Superman's Pal Jimmy Olsen #119 (On Sale: February 25, 1969) has an interesting cover penciled by Curt Swan. The Superman figure looks like it is inked by Swan himself, while the Jimmy Olsen figure is obviously inked by Neal Adams. Did they change the Superman figure at the last minute or did they change the Olsen figure?
We start with "The Lady-Killer from Metropolis" a reprint from Superman's Pal Jimmy Olsen #33 by Alvin Schwartz Curt Swan and Ray Burnley. Jimmy visits Hollywood while Superman works on a movie. He tries on one of Superman’s spare costumes and actress Marilyn Marlowe mistakes him for the real Man of Steel. She and several other Hollywood girls begin to pursue Jimmy romantically. Jimmy is confused by the attention, unaware that they believe he is really Superman. Jimmy finally catches on to the mistake and quickly finds his popularity with women drop off.
We end with our cover story, "Nine Lives -- Like a Cat" by Leo Dorfman and Pete Costanza. Criminal mastermind Dr. Klipp pretends to be the curator of the Museum of Superstition and Magic. He tricks Jimmy Olsen into believing that the Tiger's Eye jewel can bestow its wearer with nine lives. Klipp gives the jewel to Jimmy to pass along to Superman. However, the gem is actually Gold Kryptonite which will remove Superman's powers permanently.
Jimmy carries the jewel while Superman is away on a mission. Klipp and his henchmen worry that Jimmy will discover it is a fake and not deliver it. They scheme to protect Jimmy's life to convince him that the gem's power is real. However, they soon come to believe the jewel really does possess life saving powers after Jimmy survives several brushes with death.
The crooks take the gem back when they believe Jimmy's nine lives have been used up. Klipp then uses it to enter a booby-trapped vault containing his former partner's loot. The gem fails, but Superman saves Klipp. The Man of Steel then tricks the crook into signing a confession before revealing that Jimmy knew the gem was Gold Kryptonite and replaced it.
Edited by Mort Weisinger.
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