L, July 2 6 , 2002
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TIGHT ON a video image of a news t e l e c a s t . no one t h e r e -- j u s t t h e empty newsdesk.
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Suddenly a NEWSCASTER appears behind the desk rushed and unkempt. Fumbles with h i s clip mic trembling. I t ' s u n s e t t l i n g ; be looks up a t u s , d e s p e r a t e l y t o sound confident. But h i s v o i c e Nm?!3CASTER Ladies and g e n t l e n . I f you are watching this, and a r e taking s h e l t e r underground, w e s t r o n g l y u r g you -- a l l of vou -- t o do so immediately. Anywhere-- anywhere a r e , anywhere you can find. (beat) A t t h i s hour, a l l we know i s t h a t t h e r e a r e v i s i t o r s on t h i s p l a n e t - and that there's a c o n f l i c t between them-- t h e Giza Pyramids have been destroyed-- s e c t i o n s of P a r i s . Massive f i r e s are raging from Venezuela t o Chile-- a g r e a t d e a l of Seoul, Korea ... no longer exists ...
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All t h i s m a n w a n t s to-do is cry. But he's a r e a l i z e now t h a t w e r i t e been SLOWLY PUSHING IN NEWSCASTER ( con t 'd ) Only weeks ago t h i s r e p o r t would've seemed.. ludicrous. Aliens.. usi E a r t h as a battleground. . . ( then, with growing venom: ) ... b u t that was before Superman. (beat1 I t turns o u t that our f a i t h was naive. Premature. Perhaps, g i v e n t h e s t a t e p f the world. . - simply desperate--
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Something urgent is YELLED ' from behind t h e c Newscaster looks o f f , f i e d -- he y e l l s b u t i t ' s masked by a SHATT!L'RING -- FLYING GLASS . .. camera SHAKES . . - . ~.
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A TERRIBLE WHI.STLE, then an EXPIX)SION
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WHIPPED OUT OF FRAME in the same horrible i n s t . goes to STATIC'- ,
EXT. GOTHAM CITY
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the network skyscraper i~ being BLOWN APAR by one of the aforementioned V I S I M R S : dre . armor and a sort of NIXJA'S CLOAK (along with containing a WEAPON we'll learn about later), the middle af a central, now-abandoned city s strewn everywhere. He's BLOWING -- EXHALING A THOUSAND HURRICANES.-- and flattening five c the process. After the buildings have fallen, a distant, es WHOOSH can be HEAR1). This Viaitor turns to and we QUICKLY PUSH IN on his face--
-- this Kryptonian's name is TY-ZOR. A handso old, looking into the distance as the WHOOSH GR w-Zor's mouth curls into a slight smile -- t re radical conviction lurking behind those dark s. that conviction is, exactly, we'll learn soon ugh. Suffice to say, this destruction has gotten attention he wanted.
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Suddenly we PULL BACK r b two blocks away, ANGLE Zor -- as two RED BOOTS hit the pavement in t like an NBA MVP coming down from a slam dunk; coming to a satisfying halt.
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Oh yes.
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And the CAMERA STARTS TO MOVE -boots -- S m X RISING, DRAMATICALLY 29 year-old warrior. A warrior in brilliant cape billowing an iconon his muscular ch an "S* -- and finally the face eyes awash ,determination n but our 'first' view of superhero one might Superman, at this moment, .is. wfnded. His ico ' SHREDDEDr.in'areas.. . His sail-like cape S
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~ r u i s e dand bloodied, Superinan stares ferocio Two boxers in the instant before Round Twelve ,
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And for this one moment, itis dreadfully silen middle of this gothic American city -- two extra-terrestrial soldiers facing off like wild gunslingers, Then, with a sudden and powerful LEAP, Ty-Zor LIFTS OFF THE PAVEMENT AND' BLASTS INTQ THE SKY Supkrman furiously pursues
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What follows is a frenzied MID-AIR MARTIAL the camera quickly ORBITING around the two as deadly, lightning-fast blows -- powerhouse pun would propel a battleship two-hundred feet out --
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backward-somersault-kicking Ty-Zor
shell-shocked for a moment
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sees Superman
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THE THING into Superman, wfto is thrown o u t 0 ACTUALLY FOLLOW SUPERMAN I N SLOW MOTION: our on as he CRASHES THROUGH TWO FLOORS OF TWO D I F BUILDINGS -- people RUmING'crazily through avoid the danger. Still reeling backwards, Superman steadies his bearings in mid-air, then -- God bless for more. Ty-Zor sees Superman coming -satisfied. Ty-Zor flies off -- Superman gives
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S O N I C BOOMS as Superman bullets after Ty-Zor breaking the sound barrier, flying south over seaboard -- Ty-Zor DIVE BOMBS -- Superman £011
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Rockets, shuttles, massive crawlers and aerona .Superman lands fast -- WE PUSH CLOSER TO HI moment, sweating, panting, he seems like a hungry for a kill. A METALLIC SOUND and S snaps to the side, eyes fixed on a distant
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I N T . NASA HANGAR
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giant warehouse. Rocket boosters and nextSuperman enters. Scans the place with his st A
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almost dizzying, this computer-like S u p e m sees, across.the,space, an its fraine --
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Supermah BLURS THROUGH THE SPACE and through . . , .. _ .. . . . , .. INT: NASA TESTING 'AREA: DAY . .
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Sirpeirman enters the'long, dark horridor. but there are a'dozen doors'here. :., . .. . .
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Iinagine. ,.theo p t i c nerve working .like a INSTANT ZOOMS pushing
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T y - Z O ~is here .,
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TY-zoR (0,s.)'
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superman stares down 'the hali-. -.' eyes .arena t working ag .
.TY-ZOR (0.5 .-) ( c o n t od.) Lead walls. . . ... (beat) . . . . . i t ' s a b ' s t l i k e we're human, . i s n ' t .it3 . .
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I want to hear you cry, ml-El. your mot;her cried. .
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TY-ZOR (O.S.1 (cont'd1 (almost amused) c r y f o r me..,."Superman."
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and Superman finally looks up -- and what terrifying: his face covered in a repulsive
his eyes ROLLED BACK AND BLOODSHOT -- and SUPE LOUD ENOUGH FOR THE WORLD TO HEAR -- finally M:
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Peace. Nature.
The only sound, the gentle b
wheat. five year-old girl, the picture of innocenc ground, holding a small flower. breeze. A
PULL BACK to a massive LONO SHOT. The endles adjacent to a thick forest. Snowy mountains, miles away. Three moons in the daytime sky. image washed i n a CRIMSON GLOW; on thiS planet red. And these WORDS A P P W ON SCREEN: ~ Y P M N .. R-
TIGHT AGAIN an the little girl. She pi flower, collecting them. She's so adorable y watch her forever. Then her head snaps up -something we .do not. We're
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A m m e n t l a t e r and THUD. Then ANOTHER.
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She stands. Looks '6;'ff. worried.
Another,
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sudden there's ~ilence. .
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! ! ! The girl SCREAMS IN SHEEfi HORROR S!lQKY TALL WAR MACHINE a THREE-LEGGED WALK "ROUSER') CRASHES THROUGH FOREST it BELCHING FEAHE, immediately SCORCHING THE GRO THIS BEAST IS HEADED HER WAY --
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The girl runs -- holy ahit does she run -- SC HEAD OFF -- screaming WORDS -- calling for he father -- but the words she's S'HRIEK-CRYING ar KRYPTONIAN GIRL
DAMA-SQ!!!
KALA-SO!!!
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A HANDHELD CAMERA "racesbehind a Senate OFFICER . down a...l&ng' corridor.-- 'the lrtlage is shaky ani J f 2 z & E s ese this building feels imposing.- - , t h e design a1 in influence combin& ~ 5 t hthe huge'scale o t-era .:.g~vernment h i ldings -. . . . . .
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All head=. turn to the visibly shaken, . out-of-b&athhkficer, who makes a dire anqo~cement'/NOTE: .ALL S PTON SPOKEN IN XRYPT6NXAN' -AN ACTUAL LANG :DEVELOP.:.: -:., SVBTITLES ARE NEEDED, . SPECIFI IS
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OFFICER -- . they've .cros6ed the border . -
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MECH WARRIOR.charges. ' its napalm.in appalling bursts. And we BOOM >:'.over thq horizon -- there are DOZENS +RE .. . . .
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The girl runs past us -- we PAN to reveal her .: drstant, doomed, un-~arthlyHOME and we realize this BORDERLAND: her house set amid enormous WALLS BARRIERS that resemble tank-stops.
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JOR-EL from m a s ?
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OFFICER . the'General is dead.
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~t's a panic in here, the bustling command ce military. Two dozen LIEUTENANTS (still, eigh represented) talk over each other, manning th ~olographicmonitors show that damage is bein symbols and diagrams indicating just how much enemy is making.
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Jor-El bursts into the., room, taking in the in one Lieutenant reports directly to Jor-El, in screens: ,
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LIEUTENANT'.' They attacked at once, from and the'south,' -JOR-EL
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LIEUTENANT I'm afraid those were decoys.
Increasingly distraught; Jor-El moves to anot er calls up other icons of their surviving troop
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LImPTENANT (cont8d) We have no offense left.
Jor-El looks at his Lieutenant, enraqed. stares back, anxious.
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,--"."LIEUTENANT (cont'd) Sir, look at our positions. Tell m you see a 'way'out . Jor-El looks back to the screens. We MOVE IN becomes increasingly clear that his people ... moment.. . are damned. Jor-El's eyes swell with tears. ., the Lieuten on_-u s leader, truly wishing for a miracle. But the miracle that Jor-El has is far from a .
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Go to your family.
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A beat. ' f i n a l l y the ~ i e u t e n k nods. t ,.Wer e o n , Jor-El now. A l o n e . Looking off, .. as the SOUNDS OF DESTRUCTION GROW LOUDER.. .i... : .. . . .
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We follow one giant ,y& hachine:'--' ~ I N the G cityts .:PALACE .. . . . .. .. .. .. . . . . .. . . . INT. TAZA PALACE'- DAY . . . . . . . . . . . . . .. :
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Jor-El hurries do%m a. who is.crying -- b u i n q . . ..... .
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There must
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or-~1 looks at her', .his heart faring no betti he's not strong in thia moment, .there's na ho f u t u r e a t all.. He embraces her. .Then, .
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He kisses her forehead, then looks into her red His look silently asks: are you ready? She j defeated. It's the best she can do. INT. LAUNCH CHAMBER
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With a shockingly LOUD HISS a PORTAL opens -inside a TRANSPORT CAPSULE -- large enough for But we are TIGHT ON an INFANT, a s he i s placed cushioned interior of rhe capsule.
eyes.
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-- the baby KAL-EL, 'who will one da Superman -- looks up hopefully at the parents to send him light years away. This child
The child, oblivious, smiles at his parents; a eyed Lara has just reluctantly placed her son carrier. Jor-El stands beside her. They loo son-for a last, heartrending moment. Jor-El touches the baby this is for him.
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JOR-EL Look at us now... so t h a t one day y might remember us.
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Jor-El uses a holographic CLOSES. We can still see as the capsule begiqs,to FILL WITH 1.
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Jor-El Continues the aperation: in what m s t NANOTECHNOLOGY, a metallic OUTER SHELL seems the capsule. Then the high CEfLING SLIDES OP The countdown has begun.
Jor-El goes t o Lara:
JOR-EL (contld) We have to go. .
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As t h e LAUNCH ALARM BLARES, Jor-El starts out for his wife's hand -- YELLS for her to come;
desperately to maintain her sanity, she
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Jor-El and Lara run through the labyrinthine garden as behind them their son's ESCAPE POD BLASTS INTO the launch chamber -- they turn to look: the 'BRIGHT -- the force almost blows them over -.
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hi$ wife' s: hand --. they keep..'run jor-~l they arrive at-.a'dirt trail; -- a VEHICLE'is h 'one-wheeled,gyroscope-controlled speeder) -looking creature manning the handlebars; Thi Imagine a turtle'without its shell, only as bi
Lara &ts on the Zooba as.Jor-El talks' urgent1 and responds, a devoted follower. Lara she.realizes what's happening: . ..
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He grabs her face and kisses her passionately. EXPLOSION ROCKS THE CAMERA Jar-El turns the palace. He then comnands Taga to go --
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Jor-El hurr
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It's mayhem: in classic wartime documentary we witness two mech warriors CRASH THROUGH the palace. ,... - -
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Soldiers wielding powerful LASER weapons FSRE a monsters with Jor-El leading the charge. He b c Past u n pillars, yelling orders to his troops, FIRINO at the invaders.
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Jor-El then switches weapons and fires what 1 GRENADE LAUNCHER at one of the MECHS it 1 CLANK on the uxlderbelly of the metal beast Eor his troops to scatter he dives for the mech VXOLENTLY EXPWDES, shredding everything
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Smoke everywhere. Jor-El looks up and spots the Lieutenant he ordered to return home,.lying on the ground, badly w a d e d by shrapnel. Jor-El hurries to the hurt soldier, who, seeing Jor-El, says phinfully: *
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LIEUTENANT was my duty was t o s t a y .
Jor-El grabs t h e Lieutenant -- i s helping him suddenly SOMETHING GRABS JOR-EL AROUND THE NE COLLAR, a t t a c h e d t o a long WIRE w h i c h suddenly Jor-El is YANRED OUTSIDE -EXT. TAZA PALACE
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w e r e a l i z e now: this " l i v i n g c o l l a r ' . i s t h e twelve-story mechs. Jor-El is now 'ng grounds o u t s i d e the semi-demolished pala above him, one of its enormous, few feet above him, aimed d i c e c t l y at h
to agony he mech ANNQNS
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Then a l l goes q u i e t . JOE-El, bones broken, sees, l i k e a vzsion, someone s t e p through t h e
Only a few years younger than Jor-El, this a p p a r e n t l y leading t h e enemy t r o o p s , , i s Jor-E His name i s KATA-ZOR and he m e s t o his s t r i b r o t h e r and looks down upon him. There's a f behind Kata-Zor's eyes ... we've seen i t b e f o r of his son, Ty-Zor.
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KATA-ZOR Can you indgine? What f a t h e r would say, s e e i n g E. .. standing l i k e t h i s
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J o r - E l just looks up at his brother with c o n t s i l e n c e i n f u r i a t e s Kata-Zor -- he leans i n c l s i n t e n s e , q u i e t , f righ'tening moment :
KATA-ZOR i c o n t * d ) , I h o w ' what you've done. That y o u ' v sent: the boy of £-planet. Hoping t o C-3 f u l f i l l The Prophecy. (touches Jor-El's f a c e ) But I w i l l find him, m y b r o t h e r .
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KATA-ZOR ( c o n t 8 d ) want t h e boy. (CONTINUED)
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A SHOT so LONG "that you..can see the c h a t u And suddenly the PODS come : . Hundreds of . th from Krypton *d dispersing into space. A 1 from their RED SUN,'hunting down.an innocent
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fjaDI3 IN: I N T . KENT'S KITCHEN
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We HOLD ON this one shot; it's's0 are their last rnMnentS of a normal life. JO~THAN Good eggs. "
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Siri.the pod could be-headed for an one off a thdusand planets.
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Oh, good, I'm glad you like 'em. I ysed that new cheese. (beat1 You know, w i t h that orange label? Mm.
JONATHAN Thank you.
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MILRTHA You're welcome. Is Mr. Devaney stil coming by this afternoon?
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JONATHAN Yeah, I t o l d him he's getting his check -- he still wanted t o at three. MARTHA
Then I might go out this afternoon. (Jonathan l o o k s up) I just d o n ' t ..., like him:much. . .
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;- ~onathailooks at her, not &ders&din$ '
exact
just then a twisted WHINpSCREAM SUDDENLY GETS . ..
-- t h e meteor SCREAMS ACROSS THEIR FIELD, PLO EARTH -- DIRT EXPLODING EVERYWHERE as it barr
house -r I
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INT.
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KENT'S KITCHEN
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DAY
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Martha's SCREAMING -- on the tracks of an unearth train -- Jonathan GRABS HER, pulls her away -EXT. KENT FARM
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E the
reight
DAY
Mter e catch-their-breath moment, they take a just above the cornline. The meteor stopped,
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M o m e n t s later, the Kents approach the thing. D i r t 'everywhere. A nervous couple,
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JONATHAN
I am, I ami.,
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hi stands back, a little more nervous than he is. When Jonathm gets to the edge of this new, burnt-out ditch, what he sees...bewilders him. ( CONTINUMI)
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JONATHAN (conk ' d good ~6d.:.; . . . : .
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. J o n a t h a n . jumps. down i n t o the d i t c h , Martha wat
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, ~ . r i o w ' w ~ ' ~it: s e , e~al-El's POD. Like,a g i a n t meta b e. a. r i n g , . half-buried in the earth.
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MARTHA.
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-- and a s result df the pod's st reaches out.., slowly, t h e pod i t s OUTER SHEL KENTS SC-- Jonath
Jonathan slowly approaches the pod
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.HAIR STANDS ON END e l e c t r i c i t y . Jonathan and j u s t as he touches LOUDLY RETRACTS THE
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sly.
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And what they see, where the m e t a l l i c pod once LIQUID-FILLED CAPSULE, now leaning a g a i n s t the CAPSULE OPENS the l i q u i d s p i l l s intcz the NINE +-. . . MONTH-Om KAL-EL. IS REVEALED.
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Jona'thari's i n absolute' shock. Martha can't h just starts t o cry. She .moves f o r the baby,.. instinct she neveihad a chance 'to, a p p l y surf f o. r c. e . . . . . . . . . '
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JONATHAN .
.{cant ' d).
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Mar*--
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the
. but 'she'c a r e f u l l y l i f t s w e t , beautifrl&. ,Holds hidi" closer - Lovhigly. . .'.. ..her arms ... ,. , .. ., . ... . .
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behind her, ~ G t h l~o);i'ng c h i l d . Pure awe. ' .
jdnathrln
... :,this . Incr-le . . . . ,
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.(beat, m&mimgfully)
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. . . :bless you. . .'. .
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..'... b l e s s ' y o ~ :~, ; ,
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rnGtlY
kd"on their .astonishmentwe PULL BACK, a cou transfoixned i n t o a fainily.
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INT.
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KENT'S LIVING ROOM
- DAY.
L a t e r - - . perh&p~ th. same day as ' a .BACIi O F YARN r o l l s pa$ t .
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th6 'CAMXI€& is
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ON. ~f-k FLOOR
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sakes
CONTINUED:
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A moment later, little K a l - E l , now wearing a di per, careful baby steps toward the yarn. Martha and Jonathan watch h i m . s t i l l all very n e w .
They're smitt
K~I-E~ kicks ' t h e ball. It rolls under one en sofa. The Rents watch as the adorable l i t t l e over to the couch, carefully bends down to pic
... and with one hand FLIPS THE ENTIRE SOFA I T H E HUGE PIECE OF FURNITURE TUMBLES ACROSS T . - EXT. KENT'S HOUSE - DAY -- THE SOFA CRASHES THROUGH THEIR FRONT DOOR
IES
O F F THEIR PORCH AND INTO THEIR FRONT YARD. IN'I'.
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KENT' S L I V I N G ROOM - DAY .
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The Rents are literally in shock. Kal-El has hl yam.
He's smiling.
I N T . KENT BEDROOM
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of
NIGHT
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Little ~ a l - ~ isl set down on their bed. closely as Martha starts to undo t h e baby's d i opens it, w e CUT TO A SHOT LOOKING UP at h e r e . The smell of t h a t diaper is stupefying. she keeps h e r act together better. JONATHAN
Okay, what in the Lord's name is tba_t-
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Martha just starts changing the diaper, -what they're seeingfsrnelling is ordinary.
MARTKA Well ... it came from fiim. beautiful.
it's Jonathan is not nearlv on the same page as hi
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JONATHAN
listen Honey, I think we shou talk about this--
Okay,
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But b e f o r e Jonathan can even start; she rays:
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You listen to e. This child is alone.
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(MORE)
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CONTINUED :
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MAR*^ (contad)..
"family -- he obviously ~e ha$" didn't. come- f r o m here -- f r o m anywhere peaK here. Now he might' havecertain.. other:children of whjr or:. how.;. that.is. . .. .. . .. . ~ut;.- at Kim.' . . (beat, emotional) J o m a a n , lbok at this.beautiful ' ' boy. he '. s:.everything'. .. . . ...
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. JONATRRN .'... . . . . . . .... . ~ i just m saying, .odr, sotats on ,. * . . ) > . the 'front la--. . . .
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.. . . . . . . Then w e ' teach'him. We teach him estraint. We teach hi^ to con-01 iimsclf -- as parerits. that's something w e ! d. .need t o ' . d o . b y w a y - . . .. JON~TH~ . . , ; . 'isti1P covering'his nose) Weil,.y e s ; . , but,normally our . U J , woul'dnl:t 'be at risk-.. ' . 'MAR*
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?¶ARTHA This,&$ i s facer Thosean dimples: .
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Look at that . ,
. .(she d J e s at him)': , . . He's like a.little movie.star, . . A little.Clark Gable. .
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Clark: K e n t . . : , I think .we should call him Clark':' . .: . . . .
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I~TJ&THAN
Just .....thr&.. that diiper away; w@ can cal'1"'him:anythingyou w a n t . . . , S o s .l . y . Clark8s".greak. .. . . .., .. . . . . . And a SONG BEGINS '-- &mething but. upb .that .f ollaw : . .. - the scepes that.PLAYS.under,. . .
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.'INTl,/EIk. .
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KENT'F'ARM
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front
.~onathani wo=:ks on repairing the 'door a Lns ide, Martha carries around baby Clark, . . who him, but he is . . . She' 5 trying .to..'.shush' as. . ., sometimes are,: -.- '&m&ntarily inc6nsolable!
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C l e k inhales A N D T H E W W S HOUSE .. . .somithan covers -hisears, suddenly surr-ded . .by SHAVERED G . W S , everywhere. 'Fantastic. . ,--
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INT. KENT'S LIVING ROOM
-
NIGHT
About a year later; CLARK'S TWO NOW. He's the living room. Jonathan's trying t o get Clark keeps rambling away. Finally, Martha enter
e
MARTHA Clark, come on: we have to go upstairs for a bath, m w .
--
Suddenly CLARK TAKES OFF FLYING THROUGH THE JONATHAN AND MARTHA AFLE SHOCKED. . JONhTHAN
. . . Well, t h a t ' s new. Martha bolts up the stairs: "
INT. KENT'S BEDROOM
-
NIGHT
Clark is there, covered in wood splinters and powder. His parents teaching him a lesson:
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JONATHAN
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Bo flvinq. D'you
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understand? like us.
L
That's right,
they continue to lecture, we're TIGHT ON face, listening and learning. .
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EXT. KENT FARM
Bedtime.
NIGHT
arth ha
PUSH IN a'&
EXT. KENT FARM
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r6ads a book to t
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DAY
CLARK IS THREE NOW.
He faces Jonathan, A
few OTHER BASEBALLS scattered about. -
Good.
JONATKRN Excellent -- nice a?.
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Jonathan rolls the ball back to the t h r o w s it again. .
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m, great ...
JONATHAN ( cont ' d control -- you see that?
yeah ...
CLARK
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(CONTINUED) .
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(tosses i t back),v.. . . & little..more . l i t t l e of' that"..-?Kent . . - magic. ." . . .
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And, Clark . hvrls . "ths ball --: QUT . OF . THE :'S= . . . . . . . . . .. . . . . . . . . watches'.it-go: . . .. . . . . . . . . . . : . ' . . . . . ,: ..;r. . ; . . '.. . JQNATHAN., . (cont ' d)i- .. . . . . . . . .; oh.',-d. , . . . . .. .
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okay, give, i t
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. EXT. HVB CITY - , D A Y . . / ' - '
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~ o k a t h a ntries' t o . tea&.
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. :. . . . . . - - . 'kay, fioe w...much.j'uice-; . . . ...
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not so tight-. .
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,jona~& hug;. .&* Yon.r..,sw+ig- &ee.tly: . .
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.YOUdon * tr; have :.to.'be .sorry, . j u s t always r e r : -.. . youtself .
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INT., .CLARK* s'.BEDROOM -. . NIGHT .
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TIGHT ON our .SOLAR.SYST&. It's ,a.&bile, h Claek's bed. FIVEYEAR-OLD CLAFUC.lies the planets. A s i f ha'-'s.mesmerized by them. ENDS as w e CUT TO: .. ,
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And . . t h e .SONG . .
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I N T . KENT'S BEDROOM w
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NIGHT
O ~ I ~ R H E A DSLOWLY , MOVING TOWARD Martha and Jon awake, reading -
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MARTHA '
(verv auietly) 50 Clark made a discovery today.
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JONATHAN
yeah ...?
What's that.
e e
MARTHA
He can see through things.
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Jonathan lowers his tractor m&ual.
... what?
Incredulo
JONATHAN
m
MARTHA
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Yup. We were at the supermarket. Loretta Lang was there. Clark sai "~omy, w i i y is that lady not wearin underpants?', which we all know is true about Loretta--
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JONATHAN
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you're kiddinq me. (a long beat) .,. thae luck# kid--
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Martha hits him playfully -- he smiles and ki kiss grows more pasSionate,
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MAFma
Not tonight: he can hear us, too.
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JONATHAN (bare1y.awhisper) ~ o if t we're REALLY O U I ~ .
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-- then,
MARTHA
(auieter whisper) Clark?
,
down the hall t
Then, from
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to prove her point:
CWiK ( 0 . S . ) yeah. Mom?! .
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CONTINUED: ..,-.
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(siil'l quiet) Go to sleep. .
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Martha s d l e s ,' goes back' to 'her:book. . .
- NIGHT.
INT..SMALLVILLE DINER
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We move through this claisic small town 'diner. . .YEAR-OLD CLARK having dinner with his..moaer. What's striking i,sthat: clark at ha3 had ."c .deeply ingrained in him that even at 3ix he's introverted, self-conscious, dverly-self-cont .. . ..
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MARTHA
thought maybe when Dad gets back we can screen,in the back porch'. . . ..
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CLARK-. yeah,' ~ f i a t ' dbe good. .... . . .
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~ u Clark8 t s eyes are elsewhere: :across the di . '--. six-years-old and adorable stands at the dis&ay, just watching $he pies go round. 'Mar a sees .Lana. . . MARTHA
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Why don' t you go sdy hi.. -
CLARK
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A beat. Clark sighs. Gets up, mere, beside her. Both kids juist pies. She looka at him, then looks away.
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Then Lana looks at
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(back"t'6 his . f w d j Nah. Lana doesn ' t h o w me. .
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(CouTrwaED).
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CONTINUED : LANA
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You stare a t the wall a l o t . class.
In
CLARK
Yeah, I h o w . 1 just.. . l i k e looking a t the clouds and stuf
. .. yeah.
@
LANA
- -(like he's a freak) B u t i t ' s just a wall. There aren't even windows-
@Q.
CLARK
(beat, smiles, ks if - sharing a secret?: I make my windows.
a
She just looks at him. LANA
You're the weirdest kid in class. This-breaks his heart.
GV
He forces a weak smile.
MR. LANG ( 0 . S . ) Lana, come on. We're leawing. A beat, and Lana just'walks away. Clark's lef Deeply alone. And we PRELAP WITH:
MARTHA ( V . 0 . ) You are ( the.least weird k i d I know; ,.--. EXT. DINER
- NIGHT . .
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The diner parking lot's adjacent to trainout bee, no one else around. Only a Clark follows his mtfier across the lot: -.
.... you
MmTHA
just have some aifta that they don't,
--
w h i c h makes me w e i r d .
Martha starts to unlock the car. <
e e
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CONTINUED:
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MARTHA You're a pormal bqy -- if your eyes are bothering you, I thought we mig be able t o have some special made up. With some lead specks in the glass--
,) (.
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MR. DEVANEY ( 0 . S : ) Saw you inside.
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-- and the voice makes Martha jut@ a. little a see MR. DEVANEY walking out of khe darkness. Kent's landlord a man we've heard she's no A big guy in his early 5 0 ' s . Short, cropped Brown suit, no tie. Martha tries to hide her :.he approaches. B u t she always gets the feelin undressing her with his eyes.
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MARTHA Mr. Devaney. How are you?
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Drunk, i s hbw he is. .
. kR. DEVANEY Me? I ' m fantastic. I am fantastic where's your husband?
MARTHA (unlocking Cl-kt s door, quickly 1 ~ o n a t h a n ~out s of' town. The distant BELLS of a TRAIN CROSSING
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MR. DEVANEY Really'. D o i n g . h t , gefting.a loan-
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~ l & kdoes, in the bdck seat. She clok=&obr. Clark keeps.his 'tormented eyes locked on Dev ..
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XARTHA (cont'd) .You don't have to worry: rent will on time this month: MR. DGVANEY' Oh.yeah? You're kidding, hell over? No one told ine.
--
Amused at himself, Mr. Devaney has walked close to Martha putting his hand on the cat, preventing her from getting in.
.
[CONTINUED)
CONTINUED :
(2)
JI
C l a r k watches nervously though t h e glass as M leans close t o h i s mother: MR. DEVANEY ( c o n t ' d J I have a n i d e a , you wanna hear. i t ? sbF The TRAIN COMES NOW,. L ~ U Don t h e t r a c k s :-
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MARTHA
I need to get my son home f o r bed-.-
MR. DEVANEY T h e boy can stay in the car we could do each other a f a v o ~ . ..
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MARTHA Mr. ~ e v a n e y - -
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m. *D
(-7 0 u
-- w e could say t h i s month's " r e n t free," how's t h a t sound? MARTHA (forceful) .
*t-
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MR. DEVANEY (grabs her arm) I see how you look at me --
L i t t l e Clark's eyes a r e wide
--
terrified
MARTHA PLEASE let 40 of mv a m
....
-- but -- h i s
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b
M r . Devanw k i s s e s B s -- she tries to lips go t o h e r neck his hands on her to move him a w a y , but he's being aggressive --
--
gets out of the car
--
sh l u away she tries
he g r a b s a t Mr.
CLARK to^ it!
But Devaney just pushes t h e boy back: MR. DEVANEY - back i n t h e car!
He continues to attack Martha, him off -- C l a r k -- enraaed grabs him and throws him --
PARKING L' -
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Martha's
--
shocked
--
as Clark runs toward the man:
24.
(3)
CONTINUED:
WTHA
Clark!!! hlQ!
he TRAIN s t i l l passes, d i s o r i e n t e d a s C l a r k -l a r g e man and.WHIPS HIM PAVEMENT -- ~ rDevaney .
LDUDLY
-- M r .
Devaney
six-vear .o l d Clark
INTO THE AIR THEN S SCREAMS -- Clark t h
am:'
AND AGAIN.
W over t h i s se quickly becomes d i s t u r b i n g and --- Martha SCFtEAMING -- BESGING -- for her son s t o a t t a c k -As much a s t h e audience.wil1 go
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Once t h e caboose passes and the t r a i n ' s gone, a h o r r i b l e , bloody mess Clark i s o u t of b r e s p l a t t e r e d i n blood himself more a f r a i d than
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the
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What's most f r i g h t e n i n g i s M r . Devaneyls wide, eyes set a g a i n s t h i s blood-wet face: MR. DEVANEY you're Satan! Devil h i m i e U ....!
... you...
Martha t a k e s Clark' s hand, wanting only get of t h e r e . But somehow, Clark is f i x e d h e r e &lapi this man, who says words that w i l l s t a y with Cla p a r t i a l l y dQfine Clark f o r years:
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DEVAEU'EY (cont'd)
MR.
... you're
from U
a freak! fr
you're
N
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MARTHA
'S
GQ 1
And Martha dragl Clark away -- i n t o t h e car, a l l the while, M r . Devaney y e l l i n g :
AWAY
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BOY'S H E ! l ! 332'. CLARK'S BEDROOM ,
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A!!! NIGHT
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Clark lies i n bed. He's turned away from h i s sits b e s i d e . him, s t r o k i n g his hair'. Clark' s . Traumatized: Not j u s t because he saw h i s rno But: because deep down, he thinks .Mr. Devaney on t o something; .. -
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-
. -
.. ( com1NUElj
.
CONTINUED :
We SLOWLY PULL BACK from the scene ...
om.
@E
FADE IN:
.
EXT. FARMLAND
'-
.
DAY
White. Winter i n Smallville. And t h a t d o t S m a l l v i l l e Junior High school bus. W e can bar K I D S s i n g i n g embellished Christmas songs ( i - e . a Merry Penis') as the bus pulls up a t a c r o s s
c3
The doors open. The Kids much LOUDER now. C1 g e t s o f f t h e bus. Clearly not: one of t h e popu wears g l a s s e s now (lead-specked, thanks to Mom more the " c l a s s o u t s i d e r m than he was t h e l a s t him. A s be g e t s o f f , he.sa3.s t o t h e Driver,
m,
CLARK Merry Christmas, Miss McGrath. '
MISS MCGRATH (sympathetic) Merry Christmas, Clark. The doors c l o s e and the bus d r i v e s o f f . Clark BUT HE CAN STILL HEAR T H E KIDS INS1DE T)IE BU S. nR A E ROAD:
KIDS (ab l i b continues:)
&
-- could Clark Kent be more bizarre? Not a ckafic'e -- he's l i k e a t o t a l , psvcho he doesn't even play - h i s only f r i e n d s are h i s parents--!
--
Clark keeps walking, by now used to t h i s . BU mean h e l i k e it: he covers his e a r s as he wa I N T . KENT'S
HOUSE
DAY
C=77
Clark c g ~ in, s stomping his icy snowshoes on y e pulling them o f f .
m?! Q&?!
PO$$
and
CLARK
(shoes off now)
Mom o r D a d ? N o one's home,
off
--
PUSH
SMASH m ?Y):
IN on his face: he smiles and h u r r i e s
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-,
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i-
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,',
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KENT ' S BEDROOM
&I
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DAY
..
.dl&k siks..in the back of his parents'. closet', H e p i c k s up,a wrapped h i ? . CHRISTIGS PRESENTS .- it.-.- . but y l i . k e . most kids, Clark doesn ' t . rnyth'ins .to. see what s inside; he just:r-ves WRAPPING. . " a d .LOOKS ':THROUGH THE .. ..
,.
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9
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: : .We SEE h i = X - M Y VISION:' 'on& gizt 's a Anothergs' a microscope. Then.a
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:disappointed. . .
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Theremust lm so,
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better.
,
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Clark, .itill.on'his back, is ~ d e - e v a . .Finally -- . 'cklv -- he gets to his feet. More afraid than.-ariything, e w a b s whatevers& close: a whisk. ,
'
'
'
,
C
. . . . :.
. . , .
(CONTINUED)
LI.
CONTINUED :
r-l
He slowly walks around the self -standing s u i r .
\rxdm
a
almost alive, t h e RED CAPE gently oscillating ... Clark f i n a l l y r e a c h e s o u t -- c a r e f u l l y - - and cape. F e e l s t h e t h i c k , a l i e n m a t e r i a l ... then suit itself; And g e t t i n g just a l i t t l e too c checks o u t t h e s l e e v e s ... -And suddenlv somethina
3
3
. ..
'
s
-
DAY
m: N we
The f r o n t door b u r s t s open and Clark s t e p s o u t porch, s t a n d i n g akirribo. Behind those g l a s s e s , melodramatically f i x e d on t h e horizon.
-
u
--
. CLMXK (cont 'd? no way.
EXT. KENT FARM
H e looks r i d i c u l o u s , Except this r e a l l y making. No matter' -- he runs o f f
--
EXT. ROAD
-
DAY
the s the
extraordinarv h a ~ ~ e n s :
CLARK PELLLLLLLLLP!!! HOuLDER
AMGHHHH!!!
e f
& Supe
s are
.
i n the
-
inspired by the s u i t , Clark SPRINTS -f l a p i n the wind befiind him. He's comfortable i n this "second skin."
ting
And as he runs, f a s t e r and f a s t e r , he s t a r t s
first a f e w f e e t -- then a f e w more -- soon h twelve f e a t twentv HE CAN'T BETJGVE T H I
--
b
'
--
-- and Clark just s t a r t s LAUGHING as he SOARS l i k e Tony Hawk w i t h o u t t h e board half-pipe never been so exhilarated. H e s a i l s two-thousand f e e t i n t o t h e sky, then DIVES toward t h e SNOWY FIELDS, s t a b i l i z i n g iust b e f o r e he hits the earth: . he d i v e s into the snoy
--
.
.
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. . . .. .
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. '.I
-.JONATHAN.:. vour ro-. .
.... ..I-
INT. CM' . s.
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1.
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, ,
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GO . to
. . .
.BEI~ROOM .. :-
NIGHT
<
. .
:
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.
Clark sits bn h i s bed,. pensive., 'still suit and his glasses. The . and sit across frpm .him. They're d i f f i c u l t , c o i ~ e r s a t $ o nthey' ire watches them f o r a k o. n k. t . . .
He
'
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C
I
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CLARK I.don t know where .you got this flying' sui*.,.. but i t ' s khe coolest.: .:
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J
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r. l .i .. t ., " o t f 0 @
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". cf3IRK
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. yeah,. trhe,cape: . -it's' like Like . . a '
JONATHAN ..
1
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well,',maybe the sui I don' t know:; But lon. g tyou. t l l . gravity didno t always wor .
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e
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*
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. r
. :' :,,J~&w:', - ~ i i i r k ' . ':.: ' i ~ , i s n * g . . ~ . h e that .fli=s ..... :.:. . . . . . . . . . .
... _- .'..
..
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,
:.
m k e ? .g, , .e: ., . v
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'MARTKR . 'The ,same,way- your eyes work . . . 'differ-tly than: other kids same way you're stronger., . .
.
-,
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the '
(CONTINUED)
.
CONTINUED:
.
c m
I d o n ' t ... I d o n ' t understand i n trouble?
L
--
am
(I
MARTHA Honey, you know we both love you. CLARI(
Yeah.
H ~ L ,what's
going on?
MARTHA We are your parents. ( d i f f i c u l t beat) ... but n o t . . . b i o l o a i c a l l v .
This news is horrifying
...
--
takes a beat t o si
CLARK
I'm-- I ' m
e w s e
... ado~ted-?!
m
JONATHAN Clark. That suit;., I t came with yo When you landed here. Clark doesn't
realize his breathing quickens:
..
CLARK
When I . .landed here? mean Janded .?
u
..
-@
What do you i
MARTHA
'.-
You're n o t f r o m here. (beat 1 N o t f r o m . ~ & l l v i l l e . N o t f r o m this
alanet. There are n o w tears i n Clark's
eyes
...
CLAM
.
... then. .. where am
.
X from.
..?
JONATHAN W e don't know.
,
..
lark looks o f f , grappling w i t h this mega-new realization that all he's feared is being a freak -- a monster -- ERHAPS the D e v i 1 Clark suddenly stands up, PULLING a t t h e ' s u i t , desoeratelv wantinn it off -- -
nff --
--
MARTHA
Clark, wait--
@Q
30.
CONTINUED :
(2)
v-3' Clark YA&S the thing so hard i t f i n a l l y off h i s body -- he THROWS the thing to the f l o whatever c l o t h e s are there and r i m s away --
'
3.
Clark runs through the night, .crying -- try.in himself -- wishing he wen't;.himself. Runni so long, he finally'collapses in a snowy fie1 The deep, painful cries o f ' a true Outsider.
.
And he looks up with his wet.eyes, into the i night knowing that somewhere up there is a h i m away. ..
...
The STARS FILL THE SCKEEN. And after a beat DOWN ... it's a transition that takes us to: EXT. DJOMEIN DESERT, KRYPTON
-
NIGHT
--
nighttime in a cracked-earth desert that s Those three moons we saw during the glowing brightly tonight. And amid the nothi clay and straw three-room HUT. Smoke rises f chimney. And these WORDS'APPERR ONSCREEN: forever.
INT.
m-
NIGHT
TAGA, the turtle-1i~e"creaturethat drove L a r grisly-looking stew. He takes the pot over t
now), who sits a t a table, lost in thought. crushed long ago. Taga sertre.8 her. Without enthusiasm, Lara thanks him in Kryptonian.
She looks down at her food.. : her mind once a no doubt back to her lost family ... when ther SOUND -. . .
--
-- Lara looks up Taga's outside. Taga grabs a large, WHISPERS in Krygtonian: SHH. Taga leaves the hut. We're sits, nervous... listening carefully for a lo Finally ashe gets up and - - ,
-
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I
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31. -.
EXT . ' DJOMEIN DESERT, KRYPTON
1
L..-
- NIGHT
Lara steps out. Looks a t t h e v a s t , empty no one here. So Lara slowly walks, around it's l i k e a horror movie: you j u s t k n o w you're scared t o death. Lara t u r n s t h e corner -- and finds Taua, dead - SHE TURNS TO RUN BUT ONE OF KATA-ZOR'S HE SLAMS HER IN THE FACE WITH "I'f-iE EN'M' OF
-
EXT. Y I S P A MEGACITY, KElYPTm
NIGHT
U
The u n i v e r s e ' s l a r g e s t MEGACITY. Hundreds of (monolithic, two-thousand s t o r y multi-function ~ i r c r a f teverywhere. The WORDS APPEAR:
ERS
Y ~ S M ~E G A A C I l Y , KRY-.
YISPA CONCENTRATTON CAMP
INT.
-
NIGHT
'
immense CONCRETE PRISON. Lara is l e d c e n t r a l c o r r i d o r by THREE ARMED GUARDS. A s sh scared and i n pain, she glances i n t o t h e c e l l s .
A dark,
There a r e Kryptonians held here
--
those who o
'v
h e r than anything. Seeing her people i n such h e r eyes f i l l with tears.
w i t h reverence and' a ' weak voice:
.., the
KRYPTONIAN P ~ S O N E f l
queen ... i t ' s Lara!
The t e a r s ' how r o l l s down h e r cheeks, a s t h e s e and begin moving t o t h e i r bars,' seeing her woman who. i n t h e i r minds, i s s t i l l their f i r s camp is filled with t h e prisoners* QUIET CHANT ICruptonian) 'QUEEN LARZL: .. QUEEN LARA. . . '
--
.
Headed t o her own cell, Lara just c r i e s as w e REVEAL that t h i s can^ is enormous: this-one w i dozen stories tall t h e r e must be over a hun p r i s o n e r s here.
--
/
I
INT:
I L.,
-
.--,
PRAYER CHAMB*
Kata- or
-
.&
n
CKTO
m t a sand
and son Ty-Zor (60 and 22 years-old now) bow a t an
a1t a r .
. .
NIGETT
o r pr ' soners wlng t o a The of ( '
.-
(CONTINUED) .
.
32. .
,
CONTINUED:
'
........ '
'1 .
:, rather beautiful ..
-8.
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.Your holiness ... Shefs here.
..
'$r-zor. looks t o h i s father, who pleased. W e alss sense: Ty-Zor
...
TYLZDR Father ...
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. . A M B A S S A D O R . , & ~ ~ ~th=,'rom, S sees ... . . . ,
Can. I &st.,you with this?
. .
. ... ... .. . ;'@. .;:.., . . : .
.TY-ZOR
(respectfully) Yessir:.. ;
Finally, a nod from
..
.
. .
.
&a;- or.
' -
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NIGHT
We PUSH I N on Superman4s father
!
.
.
INT. JOR-EL,S CELL
\
.!
,
--
Jor-El' s n
H e looks up as the c e l l door bursts open
--
t
-- --
decades he.is in shock, beyond speech a s , ..*-each other
They shove her to the ground, holding her execution style',
She whinpers quietly
...
ook at
hea$aam,
Then Ty-Zor enters. Calm, Controlled. And ancient, sheathed SWORD -7 l i k e a KATPiNA BLAD w i t h KRYPTQNzAr? TEXT. . .
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TY-ZOR I w a i n * t .boni yet. The .daymy 'fa was overlooked. The day chose . y p for ~ ~ the throne. handed ybu +is blade.
.
(beat)
. . I
.., . !,.
1
.I
But look w h a t happens. ~ook'where you are. And 1,ook. whaf I
THE .BLADE. ~e .holds i t with the respect and skill of a master. .Bowswith the sword;' Ty-Zctr PULLS OUT ,
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CONTINUED:
the proper technique just before its use. A wh p - f a s series of SWIPES and Ty-Zor'g h o l d i n g the blade above Lara's head. , TY-ZOR (cont'dj 5 need to find my cousin.
Tell me where he is.,. and your wife will live. Simple.
-
Jor-El stares at his fuckincj nephew horror --
--
,
Never.
.
_
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and
-.
or-~l' & eyes flick to his defiant, terrified
. . JOR-EL.. . my stdeet love.., '
I
LARA
--
.
thank God w e sentz h i m away. love you ...
...
8
e l y
blind wi
LARA
.
I
JOR-EL I love you too ...
@
e
N
TY-ZOR
Where
... is Kal-El.'
20-YEAR-OLD CLARK walking with his r o o m t e ,
CLARK -
Jerry, I don't want: to do this-- 1' no u o d at parties,. I don' t have
How would you know? It's been four years, Clark, .you never leave our room. J
33-
Jerry's.turned -- he roughly but kindly unbuttons Clark's shirt, loosening him up:
CONTINUED :
JERRY (cont 'dl Susan, I'll be a t the party i n ten when w e Q& t h e r e 1 wanna s e e you i n s i d e , drunk, hangin from something a n d ' a c t i n g l i k e a monkey.
.
. ,\i
I ' m getting
--
ciARK I'm going back t o t h e dorm.
Jerry whips o u t a TERM PAPER
--
Clark's eyes
e @q-
JERRY
Then you're n o t g e t t i n g . this back. CLARK
J e r r y , I have t o t u r n that f i n a l i n tomom. JERRY
Then get your scared l i t t l e ass to t h e party. Youcandoit.
still
..
-EXT.
holding t h e paper, J e r r y heads off
FRAT HOUSE
-
.
c3
e
m.
Cla
NIGHT
Clark walks up as a group of partying STUDENTS@w -st him. H e approaches the house nervously. H e s t a r i n g a t the side of t h e house, drapes obs i n t o the house. ' So.Clark RAISES HIS GLASSES and uses his Xsee what he sees, . a ~ H ' i t ' si n c r e d i b l y cool: the house, i t ' s as i f p o r t i o n s of the exter providing a view i n t o trhe party:
n -l o t s of kids laughing b l a s t . Clark could n o t be less of a candidat i n c r e a s i n g l y 'worried about g o i n g in there:. . , Dancing and drinking
in the p a r t y , looking somehovi o u t of place. This i .incoming freshman. And shets,standingthere, The o u t s i d e r . W e w i l l come t o l e a r n that i n i s just: as much an a l i e n as Clark.. .
. A betiutiful, b r u n e t t e O m , standing
; .
--
Clark watches h e r for a moment she's i n SLOW MOT~ON. But then a COUPLE approaches her: a blonde G I R L and b i g GUY. '
-
.
_
-
&4
CONTINUED :
-- they're heading some fun and clearly t r y i n g t o g e t Lois t o go C l a r k watches as she declines.
stair
The couple's been drinking
The blonde takes her arm but Lois p u l l s away, excuse, and heads f o r t h e back of the house:
.
.
35.
for
w'
B
i
i
e
Clark p u t s h i s g l a s s e s back'on. A d j u s t s h i s l i t t l e . Takes a deep b r e a t h and heads off
...
EXT. FRAT HOUSE
-
BACK PORCH
- NIGHT
Through t h e kitchen windows, kids p a r t y . But l i k e a sanctuary. Lois is alone, looking out Then Clark walks up t h e s t e p s . A beat. courage t o g e t t o :
.. .
CLARK great party.
night.
.-
LOIS ( n o t looking a t h i m ) I t sucks.
@il
A beat. Clark nods: this i s n ' t gonna work. H e leave w h e n Lois says. more t o herself than t o
LDIS f c o n t ' d ) I can n o t believe I ' m here.
turn
to
.
.
CLARK
M e neither.
Actually. LOIS
T h i s g i ~ l ' " f r o mhigh school-- Abby
needed to come' tonight, w e needed t "network" -- b u t we're not even frien&, okay? The only reason she wanted m t o come was so she wouldn't show up g&ne damnit, I
--
~ c o n s c ~ o drunk, u s ~ upstairs with some three-hundred-pound,- former
while s h e ' s passed out: r i d i n g 'shotgun. Great party. Your f l y ' s undone.
--
oh--
CLARK "
(CONTINUED)
-
-
CONTINUED : he does h i s zipper, she s a y s ; frustrated:
As.
n
MIS
~ a y b eI need to lighten up. c h i l l .. Try'and &xQ,&. (with a faux smile) Hi, w h a t c l a s s are you in? your major? .
This is actually a sensitive subject for Clar
I ' m , uh
i3LARK
... I'm
a senior. And...
undeclared.
CLARK oh, well, that was a nice. judgmental reaction'. .
--
.
'e e -.
LOIS (beat, like he's a leper) red S?-
.
. . non-
U3IS
I'm sorry-- that was rude--
CLARK
N
@
I just don't h o w what I want to & yet. That's a l l . I have... some other questions I'm s t i l l working
on..
.
WIS
That's.cd6S; 'I'm just. one of those fie* who- ' s alwavs known 'to do.. . m w h y . L hate p 9 r tget i . e ~=-' -w-i It just and h i t . w a n t. t .o
'
. . . . .. . ..
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,
Yeah?.To
do vhDt?
"
....,
*''.
'
'a
.
5
. . .
,
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.,.......L.
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,
Maybe i t ' s .howshe ' k l l s , But. Clark is i n She reads his ga-gn s t a r e as .conman.skepticism. .
. .: ., .!,j
.
~oizrnalimi. I'm gonna graduate' in khree years, move to the ;city and start writing for the Daily Planet. That's my plan.. '
.,
.
- L61s
. 1
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'
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-
( CONTINUED
.
CONTINUED :
-
b
J
(2)
mrs (cont'd) ~ou'think I'm peculiar. Overlyambitious. Too focused on t h e f u t u to really exist in t h e p r e s e n t . CLARK
...
e
(smiles) t h a t ' s not what I was thinking.
Suddenly t h e door opens.-- i t ' s AFJBY and the
--
ABBY
So t h e r e ' s another p a r t y in town, l e t ' s go;. hey!
/&---A
LOIS I am not going t o another p a r t y . . .
The ~ i Guy g TAKES ~ o i s 'arm:
--
--
B I G GUY Come on, I ' m driving--
--
Trust me, you'll have fun!
-
&y!
CLARK Leave h e r alone;
The Big Guy t u r n s t o Clark. .
Excuse me?
.
.
then PUSHES HIM.
B I G GUY Was I t a l k i n q t o you?
TAe Big Guy PUSHES A G --~ and just when it8 ugly, LOIS PTJSHES m-m BIG GUY. HARD:
reallv
LOIS
The Big Guy turns to
M, surprised.
--
.I
-
ABBY Now how are w e qonna find t h e p a r t y ? !
k9
n ,
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.
.
...
.
,
.
'
,
'
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.,
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'.'Cause you'
...
.
.
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.
AII~
.
Take care.
..
.
'
.
'
a s she heads out: .
a d m ? r k .
ro~s'.
.,
.
. . . * .. .. ,
T h i s - is why
*by 'siom off I ' leaving his, &zirra+d watches c l o s e l y as Lois f i n a l l y says.:
,
.
. . :
Okay, you. know what? ! people don' t l i k e yo*! not,like no'&&. .
.
,
We re.n o t uoinq t o the p a r t y , w e ' . r e . . . going home. ABBY
.
.
LOIS
.
.
'
.
,
.! .
.
..
CLJLRKI . ' Wait.. (Loig stop) . what ...,what's your name?
..
,
.
.
...
,
LOIS The abnormal Ldis .Lane. ' .
Lois Lane. .. ( then 1
.
,
Good luck figuring everything out.
r.
.pJ
.
e
She turns' and .heads off . ' We HOLD ON CLARK,. Consi brief, l i f e - a l t e r i n g meeting.
,
-
'
ng this
,
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p.~- . : .. '
4
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,
.
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,
s*' L. W S K
'
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..
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. ,
E OUT.
MILITARY .CHOPPERS .over' ,,.' .+ . ,
. ' :,.. : '.: F ~ D E .. . . . . . . . .. .., :". , .. :. E)[T. , ... . . '
.
-
.. . .
me -SOUND of
. .. .
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"
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.
--
: ,,:.'..A heliebPter R O ' O~~ R H E ? ~ ) ... " r i o ~ m ~ ~ l l y - s l e edpeys e r t town i h the ,distance, . east..of Mesa City., The ,sun . . : . .' WORDS APPEAR: '
WSTCTTY.. EXT. DU*
CITY
-
- 0
NIGHT
dozen POLICE CARS a r e here. Emerghncy WO GEAR cordon off s t r e e t s , unspool YELLOW TAPE. of RESIDENTS look on as the chopper lands.
A I
~ h r o & h 'the e r l of dust, three bidck-suited MEN step off the copeel: and move forwar,d. At center is a severe-faced 50 year-old man w i t h closely-cropped hair.
-
-
39.
CONTINUED:
This i s C I A Special Agent DR.
LEX LUTHOR.
Flan~ ea J a r k -
suited, former Navy Seals GRAY and BURK.
POLICE LIEUTENANT HANNAH approaches Luthor, 2wh@ b r i s k l y , a l r e a d v unhappy:
POLICE LT. HANNAH D r . Luthor, I ' m Police Lieutenant Hannah, thank you for coming, Two hours ago w e received an anonymous phone call claiming what appeared t o be a UFO crashed i n the area found the s i t e and secured the perimeter. I ' v e ordered everyone t o keep a d i s t a n c e ... i t looks l i k e t h e r e might be a body.
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O f f Luthor' s s t e e l y reaction --
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EXT. C W H SCENE - NIGHT W e CRANE DOWN i n t h e middle of a l a r g e f i e l d .
weapons a t the ready, i n t h e d i s t a n c e behind y Smoke r i s e s i n the foreground we a r r i v e a t t o s e e . a - small CRASHED VEHICLE, pieces of meta about, some of the surrounding grass ON FIRE. looks d i s t i n c t l y l i k e a CRASHED POD.
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Luthor and t h e o t h e r s s t o p a t t h e yellow tape, yards from t h e crash. Luthor f i x e s h i s eyes on f i r e . We're TIGHT ON h i s hard, determined fac wouldn't w a n t t h i s guy f o r an enemy. Luthor quickly walks under the yellow tape, Hannah hold4 'up a haz-mat s u i t : crash. POLICE LT. HANNAH What about hazard gear?
gut Luthor j u s t keeps walking, leaving Gray an@&hd. Ignored, Hannah uses binoculars t o follow Lutho RESIDENTS -- a few dozen of t h e m watch f r o ~ y e l l o w tape, many w i t h binoculars too.
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Luthor a r r i v e s at the crash. Sees what looks m e t a l pieces and motor p a r t s -- and what look BLOODY REMAINS o f an ALIEN.
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Hannah and o t h e r s anxiously watch h i m through ~ u t h o rmoves c l o s e r t o it. Kneels. Reaches @his f i n a e r s and arabs a ~ i e c eof red, wet f l e s h .
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POLICE LT. HANNAFf ( c o n t ' d )
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tomato . sauce. ~ Q u i r . a hoax.',: Tasty, but still.a
alien's
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KQWOR
. . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . - . " ,~rirkey a.i d
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Hev:. whoever did this did -1 JVho's .the ar-?
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'out .a', little. . . . . . . .
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'HOAX GUY 12.
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~. .u t h o xsmile+: at. . . th&; aeri'ttirijs ,miti\ to Burl: ,. . . . . . . . . . . . . . . . . . . ... . L&R. " '
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that, we re in :
PULL, . BACK . FROM .THE' . ARTICLE .. M
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INT, C I A DIRECTOR DEAN'S OFFICE
L.d
sleek, Langley office. DIRECTOR DEAN DRESS R 1s a classic 60-year-old Skull and Bones inductee. Lois' story, clearly troubled. A
DIRECTOR DRESSLER
This obviously isn't the first
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experimental enterprise financed by the CIA -- but those projects remained classified. This reporter, ~ o i s~ a n e ,she has a source. She's printed, in its entirety, your division's. mission statement.
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LrnOR
Lane was
there...?
HOW
did she
know to be in Dust City?
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DIRECTOR DRESSLER The hoax was her idea. (off Lex's look) We questioned those trailer park boys. Turns out Lane paid them to put the whole thing together. I t . m not questioning your intentions your integrity, but the CIA can't publicly acknowledge it spends taxpayer money on the hunt for alien species. We should pull the plug--
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LDTHOR Dean.--
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-- at least until
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things settle down-
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my &, while idiosyncratic and difficult to. quantify publicly,.. i t;. (re: paper) Which would have been obvious had Lane printed the most intwrtant J
ik3ZA.LDIRECTQR DRF.SSLER
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Thank God she didn't. LUTHOR
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Why? Dean, we can't let'some skirt with a press pass threaten this planet's security. I say w e go public w i t h the Big Secret.
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DIRECTOR DRESSLER could' resu1.t. .jm . xiass . . . .... . .. hysteria... ' . . .
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The s'bscraper hcadguart&s ok'thb We're i n the heart of teeming &T '.newspaper. . with very d i f f e r e n t feel troy .that of '~otham. a s h i m r i n g v e r t i c a l urM c&.t;er, .the happy York, Chicago' and San 'Franciscd.. s bri . , :. ' . . . .. .Tbday' 'a magnificent backdrop.. . . . . . . . . . : . . . L , . . .. . . . J(+O.l,: ..? :
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okay, s o keep' paying act&tion: over there? YOU gbt .the Sports des
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He hands Clark an engraved desk nameplate: 'CL 1
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--oh, thanks, Jimmy, it's-- my name1 "Clark." -
JIMMY C l a r Kent.
CLARK (holds it: up) "Clark* Kent.
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JIMMY
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Lqme ask you something: there's a woman I met, years ago -- she's a r e p o r t e r here now, I wondered if-Interrupted by a MASSINE DOOR SLAM, Clark tur the other side of the massive space: PERRY WHITE'S OFFICE. .Jirr~nylooks troubled:
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(beaming) That's hey.
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~ n d Lois storms over, f u r i o w grabbing it desk, w h i c h backs up: to Clark's desk. Clark' the storm: JIMMY W e coverin' Air Force One or no?
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"01: no.'
He said he's sick of "bab sitting me." (emphasizes words by throwing items i n t o her bag) He also used the words "foolish" and "amateurish'--
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LOIS
No, he' s from another ae which might make editor-- but i t a l w a y s right.
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(turns back) @. --The CIA didn't have to send anyone I took ,a ga&&; but they &f Planet got the storv and I get * : we're on Luthor's
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PERRY WHITE is here the. *ff, white-ha talking bastard Editor-in-Chief. He shakes C ...
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in New zealand, there were eighty witnesses. . .them reported that the object reversed .course. ., then vanished in , . - the sky. - . . .. :.*. . . (beat) . . Hundreds 02 thousands, of sightings . a r e rep0rted.evex-y year. (MORE) ': .
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LUTHOR ( con t 'd f Most of them can be explained: weather balloons, satellites, hoaxes. . (beat) But a few can a.
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&OR (cont'd)' I am Director of the Special Operations Division of the CIA. As you may have read in ~ o i sme's wondarfullv writarticle. (LAUGHS from the crowd) The fact is, that hoax was Miss Lane's creation. Which makes me question.her career choice: that's not how legitimate journalism shoul work, She looks down, humiliated.
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LUTHOR ( cont ' d) The truth is, I ' m relieved. We can finally talk publicly about what we 'do.
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A SLIDE appears behind Lex: the CIA'S S.O.D. S
LUTHOR ( cont ' d) Operations Division seeks out intelligent, extratez:rdstrial life. And u, we .operate under the ass~lptionthat these beings are a threat. A dange to all life on this planet.
a, the Special
P
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C'lark shifts in his seat, a little uncomfort L a K o R (cont'd)
This division exists not because
!%WK?3D M U R W M from the crowd
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is open
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LOIS
Don't be naive. p.ropaganda.
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Luthor advances to VARIOUS I ~ G E S : a CAPSULE -like the one that Kal-El was s e n t in -- lying n a LU?'HOR
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I led t h e team t h a t recovered this craft, nine years ago. There's cle evidence that someone -- something was sent here. Specifically to thi planet. Yet no was recovered. Which means that b.... is still there.
Clark suddenly looks pale
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JIMMY you okay?
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uh-huh...
like he might get
CLARK
L ~ O R
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So what is "it* doing?' Is "it" studying us? Communicating with it planet of origin? Perhaps designing som= sort of attack? (beat) Of course, there will be skeptics among you. But my job today isn't ~onvinceyou of anything. It's simply tcr:i'nfonq you that we have evidence. There is a Visitor. Hiding somewhere on Earth, riaht n We can't afford to assume it's nonviolent. Wd as we all know, .. there's no such thing as one cockroach. Clark gets up, a r u s h to the bathroom:
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--- Cliff? .
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TIGHT ON C L A ~ K ,Who is on the pay phone, p a l l i d , edgy. Behind him, i n t h e BACKGROUND, .Attendees begin streaming out the doors. H e t s t e a l t h i l y: ... .. . . . ....
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the mostly .&tptyoffice, .at thi works at hi"s computer,, Lois a t h e r s . h o d containers.
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c ' l a s s i c reactive PR an a r t i c l e that embarrassed a they only h e l d d i v i s i o n of the.CIA t h a t conference to j u s t i f y t h e i r -1 ~.!Che~ePs no, UFO.'
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Well, wait a minute -- what if... fo example -- just academicallv -- wha i f there were? A l i e n s on this planet .
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Looking at him,. she conside Their eyes m e e t . long beat. Clark grows nervous.. . Then:
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LOIS There aren't! I'm telling you, you can't believe a l h i n q that man s a y s , there's j u s t something about him. must have that sometimes: instincts about people? CLARK (beat) Yeah, I actually had one about you. Years ago. (off her look)We've m e t before. You and I. (off he^. surprise) At M. U. Remember? (she strains to recall) That party? At Gamma house? You were an incoming freshman? I was a senior? wUndeclared'? (beat, nothing) It was your first party? You'd driven there with a friend? Abby? (beat, not yet, sighs) We were on the back porch? You w e r wearing .a"red sweater? It was tensixteen--?
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sure it was E--? CLARK
X sure it was v--? O f course You-- you beat up some ggy, you-Am
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(vaguely) my ~ o d . I & some g-- a l2i.g guy, right?
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, ;(beat) hat night you said 'that one .day yo .- were going to 'become a journalist. And 'work here. I.won' E bore,you wit the' details., but.;. you sort of helped give me a direction.
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It doesh':t matter-- I only brought i. up because I wanted 'to;.say thdnk you.
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I ,:m; sorry and'you. shoula know, " I have a rea1ly gdo6 memory,
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(touched) . did . that for. irpU?
,~l$rk, . k e l = s at her.
~ r a t e f u. -l . A b i t .'shy. , .
a .
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She.-answers ..
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s t & l b g occa~ibn~l glances at .he ,
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LOIS' (cont'dj.
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~,=ssir,:. .the press conference
almost locked, ,(listem, e'xcited) - it was? At what.time? Yessir .: no 'sir, I won't blow this, . (hangs up, gathers her things)'. . President's. flight was res'cheduled, . I'm interviewing. him . . . on .Air Force ,One, I have to catch a can you please proof . . train to DIC. this? .' . _. .. .
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p..
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clirk' 6ork;ri-, .
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~ o i < ~ ~ ' i nLOIS e; ..... . . . . . . . . . . . .. . . . .
. .. . . .
. . . . ' . ' I . .
.Yeah. . .
PHONE. RINGS:.' . . . . . ,.'
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CLARK. '
,
. . .,. . ._
Her . .
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--
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..:
--
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-
CONTINUED :
(3 )
CLARK Done -- conqratulations-LOIS
--
thanks-- Jinuny's gonna freak I ' l l s e e you l a t e r .
.-
She heads off , then mid-of fice, turns back
LOIS (cont'd) Your f l v was undone! CLARK (almost gloliously) ~
P
iS t w a s !
e
He almost laughs, watching Lois smile and head EXT. WASHING'IQN,
D.C.
-
DAY
Our MUSIC& SCORE creates an atmosphere of po anticipation. The National Mall in all its g brilliant-white Washington Monument pierces t sky .-.. .
EXT. ANDRENS AIR FORCE BASE
-
lue
&
DAY
Lois Lane -- Jimuy Olsen behind her -- moves thro security checkpoint. They then continue onto PAN WITH TKEM, REVEALING ALR FORCE Om under House STAFF and MEMBERS OF THE PRE'SS climb th enter the plane. Lois and Ji~~~~~~.follow..:
;;we
to
w
The CREW perfohns a flight check.
INT. AIR FORCE ONE
- DAY
Lois. and Jimy taka eheir seats.
SheRa she can not to reveal her giddy excitement. of JET ENGINES starting up -EXT:' ANDREW~AIR FORCE BASE
--
SOUND
DAY
and we PUSH IN on The TURBINES begin to turn s loose PANE4 at the front of the engine. And on this foreboding image w e CUT TO: t
'
INT. CLARX'S
APARTMEXI'
-
DAY .
We PUSH THROUGH the moving boxes that litter the p l a c e . there's Clark, asleep in bed. "
And
(CONTmuED)
-
-
.
.
His .RADIO ALARM goes ]off: MUSIC PLAYS.
.
.SNOOZE
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DAY
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~. .i i. . . ~ o r &cae, climbs . io . gilkithde . . . >
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., T N T ~ . : ~ AFORCE I ~ ~ 'ONE
: . . '..) ,
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DAY
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r i i . :i&kS over her.notes.
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Clark
BUTTON .and .withinseconds is asleep
. . .
EXT . .
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........
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~irmn/
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. : . cards;..anyeking "Air Force one:, sees this . . - . . . . -. .,
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LOIS
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Thank yoq.
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~ ~:gives 1 % J... .
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AIR
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the
S-0 . .
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4 look, . then heads to.the . . . . . .
.FORCE.' O m - .DAY .
--
front-
,
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: '
me plane FLIES .
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STMP. FER .~ h & ~ & i d & t s.ready t~ see you.
. . . . . . . . .
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what? .co&
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JIMMY.
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'aitf;eY know we ' r e gom take this skuef; t. . . . . . A STAFF MEMBER approaches, talks to LOTS:. . . .,
3
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LOIS'
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:
says, quietly:
,--
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arid tbe MOVE^,. to
-- 'we .PUSH. lN. .:<.TIGHT ON..t h e .VIOLENTLY n& ."--
,L;OOSE PANEL
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. ,:.&pii&b, IP t h d ' p a ~ &chi+ ~..
. i t s 3 3 , 0 0 0 f O e ~ ; . - - ,.. SuddeaSy; "kn EMEROEWCY LIGKT FLASHES a ..const t BU . -. .. . they react: .--. techni-1 c q A v . - . . :.
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FORCE ONE
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DAY' . . _.. - . .. .. . .. . .
i
~ o i sfoilas
,
--
,
.staff LYB*i SAFETY..BELT"light i fl d n a t e s
--
ih*ai.le
j-$ -m ''
.-The'ENGINE PANEL.R I P S .LOOSEAND IS SUCKED INTO BLADES SHATTER.-- the 'engirie: EXPmDES -2. -
-- --
HARD
,
,
-
INT. A I R FORCE ONE - DAY w
'
'
Lois falls to the floor -- people -- one of the JOURNALISTS on the
I
JOURNALIST p h mv God! Robert, we're down-- ! WE' RE IN A DIVE!
--
-
INT. AIR FORCE ONE
-
COCKPIT
DAY
The Pilots frantically try to correct the plan f e v e r i s h RApIO CALiLS
--
='I? AIR .
-
FORCE ONE
DAY
e
C
. The plane DIVES hard
--
I N T . CIARK' S APARTMENT
and SMASH CUT TO:
-
DAY
lark is unconscious. His -10
goes off-agai
FYI
(V.0.) apparently having
D.J.
-- orce One is ensine p r o b l - -
/
ude
I f
.'
-
'y
C l a r k hits SNOOZE again.
IN?\.'AIR FORCE ONE
--
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.
enaim,'&o's
EXT. AIR FORCE ONE
.
.
COCKPIT
-
DAY
it's MAYHEM in here -- ALARMS BLARING -4
--
-
Is instantly asleep.
PIMT red - llnlnq . ! •
a.
-
DAY
a SECOND ENGINE BLOWS
the plane plummets
--
INT.
-
AIR
FORCE ONE
--
--
BLACK SMOKE PO
Gas
DAY
_ -&&is --
terrified -- holds on to the seats as desperately tries to make it back to Jirmny --
We
now see the PRESIDENT, who, along with his
DAUGH'TEZ, are surrounded by SECRET SERVICE AG
terrified
--
- I&. CLARK ' S '
I
u ---
APARTMENT
-. DAY
PUSH IN ON sleeping C l a r k as a REPORTER'S VOICE FADES UP:
-
--
CONTINUED :
-,.
TV ~EPORTER we're receiving information from source on the
. ,:I
--
.
toward Earth
--
..
- - ~ u d d e n l vClazk BOLTS MAKE RACK FOCUS: in an apartment in street, behind a TV fhe news ~ ~ D Q X T .
--
2
TV REPOR* (c~nt'd) Repeating the breaking news: it has been confirmed that A i r Force One i in a steep, uncontrolled dive, for collision--
-- his &d taces. Fi He turns all -- rips one open --
Clark springs from bed
boxes -- scans them and sweatshirts.. . is a c-. A WHIP the SUIT BOUNDS O w and into the middle of standing'there like it. did once before. but it'll fit;.
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Off Clark's face awash ih trepidation .BACK AT LIGHTSPEED to:
EXT. CLARK'S APARTWENT
--
-
DAY
-:we '.
outside his apartment -- a IXNG SHOT from street we can make out Clark as he puts on the suit puts on &i:trI"-'and in this SAME SHOT BLUR UP TOWARD THE ROOF as SUPERMAN eperges, roof access door off its hinges; ,.. -.
--
-
We then Q='CKLY searches the sky. Though, his - typical fear is
ark,
--
EXT. SKY
-
DAY
Air Force One spirl-dives failing aircraft -I N T . F-18
-
--
twb
F'-18's APPEAR,
DAY
One of the PILOTS into his radio:
(CONTINUED)
.
F-18: PILOT negative t h a t , t h e r e 'qs- n can do. from here--
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INT. AIR FORCE ONE
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we .
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Lois i s trying to climb N, toward the rear of tears streaming down h e r face.
EXT. SKY - DAY
el eyh
Piercing the clouds -- a h d bullet blurring sky Superman b l a s t s across the horizon.
--
For a moment, Superman s t o p s -- steadying hims ' t o f l i g h t -- w e PUSH I N TIG1IT on his* face as h i 'extraordinary eyes and ears scrutinize the sky :'THE STRAINING ENGINES and he TAKES OFF AGAIN - d a r t s through billowing clouds and--
, .
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EXT. BOSTON
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(who;'cares?) I t ' s a bird; > .
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.C.
PEDESTRIAN #3
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The P i l o t .
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' ' W .F-18
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PEDESTRIAN .#2 oh my God,. it b a plajne.
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having s-een7~upe-
i s astonished:
--,
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N
U p i n the sky!
look!
It's a.plane!
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PEDESTRIAN #1
PEDESrnAN 82
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PEDESrSRIANS i n Harvard Square looking upwards: .
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(CONTINUEJN
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CONTINUED : .
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56.
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. INT,
AIRFORCE
ONE..-
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M T . BOS&
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ow.
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+ and mare .&ople 'ii the streets st& ta' y the. plunging plane -- many..run, t e r r i f i e d ' ' -'-
.
'..- . EXT. SKY
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.
.
DAY
Hoisting . t h LIFT. THE PL -- and restores i t to.normal atti'tude. INT.'; AIR FORCE ONE'
- DAY --
.Lois i s i n d i s b e l i e f
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m.
AIR
. . F O R C E ~ ~ ~ ~ ~ C O C KDAY P I .T. .. -.
.The crew reacts: '
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NPiVIGAWR
Wally, good
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PIL0.T Guys, 1.. n e t doing
INP. F-18
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DAY.
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. . she almost w a n t s to la-/
The President and his ~ a m i l y , relieved'but co out the window, trying . to understand what's h .
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. fakiig
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DAY.'
Jimmy a r r i v e s beside her,
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S u p e m strains, pull .. on the. wing,' stopping .
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Fellas.. . ? !
EXT. SKY '
.
PILOT
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-The P i , l a t' s ey+% locked .on ~ u p e k :n.. .
_:,..
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PILOT
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uh, i s G o n e e l s e seeing this?. . .
RADIO VOICE ( i n . disbeliefb. . . . . : .-.I.... think so ..... . .
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2
5
EXT. KENT FARM
-
CORN FIELD
-
1
.
DAY
In the middle of t h e expansive field, Jonathan
L
. years-old now, brings h i s tractor to a stop -listening to h i s TRANSISTOR RADIO newscast i s HEARD:
-- we PUSH
--
RADIO BROADCASTER (v.0.) and Air Force One l a d i e s and gentlemen, t h i s i s what they're reporting i s being carried t safetv by a m. - . A man i n blue with a red a
--
--
--
@Q
--
Jonathan looks up, amazed
-
EXT. BOSTON
--,
DAY
n
--
NAVfGAMR should we...put .down landing gear?
--
PILOT . ' ( i n shock) sure, what the h e l l - -
EXT. KENT FARM
-
n
CORN 'FIELD- DAY
.h
. ~~'~onath Kent a n runs across the: f i e l d , back &he holding the radio. He's excited -- anxious to of Clark's extraordinary event --
-
.
JONATHAN-.
--
--
but as he
Martha...!
runs'--
drops to his knees face:
oh
.. The i /.'
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-
9 ) an.
suddenly h i s face is s t r wrong. We'
-- smethino's
ed
--
he
his
G .o d --
EXT. BOSTON COMMONS
-
house,
-
DAY
park in the middle of the c i t y : countless t 8 S CHEER WILDLY as Superman g e n t l y sets down the airplane. Out of breath, Superman looks up a t the audience of Pedestrians -- YELLING, LAUGHING, SHOCK, APPLAUSE, and LOTS of PICTUAE-TAKING--
CONTINCTED
58. :
--
Superman -- C l a r k is so unaccustomed t o such a superneophyte -- t h a t he's unable t o e
Emergency CHUTES i n f l a t e and S e c r e t Service s l i d i n g o f f t h e p l a n e -- followed by the Pre moves toward Superman. Agents t r y t o hold h i i n s i s t s . A s t h e President approaches, he's c Excuse me... Yessir.
'%RESIDENT do you... speak ma1
SUPEFMAN'
.
a.
@
PRESI~EWP
e
W e l l , then. I'd l i k e t o say two words t o you, son. Two words I ' v e never meant more s i n c e r e l y i n my--
--
SUPERMAN excuse m e
--
t o TOI Superman walks rlgst the Pre-ver s l i d down t h e s l i d e . She looks u p his han She t a k e s i t and he helps h e r t o her f e e t -him, h e r b r e a t h taken away.
--
a
-
... you
SUPERMAN ( con t 'd )
okay?
w
up at
NI
LOIS (astonished)
... a?
@%
.,..I..-
She looks him down and up, stunned and gratef He's perplexed t h a t she doesn't h o w who he is.
=ore.
LOIS (cont 'd)
... who gfe YOU? '
SUPERMAN
U ~ Q ? I' 11 give you a h i n t . ( then 1
ElYLOIS. (oblivious, i n shock) yeah, I: h o w , I you & that?!
...
.
It hits him: s h e doesn't b o w who he Then, from behind him: h a l f a dozen.REPORTERS with STILL and VIDEO CAMERAS hurry towards him:
-I*.
CONTINUED :
(2 )
REPORTERS !
.
(all OVERLAPPZNG) IN THE
m?! FRE
YOU THl3 AL ABOUT? WHAT DOES THE
-- CAMERASgoing w i l d the whole time -- the hoa reporters s u r p r i s i n g l y - i r r i t a t i n g for Supe back to Lois, w h o stares at him, beholden. he's too anxious to say anything but: ...
. SUPEITMAN-
A
oks
.
But
-
excuse me.
he EOUNDS i n t o And with a magnif5cent LW. some people SCREAM -everyone GASPS Cameras catch every moment -- including
--
w
.. JIMMY
(taking pictures) Miss Lane-- oh my God..: oh my God, Miss Lane.
--
-
..
And we PUSH IN on Lois8 wide, incredulous ey the RED STREAK i n the magnificent sky.. . a T Lois' face as w e PRELAP:
watch down
NETWORK REPORTER (V.O.) a truly incredible sight just minutes ago in t h e center of Boston
--
INT. CIA
-
--
LEX LVJ'HORJS OFFICE - DAY
We are TIGHT ON the video monitor a s the annolmces :
--
NETWORK REPORTER
5
the President of the United S t a t e s , flying aboard Air Force One was saved from certain death today . an astonishing stranaer-.. ,a
An-IMAGE OF !3lJPERMAN taken at: the scene appea s and SWIFTLY MOVE ARDUND TO ReVEAL LEX LUTHOR, wat hing with steely eyes. Beside him, Agents Gray and Bur PUSH IN,on Lex as he watches.
- - ?
Then, w i t h for
LUTHOR here w e ao.
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. The.]dark,
brick C-1s makes a. quick landing. wall, h e ' looks around --
...
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H e PULLS operi a steel, multi-locked .door
.
inside.
. .
. ...
INT.
-
. .
- .DAY
EXT. ALLFiWAY
::,c!,.., ..
60.
. .
. .
Coast is clear, . .
CLARK, s
A B A R ~ '
Front door bursts open the door. . S t i l l breathing:hard .. he quicklycloses the blind.$ th RIPS,o f f h i s body, landing ..-- standino the apartment .?;- SMASH CUT TO:,. " .. . : .
--
--
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, .
--
in
,
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m'
Clark t a k e s a steaming
m. .CLARK,S. A P A . R ~ ~ X-P'DA?''
>
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Clark sits naked in a .chair.,'hunched over, roc ng, . mind racing, Thirty minutes ago he was sleep g unprepared that today was the day he would re the world.
.his
$$Zyl;:'&
.
now he sits here, somebow'afraid, h i s m i n never be the s-,. . Th RINGS. He looks'at the phone, nervous for a he answers.it:
-ni
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' * ' I . -:=A%
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... hello?
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lark. . .
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c-g
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MARTHA- ( V . 0 . )
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....i c
ON CLARK
;
CHUIJESE
+
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the awful words landing, -we start to WEAR it's a NEWSBRDADCTIST... and wk CUT TO:
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: , . .
(beat, sad) sweethearf ..; yoix father's
passed away.
I,
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,:
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saw the news-- you t was d'you underskand? NO one-. . will you tell .
-.
.
Man;' you Dad?
,
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b. ;
MARTHA (V.0.)' . .
.
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..._ .:;.
.
