Superman Page #7

JOR-EL

You are superior to others. You can only

become inferior by setting yourself above

them. Lead by inspiration. Let your actions

and ideals become a touchstone against

which mankind may learn how to serve

the common good. While it is forbidden

for you to interfere with human history

itself, your leadership can stir others to

their own capacity for moral betterment ...

CAMERA BEGINS SECOND SERIES OF DISSOLVES:

JOR-EL

The virtuous spirit has no need for thanks or

approval. Only the certain conviction that what

has been done is right. Develop such conviction

in yourself, Kal-El. The human heart on your

planet is still subject to small jealousies, lies,

and monstrous deceptions. Resist these

temptations as you inevitably find them - and

your ethical power will then properly outweigh

your physical advantage over others...

CAMERA BEGINS THIRD SERIES OF DISSOLVES, has almost completed

its 360 PAN, now starts to RISE behind a giant representation of JOR-EL'S face. LOOKING DOWN from behind through the eyes we see a tiny blue, red, and yellow figure in the distance. CAMERA PUSHES IN SLOWLY through the eyes.

91CONTINUED

JOR-EL

Your education nears a kind of completion

now, Kal-El, although no limit to

understanding or knowledge has ever

truly existed. Over the years you have asked

important questions and I think together

we have almost always found the answer to them.

Now it is time for you to return to the world

which I have chosen for you. When new

questions arise, come back to me and I will

try to be of help ...

The FIGURE is discernible now as CAMERA PUSHES IN with increasing speed. FOR THE FIRST TIME:

SUPERMAN stands in his classic outfit, arms folded, gazing intently back up at the CAMERA which -represents JOR-EL. He is older now. A handsome, strong man, his intelligence, warmth, and compassion shining through his clear eyes as the final words of JOR-EL flow through him.

JOR-EL

Live as one of them, Kal-El, to discover

where your strength and power are

needed - but always hold in your heart

the pride of your special heritage. Your

being is both separate and your own ,but I

have caused your earthly presence and must

share responsibility for your actions. They can

be a great people, Kal-El. They wish to be. They

only lack the light to show the way. For this reason

above all - their capacity for good - I have sent them

you. My only son.

There is a handwritten notation to "cut to scene 96"

92EXT.METROPOLIS STREET - DAY

(There is a handwritten notation "26/6/77 amended to page 56")

CLARK KENT walks a crowded street in Metropolis, attaché case in hand, conservative suit, heavy-rimmed glasses, etc. A brisk breeze blows. CLARK reaches the street corner, looks around, admires the skyline, fascinated by the big city. He starts across the street to a building marked DAILY PLANET, oblivious to the red light turning green and the oncoming traffic. A taxi hurtles across the intersection.

93ANOTHER ANGLE

The taxi smashes into CLARK with a sickening crunch. The DRIVER, horrified, jumps out.

DRIVER:

Oh, my god, I couldn't help...

CLARK, still standing, simply turns, smiles nicely.

CLARK:

Sorry. It's my fault. I shouldn't

have crossed against the light.

The DRIVER stops, dumbfounded, stares at the hood of his cab.

94INSERT SHOT - HOOD OF CAB

The front of the cab has CLARK'S impression cut deeply into the hood, through the engine block to the windshield.

95BACK TO SCENE

CLARK waves a cheery farewell to the non-plussed DRIVER, mouths another friendly "sorry", crosses the street, walks through the doors of The Daily Planet. CAMERA PANS UP the skyscraper to its tower (not the same building in the OPENING, but new, more modern quarters) where WE SEE the globe and the enormous electric sign: THE DAILY PLANET - Metropolis' Greatest Newspaper.

96INT. PLANET CITY ROOM - DAY

The city room of a large newspaper. Rows of desks. REPORTERS, EDITORS, COPY BOYS scurry back and forth. CAMERA PUSHES IN on a corner of the City Room where a few star reporter desks look a bit larger and widely spaced than the others. Behind them is a frosted glass door on which is painted: "PERRY WHITE, MANAGING-DIRECTOR".

97ANGLE ON DESKS

Seated at the typewriter, working with intense concentration punctuated by occasional smiles, is a YOUNG WOMAN. Physically she is a knockout: long brunette hair, smart clothes on a smart figure. Mentally, she's just as good: bright, talented, ambitious.

97CONTINUED

A girl with a wry sense of humor, a snappy reporter with an instinct for a big story, the grown-up version of that little girl last seen at the train window as it sped through Smallville: This is LOIS LANE.

LOIS:

(to anybody)

How do you spell "massacre?"

98ANGLE ON LOIS THROUGH REFLEX FINDER

LOIS turns, looks into the crosshairs of a reflex camera viewfinder. She is perfectly centered.

JIMMY'S VOICE

R-E.

The shutter clicks.

99BACK TO SCENE

A few feet away, a fresh-faced young CUB REPORTER lowers his press reflex camera. A teen-age eager beaver who idolizes LOIS, this is JIMMY OLSEN. He grins, crosses to LOIS, tries to see what's in her typewriter.

JIMMY:

What're you writing. Lois?

LOIS:

(continues typing)

An Ode to Spring. One or two "T's"

in bloodletting?

JIMMY:

Two.

LOIS types the finish, rips the page from her typewriter, reads with gusto.

LOIS:

"And the people on the street, the little man who runs

the corner newsstand, the old lady sunning herself on the stoop, the kids playing stickball in the alley - none of them will ever forget that night of senseless blood-letting which turned a friendly block party into a cruel and unspeakable massacre."

(triumphant)

99CONTINUED

LOIS rises, starts toward Perry White's office. JIMMY tags along at her heels as CAMERA TRACKS with them.

JIMMY:

(lost in admiration)

Boy! How come you get all the great

stories, Lois?

LOIS:

A good reporter doesn't get the great stories,

Jimmy. A good reporter makes them great.

JIMMY:

Oh, wow...

LOIS flashes him a knowing grin, knocks on PERRY WHITE'S door, enters without waiting for a response.

100INT. PERRY WHITE'S OFFICE - DAY

The office of a working editor. Copy pinned up on bulletin boards, photos piled on the desk, wire service tear sheets, plaques, awards, signed photos on the walls, etc. Behind the desk, rol1ed-up shirt sleeves, tie loosened, is PERRY WHITE, the no-nonsense, hard-working 50'ish editor of the paper. Beneath his gruffness is a nice guy who loves his grandchildren. PERRY struggles vainly with the screw-on top of a pop bottle as LOIS marches in, lays her story on his desk.

LOIS:

(cocky)

Here's the story on that East 19th Street

murder spree. Page one with a banner headline

seems about right to me.

PERRY:

So why should today be different...

(gestures O.S.)

Clark Kent, say hello to Lois Lane.

LOIS turns, not realizing there was someoneelse in the room. CAMERA PANS:

Seated against the wall by the entrance is CLARK KENT.He rises, polite and friendly, extends his hand.

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