L,

July 2 6 , 2002

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FADE IN:
I N T . TV

MONITOR

DAY

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
~t th

efs

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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

DAY
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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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w.
lue ling and

WTt
on Ty-

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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

m-""'.
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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
er him

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
I

n V i
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EXT. EAST COAST . .

DAY

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

ern

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

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

I N T . NASA HANGAR

DAY

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 .

e can

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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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end,.

T y - Z O ~ here is

superman stares down 'the hali--. .' eyes .arena working ag t

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his

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TY-zoR (0,s.)'
we see

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. .

(MORE )

Like
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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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FIELD

EXT.

DAY
The only sound, the gentle b

Peace. Nature.

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

PULL BACK to a massive LONO SHOT. The endles adjacent to a thick forest. Snowy mountains, miles away. Three moons in the daytime sky. image washed i n a CRIMSON GLOW; on thiS planet red. And these WORDS A P P W ON SCREEN:
~ Y P M N .. R-

TIGHT AGAIN an the little girl. She pi flower, collecting them. She's so adorable y watch her forever. Then her head snaps up -something we .do not.
We're
A

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,

fX)

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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--

w IS

it.

! ! ! 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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he enokmgus

'ROUSER

:- .machinescoming. . . . . . .

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

DAY

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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

INT.

DAY

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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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.D. a m jin.

OFFICER -- . they've .cros6ed the border .

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into

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The senate members &e: a one rnhn -- and so do we: 5 ,. their.handsome, rugg
b e e dreading t h i s .
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Hive' we
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ha' er

JOR-EL from m a s ?

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., . Sir, .

OFFICER . the'General is dead.

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

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suddenly vaults
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ZNT. WAR ROOM

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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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-- but their units in Menna were.

destroyed

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
L i

LImPTENANT (cont8d) We have no offense left.

Jor-El looks at his Lieutenant, enraqed. stares back, anxious.

The

,--"."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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JOR-EL-.
LIECPTENANT

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Go to your family.

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Sir, my job . is here, I-.

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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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EXT.
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TAZA,

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DAY' N
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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 . . . . . . . . . . . . . .. :

Jor-El hurries do%m a. who is.crying -- b u i n q . . .....

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plea'se

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or-331--'

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~ u the s dete-ned .

-- as he' w a l k s :

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There must

do!.
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'something else we can

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And

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. LARA

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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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JOR-EL

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

DAY

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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ee ele.
eyes.

oking

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and we see just how

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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A CLEAR,

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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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yau ' re .corkingwith

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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

DAY

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:
*

(CONTINUED)

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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

DAY
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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

smO

to agony he mech ANNQNS

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

L '

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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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(cont'd) a r e the han k i l l him.

E(ATA-ZOR

Us Lieutenant:
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Kata-Zor shoves away Jor-El's

face and stands,

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

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KATA- ZOR
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S" L I E ~ E N A N T
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Siri. the pod could be-headed for an one off a thdusand planets.
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. 'KATA-ZOR'. .. ., .(beat,'-} . . . then send a thousand men, .-

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i SOLDIERS' across a,tarmac to their PODS -* themselves.inside, .hatches closi .

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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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it" s E P I C .

fjaDI3 IN:
I N T . KENT'S KITCHEN

DAY

~ 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.

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

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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

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INT.

DAY

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

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,

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JONATHAN

I am, I ami.,

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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)

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

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

, ~ . 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. .
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'

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 .
:

:
. . .

. . .

..

..

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

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.

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

.'

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

'.

i
,

. -

... .
.

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

.

..

. . .

@.
. . .

Look at that .
,
'

'r;
. .

. .(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 .

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

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

.'

. . .
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
. .

. .

. ,

...

..,

. . .

~ X T ;KW
. .

FARM

.
.

DAY

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

....

" .. .. . . . . . .

..

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

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

jbNA-'
.
,

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

:',

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

...
*\
*

--

sorry
.

-,

cmRK., , . .
.

. ,

. . . . . ,

. :,,;,

',..,

....
.

.
..
.?.,

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

.

. ~ . . ' .~ . . " 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

. .- .

1 . .

'CLARP;,? '.
a

. . ;,

'

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

.s+-*-.I

...

.
. .

..

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

,

-.

.
.
T

.....
a.

.-.

. ... .. ,

.. ,/

.)

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

. ,

..
.

-.

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--

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.

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

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. .... . .

.
.,

.. .
,

'..

~ 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.

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.

--

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.

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 : -

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

....

--

--

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

..

. . .

.
.
.
.

.. . .
.
,

: : .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.

'

.
'

'

'

'

'

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.
,

. . . . :.

. . , .

(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

- n suddenlv somethina Ad

extraordinarv h a ~ ~ e n 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.

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

--

--

-- 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

. .

.
.

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 ..

! '

.,

. . .,
*
.,.,'

..

'

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

..

'

. . ..

. . .
b

--

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

-,

the
'

(CONTINUED)

CONTINUED:

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

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 - - ,

--

,.

31.
-.

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

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.
/

--

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

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

--

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
,

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 ...

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.

..

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'

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

~ 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

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?

'

'

.
,

~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)

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.
,

'

ng this

.. . .

. .

E OUT.

.
.

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

'
4

. .. . .
'

m -SOUND of e
.

MILITARY .CHOPPERS .over' ,,.' .+ . ,

.
,
"

p.~ : .. ' -.

s' L. W S K *

.'

. ..

..

.
,

: ,,:.'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 )

.
.

.. . ..
.. . .

.
'

.
.

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

. .. ,. . .

.
.
...
,

40.
.

......

. .:-..

..:

, .,.
.

_. .-

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

... &uth . .. . .

.. w!
<I.

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

. .

.,

fiesh.
...

..

bobs ok

KQWOR
. . .
.
,

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

,

'

. ,
,

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

R ........, .

. .

alien's

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

. .
'

how:.*

'. .

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

1

......... . . . . . .,.'
.

..

~OLICELT;:,

'm .....
. .

.
.

.. .

'

LmOR:
.

...

:
'

. .'

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

job..

'.

.
.
.

. . . . . .

'..(calls tb.'crowd; kindly)

.
.

..

'

'

Hev:. whoever did this did 1 JVho's .the ar?

.... i
...
.

.
....

'out .a', little.

. . . . . . .

. . .
. .
,
,

.. .

.
'

'HOAX GUY 12.

'
'

'. -. .

) '&p.

.
I

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

.:

.
.

. .

. . . ..< . .

Ar,=*gt. them; ..
,

. . . . .

.
.

..
.

. . .

. . .
. .

yessir.'.
.. .

. . .

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

.,

.. .
.,

.
.

.....

. . .

:.

'

.
... . . . .

.
.I .
e

PULL,BACK FROM .THE'ARTICLE M . . . ..

. .

that, we re in :
. .,
' I

'

._..I.

. . . .
'

J .

I
Ld .

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

'

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
..

- ,..

'

know to be in Dust City?

.. .

LrnOR

Lane was

there...?

HOW

did she

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--

- --

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)
.

..

- .

CONTINZTED :
..... .
: .

. .

.I
, ,

.
, '

.
,

'

. . .

DIRECTOR DRESSLER could' resu1.t .jm . xiass . . . . .... . .. hysteria... ' . . .

. ... t h a t

..

:
. .
'

.
.-

".
,

L ~ O R ' .

::
'

..:

. -

. .'.

..

& m a n e. e d . . ...
.
~

mavbe a l l t t l e
'

'EXT. TH$.DAILY PLAN*

.

;.DAY. . . .
.

, . . . . . .. . ..

._

, .
,

. .

..

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

--

..
1

INT. THE DAILY PLANET .

-.

DAY

.'

..

"

... .

I.

effeminate twenty-something someone OFF-CAMERA :

.

,.
,

. ..

..
.
,

.
.

. .

.. 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

. . . , .. .

lunch,
. .

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

w.

..

'
.. .
,

. .

JfMMY (&nti.d)

'

. ..

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

,

...

They move , w o u g h the BULLPEN,

. . .
.
'

to, en empty desk.

.
;

-Thm
, ,

.. ._.,

1 '

.. .

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

.

..

fabricated.

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."

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?

, ,

..
"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 ,
w
.'

--

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

'a2
(CONTINUED)

I
2

..

--r -

44.
CONTINUED : ( 2 )

,
e

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

.--

--

-I
'

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
...
.

--

--

. .

per&

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

. .

'

am--..
,

.' . -- yessir-- CLARK..

"
,

. .

, , , ;

.:.

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

--

good--

--

..

..

-- '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?

. .

. .

.
,

. . .. .
'
'

CONTINUED:' 4 3.1
. .
. ,

'

. ....

. . .

. .

.. . . ,. ' . :
:

...

-.
..-

. :. donf'&w o r r y about your handshake,

.'

PERRY

.
. .

-' .

.
~..

..
. . .

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?. . . - . .. .. :.
,'

.,

CLARK-. .

. .

'

. ,

' -

<, .

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

,

e-e
pq
u

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

.'

Get

'

..

. '- ' , ,

'-

I?

When I f i r s t m e q M r : W h i t e , he was just a . total:a'sshole; .

.

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 .

Oh, no, that'.s it.'

.-.

'

lark

. . .

.. ., . .

nods and we C . . &

l W A .PHO?DGRAPH OF :

.
, .

....
.
. r _

... !... .,. .

.

. .
'

..'.

. . .
.

.. . ..

. .

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

. .
'

INT.
.

An

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

- I

GLOBALCENTER-DAY. -

....* '

.,

. .. .
..

A.

n.

.. .

.
I

Ld .

. ...'

. .

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

. .

"

'

'

46.

CONTINUED : , ,

-.

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

v3 N-

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
,

--- Cliff?
.
7

- .

-- - Clark?
I

tOIS

L ,

.....7

.
.
,

-.

- .

.
..

. . . -.

..

( cONTINZTED)

? .

..

' . I - ; .

,.*.

..$?? .)
.

.
,

::l..r..

. .

.
,

. . .

, . .. ..

..

. .

...

..

. .
,

. .
..

..

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-- .,. . - . . ..

--

'

.. ,.
'

.-.

'GLOBAL

CORRIDOR

- DAY

..

..

'

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'

. .

. .

'

'

...__
.:

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
. .

..

-.

Clark hangs up and we' PU&

.

R4

dn. h i s
)
'

pGzzled f

., ..

.. . .
,

.
., .
'

. . ....WLLY . Clark

m...:+. . .'

..

... 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)

. ;

--'

-.

'

'.

...

'.

the mostly .&tptyoffice, .at thi works at hi"s computer,, Lois a t h e r s . h o d containers.
.ASS,

.
.
.

..

on^ t t 3 1 i1
,

nu

LOIS

you

that crap;

...

'CLARK

...
, , 7 '

'

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

.
was

:
.

.-..

..
:

_
. ,

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 .

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

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

b.

@TI

e*

@JJ

C>

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

CLARK
LOIS

=.
.

..

He had a stiiped shii-t, shaggy h a i r . .?

(CONTINUED) ..
-

.
,

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

. .

. . .. .
.

. ,.
. .

..
. .. . . .
.

.. CONTINUEb:'"(2) .
.. .
'

.
.I

,..
..:

..
.
.
,
'

:,
.

. -

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

CLARK'.
. .

. .

w!,.
. . ..
.

.
2.

...

- .

..

.
n

. . .

LOIS.
d were :
.

. .

. . . . . .- . 8 . . .. . .
.
,

.. ,

~
. . .

there?: . . . ~ . .
.

. . . .
'

....
. . . .

.. . . " A

..
. .

This is unbelfevable.'..
,

CLARK

.
'

.
. .
.

..
' .

.
. .
,

.
.

:..
.

. .

. .,
.
.

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 ;

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 .

.:

. . .
,

. . ..

. .

. . ..

.
*

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

....

. .

JIMMY.
'

what? .co&

. .
.

. . . . . . . . .

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

.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 .

--

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 ..,

. .

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)... )
. .

'

. .

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

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.

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:
.

.. '