Post by Duragizer on Jul 29, 2021 20:47:40 GMT -5
INT. FERTILIZER PLANT/LEVEL 3/SUBJECT ONE'S CELL
Seated at the desk, Subject One is busy drawing while a record plays. The image in the sketchbook is an otherworldy vista of her own imagination, influenced by the lands she only knows from her books and records.
INT. FERTILIZER PLANT/LEVEL 3/LABORATORY #2
From the floor of the underlit and untenented chamber rises an elevated steel platform. Atop it rests an open stasis matrix identical to the one Clark arrived in.
Adjacent to the platform is a long table. Ladened with laboratory equipment, it also bears a particular curiosity: a pentagonal chrome disc engraved with an S-shaped symbol.
EXT. HELEN'S HOUSE/ROOF — DAY
Clark is up on Helen's roof, replacing worn/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.
INT. KENT FARMHOUSE/ATTIC — DAY
At the back of the attic is a large trunk. From within begins resonating a high-pitched siren.
INT. FERTILIZER PLANT/LEVEL 3/LABORATORY #2
The disc lights up, glowing a phosphorescent white, broadcasting an identical siren.
INT. FERTILIZER PLANT/LEVEL 3/SUBJECT ONE'S CELL
Hearing the ultrasonic siren, Subject One stiffens, snapping the pencil in her hand.
EXT. HELEN'S HOME/ROOF — DAY
Clark stops hammering. He, too, hears the siren.
INT. FERTILIZER PLANT/LEVEL 3/SUBJECT ONE'S CELL
The girl stands up, knocking over her chair. Getting a lock on the siren, she goes for the cell door.
INT. FERTILIZER PLANT/LEVEL 3/CORRIDOR
With her great strength, Subject One tears the thick steel door out, frame and all. As she steps out into the corridor, she finds a pair of guards ready for her, billy clubs out; the butts of the wooden truncheons are fitted with luminescent red gemstones. The siren in her ears abruptly dies.
A guard takes a swipe at Subject One. She manages to evade the blow, but just barely. She dashes past them, but again, without any hint of super speed. The guards chase her down the hall. Catching up to her, they pummel her with their clubs. She collapses with agonized cries, her invulnerability gone.
INT. HELEN'S HOUSE/ENTRANCE HALL — DAY
Hearing a knock at her door, Helen answers it. Clark stands in the threshold, quite perturbed.
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 swallows the water greedily, but it does nothing to dispel the siren. Stepping behind Clark, Helen rests her hands on his shoulders.
Clark acquiesces. Helen begins massaging his shoulders and neck.
Helen continues the massage. There is the trace of a smile on her lips.
Opening his eyes, he abruptly rises.
Giving him a brief, thin smile, Helen allows Clark to go.
INT. KENT FARMHOUSE/ENTRANCE HALL — DAY
Martha is heading out when Clark bursts through the door and up the stairs at super speed, startling her.
INT. KENT FARMHOUSE/ATTIC — DAY
Clark follows the siren to the trunk. Kneeling, he begins riffling through the contents. Finding a small oak box at the bottom, he lifts it out, examining it; locked. Using his strength, he forces it open, revealing a disc nestled against the black velvet lining. An exact twin of the one in the laboratory, it, too, glows a bright white. As Clark takes the radiant disc in his hand, the siren trails off. Relief surges through him.
Hearing a creak behind him, Clark looks over his shoulder; his parents stand there. Spying the glowing disc in their son's hand, husband and wife exchange glances. A long moment of uneasy silence passes between the three of them.
INT. TRUCK — DAY
Jonathan is behind the wheel, Clark beside him. They are headed towards one of their fields.
EXT. KENT FARM — FIELD — DAY
Jonathan soon brings the truck to a halt before a barbed wire fence ahead. Emerging from the vehicle, father and son slip under the wire and into the disused field yonder.
Jonathan leads Clark to a large wood panel set flush into the earth.
Reaching under the heavy panel, Clark effortlessly uproots it. Setting the panel aside, he discovers the secret concealed beneath — the stasis matrix nestled in its depths.
Reaching into his trousers, Clark fishes out the disc. Cupping it in both hands, he stares at the engraved, glowing "S".
Clark takes a step back, overwhelmed.
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.
But his son is already long gone.
INT. FERTILIZER PLANT/LEVEL 3/CORRIDOR
Vale comes to Subject One's temporary cell. The guard at the door takes out his set of keys, unlocking it for the doctor.
INT. FERTILIZER PLANT/LEVEL 3/SUBJECT ONE'S TEMPORARY CELL
Vale enters. He finds Subject One curled in a fetal position on her cot, back to the door.
The girl stirs, indicating yes, she's awake.
Subject One turns over. Vale lifts her shirt; purple bruises mar her chiselled abs. He feels the bruises; she winces. Satisfied with her reaction, he straightens her shirt.
Vale gives her a stern look.
Pursing his lips, Vale turns to leave.
The doctor leaves. As the key is turned in the lock, Subject One turns back over. She begins crying.
INT. FERTILIZER PLANT/LEVEL 3/VALE'S OFFICE
Entering his office, Vale takes a seat at his deck. Lifting the receiver from the rotary telephone, he dials.
Vale waits as the connection is routed through.
EXT. LUTHOR MANSION/BACK YARD — DAY
Behind the prodigious Scots Baronial-style mansion is an Olympic-size swimming pool. Frolicking in the water is ALEXEI "LEX" LUTHOR and THREE FLAPPER GIRLS.
From out of the house comes a black male servant, a telephone in his hands.
Leaving his colour-coordinated companions, Luthor climbs out of the pool and fetches a towel, drying his face and hair. A powerfully built 38-year-old man, the bushy brows set over the billionaire's green eyes are the same shade as his thick, curly red hair.
Accepting the phone from the servant, Luthor takes a seat in a sun lounger, putting the receiver to his ear.
INT. FERTILIZER PLANT/LEVEL 3/VALE'S OFFICE
EXT. LUTHOR MANSION/BACK YARD — DAY
INT. FERTILIZER PLANT/LEVEL 3/VALE'S OFFICE
EXT. LUTHOR MANSION/BACK YARD — DAY
INT. FERTILIZER PLANT/LEVEL 3/VALE'S OFFICE
EXT. LUTHOR MANSION/BACK YARD — DAY
INT. FERTILIZER PLANT/LEVEL 3/VALE'S OFFICE
EXT. LUTHOR MANSION/BACK YARD — DAY
Luthor hangs up.
EXT. FOX-WATSON THEATER — DUSK
In the city of Salina, we find Clark seated high atop the Art Deco spire of the Fox-Watson Theater, staring up into the dimming sky. The stars in the firmament appear particularly luminous tonight.
EXT. LANG HOUSE/BACK YARD — 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 HOUSE/FRONT YARD — NIGHT
Coming around to the front door, Clark knocks. Lana's mother eventually answers.
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 HOUSE/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 examines her with his eyes, head-to-foot then foot-to-head. Anxious, inexperienced, he doesn't know how to proceed. Reaching for him, Helen removes his suspenders. Once they're 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.
EXT. KENT FARMHOUSE/FRONT PORCH — DAWN
Jonathan and Martha sit in the porch swing. Jonathan holds Martha, who fell asleep some time ago.
Hearing her name, Martha is roused from sleep.
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.
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.
Seated at the desk, Subject One is busy drawing while a record plays. The image in the sketchbook is an otherworldy vista of her own imagination, influenced by the lands she only knows from her books and records.
INT. FERTILIZER PLANT/LEVEL 3/LABORATORY #2
From the floor of the underlit and untenented chamber rises an elevated steel platform. Atop it rests an open stasis matrix identical to the one Clark arrived in.
Adjacent to the platform is a long table. Ladened with laboratory equipment, it also bears a particular curiosity: a pentagonal chrome disc engraved with an S-shaped symbol.
EXT. HELEN'S HOUSE/ROOF — DAY
Clark is up on Helen's roof, replacing worn/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.
INT. KENT FARMHOUSE/ATTIC — DAY
At the back of the attic is a large trunk. From within begins resonating a high-pitched siren.
INT. FERTILIZER PLANT/LEVEL 3/LABORATORY #2
The disc lights up, glowing a phosphorescent white, broadcasting an identical siren.
INT. FERTILIZER PLANT/LEVEL 3/SUBJECT ONE'S CELL
Hearing the ultrasonic siren, Subject One stiffens, snapping the pencil in her hand.
EXT. HELEN'S HOME/ROOF — DAY
Clark stops hammering. He, too, hears the siren.
INT. FERTILIZER PLANT/LEVEL 3/SUBJECT ONE'S CELL
The girl stands up, knocking over her chair. Getting a lock on the siren, she goes for the cell door.
INT. FERTILIZER PLANT/LEVEL 3/CORRIDOR
With her great strength, Subject One tears the thick steel door out, frame and all. As she steps out into the corridor, she finds a pair of guards ready for her, billy clubs out; the butts of the wooden truncheons are fitted with luminescent red gemstones. The siren in her ears abruptly dies.
A guard takes a swipe at Subject One. She manages to evade the blow, but just barely. She dashes past them, but again, without any hint of super speed. The guards chase her down the hall. Catching up to her, they pummel her with their clubs. She collapses with agonized cries, her invulnerability gone.
INT. HELEN'S HOUSE/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. (touching 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
(accepting glass) Thank you.
Clark swallows the water greedily, but it does nothing to dispel the siren. 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
(closing 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 FARMHOUSE/ENTRANCE HALL — DAY
Martha is heading out when Clark bursts through the door and up the stairs at super speed, startling her.
INT. KENT FARMHOUSE/ATTIC — DAY
Clark follows the siren to the trunk. Kneeling, he begins riffling through the contents. Finding a small oak box at the bottom, he lifts it out, examining it; locked. Using his strength, he forces it open, revealing a disc nestled against the black velvet lining. An exact twin of the one in the laboratory, it, too, glows a bright white. As Clark takes the radiant disc in his hand, the siren trails off. Relief surges through him.
Hearing a creak behind him, Clark looks over his shoulder; his parents stand there. Spying the glowing disc 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 — DAY
Jonathan is behind the wheel, Clark beside him. They are headed towards one of their fields.
CLARK
Where are we going, Pa?
JONATHAN
We're going back in time, son.
EXT. KENT FARM — FIELD — DAY
Jonathan soon brings the truck to a halt before a barbed wire fence ahead. Emerging from the vehicle, father and son slip under the wire and into the disused field yonder.
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 ...
Jonathan leads Clark to 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 stasis matrix nestled in its depths.
CLARK
(astonished) Oh, my God. P-pa...? (facing 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.
Reaching into his trousers, Clark fishes out the disc. Cupping it in both hands, he stares at the engraved, glowing "S".
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.
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.
INT. FERTILIZER PLANT/LEVEL 3/CORRIDOR
Vale comes to Subject One's temporary cell. The guard at the door takes out his set of keys, unlocking it for the doctor.
INT. FERTILIZER PLANT/LEVEL 3/SUBJECT ONE'S TEMPORARY CELL
Vale enters. He finds Subject One curled in a fetal position on her cot, back to the door.
EMMETT VALE
Subject One, are you awake?
The girl stirs, indicating yes, she's awake.
EMMETT VALE
Turn over. I want a look at you.
Subject One turns over. Vale lifts her shirt; purple bruises mar her chiselled abs. He feels the bruises; she winces. Satisfied with her reaction, he straightens her shirt.
EMMETT VALE
Why did you try to escape?
SUBJECT ONE
(hesitant) I don't know.
EMMETT VALE
Tell the truth.
SUBJECT ONE
I am.
Vale gives her a stern look.
SUBJECT ONE
Something compelled me. (beat) I can't explain it, Doctor. I can't, really.
Pursing his lips, Vale turns to leave.
SUBJECT ONE
Doctor, can I have my things?
EMMETT VALE
Your privileges have been rescinded for a month.
The doctor leaves. As the key is turned in the lock, Subject One turns back over. She begins crying.
INT. FERTILIZER PLANT/LEVEL 3/VALE'S OFFICE
Entering his office, Vale takes a seat at his deck. Lifting the receiver from the rotary telephone, he dials.
OPERATOR
(V.O.) Long distance.
EMMETT VALE
This is Emmett Vale. I would like to place a call to Lex Luthor in SUllivan, Delaware. The number is 0539.
Vale waits as the connection is routed through.
EXT. LUTHOR MANSION/BACK YARD — DAY
Behind the prodigious Scots Baronial-style mansion is an Olympic-size swimming pool. Frolicking in the water is ALEXEI "LEX" LUTHOR and THREE FLAPPER GIRLS.
From out of the house comes a black male servant, a telephone in his hands.
MALE SERVANT
Telephone, sir. Emmett Vale.
Leaving his colour-coordinated companions, Luthor climbs out of the pool and fetches a towel, drying his face and hair. A powerfully built 38-year-old man, the bushy brows set over the billionaire's green eyes are the same shade as his thick, curly red hair.
Accepting the phone from the servant, Luthor takes a seat in a sun lounger, putting the receiver to his ear.
LEX LUTHOR
I'm here, Emmett.
INT. FERTILIZER PLANT/LEVEL 3/VALE'S OFFICE
EMMETT VALE
Lex, it's happened. For the first time in eighteen years — activity.
EXT. LUTHOR MANSION/BACK YARD — DAY
LEX LUTHOR
Tell me everything.
INT. FERTILIZER PLANT/LEVEL 3/VALE'S OFFICE
EMMETT VALE
The metal disc found with the vessel? It's become active, resonating a white glow.
EXT. LUTHOR MANSION/BACK YARD — DAY
LEX LUTHOR
Is it exhibiting any other properties?
INT. FERTILIZER PLANT/LEVEL 3/VALE'S OFFICE
EMMETT VALE
Spectral analysis is underway. (beat) The disc's activation coincided with an outburst from Subject One.
EXT. LUTHOR MANSION/BACK YARD — DAY
LEX LUTHOR
She knows of its existence.
INT. FERTILIZER PLANT/LEVEL 3/VALE'S OFFICE
EMMETT VALE
I questioned her. She confessed a reaction to an indescribable stimulus. I believe she was holding something back from me.
EXT. LUTHOR MANSION/BACK YARD — DAY
LEX LUTHOR
I'll need to assess the situation in person. Continue your tests, Emmett, but under no circumstance allow Subject One to come into contact with the disc before then.
Luthor hangs up.
EXT. FOX-WATSON THEATER — DUSK
In the city of Salina, we find Clark seated high atop the Art Deco spire of the Fox-Watson Theater, staring up into the dimming sky. The stars in the firmament appear particularly luminous tonight.
EXT. LANG HOUSE/BACK YARD — 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 HOUSE/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‽ (looking at watch; isn't wearing one)
CLARK
Please, Mrs. Lang. It's important I see her.
SARAH LANG
(shaking 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 HOUSE/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 examines her with his eyes, head-to-foot then foot-to-head. Anxious, inexperienced, he doesn't know how to proceed. Reaching for him, Helen removes his suspenders. Once they're 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.
EXT. KENT FARMHOUSE/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.