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[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.
[Opening credits]
[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.
Chloe: Bye.
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.
Girl: Thanks.
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.
Clark enters.
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?
Lex leaves.
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?
Byron: Byron.
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.
Byron groans.
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?
Byron: Shakespeare.
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.
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