{\rtf1\ansi\deff0{\fonttbl{\f0\fnil\fcharset0 Courier New;}}
\viewkind4\uc1\pard\lang1033\f0\fs20 THE FOUR GREAT VILLAINS:\par
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Three of these creatures are men: the fourth is a woman. She is tall and has a magnificent body which is shown to its best advantage in a Krypton outfit that reveals more than it conceals: high boots, a clinging body suit, and all shiny black. Long raven hair frames a strikingly beautiful face; her eyes are almost fiery in their grace. A woman whose beauty makes strong men weak, she is consumed by total hatred of the male sex. This is URSA.\par
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One of the men, who struts and swaggers like the leader, is got up in a Kryptonian version of ultra-military attire - Jackboots, high collar, uniform. All this, however, is belied by his pasty-faced, even sickly appearance. A pathological dictator, as super-Fascist whose only quality is utter contempt for everyone but himself, whose only goal is to command a world of inferiors. This is GENERAL ZOD. \par
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The second man is a thin, wiry character whose face seems to be permanently contorted into a twisted, mocking grin. There is something seedy and second-rate about his appearance, even as his clothing is flashier, gaudier and, finally, more vulgar than the others. A psychopathic jokester, whose pranks and "practical jokes" are only funny to him when they cause death and suffering to others, this is JAK-EL.\par
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The fourth member of the band is only a man to the extent that he is not an animal. A monstrous brute, his ugly face twists with violence. He does not speak but instead utters horrible animal-like growls and howls. Almost pure if, bent only on mindless destruction, he is a force of frightening evil. This is NON.\par
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FADE IN\par
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283EXT. SPACE\par
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A caped figure flies high over the United States, gaining speed as the atmosphere begins to blur into the dark. mysterious blue of space. This is SUPERAN.\par
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CUT TO\par
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EXT. SPACE\par
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WIDE SHOT  -  SUPERMAN, flying with the speed of light, zooms through the universe, past the moon, as the Earth grows smaller in the distance. Faster and faster he goes until he bursts through into another galaxy.\par
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CLOSER ON SUPERMAN  --  As he hurtles the warhead into the void of outer space.\par
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CUT TO\par
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EXT. SPACE\par
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WIDE SHOT  -  As the warhead, speeding through the galaxy, EXPLODES. The closest star breaks into shooting, fiery fragments.\par
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CUT TO\par
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EXT. SPACE\par
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ON SUPERMAN  -  As he his sent reeling through the limitless void, falling away, stunned by the explosion.\par
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CUT TO\par
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EXT. PHANTOM ZONE  -  SPACE\par
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WIDE SHOT  --  The shock waves reverberate in the realms of the unknown far out in space until they meet the resistance of a great crystalline cloud  -  The Phantom Zone.\par
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SPECIAL EFFECT:  The crystalline cloud walls shatter.\par
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CUT TO\par
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THE FOUR GREAT VILLAINS as they rush to the opened wall and suck in the air of unexpected freedom.\par
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As the crystal cage breaks and they rush forward into space:\par
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JAK-EL \par
Free!\par
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URSA \par
Free!\par
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GENERAL ZOD \par
Free!\par
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Non lets out a terrifying howl, like an animal who has burst its bonds.\par
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284The effect must be truly frightening,  as if Pandora's box has been opened and all the plagues are unleashed on the world.\par
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Their horrifying faces FILL THE SCREEN with howls of glee as they drift off into space.\par
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HOLD ON THE IMAGE of the void of black space as. . .\par
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CREDITS ROLL.\par
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As CREDITS END. . .\par
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DISSOLVE TO\par
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285EXT.  SKY  -  DAY\par
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On a cloud bank floating peacefully in the blue sky over Earth. Suddenly it is broken with  SOUND of RUSHING FLIGHT as SUPERMAN comes diving out of it, headed for the Earth.\par
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286EXT. SKY - DAY\par
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DISSOLVE TO:\par
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On a cloud bank floating peacefully in the blue sky over earth. Suddenly it is broken with SOUND of RUSHING FLIGHT  as Superman comes diving out of it, headed for the earth.\par
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PAN DOWN WITH him to:\par
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287EXT. GARBAGE DUMP - OUTSKIRTS OF METROPOLIS - DAY\par
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A site that instantly creates the biggest contrast with the mysterious beauty of outer space that we have just seen: a city garbage dump, dotted with reeking mounds of refuse and grey smoking bonfires. For it is here, in a place as close to deserted as can be found near the great city of  Metropolis, that Superman can land unobserved.  CLOSER ON HIM - FULL LENGTH: He lands, looking just a bit bushed from his recent  ordeal.\par
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SUPERMAN \par
Whew. . . \par
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He brushes himself off and walks OUT OF FRAME, RIGHT.\par
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CUT TO \par
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288EXT. SHACK - GARBAGE DUMP - DAY\par
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FULL SHOT: ON a beat-up, dilapidated old shack on the edge of the dump. Superman  walks behind it from LEFT. For a moment he is blocked from OUR VIEW, as CAMERA HOLD IN PLACE. Then, emerging from RIGHT of shack, transformed into his familiar guise of Clark Kent: suit, tie, glasses, etc.\par
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PAN with him as Clark turns onto the dirt road and begins walking jauntily toward  Metropolis.  In b. g. the skyscrapers and bridges if the city can be SEEN.\par
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CUT TO\par
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289INT. CITY ROOM OF "THE DAILY PLANET" - DAY\par
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MED. WIDE SHOT of' Lois Lane seated at her desk, her feet up, today's newspaper in her  lap, turning the pages and looking quite pleased with herself. DOLLY IN AT ANGLE  ENABLING US TO SEE the giant banner headline. \par
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LEX LUTHOR"S SCHEME "BOMBS" SUPERMAN SAVES NATION CRIMINAL DRAWS HARSH SENTENCE\par
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Photos and Lois' byline accompany the article. As we SEE this, we HEAR O.S. the voice of Jimmy Olsen.\par
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JIMMY (O.S.) \par
A great story told, by a great reporter.\par
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CONTINUED\par
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289CONTINUED\par
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PULL BACK AND WIDEN TO INCLUDE Jimmy as Lois looks up and grins.\par
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LOIS \par
My mother thanks you, my father thanks you --\par
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CLARK (O.S.)  \par
-- and Superman thanks you.\par
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WIDEN MORE TO REVEAL Clark Kent who has Just come over to Join them.\par
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CLARK \par
(kidding) \par
How much does he pay you for \par
all the P.R.  stuff you write?\par
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The mood between them, though light and chipper, is complicated. Lois is more "up" than  Clark, who seems to have a barely disguised, case of unrequited love. Odd, but true: the more  he does to make her head spin as Superman, the  less she appreciates good old Clark Kent.\par
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LOIS \par
Ahhh, the boy reporter. Late as usual.\par
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CLARK         \par
(lightly) \par
stuck in traffic.\par
(gestures toward the headline; \par
a bit less airy) \par
Not everyone can fly, you know.\par
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LOIS\par
(not unpleased) \par
Do I detect a note of jealousy?\par
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CLARK        \par
(a bit miffed)\par
I know I can't compete with \par
some body who  can fry an egg \par
by winking at it.\par
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FAVORING LOIS -- who smiles fondly at him. Jimmy silently slips away with utmost discretion.\par
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CONTINUED\par
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289CONITINED (2)\par
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LOIS \par
Clark Kent, you are jealous. And it is very becoming. I'll tell you the truth - if I hadn't  had my girlish head turned by Superman, I'd  say you were a prize catch.\par
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CLARK             \par
(very hopeful) \par
Me?\par
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LOIS \par
Sure. You've got everything.\par
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FAVORING CLARK - who smiles as. But the quickly fades as --\par
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LOIS \par
But nobody knows it. What good is everything if  you haven't got it together?\par
(pushing) \par
Do you mind if I give you some constructive  criticism?\par
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CLARK Yes.\par
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LOIS            \par
(goes right on) You could be a take-charge guy! All you need is a  little drive. Be aggressive. Push! Not just personally.  Professionally, too. All those chances to be a top  reporter are just waiting to be grabbed! I grab them.\par
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CLARK God knows . . .\par
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She rises, trying to get to him, shake him up.\par
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LOIS You've had those chances, too! But where were  you?                             (ticking off a list with                growing impatience)  'Making a phone call.' 'In the washroom.' 'Stuck in  traffic.'  CONTINUED\par
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289CONTINUED (3)\par
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CLARK A charming metaphor for my life. 'Stuck in traffic.'\par
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LOIS Well? Weave in and out, Clark!\par
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CLARK In and out.\par
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LOIS          \par
(practically a             cheerleader now) Get up and go!\par
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ZOOM PAST THEM to the frosted glass door leading to Editor Perry White's office as the  door is swung open and an excited Perry comes rushing out toward them.\par
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PERRY           \par
(Just as Lois               finishes last line) You said it!\par
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He dashes to them. MOVE IN TO TIGHT THREE SHOT.\par
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PERRY  Something big is breaking!\par
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LOIS A dinosaur egg?\par
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PERRY             \par
(sarcastic as usual) Excuse me ma'am, I hate to interrupt my star reporters who are so busy sitting on their --\par
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LOIS                \par
(quick grin) -- Laurels?   \par
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CONTINUED\par
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289CONTINUED (4)\par
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PERRY Yeah, well, move your laurels down to 73rd and Park. A gang of terrorists just seized some cockamamie U.S. delegation!\par
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Instantly Lois grabs her notebook and starts the elevator; Clark Kent is right with her. As the hustle off:   PERRY Try and talk to them! Get an interview if you can!\par
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ON THE ELEVATORS: One opens and they go in.\par
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CUT TO\par
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290INT. ELEVATOR\par
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Indicator shows it is going down quickly.\par
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LOIS                 \par
(a bit embarrassed) Well, that sure put an end to my pep talk.              \par
(changing the subject) I wonder which delegation --\par
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CLARK            \par
(sincerely) Listen, thanks for that advice before. I mean it, Lois.\par
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LOIS Oh. Well.             \par
(awkward now) I didn't mean to sound like a coach, Clark. But that's what friends are for.\par
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CLARK                \par
(plaintively) 'Friends. . . '\par
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The elevator stops; door opens. TRACKING OUT with them into --\par
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291INT. LOBBY - "DAILY PLANET" -  DAY\par
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-- at a dead run for the exit, in a hurrry, all emotion fighting the professional tension. TRACKING FAST.\par
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LOIS I don't mean I only think of you as just a  friend, Clark.\par
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They are out the door.\par
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CUT TO \par
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292EXT. STREET IN FRONT OF "DAILY PLANET" BUILDING - DAY\par
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ON them as they dash out into the street, wildly hailing a cab in the middle of a real city  traffic Jam: bumper-to bumper, HORNS blowing.\par
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CLARK              \par
(still eagerly pursuing                       her last remark) You mean . . . ?\par
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LOIS I mean . . . in a way . . . Look, this isn't the time or the place to --\par
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Suddenly they turn to each other with a little conspiratorial grin and, speaking almost in  unison, hit the same realisation at the same moment: \par
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CLARK AND LOIS  Stuck in traffic . . . \par
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CUT TO \par
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293EXT. DELEGATION SKYSCRAPER - DAY\par
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WIDE LONG SHOT: The main entrance of a tall, flat-roofed modern office building is  cordoned off and guarded by a great many heavily armed policemen. Police wagons and  vans and squad cars are parked all around, as well as mobile  TV units. A general buzz of heightened activity: walkie-talkies going, the area swarming with reporters and  photographers, the crowds pushed back behind barricades. In b. g. a taxi pulls up; Clark  and Lois jump out and run to join the crowd of reporters.\par
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CONTINUED\par
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293CONTINUED\par
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CLOSER on the reporters who surge forward against the cordon, as a harried, tense POLICE SPOKESMAN emerges from the building.\par
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ON SPOKESMAN\par
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SPOKESMAN Awright, here's the situation . Three terrorists  have occupied the twenty-fifth floor. We don't  know who they are -- they claim it's the Freedom Guerilla Army. We're checking that out. They've  got hostages -- at least nine -- in an office up there.  They say they're going to kill one every hour until  their demands are met.\par
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A REPORTER  What demands ?\par
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SPOKESMAN At this point in time, we don't know that information. We established communication but we still don't  know what the fu . . . what they want.\par
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ON CLARK -- busy taking notes. Only now does he slowly look up as he says to Lois:\par
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CLARK Five'll get 'you ten it's --\par
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WIDEN SHOT TO SEE what Clark sees: Lois is gone.\par
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CLARK Lois!  CUT TO  294INT . DELEGATION SKYSCRAPER LOBBY - DAY\par
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WIDE SHOT -- as Lois whizzes in. The cops clustered at the other end don't see her.\par
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TRACKING -- She runs to the corridor where the elevators are. Frantically she presses the elevator button.\par
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CONTINUED\par
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294CONTINUED\par
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NEW ANGLE -- A POLICEMAN turns into the corridor and raises his gun. As he calls out, the elevator door opens. \par
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COP Hey, lady!\par
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Lois leaps into the elevator. The Cop races the distance towards it. Just as he gets there, the  doors shut. The next elevator door then opens (as if they are programmed to work in  sequence) and the Policeman gets in.   FAST CUT TO\par
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295INT. FRONT DOOR - LOBBY - DELEGATION BUILDING - DAY\par
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Clark Kent comes tearing in, runs to the elevators.\par
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NEW ANGLE: The Cop, in the elevator which has not yet left the ground floor, can't believe his eyes when he sees yet another civilian running loose.\par
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COP      \par
(outraged) Hey, what is this, Grand Central Sta --\par
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The elevator door shuts on him. Clark runs past. HOLD on the elevator, A moment later, it re-opens and the furious Cop comes out.\par
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CUT TO\par
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296INT. FURTHER DOWN THE CORRIDOR - DAY\par
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Clark pulls open a door marked "FIRE STAIRS." In this narrow, dinky space, he puts a foot  on the first step, looks up.\par
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CLARK'S POV:  An endless spiral of stairs going up and up.\par
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CUT TO\par
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297INT. CORRIDOR - DAY\par
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On the Cop's elevator. He leaps out, runs to the fire stairs, flings open the door. He looks up.\par
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POV: VIEW AS BEFORE , but no Clark Kent to be seen . \par
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ON the Cop -- who stands there, slowly scratching his head, utterly mystified.\par
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CUT TO\par
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298INT. DELEGATION OFFICE CORRIDOR - 25TH FLOOR - DAY\par
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We are ON a glass-walled office in which a drama of our time is being played out. Three TERRORISTS hold guns on nine hostages, one of whom is an almost hysterical woman pleading with the Terrorist who guards her. The image, in silence, is really frightening.\par
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PULL BACK TO SEE that the corridor leading to the office is lined with police snipers in  full regalia -- ammunition belts, battle vests, gas masks, rifles -- crouched in other office  doorways.\par
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In the delegation office, the Head Terrorist raises his wrist, indicating his watch, then begins  waving his gun wildly at the hostages, yelling. As the hysterical woman begins to cry, we  HEAR the POLICE COMMANDER O.S. at the very end of the corridor:\par
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POLICE COMMANDER (0. S .) And one!\par
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The police snipers raise their guns in unison.\par
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POLICE COMMANDER (0. S .) And two!\par
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The rifles are aimed at the office door.\par
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POLICE COMMANDER (O.S.) Fire!\par
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The GUNS ARE FIRED in unison, hurtling tear gas canisters towards the office. The GLASS DOORS SHATTER and smoke instantly fills the office and begins to pour down the  corridor, as Terrorists and hostages scramble wildly out and down the corridor TOWARD  CAMERA. Three Men burst out of the tear-gas cloud first.\par
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At this moment the elevator door opens and out steps Lois. The Men are virtually upon her  and she seizes the opportunity to ask the nearest one:\par
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LOIS        \par
(eagerly) Excuse me, what was it like to be at the  mercy of ruthless, fanatical --\par
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CONTINUED\par
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298CONTINUED\par
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The Man brings a gun up and holds it at her temple, smiling. Lois chose the wrong side to  ask.\par
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LOIS          \par
(weakly) I guess I'll find out.\par
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At which point the fire stairs door opposite opens and out steps Clark Kent to be greeted bythis sight and a gun at his head. As the three Terrorists shove Clark and Lois back into the fire stairs.\par
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TERRORIST          \par
(a small mocking grin ) Oh, yes. We treat all our hostages the same.\par
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CUT TO\par
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299EXT. DELEGATION SKYSCRAPER ROOF - DAY \par
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AERIAL VIEW: The broad flat roof of the building, a fire station exit door at either end. A  police helicopter hovers above as Clark and Lois emerge from one of the doors and are  pushed by the Terrorists to the very edge of the roof. As this happens the chopper swings lower and a LOUDSPEAKER VOICE emanates from it:\par
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HELICOPTER COP (V .O.)                       \par
(loudspeaker) Let them go.\par
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TERRORIST TWO        \par
(shouting to the chopper) In a pig's eye, pig!\par
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TERRORIST LEADER                                 \par
(shouting as he presses          gun to Lois' head) Come any closer, man, and you can watch these  folks die.\par
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CLOSER -- A beat of silence in which Lois sways, terrified, on the ledge. Clark, a bit behind,  watches her, helpless and worried. Then:\par
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HELICOPTER COP (V.O.)  We're ready to talk a deal.. \par
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CONTINUED\par
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299CONTINUED\par
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TERRORIST LEADER Talk!\par
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 HELICOPTER COP (V.O.) Release your hostages and we will guarantee your  safe conduct. We can land the chopper on the roof.  We'll take you straight to JFK. We'll have a jet waiting  there.\par
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TERRORIST THREE        \par
(shouting)  Yeah, for you to shoot out the tires! We watch television too, man!\par
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 TERRORIST LEADER Get this! You can keep your jet! We want Superman!\par
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CLOSEUP - CLARK KENT -- startled.\par
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HELICOPTER COP (V.O.)                     \par
(stupefied) Superman?!!\par
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ON the group on the roof.\par
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TERRORIST TWO We want Superman to fly us to Algeria. Nobody  shoots out his tires, baby. And we are keeping  these hostages!\par
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HELICOPTER COP (V.O.) How are we supposed to get Superman?\par
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CLOSEUP - TERRORIST LEADER\par
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TERRORIST LEADER      \par
(a sinister smile at Clark) That's not our problem, Jim.  CLOSEUP -  CLARK -- little do they know it's his problem. After a moment he speaks  quickly \par
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CLARK Actually, I can get Superman for you.  CONTINUED\par
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299CONTINUED  (2)\par
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CLOSEUP - LOIS -- astonished.\par
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LOIS You. . . ?\par
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The look turns to admiring dismay as she "realises" he's stalling.\par
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TERRORIST LEADER         \par
(scornful) Yeah. He hangs out with you?\par
\par
CLARK Sure. I've got his private number. I swear it.  I'll have him here in no time. I Just need to get  to a phone. Why would I lie about it? Just let  me get to a phone.\par
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The Terrorists look at each other, then at their Leader. \par
\par
After a beat:\par
\par
TERRORIST LEADER Okay. Okay. And they --\par
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He gestures to Terrorist Two and Three.\par
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TERRORIST LEADER  -- will be right behind you.           \par
(to his men) Take him down to the top floor. Must be a phone there.\par
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NEW ANGLE - The two Terrorists lead Clark to the far fire door \par
(not the one they came up  through), Terrorist Two treating them all to a little revolutionary rhetoric as they go:\par
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TERRORIST TWO Anyone who has messed with our people,  prepare to die! Power to our brothers in struggle! Yeah! And death to the oppressor! Your blood  will run in the streets --\par
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And as they exit through the door, WHIP PAN to Lois and the Terrorist Leader.\par
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CONTINUED\par
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299CONTINUED  (3)  \par
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TERRORIST LEADER         \par
(to her) \par
And if your friend don't do his thing --        \par
(menacingly, brandishing his gun at her) \par
I'm gonna do mine.\par
\par
As Lois registers terror.\par
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CUT TO\par
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300INT. CORRIDOR - ONE FLIGHT BELOW - DAY\par
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Clark and the Terrorist emerge from the stairs door, again leaving the door open, and into  corridor. A number of closed doors open off the corridor. TRACK WITH THEM as they walk down. A Terrorist opens one. It is a broom closet. He opens the next. It's an office. He  points into it, indicating a telephone' on a desk.\par
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TERRORIST THREE  \par
There's your phone, man .\par
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CLARK \par
Right. Thanks. Now. . .       \par
(stalling, reaching in his jacket pocket)  \par
Where's that phone number?\par
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TERRORIST TWO         \par
(instantly suspicious) \par
Don't go for those pockets, High Pockets.\par
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Terrorist Two nods to Terrorist Three, who does a fast patdown frisk of Clark. Clark now has  one Terrorist on either side, right up against him. MED. FULL SHOT.\par
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TERRORIST THREE He's clean.\par
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TERRORIST TWO      (indicates Clark can                   now search his pockets) Better have that number, Jim. Or we got your  number.\par
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CONTINUED\par
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300CONTINUED\par
\par
As Clark speaks the following in a steady patter like a magician whose hand is going to be  quicker than the eye, he has one hand crossing his chest into his breast pocket and the other  hand delving in his Jacket pocket:\par
\par
CLARK Should be here somewhere. Should be right here. But you know how it is . . . .sometimes when you change your suit you forget to change --\par
\par
On the word "change" his elbows come up hard, smashing one Terrorist on each side.  smashing them simultaneously right in the chops and sending them flying. In that instant, he  leaps into the broom closet, slams the door behind him. The Terrorists are quickly on their  feet again, guns drawn. They FIRE through the broom closet door, RIDDLlNG it with  BULLETS .\par
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CUT TO\par
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301EXT. ROOF - DAY\par
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SOUND: the BULLETS FIRING down below.  LOIS      (a cry of anguish) Clark!\par
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TERRORIST LEADER        (frowning, shouts down the stairwell) Mustafa! What's happenin' down there?\par
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CUT TO\par
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302INT. CORRIDOR - DAY\par
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ON the broom closet door. MUSTAFA and his COHORT stand with smocking guns,  grinning at each other. They do a quick revolutionary hand-shake and then open the door.\par
\par
There, in the classic pose, FULL SHOT, stands the Man of Steel in full costume . . .  Superman !\par
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CONTINUED\par
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302CONTINUED\par
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The two Terrorists look at each other in total confusion. Instantly, Superman reaches out with  both hands and cracks their two heads together. They hit the floor, unconscious. Superman   steps across them and crosses to the fire stairs door. FOLLOW him. He leans against the  wall, waiting.\par
\par
TERRORIST LEADER (O. S.)           (calling from the roof) Mustafa! Mustafa!?\par
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303EXT. ROOF - DAY\par
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ON Lois and the Terrorist Leader, now alone.\par
\par
TERRORIST LEADER          (grimly) Say your prayers, woman.\par
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Lois, trying to be brave, takes a deep breath and looks down, getting instant vertigo. Quickly,  she shuts her eyes, swaying, almost falling.\par
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304ANGLE DOWN -- SHOWING the long drop to the street. Crowd below.\par
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305ON THEM -- As Lois waits for the bullet in CLOSEUP\par
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TERRORIST LEADER (O.S.) Superman!\par
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Lois' eyes fly Open wide. She is about to turn and look when the gun is pressed tightly to her head again.\par
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TERRORIST LEADER (O. S )            (threateningly) Lady, move now and your movin' days are done.\par
\par
Lois stands very still, very discreet, but a tiny smile of hope begins as she hears the familiar  voice:\par
\par
SUPERMAN (O. S.)            (sternly)  You want to talk to me?\par
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TERRORIST LEADER          (cocky) No man, I want to fly you.\par
\par
CONTINUED\par
\par
305CONTINUED\par
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ANGLE DOWN: THREE SHOT -- Lois is turned away between the Terrorist, who is using her as a shield, and Superman, who stands a few feet away on the ledge. SHOT INCLUDES  the vertigo-inducing drop.\par
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SUPERMAN        (tersely) You're grounded, bubby.\par
\par
He makes a quick move towards the Terrorist. But --\par
\par
TERRORIST LEADER Uh-uh. She is.\par
\par
And so saying, he hurls Lois off the edge and into space. Lois, briefly glimpsed, screams in  shock and horror as she falls. But to the amazement of the Terrorist (and the audience)  Superman is not distracted; he keeps right on coming and decks the Terrorist with one  terrific punch, knocking him cold on the roof!\par
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CUT TO\par
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306EXT. DELEGATION BUILDING -DAY\par
\par
Lois, falling through space, her skirt up, covering her face (and giving us a nice view of very  pretty panties and garters and swell legs). But is she about to be a wet spot on the pavement?\par
\par
ON SUPERMAN  -- taking a breath, having just dusted off the Terrorist.\par
\par
ON LOIS -- still falling, shrieking now, the ground coming up fast. At the last moment, Superman swoops INTO FRAME, catching her in his arms as her last scream turns into a  moan of relief. She buries her face against his chest. He smoothes her skirt down and deposits her gently on the pavement:. Then be takes off immediately.\par
\par
307IN B.G. REPORTERS and COPS race towards Lois. At the back or this crowd, pushing  his way through, is Clark Kent. As he reaches her with a look of great concern, she smiles at him mischievously.\par
\par
LOIS So, you've got Superman's phone number,  hmmm?  CONTINUED\par
\par
307CONTINUED\par
\par
PAN TO TWO POLICEMEN\par
\par
FIRST COP  The man is amazing.\par
\par
SECOND COP  That's why they call him Super.\par
\par
FIRST COP Three terrorists permanently out of circulation, and last  week he sent Lex Luthor up the river.\par
\par
SECOND COP           (approving)  Without a paddle.\par
\par
CUT TO\par
\par
308EXT. PRISON YARD - DAY\par
\par
OPEN ON CLOSEUP of a middle-aged BLACK CONVICT as he, in turn, opens his mouth and lets his mouth and lets forth with a rich basso version of the well-known Negro Spiritual "Let My People Go."\par
\par
CAMERA IS ON THE CRANE, WHICH NOW BEGINS TO PULL BACK AND UP, WIDENING AND PANNING OVER the prison yard of a large penitentiary. From the opening Uncle Tom image, this looks like every prison movie ever made:  PAN REVEALS the prison-garbed CONS in classic situations -- one group playing ball, another group huddled around a card game, a third group sunning themselves, etc. Various entrances into the prison proper have signs over the doors reading "Print Shop," "Laundry," "Machine Shop," and so on.\par
\par
As the song reaches its corny but stirring chorus, PAN CONTINUES to a dark, shadowed corner of the yard where TWO CONVICTS are deep in conversation, having deliberately isolated themselves from the rest of the prison population.\par
\par
CRANE DESCENDS on these two, and we SEE that they are Lex Luthor and his assistant/architect/toady Albert. As song ends, we are into TIGHT TWO SHOT, FAVORING LUTHOR. \par
\par
CONTINUED\par
\par
308CONTINUED\par
\par
LUTHOR      (gnashing his teeth) If that road company Paul Robeson sings one more song, I'll put ground glass in his breakfast.       (to Albert) I mean, I've got enough problems, y'know? Y'know? I don't need a need on top of it,  y'know?\par
\par
ALBERT       (ever helpful) I know.\par
\par
LUTHOR What could you know? You've got a twenty- year sentence. A sissy sentence,\par
\par
ALBERT But I'll be an old man!\par
\par
LUTHOR You've always been an old man, Albert. A  fine architect, but not, not I say --       (God, how this         grates him) -- the greatest mind of our time -- of all  time! And how does the world choose it's  one true genius? Do they give me treasure? \par
\par
ALBERT No.\par
\par
LUTHOR Who asked you?       (continuing his tirade) Do they give me glory? What, in fact, do  they give me?\par
\par
ALBERT Life plus twenty-five years.      (tentatively) Well . . . if your plan to destroy the West Coast had worked, millions of people would have  been killed.\par
\par
CONTINUED 308CONTINUED  (2)\par
\par
LUTHOR 'Would' have. Would have, Albert. As it turned  out, thanks to the caped Concorde, not one  drop of blood was shed.\par
\par
This seems to disappoint him a bit. As he turns away, miffed, somebody comes running from  the cellblock door towards them.\par
\par
OTIS I just heard on the radio! Superman nabbed  a buncha radical freaks on some roof or  somethin'!\par
\par
LUTHOR        (galled) That crummy flag waver. He'll do anything to get a hand!      (intensely) All I want out of life is to get out of here and destroy that miserable, glad-handing showboat.\par
\par
ALBERT But how can you destroy him? You've tried everything. Nothing stops him.  LUTHOR          (slyly) Every man has a vulnerable point. I just didn't  find his in time.\par
\par
ALBERT          (excited) And. now you've found it?\par
\par
LUTHOR         (nastily) What are you going to say, Albert? 'A little late,  isn't it? ' 'Some timing, boss?'         (lowers voice) It Just so happens that it takes time, patience and  skill -- the Big 3 -- to build my black box.\par
\par
CONTINUED\par
\par
308CONTINUED  (3)\par
\par
OTIS That black box in your cell?\par
\par
LUTHOR        (frantically quieting him) Shhhhhhhbh!\par
\par
OTIS          (whispering) That black box in your cell? What's it for?\par
\par
Luthor reaches into his pocket and pulls out a ratty,  shredded piece of Kleenex -- one that  has already seen its share of munching -- and pops his favorite snack into his mouth. \par
\par
LUTHOR           (to Otis) Get me a fresh supply of tissue, Otis. I've used  up my week's ration.\par
\par
OTIS I gotta have somthin' to trade.\par
\par
LUTHOR Give them Albert's radio.\par
\par
Albert looks very unhappy.  LUTHOR        (back to business) So. All attempts to track Superman with conventional  means have failed including radar, correct? Correct.  He files at super-speed.       (confidentially) And yet we know that every so often, when he isn't  all tied up with --        (he says this like an insult) -- 'doing good' and taking bows and kissing babies --        (angrily) -- and posing for 'Newsweek' covers -- he goes North.  North . Where ? We don't know. The tracking device  always loses him.         (ruminating) Now why would he go North?\par
\par
CONTINUED\par
\par
308CONTINUED   (4)\par
\par
ALBERT To ski?  Lex Luthor sighs dramatically and turns his back on them.\par
\par
LUTHOR We've really got to break out of here, y'know. It's  beginning to affect everybody's mind.       (turns back to them) This device -- my black box -- which I have nearly  finished, goes beyond conventional radar.        (comes closer, as if          to impart a stunning           piece or news) It tracks Alpha Waves. \par
\par
OTIS         (impressed)  Alpha waves!\par
\par
LUTHOR You don't even know what they are, do you? Just  trying to act like you're 'with it. ' right?\par
\par
OTIS        (weakly) I heard of. . . Alpha. . . watchacallems. . .\par
\par
LUTHOR And you'll hear about them again, Otis. They will lead  me to his secret. And when I have that secret. I'll have Superman.\par
\par
REACTIONS:  Albert and Otis suitably impressed now.\par
\par
ALBERT                    (exuberantly)  Tomorrow the world!\par
\par
LUTHOR  Not tomorrow.\par
\par
Albert's face falls.\par
\par
CONTINUED\par
\par
308CONTINUED  (5)\par
\par
LUTHOR I won't be ready tomorrow.\par
\par
ALBERT But - we could be free.\par
\par
LUTHOR We'll be free when I say we'll be free, What's all  this crap about free, anyway? The point is to go  when we're ready.\par
\par
ALBERT          (weakly)  I was ready. . .\par
\par
LUTHOR You are not the governing factor, pussycat.\par
\par
As Albert rolls his eyes heavenwards in despair. CAMERA PANS UPWARD WITH HIS GAZE, OVER THE PRISON WALLS, HIGHER AND HIGHER.   CUT TO\par
\par
309EXT. SPACE\par
\par
UPWARD MOVEMENT OF CAMERA (EFFECTS) CONTINUES as Earth sky becomes  space and silence. Earth day becomes cosmic, starry silence.\par
\par
DISSOLVE TO:\par
\par
310EXT. SURFACE 0F THE MOON (OR MOON-LIKE PLANET)\par
\par
WIDE, LONG SHOT: Astronauts have landed; there is a capsule that looks like the famous LEM, supported on four skinny high spider-like legs. With a glowing metal ladder leading from its portal. In b.g. distance, two golf-cart sort of vehicles are riding off over the pockmarked cratered, surface in search of whatever.\par
\par
CUT TO\par
\par
311INT. HOUSTON,  NASA SPACE CONTROL CENTER - DAY\par
\par
The familiar setting we have seen before: the banks of computers. TECHNICIANS and CONTROLLERS in shirt sleeves monitoring the astronauts.\par
\par
341EXT. NIAGARA FALLS - DAY\par
\par
OPEN WITH A WHITE, TEXTURED SURFACE FILLING THE SCREEN. At first, it looks like some piece of the frozen ""north" that Luthor has just alluded to. But as we begin to ZOOM BACK SLOWLY, we SEE that it is running water and it is the foaming that looks like ice. AS PULLBACK CONTINUES, it is REVEALED to be the magnificent Horseshoe Falls in Niagara Falls. At MAXIMUM DISTANCE, PAN AWAY FROM FALLS TO a typical motel of the area. A flashy neon sign, coyly decorated, proclaims Honeymoon Haven. Several cars, shiny and middle-class, are parked outside, more than one decorated with crepe paper ribbons and, tin cans and, "Just Married " signs.\par
\par
CUT TO\par
\par
342 INT. LOBBY HONEYMOON HAVEN MOTEL - DAY\par
\par
Super-kitsch, i.e. cupids., hearts, simulated wood-paneling, etc. A couple, in their best  traveling clothes, stand with their backs to US. He is signing the register. She leans to  the unctuous DESK CLERK, who, with a flourish, pins an orchid on her.\par
\par
DESK CLERK       (taking back resister,         doing his routine) Welcome to the house of happy honeymoons. And  congratulations, Mr. . and Mrs. . . .\par
\par
As he speaks, the couple turns, grinning at each other. It is . . . Clark and Lois!\par
\par
DESK CLERK       (a note of doubt as he        reads the register) . . . Smith?\par
\par
CUT TO\par
\par
343INT. BRIDAL SUITE - HONEYMOON HAVEN MOTEL - DAY\par
\par
MED. WIDE as Lois and Clark are led in by a BELLBOY. The living room, all gaudy velveteen and Formica, heart-shaped cushions on a Castro-convertible-type sofa, is  largish. Now as Clark and Lois look very self-conscious, the BELLBOY opens a door to display the bedroom.\par
\par
BELLBOY And here's the --\par
\par
CLARK Right. Thank you.\par
\par
CONTINUED\par
\par
343CONTINUED\par
\par
      He hands him a tip.\par
\par
BELLBOY Thank you, sir. And have a happy -        (with a dopey wink) whatever.\par
\par
MOVE IN ON him as he closes the door behind him. A moment later, the orchid is suddenly  flung against the door.\par
\par
REVERSE - ON CLARK AND LOIS. There is a bit of tension between them in this  suddenly forced proximity. In addition, she is feeling feisty about the whole thing.\par
\par
LOIS Of all the dumb assignments Perry White ever  thought of, this one takes the cake!\par
\par
CLARK        (his little joke)  Wedding cake?\par
\par
LOIS  Posing as newlyweds to uncover the Honeymoon  racket in Niagara Falls!            (a moue of disgust) Him and his Sunday magazine exposes.\par
\par
CLARK          (serious) But it should be exposed. They take these kids starting  out in life and bilk them for every nickel they can get.\par
\par
LOIS         (unmoved ) It isn't their money. Somebody's daddy is paying for  it anyway, and it's guilt money at that.\par
\par
CLARK Guilt money?\par
\par
LOIS When Papa marries off his little darling, the first  thing he thinks is, 'Hurray! One less mouth to feed.'  And then he feels guilty for thinking it.\par
\par
CONTINUED\par
\par
343CONTINUED   (2)\par
\par
CLARK I guess your father --\par
\par
LOIS And he won't either.        (suddenly) Unless . . .\par
\par
Lois is struck by a thought, a reverie.\par
\par
CLARK Somehow I hear a cape flapping.\par
\par
LOIS       (flustered) That will do, Mr. Kent.        (she looks around at        the shlocky door)  Welcome to Bad Taste Country.\par
\par
FAVORING CLARK --  who, studying the room, makes a discovery: a bucket of champagne  on top of the TV with a little card beside it.   CLARK         (rather impressed) Still, this isn't so bad, is it'? 'Complimentary champagne.'\par
\par
LOIS Oh sure. And the 'complimentary corsage.'  Everything's complimentary - until you get  the bill.\par
\par
He Picks up the orchid and brings it to her, a bit awkwardly, coming close. MOVE IN TIGHTER.\par
\par
CLARK       (trying to Pin it back on) Mrs. Smith, you're as nervous a. . . . a newlywed.\par
\par
LOIS          (a nervous smile ) And you've been a little preoccupied yourself.\par
\par
CONTINUED\par
\par
343 CONTINUED   (3)\par
\par
CLARK          (hesitant) I was. . . uh. . . just wondering about the. . . the, uh. . .  arrangements.            (he moves away, quickly;                blurting this out) Sleeping arrangements . . .\par
\par
LOIS        (with a smile and a           flourish toward the sofa) Mr. Smith, the complimentary couch.\par
\par
CUT TO\par
\par
344EXT. THE FROZEN NORTH - DAY\par
\par
CLOSEUP LEX LUTHOR, the hood of a parka surrounds the bullet head.\par
\par
LUTHOR Mush!\par
\par
PULL BACK TO MED. LONG SHOT REVEALING Luthor in the back seat of a Snowmobile, Eve beside him and Albert in the front. In one hand, Luthor holds a whip, which he cracks to spur the Snowmobile on; and in the other, he carries his little black box, which he studies intently. Everybody is fur clad, mittened.\par
\par
Everywhere is ice and snow; we are near the Fortress of Solitude.\par
\par
Just as the Snowmobile reaches the top of a rise, Luthor eyes on the box, lets out a joyous  yelp.\par
\par
LUTHOR Ah!\par
\par
Albert, startled. stops the Snowmobile with a sickening jolt.\par
\par
LUTHOR       (very excited) What have we her?\par
\par
345HIS POV: What looks like just another vast outcropping of ice (but is, in fact, the Fortress).  As Eve puts it:\par
\par
EVE (O.S.)       (disgusted) Ice, Snow. Your idea of a good time. 346ON THE SNOWMOBILE. Luthor gazes front with wild delight.\par
\par
LUTHOR  Fool! It's his home! His home!\par
\par
ALBERT His home... This is the secret, Mr. Luthor?\par
\par
LUTHOR You can learn more about a man from the  contents of his garbage can than from all  his public announcements. Y'know?        (he pulls a Kleenex from his          pocket, pops it into his mouth) Yeahhhhh - there's nothing worse than an icy tissue. No, Albert, whatever there is to know about the piebald buzzard, I'll find the answers  in here.\par
\par
He cracks the whip and the Snowmobile quickly shoots across the remaining distance to the  Fortress.\par
\par
CUT TO\par
\par
347EXT. FORTRESS 0F SOLITUDE - DAY\par
\par
ON THE THREE as they dismount, Eve and Albert looking very dubious. \par
\par
TRACK WITH them as they begin walking around the seemingly impenetrable icy structure,  Luthor leading the way.\par
\par
ALBERT      (tentatively)  His home, Mr. Luthor? You're sure?\par
\par
EVE        (weakly) You must be wrong, Lex .\par
\par
LUTHOR          (aghast) Wrong? Lex?       (icily) We do not use those words in the same  sentence.\par
\par
CONTINUED\par
\par
347CONTINUED\par
\par
But as hey continue walking, he surreptitiously holds his little black box out to the structure  and takes another reading.\par
\par
LUTHOR          (belligerently) There's the needle on the target.\par
\par
EVE                                                         (flatly: an unassailable argument) Well, there's no number on the door. Not to  mention no door --\par
\par
LUTHOR      (striding on, snarling) And no welcome mat in front of it, and no picket  fence and no rose bushes and no American flag!                 (rounding a corner, furiously) And we're not in Kansas, Miss Teschmacher!\par
\par
By now he is OUT OF FRAME \par
\par
LUTHOR          (a sudden change to exultant) But we have a door!\par
\par
ON LEX, AT THE DOOR, as the others rush INTO FRAME. With a sweeping gesture, he  indicates this smooth panel of opaque glass; no latch, no knob.\par
\par
Albert steps forward and makes a great show of studying it.\par
\par
ALBERT No visible opening device. No doorknob. No hinges.        (bends, studies the side) No electric eye. Counter hydraulic perhaps? . . .                     (straightens up)  Fascinating. (his Professional opinion) Impenetrable.\par
\par
LUTHOR          (wild with frustration) Impenetrable? Impossible!\par
\par
In a Rurnplestiltskin-like fury, he gives the door a mighty Kick. Instantly it swings open, With a smirk, he enters, followed by Eve and Albert. \par
\par
347CONTINUED  (2)\par
\par
LUTHOR      (as he enters) Morons! I'm surrounded by morons!\par
\par
CUT TO\par
\par
348lNT. FORTRESS OF SOLITUDE - DAY\par
\par
WIDE, LONG, FULL SHOT: The three of them standing just inside, dwarfed by the  enormous, cathedral-like magnificence of the place.\par
\par
REVERSE ON THEM.  They stand, goggle-eyed, overwhelmed by the sheer size and beauty  Of the Fortress.\par
\par
LUTHOR How do you like this?\par
\par
EVE Compared, to living in a sewer? Are  you kidding?\par
\par
LUTHOR Yes, it's not bad.       (to Albert) From an architectural standpoint, it makes your  work look like Leggo Blocks, y'know?\par
\par
DISSOLVE TO 349INT.  FORTRESS OF SOLITUDE - DAY\par
\par
WIDE SHOT - Another part of the Fortress, central area. Eve and Albert are poking about;  she looks a bit tense.\par
\par
ALBERT Really fantastic. The construction goes beyond  all known architectural theory.\par
\par
EVE I know. No exposed nail heads.\par
\par
CONTINUED\par
\par
349CONTINUED\par
\par
ALBERT  No nails at all!          (marveling)  This place is a work of genius. It lacks nothing.\par
\par
EVE Wrong.\par
\par
ALBERT  I beg your pardon?\par
\par
EVE I have spent two hours looking for a ladies room  and there ain't one.         (looks O.S., eyes            widening, with hope) Wait a minute, wait a minute, could it be. . . ?\par
\par
HER POV: Across the room is a large self'-contained box-like structure, glass-windowed, octagonal and shining. It just might be some kind of Kryptonian john.\par
\par
NEW ANGLE: She rushes to it, flings open the heavy iron door. \par
\par
CUT TO\par
\par
350INT.  MOLECULAR RESTRUCTURING MACHINE \par
\par
'Tisn't a crappar. It's some kind of machine, with a set of platforms inside it, various crystals  arranged in a panel-bank, and Luthor in there looking around.\par
\par
EVE       (disappointed) Well, if it is one, these Krypton characters are  even more different than I thought.\par
\par
LUTHOR Fascinating.\par
\par
EVE What is it?\par
\par
She walks to the bank of crystals. One of them glows reddish. Beside it, various labeled  panels read: "Machine Activated: First Stage," "Full Power," and "Terminated."\par
\par
CONTINUED\par
\par
350CONTINUED\par
\par
LUTHOR         (his back to her,          examining some gizmo) Seems to be some sort of molecular restructuring  device.\par
\par
EVE        (touches the crystals)  This one is pretty.\par
\par
She refers to a red one, which she fingers. Accidentally, she knocks it loose and it drops to  the floor.\par
\par
ON LUTHOR -- turning to see what happened.\par
\par
LUTHOR Can't we have a little respect for scientific  paraphernalia, Miss Butterfingers?       (sternly) Put it back where it came from!\par
\par
He turns back to his study of the control panel, muttering: \par
\par
LUTHOR Klutz . . .\par
\par
ON EVE - she starts to put it back, darts a quick look at Lex, sees he isn't looking. Quickly, she drops the crystal down the front of her blouse, into her cleavage. Then, innocently:\par
\par
EVE  I just thought it was pretty.\par
\par
LUTHOR         (disparagingly) Pretty.  No, the question is, how can we have a  silicone connector attached to a cadmium bi-valve  oscillator, when theoretically that wouldn't work.  That is the question.\par
\par
EVE That's your question, Lex. Mine is more basic.\par
\par
Both turn and leave the enclosure. FOLLOW THEM OUT.\par
\par
CUT TO\par
\par
351INT. FORTRESS OF SOLITUDE\par
\par
As they exit the machine, we SEE in passing that control buttons to activate it are on a panel  on the outside of the box.\par
\par
LONG SHOT -- As Luthor walks to the central area where Jor-El materializes on memory crystals. As he walks, he flings up his arms in cranky petulance :\par
\par
LUTHOR It's boring here. Everything white. Why doesn't  the man put up a couple of prints? Bullfight  posters or something?\par
\par
ON ALBERT,  poking around the control console.\par
\par
ALBERT All these buttons . . .\par
\par
He reaches out.\par
\par
LUTHOR (O.S.)  Albert, don't touch what doesn't belong to you.\par
\par
Too late: Albert pushes a button.\par
\par
WIDE SHOT, LONG: EFFECTS - An entire translucent wall turns opaque (or transparent)  REVEALING the arctic landscape outside. Quite spectacular.\par
\par
ALBERT         (impressed.) Himmel !  If I could install this in our  underground headquarters, we could see --\par
\par
EVE  -- a pile of dirt. Not to mention --\par
\par
LUTHOR  Turn it off, Albert. It's giving me a headache.  As Albert does;\par
\par
CUT IN CLOSER as he reaches the "throne" where Superman sits to activate the memory cells and talk to his father. Luthor sits down, trying the chair for size. He squirms, finding the  slab hard and uncomfortable.\par
\par
CONTINUED\par
\par
351CONTINUED\par
\par
LUTHOR       (grouchy) Not even a cushion. No wonder they call him The  Man of Steel.\par
\par
HIS POV: The playback apparatus has one of the memory cells sticking out of it. A button  beside it, which Luthor presses, causes the crystal to eject.\par
\par
ON LUTHOR -- catching it  in mid-air, studying the gizmo.\par
\par
LUTHOR Some kind of Krypton cassette player?\par
\par
He looks left to the area where the shelves of memory cells are displayed.\par
\par
(NOTE: Until now, whenever we have seen Superman take one of the memory cells, he has  taken it, in order, from the first shelf.)\par
\par
Luthor gets up and walks to the first shelf and takes a handful of the early crystals, goes back  to the playback apparatus, sits and pushes one of the crystals into the Playback slot.\par
\par
EFFECTS: Jor-El materializes quite spectacularly.\par
\par
REACTIONS:  Luthor, Eve, and Albert scared shitless.\par
\par
JOR-EL         (an oldie but goodie tape) Your education is complete, my son.\par
\par
LUTHOR What the -- !\par
\par
JOR-EL It is time to return to the world you will live in.  Remember that though you are superior to men,  do not set yourself above them. Use your great gifts --\par
\par
LUTHOR         (recovering) It's his old man! Are you his old man?\par
\par
EVE Ask him where the bathroom is.\par
\par
CONTINUED\par
\par
351CONTINUED  (2)\par
\par
LUTHOR        (snapping at her) Why didn't you go before we left?\par
\par
EVE          (Plaintively) Two days ago???\par
\par
JOR-EL   -- for the good of mankind. Never allow --\par
\par
LUTHOR Are you here?\par
\par
JOR-EL -- yourself to be influenced by political or national  concerns. Always strive --\par
\par
LUTHOR      (catching on) He's not here! Ahhh, he speaks from the past. Very  cute. Very cute.\par
\par
JOR-EL -- to use your powers for the good of --\par
\par
LUTHOR          (heckling) Your kid looks like you. Poor guy.\par
\par
JOR-EL        (droning on) -- the people who recognize a higher moral authorit --\par
\par
LUTHOR No wonder Superman's such a goody-goody. Listen to  this guy.\par
\par
With a disgusted grimace, Luthor yanks the cell out, shoves another one in.\par
\par
CONTINUED\par
\par
351CONTINUED  (3)\par
\par
Again (EFFECTS) Jor-El materializes, in HOLOGRAPH.\par
\par
JOR-EL Education Cell lO8. Earth Culture. This is a typical  Ode, much loved by the people you will live among, Kal-El. 'Trees,' by Joyce Kilmer.  I think that I shall  never see a poem as lovely as a tree - A tree whose  branches wide and strong --\par
\par
Luthor, to his credit, yanks out the tape out as quickly as he can.\par
\par
LUTHOR Good God!\par
\par
ALBERT       (distraught)  Wait, please! I love that poem!\par
\par
Luthor leaps from his seat with brisque, impatient gestures,  and strides to the shelves of memory crystals.\par
\par
LUTHOR Quiet! Between your brain and your bladder,  a man can't hear himself think in here!\par
\par
He puts the crystals back in their slots, takes another, suddenly turns and looks at the second shelf on the other wall. He goes to it.\par
\par
LUTHOR  Maybe these are a little more . . . sophisticated.      (he takes the vary last one on        the shelf, starts back to "throne.") Hipper. More adult. X-rated . Anything as long as it's not --\par
\par
He puts in the crystal, activates it.\par
\par
352SPECIAL EFFECTS: Again Jor-El materializes.\par
\par
LUTHOR Man never changes his suit.\par
\par
CONTINUED\par
\par
352CONTINUED\par
\par
JOR-EL         (grim-visaged) My son, the time has come to tell you of the  darkest episode in Krypton's history. I hope  this is something you never need. to know.\par
\par
LUTHOR That's okay, pops. Lay it on me.\par
\par
JOR-EL That is a good question.\par
\par
LUTHOR          (confused)  Huh? What question? I didn't ask --\par
\par
JOR-EL You already know of Krypton's advanced  governmental system that enabled all the  peoples of our planet to live peacefully  and harmoniously.\par
\par
Luthor makes a rude noise.\par
\par
JOR-EL Unfortunately, even on Krypton there have appeared  -- once in a great while -- certain antisocial elements.\par
\par
LUTHOR      (putting him on, razzing) How shocking!\par
\par
JOR-EL  -- deviants whose upbringing or chemical balance  had gone awry. What we called 'malcontents' you  on Earth call them 'criminals.'\par
\par
LUTHOR My kind of people.\par
\par
JOR-EL Of course, we are not a primitive planet like Earth,  and these unhappy souls were always successfully  rehabilitated, transformed into proud, productive citizens.\par
\par
CONTINUED\par
\par
352CONTINUED  (2)\par
\par
LUTHOR          (outraged) Brainwashing! Police brutality!\par
\par
REACTIONS: Eve and Albert, interested.\par
\par
JOR-EL                       (very grim)  There were, however, four exceptions. Four, and  only four, who proved --       (this disturbs him)  -- impossible to rehabilitate.\par
\par
As Luthor cheers:\par
\par
LUTHOR Right on!\par
\par
FADE OUT ON THE IMAGE OF JOR-EL; FADE IN ON --\par
\par
353INT. JOR-EL'S HOME, THE NURSERY - DAY\par
\par
ON BABY KAL-EL shaking a strange and beautiful Kryptonian crystal rattle as we HEAR:\par
\par
LARA (O.S.)  As you see, Kal-El thanks you for your gift . . .\par
\par
PULL BACK TO SEE that Lara is holding the baby and standing beside Jor-El. She attempts  a polite smile for whomever she is addressing but both she and. Jor-El are obviously uncomfortable.\par
\par
LARA . . . but he really needs his sleep now.\par
\par
NEW ANGLE: The room, in which we now DISCOVER Non, Ursa, Jak-El, and Zod who is the commanding presence. They do not take Lara's hint, so she starts out, dropping the rattle back in its gift box on a table and carrying the baby past them. Non and Zod take no notice of  him; when he is held out politely to Ursa, she instinctively turns away with a grimace of  disgust; Jak-El makes a face he thinks will amuse a baby but just makes him cry. As Lara  hurries out, Jor-El turns to Zod barely concealing his disgust.\par
\par
CONTINUED\par
\par
353CONTINUED\par
\par
JOR-EL           (stiffly) I am very touched by your interest in my son --          (he sees through him)  -- especially at a time when you have such pressing  interests of your own.             (a bit sardonically) I'm sure you haven't forgotten that you all come up  for trial before the Council of Elders tomorrow?\par
\par
ZOD           (even stiffer)  Actually, no --\par
\par
JOR-EL         (a glance at the gift-wrapped          box on the table) I thought not.\par
\par
ZOD        (pointedly) Nor has it escaped our attention that the vote to  condemn us must be unanimous.         (more persuasively) And that you have sometimes been known to  disagree with that --          (sneering) -- - august body.\par
\par
URSA           (spitting)  Old fools!\par
\par
ZOD            (a look to her)  Let's put it gracefully --\par
\par
JOR-EL            (bluntly) Let's not. You want my vote.\par
\par
CONITNUED\par
\par
353CONTINUED  (2)\par
\par
ZOD           (to the others) You see? I told you he was clever. Far too clever  for the Council. Clever enough for the 'New Order'  my sister and I will establish on Krypton. But no,  Jor-El, we do not want you to vote for us.            (selling hard; intensely) We want you to join us. You are not appreciated by  the Council, but the people admire you. Together we  can sway them.             (pontificating) And when we are in power, all Kryptonians will serve  the state --\par
\par
JOR-EL Meaning you.\par
\par
ZOD        (a little bow) There will be . . . benefits. As rulers, we will live  like rulers.                   (heading off an argument)  Yes. yes, I know you are a selfless man. But --       (trump card) But think of your son. Jor-El. He could grow up with . . .  pleasures and palaces.\par
\par
Then Jor-El speaks slowly, softly, as if considering --\par
\par
JOR-EL Yes, General Zod, you have a point there. It's true, I  have had. my differences with the Council; they  didn't always accept my point of view. As for the way  I live --       (a wave around the room) -- I suppose it's simple. It is good enough for me. But  you're quite right.  What kind of a father would I be if  I didn't want my son to have the best?\par
\par
ON THE FOUR: exchanging triumphant looks. It's working!\par
\par
ZOD          (quickly) And so he shall. The best of everything --\par
\par
CONTINUED\par
\par
353CONTINUED  (3)\par
\par
ON JOR-EL\par
\par
JOR-EL     (a small smile forming) And the best of company. Who would not want for  his child such companions as --     (his anger building as he turns from one        to the other, beginning with Jak-El) You who finds it amusing to terrorize children --         (to Ursa) You whose countless men have all suddenly become accident-prone!        ( to Non ) You who have beaten and bullied your way through life --        (to Zod, furiously) And you -- a mouth with muscle behind it!  The New  Order, eh ? Well, you can take your 'New Order' and --        (he picks up the gift box           and hurls it at their feet) And take your Trojan horse with you!\par
\par
ON DOORWAY:  Lara in the doorway watching, proud but frightened.\par
\par
ON ZOD\par
\par
ZOD       (even whiter than usual with anger) Quite a speech. Yours will be the first voice we  silence, Jor-El.\par
\par
He makes a summary gesture to the others and suddenly they start out. Zod turns for the last  word.\par
\par
ZOD First you. Then your brat!\par
\par
FAVORING JOR-EL: He strides towards Zod, all Kryptonian cool gone, a fist forming. As  Zod hastily retreats with his cronies:\par
\par
ZOD It isn't over, Jor-El.                   (from the safety of the door) Some day you will bow to me.\par
\par
He slams the crystal door.\par
\par
CONTINUED 353CONTINUED  (4)\par
\par
ON JOR-EL as Lara runs to his side. As they stand with their arms around each other,  looking after the departed villains.\par
\par
FADE OUT \par
\par
FADE IN\par
\par
354JOR-EL REAPPEARS IN THE FORTRESS OF SOLITUDE\par
\par
JOR-EL The Council. of course, condemned them to a rehabilitation center.        (sorrowfully) But the usual techniques failed. Nothing we could do  would change their evil natures.\par
\par
LUTHOR        (offended) Lex Luthor! Lex Luthor! What am I ? Chopped liver?\par
\par
JOR-EL          (sadly). And so, because of them, I created the Phantom Zone. We  had, of course, no death penalty --\par
\par
LUTHOR First good thing you've said, high-pockets.\par
\par
JOR-EL  -- and our one prison could not hold them. The solution, as  I studied the problem, was a mathematical equation which I  developed and presented to the Council of Elders. The Phantom  Zone was constructed in space from this unbreakable, irreversible  equation. In it the four were imprisoned. A terrible solution, yes, a  cruel solution, but  one we were forced to make, Kal-El. There is  no mathematical equation that can free them.\par
\par
LUTHOR           (pondering) Never?\par
\par
JOR-EL We have, of course, thought long and hard about that question.\par
\par
CONTINUED\par
\par
354CONTINUED\par
\par
LUTHOR          (pleased) Hey! I asked the right question!\par
\par
JOR-EL         (a trifle uneasily) No one, not even the scientists or Krypton, can predict  all eventualities throughout all eternity. The one danger  we have considered is that the Phantom Zone might, just  might -- we cannot know -- be cracked by a major nuclear  explosion in space.\par
\par
EXTREMELY TIGHT CLOSEUP LEX LUTHOR -- He sits bolt upright, his eyes shining.\par
\par
JOR-EL But our computers show this possibility as .000000002  in one million. Earthlings cannot travel this far in space,  nor would they ever have reason to cause such an explosion. So I think we can consider the Phantom Zone secure.\par
\par
LUTHOR          (gleeful, singing)  'Gray skies are gonna clear up, put on a happy face. . . '\par
\par
JOR -EL I cannot say I am glad you asked me that. Because we do not know  what could be done if they were  to escape.        (this is painful for him) I do not know. On Krypton, these villains were uncontrollable. On Earth, they would have the same powers as you do.\par
\par
ON LUTHOR:  Extreme delight.\par
\par
LUTHOR And he doesn't even know he did it! That's the  beauty part! That monogrammed megalomaniac doesn't even know they're on their way here or he'd be looking for them. Only I know!\par
\par
EVE What are we -- deaf, dumb, and blind?\par
\par
CONTINUED\par
\par
354CONTINUED  (2)\par
\par
LUTHOR Dumb, yes. Deaf and blind I can arrange.  He rises, in fine fettle.\par
\par
LUTHOR     (an imprecation) Fly! Fly like the wind! Fly straight and  true to your earthly master! Come to papa, my four friends!\par
\par
ON EVE --\par
\par
EVE What do we need with friends? We've got you.\par
\par
 CUT TO 355EXT. LOOKOUT POINT, NIAGARA FALLS - DAY\par
\par
We are ON a small boy romping rather abandondly near a guardrail of iron bars as we HEAR:\par
\par
MOTHER  (O.S.)     (impatiently) Freddy! Watch out!\par
\par
As she appears and grabs him none too gently, PULL BACK TO SEE that we are AT the great Horseshoe Falls, in the large area where the public views the falls. The fence of parallel iron bars keeps the people from going over the edge. Every few yards, binocular machines that cost a quarter are set up in concrete bases, pointed at the great cataract. The area is filled with people: families and a lot of newlywed couples holding hands. People are looking, taking photographs with their Instamatics, etc. Not far away is a hot dog stand, doing a brisk business, and beyond that a parking lot filled with cars.\par
\par
CLOSE ON THE FENCE AREA where, amidst the other tourists, Clark and Lois stand, both wearing shiny new wedding rings -- doing their newlywed number.\par
\par
CLARK We should be holding hands. They're all holding hands.\par
\par
POV: Almost every couple around them holds hands as they look at the falls:\par
\par
CONTINUED\par
\par
355CONTINUED  CLOSER ON CLARK AND LOIS\par
\par
LOIS Afraid to let go, probably. When they let go,  they head for Reno.\par
\par
CLARK Lois. I get the feeling all this -- being here, newlyweds  and all -- is somehow. . .           (cautiously venturing this) . . . threatening to you.\par
\par
FAVORING LOIS -- This remark hits her where she lives, but she immediately throws up  her usual what-the-hell defense.\par
\par
LOIS                   (mock Viennese accent) Zank you very much. Herr Doktor Freud. \par
\par
CLARK Okay. Hide from your feelings.\par
\par
MOVE IN TO CLOSEUP CLARK who looks rather wistful.\par
\par
CLARK But I'd rather be like them.\par
\par
He stands looking at the honeymooners, when suddenly little PREDDY runs INTO FRAME, darting between and around Clark and Lois -- one of those kids who just can't keep still. This time it is his FATHER'S turn to retrieve Freddy and pull him back into the family group  (some uncles, aunts, grandma and the Mother). The Father wears a gray suit similar to  the one Clark wears. As he hauls the kid away:\par
\par
FATHER          (annoyed) Freddy, didn't your mother tell you --\par
\par
LOIS         (a bit uptight from the conversation)  I'm hungry.\par
\par
CLARK  You're an amazing person.\par
\par
CONTINUED\par
\par
355CONTINUED  (2)\par
\par
LOIS Aw, c'mon  -- anybody can get hungry.\par
\par
CLARK No, I mean here you stand with one of nature's most  awesome spectacles and the whole time you've had  your back to it. Aren't you impressed? \par
\par
LOIS Once you've seen Superman in action, Niagara Falls  tends to leave you cold.\par
\par
CLARK           (scowling)  Him again.\par
\par
LOIS Sorry, Clark. I guess I a have a one-track mind. And  right now it's saying, 'Feed me.'\par
\par
Clark looks in the direction of the parking lot.\par
\par
CLARK Well, we passed a hot dog place back there. Will that do?\par
\par
LOIS Around here that's a gourmet treat. I don't know how you  felt about Cupid's Special Aphrodisiac French Toast  Smothered in Venus and Adonis Syrup and St. Valentine's  Heart-Melting Oleomargarine, but I passed.\par
\par
CLARK        (with a grin) Two hot dogs, comin' up.\par
\par
He turns and goes.\par
\par
ON FREDDY, now swinging very dangerously between 2 parallel iron bars of the guardrail.  All this is for someone's benefit as he calls out:\par
\par
PREDDY      (big impish grin)  Hey, betcha can't do this!\par
\par
CONTINUED\par
\par
355CONTINUED  (3)\par
\par
Suddenly, he loses his footing and almost goes over. His mother screams. But:\par
\par
 A gray-sleeved arm shoots INITO FRAME , pulling him to safety. PAN UP the arm. TO  REVEAL that it's not papa but Clark.\par
\par
CLARK Hey, Tarzan, this isn't the Jungle.\par
\par
Mother now grabs Freddy away rather as if Clark were about to molest him.\par
\par
TWO SHOT -- MOTHER AND FREDDY\par
\par
MOTHER      (a hiss to Freddy) Freddy, didn't I tell you never to talk to strange men?\par
\par
And with that, she deals him a resounding smack. As the kid howls, PAN TO LOIS watching all this about 10 feet away. She shakes her head. \par
\par
LOIS Right, kid. Don't get hurt. Let Mama hurt you.\par
\par
356EXT. HOT DOG STAND, NIAGARA FALL.S - DAY\par
\par
Clark approaches the stand and, with a little sigh, gets on the end of a very long line. As he waits patiently, bored:\par
\par
CUT TO\par
\par
357EXT. LOOKOUT POINT, NIAGARA FALLS - DAY\par
\par
TWO SHOT -- Freddy again, dangling through the bars, doing bits for the benefit of Lois  who watches him with dismay. She is unwilling to alert Mama, who will only wallop him  again, but very nervous about the show she is getting. A high kick or two and a quick smile,  and then Freddy's hand slips. As his grin changes to terror and he plummets down the Falls,  we HEAR O.S. the Mother's piercing scream, terrified. He tumbles, arms splayed out,  clutching at air, and now there are other SCREAMS, pandemonium above, O.S. FOLLOW  the fall.\par
\par
358NEW ANGLE\par
\par
Suddenly a blue streak zooms out of the sky. It's Superman, swooping up the kid just before  he hits the rapids.\par
\par
358ON LOIS: watching, thrilled.\par
\par
LOIS                     (cheering)  Attaboy, Superman!\par
\par
CROSSCUT: Niagara visitors clicking Instamatics and Polaroids, recording the SCENE; customers rushing from the hot dog stand in droves, deserting it to see the action; folks crowding the binocular machines, focusing them to catch.\par
\par
360SUPERMAN, who is now flying up with the kid.\par
\par
361Cheers and applause as Freddy is deposited before hysterical mother.\par
\par
TWO SHOT: ON Superman as he delivers the child, safe and sound, to Mother.\par
\par
FREDDY          (he loved it) Again!  Again!\par
\par
SUPERMAN          (with a wink) Sorry, only one ride to a customer.\par
\par
And off he soars to the click of cameras and more cheers.\par
\par
362And off he flies, up, up, and away to the click of more cameras, more cheering.\par
\par
363ON LOIS --  waving frantically to attract his attention.\par
\par
LOIS Hey, wait! Superman, it's me. It's Lo--\par
\par
Too late. He's gone. As Lois stands there dejectedly.\par
\par
MOTHER (O.S.) Now you're gonna get it!\par
\par
SOUND:  A loud SMACK. NEXT SOUND: A HOWLING CHILD.\par
\par
Lois pays it little attention. Her mind more and more putting two and two together.\par
\par
CONTINUED\par
\par
363CONTINUED\par
\par
LOIS        (miffed) Well! Hello and goodbye. What's his hurry? I mean, since he happens to be in Niagara Falls --       (that strikes her) Just happens to be here? Isn't that funny, Clark?                    (suddenly) Clark . . .                              (considering) And Clark isn't here . . .          (the light dawns) . . . as usual.  CUT TO\par
\par
364EXT. BEHIND HOT DOG STAND, NIAGARA FALLS  - DAY\par
\par
Now a deserted area, everyone having hurried off to see the action. Superman lands.  FOLLOW him as he moves towards the hot dog stand, (EFFECTS) transforming into  Clark Kent, complete with gray suit, glasses.\par
\par
He is all alone with a tray of hot dogs, a tray of them, and finally -- with a little shrug -- he picks up two of them and starts back to the viewing area. He gets about four feet away and then the honest afterthought -- he steps back to the counter, fishes in his pocket, and leaves a dollar laying there.  CUT TO\par
\par
365EXT. LOOKOUT POINT,  NIAGARA FALLS - DAY\par
\par
ON LOIS, the crowd behind and around her dispersing with some still excited murmuring. But she is intent only on her own conversation.\par
\par
LOIS Where were you?\par
\par
CLARK       (passes her a hot         dog; then defensively) I was getting hot dogs. What do you mean?\par
\par
CONTINUED\par
\par
365CONTINUED  LOIS       (not giving an inch) I mean it strikes me funny that every time Superman  comes around, you disappear.\par
\par
CLARK                    (trying for casual)  Superman? Was he here?\par
\par
LOIS And you weren't as usual. What do you say to that?\par
\par
CLARK You've got mustard there, on the corner of your --\par
\par
Lois wipes it off. She won't be talked out of this now.\par
\par
BEGIN TO TRACK WITH them as they walk away from Lookout Point and along the  path that runs alongside the churning, rapid-ridden Niagara River.\par
\par
LOIS  I never started to put it together before, Clark. And that's  funny because a good reporter isn't supposed to let anything  slip by her. But I get it now. I'm beginning to.\par
\par
Clark looking more and more nervous the closer she gets to it.\par
\par
CLARK         (trying to fake her out)  Lois, I don't have, as usual, the vaguest idea what --\par
\par
LOIS C'mon, don't fake me out, Clark.          (pause) Or whoever you are.\par
\par
CLARK Whoever, I         (acting annoyed) Look, why don't you just take a walk and clear your head and I'II meet you back at the motel.\par
\par
In a huff, he turns and starts to walk away.\par
\par
366NEW ANGLE --  Clark, in f.g., coming TOWARD CAMERA. Lois is behind him. She watches him walk a few steps and then drops the bombshell.\par
\par
LOIS        (very quietly) You're Superman, aren't you? \par
\par
We can SEE his reaction, but she can't. Then he turns to her.\par
\par
NEW ANGLE - MED TWO SHOT\par
\par
CLARK       (playing "incredulous")  I'm . . . what???\par
\par
LOIS Tall, broad shoulders, dark hair . . . Listen, I've got to  give you credit. Your disguise is nearly perfect. I mean,  if you fooled me, and I am nobody's fool --\par
\par
CLARK        (tense) I'd better phone Perry. There must be a reporters' home for the mentally ill somewhere.\par
\par
LOIS      (she won't be swayed) Go ahead. Cop out. Run away.\par
\par
She turns and walks out onto the little bridge that crosses the churning rapids. Clark follows her looking quite anxious.\par
\par
CUT TO:\par
\par
367EXT. BRIDGE  - DAY\par
\par
CLARK Lois, I'm not running --\par
\par
LOIS Okay, okay.                 (adamant; she comes to a       halt in the middle of the bridge)          I'll tell you what. You say I'm wrong. And I  say I'm right. Impasse. So I'll make a little bet  on it?\par
\par
CONTINUED\par
\par
367CONTINUED\par
\par
CLARK How do you expect to win a silly  --\par
\par
TIGHT CLOSEUP LOIS -- She couldn't be more serious.\par
\par
LOIS Because of what I'm betting.          (pause) My life.\par
\par
CLARK What?\par
\par
NEW ANGLE, FAVORING LOIS\par
\par
LOIS You heard me. I'm so sure you're Superman, I'm  going to stake my life on it. If I'm right, you'll turn  into Superman -- you must tell me how you do that someday. is it under your suit --? And if I'm wrong --          (shrugs)  -- well, then you'll have one hell of a story.\par
\par
CLARK       (laughing it off) You've got some imagination, Lois. For one brief  moment there, you practically had me convinced.\par
\par
He starts to walk off the bridge. She doesn't budge.\par
\par
CLARK I say 'practically' though, because no one is gullible   enough to --\par
\par
ON LOIS -- A very strange grin on her determined face.\par
\par
LOIS      (almost singing it) Bye- bye, baby.\par
\par
And with that, she calmly climbs over the bridge rail and before the disbelieving eyes of  Clark Kent, jumps into the raging Niagara river.\par
\par
368WIDE SHOT, ANGLE DOWN: Staying afloat in these rapids is much more difficult than Lois imagined. She is struggling. At the opposite side, pushed against the bank, is a large log and tree branch from a fallen tree that has been wedged against the shore. \par
\par
CLOSEUP CLARK\par
\par
CLARK Lois!\par
\par
ON LOIS -- in the water; panicked.\par
\par
LOIS  Help!  Superman!\par
\par
ON CLARK --  in a quandary.\par
\par
CLARK Now what do I do?  He darts his eyes to:\par
\par
POV:  The log in the water.\par
\par
370CLOSEUP CLARK -- He sucks in air in a mighty inhale of super-breath.\par
\par
371ON THE RIVER: EFFECTS -- The super-breath pulls the log from free from its mooring and takes it right to where Lois struggles.\par
\par
CLARK  (O.S.)  Lois! Grab hold! Grab the log!\par
\par
 Struggling against the strong current, she manages to get hold the branch.\par
\par
372ON CLARK: Huffs and then puffs a mighty exhale of Super-Breath.\par
\par
373EFFECTS: ( ON THE RIVER) the gust of air sends the log with Lois holding onto it  shooting across the river like a rocket, right up to the bank and dry land.\par
\par
374NEW ANGLE -- As Clark comes running off the bridge clambers down the side of the bank  to help pull her to safety, a wet and bedraggled and frightened and miserable Lois manages to scamper to safety.\par
\par
CLARK       (pulling her up) Here, grab hold . . . take it easy, I've got you.\par
\par
CONTINUED\par
\par
374CONTINUED\par
\par
He pulls her up to dry land, back in the path. Lois looks as described above, all of which,  on her makes her look very appealing and sexy.\par
\par
CLARK Are you all tight?\par
\par
LOIS                   (stunned)  He . . . didn't . . . come . . .\par
\par
CLARK             I told you it was a stupid thing to --\par
\par
LOIS     (can't get over it) He didn't come. He was here. Just before. he could have saved me.\par
\par
CLARK Are you convinced?\par
\par
LOIS       (still lost in thought) What?         (realizing) Oh, that you're not Superman!         (with a shake of her head) Temporary insanity on my part, Clark.          (angry) That self-centered, no good --\par
\par
CLARK         (pacifying her) You took a ridiculous chance. He's probably a long  way from here by now.\par
\par
LOIS Good riddance.      (suddenly conscious        of her appearance) I've got to get out of these wet clothes. Oh, look at  my hair!\par
\par
CONTINUED\par
\par
374CONTINUED  (2)  CLARK We'd better drive back to the motel.          (he puts an arm around her) C'mon, you'll catch your death.\par
\par
Holding her to him, they begin walking toward the lot. TRACK JUST AHEAD OF them, in  MEDIUM CLOSEUP TWO SHOT.\par
\par
LOIS You're getting soaked.\par
\par
CLARK That's okay, I don't want you to catch a chill.\par
\par
She looks up at him gratefully.\par
\par
LOIS I'm glad you're not Superman.\par
\par
CLARK          (a smile) You are ?\par
\par
LOIS  (very little-girlish under     his manly shoulder) I'm glad you're Clark Kent. All of a sudden Clark Kent is looking pretty good to me.\par
\par
A he hugs her tighter to him, CAMERA STOPS TRACKING and TURNS 90 DEGREES TO  WATCH them walk away, growing smaller the further they get FROM CAMERA.\par
\par
CUT TO\par
\par
375EXT . FROZEN NORTH , JUST OUTSIDE THE FORTRESS - DAY \par
\par
CLOSEUP LEX LUTHOR\par
\par
LUTHOR        (triumphant) Yes! Yes! There it is! Unmistakable!\par
\par
CONTINUED\par
\par
375CONTINUED\par
\par
PULL BACK TO SEE them on the Snowmobile, as Luthor aims his black box at the sky.\par
\par
LUTHOR                   (watches the dial) Kryptonian Alpha Waves!  Ol' Betsy found me  Superman's pad, and Ol' Betsy's going to find me  the Freshmen of the Apocalypse!\par
\par
INSERT: THE BLACK BOX TICKING AND BEEPING as he points it skyward.\par
\par
EVE What do you need them for?\par
\par
LUTHOR Dummy! Anything he can do, they can do better!  They can give me the world!\par
\par
EVE What do you want with the world? You don't even  like the world.\par
\par
LUTHOR The world, Miss Teschmacher, is a lot of real estate.\par
\par
EVE Land, land, always land . . .\par
\par
LUTHOR -- Which they'll develop for me! As soon as they get  rid of Superman and we take over, I'll put them to work.      (seeing it in his mind's eye;         wild with enthusiasm) A super construction crew! No, a destruction crew!  Leveling forests! Creating coastlines! They can move  mountains! Think of it, Albert! The things you can  build! Monuments to me! Hotels! Ski resorts! 'Luthorland!'\par
\par
ALBERT         (caught up in the spirit, rhapsodically) A sports-palace . . . \par
\par
CONTINUED\par
\par
375CONTINUED\par
\par
LUTHOR And who do we have to thank for it?        (deliciously) Superman! For setting them free! Doncha love it?          (fondly) Ah, Lex Luthor, you're one helluva fella. Even when  you lose, you win.\par
\par
CUT TO\par
\par
376INT. BEDROOM, HONEYMOON SUITE, NIAGARA FALLS MOTEL - DAY\par
\par
The bedroom is just as kitschy and over-decorated as you would expect. Heart-shaped bed,  etc. Lois Lane, wearing a bathrobe and with a towel knotted turban-style around her head  (having Just washed her hair) is seated at a dressing table, staring morosely at her reflection in the mirror. On the right side of the dressing table rests a curling iron, (plastic handle, metal "blades"), plugged into a wall socket.\par
\par
As SCENE BEGINS, Lois takes the towel off her head and shakes her damp hair.  Now she  looks like a shaggy dog. She looks in the mirror again.\par
\par
LOIS Ugh.\par
\par
SOUND: A KNOCK at the DOOR that connects the bedroom to the rest of the suite.\par
\par
LOIS Yes?\par
\par
CLARK (O.S.)  Can I come in?\par
\par
She starts to grab for the towel to cover her hair again, then figures why bother.\par
\par
LOIS Oh, what the hell -- yes, sure, c'mon in, Clark.\par
\par
CONTINUED\par
\par
376CONTINUED  Clark enters. He's feeling very happy about the turn of events and the romantic encouragement Lois has at last given him. He smiles at her affectionately.\par
\par
LOIS I know. I look like something the cat dragged in.\par
\par
CLARK You look cute.\par
\par
LOIS Well, I am cute, but not like this.                     (smiles warmly at him) Thanks, anyway. It's nice to know there are still some gentlemen left.\par
\par
ON LOIS -- She takes the curling iron by its handle and flicks a drop of water from a nearby  bowl on the end to see if it is hot yet.\par
\par
INSERT:  It sizzles, evaporates.\par
\par
ON CLARK -- watching her, enjoying the moment.\par
\par
CLARK I'm starting to really feel like a newlywed.\par
\par
LOIS        (little grin) I guess the next thing is I watch you shaving in the  morning.\par
\par
CLARK I guess I'd like that.\par
\par
LOIS Oh, come on, I bet there've been plenty or girls who . . .       (begins to think about it) . . . well, a few anyway, who . . .\par
\par
As she turns to look at him questioningly with the realisation that he may actually be a virgin, Clark quickly changes the subject.\par
\par
CLARK Anyway, as soon as you're ready, we can look  into that Honeymooners Miniature Golf Tournament .\par
\par
CONTINUED\par
\par
376CONTINUED\par
\par
FAVORING LOIS, MED. SHOT, CLARK IN B.G. She puts the hair curling iron down on  the dressing table and crosses to the dresser.\par
\par
LOIS                      ( scanning the top of the dresser) Bobby pins, bobby pins -- I know they're here  somewhere.\par
\par
ON CLARK:  He looks at the dresser.\par
\par
377EFFECTS: X-Ray Vision effect in his eyes.\par
\par
POV:  The bobby pins are in the top drawer, under a scarf. \par
\par
378ON CLARK -- who, of course, says nothing about it.\par
\par
CLARK Maybe you left them in your purse.\par
\par
ON LOIS\par
\par
LOIS At least I had the presence of mind not to jump in  with my purse.      (still hunting) God, what a maniac I must have looked like to you.  I'm really embarrassed about this, Clark. I'd appreciate it if you wouldn't mention -- \par
\par
NEW ANGLE: Opening the drawer, she finds the bobby pins, puts a few in her hair, then  pulls out another section or hair to be curled.\par
\par
CLARK  Of course not.  LOIS Thinking that you were him, when all the time  I didn't take the time to appreciate you for yourself --      (holds a hand out) Hand me that curling iron, would you?\par
\par
ON CLARK -- who has been absorbed in what Lois was saying. He reaches out  automatically to the dressing table.\par
\par
379IN A SERIES OF FAST CUTS :\par
\par
A) INSERT:  He grabs it by the wrong end -- the hot, metal tongs.\par
\par
B) LOIS -- as he does so:\par
\par
LOIS Be careful! That's h --\par
\par
      She never even finishes the sentence, as her eyes widen in astonishment.\par
\par
C)  CLARK -- Holding it in his hand. It is clear he feels no pain.\par
\par
D)  CLOSEUP LOIS -- Her jaw drops as she stares in wonder.\par
\par
E)  ON CLARK -- a terrible expression on his face. He realises that he has inadvertently        blown his cover after all that trouble he's taken till now. Foolishly he keeps holding the        hot curling iron. Then he slowly puts it doom.\par
\par
F)  LOIS -- She walks slowly over to him and takes his hand, turns it over, looks into the       palm.\par
\par
G)  INSERT:  His hand. It is completely unmarked by a burn.\par
\par
LOIS                  (pure wonderment)  It's true. It's true.\par
\par
CLARK Lois, I . . .\par
\par
LOIS I was right.  You are Superman.\par
\par
CLARK       (turning away abruptly) You're just being ridicu --\par
\par
But he can't finish the sentence, as he turns his back on her in anguish and frustration.\par
\par
Lois, a bit hesitantly, goes over to him, gently touches his back.\par
\par
LOIS I'm . . . sorry?\par
\par
Clark turns back to her, looking very serious, very upset.\par
\par
CONTINUED\par
\par
379CONTINUED CLARK You don't have anything to be sorry about.         (in despair) How could I?\par
\par
LOIS Maybe you wanted to. Subconsciously.\par
\par
CLARK Do you think so?\par
\par
LOIS        (gently) If not in the depths or your mind, maybe deep in  your heart.\par
\par
380MOVE IN CLOSER to them.\par
\par
CLARK         (soberly)  We'd better talk.\par
\par
LOIS I'm in love with you. You know that already. How  do you feel?\par
\par
CLARK We'd better talk.\par
\par
LOIS  I'm listening.\par
\par
CLARK Not here. Perry'll be calling at six to find out  what's happening.\par
\par
LOIS                   (a tender smile) What's happening. That's the understatement of the year.  Well . . . where do you want to. . . talk?\par
\par
CLARK Now that you know me, I guess it doesn't matter. You ought to know it all.\par
\par
CONTINUED\par
\par
380CONTINUED  \par
\par
Lois comes very close to him.\par
\par
LOIS I want to. Whatever it is.\par
\par
CLARK I want you to. Funny, I never let myself feel like  this before.\par
\par
LOIS  Must have been tough.\par
\par
CLARK       (emotion starting to rise within him)  Yeah. Tough.\par
\par
LOIS Well . . .?\par
\par
CLARK  Let's go to my place.  LOIS Your place?\par
\par
She looks down at herself in her bathrobe; a small warm smile beginning.\par
\par
LOIS Maybe I should change.          (pause) Maybe you should, too.\par
\par
Clark begins to Smile same smile, as they look into each other's eyes, for the first time acknowledging and enjoying their love and conspiracy. MOVE IN VERY TIGHT on them  and:\par
\par
CUT TO\par
\par
381EXT. SKY - DAY\par
\par
LONG SHOT --  Superman flying through blue sky, Lois Lane cradled in his arms. The  SHOT has a magical, fairytale quality to it; it is every girl's dream come true. To be swept off  your feet by a knight in shining armor is one thing; to be swept off your feet and into the  clouds by a knight in a Classic cape is quite another.\par
\par
CONTINUED\par
\par
381CONTINUED\par
\par
CLOSER ON THEM AS THEY FLY -- She is a bit scared, holding him tight around the  neck, but she wouldn't miss a second of it.\par
\par
SUPERMAN        (parodying a pilot) If you care to take a look left, you'll notice we  are passing over Nome, Alaska.\par
\par
Lois looks down briefly, then looks quickly up at him again, wide-eyed, breathless, speechless, capable only of a small exultant laugh as she tightens her arms around his neck.\par
\par
CUT TO\par
\par
382EXT. FORTRESS OF SOLITUDE - DAY\par
\par
FULL SHOT: Superman and Lois land at the door of the fortress. He sets her gently down on  her feet.\par
\par
CLOSER -- Superman walks to the door and pushes it open. He then touches the "empty doorway" (the invisible force field) with his bare hand.\par
\par
EFFECTS: It glows and then fades just as it did for Luthor's neutralizer. All this happens  quickly.\par
\par
Superman steps through it, turns, to see Lois still standing outside, dazzled by everything.\par
\par
SUPERMAN       (holds his arms open to her) You must be freezing.\par
\par
LOIS      (softly) I must be. But I'm not.      (looking around) Your home. This is your home.\par
\par
SUPERMAN Well, a fortress is not a home.                   (he takes her hand,                     leads her inside)  Not till now.\par
\par
The door closes behind them.\par
\par
CUT TO\par
\par
383INT. FORTRESS OF SOLITUDE - DAY\par
\par
CAMERA BEHIND THEM as they stand gazing at the enormous room. He slips an arm  around her shoulder.\par
\par
SUPERMAN No one else has ever been here before.\par
\par
She slips an arm around his waist, grins up at him.\par
\par
LOIS Not even a cleaning woman on Thursdays?\par
\par
NEW ANGLE -- Lois turns, looking away from him for the first time and takes in the various  aspects of the incredible room.\par
\par
LOIS What a photo-story this would make  for Sunday maga --\par
\par
Superman pulls her back to him.\par
\par
SUPERMAN        (warningly) Lois!\par
\par
She turns into his arms, ending with her face pressed to his chest. MOVE IN TIGHT as he  raises her face to him , looks into her eyes. Suddenly, in a rush of emotion, they kiss. It is  their first kiss, and it is so good that most of the audience would settle for one like that in  their lives.\par
\par
SUPERMAN      (softly) Lois . . . \par
\par
With one hand he strokes her hair as if it were the only wonder of the universe he hadn't  seen.\par
\par
SUPERMAN          (lightly) So you want to see the place?\par
\par
LOIS      (picking up the light tone) As another lady once said, whither thou goest . . .\par
\par
CONTINUED\par
\par
383CONTINUED\par
\par
He moves ahead of her, leading the way, and she tentatively reaches out and lightly caresses  his back, putting her hand under the cape. He stops, having felt this for just one beat, and his hand goes back to catch her, tightly and draws her alongside him. They are very much in  love.\par
\par
LOIS       (looking up at him         very earnestly) All my life, all I ever cared about was --                   (gestures off) -- out there. And being snappy about it. Well --       (deep breath) -- I'm not very snappy tonight.         (she leans her cheek          against his arm) And. I don't think there's anything out there.\par
\par
PAN THEM, WIDENING, as they walk to kitchen area in the far recesses of the Fortress.\par
\par
CUT TO\par
\par
384INT. KITCHEN AREA, FORTRESS OF SOLITUDE - DAY \par
\par
SUPERMAN It's not bad, huh?\par
\par
LOIS      (looking around this bleak room) Could use a woman's touch. Especially around  dinner time.\par
\par
SUPERMAN Dinner. Oh, yes.      (a little embarrassed) I don't usually do much about --\par
\par
He touches his hand to the food storage unit. The door opens, revealing meager contents:  eggs, cheese, milk.\par
\par
CONTINUED\par
\par
384CONTINUED\par
\par
ON LOIS -- studying the food in there.\par
\par
SUPERMAN I mean, there's a few things --\par
\par
LOIS      (brightening) There's a souffl\'82, is what there is.\par
\par
SUPERMAN       (just delighted) A souffl\'82! In my kitchen!\par
\par
He touches her neck as she bends to remove the rood from the storage unit.\par
\par
SUPERMAN She cooks too! Hidden talents.\par
\par
LOIS      (a touch daring)  And just wait till after dinner.      (quickly)  Now what do I need?       (looks around the room) Flowers!\par
\par
SUPERMAN In the souffl\'82?\par
\par
LOIS        (laughs) On the table, silly. Maybe I shouldn't call you 'silly.'\par
\par
SUPERMAN          (lovingly) You can call me anything.        (venturing a joke) As long as you don't call me late for dinner.       (pleased with himself)  Flowers, hmmm?\par
\par
CONTINUED\par
\par
384CONTINUED  (2)\par
\par
LOIS Well, they brighten a room, make it warm. Cozy.  Even a few daisies would do wonders for this place.\par
\par
Superman turns, surveys his fabulous Fortress, finding it for the first time rather. . . uncozy. Suddenly, swiftly, he turns and starts out of the room.\par
\par
SUPERMAN I'll be right back.\par
\par
CUT TO \par
\par
385EXT. SOUTH AFRICAN JUNGLE - DAY\par
\par
FULL SHOT : A lush, beautiful jungle in South America, filled with incredible wild orchids  and other exotic flowers growing in profusion. Superman lands in the midst of this and  quickly snatches up an armful or the most beautiful for a bouquet. Having done so, he stops a  moment, then suddenly smiles, having thought of another idea.\par
\par
CUT TO\par
\par
386EXT. SKY ABOVE PARIS (EIFFEL TOWER) - DAY\par
\par
LONG SHOT: Superman, carrying his bouquet, flies past the Eiffel Tower in Paris, now  carrying a bottle of champagne as well.\par
\par
CUT TO \par
\par
387EXT. STREET. PISA - ITALY\par
\par
ON THE CORRUGATED AWNING OF A SOUVENIR STAND as two hands tool it up. As the interior is revealed, we SEE the contents of its shelves: rows and rows of cheap plastic  souvenir Leaning Towers of Pisa, all leaning identically; rows and row's of  picture postcards  with the same view. PULL BACK and WIDEN TO REVEAL the Italian Shopkeeper  admiring his stock as he gets ready for the day's tourists. CONTINUE TO WIDEN: Now we SEE in the distant b.g. the real Leaning Tower of Pisa, tilted at the same familiar angle as all these plastic replicas. As the man hums happily, ZOOM PAST him TO an approaching blue dot in the sky. Continue to HEAR the MAN SINGING O Sole Mio.\par
\par
CUT TO \par
\par
388EXT. SKY ABOVE PISA - DAY\par
\par
Superman is humming O Sole Mio as well -- flying blithely, love-struck through the sky, looking for gifts for Lois. But now he notices something that disturbs him.\par
\par
SUPERMAN What the -- my God! That thing's going  to hurt somebody.\par
\par
He abruptly changes course and starts a rapid descent.\par
\par
SUPERMAN Must have been a minor earthquake or something.\par
\par
389NEW ANGLE, WIDE, FULL SHOT: Approaching the top of the Leaning Tower, Superman  cradles his presents in one arm  and extending the other fully braces himself in mid-air and starts to push it upright.\par
\par
SUPERMAN Here you go big fella. . .   CUT TO\par
\par
390EXT. SOUVENIR STAND PISA - DAY\par
\par
As in the opening SHOT: The shelves of the stand right, the owner standing there dusting them, the real Leaning Tower in b. g. But now, as he stops his dusting to take an automatic look at the source of his success, a remarkable thing is happening. Slowly, inch by inch,  Superman pushes it into an upright position. The Leaning Tower of Pisa isn't leaning  anymore; it's just another tower.\par
\par
391The Italian entrepreneur looks, goes back to his work, then does an incredible double take.\par
\par
SOUVENIR SELLER Mama Mia!!!\par
\par
He clutches his heart melodramatically, looks up.\par
\par
392POV: Superman flies over and waves down cheerily.\par
\par
SUPERMAN Don't worry! It's fine now!\par
\par
393ONTHE SOUVENIR SELLER: Hysterical, smashing his wares off the shelf, making vile  and obscene gestures at the retreating figure of Superman:\par
\par
SOUVENIR SELLER Super-cretino! Stronzo!\par
\par
CUT TO 394INT. KITCHEN AREA, FORTRESS 0F SOLITUDE - DAY\par
\par
A shy Superman presents his flowers and Champaign to a beaming Lois.\par
\par
LOIS This is so incredible I hesitate to ask a mundane question. But -- where's the stove?\par
\par
SUPERMAN       (blankly) Stove? Who needs a stove?\par
\par
LOIS Well I expected a lot of. . . new experiences tonight,  but I wasn't ready for --                   (gestures to it) -- raw souffl\'82.\par
\par
SUPERMAN Oh, that's no problem.\par
\par
The souffl\'82 in its dish sits on a table. Superman turns to it.\par
\par
395EFFECTS: Heat vision radiates from his eyes, beamed at the souffl\'82. It rises almost instantly,  perfectly.\par
\par
396ON LOIS -- watching in amazement.\par
\par
397ON THE SOUFFLE -- It gets higher and higher .\par
\par
398NEW ANGLE \par
\par
LOIS Stop!                 (as he does so) Never overcook a souffl\'82. You'll learn.\par
\par
CONTINUED\par
\par
398CONTINUED\par
\par
Grinning at her, Superman takes the champagne bottle and merely touches the cork with one finger. It flies out with a mighty POP, bubbly spilling over in classic style.\par
\par
LOIS      (a sigh of happiness) It's so nice to have a man around the Fortress.\par
\par
They walk out of kitchen area to dining area, she bearing the food, he the drink.\par
\par
CUT TO \par
\par
399EXT. DESOLATE PLAINS OF THE AUSTRALIAN OUTBACK - DAY\par
\par
(But at this point, we don't know it is Australia. From the bleak, arid, deserted look of it, it might be the surface of another moon-like planet.) WIDE SHOT of this desolate patch of land, which is really just a large rock outcropping scattered with small pebbles. ANGLE  DOWN as suddenly, a booted foot comes INTO FRAME, kicking at a pebble. PAN UP: It is Ursa, looking very discontent.\par
\par
URSA Let's get out of here.\par
\par
WIDE SHOT -- The four in this barren region, against an empty sky. Zod sits on a boulder,  taking a soldier's rest. Non stands in place, twisting slightly, Psychotically, making small  restless noises. Jak-El and Ursa pace aimlessly, kicking rocks.\par
\par
JAK-EL She's right. This planet is not a lot of laughs.\par
\par
URSA No me. Nothing to . . . play with.\par
\par
Non's Neanderthal growling is getting louder and more disquiet.\par
\par
JAK-EL Even he's getting bored.\par
\par
He kicks at something that makes a different Sound than a rock. He bends, picks it up.\par
\par
ON IT: An empty Foster's beer can. But this means nothing to them -- it might be another  kind of rock. He tosses it away.\par
\par
JAK-EL  Funny kind of rock.\par
\par
CONTINUED\par
\par
399CONTINUED\par
\par
FOLLOW THE BEER CAN: It rolls to the edge of what we now realize for the first time is a  plateau. As it drops off the cliff, WIDEN AND PULL BACK TO REVEAL the setting and  an equally uninviting valley below.\par
\par
ON THE FOUR:\par
\par
ZOD Enough! There is nothing here for us. This planet  is not capable of supporting life forms.\par
\par
The others rise as well and move in a line to the edge of the rocky plateau, ready to fly off.  But as they, so to speak, begin to rev up their motors, a kangaroo comes hopping across their  line of vision in f. g., about fifty feet in front of them. With a happy roar, Non bounds toward  it and decks it with one blow. As he lets out a triumphant howl:\par
\par
URSA Nice for him. What do I do?\par
\par
ZOD      (sharply; suddenly)  Quiet! Listen!\par
\par
SOUND: The distant SOUND of a CAR MOTOR and an automobile HORN.\par
\par
As they cock their ears in their discovery of Super-Hearing, BEGIN TO ZOOM PAST them  TO mountain in b.g. where we can just MAKE OUT a shimmering automobile shape, moving along steadily.\par
\par
CUT TO \par
\par
400INT. POLICE CAR - DAY\par
\par
(NOTE: From here on, actors proficient in Australian regional dialect should feel free to alter  the dialogue a bit. But not much.)\par
\par
Seated in the front seat of the car are TWO TERRITORIAL POLICE, men in their 30's and in local cop uniform. They are BILLY and BARRY.\par
\par
BILLY      (talking on hand mike        to radio contact) Did they bring them two Aborigines in yet?\par
\par
CONTINUED\par
\par
400CONTINUED\par
\par
The RADIO VOICE is that of radio operator MAY.\par
\par
MAY        (RADIO VOICE)  Drunk as a pair of wall-eyed wallabies. And Joe Harris says says he ain't gonna waste good gasoline  towin' in what's left of that pick-up truck of theirs.\par
\par
BILLY Well, it only gets this bad once a year, May.\par
\par
MAY         (RADIO VOICE)     (griping good naturedly) Whoever said Wamago had to have the territorial  sheep-shearing contest every year ought to be shot.\par
\par
BARRY       (mischievously) Why, May, wasn't it your grandpa thought that up?\par
\par
MAY         (RADIO VOICE)      (after a pause) So it was. . . and he was shot, come to think of it. \par
\par
BILLY        (chuckling) lO-4.\par
\par
Clicks off, hangs up mike.\par
\par
BARRY Don't see why the Territorial Patrol can't see fit to  send us extra help for this thing. How do they expect  two lone peace officers to handle that bunch of beer- soaked sheep herders?\par
\par
BILLY Well, if it gets hairy like last year, we'll Just give a  holler and they'll send a few troopers in to help. \par
\par
CONTINUED\par
\par
400CONTINUED  BARRY Help drink up the beer, you mean. I swear, Billy,  why is it 364 days a year you never see mor'n ten  new faces in Wamago and come the Sheep Shearin'  Tournament, every weirdo that can chop wool comes  out from under a rock or somethin'.\par
\par
MAY      (RADIO VOIC~)  Billy? Your wife called in. Wants to know should  she hold your dinner.\par
\par
BILLY       (taking mike up) Tell her that's more'n I been able to do since I  married her.\par
\par
The two men laugh.\par
\par
MAY She'll be glad of that.\par
\par
BILLY      (clicking off) 10-4\par
\par
BARRY I mean, it used to be a man knew every face in these  parts for --\par
\par
Suddenly his eyes widen in astonishment at what he sees through windshield.\par
\par
BARRY Holy! \par
\par
401POV: On the horizon, coming down the road, the Four Villains. They look truly bizarre as  always, in their outfits with the additions of astronaut accoutrements, not to mention Ursa's  mask and Jak-El's boots, etc.\par
\par
402ON THE COPS \par
\par
BILLY Some out-of-town entries, looks like. Good Lord,  they're wores'n hippies! This is a wool-gatherin'  not a costume ball.\par
\par
BARRY They must've run out of gas.\par
\par
BILLY Or whiskey. Whichever went first.\par
\par
CUT TO\par
\par
403EXT. ROAD - DAY \par
\par
LONG, WIDE: On far left, the Four blocking the road, on far right, the police car coming toward them. The red light goes on; the HORN starts to BLOW impatiently. The Four, ranging across the roadway like the Apaches in a John Ford western, stand put.\par
\par
CUT TO\par
\par
404INT . POLICE CAR - DAY\par
\par
BARRY Just look at 'em. No respect for law and order.\par
\par
BILLY      (philosophically) Well, it was condemned criminals started this country,  Barry, so I guess we can't say the neighborhood's  deterioraitin'.       (leans on his horn) What're they, deaf or somethin'?\par
\par
CUT TO\par
\par
405EXT. ROAD - DAY\par
\par
ZOD How crude are these vehicles.\par
\par
CONTINUED\par
\par
405CONTINUED\par
\par
JAK-EL But there's a surprise in the package. Men.\par
\par
URSA Men. . .   ZOD I like this globe that flashes red like our Krypton sun.  But not this irritating noise.\par
\par
CLOSER IN as the car, moving slowly, approaches, HORN BLARING.\par
\par
ZOD        (stridently)  Make way!\par
\par
CUT TO\par
\par
406INT. CAR - DAY\par
\par
BARRY Did you hear what that Joker said? Godamnit --\par
\par
He brakes the car to a sudden stop.\par
\par
CUT TO\par
\par
407EXT. ROAD - DAY\par
\par
The Four surround the car, looking at it curiously. The door opens and Barry, angry, gets out.\par
\par
BARRY Now look here, you besotted bunch of --\par
\par
Non, fascinated by the whirling red dome light, comes closer, to examine it.\par
\par
BARRY Jesus! How long's he been in the Outback? Since the Stone Age?\par
\par
CONTINUED\par
\par
407CONTINUED\par
\par
Non stares wonderingly, bemused at the light. Suddenly, with an animal-like gesture, he  reaches for it and wenches it off the roof. He stares at it, making odd noises, and then, as if it  were the natural thing to do, puts it on his head like a crown. Billy gets out of the car, pissed- off.\par
\par
BILLY What the hell do you think you're doin'! You can't --\par
\par
Non growls ominously at him. Billy shrinks back.\par
\par
BILLY       (clearly unsettled) I'm callin' for help, Barry.\par
\par
He starts to get back in the car, but General Zod stops him, grabbing him by his shirt front.\par
\par
ZOD     (interested in Billy's badge) What is this symbol? Do you follow another leader?\par
\par
With that, he yanks off the police badge, pins it on himself.\par
\par
BARRY       (going for his gun) Okay, buddy, you all Just bought yourselves sixty days in the --\par
\par
As both cops pull out their guns:\par
\par
ZOD A weapon of some sort?\par
\par
BILLY      (brave, but shaking) This gun has your name on it!\par
\par
408FAVORING JAK-EL: SPECIAL EFFECTS. He turns on his HEAT-VISION. The ray melts the two gun barrels like so much rubber. \par
\par
409As the cops stare incredulously at the gun in their hands:\par
\par
JAK-EL Slowest shot in the west.\par
\par
ON THE COPS -- Amazed and frightened out of their wits.\par
\par
 BARRY God!  ZOD     (correcting him) Zod.\par
\par
BILLY                  (anxious to get away) Now look, boys -- and, uh, ma'am. . . we're not  lookin' to make trouble. . . I know how it is when  you've had a few too many         (stares uncomprehendingly) -- how in hell did he do that??\par
\par
Jak-El, with elaborate charm and niceness, opens the car door.\par
\par
JAK-EL Don't let us detain you, sirs. We just wanted. to make your  acquaintance. New in town and all that. You can go now.\par
\par
BARRY But --\par
\par
BILLY Don't argue. Barry, let's just get outta here.\par
\par
They get in their car. Jak-El, with a bow, shuts the door. As the others stand watching, Billy  starts the motor.  Jak-El leans in the front window, seeming to be interested. IN CLOSE.\par
\par
JAK-EL Very primitive. How does it work?\par
\par
BILLY . . . Internal combustion. . . sir.\par
\par
JAK-EL      (brightening) Ah! Internal combustion!\par
\par
And with that he lifts one side of the car off the ground and heaves it. 410LONG SHOT. The car goes off the cliff on the side of the road, tumbling over and over,  smashing against outcrops of rock, finally stopping in a smashed heap at the bottom, upside down. A moment later it EXPLODES in a roar of fire.\par
\par
JAK-EL (O.S.)  He must have meant external combustion!\par
\par
411EXT.  MAIN STREET - AUSTRALIAN VILLAGE - DAY\par
\par
On a crudely-lettered, hand-painted sign: "WELCOME TO WAMAGO." PULL BACK TO REVEAL that this is a banner hung over a doorway. AS PULL BACK CONTINUES a man comes racing through the doorway, half-flung, and lands in the dirt road before it. Now a WOMAN strides through the doorway, her large hands on her large hips.\par
\par
WOMAN                      (shouting) And stay out!\par
\par
But, a good.-natured sort, she shakes her head, laughing as the man runs off.\par
\par
WOMAN Shame on you. Harry Hargitay!\par
\par
CONTINUE SLOW PULL BACK, WIDENING TO REVEAL that she stands in the  doorway of Tim's Saloon. Aproned, blowsy, big and blonde, she is the barmaid who takes  no nonsense from the local toughs. Her strength and womanliness serve a double purpose:  she is the local midwife. This is RITA.\par
\par
CONTINUE PULL BACK until the entire "MAIN STREET" is REVEALED. Tim's Saloon,  an old general store, a little garage-machine repair shop and a tiny post office with a tall radio  aerial on its roof all front on the dusty square of this remote outpost. Another banner is stretched over the post office: "WAMAGO ANNUAL SHEEP-SHEERING FESTIVAL."\par
\par
A much larger crowd mills around than is usual in this town, i.e. about 50 folks now, by tonight's contest there might be 75. Among them, sheep-shearers, the great sharp shears hanging from their belts, cans of beer in every hand; herders, wives, kids, and one sad-faced. aborigine pushing a large broom to sweep away the accumulating debris, as well as an ice vendor and an elderly couple dressed for a really great event (of about 25 years ago), strolling the square in the shade of her parasol.\par
\par
ON RITA, MOVING with her as she passes the store, waving to a lady examining a bolt of  cloth in the sunlight, and crosses to Johnny Greer's Auto And Machine Repairs -- a ramshackle  garage with one gas pump in front. Most of 35 year old. JOHNNY GREER is under an old car; his l5 year old son,  WILLIE, is passing him a wrench. Rita stops. MOVE IN.\par
\par
CONTINUED\par
\par
411CONTINUED\par
\par
RITA Is that Johnny Greer on the other end of those legs?   He slides out - grease begrimed, smiling up at Rita.\par
\par
JOHNNY Rita, me girl, there is nothin' as excitin' to me as  the underside of a low slung chassis.\par
\par
RITA        (bawdy flirting) It's the car you're speakin of, I presume?\par
\par
JOHNNY                 (with a quick look at                   his son; sotto voce) Not around the boy, wouldya?\par
\par
With a wink, he slides back under.\par
\par
FOLLOWlNG as she moves on across the square with easy familiarity, calling out greetings to all and sundry. But her smile vanishes as she sees something.\par
\par
HER POV: A cluster of 3 or 5 sheep-shearers and herders, rough and mean-looking. The largest and meanest of the lot, a bully named ALFIE, swigs down beer as Rita, O.S., mutters  to herself:  RITA (O.S.)         (worried) Alfie's here.\par
\par
As she speaks, Alfie crushes the beer can in one fist, and drops it in the dirt just to the right of the aborigine who is passing, pushing his broom.\par
\par
RITA (O.S.) . . . startin' earlier than usual. . . \par
\par
The aborigine, doggedly following his regular path, misses the beer can. Alfie shoves him  violently, knocking him to the ground.\par
\par
RITA (O.S.)  . . . and meaner than usual.\par
\par
CONTINUED\par
\par
411CONTINUED  (2)\par
\par
As the aborigine gets up and scuttles off, Alfie roaring with laughter, there comes an O.S.  call:\par
\par
PREGNANT WOMAN (O. S.) Hope I don't need you today, Rita.\par
\par
PAN TO a YOUNG PREGNANT WOMAN waving at Rita.\par
\par
ON RITA -- grinning back.\par
\par
RITA Like I told all my ladies -- today I'm not deliverin',  only pourin'.\par
\par
 Cheery again, Rita crosses to the clapboard post office. A formidable black Harley-Davison  motorcycle is parked in front. She opens a screen door and enters, calling: \par
\par
RITA May!  May!\par
\par
CUT TO\par
\par
412INT. POST OFFICE - WAMAGO - DAY\par
\par
Dusty, cubbyholed, cluttered with stamp rolls , papers, used tea cups. Only one object is  immaculate -- a polished ham radio sender-receiver. Seated before it, headphones on her gray  head, is MAY -- the sharp-tongued old lady heard earlier who now spins around as Rita's  booming Voice penetrates. She removes headphones.\par
\par
MAY Damnit, Rita, you scared me to death!\par
\par
RITA Yeah, well I had me a scare too. Alfie's back in town.  You radio Officer Billy and tell him not to take his time  gettin' here.\par
\par
MAY         (fiddling dials, to mike) Calling car 15. Come in, car 15.\par
\par
CONTINUED\par
\par
412CONTINUED\par
\par
RITA         (pacing) We don't want no trouble today.\par
\par
MAY Come in, car 15!      (twists dials, frowns)  Nothin'. Not a sound. Damn! I mean, that is  most peculiar .\par
\par
CUT TO \par
\par
413INT. TIM'S SALOON - DAY\par
\par
Dark and crowded and hardly elegant. Even before noon the action is in full swing on the big  day. Rita enters in b.g. and takes her place behind the bar to help Tim who is frantically  serving.\par
\par
Some sheep-herders are singing, banging mugs. At the bar , one drunk is unaccountably and  terrifyingly cutting another's hair with his shears while two others double up with laughter.  At the largest table, in the center, the main activity is arm wrestling. Burly Alfie, his sleeve  rolled up to display a massive arm, is taking on all comers. We SEE him easily best a large tablemate, then chug-a-lug another beer down.\par
\par
None of which accounts for the look on the loser's face as we DOLLY IN TO CLOSEUP.  His jaw drops as he stares at the door.\par
\par
MAN Gor Blimey! Hey, Alfie!\par
\par
Alfie turns too:\par
\par
WHAT THEY SEE: General Zod, Non, Jak-El, and Ursa have just entered.\par
\par
ON THE TABLE  ALFIE                 (ready for some sport) Well, I didn't know we was to have a freak show this  year: just look at them pansies!\par
\par
PAL ONE I got eyes for her, though. Always did like a kinky bit.\par
\par
CONTINUED\par
\par
413CONTINUED\par
\par
PAL TWO         (shouting) Hey, vampire! Show us yer fangs!\par
\par
ON URSA, MED. FULL  -- enraged, eyes blazing, she steps forward about to do just that. Zod lays a restraining arm on her.\par
\par
ZOD                     (quietly)  Not yet.\par
\par
ON THE GROUP \par
\par
ALFIE       (taking this for cowardice) Bugger off, boy scout! Go play with your badges.  She needs a real man.\par
\par
PAL THREE      (as Non growls, indicating him) I think that one's the boy friend.\par
\par
NEW ANGLE, WIDE -- a classic Western SHOT.  ALFIE                      (taunting) Nah, that's a gorilla.         (gestures to bartender) Hey, Tim, another beer! And a banana for my friend  there!\par
\par
As all laugh, Alfie wiggles his fingers provocatively at Non.\par
\par
ALFIE Wanna play, Cheetah?\par
\par
Non charges forward, but suddenly, before he can get there, Ursa is there, sitting across from  Alfie, elbow on the table, hand open, ready to arm wrestle. With a snort and a laugh, Alfie takes her hand. The fists clench together. Instantly she flicks his arm down. As she does so, there is a horrible SOUND of SOMETHING SNAPPING.\par
\par
CONTINUED\par
\par
413CONTIUNED  (2)\par
\par
Consternation. Alfie leaps up, his arm dangling, as Ursa smiles. He is screaming:\par
\par
ALFIE  My arm! May arm!  She broke my arm!        (he can't believe it)  She broke my arm!\par
\par
He stumbles out into the square, moaning with pain.\par
\par
PAL TWO                   (leaps up, charging at them) Hey, you bloody bast--\par
\par
Non seizes him immediately and in one easy move flings him through the glass window.  Instant pandemonium in the bar: people screaming, trampling each other to get out.\par
\par
CUT TO\par
\par
414EXT. SQUARE - MAIN STREET - WAMAGO - DAY\par
\par
MED. WIDE - The people pour out of the bar, stumbling over each another in panic. In f. g. Alfie is on his knees, clutching his arm, leaning over the broken body of his pal. Rita runs over.\par
\par
RITA He's dead! He's dead!\par
\par
QUICK CUTS:  Confusion in the crowd on the square.\par
\par
ON THE GENERAL STORE: The OLD PROPRIETOR heading out with a bayonet, probably a WWI souvenir. His WIFE pulls him back.\par
\par
WIFE Josh, you get right back in there!\par
\par
OLD PROPRIETOR          (disappointed) Oh, Maude. . .\par
\par
CONTINUED\par
\par
414CONTINUED\par
\par
ON THE GARAGE -- Johnny Greer emerging hastily from under the car.\par
\par
JOHNNY What's that? What's happenin' over there?\par
\par
WILLIE I don't know. . . it looks bad. I think -- someone  got killed!\par
\par
CLOSER: JOHNNY yanks open a cash register drawer, pulls out a revolver, and  (FOLLOW, HAND-HELD) heads towards the square.\par
\par
WILLIE         (running after him) Dad! Dad, wait up!\par
\par
ON THE POST OFFICE -- as Rita reaches it in a dead run, flinging the door open .\par
\par
CUT TO\par
\par
415INT . POST OFFICE - DAY\par
\par
May still, placidly trying to make radio contact.\par
\par
RITA May! Get out from under those cans! No! No -- don't! Get Officer Billy, fast!\par
\par
MAY      (querulously) Well, I can't, Rita! I've been tryin', Lord knows,  I'm not Just twiddlin' my --\par
\par
RITA         (high emotion) Well, call somebody! Call Doc Randall! We got trouble!\par
\par
MAY      (switching dials) Alfie!\par
\par
RITA            (tersely) Worse.\par
\par
CONTINUED 415CONTINUED\par
\par
MAY 074!  074!  Doc?\par
\par
VOICE comes in, STATIC\par
\par
MAY Hallelujah! Doc Randall! Come in!\par
\par
CUT TO\par
\par
416INT. TWO ENGINE PLANE - DAY\par
\par
CLOSEUP of a surprisingly young and rugged medic, a flying doctor" who services the  outlying sheep communities. This is DOC RANDALL. As yet, we do not see that we are in a plane. He clicks on mike.\par
\par
DOC Someone sick, May? Because I'm not due there  till Thursday --        (pacifyingly) . . . Okay, okay, May, if you need me now. I'll be  there now.\par
\par
CUT TO \par
\par
417EXT. VILLAGE SQUARE - MAIN STREET - WAMAGO - DAY\par
\par
WIDE: Jak-El, standing in front of this post office. The crowd is still there, but standing well  back from him.\par
\par
CUT TO\par
\par
418INT. POST OFFICE - DAY\par
\par
MAY        (to radio) God bless you, Doc, we're truly grate --\par
\par
CUT TO\par
\par
419EXT. VILLAGE SQUARE - DAY\par
\par
WIDE: (EFFECTS) Jak-El turns on his X-Ray Vision.\par
\par
CUT TO\par
\par
420POV: May on the radio.\par
\par
CUT TO\par
\par
421EXT. VILLAGE SQUARE - DAY\par
\par
FULL SHOT: Jak-El soars up to the roof of the post office. As he does so, an incredible gasp  from crowd: a man can fly!\par
\par
CUT TO \par
\par
422INT. PLANE - DOC RANDALL  - DAY\par
\par
DOC        (easy, soothing) Hey, keep your bloomers on, May. I'm on my way. But what's the --                  (listens, frowns: static) May?  May?\par
\par
CUT TO\par
\par
423EXT. ROOF POST OFFICE - VILLAGE SQUARE - WAMAGO - DAY\par
\par
Jak-El, in mid-air, is shaking the radio aerial, flipping it back and forth like a toy.\par
\par
CUT TO\par
\par
424INT. PLANE - DAY\par
\par
Frowning, Doc Randall quickly hangs up his mike. PULL BACK TO REVEAL that we are in the plane cockpit. Disturbed, he pushes the stick forward.\par
\par
CUT TO\par
\par
425EXT. PLANE - SKY - DAY\par
\par
It flies forward, accelerating.\par
\par
CUT TO \par
\par
426EXT. ROOF - POST OFFICE - VILLAGE SQUARE - WAMAGO - DAY \par
\par
Jak-El, after one last flick of the aerial, suddenly snaps it off.\par
\par
ANGLE DOWN: It crashes into the street. The crowd screaming, backs up further.\par
\par
NEW ANGLE -- the Old Proprietor sneaks out of the General Store with his bayonet and  Joins the crowd.\par
\par
ON JAK-EL: on the roof, smirking. \par
\par
JAK-EL We interrupt this program to bring you a  special announcement.\par
\par
PAN DOWN with a SWEEP OF HIS HAND as direction to Tim's Saloon as General Zod  emerges, followed by Non and Ursa, who stand behind him like storm-troopers. Zod Poses:  arms akimbo, fearsome, his voice loud and commanding.\par
\par
ZOD  I am General Zod. Your ruler.\par
\par
A murmur breaks out; he raises his voice, stilling it.\par
\par
ZOD Yes, today we begin a new order! Each of you --  every man, woman, and child -- will march proudly  in the new order! Your lands, your livestock, your  homes, your very lives, will gladly be given in fealty  to me! General Zod!\par
\par
NEW ANCLE: A sudden outburst. The Old Proprietor rushes forward, unable to control  himself. \par
\par
ON HIM\par
\par
OLD PROPRIETOR What kind or people are you? What kind of  monsters -- !\par
\par
WIDE: Zod and the old man facing each other in the square (crowd at EDGE OF FRAME):  Zod is silent for a pause, then continues.\par
\par
ZOD And in return, you will have my generous  protection. In other words, you will be allowed  to live. If you refuse --\par
\par
NEW ANGLE: Zod turns slightly, toward the old Proprietor. Then: 427SPECIAL EFFECTS (HEAT-VISION): He emits a HEAT-VISION RAY from his eyes. We FOLLOW the ray to the old man. As the ray strikes him, he bursts into flames and burns like  a cinder. The crowd screams.\par
\par
428ON ZOD -- smiling his cruel smile.\par
\par
ZOD  -- you will be making a big mistake, don't  you agree?\par
\par
TRACK with Zod as he moves from his place and walks across to where the remains of the  the burnt body lay; he bends, picks up the bayonet, and -- still smiling, fastens it to his belt.\par
\par
ZOD      (stiffly, to the crowd) Dismissed!\par
\par
CROWD SHOTS: Suddenly out steps Johnny Greer, grimly determined raising his pistol.  When he has a clear shot, he takes it -- at Zod. No way he could miss. He FIRES.\par
\par
429ON ZOD: The SIX BULETS bounce off him.\par
\par
ON JOHNNY: Astonished, lowering his gun. Backs off dumbfounded.\par
\par
JOHNNY GREER You're not. . . You're not. . . a man.\par
\par
FAVORING URSA, MED.: She advances on Johnny Greer, vamping.\par
\par
URSA           (mockingly)  But you are. . .\par
\par
JOHNNY Beat it, sister. I've seen your kind before.\par
\par
URSA You never will again!\par
\par
She knees him in the groin with the force of a howitzer at close range. Johnny screams and  falls to the ground. Willie, his son, instantly runs out, wildly flinging himself at Zod,  punching him. Zod doesn't even feel it and Swats the boy to the ground, stunning him. Rita  rushes towards Willie, looks imprecatingly at General Zod.\par
\par
CONTINUED\par
\par
430CONTINUED\par
\par
RITA  He's only a boy!\par
\par
ZOD          (softly) And he may never be a man.\par
\par
Zod snaps his ringers at Non, who advances menacingly as Rita throws herself over the  boy's sprawled body.\par
\par
CUT TO \par
\par
431INT. FORTRESS - DINING AREA - NIGHT\par
\par
MED. CLOSE SHOT ON THE TABLE -- Dinner is over. Superman and Lois sip their  coffee. The lights have been dimmed, The beautifully arranged flowers have been pushed to one side to facilitate their tete-a-tete.\par
\par
We can tell from their manner that they have been talking seriously for some time. MOVE  INTO TIGHT TWO SHOT and PAN FROM one to the other, sometimes on dialogue,  sometimes HOLDING ON the one who is not speaking to SEE reaction.\par
\par
LOIS It must be terrible having to be Clark Kent.\par
\par
SUPERMAN Oh no                    (very honestly) I really like it sometimes.          (smiles) And if it weren't for him, I wouldn't have  met you.-\par
\par
LOIS But him is you.        (laughing) It's all so confusing.\par
\par
She rises, stands smiling down at hip as he smiles up at her.\par
\par
SUPERMAN It is sometimes.              (reaching, taking her hand) But not anymore.\par
\par
CONTINUED\par
\par
431CONTINUED\par
\par
LOIS No. I guess the only question is --                    (it thrills her) What do I put on the mailbox, Mrs. Superman  or Mrs. Clark Kent?         (moving away) Why don't you think about that while I. . .          (not really kidding) . . . slip into something comfortable?\par
\par
And off she goes. As she disappears, HOLD on him a beat, his smile fading, his face  suddenly troubled.\par
\par
CUT TO\par
\par
432INT . BEDROOM - FORTRESS - NIGHT\par
\par
On Lois, happily opening her handbag, beginning to pull out something beautifully filmy, which she had the foresight to bring along. \par
\par
CUT TO \par
\par
433INT. MEMORY TAPE AREA  -  NIGHT\par
\par
As a worried-looking SUPERMAN removes the last memory crystal from the first wall and inserts it. Contrary to his usual practice he remains standing  --  almost a bit defiantly  --  as Jor-El appears. \par
\par
               JOR-EL  Kal-El...my son... I have tried  to anticipate your every question.                      (disturbed) This is the one I hoped you would not ask.  Are you sure?\par
\par
SUPERMAN             (with quiet passion) Father, I love her.\par
\par
434INT. BEDROOM CORRIDOR - FORTRESS - NIGHT\par
\par
Lois emerging from the bedroom, radiant in a beautiful peignoir, definitely a women ready for a night of love. But as she starts down the hall she is startled to hear:\par
\par
CONTINUED\par
\par
434CONTINUED             JOR-EL (O.S.) If you have succumbed to this love of an earthling -\par
\par
          SUPERMAN (O.S.) It isn't succumbed, it's --\par
\par
TRACK with Lois, confused and curious, as she hurries toward the source of the voices, turning to an interior balcony.\par
\par
435WIDE, LONG SHOT: The interior balcony, at the rear of the vast chamber, overlooks Superman and Jor-El below, some distance away. Here Lois stands, making no attempt to hide, as she observes this, to her amazing confrontation.\par
\par
              JOR-EL --Then you are right to see that  such a feeling is incompatible with your life.                        SUPERMAN                                    (desperate) What can I do? May I never have her?\par
\par
436QUICK CLOSEUP LOIS:  The glow gone, as dismayed as SUPERMAN.\par
\par
437TWO-SHOT:  JOR-EL and SUPERMAN\par
\par
438QUICK CLOSEUP LOIS:  in whom this news induces a mixture of amazement, anxiety, and wild hope for happiness  --  the last being strongest.\par
\par
QUICK CLOSEUP SUPERMAN: on whose face we SEE the same conflicting emotions.\par
\par
But before he can move or Lois speak --\par
\par
439ON JOR-EL:  almost faded now, he suddenly clicks again and reappears, his face now  distressed, his voice full of uncharacteristic emotion.\par
\par
JOR-EL Kal-El , think. No one can harm you now. But, if you do this, you can be harmed. \par
\par
CONTINUED\par
\par
439CONTINUED\par
\par
            SUPERMAN          (startled; then readily,                   almost lightly) I'll take my chances.\par
\par
               JOR-EL And the planet that has nurtured you - its people who have shown you kindness, respect, admiration - will they take their chances?\par
\par
QUICK CLOSEUP SUPERMAN  --  confused and guilty in the face of this moral indignation.\par
\par
WIDE SHOT:  the whole area including LOIS on balcony as JOR-EL continues.\par
\par
JOR-EL                (relentlessly)  Is this how you would repay their  admiration? Is this the example you would set them - to abandon the weak the defenseless, the needy for the sake of one's own selfish pursuits?\par
\par
           SUPERMAN                  (stung) Selfish! But they get a chance at happiness - \par
\par
             JOR-EL                    (cutting him off implacably) Yours is a higher happiness. The  happiness of your mission.                  (persuasively) the happiness -- pure and quiet -- that you feel inside every time you safe a life, every time you inspire others to seek the best in themselves.                 (quietly) My son, you cannot deny that feeling.\par
\par
ON SUPERMAN: nodding slowly. Under the burden of this argument he sinks into a  sitting position on a nearby platform, looking up now at his father.\par
\par
CONTINUED\par
\par
439CONTINUED  (2)\par
\par
TWO SHOT: Superman looking up at Jor-El.\par
\par
             JOR-EL Kal-El, you cannot so quickly have forgotten my teachings - \par
\par
           SUPERMAN                       (looks up, defensively) I've forgotten nothing -\par
\par
JOR-EL Then you recall what was said by one of the greatest writers of your planet; 'And this above all, to think own self be true. And it shall follow as night the day-'\par
\par
As he is saying these last lines, Superman rises abruptly and turns away from his father. He is  now facing Lois/balcony but he doesn't look up. Staring straight ahead in despair he finishes the line.\par
\par
SUPERMAN '...thou can't not then be  false to any man...'\par
\par
           JOR-EL                   (quietly) I leave you with that thought,  my son.\par
\par
A CLICK and he disappears.  \par
\par
440TWO SHOT: A beat of silence as Superman stands still, looking at nothing. Unbeknownst, on the balcony above, Lois is in the same position, staring out unhappily over his head. She begins to speak quietly, almost to herself. \par
\par
LOIS Funny, isn't it? Here I am --\par
\par
As he turns, looking up and behind him:\par
\par
CONTINUED\par
\par
440CONTINUED\par
\par
NEW ANGLE, LONG: Reminding us of a very famous balcony scene in the positions.\par
\par
SUPERMAN                     (looking up, startled) Lois!\par
\par
LOIS Superman.       (she leans on the balcony,           bitterly ironic) Wherefore art thou, Superman? Deny thy father. . .        (a sad smile) No, maybe father knows best. That was  your  father. . . ?\par
\par
SUPERMAN            (awkwardly)  Yes, well, he was just -- We talk. I mean, we can  communicate through. . .  crystals.          (he gestures to wall with            first shelf of memory crystals )  Everything I know is in there.            (gestures at wall with             second shelf of unplayed crystals) What I still don't know is there.\par
\par
LOIS You haven't listened to those?\par
\par
SUPERMAN Not yet. I haven't needed to know what they tell.\par
\par
LOIS          (bitterly) Maybe they've got some advice for the lovelorn.  For instance, Lois Lane, the girl who always got  what she goes after. Ever since I was a little girl.  You name it: straight A's, editor of the school  yearbook, a Job on a newspaper, bylines, top salary.  Once I set my sights on something. . .  Well, I guess  I set my sights too high this time.\par
\par
CONTINUED\par
\par
440CONTINUED  (2)\par
\par
SUPERMAN                     (deeply moved, he starts up                        the ramp towards her) No, you didn't!\par
\par
CLOSEUP LOIS\par
\par
LOIS No, I didn't, did I? No man was good enough  until somebody just. . .        (a sad smile) . . . fell from the blue. Impossible. Sure, for other people,  the kid who always gets what she --\par
\par
Her voice chokes; she turns her head away.\par
\par
REVERSE: He is there, beside her.\par
\par
SUPERMAN           (reaching out) Lois --\par
\par
TWO SHOT: She pulls away, trying to control herself, moving swiftly down the corridor,  saying:\par
\par
LOIS I'm okay, I'll be okay.\par
\par
She is stopped at the end of the corridor by large glass doors leading onto the exterior balcony. As he approaches, she turns suddenly to face him. Behind the star-crossed  lovers is  the starry arctic sky; the icy landscape gleams in moonlight.\par
\par
LOIS        (bravely) But I did do it, didn't I? I did get the man I love  to love me?\par
\par
SUPERMAN        (this is very hard on him) Yes.\par
\par
CONTINUED\par
\par
440CONTINUED  (3)\par
\par
LOIS That's what's funny. I got everything I ever wanted. I even got the one thing nobody else could have.          (bitterly) And now I can't have it. Because everybody else  needs it. I understand, oh, how I understand. I tried  awfully hard not to understand, but I'm not that selfish. They need  you          (quickly) Not more than I do. Nobody needs you more than I do.         (soberly) But I'd be buying my personal little rainbow at the cost  of all those people. The ones who say,  'Help. Come. Quick. Now.' While I'd be saying, 'Stay. Be with me. Don't go. Stay home.' And pretty soon, it'd be a toss-up whether you hated me more or I hated --\par
\par
ON SUPERMAN -- He finds her thoroughly admirable, especially now.\par
\par
 CLOSEUP- LOIS\par
\par
LOIS I was going to say, 'Whether you hated me more or I hated me more.' Because that would happen sooner or later.       (desperately) I'd hate myself, Superman.        (getting hold of herself) No, when you get down to the bottom line, I've got to live with Lois Lane. Alone or not. And I've Got to like her. You  don't know how much, right now, I want to say,  'who cares about your great. . .' mission, isn't that what he called it? But I'm not a bitch. Not that much of a --         (it overwhelms her;           she begins to weep) I'll be all right.         (a fake laugh) Just some schoolgirl tears.         (wipes her eyes; gets           herself together) Listen, I'm tired, okay? I Just want to go somewhere and -- and lay down.\par
\par
CONTINUED\par
\par
440CONTINUED  (4)\par
\par
Superman is terribly touched and upset by her love for him and her sacrifice. Slowly he  moves a few feet down the corridor and opens the bedroom door she emerged from earlier.\par
\par
SUPERMAN                   (awkward) Here. The. . . bedroom.\par
\par
LOIS                  (trying a smile) I know. I've been thinking about it all day.     (as she approaches)  But not like this.      (at the door; next to        him, a deep breath) Well. . .\par
\par
TIGHT TWO SHOT: Suddenly he moves to take her in his arms.\par
\par
LOIS No.       (about to cry; she moves         away and pushes the        door open) No, let's not. . . start anything we can't --\par
\par
She breaks off, pushes quickly past him into the bedroom and closes the door behind her.\par
\par
HOLD ON SUPERMAN -- extremely upset, grieved. He turns and walks AWAY FROM  CAMERA, shoulders stooped. Then he stops and looks back in the direction of the bedroom.\par
\par
441EFFECTS: X-RAY VISION\par
\par
442HIS POV (WITH X-RAY Vision):  Lois has thrown herself on the bed and is crying into the  pillow, her body wracked with sobs.\par
\par
443CLOSEUP - SUPERMAN -- he can't take it anymore.\par
\par
SUPERMAN I love her. I don't want to lose her.  Suddenly, with the look of a man who has just made up his mind, he turns and rushes down the corridor.\par
\par
SUPERMAN I won't lose her!\par
\par
With  a look of determination and purpose, Superman strides to the molecular restructuring  chamber and enters it.\par
\par
CUT TO\par
\par
444CUT TO INT.  MOLECULAR RESTRUCTURING CHAMBER - NIGHT\par
\par
The heavy door automatically closes. Superman goes to the crystal panel-bank and passes his  hand across certain crystals (or pushes a button, or whatever the activating technique is) and then lays himself down on the transparent, forbidding slab. He closes his eyes.\par
\par
EFFECTS: The very specific light changes begin, employing certain key colors, laser effects.  Moving spotlights in a recognisable order and pattern -- all of it quite spectacular -- denoting the machine working. As the process continues:\par
\par
DISSOLVE TO\par
\par
445EXT. VILLAGE SQUARE - WAMAGO, AUSTRALIA - DAY\par
\par
WIDE: All hell has broken loose. The General Store has been demolished, felled. A number of bodies are strewn about. The town banner hangs limply torn. Three or four escaped sheep  roam through the devastation. A lot has happened since we've been away. One small knot of sheepherders -- diehards, resistance fighters -- is in the surreptitious huddle. Non stands by  what is left of the General Store: Jak-El is now in front of Johnny Greer' s garage by the gas pump; Ursa stands with General Zod, who, as we JOIN them, is in the middle of another  speech.\par
\par
ZOD       (menacingly persuasive) . . . and so you see, we will have your . . .  cooperation. . .\par
\par
CONTINUED\par
\par
445CONTINUED\par
\par
ON THE SHEEP-SHEARER HUDDLE: As they guardedly unchain their shear's from their  belts. TRACK QUICKLY with the four as they make a rush at Jak-El, shears raised. They all  fall on him, stabbing wildly.\par
\par
INSERT: The shears' blades break and snap off against Jak-E.\par
\par
WIDER: The assassins fall back, astonished, Jak-El grabs the handle of the gas pump, presses the trigger: gas gushes out as he turns toward Zod, with a wide grin.\par
\par
JAK-EL Hey! Did you catch that? They think they're  hot stuff!\par
\par
446And he blows on the gas gushing out of the hose. EFFECTS: HEAT-VISION causes a blowtorch effect, The shooting flames ignite the four sheep-herders; who flame up like tinder. Even as they do, the gushing gas spreads the fire and ignites Greer's Garage.\par
\par
447ON THE POST OFFICE: May rushes out, dressed in jodphurs, furious, uncowed, brandishing a fist at General Zod.\par
\par
MAY Hooligans! Break my radio, will ya!\par
\par
She leaps on the motorcycle; steps down, gunning it.\par
\par
MAY I'll get someone to fix your wagon!\par
\par
And she zooms off from the standing start, an old lady daredevil taking off for (in b.g.) the  rise of the nearest hill. It is a comic image for a moment -- an Evel Knievel parody -- until:\par
\par
ON ZOD -- watching her.\par
\par
ZOD  We fix the wagons around here.  He nods to Non.\par
\par
448ON NON: SPECIAL EFFECTS :  A COLD RAY FROM HIS EYES. THIS IS ICE-  VISION.\par
\par
ANGLE UP to May: Traveling at breakneck speed toward the top of the hill, about to make a  turn as the ice vision hits. The handlebars freeze and lock; so do the pedals. A look of panic  on May's face; an instant later she is hurled from the bike, spinning through the air, falling  over the crest of the hill.\par
\par
449ON NON AND ZOD -- Zod gives his ward an appreciative nod; Non looks pleased and  proud -- an evil child. Suddenly they hear something:\par
\par
 SOUND: the noisy, CHUGGING MOTOR of a small, ancient AIRPLANE. \par
\par
450ANGLE UP: Approaching overhead, Doc Randall's plane, with 'Flying Doctor" painted  proudly on its fuselage.\par
\par
451ANGLE DOWN on THE CROWD: Looking up at the plane with great hope, as if seeing  their savior. An audible sigh of relief.\par
\par
452ON THE PLANE, NEAR CCCKPIT: Doc Randall stares down in disbelief.\par
\par
DOC     (on his radio) May I Come in, May I What the bloody hell is going on? May? Where are you, May?\par
\par
453DOC'S POV - THE FOUR, below, suddenly fly up toward the plane.\par
\par
454NEW ANGLE: ON THE PLANE -- They arrive, placing themselves along the plane fore to aft. Together they tip the plane with a light toss. It falls, wobbling wildly just outside the square. FOLLOW its descent as it spirals down out of control, the engines now smoking from the interference. GROANS from the crowd.\par
\par
JAK-EL Geronimo!\par
\par
The Plane crashes, smoke spiraling, and EXPLODES.\par
\par
455ON THE SQUARE - FAVORING ZOD IN FRONT OF TERRIFIED CROWD\par
\par
ZOD                  (ranting) No Escape! No Escape! There is no escape! Are you sufficiently convinced?\par
\par
MEDIUM FULL -- ON A SECTION OF THE CROWD where we NOTICE a BOY about 9  years old, on the edge of the crowd in front of Tim's Saloon. Pretending to be listening to  General Zod, he is in fact squirming backwards through the crush, never looking away from  Zod, but slipping towards the rear all the while.\par
\par
ZOD (O.S.) You will remain here! We will remain here!  No one leaves Wamago alive!\par
\par
By now, with careful backward strides, the Boy (we FOLLOW) breaks cut of the back of the  crowd. He darts around the back of the saloon. 456EXT. BEHIND THE SALOON - WAMAGO - DAY\par
\par
As Zod rants on O.S., the Boy runs to an old grazing mare tethered behind the saloon. In one  jump he is on her back, loosing her rope, clinging to her neck, ready for the wild, bareback  ride.\par
\par
BOY                     (whispering prayerfully)  Go! Go, Betsey!\par
\par
Nothing. For one agonised second it seems as if the old horse does not even comprehend the command.\par
\par
BOY          (despairing)  Oh, Betsey -- PLEASE!\par
\par
Then, with a toss of her head, the mare catches on and, with the Boy clinging  for dear life, gallops off toward the horizon and toward help.\par
\par
CUT TO \par
\par
457INT. MAIN ROOM OF FORTRESS - DAY\par
\par
OPEN ON TIGHT CLOSEUP of a stunned. Lois Lane.\par
\par
LOIS I. . . I don't know what to say.\par
\par
REVERSE -- on CLARK KENT (Now in the glasses, shirtsleeves, tie, etc.)\par
\par
CLARK  Say you love me.\par
\par
NEW ANGLE:\par
\par
LOIS  You did it for me. You gave it all up for me. . .\par
\par
CLARK           (simply) I love you, Lois.\par
\par
Half in tears, she hugs him.\par
\par
CONTINUED\par
\par
457CONTINUED\par
\par
LOIS Oh, Super--                   (correcting herself)  I mean --\par
\par
CLARK Yeah, that'll take a little getting used to.\par
\par
A strained grin.\par
\par
LOIS          (pulls back) Regrets?        (she turns away) I mean, after all your father said --\par
\par
CLARK           (not looking at her either) Look, the world got along without Superman for a  lot of years --           (getting it together; perhaps              more cheerful than he fee1s) -- but the Planet can't get along without Clark Kent.\par
\par
LOIS        (uncomprehending)  The planet...?\par
\par
CLARK The Daily Planet, lady, that's what it says on  our paychecks --         (pointedly) -- which I'm now going to need. And we can't exactly  get back to collect them by the same mode of  transportation that got us here.\par
\par
LOIS         (realising it fully now) You're really not Superman anymore. . .\par
\par
CONTINUED\par
\par
457CONTINUED\par
\par
CLARK            (chipper)  That's what I keep trying to tell you, ma'am. So let's  get a move on.\par
\par
He gives her a quick, husbandly peck on the cheek.\par
\par
CLARK Now, where's my gray suit. . .?\par
\par
458EXT. VILLAGE SQUARE - WAMAGO, AUSTRAILIA - DAY\par
\par
FULL SHOT: Ina filed beyond the square, the remains of two downed, wrecked Army fighter planes. REVERSE ZOOM, coming toward the square, past the bodies of dead soldiers, then past a group of tied-up, penned-in SOLDIERS, finally to one end of the square where four hanged and trussed-up bodies -- four of the toughest ranchers and herders we saw before -- are hung like carcasses.\par
\par
CRANE SHOT BEGINS WITH A VERTICAL PAN DOWN from theses bodies which then PULLS BACK and OPENS VERY WIDE TO SHOW the village square: there is a long line of people -- the conquered, frightened survivors of the holocaust. Totally beaten and in thrall now, they look like people we used to see in those yearly ceremonies of subjects bringing booty to the Aga Khan on his birthday or conquered people laying up their store for a bandit thief. For indeed theses survivors of WAMAGO are lined up with their tithe, not gold and jewels in this case, but whatever meager possessions they could come up with: an old radio, some family heirlooms, watches, a clock, a feather boa, and of course five or six baby lambs cradled in the arms of their owners. PAN DOWN this line, SEEING these details, as well as the frightened, defeated faces. Before we reach the end of the line, however:\par
\par
459CUT TO THE FAR END OF THE LINE. In the center of the square, a crude, bizarre  spectacle: on a makeshift "throne" made from somebody's old, battered armchair, sits  General Zod. On a chair beside him, like a queen, is Ursa. Non, ever menacing, stands  beside the "throne." and -- sprawled at their feet insolently smirking -- in the classic jester post (legs crossed, head resting on arm) is Jak-El. A large table is set up before them; on it,  one at a time, the villagers lay their bounty down. At the head of the line is now an OLD WOMAN -- the elegant one we saw strolling with a parasol earlier -- weeping as she lays down some old rings and a pearl necklace.\par
\par
OLD WOMAN It was me mother's . . . It's all I've got.\par
\par
CONTINUED\par
\par
459CONTINUED\par
\par
JAK-EL That's all you've got? What a swell life you must have had.      (as she stumbles away) Why not kill the old ones anyway? They're  depressing.  ZOD They have sworn their allegiance to me.\par
\par
JAK-EL So what? What are they going to do if an enemy attacks -- gun them to death?\par
\par
A man at the head of the line lays down a lamb.\par
\par
URSA    (a look of distaste) Another one of those disgusting animal things. They're disgusting.\par
\par
ZOD It's the thought that counts, my dear.\par
\par
46lEXT. AUSTRALIAN OUTBACK - ROAD - WHITE CADILLAC - DAY\par
\par
Luthor and Eve in back. Albert is driving, or rather -- at this moment -- stopping and  HONKING his HORN at a koala bear who is lazily crossing the road. As it passes and the car continues forward:\par
\par
CUT TO\par
\par
462INT. CADILLAC. - DAY\par
\par
Luthor has the black box on his lap; it TICKS AUDIBLY. The car RADIO PLAYS MUSIC.\par
\par
LUTHOR          (very "up") I don't know how they won't love this deal, y'know?  Y'know? Unlimited freedom to do anything they want --  kill, crush, maim, destroy --\par
\par
EVE John, Paul, Ringo, George --\par
\par
CONTINUED\par
\par
461CONTINUED\par
\par
LUTHOR  In return for which they get Lex Luthor's backing!          (ego-tripping) Lex Luthor's savvy! Lex Luthor's keen mind guiding their careers in a world they never made! Lex Luthor  protecting their interests --\par
\par
EVE           (this drives her crazy) You're practically a saint, Lex.\par
\par
LUTHOR            (leans over, kisses her cheek) You're cute.\par
\par
EVE  I said 'practically.'\par
\par
LUTHOR What would I be without your witty little jibes to keep  me on my toes, Miss Teschmacher? Happy, that's what  I'd be.\par
\par
AUSTRALIAN RADIO ANNOUNCER VOICE          (urgent, somber) We interrupt this program to bring you a special update  on the crisis in Wamago.\par
\par
LUTHOR Aha!\par
\par
RADIO ANNOUNCER VOICE  The little village continues to be the site of mounting  casualties as the four invaders appear to have defeated  two units of the National Guard placed on emergency status.  Air Force headquarters in Melbourne reports that --\par
\par
LUTHOR                 (rubbing his hands together in glee)  Better and better!\par
\par
EVE          (to Albert) The last time I saw him this happy was when the Asian flu hit town.\par
\par
462EXT. VILLAGE SQUARE - WAMAGO, AUSTRALIA - DAY\par
\par
where the four are still receiving tribute, seated on their "thrones."\par
\par
JAK-EL I'm bored. What are we staying here for?\par
\par
URSA                   (equally disenchanted)  Where else is there?\par
\par
JAK-EL         (rising, petulantly)  There must be someplace else! Even the Phantom Zone  was more interesting than this.\par
\par
As he looks at the table of booty, ANGLE DOWN as a farmer's hands place a watch and an old Bible there.  The farmer leaves, as the loot continues to pile up. HOLD on it, as:\par
\par
ZOD (O.S.) Leave?! You fool! I am the leader here!\par
\par
JAK-EL Leader of what? This bunch of garbage? If I see one more  rusty watch --\par
\par
Suddenly, on top of the pile, a hand places. . . a contract and a pen. PAN UP TO SEE Lex  Luthor. He smiles nervously, rapidly chewing Kleenex.\par
\par
LUTHOR Howdja do, Luthor's the name. No doubt you've heard of me. Lex Luthor, greatest criminal on earth?\par
\par
URSA  I told you this was a puny, backward planet.\par
\par
LUTHOR         (seizing the opening) You think this is earth? Listen lady. . .         (corrects himself quickly) Uh. . . Ms. This is nothing! This is the lounge. With your  talent you should be playing the main room. Y'know? y 'know?\par
\par
ZOD We know everything. Including the method of your death.\par
\par
He signals to Non, who starts toward Lex.\par
\par
CONTINUED 462CONTINUED\par
\par
URSA No, let me break his bones. He irritates me.\par
\par
LUTHOR Wait'II you get to know me better. Lookit -- I can take  you to the land of your dreams. Buildings that touch the  sky -- just waiting to be knocked down! A land of  opportunity! There are millions of people to beat up on.\par
\par
JAK-EL          (getting interested)  Where is this place?\par
\par
LUTHOR I knew you'd love it. A helluva town. The Bronx is up  and the --\par
\par
ZOD Hold! Should we believe this hairless slug?\par
\par
LUTHOR I'll let that pass this time, my general, because you're not  exactly Mr. Universe yourself.\par
\par
ZOD (enraged) Mr. Universe! I am King of all the universe. Destroy hi!\par
\par
As they move menacingly toward Lex:  LUTHOR Me? I can show you the bright lights! The big time!        (playing his trump card )  The son of Jor-El!\par
\par
 REACTIONS: The four look stunned at this news. Cannot believe what they hear. Non utters  a howl, fist raised.\par
\par
ZOD  The son or Jor-El? Jor-El our Jailer?\par
\par
LUTHOR No, Jor-El the baseball player. Of course Jor-El your jailer!\par
\par
CONTINUED\par
\par
462CONTINUED  (2)\par
\par
JAK-EL         (almost salivating)  His son? His son is on this planet? \par
\par
LUTHOR Daily.\par
\par
ZOD How do you know of this? How do you know  about Jor-El?\par
\par
LUTHOR         (in command of the situation) With all due respect, your grace, I told you before I'm  about the best there is.\par
\par
Non growls loudly.\par
\par
LUTHOR Second best.\par
\par
ZOD                    (wild with passion)  Revenge! We will  kill the son of our jailer!\par
\par
LUTHOR Terrific! I hate him, too. Believe me, you've never seen  a showoff like him. He flies around --\par
\par
ZOD         (musingly)  He flies as well. He has powers as we do. . .\par
\par
LUTHOR Sure. He's a landman, isn't he? But he's only one. You're four.        (looking at Non) Or five even, if you count him twice. Y'know?\par
\par
CONTINUED\par
\par
462CONTINUED  (3)\par
\par
ON THE FOUR - seething with anticipation.\par
\par
ZOD We will bring him to his knees!\par
\par
JAK-EL Praying.\par
\par
ZOD Yes! To me!      (to Luthor) When can you take us there?\par
\par
LUTHOR  What time's the next flight out?\par
\par
CUT TO\par
\par
463EXT. ROAD - CANADA - DAY\par
\par
A rented car tools down the highway, Clark driving, Lois beside him.\par
\par
CUT TO \par
\par
464INT. CAR - DAY\par
\par
They look very happy and cozy; she snuggled up beside him\par
\par
CLARK  Getting tired?\par
\par
LOIS           (content) I wish we could just drive forever.\par
\par
CLARK I'm sorry this car hasn't got a radio.\par
\par
LOIS Who needs a radio? We make beautiful music together.\par
\par
CONTINUED\par
\par
464CONTINUED\par
\par
He puts an arm around her, hugs her to him.\par
\par
LOIS Tired, no. Hungry, yes.\par
\par
CLARK        (quite serious) We'll look for a place where the truck driver's stop.  That's always a sign the food is good.\par
\par
465INT. DINER - DAY\par
\par
MED. WIDE as Clark and Lois enter a diner. In f.g. the counter is mostly full, but two stools next to each other are unoccupied.\par
\par
CLARK I Just want to wash up.  Grab those seats there.\par
\par
He goes RIGHT, OUT OF FRAME and Lois occupies one of the counter stools. As she  picks up the menu to study it, a big, burly, ornery TRUCKER enters and takes the seat next  to her.\par
\par
As Lois starts to protest, Clark COMES INTO FRAME.\par
\par
LOIS  I'm sorry, that seat's tak --\par
\par
TRUCKER        (ignoring her; to COUNTER GIRL )  Coffee and doughnut.\par
\par
CLARK Excuse me. That's my seat. \par
\par
TRUCKER Oh, yeah? I don't see your name on it.\par
\par
CLARK I'm sitting with the lady here.\par
\par
TRUCKER I don't see no lady here.\par
\par
Tension is thick immediately.\par
\par
CONTINUED\par
\par
465CONTINUED\par
\par
CLARK Now look, buddy. You don't have any call to insult --\par
\par
TRUCKER Who's gonna stop me, four-eyes?\par
\par
CLOSEUP - CLARK, bristling with indignation.\par
\par
CLARK Somebody ought to teach you manners.\par
\par
TRUCKER         (rises; he's big)  You wanna try?\par
\par
CLARK                                       (grim) Why don't we just step outside?\par
\par
CLOSEUP - LOIS, looking very fearful.\par
\par
CUT TO\par
\par
466EXT. DINER - DAY\par
\par
l.A SHOT of the Trucker, out cold. on the ground.\par
\par
2. A SHOT of Clark, standing in front of him.\par
\par
3.A SHOT of Lois Lane, flushed, standing behind the fallen Trucker, a broken Coke  bottle in her hand.\par
\par
CLARK What did you have to do that  for?\par
\par
LOIS  What was I supposed to do? Stand by and let him  kill you?\par
\par
CLARK I could have taken him.\par
\par
CONTINUED\par
\par
466CONTINUED\par
\par
LOIS You think you're some kind of a Superman?\par
\par
CLARK          (defensively) I'm still in pretty good shape, y'know.\par
\par
LOIS It's time you learned the facts of mortal life, darling. Such  as the cost of bridge work.\par
\par
CLARK But --\par
\par
LOIS        (gently\} I'm not saying you might not have beaten this gorilla, but there would have been broken glasses, broken teeth  and broken who-knows-what before you did. Listen -- I Just got a man. I'd like to keep him in one piece.\par
\par
As Clark stands there, frustrated, she comes to him, drops the bottle and hugs him.\par
\par
LOIS It ain't no bed of roses being human, kiddo.\par
\par
She gives him a sweet little kiss on the tip of his nose.\par
\par
CUT TO \par
\par
467EXT. METROPOLIS - DAY\par
\par
LONG SHOT: On the West Side Highway, loading in to the 96th St. ramp, there is an incredible traffic jam of cars, trucks and station wagons leaving the city. Something very odd about this, which instantly shows us it isn't a normal situation: on the tops of the cars are suitcases, trunks, even items of furniture, bird-cages, etc., tied on. It looks like  a modern-day  Okie caravan. The cars are packed with families. in addition, we SEE certain yellow school busses, which have been papered with signs on the sides reading "EVACUATION TRANSPORTATION." Everywhere, POLICE in cars and on foot are evident, trying vainly to keep the traffic moving\par
\par
NEW AGNGLE: The one lane of the highway leading in on the city has been blocked off with a police barricade. A cop car is planted there as well, and a POLICEMAN looks in annoyance as one lone car approaches: the rented car with Clark and Lois. He starts waving them back.\par
\par
CUT TO 468INT. CAR - DAY\par
\par
Clark and Lois totally befuddled by what they see around them.\par
\par
LOIS What in the world -- ?\par
\par
CLARK I know a lot of people go to the country for the  weekend but this is --\par
\par
469EXT. WEST SIDE HIGHWAY  - DAY\par
\par
The car advances, coming to a stop and the cop halts them.\par
\par
COP Awright, where d'ya think you're goin', mac?\par
\par
CLARK What is this? What's going on??\par
\par
COP What's goin' on! Whaddya, blind?\par
\par
LOIS We've been out of town, officer.\par
\par
COP Doncha listen to the radio, for God's sake? The men  from Mars have landed.\par
\par
CLARK The what??\par
\par
COP Don't ask me, buddy. All I know is all hell's broke loose  and I got my orders, nobody gets in. So why don't you be a  nice fella and --\par
\par
CONTINUED\par
\par
469CONTINUED\par
\par
FAVORING LOIS: She reaches quickly in her purse and pulls out her wallet, flipping it open  to her Press card.\par
\par
LOIS       (holds it up) Press. Let us through.\par
\par
COP  Now look, lady --\par
\par
LOIS It you want to get the Commissioner on the phone to  discuss the rights of the press, I'm sure he'd be glad  to talk to --\par
\par
COP       (not too thrilled) Oh geez, you're Lois Lane, ain'tcha. I seen you on  the TV plenty of times.\par
\par
He starts to move the barricade aside.\par
\par
COP Okay, folks. But you ain't gonna like what you see.\par
\par
470EXT. VARIOUS METROPOLIS STREETS - DAY  A SERIES OF SHOTS of streets, looking like London during the Blitz. Small fires raging. Certain buildings collapsed into rubble. Fire hydrants knocked over, water spouting uselessly. National Guard trucks, packed with soldiers, riding down empty streets. Police Riot Squads guarding broken store windows. The ambulances, SIRENS SCREAMING, speeding down broken streets.\par
\par
CUT TO\par
\par
471INT. PERRY WHITE'S OFFICE - DAY\par
\par
CLOSEUP - PERRY WHITE, looking very harassed. PHONES RINGING constantly.\par
\par
PERRY Four of 'em. Three ugly guys and a broad that  looks like the Queen of the Runway. They can fly,  they can do that heat vision fire thing -- everything Superman does, they do.\par
\par
REVERSE: A shocked Clark and Lois talking to him.\par
\par
LOIS But how --\par
\par
PERRY The theory is when Superman set off that bomb in  outer space, he broke them out of some kind of jail  they were stuck in.\par
\par
Clark -- a look of ashen horror. The guilt trip descends like a sledgehammer.\par
\par
LOIS  What do they want?\par
\par
PERRY Superman. The son of something or other, they call him.  They want Superman by midnight or they level the city.  They already made a pretty good start.\par
\par
NEW ANGLE:. Door opens and TWO REPORTERS enter looking pretty beat.\par
\par
FIRST REPORTER  I got the casualty figures, Chief. I don't know about  running the pictures, though. The hospital looks like a  battle station.\par
\par
SECOND REPORTER What about the interview with the Mayor?\par
\par
PERRY  Send Goldberg.\par
\par
SECOND REPORTER  Goldberg's. . . one or the casualty figures, boss.\par
\par
A beat of grim silence.\par
\par
CONTINUED 471CONTINUED\par
\par
PERRY Jesus. . . he gonna be okay?\par
\par
The reporter shrugs.\par
\par
PERRY Well, get somebody. . . anybody. . .\par
\par
In the door comes Jimmy Olsen.\par
\par
JIMMY I' II do it, Mr. White.                              (as Perry hesitates)  Please. I can write it. I've been a copy boy for a  long time, Mr. White -- I know what makes a  good story. . . ?\par
\par
A pause. Perry looks at him. Then, gruffly:\par
\par
PERRY Awright! But don't expect a byline on your first  story, Olsen!\par
\par
As an eager Jimmy rushes out:\par
\par
LOIS  What about me?\par
\par
PERRY Get me something on this Superman bomb angle.  Background. Hit hard on the cheap irony angle.  Kent, get on the Lex Luthor angle.\par
\par
CLARK         (what???) Lex Luthor?? ? Isn't he still in priso --\par
\par
PERRY He's their front man. Came flying into town with the four  of  'em, blowing kisses to the crowd. Like a sultan on a flying carpet -- hey, that's not a bad whatchamcallit, simile.\par
\par
He picks up phone.\par
\par
CONTINUED\par
\par
471CONTINUED   (2)\par
\par
PERRY Yeah. Two columns. Box the numbers.\par
\par
A printer races in with a front page dummy: giant headlines METROPOLIS ATTACKED! He waits for Perry to approve it.\par
\par
PERRY                  (to Clark and Lois )  What d'ya standing there for? Move!\par
\par
FOLLOW Clark and Lois out to:\par
\par
472INT. CITY ROOM - DAY\par
\par
Where it is bedlam and chaos, as the staff copes with the emergency. \par
\par
LOIS       (realizing) You mustn't feel. . . I mean, how could you have known?\par
\par
CLARK         (overwhelmed) Yeah. . . how could I. . .\par
\par
LOIS What can you. . . I mean. . .\par
\par
CLOSEUP CLARK: Jaw clenched. Tight-lipped.\par
\par
CLARK Something. I've got to do something.\par
\par
He turns, starts quickly for the elevators. She turns after him, fearful.\par
\par
LOIS  But you can get hurt. You'll be --\par
\par
CLARK Hundreds of innocent people are being killed, Lois.  Because of Superman. They want Superman. If they get him, maybe they'll. . .\par
\par
He leaves the sentence unfinished, turns and enters the elevator. The doors close behind him.  HOLD ON Lois, frightened.\par
\par
CUT TO\par
\par
473INT. COSTUME SHOP - DAY\par
\par
TIGHT ON A TV SET: sitting on a shelf next to some dusty old costume hats:  sombreros, Roman Legionnaire helmets, etc. On the TV screen is a somber middle-aged man, seated at a desk bearing the Great Seal of Metropolis. This is THE MAYOR and he is in the middle of his talk.\par
\par
MAYOR -- and we continue to wait and hope for some  word from Superman before that midnight deadline. Meanwhile, as your Mayor, I can assure you that  all that can be done is being done. Civil Defense units are doing a magnificent job in the stricken areas.  All leaves have been cancelled in the police and fire  departments. The President has declared the city a disaster  area and ordered National Guard units to be posted on full  alert. School buses and private cars are being used to evacuate  children, the aged and the infirm. A list of the evacuation  centers will appear in a moment. Meanwhile, I urge all  citizens of Metropolis to stay off the streets. . .\par
\par
As this goes on and the CRAWL APPEARS with the addresses of evacuation centers, PULL  BACK TO REVEAL a very bizarre IMAGE: an old Jewish man holding a gorilla costume, crosses the little costume shop. Racks of typical outfits hang everywhere. The old man is the  PROPRIETOR of the store.\par
\par
PROPRIETOR Look, you got wars -- depressions -- muggings.          (shrugs) So now you got mushuganahs flying in the sky. Believe me, it's always something. Hoodlums, gangsters, Muslims -- all I know is Al Felshman is alive and kicking, thank God, and people always need costumes, also thank God. You sure you don't want the gorilla? Very big this year.\par
\par
He crosses to a curtained dressing booth and opens the curtain. In there stands Clark Kent half in an ill-fitting, somewhat baggy and faded Superman costume. As he puts his arm in the top part and zips it up:\par
\par
CLARK          (adjusting the Shoulders            looking at himself in the mirror) No, thanks. Mr. Felshman. This is fine.\par
\par
CONTINUED\par
\par
473CONTINUED\par
\par
PROPRIETOR           (chacun a son gout) So, I'll put it nice in a box for you --\par
\par
CLARK Don't bother, I'll wear it.\par
\par
PROPRIETOR        (sure this is another meshuganah) Suit yourself.\par
\par
CLARK       (by way of explanation as he         puts on raincoat and hat) I'm in a hurry.\par
\par
He starts out. The Proprietor walks him to the door.\par
\par
474EXT. MIDTOWN STREET, METROPOLIS - DUSK\par
\par
WIDE: Evening is coming on; the sun is setting. In f.g. a troop transport truck rolling down 5th Ave., somewhere around The Plaza, filled with National Guard soldiers, bayonets in their hands. PAN WITH it as it turns down across street. In b.g. riot squad Metropolis Police are stationed at the end of the street, tense, edgy. From around the corner of' the street the truck came down, now emerges a curious sight: Clark Kent, "disguised" in raincoat, hat and glasses, but with his red Superman boots sticking out the bottom.\par
\par
Trudging along oblivious to the world around him, he is muttering to himself like your  average New York nut case.\par
\par
CLOSER ON HIM:\par
\par
CLARK      (practicing a phony tough voice) All right, the jig is up!       (in his own voice and rather dismayed)  Not, that's not right. . .       (tries again; deep voice and an        accompanying gesture) Now you've gone too far -- you've made me mad!\par
\par
CONTINUED\par
\par
474CONTINUED\par
\par
Suddenly, from O.S. a loud VOICE:\par
\par
VOICE Hey! You!\par
\par
Clark whirls, looks in the direction of the call.\par
\par
NEW ANGLE : TEO RIOT SQUAD COPS across the street seeing him.\par
\par
FIRST COP  Everybody off the street! That includes you!\par
\par
CLARK Right. Right, I'm about to.\par
\par
Quickly, he walks around the next corner. FOLLOW him.\par
\par
ON THE COPS -- One looks at the other, makes whirling finger gesture to the head, meaning  "Another nut."\par
\par
ON CLARK -- TRACK WITH HIM to a Con Edison construction site --- a hole dug in the  middle of the street, a wooden barrier in front of it. He ducks under it and quickly descends  into the hole.\par
\par
CUT TO \par
\par
475INT. VON ED. HOLE - DUSK\par
\par
A short iron ladder drops to a ledge down there. As Clark reaches the bottom, PULL BACK  to REVEAL:\par
\par
476INT. SEWER TUNNEL\par
\par
A vast echoing sewer tunnel; we HEAR the RUSH of WATER.\par
\par
He walks a few feet to the left, then suddenly stops. He removes his coat and hat and lays  them down, then takes from the raincoat pocket a screwdriver and two firecrackers , He lays the firecrackers carefully on the raincoat (to keep them dry) and kneels. holding the screwdriver. What is he up to?\par
\par
CLOSER ON HIM as he begins, laboriously, to unscrew a breaker panel on the floor of the  tunnel.\par
\par
CUT TO\par
\par
477INT. LUTHOR'S OFFICE - DUSK\par
\par
As we HEAR a BELL (rather like am alarm) RING LONG and LOUD, we are on a BANK  OF TV BANKS MONITORS, each of which is labeled -- Park Avenue entrance, Fifth Avenue Entrance, 62nd Street Entrance, 59th Street Entrance. A light on this last set is blinking.\par
\par
WIDEN SHOT to INCLUDE Luthor, Albert, and Eve.  LUTHOR Ah, visitors! Now who could be dropping in?\par
\par
As Eve begins hastily smoothing her hair and fixing her lipstick as if for some real social event, Luthor presses a button on the TV monitor. The IMAGE APPEARS.\par
\par
INSERT: CLARK - SUPERMAN\par
\par
laboriously unscrewing the breaker panel to gain entry.\par
\par
479ON LUTHOR\par
\par
-- for a moment, he is shook up.\par
\par
LUTHOR He's early. What's his rush?\par
\par
ALBERT          (scared) We're alone! Those four said Midnight! He'll  hurt us!\par
\par
 Luthor starts backing towards a tunnel:\par
\par
LUTHOR Think I'll go for a walk. \par
\par
But suddenly, his attention is arrested by what he sees on the TV:\par
\par
480HIS POV\par
\par
The TV screen on which we SEE Clark-Superman unscrewing the last screw as we HEAR  Luthor exclaim:\par
\par
LUTHOR (O.S.)          (startled) A screwdriver? All of a sudden he's got  respect for property?                                 (as C.S. removes breaker panel) What happened to the old razzle dazzle?                     (as C.S. picks up firecrackers) What now?\par
\par
ALBERT (O.S.)                       (helpful)  Firecrackers. I believe.\par
\par
LUTHOR (O.S.) I know that, Albert. I just don't know what. . .\par
\par
As Clark-Superman takes out a book of matches, we HEAR a sudden exultant cry from Luthor. \par
\par
481ON LUTHOR\par
\par
 very excited.\par
\par
LUTHOR                    (Eureka!) Ah, but I do know! I do know!                      (excitedly) It's the machine!\par
\par
THREE SHOT - A tiny, but significant pause while Lex waits for their appreciation and they  regard him blankly.\par
\par
LUTHOR           (impatiently) That machine at his place.. Y'know? Y'know?           (to Eve) You thought it was the ladies' room, and I told you  it was a molecular restructuring thing? Well, the  flying fool must have put himself through it.         (it's delicious, triumphantly) And he's not flying anymore! He's lost his powers! He went and restructured his molecules! \par
\par
CONTINUED 481CONTINUED\par
\par
EVE But why would he. . .\par
\par
LUTHOR        (snappish) How do I know, Miss Teschmacher?  I'm not his  shrink. Thank God.         (happy again)  Ours is not to reason why, ours just to enjoy, enjoy.\par
\par
ON LUTHOR. Gleefully, practically rubbing his hands together, he sinks into a great regal  armchair to enjoy, enjoy what is to come.\par
\par
LUTHOR Boys and girls, get ready for the greatest show  on earth!\par
\par
CUT TO \par
\par
482INT. TUNNEL SHAFT\par
\par
Clark-Superman removes the breaker panel and then, just before he jumps to the room below, lights and drops the firecrackers.\par
\par
CUT TO \par
\par
483INT. LEX LUTHOR'S HALL\par
\par
A pitiful son et lumiere show. The firecrackers BANG and in the little puff of smoke, Clark-Superman lands in a fierce pose like an ordinary guy trying to act like Superman (viz. George Reeves). Striking an heroic pose.\par
\par
CLARK-SUPERM.AN         (the deep phony voice again) All right, Luthor. what are you trying to pull?\par
\par
WIDE SHOT as Clark-Superman strides towards Luthor.\par
\par
LUTHOR           (enjoying) And what are you trying to pull -- my leg?\par
\par
CONTINUED\par
\par
483CONTINUED\par
\par
Clark-Superman stops in his tracks, confused One last try:\par
\par
CLARK-SUPERMAN         (the deep voice; warningly) The jig is up, Luthor!\par
\par
LUTHOR         (to Eve and Albert) Cheap shtick ! Do you believe it? The fella does  impressions.         (to Clark-Superman) Can you do Cagney? That's my favorite.         (doing it himself) 'You dirty rats. . . '         (himself again and sneering) Your act needs work, kid. And you could start by  taking the price tag off your tochis.\par
\par
ON SUPERMAN: A confused and embarrassed Superman, feeling around  and indeed  finding the price tag still dangling. Humiliated, he pulls it  off, tosses it angrily on the floor.\par
\par
ON LUTHOR : rising from his chair now.\par
\par
LUTHOR       (contemptuously) You're Superman, huh? Okay, try this. Feed  the pets.\par
\par
He gestures towards the alligator tank.  ON SUPERMAN: confused, looking at the tank. \par
\par
ON LUTHOR: an evil grin.\par
\par
LUTHOR Feed 'em your foot.       (scornfully) You're not Superman anymore than I am.  Probably less.\par
\par
An inspiration. TRACK WITH him as he crosses quickly to a wall where hangs a pair of heraldic crossed swords, part of the rococo decor of the lair. He seizes one and whirls around  to confront Clark-Superman.\par
\par
CONTINUED\par
\par
483CONTINUED\par
\par
LUTHOR I think I'll cut you down to size.\par
\par
He begins backing him into the hall, toward the alligator tank.\par
\par
WIDE SHOT: Albert and Eve flattened fearfully against a far wall as, in f. g. Luthor and  Clark-Superman square off and circle each other warily.\par
\par
LUTHOR       (brandishing the sword)  Have at you!\par
\par
484 INT. LUTHOR'S HALL\par
\par
Waving the sword "wildly, but with some menace, he is backing Clark-Superman towards  the alligator tank. Feinting, ducking, Superman climbs the ladder. Luthor in pursuit.\par
\par
LUTHOR                    (doing all the moves)  Thrust! Parry! bullseye!\par
\par
And he hurls the sword right at Clark-Superman. It WHISTLES through the air. \par
\par
ON CLARK-SUPERMAN, feinting at the last moment. The sword misses him by an inch  and sticks, quiveringly, in the wall behind him. They move onto the ledge, above the tank.\par
\par
WIDE SHOT: And now the advantage is with Clark, who advances on Luthor ready to try throwing a merely mortal punch. But Luthor immediately begins shadow-boxing, darting  quick blows at Clark-Superman. Surprised, Clark-Superman can only keep ducking and  feinting. Luthor stops abruptly; they are at a standoff.\par
\par
LUTHOR          (to Albert) Well. Albert, it looks like we won't. . .          (a wildly significant look)  Play ball. Y'know?           (as Albert looks blank) Y'know??   The light dawns in Albert's face and he nods quickly.\par
\par
CONTINUED\par
\par
484CONTINUED\par
\par
TIGHT TWO SHOT: Luthor and Clark-Superman facing each other. Clark-Superman looking frustrated and humiliated , Luthor smiling mockingly at him.\par
\par
LUTHOR Big mistake, pal. Because it's the bottom of the  ninth for you.\par
\par
WIDE SHOT: And Albert is now creeping up the ledge behind Clark-Superman, wielding a  baseball bat.\par
\par
LUTHOR         (still smiling) And Lex Luthor has last licks!\par
\par
And on that last word we are ON Superman, FULL SHOT as the baseball bat comes  crashing down on his head with incredible violence. We HEAR the mighty CRACK and expect to see his head split, but it is the bat that splits. Inexplicably, not a hair is out of place.\par
\par
A SERIES of QUICK CLOSEUPS -- REACTION SHOTS: Albert staring at the jagged butt  end of the bat in his hand; a wide-eyed Eve, a shocked Luthor, literally back-tracking and  last and most stunned, Clark-Superman, touching his head in gingerly disbelief.\par
\par
WIDE SHOT: Everybody in shock, Luthor recovering fastest. He gestures towards the  broken bat.\par
\par
LUTHOR        (explaining) They don't make those things the way they  used to.         (quickly) The brick Albert, the brick!                    (as Albert scurries for it,          to Clark-Superman, almost           reassuringly) This should do it.\par
\par
Albert runs at Superman, obviously about to brain him with a flip of his brick.\par
\par
ON SUPERMAN: Venturing something. Concentrating, he aims his Heat-Vision. (EFFECTS) We HEAR a cry of pain from Albert.\par
\par
ON ALBERT:  shaking his smarting hand, staring at the melted brick he's dropped.\par
\par
CONTINUED\par
\par
484CONTINUED  (2)\par
\par
ON EVE: she looks very nervous, a fluttery smile flitting on her race. She begins chewing  on the chain she wears around her neck -- whatever is its pendant is under her sweater or  blouse.\par
\par
EVE        (quietly, timorously; to herself) Oh, boy,  am I gonna get yelled at. . .\par
\par
ON LUTHOR, who hasn't even looked her way, still staring at Superman in disbelief.\par
\par
LUTHOR Impossible!\par
\par
ON CLARK-SUPERMAN: just as bewildered. \par
\par
SUPERMA.N Beats me. . .\par
\par
ON EVE: cast o'er with a sickly pale.\par
\par
EVE         (to herself') 'Clumsy, butterfingered idiot,' he's going to say.  'How could you. . . '\par
\par
She fingers the necklace.\par
\par
ON LUTHOR: frustrated, suddenly a wild hope. He runs to his office; Superman follows, as do the others.\par
\par
LUTHOR Wait! Don't move! I've got it here somewhere. . .\par
\par
485INT. LUTHOR' S HALL - NIGHT\par
\par
TWO SHOT: Searching frantically, Luthor starts pulling out desk drawers. Superman takes a  large bronze candlestick off the desk. Is he going to brain Luthor? No, he's testing his  powers, bending it easily in half.\par
\par
ON EVE: watching this with sick dismay.\par
\par
EVE        (tiny voice) In ten seconds, that's when he'll start yelling. Ten  seconds I give it. Ten. . . nine. . .\par
\par
CONTINUED 485CONTINUED\par
\par
WIDE SHOT: As Superman carefully replaces the ruined candlestick, Luthor straightens up.\par
\par
LUTHOR Voila!\par
\par
He has found what he was looking for: a Thompson sub-machine gun.\par
\par
LUTHOR         (confident again) Okay!                     (to Superman, as if he were          about to take his picture) Could you just face me a little more?\par
\par
And Clark-Superman, in an increasingly happy daze, complies\par
\par
ON EVE:\par
\par
EVE Seven. . . six. . . \par
\par
486ON LUTHOR: HE squeezes the trigger and FIRES off a ROUND.\par
\par
487ON SUPERMAN: The bullets bounce off.\par
\par
LUTHOR              (hysterical) But it's impossible! You did go through that  machine, didn't  you?\par
\par
SUPERMAN                    (furious) Machine? How did you know about that  machine, Luthor?\par
\par
LUTHOR I. . .uh. . .was in your neighborhood and. . .\par
\par
SUPERMAN Breaking and entering,  that's a felony with a fifteen year  jail term.  I'll just add that on to your. . .\par
\par
ON EVE:  By now she is looking white with anxiety.\par
\par
CONTINUED\par
\par
487CONTINUED\par
\par
LUTHOR But it was perfect!  It restructures molecules!  It had to  work!  A masterpiece of engineering!  All right,  at first  I didn't understand about the cadmium oscillator, but  when I examined the power source. . .                    (babbling on wildly) . . .I mean, I saw it! when this clumsy butterfingered idiot  here knocked over one of the. . .\par
\par
Suddenly he comes to a dead stop,  Fire in his eyes.\par
\par
ON EVE:\par
\par
EVE Two. . .one. . .zero\par
\par
ON LUTHOR:  Turning to Eve,  in a screaming rage!\par
\par
LUTHOR You...you... you clumsy butterfingered idiot! \par
\par
ON EVE:\par
\par
EVE                   (quietly) Blast off.\par
\par
NEW ANGLE:\par
\par
LUTHOR                   (weakly) That-that-that crystal, that red thing you dropped,   didn't you. . .didn't  you. . .\par
\par
With a gulp,  like a kid caught with his hand in the cookie jar,  she pulls the necklace pendant  from her bosom.  It is the glowing red crystal from the machine.\par
\par
EVE                     (a teeny weenie voice)  You...mean this?                    (weakly) I thought it was pretty.\par
\par
CONTINUED\par
\par
487CONTINUED   (2)\par
\par
LUTHOR Pretty?! It's beautiful compared to what your  going to look like!! \par
\par
He charges at her, but is stopped midway by the grasping hand of SUPERMAN, which lifts  him a foot off the ground.\par
\par
SUPERMAN Hold it!\par
\par
488NEW ANGLE\par
\par
As Superman grabs he enemy, we NOTE that he seems suddenly to expand in power and musculature. As if by magic, his costume is no longer baggy or ill-fitted or faded. His very being  seems to have the old aura back again. Superman!\par
\par
 SUPERMAN                   (hard as nails) Now, you pitiful little crackpot, you're going to start  telling me what I want to know or your foot is going  to feed the alli. . .\par
\par
Suddenly, as LUTHOR trembles in abject cowardice, the VOICE of GENERAL ZOD booms out in the vast lair.\par
\par
ZOD (O.S.) Luthor, you insignificant insect! You promised us the  son of Jor-El! Where is he Luthor? Fulfill your promise or prepare to die on the...\par
\par
Immense relief floods over LUTHOR'S face at the SOUND of the VOICE, as the startled SUPERMAN lets him go and looks up.\par
\par
489ANGLE UP: Standing, feet planted apart, arms akimbo, on one of the steel cross-beams is  General Zod. Scattered on other ledges high up are Ursa, Non, and Jak-El.\par
\par
LUTHOR Ah, General! I thought you'd never get here. I don't  suppose you've met, have you. Superman, these are some folks from your old home town come to say  hi. Well, I'll just let you all have a nice little chat now  I'm sure you've got all kinds of things to talk over -- old friends, old memories, singing the old school songs. . .\par
\par
CONTINUED\par
\par
489CONTINUED\par
\par
ZOD         (stentorian tones)  Son of Jor-El!\par
\par
At the sound of the hated name, Non roars.\par
\par
SUPERMAN What do you want of me?\par
\par
ZOD  I am General Zod!\par
\par
SUPERMAN Big deal.\par
\par
ZOD           (stridently) You will bow to the four of us! especially me!\par
\par
WIDE, LONG: The four above, Zod pointing down to Superman imperiously. \par
\par
SUPERMAN I think you need to be taken down a peg.\par
\par
490And with that: EFFECT: A beam of heat vision Shoots from our hero's eyes and strikes the  steel beam Zod stands upon. It glows and melts beneath his feet, sending Zod crashing down  to the floor.\par
\par
491Instantly:\par
\par
JAK-EL        (deprecatingly) Oh that. Who can't do that?\par
\par
492From their three perches, the three beam heat vision (EFFECTS) on the floor Superman  stands on, cutting a section around him as neatly as a laser beam.\par
\par
493NEW ANGLE as the chunk of floor gives way and sends Superman crashing down to the  basement level. Debris and dust fly.\par
\par
494ON LUTHOR, EVE AND ALBERT: watching wide-eyed, scared.\par
\par
LUTHOR My carpets! Be careful of my carpets!\par
\par
ON SUPERMAN: a bit stunned as he lifts himself out of the debris.\par
\par
SUPERMAN       (wonderingly) This is going to be harder than I thought.\par
\par
ZOD        (above) Now, son of Jor-El! Kneel and beg my forgiveness!        (holds out his hand)  You will kiss my ring!\par
\par
SUPERMAN         (pointing to his monogrammed chest) You can kiss my  'S.'\par
\par
495He hurls a chunk of broken metal at the leaping Jak-El. FOLLOW IT: As Jak-El ducks, the  metal SMASHES against a wall, not merely cracking it, but bringing the entire wall down  along with its paintings, scabbards, books, etc.\par
\par
496ON LUTHOR AND EVE: He is apoplectic.\par
\par
LUTHOR         (sputtering) Stop it! Stop it! This is my home! You are destroying  a man's home!\par
\par
EVE       (tentatively) Try to think of it as interior decorating, Lex.\par
\par
LUTHOR          (homicidal) I'll decorate your interior, you stupid, screwed up,  smart mouthed. . .\par
\par
EVE                   (running from him) Does this mean we're not engaged anymore?\par
\par
CONTINUED\par
\par
496CONTINUED\par
\par
NEW ANGLE :\par
\par
ZOD Yield! Son of Jor-El, I command you to 'yield!\par
\par
SUPERMAN That'll be the day.\par
\par
URSA                 (contemptuously) He is even more pathetic than his father. Miserable  weakling!  And with that she lifts a heavy marble-topped table in the air, over her head.\par
\par
LUTHOR Not that! It's Chippen. . .\par
\par
And she flings it full force at Superman, FOLLOW IT: He darts away, as, to our amazement, the table goes not five or ten feet, but whizzes across the full length of the room, smashing the opposite wall. It crashes the wall down, cracking an iron water main pipe concealed in the wall.\par
\par
CLOSER: A the pipe cracks, gallons of water begins gushing into the lair with the force of  geyser.\par
\par
498REACTIONS: LUTHOR, EVE, ALBERT . . .in a panic.\par
\par
LUTHOR A bucket! Albert, get a bucket!\par
\par
ZOD Humble yourself, son of Jor-El! Bow to your leader!\par
\par
ON SUPERMAN: as ha takes off, flying up toward Zod. \par
\par
SUPERMAN You sure like to hear yourself talk, huh? Well  I'm just going to have to close that mouth for you.\par
\par
500NEW ANGLE: As Superman comes, Zod gives the signal to Non. With a cry, the beast springs from his perch and charges full-force at Superman, butting him with his head squarely in the chest. The terrible blow has a remarkable effect on Superman. For the first time he is hurt. Reeling, he lets out a cry of pain, which is truly frightening to us who never heard that before from him, and falls to the ground.;\par
\par
A beat of terrible silence.\par
\par
SUPERMAN      (amazed, rubbing his chest) Pain. . . This must be pain. . .\par
\par
ON EVE: a look of pity.\par
\par
EVE Awww. He was always a real gentleman to me.\par
\par
WIDE\par
\par
ZOD Admit defeat, obstinate fool! Bow and proclaim  Zod your master!\par
\par
SUPERMAN         (rising) You, a master? You're nothing but a slave to your own  sick mind.\par
\par
ON ZOD: seething with rage.\par
\par
ZOD So, this is the answer, is it?\par
\par
ON LUTHOR: as he sees it's going to start again.\par
\par
LUTHOR                 (pitifully, almost in tears) Aw, c'mon, people, can't you go and play somewhere else?  ZOD Still you resist! Then others will pay for your stubborn  attitude! Innocent people.       (as if it were an insult, spitting it out)  Humanity!\par
\par
501And with that, he leaps from his place and flies straight up through the hole in the ceiling.\par
\par
LUTHOR I thought they'd never leave.      (suddenly in command again) Albert, get a broom. Miss Teschmacher, the mop  is in the utility room, what are you waiting for, a  printed invitation?       (as they scurry off; to Superman) Would you mind moving out of the way? I've got  a little spring cleaning to do here and you're in my. . .\par
\par
Suddenly, O.S., coming from above on street level: a horrible SCREAMING of people in  pain.\par
\par
503MED. CLOSEUP - SUPERMAN: His reaction is instantaneous. He flies straight out and up.\par
\par
CUT TO\par
\par
504 EXT. CITY STREET, METROPOLIS NIGHT\par
\par
As Superman emerges, a terrible sight awaits him. We ARE IN THE INTERSECTION of a  busy midtown Metropolis section. On one corner, a tall, modern glass-fronted skyscraper. On another a big department store. A hospital building down the street. The area is well lit,  not only by street lights, but by big electric signs advertising various products or naming various companies, which sit on the roofs and ledges of the surrounding buildings, The Daily Planet building among them. One of these gigantic signs has been toppled, crushing about  twenty people in the middle of the intersection. Many are dead. Some crawl away, hurt. Other people, a large crowd, are running in panic from the apocalypse, taking shelter in the lobby of the department store, crushing into the available space, to avoid the devastation taking place.\par
\par
(NOTE: The following scene, although detailed carefully here, moves at rapid pace, one event following another in FAST CUTS so that there is no time for reflection on the part of  the audience, nor) for that matter, on the part of Superman.)\par
\par
In QUICK CUTS, then:\par
\par
5051.The WIDE SHOT and VARIOUS ANGLES, SHOWING what has just happened.\par
\par
5062.Survivors of this first disaster, yelling, run to the safety of the department store      entrance.\par
\par
5073.Superman seeing all this, looking up to where the sign fell from.\par
\par
5084.PAN UP:  Jak-El, giggling has pushed the sign. As he leaps from the now-empty  rooftop, over the skeletonic sign foundation, PAN TO General Zod, on another height.\par
\par
ZOD Son of Jor-El! Bow! Bow and acknowledge the  superior power of General Zod!\par
\par
5095.INTERCUT CROWD seeing Superman . Superman rushes to the fallen victims,   when:\par
\par
5106.JAK-EL, on another ledge, pushes over another sign. It falls with a crash, injuring the slower of the fleeing people.\par
\par
ZOD Kneel! Swear loyalty to Zod!\par
\par
Stopped in his tracks, Superman -- for whom everything is happening too fast, faster than he  can stop it -- races to the second sign, when:\par
\par
O.S. : SCREAMING of young children.\par
\par
511ON SUPERMAN: who spins around to see why.\par
\par
512HIS POV:  NON, across the street, hold over his head a mini school bus, which has been  converted into an evacuation vehicle, as evidenced by the sign posted on its side, the suitcases on its luggage rack. Inside the bus, about 15 children, a few nuns, a driver, scream in terror as Non rocks the bus from side to side as he holds it aloft, sending the passengers tumbling over each other.\par
\par
513ON SUPERMAN:\par
\par
SUPERMAN No!\par
\par
514NEW ANGLE: Before he can, NON hurls the school bus at the side of a concrete building. It  crashes and EXPLODES.  \par
\par
SUPERMAN Don't!  Don't do this! Why are you doing this?\par
\par
JAK-EL Cause you're so cute when you're  mad.\par
\par
CONTINUED\par
\par
514CONTINUED\par
\par
ZOD On your knees,  son of Jor-El!\par
\par
O.S. the biggest SCREAMING yet. Many people in a panic.\par
\par
515ON THE DEPARTMENT STORE: The mob that took refuge in there now comes charging  out, in panic and hysteria, screaming.\par
\par
516CLOSEUP - SUPERMAN: He doesn't know why.\par
\par
CUT TO\par
\par
517INT. DEPARTMENT STORE LOBBY - NIGHT\par
\par
WIDE SHOT: behind the fleeing crowd, is a wall of flame. Behind the wall of flame is Ursa,  heat-vision emanating from her eyes, as she forces them into the open.\par
\par
CUT TO \par
\par
518EXT. DEPARTMENT STORE - NIGHT\par
\par
As the crowd rushes out into the street.\par
\par
CUT TO\par
\par
519EXT. ROOF - DEPARTMENT STORE - NIGHT\par
\par
ANGLED DOWN, WIDE, OVER THE BACK OF JAK-EL, his hands poised on the enormous electric sign of the Department store. Just as the crowd below turns out into the target area, he tips the sign over, screeching with glee:\par
\par
JAK-EL Bombs awayyyyyy! \par
\par
520The sign crashes down on the crowd. Enormous destruction.\par
\par
ZOD Bow down! Bow down and submit, you  son of Jor-El!\par
\par
As if he were saying "sonofbitch."\par
\par
521ON ZOD: Drawing himself up to full strength on his lofty height, he aims his ferocious eyes  at what is across the street.\par
\par
522WIDE: (EFFECTS) The beam from his eyes hits the vast glass front of the skyscraper.\par
\par
ON THE GLASS FRONTED SKYSCRAPER: A crack appears, with a mighty SOUND, like  the crack in an egg - jagged from top to bottom. An instant later, the windows  start to pop  and fly, some bursting out into the street, some going inwards.\par
\par
INTERCUT:\par
\par
5231.SHOTS of OFFICE WORKERS hit by the flying glass inside, screaming, falling.  CLOSEUPS of faces cut, eyes bleeding, heads covered with broken shards of glass.  Panic. Hysteria.\par
\par
5242.SHOTS OF SUPERMAN: unable to prevent it. Horrified.\par
\par
5253.SHOTS OF ZOD: shouting his importunities. The others, wild.\par
\par
5264.THE CROWD ON THE STREET, those who have survived, massed together, are  amazed at Superman's inaction. Cat calls and expressions of disappointment. Some  yelling, "Get 'em! Get 'em!"\par
\par
537ON SUPERMAN: He stands there, impotent, not knowing where to turn. Then:\par
\par
VOICE OF URSA  Superman! Over here!\par
\par
528PAN UP, WIDE: JAK-EL is now on top of the Daily Planet building, sitting astride the great  electric  globe that festoons the roof of the newspaper offices. Non is now on the ledge of another building across the street. Zod is on his perch, right angles to Non. Completing the  square is Ursa who sits on the awning of a building whose fa\'87ade reads METROPOLIS  CHILDREN'S HOSPITAL.\par
\par
JAK-EL Come on, local boy, Make good.\par
\par
URSA      (taunting) Is de widdle man tired?\par
\par
ZOD We noticed a pavilion in the children's hospital  dedicated to you. Why don't you check yourself in with the rest of the sick and weak!\par
\par
529ON SUPERMAN: Looking every which way, a terrible inner struggle going on inside him. Jaw clenched, fists tight, he stands immobile.\par
\par
530ON THE CROWD: Waiting, watching.\par
\par
531ON SUPERMAN: He flies up, as if to confront the villains, but then, halfway there, he suddenly whips into a turn and zooms away, darting off through the buildings into the night. he is gone.\par
\par
532ON THE CROWD: Some cannot believe it. Expressions of dismay. TWO BLACK KIDS, 8  and 10, with "street smarts " beyond their years, look at the sky, their cynicism confirmed.\par
\par
FIRST BLACK KID        (scornfully) Huh. Superman Didn't even do nothin'.\par
\par
SECOND BLACK KID                   (calling up to the sky,                    the ultimate put-down) Jive turkey!\par
\par
The SOUNDS of the awful LAUGHTER of the four can be HEARD:.\par
\par
533ON THE ROOFTOPS: The four are rocking with laughter.\par
\par
JAK-EL  Never even threw a punch!\par
\par
URSA A coward like his rather. Like all men.\par
\par
As Non growls horrendously.\par
\par
ZOD        (delighted) And did you see his face when I asked him to  bow and he. . .        (the laugh stops suddenly) . . . he did not bow.         (looking wildly around)  Where has he gone? Where is he?\par
\par
CUT TO \par
\par
534INT. LEX LUTHOR' S HALL - NIGHT\par
\par
A very delicate operation is in process. Albert stands none too steadily at the top or a rickety ladder hammering a metal patch on the broken water pipe, while Eve, half way up the ladder, passes him nails, and Luthor, at the foot of the ladder, steadies it. Signs of hasty repair are  everywhere: buckets, towels, pans, etc. pressed into service.\par
\par
LUTHOR If I never see any of them again, it's too  soon for . . . 535Suddenly, with a mighty whoosh, the four villains descend from the hole in the ceiling, knocking down the ladder as they do, causing  Albert to fall, the patch to come loose, the  water to start gushing again.\par
\par
LUTHOR       (beside himself) Why me? Why me? Isn't there any other louse in  this city who deserves grief and heartbreak? Does it always have to be. . .\par
\par
Non grabs him by the neck, and growls, teeth showing.\par
\par
LUTHOR        (trying to smile)  Hi, there.\par
\par
ZOD           (angry) Where is he? Where is the son of Jor-El?\par
\par
LUTHOR Can't you people ever hold onto your property? Again  with where is. . .                   (suddenly brightens)  Ohhh, lost him, have you?\par
\par
Non releases him. Luthor brushes himself off.\par
\par
ZOD Where has he gone?\par
\par
FAVORING LUTHOR: as he gets the old confidence back. With a strut and a stagger and a  wink to Eve and Albert;\par
\par
LUTHOR  It so happens I'm the only one in the world who has  the answer to that question.\par
\par
URSA Where?!\par
\par
LUTHOR Not so fast. This time we make a deal.\par
\par
CONTINUED\par
\par
535CONTINUED\par
\par
ZOD Deal? General Zod make a deal??\par
\par
LUTHOR        (blithely) Suit yourself. Kill me if you want to.                  (as Non approaches) What will it get you, aside from a national day  of' mourning? Deal me in and you get your pigeon.\par
\par
ZOD Where does he go?\par
\par
LUTHOR The address? What for? More of' that 'Bow, yield,  kneel' routine? I saw it. It was a flop. A floperoo.\par
\par
ZOD       (pure hatred)  No more or that. This time we will kill him!\par
\par
Non howls.\par
\par
ZOD Kill him!\par
\par
LUTHOR N.G. He's as strong as any one of you.\par
\par
ZOD But not as strong as the four of us! One by one, we fail. But together. . . together we will tear him limb from limb.\par
\par
ON EVE: trembling, she backs away.\par
\par
LUTHOR         (exultant) Now you're talking, y'know? Y'know?      (grabs a Kleenex pops          it in his mouth) Any of you folks care for a. . . well, anyway . Do we  have a deal?\par
\par
CONTINUED\par
\par
535CONTINUED  (2)\par
\par
 JAK-EL What is it you want, earthling?\par
\par
LUTHOR I figure you'll take over the world in about a week,  right? Right. Well, it's a big place, the world. And  my needs are small. As it turns out, y'know, I have a certain weakness for beachfront property and. . .\par
\par
ZOD       (enough already)  What do you want ?\par
\par
CLOSEUP - LUTHER : a big smile.\par
\par
LUTHOR Cuba.\par
\par
CUT TO\par
\par
536INT. FORTRESS OF SOLITUDE - NIGHT\par
\par
A brooding, disturbed Superman, his face a portrait of tortured emotion, sits at his master console, looking at a TV screen. As he brushes back a lock of hair, wincing from a bruise, which we see for the first time, MOVE INTO TV screen until it FILLS OUR FRAME.\par
\par
537INSERT: On the TV screen is SEEN the back porch of the White House in Washington, D.C. where the PRESS SECRETARY is holding a news conference, surrounded by gentlemen ofthe press.\par
\par
PRESS SECRETARY         (very serious) The President has asked me to read the following statement.          (reading) 'These are grave and terrible events, which threaten the  very existence of our planet. I have, therefore, as your  Commander in Chief, placed all armed forces on emergency status. All leaves and furloughs are cancelled until further  notice. There is little we can do against interplanetary forces  bent on wanton destruction, however. We must look to a higher  power and pray that the five creatures abandon their willful activities and allow us to live in peace.'\par
\par
CONTINUED\par
\par
537CONTINUED\par
\par
REPORTER Excuse me, did you say 'Five'? I don't understand.\par
\par
PRESS SECRETARY  Yes, five. The President! considers Superman equally  responsible -- perhaps 'irresponsible' is a better word. . . for this terrible destruction.\par
\par
538REVESE FROM TV SCREEN TO SUPERMAN WATCHING: Stung to the quick, he gets  up, switches it off, walks toward the area where, he communicates with his father, almost literally stooped with the weight of the world on his shoulders.\par
\par
PAN HIM OVER TO the shelves where the memory crystals are kept. He takes one of the  last crystals on the second wall - the wall where Luthor got his information -- and walks  toward the activating device.\par
\par
CUT TO\par
\par
539EXT. SKY - NEAR NORTH POLE - NIGHT\par
\par
The four villains are flying. Luthor rides on Non's back .\par
\par
LUTHOR                            (to Ursa, flying alongside) My ears are popping, y'know.\par
\par
She turns away in disgust.\par
\par
LUTHOR No drinks. No movie. This is the last time I take a  charter flight.\par
\par
CUT TO \par
\par
540INT. FORTRESS OF SOLITUDE - NIGHT\par
\par
Jor-El has materialized and is listening to Superman's grim tale.\par
\par
SUPERMAN . . . but I couldn't save the world. My being there  just made things worse.\par
\par
JOR-EL So you came here.\par
\par
CONTIUNED\par
\par
540CONTINUED\par
\par
SUPERMAN       (nodding) And here I sit. . .        (bitterly) In my own little Phantom Zone. Staying out of trouble.        (shakes his head) But I'm kidding myself, aren't I? I've Just defaulted. . .  left the world to them.\par
\par
JOR-EL          (nodding quietly) And sooner or later they will find you anyway.\par
\par
SUPERMAN           (despairingly) Isn't there anything I can do?\par
\par
Amazingly, the image of Jor-El begins to fade away as if he has clicked himself off.\par
\par
CLOSEUP - SUPERMAN: Terrible anxiety.\par
\par
Then, suddenly, the image of Jor-El grows to full strength again. A forthright expression in  his eyes.\par
\par
JOR-EL  There is one solution. And only one.\par
\par
CUT TO\par
\par
541EXT. SKY NEAR THE FORTRESS - NIGHT\par
\par
LUTHOR  There! Down there!\par
\par
ZOD I see only ice.\par
\par
LUTHOR Trust me. Did I ever let you down?\par
\par
The word down becomes a gibbering cry, as they suddenly zoom downwards, Lex hanging  on for dear life. His race looks like it's being pressured by 800 g's.\par
\par
LUTHOR If you people could Just do something about this turbulence  problem, we could put TWA out of business.\par
\par
542INT. FORTRESS OF SOLITUDE - NIGHT\par
\par
ON SUPERMAN: as he stands by the control panel of his console, pushing various buttons, activating various crystals. We don't know exactly what he is doing, but it sure looks important.\par
\par
VOICE OF LUTHOR Yoo hoo! Anybody home! Hey, Stupid man! You've got company! \par
\par
543 SUPERMAN activates the mechanism (same one Albert fooled with earlier) that causes one wall of the Fortress (EFFECTS) to become opaque/transparent so that he can now see what is out there.\par
\par
544WHAT HE SEES: The four and Luthor, ranged across his "front yard."\par
\par
LUTHOR Don't blame me, dummy! You're the one who blew it! All you had to do was compromise a little - I mean, so  you kneel once, what's the big deal, a little dust on your  knee? But no, you had to be macho man. They would've made you a deal, y'know. You could have been king of the United States maybe! At least Governor of North Dakota! But no, you had to go and make them mad. Hey listen, Superman, can you hear me? When these guys get mad  it males me look like Winnie the Pooh. Now they want to  kill you! What can I say? I'm going to miss our little chats, y'know. Y'know? Hey, in there. . . send up a flare, or something. Let us hear from ya!\par
\par
During this, CUT FROM Superman's INSIDE POV TO:\par
\par
545EXT . FORTRESS OF SOLITUDE - NIGHT\par
\par
ZOD  Enough of this! Son of Jor-El, prepare to die!         (to Non) Smash the door!\par
\par
Non rears back and hurls himself at the door. The second he hits it (EFFECTS): An enormous ZAP! of Kryptonian electricity sends him reeling him back, stunned. He lies in the snow, doesn't know what hit him.\par
\par
JAK-EL  Let's take it from the top.\par
\par
Jak-El, leaps to the roof of the Fortress.\par
\par
546ON THE ROOF: As the wiry imp crawls between icicle points, looking for a means of entry, a second set of icicle-like points suddenly rises from the roof, intersecting with the first  group. As these touch Jak-El (EFFECTS): Another ZAP! of electricity gooses him up and  off. He falls to the ground.\par
\par
547ON THE GROUND LEVEL:  They all cluster around Zod, feeling a bit foolish.\par
\par
LUTHOR I don't know. . . for me the door was always open.\par
\par
ZOD We have forgotten our plan. Four.  We are four. It is the strength of four that will defeat our enemy. \par
\par
He gestures to them, manipulating them into a flying wedge, pointed at the doorway.\par
\par
ZOD  Together! Now!\par
\par
In a fearsome display of raw power, the four leap, fly like bullets, and hit the door  simultaneously. Again there is a tremendous ZAP! of electricity, but it isn't strong enough to  withstand their combined super-power. The door crashes and splits and they are inside. \par
\par
CUT TO \par
\par
548INT. FORTRESS OF SOLITUDE. - NIGHT  As they race in, each looking around wildly for their prey, smelling blood. Behind them,  Luthor trots in.\par
\par
WIDE: But. . . the enormous interior seems to be empty. No sign of Superman.\par
\par
ZOD Show yourself, coward! Son of a coward!\par
\par
CUT TO\par
\par
549INT. MOLECULAR RESTRUCTURING CHAMBER\par
\par
There is Superman inside. He can see them through the glass window. Quickly he puts a red  crystal -- a duplicate of the one we saw on Eve's necklace in its proper place in the crystal  panel bank. Then, he flings open the door and stands in the doorway of the chamber.\par
\par
 SUPERMAN Anytime! Come and get it!\par
\par
CUT TO\par
\par
550INT. FORTRESS OF SOLITUDE - NIGHT\par
\par
The four see him now, and, with cries of fury, begin to race toward the chamber. \par
\par
Superman takes a few steps inside.\par
\par
But, when they are almost there:\par
\par
LUTHOR     (yelling frantically) No! Don't go in there! It's a trap! It's a trap!\par
\par
NEW ANGLE: The four stop in their tracks.\par
\par
QUICK CLOSEUP - SUPERMAN: looks upset.  LUTHOR Don't set foot one in that thing! I know what it is! It's a molecular restructuring thing!\par
\par
ZOD            (snarling) A what?\par
\par
LUTHOR It makes you into an earthling! It turns people like you in to. . .        (feels funny saying this) . . . people like me.\par
\par
ON THE FOUR: They shrink back in horror, then turn appreciative eyes on Luthor.\par
\par
ZOD We could have been. . .!                   (to Luthor) You have done well, Lex Luthor. We will award  you this Cuba place. \par
\par
ON SUPERMAN: He glares daggers at Lex Luthor. He looks as furious as we have ever seen  him be.\par
\par
SUPERMAN Luthor, you poisonous little snake. . .  CONTINUED\par
\par
550CONTINUED\par
\par
ON THE FOUR:  A gleam of pleasure appears in Zod's eyes. \par
\par
ZOD An earthling?                  (savoring it) It turns a Kryptonian into an earthling?\par
\par
LUTHOR            (smiling) Like a man into a mouse.\par
\par
URSA         (almost salivating)  Then a 'Super' man. . .  JAK-EL . . . becomes a Super Mouse!\par
\par
ZOD                (a sadistic smile; his first       smile of the movie) My friends. . . this amuses your General.     (suddenly; frighteningly fierce) Seize him!\par
\par
They spring at Superman and grab him -- literally limb by limb, one on each leg and arm. It  is an awful spectacle, as Superman vainly kicks and struggles, his eyes contorting with fear.\par
\par
SUPERMAN  No! No! Please Don't!\par
\par
His pleas are in vain. . . they hurl him into the chamber. Zod slams the door shut and seals it.\par
\par
ZOD Lex Luthor! Ruler of the Cuba place! Activate  this machine! Make the child of our jailer into a  crawling slave so that we may destroy him as easily as. . .\par
\par
ON LUTHOR: as he runs toward the chamber.\par
\par
LUTHOR Say no more, General. It's my pleasure.\par
\par
And he pushes the starting mechanism. Immediately:\par
\par
551WIDE: Something odd (to us, not to them) happens. The sudden spectacular changes of lights, colours, spotlights and so on that we saw earlier when Superman entered the chamber  begin to happen again. . . but this time they happen in the entire interior of the Fortress, and not in the Molecular Restructuring Machine.\par
\par
SHOTS: 1. WIDE as the lights change. 2.  INSIDE THE MACHINE, Superman sits bathed in ordinary room light. 3.  The colors and lights pass across the faces of the villains - red, green, blue.\par
\par
But this time a new color, or set of light changes, occurs -- something we did not see the first  time when the machine was lacking one important crystal.\par
\par
At last the process ends. The lights in the Fortress return to "normal." The four, as well as  Luthor, observed all the phenomenon with curiosity, but now that it seems to have ended  they are grinning with anticipation, each wanting to be the one who gets the first shot.\par
\par
JAK-EL Let me . . . \par
\par
URSA No, I want to . . .\par
\par
Non emits, a mighty howl.\par
\par
ZOD      (evil benevolence) Non. . . my faithful Non. . .  you may do the honors.\par
\par
FAVORING NON: Practically drooling with anticipation walks to the chamber and opens the lock. MOVE IN: SEE Superman in there. Hesitantly, he walks out the door, standing in  front of Non.\par
\par
With an idiot grin and a lunatic grunt of amusement, Non points to his chin, which he  proffers, as it to say, "Go ahead, hit me." Superman  stands there a moment. (Mother of Mercy, is this the end of Rico?). Now he clenches his fist. Now he raises his arm. Now Non  grunts mockingly. Superman hauls back and socks.\par
\par
553WHAMM! The punch sends Non flying across the entire length of the  entire room, crashing  into the far wall, out cold.\par
\par
554QUICK REACTION SHOTS: URSA, JAK-EL, ZOD, LUTH0R. . . how  could this be???\par
\par
ON LUTHOR: A gibbering idiot, trying to figure it out, terrified.\par
\par
LUTHOR He. . . he switched it! The old switcheroo! He was on the inside looking out, we were on the outside looking. .                                 (blathering) The wrong place at the wrong time! It isn't fair! He  turned it around! Put it in reverse! How could he do it?\par
\par
MED, CLOSEUP - SUPERMAN:  with a beaming smile, he looks skywards and makes a  jaunty little salute.\par
\par
SUPERMAN Thanks, Dad.\par
\par
NEW ANGLE: URSA, spitting with rage, charges at him.\par
\par
URSA I'll kill you! I'll destroy you!\par
\par
As she springs at him, fingernails out, he grabs her, yanks her over and turns her over his knee.\par
\par
SUPERMAN This is how we treat naughty girls on earth, Ursa.\par
\par
He spanks her butt soundly. She howls.\par
\par
ON ZOD: Cowering in a corner of the room; Jak-El behind him.\par
\par
NEW ANGLE: Superman dumps Ursa on the floor, stalks towards the General. He grabs him  by the lapels with one hand.\par
\par
ZOD No!\par
\par
 SUPERMAN General Zod, consider yourself dishonorably discharged.\par
\par
555With his free hand, he strips the epaulets from General Zod's shoulders. Then, grabbing him  with both hands, he raises him and hurls him across the room. Zod crashes into Jak-El and  both wind up in a heap.\par
\par
556ON LUTHOR: on his knees.\par
\par
LUTHOR        (trembling) Listen, Superman, don't do anything rash. Don't be  hasty. I'll be nice. I'll be your best friend. I'll change  my ways.\par
\par
POV: LUTHOR: ANGLE UP, Superman, advancing on him.\par
\par
SUPERMAN Now then, Luthor, as for you. . .\par
\par
LUTHOR (O.S.)  Please! I'll turn over a new leaf. A hundred leaves!  Trees! Forests!\par
\par
SUPERMAN        (coming closer)  Too late, Luthor.\par
\par
CUT TO\par
\par
557INT. MOLECULAR RESTRUCTURING CHAMBER  - SPACE\par
\par
CLOSEUP LUTHOR: (The CUT to the CLOSEUP makes it seem as if we are still in the  Fortress. Lighting on Luthor's face is the same, so we believe the following line is coming immediately after Superman's last speech).\par
\par
LUTHOR      (wildly hysterical) No! No, don't hurt me! Please don't hurt me!\par
\par
CAMERA PULLS BACK: suddenly we SEE that we are now inside the Molecular Restructuring Chamber, but still TIGHT ON Luthor, so that it seems we are still in the  Fortress.\par
\par
LUTHOR You, can't kill me! I'm a genius! I'm Lex Luthor! I'm the only one who can get us out of here!\par
\par
CONTINUED\par
\par
557CONTINUED\par
\par
PULL BACK CONTINUES AND WIDENS: Now we SEE that locked inside with him areGeneral Zod, Ursa, Non, and Jak-El, and outside the window is nothing but the black void of outer space.\par
\par
ZOD Every bone in your body, Luthor.\par
\par
URSA Limb from limb. Limb from limb.\par
\par
JAK-EL You got us into this!\par
\par
URSA  Limb from limb.\par
\par
LUTHOR      (wheedling, conniving, figuring,       hustling Lex Luthor to the last) Gimme a break, I'm the only one who can get us out  of here!        (waves his slide rule) Give me time! I'll figure out a plan!\par
\par
They advance on him, cornering him in the glass cage.\par
\par
LUTHOR Y'know? 'Y'know? Y'know? Y'know?\par
\par
558PULL BACK THROUGH SPACE. The chamber gets further and further away until it is merely a dot, lost among the stars. Then:\par
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A circular frame appears around this view of the starry sky.\par
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CUT TO\par
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559EXT. ROOF OF SKYSCRAPER - OSSERVATION TOWER (EMPIRE STATE . BUILDING)\par
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To REVEAL the source of the circular VIEW. A telescope on an observation platform. Eve Teschmacher is looking through it. She waves sadly into space.\par
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CUT TO\par
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560INT. DAILY PLANET - CITY ROOM - DAY\par
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TWO SHOT: by the elevators, where Clark Kent, having just come in, is standing still -- literally hat in hand -- for a dressing down by Perry White. All the while, Clark stares over Perry's shoulder with a look of puzzlement.\par
\par
PERRY C'mon, Kent, you're the tenth guy to do that number  about the subway not running. When I started  out. . . back before the wheel was invented. . . reporters  knew how to walk to work. (turning to go, a word of advice) A little exercise wouldn't kill you.\par
\par
REVERSE as they turn, and we now SEE what has been bothering Clark - beneath a great  jagged hole in the ceiling stands the huge electric globe which was on the roof until Jak-El  started cavorting on it. Obviously, as a final gesture, he sent it crashing down into the middle  of the room. Plaster and dust are all around it and workmen with ropes and tackles are struggling to budge it.\par
\par
PERRY            (shouting to them) The world is too much with me! Will you get that  thing out of here?        (to Clark) A parting present from the flying freak show.        (to the panting, puffing workmen) Where am I supposed to put my movie critic?!         (to Clark) He said it was the best thing he's seen in years. But he  thought he'd work at home. . .         (raising his voice to the workmen) . . .while they take their sweet time !\par
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And off he stalks.\par
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HOLD ON Clark, who barely has time for a shake of the head and a tiny private smile  before Jimmy Olsen dashes up to him carrying the latest edition.\par
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JIMMY Clark, wait'll you see. . . my first story!\par
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CLARK  Hey, congratulations!\par
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CONTINUED\par
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560CONTINUED\par
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Jimmy holds out the paper. \par
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CLARK Front page?\par
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JIMMY Well, not exactly.      (he opens out the paper to         about page 30, points to         the bottom undaunted) But he did give me a byline.\par
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CLARK        (reading it) James Arthur Olsen. . .\par
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JIMMY           (seeing it on a Pulitzer)  Yeah. . .\par
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CLARK             (a grin, a slap on his back)  Way to go, James!\par
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TRACK WITH him as he goes to his desk. halfway there, he is stopped by a conspirational  call.\par
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LOIS (O.S.)  Clark! Clark!\par
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He turns, crosses quickly to her.\par
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TWO SHOT: he stands beside the desk. She sits at her typewriter, a typewritten page in thedesk and another in the typewriter. She is very "up," very excited.\par
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LOIS Tired, darling?\par
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She takes his hand. He smiles down at her too, but he seems hesitant. As if sensing this, she  goes right on talking very quickly, very brightly.\par
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CONTINUED\par
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560CONTINUED  (2)\par
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LOIS Well, you're not the only one who's been busy. Wait  until you - I mean, I haven't told anyone yet -- well, I  haven't even had time to tell anyone - that I have written  the story of' -- well, the story. This is 'stop the presses!' time.         (a little laugh, but she is not           getting much encouragement          from Clark; she hurries on) Anyway, I thought  you should be the first to --\par
\par
She pulls the page out of the typewriter and hands it to him with the other page. He sits down  on the edge of' her desk.\par
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 INSERT: The top page whose headline reads: SUPERMAN'S IDENTITY REVEALED."  Almost instantly, it is turned and a second page is SEEN for a second.\par
\par
ON CLARK: rather ashen-faced, a strained smile as he hands it back to Lois.\par
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LOIS       (quickly, lightly)  Super-speed-reading -- the best or all powers!       (anxiously) So -- what do you think'?\par
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CLARK  Well, it's quite scoop. . . \par
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LOIS       (happily) It is, isn't it? Of course, the only thing is. . .      (lowering her voice, conspiratorially) . .  .how did you do it? How did you get back  to being. . . well, super? That's the only part I haven't got.  Did you go back to that machine? Or did your father have some other --\par
\par
CLARK Lois --\par
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CONTINUED\par
\par
560CONTIUED  (3)\par
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LOIS      (a laugh) Okay, okay, later for the investigative reporting.      (more seriously) Well, I mean later f me. You know there's really no reason  for you to be a reporter at, all. You don't need that cover  anymore. Why should you trudge around, unappreciated, just old Clark Kent when --\par
\par
CLARK           (quietly) But I liked it.\par
\par
LOIS      (quickly, taking his hand) Oh, sweetheart, so did I.      (a mischievous grin) But isn't it true Superman has more fun ?      (as he looks faintly troubled) And so will I. It's true, I promise you. Oh, I know, I was  upset by what your father said -- about you being. . . special. But I've been thinking --      (a little toss of  the head) -- well, he never knew me. I'm -- no false modesty, right? -- well, I'm special too. I'd never stop you from what you have  to do -- I'd be pretty dumb if I couldn't see how the world -        (a gesture to the great globe near them)  -- needs you.        (she lets go of his hand) How can I -- look, my friend Barbara, she's married to a doctor and he's worse than you.\par
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CLARK Huh?\par
\par
LOIS Well, hospital night duty, teaching, clinics, emergency calls -- he's never home. And she's survived. So okay, Superman --       (a quick look around; her          voice ever lower) --  you've got your. . . career. Well, I've got mine too. But weekends -- (MORE)\par
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CONTINUED\par
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560CONTINUED  (4)\par
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LOIS       (happily) -- we can fly anywhere -- Rome! Paris! Casablanca! By the time we've named it, we'll be there!      (he seems about to cut in) Or -- yes, we might just want to relax. I know a little place  up north --        (she smiles up at him) -- where we could be. . . snowed in. I always wanted  to  learn to ski.\par
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As he smiles at her - loving her however uneasily at this moment -- she rolls the second page quickly into the typewriter again.\par
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LOIS So, tell me how you got those super-powers back again.  because I also always did want to win the Pulitzer prize.\par
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CLARK            (rising; quietly) I'll drink to that.\par
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TRACK WITH him as he steps quickly to the water cooler, fills two transparent plastic cups  with water; He stands a second, looking down at one of them.\par
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561EFPECTS: His eyes widen (SPECIAL EFFECTS) and the water glows, changes color, and  then goes back to normal.\par
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562It is the cup that he hands to Lois.\par
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TIGHT TWO SHOT - as she raises her cup and he slowly raises his. They both smile. But  her eyes are happy and his are full of pain.\par
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LOIS Here's looking at you, kid.\par
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CLARK Yeah. . .\par
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As she drinks, slightly turned away, he looks at the page in the typewriter and on her desk.\par
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INSERT: The pages have gone blank.\par
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ON LOIS -- blinking, shaking her head, rather as if coming out of a reverie. Frowning, she regards the blank paper in her typewriter.\par
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CONTINUED 562CONTINUED\par
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LOIS Now what was I about to -- ?                    (looking up) Clark? What did I say I wanted to work on?        (apologetically) I always get groggy when I  skip lunch.\par
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CLARK           (thinking) Let's see, it was -- it was about Superman. How he saved  the city -- or the world -- or the universe --\par
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LOIS           (mock-scolding) Clark Kent, jealousy is a counter-productive attitude.\par
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CLARK         (wryly) I'll try to remember that.\par
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LOIS After all, there are things you can do.\par
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CLARK Yes?\par
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LOIS Yes. Like getting us a pizza.\par
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Clark leaps to his feet.\par
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 CLARK Pizza!\par
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And he dashes out.\par
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HOLD ON Lois -- watching him go, a little startled and very pleased. \par
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LOIS Now that's what I call service!\par
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CUT TO\par
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563EXT. PISA, ITALY - DAY\par
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REPEAT OF SAME SHOT AS EARLIER  -- Early morning, and the hands of' the  SOUVENIR SELLER rolls up the awning on his stand. We now SEE that the shelves have been filled with spanking new plastic Towers of' Pisa and postcards to match the new version: all the towers stand upright. PULL BACK, REVEALING the now once-again smiling, happy, contented Souvenir Seller and, in the b.g., the upright Tower. ZOOM  PAST IT to a blue dot in the sky.\par
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CUT TO \par
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564EXT. SKY ABOVE PISA - DAY\par
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ON Superman as he flies.\par
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SUPERMAN       (shamefaced grin, to himself) So it's supposed to lean. I'm a kid from Krypton -- how was I to know. . . ?\par
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Grinning he starts to descend.\par
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565WIDE SHOT: He arrives at the top of the Tower, starts to push it back down again so that it  will lean once more.\par
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CUT TO  566EXT. SOUVENIR STAND - PISA - DAY\par
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Where our ,an once again admires his stock, looks to the real thing, looks back and then does a double-take worthy of Edgar Kennedy in his prime: for the Tower is now the LEANlNG TOWER again and all his wares are useless. Hysterical, he smashes shelves to  the ground, makes violent obscene gestures at the caped hero above, and, weeping and  screaming:\par
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SOUVENIR SELLER  Cretino! Stronzo!\par
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. . .and other expletives deleted.\par
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CUT TO\par
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567EXT. SKY - DAY\par
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All problems attended to, he flies majestically home, soaring toward the blue horizon,  magnificent in his power, at ease in a world that welcomed him to its atmosphere. Faster than  a speeding bullet, more powerful than a locomotive, able to leap tall buildings in a single  bound. Look -- up in the sky! Is it a bird? Is it a plane? No! It's SUPERMAN\par
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THE END        \par
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}

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