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Post by Duragizer on Dec 23, 2017 4:14:36 GMT -5
And on that note, I'll be taking a break from this screenplay for a while. Everything I've posted is all I've typed up so far, and I tend to suffer long periods of writer's block/malaise, so it might be a while before I resume work on it.
I have other screenplays I've written — complete ones. I think I'll start posting them in the meantime.
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Post by Deleted on Dec 23, 2017 7:58:39 GMT -5
Loving your stories and the last one is a keeper and it's really builds on the dynamic and loved the boulder scene and the super speed scene of where Clark was making sure that his clothes are fine and all. Thanks for sharing these stories and I've been treasuring these and looking forward to them ... Thanks Duragizer!
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Post by Duragizer on Jun 11, 2018 3:42:45 GMT -5
INT. KENT HOME/CLARK'S BEDROOM — MORNING
Clark, wide awake, clad only in pajama bottoms, sits atop his bed, reading a paperback novel.
MARTHA
(O.S.) Clark Kent, you're about to miss the bus!
Hearing his mother's voice, Clark sets down his book and rises. Sauntering over to his bedroom window, he opens it and leans out. Allowing the cool morning air and warm morning sun to play across his bare skin, he closes his eyes, relishing the sensation.
EXT. ROAD — MORNING
Clark — groomed, in fresh clothes, notebooks in hand — comes to the top of the driveway just in time to see the school bus pulling away. He frowns, bemused.
INT. SCHOOL BUS — MORNING
Inside the bus, near the back, Pete and another boy share a seat. Looking behind them, they watch Clark's diminutive shape recede in the distance.
PETE'S FRIEND
(hands Pete 25¢) I can't believe you bet against your best friend.
EXT. ROAD — MORNING
Clark stands there, watching the bus shrink into the horizon. With his super hearing, he listens in on the two boys' conversation.
PETE
(O.S.) It's a statistical fact: If Clark moved any slower, he'd be extinct.
Once the bus has disappeared from sight, Clark's bemusement fades, replaced with a wry smile. Breaking into a run, the world slows to a crawl as he attains top speed. In seconds, Clark overtakes the school bus. Twisting around, running backward, he waves to the motionless vehicle and its oblivious passengers. Turning back 'round, he leaves the bus far behind him, eating his dust.
EXT. SMALLVILLE HIGH/ENTRANCE — MORNING
Clark is loitering by the school entrance, propped against a stone wall, arms crossed in front of him, when the school bus finally pulls up by the curb. Exiting the bus, Pete and his friend come to the entrance, where they find Clark in-wait.
PETE
(dumbstruck) How'd you get here so fast?
CLARK
(smirks) I ran.
Uncrossing his arms, Clark heads inside.
INT. SMALLVILLE HIGH/TORCH OFFICE — DAY
Opening the door, Clark enters the office of the Smallville Torch. Equipped with a pair of desks with a typewriter each, three file cabinets, and a table at the back complete with hand-cranked mimeograph machine, it is windowless, with bare brick walls — quite small, hell in less temperate seasons, but adequate for the needs of a small student newspaper. Lana, present at her desk, is busy at her typewriter, typing an article for the Torch's upcoming back-to-school issue. Setting his notebooks atop the other desk, Clark comes up behind Lana, leaning over her shoulder to peer at what she's typed.
CLARK
"Effluvious" has two "F"s.
Pursing her lips, Lana goes for her bottle of correction fluid, but Clark beats her to the quick. Uncapping the bottle, he applies the black fluid to the mimeograph stencil, covering up "efluvious". Once it has dried, Lana retypes the word with the extra "F".
Still leaning over her shoulder, Clark looks to Lana, and she to him. Her eyes, hazel, meet his, azure. In that moment, nothing exists for them beyond each other. And then the spell is broken. Straightening, Clark steps back, putting a hand behind his head. Confused, hesitant, Lana turns back to her typewriter. Retiring to his own desk, Clark begins consulting a notebook.
LANA
(faces Clark) Clark?
CLARK
(looks up) Lana?
LANA
(cont'd) Aunt Hel's back in Smallville.
CLARK
Is she?
LANA
(nods) For keeps. (beat) Her property's in need of sprucing up. She's looking for a part-time hand. (beat) You always seem to have time on your hands.
CLARK
I'll ask my folks tonight.
Lanas smiles tightly, then returns to her article.
INT. KENT HOME/DINING ROOM — NIGHT
Clark is with his parents at the dining room table. They are enjoying a dinner of shepherd's pie with bean salad.
CLARK
Helen Winters' back in town.
MARTHA
Helen's back? (faces Jonathan) It's been ten, eleven years since we saw her last?
JONATHAN
(distant) About that.
MARTHA
We should pay the old girl a visit.
JONATHAN
(non-committal) Um-hmm.
CLARK
She's looking for part-time help. I figured ...
This gets Jonathan's attention.
JONATHAN
You have school work, and chores.
CLARK
Duck soup, pa. (beat) We could use the cash.
MARTHA
It shouldn't be a problem, Jonathan.
CLARK
It shouldn't, should it, pa?
JONATHAN
(frowns) It shouldn't. (beat) No, no, it won't.
EXT. HELEN'S HOME/FRONT YARD — DAY
Dropping out of super speed, Clark arrives at Helen's home. A two-storey house in fine structural condition, it nevertheless needs new shingles, a fresh coat of paint, and the surrounding yards weeding and mowing.
Climbing the porch steps, Clark knocks at the front door. In moments Helen opens the door. Though her hair has gone salt-&-pepper and her face lined with age, she's still quite the handsome woman.
HELEN
Hello?
CLARK
Clark Kent, ma'am.
HELEN
(astonished) Clark Kent‽
CLARK
I go to school with your niece. She told me you were in need of a hand?
HELEN
Come right in.
INT. HELEN'S HOME/ENTRANCE HALL — DAY
Stepping aside, Helen allows Clark inside. Closing the door after him, she examines him head-to-foot then foot-to-head with her eyes.
HELEN
Clark Kent. You were seven years old the last I saw of you. (beat) You've surely grown.
CLARK
That I have, ma'am.
HELEN
(rests hand on Clark's shoulder) Will you walk into my parlour?
INT. HELEN'S HOME/PARLOUR — DAY
Helen and Clark enter the parlour. Guiding him to a small table surrounded by two padded side chairs, she sits him down in one.
HELEN
Would you care for something to drink, Clark? Iced tea?
CLARK
(nods) Thank you, yes.
Helen leaves. Shortly she returns, carrying a metal platter laden with two tall glasses and a full pitcher of iced tea. Setting the platter down on the table, she fills both glasses, then takes the chair opposite Clark. Hiking the hem of her brown paisley dress up, Helen crosses her legs, affording Clark an unobstructed view of them. Shapely gams clearly run in Lana's family.
HELEN
What would you say needs doing?
CLARK
(distracted) Excuse me?
HELEN
Around the house?
CLARK
(looks about room) Your home looks quite nice inside. There's no sign of termites or dry rot.
HELEN
(smiles) You've quite the peepers, haven't you, Clark?
CLARK
(antsy) Just my cursory examination, missus. (sips iced tea) The roof needs attending to, and the yard, certainly.
HELEN
(nods) How does 10¢ an hour sound to you?
CLARK
It sounds quite fair to me, Mrs. Winters.
HELEN
Miss Potter. But call me Hel.
CLARK
Hel it is.
Smiling, Helen drinks from her glass; some of the tea runs past her mouth, down her neck. Collecting the tea on a finger, she sucks at it. Clark doesn't fail noticing the fullness of her lips.
EXT. FOREST — SUNSET
SUPERIMPOSE: ELK MOUNTAINS, COLORADO
A large fireball comes streaking down from the sky above. Passing over the lush, verdant wilderness, the spaceborne object splashes down in a distant lake.
EXT. LAKEBED — STARCRAFT — SUNSET
At the bottom of the murky lake, mired in the dark mud, is a familiar starcraft, the telltale signs of meteoroid impacts marring its otherwise pristine chrome exterior.
INT. STARCRAFT/COCKPIT — SUNSET
We find Luma in her seat, suit and helmet sealed and unbreached, unmoving.
INT. SPACESUIT
Within the helmet's confines, we see Luma's face. Eyes closed, expression placid, the Kryptonian girl's features are unaged and uncorrupted; she looks exactly as she did the day she set upon her 50-year migration.
Around Luma's neck, the S-pendant begins resonating a white glow.
INT. KENT HOME/KITCHEN — SUNSET
Clark is with Martha, helping her with the dishes. As she washes and rinses them, he dries them and puts them away.
Quite suddenly, Clark stiffens. A strange expression comes over his face.
MARTHA
(frowns) Clark?
CLARK
Someone just walked over my grave.
He resumes drying the dishes, still uneasy.
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Post by Duragizer on Jun 16, 2018 3:47:42 GMT -5
I've thoroughly re-edited this screenplay. Most of the changes were minor; rewording of dialogue and such. The only significant change I made was to Kryptonian naming conventions.
I decided Kryptonian daughters inheriting their fathers' surnames was a bit too patriarchal for such an advanced society. I changed it so Kara is now Kara-Ze of the House of Ze instead of Kara-El of the House of El. In keeping with this change, the S-shield is now the crest of the House of Ze; the House of El's crest is now a stylized sun.
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Post by Duragizer on Jun 19, 2018 4:13:28 GMT -5
EXT. HELEN'S HOME/ROOF — DAY
Clark is up on Helen's roof, replacing worn and missing shingles. Though he could do the job solely by hand if he so chose, he works with a hammer to disguise his particular talents.
Clark stops hammering. The sensation he experienced the night before is still with him — something in the atmosphere tugging at the peripheral of his senses.
INT. HELEN'S HOME/ENTRANCE HALL — DAY
Hearing a knock at her door, Helen answers it. Clark stands in the threshold, quite perturbed.
HELEN
Problem, Clark?
CLARK
I don't feel well.
HELEN
It's quite warm out. I'm not surprised. (touches his arm) I'll fetch you some water.
Nodding his thanks, Clark enters.
INT. HELEN'S HOME/PARLOUR — DAY
Clark is seated in a chair when Helen comes in with a glass of water in hand; she hands it to him.
CLARK
(accepts glass) Thank you.
Clark swallows the water greedily, but it does nothing to dispel his anxiety. Stepping behind Clark, Helen rests her hands on his shoulders.
HELEN
May I?
Clark acquiesces. Helen begins massaging his shoulders and neck.
HELEN
How does that feel? Helps?
CLARK
(closes eyes) Hmmm.
Helen continues the massage. There is the trace of a smile on her lips.
HELEN
Clark?
CLARK
Yes?
HELEN
You needn't knock, if you want inside. My door is open to you (into his ear) any time.
Opening his eyes, he abruptly rises.
CLARK
I believe I'll call it a day.
HELEN
Are you alright to drive? Would you like a ride?
CLARK
I can manage. Thank you for the water and ... attention, Hel.
Giving him a brief, thin smile, Helen allows Clark to go.
INT. KENT HOME/DINING ROOM — SUNSET
Clark is with his parents at the dining room table. While they enjoy a dinner of roast chicken and sweet potatoes, he just stares at the plate, disinterested.
JONATHAN
You're not eating.
CLARK
I don't have an appetite.
JONATHAN
(smirks) You rarely do. Hasn't stopped you before.
CLARK
I'm sorry. May I be excused?
His parents excuse him. Clark leaves the table.
MARTHA
(concerned) That isn't like him at all.
Jonathan shrugs, resumes eating.
INT. KENT HOME/CLARK'S BEDROOM — NIGHT
Clark sits by his open window. Bristling with tension, even the cool evening breeze fails to soothe his nerves.
Turning his head, he looks up, toward the ceiling. Narrowing his eyes, he rises and leaves the window.
INT. KENT HOME/JONATHAN & MARTHA'S BEDROOM — NIGHT
Jonathan and Martha lie beneath their covers, quite asleep. As audible shuffling comes through the ceiling above, they are roused from their slumber.
INT. KENT HOME/ATTIC — NIGHT
At the back of the attic, Clark kneels, riffling through the contents of a large trunk. At the bottom, he finds a small oak box. Lifting it out, he examines it; locked. Using his strength, he forces it open, revealing an S-pendant nestled against the black velvet lining. An exact twin of the one worn by Luma, it, too, glows a bright white. Taking the radiant pendant from the box, Clark holds it to his breast. Relief surges through him.
Hearing a creak behind him, Clark looks over his shoulder; his parents stand there. Spying the glowing pendant in their son's hand, husband and wife exchange glances. A long moment of uneasy silence passes between the three of them.
JONATHAN
Son ... it's finally time to show you something.
INT. TRUCK/CAB — NIGHT
Jonathan is behind the Model T's wheel, driving through one of their fields. Clark sits beside him.
CLARK
Where are we going, Pa?
JONATHAN
We're going back in time, son.
EXT. KENT FARM — FIELD — NIGHT
Jonathan soon brings the truck to a halt. The headlights of the Model T fall upon a barbed wire fence ahead. Emerging from the vehicle, father and son slip under the wire and into the disused field yonder, Jonathan leading with flashlight in hand.
JONATHAN
It's been eighteen years since your ma and me last came to this field. I've let it lay fallow ever since.
CLARK
This ... this is the field you told me never to play in, when I was a little kid.
JONATHAN
That's right. And I posted "NO TRESPASSING" signs all 'round, and put up the nastiest barbed wire fence I could find ...
Playing the flashlight beam across the ground, Jonathan reveals a large wood panel set flush into the earth.
JONATHAN
(cont'd) all to hide this. (beat) Lift it away, son.
Reaching under the heavy panel, Clark effortlessly uproots it. Setting the panel aside, he discovers the secret concealed beneath — the pit with the chrome-&-crystal starcraft nestled in its depths.
CLARK
(astonished) Oh my God. P-pa...? (faces Jonathan) What is it?
JONATHAN
This is how you came into our world, son — the day the grandfather of all blizzards slammed down on Smallville. (beat) It's where your ma and me found you.
CLARK
(flabbergasted) "Found me"‽ You mean ... I'm adopted‽
JONATHAN
Something like that. (beat) Yes, "adopted" is as good a word as any.
Clark takes a step back, overwhelmed.
CLARK
T-this is a joke, right?
JONATHAN
We should have told you earlier. Should have told you years ago.
CLARK
(irate) Why didn't you tell me?
JONATHAN
We wanted to protect you.
CLARK
(angry) Protect me from what‽ You should have told me!
His world turned upside down, Clark doesn't know what to do, so he does the only thing he can think to do; he leaves.
JONATHAN
Clark! Clark!
But his son is already long gone.
EXT. LANG HOME/BACKYARD — NIGHT
Having gathered pebbles, Clark chucks them at Lana's window, hoping to draw her attention. After several attempts, Lana fails to show.
EXT. LANG HOME/FRONT YARD — NIGHT
Coming around to the front door, Clark knocks. Lana's mother eventually answers.
SARAH LANG
(bemused) Clark‽
CLARK
May I see Lana?
SARAH LANG
Have you any idea what the time is‽ (looks to watch; isn't wearing one)
CLARK
Please, Mrs. Lang. It's important I see her.
SARAH LANG
(shakes head) Lana isn't here. She's sleeping over at Chloe's. (beat) Sakes alive, Clark. Visit during godly hours!
At that, Mrs. Lang closes the door in Clark's face. Crestfallen, Clark turns away. As he leaves the Lang property, he looks to the sky. The thick cloud cover which had blotted out the moon has broken, allowing strong moonlight to filter through the tears. Following the rays to Earth, Clark spies in the distance the house of Helen Potter.
INT. HELEN'S HOME/BEDROOM — NIGHT
The windows in Helen's bedroom have been opened wide, allowing bright moonlight inside. It cascades over the bed, over the woman whose curves are only tenuously hidden beneath a thin sheet. A cool breeze seeps in through the windows, rustling the parted curtains and Helen's sheet. Hearing the sound or feeling the sensation, Helen is drawn from her slumber. Turning over, looking up, she finds Clark standing there at the foot of her bed, ghostly in the moonlight.
Sitting up, Helen pushes the sheet away, exposing the full length of her supple porcelain body, then crosses her arms above her head to afford Clark a strong look at her ample bosom. Leaving the foot of the bed, Clark sits down on the mattress with her. He then examines her, head-to-foot then foot-to-head, with his eyes. Anxious, inexperienced, he doesn't know how to proceed. Reaching for him, Helen removes his suspenders. Once they are out of the way, she unbuttons his flannel shirt. Pushing it open, she exposes the wiry muscle of his hairless chest and abs. Cupping his pecs, she feels the taut sinews in her palms and under her fingers — experiences them. Then snaking her fingers through his hair, she guides his lips to the nape of her neck.
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Post by Duragizer on Jun 21, 2018 0:54:01 GMT -5
EXT. KENT FARM — KENT HOME/FRONT PORCH — DAWN
Jonathan and Martha sit in the porch swing. Jonathan holds Martha, who fell asleep some time ago.
JONATHAN
Martha….
Hearing her name, Martha is roused from sleep.
MARTHA
(inquisitive) Clark?
Following Jonathan's gaze, Martha finds Clark coming down the driveway, on his way towards them.
As Clark climbs the porch steps, Martha and Jonathan rise from the swing. Clark stands there, facing his surrogate parents.
MARTHA
Clark, honey ... don't hate us for keeping this secret from you all these years.
CLARK
I don't hate you, Ma. I could never think badly of you or Pa.
Opening his arms, Clark goes to them. Opening their arms, Martha and Jonathan go to him. They embrace, holding to each other fast, family to the very end.
INT. KENT HOME/DINING ROOM — MORNING
Clark, Jonathan, and Martha sit at the dining room table. In his two hands, Clark holds the S-pendant.
JONATHAN
We think it's from your parents — your real parents.
Clark runs a thumb over the engraved, glowing sigil.
JONATHAN
(cont'd) I tried for years to trace its origins, but it's not any symbol known to Man.
CLARK
What are you trying to tell me, Pa? That I'm a Martian?
JONATHAN
I don't know, Clark. Maybe we just weren't meant to know. Maybe we'll never know.
Opening the clasp, Clark fastens the pendant around his neck.
INT. KENT HOME/CLARK'S BEDROOM — DAY
Clark sits behind his desk. Pencil in hand, he writes on a notepad.
CLARK
(V.O.) The pendant drew me to itself; it's now drawing me elsewhere. I don't know where I'm being drawn or to what purpose; I only know it's a call I must answer. (beat) I can't say when I'll be back, but I will be back. That's a promise.
INT. KENT HOME/ENTRANCE HALL — DAY
Keys to the Model T in hand, Clark walks out the door.
INT. TRUCK/CAB — DAY
Behind the wheel, Clark pulls away from the house.
INT. KENT HOME/DINING ROOM — DAY
Mug of coffee in hand, Martha enters. As she approaches the table, she spies Clark's notepad atop it. Setting her cup down, she picks up the pad, reading Clark's note.
Frenetic, Martha bolts from the room to find Jonathan.
EXT. KANSAS TO COLORADO — MONTAGE
Clark makes the trip from Smallville, Kansas to the Elk Mountains, Colorado — by highway and backroad — guided by the silent siren song which beckons him.
EXT. FOREST — LAKE — NIGHT
Clark now continues on foot, hiking through the dark woods. He soon arrives at the lakeshore. Stripping down to his underwear, he dives headlong into the dark waters.
EXT. LAKEBED — STARCRAFT — NIGHT
Clark appears perfectly comfortable in this aquatic environ; he cuts through the water effortlessly — without kicking his legs or stroking his arms, as if he were gliding through the deep — and the lack of air doesn't appear to hamper him any. As he draws near the starcraft, this changes; his limbs go awkward, his stomach cramps up, and his lungs start screaming for oxygen.
Fighting to adjust to the current and keep himself from inhaling water, Clark kicks his legs hard, stroking briskly, until he finds himself positioned over the sealed canopy. Finding no wheel or similar apparatus to open the canopy, he begins punching it; though he doesn't leave so much as a dent in the crystal, the force of the punches are cause enough to open the canopy.
Black water flooding the cockpit, Clark finds himself face-to-faceplate with the sole occupant. Taking Luma by the armpits, he tries lifting her free; much of his great strength absent, he finds the girl's spacesuited bulk quite heavy. Gritting his teeth, he pulls with all the might he has remaining. Finally managing to dislodge the leaden girl from her submerged vessel, sinking to the mud, he crouches down then launches himself towards the surface, Luma held close to him.
EXT. LAKE — NIGHT
Clark breaks the surface. Gasping, he begins swimming for shore.
EXT. FOREST — LAKE — NIGHT
Clark comes ashore, soaking wet, Luma's limp form dead weight in his arms. Depositing her on the grass, he collapses to his knees, shivering, then vomits. Once the nausea has subsided, he looks at his hands; they are bruised.
Turning to the person in the spacesuit, he unseals and removes her chrome helmet, tossing it aside. Eyes closed, expression placid, the face of the most beautiful woman Clark has ever laid eyes on is unveiled.
EXT. TRUCK — NIGHT
Clark deposits Luma's dismantled chrome spacesuit in the back of the truck then secures a canvas tarpaulin over the pieces, hiding them from sight.
INT. TRUCK/CAB — NIGHT
Clark gets behind the wheel. Starting the ignition, he turns to his passenger. Now wearing Clark's red flannel coat over her skintight bodysuit, she is finally coming to. Eyes cracking open, Luma faces him, still weak, and utters something in Kryptonian. He peers into her eyes, eyes as yellow as his are blue, unable to understand her words but gleaning their meaning all the same.
CLARK
A friend.
Swooning, Luma slips back into unconsciousness.
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Post by Deleted on Jun 21, 2018 10:07:18 GMT -5
Your last story is full of visual impact and nicely put together.
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Post by Duragizer on Jun 23, 2018 22:01:43 GMT -5
INT. KENT HOME/LIVING ROOM — DAY
The Kents sit at their table, fiddling with the pieces of a jigsaw puzzle they have no interest in. Worry for their son is etched on their faces.
There are loud knocks at the door.
MARTHA
Clark!
They bolt from their chairs.
INT. KENT HOME/ENTRANCE HALL — DAY
Answering the door, they find Clark and Luma on the other side. Luma, semi-conscious on her feet, is braced against Clark's body, her arm slung across his back.
INT. KENT HOME/GUEST BEDROOM — DAY
Lying in bed, her bodysuit removed, Luma has regained full consciousness. Martha ministers to the blonde, cleaning her face and shoulders with a warm, wet washcloth.
LUMA
(weak) Ta-khukp nim….
MARTHA
I imagine you have a hundred questions on your mind. We certainly have that many. (sighs) I reckon the answers'll remain long in coming for us all.
Finished with the washcloth, Martha takes up a towel and gently pats the girl dry. Once that is done, she collects the black bodysuit and goes to leave. Luma takes her wrist. Martha looks back to her. Luma gives her a nod and smile of thanks. Martha returns the smile, then is gone.
INT. KENT HOME/HALLWAY OUTSIDE GUEST BEDROOM — DAY
Clark and Jonathan are waiting outside when Martha emerges.
CLARK
Can I see her?
MARTHA
She needs rest.
CLARK
I just want to talk with her awhile.
MARTHA
Awhile.
Martha allows Clark into the room, then closes the door after him.
INT. KENT HOME/GUEST BEDROOM — DAY
Clark approaches Luma. She watches him as he takes a seat in the chair beside the bed.
CLARK
Ma says you'll be sitting pretty soon enough.
LUMA
(mimicking) "Sitting pretty."
CLARK
It means to be in a favourable position.
She accepts this explanation with silent obliviousness.
CLARK
We haven't been formally introduced. (gestures to himself) Name's Clark. Clark. (gestures to her) Yours?
LUMA
Luma-Lyn. Luma.
INT. KENT HOME/GUEST BEDROOM — DAY
It is a new day. Luma stands nude before a full-length mirror, examining herself.
There are two knocks at the door.
MARTHA
(O.S.) It's Martha.
After some seconds, Martha opens the door. She finds the young woman standing there, not at all ashamed to be caught in the buff.
MARTHA
(eyes Luma's lean musculature) You certainly weren't raised in the Bible Belt. (beat) Let's get you decent.
Martha picks up the periwinkle dress she left in the chair by Luma's bed. She helps Luma slip the garment on over her head, then ties the sash snug around her waist. Luma touches the fabric, feeling the unfamiliar material, then looks at herself in the dress in the mirror.
LUMA
(faces Martha; grins) Gehd dhoia nahn!
MARTHA
(smiles) It is lovely on you.
INT. KENT HOME/ENTRANCE HALL — DAY
Clark is about to start up the stairs, Luma's breakfast in hand, when he sees Martha and the girl climbing down. Upon sighting the statuesque blonde in her elegant dress, Clark's mouth falls agape.
MARTHA
(half-smiles) You'll catch flies.
The two women reach the bottom of the steps. Clark and Luma make eye contact.
CLARK
(distracted; frowns) Uh ... is she...?
MARTHA
Much improved.
INT. KENT HOME/DINING ROOM — DAY
The Kents and Luma sit around the dining table. Knife and fork in hand, she looks upon the plate before her; two fried eggs, three strips of bacon, and a side of home fries look back at her. As her apprehension would suggest, she is unfamiliar with such cuisine.
Spearing an egg on her fork, she raises it to her eye; yellow yoke oozes from the pierced egg. Repulsed, Luma looks to her hosts. Seeing them partake of the food casually, their own eyes upon her, she stuffs the egg in her mouth whole. Biting through the rubbery white meat, she suppresses the urge to gag as yoke gushes across her tongue. Then the flavour hits her palate. Three seconds later, the remaining egg, bacon, and home fries are gone.
JONATHAN
(to Clark) You don't eat that fast.
Luma burps loudly. Martha scowls deeply. Luma blushes, embarrassed.
INT. KENT HOME/LUMA'S BEDROOM — DAY
A week has passed. Clark sits with Luma on her bed. With the aid of picture and storybooks, he is helping her learn English.
EXT. KENT FARM — KENT HOME/FRONT PORCH — DAY
Lana comes down the driveway on her bicycle. Pulling up to the front, she climbs off. Propping the bike up, shouldering a leather bag, she climbs the porch steps and knocks at the door. Jonathan answers.
JONATHAN
(smiles) Hello, Lana.
LANA
Hello, Mr. Kent. May I see Clark, or is he indisposed?
JONATHAN
Be right back with him.
Jonathan closes the door. Lana whistles while she waits.
INT. KENT HOME/LUMA'S BEDROOM — DAY
Jonathan peeks inside.
JONATHAN
Lana's here for you.
Clark rises from the bed.
CLARK
(to Luma) I won't be a moment.
EXT. KENT FARM — KENT HOME/FRONT PORCH — DAY
The door opens. Stepping out onto the porch, Clark closes the door after him.
CLARK
Lana, hi.
LANA
You've been out of school all week; Hel's been asking after you. Is everything alright?
CLARK
I've been down with the flu, but I'm feeling much better. I should be back in class Monday or Tuesday.
Touching Clark's face, Lana begins feeling around his ears and jaw.
CLARK
What're you doing?
LANA
Feeling for the edges of a mask.
CLARK
(brushes hand off; laughs) Cut it out.
LANA
(reaches into bag; pulls out paperwork) Here's your homework.
CLARK
(takes papers) Thanks. (beat) Tell your aunt I'll be in to see her tomorrow.
LANA
Will do. Hope to see you Monday.
CLARK
(smiles) Bye.
Returning his smile, Lana returns to her bike. She takes off, pedalling up the driveway as Clark heads back inside.
INT. KENT HOME/LUMA'S BEDROOM — DAY
Clark returns to find Shelby and Rusty in the room. Shelby sits at Luma's feet, wagging her fuzzy tail, while Rusty stands atop the bed, slurping Luma's face. Luma, taking the dog's slimy kisses in stride, returns his affectionate gesture with vigorous rubs and scratches along his neck and floppy ears.
CLARK
(bemused) Rusty, Shelby, out! Get out!
Obeying their master, the two dogs bolt from the room, scattering books in their wake. Sighing, Clark picks the books up from the floor at super speed.
LUMA
Who girl was at door?
CLARK
My friend Lana, from school.
LUMA
What "school" is?
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Post by Duragizer on Jul 1, 2018 3:06:47 GMT -5
INT. KENT HOME/KITCHEN — DAY
It is the next day. Martha is busy washing dishes when Jonathan strides in. He spies a baking sheet of fresh cookies cooling on the countertop.
JONATHAN
Cookies, eh?
As Jonathan goes to take one, Martha flings suds in his face to ward him off.
MARTHA
I'll have you know I baked those cookies for Helen Potter. Clark will be taking them to her today.
JONATHAN
(disheartened) Ah. For Helen.
Crossing to the oak icebox, Jonathan fetches a pitcher of milk; lifting the spout to his mouth, he drinks directly from it.
MARTHA
(points at him) The source of all Clark's poor eating habits.
JONATHAN
(places milk back in icebox) How much more time is our son going to spend with that woman?
MARTHA
A couple more weeks. He can't very well rush the job, can he?
JONATHAN
(crosses arms over chest) I don't like the idea of him spending any length of time with her.
MARTHA
(frowns) Jonathan Kent, whyever not?
JONATHAN
Don't pretend you're in the dark. She was Mrs. Dean Winters up until she returned to this town.
MARTHA
Whatever her failings, it's no place of ours to judge.
JONATHAN
I don't like her, Martha. I don't like her and I most certainly don't trust her — not where our boy's concerned.
MARTHA
Our boy is a man, and a smart man at that. (beat) Believe Clark will make the right choices for himself if you can't believe Hel will.
INT. HELEN'S HOME/ENTRANCE HALL — DAY
Hearing a knock at the door, Helen answers it. She finds Clark on the other side; in his hands he holds a small wicker basket with Martha's homemade cookies inside. Clark's eyes wander over the front of Helen's black silk robe, which is barely tied closed.
HELEN
I told you you needn't knock.
CLARK
(shrugs) Sorry, ma'am. Old habits. (holds out cookies) Cookies. My mother baked them.
HELEN
(smiles) Martha. That dear girl.
Accepting the basket, she turns her back to Clark. Clark steps inside. She closes the door after him.
HELEN
My niece told me you were stricken with the flu?
CLARK
I'm much better now.
HELEN
Oh, I hope you are. (beat) Let's step inside the kitchen. I'm just perishing to sample your delectable cookies.
INT. HELEN'S HOME/KITCHEN — DAY
They enter the kitchen.
CLARK
I think I can finish the roof today. I could then start to work on the shed, if you'd like.
Reaching into the basket, Helen fishes out a cookie. Raising it to her teeth, she takes a bite.
HELEN
Mmm ... peanut butter.
CLARK
(smiles slightly) They're my personal favourite.
HELEN
(cocks eyebrow) Would you care to...?
CLARK
(shakes head) Ma baked them specially for you.
HELEN
What's good for the goose is good for the gander.
When he reaches for the basket, she hides it behind her.
HELEN
(wags finger) Ah-ah!
Helen holds out her cookie — the one with the bite taken from it. Tentative, Clark leans forward and takes his own bite. Helen grins, pleased.
HELEN
It's good.
CLARK
(chews & swallows) Quite good.
Helen takes a second bite from the cookie. She doesn't swallow it; she holds it in her teeth, entreating Clark to take it. Leaning forward, Clark places his mouth over hers. They share the morsel.
CLARK
I should start to work now.
Depositing the cookie basket atop the counter, Helen unties and opens her robe. Taking Clark's hand, she guides a finger into her mouth, moistening it.
HELEN
By all means….
INT. SMALLVILLE HIGH/CLASSROOM — DAY
The school bell rings, signalling the end of day's classes. Collecting his papers and books, Clark rises from his desk.
INT. SMALLVILLE HIGH/CORRIDOR — DAY
Students file out into the corridor from several different classrooms. Clark is soon joined by Pete and Lana.
PETE
The gang's all headed for the general store. Care to partake in a soda, Clark?
CLARK
I'll have to take a rain check. Hel's expecting me by.
LANA
(frowns) Clark….
CLARK
Her back door needs attention.
LANA
You've been spending all your free time at Hel's.
CLARK
(frowns) Have not.
LANA
Her place won't burn to the ground the day you decide to take the day off. C'mon, Clark.
CLARK
(shrugs) I'm free tomorrow.
PETE
(claps Clark on back) Tomorrow it is, fella. (to Lana) Let's ankle.
Pete starts on ahead. Lana dallies, staying with Clark a moment longer, unanswered questions lurking behind her hazel eyes. She then quickens her pace to catch up to the lanky blonde, leaving Clark behind.
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Post by Duragizer on Sept 2, 2018 17:31:59 GMT -5
I’m considering revising the beginning. I’ve been feeling lately that it reveals too much of Krypton and Kryptonian culture; perhaps it would be a stronger experience if the reader better shared in Clark’s journey, learning about his heritage as he does.
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Post by Duragizer on Sept 8, 2018 1:58:01 GMT -5
I went ahead and revised the beginning. Kara is now an unidentified character, and she makes the trip to Earth in a ship, same as Clark; everything with the Phantom Zone has been jettisoned. I’ve begun revising the remainder of the script to bring it in line with the new beginning; everything up to and including this entry has been updated; everything past that point has yet to be revised. The forthcoming revisions are going to be significant; most everything with Kara’s arrival on Earth and the Fortress of Solitude are going to be overhauled. Also, Brainiac likely won’t figure into the story like I originally planned. With the revisions I have in mind, I simply don’t see a way I can include him without it feeling forced & unnatural. Luthor will be the only antagonist going forward. |
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Post by Duragizer on Sept 9, 2018 21:47:02 GMT -5
I made further revisions to the beginning. Kara & Clark are now part of a larger (and largely unsuccessful) Kryptonian exodus. The reasons for this change will be revealed later.
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Post by Duragizer on Sept 14, 2018 19:41:49 GMT -5
The revisions are finished. One notable change is yet another alteration to the nature of the S-shield; instead of being any type of family crest, I now perceive it as either a symbol representing Krypton, a Raoist religious symbol, or both.
I should be getting started on a new entry soon. Luthor'll likely make his appearance next. I've also figured out a way to include Brainiac in the story after all. That's a good thing, 'cause the ending I have in mind would be difficult to execute if he isn't involved.
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Post by Deleted on Sept 15, 2018 1:50:12 GMT -5
The revisions are finished. One notable change is yet another alteration to the nature of the S-shield; instead of being any type of family crest, I now perceive it as either a symbol representing Krypton, a Raoist religious symbol, or both. I should be getting started on a new entry soon. Luthor'll likely make his appearance next. I've also figured out a way to include Brainiac in the story after all. That's a good thing, 'cause the ending I have in mind would be difficult to execute if he isn't involved. I love the way that you add more characters -- Luthor and Brainiac -- Cool! |
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Post by Duragizer on Sept 16, 2018 22:10:47 GMT -5
INT. KENT HOME/LUMA'S BEDROOM — NIGHT
While most everyone else in the household sleeps, Luma remains wide awake. To pass the hours, she reads from the weightiest text the Kents keep around the house: the Bible. Reclining atop her bed, she holds the tome between thumb and forefinger, handling it as if it were no denser than the thinnest paperback.
Luma rises from bed. Absorbed in the text, she absentmindedly crosses the length of the room. Upon coming to the wall, she doesn't stop. Indeed, she continues up it, against the pull of gravity. Striding the length of the wall, she continues onto the ceiling, still reading. Reaching the centre, she stops. Standing on the ceiling, suspended upside down with her hair and clothes inexplicably still in place, she turns a page. Leaving the ceiling, flipping over in mid-air, she floats down as softly as a feather back to the mattress.
INT. KENT HOME/DINING ROOM — DAY
Clark has already departed for school, leaving Jonathan, Martha, and Luma at the table. As Clark's parents finish their coffee, Luma reads through a fashion magazine, taking particular interest in the models' hairstyles.
LUMA
(touches hair) How wouldst you outline mine own hair?
MARTHA
Outline?
LUMA
Describe.
MARTHA
(envious) Lush ... baby blond….
LUMA
You surmise not t hast poise?
MARTHA
(half-smiles) Two out of three ain't bad.
LUMA
(shows magazine to Martha) Notwithstanding, this hairstyle wouldst not beest phenomenal on me?
MARTHA
You want a makeover.
LUMA
(hopeful) T's viable?
MARTHA
You could do worse than a qualified hairdresser ... (looks to Jonathan)
Jonathan shakes his head.
MARTHA
(cont'd) but I'm no fledgling with the scissors. I could see what I can do.
LUMA
Splendiferous, Martha. Thank you. (beat) Jonathan?
JONATHAN
Hmm?
LUMA
Your family hast alotted me bountifully this month. I'd assisteth in your errands, if't be true you'd give license.
JONATHAN
(shrugs) Sure thing.
INT. BARN/STORAGE AREA — DAY
Jonathan and Luma enter. Crossing to a chopping block, Jonathan pulls loose an axe.
JONATHAN
(points to firewood pile) Fetch a piece, Luma, would you?
Crossing to the pile of unchopped firewood, Luma takes up a round and carries it over.
JONATHAN
(cont'd) On the block.
She sets the round down on its side. It rolls off the block.
JONATHAN
(chuckles) Upright.
She sets the round, upright, on the chopping block.
JONATHAN
Stand back.
Luma steps away. Bringing the axe down, Jonathan cleaves the round in twain.
JONATHAN
And that's how it's done. (beat) Another.
They continue the process, Luma gathering wood, Jonathan chopping it.
LUMA
"But I say unto you which hear, Love your enemies, do good to them which hate you, bless them that curse you, and pray for them which despitefully use you. And unto him that smiteth thee on the one cheek offer also the other; and him that taketh away thy cloak forbid not to take thy coat also. Give to every man that asketh of thee; and of him that taketh away thy goods ask them not again. And as ye would that men should do to you, do ye also to them likewise. For if ye love them which love you, what thank have ye? for sinners also love those that love them. And if ye do good to them which do good to you, what thank have ye? for sinners also do even the same. And if ye lend to them of whom ye hope to receive, what thank have ye? for sinners also lend to sinners, to receive as much again. But love ye your enemies, and do good, and lend, hoping for nothing again; and your reward shall be great, and ye shall be the children of the Highest: for he is kind unto the unthankful and to the evil. Be ye therefore merciful, as your Father also is merciful. Judge not, and ye shall not be judged: condemn not, and ye shall not be condemned: forgive, and ye shall be forgiven: give, and it shall be given unto you; good measure, pressed down, and shaken together, and running over, shall men give into your bosom. For with the same measure that ye mete withal it shall be measured to you again."
JONATHAN
Luke 6:27-38.
LUMA
(cont'd) "And the Lord spake unto Moses, saying, 'Avenge the children of Israel of the Midianites: afterward shalt thou be gathered unto thy people.' And Moses spake unto the people, saying, 'Arm some of yourselves unto the war, and let them go against the Midianites, and avenge the Lord of Midian. Of every tribe a thousand, throughout all the tribes of Israel, shall ye send to the war.' So there were delivered out of the thousands of Israel, a thousand of every tribe, twelve thousand armed for war. And Moses sent them to the war, a thousand of every tribe, them and Phinehas the son of Eleazar the priest, to the war, with the holy instruments, and the trumpets to blow in his hand. And they warred against the Midianites, as the Lord commanded Moses; and they slew all the males. And they slew the kings of Midian, beside the rest of them that were slain; namely, Evi, and Rekem, and Zur, and Hur, and Reba, five kings of Midian: Balaam also the son of Beor they slew with the sword. And the children of Israel took all the women of Midian captives, and their little ones, and took the spoil of all their cattle, and all their flocks, and all their goods. And they burnt all their cities wherein they dwelt, and all their goodly castles, with fire. And they took all the spoil, and all the prey, both of men and of beasts. And they brought the captives, and the prey, and the spoil, unto Moses, and Eleazar the priest, and unto the congregation of the children of Israel, unto the camp at the plains of Moab, which are by Jordan near Jericho. And Moses, and Eleazar the priest, and all the princes of the congregation, went forth to meet them without the camp. And Moses was wroth with the officers of the host, with the captains over thousands, and captains over hundreds, which came from the battle. And Moses said unto them, 'Have ye saved all the women alive? Behold, these caused the children of Israel, through the counsel of Balaam, to commit trespass against the Lord in the matter of Peor, and there was a plague among the congregation of the Lord. Now therefore kill every male among the little ones, and kill every woman that hath known man by lying with him. But all the women children, that have not known a man by lying with him, keep alive for yourselves.'"
JONATHAN
Numbers 31:1-18.
LUMA
The Bible impels much ... ambivalence.
JONATHAN
It does at that.
LUMA
You art a votary of the Hebrew god?
JONATHAN
I don't put too much stake in being a churchgoing sort, but I believe in Jesus.
LUMA
How doth you harmonize the charity of Christ Jesus with the vehemence of his deity?
JONATHAN
When the Lord commands Israel to do the Midianites wrong, that's the Devil in disguise. When Jesus commands his disciples to turn the other cheek, that's the true God breaking through the Devil's lies. But I'm sure Pastor Nilquist would say different. (beat) How about you give it a try?
Setting down the axe, Jonathan switches places with Luma. Retrieving a round of wood, he places it on the chopping block.
JONATHAN
You don't need the axe. (nods) Go ahead.
Clenching her fist, she brings it down on the round. Instead of splitting in two neat halves, it bursts into kindling.
JONATHAN
(smirks) Splendiferous.
INT. KENT HOME/KITCHEN — DAY
Luma sits in a chair, a towel draped around her shoulders and over her chest, looking through the same fashion magazine from before. Martha stands behind her, scissors in hand.
MARTHA
Ready?
LUMA
I am.
Taking a lock of Luma's blond hair in hand, she takes her scissors to it. The blades snap clean off.
MARTHA
Heavens!
LUMA
(frowns) Something the matter?
MARTHA
(irate) I asked if you were ready.
LUMA
(frowns) I am.
MARTHA
(holds out broken scissors) These speak otherwise.
LUMA
(confused) I apprehend not.
MARTHA
You don't know how to dial back your invulnerability?
LUMA
Dial back my invulnerability?
MARTHA
Clark can make it so scissors won't break against his hair.
LUMA
Hast Clark did delineate the processth?
MARTHA
"Pulling it into himself".
LUMA
I'll tryeth….
Closing her eyes, Luma concentrates.
LUMA
Attempteth again.
Retrieving a new pair of scissors, Martha takes a lock of Luma's blond hair in hand and cautiously takes her scissors to it. The blades shear through the strands effortlessly.
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