INT. LUTHOR SUITE – HOTEL

Sheridan pours scotch into a glass. She tosses it back.

LEX
(to Clark)
You should go home.
(reassuring)
I've got it covered.

CLARK
(eyes Lex; then emphathetically)
Sheridan, are you okay?

SHERIDAN
(beat)
Yes, Clark. Go home. Your parents were expecting you a while ago. I'm sure they're worried.

LEX
Not that they should be.
(to Clark)
You have a remarkable track record, Clark. Avoidance of all things deadly. I'm beginning to think you're charmed – or just unbelievably special.
(Clark starts to head out)
Don't worry about the suite. No one can trace Sheridan to me. She'll be safe.

SHERIDAN
Clark, thank you. I've got a big day tomorrow. A meeting with the head of the record label – that I may actually make because of you.

I'm fine. Focus is everything.

LEX
You heard the woman Clark.

Clark leaves reluctantly. Lex casts a glance back towards Sheridan who regards him emotionlessly. She hates the aroma of "old money privilege" in the evening.

LEX
You could say "thank you."

SHERIDAN
I thought I did.

With that, Sheridan's gone. Lex considers. Feisty with a body that won't quit. All in all, not a bad reason to get pulled out of bed in the middle of the night.

EXT. METROPOLIS PARK – DAY

Chloe, dressed in Sullivan-on-a-(gulp!)-date autumn chic, stands alone, watching people as they walk by. People? Chloe makes a mental note. Every "person" seems to be part of a "couple."

CHLOE
Noah's ark 2002...

Chloe sighs. No sign of Clark. She checks the immediate area. Yep –

CHLOE
- big rock, right place. No Clark.

Why am I not surprised?

Chloe does a visual sweep. Still no Clark. Chloe notes not only are the people coupled up, so are the pets. And the babies.

CHLOE
(gah!)
Not the babies... Perception glitch... So not right.
(softly)
Clark, where are you?

CLARK (O.S.)
I'm right here, Chloe.

Chloe spins. Clark's standing directly behind her.

CHLOE
(startled)
Clark!
(beat)
How'd you –

CLARK
- Stealth mode.

CHLOE
Very. Stealthy.

CLARK
Thank you.

Clark looks suitably edible in a pair of black khakis, blue shirt and Chloe's favorite dress casual black jacket. Edible – and content to invade her personal space – majorly. We see it in Chloe's face: god, he is gor-jus.

CHLOE
Uh, how long - ?

CLARK
- I just got here. I'm a little late. I apologize.

CHLOE
You know, you could give a gal a call if you're going to be late.

CLARK
I could... But...
(leans in to whisper)
I wasn't really late.

Chloe draws back slightly. She regards Clark incredulously.

CHLOE
You weren't late, but you weren't here... So... Where were you?

CLARK
Watching you.

CHLOE
(didn't expect that)
Watching me? Stalker much?

CLARK
I'm trying to cut down.

Clark takes Chloe's hand in his and leads her down the path. Chloe works very hard to not go all melted butter.

CLARK
How'd that "thing" go at The Planet?

CHLOE
"Thing" went well. It's more about putting a face with the name you know. Not that they don't know. Me. Speaking of knowing...

CLARK
Don't worry. I wasn't going to ask again about the "thing." We all have secrets. Granted, some are better than others...

Chloe stops and turns.

CHLOE
Clark, we've known each other for what – a little over two years?

CLARK
Give or take. A day or a couple of weeks or –

CHLOE
(swats Clark good naturedly)
- I'm serious. If we're going to do this…

CLARK
I thought we were. "Doing this."

Chloe walks away from Clark, thinking out loud.

CHLOE
Not finished here.

CLARK
My bad.

CHLOE
If we're gonna… Then there're things we ought to know.

CLARK
I thought we knew things.

CHLOE
Collectively, we know a lot of things. I'm not talking about the Chicago fire of 1871 here –

CLARK
Then I won't mention Mrs. O'Leary's cow.

CHLOE
For example, what's my favorite movie?

CLARK
C'mon, Chloe... Pop quiz? And one that's -

CHLOE
- You don't know, do you?

CLARK
As many movies as you, Pete and I've seen together?

Clark considers – and tries to play off the fact that nope, he hasn't a clue.

CHLOE
That's what I figured.

CLARK
So, uh... This information... Is it available to be shared?

CHLOE
Maybe. But if you ask, know I get to ask a question too.

CLARK
Quid pro quo.

CHLOE
Sort of. You didn't exactly get to pick your question.

CLARK
You're good.

CHLOE
Practicing non-ambush techniques.

CLARK
Well, you never know.

CHLOE
Pays to be prepared.

CLARK
You gonna tell me?

CHLOE
You gonna ask?

CLARK
Chloe?

CHLOE
Yes, Clark?

CLARK
What's your favorite movie?

Decisions, decisions... Does she go for the "intellectual" answer (Francois Truffant, Oscar Micheaux, Wem Wenders, maybe something like "Babette's Feast"), the "hip" response ("Moulin Rouge," Ewan McGregor, mrrrooowwww) – or the truth?

Chloe opts for the truth.

CHLOE
Starman.

Clark's curiosity is piqued.

CHLOE
(beat)
On the surface, it may seem like an odd choice... Especially when you consider the same director made "Halloween" and "The Thing"...

Lame?

CLARK
Did I utter a word?

CHLOE
No.

CLARK
Did I say: "Chloe, how lame?"

CHLOE
No. But you thought it.

CLARK
No, no I didn't.
(amused)
Why "Starman"?

CHLOE
Granted, it starts off a little freaky. Dead man clone... but... it's... sweet.

CLARK
All the more reason for you to run the other way. You're not –

CHLOE
Sweet? Hello, sap right here.
(horrified)
I can't believe I just told you... I was supposed to go to the grave -

CLARK
- I'm glad you did – and you didn't.

Chloe's obviously relieved.

CHLOE
(girds self)
My turn.

CLARK
Favorite movie?

CHLOE
Nope. I've got a better question.

CLARK
Ask away.

CHLOE
Are you...
(grins)
... ticklish?

Clark mulls the query over.

CHLOE
It's not calculus, Clark.

CLARK
(finally)
I don't know.

CHLOE
You don't… How could you not know if you're ticklish?

CLARK
I don't know.

CHLOE
No childhood tickle fests?

CLARK
Not that I can remember.

CHLOE
So, you have no idea what'll happen if I do this –

Chloe pokes him in the abdomen. Clark flinches reflexively.

CHLOE
- or this…

She pokes Clark on either side of his waist. Clark starts to smile. This's new, different, fun but…

CLARK
Chloe –

CHLOE
Or what about –

Chloe launches into a two-hand tickle assault. Boy of steel? How about Boy of Pudding? Clark giggles, falling backward, grasping for Chloe.

Clark hits the ground hard, still laughing as leaves fly high into the air and Chloe lands on top of him.

CHLOE
Clark?

Tears in his eyes, Clark looks to Chloe. He has his arm wrapped around her. Chloe pushes herself up slightly.

CHLOE
Are you all right? Did you…hit your head?

CLARK
(gasping)
I'm…fine…

CHLOE
It looked like you landed pretty hard. And you…keep…laughing…

CLARK
I'm fine. Really. But definitely…in the mood for…payback…

Clark retaliates. Chloe giggles and dodges and responds in kind.

As the leaves continue to be scattered, we imagine somewhere off camera, a groundskeeper is muttering curses.

INT. CEO'S OFFICE – MAGNAMINOUS RECORDS – DAY

Sheridan steps into the room and stops, adjusting her hair and outfit. This is doable. It's just a matter of focus. Commitment. Feminine wiles. She can get what she wants. And she will.

Sheridan believes all these things to be true right up until the moment when the chair beyond her swivels, revealing Lex. We almost hear the unuttered expletive.

LEX
Hello, Sheridan.
(why the look?; beat)
Right... As of this morning, in a bid to... diversify my holdings... I bought out your contract. You're part of my newly acquired stable of talent.

Welcome to the family.

Lex smiles.

INT. TORCH OFFICE

Chloe, Clark and Pete pour through hard copies of Sheridan articles.

CHLOE
It might help if
(Clark removes a leaf from Chloe's hair)
we knew what we were looking for.

Chloe grins. Clark grins. Pete looks at the two of them inquisitively.

CLARK
(back to business)
I dunno. Anything that might help explain why somebody would want to kill Sheridan.

PETE
People like that get crazy death threats all the time.

CHLOE
"Threats," Pete. Not actual sending-you-to-the-great-beyond o'grams.

CLARK
There's gotta be something here…

PETE
(reads aloud)
Business partner dies after a two-year battle with Hodgskins lymphoma.

CLARK
(continues reading)
"He was my heart and will be missed dearly."

The quote sets Clark's mind working. He considers.

INT. LUTHOR SUITE

Clark appears as Sheridan, packages dangling, tears out of the suite at New York speed, practically mowing him down.

INT. HOTEL HALL

Sheridan doesn't break her stride. She slam-hands the packages to Clark who follows in spite of his confusion.

CLARK
Sheridan?

SHERIDAN
Binge shopping.

INT. CONCIERGE – HOTEL

SHERIDAN
(to Clark)
One second.
(to Concierge)
Deliver to this address.
(takes packages from Clark; piles them on desk)
And charge it to "Lex Luthor."
(strides out, Clark on her heels)
That'll cost me.

EXT. HOTEL

Clark reaches out, stays Sheridan with his hand.

CLARK
Sheridan, you gotta understand something. I have absolutely no idea what you're talking about.

Sheridan gives Clark her own version of x-ray vision.

SHERIDAN
Riiiight.

Sheridan looks towards his hand. He removes it from her shoulder.

SHERIDAN
You knew absolutely nothing about your buddy's brand new record label.
(steps into the street)
That he was buying out
(doesn't notice the huge truck careening towards her)
my contract?

Clark reacts. "Speeds" into the street gently nudging Sheridan out of harm's way. To all appearances, he just joined her. Did she even breathe/notice?

Apparently not.

SHERIDAN
I may've been born at night, but it wasn't last night. Step away. You heard me, Farm Boy. One side. Either you move, or I move you.

Clark stifles a laugh.

SHERIDAN
It's not funny, Clark.
(beat)
You are in my way.

CLARK
Sheridan, I didn't know anything.
(look at me)
Really. Lex is sort of a "go to" guy. Especially at certain times.

Sheridan regards Clark. Clark feels as though she's seeing straight into his soul.

CLARK
That night…

SHERIDAN
(softens – vaguely)
Was a certain time.

CLARK
Couldn't've said it better myself. So what's this about Lex, a record label, and you?

SHERIDAN
(paces, thinking out loud)
What I need to do is go see my lawyer. Nothing personal you understand. Got nothing against your friend. It's just business. You develop relationships.

CLARK
With the people who sold your contract? And didn't tell you?

Well, his logic's impeccable – if poorly timed.

SHERIDAN
I'll fill you in – but not here.

INT. DIVE BAR

It's still day, but you'd never know it. Must be where vampires congregate before sunset.

SHERIDAN
(to Bartender)
Tequila. El Patron.

BARTENDER
Shot?

SHERIDAN
Funny man.

Sheridan snatches up the bottle.

INT. DIVE BAR – LATER

The bottle's half empty. The jukebox clunk-whirrs into life, spitting music from past-their-prime speakers.

Sheridan regards Clark.

SHERIDAN
Do you dance Farm Boy?

CLARK
Uh…yeah…
(as Sheridan yanks him onto the "dance floor")
A..little!

INT. "DANCE FLOOR" - DIVE BAR

Ok, so it's only a tiny corner of the bar with no tables.

SHERIDAN
Another "somebody leavin' somebody song"…

CLARK
It's depressing.

SHERIDAN
Depressing as hell, Farm Boy.

O.C., a glass shatters. Clark reacts, body tensed, ready for -

SHERIDAN
(um, this wasn't what Clark was getting ready for)
Don't worry. I got you.
(pulls Clark closer)
I got you…

Sheridan pulls Clark even closer. She's not Chloe – but there's something downright nice about being held.

Clark allows himself to dissolve into the moment.

INT. OFFICE - LUTHOR MANSION

Lex converses via the speakerphone.

LEX
I just want to be clear. All the songs that haven't been released – are releasable in the event of Sheridan's…"untimely demise".

I understand the precedent's been established with artists like Tupac… I just want to know if something were to happen to Sheridan, that Magnanimous Records would not suffer. We have after all made a substantial investment, and good business dictates we recoup our investment –at a minimum.

Good. So glad to hear that.

Lex disconnects the call. Confirmation of business well conducted as usual.

INT. DIVE BAR – STILL LATER

The tequila bottle's empty. Sheridan doesn't seem drunk, but we know she didn't have any help emptying the El Patron.

CLARK
(beat; not to take advantage, but…)
I saw something today. From an article about your business partner…

Sheridan inhales deeply but says nothing.

CLARK
You called him your "heart."

SHERIDAN
(beat)
And you're wondering why?

CLARK
Not so much wondering…as "curious"… Business isn't anything personal…

SHERIDAN
The World According to Sheridan.
(beat)
Emilio wasn't just my business partner… He was my…my husband.

We never told anybody. We thought it would be better if…

Have you ever done anything really stupid Clark? Something you thought was the right thing at the time, but it just sent everything spinning into unexpected directions?

At least one instance pops immediately to mind. Clark pushes the thoughts of Phelan (the safe had seemed like the end, but it was only the beginning) aside.

The veil of self-involvement lifts, and Sheridan's instantly horrified.

SHERIDAN
You've gotta go. You're not safe!

Clark doesn't move.

SHERIDAN
Clark, I'm not kidding… You don't understand…

Good god, why is he still sitting there? Not only that, but Clark leans in and waits patiently for Sheridan to continue.

Sheridan swallows. Inhales, exhales. There's something about Clark that makes her feel (momentarily)... protected and causes her to open up.

SHERIDAN
When Emilio died, I wanted to die too. I went about making sure that happened...

I didn't have the guts for suicide… So, I did what I do… I hired somebody.
(do you get it now?)
I put out a contract on myself.

The revelation is not exactly what Clark had expected. He considers. Well, it certainly helps put things in proper context.

CLARK
(beat)
You don't just look up a hired killer in the yellow pages.

Sheridan regards Clark. Why isn't he out the door?

SHERIDAN
You are absolutely right. But doing what I do, you hear things – if you know how to listen, you meet people.

I went to a bar sort of like this one.

CLARK
Nobody recognized you?

SHERIDAN
Nope. I have an "alter ego." There's "Sheridan" and… I pull him out when I want to go into the world unnoticed. It's actually kind of fun… Or was.

There's no way anyone could've known it was me. I went in – and found somebody to do the job.

I wouldn't know who or when or where – just that it was paid for – and then some.

Thing is – it took so long for the wheels to get going, I think I changed my mind.

CLARK
Can't you call it off?

SHERIDAN
No. I don't remember where I wound up. Too many "recreational pharmaceuticals". Too much grief. I was crazy from grief. I didn't know. The only person I could've talked to about it was dead.

Emilio would be so disappointed in me. I thought after the first few attempts failed, the hitter would give up.
CLARK
You had to find a killer who actually likes his job. And is dedicated.

SHERIDAN
You shouldn't be here. It's not over yet.

CLARK
What about the police?

SHERIDAN
These kinds of hitters don't need to worry about the police. For all I know, he could be a cop. That's the beauty of a place like Metropolis. One big corrupt unhappy family.

CLARK
Maybe I can help.

SHERIDAN
Have you not heard a single thing I've said? Professional killer.
(rises)
My business. My problem. I'll get it figured out. And if I live through it, I'm sure I can come up with a way to deal with Lex Luthor too.

Sheridan exits as Clark considers. Surely, he can be of some assistance. The question is: how?

INT. KITCHEN – KENT FARM – DAY

Chloe works some make-up magic on Clark though we can't see what she's doing (his back is toward us).

CHLOE
(quietly)
I wanna come. With you. To Metropolis.

CLARK
(firm but gentle)
No. I don't know what I'm walking into - and… I couldn't concentrate if you were there.

CHLOE
That's what I'd be there for –

CLARK
- distraction?

CHLOE
Concentration.

CLARK
I don't think it's –

Pete enters. Chloe and Clark feign "business as usual." However, Pete's not that dumb (not that you need to be Einstein to do the math here).

Pete watches his friends. Oh, no doubt, no doubt at all: something's changed between them.

PETE
Ok, who first?
(beat)
Something happened in the park, didn't it?

CHLOE
What makes you say that?

PETE
Best friend's intuition. That – and the goofy grins you two keep getting around each other.

CLARK
I –

CHLOE
(to Clark)
Sit still.

Jonathan and Martha enter. They watch Chloe, then exchange a "that's impressive work" glance with each other as Chloe makes an effort to not grin. Or, at the very least, not grin goofily.

CHLOE
(very serious)
Let's see if the semester of theatre arts pays off.

JONATHAN
(genuinely admiring Chloe's handiwork)
What's this about again?

Chloe's about to offer up a bald-faced lie. Clark interjects.

CLARK
I promised a friend I'd do some research for her.

MARTHA
And the "disguise" is for…

CLARK
So I'm not recognized.

Very shrewd on Clark's part. Are his parents going to argue this?

Hardly.

JONATHAN
If you feel like you need a disguise.

PETE
Oh, he does. He definitely does.

MARTHA
(not buying the entire story, but plays along)
Then, Chloe, let's hope you have a little Rick Baker in you.

Pete's look: who?

CHLOE
Thank you, Mrs. Kent.
(to Pete)
He's an Oscar winning makeup artist.
(to Clark)
Sit still.

PETE
(flinches on Clark's behalf)
That's gotta hurt.

CHLOE
I barely touched him.

INT. KITCHEN – KENT FARM - LATER

Pete and Chloe sit at the table. Chloe yells upstairs.

CHLOE
We're still waiting.

PETE
Yeah, Clark, c'mon, let's see.

We hear the pitter-pat of not-so-small feet first down the stairs then down the hall.

Clark steps into frame. We don't see him but watch Chloe and Pete's reaction – they're amused and awed by their handiwork.

PETE
Not bad. Nice wardrobe selection if I do say so myself.

More like holy...! Goatee, slightly thicker eyebrows, tossled longish, swirly curls of hair. Stylish glasses. Elegant shirt and slacks... In a word - niiiiiiiiice.

CHLOE
Speak.

PETE
What is he? Lassie?

CLARK
Hello...

Gaaaak – what was that?

Jonathan and Martha pass through the kitchen, exchanging bemused glances.

CHLOE
You might want to bass it up there, Bart Simpson.

CLARK
(lower)
Hello?
(not good enough; lower)
Hello…

Better.

PETE
And if you're going to be dressed like that, you have to wear the outfit, you can't let it wear you. Walk.

CHLOE
No.
(demonstrates)
You need to expand your presence. It's not about the reality – it's about the expectation. You expect something. You walk like you expect something.

PETE
(watches; a suggestion)
Walk like the world owes you.
(nods approvingly)
Much better. This may just work.

CHLOE
(hands Clark a fake ID)
This should get you into the bars.
(Clark's look: how?)
How do you think?

CLARK
A little creative computing?

CHLOE
A little? Try "a whole lot." It's easy to make a funky ID. The goal here was to make a real one. Or as real as you can get without it actually being real.

PETE
The only thing between you and pulling this off is whether not people believe you. You can't flinch. And don't use the ambush technique of our Gal Friday here. More flies with honey…

It's a lot to absorb, but he is Clark Kent.

CHLOE
Good luck.

Chloe wads singles in Clark's hand.

CHLOE
City man does not live on charm alone.

EXT. METROPOLIS STREET - NIGHT

Think "Alphabet City" pre-Guliani. If Clark's museum outing provided an introduction to the "Big City," this undercover excursion reveals its underbelly. Every sound imaginable assails. Car alarm. Stray cat, glass shattering (car theft in progress), domestic disturbance…

It's as though the world's volume's been cranked up to "high". Users/abusers populate the streets as do blue collar types and the occasional Yuppie slummer.

Clark doesn't seem that out of place, but it's clear this isn't somewhere he's likely to linger. He tries to take it in without being overt.

Clark selects a bar. It's as good a place as any to start.

INT. BAR #1

Clark grabs a table. Waitress comes by. He places an order. Shot of tequila in honor of Sheridan. He tosses the tequila aside too fast to be noticed, lowering his hand, providing the appearance of drinking it.

Clark orders a second drink.

Clark waits a few moments, unconvinced he's hit paydirt. He tosses a few bills onto the table, leaving a generous tip to the delight of the Waitress.

INT. BAR #2

Same scenario. More nothing.

INT. BAR #3

Maybe the third time's the charm. Clark's about to leave when he's approached by man. The STRANGER isn't someone who stands out in any way. Heavy on the dark Banana Republic wardrobe, this man's more likely to blend – and/or be missed entirely.

The Stranger gnaws on the end of a clove cigarette.

STRANGER
(re: chair)
Mind?

Clark gestures an ok. The Stranger joins him, ordering.

STRANGER
Scotch. Neat.
(turns attention to Clark)
You look like a man in need of some guidance.

CLARK
(beat)
You look like a man who's in a position to give some.

STRANGER
Some would say. In what direction?

CLARK
Um. Removal.

STRANGER
Permanent?

Clark nods slightly. The game's on. There's excitement, but a lingering strangeness.

STRANGER
Gotta be on the same page. To be clear. Removal. Multi-digit endeavor.

CLARK
How multi?

STRANGER
Try six.
(Clark fights the flinch)
Got good people. Pay 'em accordingly. Who?

CLARK
Does it matter?

STRANGER
Nah, not really. Some are easier than others. More access, more opportunity. Lower risk. Joe Schmo. One rate.
Celebs, different pricing structure –
(Clark's look: how much?)
Seven.

Clark's working very hard now to make sure he doesn't give himself away. The effort is monumental. The Stranger checking out a busty patron and misses the slip as his Clark's go wide.

STRANGER
What's your time frame?

CLARK
A.S.A.P.

STRANGER
(takes a long drag off the cigarette)
Can't be too soon. Best I know is working on a similar circumstance,
(looks away)
but he should be available –
(looks back; Clark's gone)
- in a day or so…

STRANGER
Definitely not a cop.
(sips drink)
Cop'd never move that fast.

The Stranger orders another beverage, continues perusing the landscape for other potential clients.

EXT. INDUSTRIAL BLDG.

Artie punches the alarm code. The large door whirrs up. He steps into –

INT. INDUSTRIAL BLDG.

- and is followed inside without his knowledge as the door whirrs shut with casket finality.

Artie heads toward Sheridan's living space. In the minimal light, we make out a figure expertly undoing the code box. The figure remains in shadow, unnoticed as he attaches wires, clips and an external LCD box with streaming digits that eventually reveal the alarm code.

INT. HALL – INDUSTRIAL BLDG.

Artie rings the bell repeatedly. A beat. He pounds on the door.

ARTIE
Sheridan! I know you're in there!

SHERIDAN (O.C.)
(through door)
Go away, Artie!

ARTIE
Sheridan, Jesus… Open the door… Talk to me.
(silence; exasperated)
You fired all your bodyguards –

SHERIDAN (O.C.)
- I upgraded the security system!

ARTIE
I know you're upset about the Luthor deal, but Sheridan, this is not the time to be suicidal.

SHERIDAN (O.C.)
You worry too much...

INT. SHERIDAN'S LIVING ROOM

No, the time to be suicidal was when Emilio died.

SHERIDAN
But you know that. I grew up on the South Side of Chicago... I know a thing or two...
(loads clip into Beretta; racks gun; voice trails off)
...about a thing or two...
(beat; shouts)
I'm only going to say this once more Artie, and I want you to listen very closely because I know how much I hate having to repeat myself.

INT. HALL – INDUSTRIAL BLDG.

SHERIDAN (O.C.)
GET THE HELL OUTTA HERE! You mean well…

INT. SHERIDAN'S LIVNG ROOM

SHERIDAN
You don't know.
(softly)
You just…don't know.

INT. HALL – INDUSTRIAL BLDG.

Artie contemplates Plan B as the lights go off completely.

Darkness.

INT. SHERIDAN'S LIVING ROOM

Emergency lights illuminate minor pockets. Security shutters activated by the apparent incursion lower. Or were they activated purposefully?

INT. HALL – INDUSTRIAL BLDG.

The Figure appears. We see the gun barrel first, then the silencer as it overwhelms the frame. We see the muzzle flash.

Artie drops.

INT. SHERIDAN'S LIVING ROOM

Sheridan reacts to the THUD in the hall. She disengages the Beretta's safety.

Sheridan opens the door, gun leveled.

SHERIDAN
Artie?

Sheridan's instantly slammed back into the loft by a brutal blow to the face. She's still gripping the handle of the gun tightly when she lands hard on the floor.

Sheridan struggles up, scanning the area, pointing the gun in various directions as she hears movement around the loft.

The security shutters settle, sealing Sheridan in the living space. Unless she can get to the door...

Sheridan's backhanded. The force propels her over the sofa.

Sheridan's gun skids across the room.

A flashlight splits the darkness. Under the lens of the intense – and blinding - light rests the barrel of the gun.

Sheridan rises, squinting into the light. Hearing a gun cocked, she dives as bullets lodge in the sofa.

Shielded by a large chair, Sheridan waits, her breath coming in ragged gasps. She bides her time, then crawls toward the kitchen.

She hears nothing.

Sheridan stands warily, examining the windows – no options there. She decides to make her way cautiously toward the door.

Without warning, the flashlight splits the darkness again, stopping Sheridan cold like a deer in the headlights.

The silencer fills the frame.

EXT. FIRE ESCAPE

Clark arrives on the landing adjacent Sheridan's kitchen. His x-ray vision affords more than a view of skeletons – he's sees everything that's happening inside clearly and reacts, horrified.

CLARK'S POV – SLOW MOTION – X-RAY VIEW THROUGH BRICK

He sees:

- the muzzle of the gun spit fire

- the shock of realization spinning through Sheridan's as she's hit twice in the chest.

- the Figure as he exits

- Sheridan collapsing back

EXT. FIRE ESCAPE

- just as Clark pokes a finger through the shutters, peeling back the metal enough to pitch himself through the industrial glass.

INT. SHERIDAN'S LIVING ROOM

Clark moves sufficiently fast to catch Sheridan as she seems to drift back, placing her gently on the ground.

END CLARK POV

Clark hesitates momentarily, regarding Sheridan. He allows grief to invade, then collects himself enough to head out after the Figure.

EXT. INDUSTRIAL BUILDING

The street's deserted. Clark spots a wire trashcan with a mask, sweatshirt and gun. Looking at the items, Clark suddenly finds himself drawn into what seems like a fantasy – a trip from actual to microscopic. He's able to see a DNA helix clearly enough to commit it to memory.

Clark blinks, returning the scene before him to a normal view. He looks up and around, engaging his x-ray vision.

Clark spies a man who could well be the Figure through the building, around the corner, climbing very nonchalantly into a car.

Clark gets an idea. He grins mischievously.

INT./EXT. CAR

The engine starts, but after a quick scan to verify that the DNA is a match (it is), the engine dies inexplicably and the car suddenly tilts sideways...

The Figure reacts, scrambling as the car winds up resting on the driver's side door. He climbs over the seat and pushes the passenger door open.

Instantly, the Figure vanishes from view.

EXT. POLICE STATION

Officers entering the building for next tour of duty scatter as a wire trashcan is flung like a bowling ball into frame. The Figure, gun, miscellaneous tools all spill out – as well as a Daily Planet with the headline "Police Seek Suspect in Attempted Shooting."

EXT. INDUSTRIAL BLDG.

A repair crew works on the alarm system as Clark speeds by into –

INT. HALL – INDUSTRIAL BLDG.

- past another trio of alarm techs and through the open door to

INT. SHERIDAN'S LIVING ROOM

Sheridan is most assuredly not where he left her. Clark's face betrays an abundance of questions until…

He hears voices – Artie's and Sheridan's – coming from the kitchen.

Sheridan enters the living room, gun raised.

SHERIDAN
(regards him, then lowers the gun, engages the safety)
Clark?

CLARK
I thought... I saw... Weren't you –

SHERIDAN
The rumors regarding my demise have been greatly exaggerated.
(scrutinizes Clark's face)
Halloween?

The remark reminds Clark of Chloe's additions. Sheridan can see it in his eyes: how –

SHERIDAN
- come?

Sheridan opens her shirt, revealing a Kevlar vest.

SHERIDAN
You take precautions when you're not trying to die.

Artie enters.

ARTIE
(shirt open, vest exposed)
I don't know how you talked me into it, but damn, Sheridan, I'm glad you did. But you may still want to –

CLARK
I don't think you'll have to worry about that…problem…anymore, Sheridan.

SHERIDAN
Oh?

CLARK
I saw the cops…had a suspect…

SHERIDAN
Really?

CLARK
Uh, well, more like… heard… Through… Chloe. She…knows things… People…

SHERIDAN
How can you be sure?

CLARK
Her sources…are
(a whisper)
very reliable.

SHERIDAN
Then, I have no choice but to believe you.
(beat)
Do your parents know where you are?

Like a scolded puppy, Clark lowers his head.

SHERIDAN
Call them. Let 'em know. Assuming the phone still works.
(shrugs)
Killers. So predictable.

Clark looks concerned, but not about his parents.

SHERIDAN
I'm fine. A little sore.
(shifts)
Ouch! Make that "massively in pain" – but there's still one leeetle end left to tie. Gentlemen
(hands Clark phone)
if you'll excuse me.

Phone home.

Sheridan exits.

EXT. KENT PORCH

Chloe steps onto the porch, carrying two mugs. She hands one to Clark. Chloe inhales the scent of cinnamon as she sits within cuddling distance of Clark. He smiles, wrapping his free arm around her as she leans into the embrace.

CHLOE
I love apple cider…

Chloe blows on the cider to cool it. Clark's already drinking his.

CHLOE
Isn't that…hot?

CLARK
No, not really.

CHLOE
Sooooo? Don't make me tickle you.

CLARK
(pulls away)
Ack! No tickling!
(beat)
It turns out it was one of her bodyguards.

Chloe wraps Clark's arm back around her.

CHLOE
Don't tell me: a former cop of questionable character who quit the force before things came back to bite him, who opted for the more lucrative opportunities afforded by the "personal protection" industry who eventually graduated to the even more lucrative field of Hired Killer.

CLARK
Deductive reasoning?

CHLOE
Daily Planet Special Edition. The piece was a little vague on the particulars of the capture - which generally means "outside intervention."

CLARK
Government?

CHLOE
Not feeling very much like speculating at the moment.
(adjusts self; beat)
Ummmm, this's nice.

CLARK
Yes, yes it is.

High above them, a full moon.

Chloe and Clark sip the cider and continue delighting in each other's company.

INT. LEX'S MANSION

Sheridan strides past Enrique who lags behind, unable to keep pace.

Lex glances Enrique's way. Lex's lips move not but his eyes plead "A little help...?"

Lex recovers quickly, and Enrique takes his freshly diverted attention as a cue to exit. He does so posthaste.

LEX
I do keep business hours.

SHERIDAN
And?

LEX
As the owner of the record label that employs you, you may wish to conduct yourself a bit more... professionally.

SHERIDAN
Really? As the owner of the record label that claims ownership of my contract, you might want to consider treating me a little more... civilly.

LEX
(beat)
You obviously came here for a reason.

SHERIDAN
Quick study.

LEX
Can we get down to it?

SHERIDAN
Lex Luthor, fair warning. I'm on Vicodin and feeling invincible.
(beat)
I have a business proposition for you.

LEX
I'm listening.

SHERIDAN
I want out of the contract. You want me as part of your "stable". There's only one way to settle this.

INT. LEX'S DEN

Lex and Sheridan are engaged in a drinking contest. A near empty bottle of aged scotch sets between them. Neither Lex nor Sheridan seems on the verge of anything.

LEX
Now what?

SHERIDAN
Exactly.

Lex and Sheridan, engaged in...a staring contest?

LEX
I'm really not that bad.

SHERIDAN
Says you.

LEX
Clark likes me.

SHERIDAN
He's young.

LEX
Is that the scotch talking?

SHERIDAN
Hardly.

More staring.

LEX
More scotch?

SHERIDAN
Definitely.

LEX
I have a 9:00 meeting.

SHERIDAN
Sounds like a personal problem to me.

Lex smiles. He just can't help it.

Lex retrieves another bottle of aged scotch. The two start the process anew. Looks like the beginning of a beautiful friendship.

FADE OUT