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Titre en VO : I' ve Got a Crush on You
Diffusion US : 24/10/93 Diffusion FR : 10/05/94 
Lois se fait passer pour une serveuse et une chanteuse dans un club privé pour obtenir un scoop sur Metro Gang, entreprise criminelle qui finance les Pyromanes.
Clark, qui refuse de laisser Lois seule, devient barman et sauve le chef de l’organisation, la jolie Toni Taylor.
Lex reconnaît Loïs dans le club. Il ne la dénonce pas mais il voudra une explication avec elle.
Très en colère, Lois se rend chez Clark, mais elle devra se cacher quand Toni arrive. Pour distraire l’attention de Toni et permettre la fuite de Lois, Clark embrasse la patronne.
Quant aux Pyromanes deviennent hors de contrôle et l’entente que Toni avait prise avec Lex Luthor tombe.
Clark libère Toni et lui révèle sa véritable identité de journaliste. Elle est arrêtée, mais elle ne révèle pas que Luthor est le véritable chef.
Moments forts :
La crise de jalousie de Loïs
Note de l'épisode : 9,5/10
Popularité
Titre VO
I' ve Got a Crush on You
Titre VF
J'ai le béguin pour vous
Première diffusion
24.10.1993
Première diffusion en France
10.05.1994
_LOIS & CLARK_
The New Adventures of Superman
I'VE GOT A CRUSH ON YOU
Episode #6
Prod. #455305
Written by THANIA ST. JOHN
Directed by:GENE REYNOLDS
_CAST_
CLARK KENT\SUPERMAN
LOIS LANE
PERRY WHITE
JIMMY OLSEN
LEX LUTHOR
____________________________________________________________________________
TONI TAYLOR
JOHNNY TAYLOR
LOU
TOOTS
BARTENDER
TOASTER #1
TOASTER #2
REPORTER #1
GIRL #1
NEWSCASTER
_
_LOCATIONS_
INTERIORS: EXTERIORS:
Daily Planet Metro Club
Waiting Area
Alley
Luthor's Penthouse
Burned Out Building
Clark's Apartment
Riverview Harbor
Lois' Apartment
Clark's Apartment
Balcony
Burned Out Building
Metropolis Street
Metro Club
Main Room
Back Room
Hallway
Supply Closet
_TEASER_
FADE IN:
1 EXT. BURNING BUILDING - (DAY #1) 1
A crowd of bystanders and news crews has gathered around
to watch firefighters try to contain the blaze. A
NEWSCASTER stands nearby giving her viewers a
play-by-play.
NEWSCASTER
And yet another case of arson has
drawn firefighters to the Riverview
area. That makes six in the last
twenty-four hours and still
Metropolis Fire Department
officials have no leads.
She listens to her earphone.
NEWSCASTER
(continuing)
I'm getting word now that there is
a custodian trapped inside the
building on the top floor. The
engine ladders aren't tall enough
to reach him and the building's
stairwells are engulfed in flames.
There doesn't appear to be any way
to get him out.
Behind her the crowd starts to look up and react.
VARIOUS CROWD VOICES
Superman! It's Superman! He's got
him! etc.
The newscaster tries to spot the action but too many
things are happening at once.
NEWSCASTER
It seems that Superman has been
able to reach the man in question
and -- over here...
She walks to where a crowd has gathered along the
sidewalk. Everyone cheers as Superman comes out of the
burning building, a 72-year-old Custodian in his arms.
They are both blackened from the fire and smoke. As
Superman hands the Custodian to an awaiting Paramedic, he
pats the old man on the shoulder.
(CONTINUED)
--page break--
2.
1 CONTINUED: 1
SUPERMAN
You'll be okay now.
NEWSCASTER
Superman!
Superman turns to face the Newscaster and the cameras.
NEWSCASTER
(continuing)
You've been helping the fire
department all day. Any idea who
could be behind the fires?
SUPERMAN
No, not yet. We've been too busy
fighting them.
NEWSCASTER
We're hearing rumors the arsons
might be gang related. Any
comment?
In the b.g. we hear SIRENS and ENGINES ROLLING OUT.
B.G. VOICE
Fire at Hobs and 8th!
SUPERMAN
(answering)
I'm sure the proper authorities are
trying everything they can to find
out. Now, if you'll excuse me.
Superman hurries off revealing firemen behind him, dousing
the spreading flames with water, creating...
GIRL #1 (PRELAP)
(singing-off-key)
Psssssss ... Steamed Heat, I got...
2 INT. METROPOLITAN CLUB - MAIN ROOM DAY 2
... the Metropolis version of the Coconut Grove where
chorus girl auditions are in progress. Several girls
stand in the upstage shadows while GIRL #1 sings in the
spotlight. A well-built man with a pretty-boy face sits
at a table by the stage, shirt sleeves rolled up, smoking
a cigar. This is JOHNNY, the epitome of macho. He has a
headache.
GIRL #1
... psssss... steamed heat, I
got --
(CONTINUED)
--page break--
3.
2 CONTINUED: 2
JOHNNY
You got nothin'.
The piano music trails off and Girl #1 stares blankly.
GIRL #1
But Johnny, last night you said I
had talent.
JOHNNY
Last night you did. Next!
Refusing to give up, she starts tapping just about as well
as she could sing. Before Johnny can say anything more, a
smartly dressed woman slips into the chair next to his, an
angelic face with brains to go with. This is TONI.
TONI
We have a situation.
JOHNNY
(dismissive)
I'm busy.
TONI
It's another fire. This time it
was Rudy's place.
JOHNNY
I'll take care of it.
Johnny puffs on his cigar.
TONI
But Johnny, I think
JOHNNY
Look, you really wanna do me and
the Metro organization some good?
TONI
You know I do.
Johnny looks at Girl #1, still tapping badly.
JOHNNY
Fine. Put on your tap shoes. I
need a new chorus girl.
He starts to laugh. She leaves, fuming, and disappears
behind an office door.
JOHNNY
(continuing, exploding)
I said next!
(CONTINUED)
--page break--
4.
2 CONTINUED: 2 2
Girl #1 scurries off the stage. Johnny squints into the
upstage darkness.
JOHNNY
(continuing)
You! With the legs! Yeah, you.
3 CLOSE ON A PAIR OF GREAT GAMS 3
... as they step into the spotlight. We PAN up. A pair
of red shorts shows off what it's supposed to. A white
blouse tied midriff-style is unbuttoned far enough to notice.
JOHNNY (O.S.)
Uh-huh.
And now the face, expectantly seductive. It's LOIS LANE.
JOHNNY (O.S.)
Baby cakes, you're in.
Lois smiles. The other would-be's pass her disgruntledly.
LOIS
Sorry, girls. Better luck next
time.
off her mischievous look.
FADE OUT.
_END TEASER_
--page break--
5.
_ACT_ _ONE_
FADE IN:
4 ON A MATCH BEING STRUCK 4
... its flame being brought to a cigarette.
LOIS (O.S.)
Hey!
5 INT. DAILY PLANET - WAITING AREA - DAY 5
Lois blows out the match and chastises the Smoker,
pointing out the "No Smoking" sign behind him.
LOIS
Can't you read?
She and Clark head down the ramp toward her desk. Clark
holds a coffee cup.
CLARK
It's too dangerous.
LOIS
Not for me.
CLARK
Lois, those guys aren't just club
owners, they're gangsters.
LOIS
Look, it's very simple. The Metro
gang controls Riverview.
Riverview's on fire. I'm going to
find out why.
PERRY walks by. Clark takes a sip of coffee; it's stone
cold and he grimaces.
CLARK
Chief, please, talk some sense into
her, would you?
PERRY
Ever tried to milk a steer, son?
(to Lois)
What's the problem today?
LOIS
The problem is Clark, here, would
rather give up a scoop on the
Riverview fires than let me take a
few little chances.
Clark surreptitiously blows on the coffee.
--page break--
6.
6 CLOSE ON - COFFEE CUP 6
It boils with heat.
7 BACK TO SCENE 7
PERRY
A scoop, huh?
LOIS
A sure thing.
PERRY
Well, Kent, it's always been my
policy to stand behind my reporters
and their methods one thousand
percent. Why, if you opened up
that window, said you could fly,
I'd back you up. I'd miss you, but
I'd back you up.
LOIS
Thanks, Chief.
PERRY
Doesn't mean you shouldn't be
careful, Lois.
LOIS
I will.
PERRY
(to Clark)
Don't you have a press conference
to get to?
Perry heads for his office as Clark continues their
conversation.
CLARK
You should've discussed this with
me before you took it on.
LOIS
Why would I do that, Clark?
CLARK
Because we're a team.
LOIS
But sometimes players have to wait
on the bench while other players
carry the ball.
CLARK
You're in over your head.
(CONTINUED)
--page break--
7.
7 CONTINUED: 7
LOIS
If you can't stand the heat, stay
out of the story.
(beat)
Besides, I am first and foremost a
professional and I certainly
wouldn't do anything to compromise
my personal safety or the integrity
of my work.
JIMMY rushes up to Lois, carrying a garment bag.
JIMMY
Lois, here it is. The dry cleaner
had a hell of a time with the
feathers.
Jimmy opens the bag and pulls out the object in question,
a skimpy chicken costume. As they all react...
8 INT. LUTHOR'S OFFICE - DAY - CLOSE ON A WALL OF FLASHBULBS 8
... as they go off, their white light strobing onto...
9 LEX LUTHOR 9
... who stands, beaming, behind a model of his latest real
estate project, LexHarbor: ultramodern, megalithic, a
city-within-a-city. Reporters, including Clark, are
jammed into the office.
LUTHOR
Schools, shops, restaurants,
theaters, offices, apartments: a
self-contained community. A giant
step forward in urban reawakening.
A new, bright jewel in Metropolis'
crown.
More flashbulbs as the reporters call out questions.
REPORTER #1
Aren't you worried about making
such a large investment in the
Riverview area at this time?
LUTHOR
I never worry, I act.
REPORTER #1
But what about the fires? Even
Superman can't keep up with them.
(CONTINUED)
--page break--
8.
9 CONTINUED: 9
LUTHOR
Superman has made a valiant effort.
Unfortunately, he's failed. I
suppose this proves he's only
human.
Everyone laughs but Clark.
LUTHOR
(continuing)
We must strike at the root of this
problem. When a tree is sick, you
don't merely trim it's branches.
CLARK
Instead you'd chop it down and
plant a bigger one?
LUTHOR
If necessary.
(beat)
Riverview is currently a blight on
the face of our fair city.
LexHarbor will change all that.
CLARK
How do you respond to accusations
that coercion was used to pressure
the city council to approve this
project without appropriate study?
LUTHOR
I don't respond to accusations.
I'm more concerned with results. I
believe in this city. I believe we
can empower ourselves and take back
our streets from the kind of crime
and gang influence that apparently
even Superman can't solve.
The reporters start shouting questions again as Clark
reacts to Luthor's words against Superman. Luthor slips
through a back door and Clark looks at the model of his
shining, prosperous waterfront.
MATCH DISSOLVE TO
10 EXT. RIVERVIEW - HARBOR - DAY 10
Geographically the same as the model except that
everything is seedy and run down. We HEAR a FIRE ENGINE
SIREN in the distance.
--page break--
9.
11 EXT. METRO CLUB - DAY 11
The same fire engine ROARS by the club, on its way to
another emergency. The large neon sign looks worn in
daylight. Several shiny sedans are parked out front.
12 INT. METRO CLUB - MAIN ROOM - DAY 12
Lois, dressed as a cocktail waitress, learns the ropes
from TOOTS, a platinum blonde, also in uniform.
TOOTS
... and if you hold your tray like
this, you'll always have one hand
free for protection.
LOIS
Protection?
TOOTS
Eyes ain't the only things that
wander in this joint.
Meanwhile, Lois has been keeping her eye on the back room
and the group of well-dressed men that has just entered
it.
TOOTS
(continuing)
So, when you're not on stage,
you're out here takin' orders, got
it? Now I better get in there with
somethin' to wet their whistles or
I'll be back slingin' hash at the
truck stop.
Toots tries to take the tray away from Lois who pulls it
back.
LOIS
Let me. I could use the practice.
TOOTS
(pulling)
They tip big.
LOIS
(pulling back)
There's a twenty in it for you.
Lois almost loses her balance as Toots lets go of the
tray.
--page break--
10.
13 INT. METRO CLUB - BACK ROOM - DAY 13
The meeting of the Metros. Big men with bigger egos
around an even bigger table. Johnny sits at the head.
Toni is the only woman there.
JOHNNY
Rocko, you tell the Robertson boys
they got one week to pay up, then
you take care of it. Next, Lou,
numbers, what's the take this week?
LOU
Down, Johnny. Less street traffic
on account of the fires, which I
think it's time we start talkin'
about.
Johnny glares at him.
JOHNNY
So, you want to run the meeting
now, Lou?
LOU
(worried)
Johnny, I didn't say --
JOHNNY
Then shut up and worry about your
own problems, like getting revenue
up before I give Briggs your
territory.
LOU
Okay, Johnny, no problem.
JOHNNY
Anybody else?
The door opens. All heads turn toward Lois, carrying a
tray of drinks with both hands. She feels their gaze.
LOIS
Thirsty, boys?
JOHNNY
Over here, gorgeous.
Everyone mutters approvingly as Lois offers Johnny a drink
from her tray. He takes it and gives her a little pat on
the rear for thanks. After a momentary look of shock, she
recovers and continues her task.
JOHNNY
(continuing)
So, where were we?
(CONTINUED)
--page break--
11.
13 CONTINUED: 13
TONI
Johnny, Lou's right, I think we
should discuss these fires.
There's a rumbling of agreement around the table, although
no one will come out and say anything.
JOHNNY
You got something to say, save it
for later.
TONI
If I've got something to say, why
shouldn't I say it now?
JOHNNY
Because you don't talk at
meetings, that's why.
TONI
Maybe I should start.
JOHNNY
(to the group)
You hear that?
(to Toni)
Let me tell you something, _Miz_
M.B.A. All that piece of paper
means around here is; do the books
and stay out of business.
TONI
Stay out and watch it go down the
drain.
Toni looks around at the men. There is an uncomfortable
silence, no one wanting to look her in the eye. Even
though she may be right, no one challenges Johnny in this
room. Everyone is tense, waiting for him to respond. He
tries to be light about it, but he is seething.
JOHNNY
Sure, okay. Go on, tell us how
stupid we all are.
Toni slowly rises to her feet. Lois smiles. Score one for
the girls.
TONI
Ever since Papa died I've sat back
and watched my brothers run this
organization.
(MORE)
(CONTINUED)
--page break--
12.
13 CONTINUED: 2 13
TONI (CONT'D)
First Tommy, who didn't stay alive
long enough to do much damage, then
Gus, who we won't see for another
two hundred and forty years, even
with good behavior. And now you,
Johnny.
She looks around the table.
TONI
(continuing)
We're inefficient, we're
misdirected, we're a fraction of
what we could be if only we
concentrated on real business
instead of this nickle and dime
gangster stuff. Look at us. We're
more interested in the new lounge
act than in preserving the family
legacy. What would Papa say?
JOHNNY
Papa would tell you to find a good
husband, start havin' some babies
and leave the real work to the men.
Toni looks over at him disgustedly.
TONI
That's what he did tell me, Johnny.
only he didn't realize that you
would all destroy it.
She turns to go. He pulls out his gun and points it at
her.
JOHNNY
(continuing)
I'm still the head of this
organization, and don't you forget
it!
He empties his gun into the wall above her head.
Everyone, including Lois dives for cover but Toni doesn't
flinch.
TONI
Just what we need. A cool head in
charge.
Toni walks out, leaving Johnny fuming and Lois wondering
whether Clark was right. We hear a DRUM ROLL...
--page break--
13.
14 CLOSE ON A PAIR OF BLACK SWINGING DOORS 14
... the kind with round windows. The glass is opaque,
with letters "M" and "C" etched onto each pane.
ANNOUNCER (O.S.)
Ladies and Gentlemen, welcome to
the Metro Club.
A man's hands push the doors and we are...
15 INT. METRO CLUB - MAIN ROOM - NIGHT 15
What was just an ordinary room hours before has been
transformed into a glamorous supper club, complete with
sophisticated patrons, candle lit tables and a beautiful,
blonde Singer on stage giving us her rendition of "Too
Darn Hot." Clark, dressed in his undercover outfit of
jeans, t-shirt, peacoat, and watch cap, has just entered
the club. He looks and behaves like a seaman just off a
ship. He walks to the bar and bangs his fist on it, which
causes all the other glasses to shake.
CLARK
Gimme a beer.
The BARTENDER serves him. Clark puts a five down, takes
his drink and checks out a little more of the club.
Johnny, Lou and some of the other Metros sit in the
audience with their girlfriends. The Singer pays special
attention to Johnny and he loves it. Clark leans against
a side wall, next to a curtained doorway and watches the
show. After a beat, a hand reaches out from behind the
curtain and forcefully yanks him...
16 BACKSTAGE 16
... into a little narrow hallway leading to the dressing
rooms. It's Lois, all made up, a terry cloth robe
covering her costume.
LOIS
(whispering)
_What_ are you doing here?
CLARK
I came to see the show.
LOIS
You'll ruin everything.
CLARK
Looks like you're real close to
the story.
(CONTINUED)
--page break--
14.
16 CONTINUED: 16
LOIS
For your information I spent the
entire afternoon with the leader of
the Metros in his inner sanctum.
CLARK
Wearing this?
He tries to peek at her costume. A feather pokes out.
She pokes it back in and looks at his clothes.
LOIS
And who are you supposed to be,
Popeye the Sailor?
BACKSTAGE VOICE (O.S.)
Five minutes!
LOIS
(to Clark)
_Go_ _away_!
CLARK
I'm here to back you up..
LOIS
I don't need back up.
CLARK
I think you do. How'd you get so
close to this guy, anyway?
LOIS
He's a man. I'm a woman. You want
me to draw you a diagram?
BACKSTAGE VOICE (O.S.)
Places! That means you, sweet
thing.
CLARK
What have you found out?
LOIS
Johnny and his sister don't exactly
see eye to eye. There's some kind
of power struggle going on. Now
fly.
CLARK
And miss your debut? I think I'll
stick around.
LOIS
Clark, you'll stick out like a sore
thumb.
(CONTINUED)
--page break--
15.
16 CONTINUED: 2 16
CLARK
Thanks for worrying, but... I think
you're on.
(beat)
Sweet thing.
And with that she's off to her dressing room and Clark
goes back into...
17 THE MAIN ROOM 17
... where Clark heads back toward the bar, resuming his
disgruntled sailor demeanor.
CLARK
Whiskey. Make it a double.
The Bartender complies and Clark swigs it back.
CLARK
(continuing)
Another one.
BARTENDER
It's gonna hit you like a ton of
bricks, buddy.
CLARK
Alcohol never affects me.
BARTENDER
Sure, sure.
CLARK
Besides, can't be any worse than
what's already happened to me
today. Hit me again.
The Bartender does. Clark downs that one too. Clearly,
nothing happens to him when he drinks. There is a DRUNK
at the end of the bar. Clark studies his mannerisms and,
one by one, introduces them to his own behavior:
slouching, slurring, staring, gesturing.
CLARK
(continuing)
Don't you want to know what
happened? I got fired, that's
what. Thrown off my ship, just
like that.
By now Clark is getting very LOUD. He downs another shot
while another number starts on stage, "Down on the Farm."
As the Singer begins the verse the chorus girls make their
entrance behind her.
(CONTINUED)
--page break--
16.
17 CONTINUED: 17
They are all dressed in skimpy barnyard outfits. Lois is
the chicken. It takes Clark a moment to get over this
sight and remember what he's doing.
CLARK
(continuing)
Gimme another.
BARTENDER
Sure thing, pal.
He pours. Lois looks over from the stage, wondering what
he's up to.
CLARK
Got any job openings around here?
I've done some bartending.
BARTENDER
(disapproving)
I don't think so.
CLARK
Why not?
BARTENDER
You're not the type.
CLARK
(too loudly)
What's that supposed to mean?
Meanwhile, Toni has come up next to him.
TONI
Is there a problem here?
The Bartender indicates Clark.
CLARK
No problem. I was just asking your
man, here, about a job.
TONI
I'm afraid we have no openings at
present. I'm also afraid I'm going
to have to ask you to leave. We
have a strict dress code here at
the Metro Club and--
Just then the black swinging doors BURST open and people
begin to SCREAM. Four figures, dressed in metallic
warm-up suits with matching hoods and masks line up facing
Johnny at the table. They look like asbestos cat burglars
ready to repeat the St. Valentine's Day massacre. These
are THE TOASTERS. One by one, they pull out small,
automatic, uzi-like weapons, also known as Toasters.
--page break--
17.
18 CLOSE ON ONE OF THE WEAPONS 18
... a menacing sight equipped with a dial that reads
"Light - Medium - Toast" with corresponding numbers one
through ten underneath. A gloved hand enters the frame
and turns the dial up to "Toast."
TOASTER #1
Johnny, you're a dead man!
People are scattering, but the Toasters aren't interested.
They only want Johnny. He makes a run for the office
door. They aim and fire. Literally. Instead of bullets,
small pellets of flame are expelled from the guns. Clark
leaps over and tackles Johnny to the ground, taking all
the fire himself. The flame bullets singe his clothes but
can't hurt him.
Lois watches, aghast. Small fires have begun all over the
club. Several Metros have raised their guns and started
firing back at the Toasters who flee the scene. Clark
looks over to see Toni trapped at the bar by flames. He
hurries through them, picks her up, then places her out of
harm's way. By now everyone has run out of the club.
Lois rushes over to Clark.
CLARK
Out, everyone out.
He pushes Lois and Toni toward the door. Lou drags Johnny
Out. Clark is left there alone. He inhales deeply, then
uses his SUPER BREATH again, this time with more
magnitude. The small fires go out before they have time
to do much more damage. Clark catches his breath as he
looks over at the far wall. The word "TOASTERS" has been
burned into it. It's still smoking. Lois races back in.
LOIS
Clark, are you okay?
(off his nod)
Who _were_ those guys?
She sees the words on the wall, sees he's all right.
CLARK
I think we've just been introduced
to the Toasters.
Off their faces as they try to put the pieces of the
puzzle together.
_END ACT ONE_
--page break--
18.
_ACT_ _TWO_
FADE IN:
19 INT. METRO CLUB - MAIN ROOM - (DAY #2) - CLOSE ON THE WALL 19
... as paint rollers begin to cover up the offensive
word "Toasters."
20 PULL BACK 20
... to reveal many employees working to clean the place
up, including Lois. One by one she sees the Metros enter
the back room for another meeting. She picks up a tray
and heads for the door but Lou stops her.
LOU
Beat it.
He slams the door in her face. She looks around, making
sure no one sees her, then slips through the curtained
doorway and into the...
21 BACKSTAGE HALLWAY 21
... where she and Clark were the night before. She looks
around again, then steps into a...
22 SUPPLY CLOSET 22
... where she quietly removes the cleaning products from a
shelf, revealing three bullet holes. She looks through
one.
23 LOIS' POV 23
... into the Back Room. These are the bullet holes that
Johnny made when he shot the place up. All the Metros are
at the table, as is Toni. Johnny sits in his chair, his
arm in a sling.
24 BACK TO LOIS 24
... who strains to hear.
25 BACK ROOM - CONTINUOUS 25
JOHNNY
The first thing we gotta do is find
out who these guys are and arrange
for a little payback.
(CONTINUED)
--page break--
19.
25 CONTINUED: 25
TONI
I don't think so.
JOHNNY
Hey, I'm talking.
TONI
Not any more. Your days of
speaking for this organization are
through. You should've seen this
coming and you shold've taken steps
to protect us _before_ it happened.
As of now, you're out.
JOHNNY
(laughing)
Says who, you?
TONI
Let's leave it up to the boys.
One by one the Metros stand and walk over behind her,
leaving Johnny very much alone.
TONI
(continuing)
Take a vacation, brother. A long
one.
Johnny starts to pull a gun on her. She nods and two
Metros overtake him.
TONI
(continuing)
Get him out of here.
They do. She addresses the rest of them.
TONI
(continuing)
I know some of you want to go back
to the way things were when my
father was alive, but that's not
going to happen. We've got an
opportunity to move our
organization to the next level.
Out of the back room and into the
board room. If any of you
disagree, you can always join
Johnny in retirement. Any
questions?
Not a word.
TONI
(continuing)
Good. Let's go to work.
--page break--
20.
26 BACK TO LOIS 26
... who has heard it all from the supply closet.
CUT TO:
27 INT. DAILY PLANET - DAY 27
Clark is eating a cold chicken lunch and typing into his
computer as Lois rushes in. She holds a trench coat
tightly around her, but her cocktail waitress fishnets and
spiked heels are visible from the knee down.
LOIS
(breathless)
You haven't sent our Toaster
article down to copy yet, have you?
CLARK
(swallowing)
Just putting the finishing touches
on it now.
(offering)
Drumstick?
LOIS
(slow burn)
I swear, if you breathe one word...
CLARK
(grinning)
You were saying something about the
article?
LOIS
Yeah. Stop the presses. The
Metros just had a big meeting.
Johnny's out and his sister Toni
has taken over.
Lois, forgetting, rips off her coat while firing up her
computer.
LOIS
(continuing)
If we hurry we can make it into the
afternoon edition.
People begin to stare at her outfit.
CLARK
Uh, Lois?
LOIS
Clark, I'm on a deadline here.
(CONTINUED)
--page break--
21.
27 CONTINUED: 27
Before he can say anything more, Jimmy strolls by, sizing
Lois up.
JIMMY
Professional, but naughty. I like
it.
Lois suddenly realizes why everyone is staring. She grabs
her coat and puts it back on. Jimmy moves off. Clark
leans over to Lois.
CLARK
So I guess if Johnny's out, so's
your plan.
LOIS
Don't be ridiculous, I'm perfectly
placed.
CLARK
I may be, too.
LOIS
What are you talking about?
CLARK
Toni asked me to meet her at the
club this afternoon.
LOIS
For what?
CLARK
I'm a man, she's a woman. You want
me to draw you a diagram?
Lois looks at him, deadpan, as Perry walks up.
PERRY
Lois, how's the undercover work
going?
LOIS
Fine, chief, just fine.
PERRY
Good. Didn't think you'd chicken
out on me.
He and Clark share a laugh as Lois just glares.
CUT TO:
--page break--
22.
28 INT. METRO CLUB - MAIN ROOM - DAY 28
The place looks better, but people are still straightening
up. Clark stands in the b.g. while Toni storms in and
throws a copy of The Daily Planet down on the bar next to
Lou. She is furious.
TONI
Since when is Metro business front
page news?
Clark activates his SUPER HEARING and listens in.
LOU
Since the Toasters declared war on
US.
TONI
I don't mean that, I mean
information that could only have
come from our meeting, that I'm the
new head of the Metros. Could
Johnny have leaked the story?
LOU
Uh-uh, we put him on a plane, like
you said.
TONI
Then it's someone else. Find him.
Fast. We can't afford this kind of
exposure.
The Bartender comes up to them.
BARTENDER
It's the guy from last night. You
said you wanted to see him?
Toni looks over and sees Clark, back in his dock clothes.
TONI
Send him over.
She nods to dismiss Lou and watches approvingly as Clark
walks over.
TONI
(continuing)
I've changed my mind.
CLARK
About what?
TONI
The dress code. It doesn't apply
to good-looking men who save my
life.
(CONTINUED)
--page break--
23.
28 CONTINUED: 28
CLARK
Good, cause these are the only
clothes I've got.
TONI
Maybe we can change that.
CLARK
Look, I didn't come here for a
handout. You said you had a job
for me.
TONI
Bartender, right? Mr...
CLARK
King, Charles King.
TONI
(liking it)
Charlie. You saved my life last
night.
CLARK
It was worth saving.
TONI
Are you always that good in a
crisis?
CLARK
Try me.
TONI
I may do just that. But for now
we'll start with bartending.
CLARK
You're the boss.
TONI
Good. I need that kind of loyalty
around here. It seems to be in
short supply. Keep your eyes and
ears open and we'll see about
moving you up.
Meanwhile, Lou has come back.
LOU
Don't mean to bother you but we got
a small problem. Delilah just
quit. Says she's too scared of the
Toasters to come back here.
(CONTINUED)
--page break--
24.
28 CONTINUED: 2 28
TONI
(to Clark)
See what I mean? No loyalty.
(to Lou)
Does she have a contract?
LOU
Yeah, of course.
TONI
Good. Sue the sequins off her and
get another singer.
LOU
Done.
Lou leaves.
CLARK
When do I start?
TONI
As soon as you get yourself some
new clothes.
She peels off five hundred dollar bills.
TONI
(continuing)
Welcome to the good life.
29 CLOSE ON A PAIR OF BLACK SWINGING DOORS 29
... as they are pushed open again, leading us back into
the club later that night. The band on stage is playing.
Lois, casually dressed but her hair perfectly coiffed and
her face made-up walks across the room to the bar. She
addresses the bartender who is turned away from her.
LOIS
Soda, please.
Clark turns around and smiles. He now wears a tuxedo.
CLARK
coming right up.
Lois, shocked to see him, lifts the bar rail and moves
beside him.
LOIS
What are you doing here?
(CONTINUED)
--page break--
25.
29 CONTINUED: 29
CLARK
My job. You're looking at the
Metro Club's newest bartender.
Like my tux? It's Italian.
LOIS
What did you do, fly to Rome? I've
been looking for you all day.
Clark just smiles. Toni comes up to the bar.
TONI
Charlie!
LOIS
Charlie?
TONI
I hardly recognized you.
LOIS
(under her breath)
Join the club.
CLARK
(re Lois)
Just getting to know the help.
TONI
(sizing Lois up)
Not too well, I hope.
CLARK
Beat it, kid. I gotta go to work.
Clark pats her on the rear, a replay of Johnny's action.
Lois gives him the evil eye and has no choice but to
leave. Clark pours Toni a drink at _SUPER_ _SPEED_ and
places it in front of her.
TONI
(startled)
I've had one better but I've never
had one faster,
CLARK
Sweet vermouth on the rocks with a
twist?
TONI
(smiling)
How did you know?
CLARK
I asked.
(CONTINUED)
--page break--
26.
29 CONTINUED: 29
TONI
Looking out for my best interests?
CLARK
That's what I'm here for.
TONI
I think I like that. Lou said you
were having problems with the ice
maker.
CLARK
No. No problems.
30 CLOSE ON AN ICE MAKER 30
... broken, no ice in sight. PAN OVER to the sink where
Clark fills an ice tray. Clark leans down close and, with
one SUPER COLD breath, freezes the tray. He pops the
ice out and drops it into some glasses. He grabs a nearby
newspaper and goes back to Toni.
CLARK
Did you read about the Toaster's
latest stunt? Burned a police
station to the ground about a
couple of blocks from here.
TONI
(shaking her head)
Bad for business. They're out of
control. They've got to be
stopped.
CLARK
What are you doing about it?
Toni looks at him suspiciously.
CLARK
Not that it's any of my business.
I just don't like anything
dangerous getting too close to you.
TONI
That's quite a line you've got.
CLARK
I mean every word.
She spots someone at the door.
(CONTINUED)
--page break--
27.
30 CONTINUED: 30
TONI
We'll talk some more about this
later. Right now, just stay here
and look handsome. I've got some
business to discuss.
Clark watches as Toni goes over to the-door and greets LEX
LEATHER. Clark quickly turns away so that Leather doesn't
notice him. He watches through the bar mirror as Toni
leads him to a center table and they sit down. He
activates his _SUPER_ _HEARING_ and tries to listen to their
conversation, but just as he begins to hear, a LOUD
DRUMROLL nearly pops his eyes out of his head. Apparently
Super Hearing amplifies everything.
ANNOUNCER (O.S.)
Ladies and Gentlemen, the Metro
Club proudly presents Miss Lola
Dane.
A SPOTLIGHT hits the curtain revealing the bare back of a
remarkably well-curved woman in a painted-on evening
dress. We hear the opening saxophone notes of "I've Got a
Crush on You." Clark and Lex look closely at the singer
from opposite sides of the room. There's something
awfully familiar about her. Both of-their jaws
figuratively drop at the same time as she turns around and
begins to sing...
LOIS
'I've got a crush on you -- Sweetie
Pie -- All the day and night
time -- Hear me sigh -- The world
will pardon my mush -- But I have
got a crush on you.'
It's a Lois we've never seen before. Sexy. Sultry.
Seductive. Clark is stunned. Lex is appreciative. Lois
continues to sing as Toni and Lex continue to talk in
whispers.
31 LOIS 31
... almost misses a beat when she sees Lex Luthor staring
up at her, smiling. Uncertain about her cover now, she
can do nothing but keep singing. She looks for...
32 CLARK 32
... who shares her worry but can't do anything about it.
He looks back to Lex who can't seem to take his eyes off
Lois. Is he going to turn her in?
--page break--
28.
33 ANOTHER ANGLE 33
... as Lois finishes her song. Lex takes the rose out of
his lapel and tosses it to her on stage. She catches it
nervously while he applauds her.
LUTHOR
Brava!
The spotlight goes out and the curtain goes down on her.
She turns around, walks past the chorus girls who are
ready for another number and into the...
34 BACKSTAGE HALLWAY 34
... where Clark intercepts her.
CLARK
Lois --
She puts her fingers up to her lips, looks around, then
drags Clark into...
35 THE SUPPLY CLOSET 35
... where they continue the conversation in whispers.
CLARK
Did you see him?
LOIS
Of course I saw him.
CLARK
Get out of here now. Don't even
stop to get your things.
LOIS
Clark, Lex Luthor is a friend of
mine. He would never do anything
to hurt me and he's way too smart
to let anything slip.
CLARK
I don't trust him. What's he doing
here anyway?
LOIS
I'll ask him next time I see him.
Clark notices the bullet holes in the wall. He looks
through one.
CLARK
So this is how you spied on the
meetings.
(CONTINUED)
--page break--
29.
35 CONTINUED: 35
LOIS
If you're a good boy maybe I'll
teach you some more of my tricks,
but right now I've got to get ready
for my next number.
Lois goes to open the door but before she can it flies
open, revealing Toni standing there.
TONI
Interesting place for a bartender.
Run out of olives?
Clark must think fast. He turns to Toni, holding Lois by
her arm.
CLARK
Here she is. Your leak. Lois
Lane, reporter for the Daily
Planet.
Lois turns to Clark in fury, but holds her tongue. A
scary moment ensues before Toni responds.
TONI
Guess I'll have to find another
singer.
(to Clark)
Good work.
CLARK
(nodding)
What do you want me to do with her?
CUT TO:
36 EXT. ALLEY - NIGHT 36
Clark kicks open the back stage door. He carries a
struggling Lois over his shoulder.
LOIS
(manic whisper)
You'll pay for this, Kent, I swear
you'll--
CLARK
(under his breath)
_King_, remember?
He spots a row of dumpsters. He looks back at the stage
door where Lou is watching. They talk softly so he won't
hear.
(CONTINUED)
--page break--
30.
36 CONTINUED: 36
LOIS
Why are you doing this?
CLARK
So she'll quit looking for a leak.
At least _my_ cover's still safe.
LOIS
Well, Merry Christmas and Happy New
Year.
CLARK
Believe me, this is for your own
good.
Her eyes grow wide as they approach an-open dumpster.
LOIS
No...
He drops her in.
LOIS
(screaming)
No!!
CLARK
(loudly)
And _stay_ out.
He wipes his hands and walks back to Lou. As he reaches
the door, a head of rotten lettuce hits the wall next to
him.
LOU
(smiling)
I guess we won't be hearing from
her no more.
CLARK
(sighs, to himself)
Speak for yourself.
_END ACT TWO_
--page break--
31.
_ACT THREE_
37 INT. CLARK'S APARTMENT - NIGHT 37
A gas flame ignites with a whoosh underneath a kettle on
the stove. Clark is making tea when the door bangs open
and Lois enters, still wearing her garbage-stained evening
dress.
LOIS
You rotten, back stabbing piece of
slime. You know, some people might
be fooled by that innocent, boyish
exterior but not me, not anymore.
CLARK
Tea, Lois? It's a calming herbal
blend. I learned it from a
medicine man in Fiji. The secret
is the fresh mint.
LOIS
I don't suppose you care but you've
completely blown the story.
CLARK
By the way, I don't think I told
you but I really liked your song.
LOIS
(screeching)
What?!
CLARK
You have a very pleasant voice.
Most of the time.
LOIS
Clark, I don't know what you think
you're doing...
CLARK
You know, sometimes, on a team, the
person carrying the ball gets
hemmed in and she has to hand off
to another member of the team who's
in a better position to score.
There is a knock at the door. Clark X-RAYS through. To
Clark's surprise, it's Toni, carrying a grocery bag.
LOIS
Who's that?
CLARK
I guess... my dinner date.
(CONTINUED)
--page break--
32.
37 CONTINUED: 37
LOIS
Oh, I get it. You don't need to
draw me a diagram.
CLARK
Lois...
LOIS
I cuddle up to three-day-old fish
heads while you play footsie with
the mafia princess.
Another knock.
CLARK
Oh, I get it. You're jealous.
LOIS
Jealous? Are you out of your mind?
CLARK
Lois, she can't see you here.
You've got to hide.
LOIS
But --
He pushes her behind the wall that masks the circular
staircase.
CLARK
I'll find some way to distract her
and then you sneak out.
Even though she's still angry, Lois acquiesces. Clark
moves over to the door and opens it to admit Toni.
TONI
Once again I'm in your debt. I
thought I'd pay you back with a
home cooked meal. How does lasagna
sound?
CLARK
Delicious.
38 ANGLE ON LOIS 38
... rolling her eyes.
LOIS
(mouthing)
Delicious.
--page break--
33.
39 BACK TO CLARK AND TONI 39
... as he guides her toward the kitchen and away from Lois.
TONI
(looking around)
Nice place.
CLARK
it belongs to a friend of mine. He
lets me use it whenever I'm in
Metropolis.
(re groceries)
You know, you don't really have to
do this.
TONI
I know. I want to.
CLARK
Do you always get what you want?
TONI
Usually. How about you?
CLARK
Let's see.
He leans in and kisses her, turning her head away from the
door. He motions with his hand for Lois to get out. She
stares at them for a beat, then creeps out, closing the
door soundlessly behind her. Clark ends the kiss. Toni
is pleasantly surprised.
TONI
You don't waste any time, do you?
CLARK
Not if I can help it.
(beat)
You said something about lasagna?
She smiles.
CUT TO:
40 INT. LOIS' APARTMENT - NIGHT 40
Lois enters, tired, angry and disgusted. She immediately
starts to take off her garbage-stained clothes, dropping
them on the floor behind her as she heads across the room.
LOIS
Jealous? Ha!
(CONTINUED)
--page break--
34.
40 CONTINUED: 40
She disappears into the bedroom. A few moments later she
comes back out in a schlumpy bathrobe, her hair up in an
ugly scrunchy. She heads for the freezer.
LOIS
(continuing)
Like I really care.
She takes out a gallon of Rocky Road and begins to shovel
it down right out of the carton. A wave of emotion hits
her as she realizes this may be the case.
LOIS
(continuing)
I am jealous.
There is a knock at the door. She answers it, spoon in
her mouth, revealing Lex Luthor.
LUTHOR
Let's do it.
LOIS
(through the spoon)
I beg your pardon?
LUTHOR
A song request.
(singing)
'Let's do it. Let's fall in love.'
The musical question hangs in the air.
LOIS
I think my singing days are over.
LUTHOR
But why? You were magnificent.
LOIS
(embarrassed)
It was just an act.
LUTHOR
I prefer to think it was the real
you. Passionate. Sultry.
Seductive.
(beat)
Got an extra spoon?
LOIS
Oh. Come in.
Lois quickly bends to start picking up the clothes. She
absently stuffs it all into the freezer along with the ice
cream.
(CONTINUED)
--page break--
35.
40 CONTINUED: 2 40
LUTHOR
This is exactly how I pictured your
apartment.
LOIS
I'm, uh... thinking of remodeling.
(beat)
Thanks for not blowing my cover.
LUTHOR
That's what friends are for.
Tonight you look like you could use
one.
LOIS
Lex, what were you doing at the
club?
LUTHOR
Meeting with the new leader of the
Metro gang.
(beat)
She called me. According to her,
we have similar interests in the
Riverview district.
LOIS
I find that hard to believe.
LUTHOR
So do I. She talks a good line:
slum clearance, uplifting the
neighborhood, micromanagement,
growth and prosperity.
LOIS
And you believe her?
LUTHOR
Not for a minute. In fact, I think
the whole thing was designed to get
me to slow down my own plans for
reviving the area.
(beat)
She even suggested a partnership of
sorts.
LOIS
And what are you doing here?
LUTHOR
I came to warn you. I think Toni's
hiding something.
LOIS
What?
(CONTINUED)
--page break--
36.
40 CONTINUED: 3 40
LUTHOR
I wish I knew. I only know that if
I were a smart reporter looking for
answers, I wouldn't bother to look
any further for the source of all
the problems in Riverview than Toni
Taylor.
LOIS
Thanks for the tip. I guess I owe
you one.
LUTHOR
Don't think I won't try to collect.
Good night, Lois.
He kisses her on the cheek, moves to the door and exits as
we...
CUT TO:
41 EXT. CLARK'S APARTMENT - BALCONY - NIGHT 41
Toni looks out over the city as Clark comes up behind her.
CLARK
That was delicious.
He looks out at Metropolis as well.
CLARK
(continuing)
No Toaster fires tonight.
TONI
They wouldn't dare.
CLARK
Have you found something out?
(off her silence)
if I don't know what's going on how
can I help?
TONI
Why should I trust you? I hardly
know you.
CLARK
In your position I'd probably feel
exactly the same way.
(CONTINUED)
--page break--
37.
41 CONTINUED: 41
TONI
(ruefully)
My position. Sometimes I think I
could cheerfully trade it all for a
quiet life far away from
Metropolis. Growing up I used to
sit at my father's knee and listen
to him talk. I learned so much but
I never thought I'd have to apply
it. If my brother's hadn't turned
out to be such idiots...
CLARK
I thought you enjoyed running
things?
TONI
Someone had to. Let me tell you,
Charlie. I don't want to run a
crime syndicate. I want to run a
conglomerate. In five years, if I
have my way, all Metro business is
going to be _legitimate_. A
legitimate corporation with me as
CEO. I want to take what my father
started and make him proud, put our
name up there with the captains of
commerce, the Lansings, the
Schwabs, the Luthors. No more
dirty money, no more shady deals.
CLARK
Sounds like a good plan.
TONI
If I can just get past this thing
with the Toasters.
CLARK
You will.
(a double meaning)
We will.
TONI
Maybe. But not tonight. I have a
prior engagement. Disappointed?
CLARK
Nope. It'll just give me something
to look forward to.
TONI
(turning to go)
You're full of surprises, Charlie.
She leaves.
(CONTINUED)
--page break--
38.
41 CONTINUED: 2 41
CLARK
(to himself)
If you only knew.
CUT TO:
42 EXT. CLARK'S APARTMENT - NIGHT 42
As Toni exits the building, Lois comes out of the shadows
and follows her, a safe distance behind.
CUT TO:
43 EXT. BURNED OUT BUILDING - NIGHT 43
The building that was on fire in the very first scene is
still standing, but barely. A large sign has been posted:
"Future LexHarbor Development Site," along with a drawing
of an ultra-modern building. Toni slips into the
condemned shell. She now carries a briefcase. After a
beat, Lois appears. She goes around to the back of the
building.
44 INT. BURNED OUT BUILDING - NIGHT 44
Eerie and dark. Toni enters. One by one, each of the
Toasters appears, stepping out of different hiding places.
They hold their weapons and they have her surrounded.
Meanwhile, Lois has entered through the back and is
watching, hidden from view by some blackened crates.
TONI
Is this really necessary?
After a beat, Toaster #1 takes off his mask.
TOASTER #1
Did you bring the money?
Toni opens the briefcase.
TONI
One hundred thousand.
TOASTER #1
(angry)
You said two.
TONI
Considering how badly you botched
the hit on my brother, you're lucky
I'm even here. Do you realize I
could've been killed?
(CONTINUED)
--page break--
39.
44 CONTINUED: 44
TOASTER #1
Yeah, that would've been a real
shame.
Lois has now maneuvered herself closer to the action when
she accidentally trips over a dangling cord. A rusted,
old toaster falls off the crate next to her. She catches
it before it crashes to the floor and reveals her
position.
TONI
(continuing)
Just don't forget who's running the
show. The fires were supposed to
stop as soon as I took over. What
do you think you've been doing?
TOASTER #I
Having fun.
TONI
Well, the fun stops now.
(holding out her hand)
Give me those things.
He grabs the briefcase from her instead.
TOASTER #1
I don't think so. We've kind of
decided to hold on to them.
TONI
Listen punk --
TOASTER #1
No, you listen for a change. You
and the Metros, you're nothin'. We
could wipe you out by just pullin'
a trigger.
TONI
I made you!
TOASTER #1
Yeah, and we're real grateful.
(leveling his weapon)
Take her.
Toni struggles, but it's useless. Two of the Toasters
grab her and begin to wrap her wrists with tape.
Meanwhile...
45 LOIS 45
... has moved even closer, avid to hear every word.
--page break--
40.
46 BACK TO TONI AND THE TOASTERS 46
TONI
Four of you against the Metros?
You don't have a chance.
TOASTER #1
Why just four? Why not forty? Or
four hundred. Recruiting's a snap.
Plenty of guys out there love to
see things burn.
TONI
You don't have the weapons for
them.
TOASTER #1
Not yet, but we'll figure out how
to make more. We're not as dumb as
you think.
They hear a CRASH from behind the crates. Toasters #2 and
#3 rush to find out what caused it. They search the area
where Lois was just a few seconds ago, their weapons drawn
and ready. They find nothing but a rolling bottle which
has fallen to the ground. They bring it back to Toaster
#1
TOASTER #1
Anything?
The others shake their head.
TOASTER #1
You wouldn't believe how big the
rats get around here.
TONI
Oh I believe it.
(beat)
What now? What about me?
TOASTER #1
Well, we've got a little bar-b-que
planned for tomorrow. We thought
we'd start with the wharf and work
our way back to the Metro club.
When we're done with that, we'll
get back to you. If the rats
haven't gotten you first.
(nodding to #2)
Keep an eye on her.
They all leave except for Toaster #2, who settles against
a crate for.the first watch. We PAN up above him, on top
of some crates that almost reach the ceiling. Squeezed
into the small space is Lois, looking terrified.
(CONTINUED)
--page break--
41.
46 CONTINUED: 46
We PAN over to discover the cause of her worry, a large,
beady-eyed rodent who has settled in to become her
roommate for the night. Off Lois, stuck between a rat and
a hard place, we...
FADE OUT.
_END ACT THREE_
--page break--
42.
_ACT FOUR_
47 INT. BURNED OUT BUILDING - (DAY #3) 47
Sun streams through holes in the ceiling revealing a
sleeping Lois, still on top of the crates, her furry
roommate nowhere to be found. She rolls over in her sleep
and her hand dangles over the edge directly above the head
of Toaster #2 who still sits watch.
48 CLOSE ON LOIS 48
Her eyes pop open at the sound of Toaster #2's voice.
TOASTER #2
All right, I see you and I'm gonna
get you before you cause any more
trouble. Your little tail is mine.
She's awake now, adrenaline pumping. She peaks over the
crate expecting to meet her demise but instead sees
Toaster #2 aiming at the rat with his weapon. Toni is
still tied, still asleep. Lois looks around, takes her
opportunity, climbs down and rushes out the way she came
in.
49 INT. CLARK'S APARTMENT - HALLWAY - DAY 49
Lois, panting with exertion, stands and waits impatiently
for Clark to open the door. Yawning, wearing athletic
shorts and a T-shirt, he does. Immediately she pushes
inside.
CLARK
Lois? What's up?
LOIS
Tough night, Clark?
(beat)
Where's the phone?
Clark points, follows her to it. Dust and ashes still
cling to Lois' clothes. Clark begins to brush her off.
CLARK
You know, I thought I was hard on
clothing.
Lois interrupts her dialing to bat his hand away.
(CONTINUED)
--page break--
43.
49 CONTINUED: 49
LOIS
(to Clark)
Would you stop that?
(into phone)
Get me whoever's in charge of your
Arson Investigations unit. No, I
won't hold. I said...
She's on hold.
CLARK
(fully alert now)
What's happened? Where were you?
LOIS
Sleeping with a rat, how about you?
CLARK
Lois, Toni left here around ten.
LOIS
I know.
(into phone)
Yes, I'm holding. No, don't...
CLARK
How do you know?
LOIS
Because I followed her. Prepare
yourself for a shock, Clark. Toni
is behind the Toasters. Was behind
the Toasters, actually. Now
they've got her captive.
CLARK
What?
LOIS
The Toasters are out of control and
planning to burn Riverview to the
ground, starting from the wharf and
moving inward. Unless, that is...
(voice rising)
... someone picks up the rotten
line!
Now, in the b.g., we hear SIRENS, lots of them. Clark
rushes to the window and looks out. With his _TELESCOPIC_
_VISION_ he sees flames rising over the city.
CLARK
Lois, put down the phone.
(off her look)
You won't get through.
(CONTINUED)
--page break--
44.
49 CONTINUED: 2 49
She sees the flames, hangs up.
LOIS
I'm going to the police station.
They need to know what they're up
against. I'll meet you back at the
Planet.
She pauses on her way out for a last look at the flames.
LOIS
(continuing)
Superman, I hope you're out there.
She exits. Clark looks at the flames, pulls off his
shirt.
CUT TO:
50 EXT. CLARK'S APARTMENT - BALCONY 50
Superman steps out, looks around, then takes off into the@
sky.
CUT TO:
51 EXT. METROPOLIS STREET - DAY 51
CLOSE ON A CAR... as it explodes into a ball of fire.
52 THE TOASTERS 52
march down the center of the street, a trail of burning
cars raging behind them. Fear has cleared the streets of
traffic. The Toasters pause before a storefront.
TOASTER #1
Gentlemen, I'd like to propose a
toast.
All begin to adjust their weapons.
53 CLOSE ON A TOASTER 53
The dial moves from "Light" all the way up to "Toast,"
accompanied by a WHINE of the gun charging..
54 BACK TO SCENE 54
All are now fully charged.
(CONTINUED)
--page break--
45.
54 CONTINUED: 54
TOASTER #I
Let's cook.
SUPERMAN (O.S.)
You know what they say about people
who play with fire?
They turn to see Superman standing behind them.
TOASTER 01
Yeah, they get burned.
At his signal, the Toasters direct their maximum fire
towards Superman. The bullets strike. He's seemingly
engulfed in flames. But when the smoke clears, he's fine.
SUPERMAN
It's about time someone cooled you
guys off.
Using his _SUPER_ _COLD_ _BREATH_, he directs streams of
frigid air towards them.
55 CLOSE ON THE WEAPONS 55
... encased in ice.
56 THE TOASTERS 56
... are also frozen in place.
TOASTER #1
Hey! You can't leave us like this!
It's cold.
SUPERMAN
The police are on their way. I'm
sure they'll have a nice toasty
cell waiting for you.
And with that he's gone up into...
57 THE SKY 57
... where Superman _HOVERS_ above the city. Below him the
fires continue to spread. Off in the distance he spots...
58 A STORM 58
... wind, rain, thunder, and lightning.
--page break--
46.
59 SUPERMAN 59
at _SUPER_ _SPEED_ he flies to the edge of the storm,
and uses _SUPER_ _BREATH_ to blow it toward Metropolis.
60 INT. BURNED OUT BUILDING - DAY 60
We HEAR a CLAP OF THUNDER in the near distance. Toni
still struggles helplessly with her bonds. Clark enters,
moves to her side and releases her.
TONI
How did you find me?
CLARK
I had a tip.
TONI
We've got to get out of here before
the Toasters come back.
CLARK
Superman took care of them.
TONI
Looks like you came through for me.
CLARK
Looks like you let me down.
We HEAR the sound of RAIN beginning to pour down outside.
Toni stares at him a moment, then lowers her eyes.
TONI
I had to create a situation that
would allow me to take over the
Metros. There was no other way.
CLARK
There's always another way.
TONI
Charlie, please --
CLARK
My name's not Charlie. It's Clark
Kent. I work at the Daily Planet.
As the reality sinks in...
TONI
I guess both of us were hiding the
truth. What happens now?
We HEAR SIRENS pulling up outside the building.
(CONTINUED)
--page break--
47.
60 CONTINUED: 60
CLARK
I think you know.
TONI
Can I talk you out of it?
(seeing his face)
I guess not.
(beat)
I'll miss you, Charlie.
CLARK
I'll miss you too, Toni.
CUT TO:
61 INT. LUTHOR'S PENTHOUSE - DAY 61
Lex is on the phone, standing next to his gleaming model
of LexHarbor. Rain still engulfs the city behind him.
LUTHOR
(into phone)
Every parcel on the list?
Excellent. Nothing like a little
firestorm to lower prices on real
estate. Let's move directly to
phase two. I'd like to break
ground on LexHarbor sometime next
month.
(listening)
No, I wouldn't worry about that.
Toni Taylor and I have an
arrangement. Things haven't worked
out exactly the way _she_ hoped,
but she won't spend much time
incarcerated. When she gets out,
she knows I'll be properly grateful
for her silence.
(beat)
Destroy them. Plans, too. Should
we ever need to revive the Toaster
technology, it'll be easy enough.
(beat; smiling)
I know you will. That's what I pay
you for.
He hangs up, looks at the model, already looking into the
future, envisioning the reality.
CUT TO:
62 INT. DAILY PLANET - DAY 62
Lois is at her desk with Perry and Jimmy.
(CONTINUED)
--page break--
48.
62 CONTINUED: 62
PERRY
You and Kent got yourselves another
headline. All the risks, all the
danger, it was worth it all.
JIMMY
it was worth it all just to see
Lois in that little cocktail
waitress number.
Lois throws a pencil at him and he takes the hint and
leaves.
PERRY
(confidentially)
Speaking of numbers, tell me the
truth, Lois. How'd it feel to be
on stage?
LOIS
well, it was pretty exciting,
Chief. But I don't think I could
handle a career in show biz.
PERRY
You know, in March of 1955, The
King auditioned for Aurthur
Godfrey's Talent Scouts. It was
his first trip to New York and his
first airplane flight.
LOIS
What happened?
PERRY
He was rejected.
LOIS
So, what are you trying to tell me?
That I should consider giving it
another try?
PERRY
Hell, no. I think you should stick
with your first instinct.
Perry leaves as Clark comes in.
LOIS
Where have you been? I'm on page
six.
CLARK
Save some room for the wrap-up on
Toni Taylor. I've just been saying
goodbye.
(CONTINUED)
--page break--
49.
62 CONTINUED: 2 62
LOIS
A touching farewell I suppose?
CLARK
She wasn't all bad.
LOIS
No one's all bad, Clark. Or all
good. Except Superman.
CLARK
Naturally.
LOIS
Superman, for example, wouldn't
have tried to cut me out of a story
by ratting me out to the opposing
team. Good thing I managed to get
back in the game on my own and
score the winning touchdown.
CLARK
Sometimes the quarterback has to
fake a throw to his primary
receiver in order to free up his
secondary target.
LOIS
I'm getting pretty tired of
fumbling around with these stupid
football teamwork analogies.
CLARK
Me, too.
LOIS
Let's drop them then, okay?
CLARK
No problem. Let's pass.
She gives him a dirty look.
CLARK
(continuing)
Okay, so fess up. You really
weren't the slightest bit jealous
of me and Toni Taylor?
LOIS
You'd like to think that, wouldn't
you? Me, home alone, in a schlumpy
bathrobe, crying into a tub of
Rocky Road.
(MORE)
(CONTINUED)
--page break--
50.
62 CONTINUED: 3 62
LOIS (CONT'D)
(beat)
In your dreams, Kent, in your
dreams.
FADE OUT.
_THE_ _END_
Au total, 34 membres ont visionné cet épisode ! Ci-dessous les derniers à l'avoir vu...
carine79
31.08.2021 vers 09h
neko123
30.06.2020 vers 10h
Emmalyne
12.02.2020 vers 21h
schumi
19.07.2019 vers 22h
Aloha81
29.07.2018 vers 16h
seriepoi
03.07.2018 vers 14h
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Loïs est une super chanteuse et danseuse... elle pourrait se reconvertir au besoin. J'ai adoré la scène de la poubelle : c'est vraiment l'amour vache entre loïs et Clark .
Merci aux 2 rédacteurs qui ont contribué à la rédaction de cette fiche épisode
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Les nouveautés des séries et de notre site une fois par mois dans ta boîte mail ?
choup37, 18.04.2024 à 08:49
5 participants prennent part actuellement à la chasse aux gobelins sur doctor who, y aura-t-il un sixième? 
chrismaz66, 18.04.2024 à 11:04
Choup tu as 3 joueurs de plus que moi!! Kaamelott est en animation, 3 jeux, venez tenter le coup, c'est gratis! Bonne journée ^^
choup37, 19.04.2024 à 19:45
Maintenant j'en ai plus que deux, je joue aussi sur kaa 