_LOIS & CLARK_
The New Adventures of Superman
NEVERENDING BATTLE
Episode #3
Written by DAN LEVINE
_CAST_
CLARK KENT/SUPERMAN
LOIS
PERRY
JIMMY
CAT GRANT
LUTHOR
STAN
JAPANESE WOMEN
FLOYD
ALBERT
JULES
MONIQUE
BUSINESSMAN
NEGOTIATOR
LUCY
MR. CLEVELAND
ASABI
LINDA MONTOYA
INSPECTOR HENDERSON
JONATHAN
MARTHA
MAURICE
[can't read]
GRANDMOTHER
_SETS_
INTERIORS: EXTERIORS:
DAILY PLANET SKYSCRAPER CORNICE
Pit
Conference Room LUTHOR'S BALCONY
Men's Room
Perry's Office LEXOR HOTEL
Lunch Room Roof
Ledge
344 CLINTON Street
Top Floor Apartment
SECOND SKYSCRAPER
LUTHOR'S PENTHOUSE Street
War Room
* BOMB SITE
CLARK'S LOFT APARTMENT *
* ABOVE METROPOLIS
KENT FARMHOUSE
Kitchen METROPOLIS SIDEWALK
Living Room
STAIRWELL OUTSIDE CLARK'S
APARTMENT
_TEASER_
1 INT. DAILY PLANET - PIT - NIGHT #1 1
Pandemonium: everyone yelling, rushing, paper-shuffling
at once. An electrician balanced on a ladder re-wires
a ceiling fixture. LOIS, CLARK, CAT and others gather
around a sketch artist's drawing table to one side of the
room. In the eye of this hurricane stands PERRY WHITE.
JIMMY passes carrying a stack of computer print-outs.
PERRY
Olsen! Where are your blow-ups of *
Superman?
JIMMY
Lab's backed up. Turnaround might
be a couple of hours.
PERRY
Turnaround! Great shades of
Elvis! What are we, Daily Planet
newspeople or second stringers
for the Weehawken Gazette?!
Perry's voice has risen to a thunderous crescendo. The
newsroom falls nearly silent.
PERRY
Staff meeting. Tomorrow. Six a.m.
(glaring at Jimmy)
_with_ blow-ups.
Perry enters his office, slams the door.
2.
2 BY DRAWING TABLE 2
The knot of people surrounding the artist, STAN, an over-
weight, over-worked guy in his early fifties, have leaned in
for a better view.
3 CLOSEUP - SKETCHPAD 3
A rough drawing of Superman's face. Stan fills in the
eye shade. PULL BACK TO:
LOIS
No! The color's wrong!
CAT
More almond-shaped.
STAN
You said 'brown.'
LOIS
Not brown brown. Not dull,
insipid _mud_ brown...
(as Clark is leaning
next to her)
... like Clark's. No offense,
Clark.
CLARK
Mud?
LOIS
More vibrant, more radiant.
CAT
Bedroom eyes.
Jimmy has joined them. In the b.g., by the coffee machine,
an office worker sets a full pot of coffee on the top warmer
and begins to make a second pot. In doing so, she jostles
the machine and the pot on top slips to the edge. She looks
for a new filter, can't find one, digs in the cabinet below.
JIMMY
But if he _is_ an alien, maybe he
doesn't get the old ... you know,
itch.
CAT
One way to find out.
3.
3 3
LOIS
A possible visitor from another
planet arrives on Earth and all
you can think of is hauling him
off to your lair and trying him
out?
CAT
Test drive, Lois. A couple hours
behind the wheel, I'd know for
sure if we're talking import or
domestic.
Lois rolls her eyes, then notices what Stan is drawing.
LOIS
No! The features are too coarse.
Think noble. Think ... Greek God.
STAN
(lost)
Greek God?
LOIS
Let's take it a feature at a time.
For example, the chin. Square,
but not plain. The chin of a man
who stands for something. And the
nose. Definite, but not
overbearing.
Stan's more confused than ever. Clark's right next to him.
He's watching the pot of hot coffee move nearer and nearer
the edge as the office worker still searches for filters.
Also, the electrician on the ladder strains to reach some-
thing... the ladder wobbles.
STAN
Like Clark's?
LOIS
(disgusted)
This is _Superman_ we're talking
about. Not some Tom, Dick, or ...
CLARK
(annoyed)
You know, he didn't seem that
special to me. Except for the
flying and the uniform, he could
have been any ordinary guy.
4.
3 (2) 3
Lois is fed up. Doesn't anybody see it but her? The pot
begins to fall. The ladder begins to topple. Clark takes
a step back so he's behind the group. No one's watching
him.
LOIS
Ordinary? Give me a break.
At _SUPER SPEED_ Clark moves first to the coffee machine --
catches the pot, settles it back on top -- next to the
ladder and steadies it. He then grabs a donut off a
tray and returns to his place unnoticed.
LOIS
(to Stan)
What we've got here is an example
of human evolution: 'before and
after.' Clark is the 'before.'
Superman is the 'after.'
She looks again at Clark: donut in his mouth, tie askew,
hair tousled, suit wrinkled from his back and forth trip.
In the b.g., the office worker has found her filter.
LOIS (Cont'.d)
Make that: way, _way_ after.
_END OF TEASER_
5.
_ACT ONE_
4 EXT. SKYSCRAPER CORNICE - SEEN THRU BINOCULARS - DAY #2 4
Pigeons roosting. We hear soft WARBLING. Binoculars
MOVE UPWARD and the IMAGE BLURS, COMES TO REST ON ...
5 A HAWK 5 *
soaring on the updrafts above the Metropolis skyline.
Suddenly, with a SCREECH, it drops like an arrow.
Binoculars MOVE DOWN, IMAGE BLURS TO...
6 SKYSCRAPER CORNICE 6
We're already too late. Pigeon feathers drift on the
morning air.
7 EXT. LUTHOR'S BALCONY - DAY 7
LUTHOR lowers the binoculars, smiles, turns to where Asabi
stands by the breakfast table: white linen cloth, sterling
silver service, O.J. fresh squeezed, coffee fresh brewed.
Luthor's smile widens; all's right with his world. He seats
himself. Asabi provides a napkin. Two beautiful JAPANESE
WOMEN, clad in rec: silk dresses slit up one side, appear and
bow. They hold between them a pogo stick. Luthor nods to
them, nods to Asabi, who hands them each a perfect white rose.
JAPANESE WOMEN
(musically, in unison)
Domo arigato.
LUTHOR
Do itashi mashte.
They bow again, denart. Asabi pours coffee, uncovers a
chafing dish of baked squab, serves, steps back. Luthor
rifles through his stack of morning newspapers. A slight
frown creases his forehead.
LUTHOR
Superman... Superman...
Superman... Superman...
He drops the papers, looks at Asabi.
LUTHOR
Calendar.
Asabi hands over an ornate leather appointment book.
Every hour of the day is scheduled, except ...
6. *
7 7
LUTHOR
Lois Lane cancelled lunch?
Luthor looks at Asabi, who nervously looks away. Luthor,
frown deepening, punches buttons on his speaker phone. A
RING, ANOTHER, then...
LOIS
(answering machine)
Hi. You've reached the desk of
Lois Lane. Leave a message at
the tone, but don't expect a
call back unless it's about
Superman. Have a great day.
BEEP. Luthor hangs up. The ambiance of the morning is
shattered. The hawk glides into the balcony and
settles onto its perch behind Luthor's chair. Lex
turns a dark look in its direction.
CUT TO:
8 INT. DAILY PLANET - CONFERENCE ROOM - DAY 8
The room is full of reporters, sitting, standing: a war
council. Clark sits next to Lois, Cat is across from them.
Perry examines a line of less-than-crystal-clear blow-ups
of Superman (tacked to one wall) with a magnifying glass.
Jimmy stands next to him.
PERRY
Jimmy, these are no good!
JIMMY
They're okay.
PERRY
'Okay?!' 'Okay' doesn't cut it at
_this_ newspaper.
(beat)
Go on, sit down.
Jimmy does. Perry sets the glass down, calls the meeting to
order by RAPPING on the wood.
PERRY
(falsely warm:smile)
How're y'all doing this morning?
Sleep well?
6A.
8 (Al) 8
CHORUS
1. Yes, Sir.
2. Yep.
3. Sure did.
4. Great.
PERRY
(smile gone)
I didn't. Last night after work
our publisher called me into his
office and asked me a question.
Question was, how come the Daily
Planet hasn't nailed down the
Superman story after it literally
dropped in our laps?
(MORE)
7.
8 8
PERRY *
(beat)
I took this as direct criticism. *
I guaranteed him that each and
every one of my staff would chip
in. Would not rest until Superman
was ours. *
(beat)
Are we clear on this?
LOIS
(dismayed)
No. Perry, you can't be serious.
_I_ was the one Superman flew with.
_I_ wrote the original piece. _I_
found him!
CLARK
Actually, _he_ found _you_.
LOIS
Put a sock in it, Kent.
(pleading to Perry)
Chief, this isn't fair. I should
have the exclusive on the follow-
up. Those are the rules.
PERRY
The rules are off. This is too
big.
LOIS
But he's _mine_, he's ...
The lady doth protest too much. Everyone is staring
at her.
LOIS
(covering)
'Mine' as in 'my story.' A
story 'mine.'
8.
8 (2) 8
PERRY
Forget it, Lois. Superman's fair
game. Every reporter for him
or herself.
JIMMY
(excited)
All right!
PERRY
(smile reborn)
Enthusiasm. I love it.
JIMMY
I'm with you, Chief.
Perry leans in, whispering.
PERRY
We're a team?
JIMMY
Yes, sir.
PERRY
Fine, Jimmy. Here's what I need
from you.
Eagerly Jimmy reaches for his note pad.
PERRY
Two, no _three_ donuts. Jelly.
Go to Lucille's. Tell her
they're for me. Got it?
JIMMY
(deflated)
Got it.
Jimmy slinks out. The PHONE BUZZES, Perry picks it up.
PERRY
White.
(beat)
No, I _don't_ agree.
Perry turns his back on the room to converse. Lois is still
seething about the suspension of what she considers fair
play.
LOIS
(grimly)
I'll find him
9.
8. (3) 8
CLARK
How? He could be anywhere. Mars,
the North Pole ...
LOIS
_I'll_ find him.
CLARK
What if he doesn't want to be
found?
LOIS
What are you talking about? Why
wouldn't he want to be found?
CLARK
Maybe all this frenzy isn't what
he expected. Maybe he's gun shy.
LOIS
That's ridiculous. He has no
reason to hide. Especially from me.
CAT
Wait a minute. I get it. You and
Superman joined the zero gravity club
on the space station, didn't you?
LOIS
Excuse me?
CAT
Don't worry. Your secret's safe.
No one would believe it anyway.
PERRY
(off the phone)
Okay, settle down. *
(taps the blow-up)
Think. What could draw him out?
Use your instincts. Beat the
bushes. Turn the stones. _Get_ _me_
_Superman_
All begin to leave. Clark leans over to Lois. She's still
in a foul mood.
CLARK
(teasing)
Where should we start?
LOIS
(offended)
We? There is no 'we.'
10.
8. (4) 8.
CLARK
(goading her on)
How do you know I don't have the
inside track on finding Superman?
LOIS
Sure, Clark. And when you run
across Jimmy Hoffa and the Easter
Bunny, why don't you reel them in,
too?
Lois marches from the room. Cat moves to Clark's
side; close to his side.
CAT
'We' sounds good to me. That's
French for 'yes', isn't it?
CLARK
Not in Smallville.
Clark exits. Cat begins to follow, but stops. She turns
back to the blow-up. She picks up the magnifier, stares at
Superman's face, then moves it slowly up and down his body.
Cat makes a sexy FELINE GROWLING SOUND deep in her throat.
9 INT. DAILY PLANET - PIT - LOIS' DESK - DAY 9
LOIS
(into phone)
I don't _care_ what the radar
facility's normally used for. All
I'm asking for is a simple...
Hello? Hello?
Her party has hung up. Lois bangs the phone down, glances
at the wall clock: 9:45. She sighs, checks off another
name on her call list. She's made at least a hundred. She
looks around the newsroom. Clark's PHONE PINGS. She sees
him tense, lean into the mouthpiece.
CLARK
Really? He's there now?
Quickly Lois grabs her coffee cup, dumps the remaining
brown liquid into her sickly desk plant, strolls past
Clark's desk toward the coffee machine. As she
passes ...
CLARK
(into phone)
Tell him I'll be right over.
_Don't_ _let_ _him_ _leave_.
11.
9 9
Lois fiddles at the coffee machine as Clark grabs his
jacket and heads toward the elevators. Lois hesitates.
But what else has she got? She gets her purse, hurries in
pursuit.
CUT TO:
10 OMITTED 10
11 INT. 344 CLINTON - TOP FLOOR LOFT APARTMENT - DAY 11
Clark is toured by the landlord, FLOYD. Floyd is fiftyish,
paunchy, suspicious by nature. The apartment is a disaster:
stained walls, torn carpet, etc. It does have a small
balcony suitable for flying exits and entrances. The
building's ventilation system, located on the roof above,
adds a dull WHUMP, WHUMP, WHU.MP as b.g. noise.
FLOYD
Quietest building in Metropolis.
You married?
CLARK
No.
FLOYD
Girlfriend?
CLARK
No.
FLOYD
Boyfriend?
Clark just looks at him.
FLOYD
Me, I mind my own business. Where
you from?
CLARK
Kansas.
Clark opens a kitchen cabinet and it breaks off its
hinges, falls to the floor.
FLOYD
(unconcerned)
Few screws is all.
Clark turns on the kitchen faucet: brownish-orange water.
FLOYD
Minerals. Good for the liver.
12.
11 11
Clark moves to the balcony. Floyd follows. The view is
of the brick side (no windows) of the building across the alley.
FLOYD
Nice view. You see out, no one
sees in. Walk around in the buff.
I do.
CLARK
How much?
FLOYD
Nine-fifty.
CLARK
(shocked)
Nine hundred and fifty?
FLOYD
You want cheap? Go back to Iowa.
CLARK
Kansas.
FLOYD
This is Metropolis. Nine even.
Take it or leave it.
Clark peels a patch of plaster off the wall.
CLARK
Mind if I make a few repairs?
FLOYD
(reluctantly)
I guess not.
CLARK
(deciding)
When can I move in?
FLOYD
Soon's the check clears.
Clark writes it, Floyd slips it in his pocket.
FLOYD
I'll have extra keys made.
Clark runs his hand along a counter top: dusty. He tries
to blow the dust off, but _BLOWS TOO HARD_. The front door,
which is partly ajar, bangs closed then flies open again.
Lois Lane, who was listening at the keyhole and hanging onto
the knob, is propelled into the room.
13.
11 (2) 11
CLARK
Lois?
Lois regains her balance, looks around.
LOIS
Where is he?
CLARK AND FLOYD
Who?
Lois realizes she's blown it. Superman's not here.
LOIS
Where am I?
CLARK
My new apartment.
Lois looks around, takes a beat to cover her embarrassment.
LOIS
What a dump.
She exits, bangs the door closed. Floyd, suspicions
aroused, stares at Clark.
FLOYD
What line did you say you were in?
CLARK
Newspaper reporter for The Planet.
FLOYD
(very suspiciously)
I've got my eye on you.
CUT TO;
12 INT. LUTHOR'S WAR ROOM - DAY 12
Luthor sits shrouded in darkness on a raised dais. Seated
in a semicircle facing him are his co-conspirators: ALBERT
JULES, and MONIQUE. Albert is a tall, skinny Englishman
with a gold-knobbed cane; Jules is young, black and very hip
in sharkskin suit, African pillbox hat, shades; Monique is
Sharon Stone, panties optional. Ceiling-mounted spotlights *
cast pools of light around the trio. *
Luthor types something onto a keyboard and the phrase "Know *
Thy Enemy" appears on the screen behind him.
14.
12 CONTINUED 12
LUTHOR
What do we know about Superman?
The trio exchange a glance. No one wants to jump in first.
Finally, Jules takes a stab.
JULES
Man, he can really jump ... for a
white guy.
LUTHOR
Yes, but how far? How high? Is
he, for example, able to leap tall
buildings in a single bound?
Jules shrugs.
ALBERT
He's immensely powerful.
LUTHOR
How powerful? More powerful than
an avalanche? More powerful than
a... locomotive?
Albert shrugs.
MONIQUE
He's still a man. All men are
weak.
She crosses her long, elegant legs, seems bored.
LUTHOR
Obviously, we know very little.
(beat, returning
to business)
I have designed a series of tests
for Superman. I'll need your help.
Monique shakes her head, annoyed.
LUTHOR
Yes, Monique?
MONIQUE
Let me hire a couple of shooters,
and I'll turn Superman into a
large wet spot. Tests won't be
necessary.
LUTHOR
(deadly soft)
Have you ever read Sun Tzu's
'The Art Of War'?
15.
12 (2) 12
MONIQUE
(coolly)
I'm waiting for the Reader's Digest version.
LUTHOR
Sun Tzu was a general of ancient,
Imperial China. He teaches us,
I'm paraphrasing of course, that
'knowledge precedes victory;
confusion precedes defeat.'
MONIQUE
Really? Well, an Uzi precedes
a bloody mess. Even in China.
LUTHOR
(to Monique)
Let's do it my way. In fact, I've
a very special role planned for you
during the testing.
JULES
When do we start?
LUTHOR
Now.
CUT TO:
13 INT. DAILY PLANET - PIT - DAY 13
Lois is typing on her word processor, listens to the police
band on her RADIO. A BURST OF STATIC, then ...
POLICE DISPATCHER (V.0.)
Attention all units. Code four.
Possible jumper, Lexor Hotel.
Crowd control and negotiation teams
to the Emergency response
requested.
Lois stops typing.
LOIS
(softly, to herself)
What could draw Superman out?
Perry bursts from his office.
PERRY
Lois!
16.
13 13
She's already up and headed for the elevator.
LOIS
On it!
Clark grabs his gym bag, heads for the stairs.
14 INT. DAILY PLANET - MEN'S ROOM - MOMENTS LATER 14
A middle-aged BUSINESSMAN enters, but of the two stalls,
one is occupied, one is out of service. Impatiently,
he sets down his briefcase.
BUSINESSMAN
Will you be long?
CLARK
Not long.
There are THRASHING sounds from inside the stall. Curious,
the Businessman bends to look beneath the door: feet slip
into a pair of unusual-looking red boots. The Businessman
unbends. Just then, a blue-clothed elbow _BURSTS THROUGH
METAL DOOR_. As he flees the room...
BUSINESSMAN
Take your time!
CUT TO:
15 EXT. LEXOR HOTEL - DAY 15
Lois' cab pulls up. Lois hops out. The cab waits, idling,
as Lois sprints to where a crowd has collected. They look
up the side of the towering edifice.
16 EXT. LEXOR HOTEL ROOP - DAY 16
The police NEGOTIATOR stands near the raised ledge that
borders the roof. Other police have established a command *
post nearby.
NEGOTIATOR
It's always darkest before the
dawn, son.
17 ON LEDGE 17
The "jumper" is Jules. He balances on the narrow parapet,
holding onto and drumming idly on the brick chimney that
rises beside him. He's totally at ease.
17.
17 17
JULES
Is that so?
NEGOTIATOR
Come down. We'll talk it through.
JULES
Kind of like it up here. Fresh
air. Great view.
NEGOTIATOR
Well, can I get you somethin'?
JULES
(considering)
Cappuccino?
NEGOTIATOR
(encouraged)
Whatever you want.
JULES
Make it decaf. Caffeine makes me
jumpy.
NEGOTIATOR
(repeating)
Whatever you want.
He turns toward the command post, about to call for the
drink, then stops, thinks.
NEGOTIATOR
Jumpy?
Jules takes a step away from the chimney, pretends to lose
his balance, teeters on the edge. The Negotiator grabs
for him, misses.
13 EXT. STREET LEVEL - DAY 18
As JuLes dramatically waves his arms the crowd gasps. Then
_A RED AND BLUE STREAK FLASHES ACROSS THE SKY_ toward the
ledge. Everyone points, exclaims.
19 EXT. LEDGE - DAY 19
SUPERMAN _LANDS_ beside Jules, catches him before he falls.
JULES
(pleased)
The S-Man.
18.
19 19
Superman helps him off the ledge.
SUPERMAN
You don't really want to do this.
JULES
You're right. I've seen the
error of my ways.
20 INT. LUTHOR'S WAR ROOM - DAY
Luthor watches the rescue on video monitor #1. Monitor #2
depicts the Metropolis skyline, including the Lexor Hotel.
Monitor #3 depicts a second tall building across the city
from the first. Asabi, nearby, has a sophisticated
electronic time clock ready to roll.
LUTHOR
(into cellular
phone)
Ready.
21 EXT. ROOF OF SECOND SKYSCRAPER - DAY 21
Monique, looking terrified, stands on the rooftop ledge.
Albert holds her by the ankle from below. With the other
hand Albert holds a cellular phone.
ALBERT
(into phone)
Confirm.
MONIQUE
Albert, please be careful.
ALBERT
Don't worry. I've got you.
LUTHOR
(from phone)
Execute.
ALBERT *
Roger that. *
To her shock and surprise, Albert lets go of Monique's ankle
and uses his walking stick to push her off the ledge. She
drops with a scream.
22 EXT. LEXOR HOTEL LEDGE - DAY 22
Jules is helped inside. Then, with _SUPER HEARING_, Superman
hears the scream. He whirls, _TAKES OFF_.
19.
23 INT. LUTHOR'S WAR ROOM - DAY 23
On monitor #1, Superman _TAKES OFF_. Luthor motions to
Asabi. He starts the timer.
24 EXT. LEXOR HOTEL - STREET LEVEL - DAY 24
The crowd reacts as a RED AND BLUE BLUR explodes away from
the ledge.
25 LOIS 25
jumps back in her cab.
LOIS
Go!
The Cabbie goes.
26 INT. LUTHOR'S WAR ROOM - DAY 26
Monitor #2: the _"BLUR" ARCHES ACROSS THE SKY, DIVES FOR
THE FALLING DOT_.
27 EXT. SECOND SKYSCRAPER - DAY 27
Monique falls, still screaming... Superman _CATCHES HER_.
28 INT. LUTHOR'S WAR ROOM - DAY 28
Luthor watches monitor #3.
LUTHOR
Mark.
Asabi stops the timer. The digital indicator blinks:
2.1191416 seconds.
LUTHOR
(impressed)
Faster than a speeding bullet.
29 EXT. SECOND SKYSCRAPER - STREET LEVEL - DAY 29
An ambulance, SIREN on, pulls away just as Lois' cab
careens to the curb. Lois hops out. Again the cab waits,
idling. Clusters of People are still gathered on the side-
walk; occasionally someone points up. Lois runs toward
one such cluster.
20.
29 29
LOIS
(breathlessly)
What happened?
Clark answers from behind her.
CLARK
(feigning excitement,
rubbing it in)
Lois, it was incredible. Superman
caught that woman in midair. She's
okay. She left in an ambulance a
minute ago.
(beat)
You should have been here.
Lois grimaces, shuts her eyes, takes a deep breath. When
she turns to face Clark she's all smiles.
LOIS
Clark, that's great! Really
great.
CLARK
I better phone it in.
Lois shakes her head vigorously.
LOIS
Don't. They'll just rewrite you.
My advice is: get back to the
office and start typing. Look,
take my cab.
(points toward
the cab)
Go on.
CLARK
Lois, I appreciate this. I owe
you one.
Lois smiles. Clark runs to the cab, gets in, leaves.
LOIS
(to herself)
No, I owe _you_ one.
She spots a nearby phone stand, heads toward it. A man
gets there first, lifts the receiver, deposits a coin.
Lois, smile gone, grabs the receiver from his hand and
punches a number. He starts to protest; Lois motions him
silence.
21.
29 (2) 29
LOIS
(to man)
This is an emergency. *
(into phone)
City desk? Lois Lane. Get me
Doris in Copy. Doris? Lois.
Take this down.
_END OF ACT ONE_
22.
_ACT TWO_
30 OMITTED 30
30A INT. DAILY PLANET - PIT - DAY #3 30A *
Lois is pouring herself coffee. She seems tired, a bit
introspective. To her surprise, Lucy, nicely dressed in a
grey business suit, appears at her side. She's smiling
brightly, carrying a paper bag.
LOIS
Luce? What are you doing here?
Lois fingers the material of Lucy's suit.
LOIS
Isn't that my ...
Lucy holds up the bag.
LUCY
I made your lunch. Chicken salad. *
LOIS
Didn't you have a job interview
this morning?
LUCY
Actually, I'm running a little
late. That reminds me ... could I
borrow your grey suit?
LOIS
Lucy, you're already wearing my
grey suit.
LUCY
Thanks. Lo. I'll take good
care.
LOIS
(exasperated)
You stay out half the night,
totally irresponsible...
LUCY
So, I'm grounded?
LOIS
Lucy, I'm not trying to
big sister here.
23.
30A 30A
LUCY
Yes, you are. And every time you
do, it's always the same thing.
LOIS
What?
LUCY
You're unhappy with yourself so
you focus on me.
LOIS
You are so wrong.
LUCY
Really? Who was it who called me
last night, practically in tears,
because she had stolen a story
from Clark Kent?
LOIS
I didn't steal Kent's story.
LUCY
You stole it.
LOIS
I _competed_ for it and won.
LUCY
You stole it.
Lois stops for a moment, tears form in her eves.
LOIS
I stole it.
(beat)
I've never stolen a story in my
life. How could I do that?
(beat)
It's him, it's Superman. Ever
since he held me in his arms...
There's something between us,
Lucy, I _know_ it. A connection
a...
LUCY
So _that_ makes what you did okay?
LOIS
(last ditch
defense)
Perry said the rules were off.
24.
30A (2) 30A
LUCY
You should be ashamed of yourself.
LOIS
I am. I'm ashamed of myself.
LUCY
And you'll never do it again.
LOIS
I won't. Never again.
LUCY
And you'll apologize to Clark
Kent.
LOIS
Not in this millennium.
LUCY
'Bye.
Lucy hands her the lunch bag, starts to leave. She's *
limping. *
LOIS *
Lucy, you're limping. *
LUCY *
Your shoes are too tight. *
CUT TO:
31 INT. DAILY PLANET - PIT - LATER 31
Clark has just entered, stares at the headline of the
morning edition he carries, then heads straight for Lois's
desk. She sees him coming, marshals her defenses. He
arrives; he's angry.
CLARK
(reading the
paper)
'Superman Averts Double Suicide.'
By 'Lois Lane.'
He drops the paper on her desk.
CLARK
First of all ...
24A.
31 (A1) 31
LOIS
(interrupting)
Clark, don't even start. You got
what you deserved.
25.
31 31
He's stunned. He expected excuses, evasions, not a frontal
attack.
CLARK
What?
LOIS
I know it's tough, but someday
you'll thank me.
CLARK
Thank you?
LOIS
(without missing a
beat)
You're welcome. Never, _never_ let
go of a story. Trust no one.
Period.
CLARK
(grimly)
I see.
LOIS
Consider this a life lesson. No
charge.
Clark returns to his desk, shaking his head in disbelief.
Lois watches him go, sighs with relief: That wasn't _too_
bad. A man, MR. CLEVELAND, fifties, conservatively
dressed, walks by her desk, stops.
CLEVELAND
Excuse me, my name is Cleveland.
I'm looking for Eduardo Friez.
LOIS
He went to lunch.
Lois wants to get back to work, but Cleveland isn't
leaving.
CLEVELAND
(offended)
We had an appointment.
LOIS
(impatient)
I'll tell him you came by.
26.
31 (2) 31
CLEVELAND
Don't bother. I'll take my story
elsewhere. Perhaps the
_Metropolis Star_ will be
interested in information
concerning Superman.
He starts to leave.
LOIS
Superman?
Lois looks to Friez's empty desk.
LOIS
(decision time)
I...
Decision made. She jumps up, takes Cleveland's arm.
LOIS
Cleveland! I've been expecting
you. I'm so sorry. I'm Lois
Lane. Eduardo told me you'd stop
by. Please forgive me.
(pointing)
Let's talk in the conference room,
shall we?
She tries to lead him toward the conference room, but he
shakes his arm free.
CLEVELAND
I'm suddenly rather hungry.
Perhaps after lunch.
Lois grabs a brown bag off her desk.
LOIS
Take mine. Chicken salad.
CLEVELAND
Home-made?
Lois yanks him toward the room, pushes him inside, closes
the door.
32 CLARK 32
dumbfounded, turns to stare at the conference room: Lois
did it again! Jimmy passes carrying a Mr. Foot machine.
27.
32 32
CLARK
Jimmy?
JIMMY
Yo, C.K.
CLARK
Tell me something ... Is Lois
always so aggressive going after
stories?
JIMMY
Does the phrase 'Mad Dog Lane'
sound about right?
CLARK
_Seriously_.
JIMMY
Seriously? Yeah. But I've never
seen her _this_ worked up. This Superman
guy has really pushed her buttons.
(beat)
I heard she aced you out of your *
story yesterday. Tough break.
CLARK
Someone ought to teach her a
lesson.
JIMMY
Sure, but who? Godzilla?
Clark smiles, notices the foot massager.
CLARK
What is that?
JIMMY
Big assignment from the chief.
Vibrating water massage. Stress *
relief. Needs it back by five.
CLARK
(sympathetically)
Talk to him. Tell him how you
feel.
28.
32 (2) 32
JIMMY
Perry White doesn't care how I
feel. To him I'm Mr. Fixit and
Mr. Gogetit.
(beat)
I'm a journalist.
CLARK
Then stand up to him. Make him
see.
JIMMY
(sadly)
I've tried. Sort of.
(beat; crestfallen.)
Catch you later.
Jimmy continues to his desk, sets Mr. Foot down.
CUT TO--
33 INT. LUTHOR'S WAR ROOM - DAY 33
On the monitors: views of the exterior of the building
which houses the Metropolis Post Office. Also, a large TV
screen, as yet unactivated. Luthor scans the display,
nods in satisfaction. Asabi stands by.
LUTHOR
Make the call. Use one of the
scrambled lines.
CUT TO:
34 INT. DAILY PLANET - PIT - DAY 34
The sounds of SIRENS from the street below. Everyone looks
up: something big going on.
35 OMITTED 35
36 PERRY
bursts from his office.
PERRY
Where's Lois?
Everyone looks: no Lois. After another glance toward the
conference room....
29.
36 36
CLARK
She must have stepped out, Chief.
PERRY
Okay. Kent, Paulsen, Schwartz:
we've got a bomb in the lobby of *
the Carlin Building at Third and
Ordway. And get a photographer
down there.
JIMMY
(enthusiastic)
I'll go.
PERRY
Have you fixed the thermostat on
Mr. Foot yet?
JIMMY
(hopefully)
It can wait.
PERRY
(roaring)
The hell it can!
Clark, Jimmy and the other reporters head off on their re-
spective errands. Those remaining look at Perry.
PERRY
What are you gawking at?
They scatter.
PERRY
(pleased)
I love the smell of fear in a
newsroom.
37 INT. DAILY PLANET - CONFERENCE ROOM - DAY 37
Mr. Cleveland contentedly chews on Lois' sandwich. Lois,
exasperated, waits for him to swallow. He does.
CLEVELAND
Is that regular mayonnaise, or
reduced calorie?
LOIS
Regular. Could we...
CLEVELAND
And just a touch of dill. Right?
30.
37 37
LOIS
_Mr._ Cleveland, You claim you have
information about Superman.
Let's hear it.
Cleveland puts the sandwich down, wipes his lips, sips from
a juice box, sets it down. Now he's ready.
CLEVELAND
Superman is definitely an alien
entity.
Lois flips open her notebook, starts writing.
CLEVELAND
He comes from the planet Trofax.
And ... he's not alone.
(conspiratorial
whisper)
I've been on the ship. There are
thousands like him, freeze-dried,
awaiting the call to arms.
LOIS
(puzzled)
Freeze-dried?
CLEVELAND
My involvement won't be
publicized, will it? You see,
I'm planning another run for the
Presidency.
Lois sets down her pen.
LOIS
The Presidency.
CLEVELAND
To follow up on my previous two
terms in '84 and '92.
LOIS
(totally confused)
Mr. Cleveland...
CLEVELAND
Call me 'Grover.'
Lois stands, closes her notebook, grabs the sandwich literally
out of his mouth, exits with a slam.
31.
38 OMITTED 38 *
39 INT. LUTHOR'S WAR ROOM - DAY 39
Luthor watches the TV screen. LINDA MONTOYA, newscaster for
a local TV station, stands by a "Do Not Cross" police line.
Emergency vehicles, flashing lights, noise surround her.
In the background is the Carlin Building.
LINDA MONTOYA (V.0.)
If you've just joined us, the
original report of a bomb planted
in the lobby of the Carlin
Building has now been confirmed.
Currently, the Bomb Squad is
awaiting the arrival of what they
term a 'containment blister' as
well as a team of deactivation
specialists. Once the blister is
in place, they'll attempt to
neutralize the threat.
Meanwhile, the building has been
evacuated and we're being told to
move back. So, for now, this is
Linda Montoya...
She pauses as a growing uproar occurs from the crowd. She
cups her hand over her ear, then, excitedly ...
LINDA MONTOYA (V.0.)
He's here! Superman is here and
may be about to enter the
building.
(to her crew)
Can we get a shot of that?
The camera pans, zooms. Superman _LANDS_, climbs the steps
to the building, disappears within.
40 OMITTED 40 *
41 LUTHOR 41
nods to Asabi. Asabi picks up a radio-controlled detonator
and pushes the button.
CUT TO:
42 EXT. BOMB SITE - DAY 42
Lois hops out of a cab and sprints toward the police line.
Then, the _BUILDING EXPLODES_. She ducks, a bit of flying
debris strikes her forehead, she cries out, falls.
CUT TO:
32.
43 INT. LUTHOR'S WAR ROOM - DAY 43
On the TV monitor, the destroyed Carlin Building. Luthor
and Asabi wait as the dust settles. Then, Superman emerges.
Except for a tattered cape, he's obviously fine.
ASABI
(awed)
Invulnerable.
LUTHOR
(reflective)
A Man of Steel.
CUT TO:
44 EXT. BOMB SITE - DAY 44
Investigators comb the rubble. There's still lots of
dust and smoke in the air. Ambulance teams tend to the
wounded onlookers, but none of the injuries seem serious.
Lois Lane, a blood-stained bandage covering the small cut
at her hairline, bends to pick up something from beneath a *
fallen brick: a shred of red cloth. Can it be? She
examines the material, then carefully wraps it in a tissue
and pockets it. As she straightens, she spots Clark Kent
listening intently to INSPECTOR HENDERSON near the bomb
squad van. She hurries to join them. Henderson has bomb
components spread out on a folding table.
HENDERSON
... somewhere within a two-mile
radius, but that's all we ...
Lois steps between them.
LOIS
What've you got so far?
33.
44 44
CLARK
(concerned)
Lois, you're hurt.
LOIS
It's nothing.
CLARK
Let me see.
He reaches for the bandage, she twists away.
LOIS
It's nothing.
HENDERSON
You guys want to hear this, or
not?
LOIS
Yes.
HENDERSON
The explosion was radio-
controlled, activated from an
unknown point of origin within a
two-mile radius of this site.
Also, there were video cameras
installed in the lobby that were
_not_ park of the building's
security system, or any other
system that the management
company knew about. We think the
two are connected.
LOIS
(instantly putting
it together)
You're saying someone waited for
Superman to appear, watched him
enter the building, and _then_
detonated the explosives?
HENDERSON
That's our theory
An ambulance pulls away, SIREN WAILING. Clark, stricken,
watches it go. Henderson is hailed by another cop, leaves.
LOIS
I can't believe it. A bomb.
it's horrible
34.
44 (2) 44
LOIS
That poor man.
CLARK
(looking around)
What man?
LOIS
Superman. He comes here to
help us... Can you imagine how he
feels?
CLARK
I think so.
LOIS
It doesn't make sense.
(beat)
Who'd want to kill Superman?
ON Clark, wondering the same thing, we...
_END OF ACT TWO_
35.
_ACT THREE_
45 INT. CLARK'S APARTMENT - DAY #4 45
Clark stands at the kitchen sink, casually dressed, phone
cradled against his ear, scrubbing at a stubborn stain on
his Superman suit while he talks to Smallville. He seems
depressed, subdued.
CLARK
It's not coming out.
46 INT. KENT FARMHOUSE - KITCHEN - DAY 46
JONATHAN stands at MARTHA's elbow, leans into the receiver
when necessary.
MARTHA
Clark, is it a dirt stain, or an
oil-based stain?
INTERCUT: Clark's apartment/Kent kitchen.
CLARK
I don't know, Mom. It's a _bomb_
stain.
JONATHAN
You're sure you're all right? We
saw the explosion on television.
That wasn't any nickel popper.
CLARK
I'm fine.
(rubbing harder)
Now if I can only get ...
MARTHA
The important thing is: blot,
don't rub.
Clark stops rubbing, looks closer at the stain. It's
spread. With a sigh he sets the cloth aside.
JONATHAN
Will you two forget about the
laundry for a minute!? We've got
a serious problem here.
MARTHA
(to Jonathan)
Jonathan, it isn't certain the
explosion was aimed at him.
36.
46 46
JONATHAN
Bull. Someone's gunning for our
boy.
MARTHA
Our boy can take care of himself.
CLARK
It's not me I'm worried about,
Mom. It's everyone else in
Metropolis.
JONATHAN
Who do you think it is, son?
CLARK
I don't know. I've got a couple
of leads. There was something
about those suicide attempts. Two
people jumping from buildings on a
direct line of sight across the
city at _exactly_ the same time?
Jonathan looks at Martha, concerned.
JONATHAN
Call us.
CLARK
I will, I promise.
47 INT. CLARK'S APARTMENT - DAY 47
He hangs up, looks around at his apartment. It's an unin-
spiring sight. No furniture, still dirty and decrepit.
In a corner, on the floor, are his blanket and pillow
where he spent his first night. He turns to where several
large boxes of cleaning, painting, refinishing supplies are
stacked in a corner of the living room. Just then, a KNOCK
on the door. Clark opens it to admit Floyd, who peers
inside suspiciously.
FLOYD
Extra keys, Kent. I'll just...
He fits them one at a time in the lock: neither works. He
stares at the marking on the keys.
FLOYD
Wrong apartment.
Floyd turns and leaves before Clark can say a word. Clark
closes the door, scans the room again, turns ON a portable
RADIO.
L & C - "Neverending Battle" - Rev. 7/22/93 (Green) 37.
48 INT. STAIRWELL OUTSIDE CLARK'S APARTMENT - MOMENTS LATER 48
The SAME SONG is still PLAYING on the RADIO as Clark, now
dressed for work, exits his door and heads down the stairs...
nearly bowling over Floyd on his way up again.
FLOYD
(calling after him)
Kent! I found it.
Clark's already gone. Floyd shakes his head, continues on
to the door and tries the first key. It works. His jaw
drops as he stares in.
49 FLOYD'S POV - APARTMENT 49
is now spotless, newly-painted, cabinets stripped and re-
finished, floor cleaned.
50 FLOYD 50
staggers back into the hallway in shock. He looks down the
stairs where Clark disappeared, back toward the open door,
crosses himself.
CUT TO:
51 INT. DAILY PLANET - PIT - DAY 51
Clark's at his desk. He picks up the phone, dials an
extension.
CLARK
Jennifer, Clark from the newsroom
again. Any progress on the
background stuff on Monique Kahn
and Jules Johnson?
(beat)
How about employment records?
(another beat)
Okay, send them up as soon as you
do. Great. Thanks.
He hangs up. Jimmy calls over from nearby.
JIMMY
C.K.! Metropolis Hospital on
three.
Clark hurriedly picks up.
L &. C - "Neverending Battle" - Rev. 7/22/93 (Green) 38.
51 51
CLARK
Dr. Newman? Thanks for returning
my call.
Lois, curiosity piqued again, dumps her half cup of coffee
in the dead plant on her desk and wanders past Clark's desk,
slowing to eavesdrop. Clark's writing on a pad.
CLARK
Yes ... uh huh... really? That's
unusual isn't it? I see. Okay.
Thanks very much. No, that won't
be necessary.
Clark, hangs up.
LOIS
(accusingly)
Is that the same Dr. Newman who
did the psychiatric evaluations on
the attempted suicides?
CLARK
Yep.
*
LOIS
(sweetly)
So, what have we got?
CLARK
We? There is no 'we.' I'm
quoting directly here.
(beat, letting her *
off the hook) *
They've both been released, Jules
Johnson immediately. They don't
think he ever meant to jump.
Monique Kahn, on the other hand,
was hysterical. Turns out she's
afraid of heights.
LOIS
(intrigued)
She's afraid of heights and she
jumps off a thirty-story building?
CLARK
Doesn't sound right, does it?
LOIS
What else?
CLARK
That's all.
L & C - "Neverending Battle" - Rev. 7/22/93 (Green) 39.
51 (2) 51
LOIS
It's not much.
She returns to her desk. Jimmy, who's overheard some of the
proceedings, approaches her.
JIMMY
I had an idea for a way to track
down Superman.
LOIS
Great. Let's hear it.
But from across the room...
PERRY
Olsen! When I say 'soda' I mean
_real_ soda, not that lily-livered
diet stuff! If you're gonna do a
job, do it right. Now get!
JIMMY
(enthusiasm gone, to
Lois)
Gotta go.
Jimmy starts to head for the exit, but stops and looks at
Clark, who's looking at him. Jimmy turns and looks at the
closed door to Perry's office, thinking.
52 OMITTED 52 *
53 INT. DAILY PLANET - PERRY'S OFFICE - SAME TIME 53
Perry has the blinds drawn, bare feet immersed in his Mr.
Foot, an ELVIS SONG PLAYS ON his STEREO. He studies a
large, framed photo of Elvis. His door bangs open. It's
Jimmy. Startled, Perry sits up, turns DOWN the MUSIC, turns
of the foot machine.
PERRY
Olsen?
JIMMY
Chief, I have something to say.
PERRY
So, say it.
JIMMY
Okay, I...
L & C - "Neverending Battle" - Rev. 7/22/93 (Green) 40.
53 (A1) 53
Perry's staring at him. Jimmy's resolve crumbles. Desper-
ately he searches for an out, notices the photo in Perry's hands.
JIMMY
I ... I'm a huge Elvis fan.
41.
53
This is news to Perry, but welcome. He holds the photo of
Elvis out so Jimmy can see it.
PERRY
This is the way I like to remember
the 'King.' Not like the last
time I saw him in Vegas, December
of '76 I think it was. *
(puts the picture
down)
Jimbo, the man was thirty pounds
overweight, decked out like a
cross between an ice cream
salesman and a neon sign. He did
fifteen shows in eleven days, I'll
never know how. His eyes were
bloodshot, his hands trembled, and
there was a kind of crack in his
voice I'd never heard before. I
sat next to the stage. Less than
a year later, Elvis was dead.
JIMMY
(moved)
It must have been awful for you.
PERRY
Awful? It was the greatest
experience of my life!
(beat)
Was that all you wanted to say to
me?
JIMMY
Uh... I'll get you that soda now.
He flees. Perry shrugs, turns UP the MUSIC again.
54 INT. DAILY PLANET - PIT - CONTINUOUS ACTION 54
Lois spots Jimmy, much subdued, exit Perry's office. She
waves him over.
LOIS
What was that angle you had on
Superman?
JIMMY
(muted)
It's probably no good.
He walks past her, stops at Clark's desk.
41A.
54 (A1) 54
JIMMY
I'm a terminal wimp.
L & C - "Neverending Battle" - Rev. 7/22/93 (Green) 42.
54 54
Clark slaps him on the back, trying to encourage. Jimmy
sadly heads for the vending machine. A messenger appears at
Clark's side, dumps a handful of printouts on his desk,
leaves.
LOIS
From Millie?
CLARK
(nodding)
Employment records of the jumpers.
Clark looks at the print-out, tenses.
CLARK
Both worked for LexCorp.
LOIS
(unimpressed)
Them and about a million other
people in Metropolis. What's the
connection?
On Clark's expression we ...
CUT TO:
55 OMITTED 55
& &
56 56
57 INT. LUTHOR'S PENTHOUSE - DAY (LATER) 57
MAURICE, the most exclusive tailor in Metropolis, displays
bolts of cloth to Luthor. Luthor fingers each briefly,
drops the rejects to the floor. Finally, he settles on one.
MAURICE
(phony French accent)
Excellent choice, Mr. Luthor.
LUTHOR
I'll take a dozen in each of the
styles we discusses.
MAURICE
(eyes sparkle, in
French)
Certainement.
43.
57 57
A CHIME sounds. Asabi pokes his head in the room. Luthor
nods to him.
LUTHOR
Shall we say ... two days delivery?
MAURICE
(panicked, accent
forgotten)
Two days!
Luthor is already pushing Maurice toward the door. Asabi
enters to lead him out. Maurice scrambles to gather his
wares, exits. Luthor now turns toward the door that leads
out to his balcony, waits. A shadow falls into the room.
LUTHOR
Come in, Superman.
Superman steps into the light, strides without hesitation to
Luthor's desk. He has a look of fierce determination in his
eyes we've never seen before.
SUPERMAN
You want to know how strong I am,
Luthor?
Superman picks up a magnificent, pear-shaped diamond from
Luthor's desk. He holds it between his hands and _CRUSHES IT_
_TO DUST_
SUPERMAN
You want to know how fast I am?
In the blink of an eye, _SUPERMAN IS ACROSS THE ROOM_ in
Luthor's face.
SUPERMAN
You want to know how vulnerable I
am.?
Superman pulls a Damascan steel sword from its wall mounting
and plunges it into his own chest. The _METAL CRUMBLES_
Luthor stands his ground.
LUTHOR
Does that conclude your
demonstration?
SUPERMAN
_The_ _tests_ _stop_ _now_.
Superman turns to go.
44.
57 (2) 57
LUTHOR
That would be nice. But what if
they don't?
SUPERMAN
(a threat)
Make it happen.
LUTHOR
Me? I admit nothing. However,
let's assume that these tests
continue. You can't be every
place at once, Superman. As long
as you stay in Metropolis,
innocent people will die. Are you
willing to accept that
responsibility? If I were you,
I'd think about it.
Luthor walks from the study. Superman stares after him in
horror.
CUT TO:
58 INT. KENT FARMHOUSE - LIVING ROOM - NIGHT #4 58
Clark, in the suit, sits on a chair facing his parents on
the sofa. He's a man in torment.
CLARK
I don't know what to do.
Martha and Jonathan ache with their son's pain, but haven't
a clue how to alleviate it.
JONATHAN
Clark, you haven't done anything
wrong.
LOIS
Dad, Lois came within _inches_ of *
possibly losing an eye, others are *
hurt... because of _me_. Because I
created Superman.
MARTHA
What happened to those people
wasn't Superman's fault. It was
Lex Luthor's.
CLARK
But, I have no proof. I can't
just throw _him_ off a building.
(MORE)
45.
58 58
CLARK
(beat)
I'm trapped. As long as I keep
Superman alive, Luthor can make good
on his threat.
JONATHAN
Son, how can we help?
CLARK
(realizing)
You can't.
Tears roll down Martha's cheeks. Clark rises, moves to her,
kisses her cheek, walks from the house, the screen door
banging behind him. Martha moves to the window. A _WHOOSH_,
a streak of red and blue against the night, and her son is
gone. Behind her she hears a CRASH. She turns.
59 JONATHAN 59
has kicked in the TV set.
60 CLOSE ON TV 60
The brand is/was: Lex TransTeleCom. *
CUT TO:
60A JONATHAN AND MARTHA 60A
JONATHAN
I only wish it was Lex Luthor's
face. *
MARTHA
Jonathan Kent!
61 EXT. ABOVE METROPOLIS - NIGHT 61
Superman flies above the lights, weaving through the towers,
fixing the moment in memory.
CUT TO:
62 INT. CLARK's APARTMENT - NIGHT
Clark, dressed as Clark, holds the Superman suit on a hanger
and stares at it. From outside, the sound of an APPROACHING
SIREN. He looks toward the sound, hesitates, then takes the
suit off the hanger, folds it up, tucks it away in his old
suitcase, stows that in the corner of the closet, shuts the
closet door. The SIREN FADES in the distance.
_END OF ACT THREE_
46.
_ACT FOUR_
63 INT. DAILY PLANET - LUNCH ROOM - DAY #5 63 *
CLOSE ON a large doodled "S." PULL BACK TO Lois, staring at
her drawing. Nearby are Clark, Jimmy, Cat, others. The
general mood is somber. Clark, especially, seems
preoccupied, muted.
CAT
(satiric, re: Lois'
drawing)
Penny for your thoughts.
LOIS
(almost angrily)
Where is he?! It's been three
days.
JIMMY
Maybe whoever was after him
scared him off.
LOIS
I refuse to believe that.
Superman is no coward. He
wouldn't turn tail at the first
sign of trouble. *
*
Cat sits down next to Clark. *
CAT
What's with you, Clark? You look
like you lost your best friend.
This is very close to home.
CLARK
I...
Cat takes his arm, leans in close.
CAT
What you need is a pick-me-up
Clark disentangles himself. The look on his face tells her
otherwise.
CAT
Or not.
47.
63 63
LOIS
(to Jimmy)
Didn't you have some idea for *
finding Superman?
JIMMY
Forget it. It's a zero. Like my
life.
LOIS
Tell me anyway.
JIMMY
(reluctantly)
I just thought: if Superman is an
alien, and came here from another
planet, he'd have some kind of
space ship. Track the ship
somehow, find Superman.
LOIS
(considering)
Huh.
JIMMY
A zero. I told you.
PERRY
Olsen!
64 ACROSS PIT 64
Perry holds up a large, large-mouthed bass, impressively
mounted on a wooden shield. Except, the front bracket has
come loose: the fish dangles pathetically by its tail.
65 BACK TO 65
JIMMY
(resigned)
Duty calls.
He trashes his lunch scraps, heads for Perry's office. Lois
returns to her desk, thinking... thinking... decides: she
quickly punches numbers on her phone. As he passes, Clark
_OVERHEARS_...
LOIS
Operator, get me the EPRAD
satellite tracking station in
Fairbanks, Alaska
Clark stops, angry.
48.
65 65
CLARK
(to himself)
Now Jimmy? That's it. That's the
last straw.
He turns to face off against Lois, but Perry appears, claps
him on the shoulder and hands him a slip of paper.
PERRY
Third and Walnut. Drive-by
shooting. Get down there now.
Clark looks again at Lois, hunched over and speaking into
her phone. No one's looking at him. At _SUPER SPEED_ he
draws something on a large sheet of paper. Back to _NORMAL_ *
_SPEED_, he examines his handiwork. *
65A CLOSEUP - CLARK'S DRAWING 65A *
It's a map with streets, arrows, etc. In the center, "X" *
marks the spot of "Superman's Spaceship."* *
65B BACK TO SCENE 65B *
Returning to _SUPER SPEED_, Clark folds, envelopes, and ad- *
dresses it, drops it in his out basket, picks up his phone, *
dials. Back to _NORMAL SPEED_. *
CLARK
Hi. This is Clark Kent in the
newsroom. Could I get a messenger
up here? Right. On my desk.
Tonight. To Lois Lane's apartment.
He hangs up, gathers his things, heads to the exit.
CUT TO:
66 INT. DAILY PLANET - PIT - DAY 66
Clark returns, mentally and emotionally. The newsroom
is nearly deserters. Lois sits at her desk, watching the news
on TV with the sound off. The news consists of one disaster
after another. She looks at Clark, correctly guesses his
mood.
LOIS
Bad?
49.
66 66
CLARK
A fifteen-year-old boy is in
critical condition, his mother is
in shock, and his little sister
can't stop crying. There were
witnesses, but they're not
talking. The officer I talked to
says they've had half a dozen
like this in the last week alone.
LOIS
(sadly)
Sounds like a job for Superman.
CLARK
(bitterly)
Yeah. That would have made it a
truly great story, wouldn't it?
LOIS
Forget the story, Clark. Metropolis
_needs_ Superman.
CLARK
You think he would have been able
to stop this?
Clark slaps his notebook. On the TV: Footage of the after-
math of a car crash. Clark points to it.
CLARK
Or that?
LOIS
No. Even Superman can't be
everywhere at once.
Her words are eerie echoes of Luthor's, and Clark reacts to
them.
CLARK
Then what good is he?
LOIS
What he can't do... it doesn't
matter. It's the _idea_ of Superman.
Someone to believe in. Someone to
build a few hopes around. Whatever
he _can_ do: it's enough.
(beat)
If I could only tell him that.
(beat)
I hope it's not too late.
(CONTINUES)
50.
66 (2) 66
Lois gets up to leave. Clark, who's been deeply touched by
her words, calls after her.
CLARK
Lois!
LOIS
(waving him off)
Not now, Clark.
She steps into the elevator.
CLARK
If you get a package ...
She's gone. Clark stares after her, then at his notes, then
back at the elevator.
CUT TO:
67 OMITTED 67
68 EXT. LUTHOR'S BALCONY - DAY 68
Asabi pours Luthor a snifter full of brandy. Luthor
breathes in the bouquet, looks out at Metropolis below.
LUTHOR
A magnificent day. No Superman
in sight.
He laughs, downs the amber liquid.
ASABI
Shall I tell your guest you'll
join her soon?
Both look to where a set of pom-poms and a white sweater
with a large red "M" embroidered on the front lie on the
tile floor.
LUTHOR
Do that. It should be memorable.
I'm feeling exceptionally _cheer_ful.
CUT TO:
69 69
thru OMITTED thru
79 79
51.
79A EXT. METROPOLIS SIDEWALK - DAY 79A
Lots of foot traffic. One area is roped off so a giant
crane can hoist a billboard atop a roof. A crowd has
gathered to watch. The billboard lifts and is slowly swung
toward the building. Then, trouble. The crane's MOTOR
STALLS AND RE-STARTS with a jerk. The sudden motion causes
one of the two steel cables supporting the billboard to
snap. The operator SHUTS the MOTOR down.
79B CLOSEUP - BILLBOARD 79E
It depicts a family at the breakfast table; mom and dad read
the paper. Text: Wake Up To The Daily Planet. Below that,
the famous logo. It dangles by a single cable.
79C CROWD 79C
Gasps and moves back. Workmen appear from behind and out of
the cab of the crane and confer, pointing and gesturing at
the problem. The situation is serious, but not yet
dangerous. Then, with a TWANG of METAL FIBERS FRAYING, the
remaining cable begins to unravel. The workmen scatter.
79D BILLBOARD 79D
It casts a shadow on the empty sidewalk below. It _will_
fall, the only question is how soon.
79E CROWD 79E
waits breathlessly for the anticipated crash. But now, with
no warning, a GRANDMOTHER holding her two granddaughters,
one by each hand, emerges from a storefront inside the roped
off area and proceeds onto the sidewalk, into the shadow.
The crowd reacts.
VARIOUS PEOPLE IN THE CROWD
1. Look out!
2. Above you!
3. Get out of there!
4. Hurry!
The Grandmother looks up, sees the menace, tugs at
the kids, one of whom drops a stuffed animal. The kid wants
to go back for it, but Gramma won't let her. The KID begins
to CRY. The threesome reach the border and safety, but the
kid breaks free and runs back to her toy. The Grandmother
starts back after her. Another METALLIC TWANG: the cable
now consists of a single strand.
52.
79E 79E
GRANDMOTHER
Susie!
People in the crowd hold the Grandmother back, but take up
the cry.
VARIOUS PEOPLE IN CROWD
1. Susie!
2. Oh my God!
3. Little girl!
4. Hurry!
Susie recovers her stuffed animal, pauses to smooth its
fur, but why is everyone yelling at her? She looks up,
her eyes grow wide.
79F BILLBOARD 79F
The cable breaks, it starts to fall.
79G UP IN SKY 79G
Superman _CRUISES_ over the city. He slows to a _HOVER_ as he
spots the trouble below, then _ROCKETS_ for the ground.
79H CROWD 79H
Averts their eyes. The Grandmother screams.
79I SUSIE 79I
Continues to stare upward as the shadow spreads and rushes
toward her.
79J SUPERMAN
A _RED AND BLUE STREAK_ lands beside Susie. He lifts up his
arms and catches the billboard safely above her. Per the
logo, it's an Atlas-like pose.
CROWD
Superman!
Susie smiles shyly and holds out her toy to Superman. He
smiles back. Someone snaps the picture.
53.
80 INT. DAILY PLANET - PIT - DAY #5 80
At Clark's desk, Perry, Jimmy, Cat, others are gathered to
congratulate Clark.
PERRY
Good work, Kent.
CLARK
Thank you, sir.
81 CLOSEUP - FRONT PACE - THAT MORNING'S EDITION 81
Photo: as described.
Headline reads: "Superman's Back." Beneath that:
"Disaster Averted." The by-line: "Clark Kent."
82 BACK TO SCENE 82
CLARK
I was just in the right place at
the right time.
PERRY
That's what being a good reporter's
all about. Keep it up.
(beat; to Jimmy)
What's taking my fish so long?
JIMMY *
(uncomfortable) *
Uh, on it, Chief. *
Perry leaves. Jimmy reads from Clark's article. *
JIMMY
'Let there be no mistake.
Metropolis is my home now. I'm
here to stay.'
(looking up)
That should make life interesting.
CAT
Yeah, but where's the story
behind the story? Where's the
juicy stuff? Where's the dirt?
CLARK
(looking straight
ahead, hiding a
smile)
I think that's coming in right now.
54.
82 82
They all turn to look. Lois Lane has entered the newsroom.
She's filthy, mud-splattered, exhausted. She carries a
large, mud-streaked trashbag which she drops on her desk.
Everyone stares at her.
JIMMY
Lois, what happened?
LOIS
(edge of hysteria)
Nothing. Nothing at all. Oh,
you're referring to my...
appearance? Well, after hours
of tramping through mud, and filth,
and frogs, and _things_, I have a
perfect right to be a bit...
disheveled.
(building)
By the way, did you know it's
possible to get completely lost
at the Metropolis Sewage
Reclamation Facility?
(losing it)
And did you know that there are
_billions_ of mosquitos there? _I_
do. I met them!
She rips open her blouse to reveal an impressive collection
of red bites.
LOIS
Of course, my little trip to hell
wasn't a total failure. I did
find this.
She unwraps the trashbag: a large, plastic Godzilla with
a yellow "S" painted on its chest. Jimmy breaks into a
huge grin, looks at Clark, who manages to keep a straight
face. Suspicious, furious, Lois approaches Clark's desk
and produces, now folded and stained, the map.
LOIS
You wouldn't happen to know who
sent me this, would you?
Then, see spots the Morning Edition. She slowly lifts it,
scans, puts it down. Her fury has drained away, replaced
by a vast empty feeling.
LOIS
You got the story? _You_?
55.
82 (2) 82
CLARK
Yep.
(beat)
Consider this a life lesson, Lois.
No charge.
LOIS
(beginning a slow
burn)
Uh-huh.
In the b.g., Jimmy picks up the Godzilla.
CUT TO:
83 INT. PERRY'S OFFICE - DAY 83
Perry's working at his desk. The door bursts open to admit
... Jimmy Olsen. He holds the large-mouthed bass, sans
mount.
PERRY
Olsen! This fish hasn't been
redone.
Jimmy drops the bass in the trash can.
JIMMY
No, Chief. But _I_ have.
Jimmy slams the door on his way out. Perry stares after
him, then smiles.
PERRY
Good for you, kid.
CUT TO:
84 EXT. LUTHOR'S BALCONY - DAY 84
Another breakfast, Asabi serving. The Morning Edition has
already been read. The hawk perches nearby. Luthor muses *
over his coffee.
LUTHOR
I think we'll suspend testing for
the time being, Asabi. The results
are substantially complete.
(beat; smiling)
I'm very pleased. *
55A.
84 (A1) 84
ASABI
(puzzled)
Mr. Luthor, I don't understand.
Superman has proved himself
unbeatable. And you failed to
frighten him off.
Luthor stands.
56.
84 84
LUTHOR
Yes, he's tough. In fact, he's
the opponent I've been waiting for.
But, unbeatable? No. Superman
has a defect, a chink in his armor.
ASABI
What?
LUTHOR
Superman has morals. He has
ethics. He is unrelentingly...
good.
(beat)
Because of that, I will win. *
Asabi bows. Luthor turns to his hawk, takes it on his *
wrist, walks to the edge of the balcony.
LUTHOR
Another beginning to another fine
day in Metropolis.
(to the bird)
Let's kill some pigeons.
He releases the hawk. We FOLLOW... up ... up ... a dot in *
the sky ...
CUT TO:
85 INT. DAILY PLANET - PIT - DAY 85
Clark is working at his computer. Lois still hasn't
changed or cleaned up, sits at her desk staring into
space. She looks over at Clark, gets up, heads towards
him, stops at his desk. He glances up, slowly stands up.
The newsroom holds its collective breath.
LOIS
You set me up.
CLARK
Yes I did.
Will she explode? Crumble? What? To Clark's, and everyone
else's surprise, she holds out her hand.
LOIS
(with utter
sincerity)
You won.
57.
85 85
CLARK
(embarrassed now)
I didn't 'win.'
Nevertheless, he shakes her hand.
LOIS
Yes you did. You got the story,
_and_ you took me down a peg in the
process. I guess I deserved that.
(beat)
You worked hard, you've earned
your success.
CLARK
Thanks, Lois. That means a lot to
me.
LOIS
I hope so. Cherish this moment.
Because, Clark? You'll never
experience it again.
She turns on her heel, heads for the showers.
CLARK
(calling after her)
Hey, Lois! What have _we_ got on
for tomorrow?
She stops, turns back,
LOIS
You're using that word again,
Clark. There is 'you', there is
'I', _there_ _is_ _no_ _'we'_.
CLARK
Not yet.
LOIS
Not ever.
CLARK
We'll see.
LOIS
How long can you hold your breath?
She leaves. Clark smiles after her.
CLARK
(to himself)
A very long time.
_THE END_
![[HypnoCup] Élimination de Clark](/graph/news_icon/news_icon-93ab562db0f0329ef1031b8cf78f253e.jpg?v1){kind=icon}
![[HypnoCup] Clark en compétition dans le 3ème tour !](/graph/news_icon/news_icon-cfb55615fcdcd4242c27c8fcd3b7f915.jpg?v1){kind=icon}
