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July 2 6 , 2002

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FADE IN:
I N T . TV

MONITOR

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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.

Ex

Odd.
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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 w know i s t h a t e 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 ...

e e
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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 w s before Superman. a (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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the video

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A TERRIBLE WHI.STLE, then an EXPIX)SION

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--

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-- 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.
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.
Oh yes.
. W e can feel his presence.
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lue ling and

WTt
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And the CAMERA STARTS TO MOVE -boots -- S m X RISING, DRAMATICALLY 29 year-old warrior. A warrior i brilliant n cape billowing an iconon his muscular ch a "S* -- and finally the face n 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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~ruised and bloodied, Superinan stares ferocio Two boxers i the instant before Round Twelve n
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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 --

DOWN,

backward-somersault-kicking Ty-Zor

-co
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shell-shocked for a moment
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sees Superman

SLAMS
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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EXT . CAPE CANAVEFW *'--'DAY

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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a blur, the Man of Steel has left the £a$\ rm=

I N T . NASA HANGAR

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giant warehouse. Rocket boosters and nextSuperman enters. Scans the place with his st
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-- we suddenly RUSH INTO SUPERMAN'S EYES -see what he sees: X-RAY V I S I O N .

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Iinagine. ,.the p t i c nerve working .like a o INSTANT ZOOMS pushing

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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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T y - Z O ~ here is

superman stares down 'the hali--. .' eyes .arena working ag t
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TY-zoR (0,s.)'
we see

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Kal-El.

this. auiet v&e

cads frm? I
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.TY-ZOR (0.5 .-) ( c o n t o d.) 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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SUPERMAN

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overcome w i t h de

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I want to hear you cry, ml-El. your mot;her cried. .
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TY-ZOR (O.S. (cont'd1 1 (almost amused) c r y f o r me..,. "Superman."

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his eyes ROLLED BACK AND BLOODSHOT -- and SUPE LOUD ENOUGH FOR THE WORLD TO HEAR -- finally
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and Superman finally looks up -- and what terrifying: his face covered in a repulsive

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The only sound, the gentle b

Peace. Nature.

wheat.
five year-old girl, the picture of innocenc ground, holding a small flower. breeze.
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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:
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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.

, feel

it: a deep, p 0 w e r f M . t Another,
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She stands. Looks '6;'ff. worried.
sudden there's ~ilence.

The l i t t l e girl's eyes dart around... what gone.. .? Will it c--

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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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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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MECH WARRIOR.charges. ' its napalm.in appalling bursts. And we BOOM >:'.over horizon -- there are DOZENS +RE thq .. . . .
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'ROUSER

:- .machinescoming. . . . . . .

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And the towering Rousers bre automated DEFENSE MUNITIONS . . . . but there are too many of th
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INT. SENATE CORRIDOR

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A HANDHELD CAMERA "racesbehind a Senate OFFICER . down a...l&ng' corridor. 'the lrtlage is shaky ani 2 E -Jzs f& ese this building feels imposing.- - , t h e design a1 i influence n combin& ~ 5 t h the huge'scale o t-era .:.g~vernment i ldings -h . . . . . .

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the Officer bursts into:
SENATE ASSEMBLY ROOM

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a magnificent meting space -- the heart political system. EIGHT SPECIES are represente .. -seven.senioiSENATE MEMBERS surround a central : . .fonk HIERARCHS flank . .their KING...: . . .. . .
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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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b e e dreading t h i s .
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Hive' we
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JOR-EL from m a s ?

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OFFICER . the'General is dead.

Jor-El 'absorbs the devastating news into action--

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suddenly vaults
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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 ~olographic monitors show that damage is bein symbols and diagrams indicating just how much enemy is making. 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,'
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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.

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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 ' a ' . w y out Jor-El looks back t the screens. We MOVE I o N 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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LIECPTENANT

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Go to your family.

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JOR-EL . ''. 1 'rn ordering to go. . (beat, , f o r c e f u l ) ' . { . . . . . . :
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A beat. ' f i n a l l y the ~ i e u t e n k nods. t ,.We e o n , Jor-El now. A l o n e . Looking off, r .. as the SOUNDS OF DESTRUCTION GROW LOUDER.. .i... : ..
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TAZA,

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massive, glor,ious c a p i t a MECH WARR~ORScr&shthrough the residents mercil&Ssly,' .., . - : . .
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We follow one giant ,y& hachine:'--' ~ I N the cityt .:PALACE G s .. . . . . . .. .. .. . . . . .. . . . 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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.. AII~ I him away! . . . . (sridshe cries).. ..... o e baby. . . .
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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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my love, therers n o ti&..
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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.

-- 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
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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

runs

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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

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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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YOU will YQU-

' JOR-EL '. see me again.
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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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Taga REVSathe engine, RACES AWAY.
INT. TAZA PALACE

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 n u pillars, yelling orders to his troops, FIRINO at the invaders.
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Jor-El FIGHTS with enemy troops: his.ski1 ARTS and WEXPONRY are magnificent he s *3LASTAFFW a three-foot long composite can. -fire from either end -.

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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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-- and one of , on t h e - towers only a

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

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

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to agony he mech ANNQNS

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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.
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
above

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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 :
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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-ior starts to SQUEEZE Jor-El's face -painfullv -- Kata-Zor l e a n s i n even closer:

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E(ATA-ZOR

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face and stands,

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KATA-ZOR ( c o n t 8 d ) want t h e boy.

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. KRYPTON -

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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

couldn't 'pa'ssiblyknow of the . .
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Our. MUSIC SWELLS . .

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fjaDI3 IN:
I N T . KENT'S KITCHEN

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~ h e i f armh~usei d c hi&ciest r

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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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m,so

MARTHA

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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.

13.

CONTINUED :

,'
w

-

MILRTHA You're welcome. Is Mr. Devaney stil coming by this afternoon?

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. . .
'

;- ~onathailooks at her, not &ders&din$
.. .

exact

just then a twisted WHINpSCREAM SUDDENLY GETS

house -r

-- t h e meteor SCREAMS ACROSS THEIR FIELD, PLO EARTH -- DIRT EXPLODING EVERYWHERE as it barr
KENT'S KITCHEN

\v

,

I

-

INT.

-

DAY

Martha's SCREAMING -- on the tracks of an unearth train -- Jonathan GRABS HER, pulls her away -EXT. KENT FARM

w

E the

reight

-

DAY

Mter e catch-their-breath moment, they take a just above the cornline. The meteor stopped,

,

M o m e n t s later, the Kents approach the thing. D i r t 'everywhere. A nervous couple,

-L -

JONATHAN

I am, I ami.,

.

.'

I

hi stands back, a little more nervous than he is. W e hn Jonathm gets to the edge of this new, burnt-out ditch, what he sees...bewilders him.
( CONTINUMI)

-

-

.

-,,.

.
. .
,

.

..
, , -

. .. .. . ..

.

.. 1

JONATHAN (conk ' d good ~6d.:. . ; . . :
.

Y

.

.

.

.

. J o n a t h a n . jumps. down i n t o the d i t c h , Martha wat

.

, ~ . r i o w ' w ~ ' ~it:, e~al-El's POD. Like,a g i a n t meta se b e a. r i n g , . half-buried in the earth. .
. .

.

.

.
.

.

-

...

. .

.

.

'

. '

MARTHA.

:.

'

'

Jonathan slowly approaches the pod

.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

--

--

-- and a s result df the pod's st reaches out.., slowly, t h e pod i t s OUTER SHEL KENTS SC -- Jonath

es
sly.

.. .

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. +-. .

--

..:.?;
,

.

...-.

-,. ;.',.I .
:

,

I

I

:

:
. . .

. . .

..

..

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, p p l y surf a f o r c. e . . . . . . . . . .
'

he nal

-

"

' ;. ;.

...

'

..

.:.

.

.

.

--

Mar*--

JONATHAN .
.
'

.{cant ' d).
: .

.

.

.
.

. but 'she' a r e f u l l y l i f t s c w e t , beautifrl&. ,Holds hidi"closer - Lovhigly. . .'. ..her arms ... . ,. , .. ., . .. . . .
1

.,

--

the
'

jdnathrln

... :,this . Incr-le . . . .
,

behind her, ~ G t h l~o);i'ng c h i l d . Pure awe. ' .
. .
,
'

.,.. , .

'

. . .
. .
.

'

. .
. .. ..

,

'

... ..

.

. ... :. . .. . .. ..:..

..'... b l e s s ' y o ~ :~, ;

:

a-

,... ...
. .
:

,

..

..

.

.
. 7

kd"on their .astonishmentwe PULL BACK, a cou transfoixned i n t o a fainily.
'

.

..

. . . :bless you. . .'.
,

.(beat, m&mimgfully)
.

.

.

: ..

.

.

'

.

INT.

KENT'S LIVING ROOM

. .

.

.. .

L a t e r - - . perh&p~ th. same day as ' a .BACIi O F YARN r o l l s pa$ t .

.

- DAY.
.
--

.

.
~.. ..

. .

.

th6 'CAMXI€& is

rnGtlY
.
.
' #

.

ON. ~f-k FLOOR

-

-

1s.
-

.
,

CONTINUED:

-

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

L

e..
IES
of
..

sakes

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
O F F THEIR PORCH AND INTO THEIR FRONT YARD.
IN'I'.
'

KENT' S L I V I N G ROOM - DAY
.

.

The Rents are literally in shock. Kal-El has hl
yam.

He's smiling.

C2 E

I N T . KENT BEDROOM

-

NIGHT

Little ~ a l - ~ l set down on their bed. is 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-

-

""".

Martha just starts changing the diaper, -what they're seeingfsrnelling is ordinary.

it's Jonathan is not nearlv on the same page as hi

MARTKA Well ... it came from fiim. beautiful.

h

-

%

JONATHAN Okay,

listen Honey, I think we shou talk about this--

But b e f o r e Jonathan can even start; she rays:

L . 2

.'

I

You listen to e. This child is
alone.

-(MORE)

ud

-

'

. . .
, i-<

:

.
, ,

. .' .

,,

.

.- . .' ; :
,

CONTINUED :
-a
,

..

,

. .
'

. , . ,

.?

. .
.

.

.

.

.

.. .

, _ .

.
. . . .

'.
.
'

,

.
.

"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'. . . .
=I

. . :

.

. .. .' . .

..

MAR*^ (contad)..

. . .

...

..

. .

. JONATRRN .'... . . . . . . . ... . ~ i just saying,,..odr, sotats on m * . .)>. the 'front la--.
. . .
. . . . . . . .. . . .. .

...

,

..

..

. . .
. .

..

-.
.

.

. . . ... . . 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 - . . . .. J O N ~ T H ~. , . . ; 'isti1P covering'his nose) Weil,.y e s ; . , but,normally our . U J , woul'dnl:t at risk-'be ' . ..

.

.

,

'MAR*

.'.

.

... . .
. I

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'.

,

,

i
,

. -

... .
.

?¶ARTHA This,&$ Thosean i s dimples: facer
.

..

. . .

@.
. . .

Look at that .
,
'

'r;
. .

i

. .(she d J e s at him)': , . . He's like a.little movie.star, . A . little.Clark Gable. .
,

- .

.
.

. . .

. ..

.

.
. .

Clark: K e n t . . : , I think .we should call him C a k : . .: lr'' . . . .
'

: . e ). . . . ; (&n
.!

. . . .

'

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 ollaw : . .. - the scepes .that.f that.PLAYS.under,. . .
'

, . . . . . . ,:.. .. . " .. ,

'

..:

.

I~TJ&THAN

.

. . .

thing

. .

';

. I -

,

.'INTl,/EIk. .
'

KENT'F'ARM

- DAY

. '

..

.~onathani wo=:ks on repairing the 'door a Lns ide, Martha carries around baby Clark, who . . . ' s u h him, but he is . . . She' 5 trying .to . . h s ' as. . . sometimes are,: '&m&ntarily inc6nsolable! , -.-

front
..
.
.

. -

.

.

--

:

,

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. .
,-'

. . . .*.

. . . . . .

-

.
' I

. .

.

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

MARTHA
Clark, come on: we have to go upstairs for a bath, m w .

e

Suddenly CLARK TAKES OFF FLYING THROUGH THE JONATHAN AND MARTHA AFLE SHOCKED. .

--

. . . Well, t h a t ' s new.
Martha bolts up the stairs:
"

JONhTHAN

INT. KENT'S BEDROOM

-

NIGHT

..

Clark is there, covered in wood splinters and powder. His parents teaching him a lesson:
JONATHAN

e e
..
A

,
L
-

.
As

Bo flvinq. D'you
understand? like us.

That's right,

they continue to lecture, we're TIGHT ON face, listening and learning. .

.

EXT. KENT FARM

-

NIGHT

Bedtime.

PUSH IN a& '
DAY

arth ha

r6ads a book to t

EXT. KENT FARM

CLARK IS THREE NOW.

He faces Jonathan,
-

few OTHER BASEBALLS scattered about. Good.
JONATKRN Excellent -- nice a. ?
'

Jonathan rolls the ball back to the t h r o w s it again.
.

- .. .
.r

m, great
...

JONATHAN ( cont ' d control -- you see that?
CLARK

b 4

.-2

yeah ...

(CONTINUED) .

-

-

-

.-.I.
.

.

. . . . .
...
> .

. I; : : .:.. , ;,/

. J Q N A.T. W

(.::",;,:
. . .

.'

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.

. . .
i:.
.
_.'

...
.
..

.

. (tosses i t back),v. . . & little..more . l i t t l e of' that"..-?Kent . . - magic. ." . . .

okay, give, i t
. .

.

.

..

.

.

.

,.

.

'.

..

....

.

.

.

.

. EXT. HVB CITY - , D A Y . .
/ ' - ' '

And, Clark . hvrls . "ths ball --: QUT.. OF THE :'S= . . . . . . . . . . .. . . . . . . . watches'.it-go: . . .. . . . ,:..;r. . . . . . ; . : .. . '.. ' . .. . . . . . JQNATHAN., . (cont ' d)i- .. . . . . . . . . oh.',-d. ; , . . . . .. .
. I .

'i

e.
juit
. .

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. ,

...

.

.

.

.

.

..,

.

. . .

.

~ X T ;KW
. .

FARM

.
.

DAY

. . . . . . . . . .
, .,

....

" .. .. . . . . . .

.

..

.

~ o k a t h a ntries' t o . tea&.
.....
. .

. :. . . . . . - - . 'kay, fioe w. ..much.j'uice-;. . . . . .

jbNA-'
.
,

.. .. . . . .. . .. . . .

:',

. . > . ., : . . ,. . .
'

.

.

I

...
*\
*

,

.

--

sorry
.

.

,

-,

cmRK., , . .
.

. ,

,

. . . . . ,

.

.

. :,,;,

',..,

.

.

....
.

.

.
..
.?.,

.

.YOUdon * tr; have :.to.'be .sorry, . j u s t always r e r : -.. . youtself .
.

j

o

. ~ . . ' .~ . . " d

.

.

CL.
,-,

.'
,

,

. . . . . ":

,

.

,

... .
,

.

- - .

,

Okay.
. . ;
.

'

.h d

,jona~& hug;. .&* Yon.r. . &ee.tly: .,sw+ig.
. . . ... .
,

,.....' . . ' . . ....,'*;..'. . .. . .- . . . . .
.

. . . .

-

.
-, ..
.

,

..

,

I donrt.-t, :

. .. . .

trouble. . . (&.& *.a

.',

'

you' eyer ' .getting i n . ....'. . , . . . . .. . . .
6 .'

.

---.

1..

&:.&k',... .:'.. . :.:.. . . . .
. ' .
I

..

. . '. . .
.

not so tight-. .
1

. .- .

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,

1 . .

.

-

.

,

'CLARP;,? '.
a

,

. . ;,

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. .
. . . . . . . . . .

.s+-*-.I

...

.
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..

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.

.

INT. .CLARK* BEDROOM - . NIGHT s'. . , .
,

-.

.

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.

.
.
T

.....
a.

I

.-.

. ... .. ,

.. ,/

.)

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: ..

And . t h e .SONG . . .

.

..

,

!

.

.

. .

.

!

.

-

'

I N T . KENT'S BEDROOM
w
'

-

NIGHT

O ~ I ~ R H E A DSLOWLY MOVING TOWARD Martha and Jon , awake, reading MARTHA
'
.

(verv auietly) 50 Clark made a discovery today.

...
,
i +

yeah ...?

JONATHAN

What's that.

He can see through things.
Jonathan lowers his tractor m&ual.

MARTHA

Incredulo

... what?

JONATHAN
MARTHA

. ,

..
.

I

-.

-

Yup. We were at the supermarket. Loretta Lang was there. Clark sai " ~ o m y , i i y is that lady not wearin w underpants?', which we all know is true about Loretta--

m

e e

-

Ld
-

--

JONATHAN

you're kiddinq me. (a long beat) .,. thae luck# kid--

.@

,

Martha hits him playfully -- he smiles and ki kiss grows more pasSionate,

-

MAFma

Not tonight: he can hear us, too.

.

I

-

JONATHAN (bare1y.awhisper) ~ o if we're REALLY O U I ~ . t

-

,

.

I

She looks ak h i m
.
4

.

--

-- then,

to prove her point:

MARTHA
,

.
"

(auieter whisper) Clark?
down the hall t
CWiK ( 0 . S . ) yeah. Mom?! .

.-

Then, from

,
I
'W
-.I

.

Jonathan can't believe it.

CONTINUED:
..,-.

:.. . . _.,,a

;j

-

.

.

..

.

_..,

(siil'l quiet) Go to sleep. .
' Kay !'

Ml;rimri

.
,

CLRRK (0:s.)

.

,

'. ..
'

..

..

. .

.:
. .

.

.

Martha s d l e s ,' goes back' to 'her:book.

INT..SMALLVILLE DINER

- NIGHT.

..

. .

.

. . .

. , .

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 .. .
..
'

thought maybe when Dad gets back we can screen, the back porch'. . . in
..

--

.

.,

MARTHA

. ..
. .

CLARK-. yeah,' ~ f i a t ' dbe good. .... . .
.
.,

.. .
,

.

'..

i

~ u Clark8 eyes are elsewhere: :across the di t s . '--. six-years-old and adorable stands at the dis&ay, just watching $he pies go round. 'Mar a sees .Lana. . .

.

.

-.

.IiAiJG

-.. .

.
.
.

MARTHA

'

Oh.
.
'

Why don' t you go sdy hi..
-

.
.

(back" his . f w d j t'6 Nah. Lana doesn ' t h o w me.
.

CLARK

.I

. .

.,
.

..,
..

.

. . .

. .

.. mi p lA . . There eke only eight kids 5n your class, ,Clark,she knows you. 'Go sa hi, it's the mice:thiiig to do: : ,
' '

. .

....

.

. . ..

A beat. Clark sighs. Gets up, mere, beside her. Both kids juist pies. She looka at him, then looks away.

.-

....

Then Lana looks at

:him. Not necessarily approvingly.
. .

. .
:.. ..
, , . . .

:I . ...-.
,

.. ,

...

,

(CouTrwaED).

'.,

CONTINUED :
LANA

.

-

.

You stare a t the wall a l o t . class.

In

Yeah, I h o w . 1 just.. . l i k e looking a t the clouds and stuf

. .. yeah.

CLARK

@
@Q.

-.

LANA

- -(like he's a freak) B u t i t ' s just a wall. There aren't even windowsCLARK

(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.

He forces a weak smile.

G V

e e

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 . .

-

.

The diner parking lot's adjacent to trainout bee, no one else around. Only a Clark follows his mtfier across the lot:
-.

just have some aifta that they don't,

.... you

MmTHA

-<

w h i c h makes me w e i r d .

Martha starts to unlock the car.

CONTINUED:

'

,)
( .

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-'

k-d
..

MR. DEVANEY ( 0 . S : )
Saw you inside.
,

-- 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.

--

I

.

MARTHA Mr. Devaney. How are you?

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 of' town. s
The distant BELLS of a TRAIN CROSSING

@.-

- ..:..
9

--

MR. DEVANEY Really'. D o i n g . h t , gefting.a loan-

~ l & k does, in the bdck seat. She clok=&obr. Clark keeps.his 'tormented eyes locked on Dev
- .

-- kid
.. .

'

,

,

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 i e n.

.

i

Amused at himself, Mr. Devaney has walked close to Martha putting his hand on the cat, preventing her from getting in.

--

.

[CONTINUED)

CONTINUED :

(2)

J I

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 : -

e

r

w

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 ~ . ..

--

..

(?Q n
(-7 0 u

-

--

MARTHA Mr. ~ e v a n e y - -

-

.

-- w e could say t h i s month's " r e n t free," how's t h a t sound?
MARTHA (forceful) .

m. * D

*t-

--

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

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 --

-- but -- h i s

....

--

--

b

sh l away u she tries

gets out of the car
to^ it!

--

he g r a b s a t Mr.

CLARK 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' -

--

J'

Martha's

shocked

--

as Clark runs toward the man:

24.

CONTINUED:

(3)
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 .
AND AGAIN.

INTO THE AIR THEN S S R A S -- Clark t h CEM

six-vear .o l d Clark

LDUDLY

-- M r .

Devaney

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

--

am:'
2 1

the

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 m s es 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

--

--

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...

@* : 4
--

@ ,
ney i s

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:

--

you're
'S

... you're
GQ 1

MR.

,, ,:.- . I

a freak! fr
MARTHA

DEVAEU'EY (cont'd)

from U

N
AWAY

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 :

--

BOY'S
H E ! l !
3 2 . CLARK'S BEDROOM 3'
,

A!!!
NIGHT

A !

MR. D V N Y EAE I I

mT'S

.

.. . .

"

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; ..
'

:...I

,,. .

.

.:4

-

.

.

.

-

. ( c m N Ej o 1 U l

.

.

.

..

CONTINUED :

We SLOWLY PULL BACK from the scene ...
@ E

om.

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 n t one of t h e popu o: 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,
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 INS1 E T)IE BU S. D nR A E ROAD:

m,
&
C=77
P$ O$

-- 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--!

KIDS (ab l i b continues:)

--

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

Clark c g ~ in, stomping his icy snowshoes on y e s pulling them o f f .

and

m?! Q&?!
Mom o r D a d ?
N o one's home,

CLARK

(shoes off now)
PUSH

off

--

SMASH m ?Y):

IN on his face: he smiles and h u r r i e s

.

.

-,

...., .
:

i -

.

. .

.

,',

,.

,).

. .
, .
,

&I

KENT ' S BEDROOM

-

DAY

..

9

. . .

.
.
.
.

.. . .
.
,

.

: : .We SEE hs'=aXmicroscope. 'on& gizt 's a i - M Y VISION:' Then. a Anotherg
.
.

.

.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 LOOKS ':THROUGH THE WRAPPING. ." a d . .. ..
I

,

;

.

.

. .

.

.

:disappointed.
. .
,

Theremust l s m o ,

.'

.

.

better.

,

'

I

.

.

.

.

.

.

,

.
'

'

'

'

'

,

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

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 ...

He slowly walks around the self -standing s u i r .

a
e f

\rxdm
the s the

3

- n suddenlv somethina Ad

3

extraordinarv h a ~ ~ e n s :

s

AMGHHHH!!!

CLARK PELLLLLLLLLP!!! HOuLDER

--

m:
N we
s are

. ..
EXT. KENT FARM
'

. CLMXK (cont 'd? no way.

-

DAY

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

H e looks r i d i c u l o u s , Except this r e a l l y o making. N matter' -- he runs o f f

--

& Supe

.

i n the

EXT. ROAD

-

DAY

-

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."
A d as he runs, f a s t e r and f a s t e r , he s t a r t s n

ting

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

'

--

..

. . . .. .

.

.

.

.

.

.
'.I

GO . to

-.JONATHAN.:. vour ro-. .
,

' .

.

. . .

....
..I-

.

, ,

INT. CM' . s .

.BEI~ROOM .. :<

NIGHT
.
:

.
.

.

1.

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 . . .
'
I

He

C

.

.

. .

.

.
.

.

CLARK I. don t know where .you got this flying' sui*.,.. but i t ' s khe coolest.:
.

.:

m e ? . , , .e . . v k g :,
,

:.

,

. r

:

e
;

. .

.

.
: .

.
..

'. ... _ . . -

. .
.
. .

. :' :,,J~&w:', - ~ i i i r k ' . ':.: ' i ~ , i s n * g . . ~ . h e that .fli=s :.:. . . . . . . . . . . .....

..

.

.
.

r l .i .. t . " o t f 0 @ . ,

'.

.

.: .

'

.,

.

1..

. .
.

....
- ..
J

.

.

.

.

.

.
,

.,.

.

.

.
.

..

". cf3IRK

.

.

. .. .
.

,

. yeah,. trhe,cape: i t ' s ' l i k e .Like a . .
. .
'

.

.

. .
. . .

JONATHAN ..

1

.

! '

.,

. . .,
*
.,.,'

..

'

.

.

.

well,', maybe the sui I don' t know:; But l g tyou. gravity didnot always wor tll. on. .

..

'

,

. . ..

I

. . .
b

--

' MARTKR . 'The ,same,way- your eyes work . . . 'differ-tly than: other kids same way you're stronger., .
.

-,

the
'

.

.

(CONTINUED)

.

CONTINUED:

L

I d o n ' t ... I d o n ' t understand i n trouble?

c m

-(I

am

MARTHA Honey, you know we both love you.
Yeah.

H~L, what's
MARTHA

CLARI(

going on?

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

... ado~ted-?!

JONATHAN Clark. That suit;., I t came with yo When you landed here.
Clark doesn't realize his breathing quickens:

e w s e
m
@Q

u

We I . hn .landed here? mean Janded .?

..

CLARK

..

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

...

... then. .. where am
JONATHAN
W e don't know.

CLAM

X from.

..?

,

..

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

nff --

Clark suddenly stands up, PULLING a t t h e ' s u i t , desoeratelv wantinn it off -- -

--

MARTHA

Clark, wait--

30.

CONTINUED :

(2)

v3 - '
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 --

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.

'

3.

.

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 i Kryptonian. n

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 - - ,

--

I

,.

-

31.
-.

1

EXT . ' DJOMEIN DESERT, KRYPTON

- NIGHT

L. .-

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 ~ircraft everywhere. The WORDS APPEAR:
Y ~ S M E G A C I l Y , KRY-. ~ A
INT.

ERS

.

YISPA CONCENTRATTON CAMP

-

NIGHT

A dark,

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 .

There a r e Kryptonians held here
' v

--

those who o

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
.

queen ... i t ' s Lara!

KRYPTONIAN P ~ S O N E f l

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:

PRAYER CHAMB*

NIGETT

I
L . ,

-

.--,

Kata- or
a1t a r .

and son Ty-Zor (60 and 22 years-old now) bow a t an

. .
. &

.-

'
o r pr ' soners wlng t o a The of ( '
CKTO

n

m t a sand

(CONTINUED) .

32.
. ....... .
'
-8.

,

'

CONTINUED:

'1 .

.

:, rather beautiful ..
,

'

.

.

. .

.

. .. .
. . .

. . AMBASSADOR.,&~~~S th=,'rom, sees ... . . .
,.
.

. '.
,

.Your holiness ... Shefs here.

..

. .

. '

'$r-zor. looks t o h i s father, who pleased. W e alss sense: Ty-Zor

...
,
,

TYLZDR Father ...
. .. .. .. . . . ;'@. .;:.., . . :
,

.

..
.

.

Can. I &st.,you with this?
.TY-ZOR

.

.!

.

.

(respectfully) Yessir:..
;

. . .
.

.

. .

.

Finally, a nod from

..
\

.

&a;- or.
NIGHT

, .

.
' -

INT. JOR-EL,S CELL

!

We PUSH I N on Superman4 father s

--

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

-- --

ook at

They shove her to the ground, holding her
execution style',
She whinpers quietly

...

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.
. .

'

.
'.
.
,

. '. .., . ..'I
.I

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.

.

.

. . I

..,
. !,.
1

But look w h a t happens. ~ook'where you are. And 1,ook. whaf I

(beat)

..

.
. . .

THE .BLADE. ~e .holds i t with the respect and skill of a master. .Bowswith the sword;'
Ty-Zctr PULLS OUT
,

.
,

.

.

.-

.

.

-

.

.

.

.'
,'.

-

.

. ( c o N T ~ ) '. .

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

33-

-

Tell me where he is.,. and your wife will live. Simple.

5 need to find my cousin.

Jor-El stares at his fuckincj nephew horror --

--

blind wi

.

LARA
,

8

ey l

and

Never.

.

or-~l' & eyes flick to his defiant, terrified

_

.

-.

. . JOR-EL.. . my stdeet love..,
'
I

thank God w e sentz h i m away. love you ...

--

LARA

.
I

...

JOR-EL I love you too ...

N

e

@

Where

... is Kal-El.'

TY-ZOR

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.
Jerry's.turned -- he roughly but kindly unbuttons Clark's shirt, loosening him up:
J

CONTINUED :
. \ . ,i

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 ' m getting

--

ciARK
I'm going back t o t h e dorm.

Jerry whips o u t a TERM PAPER
JERRY

--

Clark's eyes

e @qm.

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.
..

e

c 3

EXT.

still

holding t h e paper, J e r r y heads off

.

Cla

FRAT HOUSE

-

NIGHT

Clark walks up as a group of partying STUDENTS wt @s 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 ' s n c r e d i b l y cool: i 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 --t be t less of a candidat l o s of kids laughing b l a s t . Clark could n o i n c r e a s i n g l y 'worried about g o i n g in t e e . . , hr:
Dancing and drinking
. A betiutiful, b r u n e t t e O m , standing

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.. .
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.
'

--

; .
.

-

_

-

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.
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:

&4
stair

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
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.

.-

LOIS
( n o t looking a t h i m )
I t sucks.

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

@il
turn
to

. .

LDIS f c o n t ' d ) I can n o t believe I ' m here.

CLARK

M e neither.

Actually.
LOIS

This gi~l'"from high 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, upstairs with u s ~ 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 :
As.

he does h i s zipper, she s a y s ; frustrated:
MIS

n

~ a y b e need to lighten up. I 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

undeclared.

... I'm

i3LARK

a senior. And...

.

LOIS (beat, like he's a leper) red S ? -

CLARK oh, well, that was a nice. judgmental reaction'. .

--

.

. . non-

'e e
-.

U3IS

I m sorry-- that was rude-'

I just don't h o w what I want t & o yet. That's a l l . I have... some other questions I'm s t i l l working

CLARK

@

N

on..

.

'

. . . . . .. . .
.
"

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 t i . e ~- - -i I just w a n t. t .o and get =' w t h i t .

WIS

-

.

Yeah?.To
.

,

do vhDt?

'

'

.
,

.

1

~oizrnalimi. I m gonna graduate' i ' n khree years, move to the ;city and start writing for the Daily Planet. That's my plan..
,
'

- L61s

.,
. .: . . , !,j
'

*''.

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.
.
.

....,

'a

.. . . . , .. . L .
5 .

( CONTINUED

-

.

. .._

. . .

CONTINUED :

(2)

b

-

J

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
So t h e r e ' s another p a r t y in town, l e t ' s go;.
hey!

--

ABBY

/&---A

LOIS I am not going t o another p a r t y .
. .

k9

n ,

The ~ i Guy TAKES ~ o i s 'arm: g

--

Trust me, you'll have fun!

--

B I G GUY Come on, I ' m driving--

--

&y!

-

CLARK Leave h e r alone;

The Big Guy t u r n s t o Clark. .

.

then PUSHES HIM.

Excuse me?

B I G GUY Was I t a l k i n q t o you?

.

reallv

TAe Big Guy PUSHES A G --~ and just when it8 ugly, LOIS PTJSHES m-m BIG GUY. HARD:
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 ? !

--

.
,

. .

.

'

.

LOIS

We re.n o t uoinq t o the p a r t y , w e ' . r e . . . going home.
ABBY

. .

...

.
,

. . :

.,

, ,

'

.

'

.

.
.
,

Okay, you. know what? ! people don' t l i k e yo*! not,like no'&&.

T h i s - is why
'.'Cause you'
.
.

...

. .

*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.:
.

.

.

a m r d ? k
.
.

.,
..

ro~s'.
'

. . .*. . ..

.

Take care. a s she heads out:
.

'

,

AII~

.

.

.

.! .

..

,
.

.

CLJLRKI . ' Wait.. (Loig stop) . what ...,what's your name?

..

...

,

. J p

Lois Lane. .. ( then 1
r.

.

LOIS The abnormal Ldis . Lane.
' .

,

Good luck figuring everything out.

She turns' and .heads off . ' We HOLD ON CLARK,. Consi brief, l i f e - a l t e r i n g meeting.
,

.

e

,

-

'

ng this

.

.

.. . .

. .

E OUT.

.

_

.
.

.

.

.

. . ' : : '.: F ~ D E ,. .. . . . . . . ., . .. . :" , .. : ) T .E [ . . , ... . .
'
4

. .. . .
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m -SOUND of e
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MILITARY .CHOPPERS .over' ,,.' .+ . ,
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p.~ : .. ' -.

s' L. W S K *

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: ,,:.'A heliebPter R .. O ' O~~ R H E ? ~ ) ... " r i o ~ m ~ ~ l l y - s l e e p y e r t town i the ,distance, des h . east.. of Mesa City., The ,sun . . : . .' WORDS APPEAR:
'

--

WSTCTTY..
EXT. DU*
A
I

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.
-

~ 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 a r k ~ J

suited, former Navy Seals GRAY and BURK.

POLICE LIEUTENANT HANNAH approaches Luthor, 2 h w@ 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.

0
c 1 -

--

O f f Luthor' s s t e e l y reaction --

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 .

c 3

e
.

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 w arrive a t e 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.

--

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?

e:: ms
ttered

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.

--

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.

e
1 rs as

. .

Hannah and o t h e r s anxiously watch h i m through ~uthor moves 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 e red, wet f l e s h . of

...

t h e h e l l ...?

POLICE LT. HANNAFf ( c o n t ' d )

:

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:. c o N T ~ E D : '
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40.
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......

. .:-..

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_. .-

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::. !) . ,. ......
,
%

... &uth . .. . .

.. w!
<I.

~ i t h o r E U S IT . studies.. the
?ND
'

. .

.,

fiesh.
...

..

bobs ok

KQWOR
. . .
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,

many w i n c e and turn, 1 . to .the Police., and . .;
,

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,

. . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . - . " , ~ r i r k e y .i d a

.

.

.

L

~

R ........, .

. .

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.

.

alien's

tomato . sauce. ~ Q u i r . a hoax.',: Tasty, but still.a

. .
'

how:.*

'. .

-- 'what about .,ttre,.ship? . . . ... ... ... . .
1

......... . . . . . .,.'
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~OLICELT;:,

'm .....
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LmOR:
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~he:khi~'s . ~ o r d . ' ~ s c o =,stripp&d, a t,. dissembled i't ' 8 ' actually a nice .
' - -

,

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job..

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. . . . . .

'..(calls tb.'crowd; kindly)
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Hev:. whoever did this did 1 JVho's .the ar?

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.... i
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'out .a', little.
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'HOAX GUY 12.
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'. -. .

) '&p.

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~.u t h o x . smile+: at- th&; ... a r'ttirijs ,miti\ to Burl: ei ,. . . . . . . . . . . . . . . . . . . ... . L&R. "
,
. s

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Ar,=*gt. them; ..
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yessir.'.
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e

A

PULL,BACK FROM .THE'ARTICLE M . . . ..
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that, we re in :
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*

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INT, C I A DIRECTOR DEAN'S OFFICE
A

-

DAY

sleek, Langley office. DIRECTOR DEAN DRESS R 1s a classic 60-year-old Skull and Bones inductee. Lois' story, clearly troubled.
DIRECTOR DRESSLER

This obviously isn't the first

'

I

.

experimental enterprise financed by the CIA -- but those projects remained classified. This reporter, ~ o i s ane, ~ she has a source. She's printed, in its entirety, your division's. mission statement.

edS e
..

m

- ,..

'

-

know to be in Dust City?

.. .

LrnOR

Lane was

there...?

HOW

did she

I

L

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--

e

- --

LDTHOR
Dean.-,. .. -

.

-- at least until

.

DIRECTOR DRESSLER

things settle down-

@ N I R?

my &, while idiosyncratic and difficult t . quantify publicly,.. i o t. ; (re: paper) Which would have been obvious had Lane printed the most intwrtant
J

--

LmoR

ik3ZA.LDIRECTQR DRF.SSLER

-

.,
I

Thank God she didn't.
LUTHOR

,f

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.

(CONTINUED)
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CONTINZTED :
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DIRECTOR DRESSLER could' resu1.t .jm . xiass . . . . .... . .. hysteria... ' . . .

. ... t h a t

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L ~ O R ' .

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& m a n e. e d . . ...
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mavbe a l l t t l e
'

'EXT. TH$.DAILY PLAN*
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;.DAY. . . .
.

, . . . . . .. . ..

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The s'bscraper hcadguart&s ok'thb '.newspaper. We're i n the heart of teeming &T . 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 u M c&.t;er, .the happy r York, Chicago' and San 'Franciscd.. Tbday' s b r i . , . .. 'a magnificent backdrop.. :. ' - . .. .. . . . . . . . . . : ...L,... . . J (+O.l,: ..? :
, , , , ,

okay, s o keep' paying act&tion: over there? YOU gbt .the Sports des

--

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1

.

INT. THE DAILY PLANET .

-.

DAY

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effeminate twenty-something someone OFF-CAMERA :
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.. J & ..' Those' guys dr= i i l l , : ' . l i k ~ ' , : .schoo. old. boys8 'clubi you know .what 1l.m sayin so unless you're ?ike,,,"Mr. ~ p d r t s Guy, ' they're, m g go. ask you t

. . . , .. .

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,

lunch,
. .

(walks o f f ) . " . . ' Come follow nie: ..

w.

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JfMMY (&nti.d)

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whatnot, Microwave,. sink; t o a s t e r o v e r ali the anemones of home. .way; . .
,

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They move , w o u g h the BULLPEN,
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to, en empty desk.
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;

-Thm
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.JIMMY (cont'd) T h i i i s your degk. . I, had t h i s
.

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fabricated.

A

little.&&,

(coNT~~ED)

-2.

CONTINUED:

He hands Clark an engraved desk nameplate: ' L C
1

L-i

CLARK

--oh, thanks, Jimmy, it's-- my name1 "Clark." -

e
KENT."

R

JIMMY
C l a r Kent.

CLARK (holds i: up) t "Clark* Kent.

. ..

oh..

.

JIMMY
CLARK

..,

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~ny looks troubled:

_

CLARK
I S

(beaming) That's hey.

,

~ 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.'

*
om h e r

eye of

LOIS

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'--

-

m i ,
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"em, .. - JIMMY'
Lois, you're talkin' 'bout M r . he's from another la net.

'a2
(CONTINUED)

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1

44.
CONTINUED : ( 2 )

,
e

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No, he' s from another ae which might make editor-- but i t a l w a y s right.
JIMMY (as she heads o f f ) She paid two kids to

LOIS

-

--

. CLARK
MIS

.

~h-huh--

(turns back) @ . --The CIA didn't have to send anyone I took ,a g & ; a& but they &f Planet got the storv and I get * : we're on Luthor's

.

-..
I

JnqY

. -

this is Clark Kent
.--

--

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but Lois has walked off
.

they t u r n . w h e n

--

PERRY'
Clark_Kent.

PERRY WHITE is here the. *ff, white-ha talking bastard Editor-in-Chief. He shakes C
...
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--

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per&

P ~ R W(cont.'d') . Whi'te', you-know 'who I
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am--..
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.' . -- yessir-- CLARK..

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PERRY that's not: a handsihdce, what the.hell is that?

--

good--

--

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-- 'sbrw,
.-.

sir, 1

-.

-L. -'.:

-. PERRYp got a bet,terhandshake th you, and he's got a bovfriend . .

-I

CLARK

that's-- isn't

that off&sive?

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CONTINUED:' 4 3.1
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. :. donf'&w o r r y about your handshake,
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PERRY

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work o n your wri t i n q : you' 11 trail ~ o i and Jimmy' for a while, t h e y r l l s 'show you the ropes-. you've met .. .. :. Jimmy?. . . - . .. .. :.
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CLARK-. .

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(re: nameplate) yessir, he .gave me this.. . ,
,

e-e
pq
u

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.

P E W .. .. ; w&lX; i t ' s misspelled; . That s why he ' s .j'us t t h e , photographer. . . .'(slaps Clark's. am): . . . . to. k. - ;. . . . . . . .. . . . . . , . , ; .. . perry h&&d=dff'.' ' They &tdh .him gik., :. . .. .. . . . . , , . . .
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Get

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When I f i r s t m e q M r : W h i t e , he was just a . total:a'sshole; .
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After a long bkit.,. ciark ldoks at. r e v i s e d opinion. J i n m y , realizes ::.
.. . . ,,. , . JM Y kont'd) I M .

-

-

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~

Oh, no, that'.s it.'

.-.

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lark

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nods and we C . . &

l W A .PHO?DGRAPH OF :

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Arid then L ~ .. ~ ~ . w & h ; : i f i .
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INT.
.

An

auditorium, F i f t y REPORTERS gathered t o is on stage,. wHese theUFO image is being
- I

GLOBALCENTER-DAY. -

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i New zealand, n 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) ':
.

And 'f 2this went ~ .

LtlTHOR

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.

46.

CONTINUED : , ,

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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.

.

...

We see Clark, sitting in the audience watches, rapt. After all, he could be in the picture. Jirtlrny and camera are

thing

&OR (cont'd)' I am Director of the Special Operations Division of the CIA. As you may have read in ~ o i s me'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.
Anam.

e.
-

(8

'I

LUTHOR ( cont ' d) The truth is, I ' m relieved. We can finally talk publicly about what we 'do.

-

A SLIDE appears behind Lex: the CIA'S S.O.D. S

LUTHOR ( cont ' d) Operations Division seeks out intelligent, extratez:rdstrial life. A d u, n we .operate under the ass~lptionthat these beings are a threat. A dange to all life on this planet.

a, Special the

C'lark shifts in his seat, a little uncomfort
L a K o R (cont'd)

e
is

P

v3 N-

m

This division exists not because

!%WK?3D M U R W M from the crowd

Clark in pa thunderstruck. Lois reaches and pushes close jaw, saying quietly:
*

--

open

. .
(CONTINUED)
*

.

41.

CONTINUED :

(2 )

LOIS
.

Don't be naive. p.ropaganda.

This whole thins i

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

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.... still is there.

C x I

emu (sJm

Clark suddenly looks pale

--

like he might get

---

JIMMY you okay?

uh-huh...

CLARK

L ~ O R

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 ~onvince you of anything. I ' ts 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:

@--

-. .

c excuse me -LOIS
,

m

--- Cliff?
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7

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-- - Clark?
I

tOIS

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.....7

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( cONTINZTED)

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..$?? .)
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L~HOR n e e d l e s s t o say, i f +nyone'out t h e r e has information t h a t - c o u l d he u s i n .our search, I urge you . t o come, . forward-- .,. . - . . ..

--

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'GLOBAL

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CORRIDOR

- DAY

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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: ... .. . . . ....

we

.re

mom-- 'it's.me; Yeah, 1 " m k a y , t h e C i t y ' s good, thanks; ,how Good-- list& t h a t.... . '

--

CLARK'

,

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.:

j'j ...
;

~bu'rei . h ' d i t ' s still' t h e r e i n t h e barn. . (,beat,. answered but s t i l l , confused) NO, no reason, just.'.. should go. Yeah, mom,.

in. mere L a ? . . (listens),

. ..

(quieter). the

w.The t h i n g I
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Clark hangs up and we' PU&
.

R4

dn. h i s
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pGzzled f

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. . ....WLLY . Clark

m...:+. . .'

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... what do you t h i n k lut h o r would . do., . i f h e found one of those slims? . .-. . ~ L p Y , - NIGHT CLARK - (V.0.
. . -

(cont 'd)

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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.
.ASS,

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on^ t t 3 1 i1
,

nu

LOIS

you

that crap;

...

'CLARK

...
, , 7 '

'

What, t h e a l i e n
:LOIS . .

.
was

.

:
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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 UFO.' no,

~ l a k k ,that p r e s s conference

--

CONTINUED :
CLARK .

w

Well, wait a minute -- what if... fo example -- just academicallv -- wha i f there were? A l i e n s on this planet .
Looking at him,. she conside Their eyes m e e t . long beat. Clark grows nervous.. . Then:

C 3

n

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--?

... are you
Am

LOIS

sure it was E--?
CLARK

X sure it was v--? O f course You-- you beat up some ggy, you-MIS

e

b.

@TI

e*

@JJ

C>

e

N

0

a

(vaguely) my ~ o d . I & some g-- a l2i.g guy, right?
CLARK
LOIS

=.
.

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He had a stiiped shii-t, shaggy h a i r . .?
(CONTINUED) ..
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.. CONTINUEb:'"(2) .
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CLARK'.
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LOIS.
d were :
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there?: . . . ~ . .
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This is unbelfevable.'..
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CLARK

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. .
,

.
.

:..
.

. .

. .,
.
.

I sorry ,:m; and'you. shoula know, I " have a rea1ly gdo6 memory,
--'
,

.

. . .
i

.

LOIS (laughs)
,

.,

.

.

C W . '

'

:

N,,' .@ :
'

,

.
.

'

,

..
.

.

.

.

It doesh':t matter-- I only brought i. up because I wanted 'to; .say thdnk you.
,

:

.

. .
. .
,

,

.

.

.

.

. .
. I

, ;(beat) hat night you said 'that one .day yo .- were going to 'become a journalist. A d 'work here. I. n won' E bore,you wit the' details., but.;. you sort of helped give me a direction.

.

.

.

.

.

4E3

"

,

.

.

..
.

' '

,>'

?).

.

.

.

..

.
'

...

...

. .

....

:

. . .
. ,

. .

'.

(touched) . did that for. irpU? .
~ r a t e f u -l . A b i t .'shy. .
, .

,~l$rk, e l = s at her. .k
a .

.
. .

.

:.

.

,

CLARK. '

.
, ,

. . .,. . ._

.Yeah. . .
. . .

.

.

Her
. .. .
.

PHONE. RINGS:.' . . . . .
,.'

.
,

'

.

.

..
'

She.-answers ..

.
.

.
..

.

.

.
T .

. . . .. .

.

.

. . . . ' . ' I . .

.

, -

clirk'6ork;ri-, .
, ,,

~oi<~~'ine; LOIS ..... . . . . . . . . . . . .. . . . .
. .

.

p..
'
'

.

.

s t & l b g occa~ibn~l glances at .he
,

.. a '

..

. . .

.

.

.

LOIS' (cont'dj.
'

.r
. . . . . .

'

.

'

. . .. . .

'

.

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? .' . _. .. .
'

~,=ssir,:. press conference .the

--

.

.

..:

--

.

-

CONTINUED :

(3 )

CLARK
Done -- conqratulations-thanks-- Jinuny's gonna freak I ' l l s e e you l a t e r .
LOIS

--

.-

She heads off , then mid-of fice, turns back

LOIS (cont'd) Your f l v was undone! CLARK (almost gloliously)
~ P

i t was! S

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

e
lue
to

-

DAY

Lois Lane -- Jimuy Olsen behind her -- moves thro security checkpoint. They then continue onto PAN WITH TKEM, REVEALING ALR FORCE O under m House STAFF and MEMBERS OF THE PRE'SS climb th enter the plane. Lois and Ji~~~~~~.follow..:

&

; we ;

w

The CREW perfohns a flight check.

INT. AIR FORCE ONE

- DAY
SOUND

SheRa she can not to reveal her giddy excitement. of JET ENGINES starting up -ET' ANDREW~AIR FORCE BASE X:

Lois. and Jimy taka eheir seats.

and we PUSH IN on The TURBINES begin to turn s loose PANE4 at the front of the engine. A d on this foreboding image w e CUT TO: n
t '

--

DAY

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 .
. . .

.

.

BUTTON .and .withinseconds is asleep
.
. -

. , I\. _ . <
;
'

:.

EXT . .
..
,

.. SF
.;- -

.

Clark

DAY

:
. .
>

.

.
.

..

,

..

..
.
'

~ .i i. . . ~ o r & a , climbs io gilkithde . ce . . . . .
., T N T ~ . : ~ A I ~ ~ 'ONE FORCE
-'

. . . . . . . . .
.

.'

: . . '..) ,

-

.

--. .

.:,
.

DAY
.

. .

. .

..

"

.
'

:

.

.
,

. : . cards;..anyeking "Air Force oe, n:
.
I

r i i . :i&kS over her. notes.
,--

~irmn/

..

.
.

sees this . . . -. ., . ..
d

says, quietly:
'

:

.,.

. . . . . . .
,

.

a! .
, :

~.

LOIS'
.

. . . .. ,. . .

I .

.

.

.:

.

-

4

. . .
,

. . ..

. .

. . ..

.

.
*

.

.

.

'aitf;eY know we ' r e gom take this skuef; t. . . . . . A STAFF MEMBER approaches, talks to LOTS: . .
. .,
.

....

. .

JIMMY.
'

,

,

.

what? .co&

. .
.

3

.

. . . . . . . . .

STMP. FER . ~ h & &id&t ~ s.ready t~ see you.
...:

.

.

,

.
.

.

.
.

.
. . .
.

..
.

.

.

LOIS
.
'

. . . .

Thank yoq.
.

..

:

~ ~ 1 % :gives J... .

.

.

.:

'

AIR

.FORCE. O m - .DAY '
.
,

4 look, . then heads .to.the . . . . .
, : '

fot rn-

'.

"

' .. '

'

m plane FLIES e
'

.

the

:

S 0 . .

,L;OOSE PANEL
. . . .

-- & .PUSHlN.:< 'we .TIGHT ON..h e t .VIOLENTLY n ."-. .
. .
. . . .
' ,

--

arid tbe MOVE^,. to
p
,

. . .

. . . .

. ,:.&pii&b, t h d ' p a ~ &chi+ I P ~..
. :. .
,

.

. :

. i t s3 3 , 0 0 0 f O e ~ ; . - - , .. SuddeaSy; "kn EMEROEWCY LIGKT FLASHES a ..const t BU . . - .. . they react: .--. techni-1 c q A v . - .
,

. . . .

. .

'
:'

I & € .,,;mi .
.

..

,

FORCE ONE

.

....

-,

--

,

..

-

'.i

'

.

.

DAY' . . _.. - . .. .. . .. . .

i

.staff LYB*i SAFETY..BELT"light i fl d n a t e s

~ois foilas

--

ih*ai.le

j-' -m $ '

,

,

-

.-The' ENGINE PANEL. I P S .LOOSEAND IS SUCKED INTO R BLADES SHATTER. the 'engirie: EXPmDES -2. -HARD

-- --

INT. A I R FORCE ONE - DAY
w
I

'

'

Lois falls to the floor -- people -- one of the JOURNALISTS on the 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

--

ude

--

=I AIR '? .

FORCE ONE
C

DAY

. The plane DIVES hard

--

and SMASH CUT TO:
DAY

I N T . CIARK' S APARTMENT

lark is unconscious. His -10

goes off-agai

/

-- orce One is ensine p r o b l - C l a r k hits SNOOZE again.

D.J.

(V.0.) apparently having
Is instantly asleep.

FYI

e
as

I
f

' y

-

.'

I ? . AIR FORCE ONE N\'
.

-

COCKPIT

-

DAY

-.

it's MAYHEM in here -- ALARMS BLARING
-4

--

enaim,'&o's

PIMT red - llnlnq ! .

EXT. AIR FORCE ONE

-

a .

DAY

-.

a SECOND ENGINE BLOWS

.

the plane plummets

--

--

G-

BLACK SMOKE PO

INT.

AIR

FORCE ONE

-

DAY

_ -&&is -We

terrified -- holds on to the seats as desperately tries to make it back to Jirmny -now see the PRESIDENT, who, along with his

DAUGH'TEZ, are surrounded by SECRET SERVICE AG

terrified
'

--

- I&. ' S CLARK
I

APARTMENT

-. DAY

u ---

PUSH IN ON sleeping C l a r k as a REPORTER'S VOICE FADES UP:

-

CONTINUED :

-,.

. ,:I .

TV ~EPORTER we're receiving information from source on the

--

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-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;.

-- his &d taces. Fi He turns all -- rips one open -..
'.

Off Clark's face awash ih trepidation .BACK AT LIGHTSPEED to:

--

-: we
'.

EXT. CLARK'S APARTWENT

-

DAY

-

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)

.

.

....
.-*

.
I

F-18: PILOT negative t h a t , t h e r e 'q - n s can do. from here--

--

we
. .

.

.

.

.

.

-

INT. AIR FORCE ONE

-. .DAY . . . .

-

.

Lois i s trying to climb N, toward the rear of tears streaming down h e r face.

@
n
n-

EXT. SKY - DAY
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--

-

EXT. BOSTON

-

DAY

-.
,+

PEDESrSRIANS i n Harvard Square looking upwards: .
.
d

-.
.

look!

U p i n the sky!

PEDESTRIAN #1

N
.

el eyh
.

.

. .
.

.

. ,. .
. .

(who;'cares?) I t ' s a bird; > .
.
'

PEDESrnAN 82

.
.C.

PEDESTRIAN #3
'..

/-

.
.

-.
.

It's a.plane!
.
'

.
. . .

.;;,..:

.
. . .

. . . .

.

...

PEDESTRIAN .#2 oh my God,. it b a plajne.

..

.b

' ' W .F-18

-

DAY.

'.

'

-.

.,:
..
--,

The P i l o t
.
.

--

having s-een7~upe-

i s astonished:
. . . .

.

,

.

( O TN EN C NI U J
..
A

.

.

-

. . .

. 56.
.
.

,

CONTINUED :
.
.

.

.

.: . . ,.,

.; :+r

'-.:;it ..,

2

. .

PILOT

.
.
'.

.
..

Fellas.. . ? !

. . ..
. . .
. .

EXT. SKY
'

-

.
. .

. ... :. ; . . .

DAY

@
. . ...

:

.

'

. .

S u p e m strains, pull on the. wing,' stopping ..
. .

.

.

.

. INT,

AIRFORCE

ONE..-

DAY.'

. . . . . . .

.

.

.

.

. ....

*

.

.

,

,.
',

Jimmy a r r i v e s beside her, M T . BOS&

. fakiig
.

$C& f&
. . . . .

out.
.

.
ow.

DAY

DAY
-. .

.

. .. :. .

.

+ and mareplane --'ii therun, t e r rst&e d 'ta' y .&ople streets the. plunging many.. ifi '
.

. . .. . .

-'-

'..- . EXT. SKY

-

.

.

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

. . she almost w a n t s to l a/

.

.

The President and his ~ a m i l y , relieved'but co out the window, trying . to understand what's h .

look

'

m.

AIR

. . F O R C E ~ ~ ~ ~ ~ C O C K P I .T. .. -. DAY

.
. .

.The crew reacts:
'

..

-

.

.

.

... .
.

. .

.
.
.

.
.
1

.

.. .

:

:

'
,

.

.
.

.

.

.

--

NPiVIGAWR

Wally, good

a !

,'.

.

.
.
... . .
:

PIL0.T Guys, 1.. n e t doing

.. . .,. . .

.
.

.

INP. F-18

DAY.

. .
.

.

-The P i , l a t' s ey+% locked .on ~ u p e k :.. n
_:,..

.

.

...
'

--

PILOT

- '

'

...

.

. ..

...
.

uh, i s G o n e e l s e seeing this?. . .

.

RADIO VOICE ( i n . disbeliefb. . . . . : .-.I.... think so ..... .
.

(v'.'c)... )
. .

'

-

;

. .

.

2

1

.

5
L

EXT. KENT FARM

-

CORN FIELD

-

DAY

In the middle of t h e expansive field, Jonathan

. 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

--

--

--

--

--

Jonathan looks up, amazed
EXT. BOSTON

--,

@Q
n
n

-

DAY

--

NAVfGAMR should we...put .down landing gear? PILOT . ' ( i n shock) sure, what the h e l l - -

--

EXT. KENT FARM

. ~ ~ ' ~ o n a t h a n runs across the: f i e l d , back &he Kent holding the radio. He's excited -- anxious to of Clark's extraordinary event --

-

CORN 'FIELD- DAY

.h
house,

-

.

--

JONATHAN-.

Martha...!

drops to his knees
face:

--

but as he

runs'--

o h

-- smethino's
DAY

suddenly h i s face is s t r wrong. We'

G .o d -

EXT. BOSTON COMMONS

-

.. The
i
/.'

.

-

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--

9) an.
ed

--

he

his

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 m 1 a

a .

.

SUPEFMAN'
PRESI~EWP

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

--

e
w
up at

@

a

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.

--

... you

SUPERMAN ( con t 'd )

okay?

... a?

LOIS (astonished)
.,..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.

@%

N I

=ore.

... who gfe YOU?
'

LOIS (cont 'd)

SUPERMAN

U ~ Q ? I 1 give you a h i n t . ' 1
( 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

.

m?! FRE

!

(all OVERLAPPZNG) IN THE

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: ...
. SUPEITMANexcuse me.
A

oks

.

But

-

he And with a magnif5cent LW. EOUNDS i n t o some people SCREAM -everyone G S S AP Cameras catch every moment -- including

--

..
JIMMY

w
watch down

-

(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:
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 :

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

--

NETWORK REPORTER

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.

5

Then, w i t h for

- - ?

LUTHOR here w e ao.

. .

.

.,

.

.

.

..

.

. .

. .

60.

.

.

. ..

..~.:;~~
::,c!,..,
..
,

EXT. ALLFiWAY
. The.]dark,
,

- .DAY

.. .

.

brick C-1s makes a. quick landing. wall, h e ' looks around -H e PULLS operi a steel, multi-locked .door

.

.

--

inside.

.
.
.

INT.

CLARK, s

Coast is clear, . .
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:,.. . : . ".

--

--

-.

in

,

.

.

Clark t a k e s a steaming

m. .CLARK,S. A P A . R ~ ~ X P'DA?'' ".-I

'.

"

.

.-

.

. .:,)

>

.

.

Clark sits naked in a .chair., 'hunched over, roc ng, . mind racing, Thirty minutes ago he was sleep g a unprepared that today w s the day he would re the world. 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:

$$Zyl;:'&

m'
.his
;

-i n

.

.
".

.

.

... hello?
,

' * ' I . -:=A%

..

. .

. .

. .

.
.

. , ..

lark. . .
.. . .

.

.

.
. .

:
..
'

'

Man;' you
Dad?
.
,:

...

.
,

saw the news-- you t was d'you underskand? NO one-- will you tell . .

..
I

....:. ; _

. ' .

MARTHA (V.0.)' . .
r .

--

.

.

.

-.

,. .

,

c-g
.
,

b.
'.

-

.

: , . .

-.

.

.
.

.. . ..
I,

.

.

.

I r

i'

passed away.

:...

(beat, sad) sweethearf ..; yoix father's

MARTHA- ( V . 0 . )

.

.

.
.

.'

....i c

'

.

+

:. ,.)

,...

;

ON CLARK
.
.

CHUIJESE
.

...

--

the awful words landing, -we start to WEAR it's a NEWSBRDADCTIST... and wk CUT TO:
.

.. '

-

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