Smallville Episode X05 Showdown

by Backward Galaxy

Episode 5 of 10 of a series of Smallville fan scripts. This is the second part of a two part episode featuring the Green Lantern. This story was originally written during season 2.

SMALLVILLE
Episode 05

"Showdown"

INT. SMALLVILLE HIGH SCHOOL - GYMNASIUM

Clark searches Lana's eyes for the truth, his mind desperately sifting through the smokescreen set before him.

Lana, at first, pays the accusation little notice. Then, she makes the mistake of look up at Clark, and she sees the shroud of doubt covering his eyes as he looks at her.

LANA

::shakes head:: Clark?

The three mysterious stalkers observe the teens' movements, patiently waiting.

LANA

Clark, they're lying. They're just. They're trying to confuse you. It's me, Lana. You know I could never do anything to hurt Chloe or Pete.

Clark shakes his head, as if shaking the confusion and doubt off of him like a blanket spread over top of him. He turns back to face the accuser.

CLARK

You're lying. I don't believe you.

The woman smiles and gives him a short nod of respect.

MYSTERIOUS WOMAN

As well you shouldn't. I've given you no reason to trust me.

Clark takes a defensive position as the woman takes another single step towards he and Lana.

MYSTERIOUS WOMAN

But you don't have to trust me. All you have to do is look at her. Look at her, in the way only you can. Then, you will begin to understand.

Clark cautiously turns, making sure to keep his guard up and not give the three stalkers an opening to attack. Lana looks up at him, even taking a step back.

LANA

Clark? Clark, what are you doing?

He looks to Lana, silently asking for her to understand, then slowly surveys her form with his X-Ray vision.

LANA

::worried:: Clark?

At first, everything appears normal. However, as he focuses, Clark's attention is drawn to something odd wrapped around Lana's skeleton. It is a translucent cloud, just under her skin, that has spread its self throughout her entire body.

A surprised and frightened Clark Kent immediately takes a few steps back from Lana.

LANA

Clark, what's wrong?

CLARK

What are you?

For a brief second, she considers keeping up charade, but thinks better of it. She shakes her head in disgust and stands tall, confident.

LANA

You're nothing.

The words come out of Lana's mouth, but are spoken with someone else's voice. Instead of Lana's, it's a deep and throaty voice with a commanding power behind it. Clark understandably quickens his retreat.

In one swift motion, Lana sweeps her arm in Clark's general direction and an invisible force sends Clark hurtling through the air, effortlessly sending the future man of steel clear across the gym and into the wall. Severely dazed, Clark struggles to regain his senses.

Lana turns, her eyes now an electric orange, and faces the three mysterious stalkers. She sizes each of them up briefly, then turns her attention square on the woman.

LANA

Insignificant.

Lana's voice returns to normal, but the evil behind the eyes is still apparent.

MYSTERIOUS WOMAN

Did you really think we wouldn't find you?

LANA

I made it this far, didn't I?

MYSTERIOUS WOMAN

Not far enough.

LANA

::smiles:: We'll see.

MYSTERIOUS WOMAN

I will say this for you, that was a cute little move, using him to protect you like that. Quite inventive.

LANA

Yes, well, it was easy. Love is blind.

The mysterious woman looks back at her companions and smiles confidently. She again faces Lana.

MYSTERIOUS WOMAN

You can't win.

Lana looks towards the other end of the gymnasium where Clark gets back to his feet and slowly begins making his way towards them.

LANA

::smiles:: I can try.

A barely audible rumbling begins to sound from all sides. Clark turns all the way around, looking for the source of the rumbling as it begins to grow louder.

The ground beneath Clark begins to shake and the sound of bending metal can be heard from the heights of the gymnasium ceiling. This also draws the attention of the mysterious man and the brute. Lana and the woman, however, simply stare at each other.

MYSTERIOUS MAN

::looking up:: It's the ceiling!

Clark quickly runs to the center of the gymnasium where the brute and mysterious man appear increasingly concerned. The rumbling grows louder and pieces of the gymnasium roof begin to fall to the floor below. The entire building is ready to collapse in on its self.

CLARK

What's happening?

The mysterious man quickly grabs Clark by the arm and shoves him towards the brute.

MYSTERIOUS MAN

::to the brute:: Keep him close!

Before Clark can react, the brute grabs Clark with his massive arms. Clark tries to fight free from the man's bear hug, but amazingly doesn't have the strength to break the hold.

The mysterious woman, still staring right at Lana, pays the collapsing building no attention at all. Instead, she pulls up her fist and runs straight for Lana, screaming as she charges her. Lana only stands there and smiles.

Slowly, but surely, the Smallville High School gymnasium begins to collapse, the walls and ceiling of the building crumbling like frail pieces of cardboard. The brute quickly forces Clark to the ground, using his own massive bulk to shield Clark from the falling debris while the mysterious man stands tall next to them, staring straight up.

The mysterious woman charges Lana, but before she can reach her, a large chunk from the ceiling slams down in front of her, blocking her advance. The dust clears just long enough for the woman to realize that Lana has disappeared, before the rest of the roof comes down on top of her.

EXT. SMALLVILLE HIGH SCHOOL - DAY

Smallville High School's gymnasium collapses in on its self sending a thick dust cloud over the school and adjacent parking lot.

As the dust settles, Clark struggles to see with the brute's massive bulk still on top of him. Slowly, with no further threat imminent, the brute releases Clark and stands. To Clark's surprise, despite the fact that he had been in the center of the gymnasium, there doesn't appear to be any debris in his general vicinity. In fact, the debris seems to be spread out at a remarkably consistent radial distance around Clark.

Amazed, Clark lifts himself to one knee when something else draws his attention. Immediately to his right stand two green boots which he hadn't noticed either of the stalkers wearing before the gymnasium had collapsed. Slowly, Clark turns his gaze upward attempting to determine the owner of the boots.

Standing in front of Clark is the same mysterious man from before, but now adorning a black and green costume with a half-mask over his eyes. The man holds a closed fist straight up to the sky and slowly brings it down to his side. As he does this, Clark's eyes are immediately drawn to the glowing emerald ring on one of his fingers.

The man reaches his hand out, offering it to Clark.

MYSTERIOUS MAN

Need a hand?

Clark takes the man's hand and gets to his feet.

MYSTERIOUS BRUTE

Are you injured?

Clark pries his stare away from the masked man only to turn and see the brute wearing a nearly identical black and green costume, with a similar ring on his right hand. What is remarkable about the brute is that his facial structure has also changed. His jaw line is severely accentuated and his eyes are deeply recessed into his skull. His ears are also now on the top of his head instead of the sides, and his nose consists merely of two narrow slits in his face.

The brute waits for a response but Clark is rendered completely speechless at the sight of the alien.

MYSTERIOUS BRUTE

Are you hurt?

Last but not least, the mysterious woman screams in frustration not far away, hurling the debris off of her as she climbs up out of it and gets to her feet. She also wears a similar black and green costume, without the mask, but a similar ring on her hand. Her features remain the same except for an oddly pink pigment in her skin making her appear as alien as the brute.

She shakes her head in frustration.

Clark, trying desperately to make sense of the situation, turns back to the most human looking face of the group.

CLARK

::to mysterious man:: Who are you?

The mysterious man tilts his head and takes a deep breath.

MYSTERIOUS MAN

My name is Hal Jordan. and I am the Green Lantern.

INT. KENT HOUSE - LIVING ROOM

Hal Jordan calmly concentrates, taking deep breaths through his nose as a soft light illuminates his face with a green glow. Slowly, the glow fades and he opens his eyes, removing his hands from the sides of the brute's face, which now looks remarkably human again.

HAL JORDAN

Okay, big guy.

Hal taps the brute, the Green Lantern Kilowog, who is seated on the couch and steps to the side.

HAL JORDAN

You're done.

KILOWOG

::rubbing jaw:: This face is uncomfortable.

HAL JORDAN

Yeah, well, get over it.

All three of the green lanterns have returned to looking as they did before the gymnasium collapsed on top of them. Their costumes and masks have been replaced by their former garb and both the woman and brute have gone back to looking completely human.

Despite this, Clark still eyes them from a safe distance with suspicious stares. Hal adeptly notices this, taking a seat in a cushioned chair opposite the couch. The woman, a Green Lantern by the name of Mitara, is seated in the corner of the room conspicuously apart from the rest of the group.

MITARA

This was a mistake.

HAL JORDAN

He deserves to know.

MITARA

We were given specific instructions. He already knows too much.

HAL JORDAN

And whose fault is that?

Mitara recedes deeper into the shadows, disgusted.

Hal, satisfied, turns and faces Clark.

HAL JORDAN

You have questions. Ask them.

Clark searches his mind for the best question to lead with. There are just so many, he hesitates, not knowing where to begin.

CLARK

Who are you people?

HAL JORDAN

We are each members of the Green Lantern Corps.

CLARK

What is that?

HAL JORDAN

We're like police officers, but with a whole lot of frequent flyer miles.

CLARK

When I. When I looked at Lana, I saw something. There was something inside her.

HAL JORDAN

::nods:: Do you believe in ghosts, Clark?

CLARK

::confused:: No.

HAL JORDAN

You should.

CLARK

::skeptical:: What? You're saying Lana's been possessed by some sort of spirit out to kill me?

Hal leans towards Clark in the chair, resting his elbows on his knees. He shakes his head and looks briefly at the ground before looking back at Clark.

HAL JORDAN

It's called a scream.

CLARK

A scream?

Hal nods.

HAL JORDAN

It's a spiritual entity with the power to take control over a person's body by literally entering inside of them and wrapping its self around their cerebral cortex and nervous system. It's relatively harmless on it's own, but when inside a person it can become very dangerous.

CLARK

Why is it called a scream?

HAL JORDAN

Every living creature has a natural spiritual defense system, like an immune system. It's far beyond anything our doctors can comprehend at this point, but what it does is protect us from being possessed by these spiritual forms. This defense mechanism can be broken down when a person experiences a particularly overwhelming amount of emotional strain. It was originally believed that things like screaming, crying, and hysterics could be attributed to these creatures entering a person's body.

Clark nods, his heart sinking into his stomach.

CLARK

Lana's been through a lot recently.

Hal nods, accepting Clark's confirmation.

HAL JORDAN

We believe it chose Lana so it could get close to you. The scream normally chooses the person it's target cares about the most.

CLARK

How do we get it out of her?

Obviously the question Hal planned to try to avoid, he hesitates and leans back in his chair. Hal Jordan looks to his friend Kilowog for support, but the massive brute has little to offer. Finally, it's Mitara who chimes in.

MITARA

You don't.

Clark looks over to the corner.

CLARK

What do you mean?

Mitara stands and walks over to the couch, leaning against the back of it.

MITARA

There's only one way to stop a scream.

Fearing the answer, Clark swallows the question back down into his throat.

MITARA

You have to kill the person that it's inside.

Clark comes to attention, immediately getting to his feet. He stares accusingly at Mitara, then over at Hal.

CLARK

Is that why you killed Jon Westmorland?

HAL JORDAN

We believe the scream was responsible for attempting to poison you by poisoning your food source through Westmorland Distributors. Unfortunately, it had let him go before we'd gotten there. We had no way of knowing. He pulled a gun on us and we defended ourselves.

CLARK

You killed an innocent man trying to protect me?! And now you're just going to kill Lana without even trying to help her? What kind of police are you?

MITARA

If we were to drive it out of her it would just find another host and come after you again. The only way to be sure is to stop it while we know where it is. There's no way to help her.

CLARK

How do you know that if you don't even try?

Mitara walks around the couch, infuriated, and stands face to face with Clark.

MITARA

Because I have hunted these creatures before. And do not dare lecture me about things that you can't possibly understand.

Mitara turns away from him in disgust and heads back to her corner. Clark, a bit taken aback, looks to Hal for the reasoning behind the outburst.

HAL JORDAN

::deep breath:: A scream once hunted her from inside her brother. She was forced to kill him.

MITARA

And I did not hesitate! I could not!

Mitara again moves towards Clark.

MITARA

It came after me using my own brother. hoping that I would hesitate. hoping that I would have that same look that you have in your eyes right now. giving it the opportunity to strike. It looks for you to let your guard down just long enough, but as soon as I realized that my brother was gone, the sooner reality set in.

Mitara moves very near Clark, only a few inches away. He is significantly taller than she, but it's clear who the more imposing of the two is.

MITARA

Lana. Is. Dead. The longer it takes for you to realize that, the more likely it is you will be joining her. Mourn for her if it makes you feel better. Just stay out of our way and let us do our job.

She turns and motions Hal and Kilowog to come with her as she starts for the kitchen.

MITARA

Come on. We'll keep an eye on the house, but I for one do not plan to sit around like a prisoner waiting to be executed. She is the prey, not us, and I'm going to hunt her down.

Mitara storms out of the room, through the kitchen, and out the front door.

Hal and Kilowog look at each other from their seats and sigh. Slowly, they each stand and head for the kitchen. Clark follows them.

CLARK

So, that's it? You're just going to kill her?

In the kitchen, heading for front door.

HAL JORDAN

Mitara runs the show, kid, not me. She knows more about these things than I do.

CLARK

She said something about being able to drive the scream out.

HAL JORDAN

::shakes head:: It's not gonna go away just because you drive it out of Lana. If it's not her, it's just going to be someone else.

Kilowog gets to the front door first and Hal has to stop while the massive brute maneuvers his way through the small doorway.

CLARK

::desperate:: But there has to be something you can do.

HAL JORDAN

I'm sorry kid.

Hal can only keep eye contact with Clark for a brief while, clearly ashamed of what he has to do. Doing his best to put Clark's desperation out of his mind, Hal opens the front door.

HAL JORDAN

Listen, it's probably easier if you stay here, so don't go driving off anywhere, ok?

Clark starts to nod but then remembers.

CLARK

No wait, I can't.

HAL JORDAN

What do you mean you can't?

CLARK

Chloe. She ran away from the hospital and then the school. Ever since she got into the accident she's been having a really hard time. I need to make sure she's all right.

HAL JORDAN

I'm sure she's fine, Clark. She's just.

CLARK

You don't understand. It's not like Chloe to just run away like this. I'm really worried about her.

Hal seems to take an odd interest in what Clark is saying and closes the front door.

HAL JORDAN

Now, when you say it's not like her.

CLARK

I've never seen her like this before.

Clark notices Hal thinking about the situation a little too much.

CLARK

Why..?

Hal frowns and you can almost see him debating whether or not to tell Clark what he's thinking.

HAL JORDAN

After a scream leaves a person's body, there have been cases where the victim has suffered certain psychological side effects.

CLARK

What kind of side effects?

HAL JORDAN

Their control over their emotions, over their fears and worries, begins to degrade. They find it increasingly difficult to calm down and can become emotionally overwhelmed. In theory, this makes it easier for a scream to take control over them again if necessary. If the scream felt it would have better opportunity to get close to you through Chloe, it's possible it attempted to take control over her first. If it then, for whatever reason, chose to let go of her, that could explain why she's been acting this way.

CLARK

Can you do anything to help her?

HAL JORDAN

She has to help herself. By confronting her feelings, she can begin to heal, but...

CLARK

But.

HAL JORDAN

If she continues to try and repress them, they could slowly drive her insane.

CLARK

I have to find her.

Clark quickly opens the door and runs through it, disappearing down the road.

EXT. CHLOE'S HOUSE - LATE AFTERNOON

Jonathan and Martha Kent step out of Martha's car and head up the walkway towards Chloe's house. No lights appear to be on inside and there are no other cars parked in the driveway.

Martha hands Jonathan the key to unlock the front door, but she calls out well before he has a chance the open it.

MARTHA

Chloe?! Chloe, are you in there?!

Jonathan unlocks the door and the two head inside.

INT. CHLOE'S HOUSE - LIVING ROOM

Jonathan and Martha quickly head inside and immediately start searching the place for Chloe, or any signs that she's been there recently.

MARTHA

Chloe?!

JONATHAN

Chloe?!

MARTHA

I'll check her room.

Martha heads upstairs and Jonathan makes his way into the kitchen and dining room.

JONATHAN

Chloe?!

Looking around for any signs of Chloe, Jonathan spots something out of the corner of his eye. Laid out, neatly, on the dining room table is an envelope with some writing on the front. A pen lies across the top of the writing and he can't quite make out.

Jonathan walks over to the table, picking up the envelope and moving the pen. The writing on it reads "Clark".

MARTHA

::from the stairs:: Jonathan.

Martha comes down the stairs with a worried expression on her face. She quickly moves across the living room in search of her husband. Jonathan meets her halfway.

MARTHA

Two drawers of her dresser are empty and her closet's been raided. I think she's run away.

Jonathan holds up the envelope, handing it to Martha. She takes it in her hands, reading the carefully inscribed letters on the front, and looks up at her husband sadly.

CLARK

Chloe?!

Clark frantically storms through the front door finding only his parents inside.

CLARK

Mom. Dad.

JONATHAN

She's not here.

CLARK

Do you know where she is?

MARTHA

::shakes head:: We think she's run away. Some of her clothes are missing and.

Martha hands Clark the envelope.

MARTHA

. and she left this.

Clark takes the envelope from his mother, examining it closely before opening it. He reads his own name from the front of the envelope, running his thumb across the print.

Hoping to find some clue as to where she's gone, tears the envelope open and pulls out the sheet of paper inside, silently reading the text to himself. It takes him only a few seconds but, by the time he's finished, the guilt begins to set in.

CLARK

It's all my fault.

JONATHAN

Clark, you can't blame yourself for.

CLARK

::shakes head:: You don't understand. It's my fault, all of it. Jon Westmorland, Chloe, Pete, Lana. It's all because of me and.

Both confused and concerned, the Jonathan and Martha are each shocked back into the moment, realizing that Lana is conspicuously absent from Clark's side.

JONATHAN

Whoa, now just hold on a second, Clark. What happened to Lana?

Thoughts of desperation flood Clark's head as he slowly begins to comprehend that lies ahead of him; the future that he is completely unprepared for.

INT. THE TALON - MAIN AREA

Pete Ross steps inside the Talon, quickly scanning over the faces for any sign of Chloe. Unfortunately, Chloe is nowhere to be found but another face in the crowd quickly draws his attention.

PETE

Lana.

Pete maneuvers his way through the tables and over to the coffee bar where Lana Lang finishes placing two mocha lattes onto a waitresses' server. The waitress walks away to serve the drinks and Lana turns to greet Pete, but with a rather grim look on her face.

LANA

Hey Pete.

PETE

What's goin' on? I thought you were with Clark.

LANA

I was. until he ditched me.

PETE

What do you mean?

LANA

I tried talking to him about Chloe. After what happened in the hospital with you guys, I guess I kind of felt responsible for them getting mad at you.

PETE

::shakes head:: No, it's not your fault. I shouldn't have said that.

LANA

But you were right. I don't know, maybe I'm just not as good a friend as you Pete. I just wanted Clark to understand.

PETE

What'd he say?

LANA

::scoffs:: He totally blew me off. I'd never seen Clark like that before. He just totally went crazy on me.

Lana plays Pete perfectly, just starting to show signs of holding back tears.

LANA

He called me selfish. and self-righteous. and started yelling that I didn't care about Chloe and that.

She pauses, attempting to regain her composure.

LANA

He said that I probably didn't even care if Chloe was ok, because all I wanted was for to be out of the picture so I could have him to myself.

PETE

::appalled:: He said that?

Lana begins to cry.

LANA

::crying:: He just made me feel so. and then he just dumped me off outside the Talon. told me to get out of the car and that he never wanted to see me again.

Lana realizes she may have gone a little too far with that last comment when Pete turns his head slightly, confused. Trying to distract him, she really begins to let the tears flow, to the point where she's practically sobbing. She even begins to draw attention from many of the Talon's patrons.

Pete casts any doubt aside for the moment, stepping around the coffee bar to console his friend. He puts his arm around her shoulders as she sinks her face into her hands and cries, rather hysterically.

PETE

Come on.

Pete looks around the Talon and smiles, letting everyone know that he's helping her and taking care of the situation. He slowly leads her to a doorway to the back.

PETE

It's all right, come on.

He escorts Lana to the back.

INT. THE TALON - BACK ROOM

The back room is almost completely dark when the door shuts closed, but Pete makes sure to escort Lana to a chair before moving to turn on the light.

PETE

It's going to be okay, Lana. Just let me get the light and.

She continues to cry even as he turns away to search for the light switch, but it doesn't take long for her to strike. A quick blow to the back of Pete's head sends him quickly to the hard concrete floor, unconscious.

She smiles and wipes the tears from her eyes, looking over Pete with a malicious grin.

INT. THE TALON - MAIN AREA

Lana steps through the door from the back room and moves back behind the bar. Raising her arms, she whistles loudly to get the attention of everyone inside.

LANA

Ladies and gentleman, I regret to inform you that due to an emergency, the Talon will be closing early today. We thank you for your continued patronage, but I'm afraid I'm going to have to ask you all to leave.

There is a slight delay in everyone's reaction, the announcement coming as a bit of surprise. Eventually, though, the people begin to stand up from their seats and head for the door.

Several, rather confused, waitresses make their way towards the coffee bar.

WAITRESS

Lana?

LANA

That goes for everyone, Julie. Punch out.

The waitresses look at each other briefly, confused, but offer no objection.

EXT. CHLOE'S HOUSE - LATE AFTERNOON

The sun slowly sets outside the Sullivan home, but there's still no sign of Chloe.

INT. CHLOE'S HOUSE - LIVING ROOM

Jonathan and Martha sit on the couch each sporting the standard "deer caught in the headlights" look. Clark waits for a reaction from either of them, but none comes.

CLARK

I wasn't sure what to believe either but it does explain a lot of things.

JONATHAN

Son. How. How can we be sure we trust them? They've already admitted to killing one man and you said yourself that they are going to try to kill Lana.

CLARK

At first, I didn't want to believe them, but then I remembered. Dad, I saw them at the hospital the night Chloe got in the accident.

MARTHA

Before you saw them at Pete's?

CLARK

::nods:: I saw their car. As Lana drove away from the hospital, I saw their car start up and follow her. If they were following Lana, how'd they end up at Pete's house?

Martha nods, understanding.

MARTHA

Unless Lana was there.

CLARK

She must've set the fire. I just didn't see her.

JONATHAN

Well, what are we going to do now?

CLARK

Well, I'm not going to let them kill her.

JONATHAN

No, we can't let them do that.

CLARK

The woman, Mitara, said there's a way to drive the scream out of her. I just have to figure out how.

MARTHA

Well, now, look. First thing's first, we still need to find Chloe.

JONATHAN

::remembering:: Pete said he'd call here as soon as he got to the Talon.

The Kent family shares a collective mental gasp.

CLARK

Pete!

All three of them make a mad dash for the phone. Not surprisingly, Clark is already finished dialing by the time Jonathan and Martha get there.

The other end begins to ring.

CLARK

Come on, Pete, pick up.

INT. THE TALON - BACK ROOM

Lana bends down, looking curiously at Pete's side, listening to the ring of his cell phone. She smiles and reaches her hand into the boy's pocket, pulling the phone out and examining it.

INT. CHLOE'S HOUSE - LIVING ROOM

Clark listens intently to the phone, his parents hovering close by. Thankfully, the other end picks up.

CLARK

Pete! Listen, is Lana.

LANA

::phone:: I'm sorry, but Pete can't come to the phone right now. If you'd like to leave a message, please leave one after the beep... Beep.

CLARK

What have you done with Pete?

INT. THE TALON - BACKROOM

Lana gets down on the floor next to the unconscious Pete, laying her head down on his back, curling herself up into a comfortable little ball.

LANA

Oh, don't you worry your little head. He's just taking a nap. He was very tired, just like I am. of chasing you.

INT. CHLOE'S HOUSE - LIVING ROOM

Clark's eyes widen with both anger and fear.

CLARK

I swear, if you hurt him.

INT. THE TALON - BACK ROOM

Lana almost seems amused by Clark's threat.

LANA

::smile:: He'll be fine. Well, as long as you don't stand me up that is.

She bites her upper lip, as if she's actually excited.

LANA

That's right, Clarky. Today is your lucky day. You're finally going to get your big date with Lana Lang.

She giggles.

INT. CHLOE'S HOUSE - LIVING ROOM

Clark listens carefully, doing his best not to let himself crush the handle of the phone.

LANA

::phone:: Just meet me over at the Talon in. well, in however long it takes you to get over here with those fancy feet of yours. and come alone.

INT. THE TALON - BACK ROOM

Lana sits up and traces her fingers up Pete's back, laying them on his neck.

LANA

I'm warning you. If I see any of your friends hanging around where they shouldn't be. you're going to lose one.

Lana doesn't bother to press the "end call" button. She merely crushes the phone in her hand, letting the remains crumble to the ground.

INT. CHLOE'S HOUSE - LIVING ROOM

Clark hangs up the phone and immediately heads for the front door. Jonathan and Martha quickly follow.

JONATHAN

What did she say?

CLARK

She wants me to meet her at the Talon or she's going to kill Pete.

Jonathan pushes ahead of Martha, rushing up alongside his son.

JONATHAN

I'll follow in the truck.

CLARK

No.

Clark grabs Jonathan by the arm, stopping him.

CLARK

.Someone needs to keep looking for Chloe.

JONATHAN

Clark, you know it's a trap. I'm not going to let you go in there alone.

CLARK

She told me to come alone. I have no choice.

JONATHAN

Clark.

Martha sees the conviction and determination in Clark's eyes and knows what has to be done. She settles the debate by putting her hand on Jonathan's arm.

MARTHA

Jonathan.

Jonathan goes to object but, looking into Martha's eyes, understands the futility of doing so. He and his wife look up at Clark, realizing they may be looking into his eyes for the last time.

Clark, seeing the sadness in their expressions, offers them what hope he can.

CLARK

Look. Hal said they'd be watching the house.

Jonathan and Martha both nod, then take their son in their arms.

MARTHA

Be careful.

CLARK

I will.

Clark, the time slowly ticking away in his mind, breaks free from their arms and heads towards the door. Jonathan wraps his arm around Martha and the two watch their son closely as he opens the door.

Clark looks back at them one last time then runs down the road for the Talon.

EXT. LUTHOR MANSION - NIGHT

All the lights in the Luthor Mansion are out except for one at the far end of the western wing. The eerily jagged edges chip away at the skyline like a great beast enveloping the stars themselves.

INT. LUTHOR MANSION - LEX'S STUDY

Lex sits in the dark, concentrating on the computer screen in front of him. The LexCorp purple header adorns the top of the screen, a great deal of text beneath it which Lex is apparently reading.

Off to the side, a door opens. Dr. Bryce, wearing one of Lex's robes, walks in, her hair lying beautifully over her shoulders. Upon seeing Lex, she sighs, and walks over to him.

BRYCE

Lex.

He continues to concentrate on the screen even as she gently massages his shoulders from behind his chair.

BRYCE

As your doctor, based on your current condition, it is my opinion that you should come to bed.

Lex looks at his watch, humoring her.

LEX

It's only eight o' clock.

She smiles and kisses his cheek from the other side of the chair.

BRYCE

I didn't say you'd be doing any resting.

Lex smiles and turns his head, kissing her.

LEX

::sarcastic:: Are you sure, based on my current condition of course, that I'm up for any extracurricular activities?

BRYCE

Let me worry about that.

Dr. Bryce pulls the chair out from under the desk and steps around it, sitting herself in his lap. She gently presses her lips against his, then runs her hand over his hairless head and smiles.

BRYCE

Have I ever told you how sexy I think bald men are?

LEX

::smiles:: Yeah, I get that a lot.

She laughs and slaps him playfully.

BRYCE

Shut up, you. You're so bad.

LEX

Then why do you stick around?

BRYCE

Well. Maybe I like bad boys.

LEX

Oh, I see.

Helen stands up out of the chair, holding Lex's hand and pulling him up and out of the chair. She slowly escorts him back towards the door when he remembers the computer.

LEX

Let me just shut down.

Helen pouts and rests her head against the frame of the door as he quickly walks back to the computer and starts shutting it down.

Suddenly, a large door on the other side of the room opens, and Lionel, escorted by an aide, steps through, making his usual grand and somewhat unwelcome entrance.

LIONEL

Lex?

LEX

::aggravated:: Dad?!

Helen sighs and hangs her head, rolling her eyes in the doorway. Lex steps around the desk, moving in between his father and Dr. Bryce.

LEX

What are you doing here?

LIONEL

Don't worry, son, I'm not planning on staying long. I just came by to.

Lionel pauses, sniffing the air.

LIONEL

Is that Lilac?

BRYCE

Hello, Mr. Luthor.

Lionel smiles, taking great pleasure in the fact that he's interrupted them.

LIONEL

Ah, the good doctor Bryce. How are you this evening, my dear?

BRYCE

::blunt:: Go to hell.

Dr. Bryce turns and walks off, shutting the door behind her. Both Lex and Lionel smile, but for two different reasons.

LIONEL

I like her. She has spunk.

LEX

Get to the point, Dad.

LIONEL

Well, you know how I don't like to let things linger, son. So.

Lionel pulls a small diskette out of his pocket and hands it to Lex.

LIONEL

Here are all of LuthorCorp's files concerning your plant and the experiments held within.

Lex looks at the disk, skeptical.

LEX

All of the files? What about the hard copies?

LIONEL

Oh, come now, Lex. We're in the twenty-first century, or hadn't you noticed? Everything is done by computer nowadays. Everything you need to know is on that disk.

LEX

It better be, because if I'm not satisfied with.

LIONEL

Don't waste your breath. I told you before, LuthorCorp has nothing to hide. We took all the necessary legal precautions, as the files on that disk will show.

LEX

We'll see.

LIONEL

Yes, you will.

Lionel pats his aide on the arm, signaling him to escort him from the room.

LIONEL

Well, I'll leave you and the good doctor alone. It really is so difficult to find good medical physicians these days, especially one's that make house calls.

The aide opens the door for Lionel, but just before they leave.

LIONEL

You know, I think I may be coming down with a slight sniffle myself. Maybe when you're done with her, you can send her my way.

The shot stings Lex, but he keeps his composure long enough to watch his father leave and the aide to close the door behind them.

Lex stares at the disk, clearly curious of its contents. Walking around the desk, he sits back down in the chair and opens the case. He hesitates, though, looking over at the door to the room where Helen Bryce patiently waits for him.

Lex finishes shutting down the computer and leaves the disk on the desk, joining Helen in the other room.

EXT. THE TALON - NIGHT

Clark, running at super speed, stops across the street from the Talon and behind another building so as not to draw any attention. A sign in the window reads "CLOSED", and hangs just in front of a drawn shade so that no one can see inside.

INT. THE TALON - MAIN AREA

Clark steps through the Talon door, closing it behind him.

The entire interior is lit by candlelight from two candles on every table top and scattered across the coffee bar. In the center of the room, a single table is set with a neat table cloth and settings for two. A champagne bottle sits in the center of the table, chilling in a container of ice. A soft, melodic, music plays in the background

Confused but careful, Clark takes a few steps away from the door, into the center of the room.

CLARK

Hello?

LANA

Hello, Clark.

Clark turns in the direction of the voice, seeing Lana standing off to the left.

Lana looks absolutely stunning, adorning a magnificent red sequined dress, her hair twisted in a double-braid by a strand of pearls. She stares at him meekly, the candlelight reflecting a mesmerizing twinkle in her eyes.

She smiles at him, tilting her head to one side. She turns to both sides, modeling the dress for him.

LANA

What do you think?

Clark swallows hard. The dream playing out before him successfully captivates him for a good few seconds as he admires his friend's beauty. Quickly, though, Clark shakes his head and takes a deep breath, reminding himself of the situation before him.

CLARK

Where's Pete?

Lana, looking genuinely hurt.

LANA

Aren't you going to say anything about my dress?

CLARK

I don't know what you're trying to do, but it's not going to work.

LANA

What do you mean? I thought you wanted this.

She takes a step towards him.

LANA

I thought you cared about me.

CLARK

Lana, yes, but I know who you are. You're not Lana.

She takes another step towards him, looking genuinely desperate.

LANA

Yes, I am. I am Lana. Don't. Don't you see, Clark?

Clark retreats a step.

CLARK

Where's Pete?

Changing the subject, Lana walks over to the table with the place settings.

LANA

I hope you're hungry. I made dinner. It was kind of short notice but I think it came good.

CLARK

::firmly:: Tell me where Pete is.

LANA

Why are you being this way? I just wanted everything to be perfect.

Clark angrily walks up to her and grabs her by the arms.

CLARK

I'm not playing your games, scream! Where's Pete?

Clark has to quickly pull his head back to avoid her trying to kiss him. At his retreat, she smiles against his grip.

LANA

What's wrong, Clark? I know you want me too. I know you want too. In fact, this is what you've always wanted. and you can have it. You can have her. You can have anything. Go ahead, take her. Trust me, she wants this just as much as you do.

Clark lets go and backs away, shaking his head.

CLARK

No. You're not Lana.

LANA

You're wrong. I am Lana, and so much more. Don't you understand? I have all of her memories, all of her dreams. Everything she was, I am. Everything she knew, I know. I am offering all of this, and more, to you. All you have to do is take it.

She moves towards him but for every step she takes towards him, he retreats another.

CLARK

What do you want from me?

LANA

I want you to understand who you are and who you can become. The choices you make now determine that, and I am giving you a choice.

Finally, Clark makes it to the back wall and can retreat no further, allowing Lana to come close. Frightened, Clark is paralyzed from stopping her as she takes her hand and traces it down his chest. She smiles, taking his face in her hands and pulling him close.

LANA

All you have to do, is take it.

She moves closer, closing her eyes and passionately pressing her lips against his. Clark is practically helpless, tempted with the very real dream presented before him. He desperately wants to break away, but simply can't bring himself to push her away.

Finally, she breaks the kiss and pulls back, smiling while attempting to gauge his reaction.

Clark takes a moment to gather his sense, then looks up at her with a pained expression.

CLARK

I'm sorry, Lana.

Quickly, fighting every instinct he has, Clark grabs hold of her and pushes, sending her flying the air and crashing down through the table she made up for the two of them.

Clark looks physically sick as he steps toward her, already regretting the move. He doesn't have long to wait for a reaction, as she angrily pulls herself up to her feet.

LANA

::furious:: You idiot! You can't imagine the life you've turned down!

CLARK

Where's Pete?!

LANA

Don't worry, you'll be joining him soon enough!

Behind Clark, a table lifts up from the ground and mysteriously hurls itself towards Clark, slamming into the back of his head. The momentum of the table is enough, having caught Clark off guard, to shove Clark forward and into Lana. She quickly, and adeptly, grabs him by his jacket and tosses him like a rag doll across the interior of the Talon and through the back wall.

EXT. BEHIND THE TALON - NIGHT

Clark slams through the back wall of the Talon and into the dumpster behind the building, hitting the ground hard. Almost immediately, the veins beneath his skin begin to pulse green and Clark looks up to find a large chunk of green meteor rock only a few meters away. An unconscious Pete sits next to it, propped up against the back wall.

Clark cringes and cries out in pain.

CLARK

Pete!

INT. THE TALON - MAIN AREA

Angrily, Lana uses her hand to push a stray strand of hair from her eyes and heads for the hole in the back wall.

EXT. BEHIND THE TALON - NIGHT

Lana climbs through the hole in the back wall and stands confidently over Clark. She shakes her head in disgust, kicking him over onto her back with her foot.

LANA

Pathetic little creature.

She bends down, lifting Clark by the neck with one hand up and over her head. He struggles but, with the kryptonite nearby, is utterly helpless.

LANA

You disappoint me.

Her eyes grow wildly as she maliciously chokes the life out of Clark with the help of the kryptonite. Slowly, his eyes begin to turn up in his head, and his arms drop to his sides.

Lana triumphantly smiles, but congratulates herself on her victory too soon as a massive hand comes flying in off screen and completely decks her. Clark falls to the ground as she loses her grip and is sent slamming into the back wall of the Talon.

HAL JORDAN

Kilowog, the rock!

Hal Jordan runs to Clark's side, bending down to see if he's still alive, as the massive brute runs over to the piece of kryptonite and picks it up off the ground. In an amazing feat of strength, Kilowog hurls the piece of kryptonite away from Clark, and the green rock disappears into the night sky.

Mitara immediately heads for Lana, pulling her up off the ground. The green power ring glows brightly on her fist and as she plants a hook right into Lana's face, a bright green flash briefly envelops the alley, like a camera going off.

MITARA

Scream!

Lana is far from helpless, however, and quickly retaliates. She grabs the female green lantern by her shoulders and head butts her right in the face, sending the woman reeling backwards. Lana then quickly throws her hand up in Mitara's general direction and an invisible force sends the woman backwards and to the ground.

Kilowog, noticing Lana's quick recovery.

KILOWOG

Jordan!

On the ground, Clark desperately gasps for air but is alive. Seeing this, and hearing Kilowog's warning, Hal Jordan quickly jumps to his feet and gets to the brute's side.

LANA

Fine. I don't care. You can all die!

Lana lifts up her hands towards Kilowog and Hal and the two of them are lifted up and into the air. Controlling their ascent, Lana pushes them backward, slamming them into the wall of the building behind the Talon and keeping them there. Both Hal and Kilowog struggle against the invisible force that holds them against the wall of the building but they are completely unable to move and in clear agony.

Clark, noticing their pain, tries desperately to get to his feet and help them, but Lana notices his approach. She quickly turns and, with a mere look, sends him hurtling backwards, slamming him into the dumpster for a second time. The affects of the kryptonite having not totally worn off, the blow is enough that Clark cries out in pain.

Distracted just long enough, though, Lana doesn't notice that Mitara has recovered. Her green power ring pulsing with energy, Mitara lifts her fist up and points it at Lana. Almost immediately, a column of sparkling energy shoots up around Lana, taking the girl by surprise.

With Lana trapped, Hal and Kilowog are released and fall to the ground below with a thud. They are quick to recover, however, and get to their feet, raising their power rings up in a similar fashion as Mitara. As they do, the green column of energy around her seems to magnify and glow even brighter.

Lana tries touching the edge of the column with her hand but pulls it back almost immediately, screaming from the pain.

LANA

Release me!

Mitara doesn't seem particularly interested in her cries for mercy and calls out to the other lanterns.

MITARA

Hold her!

Hal and Kilowog move closer to Lana, focusing hard on keeping her inside. Mitara, however, steadies herself and pulls her fist back. She then punches it forward and a green energy beam shoots out from the power ring, piercing through the column of energy, and hitting Lana square in the chest. Lana cries out, in obvious agony.

Clark, realizing Lana's pain, gets to his feet and quickly approaches Hal.

CLARK

What are you doing?!

HAL JORDAN

Completing our mission.

CLARK

But you're going to kill Lana!

HAL JORDAN

We don't have any choice!

CLARK

No, I'm not going to let you kill her!

Clark runs passed Hal Jordan, straight for Lana.

HAL JORDAN

Wait, Clark, don't!

Clark runs towards Lana, throwing his body into the column of energy. Realizing what Clark is trying to do, Mitara quickly cuts off her energy beam and shouts out.

MITARA

Noooo!

As Clark's body pierces the energy field, it breaks apart and Hal Jordan, Kilowog, and Mitara are all knocked to the ground by a swift discharge of concentrated energy. Clark and Lana also fall to the ground, Lana unconscious.

Hal Jordan and Kilowog each groan as they struggle their way to their feet. Clark also lets out a groan but pushes his pain to the side long enough to sit up and check on Lana.

CLARK

Lana? Lana?!

Unconscious, she doesn't respond and Clark checks her pulse. Satisfied that she's still alive, he gets to his feet and takes her in his arms, but as he turns to run off is stopped by Kilowog and Hal.

HAL JORDAN

Where the hell do you think you're going?

CLARK

She's hurt. I have to get her and Pete to the hospital.

HAL JORDAN

She's not going anywhere!

CLARK

I'm not going to let you kill her!

HAL JORDAN

Don't you get it? It's the only way to kill the scream!

CLARK

I don't care! You're not hurting her!

HAL JORDAN

You don't have a choice in the matter!

CLARK

If you want to hurt her, you're going to have to go through me.

HAL JORDAN

You don't get it!

KILOWOG

Um, Hal.

HAL JORDAN

We're trying to protect you.

CLARK

Then you're going to have to find another way.

HAL JORDAN

We've been through this already.

KILOWOG

Hal.

HAL JORDAN

There is no other way!

CLARK

You're not even trying!

KILOWOG

::loud:: Hal!

Both Hal and Clark look up at the massive brute, each taken aback by the force of his thunderous voice.

HAL JORDAN

What?!

Kilowog looks around a bit.

KILOWOG

Where's Mitara?

Hal and Clark turn, looking around for Mitara, but find no sign of her. Confused, they all think to themselves where she could have gone. It doesn't take long, however, for each of them to grasp horrifying truth of the situation.

HAL JORDAN

Oh my god.

Clark swallows hard, both Kilowog and Hal Jordan looking at him with horrified expressions on their faces. Slowly, Clark turns his gaze down on the girl in his arms and, using his X-Ray vision, inspects her insides.

Clark looks up at them and the look on his face only confirms what they all already knew.

CLARK

It's gone.

Knowing what the scream was capable of inside of Lana Lang, they each silently consider their fears of learning what a scream could do inside of a green lantern.

INT. SMALLVILLE HOSPITAL - PETE'S ROOM

Pete sits up, a tight cloth wrapped around his head. He lets out a long sigh complemented by an extended whistle from his parched lips.

PETE

Somebody's gonna need to give Principal Reynolds a Prozac the size of a handball when he hears about this one.

Clark shrugs in agreement, doing his best not to think about it. Everyone, Clark especially, is very much aware of the tension in the room with the green lanterns Hal Jordan and Kilowog standing off in the far corner. Martha in particular, sitting by Pete's side, makes no attempt at hiding her condemning stare.

Off to the side, the door to the hospital room opens and Jonathan steps through. He seems to share the same love for the lanterns that Martha has, and gives them both a quick stare down before addressing the room.

JONATHAN

They're keeping her under observation but she's going to be fine. They say she's pretty lucky.

Jonathan shoots a horrific glance back at Hal.

JONATHAN

.considering she'd just been struck by lightning.

HAL JORDAN

I don't expect you to understand. We did what we had to do. and we're prepared to do it still.

JONATHAN

It's not what you did that I don't understand, it's what you didn't do. It's what you didn't even try to do.

HAL JORDAN

There was no way to save her.

JONATHAN

Really.? Because my son seems to have done a pretty good job of doing just that.

HAL JORDAN

And in the process, he has condemned another to the very same fate. He has only made the scream stronger and delayed the inevitable.

JONATHAN

::nods:: You're going to kill one of your own.

HAL JORDAN

Mitara knew the risks involved better than anyone. She would have gladly sacrificed herself for the greater good.

JONATHAN

::scoffs:: The greater good? I'll never understand the mentality behind a person who can say that while trying to save a young girl's life never even crosses their mind.

HAL JORDAN

Because of that scream, thousands of people have been infected with a deadly disease and could die. The opportunity came about to stop it once and for all and we took it. My conscience is clear, sir.

JONATHAN

Yeah, well, whatever gets you to sleep at night.

Jonathan shakes his head in disgust and pulls a chair up next to Martha. As the mini-debate comes to an end, Clark and Pete merely look at each other stunned, and maybe even a bit wiser.

Martha takes Jonathan's hand.

MARTHA

Jonathan.

Jonathan, picking up on Martha's message, nods and looks over at Pete.

JONATHAN

I called your mother at your Uncle's house. I told her you were all right. She's heading out to the hospital now.

PETE

They really should just setup a monorail to this place or somethin'. I think it'd be cheaper.

Pete's mild sense of humor isn't enough to break the tension, but it is enough to at least get a smile out of Clark.

PETE

So, what's our next move?

MARTHA

Your next move is to wait for your mother.

CLARK

::nods:: .And ours is to go look for Chloe.

Hal takes a step towards Clark to offer his objection.

HAL JORDAN

I really don't think it's wise for you to being going out into the open.

JONATHAN

And we don't really care what you think. Chloe is in trouble and we're going to find her.

HAL JORDAN

If you let your son go out there, you'll be leaving him vulnerable.

JONATHAN

No, I won't be, because you're going with him.

HAL JORDAN

We are?

CLARK

You said it's your job to protect me, so do your job.

MARTHA

::stands:: Clark, did Chloe say anything in the letter as to where she might've gone?

At the mention of the letter, Pete interrupts.

PETE

There was a letter? What letter?

Clark, consciously ignoring his friend's inquiry, quickly changes the subject.

CLARK

No, there wasn't anything like that.

MARTHA

Well, we checked her house and she's not at the school. Where else could she have gone?

Clark thinks hard while Pete tries to get his attention.

PETE

Umm. Letter?

Finally, Clark shakes his head.

CLARK

I don't know where else she would've gone.

JONATHAN

Chloe used to live in Metropolis, didn't she?

CLARK

Yeah.

JONATHAN

Well, does she have anywhere in the city where she could stay? A friend's house maybe?

CLARK

::shrugs:: I'm not sure. Chloe really doesn't talk about the city much. except for the Daily Planet of course.

MARTHA

We should talk to Gabe again.

JONATHAN

He wasn't exactly a font of information last time we spoke to him.

It's clear by the tone in his voice that Jonathan bears some hostility towards Mr. Sullivan. So much so, in fact, that Martha silently cautions him to weather his temper with a stern clench of her jaw.

MARTHA

Well, maybe he's remembered something since then.

JONATHAN

In the meantime, I'll call the police. Maybe the sheriff's found something.

The Kent family files out of Pete's room without even bothering to say goodbye to poor Pete, leaving him alone with Hal and Kilowog.

Feeling left out, and somewhat confused, Pete turns to Hal.

PETE

What letter?

Hal rolls his eyes and replies with a simple shrug.

EXT. LUTHOR MANSION - NIGHT

In the dead of night, Luthor Mansion's cold silhouette appears as a shadow of its true self.

INT. LUTHOR MANSION - LEX'S BEDROOM

Lex Luthor stares up at the stars, through the skylight in the ceiling, from the comfort of his bed. The beautiful Helen Bryce lays next to him, wrapped up in the silk sheets, her arm resting over his bare chest. Lex folds one arm back, behind his head, resting the back of his neck on his wrist. With the other hand, he gently fingers through the sleeping doctor's hair. Despite the serene quiet, though, Lex can find no rest; not in his bed, not in his love, and not in the stars.

He takes a breath and holds it, carefully maneuvering the doctor's arm from his chest so as not to disturb her rest. Quietly, he steps out of the bed and reaches for his robe. Slipping his arms through the sleeves, Lex looks back at the door to his study. For a moment, he simply stares at it, then let's his eyes wander back to Helen.

The sight of her there, sleeping quietly, brings a smile to his face, but only briefly. A stabbing pain in his side grabs him, the first signs of the disease that slowly eats away at him from the inside out. Closing his eyes, he clenches his teeth and waits for the pain to subside.

After a few seconds, the pain subsides and Lex frustratingly ties the belt of the robe together. He then heads for the door to the study.

INT. LUTHOR MANSION - LEX'S STUDY

Let's sits down at the computer on his desk and logs in. The disk drive opens and Lex inserts the disk his father gave to him earlier, closing the drive shortly thereafter.

A screen pops up on the monitor and Lex smiles, taking a brief few seconds to take a visual scan of the text. He then reaches for the phone on his desk and dials.

Two rings on the other end and someone picks up.

STEVEN WESTMORLAND

::phone:: Hello?

LEX

I have the data.

STEVEN WESTMORLAND

::phone:: You do?

LEX

He brought it over personally.

STEVEN WESTMORLAND

::phone:: Arrogant son of a.

The last bit is inaudible but Lex seems to understand the general idea.

LEX

I'm linking up with your network and transferring the files to you now.

STEVEN WESTMORLAND

::phone:: Do you really think there will be anything of any use to us?

LEX

If I know my father, it's there. That's why he brought it to me in person. He was letting me know. This is just another one of his tests. Well, this is one he's going to fail.

STEVEN WESTMORLAND

::phone:: You really are obsessed with getting at him aren't you?

LEX

You have no idea.

STEVEN WESTMORLAND

::phone:: Just be careful, Lex. It could get you into trouble some day.

LEX

I'll call you again tomorrow afternoon. We'll compare notes.

STEVEN WESTMORLAND

::phone:: I look forward to it.

Lex hangs up the phone and smiles.

INT. SMALLVILLE HOSPITAL - GABE SULLIVAN'S ROOM

Jonathan scoffs and throws a hand up in disgust.

JONATHAN

You must have some idea.

GABE SULLIVAN

I don't remember.

JONATHAN

Well, think harder.

Clark and Martha both seem surprised at the contempt in Jonathan's tone. For what it's worth, however, Mr. Sullivan doesn't seem to be putting up much of a defense.

MARTHA

Did go Chloe ever have any sleepovers with anyone?

GABE SULLIVAN

I don't know, maybe. when she was five.

CLARK

Is there anyone she kept in touch with after the move?

Gabe pauses to think for a moment.

GABE SULLIVAN

There was one girl. a. Chris. Christina.

He shakes his head, quickly dismissing her after mentioning the girl's name.

GABE SULLIVAN

But they haven't talked since the eighth grade.

JONATHAN

What about family? Does she have any relatives in the city?

GABE SULLIVAN

::shakes head:: No. The Sullivan's are all on the east coast and my ex- wife's family was from Canada.

MARTHA

Well, maybe she wasn't going to the city. Maybe there's some place else. Is there anywhere else she might have gone?

Gabe thinks long and hard but draws a mental blank. It's hard to tell which dominates his expression more, guilt or fear.

GABE SULLIVAN

I just don't know.

Jonathan starts pacing, utterly frustrated with the entire situation.

JONATHAN

I just don't understand how a man can know so little about his own daughter.

MARTHA

::appalled:: Jonathan!

Jonathan ignores Martha and looks right at Gabe.

JONATHAN

Your daughter's life may be on the line here. Think!

MARTHA

::to Jonathan:: That's enough!

Clark, clearly uncomfortable with the arguing in front of him, retreats back against the wall.

GABE SULLIVAN

No, he's right. It's my fault.

Ashamed of himself and what he's done, Gabe Sullivan begins to cry.

GABE SULLIVAN

I drove her away.

MARTHA

No, Gabe, that's not true. She's just.

GABE SULLIVAN

Yes, it is true. Of course it's true. I should have seen this coming. I should have been there for her, but I wasn't, and now my daughter thinks I hate her.

Martha sits next to him and hands him some tissues as he struggles to berate himself though his own tears.

GABE SULLIVAN

My baby.

Martha rests her hand on Gabe's arm, trying to console him.

MARTHA

It's okay. We're going to find her.

Jonathan seems to have lightened up a bit in light of Gabe's little breakdown. He turns and walks over to Clark. For a while, they simply stand next to each other in silent contemplation. Finally, Jonathan breaks the silence.

JONATHAN

You're sure there wasn't anything in that letter, Clark?

Gabe looks up at the mention of the letter, with a renewed interest.

CLARK

::shakes head:: She didn't say where she was going.

GABE SULLIVAN

Letter?

MARTHA

::nods:: Chloe left Clark a letter on your dining room table. We found it when we went over there.

Gabe's eyes suddenly come to life.

GABE SULLIVAN

Of course!

MARTHA

What is it?

GABE SULLIVAN

I was wrong. Chloe does have family in Metropolis. My niece is a freshman at Metropolis University.

Jonathan and Clark simultaneously take a step away from the wall and towards Gabe in the bed.

GABE SULLIVAN

Chloe and her met at a family reunion a few summers back. I remember they really hit it off because they both wanted to be reporters. They've been writing each other letters back and forth ever since.

CLARK

Does Chloe know where she lives?

GABE SULLIVAN

::nods:: I think so. She's been bugging me for the chance to go visit.

Jonathan walks quickly over to a night stand nearby and grabs the phone off the top. He pulls the head piece to his ear and raises his finger over the keypad.

JONATHAN

Number?

EXT. METROPOLIS UNIVERSITY DORMITORY COMPLEX - NIGHT

Outside one of the dormitory building of Metropolis University, loud music can be heard coming from a closed window with the shade pulled down.

INT. METROPOLIS UNIVERSITY DORMITORY COMPLEX - DORM ROOM

Two twin beds and two desks sit on either side of a small dorm room. On one side, a computer sits at a desk with a scrolling screensaver of half naked men at the beach. A poster of Bon Jovi adorns the wall over the unmade bed and a messy pile of women's clothes stresses the legs of the bed to their extreme limits. On the other side is a perfectly made bed with the sheets tucked in and everything perfectly tidy and neat. At the desk, a young college student with dark black hair sits calmly at her desk, scrolling through the various pages of CNN.com.

The bathroom door is closed but it is clear from the stereo blasting from inside, plus a poor vocal accompaniment, that someone is inside. The young girl at the desk seems annoyed by the loud music but does her best to ignore it.

The phone rings a few times, both occupants of the room ignoring it for a while. Eventually, though, the bathroom door opens and the toweled head of a young girl, with half her makeup done, pokes out.

CHERICE

Hey, Lois, can you get that? Thanks!

The door quickly shuts and Lois Lane sticks her tongue out at the door. She quickly swallows it back up, though, when the door opens and the toweled head returns.

CHERICE

And if it's Paul, tell him I'm in the shower but if he wants to come over there's plenty of room.

Cherice laughs a rather girlish laugh and recedes back inside the bathroom.

LOIS

::mutters:: Tramp.

Lois gets up from her desk chair, walks over to the phone, and picks it up.

LOIS

Hello?

INT. SMALLVILLE HOSPITAL - GABE SULLIVAN'S ROOM

Gabe's entire face lightens up when Lois finally picks up on the other end.

GABE SULLIVAN

Lois! It's your Uncle Gabe. Is Chloe there?

INT. METROPOLIS UNIVERSITY DORMITORY COMPLEX - DORM ROOM

Lois appears confused.

LOIS

Chloe? Um, no.

Lois turns to look at the enormous pile of clothes on Cherice's bed.

LOIS

I don't think so. Why?

INT. SMALLVILLE HOSPITAL - GABE SULLIVAN'S ROOM

As quickly as it came, any hope dies away and Gabe Sullivan's heart drops heavily. All three members of the Kent family react the same.

GABE SULLIVAN

She ran away from home. Listen, if she shows up there, or calls you, or anything, I need you to call me immediately, all right? Let me give you the number.

INT. METROPOLIS UNIVERSITY DORMITORY COMPLEX - DORM ROOM

Lois, concerned, nods and grabs a pencil and paper.

LOIS

Yeah. Yeah, of course, Uncle Gabe.

She writes down the number as Gabe recites it on the other end of the line.

LOIS

Listen, call me back if you hear anything.

GABE SULLIVAN

::phone:: I will.

Gabe hangs up on the other end and so Lois does too. Concerned for her cousin, Lois takes her time getting back to her desk chair. When she finally gets there, just before she sits back down, a knock comes at the door.

Lois looks up and shakes her head in frustration. As she heads for the door.

LOIS

Listen, Paul, this really isn't a good time for.

She opens the door and, as if on cue, finds Chloe behind it with suitcase in tow.

INT. METROPOLIS UNIVERSITY DORMITORY COMPLEX - DORM ROOM

Chloe sits on the end of Lois Lane's couch, solemnly staring down at the floor. Lois looks at her from her desk chair with worried eyes, deeply concerned for her troubled cousin.

CHLOE

Have you ever had the feeling that, if you suddenly disappeared, no one would notice; that no one would care?

Lois takes a deep breath in, contemplating the not so promising thought.

LOIS

Sure, I guess. I think it's a natural feeling to have, something we all go through.

Lois quickly adds.

LOIS

It's not true, though.

CHLOE

It is for me.

LOIS

Don't say that.

Chloe looks up at Lois, tilting her head ever so slightly to the side.

CHLOE

I can see them. all of them. looking over their shoulder thinking to themselves, "something's missing." After a while, though, they just ignore it and go on with their lives.

LOIS

Chloe, you can't think that way.

CHLOE

I can't help it. There are all these thoughts running through my head and I just can't stop thinking about it.

Lois doesn't seem to know what to say, desperately searching her mind for some encouraging thought to throw out there, anything to help Chloe feel better.

LOIS

You want to know what I do when I'm feeling particularly blue?

CHLOE

What?

Lois stands and walks over to a little refrigerator/freezer unit. She opens the door and pulls out two small pints of Double Chocolate Fudge Ice Cream. She smiles, holding them up to show Chloe.

LOIS

I spend a nice, quiet, evening with my friends Ben and Jerry.

She pulls the tops off the two containers and places them on her desk, pulling out two plastic spoons from a Tupperware container beside the bed. She sticks a spoon into the tops of both pints and hands one to Chloe before sitting back down in the chair.

CHLOE

::smiles:: Thanks. I can really go for some ice cream actually.

LOIS

Eat all you want. They're my roommate's. She stockpiles. in more ways than one if you catch my drift.

The two of them take the time to eat some ice cream before continuing. Lois appreciates the cold breather but knows she can't put it off forever.

LOIS

So, what's going on with you, huh? Why are you here?

CHLOE

I don't mean to impose. I just needed to get away, you know? You're the only one I could think of.

LOIS

::skeptical:: Chloe, people who "just need to get away" go on vacations. They don't run away from home.

CHLOE

Tell that to my mother.

LOIS

I don't know your mother.

CHLOE

Neither do I.

Lois leans forward in the chair.

LOIS

I can't help you if you don't talk to me.

CHLOE

Who says I came here for help?

Lois raises an eyebrow, pointing her spoon at Chloe's pint of ice cream.

LOIS

Well, I'm guessing you didn't come for ice cream.

CHLOE

My father called you, didn't he?

LOIS

Of course he did. He's really worried about you.

CHLOE

::shakes head:: No he's not.

LOIS

Why would you say that? Your father loves you very much.

CHLOE

My father doesn't love me. He puts up with me because he doesn't know what else to do with me.

Tears start to well up in Chloe's eyes, the thoughts racing through her mind beginning to overwhelm her once again thanks to the villainous touch of the scream.

CHLOE

Obviously, he doesn't love me. No one does.

Lois tips her head slightly, immediately picking up on the tone in Chloe's voice.

LOIS

Oh, I get it now.

Lois leans back in her chair.

LOIS

This is about him, isn't it? What's his name? Fart Kent?

Lois's humor is apparently lost on Chloe, not that it was really meant as a joke.

CHLOE

It's Clark.

LOIS

Yeah, and what did that jerk do this time?

CHLOE

He's not a jerk. He just has feelings for someone else.

Chloe rolls her eyes.

CHLOE

.story of my life.

LOIS

Hey, had he hung me out to dry at a dance like that, he would have been eating Gucci. You gotta get over that louse.

CHLOE

It's not just about Clark.

LOIS

Well, I'm listening. Tell me what it is about.

Chloe hesitates, staring down at the black velvet swirl as it circles down into the brown ocean of chocolate ice cream.

CHLOE

I'm always second best. No matter what I do.

LOIS

What do you mean?

CHLOE

With my Dad, it's my mother. With Clark, it's Lana. I want to know, what's so wrong with me? Why can't anyone. Why doesn't anyone.

Tears once again streak down Chloe's face as she chokes on the question.

CHLOE

I just want someone to love me for who I am, not because the real woman they loved ran off or because they screwed up a couple of dates with a self- centered, self-righteous, bitch!

Lois recedes back in the chair, startled by the sudden burst of anger in Chloe's voice. Lois quickly steers clear of the "Lana topic".

LOIS

Chloe, you're sixteen and a sophomore in high school. You can't expect Prince Charming to walk in and sweep you up off your feet.

CHLOE

I don't want Prince Charming. I just want to feel like I'm important to someone.

LOIS

Well, what about your friends? What about Pete? He sounds like a nice guy.

CHLOE

When do I ever get the chance to spend any time with him anymore? Lately, he and Clark have been joined at the hip. I hardly ever get to see him anymore without Clark there.

LOIS

What about your other friends, besides Pete?

CHLOE

I don't have any other friends. That's why I spend so much time working on the Torch. It's better than sitting at home and doing nothing, bloating up on. Kit Kats and ice cream.

Chloe, remembering the ice cream in her hand, shakes her head in frustration. She puts the pint and spoon on the desk.

Lois looks down into her own pint and sighs. She puts hers down on the desk next to Chloe's.

LOIS

Yeah, I guess I know how that feels.

CHLOE

With everything that's been going on, it's like everything's just hitting me all at once. I can't even think straight anymore and it's driving me insane.

Lois stands up from the chair and sits down next to Chloe on the bed. She wraps her arms around her and holds her, letting her younger cousin cry on her shoulder.

LOIS

All right, all right. It's okay. You just need to calm down. I have a sleeping bag in the closet. Let's say the two of us get in our pajamas, we'll watch the Evening News with Dan Rather and we'll go to sleep and figure this all out tomorrow morning after we've both gotten some rest.

CHLOE

I prefer Brokaw.

Lois cringes behind Chloe's back.

LOIS

Ok, Brokaw it is.

CHLOE

Lois?

LOIS

Yes?

CHLOE

You have to promise me something.

LOIS

What?

Chloe breaks away from Lois, enough to look her in the eyes.

CHLOE

You have to promise me you won't call my father.

LOIS

::objecting:: Chloe.

CHLOE

Promise me you won't call him.

LOIS

::reluctant:: All right. I promise, but we're going to talk about this in the morning. Now, let me get that sleeping bag.

Lois stands up from the bed and walks over to the closet. She pulls down a neatly wrapped sleeping bag from the top of the closet and lays it out across the floor beside the bed. On the front of the sleeping bag is a big logo of a globe with the words "Daily Planet" across it. Chloe smiles when she sees it and even laughs a little.

CHLOE

A Daily Planet sleeping bag?

LOIS

Yeah, they give it to their reporters who have to go out in the field. I stole it from a storage closet on the top floor when I went on the tour.

CHLOE

They wouldn't let us go to the top floor when I was there.

LOIS

They didn't exactly "let" me go either. I used the fire escape.

Chloe laughs, rubbing the tears from her face. Lois finishes setting up the sleeping bag and puts the ice cream back in the refrigerator before walking off to the bathroom.

LOIS

Okay, I'm just gonna go take a quick shower. I'll be right out.

CHLOE

Okay.

Chloe smiles and watches Lois as she slips into the bathroom and closes the door behind her. The smile soon fades from her face, though, when she warily turns her gaze back to the sleeping bag logo. Chloe seems captivated, almost mesmerized, by the massive globe.

INT. DORM ROOM - BATHROOM

Lois Lane runs the shower, looking nervously back at the door. Quietly, she picks up the portable phone in the bathroom and starts dialing.

INT. SMALLVILLE HOSPITAL - GABE SULLIVAN'S ROOM

Gabe Sullivan sullenly admires a small wallet photo of a younger Chloe, probably from a picture day a few years back. He softly runs his index finger over the small face, silently praying to one day see that face again.

Clark, losing his patience, takes a few steps towards the door.

CLARK

I can't just stand around and do nothing. I'm going to go look.

The phone rings. The room immediately goes silent and everyone turns their gaze to the phone. Gabe grabs the phone up with his good arm before it gets a chance to ring a second time. He's surprisingly quick for a man half crippled.

GABE SULLIVAN

Chloe!?

INT. DORM ROOM - BATHROOM

Lois Lane speaks just loud enough to be heard over the running water.

LOIS

Uncle Gabe? It's me, Lois.

GABE SULLIVAN

::phone:: Lois! Is Chloe there?

LOIS

She showed up about twenty minutes ago. She's all right. I set up a sleeping bag and she's going to sleep here.

INT. SMALLVILLE HOSPITAL - GABE SULLIVAN'S ROOM

Gabe quickly nods to the Kents, telling them the good news.

GABE SULLIVAN

Okay, Lois, keep her there. We're on our way.

Gabe hangs up the phone. Almost immediately, Clark, Jonathan, and Martha are up and heading for the door. Jonathan looks at his watch.

JONATHAN

It's a six hour trip. If we leave now, we can make it by five.

CLARK

I can get there quicker.

GABE SULLIVAN

Wait! You have to get me out of this bed. I'm coming with you.

Jonathan and Clark both ignore him and are through the door before he even finishes his sentence. Martha at least turns to humor him.

MARTHA

I'm sorry, Gabe, but the doctors said you're in no condition to go anywhere. Don't worry, we'll bring her back. Just stay by the phone and we'll call you when we get there. If you need to reach us, we have Pete's cell phone.

Martha shuts the door behind her and leaves Gabe alone, with the phone in his hand. Feeling utterly helpless, he looks back at the picture of Chloe. Determined to help his daughter, he shakes his head.

GABE SULLIVAN

Not this time.

He starts dialing.

INT. SMALLVILLE HOSPITAL - WAITING AREA

Hal Jordan and Kilowog stand, rather conspicuously, in the waiting area outside Gabe Sullivan's hospital room. As the Kents file out of the room, the two remaining green lanterns immediately follow them down the hall and toward the hospital exit.

HAL JORDAN

What's happening?

CLARK

We found Chloe. She's in Metropolis.

HAL JORDAN

We'll come with you.

CLARK

If you can keep up, you can come with.

HAL JORDAN

I think we'll manage.

EXT. SMALLVILLE HOSPITAL - NIGHT

Jonathan and Martha run for Jonathan's truck while Clark simply follows them so that no one will see him jet off at super speeds. Kilowog and Hal Jordan follow Clark.

CLARK

I'll meet you there.

JONATHAN

We're right behind you.

Jonathan and Martha get into the truck and start it up as Clark starts running. The green lanterns follow behind him until he storms away at super speed, at which point Hal Jordan and Kilowog take to the skies, instantaneously changing into their costumes, flying off into the night.

Jonathan and Martha drive out of the hospital parking lot, lagging behind.

EXT. SMALLVILLE - NIGHT

Clark Kent uses his remarkable speed to run towards the city of Metropolis. Above him, the green lanterns Hal Jordan and Kilowog fly behind, quickly finding it impossible to keep up.

HAL JORDAN

Damn, he's fast.

Clark Kent disappears in the distance and over the horizon. Despite losing him, the lanterns continue to head toward the city.

INT. METROPOLIS UNIVERSITY DORMITORY COMPLEX - DORM ROOM

Lois Lane, adorning little more than a bath robe, feverishly dials away at the telephone.

LOIS

Pick up, dammit!

The other end of the phone continues to ring, but no one answers and she slams it down in frustration. Quickly, she moves over to her closet, angrily shutting off the television, and Tom Brokaw, as she walks by.

LOIS

Shut up Brokaw!

Lois quickly shuffles through the clothes in her closet, pulling out a sweatshirt. She starts to disrobe when a knock comes at the door.

CLARK

::through the door:: Chloe?! Chloe are you in there?

Lois looks up, confused. She re-ties her robe, walks over to the door, and opens it.

CLARK

Chloe!?

LOIS

Who are you?

Clark goes to take a step into the room but Lois blocks the way.

CLARK

My name is Clark Kent. I'm one of Chloe's friends. Is she here?

LOIS

::disgusted:: Oh, it's you. This is all your fault you know.

Lois turns, allowing Clark to come inside. He scans the room quickly, but all he finds is Chloe's unopened suitcase.

CLARK

Where is she?

LOIS

Why should I tell you?

CLARK

Because I'm her friend and I want to help her.

LOIS

Well, I'm her cousin and I'm not sure that seeing you is the best thing for her at the moment.

CLARK

::loud and firm:: Tell me where she is!

Lois takes a step back from her previously aggressive stance, a little bit frightened by the command in his voice.

LOIS

I don't know.

Clark motions to Chloe's suitcase.

CLARK

She was here. You called her father.

LOIS

I know, but she slipped out while I was in the shower.

Clark's mind begins to race, thoughts of where she could have gone running through his head faster than even he can run.

LOIS

How'd you get here so fast anyway?

Clark, making it up on the fly.

CLARK

I was already in the city. I have to find her.

Lois carefully surveys the worry in Clark's expression, seeing something there she didn't expect to find. He obviously cares for Chloe and she can see that in his eyes.

LOIS

Look, I don't know where she went. I was just going to go out looking for her.

Lois grabs the sweatshirt she took from her closet and removes a pair of sweatpants from her dresser drawer.

LOIS

If you want to come with me, I'm sure I know the city better than you do.

Lois steps into the bathroom to change while Clark continues to look around the room.

LOIS

::from the bathroom:: I'm not really sure where she would have gone, but I know a few good spots we could check.

Something catches Clark's eye. As he steps around the bed, completely ignoring Lois, he sees the sleeping bag with the Daily Planet logo on the top. Almost instantaneously, he darts out of the room in a blur of light.

LOIS

::from the bathroom:: I don't know if she'd go to any of the big teen hangouts. That's not exactly her style, but we can still check. There is a state park a few miles from here. She talked about wanting to go visit it the next time she was in the city. She might have.

Lois steps out of the bathroom fully changed, holding the robe. She quickly stops talking when she realizes Clark is nowhere to be found.

She shakes her head in frustration.

LOIS

I don't believe it. He did it to me too. That bastard!

EXT. THE DAILY PLANET - NIGHT

Clark Kent runs toward the Daily Planet, stopping in front of the main entrance. Looking to his left, he can see Lana's car parked in one of the many vacant spots in the parking lot.

He looks up and towards the roof of the now very familiar building.

EXT. ROOF OF THE DAILY PLANET - NIGHT

The massive Daily Planet golden globe spins proudly, illuminated by several spotlights scattered evenly about the roof. Near one of those spotlights, Chloe Sullivan stands up on a ledge, crying and looking down at the city streets below.

A nearby door swings open and Clark runs through, immediately spotting his suicidal friend.

CLARK

Chloe!

A tear slowly traces down her cheek making a path to the end of her chin until it finally falls off and over the edge, beginning its long journey to the ground below.

CHLOE

::crying:: Don't come any closer Clark! I mean it!

CLARK

Chloe, don't do this. You're not thinking straight.

CHLOE

You don't understand!

CLARK

Chloe, please, just step down and let's talk about this.

CHLOE

::shakes head:: What's the point? I'm not going to change my mind.

CLARK

And I'm not going to let you do this.

CHLOE

You can't stop me. People weren't meant to go through life alone.

CLARK

You're not alone.

CHLOE

Yes I am. My mother left me, my father's stuck with me, and you.

She doesn't need to go on.

CLARK

::shakes head:: Chloe, please.

CHLOE

I've always wanted my name in the Daily Planet. I guess now's my big break.

Clark takes a few steps towards her and so she inches herself closer to the edge.

CHLOE

Don't come any closer, Clark!

He stops his advance.

CLARK

Chloe, I need you to listen to me.

She turns just enough to keep her eye on both him and the ledge.

CLARK

Do you trust me?

CHLOE

What?

CLARK

Just answer the question. Do you trust me?

She hesitates, not quite seeing where he's going with this, but eventually nods.

CLARK

So you know that I would never lie to you, even if it was just to get you down off that ledge?

She nods again.

At her nod, Clark takes a few steps toward the nearby ledge, keeping his distance so she doesn't think to jump. He looks down and, for a moment, his fear of heights makes Clark's head spin. For the life of his friend, he puts his fears aside, and stands up on the ledge a few feet away from her.

CHLOE

What are you doing?

CLARK

Chloe, I'm not going to lie to you. I have feelings for Lana, but that doesn't mean I care about you any less. You and I have seen a lot of strange and horrible things living in Smallville. But if there's one thing that strikes me as even more horrible, it's the thought of living in a world without a Chloe Sullivan.

He turns to her and shakes his head as she looks up at him with longing eyes.

CLARK

I'm not going to do it, Chloe.

She looks over at him, trying to decide whether he's a hopeless romantic or as crazy as she is.

CHLOE

You stupid idiot, you're not going to kill yourself.

Clark nods, looks down, then back at her.

CLARK

You're right, I'm not. ::straight-faced:: I'm going to jump first, land, and then catch you.

Confused, Chloe looks at him like he's sprung an extra head. Yet, something in his eyes tells her that he might actually be serious.

CHLOE

::shakes head:: You're crazy.

CLARK

Crazy about you, Chloe Sullivan.

He smiles at her and, as she so often does, she melts into a smile of her own. Slowly, Clark reaches his hand out to her.

CLARK

Come on, Chloe. Let me take you home.

He patiently waits for her to take his hand, secretly using all his super human strength to keep steady.

She looks down at his hand and takes it.

Clark jumps down from the ledge and helps her down. She immediately wraps her arms around him and he around her.

CHLOE

Why do you have to be such a jerk sometimes?

CLARK

Hey.

Clark pushes her back slightly so he can look her in the eye.

CLARK

This from the girl who just had me up on the ledge of a building. You know how I hate heights. You scared me to death.

CHLOE

::sarcastic:: Just trying to add a little thrill into your otherwise "dull" life, Clark Kent.

CLARK

I'm just glad you're all right. Come on.

Clark starts walking her towards the door.

CLARK

I'll buy you some ice cream.

CHLOE

I already had some. It was really good too.

As the two friends walk toward the open door, a faint green light begins growing in intensity from within. Chloe notices first and stops.

CHLOE

Clark.

Clark looks up at the door and immediately recognizes the green power ring, moving his body in between Chloe and the door.

CLARK

Chloe, get behind me!

As the glowing green light begins to grow brighter, it gradually illuminates the person within the doorway.

MITARA

::smiling:: Remember me?

Mitara punches her fist forward and an enormous energy blast pours out of the ring, hitting Clark square in the chest. The blast, despite only hitting Clark, is so powerful that it rocks Chloe backwards and into the base stand of one of the spotlights. She falls to the ground, unconscious.

Clark is immediately air born as the incredible force of the energy blast sends him sailing through the night sky and over the ledge of the building.

Clark futilely grabs at the air as he falls endlessly towards the ground below.

EXT. ROOF OF THE DAILY PLANET - NIGHT

The ledge seems to run away from Clark as he desperately reaches for something, anything, to grab hold of. Luckily, something grabs hold of him.

HAL JORDAN

Where do you think you're going?

Hal Jordan catches Clark in mid-air as he and Kilowog fly up the base of the building and up to the roof.

CLARK

You're late.

HAL JORDAN

And you're faster than you look.

Hal, Kilowog, and Clark drop down on the roof of the Daily Planet, taking a quick look around for Mitara.

HAL JORDAN

I don't see her.

Clark quickly runs to Chloe's side, checking to make sure she's all right.

CLARK

She's here.

HAL JORDAN

All right, get the girl out of here. We'll take care of Mitara.

Hal motions towards Kilowog, pointing over towards one end of the roof. The massive brute nods and the two lanterns spread out, heading in opposite directions as they search for Mitara.

Meanwhile, Clark picks up Chloe in his arms and heads for the doorway that leads inside the building.

INT. DAILY PLANET - ROOF STAIRWELL

Clark carefully turns and makes his way down the roof stairwell, paying careful attention so as not to accidentally ram Chloe into the confined walls. At first, he moves quickly down the stairwell, but he gradually slows his descent, eventually coming to a stop where the stairs break to turn. Thoughtfully, he turns to look back up the stairs, debating what he should do.

Taking a deep breath, Clark bends down, propping Chloe up in the corner. A strand of blonde hair lies over her face and he gently pushes it back over her ear. For a second, he takes a moment to admire her, placing a soft kiss on her forehead.

CLARK

I'll be right back.

Clark stands, turns, and heads back for the roof.

EXT. ROOF OF THE DAILY PLANET - NIGHT

The massive brute Kilowog searches one side of the roof to the Daily Planet. Unbeknownst to him, he is being stalked from above by Mitara who silently sits atop one of the rings of the massive rotating globe.

Waiting for just the right moment to strike, Mitara leaps down, landing behind him. Kilowog hears her land and turns, only to be met with an energy shot in the chest from her power ring. He falls to his knees, crying out in pain, and is quickly finished off with a swift kick to the side of the head.

Wasting no time at all, Hal sneaks up from behind Mitara, pointing his power ring towards her. Instantaneously, a green column of energy shoots up around her, trapping her inside. Much to Jordan's surprise, she merely turns to face him from inside the column and smiles.

MITARA

::shakes head:: Not this time.

Mitara lifts up her own power ring and punches the column of energy. It immediately shatters, sending a backfire of energy that strikes Hal square in the chest. He cries out in pain, and falls to the ground next to Kilowog.

MITARA

You disappoint me, gentlemen.

CLARK

Then, why not let me have a go?

Amused, Mitara smiles as she turns, finding a defiant Clark Kent standing tall a few meters behind her looking rather infuriated.

MITARA

Decided not to tuck tail and run after all?

CLARK

I'm tired of you hurting the people I care about. I'm the one you want. This is going to end now.

MITARA

How very noble a gesture, if not meaningless. Your friends are no safer tomorrow than they are today, no matter what happens here.

CLARK

I'm not going to let you hurt them.

MITARA

Don't you get it? You are nothing. All your powers, all your abilities. They mean nothing.

On the ground, behind the now quite distracted Mitara, Hal whispers to Kilowog.

HAL JORDAN

::whisper:: She's too powerful with the ring. We have to get it away from her.

The brute nods in agreement but offers no suggestions as to how to go about getting the ring away from her.

Meanwhile, Mitara continues to lecture Clark.

CLARK

Why are you doing this?

MITARA

::shakes head:: You have no idea what's out there, how small you really are. It is you and those like you who deserve the most pity in life. You desire to be nothing more than you are now and that is why you must be crushed. Can't you even understand that?

CLARK

I guess not.

MITARA

Then let me teach you to understand.

Mitara turns and points her ring towards the base of the giant globe.

CLARK

Wait! Don't!

A highly concentrated blast of energy shoots out from her ring, completely obliterating the base of the globe.

Taking a short look down at the busy night streets below, Clark quickly runs underneath the falling globe as it begins to fall toward the ledge. Even for Clark, the enormous mass of the golden globe is almost too much, and he strains beneath its bulk.

Mitara smiles as she watches Clark strain, sweat draining down the crevices in his forehead, as he clenches his teeth for that last bit of strength. She reaches for something inside a small pocket in her uniform and pulls it out. The small rock glows bright green, similar to that of the power ring.

As Clark holds up the massive globe, acting as a temporary base for the structure, Mitara takes a step towards him, slowly bring the kryptonite closer. Upon seeing the kryptonite in her hand, Clark desperately calls out to her.

CLARK

You can't! Stay away!

She moves closer to him and Clark's knees begin to buckle, the affects of the kryptonite just beginning to set in.

MITARA

You can still get away. There's still time. You're so much faster than I am. I couldn't possibly keep up.

The veins in Clark's hands and neck begin to pulse a dark green as Mitara brings the kryptonite even closer.

CLARK

If I drop it. the people down there could die!

MITARA

So, let them die! What does it matter what happens to them? There lives are meaningless compared to yours. Think of what you are capable of. Think of what you can do in this life. None of them are important. You are what is important, Clark, your life!

Clark falls to one knee and Mitara brings the small piece of kryptonite even closer, the giant metallic globe letting out a vibratory moan as he strains to keep it up.

CLARK

No!

MITARA

Drop it! Run away! Or fight me if that's what you want! That's what this is about, you and me! They are nothing compared to us. They go about their pathetic little lives, living the same routine day in and day out, but we can be so much more. You can be so much more, Clark!

The pain of the kryptonite is almost too much too bear and Clark must use all his strength and concentration to keep the globe on his shoulders. Mitara, determined as ever, bends down right next to him, moving the kryptonite right in front of his face.

MITARA

Drop it, Clark! Let. it. fall!

CLARK

::screams:: Noooo!

Mitara, so intent on breaking Clark, doesn't notice Kilowog's approach until it's too late. With one swift kick to the face, Mitara and the kryptonite are sent flying across the roof. Her body slams hard against the ledge, jarring the kryptonite out of her hand, and it flies harmlessly over the edge.

Kilowog quickly turns and grabs the globe from off of Clark's weary shoulders while Hal helps Clark out from underneath.

HAL JORDAN

Are you all right?

CLARK

I think so.

With one hand, Kilowog lifts the globe up over his head. With the other, he uses his power ring to miraculously repair the base of the globe from the tiny scraps and shards of metal left scattered across the roof. The pieces literally jump back into place by themselves and are sealed by a thin green aura surrounding each piece.

HAL JORDAN

We have to get the ring away from her. As long as she has it, she's too powerful. Any suggestions?

As Mitara gets to her feet on the other side of the roof, Clark looks up with a determined look on his face.

CLARK

Yeah. One punch.

Hal looks on, slightly confused, as Clark marches across the roof straight for Mitara.

Seeing his approach, Mitara quickly lifts her ring and fires several energy blasts directly at him. Using his super speed, Clark effortlessly dodges each blast in succession, continuing his advance towards Mitara.

Getting slightly nervous, Mitara lets out another barrage of energy blasts from her power ring, each one more intense than the last. Again, Clark dodges each blast as if they were moving in slow motion.

Her eyes glow bright orange, as if set on fire, and the power ring pulses with energy. As he bears down on her, Mitara swings her fist around for a swift punch to his face, but Clark is ready for it. Swinging his own fist around, Clark uses all of his super human strength to punch Mitara's hand in mid-air. In an incredible flash of green light, like a bolt of lightning striking the roof of the building, the power ring on Mitara's hand shatters into millions of tiny pieces. Stunned and helpless, Mitara swallows hard.

Clark takes the offensive. Quickly, he grabs Mitara by the shoulders and twists at the hip, hurling her back towards Hal Jordan and Kilowog. Overcoming their own state of shock at Clark's impressive display, Hal and Kilowog lift up their rings, erecting a column of green energy around Mitara.

Hal turns to Kilowog.

HAL JORDAN

Hold her.

Kilowog begrudgingly nods, knowing what comes next.

MITARA

You can't do this! There will be more! They will come for you, Jordan!

Hal Jordan lifts up his power ring and points it straight at Mitara. Just as before, a concentrated beam of green energy shoots out, hitting Mitara in the chest.

HAL JORDAN

In brightest day. In blackest night.

For all his strength, the mighty Kilowog turns away as Mitara screams for her life from inside the column.

HAL JORDAN

No evil shall escape my sight.

The beam of energy from Hal's ring intensifies as the execution nears the end.

HAL JORDAN

Let those who worship evil's might. Beware my power, Green Lantern's.

Clark lays his hand over Hal's wrist, causing him to break the beam.

From inside the column, the badly injured Mitara slumps down, falling to her knees.

Hal looks up at Clark.

CLARK

That's enough.

HAL JORDAN

What are you doing?

Clark turns to Kilowog.

CLARK

You're holding the scream inside her, aren't you?

Kilowog nods. Getting the answer he was looking for, Clark turns back to face Jordan.

CLARK

Which means you can keep it prisoner, and you don't have to kill it, or Mitara.

HAL JORDAN

::protests:: And then what? Let it sit inside her, tormenting her, for the rest of her life?

CLARK

What happens if, some day, you find a way to get it out of her?

HAL JORDAN

What happens if we don't?

CLARK

I'm not going to let you kill her.

HAL JORDAN

You don't have a choice. This is what Mitara would have wanted!

Clark takes a few steps back, towards the column, keeping his body in between Hal and Mitara.

CLARK

I don't care. If there's a chance you could some day save her, then you have to try.

HAL JORDAN

She was going to kill you, and those people down there. Do you have any idea what you're doing?

CLARK

Give me your word that you'll try.

Hal looks long and hard into Clark's eyes, contemplating whether or not to call Clark's bluff.

EXT. METROPOLIS UNIVERSITY DORMITORY COMPLEX - NIGHT

Chloe looks over at Clark from the passenger seat of Lana's car as they drive into the Dormitory complex.

CHLOE

You're sure she didn't hurt you?

Clark nods quietly.

CLARK

The cops had been following her. They showed up right after you hit your head.

Chloe senses there's more to the story, but decides against pursuing the matter further.

As Clark pulls Lana's car into the parking lot outside Lois' dorm rooms, an ambulance can be seen parked near one of the walkways. Parking the car, Clark and Chloe are both quite confused to see Lex Luthor leaning up against the side of it.

Clark and Chloe get out of the car and walk straight over to Lex.

CLARK

Lex? What are you doing here?

Lex smiles as he sees Chloe.

LEX

A request was made, by a certain employee of mine, to be flown into Metropolis. It seems he needed to get here in a hurry; some sort of family emergency.

Immediately recognizing who Lex is talking about, Chloe and Clark walk around to the back of the ambulance. Sure enough, Gabe Sullivan lays stretched out inside, with Dr. Bryce carefully monitoring his condition.

CHLOE

Daddy?

With the inside of the ambulance being rather cramped, Dr. Bryce slides her way out of the back to allow Chloe to move inside.

Clark, quite impressed, turns to Lex with a smile.

CLARK

How did you get the hospital to agree to let you do this?

LEX

I'm Lex Luthor, I can do anything.

Dr. Bryce gives him a quick shot to the gut as she walks by.

LEX

It also helps that I'm sleeping with one of the doctors.

Clark looks over at Lex and nods approvingly. Lex winks back as the three of them step away from the back of the ambulance to give Chloe and Gabe a moment of privacy.

Chloe sits down in the ambulance next to her father and takes hold his hand.

CHLOE

Daddy, I'm so sorry. I didn't mean too.

GABE SULLIVAN

No. No, you have nothing to apologize for.

It's a genuine race to see who cries first.

GABE SULLIVAN

Chloe... I've loved two women in my life. I lost one of them. and because I've spent the better part of my life angry with myself. and angry with her... Today, I almost lost the other.

Both Gabe and Chloe begin to cry.

GABE SULLIVAN

Baby, I don't want to lose you. I can't lose you. You're all I have left.

Chloe wraps her arms around him, laying her head down on his chest.

CHLOE

Daddy.

Gabe Sullivan uses his one good arm to hold his daughter close.

GABE SULLIVAN

I'm so sorry, Chloe. I love you so much.

The Sullivan family shares a much needed embrace, a welcome scene after an eventful day.

EXT. SMALLVILLE HOSPITAL - DAY

Clear blue skies appear over Smallville hospital.

INT. SMALLVILLE HOSPITAL - LANA'S ROOM

Aunt Nell sits beside Lana's hospital bed, as the two catch up on what's been happening in each other's lives, when the door opens accompanied by a knock. Clark steps into the room and smiles.

AUNT NELL

Hello, Clark.

CLARK

Hi.

AUNT NELL

We were just talking about you.

Clark holds his breath and swallows hard.

AUNT NELL

::laughs:: Just kidding.

Clark lets out a much needed exhale as Aunt Nell stands and walks for the door.

AUNT NELL

I'm going to go down to the cafeteria and get some coffee. Anyone want anything?

LANA

No, thanks.

CLARK

No, thanks.

Aunt Nell leaves, closing the door behind her.

Clark, despite probably having well rehearsed lines at the ready, has a mental stumble as to what to say.

CLARK

So, how are you feeling?

LANA

Uh. I've been better, actually.

She nods and looks up at him from the bed, waiting for Clark to say something.

CLARK

That must have been a pretty scary, getting struck by lightning.

LANA

To tell you the truth, I don't really remember it too well.

Clark is visibly relieved, and walks over to the chair Nell had been sitting in, and sits down.

CLARK

Well, what do you remember?

LANA

The last thing I remember.

She thinks for a second.

LANA

.You were in this bed.

Clark laughs a little.

LANA

Yeah, it's kind of weird actually because I was looking at some of the weather reports and it says we haven't gotten any rain here for a few days now.

Lana watches Clark's reaction carefully.

CLARK

I guess it was just one of those fluke things.

Lana shakes her head, disappointed in Clark's answer.

LANA

It certainly would be a fitting chapter in the biography of Lana Lang.

Clark nods in the "can't argue with that" sort of way.

LANA

Well, they say lightning doesn't strike twice. That's one more thing I don't have to worry about, I guess.

The two friends share a laugh.

EXT. WESTMORLAND FOOD DISTRIBUTORS - DAY

Lex Luthor, never one to miss an entrance, pulls up to the Westmorland Food Distributors Headquarters in a brand new Lamborghini.

INT. WESTMORLAND FOOD DISTRIBUTORS - CONFERENCE ROOM

Steven Westmorland smiles, in a surprisingly pleasant mood as he sifts through various papers containing lists of numbers. On the top page of one packet of papers in particular is a LexCorp logo.

A well dressed man opens the door to the conference room, letting Lex inside. Steven immediately looks up and smiles.

STEVEN WESTMORLAND

Lex, it's so good of you to come.

Lex seems watches the well dressed man leave the room before walking over to the table and sitting down.

LEX LUTHOR

I had my experts look through the files on the disk. They didn't find anything.

STEVEN WESTMORLAND

Well, then they didn't look hard enough.

LEX LUTHOR

::smiles:: You found something?

STEVEN WESTMORLAND

Oh yes.

Steven picks up the packet with the LexCorp logo on it and hands it to Lex.

STEVEN WESTMORLAND

I found something very interesting indeed.

Lex takes the packet and is immediately confused by seeing his own company's logo on the front page. He begins examining the successive pages and his expression quickly hardens.

Lex stands and drops the packet down on the table.

LEX LUTHOR

These are LexCorp financial statements. Where did you get these?

STEVEN WESTMORLAND

From you, of course. You sent them to me last night, along with every other file on your computer. Are you sure you don't want to read it? It's pretty interesting stuff.

The muscles in Lex's jaw clench tight as he watches the arrogant Westmorland sift through his confidential records.

STEVEN WESTMORLAND

I'm having a hard time following it through to the end, though. It seems to me that some of these numbers just aren't adding up. Maybe you can shed some light on the matter.

The door to the conference room opens again, and the well dressed man steps back into the room.

WELL DRESSED MAN

Mr. Westmorland, the helicopter will be arriving in five minutes, sir.

STEVEN WESTMORLAND

Thank you.

The well dressed man leaves.

Lex stares angrily across the table at Steven, suddenly aware of the betrayal before him.

LEX

Why?

Steven smiles back but doesn't give an answer. Instead, he stands up and walks over to the door where his father's office used to be. Now, the name on the door reads "Steven Westmorland" instead of Jon.

STEVEN WESTMORLAND

Perhaps, I'm not the best one to explain.

Steven opens the door and simply stands outside, waiting for Lex to walk over. Obligingly, Lex walks around the table and steps into the office. Not surprisingly, Lionel Luthor sits at the desk.

Lex stands in front of the desk, staring disgustedly at his father.

LEX

You set me up.

Lionel smiles and shakes his head as Steven Westmorland walks over to the desk.

LIONEL

I'm afraid you did that yourself, son.

Lex looks over at Steven, who is standing in the doorway rather amusingly.

STEVEN WESTMORLAND

I tried to warn him.

Lex nods, remembering that Steven did indeed warn Lex about his obsession with getting back at his father, and how it might one day get him into trouble.

STEVEN WESTMORLAND

The helicopter will be here in five minutes, Lionel. We should get ready.

LEX

Going on your honeymoon?

LIONEL

Actually, I'm holding a press conference this afternoon at the LuthorCorp building. I'll be announcing to the world that, in cooperation with our friends at Westmorland Food Distributors, LuthorCorp has discovered a cure to the recent outbreak.

Lex quickly plays back the recent events in his mind, putting all the pieces of the puzzle in their place.

LEX

You had the cure the whole time.

LIONEL

The original formula proved to be a less than profitable venture due to obvious reasons. The cure to a life threatening disease is a far more marketable product.

LEX

You bastard.

LIONEL

You could have come to me and asked for my help, but instead you chose to attack me. Well, I told you that you weren't ready for the big leagues, son; that you weren't ready to take on your old man. and I was right. Let this be a lesson to you.

Lionel gets to his feet and Steven quickly moves to his side, grabbing hold of the man's arm. As Steven escorts Lionel passed Lex, Lionel stops, turning toward his son. Lionel pulls a small vile of liquid from inside his suit pocket and reaches out for his son's arm. Finding it, he traces it down and places the vile into Lex's hand.

Lionel whispers to Lex.

LIONEL

::whisper:: You're not ready.

Steven escorts Lionel out of the office.

Lex, alone in the office with the vile in his hand, hangs his head in defeat.

INT. KENT HOUSE - KITCHEN

A steady knocking emanates from the cutting board surface as Martha Kent adeptly chops away at some onions. Various culinary ingredients lay strewn across the countertop and several chicken breasts sit at one corner, soaking in some salt water.

Carefully, Martha splits her attention between preparing the Kent Family supper and balancing the phone between her shoulder and her ear.

MARTHA

Yeah, that's great. Listen, Gabe, if you need anything, and I mean anything, don't hesitate to call. I'm serious.

A short silence as she listens to the other end.

MARTHA

Don't be silly, it's our pleasure.

She nods and smiles as she listens to the other end.

MARTHA

Ok. all right. You two have fun. Bye.

Martha puts the chopping knife and onion down and grabs a towel to dry her hands with as she walks across the kitchen to hang up the phone. As she goes to put the receiver in its holster, there's a knock at the door.

She looks over at the door quizzically, probably because most people in Smallville would just walk right in. She walks over to the door and opens it, letting a fresh breath of cool night air filter through the house.

MARTHA

::surprised:: Dr. Beatty.

The little old man stands on the front porch in a great big, brown, trench coat and a ratty old hat, which he promptly removes in the presence of a lady.

BEATTY

::big smile:: Hello, Mrs. Kent. Lovely night, isn't it?

MARTHA

Why, yes, yes it is.

BEATTY

I was just heading back to Metropolis and I thought I'd stop by to see how Clark was doing one last time.

Martha smiles graciously and opens the door wide, remembering her manners.

MARTHA

That's very sweet of you. Won't you come in?

BEATTY

Thank you, madam.

Dr. Beatty steps inside, taking a moment to appreciate the various aromas coming from the Kent kitchen.

MARTHA

You'll have to excuse the mess. I'm actually just starting dinner.

Martha moves over to the counter and hurries to finish chopping the onion.

Dr. Beatty quickly looks over the counter at all the ingredients Martha has laid out.

BEATTY

Chicken Pontalba?

MARTHA

::smiles:: Yes, actually. You cook?

BEATTY

::nods:: All my way through med school. Chef by day and student by night, you might say.

MARTHA

Your wife must adore you.

BEATTY

Yes, well, thirty seven years the front door's been unlocked and I'm glad to say she's still waiting for me at the dinner table every night.

The two of them share a laugh.

BEATTY

So, where is Clark?

MARTHA

Oh.

Martha grabs the towel again and re-dries her hands.

MARTHA

He was upstairs taking a shower, but.

She quickly walks over to the bottom of the stairs and yells up.

MARTHA

Clark!?

Dr. Beatty smiles and waves his hand in the air.

BEATTY

Don't bother the poor lad. It's all right. I just wanted to make sure he's doing all right.

Martha nods, briefly thinking it over in her head, as she walks back to the cutting board.

MARTHA

He hasn't said anything to me about it.

BEATTY

Well, that's good then. That's good.

MARTHA

You know, it's almost seven o'clock and it's a long haul to Metropolis from Smallville. You'll probably get home very late. If you'd like to stay, I'm sure we have enough for another place at the table.

BEATTY

::humble:: Oh, no thank you. I wouldn't want to impose.

MARTHA

It's no trouble.

BEATTY

No, no. I really need to get back. I have an afternoon shift tomorrow and I'm going to need all the rest I can get. My good friend Dr. Hackman and I have a lot of work to do thanks to Lionel Luthor.

Martha tries to hide her reaction at the sound of Lionel's name, settling for a stealthy roll of the eyes.

MARTHA

Well, all right.

BEATTY

Anyway, I just wanted to leave you a number where you or your husband, or Clark, can reach me at the hospital just in case anything happens.

He pulls out a small business card from his pocket and places it on the edge of the counter, away from the food.

BEATTY

I know it must be difficult for you and your family, not knowing who to trust, and I wanted you to know that you can call me any time.

MARTHA

Well, thank you doctor, that's very.

She freezes, catching herself. Stunned, and maybe even a little afraid, she looks up at him. He, very gently, smiles back.

BEATTY

My good friend, Dr. Hackman, is a very good man, madam. Yet, sometimes I think he has more of himself on his mind than he should. That is why, I think, he does not see the same things that I see.

Martha simply stares at him, completely speechless.

BEATTY

And what I see here is a lovely family, with a lovely young boy that may need a doctor some day.

Martha's shoulders gradually calm, this sweet old man's words perhaps the most reassuring she's heard in quite a while. Slowly, she walks around the counter and over to him, simply staring into his faded blue eyes.

MARTHA

You're a sweet man.

She leans in and gives him a small peck on the cheek

Blushing a bit, Dr. Beatty smiles warmly.

BEATTY

Take care, madam.

Dr. Beatty heads for the front door without looking back.

INT. CHLOE'S HOUSE - LANA'S ROOM

Lana Lang lies flat on her back over her well-made bed. She looks a bit sad, a conspicuously familiar tune of music playing in the background. At nothing in particular, Lana stares straight up, thinking silent thoughts to herself.

Slowly, she turns her head to the side, looking over at the closet doors. Swallowing hard, she stares at them for a while, though for no clear reason.

She sits up in the bed, still looking over at the closet doors. Turning slightly, she notices her reflection in a large mirror directly across from the foot of the bed. Lana diverts her eyes.

INT. LUTHOR MANSION - LEX'S STUDY

Dr. Helen Bryce opens the door from Lex's bedroom, peering into the study. Lex Luthor sits at his desk, the back of the chair turned toward the door, so that all she can see in his bald head and arms at either side.

BRYCE

Lex, honey, you coming?

LEX

Yeah, I'll be there in a minute.

Satisfied, or simply not wanting to debate the issue further, Helen nods and walks back into the room.

Lex Luthor sits in his chair with a blank expression on his face. Slowly, he lifts the full vile his father handed to him in Steven Westmorland's office, and stares at it. Despite the freedom it's contents offers him, there is no relief in Lex's eyes, only a cold pain.

Lex pivots in the chair and stands, walking towards his bedroom door. Without hesitation, he drops the vile in a waste basket as he walks by. He steps through the bedroom door, and closes it behind him.

INT. CHLOE'S HOUSE - OUTSIDE LANA'S ROOM

A tired, but reassuringly happy, Chloe Sullivan knocks on Lana's door.

CHLOE

Lana? Come on down, we're getting ready to watch the movie.

LANA

::through the door:: Start without me. I'll be there in a minute.

Chloe shrugs and walks away.

INT. CHLOE'S HOUSE - LANA'S ROOM

Lana carefully runs the brush through her shiny black hair as she peers through the mirror. Putting the brush down, she straightens up, swallowing nervously.

She stands in front of the mirror, staring meekly back at herself, looking as beautiful as ever in her magnificent red sequined dress.

INT. KENT FARM - CLARK'S LOFT

Clark Kent sits in silent contemplation as he reads to himself from a folded sheet of paper. He sits at the window, the stars overhead, an envelope with his name on it perfectly balanced on the edge of the sill.

He concentrates so hard on the letter that he doesn't even notice Hal Jordan walk up the steps.

HAL JORDAN

Whatcha readin'?

Jordan stops at the top of the stairs.

Clark looks up, slightly startled. He doesn't seem particularly pleased to see the lantern, who is not in costume.

CLARK

Something Chloe gave to me.

He folds the letter up and puts it back in the envelope.

CLARK

I didn't expect to see you again.

Hal shrugs slightly and walks over to Clark by the window.

HAL JORDAN

I figured you'd want to know.

Hal and Clark look out the window and up at the stars.

HAL JORDAN

::nods:: They've agreed. She'll be kept in solitary confinement until, hopefully, a way can be found to extract the scream.

Hal turns to see Clark's reaction. Clark nods, but seems somewhat crestfallen by the news.

HAL JORDAN

You won. You should be happy.

CLARK

It's my fault it's inside her to begin with. I'm not happy.

HAL JORDAN

::shakes head:: It's not your fault. We all mistakes. even the best of us.

CLARK

Maybe.

Jordan's words are hardly a comfort to Clark, who continues to stare out at the stars.

HAL JORDAN

Anyway, we're gonna go, but there's something you need to know before we do.

Clark turns, rolling his eyes as if to ask "what now?"

HAL JORDAN

We were sent here to protect you by people.

Hal carefully chooses the best description from the jumble of terms in his head.

HAL JORDAN

. people who know things. things that most people don't know, and shouldn't. These are powerful people.

Clark nods, trying to understand what Hal could possibly be getting at.

Hal licks his lips and nods up at the stars before continuing, almost as if he expects them to nod back.

HAL JORDAN

This scream, it's no high roller.

Clark seems confused and Hal turns to stare him straight in the eye to convey the seriousness of what he's trying to tell the young teen.

HAL JORDAN

I've dealt with these things before, Clark, and they're not big bad material.

CLARK

What are you saying?

Hal takes a long, deep, breath before continuing.

HAL JORDAN

That scream didn't come after you. It was sent after you.

Clark's eyes widen and his heart skips a beat.

CLARK

By who?

HAL JORDAN

::shakes head:: We don't know.

CLARK

But they'll be coming for me?

HAL JORDAN

::nods:: You can count on it.

Clark shakes his head, praying to himself, asking any higher power listening why he had to be different. He looks out at the stars, wondering and maybe even dreading what future they have in store for him.