notes: To pop everything into place... set top margin at 0.5", bottom margin at 0.5" left margin at 1", right margin at 7/8" (this script had a wider right margin than others) I had to tell the program my primitive printer was using legal paper NOTES: on front page LOIS & CLARK is in large, bold, underline The New Adventures of Superman is in not so large, italics "All Shook Up" is in same size font, not italicized EPISODE TWELVE, Written by: BRYCE ZABEL (and) WARNER BROS. TELEVISION are somewhat smaller, all caps Prod. 0455312, WRITER'S DRAFT (and) Nov. 11, 1993 are in courier 10. WRITER'S DRAFT is courier 10 & underlined All other text is in Courier 10 (or a nonproportional, typewriter- style 10 characters-per-inch font) OBSERVATION: This "writer's draft" is not formatted quite like other scripts... not sure why... best guess: they would later block out scenes and this would become a "production" copy typos noted: page 9: "EPRAD COMMAND AND CONTROL" part is in bold in original page 17: "consfused" is a typo in original page 19: "galsses" is a typo in original page 50: "Des Moine" spelled that way in original page 55: "anomoly" is a typo in original --page break-- LOIS & CLARK The New Adventures of Superman "All Shook Up" EPISODE TWELVE Prod. #455312 Written by: BRYCE ZABEL WARNER BROS. TELEVISION _WRITER'S DRAFT_ Nov. 11, 1993 --page break-- _LOIS & CLARK_ _The New Adventures of Superman_ _"All Shook Up"_ _TEASE_ FADE IN: EXT. DAILY PLANET BUILDING - (DAY #1) In the middle of busy Metropolitans hustling to and from work, LOIS and CLARK wait at an outdoor cappuccino bar, "Daryl's Coffee Cart." CLARK I love the morning. Anything's possible in the morning. LOIS I hope so. Because, as of this moment, we don't even have the tiniest fragment of something that might someday, with a lot of work, resemble a story. CLARK C'mon. We had a great story yesterday. LOIS You know Perry. You're only as good as today. The VENDOR hands them cups. VENDOR (to Lois) Short non-fat mocha, decaf, no foam, no sugar, no whipped. (to Clark) Grande latte, full caf, whole milk, three sugars. Lois and Clark take their coffees, move off down the street. LOIS Still on that health food kick, I see. CLARK Life's short, Lois. Order what you want. (CONTINUED) --page break-- ALL SHOOK UP 2. CONTINUED: LOIS Life is long, Clark. And you are what you eat. (Checks him out) Most of us, anyway. As they continue to walk, the light begins to fade. It's getting DARKER and darker. CLARK What's going on? LOIS Solar eclipse? CLARK They always announce them. Now it's completely DARK. But it's daytime which means there were no street lights on. They hear the sound of a CAR HORN BLARING. CLARK'S POV - THE STREET With the use of his super-vision, in the form of _NIGHT VISION_, Clark scans the street. He sees a car which has missed a turn in the sudden darkness, bearing down on them. LOIS (V.O.) Clark? BACK TO SCENE Clark steps out into the street. He puts out both arms _STOPPING THE CAR AND DIGGING IN_. The force of the car pushes him back. As DAYLIGHT returns, WE SEE streaks on the asphalt where Clark's feet dug in, and smoke coming from his shoes. As Clark completes the save, he flings himself backward into a pile of plumbing supplies being unloaded, knocking himself on the head in the process. LOIS Clark! Lois runs to Clark. He feigns being dazed, holds his hand to the back of his head. Lois checks him out. LOIS (Cont'd) Are you all right? You're not bleeding. (CONTINUED) --page break-- ALL SHOOK UP 3. CONTINUED: CLARK (sitting up) I think so. What happened? LOIS The sun just blacked out. But why? CLARK Good question. LOIS Yeah. But it's going to be an even better story. (pulling him up) Come on. This could be our lucky day. Clark looks up at the sun and squints, as we: FADE OUT. _END OF TEASER_ --page break-- ALL SHOOK UP 4. _ACT ONE_ FADE IN: EXT. EPRAD COMMAND & CONTROL CENTER - DAY Extra Planetary Research and Development. The Metropolis-based nerve center of the space program. DAITCH (V.O.) That concludes our presentation on the so-called 'Nightfall' asteroid. Phones are available for those of you who need to file your stories immediately. A door flies open and a pack of unruly reporters bursts forth in a feeding frenzy, targeting a bank of pay phones. Lois surveys the situation. More reporters than phones. Indicates TV reporter FRANK MADISON, on her heels, to Clark. LOIS Take out Madison behind you. CLARK Lois, these TV guys all get on the air before our afternoon edition anyway. Lois sighs, gives Clark a push which sends him bumping into Madison. CLARK (Cont'd) Sorry. Sorry, I... Lois takes advantage of the moment, cuts through the crowd like a quarterback. She ends up lifting a receiver off its hook a nano-second before the competition. She taps out a number as Clark approaches. CLARK (Cont'd) Was that really necessary? LOIS Kill or be killed. CLARK You're talking about war. This is journalism. LOIS See? Your problem is you think there's a difference. (into phone) Perry? Lois. (MORE) (CONTINUED) --page break-- ALL SHOOK UP 5. CONTINUED: LOIS (CONT'D) Okay, it was definitely a solar eclipse, but get this, it was caused by this huge asteroid nobody's ever heard of before. I think there's more here than they're telling us... Lois continues. Clark looks around, sees EPRAD Chief Scientist STEPHEN DAITCH approaching. Daitch is a Carl Sagan-type astronomer. DAITCH Mister Kent? Might I have a moment? Clark nods, takes a few steps away so that they can talk privately. CLARK Is there an update to the briefing? Daitch shakes his head, but his face is tight, leaving no room for idle conversation. He gets to the point. DAITCH I understand the Daily Planet has a 'special' relationship with Superman. CLARK (carefully) We've gotten our share of exclusives. DAITCH Can you get a message to him? CLARK I could try. DAITCH I need to see him. Here. This evening. CLARK What's the message? Daitch shakes his head again. He sees Lois getting off the phone, turns to Clark. DAITCH Please. Daitch takes off. Lois approaches Clark. (CONTINUED) --page break-- ALL SHOOK UP 6. CONTINUED: 2 LOIS What'd he want? CLARK He was just saying what a big fan he is of our Superman coverage. LOIS (skeptical) Huh. INT. DAILY PLANET - CONFERENCE ROOM - (NIGHT #1) PERRY enters. The room is full of staffers who include Lois, Clark, JIMMY, CAT, etc. PERRY Okay, people, I know we're working late, but this is a big one. I got us an extra half-hour before we go to press. Let's make the most of it. (to Lois, Clark) Lane, Kent. One of you should be writing. Lois and Clark trade looks. Clark indicates he wants to take it. LOIS Go ahead. Clark takes off. INT. DAILY PLANET - LOIS'S DESK - NIGHT At _SUPER-SPEED_, Clark flips through his Reporter's Notebook. He examines several pages of copy on the desk and begins to edit the story in a blur on the word processor. He scrawls a note on a pad. It reads: "Lois, be right back. CK." INT. DAILY PLANET - CONFERENCE ROOM - NIGHT Perry now turns his attention to Jimmy. PERRY Jimmy, how's the lab coming with the slide from the telescope? JIMMY They said it'd be ready on time. (CONTINUED) --page break-- ALL SHOOK UP 7. CONTINUED: PERRY I want you to go down to the lab, grab one of those folding chairs, set your fanny down and wait. The second that picture's ready, I want it in lay-out. JIMMY Okay, but I was thinking I could be more help... PERRY (glares at him) Jimmy, I an in the 'order mode,' not the 'discuss mode.' Now which one are you in? JIMMY The, uh, 'Grab-A-Chair-At-The-Lab Mode.' LOIS Good choice. Jimmy takes off. Perry turns to Cat. PERRY Now, Cat, where were you when the lights went out this morning? CAT In bed. LOIS What a surprise. PERRY I'm talking side-bar here, ladies. Cat, I want you to call all those big names in that Rolodex you keep locked up in your desk and get me some human interest. If you need help, ask Applegate. Applegate smiles at Cat, eager to get the chance. Cat turns to Perry. CAT I work alone. PERRY Then do it fast. (claps hands) Okay, boys and girls, it's show time. Let's go. CUT TO: --page break-- ALL SHOOK UP 8. EXT. ABOVE METROPOLIS - NIGHT SUPERMAN is in flight. This is not a leisurely glide, but _RAPID TRANSIT_. CUT TO: INT. EPRAD COMMAND & CONTROL - VIEWING ROOM - NIGHT Daitch has his eye glued to the eyepiece of a huge telescope. Wind blows across his face and he hears a WHOOSH. Superman has arrived. SUPERMAN You wanted to see me, Professor Daitch? DAITCH (startled) Superman! SUPERMAN Mind if I take a look? Daitch steps aside to allow Superman access to the eyepiece. DAITCH I thought you had enhanced visual abilities. SUPERMAN I do. But I have my limits, too. Superman puts his eye to the eyepiece. INSERT - THE ASTEROID A large chunk of the cosmos, hurtling through space. BACK TO SCENE Superman steps back from the telescope. SUPERMAN Fascinating what kind of surprises the universe can turn up, isn't it? DAITCH 'Nightfall' is close to seventeen miles across. It's travelling close to 30-thousand miles an hour. (CONTINUED) --page break-- ALL SHOOK UP 9. CONTINUED: SUPERMAN You told Kent and the other reporters as much at the news conference. Why an I here? Daitch makes a few quick strokes on a nearby keyboard. It calls up a stylized, digital countdown on a big screen behind them, complete with the EPRAD space logo. The clock reads the hours, minutes and seconds as they count down. EPRAD COMMAND AND CONTROL 99:54:23 Estimated Time to Impact DAITCH If my calculations are correct, in a little over four days, it's going to hit the Earth. (beat) The sky, literally, is falling. SUPERMAN What kind of damage could that cause? DAITCH (nods) Superman, this could knock the Earth off its axis. Even throw us out of our current solar orbit. It's far larger than the meteor that caused the extinction of the dinosaurs. The crater alone will throw enough dust into the air to start a new ice age. Superman's brow furrows. DAITCH (Cont'd) I know this is a lot to get used to. SUPERMAN No. It's not that. But we're not alone. Superman speaks to a nearby door. SUPERMAN (Cont'd) Might as well come out, gentlemen. I know you're there. The door opens. A military man with all the medals to prove it, GENERAL ZEITLIN, approaches. He's followed by a high-ranking member of the government, JOHN COSGROVE. (CONTINUED) --page break-- ALL SHOOK UP 10. CONTINUED: 2 ZEITLIN Superman, my apologies. We felt you should hear the news from Professor Daitch before we were introduced. (extends hand) I'm General Robert Zeitlin. This is Secretary John Cosgrove. Everyone shakes hands, says hello. SUPERMAN You can't keep this a secret. COSGROVE The President will tell the public, but he wants to avoid panic, too. He simply wants to get you on board before making an announcement. SUPERMAN I take it this means you agree with the professor's calculations. ZEITLIN Yes. But, unfortunately with something this size, there is no military option. We're looking into modifying a rocket but, at best, it would be a fifty-fifty proposition. COSGROVE We need to improve those odds. The country needs your help, Superman. So does the world. SUPERMAN Of course. But you're asking me to fly a million miles into space to stop a piece of rock the size of Metropolis that's travelling faster than any spacecraft we've ever made. COSGROVE Can you? SUPERMAN (considers this) I don't know. ZEITLIN You're our only hope. (CONTINUED) --page break-- ALL SHOOK UP 11. CONTINUED: 3 SUPERMAN (to Daitch) I guess we're about to find out what my limits really are. CUT TO: INT. DAILY PLANET - THE PIT - NIGHT Perry is going over Lois's copy. Stone-faced. Lois chews her lip, waiting for the analysis. A beat, finally Perry breaks into a grin. PERRY If Elvis had gone into the newspaper business, held have written like this. LOIS Fifteen minutes to spare. PERRY I tell you, Lois, when the Planet's running, you can't stop it... They hear a WHOOSH. Suddenly, Superman is on the balcony. LOIS Superman! SUPERMAN We need to talk. LOIS (to Perry) Can we use your office? SUPERMAN There's no time, Lois. PERRY You look like a man with something burnin' a hole in his gut. LOIS It's the asteroid, isn't it? Superman nods. Lois flips open her Reporter's Notebook. LOIS (Cont'd) (to Perry) I told you. (CONTINUED) --page break-- ALL SHOOK UP 12. CONTINUED: Lois turns her attention back to Superman. Perry turns toward the Planet staffers who have been observing and bellows: PERRY Stop the presses! NEWSPAPER EFFECT As it spins, eventually showing us the headline. It is: _PANIC IN THE SKY: Superman To The Rescue_. EXT. MILITARY SECURE ZONE - (DAY #2) A cluster of military officers, government types and scientists, including Daitch, Cosgrove and Zeitlin. Behind a rope line are members of the media, observing from a distance. The EPRAD time clock now reads, 83:37:21, and counting down... Superman stands on the fringe of the media group, talking privately to Lois. LOIS How are you feeling? SUPERMAN This will work. LOIS That's a relief. Why are you so sure? SUPERMAN Because it has to. LOIS Power of positive thinking, huh? SUPERMAN Lois, how are _you_ feeling? LOIS Scared enough for both of us. Superman touches his hand to her cheek, looks deeply into Lois's eyes. SUPERMAN I'll be back. We'll go flying together. (CONTINUED) --page break-- ALL SHOOK UP 13. CONTINUED: LOIS I hope so. SUPERMAN Count on it. (beat) I've got to go. LOIS Good luck. Lois impulsively kisses Superman. He lingers a moment longer, walks toward the gathering of officials. Lois looks away. As Superman approaches the group, several technicians hover around Superman, outfitting him with equipment. Zeitlin gestures to a small, earpiece/microphone. ZEITLIN This will be your communications link with ground control. We'll be able to hear everything you say, and we'll be able to uplink our response through the satellite. SUPERMAN (into mic) Testing. Testing. Superman puts his arms in the air so the technicians can strap an oxygen tank around him. DAITCH We're assuming you'll be out there longer than the twenty minutes you say you can hold your breath. This is a six-hour supply for an average human. SUPERMAN That'll be fine. Getting there fast won't be a problem. ZEITLIN Superman, I want to offer you the tactical nuclear option one more time. You'd simply be acting as our delivery system. SUPERMAN (shakes head) The EPRAD science team's given me a clear indication of the asteroid's structural weak point. (MORE) (CONTINUED) --page break-- ALL SHOOK UP 14. CONTINUED: 2 SUPERMAN (CONT'D) If I hit it at maximum speed, it's their opinion I'll achieve a 50-megaton explosive force. I think we should try that first and not risk the fallout. General Zeitlin nods. He sees a limousine arriving. He stands back, erect, and salutes. COSGROVE He's here. WE SEE a silver-haired man getting out, move toward Superman. He is THE PRESIDENT. THE PRESIDENT Superman, it takes commitment and courage to accept this responsibility. I know I speak for my fellow Americans, but I also think I speak for the entire world, when I say thank you and God bless you. The President puts out his hand, and Superman shakes it. SUPERMAN I'll do my best. (to everyone) I think everybody should stand back now. Superman _TAKES OFF_. The crowd stares skyward. EXT. EARTH ORBIT - DAY As Superman _FLIES ABOVE_ the Earth's atmosphere. INT. DAILY PLANET - THE PIT - DAY The newsroom has stopped. All eyes are on the TV, the focal point of all communal experience from the Kennedy assassination to this moment. WE SEE a FULL-SCREEN GRAPHIC: "SUPERMAN FOR THE EARTH." ANNOUNCER (V.O.) Continuing our special LexTV Report: Superman For the Earth -- And now, here is Frank Madison at EPRAD Command and Control. WE SEE reporter Madison on screen. (CONTINUED) --page break-- ALL SHOOK UP 15. CONTINUED: MADISON (T.V.) Several hours ago, Superman said his final goodbyes to the crowd. He was described as calm, but determined. Witnesses say his last words were to the President -- I'm quoting now -- "I'll do my best.' And with that he took off, gaining speed as he rose into the sky. And this time the entire world was watching. MONTAGE of various international newspaper editions. over this, we hear JAPANESE, SPANISH, SHONA, and RUSSIAN in voice over. The only word common in all the broadcasts is "Superman." INT. DAILY PLANET - THE PIT - DAY Where all eyes are, again, on the TV. The EPRAD time clock reads 79:56:17 and counting... MADISON (T.V.) (finger to ear) I'm being told we have a transmission from Superman. Let's take that 'live' feed, direct from mission control. On screen, WE SEE the "Superman for the Earth" logo. Underneath it is the chyron: "Voice of SUPERMAN." We hear Superman's distorted voice: SUPERMAN (V.O.) I can see it now. In fact, it's hard to see anything else. It's immense. On a tracking monitor, Superman is a little speck next to a much bigger speck. GROUND CONTROL (V.O.) Roger, Superman. We copy you on the ground. Do you have stress point acquisition in visual? SUPERMAN (V.O.) Yes. GROUND CONTROL (V.O.) Stand by for final briefing procedure. (CONTINUED) --page break-- ALL SHOOK UP 16. CONTINUED: SUPERMAN (V.O.) I know what I have to do. GROUND CONTROL (V.O.) Superman, you're cleared for initiation on your cue. (beat) And there's a lot of people here who want you to know you're the best friend Earth's ever had. SUPERMAN (V.O.) Thanks. Well, here I go. Lois winces. She's scared. CUT TO: EXT. SPACE - DAY Superman starts in the FOREGROUND and, as he _ACCELERATES TOWARD THE ASTEROID_, it's clear how he is dwarfed by it. Smaller and smaller, faster and faster. SUPERMAN I look like an ant next to this. I'm going as fast as I've ever gone before. GROUND CONTROL SUPERMAN Impact in five, Here goes, my four, three, friends. two... Impact! The asteroid shatters into pieces. In the cataclysm, we lose sight of Superman. CUT TO: INT. DAILY PLANET - THE PIT - DAY The transmission goes to LOUD STATIC. The Planet staffers react with shock and concern. A beat, then: GROUND CONTROL (V.O.) This is EPRAD control. We have lost transmission with Superman. It's tense, it's sad. Everyone looks to Lois for an answer. LOIS His microphone went out. He's fine. He's got to be. (CONTINUED) --page break-- ALL SHOOK UP 17. CONTINUED: Lois says this as if to reassure herself. Clearly, he may not be fine. Somebody has to do something. Perry does. PERRY We're professionals. We have a job to do. Let's get back to doing it. CUT TO: INT. LUTHOR'S STUDY - DAY Where LUTHOR, like the rest of the world, watches television. He listens to the STATIC with a satisfied smile on his face. Takes another pull on his cigar. Turns to his man, ASABI. LUTHOR Static, Asabi, implies the absence of anything. It's a beautiful sound, wouldn't you agree? Luthor puffs, smiles a self-satisfied smile. ASABI Quite pleasing, sir. Luthor's smile disappears. He slams his palm on the desk. LUTHOR I have been deprived of my greatest victory over Superman and you think I should be _pleased_? (looks away) Leave me. Asabi, consfused by this psychotic leap, exits. Luthor glowers, looks out the window, toward the sky. CUT TO: EXT. NIGHT SKY - (NIGHT #2) Something resembling a SHOOTING STAR flashes across, trailing light and fire. EXT. SUICIDE SLUM - NIGHT The streets are filthy, gangs and drugs run amok, and walking through this decaying neighborhood is a risk, day or night. The object plummets Earthward, scorching a tree, and crashing through a fence in a dark, scary alley. --page break-- ALL SHOOK UP 18. EXT. SUICIDE SLUM - ALLEY - NIGHT The impact creates a smoking mass of debris. WE SEE Superman, almost naked, his costume nearly completely shredded in the cosmic collision. Superman remains still, in a fetal-like position, as we: FADE OUT. _END OF ACT ONE_ --page break-- ALL SHOOK UP 19. _ACT TWO_ FADE IN: EXT. SUICIDE SLUM - NIGHT Pushing all his worldly belongings in a shopping cart, a HOMELESS MAN moves slowly on his path. He wears a wild collection of sunglasses and eyeglasses. He stops, sees something out of the ordinary in the alley. He trades one pair of galsses for the other to get a better look. EXT. SUICIDE SLUM - ALLEY - NIGHT As the homeless man approaches Clark/Superman, now stirring in the debris, seemingly dazed and confused. HOMELESS MAN Hey, man, whatcha doin' there? You gotta be freezin'. The homeless man begins to dig through his shopping cart belongings. He produces a shirt and a pair of pants. HOMELESS MAN (Cont'd) You put these on. They're clean. only worn 'em a couple times. Clark pulls on the pants, begins to button up the shirt. CLARK Thanks. HOMELESS MAN No problem. Where you from? CLARK I don't know. HOMELESS MAN Yeah. I been around myself. You hungry? CLARK I think so. Maybe. HOMELESS MAN If we get a move on, we can catch us some breakfast at the shelter. CLARK You go ahead... (CONTINUED) --page break-- ALL SHOOK UP 20. CONTINUED: HOMELESS MAN Don't put down no shelter, brother. You been sleepin' in the altogether inside a pile a junk. (hands Clark glasses) Here. Put these on. Make you look smarter. The homeless man strikes off. Clark puts the glasses on, begins to follow. HOMELESS MAN (Cont'd) This thing in the sky hits, we all gonna be sleepin' rough, way I see it. (beat) I'm Henry 0. You got a name? CLARK I... I can't remember. HOMELESS MAN Been there myself, man. CUT TO: INT. POLICE STATION - INTERROGATION ROOM - (DAY #3) Clark sits at a table across from DR. JERRI McCORKLE, a department shrink who takes notes about everything Clark says. DR. McCORKLE Do you remember having a favorite color? CLARK Blue. No, wait a minute. Red. I don't know, Doctor. Maybe yellow. DR. McCORKLE Don't try so hard, there's no right or wrong answer. Let's try something else. Everything you remember about the last few days. CLARK Only the shelter. Then the police officer taking me here. That's it, I'm afraid. (CONTINUED) --page break-- ALL SHOOK UP 21. CONTINUED: DR. McCORKLE Have you eaten? (off his nod) Fine. Now, if I told you your name was Clark Kent and that you were a reporter for the Daily Planet, what would your reaction be? CLARK Clark Kent? Do you know that for a fact? We realize we are watching Clark through a one-way mirror. INSPECTOR HENDERSON stands on the outside looking in. Lois approaches. LOIS Henderson, this better be good. I'm working the asteroid story with my partner AWOL and... (sees Clark) What's he doing here? HENDERSON He doesn't know. We picked him up at the Fifth Street Mission. I was working when they brought him in. I gave you a call. (into mic) Doctor? LOIS (waving) Clark! HENDERSON Can't see you, Lois. It's a one-way. Wouldn't matter, though. He doesn't remember a thing. His name, where he works, me, you. Dr. McCorkle emerges from the room. HENDERSON (Cont'd) Doctor Jerri McCorkle. Lois Lane. Doc's our department shrink. Lois and Dr. McCorkle AD-LIB hellos. LOIS What could have caused this? (CONTINUED) --page break-- ALL SHOOK UP 22. CONTINUED: 2 DR. McCORKLE Several possibilities. I'd guess anxiety caused by this asteroid could be a factor. On the other hand, these cases are often triggered by some kind of physical trauma. LOIS He got knocked down by a car and hit his head! But that was the day before yesterday... DR. McCORKLE It could be a delayed reaction. LOIS Is he going to be okay? DR. MCCORKLE Physically, he's fine. Whether he's going to regain his memory immediately, I don't know. Based on the battery of questions we ask, it seems Clark suffers from what we call the 'Superman Complex.' LOIS (wryly) Don't we all? DR. McCORKLE What I mean is that he's a chronic do-gooder who thinks he can handle anything. This kind of setback can be very frustrating. LOIS Tell me what to do. DR. McCORKLE Clark needs to be surrounded by familiar people, and do familiar things. It will come back to him in time. Be patient with him. HENDERSON That's asking a lot, doc. LOIS (defensive) I can be patient. CUT TO: --page break-- ALL SHOOK UP 23. INT. DAILY PLANET - THE PIT - DAY Lois walks Clark to his desk. LOIS This is your desk. Look familiar? CLARK I'm sorry. No. LOIS You always come in and grab a donut from the coffee area. You usually like the cake things with the frosting. They're a little stale now. Are you hungry? CLARK I can't remember anything. I'm not starving. I'm fine. Lois looks at Clark who, in his old clothes and broken glasses, looks anything but fine. She fishes in his drawer, finds a pair of glasses, gives then to him. LOIS You keep a second pair. Clark puts them on. LOIS (Cont'd) Now look at me, Clark. You mean you really don't remember anything? CLARK We're a reporting team, isn't that what you said? LOIS I'm more like the... 'senior partner.' CLARK So you call the shots? LOIS You could say that. CLARK Okay. What should I do? Lois looks at Clark. Alternating between suspicion and a fear of taking unfair advantage. Lois sighs. Lois can't stand lying to a defenseless man. (CONTINUED) --page break-- ALL SHOOK UP 24. CONTINUED: LOIS We're full partners. Nobody works for anybody. Although, for the immediate future, you may want to follow my lead. CLARK Probably a good idea. Cat approaches. Sees his outfit. CAT Clark, what's the fashion statement here? LOIS The statement is: Clark has amnesia. (to Clark) This is Cat Grant. She writes a _gossip_ column for the paper. We write _news_. CAT Is there a punchline I'm missing? CLARK She's telling the truth Miss Grant. I don't remember much of anything. Cat takes a skeptical beat, then says to Lois: CAT Excuse us just a moment. Cat steers Clark away. Speaks with complete sincerity. CAT (Cont'd) Oh, honey, it's me, Cat. How can you not remember what we've meant to each other? CLARK I guess we work together, huh? CAT We do a lot more than that. CLARK We do? (CONTINUED) --page break-- ALL SHOOK UP 25. CONTINUED: 2 CAT (in a whisper) We've kept it a secret. You're so worried about what people think. (indicates Lois) Especially her. (grief-stricken) Now you don't even remember 'us.' Cat begins to cry. Clark tentatively takes her in his arms. She pulls him tight into a sensual hug. CAT (Cont'd) Does this refresh your memory? Perry approaches, clears his throat. Cat separates, moves to her desk. Perry sticks out his hand to Clark. PERRY Perry White, son. Sorry to hear about what's happened here. (off Jimmy's approach) This here's Jimmy Olsen. JIMMY Hi, Clark. Actually, I always call you 'C.K.,' C.K. PERRY (to Clark) Now, how you feelin'? Up to going to a news conference? CLARK I think so. PERRY (to Lois) Something's cookin' at EPRAD. (to Clark) And, no offense, but why don't you go check out your locker, see if you got a change of clothes? EXT. METROPOLIS STREET - DAY Lois and Clark (in fresh clothes) exit a cab. As the cab pulls back into traffic, Clark tries to stifle a sneeze. He loses the battle. _Clark's sneeze BLOWS THE CAB SIDEWAYS OFF THE ROAD INTO A COLLISION WITH A FIRE HYDRANT_. He's unaware he's caused this. Lois just shakes her head. (CONTINUED) --page break-- ALL SHOOK UP 26. CONTINUED: LOIS One thing you need to re-learn right away is that Metro cabbies cannot drive. Never trust them. Clark nods, follows along after Lois. LOIS (Cont'd) Now this news conference we're going to is about Superman and the asteroid I told you about. CLARK This Superman -- sounds like he means a lot to you. LOIS He means a lot to everybody, Clark. EXT. CITY HALL - DAY Daitch, Cosgrove and Zeitlin approach a microphone set up on the steps. COSGROVE We have just completed a briefing with the Federal Emergency Management Team. This meeting was called to discuss the scientific assessment from EPRAD about yesterday's mission. DAITCH Superman's impact on the 'Nightfall' asteroid was substantial. It was not, however, decisive. LOIS Are you telling us there's still something out there? DAITCH A large portion -- approximately three miles across -- remains on an impact course with the Earth. (beat) About fifty-five hours from now. LOIS Is that why we haven't heard from Superman? That he's working on a return mission? (CONTINUED) --page break-- ALL SHOOK UP 27. CONTINUED: Daitch looks like a deer caught in the headlights. Cosgrove steps to the microphone. COSGROVE We have not yet heard from Superman although we expect to soon. There is an audible GASP from the assembled journalists. Cosgrove gestures for order. COSGROVE (Cont'd) There is no need for panic. Even without Superman's help, we are confident we can handle this latest challenge with existing resources. General? ZEITLIN We have several delivery systems, notably the Asgard booster, which we are in the process of re-programming. At the same time, we're currently attaching nuclear payloads which, if we can deliver them, will finish the job Superman started. CLARK Are you looking for Superman? DISSOLVE TO: INT. DAILY PLANET - THE PIT - DAY Perry, Jimmy, Cat, Applegate and others watch the "live" feed of the EPRAD news conference on his television set with serious faces. Perry nods. PERRY Kent asked a question. Good sign. ZEITLIN (T.V.) We're trying to stop a catastrophe. Our opinion is that Superman knows how to find us much easier than we know how to find him. PERRY I'll be in my office. Perry takes off. Jimmy follows after him. JIMMY Chief, I need to talk to you. (CONTINUED) --page break-- ALL SHOOK UP 28. CONTINUED: PERRY Not now. We got a crisis going on here. JIMMY That's why we need to talk. That catches Perry's attention. He stops. PERRY Okay, son. Talk fast. JIMMY Clark's right. Somebody ought to be looking for Superman. PERRY You heard 'em, son. They got their hands full with that rocket. JIMMY You know how many times your VCR's been in the shop? Things break. Things don't work. And they gotta hit this moving target and get it right the first time. I don't want to bet my life on a rocket, Chief. I'm twenty-one years old. You've had a great career. I haven't even written my first story. I'm not ready to give up. PERRY (sighs) What have you got in mind? Jimmy unfolds a map. JIMMY Lois asked me to make some calls. Anyway, right after Superman broke the asteroid up the other day, well, a bunch of people near Hobs Bay reported some kind of shooting star. But they thought it crashed in Suicide Slum. PERRY Maybe it was a piece of the asteroid. JIMMY How? I mean, how would it get here ahead of the rest of it? But Superman could. (CONTINUED) --page break-- ALL SHOOK UP 29. CONTINUED: 2 PERRY That's a real long shot. JIMMY You got a better idea? Perry shakes his head. He doesn't. In fact, he thinks this is not the worst idea he's heard. A beat, then: PERRY Let me get my coat. CUT TO: EXT. LUTHOR'S BALCONY - DUSK Luthor surveys the cityscape as the sun sets. Asabi stands a respectful few feet behind him. LUTHOR You begin to take it for granted. You assume that every day the sun will rise in the east and set in the west. You assume that every night the moon will be there for your inspiration. You assume that spring will follow winter. (turns back to Asabi) I shall use this moment as a constant reminder for the future. _Assume nothing_. ASABI Hope for the best, plan for the worst. LUTHOR That has always been my credo. Luthor puts an arm around Asabi. LUTHOR (Cont'd) Asabi, see to it that Miss Lane is 'invited' to our little party. And let's make sure she has all the comforts of home. CUT TO: INT. CLARK'S APARTMENT - (NIGHT #3) The door opens. No one enters. (CONTINUED) --page break-- ALL SHOOK UP 30. CONTINUED: LOIS (O.S.) Go ahead. It's your place. Clark enters, followed by Lois. Clark looks around, seeing the place through new eyes. LOIS Does _this_ look familiar? CLARK Maybe... I don't know... Not yet. Clark begins to wander around the apartment, picking up photos, looking at book titles. He picks up an old signed football, smells its leather, hoping for a clue. LOIS You played in college. Clark picks up a photo of Jonathan and Martha. CLARK My parents? LOIS Nice people. The office tried to get in touch with them but they didn't answer. Phones are overloaded all over the country. CLARK I'll keep trying. LOIS Well, I guess I'll be going. CLARK Do you have to? LOIS There's too much at stake. And I can't just write Superman off. We need him. CLARK You're right. We should keep at it. LOIS No, Clark, I should keep at it. We need you, too, you've been through a lot. Get a good night's sleep. (sympathetic) I know you must be scared. (CONTINUED) --page break-- ALL SHOOK UP 31. CONTINUED: 2 CLARK Sort of. To have time running out when you don't know what you've missed... LOIS You've been around the world. You have a family who loves you. You haven't missed anything important. CLARK And we are friends, right? LOIS Sure we're friends. CLARK Are we... more than friends? LOIS More than ... ? I told you. We're partners. We work closely together. CLARK How close? LOIS Close. Not close, close, but close. An awkward beat of closeness. CLARK I bet you're a great reporter. LOIS See? Your memory's already starting to come back... EXT. SUICIDE SLUM/INT. PERRY'S CAR - NIGHT Perry drives, Jimmy has a flashlight on a map with various locations marked. Two people, two conversations. PERRY You know, I covered Beirut before the Marines showed up in '82, and it was never as bad as this. JIMMY I got four people. All claim they saw the same thing. (CONTINUED) --page break-- ALL SHOOK UP 32. CONTINUED: PERRY Bob Kerns and I got caught in a free-fire zone. Somebody shot our tires out. JIMMY Chief, slow down... PERRY We dodged out of there and started walking, but that just made us a target. Well, Kerns was a real charming guy and absolutely fearless, so he just marched into this little restaurant, ordered drinks for the house and that's where we ended up spending the night. JIMMY Pull over! If you draw a line between all the sightings, they intersect right here! Perry pulls the car to a halt. Jimmy throws the door open, goes out to inspect. PERRY Jimmy! It's not safe out here. JIMMY Chief, you've taken strolls in war zones! Give me a chance. Jimmy points to a large hole in a metal fence. A graffiti tagger has written "The End is Near." Underneath someone has written "No Kidding." JIMMY (Cont'd) Look! Who do you think could make a hole like that? Perry looks. Gets out of the car, slams the door shut. EXT. SUICIDE SLUM - ALLEY - NIGHT Jimmy and Perry enter. Jimmy begins to dig through the debris. PERRY What are you looking for? JIMMY I don't know yet. (CONTINUED) --page break-- ALL SHOOK UP 33. CONTINUED: Jimmy keeps digging. Holds up something. JIMMY (Cont'd) This. I'm looking for this. Jimmy holds up a burned, torn, ripped and smudged piece of cloth. As we get a closer look, we realize it's a small red and yellow piece of the Superman insignia. PERRY He made it back. JIMMY But where is he now? As Perry and Jimmy stand there in the dark, contemplating this, we: FADE OUT. _END OF ACT TWO_ --page break-- ALL SHOOK UP 34. _ACT THREE_ FADE IN: EXT. METROPOLIS TRAIN STATION - (DAY #4) People stand in groups, staring at the sky. A man sells bottled water out of the back of a pick-up truck. A street person wears a sandwich board proclaiming, "Doomsday: Is Your Conscience Clear?" The worst kind of traffic jam. Over this, the burn-in of the EPRAD Estimated Time of Impact. In this case, that's 33 hours, 37 minutes and twelve seconds. PICK UP JONATHAN and MARTHA entering into this, carrying suitcases. As they look around bewildered by the scene: MARTHA My God, Jonathan. JONATHAN These city folks don't know the first thing about keeping their heads cool in a crisis. MARTHA Should we try to get a cab? Her voice is almost drowned out in the cacophony of CAR HORNS. JONATHAN Even if we can get one, it'll take forever. Let's find a phone and try to call the Planet again. They move down the street to the corner. There are a couple of pay phones, but the lines for each are long. No way. Jonathan sighs, demoralized. Martha picks up a suitcase and heads off. JONATHAN (Cont'd) Where are you going? MARTHA We're walking to Clark's. We can get there in a couple of hours. JONATHAN Are you serious? MARTHA Jonathan, our boy is missing. Do I look serious? She does. Jonathan grabs his suitcase. They move out into traffic. A can driver HONKS at them. (CONTINUED) --page break-- ALL SHOOK UP 35. CONTINUED: Jonathan yells at him: JONATHAN Keep your shirt on! Jonathan and Martha work their way through traffic. INT. DAILY PLANET - THE PIT - DAY Lois moves through the newsroom, followed by Clark. As she passes Applegate: LOIS Turn up anything in the hospitals? (off his head shake) Check the morgue. Lois approaches the coffee station. She begins to make herself a full "leaded" version. LOIS (Cont'd) Let's be logical about this. Perry and Jimmy found part of Superman's uniform. That means he made it back to Earth. But there's no body, which means he's not dead. But he hasn't contacted anyone which means... Lois sees that Clark is staring at her. LOIS (Cont'd) Why are you looking at me like that? CLARK I was just wondering how we met. LOIS You were in here trying to peddle some article from the Borneo Gazette to get Perry to hire you. CLARK Did we like each other right away? You and me, I mean. LOIS We didn't not like each other. CLARK Hey, I'm remembering something. You don't drink real coffee with real milk with real sugar. (CONTINUED) --page break-- ALL SHOOK UP 36. CONTINUED: LOIS I do today. A staffer hands Lois a phone message. She reads it. LOIS (Cont'd) Listen, Clark, Lex Luthor wants to see me. (off his blank reaction) He's the most connected man in Metropolis. Could be something. See you later? Lois moves off to her desk to get her things. Cat approaches Clark. She's carrying a duffel bag which she drops ceremoniously in front of him. CAT Batteries, flashlights, food water. Survival supplies. Do you want to ride this out at my place or yours? CLARK Can I think about it? CAT Let's go, Clark. Forget about work. Think about us. (lustfully) Live for today. CLARK I don't think so. Clark starts away. Cat stops him. This time when she speaks, she sounds honestly vulnerable. CAT I don't want to be alone... if this is... well, whatever this is. CLARK But we don't really have a relationship, do we? CAT We're friends. That's a relationship. CLARK (painfully honest) I need to find my own memories. I can't fake then with someone else. I'm sorry. (CONTINUED) --page break-- ALL SHOOK UP 37. CONTINUED: 2 Clark takes off, stopped by Jimmy. JIMMY C.K., grab your stuff. Perry says since my first long-shot paid off, I can try another one. You're comin' with me. CUT TO: INT. PSYCHIC CHANNEL - DAY Clark and Jimmy sit inside a room, resplendent with the paraphernalia that goes with this particular territory. The psychic across from then is MYSTIQUE, a real 60's/90's type. Jimmy produces the tattered piece-of the insignia. JIMMY We think this was Superman's. We've had it analyzed. It's emitting very weak cosmic rays. That means it's been in space. He hands the insignia to Mystique. She holds it, rubs it carefully between her fingers, trying to absorb its essence. MYSTIQUE I have been feeling Superman's presence strongly. JIMMY So he's alive? MYSTIQUE I don't know. I feel his confusion. Often, the recently dead are quite rattled by the experience. CLARK We need to find Superman. Do you have any idea where we might start looking? Mystique settles back in her chair. Her eyes close. She appears to be going into a deep trance. Clark and Jimmy trade looks. This is really weird. Suddenly, she leaps from her seat and begins pacing. MYSTIQUE He's here! (CONTINUED) --page break-- ALL SHOOK UP 38. CONTINUED: JIMMY We know he's here. That's why we're _here_. MYSTIQUE His life force is incredibly powerful. CLARK (whispers; to Jimmy) I think she's confused. MYSTIQUE No! I'm feeling this very strongly. My senses tell me that he is definitely alive. I feel the vibration of life in his images. Have one of you just talked to him? JIMMY I think you might be tuned into the wrong channel. MYSTIQUE I know what I'm feeling. This is unmistakable. Clark and Jimmy trade looks, as we... CUT TO: INT. HALLWAY - (NIGHT #4) Luthor leads Lois down a long, sterile hallway. Its white walls and fluorescent lighting make it seem cold and scary. On the walls are schematic drawings of a complete underground city. LUTHOR You are standing precisely five hundred meters below Metropolis street level. Surrounded by sixteen inch reinforced concrete walls. originally designed to survive a nuclear attack. LOIS A bunker. LUTHOR I prefer to think of it as an... 'Ark.' We have room for two hundred people. Supplies to last three years. (MORE) (CONTINUED) --page break-- ALL SHOOK UP 39. CONTINUED: LUTHOR (CONT'D) Tools and implements for farming and manufacture when we re-emerge. LOIS So, even if the world dies, you live? LUTHOR The survival of a species does not depend on the survival of all its members. Indeed, were the dinosaurs possessed of a somewhat larger brain, they, too, might have escaped their fate. Fortunately for us, they did not, and now, the next chance is ours. LOIS Do you want me to... write about this? LUTHOR No, no. I seek no publicity. In fact, considering the circumstances, advertising the existence of this would seem to be rather cruel. LOIS Then why am I here? They pause outside a door. A white door set into a white wall. Luthor pushes it open. Lois steps inside and is shocked to realize, she is in: INT. LOIS'S APARTMENT - NIGHT Correct. Lois's apartment. Down to the furniture. Exactly as we have come to know it. Lois enters, stops, completely blown away. LOIS This is my apartment. LUTHOR Well, at least a reasonable facsimile thereof. I hope you like it. LOIS What's not to like? I decorated it. (beat) But I am a little confused. (CONTINUED) --page break-- ALL SHOOK UP 40. CONTINUED: LUTHOR I'm offering you a chance, Lois, to be a passenger on this ark. To be my special guest on Mankind's next great adventure. Luthor moves to the window, throws it open. Outside, it's a glorious sunny day. LUTHOR (Cont'd) It's an illusion, of course, but, nonetheless, better than a wall. To help you remember the way things were, how they might be again. LOIS Why me, Lex? LUTHOR Because I care. And, I must admit, because three years will be a long time without... 'companionship.' Lois looks at Luthor. It seems clear what is being offered. Life, with strings attached. LOIS Lex, I don't know... LUTHOR Think about it. I'll await your decision. Luthor exits, leaving Lois alone in the room. She walks around, checking it for authenticity. Then, she suddenly moves to the door and exits into: INT. HALLWAY - NIGHT Luthor walks away. Lois calls after him. LOIS Lex. LUTHOR (turning around) May I send someone to pack your personal belongings? LOIS No. I've got a partner who needs me. I've got friends at the paper that are like family to me. And I'm not giving up on Superman either. I can't stay here. (CONTINUED) --page break-- ALL SHOOK UP 41. CONTINUED: LUTHOR Lois, mob rule is not a pretty sight. You don't have to see it. LOIS I do. If what that asteroid does is destroy the world as we know it, I have to be there to see what takes its place. It may be the best comeback in history. LUTHOR Or the fastest knock-out. LOIS Either way, I have to see for myself. INT. DAILY PLANET - PERRY'S OFFICE - NIGHT Perry sits alone at his desk. He's eating a huge triple cheeseburger, complete with fries and a malt. He's got a baseball card collection spread out on his desk when Jimmy enters. The EPRAD countdown, however, tells us the situation: 18 hours, 34 minutes, 47 seconds and counting... JIMMY Struck out, Chief. Sorry. PERRY Me, too. Fries? JIMMY Do they let people with high blood pressure eat that stuff? Perry glares at Jimmy. JIMMY (Cont'd) Yeah. Right. Who cares? (scared) I mean, it's going to take a miracle to get us out of this one. Perry picks up a baseball card from the desk, holds it up before Jimmy. PERRY Ted Williams. Batted a four-oh-six season in 1941. Miracles do happen. (CONTINUED) --page break-- ALL SHOOK UP 42. CONTINUED: JIMMY So, uh, you want me to write up my notes? PERRY Heck, son, you might as well just write up the story. JIMMY _The_ story? The 'Superman is alive and we have proof' story? PERRY Why not? It's yours. JIMMY Oh, wow, Perry. I don't know if I'm ready. PERRY I don't know if you are either. Seems like a good time to find out. JIMMY I won't let you down. PERRY Just do your best. Jimmy starts out of the office. PERRY (Cont'd) Hey, hey, hey. Jimmy stops at the door. Perry slides the door to his credenza open. Produces an old relic of a typewriter. Sets it on the desk. PERRY (Cont'd) You might want to use this. JIMMY What is it? I mean I know it's a typewriter... PERRY Not just any typewriter. Clete Johnson gave it to me after carrying it all over the world writing for this paper. I was a copy boy. Wrote my first story on it. JIMMY I can't. (CONTINUED) --page break-- ALL SHOOK UP 43. CONTINUED: 2 PERRY Sure you can. It's good luck. And we could use a spell of it right about now. Jimmy looks at the typewriter. He's choked up, barely able to speak. Then he reaches over and picks it up. JIMMY For good luck. Jimmy exits. Perry watches him go. CUT TO: EXT. METROPOLIS STREETS - NIGHT Lois is at a telephone booth. Finally, someone answers on the other end. LOIS (into phone) Clark? Hi, 'It's Lois. Listen, uh, I was just wondering if you could stand some company? ... Your parents? Oh, great for you... No. No. I wouldn't want to intrude at a, you know, family time... Oh, no. I have a lot to do. I'll see you tomorrow morning. Lois slowly hangs up the phone. Feeling lost, alone and afraid, as we: CUT TO: INT. CLARK'S APARTMENT - NIGHT Clark slowly hangs up. Jonathan and Martha watch him. MARTHA Who was that? CLARK Lois Lane. I don't know if she's more upset about the asteroid hitting Earth or the fact that Superman's missing. JONATHAN Superman's not missing. CLARK Sure he is. Nobody can find him. (CONTINUED) --page break-- ALL SHOOK UP 44. CONTINUED: MARTHA Jonathan, I don't think he knows. CLARK Know what?! Martha and Jonathan trade looks. How do they tell him? INT. CLARK'S APARTMENT - THE BEDROOM - NIGHT Martha throws open Clark's closet. She begins tapping on the back wall, then pushes in a certain area. The wall rotates, revealing: BEHIND THE CLOSET Where three separate Superman costumes hang neatly on hangers. BACK TO SCENE Martha gestures to them. MARTHA I sewed them for you. CLARK Why would I want Superman costumes? JONATHAN Because you're Superman. CLARK That's crazy! I may not remember much but everything I've read about this guy so far, he's unreal. They say he's not even from this planet. MARTHA Why do you think those costumes are there? CLARK I don't know, maybe you're not even my parents, maybe this is all some game I don't know the rules to, but they don't prove I'm Superman. Jonathan picks up a baseball bat from the side of Clark's room. Hefts it. MARTHA What are you doing? (CONTINUED) --page break-- ALL SHOOK UP 45. CONTINUED: JONATHAN He needs proof. (to Clark). This is going to hurt me more than it hurts you, believe me. Jonathan lets go with a mighty swing. _THE BAT SHATTERS_ on Clark's hardbody. Jonathan shakes his hands in pain. Clark is astonished. He sinks to the bed. MARTHA It's true, Clark. INT. CLARK'S APARTMENT - LIVING ROOM - LATER Clark, Jonathan and Martha watch the TV news. The EPRAD clock reads 15:23:37 and counting down... MADISON (T.V.) According to EPRAD Mission Control, the Asgard rocket with the nuclear payload should detonate against the 'Nightfall' asteroid any second now. Let's go to EPRAD. On TV, WE SEE the computer graphics of the missile and the asteroid. GROUND CONTROL (V.O.) Tracking telemetry zero, niner, alpha. (beat) The Asgard rocket has missed its target. Repeat, the Asgard rocket has missed its target. Jonathan zaps the TV set off. The three of them sit in silence, absorbing the impact of this failure. Finally: JONATHAN The world needs you now. More than it ever has, I expect. MARTHA (worried) Jonathan, he's already tried once... JONATHAN What choice is there but to try again? (CONTINUED) --page break-- ALL SHOOK UP 46. CONTINUED: CLARK Flying into space to stop an asteroid doesn't exactly come natural. Does it? JONATHAN You're the only one who can do it, son. CLARK Can I? Even if what you're telling me about being Superman is true, I still don't remember _how_ to be him. Jonathan and Martha comfort their son who is now feeling the weight of the world almost literally descending on his shoulders, as we: FADE OUT _END OF ACT THREE_ --page break-- ALL SHOOK UP 47. _ACT FOUR_ FADE IN: INT. DAILY PLANET - THE PIT - NIGHT Jimmy sits at his desk hunt-and-pecking over Perry's old typewriter. Perry approaches, puts a hand on. Jimmy's shoulder. PERRY We're gonna need that copy, Jimmy. Jimmy sighs, pulls the paper out of the typewriter. JIMMY I don't know. You guys make it look so easy. Jimmy hands him the copy and Perry takes a look at it. JIMMY (Cont'd) Pretty lame, huh? PERRY Could use some polish. Listen, Jimmy. . . JIMMY I know. You gotta give it to a real reporter. PERRY I was just thinking maybe I should partner you with someone on this. JIMMY Partner? Who's gonna want to partner with me? Perry sees Lois entering off the elevator. He rolls up his sleeves. PERRY Why don't we all work in my office? CUT TO: INT. CHURCH - CONFESSION BOOTH - NIGHT Cat is seated in the booth, nervously playing with her rosary beads. She speaks to a small, screened opening. CAT Bless me father for I have sinned... and sinned... and sinned. (CONTINUED) --page break-- ALL SHOOK UP 48. CONTINUED: PRIEST (V.O.) How long has it been since your last confession? CAT (thinking hard) Twenty, uh, twenty-two years. But I've meant to get in more. I've just had a busy schedule. PRIEST (V.O.) I'm sure you realize the time constraints we're operating under. Perhaps you should limit this confession to the most recent transgressions. CAT I told a man who has no memory that he desires me. PRIEST (V.O.) Does he? CAT Well, he ought to. Although he has been playing awfully hard to get. PRIEST (V.O.) So you are confessing to the sin of lust by taking advantage of a vulnerable man? CAT It's kind of a pattern I see in my behavior. I just don't want to meet the maker fresh off this one. PRIEST (V.O.) Why do you feel you've lived your life this way? CAT I guess I've always found meaning in meaningless relationships. (beat) I called everyone I know. They all have someone to be with. It's taken to the end of the Earth to get to this point, but I'm totally alone. (CONTINUED) --page break-- ALL SHOOK UP 49. CONTINUED: 2 PRIEST (V.O.) But what you want now is reassurance that you're never alone, that you are loved for your soul. Is that right? CAT Exactly. Aren't there some things you passionately want to experience just _once_ before you die? The window between them slams shut. CAT (Cont'd) Father? Father? CUT TO: EXT. METROPOLIS STREETS - (DAY #5) The scene has evolved from edginess to pandemonium to this: almost an empty city picture. A newspaper stand features the headline, "SUPERMAN CAME HOME" with the sub-headline, "Where Is He Now?" The by-line reads, "By Lois Lane and Jimmy Olsen." Small clusters of people stand on the street looking into the sky. A few cars drive along. The countdown clock tells us why. Estimated Time to Impact is now 3:09:35 and counting down... INT. DAILY PLANET - THE PIT - DAY Lois sits at her desk, looking at the morning edition. Jimmy it seen in the background, showing his by-line to Cat. Perry approaches Lois. PERRY Jimmy's a good kid, Lois. Thanks for sharin' your by-line. LOIS He earned it. As long as we know Superman got back to Earth, there's still hope. (beat) It just doesn't feel right without Clark's name next to mine. PERRY You don't have to be here now. It's your choice. Go be with him. (CONTINUED) --page break-- ALL SHOOK UP 50. CONTINUED: LOIS Look, Perry, I'm a reporter. If this is the last great story to cover on the last edition of the Daily Planet, then this is where I belong. PERRY What about your family? LOIS We already managed to get everybody together on an open phone line. Mom and Dad even acted like they cared about each other. It was nice. You? PERRY Alice was visiting the boys when it all happened. She can't get a flight out of Des Moine. LOIS I'm sorry. PERRY She knows how I feel about her and what she's meant to me. That's the important thing. Lois considers this, her mind racing. LOIS Clark is probably still at home, isn't he? PERRY (nods) Maybe he's the lucky one. If he doesn't remember the way it was, maybe he won't miss it. LOIS You know, I'm taking you up on your offer. I'll be back before... (beat) I'll see you, Perry. PERRY You do that, Lois.' Lois takes off, as we: CUT TO: --page break-- ALL SHOOK UP 51. EXT. ROOFTOP - DAY Clark stands on the roof with Jonathan and Martha who watch him expectantly. MARTHA It must be like riding a bicycle, Clark. You probably don't forget how to fly, once you've done it. Give it a try. Clark makes a little George Reeves-type jump. Nothing. CLARK Do I flap my arms or something? MARTHA Usually when you fly you do this. Martha strikes a Dean Cain-type flying pose. JONATHAN It's just instinct, I think. You just will it to happen. CLARK But you said I didn't fly until I was eighteen. So I had to figure out how to do it. And right now, I can't remember. JONATHAN Just walk up to the edge, Clark, and do it. Clark walks right up to edge, raises his clenched fists in an awkward approximation of his usual flying stance. He stares straight down. CLARK'S POV - STRAIGHT DOWN Total vertigo. The view of an alley way, way below. BACK TO SCENE Clark wavers at the edge. More than a little scared. CLARK I don't know about this. MARTHA Honey, it'll all come back to you once you get going. (CONTINUED) --page break-- ALL SHOOK UP 52. CONTINUED: CLARK (unconvinced) Okay. MARTHA You want me to help you? CLARK Why don't you just give me a count? MARTHA On three. One, two... Martha gives him a push. Clark tumbles off the ledge. Rather than achieving flight, he's _DROPPING LIKE A LEAD WEIGHT_. Jonathan and Martha stare downward. EXT. METROPOLIS STREET - DAY Lois walks along. As she passes the alleyway, Clark crashes, literally behind her but out of sight. Lois stops. What was that? EXT. CLARK'S ALLEY - DAY Clark appears from inside a pile of boxes and assorted junk, dusts himself off. He looks around to see if he's been seen. As he heads out of the alley, he sees Lois. LOIS Clark? What are you doing here? CLARK I live here. LOIS Not in the alley, you don't. Did you hear something? CLARK (covering) That was me. I was looking for... clues. LOIS Here? Clark, are you feeling okay? CLARK Me? Sure. Any news about Superman? LOIS Not yet. (CONTINUED) --page break-- ALL SHOOK UP 53. CONTINUED: CLARK What if he's confused like me, and he wants to help, but he can't? LOIS Clark, Superman wants to help and he will. CLARK How can you be so sure? LOIS I know Superman. CLARK I want to know him, too. So I could believe that. Tell me about him. LOIS Superman is the kind of man who makes things happen. Sure, he's great looking and he's good, but what you notice most about him is how you can count on him. I remember the first time ... As Lois continues to talk about Superman, her voice trails off. Clark's mind is working hard now and he sees: FLASH CUTS Images of Superman and Lois from our past episodes. Rescuing her from free-fall. The first interview. The first kiss. It's all coming back to him. BACK TO SCENE Lois prods Clark. LOIS Do you remember anything, Clark? CLARK (slowly) Yeah. I think I do. LOIS Well, let's get back to the Planet. Everybody's going to be in the basement during impact. (CONTINUED) --page break-- ALL SHOOK UP 54. CONTINUED: CLARK Lois, can I meet you there? (off her reaction) I have something to do first. LOIS All right, Clark. But don't take long. CLARK Thanks. LOIS For what? CLARK For whatever it is you've done for me that makes me feel as good about you as I do. LOIS Clark, whether or not this memory of yours comes back, I just want you to know, I think you're terrific. CLARK Likewise. LOIS I mean, I love you... like... a brother. Lois smiles at Clark and he smiles back. She takes off. Clark says to himself: CLARK That part's starting to come back to me. CUT TO: EXT. METROPOLIS SKYLINE - DAY The EPRAD countdown is down to 2:42:17 and counting down... EXT. ROOFTOP - DAY As his parents watch, Clark walks purposefully to the edge of the roof. This time when he gets to the ledge, he does not look down. Instead, he looks up. Way up. Clark rips open his shirt in the classic Superman way. --page break-- ALL SHOOK UP 55. SKY POV - SUPERMAN As he blasts into the sky. He's back and he has a job to do and time is running out. EXT. SPACE - DAY Superman _APPROACHES THE ASTEROID_. The expression on his face is as described by Lois. A guy you can count on to get the job done. GROUND CONTROL (V.O.) This is EPRAD Ground Control. We are fourteen minutes and counting from the impact of the 'Nightfall' asteroid. Superman _LINKS UP WITH THE ASTEROID_. He puts his shoulder to work and pushes. GROUND CONTROL (V.O.) Mission trackers reporting an anomoly. Switching to back-up computers for corroboration. (beat) Roger, confirmation. Asteroid velocity is decreasing. Slowly, the asteroid slows down, then gradually reverses direction. GROUND CONTROL (V.O.) Incredible. We seem to be ... the asteroid appears to be reversing course. Finally, Superman manages to _PUSH IT BACK TOWARD THE SUN_. GROUND CONTROL (V.O.) We are stopping the countdown clock at this time. (beat; not bureaucratic) It's gotta be _Superman_! CUT TO: EXT. DAILY PLANET BUILDING - DAY It's Times Square at New Year's Eve here. People are spontaneously pouring into the street. AIR HORNS, kisses between strangers, whooping and dancing. --page break-- ALL SHOOK UP 56. INT. DAILY PLANET - THE PIT - DAY The Planet gang watches the celebration below. Jimmy starts pouring champagne from an open bottle, fizzing its contents. JIMMY Perry, these last two days were the best days of my life. Even if it was almost the end of the world. PERRY You did a good job Jimmy. You hustled, you didn't give up, you got the story. JIMMY Just wish I could write better. PERRY Nothing wrong with being a photo-journalist with a nose for news. You keep at it, son. Never know what'll happen. Suddenly, the crowd below erupts in a huge ROAR. Jimmy grabs his camera, starts snapping away. EXT. METROPOLIS SKIES - DAY Superman _FLIES_ above Metropolis in a victory lap. It's been a good day for the Man of Steel. He's already saved the world and it's still early. INT. DAILY PLANET - PIT - DAY Where _LITERALLY A SECOND LATER, CLARK APPEARS_, walks up to join the gang, staring out the window. CLARK Did I miss something? LOIS Only Superman saving the world. PERRY A real day to remember. (beat) If you'll pardon the expression. Perry and Jimmy offer handshakes, AD-LIB congratulations. Lois smiles, gives Clark a hug. LOIS I knew a bump on the head couldn't slow you down long. (CONTINUED) --page break-- ALL SHOOK UP 57. CONTINUED: Cat gives Clark a kiss. CAT For old time's sake. CLARK There were no old times. CAT Can't blame a girl for trying. Cat moves off. Lois grabs Clark. LOIS So, what was the first thing you remembered? CLARK Superman. Everything you told me made it feel like I knew him. LOIS (looks out the window) Superman. What he must have gone through, huh? CLARK Hey, Lois, this asteroid was no picnic for me, either. LOIS Clark, please. Superman put it all on the line, not just once, but twice. You, you fell into some garbage cans in the dark. No offense, but I don't think you can put yourself in the same league with him. CLARK Whatever you say, Lois. Whatever you say. FADE OUT. _THE END_