Movies
Transcript of "Superman: The Movie" (Special Edition)
Transcript by Starway Man (theop@kew.hotkey.net.au)TRANSCRIBER NOTES: The following is not a novelization or an actual script but a transcript of the movie that includes dialogues, settings descriptions, action scenes and/or camera movements where the transcriber felt they were necessary.
DISCLAIMER: Superman and all related characters are trademarks of DC COMICS. This transcript was made without their permission, approval, authorization or endorsement. Any reproduction, duplication, distribution or display of this material in any form or by any means is expressly prohibited. It is absolutely forbidden to use it for commercial gain; this work is for entertainment and educational purposes only. No copy infringement is intended and no profit will be made by the transcriber. The responsibility for any errors, whether of omission or commission, remains entirely my own.
Director: Richard Donner
Producer: Alexander Salkind
Story by: Mario Puzo
Screenplay by: Mario Puzo, David Newman, Leslie Newman, and Robert Benton
Creative Consultant: Tom Mankiewicz
A WARNER BROS. Movie © 1978, 2001 based on the characters created by Jerry Siegel and Joe Shuster
FADE INTITLE CARD: This movie is dedicated with love and respect to GEOFFREY UNSWORTH, O.B.E.
INT. MOVIE THEATRE
The scene is dark, as the curtains draw back. The black screen shows: JUNE 1938
An ACTION COMICS comic book appears as a BLACK AND WHITE movie begins, with a hand that opens the comic book up and begins to FLIP through it.
LITTLE GIRL NARRATOR (V.O.)
In the decades of the 1930s, even the great city of METROPOLIS was not spared the ravages of the world-wide DEPRESSION. And at times of fear and confusion, the job of informing the public was the responsibility of the DAILY PLANET.
INT. - ANGLE on DAILY PLANET WITHIN THE COMIC BOOK
LITTLE GIRL NARRATOR (V.O.)
(reads from the text within)
A great metropolitan newspaper, whose reputation for clarity and truth...
CAMERA LOOKS DOWN on the Daily Planet Globe comic panel, which starts to BLUR.
LITTLE GIRL NARRATOR (V.O.)
(starts to echo)
...had become a symbol of hope for the city of METROPOLIS...
EXT. THE DAILY PLANET GLOBE - NIGHT
BLACK AND WHITE scene. CAMERA PANS forward to the GLOBE that has the rotating 'DAILY PLANET' sign around it. CAMERA then TILTS toward the star-filled sky and the full moon, and TAKES OFF.
CUE SUPERMAN THE MOVIE CREDITS
EXT. SPACE
CAMERA SPEEDS through outer space.
EXT. SPACE NEAR KRYPTON
A miniscule RED DOT appears, growing larger, spreading evenly into a BLAZING RED SUN, which fills the SCREEN. Then we pass down through space and go past its south pole, and see what is beyond the RED SUN - the planet KRYPTON. A BLUE MARBLE that slowly appears to have patches of white, as the CAMERA continues FORWARD and DOWN.
As the CAMERA CONTINUES toward KRYPTON, we see white crystalline structures amidst the white surface of the planet. CAMERA HOLDS, LOOKING DOWN at the city of Kryptonopolis. There are other cities visible in the distance, and a crater as well.
EXT. KRYPTONOPOLIS - DAY
CAMERA PANS across the white, prismatic mountains of the city.
As we get CLOSER we see Kryptonopolis is constructed of pure white crystalline matter. We see spires at a severe angle, the CAMERA TRACKS across futuristic glass buildings, tunnels, and other structures, finally heading towards a specific white dome. The CAMERA CLOSES IN on the domed roof of the building:
JOR-EL (O.S.)
This is no fantasy. No careless product of wild imagination.
Now DISSOLVES THROUGH:
INT. TRIAL CHAMBER - DAY
A giant FACE on a wall fills the SCREEN. The figure of JOR-EL, dressed in black, can be seen with his back to us.
JOR-EL
No, my good friends.
JOR-EL turns around, so that his features are now visible. He has a handsome, intelligent face along with distinguished WHITE HAIR.
JOR-EL
These indictments (holding a transparent crystalline wand whose tip lights up and GLOWS) that I have brought you today. (GLOWING ends) Specific charges listed herein against the individuals. (He holds up the wand horizontally in both hands as he walks) Their acts of treason, their ultimate aim of sedition. (pause) These...are matters of undeniable fact.
The figure of JOR-EL fills the SCREEN as he points his wand. His House crest can be seen on his chest. The CAMERA shows on the wall the giant FACES of the COUNCIL OF ELDERS who watch the proceedings in judgement, presumably from some other location.
WIDE ANGLE - TRIAL CHAMBER
A circular white column of light is in the midst of the chamber. Trapped inside, thanks to two black ROTATING HOOPS, are THREE FIGURES dressed in black. JOR-EL circles the edge of the column of light, with the GIANT FACES of the ELDERS in the B.G.
JOR-EL
I ask you now to pronounce judgement on those accused...
(gestures to the THREE FIGURES, and starts to walk around)
On this...this mindless aberration...
CLOSE ON NON
The tall, bearded face of NON peers through the light at JOR-EL.
JOR-EL'S VOICE
...whose only means of expression are wanton violence and destruction. (pause) On the woman, URSA...
CLOSE ON URSA
A short brunette woman wearing red lipstick. Silent, she stares back at JOR-EL with what appears to be contempt.
JOR-EL'S VOICE...
...whose perversions and unreasoning hatred of all mankind...
CAMERA switches back to JOR-EL
JOR-EL
...have threatened even the children of the planet Krypton...
JOR-EL walks around to face GENERAL ZOD, a short man staring at the floor with a Van Dyke beard; he briefly looks up and faces his jailer as JOR-EL starts to speak, as the CAMERA PANS toward him.
JOR-EL
Finally, General Zod. Once trusted by this Council, charged with maintaining the defense of the planet Krypton itself. Chief architect of this intended revolution and author of this insidious plot to establish a new order amongst us. With himself as absolute ruler.
GENERAL ZOD glances at JOR-EL. The huge FACES of the COUNCIL OF ELDERS peer down from the wall as JOR-EL finishes.
JOR-EL
You have heard the evidence. The decision of the Council will now be heard.
Silence. CAMERA PANS UP to the faces. The FIRST ELDER pauses momentarily.
FIRST ELDER
Guilty.
CLOSE-UP OF GENERAL ZOD'S EYES
OTHERS ELDERS' VOICES
(in rapid succession)
Guilty.
INT. TRIAL CHAMBER - DAY
The last ELDER votes "guilty" and the wall becomes a black void. All that is left are JOR-EL, and the PRISONERS within the white light and the black ROTATING HOOPS.
TIGHT ANGLE ON GENERAL ZOD
ZOD
(cold stare)
The vote must be unanimous, Jor-El. It has therefore now become your decision.
(JOR-EL stares blankly)
ZOD
You alone will condemn us if you wish. And you alone will be held responsible by me.
JOR-EL stares, then the crystal wand's tip GLOWS. CAMERA transfers onto the eyes of NON, URSA and ZOD in quick succession. CAMERA then focuses back on JOR-EL.
ZOD
Join us.
The crystal wand tip stops glowing, and without expression JOR-EL turns away and starts to leave.
ZOD
You have been known to disagree with the Council before. Yours could become an important voice in the new order, second only to my own! I offer you a chance for greatness, Jor-El! Take it! Join us!
JOR-EL continues to walk towards the CAMERA, his back to the PRISONERS. ZOD's face twists with rage.
ZOD
You *will* bow down before me, Jor-El. I swear it! No matter that it takes an eternity...
INT. TRIAL CHAMBER - DAY
The VILLAINS are alone in the trial chamber.
ZOD
(rants with a look of pain as well as rage on his face)
You *will* bow down before me!
CLOSE-UP ON ZOD
ZOD
Both you, and then one day, your heirs!!!
INT. TRIAL CHAMBER - DAY
The VILLAINS look up, concerned. The domed roof of the building cracks open, and starts to swivel back. We see the column of light is on a round black platform within the TRIAL CHAMBER. The VILLAINS now look even more concerned, as the white column of light extends into the sky as the dome eventually stops moving.
EXT. HIGH ABOVE KRYPTON - DAY
A crystal pane-like shape (THE PHANTOM ZONE) travels rapidly through the sky, tumbling end over end, approaching the VILLAINS. The VILLAINS look more afraid than ever. The Phantom Zone enters through the open dome, closes down on them. The Phantom Zone then envelops the VILLAINS, who raise their arms and scream as it gathers them up in a linear, two-dimensional fashion, then sweeping upwards after the CAMERA briefly SWIRLS AROUND.
EXT. CITY AND SPACE
The Phantom Zone travels quickly across the sky, bearing the imprints of the THREE VILLAINS, as it heads towards outer space. Their voices can be heard pleading for help and forgiveness as it does so.
EXT. KRYPTON
CAMERA focuses on Kryptonopolis for a few moments.
INT. COUNCIL CHAMBER - DAY
We see a pristinely immaculate area that contains two ROTATING HOOPS which glow white and, within, a revolving intelligence source which presents some sort of information. The ELDERS stand either alone or in groups. JOR-EL is now dressed like the others, with an electric WHITE AURA and his House crest clearly visible. He appears deeply concerned.
FIRST ELDER
(friendly)
An unpleasant duty has been masterfully performed, Jor-El. They have received the fate they deserved. Isolation in the Phantom Zone - an eternal living death.
JOR-EL
(holding the lapels of his white robe as in the B.G. other ELDERS talk)
A chance for life, nonetheless. As opposed to us.
There is instant consternation from the ELDERS, as everyone focuses on him.
JOR-EL
(suddenly angry)
It's suicide! No, it's worse. It's genocide!
FIRST ELDER
(no longer friendly)
Be warned, Jor-El. The Council has already evaluated this outlandish theory of yours.
JOR-EL
My friends, you know me to be neither rash nor impulsive. I'm not given (starts walking) to wild, unsupported statements. And I tell you that we must evacuate this planet immediately!
FIRST ELDER
Jor-El, you are one of Krypton's greatest scientists...
SECOND ELDER
Ah, yes, but so is (gesturing) Vond-Ah.
VOND-AH
(comes forward, an elegant brown-haired woman of middle age. There is no House crest on her chest. She stares at the revolving intelligence source before looking to JOR-EL)
It isn't that I question your data. The facts are undeniable.
JOR-EL stares at her as VOND-AH walks around the intelligence source, and then smiles thinly at him.
VOND-AH
(gesturing at the intelligence source, but still looking at JOR-EL)
It's your conclusions I find unsupportable.
JOR-EL
(stares at VOND-AH as she comes to a halt before him)
This planet will explode within 30 days. If not sooner.
There is consternation again amongst the ELDERS.
VOND-AH
I tell you Krypton is simply shifting its orbit.
SECOND ELDER
(coming forward)
Jor-El, be reasonable.
JOR-EL
(coming forward to him)
My friend. (places his hands on the ELDER's shoulders) I have never been otherwise. This madness is yours.
FIRST ELDER
(snaps firmly)
This discussion is terminated. The decision of the Council is final.
There is a short pause. All the other ELDERS and VOND-AH gather together, standing away from JOR-EL.
FIRST ELDER
(to JOR-EL)
Any attempt by you to create a climate of fear and panic among the populace must be deemed by us an act of insurrection.
JOR-EL
(looks angry)
You would accuse me of insurrection? Has it now become a crime, to cherish life?
FIRST ELDER
You would be banished to endless imprisonment in the Phantom Zone - the eternal void, which you yourself discovered.
There is momentary silence. The FIRST ELDER maintains eye contact with JOR-EL.
FIRST ELDER
Will you abide by the Council's decision?
JOR-EL
(closes his eyes in seeming despair, pauses and then grabs his lapels again as he opens his eyes)
I will remain silent. Neither I nor my wife will leave Krypton.
The FIRST ELDER stares at him, and finally seems to accept this. He looks away though, troubled, and then exits to JOR-EL's left. Frowning, the SECOND ELDER follows him. The rest of the ELDERS follow, as JOR-EL looks deep in thought. The intelligence source VANISHES as the last two ELDERS leave, leaving JOR-EL to stare at his departing colleagues before looking at the two ROTATING HOOPS of white light.
EXT. KRYPTONOPOLIS - NIGHT
The RED SUN seems to be more active than before, with some solar flares to be seen rising from its surface. Again we see there are other Kryptonian cities in the background to Kryptonopolis. DISSOLVE INTO:
INT. JOR-EL'S LABORATORY - NIGHT
Massive brightly glowing energy columns encircle the lab. The CAMERA PANS around them to show LARA (JOR-EL'S wife) walking along. Like VOND-AH she has no House crest on her chest. Carried in her arms is a BABY, swaddled in three blankets of red, blue, and yellow. The BABY makes baby noises as she walks. JOR-EL works in the lab, no longer wearing his robe.
ANGLE ON LARA
The sad look on LARA'S face deepens as she stops and watches JOR-EL, who senses her presence and turns.
LARA
(briefly stares at the BABY)
Have you finished?
ANGLE ON JOR-EL
JOR-EL starts walking. To one side we see a gleaming, crystalline, spike-y object in two halves (a Kryptonian rocket ship).
JOR-EL
Nearly. (comes to a halt before LARA, a crystal in his hands) It's the only answer Lara. If he remains here with us, he will die as surely as (looking down at the crystal) we will.
LARA
(pleading)
But why Earth, Jor-El? They're primitives, thousands of years behind us.
JOR-EL
He will need that advantage to survive. Their atmosphere will...will sustain him.
JOR-EL looks at his son, briefly smiles in pain and walks over to the area where the ship that will carry the BABY lies. There are information crystals placed in slots on the edges.
LARA
(walks after him, carrying the BABY)
He will defy their gravity.
JOR-EL
He will look like one of them.
LARA
He won't *be* one of them.
JOR-EL
No. His dense molecular structure will make him strong.
(looks at the rocket ship)
LARA
(looks down)
He'll be odd. (stares at JOR-EL again) Different.
JOR-EL
He'll be fast. Virtually invulnerable.
LARA
(staring at him)
Isolated. Alone.
JOR-EL
(sighs, looking down at the transparent crystal in his hands)
He will not be alone.
(holds up the crystal, and takes a long look at it)
He will never be alone.
JOR-EL places it in one of the slots along with the other crystals in the ship.
INT. COUNCIL CHAMBER - NIGHT
The COUNCIL of ELDERS, back in session, listen attentively to a hologram of a masked, glowing MILITARY OFFICER standing before them within the two ROTATING HOOPS of white light.
CLOSE ON OFFICER'S MASKED FACE
MILITARY OFFICER
The energy input to Jor-El's quarters is now in excess. Our data indicates the loss is due to a mis-use of energy.
INT. COUNCIL CHAMBER - NIGHT
The FIRST ELDER exchanges a worried glance at the SECOND ELDER, then looks back at the OFFICER.
FIRST ELDER
Investigate.
SECOND ELDER
And if the investigation proves correct?
FIRST ELDER
(dramatic pause)
He knew the penalty he faced. Even as a member of this Council.
(The SECOND ELDER looks distraught but resigned)
The law will be upheld.
The MILITARY OFFICER vanishes.
EXT. KRYPTONOPOLIS - DAY/NIGHT
The RED SUN now seems to be more active, with more solar flares to be seen rising from its surface.
EXT. JOR-EL'S LABORATORY - NIGHT
The CAMERA PANS towards the windows of the laboratory
INT. JOR-EL'S LABORATORY - NIGHT
CAMERA CLOSE on JOR-EL, LARA, and the BABY, as the parents stare at their offspring. Baby noises are heard. LARA kisses their child on the head as she tearfully hands him to his father. JOR-EL holds his son, troubled, and briefly kisses him on the head too before placing him the lower module of the rocket ship.
JOR-EL
(staring sadly down at his son, as does LARA)
You will travel far...my little Kal-El.
(puts his arm around LARA, who does the same)
But we will never leave you. Even in the face of our deaths.
(KAL-EL looks around, blissfully ignorant of what is to come)
The richness of our lives shall be yours. All that I have, all that I've learned, everything I feel, all this and more I...I bequeath you, my son.
(rubs the child's head lovingly)
You will carry me inside you, all the days of your life. You will make my strength your own, see my life through your eyes, as your life will be seen through mine.
(pause)
The son becomes the father and the father the son.
(KAL-EL whines)
This is all I...all I can send you...Kal-El.
(JOR-EL looks solemn and LARA looks like her heart is being torn out, as the baby reaches up and tries to grab the crystals and play with them. LARA places her head on JOR-EL's chest in pain as her husband tries to smile and be strong for her)
EXT. KRYPTONOPOLIS - DAY/NIGHT
The RED SUN now seems to be spewing out more intense solar flares.
INT. JOR-EL'S LABORATORY - NIGHT
The massive energy columns throb with white light. A GREEN CRYSTAL rises out of the central scientific control column. JOR-EL takes it, then turns and steps towards the rocket ship. LARA is still touching their son as JOR-EL places the last crystal inside. A tremor then takes place, as both JOR-EL and LARA look up. JOR-EL quickly heads over to the console again, pressing some buttons as crystalline glass starts falling from the ceiling. The massive energy columns flicker and go out.
EXT. KRYPTONOPOLIS - NIGHT
The RED SUN is much larger in the background now, and lights appear to flash within the city.
INT. JOR-EL'S LABORATORY - NIGHT
JOR-EL joins LARA and holds her as more crystals fall from the ceiling. KAL-EL, wrapped in his blankets, eventually vanishes from sight as the lower module finally slides into the upper part of the spacecraft and is sealed in. One of the columns flashes brilliantly, and the room shakes with a violent tremor. The energy columns flash brightly.
EXT. CITY - DAY/NIGHT
Another tremor suddenly shakes the ground - a tall spire comes crashing down. The proximity of Kryptonian RED SUN has bathed the planet in a reddish glow. NOTE: all scenes on KRYPTON, both interior and exterior, from now on reflect this color.
INT. COUNCIL CHAMBER
The ELDERS look concerned as the destruction starts to take place.
EXT. CITY - DAY/NIGHT
More structures come crashing down, bathed in that hellish red glow.
INT. COUNCIL CHAMBER
The ELDERS look around in concern and disbelief as the tremors grow worse, and the room starts shaking itself apart.
EXT. KRYPTONOPOLIS - DAY/NIGHT
The RED SUN is even larger in the background now, bathing the planet in light.
INT. JOR-EL'S LABORATORY - DAY/NIGHT
The tremor continues in the lab. More crystal fragments crash down into the room as JOR-EL hits the control which activates the ship's take-off. The spike-y circular rocket ship starts to glide upwards as JOR-EL rejoins LARA, holding her as the ship blasts through the ceiling, the crystal roof shattering, falling to the floor and letting in that intense red sunlight.
EXT. KRYPTONOPOLIS - CLOSE ON MODULE
The ship races away from the disintegrating city, as two explosions rock Kryptonopolis. The CAMERA PANS down through the windows and we see JOR-EL and LARA watching the rocket taking KAL-EL away safely, as the massive energy columns pulse alongside them.
INT. JOR-EL's LABORATORY
JOR-EL and LARA start walking, hurrying away even though they know there's nowhere to run to. A massive crystalline spire unexpectedly bursts up through the floor.
INT/EXT. KRYPTONOPOLIS
The destruction continues.
INT. JOR-EL'S LABORATORY
JOR-EL and LARA hurry through a cascading shower of debris, clinging together desperately in their final moments.
EXT. KRYPTONOPOLIS
More scenes of destruction, as the city starts to collapse and people fall to their deaths in the chasms. Screaming is heard everywhere.
SPACE - RED SUN and KRYPTON
The rocket ship hurries away, leaving both celestial bodies behind.
INT/EXT. KRYPTONOPOLIS
More destruction as the Kryptonians futilely run for their lives. The white dome of the TRIAL CHAMBER starts sinking down out of sight. Thunder and lightning is present.
INT. COUNCIL CHAMBER
The ELDERS all start to die as the CHAMBER collapses completely. The FIRST ELDER gets killed by a collapsing spire, and the SECOND ELDER goes down with a look of horror on his face as well.
EXT. KRYPTONOPOLIS - DAY/NIGHT
The COUNCIL CHAMBER begins sinking out of sight.
INT/EXT. KRYPTONOPOLIS
JOR-EL and LARA run helplessly, like all the other Kryptonians. There is intense screaming to be heard everywhere. The path beneath them collapses and JOR-EL barely pulls LARA back in time before she falls to her death.
EXT. KRYPTONOPOLIS - DAY/NIGHT
The RED SUN now dominates the SCENE, obscenely huge and pulsing. A subterranean explosion takes place, and then another and then another, ejecting plumes of matter onto KRYPTON'S surface not far away from the crumbling city.
INT/EXT. KRYPTONOPOLIS
More people plunge to their deaths, screaming and shrieking as the city and the planet begins to be torn apart.
SPACE - ANGLE ON KRYPTON AND RED SUN
The CAMERA faces both the sun and the planet when suddenly - an incredible explosion takes place, which violently sends out fragments of what had once been a living world in all directions, some of which are red or white or green or gold, and leaving behind a vast black void. NOTE: The RED SUN is no longer present after the explosion.
EXT. SPACE - CLOSE ON SHIP
The rocket ship speeds through space to the accompaniment of steady electronic pulsings.
EXT. SPACE
The THREE VILLAINS, pressed against the linear Phantom Zone, watch the ship hurtle past.
VILLAINS
(muffled echoes)
No...stop...come back...
INT. SHIP
Crystals in the background, there is soft lighting seen as KAL-EL floats within the rocket ship.
COMPUTER
(JOR-EL'S VOICE)
...which Einstein called his Theory of Relativity. Embedded in the crystals before you, is the total accumulation of all literature and scientific fact from dozens of other worlds, spanning the 28 known galaxies...
EXT. SPACE
The ship voyages on through space, passing through the limitless void for a long time. It passes by/through a red glowing spherical body.
INT. SHIP
KAL-EL has grown, and can be seen in the red light of the interior.
COMPUTER
(JOR-EL'S voice)
Early Chinese writings point out the complex relationship between...
EXT. SPACE
The rocket ship continues on.
INT. SHIP
COMPUTER
(JOR-EL'S voice)
By carrying this complex equation to its ultimate power, one can...
(later, KAL-EL has his eyes closed with the white crystals in the B.G.)
Chief among these powers will be your sight, your strength, your hearing. Your ability to propel yourself at almost limitless speed. The early history of our universe was a bloody mosaic of interplanetary war...
EXT. SPACE
The ship is travelling through space: the planet Saturn becomes visible as the vessel enters the SOLAR SYSTEM.
INT. SHIP
COMPUTER
(JOR-EL'S VOICE)
Each of the six galaxies which you will pass through contain their own individual law...
(later)
...space and time. It is forbidden for you to interfere with human history...
EXT. LOCAL SPACE, CONTAINING EARTH and the MOON
The ship enters Earth's atmosphere.
INT. SHIP
KAL-EL is awake and aware of his surroundings.
EXT. SHIP
As the ship speeds down through the atmosphere, the resistance gradually transforms its shape from the jewel-like geode form into a geodesic sphere, the spikes mostly burned away by the heat and pressure of passing through the atmosphere. It glows WHITE HOT at this time.
EXT. SPACE, LOW EARTH ORBIT
The ship heads for North America.
EXT. EARTH
The CAMERA POV spins around and around madly, heading down.
EXT. KANSAS WHEAT FIELD - DAY
Miles and miles of golden wheat can be seen. CAMERA PANS: A dilapidated farm pick-up truck comes chugging down a long flat dirt road.
INT. PICK-UP TRUCK - DAY
Two PEOPLE are seated in the truck cab, dressed in 1940's period clothing. The MAN is in his 50's, the WOMAN in her 40's. They are JONATHAN AND MARTHA KENT.
EXT. KANSAS WHEAT FIELD - DAY
A loud whooshing sound, the CAMERA POV shows the ship coming to Earth as it crash-lands.
INT. PICK-UP TRUCK - DAY
JONATHAN is startled, darts a momentary look in the direction of the noise as MARTHA raises her arm to shield her eyes from the EXPLOSION of LIGHT and SOUND.
MARTHA
Whoa!!
JONATHAN
What was that?
(struggles to keep control of the car)
EXT. WHEAT FIELD ROAD - DAY
The "bang" of a tire blow out is heard. JONATHAN slams down on the brakes. The truck lurches violently, the rear left tire having burst. The truck swerves and jiggles, and eventually stops.
INT. - TRUCK
JONATHAN looks at MARTHA.
EXT. - WHEAT FIELD ROAD - DAY
JONATHAN rolls down the window, steps out of the truck, angrily slams the door and looks at the punctured tire as MARTHA exits the vehicle as well.
JONATHAN
(kicks the flat tire)
Well, wouldn't that beat all get out. (looks at MARTHA) Wouldn't you...uh?
MARTHA gazes across at the wheat field. Her face is frozen in astonishment at something she's seen.
MARTHA
(whispering)
Oh...
JONATHAN turns, looks, eyes widening, equally amazed.
ANGLE ON ROCKET SHIP - THEIR POV
The Kryptonian ship has landed in the field, a black trail burned across the wheat to its final resting spot.
CLOSE on JONATHAN and MARTHA
JONATHAN
Oh my...
EXT. FIELD - CLOSE TO SHIP - DAY
JONATHAN and MARTHA look down over the edge of the hole and see KAL-EL, a little boy aged around 3, climbing out of the craft, completely naked. He stretches and smiles, the geode in the background, as JONATHAN and MARTHA stare at him in astonishment.
CLOSE-UP SHOT OF THE TRUCK
Sitting on the ground, JONATHAN removes the lugs and the punctured tire. There is a jack holding the truck up. MARTHA is the B.G. with KAL-EL, whose legs and groin are now covered with the red blanket.
MARTHA
(staring at the smiling KAL-EL, shaking her head and smiling herself)
All these years, as happy as we've been, how I prayed and prayed the good Lord would see fit to give us a child.
(he hugs her and she him in delight)
JONATHAN
Honey, will you hand me that rag up there?
MARTHA
(as she does so)
You take things easy now, Jonathan, remember what Doc Frye said about that heart of yours.
JONATHAN smiles and shrugs it off, before sobering up as he stares at the LITTLE BOY.
JONATHAN
Well the first thing we gotta do when we get home is find out...who that boy's proper family is.
MARTHA
(somewhat defensively)
He hasn't got any. Not around here, anyway.
JONATHAN
(looks at her)
Martha, are you thinking what I think you're thinking?
MARTHA
(holding the boy's hand)
We could say he's the child of my cousin in North Dakota. And just now orphaned.
JONATHAN
(grins and shakes his head)
Oh, Martha.
MARTHA
Jonathan, he's only a baby!
JONATHAN
Martha, now you saw how we found him...
MARTHA is staring off to her right.
JONATHAN
(notices her intense look)
Martha Clark Kent, are you listening to what I'm saying?
INSERT SHOT - JACK
The jack begins to collapse. Suddenly, it gives way completely.
CLOSE ON MARTHA
MARTHA cries out, runs to her husband and tries to drag JONATHAN away as the truck is about to fall on him.
BACK TO JONATHAN
JONATHAN shoots a quick look at his wife, then - as her scream stops in a gasp - he looks behind him.
EXT. KANSAS - DAY
KAL-EL is holding up the truck, two wheels off the ground. Then he lifts it even higher. JONATHAN and MARTHA are poleaxed with disbelief, and then turn around to stare at the landing site of the rocket ship. Then they look back at each other.
INSERT SHOT - JONATHAN and MARTHA
KAL-EL continues to hold the truck up effortlessly, as Jonathan tosses the rag down onto the dirt.
EXT. SMALLVILLE HIGH FOOTBALL FIELD - DAY
CAMERA LOOKS onto a typical Midwestern small town high school football field in the 1960's. A coach's whistle signals the end of the team's practice session.
COACH
Come on, gang!
The FOOTBALL PLAYERS run off the field, led by their COACH.
PLAYER#1
That was a great game, huh?
PLAYER#2
Yeah, but next week...
A group of CHEERLEADERS run off the field as well.
CLOSE ON BENCH - TRACKING SHOT
The FOOTBALL PLAYERS turn in their equipment at the equipment bench, as they trot off somewhere else. The CHEERLEADERS are also mobile. Moving around the bench is a male TEENAGER. With dark hair and wearing a red shirt, he is the team manager - the young CLARK KENT.
COACH
(joining CLARK, who wipes things with a white towel)
Come on, gang, hustle, let's go! Stack the helmets neatly, remember about those uniforms. Cleaned and washed by tomorrow, and looking like a football team!
(blows whistle)
ASSISTANT COACH
(pointing downwards)
Hey, Clark? I want those washed and ready for tomorrow's game, okay?
CLARK
Yes, sir.
ASSISTANT COACH runs off, assorted other people are also moving.
COACH
Come on, gang, hustle. Get me Milburn and Hyde! Hey Early...
The coach runs off into the rear of the shot, and we see everyone in cars preparing to go home in the B.G.
CLOSE ON SPORTS FIELD
One redheaded CHEERLEADER (LANA LANG) fusses with her POM-POMS not far from the bench, having fallen behind the others.
CLARK
(crosses over to her)
Lana? Don't bother with these, huh? (grabs the POM-POMS) I'll take them in with the other equipment.
LANA
Thank you, Clark.
(smiles)
CLARK
Sure.
CLOSE UP ON LANA
LANA
Listen. A whole bunch of us are going up to Mary Ellen's, play some records. Would you like to come?
CLARK
(smiles)
Sure, sounds like it'd be a lot of fun.
A large FOOTBALL PLAYER, BRAD, comes into frame.
BRAD
Kent can't make it. Got a lot of work to do.
CLARK
(glances around)
What are you talking about? I've just finished stacking all the...
CAMERA PANS as CLARK turns: the mass of equipment he had neatly piled on the bench has been tossed all over the ground. Water buckets overturned, etc.
BRAD
(gesturing)
Oh, that?
CLARK
(sees the mess)
Oh.
LANA
(gets the picture)
Oh, Brad.
CHEERLEADER (O.S.)
Hey, come on Lana!
BACK TO BRAD, LANA and CLARK
CLARK'S face falls and he glares at the grinning BRAD. LANA is uncomfortable.
BRAD
Come on, Lana.
BRAD grabs the reluctant LANA, drags her off toward the open convertible.
BRAD
Come on, let's go! Come on, he's gotta clean this up.
LANA
(reluctant)
Bye Clark.
CLARK
Bye.
BRAD
(briefly looking back as he drags LANA along)
Clean this up, Clark.
BRAD and LANA join the others in the car. CLARK angrily shoves the POM-POMS aside and turns away as they do so, picking up a football. BRAD honks the horn and the car roars off, with some of the CHEERLEADERS calling out "Bye, Clark!" and waving before it does so.
CLOSE ON CLARK
CLARK is left totally alone on the football field, his face downcast with anger and hurt born of humiliation. He gives the football a frustrated kick. The ball takes off like a rocket, disappearing off into the distance.
EXT. KANSAS - DAY
A TRAIN is travelling along the tracks. It continually sounds its horn, as it comes around the corner and heads straight for the CAMERA before veering to the left.
CLARK is running at incredible speed. He runs parallel to the train tracks and the train. CLARK looks excited as he runs.
INT. TRAIN COMPARTMENT - DAY
A LITTLE GIRL looks out one window with binoculars, her chin dropping in surprise at the sight. Her mother is sitting alongside her, asleep, and her father is absorbed in reading the newspaper across from them.
BACK TO CLARK
He notices and sends the LITTLE GIRL a short wave. Then he runs faster, starting to accelerate.
INT. TRAIN COMPARTMENT - DAY
The LITTLE GIRL turns and shakes her mother awake
BACK TO CLARK
CLARK runs faster, looking excited, finally overtaking the train as its horn sounds again.
CLOSE-UP OF CLARK, REAR POV
His black bag reading SMALLVILLE HIGH on his back, he continues running.
EXT. KANSAS - DAY
CLARK turns the corner and heads for the railway crossing. With an extra burst of speed and a huge leap, he makes it across before the train reaches the intersection. He exults in his achievement. He then takes off again at SUPER SPEED as the train continues along its journey.
INT. TRAIN COMPARTMENT - DAY
LOIS
Golly! I saw a boy out there, running fast as the train! Faster, even!
MOTHER
(smiles and taps her on the nose)
Ho-ho, Lois Lane, you do have a writer's gift for invention. I'll say that for you.
LOIS
But...but...
FATHER
(looks up)
Uh, Lois? Please read your book.
LOIS
(huffs but obeys him)
No one ever believes me.
EXT. KANSAS WHEAT FIELD - DAY
The train continues along the tracks, not far away.
EXT. KANSAS ROAD - DAY
CLARK continues running in the distance, a dust trail visible behind him.
EXT. KANSAS ROAD - DAY
The convertible with BRAD and LANA comes down the road: other FOOTBALL PLAYERS and CHEERLEADERS are present. The radio is playing "ROCK AROUND THE CLOCK", as they pass a MAN with a HORSE, and both WAVE. The car continues on, leaving a dust trail.
EXT. KENT FARMHOUSE - DAY
A small farm on a dirt road facing a wheat field. A barn stands at one end of the yard area. CLARK, running in a blur and also leaving a dust trail, suddenly appears to the right of SCREEN. The convertible, which had turned right off the previous road and onto the new road where CLARK is running. CLARK leans nonchalantly against the family truck as the car and its amazed occupants see him.
LANA
Hey, look, there's Clark!
CLARK looks rather smug. The convertible rolls to a stop, and LANA stares with wonder. The others look at CLARK too.
LANA
Clark...
BRAD
How'd you get here so fast?
CLARK
(shrugs, says deadpan)
I ran.
EXT. KENT FARM - DAY
JONATHAN KENT looks up from where he was working. He looks much older now, with much more grey in his hair.
ANGLE ON CONVERTIBLE
BRAD
(to others)
"Ran," huh? Told ya he's an oddball. Let's get outta here.
He guns the car, irritated, and roars off. LANA looks back and CLARK breaks into a thin, self-satisfied smile. She waves.
JONATHAN'S VOICE
Been showin' off a bit haven't you, son?
ANGLE ON JONATHAN
CLARK walks over and joins him in the yard.
CLARK
Um...I didn't mean to show off, Pop. (JONATHAN puts his arm around CLARK'S shoulders as they start walking up the driveway, the CAMERA is directly in front and RECEDES with their steps to keep them in FRAME) It's just that, guys like that Brad, I just want to tear him apart.
JONATHAN
Yeah, I know, I know.
CLARK
And I know I shouldn't...
JONATHAN
(total understanding)
Yeah, I know, you can do all these amazing things and sometimes you think that you will just go bust unless you can tell people about it.
CLARK
(frustrated)
Yeah. I mean every time I kick the football I can make a touchdown.
JONATHAN
That's for sure.
CLARK
Every time!
JONATHAN
Yeah.
CLARK
I mean, is it showing off if somebody's doing the things he's capable of doing?
JONATHAN
No.
CLARK
Is a bird showing off when it flies?
JONATHAN
No, no. (raises a finger) Now, you listen to me. When you first came to us, we thought that people would come and take you away because, when they found out, you know, the things you could do...and that worried us a lot. But then a man gets older, and he thinks very differently and things get very clear. And there's one thing I do know, son, and that is you are here for a *reason*. I don't know whose reason, or whatever the reason is...maybe it's because...um...I don't know, it's uh...
(exhales)
But I do know one thing.
(soft smile)
It's *not* to score touchdowns. Huh?
They laugh.
CLARK
Yeah. Thanks, Dad. (puts his left arm across his father's shoulders) Race you to it!
JONATHAN
You will, huh?
CLARK smiles, runs off toward the barn.
CLARK
Come on, pop, run. Come on, run, come on, move, move! Yeah, go, go! Go. Run!
JONATHAN starts jogging a little. The family dog barks, and follows CLARK into the barn.
EXT. KENT FARM - DAY
MARTHA is on the front porch, sewing. She is much older now too, her hair silver. In the B.G. CLARK is in the red barn.
CLOSE on JONATHAN
JONATHAN, his hand clutching his left forearm, stops jogging in front of the house. He looks worried.
JONATHAN
Oh, no.
(his face screws up with pain as he breathes heavily)
EXT. KENT FARM FRONT ENTRANCE - DAY
From the rear, we see a distance shot of JONATHAN collapsing face first onto the ground.
INT. KENT FARMHOUSE PORCH - DAY
MARTHA gets up, as CLARK continues to horse around in the barn.
CLOSE on MARTHA
MARTHA KENT appears suddenly frightened.
MARTHA
(looking down at her husband's body and whispers)
Jonathan? (screams) JONATHAN!
INT. KENT BARN - DAY
CLARK hears his mother scream, and looks up from the dog. He runs out of the building and sees what's happened with a look of horror on his face.
EXT. KENT FARM - DAY
CAMERA shows a distance shot of CLARK running over to examine JONATHAN'S body, and MARTHA running from the front porch as well. They frantically examine the recently deceased.
CLARK
Dad.
MARTHA
Jonathan. No...
DISSOLVE TO:
EXT. KANSAS - DAY
CAMERA PANS around to show BUILDINGS in the distance, and then a MAN and WOMAN dressed in black.
EXT. SMALLVILLE CEMETERY - DAY
CAMERA PANS around, and focuses with the REAR POV on CLARK and MARTHA standing in front of a FLOWER-COVERED GRAVE. CAMERA ANGLE SWITCHES to the FRONT: CLARK has his arm around MARTHA. Both are dressed in black mourning clothes.
CLARK
(quiet anguish)
All those things I can do. All those powers. And I couldn't even save him.
MARTHA clutches his hand on her shoulder with her opposite arm, shutting her eyes. They start to walk off, but then CLARK stops and grabs a red ROSE. He presents it to MARTHA. They WALK OFF arm in arm, out the front gates of SMALLVILLE CEMETERY. The TWO GRAVEDIGGERS TIP their hats to them on the way out. The other TWO MOURNERS depart as well. The GRAVEDIGGERS shut the gates of the CEMETERY. DISSOLVE TO:
INT. KENT FARM, CLARK'S BEDROOM - NIGHT
CLARK is asleep in his bed, but suddenly his eyes open. He gets up, looks around. He switches off the RADIO, then looks out his BEDROOM WINDOW as a faint wolf howl is heard. Then he walks across the room to look out the other WINDOW, at the barn.
EXT. KENT FARM - NIGHT
The barn stands silhouetted against the night sky...CAMERA SLOWLY TRACKS TOWARD IT, through the window.
INT. BARN - NIGHT
CLARK, dressed in pyjamas and dressing gown, opens the doors, enters and crosses to the other side. He gets down on his knees and uncovers the geode-like ship which brought him to Earth, and which was covered with a sack. CLARK sees the GREEN CRYSTAL glowing inside, resting on the interior surface. He picks up the crystal and stares into it deeply, eyes widening in the eerie light.
EXT. KENT FARM - DAY
Sunrise. A rooster crows.
INT. KENT FARMHOUSE - DAY
MARTHA opens the front door, and raises the blind of the window.
MARTHA
(walking through the LIVING ROOM)
Clark? Get up.
(uncovers the bird cage)
Good morning, smiley.
(makes kiss noise)
Clark? Breakfast.
INT. KENT KITCHEN - DAY
MARTHA
(calling out)
Are you going to sleep all day? Clark, come on, get up!
She carries a box of Cheerios to the table. The rooster crows again. MARTHA then stops, as she has noticed something out the kitchen window. CAMERA FOCUSES on her then pushes out through window: in the distant wheat field stands the motionless figure of CLARK. The family dog barks and goes out to join him. MARTHA continues to look at CLARK. DISSOLVE TO:
EXT. WHEATFIELD - DAY
It is long past dawn now. CAMERA PANS down to show MARTHA approaching CLARK. He is standing silently, immobile, staring north. The look is trance-like, almost. There is a rustle in the wheat behind him. He does not turn...but he knows who is there. He briefly looks down.
CLARK
I have to leave.
MARTHA stops, looks at him thoughtfully, full of emotion.
MARTHA
I knew this time would come. We both knew it from the day we found you.
CLARK turns now and faces her. He speaks flatly, trying to avoid breaking down.
CLARK
I talked to Ben Hubbard yesterday. He said that...that he'd be happy to help out from now on.
CLARK'S composure is rapidly breaking down.
CLARK
(shaking his head, exhales)
Mother...
MARTHA
(reaches out to touch him)
I know, son. I know. Do you...know where you're headed?
CLARK
(nodding)
North.
MARTHA manages a brave smile.
MARTHA
Remember, son. Always remember.
Unable to restrain themselves any longer, they reach out and collapse into a tight hug.
ANGLE REAR VIEW
The wheat rustling from the wind, they stare north. CLARK puts his arm around her as CAMERA PANS in toward them and then UP towards the sky, the wheat field below.
EXT. THE ARCTIC CIRCLE - DAY
CAMERA PANS a vast snow-covered plain and an Arctic lake with icebergs floating in it. A Polar bear in the water stops, snuffles and looks at something which has attracted his attention. CAMERA CONTINUES PAN: the tiny, dark figure of CLARK contrasts sharply with the dazzling white landscape as he makes his way north, dressed in his light windbreaker with a rucksack over one shoulder.
EXT. NEAR NORTH POLE - DAY
CLARK walks across the snow-covered landscape. He steps lightly onto a small island of ice on the water making his way to higher ground. He stands at the edge of a cliff, and takes off his rucksack. Kneeling down, he opens it up and we see the RED, BLUE and YELLOW blankets given to him by his birth parents. CLARK retrieves the glowing green crystal and stares at it: then he throws far away into the distance. Standing at the edge, he focuses on its flight as it tumbles end over end. It eventually falls to the ground and melts through the ice, disappearing underwater. BUBBLING WATER then appears; obviously something is about to happen. A white crystalline spire suddenly SHOOTS UP out of the water and begins to solidify and expand. Then more crystalline spires and walls appear. LIGHTS flash underwater.
EXT. CLOSE ON CLARK
The SCREEN flashes white, and then goes black. Suddenly there are explosions of light and sound in the distance. Eventually a gleaming white CRYSTALLINE Kryptonian residence, the FORTRESS OF SOLITUDE, is fully formed.
CLOSE ON CLARK
CLARK steps back to look with awe: The FORTRESS OF SOLITUDE is complete. It rises up in the northern landscape, the white opaque crystalline materials blending easily into the surrounding countryside.
EXT. FORTRESS OF SOLITUDE - DAY
CLARK has finally arrived as he clambers over the ice and snow.
INT. FORTRESS OF SOLITUDE - DAY
CLARK walks through the FORTRESS, examining this multi-leveled white marvel. Stabbing spurs of crystal cut across the levels at a severe angle. We see the central area with its complicated memory crystal energy banks where SUPERMAN will communicate with his dead father.
CLOSE ON ENERGY BANK SECTION
The CENTRAL CONSOLE is lined with rows of smaller glowing crystals and empty glass cylinders, very much like JOR-EL'S lab. CLARK approaches mesmerized, seemingly unsure of something. He reaches out and grabs a crystal, places it inside a mechanism in the energy bank, waits, and then suddenly:
WIDE ANGLE
The light in the Fortress changes dramatically. The walls and jagged planes of the structure seem to come alive with energy. The wall directly opposite CLARK vibrates with a special intensity. A giant face appears: it is JOR-EL, or at least his hologram. His head rises massively up and across the wall, partly as a SILHOUETTE, looking down, dwarfing the tiny figure of CLARK at the CENTRAL CONSOLE.
JOR-EL
My son. You do not remember me. I am Jor-El. I am your father. By now you will have reached your eighteenth year, as it is measured on Earth. By that reckoning, I will have been dead for many thousands of your years. The knowledge...that I have, of matters physical and historic, I have given you fully on your voyage to your new home. These are important matters, to be sure, but - still matters of mere fact. There are questions to be asked. And it is time for you to do so. Here in this...this Fortress of Solitude we shall try to find the answers together. So, my son. Speak.
ANGLE ON CLARK
CLARK
Who am I?
ANGLE ON JOR-EL
JOR-EL
Your name is Kal-El. You are the only survivor of the planet Krypton. (CAMERA PANS FORWARD as JOR-EL speaks) Even though you've been raised as a human being, you are not one of them.
CAMERA DISSOLVES into a scene of OUTER SPACE, RACING FORWARD:
JOR-EL'S VOICE
You have great powers, only some of which you have as yet discovered.
(echo of 'yet discovered')
Come with me now, my son as we break through the bonds of your earthly confinement. Travelling through time and space...
CAMERA BEGINS A NEW SERIES OF DISSOLVES: strange lights and shapes are seen in SPACE.
JOR-EL'S VOICE
Your powers will far exceed those of mortal men. It is forbidden for you to interfere with human history. Rather let your leadership stir others to...
(trails off)
In this next year, we shall examine the human heart. It is more fragile than...(echo: The past two years...) As we pass through the flaming turmoil which is the edge of your own galaxy, we will enter the realm of the red Krypton sun, source of your strength and nourishment, cause of our eventual destruction...
CAMERA PANS FORWARD as the KRYPTON RED SUN appears as a small dot and then enlarges, to the same image we saw at the start of the movie.
JOR-EL'S VOICE
(as the CAMERA PANS down and below the RED SUN)
The planet Krypton. My son. Your home. As it was.
(CAMERA PANS down and shows the destroyed planet's surface, footage we have seen before)
EXT. SPACE
CAMERA DISSOLVES into a scene of OUTER SPACE, RACING FORWARD:
JOR-EL'S VOICE
This year, we shall examine the various concepts of immortality.
(CAMERA again shows strange lights and shapes in space)
And their basis in actual fact. The total accumulation of all knowledge spanning the 28 known galaxies is embedded in the crystals which I have sent along with you. Study them well, my son. Learn from them.
(echo We have reasoned out logical judgments...)
By the time we return to the confines of your galaxy, twelve of your years will have passed.
(echo For this reason among others, I have chosen Earth for you.)
It is now time for you to rejoin your new world, and serve as collective humanity. Live as one of them, Kal-El, to discover where your strength and your power are needed. Always hold in your heart the pride of your special heritage. They can be a great people, Kal-El, they wish to be. They only lack the light to show the way. For this reason above all, their capacity for good, I have sent them you...
A BLURRY FIGURE IN SPACE resolves to form the FACE of JOR-EL.
JOR-EL
My only son.
JOR-EL'S FEATURES become a CRYSTALLINE MASK, which slowly rotates in its axis in SPACE. CAMERA PUSHES IN QUICKLY through the eyes.
INT. FORTRESS OF SOLITUDE - DAY
Distance shot of SUPERMAN standing in his classic outfit, arms at his sides, at the CENTRAL CONSOLE. Suddenly he extends his arms and starts to FLY. He heads towards the CAMERA before veering off to our right, OFF-SCREEN.
INT. TAXI - DAY
CAMERA ANGLE is the back seat of a taxi facing forward as the vehicle drives along the street. A blue-uniformed cop can be seen directing traffic. The taxi eventually comes to a halt.
DRIVER
Okay, this is it mac, the Daily Planet.
(accepts the fare)
EXT. METROPOLIS STREET - DAY
STREET GROCER
Fresh fruit! Hey lady, how you doin'.
There are various pedestrians on the street. CAMERA heads for the building marked DAILY PLANET.
STREET GROCER'S VOICE
Hey, fresh fruit and vegetables!
CAMERA PANS UP the skyscraper.
STREET GROCER'S VOICE
Fresh fruit and vegetables! Get 'em while they're hot. (car horns honking) Come on...
ANGLE THROUGH A CAMERA LENS
CAMERA shows a piece of paper in a typewriter with the DAILY PLANET letterhead, perfectly centered.
INT. DAILY PLANET BULLPEN - DAY
There is BACKGROUND CHATTER as the CAMERA ANGLE PANS UP and follows various people, focusing on a WOMAN and then a MAN. The shutter clicks after a shout of "Hey!", and a flash goes off. The MAN looks annoyed and gestures for the camera to go away. CAMERA PANS left and up, out of focus. Then it focuses on:
ANGLE ON DESK
Seated at the typewriter, working with intense concentration punctuated by occasional smiles, is a YOUNG WOMAN. She has long brunette hair, smart clothes on a smart figure. This is the grown-up version of that little girl last seen at the train window as it sped through Smallville: LOIS LANE.
MALE VOICE
Smile!
ANGLE ON THROUGH REFLEX FINDER
LOIS turns, looks into the crosshairs of the camera lens. She is perfectly centered and smiles brilliantly, flipping her hair to one side. The shutter clicks, the light flashes.
BACK TO SCENE
A fresh-faced young CUB REPORTER lowers his press reflex camera. A young man in a bow tie, JIMMY OLSEN. He grins.
LOIS
How many t's in bloodletting?
JIMMY
(hold up two fingers)
Two.
(crosses to LOIS, tries to see what she's writing as he changes lenses)
What're you writing, Miss Lane?
LOIS
(continues typing)
An Ode to Spring. How do you spell "massacre"?
JIMMY
Uh, M-A-S-S-A-C-R-E.
LOIS types the finish, rips the page from her typewriter, reads with gusto.
LOIS
(removes the final product from her typewriter)
R-E. Thank you.
LOIS rises, starts toward Perry White's office. JIMMY tags along as CAMERA TRACKS them.
JIMMY
(lost in admiration)
Golly, Miss Lane. How come you get all the great stories?
LOIS
A good reporter doesn't get great stories, Jimmy...
(knocks on PERRY WHITE'S door, enters without waiting for a response)
INT. PERRY WHITE'S OFFICE - DAY
PERRY and LOIS
...a good reporter makes them great.
PERRY stops talking to his audience and turns around as LOIS barges up to him.
LOIS
(presents the paper to PERRY, they start to look at it)
Chief, here's the story on the East Side murder case. The way I see it, it's a banner headline, front page. My picture.
PERRY
(looks at it)
There's only one 'p' in rapist. (walks to the side) Lois Lane, say hello to Clark Kent.
She follows him as JIMMY comes in.
JIMMY
(interjects)
Told you one 'p'.
LOIS continues to stare down at the paper, not realizing there is someone else in the room. CLARK KENT, dressed in a suit and tie and wearing glasses, along with a coat and hat, rises and in a polite and friendly way extends his hand.
LOIS
(waving him off)
Hi there...
CLARK
Hello, Miss Lane...
(lowers his hand after being thoroughly ignored, he and JIMMY remain in the shot)
LOIS (O.S.)
Remember my dynamite exposé on sex and orgies in the senior citizens hall...
JIMMY
(attracts CLARK'S attention)
How you doing?
(they shake hands)
Jimmy Olsen, photographer.
CLARK
Hi. Clark Kent, nice to meet you.
ANGLE: PERRY'S DESK
PERRY struggles vainly with the screw-on top of a soda pop bottle.
LOIS
(still talking to PERRY)
It's got everything. It's got sex, it's got violence, it's got the ethnic angle...I mean look at it.
PERRY
Yeah, so does a lady wrestler with a foreign accent.
(holds out the pop bottle)
Kent, can you open this?
CLARK
(comes forward)
Oh sure, Mr. White.
PERRY hands CLARK the pop bottle as LOIS continues. CLARK struggles with it mightily, but to no avail.
LOIS
This could be the basis for a whole series of articles - "Making sense of senseless killings", by Lois Lane? (PERRY sits down) I mean we get psychologists...
LOIS takes the bottle away from the straining CLARK, raps it sharply twice on the edge of the desk and hands it back to him.
LOIS
We get...sociologists, interviews with the families...
PERRY
(writing something)
Lois, you're pushing a pile of rinky-dink tabloid garbage. The Daily Planet has a tradition to...
CLARK tries the bottle cap. It opens, suddenly fizzes out in a squirt from the agitation by LOIS. PERRY and LOIS turn, stare. CLARK winces as the liquid dribbles down his pants leg.
CLARK
(moves back)
Oh! I'm sorry, I'm sorry.
LOIS
(starts forward as JIMMY smirks)
Oh, gosh. I'm sorry. I didn't mean to shake it up like that.
(brushes at his pants then moves back to the DESK)
CLARK
(getting a handkerchief)
Oh, oh, of course not, Lois. I mean why would anyone want a total stranger to look like a fool?
LOIS looks at him, unsure of how he meant that.
PERRY
I'll take that!
(takes the bottle from CLARK)
CLARK
Oh, I'm sorry, Mr. White...
PERRY
(sees JIMMY standing there)
Olsen! Why am I paying you forty dollars a week when I should have you arrested for loitering? Go get mister...err...
CLARK
Kent.
PERRY
...Kent a towel! Move, kid, move!
JIMMY
(moves backward)
Right, Chief.
PERRY
And make mine black and no sugar!
JIMMY
(exits the office)
Right, Chief.
LOIS is mumbling something.
PERRY
And don't call me 'sugar'!
JIMMY
Right, Chief. (accosts a newcomer to the office) Chief wants coffee, no sugar. I'll take tea with lemon. (walks off)
PERRY
(to LOIS, ushering her and CLARK out)
Lois. Why don't you take Kent out there to, uh, meet everybody, huh? Just introduce him around. He's starting on the paper today. (CAMERA PANS to OFFICE DOOR) I'm giving him the city beat.
ANGLE on LOIS
LOIS
(get it, stops, turns around and goes back inside even if CLARK doesn't)
Cheeef! That's my beat!
PERRY
Lois, Clark Kent may seem like just a mild-mannered reporter, but listen, not only does he know how to treat his editor-in-chief with the proper respect, not only does he have a snappy, punchy prose style (starts to usher her out again) but he is, in my forty years in this business, the fastest typist I've ever seen.
INT. DAILY PLANET BULLPEN - DAY
LOIS
(resigned)
Oh well that's great.
(goes back inside and hands PERRY the paper)
Here, you forgot my article.
(marches out again)
CLARK
(turns and opens PERRY'S door)
Oh, um, excuse me, Mr. White. I was wondering if, if, um, perhaps you could arrange for half my salary to be sent to this address on a weekly basis.
CLARK hands PERRY a piece of paper from his pocket.
ANGLE ON LOIS
LOIS
Your bookie, right?
CLARK
My what?
LOIS
(points at him)
Don't tell me: he sends a check every week to his sweet, grey-haired old mother.
(smiles and turns away)
CLARK
(smiles at PERRY)
Actually, she's silver-haired.
LOIS stares at him, stunned. CLARK manages another pleasant smile.
PERRY
(grabs the piece of paper)
Erm, I'll see what I can do.
(turns around and walks OFF-SCREEN)
CLARK
(hesitant)
Um, thank you very much, M-mister White. 'Scuse me.
(looks around at LOIS, who has her arms crossed)
Well.
LOIS
(staring at CLARK)
Any more at home like you?
CLARK
Uh, not really, no.
LOIS
(nods slowly)
I didn't think so.
(turns and walks away)
Well, get yourself a desk over here. (walks and motions for him to join her, CLARK starts moving)
CLARK
Over here?
LOIS
(clears away some stuff on the table)
Yeah, right here. There's some papers in the pile right there...
CLARK bumps into her back, LOIS arches up as if he'd goosed her.
CLARK
Sorry, excuse me.
LOIS stares at him, wondering if he did it deliberately. CLARK just meekly goes to sit down and get settled in. LOIS turns away and sits down at her own desk. CLARK stares at her as she starts to get settled down again.
JOE
(sitting next to CLARK, offers to shake hands as people walk in the B.G.)
Hi. Joe Freson.
CLARK
(shakes hands)
Hi, Clark Kent. Very nice to meet you.
JOE
Yeah, welcome aboard.
(gets back to work)
CLARK
Thank you.
JIMMY comes to the desk, plops a white towel down on CLARK'S lap
JIMMY
Here's your towel, Mr. Clark.
(keeps moving, in the background LOIS lights up a cigarette)
CLARK
Um...Kent.
JIMMY
(looks back and stops)
What?
CLARK
Kent.
JIMMY
(points)
Oh! Clark Kent.
CLARK
(points)
Right. Jimmy Olsen.
Jimmy nods and walks off, as the people continue working at the DAILY PLANET.
INT. DAILY PLANET LOBBY - DAY
The elevators open and people start walking out. LOIS, CLARK and a WOMAN enter the SCENE.
WOMAN
(talking quickly to LOIS, CLARK is behind them both)
Yeah. So I met this really great guy, you know-
The CAMERA PANS to follow all three as they walk through the LOBBY
LOIS
Fabulous!
WOMAN
Fabulous weekend, I met him at this dude ranch-
LOIS
Oh, do you ride?
WOMAN
Yeah, I've been ever since I was seven years old. Oooh, I gotta mail these letters I gotta go, bye!
(walks off)
LOIS
(calling after her)
Okay, listen, good luck tonight!
(notices CLARK)
Oh hi, Clark.
CLARK
(nervous smile)
Hi, Lois.
LOIS
(looking down at her newspaper)
How'd you like your first day on the job?
CAMERA pulls back for a tracking shot
CLARK
Oh, well, um, frankly I think the hours were sorta longer than I expected, but on the whole, y?know, I mean, um...
CAMERA focuses on a BLUE GLOBE in the LOBBY, the symbol of the DAILY PLANET.
CLARK
...meeting you and Jimmy Olsen and Mr. White - on the whole I'd say it's been swell.
LOIS
(stops abruptly)
Swell?
CLARK
Yeah.
LOIS
(stares at him)
You know, Clark? (starts walking again) Um, there are very few people left in the world who feel comfortable saying that word.
CLARK
What word?
LOIS
"Swell".
CLARK
Really? It sounds kinda natural.
LOIS goes to exit the building via the REVOLVING DOOR, CLARK attempts to follow her but bumps into one of the revolving partitions and moans. LOIS glances back at him in concern.
LOIS
Clark.
CLARK
Sorry.
(eventually gets into the proper place and exits the building)
EXT. METROPOLIS STREET - DAY
LOIS bumps into an acquaintance at the door.
CLARK
(exiting the building)
Sorry Lois.
LOIS
Hi, Rex!
REX
Oh, Lois.
LOIS
Seen anything good around?
REX
(smiles)
Not 'til you came along.
CLARK
Lois.
LOIS
(points)
Oh, Rex, this is, um...
CLARK
Clark Kent.
(goes to shake hands)
REX
(ignores that)
Yeah, see you around.
(enters the building)
LOIS
Bye.
Distracted, LOIS walks off down the street.
CLARK
Uh, Lois?
CLARK follows her. The STREET GROCER captures someone attempting to steal a tomato.
STREET GROCER
Hey, where you goin'?
EXT. METROPOLIS SIDE STREET - DAY
The street is semi-deserted as CLARK and LOIS walk along. He helps her put on her coat.
CLARK
Sure.
LOIS
You liked Mr. White.
CLARK
Yeah, I thought he was a really nice guy. Jimmy Olsen was fantastic-
As they pass an alleyway a VOICE is heard.
VOICE
Hey! (we see a finger beckoning of the alleyway) Come 'ere.
LOIS gasps as they stop.
VOICE
(finger still beckoning)
Come on, come on, come on. Get in here.
ANGLE: A BLACK PISTOL leveled at them.
VOICE
Hurry up. Come on.
ANGLE ON LOIS and CLARK
LOIS
(hiding behind CLARK)
Clark, I think we better get outta here...
CLARK
(acting nervous)
I think we better do what he says, Lois.
VOICE
That's it. Come on, come on, get in here quick. That's it.
CLARK
Don't, don't do anything...
VOICE
That's it...
INT. ALLEY - DAY
The MUGGER points his pistol directly at them. CLARK and LOIS are forced back.
MUGGER
Move, back there.
CLARK seems nervous, LOIS grimly determined.
CLARK
(walking backwards)
Please don't point that at me, sir, you could hurt someone with that...
The MUGGER waggles his gun, forcing them further along.
MUGGER
Yeah, yeah, yeah.
CLARK and LOIS are forced up against the wall.
MUGGER
Okay, okay, okay. Hold it there!
CLARK
Just a minute, mister. Just a minute. Now (pushes the gun muzzle a little to the side). I realize of course that times are tough for some these days, but this isn't the answer.
The MUGGER blinks.
CLARK
You can't solve society's problems with a gun.
(nervous smile)
LOIS looks at CLARK unbelievingly.
MUGGER
You know something, buddy? You're right. I'm gonna turn over a new leaf.
CLARK
Good for you, sir. That's the spirit. (turns to LOIS) See, he doesn't really want to hurt anybody.
LOIS
(moves aside)
Uh-hum.
MUGGER
(points his pistol at CLARK'S head)
Right after I rip off this lady's purse.
CLARK
(nervous)
Of course.
MUGGER
(to LOIS)
Now come on lady, hand it over.
LOIS stares hard at him.
CLARK
(nervously moving aside)
Um, Lois, I think maybe you better...
(gestures)
Disgusted, LOIS raises her purse and then lets it drop to the ground.
CLARK
Lois, what are you doing?!
The MUGGER scowls and reaches down to pick it up, trying to maintain eye contact at all times. LOIS suddenly kicks him viciously in the neck, sending him reeling backwards: the MUGGER hits the pavement, bringing up his gun with a deadly glare. CLARK rushes forward with his left arm outstretched as the MUGGER fires. CLARK reels back and hits his head on the wall, falling to the ground. The frightened MUGGER scrambles to his feet, and runs off down the alley as LOIS bends over CLARK.
LOIS
Clark! Oh, Clark...are you all right...Clark?
CLARK'S eyelids flutter, then open with what looks like confusion. He looks up at LOIS.
LOIS
What happened?
CLARK
(adjusts glasses)
Golly. I guess I must have fainted...
LOIS
Fainted. You fainted.
CLARK
Sorry.
LOIS gets up and walks off, unamused. CLARK looks at the bullet in his left hand and secretly smiles, gets to his feet, and grabs his stuff.
LOIS
(quickly picks up her bag off the ground and shakes her head)
Swell.
(walks off)
CLARK
(following her out of the alley)
Really, Lois, supposing that man had shot you? Is it worth risking your life over ten dollars, two credit cards, a hairbrush, and a lipstick?
LOIS
(stops, has strange expression)
How'd you know that?
CLARK
(suddenly nervous)
Know what?
LOIS
You just described the exact contents of my purse.
CLARK
(peeks in her purse)
Hmm. Um, wild guess.
CLARK touches his glasses, turns self-consciously, and strides out of the alley as LOIS watches him curiously.
CLARK (O.S.)
Uh, taxi!
EXT. METROPOLIS STREET - DAY
A MAN (OTIS) in a slightly dishevelled one-colour outfit with a loud yellow TIE is walking along. He is eating something. CAMERA PANS right to follow him, as he gets to an intersection.
OTIS
Hey!
STREET SWEEPER
Hi, Otis!
OTIS continues walking as we see a car parked at a nearby corner.
INT. POLICE CAR - DAY
A POLICE OFFICER (plain clothes detective) watches as OTIS passes by.
OFFICER #2
(another plain clothes detective, returning to the vehicle with some food)
So what's happening partner?
OFFICER #1
(gesturing)
Look what we got.
The CAMERA FOCUSES on OTIS, walking along.
OFFICER #1 (O.S.)
Let's take him.
OFFICER #2 (O.S.)
Wait a minute.
BACK TO POLICE OFFICERS
OFFICER #2
Maybe he'll lead us to the big man himself.
OFFICER #1
(stares at him)
Lex Luthor?
OFFICER #2
You got it, Armus.
He gets into the car.
OFFICER #2
We'll make Captain by midnight.
OFFICER #1 starts the car and starts to call it in to POLICE HQ.
EXT. STREET - NIGHT
MATT
(standing near news stand with his seeing eye dog)
Here, right here! XK101 rocket to be used! Here, right here.
OTIS suddenly comes into view, amongst the other pedestrians on the street.
OTIS
(takes paper)
Hey, Matt.
MATT
Hey, hey Otis.
OTIS
Just getting the Daily Planet here.
(tosses down his coins and grabs a rose with a smirk)
MATT
Here, right here...
The DOG starts barking viciously.
MATT
(attempting to calm it down)
Okay, okay...
OTIS
(knows when he's been caught, puts the paper in his mouth and digs around for some more money, pays the blind man)
Okay, alright!
(the DOG calms down)
Okay, all right, okay, now, I'll take this too.
MATT
Thanks Otis. (to DOG) Okay now.
OTIS walks away.
MATT
How many did he take, Shultie?
INT. METROPOLIS STATION (GRAND CENTRAL) - NIGHT
There is a shot of a CITY SKYLINE (a BILLBOARD). OFFICER #1 and OFFICER #2 come into view in the F.G.
OFFICER #1
(into walkie-talkie)
This is Metropolis 46, we're on foot. Over and out.
OFFICER #2
Let's go.
INT. METROPOLIS STATION (GRAND CENTRAL) - NIGHT
OTIS walks along through the crowd.
FEMALE ANNOUNCER
Your attention please. (SHOT Of OTIS still walking along, and the OFFICERS following him) Your attention please. The Metropolis Flyer is now ready for departure on the lower level at Gate 6.
OFFICER#1 and OFFICER #2 stop.
OFFICER #2
All right, he's going down to the train platform. I'm going after him.
OFFICER #1
Okay, Harry, I'll call for backup.
(gets out his walkie-talkie)
Be careful now, will ya?
OFFICER #2
Alright, Armus, all right...
They go their separate ways.
ANGLE ON REAR OF OFFICER #1 as he walks off.
FEMALE ANNOUNCER
Now boarding on the lower level, Track...
ANGLE on OFFICER #2 - INT. TRACK 22 (NIGHT)
CONDUCTOR (O.S.)
Now come on folks, air-conditioned cars...all aboard! Metropolis transportation, Metropolis transportation! Buffalo, Syracuse...
OFFICER #2 looks around, walks in search of his prey. He looks in between the train cars.
CONDUCTOR (O.S.)
Smoking cars are forward, move along now...
ANGLE THROUGH TRAIN CARS
OTIS hustles along, we can see his pants leg.
BACK TO OFFICER #2
OFFICER #2 has seen OTIS, and starts to move on again.
CONDUCTOR (O.S.)
Luggage at the top, smoking cars forward, all aboard, boarding...
INT. TRAIN TRACK - NIGHT
OTIS walks along the tracks in front of the train, looking back occasionally. There is some steam visible. OTIS steps to our left, going down some stairs to a lower level.
ANGLE ON OFFICER #2 (NIGHT)
OFFICER #2 walks along the train tracks as well, searching for OTIS.
TRACK 22 - ANGLE ON OTIS
OTIS walks along an empty tunnel, trying to balance himself on the track as he goes.
ORIGINAL TRAIN TRACKS - ANGLE ON OFFICER #2
OFFICER #2 finally finds where OTIS walked into.
OFFICER #2
(into his walkie-talkie)
Armus, Armus! Make it Track 22. I seen him and I'm right on him, lower level, Track 22.
(puts away the walkie-talkie and hurries off)
TRACK 22 - ANGLE ON OTIS
A train approaches in the distance, its lights now visible, the noise of its horn increasing rapidly in volume. OTIS looks: against the far tunnel wall are a series of man-sized indentations, safety manholes meant for track workers to step back into in case of an oncoming train. OTIS walks across the track, and steps back into the manhole.
TRACK 22 - ANGLE ON TRAIN
A train approaches.
TRACK 22 - ANGLE ON OFFICER #2
HARRY arrives through the passageway and sees OTIS standing on the other side of the tracks, within the indentation. The train roars past in F.G., cutting off his view of OTIS.
TRACK 22 - ANGLE ON OTIS
The indentation moves back with a hydraulic shift, allowing OTIS to move into the interior of a hidden passageway. Then the makeshift door closes with another hydraulic hiss, as OTIS walks off.
ANGLE ON TRAIN (NIGHT)
The train rattles by quickly, its flashing windows obscuring OTIS from view. As the last car whistles by: OTIS has disappeared - the indentation is empty.
BACK TO OFFICER #2 (NIGHT)
OFFICER #2
(grins confidently)
So that's it...
INT. NARROW UNDERGROUND PASSAGEWAY
OTIS is walking along down some stairs. He grabs his paper, and eats something. The he starts walking nonchalantly down a narrow underground passageway lined with enormous steam pipes, still holding on to his newspaper.
INT. LUTHOR'S LAIR - (NIGHT)
CAMERA CLOSE on a TV monitor screen. OTIS is seen walking along.
LUTHOR'S VOICE (O.S.)
It's amazing that brain can generate enough power to keep those legs moving.
A hand comes into frame and pushes a button on the control console. The TV image changes: OFFICER #2 is seen on it, crossing the track.
INT. TRACK 22 - CLOSE ON INDENTATION (NIGHT)
HARRY has stepped inside the indentation, sees the sign that reads "#13 SAFETY MANHOLE" and tries to force his way in. A train roars down the track towards him, horn blaring. He steps inside the indentation to wait it out.
INT. LUTHOR'S LAIR - (NIGHT)
The hand is seen inserting a key into the console and turning. An indicator light switches on. The hand pushes along a lever.
INT. TRACK 22 - INDENTATION (NIGHT)
Suddenly - the rear wall of the indentation pushes forward, shoving HARRY out in the direction of the track. He fights against it in vain for a moment.
INT. LUTHOR'S LAIR - (NIGHT)
We see the REAR POV of a man and woman watching the TV monitor screen, as the train appears. THE CAMERA switches angle: the hand finishes moving the lever all the way.
INT. TRACK 22 - INDENTATION (NIGHT)
HARRY catapults onto the track as the train comes. He screams.
ANGLE ON TRAIN
The train rushes by in the foreground.
ANGLE ON TRACK 22 (NIGHT)
OFFICER #1 has arrived with two uniformed POLICEMEN. They scan the area and run along the TRACKS as the CAMERA FOCUSES on them.
OFFICER #1
(into his walkie-talkie)
Harry?
(pause)
Harry, where are you? Harry...
The cops slow down and come to a stop, looking down.
OFFICER #1
Oh no.
We see on the track the dead OFFICER #2's hat. OFFICER #1 picks it up and stares at it, before briefly looking back at the two POLICEMEN.
OFFICER #1
(looking at the hat)
Harry.
(looks around)
INT. LUTHOR'S LAIR - NIGHT
The woman, EVE TESCHMACHER, is staring at the TV monitor. Dressed in an elegant black dress, there is a definite sexual quality about her. She turns around and looks INTO THE CAMERA, slight shake of the head, disapproving.
EVE
Sick.
ANGLE ON LEX LUTHOR
The epitome of an elegant criminal genius, and dressed in a tasteful suit and tie, LUTHOR sits at the control console and nods slightly. A button is pushed and LUTHOR gets up, leaves. EVE follows him, and we can just see OFFICER #1 on the TV monitor in the B.G.
INT. LUTHOR'S LAIR - NIGHT
CAMERA FOCUSES on EVE and LUTHOR as a door slides up and they enter the main part of the lair, a converted abandoned railway station.
EVE
You're really sick.
LUTHOR
Sick, Miss Teschmacher?
(walking, looks back)
Sick when I'm mere days away from executing The Crime of the Century?
(sees where she's standing, very close to a computer bank)
N-n-n-n-n-no, step away from that please.
(EVE does so, with a huff)
How do you choose to congratulate the greatest criminal mind of our time? Huh? Huh? Do you tell me that I'm brilliant?
(EVE walks, taking a drag out of her cigarette holder)
Oh no-no-no, that would be a bit too obvious, I grant you. Charismatic? Fiendishly gifted, er...
EVE
(sarcastic)
Try twisted.
LUTHOR
(unamused)
Ha, ha, ha, ha.
(starts writing something down)
EVE
(examines a filing cabinet)
Ha, ha.
LUTHOR
(sees what she's doing)
Get away from that.
(walks, waving his hand)
Get away, get away! Get away!
EVE slams the filing cabinet shut, and whirls around to face LUTHOR.
EVE
(walking)
Tell me something Lex, why do so many people have to die for the Crime of the Century?
LUTHOR
(walking)
Why? You ask why? Why does the phone always ring when you're in the bathtub? (shuts off the main lights, walks away) *Why* is the most brilliantly diabolical leader of our time surrounding himself with total nincompoops?
OTIS
(enters the room as the door slides up)
I'm back, Mr. Luthor!
LUTHOR
(starts writing again, looking down)
Yes, I was uh just talking about you. You were followed again.
OTIS spins around, knocking over a lamp. EVE leans against something in the background, looking slightly amused.
LUTHOR
In spite of those cat-like reflexes.
(walks off)
OTIS fixes the lamp.
OTIS
Mr. Luthor...
ANGLE ON LAIR LIBRARY - NIGHT
LUTHOR goes to put his papers in the safe.
OTIS
Mr. Luthor...I'm sorry.
LUTHOR
Otis. (closes the safe and walks back to the others) Is that the newspaper I asked you to get me?
OTIS
(points)
Yeah.
LUTHOR
(fake smile as OTIS approaches)
Why am I not reading it?
OTIS
(thinks for a second)
'Cause I haven't given it to you yet?
LUTHOR
(points and smiles)
Right...ha-ha.
LUTHOR rips the paper from OTIS'S hands and examines it, as OTIS cracks his knuckles. LUTHOR looks up at EVE, ecstatic.
LUTHOR
(holding up the front page of the DAILY PLANET which reads:
TWIN NUCLEAR MISSILES TEST
TEST CFONFIRMED
LIVE WARHEADS TO BE USED)
At last it's official! Thanks to the generous help of the United States government, we are about to be involved in the greatest real estate swindle of all time.
EVE
(leaning against the piano)
Lex, what is this obsession with real estate? All the time, "land, land, land".
LUTHOR
Miss Teschmacher, when I was six years old, my father said to me-
EVE
'Get out'.
LUTHOR
Ha-ha-ha. Before that. He said, "Son. Stocks may rise and fall, utilities and transportation systems may collapse. People are no damn good, but they will always need land and they'll pay through the nose to get it! Remember," my father said...
OTIS
"...land."
LUTHOR
Right. It's a pity, that, uh, (starts to walk) he didn't see from such humble beginnings, how I've created this empire.
ANGLE ON EVE
EVE
An empire? This?
ANGLE ON LUTHOR
LUTHOR
(starting to read the paper)
Miss Teschmacher. How many girls do you know who have a Park Avenue address like this one?
EVE
(sarcastically)
Park Avenue address? Two hundred feet *below*?
LUTHOR
(pointing upwards, OTIS is in the B.G.)
Do you realize what people are shelling out up there for a few miserable rooms off a common elevator?
LUTHOR and OTIS
(in unison)
What more could anyone ask?
LUTHOR closes his eyes in dismay.
INT. PERRY WHITE'S OFFICE - NIGHT
PERRY is standing examining some news strips, and is on the phone. PERRY then slams down the phone, and walks to his office door.
INT. DAILY PLANET BULLPEN - NIGHT
There is plenty of activity: the wall clock indicates 8:00 P.M. in the background. The CAMERA TRACKS through the chaos as PERRY WHITE exits his office, the strip in his hand.
PERRY
Olsen?
JIMMY (O.S.)
Yeah?
PERRY
(stops walking, gives him the strip)
Get this Loch Ness update right into composing.
JIMMY
All right.
PERRY
(takes a phone call after one of the employees hands him a phone)
Yeah.
JIMMY OLSEN is still there, chatting with the employee.
PERRY
No that's it, Ross. Put it to bed. Right.
(hangs up, sees JIMMY)
What are you standing around here for?
JIMMY
I'm not- (PERRY holds up a hand to stop him) I wasn't gonna say it...
PERRY
(pointing)
Go.
JIMMY walks off.
PERRY
(walks around the desk and over to LOIS, who is typing away on her typewriter with a PEN behind one ear, and peers DOWN)
Ah, the sex maniac profile.
LOIS
Right. Look, nine to five it's a Pulitzer Prize winner, what do you think?
PERRY
There's no z in brassiere.
(walks away around the desk again, says over his shoulder while examining some papers)
Hey, nice job on that union scandal, Kent.
CLARK
(half-rising out of his chair)
Uh, gosh, thanks, Mr. White.
PERRY leaves. LOIS gets ready to leave too. CLARK rises, briefcase in hand and crosses to LOIS
CLARK
Uh...
LOIS
(looking up)
Oh, hi, Clark. Good night.
CLARK
(walking after her)
Um, here lemme carry that for you.
(grabs his hat off the rack)
CAMERA TRACKS them.
LOIS
Oh, thanks a lot.
CLARK
Uh, Lois, have you, have you got a minute? (to a guy in the way) Excuse me please. Uh, Lois?
LOIS
(walking along, stops at a desk)
And, uh, these two go to the addresses on the envelope, okay?
(continues walking)
CLARK
(to the woman LOIS spoke to) Night. (to LOIS, they are still walking as LOIS stares at her letters) Lois, I was wondering if maybe you'd like to have a little dinner with me-
LOIS
(nice smile)
Oh gosh, Clark, I'm sorry. I'm booked.
CLARK
Oh.
LOIS
Yeah, Air Force One is landing at the airport tonight and this kid's going to be there to make sure you-know- (waves to someone in the office) Good night! (focuses back on the conversation) -who answers a few questions he'd rather duck.
CLARK
(admiration)
My goodness. Don't you ever let up?
LOIS
(stares at him)
What for? Hmmm? I've seen how the other half lives. My sister, for instance...three kids, two cats, and one mortgage...yechh. I would go bananas in a week.
CLARK
Well, can I take you to the airport?
LOIS
Not unless you can fly.
(giggles)
They have reached the LADIES TOILETS. The door opens. LOIS enters, and CLARK is about to do so as well.
LOIS
(stops him)
Uh, Clark?
CLARK
Hmm?
LOIS
(points at the sign on the door and gets her change of clothes)
Ladies.
CLARK
(sheepish)
Sorry.
(turns around and moves back)
LOIS
Thank you.
CLARK
(moving forward as she slams the door in his face)
Uh, Lois, maybe we could-! Hmmm.
(tries to get the trench coat in his hand loose, which is stuck in between the door)
Um. Uh, Lois?
(knocks on the door, and then knocks again)
LOIS
(opens the door and gives him a letter)
Would you be a pet and mail that for me? Thanks.
(shuts door again)
CLARK
Oh, sure, I...
(glances at the letter in his hand)
Night.
(sighs, puts on his hat and walks off to the elevators. Hears the ding) Oh, uh, g-going down please?
The elevator shuts in his face. The other elevator opens, he presses the button)
CLARK
Going down?
MAN (O.S.)
Going up, up, up!
We see his hand sticking out the elevator and pointing up. This elevator closes in CLARK'S face too as TWO REPORTERS walk past in the B.G.
CLARK
(to them)
Good night!
The two men pay no attention to him, talking amongst themselves. CLARK composes himself, and presses the down button again.
EXT. METROPOLIS - NIGHT
CAMERA ANGLE is from the rear of a helicopter in flight.
CONTROLLER'S VOICE
Uh, Daily Planet Copter One, this is Ground.
ANGLE changes to external of helicopter, skyscrapers in the B.G.
PILOT'S VOICE
Planet One, go ahead.
CONTROLLER'S VOICE
Ah, we have Miss Lane here for a quick ride to Metropolis Airport meet Air Force One, it's a hurry fight.
EXT. ROOF OF DAILY PLANET - NIGHT
LOIS emerges through a rooftop exit, looks off past an illuminated helicopter pad with a small waiting room building on the far side. She is holding her stuff as a fierce wind is blowing, and she walks along in a hurry.
PILOT'S VOICE
Roger, we're on our way, over the river now and have you in sight. Have one aboard for transfer, over.
CONTROLLER'S VOICE
Roger, Planet One, you're cleared to land. Wind zero two zero at one-five, gusting altimeter two-niner eight-niner.
PILOT'S VOICE
Roger, over and out.
LOIS enters the waiting room building.
EXT - METROPOLIS - NIGHT
The helicopter approaches the roof and the helipad.
ANGLE ON HELICOPTER - LOIS' POV
The helicopter heads in for the roof, swaying slightly, fighting the tricky winds. It lands on the edge of the pad. LOIS ducks her head, holding her hat against the wind.
ANGLE ON HELICOPTER
The passenger gets out and heads for the waiting room. At the same time, LOIS runs for it to get inside the helicopter.
INSERT SHOT - FLOODLIGHT CABLES
The rubber-encased cables connecting the helicopter pad floodlights dance wildly in the wind like black snakes. The helicopter struts are precariously near to them.
BACK TO SCENE
LOIS has entered the helicopter, and the ground crewman has shut the door. The PILOT takes off. The helicopter starts to rise through the strong winds, suddenly jerks back as the hooked cable takes hold of the landing struts.
PILOT
A malfunction!
(struggles with the controls)
LOIS
What's happening!?
PILOT
I can't control it, I can't...
The helicopter lurches down violently to the PILOT'S side, as LOIS screams.
INSERT SHOT - CABLE
The cable holding the helicopter has split, short-circuits, spitting electric sparks.
INT. HELICOPTER - NIGHT
PILOT
(as the helicopter spins around)
It's out of control, I can't control it, I can't...
INT. WAITING ROOM BUILDING - NIGHT
The rear of the helicopter crashes through the waiting room building, smashing the glass as everyone hits the floor.
INT. HELICOPTER
LOIS is still screaming, covering her eyes for a moment.
EXT. ROOF - NIGHT
The helicopter crash-lands at the edge of the roof.
INT. HELICOPTER
The PILOT, on the roof side, has been knocked unconscious by the impact. LOIS, on the street side, looks over at him, paralyzed with fear. Held in by her seatbelt as the passenger side door opens, she looks down her side to the street below, terrified.
ANGLE ON STREET - LOIS' POV
A sheer drop to the street. Some debris is falling to the ground.
INT. HELICOPTER - NIGHT
LOIS
(staring down)
HELLLLLLLLP!
(looks in the PILOT'S direction)
HELLLLLLLLP! HELLLLLLLLP!
EXT. METROPOLIS STREET
A CROWD has formed and growing rapidly in size, staring up, talking loudly and pointing excitedly.
ANGLE on ROOF
The helicopter is still precariously balanced up there.
INT. HELICOPTER
LOIS undoes her seat belt and begins to scramble towards safety.
EXT. METROPOLIS STREET
The police arrive on the scene, and start to get the crowd under control.
POLICEMAN'S VOICE
Get back, step back folks. All right, let's get back...
(whistle blows)
A news crew has arrived on the street, and starts filming the scene.
ANGLE on ROOF
The helicopter is still precariously balanced up there, as everyone looks up.
INT. HELICOPTER - NIGHT
LOIS is still struggling to get out of the helicopter.
EXT. HELICOPTER - NIGHT
The helicopter starts to slide off the roof.
INT. HELICOPTER - NIGHT
LOIS squeals in dismay, a look of horror on her face. She starts to slide down, but grabs the PILOT on the way. She darts a quick look down, and then starts to scream her lungs out.
EXT. METROPOLIS STREET
More police and ambulances arrive on the scene.
POLICEMAN'S VOICE
All right, folks. Come on, let's move back...
People continue to point and stare as the emergency workers deploy out of the vehicles.
INT. HELICOPTER - NIGHT
LOIS again struggles to get out. The helicopter moves again
EXT. HELICOPTER - NIGHT
LOIS falls out, but grabbing onto the seat belt to prevent her death.
EXT. METROPOLIS STREET
Some women scream.
EXT. HELICOPTER - NIGHT
LOIS screams as she dangles there.
ANGLE ON STREET
It is a long way down.
EXT. METROPOLIS STREET
CLARK exits the building, stops at seeing and hearing all the commotion, and moving backwards looks up.
ANGLE ON LOIS - CLARK'S POV
The helicopter dangles half over the edge of the roof.
BACK TO CROWD
Determined, CLARK pushes his way through the crowd, looking for something.
ANGLE ON PHONE BOOTH - CLARK'S POV
A phone booth stands on the corner - but this is a modern booth -- it covers only the top half of the body. He quickly walks off.
POLICEMAN'S VOICE
Hold these crowds back, move, move!
EXT. HELICOPTER - NIGHT
LOIS
(still dangling, but starting to slip)
Please help me - help...
EXT. METROPOLIS STREET
CLARK starts to cross an empty street, starts ripping off his clothes to reveal the SUPERMAN outfit on underneath. He runs directly INTO THE CAMERA, and we FOCUS on the House of El crest on his chest.
EXT. BUILDING - NIGHT
CLARK enters the REVOLVING DOORS, and moving at super speed changes into SUPERMAN. He then gets out of there fast.
EXT. METROPOLIS STREET
An incredibly garish BLACK PIMP stands in awe from within his car as he sees SUPERMAN in full costume, looking determined.
PIMP
Say, Jim! Whoa!
SUPERMAN
(holds up a finger)
Excuse me.
With a burst or energy SUPERMAN rises from the ground, and flies up into the night sky. The PIMP watches in wonder.
PIMP
That's a bad outfit!
EXT. STREET - NIGHT
The loud CROWD is still watching LOIS hanging from the roof.
EXT. ROOF - ANGLE ON LOIS
LOIS dangles from the helicopter, eyes closed. Her grip slips, and finally, she falls with a loud SCREAM.
SHOT OF LOIS FALLING
VOICE
(person seeing it from the street below)
Oh God...
SHOT OF SUPERMAN flying up to save her.
VOICE
Look up there!
EXT. STREET - NIGHT
The camera crew witnesses it all.
REPORTER
What the hell's that?
ANGLE ON SUPERMAN flying up as fast as possible.
SUPERMAN'S mighty arm reaches out, grabs the falling LOIS around the waist.
SUPERMAN
Easy, Miss. I've got you.
LOIS' eyes open tentatively, then flutter unbelievingly.
LOIS
(as SUPERMAN flies up)
You - you've got me? Who's got you?
(grabs hold of him around the neck, SUPERMAN chuckles)
EXT. STREET - NIGHT
Everyone in the CROWD is staring, a REPORTER has a microphone to her lips and her CAMERAMAN is taking footage with his camera.
FEMALE REPORTER
I, I can't believe it, I just...I cannot believe it, he got her...
EXT. ROOF - NIGHT
The helicopter suddenly lurches as the roof fence supports gets torn away. The helicopter falls.
ANGLE OF LOIS LOOKING UP
LOIS gasps in mid-air, holding onto SUPERMAN as the helicopter comes straight towards them.
EXT. BUILDING - NIGHT
SUPERMAN easily grabs hold of the helicopter with one hand, and continues upwards.
EXT. STREET - NIGHT
The CROWD exults in relief and jubilation, pointing and staring.
EXT. BUILDING - NIGHT
SUPERMAN glances at LOIS with a calm smile, who just stares downwards in disbelief.
EXT. STREET - NIGHT
The CROWD claps and applauds.
EXT. ROOF - NIGHT
SUPERMAN gently deposits the awestruck LOIS on the roof, then lowers the helicopter.
SUPERMAN
(looks around to two men)
Gentlemen? (gestures to the PILOT) This man needs help.
The two men hurry to do so.
SUPERMAN
(smile - to LOIS)
Well. I hope this little incident hasn't put you off flying, Miss.
(LOIS shakes her head very fast. He turns away, then looks back)
Statistically speaking, of course, it's still the safest way to travel.
LOIS
(nods)
Right.
(sees SUPERMAN departing)
Wait!
(he stops and turns around)
Who are you?
SUPERMAN
(calm and confident)
A friend.
(takes off again)
SUPERMAN
(waves)
Bye.
LOIS waves and stares at SUPERMAN, then sinks into a dead faint.
EXT. SKY - NIGHT
SUPERMAN is in mid-air, exhilarated - literally high. He executes a cocky "loop-the-loop" feeling a kind of release, a genuine physical joy in flying.
EXT. SIDE OF APARTMENT BUILDING - NIGHT
A BURGLAR slowly and laboriously ascends the side of the building. SUCTION CUPS are on his hands and knees.
CLOSE ON BURGLAR
Breathing hard, he continues. Looking up, his face suddenly registers shock at the sight of two red boots.
WIDE ANGLE SHOT
SUPERMAN is just standing there, defying all the laws of gravity just above the BURGLAR.
SUPERMAN
(smiles at the BURGLAR)
Hi there.
ANGLE ON SUPERMAN - BURGLAR'S POV
SUPERMAN
Something wrong with the elevator?
BACK TO BURGLAR
The terrified BURGLAR frantically tries to get away, his suction cups coming loose. He yells in fear as he falls - but SUPERMAN swoops down and past him.
SUPERMAN
Going down.
INT. BUILDING - NIGHT
A MAN is at work at his desk. Outside the window, we see SUPERMAN catch the criminal firmly and then head downwards. The MAN looks up for a moment, thinking he heard something.
MAN
(shakes his head)
Nah.
(goes back to work)
EXT. METROPOLIS STREET - NIGHT
PATROLMAN MOONEY is quietly walking his beat. SUPERMAN lands next to him, deposits the terrified BURGLAR on the ground.
SUPERMAN
Officer! Uh, good evening Officer...
(shakes his hand, looks at the officer's nametag)
Mooney. Well, they say confession's good for the soul.
(takes a handful of stolen jewelry out of the burglar's bag)
I'd listen to this man.
(drops the jewelry back into the bag)
Take him away.
The thunderstruck MOONEY gapes as SUPERMAN takes off again.
SHOT OF THE PATROLMAN holding the BURGLAR as they both gaze up in disbelief.
EXT. HIGHWAY UNDERPASS NEAR RIVER - NIGHT
A police car, light flashing, sirens blaring, chases a sleek black Cadillac as they crisscross, screeching through the pillars of a river highway underpass. Both cars blaze away at each other with firearms, as the chase continues for quite a while. The Cadillac eventually squeals into a l80-degree turn, heads down a short pier to a waiting cabin cruiser. The police car imitates the turn and eventually come to a halt. TWO POLICEMEN pile out, guns drawn, and open fire down the pier.
ANGLE ON POLICE FROM PIER
SIX HOODS empty out of the Cadillac near the cabin cruiser, the police bullets slamming into their car. They wheel, holding automatic weapons and firing at the enemy.
HOOD #1
Come on, let's get outta here!
EXT. METROPOLIS - NIGHT
SUPERMAN is flying along, when all the gunfire attracts his attention.
EXT. PIER - NIGHT
The gunfire continues.
HOOD #2
Move your ass! Come on, come on!
The HOODS jump onto the cruiser. The POLICEMEN start to move in.
POLICEMAN #1
Okay, let's go, let's go!
POLICEMAN #2
Drop your weapons! Drop your weapons...oh shit...
HOOD
Let's get outta here!
The cruiser takes off, leaving two of the HOODS behind. The cops go to arrest them.
POLICEMAN #1
Okay, hold it right there. Okay freeze, you dirty-!
The masked hoods put down their weapons and assume the position upon seeing the cops with weapons drawn up-close.
HOOD #3
Don't shoot, okay, cool, you got us...
EXT. SKY - NIGHT - ANGLE ON CABIN CRUISER
The cabin cruiser plows down the river at top speed.
INT. CABIN CRUIER - NIGHT
TWO of the HOODS are in the main cabin. ONE is counting the money as his PARTNER joins him, taking off his ski mask. The FIRST HOOD grins at his PARTNER, then looks back through the windshield of the cabin, his jaw suddenly dropping.
ANGLE THROUGH WINDSHIELD - HOOD'S POV
SUPERMAN stands on the front deck, arms folded, staring sternly inside at them.
EXT. BOAT DECK - NIGHT
The THIRD HOOD opens the hatch and sneaks up behind SUPERMAN, a heavy steel boat gaff in his hands. As SUPERMAN stares in through the windshield, the HOOD swings it down viciously straight into his head. The gaff recoils as if it had hit solid steel - the HOOD stands unbelievingly, his entire body shaking in spasms from the impact. SUPERMAN turns with a smile.
SUPERMAN
Bad vibrations?
INT. POLICE STATION - NIGHT
A flustered MOONEY stands before his amused DESK SERGEANT
MOONEY
Sergeant, you don't believe me. I swear! Flying, with a big red cape! And bright red boots as well!
SERGEANT DOLAN
(takes the cigar out of his mouth)
Watch the desk, Reese.
(starts to move)
MOONEY
(as the SERGEANT joins him)
Quick as a wink he was gone! Flew up in the air again, he did. Like a big blue bird.
SERGEANT DOLAN
(smile)
Like a big blue bird.
MOONEY
You don't believe me.
SERGEANT DOLAN
With bright red boots.
MOONEY
I'm sayin'.
The SERGEANT walks MOONEY to the station door. CAMERA FOLLOWING
SERGEANT DOLAN
Why don't you take the night off and go back to Murphy's bar and continue what you started. I'll be off myself in a few minutes and meet ya there myself...
They have reached the door but suddenly stop, rooted to the spot as they stare outside. The background sounds of a crowd can be heard.
EXT. STREET - ANGLE ON CRUISER - THEIR POV
The cabin cruiser sits in the street, balanced on its keel. The FOUR HOODS are tied to the prow, the satchel of money hanging from one of their feet.
BACK TO MOONEY AND SERGEANT
Both MOONEY and the SERGEANT look up.
EXT. SKY - NIGHT
SUPERMAN is flying off.
BACK TO MOONEY AND THE SERGEANT
SERGEANT DOLAN
Mooney, first bottle's on me, let me get my hat.
MOONEY continues to star upwards as a siren howls.
EXT. SKY - NIGHT - ANGLE ON SUPERMAN
SUPERMAN continues through the air as a thunder and lightning echo in the distance. He hears something, cocks his head.
EXT. RESIDENTIAL STREET - NIGHT
A LITTLE GIRL looks up plaintively through the rain at a tree in her back yard. CAMERA PANS UP: A somewhat wet cat sits stranded in the top branches of the tree.
LITTLE GIRL
(despair)
Hey Frisky, will you please come down from there?
Suddenly - SUPERMAN soars into frame.
SUPERMAN (O.S.)
Hi. I'll get him!
The LITTLE GIRL waves numbly as SUPERMAN glides down, grabs FRISKY out of the tree. We hear a miserable "meow".
SUPERMAN
(to FRISKY)
It's alright.
He lands gently, deposits the cat in the LITTLE GIRL'S arms.
SUPERMAN
Here you go, miss.
LITTLE GIRL
Gee, thanks, Mister.
SUPERMAN
Well. (rubs the cat's head). Good-bye, Frisky. So long, now. (flies off, turns and waves) Bye.
LITTLE GIRL
(waving)
Bye.
SUPERMAN flies off. CAMERA PANS with the LITTLE GIRL as she runs up the house steps and goes inside.
LITTLE GIRL (O.S.)
Mommy! Mommy! Frisky was stuck in the tree! This man swooped out of the sky and gave him to me!
MOTHER'S VOICE
Haven't I told you to stop telling lies?
CAMERA HOLDS a moment. Suddenly - the sound of a "smack" is heard.
EXT. SKY - NIGHT - ANGLE ON AIR FORCE ONE
It's a dark and stormy-looking scene. Lightning slashes through the night sky. Rain has started. Air Force One fights its way through nonetheless.
INT. AIR FORCE ONE COCKPIT - NIGHT
CO-PILOT
Metropolis Airport, this is Air Force One. Could we have the latest weather report.
CONTROLLER'S VOICE
Roger, Air Force One. Uh, Metropolis currently seeming five hundred overcast, seven hundred broken till happening showers, wind two-four-zero-two-five. Altimeter niner-niner-eight.
CO-PILOT
Roger. (looks at PILOT) Well.
PILOT looks at some papers.
CO-PILOT
Doesn't look too good, what do you think?
EXT. SKY - ANGLE ON AIR FORCE ONE - NIGHT
Suddenly a bolt of lightning crashes into the wing. Flames shoot up as the outboard engine on the PILOT'S side splits in two, dropping off the wing.
CO-PILOT
(plane is rocking madly)
What the hell was that-!?
PILOT
What happened?
NAVIGATOR
(pointing)
You lost power to Number One!
PILOT
(looking out window)
Lost power? Hell, we lost the whole engine!
The plane starts into a dive.
PILOT
Pressure's gone. Shut down Number One!
The PILOT and CO-PILOT fight the controls, try to level off. The other three cockpit crew do what they can as well.
PILOT
Bring up Two and Three. Increase Four, increase Four...
The plane continues to dive.
CO-PILOT
Mayday, mayday, Metropolis Tower, this is Air Force One. We have lost port outboard engine, and part of wing. Request emergency landing.
(breaks off radio communication)
CO-PILOT
What's the position?
CREWMAN
Ten miles southwest of Metropolis airport. Notify all local residents...
CO-PILOT
(communicating with the tower again)
Position ten miles, that's ten miles, southwest Metropolis airport. Heading three-zero-five, height 6000 feet.
EXT. SKY - NIGHT ANGLE ON WING
SUPERMAN grabs hold of the wing in the cavity created by the fallen engine and flies, stretched out in its place. The plane's nose comes up. The aircraft seems to right itself to the astonishment of the PILOT who looks out the window, eyes now widening.
EXT. ANGLE ON SUPERMAN PILOT'S POV
He turns his head, smiles and flips a salute at the PILOT.
INT. AIR FORCE ONE COCKPIT - NIGHT
The dumbfounded PILOT looks back and waves numbly.
CO-PILOT
What the hell happened, we got our engine back? What the hell's going on out there?
PILOT
(looks at him)
Fly. Don't look, just fly. We got...something. I ain't saying what it is. Just...trust me.
(looks back out the window at Superman, along with another CREWMAN)
EXT. FORTRESS OF SOLITUDE - DAY
JOR-EL'S VOICE
You...enjoyed it.
INT. FORTRESS OF SOLITUDE - DAY
SUPERMAN
(standing at the CENTRAL CONSOLE)
I don't know what to say, Father, I... (briefly looks down) I'm afraid I just got carried away.
The SCREEN is filled by the giant head of JOR-EL. He looks INTO THE CAMERA.
JOR-EL
I anticipated this, my son. I...
SUPERMAN
(surprised)
You couldn't have! You couldn't have imagined...
(looks down)
JOR-EL
(gently)
How good it felt.
SUPERMAN looks ashamed, but nods.
JOR-EL
You are revealed to the world. Very well, so be it.
ANGLE ON SUPERMAN
JOR-EL'S VOICE
But you still must keep your secret identity.
SUPERMAN
Why?
JOR-EL
The reasons are two: first, you cannot serve humanity twenty-eight hours a day.
WIDE ANGLE on SUPERMAN and JOR-EL
SUPERMAN
Twenty-four.
JOR-EL
Or twenty-four, as it is in Earth time. Your help would be called for endlessly, even for those tasks which human beings could solve themselves. It is their habit to abuse their resources in such a way.
SUPERMAN
And, secondly?
ANGLE ON JOR-EL
JOR-EL
Second, your enemies would discover that the only way to hurt you, will be by hurting the people you care for.
SUPERMAN
Thank you, Father.
JOR-EL
Lastly...
ANGLE ON SUPERMAN
JOR-EL'S VOICE
Do not punish yourself for your feelings of vanity. Simply learn to control them.
ANGLE ON JOR-EL
JOR-EL
It is an affliction common to all, even on Krypton. Our destruction could have been avoided but for the vanity of some who considered us...indestructible. If not for vanity, why...at this very moment...
CAMERA PANS forward on JOR-EL'S face, which has a somewhat SAD expression.
JOR-EL
I could embrace you in my arms...my son...
SUPERMAN reaches yearningly toward his father's image; JOR-EL fades, leaving SUPERMAN alone, and he lowers his arms with a disconcerted look. The CAMERA RECEDES from him as he looks around the CENTRAL CONSOLE in confusion, not sure what to do.
WIDE ANGLE SHOT of SUPERMAN at the CENTRAL CONSOLE
EXT. METROPOLIS STREET- NIGHT - CLOSE ON STORE WINDOW
The faces of various TV NEWSCASTERS look into the CAMERA through the window of a store which sells television sets. They babble madly about everything that's happened lately, including what happened with LOIS and the helicopter. Footage is shown of the rescue and the helicopter being lifted to the roof.
CAMERA PULLS BACK: the store window is filled with a myriad of TV sets, all three networks simultaneously broadcasting the same story. A CROWD has formed in front of the window. The CAMERA stops at the rear of CLARK KENT.
CROWD MEMBER
Yeah, that'll be the day, huh?
CLARK looks around.
CROWD MEMBER
I said that'll be the day when a guy can fly, huh?
CLARK
(turns with a slight smile)
Oh, I don't know. You'd be surprised.
(nods and walks off)
CROWD MEMBER
(doubts it)
Yeah.
INT. LUTHOR'S LAIR - NIGHT
REX REED ON TV
...some sort of fantastic hoax. Your guess is as good as anybody's, true or false? Miracle or fraud...
LUTHOR (O.S.)
Miss Teschmacher!
REX REED (V.O.)
The answer is up to you. Man or myth?
ANGLE ON EVE
EVE looks around, dressed only in a bikini and oddly a redhead's wig. The underground complex is a projection of an idyllic Caribbean island setting and a sea scene shimmers against one wall.
ANGLE ON LUTHOR
LUTHOR
(swimming in the pool)
Turn it off.
EVE switches off the set, turns as LUTHOR dives under the water.
EVE
Lex? What's the story on this guy? You think he's the genuine article?
LUTHOR
(swimming)
If he is, he's not from this world.
EVE
Why?
LUTHOR
Because, if any human being were going to perpetrate such a fantastic hoax, it would have been me!
Eve rolls her eyes. SHOT of OTIS fluffing the pillows on a bed. He has a toffee apple in his mouth. OTIS discovers a wig in the bed, and gasps. He quickly puts it away in its proper spot.
LUTHOR (O.S.)
Otis!
ANGLE ON LUTHOR
LUTHOR
(swimming)
My robe!
OTIS
(starts walking and grabs it)
Right away, Mr. Luthor!
OTIS heads towards him with a blue-white elegant bathrobe.
LUTHOR
(musing)
It all fits somehow, his coming here to Metropolis. And at this particular time. Kind of cruel justice about it. I mean, to commit the Crime of the Century, a man would just naturally want to face the Challenge of the Century.
(arrives at the steps out of the pool)
OTIS
(comes down the steps into the water as the bottom of the robe proceeds to get soaked)
Listen, Mr. Luthor, maybe this guy that flies is just sort of passing through, you know?
LUTHOR
Passing through? Not on your life.
(OTIS starts helping LUTHOR on with the robe)
Which I would gladly sacrifice, by the way, for the opportunity of destroying everything that he represents. Eh? And, Otis, by the way. Next time put my robe on *after* I'm out of the pool.
OTIS
Oooohhhh!
INT. PERRY WHITE'S OFFICE - DAY
CAMERA CLOSE on an edition of The Daily Planet with a black and white artist's impression of SUPERMAN flying. The paper slams down onto the desk.
WIDER ANGLE
PERRY
Now look (throws down papers in succession) The Post: "It Flies." The News: "Look, Ma, No Wires." The Times: "Blue Bomb Buzzes Metropolis." The Planet.
The headline reads: CAPED WONDER STUNS CITY
PERRY
(talking to a crowd of reporters)
We're sitting on top of the story of the century here! I want the name of this flying whatchamacallit to go with the Daily Planet like bacon and eggs, franks and beans, death and taxes, politics and corruption.
CLARK
(raises his hand)
I, I don't think he would, uh, lend himself to any ch-cheap promotion schemes, though, Mr. White.
PERRY
And how exactly would you know that, Kent?
CLARK
(hesitates as everyone looks at him)
Um...uh, j-just a first impression?
PERRY
Well anyway, who's talking cheap? I'll make him a goddamn partner if I have to! (looks at his secretary next to him) RIGHT?
SECRETARY
Right, Chief.
PERRY
(walking around)
I want the real story! (bangs desk)I want the inside dope on this guy! Has he got a family? Where does he live?
LOIS is taking notes, and finds a card with a personal message on it.
LOIS
(whispers aloud)
TONIGHT AT EIGHT
YOUR PLACE-
HOPEFULLY-
A FRIEND
SHOT of CLARK craning his neck to see what LOIS is doing.
ANGLE ON PERRY WHITE
PERRY
(walks around)
Tony, who is he?
(the REPORTER shrugs helplessly, PERRY moves on)
What's his name? What's he got hidden under that cape of his - batteries? (SHOT of LOIS looking over her shoulder, CLARK lowers his eyes) Why did he show up last night? (looks at another reporter) Dick. Where does he come from? (to LOIS) Does he have a girlfriend? (moves on) What's his favorite ball team, Kent? (CLARK opens his mouth, but too late PERRY is gone) Now listen to me! I tell you boys and girls - whichever one of you gets it out of him...is going to wind up with the single most important interview since... (grabs a cigar at his desk) God talked to Moses!
One of the reporters lights it for him. PERRY inhales deeply the looks around.
PERRY
What are you standing around about for? Move! Get on that story!
The reporters head for the door, CLARK fumbling with something for a moment. PERRY sits on his desk chewing his cigar, and reading the latest edition of his paper. The phone rings, but he ignores it.
INT. TERRACE OF LOIS' APARTMENT - NIGHT
LOIS, looking absolutely gorgeous in her best evening gown, stares wistfully up into the sky. She glances at her watch: it is 8.05 PM.
LOIS
(turns around to head back inside, says to herself)
Eight o'clock, he says eight o'clock. Eight o'clock. Hm. Some friend. (pours herself some wine) Story of my life. Cinderella bites the dust.
EXT. METROPOLIS - NIGHT
CAMERA PANS along the buildings and skyscrapers, then down to the TERRACE.
EXT. LOIS' APARTMENT - NIGHT
LOIS pours herself some wine and drinks as SUPERMAN lands at the edge of her terrace.
SUPERMAN
(arms crossed)
Good evening, Miss Lane.
LOIS almost chokes on the wine and whirls around in her seat
LOIS
Uh...h-hi!
SUPERMAN
Oh, I'm sorry. Did you have plans this evening?
LOIS
Oh.
(looks at gown)
Oh, this old thing... (gets up) no.
SUPERMAN
Well listen, it's no trouble at all for me to come back later-
LOIS
No! (rushes forward) Don't move! (stops) Um, err, sure you can move, just don't fly away, alright?
SUPERMAN smiles to himself, hops down onto the terrace, and walks forward.
SUPERMAN
Sorry to, uh, just drop in on you like this, Miss Lane, but I've been thinking. You know, there must be a lot of questions about me that people in the world would like to know the answers to...
LOIS
Of course. Yes. Uh...
(rushes to the terrace table and grabs a cigarette, lights up)
SUPERMAN
(sternly)
Uh, you really shouldn't smoke, you know, Miss Lane.
LOIS
(turns around with a smirk)
Don't tell me. Lung cancer, right?
INSERT SHOT - LOIS' LUNGS
Seen through SUPERMAN'S X-RAY vision: a shot of LOIS' lungs superimposed on her back.
ANGLE ON SUPERMAN
SUPERMAN
Well. Not yet, thank goodness.
SUPERMAN walks forward. LOIS blinks, puts out her cigarette.
LOIS
Um, um, would you like a glass of wine?
SUPERMAN
Uh, no, no thanks. I never drink when I fly.
INT. LOIS' APARTMENT - NIGHT
SUPERMAN
(seen in mirror)
Nice place.
EXT. TERRACE - NIGHT
LOIS
Oh thank you. Thank you. Um...should we get started with that interview?
She goes to sit down, there is an uncomfortable moment when he goes to get her chair.
LOIS
Oh, thank you.
Flustered, LOIS sits and starts to collect her thoughts as SUPERMAN sits down too.
LOIS
Well, ah, let's start with your vital statistics. Are you married? (looks up)
SUPERMAN
(almost scoffs)
Uh, no. No I'm not.
LOIS
Do you have a girlfriend?
SUPERMAN
Uh, no I don't, but uh, if I did Miss Lane you'd be the first to know about it.
LOIS
(pause, almost smirks)
Um, how old are you?
SUPERMAN.
Over 21.
LOIS
Oh, I get it, you don't want anyone to know. (SUPERMAN nods) Okay. And how big are you...how *tall* are you?
SUPERMAN
About six-four.
LOIS
Six-four, and, uh, how much do you weigh?
SUPERMAN
Around two, two-twenty five.
LOIS
Two-twenty five? (looks up, SUPERMAN shrugs) Mmm. Well, um, uh -I - I assume the rest of your bodily functions are...normal?
SUPERMAN
Sorry, beg your pardon?
LOIS
Well, putting it delicately. (long pause) Do you...eat?
SUPERMAN
Uh, yes. Yes I do. When I'm hungry.
LOIS
You do. (huge grin) Of course you do. (claps her hands) Well. (gets up, as does he and keeps writing) Well then. Uh. Is it true that, uh, you can see through anything?
SUPERMAN
Yes I can. Well, pretty much.
LOIS
(continues walking around planter)
And that you're, uh, totally impervious to pain?
SUPERMAN
Well, so far.
LOIS
(heads back towards him)
What color underwear am I wearing?
SUPERMAN
(looking)
Hmmm.
LOIS
Oh, I'm sorry, I embarrassed you, didn't I?
SUPERMAN
Oh, no...
LOIS
(interrupting, clutching her head)
I did.
SUPERMAN
...no, no, not at all, Miss Lane, it's just that this planter must be made of lead.
LOIS
Uh, yes it is. So?
SUPERMAN
Well, you see, I, uh, I sort of have a problem, seeing through lead.
LOIS
Oh, that's interesting. (writing) Problem seeing through lead. Hmmm. Uh, d-do you have a first name?
SUPERMAN
What do you mean, like, Ralph or something?
LOIS
No, no, I mean like...
(walks away from planter)
SUPERMAN
Pink.
LOIS
Huh?
SUPERMAN
Pink.
LOIS looks down, gets it, and walks back to the planter.
SUPERMAN
Um, sorry, Miss Lane, I didn't mean to embarrass *you*.
LOIS puts down her pad, flustered in spite of herself.
LOIS
(bad liar)
Oh, huh, you didn't embarrass me. Um, uh, what's your background? Where do you hail from?
SUPERMAN
(starts walking)
Well, that's kinda hard to explain, actually. See, I'm from, um, well, pretty far away. Another galaxy, as a matter of fact. I come from a planet called Krypton. (staring up at the sky)
LOIS
(looks confused)
Huh?
SUPERMAN
(looking back)
Krypton.
LOIS
(fakes it while writing)
Oh, Krypton! With a C-R-I...
SUPERMAN
(comes close)
No, a-actually, it's K-R-Y. Along with P-T-O-N.
LOIS
(writing)
K-R-Y...do you like pink?
SUPERMAN
I like pink very much, Lois.
LOIS
(smitten)
Why are you?
SUPERMAN
I'm sorry?
LOIS
I mean, w-why are you here? There must be a reason for you to be here.
SUPERMAN
(standing very close and looking into her eyes)
Yes. I'm here to fight for truth and justice and the American way.
LOIS
(laughs and walks away)
You're gonna end up fighting every elected official in this country!
SUPERMAN
I'm sure you don't really mean that, Lois.
LOIS
(staring at her apartment interior, says to herself)
I don't believe this...
SUPERMAN
Lois?
LOIS
Hmm?
SUPERMAN
I never lie.
LOIS
(blinks and nods, throwing down her cigarette pack)
Oh. Um....uh, oh! Just how fast do you fly, by the way?
SUPERMAN
Oh, I don't know really. Y'know, I've never actually, uh, bothered to time myself.
LOIS
Oh.
SUPERMAN
Say. Why don't we find out?
LOIS
And how do you propose we do that?
SUPERMAN
Take a ride with me?
LOIS
You mean I could fly? (giggles)
SUPERMAN
Well, actually, I'd be handling the flying if that's okay.
LOIS
This is utterly fantastic!
LOIS heads quickly back inside.
SUPERMAN
Wait, wait a minute, where are you going?
LOIS
Are you serious?
SUPERMAN
Sure. What's the matter, don't you wanna go? Okay. (grabs the pad and pen) Won't need these. (puts them on the TERRACE table)
LOIS
I mean. A sweater. It must be kind of cold?
SUPERMAN
You'll be warm enough.
SUPERMAN crosses over, smiles, takes her by the hand. He looks deeply into her eyes as they stop in the middle of the TERRACE.
SUPERMAN
Ready?
LOIS
(staring at him)
Clark...said that you're just a figment of somebody's imagination. Like Peter Pan.
SUPERMAN
Clark, uh. Who's that? Your boyfriend?
LOIS
Clark? Oh, Clark, no, he's nothing, he's just, uh...
SUPERMAN
Peter Pan, huh?
LOIS
Uh-huh.
SUPERMAN
Peter Pan flew with children, Lois. In a fairy tale.
SUPERMAN tightens his grip on her shoulders. They shoot up into the night sky.
LOIS
(gasps)
Wait, no...
EXT. SKY - NIGHT
SUPERMAN flies through the night sky holding LOIS. They look off as CAMERA PANS DOWN: the gleaming lights of Metropolis are below them. LOIS buries her head in his shoulder. He uncovers her eyes and convinces her to look around as they fly. She hold him tight, which amuses SUPERMAN. But then LOIS starts to relax and enjoy it, as SUPERMAN points out things here and there.
EXT. NEW YORK - NIGHT
SUPERMAN and LOIS fly above the statue of LIBERTY. They circle it a few times, LOIS has a look of wonder on her face. Then SUPERMAN flies them up higher. They burst through a CLOUD layer, with the FULL MOON in the background. SUPERMAN convinces LOIS to move away from him and stretch out her arm like him. Reluctant at first, she does so and appears to enjoy herself. Then her grip starts to weaken, as they only hold hands and then fingertips. Suddenly they lose contact, and LOIS drops like a stone. She SCREAMS. SUPERMAN instantly flies down to grab her, she grabs him around the neck as they embrace. LOIS has a love-struck expression on her face.
LOIS (V.O.)
(as they circle around)
Can you read my mind?
SUPERMAN makes a decision, and they fly off.
LOIS (V.O.)
Do you know what it is that you do to me?
They fly past the MOON.
LOIS (V.O.)
I don't know who you are. (long pause) Just a friend from another star.
SUPERMAN smiles at her, and LOIS smiles back.
LOIS (V.O.)
(as they fly along)
Here I am, like a kid out of school. Holding hands with a god. I'm a fool. Will you look at me? Quivering...like a little girl. Shivering. You can see right through me. (long pause) Can you read my mind? Can you picture the things I'm thinking of? Wondering why you are. All the wonderful things you are.
SUPERMAN appears to ask LOIS something, and then grabs her close as they fly.
LOIS (V.O.)
You can fly. You belong in the sky.
A BIRD flaps its way past them, startling LOIS. SHOT of the BIRD with the MOON in the B.G.
LOIS (V.O.)
You and I, could belong to each other.
SUPERMAN and LOIS starting flying downwards.
LOIS (V.O.)
If you need a friend. (long pause) I'm the one to fly to.
They pass through the CLOUD layer
LOIS (V.O.)
If you need to be loved. Here I am. Read my mind.
SUPERMAN carries her in his arms. CAMERA ANGLE switches to LOIS' terrace.
EXT. LOIS' TERRACE - NIGHT
SUPERMAN glides in and deposits LOIS gently on the TERRACE once again. She is absolutely struck dumb with wonder, and stares at him.
SUPERMAN
Err, we forgot to time ourselves.
(LOIS breathes deeply)
Well, maybe next time.
He turns to go, but LOIS still has her arms around his neck.
LOIS
(releasing him)
Oh!
SUPERMAN walks to the edge of the TERRACE, turns around.
SUPERMAN
You okay?
LOIS
Uh-huh!
SUPERMAN
Well. G'night...
SUPERMAN turns and is about to fly off, gives her a short wave.
LOIS
Oh! G'night!
SUPERMAN shoots off into the night sky. CAMERA PUSHES IN on LOIS' face, almost drugged with contentment.
LOIS
(starts walking)
Super man...
(stops walking)
"Superman"!
Suddenly there are loud knocks on the apartment front door.
CLARK (O.S.)
Lois? Lois? Anybody home?
INT. LOIS' APARTMENT - NIGHT
LOIS absently enters and heads for the front door.
CLARK (O.S.)
Hello? Lois? Oh...
He knocks again, then stops as LOIS starts to undo the locks.
CLARK
(peeks in after she opens the door)
Uh, hi, can I come in?
LOIS
(turns, smiles vapidly)
Oh yeah.
CLARK
Lois, for goodness sake. Didn't you hear me knocking?
LOIS
(back to him)
Uh-huh.
CLARK
Uh, Lois, we did-did have a date tonight, uh, remember?
LOIS
Oh.
CLARK
(coming up to her)
Lois?
LOIS
Huh?
CLARK
You haven't been, uh...
(makes gestures to indicate getting drunk)
LOIS
Oh no. No.
CLARK
Well I certainly hope not. Well. Let's, uh, push off shall we?
LOIS
(starts to focus)
I better get a coat. It might be getting colder. No...
(walks OFF-SCREEN)
CLARK
Okay.
LOIS mumbles to herself as she walks to her bedroom. She shuts the door and CLARK takes off his glasses, letting SUPERMAN show through for a moment. He smiles, then looks down at the glasses and frowns. He takes a deep breath.
CLARK
Lois? There's something I have to tell you. (the bedroom door opens) I'm really...
A pause. He can't bring himself to go through with it as she approaches. CLARK puts his glasses back on and resumes the meek, mild-mannered persona.
CLARK
Um. I mean, I-I was at first, really nervous about tonight. Uh, but then, I decided well, darn it - I was going to show you the time of your life.
LOIS
(pause)
That's Clark, nice...
(exits the apartment, leans against the elevator)
CLARK
(exiting as well, shutting the door behind him)
I was thinking maybe we could go for a hamburger or whatever you want to do...
INT. LUTHOR'S LAIR - DAY
CAMERA CLOSE UP on the front of a newspaper held by EVE and OTIS, who read it intently. The banner headline is clearly visible: I SPENT THE NIGHT WITH SUPERMAN - An Exclusive Interview by Lois Lane.
CAMERA PANS to the library. LUTHOR is sitting in his chair, working on a slide rule and the CAMERA ANGLE goes WIDER as LUTHOR talks.
LUTHOR
Now then, given the exact location of the galaxy that he mentions, and the proximity to our own solar system...it's amazing.
(bolts up)
AMAZING! Too good to be true.
(goes to stand on his library sliding ladder)
EVE
(to OTIS)
He's too good to be true! He's six foot four, has black hair, blue eyes, doesn't drink, doesn't smoke, and tells the truth!
LUTHOR
(turns, standing on his library sliding ladder)
Miss Teschmacher, some people can read War and Peace and come away thinking it's a simple adventure story. Others can read the ingredients on a chewing gum wrapper and unlock the secrets of the universe.
EVE
(insulted, huffs)
Lex, what has chewing gum got to do with the secrets of the universe?
LUTHOR
(sighs, turns away)
Right, right Miss Teschmacher.
LUTHOR starts searching for a book.
LUTHOR
N...n...n...
OTIS
(turns around)
'M'! You want 'M' Mr. Luthor? Coming right up.
OTIS moves the sliding ladder LUTHOR is standing on, leaving LUTHOR hanging from a shelf.
OTIS
So, there you go, 'M'.
LUTHOR
'M' as in moron Otis? No, no, no, it's 'N'! 'N' as in Neanderthal, nincompoop, nitwit and 'L' as in ladder!
OTIS
(begins to push the rolling ladder along the wall)
Ladder, Mr. Luthor, coming right up! I just...see, I...I'm sorry, Mr. Luthor...
(LUTHOR steps on his hand with a big CRUNCH)
Oooooh!
LUTHOR
(rolling, pushing OTIS before him)
In the interview he says that the planet Krypton (OTIS moans) exploded in 1948. (stops rolling, grabs a periodical) Ridiculous little freak took three years in a rocket ship to get to Earth. (sits on the steps) Ergo?
OTIS
Uh, ergo. Ergo...uh, 1948, that's three years... (screws up his face in concentration, looks up at LUTHOR) He's six foot-four, you know that?
LUTHOR
(looks down at OTIS)
Do you know why the number 200 is so vitally descriptive to both you and me?
(OTIS points to himself)
It's your weight and my I.Q.
(turns)
Now think, people, think! (pause) Deductive reasoning, that's the name of the game.
LUTHOR starts to leaf through the periodical, as OTIS and EVE try to figure out where he's going with all this.
LUTHOR
Fragments from the planet Krypton exploded and went into outer space. It is reasonable to assume that some of those particles, some debris, drifted to Earth.
EVE
(gets it, big smile)
Meteorites!
LUTHOR
Jawohl.
He finds the page he was looking for, his face lighting up. He slaps the page.
LUTHOR
Voila!
LUTHOR tears out the periodical page and lets it sail down towards the floor. OTIS grabs it eagerly, looks and hands it to EVE.
OTIS
Voila.
EVE
(dismissive)
Voila.
(looks at the page)
INSERT SHOT - PERIODICAL PHOTO
The photo shows an ETHOPIAN wearing sunglasses and holding a green rock. The caption beneath reads: Meteorite Lands near Addis Ababa, Ethiopia.
BACK TO SCENE
EVE stares at the picture, mystified.
EVE
A meteorite found in Addis Ababa. Uh, I know I'm gonna get rapped in the mouth for this, but...so what?
(lets the page drop, OTIS grabs it)
LUTHOR
So what. You mean, to us, they're just meteorites. Fair enough. But the level of specific radioactivity is so high, to anyone from the planet Krypton, this substance is *lethal*!
OTIS
Wait a minute, Mr. Luthor. You mean, fire and bullets can't hurt this guy, but this stuff here...
OTIS AND EVE
... will kill him! Oh...
EVE
Yeah.
LUTHOR beams proudly at EVE.
LUTHOR
Doesn't it give you kind of a, a, a...shudder...of electricity through you to be in the same room with me?
EVE laughs.
EVE
Not like the shudder *you're* gonna get when you try to lay that rock on him. He can see you coming for miles with those super-peepers of his.
LUTHOR stares up at the ceiling dramatically.
LUTHOR
(has obviously already thought of this)
"Oh, Lord. You gave them eyes, yet they cannot see." Nor can Superman, through lead.
EVE
(dawning on her)
He...can't...see...through...lead!
LUTHOR
And Kryptonite will destroy him!
(quick smile)
Any questions, class?
OTIS
Wow.
EVE
(turns her back on them, thoughtful)
I wonder what they're wearing in Addis Ababa.
OTIS
Looks like a burnoose. You know...are we going to Addis Ababa, Mr. Luthor?
LUTHOR looks resigned more than anything else, holding his forehead and shutting his eyes.
EXT. COUNTRY ROAD - DAY
CAMERA ANGLE looks down at a country landscape. CAMERA PANS to our left to a military convoy travelling along a road. The sounds of a helicopter can be heard.
PILOT'S VOICE
Thunderbird to Missile Convoy, over.
Two jeeps of MP's are in front and one is behind a flatbed truck bearing the enormous XK101 rocket. The convoy rolls on, crossing the SCREEN as the CAMERA PANS left.
DRVER'S VOICE
This is Convoy to Thunderbird, go ahead.
PILOT'S VOICE
Everything looks good, see you at the base, over and out.
DRVER'S VOICE
Roger Thunderbird, over and out.
EXT. OTHER PART OF ROAD - DAY
A sleek car speeds quickly down another part of the road, heading across the SCREEN from right to left.
INT. SPEEDING CAR - DAY
CAMERA LOOKS OUT the windshield of the speeding car from the rear. To our amazement there is no DRIVER in the vehicle - no one at all, in fact. The riderless car continues to roar down the road.
EXT. BOTTOM RISE IN ROAD - DAY
CAMERA CLOSE on an electronic guidance box being held by LUTHOR, who deliberately crashes it.
ANGLE ON SPEEDING CAR
The drone car tumbles end over end before finally coming to a stop.
BACK TO LUTHOR
LUTHOR looks expectant, before walking OFF-SCREEN to our right.
EXT. OTHER PART OF ROAD - DAY
CAMERA ANGLE shows the flatbed truck passing between some trees. The CAMERA PANS right to show OTIS waiting, and having a snack.
EXT. CAR WRECK SCENE - DAY
The military convoy stops as we see Miss Teschmacher posing as the victim of a car wreck, apparently unconscious on the road beside the wreck in a slinky red dress that shows a lot of cleavage. She is also wearing a blonde wig. The MP's come out of their cars to examine the situation.
MP
Whooee! Looks pretty bad.
SHOT OF OTIS waiting in the trees, and then discarding his tree camouflage as he climbs onto the flatbed truck containing the missile.
EXT. CAR WRECK SCENE - DAY
MAJOR
(comes up to his men, who are surrounding EVE)
All right, get on the radio and get an ambulance down here, I don't want to hold this convoy up anymore than I...have...to.
(sees EVE for the first time, and SERGEANT HAYLEY checking for her heartbeat)
SERGEANT HAYLEY
She's having trouble breathing sir. What do you think?
MAJOR
Well, I suggest, uh, a vigorous chest massage, and if that doesn't work, uh, uh, mouth-to-mouth.
SERGEANT HAYLEY
(enthusiastically) Yes, sir! (bends to the task)
MAJOR
(pulls HAYLEY to his feet)
Sergeant. I won't have one of my men doing anything I wouldn't be prepared to do myself.
SERGEANT HAYLEY
(disappointed) Yeah, but, sir!
MAJOR
Get an ambulance. All right, men. Gather around.
The MP's gather around in a complete CIRCLE, enclosing the MAJOR and EVE as HAYLEY walks to the jeep.
MAJOR
About face!
The MP's turn around in perfect formation, as the MAJOR starts giving EVE mouth-to-mouth with great enthusiasm.
INSERT SHOT - COMPASS DIAL
OTIS opens a door on the XK101 missile, takes out a small screwdriver, starts to adjust various needles from one set position to another while looking at his left arm from time to time, where a set of numbers is printed. A siren is suddenly heard.
EXT. BOTTOM OF RISE
An ambulance roars down the road, turns the corner, and screeches to a stop. The MP's are still surrounding EVE and the MAJOR, who is still giving her mouth-to-mouth. LUTHOR jumps out.
LUTHOR
(pleasant smile)
Hi. Somebody hurt?
EXT. TOP OF RISE - DAY
OTIS comes running down the hill, carrying a tool belt.
EXT. LOWER ROAD
OTIS jumps into the back of the ambulance with LUTHOR and EVE.
INT. AMBULANCE - DAY
LUTHOR is in the driver's seat, EVE next to him. OTIS leans in from the rear section, excited.
OTIS
(as LUTHOR drives off)
Hee-hee! Awww. I did it. (EVE chuckles) Ha-ha-ha. I did it, Mr. Luthor! I did it. Just like you told me to!
LUTHOR
All right, Otis. All right. Otis, listen, it isn't that I don't trust you, but, uh...
(thinks about it)
I-I don't trust you, Otis. What'd you do?
OTIS
Well, I...
(rolls up his sleeve, reads the numbers off his arm)
I set the, the first directional vector to, uh, 38, the second one to 67, and the third one to 117.
LUTHOR
(sm1ling, glances back slightly)
What about the fourth one?
OTIS
Wh-what fourth one?
LUTHOR
Wait a minute. Wai-wai-wait a minute. The third one to one-17?
OTIS
(holds out arm)
Yes, see, I wrote it down, Mr. Luthor, I wrote...
LUTHOR
(getting angry and gesturing)
Otis. OTIS! The third one was supposed to be 11, and the fourth one 7.
OTIS
(sadly)
Oh. Gee. Oh gee. (LUTHORS slams his hand on the steering wheel) Oh gee, gee, Mr. Luthor. Oh, I guess my arm wasn't long enough, see. I...
LUTHOR
(rage mounting)
Otis...would you like to see a long arm? Otis?
(screams)
Would you like to see a very, very long arm?
OTIS
Oh no, Mr. Luthor...
LUTHOR
OTIS! OTIS!
LUTHOR abandons the steering wheel and heads for the rear section of the ambulance, in order to start pummelling OTIS. EVE screams and frantically tries to control the vehicle from the passenger seat.
EXT. ANOTHER COUNTRY ROAD - DAY
Another missile convoy similar to the first one heads down another country road. There is one police car in front of the rocket-containing truck, two in back. The CAMERA PANS to follow the truck.
INT. TRUCK CAB - DAY
CAMERA ANGLE is from the back of the truck, as LUTHOR sounds his horn as they approach a two-lane bridge. In the distance we see the second military convoy. The huge structure takes up the full breadth of the narrow road.
EXT. ROAD - DAY
The military convoy slows down, the cars blaring their sirens.
INT. TRUCK CAB - DAY
CAMERA LOOKS THROUGH the front side window as LUTHOR and OTIS ride together in the cab of a small truck. OTIS, with a black eye, looks over apologetically at LUTHOR who drives, eyes forward.
LUTHOR
(dressed in western outfit, complete with a ten-gallon hat)
All right, get it right, will you?
OTIS
(nods)
Yes, Mr. Luthor.
EXT. BRIDGE - DAY
Both the missile convoy and the house trailer roll to a stop, blocking the passageway completely. The truck horn sounds again.
INT. CAR - DAY
There are four MP's in white helmets present.
MP #1
(looking back into the back seat, annoyed)
McDonald, I thought you told me that this road was supposed to blocked off?
MP #2
(looks to his left)
Yeah. Blonskie, didn?t you tell me...
MP #1
(as the car stops)
I didn't ask him, I asked you!
EXT. BRIDGE - DAY
The MP's pile out of their car, approach the trailer cab, arms waving and yelling.
MP #1
Back that thing off the road!
MP #2
Get it outta here!
MP
Back it off the road!
MP #3
Off the road!
OTIS gets out, and there is a SHOT of MP's running from the rear of the convoy.
INSERT SHOT - BRIDGE GUARD RAIL
EVE'S FACE comes up into the SCREEN, looking about intensely. Voices are heard in the background, arguing.
EXT. BRIDGE - DAY
LUTHOR and OTIS are with the MP's. OTIS in also dressed in a western outfit.
MP #1
Now listen you're gonna have to circle back, I don't have time to argue. Would you get back in there-?
LUTHOR
(stupid grin)
Heck of a day, idn't it?
ANGLE ON BRIDGE FROM BELOW
We see EVE climb up the rail. ANGLE changes to looking down from ABOVE, as she gets onto the bridge proper.
EXT. BRIDGE - DAY
MP #1
Groundswell, that's back there isn't it?
(gestures behind)
MP
No sir, it's up there!
(pointing)
SHOT of EVE scrambling along wearing the same tool belt OTIS had on earlier, heading for the rocket.
LUTHOR
(gesturing at map)
Sergeant, we took the wrong turn...
MP #1
I'm a lieutenant, you're speaking to a naval officer!
SHOT OF EVE ducking underneath the same place OTIS went to reprogram the first one.
MP #1 (O.S.)
Shut up!
UNDERNEATH THE TARPAULIN
EVE opens the hatch, and starts doing her job.
WIDE ANGLE ON BRIDGE
LUTHOR (O.S.)
This man is a diabetic.
EXT. DAM - DAY
CAMERA shows a BIRD'S EYE VIEW of a dam with rushing water along one side. CAMERA ANGLE switches a number of times to show different POVs. JIMMY OLSEN then comes into the FRAME, and he takes photos of the place from his vantage point of higher ground.
EXT. DESERT ROAD - DAY
CAMERA ANGLE from above shows a car speeding quickly down the dusty desert road. The CAMERA PANS across the SCREEN, FORWARD and DOWN
LOIS (O.S.)
As you know, my newspaper the Daily Planet is very interested in that dam, Chief.
INT. LOIS' CAR - DAY
LOIS drives the car, talking into the microphone of her tape recorder. Sitting in the passenger seat: AN ELDERLY AMERICAN INDIAN CHIEF with classic features, nicely dressed. A tape recorder lies between them as LOIS is doing an interview.
LOIS
...but what I don't understand is (turns to look at him) why you would sell out to a faceless person you've never met. I mean you don't even know his name.
The CHIEF taps the dashboard, indicating LOIS should pay attention to the road.
LOIS
Oh!
She swerves to narrowly avoid going into a ditch.
CHIEF
(into the microphone)
At the stupid high price he offered for this worthless piece of desert...
(smiles)
I hope it's Custer.
LOIS laughs.
LOIS
Perfect, that's just what I need. Thank you.
(switches off the tape recorder)
INT. DAILY PLANET BULLPEN - DAY
A portable TV in the corner. Initially there is STATIC, then a hand changes the channel and an ANNOUNCER'S VOICE can be heard as an image of a man comes on the screen.
ANNOUNCER'S VOICE
... reporting live from the launch site, Ground Zero. Well, today marks the start of a new era. Two XK101 rockets will be launched simultaneously...one by the army, one by the navy...
CMAERA PANS: CLARK enters the FRAME. The WALL CLOCK reads 6:39 PM. CLARK looks around, notices that LOIS' desk is empty, hangs up his hat and heads for the REPORTERS watching another TV set with the same program on.
CLARK
Hi, everybody! Has anyone seen Lois anywhere around today?
ONE REPORTER turns to CLARK.
REPORTER #1
No, I haven't, b-but the Chief wants to see you...
REPORTER #2
You're blocking the set, Clark.
CLARK
(ducks slightly in embarrassment and crosses to PERRY'S office)
Sorry Gil, how's Judy today?
REPORTER #2
Good.
CLARK
Great.
(knocks on the door and enters)
Excuse me, Mr. White, you wanted to see me?
PERRY (O.S.)
Come in, Kent.
CLARK
You wanted to see me? Sir, have you seen Lois anywhere around today?
INT. PERRY'S OFFICE - DAY
PERRY is leaning back in his chair, smoking a cigar and watching his TV set.
PERRY
(turns and takes the cigar out)
She's out west looking into a land fraud deal. Sent young Olsen with her on his first assignment. Some unidentified clown out there's been buying thousands of acres of worthless desert at incredible prices.
CLARK
Golly, that doesn't seem to make sense.
WIDE ANGLE on BOTH PERRY and CLARK
PERRY
The world doesn't make sense, Kent. You oughta know that by now.
(grabs dispatch)
Look at this dispatch from Addis Ababa. People break into a museum in the dead of night, kill two people and what do they take? (hands dispatch to CLARK) A worthless piece of meteorite. Now how do you figure that?
ANGLE ON CLARK
CLARK
Well, frankly I've never been able to understand violence in any form, Mr. White.
(adjusts glasses)
PERRY
(points at him)
I know that about you, Kent. It's one of the reasons I wanted to talk.
PERRY rises ponderously, still holding the cigar, briefly looks out toward his half-opened window before staring back at CLARK.
PERRY
I've been in this news game man forty years, man and boy. (starts walking) And I got where I am with guts, compassion, elbow grease - and something you're sadly lacking in, son. (points)
CLARK
Um, humility?
PERRY
Oh, not humility, you got bags of humility. Aggression. (heads for window again) Confidence, that's the ticket! Take charge, let people know who you are. Why, when I was...
As CLARK listens, PERRY'S VOICE seems to fade away and is replaced by a high-pitched whine like that given off by a high frequency transmitter. CLARK winces, hearing it, his hand rising involuntarily to his ear. PERRY drones on at the window, apparently oblivious to it.
EXT. METROPOLIS ALLEY - DAY
Several stray dogs rummage through turned-over garbage cans, suddenly stop as they hear the whine, begin to howl and bay excitedly.
BACK TO PERRY'S OFFICE
CLARK tries to focus his super-hearing on the sound as it weakens momentarily and PERRY'S VOICE fades back in again at the window.
EXT. METROPOLIS ALLEY - DAY
More dog barking and howling is heard.
BACK TO OFFICE, CLOSE ON CLARK'S EAR
PERRY'S VOICE and the dog howls fade away as CLARK'S super-hearing picks up the high-frequency message.
ANGLE ON CLARK
LUTHOR'S VOICE
This is Lex Luthor. Only one thing alive with less than four legs can hear this frequency, Superman, and that's you.
CLOSE-UP on CLARK
CLARK listens, eyes widening.
LUTHOR'S VOICE
In approximately five minutes a poisoned gas pellet containing a propane lithium compound will be released through thousands of air ducts in this city. Effectively annihilating half the population of Metropolis.
ANGLE ON PERRY, LOOKING OUT WINDOW
PERRY
Why, I was a reporter before most of my friends were copy boys! That's what I want you to do, boy, get Lois to introduce you to Superman.
ANGLE ON CLARK
CLARK silently leaves the office as PERRY drones on, CAMERA PANS to follow him.
PERRY'S VOICE
Find out who he is. What he's like. Where'd he get that blue suit. Did he have it made? Is it silk? Is it plastic?
INT. DAILY PLANET BULLPEN - DAY
THE CAMERA POV is EXT. to the scene, just outside the building. CLARK slips out of PERRY'S office, quickly crosses the room where the REPORTERS cluster around the TV. The CAMERA follows him as he holds a finger to his ear and listens to LUTHOR.
LUTHOR'S VOICE
I know it all seems a bit much, but how else was I going to get to meet you, Superman? I...knew you'd never accept an invitation to tea. But a disaster - with people in danger - people who need help...well, I just knew you couldn't resist the...chance to sort of...pitch in. Know what I mean?
EXT. SIDE OF DAILY PLANET - DAY
CLARK raises the blinds and jumps out a window high up on the Daily Planet building. As he falls, he goes into a dive and a transformation to SUPERMAN takes place. SUPERMAN soars upwards before even halfway down to the street. He takes off in the direction of the sound waves.
INT. BUS - DAY
SUPERMAN rushes past, and some of the passengers turn around to watch.
PASSENGER
Superman!
EXT. METROPOLIS STREET - DAY
There are cars, a bus and taxis on the road. SUPERMAN flies forward into the CAMERA, then seems to pass above it.
EXT. METROPOLIS - DAY
SUPERMAN rushes past various building and skyscrapers, office workers stop what they're doing and rush to the windows to see him.
LUTHOR'S VOICE
There's a strong streak of good in you, Superman. But then nobody's perfect...almost nobody.
SUPERMAN flies around a building, then the CAMERA ANGLE switches to show him flying down to the streets.
EXT. METROPOLIS SIDEWALK - DAY
SUPERMAN lands on the sidewalk. People stop in their cars.
DRIVER #1
What the-?
PASSENGER BEHIND DRIVER #2
Oh, Superman!
DRIVER #3
Gee!
PEDESTRIANS start forward to crowd him. With a smile, he waves them away.
SUPERMAN
Everybody stand back, please, stand back! It's alright. Nothing to be worried about.
Arms folded, SUPERMAN suddenly begins to spin in place like a figure skater, quickly boring a circular hole in the pavement as the startled PEDESTRIANS watch in amazement. They gather around the hole.
INT. BELOW METROPOLIS STREET - DAY
The CAMERA ANGLE looks UP as one or more pedestrian gets some dust in their faces.
EXT. METROPOLIS STREET - DAY
FEMALE PASSENGER
(hits the driver on the back of the head)
Well don't just sit there like a numbskull, go! Get out-
INT. TUNNEL - DAY
The same tunnel we saw OTIS walk down in an earlier sequence. SUPERMAN bores through the ceiling, hits the floor and stops spinning. He looks down the length of the tunnel.
INSERT SHOT OF A SECURITY CAMERA MONITORING HIM
INT. LUTHOR'S VIEWING THEATER - DAY
LUTHOR, EVE and OTIS sit in comfortable seats in an elegant viewing theater inside the underground complex. The huge TV monitor has the image of SUPERMAN staring directly INTO CAMERA from the tunnel, before looking around at the rest of the place. LUTHOR is holding a microphone.
LUTHOR
Look at that overgrown Boy Scout, Miss Teschmacher. Tell me what you see.
EVE
(turns to him)
Cuteness. Dimples.
LUTHOR
You like cuteness, huh? Dimples. I'll give you dimples.
LUTHOR reaches to press buttons on the console.
INT. TUNNEL - DAY
SUPERMAN starts down the tunnel for the door. Suddenly panels open on both sides filled with machine gun barrels. They open fire simultaneously in a withering, deafening barrage. SUPERMAN walks forward calmly as thousands of bullets ricochet off him.
INT. LUTHOR'S VIEWING THEATER - DAY
LUTHOR and the others watch on the monitor. The gunfire eventually ceases. LUTHORS raises his microphone.
INT. TUNNEL - DAY
LUTHOR'S VOICE
The pressure's still on you, Superman.
SUPERMAN stops.
LUTHOR'S VOICE
You know what they say, if you, uh, can't stand the heat...
INT. LUTHOR'S VIEWING THEATER - DAY
LUTHOR
...get out of the tunnel.
(pushes a few buttons)
INT. TUNNEL - DAY
The walls and ceiling of the tunnel suddenly come alive with flaming gas jets. The tunnel becomes a blinding inferno, as SUPERMAN proceeds serenely through the holocaust.
INT. LUTHOR'S VIEWING THEATER - DAY
EVE closes her eyes, not wanting to witness this. Even OTIS cannot bring himself to look, but LUTHOR does.
INT. TUNNEL - DAY
SUPERMAN continues, then gets out of the flames unharmed.
INT. LUTHOR'S VIEWING THEATER - DAY
EVE looks rather smug.
LUTHOR
(into microphone)
This is your last chance, Superman.
INT. TUNNEL - DAY
LUTHOR'S VOICE
Why don't you do yourself a favour and freeze...
The doorway SUPERMAN has just walked through, a door slides down and seals him into the area. Then SUPERMAN disappears from view into the middle of an incredibly thick blizzard, as snow and ice comes out of grates. A large cone of ice is formed.
INT. LUTHOR'S VIEWING THEATER - DAY
EVE looks rather worried again, even though LUTHOR and OTIS seem triumphant. LUTHOR presses a button.
INT. TUNNEL - DAY
The blizzard stops. There is only a pile of ice where SUPERMAN stood. Suddenly the ice goes flying away. SUPERMAN steps out, making his way past the icy obstruction.
INT. LUTHOR'S VIEWING THEATER - DAY
EVE looks rather smug again as LUTHOR tosses away the microphone, gets up and leaves OFF-SCREEN. CAMERA ANGLE switches to show OTIS following him, and then again to show EVE getting mobile too. The monitor shows SUPERMAN walking along.
INT. TUNNEL - DAY
SUPERMAN walks towards the other end of the tunnel.
INT. LUTHOR'S LAIR - DAY
OTIS
(has his ear up against the door)
I think he's coming, Mr. Luthor.
ANGLE ON LUTHOR
He is sitting at his desk.
ANGLE ON EVE
She watches nervously, partly hidden.
INT. TUNNEL - DAY
SUPERMAN arrives at a door labelled DANGER NO ENTRY CONDEMNED
INT. LUTHOR'S LAIR - DAY
Noises are heard, OTIS is still there as the door bulges inwards.
OTIS
(runs away to his master's side, LUTHOR looks calm)
He's definitely coming, Mr. Luthor.
The heavy metal main door to the complex trembles under SUPERMAN'S strength. Then it crashes down under his strength and SUPERMAN stands at the entryway. A lamp crashes to the ground. EVE winces and moves back.
LUTHOR
(sees SUPERMAN staring at him)
It's open, come in.
(SUPERMAN does so)
My attorney will be in touch with you about the damage to door. Otis, uh, take the gentleman's cape.
OTIS starts forward in order to do so, but is suddenly rooted to the spot by SUPERMAN'S glare.
OTIS
(turns back to LUTHOR)
I don't think he wants me to, Mr. Luthor.
SUPERMAN
All right, Luthor, where's the gas pellet?
LUTHOR
Somewhere... (smiles) in the back of my mind, actually. (chortles) It's a little idea I was toying with.
ANGLE ON SUPERMAN
SUPERMAN
Is that how a warped brain like yours gets its kicks? By planning the death of innocent people?
ANGLE ON LUTHOR
LUTHOR
(quick smile)
No. By causing the death of innocent people.
INT. MISSILE BASE - DAY
We see a TV monitor showing one of the XK101 missiles.
MALE VOICE
Fire!
The monitor shows that we have ignition.
EXT. MISSILE BASE - DAY
The two XK101 rockets are launched simultaneously with a rush of flames and a mighty roar.
INSERT SHOT of a bunker, the MISSILE CONTROL CENTER with various images of controllers (a LIEUTENANT and a PETTY OFFICER) and VIPs (MILITARY and CIVILIAN SENATORS) witnessing the missile test.
INT. LUTHOR' S LAIR - DAY
CAMERA ANGLE looks down from above the main lights. LUTHOR can be seen walking holding a pointer with OTIS nearby, carrying a glass overlay. The CAMERA PANS to keep them in sight.
LUTHOR
Now. As you may or may not know, I am as they say, very heavy into real estate. In order to make money in that game you have to buy for a little and sell for a lot. Right?
OTIS
Right.
LUTHOR
Right. So. Problem: how to make the land more valuable in between the time you buy it and the time you sell it.
LUTHOR points to a map of California and the San Andreas Fault on the floor.
LUTHOR
Now this is California. The richest, most populous state in the Union.
SUPERMAN
(comes into view from underneath the lights)
I don't need a geography lesson from you, Luthor.
CAMERA ANGLE switches to show LUTHOR and SUPERMAN at GROUND LEVEL
LUTHOR
Oh yes of course you've been there. I do forget you get around, don't you. (chortles) Where was I?
OTIS
(pops up into FRAME)
California.
LUTHORS
California. (OTIS goes down again) Right...the San Andreas Fault. Maybe you've heard of 1t.
SUPERMAN
(slight sigh)
Yes. It's the joining together of two land masses.
ANGLE ON SUPERMAN
SUPERMAN
The fault line is unstable and shifting, which is why you get earthquakes in California from time to time.
ANGLE ON LUTHOR and OTIS
LUTHOR
(eyes shut)
Wonderful.
(opens eyes)
Couldn't have said it better myself.
ANGLE ON FLOOR
There is an overlay map which OTIS has placed there, as LUTHOR speaks he uses his pointer.
LUTHOR
(pointing to San Andreas fault line)
Everything west of this line is the richest, most expensive real estate in the world: San Diego, Los Angeles, San Francisco. Everything on THIS side of the line is just hundreds and hundreds of miles of worthless desert land. Which just so happens to be owned by...
LUTHOR whacks OTIS on the ass with his pointer.
OTIS
Uhhh...Lex Luthor Incorporated.
LUTHOR
Now, call me foolish, call me irresponsible...it occurs to me that a 500 megaton bomb planted at just the proper point would, uh...
SUPERMAN
(concerned, looking the floor)
Would destroy most of California.
(looks up)
Millions of innocent people would be killed. And the west coast as we know it would...
LUTHOR
...fall into the sea. (Gives a little wave with his hand) Bye-bye, California. Hello, new west coast. My west coast.
OTIS ducks down and overlays map with new map, CAMERA ANGLE switches to show a different west coast.
LUTHOR
Costa Del Lex. Luthorville. Marina del Lex. Otisburg...
(stops, stares at OTIS)
Otisburg?
OTIS
Miss Teschmacher, she's got her own place.
LUTHOR
Otisburg?
OTIS
It's a little bitty place.
LUTHOR
(angrily)
*Otisburg*?
OTIS
Okay, I'll just wipe it off, that's all. Just a little town.
(attempts to erase the handwritten 'Otisburg')
SUPERMAN
(walking around)
You're a dreamer, Lex Luthor. A sick, twisted dreamer. Your plan couldn't possibly work.
ANGLE ON LUTHOR
LUTHOR
I'll admit there were a few problems. Adjusting the precise trajectory of the missile, finding the optimum stress point for the fault line itself...which by the way is, uh, Target Zero, right (raises his pointer) here (the glass overlay cracks from the impact of the pointer crashing down).
QUICK SHOT OF ALL THREE STARING DOWN AT THE FLOOR.
OTIS
Ooooh.
ANGLE ON SHATTERED GLASS. DISSOLVE TO:
EXT. DESERT - DAY - AERIAL VIEW
WIDE ANGLE shot. CAMERA ANGLE switches to show LOIS' car driving along the road.
INT. LOIS' CAR - DAY
LOIS is driving along, humming.
EXT. DESERT ROAD - DAY
The car continues driving along.
EXT. DAM - DAY
JIMMY walks around, the CAMERA PANS to follow him. He stops at the base of the DAM to stare at the big structure.
EXT. SKY - DAY
The XK101 missiles start to go OFF-COURSE.
INT. MISSILE BASE - DAY
The VIPs get very concerned as things start to go wrong. In the background, there are voices reporting physical data.
ADMIRAL
What's the hell's happening, Lieutenant?
LIEUTENANT
(desperately working at his console)
Trajectory malfunction, sir!
ADMIRAL
(leans down next to him, staring at screen)
Abort!
LIEUTENANT
Yes, sir.
(opens a panel, pushes a button. Nothing happens. He pushes it again two or three times)
Function negative, sir!
SENATOR
Can't you knock 'em down?
LIEUTENANT
Absolutely impossible, sir. They have the new P-20 low-level avoidance systems.
(leans back in his chair)
ADMIRAL
Get me the Pentagon.
The civilians exchange glances.
EXT. SKY - DAY - CLOSE ON ROCKET #2
ROCKET #2 speeds quickly across the desert, heading west.
EXT. SKY - DAY - CLOSE ON ROCKET #1
ROCKET #1 now whizzes by over green fields, heading east.
INT. LUTHOR'S LAIR - DAY
LUTHOR and SUPERMAN are walking towards the CAMERA, with OTIS barely visible behind them. They stop close to the LIBRARY.
LUTHOR
Well. What do you think, Sup-baby? Interesting?
SUPERMAN
Well, your theory's quite impressive, Luthor-
LUTHOR
Otis, would you, uh, go to the viewing room, please?
OTIS departs.
SUPERMAN
But as for the rest it's nothing but a sick fantasy.
LUTHOR
(quiet chortle)
Fantasy...? No, no.
(turns to face him)
It's history. It's happening, Superman. MISS TESCHMACHER!!
EVE comes running into view from the viewing room, CAMERA ANGLE switches to show her from the rear as OTIS joins her.
EVE
Yes, Lex?
CAMERA ANGLE BACK ON LUTHOR and SUPERMAN
LUTHOR
Where's the rocket now?
EVE
It's going like a bat over the Grand Canyon.
SUPERMAN starts walking towards her, OTIS departs.
EVE
So's the other one.
SUPERMAN
(glances back at LUTHOR in disbelief)
The other one! There's two of them?
LUTHOR snaps his fingers at EVE, and she departs as well as he sits on a LEAD-LINED TRUNK. CAMERA ANGLE shows SUPERMAN in profile and LUTHOR mostly from the rear.
LUTHOR
Yes, Superman. Double jeopardy. Even you with your great speed couldn't stop both of them. While I on the other hand could stop them with my detonator.
SUPEMAN crosses to LUTHOR, grabs him by the shirt and coat, lifts him up high.
SUPERMAN
All right, Luthor, where is it? Where's that detonator?
ANGLE ON LUTHOR, whose eyes shift towards the CAMERA. SUPERMAN drops him, and strides towards us, before he stops. Switch to SUPERMAN scanning the room with his X-Ray vision, he checks out the safe and the desk but finds nothing. SUPERMAN turns around and sees the lead-lined trunk that LUTHOR is sitting on.
SUPERMAN
You diseased maniac! Did you really think you could hide it from me by encasing it in lead?
SUPERMAN shoves LUTHOR up and over onto the couch. He lands rather gracelessly. CAMERA ANGLE switches to rear of LUTHOR, facing SUPERMAN.
SUPERMAN
I'll mold this box into your prison bars...
LUTHOR
(arm out)
Don't touch that!
SUPERMAN stops and stares for a moment, then dismisses the warning. He opens the lid.
INSERT SHOT - KRYPTONITE
The green Kryptonite rock glows inside the box. It is linked on both sides by a chain.
BACK TO SCENE
SUPERMAN instantly recoils, stunned.
LUTHOR
(smiling like a cat who's just eaten the canary)
I told ya.
SUPERMAN steps back, looking shocked and noticeably weaker.
LUTHOR
It's Kryptonite, Superman.
INSERT SHOT - KRYPTONITE
The green Kryptonite rock is still glowing inside the box.
LUTHOR'S VOICE
Little souvenir from the old home town? I spared no expense to make you feel right at home.
SUPERMAN stumbles back, hitting a table. LUTHOR gets up, pulls the rock out of the box by the chain, SUPERMAN desperately tries to raise his arm to shield himself from the rays.
LUTHOR
You were great in your day, Superman. But it just stands to reason...
ANGLE ON LUTHOR
LUTHOR
(starts walking forward, holding the glowing KRYPTONITE)
...when it came time to cash in your chips, this old...diseased...maniac would be your banker.
SHOT OF SUPERMAN backing away weakly.
LUTHOR
Mind over muscle.
SUPERMAN is trying to slide himself along the wall when LUTHOR finally places the chain around SUPERMAN'S neck.
SUPERMAN
(panting as LUTHOR pulls him up)
You don't...even care...where the other missile's headed, do you...
LUTHOR
Certainly I do. (drags SUPERMAN along by the arm, as he breathes heavily) I know exactly where it's headed. Hackensack, New Jersey.
LUTHOR pushes SUPERMAN over the crumbled railing bordering the office portion of his complex.
ANGLE FROM POOL
SUPERMAN'S body splashes helplessly down into the pool below. CAMERA ANGLE switches to LUTHOR on the railing, with EVE visible in the background.
LUTHOR
(looks down at the pitiful SUPERMAN below him)
Ha-ha. I have to leave you now. No hard feelings. We all have our little faults. Mine's in California.
LUTHOR turns and walks toward EVE, then he stops and yanks the rope turning out the main lights. The swimming pool is still dimly illuminated by a lamp in the F.G. LUTHOR climbs the stairs.
ANGLE on LUTHOR heading for the viewing room.
EVE
(stopping him)
Lex, my mother lives in Hackensack.
LUTHOR shakes his head and looks at his watch, before walking away. EVE looks like her heart's been torn out.
INT. POOL - DAY
SUPERMAN struggles and thrashes underwater.
INT. LAIR - DAY
EVE looks at the CAMERA, a distance shot.
LUTHOR'S VOICE
MISS TESCHMACHER!!
She reluctantly turns and heads off to join him, as the CAMERA ANGLE shows the POOL with the struggling SUPERMAN within. ANGLE switches to show SUPERMAN noticeably weaker now.
EXT. SKY - DAY - CLOSE ON ROCKET #1
ROCKET #1 whizzes along. Larger, more populous communities loom up ahead.
INT. POOL - DAY
SUPERMAN struggles with the KRYPTONITE underwater, but is unable to get the chain off.
EXT. SKY - DAY - CLOSE ON ROCKET #2
ROCKET #2 speeds across the landscape.
INT. POOL - DAY
SUPERMAN keeps struggling with the KRYPTONITE.
EXT. SKY - DAY - CLOSE ON ROCKET #1
ROCKET #1 travels across desert landscape. Background babble is heard
INT. POOL - DAY
SUPERMAN seems unable to keep going, and weakly floats towards the surface.
INT. LUTHOR'S VIEWING ROOM - DAY
CAMERA PANS to show EVE pacing, looking worried. CAMERA PANS to show the rear of LUTHOR and OTIS, watching the TV monitor and listening to technobabble. LUTHOR has his feet up on the console, and a map is visible on the screen.
LUTHOR
Otis.
OTIS instantly hits a button, the CAMERA ANGLE switches to a forward shot of them.
EXT. SKY - DAY
CAMERA ANGLE is on rear of ROCKET #2, we see the blazing exhaust emission of the XK101 as it rockets along.
INT. POOL - DAY
SUPERMAN breaks the surface of the water, gasping for breath.
INT. LUTHOR'S COMPLEX ABOVE POOL - DAY
EVE looks over the shoulder of a statue bust, looking deeply uncertain.
ANGLE ON SUPERMAN IN POOL - EVE'S POV
SUPERMAN is dying, barely able to keep afloat. He looks up, spots EVE who quickly hides.
SUPERMAN
(gasping)
Miss Teschmacher...
ANGLE ON EVE, as she slowly appears again.
SUPERMAN
(gasping)
Miss Teschmacher...
WIDE ANGLE to show both of them
SUPERMAN
...please...you can't...you can't just stand there...
INSERT SHOT OF EVE with a finger to her lips, desperately going 'SHHH'.
SUPERMAN
You can't just stand there and let...innocent people...millions of innocent people...die...
ANGLE ON EVE
EVE
(uncertain)
Maybe...
ANGLE ON SUPERMAN
SUPERMAN
(desperate)
Please...please help me to save them...
ANGLE ON EVE
EVE
(wary, briefly looks back)
If I help you, do you promise to save my mother first?
WIDE ANGLE to show both of them
SUPERMAN
But Lois...and Jimmy...
CLOSE ON EVE
EVE
Oh but my mother comes first! If you promise me I'll believe you, because you always tell the truth.
SUPERMAN
(nods weakly)
I, I promise...I promise...
(sinks beneath the water again)
EVE looks around, quickly makes up her mind, takes off her shoes and holding her nose jumps off the crumbling railing into the pool as SUPERMAN struggles with the KRYPTONITE.
ANGLE ON POOL
EVE swims over to SUPERMAN who surfaces again. She grabs him and hauls him over to the steps out of the pool. SUPERMAN, very weak, tries and fails yet again to get rid of the KRYPTONITE around his neck. She reaches out to unhook he chain from his neck, grabs hold of it, suddenly stops, and looks uncertain.
SUPERMAN has his eyes shut, obviously near death. EVE suddenly kisses him, then unhooks the chain and tosses it away. The KRYPTONITE and its chain fall down a nearby grate and sink out of sight. SUPERMAN sits up, all his super-strength returning in a rush. He looks at EVE curiously, his power recharging itself.
SUPERMAN
(looking at her)
Why did...why did you kiss me first?
EVE
I didn't think you'd let me later.
SUPERMAN
(now at full strength)
Thank you, Miss Teschmacher...
EVE
(almost misty eyed)
Why is it I can't get it on with the good guys?
SUPERMAN smiles, strokes her chin and then her cheek.
SUPERMAN
(starting to get up)
Stand aside, now. I wouldn't stay here either.
The CAMERA ANGLE SHIFTS SLIGHTLY as he stands up and EVE moves to the side. SUPERMAN flies upwards, smashing through the roof of the complex. Debris collapses down from the hole he's just made into the water, close to EVE.
EXT. METROPLIS - DUSK/NIGHT
SUPERMAN streaks up into the sky at top speed. He banks to the side, then heads for the Hackensack rocket as he promised.
INT. LUTHOR'S VIEWING ROOM - NIGHT
CAMERA ANGLE on LUTHOR and OTIS, OTIS is eating and LUTHOR has his feet up.
CONTROLLER'S VOICE
Hummingbird, still heading due east...
ANOTHER CONTROLLER'S VOICE
Ladybird still heading due west...
INT. MISSILE BASE - NIGHT
The brass walk around in a panic, as the controllers try to get the missiles back under control. Background babble is heard.
EXT. SKY - DAY - ROCKET #2
ROCKET #2 is still powering along.
EXT. DESERT ROAD - DAY
LOIS' CAR is driving along.
INT. CAR - DAY
The FUEL LIGHT begins blinking an angry red colour on the dashboard.
ANGLE ON LOIS, looking downwards in annoyance, before looking up.
EXT. DAM - DAY
JIMMY is at the top of the DAM, looking out over the water. He walks along into the center of the FRAME, and takes a picture.
EXT. SKY - DAY - ROCKET #1
ROCKET #1 is still powering along.
INT. MISSILE BASE - NIGHT
PETTY OFFICER
(to ADMIRAL leaning over his shoulder)
Hummingbird's still heading east, sir.
CAMERA ANGLE switches to show a map on a nearby monitor.
EXT. SKY - DAY - ROCKET #1
ROCKET #1 is still powering along.
EXT. RURAL AREA - DAY
CAMERA shows two brothers painting and fixing a fence, as the missile streaks by overhead. They look up as SUPERMAN streaks by as well, and wonder what's going on.
EXT. SKY - DAY
SUPERMAN chases the missile. In the distance loom some mountains.
BACK TO SUPERMAN
He pours on the speed, trying to catch up. SUPERMAN lunges for it but it veers off out of reach, then whizzes away again. SUPERMAN flies off after the rocket, a look of grim determination on his face.
EXT. SKY - ANOTHER ANGLE
The missile speeds on. SUPERMAN comes back into frame, catching up. He grabs it from behind, gripping it tightly. With a mighty effort, he wrenches the rocket off its course. Steering it from behind, he accelerates quickly, flying up at an angle.
INT. LUTHOR'S LAIR - NIGHT
LUTHOR gets up on his feet at once, heading for the TV monitor.
CLOSE ON MISSILE AND SUPERMAN
He continues to climb with the rocket. The CAMERA ANGLE shows a look of Herculean effort on his straining features, as the rocket exhaust bathes SUPERMAN in light.
INT. LUTHOR'S LAIR - NIGHT
LUTHOR watches the monitor.
CONTROLLER'S VOICE
Hummingbird, gaining altitude. Hummingbird, gaining altitude...
The CAMERA PANS to show LUTHOR walking forward, finger pointing.
LUTHOR
(whispers)
Miss Teschmacher.
CONTROLLER'S VOICE
Radar contact strong, radar contact strong...straight climb.
LUTHOR
(screams)
MISS TESCHMACHER!!!
INT. MISSILE BASE - NIGHT
The LIEUTENANT stares at his screen.
CONTROLLER'S VOICE
Radar report, Ladybird San Andreas area.
EXT. SKY - DAY
ROCKET #2 is still powering along, and then banks to the left.
INT. MISSILE BASE - NIGHT
The LIEUTENANT stares at his screen again, as the VIPs look on.
CONTROLLER'S VOICE
Fifteen seconds to impact. Fifteen seconds, and counting.
EXT. GAS STATION - DAY
LOIS' CAR glides to a stop next to the gas tanks as we hear LOUD MUSIC playing. She honks her horn for some service.
EXT. STRATOSPHERE
SUPERMAN climbs higher and higher over the United States, and suddenly flings ROCKET #1 up into space. It whizzes off into the blackness as SUPERMAN wheels in mid-air, looks back down at the United States, and freezes in horror.
ANGLE ON WESTERN U.S.A. - SUPERMAN'S POV
ROCKET #2 hits the San Andreas Fault and explodes. A white-hot mushroom cloud starts to form.
INT. MISSILE BASE - NIGHT
GENERAL
God!
EXT. DAM - DAY
JIMMY looks around in confusion. The mushroom cloud is seen, CAMERA ANGLE switches back as he walks to the edge of the railing.
BACK TO SUPERMAN
SUPERMAN streaks back down to Earth.
ANGLE ON LANDSCAPE - AERIAL SHOT
Great yawning cracks rip open across the land, along the SAN ANDREAS FAULT LINE.
ANGLE ON SUPERMAN
SUPERMAN quickly dives down; disappears into a crack in the earth.
ANGLE - UNDERGROUND EARTH
SUPERMAN bores his way underground, bright red lava all around him.
EXT. GAS STATION - DAY
An earthquake has started, the ground is shaking. LOIS starts up the car and leaves as building windows get smashed by the tremors, sparks fly and the canopy collapses right behind her. THE GAS IGNITES, causing an explosion.
INSERT SHOT of LOIS looking behind her at the conflagration, as she speeds away.
The entire GAS STATION blows up.
EXT. DESERT ROAD - DAY
TELEPHONE POLES start to collapse, one of them falling directly into LOIS' path. With a small shriek, she is barely able to swerve to avoid it. The car fishtails around, as more poles fall and she tries to get the vehicle under control.
RADIO DJ
We interrupt this program...the missile has activated the San Andreas fault. California is suffering a major earthquake...
ANGLE - UNDERGROUND
SUPERMAN continues to bore through the earth, desperately trying to reach the junction point of the two tectonic plates.
EXT. SAN FRANCISCO - DAY
The earthquake starts to tear up the streets, as cracks appear.
EXT. GOLDEN GATE BRIDGE - DAY
The Bridge supports start to buckle and warp.
INT. SCHOOL BUS - DAY
The passengers instantly look afraid, as the vehicle lurches this way and that.
ANGLE - UNDERGROUND
SUPERMAN continues to bore through the earth's crust.
EXT. HOLLYWOOD - DAY
The famous HOLLYWOOD sign perched on the hill in Los Angeles trembles, as the ground starts to shake.
ANGLE ON GIRL SCOUT TROOP
The girls scream and run as the HOLLYWOOD sign starts to fall.
ANGLE - UNDERGROUND
SUPERMAN still continues to bore through the earth's crust.
EXT. COUNTRYSIDE - DAY
The earthquake hits, startling a farmer, his son and his animals. They run for it.
EXT. TRAIN TRACKS AND TRAIN - DAY
A long, sleek passenger train hurtles down the tracks, shuddering under the impact of the earthquake. The horn sounds.
INT. TRAIN PASSENGER COMPARTMENT - DAY
The passengers grow frightened as they feel the earthquake.
INT. TRAIN DRIVER'S COMPARTMENT
TRAIN ENGINEER #1
It's a quake, look!
INSERT SHOT OF A ROCKSLIDE DOWN A NEARBY HILL
ANGLE - UNDERGROUND
SUPERMAN continues to bore through the earth's crust.
EXT. SAN FRANCISCO - GOLDEN GATE BRIDGE - DAY
The famous Golden Gate Bridge starts to break in the center, the support lines snapping.
CLOSE ON BRIDGE
Several cars and a school bus begin to crash and collide with another, their OCCUPANTS frozen, screaming in terror. The bus is pushed to the edge of the Bridge, and teeters there helplessly.
INT. BUS - DAY
DRIVER'S VOICE
(over screaming)
Everybody to the back of the bus!
ANGLE - UNDERGROUND
SUPERMAN continues to fly through the earth's crust, finally reaching his destination. He pushes plates of land back together, heaving one of them up over his shoulders.
ANGLE ON LANDSCAPE - SAN ANDREAS FAULT LINE
The CAMERA shows the huge crack extending in both directions beginning to fill up again.
EXT. SAN FRANCISCO - GOLDEN GATE BRIDGE - DAY
The bus slips closer to going over the edge.
INT. BUS - DAY
People slip and slide and scream their lungs out as the Bridge starts to collapse, and the bus almost falls.
WIDER ANGLE ON BRIDGE
SUPERMAN flies under the Bridge, pushes up, saving the vehicle and moving it back onto safer ground.
SUPERMAN
Okay, kids. It's alright now.
(gives a little wave)
INT. BUS - DAY
The passengers scramble to the side of the bus to get a look at their saviour.
BLACK KID
Hey, it's Superman!
They cheer.
EXT. SKY - DAY
SUPERMAN flies off to help other in need, the CAMERA PANS to follow him.
EXT. DESERT - DAY
A crack in the earth appears, spreading along the ground.
INSERT SHOT - TRAIN TRACKS
The crack in the earth shoots across the tracks ahead, splitting the rail ties.
BACK TO TRAIN
The Amtrak TRAIN is racing down the tracks, when the engineer spots the giant hole.
TRAIN ENGINEER #1
Holy MACKEREL!
He hits the brakes, but realizes he will not be able to stop the train before it hits the gap.
TRAIN ENGINEER #2
Hold her!
The horn sounds.
TRAIN ENGINEER #1
We're going off the tracks!
BACK TO CRACK
Superman dives into the gaping hole & positions himself on the right side of the rails, bridging the gap. He holds up the opposite rail with his arm, then lowers his head as the train hits the gap.
WIDER ANGLE
The long train rolls over SUPERMAN, continues on safely down the tracks, and the two stunned engineers look back.
EXT. DAM - DAY
The DAM starts to crack.
INSERT SHOT OF JIMMY running to check out what's happening.
The DAM is unable to hold back the water, and a lot of holes appear as the water rushes through. JIMMY starts taking pictures from his spot at the top of the DAM.
EXT. DAM - DAY
JIMMY holds on to the top railing of the huge dam which shakes and strains under the force of the quake. He bravely tries to take pictures with his camera which dangles from his neck, suddenly hears something, and looks down in horror.
ANGLE ON DAM - JIMMY'S POV
The dam cracks grow larger and more numerous.
EXT. DAM - DAY
The place where JIMMY is starts to fall apart, and he falls - just barely managing to grab an edge before falling off the DAM. He holds on tight.
EXT. POWER STATION - DAY
An electrical complex ignites, as the workers run for it. An electrical cable snaps and sparks.
WORKER #1
Watch that cable!
WORKER #2
(holding his arms up to shield his face)
Arggh, I can't see!
EXT. DAM - DAY
A HUGE HOLE appears as the water rushes through. JIMMY almost falls.
EXT. POWER STATION - DAY
Workers rush around in a panic.
VOICE
Somebody's gotta pull the leads!
The ANGLE switches to two men in a car flinching and screaming as the live ELECTRICAL CABLE writhes near the vehicle, threatens to kill them. Then in the B.G. SUPERMAN flies downward into the scene.
CAMERA ANGLE shows him land and slam down the SAFETY switches, before SUPERMAN looks around.
SUPERMAN
(pointing)
Gentlemen, is that man alright?
WORKER
(helping carry an unconscious colleague)
Yeah!
ANGLE ON JIMMY
JIMMY OLSEN is still hanging on for dear life. He struggles to pull himself to safety, when we see another HUGE inrush of water when another crack appears. He looks down, and sees the DAM about to collapse. More holes and water appear, and JIMMY'S grip begins to slip.
EXT. SKY - DAY
SUPERMAN flies right to left, CAMERA PANS to follow him. He arrives at the DAM.
ANGLE ON JIMMY
He is barely able to hold on.
WIDE ANGLE ON SUPERMAN
He flies up from the bottom of the DAM, heading straight for the CAMERA.
ANGLE ON JIMMY
He finally loses his grip and starts to fall, but SUPERMAN is there to catch him.
SUPERMAN
(as he lifts JIMMY up high)
Hi, kid.
JIMMY looks astonished and gasps as they fly up out of danger. Then substation explosions begin to be seen, as the DAM loses integrity completely.
EXT. VALLEY TOWN STREET - DAY
The people rush out of their homes, carrying whatever they can; running for their lives, obviously they've heard the news about the DAM collapsing. Various voices can be heard.
EXT. DESERT ROAD - DAY
SUPERMAN lands with JIMMY.
SUPERMAN
You're safe here, son.
He instantly shoots up into the sky again.
JIMMY
(looks up)
It's okay! Miss Lane'll be driving by any minute!
SUPERMAN hears that last part with his super hearing, and instantly frowns. He banks to our left.
EXT. DAM - DAY
The entire structure has collapsed. A gigantic wall of water cascades down toward the valley town below.
EXT. VALLEY TOWN STREET - DAY
The people head for their cars or wherever.
RESIDENT #1
Come on, George!
RESIDENT #2
Run for the hills!
EXT. DESERT ROAD - DAY
JIMMY looks around as he feels a big rumble, stones start falling from the rise behind him.
CAMERA ANGLE switches to LOIS' CAR.
INT. CAR - DAY
The RED FUEL LIGHT is blinking, and LOIS looks down in dismay.
RADIO DJ
There has been major quake damage to southern California...
EXT. DESERT - DAY - CLOSE ON LOIS' CAR
The car slowly glides to a stop, having run out of fuel.
RADIO DJ's VOICE
There has been major quake damage to southern California. The San Andreas fault has miraculously sealed itself. Yet Southern California is suffering from major aftershocks from a major earthquake. The population is still warned to be aware of...
EXT. DESERT - DAY
JIMMY is running down the road, as rocks continue to fall.
EXT. DESERT - DAY - CLOSE ON LOIS' CAR
Rocks fall towards it.
INT. CAR - DAY
LOIS frantically tries to get it started again.
LOIS
Please, come on, turn on...
EXT. DESERT - DAY
More rocks fall, and a crack in the earth appears.
INSERT SHOT OF LOIS in the car.
LOIS
(still trying)
COME ON!
EXT. DESERT - DAY
A crack in the earth erupts behind the car, overtaking the car from behind. LOIS screams, the radio still babbles
CLOSER ANGLE
LOIS' car topples into the crack in the earth, falling down some fifteen feet. LOIS screams and groans.
INT. CAR - CLOSE ON LOIS
LOIS is pinned inside her car by the double walls of earth. The crack now starts to fill up with falling rocks and earth, squashing the vehicle as the metal groans and LOIS screams.
LOIS
(struggling to survive)
Help me. Help me, please, help me, no...
The onslaught keeps coming though.
EXT. DAM - DAY
The huge rush of water keeps coming.
EXT. VALLEY TOWN STREET - DAY
People run and scream.
EXT. DAM - DAY
The TIDAL WAVE keeps coming.
EXT. SKY - DAY
SUPERMAN flies along.
WIDER ANGLE to show him ahead of the TIDAL WAVE.
EXT. VALLEY TOWN STREET - DAY
People continue to run and scream, cars honk horns.
EXT. VALLEY - DAY
The TIDAL WAVE starts to approach the town and its people, drowning some buildings.
EXT. MOUNTAIN TOP
SUPERMAN pushes a huge boulder off the mountain, causing an avalanche. He repeats it again with another boulder as the water comes closer. The rocks tumble down to the valley below and come to a stop, acting as a natural dam to stop the TIDAL WAVE.
INT. CAR - CLOSE ON LOIS
LOIS is still struggling to live as she starts to get buried alive. She gasps and groans.
EXT. ARTIFICIAL DAM - DAY
The TIDAL WAVE hits SUPERMAN'S DAM and loses all force, churning water everywhere. CAMERA ANGLE on SUPERMAN, who looks relieved, then worried.
INT. CAR - CLOSE ON LOIS
LOIS is close to death, as the car gets squashed. There are a number of alternating SHOTS of SUPERMAN rushing to her aid in between the car scenes. Huge amounts of dirt and earth come rushing into the car, and finally her hands stop moving as we see a brief SHOT of her face, eyes shut.
EXT. SKY - DAY
SUPERMAN flies along, when suddenly - he sees the crack in the earth and LOIS' CAR.
CLOSE ON SUPERMAN
His eyes are wide with horror.
INT. CAR - DAY
LOIS lies buried, dead.
EXT. DESERT ROAD - DAY
SUPERMAN lifts the car out with his super strength, and places it on the road. He has a look of shock and disbelief on his face as he sees LOIS' corpse in the driver's seat. He rips away the door and falls to his knees, stroking her earth-covered cheek. He starts to grieve as he gently takes her body out of the car. He backs away, holding the corpse in his arms; the CAMERA PANS to follow him. Heart-broken, he lays the dead LOIS onto the ground. Stroking her face, SUPERMAN bends down to kiss her. He then lets go of the body completely, chastising himself as she almost falls from his grip.
DISTANCE SHOT of SUPERMAN kneeling over the corpse. DISSOLVE TO:
A NEW ANGLE. SUPERMAN has not moved. A NEW ANGLE. BACK TO DISTANCE SHOT, as SUPERMAN brushes her cheek again and gets up. ANGLE FROM REAR as he looks down at the body.
CLOSE ON SUPEMAN
His cheeks are dirty, but he cares nothing about that; he is still grieving LOIS' death, heaving with deep breaths. He starts shaking his head.
SUPERMAN
No. No. (looks up at the sky) NO. NO!
SUPERMAN SCREAMS his anguish, and eyes shut rockets up into the sky. The echo of his scream lingers as he goes.
EXT. SKY - DAY
SUPERMAN flies up the CLOUD LAYERS. CAMERA ANGLE switches to rear of SUPERMAN
JOR-EL'S VOICE
My son.
SUPERMAN stops, mid-flight. Lightning flashes.
CLOSE ON SUPEMAN as he looks around in confusion.
JOR-EL'S VOICE
It is forbidden for you to interfere in human history.
JONATHAN KENT'S VOICE
One thing I do know son and that is you are here for a reason.
JOR-EL'S VOICE
It is forbidden for you...
SUPERMAN looks down.
YOUNG CLARK'S VOICE
(echoes of "It is forbidden...")
All those things I can do. All those powers. And I couldn't even save him.
JOR-EL'S VOICE
It is forbidden...
SUPERMAN makes up his mind and flies up and onwards as lightning flashes again.
JOR-EL'S VOICE
It is forbidden...forbidden...forbidden...
EXT. SPACE LOW EARTH ORBIT
SUPERMAN flies incredibly fast, tracing a route around the world.
INSERT SHOT OF SUPERMAN'S FACE as he flies, a mask of grim determination and pain. There are blue streaks all around him, possibly due to relativistic effects of light being blue-shifted at such high speed.
EXT. SPACE LOW EARTH ORBIT
At super speed, he makes multiple transits around the world and the Earth begins to slow down. The transits go faster and faster, we cannot keep count as the world finally stops rotating on its axis. But SUPERMAN keeps going, not letting up, and the Earth starts rotating backwards.
EXT. DESERT - DAY
Rocks and earth slide up the hill, as history rewinds.
INSERT SHOT OF SUPERMAN'S FACE as he interferes with human history this way, still flying, still a mask of grim determination and pain.
EXT. VALLEY - DAY
THE TIDAL WAVE retraces its path back to the DAM.
EXT. DAM - DAY
The holes become sealed up as the water rushes back inside.
VARIOUS SHOTS OF SUPERMAN STILL FLYING SO FAST, he is forcing history backwards. There are tears visible on his cheeks.
EXT. DESERT - DAY
LOIS' CAR begins to come out of the earth.
EXT. SPACE LOW EARTH ORBIT
The last transit ends, and SUPERMAN streaks away a short distance from the planet. Then he turns around and starting FLYING AROUND THE WORLD in the OPPOSITE DIRECTION, starting the Earth rotating on its axis properly and allowing history to resume once more. NOTE: there are multiple transits, but the total effect only lasts a couple of seconds before he stops and the trail of light disappears.
INT. CAR - DAY
The RED FUEL light blinks on the dashboard, footage we have seen before.
EXT. CAR - DAY
LOIS tries to get her car started, many times. But she has no success at it before SUPERMAN floats down to the ground beside the vehicle. LOIS feels something new has happened, and looks around before spotting him outside. She rolls down the window.
SUPERMAN
Hi. Don't bother, I think it's dead.
LOIS
(looks down at the dashboard)
Sure is dead.
(gets out of the car)
The problem with a man of steel, there's never one around when you want one.
(slams the door, the stalks off)
You know what happened to me while you were off flying around? (SUPERMAN looks down in relief, soft smile) I was almost in an earthquake...
WIDER ANGLE to show both of them
LOIS
(gesturing wildly while SUPERMAN grins behind her, unseen)
I had this gas station blow up beside my car, there was telephone poles falling all over the road, I'm almost killed and to top the whole thing off this stupid car runs out of gas!
(turns to face him)
SUPERMAN
(smiling)
Well, I'm sorry about all that Lois. But I've been kinda busy for a while.
LOIS
(smiles, gets over her rant)
I'm sorry, that's alright.
(notices him staring)
ANGLE on both LOIS and SUPERMAN, there is definite sexual tension in the air. They come closer, about to kiss, when...
JIMMY'S VOICE
HEY!!
LOIS and SUPERMAN move apart. We see JIMMY in the B.G.
JIMMY
(running forward, clutching his camera)
Thanks a lot, Superman! You put me on a road in the middle of nowhere, during an earthquake!
ANGLE ON LOIS and SUPERMAN, both smiling before going back to JIMMY
JIMMY
No food, no water, snakes everywhere. I had no idea if you were coming back or...
SUPERMAN
Now, Jimmy...
LOIS puts a hand over JIMMY'S MOUTH.
LOIS
(staring at him as he mumbles)
Jimmy.
ANGLE ON SUPERMAN
SUPERMAN
Listen, there's something I have to do. I'll see you later.
(flies up, up and away)
JIMMY
(looking up)
Can't stay still for a second. (sighs) Golly, Miss Lane. It's too bad Mr. Kent wasn't here to see all this.
LOIS
(scratches her chin)
Yeah, poor Clark. He's never around when S...(points away) Clark - wait a minute, wait a minute. (gets an intuitive idea of the truth)
JIMMY
What?
LOIS
(dismisses it entirely)
Lois Lane, that is the silliest idea ever.
JIMMY
(looks at her)
Lemme tell you something Miss Lane. I think he really cares about you.
LOIS
(surprised)
Clark - of course he does...
JIMMY
No, not Clark.
(looks up)
LOIS
(gets it)
Oh well. Superman cares about everybody, Jimmy.
(rubs his shoulder)
EXT. SKY - DUSK
SUPERMAN is flying along.
LOIS' VOICE
But, uh, who knows? Someday y'know if he's lucky...
INT. OFFICE - NIGHT
The WARDEN is upstairs in his office, working at his desk. Suddenly the alarm goes off, and we hear dogs barking. He gets up, goes to the balcony doors, opens them up and steps outside.
CLOSE ON PRISON YARD
The WARDEN sees Superman flying into the prison yard, holding LUTHOR & OTIS by the scruff of their jackets.
LUTHOR
(to SUPERMAN)
You're messing up my suit, you lummox, you! Otis! Watch the ground!
They land with a start. LUTHOR & OTIS are immediately cornered by the guards.
SUPERMAN
Good evening, Warden. I think these two men should be safe here with you now till they can get a fair trial.
WARDEN
(at the edge of the balcony railing)
Who is it, Superman?
LUTHOR
(rips off his wig to reveal his bald head)
Lex Luthor! The greatest criminal mind of our time!
OTIS
...of our time!
LUTHOR
I hereby serve notice...
OTIS
He's serving notice to you...
LUTHOR
That these walls...
OTIS
That these walls here...
LUTHOR
(to OTIS)
Will you shut up, please!
SUPERMAN
(to the guards)
All right, take them away, boys!
The guards take LUTHOR & OTIS off towards a cell.
LUTHOR
(shouting at OTIS as the guards lead them away)
Neanderthal! Nitwit! Nincompoop!
WARDEN
(looks admiringly to SUPERMAN)
This country is safe again, Superman, thanks to you.
SUPERMAN
No, sir. Don't thank me, Warden. We're all part of the same team. G'night.
SUPERMAN flies up into the NIGHT sky.
EXT. SPACE LOW EARTH ORBIT - NIGHT to DAY
As SUPERMAN flies higher into the atmosphere we SEE the TERMINATOR as he banks right and FLIES into the DAYLIGHT of the RISING YELLOW SUN.
EXT. SPACE LOW EARTH ORBIT - DAY
SUPERMAN flies majestically through the sky, gaining altitude. He smiles into the CAMERA before rising up above the SCREEN, and we DISSOLVE to OUTER SPACE rushing by.
CAST CREDITS:
Marlon Brando ... Jor-El
Gene Hackman ... Lex Luthor
Christopher Reeve ... Superman / Clark Kent
Ned Beatty ... Otis
Jackie Cooper ... Perry White
Glenn Ford ... Jonathan Kent
Trevor Howard ... 1st Elder
Margot Kidder ... Lois Lane
Jack O'Halloran ... Non
Valerie Perrine ... Eve Teschmacher
Maria Schell ... Vond-Ah
Terence Stamp ... General Zod
Phyllis Thaxter ... Martha Kent
Susannah York ... Lara
Jeff East ... Young Clark Kent
Marc McClure ... Jimmy Olsen
Sarah Douglas ... Ursa
Harry Andrews ... 2nd Elder
Vass Anderson ... 3rd Elder
John Hollis ... 4th Elder
James Garbutt ... 5th Elder
Michael Gover ... 6th Elder
David Neal ... 7th Elder
William Russell ... 8th Elder
Penelope Lee ... 9th Elder
John Stuart ... 10th Elder
Alan Cullen ... 11th Elder
Lee Quigley ... Baby Kal-El (placed in capsule)
Aaron Smolinski ... Baby Clark Kent
Diane Sherry ... Lana Lang
Jeff Atcheson ... Coach
Brad Flock ... Brad the Football Player
David Petrou ... Team Manager
Billy J. Mitchell ... Editor #1
Robert Henderson ... Editor #2
Larry Lamb ... Reporter #1
James Brockington ... Reporter #2
John Cassady ... Reporter #3
John F. Parker ... Reporter #4
Antony Scott ... Reporter #5
Ray Evans ... Reporter #6
Sue Shifrin ... Reporter #7 (as Sue Shifrin)
Miquel Brown ... Reporter #8
Vincent Marzello ... Copy Boy #1
Benjamin Feitelson ... Copy Boy #2
Lise Hilboldt ... Secretary #1
Leueen Willoughby ... Secretary #2
Jill Ingham ... Perry's Secretary
Pieter Stuyck ... Window Cleaner
Rex Reed ... Rex Reed
Weston Gavin ... Mugger
Steve Kahan ... Detective Armus (as Stephen Kahan)
Ray Hassett ... Officer #2
Randy Jurgensen ... Officer #3 (as Randy Jurgenson)
Matt Russo ... Matt (News Vendor)
Colin Skeaping ... Pilot
Bo Rucker ... Pimp
Paul Avery ... TV Cameraman
David Baxt ... Burglar
George Harris II ... Patrolman Mooney
Michael Harrigan ... Hood #1
John Cording ... Hood #2
Raymond Thompson ... Hood #3
Oz Clarke ... Hood #4
Rex Everhart ... Sergeant Dolan
Jayne Tottman ... Little Girl
Frank Lazarus ... Air Force One Pilot
Brian Protheroe ... Air Force One Co-Pilot
Lawrence Trimble ... Crewman #1
Robert Whelan ... Crewman #2
David Calder ... Crewman #3
Norwich Duff ... Newscaster #1 (as Norwick Duff)
Keith Alexander ... Newscaster #2
Michael Ensign ... Newscaster #3
Larry Hagman ... Major
Paul Tuerpe ... Sgt. Hayley
Graham McPherson ... Lieutenant
David Yorston ... Petty Officer
Robert O'Neill ... Admiral
Robert MacLeod ... General
John Ratzenberger ... Controller #1
Alan Tilvern ... Controller #2
Phil Brown ... State Senator #1
Bill Bailey ... State Senator #2
Burnell Tucker ... Agent
Chief Tug Smith ... Indian Chief
Norman Warwick ... Superchief Driver
Chuck Julian ... Assistant
Colin Etherington ... Power Co. Driver
Mark Wynter ... Mate
Roy Stevens ... Warden
Kirk Alyn ... Lois Lane's Father on Train (uncredited)
Bruce Boa ... U.S. Army General (uncredited)
Richard Donner ... Man in Street (uncredited)
Edward Finneran ... Special Football Player (uncredited)
Noel Neill ... Lois Lane's Mother on Train (uncredited)
Tony Selby ... Hood (uncredited)
FADE OUT
THE END
--TRANSCRIBED FOR ALL THE CITIZENS OF THE 28 KNOWN GALAXIES, BY:
Starway Man (theop@kew.hotkey.net.au)
Melbourne, Australia
September 2008