1 FADE IN:
EXT. STREET - METROPOLIS - NIGHT
CLOSE ON a crumpled piece of rubbish lying in the gutter. It is
flattened by the wheel of a pushcart. CAMERA PULLS BACK: we SEE a
street in a city neighborhood still fighting its way out of The
Depression. KIDS play stickball, PEOPLE stand about, out-of-work
MEN recline on tenement stoops.
Over this SUPERIMPOSE: METROPOLIS 1938
CAMERA TRACKS UP past a boarded-up store window with a "For Rent"
sign on it, PAST trash cans being investigated by foraging dogs,
PAST the stoop of brownstone where some care has been taken to
keep things clean, PAST the parlor floor where an undershirted
MAN argues with a bathrobed WOMAN, PAST the second Floor windows
where a YOUNG COUPLE bend over a crib, shaking a rattle and
cooing at a new-born BABY wrapped in a pink blanket, UP PAST the
roof of the brownstone, higher and higher, PAST the distant
skyscrapers: the Chrysler Building, the Fuller building, the
great- neon globe symbol atop the Daily Planet Building.
2 EXT. SKY - NIGHT - ANGLE on DAILY PLANET
CAMERA LOOKS DOWN on the Daily Planet Globe. The only sound is
the wind. CAMERA TILTS toward the star-filled sky and the full
moon, then TAKES OFF.
3 EXT. SPACE
CAMERA SPEEDS through the heavens past the moon, through the
Universe, traveling on, gathering speed, further and further
through the limitless void until it bursts through into another
Galaxy.
4 EXT. SPACE NEAR KRYPTON
A miniscule RED DOT appears, growing larger, spreading evenly
into a BLAZING SUN, which fills the SCREEN. The fiery’ red SUN
now grows smaller as we fall through space and see beyond it -
the planet Krypton. As CAMERA CONTINUES toward Krypton, we see
satellites, spacecraft, and Krypton’s two distinct hemispheres.
CAMERA HOLDS, PEERS DOWN at the city of Kryptonopolis.
3
5 EXT. KRYPTONOPOLIS - DAY
CAMERA PANS the white, prismatic crystalline mountains near the
city. WE SEE a gleaming, quicksilver lake.
6 EXT. CITY OF KRYPTONOPOLIS - DAY
Kryptonopolis is a magical city, constructed of pure white
crystalline matter that encloses and protects it from the blazing
red sun. CAMERA TRACKS across futuristic glass buildings, glass
skyways, tunnels, and enclosed gardens, finally CLOSING IN on a
specific domed structure silhouetted against the sky. A MAN’S
VOICE is heard , gathering in volume and intensity.
JOR-EL’S VOICE {V.O.)
This is no fantasy. No careless
product of a wild imagination. We
are not dealing here with idle
supposition ...
CAMERA CLOSES IN on the domed roof of the building, now DISSOLVES
THROUGH :
7 INT. TRIAL CHAMBER - DAY
An electric white aura fills the screen. The dim outline of JOREL’S
head can be seen almost floating above it, facing away from
CAMERA as he continues.
JOR-EL
... no, gentlemen. The indictment I
have brought you this day, the
specific charges listed therein
against these individuals, their
acts of treason and ultimate aim of
sedition . . .
(swivels to FACE CAMERA)
These are matters of undeniable
fact!
The face of JOR-EL fills the SCREEN as he Points an accusing
finger INTO CAMERA. A handsome, intelligent face with great
intensity, bathed in the electric white aura which surrounds him,
almost pulsating with energy.
4
8 WIDE ANGLE - TRIAL CHAMBER
JOR-EL stands on the dark edge of a circular white ring of light
thrusting down from the ceiling of the chamber.
The domed roof rises, cathedral-like above, imprinted with giant
projections of the faces of the COUNCIL OF ELDERS (eleven,
besides JOR-EL) Who watch the proceedings in judgement,
presumably from some other location. Each ELDER is bathed in a
specific aura similar to that of JOR-EL. Trapped inside the
central dazzling white ring of light are THREE FIGURES. JOR-EL
circles the edge of the ring.
JOR-EL
I ask you now to pronounce your
judgement on those accused...
9 CLOSE ON NON
The monstrous face of NON peers through the light at JOR-EL. A
man only to the extent that he is not an animal - a force of
frightening destruction whose only sounds are terrifying guttural
roars.
JOR-EL’S VOICE
On this mindless aberration whose
only means of expression are wanton
violence and destruction....
NON lunges at JOR-EL with a roar, bounces back off the edge of
the ring of light, which imprisons him.
CAMERA PANS TO URSA: A tall woman with a strikingly beautiful and
cruel face. Consumed by a total hatred. Consumed by a total
hatred of the male sex, she stares back at JOR-EL with
patronizing contempt.
JOR-EL’S VOICE
On the woman, URSA, whose
perversions and unreasoning hatred
of men have finally threatened even
the male children on our planet....
CAMERA PANS TO GENERAL ZOD: Glaring defiantly at JOR-El through
the dazzling light with a staggeringly vicious face. Even trapped
in the prison of light he seems to generate an evil force of his
own.
5
REVISION 21/3/77
9 CONTINUED
JOR-EL’S VOICE
And finally on General Zod - Once
trusted by this Council, charged
with maintaining the defenses of
the planet Krypton itself - the
chief architect of this intended
revolution, the author of this
insidious plot to establish a new
order among Us - with himself as
absolute ruler.
10 WIDE ANGLE - TRIAL CHAMBER
The huge faces of the COUNCIL OF ELDERS peer down from the domed
ceiling as JOR-EL finishes.
JOR-EL
You have listened to the
evidence. The decision of the
Council will now be heard.
Silence. CAMERA PANS UP to the faces. The FIRST ELDER pauses
momentarily.
FIRST ELDER
Guilty.
The FIRST ELDER’S face instantly disappears from the domed
ceiling.
SECOND ELDER
Guilty.
The SECOND ELDER’S face disappears. One by one the remaining NINE
ELDERS vote "guilty’" in rapid succession until the ceiling has
become a black void.
11 CLOSE ON JOR-EL AND VILLANS
JOR-EL faces GENERAL ZOD, his aura glowing as a separate island
of light outside the circle.
JOR-EL
Do you have anything to say before
the decision of the Council is
pronounced?
6
11 CONTINUED
ZOD
(cold stare)
The vote must be unanimous, Jor-El.
It has therefore now become your
decision. You alone will condemn us
if you wish. And you alone will be
held responsible by me.
(JOR-EL stares blankly)
Join us. You have been known to
disagree with the Council before.
Yours could become an important
voice in the New Order - second
only to my own. I offer you a
chance for greatness, Jor-El. Take
it. Join us.
JOR-EL hesitates briefly, then suddenly disappears - his electric
white aura extinguishing itself. ZOD’s face twists with rage.
ZOD
One day you will bow down before
me, Jor-El
12 EXT. TRIAL CHAMBER IN SPACE - DAY
The domed roof of the building cracks open, starts to swivel
back. In the distance: a slate-gray atmospheric eminence (THE
PHANTOM ZONE) travels rapidly through the sky, approaches the
opening.
13 INT. TRIAL CHAMBER
The VILLANS are alone in the trial chamber. ZOD rants:
ZOD
I swear it! No matter that it
takes an eternity! You will bow
down before me...
The gray mass of the Phantom Zone has entered through the open
dome, closes down on the VILLANS, erasing the ring of white light
as it progresses .
ZOD
...Both you, and then one day,
your heirs!
7
13 CONTINUED
The Phantom Zone envelops the VILLANS, wiping them up in a
linear, one-dimensional fashion, then sweeping them out toward
space. ZOD is silenced.
14 EXT. CITY AND SPACE
The Phantom Zone travels quickly across the city, bearing the
imprints of the THREE VILLANS, floats into space. CAMERA PANS
OFF, DOWN at another specific building in the city, PUSHES IN,
DISSOLVES THROUGH:
15 INT. COUNCIL - DAY
A pristinely immaculate chamber that overlooks the city of
Kryptonopolis. Austere, dominated by concentric circles around
which the TWELVE ELDERS sit or stand. In the center of the inner
circle revolved an intelligence source on which various
information may be presented. JOR-EL enters the chamber,
appearing almost through motivational volition than through
physical propulsion. The ELDERS turn, look at him. JOR-EL is
deeply concerned.
FIRST ELDER
An unpleasant duty has been
masterfully performed, Jor-El. They
have received the fate they
deserved - isolation in the Phantom
Zone - an eternal living death.
JOR EL
A... chance for life, nonetheless.
As opposed to us.
Consternation from the ELDERS. A suddenly angry JOR-EL gestures
at the revolving intelligence source in the center - various
unfathomable equations appear.
JOR-EL
You can’t ignore these facts!
It’s suicide! Worse! Genocide!
FIRST ELDER
Jor-El, be warned. The Council has
already evaluated this... outlandish
theory of yours.
8
15 CONTINUED
JOR-EL
My friends, you know me’ to be
neither rash nor impulsive. I am
not given to wild, unsupported
statements. I tell you we must
evacuate this planet immediately!
FIRST ELDER
You are one of Krypton’ s greatest
scientists, Jor-El ...
SECOND ELDER
But so is Vond-Ah.
VOND- AH
(rising)
Thank you ..
(to JOR-EL)
It isn’t that I question your data.
The facts are undeniable.
VOND-AH gestures at the intelligence source. JOR-EL’S equations
disappear, are immediately replaced by a new series. VOND-AH
smiles thinly.
VOND-AH
It’s your conclusions I find
unsupportable.
JOR-EL
This planet will explode within
thirty days! Sooner perhaps!
VOND- AH
I tell you Krypton is simply
shifting its orbit!
SECOND ELDER
Jor-El, be reasonable...
JOR-EL
I have never been otherwise. The
madness is yours!
9
REVISION 21/3/77
15 CONTINUED
FIRST ELDER
(snaps firmly)
This discussion is terminated! The
decision of the council is final.
(pause - to JOR-EL)
Any attempt by you to create A
Climate of fear and panic among the
populace must be deemed by us an
act of ... insurrection.
JOR-EL
You would accuse me of
insurrection? Has it now become a
crime to cherish life?
FIRST ELDER
(with reluctance)
You. . . would be banished to
endless imprisonment in the Phantom
Zone - the eternal void which you
yourself discovered.
Deadly silence. The FIRST ELDER locks eyes with JOR-EL.
FIRST ELDER
Will you abide by the Council’s
decision?
JOR-EL
(long pause)
I will remain silent. Neither my
wife nor I will attempt to leave
Krypton.
16 EXT. KRYP’IONOPOLIS CITY OUTSKIRTS - DAY/NIGHT
JOR-EL’S house stands bathed in the strange glow of Kryptonian
twilight.
17 INT. JOR-EL’S LABORATORY - NIGHT
Massive brightly glowing energy columns encircle the lab. JOR-EL
works in the centre, passes his hands over portions of a
gleaming, spiny, silvery object (rocket ship) as he places
crystals inside it which respond to him with throbbing lights.
10
REVISION 21/3/77
18 ANGLE ON LARA
LARA (JOR-EL’S wife) enters lab. Carried in her arms: A BABY,
swaddled in three blankets of’ red, blue, and yellow. The sad
look on LARA’S face deepens as she stops, watches JOR-EL who
senses her presence, turns.
LARA
Have you ... .finished?
JOR-EL
Very nearly.
LARA turns away, shuts her eyes. JOR-EL crosses to her.
JOR-EL
It’s the only answer Lara. If he
remains here he as will die as
surely as. . .
(she looks)
we will.
LARA
(pleading)
But why earth, Jor-El. They’re
primitives. Thousands of years
behind us.
JOR-EL
He will need that advantage to
survive. Their atmosphere will
sustain him ...
LARA
He will defy their gravity ...
JOR-EL
He will look like one of them.
LARA
But he won’t be one of them.
JOR-EL
His dense molecular structure will
make him strong ...
11
18 CONTINUED
JOR-EL
Fast. Virtually invulnerable ...
LARA
Isolated. Alone ...
JOR-EL looks at her with compassion, but with the strength to cut
her off..
JOR-EL
He will not be alone. He will
never...be alone.
19 INT. COUNCIL OF ELDERS - NIGHT
The COUNCIL OF ELDERS, still in session, listen attentively to a
MILITARY OFFICER standing before them.
MILITARY OFFICER
The energy input to Jor-El’s
quarters is now in excess. Our
Data indicates the loss is due to a
mis-use of energy.
The FIRST ELDER exchanges a worried glance at the SECOND ELDER,
then looks back at the OFFICER.
FIRST ELDER
Investigate.
SECOND ELDER
And if the Data proves correct?
FIRST ELDER
(pause)
He knew the penalty he faced. Even
as a member of this Council. The law
will be upheld.
20 INT. JOR-EL’S LABORATORY - NIGHT
CAMERA CLOSE ON JOR-EL, LARA, and the BABY, their glowing auras
spilling across the SCREEN as the parents stare down at their
offspring. A loving, almost beatific family portrait. LARA’S eyes
flutter. Tears run down her cheek.
12
REVISION 22/377
20 CONTINUED
JOR-EL
(sad whisper)
You will travel far, my little Kal-
El. But I will never leave you.
Even in the face of my death the
richness of my life shall be yours.
All that I have learned, everything
I feel, all of this and more I have
bequeathed to you my son. You shall
carry me inside you all your days.
You will make my strength your own,
see my life through your eyes, as
your life will be seen through
mine. The son becomes the father
the father becomes the son. This is
all that I can send with you , Kal-
El. And not near so rich a gift as
that your mother sends along. Her
... love.
21 EXT. CITY - DAY/NIGHT
Three MILITARY MEN descend an enclosed glass walkway to a
frantically pulsating aura hovering above the ground. They enter
the aura, take off quickly through the streets, past a tall
structure. A tremor suddenly shakes the ground - a thin fissure
appears on the side of the structure.
22 INT. JOR-EL’ S LABORATORY - NIGHT
The massive energy columns throb with white light. The BABY has
been fastened in a module, wrapped in his blankets. LARA
reluctantly steps back as JOR-EL places the last crystals inside,
including a green one, secures and seals all openings. The BABY
vanishes from sight. The module automatically slides into a
larger spacecraft and is sealed in.
23 EXT. CITY
The military aura speeds along as giant crystal formations
suddenly begin to erupt, bend and crack.
13
24 INT. JOR-EL’S LABORATORY
A glass wall facing the capsule slides open. The launcher is
raised. The ceiling above retracts, exposing the glow of Krypton
night.
25 INT. MILITARY AURA
Seen from within: the aura races through a glass tunnel.
26 INT. JOR-EL’S LABORATORY
The room shakes in a violent tremor as JOR-EL tries to get the
engines fired. The energy columns glare at fever pitch.
26A EXT. KRYPTON
The proximity of Kryptonian sun has bathed the planet in a
reddish glow. NOTE: All Scenes on Krypton both interior and
exterior will from now on reflect this color.
27 EXT. KRYPTON
The military aura nears JOR-EL’ S house. Suddenly a huge tremor
dislodges a mass of crystal which crashes down, obliterating the
aura.
28 INT. JOR-EL’S LABORATORY
The tremor continues in the lab. Tons of crystal crash down into
the room as JOR-EL frantically tries to fire the rocket. With a
last desperate effort he lunges forward throws the tumbling
debris and hits the control which ignites it. With a deafening
roar, the rocket starts to glide off into the night as the house
begins to collapse, the energy columns shattering under the
strain.
29 EXT. SPACE - CLOSE ON MODULE
The module races away from the disintegrating planet below toward
the Phantom Zone.
30 INT. COUNCIL OF ELDERS
The Council room is destroyed co1lapsing on some of the ELDERS.
30A INT/EXT KRYPTON
Various scenes of destruction, to include exterior shots and the
trial chamber.
14
30B INT. JOR-EL’S LABORATORY
JOR-EL and LARA are buried beneath a cascading shower of debris,
clinging together desperately in the moment of their death.
30C EXT. JOR-EL’S HOUSE
The House collapses in ruins.
31 EXT. PHANTOM ZONE
The THREE VILLANS, pressed against the linear Phantom Zone, watch
the module hurtle past.
VILLANS
(muffled echoes)
Take us with you ...
The capsule heads out into the intergalactic void as the VILLANS
turn their attention to the planet Krypton, now in total
eruption.
32 ANGLE ON KRYPTON - VILLANS POV
The red sun eats its way into the core or the planet Krypton
which suddenly explodes and implodes - leaving a vast black void.
33 EXT. SPACE - CLOSE ON MODULE
The module speeds through space to the accompaniment of steady
electronic pulsings.
34 INT. MODULE
Lights flash on the complex instrument panel. A computer memory
bank repeats recorded data while machines registers other space
functions on graphs. The BABY is completely wired and fitted with
instruments and tubes for his survival in space. The computer
spews forth information.
COMPUTER
(JOR-EL’S VOICE)
Early concepts of matter appear
in ancient Creek philosophy. In
the fifth century Demoocritus
defined a small unit as an atom,
then thought to be indivisible...
15
35 EXT. SPACE - CLOSE ON MODULE
The module voyages through space. A giant asteroid lost in the
void, soars toward it at tremendous speed. The module and the
asteroid nearly collide. The module sways on, away into the void.
36 INT. MODULE
The control panels continue to flash. The BABY has grown. The
survival tubes, instruments and belts have adapted to his
increase in size as the years have passed.
COMPUTER
(JOR-EL’S voice)
Index 19, Sonnet 101: "0
truant muse, what shall be thy
amends for thy neglect of truth
in beauty dy’d? ...
37 EXT. SPACE - CLOSE ON MODULE
Traveling through space: A tiny yellow dot becomes larger as the
module enters our Universe. The yellow dot grows rapidly into a
flaming yellow sun.
38 INT. MODULE
The control panel lights flash rapidly. An electronic bleep
quickens its squeal. The BABY has grown older.
COMPUTER
(JOR-EL’S voice)
...which Einstein called his Theory
of Relativity, mistakenly held to
be correct until the year ...
39 EXT. MODULE - EARTH’S ATMOSPHERE - DAY
The module enters the earth’s atmosphere. We SEE the familiar
astronaut’s POV of the revolving earth, growing larger and larger
until we can make out the recognizable shapes of land masses on
oceans. As the module gets closer, it seems as if it will surely
land in the middle of the Soviet Union. But as the Earth
continues to revolve, the rocket heads for the dead centre of the
United States.
NOTE: As the module speeds down through the atmosphere, the
resistance gradually transforms its shape into a jewel-like geode
form, burnished hot by the pressure.
16
40 EXT. KANSAS WHEAT FIELD - DAY
Miles and miles of golden wheat wave under a cloudless sky.
CAMERA PANS: A dilapidated farm pick-up truck comes chugging down
a long flat dirt road.
41 INT. PICK-UP TRUCK - DAY
Two PEOPLE are seated in the truck cab, dressed in their shiny,
patched "Sunday best" clothes. The MAN is in his 50"s, the WOMAN
in her 40’5. "Private" people who mind their business, Christian
folk whose morals are as basic as the soil they till: JONATHAN
AND MARTHA KENT.
Suddenly an ominous black shadow quickly crosses the road.
Simultaneously: a loud whooshing sound (the space module coming
to Earth). JONATHAN is startled, darts a momentary look ,in the
direction of the noise .
JONATHAN
What in the...
42 EXT. WHEAT FIELD ROAD - DAY
The "bang" of a tire blowout is heard. JONATHAN slams on the
brakes. The truck lurches violently to the right, the front tire
having burst. The truck swerves, narrowly missing the embankment,
stops.
43 CLOSE ON TRUCK
JONATHAN steps out of the truck cab, looks sadly at the punctured
tire.
JONATHAN
(muttering)
If a man didn’t know better, he’d
think Detroit made those things to
blowout on purpose.
Grumbling, he goes around the rear to unstrap the spare tire and
haul out the jack. MARTHA gets out of the cab, stretches her
legs, gazes across the wheat fields as JONATHA in B.G. places the
jack under the car, then wedges a stone under it to hold the
jack in place.
43 CONTINUED
CAMERA SUDDENLY ZOOMS IN ON MARTHA: Her face is frozen in
astonishment at something she’s seen in the wheatfield.
17
MARTHA
Jonathan!
JONATHAN turns, looks, eyes widening, equally amazed.
JONATHAN
Great God Almighty! What is it?
44 ANGLE ON MODULE - THEIR POV
The space module has landed in the fields. The engines are
silenced.
45 EXT. FIELD - CLOSE ON MODULE
JONATHAN rushes to the strange, eerie metallic geode nesting in
the charred wheat, MARTHA close behind him.
MARTHA
Careful, Jonathan.
Suddenly: a wall of the module Opens. A capsule ejects a little
BOY still fastened inside, cushioned by the three blankets.
JONATHAN
What in the Sam Hill?
He looks inside the module, leans over, touches the capsule
burning his hand.
MARTHA
Jonathan!
The little BOY, aged 3, suddenly springs out of the
electronically controlled belts, half naked.
MARTHA
(stunned)
It’s a ... baby.
JONATHAN stares, dumbfounded. MARTHA smiles softly at the baby,
wraps him in the three blankets, picks him up.
18
46 CLOSE ON JONATHAN AND MARTHA - TRACKING SHOT
MARTHA carries the BABY back to the truck, looks at him with
wonder. JONATHAN walks in front, shakes his head.
JONATHAN
Well - better change that tire if
we’re gonna get home and see about
contactin’ that boy’s proper kin.
MARTHA
(defensively)
He hasn’t got any - not for sure.
Not around here anyways. You saw
that magic contraption he came in,
same as me.
JONATHAN has arrived at the truck, starts jacking up the front
end...
JONATHAN
I did. But I ain’t gettin’ hauled
off to no booby hatch by tellin’
other people I did - and neither
is you.
JONATHAN removes the lugs and the punctured tire.
MARTHA
You take things easy now, Jonathan.
You mind what Doc Frye said about
that heart of’ yours...
47 INSERT SHOT - JACK
The jack begins to shimmy. The truck shakes.
48 CLOSE ON JONATHAN
JONATHAN struggles with the spare tire under the truck, wondering
why it won’t fit in.
49 INSERT SHOT - JACK
The jack continues to shimmy. Suddenly, the stone beneath it
slips away.
50 CLOSE ON MARTHA
MARTHA screams, horrified.
19
51 BACK TO JONATHAN
JONATHAN under the truck, shoots a quick look at his wife, then -
as her scream stops in a gasp - he looks behind him as CAMERA
PANS: The’ BABY is holding up the truck, two wheels off the
ground. JONATHAN and MARTHA are poleaxed with disbelief.
52 INT. TRUCK CAB - DAY
The BABY sits happily in MARTHA’S lap. The COUPLE look ahead,
lost in thought, MARTHA in particular.
MARTHA
(carefully)
All these years, happy as we’ve
been, how I prayed and prayed the
Good Lord would see fit to give us
a child.
JONATHAN
(looks - alarmed)
Martha, there is something
downright strange about that boy.
Where he come from, what he just
did back there. Now surely you
don’t mean to...
MARTHA
(firmly)
No one must ever know.
JONATHAN
But folks’ll ask questions...
MARTHA
We’ll say he’s child to my cousin
in North Dakota, and just now
orphaned. Jonathan, he’s a baby...
(cuddles baby)
Poor thing.
20
52 CONTINUED
JONATHAN
Well...
(sigh)
Maybe we could give it a try for
the time bein’. I’d better hitch
the rig and come back to Get that
... that thing he was settin’ in.
What do you make of that thing?
Martha’? Martha Kent, you listenin’
to me?
MARTHA
I was thinkin’ what to call him. I
was thinkin’ I had an uncle who was
a fine man, you recall him? The
church sexton?
JONATHAN
Who?- Clark? I never cared two
hoots for that fella.
53 EXT. SMALLVILLE HIGH FOOTBALL FIELD - DAY
CAMERA LOOKS DOWN on a typical midwestern small town high school
football field in the 1950’s. A coach’s whistle signals the end
of the team’s practice session.
A group or GIRL CHEERLEADERS run through their routines nearby.
Several PLAYERS practice "extra points" by kicking the ball
through the goalposts from the 2 1/2-yard line, now stop,
congregate around the bench with the other PLAYERS as they turn
in their equipment, prepare to go home.
54 CLOSE ON BENCH - TRACKING SHOT
CAMERA TRACKS along the bench as the PLAYERS drop their pads,
towels. kicking tees, footballs, etc. on the bench. Picking them
up, stacking them neatly and methodically is a bookish-looking
TEENAGER of 15. With dark, unstylish hair, heavy-rimmed glasses,
and an air of social unease, he is the perfect candidate for team
manager - the young CLARK KENT.
21
54 CONTINUED
CLARK nears the end of the bench, looks off at the CHEERLEADERS:
five or six wholesomely cute teenagers in their uniforms of
sweater, tiny skirt, sneakers, and white socks. They have
finished rehearsing their final routine now laugh, applaud
themselves, drop their megaphones and run off to join several of
the departing PLAYERS.
One CHEERLEADER (SUSIE) with an attractive, sensitive face -
pauses, sees the megaphones strewn around the ground, begins ’to
collect them.
55 CLOSE ON SUSIE
SUSIE gathers up the megaphones. CLARK crosses to her.
CLARK
You don’t have to bother with
those, Susie. I’ll take them in for
you with the other equipment.
SUSIE
Why, thank you, Clark.
(rises- smiles)
You know something, Clark? I think
you’re just about the nicest boy in
the whole school.
CLARK blinks shyly, practically blushing.
CLARK
Well ... ah ... ah ... it’s sort of
my job as team manager, anyway,
and...
SUSIE
No, I mean it. I really do. Listen.
A whole bunch of us are going over
to Mary Ellen’ s and play some
records. Would you like to come?
CLARK
Well, gee... I’d...why, yes, Susie,
I’d like that very...
FOOTBALL PLAYER (0.5.)
Kent won’t be able to make it.
22
55 CONTINUED
A large FOOTBALL PLAYER comes into frame, looks at SUSIE with
what passes for "macho" at 15.
FOOTBALL PLAYER
Kent’s still got a lot of work to do.
CLARK
(innocent- turning)
What do you mean? I’ve stacked all the...
CAMERA PANS as CLARK turns: the mass of equipment he had neatly
piled on the bench has been tossed all over the field. Water
buckets overturned, etc. In B.G. several other PLAYERS and
CHEERLEADERS are crammed into an open , convertible car, snigger
to themselves, pretend not to look.
56 BACK TO SCENE
CLARK’S face falls. He stares at the Grinning FOOTBALL PLAYER as
we see a momentary flash of anger pass through his eyes. Will
he...? No. Regaining his former composure, CLARK smiles faintly.
CLARK
I’m ... sorry, Susie. I guess
I’d better clean it up.
The FOOTBALL PLAYER puts a victorious arm around the reluctant
SUSIE, prods her off toward the open convertible. They get in.
The car roars off.
57 CLOSE ON CLARK.
CLARK is left totally alone on the football field, his face
downcast with anger and hurt born of humiliation. He approaches a
football sitting on the extra-point tee at the 2 1/2 yard line,
is about to pick it up, suddenly gives it a frustrated kick. The
ball takes off like a tiny rocket.
58 ANGLE THROUGH OPPOSITE GOALPOSTS
The ball whistles perfectly through the far goalposts. CLARK has
kicked it over 100 yards.
23
59 BACK TO CLARK
CLARK turns, looks at the mess left by the players. He reaches
down for the first towel, suddenly grits his teeth, accelerates
into SUPER SPEED.
His image is only a blur on the screen as towels, pads, buckets,
etc. disappear from the field and miraculously reappear on the
bench.
60 EXT. KANSAS ROAD - DAY
CLARK trudges along a country road, heading for home. In B.G. the
Open convertible appears, closing fast. He turns. It slows down,
seems to be intending to pick him up.
Then, at the last minute, the FOOTBALL PLAYER who is driving
honks the horn loudly, roars past him, laughing, leaving CLARK in
a swirl or dust.
61 CLOSE ON CLARK .
CLARK stares angrily, his rage growing. He takes off his glasses,
puts them in his pocket. Turning, he suddenly takes off, running
cross-country.
62 EXT. KANSAS COUNTRYSIDE - DAY
The blur which is the running CLARK zooms through a cornfield,
makes a hair-pin turn across a meadow and up over a rise.
63 EXT. TRAIN TRACKS - DAY - TRAVELLING SHOT
Clark runs parallel to some train tracks on the other side of the
rise. A train looms up rapidly behind him, overtakes him by one
or two cars. For a moment CLARK is content to keep pace with the
train, then looks up at its windows.
64 ANGLE ON TRAIN WINDOWS - CLARK’S POV
A LITTLE GIRL of’ six looks out one window, her nose pressed to
the glass, her chin dropping in surprise.
65 BACK To CLARK
He notices. Embarrassed, he runs faster, pulling on ahead and
passing the train.
24
66 INT. TRAIN COMPARTMENT - DAY
The GIRL’S PARENTS are the couple we saw in the opening shot of
the movie, cooing over their baby. They are six years older now,
as is she: LOIS LANE
LOIS
(turns - amazed)
Golly! I saw a boy out there,
running fast as the train! Faster,
even!
MOTHER
(affectionate sigh)
Lois Lane, you do have a writer’s
gift for invention. I’ll say that
for you.
LOIS
But...
FATHER
Read your book, dear.
67 EXT. KENT FARMHOUSE - DAY
A small farm on a dirt road facing a wheatfield. A barn stands at
one end of the front yard area. CLARK, running in a blur suddenly
appears by the tree growing next to the front gate, stops.
CAMERA PANS: coming down the road: the convertible with the
FOOTBALL PLAYERS and CHEERLEADERS. CLARK leans nonchalantly
against the tree as the car and its amazed occupants roll to a
stop, stare with wonder.
SUSIE
Clark ....?
FOOTBALL PLAYER
How the hell did you...
CLARK
(deadpan)
I ran.
FOOTBALL PLAYER
(pause- to others)
Told you he was a weirdo. Let’s get
out of here...
25
67 CONTINUED
He guns the car, irritated, roars off. CLARK breaks into a thin,
self-satisfied smile.
JONATHAN’S VOICE
Been showin’ off a bit, have you,
son?
68 ANGLE ON JONATHAN
JONATHAN KENT, much older now, stands with stooped shoulders, a
scythe in one hand. He looks care-worn, but deeply concerned as
CLARK joins him in the yard.
CLARK
I don’t mean...to show off, Dad.
It’s just that...
JONATHAN
(total understanding)
You got all these amazin’ things
you can do and sometimes you think
you’ll go bust if you don’t let
other people know ..
CLARK
(misty-eyed frustration)
I could score a touchdown everytime
I had the ball. Every time, Dad. Is
it showing off for a person to do
what he’s capable of? Is a bird
Showing off when it flies?
(no reply)
I’m sorry, Dad. I know I made a
promise, but I just don’t think I
can handle it anymore.
CLARK turns away. JONATHAN watches with compassion.
26
68 CONTINUED
JONATHAN
Look, son. You’ve been nothin’ but
a blessing to your mother and me.
In the beginning - when you first
came -we thought they’d take you
away from us if people found out
about. . . the things you could do.
But a man thinks different as he
gets older, ’thinks...better.
Wiser. Starts to see things clear.
And I know now that as sure as
we’re gonna see the moon tonight
there’s a reason why you’re here.
Don’t ask me what reason, don’t ask
me whose reason. But whoever, and
whatever, there’s one thing I do
know...
(soft smile)
It ain’t to score touchdowns.
CLARK turns, nods, understanding. JONATHAN puts his arm around
him.
JONATHAN
Now why don’t you see if you can
finish up your chores before I
finish up all that apple pie I
smell comin’ from your mother’s
kitchen window....
CLARK smiles, heads off toward the barn, CAMERA TRACKS with him.
Suddenly: a choked scream is heard 0.S. CAMERA WHIP PANS:
JONATHAN, his hand clutching his heart, staggers on the front
step of the farmhouse.
CLARK (O.S.)
Dad! . .
MARTHA’S VOICE
(from inside)
Jonathan...?
JONATHAN collapses, falling backwards as MARTHA opens the front
door.
MARTHA
Jonathan!
27
69 EXT. KANSAS CEMETERY - DAY
CAMERA CLOSE on a tombstone reading: JONATHAN KENT, 1887-1943
R.I.P., PULLS BACK: CLARK stands by a freshly filled grave,
holds the hand of the weeping MARTHA. Both are dressed in
mourning.
CLARK
(quiet anguish)
All those things I can do, all
those powers...and I still couldn’t
save him.
70 EXT. KENT FARM - NIGHT’
The barn stands silhouetted against the night sky. .SLOWLY TRACKS
TOWARD IT, passes through the door.
71 INT. BARN - NIGHT
Pitch dark inside. A green light emanates somewhere from beneath
a mound of hay the light seems to throb as it glows, as if
calling out for something - or someone.
72 INT. CLARK’S BEDROOM - NIGHT
CLARK KENT, now 18 years old, is asleep, suddenly his eyes open.
Her sits up, looks around.
73 EXT. FARM - NIGHT
The back door opens. CLARK, fully dressed, emerges from the
house, crosses to the barn.
74 INT. BARN - NIGHT
CLARK enters, crosses to the mound of hay which throbs with the
green light. Digging and pushing the hay aside, he uncovers the
geode-like module which brought him to earth. The module glows
brightly, lit by something from within. CLARK stares hard at it -
his eyes changing in colour and consistency.
75 ANGLE ON GEODE - CLARK’S X-RAY POV
Seen through CLARK’S X-RAY vision which cuts through the solid
surface of the module: a green crystal throbs inside, resting on
the red, yellow, and blue blankets.
28
76 BACK TO SCENE
CLARK kneels, opens the module, picks up the crystal, stares into
it deeply, eyes widening in the eerie, pulsating light.
77 INT. KENT KITCHEN
MARTHA stands over the kitchen stove in the early morning, bacon
sizzling in the pan, a pot of hot coffee steaming nearby. She
turns her head slightly, calls out.
MARTHA
Clark? Are you going to sleep all
day? I’ve got....
She stops, has noticed something out the kitchen window.
CAMERA PANS, pushes in through window: In the distant wheatfield
across the road stands the motionless figure of CLARK.
78 EXT. WHEATFIELD - DAY
CLARK stands quietly, immobile, staring north as the late morning
sun hits the side of his face. The look is trance-like as if some
force were pulling at him. There is a rustle in the wheat behind
him. He does not turn...
CLARK
I... have to leave.
MARTHA enters frame, stops, looks at him thoughtfully, full of
emotion.
MARTHA
I... knew this time would come. I
knew it from the day I found you.
CLARK turns now, faces her. He speaks flatly, trying to avoid
breaking down.
CLARK
I’ll bring in the crop before I
leave. I... talked to Ben Hubbard
yesterday. He’ll be happy to help
out from now on.
MARTHA
He’s a good man, Ben is. Your
father always said so.
29
78 CONTINUED
CLARK
(emotionally)
Mother...
MARTHA
(helpless smile)
I know, son. I know....
79 EXT. WHEATFIELD - DAY
The sun starts to set in the distance. CLARK approaches the vast
wheatfield, his father’s scythe in his hand. He hesitates a
moment, unobtrusively looks around, then bursts toward the wheat
at SUPER SPEED, cutting an instant four-foot wide swath across
the field.
80 INT. KITCHEN - DAY - ANGLE ON WHEATFIELD
CAMERA looks through the kitchen window as the wheatfield
practically disintegrates in neat rows before us, then PULLS
BACK: MARTHA watches, her eyes filled with tears.
81 EXT. KENT FARM - DAY
The wind is blowing. Tall, neat stacks of baled wheat rise up
near the barn.
CAMERA PANS: CLARK stands at the gate to the road in a
windbreaker and slacks, has a rucksack at his side. MARTHA holds
out a brown paper bag.
MARTHA
I made you...
(fighting back tears)
...some sandwiches.
CLARK smiles silently, closes his hand around the bag. He turns,
opens the rucksack to place the bag inside.
82 INSERT SHOT - RUCKSACK
The rucksack interior glows with a green light, tucked inside the
red, yellow, and blue blankets is the same one seen earlier, in
thc barn. CLARK closes it.
30
83 BACK TO SCENE
They face each other for the final time, all emotion, both at a
sudden loss for words.
MARTHA
Do you ... know where you’re
headed?
CLARK
North.
MARTHA’S eyes glaze over. She manages a brave smile.
MARTHA
Remember us. Always remember us.
Unable to restrain themselves any longer, they reach out,
collapse into a tight hug.
84 EXT. ALASKA HIGHWAY - DAY
CLARK, in his light windbreaker, his rucksack on his back, walks
by the side of the road. The wind howls, ruffling his hair, but
he doesn’t seem to mind the cold. CAMERA PANS: from a distance, a
truck appears. It pulls up next to him, stops. The DRIVER opens
the door.
TRUCK DRIVERS
Get in Kid! Quick, before you
freeze to death!
CLARK
(nice smile)
I’m okay, thanks. It was nice of
you to stop, though.
The DRIVER stares, amazed. CLARK really means it.
DRIVER
What the hell. You wanna make a
popsicle outta yourself, none of my
business....
THE DRIVER slams the door. The truck roars off. CLARK watches it
leave, then turns, walks off the side of the road cross-country,
heading north.
31
85 EXT. ALASKA - DAY
CAMERA PANS a vast snow-covered plain and an arctic lake with
icebergs floating in it in the distance. A Polar bear trudges
through the snow, stops, looks at something which has attracted
his attention.
CAMERA CONTINUES PAN: the tiny, dark figure of CLARK contrasts
sharply with the dazzling white landscape as he makes his way
still north, dressed only in his light windbreaker.
86 EXT. NEAR NORTH POLE - DAY
A flat, desolate plain. off to one side is a huge out-cropping of
rock jutting out of the barren, snow-covered landscape. A
blizzard rages.
CAMERA PANS to reveal CLARK, the rucksack on the ground beside
him. The wind rips across the plain. CLARK looks around, seems to
be in the process of selecting a specific area. He marks its
perimeters with heat vision, burning deep lines into the snow and
ice.
Once the boundaries are drawn, CLARK concentrates on the area
within. The entire mass of snow’ begins to melt away as huge
flames shoot around the gigantic excavation.
DISSOLVE TO:
87 EXT. SAME AREA - LATER
An enormous crater has been carved out of the rock and ice. CLARK
stands in the center, reaches into his rucksack, places the green
stone on the ground.
Climbing back quickly to the edge, he focuses into the crater.
As his heat vision hits the stone a crystalline foundation begins
to solidify and expand. Green radiation glows all around the
excavation site - a wall is formed.
Another burst of energy intensifies and constructs a second side
joined at a right angle. In the bright cone of green light,
multi-colored molecules explode and expand into a third
impregnable wall. Through the blaze of sparkling light this wall
increases in size, spreads out to cover the fourth remaining
side.
32
88 CLOSE ON CLARK
CLARK steps back to look with awe: The Fortress of Solitude is
complete. It rises up in the northern landscape, its materials
completely harmonious, the white opaque crystalline blending
ingeniously into the surrounding countryside.
89 INT. FORTRESS OF SOLITUDE - DAY
The tiny figure of CLARK enters the Fortress, looks up at a
multi-leveled white fantasy. Stabbing spurs of crystal cut across
the levels at a severe angle. The decor is spartan, minimal.
The central area with its complicated memory crystal energy banks
where SUPERMAN will communicate with his dead father is
overlooked by a series of different levels which lead off to
hidden corridors, rooms, etc.
The entire dazzling interior is strongly reminiscent of what we
have seen earlier on Krypton.
90 CLOSE ON ENERGY BANK SECTION
A crystal bench sits next to the energy bank which is lined with
rows of smaller glowing crystals. CLARK approaches mesmerized,
knowing what he must do but unsure of how and why.
He reaches out for the first crystal, places it inside a
mechanism in the energy bank, takes his seat on the bench, waits,
suddenly:
91 WIDE ANGLE
The light in the Fortress changes dramatically. The walls and
jagged planes of the structure seem to come alive with energy.
The wall directly opposite vibrates with a special intensity: A
giant face appears: It is JOR-EL. His head rises massively up and
across the wall, burning with light, looking down, dwarfing the
tiny figure of CLARK on the bench. JOR-EL’S eyes flash, focus on
him. JOR-EL speaks.
33
25/3/77
91 CONTINUED
JOR-EL
My son, you do not remember me. I
am Jor-El. I am ... your father. By
now you will have reached your
eighteenth year of time as it is
measured on earth. By that same
reckoning I will have been dead for
many thousands of your years. The
knowledge that I have of, matters
physical and historic I have given
to you fully on your voyage to
your new home. These are important
matters, to be, sure, but still
matters of mere fact. There are
questions to be asked and it is
time for you to do so. Here in this
Fortress of Solitude we shall try
to find the answers together. ’How
does a Good man live? What is
virtue? When does a man’s
obligation to those around him
exceed his obligation to himself’?
These are not simple questions -
even on Krypton there is no precise
science which provides us with the
answers. I can only tell you what I
myself believe. To this end, I have
tried to anticipate your questions,
and in -the order of their
importance to you.
(pause)
Speak.
CLARK
Who . . . am I?
JOR-EL
Your name is Kal-El. You are the
only survivor of the planet
Krypton. Even though you have been
raised as a human being, you are
not one of them. You have great
powers, only some of which you
have, as yet, discovered ...
34
91 CONTINUED
CAMERA BEGINS A SLOW 360-DEGREE PAN. The face and features of
JOR-EL will appear and fade away in many dimensions and on
virtually every area of the fortress in an intricate and
continuous SERIES OF DISSOLVES:
JOR-EL
Your mother, Lara, has sent along
three Blankets of red, yellow, and
blue. United in a single garment,
their
(last sentence missing from script)
At times there will be simultaneous representations JOR-EL: some
merely features of the face in huge magnifications - eyes, mouth,
profile, etc.
The DISSOLVES will indicate the passage of a long period of time.
Never, until the final culmination of the 360 PAN do we see or
hear anything but the face and thought of JOR-EL.
CAMERA BEGINS FIRST SERIES OF DISSOLVES:
JOR-EL
You are superior to others. You can
only become inferior by setting
yourself above them. Lead by
inspiration. Let your actions and
ideals become a touchstone against
which mankind may learn how to
serve the common good. While it is
forbidden for you to interfere with
human history itself, your
leadership can stir others to their
own capacity for moral
betterment...
CAMERA BEGINS SECOND SERIES OF DISSOLVES:
JOR-EL
The virtuous spirit has no need for
thanks or approval. Only the
certain conviction that what has
been done is right. Develop such
conviction in yourself, Kal-El. The
human heart on your planet is still
subject to small jealousies, lies,
and monstrous deceptions.
35
91 CONTINUED
JOR-EL (CONTINUED)
Resist these temptations as you
inevitably find them - and your
ethical power will then properly
outweigh your physical advantage
over others...
CAMERA BEGINS THIRD SERIES OF DISSOLVES, has almost completed
its 360 PAN, now starts to RISE behind a giant representation of
JOR-EL’S face.
LOOKING DOWN from behind through the eyes we see a tiny blue,
red, and yellow figure in the distance. CAMERA PUSHES IN SLOWLY
through the eyes.
JOR-EL
Your education nears a kind of
completion now, Kal-El, although no
limit to understanding or knowledge
has ever truly existed. Over the
years you have asked important
questions and I think together we
have almost always found the answer
to them. Now it is time for you to
return to the world which I
have chosen for you. When new
questions arise, come back to me
and I will try to be of help...
The FIGURE is discernible now as CAMERA PUSHES IN with increasing
speed. FOR THE FIRST TIME:
SUPERMAN stands in his classic outfit, arms folded, gazing
intently back up at the CAMERA which -represents JOR-EL. He is
older now.
A handsome, strong man, his intelligence, warmth, and compassion
shining through his clear eyes as the final words of JOR-EL flow
through him.
36
91 CONTINUED
JOR-EL
Live as one of them, Kal-El, to
discover where your strength and
power are needed - but always hold
in your heart the pride of your
special heritage. Your being is
both separate and your own , but I
have caused your earthly presence
and must share responsibility for
your actions. They can be a great
people, Kal-El. They wish to be.
They only lack the light to show
the way. For this reason above all
- their capacity for good - I have
sent them you. My only son.
92 EXT. METROPOLIS STREET - DAY
CLARK KENT walks a crowded street in Metropolis, attaché case in
hand, conservative suit, heavy-rimmed glasses, etc. A brisk
breeze blows.
CLARK reaches the street corner, looks around, admires the
skyline, fascinated by the big city. He starts across the street
to a building marked DAILY PLANET, oblivious to the red light
turning green and the oncoming traffic. A taxi hurtles across the
intersection.
93 ANOTHER ANGLE
The taxi smashes into CLARK with a sickening crunch. The DRIVER,
horrified, jumps out.
DRIVER
Oh, my god, I couldn’t help...
CLARK, still standing, simply turns, smiles nicely.
CLARK
Sorry. It’s my fault. I shouldn’t
have crossed against the light.
The DRIVER stops, dumbfounded, stares at the hood of his cab.
94 INSERT SHOT - HOOD OF CAB
The front of the cab has CLARK’S impression cut deeply into the
hood, through the engine block to the windshield.
37
95 BACK TO SCENE
CLARK waves a cheery farewell to the non-plussed DRIVER, mouths
another friendly "sorry", crosses the street, walks through the
doors of The Daily Planet.
CAMERA PANS UP the skyscraper to its tower (not the same building
in the OPENING, but new, more modern quarters) where WE SEE the
globe and the enormous electric sign: THE DAILY PLANET -
Metropolis’ Greatest Newspaper.
96 INT. PLANET CITY ROOM - DAY
The city room of a large newspaper. Rows of desks. REPORTERS,
EDITORS, COPY BOYS scurry back and forth.
CAMERA PUSHES IN on a corner of the City Room where a few star
reporter desks look a bit larger and widely spaced than the
others. Behind them is a frosted glass door on which is painted:
"PERRY WHITE, MANAGING-DIRECTOR".
97 ANGLE ON DESKS
Seated at the typewriter, working with intense concentration
punctuated by occasional smiles, is a YOUNG WOMAN.
Physically she is a knockout: long brunette hair, smart clothes
on a smart figure. Mentally, she’s just as good: bright,
talented, ambitious.
A girl with a wry sense of humor, a snappy reporter with an
instinct for a big story, the grown-up version of that little
girl last seen at the train window as it sped through Smallville:
This is LOIS LANE.
LOIS
(to anybody)
How do you spell "massacre?"
98 ANGLE ON LOIS THROUGH REFLEX FINDER
LOIS turns, looks into the crosshairs of a reflex camera
viewfinder. She is perfectly centered.
JIMMY’S VOICE
R-E.
38
98 CONTINUED
The shutter clicks.
99 BACK TO SCENE
A few feet away, a fresh-faced young CUB REPORTER lowers his
press reflex camera. A teen-age eager beaver who idolizes LOIS,
this is JIMMY OLSEN. He grins, crosses to LOIS, tries to see
what’s in her typewriter.
JIMMY
What’re you writing. Lois?
LOIS
(continues typing)
An Ode to Spring. One or two "T’s"
in bloodletting?
JIMMY
Two.
LOIS types the finish, rips the page from her typewriter, reads
with gusto.
LOIS
"And the people on the street, the
little man who runs the corner
newsstand, the old lady sunning
herself on the stoop, the kids
playing stickball in the alley -
none of them will ever forget that
night of senseless blood-letting
which turned a friendly block party
into a cruel and unspeakable
massacre."
(triumphant)
LOIS rises, starts toward Perry White’s office. JIMMY tags along
at her heels as CAMERA TRACKS with them.
JIMMY
(lost in admiration)
Boy! How come you get all the great
stories, Lois?
39
99 CONTINUED
LOIS
A good reporter doesn’t get the
great stories, Jimmy. A good
reporter makes them great.
JIMMY
Oh, wow...
LOIS flashes him a knowing grin, knocks on PERRY WHITE’S door,
enters without waiting for a response.
100 INT. PERRY WHITE’S OFFICE - DAY
The office of a working editor. Copy pinned up on bulletin
boards, photos piled on the desk, wire service tear sheets,
plaques, awards, signed photos on the walls, etc.
Behind the desk, rol1ed-up shirt sleeves, tie loosened, is PERRY
WHITE, the no-nonsense, hard-working 50’ish editor of the paper.
Beneath his gruffness is a nice guy who loves his grandchildren.
PERRY struggles vainly with the screw-on top of a pop bottle as
LOIS marches in, lays her story on his desk.
LOIS
(cocky)
Here’s the story on that East 19th
Street murder spree. Page one with
a banner headline seems about right
to me.
PERRY
So why should today be different...
(gestures O.S.)
Clark Kent, say hello to Lois Lane.
LOIS turns, not realizing there was someone else in the room.
CAMERA PANS: Seated against the wall by the entrance is CLARK
KENT. He rises, polite and friendly, extends his hand.
CLARK
Hello, Lois ...
LOIS
Hi there...
40
100 CONTINUED
LOIS looks back at PERRY as CLARK slowly lowers his hand. PERRY
crosses, still struggling with the bottle top.
LOIS
Believe me, Chief, it’s got
everything. Sex., violence, the
ethnic angle...
PERRY
So does a lady wrestler with a
foreign accent.
(turns)
Here, Kent. Open this, will you?
PERRY hands CLARK the pop bottle as LOIS continues. CLARK
struggles with it mightily, but to no avail.
LOIS
Chief, this could be the basis for
a whole series of articles -
"Making sense of senseless
killings", you know? We get
psychiatrists ...
LOIS takes the bottle away from the straining CLARK, raps it
sharply twice on the arm of his chair hands it back to him.
LOIS
...sociologists, interviews with
the families...
PERRY
Lois, you’re pushing a pile of
rinky-dink tabloid crap. The Daily
Planet has a tradition to ...
CLARK tries the bottle cap. It opens, suddenly fizzes out in a
squirt from the agitation by LOIS.
PERRY and LOIS turn, stare. CLARK winces shyly as the liquid
dribbles down his pants leg. LOIS can’t resist a smile, but
sympathizes.
LOIS
I’m sorry. I didn’t shake it up on
purpose.
41
100 CONTINUED
CLARK
(nicely)
Of course you didn’t, Lois. Why
would anyone want a total stranger
look like a fool?
CLARK smiles. LOIS looks back, unsure of how he meant that, as
PERRY takes the bottle, from CLARK.
PERRY
Lois, take Kent out there and
introduce him around. He’s coming
to work for the paper. I’m putting
him on the city beat.
LOIS
(not happy)
My ... beat?
PERRY
The competition’ll do wonders for
you. Listen. Not only does this guy
show proper respect for his editorin-
chief ...
(baiting her)
not only does he have a snappy,
punchy prose style, but I swear to
you that after forty years in the
business he is the fastest typist I
have ever seen.
LOIS stares warily at CLARK. His sincere expression never
changes.
CLARK
I’m sure I can learn a lot from
you, Lois...
(turns)
Oh, Mister White, could you arrange
for half my salary to be sent on a
weekly basis to this
address?
CLARK hands PERRY a piece of paper from his pocket.
42
100 CONTINUED
LOIS
Your bookie?
CLARK
My what?
LOIS
(archly)
Don’t tell me. He sends a check
every week to his dear gray-haired
old mother.
CLARK
(total sincerity)
Actually, she’s silver-haired.
LOIS stares at him, stunned. He actually does send his mother
money. CLARK manages a pleasant smile.
LOIS
Are there any more at home like
you7
CLARK
Not really, no.
101 EXT. METROPOLIS STREET - NIGHT - TRACKING SHOT
It is late at night. The street is semi-deserted as CLARK and
LOIS walk along on their way back from work.
LOIS
Well, Clark? So how did you enjoy
your first day on the job?
CLARK
(checking his watch)
Frankly the hours were somewhat
longer than I expected, Lois, but
then... meeting you and Jimmy and
Mr. White - on the whole I think
it’s swell.
43
101 CONTINUED
LOIS
Swell.
(pause)
You know, Clark, there are very few
people left in the world these days
who sound comfortable saying that
word ... "swell".
CLARK
Really? It just sort of comes
naturally to me.
As they pass an alleyway a VOICE is heard.
VOICE
All right. Freeze. The both of you.
CAMERA STOPS, PANS: a rough-looking MUGGER stands just inside the
darkened alleyway, a pistol leveled at them.
MUGGER
Get in here.
CLARK and LOIS look around nervously for help. The street is
deserted.
CLARK
Better do as he says, Lois.
102 INT. ALLEY - NIGHT
CLARK and LOIS are forced up against the wall. CLARK seems
nervous, LOIS grimly determined.
CLARK
Listen, mister. I realize times are
tough for some these days, but ....
(total sincerity)
This isn’t the answer. You can’t
solve society’s problems with a
gun.
The MUGGER blinks. LOIS looks at CLARK unbelievingly.
44
102 CONTINUED
MUGGER
You know something, buddy? You’re
right I’m turning over a new leaf.
CLARK
That’s the spirit.
MUGGER
Right after I rip off this lady’s
purse.
(to LOIS)
Now hand it over.
LOIS stares hard at him. Disgusted, she lets the purse drop. The
MUGGER reaches down to pick it up. LOIS suddenly kicks him
viciously in the neck, sending him reeling backwards. The MUGGER
hits the pavement bringing up his gun with a deadly glare.
CLARK
Don’t shoot! Don’t shoot!
CLARK rushes forward with his arms outstretched pleadingly as the
MUGGER fires.
103 INSERT SHOT - CLARK’S HAND
AT SUPER SPEED: The bullet hits CLARK harmlessly in the palm of
his hand. He closes his fist around it.
104 BACK TO SCENE
CLARK’S eyes bulge. He drops to the ground with a look of
agonized astonishment as LOIS screams.
LOIS
Clark!
The frightened MUGGER scrambles to his feet, runs off down the
alley as LOIS bends over CLARK.
LOIS
Clark... oh, Clark... are you...
CLARK’S eyelids flutter, then open. With a sheepish smile. He
looks up at LOIS
45
104 CONTINUED
CLARK
Wow ... I guess I must have fainted
or something ...
LOIS
(rising - disgusted)
Swell.
CLARK gets to his feet, dusts himself off.
CLARK
Really, Lois. Supposing that man
had shot you? Is it worth risking
your life over ten dollars, two
credit cards, a hairbrush, and a
lipstick? I mean...
LOIS
(strange expression)
How did you know that?
CLARK
(suddenly nervous)
Know what?
LOIS
You just described the exact
contents of my purse.
CLARK
(pause- smile)
Wild guess.
CLARK turns self-consciously, strides out of the alley as LOIS
watches him curiously.
CLARK
Taxi!
105 EXT. METROPOLIS STREET - NIGHT
CLARK and LOIS enter a cab, take off, CAMERA PANS to a newsstand
on the corner.
46
106 CLOSE ON NEWSSTAND - NIGHT
A large MAN (OTIS) in a slightly disheveled one-colour outfit
which could pass for a uniform buys a newspaper. He checks the
headlines and front page picture before paying, then starts off.
CAMERA PANS: a police car is parked at a nearby corner directly
in his path.
lO7 INT. POLICE CAR - NIGHT
TWO OFFICERS watch as OTIS approaches, passing under a
streetlight. Their eyes narrow suspiciously.
OFFICER #1
That’s him, all right. Lex Luthor’s
right-hand man. Let’s get him.
OFFICER #2
Wait. Maybe he’ll lead us to the
man himself.
OFFICER #1
(too good to be true)
Lex Luthor...
OFFICER #2
You got it, Charlie. We both make
Captain by midnight.
They look through the windshield. OTIS has spotted their car, now
hesitates.
108 EXT. STREET - CLOSE ON OTIS
OTIS suddenly doubles back, rounds a corner. The police car
pulls away from the curb, rolls after him.
109 EXT. STREET NEAR TRAIN STATION - NIGHT
OTIS has broken into a run. Still holding on to his newspaper, he
heads for the entrance to a train station farther down the block.
CAMERA PANS: the police car has picked up speed, continues to
follow.
47
110 EXT. METROPOLIS STATION (GRAND CENTRAL) - NIGHT
OTIS, now at a dead run, threads his way through arriving
PASSENGERS and taxis, enters the station. In F.G. the police car
pulls up. OFFICER #2 jumps out, turns to OFFICER #1.
OFFICER #2
Call for a back-up. I’m going after
him.
(slaps walkie-talkie on belt)
I’ll keep you posted.
111 INT. METROPOLIS STATION (GRAND CENTRAL) - NIGHT
OFFICER #2 arrives at the top of the main staircase leading down
into the busy central hall of the station, scans the CROWD.
112 ANGLE ON OTIS - OFFICER #2’s POV
OTIS hustles through a group of PASSENGERS, heads down a ramp
marked: LOWER LEVEL.
113 BACK TO OFFICER #2
OFFICER #2 has seen, speaks into his walkie-talkie, as he runs
down the stairs.
OFFICER #2
Lower level, Charlie. I’m right on
his ass...
114 INT. STATION LOWER LEVEL
OTIS hurries through the lower level, disappears into an entrance
marked: TRACK 22.
CAMERA PANS: OFFICER *2 has seen, follows quickly.
OFFICER #2
(into walkie-talkie)
Track 22, Charlie...
OFFICER #1’s VOICE
(through walkie-talkie)
Back-up’s here. We’re right behind
you.
48
115 INT. TRACK 22 - NIGHT
OTIS runs down the platform. On one side is a waiting train,
steam belching from beneath the cars as the final PASSENGERS
set on board. OTIS joins them.
116 ANGLE ON OFFICER #2
OFFICER #2 at the top of the platform starts after him, suddenly
stops as he sees:
117 ANGLE ON OTIS - OFFICER #2’s POV
OTIS’ emerges through the steam on the other side of the train.
He looks down the opposite side of the platform along an empty
track. A train approaches in the distance, its lights now
visible, the noise of its wheels increasing rapidly in volume.
OTIS looks: against the far tunnel wall are a series of concave
man-sized indentations, meant for track workers to step back into
in case of an oncoming train.
Waiting until the last moment, OTIS suddenly, jumps down onto the
track, crosses it, steps back into an indentation as the train
roars past in f.g.
118 CLOSE ON OFFICER #2
OFFICER #2 watches, mystified.
119 ANGLE ON TRAIN
The train rattles by quickly, its flashing windows obscuring OTIS
from view. As the last car whistles by: OTIS has disappeared -
the indentation is empty.
120 BACK TO OFFICER #2
OFFICER #2 grins confidently, speaks into his walkie-talkie.
OFFICER #2
Make it Track 23, Charlie. I see
how he does it...
49
121 INT. TRACK 23 - NIGHT
OFFICER #2 runs down the platform, stops opposite the indentation
OTIS used. He is about to jump onto the track, hesitates as he
looks off: Another train is coming down the track, its lights now
visible in the distance. OFFICER *2 grits his teeth, jumps off
onto the track.
122 INT. LUTHOR’ S LAIR - NIGHT
CAMERA CLOSE on a TV monitor screen. OFFICER #2 is seen on it,
crossing the track. A disapproving, clucking sound is heard. A
hand comes into frame holding a remote control device. A button
on it is pushed. The TV image changes: We now see OTIS
Walking nonchalantly down a narrow underground passageway lined
with enormous steam pipes, still holding on to his newspaper.
LUTHOR’S VOICE (O.S.)
It’s a miracle that brain can
generate enough power to keep his
legs moving....
The remote control device switches back again: Seen on the
monitor: OFFICER #2 has crossed the track, looms large in monitor
f.g. as he takes his place inside the indentation.
123 INT. TRACK 23 - CLOSE ON INDENTATION
OFFICER #2 has stepped inside the indentation, now waits. The
train roars down the track towards him. Suddenly - the rear wall
of the indentation pushes forward, shoving him out in the
direction of the track. He fights vainly for a moment, then
catapults onto the track with a scream as the train rushes past.
124 ANGLE ON TOP OF TRACK 23 PLATFORM
OFFICER #1 has arrived with two other POLICEMEN. They scan the
platform area as the train roars by. CAMERA PANS:
125 ANGLE ON TRACK 23 - THEIR POV
The train has passed. All that remains on the track is a chewedup
policeman’s hat and a dented walkie-talkie which sqawks pure
static.
50
126 INT. LUTHOR’S LAIR - NIGHT - CLOSE ON TV MONITOR
Seen on the TV monitor: the POLICEMEN scratching their heads,
puzzled, walking along the empty platform. The hand with the
remote control device comes back into frame. A button is pushed.
The screen goes dark.
127 INT. UNDERGROUND TUNNEL - NIGHT
OTIS proceeds down an even narrow tunnel. Water drips from the
rock ceiling above. A couple of rats scamper past and through
some rusted heating and electrical ducts which line the sides.
CAMERA PANS with OTIS.
He heads for a rusty, bolted metal door marked: DANGER - NO
ENTRY - CONDEMNED.
128 INT. LUTHOR’S LAIR - NIGHT - CLOSE ON MODEL
CAMERA. FOLLOWS another train (this one a model) as it snakes its
way around mountains and through deserts in a made-to-scale U.S.
western-type landscape.
Emerging from a tunnel it heads out onto a bridge which is only
half-completed, suddenly tumbles off, the falling cars
demolishing a papier-mâché model of a hospital directly below.
A low chuckle is heard O. S. CAMERA PANS UP: A few feet away, a
beautiful YOUNG WOMAN (EVE TESCHMACHER) reclines with her feet up
in a deep, luxurious sofa working on a needlepoint pillow. A
projected blue-sky backdrop shimmers on the wall behind her,
looking quite real from this angle and distance.
EVE is open, straightforward if slightly dim, with an
unmistakable honest sexiness about her which matches her
personality. She looks up INTO CAMERA, wide-eyed, disapproving.
EVE
That’s sick, Lex. Really.
129 WIDE ANGLE ON LEX LUTHOR AND LAIR - EVE’S POV (DAY)
LEX LUTHOR sits behind a massive desk in his palatial underground
lair, now seen for the first time as CAMERA PANS: At first glance
- breathtaking, with its multi-level1ed areas, only some of which
are immediately visible. The entire wall behind him which rises
to a high ceiling is completely covered with full bookcases
bulging with periodicals, papers, etc.
51
129 CONTINUED
Another separate area has a complicated laboratory with viewing
theater, banks of electronic gadgets which have been connected to
underground electrical lines exposed in portions of the rockfaced
walls.
In the same manner we will discover exposed heating ducts and
water mains. One higher level near the ceiling is completely
blocked from view. Off to another side - a large and colourful
aviary, stocked with live birds of prey: eagles, falcons, hawks,
etc. The walls and ceilings, as we will discover, are almost all
canvas on which projections can and will be made, different ones
servicing different specific parts of the lair.
One other aspect of this underground kingdom will soon become
apparent: whether through the architecture which strangely
resembles that of Metropolis Station, or the row of bookcases
which curiously look like old ticket windows, or the odd, faded
track marker which signals the way off into one or another of the
hidden corridors of the lair - it is clear we are in an abandoned
railroad station, drastically remodeled, but nonetheless a fact.
CAMERA PUSHES IN ON LEX LUTHOR: His face is a task of elegant
demonic Genius, for this is a man with an infinite capacity for
sadistic evil. Cutting, given to rapidly changing moods, but
always thinking - the master criminal incarnate. He stares at
EVE, the only person he allows to "nag" him, loving her in spite
of all. LUTHOR shakes his head sadly disappointed.
LUTHOR
Sick.
(pause)
Here we sit, Miss Teschmacher, mere
days away from executing The Crime
of the Century, and how do you
choose to congratulate the greatest
criminal mind or our age? Do you
call me brilliant? A bit obvious,
that, I grant you. charismatic,
then?
(hopefully)
Fiendishly gifted?
EVE
Try twisted.
52
129 CONTINUED
EVE goes back to her needlepoint as LUTHOR glares. There is a
metallic "clank." O.S. OTIS has entered from a lower level,
dutifully approaches the desk holding his newspaper, smiles,
cheery.
OTIS
I’m back, Mr. Luthor...
LUTHOR
You were followed again, Otis...
OTIS looks over his shoulder, deeply concerned.
LUTHOR
Yes. In spite of those cat-like
reflexes.
EVE
(new thought)
See if you can just explain to me
one thing. Why do millions of
people have to die for this...
Crime of the Century? Tell me that,
Lex. Why do they all have to die?
LUTHOR
Why?
(rising - philosophical)
Why does the phone always ring when
you’re sitting in the tub? Why do
restaurants call animal intestines
sweetbreads? Why would the most
brilliantly diabolical leader of
all time surround himself with
total incompetents?
(to Otis)
Why, in fact, does the chicken
cross the road?
OTIS
(proudly)
To get to the other side.
LUTHOR stares at him, OTIS hangs his head.
53
129 CONTINUED
OTIS
I’m wrong again, aren’t I, Mr.
Luthor.
LUTHOR
No, Otis. As a matter of fact, I
stuck that last one in especially
for you.
(pause)
Is that the newspaper I asked you
to get me?
OTIS
Yes, sir.
LUTHOR
Then why am I not reading it?
OTIS
(knows when he’s wrong )
Because I... haven’t given it to
you, Mr. Luthor.
LUTHOR rips the paper from OTIS’S hands, swats him viciously in
the side of the head with it.
OTIS
Thank you, Mr. Luthor.
LUTHOR drops the paper on the desk, sits.
130 INSERT SHOT - FRONT PACE
The paper is The Daily Planet. Clearly visible on the front page:
a large photo of two nuclear missiles on their launching pads and
the headline: TWIN I.C.B.M TEST CONFIRMED - LIVE WARHEADS TO BE
USED.
131 BACK TO SCENE
LUTHOR beams, drops the paper, rises, ecstatic.
LUTHOR
At last it’s official! Thanks to
the generous help of our own
government, we are finally going to
realize the greatest real swindle in
history!
54
131 CONTINUED
EVE
You and your real estate. Why does
it mean so much to you? All the
time, "land, land, land."
LUTHOR
When I was a mere prodigy, Miss
Teschmacher, having passed through
vandalism with flying colours at
the age of six, my father said to
me: "Son, stocks will rise and
fall. . . .
(gesturing around him)
Utilities and transportation
systems may even collapse, and
people are no damn good - but
they’ll always need land, and for
that they’ll pay, through the nose.
Remember that," my father said.
"Land."
LUTHOR presses a button. A brilliant desert vista appears on one
wall.
LUTHOR
"Land!"
Another button. Another vista. This one of the snow-capped
Rockies.
EVE
(not looking up)
Then your father must have been
sick too.
LUTHOR
(sad nod)
Arnold "Buster" Luthor. The most
inept check forger of his day. A
pity he didn’t see how, from such
humble beginnings, I created an
empire.
EVE
An empire? This?
55
131 CONTINUED
LUTHOR
Tell me, Miss Teschmacher. How many
other girls are lucky enough to
have a Park Avenue address?
EVE
It isn’t a Park Avenue address,
really. Two hundred feet below.
LUTHOR
Do you know what they’re all paying
per square foot up there? For a few
miserable rooms of a common
elevator? What more could anyone
ask for?
EVE
Sunlight. Something that overlooks
a window.
LUTHOR, angry, turns to OTIS who shifts his feet.
LUTHOR
Otis, you want something. What can
I throw at you?
OTIS
The...ah...paper, if you’re through
with it, sir...
LUTHOR
(incredulous)
A newspaper? Otis? You want to read
the newspaper? Is there really life
after death? Is water finally
running uphill?
OTIS
I thought maybe...the funnies. . .
LUTHOR hands him the paper, sighs.
LUTHOR
Here. Don’t forget to flush this time.
56
131 CONTINUED
EVE continues to needlepoint, but feels his gaze on her.
EVE
You know something, Lex? You’re
perverted. You’re the most cruel
and vicious human being I know...
LUTHOR approaches her, glaring with genuine malice.
EVE
You’d cut a baby’s throat with its
own diaper pin. Steal the wafer
from a nun’s handbag....
LUTHOR stands over menacingly, looks down. She glances up, smiles
helplessly.
EVE