SMALLVILLE, LAS CRÓNICAS DE CLARK KENT

"Superman I, la película: Guión de la edición Especial".

13:21 horas. 12 de Mayo de 2012  
Publicado por Alberto Angulo Morales
www.smallvillechronicles-spain.blogspot.com
.

Smallvillechronicles-spain os presenta el guión original de la edición especial de "Superman I, The Movie". Esta edición fue realizada en 2001 con escenas nunca vistas hasta el momento. A partir de esta publicación os muestro la parte de Metrópolis.

INT. PERRY WHITE'S OFFICE - NIGHT


PERRY is standing examining some news strips, and is on the phone. PERRY then slams down the phone, and walks to his office door.


INT. DAILY PLANET BULLPEN - NIGHT


There is plenty of activity: the wall clock indicates 8:00 P.M. in the background. The CAMERA TRACKS through the chaos as PERRY WHITE exits his office, the strip in his hand.


PERRY
Olsen?


JIMMY (O.S.)
Yeah?


PERRY
(stops walking, gives him the strip)
Get this Loch Ness update right into composing.


JIMMY
All right.


PERRY
(takes a phone call after one of the employees hands him a phone)
Yeah.


JIMMY OLSEN is still there, chatting with the employee.


PERRY
No that's it, Ross. Put it to bed. Right.
(hangs up, sees JIMMY)
What are you standing around here for?


JIMMY
I'm not- (PERRY holds up a hand to stop him) I wasn't gonna say it...


PERRY
(pointing)
Go.


JIMMY walks off.


PERRY
(walks around the desk and over to LOIS, who is typing away on her typewriter with a PEN behind one ear, and peers DOWN)
Ah, the sex maniac profile.


LOIS
Right. Look, nine to five it's a Pulitzer Prize winner, what do you think?


PERRY
There's no z in brassiere.
(walks away around the desk again, says over his shoulder while examining some papers)
Hey, nice job on that union scandal, Kent.


CLARK
(half-rising out of his chair)
Uh, gosh, thanks, Mr. White.


PERRY leaves. LOIS gets ready to leave too. CLARK rises, briefcase in hand and crosses to LOIS


CLARK
Uh...


LOIS
(looking up)
Oh, hi, Clark. Good night.


CLARK
(walking after her)
Um, here lemme carry that for you.
(grabs his hat off the rack)


CAMERA TRACKS them.


LOIS
Oh, thanks a lot.


CLARK
Uh, Lois, have you, have you got a minute? (to a guy in the way) Excuse me please. Uh, Lois?


LOIS
(walking along, stops at a desk)
And, uh, these two go to the addresses on the envelope, okay?
(continues walking)


CLARK
(to the woman LOIS spoke to) Night. (to LOIS, they are still walking as LOIS stares at her letters) Lois, I was wondering if maybe you'd like to have a little dinner with me-


LOIS
(nice smile)
Oh gosh, Clark, I'm sorry. I'm booked.


CLARK
Oh.


LOIS
Yeah, Air Force One is landing at the airport tonight and this kid's going to be there to make sure you-know- (waves to someone in the office) Good night! (focuses back on the conversation) -who answers a few questions he'd rather duck.


CLARK
(admiration)
My goodness. Don't you ever let up?


LOIS
(stares at him)
What for? Hmmm? I've seen how the other half lives. My sister, for instance...three kids, two cats, and one mortgage...yechh. I would go bananas in a week.


CLARK
Well, can I take you to the airport?


LOIS
Not unless you can fly.
(giggles)


They have reached the LADIES TOILETS. The door opens. LOIS enters, and CLARK is about to do so as well.


LOIS
(stops him)
Uh, Clark?


CLARK
Hmm?


LOIS
(points at the sign on the door and gets her change of clothes)
Ladies.


CLARK
(sheepish)
Sorry.
(turns around and moves back)


LOIS
Thank you.


CLARK
(moving forward as she slams the door in his face)
Uh, Lois, maybe we could-! Hmmm.
(tries to get the trench coat in his hand loose, which is stuck in between the door)
Um. Uh, Lois?
(knocks on the door, and then knocks again)


LOIS
(opens the door and gives him a letter)
Would you be a pet and mail that for me? Thanks.
(shuts door again)


CLARK
Oh, sure, I...
(glances at the letter in his hand)
Night.
(sighs, puts on his hat and walks off to the elevators. Hears the ding) Oh, uh, g-going down please?


The elevator shuts in his face. The other elevator opens, he presses the button)


CLARK
Going down?


MAN (O.S.)
Going up, up, up!


We see his hand sticking out the elevator and pointing up. This elevator closes in CLARK'S face too as TWO REPORTERS walk past in the B.G.


CLARK
(to them)
Good night!


The two men pay no attention to him, talking amongst themselves. CLARK composes himself, and presses the down button again.


EXT. METROPOLIS - NIGHT


CAMERA ANGLE is from the rear of a helicopter in flight.


CONTROLLER'S VOICE
Uh, Daily Planet Copter One, this is Ground.


ANGLE changes to external of helicopter, skyscrapers in the B.G.


PILOT'S VOICE
Planet One, go ahead.


CONTROLLER'S VOICE
Ah, we have Miss Lane here for a quick ride to Metropolis Airport meet Air Force One, it's a hurry fight.


EXT. ROOF OF DAILY PLANET - NIGHT


LOIS emerges through a rooftop exit, looks off past an illuminated helicopter pad with a small waiting room building on the far side. She is holding her stuff as a fierce wind is blowing, and she walks along in a hurry.


PILOT'S VOICE
Roger, we're on our way, over the river now and have you in sight. Have one aboard for transfer, over.


CONTROLLER'S VOICE
Roger, Planet One, you're cleared to land. Wind zero two zero at one-five, gusting altimeter two-niner eight-niner.


PILOT'S VOICE
Roger, over and out.


LOIS enters the waiting room building.


EXT - METROPOLIS - NIGHT


The helicopter approaches the roof and the helipad.


ANGLE ON HELICOPTER - LOIS' POV


The helicopter heads in for the roof, swaying slightly, fighting the tricky winds. It lands on the edge of the pad. LOIS ducks her head, holding her hat against the wind.


ANGLE ON HELICOPTER


The passenger gets out and heads for the waiting room. At the same time, LOIS runs for it to get inside the helicopter.


INSERT SHOT - FLOODLIGHT CABLES


The rubber-encased cables connecting the helicopter pad floodlights dance wildly in the wind like black snakes. The helicopter struts are precariously near to them.


BACK TO SCENE


LOIS has entered the helicopter, and the ground crewman has shut the door. The PILOT takes off. The helicopter starts to rise through the strong winds, suddenly jerks back as the hooked cable takes hold of the landing struts.


PILOT
A malfunction!
(struggles with the controls)


LOIS
What's happening!?


PILOT
I can't control it, I can't...


The helicopter lurches down violently to the PILOT'S side, as LOIS screams.


INSERT SHOT - CABLE


The cable holding the helicopter has split, short-circuits, spitting electric sparks.


INT. HELICOPTER - NIGHT


PILOT
(as the helicopter spins around)
It's out of control, I can't control it, I can't...


INT. WAITING ROOM BUILDING - NIGHT


The rear of the helicopter crashes through the waiting room building, smashing the glass as everyone hits the floor.


INT. HELICOPTER


LOIS is still screaming, covering her eyes for a moment.


EXT. ROOF - NIGHT


The helicopter crash-lands at the edge of the roof.


INT. HELICOPTER


The PILOT, on the roof side, has been knocked unconscious by the impact. LOIS, on the street side, looks over at him, paralyzed with fear. Held in by her seatbelt as the passenger side door opens, she looks down her side to the street below, terrified.


ANGLE ON STREET - LOIS' POV


A sheer drop to the street. Some debris is falling to the ground.


INT. HELICOPTER - NIGHT


LOIS
(staring down)
HELLLLLLLLP!
(looks in the PILOT'S direction)
HELLLLLLLLP! HELLLLLLLLP!


EXT. METROPOLIS STREET


A CROWD has formed and growing rapidly in size, staring up, talking loudly and pointing excitedly.


ANGLE on ROOF


The helicopter is still precariously balanced up there.


INT. HELICOPTER


LOIS undoes her seat belt and begins to scramble towards safety.


EXT. METROPOLIS STREET


The police arrive on the scene, and start to get the crowd under control.


POLICEMAN'S VOICE
Get back, step back folks. All right, let's get back...
(whistle blows)


A news crew has arrived on the street, and starts filming the scene.


ANGLE on ROOF


The helicopter is still precariously balanced up there, as everyone looks up.


INT. HELICOPTER - NIGHT


LOIS is still struggling to get out of the helicopter.


EXT. HELICOPTER - NIGHT


The helicopter starts to slide off the roof.


INT. HELICOPTER - NIGHT


LOIS squeals in dismay, a look of horror on her face. She starts to slide down, but grabs the PILOT on the way. She darts a quick look down, and then starts to scream her lungs out.


EXT. METROPOLIS STREET


More police and ambulances arrive on the scene.


POLICEMAN'S VOICE
All right, folks. Come on, let's move back...


People continue to point and stare as the emergency workers deploy out of the vehicles.


INT. HELICOPTER - NIGHT


LOIS again struggles to get out. The helicopter moves again


EXT. HELICOPTER - NIGHT


LOIS falls out, but grabbing onto the seat belt to prevent her death.


EXT. METROPOLIS STREET


Some women scream.


EXT. HELICOPTER - NIGHT


LOIS screams as she dangles there.


ANGLE ON STREET


It is a long way down.


EXT. METROPOLIS STREET


CLARK exits the building, stops at seeing and hearing all the commotion, and moving backwards looks up.


ANGLE ON LOIS - CLARK'S POV


The helicopter dangles half over the edge of the roof.


BACK TO CROWD


Determined, CLARK pushes his way through the crowd, looking for something.


ANGLE ON PHONE BOOTH - CLARK'S POV


A phone booth stands on the corner - but this is a modern booth -- it covers only the top half of the body. He quickly walks off.


POLICEMAN'S VOICE
Hold these crowds back, move, move!


EXT. HELICOPTER - NIGHT


LOIS
(still dangling, but starting to slip)
Please help me - help...


EXT. METROPOLIS STREET


CLARK starts to cross an empty street, starts ripping off his clothes to reveal the SUPERMAN outfit on underneath. He runs directly INTO THE CAMERA, and we FOCUS on the House of El crest on his chest.


EXT. BUILDING - NIGHT


CLARK enters the REVOLVING DOORS, and moving at super speed changes into SUPERMAN. He then gets out of there fast.


EXT. METROPOLIS STREET


An incredibly garish BLACK PIMP stands in awe from within his car as he sees SUPERMAN in full costume, looking determined.


PIMP
Say, Jim! Whoa!


SUPERMAN
(holds up a finger)
Excuse me.


With a burst or energy SUPERMAN rises from the ground, and flies up into the night sky. The PIMP watches in wonder.


PIMP
That's a bad outfit!


EXT. STREET - NIGHT


The loud CROWD is still watching LOIS hanging from the roof.


EXT. ROOF - ANGLE ON LOIS


LOIS dangles from the helicopter, eyes closed. Her grip slips, and finally, she falls with a loud SCREAM.


SHOT OF LOIS FALLING


VOICE
(person seeing it from the street below)
Oh God...


SHOT OF SUPERMAN flying up to save her.


VOICE
Look up there!


EXT. STREET - NIGHT


The camera crew witnesses it all.


REPORTER
What the hell's that?


ANGLE ON SUPERMAN flying up as fast as possible.


SUPERMAN'S mighty arm reaches out, grabs the falling LOIS around the waist.


SUPERMAN
Easy, Miss. I've got you.


LOIS' eyes open tentatively, then flutter unbelievingly.


LOIS
(as SUPERMAN flies up)
You - you've got me? Who's got you?
(grabs hold of him around the neck, SUPERMAN chuckles)


EXT. STREET - NIGHT


Everyone in the CROWD is staring, a REPORTER has a microphone to her lips and her CAMERAMAN is taking footage with his camera.


FEMALE REPORTER
I, I can't believe it, I just...I cannot believe it, he got her...


EXT. ROOF - NIGHT


The helicopter suddenly lurches as the roof fence supports gets torn away. The helicopter falls.


ANGLE OF LOIS LOOKING UP


LOIS gasps in mid-air, holding onto SUPERMAN as the helicopter comes straight towards them.


EXT. BUILDING - NIGHT


SUPERMAN easily grabs hold of the helicopter with one hand, and continues upwards.


EXT. STREET - NIGHT


The CROWD exults in relief and jubilation, pointing and staring.


EXT. BUILDING - NIGHT


SUPERMAN glances at LOIS with a calm smile, who just stares downwards in disbelief.


EXT. STREET - NIGHT


The CROWD claps and applauds.


EXT. ROOF - NIGHT


SUPERMAN gently deposits the awestruck LOIS on the roof, then lowers the helicopter.


SUPERMAN
(looks around to two men)
Gentlemen? (gestures to the PILOT) This man needs help.


The two men hurry to do so.


SUPERMAN
(smile - to LOIS)
Well. I hope this little incident hasn't put you off flying, Miss.
(LOIS shakes her head very fast. He turns away, then looks back)
Statistically speaking, of course, it's still the safest way to travel.


LOIS
(nods)
Right.
(sees SUPERMAN departing)
Wait!
(he stops and turns around)
Who are you?


SUPERMAN
(calm and confident)
A friend.
(takes off again)


SUPERMAN
(waves)
Bye.


LOIS waves and stares at SUPERMAN, then sinks into a dead faint.


EXT. SKY - NIGHT


SUPERMAN is in mid-air, exhilarated - literally high. He executes a cocky "loop-the-loop" feeling a kind of release, a genuine physical joy in flying.


EXT. SIDE OF APARTMENT BUILDING - NIGHT


A BURGLAR slowly and laboriously ascends the side of the building. SUCTION CUPS are on his hands and knees.


CLOSE ON BURGLAR


Breathing hard, he continues. Looking up, his face suddenly registers shock at the sight of two red boots.


WIDE ANGLE SHOT


SUPERMAN is just standing there, defying all the laws of gravity just above the BURGLAR.


SUPERMAN
(smiles at the BURGLAR)
Hi there.


ANGLE ON SUPERMAN - BURGLAR'S POV


SUPERMAN
Something wrong with the elevator?


BACK TO BURGLAR


The terrified BURGLAR frantically tries to get away, his suction cups coming loose. He yells in fear as he falls - but SUPERMAN swoops down and past him.


SUPERMAN
Going down.


INT. BUILDING - NIGHT


A MAN is at work at his desk. Outside the window, we see SUPERMAN catch the criminal firmly and then head downwards. The MAN looks up for a moment, thinking he heard something.


MAN
(shakes his head)
Nah.
(goes back to work)


EXT. METROPOLIS STREET - NIGHT


PATROLMAN MOONEY is quietly walking his beat. SUPERMAN lands next to him, deposits the terrified BURGLAR on the ground.


SUPERMAN
Officer! Uh, good evening Officer...
(shakes his hand, looks at the officer's nametag)
Mooney. Well, they say confession's good for the soul.
(takes a handful of stolen jewelry out of the burglar's bag)
I'd listen to this man.
(drops the jewelry back into the bag)
Take him away.


The thunderstruck MOONEY gapes as SUPERMAN takes off again.


SHOT OF THE PATROLMAN holding the BURGLAR as they both gaze up in disbelief.


EXT. HIGHWAY UNDERPASS NEAR RIVER - NIGHT


A police car, light flashing, sirens blaring, chases a sleek black Cadillac as they crisscross, screeching through the pillars of a river highway underpass. Both cars blaze away at each other with firearms, as the chase continues for quite a while. The Cadillac eventually squeals into a l80-degree turn, heads down a short pier to a waiting cabin cruiser. The police car imitates the turn and eventually come to a halt. TWO POLICEMEN pile out, guns drawn, and open fire down the pier.


ANGLE ON POLICE FROM PIER


SIX HOODS empty out of the Cadillac near the cabin cruiser, the police bullets slamming into their car. They wheel, holding automatic weapons and firing at the enemy.


HOOD #1
Come on, let's get outta here!


EXT. METROPOLIS - NIGHT


SUPERMAN is flying along, when all the gunfire attracts his attention.


EXT. PIER - NIGHT


The gunfire continues.


HOOD #2
Move your ass! Come on, come on!


The HOODS jump onto the cruiser. The POLICEMEN start to move in.


POLICEMAN #1
Okay, let's go, let's go!


POLICEMAN #2
Drop your weapons! Drop your weapons...oh shit...


HOOD
Let's get outta here!


The cruiser takes off, leaving two of the HOODS behind. The cops go to arrest them.


POLICEMAN #1
Okay, hold it right there. Okay freeze, you dirty-!


The masked hoods put down their weapons and assume the position upon seeing the cops with weapons drawn up-close.


HOOD #3
Don't shoot, okay, cool, you got us...


EXT. SKY - NIGHT - ANGLE ON CABIN CRUISER


The cabin cruiser plows down the river at top speed.


INT. CABIN CRUIER - NIGHT


TWO of the HOODS are in the main cabin. ONE is counting the money as his PARTNER joins him, taking off his ski mask. The FIRST HOOD grins at his PARTNER, then looks back through the windshield of the cabin, his jaw suddenly dropping.


ANGLE THROUGH WINDSHIELD - HOOD'S POV


SUPERMAN stands on the front deck, arms folded, staring sternly inside at them.


EXT. BOAT DECK - NIGHT


The THIRD HOOD opens the hatch and sneaks up behind SUPERMAN, a heavy steel boat gaff in his hands. As SUPERMAN stares in through the windshield, the HOOD swings it down viciously straight into his head. The gaff recoils as if it had hit solid steel - the HOOD stands unbelievingly, his entire body shaking in spasms from the impact. SUPERMAN turns with a smile.


SUPERMAN
Bad vibrations?


INT. POLICE STATION - NIGHT


A flustered MOONEY stands before his amused DESK SERGEANT


MOONEY
Sergeant, you don't believe me. I swear! Flying, with a big red cape! And bright red boots as well!


SERGEANT DOLAN
(takes the cigar out of his mouth)
Watch the desk, Reese.
(starts to move)


MOONEY
(as the SERGEANT joins him)
Quick as a wink he was gone! Flew up in the air again, he did. Like a big blue bird.


SERGEANT DOLAN
(smile)
Like a big blue bird.


MOONEY
You don't believe me.


SERGEANT DOLAN
With bright red boots.


MOONEY
I'm sayin'.


The SERGEANT walks MOONEY to the station door. CAMERA FOLLOWING


SERGEANT DOLAN
Why don't you take the night off and go back to Murphy's bar and continue what you started. I'll be off myself in a few minutes and meet ya there myself...


They have reached the door but suddenly stop, rooted to the spot as they stare outside. The background sounds of a crowd can be heard.


EXT. STREET - ANGLE ON CRUISER - THEIR POV


The cabin cruiser sits in the street, balanced on its keel. The FOUR HOODS are tied to the prow, the satchel of money hanging from one of their feet.


BACK TO MOONEY AND SERGEANT


Both MOONEY and the SERGEANT look up.


EXT. SKY - NIGHT


SUPERMAN is flying off.


BACK TO MOONEY AND THE SERGEANT


SERGEANT DOLAN
Mooney, first bottle's on me, let me get my hat.


MOONEY continues to star upwards as a siren howls.


EXT. SKY - NIGHT - ANGLE ON SUPERMAN


SUPERMAN continues through the air as a thunder and lightning echo in the distance. He hears something, cocks his head.


EXT. RESIDENTIAL STREET - NIGHT


A LITTLE GIRL looks up plaintively through the rain at a tree in her back yard. CAMERA PANS UP: A somewhat wet cat sits stranded in the top branches of the tree.


LITTLE GIRL
(despair)
Hey Frisky, will you please come down from there?


Suddenly - SUPERMAN soars into frame.


SUPERMAN (O.S.)
Hi. I'll get him!


The LITTLE GIRL waves numbly as SUPERMAN glides down, grabs FRISKY out of the tree. We hear a miserable "meow".


SUPERMAN
(to FRISKY)
It's alright.


He lands gently, deposits the cat in the LITTLE GIRL'S arms.


SUPERMAN
Here you go, miss.


LITTLE GIRL
Gee, thanks, Mister.


SUPERMAN
Well. (rubs the cat's head). Good-bye, Frisky. So long, now. (flies off, turns and waves) Bye.


LITTLE GIRL
(waving)
Bye.


SUPERMAN flies off. CAMERA PANS with the LITTLE GIRL as she runs up the house steps and goes inside.


LITTLE GIRL (O.S.)
Mommy! Mommy! Frisky was stuck in the tree! This man swooped out of the sky and gave him to me!


MOTHER'S VOICE
Haven't I told you to stop telling lies?


CAMERA HOLDS a moment. Suddenly - the sound of a "smack" is heard.


EXT. SKY - NIGHT - ANGLE ON AIR FORCE ONE


It's a dark and stormy-looking scene. Lightning slashes through the night sky. Rain has started. Air Force One fights its way through nonetheless.


INT. AIR FORCE ONE COCKPIT - NIGHT


CO-PILOT
Metropolis Airport, this is Air Force One. Could we have the latest weather report.


CONTROLLER'S VOICE
Roger, Air Force One. Uh, Metropolis currently seeming five hundred overcast, seven hundred broken till happening showers, wind two-four-zero-two-five. Altimeter niner-niner-eight.


CO-PILOT
Roger. (looks at PILOT) Well.


PILOT looks at some papers.


CO-PILOT
Doesn't look too good, what do you think?


EXT. SKY - ANGLE ON AIR FORCE ONE - NIGHT


Suddenly a bolt of lightning crashes into the wing. Flames shoot up as the outboard engine on the PILOT'S side splits in two, dropping off the wing.


CO-PILOT
(plane is rocking madly)
What the hell was that-!?


PILOT
What happened?


NAVIGATOR
(pointing)
You lost power to Number One!


PILOT
(looking out window)
Lost power? Hell, we lost the whole engine!


The plane starts into a dive.


PILOT
Pressure's gone. Shut down Number One!


The PILOT and CO-PILOT fight the controls, try to level off. The other three cockpit crew do what they can as well.


PILOT
Bring up Two and Three. Increase Four, increase Four...


The plane continues to dive.


CO-PILOT
Mayday, mayday, Metropolis Tower, this is Air Force One. We have lost port outboard engine, and part of wing. Request emergency landing.
(breaks off radio communication)
CO-PILOT
What's the position?


CREWMAN
Ten miles southwest of Metropolis airport. Notify all local residents...


CO-PILOT
(communicating with the tower again)
Position ten miles, that's ten miles, southwest Metropolis airport. Heading three-zero-five, height 6000 feet.


EXT. SKY - NIGHT ANGLE ON WING


SUPERMAN grabs hold of the wing in the cavity created by the fallen engine and flies, stretched out in its place. The plane's nose comes up. The aircraft seems to right itself to the astonishment of the PILOT who looks out the window, eyes now widening.


EXT. ANGLE ON SUPERMAN PILOT'S POV


He turns his head, smiles and flips a salute at the PILOT.


INT. AIR FORCE ONE COCKPIT - NIGHT


The dumbfounded PILOT looks back and waves numbly.


CO-PILOT
What the hell happened, we got our engine back? What the hell's going on out there?


PILOT
(looks at him)
Fly. Don't look, just fly. We got...something. I ain't saying what it is. Just...trust me.
(looks back out the window at Superman, along with another CREWMAN)


EXT. FORTRESS OF SOLITUDE - DAY


JOR-EL'S VOICE
You...enjoyed it.


INT. FORTRESS OF SOLITUDE - DAY


SUPERMAN
(standing at the CENTRAL CONSOLE)
I don't know what to say, Father, I... (briefly looks down) I'm afraid I just got carried away.


The SCREEN is filled by the giant head of JOR-EL. He looks INTO THE CAMERA.


JOR-EL
I anticipated this, my son. I...


SUPERMAN
(surprised)
You couldn't have! You couldn't have imagined...
(looks down)


JOR-EL
(gently)
How good it felt.


SUPERMAN looks ashamed, but nods.


JOR-EL
You are revealed to the world. Very well, so be it.


ANGLE ON SUPERMAN


JOR-EL'S VOICE
But you still must keep your secret identity.


SUPERMAN
Why?


JOR-EL
The reasons are two: first, you cannot serve humanity twenty-eight hours a day.


WIDE ANGLE on SUPERMAN and JOR-EL


SUPERMAN
Twenty-four.


JOR-EL
Or twenty-four, as it is in Earth time. Your help would be called for endlessly, even for those tasks which human beings could solve themselves. It is their habit to abuse their resources in such a way.


SUPERMAN
And, secondly?


ANGLE ON JOR-EL


JOR-EL
Second, your enemies would discover that the only way to hurt you, will be by hurting the people you care for.


SUPERMAN
Thank you, Father.


JOR-EL
Lastly...


ANGLE ON SUPERMAN


JOR-EL'S VOICE
Do not punish yourself for your feelings of vanity. Simply learn to control them.


ANGLE ON JOR-EL


JOR-EL
It is an affliction common to all, even on Krypton. Our destruction could have been avoided but for the vanity of some who considered us...indestructible. If not for vanity, why...at this very moment...


CAMERA PANS forward on JOR-EL'S face, which has a somewhat SAD expression.


JOR-EL
I could embrace you in my arms...my son...


SUPERMAN reaches yearningly toward his father's image; JOR-EL fades, leaving SUPERMAN alone, and he lowers his arms with a disconcerted look. The CAMERA RECEDES from him as he looks around the CENTRAL CONSOLE in confusion, not sure what to do.


WIDE ANGLE SHOT of SUPERMAN at the CENTRAL CONSOLE


EXT. METROPOLIS STREET- NIGHT - CLOSE ON STORE WINDOW


The faces of various TV NEWSCASTERS look into the CAMERA through the window of a store which sells television sets. They babble madly about everything that's happened lately, including what happened with LOIS and the helicopter. Footage is shown of the rescue and the helicopter being lifted to the roof.


CAMERA PULLS BACK: the store window is filled with a myriad of TV sets, all three networks simultaneously broadcasting the same story. A CROWD has formed in front of the window. The CAMERA stops at the rear of CLARK KENT.


CROWD MEMBER
Yeah, that'll be the day, huh?


CLARK looks around.


CROWD MEMBER
I said that'll be the day when a guy can fly, huh?


CLARK
(turns with a slight smile)
Oh, I don't know. You'd be surprised.
(nods and walks off)


CROWD MEMBER
(doubts it)
Yeah.


INT. LUTHOR'S LAIR - NIGHT


REX REED ON TV
...some sort of fantastic hoax. Your guess is as good as anybody's, true or false? Miracle or fraud...


LUTHOR (O.S.)


Miss Teschmacher!


REX REED (V.O.)
The answer is up to you. Man or myth?


ANGLE ON EVE


EVE looks around, dressed only in a bikini and oddly a redhead's wig. The underground complex is a projection of an idyllic Caribbean island setting and a sea scene shimmers against one wall.


ANGLE ON LUTHOR


LUTHOR
(swimming in the pool)
Turn it off.


EVE switches off the set, turns as LUTHOR dives under the water.


EVE
Lex? What's the story on this guy? You think he's the genuine article?


LUTHOR
(swimming)
If he is, he's not from this world.


EVE
Why?


LUTHOR
Because, if any human being were going to perpetrate such a fantastic hoax, it would have been me!


Eve rolls her eyes. SHOT of OTIS fluffing the pillows on a bed. He has a toffee apple in his mouth. OTIS discovers a wig in the bed, and gasps. He quickly puts it away in its proper spot.


LUTHOR (O.S.)
Otis!


ANGLE ON LUTHOR


LUTHOR
(swimming)
My robe!


OTIS
(starts walking and grabs it)
Right away, Mr. Luthor!


OTIS heads towards him with a blue-white elegant bathrobe.


LUTHOR
(musing)
It all fits somehow, his coming here to Metropolis. And at this particular time. Kind of cruel justice about it. I mean, to commit the Crime of the Century, a man would just naturally want to face the Challenge of the Century.
(arrives at the steps out of the pool)


OTIS
(comes down the steps into the water as the bottom of the robe proceeds to get soaked)
Listen, Mr. Luthor, maybe this guy that flies is just sort of passing through, you know?


LUTHOR
Passing through? Not on your life.
(OTIS starts helping LUTHOR on with the robe)
Which I would gladly sacrifice, by the way, for the opportunity of destroying everything that he represents. Eh? And, Otis, by the way. Next time put my robe on *after* I'm out of the pool.


OTIS
Oooohhhh!


INT. PERRY WHITE'S OFFICE - DAY


CAMERA CLOSE on an edition of The Daily Planet with a black and white artist's impression of SUPERMAN flying. The paper slams down onto the desk.


WIDER ANGLE


PERRY
Now look (throws down papers in succession) The Post: "It Flies." The News: "Look, Ma, No Wires." The Times: "Blue Bomb Buzzes Metropolis." The Planet.


The headline reads: CAPED WONDER STUNS CITY


PERRY
(talking to a crowd of reporters)
We're sitting on top of the story of the century here! I want the name of this flying whatchamacallit to go with the Daily Planet like bacon and eggs, franks and beans, death and taxes, politics and corruption.


CLARK
(raises his hand)
I, I don't think he would, uh, lend himself to any ch-cheap promotion schemes, though, Mr. White.


PERRY
And how exactly would you know that, Kent?


CLARK
(hesitates as everyone looks at him)
Um...uh, j-just a first impression?


PERRY
Well anyway, who's talking cheap? I'll make him a goddamn partner if I have to! (looks at his secretary next to him) RIGHT?


SECRETARY
Right, Chief.


PERRY
(walking around)
I want the real story! (bangs desk)I want the inside dope on this guy! Has he got a family? Where does he live?


LOIS is taking notes, and finds a card with a personal message on it.


LOIS
(whispers aloud)
TONIGHT AT EIGHT
YOUR PLACE-
HOPEFULLY-
A FRIEND


SHOT of CLARK craning his neck to see what LOIS is doing.


ANGLE ON PERRY WHITE


PERRY
(walks around)
Tony, who is he?
(the REPORTER shrugs helplessly, PERRY moves on)
What's his name? What's he got hidden under that cape of his - batteries? (SHOT of LOIS looking over her shoulder, CLARK lowers his eyes) Why did he show up last night? (looks at another reporter) Dick. Where does he come from? (to LOIS) Does he have a girlfriend? (moves on) What's his favorite ball team, Kent? (CLARK opens his mouth, but too late PERRY is gone) Now listen to me! I tell you boys and girls - whichever one of you gets it out of him...is going to wind up with the single most important interview since... (grabs a cigar at his desk) God talked to Moses!


One of the reporters lights it for him. PERRY inhales deeply the looks around.


PERRY
What are you standing around about for? Move! Get on that story!


The reporters head for the door, CLARK fumbling with something for a moment. PERRY sits on his desk chewing his cigar, and reading the latest edition of his paper. The phone rings, but he ignores it.
.

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