[Act 1 Teaser]
Lana rides a horse to her parents' graves. Night. It is dark and very foggy.
At the grave, she puts some flowers in the old yellow vase, and then she finds an envelope under a small rock on the headstone. It says “Lana” in elegant handwriting. She hears rustling in the trees.
Lana: Hello? Is someone there?
There is no response. She turns the envelope over and it is shut with a wax seal stamped with the letter B. A dog howls in the distance and she looks around. Then she looks back to the envelope.
CUT TO a boy, BYRON MOORE, running through the woods. He ducks through several low branches, and seems to be running away from something. He turns a corner and runs up a hill where he loses his footing and falls down. A man with a barking dog and a shotgun walk up, standing over Byron. He points the gun at Byron's head and shoots.
CUT TO a dark cellar lit by dim blue lights. Byron is thrown to his bed and the man kneels next to him.
Mr. Moore: Damn it, boy, what were you thinking?
Byron: I'm sorry, Father. I promise it won't happen again.
Mr. Moore: What is the one rule we live by in this house?
Byron: Byron stays in the cellar.
Mr. Moore: And why is that?
Byron: Because father knows what's best for Byron.
Mr. Moore: How the hell did you get out? I swear, you better give me an answer right now, or I'm gonna--
Byron: (Picking up a metal file) I pried open the lock.
Mr. Moore: (He grabs the file away) Get out again, boy, there will be more than a tranquilizer in that gun.
He goes up the stairs and out of the cellar, leaving Byron alone in the darkness.
[Act 1 Scene 1]
Chloe and Lana are walking through the hall at school. Day. Chloe is reading the letter from Byron.
Chloe: Ah, the sentiment's nice. But the fact that you found this in a graveyard seems a little Amityville.
Lana: I think it's kind of romantic. I haven't had a love letter since third grade. (Pete joins them) It seems like a lost art.
Chloe: Not true, not true. This morning in Trig, I intercepted a note from a wrestler to a cheerleader. It wasn't exactly poetic, but, um, he definitely got his point across.
Pete: Who do you think wrote it?
Lana: I have no idea.
Clark: (Joining them as they enter the Torch) Hey, guys. So, what's going on?
Chloe: Lana has a secret admirer.
Lana: It's nothing.
Chloe: What do you mean, nothing? What happened to romantic?
Pete: (Taking the letter and handing it to Clark) Just let the boy read it.
Lana and Clark exchange an uneasy look as Clark unfolds the paper.
Clark: (He reads it) It's a little mushy.
Lana: I almost forgot. Clark Kent, the man of steel. (Everyone shares an awkward silence. Finally, Lana gets up) I'll see you guys later.
Pete: Bye. (Lana leaves)
Clark: If you ask me, it sounds more like a stalker than a secret admirer.
Chloe smiles knowingly.
[Act 1 Scene 2]
Byron is in the cellar. Day. A loud grinding is heard as his father is drilling a lock into the door from above, outside the door. Byron becomes increasingly agitated until he finally covers his ears.
[Act 1 Scene 3]
Lana gives a girl her order in the Talon. Day.
Lana: No problem. (She walks to the bar where Lex is holding the letter from Byron. He holds it up to her) It's kind of personal. (She grabs for it and he pulls it away, smiling. She shrugs) Go ahead and read it. You'll probably agree with Clark that it's sappy.
Lex's smile widens as he opens the envelope and pulls out the letter.
Lex: The, uh, imagery is a little naive, but the meter's actually quite sophisticated. Who wrote this?
Lana: Either an admirer or a psychopath, depending on who you ask.
Lex: That had a little edge to it. Is everything all right?
Lana: Everyone's giving me a hard time about the poem. I guess I'm just a little defensive.
Lex: (Reciting) “Take me to you, imprison me, for I never shall be free, nor ever chaste, except you ravish me.”
Lana: John Donne. He's one of my favorites.
Lex: If I didn't know better, I'd say I found your Achilles' heel.
Lana: I didn't realize you were so into poetry.
Lex: Anyone who doesn't appreciate poetry doesn't understand that it's all about seduction.
Lana: (To Clark) It's nice some people appreciate artistic expression.
Lex: (He hands the poem back to Lana and looks at Clark) Kind of, uh, raises the bar for any other contenders, doesn't it, Clark?
Clark: Lana, I know things aren't so great between us right now...
Lana: I'm fine, Clark.
She walks away and he follows her.
Clark: Lana, I want to apologize for ragging on the poem.
Lana: Guess poetry's not for everybody.
Clark: I guess I was just surprised that you would show Pete and Chloe and not show it to me.
Lana: You can't expect me to share everything with you, Clark, if you're not going to be open with me.
Clark: Don't you think it's weird? This guy's sneaking around watching you.
Lana: Come on, Clark. Tell me you've never watched somebody from afar.
Clark looks away.
[Act 1 Scene 4]
An assistant, TAD, is standing in front of Lex's desk where Lionel is seated. Day.
Tad: (Nervously) So as you can see, sir, or maybe not actually “see” in your case, it was an honest mistake. And one that I promise won't ever happen again as long as I'm working for you.
Lionel: Thank you, Tad. That was a very heartfelt, if not interminably long-winded apology. And I'm going to help you keep that promise, Tad. Your things will be mailed to you.
Tad: Are you letting me go?
Lionel: Never lose that grasp of the obvious, Tad, it's one of your strongest attributes.
Lex enters and Tad passes him as he walks out.
Lex: That's the fourth one you've devoured this month.
Lionel: (Laughing) Where are you finding these people, Lex?
Lex: Little schools like Harvard and Yale. I spent hours going over résumés looking for the perfect fit.
Lionel: You mustn't be fooled by a résumé, Lex. You have to look into their eyes to see if they're up to the challenge. I need your eyes to look for me, son.
Lex: I see. So somehow, the failure of your assistants is my fault.
Lionel: Forget the self-pity, Lex. I wasn't criticizing, I was critiquing. There's a difference. And if I recall, I didn't ask for help. You offered.
Lex: Well, I'm glad to see your condition hasn't softened your paternal side.
Lionel: (Standing up) My condition has nothing to do with it.
Lex: You're not the master of the universe anymore and it's killing you, isn't it?
Lionel: Just get me an assistant who meets my criteria.
Lex: I don't think I would fit your criteria.
Lionel: Probably not, but nobody's perfect. (Lionel leaves the room)
CUT TO Lionel sitting on a bench in the garden. He is reading the paper with his small reading device.
Computerized Voice: “At the sound of the opening bell on the stock exchange floor Monday morning, Luthor Corporation's stock adjusted dramatically after weeks of speculation as to—
He throws the device away angrily. We see that Martha is in the garden watching him.
Martha: I couldn't listen to another word of that droning either.
Lionel: Who is that?
Martha: It's Martha Kent. I hope I'm not disturbing you.
Lionel: No, no. It's a welcome interruption.
Martha: I came by to pick up the monthly produce check from Lex. He usually leaves it out for me.
Lionel: I'm afraid my presence here has thrown Lex's regimented routine into a mild chaos.
Martha: I'm sure he's happy to have your here, even if he doesn't know how to say it.
Lionel: Your assumptions are very generous.
Martha sits next to him on the bench and takes the newspaper from him.
Martha: (Reading) “The plummeting stock sent a ripple through investment houses. CEO Lionel Luthor attributed the drop to this quarter's anticipated deficit.” (She puts the paper down) It's all a smokescreen, isn't it? You're trying to make investors nervous so when LuthorCorp posts less than impressive gains, the stock will have already adjusted.
Lionel: (Taking off his sunglasses) I had no idea Martha Kent had such keen business acumen. I wonder if your talents aren't being wasted on organic produce.
Martha: I'm going to take that as a compliment.
Lionel: You should.
[Act 1 Scene 5]
Byron is writing by candlelight in the cellar. Night. He writes Lana's name on an envelope. The door to the cellar opens and Byron pushes the envelope under a book as his mother comes down the stairs.
Mrs. Moore: I bought you this at the used book store.
She puts a book on the desk in front of him.
Byron: Edgar Allen Poe. You really know how to pick them, Mother.
Mrs. Moore: Well, I read a couple of pages. I couldn't make heads or tails.
Byron: (He goes to the bookshelf and puts the book away) I'm surprised. He writes about pain and suffering and people being buried alive.
Mrs. Moore: Byron, I know you're upset, but things are better this way.
Byron: How can you let him do this to me?
Mrs. Moore: You have put your father through enough. Just be glad that things are back to normal.
Byron: Normal kids aren't hunted by their fathers.
Mrs. Moore: I don't want to hear another word. You just stick to your books and keep your mouth shut. Everything will be fine.
She turns away and leaves the cellar.
Byron melts a stick of red wax and seals the envelope. He stamps it with the letter B and gets up from his desk, taking the envelope with him. He pulls his bed away from the wall and lifts up a poster hanging there. Behind the poster is a small area of loose bricks, and he starts to pull them out.
CUT TO Lana at her parents' graves. She is asleep leaning against the headstone and covered by a blanket. She wakes up and checks her watch.
Lana: What am I doing? This is crazy. (We see Byron in the background. She turns around just as he starts to run away) Wait! I got your other poem. It was beautiful.
Byron: (Turning around) You really think so?
Lana: (Picking up the envelope he dropped) What's your name?
Lana: Like the poet?
Byron: Like my great-uncle. But there's nothing poetic about him.
Lana: Why do you leave me these poems?
Byron: Because you inspire me. (She turns on her flashlight and slowly raises it to his face. He knocks it out of her hand) No, don't!
Clark: (Running up to them) Get away from her!
Lana: Clark! (Byron tries to run away and trips, landing hard on a headstone. Lana runs to his side) Oh, my God.
Lana: Are you okay?
Byron: (Touching the back of his head) Yes. I'm fine.
He holds up his fingers and they have blood on them. He loses consciousness.
Fade to black.
[Act 2 Scene 1]
Byron, Lana, and Clark are in the Talon after hours. Night. Byron is eating and holding a cold pack to the back of his head.
Byron: I can't believe I passed out.
Clark: I'm sorry I scared you.
Byron: It's okay, Clark. You were protecting a beautiful young lady. It was chivalrous. (To Lana) You're lucky to have a boyfriend who cares so much about you.
Lana: Clark- Clark's just a friend. Uh, an overprotective one.
Byron: If I could write the beauty of your eyes, and number all your graces, the age to come would say this poet lies. (Clark rolls his eyes) Such heavenly touches ne'er touched earthly faces.
Lana: That was beautiful.
Clark: (Slightly annoyed) Which poet wrote that?
Lana: (Changing the subject) I can't imagine being home schooled and never seeing anybody.
Byron: You don't miss what you never had.
Byron takes a drink of coffee and Clark notices some thick scars along the side of his arm.
Clark: It seems like you don't get out much. Uh, your parents pretty strict?
Byron: They only want what's best for me.
They hear a car outside.
Lana: Oh, my God, that's our milk delivery.
Byron: (Standing up, panicked) What time is it?
Clark: Quarter to five.
Byron: If my parents wake up...
He runs out of the Talon and Clark and Lana follow him.
CUT TO the three of them driving up to Byron's house in Clark's truck.
Clark: You want us to come in and tell your parents what happened?
Byron: No, I'll be fine.
He gets out of the truck and runs to the house. When he gets to the stairs, his mother runs out onto the porch.
Mrs. Moore: Byron, hurry!
His father runs out after her with his shotgun as the dog barks.
Mr. Moore: (Pointing the gun at Byron) I warned you not to leave, boy.
Clark and Lana get out of the truck and run to the stairs.
Mrs. Moore: (Taking Byron inside) No, no.
Byron: Go away!
Mrs. Moore: Come on!
Mr. Moore: I better not catch you around my son again! Now get out before I shoot you for trespassing!
Clark and Lana go away as the dog continues to bark.
[Act 2 Scene 2]
Martha and Jonathan are talking in the kitchen. Day.
Jonathan: (Pouring honey into his coffee) Lionel Luthor offered you a job?
Martha: I was just as surprised as you are.
Jonathan: (On his way to the dining room) What did you tell him?
Martha: That I wanted to discuss it with you. (Jonathan stops in the doorway for a moment, then continues to the other room) You know, I-I've been thinking about going back to work for a while.
Jonathan: Why would you do it with him? You know that he's got an ulterior motive for everything he does.
Martha: I know all about Lionel Luthor, but we could use the money. And I could use a bigger challenge in my life.
Jonathan: Oh, I understand. Farm life's gotten just a little bit too boring for you, hasn't it?
Martha: I didn't mean it like that. This is a chance for me to put my education to use.
Jonathan: Even at the risk of losing our privacy here?
Martha: You don't trust me to make that call? I want to do this.
Jonathan: Martha-- (Clark and Lana enter) Clark? Lana? You two been out all night?
Clark: No, it's not what you think. Um, we met this kid and we think that his parents are abusing him.
[Act 2 Scene 3]
Jonathan, Lana, and Clark get out of the truck outside Byron's house. Day. Sheriff Ethan is there too. The dog is barking in the yard. They knock on the door and Byron's mother answers with his father close behind.
Ethan: Mrs. Moore?
Mrs. Moore: Oh...
Ethan: I'm sorry to disturb you, but I'd like to speak to your son.
Mr. Moore: I'm afraid that's not possible, sheriff.
Clark: Where is he?
Jonathan: Clark, let the sheriff handle this please.
Ethan: He's not in any trouble.
Mr. Moore: Look, I don't know what the hell's going on here sheriff, but our son is dead.
Mrs. Moore: He drowned out in Crater Lake eight years ago.
Lana: We just met him last night.
Jonathan: My son says that you threatened him.
Mr. Moore: I've never seen these kids before in my life. Look, it's taken all these years to get past this, and then you show up and pull a prank like this. What kind of parent would raise a child to do a wicked thing like that?
Ethan: We're awfully sorry. Look, Jonathan, I think we should go.
Mr. Moore closes the door and Ethan and Jonathan start down the stairs.
Lana: They're lying.
Clark: We saw him go in that house.
Ethan: This is a very awkward situation, Jonathan.
Jonathan: I know it is, Ethan, but if there's even a chance that young man's in trouble, we wouldn't want that on our conscience.
Ethan: I'll get a warrant.
CUT TO Byron in the basement. He is looking at a lit candle with tears in his eyes. He isn't wearing a shirt and we see that his wrists are shackled, chaining him to the wall.
[Act 2 Scene 4]
Lana, Clark, and Chloe are at the Torch. Day. Chloe prints out a death certificate.
Chloe: It looks like your tortured artist is an unfortunate member of the dead poets society. The certificate of death was signed by Dr. Emil Jenkins.
Clark: It's got to be fake.
Chloe: Not that I don't trust your judgment, but could it be possible that goth boy maybe is--
Lana: I don't think a ghost could polish off three pieces of cake and two cappuccinos.
Chloe: I was just checking, I mean this is Smallville. Well, I ran Dr. Jenkins' name through the computer and found out something very interesting. Eight years ago, he supervised a medical file over at Metron Pharmaceuticals.
Clark: Let me guess. Byron was a participant?
Chloe: Yeah, they were all kids who had exhibited antisocial behavior.
They all get their things and Lana and Chloe leave the Torch with Clark close behind.
Lana: But it doesn't sound like Byron. He's so gentle.
Chloe: Could it be that our new Shakespeare has a-stirred the heart of our young Juliet?
Lana: It's just nice to meet someone who's so honest with their feelings I don't have to guess what they're thinking. (Clark looks away, obviously affected) We have to start looking for Byron.
Clark: No, we should wait to see what the sheriff finds.
[Act 2 Scene 5]
Lionel is playing somber classical music on a grand piano in Lex's study. Day. Lex enters.
Lex: Chopin? I always thought you found him to be too sentimental.
Lionel: (Still playing perfectly) No, Lex, I find that he sometimes lacks subtlety... sometimes. I take it from your tone you're angry at me. What transgression have I committed now?
Lex: I wasted yesterday interviewing more prospects, only to find that you've hired Mrs. Kent. What's your angle, Dad?
Lionel: Angle? Martha Kent is a very... capable woman. Unshakable honesty like hers is hard to come by.
Lex: She just happens to be one of the few pillars of this community who could ingratiate a despised tycoon to the citizens of Smallville.
Lionel: I hadn't thought of it in those terms. I suppose that is an unexpected benefit.
Lex: I don't know what your sudden interest is in the Kents, but I want you to stay away from them. They mean a lot to me.
Lionel: (He stops playing) And I wonder what they would think of your trying to meddle in their affairs. You think if you've a very good boy, they'll welcome you into their family?
Lex: Well, it would certainly be a step up.
Lionel: (Chuckles) You know, Lex, Zeus had a son, an adopted son, who thought he could find a home among mortals. You know what happened to the well-intentioned Prometheus?
Lex: His dad had him chained to a rock and his liver was eaten by vultures. Why?
Lionel: Prometheus was immortal, Lex. No matter how much he wanted to escape the world he was born into, the world of the gods, he never could. It wasn't possible.
Lex: If I find out that you have any agenda that could hurt the Kents, this amiable father-son détente will come to an abrupt end.
Lionel pauses, then returns to playing the piano. Lex leaves.
[Act 2 Scene 6]
Clark and Pete walk up to Byron's porch. Day.
Pete: What happened to waiting for the sheriff?
Clark: I need to know if Byron's in here.
Clark walks up to one of the boarded up windows, and rips the board away. As he puts it down, the dog jumps up to the window and bites down on Clark's arm. It growls for a few seconds, then runs away whimpering.
Pete: You're a regular Dr. Dolittle. (They climb in the window. The walls are covered with animal heads and guns) This place is like an NRA petting zoo.
Clark uses his x-ray vision to look through the floor. He sees a trap door under a rug.
Clark: (Lifting the rug) Looks like there's something under this rug. It's made of lead. That's why I couldn't see through it.
Pete: That's good to know. Maybe you ought to think about publishing an instruction manual.
Clark: Watch the door.
He rips open the lock on the door and opens it.
In the cellar, Byron lifts an arm to block the light coming down. Clark comes down the stairs and sees him.
Clark: Byron. What did they do to you?
Byron: It's not what you think.
Clark: I have to get you out of here.
He breaks the shackle on Byron's wrist.
Byron: How did you do that?
Clark: Rusty lock. Come on.
Byron: Don't! Last time I went out during the day I hurt my dad!
Clark: Byron, no one deserves to be locked up like this.
Byron: You don't understand!
Clark: Trust me, Byron, I understand more than you know.
He pulls Byron up the stairs and outside. Byron struggles all the way.
Byron: (As Clark pushes him outside) No! Leave me alone! Aaah!
Byron falls onto his hands and knees, obviously in pain. He grunts as his back starts to bulge and the skin stretches.
Clark: Byron, are you okay?
Byron: (In a deeper voice) You should have listened to me! (Hits Clark in the chest, sending him flying all the way across the yard, where he lands on the shed. Byron turns around and looks at Pete. We see that Byron's forehead is bulging and his eyes are large and black) What are you looking at?
Pete: Byron, it's okay.
Byron: Get away from me!
He pushes Pete off the porch and Pete is thrown through the windshield of the Moore's car. Then Byron, runs away. Clark gets up and super speeds to Pete.
Pete is conscious, but shaken. Clark touches his shoulder.
Fade to black.
[Act 3 Scene 1]
Clark is in Pete's hospital room. Pete's left arm is in a cast. Day. Martha and Jonathan enter.
Martha: Pete? I saw your mom downstairs. Are you all right?
Pete: Yeah. The doctor's say it's a hairline fracture, which is ironic because it hurts everywhere else except my hairline.
Martha: Mm, sweetie.
Pete: Being part of this family should come with its own group health insurance.
Jonathan: I thought we agreed you were gonna wait for Sheriff Ethan.
Clark: Dad, they had Byron locked in the basement, chained to the wall.
Pete: When Clark carried him outside, he kind of went Jekyll and Hyde on us.
Clark: I tried to stop him.
Jonathan: You tried? How big of a change are we talking about here?
[Act 3 Scene 2]
Mrs. Moore comes down the stairs of the cellar followed by Jonathan and Clark. Day.
Mrs. Moore: You really shouldn't be here. My husband is out looking for Byron, but he'll be back soon.
Jonathan: My son feels responsible. We want to help.
Mrs. Moore: You just... you can't imagine how hard it was for both of us. You probably think we're horrible parents.
Clark: When I took Byron out into the light, why did he change?
Mrs. Moore: It was one of the side effects of the drug. He can't be out in the sun. I wish we'd never gotten involved in that mess. They promised that the drug would make him better. It would make him normal.
Jonathan: There's got to be somebody somewhere that-- that can help your son.
Mrs. Moore: We tried everything. Dr. Jenkins watched six other boys die trying to reverse the side effects. They had Byron hooked up to all those machines like he was some sort of alien.
Clark: Is that why you faked his death certificate?
Mrs. Moore: We didn't know what to do. Finally, we-- we locked him in the cellar. He cried for days. He didn't understand why we had to keep him down here. We felt like the monsters.
Clark: If I get Byron out of the sun, will he change back?
Mrs. Moore: Yeah. He's so strong now. I don't know how anybody could do that.
[Act 3 Scene 3]
Lana is working at the Talon. Day. Clark enters.
Lana: (Angry) I just got back from seeing Pete. He told me what happened. Thanks for the call.
Clark: Look, Lana I--
Lana: Why did you lie to me, Clark? Byron's my friend and I wanted to help. You cut me out.
Clark: I didn't want you to get hurt.
Lana: Is that it, or don't you trust me?
Clark: (After a pause) You haven't seen Byron, have you?
Lana: No. But if I had, you'd know already, because I'd have been honest with you.
Chloe: Okay, so I think I figured out why our would-be Shakespeare went all pro wrestler on you. (Lana gives Clark and annoyed look) Jeez, is it just me, or did it get cold in here?
Clark: What'd you find?
Chloe: (Handing Clark a file) Um, well, the drug that Byron was given during the medical trials targeted his adrenal system.
Clark: It says here they were looking for a cure. We need to track down the company.
Chloe: It's too late. Metron Pharmaceuticals was shut down before they even finished their research.
Lana: Why would they do that?
Chloe: I don't know, but maybe Clark should ask his Mom's new boss.
Clark: Lionel Luthor owns Metron.
Chloe: Just one of the many LuthorCorp subsidiaries that promise us a brighter future.
Clark: I'll talk to Lex.
Chloe: Um, I'd love to help you, but Pete just sent out an SOS for his Play Station 2, so good luck.
She leaves. Lana puts down her tray and gets her coat.
Clark: Where are you going?
Lana: To look for Byron.
Clark: Wait, Lana. My dad, Mr. Moore, and half the sheriff's department are out searching.
Lana: Are you telling me I should stay here and pour coffee?
Clark: No, I'm saying you should be careful. Byron's not the same guy. If you see him don't get too close. Call someone.
[Act 3 Scene 4]
Byron is kneeling next to his own headstone in the graveyard. Day. It says “In Loving Memory, Byron Moore, 1986-1994.” Lana walks up behind him.
Lana: Byron. It's me, Lana. I, uh, I want to help you.
He turns around and she is slightly startled by his face.
Byron: I was down there for eight years. I'm not going back.
Lana: You could hurt people like this. The Byron I met wouldn't want that. I know who did this to you. It was LuthorCorp. Clark's talking to Lionel Luthor's son. They can find a cure.
Byron: There is no cure!
He grabs her.
Lana: Byron, no!
Byron: I want you! (He struggles with her and she slaps his face, scratching him) They made me into someone no one can love. Not even you! (He pushes her into a headstone, knocking her out) Aaah!
He runs out of the graveyard.
[Act 3 Scene 5]
Lex and Clark in the study. Day. Lex is looking at a newspaper with the headline “LuthorCorp Stocks Plummet As Metron Closure Announced.”
Lex: Another mark on the Luthor name. My father's leaving me quite a legacy. You might give you mom a heads-up. If she's going to work for my father, this is what she's getting herself into.
Clark: My mother can take care of herself, Lex. Besides, I haven't seen her this excited in a long time.
Lex: To tell you the truth, Clark, I was a little surprised. Considering all my offers to ease your family's financial situation have been met with a resounding no, it stung a little to see her name on my father's payroll.
Clark: Well, to be honest, it wasn't exactly a unanimous decision at the Kent household.
Lex: My father's the poster boy for family strife. I'm sorry it's spreading.
Clark: Look at it this way, Lex. At least my father's not upset with you this time.
Lex: I'll look into Metron, Clark, see where my father's been hiding the proverbial bodies. Now, I have to head over to the plant. Some Luthors actually have to work for a living.
They hear a helicopter outside and Clark looks out the window. He sees the LuthorCorp helicopter landing on the grass.
Clark: Wow. I didn't realize the traffic in Smallville had gotten so bad.
Lex: It's my father. I hope your mom likes helicopters.
Clark: My family doesn't fly much.
Lex: Trust me. That's about to change. I'll talk to you later, Clark.
Clark sees Martha helping Lionel to the helicopter.
Outside, Martha opens the door and helps Lionel in.
Martha: Watch your head. All right. (She gets in after him and helps him with his seatbelt) Um, it's this way.
Martha: (Buckling his belt) This way.
Lionel: First time in a helicopter, Martha?
Martha: I wasn't expecting a trip to Metropolis on my first day.
Lionel: (Laughs. To the pilot) All right, Bob, we're off!
Bob: Yes, sir.
The helicopter lifts off the ground. A few seconds later, it starts to shake violently. Martha gasps.
Lionel: What's happening, Bob?
Bob: I don't know!
Martha: What's happening?
Martha looks out the window and sees Byron's face. He is standing on the ground holding onto the leg of the helicopter, shaking it back and forth.
Fade to black.
[Act 4 Scene 1]
Byron is holding onto the helicopter. Day.
Martha: Oh, my God!
Lionel: What's happening?
Byron swings the helicopter around. He pushes it into a slant and the propeller cuts away some of the plants. With a grunt, he pushes the helicopter down to the ground. The pilot is knocked unconscious.
Lionel: What is it?
Martha: (Unbuckling his seatbelt) We have to get out of here, come on!
Lionel: What is it? Martha!
Byron rips open the door, pulls Martha out, and throws her to the ground.
Lionel: Who the hell are you?
He pulls Lionel out of the helicopter and holds him by his jacket.
Byron: You did this to me!
He shoves Lionel to the ground.
Lionel: Did what? What are you talking about?
Clark super speeds to Byron and pushes him away from Lionel. Martha goes to Lionel's side.
Clark: I don't want to have to hurt you, Byron! We got to get you out of the light!
Byron: No! You can't stop me!
He hits Clark and Clark flies across the yard, landing on his back.
Clark sits up and looks around. He sees Martha and Lionel on the grass, and then he sees a brick water well. He super speeds to Byron and pushes him to the well. They both crash through the metal covering and slide down a tunnel to an underground structure. Clark pushes Byron out of the sunlight and up against the wall. Byron struggles and grunts, and eventually his face returns to normal.
Clark: It's okay, Byron. You're gonna be all right.
Act 4 Scene 2
Byron is in the hospital. Day. There are blue fluorescent lights above his bed. Clark enters.
Clark: Yeah, I brought you some light reading. (He holds up a book, “100 of the World's Best Limericks.”) They're a lost art form.
Byron: I don't remember our fight, but I cannot believe I didn't hurt you.
Lana enters. Her wrist is wrapped.
Lana: Some people are just lucky.
Clark: Hey, how's the wrist?
Lana: Uh, it'll be better in a couple of days.
Byron: I can't believe I...
Lana: Hey, don't worry about it. I know it wasn't you.
Byron: You were brave to come and find me.
Lana: A friend warned me to be careful. I should have listened to him.
She looks at Clark.
Byron: Let me see your hand.
She puts her hand in his and he smiles at her. Clark lowers his eyes and leaves the room as Lana smiles back at Byron.
[Act 4 Scene 3]
Lex enters the study where Lionel is sitting. Day. His arm is in a sling.
Lex: Dad, I heard what happened. Are you okay?
Lionel: I'm relatively unscathed, thanks to Martha and Clark.
Lionel: He's a rather extraordinary young man, don't you think?
Martha: Oh, hi, Lex. (To Lionel) I, uh, spoke to the foundation and they can transfer the funds directly into the new account.
Lex: Seven hours on the clock and you're already laundering money for my father?
Martha: I'm convincing him to fund new research into Byron Moore's condition. (She puts a heating pad onto Lionel's shoulder) You okay?
Lex: I'm sure my father's informed you that LuthorCorp is not in the charity business.
Lionel: I did, I did.
Martha: Then I explained that he'll spend less helping this boy live a normal life than he would on advertising to restore consumer confidence in LuthorCorp. (To Lionel) The papers will be here tomorrow for you to sign. I'll see you in the morning.
Lionel: All right. (Martha leaves) Lex. I can feel your smirk from here.
Lex: You better watch it, Dad, or your new executive assistant might start rearranging all your priorities. (Lionel chuckles)
[Act 4 Scene 4]
Clark is stacking hay in the back of the truck. Day. Lana walks up.
Lana: You pulled one of your trademark disappearing acts last night.
Clark: Well, I figured, uh, you could use some time alone with Byron.
He gets down from the truck, and Lana pulls a book out of his back pocket.
Lana: Sonnets? Not exactly you're usual reading.
Clark: Byron was really into them. I thought maybe I could learn something.
Lana: What'd you think?
Clark: They really weren't for me.
Lana: An honest answer. I like that.
Clark: Lana, I'm sorry for not being straight with you from the beginning.
Lana: It's okay. When I confronted Byron, I got so scared. The first person I thought of was you.
Lana: I thought, if Clark was here he'd know what to do. I thought I could save him. I just ended up making things worse.
Clark: You tried to help a friend. There's no harm in that.
Lana: I hope Byron's gonna be okay.
She sits on the back of the truck and Clark sits next to her.
Clark: It doesn't bother you that he's so...
Lana: Different? If you really like someone, you accept every part of them, but you can't do that until they're willing to share every part with you.
Clark: I think people like Byron keeps a part of himself hidden so he doesn't scare people away.
Lana: If you want to get close to someone, you have to take that risk.
Clark: What if the risk is too big to take?
Lana: Then you might miss out on something that could be pretty amazing.
They share a meaningful look, then look out into the field.