INT. KENT HOUSE - KITCHEN
Leaning with his back up against the counter, Pete steadily taps the cabinet door behind him with each of his index fingers. The annoying tapping nearly shakes Chloe out of her Sketchers. She conveys her irritation by promptly plucking a grape from the fruit bowl on the counter and bouncing it off the side of his head.
PETE
Hey!
CHLOE
Must you do that?
PETE
I'm sorry. I'm thinking.
CHLOE
A dangerous concept in and of itself.
PETE Maybe we could talk to him, try and convince him to stay.
CHLOE
::shakes head:: I tried talking him out of it all morning. I tried everything. I used up the entire arsenal, everything from puppy dog eyes, to "I'm never talking to you again", to whining like a little baby. You try convincing a man who's been assaulted twice in his own home not to move. He was looking for any excuse at all to tuck tail, even if it did mean moving to a gutter pit like Gotham.
MARTHA
I still don't understand why Bruce Wayne would want to buy the plant from Lex just to shut it down. I never liked the idea of them building it here in the first place, but it does provide jobs for the townspeople and it's been making money. Why would he want to shut it down?
PETE
I think I might have a guess.
Chloe scowls at Pete.
CHLOE
That's not it.
PETE
Okay, maybe that's not the only reason, but it's an awfully convenient bonus, don't you think?
CHLOE
No one chucks millions of dollars out the window, putting more than a hundred people out of work, just to get their would be girlfriends to move, not even Bruce Wayne... as flattering and romantic, but pigheaded and entirely perfidious, as that might be.
Pete looks confused and shoots Martha a quick glance. She seems to understand his confusion.
MARTHA
It means dishonest.
He nods an "oh" and looks back at Chloe.
PETE
Chloe, Bruce Wayne is one of the richest men on the planet. To him, buying the plant was like one of us throwing a fifty in the offering plate at church on Sunday. Guys like that, it's all about getting what they want, and who cares about everybody else? As long as he thinks he's gonna get the girl, what does he care about a few lost pennies?
MARTHA
Pete, Bruce Wayne is one of the richest men in the world because he cares about every penny.
PETE
Okay, fine.
He gives up the argument.
PETE
At the very least, you probably have some pull with the guy, though, right? Why not get him on the phone, schmooze him up? You two could get together. You can do that thing you do.
CHLOE
What thing?
PETE
You know, that thing you do when you want something from a guy.
CHLOE
I don't know what you're talking about.
She lied.
PETE Sure, you do. You know that thing you do with your...
Chloe quickly interrupts him, talking loud and fast.
CHLOE Ahhababananana...
Her face turns red, the color of her shirt.
PETE
But you said it works every...
CHLOE
Nana na na na...
She grabs a handful of grapes and quickly shoves them into his mouth to shut him up.
CHLOE
Here, eat some grapes. They're good for you.
Clark raises an eyebrow in Chloe's general direction. She laughs bashfully and cowers.
Meanwhile, Pete chews for a second before spitting the grapes out into his right hand. With his left, he grabs Chloe's hand and slaps the mushy wad of crushed grapes into her hand.
CHLOE
Ew! Pete! Gross!
She quickly runs to the sink to wash her hands.
PETE
I'm just saying, maybe you could talk to Bruce. At least figure out why he's shutting the plant down.
She dries her hands.
CHLOE
I already did.
PETE
You did?
CHLOE
That's the first thing I did.
PETE
And what did he say?
CHLOE
He came up with some convoluted excuses about appeasing environmentalists, and taxes. Oh, but get this, you're gonna love this one. He also claimed, and I quote, he was "doing it for the good of Gotham City."
MARTHA
How does shutting down the plant in Smallville affect Gotham City?
CHLOE
It doesn't, but by offering all the out of work plant employees jobs in Gotham, he's hoping to "breathe an influx of country wholesomeness into the otherwise diluted moral consortium that is Gotham's population".
PETE
Oh, please.
CHLOE
I know, such a humanitarian, right?
PETE
What a friggin' load.
MARTHA
Peter! You watch your language.
PETE
Yes, Mrs. Kent. Sorry, Mrs. Kent.
Chloe rolls her eyes and breathes a deep, frustrated, breath.
CHLOE
I just don't know what I'm going to do. I mean, Dad didn't even discuss it with me first. How can you just make a decision to up and move like that without talking to the other people it affects?
PETE
I don't know.
CHLOE
I don't want to leave. It's not fair. Smallville is my home. My friends are here. The Torch is here.
She looks at Clark.
CHLOE
My life is here.
Clark fidgets uneasily in the corner.
CHLOE
I just don't see how I have any choice.
Martha silently diverts her eyes to a picture of Jonathan up on the wall near the staircase leading upstairs. A second later, she diverts her eyes again, this time to the sewing machine in the other room where the top to the blue suit sits folded on the side shelf.
MARTHA
You could stay here.
They all look over at Martha.
MARTHA
With your father's permission, of course. You could take the guest bedroom... and I could always use an extra hand around the house...
She hesitates, sadly.
MARTHA
...now that... well... You'd certainly be welcome.
She smiles at Chloe, warmly.
PETE
Yeah, yeah, your father might go for that. After all, he took Lana in, right?
CHLOE
Oh, no, Mrs. Kent, I wouldn't want to impose.
MARTHA
You wouldn't be imposing at all. I'd love to have you. You can stay as long as you need. Besides, it'd be kind of nice to have another girl in the house for a change.
Chloe looks over at Clark to gauge his reaction. He doesn't seem particularly thrilled at all. In fact, he seems rather alarmed by the proposition. She shrugs it off, though, excited about the idea.
CHLOE
I mean, it really wouldn't be that long, just until I graduate. And I could...
CLARK
No...
Conspicuously silent up until now, Clark interrupts.
CLARK
You should go with your father. You should go to Gotham City.
CHLOE
But why if I can stay here, if I can stay with you? I'm going to be going to college soon anyway at Metropolis University, for their Daily Planet co- op program. It'll just be like I'm starting a little early, that's all.
Clark gets up from the chair.
CLARK
Your father made the decision and it's his to make. He's the head of your family and you should do as he says. You should go where he goes.
CHLOE
I'm going to ask him first, obviously, but if he agrees, it's not like I'd be cutting off all contact with him. There's phone, e-mail...
CLARK
You can't help him get to his wheelchair from over the phone.
CHLOE
The doctors say he's going to be out of the chair in a couple of weeks, and Bruce told me he'd provide a nurse to help him around as long as he needs one. I don't see the problem.
CLARK
What if he doesn't want a nurse? What if he wants his daughter?
CHLOE
And what about what I want, Clark? He never gave me any choice at all.
CLARK
He's the father. You're the daughter. He doesn't have to give you one.
MARTHA
Clark!
PETE Whoa.
CHLOE
What is this, Clark? When it was Lana, you were all about adolescent autonomy. Now, all of a sudden, you're the poster boy for parental ascendancy?
Pete looks over at Martha.
MARTHA
Control.
PETE
::nods:: Right.
CLARK
This is a completely different situation.
CHLOE
Why? How? How is this any different?
CLARK
Nell wasn't Lana's parent.
CHLOE
Oh, like that has anything to do with it at all. Why don't you just admit it, Clark? When it came to Lana you were all for it, anything to keep Miss Prissy Princess from leaving, but now that it's me, you're ready to pack my bags and it's, "See ya, later, don't let the storm door hit you in the ass on the way out."
CLARK
It's not like that at all. You know how I feel about you.
CHLOE
I thought I did, but now I'm not so sure we aren't right back to curbside Chloe all over again.
CLARK
I just don't want to see you and your father separated.
CHLOE
And what about us, Clark? What about the two of us being separated? How do you feel about that? Do you even care about that at all?
Stymied, he says nothing. She awkwardly tries to keep herself from crying in front of everyone.
CHLOE Yeah, well, don't get all choked up or anything, Clark.
She storms passed him and heads for the door.
CHLOE
Obdurate bastard.
Martha turns to Pete, who shakes his head.
PETE
That one I got.
Clark reaches after Chloe as she storms out the door.
CLARK
Chloe...
He doesn't follow her. Instead, he turns to Pete and Martha for support. By the looks of things, he turned to the wrong place.
PETE
What the hell was that about?
Pete runs after Chloe, leaving only Clark and Martha behind in the kitchen.
MARTHA
Clark Kent, that was a terrible thing you just did.
CLARK
You think I wanted to do it?
MARTHA
I don't pretend to know what you were trying to do, but I'm pretty sure you were only thinking about yourself.
Martha starts to cry, which takes Clark by surprise. She runs upstairs.
Clark debates which one he should go after first.
EXT. KENT FARM – DAY
Clark runs down the porch steps just in time to see Pete watch Chloe drive off. Pete turns around and walks up to Clark.
PETE
What the hell is wrong with you?
Pete punches Clark hard, hurting himself.
CLARK She'll be safer in Gotham.
PETE
Man, don't give me that. You told me Darkseid was in Gotham too.
CLARK
But he doesn't know she will be. It's better this way, better for her.
PETE
Yeah, if you call Chloe thinking you hate her better.
CLARK
I don't hate her, that's why I'm doing this. I'm trying to keep her safe... I love her.
PETE
Well, maybe you should try telling her that. While you're at it, you might try telling her something else too.
Pete walks back to the house, holding his hand.
Clark gazes down the driveway after Chloe, considering Pete's words.
EXT. SMALLVILLE ROAD – DAY
Chloe wipes the tears from her eyes as she drives down the dirt roadway when something along the side of the road catches her eye.
A cloud of dust kicks up from the road as Chloe slams on her breaks, bringing the car to an abrupt stop. She puts the car in park. Eyes wide, her mouth ajar, she rolls down her window to get a better look. Sure enough, Clark Kent stands leaning against a lone tree on the side of the road.
CHLOE
How...
She gives a quick look around, finding no car or any other means of transportation in sight.
CHLOE
How... How did you get here?
Clark stands up away from the tree.
CLARK
We need to talk.
She shakes her head and looks forward, to the road ahead.
CHLOE
I think you said everything you needed to say.
CLARK
I didn't say anything.
CHLOE
And that was plenty.
She puts the car back in drive.
CHLOE
You know, I may not have been the prettiest girl at school, or the most fun, or the most exciting... but I loved you. I loved you as much as anyone could have. I'm sorry if that was an inconvenience to you.
She hits the gas and starts to drive away, but quickly has to slam her foot down on the brake when the tree Clark was leaning against falls out into the road in front of her.
Brushing some stray strands of hair from her eyes, she surveys the fallen tree, tracing it from the branches in front of the car all the way to the thick roots torn from the Earth. She looks back at Clark, who stands where the tree once was, fresh from pushing it over.
CLARK We really need to talk.
Leaning with his back up against the counter, Pete steadily taps the cabinet door behind him with each of his index fingers. The annoying tapping nearly shakes Chloe out of her Sketchers. She conveys her irritation by promptly plucking a grape from the fruit bowl on the counter and bouncing it off the side of his head.
PETE
Hey!
CHLOE
Must you do that?
PETE
I'm sorry. I'm thinking.
CHLOE
A dangerous concept in and of itself.
PETE Maybe we could talk to him, try and convince him to stay.
CHLOE
::shakes head:: I tried talking him out of it all morning. I tried everything. I used up the entire arsenal, everything from puppy dog eyes, to "I'm never talking to you again", to whining like a little baby. You try convincing a man who's been assaulted twice in his own home not to move. He was looking for any excuse at all to tuck tail, even if it did mean moving to a gutter pit like Gotham.
MARTHA
I still don't understand why Bruce Wayne would want to buy the plant from Lex just to shut it down. I never liked the idea of them building it here in the first place, but it does provide jobs for the townspeople and it's been making money. Why would he want to shut it down?
PETE
I think I might have a guess.
Chloe scowls at Pete.
CHLOE
That's not it.
PETE
Okay, maybe that's not the only reason, but it's an awfully convenient bonus, don't you think?
CHLOE
No one chucks millions of dollars out the window, putting more than a hundred people out of work, just to get their would be girlfriends to move, not even Bruce Wayne... as flattering and romantic, but pigheaded and entirely perfidious, as that might be.
Pete looks confused and shoots Martha a quick glance. She seems to understand his confusion.
MARTHA
It means dishonest.
He nods an "oh" and looks back at Chloe.
PETE
Chloe, Bruce Wayne is one of the richest men on the planet. To him, buying the plant was like one of us throwing a fifty in the offering plate at church on Sunday. Guys like that, it's all about getting what they want, and who cares about everybody else? As long as he thinks he's gonna get the girl, what does he care about a few lost pennies?
MARTHA
Pete, Bruce Wayne is one of the richest men in the world because he cares about every penny.
PETE
Okay, fine.
He gives up the argument.
PETE
At the very least, you probably have some pull with the guy, though, right? Why not get him on the phone, schmooze him up? You two could get together. You can do that thing you do.
CHLOE
What thing?
PETE
You know, that thing you do when you want something from a guy.
CHLOE
I don't know what you're talking about.
She lied.
PETE Sure, you do. You know that thing you do with your...
Chloe quickly interrupts him, talking loud and fast.
CHLOE Ahhababananana...
Her face turns red, the color of her shirt.
PETE
But you said it works every...
CHLOE
Nana na na na...
She grabs a handful of grapes and quickly shoves them into his mouth to shut him up.
CHLOE
Here, eat some grapes. They're good for you.
Clark raises an eyebrow in Chloe's general direction. She laughs bashfully and cowers.
Meanwhile, Pete chews for a second before spitting the grapes out into his right hand. With his left, he grabs Chloe's hand and slaps the mushy wad of crushed grapes into her hand.
CHLOE
Ew! Pete! Gross!
She quickly runs to the sink to wash her hands.
PETE
I'm just saying, maybe you could talk to Bruce. At least figure out why he's shutting the plant down.
She dries her hands.
CHLOE
I already did.
PETE
You did?
CHLOE
That's the first thing I did.
PETE
And what did he say?
CHLOE
He came up with some convoluted excuses about appeasing environmentalists, and taxes. Oh, but get this, you're gonna love this one. He also claimed, and I quote, he was "doing it for the good of Gotham City."
MARTHA
How does shutting down the plant in Smallville affect Gotham City?
CHLOE
It doesn't, but by offering all the out of work plant employees jobs in Gotham, he's hoping to "breathe an influx of country wholesomeness into the otherwise diluted moral consortium that is Gotham's population".
PETE
Oh, please.
CHLOE
I know, such a humanitarian, right?
PETE
What a friggin' load.
MARTHA
Peter! You watch your language.
PETE
Yes, Mrs. Kent. Sorry, Mrs. Kent.
Chloe rolls her eyes and breathes a deep, frustrated, breath.
CHLOE
I just don't know what I'm going to do. I mean, Dad didn't even discuss it with me first. How can you just make a decision to up and move like that without talking to the other people it affects?
PETE
I don't know.
CHLOE
I don't want to leave. It's not fair. Smallville is my home. My friends are here. The Torch is here.
She looks at Clark.
CHLOE
My life is here.
Clark fidgets uneasily in the corner.
CHLOE
I just don't see how I have any choice.
Martha silently diverts her eyes to a picture of Jonathan up on the wall near the staircase leading upstairs. A second later, she diverts her eyes again, this time to the sewing machine in the other room where the top to the blue suit sits folded on the side shelf.
MARTHA
You could stay here.
They all look over at Martha.
MARTHA
With your father's permission, of course. You could take the guest bedroom... and I could always use an extra hand around the house...
She hesitates, sadly.
MARTHA
...now that... well... You'd certainly be welcome.
She smiles at Chloe, warmly.
PETE
Yeah, yeah, your father might go for that. After all, he took Lana in, right?
CHLOE
Oh, no, Mrs. Kent, I wouldn't want to impose.
MARTHA
You wouldn't be imposing at all. I'd love to have you. You can stay as long as you need. Besides, it'd be kind of nice to have another girl in the house for a change.
Chloe looks over at Clark to gauge his reaction. He doesn't seem particularly thrilled at all. In fact, he seems rather alarmed by the proposition. She shrugs it off, though, excited about the idea.
CHLOE
I mean, it really wouldn't be that long, just until I graduate. And I could...
CLARK
No...
Conspicuously silent up until now, Clark interrupts.
CLARK
You should go with your father. You should go to Gotham City.
CHLOE
But why if I can stay here, if I can stay with you? I'm going to be going to college soon anyway at Metropolis University, for their Daily Planet co- op program. It'll just be like I'm starting a little early, that's all.
Clark gets up from the chair.
CLARK
Your father made the decision and it's his to make. He's the head of your family and you should do as he says. You should go where he goes.
CHLOE
I'm going to ask him first, obviously, but if he agrees, it's not like I'd be cutting off all contact with him. There's phone, e-mail...
CLARK
You can't help him get to his wheelchair from over the phone.
CHLOE
The doctors say he's going to be out of the chair in a couple of weeks, and Bruce told me he'd provide a nurse to help him around as long as he needs one. I don't see the problem.
CLARK
What if he doesn't want a nurse? What if he wants his daughter?
CHLOE
And what about what I want, Clark? He never gave me any choice at all.
CLARK
He's the father. You're the daughter. He doesn't have to give you one.
MARTHA
Clark!
PETE Whoa.
CHLOE
What is this, Clark? When it was Lana, you were all about adolescent autonomy. Now, all of a sudden, you're the poster boy for parental ascendancy?
Pete looks over at Martha.
MARTHA
Control.
PETE
::nods:: Right.
CLARK
This is a completely different situation.
CHLOE
Why? How? How is this any different?
CLARK
Nell wasn't Lana's parent.
CHLOE
Oh, like that has anything to do with it at all. Why don't you just admit it, Clark? When it came to Lana you were all for it, anything to keep Miss Prissy Princess from leaving, but now that it's me, you're ready to pack my bags and it's, "See ya, later, don't let the storm door hit you in the ass on the way out."
CLARK
It's not like that at all. You know how I feel about you.
CHLOE
I thought I did, but now I'm not so sure we aren't right back to curbside Chloe all over again.
CLARK
I just don't want to see you and your father separated.
CHLOE
And what about us, Clark? What about the two of us being separated? How do you feel about that? Do you even care about that at all?
Stymied, he says nothing. She awkwardly tries to keep herself from crying in front of everyone.
CHLOE Yeah, well, don't get all choked up or anything, Clark.
She storms passed him and heads for the door.
CHLOE
Obdurate bastard.
Martha turns to Pete, who shakes his head.
PETE
That one I got.
Clark reaches after Chloe as she storms out the door.
CLARK
Chloe...
He doesn't follow her. Instead, he turns to Pete and Martha for support. By the looks of things, he turned to the wrong place.
PETE
What the hell was that about?
Pete runs after Chloe, leaving only Clark and Martha behind in the kitchen.
MARTHA
Clark Kent, that was a terrible thing you just did.
CLARK
You think I wanted to do it?
MARTHA
I don't pretend to know what you were trying to do, but I'm pretty sure you were only thinking about yourself.
Martha starts to cry, which takes Clark by surprise. She runs upstairs.
Clark debates which one he should go after first.
EXT. KENT FARM – DAY
Clark runs down the porch steps just in time to see Pete watch Chloe drive off. Pete turns around and walks up to Clark.
PETE
What the hell is wrong with you?
Pete punches Clark hard, hurting himself.
CLARK She'll be safer in Gotham.
PETE
Man, don't give me that. You told me Darkseid was in Gotham too.
CLARK
But he doesn't know she will be. It's better this way, better for her.
PETE
Yeah, if you call Chloe thinking you hate her better.
CLARK
I don't hate her, that's why I'm doing this. I'm trying to keep her safe... I love her.
PETE
Well, maybe you should try telling her that. While you're at it, you might try telling her something else too.
Pete walks back to the house, holding his hand.
Clark gazes down the driveway after Chloe, considering Pete's words.
EXT. SMALLVILLE ROAD – DAY
Chloe wipes the tears from her eyes as she drives down the dirt roadway when something along the side of the road catches her eye.
A cloud of dust kicks up from the road as Chloe slams on her breaks, bringing the car to an abrupt stop. She puts the car in park. Eyes wide, her mouth ajar, she rolls down her window to get a better look. Sure enough, Clark Kent stands leaning against a lone tree on the side of the road.
CHLOE
How...
She gives a quick look around, finding no car or any other means of transportation in sight.
CHLOE
How... How did you get here?
Clark stands up away from the tree.
CLARK
We need to talk.
She shakes her head and looks forward, to the road ahead.
CHLOE
I think you said everything you needed to say.
CLARK
I didn't say anything.
CHLOE
And that was plenty.
She puts the car back in drive.
CHLOE
You know, I may not have been the prettiest girl at school, or the most fun, or the most exciting... but I loved you. I loved you as much as anyone could have. I'm sorry if that was an inconvenience to you.
She hits the gas and starts to drive away, but quickly has to slam her foot down on the brake when the tree Clark was leaning against falls out into the road in front of her.
Brushing some stray strands of hair from her eyes, she surveys the fallen tree, tracing it from the branches in front of the car all the way to the thick roots torn from the Earth. She looks back at Clark, who stands where the tree once was, fresh from pushing it over.
CLARK We really need to talk.