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"Superman I, la película: Guión de la edición Especial".
11:14 horas. 11 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. A partir de esta publicación os muestro la parte de Metrópolis.
."GUIÓN ORIGINAL DE SUPERMAN I: SPECIAL EDITION"
Director: Richard Donner
Productor: Alexander Salkind
Guión: Mario Puzo, David Newman, Leslie Newman, and Robert Benton
INT. TAXI - DAY
CAMERA ANGLE is the back seat of a taxi facing forward as the vehicle drives along the street. A blue-uniformed cop can be seen directing traffic. The taxi eventually comes to a halt.
DRIVER
Okay, this is it mac, the Daily Planet.
(accepts the fare)
EXT. METROPOLIS STREET - DAYSTREET GROCER
Fresh fruit! Hey lady, how you doin'.
There are various pedestrians on the street. CAMERA heads for the building marked DAILY PLANET.
STREET GROCER'S VOICE
Hey, fresh fruit and vegetables!
CAMERA PANS UP the skyscraper.
STREET GROCER'S VOICE
Fresh fruit and vegetables! Get 'em while they're hot. (car horns honking) Come on...
ANGLE THROUGH A CAMERA LENSCAMERA shows a piece of paper in a typewriter with the DAILY PLANET letterhead, perfectly centered.
INT. DAILY PLANET BULLPEN - DAYThere is BACKGROUND CHATTER as the CAMERA ANGLE PANS UP and follows various people, focusing on a WOMAN and then a MAN. The shutter clicks after a shout of "Hey!", and a flash goes off. The MAN looks annoyed and gestures for the camera to go away. CAMERA PANS left and up, out of focus. Then it focuses on:
ANGLE ON DESKSeated at the typewriter, working with intense concentration punctuated by occasional smiles, is a YOUNG WOMAN. She has long brunette hair, smart clothes on a smart figure. This is the grown-up version of that little girl last seen at the train window as it sped through Smallville: LOIS LANE.
MALE VOICE
Smile!
ANGLE ON THROUGH REFLEX FINDERLOIS turns, looks into the crosshairs of the camera lens. She is perfectly centered and smiles brilliantly, flipping her hair to one side. The shutter clicks, the light flashes.
BACK TO SCENEA fresh-faced young CUB REPORTER lowers his press reflex camera. A young man in a bow tie, JIMMY OLSEN. He grins.
LOIS
How many t's in bloodletting?
JIMMY
(hold up two fingers)
Two.
(crosses to LOIS, tries to see what she's writing as he changes lenses)
What're you writing, Miss Lane?
LOIS
(continues typing)
An Ode to Spring. How do you spell "massacre"?
JIMMY
Uh, M-A-S-S-A-C-R-E.
LOIS types the finish, rips the page from her typewriter, reads with gusto.
LOIS
(removes the final product from her typewriter)
R-E. Thank you.
LOIS rises, starts toward Perry White's office. JIMMY tags along as CAMERA TRACKS them.
JIMMY
(lost in admiration)
Golly, Miss Lane. How come you get all the great stories?
LOIS
A good reporter doesn't get great stories, Jimmy...
(knocks on PERRY WHITE'S door, enters without waiting for a response)
INT. PERRY WHITE'S OFFICE - DAYPERRY and LOIS
...a good reporter makes them great.
PERRY stops talking to his audience and turns around as LOIS barges up to him.
LOIS
(presents the paper to PERRY, they start to look at it)
Chief, here's the story on the East Side murder case. The way I see it, it's a banner headline, front page. My picture.
PERRY
(looks at it)
There's only one 'p' in rapist. (walks to the side) Lois Lane, say hello to Clark Kent.
She follows him as JIMMY comes in.
JIMMY
(interjects)
Told you one 'p'.
LOIS continues to stare down at the paper, not realizing there is someone else in the room. CLARK KENT, dressed in a suit and tie and wearing glasses, along with a coat and hat, rises and in a polite and friendly way extends his hand.
LOIS
(waving him off)
Hi there...
CLARK
Hello, Miss Lane...
(lowers his hand after being thoroughly ignored, he and JIMMY remain in the shot)
LOIS (O.S.)
Remember my dynamite exposé on sex and orgies in the senior citizens hall...
JIMMY
(attracts CLARK'S attention)
How you doing?
(they shake hands)
Jimmy Olsen, photographer.
CLARK
Hi. Clark Kent, nice to meet you.
ANGLE: PERRY'S DESKPERRY struggles vainly with the screw-on top of a soda pop bottle.
LOIS
(still talking to PERRY)
It's got everything. It's got sex, it's got violence, it's got the ethnic angle...I mean look at it.
PERRY
Yeah, so does a lady wrestler with a foreign accent.
(holds out the pop bottle)
Kent, can you open this?
CLARK
(comes forward)
Oh sure, Mr. White.
PERRY hands CLARK the pop bottle as LOIS continues. CLARK struggles with it mightily, but to no avail.
LOIS
This could be the basis for a whole series of articles - "Making sense of senseless killings", by Lois Lane? (PERRY sits down) I mean we get psychologists...
LOIS takes the bottle away from the straining CLARK, raps it sharply twice on the edge of the desk and hands it back to him.
LOIS
We get...sociologists, interviews with the families...
PERRY
(writing something)
Lois, you're pushing a pile of rinky-dink tabloid garbage. The 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 as the liquid dribbles down his pants leg.
CLARK
(moves back)
Oh! I'm sorry, I'm sorry.
LOIS
(starts forward as JIMMY smirks)
Oh, gosh. I'm sorry. I didn't mean to shake it up like that.
(brushes at his pants then moves back to the DESK)
CLARK
(getting a handkerchief)
Oh, oh, of course not, Lois. I mean why would anyone want a total stranger to look like a fool?
LOIS looks at him, unsure of how he meant that.
PERRY
I'll take that!
(takes the bottle from CLARK)
CLARK
Oh, I'm sorry, Mr. White...
PERRY
(sees JIMMY standing there)
Olsen! Why am I paying you forty dollars a week when I should have you arrested for loitering? Go get mister...err...
CLARK
Kent.
PERRY
...Kent a towel! Move, kid, move!
JIMMY
(moves backward)
Right, Chief.
PERRY
And make mine black and no sugar!
JIMMY
(exits the office)
Right, Chief.
LOIS is mumbling something.
PERRY
And don't call me 'sugar'!
JIMMY
Right, Chief. (accosts a newcomer to the office) Chief wants coffee, no sugar. I'll take tea with lemon. (walks off)
PERRY
(to LOIS, ushering her and CLARK out)
Lois. Why don't you take Kent out there to, uh, meet everybody, huh? Just introduce him around. He's starting on the paper today. (CAMERA PANS to OFFICE DOOR) I'm giving him the city beat.
ANGLE on LOISLOIS
(get it, stops, turns around and goes back inside even if CLARK doesn't)
Cheeef! That's my beat!
PERRY
Lois, Clark Kent may seem like just a mild-mannered reporter, but listen, not only does he know how to treat his editor-in-chief with the proper respect, not only does he have a snappy, punchy prose style (starts to usher her out again) but he is, in my forty years in this business, the fastest typist I've ever seen.
INT. DAILY PLANET BULLPEN - DAYLOIS
(resigned)
Oh well that's great.
(goes back inside and hands PERRY the paper)
Here, you forgot my article.
(marches out again)
CLARK
(turns and opens PERRY'S door)
Oh, um, excuse me, Mr. White. I was wondering if, if, um, perhaps you could arrange for half my salary to be sent to this address on a weekly basis.
CLARK hands PERRY a piece of paper from his pocket.
ANGLE ON LOISLOIS
Your bookie, right?
CLARK
My what?
LOIS
(points at him)
Don't tell me: he sends a check every week to his sweet, grey-haired old mother.
(smiles and turns away)
CLARK
(smiles at PERRY)
Actually, she's silver-haired.
LOIS stares at him, stunned. CLARK manages another pleasant smile.
PERRY
(grabs the piece of paper)
Erm, I'll see what I can do.
(turns around and walks OFF-SCREEN)
CLARK
(hesitant)
Um, thank you very much, M-mister White. 'Scuse me.
(looks around at LOIS, who has her arms crossed)
Well.
LOIS
(staring at CLARK)
Any more at home like you?
CLARK
Uh, not really, no.
LOIS
(nods slowly)
I didn't think so.
(turns and walks away)
Well, get yourself a desk over here. (walks and motions for him to join her, CLARK starts moving)
CLARK
Over here?
LOIS
(clears away some stuff on the table)
Yeah, right here. There's some papers in the pile right there...
CLARK bumps into her back, LOIS arches up as if he'd goosed her.
CLARK
Sorry, excuse me.
LOIS stares at him, wondering if he did it deliberately. CLARK just meekly goes to sit down and get settled in. LOIS turns away and sits down at her own desk. CLARK stares at her as she starts to get settled down again.
JOE
(sitting next to CLARK, offers to shake hands as people walk in the B.G.)
Hi. Joe Freson.
CLARK
(shakes hands)
Hi, Clark Kent. Very nice to meet you.
JOE
Yeah, welcome aboard.
(gets back to work)
CLARK
Thank you.
JIMMY comes to the desk, plops a white towel down on CLARK'S lap
JIMMY
Here's your towel, Mr. Clark.
(keeps moving, in the background LOIS lights up a cigarette)
CLARK
Um...Kent.
JIMMY
(looks back and stops)
What?
CLARK
Kent.
JIMMY
(points)
Oh! Clark Kent.
CLARK
(points)
Right. Jimmy Olsen.
Jimmy nods and walks off, as the people continue working at the DAILY PLANET.
INT. DAILY PLANET LOBBY - DAYThe elevators open and people start walking out. LOIS, CLARK and a WOMAN enter the SCENE.
WOMAN
(talking quickly to LOIS, CLARK is behind them both)
Yeah. So I met this really great guy, you know-
The CAMERA PANS to follow all three as they walk through the LOBBY
LOIS
Fabulous!
WOMAN
Fabulous weekend, I met him at this dude ranch-
LOIS
Oh, do you ride?
WOMAN
Yeah, I've been ever since I was seven years old. Oooh, I gotta mail these letters I gotta go, bye!
(walks off)
LOIS
(calling after her)
Okay, listen, good luck tonight!
(notices CLARK)
Oh hi, Clark.
CLARK
(nervous smile)
Hi, Lois.
LOIS
(looking down at her newspaper)
How'd you like your first day on the job?
CAMERA pulls back for a tracking shot
CLARK
Oh, well, um, frankly I think the hours were sorta longer than I expected, but on the whole, y?know, I mean, um...
CAMERA focuses on a BLUE GLOBE in the LOBBY, the symbol of the DAILY PLANET.
CLARK
...meeting you and Jimmy Olsen and Mr. White - on the whole I'd say it's been swell.
LOIS
(stops abruptly)
Swell?
CLARK
Yeah.
LOIS
(stares at him)
You know, Clark? (starts walking again) Um, there are very few people left in the world who feel comfortable saying that word.
CLARK
What word?
LOIS
"Swell".
CLARK
Really? It sounds kinda natural.
LOIS goes to exit the building via the REVOLVING DOOR, CLARK attempts to follow her but bumps into one of the revolving partitions and moans. LOIS glances back at him in concern.
LOIS
Clark.
CLARK
Sorry.
(eventually gets into the proper place and exits the building)
EXT. METROPOLIS STREET - DAYLOIS bumps into an acquaintance at the door.
CLARK
(exiting the building)
Sorry Lois.
LOIS
Hi, Rex!
REX
Oh, Lois.
LOIS
Seen anything good around?
REX
(smiles)
Not 'til you came along.
CLARK
Lois.
LOIS
(points)
Oh, Rex, this is, um...
CLARK
Clark Kent.
(goes to shake hands)
REX
(ignores that)
Yeah, see you around.
(enters the building)
LOIS
Bye.
Distracted, LOIS walks off down the street.
CLARK
Uh, Lois?
CLARK follows her. The STREET GROCER captures someone attempting to steal a tomato.
STREET GROCER
Hey, where you goin'?
EXT. METROPOLIS SIDE STREET - DAYThe street is semi-deserted as CLARK and LOIS walk along. He helps her put on her coat.
CLARK
Sure.
LOIS
You liked Mr. White.
CLARK
Yeah, I thought he was a really nice guy. Jimmy Olsen was fantastic-
As they pass an alleyway a VOICE is heard.
VOICE
Hey! (we see a finger beckoning of the alleyway) Come 'ere.
LOIS gasps as they stop.
VOICE
(finger still beckoning)
Come on, come on, come on. Get in here.
ANGLE: A BLACK PISTOL leveled at them.VOICE
Hurry up. Come on.
ANGLE ON LOIS and CLARKLOIS
(hiding behind CLARK)
Clark, I think we better get outta here...
CLARK
(acting nervous)
I think we better do what he says, Lois.
VOICE
That's it. Come on, come on, get in here quick. That's it.
CLARK
Don't, don't do anything...
VOICE
That's it...
INT. ALLEY - DAYThe MUGGER points his pistol directly at them. CLARK and LOIS are forced back.
MUGGER
Move, back there.
CLARK seems nervous, LOIS grimly determined.
CLARK
(walking backwards)
Please don't point that at me, sir, you could hurt someone with that...
The MUGGER waggles his gun, forcing them further along.
MUGGER
Yeah, yeah, yeah.
CLARK and LOIS are forced up against the wall.
MUGGER
Okay, okay, okay. Hold it there!
CLARK
Just a minute, mister. Just a minute. Now (pushes the gun muzzle a little to the side). I realize of course that times are tough for some these days, but this isn't the answer.
The MUGGER blinks.
CLARK
You can't solve society's problems with a gun.
(nervous smile)
LOIS looks at CLARK unbelievingly.
MUGGER
You know something, buddy? You're right. I'm gonna turn over a new leaf.
CLARK
Good for you, sir. That's the spirit. (turns to LOIS) See, he doesn't really want to hurt anybody.
LOIS
(moves aside)
Uh-hum.
MUGGER
(points his pistol at CLARK'S head)
Right after I rip off this lady's purse.
CLARK
(nervous)
Of course.
MUGGER
(to LOIS)
Now come on lady, hand it over.
LOIS stares hard at him.
CLARK
(nervously moving aside)
Um, Lois, I think maybe you better...
(gestures)
Disgusted, LOIS raises her purse and then lets it drop to the ground.
CLARK
Lois, what are you doing?!
The MUGGER scowls and reaches down to pick it up, trying to maintain eye contact at all times. 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 rushes forward with his left arm outstretched as the MUGGER fires. CLARK reels back and hits his head on the wall, falling to the ground. The frightened MUGGER scrambles to his feet, and runs off down the alley as LOIS bends over CLARK.
LOIS
Clark! Oh, Clark...are you all right...Clark?
CLARK'S eyelids flutter, then open with what looks like confusion. He looks up at LOIS.
LOIS
What happened?
CLARK
(adjusts glasses)
Golly. I guess I must have fainted...
LOIS
Fainted. You fainted.
CLARK
Sorry.
LOIS gets up and walks off, unamused. CLARK looks at the bullet in his left hand and secretly smiles, gets to his feet, and grabs his stuff.
LOIS
(quickly picks up her bag off the ground and shakes her head)
Swell.
(walks off)
CLARK
(following her out of the alley)
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?
LOIS
(stops, has strange expression)
How'd you know that?
CLARK
(suddenly nervous)
Know what?
LOIS
You just described the exact contents of my purse.
CLARK
(peeks in her purse)
Hmm. Um, wild guess.
CLARK touches his glasses, turns self-consciously, and strides out of the alley as LOIS watches him curiously.
CLARK (O.S.)
Uh, taxi!
EXT. METROPOLIS STREET - DAYA MAN (OTIS) in a slightly dishevelled one-colour outfit with a loud yellow TIE is walking along. He is eating something. CAMERA PANS right to follow him, as he gets to an intersection.
OTIS
Hey!
STREET SWEEPER
Hi, Otis!
OTIS continues walking as we see a car parked at a nearby corner.
INT. POLICE CAR - DAYA POLICE OFFICER (plain clothes detective) watches as OTIS passes by.
OFFICER #2
(another plain clothes detective, returning to the vehicle with some food)
So what's happening partner?
OFFICER #1
(gesturing)
Look what we got.
The CAMERA FOCUSES on OTIS, walking along.
OFFICER #1 (O.S.)
Let's take him.
OFFICER #2 (O.S.)
Wait a minute.
BACK TO POLICE OFFICERSOFFICER #2
Maybe he'll lead us to the big man himself.
OFFICER #1
(stares at him)
Lex Luthor?
OFFICER #2
You got it, Armus.
He gets into the car.
OFFICER #2
We'll make Captain by midnight.
OFFICER #1 starts the car and starts to call it in to POLICE HQ.
EXT. STREET - NIGHTMATT
(standing near news stand with his seeing eye dog)
Here, right here! XK101 rocket to be used! Here, right here.
OTIS suddenly comes into view, amongst the other pedestrians on the street.
OTIS
(takes paper)
Hey, Matt.
MATT
Hey, hey Otis.
OTIS
Just getting the Daily Planet here.
(tosses down his coins and grabs a rose with a smirk)
MATT
Here, right here...
The DOG starts barking viciously.
MATT
(attempting to calm it down)
Okay, okay...
OTIS
(knows when he's been caught, puts the paper in his mouth and digs around for some more money, pays the blind man)
Okay, alright!
(the DOG calms down)
Okay, all right, okay, now, I'll take this too.
MATT
Thanks Otis. (to DOG) Okay now.
OTIS walks away.
MATT
How many did he take, Shultie?
INT. METROPOLIS STATION (GRAND CENTRAL) - NIGHTThere is a shot of a CITY SKYLINE (a BILLBOARD). OFFICER #1 and OFFICER #2 come into view in the F.G.
OFFICER #1
(into walkie-talkie)
This is Metropolis 46, we're on foot. Over and out.
OFFICER #2
Let's go.
INT. METROPOLIS STATION (GRAND CENTRAL) - NIGHTOTIS walks along through the crowd.
FEMALE ANNOUNCER
Your attention please. (SHOT Of OTIS still walking along, and the OFFICERS following him) Your attention please. The Metropolis Flyer is now ready for departure on the lower level at Gate 6.
OFFICER#1 and OFFICER #2 stop.
OFFICER #2
All right, he's going down to the train platform. I'm going after him.
OFFICER #1
Okay, Harry, I'll call for backup.
(gets out his walkie-talkie)
Be careful now, will ya?
OFFICER #2
Alright, Armus, all right...
They go their separate ways.
ANGLE ON REAR OF OFFICER #1 as he walks off.FEMALE ANNOUNCER
Now boarding on the lower level, Track...
ANGLE on OFFICER #2 - INT. TRACK 22 (NIGHT)CONDUCTOR (O.S.)
Now come on folks, air-conditioned cars...all aboard! Metropolis transportation, Metropolis transportation! Buffalo, Syracuse...
OFFICER #2 looks around, walks in search of his prey. He looks in between the train cars.
CONDUCTOR (O.S.)
Smoking cars are forward, move along now...
ANGLE THROUGH TRAIN CARSOTIS hustles along, we can see his pants leg.
BACK TO OFFICER #2OFFICER #2 has seen OTIS, and starts to move on again.
CONDUCTOR (O.S.)
Luggage at the top, smoking cars forward, all aboard, boarding...
INT. TRAIN TRACK - NIGHTOTIS walks along the tracks in front of the train, looking back occasionally. There is some steam visible. OTIS steps to our left, going down some stairs to a lower level.
ANGLE ON OFFICER #2 (NIGHT)OFFICER #2 walks along the train tracks as well, searching for OTIS.
TRACK 22 - ANGLE ON OTISOTIS walks along an empty tunnel, trying to balance himself on the track as he goes.
ORIGINAL TRAIN TRACKS - ANGLE ON OFFICER #2OFFICER #2 finally finds where OTIS walked into.
OFFICER #2
(into his walkie-talkie)
Armus, Armus! Make it Track 22. I seen him and I'm right on him, lower level, Track 22.
(puts away the walkie-talkie and hurries off)
TRACK 22 - ANGLE ON OTISA train approaches in the distance, its lights now visible, the noise of its horn increasing rapidly in volume. OTIS looks: against the far tunnel wall are a series of man-sized indentations, safety manholes meant for track workers to step back into in case of an oncoming train. OTIS walks across the track, and steps back into the manhole.
TRACK 22 - ANGLE ON TRAINA train approaches.
TRACK 22 - ANGLE ON OFFICER #2HARRY arrives through the passageway and sees OTIS standing on the other side of the tracks, within the indentation. The train roars past in F.G., cutting off his view of OTIS.
TRACK 22 - ANGLE ON OTISThe indentation moves back with a hydraulic shift, allowing OTIS to move into the interior of a hidden passageway. Then the makeshift door closes with another hydraulic hiss, as OTIS walks off.
ANGLE ON TRAIN (NIGHT)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.
BACK TO OFFICER #2 (NIGHT)OFFICER #2
(grins confidently)
So that's it...
INT. NARROW UNDERGROUND PASSAGEWAYOTIS is walking along down some stairs. He grabs his paper, and eats something. The he starts walking nonchalantly down a narrow underground passageway lined with enormous steam pipes, still holding on to his newspaper.
INT. LUTHOR'S LAIR - (NIGHT)CAMERA CLOSE on a TV monitor screen. OTIS is seen walking along.
LUTHOR'S VOICE (O.S.)
It's amazing that brain can generate enough power to keep those legs moving.
A hand comes into frame and pushes a button on the control console. The TV image changes: OFFICER #2 is seen on it, crossing the track.
INT. TRACK 22 - CLOSE ON INDENTATION (NIGHT)HARRY has stepped inside the indentation, sees the sign that reads "#13 SAFETY MANHOLE" and tries to force his way in. A train roars down the track towards him, horn blaring. He steps inside the indentation to wait it out.
INT. LUTHOR'S LAIR - (NIGHT)The hand is seen inserting a key into the console and turning. An indicator light switches on. The hand pushes along a lever.
INT. TRACK 22 - INDENTATION (NIGHT)Suddenly - the rear wall of the indentation pushes forward, shoving HARRY out in the direction of the track. He fights against it in vain for a moment.
INT. LUTHOR'S LAIR - (NIGHT)We see the REAR POV of a man and woman watching the TV monitor screen, as the train appears. THE CAMERA switches angle: the hand finishes moving the lever all the way.
INT. TRACK 22 - INDENTATION (NIGHT)HARRY catapults onto the track as the train comes. He screams.
ANGLE ON TRAINThe train rushes by in the foreground.
ANGLE ON TRACK 22 (NIGHT)OFFICER #1 has arrived with two uniformed POLICEMEN. They scan the area and run along the TRACKS as the CAMERA FOCUSES on them.
OFFICER #1
(into his walkie-talkie)
Harry?
(pause)
Harry, where are you? Harry...
The cops slow down and come to a stop, looking down.
OFFICER #1
Oh no.
We see on the track the dead OFFICER #2's hat. OFFICER #1 picks it up and stares at it, before briefly looking back at the two POLICEMEN.
OFFICER #1
(looking at the hat)
Harry.
(looks around)
INT. LUTHOR'S LAIR - NIGHTThe woman, EVE TESCHMACHER, is staring at the TV monitor. Dressed in an elegant black dress, there is a definite sexual quality about her. She turns around and looks INTO THE CAMERA, slight shake of the head, disapproving.
EVE
Sick.
ANGLE ON LEX LUTHORThe epitome of an elegant criminal genius, and dressed in a tasteful suit and tie, LUTHOR sits at the control console and nods slightly. A button is pushed and LUTHOR gets up, leaves. EVE follows him, and we can just see OFFICER #1 on the TV monitor in the B.G.
INT. LUTHOR'S LAIR - NIGHTCAMERA FOCUSES on EVE and LUTHOR as a door slides up and they enter the main part of the lair, a converted abandoned railway station.
EVE
You're really sick.
LUTHOR
Sick, Miss Teschmacher?
(walking, looks back)
Sick when I'm mere days away from executing The Crime of the Century?
(sees where she's standing, very close to a computer bank)
N-n-n-n-n-no, step away from that please.
(EVE does so, with a huff)
How do you choose to congratulate the greatest criminal mind of our time? Huh? Huh? Do you tell me that I'm brilliant?
(EVE walks, taking a drag out of her cigarette holder)
Oh no-no-no, that would be a bit too obvious, I grant you. Charismatic? Fiendishly gifted, er...
EVE
(sarcastic)
Try twisted.
LUTHOR
(unamused)
Ha, ha, ha, ha.
(starts writing something down)
EVE
(examines a filing cabinet)
Ha, ha.
LUTHOR
(sees what she's doing)
Get away from that.
(walks, waving his hand)
Get away, get away! Get away!
EVE slams the filing cabinet shut, and whirls around to face LUTHOR.
EVE
(walking)
Tell me something Lex, why do so many people have to die for the Crime of the Century?
LUTHOR
(walking)
Why? You ask why? Why does the phone always ring when you're in the bathtub? (shuts off the main lights, walks away) *Why* is the most brilliantly diabolical leader of our time surrounding himself with total nincompoops?
OTIS
(enters the room as the door slides up)
I'm back, Mr. Luthor!
LUTHOR
(starts writing again, looking down)
Yes, I was uh just talking about you. You were followed again.
OTIS spins around, knocking over a lamp. EVE leans against something in the background, looking slightly amused.
LUTHOR
In spite of those cat-like reflexes.
(walks off)
OTIS fixes the lamp.
OTIS
Mr. Luthor...
ANGLE ON LAIR LIBRARY - NIGHTLUTHOR goes to put his papers in the safe.
OTIS
Mr. Luthor...I'm sorry.
LUTHOR
Otis. (closes the safe and walks back to the others) Is that the newspaper I asked you to get me?
OTIS
(points)
Yeah.
LUTHOR
(fake smile as OTIS approaches)
Why am I not reading it?
OTIS
(thinks for a second)
'Cause I haven't given it to you yet?
LUTHOR
(points and smiles)
Right...ha-ha.
LUTHOR rips the paper from OTIS'S hands and examines it, as OTIS cracks his knuckles. LUTHOR looks up at EVE, ecstatic.
LUTHOR
(holding up the front page of the DAILY PLANET which reads:
TWIN NUCLEAR MISSILES TEST
TEST CFONFIRMED
LIVE WARHEADS TO BE USED)
At last it's official! Thanks to the generous help of the United States government, we are about to be involved in the greatest real estate swindle of all time.
EVE
(leaning against the piano)
Lex, what is this obsession with real estate? All the time, "land, land, land".
LUTHOR
Miss Teschmacher, when I was six years old, my father said to me-
EVE
'Get out'.
LUTHOR
Ha-ha-ha. Before that. He said, "Son. Stocks may rise and fall, utilities and transportation systems may collapse. People are no damn good, but they will always need land and they'll pay through the nose to get it! Remember," my father said...
OTIS
"...land."
LUTHOR
Right. It's a pity, that, uh, (starts to walk) he didn't see from such humble beginnings, how I've created this empire.
ANGLE ON EVEEVE
An empire? This?
ANGLE ON LUTHORLUTHOR
(starting to read the paper)
Miss Teschmacher. How many girls do you know who have a Park Avenue address like this one?
EVE
(sarcastically)
Park Avenue address? Two hundred feet *below*?
LUTHOR
(pointing upwards, OTIS is in the B.G.)
Do you realize what people are shelling out up there for a few miserable rooms off a common elevator?
LUTHOR and OTIS
(in unison)
What more could anyone ask?
LUTHOR closes his eyes in dismay.
.
www.smallvillechronicles-spain.blogspot.com - "Superman I: La película" - Alberto Angulo Morales
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