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"Superman I, la película: Versión cinematográfica de 1978".
22:17 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. Esta es la segunda parte del guión.
"SUPERMAN THE MOVIE (1978)"
Guión del rodaje.
Revisado por TOM MANKIEWICZ
Dirigido por RICHARD DONNER
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92 EXT. METROPOLIS STREET - DAY
(There is a handwritten notation "26/6/77 amended to page 56")CLARK KENT walks a crowded street in Metropolis, attaché case in hand, conservative suit, heavy-rimmed glasses, etc. A brisk breeze blows. CLARK reaches the street corner, looks around, admires the skyline, fascinated by the big city. He starts across the street to a building marked DAILY PLANET, oblivious to the red light turning green and the oncoming traffic. A taxi hurtles across the intersection.93 ANOTHER ANGLEhe taxi smashes into CLARK with a sickening crunch. The DRIVER, horrified, jumps out.DRIVER Oh, my god, I couldn't help...CLARK Sorry. It's my fault. I shouldn't have crCLARK, still standing, simply turns, smiles nicel yossed against the light. The DRIVER stops, dumbfounded, stares at the hood of his cab.94 INSERT SHOT - HOOD OF CABore modern quarters) where WE SEE the globe and the enormous electric sign: THE DAILY PLANET - Metropolis' GreateThe front of the cab has CLARK'S impression cut deeply into the hood, through the engine block to the windshield. 95 BACK TO SCENE CLARK waves a cheery farewell to the non-plussed DRIVER, mouths another friendly "sorry", crosses the street, walks through the doors of The Daily Planet. CAMERA PANS UP the skyscraper to its tower (not the same building in the OPENING, but new, mst Newspaper. 96 INT. PLANET CITY ROOM - DAY The city room of a large newspaper. Rows of desks. REPORTERS, EDITORS, COPY BOYS scurry back and forth. CAMERA PUSHES IN on a corner of the City Room where a few star reporter desks look a bit larger and widely spaced than the others. Behind them is a frosted glass door on which is painted: "PERRY WHITE, MANAGING-DIRECTOR". 97 ANGLE ON DESKSirl last seen at the train window as it sped through Smallville: This is LOIS LANE. LOIS (to anybody) How do you spell "massacre?" 98 ANGLE ON LOIS THROUGH REFLEX FINDER LOIS turns, looks into the crosshairs of a reflex camera viewfinder. She iSeated at the typewriter, working with intense concentration punctuated by occasional smiles, is a YOUNG WOMAN. Physically she is a knockout: long brunette hair, smart clothes on a smart figure. Mentally, she's just as good: bright, talented, ambitious. 97 CONTINUED A girl with a wry sense of humor, a snappy reporter with an instinct for a big story, the grown-up version of that little gs perfectly centered. JIMMY'S VOICE R-E. The shutter clicks. 99 BACK TO SCENE A few feet away, a fresh-faced young CUB REPORTER lowers his press reflex camera. A teen-age eager beaver who idolizes LOIS, this is JIMMY OLSEN. He grins, crosses to LOIS, tries to see what's in her typewriter. JIMMY What're you writing. Lois? LOIS (continues typing) An Ode to Spring. One or two "T's" in bloodletting? JIMMY Two. LOIS types the finish, rips the page from her typewriter, reads with gusto. LOIS "And the people on the street, the little man who runsat. JIMMY Oh, wow... LOIS flashes him a knowing grin, knocks on PERRY WHITE'S door, enters without waiting for a response. 100 INT. PERRY WHITE'S OFFICE - DAY The office of a working editor. Copy pinned up on bulletin boards, photos piled on thethe corner newsstand, the old lady sunning herself on the stoop, the kids playing stickball in the alley - none of them will ever forget that night of senseless blood-letting which turned a friendly block party into a cruel and unspeakable massacre." (triumphant) 99 CONTINUED LOIS rises, starts toward Perry White's office. JIMMY tags along at her heels as CAMERA TRACKS with them. JIMMY (lost in admiration) Boy! How come you get all the great stories, Lois? LOIS A good reporter doesn't get the great stories, Jimmy. A good reporter makes them gr e desk, wire service tear sheets, plaques, awards, signed photos on the walls, etc. Behind the desk, rol1ed-up shirt sleeves, tie loosened, is PERRY WHITE, the no-nonsense, hard-working 50'ish editor of the paper. Beneath his gruffness is a nice guy who loves his grandchildren. PERRY struggles vainly with the screw-on top of a pop bottle as LOIS marches in, lays her story on his desk. LOIS (cocky) Here's the story on that East 19th Street murder spree. Page one with a banner headline seems about right to me. PERRY So why should today be different... (gestures O.S.) Clark Kent, say hello to Lois Lane. LOIS turns, not realizing there was someone else in the room. CAMERA PANS: Seated against the wall by the entrance is CLARK KENT. He rises, polite and friendly, extends his hand. 100 CONTINUEDrap. TCLARK Hello, Lois ... LOIS Hi there... LOIS looks back at PERRY as CLARK slowly lowers his hand. PERRY crosses, still struggling with the bottle top. LOIS Believe me, Chief, it's got everything. Sex., violence, the ethnic angle... PERRY So does a lady wrestler with a foreign accent. (turns) Here, Kent. Open this, will you? PERRY hands CLARK the pop bottle as LOIS continues. CLARK struggles with it mightily, but to no avail. LOIS Chief, this could be the basis for a whole series of articles - "Making sense of senseless killings", you know? We get psychiatrists ... LOIS takes the bottle away from the straining CLARK, raps it sharply twice on the arm of his chair hands it back to him. LOIS ...sociologists, interviews with the families... PERRY Lois, you're pushing a pile of rinky-dink tabloid che Daily Planet has a tradition to ... CLARK tries the bottle cap. It opens, suddenly fizzes out in a squirt from the agitation by LOIS. PERRY and LOIS turn, stare. CLARK winces shyly as the liquid dribbles down his pants leg. LOIS can't resist a smile, but sympathizes. 100 CONTINUED LOIS I'm sorry. I didn't shake it up on purpose. CLARK (nicely) Of course you didn't, Lois. Why would anyone want a total stranger look like a fool? CLARK smiles. LOIS looks back, unsure of how he meant that, as PERRY takes the bottle, from CLARK. PERRY Lois, take Kent out there and introduce him around. He's coming to work for the paper. I'm putting him on the city beat. LOIS (not happy) My ... beat? PERRY The competition'll do wonders for you. Listen. Not only does this guy show proper respectsant smile. LOIS Are therefor his editor-in-chief ... (baiting her) not only does he have a snappy, punchy prose style, but I swear to you that after forty years in the business he is the fastest typist I have ever seen. LOIS stares warily at CLARK. His sincere expression never changes. CLARK I'm sure I can learn a lot from you, Lois ... (turns) Oh, Mister White, could you arrange for half my salary to be sent on a weekly basis to this address? CLARK hands PERRY a piece of pa per from his pocket. 100 CONTINUED LOIS Your bookie? CLARK My what? LOIS (archly) Don't tell me. He sends a check every week to his dear grey-haired old mother. CI.ARK (total sincerity) Actually, she's silver-haired. LOIS stares at him, stunned. He actually does send his mother money. CLARK manages a ple a any more at home like you7 CLARK Not really, no. 101 EXT. METROPOLIS STREET - NIGHT - TRACKING SHOT (note - scenes 101-129 have had "NIGHT" marked out and "DAY has been handwritten in.) It is late at night. The street is semi-deserted as CLARK and LOIS walk along on their way back from work. LOIS Well, Clark? So how did you enjoy your first day on the job? CLARK (checking his watch) Frankly the hours were somewhat longer than I expected, Lois, but then... meeting you and Jimmy and Mr. White - on the whole I think it's swell. 101 CONTINUED LOIS Swell. (pause) You know, Clark, there are very few people left in the world these days who sound comfortable saying that word ... "swell". CLARK Really? It just sort of comes naturally to me. As they pass an alleyway a VOICE is heard. VOICE(to LOIS) Now hand it over. LOISAll right. Freeze. The both of you. CAMERA STOPS, PANS: a rough-looking MUGGER stands just inside the darkened alleyway, a pistol leveled at them. MUGGER Get in here. CLARK and LOIS look around nervously for help. The street is deserted. CLARK Better do as he says, Lois. 102 INT. ALLEY - NIGHT (change to DAY) CLARK and LOIS are forced up against the wall. CLARK seems nervous, LOIS grimly determined. CLARK Listen, mister. I realize times are tough for some these days, but .... (total sincerity) This isn't the answer. You can't solve society's problems with a gun. The MUGGER blinks. LOIS looks at CLARK unbelievingly. MUGGER You know something, buddy? You're . right I'm turning over a new leaf. 102 CONTINUED CLARK That's the spirit. MUGGER Right after I rip off this lady's purse. stares hard at him. Disgusted, she lets the purse drop. The MUGGER reaches down to pick it up. LOIS suddenly kicks him viciously in the neck, sending him reeling backwards: The MUGGER hits the pavement bringing up his gun with a deadly glare. CLARK Don't shoot! Don't shoot! CLARK rushes forward with his arms outstretched pleadingly as the MUGGER fires. 103 INSERT SHOT - CLARK'S HAND AT SUPER SPEED: The bullet hits CLARK harmlessly in the palm of his hand. He closes his fist around it. 104 BACK TO SCENE CLARK'S eyes bulge. He drops to the ground with a look of agonized astonishment as LOIS screams. LOIS Clark! The frightened MUGGER scrambles to his feet, runs off down the alley as LOIS bends over CLARK. LOIS Clark. . . oh, Clark . . . are you. . . CLARK'S eyelids flutter, then open. with a sheepish smile. He looks up at LOIS CLARKd one-colour outfit which could pass for a uniform bWow ... I guess I must have fainted or something ... 104 CONTINUED LOIS (rising - disgusted) Swell. CLARK gets to his feet, dusts himself off. CLARK Really, Lois. Supposing that man had shot you? Is it worth risking your life over ten dollars, two credit cards, a hairbrush, and a lipstick? I mean... LOIS (strange expression) How did you know that? CLARK (suddenly nervous) Know what? LOIS You just described the exact contents of my purse. CLARK (pause- smile) Wild guess. CLARK turns self-consciously, strides out of the alley as LOIS watches him curiously. CLARK Taxi! 105 EXT. METROPOLIS STREET - NIGHT (DAY) CLARK and LOIS enter a cab, take off, CAMERA PANS to a newsstand on the corner. 106 CLOSE ON NEWSSTAND - DAY (DAY) A large MAN (OTIS) in a slightly dishevel euys a newspaper. He checks the headlines and front page picture before paying, then starts off. CAMERA PANS: a police car is parked at a nearby corner directly in his path. lO7 INT. POLICE CAR - NIGHT (DAY) TWO OFFICERS watch as OTIS approaches, passing under a streetlight. Their eyes narrow suspiciously. OFFICER #1 That's him, all right. Lex Luthor's right-hand man. Let's get him. OFFICER #2 Wait. Maybe he'll lead us to the man himself. OFFICER #1 (too good to be true) Lex Luthor... OFFICER #2 You got it, Charlie. We both make Captain by midnight. They look through the windshield. OTIS has spotted their car, now hesitates. 108 EXT. STREET - CLOSE ON OTIS (DAY) OTIS suddenly doubles back, rounds a corner. The police car pulls away from the curb, rolls after him. 109 EXT. STREET NEAR TRAIN STATION - NIGHT (DAY)arked: LOWER LEVEL. 113 BACK TO OFFICER #2 OFFICER #2 has seen, speaks into his walkie-talkie, as he runs down the stairs. OFFICER #2 Lower level, Charlie. I'm right on his ass... 114 INT. STATIOOTIS has broken into a run. Still holding on to his newspaper, he heads for the entrance to a train station farther down the block. CAMERA PANS: the police car has picked up speed, continues to follow. 110 EXT. METROPOLIS STATION (GRAND CENTRAL) - NIGHT (DAY) OTIS, now at a dead run, threads his way through arriving PASSENGERS and taxis, enters the station. In F.G. the police car pulls up. OFFICER #2 jumps out, turns to OFFICER #1. OFFICER #2 Call for a back-up. I'm going after him. (slaps walkie-talkie on belt) I'll keep you posted. 111 INT. METROPOLIS STATION (GRAND CENTRAL) - NIGHT (DAY) OFFICER#2 arrives at the top of the main staircase leading down into the busy central hall of the station, scans the CROWD. 112 ANGLE ON OTIS - OFFICER #2's POV OTIS hustles through a group of PASSENGERS, heads down a ramp mN LOWER LEVEL OTIS hurries through the lower level, disappears into an entrance marked: TRACK 22. CAMERA PANS: OFFICER *2 has seen, follows quickly. OFFICER #2 (into walkie-talkie) Track 22, Charlie... OFFICER #1's VOICE (through walkie-talkie) Back-up's here. We're right behind you. 115 INT. TRACK 22 - NIGHT (DAY) OTIS runs down the platform. On one side is a waiting train, steam belching from beneath the cars as the final PASSENGERS set on board. OTIS joins them. 116 ANGLE ON OFFICER #2 (DAY) OFFICER #2 at the top of the platform starts after him, suddenly stops as he sees: 117 ANGLE ON OTIS - OFFICER #2's POVAY) The train rattles by quickly, its flashing windows obscuring OTIS from view. As the last car whistles by: OTIS has disappeared - the indentation is empty. 120 BACK TO OFFICER #2 (DAY) OFFICER #2 grins confidently, speaks into his walkie-talkie. OFFICER #2 Make it Track 23, Charlie. I see how he does it... 121 INT. TRACK 23 - NIGHT (DAY) OFFICER #2 runs down the platform, stops opposite the indentation OTIS used. He is about to jump onto the track, hesitates as he looks off: Another train is coming down the track, its lights nowOTIS' emerges through the steam on the other side of the train. He looks down the opposite side of the platform along an empty track. A train approaches in the distance, its lights now visible, the noise of its wheels increasing rapidly in volume. OTIS looks: against the far tunnel wall are a series of concave man-sized indentations, meant for track workers to step back into in case of an oncoming train. Waiting until the last moment, OTIS suddenly, jumps down onto the track, crosses it, steps back into an .indentation as the train roars past in f.g. 118 CLOSE ON OFFICER #2 (DAY) OFFICER #2 watches, mystified. 119 ANGLAE ON TRAIN ( Dvisible in the distance. OFFICER *2 grits his teeth, jumps off onto the track. 122 INT. LUTHOR' S LAIR - NIGHT (DAY) CAMERA CLOSE on a TV monitor screen. OFFICER #2 is seen on it, crossing the track. A disapproving, clucking sound is heard. A hand comes into frame holding a remote control device. A button on it is pushed. The TV image changes: We now see OTIS 122 CONTINUED Walking nonchalantly down a narrow underground passageway lined with enormous steam pipes, still holding on to his newspaper. LUTHOR'S VOICE (O.S.) It's a miracle that brain can generate enough power to keep his legs moving.... The remote control device switches back again: Seen on the monitor: OFFICER #2 has crossed the track, looms large in monitor f.g. as he takes his place inside the indentation. 123 INT. TRACK 23 - CLOSE ON INDENTATION (DAY) OFFICER #2 has stepped inside the indentation, now waits. The train roars down the track towards him. Suddenly - the rear wall of the indentation pushes forward, shoving him out in the direction of the track. He fights vainly for a moment, then catapults onto the track with a scream as the train rushes past. 124 ANGLE ON TOP OF TRACK 23 PLATFORM (DAY)aOFFICER #1 has arrived with two other POLICEMEN. They scan the platform area as the train roars by. CAMERA PANS: 125 ANGLE ON TRACK 23 - THEIR POV (DAY) The train has passed. All that remains on the track is a chewed-up policeman's hat and a dented walkie-talkie which sqawks pure static. 126 INT. LUTHOR'S LAIR - NIGHT - CLOSE ON TV MONITOR (DAY) Seen on the TV monitor: the POLICEMEN scratching their heads, puzzled, walking along the empty platform. The hand with the remote control device comes back into frame. A button is pushed. The screen goes dark. 127 INT. UNDERGROUND TUNNEL - NIGHT (DAY) OTIS proceeds down an even narrow tunnel. Water drips from the rock ceiling above. A couple of rats scamper past and through some rusted heating and electrical ducts which line the sides. CAMERA PANS with OTIS. He heads for a rusty, bolted metal door marked: DANGER - NO ENTRY - CONDEMED. 128 INT. LUTHOR'S LAIR - NIGHT - CLOSE ON MODEL (DAY) CAMERA. FOLLOWS another train (this one a model) as it snakes its way around mountains and through deserts in a made-to-scale U.S. western-type landscape. Emerging from a tunnel it heads out onto a bridge which is only hlf-completed, suddenly tumbles off, the falling cars demolishing a papier-mâché model of a hospital directly below. A low chuckle is heard O. S. CAMERA PANS UP: A few feet away, a beautiful YOUNG WOMAN (EVE TESCHMCHER) reclines with her feet up in a deep, luxurious sofa. working on a needlepoint pillow. A projected blue-sky backdrop shimmers on the wall behind her, looking quite real from this angle and distance. EVE is open, straightforward if slightly dim, with an unmistakable honest sexiness about her which matches her personality. She looks up INTO CAMERA, wide-eyed, disapproving. EVE That's sick, Lex. Really. 129 WIDE ANGLE ON LEX LUTHOR AND LAIR - EVE'S POV (DAY)locked from view. Off to another side - a large and colourful aviary, stocked with live birds of prey: eagles, falcons, hawks, etc. The walls and ceilings, as we will discover, are almost all canvas on which projections can and will be made, different ones servicing different specific parts of the lair. 129 CONTINUED One other aspect of this underground kingdom will soon become apparent: whether through the architecture which strangely resembles that of Metropolis Station, or the row of bookcases which curiously look like old ticket windows, or the odd, faded track marker which signals the way off into one or another of the hidden corridors of the lair - it is clear we are in an abandoned railroad station, drastically remodeled, but nonetheless a fact. CAMERA PUSHES IN ON LEX LUTHOR: His face is a task of elegant demonic Genius, for this is a man with an infinite capacity for sadistic evil. Cutting, given to rapidly changing moods, but always thinking - the master criminalLEX LUTHOR sits behind a massive desk in his palatial underground lair, now seen for the first time as CAMERA PANS: At first glance - breathtaking, with its multi-level1ed areas, only some of which are immediately visible. The entire wall behind him which rises to a high ceiling is completely covered with full bookcases bulging with periodicals, papers, etc. Another separate area has a complicated laboratory with viewing theater, banks of electronic gadgets which have been connected to underground electrical lines exposed in portions of the rock-faced walls. In the same manner we will discover exposed heating ducts and water mains. One higher level near the ceiling is completely b incarnate. He stares at EVE, the only person he allows to "nag" him, loving her in spite of all. LUTHOR shakes his head sadly disappointed. LUTHOR Sick. (pause) Here we sit, Miss Teschmacher, mere days away from executing The Crime of the Century, and how do you choose to congratulate the greatest criminal mind or our age? Do you call me brilliant? A bit obvious, that, I grant you. Charismatic, then? (hopefully) Fiendishly gifted? EVE Try twisted. EVE goes back to her needlepoint as LUTHOR glares. There is a metallic "clank." O.S. OTIS has entered from a lower level, dutifully approaches the desk holding his newspaper, smiles, cheery. OTIS I'm back, Mr. Luthor..... LUTHOR You were followed again, Otis... OTIS looks over his shoulder, deeply concerned. LUTHOR Yes. In spite of those cat-like reflexes. EVE (new thought) See if you can just explain to 129 CONTINUED EVE (CONTINUED) me one thing. Why do millions of people have to die for this...Crime of the Century? Tell me that, Lex. Why do they all have to die? LUTHOR Why. (rising - philosophical) Why does the phone always ring when you're sitting in the tub? Why do restaurants call animal intestines sweetbreads? Why would the most brilliantly diabolical leader of all time surround himself with total incompetents? (to Otis) Why, in fact, does the chicken cross the road? OTIS (proudly) To get to the other side. LUTHOR stares at him, OTIS hangs his head. OTIS I'm wrong again, aren't I, Mr. Luthor. LUTHOR No, Otis. As a matter of fact, I stuck that last one in especially for you.od) Arn(pause) Is that the newspaper I asked you to get me? OTIS Yes, sir. LUTHOR Then why am I not reading it? OTIS (knows when he's wrong ) Because I... haven't given it to you, Mr. Luthor. LUTHOR rips the paper from OTIS'S hands, swats him viciously in the side of the head with it. OTIS Thank you, Mr. Luthor. 129 CONTINUED LUTHOR drops the paper on the desk, sits. 130 INSERT SHOT - FRONT PACE The paper is The Daily Planet. Clearly visible on the front page: a large photo of two nuclear missiles on their launching pads and the headline: TWIN I.C.B.M TEST CONFIRMED - LIVE WARHEADS TO BE USED. 131 BACK TO SCENE (DAY) LUTHOR beams, drops the paper, rises, ecstatic. LUTHOR At last it's official! Thanks to the generous help of our own government, we are finally going to realize the greatest real swindle in history! EVE You and your real estate. Why does it mean so much to you? All the time, "land, land, land." LUTHOR When I was a mere prodigy, Miss Teschmacher, having passed through vandalism with flying colours at the age of six, my father said to me: "Son, stocks will rise and fall. . . . (gesturing around him) Utilities and transportation systems may even collapse, and people are no damn good - but they'll always need land, and for that they'll pay, through the nose. Remember that," my father said. "Land." LUTHOR presses a button. A brilliant desert vista appears on one wall. LUTHOR "Land!" Another button. Another vista. This one of the snow-capped Rockies. EVE (not looking up) Then your father must have been sick too. 131 CONTINUED (DAY) LUTHOR (sad nold "Buster" Luthor. The most inept check forger of his day. A pity he didn't see how, from such humble beginnings, I created an empire. EVE An empire? This? LUTHOR Tell me, Miss Teschmacher. How many other girls are lucky enough to have a Park Avenue address? EVE It isn't a Park Avenue address, really. Two hundred feet below. LUTHOR Do you know what they're all paying per square foot up there? For a few miserable rooms of a common elevator? What more could anyone ask for? EVE Sunlight. Something that overlooks a window. LUTHOR, angry, turns to OTIS who shifts his feet. LUTHOR Otis, you want something. What can I throw at you? OTIS The...ah...paper, if you're through with it, sir... LUTHOR (incredulous) A newspaper? Otis? You want to read the newspaper? Is there really life after death? Is water finally running uphill ? OTIS I thought maybe...the funnies. . . LUTHOR hands him the paper, sighs. 131 CONTINUED LUTHOR Here. Don't forget to flush this time. EVE continues to needlepoint, but feels his gaze on her. EVE You know something, Lex? You're perverted. You're the most cruel and vicious human being I know... LUTHOR approaches her, glaring with genuine malice. EVE You'd cut a baby's throat with its own diaper pin. Steal the wafer from a nun's handbag.... LUTHOR stands over menacingly, looks down. She glances up, smiles helplessly. EVE What's wrong with me, anyway? Why do I love you so much? LUTHOR grins, lies down on the sofa next to her, puts his arms around her, looks deeply into her eyes. LUTHOR Life is never boring with me. Admit it. EVE snuggles in, hopelessly cozy. EVE Never, Lex. You're the absolute pits.They kiss passionately. LUTHOR reaches into his pocket, pulls out a remote control device, presses a button. 132 INSERT SHOT - LANDSCAPE MODEL CAMERA CLOSE on a high dam set into the landscape of the previously seen model. It cracks, then collapses: sending a rush of water down onto a schoolyard below, knocking over a toy school bus, sweeping away little figures of children standing in the playground. 133 INT. PLANET CITY ROOM - NIGHT Frantic activity: The wall clock indicates 8:00 P.M. CAMERA TRACKS through the chaos as PERRY WHITE exits his office, a sheaf of galleys in his hand. 133 CONTINUED PERRY Olsen, take this Loch Ness update down to composing - tell them to use it as fill unless something comes in on that jewel robbery. JIMMY Right, Chief. PERRY And don't call me Chief. JIMMY OLSEN disappears quickly with the galleys. PERRY crosses to a desk, picks up the phone. PERRY Harry? That's it. Put 'er to bed. PERRY hangs up, crosses to LOIS' desk. PERRY Lois, about that sex maniac profile... LOIS I know. Nine to five it's a Pulitzer Prize. PERRY I was going to say there's only one p in rapist. (turns to CLARK) Nice job on the Teamster scandal, Kent. CLARK Thanks , Mr. White . PERRY leaves. CLARK rises, crosses to LOIS who rereads her article delightedly, puffs on a cigarette. CLARK clears his throat nervously. LOIS (looking up) What...? Oh, goodnight, Clark. CLARK Actually, Lois, I... ah, well... LOIS Yes? 133 CONTINUED CLARK Would you, ah...be interested in a little dinner tonight? LOIS (nice smile) Sorry, Clark. I'm booked. CLARK Oh. LOIS rises, grabs her notebook, starts off for the elevator s. CLARK follows, CAMERA TRACKKING. LOIS Air Force One is landing at the airport tonight and this kid's going to be there to make sure you-know-who answers a few questions he'd rather duck. CLA.RK (admiration) Don't you ever let up? LOIS For what? Oh, I've seen how the other half lives. My sister, for instance. . . three kids, two cats, one mortgage....I'd go bananas after a week.. (chain smokes) I already am bananas, right? That's what you're thinking. CLARK No. I'm just thinking that you smoke too much, if you don't mind my saying so. (she stares) Lois, you should see what the inside of your lungs look like. LOIS I appreciate the advice, okay? I've got a story to do. CLARK Can I take you to the airport? LOIS Not unless you can fly. . . 133 CONTIUNED They have reached the elevators. The door opens. LOIS enters, turns to CLARK, smiles. LOIS Good night, Clark. The elevator doors shut. A moment later another empty elevator stops, opens its doors. CLARK enters. CLARK Going Down? 134 EXT. ROOF OF DAILY PLANET - NICHT LOIS emerges through a rooftop exit, looks off past an illuminated helicopter pad with a small waiting room building on the far side. A fierce wind in howling. LOIS turns her face as she sees: 135 ANGLE ON HELICOPTER - LOIS' POV A helicopter heads in for the roof, swaying slightly, fighting the tricky winds. It lands uncertainly on the edge of the pad. LOIS ducks her head, runs for the open door. 136 INSERT SHOT - FLOODLICHT CABLESLE ON PHONE BOOTH - CLARK'S P.OV A phone booth stands on the corner - but this is a modern booth -- it covers only the top half of the body. 145 BACK TO CLARK - WIDER ANGLE (amended from page #33 - 145A/B/C Sc. 92,93,94,95) CLARKThe rubber-encased cables connecting the helicopter pad floodlights dance wildly in the wind like black snakes. The helicopter struts are precariously near to them.- too precariously, as one cable inadvertently hooks itself around a strut. 137 BACK TO SCENE LOIS has entered the helicopter. The PILOT takes off. The helicopter starts to rise through the strong winds, suddenly jerks back as the hooked cable takes hold, yanking out one of the floodlights. The helicopter lurches down violently to the PILOT'S ' side, its spinning blades knifing through the waiting room window, spraying showers of glass. The helicopter, still hooked to the edge, one strut hanging over the side. 138 INSERT SHOT - CABLE The cable holding the helicopter has split, short-circuits, spitting electric sparks. 139 INT. HELICOPTER The PILOT, on the roof side, has been knocked unconscious by the impact of hitting the waiting room. LOIS, on the street side, looks over at him, paralyzed with fear. Held In by her seatbelt, she looks down her side to the street, terrified. 140 ANGLE ON STREET - LOIS' POV A shear drop to the street. A small CROWD has already started to form. 141 EXT. METROPOLIS STREET The CROWD grows rapidly in size, staring up, pointing excitedly. CLARK arrives on the scene, looks up as well, eyes widening in horror. 142 ANGLE ON LOIS - CLARK'S POV The helicopter dangles half over the edge of the roof. 143 BACK TO CROWD Determined, CLARK pushes his way through the crowd, looking for something. 144 AN G starts to cross an empty street to an alley, oblivious to the red light turning green and the oncoming traffic. A taxi hurtles across the intersection. 145A ANOTHER ANGLE The taxi smashes into CLARK with a sickening crunch. The DRIVER, horrified, jumps out. DRIVER Oh, my god, I couldn't help... CLARK, still standing, simply turns, smiles nicely. CLARK Sorry, I didn't notice the light. The DRIVER stops, dumbfounded, stares at the hood of his cab. 145B INSERT SHOT - HOOD OF CAB The front of the cab has CLARK'S impression cut deeply into the hood, through to the engine block to the windshield. 145C BACK TO CLARK CLARK crosses to alley. 146 INT. HELICOPTER LOIS looks up past the unconscious PILOT to the edge of the roof. She has only one chance. She unbuckles her safety belt, tries to crawl over him. As she moves, the helicopter shifts position, swings out farther over the roof. 147 INSERT SHOT - CABLE The cable jerks with the weight. Sparks fly. It holds together by a thread. 148 BACK TO LOIS LOIS tumbles back with the movement, falls out the door grabbing her unbuckled seatbelt at the last minute on the way out. 149 EXT. STREET ANGLE ON LOIS - CROWD'S POV The CROWD scream. LOIS dangles from the roof, holding on to her seatbelt for dear life. TO PAGE 57 150 EXT. ALLEYWAY An incredibly garish BLACK PIMP exits an alley doorway, stoned, stops in awe as he, sees: SUPERMAN in full costume heading towards him, determined. PIMP Say, Jim! That is a bad outfit... SUPERMAN Excuse me...a genuine physical joy in flying. 157 EXT. STREET The CROWD has grow in size. A TV mobile unit has arrived.With a burst or energy SUPERMAN rises from the ground, flies up into the night sky. The PIMP watches in wonder. PIMP Wait a minute, Jim! Who's your tailor, baby? Who cuts your threads? 151 EXT. STREET - ANGLE ON LOIS - CROWD'S POV The hushed CROWD watches LOIS hanging from the roof as SUPERMAN appears, flying quickly towards her. FIRST VOICE Look! SECOND VOICE It's a bird! THIRD VOICE (woman) No, it's some kind of plane! What the hell is it, Harvey? FOURTH VOICE Goddamned if I know, Margaret. 152 EXT. ROOF - ANGLE ON LOIS LOIS dangles from the helicopter, eyes closed. her mouth moving in some sort of silent prayer. The helicopter suddenly lurches. 153 INSERT SHOT - CABLE The cable snaps. 154 BACK to LOIS The helicopter falls. LOIS screams, eyes welded shut. Suddenly SUPERMAN'S mighty arm reaches out, grabs her around the waist. With his other hand, he takes the bottom strut of the helicopter. SUPERMAN Easy now, Miss. I've got you. LOIS' eyes open tentatively, then flutter unbelievingly. LOIS You've got me? Who's got you? SUPERMAN smiles warmly as he lifts both LOIS and the helicopter back onto the roof. 155 EXT. ROOF SUPERMAN gently deposits the awestruck LOIS on the roof, then lowers the helicopter. SUPERMAN (smile - to LOIS) I hope this little incident doesn't put you off flying, Miss. Statistically it's still the safest way to travel. LOIS, I. . . LOIS opens her mouth to speak, but SUPERMAN takes off again. She stares after him. gaping. 156 EXT. SKY - NIGHT SUPERMAN is in mid-air, exhilarated - literally high. He executes a cocky "loop," feeling a kind of release ,The PEOPLE "ooh" and "aah" in wonder. A TV CAMERAMAN points , looks over at his CREW. TV CAMERAMAN There he is ! He tilts his camera up. CAMERA PANS with him to the sky. 158 EXT. SKY - NIGHT - CLOSE ON SUPERMAN SUPERMAN notices the attention, suddenly stops his aerobatics, embarrassedly self-conscious. He looks off: 160 EXT SIDE OF APARTMENT BUILDING - NIGHT A BURGLAR emerges from a high apartment house window, steps out onto a ledge. He drops a fistful of jewels into a bag tied to his waist, then positions suction cups attached to his hands and knees. Slowly, laboriously he ascends the side of the building. 160 CLOSE ON BURGLAR Breathing hard, he continues. Looking up, his face suddenly registers shock. 161 ANGLE ON SUPERMAN - BURGLAR' S POV SUPERMAN strolls down the side of the building towards him, defying all laws of gravity. He smiles at the BURGLAR. . SUPERMAN Hi there. Something wrong with the elevator? 162 BACK TO BURGLAR The terrified BURGLAR frantically tries to get away, his suction cups coming loose. He falls - SUPERMAN swoops down, catches him firmly. 163 EXT. METROPOLIS STREET - NIGHT PATROLMAN MOONEY quietly walks his beat on a deserted city street, looks up as he hears a "whoosh!" SUPERMAN lands next to him, deposits the terrified BURGLAR. SUPERMAN They say confession is Good for the soul, Officer. I'd listen to this man. The thunderstruck MOONEY gapes as SUPERMAN takes off again. The BURGLAR shrubs, extends his wrists to MOONEY for the handcuffs. BURGLAR What the hell. It's only a dream, anyway. 164 EXT. HIGHWAY UNDERPASS NEAR RIVER - NIGHT A police car. light flashing, sirens blaring, chases a sleek black Cadillac as they crisscross,- NIGHT A flustered MOONEY stands before his amused DESK SERGEANT . MOONEY Sergeant, Iscreeching through the pillars of a river highway underpass. Both cars blaze away at each other with firearms. The Cadillac squeals into a l80-turn, heads down a short pier to a waiting cabin cruiser. The police car tries to imitate the turn, smashes head-on into a stone pillar, one POLICEM.AN catapulting through the windshield onto the hood. TWO OTHER POLICEMEN pile out, guns drawn, open fire down the pier. 165 ANGLE ON POLICE FROM PIER THREE HOODS empty out of the Cadillac near the cabin cruiser, the police bullets slamming into their car. They wheel, holding automatic weapons, cut down the TWO POLICEMEN, jump onto the cruiser, take off. 166 EXT. SKY - NIGHT - ANGLE ON CABIN CRUISER The cabin cruiser plows down the river at top speed. CAMERA ZOOM BACK, PANS: SUPERMAN watches from mid-air. 167 INT. CABIN CRUIER - NIGHT TWO of the HOODS are in the main cabin. ONE drives the boat while the OTHER makes three neat piles of money on a table, pulling it out of a black satchel. The FIRST HOOD grins at his PARTNER , then looks back through the windshield of the cabin, his jaw suddenly dropping. FIRST HOOD Holy sh.... 168 ANGLE THROUGH WINDSHIELD - HOOD'S POV SUPERMAN stands on the front deck, arms folded, staring sternly inside at them. 169 EXT. BOAT DECK - NIGHT The THIRD HOOD sneaks up behind SUPERMAN, a heavy barbed steel boat gaff in his hands. As SUPERMAN stares in through the windshield, the HOOD swings it down viciously straight into his head. The gaff recoils as if it had hit solid steel - the HOOD stands unbelievingly, his entire body shaking in spasms from the impact. SUPERMAN turns with a smile. SUPERMAN Bad vibrations? 170 INT. POLICE STATION swear! Flying! With a big red cape! And bright red boots as well! Then, quick as a wink - he was gone! Flew up in the air again, he did. Like a big blue bird. SERGEANT (smile) Like a big blue bird....with bright red boots. The SERGEANT gets down from behind his desk, walks MOONEY to the station door. CAMERA FOLLOWING SERGEANT Why don't you take the rest of the night off now, Mooney. Go back to Murphy's bar and finish what you plainly started. I'll be off myself in a bit and join ya there... They have, reached the door, start out, suddenly stop, rooted to the spot. 171 EXT. STREET - ANGLE ON CRUISER - THEIR POV The cabin cruiser sits in the street, balanced on its keel. The THREE HOODS are wrapped in the anchor chain, the satchel of money hanging from one of their necks. 172 BACK TO MOONEY AND SERGEANT SERGEANT Off we go, then, Mooney. The first bottle's on me.... 173 EXT. SKY - NIGHT - ANGLE ON SUPERMAN SUPERMAN continues through the air as a bolt of lightening slashes by next to him. Then a clap of thunder. It starts to rain. He hears something, cocks his head. 174 EXT. RESIDENTIAL STREET - NICHT A LITTLE GIRL looks up plaintively through the rain at a tree in her back yard. We hear a miserable "meow." CAMERA PANS UP: A wet cat sits stranded in the top branches of the tree. LITTLE GIRL (despair) Frisky! Oh, Frisky, please come down.... Suddenly - SUPERMAN soars into frame, scoops FRISKY out of the tree, glides down, gently deposits the cat in the LITTLE GIRL'S arms. LITTLE GIRL Gee, thanks Mister. (to cat) You naughty thing. . . SUPERMAN Don't be too hard on Frisky. We all get a little scared of heights now and then.gives him the 'high sign' then looks off at the PRESS. 181 ANGLE ON PRESS The REPORTERS watch in stunned silence. LOIS elbows her way to theSUPERMAN flies off. CAMERA PANS with the LITTLE GIRL as she runs up here house steps and inside. CAMERA HOLDS a moment Suddenly - the sound of a "smack." MOTHER'S VOICE Haven't I told you to stop telling lies? Another bolt of lightening slashes through the night sky. The rain becomes noticably heavier. 175 EXT. SKY - NICHT - ANGLE ON AIR FORCE ONE Air Force One fights its way through the pounding storm; heading for Metropolis airport. Suddenly a bolt of lightening cracks into the wing. Flames shoot up as the outboard engine on the PILOT'S side splits in two, drops off the wing. The plane starts into a dive. 176 INT. AIR FORCE ONE COCKPIT - NIGHT The PILOT and CO-PILOT fight the controls, try to level off. Suddenly: the plane's nose comes up. The aircraft seems to right itself to the astonishment of the PILOT who looks out the window, eyes now widening. 177 ANGLE ON WING - PILOT'S POV SUPERMAN has grabbed hold or the wing in the cavity created by the fallen engine, now flies, stretched out in its place. He turns his head, smiles at the PILOT. 178 INT. AIR FORCE ONE COCKPIT - NIGHT The dumbfounded PILOT looks back as the CO-PILOT strains to look past him out 'the side. CO-PILOT What happened? We get our engine back? PILOT Fly.. Don't look. We... got something. . . (weak smile) Trust me. Just ... fly. 179 EXT. MEROPOLIS AIRPORT - NIGHT - ANGLE ON LOIS LOIS waits in the storm with a mob of excited REPORTERS. Emergency equipment stands by, lights flashing. Everyone turns, flabbergasted, as they see: 180 ANGLE ON RUNWAY - THEIR POV Air Force One glides safely to a landing, taxis up in front of them. SUPERMAN does a backflip, stands on the wing, looks in at the pilot , front, waving. LOIS Hey! It's me! Remember? Lois Lane! The girl from the roof? SUPERMAN spots her, grins, waves, then takes off again, disappearing into the night sky. The amazed REPORTERS crowd around LOIS. REPORTER Hey, Lois. You know that guy? LOIS (sly puss) Oh, nothing ...intimate. 181 CONTINUED LOIS smiles privately, heads off, the mob of REPORTERS trailing behind her, yelling "who is he?" "C'mon, Lois, what's the story?", etc. CAMERA PANS to the doorway of Air Force One: the PRESIDENT'S ENTOURAGE appears to clear the way. No one notices - there is no longer a way to clear. 181A INT. FORTRESS OF SOLITUDE - DAY The SCREEN is filled by the giant head of JOR-EL. He looks down INTO CAMERA, his expression a blend of slight displeasure and parental understanding. JOR-EL You...enjoyed it. SUPERMAN I don't know what to say. (awkwardly) I guess I just got...carried away. JOR-EL I anticipated this, my son. I... SUPERMAN You couldn't have! You couldn't have Imagined... JOR-EL (gently) How good it felt! SUPERMAN How good it felt... SUPERMAN falls silent again, ashamed. JOR-EL can't resist a small smile. JOR-EL You are revealed to the world. Very well. So be it. But still you must keep your secret identity. SUPERMAN Why? 181A CONTINUED JOR-EL The reasons are two: First, even you cannot serve humanity twenty-eight hours a day... SUPERMAN Twenty-four. JOR-EL Or twenty-four as it is in Earth time. Your help would be called for endlessly, even for those tasks which human beings could solve for themselves. It is their habit to abuse their resources in such a way. SUPERMAN And secondly? JOR-ELstunt designed to draw attention to MetropoliSecond: Your enemies will discover their only way to hurt you - by hurting the people you care for. SUPERMAN Thank you, Father... JOR-EL Lastly- do not punish yourself for your feelings of vanity. Simply learn to control them. It is an affliction common to all, even here on Krypton... (expression changes) Our destruction could have been avoided but for the vanity of some who considered us indestructible. Were it not for vanity...why...at this very moment... I could embrace you in my arms (barely audible) ...my son... 182 EXT. METROPOLIS STREET- NIGHT - CLOSE ON STORE WINDOW The face of a TV NEWSCASTER looks INTO CAMERA through the window of a store which sells television sets NEWSCASTER Good evening. And what sort of night has it been so far? A night that has seen what many believe to be the most extraordinary phenomenon of our times ... CAMERA PULLS BACK: the store window is filled with a myriad of TV sets, all three networks simultaneously broadcasting the same story, although only one NEWCASTER'S voice is audible. A CROWD has formed in front of the Window, hanging on to every word with a bemused expression on his face - CLARK KENT. NEWSCASTER Our newsfilm confirm eyewitness's reports of a caped figure, resembling a man, who appeared flying in the sky over Metropolis. Yes, I said flying . . . A CROWD MEMBER turns to CLARK. CROWD MEMBER That'll be the day, huh? CLARK You said it. NEWSCATER White House comments are guarded at present, although the F. B. I . is said to be investigating the matter. As further accounts pour in, speculation has arisen that this whole thing may be some sort of fantastic hoax ... CLARK frowns. He hadn't counted on this reaction. 162 CONTINUED NEWSCASTER The Mayor of Chicago commented that it all seemed too be a publicity s... CLARK turns, walks off CAMERA PANNING with him. NEWSCASTER ....a city that has been having its share of financial problems of late. 183 INT. LUTHOR'S LAIR - NIGHT The highest level of the underground complex is an improvised swimming pool area. The domed ceiling hangs low over what once was a massive staircase down into the station and now serves as the entrance steps to the pool. A projection of an idyllic Caribbean island setting and seascene shimmers against one wall. LUTHOR sits in the shallow end of the pool in a roped-off, bubbling Jacuzzi bath section. EVE, looking fetching in a bikini, lies on a mat nearby, black goggles over her eyes, absorbing rays from a sunlamp. OTIS sits in an armchair, watches the NEWSCASTER on a television in front of him. NE\WSCASTER ...His question is everybody's: True or false? Miracle or fraud? 184 CLOSE ON LUTHOR LUTHOR is deeply troubled. He glowers pensively as the NEWSCASTER finishes. LUTHOR Turn it off... NEWSCASTER The answer is up to you. Man or myth? OTIS switches off the set, turns. OTIS What's a myth? LUTHOR (mind elsewhere) Something unreal....something.... not quite human. Something like you, Otis 184 CONTINUED OTIS beams, settles back in his chair. OTIS I'm a myth.... LUTHOR frowns, his mind working double-time. EVE stares up at the sunlamp, her eyes still covered by goggles. EVE So what's the story, Lex? You think this guy's the genuine article? LUTHOR If he is - he's from another world... EVE Why? LUTHOR Because if any human being could have perpetrated such a fantastic hoax, it would have been for me and I would have thought of it by now. EVE Oh. LUTHOR snaps his fingers. OTIS rises, crosses to him with an elegant bathrobe. LUTHOR (musing- resigned) It all fits somehow His coming here to Metropolis - and at this particular time. There's a kind of ... crueljustice about it. I mean, to commit the Crime of the Century, a man would just naturally have to face - the Challenge of the Century. CAMERA PUSHES IN as LUTHOR rises, lost in the philosophical justification of it all. OTIS starts to wrap the bathrobe around him. EVE (O. S.) Maybe he'll leave you alone, Lex. Maybe he's just passing through. LUTHOR (bitter smile) 184 CONTINUED LUTHOR (CONTD) Just . . . passing through, Miss Teschmacher? Not on your life...something I would gladly sacrifice by the way - for the one chance to destroy everything he represents. (pause - blinks) Oh, and Otis... OTIS Yes, Mr. Luthor? LUTHOR Next time, put the robe on after I get out of the pool. CAMERA PULLS BACK: the bottom section of LUTHOR'S robe is submerged below the waterline. OTIS I'm sorry, Mr. Luthor. LUTHORI know that, Otis.
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www.smallvillechronicles-spain.blogspot.com - "Superman I: La película" - Alberto Angulo Morales
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