The Life and Times of Superman

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Teen And Up Audiences

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Creator Chose Not To Use Archive Warnings

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English

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Published:: 2023-02-19
Updated:: 2024-08-29
Words:: 25,108
Chapters:: 5/?
Comments:: 4
Kudos:: 3
Hits:: 134

Summary:

This is my take on the story of Superman, starting from Clark Kent's arrival in Metropolis. Think of it as my take on "Ultimate Superman," like Brian Bendis' "Ultimate Spider-Man."

Chapter Text

EXT. METROPOLIS. NIGHT.

A warm summer breeze blows over the city of Metropolis, DE. The city glistens against the backdrop of the night. Standing on one of the many rooftops that make up the skyline, a man admires Metropolis' beauty. Standing there, wearing his strange sky blue tights with his crimson boots, trunks, and cape, Superman smiles as he looks out at Metropolis in all of her splendor for the very first time. There is a twinkle in his otherworldly blue eyes.

VOICE
(O.S.)
Someone HELP!

Superman snaps to attention as he hears this distant cry for help, and jumps into action!

EXT. BUS STOP. DAY.
Amidst the hustle and bustle of city living in Metropolis, one of its municipal buses pulls up to a bus stop. The doors slide open, and out steps CLARK KENT, a tall man with bad posture and messy hair, wearing an ill fitting suit that gives the impression of an awkward, gangly frame with wide drooping shoulders, and a pair of glasses with coke bottle lenses so thick they warp his eyes into indistinguishable dark blueish gray blobs. As he steps off the bus, suitcase in hand, he looks up in awe at the building in front of him, not noticing that his jacket has gotten caught in the door of the bus. The door slides closed, and the bus drives off, dragging Clark's jacket with it.

CLARK
Huh?

Clark is jerked along by the bus as he tries to jog alongside it to keep up, tugging on his jacket.

CLARK
Hey!

As the bus drives away, Clark tugs on his jacket and it rips free, leaving a sizable hole in the lining. Clark inspects the damage.

CLARK
(quietly)
Aw man…

With a sigh, Clark adjusts his clothes. He looks back up at the building in front of him, the massive art deco masterpiece that is the Daily Planet building, with the spinning brass globe at the top, and a weak smile returns to Clark Kent's face.

INT. DAILY PLANET OFFICES.
The offices of the Daily Planet are dark, cramped, and smoky, with desks crammed next to each other in tight jagged rows. Clark Kent squeezes into the room, slowly pushing his way through the bullpen as politely as he can.

CLARK
(quietly)
Ah, pardon me. 'Scuse me. Just slippin' past you, there…

Clark moves toward the center of the bullpen, where PERRY WHITE leans against his desk while he is mid-conversation with LOIS LANE.

LOIS
… so what do you think?

PERRY
I don't know what I think.

LOIS
C'mon, Perry, you've got to think something.

PERRY
Lois, what do you expect me to make of this?

CLARK
Make of what?

LOIS
Who are you?

CLARK
Oh, hi.

Clark extends his hand to shake.

CLARK
Clark Kent.

Lois half heartedly returns the handshake.

LOIS
Hey.

PERRY
Oh, Kent. Good morning.
(to Lois)
He's the new guy. He's shadowing you today.

LOIS
Since when?

PERRY
We talked about this yesterday.

LOIS
We did no such thing.

PERRY
Lois! He's here for the open city
desk position! If he sticks around
he's going to be working with you,
which means he's with you for his
first day.

CLARK
And I am-

LOIS
What open city desk position? I'm on city desk!

PERRY
You're the only person on city desk, Lois.

CLARK
Which is very impres-

LOIS
Perry, do I look like someone who needs help doing her job?

PERRY
No, but this office needs someone
else to do one of the five jobs
that you're doing right now.

LOIS
Listen, Cat said she'd do the horoscopes

Perry turns to Clark.

PERRY
Mr. Kent, this is Lois Lane. You're
going to be working with her on city
desk. She'll show you the ropes.

Perry walks around his desk to sit down.

LOIS
Alright, I'll show him around, but-

Perry reaches over to the sign on his desk which reads "The Office is OPEN" and flips it around to the side which reads "The Office is CLOSED." He then gets to work ignoring Lois so he can get to work.

LOIS
*sigh* C'mon, Kent.

Lois leads Clark over to her desk, covered in papers and files with half open drawers stuffed to the brim, shoved into the furthest and darkest corner of the office. She slumps down in her chair in front of her computer, as Clark takes a folding chair leaning up against the wall and takes a seat. Lois looks over at her stack of folders, and notices a blue post-it note. She picks it up, and sees that it says "LOIS, remember that thing about the new guy, love LOIS!"

LOIS
(annoyed)
Right.

She crumples it up and tosses it into the trash can next to Clark.

LOIS
(quietly)
Swish!

CLARK
Oh wow, good shot.

LOIS
So, welcome to the city desk, which is
literally one desk that we will be sharing.

CLARK
Space seems to be hard to come by around here.

LOIS
You don't say.

CLARK
I thought the newspaper owned the whole building.

LOIS
The owners rent out most of the
offices to other businesses. They
actually make more money as
landlords than as "media tycoons."

CLARK
Oh, that's really interest-

LOIS
So, where're you from?

CLARK
Kansas. Smallville, Kansas.

LOIS
Smallville? It's actually called that?

CLARK
What do you mean?

LOIS
It's aggressively quaint. And a little on the nose.

CLARK

You do know that the word
"Metropolis" literally means "city," right?

LOIS
You've got me there.

CLARK
So, what were you and Mr. White
talking about back there? Is it
anything you need me to work on?

Lois eyes Clark for a moment.

LOIS
You know what? Yeah.

Lois reaches into her bag and pulls out a small stack of papers.

LOIS
These all came in this morning.

She hands them to Clark.

LOIS
Four incidents, all came in
separately. Around 10:30 last night,
a woman collapsed on the
street in Queensland Park. Her
sister starts screaming for help,
and then out of nowhere this guy
shows up, supposedly dressed like a
professional wrestler, and I mean
like an old fashioned pro-wrestler
with full body tights and a cape,
and he scoops her up in his arms and he
runs her all the way to New Troy General!

CLARK
… you don't say.

LOIS
But here's the thing: he gets her
there in less than five minutes.
He'd have to be running at least 46
miles an hour for that to work.

CLARK
But that's not… that's not possible. Is it?

LOIS
The plot thickens. Incident 2,
about an hour later, on the other
side of New Troy. A guy pulls his
girlfriend out of a club, screaming
bloody murder at her, and then
this guy steps out. Again, same
description of the outfit, and he
says, and I kid you not, this is a
direct quote, he says
(mocking tone)
"Sir, I'm not one to pry, but it really
seems like the lady doesn't want to
go with you."
(normal tone)
And the boyfriend takes a swing at
him, and the guy just takes it like its
nothing,and he forces the guy to
back off.

CLARK
(flat tone)
In a silly outfit. How strange.

LOIS
There's more. Twenty-six minutes
later, a motorist is going 30 in a
25 when he hits, you guessed it, a
guy in the same funny outfit. The
guy gets up, again, like its nothing,
and then he goes over and apologizes
and buffs out the dent by hand!

CLARK
(quietly)
That's so…

LOIS
Y'know, he might've left fingerprints.

Clark winces a little at that one.

LOIS
Anyway, the last one doesn't have
any mention of any guy in a
costume, but I think it's related.
Queensland Park again. Another
motorist, totally wasted drunk,
drives himself off an overpass last
night, about fifteen minutes after
incident three. The guy passed out,
but when he woke up, his car was
parked on the side of the street
like nothing happened, except the spark plugs
had been ripped out of his engine.

CLARK
Maybe… someone stole them?

LOIS
No, y'see, that's what I'm saying.
He had his keys and all of his
money still on him. It was just the
spark plugs that were missing. It's
almost like someone caught him when
he fell, saw that he was drunk, and
made sure he couldn't drive off
again when he woke up.

CLARK
Someone…

LOIS
Someone faster and tougher than a
car and strong enough to catch one
falling out of the air.

CLARK
Ms. Lane, that's… I mean, that's
crazy.

LOIS
That's what Perry said. Hell,
that's what I said! Either it's
some kind of honest to god
paranormal encounter, or a
really really weird hoax.

Lois takes back the papers. Clark takes a deep breath as quietly as possible.

LOIS
Either way, it happened in the
city, this is the city desk, ergo,
we've got to write about it.

INT. BATHROOM.
Clark is pacing in circles in the bathroom.

CLARK
(quietly)
crapcrapcrapcrapcrapcrapcrap…

A teenage boy with bright red hair, JIMMY, steps into the room. He stops and looks at the anxious reporter.

JIMMY
… first day?

INT. DAILY PLANET OFFICES.
Clark exits the men's restroom, taking a deep breath as he adjusts his tie. Lois approaches him.

LOIS
There you are.

CLARK
Hi, Ms. Lane.

LOIS
Okay, can it with the "Ms. Lane,"
Smallville. My name's Lois. "Ms.
Lane is my father."

CLARK
Your father?

LOIS
(rolling her eyes)
Never mind.

Lois hands some papers to Clark.

LOIS
I need you to go to New Troy
General.

CLARK
You want us to split up?

LOIS
I thought the whole point of you
being here was division of labor.

CLARK
I suppose that's true.

LOIS
I need you to talk to the security
guards, see if you can find out if
their cameras got a good shot of
him.

CLARK
Right, yes, I will absolutely do
that.

Lois writes down an address and hands it to Clark.

LOIS
We're going to meet up at 11:30 at
this address to compare notes.
After that I've got a thing.

CLARK
Should I come with you to the…
thing?

Lois is already walking out of the office.

LOIS
(O.S.)
If you want.

INT. NEW TROY GENERAL SECURITY ROOM.
Clark Kent is standing in the darkened security room, going over the hospital's security camera footage. A security guard is sitting next to him, eating from a plate of cookies. The door opens, and another security guard pokes his head in. He looks at Clark as he steps into the room.

DANNY
… who's this?

FRANK
Danny, get in here.

Danny the security guard closes the door behind him and walks up to his partner.

DANNY
Frank, who is this?

FRANK
Danny, this is Mr. Kent. He works
for the Daily Planet.

CLARK
Nice to meet you, Danny.

FRANK
He brought cookies.

Danny sits down next to Frank and begins eating cookies. Clark is scrolling through last night's tapes.

DANNY
So, you're here about the thing
last night? With the lady and the
circus acrobat?

CLARK
Yup.

DANNY
You gonna write a story about it?

CLARK
That's the idea.

FRANK
Say, you know whoever it is
who writes the horoscopes?

CLARK
Uh… no, actually. I don't…

Clark finds the relevant bit of video. It shows a black and white image of Superman dashing into the ER, laying the woman down on a gurney, and dashing out.

FRANK
There he is.

DANNY
I was in the room when it happened.
He was already gone before I even
knew what was going on.

Clark winds the tape back and forth a few times. With the angle, and the shadows…

CLARK
… you can't make out his face.

EXT. CITY STREET. DAY.
Clark Kent is talking into a payphone.

CLARK
So yeah. Kind of a close one.

JONATHAN KENT
(phone)

You're the one who said you were
going to take it slow, son.

CLARK
I know, Pa. It's just, last night,
when I went up to the roof to
practice…

JONATHAN KENT
(phone)
… you heard someone calling for
help.

CLARK
Yeah. And then I heard someone else
calling for help. And then I got hit by
a car.

JONATHAN KENT
(phone)
Are you alright?

CLARK
It was more shocking than anything.
Listen, Pa, I should get going.
I'll call again soon.

JONATHAN KENT
(phone)
I'll let you go. I love you, son.

CLARK
Love you to.

Clark hangs up the phone.

INT. ACE O' CLUBS.
Clark enters the Ace O' Clubs, a seedy dive bar by the docks on the Delaware bay. He looks around, a little unsure of himself, until he spots Lois Lane, sitting at a corner booth eating a plate of chicken wings. She sees Clark and waves him over.

LOIS
Yo! Smallville!

Clark walks over to the booth where Lois is sitting.

LOIS
You're late.

CLARK
I had trouble finding the place.
You spelled the address wrong.

LOIS
I was in a hurry, okay?

Clark sits down.

CLARK
I didn't realize we were meeting in
a bar.

LOIS
I'm not a day drinker. I come here
for the wings. Besides, this is an
establishment where patrons expect
a certain degree of discretion,
let's say, which suits me just fine.

CLARK
Ah. Sort of a "Mos Isley Cantina."

LOIS
Of course.

CLARK
Of course what?

LOIS
I'm just saying, with the glasses,
you're perpetuating a stereotype.

CLARK
Star Wars isn't nerdy. Everyone's
seen Star Wars.

LOIS
Quoting Star Wars, on the other
hand…

CLARK
… it was a reference, not a quote,
but yeah you've got a point.

LOIS
What'd you find at the hospital?

Clark produces print outs of the security camera images.

LOIS
Did you resort to bribery? I won't
judge you if you did.

CLARK
Yes, but food, not money.

LOIS
A classier play. You can't make out
a face in these. Half-decent look
at the outfit, though. Wish it were
in color.

CLARK
I, uh, I asked the guard who was
there, and he said the, uh, the
"suit" he was wearing was sky blue
with crimson accents. And a yellow
belt.

LOIS
Circus-y. I wonder what the "S"
stands for.

CLARK
"S?"

Lois holds the image up to Clark.

LOIS
Yeah. Big ol' "S" inside that
diamond shape.

Clark takes the photo and looks at it closely.

CLARK
Huh.

LOIS
What?

CLARK
Oh, uh, nothing important, I just
didn't think it looked like an "S"
before. It just looked like a pattern
to me. But I think you're right.

LOIS
I have an eye for detail.

CLARK
So, what did you find out about the
car?

LOIS
I checked out both of the motor
incidents. With the collision, I
tried to see if there were any
fingerprints. No luck.

CLARK
Did you, uh, get anything from the
driver?

LOIS
He said the man in the cape was
"really nice."

CLARK
What about the other car?

LOIS
An interesting development there. I
did bribe the guy at the auto shop,
with money, and he let me look
under the hood. No luck there, just
missing spark plugs. But, I took a
look at the undercarriage, and that's
where I found handprints .

CLARK
Handprints?

LOIS
In the metal. I checked to see if
there were any fingerprints, but
the indentations were perfectly
smooth. It looks like they'd been
polished with a pneumatic angle
grinder. But if that really was a
handprint, that pressure had to
come from grip.

Lois sits back. A heavy look comes across her face.

LOIS
I need more wings.

CUT TO

Lois, part way through her second plate of wings, and Clark, nearly done with his MASSIVE plate of wings, nearly three times the size of Lois'.

LOIS
You really pack 'em away, don't
you?

CLARK
Comes from growing up on a farm.

LOIS
I bet.

CLARK
So, Lois, where do we go from here?

LOIS
Everything we have so far sounds
like… tabloid trash. And not celebrity
tabloids, tinfoil hat tabloids.

CLARK
It is all a little… comic book-y.

LOIS
My first instinct is that this is a hoax.
I know that someone is faking this.

Lois sits back in her chair.

LOIS
Can you think of how someone could
be faking this?

CLARK
… robot?

LOIS
I don't know, I think that sounds
less believable.

CLARK
Well, if we can't find evidence of
a hoax, where does that leave us?

LOIS
In a reality where Metropolis is
now home to a costumed "good
Samaritan" with the strength of a
Greek demi-god.

CLARK
"Samaritan?" Huh.

LOIS
What?

CLARK
Well, maybe that's what the "S"
stands for. "Samaritan."

LOIS
(laughing)
I hope not!

CLARK
What's wrong with it?

LOIS
It's so LAME!

CLARK
I kind of like it.

LOIS
No. No way my hometown has a
hallmark card superhero.

Lois gets up to leave.

LOIS
You are not calling him "The
Samaritan" when you write the
story. I forbid it!

CLARK
Wait, since when am I writing the
story?

LOIS
I mean, I'm not doing it, so…

Lois starts to walk away.

CLARK
Where are you going?

LOIS
I got a thing!

CLARK
*annoyed grunt*

Clark gets up and follows after her.

INT. AIR HANGAR.
The door to the hangar of the LEXAIR 979 passenger jet opens for Lois and Clark. They are greeted by a bald man in a black suit with a purple shirt and tie. His name is LEX LUTHOR.

LEX
Ms. Lane, a pleasure.

Lois walks past Lex, and Clark follows after.

LOIS
Lex.

LEX
I don't know your friend.

CLARK
Clark Kent, sir.

LEX
Please, call me Lex.

CLARK
Uh, sure. Lex.

Lex matches pace with Lois as he begins the tour, leading them over to the MASSIVE Lexair 979 passenger jet, a monstrously large white plane with purple and green accents.

LOIS
It's big.

LEX
Seats 400 passengers, all with
traditional First Class standards
of leg room. The class distinctions
on this plane will be based on additional
luxury services, not basic accommodations.

LOIS
(sarcastic)
How progressive of you.

LEX
Happy customers are just good
business, Lois.

The group comes to a stop right beside the massive flying machine.

LEX
I take it you're new to the city,
Mr. Kent?

CLARK
That obvious?

LEX
I have an ear for accents. I know a
Midwesterner when I hear one. You
may not be familiar with this
"little" project of mine. The 979
is very important to our city, not
just to me; once the line goes
fully into production, it's going
to open up twenty thousand new
jobs at Lexcorp, and most of these
are either entry level service
industry or unionized tradecraft.

LOIS
Oh, come on Lex. You've got to let
me ask the questions before you
give the soundbites. There's an
etiquette to this, you know that.

LEX
By all means.

LOIS
Lexcorp has dozens of business
ventures going on at any given
time. At the moment, this is the
only one you're personally acting
as spokesman for. It seems like Lex
Luthor wants his face associated
primarily with Lexair, not Lexcorp
as a whole. Why is that?

LEX
I did design the plane, Ms. Lane.
At the end of the day, business is
a means to an end for me. At heart,
I'm an engineer. I like to tinker,
and build things. And this plane…
getting something this big into the
air, and having it be fuel efficient…
this may sound like a line, but it was
the engineering challenge that motivated
me to build this plane, before I even
thought about profitability.

LOIS
Well, Lex, if it is a line, it
certainly worked on Senator Finch.

LEX
(smiling)
June's a good friend. She was
actually the one who approached me
about partnering with her jobs
initiative. I don't know if I've
ever mentioned that in the press
before.

LOIS
And she's been confirmed as a
passenger for tomorrow's test flight?

LEX
(charming)
Oh yeah. She threatened to fight me
for the last seat. And I want to
stress, tomorrow's flight isn't a
test. This plane has been tested
again and again for safety a
hundred times already. Tomorrow is
the inaugural passenger flight, the
first time she'll be in the air
with anyone on board besides the
crew.

LOIS
Right. Let's go over the route for
tomorrow.

LEX
No problem. It's just going to be a
quick trip circling the bay,
followed by…

Lex and Lois begin walking around the plane as they continue the interview. Clark stays where he is, looking up at the marvel of engineering with a smile on his face. He reaches up to touch the massive engine, and he closes his eyes. He concentrates on his breathing, and the world falls away. We see the world as Clark perceives it, sensing the relative concentrations of potential energy in all of the objects around him. This creates an x-ray-like effect, seeing through objects to the structures inside of them; we see, for example, that despite Clark's outwardly human appearance, his skeleton and organs are very clearly alien. We see the inside of the engine, with all of it's complexity. And we see a bomb that has been planted inside of it. Clark suddenly opens his eyes as the world returns to normal, a look of shock on his face.

INT. APARTMENT. NIGHT.
Clark Kent is pacing around the messy living room of his cramped apartment. The connecting kitchen is also a mess, strewn with the aftermath of having baked two dozen cookies. As Clark paces, he looks worried.

CLARK
What am I going to do?

VOICE
(O.S.)
The most direct course of action
would be to tell someone, Kal El.

CLARK
Which will only bring up the "x-ray
vision" issue.

VOICE
(O.S.)
I suppose that is true.

Clark slumps down in his arm chair.

VOICE
(O.S.)
You could try sneaking into the
hangar tonight. You could tear the
bomb right out of the engine.

CLARK
If I'm being honest, I'm not sure I
could get in without getting
caught, and then that would be a
whole thing…

Clark leans forward, head in his hands.

CLARK
*SIGH*

Clark looks up at the small metal orb on his coffee table, sitting beside a set of spark plugs, which has three glowing green dots on it, which form the points of an inverted triangle. Clark looks into those dots as if they were eyes.

CLARK
What do you think I should do,
Brainiac?

The green lights on Brainiac's surface flash as he speaks.

BRAINIAC
As far as I can see, Kal El, there
is no scenario in which you warn
people about the bomb without
risking some degree of exposure.
The question is if you are ready to
take that risk.

CLARK
(sighing)
I don't know.

BRAINIAC
You said when we came here that you
were through with hiding, that you
wanted to help as many people as
you could from now on. I can't tell
you what the right thing to do is,
Kal El. My purpose is to help you
get what you want. So, what do you
want?

Clark looks down and away. Then, a look of determination comes across his face.

CLARK
I have an idea.

Clark stands up and marches into his bedroom. He opens his closet door, and then pulls aside the false back, revealing five duplicates of The Costume hanging from a rack.

EXT. METROPOLIS. NIGHT.
Once again, Superman stands on a rooftop, looking out at the splendor of Metropolis at night. He looks out, determined. Without flinching, he steps off of the ledge and plummets to the street below, where he lands gently next to a payphone. Superman picks up the receiver. He balances the receiver between his shoulder and his ear as he reaches behind and grabs the mid-section of his cape, opening a hidden pocket and pulling out several quarters. He puts the quarters in a machine and dials. The phone rings.

VOICE
(phone)
You have reached the Lexcorp OSHA
compliance anonymous tip line. If
you have seen unsafe working
conditions on Lexcorp property,
please leave a detailed description
of the location and safety violation
after the tone. The safety of all Lexcorp
customers and employees is our
highest priority.
*BEEP*

SUPERMAN
(bad guy voice)
I have planted a bomb SOMEWHERE on
the 979 airplane! I will contact
you again with further demands! If
they are not met, then Luthor's
precious plane hasn't a WING or a
prayer! Unless you can find my
bomb, that is! MWUAHAHAHA!

Superman quickly hangs up the phone, missing the receiver at first but getting it on the second try. He looks around, up and down the empty street.

SUPERMAN
Okay, that was step one.

Superman's body crackles with blue energy briefly before he dashes away at incredible speeds.

EXT. LEXCORP. NIGHT.
The Lexcorp building towers over the city, glistening like a spire of stars.

INT. OFFICE. NIGHT.
A man stands in front of a desk in the dark office, in front of a huge window that overlooks the whole city. He is listening to a voicemail.

VOICE
(recording)
"… hasn't a WING or a prayer!
Unless you can find my bomb, that
is! MWUAHA-"

The recording cuts off. The man, Lex Luthor, stands up straight and looks out over his city, his face cold.

LEX
(V.O)
I agree, Bruno…

CUT TO

Lex is leaning back against his desk, on the phone.

LEX
Yes. Yes, absolutely… We both
worked very hard to get the Senator
on tomorrow's flight… No, don't
worry. Mercy was the one who found
it, no one else knows… except for
the caller, yes, of course.

Lex picks up a remote and points it at a screen on the opposite wall. With a series of clicks, he pulls up the security footage of the hangar. He sees Clark eyeing the engine very closely.

LEX
I think I have us covered there,
Bruno.

INT. DAILY PLANET OFFICES. MORNING.
Clark walks into the office, and is suddenly surprised when nothing happens. He looks around at everyone working relatively calmly, and this shocks him. He power walks over to the back corner where Lois sits at their desk.

LOIS
Mornin', Smallville. Are you done
with that "super Samaritan sighting"
story?
(quietly)
Uh, god, so clunky.

CLARK
What's everyone doing?

LOIS
Do you mean specifically? Because
I'm checking e-mails, and-

CLARK
(quietly while looking around)
Why is everyone so calm?

LOIS
Why wouldn't they be?

CLARK
Um, right. Y'see, there was a phone call
early this morning. It was an
anonymous tip, someone said there
was a threat of a bomb being
planted somewhere on the 979. They
said they called Lexcorp too, so I
figured-

LOIS
There hasn't been anything about a…

Lois turns her attention to the computer and pulls up an email reminder about the flight today that she just received.

LOIS
Look, see? They haven't canceled
the event. Why wouldn't they cancel
the event if there was a bomb
threat?

CLARK
I, uh, I don't know.

LOIS
Someone could be playing a prank on
you, specifically. Jimmy the
intern does like messing
with people.

CLARK
Do you want to take the risk?

LOIS
No, I don't.

Lois gets up and grabs her coat.

CLARK
Where are you going?

LOIS
The airfield!

Clark follows after.

CLARK
Shouldn't we call someone?

LOIS
Yeah, the cops around here don't
really take my calls anymore.

Lois stops at the elevator and turns to Clark as she presses the button.

LOIS
This'll be faster.

EXT. AIRFIELD. DAY.
Lois and Clark arrive at the airfield in Lois’ beat up red car as preparations for the flight are underway. A few hundred passengers are boarding, as the press is gathering round. Lex is standing at a podium in front of the plane, greeting the press. Lois and Clark immediately try to move up to Lex, but a man in a security guard uniform stops them.

GUARD
Whoa there. A press pass doesn't
get you past the line, Miss.

CLARK
We need to speak with Mr. Luthor!

LOIS
There's been a threat made against
the flight!

GUARD
A threat?

The guard looks around.

GUARD
We've got a protocol. Come with me.

The guard leads Lois and Clark over to the hanger. He opens the door for them.

GUARD
This way.

They step inside into the completely dark hangar, and the guard shuts the door behind them.

LOIS
Wait a minute-

The lights come on, and the guard is holding Lois and Clark and gunpoint, along with two other gunmen.

CUT TO

Lois and Clark being handcuffed while duct tape is forced over their mouths.

GUARD
Stash her somewhere. Him, we're
bringing with us. I have questions.

Lois is dragged away at gunpoint as Clark is taken in the opposite direction. The two share a look of concern as they are separated. Clark is brought over to a car and unceremoniously shoved into the trunk and shut inside.

EXT. AIRFIELD. DAY.
The car drives out of the back of the hangar and away from the airfield, out onto the highway.

INT. CAR TRUNK.
Clark is bound and gagged in the trunk of a car. Alone in the dark, he closes his eyes, and he concentrates. The world falls away, and once again we get a glimpse of an x-ray view of the world. Clark perceives the world outside of the car trunk, hazy images of other cars driving past. Clark feels the car decelerate and turn, and he senses as the highway and cars disappear, replaced by a thick line of trees on both sides. Clark opens his eyes as the world returns to normal. He knows what to do. He takes a deep breath, and closes his eyes again. Concentrating, his body begins to crackle with blue energy, illuminating the car trunk. The air around him begins to ripple, as if a wind was blowing, emanating out directly from his body. Clark clenches his whole body, and the ripples’ intensity rapidly increases, becoming a wave of force that emanates outward with so much power that it blows the trunk of the car open.

CUT TO

The three goons inside of the car as it shakes violently.

GUARD
What the hell-?!

CUT TO

Clark in the back, rolling out onto the road, pulling his handcuffs apart as he goes. He hits the ground and dashes into the woods. The car screeches to a halt and pulls up to the side of the road next to a large boulder sitting just behind the tree line. The three goons get out.

GUARD
What happened?!

GOON 1
Where the hell did the reporter-?!

With the speed and force of a thunderbolt, SUPERMAN enters the scene, kicking up so much force that the three goons topple over. One of them, managing to hold onto his gun, aims it at Superman and fires. The bullets sting Superman like harsh insects, and he holds up his arm to block his face. He looks at the criminal, glaring with anger out of his unearthly blue eyes. In a sudden burst of speed, he moves up to the villain and grabs him, hoisting him up into the air.

SUPERMAN
I'm only going to ask this once:
what did you do with the other
reporter?

GOON 2
I stashed her… with the luggage…

Superman's eyes widen in horror as he realizes what this means. He drops the scoundrel, and then looks over at the car. Quickly bending down, Superman hoists the car over his head and then violently smashes it into the boulder, causing two of the goons to run away in terror and wrecking the vehicle in the process.

SUPERMAN
Have fun walking home.

Superman dashes away at superhuman speeds.

EXT. AIRFIELD. DAY.
The Lexair 979 is preparing for takeoff.

CUT TO

Lois Lane, handcuffed and gagged in the luggage area. She is struggling behind her back, until suddenly there is a *CLICK* noise, and her hands come free. She tears the duct tape from her mouth as she scrambles to her feet. She loses her footing for a moment as she feels the plane shudder as takeoff begins.

LOIS
(quietly)
Crap.

Lois hurries over to the hatch that leads into the upper levels of the plane.

CUT TO

The plane is hurtling down the tarmac. As the engines start to come on, a blur of red and blue motion runs up alongside it. The front landing gear starts to rise up off the ground, and the blur rushes toward it. Superman jumps and grabs onto the front landing gear just as it retracts and the plane begins its ascent.

CUT TO

Inside the plane, the passengers on this inaugural flight look out the window as they begin to level out over the Delaware bay. Suddenly, there is a thudding sound. The passengers turn to look at one of the maintenance hatches on the floor shudder and suddenly burst open, and Lois Lane crawls out.

LOIS
(panicked)
You have to land the plane NOW!
There's a bomb-!

*BOOM*

CUT TO

The plane's engine explodes, shearing off the wing and causing the plane to go into freefall over the Delaware bay.

CUT TO

Inside the plane, Lois and the rest of the passengers are clinging on for dear life as the oxygen masks drop.

CUT TO

On the bottom hull of the plane, the landing gear hatch bursts open. Superman crawls out onto the exterior hull, digging his fingers and feet into the metal to keep his footing. His body crackling with blue energy, he crawls to the nose of the plane, placing himself directly in front of it. Eyes clenched and teeth gritted, Superman focuses all of his energy, shooting it outward in a sphere of rippling force just like he did in the drunk of the car, but pushing himself much further this time, his muscles clenched with pain as he pulls upward with all of his might.

SUPERMAN
*pained grunt*

As the nose of the plane shoots down toward the ocean, the sphere of radiating rippling air acts as a counter force, pushing the nose of the plane up and changing the plane's trajectory, guiding it toward the docks. Dock workers frantically run for safety as the plane hurtles toward them. As the plane descends at an angle, nose-first, Superman's feet are the first things that touch the ground, digging into the wood and concrete like knives.

SUPERMAN
*extremely pained grunt*

Superman is pushed backward by the force and weight of the plane, digging a trench in the concrete beneath him with his feet. Superman focuses with all of his will, the crackling blue energy shooting off of his body now spreading to envelope the plane, causing the metal frame to become more rigid in Superman's mighty hands. The plane pushes Superman just barely out onto the road before he comes to a stop, now balancing the weight of the entire plane above him.

SUPERMAN
*just the worst sound*

With a body of steel and a mind to match, Superman lowers the plane to the ground as slowly and gently as possible, causing only a subtle *THUD* when he sets it down.

CUT TO

Inside the plane, the passengers feel the subtle *THUD*. The interior of the plane is a mess, with masks and small items scattered everywhere and people clinging onto the backs of their seats.

CUT TO

Superman disengages from the nose of the plane and doubles over in exhaustion, gasping for air as he leans a hand against the plane for stability. The door of the plane shudders, and then swings open. Lois Lane climbs down the side of the plane and lands with a roll on the pavement. She runs up to the front of the plane, where she finds Superman standing. In the shadow of the plane, with all of the smoke and dust in the air, the only facial features she can make out are his unearthly blue eyes. Superman takes his hand off of the plane and steps toward Lois, and Lois flinches back in fear.

SUPERMAN
(exhausted)
You needn't be afraid of me. I won't harm you.

Lois stands there for a moment, at a loss for words. Then, suddenly, she hears sirens, and turns to see fire trucks and ambulances on their way. There is an enormous gust of wind that blows her hair over her face, and she turns again to see that Superman is gone.

INT. DAILY PLANET OFFICES.
Lois bursts through the door into the office. She walks right past Perry and makes a B-Line for her desk.

PERRY
Lois, what-?!

Lois approaches Clark, who is sitting at her computer, typing.

LOIS
What are you doing?

CLARK
I'm writing that "super Samaritan"
story…

LOIS
How did you… how did you get away?

Clark points at the computer screen.

CLARK
He saved me.

Lois pushes Clark aside and looks at what he's working on. His current headline is "SUPER-SAMARITAN CATCHES PLANE OUT OF SKY!"

LOIS
Yeah, we're not calling him that.

CLARK
You said this one was my story.

LOIS
You can have solo credit, but we
are not calling him that.

Lois begins typing.

CLARK
What did you have in mind?

LOIS
Something punchier.

EXT. LEXCORP. DAY.
There is a massive press conference at Lexcorp. Off to the side, behind a curtain, out of view of the press, Lex Luthor sits. He has a copy of the Daily Planet in his hands. The front page headline reads "SUPERMAN CATCHES PLANE OUT OF SKY!" Lex looks at the headline with disdain. An older woman in a suit then approaches him.

SENATOR FINCH
Lex? They're ready for us.

LEX
Hm? Oh, Senator, yes.

Lex Luthor sets the newspaper down on the chair and walks over to greet the press.

THE END

Chapter 2: The Life and Times of Superman - Chapter Two

Summary:

We deal with the aftermath of the 979 bombing and Superman's debut!

Chapter Text

EXT. LEXCORP. DAY.
Lex Luthor stands behind a podium, in front of a massive crowd of reporters. He scans the crowd, and sees Lois and Clark standing near the back. He begins his speech.

LEX
Before I begin, I just want to say
how thankful I am that no one was
seriously injured. What happened
yesterday was a shameless act of
domestic terrorism. We still have
no idea who is responsible or what
their motivations are, whether my
company was the target, or Senator
Finch, or whether this was just a
random act of violence. But we were
attacked yesterday. Not just
Lexcorp, the city of Metropolis was
attacked. And I vow to work with
the police and the mayor's office
to see that the perpetrators are
found and brought to justice.

This garners applause from the crowd.

LEX
As wounded as I am to see my city
attacked, I was only a bystander
yesterday. Senator June Finch
survived that harrowing ordeal, and
she has a few words to share with
you today. Senator Finch?

Lex steps aside, and allows SENATOR JUNE FINCH to take the podium.

SENATOR FINCH
Thank you, Lex. I won't mince words
people: yesterday, I knew I was
going to die. When the plane
started falling, there was no doubt
in my mind that I was never going
to see my husband, or my children,
or anything of this world ever
again. Looking out in the crowd
today, I recognize a few faces from
the plane. I imagine you understand
what I'm talking about.

There is a murmur in the crowd. Lois' demeanor shifts slightly, as if she's stifling an emotion. Clark notices.

SENATOR FINCH
This isn't the first bombing we've
had in the Metro-Gotham area.
Nobody around the Delaware Bay
likes to talk about it, but there
is an element of corruption that
has a stranglehold on our
communities, an element that is
perfectly comfortable with
violence. I know folks in
Metropolis have all sorts of things
to say about neighboring cities
like Gotham and Freeland, but
anyone who's being honest with
themselves can't remember the last
time they felt completely safe in Metropolis.
Except for me.
Because, yesterday, when I was more
certain I was about to die than I
had ever been in my life…
I lived.
I was in a plane that was falling
out of the sky, and against all
reason, someone caught me. I don't
know where you are, or who or what
you are, but Superman, if you hear
this, I want to thank you.
(tearing up)
Thank you for letting me see my
babies again.

This garners a huge applause from the crowd. Lex applauds lightly, his expression stone faced. In the crowd, Clark claps quietly, trying to hide just how moved (and nervous) he really is.

INT. DAILY PLANET OFFICES.
The Daily Planet staff are clustered together around Perry's desk near the center of the bullpen, those without chairs either standing or sitting on desks. They are looking up at the TVs hanging from the ceiling, watching the media coverage of yesterday's incident, specifically the appearance of "The Superman." Scientists and aeronautical experts are being interviewed to try and explain exactly what happened, and they're all baffled. Clark is looking up with a big nervous expression. Jimmy, the intern, leans over to him.

JIMMY
You got the scoop of the century on
your second day.

CLARK
I suppose I did, Jimmy.

JIMMY
How does it feel?

CLARK
Terrifying, Jimmy. Terrifying.

LOIS
(O.S.)
Hey, someone come check this out!

Clark and Jimmy and one or two others head over to the window, where Lois is looking down at the streets below. There is a massive traffic jam with cars bumper to bumper, not moving at all. Many of the cars are strapped with bags on the roof, and there are a few RVs.

JIMMY
What's with all the tourists?

LOIS
UFO hunters.

JIMMY
Oh great. Crazy tourists.

LOIS
You weren't there, Jimmy. I think
they might be right this time.

JIMMY
So… what was he like?

Lois gets really quiet. She then suddenly turns to Clark.

LOIS
Clark.

CLARK
(quietly panicked)
What?!

LOIS
What do you have on the guys who
kidnapped us?

CLARK
Oh, yeah.

Clark holds up the papers in his hands.

CLARK
I've been flipping through the
Lexair employee facebook all
morning. Those guys didn't work
there.

LOIS
Not shocking. So, the mystery of
who kidnapped us and the mystery of
who planted the bomb remain one and
the same.

CLARK
You know, Lois, maybe you should
consider taking some time off after
being kidnapped.

LOIS
You were kidnapped too. Are you
taking time off?

CLARK
I can't. This is my first week, I
still haven't been paid yet.

LOIS
Oh, right. Well anyway, if we're
nowhere on the fake guards, we need
a new angle. Who would WANT to blow
up the plane? WHY would they want to?

CLARK
It was Luthor's pet project. Maybe
someone trying to hurt him?

LOIS
And willing to kill 310 people in
the process. That's pretty cold,
but not outside the realm of
possibility. Alternative
hypothesis, though: Senator Finch
was the target. Politics is a
strong motivator.

CLARK
I don't know much about Senator
Finch. Can you think of anyone who
would want to kill her?

LOIS
I can think of one person.

CUT TO

A man in a green suit standing on a stage. His name is BRUNO MANHEIM. As he speaks, he works the camera perfectly, talking to it like he's talking to his best friend.

BRUNO MANHEIM
Believe it or not, entirely up to
you, but I do know how you feel.
Truly. You feel like a child, lost
in a department store that seems to
go on forever, searching
desperately for your mother. Or,
for God. Or the state, or anything
that can make you feel safe, can
make you feel loved and wanted, can
make the world make sense to you
again. Men and women all across
America, all across this sorry
world we live in, feel this exact
way. Failed by the government,
failed by the church, failed by the
“moral” standards of your society,
you’re all desperately trying to
find salvation, and not one of you
ever thinks to look in a mirror. We
do not offer salvation here at the
Church of Caine. We show you how to
save yourself. And you're always welcome.

The screen fades to black, and is replaced with the logo of "The Church of Caine."

CUT TO

Clark, Lois, and Jimmy watching the Church of Caine video on Lois' computer.

LOIS
Bruno Manheim. Does live broadcasts
on public access television three
days a week, uploads all of them to
the internet along with "bonus
content," and hosts private
seminars he charges hundreds of
dollars for. He's Metropolis' local
"self help guru" and "lifestyle
brand entrepreneur."

CLARK
Sounds like a con artist.

LOIS
That's because he is.

CLARK
And the "Church of Caine?"

LOIS
It's his brand. Basically Laveyan
Satanism repackaged as a Tony
Robbins course. In his seminars, he
likens modern man to Caine,
"abandoned by God in the wilderness
of modernity for the sin of
modernity." When you strip away all
the pageantry, though, it's just
the same old self help clichés
about "enlightened self interest"
and "actualizing potential."

CLARK
What does he have against the
Senator?

LOIS
The Church of Caine isn't a real
church, but it is a registered non
profit. Finch is the head of the
Senate Subcommittee on Organized
Crime, and Manheim is scheduled for
a series of testimonies before the
committee regarding allegations
that his non-profit has been used
to launder money for Intergang.

CLARK
They're a sort of crime cartel
that's based around here, right?
I've read about them.

LOIS
The boogeymen of the Delaware Bay.
Local rumor has it that, five years
ago, someone or some group got
every gang, crime family, and
racket in Metropolis together, and
after eliminating any dissenting
opinions, got them to work together
as a united, well oiled machine.
Ever since, "Intergang" has been
able to get away with doing pretty
much anything they want around
here.

CLARK
That's the rumor. What do you
think?

LOIS
I think getting a group of violent
felons with conflicting interests
to work together would take a lot
of charisma, and Manheim seems like
a pretty smooth talker to me.

EXT. BIKER BAR. DAY.
A nondescript beige van pulls up outside of a biker bar on the wrong side of the tracks. Out of the driver's seat steps Lex Luthor, wearing a black coat, fedora, and sunglasses.

INT. BASEMENT.
Lex descends the basement stairs, accompanied by a woman in a black suit, MERCY GRAVES. As they reach the bottom, Lex makes eye contact with the man he came here to see, BRUNO MANHEIM, who is standing in front of a large folding table. Seated at the table are DOLORES WINTERS, a glamorous woman who resembles an "Old Hollywood" star, a gruff looking man named LEWIS PADGETT, and an older man in a business suit named MORGAN EDGE. At the back of the room stand three more figures: a man in sunglasses and a matching black suit and turtleneck named JOHN CORBIN, a pale redheaded woman named WHISPER A'DAIRE, and a scruffy man in a trench coat named KYLE ABBOT. Bruno Manheim smiles at Lex, with his arms held out wide.

BRUNO MANHEIM
Lex!

Bruno approaches Lex and pulls him in for a hug.

BRUNO MANHEIM
How are you, brother?

Lex disengages.

LEX
I'm well, personally. You seem
awfully happy, given the
circumstances.

BRUNO MANHEIM
Getting upset has never solved a
problem in history, and we're here
to solve a problem. Come, my
friend.

Bruno guides Lex to his seat. Mercy stands at the back with the other bodyguards. Lex pulls out his notebook and begins flipping through it as he starts to speak.

LEX
I know this may sound self serving,
but this setback doesn't actually
have to set the plan back. It will,
however, require some adjustments.
We obviously can't make another
attempt on the Senator until time
has distanced us from yesterday's
events, but most of stage two can
actually proceed while the primary
obstacle is still alive. If you'll take
a look at-

Lex looks up as he holds out his notes to show the others, and off of the looks on their expressions, he stops speaking. Lex misjudged the nature of this meeting, and he has realized that.

DOLORES WINTERS
Senator Finch is no longer the
PRIMARY obstacle, Alexander.

LEX
… no. No, I suppose she's not.

LEWIS PADGETT
My boys say that bullets bounced
off him. They say it looked like
they annoyed him.

MORGAN EDGE
He lifted a god damned plane, Lex!
My own people caught it on camera!

BRUNO MANHEIM
We're here to discuss what we're
going to do about Superman, Lex.
The thing with the Senator can wait
until we figure out what the hell's
going on with HIM.

LEX
That's reasonable.

BEAT

LEX
I'll take care of it.

MORGAN EDGE
That's it? You'll "take care of it?"

LEX
Whatever this "Superman" is, I have
the resources to analyze and
eliminate it. Just leave it to me.

DOLORES WINTERS
Don't you think this situation is
more up my alley, Alexander?

A chill hangs in the air as Lex makes eye contact with Winters. The other members of the group look uncomfortable.

LEX
Don't trouble yourself, Dolores.
You have more important matters to
attend to, and I already have a plan.

INT. LEX LUTHOR'S OFFICE.
Lex is standing at his desk, arranging some papers, when Clark Kent pokes his head in the door.

CLARK
You, uh, wanted to see us?

LEX
Mr. Kent! Ms. Lane! Please, come in.

Clark and Lois enter Lex's office. They take their seats in the chairs placed beside his desk. Lex leans against the front of his desk, youth pastor style.

LEX
Before we get to anything else, I
just want to reiterate how glad I
am that the both of you are safe.
I'm sure it comes as no surprise
that I find the thought of a
kidnapping, perpetrated on Lexcorp
property by trespassers disguised
as guards, to be very distressing.
Before you leave today I'm going to
ask you to speak with Mercy Graves,
my head of security. She's working
closely with the police on the
investigation into the bombing and
I'm going to ask you to give her
the best description of your
assailants you can.

LOIS
Sure.

CLARK
Of course.

LEX
Now, I invited you here because I
wanted to ask about the phone call
you received.

LOIS
Clark was the one who got it.

CLARK

Yes. It was, um, it was an anonymous
call early in the morning. But, um,
I think it was actually "Superman"
who called.

LEX
What makes you say that?

LOIS
Yeah, Clark, this is the first I'm
hearing about this.

CLARK
Well, when "Superman" rescued me, I
heard him say something like "I'm
glad somebody got my message."
Something like that, it all
happened fast. I didn't really
think about it until now, but he
must've meant the phone call.

LEX
And in the call, Superman, or
whoever it was, said that they were
calling Lexcorp too?

CLARK
That's right.

LEX
Obviously, we never received a
call. I can't find a record of any
sort of call referencing a bomb. If
a message was left, someone inside
the company must have erased it
without anyone else's knowledge,
and it hasn't escaped my notice
that the best way to plant a bomb
inside of a jet engine would be to
work for the company building the
jet.

Lex walks around the desk and retrieves a file from one of the drawers.

LEX
Normally, I would never confide
something like this in two
reporters, but I've had my
suspicions for a while now that
something is going on inside of my
company that I wouldn't approve of.

Lex places the folder on the desk in front of Lois and Clark and opens it.

LEX
Errors in Lexair's financials. I
doubt I would have noticed them if
I hadn't been working so closely
with Lexair on the 979 project.
After tracing all of the money that
was moved around, I discovered that
it was hiding an acquisition of a
plot of land, an old airfield up
north, currently unused. I've asked
around, and none of my executives
have been able to tell me who
bought it or why.

LOIS
So, why are you telling this to two
reporters?

LEX
Before, I thought someone was just
skimming off the pot. But now,
lives are at stake. I've already
given the police the information,
but they said that it might take
some time. You're a good reporter,
Ms. Lane, I respect your work. And
Mr. Kent, I still don't know you
very well, but so far I like you. I
wouldn't ask either of you to put
yourselves in danger, but if this
information can help the press or
the police get to the bottom of who
attacked the 979, I have to share it.

Clark takes the papers and looks at them closely.

LOIS
We'll see what we can do.

Lois and Clark get up to leave.

LEX
I just wish I could contact this
"Superman." He seems to have a
knack for keeping people safe.

LOIS
He saved both of our lives.

CLARK
Yeah.

LEX
And he's been in contact with you,
Mr. Kent.

CLARK
Well, only that one time.

LEX
Still, he must've known you were a
reporter. And then being there when
you needed help the most… perhaps
he's been watching over you two.

LOIS
Or maybe we've just been lucky.

LEX
Maybe.

LOIS
Thanks for the information, Lex.
We'll be in touch.

CLARK
Goodbye.

Clark and Lois exit. Lex watches them go. As soon as the door shuts behind them, Lex walks over to his office's private elevator. He presses the call-button, and the doors slide open. He steps in, and they close behind him.

EXT. CITY STREET. AFTERNOON.
Lois and Clark exit the Lexcorp building.

CLARK
So, Lois, what do you think we
should do next?

LOIS
I'm going to do some research on
the airfield, see if there's
anything else worth knowing that I
can dig up. After that, if we want
to keep looking into this, we're
going to have to go there
ourselves.

CLARK
That could be dangerous.

LOIS
Which is why I'm giving you the
option of just heading back to the
office and working on fluff pieces
if you want to. You've already
almost died during your first week
once, and I'm well aware that I'm
not someone other journalists love
working with, on account of how the
company life insurance refuses to
cover me anymore.

CLARK
That's why I'm gonna go with you.
Sounds like you could use someone
watching your back.

LOIS
I knew I liked you, Smallville.
Anyway, I'm reckless, but I'm not
stupid. I should be able to arrange
for an armed police escort.

CLARK
I thought the cops in Metropolis
hated you.

LOIS
The word "hate" really understates
how they feel about me, I think.
But there is one cop who merely
finds me extremely annoying. More
importantly, she owes me a favor.

CLARK
Alright. Well, I guess I'll see you
in the office tomorrow.

LOIS
Right. Seeya.

Clark turns to leave.

LOIS
Clark?

CLARK
Yeah?

LOIS
Do you… do you think Superman has
been "watching over us?"

CLARK
… I… I don't know, Lois.

LOIS
I mean, on the one hand, I guess it
makes sense. The other night, when
he did all those things all over
the city, he must've known that the
Daily Planet city desk would
investigate.

CLARK
(slightly deadpan)
Right, of course, that is obvious,
I'm sure he thought of it.

LOIS
Exactly, so I guess it makes sense
he'd try to keep tabs on a couple
of reporters who are looking into
what he's doing. But what I don't
get is why he called you, Clark.

CLARK
What do you mean?

LOIS
Well, no offense Smallville, but
you haven't even gotten your first
paycheck yet. I've been a reporter
at the Planet for five years, I'm
established. Why focus on the new
guy?

CLARK
I don't know.

BEAT

LOIS
Well, I guess we'll just add that
question to the list. Seeya
tomorrow, Clark.

CLARK
Have a nice night.

Lois walks away.

CLARK
(quietly)
*phew*

INT. ELEVATOR
The elevator descends, going deep below the ground floor to the sub-sub-basement of the Lexcorp building. The doors slide open, and Lex steps out into a long dark hallway with a sickly pale light at the end. As Lex walks down the hall, he passes several shelves containing various toys and action figures, collectibles of every kind. As he reaches the source of the light, he arrives at a computer terminal. There, a gangly man with long messy hair and thick glasses sits, working. His work station is covered in small toys and nick-knacks.

LEX
Are you ready, Winslow?

The man at the computer, Winslow Schott, THE TOYMAN, looks over his shoulder at Lex and smiles.

INT. BEDROOM. NIGHT.
Clark is mid-way through changing into The Costume, just putting on his shirt. The Brainiac sphere is resting on his nightstand.

BRAINIAC
I'm not sure this is the best
possible course of action, Kal El.
Perhaps you should wait until Ms.
Lane gathers more information.
Perhaps you should wait until Ms.
Lane gathers more information.

Clark fastens his shirt to the inside of his pants.

CLARK
Someone tried to kill three hundred
and ten people yesterday, Brainiac.

Clark picks up his cape in his hands.

CLARK
If I can stop them before they hurt
anyone else, I have to try.

Clark swings the cape around his back as he fastens it to the back of his shirt.

SUPERMAN
I'm done hiding.

EXT. AIRFIELD. NIGHT.
Superman skids to a halt in a blur of super speed, arriving at the abandoned airfield. The buildings are dark, the windows are boarded, and the runway is overgrown with weeds sticking up out of cracks in the tarmac. Superman glances around, and sees no signs that anyone has used this place in years. Going at a normal walking speed, he ventures in further, taking his time to look around and get a lay of the land. He approaches the largest structure on the airfield, the hangar. Superman places his hand on the wall of the hangar and closes his eyes. The world falls away, and we see it through Superman's "x-ray vision." In addition to seeing an x-ray view of his alien anatomy, we also see that the walls, floor, and ceiling of the hangar glow with a brilliant light that Superman cannot see through. He opens his eyes, and the world returns to normal.

SUPERMAN
(quietly)
So, first question: why does an
airplane hangar need walls denser
than lead?

CUT TO

It's pitch black inside of the hangar, until Superman kicks the doors in with superhuman force. Superman looks around, letting his eyes adjust to the darkness. His vision shifts into a "night vision" mode, and he's surprised to see that there isn't anything here at all.

SUPERMAN
Huh…

Suddenly, floodlights in the ceiling come on with a loud thud.

SUPERMAN
AH!

Superman reels back as he shields his eyes from the blinding light. Overhead, speakers buzz as they turn on.

TOYMAN
(speakers)
I didn't expect you to get here so
soon. I thought I'd have to use
Woodward and Bernstein as bait.
This is good, though. I hate
waiting.

SUPERMAN
Who are you?

TOYMAN
(speakers)
You can call me "The Toyman."

Hatches in the ceiling slide open, and five drones mounted with machine guns descend.

TOYMAN
(speakers)
Let me show you my toys.

The drones swoop in to attack, spraying Superman with a hail of bullets. The Man of Steel puts up his arms to protect his face as he is bombarded by the projectiles.

SUPERMAN
(quietly)
Ow ow ow ow ow…

Superman closes his eyes and concentrates. Summoning up as much energy as he can, he projects it outwards from his body as a sphere of force, which knocks the drones back and pushes them off-course. Blue energy crackles around Superman's legs right before he jumps at the wall, using it as a springboard to launch himself at two of the drones clustered nearest together, slicing through the air AND the two robots with a massive kick, causing the drones to explode. Superman lands on the floor and immediately launches himself at a third drone, putting his fist through it. He tears the drone off of his arm and throws it at the fourth one, its parts getting caught in its sibling's rotors and causing it to fall out of the air. The final drone comes in for another pass, peppering Superman with annoying stinging bullets. Superman turns away from the flying death bot. He takes in a deep breath, closes his eyes, and concentrates while defending himself from the stinging projectiles. Energy crackles around his body and then concentrates in his chest before disappearing. He turns to the drone and exhales, blowing with tornado force winds that cause the drone to flail wildly through the air. Taking a moment to charge up, Superman dashes at the remaining drone, slicing it in two with one mighty blow. Superman lands in the center of the hangar.

SUPERMAN
(cocky)
That all you got?

TOYMAN
(speaker)
No.

A hatch in the floor opens up. Standing atop an elevating platform, a 15 foot tall six-legged robot, equipped with pneumatic pincer arms and visible gun ports, rises out of the ground.

SUPERMAN
(quietly)
Oh boy.

One of the weapon ports on the robot opens, firing a grenade directly at Superman's face. It explodes on contact and knocks him through the doors of the hangar out onto the tarmac where he lands with a loud thud.

SUPERMAN
(upon impact)
GAH!

Dazed, Superman pushes himself to his feet. His ears are ringing and his vision is blurred. The robot advances, moving incredibly quickly on its skittering legs as it fires its machine guns at Superman. Once again, he holds up his arms to block his face. The bullets still don't break his skin, but Superman grits his teeth in pain as these higher caliber rounds hit with a lot more force.

SUPERMAN
(teeth gritted)
GRRRRRRRR!

Superman dashes to the left, getting out of the robot's line of fire, and tries to come around from the other side. The robot tracks Superman's movements and then adjusts, firing another grenade at the spot where Superman is about to be. The Man of Steel changes course just in time, missing the epicenter of the explosion but getting knocked through the air by the shockwave. Superman skids to a halt on the cracked tarmac, landing face first. The robot advances, and Superman rolls over onto his back just in time to catch the machine's two pneumatic pincer arms just before they strike. The two face off in a test of strength, man VS machine. The robot's machine gun ports open, and rain a biblical hailstorm of bullets down on Superman, hitting him square in the chest.

SUPERMAN
(teeth gritted)
*just the worst sound*

As the bullets rain down like hot fire, Superman pushes back against the robot's titanic arms. Pushing forward, Superman summons all his will, his body crackling with blue energy, and, with great difficulty, begins to rise to his feet and push the monstrous machine back. Suddenly, the hail of gunfire ceases, and Superman gasps for air as an audible *click* sound can be heard. Seeing his opportunity, Superman grips down harder on the arms, digging his fingers into the metal, and hops his feet up on his robot foe. Pulling with all of his might, Superman tears the robot's arms off and jumps back, landing on his feet. He takes one of the robotic arms and swings it at the robot's insectoid legs, knocking it off-balance. He then lunges forward, stabbing the pincers of the robot's arms into the joints of its legs. He repeats this process, and in a series of quick movements he shears away the robot's legs, causing the body of the metal monstrosity to *THUD* to the ground. The robot's one camera-like eye begins flailing desperately. Superman drops the robot's arms, walks around to the camera, and looks down at it. The camera stops moving and focuses on the Man of Steel.

CUT TO

In the sub-sub-basement of Lexcorp, Lex Luthor and Winslow Schott watch the live feed. They see Superman, his face in shadow and his eyes glowing blue slightly, looking down at the camera.

SUPERMAN
(video)
You're going to leave the two
reporters alone. Your fight is with
me from now on.

The feed cuts out as Superman crushes the camera with his foot. Lex Luthor smiles.

LEX
Works for me.

INT. LOIS LANE'S APARTMENT. NIGHT.
Lois is sitting at her personal computer, her home work space as much of a mess as the one at the office. Her eyes glued to her computer screen, she picks up her phone and dials without looking. The phone rings as she holds it up to her ear.

CLARK
(phone)
… hello?

LOIS
I wake you up, Smallvile?

CLARK
(phone)
Uh, kind of, maybe…

LOIS
You were "kind of maybe" sleeping?

CLARK
(phone)
Lois, what do you want?

LOIS
Right, sorry. Research went pretty
fast. There's just not much on this
place. I know it's named after the
original owner's daughter, but
there's not much of interest beyond
that.

CLARK
(phone)
Probably makes for a good evil
lair, then.

LOIS
I know, right? Anyway, good news
is, I talked to Maggie.

CLARK
(phone)
Your friend on the force?

LOIS
Friend is a strong word, but she
doesn't hate me, and she's willing
to let me cash in my favor by
escorting us to the airfield
tomorrow morning.

CLARK
(phone)
… tomorrow?

LOIS
What, did you have plans?

CLARK
(phone)
No… no. I'll just… call me tomorrow
and I'll meet you, okay?

LOIS
Sure, sure. You alright, Smalville?

CLARK
(phone)
All good. 'night.

Clark hangs up. Lois is a little shocked by how sudden it was.

CUT TO

Clark Kent, shirtless, with gauze wrapped around his torso, holding an ice pack to his chest, hangs up the phone.

BRAINIAC
You're going tomorrow?

CLARK
You said I didn't have any internal
injuries.

BRAINIAC
You're still going to be in a lot
of pain for the next day or two.

CLARK
If anyone asks I'll say I have a
migraine or something. Trust me,
that's not what's bothering me.

BRAINIAC
What is bothering you, Kal El?

CLARK
I'm pretty sure Lex Luthor just
tried to have me and Lois killed.

THE END

Chapter 3: The Life and Times of Superman - Chapter Three

Summary:

As Lois Lane and Clark Kent continue their investigation of Intergang, Superman comes up against is strangest foe yet: The Prankster!

Chapter Text

EXT. AIRFIELD. DAY.

Lois Lane, Clark Kent, and Jimmy Olsen approach the airfield on foot, walking along a dirt path. Accompanying them are MAGGIE SAWYER, the cop who merely finds Lois annoying and owes her a favor, and DAN TURPIN, her gruff older partner.

LOIS

… so, that's where the place's name

comes from.

MAGGIE

(sarcastic)

Fascinating.

Clark Kent glances over at Dan Turpin.

CLARK

I just wanted to say, Detective

Turpin, that I really appreciate

you coming out to make sure we stay

safe today. I, for one, am feeling

a little under the weather this

morning, and…

TURPIN

(monotone)

Uh-huh.

Turpin increases his pace and walks ahead of the rest of the group.

CLARK

Did I say something wrong?

LOIS

You're fine. Turpin hates me.

MAGGIE

Dan doesn't hate you, Lois.

LOIS

Maggie, please, don't insult my

intelligence.

CLARK

Why does he hate you?

JIMMY

That one's easy. Lois made everyone

in town hate him when she wrote a

story about how he was roughing up

suspects in the interrogation room.

He almost got fired, was put on

suspension for a year, it was a

whole thing. Which does make me

wonder why he's here.

MAGGIE

Dan's been investigating Intergang

since the beginning. He's obsessed

with them, they're his "that one

case."

JIMMY

That makes sense.

Maggie Sawyer glances at Jimmy.

MAGGIE

Shouldn't you be in school?

JIMMY

I'm an intern. I'm getting college

credits right now.

The group moves further into the airfield to catch up with Turpin, who is standing in the center of the tarmac. There is no wreckage from last night's fight; all of what was left of the robots seem to have been whisked away in the night. However, the small crater that Clark's body left when it hit the tarmac is still there. Turpin is standing at the edge of the crater, inspecting it. Maggie Sawyer walks up next to her partner.

MAGGIE

Did a bomb go off?

TURPIN

No residue.

Turpin squats down to inspect the crater more closely.

TURPIN

Looks like something with a lot of

mass hit the ground real hard.

MAGGIE

They used to test planes here.

Might be from a crash?

TURPIN

Maybe.

Jimmy walks up beside the two cops and takes a photo of the crater. Turpin stands up.

TURPIN

(angry)

Who said you could take pictures,

kid?

JIMMY

(dismissive)

This isn't a crime scene.

TURPIN

(quietly)

Not yet, anyway.

Clark and Lois walk past Jimmy and the two cops (Clark glancing nervously at the crater for a split second as he walks by), and the two reporters approach the hangar. As they walk across the threshold, Lois glances at the metal hinges, which are twisted and jagged.

LOIS

It looks like the doors were ripped

off the hinges.

Clark steps in and glances around. He sees no signs of last night's fight. Glancing up, he even sees that the floodlights and speakers are gone.

CLARK

(quietly)

They must've took the doors with

them when they left.

Lois walks in and begins looking around alongside Clark. The two shine their flashlights around, illuminating a whole lot of nothing.

LOIS

I don't know, Clark. Maybe we

should check that smaller building

on the other side of the field.

Looked like it might be a business

office or some-

CLARK

What's that?

Clark shines his flashlight down at the ground, near the center of the hangar. There's a tiny scrap of metal, a little smaller than a penny, sticking up out of the ground.

LOIS

I don't know.

CLARK

Is there something weird about the

way it's standing up on it's side

like that?

LOIS

Lemme check.

Lois gets down on her hands and knees and inspects the tiny scrap of metal closely with her flashlight. The small piece of scrap is wedged in the seam of a hatch in the floor that is designed to be invisible when shut. Lois can see the tiny gap that the piece of metal is wedging open, a barely visible hairline less than half an inch long.

LOIS

(smiling)

Good eye, Smallville.

CUT TO

Lois and Clark exiting the hangar, quickly walking up to the rest of the group.

LOIS

Maggie! We found something, it

looks like maybe a trap door. Not

sure if it's enough for a warrant,

but if we could call Lex Luthor and

get his permission-

As Lois and Clark approach, Maggie and Turpin's radios suddenly go off.

RADIO

All Points Bulletin: a warrant has

been issued for the arrest of

Oswald Loomis, white male, 28 years

old, approx. 5'9'', brown hair,

last seen wearing a green suit with

yellow shirt, subject is armed,

approach with caution.

The group shares a look of concern.

INT. TV STUDIO. 10 MINUTES AGO.

A 16 year old girl, dressed in a church-white sundress with a lace shawl and a crown of flowers, sits on an enormous swing in front of a huge matte painting of the sun shining down on rolling green hills and a perfect blue sky peppered with fluffy white clouds. As men and women, dressed in similar white attire, dance into the scene from both sides, the music swells and the swing lifts the young lady high into the air. From behind the horizon of the backdrop, a logo reading "Hello, Megan!" rises up as the music reaches its climax.

DIRECTOR

(O.S.)

CUT!

The actors drop out of their poses and walk back to their marks. The swing slowly lowers back down to the ground, the girl checking her makeup in a compact on the way down.

DIRECTOR

(O.S.)

We're taking it from one!

CUT TO

Inside the booth, the techies watch the shoot on the monitor. We can see from their angle that they are filming this sequence in a studio in front of an empty audience. There is a large block of text on the monitor that reads "HELLO MEGAN SEASON FOUR OPENING TITLES RESHOOT." One of the techies is turning a dial labeled "CRANE CONTROL." The producer leans over to him.

PRODUCER

Be gentle, okay?

TECHIE

Yeah, I know.

PRODUCER

Hey, you're not the one the kid

complains to-

Faintly, in the distance, the sound of two gunshots are heard. The Techie turns in shock.

TECHIE

Were those-?!

PRODUCER

Gunshots, probably.

TECHIE

Shouldn't we call someone?

PRODUCER

They don't call this neighborhood

"Suicide Slum" for no reason, kid.

If I called the cops every time I

heard gunshots, I'd-

The doors to the booth are kicked in. A wire-framed man of average height with dark brown hair and a pencil-thin mustache, wearing a green suit with a yellow shirt and a red bow-tie, storms into the room. He is brandishing a gun.

THE PRANKSTER

(manic)

It's funny you should say that,

Bob!

Everyone in the booth turns to The Prankster.

PRODUCER

(shocked)

Oswald?

The Prankster shoots the techie in the leg.

TECHIE

*just the worst sound*

THE PRANKSTER

(chipper)

Hi Bob!

The techie clutches his leg as he topples over. Everyone else in the booth begins running for the door. The Prankster looks around at the chaos and lazily waves his gun around like a conductor's baton.

THE PRANKSTER

(sarcastic)

Yes, run, flee in terror.

As the producer starts moving towards the door, The Prankster points his gun at him.

THE PRANKSTER

Not you, Bob!

The producer freezes, terrified.

THE PRANKSTER

I wanna have a witness.

The Prankster walks over to the control panel. We can see through the monitors that the cast and crew on the stage all look very confused.

PRODUCER

(quiet, terrified)

Witness to wh-?

THE PRANKSTER

(chipper, manic)

I'm going to do something that I've

thought about for a while now, Bob!

This daydream I had, many many

times on set, basically whenever

our talentless brat of a star had

one of her little diva moments.

The Prankster reaches over to the crane control, turning it all the way up all at once. We see on the monitors that the young lady in the swing is shrieking as she shoots all the way up to the ceiling in an instant. The producer winces as he sees this happen.

THE PRANKSTER

(chipper, manic)

I never considered actually doing

it, obviously. That would be crazy.

About as crazy as storming into the

place that just fired you with a

gun. But, do you know what, Bob?

The other day, on TV, I saw a man

catch a plane that fell out of the

sky.

The Prankster turns the dial all the way down all at once. We see on the monitor the young lady fall to the floor, screaming again, until the swing snaps in two from the drop and she hits the ground. The cast and crew are all shocked and horrified.

THE PRANKSTER

(happy)

And suddenly, this didn't seem all

that crazy anymore.

INT. DAILY PLANET OFFICES.

Lois, Clark, and Jimmy are gathered around the city desk. On the computer, there is a video of clips from "OzthePRANKSTER!" a hidden camera prank show.

LOIS

Oswald Loomis, the host of an

online hidden camera prank show

aimed at the 12-17 year old

demographic.

JIMMY

I would describe it as "Pee Wee's

Playhouse" meets "Candid Camera."

CLARK

You watched it?

JIMMY

I didn't care for it.

LOIS

But a lot of kids did. He was kind

of an overnight success. Just a few

years after launching his show, he

was already a millionaire. The teen

sitcom "Hello Megan" decided to

capitalize on Loomis' rising star,

and hired him for a recurring role

as "Uncle Oz." He kept making his

web series while appearing on the

TV show, until last month. In the

"big reveal" segment of his last

prank video, he decided last-minute

to use pyrotechnics to announce his

entrance. The pyrotechnics were

placed too close to the crowd, and

a woman's blouse caught fire. She

suffered third degree burns, sued

Loomis, and the TV station decided

that he was too much of a PR

liability for their #1 show with

middle schoolers.

CLARK

So this was just revenge for firing

him?

JIMMY

Actors, man. Those people are nuts.

LOIS

Clark, I am delegating to you the

unsavory task of going to New Troy

General to find out what you can

about Marie Logan, the star of the

show. The staff down there like you

already, and to be honest, you have

a very sympathetic presence that's

easy to open up to.

CLARK

It's my bad posture. It makes me

looks smaller than I am, comes off

as non-threatening. I can handle

What will you be doing?

LOIS

I've got about five different

things that need to be ready for

print tomorrow and, y'know, aren't

yet, so I'm pulling an all-nighter.

Plus I've got to figure out next

steps regarding the whole "secret

hatch" thing.

CLARK

Have you asked Luthor about it?

LOIS

I called his office. They said he

was "indisposed."

CLARK

That's interesting.

LOIS

You thinking something, Smallville?

CLARK

I promise, Lois, if I ever think,

you'll be the first to know. I'll

see you later.

Clark heads off

INT. NEW TROY GENERAL.

Clark Kent approaches the waiting area at New Troy General, carrying a tray of cookies under cling wrap. Behind him, Frank the security guard watches on, nibbling on a cookie. Clark walks up to the friends and family of Marie Logan, including the producer, nervously waiting to hear news about her condition.

CLARK

(quietly)

Hello. My name is Clark Kent, I… I

was sent here by the Daily Planet,

I'm a reporter, but to be honest

I'm not interested in trying to

interview anyone here today. I just

thought I would pay my respects and

just let you know that folks out

there are really hoping Marie gets

well soon.

MRS. LOGAN

(softly)

Thank you, Mr. Kent.

CLARK

(quietly)

Oh, uh, here…

Clark hands Mrs. Logan a plate of cookies.

CLARK

(quietly)

Back home, whenever somebody was in

the hospital, Ma baked cookies.

MRS. LOGAN

(softly)

That's very kind of you Mr. Kent.

Thank you.

Clark smiles, and nods. He stands there for a brief moment, before deciding to just turn and walk away.

PRODUCER

This is my fault.

Clark stops and turns back. Mrs. Logan turns to the producer.

MRS. LOGAN

Robert-

PRODUCER

She wanted out at the end of last

season. She wanted to go back to

school full time. I was the one who

talked her into doing another

season. If I hadn't-

Clark places his hand on the producer's shoulder.

CLARK

You aren't the person who did this,

Robert.

EXT. ROOFTOP. NIGHT.

Superman stands on the edge of a tall building, looking out over the city with his unearthly blue eyes. His body crackles with blue energy, just before he darts off! Superman runs along the rooftops at super speed, jumping from ledge to ledge with mighty leaps that don't even break his stride! In a blur of motion, he begins patrolling the city, searching for The Prankster. Superman closes his eyes, and the world falls away into "x-ray vision," but he then opens his eyes while still in "x-ray vision" mode, and his eyes glow with a dazzling light in this view of the world. Superman opens up his senses completely, and we hear a tidal wave of sound from all over the city rush in. He begins to sift through the information in search of The Prankster as he darts across the Metropolis skyline. As he makes his rounds, he suddenly hears…

THE PRANKSTER

(O.S., very faint, singing)

School and boys and parents too. A

whole lot to juggle for Miss You

Know-Who.(Who?) Hello Megan. (Who?)

Hello Megan!

Superman stops and changes direction, heading toward the source of the singing. He finds himself standing on top of a warehouse. Inside, through his x-ray vision, he can see a man standing at the center of the room, with a few other younger men lounging around, in an area full of what appear to be explosives.

SUPERMAN

(quietly)

Great…

INT. WAREHOUSE.

The doors of the warehouse are gently pushed open by Superman, who walks inside at a leisurely pace.

SUPERMAN

Oswald Loomis.

THE PRANKSTER

Woah.

The Prankster stands up. His handful of young followers step forward, but he waves them off.

THE PRANKSTER

(awestruck)

This is… I mean, wow. There you

are.

The Prankster begins walking toward Superman.

THE PRANKSTER

This whole time I was thinking all

about the cops. It never even

occurred to me you might take an

interest.

SUPERMAN

You killed two people and put two

Chapter 4: The Life and Times of Superman - Chapter Four

Summary:

Superman comes face to face with a pair of foes even stranger than he!

Chapter Text

INT. WHITE HOUSE PRESS ROOM.

We open on a shot of the podium of the White House press room. The White House Press Secretary walks out on stage and stands behind the podium.

PRESS SECRETARY

Ladies and gentlemen: The President

of the United States.

The press secretary steps aside as the president walks on stage and takes the podium.

PRESIDENT

Good morning. Over the past week,

the eyes of the entire world have

been on Metropolis. The things that

have happened there… there is still

much we do not know. The veracity

of the claims made by the man

calling himself “Kal-El,” who the

press has dubbed “Superman,”

remains to be determined. Whether

this is contact with

extraterrestrial life, or something

else altogether, one thing is

clear: our understanding of the

world, and our place in it, has

changed, fundamentally, and

possibly forever. Across the

country, and around the globe,

people are trying to understand,

trying to come to terms, with what

this means for themselves, and the

future. As a nation, and as a

species, we are in uncharted

waters. My promise to you today is

this: whatever this strange new

world holds, the American people

will walk towards it boldly,

together, without fear or

hesitation. If Kal-El, this

"Superman," truly is a friend, he

is welcome here. And wherever he

is, I have a message for him:

"Superman," I hope you understand

the weight and scale of the events

you have set into motion. I hope

that, whatever you do next, you

remember the promise you made,

because the entire world is

watching.

INT. CLARK'S APARTMENT. MORNING.

Clark Kent is laying in bed, out cold, as light slips through the gaps between the blinds. On his side table, next to the Brainiac sphere, is an alarm clock, which goes off the moment it changes from 5:59 AM to 6:00 AM, emitting a harsh alarm tone.

CLARK

(half awake)

hrnhrmwhere… ?

BRAINIAC

Good morning, Kal-El.

Clark pushes himself up into a seated position.

CLARK

(groggy)

Mornin', Brainiac…

Clark gets up, turns off the alarm, and walks over to the closet. He opens the door, looking at himself in the full length mirror on the inside of the door. His torso is covered in bruises, and he has a few small cuts on his face. Gingerly, he touches one of the bruises.

CLARK

*winces*

BRAINIAC

That looks painful.

CLARK

Funny, feels that way, too. But,

they'll be gone by tomorrow

morning.

BRAINIAC

Does that mean you'll be staying in

tonight?

Clark walks back to the nightstand.

CLARK

We'll have to see how the rest of

the day goes first, won't we?

Clark pulls a blue bottle of over-the-counter painkillers out of the drawer. He CHUGS about half a bottle's worth of pills.

BRAINIAC

Kal-El, both of your livers are

considerably more durable than

their counterpart in human biology,

but there is still a limit to how

much naproxen your body can process

at once.

CLARK

(shuddering from gross pill taste)

If I find it, I'll let you know.

Clark walks toward the bedroom door.

BRAINIAC

*sigh* At least get something to eat.

INT. DAILY PLANET OFFICES.

Clark enters the Daily Planet offices, sporting a few band aids on his face and munching on a bagel sandwich. He walks past Jimmy, standing in front of a TV with the other interns, watching CNN coverage of "The Metropolis Superman."

JIMMY

Here it comes, here it comes…

When the photo of The Interview flashes on screen, Jimmy points to the small text at the bottom of the screen that reads "photograph by James Olsen." The interns cheer, and Jimmy basks in the praise. Clark passes by this scene and heads directly toward Lois, who is sitting in her chair, back straight as a board, staring blankly at her computer. The phone on the desk is ringing, and she isn't reacting at all.

CLARK

Lois?

LOIS

(quietly)

Uh-huh?

CLARK

Our phone is ringing.

Without looking away from the computer, Lois picks up the phone, hangs up, and then takes the phone off the receiver, placing it on the desk. Lois closes her eyes and takes a deep breath.

LOIS

(quietly)

Okay.

She opens her eyes and turns to Clark.

LOIS

Come with me.

CUT TO

Lois Lane is leading Clark Kent to the supply closet. Lois opens the door and enters, pulling Clark in along with her.

CLARK

(confused)

Lois, what-?

Lois shuts the door behind them and turns on the light.

LOIS

This is where I come to think. We

still don't have a connection

between Intergang and the 979

bombing, and I can't work if I'm

busy suddenly being "the most

famous reporter in the world" or

whatever.

Lois turns to a bulletin board hanging on the wall, covered in notes and documents relating to the Intergang case, including photographs of Bruno Manheim and his known associates, and all sorts of documents related to his "Church of Caine" organization. Clark takes a look at it.

CLARK

(impressed)

Nice.

LOIS

This is everything we know and

suspect about Intergang. Everyone

we think might be a member, every

organization and racket suspected

of having ties.

CLARK

It looks like Intergang has a lot

of assets.

LOIS

It sure does.

(noticing Clark's face)

What's with the bandages?

CLARK

I, uh, cut myself shaving.

(pivoting)

What about these guys?

Clark points to a section of the board containing five photographs connected to Bruno Manheim's picture by a string, with a label that reads "SLUMLORDS"

CLARK

Who are the Slumlords?

LOIS

It's not a title, it's a job

description. They're a cartel of

five landlords who, collectively,

own all of the residential

properties in Metropolis south of

the docks. They gouge the rent for

properties they don't pay to upkeep

and they're trigger happy about

evictions. They've got more than a

few units that are rented our year

round, but are always empty, which

suggests they're using real estate

to launder money for somebody, and

all five landlords are members of

the Church of Caine.

CLARK

Do you think they're a good angle

on Intergang?

LOIS

I've tried. They may be

comparatively small time, but

they're harder to get close to than

Luthor. All of that dirty money

buys round the clock bodyguards

and the best real estate lawyers

and criminal defense attorneys in

the state. They've got all the

resources they need to obfuscate

any connections to Intergang, and

unfortunately, the rest of their

crimes aren't technically illegal.

Clark subtly glares at the photos of the five slumlords from behind his glasses.

CLARK

That is unfortunate.

EXT. ROOFTOP. DAY.

Lex Luthor steps through a door onto the roof of a building, accompanied by Mercy Graves. There, waiting for him, are Bruno Manheim, Dolores Winters, Lewis Padgett, and Morgan Edge, with John Corbin, Whisper A'Daire, and Jack Abbot standing in the back.

DOLORES WINTERS

(smiling)

Alexander!

Lex joins the group.

LEWIS PADGETT

Why is it you're always the last

one to arrive, Luthor?

LEX

I do have a company to run, Mr.

Padgett.

LEWIS PADGETT

So does Edge.

LEX

And what does that say about

Morgan's work ethic?

MORGAN EDGE

This isn't the Friar's Club,

Luthor.

BRUNO MANHEIM

(charming)

Gentlemen! Please, bickering is

below men of our station.

DOLORES WINTERS

(smiling)

Too true! Alexander, why don't you

start off the meeting by sharing

your findings.

LEX

My research is far from complete,

Dolores. I have established a rough

baseline of the subject's

durability, speed, and power

output, but I have additional

scenarios to run, and I still need

to collect skin and blood samples.

DOLORES WINTERS

You're confident in your ability to

lure him into another test?

LEX

He will not have a choice.

LEWIS PADGETTE

Big talk, Luthor. This whole thing

has gotten bigger than any of us.

Pretty soon, the feds are going to

come around looking for this guy.

We need to deal with this now, we

don't have time for your science

experiments. Winters has experience

with the government and all of this

"Weekly World News" crap, I say she

steps in with her people and

handles this.

DOLORES WINTERS

Why, Lewis, I appreciate the vote

of confidence.

LEWIS PADGETTE

(quietly)

Yeah, yeah…

LEX

I don't think it's wise to act

aggressively against the subject

until we've gathered more data,

especially if the federal

government gets involved. We don't

want them catching wind of our

operation, and they may end up

taking care of this "Superman"

problem for us.

DOLORES WINTERS

Alexander, please, I used to work

with those people. You give them

far too much credit.

LEX

Perhaps. Nevertheless, the subject

has yet to actually attack us

directly. All of his behavior

suggests that he has some kind of

savior complex, and is easily

distracted by whatever catastrophe

is going on at the moment. Until

we know more, it isn't wise to pick

a fight with the subject unless

he presents himself as a direct

threat to our operations.

MORGAN EDGE

That sounds like optimism bordering

naivete, Luthor.

LEX

Remind me, Morgan, when was the

last time you've beaten me in

chess?

BRUNO MANHEIM

(charming)

Friends! Let's not start sniping at

each other like school girls, we're

better than that. I propose a

compromise: we keep our distance

for now while Lex continues his

observations. But, Dolores is

prepared and on standby to respond

the moment Superman threatens one

of our assets. 979 was high risk,

hit jobs always are, but I will not

allow the flow of capital to be

disrupted. If he hits us where it

hurts…

Manheim glances to the back toward A'Daire and Abbot.

BRUNO MANHEIM

… Winters sends her people to take

care of him.

Manheim looks around at the group.

BRUNO MANHEIM

Anyone have a problem with that

plan?

Silence.

BRUNO MANHEIM

Good. Onto our next order of

business…

Lex Luthor and Dolores Winters make eye contact. Dolores is smiling, but her eyes are not.

INT. CLARK'S APARTMENT. AFTERNOON.

Clark Kent stands in front of the full length mirror in his closet door, getting changed. As he takes off his dress shirt, we see that the bruises from earlier in the day have already healed considerably. He peels the bandages off of his face, revealing that the cuts are completely healed. Brainiac sits on the nightstand.

BRAINIAC

Kal-El, are you going out again?

CLARK

Yes I am.

Clark reaches into the back of his closet and pulls out one of his backup costumes, still in pristine condition, and starts putting it on.

BRAINIAC

You are not completely healed yet,

Kal-El. You should take one night

off, to rest.

CLARK

I'd say I'm at about 75%. I'm not

going to be fighting an army or

anything, I'll be fine.

BRAINIAC

Kal-El, I am concerned that you are

over-correcting for your initial

hesitance to act by pushing

yourself too far.

CLARK

You're the one who said I could get

stronger by testing my limits.

BRAINIAC

You are going beyond your limits,

Kal-El. The Terrans may use words

like "god" to describe your

capabilities, but you are still a

biological life form, who's body

requires rest and time to heal

after injury.

CLARK

I know.

BRAINIAC

Do you really?

CLARK

Brainiac, I- *sigh*

Wearing just the pants and boots of his costume, Clark walks over to the bed and sits down.

CLARK

I do have a habit of overdoing

things, don't I?

BRAINIAC

From time to time.

CLARK

I do feel guilty, Brainiac; for

every bad thing I heard about in

the news. Every time someone could

have been saved, if somebody there

had just been a little bit faster,

or a little bit stronger…

BRAINIAC

You were a child.

CLARK

I haven't been for a long time.

BRAINIAC

Running yourself ragged won't bring

anyone back, and it won't help any

of the people out there who still

need you.

CLARK

You're right. I know you're right.

Clark stands up.

CLARK

But I'm still going out tonight.

BRAINIAC

Why?

Clark walks up to his bedroom window and opens the blinds, taking a moment to think.

CLARK

All of the travel ads for

Metropolis, they always make this

place seem like a futuristic

wonderland. "City of America, City

of Tomorrow," that's the slogan.

Nothing but pictures of shiny happy

people in front of big pretty

buildings. They don't give you any

idea of…

Clark looks out the window, at the rows of buildings in his neighborhood.

CLARK

Of just how many people here need

somebody to stand up for them.

INT. PARKING GARAGE. NIGHT.

An elevator door slides open, and out steps a man flanked by three security guards. The lights come on, revealing a row of nine Italian sports cars with a collective worth in the tens of millions. The man begins browsing for the car he wishes to drive, when Superman suddenly dashes in.

SUPERMAN

Gentlemen, good evening.

The guards get in front of their boss and draw their firearms. As they do, Superman moves at super speed and grabs all of the guns out of their hands in one motion. One of the guards doubles over in pain, while the other two step back in fear.

GUARD

*GAH!*

Superman takes the three guns and smashes them together into a ball, his hands slightly crackling with blue energy as he does. The pained guard cradles one hand in the other.

GUARD

(pained)

You broke my fingers!

Superman tosses the gun ball to the side, which lands with a loud clunk.

SUPERMAN

(genuinely apologetic)

Oh, jeez, I'm sorry, man.

Superman walks past the guards and approaches the slumlord.

SUPERMAN

Do you know who I am?

SLUMLORD

(shocked)

I, uh, I think so.

SUPERMAN

So you know what I can do. So,

you'll believe me when I tell you

that every time you say "no" to me,

I am going to put my fist through

the engine of one of these cars. Do

you understand?

SLUMLORD

(shocked)

I, uh… yeah.

SUPERMAN

Good. You are going to let every

tenant in every one of your

buildings live rent free for a

year, while you spend however much

money you need to upgrade every

single property and bring them all

up to and well above code. This

will be done as quickly as

possible, even if it costs extra.

When you start charging rent again,

it will be at one third of whatever

you're charging now, across the

board.

SLUMLORD

(nervous)

You… you gotta be kidding… !

SUPERMAN

I'll take that as a "no."

Superman plunges his fist directly into the engine of the sportscar to his left.

SLUMLORD

(terrified)

OH GOD!

Superman pulls his arm out, and yanks the engine along with it. Superman holds up his arm, encased in the engine block, and looks at the slumlord.

SUPERMAN

You're going to let every tenant

live rent free, and fix up every

property with every amenity money

can buy.

SLUMLORD

You're crazy!

Superman tosses the engine block onto the roof of the next car. While it arcs through the air, Superman dashes over to the car and puts his fist through the engine at the exact moment the roof caves in.

SLUMLORD

*pathetic squeal*

SUPERMAN

We're running out of cars, and I

really hate repeating myself.

SLUMLORD

Okay, okay! You got a deal!

Superman removes his fist from the engine.

SUPERMAN

Rent free for a whole year.

SLUMLORD

You got it.

SUPERMAN

And the renovations bring the

buildings ABOVE code. Your tenants

are going to be living in luxury.

SLUMLORD

Message received.

SUPERMAN

Good. You start making arrangements

tomorrow morning. I'll be keeping

tabs on you. If you try to back out

of this, I'll know, and I'll be

back. Is there anything you need me

to clarify?

SLUMLORD

(weakly)

No, sir.

SUPERMAN

Very good. Remember to tell your

four little friends about this. If

their behavior doesn't improve,

I'll be paying visits to all of

them, too.

Superman dashes away at super speed. The slumlord falls backwards and lands on his butt and starts

hyperventilating. As he fights to catch his breath, he reaches into his coat pocket and pulls out his phone.

SLUMLORD

(struggling for composure)

*HUFF**HUFF Bruno… *HUFF* Bruno! I…

*HUFF* something *HUFF* something

just happened!

EXT. OFFICE BUILDING. NIGHT.

Through a window, we see a man sitting at a desk. He gets a phone call, which he answers, and his demeanor shifts into panic as he listens to what the caller has to say. Across the street, standing on a rooftop, Superman watches, and smirks.

WHISPER A'DAIRE

(O.S.)

Not enough to throw the rock into

the pond…

Superman turns, and to his surprise he sees two people standing behind him: a slender, pale woman with red hair, and a gruff man in a trench coat.

WHISPER A'DAIRE

… he has to watch all the ripples

it makes.

SUPERMAN

(confused)

Where did you two come from?

KYLE ABBOT

Uptown.

WHISPER A'DAIRE

We took a cab.

SUPERMAN

That's really not what I meant.

WHISPER A'DAIRE

My name is Whisper A'Daire. My

associate is Mr. Kyle Abbot.

KYLE ABBOT

Evening.

SUPERMAN

State your business.

KYLE ABBOT

He seems surprised to see us, Ms.

A'Daire.

WHISPER A'DAIRE

Indeed he does, Mr. Abbot. He seems

the sheltered type.

SUPERMAN

I said, state your-

Superman trails off, shocked at the sight before him. The bodies of Whisper A'Daire and Kyle Abbot begin to twist and contort, body parts shifting and growing and fusing together and taking on new forms with the sickening sound of cracking bone and stretching flesh. Before his very eyes, Whisper A'Daire and Kyle Abbot transform into a were-snake and a werewolf, respectively.

SUPERMAN

(quietly)

That's not…

KYLE ABBOT

… "possible?"

WHISPER A'DAIRE

Did you really think you were the

only one?

Abbot and A'Daire attack! Abbot, bounding on all fours like a wolf, makes a b-line for Superman, while A'Daire quickly slithers around to flank the man of steel. Superman launches his own offense, his fist crackling with blue energy as he punches Abbot with the force of a thunderbolt! The resulting shockwave not only sends Abbot flying back, but knocks back A'Daire as well! Abbot tumbles to a stop, his body settling in a heap of mangled limbs pointing in all the wrong directions. Superman dashes up to Abbot to inspect his condition. There's no blood, but it looks like every bone in his body has snapped, fractured, or shattered in some way, causing him to resemble a ragdoll.

SUPERMAN

(quietly)

Oh God…

Abbot begins to move! With the sick crackling and popping sound of bones breaking in reverse, Abbot's body begins to knit itself back together as the werewolf rises.

KYLE ABBOT

(quiet, smiling)

Good punch.

Superman steps back, shocked at the sight.

SUPERMAN

(stunned)

How… ?

A'Daire silently slithers up behind Superman. She unhinges her jaw, opening her mouth up into a gaping maw, and bites down hard on Superman's shoulder and neck, sinking her fangs deep into his flesh.

SUPERMAN

*just the worst sound*

A'Daire disengages, her mouth returning to normal size as Superman drops to his knees, gasping for breath.

WHISPER A'DAIRE

(licking her "lips")

Mmmmmm! He tastes like SUNSHINE,

Mr. Abbot!

KYLE ABBOT

He's not taking this well, Ms.

A'Daire.

WHISPER A'DAIRE

No, he's not. I suspect all of the

twists and excitement are a bit

less fun on the other side of it.

Whisper A'Daire slithers around and looms over Superman, who's body is tensing up as he's having a hard time breathing.

WHISPER A'DAIRE

Your blood is coagulating right

now. You are a remarkable specimen,

a human would have lost

consciousness already, but you're

still trying to summon the will to

stand. I don't know if you can

survive my venom, but I assure you,

star-child, Mr. Abbot's claws are

just as sharp as my fangs, and-

Superman's body suddenly crackles with blue energy just before he dashes away at super speed, kicking up a huge gust of wind in the process. Abbot and A'Daire watch after as he goes. Abbot smiles a big, wide, toothy, wolf-y smile as he gets down on all fours and rears back. Then, suddenly, in a burst of incredible speed, he pounces forward after his prey.

CUT TO

In a streak up blue and red, Superman crashes into a large metal dumpster (denting it slightly), bounces off, and skids to a halt on the ground in a dark alley. He pushes himself up on his knees, his muscles tense, his chest heaving as he gasps desperately for air. One of his eyes is bloodshot, and the other is red, the blood vessels burst. Superman looks down at his body, straining to shift into "x-ray vision" view, and sees that his blood is thick and sluggish and barely flowing through his veins. Superman concentrates, imbuing energy into his blood and blood vessels and heart to get the molasses thick blood flowing again. As he concentrates, he manages to catch his breath, though his breathing is still heavy. A little unsteady, Superman rises to his feet just as Kyle Abbot lands on the ground behind him almost silently. Superman turns to face the wolfman.

KYLE ABBOT

You feeling alright?

Abbot pounces at the man of steel, who catches the wolfman's wrists in his hands. The two struggle against each other in a test of strength.

KYLE ABBOT

You were faster before.

Superman falls backwards, landing on his back while keeping his grip right on Abbot's wrists until the last second before kicking upwards, sending the wolfman flying down the alley. Shakily, Superman jumps back to his feet as Abbot lands on all fours at the end of the alley.

KYLE ABBOT

Stronger, too.

As Kyle Abbot pounces, Superman grabs the dumpster and, with very slight (but still noticeable) effort, swings it around at Kyle Abbot, giving himself an opening to retreat by running out onto the street. As the dumpster collides with the wolfman, he swats it away with one mighty swing of his claws, slicing through the metal like butter.

CUT TO

Superman running down the street. His speed is certainly superhuman, but hovering somewhere around a mere 30 mph. He is looking down at his body, shifting into x-ray vision and channeling energy into his veins and heart to increase his blood flow. He looks up, and sees the x-ray image of a half human/half snake creature. He shifts out of x-ray vision as he comes to a stop in front of Whisper A'Daire. Kyle Abbot quickly bounds up behind him. Nearby, a bystander runs from the strange sight in terror.

WHISPER A'DAIRE

I'm feeling rather exposed, Mr.

Abbot.

KYLE ABBOT

Best make it quick, Ms. A'Daire.

Abbot lunges at Superman, who guards, but Abbot manages to slash into the Man of Steel's arm with his claws, deeply.

SUPERMAN

*pain sound*

Superman looks at his arm in x-ray vision for a moment, and sees that his blood flow is beginning to slow again. A'Daire comes in, constricting the man of steel like a boa! Superman struggles against the snake's coils as Abbot approaches him, sliding a single talon-like claw down along his check, drawing molasses-like blood. Superman's eyes begin to crackle with blue energy. He takes a deep breath and he concentrates, infusing the air around him with energy and shooting out a powerful sphere of force, knocking Abbot flying back through the air and forcing A'Daire's coils off of him. Superman grabs A'Daire by the tail and spins around, throwing her into the air and sending her flying at least a mile away. As Abbot turns to look in shock at his partner flying through the air, Superman dashes away at super speed.

CUT TO

Superman, running around the streets of Metropolis, darting and turning quickly around corners as the world around him turns into a blur. He's holding his breath, his face red and every muscle in his body tense. In addition to the cut on his face, a trickle of black molasses-like blood is running down from his nose. He skids to a halt in the street as he rounds a tight corner, and he spots his salvation: the 24 hour pharmacy.

INT. PHARMACY. NIGHT.

A lone pharmacist manages the counter, bored out of his mind, when suddenly Superman darts into the store, stumbling to the ground before picking himself up by practically hoisting his upper body over the counter.

SUPERMAN

(dying)

blood thinners! need!

PHARMACIST

You, uh, need a prescription…

SUPERMAN

(dying)

dying now! need… now…

PHARMACIST

Right, right…

The pharmacist scrambles into the back, grabbing the first bottle of blood thinners he can find, and runs back to give it to the man of steel. Superman takes the bottle, rips it open, and swallows its entire contents in one go. He falls to the ground, his face red, pupils completely contracted and eyes bulging slightly, as every muscle in his body tenses. He concentrates the mighty energy of his Kryptonian cells into his bloodstream, reinforcing the veins and capillaries while speeding up blood flow and helping his body metabolize the medicine. After a moment's struggle…

SUPERMAN

(gasping for air)

*GASP!*

Superman relaxes and begins to regain his breath. He looks up at the pharmacist.

SUPERMAN

(exhausted)

Thanks…

Superman glances at the pharmacist's name tag.

SUPERMAN

(exhausted)

… Tony.

TONY

No problem.

BEAT

TONY

You want something to eat?

CUT TO

Superman and Tony sitting side by side on the counter, both eating pastries.

TONY

So, it's cool you're hanging out

and everything, but, like, don't

you have better places to be?

Y'know, guy like you?

SUPERMAN

The people I was fighting might

come around here looking for me. I

don't want you to be alone if that

happens.

TONY

(glancing at superman's

wounds)

They gave you those?

SUPERMAN

Yeah.

TONY

I appreciate the company.

SUPERMAN

I appreciate the food. And the fact

that you probably saved my life.

Thank you.

TONY

Don't sweat it.

SUPERMAN

I promise, I'll pay for everything.

TONY

Don't worry about it, I'll take

care of it.

SUPERMAN

I can't ask you to do that, I'll

just-

TONY

My husband was on the 979. I'll

cover it.

Superman smiles.

SUPERMAN

Well, I'm at least paying for my

food.

TONY

You really don't-

SUPERMAN

Listen, we're going to have to come

to a hospitality compromise, here.

Superman reaches back toward the inner mid section of his cape and unbuttons a hidden pocket with money in it.

TONY

You keep your money in your cape?

SUPERMAN

Where else would I keep it?

Superman glances out the front window, and sees two figures standing across the street, staring at him: Whisper A'Daire, and Kyle Abbot, in human form once again. Superman stands up, and Tony glances out the window.

TONY

Are these-?

SUPERMAN

Tony, wait in the back.

Tony runs to the back as Superman stares at the two villains through the window.

CUT TO

A'Daire and Abbot standing on the street.

WHISPER A'DAIRE

He appears to have recovered

somewhat, Mr. Abbot.

KYLE ABBOT

That's never happened before.

WHISPER A'DAIRE

Most distressing.

Abbot glances at the entrance, noticing the cameras, and around at the nearby windows with lights still on.

KYLE ABBOT

Cameras. And witnesses.

WHISPER A'DAIRE

He is a tricky one to pin down,

isn't he?

KYLE ABBOT

Not hard to cut, though.

WHISPER A'DAIRE

(smiling)

No, not at all.

CUT TO

Back inside the store, Superman watches the two villains. He can see A'Daire smile, and nod, and the two turn and leave. Superman sighs in relief and slumps back down in his chair.

SUPERMAN

(shouting)

You can come back now, Tony!

INT. LOIS LANE'S APARTMENT. NIGHT.

Lois Lane is sitting on her tiny couch, watching the news. The coverage is about a new Superman sighting, this one involving "monsters." Lois' phone rings.

LOIS

Hello?

CLARK

(phone)

Hey, Lois.

LOIS

Smallville, have you seen the news?

CLARK

(phone)

Not yet. Listen, I wanted to let

you know ahead of time that I'm

calling in sick tomorrow.

LOIS

You alright?

CLARK

(phone)

I'm exhausted, and I feel like I

might be coming down with

something… I think all the

excitement is just starting to

catch up with me, y'know?

LOIS

Alright. Well, take care of

yourself.

CLARK

(phone)

I'll only be out for one day. I'll

see you the day after tomorrow.

LOIS

Alright, see you then.

Clark hangs up the phone. Lois looks down at the phone, gears turning in her head.

INT. LEX LUTHOR'S OFFICE. NIGHT.

Lex Luthor sits at his desk, alone in his enormous dark office, shadows surrounding him on all sides as he works by the light of a single desk lamp.

LEX

Your people didn't fare much

better, did they?

Dolores Winters steps out of the shadows and walks toward Lex's desk.

LEX

Do you really think he won't

retaliate after tonight?

Dolores stands in front of Lex's desk and places two glass vials in front of him.

LEX

(suspicious)

What's this?

DOLORES WINTERS

(smiling)

Skin and blood samples.

THE END

Chapter 5: The Life and Times of Superman, Chapter 5

Summary:

Superman's gal and Superman's pal find themselves in a sticky situation!

Chapter Text

INT. CHURCH OF CAINE. MORNING.
Several dozen people sit in a meeting hall in front of an empty stage, waiting. The door to the hall, the one they all entered through, opens, and everyone turns to see Bruno Manheim, the man they came here to see, walking in from the lobby. A murmur spreads through the crowd as he walks down the aisle toward the stage, quietly greeting audience members as he passes by.

BRUNO MANHEIM
Good morning. Thanks so much for
coming out.

As Manheim approaches the stage, the murmur grows into polite applause. Manheim walks up onto the stage, takes the microphone from the podium, and then sits down on the stage in front of the podium.

BRUNO MANHEIM
How's everybody doing today?

Even louder applause. Smiling, Manheim waves his hand to signal for the applause to die down.

BRUNO MANHEIM
(charming)
Alright, alright, stop! You're
embarrassing me. C'mon, people, I'm
not a rock star. I'm just a guy, just
like any of you. That's the whole
point. Nobody deserves praise just
because their face is on TV, or they
hold some high rank or office. No one
deserves anything.

Manheim stands up and begins pacing in front of the audience.

BRUNO MANHEIM
Look at the story of Caine. The Lord
said to Caine and Abel, "bring to me
your finest offerings, so I may show
my favor to the one who most pleases
me." Caine offered up the yields of
his crop, and Abel offered the game he
had hunted. God preferred the steak
over the salad, and so Abel won the
Lord's favor. They had a contest, they
both tried their darnedest, and the
judge inevitably chose one over the
other, nothing there anyone could
argue with. Except our boy Caine.
Caine thought he DESERVED to win. He
was JEALOUS of his brother.
Entitlement and jealousy. Huh, why
does that sound familiar?
This gets chuckles from the crowd.

BRUNO MANHEIM
And so, as the story goes, Caine
bashes his brother over the head with
a rock, lies to god about it, which is
a bold choice...

Manheim pauses as the crowd chuckles again..

BRUNO MANHEIM
... and he is cast out into the
wilderness. Alone. With no one to
blame, or to rely on, but himself.

Manheim pauses for dramatic effect.

BRUNO MANHEIM
(charming)
Just for clarity: Caine is us, it's a
metaphor thing I do, I just wanted to
make sure... okay, everybody got it?
There was a lot of confusion in my
first seminar, and I just... okay, cool...

Manheim pauses for laughter from the audience. As his fans chuckle at his charm, the door to the meeting hall opens. JOHN CORBIN pokes his head in and makes eye contact with Manheim. Corbin steps to the side and opens the door wider, revealing the SLUMLORDS from the previous episode are waiting in the lobby.

INT. OFFICE.
Bruno Manheim steps into his office, followed by Corbin and the slumlords.

BRUNO MANHEIM
Gentlemen, I've told you why I don't
hold meetings like this on church
property.

SLUMLORD 1
(sarcastic, angry)
Oh, I'm sorry, Bruno. I know that this
is an important, personal place for
you. It must feel almost violating to
have business problems playing out in
this space. I bet it ALMOST feels like
AN ALIEN PUTTING HIS FIST THROUGH MY
1962 FERRARI 250GTO!

BRUNO MANHEIM
I already have people on it-

SLUMLORD 1
Is he "already" dead?!

BRUNO MANHEIM
Do you think killing a man who can
lift a plane over his head is
something quick or easy?

SLUMLORD 2
Mr. Manheim, I don't know what you're
involved with; there are stories going
around about Superman fighting a
werewolf and a giant snake... honestly,
sir, I don't care about any of that.
Whatever you have to do to keep him
off of our backs is fine with me, but
we're going to need faster results.

BRUNO MANHEIM
The people I have on it assure me he
received their message loud and-

SLUMLORD 3
What if he doesn't scare easy,
Manheim? What if he starts hounding us
even harder, as retaliation for that
sideshow of a hit job?

SLUMLORD 1
This doesn't just hurt us, Bruno. If
we end up having to give in to his
demands, the only way we could pay for
it without bankrupting ourselves is by
selling the empty properties that
you've been using to clean your dirty
money.

BRUNO MANHEIM
I have a contact at Lexcorp, if they
can arrange for Lexcorp land
acquisitions to-

SLUMLORD 3
That's not a long term solution,
Manheim!

BRUNO MANHEIM
What do you expect me to do? You want
me to kill him? The only people I know
who stand a chance tell me they're
working as fast as they can!

SLUMLORD 1
For starters, we'd like you to do
something about the reporter, Bruno.

BRUNO MANHEIM
Lane?

SLUMLORD 1
My people caught her snooping around
some of my properties last year, the
ones I rent out to you. Superman saved
her partner from Pagett's boys, and
she's the one who interviewed him, and
then the next night, he comes after
me. It looks to us like she's been
collecting information about the
people you work with for a while, and
now she's feeding it to Superman.

BRUNO MANHEIM
It is starting to seem that way.

SLUMLORD 1
If you really want to send him a
message...

BRUNO MANHEIM
No, you're right. I agree completely.

On cue, John Corbin exits the office.

BRUNO MANHEIM
Luckily, I have a guy for these things.

INT. CLARK'S APARTMENT. DAY.
Clark is laying on the couch in his pajama pants, his injuries bandaged, watching TV. Brainiac sits on the coffee table.

BRAINIAC
Kal-El, I have completed a manual
review of all of my databases relating
to Terran and Kryptonian fauna.

CLARK
And?

BRAINIAC
Zero direct matches.

CLARK
(disappointed)
Oh.

BRAINIAC
One hundred and ten thousand, one
hundred and fifty two indirect
matches.

CLARK
Huh?

Brainiac projects holographic images into the air, translucent green renderings of several scenes captured in the Kryptonian archives. Included among them: a large humanoid figure, seemingly made of vines and moss, approaching a tree line and merging with it; an image of a city street in the 1930s, where a hooded spectral figure can be seen standing in an alleyway, before the figure's haunting face flashes across the entire image for just a split second and then disappears, leaving only the empty alley behind; a deep sea image of an aquatic humanoid figure swimming by in the murky depths; a man dressed as a magician, top hat and coattails and all, walking down a side street named "Danny Street," which disappears completely after the fog rolls in and out.

BRAINIAC
Kryptonian deep-space probes
documented over one hundred and ten
thousand anomalous cases in their
survey of Terran fauna, but were never
able to acquire an anomalous subject
for study.

CLARK
Why not?

BRAINIAC
One hundred and ten thousand is a very
small fraction of the twenty
quintillion distinct life forms on
Earth.

CLARK
That makes sense.
(thinking about it)
Did the probes ever acquire any
subjects to study?

BRAINIAC
Yes. Hundreds of thousands.

CLARK
Are... is Krypton where UFOs and
abductions come from?

BRAINIAC
Partially, for certain.

CLARK
Partially?

Brianiac's hologram changes, showing an image of the milky way galaxy. A little green arrow points to one outer spiral arm.

BRAINIAC
Earth is a habitable planet with a
diverse ecosystem and post-industrial
society that is cut off from the rest
of the civilized galaxy by a vast
expanse of largely empty space, all
alone out on the rim. As an
uncontacted ecosystem, it is a
valuable resource for study and
experimentation for researchers across
the galaxy.

CLARK
If lots of alien scientists are coming
here, maybe all of this weird stuff is
other aliens?

Brainiac's hologram shifts again, showing many images, including a winged humanoid figures flying through the air in ancient Egypt, and an image of a man in a cape and green armor wearing a glowing green ring, standing on a rooftop against a night sky that includes a tower sporting the name "WAYNE" at the top.

BRAINIAC
This was confirmed in a small
percentage of cases, but even
accounting for such instances,
available evidence suggests that at
least 75% of documented anomalies are
terrestrial in origin.

The holograms shut off.

CLARK
Okay, monsters are real. And two of
them work for Intergang.

BRAINIAC
With claws and fangs sharp enough to
pierce your skin.

CLARK
Yeah, I remember, Brainiac.

BRAINIAC
What does that mean for you, going
forward?

CLARK
It means I need to get faster.

BRAINIAC
How do you intend to do that?

CLARK
I don't know. Wind sprints, maybe?

Clark uses the remote to raise the volume on the TV. He is watching Vickie Vale, of Gotham Global News, reporting on "The Superman."

VICKIE VALE
(T.V.)
... less than 24 hours after his
historic interview with The Daily
Planet's Lois Lane, "The Superman" was
sighted in northern Queensland Park.
The initial sighting, which I remind
our audience, we have no video or
photography for, alleges he was
fighting, quote, "the wolf man and a
giant snake with arms."

The TV cuts to black and white footage of the pharmacy's security cameras, showing last night's events from their POV. In the low quality footage, Superman's eyes are hauntingly white and bright, and the effect makes the video around his face very slightly fuzzy.

VICKIE VALE
(T.V.)
In the second incident, security
camera footage shows Superman
stumbling into a pharmacy, demanding
medical assistance. Later, the footage
shows him sharing snack foods with
with Pharmacist, which he paid for
using money from a pouch on the inside
of his cape. We talked to the
Pharmacist, Tony Rogers, who said
"Superman was really friendly and
polite. He offered to pay for the
medicine, but I insisted I'd cover it.
It's the least I could do, after he's
saved so many lives."

Clark smiles as he watches this part of the broadcast.

INT. DAILY PLANET. SUPPLY CLOSET.
Lois Lane stands in her thinking closet, staring up at her conspiracy theory board. She keeps looking back and forth between the Slumlords, Bruno Manheim, and the newest addition, hanging higher up on the wall and connected to the whole board by a string: Superman. SUDDENLY, light floods in as the door opens. Lois turns to see Jimmy the intern.

JIMMY
Chief wants to see you.

CUT TO

Lois and Jimmy, standing with Perry White by his desk at the center of the bullpen.

PERRY
I want to make this clear: I'm not
angry. This was a communication
problem. Things have changed a lot
around here in a short amount of time
and I thought the nature of some of
those changes was obvious. But, upon,
reflection, I can see why they would
not be obvious to you, so believe that
I am not angry when I say this to you:
(kinda angry)
Why in god's name are you HERE, Lois?

LOIS
Unless you're telling me otherwise, I
do work here, chief.

PERRY"
The pharmacy, Lois. It clearly has not
occurred to you that, as of four days
ago, we are the "Superman" newspaper,
and as of two days ago, you are our
"Superman" correspondent. Go to the
pharmacy, talk to the guy who was
there, write a story about it.

LOIS
But, Perry-

PERRY
Do you want to continue working here?

LOIS
You can't fire me, Percival. I'm your
"Superman correspondent." You need me.

PERRY
You're right. And we can sit here and
argue all morning, and you will
discover that, despite my 30 years on
the job, I am still more stubborn and
posses more stamina than you, Lois
Lane.

LOIS
That is a bold claim.

PERRY
Care to test it?

BEAT
Lois turns away from Perry.

LOIS
(quietly)
I'm taking Jimmy the intern.

PERRY
(smug)
Thank you very much.

INT. PHARMACY. DAY.
Lois and Jimmy walk into the pharmacy, where they are greeted by two familiar faces: Maggie Sawyer, who is standing off to the side looking annoyed and embarrassed, and Dan Turpin, who is berating the cashier.

TURPIN
You give the tapes to the TV news but
not the police? What, you got some
kind of arrangement?

CASHIER
I don't even know where the security
room is, sir. I'm not even a
pharmacist, I'm just a cashier.

TURPIN
You expect me to believe they didn't
leave anyone competent in charge here?

CASHIER
... yes!

Turpin is distracted by the clicking sound of Jimmy Olsen rapidly photographing the encounter, and turns to see the two incoming journalists.

LOIS
We interrupting something?

TURPIN
(annoyed)
You.

MAGGIE
Can we help you, Lois?

LOIS
I didn't know going to the pharmacy
required permission from the police,
Detective Sawyer.

Lois walks up to the counter, scooching in passed Turpin. Jimmy continues to rapid fire photograph everything.

LOIS
'Scuse me.

TURPIN
(authoritative)
Police business!

Lois pulls out her wallet.

LOIS
I'm a paying customer, sir. Excuse me.

Lois turns to the cashier.

LOIS
I'll take a packet of salted peanuts,
that mango juice in the cooler... could
you grab me that copy of Feast
Magazine behind you?

The cashier and Lois assemble her items for purchase while Turpin stands behind her, annoyed and impatient.

CASHIER
$12.99

LOIS
Awesome. Also, can I speak with Tony
Rogers, please? Is he here today?

CASHIER
They gave Tony the rest of the week
off. Like I keep trying to tell these
two, I'm the only one here right now,
and I'm just the cashier, so I don't
have the keys to any of the important
stuff. I can't fill any prescriptions,
and I can't get into the security
room.

Lois collects her things and leaves a business card on the counter.

LOIS
I understand. Any chance you could try
and pass my card along to Tony or
someone he knows?

CASHIER
Yeah, sure.

LOIS
Thanks so much. Have a nice day.

Lois disengages from the conversation and turns to Jimmy.

LOIS
Let's go.

They start to leave. Both Maggie and Turpin look annoyed. Only Maggie looks embarrassed, and only Turpin looks angry. Turpin follows after Lois to argue on the way out of the store.

MAGGIE
Dan, no...

TURPIN
You've got a lotta nerve, lady.

LOIS
For having social skills?

TURPIN
You're interfering in police business.

LOIS
This doesn't look like a crime scene
to me.

TURPIN
(quietly)
Not yet, anyway...

JIMMY
(incredulous)
You said that a couple of days ago.

TURPIN
So what if I did?

As they pass through the pharmacy entrance, Jimmy photographs Turpin, eliciting a scowl from the cop. Lois comes to a stop on the street outside, and Turpin and the others stop with her.

LOIS
What exactly are you investigating
here, Dan? Nothing was stolen, no one
died, so...

TURPIN
You think I'm ever giving you a quote
again, Lane?

MAGGIE
Reel it in, Dan.
(to Lois)
Detective Turpin and I are the heads
of the Metropolis PD's new "Superman
Task Force." It's not a secret,
there's going to be an official
announcement in a few hours at city
hall, and no, I have no comment for
about it at this time.

Jimmy gets in Maggie's face with his camera.

JIMMY
So, were you guys already at the other
places where Superman was spotted last
night?

Maggie looks directly into the camera.

MAGGIE
(stern)
No comment at this time.

Jimmy disengages and stands beside Lois.

JIMMY
I'll take that as a "yes."

LOIS
It would explain why they arrived here
too late to get the security tapes
before TV news did.

TURPIN
Keep talking, Lane. Just keep talking.

LOIS
That was the plan, Dan.
Jimmy raises his camera again.

JIMMY
So, what's the police department's
official stance on Superman?

MAGGIE
(to Lois)
Let's not rile him up even further.

LOIS
Wouldn't dream of it. C'mon, Jimmy!

Lois hooks Jimmy's arm and drags him away. Turpin and Maggie watch them leave.

TURPIN
I do not like that woman.

MAGGIE
(sarcastic)
It doesn't show.

INT. PARKING GARAGE.
Jimmy and Lois get into Lois' beat up red car.

JIMMY
That was a short trip.

LOIS
At least I got snacks.

Lois starts the car and begins to pull out, but a large black car suddenly pulls up behind her, boxing them in.

LOIS
(quietly)
Oh boy...

Lois reaches into her glovebox and pulls out a cylindrical object.

LOIS
(serious tone)
Jimmy, stay in the car.

Lois gets out and opens the collapsible baton in her hand.

LOIS
If you're trying to do anything more
than scare me, let me remind you that
it's the middle of the day and I am
very-

Lois looks around. The black car's engine is shut off. There is no one in the driver seat, and no one around in sight.

LOIS
(quietly)
- loud?

Behind Lois, silently, a man dressed in a black turtleneck, pants, boots, gloves, and a green metallic mask, slides out from under the car right next to Lois'. He stands, and quickly smothers Lois' face with a chemical-soaked rag. Lois struggles briefly, but quickly begins to lose consciousness. The baton falls to the ground with a clatter. As Lois' masked assailant holds up the dead weight of the half conscious reporter, he looks into the window of Lois' car and makes eye contact with the terrified Jimmy.

INT. FACTORY BASEMENT.
As Lois Lane stirs, dragging herself back into the waking world, she finds herself sitting in a wooden chair, her legs bound by duct tape and her wrists handcuffed behind her back. She looks up, and sees the man in the green mask standing in front of her. Behind him, there are several monitors showing security footage of the exterior of a factory. At his feet are Lois' bag, her laptop, and a handcuffed Jimmy Olsen.

JOHN CORBIN
Please, don't scream.

LOIS
I'm not the type.

Corbin picks up the laptop.

JOHN CORBIN
I want you to give me your password.

LOIS
No.

JOHN CORBIN
You're not exactly in a position to
negotiate, Ms. Lane.

LOIS
I most certainly am. The only reason
you want into my laptop is to steal my
data, or plant evidence to help you
cover your tracks when you kill us.
Either way, I have something you need.
That is the only power I have in this
situation, I'm not giving it up just
because you say so.

Corbin chuckles softly. He gestures at Lois with the knife in his hand.

JOHN CORBIN
I like you. You're not wrong about how
this is going to play out.

Corbin grabs Jimmy by his hair and hoists him up, holding the knife up to his throat.

JIMMY
*hyperventilating*

JOHN CORBIN
So, what do you you want the last
thing you ever see to be?

LOIS
(nervous)
Strong counter-offer.

Jimmy and Lois share a moment of eye contact. Jimmy is terrified.

LOIS
(quiet)
Okay, I'll do it.

Corbin drops Jimmy to the ground.

JOHN CORBIN
Well?

LOIS
It has more than one layer of
security. I need to scan my thumbprint
to open it.

Corbin gestures at Lois with his knife.

JOHN CORBIN
That won't be a problem for me.

LOIS
Allow me to die with some modicum of
dignity?

Corbin approaches Lois and gets right up in her face. The two stare into each other's eyes for a moment.

JOHN CORBIN
... okay.

Corbin picks the laptop back up and moves around behind Lois. He crouches down, grabbing Lois by the wrist. Acting fast, Lois grabs her right thumb in her left hand and pulls upward with her elbow as hard as she can, dislocating her thumb and smashing Corbin in the chin, an area unprotected by his mask.

JOHN CORBIN
*pain*

Lois pulls her hand out of the cuffs, freeing her arms, and falls backwards, pinning Corbin down on the ground under her. Lois reaches over to the knife, which fell out Corbin's hands and onto the ground when she struck him, and uses it to cut her legs free of the duct tape. Quickly and awkwardly, Lois scrambles to her feet, knife in hand, and picks up Jimmy.

LOIS
We're going!

JIMMY
Good idea!

Dragging Jimmy along behind her, Lois moves as fast as she can for the freight elevator at the end of the hall. She slams into the call button, hitting it several times, and sighing with relief as the doors open. She throws herself and Jimmy into the elevator and immediately hits any button but the floor they're on. The two try to catch their breath, but as the elevator doors begin to close, a hand reaches in, grabs Jimmy, and pulls him back out of the elevator just as the doors shut. Through the grate door of the service elevator, Lois looks into John Corbin's eyes as he takes Jimmy hostage. They maintain eye contact as the elevator rises to the upper floors.

CUT TO

John Corbin dragging Jimmy back to the initial spot where he was holding the two captives.

JIMMY
Are you going to kill me?

JOHN CORBIN
I'll let you know in a minute.

Corbin goes to his monitors. He watches for a moment.

JIMMY
What are-?

JOHN CORBIN
Shut up.

Corbin continues to watch. Nothing happens.

JOHN CORBIN
She's a clever girl.

JIMMY
What are you talking about?

JOHN CORBIN
She knows that I need both of you. If
she leaves this building to find help,
I have no reason to stay here, and no
reason to keep you alive. It's your
lucky day, Jimmy the intern...

CUT TO

INT. SUPPLY CLOSET.

JOHN CORBIN
(O.S.)
... looks like your boss is trying to
save your life.

Lois Lane is kneeling in a dimly lit supply closet. She pops her thumb back into its socket, and wraps her hand in duct tape to hold it in place. She begins looking around at the few meager supplies she has scrounged together: the stolen knife, a wrench, a rusty old can of aerosolized spray paint, and a moldy old book of matches. She pockets the paint and the matches and picks up the knife and the wrench. She heads back out into the hall, and begins silently walking down it. She approaches the door at the end of the hall, and quietly as she can, gently nudges it open and peers inside. It is a rear stairwell. She glances down, and then returns to the hallway. Lois moves quietly back down the hallway to the service elevator she escaped through. She glances down the length of the hallway to the door at the end. Lois removes her shoes, placing them on the floor beside the elevator, and moves as quickly and quietly as he can on her tiptoes to the door at the end. When she arrives, she thinks for a moment, and smiles.

INT. FACTORY BASEMENT.
John Corbin sits in the wooden chair, with Jimmy at his feet, waiting. Suddenly, a loud *CLANG sound can be heard. Corbin immediately gets up.

JOHN CORBIN
(quietly)
Wait here.

Corbin walks away.

JIMMY
(sarcastic)
Yeah, no problem.

BEAT

On the other side of the room, an emergency exit door opens, and Lois Lane moves as quickly and quietly as she can up to Jimmy.

JIMMY
(startled)
Lo-?

Lois silently shushes Jimmy. Using the knife, she cuts his feet free and helps him up. The two quickly head for the exit.

CUT TO

The doors of the service elevator slide open, and Corbin steps in. He looks around for the source of the noise. He looks up, and sees, through the grate-like ceiling of the elevator a large wrench resting on top.

INT. FACTOR HALLWAY.
The rear exit door opens, and out step Lois and Jimmy. Jimmy is rubbing his wrists now that the cuffs are off.

JIMMY
Lois, you-

LOIS
Later, okay?

As they run down the hallway, searching for a proper exit, the elevator doors slide open and Corbin steps out, brandishing a gun. Instincts kicking in, Lois immediately sidesteps and swats Corbin's gun hand away, causing a loud BOOM to echo through the hallway as he fires and misses. As this happens, the bottle of spray paint falls out of Lois' pocket. Reacting quickly, Jimmy catches it and starts spraying Corbin in the face.

JOHN CORBIN
(pained)
YARGH!

Corbin pulls his hands to his face to shield his eyes. Lois pulls the matchbook out of her pocket and lights a match. She grabs the can of spray paint from Jimmy and sprays it at Corbin THROUGH the flame, blasting the hitman with a cone of fire.

JOHN CORBIN
*just the worst sound*

Lois grabs Jimmy by the wrist and pulls him along as she runs around and away from the flaming assassin. As they run down the hall, the sprinkler system activates behind them, raining musty old water down on Corbin.

INT. DAILYN PLACET OFFICES.
Lois is sitting at her desk, holding a cold bottle of water against her forehead. Perry is looming nearby, looking extremely worried. Not far away, Maggie Sawyer and Dan Turpin sit with Jimmy, taking his statement. The phone on Lois' desk rings.

LOIS
Hello?

CLARK
(phone)
Lois?

LOIS
Hey, Smallville.

CLARK
(phone)
Mr. White told me what happened.

LOIS
Crazy day, huh?

CLARK
(phone)
Lois, I was worried!

LOIS
I'm fine, Clark. It all turned out
okay.

CLARK
(phone)
I'm just sorry I wasn't there for you
guys.

LOIS
C'mon, Smallville, it's not like you
could've done anything.

CLARK
(phone)
Yeah. You're right, of course.

LOIS
I usually am.

CLARK
(phone)
I'm just glad you're okay.

LOIS
Me too. How're you holding up?

CLARK
(phone)
Me? I'm fine.

LOIS
You're the sensitive type, Smallville,
I can tell. There's no shame in that.

CLARK
(phone)
I'm fine. I feel totally helpless, and
that makes me feel really really
angry... but I'm alright.

LOIS
You're new to journalism, you'll get
used to the feeling. It helps to find
a constructive outlet for the anger.

CLARK
(phone)
I'll give it a try.

LOIS
I'll see you tomorrow, Smallville,
alright?

CLARK
(phone)
See you then.

Lois hangs up.

LOIS
I'm going home.

Lois stands up. Perry looks concerned.

PERRY
Lois, you-

Lois walks toward the exit.

LOIS
Not a question, Perry.

INT. CHURCH OF CAINE. AFTERNOON.
Bruno Manheim is sitting with some of the higher ranking members of the Church of Caine, enjoying scotch and cigars and having a good ol' boys time. His cell phone rings, and he answers it.

BRUNO MANHEIM
(charming)
Hello Mr. Corbin, how-
(serious)
What happened?

CUT TO

Bruno Manheim is walking quickly toward the door while talking on the phone.

BRUNO MANHEIM
(trying not to panic)
Stay where you are, John! I'll come
get you, I can have my doctor take a-

Bruno Manheim opens the front door of the Church of Caine and steps out onto the front lawn, only to stop dead in his tracks when he sees...

EXT. CHURCH OF CAINE. AFTERNOON.
Seven Italian sports cards are stacked, upside down, one on top of the other in an pile of crumpled metal and broken glass, on the front lawn of the Church of Caine.

THE END

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JonathanEHNoble on Chapter 1 Mon 20 Feb 2023 05:17PM UTC

NOTE: I edited to fix the formatting error I made when I posted this. I'll try to avoid similar errors in the future.

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meerkat_express on Chapter 1 Wed 09 Oct 2024 02:07PM UTC

I love the way you write Clark and Lois. It kinda reminds me of the Clark and Lois tv show

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cipherfresh on Chapter 2 Thu 02 Mar 2023 11:58PM UTC

Oh this is fantastic! You have Clark and Lois' characters nailed perfectly, the story is compelling and you have the screenplay style down pat. I love this!

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1. JonathanEHNoble on Chapter 2 Mon 06 Mar 2023 08:11PM UTC
  
  Thanks! Spread the word about it if you can.
  
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