ACT TWO

FADE IN:

Scene 8 INT. Jonathan and Martha's bedroom - NIGHT.

MARTHA, in shadow is sitting on the bed beside the sleeping form of JONATHAN who looks the same as before despite a few cuts and bruises.

JONATHAN awakes with a start and sits up, before wincing and lying back down.

MARTHA
Take it easy Jonathan. Don't move you're not ready to get up yet.


JONATHAN
Ugh- what… what happened?

MARTHA
It's okay. It's okay you just had a little accident in the truck.

JONATHAN
Clark. Where's Clark?

MARTHA
Clark? He's in Metropolis.

JONATHAN
Metropolis?
(He tries to sit up)
Ow. Ow. Is he okay?

MARTHA
What? I'm sure he's just fine.

JONATHAN
The truck. He must have pulled me out.

MARTHA
Jonathan, what do you mean? I pulled you out of the truck when you crashed into the barn. You hobbled back here with me.
(beat)
Jonathan you're scaring me.

JONATHAN
(incredulous)
Scaring… you!?

We close in on JONATHAN's face as he looks around and then more intently at his wife. His eyes open in shocked disbelief.
We pull back from JONATHAN to see MARTHA's face, now more clearly lit. We see that she is in fact at least a decade older as we realise this is the older MARTHA.

CUT TO:

Scene 9  INT The Daily Planet Offices - NIGHT

CLARK, who also looks "normal" age, is lying asleep at his desk. His head is resting on his hands. A figure moves up behind him and stretches a hand out. As the hand comes to rest on CLARK's shoulder he wakes up with a start and turns around. It is PERRY WHITE.

CLARK
What? What happened?

PERRY
Well, I guess you fell asleep at your desk again Clark. I swear I don't know what you are up to all night that keeps you so tired. Although I'd bet good money that it's got something to do with either Lois or Lana.

CLARK
Lana? Where's my dad? The truck!

PERRY
Your dad? I guess he's back in Smallville, Clark.

CLARK
Ah. I'm… I'm not sure…. My head's spinning a little.

PERRY
I think you really ought to get much sleep Clark. You're not making a whole lot of sense. I'll drive you home and you can get an early start tomorrow.

CLARK
Uh. Yeah. Right.

FADE OUT:

FADE IN:

Scene 10 EXT. Outside Clark's House –NIGHT

Perry's car pulls up outside the house and CLARK hops out and looks back through the passenger window at PERRY.

PERRY
Seriously son, get some sleep. I know you and Lois have been working hard on this Flyer story. You're going to see Senator Bryant tomorrow right? What times your flight? Noon?

CLARK
Wha-? Oh, I guess.

PERRY
Then don't come into the Planet before you go, just get some rest.

CLARK
Thanks, um, er.
(He looks like he's trying to think of his name)
Thanks.

PERRY
No problem.

With a wave, PERRY pulls away and drives off.

CLARK
Wait… I work at the Daily Planet?

Clark turns around to look at his home. He opens the gate and makes his way inside. He reaches the front door which he tries experimentally… he tugs harder in an effort to force it open.

He stops and starts rummaging around in his pockets. Finally producing a key, which he uses to let himself in.

CUT TO:

Scene 11 INT. Clark's apartment –CONTINUOUS

CLARK moves into the dark house, closing the door behind him. We can barely make out his silhouette in the darkness.

CLARK
So this is where I-?

CLARK falls and we hear the crash of a heavy landing and something breaking as we-

FADE OUT:

FADE IN:

Scene 12 EXT. Outside Dulles Airport –NIGHT

We see the main terminal building of Dulles Airport. Making sure to show the sign with the name.

CUT TO:

Scene 13 EXT. Runway –CONTINUOUS

We watch a night-time landing of a passenger aeroplane. As we follow it to the runway we see a figure, out of focus, in the foreground. The camera stays on this person and brings them into focus. It's TALIA HEAD. She's speaking on a mobile telephone to LEX.

TALIA
No, but the flights not scheduled for another few minutes.

LEX (V.O.)
You've got what you need?

TALIA
Yes, I think he'll find our offer… irresistible.

LEX (V.O.)
Call me when it's done.

TALIA
Yes sir.

TALIA closes the mobile phone and slips it into her pocket. We wait a moment and then we see the breathless approaching figure of RAWSON CANE. He's smartly dressed and is carrying a briefcase attached to his wrist by a set of handcuffs.

RAWSON
Ms Head?

TALIA
Please, call me Talia.

RAWSON
Talia, I don't have much time, the flight's leaving in a matter of minutes.

TALIA
Then let's get down to business. The Senator is with you?

RAWSON
He's boarding the plane, I just told him I needed to go to the bathroom.

TALIA
How clever. Let me see the case.

Rawson lifts the case for her to see. She slides a hand into an inside pocket and removes a key.

RAWSON
How did you?

TALIA
You didn't notice I suppose that InSec Industries who sold you this model of secure case is a wholly-owned subsidiary of LuthorCorp?

RAWSON
I – is it?

TALIA
And I'm the CEO of LuthorCorp. Does that answer your question?

The cuffs open and TALIA takes the case. She picks up an identical case from the floor by her feet and cuffs it to RAWSON's wrist.

RAWSON
And this will look like the same report?

TALIA
More or less. It does however contain a rather alarming report on Presidential misuse of party funds.

RAWSON
The Senator will go straight to the press.

TALIA
Actually he'll go to his party, then the other party and then the press. He's honourable like that.

RAWSON
But it'll make Luthor look bad.

TALIA
It would make PRESIDENT Luthor look bad, if it were true. The report is bogus and the Senator will lose all credibility.

RAWSON
What if he tries to corroborate the report?

TALIA
Then he'd find out it's bogus and save his career. But you know that a politician even a noble one is still a politician.

RAWSON
That's my end of the deal. I gotta go.

TALIA
Don't worry when the Senator goes under in the mid-terms you will find yourself in a nice, warm office in the West Wing.

RAWSON gives a faint smile and hurries back off towards the terminal building.

TALIA turns and walks away as we –

FADE OUT:

FADE IN:

Scene 14 EXT. Runway by the terminal –NIGHT

Rawson comes to a stop a few metres from a passenger aeroplane. He's breathing heavily. He stops and takes several deep breaths. When he has regained his composure he walks around nonchalantly to the steps and walks up into the aeroplane.

CUT TO:

Scene 15. INT. Onboard the Aeroplane –CONTINUOUS

Rawson nods and smiles to the flight attendant as he walks down the aisle. In the seats in front of his sit SENATOR  BRYANT and his PA.

BRYANT
So what time do we land?

PA
Twelve thirty, local.

BRYANT
I've got time for a quick drink with Mitchell at the hotel then. Excellent. What time's the breakfast?

PA
Uh, that's eight thirty… you're done by ten thirty, on your way back to Washington by eleven forty five.

RAWSON walks past and sits down.

BRYANT
Rawson, I thought we'd leave with out you.

RAWSON
It's all the coffee senator… keeps me awake but comes at a price.

BRYANT
(laughs)
Yeah…
(to PA)
What time are those Metropolis reporters coming?

PA
Two o'clock.

We hear the captain's voice over the intercom.

CAPTAIN (V.O.)
Okay ladies and gentlemen. I'm your captain and I want to welcome you to this evening's flight…

CUT TO:

Scene 16 INT. Clark's front room. –NIGHT

Clark is sitting on his sofa, looking a little baffled. In his hands is a broken vase. He shakes his head and puts the pieces down on the coffee table in front of him.

On the coffee table we see a folded copy of the Daily Planet. All we can see other than the logo is a headline "Railcom weapons exported to Pokolistan" and under that "by Lois Lane and Clark Kent".

As Clark looks at this for a moment and then he is startled by the phone ringing. He answers it.

CLARK
Uh… hello?

MARTHA(V.O)
Clark. Oh thank God you're there.

CLARK
Mom?

MARTHA(V.O)
I tried to get you earlier but there was no reply, then I tried the Planet but they said you'd left with Mr White.

CLARK
(surprised)
Mr White? Perry White? That was Perry White??

MARTHA(V.O)
I know Clark, I met him remember?

CLARK
(trying to cover)
Uh, no mom, I meant that I uh… it's just something really weird is going on here… but mom you sound worried. What's up?

CUT TO:

Scene 16  INT. Kent's Kitchen -CONTINUOUS

MARTHA
It's your father Clark.

CLARK(V.O)
Dad? What's wrong.

MARTHA
Now don't worry too much. He had a little accident in the truck. No real harm done to him or the truck.

CLARK(V.O)
Are you sure he's okay? Maybe you should take him to the hospital?

MARTHA
He's okay. He's just a little groggy but he really wants to speak to you. Okay Clark?

CLARK(V.O)
Okay.

Martha takes the phone and hands it to Jonathan who cups his hand over the mouthpiece.

JONATHAN
Do you mind if I just speak to him a moment in private?

MARTHA
(confused)
What… okay, I'll be upstairs if you need me.

She leaves

JONATHAN
(on the phone)
Clark? Clark you there son?

CLARK (V.O.)
Yeah dad. I'm here.

JONATHAN
Clark, I'm not really sure what's going on here.

CLARK (V.O.)
Dad.
(beat)
Me neither dad. I don't know how I got here.

JONATHAN
The meteor, the dust cloud had kryptonite in it?

CLARK (V.O.)
It sure looked that way.

JONATHAN
Then this is not going to be a good thing….

CUT TO:

Scene 17 EXT. Outside the terminal building at Dulles Airport –NIGHT

Talia is standing by a car. She reaches into her pocket and pulls out the mobile phone.

She dials and we hear it ringing. There's a click as the call is answered.

LEX (V.O.)
Yeah?

CUT TO:

Scene 18.  INT. Onboard the Aeroplane –NIGHT

The FLIGHT ATTENDANT walks down the aisle.

CAPTAIN (V.O.)
Okay ladies and gentleman we're preparing for take off. Cabin crew to take off positions.

The Flight attendant stops by Rawson.

FLIGHT ATTENDANT
Sir, would you like me to put your briefcase in the overhead locker?

Rawson moves his sleeve to show that it's cuffed to his wrist.

RAWSON
Only if there's room for me in there.

The FLIGHT ATTENDANT smiles and walks on.

CUT TO:

SCENE 19. EXT. Outside the terminal building at Dullis Airport –NIGHT

In the foreground Talia is on the phone. In the background we see the aeroplane taking off.

TALIA
It's done.

LEX (V.O)
He took it without question?

TALIA
More or less.

LEX (V.O)
And you're confident it'll have the desired result.

TALIA
Oh, the Senator's political career is about to go down in flames.

As the jet climbs into the sky in the background it suddenly explodes, flashing brightly in the night sky and then raining flaming debris down onto the runway.

FADE OUT

END OF ACT TWO.