"SUPERMAN" (1978)

SUPERMAN THE MOVIE

Revised by

Tom Mankiewicz

Directed by

Richard Donner

Shooting script

1 FADEIN:

CLOSEONa crumpledpieceofrubbishlyinginthe gutter.Itisflattenedbythewheelof a pushcart. CAMERAPULLSBACK:weSEEa streetina city neighborhoodstillfightingitswayoutofThe Depression.KIDSplaystickball,PEOPLEstandabout, out-of-workMENreclineontenementstoops.

OverthisSUPERIMPOSE:METROPOLIS1938

CAMERATRACKSUPpasta boarded-upstorewindowwitha "ForRent"signonit, PASTtrashcansbeing investigatedbyforagingdogs,PASTthestoopof brownstonewheresomecarehasbeentakentokeepthings clean,PASTtheparlorfloorwhereanundershirtedMAN argueswithabathrobedWOMAN,PASTthesecondfloor windowswhereaYOUNGCOUPLEbendovera crib,shakinga rattleandcooingata new-bornBABYwrappedinapink blanket,UPPASTtheroofof thebrownstone,higherand higher,PASTthedistantskyscrapers:theChrysler Building,theFullerbuilding,thegreat,neonglobe symbolatoptheDailyPlanetBuilding.

soundisthewind.CAMERATILTStowardthestar-filled skyandthe fullmoon,thenTAKESOFF.

CAMERASPEEDSthroughtheheavenspastthemoon,through theUniverse,travelingon,gatheringspeed,furtherand furtherthroughthelimitlessvoiduntilitbursts throughintoanotherGalaxy.

AminisculeREDDOTappears,growinglarger,spreading evenlyintoaBLAZINGSUN,whichfillstheSCREEN.The fieryredSUNnow growssmalleraswefallthroughspace andseebeyondit -the planetKrypton.AsCAMERA CONTINUEStowardKrypton,weseesatellites,spacecraft, andKrypton'stwodistincthemispheres.CAMERAHOLDS, PEERSDOWNatthe cityofKryptonopolis.

CAMERAPANSthewhite,prismaticcrystallinemountains nearthecity.WE SEEa gleaming,quicksilverlake.

Kryptonopolisisamagicalcity,constructedofpure whitecrystallinematterthatenclosesandprotectsit

futuristicglassbuildings,glassskyways,tunnels,and enclosedgardens,finallyCLOSINGINonaspecific domedstructuresilhouettedagainstthesky.AMAN'S VOICEisheard,gatheringinvolumeandintensity.

CAMERACLOSESINonthe domedroofofthe building,now DISSOLVESTHROUGH:

ofJOR-EL'Sheadcanbe seenalmostfloatingaboveit, facingawayfromCAMERAashe continues.

Thefaceof JOR-ELfillstheSCREENashe pointsan accusingfingerINTOCAMERA.Ahandsome,intelligent facewithgreatintensity,bathedintheelectricwhite aurawhichsurroundshim,almostpulsatingwithenergy.

8 WIDEANGLE-TRIALCHAMBER

JOR-ELstandsonthedarkedgeof a circularwhitering oflightthrustingdownfromtheceilingofthe chamber.

8 CONTINUED

Thedomedroofrises,cathedral-likeabove,imprinted withgiantprojectionsofthefacesoftheCOUNCILOF ELDERS(eleven,besidesJOR-EL)whowatchthe proceedingsinjudgment,presumablyfromsomeother location.EachELDERisbathedina specificaura

dazzlingwhiteringoflightareTHREEFIGURES.JOR-EL circlestheedgeofthe ring.

9 CLOSEONNON

ThemonstrousfaceofNONpeersthroughthelightat JOR-EL.Amanonlyto theextentthathe isnot an animal-a forceoffrighteningdestructionwhoseonly soundsareterrifyinggutturalroars.

NONlungesatJOR-ELwitha roar,bouncesbackoffthe edgeofthe ringoflight,whichimprisonshim.

CAMERAPANSTOURSA:A tallwomanwitha strikingly beautifulandcruelface.Consumedbyatotalhatred. Consumedbyatotalhatredof themalesex,she stares backatJOR-ELwithpatronizingcontempt.

CAMERAPANSTOGENERALZOD:GlaringdefiantlyatJOR-EL throughthedazzlinglightwithastaggeringlyvicious face.Eventrappedintheprisonof lightheseemsto generateanevilforceofhis own.

REVISION21/3/77

9 CONTINUED

10 WIDEANGLE-TRIALCHAMBER

Thehugefacesof theCOUNCILOFELDERSpeerdownfrom thedomedceilingasJOR-ELfinishes.

Silence.CAMERAPANSUPtothefaces.The FIRSTELDER pausesmomentarily.

TheFIRSTELDER'Sfaceinstantlydisappearsfromthe domedceiling.

TheSECONDELDER'Sfacedisappears.Onebyonethe remainingNINEELDERSvote"guilty"inrapidsuccession untiltheceilinghasbecomeablackvoid.

11 CLOSEONJOR-ELANDVILLAINS

JOR-ELfacesGENERALZOD,hisauraglowingasa separate islandoflightoutsidethecircle.

11 CONTINUED

JOR-ELhesitatesbriefly,thensuddenlydisappears–his electricwhiteauraextinguishingitself.ZOD'sface twistswithrage.

Thedomedroofof thebuildingcracksopen,startsto swivelback.Inthedistance:aslate-grayatmospheric eminence(THEPHANTOMZONE)travelsrapidlythroughthe sky,approachestheopening.

TheVILLAINSarealoneinthe trialchamber.ZODrants:

Thegraymassof thePhantomZonehasenteredthrough theopendome,closesdownon theVILLAINS,erasingthe ringofwhitelightas itprogresses.

REVISION21/3/77

13 CONTINUED

ThePhantomZoneenvelopstheVILLAINS,wipingthemup Ina linear,one-dimensionalfashion,thensweepingthem outtowardspace.ZODissilenced.

ThePhantomZonetravelsquicklyacrossthecity, bearingtheimprintsoftheTHREEVILLAINS,floatsinto space.CAMERAPANSOFF,DOWNatanotherspecific buildinginthecity,PUSHESIN,DISSOLVESTHROUGH:

Apristinelyimmaculatechamberthatoverlooksthecity ofKryptonopolis.Austere,dominatedbyconcentric

thecenterofthe innercirclerevolvedanintelligence sourceonwhichvariousinformationmaybepresented. JOR-ELentersthechamber,appearingalmostthrough motivationalvolitionthanthroughphysicalpropulsion. TheELDERSturn,lookathim. JOR-ELisdeeply concerned.

ConsternationfromtheELDERS.AsuddenlyangryJOR-EL gesturesattherevolvingintelligencesourceinthe center-variousunfathomableequationsappear.

15 CONTINUED

VOND-AHgesturesattheintelligencesource.JOR-EL'S equationsdisappear,areimmediatelyreplacedbyanew series.VOND-AHsmilesthinly.

REVISION21/3/77

15 CONTINUED

Deadlysilence.TheFIRSTELDERlockseyeswithJOR-EL.

JOR-EL'Shousestandsbathedinthestrangeglowof Kryptoniantwilight.

Massivebrightlyglowingenergycolumnsencirclethe lab.JOR-ELworksinthecenter,passeshishandsover portionsofagleaming,spiny,silveryobject(rocket ship)ashe placescrystalsinsideitwhichrespondto himwiththrobbinglights.

REVISION21/3/77

18 ANGLEONLARA

LARAturnsaway,shutshereyes.JOR-ELcrossestoher.

us.

18 CONTINUED

JOR-ELlooksatherwithcompassion,butwiththe strengthtocutheroff.

TheCOUNCILOFELDERS,stillinsession,listen attentivelytoaMILITARYOFFICERstandingbeforethem.

TheFIRSTELDERexchangesaworriedglanceattheSECOND ELDER,thenlooksbackatthe OFFICER.

CAMERACLOSEONJOR-EL,LARA,andtheBABY,their glowingaurasspillingacrosstheSCREENastheparents staredownattheiroffspring.Aloving,almostbeatific familyportrait.LARA'Seyesflutter.Tearsrundownher cheek.

REVISION 22/3/77

20 CONTINUED

ThreeMILITARYMENdescendanenclosedglasswalkwayto afranticallypulsatingaurahoveringabovetheground. Theyentertheaura,takeoff quicklythroughthe streets,pastatallstructure.Atremorsuddenlyshakes theground-a thinfissureappearsontheside ofthe structure.

BABYhasbeenfastenedina module,wrappedinhis blankets.LARAreluctantlystepsbackasJOR-ELplaces thelastcrystalsinside,includingagreenone,secures andsealsallopenings.TheBABYvanishesfromsight. Themoduleautomaticallyslidesintoalargerspacecraft andissealedin.

Themilitaryauraspeedsalongasgiantcrystal formationssuddenlybegintoerupt,bendandcrack.

Aglasswallfacingthe capsuleslidesopen.The launcherisraised.Theceilingaboveretracts,exposing theglowof Kryptonnight.

5/4/77TM

Seenfromwithin:theauraracesthroughaglasstunnel.

Theroomshakesina violenttremorasJOR-ELtriesto

pitch.

TheproximityofKryptoniansunhasbathedtheplanetin areddishglow.NOTE:Allsceneson Kryptonboth interiorandexteriorwillfromnowonreflectthis color.

ThemilitaryauranearsJOR-EL'Shouse.Suddenlyahuge tremordislodgesamassofcrystalwhichcrashesdown, obliteratingtheaura.

Thetremorcontinuesinthelab.Tonsof crystalcrash downintotheroomas JOR-ELfranticallytriestofire therocket.Withalast desperateefforthelunges forwardthroughthetumblingdebrisandhitsthecontrol whichignitesit.Withadeafeningroar,therocket startstoglideoffintothe nightasthe housebegins tocollapse,theenergycolumnsshatteringunderthe strain.

Themoduleracesawayfromthedisintegratingplanet belowtowardthePhantomZone.

TheCouncilroomisdestroyedcollapsingonsomeofthe ELDERS.

Variousscenesofdestruction,toincludeexteriorshots andthetrialchamber.

JOR-ELandLARAareburiedbeneathacascadingshowerof debris,clingingtogetherdesperatelyinthemomentof theirdeath.

Thehousecollapsesinruins.

TheTHREEVILLAINS,pressedagainstthelinearPhantom Zone,watchthemodulehurtlepast.

31 CONTINUED

Thecapsuleheadsoutintotheintergalacticvoidasthe VILLAINSturntheirattentiontotheplanetKrypton,now intotaleruption.

32 ANGLEONKRYPTON-VILLAINS'POV

Theredsun eatsitswayinto thecoreof theplanet Kryptonwhichsuddenlyexplodesandimplodes-leavinga vastblackvoid.

Themodulespeedsthroughspacetotheaccompanimentof steadyelectronicpulsings.

memorybankrepeatsrecordeddatawhilemachines

completelywiredandfittedwithinstrumentsandtubes

information.

centuryDemocritusdefinedasmallunit as anatom,thenthoughtto be indivisible...

inthevoid,soarstowardit attremendousspeed.The

on,awayintothe void.

grown.Thesurvivaltubes,instrumentsandbeltshave adaptedtohisincreaseinsizeas theyearshave passed.

Travelingthroughspace:Atinyyellowdotbecomes

growsrapidlyintoaflamingyellowsun.

bleepquickensitssqueal.TheBABYhasgrownolder.

Themoduleenterstheearth'satmosphere.WeSEEthe familiarastronaut'sPOVoftherevolvingearth,growing largerandlargeruntilwecanmake outtherecognizable shapesoflandmassesonoceans.As themodulegets closer,itseemsasif itwillsurelylandin themiddle oftheSovietUnion.Butas theEarthcontinuesto revolve,therocketheadsforthedeadcenterofthe UnitedStates.

NOTE:Asthemodulespeedsdownthroughtheatmosphere, theresistancegraduallytransformsitsshapeintoa jewel-likegeodeform,burnishedhotbythepressure.

Milesandmilesofgoldenwheatwaveundera cloudless sky.CAMERAPANS:Adilapidatedfarmpick-uptruck comeschuggingdownalongflatdirtroad.

TwoPEOPLEareseatedinthe truckcab,dressedintheir shiny,patched"Sundaybest"clothes.TheMANisinhis 50’s,theWOMANinher 40's."Private"peoplewhomind theirbusiness,Christianfolkwhosemoralsareasbasic asthesoil theytill:JONATHANANDMARTHAKENT. Suddenlyanominousblackshadowquicklycrossesthe road.Simultaneously:aloudwhooshingsound(thespace modulecomingtoEarth).JONATHANisstartled,dartsa momentarylook,inthedirectionofthenoise.

The"bang"ofa tireblowoutisheard.JONATHANslamson thebrakes.Thetrucklurchesviolentlytotheright, thefronttirehavingburst.Thetruckswerves,narrowly missingtheembankment,stops.

43 CLOSEONTRUCK

JONATHANstepsoutofthetruckcab,lookssadlyat the puncturedtire.

Grumbling,hegoesaroundthereartounstrapthespare tireandhaulout thejack.MARTHAgetsoutof thecab, stretchesherlegs,gazesacrossthewheatfieldsas JONATHANinB.G.placesthejackunderthecar, then wedgesastoneunderit toholdthe jackinplace. CAMERASUDDENLYZOOMSINONMARTHA:Herfaceis frozen inastonishmentatsomethingshe'sseeninthe wheatfield.

43 CONTINUED

JONATHANturns,looks,eyeswidening,equallyamazed.

44 ANGLEONMODULE- THEIRPOV

Thespacemodulehaslandedinthe fields.Theengines aresilenced.

JONATHANrushestothestrange,eeriemetallicgeode nestinginthecharredwheat,MARTHAclosebehindhim.

Suddenly:awallofthe moduleopens.Acapsuleejectsa littleBOYstillfastenedinside,cushionedbythethree blankets.

Helooksinsidethemodule,leansover,touchesthe capsuleburninghishand.

ThelittleBOY,aged3, suddenlyspringsoutofthe electronicallycontrolledbelts,halfnaked.

JONATHANstares,dumbfounded.MARTHAsmilessoftlyat thebaby,wrapshimin thethreeblankets,pickshimup.

46 CLOSEONJONATHANANDMARTHA-TRACKINGSHOT

MARTHAcarriestheBABYbacktothe truck,looksathim withwonder.JONATHANwalksinfront,shakeshishead.

46 CONTINUED

JONATHANhasarrivedatthetruck,startsjackingupthe frontend...

JONATHANremovesthelugsandthepuncturedtire.

47 INSERTSHOT-JACK

Thejackbeginstoshimmy.Thetruckshakes.

48 CLOSEONJONATHAN

JONATHANstruggleswiththesparetireunderthetruck, wonderingwhyitwon'tfitin.

49 INSERTSHOT-JACK

Thejackcontinuestoshimmy.Suddenly,thestone beneathitslipsaway.

50 CLOSEONMARTHA

MARTHAscreams,horrified.

51 BACKTOJONATHAN

JONATHANunderthetruck,shootsaquicklookathis wife,then-as herscream stopsina gasp- helooks behindhimasCAMERAPANS:TheBABY isholdingupthe truck,twowheelsofftheground.JONATHANandMARTHA arepoleaxedwithdisbelief.

TheBABYsitshappilyinMARTHA'Slap.TheCOUPLElook ahead,lostinthought,MARTHAinparticular.

52 CONTINUED

CAMERALOOKSDOWNona typicalMidwesternsmalltown highschoolfootballfieldinthe1950's.Acoach's whistlesignalstheendoftheteam'spracticesession. Agroupor GIRLCHEERLEADERSrunthroughtheirroutines nearby.SeveralPLAYERSpractice"extrapoints"by kickingtheballthroughthegoalpostsfromthe 21/2-yardline,nowstop,congregatearoundthebench withtheotherPLAYERSastheyturn intheirequipment, preparetogohome.

54 CLOSEONBENCH- TRACKINGSHOT

CAMERATRACKSalongthebenchasthePLAYERSdroptheir pads,towels.kickingtees,footballs,etc.onthe bench.Pickingthemup,stackingthemneatlyand

dark,unstylishhair,heavy-rimmedglasses,andanair ofsocialunease,heis theperfectcandidateforteam manager-theyoungCLARKKENT. CLARKnearstheend of thebench,looksoffat theCHEERLEADERS:fiveorsix wholesomelycuteteenagersintheiruniformsofsweater, tinyskirt,sneakers,andwhitesocks.Theyhave finishedrehearsingtheirfinalroutinenowlaugh, applaudthemselves,droptheirmegaphonesandrunoffto

(SUSIE)withanattractive,sensitiveface-pauses, seesthemegaphonesstrewnaroundtheground,beginsto collectthem.

55 CLOSEONSUSIE

SUSIEgathersupthemegaphones.CLARKcrossestoher.

55 CONTINUED

CLARKblinksshyly,practicallyblushing.

AlargeFOOTBALLPLAYERcomesintoframe,looksatSUSIE withwhatpassesfor"macho"at15.

CAMERAPANSasCLARKturns:themassof equipmenthehad neatlypiledonthebenchhas beentossedalloverthe field.Waterbucketsoverturned,etc.InB.G.several otherPLAYERSandCHEERLEADERSarecrammedintoanopen, convertiblecar,sniggertothemselves,pretendnotto look.

56 BACKTOSCENE

CLARK'Sfacefalls.HestaresatthegrinningFOOTBALL PLAYERaswesee amomentaryflashofangerpassthrough hiseyes.Willhe...?No.Regaininghisformer composure,CLARKsmilesfaintly.

TheFOOTBALLPLAYERputsavictoriousarmaroundthe reluctantSUSIE,prodsherofftowardtheopen convertible.Theygetin.Thecarroarsoff.

57 CLOSEONCLARK

CLARKislefttotallyaloneonthe footballfield,his facedowncastwithangerandhurtbornof humiliation. Heapproachesafootballsittingontheextra-pointtee atthe2 1/2yard line,isaboutto pickitup, suddenly givesita frustratedkick.Theballtakesofflikea tinyrocket.

58 ANGLETHROUGHOPPOSITEGOALPOSTS

Theballwhistlesperfectlythroughthefargoalposts. CLARKhaskickeditover100 yards.

59 BACKTOCLARK

CLARKturns,looksatthemessleft bytheplayers.He reachesdownforthefirsttowel,suddenlygritshis teeth,acceleratesintoSUPERSPEED.Hisimageisonlya bluronthe screenastowels,pads,buckets,etc. disappearfromthefieldandmiraculouslyreappearon thebench.

CLARKtrudgesalongacountryroad,headingforhome.In B.G.theopenconvertibleappears,closingfast.He turns.Itslowsdown,seemstobe intendingtopickhim up.Then,atthe lastminute,theFOOTBALLPLAYERwhois drivinghonksthehornloudly,roarspasthim,laughing, leavingCLARKinaswirlor dust.

61 CLOSEONCLARK

CLARKstaresangrily,hisragegrowing.Hetakesoffhis glasses,putstheminhispocket.Turning,hesuddenly takesoff,runningcross-country.

Theblurwhichis therunningCLARKzoomsthrougha cornfield,makesahair-pinturnacrossameadowandup overarise.

Clarkrunsparalleltosometraintracksonthe other sideofthe rise.Atrainloomsup rapidlybehindhim, overtakeshimbyoneor twocars.Fora momentCLARKis contenttokeeppacewiththe train,thenlooksupat itswindows.

64 ANGLEONTRAINWINDOWS-CLARK'SPOV

ALITTLEGIRLof sixlooksoutone window,hernose pressedtotheglass,herchindroppinginsurprise.

65 BACKTOCLARK

Henotices.Embarrassed,herunsfaster,pullingon aheadandpassingthetrain.

TheGIRL'SPARENTSarethecouplewesaw inthe opening shotofthe movie,cooingovertheirbaby.Theyaresix yearsoldernow,asis she:LOISLANE.

Asmallfarmon a dirtroadfacingawheatfield.Abarn standsatoneend ofthefrontyard area.CLARK,running ina blursuddenlyappearsbythetreegrowingnextto thefrontgate,stops.CAMERAPANS:comingdownthe road:theconvertiblewiththeFOOTBALLPLAYERSand

asthecar anditsamazedoccupantsrolltoa stop, starewithwonder.

Hegunsthe car,irritated,roarsoff.CLARKbreaksinto athin,self-satisfiedsmile.

68 ANGLEONJONATHAN

JONATHANKENT,mucholdernow,standswithstooped shoulders,ascytheinonehand.He lookscare-worn,but deeplyconcernedasCLARKjoinshimintheyard.

68 CONTINUED

CLARKturnsaway.JONATHANwatcheswithcompassion.

CLARKturns,nods,understanding.JONATHANputshisarm aroundhim.

CLARKsmiles,headsofftowardthebarn,CAMERATRACKS withhim.Suddenly:achokedscreamisheard0.S.CAMERA WHIPPANS:JONATHAN,hishandclutchinghisheart, staggersonthefrontstepof thefarmhouse.

66 CONTINUED

JONATHANcollapses,fallingbackwardsasMARTHAopens thefrontdoor.

CAMERACLOSEona tombstonereading:JONATHANKENT, 1887-1943R.I.P.,PULLSBACK:CLARKstandsbyafreshly filledgrave,holdsthehandofthe weepingMARTHA.Both aredressedinmourning.

Thebarnstandssilhouettedagainstthenightsky. SLOWLYTRACKSTOWARDIT,passesthroughthedoor.

beneathamoundofhay thelightseemsto throbasit glows,asifcallingoutfor something-orsomeone.

CLARKKENT,now18yearsold, isasleep,suddenlyhis eyesopen.Hesitsup, looksaround.

Thebackdooropens.CLARK,fullydressed,emergesfrom thehouse,crossestothebarn.

CLARKenters,crossestothemoundofhay whichthrobs withthegreenlight.Diggingandpushingthehayaside, heuncoversthegeode-likemodulewhichbroughthimto earth.Themoduleglowsbrightly,litbysomethingfrom within.CLARKstareshardatit- hiseyeschangingin colorandconsistency.

75 ANGLEONGEODE- CLARK'SX-RAYPOV

SeenthroughCLARK'SX-RAYvisionwhichcutsthroughthe solidsurfaceofthemodule:agreencrystalthrobs inside,restingonthered,yellow,andblueblankets.

76 BACKTOSCENE

CLARKkneels,opensthemodule,picksupthecrystal, staresintoitdeeply,eyeswideningintheeerie, pulsatinglight.

MARTHAstandsoverthekitchenstoveintheearly morning,baconsizzlinginthepan,apot ofhotcoffee steamingnearby.Sheturnsherheadslightly,callsout.

Shestops,hasnoticedsomethingoutthekitchenwindow. CAMERAPANS,pushesinthroughwindow:Inthedistant wheatfieldacrosstheroadstandsthemotionlessfigure ofCLARK.

CLARKstandsquietly,immobile,staringnorthasthe latemorningsunhitsthesideof hisface.The lookis

isa rustleinthewheatbehindhim.He doesnotturn...

MARTHAentersframe,stops,looksathimthoughtfully, fullofemotion.

78 CONTINUED

CLARKturnsnow,facesher.Hespeaksflatly,tryingto avoidbreakingdown.

Thesunstartsto setinthe distance.CLARKapproaches thevastwheatfield,hisfather'sscytheinhishand.He hesitatesamoment,unobtrusivelylooksaround,then burststowardthewheatatSUPERSPEED,cuttingan instantfour-footwideswathacrossthefield.

CAMERAlooksthroughthekitchenwindowasthe wheatfieldpracticallydisintegratesinneatrowsbefore us,thenPULLSBACK:MARTHAwatches,hereyesfilled withtears.

Thewindis blowing.Tall,neatstacksofbaledwheat riseupnearthe barn.CAMERAPANS:CLARKstandsatthe gatetothe roadina windbreakerandslacks,hasa rucksackathisside.MARTHAholdsouta brownpaper bag.

81 CONTINUED

CLARKsmilessilently,closeshishandaroundthebag. Heturns,openstherucksacktoplacethe baginside.

82 INSERTSHOT-RUCKSACK

Therucksackinteriorglowswithagreenlight,tucked insidethered,yellow,andblueblanketsisthesame oneseenearlier,inthebarn.CLARKclosesit.

83 BACKTOSCENE

Theyfaceeachotherforthe finaltime,allemotion, bothata suddenlossforwords.

MARTHA'Seyesglazeover.Shemanagesabravesmile.

Unabletorestrainthemselvesanylonger,theyreach out,collapseintoatighthug.

CLARK,inhislightwindbreaker,hisrucksackonhis back,walksbytheside oftheroad.The windhowls, rufflinghishair,buthedoesn'tseemto mindthecold. CAMERAPANS:fromadistance,atruckappears.Itpulls upnextto him,stops.TheDRIVERopensthedoor.

84 CONTINUED

TheDRIVERstares,amazed.CLARKreallymeansit.

THEDRIVERslamsthedoor.Thetruckroarsoff. CLARK watchesitleave,thenturns,walksoffthesideof the roadcross-country,headingnorth.

CAMERAPANSavastsnow-coveredplainandanarcticlake withicebergsfloatinginitinthe distance.Apolar beartrudgesthroughthesnow,stops,looksatsomething whichhasattractedhisattention.CAMERACONTINUESPAN: thetiny,darkfigureofCLARKcontrastssharplywith thedazzlingwhitelandscapeashemakeshiswaystill north,dressedonlyinhislightwindbreaker.

Aflat,desolateplain,offtoone sideisa hugeout- croppingofrockjuttingoutofthe barren,snow-covered

CLARK,therucksackonthegroundbesidehim.Thewind ripsacrosstheplain.CLARKlooksaround,seemstobe intheprocessof selectingaspecificarea.Hemarks itsperimeterswithheatvision,burningdeeplinesinto thesnowandice. Oncetheboundariesaredrawn,CLARK

beginstomeltawayas hugeflamesshootaroundthe giganticexcavation.

Anenormouscraterhasbeencarvedoutof therockand ice.CLARKstandsinthecenter,reachesintohis rucksack,placesthegreenstoneontheground.Climbing backquicklytotheedge,he focusesintothecrater.As hisheatvisionhitsthestonea crystallinefoundation

aroundtheexcavationsite-awall isformed.

87 CONTINUED

Anotherburstofenergyintensifiesandconstructsa secondsidejoinedata rightangle.Inthebrightcone ofgreenlight,multi-coloredmoleculesexplodeand

ofsparklinglightthiswallincreasesinsize,spreads outtocoverthe fourthremainingside.

88 CLOSEONCLARK

CLARKstepsbacktolookwith awe:TheFortressof Solitudeiscomplete.Itrisesupinthe northern landscape,itsmaterialscompletelyharmonious,the whiteopaquecrystallineblendingingeniouslyintothe surroundingcountryside.

ThetinyfigureofCLARKentersthe Fortress,looksup ata multi-leveledwhitefantasy.Stabbingspursof crystalcutacrossthelevelsata severeangle.The decorisspartan,minimal.Thecentralareawithits complicatedmemorycrystalenergybankswhereSUPERMAN willcommunicatewithhisdeadfatherisoverlookedbya seriesofdifferentlevelswhichleadofftohidden corridors,rooms,etc.Theentiredazzlinginterioris stronglyreminiscentofwhatwehaveseenearlieron Krypton.

90 CLOSEONENERGYBANKSECTION

Acrystalbenchsitsnextto theenergybankwhichis

approachesmesmerized,knowingwhathemustdobut unsureofhowand why. Hereachesoutforthe first crystal,placesitinsideamechanismintheenergy bank,takeshisseaton thebench,waits,suddenly:

91 WIDEANGLE

Thelightinthe Fortresschangesdramatically.The wallsandjaggedplanesofthestructureseemtocome

withaspecialintensity:A giantfaceappears:Itis JOR-EL.Hisheadrisesmassivelyupandacrossthewall, burningwithlight,lookingdown,dwarfingthetiny figureofCLARKonthe bench.JOR-EL'Seyesflash,focus onhim.JOR-ELspeaks.

25/3/77

91 CONTINUED

featuresofJOR-ELwillappearandfadeawayin many dimensionsandonvirtuallyeveryareaofthefortress inan intricateandcontinuousSERIESOFDISSOLVES:

[lastsentencemissingfromscript]

91 CONTINUED

Attimestherewillbe simultaneousrepresentations JOR-EL:somemerelyfeaturesofthefaceinhuge magnifications-eyes,mouth,profile,etc.The DISSOLVESwillindicatethepassageofalongperiodof time.Never,untilthefinalculminationofthe360PAN dowe seeorhear anythingbutthefaceandthoughtof JOR-EL.

CAMERABEGINSFIRSTSERIESOFDISSOLVES:

CAMERABEGINSSECONDSERIESOFDISSOLVES:

yourself,Kal-El.Thehumanhearton yourplanetis stillsubjecttosmall jealousies,lies,andmonstrous

you inevitablyfindthem-andyour ethicalpowerwillthenproperly outweighyourphysicaladvantageover others...

CAMERABEGINSTHIRDSERIESOFDISSOLVES,hasalmost completedits360PAN,nowstartstoRISE behindagiant representationofJOR-EL'Sface.LOOKINGDOWNfrom behindthroughtheeyesweseea tinyblue,red,and

throughtheeyes.

91 CONTINUED

haveaskedimportantquestionsandI thinktogetherwehavealmostalways foundthe answertothem. Nowit is timefor youto returntotheworld whichI havechosenforyou.When new questionsarise,comebacktome andI willtry tobe ofhelp...

TheFIGUREisdiscerniblenowasCAMERAPUSHESINwith increasingspeed.FORTHEFIRSTTIME:

SUPERMANstandsinhisclassicoutfit,armsfolded, gazingintentlybackupattheCAMERAwhichrepresents JOR-EL.Heisoldernow.A handsome,strongman,his intelligence,warmth,andcompassionshiningthroughhis cleareyesasthe finalwordsofJOR-ELflowthrough him.

[Thereis ahandwrittennotationto"cuttoscene96"]

[Thereis ahandwrittennotation"26/6/77amendedtopage56"]

CLARKKENTwalksacrowdedstreetinMetropolis,attaché caseinhand,conservativesuit,heavy-rimmedglasses,

corner,looksaround,admirestheskyline,fascinatedby thebigcity.He startsacrossthestreettoa building markedDAILYPLANET,oblivioustotheredlightturning

theintersection.

93 ANOTHERANGLE

ThetaxismashesintoCLARKwitha sickeningcrunch.The DRIVER,horrified,jumpsout.

CLARK,stillstanding,simplyturns,smilesnicely.

TheDRIVERstops,dumbfounded,staresatthehoodofhis cab.

94 INSERTSHOT-HOODOF CAB

Thefrontofthe cabhasCLARK'Simpressioncutdeeply intothehood,throughtheengineblocktothe windshield.

95 BACKTOSCENE

CLARKwavesacheeryfarewelltothenon-plussedDRIVER, mouthsanotherfriendly"sorry",crossesthestreet,

UPtheskyscrapertoitstower(not thesamebuildingin theOPENING,butnew,moremodernquarters)whereWESEE theglobeandthe enormouselectricsign:THEDAILY PLANET-Metropolis'GreatestNewspaper.

Thecityroomof alargenewspaper.Rowsofdesks. REPORTERS,EDITORS,COPYBOYSscurrybackandforth. CAMERAPUSHESINona cornerofthe CityRoomwherea fewstarreporterdeskslookabit largerandwidely spacedthantheothers.Behindthemisa frostedglass dooronwhichis painted:"PERRYWHITE,MANAGING- DIRECTOR."

97 ANGLEONDESKS

Seatedatthetypewriter,workingwithintense concentrationpunctuatedbyoccasionalsmiles,isa YOUNGWOMAN.Physicallysheisaknockout:longbrunette hair,smartclothesonasmartfigure.Mentally,she's justasgood:bright,talented,ambitious.

97 CONTINUED

Agirlwith awry senseofhumor,a snappyreporterwith aninstinctfora bigstory,thegrown-upversionof thatlittlegirllastseenat thetrainwindowasit spedthroughSmallville:ThisisLOISLANE.

98 ANGLEONLOISTHROUGHREFLEXFINDER

LOISturns,looksintothecrosshairsofareflexcamera viewfinder.Sheisperfectlycentered.

Theshutterclicks.

99 BACKTOSCENE

Afew feetaway,afresh-facedyoungCUBREPORTERlowers hispressreflexcamera.Ateen-ageeagerbeaverwho idolizesLOIS,thisisJIMMYOLSEN.Hegrins,crossesto LOIS,triestoseewhat'sin hertypewriter.

LOIStypesthefinish,ripsthepagefrom her typewriter,readswithgusto.

99 CONTINUED

LOISrises,startstowardPerryWhite'soffice.JIMMY tagsalongather heelsasCAMERATRACKSwiththem.

LOISflasheshimaknowinggrin,knocksonPERRYWHITE'S door,enterswithoutwaitingforaresponse.

Theofficeofa workingeditor.Copypinnedupon bulletinboards,photospiledonthedesk,wireservice tearsheets,plaques,awards,signedphotosonthe walls,etc.Behindthedesk,rolled-upshirtsleeves, tieloosened,isPERRYWHITE,theno-nonsense,hard- working50'isheditorofthepaper.Beneathhis gruffnessisaniceguy wholoveshisgrandchildren. PERRYstrugglesvainlywiththescrew-ontopofapop bottleasLOISmarchesin,laysher storyonhisdesk.

bannerheadlineseemsaboutrighttome.

LOISturns,notrealizingtherewassomeoneelseinthe room.CAMERAPANS:Seatedagainstthewallbythe entranceisCLARKKENT.Herises,politeandfriendly, extendshishand.

100 CONTINUED

LOISlooksbackatPERRYas CLARKslowlylowershis hand.PERRYcrosses,stillstrugglingwiththebottle top.

PERRYhandsCLARKthepopbottleas LOIScontinues. CLARKstruggleswithitmightily,buttonoavail.

LOIStakesthebottleawayfromthe strainingCLARK, rapsitsharplytwiceonthe armof hischairhandsit backtohim.

a traditionto...

CLARKtriesthebottlecap.Itopens,suddenlyfizzes outina squirtfromtheagitationbyLOIS.PERRYand LOISturn,stare.CLARKwincesshylyastheliquid dribblesdownhispantsleg.LOIScan'tresistasmile, butsympathizes.

100 CONTINUED

CLARKsmiles.LOISlooksback,unsureofhowhe meant that,asPERRYtakesthebottle,fromCLARK.

neverchanges.

CLARKhandsPERRYapieceof paperfromhispocket.

100 CONTINUED

LOISstaresathim,stunned.Heactuallydoessendhis mothermoney.CLARKmanagesapleasantsmile.

[note- scenes101-129havehad“NIGHT”markedoutand“DAY”hasbeen handwrittenin.]

Itis lateatnight.Thestreetis semi-desertedas CLARKandLOISwalkalongon theirwaybackfromwork.

101 CONTINUED

Astheypassan alleywayaVOICEis heard.

VOICE All right.Freeze.Thebothofyou.

CAMERASTOPS,PANS:arough-lookingMUGGERstandsjust insidethedarkenedalleyway,apistolleveledatthem.

streetisdeserted.

CLARKandLOISareforcedup againstthewall.CLARK seemsnervous,LOISgrimlydetermined.

TheMUGGERblinks.LOISlooksatCLARKunbelievingly.

102 CONTINUED

LOISstareshardathim.Disgusted,sheletsthepurse drop.TheMUGGERreachesdowntopickit up.LOIS suddenlykickshimviciouslyintheneck,sendinghim reelingbackwards:TheMUGGERhitsthepavementbringing uphisgun witha deadlyglare.

CLARKrushesforwardwithhisarmsoutstretched pleadinglyastheMUGGERfires.

103 INSERTSHOT-CLARK'SHAND

ATSUPERSPEED:ThebullethitsCLARKharmlesslyinthe palmofhis hand.Hecloseshisfistaroundit.

104 BACKTOSCENE

CLARK'Seyesbulge.Hedropstothe groundwithalook ofagonizedastonishmentasLOISscreams.

ThefrightenedMUGGERscramblestohisfeet,runsoff downthealleyas LOISbendsoverCLARK.

CLARK'Seyelidsflutter,thenopenwithasheepish smile.Helooksupat LOIS.

104 CONTINUED

CLARKgetstohis feet,dustshimselfoff.

CLARKturnsself-consciously,stridesoutofthealley asLOISwatcheshimcuriously.

CLARKandLOISentera cab,takeoff,CAMERAPANSto a newsstandonthecorner.

106 CLOSEONNEWSSTAND-NIGHT(DAY)

AlargeMAN (OTIS)ina slightlydisheveledone-color outfitwhichcouldpassfora uniformbuysanewspaper. Hecheckstheheadlinesandfrontpagepicturebefore paying,thenstartsoff.CAMERAPANS:apolicecaris parkedata nearbycornerdirectlyinhispath.

TWOOFFICERSwatchasOTISapproaches,passingundera streetlight.Theireyesnarrowsuspiciously.

OFFICER#1 That'shim,all right.LexLuthor's right-handman.Let'sgethim.

OFFICER#2 Wait.Maybehe'llleadus tothe man himself.

OFFICER#1 (too goodtobe true) Lex Luthor...

OFFICER#2 You gotit,Charlie.Webothmake Captainbymidnight.

car,nowhesitates.

OTISsuddenlydoublesback,roundsacorner.Thepolice carpullsawayfromthe curb,rollsafterhim.

OTIShasbrokenintoa run.Stillholdingonto his newspaper,heheadsfortheentrancetoa trainstation fartherdowntheblock.CAMERAPANS:thepolicecarhas pickedupspeed,continuestofollow.

OTIS,nowata deadrun,threadshisway through arrivingPASSENGERSandtaxis,entersthestation.In F.G.thepolicecarpullsup. OFFICER#2jumpsout, turnstoOFFICER#1.

OFFICER#2 Callfor aback-up.I'mgoingafterhim. (slapswalkie-talkie on belt) I'llkeep youposted.

OFFICER#2arrivesatthetop ofthemain staircase leadingdownintothebusycentralhallofthe station, scanstheCROWD.

112 ANGLEONOTIS- OFFICER#2'SPOV

OTIShustlesthroughagroupofPASSENGERS,headsdowna rampmarked:LOWERLEVEL.

113 BACKTOOFFICER#2

OFFICER#2hasseen,speaksintohiswalkie-talkie,as herunsdownthe stairs.

OFFICER#2 Lowerlevel,Charlie.I'mrightonhis ass...

OTIShurriesthroughthelowerlevel,disappearsintoan entrancemarked:TRACK22.CAMERAPANS:OFFICER#2has seen,followsquickly.

OFFICER#2 (intowalkie-talkie) Track22, Charlie...

OFFICER#1'SVOICE (throughwalkie- talkie) Back-up'shere.We'rerightbehindyou.

OTISrunsdowntheplatform.Onone sideisa waiting train,steambelchingfrombeneaththecarsasthefinal PASSENGERSsetonboard.OTISjoinsthem.

116 ANGLEONOFFICER#2(DAY)

OFFICER#2atthe topofthe platformstartsafterhim, suddenlystopsashesees:

117 ANGLEONOTIS- OFFICER#2'SPOV

OTISemergesthroughthesteamontheothersideof the train.Helooksdowntheoppositesideof theplatform alonganemptytrack.A trainapproachesinthe distance,itslightsnowvisible,thenoiseofits wheelsincreasingrapidlyinvolume.OTISlooks:against thefartunnelwallare aseriesof concaveman-sized indentations,meantfortrackworkerstostepbackinto incaseof anoncomingtrain.Waitinguntilthelast moment,OTISsuddenly,jumpsdownontothetrack, crossesit,stepsbackintoanindentationasthetrain roarspastinF.G.

118 CLOSEONOFFICER#2(DAY)

OFFICER#2watches,mystified.

119 ANGLEONTRAIN(DAY)

Thetrainrattlesbyquickly,itsflashingwindows obscuringOTISfromview.Asthelastcar whistlesby: OTIShasdisappeared-theindentationisempty.

120 BACKTOOFFICER#2(DAY)

OFFICER#2grinsconfidently,speaksintohiswalkie- talkie.

OFFICER#2 Makeit Track23,Charlie.Isee howhe doesit...

OFFICER#2runsdowntheplatform,stopsoppositethe indentationOTISused.Heisabouttojumponto the track,hesitatesashelooksoff:Anothertrainis comingdownthetrack,itslightsnowvisibleinthe distance.OFFICER#2gritshisteeth,jumpsoffontothe track.

CAMERACLOSEona TVmonitorscreen.OFFICER#2isseen onit,crossingthetrack.A disapproving,clucking soundisheard.A handcomesintoframeholdingaremote controldevice.Abuttononitis pushed.TheTVimage changes:Wenow seeOTIS

122 CONTINUED

walkingnonchalantlydownanarrowunderground passagewaylinedwithenormoussteampipes,still holdingontohis newspaper.

Theremotecontroldeviceswitchesbackagain:Seenon themonitor:OFFICER#2hascrossedthetrack,looms largeinmonitorF.G.ashe takeshisplaceinsidethe indentation.

OFFICER#2hassteppedinsidetheindentation,now waits.Thetrainroarsdownthetracktowardshim. Suddenly-therearwallof theindentationpushes forward,shovinghimoutinthedirectionofthetrack. Hefightsvainlyfora moment,thencatapultsontothe trackwithascreamas thetrainrushespast.

124 ANGLEONTOPOF TRACK23PLATFORM(DAY)

OFFICER#1hasarrivedwithtwootherPOLICEMEN.They scantheplatformareaasthe trainroarsby.CAMERA PANS:

125 ANGLEONTRACK23 -THEIRPOV (DAY)

Thetrainhaspassed.Allthatremainson thetrackisa chewed-uppoliceman'shatandadentedwalkie-talkie whichsquawkspurestatic.

Seenonthe TVmonitor:thePOLICEMENscratchingtheir heads,puzzled,walkingalongtheemptyplatform.The handwiththeremotecontroldevicecomesbackinto frame.Abuttonispushed.Thescreengoesdark.

fromtherockceilingabove.Acoupleof ratsscamper pastandthroughsomerustedheatingandelectrical

headsfora rusty,boltedmetaldoormarked:DANGER–NO ENTRY-CONDEMNED.

CAMERAFOLLOWSanothertrain(thisoneamodel)asit snakesitswayaroundmountainsandthroughdesertsina made-to-scaleU.S.western-typelandscape.Emergingfrom atunnelit headsoutontoa bridgewhichisonlyhalf- completed,suddenlytumblesoff,thefallingcars demolishingapapier-mâchémodelofahospitaldirectly below.Alowchuckleis heardO.S.CAMERAPANSUP:A few feetaway,abeautifulYOUNGWOMAN(EVETESCHMACHER) reclineswithherfeetupin adeep,luxurioussofa, workingonaneedlepointpillow.Aprojectedblue-sky backdropshimmersonthewallbehindher,lookingquite realfromthisangleanddistance.EVEis open, straightforwardifslightlydim,withanunmistakable honestsexinessaboutherwhichmatchesherpersonality. ShelooksupINTO CAMERA,wide-eyed,disapproving.

129 WIDEANGLEONLEX LUTHORANDLAIR- EVE'SPOV(DAY)

LEXLUTHORsitsbehindamassivedeskin hispalatial undergroundlair,nowseenforthefirsttimeasCAMERA PANS:Atfirstglance- breathtaking,withitsmulti- leveledareas,onlysomeofwhichareimmediately

highceilingiscompletelycoveredwithfullbookcases bulgingwithperiodicals,papers,etc.Anotherseparate areahasa complicatedlaboratorywithviewingtheater, banksofelectronicgadgetswhichhavebeenconnectedto undergroundelectricallinesexposedinportionsofthe

anotherside-a largeandcolorfulaviary,stockedwith livebirdsofprey:eagles,falcons,hawks,etc.The wallsandceilings,aswewilldiscover,arealmostall canvasonwhichprojectionscanandwillbemade, differentonesservicingdifferentspecificpartsofthe lair.

129 CONTINUED

Oneotheraspectofthisundergroundkingdomwillsoon becomeapparent:whetherthroughthearchitecturewhich strangelyresemblesthatofMetropolisStation,orthe rowofbookcaseswhichcuriouslylooklikeoldticket windows,ortheodd,fadedtrackmarkerwhichsignals thewayoff intooneor anotherofthehiddencorridors ofthelair -it isclearwe arein anabandoned railroadstation,drasticallyremodeled,butnonetheless afact.

CAMERAPUSHESINONLEX LUTHOR:Hisfaceisa taskof elegantdemonicGenius,forthisisaman withan infinitecapacityforsadisticevil.Cutting,givento rapidlychangingmoods,butalwaysthinking-themaster criminalincarnate.HestaresatEVE,theonlypersonhe allowsto"nag"him,lovingherin spiteofall.LUTHOR shakeshisheadsadlydisappointed.

EVEgoesbackto herneedlepointasLUTHORglares.There isa metallic"clank."O.S.OTIShasenteredfroma lowerlevel,dutifullyapproachesthedeskholdinghis newspaper,smiles,cheery.

OTISlooksoverhisshoulder,deeplyconcerned.

129 CONTINUED

LUTHORstaresathim,OTIShangshishead.

LUTHORripsthepaperfromOTIS'hands,swatshim viciouslyinthesideofthe headwithit.

129 CONTINUED

LUTHORdropsthepaperonthe desk,sits.

130 INSERTSHOT-FRONTPACE

ThepaperisThe DailyPlanet.Clearlyvisibleonthe frontpage:alargephotoof twonuclearmissileson theirlaunchingpadsandtheheadline:TWINI.C.B.M.TEST CONFIRMED-LIVEWARHEADSTOBEUSED.

131 BACKTOSCENE(DAY)

LUTHORbeams,dropsthepaper,rises,ecstatic.

appearsononewall.

Anotherbutton.Anothervista.Thisoneofthesnow- cappedRockies.

131 CONTINUED

EVE

window.

LUTHOR,angry,turnstoOTISwhoshiftshisfeet.

LUTHORhandshimthepaper,sighs.

131 CONTINUED

EVEcontinuestoneedlepoint,butfeelshisgazeonher.

LUTHORapproachesher,glaringwithgenuinemalice.

LUTHORstandsovermenacingly,looksdown.Sheglances up,smileshelplessly.

LUTHORgrins,liesdownonthesofa nexttoher,puts hisarmsaroundher,looksdeeplyintohereyes.

EVEsnugglesin,hopelesslycozy.

Theykisspassionately.LUTHORreachesintohispocket, pullsouta remotecontroldevice,pressesabutton.

132 INSERTSHOT-LANDSCAPEMODEL

CAMERACLOSEona highdamsetinto thelandscapeofthe previouslyseenmodel.Itcracks,thencollapses: sendingarushof waterdownontoa schoolyardbelow, knockingoveratoyschoolbus,sweepingawaylittle figuresofchildrenstandingintheplayground.

Franticactivity:Thewallclockindicates8:00P.M. CAMERATRACKSthroughthechaosasPERRYWHITEexitshis office,asheafofgalleysin hishand.

133 CONTINUED

crossestoadesk,picksup thephone.

PERRYhangsup,crossestoLOIS'desk.

PERRYleaves.CLARKrises,crossestoLOISwhorereads herarticledelightedly,puffsonacigarette.CLARK clearshisthroatnervously.

133 CONTINUED

LOISrises,grabshernotebook,startsoffforthe elevators.CLARKfollows,CAMERATRACKING.

133 CONTINUED

enters,turnstoCLARK,smiles.

elevatorstops,opensitsdoors.CLARKenters.

LOISemergesthrougharooftopexit,looksoffpastan illuminatedhelicopterpadwithasmallwaitingroom buildingonthefarside.A fiercewindinhowling.LOIS turnsherfaceas shesees:

135 ANGLEONHELICOPTER-LOIS'POV

Ahelicopterheadsinforthe roof,swayingslightly,

edgeofthe pad.LOISducksherhead,runsfor theopen door.

136 INSERTSHOT-FLOODLIGHTCABLES

Therubber-encasedcablesconnectingthehelicopterpad floodlightsdancewildlyinthewindlikeblacksnakes. Thehelicopterstrutsareprecariouslyneartothem,too precariously,asonecableinadvertentlyhooksitself aroundastrut.

137 BACKTOSCENE

LOIShasenteredthehelicopter.ThePILOTtakesoff. Thehelicopterstartstorisethroughthestrongwinds, suddenlyjerksbackasthehookedcabletakeshold, yankingoutoneofthe floodlights.Thehelicopter lurchesdownviolentlytothePILOT'Sside,itsspinning bladesknifingthroughthewaitingroomwindow,spraying showersofglass.Thehelicopter,stillhookedtothe edge,onestruthangingovertheside.

138 INSERTSHOT-CABLE

Thecableholdingthehelicopterhassplit,short- circuits,spittingelectricsparks.

ThePILOT,onthe roofside,hasbeenknocked unconsciousbytheimpactofhittingthewaitingroom. LOIS,onthestreetside,looksoverat him,paralyzed withfear.HeldInby herseatbelt,shelooksdownher sidetothe street,terrified.

140 ANGLEONSTREET- LOIS'POV

Asheardropto thestreet.A smallCROWDhasalready startedtoform.

TheCROWDgrowsrapidlyinsize,staringup,pointing excitedly.CLARKarrivesonthescene,looksupaswell, eyeswideninginhorror.

142 ANGLEONLOIS- CLARK'SPOV

Thehelicopterdangleshalfovertheedgeoftheroof.

143 BACKTOCROWD

Determined,CLARKpusheshiswaythroughthecrowd, lookingforsomething.

144 ANGLEONPHONEBOOTH- CLARK'SPOV

Aphoneboothstandson thecorner-but thisisa modernbooth--itcoversonlythe tophalfof thebody.

145 BACKTOCLARK- WIDERANGLE

[amendedfrompage#33- 145A/B/CSc.92,93,94,95]

CLARKstartstocrossanemptystreetto analley, oblivioustotheredlightturninggreenandthe

intersection.

145A ANOTHERANGLE

ThetaxismashesintoCLARKwitha sickeningcrunch.The DRIVER,horrified,jumpsout.

CLARK,stillstanding,simplyturns,smilesnicely.

TheDRIVERstops,dumbfounded,staresatthehoodofhis cab.

145B INSERTSHOT-HOODOF CAB

Thefrontofthe cabhasCLARK'Simpressioncutdeeply intothehood,throughtothe engineblocktothe windshield.

145C BACKTOCLARK

CLARKcrossestoalley.

LOISlooksuppastthe unconsciousPILOTtotheedgeof theroof.Shehas onlyonechance.Sheunbucklesher safetybelt,triestocrawloverhim.As shemoves,the helicoptershiftsposition,swingsoutfartheroverthe roof.

147 INSERTSHOT-CABLE

Thecablejerkswiththeweight.Sparksfly.It holds togetherbyathread.

148 BACKTOLOIS

LOIStumblesbackwiththemovement,fallsoutthedoor grabbingherunbuckledseatbeltatthelastminuteon thewayout.

TheCROWDscream.LOISdanglesfromtheroof,holdingon toherseatbeltfordearlife.

TO PAGE57

AnincrediblygarishBLACKPIMPexitsanalleydoorway, stoned,stopsinaweas he,sees:SUPERMANinfull costumeheadingtowardshim,determined.

Withaburstor energySUPERMANrisesfromtheground, fliesupintothe nightsky.ThePIMPwatchesinwonder.

ThehushedCROWDwatchesLOIShangingfromtheroofas SUPERMANappears,flyingquicklytowardsher.

LOISdanglesfromthehelicopter,eyesclosed,hermouth movinginsomesortof silentprayer.Thehelicopter suddenlylurches.

153 INSERTSHOT-CABLE

Thecablesnaps.

154 BACKtoLOIS

Thehelicopterfalls.LOISscreams,eyesweldedshut. SuddenlySUPERMAN'Smightyarmreachesout,grabsher aroundthewaist.Withhisotherhand,he takesthe bottomstrutofthehelicopter.

LOIS'eyesopententatively,thenflutterunbelievingly.

SUPERMANsmileswarmlyasheliftsbothLOISandthe helicopterbackontotheroof.

SUPERMANgentlydepositstheawestruckLOISontheroof, thenlowersthehelicopter.

LOISopenshermouthto speak,butSUPERMANtakesoff again.Shestaresafterhim,gaping.

SUPERMANisinmid-air,exhilarated-literallyhigh.He executesacocky"loop,"feelingakindofrelease,a genuinephysicaljoyinflying.

TheCROWDhasgrownin size.ATV mobileunithas arrived.ThePEOPLE"ooh"and"aah"inwonder.ATV CAMERAMANpoints,looksoverathisCREW.

Hetiltshiscameraup. CAMERAPANSwithhimto thesky.

SUPERMANnoticestheattention,suddenlystopshis aerobatics,embarrassedlyself-conscious.Helooksoff:

ABURGLARemergesfromahigh apartmenthousewindow, stepsoutontoa ledge.Hedropsa fistfulofjewels intoabag tiedtohis waist,thenpositionssuction cupsattachedtohishandsandknees.Slowly, laboriouslyheascendsthesideofthebuilding.

160 CLOSEONBURGLAR

Breathinghard,hecontinues.Lookingup,hisface suddenlyregistersshock.

161 ANGLEONSUPERMAN-BURGLAR'SPOV

SUPERMANstrollsdownthesideofthebuildingtowards him,defyingalllawsofgravity.Hesmilesat the BURGLAR...

162 BACKTOBURGLAR

TheterrifiedBURGLARfranticallytriestogetaway,his suctioncupscomingloose.Hefalls-SUPERMANswoops down,catcheshimfirmly.

PATROLMANMOONEYquietlywalkshisbeatonadeserted citystreet,looksupashe hearsa "whoosh!"SUPERMAN landsnexttohim,depositstheterrifiedBURGLAR.

ThethunderstruckMOONEYgapesasSUPERMANtakesoff again.TheBURGLARshrubs,extendshiswriststoMOONEY forthehandcuffs.

Apolicecar,lightflashing,sirensblaring,chasesa sleekblackCadillacastheycrisscross,screeching

carsblazeawayateach otherwithfirearms.The Cadillacsquealsintoal80-turn,headsdownashort piertoa waitingcabincruiser.Thepolicecartriesto imitatetheturn,smasheshead-onintoastonepillar, onePOLICEMANcatapultingthroughthewindshieldonto thehood.TWOOTHERPOLICEMENpileout,gunsdrawn,open firedownthepier.

165 ANGLEONPOLICEFROMPIER

THREEHOODSemptyoutofthe Cadillacnearthecabin cruiser,thepolicebulletsslammingintotheircar. Theywheel,holdingautomaticweapons,cutdowntheTWO POLICEMEN,jumpontothecruiser,takeoff.

Thecabincruiserplowsdowntheriverat topspeed. CAMERAZOOMBACK,PANS:SUPERMANwatchesfrommid-air.

TWOofthe HOODSarein themaincabin.ONEdrivesthe boatwhiletheOTHERmakesthreeneatpilesof moneyon atable,pullingitout ofa blacksatchel.TheFIRST HOODgrinsathis PARTNER,thenlooksbackthroughthe windshieldofthecabin,hisjawsuddenlydropping.

168 ANGLETHROUGHWINDSHIELD-HOOD'SPOV

SUPERMANstandsonthefrontdeck,armsfolded,staring sternlyinsideatthem.

TheTHIRDHOODsneaksupbehindSUPERMAN,aheavybarbed steelboatgaffinhis hands.AsSUPERMANstaresin throughthewindshield,theHOODswingsitdown

ithadhit solidsteel-the HOODstandsunbelievingly, hisentirebodyshakinginspasmsfromtheimpact. SUPERMANturnswithasmile.

AflusteredMOONEYstandsbeforehisamusedDESK SERGEANT.

TheSERGEANTgetsdownfrombehindhisdesk,walks

Theyhavereachedthedoor,startout,suddenlystop, rootedtothespot.

Thecabincruisersitsinthe street,balancedonits keel.TheTHREEHOODSarewrappedinthe anchorchain, thesatchelofmoneyhangingfromoneof theirnecks.

172 BACKTOMOONEYANDSERGEANT

SUPERMANcontinuesthroughtheairasaboltof lighteningslashesbynexttohim.Thena clapof thunder.Itstartstorain.Hehearssomething,cocks hishead.

ALITTLEGIRLlooksup plaintivelythroughtherainata treeinher backyard.Weheara miserable"meow." CAMERAPANSUP:A wetcatsitsstrandedinthe top branchesofthetree.

Suddenly-SUPERMANsoarsintoframe,scoopsFRISKYout ofthetree,glidesdown,gentlydepositsthecatin the LITTLEGIRL'Sarms.

sherunsup herehousestepsandinside.CAMERAHOLDSa moment.Suddenly-thesoundofa "smack."

Anotherboltoflighteningslashesthroughthenight sky.Therainbecomesnoticeablyheavier.

AirForceOnefightsitsway throughthepoundingstorm;

outboardengineonthePILOT'Ssidesplitsintwo,drops offthewing.The planestartsintoadive.

ThePILOTandCO-PILOTfightthecontrols,trytolevel off.Suddenly:theplane'snosecomesup.Theaircraft seemstorightitselftothe astonishmentofthePILOT wholooksoutthe window,eyesnowwidening.

177 ANGLEONWING- PILOT'SPOV

SUPERMANhasgrabbedholdorthewingin thecavity createdbythefallenengine,nowflies,stretchedout initsplace.He turnshishead,smilesatthe PILOT.

ThedumbfoundedPILOTlooksbackastheCO-PILOTstrains tolookpasthim outtheside.

LOISwaitsinthe stormwithamob ofexcitedREPORTERS. Emergencyequipmentstandsby,lightsflashing.Everyone turns,flabbergasted,astheysee:

180 ANGLEONRUNWAY- THEIRPOV

AirForceOneglidessafelytoa landing,taxisupin frontofthem.SUPERMANdoesabackflip,standsonthe wing,looksinat thepilot,giveshimthe'highsign' thenlooksoffat thePRESS.

181 ANGLEONPRESS

waytothe front,waving.

SUPERMANspotsher,grins,waves,thentakesoffagain,

crowdaroundLOIS.

181 CONTINUED

LOISsmilesprivately,headsoff,themobofREPORTERS trailingbehindher,yelling"whoishe?","C'mon,Lois, what'sthestory?",etc.CAMERAPANStothedoorwayof AirForceOne:thePRESIDENT'SENTOURAGEappearsto cleartheway.No onenotices-thereis nolongera way toclear.

TheSCREENisfilledby thegiantheadof JOR-EL.He looksdownINTOCAMERA,hisexpressionablendofslight displeasureandparentalunderstanding.

SUPERMANfallssilentagain,ashamed.JOR-ELcan't resistasmallsmile.

181A CONTINUED

controlthem.Itis anafflictioncommon to all,evenhereon Krypton... (expressionchanges) our destructioncouldhavebeenavoided but forthevanityof somewho

not forvanity...why...atthisvery moment...Icouldembraceyouin myarms (barelyaudible) ... myson...

Thefaceof aTV NEWSCASTERlooksINTOCAMERAthrough thewindowofa storewhichsellstelevisionsets.

CAMERAPULLSBACK:thestorewindowisfilledwitha myriadofTVsets,all threenetworkssimultaneously broadcastingthesamestory,althoughonlyone NEWSCASTER’Svoiceisaudible.ACROWDhasformedin frontofthewindow,hangingonto everywordwitha bemusedexpressiononhisface-CLARKKENT.

ACROWDMEMBERturnsto CLARK.

CLARKfrowns.Hehadn'tcountedonthisreaction.

182 CONTINUED

CLARKturns,walksoffCAMERAPANNINGwithhim.

Thehighestleveloftheundergroundcomplexisan

lowoverwhatoncewas amassivestaircasedownintothe stationandnowservesasthe entrancestepstothe

sitsinthe shallowendofthepool ina roped-off, bubblingJacuzzibathsection.EVE,lookingfetchingin abikini,lieson amat nearby,blackgogglesoverher eyes,absorbingraysfromasunlamp.OTISsitsinan armchair,watchestheNEWSCASTERonatelevisionin frontofhim.

184 CLOSEONLUTHOR

NEWSCASTERfinishes.

OTISswitchesofftheset,turns.

184 CONTINUED

OTISbeams,settlesbackinhischair.

LUTHORfrowns,hismindworkingdouble-time.EVEstares upat thesunlamp,hereyesstillcoveredbygoggles.

LUTHORsnapshisfingers.OTISrises,crossestohim withanelegantbathrobe.

CAMERAPUSHESINasLUTHORrises,lostin the

wrapthebathrobearoundhim.

184 CONTINUED

CAMERAPULLSBACK:thebottomsectionofLUTHOR'Srobe issubmergedbelowthewaterline.

Alovelyapartmentina high-risebuildingwitha balcony-terraceoffthelivingroom.Books,modernart posters,deskwithtypewriter,etc.CLARKsitsatone endofthe sofa.LOISpacesnextto him.

riggedhimup likePeterPan.

185 CONTINUED

CLARKfrownsashehearsthe nameforthe firsttime, thenstiflesasmile.

LOIScrossestoopenthekitchendoor.

SHEentersthekitchen.Thedoorswingsshutbehindher. CLARKrises,listens,interested.

185 CONTINUED

CLARKhasheardsomething.Hecockshishead,looksoff attheterrace.

CLARKcomesout,listeningintently.CAMERAZOOMStoa rooftopacrossthestreetcoveredwithTVaerials. CLARK'Ssuperhearingpicksupanannouncementcoming overtheairwaves.

LinesofSCHOOLCHILDRENfileoutthefrontdoorsand downthestepsof apublicschool.beingmonitoredby TEACHERSandPOLICEwholoadthenintobusses.

CLARKlistens,eyeswidening.

willdrop intoabeakerof acid.

CLARKcheckshiswatch.

189 INSERTSHOT-CLARK'SWATCH

Thetimeis 11:50

Lookingupfromthestreet:CLARKjumpsoffLois' terrace.CAMERAPUSHESIN:ashefalls,a gradual transformationtoSupermantakesplaceinblurred, overlappingstages.

SUPERMANhitsthestreet,thetransformationhaving completed.Heshootsoffintothesky.

Bed-riddenPATIENTSarebeingwheeledoutofthe EmergencyExitofahospitalbyNURSESandATTENDANTS, andloadedintowaitingambulancesunderPOLICE supervision.

LOIScanstillbe heardtalkingfromthekitchen.

LOISentersthelivingroom,looksaround.

carsaredrawnup.BOMB SQUADPERSONNELstandnearby strappingontheirprotectivegear;nowlookupasthey suddenlyheara"whooshing"soundO.S.

194 CLOSEONWAREHOUSEDOOR

SUPERMANlandsdirectlyinfrontofthewarehousedoor, wavesthePOLICEback.Heturnsto facethewarehouse. Themassivemetaldoorsarelinkedwitha giantpadlock.

LUTHOR,EVEandOTISsitin comfortableseatsinan elegantviewingtheatersomewhereinsidetheunderground complex.AbankoflargeTV screensfacesthem.One screenprojectstheliveimageofSUPERMAN.(NOTE:As theactionprogressesthroughthewarehouse,different screenswillbeactivatedpresumablyfromdifferent cameras).LUTHORsipsatalldrink,smuglyadjusts severalknobsonalargeconsolenextto him.EVEchews gum,starescuriouslyatSUPERMAN.OTISmunchesalarge candybar,excited.

LUTHOR'Seyesflash.EVEsmilesnervously.

LUTHORglowersatSUPERMANominously.

openwitha hugeexplosion-theSCREENisfilledwith smokeandflame.Asthe smokeclears:SUPERMANstandsin thedoorway,unharmed.Hetearsapartwhat'sleftofthe doorsliketinfoil,stepsinside.Abrightrowofarrows paintedonthewarehousefloorpointsthewayforhim.

LUTHORscowls,abitunnerved.

SUPERMANfollowsthepaintedarrowsintoabareroom. Thedoorsuddenlyslamsshutbehindhim.Instantly:wall panelsslideopenonallsidesfilledwithmachinegun barrels.Theyallopenfireatonce ina withering deafening,blindingbarrage.SUPERMANstandserect,arms folded,asthousandsofbulletsricochetofhim.The barragefinallyends.Theflooroftheroomis totally

boottofindthe paintedarrows,SUPERMANcalmly proceedsonhisway.

LUTHORlooksnervous,flusteredeven,ashefumbleswith thecontrolsonhispanels.

SUPERMANentersthesecondroom,hasreachedthecenter when:thewallsandceilingsuddenlycomealivewith flaminggasjets.Theroombecomesablindinginferno. SUPERMANstandsinthecenterserenely,waitsuntilthe holocaustdiesdown.Then,adjustinghiscape,he nonchalantlystartsoffforthethirdroom.

LUTHORholdshisheadinhis hands.EVEandOTISwatch.

SUPERMANentersroom,suddenlydisappearsfromviewinto themiddleofan incrediblythickblizzard.Theblinding snowstormfillstheSCREEN.

LUTHORwatchesthesmog-filledmonitor.

oftheroom:a largeconeof ice-hasformed.Suddenly,a thincrackappears,runningdownthecenter.Thecrack breaksopen.SUPERMANstepsout,rubshishandstogether briskly,thenstartsoff.

LUTHORwatches,hisfacetwistedwithrage.

LUTHORswivels,hurlshisdrinkatOTIS,whoducks:it smashesintothewallbehindhim.

SUPERMANhasexitedthethirdroomintoa circular alcovewithfourleaddoorsleadingofffromit.Each is sealedbya hugetumblerlocksimilartothoseonbank vaults.Thepaintedarrowsleadofftoallfour doors. SUPERMANstops,stareshardatthedoors,momentarily mystified.

LUTHORleansintowardthescreen,fascinatedforonce bywhathe sees.

IfSUPERMANdidhavea problem,hesolvesitquickly.He ripsoffallfour lenddoorsinsuper-speed.Theycrash totheground,twisted.Findingthedoorwayhewants, SUPERMANenters.

Thecentralareaofthe roomhasbeenblockedoffby a ceiling-highthickwiremeshfence.Behindit:the propanelithiumpellethangssuspendedbyathincord overabeakerof acid.SUPERMANglancesO.S.

210 INSERTSHOT-WALLCLOCK

Atimerclockon thewallindicateseightsecondsleft.

211 BACKTOSCENE

handsreachout,grabholdof thewire:fierceelectric sparksshootoutlikelighteningbolts,thecurrent

fenceas:thepelletsuddenlydrops.SUPERMANdivesat itwithsuper-speed,catchesitatthelastsecond. Staringatitcuriouslyheshrugs,popsitin hismouth, swallowsit.Helooksdownat thebeakerofacid,lifts it,swallowsit.Helooksdownat thebeakerof acid, liftsit,thenquaffsitdown asa chaser.Tappinghis chestlightlywithhisfist,heletsout adiscreet "burp."

CAMERACLOSEonPERRY'Sdeskwhereliesaneditionof TheDailyPlanetwiththescreamingheadline:SUPERMAN SAVESTHOUSANDS.

213 WIDERANGLE

AdozenREPORTERS,includingLOISandCLARK,standat attentionasPERRYpacesbackandforthbehindhisdesk, ranting.

TheREPORTERSfileout.LOIShasa lookofgrim determinationonherface.CLARKnotices,comesup.

214 CONTINUED

JIMMYwalksby,hasheard,interrupts,fullof admirationforCLARK.

CLARKistrapped.Heshrugs,decidestoplayalongwith theimage,getsvery"Mr.Terrific."

214 CONTINUED

CLARKblushes.LOISleaveswithasmirk.

LOIS,lookingabsolutelygorgeousinherbestevening gown,putsthefinishingtouchestoherhairin frontof amirrornearthe opendoortoher terrace.Shestares atherselfcriticallyforamoment,thensmiles,nods.

Shesmiles,crossestoasmallbar, poursaglassof wine.

LOIStakesherglass,wandersoutontotheterrace.

Abeautifulnight.Thelightsofthecity arevisiblein thedistance.LOISsipsherwine,stareswistfullyup intothesky.

Thereisa loud"whoosh."SUPERMANlandsonthetop comerofherterraceledge,looksdownat thestunned LOIS.

216 CONTINUED

LOISrushesinside.SUPERMANsmilestohimself,hops downontotheterrace,speaksinthedirectionofthe opendoorway.

LOISemergeswithreporter'spadandpencil,takesa seatatthe terracetable.

LOISsmiles,hidinghernervousness,lightsacigarette fromabox onthe table.

217 INSERTSHOT-LOIS'LUNGS

SeenthroughSUPERMAN'SX-RAYvision:Aflashingmedical X-RaytypeshotofLOIS'lungs.

218 BACKTOSCENE

LOISblinks,putsouthercigarette,picksupherpad.

218 CONTINUED

LOISblinks,realizeshe'sserious,returnstoherpad.

219 ANGLEONLOIS- SUPERMAN'SPOV

Aquickflashof LOISsittinginthechair,dressedonly inherbra andpanties.

220 BACKTOSCENE

LOISwritesitdown,allbusinessinspiteof herblush.

220 CONTINUED

LOISputsdownherpad, flusteredinspiteofherself.

LOIS

yours...

220 CONTINUED

220 CONTINUED

LOISheadsquicklybackinside.

SUPERMANcrosses,smiles,coversherwithhiscape,his

looksback,tremblingslightly,herhandinadvertently grazinghisbicep.

Hetightenshisgrip,sweepsheroffher feet.They shootupintothe nightsky.

SUPERMANfliesthroughthenightskyholdingLOIS,his

PANSDOWN:thegleaminglightsofMetropolisgrow smallerinthedistance.

222 FLYINGMONTAGE

Aseriesof aerialPOVSINTERCUTwithflyingreaction shotsofSUPERMANandLOISas thecircletheworld, passingthroughdifferenttimezones.

A. EXT.PARIS-NIGHT

TheilluminatedPlaceD'Etoileatnight.

B. EXT.VATICAN-NIGHT

TheilluminatedSt.Peter'sSquareandCathedral.

ThesunrisesbehindtheGreatpyramids

Aday viewofthe TajMahalinAgra,India.

E. EXT.CHINA-DUSK

Thesunsetsbehindthe GreatWallofChina.

F. EXT.METROPOLIS(NEWYORK)-NIGHT

TheglitteringlightsofMetropolisloomupagain.

G. EXT.SKY- ANGLEDOWNONLOIS'TERRACE- NIGHT

CAMERAZOOMSDOWNonLOIS'terracefromthesky.

SUPERMANdepositsLOISgentlyontheterraceonceagain. Sheisabsolutelystruckdumbwithwonder,staresat him.

223 CONTINUED

SUPERMANhopsontheterraceledge,shootsoffintothe nightsky.CAMERAPUSHESINonLOIS'face,almost druggedwithcontentment.

Suddenly-thedoorbellringsfrominside.Then,loud knocksontheapartmentdoor.CLARKentersB.G., crossesquicklyoutontotheterrace,fussilyangry.

LOISturns,smilesvapidly.

CLARKlooksatLOIScuriously,thenspotsthewineglass onthetable,liftsit suspiciously.

LOISsmiles,shakesherhead.

6/4/77TM

CAMERACLOSEonthefrontof anewspaperheldbyEVE who readsitintently,OTISpeeringoverhershoulder.The bannerheadlineisclearlyvisible:ISPENTTHENIGHT WITHSUPERMAN-anexclusiveinterviewbyLoisLane. CAMERAPANStothedesk.LUTHORsitsbehinda massive pileofbooks,notations,calculators,etc.Heworks feverishlywithasliderule,hisfaceaglowwith demonicinspiration.

LUTHORsuddenlyslamstheslideruledownonthedesk in arage.It breaksintwo,partof itwhizzingacrossthe room.EVElooksup,terrified.LUTHORmanagesapatient smile,rises.

ingredientsonachewinggumwrapperand unlockthesecretof theuniverse.

LUTHORcrossestothemassivewallofbooksbehindhim, climbsalargerollingwoodenladderattachedtothe shelves.HeturnstoOTIS.

6/4/77TM

224 CONTINUED

OTIScrossestotheladder.

OTISbeginstopushthe rollingladderalongthewall.

Thestaircasestops.LUTHORlooksdown.

LUTHORturnsdramatically,pullsoutaspecific periodical,startstoleafthroughit.

6/4/77TM

224 CONTINUED

Hefindsthepage hewaslookingfor,his facelighting up.EVEand OTISpickitup eagerly,look.

andOTISpickit-upeagerly,looks.

225 INSERTSHOT-PERIODICALPHOTO

ThephotoshowsanETHIOPIANFARMERholdingawedge- shapedgreenrockaboutafootlong andfiveinches high.TheFARMERgrinsatthe camera.Thecaption beneathreads:MeteoriteLandsnearAddisAbaba, Ethiopia,June,1951.

226 BACKTOSCENE

EVEandOTISstareat thepicture,mystified.

6/4/77TM

226 CONTINUED

LUTHORstepsofftheladder,beamsproudlyatEVE.

LUTHORstaresupatthe ceilingdramatically.

6/4/77TM

226 CONTINUED

SUPERMANflieseasilyovertheocean,scansthehorizon fortrouble.Helooksdown.

227A ANGLEONCONCORDE-SUPERMAN'SPOV

Thesuper-sonicConcordeairlinerstreaksthroughthe skybelowandjustaheadof him.

227B CLOSERONCONCORDE

ThePILOTisvisiblein thecockpit.Heglancesoutthe side,momentarilyblinksindisbeliefasSUPERMANpulls upparalleltohim.Suddenlyrealizingwhoitis,the PILOTgrins,givesSUPERMANafriendlysalutewhichthe ManofSteelreturns.Then,accelerating,SUPERMAN passestheplane.

SUPERMANnearstheeasterncoastofAmerica,looksdown, suddenlyconcerned.

228A ANGLEONOILRIG -SUPERMAN'SPOV

Anoffshoreoilrig,seenfromthe air.WORKERSscramble aboutquicklyinalldirectionsasablackoil spill beginstoappeararoundtherig,spreadingrapidly.

TheWORKERSrunbackandforthacrossthe deckofthe rig,lookingoverthesidedesperately.Aloudalarm

cabofthe drillingrig.

WORKER#1 Shutit down!Shutit down!

WORKER#2 Too late!Pipe'sjumpedthebit!Can't controlit...!

WORKER#3 (pointingoff) Hey,look!

228C ANGLEONSUPERMAN-THEIRPOV

Abluestreakknifesintothe waternexttothem.

228D UNDERWATERSHOT-CLOSEONSUPERMANANDDRILLINGPIPE

SUPERMANshootsthroughthewaterwiththesameeaseas hedoesthoughtheair. Hereachesthedisconnected drillingpipe,whichdanceswildlyaroundtheopenbit tothedrillingholefromwhichoil nowspewsforth. Grabbingthepipe,hestraightensit,thenforcesit backintothebit hole,securingit.SUPERMANcheckshis work,headsupquicklyforthesurface.

SUPERMANbreaksthewaterline,wheelsinmid-air,blows

themassof heavyoilacrossthewaterandaway fromthe rig,circlingitashe goes,compressingit.Rising higherintotheair,he trainshisx-rayvisiononthe gooeyoilclot.Itturnswhite-hot,explodes,then completelydisappears.AcheerisheardO.S.fromthe WORKERSontherig.

229 CLOSEONSUPERMAN

Heis abouttostartoffagain,thennoticessomething wrongnearthebaseof therig.

Asea eagleisperchedforlornlyononeofthe lower

withoil.Itsbodytrembles,unabletofly.SUPERMAN landsnexttoit, slowlyreachesout,meticulously startstocleanthefeathersbyblowingwarmthintohis

processcompleted,SUPERMANtakesthebirdinhishands, tossesitgentlyupwards.Theseaeagletakesoff, headinghigherintothesky.

Theeagleburststhroughawhitecloudbankup oncemore intothecleanblueair.Aftera shortmomentSUPERMAN doeslikewise,trailingthebird.Forafewmomentswe areprivilegedtowitnessthisrealbeautyandpoetryof flyingastheeagleand SUPERMANchaseeachother throughtheairdoingbanks,loops,anddives,swooping closelytogetherliketwobeautifulfighterplanesin tightformation.Theunspokenceremonyover,they silentlyacknowledgeeachother,thenheadoffin differentdirections.

14/4/77TM

Acountrylandscapewithawinding,undulatingroad. CAMERAPANSOFFa signmarked:DANFORTHMISSILEPROVING GROUNDS-12MILESto a riseinthe road.Headingforit isa militaryconvoy.TwojeepsofMP'sarein frontand oneisbehind- a hugebulldozertowingaflatbedtruck

coveredbyathick,tied-downtarpaulin.Theconvoy rollson,crossingtheSCREENfromrighttoleft.

Asleekcar speedsquicklydownanotherpartofthe road,headingacrosstheSCREENfromlefttoright.

CAMERALOOKSOUTthewindshieldofthespeedingcarfrom therear.Toour amazementthereisnoDRIVERinthe vehicle-noone atall,in fact.Theriderlesscar continuestoroardowntheroad.

CAMERACLOSEonanelectronicguidanceboxbeingheldby OTISwhotriesto manipulatethespeedingcar,whichis

strappedaroundhiswaist.LUTHORstandsnexttohim, curiouslydressedinanall-whiteoutfit,looksatthe box,alarmedatthesignalsitis givingoff.

LUTHORsnatchestheboxawayangrily,adjustsit.

14/4/77TM

230D ANGLEONSPEEDINGCAR

Thedronecarshiftsoverto therightof theroad.

230E BACKTOLUTHOR- ANOTHERANGLE

inthetreesbehindhim.She isdressedina hopelessly slinkyandrevealingoutfit,adjusthermakeupinahand mirror.LUTHORturnstoOTIS.

OTISrunsoffthroughthebrushand treestotheright. LUTHORchecksthebox,looksoverhisshoulderatEVE.

LUTHORlooksupasthe dronecarspeedsathim arounda corner.Hepressesabuttononthe box.

230F CLOSEONDRONECAR

Thedronecarsuddenlyflipsallby itself,rollsover andover,burstingintoflames.

Thefirstjeepin themilitaryconvoystopsasthesound oftheexplosionechoesover thetopof therise.The alarmedOFFICERinsidegesturesthevehicleforward again.Itreachesthetop.TheMP's lookdown.

230H- 230Lmissingfromscript.

230M INSERTSHOT-COMPASSDIAL

OTISputsbackhisscrewdriver,takesoutasmall wrench,startstoadjustvariousneedlesfromoneset positiontoanothertrainingaflashlightonhisarm fromtimetotime whereaset ofnumbersisprinted.

TheMP'snowsurroundthefallenEVEwho iscompletely obscuredfromview.Onlyherlegsstickout,twitching asa resultoftheover-attentionbeingpaidher.

EVE'SVOICE

Thanksalot...finenow...Hey!Whatdid youhavefor lunch,Ace!

Suddenly-asirenis heard.Anambulanceroarsaround thecorner,screechestoastop.LUTHORjumpsout, crosses,beginspeelingtheMP'soffEVE.

TheambulancewithLUTHORandEVEscreamsarounda corner,turnsoffitssiren,stopsnearthesideof a hill.OTISscramblesdownthroughthebrush,jumpsinto theback.

LUTHORdrives,EVEnexttohim.OTISleansin fromthe rearsection,excited.

5/5/77TM

230Q CONTINUED

OTISrolluphis sleeve,readsthenumbersoffhisarm.

LUTHORstaresatthearm,in totaldisbelief.

5/5/77TM

LUTHOR'Slegsstickoutoftheinnerrear sectionofthe ambulancewhereheispummelingOTISastheambulance

franticallytriestocontrolthevehiclefromthe passengerseatasitdisappearsaroundthebend.

Anothermissileconvoyidenticaltothefirstoneheads downanothercountryroad.Thesamearrangement:two jeepsofMP'sin frontofthe rocket,oneinback.

CAMERALOOKSTHROUGHthefrontsidewindowasLUTHORand OTISridetogetherinwhatseemsto bethecab ofa

whodrives,eyesforward.CAMERAPULLSBACK,PANS:the smallcabvehicleistowinganentirehouseon adouble-

fullbreadthofthenarrowroad.

Themissileconvoyroundsthecornerofa smallhill, startstoproceedontoatwo-lanebridge,suddenly stops,therocketitselfonlyhalfwayon.

231C ANGLEONHOUSETRAILER-CONVOY'SPOV

LUTHORdrivesthehousetraileracrosstheothersideof thebridge,rollstoa stop,blockingthepassageway completely.

231D WIDEANGLE-BRIDGE

fullofangryMP'sdriveforward.

TheMP'spileout oftheirjeeps,approachthetrailer cab,yelling.LUTHORsmilesthinly,reachesdown, pressesinthecigarettelighteronthedashboard.

231F INSERTSHOT-REARTRAILERTIRES

Twoofthe reartiresonthe trailersuddenlypuncture.

231G WIDEANGLE

Therearendof thehousesagshelplesslyonthebridge.

16/4/77TM

Theoneremainingjeepbehindthemissilehasbeen screenedbythecornerofthe hill.ThefrustratedMP OFFICERwavestheDRIVERforwardtoseewhat'shappened. CAMERAPANStohillside:EVEscramblesdownwearingthe sametoolbeltOTIShad onearlier,headsforthe tarpaulin-coveredrocket.

SeveralREPORTERSclusteraroundaportableTVonadesk inthecorner.An ANNOUNCER'SVOICEcanbeheard.

CAMERAPANS:CLARKenters,looksaround,notices thatLOIS'deskisempty,headsfor the REPORTERS.

ONEREPORTERturnstoCLARK.

CLARKcrossesbacktoPERRY'Soffice.

5/5/77TM

CLARKknocks.PERRYlooksupfrombehindastackof news dispatches.

unidentifiedjoker'sbeenbuyingup thousandsofacresof worthlessdesert at incredibleprices.

PERRYrisesponderously,handsinpockets,strolls pensivelytowardhishalf-openedwindow,looksout.

16/4/77TM

232A CONTINUED

AsCLARKlistens,PERRY'SVOICEseemstofadeaway,is replacedbyahigh-pitchedwhinelikethatgivenoffby ahighfrequencytransmitter.CLARKwinces,hearingit,

onat thewindow,apparentlyoblivioustoit.

Severalstraydogsrummagethroughturned-overgarbage cans,suddenlystopastheyhearthewhine,beginto howlandbayexcitedly.

232C BACKTOPERRY'SOFFICE

CLARKtriestofocushissuper-hearingonthesoundas itweakensmomentarilyandPERRY'SVOICEfadesbackin againatthewindow.

Moredoghowlingisheardfromthe streetsthroughthe partiallyopenedwindow.

232D CLOSEONCLARK'SEAR

PERRY'SVOICEandthedoghowlsfadeaway asCLARK'S super-hearingpicksupthehigh-frequencymessage.

16/4/77TM

232E ANGLEONCLARK

CLARKlistens,eyeswideningasPERRYdronesonsilently outthewindow.

CLARKslipsoutofPERRY'Soffice,quicklycrossesthe cityroomwheretheREPORTERSclusteraroundtheTV.

Lookingupfromthestreet:CLARKjumpsouta window highupon theDailyPlanetbuilding.Ashefalls,a gradualtransformationtoSUPERMANtakesplacein blurred,overlappingstages.

SUPERMANhitsthestreet,thetransformationhaving takenplace.Hestaresupintothe sky.

232H ANGLEONMETROPOLISSKYLINE-SUPERMAN'SPOV

SeenbySUPERMAN'SX-Rayvision:Thepulsating,high frequencysoundwavesoriginatingfromsomewherebehind theskyline.

232I BACKTOSUPERMAN

SUPERMANtakesoffinthedirectionofthesoundwaves, followingthem.

SUPERMANlooksdownatacrowdedcitystreetfrommid- air.Thesoundwavesseamsto emanatethrougha particularsectionofthesidewalk.

forwardwith"Hey,it'sSuperman,"etc.Hewavesthem away.

Armsfolded,SUPERMANsuddenlybeginstospininplace likeafigureskater,aroundandaroundata dizzying speed,boringacircularholeinthepavementasthe startledPEDESTRIANSholdontotheirhats.

ACUTAWAYSHOTshowingSUPERMANboringthroughthe groundwithhisspinningmotion,headingdownthrough layersofrock,undergroundcitycablesetc.

16/4/77TM

Thesametunnelwesaw OTISwalkdownin anearlier sequence.SUPERMANboresthroughtheceiling,hitsthe floordirectlyoppositeahigh-poweredradio

theheavymetaldoormarked:DANGER-NO ENTRY– CONDEMNED.

LUTHOR,EVEandOTISsitin comfortableseatsinan elegantviewingtheaterinsidetheundergroundcomplex. Abankof largeTVscreensfacesthem. TWOof the

theimageofSUPERMANstaringdirectlyINTOCAMERAfrom thetunnel.LUTHORsipsatalldrink,smuglyadjusts severalknobsonalargeconsolenextto him.EVEchews gum,starescuriouslyatSUPERMAN.OTISmunchesona largecandybar,excited.

LUTHOR'Seyesflash.EVEsmilesnervously.

6/4/77TM

232O CONTINUED

LUTHORreachesforabuttononthe console.

panelsopenonbothsidesfilledwithmachinegun barrels.Theyopenfiresimultaneouslyinawithering,

thousandsofbulletsricochetoffhim.

Thegreatsteellidsof thetwomissilesilosslowly begintoopen.

becomesablindinginferno,asSUPERMANproceeds serenelythroughtheholocaust.

exhaustsurroundthebottomofthemissile.

SUPERMANcontinues,thendisappearsfromviewintothe

thincrackappears,runningdownthecenter.SUPERMAN stepsout,rubshishandstogetherbriskly,approaches thedoor.

18/4/77TM

LUTHORsitsbehindhisdesk,amodelof smugcomposure, calmlyreadingthenewspaperwiththeheadlinesand pictureannouncingthedualmissiletest.Alarge,blank screenhasbeenloweredononewall nexttohim.In frontofthescreen,a blackleadtrunkformsthebase orsomethingwhichhasbeenconvertedintoabench, coveredwithcushions.Somedistanceaway,OTISfinishes

metalmaindoortothe complexsuddenlystartsto trembleunderSUPERMAN'Sstrength.LUTHORlooksupfrom hispaper,callsout.

SUPERMANbashesthethickmetaldoortothegroundlike astickof balsawood,enters.LUTHORwinces,then risespleasantly.

OTISstartsforwardwithatentativehalf-smile,is suddenlyrootedtothespotbySUPERMAN'Sstare.

18/4/77TM

233 CONTINUED

ThetwoXK101rocketsarelaunchedsimultaneouslywitha rushofflamesanda mightyroar.

Thetwomissilesquicklyrisetolessthana hundred feet,thensuddenlystop,split,headoffindifferent directions,skimmingrapidlyovertheground.

TWOMISSILECONTROLLERSsitinfrontofthecomplexbank ofTV screens,computers,andcontrolpanels.Redlights flasheverywhere.Alarmsringout.

MISSILECONTROLLER#1 JesusChrist,they'vegoneberserk!

CONTROLLER#2 (madlyflipping switches) I can'tcontrolthem!RedAlert!Red Alert!Getthe Pentagon!

TheCHAIRMANOFTHEJOINTCHIEFSOF STAFFsitsbehind hisdeskon thephone,red-faced,astonished,wild.

Hegrabshisred phone,picksitup.

Agroupor suit-cladSECRETSERVICEAGENTSstandaround agolf-cartnearabunkertrap.A redphoneinsidethe cartringswildly.AnAGENTpicksitup, listens, thunderstruck,turns.

Achunkof turfgoesflyingupover thetopof the bunkerfromB.G.

Thefirststageofa lightningfasttripacrossAmerican fromthePOVof therocketsatan altitudeoflessthan twentyfeet.Theimageswhizbylikemagic.ROCKET#1 headseastward,passingovertheyellowwheatfieldsof Kansas.

Employingthesamephotographicprocess,ROCKET#2heads westward,passingbarnsandcattleranches.

SUPERMANhastolerantlytakenaseatonthecushioned benchoflead. LUTHORholdsaprofessor'spointerin hishands,approachestherolled-downblankscreen.OTIS manstheslideprojector.LUTHORstops,turns dramaticallytoSUPERMAN.

18/4/77TM

235 CONTINUED

projector.Abrightlyilluminatedmaphitstherolled- downscreen.LUTHORstartstospeak,thenlooksatit curiously.

OTISflipsupanotherslide.Thistimeit is

points.

235A CLOSERONMAP

AndreasFaultwiththepointer.

8/4/77TM

235A CONTINUED

on theotherside... (indicates) is justhundredsofmilesofcheap desertland.Landthathappensto be ownedby LexLuthorEnterprises.Well... (wistfulsmile) callme a fool,butitdid occurtome thatif a 500megatonbombwereto explodeatexactlytheproperstress point...

18/4/77TM

235A CONTINUED

LUTHORsmilesbroadly,snapshisfinger.

235B CLOSEONSCREEN

Anew,closesectionof themapis suddenlymagnified hundredsoftimes.Itisrecognizableasdesertland. Literallydozensorsuperimposedgridlinesconvergeon asinglepointin themiddleofthe desolatewasteland. LUTHOR'Spointerrisestoit.

CAMERAPUSHESINonthe map,thenDISSOLVESTHROUGHto theactualpieceofland.

Acar speedsquicklydownthedustydesertroad.

LOISdrivesthecar,looksoutacrossthe bleak landscape.Sittinginthepassengersseat:ANELDERLY AMERICANINDIANCHIEFwithclassicfeatures,nicely

doinganinterview.

18/4/77TM

236 CONTINUED

ROCKET#1nowwhizzesbyover thegreenfieldsofOhio andIndiana,headingeast.

ROCKET#2speedsquicklyacrossthepainteddesertof Arizona,headingfortheGrandCanyon.

ThecarwithLOIS andtheChiefdisappearsacrossthe aridlandasCAMERAHOLDS,DISSOLVESBACKTHROUGHtothe maponthe screeninLUTHOR'Slair.

Thescreenbecomesblankagain.LUTHORturns.

18/4/77TM

238 CONTINUED

SUPERMANrisesquickly,eyeswidening,asLUTHORwheels maniacallytoEVEstandinginthedoorwaytotheviewing room.

SUPERMANleapsatLUTHOR,grabshimbytheneck.

SUPERMANscanstheroomwithhisX-Rayvision,suddenly stopsashe seestheleadtrunkhe'sbeen sittingon.

238 CONTINUED

SUPERMANdropsLUTHORinapileon thefloor.Hecrosses quicklytothetrunk,tossesthecushionsaside.

SUPERMANstopssuddenly,recoils,stunned,adimgreen lightreflectingofhisface.

238A INSERTSHOT-KRYPTONITE

linkedonbothsidesby achain.

238B BACKTOSCENE

SUPERMANisinstantlyimmobilized,hisstrengthwaning, hiskneesgettingwobbly.

LUTHORadvances,burstingwithglee.

LUTHORpullstherockoutof theboxby thechain, danglesitinfrontof him.SUPERMANdesperatelytries toraisehisarm toshieldhimselffromtherays.

18/4/77TM

238B CONTINUED

LUTHORloopsthechainaroundSUPERMAN'Sneck,pullsthe staggering,helplessManofSteelafterhimlikeadog ona leash.

LUTHORstops,putshistwolittlefingersoneachof SUPERMAN'Sshoulders,pusheshimdowntohisknees.

LUTHORcheckshiswatch,looksdownatthepitifulhulk belowhim,thelifeebbingfromSUPERMAN.

upat him,gaspingforbreath.

LUTHORkicksoutcontemptuouslywithhisfoot,pushes SUPERMANoverthecrumbledrailingborderingtheoffice portionofhiscomplex.

18/4/77TM

238C ANGLEFROMPOOL

SUPERMAN'Slifelessbodysplasheshelplesslydowninto thepoolbelow.

238D BACKT0SCENE

LUTHORcrossestotheviewingtheaterwhereEVEstands attheentrance,stunned.

doorway,glancesatthepool,unsure.LUTHOR'Shand suddenlyappears,yanksherbackinside.

ROCKET#1whizzeseastward.Larger,morepopulous communitiesloomupahead.

238F INDIANCOMMUNITY–DAY(DUSK)

LOIShasdroppedofftheCHIEFby a clusterofmakeshift houseswhereotherINDIANScanbeseenloadingtheir belongingsontopickuptrucks,etc.LOISwavesgoodbye, drivesoff.

5/5/77TM

ROCKET#2speedsacrossdesertlandmatchingthekind wherewejustsaw LOIS.

JIMMYOLSENwalksalongthetopof thegiantdam,taking picturesofthesurroundingtownsandareasinthe distanceaswellasthe damitself.

CAMERACLOSEontwoTV screensmonitoringtheprogress ofbothrocketsNOWPULLSBACK:OTISmans theconsoleas LUTHOR'Sfacetwitchesnervouslyintheexcited anticipation,gluedtothescreen.Curiouslyenough,EVE ismissing.

EVEwalksquietlytothetop ofthe crumbledrailing, looksdown,deeplytroubled.

239A ANGLEONSUPERMANINPOOL- EVE'SPOV

SUPERMANisdying,barelyabletokeepafloat.Hemakes onefinal,feeblegestureattryingtounhookthechain fromhisneck,thenlooksup, spotsEVE.

239B WIDERANGLE-BOTHOF THEM

5/5/77TM

239B CONTINUED

EVElooksaround,quicklymakesuphermind,divesoff thecrumblingrailingintothepool.

239C ANGLEONPOOL

EVEswimsoverto SUPERMANwhoisjustaboutto go under.Shereachesouttounhookhe chainfromhisneck, grabsholdofit, suddenlystops,looksdeeplyinto SUPERMAN'Seyes.

EVEsuddenlykisseshimhard,breaks,thenunhooksthe chain.TheKryptonitesinkstothebottomofthepool. SUPERMANactuallyseemstoenlargeinthewater,allhis

curiously,hispowerrechargingitself.

239C CONTINUED

SUPERMANroarsupoutofthe pool,headingfortheroof ofthecomplexlikea supersonicbluedart.

240 METROPOLISSTREET–DAY(DUSK)

SUPERMANburststhroughthepavementonabusymidtown street,streaksupintotheskyat topspeed.

240A SKY– DAY(DUSK)

SUPERMANfliesforspeed,straininghimselftoreachthe maximum.Helooksoffanddown.

240B ANGLEONMISSILE-SUPERMAN'SPOV

Farbelow- themissile.Inthedistanceloomsthecity ofHackensack.

240C BACKTOSUPERMAN

Hedivesforthe missile.

SUPERMANplantshimselffirmlyinmid-airdirectlyin thepathof theoncomingmissile,braceshimselftograb it.Asthe missilefliesstraightathim,itsuddenly changescourse.

18/4/77TM

240D CONTINUED

SUPERMANlungesforitbutit veersoffoutof reach,

aftertherocket,alookof grimdeterminationonhis face.

ThemissilezoomsontowardHackensack.

SUPERMANcatchesup,nowcomesatthemissilefromthe side.Butthesensorydevicepickshimup again-the missiledodgesoutofrange,leavinghimbehind.

240H CLOSEONMISSILE

Themissilespeedson.SUPERMANcomesbackintoframe, catchingup.Hegrabsitfrom behind,grippingit tightly.Withamightyeffort,hewrenchestherocket

quickly,flyingstraightupintosky.

SUPERMANclimbshigherandhigherovertheUnited States,gainingspeed,suddenlyflingsthemissileup intospacelikea javelin.Itwhistlesoffintothe blacknessasSUPERMANwheelsinmid-air,looksbackdown attheUnitedStates,freezesinhorror.

241A ANGLEONWESTERNU.S.A.-SUPERMAN'SPOV

ROCKET#2hitstheSan AndreasFaultandexplodes!A white-hotmushroomcloudstartstoform.

241B BACKTOSUPERMAN

SUPERMANstreaksbackdowntoEarth.

18/4/77TM

SUPERMANcirclesthemushroomcloudattopspeed,going fasterandfaster,notonlystoppingitsexpansionbut

thecenterofthe holocaust.

SUPERMANswoopstothebaseofthe cloud,blowsupwith hissuper-breath.

241D ANGLEONMUSHROOMCLOUD

Theentirecloudwithitsfalloutandpollutionisblown highupintothe stratosphere,awayfromEarth.

242 CLOSEONSUPERMAN

SUPERMANstopsinmid-air,looks,listens.Aloudrumble begins,gatheringinintensity.Theearthquakehas arrived.

Thelandshakesonthe PacificCoast.Hugechunksof cliffbegintofallintothe sea.

242B ANGLEONLANDSCAPE-SUPERMAN'SPOV

Greatyawningcracksripopenacrossthelandinall directions.

242C ANGLEONSUPERMAN

SUPERMANquicklydivesdown,disappearsintoacrackin theearth.

243 ANGLE-UNDERGROUNDEARTH

SUPERMANboresthroughtheunderground,desperately tryingtorepairthecrack.Hepushesplatesof land backtogether,damsupaflow ofonrushinglava, redirectingit,suddenlylooksoffandupthroughthe earthwithhisX-Rayvision.

18/4/77TM

Along,sleekpassengertrainhurtlesdownthetracks, shudderingundertheimpactoftheearthquake.

244A INSERTSHOT-TRAINTRACKS

Acrackin theearthshootsacrossthetracksahead, splittingtherailties.

244B BACKTOTRAIN

Thetrainrusheson,unabletostop.

244C BACKTOCRACK

SUPERMANsuddenlyappearsinthecrack,comingupfrom underneath,nowphysicallyspansitwithhisbody.

244D WIDERANGLE

ThelongtrainrollsoverSUPERMAN,continuesonsafely downthetracks.

Acomplexofenormouselectricpowercablesstretches acrossahighwayjammedwithshakingautomobilesand panickedMOTORISTS.Suddenly-onecablesnaps:showers ofsparksflyhighinto theairas thelivecablesdrop downtowardthemetalcarsbelow.

245A CLOSERANGLE

SUPERMANswoopsdown,grabsacableendineitherhand. Fora momenthealmostresemblesabrightbluelight bulbasthe powerfulcurrentrunsthroughhim.Pressing thecablestogetherwithhissuper-strengthheliterally soldersthem,thenoncemoresafelystringsthemtight acrossthehighway.

18/4/77TM

ThefamousHollywoodSignperchedonthehillinLos Angelestrembles,thencracksapartinthecenter.It startstofall.

246A ANGLEONGIRLSCOUTTROOP

SUPERMANlandsinthemiddleofthe brokensign,pulls onthetwo halveswitheitherhand,pushingitback togethertospellHOLLYWOODagain,solidoncemore.

ThefamousGoldenGateBridgeswaysprecariously,then sags,startstobreakinthe center.

247A CLOSEONBRIDGE

Severalcarsandaschoolbus begintotoppleoff,their OCCUPANTSfrozen,screaminginterror.

247B WIDERANGLEONBRIDGE

SUPERMANfliesunderthebridge,pushesup,savingthe vehiclesandstraighteningthebridge.

247C CLOSEONSUPERMANANDBRIDGE

SUPERMANholdsthebridgeup,quicklyweldsthecracks shutagainusinghisX-Rayvision.

LOISspeedsacrossthedesertinhercar whichshakes fromtheimpactofthe quake.

SUPERMAN,flyingattopspeed,looksdown,spotsLOIS.A crackintheeartheruptsbehindthecar, almostseems tochaseit,overtakingthecarfrombehind.

248B CLOSERANGLE

LOIS'cartopplesintothecrackin theearth,falling downsomefifteenfeet.

248C CLOSEONLOIS

LOISispinnedinsidehercar bythedoublewallsof earth.Thecracknowstartstocloseagain,squashing thevehicleasthemetalgroansand LOISscreams.

248D ANGLEFROMBELOW

SUPERMANshootsupfromtheearthbelow,pushesthecar upandout, liftsitintothe air.Helooksdown.

248E ANGLEONCRACK- SUPERMAN'SPOV

Thecrackslamsshutwitha sickeningsound.

SUPERMANdepositsthesquashedcarwithLOISinsideona mountaintop,ripsthedooroff,helpsherout.

JIMMYholdsonto thetoprailingofthe hugedamwhich shakesandstrainsundertheforceofthe quake.He bravelytriestotakepictureswithhiscamerawhich danglesfromhisneck,suddenlyhearssomething,looks downinhorror.

249A ANGLEONDAM- JIMMY'SPOV

Thedambeginsto crack-littlecracksatfirst,then growinglargerandmorenumerous.

250 WIDERANGLE

SUPERMANsuddenlyappears-atinybluedotas compared tothesize ofthemightydam.He pushesbackagainst it.

251 CLOSEONSUPERMAN

Thecracksstarttorun inalldirections,nowgrow wider.It'shopeless.SUPERMANlooksupindesperation asJIMMYyellsdownat him.

252 CLOSEONJIMMY

BeforeJimmycanfinishhissentenceheisscoopedup intoairby SUPERMAN.

253 ANGLEINMID-AIR

SUPERMANwheelsinmid-airholdingJIMMY,looksdownat thedam,thenbackat JIMMYagain.

253A ANGLEDOWNONDAM -THEIRPOV

spitthroughthecrumblingstructureonallsides.

FLASHCUT:LOISstandsbyher squashedcaronthe mountaintop.Ablurseemsto crosstheSCREEN,then instantaneouslyleave.JIMMYisstandingnexttoher.

18/4/77TM

cascadesdowntowardthevalleytownbelow.

Screaming,panickedcitizensreactinterrorasthe ragingtorrentheadsdowndirectlyatthem.

257 ANGLELOOKINGDOWNFROMSKY

SUPERMANdivestoearth,carvesawidenewriverbed likeahumanbulldozer,channelingthewatersoit

courseintothedesertlandsbeyond.

TheassembledINDIANSwatch,thunderstruck,asthenew riverbediscarvedthroughtheirland,irrigatingit. Theycheerwildly.SUPERMANwaveshappilybackatthem, thenfliesoff.

SUPERMANlandsonthemountaintop,joiningLOISand JIMMY.Therumblinghasstopped.JIMMYnotices.

SUPERMANsmilesmodestly,turnstoLOIS.

18/4/77TM

259 CONTINUED

SUPERMANzoomsoffintotheair.LOISwatcheshimgo, a hopefullywistfulsmileonherface.

sideofthe yardtheWARDENconferswithtwoof his GUARDS.

261 CLOSEONWARDENANDGUARDS

TheWARDENlooksupin astonishmentasSUPERMANwhizzes downthroughtheairholdingLUTHORandOTISwitheither arm,landsdirectlyinfrontofthem.

26/6/77

261 CONTINUED

LUTHORandOTISareled away.TheWARDENturns admiringlytoSUPERMAN.

SUPERMANflieshigherintotheNIGHTsky.

AsSUPERMANflieshigherintotheatmosphereweSEEthe othersideofthe EARTHashe FLIESintoDAYLIGHT.

SUPERMANfliesmajesticallythroughthesky,gaining altitude.He'sdonehisjobwell.ORHAS HE?CAMERAPANS OFFHIM,ZOOMSUP INTOSPACE.

ROCKET#1whichSUPERMANhurledupwardfromearth continuestravelingthroughspace,uncheckedby

systems,graduallyapproachingsomethingwhich-toour horror-we recognizefromearlier:ThePhantomZone containingtheTHREEGREATVILLAINS:ZOD,URSA,andNON.

18/4/77TM

264 CLOSE0NROCKET

TheROCKETnearsthePhantomZone,thensuddenly

throughspace.

265 CLOSEONPHANTOMZONE

Theintensewavescausedbythenuclearexplosion collidewiththePhantomZone.Itcracks,releasingthe

animalsuddenlyuncaged.

TheirgrotesquefacesfilltheSCREENwithhowlsofglee astheydriftoff intospace.

SELECTEDSCENESFROMSUPERMANII

SelectedfilmclipsfromSUPERMANIIwiththe exactcontenttobedetermined, but certainlyestablishing:

A. LOISandSUPERMANmakinglove. B. JOR-ELphysicallyappearingbeforeSUPERMANtogivehimnewlife. C. CLARKKENTbeingbeatenupandbloodied. D. ZOD,URSAand,NONdestroyingandconqueringtheworld.

INSERTSHOT- COMICBOOK

ThetinyCHILD'Shandseenin theopeningshotofthe filmcomesbackintoframe,quietlyturnsoverthefinal pageofthe SUPERMANcomicbook.Onthebackcoveris theenticingmessage:

DON'TMISSTHEFURTHERADVENTURESOFSUPERMAN!

COMINGSOON!

FADEOUT:

26/6/77

SCRIPTNOTES

&

AMENDMENTS

SUPERMANI

1. SeePage33 -Scenes92/93/94/95aretransposedtopage56 tofollowScene145becomingScs.145A/B/Cwithsome minoralterationsandareplayedatNIGHT.

P.33.SC. 91cutsdirectlytoSc. 96INT.DAILYPLANET -DAY

2. Scenes100B,101,102,103,104,105-131 inclusive- PLEASEREADDAYandamendscriptaccordingly.

3. Pages1O1- 128inclusive-Scs.232-259 inclusive shouldreadDUSK.

3A. Page128- Sc.260READ 'NIGHT'andseenewpagesfor amendment.

SUPERMANII

4. Page239ASc.267 -PLEASENOTETHATCLARKKENT DOESNOT changetoSUPERMAN-the'blueblur'will bea grayblur orwhateverthecolorofsuit heis wearingforprevious scene.

5. Pages241- Scs.302.303.304.305.3O6 -sequence followingLOIS'fallingintothefruitcart–OMITTED FromSc.3O1CUT DIRECTTO3O7INT. PERRYWHITE'S OFFICE.

6. Pages283.283A.284- Escapefromprisoninballoon.

*NOTE:screenplayreformatted,6/24/01byG.R.ThisdocumentisbasedontheT.

of thisrevisionistoincreaselegibilitybystandardizingtheformatting

indentation,pagebreaks,capitalization,andpunctuation.Spellinghasbeen preservedtomatchtheprevioustextsourceexceptincaseswhereobvious mistakesweremade,manyof whichseemedtobecausedby thelimitationsofOCR software.One additionalexceptionisthatBritishspellingshavebeen Americanized,althoughafuturerevisionmayreversethosechanges.Noattempt has beenmadetoreconceivethescreenplay’soriginalpaginationthatis referredtooccasionallywithinthedocument.Noneofthenotes(exceptingthis one)withinthe textaremine,butratherthatof theoriginalscreenwritersor thosefirstresponsibleforbringingthetexttoa digitalformat.WhileI attemptedtoemulatetheformattingofotherprofessionallydraftedscreenplays, I amnot aprofessionalanddonothave accesstothefilm’soriginalscreenplay sources. Therefore,thisisnottobe understoodasadefinitiveshooting scriptforSupermanTheMovie,buthopefullyanimprovementuponwhathasbeen available.