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"Superman I, la película: Guión de la edición Especial".
23:54 horas. 09 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 edición especial de "Superman I, The Movie". Esta edición fue realizada en 2001 con escenas nunca vistas hasta el momento. En esta publicación os muestro la parte de la llegada del pequeño Kal-El a Smallville.
."GUIÓN ORIGINAL DE SUPERMAN I: SPECIAL EDITION"
Director: Richard Donner
Productor: Alexander Salkind
Guión: Mario Puzo, David Newman, Leslie Newman, and Robert Benton
EXT. EARTH
The CAMERA POV spins around and around madly, heading down.
EXT. KANSAS WHEAT FIELD - DAY
Miles and miles of golden wheat can be seen. CAMERA PANS: A dilapidated farm pick-up truck comes chugging down a long flat dirt road.
INT. PICK-UP TRUCK - DAY
Two PEOPLE are seated in the truck cab, dressed in 1940's period clothing. The MAN is in his 50's, the WOMAN in her 40's. They are JONATHAN AND MARTHA KENT.
EXT. KANSAS WHEAT FIELD - DAY
A loud whooshing sound, the CAMERA POV shows the ship coming to Earth as it crash-lands.
INT. PICK-UP TRUCK - DAY
JONATHAN is startled, darts a momentary look in the direction of the noise as MARTHA raises her arm to shield her eyes from the EXPLOSION of LIGHT and SOUND.
MARTHA
Whoa!!
JONATHAN
What was that?
(struggles to keep control of the car)
EXT. WHEAT FIELD ROAD - DAY
The "bang" of a tire blow out is heard. JONATHAN slams down on the brakes. The truck lurches violently, the rear left tire having burst. The truck swerves and jiggles, and eventually stops.
INT. - TRUCK
JONATHAN looks at MARTHA.
EXT. - WHEAT FIELD ROAD - DAY
JONATHAN rolls down the window, steps out of the truck, angrily slams the door and looks at the punctured tire as MARTHA exits the vehicle as well.
JONATHAN
(kicks the flat tire)
Well, wouldn't that beat all get out. (looks at MARTHA) Wouldn't you...uh?
MARTHA gazes across at the wheat field. Her face is frozen in astonishment at something she's seen.
MARTHA
(whispering)
Oh...
JONATHAN turns, looks, eyes widening, equally amazed.
ANGLE ON ROCKET SHIP - THEIR POV
The Kryptonian ship has landed in the field, a black trail burned across the wheat to its final resting spot.
CLOSE on JONATHAN and MARTHA
JONATHAN
Oh my...
EXT. FIELD - CLOSE TO SHIP - DAY
JONATHAN and MARTHA look down over the edge of the hole and see KAL-EL, a little boy aged around 3, climbing out of the craft, completely naked. He stretches and smiles, the geode in the background, as JONATHAN and MARTHA stare at him in astonishment.
CLOSE-UP SHOT OF THE TRUCK
Sitting on the ground, JONATHAN removes the lugs and the punctured tire. There is a jack holding the truck up. MARTHA is the B.G. with KAL-EL, whose legs and groin are now covered with the red blanket.
MARTHA
(staring at the smiling KAL-EL, shaking her head and smiling herself)
All these years, as happy as we've been, how I prayed and prayed the good Lord would see fit to give us a child.
(he hugs her and she him in delight)
JONATHAN
Honey, will you hand me that rag up there?
MARTHA
(as she does so)
You take things easy now, Jonathan, remember what Doc Frye said about that heart of yours.
JONATHAN smiles and shrugs it off, before sobering up as he stares at the LITTLE BOY.
JONATHAN
Well the first thing we gotta do when we get home is find out...who that boy's proper family is.
MARTHA
(somewhat defensively)
He hasn't got any. Not around here, anyway.
JONATHAN
(looks at her)
Martha, are you thinking what I think you're thinking?
MARTHA
(holding the boy's hand)
We could say he's the child of my cousin in North Dakota. And just now orphaned.
JONATHAN
(grins and shakes his head)
Oh, Martha.
MARTHA
Jonathan, he's only a baby!
JONATHAN
Martha, now you saw how we found him...
MARTHA is staring off to her right.
JONATHAN
(notices her intense look)
Martha Clark Kent, are you listening to what I'm saying?
INSERT SHOT - JACK
The jack begins to collapse. Suddenly, it gives way completely.
CLOSE ON MARTHA
MARTHA cries out, runs to her husband and tries to drag JONATHAN away as the truck is about to fall on him.
BACK TO JONATHAN
JONATHAN shoots a quick look at his wife, then - as her scream stops in a gasp - he looks behind him.
EXT. KANSAS - DAY
KAL-EL is holding up the truck, two wheels off the ground. Then he lifts it even higher. JONATHAN and MARTHA are poleaxed with disbelief, and then turn around to stare at the landing site of the rocket ship. Then they look back at each other.
INSERT SHOT - JONATHAN and MARTHA
KAL-EL continues to hold the truck up effortlessly, as Jonathan tosses the rag down onto the dirt.
EXT. SMALLVILLE HIGH FOOTBALL FIELD - DAY
CAMERA LOOKS onto a typical Midwestern small town high school football field in the 1960's. A coach's whistle signals the end of the team's practice session.
COACH
Come on, gang!
The FOOTBALL PLAYERS run off the field, led by their COACH.
PLAYER#1
That was a great game, huh?
PLAYER#2
Yeah, but next week...
A group of CHEERLEADERS run off the field as well.
CLOSE ON BENCH - TRACKING SHOT
The FOOTBALL PLAYERS turn in their equipment at the equipment bench, as they trot off somewhere else. The CHEERLEADERS are also mobile. Moving around the bench is a male TEENAGER. With dark hair and wearing a red shirt, he is the team manager - the young CLARK KENT.
COACH
(joining CLARK, who wipes things with a white towel)
Come on, gang, hustle, let's go! Stack the helmets neatly, remember about those uniforms. Cleaned and washed by tomorrow, and looking like a football team!
(blows whistle)
ASSISTANT COACH
(pointing downwards)
Hey, Clark? I want those washed and ready for tomorrow's game, okay?
CLARK
Yes, sir.
ASSISTANT COACH runs off, assorted other people are also moving.
COACH
Come on, gang, hustle. Get me Milburn and Hyde! Hey Early...
The coach runs off into the rear of the shot, and we see everyone in cars preparing to go home in the B.G.
CLOSE ON SPORTS FIELD
One redheaded CHEERLEADER (LANA LANG) fusses with her POM-POMS not far from the bench, having fallen behind the others.
CLARK
(crosses over to her)
Lana? Don't bother with these, huh? (grabs the POM-POMS) I'll take them in with the other equipment.
LANA
Thank you, Clark.
(smiles)
CLARK
Sure.
CLOSE UP ON LANA
LANA
Listen. A whole bunch of us are going up to Mary Ellen's, play some records. Would you like to come?
CLARK
(smiles)
Sure, sounds like it'd be a lot of fun.
A large FOOTBALL PLAYER, BRAD, comes into frame.
BRAD
Kent can't make it. Got a lot of work to do.
CLARK
(glances around)
What are you talking about? I've just finished stacking all the...
CAMERA PANS as CLARK turns: the mass of equipment he had neatly piled on the bench has been tossed all over the ground. Water buckets overturned, etc.
BRAD
(gesturing)
Oh, that?
CLARK
(sees the mess)
Oh.
LANA
(gets the picture)
Oh, Brad.
CHEERLEADER (O.S.)
Hey, come on Lana!
BACK TO BRAD, LANA and CLARK
CLARK'S face falls and he glares at the grinning BRAD. LANA is uncomfortable.
BRAD
Come on, Lana.
BRAD grabs the reluctant LANA, drags her off toward the open convertible.
BRAD
Come on, let's go! Come on, he's gotta clean this up.
LANA
(reluctant)
Bye Clark.
CLARK
Bye.
BRAD
(briefly looking back as he drags LANA along)
Clean this up, Clark.
BRAD and LANA join the others in the car. CLARK angrily shoves the POM-POMS aside and turns away as they do so, picking up a football. BRAD honks the horn and the car roars off, with some of the CHEERLEADERS calling out "Bye, Clark!" and waving before it does so.
CLOSE ON CLARK
CLARK is left totally alone on the football field, his face downcast with anger and hurt born of humiliation. He gives the football a frustrated kick. The ball takes off like a rocket, disappearing off into the distance.
EXT. KANSAS - DAY
A TRAIN is travelling along the tracks. It continually sounds its horn, as it comes around the corner and heads straight for the CAMERA before veering to the left.
CLARK is running at incredible speed. He runs parallel to the train tracks and the train. CLARK looks excited as he runs.
INT. TRAIN COMPARTMENT - DAY
A LITTLE GIRL looks out one window with binoculars, her chin dropping in surprise at the sight. Her mother is sitting alongside her, asleep, and her father is absorbed in reading the newspaper across from them.
BACK TO CLARK
He notices and sends the LITTLE GIRL a short wave. Then he runs faster, starting to accelerate.
INT. TRAIN COMPARTMENT - DAY
The LITTLE GIRL turns and shakes her mother awake
BACK TO CLARK
CLARK runs faster, looking excited, finally overtaking the train as its horn sounds again.
CLOSE-UP OF CLARK, REAR POV
His black bag reading SMALLVILLE HIGH on his back, he continues running.
EXT. KANSAS - DAY
CLARK turns the corner and heads for the railway crossing. With an extra burst of speed and a huge leap, he makes it across before the train reaches the intersection. He exults in his achievement. He then takes off again at SUPER SPEED as the train continues along its journey.
INT. TRAIN COMPARTMENT - DAY
LOIS
Golly! I saw a boy out there, running fast as the train! Faster, even!
MOTHER
(smiles and taps her on the nose)
Ho-ho, Lois Lane, you do have a writer's gift for invention. I'll say that for you.
LOIS
But...but...
FATHER
(looks up)
Uh, Lois? Please read your book.
LOIS
(huffs but obeys him)
No one ever believes me.
EXT. KANSAS WHEAT FIELD - DAY
The train continues along the tracks, not far away.
EXT. KANSAS ROAD - DAY
CLARK continues running in the distance, a dust trail visible behind him.
EXT. KANSAS ROAD - DAY
The convertible with BRAD and LANA comes down the road: other FOOTBALL PLAYERS and CHEERLEADERS are present. The radio is playing "ROCK AROUND THE CLOCK", as they pass a MAN with a HORSE, and both WAVE. The car continues on, leaving a dust trail.
EXT. KENT FARMHOUSE - DAY
A small farm on a dirt road facing a wheat field. A barn stands at one end of the yard area. CLARK, running in a blur and also leaving a dust trail, suddenly appears to the right of SCREEN. The convertible, which had turned right off the previous road and onto the new road where CLARK is running. CLARK leans nonchalantly against the family truck as the car and its amazed occupants see him.
LANA
Hey, look, there's Clark!
CLARK looks rather smug. The convertible rolls to a stop, and LANA stares with wonder. The others look at CLARK too.
LANA
Clark...
BRAD
How'd you get here so fast?
CLARK
(shrugs, says deadpan)
I ran.
EXT. KENT FARM - DAY
JONATHAN KENT looks up from where he was working. He looks much older now, with much more grey in his hair.
ANGLE ON CONVERTIBLE
BRAD
(to others)
"Ran," huh? Told ya he's an oddball. Let's get outta here.
He guns the car, irritated, and roars off. LANA looks back and CLARK breaks into a thin, self-satisfied smile. She waves.
JONATHAN'S VOICE
Been showin' off a bit haven't you, son?
ANGLE ON JONATHAN
CLARK walks over and joins him in the yard.
CLARK
Um...I didn't mean to show off, Pop. (JONATHAN puts his arm around CLARK'S shoulders as they start walking up the driveway, the CAMERA is directly in front and RECEDES with their steps to keep them in FRAME) It's just that, guys like that Brad, I just want to tear him apart.
JONATHAN
Yeah, I know, I know.
CLARK
And I know I shouldn't...
JONATHAN
(total understanding)
Yeah, I know, you can do all these amazing things and sometimes you think that you will just go bust unless you can tell people about it.
CLARK
(frustrated)
Yeah. I mean every time I kick the football I can make a touchdown.
JONATHAN
That's for sure.
CLARK
Every time!
JONATHAN
Yeah.
CLARK
I mean, is it showing off if somebody's doing the things he's capable of doing?
JONATHAN
No.
CLARK
Is a bird showing off when it flies?
JONATHAN
No, no. (raises a finger) Now, you listen to me. When you first came to us, we thought that people would come and take you away because, when they found out, you know, the things you could do...and that worried us a lot. But then a man gets older, and he thinks very differently and things get very clear. And there's one thing I do know, son, and that is you are here for a *reason*. I don't know whose reason, or whatever the reason is...maybe it's because...um...I don't know, it's uh...
(exhales)
But I do know one thing.
(soft smile)
It's *not* to score touchdowns. Huh?
They laugh.
CLARK
Yeah. Thanks, Dad. (puts his left arm across his father's shoulders) Race you to it!
JONATHAN
You will, huh?
CLARK smiles, runs off toward the barn.
CLARK
Come on, pop, run. Come on, run, come on, move, move! Yeah, go, go! Go. Run!
JONATHAN starts jogging a little. The family dog barks, and follows CLARK into the barn.
EXT. KENT FARM - DAY
MARTHA is on the front porch, sewing. She is much older now too, her hair silver. In the B.G. CLARK is in the red barn.
CLOSE on JONATHAN
JONATHAN, his hand clutching his left forearm, stops jogging in front of the house. He looks worried.
JONATHAN
Oh, no.
(his face screws up with pain as he breathes heavily)
EXT. KENT FARM FRONT ENTRANCE - DAY
From the rear, we see a distance shot of JONATHAN collapsing face first onto the ground.
INT. KENT FARMHOUSE PORCH - DAY
MARTHA gets up, as CLARK continues to horse around in the barn.
CLOSE on MARTHA
MARTHA KENT appears suddenly frightened.
MARTHA
(looking down at her husband's body and whispers)
Jonathan? (screams) JONATHAN!
INT. KENT BARN - DAY
CLARK hears his mother scream, and looks up from the dog. He runs out of the building and sees what's happened with a look of horror on his face.
EXT. KENT FARM - DAY
CAMERA shows a distance shot of CLARK running over to examine JONATHAN'S body, and MARTHA running from the front porch as well. They frantically examine the recently deceased.
CLARK
Dad.
MARTHA
Jonathan. No...
DISSOLVE TO:
EXT. KANSAS - DAY
CAMERA PANS around to show BUILDINGS in the distance, and then a MAN and WOMAN dressed in black.
EXT. SMALLVILLE CEMETERY - DAY
CAMERA PANS around, and focuses with the REAR POV on CLARK and MARTHA standing in front of a FLOWER-COVERED GRAVE. CAMERA ANGLE SWITCHES to the FRONT: CLARK has his arm around MARTHA. Both are dressed in black mourning clothes.
CLARK
(quiet anguish)
All those things I can do. All those powers. And I couldn't even save him.
MARTHA clutches his hand on her shoulder with her opposite arm, shutting her eyes. They start to walk off, but then CLARK stops and grabs a red ROSE. He presents it to MARTHA. They WALK OFF arm in arm, out the front gates of SMALLVILLE CEMETERY. The TWO GRAVEDIGGERS TIP their hats to them on the way out. The other TWO MOURNERS depart as well. The GRAVEDIGGERS shut the gates of the CEMETERY. DISSOLVE TO:
INT. KENT FARM, CLARK'S BEDROOM - NIGHT
CLARK is asleep in his bed, but suddenly his eyes open. He gets up, looks around. He switches off the RADIO, then looks out his BEDROOM WINDOW as a faint wolf howl is heard. Then he walks across the room to look out the other WINDOW, at the barn.
EXT. KENT FARM - NIGHT
The barn stands silhouetted against the night sky...CAMERA SLOWLY TRACKS TOWARD IT, through the window.
INT. BARN - NIGHT
CLARK, dressed in pyjamas and dressing gown, opens the doors, enters and crosses to the other side. He gets down on his knees and uncovers the geode-like ship which brought him to Earth, and which was covered with a sack. CLARK sees the GREEN CRYSTAL glowing inside, resting on the interior surface. He picks up the crystal and stares into it deeply, eyes widening in the eerie light.
EXT. KENT FARM - DAY
Sunrise. A rooster crows.
INT. KENT FARMHOUSE - DAY
MARTHA opens the front door, and raises the blind of the window.
MARTHA
(walking through the LIVING ROOM)
Clark? Get up.
(uncovers the bird cage)
Good morning, smiley.
(makes kiss noise)
Clark? Breakfast.
INT. KENT KITCHEN - DAY
MARTHA
(calling out)
Are you going to sleep all day? Clark, come on, get up!
She carries a box of Cheerios to the table. The rooster crows again. MARTHA then stops, as she has noticed something out the kitchen window. CAMERA FOCUSES on her then pushes out through window: in the distant wheat field stands the motionless figure of CLARK. The family dog barks and goes out to join him. MARTHA continues to look at CLARK. DISSOLVE TO:
EXT. WHEATFIELD - DAY
It is long past dawn now. CAMERA PANS down to show MARTHA approaching CLARK. He is standing silently, immobile, staring north. The look is trance-like, almost. There is a rustle in the wheat behind him. He does not turn...but he knows who is there. He briefly looks down.
CLARK
I have to leave.
MARTHA stops, looks at him thoughtfully, full of emotion.
MARTHA
I knew this time would come. We both knew it from the day we found you.
CLARK turns now and faces her. He speaks flatly, trying to avoid breaking down.
CLARK
I talked to Ben Hubbard yesterday. He said that...that he'd be happy to help out from now on.
CLARK'S composure is rapidly breaking down.
CLARK
(shaking his head, exhales)
Mother...
MARTHA
(reaches out to touch him)
I know, son. I know. Do you...know where you're headed?
CLARK
(nodding)
North.
MARTHA manages a brave smile.
MARTHA
Remember, son. Always remember.
Unable to restrain themselves any longer, they reach out and collapse into a tight hug.
ANGLE REAR VIEW
The wheat rustling from the wind, they stare north. CLARK puts his arm around her as CAMERA PANS in toward them and then UP towards the sky, the wheat field below.
EXT. THE ARCTIC CIRCLE - DAY
CAMERA PANS a vast snow-covered plain and an Arctic lake with icebergs floating in it. A Polar bear in the water stops, snuffles and 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 north, dressed in his light windbreaker with a rucksack over one shoulder.
EXT. NEAR NORTH POLE - DAY
CLARK walks across the snow-covered landscape. He steps lightly onto a small island of ice on the water making his way to higher ground. He stands at the edge of a cliff, and takes off his rucksack. Kneeling down, he opens it up and we see the RED, BLUE and YELLOW blankets given to him by his birth parents. CLARK retrieves the glowing green crystal and stares at it: then he throws far away into the distance. Standing at the edge, he focuses on its flight as it tumbles end over end. It eventually falls to the ground and melts through the ice, disappearing underwater. BUBBLING WATER then appears; obviously something is about to happen. A white crystalline spire suddenly SHOOTS UP out of the water and begins to solidify and expand. Then more crystalline spires and walls appear. LIGHTS flash underwater.
EXT. CLOSE ON CLARK
The SCREEN flashes white, and then goes black. Suddenly there are explosions of light and sound in the distance. Eventually a gleaming white CRYSTALLINE Kryptonian residence, the FORTRESS OF SOLITUDE, is fully formed.
CLOSE ON CLARK
CLARK steps back to look with awe: The FORTRESS OF SOLITUDE is complete. It rises up in the northern landscape, the white opaque crystalline materials blending easily into the surrounding countryside.
EXT. FORTRESS OF SOLITUDE - DAY
CLARK has finally arrived as he clambers over the ice and snow.
INT. FORTRESS OF SOLITUDE - DAY
CLARK walks through the FORTRESS, examining this multi-leveled white marvel. Stabbing spurs of crystal cut across the levels at a severe angle. We see the central area with its complicated memory crystal energy banks where SUPERMAN will communicate with his dead father.
CLOSE ON ENERGY BANK SECTION
The CENTRAL CONSOLE is lined with rows of smaller glowing crystals and empty glass cylinders, very much like JOR-EL'S lab. CLARK approaches mesmerized, seemingly unsure of something. He reaches out and grabs a crystal, places it inside a mechanism in the energy bank, waits, and then suddenly:
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 CLARK vibrates with a special intensity. A giant face appears: it is JOR-EL, or at least his hologram. His head rises massively up and across the wall, partly as a SILHOUETTE, looking down, dwarfing the tiny figure of CLARK at the CENTRAL CONSOLE.
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, as it is measured on Earth. By that 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 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...this Fortress of Solitude we shall try to find the answers together. So, my son. Speak.
ANGLE ON CLARK
CLARK
Who am I?
ANGLE ON JOR-EL
JOR-EL
Your name is Kal-El. You are the only survivor of the planet Krypton. (CAMERA PANS FORWARD as JOR-EL speaks) Even though you've been raised as a human being, you are not one of them.
CAMERA DISSOLVES into a scene of OUTER SPACE, RACING FORWARD:
JOR-EL'S VOICE
You have great powers, only some of which you have as yet discovered.
(echo of 'yet discovered')
Come with me now, my son as we break through the bonds of your earthly confinement. Travelling through time and space...
CAMERA BEGINS A NEW SERIES OF DISSOLVES: strange lights and shapes are seen in SPACE.
JOR-EL'S VOICE
Your powers will far exceed those of mortal men. It is forbidden for you to interfere with human history. Rather let your leadership stir others to...
(trails off)
In this next year, we shall examine the human heart. It is more fragile than...(echo: The past two years...) As we pass through the flaming turmoil which is the edge of your own galaxy, we will enter the realm of the red Krypton sun, source of your strength and nourishment, cause of our eventual destruction...
CAMERA PANS FORWARD as the KRYPTON RED SUN appears as a small dot and then enlarges, to the same image we saw at the start of the movie.
JOR-EL'S VOICE
(as the CAMERA PANS down and below the RED SUN)
The planet Krypton. My son. Your home. As it was.
(CAMERA PANS down and shows the destroyed planet's surface, footage we have seen before)
EXT. SPACE
CAMERA DISSOLVES into a scene of OUTER SPACE, RACING FORWARD:
JOR-EL'S VOICE
This year, we shall examine the various concepts of immortality.
(CAMERA again shows strange lights and shapes in space)
And their basis in actual fact. The total accumulation of all knowledge spanning the 28 known galaxies is embedded in the crystals which I have sent along with you. Study them well, my son. Learn from them.
(echo We have reasoned out logical judgments...)
By the time we return to the confines of your galaxy, twelve of your years will have passed.
(echo For this reason among others, I have chosen Earth for you.)
It is now time for you to rejoin your new world, and serve as collective humanity. Live as one of them, Kal-El, to discover where your strength and your power are needed. Always hold in your heart the pride of your special heritage. 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...
A BLURRY FIGURE IN SPACE resolves to form the FACE of JOR-EL.
JOR-EL
My only son.
JOR-EL'S FEATURES become a CRYSTALLINE MASK, which slowly rotates in its axis in SPACE. CAMERA PUSHES IN QUICKLY through the eyes.
INT. FORTRESS OF SOLITUDE - DAY
Distance shot of SUPERMAN standing in his classic outfit, arms at his sides, at the CENTRAL CONSOLE. Suddenly he extends his arms and starts to FLY. He heads towards the CAMERA before veering off to our right, OFF-SCREEN.
.
www.smallvillechronicles-spain.blogspot.com - "Superman I: La película" - Alberto Angulo Morales
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