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"Superman I, la película: Versión cinematográfica de 1978".
21:43 horas. 19 de Mayo de 2012 Publicado por Alberto Angulo Morales
www.smallvillechronicles-spain.blogspot.com
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Smallvillechronicles-spain os presenta el guión original de la versión cinematográfica estrenada por primera vez en Diciembre de 1978.
"SUPERMAN THE MOVIE (1978)"
Guión del rodaje.
Revisado por TOM MANKIEWICZ
Dirigido por RICHARD DONNER
.
1 FADE IN:
EXT. STREET - METROPOLIS - NIGHT
CLOSE ON a crumpled piece of rubbish lying in the gutter. It is flattened by the wheel of a pushcart. CAMERA PULLS BACK: we SEE a street in a city neighborhood still fighting its way out of The Depression. KIDS play stickball, PEOPLE stand about, out-of-work MEN recline on tenement stoops .
Over this SUPERIMPOSE: METROPOLIS 1938
CAMERA TRACKS UP past a boarded-up store window with a "For Rent" sign on it, PAST trash cans being investigated by foraging dogs, PAST the stoop of brownstone where some care has been taken to keep things clean, PAST the parlor floor where an undershirted MAN argues with a bathrobed WOMAN, PAST the second Floor windows where a YOUNG COUPLE bend over a crib, shaking a rattle and cooing at a new-born BABY wrapped in a pink blanket, UP PAST the roof of the brownstone, higher and higher, PAST the distant skyscrapers: the Chrysler Building, the Fuller building, the great- neon globe symbol atop the Daily Planet Building.
2 EXT. SKY - NIGHT - ANGLE on DAILY PLANET
CAMERA LOOKS DOWN on the Daily Planet Globe. The only sound is the wind. CAMERA TILTS toward the star-filled sky and the full moon, then TAKES OFF.
3 EXT. SPACE
CAMERA SPEEDS through the heavens past the moon, through the Universe, traveling on, gathering speed, further and further through the limitless void until it bursts through into another Galaxy.
4 EXT. SPACE NEAR KRYPTON
A miniscule RED DOT appears, growing larger, spreading evenly into a BLAZING SUN, which fills the SCREEN. The fiery' red SUN now grows smaller as we fall through space and see beyond it - the planet Krypton. As CAMERA CONTINUES toward Krypton, we see satellites, spacecraft, and Krypton's two distinct hemispheres. CAMERA HOLDS, PEERS DOWN at the city of Kryptonopolis.
5 EXT. KRYPTONOPOLIS - DAY
CAMERA PANS the white, prismatic crystalline mountains near the city. WE SEE a gleaming, quicksilver lake.
6 EXT. CITY OF KRYPTONOPOLIS - DAY
Kryptonopolis is a magical city, constructed of pure white crystalline matter that encloses and protects it from the blazing red sun. CAMERA TRACKS across futuristic glass buildings, glass skyways, tunnels, and enclosed gardens, finally CLOSING IN on a specific domed structure silhouetted against the sky. A MAN'S VOICE is heard , gathering in volume and intensity.
JOR-EL'S VOICE {V.O.)
This is no fantasy. No careless product of
a wild imagination. We are not dealing here
with idle supposition ...
CAMERA CLOSES IN on the domed roof of the building, now Dl SSOLVES THROUGH :
7 INT. TRIAL CHAMBER - DAY
An electric white aura fills the screen. The dim outline of JOR-EL'S head can be seen almost floating above it, facing away from CAMERA as he continues.
JOR-EL
... no, gentlemen. The indictment
I have brought you this day, the
specific charges listed therein against
these individuals, their acts of
treason and ultimate aim of sedition . . .
(swivels to FACE CAMERA)
These are matters of undeniable fact!
The face of JOR-EL fills the SCREEN as he Points an accusing finger INTO CAMERA. A handsome, intelligent face with great intensity, bathed in the electric white aura which surrounds him, almost pulsating with energy.
8 WIDE ANGLE - TRIAL CHAMBER
JOR-EL stands on the dark edge of a circular white ring of light thrusting down
from the ceiling of the chamber.
8 CONTINUED
The domed roof rises, cathedral-like above, imprinted with giant projections of the faces of the COUNCIL OF ELDERS (eleven, besides JOR-EL) Who watch the proceedings in judgement, presumably from some other location. Each ELDER is bathed in a specific aura similar to that of JOR-EL. Trapped inside the central dazzling white ring of light are THREE FIGURES. JOR-EL circles the edge of the ring.
JOR-EL
I ask you now to pronounce
your judgement on those accused...
9 CLOSE ON NON
The monstrous face of NON peers through the light at JOR-EL. A man only to the extent that he is not an animal - a force of frightening destruction whose only sounds are terrifying guttural roars.
JOR-EL'S VOICE
On this mindless aberration whose
only means of expression are
wanton violence and destruction....
NON lunges at JOR-EL with a roar, bounces back off the edge of the ring of light, which imprisons him.
CAMERA PANS TO URSA: A tall woman with a strikingly beautiful and cruel face. Consumed by a total hatred. Consumed by a total hatred of the male sex, she stares back at JOR-EL with patronizing contempt.
JOR-EL'S VOICE
On the woman, URSA, whose perversions
and unreasoning hatred of men have
finally threatened even the male
children on our planet....
CAMERA PANS TO GENERAL ZOD: Glaring defiantly at JOR-El through the dazzling
light with a staggeringly vicious face. Even trapped in the prison of light he seems to
generate an evil force of his own.
REVISION 21/3/77
9 CONTINUED
JOR-EL'S VOICE
And finally on General Zod -
Once trusted by this Council, charged
with maintaining the defenses of the
planet Krypton itself - the chief architect
of this intended revolution, the author of this
insidious plot to establish a new order among
Us - with himself as absolute ruler.
10 WIDE ANGLE - TRIAL CHAMBER
The huge faces of the COUNCIL OF ELDERS peer down from the domed ceiling as JOR-EL finishes.
JOR-EL
You have listened to the evidence.
The decision of the Council will
now be heard.
Silence. CAMERA PANS UP to the faces. The FIRST ELDER pauses momentarily.
FIRST ELDER
Guilty.
The FIRST ELDER'S face instantly disappears from the domed ceiling.
SECOND ELDER
Guilty.
The SECOND ELDER'S face disappears. One by one the remaining NINE ELDERS vote "guilty'" in rapid succession until the ceiling has become a black void.
11 CLOSE ON JOR-EL AND VILLANS
JOR-EL faces GENERAL ZOD, his aura glowing as a separate island of light outside the circle.
JOR-EL
Do you have anything to say before
the decision of the Council is pronounced?
11 CONTINUED
ZOD
(cold stare)
The vote must be unanimous, Jor-El.
It has therefore now become your decision.
You alone will condemn us if you wish.
And you alone will be held responsible by me.
(JOR-EL stares blankly)
Join us. You have been known to disagree with
the Council before. Yours could become an
important voice in the New Order - second only
to my own. I offer you a chance for greatness, Jor-El.
Take it. Join us.
JOR-EL hesitates briefly, then suddenly disappears - his electric white aura extinguishing itself. ZOD's face twists with rage.
ZOD
One day you will bow down before
me, Jor-El
12 EXT. TRIAL CHAMBER IN SPACE - DAY
The domed roof of the building cracks open, starts to swivel back. In the distance:
a slate-gray atmospheric eminence (THE PHANTOM ZONE) travels rapidly through
the sky, approaches the opening.
13 INT. TRIAL CHAMBER
The VILLANS are alone in the trial chamber. ZOD rants:
ZOD
I swear it! No matter that it
takes an eternity! You will bow
down before me...
The gray mass of the Phantom Zone has entered through the open dome, closes down on the VILLANS, erasing the ring of white light as it progresses .
ZOD
...Both you, and then one day,
your heirs!
REVISION 21/3/77
13 CONTINUED
The Phantom Zone envelops the VILLANS, wiping them up in a linear, one-dimensional fashion, then sweeping them out toward space. ZOD is silenced.
14 EXT. CITY AND .SPACE
The Phantom Zone travels quickly across the city, bearing the imprints of the THREE VILLANS, floats into space. CAMERA PANS OFF, DOWN at another specific building in the city, PUSHES IN, DISSOLVES THROUGH:
15 INT. COUNCIL - DAY
A pristinely immaculate chamber that overlooks the city of Kryptonopolis. Austere, dominated by concentric circles around which the TWELVE ELDERS sit or stand. In the center of the inner circle revolved an intelligence source on which various information may be presented. JOR-EL enters the chamber, appearing almost through motivational volition than through physical propulsion. The ELDERS turn, look at him. JOR-EL is deeply concerned.
FIRST ELDER
An unpleasant duty has been masterfully
performed, Jor-El. They have
received the fate they deserved -
isolation in the Phantom Zone - an
eternal living death.
JOR EL
A... chance for life, nonetheless.
As opposed to us.
Consternation from the ELDERS. A suddenly angry JOR-EL gestures at the revolving intelligence source in the center - various unfathomable equations appear.
JOR-EL
You can't ignore these facts!
It's suicide! Worse! Genocide!
FIRST ELDER
Jor-El, be warned. The Council has
already evaluated this... outlandish
theory of yours.
15 CONTINUED
JOR-EL
My friends, you know me' to be
neither rash nor impulsive.
I am not given to wild, unsupported
statements. I tell you we must evacuate
this planet immediately!
FIRST ELDER
You are one of Krypton' s greatest
scientists, Jor-El ...
SECOND ELDER
But so is Vond-Ah.
VOND- AH
(rising)
Thank you ..
(to JOR-EL)
It isn't that I question your data.
The facts are undeniable.
VOND-AH gestures at the intelligence source. JOR-EL'S equations disappear, are immediately replaced by a new series. VOND-AH smiles thinly.
VOND-AH
It's your conclusions I find
unsupportable.
JOR-EL
This planet will explode within thirty
days! Sooner perhaps!
VOND- AH
I tell you Krypton is simply shifting
its orbit!
SECOND ELDER
Jor-El, be reasonable...
JOR-EL
I have never been otherwise. The
madness is yours!
REVISION 21/3/77
15 CONTINUED
FIRST ELDER
(snaps firmly)
This discussion is terminated!
The decision of the council is
final.
(pause - to JOR-EL)
Any attempt by you to create A
Climate of fear and panic among
the populace must be deemed by
us an act of ... insurrection.
JOR-EL
You would accuse me of insurrection?
Has it now become a crime to cherish life?
FIRST ELDER
(with reluctance)
You. . . would be banished to endless
imprisonment in the Phantom Zone - the
eternal void which you yourself discovered.
Deadly silence. The FIRST ELDER locks eyes with JOR-EL.
FIRST ELDER
Will you abide by the Council's
decision?
JOR-EL
(long pause)
I will remain silent. Neither my wife
nor I will attempt to leave Krypton.
16 EXT. KRYP'IONOPOLIS CITY OUTSKIRTS - DAY/NIGHT
JOR-EL'S house stands bathed in the strange glow of Kryptonian twilight.
17 INT. JOR-EL'S LABORATORY - NIGHT
Massive brightly glowing energy columns encircle the lab. JOR-EL works in the centre, passes his hands over portions of a gleaming, spiny, silvery object (rocket ship) as he places crystals inside it which respond to him with throbbing lights.
REVISION 21/3/77
18 ANCLE ON LARA
LARA (JOR-EL'S wife) enters lab. Carried in her arms: A BABY, swaddled in three blankets of' red, blue, and yellow. The sad look on LARA'S face deepens as she stops, watches JOR-EL who senses her presence, turns.
LARA
Have you ... .finished?
JOR-EL
Very nearly.
LARA turns away, shuts her eyes. JOR-EL crosses to her.
JOR-EL
It's the only answer Lara. If he remains here
he as will die as surely as. . .
(she looks)
we will.
LARA
(pleading)
But why earth, Jor-El. They're primitives.
Thousands of years behind us.
JOR-EL
He will need that advantage to survive.
Their atmosphere will sustain him ...
LARA
He win defy their gravity ...
JOR-EL
He will look like one of them.
LARA
But he won't be one of them.
JOR-EL
His dense molecular structure will make
him strong ...
18 CONTINUED
JOR-EL
Fast. Virtually invulnerable ...
LARA
Isolated. Alone ...
JOR-EL looks at her with compassion, but with the strength to cut her off..
JOR-EL
He will not be alone. He will never...
be alone.
19 INT. COUNCIL OF ELDERS - NIGHT
The COUNCIL OF ELDERS, still in session, listen attentively to a MILITARY OFFICER standing before them.
MILITARY OFFICER
The energy input to Jor-El's quarters is
now in excess. Our Data indicates the
loss is due to a mis-use of energy.
The FIRST ELDER exchanges a worried glance at the SECOND ELDER, then looks back at the OFFICER.
FIRST ELDER
Investigate.
SECOND ELDER
And if the Data proves correct?
FIRST ELDER
(pause)
He knew the penalty he faced. Even
as a member of this Council. The law
will be upheld.
20 INT. JOR-EL'S LABORATORY - NIGHT
CAMERA CLOSE ON JOR-EL, LARA, and the BABY, their glowing auras spilling across the SCREEN as the parents stare down at their offspring. A loving, almost beatific family portrait. LARA'S eyes flutter. Tears run down her cheek.
REVISION 22/377
20 CONTINUED
JOR-EL
(sad whisper)
You will travel far, my little Kal-El.
But I will never leave you. Even in
the face of my death the richness of my
life shall be yours. All that I have learned,
everything I feel, all of this and more I have
bequeathed to you my son. You shall carry me
inside you all your days. You will make my
strength your own, see my life through your eyes,
as your .life will be seen through mine. The son
becomes the father the father becomes the son. This
is all that I can send with you , Kal-El. And not
near so rich a gift as that your mother sends
along. Her ... love.
21 EXT. CITY - DAY/NIGHT
Three MILITARY MEN descend an enclosed glass walkway to a frantically pulsating aura hovering above the ground. They enter the aura, take off quickly through the streets, past a tall structure. A tremor suddenly shakes the ground - a thin fissure appears on the side of the structure.
22 INT. JOR-EL' S LABORATORY - NICHT
The massive energy columns throb with white light. The BABY has been fastened in a module, wrapped in his blankets. LARA reluctantly steps back as JOR-EL places the last crystals inside, including a green one, secures and seals all openings. The BABY vanishes from sight. The module automatically slides into a larger spacecraft and is sealed in.
23 EXT. CITY
The military aura speeds along as giant crystal formations suddenly begin to erupt, bend and crack.
24 INT. JOR-EL'S LABORATORY
A glass wall facing the capsule slides open. The launcher is raised. The ceiling above retracts, exposing the glow of Krypton night.
5/4/77 TM
25 INT. MILITARY AURA
Seen from within: the aura races through a glass tunnel.
26 INT. JOR-EL'S LABORATORY
The room shakes in a violent tremor as JOR-EL tries to get the engines fired. The energy columns glare at fever pitch.
26A EXT. KRYPTON
The proximity of Kryptonian sun has bathed the planet in a reddish glow. NOTE: All Scenes on Krypton both interior and exterior will from now on reflect this color.
27 EXT. KRYPTON
The military aura nears JOR-EL' S house. Suddenly a huge tremor dislodges a mass of crystal which crashes down, obliterating the aura.
28 INT. JOR-EL'S LABORATORY
The tremor continues in the lab. Tons of crystal crash down into the room as JOR-EL frantically tries to fire the rocket. With a last desperate effort he lunges forward throws the tumbling debris and hits the control which ignites it. With
a deafening roar, the rocket starts to glide off into the night as the house begins to collapse, the energy columns shattering under the strain.
29 EXT. SP ACE - CLOSE ON MODULE
The module races away from the disintegrating planet below toward the Phantom Zone.
30 INT. COUNCIL OF ELDERS
The Council room is destroyed co1lapsing on some of the ELDERS.
30A INT/EXT KRYPTON
Various scenes of destruction, to include exterior shots and the trial chamber.
30B INT. JOR-EL'S LABORATORY
JOR-EL and LARA are buried beneath a cascading shower of debris, clinging together desperately in the moment of their death.
30C EXT. JOR-EL'S HOUSE
The House collapses in ruins.
31 EXT. PHANTOM ZONE
The THREE VILLANS, pressed against the linear Phantom Zone, watch the module hurtle past.
31 CONTINUED
VILLANS
(muffled echoes)
Take us with you ...
The capsule heads out into the intergalactic void as the VILLANS turn their attention to the planet Krypton, now in total eruption.
32 ANGLE ON KRYPTON - VILLANS POV
The red sun eats its way into the core or the planet Krypton which suddenly explodes and implodes - leaving a vast black void.
33 EXT. SPACE - CLOSE ON MODULE
The module speeds through space to the accompaniment of steady electronic pulsings.
34 INT. MODULE
Lights flash on the complex instrument panel. A computer memory bank repeats recorded data while machines registers other space functions on graphs. The BABY is completely wired and fitted with instruments and tubes for his survival in space. The computer spews forth information.
COMPUTER
(JOR-EL'S VOICE)
Early concepts of matter appear
in ancient Creek philosophy. In
the fifth century Demoocritus
defined a small unit as an atom,
then thought to be indivisible...
35 EXT. SPACE - CLOSE ON MODULE
The module voyages through space. A giant asteroid lost in the void, soars toward it at tremendous speed. The module and the asteroid nearly collide. The module sways on, away into the void.
36 INT. MODULE
The control panels continue to flash. The BABY has grown. The survival tubes, instruments and belts have adapted to his increase in size as the years have passed.
COMPUTER
(JOR-EL'S voice)
Index 19, Sonnet 101: "0
truant muse, what shall be thy
amends for thy neglect of truth
in beauty dy'd? ...
37 EXT. SPACE - CLOSE ON MODULE
Traveling through space: A tiny yellow dot becomes larger as the module enters our Universe. The yellow dot grows rapidly into a flaming yellow sun.
38 INT. MODULE
The control panel lights flash rapidly. An electronic bleep quickens its squeal. The BABY has grown older.
COMPUTER
(JOR-EL'S voice)
...which Einstein called his Theory
of Relativity, mistakenly held to be
correct until the year ...
39 EXT. MODULE - EARTH'S ATMOSPHERE - DAY
The module enters the earth's atmosphere. We SEE the familiar astronaut's POV of the revolving earth, growing larger and larger until we can make out the recognizable shapes of land masses on oceans. As the module gets closer, it seems as if it will surely land in the middle of the Soviet Union. But as the Earth continues to revolve, the rocket heads for the dead centre of the United States.
NOTE: As the module speeds down through the atmosphere, the resistance gradually transforms its shape into a jewel-like geode form, burnished hot by the pressure.
40 EXT. KANSAS WHEAT FIELD - DAY
Miles and miles of golden wheat wave under a cloudless sky. CAMERA PANS: A dilapidated farm pick-up truck comes chugging down a long flat dirt road.
41 INT. PICK-UP TRUCK - DAY
Two PEOPLE are seated in the truck cab, dressed in their shiny, patched "Sunday best" clothes. The MAN is in his 50"s, the WOMAN in her 40'5. "Private" people who mind their business, Christian folk whose morals are as basic as the soil they till: JONATHAN AND MARTHA KENT. Suddenly an ominous black shadow quickly crosses the road. Simultaneously: a loud whooshing sound (the space module coming to Earth). JONATHAN is startled, darts a momentary look ,in the direction of the noise .
JONATHAN
What in the...
42 EXT. WHEAT FIELD ROAD - DAY
The "bang" of a tire blowout is heard. JONATHAN slams on the brakes. The truck lurches violently to the right, the front tire having burst. The truck swerves, narrowly missing the embankment, stops.
43 CLOSE ON TRUCK
JONATHAN steps out of the truck cab, looks sadly at the punctured tire.
JONATHAN
(muttering)
If a man didn't know better, he'd think
Detroit made those things to blowout
on purpose.
Grumbling, he goes around the rear to unstrap the spare tire and haul out the jack. MARTHA gets out of the cab, stretches her legs, gazes across the wheat fields as JONATHA in B.G. places the jack under the car, then wedges a stone under it to hold the jack in place. CAMERA SUDDENLY ZOOMS IN ON MARTHA: Her face is frozen in astonishment at something she's seen in the wheatfield.
MARTHA
Jonathan!
43 CONTINUED
JONATHAN turns, looks, eyes widening, equally amazed.
JONATHAN
Great God Almighty! What is it?
44 ANGLE ON MODULE - THEIR POV
The space module has landed in the fields. The engines are silenced.
45 EXT. FIELD - CLOSE ON MODULE
JONATHAN rushes to the strange, eerie metallic geode nesting in the charred wheat, MARTHA close behind him.
MARTHA
Careful, Jonathan.
Suddenly: a wall of the module Opens. A capsule ejects a little BOY still fastened inside, cushioned by the three blankets.
JONATHAN
What in the Sam Hill
He looks inside the module, leans over, touches the capsule burning his hand.
MARTHA
Jonathan!
The little BOY, aged 3, suddenly springs out of the electronically controlled belts, half naked.
MARTHA
(stunned)
It's a ... baby.
JONATHAN stares, dumbfounded. MARTHA smiles softly at the baby, wraps him in the three blankets, picks him up.
46 CLOSE ON JONATHAN AND MARTHA - TRACKING SHOT
MARTHA carries the BABY back to the truck, looks at him with wonder. JONATHAN walks in front, shakes his head.
46 CONTINUED
JONATHAN
Well - better change that tire
if we're gonna get hone and see
about contactin' that boy's proper kin.
MARTHA
(defensively)
He hasn't got any - not for sure. Not
around here anyways. You saw that
magic contraption he came in, same as me.
JONATHAN has arrived at the truck, starts jacking up the front end...
JONATH.AN
I did. But I ain't gettin' hauled off
to no booby hatch by tellin' other
people I did - and neither is you.
JONATHAN removes the lugs and the punctured tire.
MARTHA
You take things easy now, Jonathan.
You mind what Doc Frye said about
that heart of' yours...
47 INSERT SHOT - JACK
The jack begins to shimmy. The truck shakes.
48 CLOSE ON JONATHAN
JONATHAN struggles with the spare tire under the truck, wondering why it won't fit in.
49 INSERT SHOT - JACK
The jack continues to shimmy. Suddenly, the stone beneath it slips away.
50 CLOSE ON MARTHA
MARTHA screams, horrified.
51 BACK TO JONATHAN
JONATHAN under the truck, shoots a quick look at his wife, then - as her scream stops in a gasp - he looks behind him as CAMERA PANS: The' BABY is holding up the truck, two wheels off the ground. JONATHAN and MARTHA are poleaxed with disbelief.
52 INT. TRUCK CAB - DAY
The BABY sits happily in MARTHA'S lap. The COUPLE look ahead, lost in thought, MARTHA in particular.
MARTHA
(carefully)
All these years, happy as we've been, how I
prayed and prayed the Good Lord would see
fit to give us a child.
JONATHAN
(looks - alarmed)
Martha, there is something downright strange
about that boy. Where he come from, what he
just did back there. Now surely you don't mean to...
MARTHA
(firmly)
No one must ever know.
JONATHAN
But folks'll ask questions . . .
MARTHA
We'll say he's child to my cousin in North
Dakota, and just now orphaned. Jonathan,
he's a baby...
(cuddles baby)
Poor thing.
JONATHAN
Well...
(sigh)
Maybe we could give it a try for the time bein'.
I'd better hitch the rig and come back to Get
that ... that thing he was settin' in. What do you
make of that thing? Martha'? Martha Kent,
you listenin' to me?
52 CONTINUED
MARTHA
I was thinkin' what to call him.
I was thinkin' I had an uncle who
was a fine man, you recall him?
The church sexton?
JONATHAN
Who?- Clark? I never cared two hoots
for that fella.
53 EXT. SMALLVILLE HIGH FOOTBALL FIELD - DAY
CAMERA LOOKS DOWN on a typical midwestern small town high school football field in the 1950's. A coach's whistle signals the end of the team's practice session. A group or GIRL CHEERLEADERS run through their routines nearby. Several PLAYERS practice "extra points" by kicking the ball through the goalposts from the 2 1/2-yard line, now stop, congregate around the bench with the other PLAYERS as they turn in their equipment, prepare to go home.
54 CLOSE ON BENCH - TRACKING SHOT
CAMERA TRACKS along the bench as the PLAYERS drop their pads, towels. kicking tees, footballs, etc. on the bench. Picking them up, stacking them neatly and methodically is a bookish-looking TEENAGER of 15. With dark, unstylish hair, heavy-rimmed glasses, and an air of social unease, he is the perfect candidate for team manager - the young CLARK KENT. CLARK nears the end of the bench, looks off at the CHEERLEADERS: five or six wholesomely cute teenagers in their uniforms of sweater, tiny skirt, sneakers, and white socks. They have finished rehearsing their final routine now laugh, applaud themselves, drop their megaphones and run off to join several of the departing PLAYERS. One CHEERLEADER (SUSIE) with an attractive, sensitive face -pauses, sees the megaphones strewn around the ground, begins 'to collect them.
55 CLOSE ON SUSIE
SUSIE gathers up the megaphones. CLARK crosses to her.
CLARK
You don't have to bother with those,
Susie. I'll take them in for you with
the other equipment.
55 CONTINUED
SUSIE
Why, thank you, Clark.
(rises- smiles)
You know something, Clark?
I think you're just about the nicest
boy in the whole school.
CLARK blinks shyly, practically blushing.
CLARK
Well ... ah ... ah ... it's sort of my job
as team manager, anyway, and...
SUSIE
No, I mean it. I really do. Listen. A whole
bunch of us are going over to Mary Ellen' s
and play some records. Would you like to come?
CLARK
Well, gee... I'd...why, yes, Susie, I'd like that
very...
FOOTBALL PLAYER (0.5.)
Kent won't be able to make it.
A large FOOTBALL PLAYER comes into frame, looks at SUSIE with what passes for "macho" at 15.
FOOTBALL PLAYER
Kent's still got a lot of work to do.
CLARK
(innocent- turning)
What do you mean? I've stacked all the...
CAMERA PANS as CLARK turns: the mass of equipment he had neatly piled on the bench has been tossed all over the field. Water buckets overturned, etc. In B.G. several other PLAYERS and CHEERLEADERS are crammed into an open , convertible car, snigger to themselves, pretend not to look.
56 BACK TO SCENE
CLARK'S face falls. He stares at the Grinning FOOTBALL PLAYER as we see a momentary flash of anger pass through his eyes. Will he...? No. Regaining his former composure, CLARK smiles faintly.
CLARK
I'm ... sorry, Susie. I guess
I'd better clean it up.
The FOOTBALL PLAYER puts a victorious arm around the reluctant SUSIE, prods her off toward the open convertible. They get in. The car roars off.
57 CLOSE ON CLARK.
CLARK is left totally alone on the football field, his face downcast with anger and hurt born of humiliation. He approaches a football sitting on the extra-point tee at the 2 1/2 yard line, is about to pick it up, suddenly gives it a frustrated kick. The ball takes off like a tiny rocket.
58 ANGLE THROUGH OPPOSITE GOALPOSTS
The ball whistles perfectly through the far goalposts. CLARK has kicked it over 100 yards.
59 BACK TO CLARK
CLARK turns, looks at the mess left by the players. He reaches down for the first towel, suddenly grits his teeth, accelerates into SUPER SPEED. His image is only a blur on the screen as towels, pads, buckets, etc. disappear from the field and miraculously reappear on the bench.
60 EXT. KANSAS ROAD - DA y
CLARK trudges along a country road, heading for home. In B.G. the Open convertible appears, closing fast. He turns. It slows down, seems to be intending to pick him up. Then, at the last minute, the FOOTBALL PLAYER who is driving honks the horn loudly, roars past him, laughing, leaving CLARK in a swirl or dust.
61 CLOSE ON CLARK .
CLARK stares angrily, his rage growing. He takes off his glasses, puts them in his
Pocket. Turning, he suddenly takes off, running cross-country.
62 EXT. KANSAS COUNTRYSJDE - DAY
The blur which is the running CLARK zooms through a cornfield, makes a hair-pin turn across a meadow and up over a rise.
63 EXT. TRAIN TRACKS - DAY - TRAVELLING SHOT
Clark runs parallel to some train tracks on the other side of the rise. A train looms up rapidly behind him, overtakes him by one or two cars. For a moment CLARK is content to keep pace with the train, then looks up at its windows.
64 ANGLE ON TRAIN WINDOWS - CLARK'S POV
A LITTLE GIRL of' six looks out one window, her nose pressed to the glass, her chin dropping in surprise.
65 BACK To CLARK
He notices. Embarrassed, he runs faster, pulling on ahead and passing the train.
66 INT. TRAIN COMPARTMENT - -DAY
The GIRL'S PARENTS are the couple we saw in the opening shot of the movie, cooing over their baby. They are six years older now, as is she: LOIS LA.NE
LOIS
(turns - amazed)
Golly! I saw a boy out there, running fast
as the train! Faster, even!
MOTHER
(affectionate sigh)
Lois Lane, you do have a writer's gift for
invention. I'll say that for you.
LOIS
But...
FATHER
Read your book, dear.
67 EXT. KENT FARMHOUSE - DAY
A small farm on a dirt road facing a wheatfield. A barn stands at one end of the front yard area. CLARK, running in a blur suddenly appears by the tree growing next to the front gate, stops. CAMERA PANS: coming down the road: the convertible with the FOOTBALL PLAYERS and CHEERLEADERS. CLARK leans nonchalantly against the tree as the car and its amazed occupants roll to a stop, stare with wonder.
SUSIE
Clark ....?
FOOTBALL PLAYER
How the hell did you...
CLARK
(deadpan)
I ran.
FOOTBALL PLAYER
(pause- to others)
Told you he was a weirdo. Let's get out of here...
He guns the car, irritated, roars off. CLARK breaks into a thin, self-satisfied smile.
JONATHAN'S VOICE
Been showin' off a bit, have you, son?
68 ANGLE ON JONATHAN
JONATHAN KENT, much older now, stands with stooped shoulders, a scythe in one hand. He looks care-worn, but deeply concerned as CLARK joins him in the yard.
CLARK
I don't mean...to show off, Dad.
It's just that...
JONATHAN
(total understanding)
You got all these amazin' things you can do
and sometimes you think you'll go bust if
you don't let other people know ..
68 CONTINUED
CLARK
(misty-eyed frustration)
I could score a touchdown every time I had
the ball. Every time, Dad. Is it showing off
for a person to do what he's capable of? Is
a bird Showing off when it flies?
(no reply)
I'm sorry, Dad. I know I made a promise,
but I just don't think I can handle it anymore.
CLARK turns away. JONATHAN watches with compassion.
JONATHAN
Look, son. You've been nothin' but a blessing to your mother and me. In the beginning - when you first
came -we thought they'd take you away from us if
people found out about. . . the things you could do.
But a man thinks different as he gets older, 'thinks...
better. Wiser. Starts to see things clear. And I
know now that as sure as we're gonna see the moon
tonight there's a reason why you're here. Don't ask me
what reason, don't ask me whose reason. But whoever, and whatever, there's one thing I do know...
(soft smile)
It ain't to score touchdowns.
CLARK turns, nods, understanding. JONATHAN puts his arm around him.
JONATHAN
Now why don't you see if you can finish up your
chores before I finish up all that apple pie I smell
comin' from your mother's kitchen window....
CLARK smiles, heads off toward the barn, CAMERA TRACKS with him. Suddenly: a choked scream is heard 0.S. CAMERA WHIP PANS: JONATHAN, his hand clutching his heart, staggers on the front step of the farmhouse.
CLARK (O.S.)
Dad! . .
66 CONTINUED
MARTHA'S VOICE
(from inside)
Jonathan...?
JONATHAN collapses, falling backwards as MARTHA opens the front door.
MARTHA
Jonathan!
69 EXT. KAN5AS CEMETERY - DAY
CAMERA CLOSE on a tombstone reading: JONATHAN KENT, 1887-1943 R.I.P., PULLS BACK: CLARK stands by a freshly filled grave, holds the hand of the weeping MARTHA. Both are dressed in mourning.
CLARK
(quiet anguish)
All those things I can do, all those powers...
and I still couldn't save him.
70 EXT. KENT FARM - NIGHT'
The barn stands silhouetted against the night sky. .SLOWLY TRACKS TOWARD IT, passes through the door.
71 INT. BARN - NIGHT
Pitch dark inside. A green light emanates somewhere from beneath a mound of hay the light seems to throb as it glows, as if calling out for something - or someone.
72 INT. CLARK'S BEDROOM - NIGHT
CLARK KENT, now 18 years old, is asleep, suddenly his eyes open. Her sits up, looks around.
73 EXT. FARM - NIGHT
The back door opens. CLARK, fully dressed, emerges from the house, crosses
to the barn.
74 INT. BARN - NIGHT
CLARK enters, crosses to the mound of hay which throbs with the green light. Digging and pushing the hay aside, he uncovers the geode-like module which brought him to earth. The module glows brightly, lit by something from within. CLARK stares hard at it - his eyes changing in colour and consistency.
75 ANGLE ON GEODE - CLARK'S X-RAY POV
Seen through CLARK'S X-RAY vision which cuts through the solid surface of the module: a green crystal throbs inside, resting on the red, yellow, and blue blankets.
76 BACK TO SCENE
CLARK kneels, opens the module, picks up the crystal, stares into it deeply, eyes widening in the eerie, pulsating light.
77 INT. KENT KITCHEN
MARTHA stands over the kitchen stove in the early morning, bacon sizzling in the pan , a pot of hot coffee steaming nearby. She turns her head slightly, calls out.
MARTHA
Clark? Are you going to sleep all day?
I've got....
She stops, has noticed something out the kitchen window. CAMERA PANS, pushes in through window: In the distant wheatfield across the road stands the motionless figure of CLARK.
78 EXT. WHEATFIELD - DAY
CLARK stands quietly, immobile, staring north as the late morning sun hits the side of his face. The look is trance-like as if some force were pulling at him. There is a rustle in the wheat behind him. He does not turn...
CLARK
I... have to leave.
MARTHA enters frame, stops, looks at him thoughtfully, full of emotion.
78 CONTINUED
MARTHA
I... knew this time would come.
I knew it from the day I found you. .
CLARK turns now, faces her. He speaks flatly, trying to avoid breaking down.
CLARK
I'll bring in the crop before I leave. I...
talked to Ben Hubbard yesterday. He'll
be happy to help out from now on.
MARTHA
He's a good man, Ben is. Your father
always said so.
CLARK
(emotionally)
Mother...
MARTHA
(helpless smile)
I know, son. I know....
79 EXT. WHEATFIELD - DAY
The sun starts to set in the distance. CLARK approaches the vast wheatfield, his .father's scythe in his hand. He hesitates a moment, unobtrusively looks around, then bursts toward the wheat at SUPER SPEED, cutting an instant four-foot wide swath across the field.
80 INT. KITCHEN - DAY - ANGLE ON WHEATFIELD
CAMERA looks through the kitchen window as the wheatfield practically disintegrates in neat rows before us, then PULLS BACK: MARTHA watches, her eyes filled with tears.
81 EXT. KENT F ARM - DAY
The wind is blowing. Tall, neat stacks of baled wheat rise up near the barn. CAMAERA PANS: CLARK stands at the gate to the road in a windbreaker and slacks, has a rucksack at his side. MARTHA holds out a brown paper bag.
81 CONTINUED
MARTHA
I made you...
(fighting back tears)
...some sandwiches.
CLARK smiles silently, closes his hand around the bag. He turns, opens the rucksack to place the bag inside.
82 INSERT SHOT - RUCKSACK
The rucksack interior glows with a green light, tucked inside the red, yellow, and blue blankets is the same one seen earlier, in thc barn. CLARK closes it.
83 BACK TO SCENE
They face each other for the final time, all emotion, both at a sudden loss for words.
MARTHA
Do you ... know where you're headed?
CLARK
North.
MARTHA'S eyes glaze over. She manages a brave smile.
MARTHA
Remember us. Always remember us.
Unable to restrain themselves any longer, they reach out, collapse into a tight hug.
84 EXT. ALASKA HIGHWAY - DAY
CLARK, in his light windbreaker, his rucksack on his back, walks by the side of the road. The wind howls, ruffling his hair, but he doesn't seem to mind the cold. CAMERA PANS: from a distance, a truck appears. It pulls up next to him, stops. The DRIVER opens the door.
TRUCK DRIVERS
Get in Kid! Quick, before you
freeze to death!
84 CONTINUED
CLARK
(nice smile)
I'm okay, thanks. It was nice of you to
stop, though.
The DRIVER stares, amazed. CLARK really means it.
DRIVER
What the hell. You wanna make a popsicle
outa yourself, none of my business....
THE DRIVER slams the door. The truck roars off. CLARK watches it leave, then turns, walks off the side of the road cross-country, heading north.
85 EXT. ALASKA - DAY
CAMERA PANS a vast snow-covered plain and an arctic lake with icebergs floating in it in the distance. A Polar bear trudges through the snow, stops, looks at something which has attracted his attention. CAMERA CONTINUES PAN: the tiny, dark figure of CLARK contrasts sharply with the dazzling white landscape as he makes his way still north, dressed only in his light windbreaker.
86 EXT. NEAR NORTH POLE - DAY
A flat, desolate plain. off to one side is a huge out-cropping of rock jutting out of the barren, snow-covered landscape. A blizzard rages. CAMERA PANS to reveal CLARK, the rucksack on the ground beside him. The wind rips across the plain. CLARK looks around, seems to be in the process of selecting a specific area. He marks its perimeters with heat vision, burning deep lines into the snow and ice. Once the boundaries are drawn, CLARK concentrates on the area within. The entire mass of snow' begins to melt away as huge flames shoot around the gigantic excavation.
DISSOLVE TO:
87 EXT'. SAME AREA - LATER
An enormous crater has been carved out of the rock and ice. CLARK stands in the center, reaches into his rucksack, places the green stone on the ground. Climbing back quickly to the edge, he focuses into the crater. As his heat vision hits the stone a crystalline foundation begins to solidify and expand. Green radiation glows all around the excavation site - a wall is formed.
87 CONTINUED
Another burst of energy intensifies and constructs a second side joined at a right angle. In the bright cone of green light, multi-colored molecules explode and expand into a third impregnable wall. Through the blaze of sparkling light this wall increases in size, spreads out to cover the fourth remaining side.
88 CLOSE ON CLARK
CLARK steps back to look with awe: The Fortress of Solitude is complete. It rises up in the northern landscape, its materials completely harmonious, the white opaque crystalline blending ingeniously into the surrounding countryside.
89 INT. FORTRESS OF SOLITUDE - DAY
The tiny figure of' CLARK enters the Fortress, looks up at a multi-leveled white fantasy. Stabbing spurs of crystal cut across the levels at a severe angle. The decor is spartan, minimal. The central area with its complicated memory crystal energy banks where SUPERMAN will communicate with his dead father is overlooked by a series of different levels which lead off to hidden corridors, rooms, etc.
The entire dazzling interior is strongly reminiscent of what we have seen earlier on Krypton.
90 CLOSE ON ENERGY BANK SECTION
A crystal bench sits next to the energy bank which is lined with rows of smaller glowing crystals. CLARK approaches mesmerized, knowing what he must do but unsure of how and why. He reaches out for the first crystal, places it inside a mechanism in the energy bank, takes his seat on the bench, waits, suddenly:
91 WIDE ANGLE
The light in the Fortress changes dramatically. The walls and jagged planes of the structure seem to come alive with energy. The wall directly opposite vibrates with a special intensity: A giant face appears: It is JOR-EL. His head rises massively up and across the wall, burning with light, looking down, dwarfing the tiny figure of CLARK on the bench. JOR-EL'S eyes flash, focus on him. JOR-EL speaks.
25/3/77
91 CONTINUED
JOR-EL
My son, you do not remember me. I am Jor-El.
I am ... your father. By now you will have
reached your eighteenth year of time as it is
measured on earth. By that same reckoning I will
have been dead for many thousands of your years.
The knowledge that I have of, matters physical
and historic I have given to you fully on your voyage
to your new home. These are important matters, to
be, sure, but still matters of mere fact. There are
questions to be asked and it is time for you to do so.
Here in this Fortress of Solitude we shall try to find
the answers together. How does a Good man live? What
is virtue'? When does a man's obligation to those
around him exceed his obligation to himself'? These are
not simple questions - even on Krypton there is no precise
science which provides us with the answers. I can only
tell you what I myself believe. To this end, I have tried
to anticipate your questions, and in -the order of their
importance to you.
(pause)
Speak.
CLARK
Who . . . am I?
JOR-EL
Your name is Kal-El. You are the only survivor
of the planet Krypton. Even though you have
been raised as a human being, you are not one
of them. You have great powers, only some of
which you have, as yet, discovered ...
CAMERA BEGINS A SLOW 360-DEGREE PAN. The face and features of
JOR-EL will appear and fade away in many dimensions and on virtually every area of the fortress in an intricate and continuous SERIES OF DISSOLVES:
JOR-EL
Your mother, Lara, has sent along three
Blankets of red, yellow, and blue. United in
United in a single garment, their
(last sentence missing from script)
91 CONTINUED
At times there will be simultaneous representations JOR-EL: some merely features of the face in huge magnifications - eyes, mouth, profile, etc. The DISSOLVES will indicate the passage of a long period of time. Never, until the final culmination of the 360 PAN do we see or hear anything but the face and thought of JOR-EL.
CAMERA BEGINS FIRST SERIES OF DISSOLVES:
JOR-EL
You are superior to others. You can only
become inferior by setting yourself above
them. Lead by inspiration. Let your actions
and ideals become a touchstone against
which mankind may learn how to serve
the common good. While it is forbidden
for you to interfere with human history
itself, your leadership can stir others to
their own capacity for moral betterment ...
CAMERA BEGINS SECOND SERIES OF DISSOLVES:
JOR-EL
The virtuous spirit has no need for thanks or
approval. Only the certain conviction that what
has been done is right. Develop such conviction
in yourself, Kal-El. The human heart on your
planet is still subject to small jealousies, lies,
and monstrous deceptions. Resist these
temptations as you inevitably find them - and
your ethical power will then properly outweigh
your physical advantage over others...
CAMERA BEGINS THIRD SERIES OF DISSOLVES, has almost completed
its 360 PAN, now starts to RISE behind a giant representation of JOR-EL'S face. LOOKING DOWN from behind through the eyes we see a tiny blue, red, and yellow figure in the distance. CAMERA PUSHES IN SLOWLY through the eyes.
91 CONTINUED
JOR-EL
Your education nears a kind of completion
now, Kal-El, although no limit to
understanding or knowledge has ever
truly existed. Over the years you have asked
important questions and I think together
we have almost always found the answer to them.
Now it is time for you to return to the world
which I have chosen for you. When new
questions arise, come back to me and I will
try to be of help ...
The FIGURE is discernible now as CAMERA PUSHES IN with increasing speed. FOR THE FIRST TIME:
SUPERMAN stands in his classic outfit, arms folded, gazing intently back up at the CAMERA which -represents JOR-EL. He is older now. A handsome, strong man, his intelligence, warmth, and compassion shining through his clear eyes as the final words of JOR-EL flow through him.
JOR-EL
Live as one of them, Kal-El, to discover
where your strength and power are
needed - but always hold in your heart
the pride of your special heritage. Your
being is both separate and your own , but I
have caused your earthly presence and must
share responsibility for your actions. They can
be a great people, Kal-El. They wish to be. They
only lack the light to show the way. For this reason
above all - their capacity for good - I have sent them
you. My only son.
There is a handwritten notation to "cut to scene 96"
.
www.smallvillechronicles-spain.blogspot.com - "Superman I: La película" - Alberto Angulo Morales
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