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"Superman II, la aventura continúa: Versión cinematográfica de 1980".
01:45 horas. 20 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 de "Superman II". Esta es la primera parte del guión.
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Nota importante: Las escenas realizadas por Richard Donner se han escrito en negrita.
Alexander Salkind presenta "SUPERMAN II"
Guión del rodaje.
Revisado por TOM MANKIEWICZ
Producido por ILYA SALKIND y PIERRE SPENGLER
Dirigido por RICHARD LESTER
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1 INT. OUTSIDE THE COUNCIL OF ELDERS CHAMBER - KRYPTON NIGHT
All is still. A KRYPTONIAN GUARD stands at sentry beside massive crystalline portals.
Suddenly, silently, NON appears behind him and slips a massive arm across his throat. He
squeezes, cutting off the guard's breath: the guard crumples silently, and drops to the floor.
Now GENERAL ZOD and URSA step INTO FRAME. As ZOD nods his approval to Non,
Ursa holds the chamber door open for the General to enter.
2 INT. COUNCIL OF ELDERS CHAMBER KRYPTON - NIGHT
ZOD leads the way into the chamber. This imposing crystalline space, the parliament of
Krypton, is empty for the moment. But the signs of its members are ever-present: around the great floating slab that is their conference table each has his (or her) own console of crystals - a transparent container marked with the identifying insignia, c.f. the symbols on each of their robes in Part I.
As Non and Ursa follow two paces behind. Zod strides along the slab, ignoring console after console, stopping only when he reaches the one emblazoned with the S-like crest of Jor-El.
ANGLE DOWN ON IT as Zod lifts the lid of the console and removes, from among all
transparent crystals, the one red crystal.
PAN UP as he lifts it high. It glows even in the dim light of the empty chamber - until Zod,
with a satisfied and sinister smile, snaps it in half. He tosses it to the ground and looks with a
self-congratulatory air at Ursa and Non.
EFECTS: The luminous Spinning Rings (c.f. Part I) descend and encircle the villainous trio,
imprisoning them like a magical lasso in perpetual motion.
Zod and Ursa are instantly subdued, if sullen; Non stares out at his captors making subhuman noises of rags and frustrations - literally a caged beast.
3 INT. KRYPTON TRIAL CHAMBER
A FULL C.U. OF ZOD FILLS THE SCREEN, as:
ELDER (V.O.)
General Zod. A warped, would-be
dictator. His only feeling is contempt.
His only desire is to command
CONTINUED
3 CONTINUED
C.U. OF URSA FILLS THE SCREEN
ELDER (v.o.)
Ursa. Her only feeling is for the
vicious General. Her only desire --
to rule at his side.
C.U. OF NON FILLS THE SCREEN
ELDER (V.O.)
Non. He is without words and
without thought. He is a brute force.
The General need only command to inspire this monster to acts of
mindless destruction.
ON THE THREE - listening implacably.
ELDER (V.O.)
Together these three are responsible
for the darkest episode in Krypton's
history, the one attempt at insurrection
against our reasoned way of life.
(NOTE: Many of the shots and sequences that follow are to be taken from Superman, Part I, and are so indicated, including, whenever possible, identifying material from the Release Script of Part I to facilitate the locating of the exact footage required.)
4 RELEASE SCRIPT, PART ONE, REEL ONE --Spot 1/26
SECOND ELDER
Guilty!
5 RELEASE SCRIPT, PART ONE, REEL ONE - Spot 1/27
C.U. Zod's eyes.
ELDERS
(all speaking together)
Guilty!
(echoed)
6 RELEASE SCRIPT, PART ONE, REL ONE - Spot, 1/29
C.U. Zod looking off L. towards Jor-El.
ZOD
The vote must be unanimous, Jor-El.
7 RELEASE SCRIPT, PART ONE, REEL ONE - Spot 1/31
Close THREE SHOT - Zod on the L. with Non to R. beyond him and Ursa on the R. looking off L. to Jor-El.
ZOD
You alone will condemn us if you
wish...
8 RELEASE SCRIPT, PART ONE, REEL ONE - Spot 1/32
C.U. Zod looking off L. towards Jor-El.
ZOD
...And you alone will be held
responsible by me.
9 RELEASE SCRIPT, PART ONE, REEL ONE - page 15
CLOSE SHOT as Phantom Zone revolves TOWARDS CAMERA. IT FILLS THE SCREEN and collects up the Villains. It SPINS AWAY FROM CAMERA and we SEE the three Villains' faces in the Phantom Zone. They are crying out as it moves away.
(NOTE: The following SHOT is new footage)
10 A CLOSE-UP of the Green Crystal (the one used in Part One to construct the Fortress, etc.) ON SCREEN, shimmering, pulsing with Kryptonian energy and life. As it does so:
Music: Main Title Theme begins.
TITLE APPEARS OVER IMAGE OF GREEN CRYSTAL.
BEGIN CREDITS - SUPERIMPOSED OVER THIS IMAGE AND CONTINUED OVER THE FOLLOWING IMAGES (all from Superman Part I.) ALL M.O.S.
(NOTE: On the first listed below, some optical changes will have to be done in order to eliminate Jor-El from the existing shot, so as to make it one of Lara, the baby and the
Green Crystal without a certain highly-paid actor in the FRAME).
11 RELEASE SCRIPT, PART ONE, REEL TWO -- Page 8
TWO SHOT -- LARA and baby KAL EL, as the Green Crystal is placed in the infant's
starship.
12 RELEASE SCRIPT, PART ONE, REEL TWO -- Page 11
Baby Kal-El's starship takes off.
13 RELEASE SCRIPT , PART ONE, REEL THREE --Page 1
EXT. SPACE
VERY LONG SHOT as the Red Sun hits Krypton and it explodes. CAMERA ZOOMS IN through the exploding particles of the planet.
14 RELEASE SCRIPT, PART ONE, REEL THREE --Pages 4 - 5
The rocket lands in the wheat field.
15 RELEASE SCRIPT, PART ONE, REEL THREE -- Page 11
Baby Kal-El lifts the back end of the pick-up truck.
16 RELEASE SCRIPT, PART ONE, REEL FOUR -- Page 6
Young CLARK is summoned to the barn by the force of the Green Crystal and its "effect."
17 RELEASE SCRIPT, PART ONE, REEL FIVE -- Page 1
At the North Pole, young Clark throws the Green Crystal and where it falls the Fortress
of Solitude begins to rise.
18 RELEASE SCRIPT, PART ONE, REEL FIVE -- Page 11
CAMERA PANS UP the front of the Daily Planet building
19 RELEASE SCRIPT, PART ONE, REEL SIX -- PAGE 6
THREE SHOT - PERRY, LOIS and CLARK in Perry's office as Clark first meets everyone.
20 RELAEASE SCRIPT, PART ONE, REEL EIGHT -- Page 4
MEDIUM SHOT shooting up towards the roof of the Daily Planet, with the helicopter
on the edge of the roof, as Lois falls out of the open door. She screams.
CUT TO: LONGER SHOT as Lois continues falling, hanging on a strap, still screaming.
21 RELEASE SCRIPT, PART ONE, REEL EIGHT -- Page 4
Shooting up through the windscreen of a boat cabin towards bow of boat where Superman is standing on deck with arms folded. Hatch in deck behind him opens and
a CROOK climbs out. TWO OTHER CROOKS (who've been counting their loot) are relieved to see the first crook about to attack Superman from behind. The first crook bashes Superman with a crowbar. Superman doesn't react at all, but the crowbar and the crook holding it vibrate madly.
22 RELEASE SCRIPT, PART ONE, REEL
Voluptuous EVE TESCHMACHER in bikini takes a subterranean sunbath in Luthor lair.
23 RELEASE SCRIPT, PART ONE, REEL TWELVE -- Pages 15 - 16
LEX LUTHOR with his map of America reveals his scheme; the "old" West Coast drops off the map.
24 RELEASE SCRIPT, PART ONE, REEL THIRTEEN -- Page 14
The rocket hits the earth and explodes.
25 RELEASE SCRIPT, PART ONE, REEL THIRTEEN -- Page 15
LONG SHOT FROM HIGH ANGLE SHOOTING DOWN onto the San Andreas Fault, as the crack in the earth widens and part of it start to fall in.
26 RELEASE SCRIPT, PART ONE, REEL THIRTEEN -- Page 29
LONG SHOT along railway line as Superchief Train approaches.
C.U. SUPERMAN lying in place of the broken tracks. He lowers his head.
LONG SHOT toward Railway Embankment with Superman in place of broken track as train enters L. along line and crosses over him.
CLOSE SHOT towards Superman lying in place of broken track as train passes over him.
27 RELEASE SCRIPT, PART ONE, REEL FOURTEEN - Page 15
Lois' car has fallen into a crack. CLOSE SHOT - the front of the windscreen as the car is being crushed, earth falling down from TOP OF FRAME.
CLOSE SHOT - LOIS, as the car is being crushed. She is screaming.
28 RELEASE SCRIPT, PART ONE, REEL FOURTEEN - Page 22
LONG SHOT the world with traces of Superman going round and round the centre R/l and then finally swinging down wide L. of the world, and reverses and starts going L/R very fast leaving trails. World starts moving normally West to East.
END CREDITS AND TITLE MUSIC
29 EXT. DAILY PLANET - DAY
ESTABLISHING SHOT of the office building on a busy Metropolis street.
30 INT. DAILY PLANET - DAY
CLARK KENT comes in, ready to begin a day's work, chipper and friendly. TRACKING WITH HIM as he passes various EMPLOYEES, all of whom seem to be bustling about with exceptional preoccupation. There is an air of tension, often found in newspaper offices when a big story is breaking. At first Clark doesn't realize anything unusual is up.
As a REPORTER with a sheaf of wire service copy in hand bustles by him:
CLARK
Morning, Phil ---
PHIL
(can't stop to talk)
'Scuse me Kent.....
Clark is a bit surprised, but continues walking on. A WOMAN REPORTER is heading down the aisle just ahead of him.
CLARK
(cheerily)
Hi, Alice. That's a very pretty
blouse you -
ALICE
(preoccupied)
Catch you later, Clark.
CONTINUED
30 CONTINUED
STAY WITH CLARK, now a bit taken aback, as he reaches Perry White's office. Just outside, talking on a phone is JIMMY OLSEN.
CLARK
(one more try)
Jimmy, how's the -
JIMMY
(to telephone)
Yeah. I'll check.
He hangs up and goes to Perry' s office. Clark follows.
31 INT. PERRY WHITE'S OFFICE
PERRY WHITE is seated at his desk, looking even more wound-up than usual.
JIMMY
Mr. White, the pressroom wants to know how
much longer to hold the front page.
PERRY
(tense)
Give it another ten minutes. If we don't --
(changing his mind)
Hell, I'll tell him.
(he picks up a phone)
Pete? If we haven't got anything new in the
next ten minutes just go with the wire service
copy under the 40 pt. banner and run the
picture for three columns.
(to Clark)
Kent, I need a background story for the page
3 sidebar. Give me every thing you know
about this terrorist group.
CLARK
(automatic response)
Right!
(he turns, starts out briskly,
then stops, turns and looks at
Perry with a puzzle expression)
What terrorists group? What's going on?
CONTINUED
31 CONTINUED
PERRY
Get your head out of the clouds, Kent. Where
you been the last twelve hours?
CLARK
Uh...home...
PERRY
Don't you watch television? Don't you listen
to the radio?
CLARK
Actually I was trying to catch up on my
reading. There's a lot of Dickens I never got
around to --
PERRY
Dickens! The whole world's about to blow
up and you're reading Dickens?!
JIMMY
(explaining to the
confused Clark)
A gang of terrorists seized the Eiffel Tower
in Paris
PERRY
He knows where the Eiffel Tower is, Olsen.
(double checking)
You do, don't you, Kent?
CLARK
Anybody been hurt?
JIMMY
So far the hostages are unharmed.
CLARK
Hostages?
JIMMY
Tourists, about twenty of 'em.
CONTINUED
31 CONTINUED
PERRY
But that's penny-ante stuff. These guys
are saying that unless the French government
meets their demand they've got a hydrogen
bomb ready to level Paris.
C.U. CLARK shocked.
CLARK
But . . ..that's terrible!
PERRY
That's why they call 'em terrorists.
(brusquely)
Go down to the morgue and dig up anything you
can find on past incidents of --
CLARK
(a sudden thought)
Does Lois know about this yet?
PERRY
Does she know about it? She's in it!
CLARK
What??
PERRY
The minute the story broke I bundled her on the first
Concord out of here. If Paris goes kablooey I want the
best reporter I've got right there in the middle of it.
FAVORING CLARK-- He looks especially worried now.
CLARK
Gee. But --
PERRY
No offense, Kent. You're good, but Lois is the best
we've got.
CLARK
No, I meant, it's awfully dangerous.
CONTINUED
31 CONTINUED
PERRY
That goes with the territory, Kent.
(cheering him up)
Listen, if I know Lois Lane, she'll not only come
back with a Pulitzer Prize story, she'll have a one
on one interview with the hydrogen bomb titled
"What Makes Me Tick. "
ON CLARK -- He stands there, absorbed in his thoughts.
PERRY
(impatiently)
What are you standing around for, Kent? Come on!
Take off!
32 EXT. DAILY PLANET BUILDING - DAY
Clark comes swiftly out of the building. PAN TO SEE him going into the nearby alley,
behind it.
33 EXT. ALLY - DAY
WIDE SHOT, SIDE ANGLE - In this private place, unobserved, Clark Kent now
transforms into Superman.
EFFECTS: AT LEFT OF FRAME the Clark Kent image begins to move TO RIGHT,
leaving images behind as in time-lapse photography, so that by the time he reaches RIGHT
OF FRAME he has turned completely into Superman. The intervening images show the
various changes in the transformation.
Now Superman follows Perry White's advice to Clark Kent: he takes off.
ANGLE UP TO SEE HIM fly up the air shaft behind the building and into the sky.
34 EXT. BASE OF EIFFEL TOWER - DAY
ESTABLISHING SHOT. --The Eiffel Tower, the Paris skyline.
35 EXT. BASE OF EIFFEL TOWER - DAY
WIDE ANGLE -- At the base of the tower, a large group of REPORTERS and T.V. CREWS
are gathered around a SPOKESMAN for the French government. He looks harassed and
tense. There is very much the atmosphere of a crisis -- CROWDS in b. g. are being held back FRENCH POLICE.
CONTINUED
35 CONTINUED
FIRST REPORTER
(British accent)
How did they get up there?
SPOKESMAN
(French accent)
They were disguised as workers, to do repairs.
FIRST REPORTER
Can you tell us why they released the first group
of hostages?
SPOKESMAN
We insist they do this to show good faith. If not,
we refuse to negotiate.
SECOND REPORTER
(American accent)
And now they are willing to release the rest of the
hostages?
SPOKESMAN
In return for a guarantee that we will not launch an
attack an them.
SECOND REPORTER
There will be no attack? No attempt to overpower the
terrorists?
SPOKESMAN
(squirming a bit )
Um. . . .we have made this guarantee.
SECOND REPORTER
Yes, but will you honor it?
SPOKESMAN
We have not the choice to refuse, have we, if we believe
it is a real hydrogen bomb that they have.
THIRD REPORTER
Where is the bomb ?
CONTINUED
35 CONTINUED
SPOKESMAN
Is in a big oil can --
(Tries another word)
--- oil drum...you know?
CLOSER ON THE GROUP -- We SEE LOIS LANE among the journalists, standing about halfway back in the group , busy taking notes.
LOIS
A hydrogen bomb? Are you sure?
SPOKESMAN
How can we be sure? Today, is possible for anyone
to make a bomb if he has the proper equipments, no?
LOIS
But . . ..that would mean all of Paris would be destroyed
SPOKESMAN
(grimly)
Oui.
ANOTHER ANGLE, in which CAMERA LOSES LOIS.
FIRST REPORTER
What is the official position of the government on this?
As the questioning continues:
ON THE BACK OF THE GROUP OF REPORTER - Lois has worked her way to the back
and now slips away from the group. She darts a quick look around to see if she has been
observed. She hasn't.
36 NEW ANGLE-A short distance away is one of the two elevators that service the bottom half
of the Eiffel Tower. The elevators are somewhere up there, but the staircase is guarded by
a young, pleasant-looking French FLIC.
FIRST REPORTER (O. S.)
Will your government meet their demands?
SPOKESMAN (O.S.)
I am not authorized to say what they will do. At this
moment there is an emergency meeting in the Elysee
Palace --
36 CONTINUED Missing from script (page 13 of original script)
37 SHOT DOWN FROM THE FIRST LEVEL -- As Lois hurries up while the unsuspecting flic
below reads the phrase book.
ANGLE OOWN ON LOIS - as she climbs the lower stairs briskly.
38 EXT. TOP LEVEL, EIFFEL TOWER - DAY
A drama of our times is being played out. At one end of the narrow top level, about EIGHT HOSTAGES are being herded into an elevator by TWO TERRORISTS with machine guns.
The hostages include a couple of NUNS, some CHINESE in buttoned-up gray jackets and a few obvious TOURISTS with cameras.
There are THREE TERORISTS in all, clad in gray coveralls to look like workers. The leader what will remain on the top level, is SERGE. The two who are taking the hostages to the lower level are LUC and CLAUDE .
SERGE
Take them down and send them away. But
watch out for any tricks.
NUN
(feisty)
Do we look like the sort who would ---
SERGE
It is not what you look like, Sister, it's who you
are.
NUN
A higher Power will have to forgive you. . . .
SERGE
We'll negotiate with him later.
(to his cohorts)
Quickly!
The hostages are herded into the elevators and the doors shut
39 EXT. EIFFEL TOWER - DAY
LONG SHOT-- The upper elevators (lifts) on the Tower, one going up, one going down.
40 ON THE STAIRCASE, BETWEEN THE SECOND LEVEL & THE MID LEVEL -- Lois is rapidly climbing the circular staircase, running out of breathe. ANGLE UP.
41 EXT. MID LEVEL PLATFORM - DAY
The hostages emerge from the upper elevator and are transferred into the waiting elevator
which will take them to safety and terra firma. As Luc and Claude prod them in:
LUC
Hurry!
And they do so:
41A INT. LIFT
Luc and Claude returning to the top level.
42 Lois climbs under their lift and holds on to a bar underneath.
ON LOIS - C. U. OF HER HANGING UNDER THE SHAFT, looking down at the dizzying,
vertigo inducing void below her.
LOIS
(trying not to panic; keeping
her goals in front of her)
Pulitzer Prize. Capital P, small u, l, i, t, z,
e, r. Capital P, small r, i -
43 HER POV: The elevator shaft below. A sight to make strong women weak.
44 ON LOIS -- As she turns away from the sickening sight, she makes a bad move and:
45 Her belt gets caught up in the mechanism under the elevator.
LOIS
Oh no!
Trying to extricate herself with one hand and hold on with the other, she is definitely in trouble now.
46 LONG SHOT, FROM BELOW -- Of the two elevators moving in the structure. The elevator
with Lois attached to the freed hostages move up, the elevator with the freed hostages moves down.
47 Luc has entered the empty elevator. The oil drum stands in it. Attached to it, wired to fuses on the top, is an activating device that functions like a grenade, i.e. once the pin is pulled, the gizmo is activated and the only thing that keeps it from detonating is the human hand which holds the thing in the safe position. The minute the activator is released, there's only a matter of seconds till the explosion.
SERGE
Be careful!
LUC
Don't worry, it is me who controls the bomb,
not the bomb who --
SERGE
Yes, yes, all right . . ...
48 SLIGHTLY DOWN to SEE Lois hanging there under the elevator, able to hear all the
conversation. During PAN:
CLAUDE
(gallows humor)
If you let go, I hope you have not many sins to be
forgiven. Because there will be only ten seconds
to list them.
C.U. LOIS - trapped and more fearful than ever.
LOIS
(whispering, as she
ups the ante)
Nobel Prize. Capital N, small o, small b. . .
49 EXT. MID LEVEL - DAY
THREE FRENCH POLICEMEN, C.R.S. Tactical Squad types, are gathered around the elevator mechanism. The FIRST POLICEMAN talks into a walkie-talkie to contacts elsewhere, while the other two stand ready at the mechanism with impressive-looking cable cutters.
FIRST POLICEMAN
(to walkie-talkie)
Where are they now?
50 ACROSS FROM EIFFEL TOWER - DAY
POV SEEN THROUGH BINOCULARS - SHOWING THE THREE TERRORISTS
STANDING BY THE ELEVATOR ON THE TOP LEVEL, WITH ONE OF THEM
(LUC) INSIDE BY THE OIL DRUM.
VOICE OVER
(Outside Spotter)
They are near to the elevator, one is
inside with the bomb.
51 BALCONY ACROSS FROM THE EIFFEL TOWER - DAY
ON THE SOURCE OF THE VOICE -- Another FLIC who is standing on this apartment
house balcony observing the Tower through binoculars and communicating via the walkie
talkie.
SPOTTER
Now the third one has come out . . .. Yes...
all are out.
VOICE OF POLICEMAN ONE
(walkie-talkie)
And the bomb? Still in there?
SPOTTER
Yes, Get ready.
52 SKY, PARIS - DAY
LONG SHOT -- Superman flies over the Paris sky towards the Eiffel Tower, which is still a considerable distance away, on the horizon.
53 EXT. SECOND LEVEL, TOWER - DAY
ON THE TWO POLICEMEN with the cable cutters, in place by the thick steel cables that
control the elevators.
POLICEMAN ONE
Now.
The TWO men cut the cables.
IN QUICK CUTS:
54 1. The taught cable suddenly springs apart and goes slack.
55 2. The pull on the counter-weight causes the slack cable to zip up the length of
the Tower like a yo-yo string gone loose. FOLLOW IT UP AND OVER THE TOP.
56 3. ON THE TOP - Now nothing holds the elevator in place.
57 EXT. TOP LEVEL - DAY
Suddenly the elevator starts to plunge down. The violence of its descent throws LUC, who
was just outside it, onto the ground. As he falls backwards with a scream:
58 INSERT: His hand holding the firing button lets go as it is yanked from him.
LUC
It started!
59 EXT. EIFFEL TOWER - DAY
LONG SHOT, ANGLE DOWN: SUPERMAN'S POV of the Tower, now that he is coming close to it, swooping down.
60 INT. ( EXT?) TOWER SHAFT - DAY
EFFECTS: The elevator is falling down shaft at terrific speed.
61 C.U. OF terrified Lois under the elevator. She screams.
62 EXT. SKY - DAY
Superman, IN C.U., zooms down to Lois as he hears her screams.
63 LONG SHOT - Superman flies inside the Tower.
64 INT. (EXT?) TOWER SHAFT - DAY
ON A SECOND LEVEL -- He grabs the elevator bringing it to a sudden, jarring halt.
While holding it aloft with one mighty hand, he helps the shaken Lois to get off and onto the
nearby platform.
CONTINUED
64 CONTINUED
LOIS
Superman! The --
SUPERMAN
(trying to make light
of it to calm her )
Really Lois, we've got to stop meeting this --
LOIS
(no time for comedy)
The bomb! It's in there! Any second now, its --
65 Instantly he springs into the shaft and begins to push the elevator up the Tower at super-speed.
66 QUICK SHOT - ANGLED DOWN ON LOIS as she watches Superman take-off up the shaft.
67 LOIS POV: Superman, pushing the elevator, is now practically to the top of the shaft.
68 EXT. MODEL
Superman and lift come crashing out.
69 EXT. SKY/SPACE
ON SUPERMAN -- He climbs higher over France, gaining speed as the atmosphere begins to blur into the dark mysterious blue of space.
70 EXT. SPACE
WIDE SHOT -- Superman, with the speed of light zooms through the Universe, past the
Moon with the Earth growing smaller in the distance. Faster and faster he goes until he bursts through into another galaxy.
71 CLOSE ON SUPERMAN -- as he hurls the lift into the void of outer space.
72 WIDE SHOT - as the nuclear bomb explodes. The closest star breaks into shooting, fiery fragments.
73 ON SUPERMAN - as he is sent reeling through the limitless void, falling away stunned by the explosion.
74 EXT. FURTHER IN SPACE
EFFECTS: Shock waves shake the stability of the furthest galaxies.
75 EXT. SPACE
ON SUPERMAN - in uncontrolled flight, projected millions of miles, as he regains
consciousness and steadies his trajectory. He soars through the galaxies, bursting through
into our Solar System. He wings closer and closer to Earth, growing smaller and smaller as
he approaches the United States, until he appears as a tiny blue dot far away in a sparkling
star-filled sky.
76 EXT. DEEP SPACE
EFFECTS: The shock waves from the nuclear blast are stronger now, ripping through the
vast dark sky. In the distance, a strange diamond-shape begins to glow.
PAN WITH THE SHOCK WAVES, GETTING CLOSER TO THE GLOW: Now we SEE it
is the crystal two-dimensional prison: The Phantom Zone. The grotesque, pleading heads of GENERAL ZOD, NON and URSA can be seen imprisoned, "flattened" inside.
77 EFFECTS: As the shock waves strike the Phantom Zone, the prison shatters and breaks open.
78 The three great villains burst out into space, taking on their three-dimensional forms again.
They are flung out into the black sky as they suck in the air of unexpected freedom. It is as if Pandora's Box has been opened.
ZOD
Free!
URSA
Free!
NON lets out a terrifying howl, like an animal who has burst its bonds.
Their horrifying faces fill THE FRAME with yowls of glee as they whirl and drift off into space, tumbling and flying at great speed. HOLD as they move further and further away,
moving towards Earth, until they are tiny dots lost in the stars.
They regain their balance and realize they can fly as we SEE our solar system in b.g.
79 EXT. METROPOLIS STREET, DAILY PLANET - DAY
ON CLARK - as he comes up out of a subway station opposite the Daily Planet Building,
looking as harassed as any other rush hour rider. Suddenly he brightens.
PAN TO the sight that cheers him. It is Lois, of course, just stepping off a bus across the street on her way to the office.
CONTINUED
79 CONTINUED
CLARK
Lois! Hey, Lois --
She turns and gives him a friendly wave, but then our busy girl reporter keeps right on going toward the building.
ON CLARK -- Disappointed, our ever-eager swain hurries to catch up with her. FOLLOW HIM as he steps out into the street just as the light changes.
CLARK
(not that she's listening)
Wait up a minute. . .
Suddenly, as he darts in and out of moving traffic, he is hit head-on by a speeding Checker taxi. As he disappears from view we hear a long squeal of brakes and an awful crunch.
80 ON LOIS -- as she hears it too. She whirls around and hey eyes widen in horror.
LOIS
(starting towards him)
CLARK!!
ON CLARK - picking himself up, dusting himself off, hurrying towards her again.
CLARK
(calling to her, reassuringly)
I'm okay.
And he is indeed. The collision has left him unharmed and not even out of breath.
ON LOIS -- looking his way, very startled.
HER POV: The taxi is not okay. Clark's impression is cut deeply, perfectly and unaccountably into the hood, through the engine block to the windshield.
ON LOIS - still staring. Finally, she shakes her head sharply, as if to clear it of a wild notion.
TAXI DIRVER looks puzzled.
82 INT. DAILY PLANET CITY ROOM, CLARK & LOIS' DESKS - DAY
ON LOIS' DESK is a copy of that morning's paper, the headlines bold and clear:
MERCI, SUPERMAN!
French Terror Scheme "Bombs"
Exclusive Story by Lois Lane
Standing patiently beside the desk with a long-suffering look on his face is CLARK, listening to the good talking-to Lois is giving him.
LOIS
Look, okay, this time you were lucky. Very
lucky. But next time you cross the street --
(earnestly)
Clark, always look both ways.
Lecture over, she starts rummaging in the shopping bag we saw her carrying earlier.
CLARK
(equally earnest)
Lois, I usually do.
LOIS
Then maybe you should get your
glasses checked.
As he touches them nervously, she pulls out a plastic bag, filled with half-a-dozen oranges cut in half.
CLARK
(piqued)
Not everyone can have X-ray vision,
you know.
LOIS
(lightly)
Do I detect a note of jealousy?
From the bottom of bag she produces a fairly ancient hand-operated juicer -- the type where you put the orange half on a metal cone and then, pulling down a lever, bring the squeezer press down on it. She sets it and a large drinking glass on the desk.
CONTINUED
82 CONTINUED
CLARK
(looking at all this
with much curiosity)
Lois, what are you doing?
LOIS
When was the last time you heard me
sneeze?
CLARK
(actually trying to
remember)
Uh. . .
LOIS
Well, you never will again!
(proselytizing)
Thanks to Vitamin C! I'm reading a book
that says the foundation of a sound body
structure is one thousand milligrams of
Vitamin C every day.
CLARK
One thousand?? That's an awful lot of
oranges. You know there are pill, Lois.
I've seen them.
LOIS
(knowingly)
Oh sure. The American answer to everything.
Pills.
(as she puts an orange
in the juicer)
No, this is --
(the magic word)
-- natural.
She brings up the lever and bears down on the orange.
LOIS
And I also get some exercise this way.
That's for sure. Struggling mightily, she can hardly get the lever to budge. But she smiles
brightly as this doesn't bother her.
CONTINUED
82 CONTINUED
LOIS
Anyway, about being jealous -- you don't
have to be.
She's about to give it another try.
CLARK
I don't?
LOIS
(smiling at him)
Of course not. Not when you've got so much
going for you.
CLARK
(daring to hope)
I do?
LOIS
Sure! But nobody knows it. Least of all
you.
(as his smile fades)
Look, would you mind if I gave you
some constructive criticism?
CLARK
(hurting)
Actually, yes.
NEW ANGLE
LOIS
Well, you shouldn't
(intensely)
Be more aggressive, Clark! Trust your
instinct! When you see your opportunity,
grab it! I do.
And she pushes down the lever.
CLARK
God knows . . .
CONTINUED
82 CONTINUED
She is really having a tough time getting the press to go all the way down.
CLARK
Lois, why don't you at least get one
of those automatic ones?
LOIS
Haven't you heard? There's an energy crisis.
(through clenched teeth:
as she bears down)
No, this was good enough for my mother --
CLARK
(tentatively)
Maybe I could try --
LOIS
Be my guest.
He repositions the orange and raises the lever. Clumsily, he bears down and gets, for his
pains, orange pulp juice spattered down the front of his pants. Now it's his turn to play
unperturbed.
CLARK
(mopping himself)
It's okay, I was going to send this suit to
the cleaners anyway.
(he puts another orange
in the juicer)
I think I've got the hang of this now.
NEW ANGLE - He brings the lever down, then tosses away the squeezed-out orange. We
can't see what he's accomplished yet.
LOIS
(kindly)
Clark, everything I was saying -- can't you
see I only say it because I really care?
CLARK
(looking up, a last ray of hope)
Really?
LOIS
Of course, that's what friends are for.
CONTINUED
82 CONTINUED
CLARK
(dashed again)
"Friends."
LOIS
(smiling up at him)
Here's to friendship.
She takes the glass from the table, raises it. There is about a half-inch of juice in it.
They both look at it sadly.
83 EXT. PRISON YARD
ESTABLISHING SHOT
84 INT. PRISON LAUNDRY (OLD SC. 308A)
LEX
This is how it ends for the greatest criminal mind of
our time. Not with a whimper, mind you. Not with a
bang. How do they choose to reward Lex Luthor the
greatest genius in this world? Do they give him glory,
do they give him treasure? What matter of fact do
they give him?
GUARD
Life plus twenty-five. Luthor. Get to work.
OTIS
Don't feel bad, Mr. Luthor. It almost worked. I mean
California almost threw up right in the ocean.
Millions of people almost killed. If it hadn't been
for that guy Superman - that overgrown boyscout...
LEX
I want my Liberace record back tonight.
OTIS
( What are you gonna do - with a guy like that )
( I mean, he flies around so fast and everything...)
DELETE IN CUTTING
CONTINUED
84 CONTINUED
LEX
( Six pack of coke. )
DELETE IN CUTTING
OTIS
I mean they can't even trace that guy on that radar
they got, every time they try he just flies off.
LEX
Where?
OTIS
North.
LEX
Why?
OTIS
To ski?
LEX
OTIS, your brain defies any known scientific laws
in its infinite capacity to deteriorate. Every man has
a vulnerable point. Some like you Otis, have more
that one. I didn't see Superman's in time. But now
through patience, invention and skill, my black box
is just about ready.
OTIS
Oh! That black box in our cell?
LEX
Shhhhhhh!
OTIS
That little black box, Mr. Luthor, I mean -- what's it
for?
LEX
That little black box goes beyond any known
conventional radar, it tracks Alpha Waves.
OTIS
Ahhhhhh -- Alpha Waves.
CONTINUED
84 CONTINUED
LEX
( I could have said it tracked Pasta Fagoli, )
( couldn't I. )
( OTIS )
( Oh with garlic, Mr. Luthor, and that )
( butter, oh it's so good. )
DELETE IN CUTTING
LEX
Those Alpha will take me North... to his
secret. And when I have his secret, I'll
have Superman. (Slasher Fogelstein is a
bedwetter.)
85 EXT. SPACE
View of the Earth and the Moon.
(NOTE: THE FOLLOWING SCENE IS PARTIALLY SHOT: all material on Moon surface etc. THE NEW MATERIAL WHICH FOLLOWS SHOULD BE INTERCUT WITH EXISTING FOOTAGE AS INDICATED.)
86 EXT. SURFACE OF THE MOON
WIDE SHOT: A joint mission of Russian and American ASTRONAUTS have just landed. There is a capsule that looks like the famous LEM, supported on four skinny, spider-like legs, with glowing metal ladders leading from its portal.
87 INT. HOUSTON NASA CONTROL CENTER - DAY
The familiar setting: banks of computers, TECHNICIANS and CONTROLLERS who monitor the ASTRONAUTS.
CLOSER ON TWO CONTROLLERS: One of them, standing by the monitoring device,
obviously bored, sips coffee from a paper cup. The second, his feet up, idly leafs through a
Sports Illustrated, killing time.
FIRST CONTROLLER
(to the other guy)
Hey, you follow the bouncing ball for awhile, huh?
It's giving me a headache. Anyway, you'd better
check in on them.
CONTINUED
87 CONTINUED
The Second Controller reluctantly tosses his magazine aside.
SECOND CONTROLLER
Yeah, I keep forgetting about them.
(shrugs)
Well, everybody else had. After forty-five days.
(he tunes in his console,
speaks into microphone)
Houston to Artemis II, Houston to Artemis II,
come in please.
VOICE FROM CONSOLE (v.o.)
Howdy, Houston.
88 INT. LEM. CAPSULE - MOON SURFACE
In the LEM is an astronaut, NATE, who has been up there for forty-five days and looks it --unshaven, haggard and bored.
VOICE OF CONTROLLER (v.o.)
(over LEM speaker)
Nate?
NATE
Yo!
VOICE OF CONTROLLER (v.o.)
How's it going up there?
NATE
All systems normal, Houston. Andy is out doing the
geological survey --
VOICE OF CONTROLLER (v.o.)
More rocks...
NATE
Affirmative. And Cosmonaught Boris is getting some
soil samples.
(pause, mild chuckle)
By the way, Boris and I are getting engaged.
VOICE OF CONTROLLER (v.o.)
I had a feeling about you guys when I saw your Rorschach
tests.
CONTINUED
88 CONTINUED
NATE
(grinning)
Just a little down-home humour there, Houston.
VOICE OF CONTROLLER (v.o.)
Surface conditions unchanged?
NATE
(looking out porthole)
Well, it's mighty pretty out there. Mighty --
(suddenly sits straight up in his seat
with a look of absolute amazement;
he peers through the porthole)
-- pretty.
89 NEW ANGLE - POV: Through the porthole, Ursa drifts like a languorous, undulating Rhine
Maiden, floating down through the darkness to the moon's surface -- a smiling, siren a magical apparition.
90 INT. HOUSTON, NASA SPACE CENTER - DAY
SECOND CONTROLLER
Mighty pretty, right.
(a look at his colleague)
Listen, Nate --
(sharper)
Nate?
(no answer)
Nate? Hey, wake up, will ya?
91 INT. LEM CAPSULE, MOON SURFACE
Nate stares out the porthole, mesmerized.
NATE
(half-whisper; stunned)
That's it. Yeah, I'm dreaming.
CONTROLLERS VOICE (v.o.)
Come in, Artemis.
NATE
Yeah . . . well . . . uh, Houston . . . we seem to have an . . .
an . . . unidentified flying . . .
(he still can't believe his eyes)
object.
91 CONTINUED
CONTROLLER VOICE (v.o.)
(more alert)
An unidentified --- ? What does it look like?
NATE
Well, sir . . . actually, what it looks like, I would have to
say, it definitely looks like, like . . . a girl.
92 EXT. ANOTHER SECTION OF MOON
(AS PREVIOUSLY SHOT: URSA CONFRONTS ANDY AND RIPS HIS SUIT OPEN, KILLING HIM)
This scene is not typed out in the actual script, but is added here from the Tom Mankiewicz script for reference purposes.)
Astronaut Andy, in his bulky space suit and helmet, laboriously lifts some moon rocks, stands, begins loping back to his vehicle with them as Ursa suddenly lands in front of him. Andy recoils, his bug eyes clearly visible through his mask.
URSA
You.
ROBBIE
Ah . . . ah . . . yes. Ma'am?
(to himself)
I don't believe I said that.
URSA
What sort of creature are you?
ROBBIE
Ma'am, I'm just a person . . .
(pointing)
From Earth, you know? I'm just a man.
URSA
(widening smile)
A man . . .
URSA suddenly reaches out, rips the space suit down the front, tearing a great gaping hole as easily as if she were ripping tissue paper. ROBBIE'S arms flail in the air. He quickly explodes (EFFECTS) from the pressure change. URSA grins.
93 EXT. OTHER SECTION OF THE MOON
(AS PREVIOUSLY SHOT: GENERAL ZOD CONFRONTS BORIS AND KILLS HIM)
This scene is not typed out in the actual script, but is added here from the Tom Mankiewicz script for reference purposes.)
Another astronaut, BORIS, his suit bearing the insignia of the USSR, is attached by a long hose to his vehicle as he kneels a few yards away in a crater, scooping up samples of dust and putting them in containers. CAMERA PANS: GENERAL ZOD suddenly pops out of the crater, vaulting over the lip, lands near the astonished BORIS who turns, babbling in Russian.
BORIS
(In Russian)
Who are you? Where did you . . . .
ZOD lifts BORIS' life-line in one hand and, using his fingers as a pair of scissors, simply snips it in two. Arms flailing, his screams echoing, BORIS rises like a balloon, his gravity pull destroyed as he floats up and away. ZOD watches him dispassionately.
ZOD
What a fragile sort of life form this is . . .
94 EXT. LEM
(AS PREVIOUSLY SHOT: ZOD AND URSA RETURN TO THE LEM. WITH NON,
THEY APPROACH THE SPACECRAFT.)
95 INT. LEM CAPSULE, MOON SURFACE
Nate stares out at the three - unable and unwilling to believe what he is seeing.
NATE
My god ---
Frantically he presses, again and again, a switch.
96 INSERT: His finger presses the button (or switch) marked "LAUNCHING ROCKETS."
97 EXT. LEM CAPSULE, MOON SURFACE
(AS PREVIOUSLY SHOT, NON SHAKES AND BREAKS THE LEM. Overlay on soundtrack the following radio appeals growing more urgent:)
CONTINUED
97 CONTINUED
VOICE OF CONTROLLER (v.o.)
Artemis? Artemis, this is Houston. Come in, Artemis.
this is Houston. This is Houston calling.
98 INT. HOUSTON, NASA SPACE CONTROL CENTER - DAY
FIRST CONTROLLER
What's going on?
SECOND CONTOLLER
I don't know, lost contact.
FIRST CONTROLLER
(not perturbed as this is
obviously a common problem;
calls out kiddingly:)
Somebody using a hair dryer in here?
SECOND CONTROLLER
(a bit more concerned
No, really.
(to mike:)
Artemis? Do you read me?
FIRST CONTROLLER
What'd he say before? He saw a girl?
SECOND CONTROLLER
I think he said a "curl."
FIRST CONTROLLER
What's a curl?
SECOND CONTROLLER
Isn't that what the old Canaveral guys used to call a comet
on an East-West trajectory?
FIRST CONTROLLER
How the hell would I know? I was in high school back in
those days.
CONTINUED
98 CONTINUED
SECOND CONTROLLER
(razzing him)
Boy, you sure look old for your age
(to mike:)
Artemis ? Artemis?
He keys up the volume: sounds of much static.
SECOND CONTROLLER
Sounds like the usual electrical interference.
(NOTE: AT THIS POINT, GO TO FOOTAGE PREVIOUSLY SHOT IN WHICH THE THREE VILLAINS DISCUSS THEIR NEWLY FOUND POWERS AND THEIR REALIZATION OF THE YELLOW SUN etc.)
99 EXT. MOON SURFACE
ZOD, URSA and NON sit amidst the debris. They have decorated themselves with the spoils: ZOD wears patches and NASA badges. URSA sports a NASA belt buckle, worn as a brooch. NON, rocking as he sits, makes frightening noises of pleasure, pleased with the mayhem he's caused.
URSA
(thoughtful)
Strange. I tore those metal fibers like
paper. And what he did . . ..
(points at NON)
Was amazing!
(dawns on her)
Something is happening . . ..
ZOD
Yes. To all of us. The closer we come to
an atmosphere with only one sun - a yellow
sun - the more our molecular density gives
us unlimited powers!
URSA
( They come from . . . Earth. ) DELETE IN CUTTING
( (points) )
There . . .
(examines NASA buckle)
A place called . . . Houston . . .
CONTINUED
99 CONTINUED
ZOD
Then we must go there too.
(rises)
To rule. Finally - to rule!
(to URSA)
And then you shall have what you want.
URSA
(cold steel)
( Men. To destroy. ) DELETE IN CUTTING
ZOD
And I will lead.
100 EXT. PRISON - NIGHT
It is curfew time. One by one, lights are extinguished throughout the prison yard. The only illumination left is in the lit guard towers, which top the walls.
101 INT. CELL BLOCK - NIGHT - TRACKING SHOT
CAMERA TRACKS WITH PRISON GUARD as he walks the length of the cellblock making sure the lights are out and all prisoners are safely in their cells. He marks the information down on a clipboard.
GUARD
382 . . . check . . . 383 . . . check . . .
He passes LUTHOR'S cell as CAMERA HOLDS: LUTHOR and OTIS sit in the
far corner, clearly visible in a strange light. They are both reading.
CLOSER ON GUARD
The GUARD backs up, looks into LUTHOR'S cell, irritated.
GUARD
Lights out, Luthor.
Neither LUTHOR nor OTIS moves a muscle.
GUARD
I said Lights out!
Again no physical or verbal response. The angry GUARD unlocks the cell door, enters.
CONTINUED
101 CONTINUED
INT. CELL - NIGHT
LUTHOR continues to peer down at a book entitled: HOLOGRAPHS MADE EASY. OTIS reads a comic. The GUARD crosses angrily.
GUARD
You guys are about ten seconds away
from solitary, you know that?
(to OTIS)
Gimme that comic . . .
The GUARD reaches out to snatch the comic away from OTIS: his hand passes right through it as if the book were made of air. The GUARD stops, wide-eyed, steps toward LUTHOR who suddenly disappears completely. He turns back, steps toward OTIS. Now OTIS disappears, but LUTHOR has reappeared. The stunned GUARD looks down, sees he is standing in front of two beams of light. He swivels to find their source as CAMERA PANS: They are being projected from the corner by a small, complicated-looking holograph device.
102 (NOTE: The following is a revision of a sequence ALREADY SHOT, showing the cuts and including the addition of two new lines concerning the disposition of Otis.)
EXT. BALLOON, SKY - DAY
Luthor, in high spirits, gives Eve a kiss on the cheek. But she is clearly not happy, her old doubts settling in again.
LEX
Well done, Miss Teschmacher.
EVE
(glumly)
Why am I doing this? Why am I here?
LEX
Is this a philosophy seminar? No. This is getaway.
Luthor takes out his Black Box tracking device and starts working on it. Eve stares down over the edge of the basket.
103 VERY LONG SHOT - of this balloon sailing through the blue.
EVE
(upset)
Lex...Lex, how could you do that to Otis?
LUTHOR
(indifferently)
What else is ballast for?
104 CLOSER, TWO SHOT
LUTHOR
(changing the subject;
winningly, for him)
How would you like to take a little vacation? I mean
you've earned it, you know? You deserve it.
EVE
(Brightly)
There is some good in you, Lex, after all.
LUTHOR
You'll have to pack quickly.
EVE
(getting into it)
A bikini! I'll need to buy a new bikini, Lex.
(suggestively)
C'mon. After being cooped up in that prison,
haven't you thought about me in a bikini . . ...once
maybe ?
LUTHOR
(flatly)
A parka.
EVE
You thought about me in a parka. That's sick, Lex.
Really.
LUTHOR
(settling back)
North!
He reaches under his coat, pulls out the Black Box again, sets it on his lap, pets it.
LUTHOR
We're going North, Miss Teschmacher.
.
www.smallvillechronicles-spain.blogspot.com - "Superman II: La aventura continúa" - Alberto Angulo Morales
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