all these things you'll never really know about yourself. There are parts of me that are a complete mystery, things even I don't understand. So if it seems like I'm keeping things from you, Chloe – it's only because I let you see those gaps in me. I know I don't have to hide them from you. Because our friendship can take it. Or at least I always thought it could.
He waits for a beat, and then turns for the door.
CHLOE
(stands)
Clark –
He turns back to her.
CHLOE
We can take it.
CUT TO
INT – DAY – FORTRESS OF SOLITUDE
Clark is reading a news magazine in the open loft. Looks up when he hears a car pull in. Sees a dusty black sedan parking. Tom gets out. Turns to see Clark. Moves towards the barn.
ANGLE ON TOM COMING UP STAIRS
TOM
I needed to know what you told the police.
CLARK
Just that there had been an intruder and he must've been scared off by the sirens. They're probably still looking for you though. I thought you'd already left.
Tom doesn't reply, just goes to the opening and gazes out. Jonathon and Martha can be seen in the field beyond.
TOM
This is … really beautiful.
CLARK
(coming to stand beside him)
Yeah, it's truly the world's finest view.
TOM
You're very lucky.
(looks at Jonathon and Martha)
Very lucky.
CLARK
I know. Things could have been very different if they hadn't been there for me.
TOM
I wasn't going to hurt Lex, unless he made me. I wasn't sure if he was involved – but I needed to scare the truth out of him.
CLARK
Fear's not much of a way to go after truth.
TOM
Fear works.
(beat)
I won't forget this, Clark. I don't … get to know very many people, and not very many people get to know me.
CLARK
Why?
TOM
I have … things I have to do, things only I can do. And if people knew who I was – I wouldn't be able to do them. That probably doesn't make any sense to you.
CLARK
No – it… does, make a lot of sense.
(falls silent)
I guess that means you're not going to tell me who you really are.
TOM
Are you going to tell me what you really are?
CLARK
(hesitates)
You wouldn't believe me if I did.
TOM
Same here.
CLARK
You could at least tell me your first name. It doesn't seem right to have a friend whose name I don't even know.
There is a long pause.
TOM
(facing him)
Bruce.
CLARK
(holds out his hand)
Take care of yourself, Bruce.
TOM
(shaking his hand)
You too, Clark.
ANGLE ON THE TWO OF THEM FRAMED IN THE OPENING OF THE LOFT, HANDS CLASPED
Then Tom turns and exits. Clark watches him walk out to his car, his hand resting on the open magazine. Camera closes in on a small box article titled "Bruce Wayne – The Absent Heir" A few lines of text can be seen – "Bruce Wayne, elusive sixteen-year-old heir to the Wayne fortune was sighted visiting his native Gotham last month before once again..."
CUT TO
ANGLE ON THE BLACK CAR PULLING OUT ONTO THE ROAD
As it drives into the bloody sunset, a bat flies into the frame, following it.
THE END