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"The Man of Steel, guión del cómic de 1998".
11:29 horas. 05 de Junio de 2012
Publicado por Alberto Angulo Morales
www.smallvillechronicles-spain.blogspot.com
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Smallvillechronicles-spain os presenta el guión original del cómic "The Man of Steel" publicado en 1998. Aquí os dejo la primera parte del guión.
."GUIÓN ORIGINAL DE "THE MAN OF STEEL (1998)"
Historia: Alex Ford y J. Ellison
Guión: Alex Ford
Basado sobre Superman, creado por Jerry Siegel y Joe Shuster y publicado en DC Comics el 09 de Abril de 1998.
EXT. GENERAL STORE
This opening sequence is shot in glorious black and white.
A BOY wearing depression era clothes enters the general store.
INT. GENERAL STORE
The store is empty except for an older CLERK putting out the week's periodicals in front of the register. The BOY passes as the CLERK finishes and moves behind the counter.
The BOY goes directly to a candy shelf and opens a jar, takes a handful of gum balls and heads for the counter.
He passes the periodicals and on the rack among the newspapers and magazines is a color comic book alone amongst the colorless rack. The title reads ACTION COMICS with a 1930s era SUPERMAN lifting a car above his head and smashing the front end into the ground.
Enamored by it, the BOY stares and in a DREAMLIKE STATE the CAMERA cuts between BOY, COMIC, and slowly panning in on each of them. Finally, the BOY looks up at the CLERK who's been patiently waiting for him.
The BOY looks a last time at the book on the shelf, then at one handful of gum and the other with a single dime. He looks up at the CLERK who looks like he knows something the boy doesn't.
EXT. GENERAL STORE
BOY exits with comic book in hand. He takes a seat on the sidewalk outside the store and…
CAMERA OVER SHOULDER shows the BOY slowly opening the front cover with much delicacy revealing the interior to be a VIBRANT COLOR WARNER BROS LOGO (WB Shield on blue clouded sky).
CAMERA PANS IN OVER THE SHOULDER and the LOGO fills the screen.
Black and white sequence finished. WE ARE IN THE MOVIE.
CAMERA pans upward slowly and the logo slides off the bottom of the screen, the blue clouded sky merges with the infinite reaches of space. Almost unnoticeable in the far off distance is a minuscule green dot.
Without warning, the green dot EXPLODES IN A BURST OF SILENT LIGHT. Several seconds pass as the shockwave from the explosion travels towards us and like a rumble in the distance, bringing a tidal wave of sound with it.
Debris hurls itself in all directions. With it A SMALL SPACECRAFT ZIP towards us, past the explosion and whips overhead. The CAMERA tilts and follows the orange and green craft. The planet's fragments follow the craft.
The debris loses speed and begins to fall behind the ship. Soon, the only thing left in frame from the dead planet is the lone ship hurling through space.
BEGIN OPENING CREDIT SEQUENCE.
Opening credit sequence is displayed while we follow the ship through infinite space. On occasion, the ship radically changes direction like it knows where it's going. Its destination is no accident.
The ship enters our solar system and barrels past familiar planets. In the distance is Earth.
The ship cracks through Earth’s atmosphere and its hull ignites in a bright red flame.
SMASH CUT TO:
EXT. SMALLVILLE, KANSAS - DESOLATE SNOWCOVERED ROAD - NIGHT
EXTREME CLOSE-UP of a mittened hand holding a misshapen rustynail.
JONATHAN KENT, a Kansas farmer in his thirties, is holding the nail. Standing in from of him is his wife MARTHA (also in her thirties) with a look is irritation. In the background is their weathered 1954 pickup truck with a flat tire. There is virtually no light on this country road.
MARTHA
What now, Jonathan?
JONATHAN's face bends with an "I don’t need this" smirk. The night lights almost like day and there is a tremendous crack as the ship breaks the sound barrier.
In the background, the flaming craft crashes into a field digging a charred crevice several hundred feet long and a trail of steaming melted snow.
JONATHAN and MARTHA, in total disbelief, slowly move towards the wreckage as if they are unconsciously drawn to it.
In the background is the distant cry of a baby.
ROCKET POV, JONATHAN and MARTHA peer into the crater with confusion and then turn to each other for an explanation neither of them has. They simultaneously look at the rocket then to the sky. The CAMERA looks upward with them and keeps going until there is nothing but space.
END OPENING CREDIT SEQUENCE ON NIGHT SKY.
CUT TO:
EXT. METROPOLIS SKY – DAY
The CAMERA pans down from space through the clouds and merges with a beautiful blue sky, which is disrupted by a massive "L" shaped state-of-the-art skyscraper made of steel and glass. The roof is slanted to make the "L" visible in the distance.
CAMERA keeps moving down the building for what seems like forever and finally other buildings appear along the skyline, but it's obvious this is "the" building in the city. A landmark like no other and everything else pales on comparison.
The city in the background bustles with life. She is like no other on Earth. She is immaculately clean and meticulously engineered. Skyscrapers are everywhere but the city doesn't seem cluttered. Ten million people call her home and with the multilayered highways, subways and elevated trains it never looks congested. She is the most advanced city in the world, the template for all others. Her name is appropriate; this is…
Metropolis.
Still moving down building…
FADE IN, TITLE ON MOVING IMAGE: METROPOLIS
Still moving down building…
FADE IN, TITLE ON MOVING IMAGE: TOMORROW, SATURDAY, 2:43PM
Still moving…
The CAMERA nears the bottom panning down huge letters etched in stone on the building side boldly announcing LEXCORP (and beneath it corporation's slogan "Bringing The Future To You Today"). Finally we reach the bottom of the building and pedestrians come into view and the pan ends on the back of a young, business-suited woman staring up at the menacing tower. She nervously gathers herself, builds her confidence and enters.
INT. METROPOLIS, LEXCORP HEADQUARTERS– DAY
WOMAN enters the lobby. There are dozens of people bustling about. She approaches one of a two dozen receptionists behind a massive marble counter all of whom are all assisting others. The RECEPTIONIST she has chosen is finishing up a telephone call on her headset/telephone. Several receptionists down is another woman who appears to be arguing with a receptionist and with someone on her cell phone at the same time, although the details can’t be heard. The woman is dressed in a suit carrying a briefcase. She looks like she is about to explode.
RECEPTIONIST #1
(Finishing her call)
Hello. Welcome to LexCorp. May I help you?
WOMAN
(Startled)
I’m here to see Mister Luthor.
RECEPTIONIST #1
And what time is your appointment?
WOMAN
I don’t have an appointment.
RECEPTIONIST #1
(disappointed)
Oh. I'm sorry. Mister Luthor only sees guests by appointment.
WOMAN
It’s very urgent. A matter of life and death.
RECEPTIONIST #1
(sympathetic)
Let me see if I can fit you in.
RECEPTIONIST #1 begins checking appointments in the computer when the arguing woman hears this and flips out. She barges past several people between them, pushing them out of the way to get to the sympathetic RECEPTIONIST.
The woman is LOIS LANE.
LOIS
(furious)
What?! I have been waiting here for three hours and I have an appointment!
(Beat)
Does he know Lois Lane from the Daily Planet is here?
RECEPTIONIST #2
(Under her breath)
That's probably why he's not coming down.
LOIS shoots her a nasty look.
LOIS
(To RECEPTIONIST #2)
The parking garage. You and me, sister. I hope your medical is all paid up.
RECEPTIONIST #1
(to WOMAN and ignoring LOIS)
I can fit you in Tuesday.
WOMAN
I’d have to wait until next Tuesday?
RECEPTIONIST #1
(apologetic)
Tuesday the twenty-third…
WOMAN
That's three weeks from now.
RECEPTIONIST #1
(Slightly embarrassed)
…in September.
The woman looks blankly at her examining her options.
RECEPTIONIST #2
(calling)
Miss Lane?
LOIS returns to RECEPTIONIST #2.
RECEPTIONIST #1
If you have a business card or something, I’d be happy to leave it for him.
WOMAN
(Shakes off her daze)
No. I don’t have anything.
(long beat, building nerve)
Oh wait, I do have this.
RECEPTIONIST #1 stands to retrieve her card and WOMAN opens her jacket revealing a bomb strapped around her mid-section. RECEPTIONIST #1 swoons and faints. LOIS, on her cell phone in the background…
LOIS
(into cell phone)
Gotta go!
She turns her back to the woman and starts punching buttons frantically.
CUT TO:
EXT. THE DAILY PLANET BUILDING- DAY
The building is one of the oldest structures in the city with its brick walls and the newspaper’s logo, the Earth with a rotating ring that reads DAILY PLANET, on it's roof. The structure is a testament to the days of journalism before faxes and Internet.
INT. DAILY PLANET - CITY ROOM
Through a large window, a staff meeting can be seen.
Standing at the front of a large table is Daily Planet Editor PERRY WHITE. A large and foreboding pitbull of a man. His trademark unbuttoned collar and open vest give the appearance this has been very hard day when in fact, this is every day. In his fist is an unlit cigar he points at people accenting his sentences. He paces when he walks and doesn’t speak words as much as he barks them. Through the glass, his booming voice is muffled. PERRY has two tones: LOUD and LOUDER.
Among the staff are CAT GRANT (Society columnist, early 30s and very beautiful), RON TROUPE (Sports, an African American in his 40s) and mild-mannered CLARK KENT (City Columnist). KENT is in his early 30s and very handsome, although he doesn't know it. He is someone that's above that.
Seated at KENT's desk is and watching them through the glass is JIMMY OLSEN, photographer. He is sixteen years old and very bored. With him is ALI, who is flipping through some of his photos with awe.
ALI
(Amazed)
Look at these Jimmy.
JIMMY
I know. I took them.
ALI
I know guys who've been taking pictures for fifteen years and aren't this good.
jimmy
Yeah. The Chief says it's a gift.
A telephone rings and OLSEN looks around to make sure there are no other witnesses and answers it.
JIMMY
Daily Planet, Kent speaking.
Incoherent yelling can be heard from the other end and OLSEN bullets to attention.
JIMMY
No, Miss Lane. They're in a meeting. Sure thing, Miss Lane.
OLSEN scrambles to find a pen, jots down instructions on his palm and hangs up. He fumbles out of his chair and races for the Conference Room throwing the door open…
PERRY
…Has lost contact with the Constitution--
JIMMY
CHIEF! —
PERRY
OLSEN! What they hell are you doing in my staff meeting?! You're not a writer, you're a photographer and you're barely that! Get out of here before I have you selling papers on the corner!
Instinctively, JIMMY folds and turns to quickly exit, then remembering why he came in the first place…
JIMMY
Oh yeah. Miss Lane called. Somebody has a bomb in the LexCorp building.
Everything stops.
PERRY
Isn’t Lois interviewing Luthor today?
No one has an answer.
PERRY
(exploding)
Well what are you waiting for?!
Everyone hustles out of the room. As they are leaving, no one notices a glass of water and an empty chair where CLARK was sitting.
CUT TO:
INT. DAILY PLANET - HALLS
People are walking the halls performing their duties when a gust of wind and a blur streaks past causing some to look twice and finding nothing.
INT. JANITOR'S CLOSET
In a supply closet, a JANITOR ducks around a corner to sneak a cigarette. He takes a drag and opens a window to exhale when the blur of wind blows past him and out the window knocking some cleaning supplies off the shelves. The JANITOR looks.
JANITOR
Windy.
He takes another drag on his cigarette.
CUT TO:
EXT. METROPOLIS SKYLINE - DAY
People are in their apartments as the red and blue blur streaks by the windows. It moves so quickly that some don't notice it. Others run to the windows and fire escapes calling their families to catch a glimpse of it.
EXT. METROPOLIS STREET - DAY
The streets bustle with mid-day activity. A GIRL moving with a crowd across an intersection stops in the middle of the street. An oncoming taxi screeches to a halt to avoid killing her. The GIRL is staring skyward down the street.
Cars horns blare and the TAXI DRIVER leans out and screams:
TAXI DRIVER
Hey stupid! What the—
The TAXI DRIVER sees what she is focusing on and forgets what he was yelling for. Everyone in the street stops and stares. The noise of a city in mid-afternoon comes to a silence. In the distance the blue and red streak flies off and makes an almost perfect ninety degree turn around a building. People can been seen in awe for blocks.
CUT TO:
EXT. LEXCORP HEADQUARTERS - DAY
The serenity of the previous scene is interrupted by panic.
People are fleeing the building being ushered to safety by the Metropolis Bomb Squad. The media has arrived, trying to force their way past the POLICE barricades with no luck.
There is chatter among the crowd until they realize LUTHOR is among them and all their frustrations and fears change to a silent hush.
Surrounded by bodyguards, is LEX LUTHOR. LUTHOR is a middle-aged imposing figure. An angel to some, devil to others. An egomaniacal recluse. A genius. An idiot. A humanitarian and exploiter. He is dressed in a dark business suit that costs more to clean than most people make in a month. The look on his face isn’t one of fear that would be associated with an assassination attempt.
To him, this is an annoyance.
Leading the team of bodyguards with the LUTHOR center is MERCY GRAVES, Luthor's Minister of Security. She is young, petite with a short brown male haircut and dressed in a modified version of a traditional chauffeur’s uniform with a more militaristic feel. She is LUTHOR’s personal bodyguard and right hand woman. She looks harmless… she isn't.
An EMPLOYEE is arguing with a COP when LUTHOR is ushered past. Their conversation stops and they gawk.
COP
Is that him?
EMPLOYEE
I think so.
COP
You think so?
EMPLOYEE
I’ve worked here for six years and I’ve never actually seen the guy before.
LUTHOR is brought directly to the BOMB SQUAD SERGEANT (PENNINGTON).
LUTHOR
(annoyed)
SERGEANT, I trust this won’t take long. I am trying to run a company.
SERGEANT
Well, there is a bomb in your building, Mister Luthor.
LUTHOR
If they really wanted to kill me and were remotely competent, I’d be dead by now. I can't stand incompetence. I’d like this matter finished as soon as possible.
BOMB SQUAD COP approaches.
BOMB SQUAD COP
Security gives us the go-ahead. The building is clear, sir.
SERGEANT
Good. We conduct a floor-by-floor building search in two-man parties for the bomber and—
LUTHOR
(adamantly)
No! LexCorp is a secured facility. I can’t have you traipsing through—
SERGEANT
How are my men supposed to find the—
LUTHOR
There are sensitive materials and projects—
SERGEANT
With all due respect, there is a bomb in there that could level this building—
LUTHOR
Then I’ll build a new one.
SERGEANT
And what about your EMPLOYEEs?
LUTHOR
(leaning into SERGEANT)
Then I’ll hire new ones.
(Beat)
Regardless, your men will not be entering this facility.
(to MERCY)
Mercy.
MERCY
Yes, Mister Luthor?
LUTHOR
Are your men capable of finding a bomb?
MERCY
Yes, Mister Luthor.
LUTHOR
Then get it done.
MERCY
Yes, Mister Luthor.
MERCY turns and whispers Secret Service-style microphone in her cuff.
SERGEANT
This is not standard procedure, Luthor.
LUTHOR
(irritated)
As far as I know you're an industrial spy and sent the bomb yourself to get into my building with no witnesses—-
SERGEANT
(furious)
Are you accusing me of not doing my job!?
LUTHOR
I have pens that cost more than you make in a week.
The two begin to argue when BYSTANDER #1 in the background looks up and points.
BYSTANDER #1
Look! Up in the sky…
Several others look.
BYSTANDER #2
It’s a bird…
The focus shifts from LUTHOR to the sky.
BYSTANDER #3
It’s a plane.
A whisper builds through the crowd.
SUPERMAN gracefully descends to Earth, his red boots gently connecting with the pavement as his red flowing cape cascades off his shoulders and perfectly hangs from his frame. He lands on the clear side of the barricade.
He is a muscular man, 6'3" and 225 pounds. His ice blue eyes and jet black hair compliment his chiseled features. The red and yellow "S" shield covers his entire chest. He has a presence unlike any other.
LUTHOR is still ranting as the SERGEANT notices him and stops arguing.
SERGEANT
Superman.
SUPERMAN stares at the building like he's looking through it… because he is.
SERGEANT leaves LUTHOR who isn't used to being walked away from in mid-sentence. SERGEANT approaches SUPERMAN who is concentrating on his invisible x-ray vision.
SERGEANT
(slightly nervous)
Sir, I’m SERGEANT Pennington of the MPF Bomb Unit.
SUPERMAN stops scanning and shakes SERGEANT’s hand.
SUPERMAN
Nice to meet you, SERGEANT Pennington. There's no bomb in this building.
LUTHOR
(screaming)
How could you know that?
SUPERMAN
I checked. There are some lead lined rooms which isn’t unusual in a research facility but they're secured areas. So unless Luthor put the bomb there himself, the bomb is out here.
LUTHOR
What? How dare you insinuate—
SUPERMAN motions to LUTHOR to be quiet.
SUPERMAN
("listening")
Wait…
LUTHOR
Do you hear your mother calling you?
SUPERMAN "listens" to the crowd. We hear what he hears. What sounds like a massive chaotic bass-heavy thumping narrows down shorter and shorter until there is one incredibly quick heartbeat.
SUPERMAN stares into the crowd looking "through" them. The crowd parts as if they know he isn't looking at them until the WOMAN from the receptionist desk is left standing alone. Her face is full of tears and she looks like hell.
SUPERMAN
(to LUTHOR)
Ex-wife?
LUTHOR
Hardly. I pay the six of them enough money not to try a stunt like this. She's a former EMPLOYEE I had to transfer to a "less desirable position."
WOMAN
(crying)
All I wanted was to talk to you, Mister Luthor. You told me you cared and I just want one more chance. I just wanted to talk.
LUTHOR
Did you have an appointment?
Furiously the WOMAN pulls a trigger from her pocket and rips her jacket open showing the bomb. Immediately, SUPERMAN begins to inspect it with his telescopic vision.
SERGEANT
Hey lady! I don’t know what this schmuck did to you but you’re gonna kill a lot of innocent people.
LUTHOR
Look…
MERCY leans into LUTHOR and whispers in his ear.
LUTHOR
…Cheryl, I know there may have been some misunderstandings.
WOMAN
Transferring me to Bludhaven is hardly a misunderstanding.
LUTHOR
How about I’ll have someone give you a call if you leave your number with—
WOMAN
I’LL GIVE YOU A NUMBER!
THREE!
People begin to scramble from the scene.
LUTHOR
I can give you a promotion. Maybe move you into a nice office on the one-hundred and fourth next to the Executive Wash Room.
WOMAN
TWO!
People begin to knock each other over fleeing the area. The POLICE are right behind them. People take shelter behind cars and structures.
SUPERMAN is watching her, totally calm.
LUTHOR
Five hundred percent salary increase. That oughta buy a lot of therapy.
WOMAN
ONE!
She presses the trigger and there is an almost inaudible click. She presses repeatedly and nothing. She looks at the trigger and in its place is a sterling silver pen. She clicks it again and the point extends and retracts. She looks down at her mid-section and there is no bomb.
SHASH CUT ACROSS TO:
LUTHOR, SUPERMAN and SERGEANT.
They are confused except for SUPERMAN who no one notices is holding and inspecting the bomb.
SUPERMAN
Where did you get this? This is very impressive.
(To SERGEANT)
What is this?
SERGEANT does a double take and then inspects it without touching it.
SERGEANT
That is impressive. That is your basic Class Six explosive with a chemical balance and wire trigger. It's a common weapon used by American Militias and Querac Jihads.
(Beat)
You disarm it by cutting the yellow, the pink and then the black.
SUPERMAN's irises turn red and three wires burn clean through. He hands it to SERGEANT who just stares at him in amazement.
Two OFFICERS arrest the WOMAN. As she’s being taken away…
LUTHOR
Cheryl…
She turns with hope in her eyes.
LUTHOR
…you’re fired.
She breaks free of the POLICE and lunges at LUTHOR. Stepping in the way of her charge is MERCY. With a martial arts move that appears to be one fluid motion, she drops her to the ground. POLICE gather her and take her away.
SERGEANT
Superman, how did you know where the bomb was?
LUTHOR
(Answering for SUPERMAN)
A heartbeat has a particular rhythm that's corrupted when someone is under duress, a threatening situation or lying.
SERGEANT
Like a polygraph.
SUPERMAN
Exactly.
LUTHOR
That’s a neat trick. Do you do parties?
SUPERMAN
It’s not so easy to distinguish when there are two heartbeats, Luthor.
(giving LUTHOR a very dirty look)
If that’s all…
LOIS LANE runs to the scene as SUPERMAN is preparing to leave.
LUTHOR
I'm not done with you yet. You committed an extreme invasion of my privacy by looking into my building. You can expect to hear from my lawyers.
SUPERMAN
I don't have time for this, Luthor.
(noticing LOIS)
Hello, Miss Lane. How are you doing?
LOIS
(slightly nervous)
Fine.
SUPERMAN
It's good to see you again but I have to be going.
SUPERMAN effortlessly rises and disappears into the afternoon sky.
LUTHOR
(Shouting)
When I have you brought up on charges and arrested and you’ll have all the time in the world!
CUT TO:
EXT. KENT FARM, (SMALLVILLE, KANSAS)- LATE AFTERNOON
A sport utility truck drives up the long dirt road leading to the KENT farm. The modern truck clashes against the 1950s Norman Rockwell-ish landscape. The door opens and out steps LANA LANG (early 30s) carrying a covered dish. She is dressed in a simple shirt and worn jeans with very little makeup.
The screen door opens and out steps MARTHA KENT, the same woman we saw for a moment thirty years earlier. Her hair has grayed and she’s found some wrinkles. She is wearing an apron but there isn't a stain on it.
MARTHA
(Scolding)
Lana Lang you know better than that.
MARTHA rushes to her side like she’s a long lost child returning home. She kisses her on the cheek and takes the dish.
LANA
Mrs. Kent we go through this every Sunday. Is Clark here yet?
MARTHA
No. I think he said something about a meeting today.
JONATHAN KENT meets them on the porch.
JONATHAN
My girl Lana, what did you bring me?
MARTHA rolls her eyes at him.
MARTHA
(scolding)
Jonathan.
LANA
Peach cobbler.
MARTHA
Jonathan, what time is Clark coming?
JONATHAN looks at his watch.
JONATHAN
Well Metropolis time is two hours behind but he’s never been late for a Sunday supper. I reckon he should be here—
The sound of their dog barking distracts JONATHAN. He looks by the barn and sees their son, SUPERMAN’s alter-ego, CLARK KENT, playing with the dog. He is dressed in jeans and simple button shirt.
JONATHAN
--Right on time.
CLARK
Hey, Pa!
He hugs his father who looks small in his arms. Almost boylike, he approaches Lana.
CLARK
Lana.
LANA
Hi Clark.
There is a shared moment between them.
MARTHA whispers to JONATHAN and they leave the two alone for a moment.
CUT TO:
INT. KENT HOME - DINING ROOM
Supper is finished and the table is cluttered with dirty dishes. MARTHA begins collecting dishes.
CLARK
You outdid yourself, Ma. Let me help you with those.
CLARK gets up and assists. JONATHAN unbuckles his belt and leans back in his chair fully satisfied.
MARTHA
Jonathan, is that necessary. We have guests.
JONATHAN
What? Lana might as well be family. She can unbuckle her pants if it makes her feel better.
LANA
Maybe next time.
JONATHAN
Are you sure? I'm gonna stretch out on the floor in a minute.
LANA
You do that.
MARTHA
He will not.
CUT TO:
EXT. KENT FARM - DUSK
CLARK walks out of the house followed by JONATHAN. There is a marvelous Kansas sunset over the flatlands of the farm.
JONATHAN
Isn’t that something?
CLARK
It sure is. You know, Metropolis has a beautiful sunset.
JONATHAN
But you can only see it when you're in a plane above the city. That’s why I don’t go there often. I think I’d miss her too much.
CLARK
Ma seems a little distant.
JONATHAN
We saw what you did this afternoon, son.
CLARK
Oh.
JONATHAN
You know how she worries. She just wants you to be safe. You're her only son. Be careful.
CLARK
I’ll be careful, Pa. I promise.
He kisses his father on the forehead. MARTHA comes out of the house with LANA.
MARTHA
You weren’t going to race off with mine, were you?
CLARK
No, Ma.
He gives her a long hug.
MARTHA
I have some leftovers I can wrap for you.
CLARK
Hmmm, homemade meat loaf, that's tempting but I'll be okay.
LANA
Are you going to walk me to my car, Clark?
CLARK
Sure.
LANA
Thanks for having me, Mrs Kent.
MARTHA
Anytime, Lana.
MARTHA and JONATHAN return to the house. CLARK walks LANA very slowly to her truck.
LANA
They love you so much.
CLARK
I know. I don’t know what I would do without them.
(Beat)
You know, when I fly through Metropolis I notice different things all the time. Subtle changes nobody probably notices. But when I fly over Smallville, it’s like nothing ever changes. It’s just the way I left it. It's like time doesn’t work here.
LANA
(laughing to herself)
It works. It just works very slowly.
(beat, very serious)
I miss you, Clark. I miss you so much.
CLARK
I miss you, too, Lana.
LANA looks at him realizing he doesn't understand.
LANA
You really don't know, do you? You can hear clouds collide into each other but you are so oblivious sometimes.
(Beat)
You know every time your parents see you on TV they are so proud and so terrified at the same time. When other people worry if their kids are making friends and eating right your parents are worrying if some super-powered goon is going to get the best of you. If you're going to be trapped in space or buried in a lava flow or something.
CLARK
(Beat)
I had that lava flow under control.
LANA
You're missing the point, Clark. They love you and worry about you. I worry about you. Sometimes I wish you would just come home one Sunday for dinner and stay but I know that can't happen. I've known you since we were kids and I know how your parents raised you. You could never stay in Smallville knowing there were things happening in the world you could prevent. You couldn't live with yourself. You could never be that selfish.
(Beat)
But I could.
CLARK
You know, there are ten million people in Metropolis and I don’t know any of them. Sometimes I think about it and I'm saving a city full of strangers when the people I know and love are here. And the worse part is everyone there thinks they know me.
LANA
But there things actually happen. They need you more than we ever could. They depend on you. You're their hero.
CLARK
Am I? NASA lost contact with the Constitution and on reentry it exploded and twelve men died. I might have been the only man on Earth who could have saved them.
LANA
But you didn’t, Clark. You didn't save them and they died. You can’t save them all.
CLARK
Instead, I spent my afternoon saving the life of a billionaire egomaniac.
LANA
And what if you hadn’t? What if that woman blew up the building and a few thousand people died? Clark, you can’t be everywhere.
CLARK
But if I had been—
LANA
If you had been what? Two places in the same time? Stronger? Faster? You may be the most amazing person on the planet and the world may call you Superman but inside you’re just a man. You have to accept that.
CLARK reaches over and holds her hand. She smiles and leans in and kisses him.
LANA
Remember that night after graduation when you took me out into the back field. I knew you were going off to college but somewhere, I thought you were going to ask me to marry you.
CLARK has a look of surprise.
LANA
I thought we would get married and you'd get me out of the one cow town and I'd actually see something in my life.
CLARK
Lana, I didn't…
LANA shushes him before he can finish.
LANA
It's okay.
CLARK
I should have married you when I had the chance.
LANA
You’ll always have the chance, Clark. Whenever you’re ready to come home, I’ll be here.
They both gaze up into the open Kansas sky.
CUT TO:
INT. LEXCORP CONFERENCE ROOM
In the room seated around a large marble table are thirty men from various divisions of the LexCorp empire. One entire wall is a window overlooking a breathtaking view of night-lit Metropolis. The massive seat at the front of the table is empty.
The two giant doors to the room are tossed open and in walks LUTHOR (everyone stands). As always, within arms distance is MERCY, followed by two SECRETARIES. He sits at the front of the table with a SECRETARY on each side. MERCY stands behind him.
LUTHOR
Gentlemen, I've had a hell of a day and I am not in a very good mood so let's make this short.
(calling out)
Accounting?
VAN HYNING, the Accounting Rep stands and clears his throat.
VAN HYNING
We have acquired six more research facilities in Southeast Asia. The munitions plant in Northern Europe that has been prohibiting our use of their new patented circuit board is no longer a problem.
LUTHOR
Then the merger went well?
VAN HYNING
The details are in my report. LexAir, LexOil, LexCom and their subsidiaries are all doing well, twenty-two percent above the projected goals.
LUTHOR
(excited)
That's what I like to hear!
VAN HYNING
(nervous)
The stock divided this morning and LexCorp took a two hundred point seven million dollar loss… the lowest percentage loss of all the listed companies. A loss sixteen percent higher than Maxwell Lord's holdings.
LUTHOR doesn't look happy with the news and everyone waits for his reaction.
LUTHOR
What exactly am I standing in?
VAN HYNING
Company assets are at four point two trillion dollars.
LUTHOR
(long beat)
That's acceptable.
(Beat)
Research?
HOLLISTER, the rep from RESEARCH & DEVELOPMENT stands.
HOLLISTER
Construction of our new facilities in South America and Greenland are proceeding ahead of schedule. The great news is medical research has perfected the Leukemia vaccine prototype. It works flawlessly.
LUTHOR
Have they sent the conditions to the pharmaceutical firms?
HOLLISTER
Yes they have and they've all declined. They argue the asking price is outrageous.
LUTHOR
If it were their kids let's see how outrageous it is. Very well, we keep it and it goes no where. The Antarctica facility?
HOLLISTER
Running totally on your new energy source for eight months on a less than a quarter of a percent what it previously used. The new fuel is clean, stable and most importantly cheap. Of course, we only have limited resources.
LUTHOR
Is it possible to replicate the chemical structure?
HOLLISTER
We know it isn't from Earth but it's being worked on as we speak.
LUTHOR
And the Metropolis Energy Commission?
HOLLISTER
That news isn't as good. There needs to be a unanimous vote to change the city's power source. We own ten of the twelve commission members but the other two refuse to cooperate. They think it's unnecessary to spend billions of dollars of taxpayer's money on an untested source.
LUTHOR
The cloning?
HOLLISTER
We have a cat?
LUTHOR
You cloned a cat?
(to VAN HYNING)
How much money have I spent on this cloning thing?
VAN HYNING
Two billion, Mister Luthor.
LUTHOR
Two billion dollars and you have a cat?
HOLLISTER
Well, we have fifteen hundred cats.
(LUTHOR gives him a horrid look)
It's very remarkable. They all are identical when means the matrix—
LUTHOR
Fifteen hundred cats? What am I supposed to do with fifteen hundred cats? If I were in Korea I'd open a delicatessen but I'm not. I'm in Metropolis where fifteen hundred cats are useless to me. I want something better. Dogs, monkeys, French-speaking gorillas. Impress me.
HOLLISTER
Yes, Mister Luthor.
.
.
www.smallvillechronicles-spain.blogspot.com - Guión de "The Man of Steel (1998)" - Alberto Angulo Morales
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