Superman: The Man of Steel (Alex Ford Movie Script)

SUPERMAN: THE MAN OF STEEL

Story by Alex Ford & J Ellison

Screenplay by Alex Ford

Based on Superman created by Jerry Seigel & Joe Shuster

Appearing in DC Comics

Blue (09/04/98)



SUPERMAN: THE MAN OF STEEL

OPENING SEQUENCE

This is a pre-credit sequence and not meant to take place within the structure of the actual narrative.

EXT. GENERAL STORE

This opening sequence is shot in glorious black and white.

A BOY wearing depression era clothes enters the general store.

INT. GENERAL STORE

The store is empty except for an older CLERK putting out the week's periodicals in front of the register. The BOY passes as the CLERK finishes and moves behind the counter.

The BOY goes directly to a candy shelf and opens a jar, takes a handful of gum balls and heads for the counter.

He passes the periodicals and on the rack among the newspapers and magazines is a color comic book alone amongst the colorless rack. The title reads ACTION COMICS with a 1930s era SUPERMAN lifting a car above his head and smashing the front end into the ground.

Enamored by it, the BOY stares and in a DREAMLIKE STATE the CAMERA cuts between BOY, COMIC, and slowly panning in on each of them. Finally, the BOY looks up at the CLERK who's been patiently waiting for him.

The BOY looks a last time at the book on the shelf, then at one handful of gum and the other with a single dime. He looks up at the CLERK who looks like he knows something the boy doesn't.

EXT. GENERAL STORE

BOY exits with comic book in hand. He takes a seat on the sidewalk outside the store and…

CAMERA OVER SHOULDER shows the BOY slowly opening the front cover with much delicacy revealing the interior to be a VIBRANT COLOR WARNER BROS LOGO (WB Shield on blue clouded sky).

CAMERA PANS IN OVER THE SHOULDER and the LOGO fills the screen.

Black and white sequence finished. WE ARE IN THE MOVIE.

CAMERA pans upward slowly and the logo slides off the bottom of the screen, the blue clouded sky merges with the infinite reaches of space. Almost unnoticeable in the far off distance is a minuscule green dot.

Without warning, the green dot EXPLODES IN A BURST OF SILENT LIGHT. Several seconds pass as the shockwave from the explosion travels towards us and like a rumble in the distance, bringing a tidal wave of sound with it.

Debris hurls itself in all directions. With it A SMALL SPACECRAFT ZIP towards us, past the explosion and whips overhead. The CAMERA tilts and follows the orange and green craft. The planet's fragments follow the craft.

The debris loses speed and begins to fall behind the ship. Soon, the only thing left in frame from the dead planet is the lone ship hurling through space.

BEGIN OPENING CREDIT SEQUENCE.

Opening credit sequence is displayed while we follow the ship through infinite space. On occasion, the ship radically changes direction like it knows where it's going. Its destination is no accident.

The ship enters our solar system and barrels past familiar planets. In the distance is Earth.

The ship cracks through Earth’s atmosphere and its hull ignites in a bright red flame.

SMASH CUT TO:

EXT. SMALLVILLE, KANSAS - DESOLATE SNOWCOVERED ROAD - NIGHT

EXTREME CLOSE-UP of a mittened hand holding a misshapen rustynail.

JONATHAN KENT, a Kansas farmer in his thirties, is holding the nail. Standing in from of him is his wife MARTHA (also in her thirties) with a look is irritation. In the background is their weathered 1954 pickup truck with a flat tire. There is virtually no light on this country road.

JONATHAN's face bends with an "I don’t need this" smirk. The night lights almost like day and there is a tremendous crack as the ship breaks the sound barrier.

In the background, the flaming craft crashes into a field digging a charred crevice several hundred feet long and a trail of steaming melted snow.

JONATHAN and MARTHA, in total disbelief, slowly move towards the wreckage as if they are unconsciously drawn to it.

In the background is the distant cry of a baby.

ROCKET POV, JONATHAN and MARTHA peer into the crater with confusion and then turn to each other for an explanation neither of them has. They simultaneously look at the rocket then to the sky. The CAMERA looks upward with them and keeps going until there is nothing but space.

END OPENING CREDIT SEQUENCE ON NIGHT SKY.

CUT TO:

EXT. METROPOLIS SKY – DAY

The CAMERA pans down from space through the clouds and merges with a beautiful blue sky, which is disrupted by a massive "L" shaped state-of-the-art skyscraper made of steel and glass. The roof is slanted to make the "L" visible in the distance.

CAMERA keeps moving down the building for what seems like forever and finally other buildings appear along the skyline, but it's obvious this is "the" building in the city. A landmark like no other and everything else pales on comparison.

The city in the background bustles with life. She is like no other on Earth. She is immaculately clean and meticulously engineered. Skyscrapers are everywhere but the city doesn't seem cluttered. Ten million people call her home and with the multilayered highways, subways and elevated trains it never looks congested. She is the most advanced city in the world, the template for all others. Her name is appropriate; this is…

Metropolis.

Still moving down building…

FADE IN, TITLE ON MOVING IMAGE: METROPOLIS

Still moving down building…

FADE IN, TITLE ON MOVING IMAGE: TOMORROW, SATURDAY, 2:43PM

Still moving…

The CAMERA nears the bottom panning down huge letters etched in stone on the building side boldly announcing LEXCORP (and beneath it corporation's slogan "Bringing The Future To You Today"). Finally we reach the bottom of the building and pedestrians come into view and the pan ends on the back of a young, business-suited woman staring up at the menacing tower. She nervously gathers herself, builds her confidence and enters.

INT. METROPOLIS, LEXCORP HEADQUARTERS– DAY

WOMAN enters the lobby. There are dozens of people bustling about. She approaches one of a two dozen receptionists behind a massive marble counter all of whom are all assisting others. The RECEPTIONIST she has chosen is finishing up a telephone call on her headset/telephone. Several receptionists down is another woman who appears to be arguing with a receptionist and with someone on her cell phone at the same time, although the details can’t be heard. The woman is dressed in a suit carrying a briefcase. She looks like she is about to explode.

RECEPTIONIST #1 begins checking appointments in the computer when the arguing woman hears this and flips out. She barges past several people between them, pushing them out of the way to get to the sympathetic RECEPTIONIST.

The woman is LOIS LANE.

LOIS shoots her a nasty look.

The woman looks blankly at her examining her options.

LOIS returns to RECEPTIONIST #2.

RECEPTIONIST #1 stands to retrieve her card and WOMAN opens her jacket revealing a bomb strapped around her mid-section. RECEPTIONIST #1 swoons and faints. LOIS, on her cell phone in the background…

She turns her back to the woman and starts punching buttons frantically.

CUT TO:

EXT. THE DAILY PLANET BUILDING- DAY

The building is one of the oldest structures in the city with its brick walls and the newspaper’s logo, the Earth with a rotating ring that reads DAILY PLANET, on it's roof. The structure is a testament to the days of journalism before faxes and Internet.

INT. DAILY PLANET - CITY ROOM

Through a large window, a staff meeting can be seen.

Standing at the front of a large table is Daily Planet Editor PERRY WHITE. A large and foreboding pitbull of a man. His trademark unbuttoned collar and open vest give the appearance this has been very hard day when in fact, this is every day. In his fist is an unlit cigar he points at people accenting his sentences. He paces when he walks and doesn’t speak words as much as he barks them. Through the glass, his booming voice is muffled. PERRY has two tones: LOUD and LOUDER.

Among the staff are CAT GRANT (Society columnist, early 30s and very beautiful), RON TROUPE (Sports, an African American in his 40s) and mild-mannered CLARK KENT (City Columnist). KENT is in his early 30s and very handsome, although he doesn't know it. He is someone that's above that.

Seated at KENT's desk is and watching them through the glass is JIMMY OLSEN, photographer. He is sixteen years old and very bored. With him is ALI, who is flipping through some of his photos with awe.

A telephone rings and OLSEN looks around to make sure there are no other witnesses and answers it.

Incoherent yelling can be heard from the other end and OLSEN bullets to attention.

OLSEN scrambles to find a pen, jots down instructions on his palm and hangs up. He fumbles out of his chair and races for the Conference Room throwing the door open…

Instinctively, JIMMY folds and turns to quickly exit, then remembering why he came in the first place…

Everything stops.

No one has an answer.

Everyone hustles out of the room. As they are leaving, no one notices a glass of water and an empty chair where CLARK was sitting.

CUT TO:

INT. DAILY PLANET - HALLS

People are walking the halls performing their duties when a gust of wind and a blur streaks past causing some to look twice and finding nothing.

INT. JANITOR'S CLOSET

In a supply closet, a JANITOR ducks around a corner to sneak a cigarette. He takes a drag and opens a window to exhale when the blur of wind blows past him and out the window knocking some cleaning supplies off the shelves. The JANITOR looks.

He takes another drag on his cigarette.

CUT TO:

EXT. METROPOLIS SKYLINE - DAY

People are in their apartments as the red and blue blur streaks by the windows. It moves so quickly that some don't notice it. Others run to the windows and fire escapes calling their families to catch a glimpse of it.

EXT. METROPOLIS STREET - DAY

The streets bustle with mid-day activity. A GIRL moving with a crowd across an intersection stops in the middle of the street. An oncoming taxi screeches to a halt to avoid killing her. The GIRL is staring skyward down the street.

Cars horns blare and the TAXI DRIVER leans out and screams:

The TAXI DRIVER sees what she is focusing on and forgets what he was yelling for. Everyone in the street stops and stares. The noise of a city in mid-afternoon comes to a silence. In the distance the blue and red streak flies off and makes an almost perfect ninety degree turn around a building. People can been seen in awe for blocks.

CUT TO:

EXT. LEXCORP HEADQUARTERS - DAY

The serenity of the previous scene is interrupted by panic.

People are fleeing the building being ushered to safety by the Metropolis Bomb Squad. The media has arrived, trying to force their way past the POLICE barricades with no luck.

There is chatter among the crowd until they realize LUTHOR is among them and all their frustrations and fears change to a silent hush.

Surrounded by bodyguards, is LEX LUTHOR. LUTHOR is a middle-aged imposing figure. An angel to some, devil to others. An egomaniacal recluse. A genius. An idiot. A humanitarian and exploiter. He is dressed in a dark business suit that costs more to clean than most people make in a month. The look on his face isn’t one of fear that would be associated with an assassination attempt.

To him, this is an annoyance.

Leading the team of bodyguards with the LUTHOR center is MERCY GRAVES, Luthor's Minister of Security. She is young, petite with a short brown male haircut and dressed in a modified version of a traditional chauffeur’s uniform with a more militaristic feel. She is LUTHOR’s personal bodyguard and right hand woman. She looks harmless… she isn't.

An EMPLOYEE is arguing with a COP when LUTHOR is ushered past. Their conversation stops and they gawk.

LUTHOR is brought directly to the BOMB SQUAD SERGEANT (PENNINGTON).

BOMB SQUAD COP approaches.

MERCY turns and whispers Secret Service-style microphone in her cuff.

The two begin to argue when BYSTANDER #1 in the background looks up and points.

Several others look.

The focus shifts from LUTHOR to the sky.

A whisper builds through the crowd.

SUPERMAN gracefully descends to Earth, his red boots gently connecting with the pavement as his red flowing cape cascades off his shoulders and perfectly hangs from his frame. He lands on the clear side of the barricade.

He is a muscular man, 6'3" and 225 pounds. His ice blue eyes and jet black hair compliment his chiseled features. The red and yellow "S" shield covers his entire chest. He has a presence unlike any other.

LUTHOR is still ranting as the SERGEANT notices him and stops arguing.

SUPERMAN stares at the building like he's looking through it… because he is.

SERGEANT leaves LUTHOR who isn't used to being walked away from in mid-sentence. SERGEANT approaches SUPERMAN who is concentrating on his invisible x-ray vision.

SUPERMAN stops scanning and shakes SERGEANT’s hand.

SUPERMAN motions to LUTHOR to be quiet.

SUPERMAN "listens" to the crowd. We hear what he hears. What sounds like a massive chaotic bass-heavy thumping narrows down shorter and shorter until there is one incredibly quick heartbeat.

SUPERMAN stares into the crowd looking "through" them. The crowd parts as if they know he isn't looking at them until the WOMAN from the receptionist desk is left standing alone. Her face is full of tears and she looks like hell.

Furiously the WOMAN pulls a trigger from her pocket and rips her jacket open showing the bomb. Immediately, SUPERMAN begins to inspect it with his telescopic vision.

MERCY leans into LUTHOR and whispers in his ear.

People begin to scramble from the scene.

People begin to knock each other over fleeing the area. The POLICE are right behind them. People take shelter behind cars and structures.

SUPERMAN is watching her, totally calm.

She presses the trigger and there is an almost inaudible click. She presses repeatedly and nothing. She looks at the trigger and in its place is a sterling silver pen. She clicks it again and the point extends and retracts. She looks down at her mid-section and there is no bomb.

SHASH CUT ACROSS TO:

LUTHOR, SUPERMAN and SERGEANT.

They are confused except for SUPERMAN who no one notices is holding and inspecting the bomb.

SERGEANT does a double take and then inspects it without touching it.

SUPERMAN's irises turn red and three wires burn clean through. He hands it to SERGEANT who just stares at him in amazement.

Two OFFICERS arrest the WOMAN. As she’s being taken away…

She turns with hope in her eyes.

She breaks free of the POLICE and lunges at LUTHOR. Stepping in the way of her charge is MERCY. With a martial arts move that appears to be one fluid motion, she drops her to the ground. POLICE gather her and take her away.

LOIS LANE runs to the scene as SUPERMAN is preparing to leave.

SUPERMAN effortlessly rises and disappears into the afternoon sky.

CUT TO:

EXT. KENT FARM, (SMALLVILLE, KANSAS)- LATE AFTERNOON

A sport utility truck drives up the long dirt road leading to the KENT farm. The modern truck clashes against the 1950s Norman Rockwell-ish landscape. The door opens and out steps LANA LANG (early 30s) carrying a covered dish. She is dressed in a simple shirt and worn jeans with very little makeup.

The screen door opens and out steps MARTHA KENT, the same woman we saw for a moment thirty years earlier. Her hair has grayed and she’s found some wrinkles. She is wearing an apron but there isn't a stain on it.

MARTHA rushes to her side like she’s a long lost child returning home. She kisses her on the cheek and takes the dish.

JONATHAN KENT meets them on the porch.

MARTHA rolls her eyes at him.

JONATHAN looks at his watch.

The sound of their dog barking distracts JONATHAN. He looks by the barn and sees their son, SUPERMAN’s alter-ego, CLARK KENT, playing with the dog. He is dressed in jeans and simple button shirt.

He hugs his father who looks small in his arms. Almost boylike, he approaches Lana.

There is a shared moment between them.

MARTHA whispers to JONATHAN and they leave the two alone for a moment.

CUT TO:

INT. KENT HOME - DINING ROOM

Supper is finished and the table is cluttered with dirty dishes. MARTHA begins collecting dishes.

CLARK gets up and assists. JONATHAN unbuckles his belt and leans back in his chair fully satisfied.

CUT TO:

EXT. KENT FARM - DUSK

CLARK walks out of the house followed by JONATHAN. There is a marvelous Kansas sunset over the flatlands of the farm.

He kisses his father on the forehead. MARTHA comes out of the house with LANA.

He gives her a long hug.

MARTHA and JONATHAN return to the house. CLARK walks LANA very slowly to her truck.

LANA looks at him realizing he doesn't understand.

CLARK reaches over and holds her hand. She smiles and leans in and kisses him.

CLARK has a look of surprise.

LANA shushes him before he can finish.

They both gaze up into the open Kansas sky.

CUT TO:

INT. LEXCORP CONFERENCE ROOM

In the room seated around a large marble table are thirty men from various divisions of the LexCorp empire. One entire wall is a window overlooking a breathtaking view of night-lit Metropolis. The massive seat at the front of the table is empty.

The two giant doors to the room are tossed open and in walks LUTHOR (everyone stands). As always, within arms distance is MERCY, followed by two SECRETARIES. He sits at the front of the table with a SECRETARY on each side. MERCY stands behind him.

VAN HYNING, the Accounting Rep stands and clears his throat.

LUTHOR doesn't look happy with the news and everyone waits for his reaction.

HOLLISTER, the rep from RESEARCH & DEVELOPMENT stands.

LUTHOR stands and begins circling the table in a tiger-like stalk looking for something to kill.

Several attorneys look nervously at each other. LUTHOR points at WYNN, a young man, who returns a "who me" look.

The entire room cringes. LUTHOR looks up with a frightening serene expression.

LUTHOR is staring out over the city.

Everyone exits except MERCY. LUTHOR reaches adjusts his jacket and realizes he's missing his sterling silver pen. He looks at MERCY for an answer and she shrugs her shoulders.

CUT TO:

INT. DAILY PLANET - PERRY WHITE'SOFFICE - 10:45P

LOIS enters PERRY's office waiving a floppy disk.

She drops the disk on his desk.

PERRY holds up another disk.

LOIS doesn't say anything. She fumes until she's built up enough pressure she storms out.

INT. DAILY PLANET CITY ROOM

LOIS drops into her chair, consumed with anger. The clock in the background reads 11:00PM.

Cleaning people come and go along with the occasional worker burning the midnight oil. She never moves but the time does.

The clock DISSOLVES to 8:30am. The office becomes alive with people.

CLARK KENT enters with RON TROUPE and they go to their respective desks. CLARK situates his things, opens the morning paper while LOIS glares at him the whole time.

Across the room RON and JIMMY are listening in.

RON walks off.

CUT TO:

EXT. STREET - DAY - RUSH HOUR

A speeding VAN is weaving DANGEROUSLY through traffic while being pursued by POLICE cars. The VAN loses its pursuers but SWERVES to avoid a civilian, causing the VAN to flip several times landing in the middle of an intersection.

Dazed, three ski-masked THUGS emerge carrying duffel bags of money.

They flee through the streets, past pedestrians and into the subway.

INT. SUBWAY

The THUGS jump the turnstile and FORCE THEMSELVES Into a subway train as the doors shut and it pulls from the platform. Subway patrons scream with terror.

THUG #3 hustles to the front of the car.

The train approaches the next platform without slowing.

The THUGS rejoice in a quick celebration as the train speeds past the platform. On the platform is CLARK KENT next to LOIS LANE (with her cell phone.)

The waiting commuters are confused and start mumbling. In an instant, CLARK peers into the moving train with his telescopic vision sees the THUGS with their hostages.

CLARK takes two steps backwards behind the line of people. His gray hat can be seen above the headline as he moves along the platform in the direction of the train. Between the people, we see a blur that changes from a gray suit to the familiar colorful uniform. He emerges from the other side as SUPERMAN and flies into the tunnel.

He's gone in a blur.

INT. SUBWAY TUNNEL

SUPERMAN speeds through the darkened tunnel, his image is a flicker among the passing subway lights. As he approaches the train he turns sideways (left side down, his front to the train) and squeezes BETWEEN THE TRAIN AND SUBWAY WALL. His face strains as he builds speed and MATCHES the turns without slowing.

INT. SUBWAY CAR

The HOSTAGES in the train are panicked. One HOSTAGE, facing the window, can see a large sideways "S" shield moving past them to the front of the train. HOSTAGE burps a small nervous laugh and another until they quickly build to a frenzy of uncontrolled laughter. The other HOSTAGES fear he's going to get them killed.

SUPERMAN arrives at the front of the train and turns upright flying in a standing position at the door.

SUPERMAN forces his fingers between the doors and tears them open with the sound of twisting metal.

SUPERMAN, hovering two feet above the floor, steps down inside.

EVERYBODY in the train looks at the LAUGHING HOSTAGE with no idea what he's talking about.

THUGS turn to see SUPERMAN. Immediately they point their guns and fire in a rapid succession of bullets. Barely moving, SUPERMAN whips his hands through the air catching dozens of bullets.

THUG #2's gun jams.

THUG #1 runs out of ammunition.

THUG #3 keeps firing and SUPERMAN, still catching bullets walks slowly toward him, reaches out, wraps his fingers around the gun and begins to "crinkle" it causing it to SMOKE AND break apart. Metal chunks clang as they hit the floor. After the last piece falls, SUPERMAN laces his fingers with the THUG's and squeezes causing the THUG to buckle to his knees screaming in pain.

THUG #2's gun unjams and he fires at SUPERMAN's back. SUPERMAN hears the shot and turns. The bullet hits him square in his chest and ricochets…

POV – the bullet: speeds backto THUG #2's forehead. THUG #2 screams and as the bullet closesin on his face, it stops in mid-air.

CAMERA pans out and SUPERMAN is holding the bullet between his thumb and index finger, four inches from THUG #2's forehead. The bullet is wafting smoke.

THUG #2 is whimpering.

He puts the hot bullet in THUG #2's palm and closes his fingers around it.

The train comes to a stop.

EXT. STREETSIDE

There are emergency vehicles and POLICE waiting streetside. SUPERMAN emerges from the subway surrounded by the crowd of people he's rescued.

A little GIRL approaches.

SUPERMAN holds out his hand still full of bullets. He kneels to the girl's level and blows on them. The little GIRL winces at the cold air. When the mist clears, the bullets are incased in ice.

SUPERMAN plucks one from the mounds and hands it to her.

SUPERMAN sets the frozen bullets on the ground and the crowd scrambles for them. SUPERMAN sees LOIS off to the side jotting notes on a tablet furiously.

The GIRL takes the frozen bullet and gleefully shows her parents.

SUPERMAN shakes his hand and winces. FATHER looks at him shocked. LOIS notices.

LOIS opens his hand and his palm is burned. LOIS looks at him with fear in her eyes.

He flies off.

CUT TO:

INT. POLICE STATION

Several COPS are escorting a HUGE LOUD PERP through the bustling station into lockup.

SMALL FEMALE COP (OFFICER WARREN) walks by.

She pulls out a can of mace and sprays him directly in the face. He starts coughs and changes into a laugh.

He repulses her by flicking his tongue. He holds his cuffed hands in the air.

He twists his ham-fists together and strains the small silver chain until it breaks. He holds his free hands in the air.

He picks her up (OFFICER WARREN screams) and tosses her across the room like a discarded toy.

The station goes berserk. POLICE scramble for cover and draw their weapons.

This whole sequence is done without a visual of the STRANGER. He is to be revealed later.

PERP looks down and laughs.

QUICK CUT TO:

EXT. POLICE STATION -- MIDDAY

PERP is thrown through the front double glass doors and lands in the middle of the street. Dazed, he lifts himself to see a TRUCK headed straight for him.

He SCREAMS! The DRIVER slams his breaks and the truck skids.

At the last possible second, a hand presses into the truck grill and stops it. The airbag ignites and explodes on the DRIVER. The front of the car is smashed like it hit a tree.

The Police Station empties into the street. The PERP is mumbling to himself. The STRANGER grabs him by the back of his neck and squeezes. He points him into the direction of the OFFICER WARREN (who is rubbing her neck).

He lets go and PERP falls to the ground.

CLOSE-UP ON PERP'S HANDS as six pair of handcuffs lock around his wrists and he's led back into the station by several COPS with rifles pointed at him.

The STRANGER walks down the street.

CUT TO:

EXT. CITY STREET – DAY

A school bus has a blow-ouT. The DRIVER tries to keep control as it leans and is hit by A TRUCK knocking it on its side.

INT. SCHOOL BUS

The CHILDREN are screaming and crying. The DRIVER staggers to his feet in the overturned bus.

PATRICK pulls the lever but the door doesn't open. He sticks his head out a broken window and sees…

A FREIGHT TRAIN. They have been pushed through traffic onto the tracks.

The CHILDREN begin screaming when something else slams into the bus with a THUD!

EXT. INTERSECTION/TRAIN CROSSING

The bus starts to slide on the pavement through the train intersection. People get out of their cars watching the sight. CAMERA pans around the back of the train revealing STRANGER with his back against the bus PUSHING it over the tracks. The MAN is revealed slightly more than he was in the previous scene.

The bus barely clears the tracks and the train speeds by.

The STRANGER goes to the top of the bus (which is on its side) and with his bare hands tears into the metal roof making an opening for the children to escape.

The DRIVER, the last one out, squints at the sun in his eyes as he looks to his silhouetted benefactor…

And realizes this isn't SUPERMAN.

CUT TO:

EXT. MONORIAL TRACKS

CLOSE UP: There is a short in the magnet track, which showers in sparks.

INT. MONORAIL COCKPIT

Gages begin flashing and the MONORAIL CONDUCTOR frantically tries to regain control. He clicks his radio on.

The monorail barrels through its switch-off.

INT. CITY HALL PRESS ROOM

DEPUTY MAYOR MICHAEL WALKER is behind a podium fielding questions from reporters. Among them is CLARK KENT and JIMMY OLSEN.

CLOSE on CLARK KENT whose attention starts to drift. The DEPUTY MAYOR's voice warbles and with his hearing, he begins to focus on other things. The next lines overlap as if listening to a hundred people talk at once.

The voices get more and more singled out until there is one lone voice.

The sound focuses again on WALKER.

The attention in the room shifts to an empty chair where CLARK was seconds earlier. Nobody saw KENT leave and no one is as surprised as OLSEN.

CUT TO:

INT. CITY HALL PRESS ROOM

CLARK scurries around the corner past employees. An elevator being repaired and the doors are wedged open. Two REPAIRMEN are working on the doors. CLARK moves to the elevator in a blur. Both REPAIRMEN turn away as the blur moves between them and drops down the darkened shaft.

The two REPAIRMEN turn and look at each other and then go about the business.

INT. ELEVATOR SHAFT

CLARK freefalls down the shaft, his body a perfectly rigid form. His tie wisps above his head and his hair flips in the breeze as he plummets several stories. His eyes are closed enjoying the moment. The camera CLOSES IN on his chest.

His hands gently take the edges of his buttoned shirt and TEAR THEM APART REVEALING THE RED AND YELLOW "S" SHIELD ON BLUE THAT FILLS HIS CHEST.

INT. CITY HALL ELEVATOR SHAFT

The Lobby elevator is opened and marked off with "OUT OF ORDER" signs.

SUPERMAN flies out of the shaft and through the lobby. Someone enters and SUPERMAN meets the open door perfectly and flies out.

CUT TO:

EXT. SECOND MONORAIL

A SECOND MONORAIL is unaware another has lost control and not switched tracks. They are heading directly toward each other.

EXT. TRACKS FROM OVERHEAD

SUPERMAN swerves into view and catches up with RUNAWAY MONORAIL.

INT. RUNAWAY MONORAIL

From inside, PASSENGERS look and point at SUPERMAN flying overhead.

EXT. RUNAWAY MONORAIL

SUPERMAN flies in front of the monorail, places himself AGAINST the front car and pushes in an attempt to slow it down in vain. The MONORAIL CONDUCTOR can see SUPERMAN through the window.

The second monorail is gaining. SUPERMAN uses his telescopic vision and can see the other MONORAIL miles away closing in.

CUT TO:

INT. SECOND MONORAIL

CONDUCTOR is on the radio.

He throws a series of switches stopping the monorail. Passengers are thrown about as it halts.

CUT TO:

EXT. RUNAWAY MONORAIL

The RUNAWAY MONORAIL is within immediate distance.

CLOSE on SUPERMAN's face, which is tightened and strained.

The MONORAIL frame begins to cave in making an indention with SUPERMAN at its center.

CLOSE on SUPERMAN's face, which is contorted…

The noise stops.

All is silent.

CAMERA pans back from SUPERMAN's face and reveals a halted MONORAIL with his body pressed against it. He looks like a child in front of a semi compared to the train. CAMERA pans further revealing the SECOND MONORAIL maybe two feet in front of him.

The CONDUCTORS stare at him in disbelief.

CAMERA moves along side the distance of the RUNAWAY showing the relieved passengers through the windows and finally coming to the end of the train revealing the STRANGER holding the back end. From a back window, people inside the train have been watching him.

The STRANGER lets go and steps out onto the platform tired and worn. This is the first time we fully see him in light. His is huge and bald with a goatee and dressed in black. In the distance, SUPERMAN staggers out from the train.

SUPERMAN and the STRANGER's eyes meet. The train doors open and people flood out.

CUT TO:

TELEVISION INTERVIEWS

All taken from witnesses to the day's events and all in different places.

The interviews are part of:

NEWSCAST: ACTION COMMENTS FEATURINGSUPERMAN

The show is a daily broadcast with a special segment every day on SUPERMAN's daily exploits. The logo in the background is made of slanted letters that appear to be flying off the screen.

The host is ANGELA CHEN.

PROFESSOR HAMILTON is a man in his early fifties with glasses; gray hair and a matching beard.

HOST gets a message from her earpiece.

A window appears with a scene of overturned cars on fire and several other wrecked vehicles.

The JERKY CAMERA pans catching METALLO hoisting a THUG in each hand in the air and into the back of a POLICE van.

CAMERA gets closer.

He turns.

Despite his massive intimidating size and almost threatening appearance, METALLO speaks very articulately and is well-mannered. He is a paradox of himself.

Forced laughter from CHEN.

INT. DAILY PLANET

Several staffers are gathered around the wall-mounted television and break up when the LEXAIR commercial starts. In the background, CLARK is at his desk handwriting a letter. LOIS is seated across from him. JIMMY approaches.

LOIS smacks his hand… HARD. CLARK sneezes. LOIS instinctively hands him a box of tissue.

CLARK reaches for the box and LOIS draws it back.

She hands him the box.

CAT GRANT shouts from her desk on the other side of the room.

CAT approaches. CLARK puts his letter in an envelope and hands it to JIMMY.

CAT takes it from JIMMY.

INT. DAILY PLANET LOBBY

A statuesque WOMAN (#2) dressed in a long skirt and conservative blouse enters. Her body is that of an athlete. Her legs are to die for. Her skin's like porcelain and her thick jet black wavy hair cascades down her shoulders to the middle of her back.

She approaches the RECEPTIONIST (#3) who looks up, startled.

A man walks by in the background staring at her.

QUICK CUT TO:

INT. CITY ROOM

QUICK CUT TO:

INT. OPENING HALLWAY - OPENINGELEVATOR

The doors open. Everyone in the elevator is at shoulder height to mystery woman. She exits and they stare. As she walks down the hall and a man carrying a computer monitor sees her, drops it, and it shatters on the floor.

QUICK CUT TO:

INT. CITY ROOM

PERRY WHITE sticks his face out of his office.

CLARK gets up and heads for PERRY's office.

QUICK CUT TO:

INT. DAILY PLANET SECURITY BOOTH

The WOMAN's image is on a wall of monitors. Five GUARDS are watching her. One signals and two more join them.

QUICK CUT TO:

INT. CITY ROOM

They stare at her like she's a madwoman.

She turns and is eye level at the chest of the mystery WOMAN. CAMERA cuts to a FULL SHOT of the both of them and the woman (5'11" wearing four inch heels) towering over the 5'7" LOIS.

The WOMAN speaks in a very distinct accent (similar to Greek). Everyone is speechless.

More staring.

PERRY's door open and he and CLARK exit. CLARK sees his guest.

He hugs her. LOIS stares at them both in disbelief.

WOMAN #2 from here on will be known as DIANA.

CLARK leaves and DIANA sits in his chair. Everyone hovers around her.

CLARK returns.

DIANA gets up and joins him.

CLARK and DIANA exit. PERRY enters in time to see them leaving.

CUT TO:

INT. CLARK'S APARTMENT - NIGHT

The apartment decor is simple. Lots of photos and mementos from home, high school football trophies and journalism awards.

DIANA's looking at the wall of pictures.

DIANA gently runs her finger over the image of PA KENT with envy.

CLARK steps out from the kitchen with a picnic basket.

CUT TO:

EXT. GRASSY PLAINS - NIGHT

CLARK and DIANA are sitting on a large blanket eating by the dim light of a lantern. Although we can't see the background, they seem to be in the middle of nowhere with a starlit sky.

DIANA's face turns serious.

There is a long silence.

The CAMERA pans out and reveals they are sitting in the center of STONEHENGE.

CUT TO:

INT. METROPOLIS NUCLEAR FACILITY- CORE MONITORING STATION

A TECH is seated behind a large panel of gauges, lights and switches. His feet are propped up on another chair and he's leaning backwards in his chair reading copy of NEWSTIME. Several SUPERVISORS walk past the glass booth and one knocks to get his attention.

TECH nods his head in acknowledgment and goes back to his reading.

CAMERA pans behind him and we see the PLAYBOY hidden behind the NEWSTIME.

A siren starts to wail. On the panel, lights flare on and off.

TECH drops the magazines. He pulls two massive books from underneath the desk and flops them open reviewing procedures. The SUPERVISORS burst in immediately taking positions on the board and making phone calls.

Extremely long beat.

CUT TO:

EXT. SUICIDE SLUM - AFTER MIDNIGHT

Suicide Slum Metropolis' only ghetto and bigger than some towns. The buildings are run down tenements with barred windows. The cars are old and decrepit with exception if the occasional gangsta ride that people cross the street to avoid. Unless you can protect yourself, you don't walk here at night.

On a corner, dozens of youths are hanging out when the sirens begin to wail. They echo through the night like air raid sirens from World War II.

One by one, everything stops. Cars stop moving. Music stops playing. People stop talking. People sleeping wake and look out their windows to see the commotion. Everyone already outside walks to the center of the street where they can get a clear view of the nuclear power plant visible in the distance at the edge of the slum.

CUT TO:

INT. CLARK KENT'S APARTMENT

CLARK, shirtless and in sweatpants, is sleeping alone. In the back of his head, he can hear muffled voices. His eyes flutter beneath his closed lids until the voice becomes clear:

CLARK shoots upright and darts into the living room where the CAMERA centers in on a television tuned to Metropolis' 24 hour news network WGBS. The volume is almost inaudible making the ANCHOR appear to be moving her lips without sound. As the CAMERA pans back out, CLARK's pajamas are on the floor where he was standing. In the background there is an open window with curtains waving from the night air.

CUT TO:

EXT. SUICICE SLUM - NIGHT

Panic in the streets as people try to evacuate the area. Cars are gridlocked and the monorails overrun as people force themselves inside pressing the already overcrowded cars tighter. A small RIOT has broken out with people looting while others are trying to escape the slum.

In a blur, SUPERMAN passes overhead straight for the power plant. People stop in their tracks behave themselves reminded there will be consequences for their actions.

INT. POWER PLANT

Employees are fleeing when SUPERMAN flies through the open doors and over the evacuees. He hits the corners at top speed making virtual 90 degree turns.

INT. CORE MONIORING STATION

SUPERMAN appears in a room full of harried MEN in radiation containment suits trying unsuccessfully to control the problem.

INT. NUCLEAR CORE

SUPERMAN enters the core and begins to push the shields into place.

INT. CORE MONITORING STATION

The men are watching his progress on a series of monitors. One of the graphics representing a shield slides into place.

A few more lights go positive on the monitor and one gets halfway into place and stops.

SUPERVISOR #3 panics and hits the panels and nothing changes.

There is a long silence and nothing. Suddenly the monitors show the panels being slid into place.

The men cheer. The computer returns to its normal mode. The disaster averted.

CUT TO:

EXT. SUICIDE SLUM STREET - NIGHT

The sirens stop and people begin to cheer and shout SUPERMAN's name and praises.

CUT TO:

INT. NUCLEAR CORE ENTRANCE

The three MEN rush to the entrance and two of them pull the vault-like door open as a figure steps from the core.

SUPERVISOR stops in mid-sentence. The figure steps into the light and it's METALLO. In his arms is SUPERMAN. His face pale and body limp. His uniform is darkened and tattered.

FADE TO BLACK:

VARIOUS TELECASTS

There is a slow fade in from black with voices becoming clear before the image. The following series of telecasts blend into each other between scenes of them being watched by people worldwide.

A couple watching TV in the morning. The WIFE stops in the middle of making breakfast to listen.

Crowds of people gather in an airport around a television.

Inmates at Blackgate Maximum Security Prison are quiet in the cafeteria…

Generals gathered at the Pentagon watching of massive screens. Astronauts in the space shuttle listen.

A young red-haired woman with glasses in a wheelchair behind a several dozen computer monitors in a state-of-the-art information center.

Children watching televisions in classrooms.

ANGELA CHEN and the other members of the WGBS television station.

GUARDS and DOCTORS at Arkham Asylum.

METROPOLIS MAYOR FRANK BERKOWICZ and DEPUTY MAYOR MICHAEL WALKER.

PERRY WHITE and other members of the DAILY PLANET listen.

LEX LUTHOR in his bedroom with a marvelous view of the city. In the bed is one of his various BIMBOS filing her nails while LUTHOR concentrates on the telecast from wall of televisions which combine making a single image.

MA and PA KENT holding each other's hands, each filled with dread.

SLOW FADE TO BLACK AND THEN SNAP TO:

INT. STAR LABS

PROFESSOR EMIL HAMILTON is barely awake. He's been working non-stop and it's taken its toll on him. In the background is an EKG machine with an extremely slow heartbeat. The pattern skips a beat and catches the next one. The pattern quickens and becomes irregular.

HAMILTON looks up. He grabs the telephone.

CUT TO:

WGBS NEWSCAST

CUT TO:

VARIOUS SHOTS

PEOPLE in the previous scenes REJOICE, as do people worldwide…

Except LUTHOR who fumes while he can hear his employees cheering in the halls.

CUT TO:

INT. STAR LABS

SUPERMAN sits upright and peels the monitoring tabs from his body. HAMILTON rushes to his side.

SUPERMAN gives him a look of surprise and disgust that he failed at the same time.

SUPERMAN staggers across the room and exits. People stare as he exits the elevator, a shadow of his former self, and exits the front door.

EXT. STAR LABS - DAY

SUPERMAN moves across the pavement, lifts his hands in the air and gently rises into the sky. His movements are concentrated and not fluid. He is like someone sick trying to accomplish basic tasks.

CUT TO:

INT. SMALLVILLE, KANSAS - LANALANG'S HOME

LANA is watching the news with her feet curled beneath her and clutching a pillow.

A tap at the balcony window startles her. Outside is SUPERMAN, hovering in the air. He looks much better than he did earlier. LANA tosses balcony window open and leaps out into SUPERMAN's arms with no concern for her safety. He holds her thirty feet above the grassy lawn.

Gently he floats to the balcony and carries her inside.

CUT TO:

MAYORAL TELECAST

Members of the press are gathered. DEPUTY MAYOR MICHAEL WALKER steps up to the podium.

MAYOR FRANK BERKOWICZ takes his place.

Double doors in the back of the conference room swing open and METALLO strides down the aisle to the podium. Cameras barrage him with flashes. He shakes the MAYOR’s hand and steps behind the podium for a few words.

CUT TO:

INT. LANA LANG'S HOME (SMALLVILLEKS)

CLARK and LANA are sitting on the sofa watching the broadcast. CLARK is dressed in his normal clothes sans glasses.

The telephone rings and LANA answers it.

She mouths "It's your mother," to CLARK. He motions not to let her know he's there.

CUT TO:

NEWS BROADCAST "ACTION COMMENTSFEATURING SUPERMAN"

CLOSE on ANGELA CHEN, the host.

The CAMERA snaps to a TWO SHOT putting an insulted LUTHOR in the frame.

S M A S H!

The image, revealed to be on a television, dies. Inside the cracked screen is an empty liquor bottle.

METALLO is on a huge sofa with five scantily clad BIMBOS trying to caress a piece of him. The furnishings in the massive room reek of money. The wall-sized windows overlook the nightlit city. Along the floor are liquor bottles and empty plates where METALLO has been treated like a king.

His demeanor is 180 degrees different than what it was earlier. He is loud, thuggish and belligerent.

BIMBO #1 can be heard in the background ordering a new television.

She nuzzles his neck. BIMBO #2 starts unbuttoning his shirt and kissing his chest. It makes him uncomfortable.

He bucks them both onto the floor.

METALLO stands up and BIMBO #4 hangs on him.

Picks BIMBO #4 up with one hand and tosses her through the air onto a sofa.

METALLO storms from the room. The BIMBOS all get very serious. They aren't as dumb as the pretend and their real purpose is keeping METALLO docile. BIMBO #5 picks up the telephone.

CUT TO:

INT. LEXCORP TELEVISION STUDIO

LUTHOR and ANGELA CHEN are going to commercial.

MAKE-UP people rush the two and touch up the make-up. LUTHOR's cell phone rings. He motions the MAKE-UP people away and answers it.

CUT TO:

INT. BEHIND THE CAMERA

MERCY GRAVES is standing to the side watching the broadcast.

She leaves the room.

CUT TO:

INT. HALLWAY

Four SECURITY GUARDS scramble through the hall to meet METALLO. The elevator door opens revealing the hulking METALLO.

METALLO lifts him and throws him THROUGH THE AIR. He hits the floor and slides into a wall.

He grabs another and lifts him over his head knocking ceiling tiles down with his feet as he turns and drops him.

He takes another and pushes him into a wall denting the plaster rendering him unconscious. His limp body hangs in the broken plaster for a few seconds and drops.

The last GUARD draws his gun and fires into METALLO's back. METALLO turns. The GUARD fires Repeatedly.

METALLO pushes him aside and he slides across the tiles and stops at the feet of MERCY GRAVES.

METALLO walks over the bodies to pass MERCY. She raises her hand for him to halt.

His hulking mass makes her look even smaller than she is. There is fury in METALLO's eyes and no fear in MERCY's.

MERCY calmly reaches into her pocket, retrieves a small remote control with one button.

She shows it to METALLO, and then presses the button.

METALLO lets out a quick scream and is silenced. He doubles over and drops to his knees in excruciating pain.

LUTHOR's voice is heard through her earpiece.

CUT TO:

INT. LEXCORP PENTHOUSE - METALLO'SQUARTERS

METALLO is seated in a large metal chair with thick, modified manacles on his wrists and ankles. He's immobile except from the neck up. His face strains as he tries to break free.

The doors are tossed open and LUTHOR saunters to the bar and makes himself a drink.

LUTHOR walks over and taps the manacles with a new sterling silver pen.

LUTHOR turns to leave.

No answer.

METALLO nods. LUTHOR has the remote MERCY had earlier and switches him "on." METALLO stands and breaks free of the manacles that drop to the floor with a metallic clang.

LUTHOR turns before exiting.

LUTHOR leaves. METALLO, furious, picks up the metal chair and tears it in half.

FADE TO BLACK:

INT. METALLO'S PENTHOUSE

TIME LAPSE: METALLO paces the room pondering his situation.

METALLO exits.

CUT TO:

INT. HALLWAY

METALLO walks the halls with a mission. People cross to get out of his way.

CUT TO:

INT. LEXCORP COMMUNICATIONS CENTER

The door slides open and METALLO enters. The room is covered with wall-to-wall state-of-the-art technology. There are several TECHS wandering about manning their stations. One sees METALLO and approaches him.

METALLO pushes a TECH out of the way, RIPS A 25" MONITOR FROM THE WALL and lifts it over his head showering him in sparks. All the TECHS scramble for safety.

Some TECHS in his way run for cover. METALLO throws the monitor and destroys a panel of computer banks.

He begins to trash the room ripping components from the walls and flipping work stations over. Fires flare and components explode.

A TECH, cowering behind some equipment, reaches out and presses a button.

CUT TO:

INT. LEXCORP SECURITY

A SIREN wails accompanied by FLASHING RED LIGHTS. SECURITY MEN scramble for the COMMUNICATION CENTER.

INT. HALLWAY

The SECURITY TEAM passes several intersecting hallways. MERCY GRAVES comes out of one and joins them.

METALLO rounds a corner to find MERCY and her men waiting for him. She is in the forefront. The TEAM is kneeling with rifles. MERCY is holding out his remote.

He pauses.

She presses the button.

METALLO is still standing. She presses the button again. Nothing. A look of fear sweeps over her face as METALLO gently takes the box from her hands and crushes it in his fist.

He lifts MERCY and tosses her.

The SECURITY TEAM opens fire riddling METALLO with bullets. METALLO charges them.

SNAP CUT TO:

INT. LUTHOR'S PENTHOUSE

LUTHOR is in bed with another anonymous BIMBO when the videophone rings. Annoyed, he sits and answers it.

CUT TO:

INT. LEXCORP LOBBY

LUTHOR enters what looks like a battlezone. The walls are on fire and riddled with bulletholes. There is a LEXCORP MEDICAL TEAM attending to the wounded.

Furiously, LUTHOR looks for someone to blame.

SECURITY GUARD points OFF CAMERA and LUTHOR turns as the CAMERA pans revealing a door-sized hole in the wall.

CUT TO:

EXT. JUMPERS BRIDGE - NIGHT

JUMPERS BRIDGE is the entrance to SUICIDE SLUM. METALLO walks across the desolate bridge, occasionally being passed by vehicles.

EXT. SUICIDE SLUM MAIN STREET –NIGHT

Despite the hour, there are people, drug dealers, gangs and hookers wandering the streets. He walks into the center of the main strip. Traffic stops around him and comes screeching to a halt. Horns start to blare and people become irate that he refuses to move. A crowd starts to gather.

A car screeches to a halt barely missing him.

METALLO reaches under the front end of the car and flips it over landing it on its top.

People are too frightened to move but the noise stops.

His voice, which starts as a low roar and escalates without effort.

CUT TO:

EXT. SMALLVILLE GENERAL MARKET(6AM)

CLARK is getting groceries. The market owner, METCALF, spots CLARK behind the shelves.

Excitedly, he comes around the counter and shakes his hand.

CLARK hands him some money and METCALF gives him change.

EXT. GENERAL STORE - DAWN

CLARK exits and LANA is in her truck listening to the radio, singing and tapping the steering wheel like drums. He gets in the passenger side.

CUT TO:

EXT. APPROACHING LANA'S HOUSE -MORNING

On the radio are SONNY & CHER. LANA is singing along. CLARKmuch more shy.

LANA laughs.

The car pulls into her driveway. CLARK carries the groceries inside as LANA is still humming the song.

CUT TO:

INT. LANA'S KITCHEN

CLARK puts the groceries up while LANA turns on the television. Her humming stops. Without being called, CLARK comes out of the kitchen.

On the television is a LIVE broadcast of Metropolis where a city block has been devastated. Behind the reporter are barricades and what looks like hundreds of POLICE in riot gear swarming into the area. In the center of it all is METALLO.

LANA changes the channel and the same scene is shown from a helicopter POV.

She changes the channel again.

Another channel.

Another channel.

The CAMERA is close on CLARK's stunned face and then pans forward revealing LANA looking at him.

CLARK leans in, LANA closes her eyes and he gives her a long passionate kiss.

While her eyes are closed, there is a burst of wind through the house that rattles the walls. She opens her eyes to see pictures shifting on their nails and the front door flung wide open flapping on its hinges.

She runs to the front lawn and looks skyward and he's gone. CLARK's POV: On her lawn, she looks tiny.

CUT TO:

INT. LEXCORP COMMUNICATIONS CENTER

The center is in shambles after the METALLO incident. LUTHOR enters and a TECH is immediately at his side.

LUTHOR walks away.

CUT TO:

EXT. SUICIDE SLUM STREET –DAWN

Concrete chunks have been torn out of the street. Cars are over turned on their sides and on fire along with various other debris. Holes have been punched through buildings leaving their insides visible from the street. Scattered along the streets are the bodies of fallen POLICE OFFICERS and CITIZENS who got in the way.

Among it all is METALLO. Barely worn and in a frenzy.

INT. SUBWAY BENEATH SUICIDE SLUM

PEOPLE crush into the subway trying to escape the escalating damage above them. Fighting their way through the mass of PEOPLE are LOIS LANE with JIMMY OLSEN in tow. They are the only people fighting to get in SUICIDE SLUM.

LOIS pauses. She's never considered that.

They force their way through the masses.

EXT. STREETSIDE

LOIS and JIMMY emerge onto the street and find themselves in the middle of a firefight.

LOIS ducks while JIMMY's starts clicking away.

The METROPOLIS SPECIAL CRIMES UNIT (SCU) arrives.

Six HUMVEE-like RIOT VEHICLES roll onto the site. They have thick armor plates that extend the length of the vehicle attached their sides with hydraulic arms. Three barricade one side of the block and the other three the opposing side. The hydraulic arms lower the armored plates to the ground with a thud. A back door drops open forming a ramp and simultaneously SCU TROOPERS hustle from the transports and take cover behind the plates. The TROOPERS are dressed in SWAT/Military black uniforms with a large white "SCU" insignia and various technical modifications (radios, helmets, goggles).

Leading them is SCU Commander CAPTAIN MAGGIE SAWYER along with DAN TURPIN (her second in command). They are also dressed in black fatigues. SAWYER has short brown hair and a lack of femininity. TURPIN is a gruff, seasoned veteran of the force in his late 40s.

OVERHEAD, BLACK METROPOLIS SCU HELICOPTERS fly overhead and hover above the tenements as SCU TROOPERS repel to the rooftops. With their weapons strapped to their backs, they scurry into positions overlooking the street.

METALLO looks around him and holds his arms out.

METALLO picks up a motorcycle and hurls it through the air at SAWYER.

TROOPERS scatter for their lives. The cycle crashes into a RIOT VEHICLE and EXPLODES.

TROOPERS pop up from behind their cover and begin a nonstop barrage of bullet fire that doesn't phase him. He starts smiling.

Several grenades are thrown and explode around him. He catches one and it explodes in his fist. METALLO walks to the barricade. TROOPERS fire furiously at him as he grabs one and lifts him over the four foot barricade, tossing the TROOPER into the middle of the street. METALLO pushes the barricade over and several TROOPERS run but one is caught under its falling weight.

FIRE TROOPER comes with a flame thrower.

METALLO turns as the fire blast engulfs him. The sixty foot blast makes visibility almost zero. METALLO appears through the flames and crimps the flame thrower nozzle causing the fire to draw inside. The fuel tank on FIRE TROOPER’s back explodes, killing him.

When METALLO emerges from the fire his flesh is burned but is causing him no pain. Parts of it don't even look attached to his face.

WEAPONS ERUPT from all directions. METALLO picks up a rifle and starts shooting TROOOPERS. When his clip is empty, he starts tossing MEN with reckless abandon.

Rooftop SNIPERS, frustrated, toss their guns to the side and open their ROCKET LAUNCHERS. ROCKETS whistle through the air exploding near METALLO knocking him off balance. When he falls, the TROOPERS are given hope and suddenly what seems like dozens of rockets are exploding around him.

A rocket zooms directly at the back of his head and he turns and CATCHES IT. The end is hot and there's a long exhaust trail. He holds it over his head and screams. The exhaust flame stops. METALLO hurls the rocket back to the rooftop it came from and it explodes at the top of the building front causing it to break off. Huge chunks of concrete. TROOPERS at the building edge fall several stories to their deaths.

LOIS and JIMMY are hiding and taking pictures when JIMMY is hit with a stray bullet. He hits a wall and is knocked unconscious.

Frantically, LOIS tries to wake him but can’t.

She calls out on her cell phone.

CUT TO:

INT. DAILY PLANET

PERRY WHITE is huddled around a television watching the destruction. A phone rings and RON TROUPE answers it.

CUT TO:

EXT. SUICIDE SLUM - DAY

SAWYER gets a transmission on her radio.

TURPIN gets his gear.

TROOPERS pop up and start firing at METALLO as TURPIN runs into the block. Distracted, TURPIN finds LOIS and JIMMY.

TURPIN tosses JIMMY across his shoulder.

He gives LOIS his rifle and takes his handgun out.

TURPIN gives her a surprised look.

LOIS takes the handgun and gives him his rifle back.

They charge out into the open running for the barricade. TURPIN's in the lead when METALLO turns. LOIS stops and starts firing.

TURPIN makes it to safety. METALLO closes in on LOIS and lifts her into the air and disarms her.

He lowers her so they're face to face. Her feet are still dangling over a foot off the ground.

LOIS spits in his face.

There is a tapping on METALLO’s shoulder.

Surprised, he turns.

Behind him is SUPERMAN.

SUPERMAN belts METALLO in the face and he drops LOIS to the street. METALLO is first shocked and then angry.

LOIS runs to the TROOPERS who are standing by.

METALLO charges and grabs SUPERMAN. SUPERMAN spins and using his own momentum tosses METALLO across the street into a wall. METALLO pushes himself out leaving an indentation.

METALLO rips a lightpole from the pavement and swings at SUPERMAN's whose irises turn from blue to red and a thin beam of light sears the end of the pole off. It falls to the ground with a thud.

METALLO jabs the shortened pole at SUPERMAN and hits him in the stomach doubling him over. SUPERMAN, angry, straightens and grabs METALLO and begins punching him about the face. He lifts him over his head and throws him through a building leaving a gaping hole.

In the background, the SCU UNIT cheers. Only SUPERMAN hears the punch through brick in the distance.

He turns and with his telescopic vision he zooms in on the building corner and again until he sees where an arm is extended through the brick wall. The fist starts to move horizontally very quickly tearing brick from the building. The building begins to creak as the front, without lower support, starts to shift.

THE BUILDING SIDE collapses on superman exposing the interior of the tenement. Clouds of dust are thrown into the air. The SCU UNIT takes cover coughing. SUPERMAN is buried beneath the rubble.

The dust clears and METALLO steps from inside over the rubble. He leers at the SCU UNIT.

A HUM THAT SOUNDS LIKE MASSIVE DRILLING NOISE ERUPTS FROM BENEATH THE PAVEMENT.

SUPERMAN bursts UPWARD IN A WHIRLWIND OF MOTION sending bricks and rubble airborne. He picks METALLO up with one hand on his shoulder, the other on his leg and lifts him over his head and slams him to the ground.

METALLO gets up and charges SUPERMAN tackling him to the ground, through the pavement and into the sewer.

INT. SEWER

Waist high in water, METALLO stands. SUPERMAN, hovering above the water, blows with his freezing breath turning the sewer water to ice with the moisture on the walls.

SUPERMAN begins to look visibly weak. METALLO laughs.

METALLO punches and shatters the ice freeing himself. SUPERMAN flies upward out of the sewer. METALLO climbs out after him.

CUT TO:

INT. STAR LABS

PROFESSOR EMIL HAMILTON is processing data of a computer. In the background are several monitors tuned to broadcasts of the battle.

The computer stops and HAMILTON has his answer. He prints the results, grabs his coat and cell phone and rushes out the door.

CUT TO:

EXT. SUICIDE SLUM

MAGGIE SAWYER is on her radio.

In the background, SUPERMAN is getting the hell beat out of him.

SUPERMAN moves from METALLO's path and fires his HEAT VISION at him. METALLO blocks the beam with his hand causing it to burn bright red.

His hand starts to smoke and his "skin" burns off.

The flames die exposing METALLO's forearm and hand As a highly advanced metal skeleton hand with gears and joints. VARIOUS PARTS OF HIM HAVE BEEN EXPOSED REVEALING A MECHANICAL ROBOT INTERIOR.

METALLO opens his tattered shirt exposing his metallic chest. A series of layers opens and SUPERMAN is basked in a bright green light. Inside METALLO's chest cavity is a jagged softball-sized chunk of KRYPTONITE, SUPERMAN's only weakness. The KRYPTONITE is surrounded by small solar cells absorbing it's energy and powering METALLO.

A HORN BLARES.

METALLO turns to get hit by an SCU RIOT VEHICLE and pushed into building pinning him. A SECOND RIOT VEHICLE drives over SUPERMAN.

INT. RIOT VEHICLE

Inside, SAWYER and TURPIN open a hatch in the floor while TROOPERS stand by with pointed rifles. They pull SUPERMAN up through the hatch and TURPIN slams it shut.

The VEHICLE speeds off. In the background, METALLO can be seen pushing the other RIOT VEHICLE on its side.

CUT TO:

INT. MAYOR'S OFFICE

MAYOR BERKOWICZ is with his EMERGENCY COUNCIL when the telephone rings. DEPUTY MAYOR WALKER answers it.

BERKOWICZ has brief, unintelligible conversation.

NEWSCAST

An ANCHOR is reporting from a circling NEWS COPTER.

CUT TO:

EXT. SIDEWALK

Dozens of people are standing in the streets watching the newscast from a massive TIME SQUARE-LIKE JUMBOVISION.

It starts like a distant hum and quickly grows into a patterned thumping.

Three APACHE HELICOPTERS thunder overhead speeding to the battle. PEOPLE in the street point overhead as the copters fly past.

CUT TO:

INT. HELICOPTER COCKPIT

HELICOPTERS maneuver between buildings.

CUT TO:

INT. LEXCORP COMMUNICATIONS CENTER

LUTHOR is observing the TECHS scrambling to get the system online.

A series of monitors comes online.

MERCY steps forward wearing a neck brace.

CUT TO:

EXT. LEXCORP ROOFTOP

A large hangar-like door opens and twelve silhouettes of the LEXFLIGHT TEAM are visible.

Four men run into the light wearing PURPLE and GREEN ARMOR (armed with large rifles magnetically attached to their backs). They clear the building and JETS on their backs and feet IGNITE as they lift off into the air. As the first four, another two waves follow flying past the CAMERA stationed high above the LEXCORP building.

CUT TO:

EXT. STREETSIDE (SWAN & 143RD)- DAY

Two RIOT VEHICLES stop at a curb where PROFESSOR HAMILTON is waiting in a STAR LAB van. He immediately opens the back door, drops a ramp and rolls out a large metal box.

The RIOT VEHICLES door drops and several TROOPERS, SAWYER, TURPIN and SUPERMAN exit. SUPERMAN is already looking better than he was moments ago, although visibly irritated.

HAMILTON takes a map of Metropolis and spreads it out over the box.

CUT TO:

EXT. SUICIDE SLUM - DAY

LEXFLIGHT TEAM swoops in over METALLO.

The twelve land forming a circle.

Nothing.

The LEXFLIGHT SQUAD opens firing. Their rifle shells create huge explosions, trapping METALLO in the center.

EXTREME CLOSE ON METALLO EYES TURNING GREEN.

CUT TO:

INT. LEXCORP COMMUNICATIONS CENTER

The monitors telecasting METALLO destroying the LEXFLIGHT team. Bodies are hurled through the air.

CUT TO:

EXT. SUICIDE SLUM - DAY

METALLO walks through the LEXFLIGHT TEAM’s wasted efforts and tears them out of their suits and disarms them.

APACHE HELICOPTERS arrive.

METALLO picks up a fallen LEXFLIGHT MEMBER and tears the rifle from his back and drops his limp body.

He fires at the HELICOPTER and it EXPLODES.

He aims the rifle at another APACHE. Anticipating the blast they swerve and APACHE #2 collideS with APACHE #3 and they crash into a rooftop.

EXTREME CLOSE on METALLO’s face as his body jerks and he screams in pain and his expression goes dead. CAMERA PULLS BACK revealing a gloved hand that has punched through his CHEST and wrapped around his exposed KRYPTONITE HEART tearing it from his body.

SUPERMAN, wearing a gray and white containment suit, leans over his shoulder and whispers in his ear.

SUPERMAN draws back and tears the kryptonite from his chest, hurling it several blocks into the river beneath JUMPERS BRIDGE.

METALLO is terrified.

SUPERMAN tosses him and he rolls along the street. METALLO stands and leaps over a car, catching the side of the roof with his hand and flipping it over on its side using it for cover.

SUPERMAN marches toward the car. Using his heat vision he sears off both sides of the car leaving METALLO with little cover.

His heat vision has melted the mask of his containment uniform. He tears the uniform from his body exposing the familiar "S" shield and uniform.

METALLO realizes he’s backed himself in a corner. SUPERMAN fires his heat vision piercing the fuel tank causing the car to EXPLODE. FLAMES ENGULF METALLO.

SUPERMAN reaches into the flames and grabs METALLO and flies skyward, punching him in the face. METALLO can't defend himself. He struggles until he breaks free and falls back to Earth.

He crashes through the roof of the power plant.

SUPERMAN lands and starts to walk towards the plant. The front door of the plant is kicked off its hinges and standing in the doorway is METALLO looking very insane.

SUPERMAN zooms in with his telescopic vision and punctured through METALLO’s chest are SEVERAL URANIUM RODS from the reactor core.

METALLO and SUPERMAN both let loose an ear-splitting battle cry and charge each other. They collide with the sound of thunder.

METALLO picks SUPERMAN up and slams him into the ground repeatedly cracking the pavement.

SUPERMAN makes contact with METALLO who catches him, slamming him into the pavement. METALLO picks SUPERMAN up and tosses him across the parking lot. SUPERMAN stands and is hit by a car flung at him, knocking him down again.

METALLO picks up the dazed SUPERMAN and tosses him into the back of a trash truck, walks around the side and throws the switch. As the compactor closes, the truck ROCKS BACK AND FORTH and topples over on METALLO pinning him underneath.

SUPERMAN tears through the roof of the truck, lifts the corner where METALLO is pinned and slams it down on him repeatedly.

SUPERMAN pulls METALLO from under the truck, stands him upright and kicks him across the street into the remains of the LEXFLIGHT battle. METALLO grabs a LEXFLIGHT rifle and fires on SUPERMAN.

METALLO’s face is filled with a wicked satisfaction and perverse pleasure as he fires on SUPERMAN.

SUPERMAN is knocked down from his feet. Somewhere in the background LOIS witnesses it and screams.

She tries to charge past the SCU to help him but is restricted.

Slowly, SUPERMAN gets to his feet.

METALLO fires again. SUPERMAN is slowed down but doesn't fall.

He fires again. SUPERMAN keeps moving toward him. METALLO fires in a frenzy OF gunfire. His face begins to lose its look of confidence and is quickly replaced with fear.

A quiet mechanical voice can barely be heard coming from the LEXGUN.

A level on the LEXGUN shows the weapon's energy waning.

Blast after blast, SUPERMAN won't stop until METALLO squeezes the trigger and there’s nothing.

METALLO squeezes the trigger in disbelief and it clicks.

METALLO SCREAMS a war cry, SWINGS the LEXGUN at SUPERMAN clocking him square in the jaw.

SUPERMAN doesn't flinch.

METALLO hits him repeatedly with no effect. He swings again and SUPERMAN catches his fist and they lock. METALLO lifts his other hand to strike him as SUPERMAN's HEAT VISION creates a wide beam that METALLO’s fist crosses and incinerates up to the elbow.

SHOCKED, METALLO stares at what used to be his arm. SUPERMAN TEARS his other arm, still gripping the LEXGUN, off at the shoulder and strikes him across the face repeatedly.

The more SUPERMAN hits him, the more METALLO's loses his artificial skin revealing the chrome metal cyborg beneath it. Furious, SUPERMAN appears to be losing control with the madman.

They both look at the gun and SUPERMAN points it (with METALLO's arm still attached) and FIRES blasting him through the air, dropping his charred smoking carcass to the ground.

His body is a complex chrome robot with a transparent shielding in the skull showing a human brain.

SUPERMAN stops. METALLO's eyes, a bright luminescent green, fade to black. SUPERMAN is out of breath and wobbles away from the chrome cyborg left among the rubble.

CUT TO:

INT. LEXCORP COMMUNICATION CENTER

LUTHOR is standing proud among the nervous TECHS. The monitors are all lit and the system is operational.

CUT TO:

EXT. SUICIDE SLUM - DAY

HAMILTON, SAWYER and TURPIN to come SUPERMAN's aid.

HAMILTON checks the cyborg with some equipment.

SAWYER gets a call on her radio.

CUT TO:

EXT. LEXCORP - DAY

MAYOR BERKOWICZ is waiting in his car. SUPERMAN lands carrying an empty LEXFLIGHT SUIT.

Neither says a word as they enter the building.

INT. LEXCORP

SECURITY sees them coming.

SUPERMAN, his clothes torn and him beaten, gives a look. The GUARD backs down.

They get into the elevator.

INT. LUTHOR'S OFFICE

SUPERMAN and the MAYOR exit the elevator and pass a SECRETARY on the telephone.

They walk past her and SUPERMAN throws the massive doors open.

Inside, LUTHOR is seated behind his giant desk in a virtually empty room.

BERKOWICZ charges LUTHOR and SUPERMAN stops him.

LUTHOR goes behind his desk and comfortably eases into his chair.

There is a very long silence.

LUTHOR has an expression few people see.

Shock.

CUT TO BLACK:

BLACK SCREEN

FADE IN

IMAGE OF LUTHOR STANDING AGAINSTA WALL.

LUTHOR looks up. LUTHOR's tie is undone and he’s fuming with anger. In front of him is a plate with: "LUTHOR, ALEXANDER L 1591418017."

A CAMERA FLASHES.

LUTHOR turns and the CAMERA FLASHES again.

INT. POLICE STATION

LUTHOR is getting fingerprinted.

COPS in the background start snickering.

INT. HOLDING CELL

LUTHOR is placed into the holding tank with the other riff raff.

CUT TO:

EXT. POLICE STATION - EVENING

LUTHOR is met by MERCY. They exit the station swarmed by reporters. LOIS LANE is among them.

CUT TO:

INT. LEXCORP - LUTHOR'S OFFICE

LUTHOR enters and gets himself a drink. As he walks past the window, SUPERMAN is floating outside waiting for him with his arms folded.

LUTHOR takes a remote control from the desk and opens the window.

SUPERMAN says nothing.

Arms folded, SUPERMAN's expression is stern blankness.

SUPERMAN flies straight up. LUTHOR looks out the window and he’s gone.

When he's gone, LUTHOR reaches inside his jacket and beneath his shirt and retrieves a small pager size box. On the front is a pulsing light. He presses the intercom.

CUT TO:

EXT. LOIS' APARTMENT - NIGHT

SUPERMAN flies by her apartment window. Inside, she's on the telephone with her sister LUCY. Her arm is in a sling.

He notices an envelope pinned under the window with his name on it. He opens it and it reads:

He smiles, folds the letter neatly and takes off. LOIS sees something in the corner of her eye and runs to the window. Like a schoolgirl with a crush, she smiles.

CUT TO:

INT. UNKNOWN COMPUTER CENTER

The redheaded WOMAN seen very briefly earlier is behind her computer data center. On the monitors are images of METALLO/JOHN CORBEN with reports and articles with CIA/INTERPOL markings.

The REDHEAD's face is barely seen although we can tell she's wearing glasses and seated in a wheelchair. She types ACHEN@WGBSNET.COM and presses ENTER. Her mail has been sent.

CUT TO:

EXT. KANSAS COUNTRYSIDE - DUSK

CAMERA passes slowly overhead of the beautiful farmland with newscaster ANGELA CHEN's following voice-over.

EXT. SMALLVILLE KS, KENT FARM -SUNSET

JONATHAN and MARTHA KENT are standing in a field overlooking their farm. In the distance is an incredibly vibrant sunset. In the background is their house.

JONATHAN's arm is around MARTHA. CLARK walks up from behind them. Silent, he enjoys the view.

They aren't startled. They were expecting him.

CLARK puts his arm around them.

CAMERA PANS OUT ENDING ON THEIR SILHOUETTES AND THE SUNSET AND THEN A SLOW FADE TO BLACK.

CREDITS ROLL.

 

 

 

 

 

 

 

CREDITS END.

CUT TO:

AFTER CREDIT SEQUENCE.

INT. LEXCORP RESEARCH LAB

Several SCIENTISTS are working on various projects. LUTHOR enters and approaches the lead scientist, DR WENG.

WENG leads LUTHOR to a glass tube filled with liquid. Inside is what's left of METALLO being kept alive.

LUTHOR shakes his hand and leaves. As he is leaving he turns:

LUTHOR leaves.

CUT TO BLACK:

TITLES ON BLACK:

THE MAN OF STEEL will return in

SUPERMAN: THE MAN OF TOMORROW

Featuring BIZARRO.

THE END