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"Superman I, la película: Versión cinematográfica de 1978".
01:06 horas. 20 de Mayo de 2012 Publicado por Alberto Angulo Morales
www.smallvillechronicles-spain.blogspot.com
.
Smallvillechronicles-spain os presenta el guión original de la versión cinematográfica estrenada por primera vez en Diciembre de 1978. Esta es la cuarta y última parte del guión.
"SUPERMAN THE MOVIE (1978)"
Guión del rodaje.
Revisado por TOM MANKIEWICZ
Dirigido por RICHARD DONNER
.
14/4/77
230 EXT. COUNTRY ROAD - DAY
A country landscape with a winding, undulating road. CAMERA PANS OFF a sign marked: DANFORTH MISSILE PROVING GROUNDS - 12 MILES to a rise in the road. Heading for it is a military convoy. Two jeeps of MP's are in front and one is behind - a huge bulldozer towing a flatbed truck bearing the enormous XK101 rocket. The large missile is covered by a thick, tied-down tarpaulin. The convoy rolls on, crossing the SCREEN from right to left.
230A EXT. OTHER PART OF ROAD - DAY
A sleek car speeds quickly down another part of the road, heading across the SCREEN from left to right.
230B INT. SPEEDING CAR - DAY
CAMERA LOOKS OUT the windshield of the speeding car from the rear. To our
amazement there is no DRIVER in the vehicle - no one at all, in fact. The riderless
car continues to roar down the road.
230C EXT. BOTTOM RISE IN ROAD - DAY
CAMERA CLOSE on an electronic guidance box being held by OTIS who tries to
manipulate the speeding car, which is presently out of sight. A complicated tool belt is
strapped around his waist. LUTHOR stands next to him, curiously dressed in an all-white outfit, looks at the box, alarmed at the signals it is giving off.
LUTHOR
Do you 1ive.1n England, Otis?
OTIS
I don' t think so, Mr. Luthor . . .
LUTHOR
Then why are you driving on the left!
LUTHOR snatches the box away angrily, adjusts it.
14/4/77 TM
230D ANGLE ON SPEEDING CAR
The drone car shifts over to the right of the road.
230E BACK TO LUTHOR - ANOTHER ANGLE
LUTHOR waits expectantly. From this ANGLE we can see EVE in the trees behind him. She is dressed in a hopelessly slinky and revealing outfit, adjust her makeup in a had mirror. LUTHOR turns to OTIS.
LUTHOR
Now, Otis! Go!
OTIS runs off through the brush and trees to the right. LUTHOR checks the box, looks over
his shoulder at EVE.
LUTHOR
Ten second, Miss Teschmacher . . .
EVE
(from trees)
Did you ever try to run in high
heels?
(no reply)
You probably did.
LUTHOR looks up as the drone car speeds at him around a corner. He presses a button on the box.
230F CLOSE ON DRONE CAR
The drone car suddenly flips all by itself, rolls over and over, bursting into flames.
230G EXT. OTHER SIDE OF RISE - DAY
The first jeep in the military convoy stops as the sound of the explosion echoes over the top of the rise. The alarmed OFFICER inside gestures the vehicle forward again. It reaches the top. The MP's look down.
230H - 230L missing from script
230M INSERT SHOT - COMPASS DIAL
OTIS puts back his screwdriver, takes out a small wrench,
starts to adjust various needles from one set position to
another training a flashlight on his arm from time to time
where a set of numbers is printed.
230N EXT. BOTTOM OF RISE
The MP's now surround the fallen EVE who is completely obscured from view. Only her legs stick out, twitching as a result of the over-attention being paid her.
EVE'SVOICE
Thanks a lot...fine now...Hey! What did
You have for lunch, Ace!
Suddenly - a siren is heard. An ambulance roars around the corner, screeches to a stop.
LUTHOR jumps out, crosses, begins peeling the MP' s off EVE.
MAJOR
That was fast. Damnit. . .
LUTHOR
(outraged)
Fast? When a woman's life is at stake?
EVE'S VOICE
(mumbling - surly)
And that's about all I got left to lose, believe me.
230P EXT. LOWER ROAD
The ambulance with LUTHOR and EVE screams around a corner, turns off its siren, stops
near the side of a hill. OTIS scrambles down through the brush, jumps into the back.
230Q INT. AMBULANCE - DAY
LUTHOR drives, EVE next to him. OTIS leans in from the rear section, excited.
OTIS
I did it, Mr. Luthor! Just like you told
me to!
5/5/77 TM
230Q CONTINUED
LUTHOR
It's not that I don't trust you, Otis . . .
(thinks about it)
Yes, it is. Tell me what you did.
OTIS roll up his sleeve, reads the numbers off his arm.
OTIS
I reset the first vector heading to 38, the second
one to 67, and the third one to 117 .
LUTHOR
(sm1ling - nods)
And the fourth one ?
OTIS
What fourth one?
LUTHOR
(overlapping)
The third to 117?
OTIS
(holds out arm)
See? I wrote it down ...
LUTHOR stares at the arm, in total disbelief.
LUTHOR
The third one goes to 11, Otis. And the fourth
one to 7.
OTIS
(sadly)
Gee. 1 guess my arm wasn't long enough to make
a big space.
LUTHOR
(rage mounting)
Would you like to see an arm long enough to make a
big space, Otis?
(screams)
Do you want to see an arm long enough to
Make a big space?
5/5/77 TM
230R EXT. ROAD - HIGH SPOT
LUTHOR'S legs stick out of the inner rear section of the ambulance where hi is pummeling OTIS as the ambulance careers back and forth wildly across the road. EVE frantically tries
to control the vehicle from the passenger seat as it disappears around the bend.
231 EXT. ANOTHER COUNTRY ROAD - DAY
Another missile convoy identical to the first one heads down another country road. The same arrangement: two jeeps of MP's in front of the rocket, one in back.
231A INT. TRUCK CAB - DAY
CAMERA LOOKS THROUGH the front side window as LUTHOR and OTIS ride together in what seems to be the cab of a small truck. OTIS looks over apologetically at LUTHOR who drives, eyes forward. CAMERA PULLS BACK, PANS: the small cab vehicle is towing an entire house on a double-width flatbed truck. The huge structure takes up the full breadth of the narrow road.
232B EXT. BRIDGE CORNER - DAY
The missile convoy rounds the corner of a small hill, starts to proceed onto a two-lane
bridge, suddenly stops, the rocket itself only halfway on.
232C ANGLE ON HOUSE TRAILER - CONVOY'S POV
LUTHOR drives the house trailer across the other side of the bridge, rolls to a stop, blocking
the passageway completely.
232D WIDE ANGLE - BRIDGE
The house trailer faces the convoy. The two lead jeeps full of angry MP's drive forward.
232E INT. TRUCK CAB - DAY
The MP's pile out of their jeeps, approach the trailer cab, yelling. LUTHOR smiles thinly,
Reaches down, Presses in the cigarette lighter on the dashboard.
232F INSERT SHOT -REAR TRAILER TIRES
Two of the rear tires on the trailer suddenly puncture.
232G WIDE ANGLE
The rear end of the house sags helplessly on the bridge.
16/4/77 TM
231H EXT. CORNER OF HILL BEFORE BR1DGE
The one remaining jeep behind the missile has been screened by the corner of the hill. The
Frustrated MP OFFICER waves the DRIVER forward to see what's happened. CAMERA PANS to hillside: EVE scrambles down wearing the same tool belt OTIS had on earlier,
Heads for the tarpaulin-covered rocket.
232 INT. PLANET CITY ROOM
Several REPORTERS cluster around a portable TV on a desk in the corner. An ANNOUNCER'S VOICE can be heard.
ANNOUNCER'S VOICE
... here at Danforth Proving Grounds for the launching
of two XK1O1 rockets, the very latest weapon in our
arsenal of defense ...
CMAERA PANS: CLARK enters, looks around, notices that LOIS' desk is empty, heads
for the REPORTERS.
ANNOUNCER'S VOICE.
It is claimed that the XK101 can hit any target
Completely undetected since it flies well below
all radar systems yet designed ...
ONE REPORTER turns to CLARK.
REPORTER
Hey, Clark. Chief wants to see you ...
CLARK
Thanks, Eddie
CLARK crosses back to PERRY'S office.
ANNOUNCER'S VOICE
The ultra-modern, built-in sensory devices can detect
any object in its path and automatic1y avoid it, either
going over, under, or around...
5/5/77 TM
232A INT. PERRY'S OFFICE - DUSK
CLARK knocks. PERRY looks up from behind a stack of news dispatches.
PERRY
Come in, Kent.
CLARK
Hi, Mr. White . . .
(gestures)
Is Lois is around today?
PERRY
She's out west looking into a land fraud deal. I sent young
Olsen with her on his first photo assignment. Some
unidentified joker's been buying up thousands of acres
of worthless desert at incredible prices.
CLARK
Hmm. Doesn't seem to make sense . . .
PERRY
The world doesn't make sense, Kent. You should know
that by now.
(tosses dispatch)
Look at this dispatch from Addis Ababa. People break
into a museum in the dead of night - kill two guards - and
what do they take? Some worthless hunk of meteorite .
How do you figure it.
CLARK
I've never been able to understand violence in any form,
Mr. White.
PERRY
(sadly)
I know that, Kent. That's part of the reason I wanted
to see you.
PERRY rises ponderously, hands in pockets, strolls pensively toward his half-opened
window, looks out.
16/4/77 TM
232A CONTINUED
PERRY
I've been in the news business man and boy for
forty years. I got where I am with guts, compassion,
and elbow grease - but most of all with one thing you
sadly lack, my boy - aggression. Take charge, Kent:
Confidence, that's the ticket! Why, when was . .
As CLARK listens, PERRY'S VOICE seems to fade away, is replaced by a high-pitched whine like that given off by a high frequency transmitter. CLARK winces, hearing it, his hand rising involuntarily to his ear. PERRY drones on at the window, apparently oblivious to it.
232B EXT. METROPOLIS ALLEY - DAY
Several stray dogs rummage through turned-over garbage cans, suddenly stop as they hear
The whine, begin to howl and bay excitedly.
232C BACK TO PERRY'S OFFICE
CLARK tries to focus his super-hearing on the sound as it weakens momentarily and
PERRY'5 VOICE .fades back in again at the window.
PERRY
... get Lois to introduce you to Superman.
Start to hang out with the guy. Give me the
man-to-man angle . . .
More dog howling is heard from the streets through the partially opened window.
232D CLOSE ON CLARK' S EAR
PERRY' 5 VOICE and the dog howls fade away as CLARK'S super-hearing picks up the
high-frequency message.
LUTHOR'5 VOICE
This is Lex Luthor. Only one thing alive with less
than four legs can hear this frequency, Superman,
and that's you.
16/4/77 TM
232E ANGLE ON CLARK
CLARK listens, eyes widening as PERRY drones on silently out the window.
LUTHOR'S VOICE
In approximately five minutes a poisoned gas pellet
containing a propane lithium compound will be released
through thousands of air ducts in this city . . .
232F INT. CITY ROOM
CLARK slips out of PERRY'S office, quickly crosses the city room 'where the REPORTERS
cluster around the TV.
LUTHOR'S VOICE
(happy chuckle)
Effectively annihilating half the population of
Metropolis.
232G EXT. SIDE OF DAILY PLANET - DAY
Looking up from the street: CLARK jumps out a window high up on the Daily Planet
building. As he falls, a gradual transformation to SUPERMAN takes place in blurred, overlapping stages.
LUTHOR'S VOICE
I know it all seems a bit much, but how else was I
going to get to meet you, Superman? I knew you'd
never accept an invitation to tea.
SUPERMAN hits the street, the transformation having taken place. He stares up into the sky.
232H ANGLE ON METRPOLIS SKYLINE - SUPERMAN' S POV
Seen by SUPERMAN'S X-Ray vision: The pulsating, high frequency sound waves originating from somewhere behind the skyline.
LUTHOR' S VOICE
But a disaster - with people in danger - people
who need help . . .
232I BACK TO SUPERMAN
SUPERMAN takes off in the direction of the sound waves, following them.
LUTHOR'S VOICE
I just knew you couldn't resist the chance of sort of ...
pitch in. Know what I mean?
232J EXT. OVER METROPOLIS - LOOKING DOWN - DAY
SUPERMAN looks down at a crowded city street from mid-air. The sound waves seams to
Emanate through a particular section of the sidewalk.
LUTHOR'S VOICE
There's a strong streak of good in you, Superman.
But then, nobody's perfect. Almost nobody.
232K EXT. METROPOLIS SIDEWALK - DAY
SUPERMAN lands on the sidewalk. Happy PEDESTRIANS start forward with "Hey, it's
Superman," etc. He waves them away.
SUPERMAN
Everybody back, please! Thank you . ..
Arms folded, SUPERMAN suddenly begins to spin in place like a figure skater, around and around at a dizzying speed, boring a circular hole in the pavement as the startled PEDESTRIANS hold on to their hats.
232L EXT. BELOW METROPOLIS STREET. - DAY
A CUTAWAY SHOT showing SUPERMAN boring through the ground with his spinning
motion, heading down through layers of rock, underground city cables etc.
LUTHOR'S VOICE
Unfortunately I'm not in the book, but a bright boy
like you should be ab1e to find the address ...
16/4/77 TM
232M INT. TUNNEL - DAY
The same tunnel we saw OTIS walk down in an earlier sequence. SUPERMAN bores
through the ceiling, hits the floor directly opposite a high-powered radio transmitter. He
looks down the length of the tunnel at the heavy metal door marked: DANGER - NO ENTY CONDEMEND.
LUTHOR'S VOICE
(now in tunnel)
See what I mean? And not a moment too
soon.
232N INT. LUTHOR' S VIEWING THEATER - DAY
LUTHOR, EVE and OTIS sit in comfortable seats in an elegant viewing theater inside the underground complex. A bank of large TV screens faces them. TWO of the screens show
the two Danforth missile silos. A third has the image of SUPERMAN staring directly INTO CAMERA from the tunnel. LUTHOR sips a tall drink, smugly adjusts several knobs on a large console next to him. EVE chews gum, stares curiously at SUPERMAN. OTIS munches
on a large candy bar, excited.
LUTHOR
Look at that overgrown Boy Scout, Miss Teschmacher.
Tell me what you see.
EVE
(chewing)
Cuteness. Dimples.
LUTHOR'S eyes flash. EVE smiles nervously.
6/4/77 TM
232O CONTINUED
LUTHOR
You like dimples? I'll give him
dimples
LUTHOR reaches for a button on the console.
232P INT. TUNNEL - DAY
SUPERMAN starts down the tunnel for the door. Suddenly panels open on both sides filled with machine gun barrels. They open fire simultaneously in a withering, deafening barrage. SUPERMAN walks forward calmly as thousands of bullets ricochet off' him.
232Q EXT. DANFORTH MISSILLE BASE - DAY
The great steel lids of' the two missile silos slowly begin to open.
232R INT. TUNNEL - DAY
SUPERMAN continues. The walls and ceiling of the tunnel suddenly come alive with flaming gas jets. The tunnel becomes a blinding inferno, as SUPERMAN proceeds serenely through the holocaust.
232S EXT. DANFORTH MISSILE SILOS - DAY
The launching rockets start to activate. Fire and exhaust surround the bottom of the missile.
232T INT. TUNNEL - DAY
SUPERMAN continues, then disappears from view into the middle of an incredibly thick blizzard. A large cone of ice is instantly formed. The blizzard stops. Suddenly a thin crack appears, running down the center. SUPERMAN steps out, rubs his hands together briskly, approaches the door.
18/4/77 TM
233 INT. LUTHOR'S LAIR - DAY
LUTHOR sits behind his desk, a model of smug composure, calmly reading the newspaper with the headlines and picture announcing the dual missile test. A large, blank screen has been lowered on one wall next to him. In front of the screen, a black lead trunk forms the base or something which has been converted into a bench, covered with cushions. Some distance away, OTIS finishes setting up a slide projector. EVE watches nervously from the open entrance to the viewing theater. The heavy metal main door to the complex suddenly starts to tremble under SUPERMAN 'S strength. LUTHOR looks up from his paper, calls out.
LUTHOR
It's open...
SUPERMAN bashes the thick metal door to the ground like a stick of balsa wood, enters. LUTHOR winces, then rises pleasantly.
LUTHOR
Come in, Superman. My attorney will be
in touch about the door. Otis, don't just
stand there, take the man's cape....
OTIS starts forward with a tentative half-smile, is suddenly rooted to the spot by SUPERMAN'S stare.
OTIS
I... don't think he wants me to, Mr. Luthor.
SUPERMAN
All right, Luthor, where's the gas pellet?
LUTHOR
(smiles)
Somewhere ... in the back of my mind, actually.
It's just a fun little project I've been toying with.
SUPERMAN
Is that how a warped brain like yours gets its
kicks? By planning the death of innocent people?
18/4/77 TM
233 CONTINUED
LUTHOR
(quick smile)
No. By causing the death of innocent people.
234 EXT. DANFORTH MISSILE BASE - DAY
The two XK101 rockets are launched simultaneously with a rush of flames and a mighty roar.
234A EXT. SKY - DAY - CLOSE ON MISSILE
The two missiles quickly rise to less than a hundred feet, then suddenly stop, split, head off in different , skimming rapidly over the ground.
234B EXT. MISSILE CONTROL CENTER - DAY
TWO MISSILE CONTROLERS sit in front of the complex bank of TV screens, computers, and control panels. Red lights flash everywhere. Alarms ring out.
MIS5ILE CONTROLLER #1
Jesus Christ, they've gone berserk!
CONTROLER #2
(madly flipping switches)
I can't control them! Red Alert! Red Alert!
Get the Pentagon!
234C INT. PENTAGON OFFICE - DAY
The CHAIRMAN OF THE JOINT CHIEFS OF STAFF sits behind his desk on the phone, red-faced, astonished, wild.
CJCS
That's impossible! It can't happen, damnit!...
It...
He grabs his red phone, picks it up.
CJCS
Get me the President!
234D EXT. COLF COURSE - DAY
A group or suit-clad SECRET SERVICE AGENTS stand around a golf'-cart near a bunker trap. A red phone inside the cart rings wildly. An AGENT picks it up, listens, thunderstruck, turns.
Mr. President! Mr. President!
A chunk of turf goes flying up over the top of the bunker from B.G.
PRESIDENT'S VOICE
Goddamnit! What now!
234E EXT. SKY LOOKING DOWN - DAY - CLOSE ON ROCKET #1
The first stage of a lightning fast trip across American from the POV of the rockets at an altitude of less than twenty feet. The images whiz by like magic. ROCKET #1 heads eastward, passing over the yellow wheat fields of Kansas.
234F EXT. SKY LOOKING DOWN - DAY - CLOSE ON ROCKET #2
Employing the same photographic process, ROCKET #2 heads westward, passing barns and cattle ranches.
235 INT. LUTHOR' S LAIR - DAY
SUPEPMAN has tolerantly taken a seat on the cushioned bench of lead. LUTHOR holds a professor's pointer in his hands, approaches the rolled-down blank screen. OTIS mans the slide projector. LUTHOR stops, turns dramatically to SUPERMAN.
LUTHOR
You see, Superman...
(passionately)
I had a dream! ...
SUPERMAN
In your case it must have been a nightmare,
Luthor. Get on with it!
18/4/77 TM
235 CONTINUED
LUTHOR
Right. Well ... as you mayor may not know,
Superman, I am, as they say, very heavy into
real estate. In order to make money in that
game you have to buy in for a little and sell for
a lot. Right? Right. So. Problem: how to make
that property valuable between the time you buy
and the time you sell. Now then...
LUTHOR snaps his fingers. OTIS flips on the slide projector. A brightly illuminated map hits the rolled-down screen. LUTHOR starts to speak, then looks at it curiously.
LUTHOR
Otis. This is France.
OTIS
Sorry, Mr. Luthor.
OTIS flips up another slide. This time it is recognizable as the western half of America. LUTHOR points.
LUTHOR
And this - is California. The richest, most populace
state in America.
SUPERMAN
I don't need a geography lesson from you, Luthor.
LUTHOR
Sorry. You do get around, don't you.
(turns back)
Now then. Where was I? Ah, yes...
235A CLOSER ON MAP
CAMERA CLOSES on map. LUTHOR begins tracking the San Andreas Fault with the pointer.
8/4/77 TM
235A CONTINUED
LUTHOR
At the San Andreas Fault. Maybe you've
heard of 1t.
SUPERMAN
Sure. It's the joining together of two land masses.
The .fault line is unstable and shifting which is
why you get earthquakes in California from time
to time.
LUTHOR
Couldn't have said it better myself.
(back to map)
Now all this...
(indicates)
...west of' the Fault is the most expensive real
estate in the world. Los Angeles. San Diego.
San Francisco. And on the other side...
(indicates)
is just hundreds of miles of cheap desert land.
Land that happens to be owned by Lex Luthor
Enterprises. Well...
(wistful smile)
call me a fool, but it did occur to me that if a
500 megaton bomb were to explode at exactly
the proper stress point....
SUPERMAN
(horrified)
Most of California would be destroyed! Millions
of people would be killed! The West Coast as we
know it would...
LUTHOR
...drop into the Sea! Bye-bye California! Hello new
West Coast! My... West Coast.
SUPERMAN
You are a dreamer, Luthor. A sick-Twisted dreamer.
It couldn't possibly work.
18/4/77 TM
235A CONTINUED
LUTHOR
Oh, I'll admit there were problems. Adjusting
the missile trajectory, finding the precise
point of optimum stress on the Fault...
LUTHOR smiles broadly, snaps his finger.
235B CLOSE ON SCREEN
A new, close section of the map is suddenly magnified hundreds of times. It is recognizable as desert land. Literally dozens or superimposed grid lines converge on a single point in the middle of the desolate wasteland. LUTHOR'S pointer rises to it.
LUTHOR'S VOICE
(tone chancing)
Which is... right here, by the way...
(touches it).
Target Zero.
CAMERA PUSHES IN on the map, then DISSOLVES THROUGH to the actual piece of land.
236 EXT. DESERT NAD ROAD - DAY
A car speeds quickly down the dusty desert road.
236A INT. LOIS' CAR - DAY
LOIS drives the car, looks out across the bleak landscape. Sitting in the passengers seat: AN ELDERLY AMERICAN INDIAN CHIEF with classic features, nicely dressed. A tape recorder lies between them as LOIS is doing an interview.
CHIEF
...no oil, no uranium, no coal, no precious minerals...
hell, no water anymore...
(gestures)
Not since the government dammed it all up..
18/4/77 TM
236 CONTIUNED
LOIS
My associate, Mr. Olsen, is taking pictures
of that Dam right now, Chief.
(pause)
But why sell out to some faceless person
you've never met? You don" even know his
name.
CHIEF
At the stupid high price he offered for this worthless
piece of desert...
(smile)
I only hope it's Custer.
237 EXT. SKY LOOKING DOWN - DAY - CLOSE ON ROCKET #
ROCKET #1 now whizzes by over the green fields of Ohio and Indiana, heading east.
237A EXT. SKY LOOKING DOWN - DAY - CLOSE ON ROCKET #2
ROCKET #2 speeds quickly across the painted desert of Arizona, heading for the Grand Canyon.
237B EXT. DESERT - DAY - AERIAL VIEW
The car with LOIS and the Chief disappears across the arid land as CAMERA HOLDS, DISSOLVES BACK THROUGH to the map on the screen in LUTHOR'S lair.
238 INT. LUTHOR'S LAIR - DAY
The screen becomes blank again. LUTHOR turns.
LUTHOR
Check the viewing room, Otis...
(turns back)
Well, Superman? What do you think?
Interesting?
18/4/77 TM
238 CONTINUED
SUPERMAN
Your theory's quite impressive, Luthor.
But as for the rest - it's nothing but a sick
fantasy.
LUTHOR
(thin smile)
Fantasy?...
(exploding)
History!! It's happened, Superman!
SUPERMAN rises quickly, eyes widening, as LUTHOR wheels maniacally to EVE standing in the doorway to the viewing room.
LUTHOR
Where's that rocket now?
EVE
(glances back)
Passing the Grand Canyon, Lex. Going like a bat.
So's the other one.
SUPERMAN
(in disbelief)
The other one! There's two of them?
LUTHOR
That's right, Superman. Double jeopardy! And even
you can't fly fast enough to stop both of them!
(sly grin)
While I, on the other hand would merely have to
press my detonating device and ...
SUPEMAN leaps at LUTHOR, grabs him by the neck.
SUPERMAN
Where is it, Luthor! Where's that detonator?
SUPERMAN scans the room with his X-Ray vision, suddenly stops as he sees the lead
Trunk he's been sitting on.
238 CONTINUED
SUPERMAN
You diseased maniac! Did you really think you
could hide it from me by encasing it in lead?
SUPERMAN drops LUTHOR in a pile on the floor. He crosses quickly to the trunk, tosses the cushions aside.
SUPERMAN
(ripping it open)
I'll mold this box into your prison bars, you...
SUPERMAN stops suddenly, recoils, stunned, a dim green light ref1ecting of his face.
238A INSERT SHOT - KRYPTONITE
The green Kryptonite rock glows inside the box. It is linked on both sides by a chain.
238B BACK TO SCENE
SUPERMAN is instantly immobilized, his strength waning, his knees getting wobbly.
SUPERMAN
That rock... I can-t... my strength..
LUTHOR advances, bursting with glee.
LUTHOR
It's Kryptonite Superman! A little souvenir from
your home town! You see I've spared no expense
in making you feel right at home here!
LUTHOR pulls the rock out of the box by the chain, dangles it in front of him. SUPERMAN
desperately tries to raise his arm to shield himself from the rays.
SUPERMAN
Away... please... take it...
18/4/77 TM
238B CONTINUED
LUTHOR loops the chain around SUPERMAN'S neck, pulls the staggering, helpless Man of Steel after him like a dog on a leash.
LUTHOR
You were great in your day, Superman. But
When the time came to cash in your chips, Lex
Luthor was just naturally your banker! Mind...
LUTHOR stops, puts his two 1itte fingers on each of SUPERMAN'S shoulders, pushes him down to his knees.
LUTHOR
...over muscle ...
LUTHOR checks his watch, looks down at the pitiful hulk below him, the life ebbing from
SUPERMAN.
LUTHOR
I'm afraid I have to leave you now. Nothing
personal, you understand. We all have our
faults. It's just that mine is in Ca1ifornia.
LUTHOR turns toward the viewing theater. SUPERMAN looks up at him, gasping for breath.
SUPERMAN
You don't . . . even care. . . where the other
missile . . . is headed, do you ..
LUTHOR
On the contrary. I figured it out instantly.
Hackensack, New Jersey.
LUTHOR kicks out contemptuously with his foot, pushes SUPERMAN over the crumbled railing bordering the office portion of his complex.
18/4/77 TM
238C ANGLE FROM POOL
SUPERMAN'S lifeless body splashes helplessly down into the pool below.
238D BACK T0 SCENE
LUTHOR crosses to the viewing theater where EVE stands at the entrance, stunned.
LUTHOR
(entering)
Hurry, Miss Teschmacher . . .
EVE
(stopping him)
But Lex....
LUTHOR
(impatient)
What?
EVE
My... mother lives in Hackensack.
LUTHOR
(pause)
Your mother used to live in Hackensack.
LUTHOR enters the viewing theater. EVE stands at the doorway, glances at the pool, unsure.
LUTHOR'S hand suddenly appears, yanks her back inside.
238E EXT. SKY LOOKING DOWN - DAY CLOSE ON ROCKET
ROCKET #1 whizzes eastward. Larger, more populous communities loom up ahead.
238F INDIAN COMMUNITY - DAY
LOIS has dropped off the CHIEF' by a cluster of' makeshift houses where other lNDIANS can be seen loading their belongings onto pickup trucks, etc. LOIS waves goodbye, drives
off.
5/5/77 TM
238G EXT. SKY LOOKIN DOWN - DUSK - CLOSE ON ROCKET #2
ROCKET #2 speeds across desert land matching the kind where we just saw LOIS.
238H EXT. TOP OF DAM - DUSK
JIMMY OLSEN walks along the top of the giant dam, taking pictures of the surrounding towns and areas in the distance as well as the dam itself.
238I INT. LUTHOR 'S VIEWING THEATER - DUSK - CLOSE ON EVE
CAMERA CLOSE on two TV screens monitoring the progress of both rockets NOW
PULLS BACK: OTIS mans the console as LUTHOR'S face twitches nervously in the
exc1ted anticipation, glued 'to the screen. Curiously enough, EVE is missing.
239 INT. LUTHOR'S COMPLEX ABOVE POOL - DUSK
EVE walks quiet1y to the top of the crumbled railing, looks down, deeply troubled.
239A ANGLE ON SUPERMAN IN POOL - EVE'S POV
SUPERMAN is dying, barely able to keep afloat. He makes one final, feeble gesture at trying
to unhook the chain from his neck, then looks up, spots EVE.
239B WIDER ANGLE - BOTH OF THEM
SUPERMAN
(gasping)
Miss . . . Teschmacher . . . please. . you
can't . . . stand by. . . and let millions
of people . . . innocent people. . . die . . .
EVE
(hating herself)
Maybe . . .
(pause)
If it wasn't for ... my mother. . .
SUPERMAN
(desperate)
Please. . . help me to save them . . .
Please . . .
5/5/77 TM
238B CONTINUED
EVE
(wary)
If I help you . . . Will you save
my mother first?
SUPERMAN
But Lois . . . and Jimmy . . . are . . .
EVE
My mother comes first, promise
me. I know you wouldn't break a
promise.
SUPERMAN
(he has no choice)
Pro. . . promise . . .
EVE looks around, quickly makes up her mind, dives off the crumbling railing into the pool.
239C ANGLE ON POOL
EVE swims over to SUPERMAN who is just about to go under. She reaches out
to unhook he chain from his neck, grabs hold of it, suddenly stops, looks deeply into
SUPERMAN'S eyes.
SUPERMAN
What ...
EVE suddenly kisses him hard, breaks, then unhooks the chain. The Kryptonite sinks to the bottom of the pool. SUPERMAN actually seems to enlarge in the water, all his super-strength returning in a rush. He looks at EVE curiously, his power recharging itself.
239C CONTINUED
SUPERMAN
Why did you kiss me first?
EVE
Cause you wouldn't have let me later.
SUPERMAN
(now at full strength)
Thank you, Miss Teschmacher...
EVE
You too.
(almost misty eyed)
I... just can't get it on for the good guys,
you know?
SUPERMAN roars up out of 'the pool, heading for the roof of, the complex like a supersonic
blue dart.
240 METROPLIS STREET - DAY
SUPERMAN bursts through the pavement on a busy midtown street, streaks up into the sky at top speed.
240A SKY - DAY
SUPERMAN flies for speed, straining himself to reach the maximum. He looks off and
down.
240B ANGLE ON MISSILE - SUPERMAN'S POV
Far below - the missile. In the distance looms the city of Hackensack.
240C BACK TO SUPERMAN
He dives for the missile.
240D EXT. SKY - ANOTHER ANGLE
SUPERMAN plants himself firmly in mid-air directly in the path of the oncoming missile, braces himself to grab it. As the missile flies straight at him, it suddenly changes course.
18/4/77 TM
240D CONTINUED
SUPERMAN lunges for it but it veers off out of reach, then whizzes away into the distance.
SUPERMAN flies off after the rocket, a look of grim determination on his face.
240F EXT . HACKENSACK - DAY - AERIAL VIEW
The missile zooms on toward Hackensack.
240G EXT. SKY - ANOTHER ANGLE
SUPERMAN catches up, now comes at the missile from the side. But the sensory device picks him up again - the missile dodges out of range, leaving him behind.
240H CLOSE ON MISSILE
The missile speeds on. SUPERMAN comes back into frame, catching up. He grabs it from
Behind, gripping it tightly. With a mighty effort, he wrenches the rocket off its course. Steering it from behind he accelerates quickly, flying straight up into sky.
241 EXT. STRATOSPHERE
SUPERMAN climbs higher and higher over the United States, gaining speed, suddenly flings the missile up into space like a javelin. It whistles off into the blackness as SUPERMAN wheels in mid-air, looks back down at the United States, freezes in horror.
241A ANGLE ON WESTERN U.S.A. - SUPERMAN'S POV
ROCKET #2 hits the San Andreas Fault and explodes! A white-hot mushroom cloud starts to form.
241B BACK TO SUPERMAN
SUPERMAN streaks back down to Earth.
18/4/77 TM
241B EXT. SKY - MUSHROOM CLOUD
SUPERMAN circles the mushroom cloud at top speed, going faster and faster, not only
stopping its expansion but actually compressing it. He then dives straight into the center of
the holocaust.
241C INT/EXT. MUSHROOM CLOUD
SUPERMAN swoops to the base of the cloud, blows up with his super-breath.
241D ANGLE ON MUSHROOM CLOUD
The entire cloud with its fallout and pollution is blown high up into the stratosphere, away
from Earth.
242 CLOSE ON SUPERMAN
SUPERMAN stops in mid-air, looks, listens. A loud rumble begins, gathering in intensity. The earthquake has arrived.
242A EXT. CALIFORNIA COAST - DAY
The land shakes on the Pacific Coast. Huge chunks of cliff begin to fall into the sea.
242B ANGLE ON LANDSCAPE - SUPERMAN'S POV
Great yawning cracks rip open across the land in all directions.
242C ANGLE ON SUPERMAN
SUPERMAN quickly dives down; disappears into a crack in the earth.
243 ANGLE - UNDERGROUND EARTH
SUPERMAN bores through the underground, desperately trying to repair the crack. He pushes plates of land back together, dams up a flow of onrushing lava, redirecting it, suddenly looks off and up through the earth with his X-Ray vision.
18/4/77 TM
244 EXT. TRAIN TRACKS AND TRAIN - DAY
A long, sleek passenger train hurtles down the tracks, shuddering under the impact of the
earthquake.
244A INSERT SHOT - TRAIN TRACKS
A crack in the earth shoots across the tracks ahead, splitting the rail ties.
244B BACK TO TRAIN
The train rushes on, unable too stop
244C BACK TO CRACK
SUPERMAN suddenly appears in the crack, coming up from underneath, now physically spans it with his body.
244D WIDER ANGLE
The long train rolls over SUPERMAN, continues on safely down the tracks.
245 EXT. HIGHWAY AND POWER CABLES - DAY
A complex of enormous electric power cables stretches across a highway jammed with
shaking automobiles and panicked MOTORISTS. Suddenly - one cable snaps: showers of sparks fly high into the air as the live cables drop down toward the metal cars below.
245A CLOSER ANGLE
SUPERMAN swoops down, grabs a cable end in either hand. For a moment he almost
resembles a bright blue light bulb as the powerful current runs through him. Pressing the cables together with his super-strength he literally solders them, then once more safely strings them tight across the highway.
18/4/77 TM
246 EXT. HOLLYWOOD - DAY
The famous Hollywood Sign perched on the hill in Los Angeles trembles, then cracks apart
in the center. It starts to fall.
246A ANGLE ON GIRL SCOUT TROOP
SUPERMAN lands in the middle of the broken sign, pulls on the two halves with either
hand, pushing it back together to spell HOLLYWOOD again, solid once more.
247 EXT. SAN FRANCISCO - GOLDEN GATE BRIDGE - DAY
The famous Golden Gate Bridge sways precariously, then sags, starts to break in the center.
247A CLOSE ON BRIDGE
Several cars and a school bus begin to topple off, their OCCUPANTS frozen, screaming in
terror.
247B WIDER ANGLE ON BRIDGE
SUPERMAN flies under the bridge, pushes up, saving the vehicles and straightening the
bridge.
247C CLOSE ON SUPERMAN AND BRI DGE
SUPERMAN holds the bridge up, quickly welds the cracks shut again using his X-Ray
vision.
248 EXT. DESERT - DAY - CLOSE ON LOIS\
LOIS speeds across the desert in her car which shakes from the impact of the quake.
248A EXT. SKY CLOSE ON SUPERMAN
SUPERMAN, flying at top speed, looks down, spots LOIS. A crack in the earth erupts behind the car, almost seems to chase it, overtaking the car from behind.
248B CLOSER ANGLE
LOIS' car topples into the crack in the earth, falling down some fifteen feet.
248C CLOSE ON LOIS
LOIS is pinned inside her car by the double walls of earth. The crack now starts to close
again, squashing the vehicle as the metal groans and LOIS screams.
248D ANGLE FROM BELOW
SUPERMAN shoots up from the earth below, pushes the car up and out, lifts it into the air.
He looks down.
248E ANGLE ON CRACK - SUPERMAN' S POV
The crack slams shut with a sickening sound.
248F EXT. MOUNTAIN TOP
SUPERMAN deposits the squashed car with LOIS inside on a mountain top, rips the door
off, helps her out.
SUPERMAN
Sorry about the car ...
LOIS
Forget it, it's a Hertz.
249 EXT. DAM - DAY
JIMMY holds on to the top railing of the huge dam which shakes and strains under the force
of the quake. He bravely tries to take pictures with his camera which dangles from his neck,
suddenly hears something, looks down in horror.
249A ANGLE ON DAM - JIMMY'S POV
The dam begins to crack - little cracks at first, then growing larger and more numerous.
250 WIDER ANGLE
SUPERMAN suddenly appears - a tiny blue dot as compared to the size of the mighty dam. He pushes back against it.
251 CLOSE ON SUPERMAN
The cracks start to run in all directions, now grow wider. It's hopeless. SUPERMAN looks up in desperation as JIMMY yells down at him.
JIMMY
Superman! I'm up here, Superman! I'm ...
252 CLOSE ON JlMMY
Before Jimmy can finish his sentence he is scooped up into air by SUPERMAN.
253 ANGLE IN MID-AIR
SUPERMAN wheels in mid-air holding JIMMY, looks down at the dam, then back at JIMMY again.
SUPERMAN
Want a picture on page one of every newspaper in
the world?
JIMMY
(grinning)
You know it.
SUPERMAN
Ready...?
(looking down)
Now!
253A ANGLE DOWN ON DAM - THEIR POV
The enormous dam suddenly bursts. Huge jets of water spit through the crumbling structure on all sides.
254 EXT. MOUNTAIN TOP
FLASH CUT: LOIS stands by her squashed car on the mountain top. A blur seems to cross the SCREEN, then instantaneously leave. JIMMY is standing next to her.
18/4/77 TM
255 EXT. DAM
The structure collapses. A gigantic wall of water cascades down toward the valley town below.
256 EXT. VALLEY TOWN STREET - DAY
Screaming, panicked citizens react in terror as the raging torrent heads down directly at them.
257 ANGLE LOOKING DOWN FROM SKY
SUPERMAN dives to earth, carves a wide new river bed like a human bulldozer, channeling
the water so it bypasses the town. The current rushes off down its new course into the desert
lands beyond.
258 EXT. INDIAN VILLAGE - DAY
The assembled INDIANS watch, thunderstruck, as the new river bed is carved through their
land, irrigating it. They cheer wildly. SUPERMAN waves happily back at them, then flies
off.
259 EXT. MOUNTAIN TOP - DAY
SUPERMAN lands on the mountain top, joining LOIS and JIMMY. The rumbling has stopped. JIMMY notices.
JIMMY
It's over! You did it, Superman!
SUPERMAN smiles modestly, turns to LOIS.
SUPERMAN
Sorry I left you waiting all the way up here,
Lois, but I was kind of busy down there for a
while.
18/4/77 TM
259 CONTINUED
LOIS
(totally in love)
Oh, I understand ...
(beaming)
Your work comes first.
SUPERMAN
(nodding grimly)
And there's one last piece of unfinished
business left...
(to JIMMY)
Take care of her, Jimmy. I'll be back in
a minute.
SUPERMAN zooms off into the air. LOIS watches him go, a hopefully wistful smile on her
face.
JIMMY
Boy. Superman sure seems to care about
you, Miss Lane.
LOIS
Superman cares about everyone,
Jimmy. ....
(a new thought - eyes
narrowing)
But who knows? . . . Maybe one day . . .
(cocky smile)
If he's lucky . . .
260 EXT.PRISON YARD - DAY
The recreation yard of a large prison. CONVICTS mill about under the supervision
of watch towers. Off to one side of the yard the WARDEN confers with two of his GUARDS.
261 CLOSE ON WARDEN AND GUARDS
The WARDEN looks up in astonishment as SUPERMAN whizzes down through the air
holding LUTHOR and OTIS with either arm, lands directly in front of them.
26/6/77
261 CONTINUED
SUPERMAN
Hello, Warden. I think these men
should be safe here with you until
they can get a fair trial.
WARDEN
Thanks, Superman.
(sternly - to GUARDS)
Take 'em away, boys . .
LUTHOR and OTIS are led away. The WARDEN turns admiringly to SUPERMAN.
WARDEN
This country is safe again, Superman -
thanks to you.
SUPERMAN
(and he means it)
And you, Warden. And the fireman, the
doctor, the teacher, the clergyman - the
cop on the beat . . .
(nice smile)
We're all on the same team.
SUPERMAN flies higher into the NIGHT sky.
261A EXT. SKY - NIGHT to DAY
As SUPERMAN flies higher into the atmosphere we SEE the other side of the EARTH as he FLIES into DAYLIGHT.
262 EXT. SKY - DAY
SUPERMAN flies majestically through the sky, gaining altitude. He's done his job well. OR HAS HE? CAMERA PANS OFF HIM, ZOOMS UP INTO SPACE.
263 EXT. SPACE
ROCKET #1 which SUPERMAN hurled upward from earth continues traveling through space, unchecked by gravitational pull. It speeds through other solar systems, gradually approaching something which - to our horror - we recognize from earlier: The Phantom Zone containing the THREE GREAT VILLAINS: ZOD, URSA, and NON
18/4/77 TM
264 CLOSE 0N ROCKET
The ROCKET nears the Phantom Zone, then suddenly explodes. The massive shock waves ripple furiously through space.
265 CLOSE ON PHANTOM ZONE
The intense waves caused by the nuclear explosion collide with the Phantom Zone. It cracks
releasing the VILLAINS. They rush to the opened section and their unexpected freedom. NON lets out the horrible roar or an animal suddenly uncaged.
ZOD
Free!
URSA
Free!
Their grotesque faces fill the SCREEN with howls of glee as they drift off into space.
IMMEDIATE CUT TO:
SELECTED SCENES FROM SUPERMAN II
Selected film clips from SUPERMAN II with the exact content to be determined, but certainly establishing:
A. LOIS and SUPERMAN making love .
B. JOR-EL physically appearing before SUPERMAN to give him new life.
C. CLARK KENT being beaten up and bloodied.
D. ZOD, URSA and, NON destroying and conquering the world.
INSERT SHOT - COMIC BOOK
The tiny CHILD'S hand seen in the opening shot of the film comes back into frame, quietly turns over the final page of the SUPERMAN comic book. On the back cover is the enticing message
DON'T MISS THE FURTHER ADVENTURES OF SUPERMAN!
COMING SOON!
FADE OUT:
THE END OF
PART I
26/6/77
SCRIPT NOTES
&
AMENDMENTS
SUPERMAN I
1. See Page 33 Scenes 92/93/94/95 are transposed to page 56 to follow Scene 145 becoming Scs. 145A/B/C with some minor alterations and are played at NIGHT
P. 33. SC. 91 cuts directly to Sc. 96 INT. DAILY PLANET - DAY
2. Scenes 100B. 101.102.103.104.105 - 131 inclusive - PLEASE READ DAY and amend script accordingly.
3. Pages 1O1 - 128 inclusive - Scs. 232- 259 inclusive should read DUSK.
3A. Page 128 - Sc.260 READ 'NIGHT' and see new pages for amendment
SUPERMAN II
4. Page 239A Sc.267 PLEASE NOTE THAT CLARK KENT DOES NOT change to SUPERMAN - the 'blue blur' will be a grey blur or whatever the colour of suit he is
wearing for previous scene.
5. Pages 241- Scs. 302. 303. 304. 305. 3O6 - sequence following LOIS' falling into the fruitcart - OMITTED
From Sc.3O1 CUT DIRECT TO 3O7 INT. PERRY WHITE'S OFFICE.
6. Pages 283. 283A. 284 - Escape from prison in balloon.
www.smallvillechronicles-spain.blogspot.com - "Superman I: La película" - Alberto Angulo Morales
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