ACT
III
EXT. DOWNTOWN METROPOLIS - DAY
Madison speaks to Thugs #1 and #2.
MADISON
Tick, tick goes the clock. Tell me you're getting closer.
THUG #1
We were getting closer.
MADISON
Tick, tick, tick…
THUG #2
We got some leads.
MADISON
TICK, TICK, TICK.
(beat)
I can't believe you can't find one little girl.
THUG #1
It's a big country.
MADISON
But a small world. Find her. Not tomorrow. Today.
TICK, TICK.
INT. SMALLVILLE HIGH SCHOOL
Déjà vu all over again.
Quinn's at the locker, fighting the good fight.
QUINN
(as Clark passes)
I hear sometimes,
(Clark stops)
they can be a little tricky.
QUINN
(she steps aside)
Think you can get it open?
Clark beams.
CLARK
I can try. I've had very good luck with lockers.
This one's actually stuck. But call it Kent charm – or Kryptonian persuasion -
that causes the locker to relent.
Out of Quinn's view, Clark bends back the metal tab he's practically torn off,
fixing it with ease. He steps back, affording her access.
QUINN
(impressed)
Nice hands.
Clark goes near crimson.
Chloe and Pete enter. They exchange looks.
QUINN
(no mystery)
I asked. He helped.
CHLOE
That's our Clark. Always at the ready to help a damsel in distress.
PETE
Let's forgo the gender bias. Clark is equal opportunity. Just ask Whitney. Or
Lex.
CHLOE
Or you.
PETE
The situation was under control.
CHLOE
Yeah, but you were unconscious.
PETE
(your point is?)
And?
CLARK
(okay, time to break it up; to Quinn)
Science?
QUINN
Yeah.
CLARK
C'mon. If you don't mind hanging with the unpopular crowd.
QUINN
I'm new. Like I got options.
EXT. SMALLVILLE HIGH SCHOOL
The Corrupt Cop hands a photo to Thugs #1 and #2. He speaks quietly.
CORRUPT COP
Yeah, I've seen her. She's staying over on Orchard with some suit. And she goes
to Smallville High.
Thug #1 hands the Officer an envelope.
THUG #1
We appreciate your assistance.
The Officer counts the cash.
CORRUPT COP
I appreciate your accuracy.
THUG #2
We'll be in touch.
The Cop drives off.
THUG #2
Home or school?
Thug #1 glances toward the school.
THUG #1
I love the smell of Clearisil in the morning.
INT. SCIENCE CLASSROOM – SMALLVILLE HIGH SCHOOL
A yearbook-picture version of détente on the part of Clark and Quinn.
Chloe and Pete look on. Suddenly, Chloe's eyes brighten as inspiration hits.
No one notices Quinn slip the jewel boxed DVD into Clark's knapsack.
INT. TORCH OFFICE
Pete enters. Chloe's seated at the computer, laser focused on her current task.
PETE
Chloe, you have that look.
CHLOE
(concentrates intensely)
What look?
PETE
The "I'm on a mission and must not fail" look.
CHLOE
(beams)
And fail I have not.
Take a look at this.
Clark enters.
CLARK
(what's going on?)
Uh, guys?
CHLOE
I think we may have an answer.
CLARK
(disbelieving)
A conspiracy website.
CHLOE
All the news that's not fit to print. If you're interested in maintaining
corporate interests.
CLARK
(reads)
"Former LuthorCorp Employee Gunned Down in Metropolis Home. Scientist Norman
Talbot and his wife Arlene were found dead, shot execution style."
PETE
"Surviving daughter MIA."
(beat)
You don't think –
CHLOE
Quinn's Talbot's daughter… It says here Talbot was about to testify in front of
a federal grand jury… Maybe they WPP'd her.
Witness Protection Program.
CLARK
But why put her here in Smallville?
PETE
Yeah, it's a little close to Metropolis. Wouldn't this be the first place
they'd look?
CHLOE
Maybe it was. And she wasn't here. She just got here.
CLARK
Who's to say she hasn't been moving around the whole time?
PETE
That would not be fun.
CHLOE
Not fun? Try the ultimate buzz kill. Unless she's part gypsy.
CLARK
No wonder she was so…
CHLOE
Antisocial?
PETE
Can you blame her? She's probably being hunted by a killer as we speak.
(it dawns on him)
In which case, she's handling it remarkably well.
CHLOE
What can we do?
CLARK
Keep our eyes open. Stick close.
PETE
(to Chloe)
And you might want to apologize.
CHLOE
(weakly)
It wasn't intentional. At least, I don't think it was intentional.
(beat)
I was kinda mean, wasn't I?
Clark and Pete look to each other and then wordlessly to Chloe as if to say
"Duh."
EXT. SMALLVILLE HIGH SCHOOL
Thugs #1 and #2 watch as kids spill from the building. They're joined by THUG
#3.
THUG #3
There!
Quinn exits the school and rounds the corner. The car follows.
Quinn turns, horribly aware she's not alone. She ducks off the main street.
THUG #1
She's not going to make this easy.
The car follows. Stops. Quinn looks around for options. There aren't many – not
unless she can get by the trio.
THUG #1
Remember, he doesn't want her dead. At least not yet.
THUG #2
C'mon, Jen. We don't want to hurt you.
THUG #3
(sing-song)
Unless we have to.
QUINN
(softly)
Bring it.
Thug #3 dives for her. Quinn slides over the car, knocking Thug #2 into a brick
wall.
THUG #3
Oh, you got skills…
Quinn motions a la Bruce Lee. Thug #3 charges. Clearly not a quick study. Quinn
uses his momentum against him.
Two down.
Quinn spins in time to see Thug #1, coming toward her. She doesn't notice he's
holding something behind him.
Instantly, he's on top of her, handkerchief over her mouth. It doesn't take
long for the chloroform to kick in.
Quinn goes limp.
THUG #1
(how could they let her best them?)
"Idiots." Plural of "idiot." Open Webster's – see a picture of the two of you!
Thugs #2 and #3 struggle up.
THUG #1
(disgusted)
Put her in the car.
Clark, Chloe and Pete exit the school in time to see the car speed away.
CHLOE
Since when are fire trucks not trucks?
Clark steels his eyes on the vehicle. X-ray vision reveals an unconscious form
in the back seat.
CLARK
I think somebody just kidnapped Quinn.
(hands his knapsack to Pete)
Call my dad… Call the police.
PETE
And tell them what?
CLARK
The truth.
PETE
(to Chloe)
You may want to leave certain details to the imagination.
Clark runs off.
CLARK
I'll try to get the license plate.
Chloe notices red dirt tire tracks. She breaks out the digital camera and takes
a photo.
CHLOE
I think I know where they're going.
(motions to Pete)
C'mon.
Pete and Chloe head back into the school.
EXT. FIELD
Out of view, Clark turns up the gas. "Speeding," he traces a path parallel to
the car.
INT. CAR
Thugs #1 and #2 appear to be daydreaming. Thug #1's look: good help is so
hard to find.
THUG #1
(too polite)
Excuse me.
(Thugs #1 and #2 turn)
Not to interrupt this clearly reflective moment… But I was wondering… Who's
hauling the package?
Thugs #2 and #3 look at each other.
THUG #2
Rock, paper, scissors?
They do (rock, paper, scissors). Thug #3 loses. He rolls his eyes as Thug #2
gloats.
THUG #3
Got her.
Thug #1 just shakes his head.
INT. TORCH OFFICE
Chloe sits in front of the computer as Pete watches anxiously.
CHLOE
(reads)
Network inaccessible.
PETE
(reads)
System down for maintenance.
CHLOE
Oh, this is not the time.
PETE
What's that mean?
CHLOE
It means I can't get online. Our network servers are unreachable. So much for
MapQuest.
PETE
Plan B?
CHLOE
Would require an analog line.
PETE
Do we have one?
CHLOE
Not here.
PETE
So now what?
CHLOE
We could either waste a bunch of time going to my house and trying to do the
research on a dial-up modem… Or we could just call Mr. Kent and hope between
him and the police, somebody knows where the abandoned Ames farm is.
PETE
Ames farm?
CHLOE
Former planned site of LuthorCorp Fertilizer Plant Number gazillion.
PETE
Do you now where it is?
CHLOE
Ninguna idea. All I know is it's somewhere by a mega meteor strike. I just not
sure which one.
PETE
I vote we call Mr. Kent.
CHLOE
(cell phone in hand)
Dialing as we speak.
INT. ABANDONED FARM
Quinn's tied to a chair. She moans, coming around. Thug #1 blindfolds her.
QUINN
Little late for the blindfold. I know what you look like.
THUG #1
I prefer it. If you don't mind. Rhetorical question.
Don't worry, princess. We just need to keep you here a couple of days.
QUINN
And then what?
THUG #1
If I'm not mistaken, you die.
QUINN
I thought you didn't want to hurt me.
THUG #1
I don't.
QUINN
(cold)
Why wait?
THUG #1
Orders is orders.
QUINN
(dots connected)
Madison.
A tiny gesture of acknowledgement.
THUG #1
(gags Quinn)
On an abandoned farm, no one can hear you scream
(cruelty evident in the action)
but…
EXT. ABANDONED FARM
Clark knocks on the front door, then zips around to the back of the house.
Thug #2 opens the door, gun drawn.
EXT. REAR ABANDONED FARM
Clark pops the back door open. The wood frame yields, splintering.
INT. ABANDONED FARM
Clark steps inside, stealth the main objective. Not braced, he meets the full
force of Thug #3's body weight and slams hard into the wall, leaving a Clark
shaped indentation.
Clark pulls himself from the wall as Thug #3 launches himself at him a second
time. Quinn, hearing the ruckus but unable to see, hops the chair out of the
way, barely in time. She struggles mightily against the ropes as Clark allows
momentum to take Thug #3 and himself down.
Thug #3 atop Clark, Thug #2 approaches. Clark pushes Thug #2 as he grabs for
Clark, sending the bad guy high into the air. He lands dangerously close to
Quinn who reacts, spinning the chair this time as she tries to get a sense of
what the hell's going on. The chair catches on Thug #2, sending Quinn toppling
over him and onto the floor.
Clark flip/tosses Thug #3 into the air, hurling him across the room and through
the door, just barely missing Quinn who's trying to rock the chair up, over,
something.
The chair's old, it's wood, it breaks, releasing the ropes. Quinn seizes the
opportunity, extricating herself.
Quinn feels someone behind her. Removing the gag and blindfold. Her first
look's at the scene before her. Her face: Geez, what happened? She turns.
Clark's standing in behind her. She's puzzled and speechless but glad it's him.
And not wanting to hang around.
Clark offers his hand. She takes it.
EXT. FRONT ABANDONED FARMHOUSE
Clark and Quinn flee the house.
Clark sees the sedan in the yard and gets an idea. He motions to the sedan. He
and Quinn run for it.
QUINN
(peers through the window)
Keys are inside.
(tries door)
But the door's locked.
Quinn shifts her focus away from the vehicle, giving Clark enough time to smash
the window with his arm. Then, a blur of motion as Clark grabs a rock just as –
- Quinn looks up. She sees -
- Clark, rock in hand.
Clark tosses the rock aside, quietly savoring his cleverness.
INT./EXT. SEDAN
Clark and Quinn climb into the car. Clark starts it.
The trio of Thugs walk purposefully toward the vehicle.
Clark's suddenly focused on the raised barrel of Thug #3's gun as he raises it
and fires.
CLARK
Get down!
Quinn ducks.
Clark puts the car in gear.
The Thug #3 fires again.
Convinced Quinn can't see what he's doing -
- Clark catches one, two, three bullets, plucking them gently from the air.
- Deposits the bullets softly onto the vehicle floor.
Clark floors it. The car speeds off, spitting dust as the Thugs look on
helplessly.
To add insult to injury, the police descend en masse.
END ACT III
ACT IV
EXT. KENT FARM - NIGHT
Knapsack in hand, Martha and Jonathan run out to meet Clark.
Clark and Quinn exit the vehicle.
MARTHA
Chloe called.
(hands Clark knapsack)
We were worried sick.
JONATHAN
(re: car)
Nice ride. Assuming you ignore the bullet holes.
(beat)
What happened?
CLARK
Nothing really. A little kidnapping, a little shooting...
MARTHA
Is this…?
QUINN
Trouble?
CLARK
Her name's Quinn.
QUINN
Actually, I used to be Jen Talbot…
(beat)
But that was a lifetime ago.
Martha surveys the area. Jonathan follows her gaze.
MARTHA
We might want to move this conversation inside.
JONATHAN
Good idea.
INT. KITCHEN - KENT FARM
JONATHAN
I think I understand this situation in the abstract…
MARTHA
…But we were wondering
JONATHAN
If you might be able to fill in some of the details… Who knew you were in
Smallville?
QUINN
The FBI – and only a handful of agents – like O'Brien. My "guardian." But they
generally let local law enforcement know.
JONATHAN
There may be a leak.
MARTHA
Somebody in the Smallville Police Department?
Jonathan nods.
JONATHAN
Which means they probably already know you're not where you're supposed to be.
CLARK
Which also means we can't go to the Smallville police with this. You have what
– two days until you have to testify and deliver the DVD?
It's the safest place in town. They'd never look here.
I'll even give up my room.
Quinn considers.
EXT. SAFE HOUSE
The Corrupt Cop waits impatiently inside his squad car.
INT. SAFE HOUSE
Madison, paces, speaking to someone off-camera.
MADISON
You know it's really too bad you couldn't tell me what I needed to know. I was
working on a little quid pro quo…you scratch my back, I don't kill you –
Apparently, the "conversation" was in truth a soliloquy.
Madison steps over O'Brien's lifeless form.
MADISON
Oh well.
EXT. SAFE HOUSE
CORRUPT COP
Did you get anything?
MADISON
Other than the inevitable adrenaline rush that comes with doing my job well and
liking what I do? No.
CORRUPT COP
My sources are drier than a cornfield in a drought. The only thing I've heard
is something about the Kents' kid.
MADISON
The Kents?
CORRUPT COP
Jonathan and Martha. They have a farm on the other side of town, grow organic
produce.
MADISON
How very p.c.
CORRUPT COP
Son's name is Clark. He and the girl had some classes together. I also spotted
them a few days back in town at the Beanery.
MADISON
Oh?
Madison reaches inside his coat. It's clear the Corrupt Cop is expecting
another payoff.
CORRUPT COP
Let me tell you, this is coming none too soon. My old lady –
Madison leans into the car. We hear a small POP. We don't think too much of it
at first. We still don't think very much of it as Madison exits. The Corrupt
Cop suddenly falls forward. He slumps over the cruiser's wheel, a trickle of
blood running from his ear.
INT. CLARK'S ROOM - KENT FARM – LATER
Quinn's asleep in Clark's bed, wearing one of his flannel shirts and a pair of
sweat pants. She shifts, opens her eyes slightly.
Clark's crouched by the bed, watching her intently.
QUINN
Clark? Tell me you haven't been there all night.
CLARK
I could say that…
QUINN
You don't have to –
(beat)
Nobody knows I'm here.
You've already gone way above and beyond… Just when I thought the world was all
wrong… Bad things happen to good people, nothing happens to the bad ones.
Uh, oh, I feel a perspective shift coming on.
(joking)
Damn you. Now get out. Go to sleep.
INT. HALL/ STAIRWAY – KENT FARM
Clark smiles and heads out of the room.
Clark goes downstairs and tries to get comfortable on the couch.
INT./ EXT. KENT FARMHOUSE – LATER
Effortlessly, Madison picks the lock on the back door. He smiles, underwhelmed
by the lack of challenge. Gotta love the small town life.
Madison makes his way through the house on little cat feet.
INT. STAIRWAY – KENT FARM
Madison heads up the stairs.
INT. JONATHAN & MARTHA'S BEDROOM
Jonathan awakens with the barrel of Madison's gun in his face.
Madison puts his finger to his lip and motions to Jonathan to wake Martha.
Jonathan does so, calming her wordlessly.
MADISON
Where is she?
Jonathan leads as Madison holds Martha close.
INT. CLARK'S ROOM
Quinn wakes up.
QUINN
(drowsy)
Clark, I told you –
MADISON
Your boyfriend isn't here.
(waves gun to indicate)
It's just me and Mom and Dad.
Oops, but not your
Mom and Dad.
You know what I want. You give it to me, and we can all just walk away.
Quinn regards him stonily, then:
QUINN
(there's no way she looks that
dumb)
Right.
(beat)
Don't hurt them. Just don't hurt them. They got nothing to do with this.
Quinn rises and in a series of moves that can only be described as near
balletic –
- Pulls a CD from under a book on the dresser.
- Tosses the CD across the room at Madison.
- Dives through Clark's bedroom window.
INT. LIVING ROOM – KENT FARM
The crash jolts Clark awake. He speeds upstairs where he sees –
INT. CLARK'S ROOM – KENT FARM
- Madison standing by the window.
MADISON'S POV
Quinn rolls down the roof and dangles.
BACK TO SCENE
Madison turns, gun leveled. Clark starts for him, but is stopped by Jonathan.
MADISON
Smart boy.
Madison heads out of the room.
Martha exhales. Jonathan's visibly relieved. Clark isn't quite sure how to
respond.
EXT. KENT FARMHOUSE
Quinn jumps. She plucks herself from the ground to in time to see Madison -
MADISON
(tosses CD; it lands at her feet)
Nice try. Remy Zero...
- and Clark suddenly standing between them.
CLARK
I'm not going to let you hurt her.
MADISON
I don't want to hurt her. I want to see her dead.
QUINN
Clark, please. Go back into the house.
CLARK
(quietly)
Quinn, the man has a gun.
QUINN
And what are you going to do?
(beat)
You have people who love you – and I've got nothing to lose.
Quinn sidesteps Clark, simultaneously stepping hard on the grass. A pitchfork
handle rises from the ground like magic from the grass.
It's not "superspeed," but it's fast and nicely executed. Quinn twirls the
pitchfork, and with a WHOOSH, knocks the gun from Madison's hand.
Quinn twirls the makeshift bo again. The wooden handle SWOOSHES through the air
with power and inexorableness.
Quinn taunts Madison with the fork edge.
Madison goes to reach for the gun, then suddenly launches himself at Quinn.
Quinn twirls the pitchfork and swings for the cheap seats.
Every ounce of hatred, fear and guilt is focused in a nanosecond.
Quinn connects – and how. The force of the impact lifts Madison off of the
ground. He lands hard.
Quinn turns away. She doesn't notice Madison reach for the gun. But Clark does.
QUINN
(Clark grabs the gun, tosses it far, and pushes Madison's head to the ground,
rendering him unconscious)
When you got nothing to lose, it frees you up.
Quinn looks to Clark who's standing right by her. She tosses Clark the
pitchfork. She walks blithely over to a bale of hay, digs around.
Clark watches her with respect – and amazement. There's a lightness to Quinn
that we haven't seen since that moment with her father.
Curious, Clark steels his eyes and zeroes in on the object of Quinn's hay hunt
- the jewel box with the DVD.
CLARK
A little to the right.
Quizzical expression donned, Quinn turns to Clark.
CLARK
(covering)
Maybe?
Quinn turns back to the hay and, what do you know, extracts the DVD.
Martha and Jonathan appear and take note of the unconscious Madison. They
exchange glances with Clark who gestures "it's all good."
The sun appears on the horizon. Distracted, Quinn pauses, and finds in spite of
everything – or perhaps because of
everything –she's still capable of savoring the simple beauty of a sunrise.
The DVD incident is temporarily back-burnered as Quinn turns to the Kents.
QUINN
Are you hungry? I am ravenous.
JONATHAN
(re: Madison)
I'll call Harlan.
QUINN
I could make some waffles. I haven't had waffles in a long time.
Quinn heads back to the house. Martha and Jonathan follow.
QUINN
Mrs. Kent, do you like waffles?
MARTHA
Waffles sound great.
QUINN
Mr. Kent?
JONATHAN
Color me a former pancake man.
Clark regards Madison. Sure Quinn is out of view, he's off like a shot,
returning instantly with rope.
Madison's secured to the porch roof support in a blink.
Quinn pokes her head out the window just as Clark finishes the last knot.
QUINN
(can't see what he's really up to)
Clark? What're you doing?
CLARK
(not exactly a lie)
Tying up some loose ends.
The explanation works for Quinn.
QUINN
Tell me you're a waffle man.
Like father like son. And equally as unflappable in his conviction.
CLARK
(now he is)
I'm a waffle man.
EXT. METROPOLIS CEMETARY – DAY
Chloe, Pete and Clark stand in the b.g., watching patiently as Quinn visits her
parents' gravesite.
A few FBI TYPES hover almost beyond view.
The quartet walks across the cemetery. Quinn searches for O'Brien's plot, finds
it and places a flower.
INT. HALLWAY – METROPOLIS COURTHOUSE
Quinn's wardrobe reveals a young woman somewhere between what was and what will
be. She wears the Petiteau locket.
CLARK
Quinn,
(takes locket in hand)
that's beautiful.
Clark realizes the forwardness of the action. He draws his hand back abruptly.
Quinn soothes him with her words.
QUINN
(it's okay)
My father gave it to me.
(beat)
You probably think I'm one egg short of a dozen. Living in the past…
CLARK
I've actually said sometimes you have to let go of the past to move forward…
But that's –
QUINN
- my heritage.
(recites)
"A professional and entrepreneurial class known as the bourgeoisie emerged in
19th Century France effecting a transformation of the social classes that was
equaled only by the dramatic physical changes in Paris itself."
The locket's based on an original drawing from a French jewelry house.
(unapologetic)
I am my father's daughter. He never wanted me to forget where we came from and
where we were going.
Corny, huh?
CLARK
(considers)
No. No, I don't think it's "corny" at all.
INT. COURTROOM - METROPOLIS COURTHOUSE
Clark, Jonathan, Martha, Pete and Chloe sit in the gallery.
PETE
I can't believe all this's coming out about Level 3.
CHLOE
I'd like to see Lionel Luther try to spin Grand Jury testimony.
BAILIFF
Do you swear to tell the truth, the whole truth, and nothing but the truth so
help you God?
QUINN
I do.
Quinn testifies.
DISSOLVE TO:
Quinn hands the Bailiff the DVD.
DISSOLVE TO:
INT. HALLWAY – METROPOLIS COURTHOUSE
Quinn stands, clearly among friends. Lex appears.
LEX
Quinn Donahue…
(extends hand)
Lex Luthor.
(Quinn ignores it; Lex withdraws his hand)
Yes, I do suffer by comparison. All I can say is I'm not my father. Just ask
Clark.
I have the deepest sympathy for your loss.
I understand you're on her way to being a top scientist at Cadmus Labs.
(how?)
I know people.
(beat)
Undoubtedly in the genes.
(eyes Lex-Luthor-twinkle bright)
Unless you decide to become an ultimate fighter.
I wish you all the best.
Lex exits.
JONATHAN
Did we miss something?
MARTHA
Apparently.
CHLOE
(to Quinn)
What's up next?
QUINN
Now that Madison's out of the picture and the contract's been canceled? That
sounded sooo nice… I think I'll travel. It's one thing to move around because
you have to. It's another to move around because you want
to.
And then? Who knows?
Quinn motions "excuse us," and takes Clark by the hand. Has the incorrigible
flirt returned?
The duo walks, distancing itself from the group.
QUINN
What you did –
CLARK
- I didn't "do" anything.
QUINN
Sometimes, all you need to "do" is be there. You were. There.
Thanks – for everything.
CLARK
Thanks.
Though Clark's flattered by the attention, he's more appreciative of the life
lesson Quinn's taught him, that sometimes, it's ok to let people take care of
things themselves and help them as necessary. Still, there is something
incredibly… compelling
about this young woman he's come to know as Quinn.
CLARK
(recovering)
For the waffles. I never would've pegged you as the domestic type.
QUINN
Clark Kent, you don't know me. I am full
of surprises.
(beat)
You do know if you ever need anything, I got you. A'ight?
(turns to Martha and Jonathan)
Mr. and Mrs. Kent, thank you for raising him right.
(turns to Clark)
He's special. But you know that.
The question is: what does Quinn
know? Whatever it is – if anything – she ain't letting on.
Quinn steps closer, confirming our suspicions of the return of the flirt. She
takes Clark by the hand and uses her free hand to runs a finger gently and
briefly along the top, tracing veins... As he leans in to watch (what's she up
to anyway?) -
- Quinn makes her move, kissing Clark. It's not a peck on the cheek, but a
quadruple lip endeavor. Short, sweet and oh so to the point.
To his own surprise, Clark responds. How is that
possible?
QUINN
(exits)
I'll send you a postcard.
Off the assorted reactions.
FADE OUT
