ESTABLISHING SHOT – EXTERIOR TWO-STORY HOUSE
SFX – NO SOUND
WIDE ANGLE – Exterior view of the front of a typical middle-class American home, seen from just inside the front gate. It’s red brick with white trim, immaculate front lawn, and three steps leading up to the front door with two potted boxwood shrubs flanking it. Azaleas along the front of the house, white picket fence around the front yard. The curtains are drawn and there’s a light on in one of the front rooms. It’s twilight outside, getting darker.
TRACKING SHOT, TOWARD FRONT DOOR, VEERING LEFT
Camera moves around the left side of the house, toward an eight-foot privacy fence separating the front and back yards. It’s one of the fancy types of fence with latticework at the top, perfectly stained red cedar. The camera tracks in toward a small knothole in the fence and appears to go through it.
SFX – FAINT CREAKING, GROWING LOUDER AS CAMERA MOVES
TRACKING SHOT, TOWARD REAR OF HOUSE
As the camera moves, the back yard is revealed – perfectly maintained lawn, hydrangeas along the fence. The passage along the side of the house is fairly narrow, but opens out at the end. The tall privacy fence completely encircles it, and there’s a gate at the back of the yard.
Reveals the back porch of the house, three steps up from yard level. It’s an open-air porch with wood railings and a roof. The creaking sound that’s been steadily growing louder is revealed to be a wooden porch swing, on which LANA LANG is seated. There’s a window behind her, also curtained. A porch light is on above the door.
CAMERA STOPS ON LANA, FOCUS IN SLOWLY
She has one foot on the ground, rocking the swing slightly. She’s studying a sheaf of papers, occasionally making a small note on the page before her. Two brief bursts of light flash silently in the window behind her, to which she does not react.
LANA is wearing a sea-green pullover with the placket open, black slacks, and black pumps with a moderate 3-inch heel. The clothes are perfectly tailored to compliment every curve, very attractive without appearing blatantly sexy. Her straight, waist-length auburn hair is bound at the nape of her neck in a simple holder. Her face is open, absorbed in her reading, and she looks to be in her early thirties. The face and the clothes would not be out of place behind a receptionist’s desk. She’s lovely, but it’s a soft loveliness, suggesting a mild manner.
ZOOM TO CLOSE SHOT OF LANA’S EYES
The expression in her eyes is at odds with her very normal appearance. They are almost devoid of emotion.
CUT TO LONG SHOT, INTERIOR HOUSE
Looking down the hallway to the back door. The house is dark, light streaming through a window in the rear door. A figure steps out into the hallway, silhouetted by the light; no details, but clearly the silhouette of a WOMAN with a purse over her right shoulder, hanging to hip height. She walks toward the door.
SFX – STILETTO HEELS ON WOOD FLOOR
TRACKING SHOT, FOLLOWING WOMAN
She opens the door and the screen door. The camera catches up with her as the light outside reveals the back of her head (shoulder-length, wavy black hair) and her back. She’s wearing a black skirt with a very fine silvery-gray pinstripe, above the knee, slit at the back, and a black jacket matching the skirt. Nude hose and stiletto boots with a high heel; she walks naturally in them, making it look easy.
CAMERA CIRCLES WOMAN ON LEFT, PANNING RIGHT TO SEE HER PROFILE
Now the woman is revealed to be LOIS LANE. The black jacket is part of a suit, and the blouse she’s wearing with it is a deep scarlet. Her clothing is also perfectly tailored, but instead of the almost unconscious flattery that LANA’s outfit grants her, LOIS’ clothing is intentionally very sexy without showing much skin – other than those mile-long legs. She stops by the railing just above the porch steps. We can see LANA over her shoulder, still reading. LOIS looks out over the yard for a moment, her expression abstracted but oddly content. After a moment, LANA looks up at her and lays the papers aside.
(still looking out over the yard) “That’s the last of them?”
Silent pause. LOIS looks down and rummages in her purse, coming up with a pack of cigarettes (Marlboro Reds) and a lighter. The camera remains over her shoulder as she lights one and inhales deeply. This is a woman who makes smoking look pornographic. The smoke curls toward the porch roof.
“Whatever we want.”
LANA gets up and walks toward LOIS, stopping at the other side of the porch steps. Camera remains over LOIS’ left shoulder, LOIS in profile, LANA facing her squarely.
“You know, I’ll think I’ll try one of those.”
LOIS turns toward her, back toward the camera, and begins shaking another cigarette out of the pack.
PAN SLOWLY RIGHT, CAMERA CIRCLING TO FACE THE PORCH
Both women in profile, facing each other on either side of the steps. LOIS hands LANA a cigarette and holds up her lighter. LANA puts the cigarette in her mouth awkwardly; she is not a smoker, she doesn’t have LOIS’ familiarity with this little ritual. LANA leans forward toward the lighter, her right hand trying to shield the flame inexpertly, and it blows out. LOIS leans forward, cupping her left hand around LANA’s right. The contact is casual; these two are familiar with each other.
CUT TO TIGHT SHOT OF BOTH WOMEN’S FACES
LOIS flicks the lighter, and the flame is briefly reflected in both women’s eyes. LANA inhales as she leans back, coughs slightly, then puffs the cigarette. LOIS chuckles indulgently, the lighter and pack of cigarettes still in her hand.
CAMERA PULLS BACK TO WIDER SHOT
Now seeing both women from about waist up, LANA looks at LOIS with a slightly sheepish smile. Her expression changes to one of slight disappointment and she sighs. Pulling a handkerchief from the pocket of her slacks, she dabs it against LOIS’ right cheek, which the camera has not seen.
“Lois, sometimes I wonder about you.”
“Sometimes I wonder about me, too.”
CUT TO CLOSE SHOT OF THE HANDKERCHIEF
The tiny spot on it is red. Blood red.
CUT TO MEDIUM SHOT FROM REAR DOOR OF HOUSE
Now seeing the other side of both women as they share a secretive smile. LOIS puts the cigarettes and lighter back in her purse.
CUT TO TIGHT SHOT, INTERIOR LOIS’ PURSE
A gun and a pair of thin leather gloves are nestled beside her compact and cell phone.
CUT TO MEDIUM SHOT FROM REAR DOOR OF HOUSE
“Shall we, then?”
“Sure. I’ll drive.”
Camera remains in place as LANA gathers up the papers and both women walk down the steps and across the back yard. They reach the gate in the privacy fence, LOIS opens it and steps through, tossing her car keys to LANA as LANA follows her. As LOIS walks around the passenger side of the car parked in the alley behind the back yard, it’s revealed to be a silver Porsche convertible. LANA gets in the driver’s seat, LOIS gets in on the passenger side, and LANA starts the car.
SFX – CAR ENGINE STARTING, RUMBLING (SLIGHT DISTANCE)
As the car pulls away slowly, the camera focuses in to catch the license plate. It’s a vanity plate that reads LEX 1.
FADE TO BLACK