FADE IN:
EXT. SPACE - VISUAL
PERFECT SILENCE as the sun shines down upon Earth. From this
point of view everything looks peaceful and calm.
Suddenly, a satellite moves into frame. A silent reminder of
life on the planet below. On the satellite is the logo for
LexCorp.
WOMAN'S VOICE (V.O.)
It was nearly twenty-five go. I still
can't believe it. We found you in a
crater the size of this house, and
not a bruise on you. At first I
thought it was a miracle that you
survived what I thought was a meteor
landing right on top of you.
DISOLVE TO:
INT. KENT HOUSE - KITCHEN - MORNING
MARTHA KENT stands next to the stove, looking off camera.
She is a woman in her late 50's, but with a youthful energy
about her. She looks as though she might cry. It is her voice
that we are listening to.
MARTHA
But that was not the miracle.
CLARK (O.S.)
I know, Mom. The miracle is that my
ship found its way to you and Dad
and your family was complete and we
all lived happily ever after.
MARTHA
You've heard this one before?
ANGLE ON : CLARK KENT
A tall, dark, well built man in his mid 20's. He is wearing
jeans, a t-shirt and a warm smile on his face.
CLARK
Only six hundred times. No, wait...
Seven hundred.
MARTHA
And you couldn't humor an old woman
one last time.
Clark moves toward his mother. She looks up into his eyes.
-----------------------------------------------------------------------------------------------------
2.
CLARK
I'm only going to Metropolis. I'm
not dying.
MARTHA
I know.
CLARK
I'll call.
MARTHA
Every night?
CLARK
At least once a week.
Martha puts a hand on her heart and takes a deep breath. She
puts her other hand on her head and moans ever so slightly.
Clark rolls his eyes.
CLARK (CONT'D)
Twice a week. Final offer.
MARTHA
And you'll visit?
CLARK
I will visit.
MARTHA
You'd better. Not like that last
time you left. A full year and I was
lucky if I got an e-mail.
CLARK
I was in a jungle, Mom. I couldn't
exactly use my cell phone.
Martha shoots him an "oh, please" look.
CLARK (CONT'D)
Fine. I'm sorry. I will call. I will
visit. I will e-mail. I will text
message. I will--
MARTHA
Be careful.
Clark knows that she isn't talking about driving habits or
turning the coffee pot off in the morning. This goes deeper.
CLARK
(beat)
I will.
-----------------------------------------------------------------------------------------------------
3.
MARTHA
You're going into a dangerous
profession. You're putting yourself
out there.
CLARK
I know how to behave.
MARTHA
No more speeding off to stop a bank
robbery.
Clark looks down.
MARTHA (CONT'D)
There are cameras everywhere. One
whoosh by a red light and your secret
will be out there for everyone to
see. Now, I don't mean to lecture
and I don't mean to sound like I
don't have faith in you, because I
do. I have too much faith in you. I
know that it's hard to let the world
carry on its own business, but you
have to.
Clark keeps his eyes on the floor, giving only a nod. Martha
picks his head up and looks him in the eyes again.
MARTHA (CONT'D)
I am so sorry that it has to be this
way.
Clark hugs Martha.
CLARK
I love you, Mom.
MARTHA
I know you do, my baby. I love you
too.
They hold the hug for a moment before letting go. They each
take a step back. Martha wipes a tear from her eye and smiles.
MARTHA (CONT'D)
Now, enough of this. Are you sure
you have enough food for the trip?
CLARK
I'm fine.
MARTHA
And you're sure you don't want to
take the car?
-----------------------------------------------------------------------------------------------------
4.
CLARK
I'm sure. The parking would be too
much on my salary.
MARTHA
Okay then. If you change your mind,
you just come back here and get it.
I have the truck and your father
wanted you to have that old car of
his.
Clark nods.
CLARK
I should go.
Clark walks to the other side of the room and picks up a
suitcase.
MARTHA
Call me when you get there.
Clark smiles and takes a look around the room. Finally, he
opens the back door and walks out of the house.
Martha walks to the back door and looks out as we PULL BACK
through the big, quiet, empty house.
After a few moments, THE PHONE RINGS.
EXT. THE DAILY PLANET - METROPOLIS - DAY
Clark walks up the street in a cheap suit and stops in front
of the Daily Planet. He looks up to the top of the building
where he can see the giant Daily Planet globe. He takes a
deep nervous breath.
CLARK
A year living with a tribe of diseased
cannibals and I'm scared of a giant
globe.
He takes a step toward the doors of the building, and then
stops short as a sudden realization rushes over him.
He reaches into his jacket pocket and pulls out a pair of
old glasses. He looks down at them for a moment and then
puts them on. Afer another brief pause, he walks into the
building.
INT. DAILY PLANET BUILDING - LOBBY/ELEVATOR- CONTINUOUS
Clark walks into the lobby, and takes a look around the lobby
which features some impressive art deco architecture. He
walks to the receptionists desk where there is a RECEPTIONIST
talking on the phone.
-----------------------------------------------------------------------------------------------------
5.
RECEPTIONIST
No, I'm sorry I can't help you. He
doesn't work for the Daily Planet
anymore.
(beat)
I'll tell them you said so.
She presses a button on the phone as she looks up at Clark.
RECEPTIONIST (CONT'D)
Can I help you?
CLARK
Yes. On what floor could I find Perry
White?
RECEPTIONIST
His office is on the 18th.
CLARK
Thanks.
Clark walks away from the desk, toward the elevators. He
steps inside the elevator and presses the button for the
18th floor, causing the button to light up. The doors begin
to close. Before they fully close, a woman's arm reaches
through and opens them again.
LOIS LANE then walks into the elevator, carrying three large
coffee cups. She is about the same age as Clark, but looks a
lot more comfortable in the city environment. She looks him
up and down.
LOIS
Thanks for holding the elevator.
CLARK
I'm sorry. I didn't see you.
Lois pushes the button for the 18th floor, regardless of the
fact that it's already been pushed. Clark smiles as the doors
close.
The two of them stand in silence as the elevator makes its
way up the building. Lois is watching the numbers tick by
above the door. Clark is watching Lois' reflection in the
doors.
INT. DAILY PLANET BUILDING - CITY ROOM - DAY
The elevator doors open and Lois walks out, quickly making
her way toward her desk.
Clark walks out of the elevator and starts to walk through
the room, which is a frenzy of REPORTERS and RINGING
TELEPHONES.
As a MAN walks past, Clark stops him.
-----------------------------------------------------------------------------------------------------
6.
CLARK
I'm looking for Perry White's office.
The man points Clark in the right direction and continues to
walk.
CLARK (CONT'D)
Thanks.
Clark heads for the office.
INT. LEXCORP BUILDING - LEX'S OFFICE - DAY
LEX LUTHOR is in his early 40's and is dressed in a perfectly
taylored designer suit. He has a bluetooth earpiece in his
ear as he paces in front of his desk.
LEX
I understand, Senator. We've been
making every effort possible to refine
our filters. It will take some time.
(beat)
I am aware of that.
(beat)
I am aware of that.
(beat)
I assure you that the problem is
being handled and will be resolved
as we discussed.
(beat)
No. Thank you.
Lex taps the ear piece, turning it off. He walks to his desk
and hits the intercom.
LEX (CONT'D)
Marie, get George Reyes on the phone.
(beat)
And cancel my two o'clock.
MARIE (V.O.)
Yessir. Sir, Professor Vale is waiting
to see you.
LEX
Who?
MARIE
He says that you've been funding one
of his projects.
(beat)
A cybernetic development project.
LEX
I suppose he knows I'm in my office?
MARIE
Yes, sir.
-----------------------------------------------------------------------------------------------------
7.
LEX
Send him in.
Lex walks behind his desk and takes a seat as his office
door opens and PROFESSOR VALE enters. He is carrying a folder
full of papers.
LEX (CONT'D)
What can I help you with, Professor?
PROFESSOR VALE
Well, it seems as though my funding
has been cut in half.
LEX
Okay.
PROFESSOR VALE
I've come to see about changing that.
LEX
I don't think I'm the person to be
talking to. Each branch of LexCorp
has it's own department head. You
should be--
PROFESSOR VALE
I know. And I have spoken with her.
It's just... She's not very interested
in what I'm doing.
LEX
Your cybernetic research.
PROFESSOR VALE
Yes, but it's not just that. I've
developed an alloy to be used in my
experiments.
Professor Vale reaches into his pocket and pulls out a small
cube of metal. He places it in front of Lex. Lex picks it up
and looks it over.
PROFESSOR VALE (CONT'D)
I call it metallo.
LEX
Nice name. What makes this "metallo"
so special?
PROFESSOR VALE
It's strong. It's versatile.
LEX
I'm not hearing your selling point.
There are a lot of alloys that are
strong and versatile.
-----------------------------------------------------------------------------------------------------
8.
PROFESSOR VALE
But metallo is different. Metallo is
alive.
LEX
Pardon?
PROFESSOR VALE
Or... Well, it will be. I've been
experimenting with integrating new
robotic technology into this alloy.
More to the point, making the robotics
one with the alloy on a molecular
level.
LEX
I've never heard of technology working
in such a way.
PROFESSOR VALE
That's because I haven't perfected
it yet. I'm still working on the
finer details, like how to actually
power the metallo. Once I do that,
it's only a matter of baby steps
before we accomplish the bigger task.
LEX
Which is?
Professor Vale is a little annoyed at having to explain all
of this, but he will anyway. He opens his file and pulls
out a photograph. He places it on Lex's desk and Lex takes a
look.
The photo is of a corpse, riddled with bullet holes. When
Lex sees this, he cringes ever so slightly and looks away.
PROFESSOR VALE
This is a picture of a Metropolis
police office after a shooting last
month. Dead.
LEX
Thank you. I see that.
PROFESSOR VALE
It's a meaningless death. This man
didn't have to die.
LEX
To die a hero is considered an honor
by some.
PROFESSOR VALE
My point is, this man didn't have to
die because we have the ability to
(MORE)
-----------------------------------------------------------------------------------------------------
9.
PROFESSOR VALE (CONT'D)
create officers capable of
withstanding not just gunfire, but
explosions, floods... The
possibilities are endless.
LEX
This is your project? Robots?
PROFESSOR VALE
Androids. Cybernetic beings capable
of saving us from ourselves.
LEX
How poignant. But you haven't created
one of these androids?
PROFESSOR VALE
No.
(beat)
But I'm well on my way, and I believe
that with enough time and with the
proper resources I can make this
work.
LEX
Right. Well, I'll see what I can do.
PROFESSOR VALE
Forgive me for being so blunt, but
if you're just saying that to get me
out of your office, I wish you'd
tell me. At least then I could pursue
other options. I hear that Wa--
LEX
Professor, I told you that I would
do what I can to help you. I am a
man of my word.
Professor Vale nods.
PROFESSOR VALE
I'm sorry. I didn't mean to imply
that you weren't. Thank you.
LEX
It's fine. Now, if you'll excuse me.
PROFESSOR VALE
Of course.
Professor Vale smiles and turns to walk out.
LEX
Professor.
-----------------------------------------------------------------------------------------------------
10.
Vale turns around. Lex picks up the photo of the corpse and
holds it out for the Professor to take.
LEX (CONT'D)
I don't think I'll be needing this.
Professor Vale quickly grabs the picture from Lex and then
walks out of the room.
Once Lex is alone, he looks down at the sample of metallo in
his hand. He is intrigued.
INT. DAILY PLANET BUILDING - PERRY WHITE'S OFFICE - DAY
Clark is now sitting in front of PERRY WHITE. Perry has a
mess of papers on his desk, and another paper in his hand
which he is scanning.
PERRY
Where did you go to college?
CLARK
Here. I mean, Metropolis University.
PERRY
And where have you been since you
graduated?
CLARK
Traveling some. Seeing what's out
there. I also wrote a little for the
paper back home in Smallville.
PERRY
Right. I got a call from your editor
last week. Old friend of mine. She
likes you.
Perry puts the paper down and looks to Clark.
PERRY (CONT'D)
My problem is that this isn't the
Smallville Gazette.
CLARK
Ledger. Smallville Ledger.
PERRY
Hmm.
CLARK
But Gazette's fine too.
PERRY
It doesn't matter what it's called,
Kent.
(MORE)
-----------------------------------------------------------------------------------------------------
11.
PERRY (CONT'D)
My point is that I'm not sure you're
ready to be working at a paper like
this. You have telent, I'll give
you that. I'm just not convinced
that you're there yet.
CLARK
There?
PERRY
There. Here... You know what I mean.
You're not ready. Frankly, I wouldn't
even be giving you a chance if it
weren't for the reference.
CLARK
But I am ready. I've been working
toward this for a long time. And I
didn't just study journalism at
school. I took courses in astronomy,
physics, bio--
PERRY
I get it. You're smart.
CLARK
My point is that I know a little bit
about a lot of things and I'm willing
to learn more about what I don't
know. You've seen my writing and you
know that I can do this. I'm just
asking for a chance.
Perry takes a moment to consider this. He looks Clark up and
down, admiring the kid's drive.
PERRY
You remind me of a kid I used to
know. Came from nowhere and worked
his way up.
(beat)
I'll give you a chance, kid. Nothing
fancy, just a small piece in the
Metropolis Life section. A fluff
piece to fill a couple of paragraphs.
After that... Well, after that we'll
see how it goes.
Clark smiles and stands up, extending a hand to shake Perry's.
CLARK
Thank you, sir.
Perry shakes Clark's hand.
-----------------------------------------------------------------------------------------------------
12.
INT. DAILY PLANET BUILDING - CITY ROOM - DAY
Clark and Perry walk out of the office. Perry walks Clark
through the room, giving him a quick tour.
PERRY
I don't have time to give you the
whole tour. Suppies are back there
and if you need anything else, just
ask someone.
They reach an empty desk, which is right next to Lois'. She
doesn't look up from her computer.
PERRY (CONT'D)
Use this desk for now. I'll be in my
office.
Perry turns and walks back toward his office.
Clark takes a seat at his desk and tries to get a feel for
it. He turns on his computer screen and sits back in his
chair.
After a moment, his attention turns to Lois. She still doesn't
look in his direction.
CLARK
Hi.
No response.
CLARK (CONT'D)
Okay then.
Clark turns back to his computer. After a moment, Lois types
a quick sentence into her computer. Once she's finished
with the thought, she sits back in her chair.
LOIS
I guess you're the new guy?
Clark looks at her again. Finally, she looks at him.
CLARK
Hmm?
LOIS
You're the new guy. Yes?
CLARK
Yes.
Lois looks him up and down.
LOIS
Nervous?
-----------------------------------------------------------------------------------------------------
13.
CLARK
No.
Lois smiles.
LOIS
I'm Lois.
CLARK
Clark Kent.
LOIS
Nice to meet you, Clark.
CLARK
You too.
Lois turns back to her computer and resumes her work.
LOIS
(under her breath)
I give you a week, tops.
Lois assumes that Clark can't hear her, of course.
Of course, she is wrong. He's a little thrown by the comment
as he turns toward his computer screen. After shaking off
Lois' comment, he looks around his desk and the room. Things
are looking up.
INT. DAILY PLANET BUILDING - CITY ROOM - NIGHT
FIVE YEARS LATER
Clark's desk is now full of pictures, papers and notes. He's
made it his own. He is currently sitting in his chair, wearing
a more expensive suit, talking on the phone. He's not happy.
CLARK
I understand that, but the crime
rates in Suicide Slum have increased
by twenty percent in the last five
years. How can you deny this?
(beat)
I understand that. That's why it's
called Suicide Slum.
(beat)
That doesn't excuse the lack of police
protection for its citizens.
(beat)
There have been six convenience store
robberies in the past week. Two
apartments were robbed while the
families were held at gunpoint. Three
carjackings. An attempted rape. One
man was killed and two others were
shot. What is being done to put an
end to this crime spree?
-----------------------------------------------------------------------------------------------------
14.
The line goes dead. Clark stops mid-sentence as he realizes
this.
CLARK (CONT'D)
No comment. Of course there's no
comment.
Clark turns toward Lois' desk where she is working on a story
of her own.
CLARK (CONT'D)
That's the third time this week.
LOIS
Maybe you're losing your charm,
Smallville. I, on the other hand,
just scored the interview of a
lifetime.
(beat)
Well, the interview of the week
anyway.
CLARK
The mayor?
LOIS
Nope. Lex Luthor. He's agreed to
give me a one-on-one interview after
the opening of the new Luthor Medical
Research Center.
CLARK
Good luck. Talking to that man is
like talking to a brick wall.
LOIS
For most reporters. For me, it is
just another challenge to be met and
conquered.
CLARK
Yeah. You might want to look over
your personel file. Make sure your
"next of kin" contact number is up
to date.
LOIS
So, I'm guessing you believe the
rumors.
CLARK
I'm starting to.
Lois stands up.
-----------------------------------------------------------------------------------------------------
15.
LOIS
This is why nobody trusts the media
anymore. Every time someone makes a
few bucks, every paper in the world
tries to bring them down. Score the
next big headline. By the time there's
actual news to report, nobody wants
to listen.
CLARK
So, I'm guessing you don't believe
the rumors.
LOIS
I neither believe nor disbelieve the
rumors. Until I see hard evidence, I
remain impartial. That's what good
reporters do. Report facts, not spread
gossip. Frankly, I'm surprised that
you're so quick to judge. You're
usually all ethical and stuff.
CLARK
It's getting harder to see the glass
half full. It seems like we're writing
the same headlines every day. I'm
starting to think everyone has
something to hide these days.
LOIS
Everyone does.
(beat)
Besides you. You're this big ball of
boy scout goodness and it was only a
matter of time before this job wore
you down. You have to stop letting
the world get to you.
CLARK
How?
LOIS
I wish I could tell you. It's just
something you have to learn for
yourself. Like riding a bike, or the
birds and the bees.
(off Clark's puzzled
reaction)
My parents worked a lot.
CLARK
Seems like.
LOIS
Anyway, it's late. I'm getting out
of here. You should do the same. Get
something to eat. Sleep. Come at it
again in the morning.
-----------------------------------------------------------------------------------------------------
16.
CLARK
Sage advice. Want to grab some dinner?
LOIS
I would, but I have a date.
Clark's a little disappointed by this. Lois doesn't notice.
CLARK
Richard?
LOIS
Yup. Third time's a charm, right?
Who knows. Maybe I found me a good
one for a change.
CLARK
Good luck.
Lois grabs her coat and starts to walk away.
LOIS
Thanks. I need all the help I can
get. G'night.
CLARK
G'night.
Once Lois is gone, Clark is the only person remaining in the
office. He looks at a stack of notes, but doesn't feel much
like writing. He gets up, grabs his coat and walks out of
the office.
EXT. METROPOLIS STREET - NIGHT
Clark walks down the street. As he walks, MANY SOUNDS FLOOD
HIS EARS. He is finding it hard to ignore the sounds, which
include babies crying, couples fighting, people laughing,
cars honking and sirens wailing their way across town.
Suddenly, a loud scream breaks through all of the other
noises. This is a sound which he would have heard with or
without super hearing.
Clark looks up in time to see a MUGGER grab the purse of a
WEALTHY OLDER WOMAN who has been knocked to the ground. The
mugger is holding a gun to the woman's head.
WEALTHY OLDER WOMAN
No. Please no. Take it!
MUGGER
I want your jewelry.
The mugger snatches the woman's necklace right off of her
neck and shoves it into his pocket.
-----------------------------------------------------------------------------------------------------
17.
MUGGER (CONT'D)
Now give me the earings, or I'll
take them the same way I took the
necklace.
Clark looks around the street. Several people are watching
this happen, but nobody is doing anything to stop it. This
confuses Clark.
As the woman struggles to get her earrings off, Clark takes
a few steps toward the mugger, but hesitates as he thinks of
what he will do. Finally, he decides to just go for it and
walks toward the mugger with more determination.
CLARK
Hey!
The mugger turns toward Clark, aiming the gun at Clark.
MUGGER
Don't be a hero.
CLARK
I'm not a hero.
MUGGER
Good.
The wealthy older woman notices that the mugger's attention
is off of her and attempts to sneak away. The mugger quickly
sees this and turns the gun back to her.
MUGGER (CONT'D)
Stop!
CLARK
No!
Clark starts to take a step toward the mugger. When the mugger
sees this, he turns the gun back to Clark. The gun goes off.
THE WORLD SLOWS DOWN around Clark.
The bullet makes it's way from the gun, toward Clark's chest.
Clark watches it get closer and closer. He could easily swat
it out of the way, but that would attract too much attention.
He looks around to see how many people are watching. There
are too many to overlook any use of super powers.
The bullet gets closer and closer to Clark.
Finally, THE WORLD RESUMES NORMAL SPEED.
The bullet hits Clark in the gut. Clark stumbles back a little
and puts his hand on his stomach.
-----------------------------------------------------------------------------------------------------
18.
The wealthy older woman screams. The crowd gasps. The mugger
and Clark lock eyes, both of their eyes widening as they
start to panic.
The mugger takes off down the street.
WEALTHY OLDER WOMAN
Someone call 911!
The wealthy older woman stands up and looks at Clark.
WEALTHY OLDER WOMAN (CONT'D)
Are you okay?
Clark keeps his hand over the bullet hole in his suit as he
looks down, pretending to examine the damage. Finally, he
looks back up at the woman and the crowd around her.
CLARK
Blanks.
(beat)
They were blanks.
The woman lets out a sigh of relief. Clark turns to face a
wall, taking a deep breath of his own and buttoning his jacket
as discreetly as possible.
A police car pulls up. Clark looks toward it, wondering how
to explain all of this.
INT. CLARK'S APARTMENT - LIVING ROOM - NIGHT
Clark walks into his apartment and tosses his coat onto the
couch as he walks toward the bedroom.
INT. CLARK'S APARTMENT - BATHROOM - NIGHT
Clark walks into the bathroom and turns on the light. He
stands in front of the mirror, looking at the hole in his
shirt.
He unbuttons his shirt and opens it, revealing an undershirt
with a bullet hole in it.
He lifts the undershirt revealing the completely undamaged
skin beneath. He looks at the reflection for a moment.
THE PHONE RINGS. Clark looks toward the bedroom and finally
leaves the bathroom, turning off the light behind him.
The PHONE RINGS AGAIN, but this time it's answered mid-ring.
CLARK (O.S.)
Hello?
(beat)
Hi, Mom.
(MORE)
-----------------------------------------------------------------------------------------------------
19.
CLARK (O.S.) (CONT'D)
(beat)
Well... I was shot in the stomach.
(beat)
Yeah, it's ruined.
(beat)
The one you gave me for Christmas.
(beat)
I know. I liked the shirt too.
INT. KENT HOUSE - LIVING ROOM - NIGHT
Martha is on the phone with Clark.
MARTHA
Did anyone see you get shot?
intercut with:
INT. CLARK'S APARTMENT - LIVING ROOM - NIGHT
Clark walks out of the bedroom with the phone in his hand.
CLARK
Actually, yeah. There were a few
people watching. I was trying to
stop a mugger.
MARTHA
Did you?
CLARK
He ran. I couldn't really do anything
about it. I told everyone that he
was using blanks.
MARTHA
And they believed you?
CLARK
No reason not to. How many times
have you suspected someone of being
from another planet?
MARTHA
You didn't live through the 60's.
Martha waits for a chuckle, but none comes.
MARTHA (CONT'D)
Clark, are you okay?
CLARK
I'm really not.
Martha's not sure what to say. She knows what's bothering
Clark, but she has no way of making it better. Especially
over the phone.
-----------------------------------------------------------------------------------------------------
20.
MARTHA
Listen. Pete and Lana are in town.
I'm having them over for dinner
tomorrow.
CLARK
I don't know.
MARTHA
It'll do you some good to be around
people who know. You've been so
isolated lately.
CLARK
I'll see if I can make it.
INT. DAILY PLANET BUILDING - CITY ROOM - DAY
Clark is sitting at his desk, typing away at his computer
when JIMMY OLSEN walks up to him.
JIMMY
Clark.
Clark looks up.
JIMMY (CONT'D)
Have you checked out the John Corben
blog?
CLARK
No. Why?
JIMMY
I just thought you might wanna.
Jimmy looks up and sees Perry walking toward them.
JIMMY (CONT'D)
Or you might want to play sick. A
little post traumatic stress.
Something like that.
CLARK
Jimmy, what are you talking about?
Perry reaches the desk. He doesn't appear happy. He looks at
Jimmy.
JIMMY
I should go develope some film.
PERRY
Develope--? How many times have I
told you to use digital?
-----------------------------------------------------------------------------------------------------
21.
JIMMY
But film has more depth. More
personality.
PERRY
We're not opening an exhibit, we're
printing the news. Digital can be up
on the website in five minutes.
JIMMY
Yessir.
(to Clark)
I'll see you later.
CLARK
See ya.
Jimmy walks off. Perry pulls up a chair and sits near Clark.
PERRY
Would you say that I'm a nice guy,
Clark?
CLARK
I... guess so. Yes.
PERRY
Easy going? Not one of those bosses
that everyone hates?
CLARK
Sure.
PERRY
So, why do you hate me?
CLARK
I don't.
PERRY
You don't hate me?
CLARK
Sir, did I...? What's...? Huh?
PERRY
We're a newspaper, Kent. We report
the news, correct?
CLARK
Yes.
PERRY
Then why is there a police report
online which claims that you were
not only witness to, but the victim
of a shooting last night?
-----------------------------------------------------------------------------------------------------
22.
CLARK
I-- It was blanks.
PERRY
You had a gun aimed at you. The
trigger was pulled. You don't see a
story here?
Clark doesn't respond.
PERRY (CONT'D)
Your life flashed before your eyes.
Your heart was pounding in your chest.
For a moment, you thought you might
have been shot. You thought you were
dying. For a moment, the rest of
the world didn't exist and you saw a
light at the end of a tunnel.
CLARK
I did?
PERRY
Work with me. There's a story here.
Not only that, but it fits in with
the series you've been working on.
The only way this could be better is
if you were actually shot. And you
know what I mean by that so don't
get all emotional.
CLARK
I'm sorry, sir. I'll work on it.
PERRY
Damn straight, you will. And I will
never see a story like this on that
hack's blog ever again, right?
Perry stands up.
PERRY (CONT'D)
I'll be in my office.
Perry walks away.
PERRY (CONT'D)
What does that mean anyway? "Blog."
Clark turns back to his computer and pulls up John Corben's
website. On it are links to several stories relating to crimes
in Metropolis under the headline "War On The Streets".
Clark clicks on one of the stories and begins reading.
-----------------------------------------------------------------------------------------------------
23.
EXT. LUTHOR MEDICAL RESEARCH CENTER - DAY
A CROWD is gathered in front of the building for it's opening.
Lex is standing on a small platform in front of the crowd.
Next to him stand several doctors and men in suits.
LEX
Ladies, gentlemen and members of the
press, it is an honor to welcome you
here today as we take another step
toward the future. The Luthor Medical
Research Center has been a dream of
mine since I was a child, watching
helplessly as disease claimed the
life of my beloved mother. Since
that time, I have wanted to do my
part to aid in the battle against
not only disease, but all of the
physical setbacks that keep us from
achieving our true potential. I
won't bore you with drawn out speeches
and self-congratulatory rhetoric.
That is not what this day is about.
This day is about the dawning of
what I hope will be a new era of
medical research. Already, I have
assembled a team of the world's most
skilled scientists to face this task
and they have begun work on some
very exciting experiments which I
look forward to sharing with you in
the coming years.
ANGLE ON : THE CROWD
Lois and Jimmy stand with the rest of the crowd, watching
Lex speak. Jimmy snaps a few photos with a digital camera.
He's having a difficult time with the camera.
LOIS
I thought he said he wasn't going to
make a drawn out speech.
JIMMY
Well, I hope he keeps talking. I
can't get this camera to work right.
LOIS
Is the lense cap on?
JIMMY
No.
Jimmy pushes a button and it BEEPS.
JIMMY (CONT'D)
Ah.
-----------------------------------------------------------------------------------------------------
24.
Jimmy aims the camera again and takes a picture. He looks at
the shot on the camera's screen.
JIMMY (CONT'D)
Works now.
LOIS
Great. I think he's just about to
get around to the self-congradulatory
rhetoric.
LEX
(continuing the speech)
So I thank you. With your help, we
really can make this world a brighter
place.
LOIS
Okay, I guess I was wrong.
LEX
I am but the monetary supplier.
LOIS
Or not.
LEX
I am a small part of this larger
machine. The millions of dollars
given to fund this facility are
nothing compared to the dedication
of those who will work here. The
support given to them by the city of
Metropolis -and indeed, the world -
will drive them more than any amount
of money ever could.
(beat)
Without further delay, I present to
you the Luther Medical Research
Center. I present to you the future
of mankind!
The crowd applauds. Lois claps despite being a little bored.
Meanwhile, Lex is busy shaking hands and greeting guests.
Lois keeps her eye on him, waiting for her chance.
LOIS
(to Jimmy)
When we get inside, keep up. I don't
want to miss a thing.
(beat)
Oh, and make sure you get his
reactions to the hard hitting
questions. If I hit on something, I
want to see the look on his face
plastered all over the front page.
-----------------------------------------------------------------------------------------------------
25.
JIMMY
I'll do what I can.
Lex turns and starts to walk toward the building. Lois starts
after him.
LOIS
Let's go.
Jimmy follows.
JIMMY
Shouldn't we wait until someone calls
us?
LOIS
A lesson for you Jimmy. Always try
to keep them off balance. Once you
let them dictate the order of things,
you might as well be their PR guy.
As Lois and Jimmy get closer to the building, a GUARD steps
in front of them.
GUARD
I'm sorry, but the tours haven't
begun yet.
LOIS
That's okay. I'm getting mine from
Mr. Luthor. If you'll just let me
in.
GUARD
You must be Miss Lane.
LOIS
You've heard of me. I'm touched.
GUARD
Lois Lane, Daily Planet. It's on the
guest list.
LOIS
Oh.
GUARD
You'll have to wait a little longer,
Miss Lane. Mr. Luthor will let me
know when he's ready to see you.
JIMMY
So much for keeping him off balance.
GUARD
And the kid will have to wait out
here.
-----------------------------------------------------------------------------------------------------
26.
JIMMY
Kid?
LOIS
He's my photographer.
GUARD
Invitation for one person only. I'm
sure the boy got enough pictures
during the speech.
JIMMY
Jimmy-- Jim Olsen. Not kid. Not
boy. Mr. Olsen if you want.
GUARD
(ignoring Jimmy)
Sorry. I don't make the rules.
LOIS
Whatever. Just let me know when he's
ready.
The guard nods. Lois and Jimmy turn and start to wander back
toward the crowd.
JIMMY
A lesson for you, Lois...
Lois shoots Jimmy a look that warns him not to continue.
JIMMY (CONT'D)
I mean, Miss Lane.
LOIS
Do you have any smaller cameras?
JIMMY
Not on me.
LOIS
Damn.
JIMMY
Sorry.
LOIS
You might as well go back to the
office.
JIMMY
You sure? I could wait.
LOIS
No thanks, Jim. I'm good.
Jimmy nods and walks off. Lois sits on a nearby bench and
starts waiting.
-----------------------------------------------------------------------------------------------------
27.
INT. LUTHOR MEDICAL RESEARCH CENTER - LEX'S OFFICE - DAY
Lex is sitting at his desk in the new office, which looks
nothing like his other office. It has a much more high-tech
feel to it.
On his computer monitor is video from the security cameras.
On the video, Lex watches Lois wait for him. She checks her
watch and sighs.
Lex grins. He's in control of this situation.
Lex hits the intercom.
LEX
Miss Ambrose.
MISS AMBROSE (V.O.)
Yes, sir?
LEX
Wait another ten minutes and then
tell Miss Lane that she can wait in
the hall.
INT. LUTHOR MEDICAL RESEARCH CENTER - HALLWAY - DAY
Lois is pacing in the hallways as the guard from before stands
nearby to keep an eye on her. She smiles and waves at him,
growing more impatient. As she looks at her watch, Lex turns
the corner and walks toward her. When she sees him, Lois
pulls out her pad and pen.
LEX
Miss Lane, I presume?
LOIS
Mr. Luthor. How nice of you to meet
with me.
LEX
I hope I didn't keep you waiting.
LOIS
Not at all.
LEX
Good. Shall we? There are a lot of
exciting things to show you in this
facility.
LOIS
I'm sure there are, but I'm not here
to write an ad for you. I think you
should know that.
-----------------------------------------------------------------------------------------------------
28.
LEX
Of course. What is it they say?
(beat)
"Hit me with your best shot."
LOIS
Tell me that you didn't just start
off the interview by quoting Pat
Benatar.
LEX
We all have our weaknesses, Miss
Lane.
Lois writes something in her pad.
LEX (CONT'D)
I thought most reporters used digital
recorders these days.
LOIS
It's running in my purse.
(beat)
Shall we?
Lex nods and starts leading Lois down the hall.
INT. LUTHOR MEDICAL RESEARCH CENTER - OTHER HALLWAY - DAY
Lex continues to lead Lois as he conducts a tour and she
conducts an interview.
LEX
The entire east wing of the center
is a functional hospital, complete
with emergency room, and surgical
facilities. It's equipped with the
latest technology, of course. All in
an effort to provide the common
citizens of Metropolis with the best
care at prices they can afford.
Lex motions toward a door.
LEX (CONT'D)
In here we have the lab of Dr. Aaron
Strong. He's working on developing a
type of cancer vaccine that uses
spores found in the Alaskan forests.
I'm sure he could explain it much
better than I, but it's fascinating
to hear about.
LOIS
Cancer cure. Great.
(MORE)
-----------------------------------------------------------------------------------------------------
29.
LOIS (CONT'D)
So, how do you respond to rumors of
LexCorp emissions far exceeding the
legal limits in almost all of your
manufacturing plants? I bet they're
not helping the cancer rates very
much.
LEX
I've only recently been made aware
of such rumors and I assure you that
I'm making every effort to get to
the bottom of the situation. I
thought I'd hired a team of managers
that I could trust to run my plants
effectively and safely, and I'm truly
saddened to think that my trust might
have been betrayed.
Lois nods and makes a note.
LOIS
So these managers are going to be
fired?
LEX
If it's discovered that they've been
neglecting their duties, absolutely.
At LexCorp we take the safety of the
environment as seriously as those of
our own employees. Our own families.
LOIS
Right. In your speech, you made
mention of your mother. How do you
think she'd react to the opening of
this center?
LEX
I would hope that she'd be proud.
Though it might be too late to help
her, I think that she would be happy
that I was doing something in my own
way to help the world's growing health
concerns. To truly make the world a
better place, free of disease.
As Lex says this, Professor Vale walks down the hallway.
Vale isn't paying attention to where he is going. He's looking
over papers and making notes on them.
As he walks, Professor Vale bumps into Lois. Both drop their
papers. As they bend down to pick them up, Lois sees the
word "metallo" on one of the papers. She doesn't think much
of it and moves on.
PROFESSOR VALE
I'm sorry. My mind isn't here today.
-----------------------------------------------------------------------------------------------------
30.
LOIS
Don't worry about it.
Professor Vale smiles and walks off. Lois turns back to Lex.
LOIS (CONT'D)
One of your doctors?
LEX
Yes. I can't discuss his project
right now, but I think it's safe to
say that it could change the face of
Metropolis- and the world really- as
we know it.
LOIS
Lovely.
(beat)
Now, you mentioned that your mother
died of a disease?
LEX
Yes.
LOIS
I thought I read that your mother
burned to death in an apartment fire.
Lex takes a moment and then looks down.
LEX
Both are true, really. It's a hard
topic for me to discuss.
LOIS
I understand. If you'd rather not...
LEX
No.
(beat)
My mother was sick. For a year I
watched her grow weaker and weaker
before my eyes. The woman that I
knew was gone long before her death,
and my father couldn't stand to watch
her suffer any longer.
LOIS
Are you saying that your father killed
her?
LEX
I'm saying that my father was human,
Miss Lane. With all of the weaknesses
that we all have.
-----------------------------------------------------------------------------------------------------
31.
LOIS
But he did set the fire that killed
her?
LEX
And himself.
Lois makes a note.
LOIS
How did you learn about this? If you
don't mind my asking.
LEX
I was at work. This was before I had
the security that I have today. I
was working in a small print shop
across town. I remember a police
officer coming into the shop with my
family's minister and I knew right
away that something was terribly
wrong.
LOIS
I'm sorry.
LEX
For years I hated my father for what
he did, but once I learned to see
what he was going through, I learned
that illness doesn't just hurt those
infected. Those around the ill can
also be made weak.
LOIS
Interesting.
LEX
But enough about myself. Let me show
you our genetics lab.
INT. DAILY PLANET BUILDING - CITY ROOM - DAY
Clark is at his desk, reading a website. Lois slumps into
her chair next to Clark.
LOIS
I've never interviewed someone for
so long without getting anything
interesting to write.
CLARK
Interview didn't go well?
LOIS
It was like listening to white noise
for an hour.
(MORE)
-----------------------------------------------------------------------------------------------------
32.
LOIS (CONT'D)
Either this guy is squeakier than
you or he's an evil genius. I'm kinda
leaning toward the latter.
Clark smiles.
CLARK
What happened to journalistic
impartiality?
LOIS
I still have it. It's just asleep,
next to the part of my brain that's
been listening to the man speak all
day.
CLARK
Do you at least have something to
write about?
LOIS
I'm sure I'll work it out. I am
brilliant after all.
(beat)
How about you? Any breaking news?
CLARK
Besides the fact that Perry had me
write a story about my near death
experience last night?
LOIS
Huh?
Clark moves over and shows Lois his computer screen with
John Corben's page loaded on it. The story about Clark is
displayed.
LOIS (CONT'D)
Wait... You were almost killed?
CLARK
The guy was shooting blanks.
Lois smirks.
CLARK (CONT'D)
I wasn't almost killed.
LOIS
Still, it had to be scary right?
CLARK
Yeah. It was scary.
-----------------------------------------------------------------------------------------------------
33.
LOIS
So Corben scooped you on a story
about you? That's just not making
you look good.
CLARK
Thank you.
(beat)
So, what do you know about John
Corben?
LOIS
What do you mean?
CLARK
I mean, I've been reading his site
all day and something seems off about
it. I can't put my finger on it.
LOIS
Well, it wouldn't be the first time.
John isn't know for his integrity.
CLARK
You know him?
LOIS
Used to. He worked here a while before
you. Actually, you're sitting at his
desk.
CLARK
What happened?
LOIS
Perry found out that John wasn't
into checking facts, he was more
into making them up. Half of what he
wrote was fictional. Made the Planet
look like a joke. Made Perry look
worse.
(beat)
Perry trusted him. He was ivy league,
smart... Everything that's supposed
to make a good reporter. After that,
Perry changed. He went for people he
thought he could trust rather than
people who just had an impressive
resume. That would be why you're
here.
CLARK
And yet somehow Corben's website
still attracts all of this attention.
-----------------------------------------------------------------------------------------------------
34.
LOIS
As far as I know, the stories on his
site are legit. The guy still seems
a little strange to me, but he has a
talent for getting to the scene before
anyone else.
Clark sits back in his chair and thinks this over.
CLARK
Still, something seems off.
LOIS
Let me know if you figure it out.
Until then I have to go listen to my
Luthor interview and try to put a
few paragraphs together without
sounding like I'm on the payroll.
CLARK
Good luck.
INT. LUTHOR MEDICAL RESEARCH CENTER - VALE'S LAB - NIGHT
Professor Vale's lab is a dark room that's filled with a lot
of semi-creepy robotics equipment. At the moment, Professor
Vale is sitting at a desk, looking down at a small rod made
of metallo.
Lex walks into the lab behind him.
LEX
It's late, Professor. Please tell me
that there's good reason for this
meeting.
PROFESSOR VALE
There is. Look.
Lex walks to the desk and looks at the rod.
LEX
It looks like a piece of metal.
PROFESSOR VALE
But it's not. This is the latest
metallo experiment. The piece of the
puzzle that makes the picture clear.
LEX
And yet, it looks like a piece of
metal.
PROFESSOR VALE
Watch.
Professor Vale grabs some jumper cable-type wires from under
the table and attaches them to the rod.
-----------------------------------------------------------------------------------------------------
35.
He then presses a button which activates the power.
The lights in the room dim.
EXT. LUTHOR MEDICAL RESEARCH CENTER - NIGHT
Every light in the building dims, along with the lights of
several other nearby buildings.
INT. LUTHOR MEDICAL RESEARCH CENTER - VALE'S LAB - NIGHT
Lex looks around the room, noticing the power drain. He looks
back at the metallo rod and notices the rod bend itself into
a square.
Professor Vale shuts the power off. The metallo returns to
its rod form.
Lex stands in silence for a moment.
LEX
That's it? That is the breakthrough?
PROFESSOR VALE
It may not look like much, Mr. Luthor,
but it is. There are no standard
mechanics in the metallo. No joints.
No weak spots. The metal is as strong
as any substance on the planet and
can move as freely as the human body,
given the proper programming and
energy.
LEX
Can you make full scale androids out
of this?
PROFESSOR VALE
Yes. I could mold the body at any
time. The only setbacks will be the
power supply and the central
processor. The computing power needed
to process the metallo commands would
be extraordinary. This rod is only
capable of the most basic commands
and those are preprogrammed.
LEX
Do we have the ability?
PROFESSOR VALE
We may on some larger level. The
challenge will be to scale it down
to a reasonable size without losing
any functionality. In essence, I
would have to find a computer capable
of functioning on the same level as
the human brain.
-----------------------------------------------------------------------------------------------------
36.
LEX
Do it. I want a prototype ready within
the month.
PROFESSOR VALE
But--
LEX
No excuses, Professor. This won't
just give the Center the publicity
it needs. It will put LexCorp on the
map as the only source for law
enforcment robotics. Do you know
what that would mean for me?
PROFESSOR VALE
Millions of dollars.
Lex chuckles and shakes his head. Vale just doesn't get it.
LEX
Get back to work.
INT. DAILY PLANET BUILDING - CITY ROOM - NIGHT
While it is dark out, there are still plenty of people working
in the office.
Clark is going over news reports on the Daily Planet's
website. Lois is still at her desk, just finishing up her
piece on Lex Luthor. After finishing, she sits back and rubs
her eyes.
LOIS
I feel a sudden need to wash my hands.
Clark doesn't respond. He is flipping back and forth between
the Planet's site and Corben's site.
LOIS (CONT'D)
Clark?
Lois looks back at Clark's screen.
LOIS (CONT'D)
You're still reading crime reports?
You're going to drive yourself insane.
Or at least blind.
CLARK
Only a few more minutes, Mom? Please?
LOIS
Ha ha. At least tell me you're onto
some kind of story here and not just
obsessed with creepy stuff.
-----------------------------------------------------------------------------------------------------
37.
CLARK
Other than the fact that Corben is a
hack writer who only writes about a
handful of the crimes down in Suicide
Slum while ignoring the others? Not
really.
LOIS
Maybe he only reports on the really
bad ones?
CLARK
No. He's completely ignored murders,
rapes, and child abductions. He
usually focuses on armed robberies
and stuff like that.
LOIS
(sarcastic)
Weird. Who would have thought John
Corben was a half-assed reporter?
Lois stands up and stretches.
LOIS (CONT'D)
I'm gonna get going. I have a date.
CLARK
Richard?
LOIS
John. Richard's not getting past the
third date.
CLARK
I thought you liked him.
LOIS
I thought I did. Then, the last time
we went out I spend the whole night
wondering why I liked him. He's not
incredibly bright or funny. I'm not
comfortable around him. Good looking,
yes.
(beat)
I just want someone who will wow me.
Sweep me off my feet. Bring me soup
when I'm sick.
CLARK
Sweeping and food preparation. Sounds
more like you want a maid.
LOIS
(smiling)
Whatever, Smallville. At least I
date.
-----------------------------------------------------------------------------------------------------
38.
Clark looks at his watch.
CLARK
Actually, I have dinner plans tonight.
With an old girlfriend.
INT. KENT HOUSE - FOYER/LIVING ROOM - NIGHT
Martha opens the front door and smiles when she sees LANA
LANG and PETE ROSS standing outside. Lana is very pregnant.
MARTHA
Lana! Pete! Come in here. Let me
have a look at you.
PETE
Hi, Mrs. Kent.
MARTHA
We're all grown up now, Pete. Call
me Martha.
PETE
That would be weird, Mrs. Kent.
Martha gives Pete a hug, and then Lana.
MARTHA
Lana, you look amazing. Exactly the
same as you did ten years ago. Pete,
are you putting on weight?
Everyone laughs.
LANA
So, is Clark coming tonight?
MARTHA
He's here. He's just too rude to
come to the front door. Come inside.
Pete and Lana walk further into the house as Martha closes
the door. They walk into the living room where Clark is
sitting in jeans and a t-shirt, with his laptop in front of
him.
PETE
Clark!
Clark looks up and sees Pete and Lana. He puts his laptop
down and stands up.
CLARK
Hey. Sorry.
PETE
Big breaking news?
-----------------------------------------------------------------------------------------------------
39.
CLARK
Actually, the same old story. Just a
lot more of it these days.
LANA
You look worn.
Clark looks at Lana.
CLARK
You look pregnant. How are you
feeling?
LANA
Y'know, now that you mention it,
pregnant sounds just about right.
CLARK
Sit.
LANA
Yes, sir.
Lana walks to where Clark is sitting and takes a look at his
laptop. She winces and shuts it.
LANA (CONT'D)
Sorry. Weird things make me nauseous
these days. Murder scene photographs
would be one of them.
MARTHA
It's about time Clark put work aside
anyway. Dinner's almost done.
LANA
It smells great.
PETE
I hope you made a lot.
MARTHA
You kids go sit down at the table
and I'll bring the food.
LANA
I'll help.
MARTHA
You'll do no such thing. In my house,
the pregnant ones get to relax.
Martha walks into the kitchen.
CLARK
Plus, she hates having anyone else
in her kitchen.
-----------------------------------------------------------------------------------------------------
40.
MARTHA (O.S.)
I heard that.
Clark stands up and puts an arm around Lana.
CLARK
It is good to see you guys. I've
missed you.
PETE
Are you hitting on my wife?
CLARK
No.
LANA
I have a jealous husband. Be careful
or he might come after you.
PETE
I'm jealous, not stupid.
The three of them start to walk toward the dining room.
PETE (CONT'D)
So how's work in the big city?
CLARK
It's tiring.
INT. KENT HOUSE - DINING ROOM - NIGHT
Clark, Pete and Lana walk into the dining room. Pete pulls
out Lana's chair as Clark takes his seat.
LANA
At least you're able to get away
from work for a while.
CLARK
I can run, but I'm not sure I can
hide. I can't stop thinking about
these things. I can't let go of it.
LANA
That doesn't sound healthy.
PETE
We're in town until Monday. Why don't
you spend the weekend here? We can
hang out just like the old days.
CLARK
Maybe.
Martha walks into the room with large bowl of salad in her
hands.
-----------------------------------------------------------------------------------------------------
41.
MARTHA
The roast isn't quite there yet, but
we can start on the salad.
She starts dishing out the salad as the conversation
continues.
CLARK
So, did you come back home for any
particular reason, or just to visit?
LANA
Oh, we have reasons.
CLARK
Nothing bad, I hope.
PETE
Depends on who you're talking to at
the time. To my mother, it's bad.
MARTHA
What is it? You two aren't getting a
divorce are you? There are too many
people getting divorced these days.
I don't like it.
LANA
No. We're not getting a divorce.
CLARK
Then what?
PETE
I'm... Umm--
(beat)
Well, I've decided to join the Army.
MARTHA
What?
LANA
Pretty much what I said.
CLARK
What brought this on?
PETE
I don't know. I guess I've felt like
I owed the world something since I
was a teenager. Some part of me feels
like I'm not really supposed to be
here, so I should give back.
MARTHA
What do you mean, you're not supposed
to be here?
-----------------------------------------------------------------------------------------------------
42.
PETE
You know what I mean. If it wasn't
for Clark, I would have died years
ago.
CLARK
Pete--
PETE
It's true. And it's not about being
depressed or anything like that. I'm
here because someone saved me. I
think I owe it to the world to pay
back the favor. I've been given a
second chance and I want to do
something with it.
Clark doesn't say anything. His mind goes elsewhere.
MARTHA
It's so dangerous.
PETE
I know, but I have faith that I'll
be okay.
LANA
And in the meantime, I'll be here in
Smallville with the baby.
MARTHA
It sounds like you've thought this
through.
PETE
We have. Lana will stay with my
parents until I get back.
MARTHA
I guess we'll be seeing a lot of
each other then.
Pete looks over at Clark. He notices that Clark's mind is
somewhere else.
MARTHA (CONT'D)
Well, how 'bout that salad?
LANA
I'm starving.
EXT. KENT HOUSE - FRONT PORCH/LAWN - NIGHT
Clark is leaning against the railing, looking out across the
open fields and the stars above them. Pete walks out of the
house holding a copy of the Daily Planet.
-----------------------------------------------------------------------------------------------------
43.
PETE
You look deep in thought.
CLARK
Taking in the quiet.
PETE
Y'know, I've always wondered
something. Is it actually quiet here
for you, or is it just slightly less
noisy?
CLARK
You mean, can I hear Mom and Lana
talking about baby names in the
kitchen, or Mrs. Dauber yelling at
her husband down the road?
(beat)
If I try. It's a lot easier to tune
it all out though. Easier to forget
what's going on in the rest of the
world.
PETE
Is that what you've been thinking
about all night?
CLARK
Kinda.
(beat)
Can I ask you a question?
PETE
Yeah, anything.
CLARK
Why the Army? Why do something so
huge? You could just help the world
in some other way.
PETE
Because someone needs to do it. I'm
about to have a kid and I want that
kid to know a world that's better
than this. I need to stand up for
what I believe in. The American way
of life, y'know? Truth and justice
and all that good stuff.
CLARK
Yeah.
Clark starts to walk down the steps and across the lawn.
Pete follows.
PETE
So, what about you?
-----------------------------------------------------------------------------------------------------
44.
CLARK
I'm doing nothing.
PETE
Not true. You show people what's
out there. You make it harder for
them to ignore it.
CLARK
I talk, Pete. I could be doing so
much more to help this world, but
instead I hide.
Pete holds up the newspaper, which has a large (and bad)
picture of Clark on it, with the headline "Daily Planet
Reporter Nearly Killed In Attempt To Stop Mugging"
PETE
And you're doing a bang-up job of it
too.
Clark grabs the paper away from Pete and folds it up.
CLARK
You know what I mean.
(beat)
The woman that was being mugged could
have been killed and I was more
concerned about people finding out
what I am.
PETE
The guy was using blanks, right?
Clark doesn't answer, which causes Pete to realize the truth.
PETE (CONT'D)
Oh.
CLARK
Every day, it's the same thing. I
report on all of this stuff happening
in the world, but I do nothing to
stop it. I watch it happen. I let it
happen.
PETE
You're putting a lot of blame on
yourself.
CLARK
Why shouldn't I? Like you said, that
boy of yours is going to grow up in
a world much worse than this unless
we do something to stop it.
-----------------------------------------------------------------------------------------------------
45.
Pete doesn't respond for a moment. Finally, he looks back to
the house to make sure that the women aren't around and then
looks Clark in the eyes.
PETE
Then stop hiding.
(beat)
Your mother would kill me for saying
this, but you've been doing this for
so long and it's wearing you down.
You're a good man, Clark. Good men
don't sit back when they could be
doing something.
Clark allows Pete's words to sink in. The thought of revealing
himself to the world scares the hell out of him, but at the
same time it's the only thing that makes sense.
EXT. KENT HOUSE - FRONT PORCH - LATER
Martha and Lana are sitting on the porch now. Clark and Pete
walk up the steps.
LANA
We were starting to worry about the
two of you.
PETE
We should go.
CLARK
No. Stay.
Pete looks down to Martha, not wanting to be here for this.
PETE
Do we have to?
(beat)
I mean... Are you sure?
CLARK
Please.
Pete nods and sits on the railing.
PETE
Fun.
LANA
What is wrong with you?
MARTHA
Clark?
(beat)
You're not joining the Army too, are
you?
-----------------------------------------------------------------------------------------------------
46.
CLARK
No.
MARTHA
Oh. I was worried for a moment.
CLARK
But I've decided to do something
else.
(beat)
I'm not hiding anymore. I can't.
LANA
(confused)
Wait... What are you talking about?
You're not...
(to Pete)
What did you do?
PETE
Me?
CLARK
It's not Pete. It's me. I've been
thinking about this for a long time
now. Every time I read a police report
and know that I could have done
something about it.
MARTHA
It's too dangerous.
CLARK
What's the alternative? Let more
people suffer? I can't do that
anymore.
(beat)
Mom, I know you worry about what
people would do to me if they found
out, but I can't live like this
anymore.
As Clark explains this, it's like he's a new man. He already
seems happier than before.
Martha walks to Clark and puts a hand on his shoulder.
MARTHA
Do you know what this will do to
your life?
CLARK
I've thought about it. I think so.
MARTHA
Then I will support you.
(MORE)
-----------------------------------------------------------------------------------------------------
47.
MARTHA (CONT'D)
But know that once you do this...
Everything we've known for the past
thirty years will change. Clark Kent
won't exist as you know him. People
won't look at you the same way, or
treat you the same way. You'll be
the same person inside, but everyone
else will change.
Clark looks down.
CLARK
I know.
Martha takes the glasses off of Clark's face and looks down
at them.
MARTHA
Your father's glasses.
Martha attempts to look through them, but the prescription
is too much for her eyes. Clark smiles.
CLARK
To help me see the world through his
eyes. To remind me of where I come
from.
(beat)
If he were in my shoes, I know he'd
be doing the same thing.
MARTHA
I know.
Martha puts her arms around Clark and holds him tight.
LANA
Maybe it doesn't have to mean the
end of your life as you know it.
Clark and Martha both look to Lana.
CLARK
I think people will catch on to the
fact that I'm flying around, shooting
lasers out of my eyes.
LANA
What if they don't know it's you?
CLARK
How? I don't want to wear a mask. I
don't want people to fear me.
-----------------------------------------------------------------------------------------------------
48.
LANA
(to Pete)
Look at him. Without the glasses he
almost looks like a different person
already.
(to Clark)
If you don't dress like Clark or
talk like Clark, maybe they won't
see Clark.
PETE
It's true. My uncle used to work in
a circus. There were these performers
who would do their acts in big flashy
costumes. I'm talking slicked back
hair, capes, the whole thing. When
the show was over and they put on
their normal clothes, you could hardly
tell that they were the same people.
It's all about the illusion.
CLARK
So, I wear a costume?
MARTHA
(smiles)
You wear a costume.
PETE
But a strong costume. Something that
can stand up to the things you can
do. I mean, Clark can fly through an
explosion, but that doesn't mean his
clothes can, right? That could make
for an awkward moment.
Clark thinks for a moment before remembering something.
CLARK
Pete, come with me.
PETE
Where?
CLARK
Just come.
(to Martha and Lana)
We'll be right back.
Clark walks off of the porch, toward the barn. Pete follows.
INT. KENT BARN - NIGHT
Clark walks into the barn with Pete close behind. As they
walk, Clark grabs a flashlight off of a table.
They walk to one side of the barn where there is a door in
the floor, which is covered by hay.
-----------------------------------------------------------------------------------------------------
49.
Clark sweeps the hay off of the door and opens it. He starts
to walk down a set of stairs, into a cellar.
INT. KENT BARN - CELLAR - CONTINUOUS
Clark and Pete walk into the dark cellar. Clark turns on the
flashlight and points it to the center of the small cellar.
The light reflects off of the metalic surface of a small
alien ship. The ship that Clark was sent to Earth in.
PETE
What are we looking for?
CLARK
Hold this.
Clark hands the flashlight to Pete. Clark then walks to the
ship and looks down at it.
On the top of the ship is the familiar "S" shield, right
below a small black stone.
Clark touches the stone. Under his hand, the STONE BEGINS TO
GLOW BRIGHT RED.
Soon, the top of the ship slides back, revealing a small
compartment within. This compartment is padded with a deep
red cloth lining.
PETE
Is that what you plan to use for the
suit?
CLARK
No.
(beat)
When I was a teenager, I came down
here one night. I opened the ship,
just to look inside. To try to feel
some connection.
PETE
Did it work?
CLARK
Not really.
(beat)
Then I rested my hand on the top of
the ship.
Clark puts his hand over the "S" shield on the top of the
ship. The "S" BEGINS TO GLOW BRIGHT BLUE, and then slides
open, revealing a compartment even smaller than the other.
PETE
Whoa. You never told me about that
part.
-----------------------------------------------------------------------------------------------------
50.
CLARK
I never told a lot of people.
Clark looks inside the "S" compartment for a moment, and
then reaches inside.
CLARK (CONT'D)
It's a time capsule, I think. My
parents must have wanted me to have
something from my own world, so they
put these in here.
Clark pulls out a crystal. It's long and beautiful, but he
doesn't think much of it as he looks it over and hands it
back to Pete. Pete looks more closely.
PETE
Think it's worth anything?
Clark doesn't respond. He reaches inside once again, this
time pulling out a handful of folded blue cloth. The cloth
has the "S" shield on it too, with the standard Superman
colors.
Clark unfolds the cloth, showing Pete that it is actually a
piece of clothing. It looks small, but it's obviously a
uniform of some sort. The "S" shield and red feet are the
only parts of the uniform that aren't blue.
PETE (CONT'D)
Wow.
(beat)
So, your parents were psychic?
CLARK
No. I think the shield is like a
family crest or something. This might
be my planet's version of a suit of
armor.
PETE
It's kinda small though.
Clark pulls on the material, which stretches for him.
PETE (CONT'D)
Oh. Any idea what the symbol means?
CLARK
I think it means whatever I want it
to mean. Who's going to tell me I'm
wrong?
Clark and Pete stand in silence for a moment, looking at the
costume.
PETE
Can I keep the crystal?
-----------------------------------------------------------------------------------------------------
51.
CLARK
No.
INT. KENT HOUSE - CLARK'S ROOM/SEWING ROOM - NIGHT
Martha, Pete and Lana are sitting in the room, waiting.
MARTHA
So, there was another part of the
ship?
PETE
Yeah.
MARTHA
I wonder why he never told me about
it.
PETE
Don't know.
LANA
He didn't want to hurt you. Didn't
want you to think that he didn't
love you, or that he wanted to find
his own people. He wanted it to go
away. He wanted to be normal.
Martha and Pete look at Lana, wondering how she knows all of
this and they don't. She shrugs.
LANA (CONT'D)
I mean... Maybe that's it, right?
Lana tries to pass off an innocent smile, and puts her hand
on her belly to remind everyone that she's in a delicate
condition.
Martha turns toward the bedroom door.
MARTHA
(calling out)
Clark, are you okay in there?
CLARK (O.S.)
Yeah. It's just... Well...
We can hear the BATHROOM DOOR OPEN and a moment later, Clark
walks into the room wearing his new costume.
The costume is skin tight. As stated before, it's all blue
except for the shield on his chest and the red feet, which
meets the blue somewhere around his shins.
CLARK (CONT'D)
It's a little form fitting.
-----------------------------------------------------------------------------------------------------
52.
PETE
Yeah.
Clark walks to the mirror and looks at his reflection.
LANA
It looks fine to me.
Pete fires a look toward Lana, which she quickly shoots down.
CLARK
Maybe we can add another layer around
the middle so it's not so... form
fitting.
Clark turns and looks at his ass in the mirror.
CLARK (CONT'D)
And a cape. I think I'd like a cape.
PETE
There's always the material in the
other part of the ship. The red.
CLARK
And there's a yellow belt looking
thing in the storage compartment.
Maybe I can use that.
PETE
It's like an amazing technicolor
dream costume.
MARTHA
Children will like it. It'll be easy
for them to draw.
LANA
Women will like it.
CLARK
I'm going to change now.
EXT. KENT HOUSE - FRONT PORCH - DAWN
Clark is standing on the porch, watching the sun come up.
The world is quiet around him.
After a few moments, Martha walks out of the house with two
cups of coffee. She hands one to Clark, and sits down in a
nearby rocker.
Neither one of them says a word. They just take in this
moment. Both know that one way or the other, their lives
will soon change forever.
-----------------------------------------------------------------------------------------------------
53.
INT. REED APARTMENT - MORNING
The apartment is small and hasn't been cleaned in quite some
time. Baby clothes and toys are scattered around, along with
dirty dishes and take-out boxes.
In the background, the RADIO IS ON. It's tuned to a talk
show. The radio host is discussing bombings in foreign
countries.
RADIO HOST
What I don't get is how the rest of
the world can stand by and watch
this happen. One of our allies is
being attacked and we're looking the
other way. It's time that our
government woke up and did something
to defend these people. It's time
for the rest of us to stop watching
the news and shaking our head. It's
time to make a change in the world,
because if we don't, who will? The
guys who are tossing bombs into candy
stores?
(beat)
I don't know. We need to do something.
I'm open to suggestions. The number
is 1-800-555-KMET. We'll take some
calls right after this word from our
sponsor...
The television is on, but muted. On it is the morning news
with coverage of the latest round of bad news.
We can also hear the sound of a baby crying. We soon PAN
OVER to REVEAL JACKIE REED, a woman in her late 20's who is
holding a six month old baby, TYLER REED, who is screaming
his head off.
Jackie looks tired and distant. Her hair hasn't been washed
for several days. Her clothes are dirty. She is watching the
muted TV as she rocks her crying son, completely blank of
expression.
JACKIE
Shh. I know. I know, sweetie.
INT. DAILY PLANET BUILDING - CITY ROOM - DAY
Lois walks across the room, toward her desk. She is holding
three cups of coffee.
She sits down at her desk and arranges the cups neatly before
sipping the first as she turns on her computer.
Clark walks in shortly after she sits down and starts to
walk toward his desk. Jimmy catches up to him on the way.
-----------------------------------------------------------------------------------------------------
54.
JIMMY
Hey, Clark.
CLARK
Hi.
JIMMY
You look kinda tired. Long weekend?
CLARK
Kinda. What's up?
JIMMY
Nothing. Just saying hey. It's been
a slow morning.
They reach Clark's desk. Lois smiles at them.
JIMMY (CONT'D)
Hi, Lois.
LOIS
Jimmy.
CLARK
So, how'd the date go?
LOIS
Date?
(then)
Oh. Yeah, it went nowhere. They all
go nowhere. I've decided to stop
caring.
INT. REED APARTMENT - MORNING
Jackie is now wrapping Tyler in a blanket. He is still crying.
JACKIE
I know, baby. It's not right. None
of it's right. I'm sorry.
(beat)
Mommy is going to make it better
though. I promise.
Jackie picks Tyler up and walks out of the apartment, leaving
the door open as she leaves.
INT. DAILY PLANET BUILDING - CITY ROOM - DAY
Clark sits down and turns his chair to face the others.
JIMMY
At least you can get dates. The last
girl I asked out laughed at me. She
actually laughed. While I was standing
right there.
-----------------------------------------------------------------------------------------------------
55.
LOIS
Ouch.
Lois turns to Clark.
LOIS (CONT'D)
How about you? How'd the date with
the old girlfriend go?
CLARK
I never said it was a date.
Clark crosses his legs, exposing what looks like a red sock.
Lois sees this and smiles.
LOIS
Red socks. Aren't we stylish.
Clark puts his foot back down on the floor just as Perry
walks up to the group.
PERRY
Hey, gang. What are we talking about?
LOIS
Very important things, Chief.
JIMMY
Yes, sir. Business. News.
PERRY
Right.
(to Clark)
How 'bout you? Care to back their
stories?
CLARK
We were talking about the suspicious
nature of the John Corben website.
Lois was filling me in on Corben's
history at the Planet and Jimmy was
about to dig through some old stories
to see if he can find anything.
PERRY
On what?
CLARK
Whatever it is that I can't put my
finger on, sir.
PERRY
(sarcastic)
Well, since we cleared that up.
-----------------------------------------------------------------------------------------------------
56.
CLARK
There's something about Corben's
blog that isn't right. I've been
looking over the stories all weekend
and I know something isn't adding
up. I just can't figure out what
that something is.
PERRY
So you're going on instinct?
CLARK
If you want to call it that.
LOIS
I'd probably call it a long shot, or
maybe a stab in the dark.
Perry thinks for a moment.
PERRY
Fine. Let me know what you turn up.
I want to bring down this "blog".
And this better not get in the way
of your other work, Olsen.
JIMMY
It won't.
Perry turns and starts to walk away.
PERRY
Shelly!
SHELLY (O.S.)
Sir?
PERRY
Track down the person who invented
the word "blog" and get me his e-
mail address.
SHELLY (O.S.)
Yessir!
EXT. APARTMENT BUILDING - ROOFTOP - DAY
Jackie walks out onto the roof. A gust of wind blows past
her as she walks across the roof. When she reaches the edge,
she looks out at what she can see of Metropolis.
She kisses Tyler on the head.
INT. DAILY PLANET BUILDING - CITY ROOM - DAY
Now that Perry is gone, Lois turns to Clark.
-----------------------------------------------------------------------------------------------------
57.
LOIS
Nice save. Who knew you could lie?
CLARK
Who was lying? You were explaining
Corben's history to me. I just didn't
say when you were doing it.
JIMMY
What about me? I wasn't about to dig
through stories.
Clark looks at Jimmy for a few moments without saying a word.
Finally, Jimmy gets it.
JIMMY (CONT'D)
I'll let you know if I find anything.
Jimmy turns and walks away.
JIMMY (CONT'D)
Don't we have people for this?
SHELLY (O.S.)
Jimmy!
Jimmy stops and turns around. He starts to walk to the other
side of the office.
JIMMY
Please let this be real work.
INT. PETE'S CAR - DAY
Pete is driving down the road, dialing his cell phone. In
the background, the RADIO IS ON. It's the same radio show as
before.
intercut with:
INT. DAILY PLANET BUILDING - CITY ROOM - DAY
Clark is sitting at his desk, typing an e-mail when HIS CELL
PHONE RINGS. He pulls the phone out of his pocket and answers
it.
CLARK
Hello?
PETE
I'm on my way. Goodbyes have been
said, tears have been shed. Hugs.
Kisses. It was a whole big thing.
You should have been there.
CLARK
Sorry I wasn't. How did Lana take
it?
-----------------------------------------------------------------------------------------------------
58.
PETE
Fine, up until I told her not to
drive me to the train station.
CLARK
I guess you didn't want to make a
scene?
PETE
I'd love to make a scene, but the
rental car needed to be returned and
I didn't want my pregnant wife walking
back to Smallville.
(beat)
So... Any news from your end?
CLARK
You mean newspaper news or personal
news?
PETE
I mean amazing technicolor dream
news.
Clark turns his chair slightly, as though it will get him
more privacy.
CLARK
Not yet.
Lois doesn't look away from her work, but smiles.
LOIS
Tell Ma Kent I said hi.
Clark ignores her. He waits a moment before speaking again.
CLARK
So, are you nervous?
PETE
Me? Nah. You?
CLARK
Nope. But, I mean, this is a big
deal for you. You're about to put
your life on the line. Everything
changes now.
PETE
True.
(beat)
I have faith, Clark. Whatever
happens, it happens for a good reason.
We fight for what we believe in. We
stand up for those we love.
(MORE)
-----------------------------------------------------------------------------------------------------
59.
PETE (CONT'D)
It's not whether you win or lose,
it's how you play the game.
(beat)
Damn, that's deep.
Clark smiles.
CLARK
Good luck, Pete.
PETE
You too, brother.
A radio host's voice comes over Pete's radio. Pete doesn't
listen to it at first, but when the word "Metropolis" comes
up, his interest grows.
RADIO HOST (V.O.)
And it's five past the hour on this
beautiful Monday morning. Eighty-two
degrees and not a cloud in the sky.
Before we get back to business, let's
check out the latest news headlines.
Here's the latest from the news desk.
RADIO NEWSCASTER (V.O.)
Metropolis police were called to the
three-thousand block of Alabaster
Street earlier this morning when
reports came in of a woman threatening
to jump off the roof of her apartment
building. Those on the scene say
that the woman is holding what looks
to be a baby and appears to be in
some sort of daze. Authorities are
asking people to stay away from the
building, fearing that a crowd may
provoke the woman...
PETE
Did you hear that, Clark?
Clark stands up and starts to walk out of the office.
CLARK
I'll have to call you back.
Clark turns off his phone and continues to rush out the door.
Pete puts his phone down in the passenger seat and turns the
radio up. He takes a deep breath.
INT. DAILY PLANET BUILDING - STAIRWELL - DAY
Clark walks into the stairwell and quickly scans it for any
other people. Luckily, he is alone.
-----------------------------------------------------------------------------------------------------
60.
He is breathing heavily as he takes off his glasses and rips
open his shirt, revealing the "S" shield on his chest.
In the blink of an eye, HE IS GONE.
EXT. APARTMENT BUILDING - ROOFTOP - DAY
Jackie is now standing on the ledge, holding Troy and looking
down at the growing CROWD below. There are also plenty of
police cars, fire trucks and ambulances below and two or
three helicopters flying overhead.
Behind Jackie, a POLICE OFFICER walks onto the roof, keeping
a distance. As the door closes behind him, Jackie hears it
and turns around. The police officer stops walking, trying
to keep her from freaking out.
Jackie isn't angry or scared. She still has that same distant
look about her.
JACKIE
Look at them. So many people down
there.
POLICE OFFICER
You're putting on quite a show.
JACKIE
It's not a show. It's not about that.
POLICE OFFICER
What is it about?
Jackie doesn't say anything for a moment. She then holds
Troy up for the officer to see.
JACKIE
He's beautiful, isn't he? So small
and helpless.
POLICE OFFICER
Yes, he is.
JACKIE
When I was a little girl, I used to
play house with all of my dolls. I
used to pretend that I had a little
baby.
POLICE OFFICER
But he's not a doll.
JACKIE
I know that.
Jackie turns away from the officer.
-----------------------------------------------------------------------------------------------------
61.
JACKIE (CONT'D)
I know that.
ANGLE ON : THE CROWD
Looking up at Jackie from the street. Some deeply concerned.
A few teenagers laughing. Several photographers have arrived
and are taking pictures.
ANGLE ON : JACKIE
JACKIE (CONT'D)
It isn't fair, you know?
POLICE OFFICER
What isn't fair?
JACKIE
Any of it. He deserves better.
POLICE OFFICER
Do you think this is better for him?
JACKIE
It is. It has to be.
POLICE OFFICER
It's not. The boy deserves a chance.
He deserves to live.
JACKIE
I love him.
POLICE OFFICER
I know you do.
JACKIE
That's why he deserves better.
POLICE OFFICER
So, why don't you give it to him?
Jackie turns and faces the officer. She smiles.
JACKIE
Thank you.
The officer holds out a hand and starts to take a step toward
Jackie when he notices her close her eyes. At first, he's
puzzled, but a realization quickly comes over him.
POLICE OFFICER
No!
He runs toward her, but before he can grab her she leans
back and lets herself fall off of the ledge.
-----------------------------------------------------------------------------------------------------
62.
The crowd gasps as Jackie and Troy fall from the rooftop.
Several people look away. The teenagers lose their smiles.
Everyone in the crowd holds their breath as she falls. They
know what is coming and they know it isn't going to be pretty.
As Jackie falls, she has a peaceful look on her face. She is
nearing the bottom when she is suddenly scooped up.
SUPERMAN has arrived and has Jackie in his arms. He angles
his descent to avoid any physical harm to her or the child.
Noticing that she is no longer falling, Jackie opens her
eyes. She sees Superman and is quite puzzled by this.
JACKIE
Who are you?
SUPERMAN
A friend.
Superman lowers Jackie onto the street, in front of the crowd.
Two officers come to take care of her and the child.
ANGLE ON : THE ROOF
The police officer that attempted to speak to Jackie is on
the roof looking down at what just happened. He's in shock.
ANGLE ON : SUPERMAN
Once the situation is resolved, Superman notices the crowd
of people watching him. All are silent. All are
expressionless.
He steps backward, and then LIFTS OFF OF THE GROUND. This is
pretty much his version of the whole "naked in front of a
crowd" nightmare and for a moment he is caught like a deer
in headlights, unable to move.
For that moment he and the crowd just look at each other.
Neither side knowing exactly what to think or feel.
Photographers snap photos. The flash causes Superman to snap
out of whatever daze he's in, and he quickly shoots into the
sky, past the officer on the roof and the helicopters above.
The crowd is left in awe.
ANGLE ON : JIMMY
In the crowd with his camera in hand, wondering what he just
witnessed.
INT. DAILY PLANET BUILDING - STAIRWELL - DAY
Clark's clothes are in a pile on the floor until a hand
quickly grabs onto them and pulls them out of view.
-----------------------------------------------------------------------------------------------------
63.
INT. DAILY PLANET BUILDING - BATHROOM - DAY
Clark rushes into the bathroom and checks to see if anyone
else is around. When he's sure he's alone, he rushes to the
sink and splashes water on his face. He looks at his
reflection for a moment and suddenly feels very sick. He
rushes into one of the stalls.
INT. DAILY PLANET BUILDING - CITY ROOM - DAY
Lois is hard at work when Jimmy runs into the office, toward
Perry's office. When he sees that Perry isn't in there, he
runs toward Lois.
JIMMY
Lois! Where's Mr. White?
LOIS
I think he's downstairs. What's going
on?
JIMMY
You wouldn't believe me if I told
you.
LOIS
Try me.
Just then Perry walks into the room. Jimmy sees him and rushes
toward him. Lois follows.
JIMMY
Mr. White, you're not going to believe
what just happened!
PERRY
Slow down, son. What's going on?
JIMMY
I was down at that jumper scene on
Alabaster, right? And the lady, like,
jumped.
LOIS
I can see why you're so excited.
JIMMY
No, it's not that. So, she jumps and
she's like falling.
LOIS
As they sometimes tend to do.
Perry shoots Lois a look. She zips her mouth and listens to
Jimmy.
-----------------------------------------------------------------------------------------------------
64.
JIMMY
Only, she didn't hit the ground.
Someone caught her.
PERRY
What?
JIMMY
I know! It gets better. He didn't
catch her on the ground. He caught
her mid-air. Flying. Then he drops
her off and then, WHOOSH! Gone.
PERRY
You're telling me that this guy flew?
LOIS
This is why I keep the bourbon away
from you, Jimmy.
Jimmy whips out his digital camera and shows Perry the display
screen. On it is a picture of Superman hovering over the
street just after saving Jackie.
PERRY
My God. He is flying.
Lois turns the camera so she can see.
LOIS
Wow.
(beat)
Check out the outfit. No wonder he
can flutter around like that.
PERRY
Jimmy, I want you to sit down with
Dan and tell him everything you saw.
I want this picture up on the website
in fifteen minutes, complete with
story.
Jimmy nods.
PERRY (CONT'D)
Go!
Jimmy rushes off, leaving Lois and Perry behind. Perry
suddenly notices a crowd growing around a flat-panel monitor
on one of the walls. On it is news footage from one of the
helicopters at the scene, showing Superman flying past them
as he exited the scene. Perry and Lois watch this from the
back of the crowd.
PERRY (CONT'D)
I don't know what's going on here,
but things are about to get very
interesting in this town.
-----------------------------------------------------------------------------------------------------
65.
Behind them, Clark walks out of the bathroom. Lois turns and
sees him.
LOIS
You look like death.
She turns back to the news report.
LOIS (CONT'D)
Check out what you've been missing.
Apparently there's a guy flying around
Metropolis in tights.
Clark sees the report on the screen. He is more interested
in the reaction of those watching than the news itself.
CLARK
What are people saying about this
guy?
PERRY
It's your job to find out.
CLARK
What?
PERRY
This is our focus right now. I want
this thing covered from every angle.
Who is this? What does he want?
LOIS
Where does he shop?
(off Perry's look)
It's gonna take me a while to get
past the outfit.
PERRY
This is serious, Lois. I want you
two to do everything you can with
this. Man on the street reactions.
Official reactions. Someone is going
to have to track him down for an
interview and I expect it to be us.
Get to work.
Perry walks off, leaving Clark and Lois alone.
LOIS
So a lady jumps off a building with
her infant in hand and we're running
a story on the circus act that saved
her.
CLARK
You don't sound too impressed.
-----------------------------------------------------------------------------------------------------
66.
LOIS
I've seen a lot in my day. Some guy
who figured out how to hide some
wires isn't the most shocking.
Lois watches as the news replays the shot of Superman flying
past the helicopters.
LOIS (CONT'D)
Maybe it was a jet pack.
(beat)
Anyway, I'm off to chase down the
nut job that he saved.
Lois walks out of the office. Clark stays behind and watches
as others keep their eyes on the TV screen. He can't help
but form a small smile as he walks back to his desk and sits
down.
INT. HOSPITAL ROOM - DAY
Jackie is sitting in a hospital bed, watching the news. Lois
walks into the room and knocks on the door. Jackie looks
over at her and smiles. She no longer has that dazed look
to her.
LOIS
Lois Lane. I'm with the Daily Planet.
JACKIE
I'm not supposed to have visitors.
LOIS
Which explains the two cops I had to
dodge getting in here.
Jackie chuckles. Lois walks in and sits down.
JACKIE
So what do you want to know? Who he
was? Where he came from?
LOIS
Why'd you do it?
Jackie's smile fades.
LOIS (CONT'D)
I'm not usually one to sugar coat
things, Miss Reed, so I'm not going
to pretend to be your new best friend
and I'm not going to pretend that I
feel your pain. You jumped off of a
building. You tried to kill your own
child. Why?
-----------------------------------------------------------------------------------------------------
67.
JACKIE
Wow. That's--
(beat)
I thought I had to. The doctors say
it's postpartum. I don't know. It
just made sense. There's this whole
world out there and none of it looks
good. I love my son. Suddenly, it
seemed like I was giving him a life
sentence for a crime he didn't commit.
Lois writes this down and then looks back to Jackie.
LOIS
What do you think now?
Jackie turns back to the TV.
JACKIE
I don't know. I jumped and as I was
falling, it was like none of it made
sense. Living didn't make sense.
Dying didn't make sense. I felt like
I was falling and I couldn't stop.
LOIS
Well... Yeah.
JACKIE
No, I mean inside. I was lost.
LOIS
Do you still feel lost?
JACKIE
(smiles)
Yeah. But I'm not falling anymore.
INT. DAILY PLANET BUILDING - CITY ROOM - DAY
Clark is at his desk once again. He is looking at the various
Superman reports online. Jimmy walks up behind him.
JIMMY
You should have been there, Clark.
It was amazing. He just flew in and
caught the woman. Then he flew out.
(beat)
If I were him, I'd have stopped for
interviews and autographs and stuff.
Clark brings up the Daily Planet's site, which has a huge
picture of Superman on it.
CLARK
Nice picture, Jimmy.
-----------------------------------------------------------------------------------------------------
68.
JIMMY
Thanks. The first two were kinda
messed up 'cause of the whole digital
thing, but luckily for me, he stayed
around for a few seconds.
(beat)
What do you think the "S" means?
CLARK
I'm not sure.
Clark pulls up John Corben's site next. Surprisingly, there
is no picture of Superman. No story about Superman. The page
hasn't been updated.
JIMMY
Wow. He's usually the first one with
all of the big local stories.
CLARK
I wonder why he hasn't updated.
JIMMY
Maybe he's out of town or something.
Clark stares at the screen for a moment.
CLARK
He is always the first.
JIMMY
Not that you're not good too.
CLARK
Thanks.
Clark skims the list of articles, going back months until he
reaches Corben's first entry. He clicks on it and skims the
story.
JIMMY
What are you doing?
CLARK
Look at this. Corben's first story
wasn't a crime report. It was a story
on the slow 911 response time in
Suicide Slum and the actions that
local store owners were taking to
protect themselves.
JIMMY
Guess it didn't work.
CLARK
Not for the store owners.
(MORE)
-----------------------------------------------------------------------------------------------------
69.
CLARK (CONT'D)
All but one of them has been attacked
in the last few weeks. The alarm
systems were all taken out, like the
thieves knew just where to go and
what to do.
Jimmy's not catching onto what Clark's saying.
JIMMY
Umm... Right.
CLARK
All but one.
(beat)
What do you want to bet this guy's
next?
JIMMY
Oh! You think the criminals are using
Corben's story as a hit list?
CLARK
It's not that easy. Corben doesn't
go into specifics about the security
measures. He was protecting the people
he interviewed.
JIMMY
So...?
CLARK
So, I think I'm saying that I believe
Corben's in on this.
JIMMY
What?
CLARK
It makes sense. He's fired. He needs
money. He needs to rebuild his career.
If he's cut in on these robberies,
it would explain how he can survive
without having an income. Plus, he's
always the first one on the scene.
JIMMY
This is big. If you're right, you
have to do something about it.
CLARK
Exactly what I was thinking.
JIMMY
You have to call the police.
-----------------------------------------------------------------------------------------------------
70.
CLARK
And tell them what? That I want them
to arrest the guy who keeps scooping
me? We need more than that.
JIMMY
What are you going to do?
CLARK
I'm going to get evidence.
JIMMY
How?
Clark stands up.
CLARK
By doing what Lois would do.
Jimmy's eyes widen.
JIMMY
You'll get arrested!
CLARK
How many crooks do you know that
want police swarming their apartment?
Clark walks into the elevator.
JIMMY
Okay, so you'll just get killed then.
Jimmy looks around for someone to tell, but there's nobody
he feels comfortable including in this.
EXT. ENDOVER BUILDING - DAY
The area around the Endover Building is blocked off as a
crew of DEMOLITIONISTS prepares to bring down the building.
One such man walks to his supervisor.
DEMOLITIONIST 1
We have the charges set and we're
ready to bring her down.
DEMOLITIONIST SUPERVISOR
Are we cleared out?
The crew member nods.
DEMOLITIONIST SUPERVISOR (CONT'D)
Then let's get ready.
The supervisor looks at his watch.
DEMOLITIONIST SUPERVISOR (CONT'D)
Twenty minutes.
-----------------------------------------------------------------------------------------------------
71.
INT. SEDAN - DAY
A man, ALEX FOLGER is driving through a tunnel with his two
small children in the car. They are LIZZIE (5 years old) and
ROSE (3 years old).
The car is stopped due to a traffic jam. Alex is trying to
use his phone, but there is no signal. He puts the phone
away and smiles at his daughters in the rearview mirror.
ALEX
We'll call Mommy when we get out of
the tunnel, okay?
ROSE
When will that be?
ALEX
I don't know, sweetheart. Traffic's
all backed up.
ROSE
When will it be un-backed up?
LIZZIE
When the cars move, stupid!
ROSE
When's that?
ALEX
When whatever is blocking us gets
out of the way.
LIZZIE
Daddy, are we underwater?
ALEX
Umm... Yes.
Rose's eyes widen.
ALEX (CONT'D)
But we're safe. I swear.
Rose doesn't care what he says. She's freaking out. Finally,
she lets out a scream that could shatter glass. Lizzie smiles.
INT. APARTMENT BUILDING - HALLWAY - DAY
Clark walks down the hallways of this less than high-class
apartment building. He finally reaches apartment 2-D and
stops at the door. Before knocking, he looks around to see
if anyone is watching. When he's sure he's alone, he looks
toward the door again. This time, he looks through the door.
After a few moments of peeking, he grabs the doorknob. As he
is about to twist it and break the various locks on the door,
-----------------------------------------------------------------------------------------------------
72.
a thought occurs to him. He stops and takes his hand off of
the knob.
INT. CORBEN APARTMENT - LIVING ROOM - DAY
One of the windows slides open and Clark climbs inside the
apartment. He stops for a moment, trying to decide where to
start looking. Finally, he decides and starts to walk toward
a desk on the far side of the room.
As Clark walks across the room, we get our first look at the
apartment. It is nothing like the hallways outside. The walls
are freshly painted, there is a flat-panel TV on one wall,
and designer furniture all around.
Clark reaches the desk, which has a laptop on it. He opens
the laptop. As the screen goes on, a password prompt appears.
Clark looks at it, trying to figure out how to go about this.
He looks around the desk a little, seeing nothing that might
reveal a password. As he looks around the rest of the room,
something catches his eye. He walks to one of the corners
and bends down, picking up a fake rock from the floor. He
looks at it, wondering why someone would put this thing in
an apartment. After he shakes off that thought, he turns the
rock over and slides the bottom open to reveal the hidden
compartment. Inside is a piece of paper, which Clark grabs
and unfolds. He puts the rock down.
On the piece of paper is list which reads:
"GYM LOCKER - 23-14-52"
"CELL PHONE - 135"
"LAPTOP - POODLEBUNNY21"
"VOICEMAIL - 90210#"
"E-MAIL - BARBARA WALTERS"
Clark finds all of this rather odd, but goes back to the
computer and types in the password anyway. Once he's into
the computer, he starts looking up files.
EXT. ENDOVER BUILDING - DAY
A reporter, CHERYL DOUGLAS, is standing outside the building
holding a microphone and talking as her CAMERAMAN films.
CHERYL
We're just minutes away from the
demolition of the Endover Building,
which has graced the Metropolis
skyline for nearly seventy years.
(MORE)
-----------------------------------------------------------------------------------------------------
73.
CHERYL (CONT'D)
Once the clock hits zero, the building
will implode, leaving the area clear
for construction on the New Endover
Building, which is slated to begin
in January...
INT. CORBEN APARTMENT - LIVING ROOM - DAY
Clark is reading the files on Corben's computer. He finds
them very interesting. He pulls his cell phone from his pocket
and dials before putting the phone to his ear.
CLARK
I need to report a crime that's about
to be committed. Sal G's Deli...
INT. SEDAN - DAY
Alex is trying to see past the cars ahead of him. Lizzie and
Rose are in the back seat, bored.
ALEX
I think it's clearing up.
(beat)
They're doing some kind of work up
there.
LIZZIE
I'm hungry.
ALEX
We'll eat dinner when we get home.
LIZZIE
We've been here forever.
ALEX
I'm sure it won't be too much longer.
LIZZIE
I'm hungry.
EXT. ENDOVER BUILDING - DAY
Cheryl and her cameraman are now farther down the street.
The Endover Building is behind Cheryl, ready to implode.
Cheryl is once again talking to the camera.
CHERYL
Only a matter of seconds now. Soon,
the historic Endover Building will
be reduced to rubble.
Cheryl puts a hand on her ear, listening to something over
her earpiece. She then perks up and smiles.
-----------------------------------------------------------------------------------------------------
74.
CHERYL (CONT'D)
Here we go. Ten... Nine... Eight...
Seven...
INT. SEDAN - DAY
Lizzie is in the back seat with her hands over her ears now,
singing to herself so that she can't hear Alex.
ALEX
Lizzie, stop that. Please.
EXT. ENDOVER BUILDING - DAY
CHERYL
Five... Four... Three...
INT. CORBEN APARTMENT - LIVING ROOM - DAY
Clark is still on the phone.
CLARK
Thank you.
He hangs up and walks toward the window.
EXT. ENDOVER BUILDING - DAY
CHERYL
Two... One...
Cheryl turns and looks at the Endover Building as a BOOM can
be heard. The BUILDING BEGINS TO IMPLODE.
EXT. HOBBS RIVER - DAY
Under the water, the MUFFLED BOOM can be heard. We can see
the tunnel nearby.
INT. SEDAN - DAY
Alex pauses and looks around, puzzled. Lizzie stops singing
and pulls her hands away from her ears. She is also puzzled.
LIZZIE
Daddy, what was that?
ALEX
I don't know.
Drops of water fall onto the windshield.
LIZZIE
Is it raining?
Alex doesn't like this. He leans forward and looks at the
tunnel walls.
-----------------------------------------------------------------------------------------------------
75.
LIZZIE (CONT'D)
Daddy?
ALEX
Girls, you stay in the car.
Alex opens his door and steps out of the car.
INT. TUNNEL - CONTINUOUS
Alex isn't the only one getting out of his car. Around him,
MANY OTHER DRIVERS are out of their cars and looking around
the tunnel.
FEMALE DRIVER
Did you all feel that?
Alex looks around the walls to see where the water came from.
A section of the wall suddenly breaks, shooting water onto
the road.
Many of the people in the tunnel begin to scream.
EXT. ALLEY - DAY
Clark is just getting off of the fire escape ladder when he
HEARS THE SCREAMS. He turns his head in the direction of the
tunnel for a moment, and then looks around to see if anyone
is nearby and watching. He ducks behind a dumpser as he
loosens his tie.
INT. TUNNEL - DAY
Water is pouring into the tunnel. People in the tunnel are
panicing. Some are leaving their cars and running. Others
are in their cars, trying to pull around everyone else. It's
a mess.
Alex pulls Lizzie out of the back seat and sits her on top
of the car. He then pulls Rose out and holds onto her. Both
girls are crying.
LIZZIE
What's happening?
ALEX
It's okay. We'll be okay. Just hold
onto Daddy.
Alex grabs Lizzie and holds both of his daughters as he tries
to get out of the tunnel. The water level is rising.
Alex passes a car and sees an OLD WOMAN inside, looking out
at him. He looks down at her, knowing that he can't do
anything to help her.
-----------------------------------------------------------------------------------------------------
76.
ANGLE ON : SUPERMAN
As he flies into the tunnel. As he flies, he looks down at
an 18-wheeler, and uses his heat vision to cut off the side
of the trailer. As he passes it, he grabs the side of the
trailer and pulls it off as he continues toward the hole in
the wall of the tunnel.
Alex stops and looks back toward Superman. Both of his
daughters have stopped crying and are staring in awe.
LIZZIE
Daddy...?
ALEX
I have no idea.
Superman continues to hold the metal over the hole in the
wall. He looks back to the growing number of onlookers below.
SUPERMAN
Run!
Alex looks back to the old woman. She nods to him, telling
him to go.
He takes his daughters and runs toward the end of the tunnel,
which is far beyond sight from this location.
As Superman holds the metal in place, he looks around at the
rest of the tunnel. He can hear it cracking.
X-RAY POV
The walls are starting to weaken. Cracks are forming inside
the walls. Soon, the tunnel will collapse.
Superman stops to think about how to handle this. He looks
back to the crowd of people as they try to escape. They won't
have time.
INT. VAN - DAY
Two men are sitting int he front of the van. They are REESE
LARSON and LARRY CAMDEN. Both are in dark colors and are
looking out the windshield at Sal G's Deli.
Two police cars pull up to the deli and FOUR POLICE OFFICERS
get out. They start talking to each other in front of their
patrol cars.
REESE
What is this?
LARRY
Maybe they're just hungry.
-----------------------------------------------------------------------------------------------------
77.
REESE
If you're hungry, you go inside.
As they watch, two of the officers walk down the alley next
to the deli. The other two walk inside.
LARRY
They went inside.
REESE
This ain't right. Something's wrong
here.
LARRY
What do you mean?
REESE
I mean, the job's off. We've been
found out.
LARRY
Who told?
REESE
There's only one guy who knew about
this. Same guy that told us.
INT. TUNNEL - DAY
Superman is still holding the metal over the hole. A crowd
of people is still moving beneath him. A TRUCK DRIVER stops
and looks up at Superman. He notices Superman looking at the
other walls and not liking what he sees.
TRUCK DRIVER
The rest of this place is gonna go
too, isn't it?
SUPERMAN
You should keep moving.
TRUCK DRIVER
What about you?
SUPERMAN
I'm fine. Go.
The truck driver hesitates.
TRUCK DRIVER
I wanna help. What can I do?
Superman is about to respond, but pauses. He looks down toward
the ground next to the truck driver. The truck driver looks
down.
TRUCK DRIVER (CONT'D)
What?
-----------------------------------------------------------------------------------------------------
78.
SUPERMAN
Keep moving.
With that, Superman speeds out of the tunnel. The hole begins
to shoot water into the tunnel again.
The truck driver starts moving once again. A YOUNG LADY is
behind him.
YOUNG LADY
Nice of him to leave us.
TRUCK DRIVER
He'll be back.
EXT. HOBBS RIVER - DAY
Superman rushes out of the tunnel and flies over the river.
He looks down at it for a moment, and then shoots up into
the sky.
A moment later, there is a BANG as the sound barrier is
broken. Superman speeds downward in a blur, splashing into
the water.
UNDERWATER
Superman shoots through the water at full speed until he
rams into the ground. A cloud of dust fills the entire area.
A moment later, Superman shoots back up toward the surface.
ON THE SURFACE
Superman flies out of the water and looks down at it. The
water level is lowering quickly. Superman flies toward the
tunnel.
INT. TUNNEL - DAY
Superman flies toward the spot where the water is shooting
through the wall. The flow of people is still moving beneath
him as he makes his way through the tunnel.
Superman reaches the location of the leak and inspects the
area. He is about to grab the piece of metal and hold back
the water again when he sees the old woman, still in her
car. He lands next to her car and looks through the window,
which is rolled down.
SUPERMAN
Ma'am, you shouldn't be here.
OLD WOMAN
I couldn't walk out of here if I
wanted to.
Superman looks to the leak and then back to the woman.
-----------------------------------------------------------------------------------------------------
79.
SUPERMAN
I'll take you.
He opens her car door.
EXT. HIGHWAY OUTSIDE OF TUNNEL - DAY
A large crowd of people is gathering outside of the tunnel,
resting after their escape. Police cars and fire engines are
arriving.
Superman flies out of the tunnel, holding the old woman in
his arms. When they're far enough away from the tunnel, he
sets the old woman down.
OLD WOMAN
(giggling)
Thank you. I haven't had that much
fun in years.
Superman isn't sure how to respond to that, given the
situation.
A FIREMAN rushes up to him.
FIREMAN
Who are you?
SUPERMAN
That's a story I don't have time for
at the moment. Stay out here. The
tunnel could collapse any time now.
FIREMAN
Are there still people in there?
SUPERMAN
I'm working on that now.
EXT. HOBBS RIVER - DAY
The water level is low now. The top of the tunnel is no longer
under the water.
The water from the river is still draining into an unseen
cavern below.
INT. TUNNEL - DAY
Superman flies back into the tunnel and sees a line of people
running for the mouth of the tunnel. He flies past those
that are near the outside and heads deeper into the tunnel
to help those that are still in the most danger.
He flies past the hole in the wall of the tunnel. Water is
no longer pouring from it.
-----------------------------------------------------------------------------------------------------
80.
Deep within the tunnel there are still stragglers attempting
to make their way out. Superman sees them and then looks
around for a way to get them out faster. Finally, he sees
his answer. An abandoned bus.
He then looks up at the tunnel ceiling.
EXT. HIGHWAY OUTSIDE OF TUNNEL - DAY
The crowd watches as people run out of the tunnel, and the
firemen help them.
Suddenly, there is a loud BOOM.
FIREMAN
What was that?
A moment later, people in the crowd start to gasp and point
toward the exposed tunnel in the river. The fireman turns
and is stunned by what he sees.
FIREMAN (CONT'D)
You've gotta be kidding me.
ANGLE ON : SUPERMAN
Carrying the bus full of people. Behind him, we can see a
hole punched through the tunnel, large enough to fit the bus
through it.
Superman carries the bus to the street and sets it down
gently.
Another fireman rushes to where Superman is.
FIREMAN 2
Anyone left in there?
SUPERMAN
I'll take care of them. You stay
here.
Superman flies back into the tunnel. The two firemen look at
each other.
FIREMAN
Screw that.
They head toward the tunnel.
EXT. TUNNEL - LATER
Cheryl and her cameraman are outside of the tunnel now. She
is once again talking into her microphone, looking into the
camera.
-----------------------------------------------------------------------------------------------------
81.
CHERYL
This is Cherly Douglas, reporting
live from the scene of one horrible
accident and one amazing miracle.
Just one hour ago, the Hobbs River
tunnel began to collapse. With
hundreds inside and water flooding
the tunnel, the situation was looking
grim. That is, until Metropolis'
mysterious hero literally flew into
the tunnel without the aid of any
known technology, and carried those
trapped inside to safety by the bus-
load. Amazingly, not one person was
killed...
INT. ELECTRIONICS STORE - DAY
Cheryl's news report is playing on all of the TVs in the
store, and MANY PEOPLE are gathered around them, watching
video of Superman saving the day. Among these people are the
STORE MANAGER and a YOUNG EMPLOYEE.
STORE MANAGER
This is incredible. Look at that
guy.
YOUNG EMPLOYEE
I wanna know how he's doing it. I
mean, there has to be some kind of
trick.
The store manager shakes his head. He has no clue how this
is possible. He turns around and sees the people watching
the TVs. He hadn't noticed that there were so many of them.
Finally, he turns back to the news report and speaks loud
enough for others to hear.
STORE MANAGER
If I hadn't seen this in high-
definition widescreen, I wouldn't
believe it. Look at the colors on
that guy's cape. No way you're getting
that kind of detail on a normal TV.
YOUNG EMPLOYEE
What are you talking about?
The store manager nudges his young employee.
YOUNG EMPLOYEE (CONT'D)
Ouch.
(beat)
I'm pretty sure you're not allowed
to do that.
-----------------------------------------------------------------------------------------------------
82.
The store manager leans close to the young employee and lowers
his voice.
STORE MANAGER
This is a commission job, kid. I
suggest you play along.
The young employee catches on and raises his voice when he
speaks.
YOUNG EMPLOYEE
I mean... wow! Look at the detail on
his... little hair curl thing.
ANGLE ON : JOHN CORBEN
John Corben is a tall blond man who is stylishly dressed.
He is standing behind the crowd, watching the news report.
He is intrigued by what is going on, but not as awed by
Superman as others seem to be.
A FEMALE EMPLOYEE of the store walks up to him, holding a
computer cable of some kind.
FEMALE EMPLOYEE
Last one we had.
John takes the cable and smiles at her, flirting ever so
slightly.
JOHN
Must be my lucky day.
She smiles at him.
FEMALE EMPLOYEE
Must be. Will that be all?
JOHN
For now.
She walks to a checkout counter and starts ringing him up.
He looks back to the news report.
FEMALE EMPLOYEE
That's twenty-two seventy-three total.
John reaches for his wallet, still watching the news. The
female employee looks in the direction of the TVs and sees
what he's looking at.
FEMALE EMPLOYEE (CONT'D)
I know. It's amazing, right?
(beat)
No way you'd be watching that report
from back here if those weren't 1080p
HDTVs. Clearer than real life if you
ask me.
-----------------------------------------------------------------------------------------------------
83.
John turns back to her, smiles and hands her his credit card.
JOHN
I just bought one a few weeks ago.
Good pitch though.
She grins as she swipes his card.
EXT. STREET/JOHN'S APARTMENT BUILDING - DAY
John is walking down the street with shopping bag in hand.
He is skimming through his IPod menu as he walks, so his
attention is not on the street ahead.
As he gets closer to his apartment building, he slips his
IPod back into his pocket and looks up. It's now that he
notices that there are two police cars parked outside of his
apartment building.
He stops walking and thinks for a moment. As he sees TWO
POLICE OFFICERS walk out of the building, John turns around
and starts walking away from the building.
He picks up his pace as he nears the next corner. As he turns
the corner, he comes face to face with Reese and Larry. Reese
smiles at him.
REESE
Hello, Corben. Let's go for a ride.
Larry grabs John's arm and pulls him toward the van, which
is parked nearby.
JOHN
What's going on?
REESE
It would seem that the cops caught
wind of our plans for this evening.
Any idea how that might have happened?
JOHN
It wasn't me. I swear.
LARRY
Right. It was the other guy who knew
what we was up to.
Reese opens the van door and shoves John inside.
REESE
I don't like having the cops on my
tail, Corben.
JOHN
We can talk about this. C'mon!
Reese closes the door and then looks to Larry.
-----------------------------------------------------------------------------------------------------
84.
REESE
Right. Let's go talk about this.
INT. CITY ROOM - DAILY PLANET BUILDING - DAY
Perry, Lois and Clark are watching Cheryl's report on the TV
screen.
LOIS
Saving babies and old women in the
same day. Are we sure he's not running
for office?
PERRY
Look at that. The man tore through
the bottom of the river, into an
underground cavern. Unbelievable.
(to Clark)
This is what news is all about, son.
And we're right at the front of the
coverage, thanks to the two of you.
(to Lois)
How you managed to land that
interview...
(then, to Clark)
... and you managed to be at the
scene of the tunnel collapse before
anyone else is what makes the two of
you the best in town.
CLARK
Thank you sir.
LOIS
Thanks.
Perry turns off the TV.
PERRY
But as of now, that's all old news.
We have the lead now and I want to
keep it that way. I'm counting on
the two of you.
CLARK
We won't let you down, sir.
Perry nods and walks off. Lois walks to her desk. Clark
follows.
LOIS
"We won't let you down, sir!"
Lois throws Clark a solute as she sits.
LOIS (CONT'D)
Why didn't you just bake the man an
apple pie?
-----------------------------------------------------------------------------------------------------
85.
CLARK
Funny.
LOIS
I know it, son. I know it.
As Clark sits down at his desk, he looks over a note that
someone left for him. He then picks up the phone and dials
it. As he waits for an answer, he turns back to Lois.
CLARK
Don't blame me if my manners happen
to be better than yours.
LOIS
Are you implying that I was raised
in a barn, Smallville? Because I
have a snappy comeback ready and
waiting.
Clark is about to say something when someone picks up the
other end of his phone call.
CLARK
Yes, this is Clark Kent of the Daily
Planet. I called in a tip earlier.
(beat)
Right.
(beat)
Right.
Clark takes notes as the other person speaks.
CLARK (CONT'D)
Thank you.
Clark hangs up the phone.
LOIS
You called in a tip?
CLARK
John Corben was involved with those
robberies that he was writing about.
LOIS
Seriously?
(beat)
I knew he was a few grains shy of a
healthy breakfast, but criminal? How
did you come to this conclusion?
CLARK
I read the reports on his site. The
first one had interviews with several
of the robbery victims before they
were robbed.
-----------------------------------------------------------------------------------------------------
86.
LOIS
That's a hunch, not something you
take to the cops.
Clark hesitates.
LOIS (CONT'D)
You broke into his place, didn't
you? I'm proud of you, son.
Lois looks back to the TV screen behind Clark. She rolls her
eyes as the picture shows live coverage of Cheryll on the
roof of a building.
LOIS (CONT'D)
Look at that. As we speak, hundreds
of eager young reporters are sitting
on their rooftops, trying to flag
down a man who can fly. It's sad.
CLARK
It's news.
LOIS
Yes. And believe me when I say that
I wouldn't turn down an interview
with the man, but I draw the line at
acts of desperation.
CLARK
Do you have a better idea?
LOIS
As a matter of fact, I do. I'm going
home. I'm going to microwave myself
a burrito and burn the top of my
mouth while watching an episode of
Greys Anatomy that I Tivo-ed.
CLARK
And the interview?
LOIS
If the guy wanted to do an interview,
he'd find someone to do it. He's
not going to respond to a bunch of
people trying to flag him down like
a taxi.
CLARK
I think it's a little early to be
calling the man's plays before they
happen. You don't know when he'll
show up next.
LOIS
I know that it's not going to be on
my roof.
-----------------------------------------------------------------------------------------------------
87.
Clark shrugs and turns to his computer. When Lois can't see
his face anymore, he grins.
INT. LUTHOR MEDICAL RESEARCH CENTER - VALE'S LAB - NIGHT
Professor Vale is at his desk with a number of electrodes
stuck to his head. His eyes are closed and he is focusing as
strongly as he can.
Down on the desk, the metallo rod is attached to another
electrode. After a few moments, the ROD BEGINS TO MOVE. It
finally changes form, into a "V" shape, and then a wavy line.
Professor Vale opens his eyes and looks down at the metallo
rod, which springs back to its original shape a moment later.
Vale lets out a sigh as Lex walks into the room.
LEX
Good evening, Professor. How are we
this evening?
PROFESSOR VALE
Working, as usual, sir.
LEX
Good to see. So I assume you haven't
seen the news?
PROFESSOR VALE
Not today, no.
LEX
Then allow me to fill you in on the
latest headlines. It would seem that
some sort of comic book superhero is
flying around Metropolis, saving
people left and right.
PROFESSOR VALE
Umm... I don't really--
LEX
No, you don't. So let me tell you
what this means. It means that this
man can fly into a collapsing tunnel
and carry dozens of people to safety.
It means that he can ram his way
into an underground cavern and lower
the water level of an entire river,
just to buy a little more time to
save the day. It means that the police
have a new allie who is capable of
going places and doing things that
nobody else on the planet is able
to.
(MORE)
-----------------------------------------------------------------------------------------------------
88.
LEX (CONT'D)
(beat)
It means that there is a very real
possibility that the need for your
metallo-man in this particular city
is growing smaller by the moment.
Now, I'm not a stupid man, Professor.
I know that whoever or whatever this
man is, he can't possibly be
everywhere in the world. He can't
possibly save every one who needs
saving. I know that the world still
needs your brilliant creation to
save the day. It's just that we have
ourselves a little competition right
now. I need to know that we are still
in the game. I need to know that
this metallo was worth the money
that's been invested.
PROFESSOR VALE
It is! I was just running some new
tests and it's coming along.
LEX
What progress have you made?
PROFESSOR VALE
Well, I was trying to find a way of
using the human brain to control the
machine. My problem is that there is
no way to process my thoughts through
a computer in a way that could control
the metallo on a reasonable level.
By the time the signal reaches the
metallo, it's degraded. It's delayed.
It's just... wrong. On top of
everything else, my brain is being
used to control my own body's
functions. It can't handle two bodies
at once.
LEX
You've been talking about human brains
quite a bit, Professor. What are you
trying to tell me?
PROFESSOR VALE
I'm saying that in an ideal world, I
might be able to use an actual human
brain to process the commands of the
metallo.
LEX
You need a human brain?
PROFESSOR VALE
Ideally, yes.
-----------------------------------------------------------------------------------------------------
89.
Lex pauses as he listens for a sound.
PROFESSOR VALE (CONT'D)
Is something wrong?
LEX
I just figured that I'd hear a clash
of thunder or some type of organ
music.
(beat)
If you need a human brain, then we'll
just have to get you a human brain.
PROFESSOR VALE
How?
LEX
Organ donors, Professor. One of the
many perks of working in a state-of-
the-art medical center.
INT. LOIS' APARTMENT - LIVING ROOM - NIGHT
Lois' apartment is pretty large and well decorated. As though
it was ripped from the page of a furniture catalog. She has
two doors in the back of the room which lead to a balcony.
These doors are open.
Lois stands near the couch, facing the doors. She is in her
pajamas and is just taking a moment for the cool breeze to
come over her.
From the kitchen, a BEEP can be heard. Lois walks into the
kitchen and returns a moment later with a cup of hot coffee
and a few cookies wrapped in a paper towel. She sits on the
couch and flips on the TV, setting the cookies down on the
table in front of her.
As she searches through her DVR menu, another gust of wind
blows behind her.
She takes a sip of her coffee, which is very hot. As she
reacts to this, she puts the cup down on the table.
SUPERMAN (O.S.)
Careful.
Lois quickly turns toward the open door, knocking the coffee
cup as she turns. The mug begins to fall.
Superman speeds across the room and catches the mug before
it hits the floor. No coffee is lost. He sets the mug down
on the table.
SUPERMAN (CONT'D)
You should let this cool before you
try drinking it.
-----------------------------------------------------------------------------------------------------
90.
LOIS
You're just saving all kinds of people
today, aren't you?
Lois stands up.
SUPERMAN
I do what I can.
LOIS
Which includes breaking and entering?
SUPERMAN
I walked through an open door.
LOIS
Yeah, well... It doesn't count if
it's a fifteenth floor balcony.
SUPERMAN
If you want me to leave...
Superman starts to walk toward the open doors.
LOIS
Wait!
Superman stops.
LOIS (CONT'D)
You invade my home, the least you
could do is give me an interview.
Superman faces her again.
SUPERMAN
That's why I came.
LOIS
You came to give me an interview?
Why?
SUPERMAN
You're a reporter.
LOIS
I mean, why me? There are a dozen
tarts with sleeping bags, camping
out on their roofs tonight. Why do
you come to the one who just wanted
to stay home and watch TV?
SUPERMAN
I like your work.
LOIS
You've read my work?
-----------------------------------------------------------------------------------------------------
91.
SUPERMAN
Often.
(re: the TV)
And, I think it was a rerun tonight
anyway.
LOIS
Whatever.
SUPERMAN
If you'd rather I call your office
and make an appointment, I could.
LOIS
Well, you're here. You might as well
do it now.
Lois looks down at her clothes.
LOIS (CONT'D)
If you don't make fun of my outfit,
I won't make fun of yours. Deal?
SUPERMAN
Deal.
LOIS
Okay. So... You want to sit?
SUPERMAN
I'll stand.
LOIS
Okay. That works too.
Lois goes to a nearby desk and pulls out a notebook with
pen, and an audio recorder. She presses a button on the
recorder.
LOIS (CONT'D)
You don't mind if I record this, do
you?
SUPERMAN
No.
LOIS
Good. Okay. Umm...
Lois chuckles.
LOIS (CONT'D)
I have no idea where to begin with
this conversation.
(beat)
What the hell are you?
-----------------------------------------------------------------------------------------------------
92.
SUPERMAN
I don't know.
LOIS
Well, where do you come from?
SUPERMAN
I don't know.
LOIS
What does the "S" stand for?
Superman doesn't get the question at first. Lois then points
to the "S" on his chest.
SUPERMAN
Oh... I don't know. I mean... I'm
not really sure.
LOIS
You're not making this easy.
SUPERMAN
I'm sorry.
LOIS
Why don't you tell me what you do
know? You've been doing a lot of
pretty impressive things. You seem
to have...
(beat)
...abilities. Beyond those of normal
men. Want to tell me about those?
How do you fly?
SUPERMAN
I'm not sure how it works. I just do
it.
Lois takes notes as Superman talks.
LOIS
Have you always been able to?
SUPERMAN
Since I was a teenager.
LOIS
And lifting busses?
SUPERMAN
I've been stronger than other people
since I can remember.
LOIS
How much can you lift?
-----------------------------------------------------------------------------------------------------
93.
SUPERMAN
I'm not sure. I've never really gotten
a firm number.
LOIS
You've never seen what your limits
are?
SUPERMAN
I've tried. I just haven't come across
anything that I couldn't lift.
LOIS
Seriously?
Superman just nods.
LOIS (CONT'D)
What else can you do?
SUPERMAN
Heat vision...
LOIS
Laser?
Superman looks at a candle across the room and a beam of
heat shoots from his eyes. The candle lights. Lois sees this
and makes a note.
LOIS (CONT'D)
Wow.
(beat)
How hot is that?
SUPERMAN
Depends on what I want it to do. I
can make it weak enough to light a
candle or hot enough to melt metal.
LOIS
Handy. Anything else?
SUPERMAN
I can see through things. I haven't
found anything that can wound me so
far...
LOIS
Nothing?
SUPERMAN
Not yet.
Lois makes a note of this. She then looks to Superman with a
very serious look in her eyes.
-----------------------------------------------------------------------------------------------------
94.
SUPERMAN (CONT'D)
What?
LOIS
Just seeing if you can read my mind.
Superman chuckles.
SUPERMAN
That's one thing I cannot do.
Lois jots this down.
LOIS
(under her breath)
Too bad.
SUPERMAN
But I can hear things from miles
away.
(beat)
Really good ears.
LOIS
Good to know.
Lois finishes writing a note and then lowers the pad. This
question is as much for her as for her interview.
LOIS (CONT'D)
You have no idea where you come from?
SUPERMAN
I know that I'm not from around here.
LOIS
Where do you think you're from?
SUPERMAN
Someplace far away.
LOIS
Are you a Russian science experiment,
left over from the Cold War?
SUPERMAN
No.
LOIS
Then could you be more specific?
SUPERMAN
I'm not from this world, Miss Lane.
LOIS
Oh.
(MORE)
-----------------------------------------------------------------------------------------------------
95.
LOIS (CONT'D)
(beat)
When did you come here? Are you a
documented... alien?
Lois knows that she probably should have used a different
word. Superman doesn't like it either.
SUPERMAN
I came here as a baby. I grew up on
Earth. It's my home. That's why I
want to protect it. It's why I need
to help people.
LOIS
Sweet. So what's your agenda?
SUPERMAN
Beyond helping people, I don't have
one.
LOIS
Everyone with power has an agenda.
What's your endgame? What do you
stands for?
SUPERMAN
I'm not a political figure.
LOIS
You have to believe in something.
Superman thinks. An answer suddenly comes to mind which makes
him smile.
SUPERMAN
Truth, justice... The American way.
LOIS
How noble of you.
SUPERMAN
You don't believe me?
LOIS
You're just coming across as a little
too good to be true. You have to be
hiding something.
SUPERMAN
Aren't we all?
(beat)
Look, I don't want to be worshipped
and I'm not looking to rule the world.
Honestly, I have too much on my plate
as it is. What I want is to help.
(MORE)
-----------------------------------------------------------------------------------------------------
96.
SUPERMAN (CONT'D)
I have abilities that can be of use
to this world and I want to use them
in any way I can.
Lois doesn't respond for a moment. She actually believes
him.
SUPERMAN (CONT'D)
Are you okay?
LOIS
Fine.
(beat)
So superpowers and world conquest
aside... You're an alien. That's
pretty big. That solves a few of the
bigger questions that we've been
asking for most of our existence.
"Is there life on other planets?"
(beat)
I guess so, right?
SUPERMAN
Yeah. I guess so.
Superman walks to the open doors and looks out at the sky.
SUPERMAN (CONT'D)
Then again, you have to wonder what
kind of people would abandon their
child on an alien planet.
(beat)
I don't come from here, Lois. But
that world out there is far more
alien to me than this one.
Lois turns off her audio recorder and puts her notes down.
LOIS
I didn't mean to... I mean--
SUPERMAN
It's fine. Nothing I haven't thought
about a million times.
LOIS
I can't imagine what it must be like
to feel so alone.
Superman looks Lois in the eyes.
SUPERMAN
I don't.
They share an extended look. Finally, Superman looks outside
again.
-----------------------------------------------------------------------------------------------------
97.
SUPERMAN (CONT'D)
Do you like flying, Miss Lane?
LOIS
I hate confined places.
Finally, his comment sinks in and she realizes what he means.
LOIS (CONT'D)
Oh. You mean... Flying.
(beat)
No. Thank you, but no.
It's obvious that Lois is nervous. Superman finds this
amusing.
SUPERMAN
I never pictured you as the nervous
type.
LOIS
Survival instinct. You might have
unbreakable bones of steel or
whatever, but when I hit the ground
from twenty stories up, I tend to
make a mess.
Superman holds out a hand.
SUPERMAN
Trust me. I won't let you fall.
Lois looks at him, about to repeat what she just said, but
something about his look changes her mind. She swallows hard
and puts her hand in his.
LOIS
If you drop me, it is going to be
very bad press.
They step out onto the balcony. Superman scoops Lois into
his arms and lifts off of the floor. Lois gasps as he does
this.
LOIS (CONT'D)
It's like riding an elevator.
(beat)
Y'know, without doors or a floor or
any kind of safety mechanism.
Superman grins as he rises higher, into the night sky.
EXT. SKY - NIGHT
Superman carries Lois high above the city. She looks at the
lights below, taking in the beauty. Superman says nothing as
he watches the look of awe in her face.
-----------------------------------------------------------------------------------------------------
98.
Lois looks at him.
LOIS
This is incredible.
(beat)
I get sick looking out of an airplane,
but this is completely different.
SUPERMAN
It's the fresh air.
LOIS
Or what passes for it in Metropolis.
You must come out here a lot.
SUPERMAN
Not until recently.
LOIS
Why not? If I could fly around like
this, I'd... Probably be worried
about some crazy government trying
to conduct an alien autopsy on me.
SUPERMAN
It's more complicated than it seems,
isn't it?
LOIS
That's why you waited so long, isn't
it? You were scared?
SUPERMAN
Me? Scared?
LOIS
Right. Do the male ego thing. That's
usually the part where I sneak out
the bathroom window, but in this
situation I think it might be best
if I stayed put.
There's a moment of quiet between them. Lois looks at the
"S" shield on his chest and runs her hand over it.
LOIS (CONT'D)
You said you weren't sure what the
"S" stood for. What do you think it
is?
SUPERMAN
Hmm?
(then)
Oh. It's not an "S" exactly. It was
in the ship I was sent here in. I
think it's my family's crest. The
costume... most of it is like a suit
of armor, I think.
-----------------------------------------------------------------------------------------------------
99.
LOIS
Well, if anyone asks about it from
this point on, I'd just say it's an
"S". "Suit of armor" could come across
as a little hostile.
SUPERMAN
And if they ask what the "S" means?
LOIS
I'm sure we can think of something
clever.
SUPERMAN
We can try.
(beat)
Hey, wanna go higher?
INT. LUTHOR MEDICAL RESEARCH CENTER - MORGUE - NIGHT
Professor Vale walks into the morgue with THREE ASSISTANTS
behind him. He looks around nervously.
PROFESSOR VALE
(to himself)
This is... science. It's science.
We're doing the work of... science.
A MORGUE TECHNICIAN walks to Professor Vale.
MORGUE TECHNICIAN
Can I help you?
PROFESSOR VALE
I... I, uhm... Need a brain.
MORGUE TECHNICIAN
Excuse me?
PROFESSOR VALE
I work in the research center. We
need... a brain.
MORGUE TECHNICIAN
Are you kidding me?
Professor Vale hands the technician a card, which the
technician reads. He then walks to a nearby phone and dials
a number.
Professor Vale waits nervously as the morgue technician makes
his phone call and then walks back to Professor Vale.
MORGUE TECHNICIAN (CONT'D)
Looks like you need a brain.
PROFESSOR VALE
Something recent. Fresh.
-----------------------------------------------------------------------------------------------------
100.
The morgue technician walks to the wall of refrigerated
drawers and opens one. He pulls out the drawer which has a
corpse on it, still in a body bag.
MORGUE TECHNICIAN
This one was just brought in. I
haven't even had time to work on him
yet. The body's messed up, but the
head's not too bad. License says
he's a donor.
The morgue technician unzips the bag, revealing the face of
John Corben.
Professor Vale takes a quick look and then looks away. He
nods to the technician. The morgue technician smiles.
MORGUE TECHNICIAN (CONT'D)
Anything else for you tonight? We're
running a special on honey baked ham
if you're interested.
Professor Vale looks as though he might be sick.
INT. DAILY PLANET BUILDING - CITY ROOM - DAY
Clark is sitting at his desk, reading the front page of the
newspaper. Lois and Jimmy are nearby too. Lois is listening
as Jimmy reads.
JIMMY
"My Night With A Super Man." This is
incredible, Lois.
LOIS
Yes, it is.
JIMMY
A superpowered alien from another
world who has sworn to protect
humanity. I used to read stories
like this when I was a kid.
CLARK
Who didn't?
LOIS
He's more than that though. He's
not from around here, but who is? I
mean, all of our families came to
this country at some point, right?
JIMMY
But not from Mars.
LOIS
He's not from Mars, Jimmy.
(MORE)
-----------------------------------------------------------------------------------------------------
101.
LOIS (CONT'D)
(beat)
Probably. Either way, he's more human
than most of the people I've met on
this job.
CLARK
You think so?
LOIS
I do. I can tell a creep from a mile
away and my gut is telling me that
this guy is for real.
CLARK
That's not what you were saying
yesterday.
LOIS
Well, yesterday I didn't know the
guy.
JIMMY
The guy whose name isn't even
mentioned in the article?
LOIS
He didn't tell me his name, okay?
Everyone has a right to some secrets.
Jimmy leans closer to Clark.
JIMMY
Remind me to get Lois a pair of pom-
poms for her birthday.
Clark chuckles. Lois punches Jimmy on the arm.
JIMMY (CONT'D)
Ouch.
Clark flips over the paper and reads another story. His smile
drops.
LOIS
What's wrong with you?
CLARK
John Corben was killed last night.
LOIS
What?
CLARK
He was shot six times in the chest.
Died at the new Luthor Medical Center.
Clark puts the paper down.
-----------------------------------------------------------------------------------------------------
102.
CLARK (CONT'D)
Why didn't I know about this?
JIMMY
Do you think he was killed by whoever
was doing the robberies?
Clark doesn't respond.
JIMMY (CONT'D)
If he was killed by the robbers,
it's probably because the police
stopped the robberies, and that's
only because Clark told the police
about Corben. So if that's what
happened, then in a way--
Lois punches Jimmy on the arm again.
JIMMY (CONT'D)
Ouch! Why do you keep doing that?
Clark gets up and walks toward Perry's office.
INT. DAILY PLANET BUILDING - PERRY WHITE'S OFFICE - DAY
Perry is sitting at his desk, looking over some papers.
There's a knock on the door as Clark opens it.
CLARK
Can I have a second?
PERRY
What can I do for you?
CLARK
The story in the paper today. The
one about Corben being killed...
PERRY
Don't work yourself up over it. You
did what you had to.
CLARK
Why didn't someone call me with this
news?
PERRY
I tried to last night. You weren't
answering.
(beat)
It's not your fault. We report the
facts here. The fact is that Corben
would still be alive if he hadn't
gotten involved in this mess to begin
with. You ran a good story and that's
where your part in this ends.
-----------------------------------------------------------------------------------------------------
103.
CLARK
Is it really that simple?
PERRY
It has to be.
(beat)
Sit down. Let me tell you a story.
Clark sits. Perry puts his work down and sits back in his
chair.
PERRY (CONT'D)
When I was a young reporter, I caught
wind of a connection between certain
political figures and a local crime
family. Money passed hands, crimes
were overlooked and I reported on
it. I covered that story from every
angle I could think of and in the
end, the piece got me the recognition
that led me to this office I'm in
today.
(beat)
Three members of that family were
killed in mysterious accidents before
they could name names. All the
evidence that I'd worked to gather
fell through when it came time to
put criminal cases together. None of
those men ever stood trial for what
they'd done. It was quite the scandal
in the days before O.J.
CLARK
Did you feel guilty about any of it?
PERRY
Guilty? No. I was doing my job.
(beat)
But I think that's the first time I
truly realized how much power we
have when we write our stories.
There's a lot of romance thrown around
about the life of a reporter. Travel.
See the world. Report what you see
and hope to mean something someday.
CLARK
But it carries more weight than people
imagine.
PERRY
Yes, it does. When some people
discover this, they run. Others don't
care. They're in it for the glamor.
The really good ones never stop
caring.
(MORE)
-----------------------------------------------------------------------------------------------------
104.
PERRY (CONT'D)
They don't just work toward a
Pulitzer. The good ones never lose
their souls in this mess. That's why
I'm glad you wanted to see me, Kent.
I was starting to worry.
INT. LUTHOR MEDICAL RESEARCH CENTER - VALE'S LAB - NIGHT
There is a table set up to one side of the lab now. On the
table is the form of a man, covered with a sheet.
Professor Vale is standing over the table, looking down at
the form. There are SEVERAL LAB ASSISTANTS in the room behind
him.
Lex walks into the lab.
LEX
I trust you have good news for me,
Professor?
PROFESSOR VALE
I do. I think.
LEX
That's vague.
Lex walks to the table and looks down at the form.
LEX (CONT'D)
Is this it?
PROFESSOR VALE
I've molded the metallo in the form
of the brain donor's original body.
It might help ease some of the shock.
I still need to put finishing touches
on it, but it should be functional
soon.
LEX
What's your power source?
PROFESSOR VALE
A uranium capsule. It was the only
power source that seemed to provide
reasonable power for the metallo.
Everything else drained too quickly.
LEX
But the uranium will last?
PROFESSOR VALE
I theory. I'm exploring other options,
just in case. I read an article about
a meteor--
-----------------------------------------------------------------------------------------------------
105.
LEX
As long as the uranium works, I don't
care about space rocks, Professor.
(beat)
Turn it on. I want to see this thing
work.
Professor Vale nods and pulls the sheet back, revealing the
almost skeletal form of Metallo. There are no wires or joints.
He is a perfectly solid structure, lacking the layers of
flesh that would be required to make him appear human.
Lex stops and takes a good look at this form. He then moves
on to the file on a nearby table, looking at the image of
the brain's donor.
LEX (CONT'D)
He looks familiar. Did he work for
me?
PROFESSOR VALE
No. Not that I'm aware of.
LEX
What was his name?
PROFESSOR VALE
I'm nor sure. John, I think.
Professor Vale types a command into his computer, sending a
signal to the metallo.
LEX
John?
Lex suddenly recognizes the form.
LEX (CONT'D)
You mean, John Corben?
PROFESSOR VALE
That might be it.
LEX
You fool. You chose the brain of a
widely known criminal?!
PROFESSOR VALE
Wha--? I didn't... I mean...
LEX
Do you read the papers, Professor?
John Corben has been all over the
front pages since he died, three
days ago. People will recognize him!
PROFESSOR VALE
But...
-----------------------------------------------------------------------------------------------------
106.
LEX
You have to switch donors. Find
someone else.
PROFESSOR VALE
I can't. The metallo has been
calibrating for the last three days.
This body won't work with any other
brain.
LEX
Then scrap it. Start over. I can't
have a criminal representing LexCorp.
Professor Vale pauses for a moment, not sure how to respond.
Suddenly, Metallo's eyes shoot open. They are without proper
coloring at the moment, so they appear to be completely black.
Metallo looks around the lab. Lex steps back as Metallo sits
up.
Metallo moves his mouth, but no sound comes from it. He tries
a few more times until there is finally a garbled mess of
sound.
Metallo looks to Professor Vale, and then to Lex. He
recognizes Lex. The two of them lock eyes for a moment.
LEX (CONT'D)
Shut it off, Professor. Kill the
damn thing.
Metallo is confused by this. He lifts a hand and looks at
it. He then looks back to Lex.
METALLO
(slightly garbled)
What the hell is this?
LEX
(to Vale)
Turn it off!
PROFESSOR VALE
I can't. The metallo is independant
now. It's alive.
Lex doesn't like the sound of this. He looks back to Metallo.
METALLO
Metallo?
(beat)
What have you done to me?
Lex doesn't respond for a moment. Finally, he accepts the
situation and regains his composure.
-----------------------------------------------------------------------------------------------------
107.
LEX
We brought you back from the dead.
Now you work for me.
Metallo doesn't know how to respond to this. He looks at his
hand again, and then to the rest of his body. He feels his
chest, which is where the compartment for his power supply
is. His chest is the only part of his body that isn't solid.
There is a seam in the chest, allowing for access to the
power supply.
When Metallo speaks again, his voice is perfectly clear.
METALLO
I can't feel anything.
(to Professor Vale)
What am I?
PROFESSOR VALE
You are the greatest breakthrough of
human history. A human brain inside
of a mechanical body.
Metallo doesn't respond to this. Lex looks to Professor Vale.
LEX
Finish it. Make it look human. Call
me when it's done.
Lex walks out of the lab. Once he's gone, Metallo looks to
Professor Vale.
METALLO
Is that what I am now? An "it"?
Professor Vale isn't sure how to respond.
Metallo gets up from the table and walks around the room as
several lab assistants watch. He walks to a computer and
bends down to look at the screen.
METALLO (CONT'D)
I'm pretty much the next upgrade to
this computer.
(beat)
No wireless internet though. I'm
disappointed.
PROFESSOR VALE
What?
Professor Vale walks to his computer and studies it.
PROFESSOR VALE (CONT'D)
Oh! I forgot you add you to the
network.
-----------------------------------------------------------------------------------------------------
108.
As Vale goes to work on his computer, Metallo brings up the
Daily Planet's website on the computer that he's using. He
runs a search for "John Corben" and begins reading the search
results.
INT. DAILY PLANET BUILDING - CITY ROOM - DAY
Jimmy walks across the office, to Lois' desk. Lois is typing
up a new story and Jimmy doesn't want to bother her, so he
just stands there and waits for her to respond to him.
After a moment, Lois looks up at Jimmy.
LOIS
Is there a reason why you're standing
over me?
JIMMY
I'm looking for Clark.
LOIS
I'm pretty sure he's not sitting at
my desk.
Lois looks at Clark's desk.
LOIS (CONT'D)
I'm also pretty sure he's not sitting
at his desk. My guess is that he's
not here.
JIMMY
If you see him, tell him I was looking
for him.
LOIS
You bet.
Jimmy walks away from Lois' desk and toward the TV monitor
where Lex Luthor is appearing on a cable news show.
The HOST is sitting across from Lex on the brightly lit set
of the show.
LEX
What I mean to say is that the current
state of the Metropolis economy is
something that we need to address
sooner, rather than later. The problem
may not be severe now, but if we
allow it to get out of hand we could
find our city in it's own depression.
HOST
Some say that you're only interested
in expanding your own empire.
-----------------------------------------------------------------------------------------------------
109.
INT. TV STUDIO - DAY
The same scene, but no longer on TV. This is the taping,
complete with cameras and lights.
LEX
While it may be true that I have a
certain investment in the restoration
of Hobbs Bay, my concern isn't merely
about money. I grew up in the area.
I know the people in the area. The
fact of the matter is that the area
is becoming more and more dangerous
with each passing day. It's no longer
safe for children to play in the
streets. It's no longer safe for
women to return home at night without
an escort. This is unnacceptable.
Furthermore, the local government
seems to have placed the area on the
back burner as far as funds are
concerned. The recent tunnel collapse
is proof that someone needs to step
in and see to it that these residents
are not forgotten. I want to see to
it that these people are not just
given a better place to live, but
also more options when it comes to
the work that they're able to take.
HOST
Some say that you are more interested
in pushing those residents out of
their own homes. Ideas ranging from
a massive residential mall for the
wealthy, to some mystical tower
designed to channel the planet's chi
have been thrown around online.
Lex chuckles.
LEX
I've heard some of those rumors, and
while they're certainly amusing,
they're also wrong. The truth is
that I have had many proposals cross
my desk over the years for many types
of buildings all over the city. Plans
for the development of Hobbs Bay are
in such early stages that there really
haven't been meetings on what type
of buildings I would invest in. At
the moment, the idea is simply that.
An idea. To accomplish the goal of
restoring this vital sector of our
city to its full glory, we will need
the support of government officials,
(MORE)
-----------------------------------------------------------------------------------------------------
110.
LEX (CONT'D)
other corporations and the residents
themselves. We still have quite a
way to go in this process, but I'm
excited about it.
HOST
As, I'm sure, are many of our viewers.
We don't have much time left, Mr.
Luthor, but before we go I do want
ask you about the biggest news
development of the week. The hero of
Metropolis that people are calling a
"Superman".
LEX
I'm as intrigued by the story as
anyone.
HOST
Any thoughts or opinions on the
mysterious stranger?
LEX
He would certainly seem to be quite
the blessing to our city and the
world at large. I think it's a little
early to form any strong opinions on
the man himself.
HOST
You sound wary.
LEX
I am. I think we all must be. Any
person with such power is to be
approached with caution. We also
have to take into consideration the
fact that he is not human. We can't
be sure of where he comes from or
what his intentions are.
HOST
I thank you for being here, Mr.
Luthor.
LEX
I enjoyed sparring with you.
The host smiles and turns to the camera.
HOST
Coming up after the break, just what
are scientists saying about our alien
visitor? We'll also be discussing
how this revelation may impact the
various religions of the world. Stay
tuned... You're "On The Clock".
-----------------------------------------------------------------------------------------------------
111.
Lex stands up and shakes the host's hand as they go to
commercial.
As Lex walks off of the set, his CELL PHONE RINGS. He answers
it.
LEX
Luthor.
intercut with:
EXT. LUTHOR MEDICAL RESEARCH CENTER - DAY
Professor Vale is outside of the center, looking around.
He's nervous as usual.
PROFESSOR VALE
Mr. Luthor, it's Professor Vale.
LEX
I don't suppose you have good news
for me.
PROFESSOR VALE
Well, I've completed work on the
project. Synthetic skin. Realistic
eyes. He looks perfectly human.
LEX
Right. So, what's the bad news?
PROFESSOR VALE
The bad news. Right.
(beat)
Well, I'm finding it difficult to
keep him under control.
LEX
I'll send extra security to handle
the matter.
PROFESSOR VALE
Right. Right.
(beat)
Mr. Luthor, he's not exactly here at
the moment.
LEX
What?
Lex walks to an empty corner of the room for more privacy.
LEX (CONT'D)
Where is he?
PROFESSOR VALE
I'm not exactly sure.
-----------------------------------------------------------------------------------------------------
112.
LEX
Doesn't he have a GPS system somewhere
in there?
PROFESSOR VALE
That's a very good idea, sir. I'll
be sure to make a note of it for the
next version.
LEX
He's missing.
(beat)
This is not good news, Professor.
PROFESSOR VALE
He said he'd be back.
LEX
Great.
Lex hangs up his phone.
INT. BAR - DAY
Clark is sitting at a table with a plate of food in front of
him. He is watching a TV screen above the bar, which displays
Lex's interview.
BAR TENDER (O.S.)
Kinda makes you wonder, doesn't it?
I mean, the guy looks like a hero,
but how do we know he's not just
setting us up?
Clark looks across the room, toward the bar and sees the BAR
TENDER. He's talking softly to a WELL DRESSED MAN who is
seated on a stool.
WELL DRESSED MAN
We have no reason to doubt him.
BAR TENDER
Not yet.
WELL DRESSED MAN
Until he gives me reason not to, I'm
giving the guy some slack. Whoever
this Super-Guy is, he's already saved
a lot of lives.
YOUNG MOTHER (O.S.)
All day long, it's all he can talk
about.
Clark looks over to a distant corner of the room and sees a
YOUNG MOTHER with a MIDDLE-AGED WOMAN and a THREE YEAR OLD
BOY who is coloring at the moment.
-----------------------------------------------------------------------------------------------------
113.
YOUNG MOTHER (CONT'D)
It's Superman! Superman! He won't
stop begging me to get him red and
blue sheets for his bed.
MIDDLE-AGED WOMAN
You were the same way with My Little
Pony. Just be glad they haven't
started the marketing campaigns yet.
I promise you that this guy will be
all over the shelves by Christmas.
YOUNG MOTHER
I should start saving up now.
The three year old boy holds up a piece of paper to show his
mother.
THREE YEAR OLD BOY
Look, Mommy! Look! It's Superman!
YOUNG MOTHER
That's very nice, baby.
THREE YEAR OLD BOY
Look, Mommy, he has lasers shooting
from his eyes!
YOUNG MOTHER
Very nice. What's that he's burning
all up?
THREE YEAR OLD BOY
That's Megan.
YOUNG MOTHER
How many times have I told you to
stop drawing pictures of your sister
on fire?
MIDDLE-AGED WOMAN
They're so cute at this age.
Clark smiles.
CLARK
(under his breath)
Superman.
INT. DAILY PLANET BUILDING - CITY ROOM - DAY
The elevator doors open and Metallo walks out of the elevator.
He now looks just like John Corben. He slowly walks through
the room, looking around at his former workplace.
Jimmy walks by, looking at the display of his digital camera
and bumps into Metallo.
-----------------------------------------------------------------------------------------------------
114.
JIMMY
Sorry. Excuse me.
Jimmy starts to walk off again. Metallo grabs his arm.
METALLO
Where is Clark Kent's desk?
Jimmy looks down at his aching arm. He then points to Clark's
empty desk.
JIMMY
Over there.
Metallo looks to where Jimmy is pointing and then looks to
Jimmy's camera. He reaches down and grabs the camera from
Jimmy.
JIMMY (CONT'D)
Hey!
Metallo crushes the camera in his hand. Jimmy is shocked by
this. Metallo looks at his hand, still not feeling anything
from it. He drops the camera.
METALLO
(to Jimmy)
Don't go anywhere. You won't want to
miss this.
Jimmy doesn't like the sound of this. As soon as Metallo
turns and starts to walk toward Clark's desk, Jimmy heads
for a phone.
Metallo walks to Clark's desk and stands over it.
METALLO (CONT'D)
Where is he?
Lois doesn't look up from her work.
LOIS
Kent's out to lunch. You can leave a--
She looks up and sees Metallo's face. Her jaw drops when she
sees who he is.
LOIS (CONT'D)
Oh my God. You're dead.
METALLO
Good to see you too, Lois.
LOIS
I'm sure it is. Especially considering
the "your dead" part.
Lois stands up. Sitting down makes her feel too vulnerable.
-----------------------------------------------------------------------------------------------------
115.
LOIS (CONT'D)
Why are you here, John?
METALLO
I want to see the man who got me
killed.
LOIS
I'd suggest looking in a mirror, but
in your case that's never a good
option.
Metallo smiles. He reaches down and grabs the corner of
Clark's desk. With a little effort, he tosses the desk across
the room, narrowly missing several other people. By now, the
whole room is looking his way.
Metallo looks at the people in the room.
METALLO
It would seem that we have an
audience.
LOIS
You should take your bow now. Always
leave them wanting more, right?
Lois smiles nervously as she attempts to keep up her tough
exterior.
METALLO
I'm waiting here until Clark Kent
returns, and so are you.
Metallo turns to the rest of the people.
METALLO (CONT'D)
The rest of you should run. I don't
need you here.
The place starts to empty out. As everyone races for elevators
and stairs, Jimmy ducks behind one of the desks.
LOIS
Clark might not even be back today.
I'm sure if you want to leave a
message, he'll get back to you just
as soon as he can.
METALLO
Believe me when I tell you that if I
leave a message here today, it is
not one that you will enjoy.
ANGLE ON : JIMMY
As he crawls behind desks, working his way toward some unknown
destination.
-----------------------------------------------------------------------------------------------------
116.
LOIS
He was just doing his job. You don't
exactly have the moral highground.
METALLO
No, I don't. I just have this
completely irrational need to harm
the man who led me to my death.
LOIS
Wouldn't that be the guy who kept
shooting you in the chest?
METALLO
They'll get theirs. There is plenty
of my anger to go around. I'm very
powerful these days, and I plan to
spread it around.
INT. BAR - DAY
Clark stands and tosses some money down on the table. As he
is about to leave the bar, he looks to the TV screen and
sees a live news report from outside of the Daily Planet.
Police are gathered around the building and workers are
filling the street.
Clark watches for a moment, and then continues to walk out
of the bar. A moment after the bar door closes behind him, a
LOUD BOOM can be heard, which rattles glasses and lamps in
the bar.
INT. DAILY PLANET BUILDING - CITY ROOM - DAY
Lois is sitting at her desk again. Metallo is near one of
the large windows, looking down at the crowd below.
LOIS
You're not getting out of this, John.
You should just turn yourself in.
METALLO
You underestimate my power.
LOIS
Right. And where does that come from
again?
METALLO
Sorry. No interviews.
A gust of wind blows through the office.
SUPERMAN (O.S.)
You came to the wrong place if you
didn't want any press.
-----------------------------------------------------------------------------------------------------
117.
Metallo turns around and sees Superman standing near the
elevators.
When Superman sees Metallo's face, he's very surprised, but
tries to hide it.
METALLO
Well. This should be interesting.
SUPERMAN
You can't fight me.
METALLO
It's true that I don't have the
tights, "Super man", but there's a
lot of fight in this body.
Metallo grabs the TV screen from the wall and pulls it down.
He throws it at Superman.
Superman catches it with ease.
SUPERMAN
I'm not impressed.
Superman puts the TV down and superspeeds toward Metallo.
Before Metallo knows it, Superman is right in front of him.
METALLO
Neat trick.
Metallo throws a punch at Superman. Superman grabs Metallo's
fist with little effort. He holds it for a moment.
SUPERMAN
End this, or I will.
Superman pushes Metallo, sending him to the floor, and sliding
across the room.
As Metallo gets up, he notices Jimmy on the floor nearby.
Jimmy his holding a regular film-type camera. He snaps a
shot.
Metallo grabs Jimmy and stands up, holding Jimmy's neck with
one hand.
METALLO
So, let's test out this new hero of
ours, shall we?
SUPERMAN
Let him go.
METALLO
Yeah, that'll work.
(MORE)
-----------------------------------------------------------------------------------------------------
118.
METALLO (CONT'D)
(beat)
See, you can speed over here, but
the way I see it, I'm still in control
of this situation. You come near me
and the kid gets his neck snapped.
SUPERMAN
I won't let that happen.
METALLO
How can you stop it? Are you fast
enough? Sure enough that you won't
mess this up? Can you risk it?
Superman doesn't respond. He just focuses his eyes on
Metallo's hand and his heat vision shoots from his eyes.
Metallo's hand SIZZLES as a hole is burnt into it. He doesn't
flinch.
Superman stops before he goes through the hand, to Jimmy's
neck. He stands back, wondering why Metallo isn't hurt.
SUPERMAN
What are you?
METALLO
I am the product of the world around
me.
(beat)
I know. I know. It didn't make any
sense, but I'll be damned if that
wasn't a poetic answer.
From out of nowhere, Lois appears behind Metallo and swings
a desk lamp into his head, shattering the glass lampshade.
Metallo hardly flinches. He grabs the broken lamp from Lois.
METALLO (CONT'D)
If that hurt even a little, I'd be
pissed off right now. Sit down.
Shocked that she didn't even hurt Metallo a little, Lois
lowers herself into a nearby chair.
Metallo turns back to Superman.
METALLO (CONT'D)
Catch.
Metallo throws the lamp at Superman with quite a bit of force
behind it.
Superman speeds out of the way, ending up behind Metallo.
-----------------------------------------------------------------------------------------------------
119.
The lamp shatters one of the windows that Metallo has been
looking out earlier.
Metallo turns around, facing Superman again.
METALLO (CONT'D)
I'm sure the people down below will
love that. Really, Superman. Wouldn't
it have been easier to just catch
it?
SUPERMAN
Let him go.
METALLO
Let who go?
Metallo looks at Jimmy, as though just remembering that he
is holding him.
METALLO (CONT'D)
Oh, right.
(then)
No.
Metallo backs away from Superman, still holding Jimmy.
SUPERMAN
You're not getting out of here.
METALLO
Really... I just wanted to see Clark
Kent. Say hi. Chat a little. Rip his
face off and paint a mural on the
wall with his blood. Is that really
so much to ask for?
Metallo looks down at Jimmy.
METALLO (CONT'D)
Is it?
Metallo shakes Jimmy's head "no".
METALLO (CONT'D)
(to Superman)
See? He agrees with me.
Jimmy is too scared right now to say anything. His eyes are
locked on Lois, who can do nothing to help him.
LOIS
Stop it! Let him go.
METALLO
Why would I do that? Do you not get
the idea of a hostage?
-----------------------------------------------------------------------------------------------------
120.
SUPERMAN
If you hurt him--
Metallo continues to back away as he replies.
METALLO
If I hurt him? How about when I hurt
him? This boy is the unfortunate
victim of circumstance. My
circumstance requires rather drastic
action, don't you think? I mean, I
have the alien invader standing in
front of me, burning holes in my
hand with his laser-vision, which is
both cool and incredibly creepy at
the same time. Not to mention rude.
I mean, do I go around burning holes
in people? No. And I'm the bad guy!
(beat)
I think that what I mean by all of
this is that I am in dire need of a
distraction. Something impressive
that will make Spandex-man leave me
alone.
SUPERMAN
You're not earning any points, Corben.
Metallo smiles wide and looks down at Jimmy.
METALLO
He knows my name! A famous person
knows my name!
(to Superman)
We're so BFF.
By now, Metallo is by the broken window.
METALLO (CONT'D)
It's not about points, Superfly.
It's about cause and effect. Cause:
I throw paparazzi-boy out the window.
Metallo quickly spins Jimmy around and pushes him out the
window.
LOIS
NO!
Superman superspeeds out the window after Jimmy. Metallo
smiles to Lois.
METALLO
Effect: Superman leaves me alone.
Tell Kent I'll be seeing him.
Metallo starts to walk toward the elevator.
-----------------------------------------------------------------------------------------------------
121.
EXT. DAILY PLANET BUILDING - DAY
Jimmy yells as he falls from the window. The crowd below
watches as Jimmy appears to be moments away from death.
CLOSE ON: JIMMY
As Jimmy falls, he closes his eyes.
Moments pass. Finally, when he doesn't die, Jimmy opens his
eyes. He then realizes that he is slowly being lowered onto
the ground by Superman.
Superman sets Jimmy on the ground and takes off, back toward
the broken window.
Jimmy stands on the sidewalk, in shock, as POLICE walk toward
him.
INT. DAILY PLANET BUILDING - CITY ROOM - DAY
Superman rushes through the window and lands. When he's on
the floor, he looks around the room. Lois is at her desk,
typing away.
SUPERMAN
Where's Corben?
LOIS
He got away.
SUPERMAN
What are you doing?
LOIS
Scooping the competition.
Lois looks at Superman.
LOIS (CONT'D)
Care to give me a quote?
SUPERMAN
Jimmy's fine.
LOIS
I know.
Lois looks back to her computer.
LOIS (CONT'D)
I knew you wouldn't let him die.
Lois types a little, just finishing a sentence. She then
turns back toward Superman.
LOIS (CONT'D)
So...
-----------------------------------------------------------------------------------------------------
122.
However, Superman is gone.
LOIS (CONT'D)
...how 'bout that quote?
INT. DAILY PLANET BUILDING - CITY ROOM - LATER
WORKERS are boarding up the broken window as reporters are
swarming around, rushing to get their reports finished.
Perry is walking through the office with Lois close behind.
He's reading Lois' report.
PERRY
Corben's alive?
LOIS
I'm not so sure about that. Keep
reading.
PERRY
(beat)
Through his hand?! And Corben did
nothing?
LOIS
Something isn't kosher here, Chief.
Corben died days ago. If that somehow
changed, you'd think we'd have heard
about it.
PERRY
Get down to the morgue and find out
what happened to the body. I want to
know what funeral home picked him
up. When's the viewing?
LOIS
I think we just had it.
They walk past Jimmy, who is still a little dazed.
PERRY
Olsen!
Perry and Lois stop to talk with Jimmy.
PERRY (CONT'D)
How are you holding up, son?
Lois rolls her eyes.
JIMMY
I'm... Did you see what he did? He
threw me. Right out the window.
-----------------------------------------------------------------------------------------------------
123.
LOIS
And yet you're wearing the same pants
as you were this morning. I'm proud
of you.
JIMMY
Who throws a person out the window?
PERRY
I'm glad to hear you're okay. Now,
tell me you got some pictures.
JIMMY
He also crushed my digital camera.
PERRY
Son of a b--
JIMMY
So I had to use my old camera.
PERRY
That's the way to do it! What did
you get?
JIMMY
Pictures are on your desk, Chief.
(beat)
Can I go home now? I think I might
be sick.
PERRY
Sure. Sure. Take the rest of the
day. We'll call you if we need you.
Jimmy nods and walk off.
PERRY (CONT'D)
Good work.
Perry turns to Lois.
PERRY (CONT'D)
Why are you still here? Every
reporter in town is going to swarm
that morgue. Go!
Lois nods and turns. She almost bumps into Clark when she
turns around.
LOIS
Clark!
Clark is looking around the room.
CLARK
What happened?
-----------------------------------------------------------------------------------------------------
124.
LOIS
Your old pal John Corben stopped by.
He wanted to see you.
CLARK
John Corben? He's dead.
LOIS
Really? I hadn't heard.
(beat)
Now, if you'll excuse me, I have a
morgue to visit.
CLARK
Morgue?
LOIS
To find out why our dead man is
walking. You're gonna have to catch
up with the rest of us if you wanna
stay in the game, Clark.
CLARK
I want to go with you.
LOIS
Yeah right. This is my story.
CLARK
Corben's my story.
LOIS
Hostage gets dibs. It's only fair.
PERRY
Both of you, calm down. Lois, take
Clark with you. He's Corben's target,
so he has a right to know what's
going on. Both of you be careful.
(to Clark)
Especially you, son.
Perry turns and walks away.
CLARK
Target?
Lois grabs Clark's arm and pulls him along as she heads for
the elevator.
LOIS
Everyone's a "son" all of the sudden.
I'm here longer than either of you,
but am I "son"? No.
-----------------------------------------------------------------------------------------------------
125.
INT. LUTHOR MEDICAL RESEARCH CENTER - VALE'S LAB - DAY
Lex is in Vale's lab now, listening as Vale tries to explain
what's happened.
PROFESSOR VALE
He just left. I couldn't stop him.
LEX
Where did he go?
PROFESSOR VALE
I don't know. I know that he was
reading reports about himself on the
internet and then he got upset and
left.
LEX
Please don't tell me that he walked
right into an office full of
reporters.
METALLO (O.S.)
You might not want to turn on the
news.
Lex turns and sees Metallo walking through the door. He's
not pleased by what Metallo said. He immediately tries to
figure out a way to handle this situation.
PROFESSOR VALE
You're back.
METALLO
I said I would be.
LEX
Did anyone see you walk in here? Did
anyone follow you?
METALLO
Not that I know of. Then again, I
didn't really look.
Lex walks to Metallo, getting into his face.
LEX
Do you know what would happen to me
if they found out about you?
Especially now?
Lex turns to Professor Vale.
LEX (CONT'D)
We need to fix this. We need to get
rid of anything that might connect
us to everything that this machine
might have done.
-----------------------------------------------------------------------------------------------------
126.
PROFESSOR VALE
How?
METALLO
Yes, how?
Lex turns to Metallo. They lock eyes, attempting to stare
each other down.
LEX
As far as the world is concerned,
John Corben is dead.
METALLO
I wouldn't be so sure about that.
LEX
Either way, nobody will mind if you
vanish from the face of the earth.
METALLO
I'll mind.
LEX
You are the product of my will.
Never mistake yourself for anything
more than that. The moment I want
you gone, you will be gone.
METALLO
Yeah?
Metallo reaches up and grabs Lex's neck with one hand. He
holds it firmly.
METALLO (CONT'D)
As of right now, the tables are
turned.
Lex angrily pushes Metallo's arm away. Metallo stumbles back
a few steps.
Lex straightens his shirt as he looks to Professor Vale.
LEX
This is your mess now, Professor.
Clean it up or I'll have it done for
you. I promise, you won't like the
service I hire to do it.
Lex walks out of the lab. Once he's gone, Metallo turns to
Vale.
METALLO
Looks like you're in a bit of a
pickle.
-----------------------------------------------------------------------------------------------------
127.
Professor Vale doesn't say anything to him. Metallo walks
closer to Vale.
METALLO (CONT'D)
All of your work. All of the hours
that you've put into this project
and Luthor would have you throw it
away. Think about it, Professor. I
might not be perfect, but right now,
I'm all you got.
PROFESSOR VALE
You're a criminal.
METALLO
As opposed to Lex Luthor, the saint
of Metropolis.
PROFESSOR VALE
I can't allow you to hurt anyone.
Metallo is standing right in front of Vale now.
METALLO
Now might be a good time to get
selfish. You help me and you get to
live. You don't and you die.
PROFESSOR VALE
How can you do this? How can you be
so flippant when it comes to killing
people?
Metallo shrugs.
METALLO
I've been under a lot of stress.
Professor Vale thinks about this response. He's suddenly too
distracted to remember the death threats and all of that
unimportant business.
PROFESSOR VALE
Actually, that makes sense. Your
brain wasn't designed for this.
METALLO
Whatever. I don't need exposition, I
need help.
(beat)
Luthor swatted my hand back there.
He got away from me. That shouldn't
happen, right? I'm supposed to be
stronger than him.
Professor Vale goes to his computer and sits down.
-----------------------------------------------------------------------------------------------------
128.
METALLO (CONT'D)
What are you doing?
PROFESSOR VALE
I'm trying to figure out what's
happening to you. If I were you, I'd
sit down and be patient.
METALLO
I don't need to sit.
As Professor Vale works on his computer, Metallo wanders the
lab, looking at and touching various objects around the room.
METALLO (CONT'D)
I don't need to eat. I don't need to
sleep or floss or blink. I don't
feel tired or hungry.
He picks up a steaming mug of coffee and pours it on his
hand. He watches the hot coffee flow over the hand, but feels
nothing.
He turns his hand over and pours hot coffee into the hole
that Superman burned earlier. Still, he feels nothing.
He puts the mug down and wipes his hand on the sheet that
was once used to cover him on the table.
METALLO (CONT'D)
I don't feel anything. That's not
normal, is it?
PROFESSOR VALE
It's hard to say what's normal. You're
the first of your kind.
(beat)
Probably the only, when all is said
and done.
METALLO
Fun.
Professor Vale notices something on his computer screen that
he finds puzzling.
PROFESSOR VALE
Hmm.
Metallo turns to him.
METALLO
What?
PROFESSOR VALE
Well, I've figured out why you're so
weak.
-----------------------------------------------------------------------------------------------------
129.
METALLO
I respect the narrative flow as much
as anyone, but spit it out already.
PROFESSOR VALE
Your power source is draining faster
than I expected.
Metallo walks over to him and looks at the screen.
PROFESSOR VALE (CONT'D)
It's as if the metallo is leaking
fuel.
METALLO
Fix it.
PROFESSOR VALE
I-- I don't know if I can.
METALLO
Let me help you figure it out.
Metallo grabs the back of Vale's neck and squeezes. Vale
winces in pain.
METALLO (CONT'D)
Fix it.
PROFESSOR VALE
Okay. Okay!
Metallo lets go of Professor Vale.
PROFESSOR VALE (CONT'D)
But we'll need to find a new source
of energy. Something that will be
more contained within the metallo.
METALLO
Like what?
Professor Vale thinks this over for a moment before answering.
PROFESSOR VALE
I read an article about a meteor
that was found in the desert. It
emits a unique form of radiation...
Metallo listens with great interest as Vale continues.
EXT. LUTHOR MEDICAL RESEARCH CENTER - DAY
Clark and Lois walk out of the center and begin the walk to
their car.
-----------------------------------------------------------------------------------------------------
130.
LOIS
No records available. Why am I not
surprised?
CLARK
Maybe we could bribe a nurse or
something.
LOIS
As much as I love bribery, I think
this is beyond nurses. Corben was
declared dead. That means that as
far as anyone in the ER is concerned,
the story is over. The morgue is
where the trail goes cold.
CLARK
Suggestions?
LOIS
Morgue tech's not talking. Short of
beating it out of him, I'd say the
morgue's a dead end.
Lois sees Lex walking on the other side of the lawn.
LOIS (CONT'D)
Check it out.
Clark sees Lex.
LOIS (CONT'D)
I'm going to talk to him.
CLARK
You think he knows something?
LOIS
Possibly. At the very least, he can
look into it, right?
CLARK
Be careful.
LOIS
Afraid I'll be turned into an undead
killing machine?
CLARK
Just be careful.
Lois nods and walks toward Lex. Clark watches for a moment,
then turns and walks in the other direction.
Lois rushes to catch up to Lex. When she gets close, she
yells to him.
-----------------------------------------------------------------------------------------------------
131.
LOIS
Mr. Luthor.
Lex turns and sees Lois coming toward him. He'd rather not
deal with her, but short of making a break for it, there is
no way to avoid her. Instead, he smiles politely.
LEX
Ms. Lane. How wonderful to see you
again.
LOIS
Thanks. Mind if I ask you a couple
of questions?
LEX
About what?
LOIS
John Corben.
LEX
I don't know the name.
LOIS
He was brought into your emergency
room a few nights ago. He died.
LEX
I'm sorry to hear that.
LOIS
Don't worry, he got over it.
LEX
I'm sorry?
LOIS
Seems that he didn't take a liking
to death. He attacked the Daily Planet
this afternoon.
LEX
I can see how you might have some
questions. Unfortunately, I don't
think that I'm the man to be asking
about this.
LOIS
I tried asking some of your employees,
but they can't seem to figure out
what they did with the body. As far
as I can tell, he died in the ER and
vanished on his way to the morgue.
Next thing we know, he's throwing my
photographer out a window.
-----------------------------------------------------------------------------------------------------
132.
LEX
Is he okay?
LOIS
Superman saved him.
LEX
How lucky for us.
LOIS
The thing is, Corben must have needed
some help with his little resurrection
act. He was changed somehow. He was
stronger and didn't even flinch when
Superman fried his hand.
LEX
Perhaps he's another creature from
outer space.
LOIS
I don't think so.
LEX
The fact is, we live in a very unusual
time. We've recently become aware of
alien beings who look human, walking
amongst us. Beings capable of
extraordinary feats. If anything,
this story you tell me would seem to
suggest that we must be wary of these
beings. Until we know more about
them, we must be cautious.
LOIS
So Superman saves us from a crazy
undead hostage taker, and you're
trying to spin it around to blame
Superman? That doesn't hold much
water.
LEX
I'm not blaming Superman. I am merely
saying that we must be careful who
we trust. These are alien creatures.
Don't let their appearence fool you.
They are dangerous.
Lex looks at his watch.
LEX (CONT'D)
Now, if you'll excuse me, I'm late
for a meeting.
LOIS
Of course.
-----------------------------------------------------------------------------------------------------
133.
Lex turns and walks toward his car. Lois walks in the opposite
direction.
LOIS (CONT'D)
(under her breath)
One more minute on that spin machine
and I would have lost my lunch.
INT. METROPOLIS MUSEUM - ASTRONOMY EXHIBIT - NIGHT
This section of the museum is filled with various displays
which relate to outer space. Banners are hung which read
"The Space Around Us".
A tour is underway, filled with PEOPLE from all walks of
life. People who you would never expect to see in a tour
like this. A TOUR GUIDE is showing them a display featuring
a moon rock.
TOUR GUIDE
In 1969, man first set foot on the
moon. With one small step by Neil
Armstrong, our world would never be
the same. This rock is an actual
moon rock, gathered by the Apollo 16
mission in 1972. Over the course of
six Apollo missions, nearly 850 pounds
of lunar rocks were gathered...
In the back of the tour group, Metallo is standing with
Professor Vale. Metallo is dressed normally, while Vale is
wearing a long coat and looking even more nervous than usual.
METALLO
Is it true that the moon landing was
faked? Because I heard that it was
all set up on a sound stage in Area
51.
Metallo leans closer to one of the other tour members.
METALLO (CONT'D)
From what I hear, it's the same stage
they shot "Showgirls" on. Tell me
there's not an alien conspiracy in
there somewhere.
TOUR GUIDE
Rumors of all kinds have surrounded
the space program since its inception.
While these rumors may be fun to
humor now and then, none have been
supported by any legitimate evidence.
METALLO
Okay, sorry. My bad.
-----------------------------------------------------------------------------------------------------
134.
A teenage GOTH GIRL near the front of the tour speaks up
next.
GOTH GIRL
So, what's the deal with this Superman
guy? He's an alien, right?
TOUR GUIDE
According to an interview with the
Daily Planet, yes. At the museum,
we're all just as excited over this
news as all of you.
METALLO
Superman is horribly overrated.
Personally I think it's a ratings
stunt by the networks. What month is
sweeps again?
GOTH GIRL
Dude, the guy flies. If that's a
network stunt, I wanna know how you
explain that.
A nerdier TEENAGE BOY is standing next to the goth girl.
TEENAGE BOY
Not to mention the super strength
and laser eyes.
METALLO
Super strength. Pshh. Who doesn't
have super stength these days.
GOTH GIRL
Like you could fly busses around
like that?
METALLO
Fly? No. Carry? I think so. I mean,
I'd probably have to stretch first.
Warm up with a Volkswagon or
something.
GOTH GIRL
Whatever. You're cracked, man.
A well dressed BUSINESS MAN in the middle of the group nods.
BUSINESS MAN
I couldn't have said it better myself.
METALLO
You think I'm lying?
GOTH GIRL
I think you're full of it.
-----------------------------------------------------------------------------------------------------
135.
TOUR GUIDE
Ladies and gentlemen, we should move
on. Our next display is a meteor
rock--
The tour guide walks to the center of the room where a display
case holds a green crystal-like rock. Kryptonite, obviously.
Metallo walks to the front of the tour with a smile on his
face.
METALLO
Meteor rock that was found in the
Nevada desert. The rock has been
found to emit a type of radiation
which has fascinated scientists since
its discovery, almost twenty years
ago. While harmless to humans, the
radiation could prove to be a source
of clean energy, if only we could
recreate it.
TOUR GUIDE
(big grin)
You're not trying to steal my job
out from under me, are you?
METALLO
Your job? No.
(beat)
The meteor is protected by the latest
in fancy-ass security systems.
Impenetrable glass, very loud alarms,
and a lockdown system that's all set
to protect the piece, should anything
happen to penetrate the impenetrable
glass.
The tour guide has no idea how to react to this.
TOUR GUIDE
Umm... okay.
METALLO
(to goth girl)
You wanted to see my muscle?
Metallo turns and grabs the glass around the display. With
all of his strength, he manages to rip the glass off of the
display.
The crowd gasps as security bars lower around the display
and ALARMS sound. As the bars lower, the base that holds the
meteor rock opens and the rock is about to drop into the
bottom of the display case. Metallo reaches through the bars
and grabs it before it drops. This requires him to reach
slightly farther than most would be able to, and through
bars that are too narrow for most people to fit through.
-----------------------------------------------------------------------------------------------------
136.
The crowd moves back as Metallo looks back to them and shrugs.
METALLO (CONT'D)
I'm double-jointed.
With his free hand, Metallo grabs the bars and once again
uses all of the strength that he can muster to pull them
apart. He pulls his other hand free, along with the kryptonite
rock.
The crowd begins to run from the museum, leaving Professor
Vale alone with Metallo. Metallo looks at Vale, completely
drained.
METALLO (CONT'D)
Was it something I said?
Metallo drops to his knees.
METALLO (CONT'D)
Get over here.
Professor Vale hesitates.
METALLO (CONT'D)
Do you think you can walk away from
this if you don't help me? You're
already an accomplice.
Vale thinks this over, but finally decides to run anyway.
METALLO (CONT'D)
Oh, fine.
Metallo struggles to keep himself upright as he rips open
his shirt. He takes a moment and then rips the flesh off of
his chest. Once this is done, he pauses.
METALLO (CONT'D)
I really should have felt that.
He opens the compartment in his chest which holds his power
source. Of course there are lights of some kind on the power
source within his chest, which is connected by several wires
and tubes to the rest of the body. The lights are growing
dimmer. Metallo is growing weaker.
METALLO (CONT'D)
Okay, really fast now.
He presses on the power source, which slides open to reveal
the uranium capsule within. Metallo takes a deep breath and
then quickly removes the uranium capsule and replaces it
with the kryptonite rock. He closes the power source and
waits a moment. Nothing happens.
METALLO (CONT'D)
Dang.
-----------------------------------------------------------------------------------------------------
137.
Metallo falls over, seemingly dead.
EXT. METROPOLIS MUSEUM - NIGHT
POLICE are gathered around the museum, closing the museum
off to the growing CROWD. A few stragglers are still running
from the museum.
Superman flies over the crowd and lands near a police officer,
OFFICER DANIELS. OFFICER DANIELS flinches, but gathers himself
quickly.
SUPERMAN
What's happening?
Daniels looks Superman up and down.
OFFICER DANIELS
Behind the line.
SUPERMAN
I can help.
OFFICER DANIELS
We can handle it.
From behind Superman, the TOUR GUIDE yells.
TOUR GUIDE
Superman! The man in there... He's
not human.
Superman turns and looks at the tour guide.
SUPERMAN
What do you mean?
TOUR GUIDE
He was strong. The things he did...
Superman turns back to Officer Daniels.
SUPERMAN
I need to get in there. Now.
OFFICER DANIELS
We don't need your help. There's
already one alien freak running around
in there. We don't need another.
SUPERMAN
He's not like me.
OFFICER DANIELS
I don't care one way or the other.
This is a police matter.
(MORE)
-----------------------------------------------------------------------------------------------------
138.
OFFICER DANIELS (CONT'D)
Unless you have a badge, I'm going
to need you to get behind the line
with everyone else.
Another policeman, CAPTAIN JACKMAN approaches.
CAPTAIN JACKMAN
Something wrong here?
Officer Daniels turns to face his captain.
OFFICER DANIELS
No, sir. I was just telling the nice
man in the tights that we don't need
his help.
Officer Daniels turns to face Superman again, but Superman
is gone. Officer Daniels doesn't like this.
OFFICER DANIELS (CONT'D)
Son of a--
CAPTAIN JACKMAN
Forget about him, Daniels. If the
man wants to help, let him.
OFFICER DANIELS
But--
CAPTAIN JACKMAN
Would you rather send officers in
there that aren't bulletproof? Just
do your job. Control the crowd.
Captain Jackman walks away leaving an angry Officer Daniels
behind.
INT. METROPOLIS MUSEUM - ASTRONOMY EXHIBIT - NIGHT
Superman superspeeds into the museum and stops right in front
of Metallo, who is still face-down on the ground.
SUPERMAN
Corben?
Metallo doesn't move. Superman bends down for a closer look.
As he does, a wave of dizziness comes over him. He pushes
through it and taps Metallo on the back.
When Metallo doesn't move, Superman feels his neck for a
pulse. There is none.
As Superman pulls his hand back, he grabs it, feeling an odd
sensation in it. He stands up and takes a few steps closer
to the nearest wall so that he can lean against it. He tries
to pull himself together.
-----------------------------------------------------------------------------------------------------
139.
Behind Superman, Metallo rises from the floor. His chest is
still open and the power source is now glowing bright green.
As he rises, Metallo looks down at his hands and his chest.
Something is different about him now. He feels something. He
looks up at Superman.
Superman keeps his back to Metallo as Metallo quietly steps
toward him. Metallo gets closer and closer to Superman, but
Superman does nothing. He is growing more pale by the moment.
Metallo grins as he balls his fist. Finally, Metallo swings
with all of his strength at Superman.
Before Metallo's fist can reach Superman, Metallo suddenly
finds himself face to face with Superman. Superman catches
Metallo's fist.
Metallo's grin drops.
METALLO
Damn.
Superman pushes Metallo to the ground and Metallo slides
across the floor. Still weak, Superman is pushing himself to
fight.
As Metallo stands again, Superman looks at the large opening
in Metallo's chest. He is very puzzled by this.
Metallo looks down.
METALLO (CONT'D)
Oh my! This is strange.
(then)
I could have sworn I had internal
organs when I left the house this
morning.
Metallo closes his chest compartment as he walks toward
Superman again.
METALLO (CONT'D)
You're not looking well. Should I
call someone?
SUPERMAN
You're not John Corben.
METALLO
Umm... Yes and no.
SUPERMAN
What are you doing to me?
METALLO
I don't know what's happening to
you, Superman, but I know an
opportunity when I see one.
-----------------------------------------------------------------------------------------------------
140.
Metallo rushes toward Superman and swings at him. Superman
flies across the room, smashing into one of the display cases.
He drops to the ground.
As Superman struggles to get up again, Metallo goes to him
and kicks him in the chest. Superman drops to the ground
again, gasping for air.
Metallo steps back and leans against another display case as
Superman continues to struggle.
METALLO (CONT'D)
I have to tell you, I enjoy our
quality time together. It makes me
feel all warm inside.
On the ground, Superman continues to gather himself. He
doesn't looks quite as pale anymore. His strength is slowly
returning.
Superman manages to get to his feet, still a little uneasy.
SUPERMAN
Corben?
METALLO
Hmm?
SUPERMAN
You talk to much.
Superman flies toward Metallo at superspeed. Both of them
shoot right through the doorway of the room, breaking off a
chunk of it.
INT. METROPOLIS MUSEUM - LOBBY - CONTINUOUS
Superman and Metallo crash through several display cases and
the front desk before landing on the ground. Superman is on
top of Metallo now, holding Metallo down with one hand on
his chest.
As Superman prepares to punch Metallo with his free hand, he
notices the hand on Metallo's chest growing pale. He weakens
slightly, allowing Metallo to push Superman off of him.
Superman is thrown across the room, slamming into the wall.
His hand regains its color. His strength returns to him.
Both of them get to their feet. They look at each other from
opposite sides of the room, waiting for the other to make
his move.
Finally, Metallo charges at Superman. As he gets close to
Superman, he attempts to dive on top of Superman. Instead,
Superman grabs him and spins him around, slamming him into
the wall.
-----------------------------------------------------------------------------------------------------
141.
Superman's hands go pale. As Superman weakens slightly,
Metallo grabs onto Superman's arm and swings Superman around,
throwing him through the glass doors which lead outside.
EXT. METROPOLIS MUSEUM - CONTINUOUS
Superman flies through the glass doors and is just about to
crash to the ground when he catches himself mid-air. He
manages to pull himself up and land on his feet.
By now, the PRESS has gathered outside of the museum.
Television cameras are capturing the situation from various
angles, and Lois is at the front of the crowd, watching.
As Metallo slowly walks through the broken doors, the crowd
gasps. The police begin to shuffle, attempting to move
everyone farther back.
Somehow, Lois manages to slip behind a police car where she
can't be seen by the police. She avoids being pushed back
and continues to watch the fight.
Superman superspeeds toward Metallo, grabs Metallo's arm and
throws Metallo to the ground. He pins him there. Of course,
holding onto Metallo for a few moments makes Superman weak.
Metallo turns himself over, throwing Superman to the ground.
Metallo gets to his feet and looks behind Superman where a
metal sculpture is standing. As Superman struggles to get
up, Metallo goes to the statue and pulls it from its base.
Metallo uses all of his strength to throw the sculpture down,
onto Superman.
Superman catches the sculpture with one hand and gently sets
it down on the ground. He looks to Metallo. By now, Superman
is sweating. The exposure to kryptonite is catching up to
him.
Metallo looks past Superman, toward the police car that Lois
is hiding behind. He sees Lois. He then charges toward
Superman.
INT. KENT HOUSE - LIVING ROOM - NIGHT
Martha and Lana are in front of the TV, watching live coverage
of Superman's battle with Metallo. With each punch that is
exchanged, both women hold their breath.
As a close-up of Superman fills the screen, Martha frowns.
MARTHA
Something's wrong.
INT. SPORTS BAR - NIGHT
The bar is packed with DRUNKEN SPORTS FANS, all watching the
battle on various TV screens.
-----------------------------------------------------------------------------------------------------
142.
Sitting at the bar, Pete is watching the fight.
SPORTS FAN 1
Superman will kick that guy's ass.
SPORTS FAN 2
No way. Check out the way Supes is
huffing. The dude with the metal
shirt isn't even sweating.
FEMALE SPORTS FAN
I don't think that's a shirt.
SPORTS FAN 2
Whatever. The guy is gonna kick
Superman's ass.
Pete hears this, but doesn't take his eyes off of the screen.
He's worried.
SPORTS FAN 1
Wanna bet?
SPORTS FAN 2
Twenty bucks says the other guy wins.
SPORTS FAN 1
I'll put fifty on Superman.
FEMALE SPORTS FAN
Count me in. Superman all the way.
Soon, the room is rumbling with various bets being placed on
the fight.
Sports Fan 1 grabs Pete's shoulder.
SPORTS FAN 1
Hey, pal. You want in on this?
Pete doesn't respond.
EXT. METROPOLIS MUSEUM - NIGHT
Superman catches a wooden bench that Metallo has thrown at
him.
Metallo charges at Superman and dives toward him. Superman
moves out of the way, causing Metallo to land on the ground.
Superman uses the bench to hold Metallo down.
Metallo grabs the bench with one hand and breaks it in half.
He uses his legs to push Superman back and quickly gets back
to his feet.
-----------------------------------------------------------------------------------------------------
143.
METALLO
All of this up and down is making me
dizzy. What do you say we make this
more interesting?
Metallo charges Superman one more time. Superman effortlessly
spins Metallo around and throws him back down to the ground,
not far from the police car and Lois.
Metallo stands up and dusts himself off.
METALLO (CONT'D)
I totally gave you that one.
Metallo then turns and grabs the police car. He pushes it
out of the way, revealing Lois. She straightens up as her
cover is lost. She's not sure what to do with herself.
The police car rolls toward the crowd. Superman superspeeds
behind it and stops it just before it reaches them.
Metallo turns toward Lois. She starts to back away.
LOIS
What the hell are you?
Metallo thinks about his answer. He looks down at his metal
chest and then back to Lois.
METALLO
I am but the sum of my parts. When
you write about this, you can call
me Metallo.
Superman superspeeds in between Metallo and Lois, looking
Metallo in the eyes.
SUPERMAN
Lois, get out of here.
Lois is still processing that name. Something about it is
very familiar. She finally runs toward the rest of the crowd
as Superman and Metallo resume their fight.
When Lois reaches the crowd, she stops to think about the
name. She repeats it silently to herself a few times before
she finally remembers where she's seen it before.
She turns around and starts to push her way to the back of
the crowd, pulling out her cell phone and dialing. She puts
the phone to her ear.
Before anyone answers on the other end, Lois spots Professor
Vale in the back of the crowd. When he sees her, he turns
and starts to walk away. Lois rushes to catch up to him.
Lois runs in front of Vale, cutting him off.
-----------------------------------------------------------------------------------------------------
144.
LOIS
You look familiar.
PROFESSOR VALE
I don't believe we've me--met.
LOIS
Luthor's Med Center. You're the guy
who bumped into me. The guy with the
file mentioning Metallo. What a
coincidence.
PROFESSOR VALE
I do--I don't know what you're talking
about. Really, I have to be going.
LOIS
You're not going anywhere. You're
talking to me and then the police.
(beat)
Is Luthor in on this?
PROFESSOR VALE
Miss Lane, I am not a stupid man. I
won't be saying anything about any
of this.
ANGLE ON : CAPTAIN JACKMAN
Watching the fight with several other officers, Jackman
doesn't like how this is going. He leans closer to one of
his men.
CAPTAIN JACKMAN
We have to help him. Get the crowd
out of here and get ready to bring
him down.
The officers start to push the crowd back even farther, but
the crowd begins to object.
GOTH GIRL
We're not leaving him!
OFFICER DANIELS
Get back.
GOTH GIRL
Screw you, ham hock.
Several members of the crowd fight the police, not wanting
to leave Superman. Others in the crowd grab them and pull
them back, knowing that the police have their job to do.
ANGLE ON : SUPERMAN AND METALLO
Metallo is holding Superman against a wall with one hand
while repeatedly punching him with the other.
-----------------------------------------------------------------------------------------------------
145.
Superman finally catches Metallo's fist and stops the beating.
He looks Metallo in the eyes, still weak from kryptonite
exposure.
SUPERMAN
You won't win this.
METALLO
Seems to me that I already am.
Superman pushes Metallo's fist back with all of his strength.
Even weakened, Superman is strong enough to battle Metallo.
Metallo struggles to push back. As they struggle, Metallo's
eyes drift past Superman to one of the museum windows. In
the reflection of the window, he spots Lois talking to
Professor Vale. This upsets him.
A surge of strength helps Metallo push his fist back, smashing
Superman's hand into the wall. He throws Superman to the
ground and pounds him in the face several times.
METALLO (CONT'D)
I suggest you stay down, Superman.
Metallo stands up and starts to walk away.
METALLO (CONT'D)
But since we both know you won't...
Metallo grabs the police car that he pushed earlier. He
somehow manages to pull together enough strength to lift the
car off of the ground. He throws it through the air, toward
the crowd.
ANGLE ON : THE CROWD
They scream and try to push at each other as the car flies
toward them. As the car is about to land on top of several
crowd members, it stops mid-air.
Superman has caught the car and is holding it over the crowd.
SUPERMAN
Run!
The crowd hesitates a moment and then begins to move again.
As soon as the area is clear, Superman drops the car onto
the ground, and then falls on top of it. He lays there,
catching his breath as the police rush toward him.
ANGLE ON : LOIS AND PROFESSOR VALE
PROFESSOR VALE
It wasn't supposed to be like this.
LOIS
What was it supposed to be like?
-----------------------------------------------------------------------------------------------------
146.
METALLO (O.S.)
For starters, we were supposed to
hit the gift shop on the way out.
Lois turns and sees Metallo standing behind her. She gasps.
METALLO (CONT'D)
I really wanted a stuffed dinosaur.
Metallo grabs Lois' arm and throws her to the ground. He
then turns his attention to Vale.
METALLO (CONT'D)
What did I tell you about speaking
to the press? We're supposed to be
holding out for Oprah.
Metallo grabs Vale's arm and pulls him away from the scene.
ANGLE ON : SUPERMAN
Still on top of the car, recovering. When Captain Jackman
gets to his side, he pulls himself on top of the car.
CAPTAIN JACKMAN
Are you okay?
Superman attempts to pull himself up, but he can't.
SUPERMAN
Where is he?
CAPTAIN JACKMAN
He ran. We couldn't get a clear shot.
(beat)
He took someone.
SUPERMAN
Who?
Lois approaches, rubbing her arm.
LOIS
His partner.
Superman sits up just as Lois gets close.
LOIS (CONT'D)
Something tells me that "Metallo"
didn't want the other guy talking.
Damn near broke my arm during the
getaway.
SUPERMAN
Do you know who he was?
LOIS
He wasn't talking. He was too scared.
-----------------------------------------------------------------------------------------------------
147.
CAPTAIN JACKMAN
I'd be scared too if that thing wasn't
happy with me.
Lois doesn't say another word to Jackman. She turns her
attention to helping Superman.
LOIS
Are you okay?
SUPERMAN
Getting better.
Lois takes Superman's arm and helps him off of the car.
EXT. METROPOLIS MUSEUM - NIGHT
Superman and Lois are talking to another police officer. As
they wrap up the conversation, they walk away from the crowd.
Superman is looking much better now.
LOIS
You okay to fly or should I call you
a cab?
SUPERMAN
I'm good.
LOIS
I didn't want to say anything in
front of the press, but you kinda
got your ass kicked.
Superman doesn't respond.
LOIS (CONT'D)
What happened?
SUPERMAN
I don't know.
LOIS
Seems to be a popular answer with
you.
Superman finds this fact to be irritating. To Lois it's a
light-hearted comment, but to Superman it's a fact of his
life.
SUPERMAN
Yeah.
LOIS
You'll take him next time. You'll be
ready for him.
SUPERMAN
Will I?
-----------------------------------------------------------------------------------------------------
148.
LOIS
You should be.
(beat)
The trick to these things is to
educate yourself. Knowledge is power.
Corben's been turned into some kind
of metal robot thing. That means
that he is manmade and that means
that he's got a weakness. You just
have to figure out what that weakness
is.
SUPERMAN
Any idea where to start with that?
LOIS
I've got my leads. I'll let you know
if I find anything.
(beat)
Do you have a cell phone by any
chance?
SUPERMAN
I don't want you putting yourself in
any danger, Lois.
LOIS
Me? Danger? If you knew me, you'd
know that I rarely put myself in any
kind of danger. I like to play it
safe.
SUPERMAN
Be careful. If you need me, just
yell. I'll hear you.
Lois nods.
LOIS
My hero.
SUPERMAN
I should go. Do you need a lift
anywhere?
LOIS
I'll walk. Thanks.
SUPERMAN
You sure? It's getting pretty cool
out here.
LOIS
I like a cold night.
Superman nods and smiles his goodbye. He then flies off.
Lois watches him go.
-----------------------------------------------------------------------------------------------------
149.
LOIS (CONT'D)
Up, up and away.
She smiles to herself and starts to walk.
INT. LUTHOR MEDICAL RESEARCH CENTER - VALE'S LAB - NIGHT
Metallo opens the door and throws Professor Vale inside. He
follows, allowing the door to close behind him.
The two of them look around the room, puzzled. The lab has
been stripped. It is now completely empty.
PROFESSOR VALE
What's going on?
METALLO
He's covering his tracks.
PROFESSOR VALE
But... I can't help you without proper
equipment.
METALLO
You're not getting out of it that
easily. We just need to think.
Metallo walks to one of the empty desks and runs his hand
along it. He then looks at his hand.
METALLO (CONT'D)
It's gone.
PROFESSOR VALE
Yes. I've noticed.
METALLO
Don't get cute, Professor. It doesn't
suit you.
(beat)
I was talking about the feeling.
Earlier, when I put the meteor into
the power source I felt something. I
felt alive for the first time since
I died.
PROFESSOR VALE
The source of your power is very
different than the one you had before.
Your body was probably just reacting
to the new energy.
METALLO
Whatever it was, I liked it. This
rock is making me stronger than I
ever was before. Every moment that
passes, I grow stronger.
-----------------------------------------------------------------------------------------------------
150.
Metallo reaches down and lifts the desk, but it requires a
lot more effort than he expected. He sets it down and looks
to Vale. Vale is just as puzzled as he is.
PROFESSOR VALE
I don't understand.
METALLO
Then figure it out. I want answers.
PROFESSOR VALE
I don't have my lab. My equipment.
METALLO
The center just opened. You must
have worked someplace before.
PROFESSOR VALE
The university.
METALLO
Then grab your bong, Doc. We're going
to college.
EXT. KENT HOUSE - FRONT PORCH/LAWN - NIGHT
Martha walks out of the house, carrying her phone. She sets
the phone down on the railing and looks at it for a moment,
wishing that it would ring. When it doesn't she looks out
across the land and the stars above. She's worried about
Clark.
From the direction of the barn, there is a BANG. Martha turns
toward the sound and waits a moment to see if she hears it
again. When she doesn't, she grabs her phone and walks toward
the barn.
INT. KENT BARN - NIGHT
Martha walks into the barn, holding the phone tight and
preparing to dial it if she needs to. She carefully walks
through the barn, looking for the source of the noise.
She looks toward the door in the floor, but sees no sign of
disturbance. That relieves her slightly.
She continues to make her way through the barn, searching.
She eventually ends up in a dark corner of the barn where
many boxes are stored. There is also a tarp-covered car.
When she doesn't see anything right away, she turns to walk
out of the barn. Before she leaves the barn, she stops
herself. She turns back to the car and walks toward it.
As she gets closer, she notices the dust on the ground near
the tarp has been disturbed on one side.
-----------------------------------------------------------------------------------------------------
151.
She approaches the car carefully, and lifts the tarp. She
looks inside the car.
ANGLE ON : THE CAR
Through the window of this powder blue 1969 Dodge Charger,
Martha sees Clark in the back seat, sleeping. He's not in
costume at this point. Just jeans and a t-shirt.
Martha breaths a sigh of relief and covers the car again.
She is still worried about Clark, but finds comfort in the
fact that he is home. She turns and walks out of the barn.
EXT. KENT BARN - DAWN
Night has passed and the sun is rising.
INT. KENT BARN - DAWN
Clark lifts the tarp and climbs out of the car. He looks
toward the barn door, not wanting to go back outside.
As he looks away from the door again, he sees a steaming cup
of coffee on a nearby box, along with a note. He walks to
the cup and takes a sip as he reads the note, which says
"Breakfast is served in the kitchen, not the barn."
Clark smiles and walks toward the barn door.
INT. KENT HOUSE - KITCHEN - DAWN
Clark opens the back door and enters the kitchen where he
finds Martha carefully removing some freshly baked sticky
buns from their pan, trying not to get burned by the hot
topping.
MARTHA
I don't know how many times I've had
to tell your father that same thing.
Whether it was a sick cow or a broken
tractor, he always seemed to be in
the barn. Sometimes I didn't know if
he'd gotten out there very early, or
if he'd been out there very late.
Martha carries the platter of buns to the table and sits
down. Clark sits with her as she places a bun onto a plate
for him.
CLARK
How did you know I was here?
MARTHA
A mother knows these things.
(beat)
And I heard that old car door
slamming.
-----------------------------------------------------------------------------------------------------
152.
CLARK
I just didn't want to come in.
MARTHA
I know.
Clark starts to pick at his sticky bun. Martha blows on hers
to cool it off before she eats it. Neither of them says a
word for a few moments. Finally, Clark speaks again.
CLARK
I've never been... I've never felt...
MARTHA
You got your ass kicked.
Martha smiles warmly. This makes Clark smile.
MARTHA (CONT'D)
You've never been vulnerable. Even
as a baby, you were never sick. Never
scraped your knee.
While this is all true, it's not everything on Clark's mind.
CLARK
But when I was fighting him, I felt
weak. I felt sick.
MARTHA
It was bound to happen sooner or
later.
CLARK
So what do I do about it?
MARTHA
Same thing we all do. Do you think
Pete isn't worried about what might
happen to him?
CLARK
So I just suck it up?
MARTHA
I don't see you as the type to run
away.
Clark looks down.
CLARK
What happens if I get sick again?
MARTHA
What was it that made you sick?
Clark thinks about the answer.
-----------------------------------------------------------------------------------------------------
153.
CLARK
I guess I felt it just as I got close
to him the first time.
(beat)
After that, I was fine until he
actually touched me.
MARTHA
What changed?
Clark thinks back, searching for the answer.
CLARK
The meteor he stole from the museum.
After he closed his chest I only
felt sick when he was directly
touching me. I didn't feel anything
earlier in the day, so it must be
the meteor.
MARTHA
Meteors are from outer space.
Clark doesn't say anything.
MARTHA (CONT'D)
Well, they are.
CLARK
So I won't let him get too close if
I can help it. I won't let him touch
me.
MARTHA
Sounds like a plan. Only this time,
don't hold back quite so much. Even
when you were sick, I saw the look
in your eyes on that screen last
night. Your whole life, you've been
holding back. Now you're going to
have to learn when not to.
Martha finally hits on that last nugget of concern in Clark's
mind. He doesn't respond to it.
Clark finishes his breakfast and looks at his watch.
CLARK
I should go.
As Clark walks toward the door, Martha follows.
MARTHA
Y'know, I wasn't sure about this
whole double identity thing at first.
I always worried that the world would
react badly to you.
(MORE)
-----------------------------------------------------------------------------------------------------
154.
MARTHA (CONT'D)
(beat)
I was wrong. The world needs you,
Superman.
Clark hugs his mother.
CLARK
Just so you know, I didn't pick the
name.
INT. METROPOLIS UNIVERSITY - ROBOTICS LAB - DAY
Metallo is sitting on a table with various wires attached to
him. Professor Vale is working at a nearby computer.
METALLO
Are we expecting results sometime
soon, or should I send out for pizza?
(beat)
Can I eat pizza? Do I have a stomach?
PROFESSOR VALE
No.
(beat)
The computer needs to be calibrated
to your specs. I'm almost there.
METALLO
Let me know when to cough.
The lab door opens and a student, KAYLEE FORD walks into the
room. She's a pretty young lady, in a kinda nerdy way. It
works for her.
Metallo stands up as Kaylee sees him. She doesn't see
Professor Vale right away.
KAYLEE
Umm... Hi.
METALLO
Hello.
Metallo walks toward her slowly. She's not very comfortable
with this.
KAYLEE
I don't think you're supposed to be
here.
METALLO
An ancient philosopher once said
that we are all where we are supposed
to be. Therefore, if I am here, I am
supposed to be here.
-----------------------------------------------------------------------------------------------------
155.
KAYLEE
Yeah, well that ancient guy wasn't
head of campus security.
METALLO
He can be if you want. I made the
line up anyway.
KAYLEE
I'm calling security.
Kaylee turns to grab a phone and sees Professor Vale. He's
distracted by his computer work, so he doesn't look up at
her.
KAYLEE (CONT'D)
Professor Vale?
Only upon hearing his name does Vale look up. When he does,
he's not happy to see Kaylee. More out of concern for her
than anything else.
PROFESSOR VALE
Miss Ford. You shouldn't be in here
right now.
KAYLEE
Neither should you.
(beat)
I mean, I thought you were on
sabbatical or something.
PROFESSOR VALE
I'm not officially back. I just really
need to finish some work and then
I'll be leaving again.
KAYLEE
Okay. I guess.
PROFESSOR VALE
It was good seeing you. If I could
just have some time to finish this,
I'd appreciate it.
KAYLEE
Yeah, I'll go grab a muffin or
something.
METALLO
(to Vale)
Oh, now let's not be rude, Professor.
(to Kaylee)
You can stay a little while. We can
chat.
Kaylee looks back to Metallo and just now notices the wires
attached to him. She is confused by this.
-----------------------------------------------------------------------------------------------------
156.
KAYLEE
What?
She looks Metallo in the face again and suddenly realizes
that she's seen him before. She grows nervous.
KAYLEE (CONT'D)
I've seen you before. You're the guy
on the news.
METALLO
Do I smell a fan? Okay, I'll sign
one autograph and take one picture.
That's it. Maybe an interview for a
podcast if you have one. And don't
try spraying me with that old "squirt-
gun inside the microphone" trick.
KAYLEE
I'm not a fan, and now I'm pretty
sure you shouldn't be here.
(to Vale)
Professor?
PROFESSOR VALE
I... I--
Professor Vale can't think of anything to say.
METALLO
What he's trying to say is that we'd
really appreciate it if you didn't
tell anyone we're here.
KAYLEE
I'm not helping you. I saw you on
TV. You're psycho.
METALLO
Oh, now that's just glib. That's
really glib.
Metallo grabs Kaylee's arm tightly and pulls her close.
METALLO (CONT'D)
C'mon. Won't you be my Katie?
PROFESSOR VALE
Stop. Please!
Metallo spins Kaylee around and pulls her close to him. He
smells her hair.
KAYLEE
Freak.
-----------------------------------------------------------------------------------------------------
157.
METALLO
I can't actually smell you, but I
imagine it'd be like a mix of lilac
and Reese's pieces.
Metallo pushes Kaylee down, into a chair. She starts to stand
up, but he raises a finger to her.
METALLO (CONT'D)
Ah-ah. I'd stay seated if I were
you. You saw what I did to the
Superwuss.
Kaylee stays seated. She turns her eyes back toward the
Professor. He looks away from her as guilt comes over him.
PROFESSOR VALE
I'm sorry.
METALLO
(to Vale)
Get back to work. We need to hurry.
As Professor Vale goes back to work, his eyes drift back to
Metallo, who is walking toward Kaylee.
INT. LUTHOR MEDICAL RESEARCH CENTER - LOBBY - DAY
Lois is sitting on a couch in the lobby, looking at the front
door. She clears her throat, checks her watch and then
continues to wait in silence.
A moment later, the door opens and Lex walks into the
building. Lois walks toward him. Lex smiles at her as she
gets closer to him.
LEX
Staking out my workplace hardly seems
high-class, Miss Lane. If you'd like
to schedule an interview, you could
always contact my office.
LOIS
Maybe next time.
LEX
Until then.
Lex is about to walk away when Lois steps in front of him.
LEX (CONT'D)
Miss Lane, I'm incredibly busy.
LOIS
This won't take very long.
-----------------------------------------------------------------------------------------------------
158.
LEX
Then if you'd walk with me to my
office--
LOIS
I'd rather not. The lobby seems like
a good place to talk. It's
comfortable.
LEX
May I ask what this is about?
LOIS
Does the word "metallo" ring any
bells?
Lex thinks for a moment and then shakes his head.
LEX
Should it?
LOIS
Don't lie to me. I saw one of your
employees with paperwork on something
called "metallo" when I interviewed
you. Saw the same guy at the museum
last night when John Corben attacked
the place. John Corben, aka "Metallo".
John Corben whose body vanished from
your ER.
LEX
I'm afraid I don't know what you're
talking about. Did this employee of
mine happen to mention his name, or
which department he worked in?
LOIS
How much information I got from this
man is something you'll just have to
wait and find out about.
LEX
That sounded rather hostile. I think
this discussion is over.
LOIS
What do you know about this thing,
Lex?
LEX
I know nothing. I'll be happy to
look into the word and get back to
you though. Anything I can do to
help a friend.
LOIS
Whatever this is, it will be stopped.
-----------------------------------------------------------------------------------------------------
159.
LEX
(smiles)
I certainly hope so.
Lois is growing annoyed. She turns and walks out of the
building. Lex watches her leave. Once she's gone, his smile
drops.
INT. METROPOLIS UNIVERSITY - ROBOTICS LAB - DAY
Kaylee is tied up and gagged now. She is watching with
interest as Professor Vale analyzes Metallo. Vale reads off
his findings from the computer screen.
PROFESSOR VALE
This is astonishing.
METALLO
What?
PROFESSOR VALE
This meteor's radiation is reacting
with the metallo in amazing ways.
Every other source of power that
I've attempted to use has hemorrhaged
power at high levels. That's why it
didn't last. The radiation from the
meteor is different though. The
metallo is absorbing it. It's being
held within your body.
METALLO
What does this mean?
PROFESSOR VALE
It means that you won't have to worry
about running out of fuel. Even
without the meteor, you'd be able to
survive for days under normal
circumstances.
METALLO
Is that why it made me stronger?
PROFESSOR VALE
No. I mean, I don't know. Maybe.
Yes.
METALLO
Thank you for clearing that up.
PROFESSOR VALE
There are reactions that I wasn't
expecting. It would take me much
longer to figure it all out.
-----------------------------------------------------------------------------------------------------
160.
METALLO
We don't have much longer. I want to
know why I felt the way I did. It
was like... Superman. When he got
near me, it's like this meteor reacted
to it. I felt a surge inside of me.
(beat)
There's just no way to explain this
without it sounding very gay.
(to Kaylee)
I'm not gay, really. I'll call you
sometime. We'll hang.
PROFESSOR VALE
Well, I've given you all of the
answers that I can. I simply don't
know anything else.
METALLO
I thank you, Professor. Without you,
I wouldn't be the man I am today. I
just don't think I'll be needing you
anymore.
Professor Vale is a little troubled by that last part. Metallo
starts to pull the wires off of himself.
PROFESSOR VALE
What do you mean?
METALLO
I mean, at this point you're really
more of a liability. If anyone can
stop me, it'll be you, right?
Metallo walks toward Professor Vale.
PROFESSOR VALE
I won't. I promise.
METALLO
Shh... It's okay. It'll only hurt
for a little while. I promise.
PROFESSOR VALE
John, you can't do this. It's the
metallo. It's too much stress on
your brain. It's driving you crazy.
METALLO
Really? Because I feel fine.
(beat)
Okay, technically I don't feel
anything right now. But if I did,
I'd feel fine.
PROFESSOR VALE
John, please.
-----------------------------------------------------------------------------------------------------
161.
Metallo grabs Professor Vale by the shirt and pulls him close.
METALLO
John Corben's dead. You of all people
should know that.
PROFESSOR VALE
Metallo... Please.
METALLO
Sorry.
ANGLE ON : KAYLEE
As she sees some horrible scene and looks away from it. A
moment later, Metallo walks to her and bends down to be face-
to-face with her.
METALLO (CONT'D)
Sorry about the mess. You have a
janitor, right?
Kaylee keeps her eyes closed. Metallo leans in closer to
her.
METALLO (CONT'D)
Tell Superman to catch me if he can.
Tell him that I'm on my way to see a
mutual friend of ours.
He strokes her hair one last time (not feeling it, of course).
Finally, he gets up and leaves. Kaylee keeps her eyes closed
as she begins to struggle with her bindings. After some time,
she manages to pull a hand free.
EXT. METROPOLIS UNIVERSITY - ROBOTICS LAB - DAY
Kaylee runs out of the building, still shaking from what
just happened. She soon finds it impossible to keep running
and falls onto the grass.
She closes her eyes and turns her head toward the sky, letting
out the loudest scream that she can muster before breaking
into tears.
STUDENTS around the lawn look in her direction and several
start to walk toward her. Before they can reach her, however,
Superman flies over the campus and lands near her. He puts a
hand on her shoulder.
SUPERMAN
Are you okay?
Kaylee stays on the ground and shakes her head.
SUPERMAN (CONT'D)
What happened?
-----------------------------------------------------------------------------------------------------
162.
KAYLEE
They were here. They tied me up and...
Oh, God. He killed Professor Vale.
SUPERMAN
I don't understand.
Kaylee looks at Superman for the first time.
KAYLEE
The guy you were fighting with last
night. He came in with Professor
Vale. He was some sort of machine.
After Professor Vale ran tests on
him... Metallo. That's what he called
himself. He killed Professor Vale.
SUPERMAN
Are you hurt?
Kaylee shakes her head. She's physically fine.
KAYLEE
The Professor said that whatever
this Metallo thing is, it's going
crazy.
(beat)
And it's looking for you, Superman.
SUPERMAN
Where did he go?
KAYLEE
He said to tell you to that he was
on his way to see a mutual friend of
yours.
Superman knows exactly what this means, but he doesn't want
to leave Kaylee. Kaylee looks at him firmly now.
KAYLEE (CONT'D)
Go.
Superman hesitates for a moment, and then takes off. Kaylee
watches him disappear into the sky.
EXT. METROPOLIS UNIVERSITY - CAMPUS LAWN - DAY
Metallo is running across the lawn with pretty impressive
speed and ease. As he runs he is filled with happy
determination, like a kid running toward a toy store.
Superman blurs into Metallo's sight as he cuts off Metallo's
path. Metallo stops short.
-----------------------------------------------------------------------------------------------------
163.
METALLO
You couldn't even let me get off of
the campus?
(then, to himself)
I need to learn how to tie a better
knot.
SUPERMAN
It ends here.
METALLO
Are you sure? Because I thought we
were supposed to have a massive
showdown on the top of the Daily
Planet, with Lois Lane dangling from
that spinning globe thing, screaming
for her life every time her orbit
brought her back around to us. It
was going to be a special effects
bonanza that they'd have to spend
months creating in a computer.
SUPERMAN
Are you done rambling yet?
METALLO
Let me check.
(beat)
Yes. Yes, I am.
Metallo charges toward Superman, screaming with rage. He
dives through the air to tackle Superman, but Superman speeds
out of the way, leaving Metallo to crash onto the ground.
Superman stops behind Metallo and grabs Metallo's leg. He
swings Metallo around and throws him across the lawn. Superman
can feel a weakness in his hands after this, but he quickly
gets over it.
Metallo crashes much harder this time, getting a mouthful of
grass as he does. He quickly gets up and turns back to
Superman. Metallo isn't happy.
METALLO (CONT'D)
Ouch!
Metallo closes his hands into tightly clenched fists and
charges toward Superman.
Superman does the same, but loosens his fists slightly at
the last moment.
As they reach each other, Metallo swings at Superman. As he
punches Superman in the face, Superman can feel the pain of
the hit. He doesn't allow it to slow him down too much as he
strikes back with a punch of his own. Superman's punch sends
Metallo to the ground, but not as far as either one of them
had expected.
-----------------------------------------------------------------------------------------------------
164.
As Metallo stands up, he can feel a surge of strength in his
body. He smiles at this.
Superman notices the smile and knows what is happening. He
looks around the campus lawn, studying his options.
Metallo attacks Superman again, but Superman speeds out of
the way.
As Superman stops behind Metallo, Superman uses his heat
vision on the back of Metallo's leg, causing Metallo to
stumble and fall over.
Superman flies to a nearby bench and picks it up. He moves
over to where Metallo is and throws the bench as hard as he
can.
Metallo sees the bench coming and swings at it. The bench is
sent flying toward a nearby GROUP OF STUDENTS who have stopped
to watch the fight.
Superman catches the bench before it hits the students and
then flies through the air with great speed, toward Metallo.
With the bench between them, Superman rams into Metallo.
Both of them travel several hundred feet, landing on the
grass near a parking lot which marks the outer edge of the
campus, beyond which the city of Metropolis lies.
Superman lands on his feet. Metallo and the bench land harder
on the ground.
As Metallo struggles to get up, Superman moves to a nearby
tree and rips off a rather large branch. He swings it like
a baseball bat toward Metallo.
Metallo manages to catch the branch before Superman can hurt
him with it. He pulls as hard as he can, ripping the branch
from Superman's grip. Metallo lifts the branch over his head,
about to swing downward at Superman.
Superman uses his heat vision on the branch near where Metallo
is holding it. The branch bursts into flames and snaps. It
falls on top of Metallo.
Metallo pushes the burning branch away, getting a little
more upset now.
He turns toward the parking lot and walks toward the many
cars.
Superman isn't sure what Metallo is going to do next, but
flying cars are probably a bad idea, so he speeds toward
Metallo, cutting him off.
Superman punches Metallo, sending Metallo stumbling back,
but not falling to the ground.
-----------------------------------------------------------------------------------------------------
165.
Metallo angrily bends over and grabs a smaller car. He lifts
the car over his head and slams it downward, onto Superman.
Superman falls to the ground, with the car on top of him.
Superman grows angry as he lifts the car off of himself. He
holds onto the car tightly, swinging it at Metallo. As he
hits Metallo, Metallo is sandwiched in between this car and
an SUV that he had been standing near.
Superman continues to swing, hitting Metallo with the car
several times before dropping it on top of Metallo and taking
a few steps back. His anger has never been released like
this before and he's not quite sure what to make of it.
Metallo pushes the car off of himself and stands up. He has
taken quite a beating, and half of the flesh has been torn
from his face, revealing the metallic creature beneath, along
with the black robotic eye.
Superman takes in the sight of Metallo as Metallo allows the
metallic side of his mouth to form a grin.
METALLO (CONT'D)
Was that the best you can do?
Superman's eyes fill with fear and he looks away from Metallo.
When he answers, it's more to himself than to Metallo.
SUPERMAN
No.
Superman looks back to Metallo with an intensity that he has
never shown before. As heat vision shoots from Superman's
eyes and strikes Metallo, Metallo is thrown back by the blast.
Metallo crawls behind the wreckage of the car that had been
used against him earlier, trying to avoid another blast.
When he recovers, he grabs onto the car and lifts it as he
stands, preparing to throw it at Superman.
Superman flies through the air with amazing speed, slamming
into Metallo, punching Metallo in the chest when he finally
reaches him. Metallo flies through the air, higher and farther
than ever before, toward the city.
The car drops, but Superman is gone before it can hit him.
EXT. METROPOLIS STREET - CONTINUOUS
Metallo clears the campus property just as Superman flies up
behind him and punches Metallo mid-air.
Metallo is sent toward the street below, fast.
As the PEOPLE on the street scream and scurry, Metallo crashes
into the street, taking out a good chunk of pavement as he
does.
-----------------------------------------------------------------------------------------------------
166.
Superman lands nearby and watches Metallo for a moment.
Metallo doesn't get up right away, so Superman is waiting to
see how much damage has been done.
After a few seconds, Metallo begins to move. He begins to
pull himself up.
METALLO
Well...
Metallo stands and looks Superman in the eyes.
METALLO (CONT'D)
Gotta say that sucked.
SUPERMAN
Had enough?
METALLO
I'll let you know when I've had
enough.
Metallo walks to a nearby car and bends down to pick it up.
He finds it more difficult than normal for some reason.
He looks to the rear of the car and sees Superman holding it
down with one hand.
SUPERMAN
Enough of the car thing.
Metallo lets go of the car and pauses for a moment, pretending
to have no further plan. He then dives on top of Superman.
Superman falls to the ground with Metallo on top of him.
Metallo begins punching Superman in the face repeatedly.
Superman tries to push Metallo off, but when he grabs onto
Metallo's arm, he finds himself weakened.
Metallo stops hitting Superman, remaining on top of him.
METALLO
You're supposed to be fighting back.
INT. DAILY PLANET BUILDING - CITY ROOM - DAY
Perry walks out of his office and over to Lois'.
PERRY
Where's Clark?
LOIS
I haven't the slightest.
After speaking, Lois lets out a slight cough.
-----------------------------------------------------------------------------------------------------
167.
PERRY
Fine. You do it. Get to University
Avenue. Superman's at it again.
LOIS
With Corben?
PERRY
(nodding)
Take Jimmy.
Lois grabs her coat and rushes out.
EXT. METROPOLIS STREET - DAY
Metallo is holding Superman down on the hood of a car while
people on the street watch in horror.
METALLO
"Superman defeated! Footage at
eleven."
(beat)
I like the sound of it. It's got
this apocalyptic ring to it. I just
hope they film from my good side.
Someone had to go and rip my face
all off.
Superman is feeling the weakness that comes from Metallo's
touch, but he's not struggling much either. He's not listening
to Metallo ramble. He looks around at the people that are
watching. Among them is a SOLDIER in an Army uniform in
uniform.
METALLO (CONT'D)
I guess I could always kill them if
they don't. With you out of the
picture, there won't be many people
that could stop me.
SUPERMAN'S POV
The picture is blurred. Through Superman's eyes, the soldier
looks a little like Pete.
The soldier takes a step toward Superman and Metallo. Superman
puts up a hand, telling the soldier to stop.
To the side of the soldier is a NICE OLD LADY standing near
a YOUNGER WOMAN. Through the blur, they look a little like
Martha and Lana. Behind them, an OLDER MAN in a plaid shirt
is standing, who could be Jonathan Kent.
Superman blinks a few times.
The picture clears enough to see that they aren't actually
Martha or Lana. The older man is now gone.
-----------------------------------------------------------------------------------------------------
168.
METALLO (CONT'D)
I'm bored. Are you bored?
Superman looks to Metallo. He reaches up and grabs the back
of Metallo's shirt and pulls hard. Metallo is thrown to the
ground next to the car. Superman gets up.
The crowd cheers. Superman looks back to them one more time.
SUPERMAN
Get back.
The crowd listens. All but the soldier begin to move back.
The soldier ducks into a doorway to stay out of the way, but
he remains close.
Superman steps away from the car and looks back to Metallo
as Metallo gets back up.
Superman shoots heat vision at Metallo, blowing a hole through
Metallo's arm. As Metallo looks down to assess the damage,
Superman speeds toward Metallo and grabs him by the neck. He
throws Metallo to the ground.
Metallo kicks Superman off of him, causing Superman to stumble
back into the car. Metallo gets up. He charges at Superman.
Superman speeds out of the way, ending up a few feet from
where Metallo stops.
METALLO
That gets annoying.
SUPERMAN
Sorry.
Metallo turns toward Superman.
METALLO
New rule. No super speed.
SUPERMAN
I'm going to stop you however I need
to.
METALLO
Chicken.
Metallo rushes toward Superman, swinging. Superman steps to
the side, causing Metallo to miss. Superman grabs Metallo's
arm and swings him toward the ground. Metallo crashes to the
ground hard.
Superman then picks Metallo up, swings him around, and slams
him down again on the other side. He finally throws Metallo
yards down the road.
Metallo gets up. Superman smiles.
-----------------------------------------------------------------------------------------------------
169.
SUPERMAN
Didn't use super-speed that time.
Metallo runs toward Superman. Superman doesn't move.
When Metallo reaches Superman, he swings as hard as he can.
When he hits Superman, Superman is thrown backwards, but
manages to land on his feet.
Superman lifts off of the ground. After a brief pause, he
shoots toward Metallo. When he hits Metallo, both of them
smash through the wall of a nearby store, disappearing into
it.
The street falls silent for a moment. The crowd begins to
wonder what is happening. Just as the soldier is about to
walk toward the store, Superman crashes through another wall
of the building, slamming onto the ground.
Metallo walks through the hole in the wall, rubbing his fist.
He walks toward Superman.
As Metallo nears Superman, Superman looks up from the street
and uses his heat vision to blast Metallo. The force of the
blast causes Metallo to fly through the air, hitting the
side of a building on it's third floor. He falls back to the
ground, landing hard on his stomach.
When Metallo begins to get up, we can see that only small
shreds of his flesh and one normal looking eyeball remain.
The crowd gasps when they see the full metallic body of
Metallo.
When Metallo finally stands, he looks around for Superman,
but can't spot him. He continues to search.
METALLO
Where are you?
ANGLE ON : THE CROWD
Lois and Jimmy push their way through the crowd.
JIMMY
Should we be here? Maybe we shouldn't
be here.
LOIS
You were thrown out of one window,
Jimmy. Get over it.
They reach the front of the crowd and see Metallo. Lois gasps.
LOIS (CONT'D)
Oh my God.
(then, to Jimmy)
Take a picture.
-----------------------------------------------------------------------------------------------------
170.
Jimmy doesn't move for a moment, but finally manages to raise
his camera. He begins shooting.
Metallo turns toward Lois.
METALLO
Well... It looks like we might have
our damsel after all. I seem to have
misplaced your hero though.
(beat)
I find it a little odd that you appear
just as he disappears. You're not
really Superman in disguise, are
you, Lois?
Metallo starts to walk toward Lois. He keeps his eyes on
Lois as he walks, but directs his voice upward.
METALLO (CONT'D)
I'm going to kill your reporter
friend, Superman! Wouldn't now be a
good time to stop hiding?
Metallo continues to walk toward Lois. There is no response
from Superman. At first, Lois isn't phased by any of this.
It's only once Metallo begins to get pretty close that Lois
starts to wonder where Superman is.
JIMMY
I think we... I mean, maybe...
METALLO
Quiet, kid. I'm trying to plan a
murder here.
Jimmy pauses for a moment. After a beat, he swallows hard
and steps in front of Lois.
JIMMY
You're not touching her.
Metallo smiles.
LOIS
(to Jimmy)
What are you doing?
JIMMY
I'm... protecting you.
METALLO
Sweet.
Metallo begins to reach toward Jimmy.
METALLO (CONT'D)
But incredibly stupid.
-----------------------------------------------------------------------------------------------------
171.
Just as Metallo is about to grab Jimmy, Superman shoots from
the sky in a blur, striking Metallo with incredible force
that drives both of them through the street, into the sewer
below.
The crowd moves back, including Lois and Jimmy.
A second later, Metallo is thrown through the street a few
yards away from the crowd, and crashes back onto the pavement.
Superman follows, flying through the hole that Metallo
created. He quickly snatches Metallo off of the ground with
one hand, and throws him into the side of a building.
As Metallo hits the building, a large chunk of the wall is
taken out of it. Metallo is about to move away from the wall
when Superman shoots toward him again, slamming him back
against the wall.
With Metallo pinned, Superman punches him several times in
the face. When Superman is done, he stands back. Metallo
doesn't appear to be damaged very much by this.
METALLO (CONT'D)
Hit all you want, Superman. I'm still
stronger than you.
SUPERMAN
You won't be walking away from this.
METALLO
Stop me.
Metallo swings at Superman, but Superman blocks him by
grabbing his arm. This weakens Superman slightly, but he
still manages to punch Metallo in the face with his free
hand.
Metallo comes back with a punch to Superman's gut. Superman
doubles over, still weakened. As he looks back up at Metallo,
he sees the outline of the compartment in Metallo's chest.
Metallo grabs Superman and spins him around, slamming him
against the wall and punching him in the face several times.
METALLO (CONT'D)
Not so much fun, is it?
As Metallo tries to punch Superman again, Superman grabs his
fist, stopping him. He twists Metallo's arm, causing Metallo
to flip onto the ground.
Metallo attempts to get up, but Superman pins him with one
foot.
SUPERMAN
I advise you to stop now.
-----------------------------------------------------------------------------------------------------
172.
METALLO
I'm just starting. After we're done
here, I plan to bring this town to
its knees.
SUPERMAN
I can't let you do that.
METALLO
I can't see you stopping me.
SUPERMAN
You're not giving me much choice.
METALLO
Plan to stand here forever, pinning
me to the ground with your foot?
SUPERMAN
No.
Superman steps back, allowing Metallo to stand up. Metallo
does this cautiously.
When Metallo finally reaches his feet, he balls his fists
again and charges at Superman. Before he can strike, he finds
himself pinned against a car by Superman.
SUPERMAN (CONT'D)
There's no other way, is there?
METALLO
Umm... huh?
Without further hesitation, Superman smashes his fist through
Metallo's chest. When he pulls his bloody hand back out, he
is holding into Metallo's power source.
The two of them lock eyes for a moment, and then Metallo
falls to the ground.
Superman steps back and drops to his knees. He throws the
power source across the street as he falls forward, catching
himself with his hands and trying to catch his breath.
Superman looks to Metallo, who is not moving. After a few
moments, Superman pushes himself off of the ground and begins
to walk toward the crowd, still weak.
The crowd watches in silence as Lois rushes toward Superman.
As she reaches him, Superman falls to one knee. She struggles
to help him back up.
LOIS
Are you okay?
SUPERMAN
I'll be okay.
-----------------------------------------------------------------------------------------------------
173.
Superman looks down at his bloody hand.
LOIS
Who knew machines bled?
SUPERMAN
It's not his.
Lois realizes that the blood is Superman's. She's not sure
what to say.
As Superman gets to his feet again, Jimmy calls to him from
the crowd.
JIMMY
Superman, look out!
Superman is puzzled. He sees that Jimmy is looking behind
him, so he and Lois turn to see what is happening. As they
turn, Metallo rushes toward Superman, letting out a scream
full of rage.
When he reaches Superman, Superman steps between Metallo and
Lois. Metallo swings at Superman, hitting him squarely in
the face as hard as he can.
Superman barely feels it.
Metallo's eyes widen. He stumbles backwards, trying to
understand.
METALLO
It's gone.
(beat)
It's all gone.
Metallo looks Superman in the eyes.
METALLO (CONT'D)
What happens now?
Superman and Lois exchange looks. Neither knows the answer
to Metallo's question.
INT. DAILY PLANET BUILDING - CITY ROOM - DAY
Lois is at her desk, talking on the phone.
LOIS
Thank you.
Lois hangs up the phone and coughs. She grabs a cough drop
off of her desk and unwraps it as Perry walks to her.
LOIS (CONT'D)
So there are about six billion labs
that are competing for the right to
study this guy.
-----------------------------------------------------------------------------------------------------
174.
PERRY
Any word on who's in the lead?
LOIS
I think it's between LexCorp, S.T.A.R.
Labs, and Wayne Tech. Ironic, huh?
Lex just might see a return on his
investment after all.
Lois pops the cough drop into her mouth.
LOIS (CONT'D)
That is, unless we run my story.
PERRY
You know we can't.
LOIS
I've all but confirmed it.
PERRY
That's not enough. If we run a story
saying that Lex Luthor is behind the
Metallo incident and we can't provide
evidence to back it up, we'll be
slapped with a hundred lawsuits. I'd
be surprised if any of us walked
away with our jobs.
Lois stands and looks Perry in the eyes.
LOIS
We know that he did this. You and I
both know what Lex Luthor is hiding
and we both know that unless we can
prove it, he's going to get away
with everything.
PERRY
Even if we can prove that Lex is
behind the experiments that created
Metallo, we can't be sure that he'll
be brought up on charges for it.
It's just an experiment gone horribly
wrong.
Lois can't put together a response. She knows that he is
technically right and this annoys her. She sits back down
and rubs her head.
PERRY (CONT'D)
Go home, Lois. Take a few days and
get yourself well. You deserve it.
LOIS
Yeah.
-----------------------------------------------------------------------------------------------------
175.
INT. KENT HOUSE - KITCHEN - DAY
Martha brings a sandwich to the table where Clark is sitting
and then sits across from him.
MARTHA
Eat. You need your strength.
Clark smiles and starts to pick at his sandwich.
MARTHA (CONT'D)
I'm proud of you. Your father would
be too.
CLARK
I hope so.
MARTHA
I know so. Your whole life, we've
worried about what would happen if
you showed the world what you can
do. We worried about the government
wanting to disect you, worried about
how people would react to the idea
of an alien with super powers walking
amongst them... Worried about how
you would feel if they didn't accept
you. But you overcame all of that
fear because it was the right thing
to do. I have no question that your
father would be proud of that.
There's a pause before Clark answers. As though he's not
sure how to phrase what he's thinking.
CLARK
When I was out there. When I was
fighting Metallo, I looked at the
people that were watching me. I always
thought that if people saw me like
that they'd be scared of me, but
that's not what I saw.
MARTHA
What did you see?
CLARK
I saw people who accepted me. Who
worried for me. Who cheered me on.
(beat)
And for a moment, I could have
sworn...
Clark stops there.
MARTHA
Sworn what?
-----------------------------------------------------------------------------------------------------
176.
CLARK
Nothing. It's stupid.
Clark takes a bite of his sandwich. Martha watches him eat,
knowing that there's more to that story but not pushing.
He'll tell her when he's ready.
INT. LOIS' APARTMENT - LIVING ROOM - DAY
Lois is on her couch, in her pajamas, watching TV with a box
is tissues nearby.
There's a KNOCK at her door. She groans as she gets up and
walks to the door and opens it.
Clark is on the other side, holding a bag.
CLARK
I heard you were sick.
LOIS
Remind me to wear a jacket the next
time I go walking on a cold night.
Clark holds up the bag.
CLARK
I brought soup. Made fresh in
Smallville.
LOIS
How did you get soup from Smallville?
CLARK
I... I had it sent overnight. It's a
family recipe, passed down from
generation to generation.
Lois gestures for Clark to come in. She closes the door behind
him.
LOIS
Forgive the mess.
CLARK
Don't worry about it. Go sit down.
I'll heat this up.
Lois takes a moment after hearing that. It's the first time
anyone's done that for her.
LOIS
Thanks.
Lois goes to the couch and sits down.
LOIS (CONT'D)
You know where the kitchen is, right?
-----------------------------------------------------------------------------------------------------
177.
CLARK
Yeah.
Clark walks into the kitchen. Lois quickly tries to clean up
the area around the couch.
After a few moments, Clark returns.
CLARK (CONT'D)
Soup's heating.
LOIS
Thanks.
(beat)
So, am I missing anything big at
work?
CLARK
It's been pretty quiet since that
Metallo guy was taken care of.
Superman's helping fix up all of the
damage. Lex Luthor is angry that
Superman wasn't arrested for causing
the damage. He's also angry that
Superman is taking jobs away from
the crews that would be needed to
fix the damage.
LOIS
Did he get the research rights to
Metallo?
Clark nods.
CLARK
I wouldn't expect to hear many updates
on that.
LOIS
Figures. He causes all of this trouble
and then he gets rewarded for it.
CLARK
Yeah, I heard about your story.
LOIS
And now it's just a matter of time
before Lex does it again.
CLARK
So much for giving him the benefit
of the doubt.
LOIS
I gave it to him. It just turns out
that the rumors were right. He's not
a good man, Clark. He's dangerous.
(MORE)
-----------------------------------------------------------------------------------------------------
178.
LOIS (CONT'D)
I'm worried that when the world
finally realizes that, it'll be too
late.
Clark doesn't know how to respond to that.
CLARK
I'll go check on the soup.
Clark starts to walk toward the kitchen.
LOIS
Hey.
Clark stops and turns around.
LOIS (CONT'D)
Thanks.
(beat)
For the soup.
Clark smiles his "you're welcome" and heads for the kitchen.
Lois watches him until he's out of the room.
INT. LEXCORP BUILDING - LEX'S OFFICE - NIGHT
Lex is pouring himself a drink near the door to his office
while his secretary, MARIE sits in a chair, taking notes.
LEX
I might need to push my two-o'clock
back tomorrow. And reschedule my
appointment with Dr. Marrow.
Lex takes a sip and turns toward the window. He walks to it,
despite the fact that the light in the room makes it
impossible to see out.
LEX (CONT'D)
I'm also going to need a report from
the lab on that Metallo project.
Find out if it's still alive.
(beat)
That's all.
MARIE
What about your lunch with Senator
Willis?
LEX
I'll keep that one.
Marie nods and stands.
MARIE
Anything else you need before I go
home?
-----------------------------------------------------------------------------------------------------
179.
LEX
Just turn off the lights on your way
out.
MARIE
Goodnight, sir.
LEX
Goodnight.
Marie walks out of the room, hitting the light switch on her
way out.
ANGLE ON : LEX
As he looks out the window, now able to see what is outside.
PAN AROUND Lex to REVEAL Superman on the other side of the
glass, staring Lex in the eyes. Letting Lex know that he's
watching him.
FADE OUT:
THE END