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Patrick Sullivan, un ami irlandais de Loïs, commence à lui faire des avances. Mais Clark l'avertit qu'il veut autre chose mais elle ne veut pas le croire. Mais Clark a raison, Patrick a déjà volé deux émeraudes et un ancien masque pour obtenir le pouvoir de druide. Mais pour avoir ce pouvoir, il doit également sacrifier Loïs.
Mais Superman arrive à temps pour sauver Loïs et grâce à elle, Patrick disparaît dans une brume verte. Le soir venu, Clark avoue à Loïs son amour et refuse de la quitter ainsi mais Loïs refuse de se remettre avec par peur d'un autre abandon.
Note : 6/10
Popularité
Titre VO
When Irish Eyes Are Killing
Titre VF
Le Masque des anciens
Première diffusion
15.10.1995
Première diffusion en France
14.05.1996
France (redif)
Mardi 04.10.2022 à 01:40
_LOIS & CLARK_
_The New Adventures Of Superman_
"When Irish Eyes Are Killing"
_CAST_
CLARK KENT/SUPERMAN
LOIS LANE
JIMMY OLSEN
PERRY WHITE
PATRICK SULLIVAN
COLLEEN FOLEY
SHAMUS/ROBBER
STAR
VERONICA KIPLING
MCCARTHY
WALLY
WOMAN AT AUCTION
MAN O.S. (AUCTION)
MAN O.S. (PUB)
_LOCATIONS_
_INTERIORS_: _EXTERIORS_:
Daily Planet Daily Planet Street
Newsroom
Estate
Lois's Apartment
Living Room Metropolis Street
Hallway Outside
Park
Clark's Apartment
Casey's Pub
Estate Courtyard
Street
Patrick's Suite
Art Museum
Bank
Clark's Car
_TEASER_
FADE IN:
1 INT. CLARK'S CAR - LOIS AND CLARK - ROLLING - DAY #1 1
CLARK drives as he and LOIS move through an upscale area.
LOIS
(sarcastic)
I love these charity events in the
middle of the day. I say we make a
cameo appearance and get out of
there.
CLARK
Isn't Perry expecting you to be one
of the bachelorettes auctioned off?
LOIS
I told him I wasn't available.
(beat-pointedly)
Am I?
CLARK
(uncomfortable)
We've already been over this.
LOIS
Oh, yeah. You love me too much for
us to be together. Right?
CLARK
How come when you repeat what I say
it sounds so dumb?
LOIS
Because this _is_ dumb. You're
completely overreacting.
CLARK
Really? If you'd never met me...
(CONTINUED)
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 2.
1 CONTINUED: 1
LOIS
(bored)
I wouldn't constantly be
putting myself in danger 'cause I
know you'll get me out, and _bad_
guys wouldn't be putting me in
danger in order to get to you.
CLARK
Trouble has a way of finding you,
especially when I'm around. Maybe
I'm a jinx.
Clark pulls over to the curb in front of a large estate.
CLARK (CONT'D)
Why don't you go in and I'll park
the car.
2 EXT. ESTATE - DAY 2
Lois opens the door and gets out, then leans back in.
LOIS
I know you worry about me, but
you've got to relax. It's not like
bombs are exploding everywhere I
go.
Lois shuts the car door and Clark pulls away. The CAMERA
STAYS WITH HER as she walks up to the house, then PANS to
find a shadowy figure hiding around the corner. He is
holding something that looks suspiciously like... a bomb.
3 INT. ESTATE - LIVING ROOM - DAY 3
Dozens of well dressed people are gathered in a very large,
beautifully decorated room. A banner stretching across the
room proclaims this to be the "Daily Planet Benefit For the
Coates Home For Children." PERRY stands in front of the
room next to a woman in her late 30s (BRENDA).
PERRY
Come on guys. Thirty dollars for
dinner with Brenda Bessolo. It's a
steal.
MAN (O.S.)
Thirty.
PERRY
Thank you George. We have thirty.
Who'll give me forty?
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 3.
4 ANGLE ON LOIS 4
She enters and crosses the room as the auction continues in
the background. JIMMY approaches.
JIMMY
Lois! I'm glad you're finally
here. Could you loan me twenty
dollars? Monica Sherwin is up next
and I think she'll go for around
fifty bucks. I'm a little light.
LOIS
(smiling)
Ah, young love.
She digs in her purse as, out of the corner of her eye, Lois
sees a bomb roll into the crowd. Suddenly, it EXPLODES,
emitting thick white GAS which quickly fills the room.
People coughing, pass out. Lois desperately looks around.
LOIS (CONT'D)
(weakly)
Clark...?
Finally the fumes get to her and she slumps to the floor.
5 EXT. ESTATE - DAY 5
Clark is trying to parallel park in a space that is too
small. Frustrated, he pulls the car even with the small
space and gets out of his car. He nonchalantly leans up
against the passenger side of his car and then, using his
SUPER STRENGTH, gives it a nudge with his butt. The car
slides into the tight slot sideways, with only inches to
spare. Clark smiles and moves away.
6 INT. ESTATE - LIVING ROOM - DAY 6
A shadowy figure quickly moves through the smoke.
7 EXT. ESTATE - DAY 7
Clark casually strolls up the walkway and opens the door to
the house. A thick plume of gas rolls out.
8 INT. ESTATE - LIVING ROOM - DAY 8
Clark hurries into the house to see that the guests are out
cold. He takes a deep breath and SUCKS IN the gas fumes
until the room is clear, then quickly moves to the fireplace
and blows the gas up the chimney.
(CONTINUED)
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 4.
8 CONTINUED: 8
As Lois starts to regain consciousness, Clark moves over to
her and helps her to her feet.
CLARK
Are you alright?
LOIS
(slightly woozy)
I think so. Someone set off a gas
bomb.
Clark is about to say something when Lois cuts him off.
LOIS (CONT'D)
Don't say it. This was a total
fluke, a freak occurrence.
CLARK
Did I say anything?
Just then, an ear piercing SCREAM fills the house. An
older, well dressed WOMAN run in from another room.
WOMAN
(wildly panicked)
Somebody, please help!
Lois and Clark cross to her.
LOIS
What is it?
WOMAN
The Scepter of Claudius has been
stolen!
CLARK
The Scepter of who?
WOMAN
(to Clark)
Claudius. The Roman Emperor. It's
worth over a million dollars.
LOIS
(to Clark)
Maybe you are a jinx.
FADE OUT:
_END OF TEASE_
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 5.
_ACT ONE_
FADE IN:
9 INT. HOTEL ROOM - CLOSE ON CANDLE HOLDER - NIGHT #1 9
The elaborate gold candle holder ends in a small gold skull
at the base of the candle. CAMERA slowly MOVES from this to
another just like it as we become aware of a low CHANTING in
a foreign tongue. We MOVE to the face of a young woman,
lying down, eyes closed. Her eyes flutter and she groggily
tries to focus, then:
10 HER POV 10
Glowing candles ring her; otherwise gloom and shadows. Two
hooded figures appear from the shadows as the CHANTING
continues.
11 THE WOMAN 11
Her eyes grow wider.
12 HER POV 12
One of the hooded figures produces a large, elaborately
carved knife from his robes. A SCREAM O.S., we
CUT TO:
13 INT. DAILY PLANET - ON POSTER - NIGHT 13
A picture of Lois and Clark. The poster reads, "LANE AND
KENT...THE TEAM THAT DELIVERS THE NEWS TO YOUR DOOR." PAN
to Lois and Clark, who are working away in a relatively
quiet news room. Lois finishes typing with a flourish.
CLARK
Pulitzer time?
LOIS
You know what they say, 'Lane and
Kent deliver...'
CLARK
So I've read, on billboards, bus
stops, park benches...
(CONTINUED)
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 6.
13 CONTINUED: 13
LOIS
With our faces plastered around the
entire city, people might get the
wrong impression and think we're a
couple or something.
CLARK
(sighs)
Here it comes.
LOIS
(not believing)
So... What, you've decided to never
let anyone get close to you again?
CLARK
That's right.
LOIS
(playful)
No wife, no girlfriend, no dating.
You're ready to spend the rest of
your life completely alone?
CLARK
If that's what it takes.
Lois looks at Clark for a moment, then reaches over and
gently touches his face.
LOIS
You're serious, aren't you?
CLARK
I'm afraid so.
LOIS
Maybe you should change your
insignia from an 'S' to an 'M' for
Martyr Man.
14 PERRY 14
approaches, reading a message, trailed by Jimmy.
PERRY
Judas Priest, there's been another
one.
JIMMY
Another murder?
(CONTINUED)
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 7.
14 CONTINUED: 14
PERRY
Same deal as the last one. Young
woman... body dumped in an alley...
(peers up over his
glasses)
Her heart had been removed.
They reach Lois and Clark. Lois hears this last, reacts.
LOIS
God.
PERRY
This thing heats up any more, I'm
gonna pull you two off the robbery
story. How's it coming, anyway?
LOIS
Just finished it.
PERRY
You guys are the greatest. I was
just telling Jimmy, I haven't seen
a more natural pairing since
Hepburn and Tracy.
JIMMY
Yeah or Yogi and BooBoo.
LOIS
(glancing at Clark)
... Charles and Di.
Perry is standing behind Lois, looking at the story on her
computer screen.
PERRY
You know who took that scepter?
CLARK
(reacting)
What are you talking about?
PERRY
It says right here that
LOIS
'...we have a strong lead on the
robber's identity and we're waiting
for police corroboration.'
(beat)
I think we can smoke the culprit
out.
(CONTINUED)
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 8.
14 CONTINUED: 2 14
CLARK
And get yourself right back in
jeopardy.
LOIS
Relax. Nothing's going to happen.
CLARK
Where have I heard _that_ before?
Suddenly, Clark turns his head slightly to the side. He is
listening to something far off in the distance.
CLARK (CONT'D)
I gotta pick up a prescription
before the drug store closes.
15 LOIS AND CLARK 15
Clark toward an exit, Lois right behind. Rapid fire:
LOIS
What did you hear?
CLARK
A cry for help. I think it's
coming from the museum.
LOIS
There's been one ancient artifact
stolen today already. I'm going.
CLARK
No you're not, you're staying.
LOIS
Forget it. We're a team, 'Lane and
Kent,' remember?
CLARK
Lois, there's a killer loose in
this city!
LOIS
It's Metropolis! Killers are loose
all _over_ this city! What's your
point?!
CLARK
(starts to react, thinks
better of it, calms)
'Bye.
(CONTINUED)
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 9.
15 CONTINUED: 15
On her frustrated look,
CUT TO:
16 INT. GALLERY OF ART MUSEUM - NIGHT 16
A HOODED ROBBER is handcuffing a museum curator, a very
PETITE woman named VERONICA KIPLING to a chair. While she's
small in stature, her voice is BOOMING, and has a grating
quality like fingernails on a chalk board. Fran Dresher
meets Gilbert Gottfried.
VERONICA
You won't get away with this! The
police will hunt you down! You'll
spend the rest of your life in
jail!!
The robber pulls a hammer from his belt and turns toward
Veronica. He looks at the hammer in his hand for a moment
and considers putting her, and him, out of his misery, but
holds back.
ROBBER
(slight Irish accent)
Enough!
Veronica shuts up. The robber sighs as he crosses to a
nearby glass case, and SMASHES it with the hammer, then
reaches in and pulls out a jewel encrusted crown.
SUPERMAN (O.S.)
You're going to have to pay for
that case.
17 NEW ANGLE 17
reveals Superman standing there.
VERONICA
Oh, Superman! Thank God you're
here! I was just telling this thug
that he was not going to get
away..!
Superman winces, and holds up his hand to silence Veronica.
He turns to the robber.
SUPERMAN
Put the crown back.
(CONTINUED)
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 10.
17 CONTINUED: 17
Instead, the robber pulls a small remote device out of his
pocket and holds it up for Superman to see.
ROBBER
I thought you might show up so I
brought along some insurance.
At that moment, Lois breathlessly appears in the open
archway.
SUPERMAN
Lois!
The Robber presses down on the remote and a TREMENDOUS
EXPLOSION rocks the museum. Smoke fills the room, chunks of
debris fall, display cases shatter. Lois and Veronica are
thrown to the floor. The Robber vanishes in the smoke as
Superman rushes to Lois, helps her to sit up.
SUPERMAN
Are you alright?!
LOIS
(dazed)
Yes, yes... He got away! If you
hurry you might...
SUPERMAN
(crossing to Veronica)
I've got to check out the rest of
this building to make sure it's
safe.
(to Veronica)
You okay?
VERONICA
I'll live.
SUPERMAN
(as; he rights Veronica's
chair; to Lois:)
Maybe you can tell me what you're
doing here. I thought we agreed
you were going to wait for me.
LOIS
No, you wanted me to wait, I wanted
to come. I came.
SUPERMAN
What if the explosion had been
bigger? What if I didn't see you?
What if I was in the...
(MORE)
(CONTINUED)
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 11.
17 CONTINUED: 17
SUPERMAN (CONT'D)
(flustered)
... dinosaur exhibit? You could've
died, and all because of me.
Veronica, who is still handcuffed, is watching this
exchange. As Superman and Lois exit:
LOIS
Quit being so noble. If I'd gotten
hurt it would've been my fault,
not yours.
Veronica is alone. She stares, then:
VERONICA
Hey! Superman? Hel-lo?!
Superman sheepishly re-enters, sets to freeing her as we...
CUT TO:
18 EXT. DAILY PLANET ESTABLISHING - DAY #2 18
PERRY (V.O.)
Alright. Hopefully we can finish
off this auction with no further
interruptions.
19 INT. NEWS ROOM - ON LOIS - DAY 19
She's got one ear covered, straining to hear someone on the
phone. Clark hovers nearby. In the b.g. the bachelorette
auction has moved here, banners and all. Perry stands on
top of a desk.
PERRY
...Gentlemen, get those wallets
out and be generous. It's for
charity...
(etc.)
LOIS
(into phone)
Uh-huh. Thanks. I'll get back.
She hangs up, looks up at Clark.
LOIS (CONT'D)
Another murder. A woman; cut up
the same way. Right after the
robbery last night.
(CONTINUED)
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 12.
19 CONTINUED: 19
CLARK
And you want the story. It's not
bad enough you almost got blown
up...
LOIS
(glares)
Maybe we're already on the story!
Look, a robbery, then a murder.
Robbery, then a murder. Three
times.
PERRY
(sharply, to them:)
Could you two take a break for
maybe five minutes?
(to the room)
Well now, who's first an the block
this morning?
Lois glances over at Clark, then:
LOIS
I think I'm next, Perry.
Perry is surprised.
20 INTERCUT CLARK 20
who is shocked.
PERRY
But I thought you... and Clark...
LOIS
Let's make some money for the kids.
She steps up on the desk.
PERRY
Whatever you say.
(to the crowd)
Here she is, boys. one of our
prized reporters, Lois Lane. Let's
start the bidding at twenty-five
dollars.
A reporter, WALLY, raises his hand.
WALLY
Twenty-five.
(CONTINUED)
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 13.
20 CONTINUED: 20
PERRY
I've got twenty five. Who'll give
me thirty?
CLARK
Thirty.
Lois looks at Clark and glowers. Perry smiles.
PERRY
Good move, Clark.
WALLY
One hundred dollars.
CLARK
One fifty.
The crowd reacts. There is a pause in the action.
PERRY
I've got one-fifty, Wally. Are you
going to let Clark steal her away
for a measly hundred and a half?
LOIS
Come on Wally. It's tax
deductible.
Wally shrugs. He's tapped out.
PERRY
We've got one fifty. Going once,
going twice...
MAN (O.S.)
Ten thousand.
Perry, Clark and the rest of the crowd are stunned. All
whip around to see a very vibrant, handsome man in his early
30s. This is PATRICK SULLIVAN.
21 INTERCUT LOIS 21
who suddenly realizes that she knows this man.
LOIS
Patrick?
Patrick smiles and cheerfully waves.
PATRICK
In the flesh, love.
(CONTINUED)
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 14.
21 CONTINUED: 21
PERRY
Is that ten thousand _dollars_...
American?
PATRICK
Any way you want it. Dollars,
pounds, rubles, gold bars, just
name it.
PERRY
Dollars... would be fine, assuming
there are no more bids.
(beat)
Clark?
Clark does a slow burn as he shakes his head.
PERRY (CONT'D)
Sold, for ten grand. I thank you
and the children thank you.
Auction continues in b.g. as Lois is down off the desk and
walking toward Patrick.
LOIS
What are you doing in Metropolis?
PATRICK
I'm here on business.
(beat-taking her in)
You look great. You've filled out
in all the right places.
LOIS
(embarrassed)
You look good yourself.
Clark who has inched his way over.
LOIS (CONT'D)
Uh... Clark, this is Patrick
Sullivan. I met him when I was an
exchange student in Ireland.
PATRICK
(to Clark)
Sorry for outbidding you, lad, but
Lois and I go way back. The very
thought of having her all to myself
for a night sent shivers down my
spine and directly into my wallet.
(CONTINUED)
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 15.
21 CONTINUED: 2 21
LOIS
(jumping in)
Clark Kent is my...
(beat)
colleague here at the Planet.
PATRICK
I saw the posters. The other half
of 'Lane and Kent.'
Patrick extends his hand and they shake.
22 INTERCUT CLOSE ANGLE ON THEIR HANDS 22
as Patrick squeezes hard. Clark can't help himself and
gives Patrick a "little" squeeze back, almost breaking his
hand. Patrick lets go and shakes his hand in the air.
PATRICK
Quite a grip you've got there,
Clark. You must work out.
Lois gives Clark a disapproving look, then turns to Patrick.
LOIS
How's your father?
PATRICK
I'm afraid he's come down with a
bit of an illness and had to check
into the hospital.
LOIS
I'm sorry.
(to Clark)
Patrick's Dad was the greatest
storyteller... Druids and wizards
and virgin sacrifices... He made up
the creepiest stuff...
PATRICK
What makes you think he made it up?
He and Lois share a laugh, Clark smiles wanly.
LOIS
So, ten thousand dollars. You
didn't see 'Indecent Proposal' by
any chance, did you?
PATRICK
Yes, yes... _Loved_ it.
(CONTINUED)
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 16.
22 CONTINUED: 22
Both Lois and Clark react.
PATRICK (CONT'D)
Anyway, I thought we'd just have a
little dinner at my hotel.
CLARK
At your hotel?
LOIS
(to Clark-pointedly)
Excuse me.
(to Patrick)
Your hotel sounds great.
off Clark's look...
CUT TO:
23 INT. PATRICK'S SUITE - ON TABLE - NIGHT #2 23
PULL BACK to find Patrick looking at the scepter and the
crown, laid out on a velvet cloth in the lavish living room.
Standing nearby is SHAMUS, his Irish associate.
SHAMUS
I could've taken more. That
explosion stopped Superman cold.
Patrick smiles and pats Shamus on the shoulder, then
suddenly grabs him by the neck and pulls Shamus's face close
to his. Patrick still smiles, but has a crazy gleam in his
eye.
PATRICK
We're here for specific reason, or
have you _forgotten_?
Shamus, choking and red faced, shakes his head. Patrick
smiles, releasing Shamus's neck and playfully pats him on
the cheek. CAMERA ADJUSTS to find COLLEEN, the old and odd
Irish Nursemaid, watching nervously from the bedroom.
PATRICK (CONT'D)
Good. Now is no time for greed.
(notices Colleen)
Yes?
DOORBELL.
(CONTINUED)
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 17.
23 CONTINUED: 23
PATRICK (CONT'D)
My guest is here.
(to Shamus)
Make yourself scarce.
Shamus scoops the crown and scepter up in the cloth, exits,
as Colleen crosses to door, opens it reveal Lois.
LOIS
(delighted)
Colleen!
They hug. Patrick comes over.
PATRICK
So you do remember her.
(arm around Colleen)
Colleen raised me from a pup, and I
just never figured out how to get
along without her.
Colleen nervously eyes his arm around her shoulder, gently
disengages herself.
COLLEEN
So nice to see you again.
(going off)
Well, I'm sure you two must have a
lot to talk about...
LOIS
Colleen, you don't have to leave
PATRICK
Oh, Colleen would sooner die than
feel in the way. Wouldn't you,
Colleen?
Colleen smiles weakly, goes.
LOIS
(looking around)
You're obviously doing very well at
whatever it is you're doing.
PATRICK
I took over father's business. I
always thought he was a junk man,
but I've learned that one man's
junk is another man's 'fine
antique.'
He smiles, crosses to a sideboard to pour two glasses of
champagne.
(CONTINUED)
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 18.
23 CONTINUED: 2 23
CAMERA MOVES IN on Lois, who runs her hand over the
candlesticks we saw earlier with the gold skulls.
LOIS
Oh, you deal in antiques. These
are beautiful.
CAMERA RACKS to include Patrick, watching her fixedly as she
touches the candlesticks.
PATRICK
But not for sale. They've been in
the family for years; I always
travel with a piece of home.
He hands her champagne, their faces are almost touching.
Lois looks into Patrick's eyes for a moment, then backs off.
PATRICK (CONT'D)
What about you? My Lois has become
a famous reporter.
LOIS
(self effacing)
I'd hardly say famous.
PATRICK
You're too modest. As a matter of
fact, I read your story this
morning about that theft. I find
it amazing you already know who the
guilty party is.
LOIS
Well, I may have exaggerated... a
little.
PATRICK
(smiling pleasantly)
How little?
LOIS
Let's forget about work for a
while.
Patrick grabs the champagne bottle and refills Lois's glass,
then raises his.
PATRICK
Let's toast... to us.
CLARK
(somewhat flustered)
Us?
(CONTINUED)
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 19.
23 CONTINUED: 2 23
PATRICK
I'm sorry. Of course, you're
probably seeing someone. Clark?
LOIS
It's complicated.
PATRICK
What can be complicated? Either
you're seeing him or not.
LOIS
Well, at the moment... not.
Exactly.
PATRICK
Splendid! I mean, he seems like a
fine man, but he doesn't strike me
as the romantic type. Did he sweep
you off your feet?
LOIS
At times. Uh, how about you,
Patrick? Are you seeing someone?
PATRICK
(watching her with a
rueful smile)
No. You see, I had the love of my
life in my clutches, but I let her
get away. If I had to do it over
again, I'd make sure she never left
me.
Patrick smiles. Lois gives a vague smile, lost in thought.
FADE OUT:
_END OF ACT ONE_
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 20.
_ACT TWO_
FADE IN:
24 INT. CLARK'S APARTMENT - NIGHT 24
Clark is dressed in jeans and a cutoff sweat shirt. He
paces as he talks into a cordless phone.
CLARK
Mom, people _already_ use her to
get to me! Imagine if it got out
we were married! The trouble is, I
can't stop thinking about her.
(beat)
Of course I still love her. And
that's why this hurts so much.
There is a knock on the door.
CLARK (CONT'D)
I've gotta go. Say 'hi' to Dad for
me.
(beat)
Love you too, Mon.
He hangs up and crosses to open the door to reveal Veronica,
the curator from the museum. As always, she is full of
loud, grating energy.
VERONICA
Mr. Kent? I'm Veronica Kipling,
from the museum. May I come in?
(she barrels in)
I was on my way home, I live
conveniently nearby, and I thought
I'd drop off the photos you wanted.
You're cuter in person than your
poster.
She's pulling 8 x 10 glossies from her bag.
CLARK
How did you know my address?
VERONICA
My cousin Isadore works for the
DMV. Oh, this place has such
possibilities; just move in?
CLARK
No.
VERONICA
Oh.
Clark reacts, then examines the photos.
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 21.
25 PHOTOS -- INSERT 25
One is a photo of the stolen scepter. The other is of the
stolen crown.
26 BACK TO SCENE 26
CLARK
What can you tell me about the
stolen crown?
VERONICA
It was made for Claudius, the ruler
of Rome from 41 AD until 54 AD.
Think it has anything to do with
the stolen scepter?
CLARK
(studying photos)
Definitely. I'm looking for
something that might tie them
together. Oh, can I offer you
something to...
VERONICA
Got any meat?
CLARK
Uh... no....
(back to photos)
This might be something. Both the
scepter and the crown have large
emeralds. The stones look almost
identical.
Veronica presses in close to study the photo, gripping
Clark's biceps for support. He notes her hand, as:
VERONICA
It's possible they both came from
an earlier artifact. It was common
practice for the Romans, after they
finished pillaging, plundering
raping, impaling, and whatever: to
take precious stones from their
spoils of war and make new stuff
they liked better.
(glancing around)
You're not married, am I right?
Clark slowly looks up and looks at her. A KNOCK on the
door, and Clark disengages himself, hurries to open the
door. Lois charges in with a head of steam.
(CONTINUED)
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 22.
26 CONTINUED: 26
LOIS
Okay, I admit I'm high maintenance
in the relationship area. I can be
demanding, headstrong, occasionally
stubborn...
CLARK
Lois...
LOIS
...But only because I care! And I
am not ready to let you walk away
just because you think I...
She suddenly notices Veronica, then sidles up to Clark,
speaking quietly.
LOIS (CONT'D)
Clark, there's a woman in your
apartment.
CLARK
I know. You remember Ms. Kipling
from the museum. She brought me
these photos.
VERONICA
Turns out Clark and I are
practically neighbors. Now I know
who to call when I blow a fuse.
LOIS
(composing herself)
Yes. Well, this probably isn't a
good time to bare my soul. I'll be
leaving.
She swiftly heads for the door, Clark follows.
CLARK
Lois, c'mon, this isn't what it
looks like.
CAMERA MOVES IN on them.
LOIS
Oh? It looks like it's ten at
night and you're entertaining a
woman.
CLARK
Aha! See, 'entertaining' would be
the wrong word.
(MORE)
(CONTINUED)
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 23.
25 CONTINUED: 2 26
CLARK (CONT'D)
We are 'investigating.' She is
helping me 'investigate.'
LOIS
I thought I did that. Or did you
dump me in that department, too?
CLARK
Would you cut it out?!
LOIS
Okay, let's say tonight is
perfectly platonic. But the night
will come when it won't be. For
one of us. How do you think we
should handle that?
CLARK
I... hadn't actually thought about
that...
LOIS
Maybe you should. Good night, Ms.
Kipling.
She crisply leaves. Clark stands staring after her as
Veronica comes up.
VERONICA
Boy, she is just not taking it well
at all, is she?
He slowly looks over at her, we...
CUT TO:
27 INT. PATRICK'S SUITE - MORNING - DAY #3 27
Patrick watches Shamus pry the emerald out of the crown.
PATRICK
Careful with that, lad.
Shamus finishes prying the jewel out and hands it to
Patrick. Patrick opens a box to reveal the other emerald,
which has been removed from the scepter. He brings the
emeralds close together and suddenly there is an electric
crackling sound and a GREEN BEAM OF ENERGY arcs between the
two emeralds. (PROD. NOTE: The color of the emeralds and the
glow that they emit should be very distinct and not resemble
Kryptonite.)
(CONTINUED)
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 24.
27 CONTINUED: 27
PATRICK
The eyes of Ireland. I can feel
the power of the ancient Druids
flowing through them.
Shamus nods. Patrick places the emeralds together in the
open box, opens a door in the armoire, sets the box within,
closing the door (and revealing nothing inside). CAMERA
MOVES IN on Patrick.
PATRICK (CONT'D)
The power flows down through the
centuries... Undimmed by time...
And into my hands.
CUT TO:
28 INT. DAILY PLANET - MORNING 28
Perry walks through the news room and stops at Clark's desk.
PERRY
Great article about the thefts,
Clark. I didn't know you were so
well read on Roman history.
CLARK
I had a little help.
Perry leaves as Lois, at her desk, turns to Clark.
LOIS
(light)
Very complete story. Ms. Kipling
must've been there most of the
night.
CLARK
How was your dinner with Patrick?
LOIS
(smiling)
Really nice. As a matter of fact,
I'm having lunch with him this
afternoon.
CLARK
Lunch. That's great.
Lois smiles and nods. He smiles back, returns to work.
Their smiles fade. She sneaks a glance at him, he glances
at her, they both go back to smiling.
CUT TO:
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 25.
29 INT. PATRICK'S SUITE - DAY 29
Colleen is straightening up the suite when she hears a faint
CRACKING sound. She looks at the armoire and sees a
greenish glow coming from inside of it. She tries the door,
but it's locked. She grabs a paring knife from a basket of
fruit on the table and forces it between the doors. After a
moment, the armoire pops open. Colleen is taken aback by
the sight of the emeralds. She reaches out to touch one,
then quickly pulls her finger back in fear. She opens the
door further and stares in horror at an eerie shrine to
Lois, surrounded by candles and flowers. There, dozens of
photos, newspaper articles written by her,photos from the
past when she first met Patrick, and a large, glamorous
shot, beneath which rests the ceremonial knife. ON her
shock, we...
CUT TO:
30 EXT. PARK - DAY 30
Lois and Patrick are sitting on a blanket amidst a grove of
trees. A huge picnic basket is open and there is an
impressive array of food spread out around them.
LOIS
This was a lovely idea. I hope you
don't mind if I pick your brain for
a few minutes.
PATRICK
You can pick any part of me you'd
like. I'll bet you want to know
about the emeralds in Clark's
article.
LOIS
(nods)
Does his theory make sense?
PATRICK
I haven't seen the stones myself,
but if they're close in size and
cut, they may've come from the same
source.
LOIS
So, someone could have stolen the
scepter and crown just to recover
the emeralds?
PATRICK
It's possible.
(CONTINUED)
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 26.
30 CONTINUED: 30
LOIS
If I can determine where the stones
originally came from, I might be
able to figure out who took them.
PATRICK
(smiling)
You always were the most tenacious
girl I'd ever met.
LOIS
I've gotten worse with age.
PATRICK
I think you've gotten better.
CUT TO:
31 EXT. DAILY PLANET - DAY 31
Clark exits the Daily Planet building and walks down the
street. When he passes by an alley, he hears...
COLLEEN (O.S.)
(loud whisper)
Clark Kent? Of Lane and Kent?
He follows the voice into the alley and sees a terrified
Colleen in the shadows.
CLARK
Yes?
COLLEEN
I'm Colleen Foley... I was his
nurse, you see... Oh, I don't want
him to see me!
CLARK
'Him?'
COLLEEN
He doesn't mean to do ill! He just
can't free himself from the curse.
CLARK
Who can't free himself from what
curse?
COLLEEN
(hurrying away)
I can say no more!
(CONTINUED)
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 27.
31 CONTINUED: 31
CLARK
But you haven't said _any_thing!
COLLEEN
(halts; puzzled)
I didn't mention you must keep Lois
Lane away from my Patrick?
CLARK
No. But believe me, there's
nothing I'd like better... What's
this curse?
COLLEEN
(wretchedly)
I dare not speak of it!
CLARK
Look, if Lois is in danger, I have
a right to...
COLLEEN
(holds up a hand)
Excuse me...
(listens; speaks to
shoulder)
What? What? Very well.
(to Clark)
Erin says to tell you.
CLARK
Who's Erin?
COLLEEN
The wee leprechaun who sits on my
shoulder.
CLARK
You... have a leprechaun on your
shoulder...
COLLEEN
My Patrick has changed in the past
few days. Since he got hold of the
sacred emeralds....
CLARK
Sacred _emeralds_... ? Big...
identical emeralds?
COLLEEN
Why, yes...
(CONTINUED)
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 28.
32 CONTINUED: 2 31
CLARK
From the stolen scepter and crown?
COLLEEN
What stolen scepter and crown?
CLARK
Ms. Foley, haven't you read the
newspapers?
COLLEEN
No, but I see a lot of musical
comedies.
CLARK
(getting a grip)
How... has he changed?
COLLEEN
Patrick's father was a wonderful
man. All the Sullivan men are
wonderful men. Until the day the
darkness passes over their minds
and they... go mad.
CLARK
Patrick's father... He's in a
hospital...
COLLEEN
For the criminally insane. He
believes he's a Druid priest! Can
you imagine anything so silly?
(sharply, to shoulder)
Quiet, Erin, I'm gettin' to that!
(to Clark)
One night... He conducted a ritual
in the woods... And sacrificed
Patrick's mother to his Druid
faith....
She covers her mouth and stifles a sob.
CLARK
(quietly)
What?
COLLEEN
(in tears)
He cut out her heart.
CLARK
... Like the women who've been
dying in Metropolis...
(CONTINUED)
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 29.
31 CONTINUED: 3 31
COLLEEN
Oh! Oh, my Patrick! It's
starting!
CLARK
And you think Patrick is going to
kill Lois?!
COLLEEN
He loves her. And he's built a
shrine to his beloved like his
father did before him.
CLARK
Ms. Foley, gimme a minute here...
This is all pretty hard to
swallow...
COLLEEN
Mr. Kent! Now that he has the
emeralds, he has only to sacrifice
the one he loves most... And
ultimate power is his.
CLARK
Ultimate power. Over the world?
COLLEEN
Worse. Over the fairies and
sprites and all the dear wee forest
folk...
CLARK
(uh-oh)
I'll do what I can, Ms. Foley.
COLLEEN
I knew you would!
(touches his cheek)
I can always spot an Irish lad.
Clark smiles weakly and leaves. Colleen hesitates in the
alley for a second, then exits. THE CAMERA stays on the
alley. After a beat, a shadow moves around the alley
corner. It is Shamus, who has heard the whole conversation.
CUT TO:
32 INT. DAILY PLANET - ON PHONE - DAY 32
RING! PULL BACK as Jimmy answers the phone.
JIMMY
Jimmy Olsen here.
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 30.
33 INTERCUT PHONE BOOTH - CLARK 33
CLARK
Jimmy, do you know where Lois is
having lunch?
JIMMY
She didn't say. Maybe you could
beep her.
CLARK
Good idea. Do me a favor. Get the
phone numbers of all the
psychiatric hospitals in and around
Dublin. And call Veronica Kipling
at the museum and see what she
knows about Druids.
JIMMY
Druids?
CLARK
Thanks.
CAMERA is CIRCLING AROUND as he dials another number, waits,
punches in another number. CAMERA PASSES an opaque section
of the booth, and as it clears, we now see SUPERMAN standing
in the phone booth. He hangs up the phone and uses his
SUPER HEARING to pick up a faint BEEPING NOISE.
CUT TO:
34 ABOVE METROPOLIS 34
Superman scours the ground below, homing in on the sound of
Lois's beeper.
35 EXT. PARK - DAY 35
Lois and Patrick are still sampling the food and talking. A
very faint BEEPING sound comes from Lois's purse.
PATRICK
... and I'd love to show you my
home in Balbriggan. On a clear day
you can see England from the
bedroom window.
LOIS
It sounds wonderful.
(CONTINUED)
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 31.
35 CONTINUED: 35
PATRICK
I always hoped I'd see you again,
but figured by the time I did, we'd
be old and gray. And here we are,
still young and single.
LOIS
(nervous laughter)
Imagine that.
PATRICK
Your purse is beeping.
36 BACK TO SUPERMAN 36
who hovers a few hundred feet above the park. Using his
TELESCOPIC VISION he scans the ground below.
37 SUPERMAN'S TELESCOPIC POV 37
He can see Lois and Patrick below.
38 ON SUPERMAN 38
who swoops downward,
39 LOIS AND PATRICK 39
Lois roots through her purse and finally comes up with her
beeper, flips it off as Clark nonchalantly walks by and is
"surprised" to see Lois and Patrick.
CLARK
Lois. Patrick. What a surprise.
LOIS
It certainly is. You just happened
to be out for a stroll?
CLARK
(innocently nods)
I was sitting in the news room and
a walk in the park suddenly seemed
like a good idea.
LOIS
(to Patrick)
I've got to be getting back.
Thanks for lunch. We'll do it
again, soon.
(CONTINUED)
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 32.
39 CONTINUED: 39
PATRICK
How about dinner tonight? There's
a great little Irish pub...
Casey's... on Main Street.
Lois hesitates, then throws caution to the wind.
LOIS
I'll meet you there.
She accepts a kiss on the cheek from Patrick, turns to
Clark.
LOIS (CONT'D)
(with an attitude)
Maybe you'd like to walk me back to
the office?
CUT TO:
40 EXT. METROPOLIS STREET - LOIS AND CLARK - TRACKING - DAY 40
Lois and Clark are walking back to work.
LOIS
Okay. Let's hear it, and don't
tell me you were out for a walk.
CLARK
I think Patrick could be dangerous.
LOIS
(sighs)
You're right. He was trying to
kill me with truffles.
CLARK
I'm serious! The guy is trouble.
Lois stops and faces Clark. They are right in front of a
large "Lane and Kent" poster, showing them in a warm,
friendly pose.
LOIS
I don't understand you! First you
want me out of your life, but the
minute anyone else shows
interest, you charge in like an
obsessed bodyguard with this crazy
story!
CLARK
It is not a crazy story!
(CONTINUED)
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 33.
40 CONTINUED: 40
LOIS
Oh, it's not?!
CLARK
No!
LOIS
Then what is it?!
CLARK
It's possible Patrick stole the
emeralds and he's uh, gonna
sacrifice you to the, you know,
ancient gods.
LOIS
'Bye now.
CLARK
I got it straight from his old
nurse, Colleen!
LOIS
_Colleen_? Clark, she talks to
leprechauns!
CLARK
(uncomfortably)
I can't argue with you there.
(as she starts to go)
Look, she told me about the Druids
and the sacrifices of women to...
LOIS
(exasperated)
Oh she's confusing reality with
those dopey stories Patrick's
father told us!
CLARK
... And the father's in a hospital
because he's criminally insane!
CLARK
No, he's having a fatty cyst
removed. Patrick told me all about
it.
(beat)
Clark, either we're together or
we're not. You can't have it both
ways.
They are at the doors of the Daily Planet. Lois enters,
letting the door swing shut in Clark's face.
CUT TO:
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 34.
41 INT. PATRICK'S SUITE - DAY 41
Patrick is standing in the living room, looking out over
Metropolis. Colleen enters the room behind him. He doesn't
turn when he speaks.
PATRICK
Colleen. After all these years,
how could you betray me?
COLLEEN
Betray you? What are you... ?
Patrick spins around, his face contorted with rage.
PATRICK
Don't! Shamus told me about your
meeting with Mr. Kent.
COLLEEN
(frightened)
I'm only trying to help you.
PATRICK
(suddenly calm-smiling)
The mask is all the help I need.
Once I possess it, the power of the
ancients will be restored, and with
it, the honor of our family.
Patrick reaches out to Colleen, who recoils in fear. He
softly runs his hand over Colleen's hair.
PATRICK (CONT'D)
But we can't have you running all
over the city shouting, 'The Druids
are coming!, now can we?
Patrick slips his hand from Colleen's hair to her neck, then
suddenly around her throat. Colleen's eyes grow large with
fear and disbelief.
FADE OUT:
_END OF ACT TWO_
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 35.
_ACT THREE_
FADE IN:
42 INT. DAILY PLANET - CLARK AND JIMMY - NIGHT #3 42
Clark's on the phone, Jimmy sits nearby with clipboard.
CLARK
(into phone)
So Mr. Sullivan isn't a patient
there? Sorry. My mistake.
Jimmy crosses a line through a list of hospitals.
JIMMY
Four nut houses down, one to go.
Clark is about to dial, then that voice:
VERONICA (O.S.)
Oh, Clark... There you are!
Clark freezes like a trapped animal, turns as:
43 VERONICA 43
Dressed for allure, she staggers across the room with books
and boxes of papers as other staffers stare.
VERONICA
The things I do for _you_, Mister!
It took me _hours_ in the museum
vaults, but I found the stuff you
wanted on Druids. God, I inhaled
enough dust bunnies to clog a
Hoover.
(to Jimmy, who's staring)
The Druids were a powerful order of
ancient Celtic Priests, driven from
power by the Romans.
JIMMY
I know what Druids are.
VERONICA
So few do.
CLARK
Veronica, this was _really_ nice of
you, but you didn't have to bring
it all down here yourself.
(CONTINUED)
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 36.
43 CONTINUED: 43
VERONICA
How else do you think I stay in
this kind of shape? Hours in the
gym alone won't do it.
(lightly touches his
biceps)
How do you stay in shape?
CLARK
Uh, listen, thanks again, but I....
gotta get back.
VERONICA
(curtly)
Oh. Okay. Fine. You don't have
to drop a house on _me_.
She gives him a look, starts away. Clark starts to say
something, then sighs, sits, picks up phone, dials.
CLARK
(sensing Jimmy's stare)
Just don't say... anything.
(into phone)
Hello. I'd like to speak to Colin
Sullivan please.
(beat)
But it's important. It's... um...
regarding his son.
(beat)
I see. Well, thank you.
Clark hangs up and turns to Jimmy.
CLARK (CONT'D)
Bingo. He's there, but he can't
come to the phone because he is a
criminally restricted patient.
JIMMY
You think this whole Druid
sacrifice thing could be true?
CLARK
I don't know, but I'm not taking
any chances.
(gets up)
Lois is having dinner with the guy
tonight.
JIMMY
And you're... what, just gonna go
stand there by yourself and stare
at 'em?
(CONTINUED)
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 37.
42 CONTINUED: 2 43
Clark stops, glances at Jimmy, then slowly turns as CAMERA
ADJUSTS to include Veronica, impatiently waiting for an
elevator. Clark sighs, goes to the railing near the
elevators, and:
CLARK
So Veronica... You like Irish food?
CUT TO:
44 EXT. COURTYARD DINING AREA - NIGHT 44
A noisy place with a boisterous crowd. Patrick plays darts
against another MAN as Lois sits nearby, watching. Patrick
throws his final dart and it's a bulls eye. His opponent
shakes his head and hands Patrick a twenty dollar bill.
Patrick pulls his darts from the board and then plops down
at the table.
LOIS
Undefeated. I'm impressed.
PATRICK
Don't be. What you're seeing is
how I spent four years of college.
I can't tell you much about
literature or geology, but I can
hit a bulls eye nine out of ten
times.
45 NEW ANGLE CLARK AND VERONICA 45
who are making their way through the crowd, heading toward
Lois and Patrick. At first Lois doesn't notice, but as she
turns to set down her glass of wine, she sees Clark standing
near her table and the glass drops from her hand.
Using his SUPER REFLEXES, Clark catches the glass before it
hits the floor. It happens so quickly, that no one other
than Lois realizes what he did. Clark gently sets the glass
back on Lois's table as she glares at him.
CLARK
Imagine running into you two. This
town's smaller than you'd think.
PATRICK
(with a forced smile)
Yes. Seems like every time I turn
around, you're there.
(CONTINUED)
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 38.
45 CONTINUED: 45
CLARK
(smiles)
I tend to cover a lot of ground.
LOIS
(sotto to Clark)
I can't believe you followed me.
CLARK
Patrick, I'd like you to meet
Veronica Kipling. Veronica,
Patrick Sullivan.
VERONICA
(in "that" voice)
Not Patrick Sullivan, dealer in
ancient antiquities, not _that_
Patrick Sullivan!
PATRICK
(wincing)
I'm afraid so.
CLARK
(to Patrick)
How is the antique business?
Made any new acquisitions lately?
Lois shoots Clark a look.
PATRICK
I'm always on the lookout for
interesting trinkets.
MAN (O.S.)
Patrick, the board's open.
Patrick holds a dart up to Clark with a pleasant smile.
PATRICK
You play?
CLARK
(smiling pleasantly back)
A little.
Lois looks from one to the other, sensing the rivalry.
LOIS
Patrick, I'm not all that hungry,
why don't we just...
(CONTINUED)
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 39.
45 CONTINUED: 2 45
PATRICK
(eying Clark)
I never back away from a challenge,
Lois.
CLARK
(eying Patrick)
Gee, I thought you challenged me.
And they go off toward the dart board.
VERONICA
Men! Can't live with 'em, can't
shoot 'em.
She laughs a nasal honking laugh; Lois stares at her.
46 CLARK AND PATRICK 46
Patrick concentrates. Just as he is about to throw...
CLARK
So, do your 'trinkets' include rare
gems?
Lois reacts, Patrick throws. The dart sticks to the right
of the bulls eye. He turns to Clark, a bit frustrated.
PATRICK
I deal in all sorts of things.
Your throw.
Clark aims and throws. It's just barely inside of Patrick's.
Clark smiles. Veronica claps. Lois glowers. Patrick holds
up his second dart and aims. As he pulls it back...
CLARK
What brought you to Metropolis?
Some big deal? Here to make a
killing?
Patrick throws. This time the dart is wide to the left.
His anger is building.
PATRICK
You never know.
Clark throws his second dart, just inside of Patrick again.
PATRICK (CONT'D)
Last dart. I'd appreciate a little
silence.
(CONTINUED)
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 40.
46 CONTINUED: 46
CLARK
Sure, no problem. I don't want to
ruin your concentration.
Patrick carefully aims, then lets his dart fly. Dead in the
heart of the bulls eye. The crowd applauds. Patrick turns
with a triumphant smile.
PATRICK
Your turn.
Just then, Clark cocks his head, hearing something. Lois
knows that look.
LOIS
Clark, is everything... ?
CLARK
I just remembered I've got to make
a call.
PATRICK
(cocky)
A call. You're conceding the game?
Clark looks at Patrick and smiles, then lets his dart fly.
47 CLOSE ON DART 47
In the best tradition of Robin Hood, it splits Patrick's
dart right down the middle and lodges itself into the bulls
eye. The crowd is stunned, Lois buries her face in a hand.
48 BACK TO SCENE 48
CLARK
This was fun. We'll have to do it
again some time.
Clark quickly crosses the courtyard. In the background, one
of the bar patrons is trying to get the final dart out of
the board, but it's not budging.
49 EXT. CASEY'S PUB - NIGHT - MOMENTS LATER 49
Clark is hurrying out of the courtyard to the sidewalk as
Lois hurries out after him.
LOIS
Hold it right there.
(CONTINUED)
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 41.
49 CONTINUED: 49
CLARK
(stops, faces her)
Lois, I've really got to go.
LOIS
First you owe me an apology, then
you owe me an explanation, and they
both better be awfully good.
CLARK
Okay, I'm sorry. I'll have to save
the explanation for later.
LOIS
Not this time. You're acting like
a super schizophrenic. First you
push me away and then you're all
over me like a stalker.
CLARK
I found out Patrick's father is
locked away in a home for the
criminally insane.
LOIS
You actually checked out Colleen's
story?
CLARK
(fidgeting)
Can we talk about this when I get
back?
LOIS
For once I want to finish a
conversation with you.
(beat; firmly)
We can talk on the way.
CLARK
On the way? You're serious?
VERONICA (O.S.)
Oh, Clar--key...
50 NEW ANGLE 50
Veronica and Patrick stand in the restaurant entrance.
VERONICA
Clarkey, where are you two going?
(CONTINUED)
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 42.
50 CONTINUED: 50
LOIS
That call he has to make? I have
to make it, too. We're a team. We
have to do things together.
Lois and Clark smile apologetically, start to leave, when:
PATRICK
(to Veronica)
I'll see you home.
CLARK
No!
He dashes back to Veronica, hands her some cash.
CLARK (CONT'D)
Here's cab fare.
And he and Lois dash out of FRAME.
VERONICA
(to Patrick)
He is just so jealous.
CUT TO:
51 THE SKY OVER METROPOLIS 51
Superman is carrying Lois, flying through the night sky.
LOIS
(in disbelief)
'Clarkey?' I mean, I can live with
being replaced, but _really_.
SUPERMAN
At least she's never sacrificed
anyone. That I know of.
LOIS
Just because the father's in an
institution doesn't mean his son
thinks he's a Druid!
SUPERMAN
But it could!
LOIS
I think you _want_ Patrick to be
guilty! If I was seeing _Ghandi_
you'd find some reason to think he
was an embezzler!
(CONTINUED)
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 43.
51 CONTINUED: 51
SUPERMAN
'Jealousy?!' You think that's what
all this is about?
LOIS
Apparently the Green-Eyed Monster's
more powerful than you are! And by
the way, I wouldn't be seeing
Patrick _or_ Ghandi if you hadn't
started this whole thing to begin
with!
SUPERMAN
(gives her a look;
glances down)
There's the bank. I'll drop you at
the corner where you'll be...
SUPERMAN LOIS
...Out of danger. ...Out of danger.
He sighs, they shoot downward.
CUT TO:
52 INT. BANK NIGHT - MOMENTS LATER 52
Superman enters to find a GUARD and the BANK MANAGER (MR.
McCARTHY) tied up and gagged with duct tape. The vault is
open. As Superman breaks the thick tape around the guard
and the bank manager, Lois quietly slips in, ducking behind
the teller counter. Mr. McCarthy pulls down his gag.
SUPERMAN
What happened?
McCARTHY
Some guy in a hood came in as we
were locking up for the night. He
made me open the vault and then he
tied us up and broke into one of
the safe deposit boxes.
SUPERMAN
Do you know what he took?
McCARTHY
I'm not sure, but it looked like
some kind of mask.
Crouching down, Lois moves to the vault and looks in.
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 44.
53 LOIS'S POV 53
She can see that box #532 has been pried open.
54 BACK TO SCENE 54
SUPERMAN
How long ago did he leave?
McCARTHY
He's long gone by now. I wish you
could've gotten here sooner.
SUPERMAN
I was... detained with other
business.
55 INTERCUT ANGLE ON LOIS 55
as she grabs the safe deposit box card file and quickly
rifles through it.
SUPERMAN
Can you tell me who owns the box
that was broken into?
McCARTHY
No offense, Superman, but we have
to keep that information
confidential.
Lois finds the card for box #532 and stuffs it into her
blouse. A moment later, SIRENS are heard outside.
SUPERMAN
The police can take over from here.
Superman turns just a moment too late to see Lois slip back
out the front door.
CUT TO:
56 EXT. PATRICK'S HOTEL - ESTABLISHING - NIGHT 56
PATRICK (O.S.)
It's beautiful.
57 INT. SUITE - CONTINUOUS 57
Patrick is holding an ornate mask in his hands. The eye
sockets in the mask are empty holes. Shamus stands nearby,
dressed entirely in black.
(CONTINUED)
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 45.
57 CONTINUED: 57
PATRICK
(excited)
The Mask of The Ancient Ones will
finally be restored and its power
will be mine.
Patrick takes one of the emeralds from the armoire and
places it into one of the eye's sockets in the mask. As he
does, the emerald GLOWS for a moment, then seems to weld
itself in place.
PATRICK (CONT'D)
For centuries, the Druid priests of
my clan have been forced into
hiding... Scorned and ridiculed.
No longer.
Patrick places the second emerald into the mask. once it is
set in place, the entire mask GLOWS. He stares at it,
crazed with power.
PATRICK (CONT'D)
You can feel the magic...
Shamus nods with a silent reverence.
PATRICK (CONT'D)
It's time we made our final
offering to The Ancient Ones.
Patrick kisses his finger and lightly touches it to the lips
of Lois's photo.
FADE OUT
_END OF ACT THREE_
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 46.
_ACT FOUR_
FADE IN:
58 INT. DAILY PLANET - MORNING - DAY #4 58
Lois is at her desk, on the phone. She is holding the card
from the bank in her hand.
LOIS
(into phone)
...it's very important I speak to
Mr. O'Neil as soon as he gets in.
(beat)
Thanks.
STAR charges in.
STAR
Hi, Lois. Got your message.
LOIS
What message? I didn't leave any
message.
STAR
Sure, you did. Your mind reached
out and told me to drop off some
egg roll if I was in the vicinity.
LOIS
No it didn't. I swear. It's nine
a.m.
STAR
Oh, good, 'cause all I could find
was bagels!
(plops them on desk, as:)
You're right, I couldn't agree
more.
LOIS
Excuse me?
STAR
I was responding to your thought
that small weddings are more
romantic.
LOIS
I wasn't thinking about my wedding,
Star. What would be the point? I
don't think there's gonna be one.
(CONTINUED)
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 47.
58 CONTINUED: 58
STAR
Well not if you keep seeing other
men.
LOIS
(startled)
Lucky guess, right?
STAR
Lois, your brain's like a cheap
TV... Full of static. But one
thing is coming through loud and
clear. So loud it's giving me a
migraine. Got any aspirin?
LOIS
What is coming through loud and
clear?
STAR
Don't you know? You love Clark!
if I was giving free advice, I'd
say simplify your life 'cause
there's only room for one guy in
there...
(points to Lois' head)
And there.
She points to Lois' heart. Lois turns miserably away.
LOIS
(emotionally)
There _is_ only one, Star. I love
him so much and he is so dumb!
STAR
He's human! He's entitled! He'll
un-dumb sooner or later.
LOIS
Well, it's hard not to feel
flattered by Patrick when I'm
feeling this rejected.
STAR
(carefully)
But Patrick... He's not the real
thing... Is he?
LOIS
(sighs)
No.
(gets up)
Thanks. I've gotta run.
(CONTINUED)
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 48.
58 CONTINUED: 2 58
STAR
Go!
(suddenly)
Oh! Oh! Don't open that cabinet!
LOIS
What cabinet?!
STAR
You were just thinkin' about this
cabinet... With glowing rocks.,..
LOIS
(unnerved)
No, I wasn't. I was thinking
about... Patrick.
STAR
Oh...
(gives her head a knock)
I gotta get this thing fixed.
CUT TO:
59 INT. PATRICK'S SUITE - MORNING 59
A KNOCK on the door and Patrick, dressed in elegant casual
clothes, opens it to reveal Lois. He smiles.
PATRICK
So nice to see you again. I'm on
the phone in the other room. I'll
be just a few minutes. Make
yourself comfortable.
Patrick leaves the room. Lois can't help herself and
nonchalantly stands up and starts looking around.
60 INT. DAILY PLANET - SAME TIME 60
Clark is at his desk, pondering his next move. He glances
over to Lois's desk and sees the deposit box card. Clark
tips his glasses and, using his TELESCOPIC VISION, reads the
card.
61 CLOSE ON CARD 61
which reads, "BOX #532: DENNIS O'NEIL" PH: 555-0393
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 49.
62 BACK TO SCENE 62
Clark shakes his head and smiles.
CLARK
(to himself)
How does she do it?
Clark picks up his phone and dials. Jimmy walks over
carrying some of research material Veronica brought,
JIMMY
I have now read Everything you
Always Wanted to Know about Druids,
but were Afraid to Ask.
CLARK
Hang on.
(into phone)
Mr. O'Neil? This is Glen Whitmore
with the FDIC. We'd like to
process the paperwork on your loss
as quickly as possible, and need a
description of the item that was
stolen from your box.
(beat)
Uh huh. Right. I see.
(beat)
We'll get back to you. Have a good
day.
Clark hangs up and turns to Jimmy.
JIMMY
Let me guess. Something else from
the Claudius Collection.
CLARK
Not this time. It's an Irish
artifact called the Mask Of The
Ancient Ones.
JIMMY
That sounds familiar.
Jimmy starts digging through the papers.
63 INT. PATRICK'S SUITE - SAME TIME 63
Lois is looking around the living room, talking to herself
as she peeks in drawers, behind furniture, etc.
(CONTINUED)
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 50.
63 CONTINUED 63
LOIS
(to herself)
I don't know why I let Clark do
this to me. I'm not going to find
anything here. It's ridiculous to
think Patrick has anything to do
with...
Just then, she sees a greenish glow seeping out of the
armoire.
LOIS (CONT'D)
A cabinet and a green glow
She crosses over and sees that the lock on the cabinet is
broken. Lois opens the door to see the array of photos and
she gasps. A moment later, she sees the mask.
LOIS (CONT'D)
I don't believe it.
Lois takes the mask out of the armoire.
PATRICK (O.S.)
I'm afraid it's true.
Lois spins to see Patrick. Standing next to him is Shamus.
LOIS
Is this the mask that was taken
from the bank last night?
PATRICK
(nodding)
The Mask Of The Ancient Ones.
He nods to Shamus, who crosses the room and roughly takes
the mask from Lois's hands.
LOIS
(suddenly wary)
What's going on here, Patrick?
PATRICK
It's quite simple. The power of my
people is about to be returned.
Now that you're here, the ceremony
can begin.
Lois's eyes open wide and she suddenly bolts for the door,
but is caught by Shamus. Patrick smiles and slowly moves in
on her. She is too afraid to scream.
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 51.
64 BACK TO THE DAILY PLANET - ANGLE ON PHOTO OF MASK - DAY 64
It's the same mask that Patrick has.
CLARK (O.S.)
The mask was made by a Druid
sorcerer. Anyone who wears the
mask is supposed to take on his
powers.
65 INCLUDE CLARK AND JIMMY 65
JIMMY
It says here that it had matching
emeralds set into the eyes, but the
gems were stolen.
CLARK
(realizing)
Of course. The Druids were
overthrown by the Romans during the
reign of Claudius.
JIMMY
(picking up on it)
...who pulled the emeralds out of
the mask and used them in his
scepter and crown.
CLARK
So Sullivan is trying to repair the
mask, hoping its powers will be
restored.
Just then, Perry comes striding over to Clark's desk.
PERRY
Bad news. I just got off the phone
with the police. They fished a
body out of the lake. It's been
I.D.'d as Colleen Foley.
CLARK
(dashing out)
Jimmy, Get hold of Lois! Tell her
to stay away from Patrick
Sullivan!
66 INT. PATRICK'S SUITE - DAY 66
Lois is laying on top of a table, her hands and feet are
tied down to the legs. She is alone in the room.
(CONTINUED)
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 52.
66 CONTINUED: 66
LOIS
(pleading)
Patrick, please. Don't do this.
Patrick and Shamus enter the living room. Both are dressed
in black, hooded robes. Patrick carries the ornate,
ceremonial knife.
PATRICK
(finger to his lips)
Hush, my sweet.
He lightly caresses Lois's face. She is revolted.
67 THE SKY OVER METROPOLIS 67
Superman is soaring.
68 BACK TO PATRICK'S SUITE 68
PATRICK
(smiling)
I've loved you ever since we met,
Lois, which makes this such a
special gift for the Ancient Ones.
LOIS
Wait, wait Don't you guys
usually sacrifice virgins? I've
got some really bad news for you
Patrick moves closer to Lois. He takes the tip of the knife
and gently slips it under one of the buttons on her blouse.
PATRICK
The Ancient ones are flexible.
He jerks the knife up, slicing off the button. Lois
SCREAMS. A moment later, Superman CRASHES in through the
window.
LOIS
(relieved)
Am I glad you didn't listen when I
told you to stay away from me.
SUPERMAN
(to Patrick)
It's over.
PATRICK
Not yet. Shamus!
(CONTINUED)
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 53.
63 CONTINUED: 68
Shamus raises up the ceremonial knife and gets ready to
plunge it into Lois. Superman uses his HEAT VISION on the
knife, turning it RED HOT in a second. Shamus flings the
knife aside, looking at the burnt flesh on the inside of his
hand. He turns to run, but Superman blows out a
concentrated burst of SUPER BREATH which slams Shamus's body
against the wall. He crumbles to the floor. Superman turns
to Patrick.
SUPERMAN
Your turn.
PATRICK
I'm ready.
Patrick puts the mask up to his face. A moment later, a
SHADOWY FIGURE in a hooded robe materializes out of thin air
and melds with Patrick's body, which is suddenly surrounded
by an eerie greenish glow that serves as a type of force
field. As Patrick lowers his hands, the mask stays in
place, almost becoming one with his face. Suddenly, a GREEN
BLAST OF ENERGY is unleashed from the eyes of the mask. The
blast hits Superman in the chest and drives him back against
the wall. Just then, a MAID opens the door to the suite.
MAID
Turn-down ser...
Superman and Patrick are locked in combat, power beams
explode, Lois squirms on the table.
MAID (CONT'D)
I'll come back later.
She shuts the door and the fight continues.
Superman charges Patrick. However, when he hits the green
force field, an otherworldly electrical charge hits
Superman. Superman reacts in pain and confusion. When
Patrick speaks, his voice is now very low and haunting...
the voice of The Ancient One.
PATRICK
Your power does not compare to
mine.
SUPERMAN
We'll see.
Superman shoots out a beam of HEAT VISION. At the same
time, Patrick emits a beam of greenish energy from the eyes
of the mask. The two forces collide in the air between
them. The green beam actually begins pushing the heat
vision backwards, toward Superman.
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 54.
69 INTERCUT LOIS 69
who's struggling with her bonds. She can almost slip her
left foot out, but the rope gets snagged on her shoe.
Superman doubles his efforts and the intensity of his heat
vision grows, but the green energy force continues to push
in Superman's direction.
Lois is finally able to flip her shoe off and her foot pops
out of her bonds. Lois draws back her leg and kicks Patrick
hard in the butt.
LOIS
How's that for a bulls eye?
As Patrick stumbles, his energy force immediately weakens.
and the green beam is rapidly forced back toward the eyes of
the mask.
When the green beam hits the force field around Patrick,
there is a tremendous EXPLOSION. Superman immediately
covers Lois from the blast. A beat later, the dust clears
and Patrick is gone!
LOIS
What happened?
SUPERMAN
I guess the green eyed monster
wasn't so powerful after all.
Superman easily breaks the ropes holding Lois as:
LOIS
Well. I have some batting average.
Two men in my life; one unloads me,
the other tries to kill me.
SUPERMAN
(emotionally)
Lois...
LOIS
(arms around him)
Thanks for being there for me.
SUPERMAN
I'll always be there for you.
Off their hug...
CUT TO:
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 55.
70 INT. LOIS'S APARTMENT - NIGHT #4 70
Lois is doing some work on her lap top when there is a knock
on the door. She crosses to the door, and opens it to
reveal Clark.
CLARK
Got a minute?
LOIS
No hot date tonight with...
(imitating her)
Veronica?'
CLARK
(wincing)
There was nothing between us.
LOIS
(smiling)
I should hope not.
She motions for Clark to enter.
LOIS (CONT'D)
Come on in.
Clark enters and Lois shuts the door behind him.
CLARK
So here we are 'Lane and Kent.'
The hottest team in town.
LOIS
The hottest _news_ team.
There is an awkward silence, broken by...
LOIS/CLARK
We need to talk.
LOIS
You first.
CLARK
I want to apologize for the things
that I said. I didn't realize that
being in love would throw my sense
of judgment so far out of whack.
(beat)
I was so worried about you walking
into trouble, that I went
overboard. It ended up that I
became the problem instead of the
cure.
(MORE)
(CONTINUED)
--page break--
"When Irish Eyes Are Killing" G. Rosenberg 8/1/95 56.
70 CONTINUED: 70
CLARK (CONT'D)
(beat)
I know there'll always be some
danger out there, but I've given it
a lot of thought and I can deal
with it. So... what I'm saying is,
if it's okay with you, I'd like to
give us another shot.
LOIS
That's very sweet. There aren't
many guys who can see their
mistakes, let alone admit them.
But, that doesn't mean that the
problems simply go away.
Clark starts to talk, but Lois silences him with a raise of
her hand. Less with anger than sadness.
LOIS (CONT'D)
You saved my life today, for maybe
the hundredth time, and I can never
repay you for that, but you also
made decisions about how I should
live my life and you never even
listened to what _I_ had to say.
(beat)
I love you, Clark, but no one can
be in charge of my life but me.
Not even Superman.
Clark starts to speak, but Lois puts her finger on his lips.
LOIS (CONT'D)
Don't say it. I'll see you
tomorrow at the office.
Lois ushers Clark out the door and gently shuts it behind
him. She slumps back against the door and sighs.
71 INT. HALLWAY OUTSIDE OF LOIS'S DOOR - CONTINUOUS 71
Clark slumps against the door and sighs.
THE END
Au total, 31 membres ont visionné cet épisode ! Ci-dessous les derniers à l'avoir vu...
carine79
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