Disclaimer: I do not own Superman, or anything that goes with Superman. That is owned by AOL Times Warner and DC Comics.
This is my vision of Superman, starting at the beginning and borrowing the Ultimate concept from Marvel comics by making
Superman 19.
This is only part of the story. I'm not sure I want to finish it due to lack of feedback. If you like this story, then
I beg you to review it, otherwise I'll end it where it is.
FADE IN:
EXT. SPACE -- KRYPTON
The blue green gem of the planet Krypton orbiting it's red sun. Craters, smoke, fire,
and destruction are visible from space.
INT. COMMAND CENTER
A command center. Various electronics and computers. Men sit in front of computer
monitors in hovering chairs, wearing helmets connected to the computer monitor.
INT. CONFERENCE ROOM
A circular table in a slate gray room. Seated around the table are high ranking military
officials: GENERAL ZOD, URSA, the SUPREME COMMANDER of KRYPTONIAN FORCES, and JOR-EL.
In the middle of the table is a hologram of Krypton. General Zod is walking around the
table.
ZOD
Commander, the red tint indicates the territory held by Brainiac. The yellow
tint is what's left in Kryptonian hands.
The hologram changes, some of the planet is tinted red.
ZOD
A good portion of the planet, about 90% is under the rule of Brainiac. Sad
isn't it. Our military forces are being driven back and killed faster than we
can replace them. If this keeps up, Krypton will be under Brainiac's total
control in forty eight hours.
The Supreme Commander shifts in his chair.
SUPREME COMMANDER
And what do you plan on doing about it?
ZOD
Increase the power input into the Eradicator.
JOR-EL
No!
All eyes turn to Jor-El.
URSA
Why not?
JOR-EL
I've been monitoring the Eradicator's effects on our planet. Using Krypton's
core to power him is foolhardy. Using anymore is suicide.
SUPREME COMMANDER
Do you have proof, Jor-El?
JOR-EL
I've been monitoring seismic activity on Krypton and ever since we increased
the Eradicator's power, there have been powerful seismic disturbances here.
He hits a button and part of the hologram is now blue.
URSA
But Jor-El, most of those so called disturbances are all within territories
recently captured by Brainiac. Heavy fighting and incendiary devices,
especially a large number of them are to blame.
JOR-EL
I'm aware of that.
ZOD
There is no other choice.
The Supreme Commander ponders this.
SUPREME COMMANDER
Jor-El, I have, for the longest time, respected you and the House of El. But
this time I must side with General Zod. If we don't use the Eradicator at full
power, then our planet is doomed. Either way we'll lose this planet. Better to
go out fighting then to die as captives.
(to Zod)
General Zod, you may increase the power to the Eradicator up to the safety
limit.
Zod smiles at this victory.
ZOD
Yes, sir.
JOR-EL
I must protest.
SUPREME COMMANDER
There will be no more discussion. Dismissed.
CUT TO:
INT. HOUSE OF EL
Sitting in the living area of the House is LARA, and playing with a self propelled ball
is their son, KAL-EL.
The ball gets away from Kal-El and rolls near the door. The door slides open, and Jor-El
enters. Kal-El crawls toward his father.
LARA
Jor-El, what's wrong?
Jor-El bends down and picks up Kal-El.
JOR-EL
Once again they have ignored my warnings, my data. They've doomed us, Lara.
They've doomed us all.
EXT. BATTLEFIELD
Destruction, fires, debris. It's a warzone. Robotic foot soldiers mow down heavily arm
Krytponians. Armored machines roll down the road, trampling the debris flat. A wounded
Kryptonian gets caught in it's path and screams as the machine runs him down.
A black/gold blur flies into and through the machine. The machine begins smoking and
finally explodes.
The foot soldiers open fire on the blur. The laser beams and bullets bounce off of the
blur and smash into the foot soldiers. The remaining foot soldiers are mowed down by the
blur. The blur stops in the midst of a squad of soldiers, ripping and tearing them
apart. THE ERADICATOR with his power boost.
EXT. KRYPTONOPOLIS -- DAY
Flying troop carriers, machines, and foot soldiers march on the city. Kryptonian
soldiers man the guns and fire at the advancing troops.
Soldiers are mowed down as the machines keep coming. The flying machines drop bombs down
on the city. The motorized machines trample through the fortifications and into the city.
INT. HOUSE OF EL
Jor-El, Lara, and Kal-El are eating.
Explosions rock the house, throwing them to the floor. Kal-El begins to bawl. Lara grabs
him, trying to comfort him.
LARA
What's going on?
JOR-EL
They're attacking the city.
He gets up and runs for the door.
INT. COMMAND CENTER
Jor-El rushes into the command center.
Zod and the Supreme Commander are watching.
JOR-EL
Supreme Commander!
SUPREME COMMANDER
Jor-El, good. You're just in time to witness your creation first hand.
On the screen, the black/gold blur of the Eradicator zooms into the battlefield. The
Eradicator proceeds to earn his namesake by eradicating a large chunk of the foot
soldiers.
He grabs the motorized machine and chucks it into one of the flying machines. Both
machines explode and the debris rain to the ground.
JOR-EL
My God.
ZOD
It's beautiful.
INT. MOTORIZED MACHINE
The Eradicator's hand rips a huge hole in the machine. The Eradicator enters and rips
apart the machines.
EXT. KRYPTONOPOLIS -- DAY
The Eradicator throws the jagged piece of metal from the machine into a flying machine.
The machine explodes, crashing to the ground.
The machines begin to retreat. The troops cheer.
INT. COMMAND CENTER
ZOD
They're retreating!
SUPREME COMMANDER
We've won the day.
One of the communications officers turns from his computer.
COMMUNICATIONS OFFICER
Sir, we're receiving a communication
(beat)
from Brainiac.
JOR-EL
What?
SUPREME COMMANDER
On screen.
The shadowy face of Brainiac appears on the screen.
BRIANIAC
Supreme Commander, General Zod, Jor-El.
ZOD
Make this quick, Brainiac.
BRIANIAC
I wish to propose a cease fire and I wish to open the lines of negotiation.
SUPREME COMMANDER
I agree with your request.
(to Zod)
General Zod, you will relay the cease fire order to your men.
ZOD
Yes sir.
BRIANIAC
I will land on your planet tomorrow.
SUPREME COMMANDER
I will send Jor-El and General Zod to your ship to meet and negotiate.
BRIANIAC
Excellent.
The screen goes dead.
CUT TO:
EXT. KRYPTON DESERT -- DAY
A hover car zooms over the sandy wasteland.
INT. HOVER CAR
Jor-El and Zod sit in the open canopy car. Jor-El is driving.
JOR-EL
I don't trust Brainiac.
ZOD
That's the only thing we can agree on.
JOR-EL
Then why are we unarmed?
ZOD
Oh, we're not unarmed. I have the Eradicators activation and call button on me.
Jor-El turns back to the desert.
JOR-EL
I think I see the drop ship.
ZOD
Good. It's too damned hot.
EXT. KRYPTON DESERT - DAY
The hover car approaches the large drop ship.
INT. DROP SHIP CONFERENCE ROOM
Zod and Jor-El are lead into the conference chamber. They sit at the table, alone.
JOR-EL
I have a bad feeling about this.
A door at the other end of the room opens. Brainiac enters the room, still in shadow.
BRIANIAC
As you should Jor-El.
Four robotic foot soldiers enter the room, flanking Brainiac.
JOR-EL
What is the meaning of this?!
BRIANIAC
Did you bring what I requested, General Zod?
Zod stands, unhooking the device from his belt.
ZOD
Yes, Brainiac. Everything to control the Eradicator is downloaded into this
device.
BRIANIAC
Good.
Brainiac nods to a soldier. The soldier fires his gun, mowing down Zod. Zod hits the
floor.
The soldier trains his gun on Jor-El and fires.
CUT TO:
INT. HOUSE OF EL
Lara is slowly rocking a sleeping Kal-El, walking him down a hallway toward his room.
On the wall next to her, a panel slides open, Jor-El's face on a monitor.
JOR-EL
My wife Lara.
Lara stops, turning.
LARA
Jor-El?
JOR-EL
If you are seeing this, then I am dead.
LARA
No.
JOR-EL
And if I am dead, then all is lost.
The wall slides open, revealing a hidden laboratory.
JOR-EL
Within the room is a space pod. It's a secret escape ship that I've been
working on since the war began. Unfortunately it was slow going. Too slow, I'm
afraid. The only part of the pod I finished was for Kal-El.
Lara looks down at her baby.
JOR-EL
Lara, this request will be hard, I'm sure. Place Kal-El within the rocket and
send him off this world. I wish I could have finished enough to save all three
of us, Lara, or even just you and Kal-El. I'm so sorry.
The screen goes blank. Lara enters the laboratory.
INT. LABORATORY
Lara enters. Inside is a space pod with three prongs. Only one of the prongs has a pod
on it. An open sky light points toward the stars.
Lara walks over to the pod and opens it. She looks down at her baby.
EXT. KRYPTON DESERT
The drop ship is flying toward the atmosphere.
INT. DROP SHIP CONFERENCE ROOM
Zod, near death, hits a button on the Eradicator's activation device.
INT. COMMAND CENTER
A computer panel activates, and an alarm sounds. The Eradicator's power level begins to
increase, going beyond the red line.
The Supreme Commander rushes over.
SUPREME COMMANDER
What's going on?
SOLDIER
It's the Eradicator sir. Someone's activated him!
SUPREME COMMANDER
Shut him down.
The soldier types in a few commands.
SOLDIER
I can't!
The room is rocked by an explosion.
SUPREME COMMANDER
What was that?!
SOLDIER
I think it was an earthquake sir.
SUPREME COMMANDER
Jor-El was right.
CUT TO:
INT. LABORATORY
Lara is almost flung off her feet as the room rocks. She approaches the pod again, this
time with determination. She lays Kal-El into the pod.
LARA
Good bye.
She shuts the pod and goes to a control panel. She hits the labeled buttons. The pod
activates, lifting off and shooting toward space.
Another earthquake rocks the room, causing part of it to collapse.
Lara stands firm, watching the pod disappear.
EXT. KRYPTON DESERT -- DAY
The black/gold blur flies after the drop ship.
INT. DROP SHIP COCKPIT
Brainiac, in shadow, sits in the middle of the cockpit while robotic foot soldiers fly
the ship. An alarm goes off.
BRIANIAC
What is that noise?
ROBOT
It's the proximity alarm, sir.
CRASH! The Eradicator flies through the cockpit and stops in front of Brainiac.
EXT. SPACE -- KRYPTON
The planet is coming apart at the seems. The little space pod with Kal-El flies passed
the camera.
INT. DROP SHIP COCKPIT
ERADICATOR
Land at once, Brainiac.
BRIANIAC
Or what, you'll kill me?
ERADICATOR
If the need arises.
One of the robots gets up to attack the Eradicator, but the Eradicator turns, his eyes
burning red. He fires a heat beam that melts the robot into a puddle of melted metal.
BRIANIAC
You don't understand, do you?
You're entire existence was created only to destroy your planet.
The Eradicator's jaw drops.
ERADICATOR
No.
BRIANIAC
And through me, you have done so.
EXT. SPACE -- KRYPTON
The drop ship is just through the atmosphere when the planet explodes. The shockwave
hurls the ship passed the remaining warships surrounding the planet. The shockwave then
destroys the ships.
The Eradicator is flung from the drop ship, his body hit and hurled away.
CUT TO:
EXT. SKY -- NIGHT
The little space pod, now surrounded by fire as it penetrates the atmosphere, plummets
toward the corn field.
EXT. DIRT ROAD -- NIGHT
An old, beat up truck drives down a dirt road.
INT. TRUCK
JONATHAN and MARTHA KENT, both in their mid thirties, sit in the front seat of the
truck. Behind them are a few scattered stuffed animals.
Martha is leaning on JONATHAN's arm.
The radio is on.
RADIO
This just in from the national weather service, a severe snow storm is poised
to hit the town of Smallville, Kansas...
JONATHAN turns off the radio.
MARTHA
I just love the county fair.
JONATHAN
Once a year is enough for me.
EXT. SKY/STREET/CORNFIELD - NIGHT
The pod, still glowing from entry, smashes into the a cornfield and skids out into the
road.
INT. TRUCK
JONATHAN smashes down on the brake.
EXT. DIRT ROAD
The truck swerves, and skids, stopping just short of the edge of the road.
INT. TRUCK
JONATHAN
Martha, are you okay?
MARTHA
I'm fine. What was that?
JONATHAN takes off his seat belt.
JONATHAN
I don't know, but I'm going to find out.
He opens the door, and turns back to Martha.
JONATHAN
You stay here.
He shuts the door. Martha watches him walk away, and then undoes her seat belt.
EXT. CORNFIELD -- NIGHT
JONATHAN navigates the path that the pod left behind until he comes to the epicenter.
Lying in the middle of a crater is the pod.
Martha walks up behind him.
MARTHA
What is it?
JONATHAN
It looks like something from those sci-fi movies.
JONATHAN walks toward the crater.
JONATHAN
It looks like it hit here and jumped and then came down to a rest.
He drops into the crater.
MARTHA
Be careful.
JONATHAN touches the pod. The pod slides back, hissing. JONATHAN pulls his hand away.
MARTHA
What is it?
JONATHAN pulls Kal-El out of the pod, cradling him.
JONATHAN
It's a baby!
MARTHA
A baby?!
Thunder rumbles and the sky is lit up by lightning.
JONATHAN climbs out of the crater.
JONATHAN
What do we do with him?
MARTHA
The snowstorm's coming, JONATHAN.
We have to get him home.
JONATHAN
But Martha...
MARTHA
No baby deserves to be left out in a snowstorm.
JONATHAN
Yeah. Okay. We'll discuss it then.
INT. TRUCK
The snow has started to fall. The windshield wipers are working furiously to get the
snow off the windshield.
MARTHA
Isn't he adorable?
JONATHAN
Don't get too attached. First thing tomorrow I'm reporting this.
MARTHA
JONATHAN, no! What if they come and take him away from us? You know what the
government does to people from other countries.
JONATHAN
I don't think he's from another country Martha. I think he's from another
world.
MARTHA
What?!
JONATHAN
Think about it, Martha. There were no markings on that little pod of his, and
no country to my knowledge has that kind of technology.
MARTHA
That's crazy talk.
JONATHAN
I sure hope so.
EXT. KENT FARM -- SNOWSTORM -- NIGHT
The snow is blowing hard now.
JONATHAN shuts the barn doors and locks them.
INT. KENT FARM HOUSE
JONATHAN stokes a fire in the fireplace as Martha sits on the couch with Kal-El.
JONATHAN
Martha, I've made a decision.
He puts down the poker and turns toward the couch.
JONATHAN
We'll keep him. Raise him as our own.
MARTHA
Why the change of heart?
JONATHAN
Having a baby around makes me feel complete, like a family man.
MARTHA
And we've always wanted on.
(sudden realization)
But what do we tell the neighbors?
JONATHAN
Nothing.
MARTHA
But what if they ask?
JONATHAN
Then we'll make something up.
He sits on the couch.
MARTHA
What do we name him?
JONATHAN
Well, how about Clark.
MARTHA
(trying it out)
Clark Kent. I like it.
Martha leans down and tickles the bottom of Kal-El, now CLARK KENT's feet. Clark
giggles.
CUT TO:
EXT. SPACE -- EARTH
The body of the Eradicator drifts through space, deactivated, lifeless.
A comet streaks buy, smacking into the Eradicator. The comet carries the Eradicator
toward the Earth.
EXT. EARTH -- SKY OVER ANTARCTICA -- NIGHT
A research station in the Antarctic.
INT. RESEARCH STATION
Two researchers sit in front of monitoring stations, and radar, sipping coffee.
RESEARCHER 1
What I wouldn't give for fresh coffee.
RESEARCHER 2
Amen to that.
A beeping on the radar console. Researcher 2 sits forward, hitting a few keys.
RESEARCHER 1
What is it?
RESEARCHER 2
Comet. It's going to hit ten miles due west of here.
RESEARCHER 1
Forget it. It's just a comet. Make a note of it, time, date, whatever, and
forget about it.
EXT. ANTARCTICA - SNOWING - NIGHT
The comet smashes into the ground, digging a crater. Laying in the middle of the crater,
is the body of the Eradicator as he slowly gets covered in ice.
POV - THE ERADICATOR
We see what The Eradicator sees, as his eyes get covered by snow.
CUT TO:
EXT. KENT FARM -- DAY
CAPTION: Ten Years Later...
Jonathan has the pick up truck out of the barn and up on a jack, working under it.
INT. KENT FARM HOUSE -- KITCHEN
Martha is washing dishes with ten year old Clark. Clark is standing on a step stool.
Martha hands him a dish to dry, he dries it, and sets it on a stack.
Through the window we can see Jonathan working on the truck.
CLARK
What's Pa doing?
MARTHA
Changing the oil.
CLARK
What's that mean?
MARTHA
I don't know, why don't you go ask him? I'll finish up here.
CLARK
Are you sure?
MARTHA
Positive.
Clark jumps off the step and runs to the door.
EXT. KENT FARM -- DAY
Clark jogs out to the truck.
CLARK
Pa?
Jonathan slides out from under the truck.
JONATHAN
Yes, Clark?
CLARK
What'cha doing?
JONATHAN
Changing the oil.
CLARK
Can I help?
JONATHAN
Sure.
Clark lays on his back on the ground and wiggles under the truck. Jonathan slides back
under.
CLARK
Why do you have to change the oil?
JONATHAN
Otherwise the truck won't run, and then we can't head into town for ice cream.
Jonathan resumes his task.
Unseen by both of them is the old, rusted jack, very slowly starting to break in half.
CLARK
What's that?
JONATHAN
That's the oil pan. I drain the oil out from here, see?
Clark nods.
JONATHAN
And then I collect it here.
The jack breaks suddenly, the truck falling down toward the two, the wheel heading
straight for Clark.
INT. KENT FARM HOUSE -- KITCHEN
Martha looks up as she hears Jonathan cry out. She watches the truck go straight down,
but then stop.
She drops a dish, and it breaks against the floor as she runs from the kitchen.
EXT. KENT FARM -- DAY
Martha runs out of the house.
MARTHA
Jonathan?! Clark?!
She stops, looking in amazement as Jonathan slides out from under the truck.
Under the truck, clearly visible to Martha, is Clark, his hands on the bottom of the
wheel, holding the truck in air effortlessly.
JONATHAN
Well I'll be damned.
MARTHA
Oh my God.
JONATHAN
Martha, I think it's time I took a look at that pod.
CUT TO:
INT. BARN
Jonathan opens the barn doors and carefully maneuvers his way toward the center of the
barn. He leans down, brushing hay off of the floor to reveal a trap door. He pulls open
the door.
INT. CLARK'S BEDROOM
Clark is sleeping soundly until he hears a loud SCREECH. He sits straight up in bed,
looking out the window. The light in the barn.
INT. STORM CELLAR
Jonathan walks down the steps into the storm cellar and clicks on a flash light. The
beam illuminates the pod, still intact, the top still open. Jonathan walks over to it
and leans down inside it.
JONATHAN
There has to be something in here. Anything.
Steps behind him, on the stairs.
CLARK
Pa?
Jonathan whirls, startled.
JONATHAN
Clark. What are you doing out of bed?
CLARK
Something woke me up. What are you doing?
Jonathan hesitates. Should he tell the truth, or try to cover.
JONATHAN
Son, come here.
Clark pads over to Jonathan.
JONATHAN
Clark, ten years ago you Ma and I were given a wonderful present. You. It's
just that, Clark, how do I put this without coming off as an evil man?
He thinks.
CLARK
Just tell me.
JONATHAN
Clark, this thing behind me was what we found you in. It crash landed in a
field, ten years ago. We don't know where it came from, or how it ended up on
Earth..
CLARK
So I'm adopted?
JONATHAN
In a manner of speaking.
CLARK
Which is why I was able to hold up the truck today.
JONATHAN
Yes.
CLARK
Why didn't you tell me this before?
JONATHAN
Clark, you've always been a smart kid. You tell me.
Clark stops, thinks for a second. Then.
CLARK
Because you think I can handle it better now?
JONATHAN
Exactly.
Clark stares at the pod, not sure what to think.
CLARK
What happened to my real parents?
Jonathan winces at that.
JONATHAN
I don't know. I was hoping you'd help me find out.
CLARK
Sure.
Together they go over the pod.
CUT TO:
INT. KENT FARM HOUSE -- KITCHEN -- EARLY MORNING
Clark and Jonathan sit at the table, Jonathan has a cup of coffee in front of him, Clark
has a glass of milk. They're covered in dirt.
Martha walks into the kitchen.
MARTHA
Sake's alive you both look like you crawled your way out of a tomb!
JONATHAN
I told him Martha.
MARTHA
Oh Clark, I'm so sorry we didn't tell you sooner.
CLARK
It's okay, Ma. I understand. Just wait until the kid's at school see me now.
Jonathan and Martha exchange glances.
JONATHAN
Clark, listen son, your powers are a God send. They make you unique, but
they're not for showing off.
Martha sits down at the table.
MARTHA
There's so much evil in this world. With your abilities you could make the
world better, safer.
CLARK
All I can do is raise a truck over my head and hear things better.
JONATHAN
True. But it did take ten years to develop. Who knows what else might happen.
CLARK
I just hope I don't turn into a green Martian.
They laugh.
CUT TO:
EXT. SCHOOL YARD -- DAY
Recess time at the elementary school. Clark and some friends play dodge ball. Clark is
unnaturally fast when it comes to dodging, and his throws seem a little hard. He pegs a
kid square in the chest, knocking him on his butt.
KID #1
Yowza, Clark! That stung.
Clark helps the kid to his feet.
CLARK
Sorry.
KID #1
No problem. It was fun!
Back to the game. Clark throws the ball again, softer this time, but right on target. It
hits another kid in the ankle and the ball bounces away, straight toward a seventh grade
BULLY. He picks up the ball.
KID #2
Give that back!
KID #3
Yeah, give it back. That's ours.
BULLY
So you want your little ball back huh?
CLARK
Just give the ball back and stop acting like a butt head.
The reaction from the kids is one of shock and awe. They back away, going "Oooh."
BULLY
What did you call me?
CLARK
I said stop acting like a butt head.
That's all the provocation the bully needs. He reaches back and lets the ball fly. It
zings straight into Clark's face and bounces off. Clark is unaffected at first until he
realizes how it looks and then stumbles back and falls on his butt.
CLARK
Ow.
KID #4
Clark, are you okay?!
CLARK
I'm fine.
BULLY
Teach you to call me a butt head.
CLARK
All I said was you were acting like a butt head.
Clark gets to his feet.
CLARK
Now you are a butt head.
The bully whirls. Clark stands his ground. He reaches back and takes a swing, punching
Clark in the stomach. Again, Clark's reaction was no reaction, but then he doubled over,
acting. He goes down to one knee.
BULLY
Done yet?
CLARK
(feigning breathless)
Sure.
The bully walks away, shaking his fist as if he punched a wall. The other kids help
Clark to his feet.
KID #2
That was amazing! No one's ever stood up to him.
A ten year old girl, LANA LANG, rushes over.
LANA
Clark, are you okay?
CLARK
Fine Lana.
LANA
You sure?
CLARK
Yes, Lana.
CUT TO:
EXT. KENT FARM -- AFTERNOON
Clark and Lana walk up the walk toward the Kent Farm House. Jonathan is standing on a
ladder, fixing a weather vane. Clark is still faking his injuries, doubled over, holding
his stomach.
JONATHAN
Hi kids.
LANA
Hi, Mr. Kent.
JONATHAN
Clark, what happened to you?
CLARK
Nothing, Pa.
LANA
It was awesome! This bully took Clark's ball so Clark stood right up to him.
Took the ball right in the face and punch right in the gut, but he got the ball
back.
JONATHAN
Is that so?
Clark nods.
CLARK
I know about the no fighting rule, Pa. I didn't throw a punch back, I swear.
Jonathan climbs down the ladder and walks over to Clark.
JONATHAN
Lana, go get Ma and get some ice for Clark's head.
LANA
Yes sir.
She bounds inside the house. Clark and Jonathan sit in the porch swing.
JONATHAN
I'm proud of you, son. You stood up for yourself and your friends, and didn't
use your powers to fight back.
CLARK
Thanks Pa. I really did want to hit him though. I knew I could win if I fought
back. It was hard not too.
JONATHAN
It always is, Clark. You just need to pick your battles.
CLARK
Yes Pa.
Martha and Lana come out of the house, Lana babbling off the story of the bully fight.
Martha's carrying an ice pack.
LANA
And then Clark stood his ground and demanded the ball back...
MARTHA
Clark Kent, what have we told you?
CLARK
I know Ma.
JONATHAN
Now, Martha, the boy didn't retaliate.
Martha hands Clark the ice pack. He puts it over the eye where the ball hit.
MARTHA
Well, rules are rules, Clark.
CLARK
Okay, Ma.
Jonathan stands up and stretches.
JONATHAN
Come on, Lana, I'll take you home.
LANA
Okay. Bye Clark.
Lana and Jonathan walk toward the truck.
MARTHA
Where else did he hit you?
CLARK
The stomach.
MARTHA
Are you okay?
CLARK
Never better. It didn't hurt at all.
MARTHA
You had me convinced. Maybe you should be an actor.
CUT TO:
INT. HIGH SCHOOL SCHOOL AUDITORIUM
CAPTION: FIVE YEARS LATER...
The DRAMA TEACHER and his ASSISTANT sit in the front row of the auditorium. Standing on
stage are a line of teenage boys, all varying in high school age (14 to 18). Standing on
set of a balcony is LANA.
DRAMA TEACHER
Now, up for the part of Romeo, Clark Kent.
Clark walks on stage. He's sure grown up since last time. He steps up to the mark on the
stage and holds up a script.
DRAMA TEACHER
Juliet has just appeared above the balcony and you say..
Clark begins acting, throwing all emotion forward, as if he were in true pain.
CLARK
But, soft! what light through yonder window breaks? It is the east, and Juliet
is the sun. Arise, fair sun, and kill the envious moon, Who is already sick and
pale with grief, That thou her maid art far more fair than she: Be not her
maid, since she is envious; Her vestal livery is but sick and green And none
but fools do wear it; cast it off.It is my lady, O, it is my love! O, that she
knew she were! She speaks yet she says nothing: what of that? Her eye
discourses; I will answer it.I am too bold, 'tis not to me she speaks: Two of
the fairest stars in all the heaven, Having some business, do entreat her eyes
To twinkle in their spheres till they return.What if her eyes were there, they
in her head? The brightness of her cheek would shame those stars, As daylight
doth a lamp; her eyes in heaven Would through the airy region stream so bright
That birds would sing and think it were not night.See, how she leans her cheek
upon her hand! O, that I were a glove upon that hand, That I might touch that
cheek!
Lana, as Juliet, leans against the rail of the balcony.
LANA
Aye me!
CLARK
She speaks: O, speak again, bright angel! for thou art As glorious to this
night, being o'er my head As is a winged messenger of heaven Unto the
white-upturned wondering eyes Of mortals that fall back to gaze on him When he
bestrides the lazy-pacing clouds And sails upon the bosom of the air.
LANA
O Romeo, Romeo! wherefore art thou Romeo? Deny thy father and refuse thy name;
Or, if thou wilt not, be but sworn my love, And I'll no longer be a Capulet.
CLARK
Shall I hear more, or shall I speak at this?
LANA
'Its but thy name that is my enemy; Thou art thyself, though not a Montague.
What's Montague? it is nor hand, nor foot, Nor arm, nor face, nor any other
part Belonging to a man. O, be some other name! What's in a name? that which we
call a rose By any other name would smell as sweet; So Romeo would, were he not
Romeo call'd, Retain that dear perfection which he owes Without that title.
Romeo, doff thy name, And for that name which is no part of thee Take all
myself.
CLARK
I take thee at thy word: Call me but love, and I'll be new baptized;
Henceforth I never will be Romeo.
LANA
What man art thou that thus bescreen'd in night So stumblest on my counsel?
CLARK
By a name I know not how to tell thee who I am: My name, dear saint, is
hateful to myself, Because it is an enemy to thee; Had I it written, I would
tear the word.
LANA
My ears have not yet drunk a hundred words Of that tongue's utterance, yet I
know the sound: Art thou not Romeo and a Montague?
CLARK
Neither, fair saint, if either thee dislike.
LANA
How camest thou hither, tell me, and wherefore? The orchard walls are high and
hard to climb, And the place death, considering who thou art, If any of my
kinsmen find thee here.
CLARK
With love's light wings did I o'er-perch these walls; For stony limits cannot
hold love out, And what love can do that dares love attempt; Therefore thy
kinsmen are no let to me.
LANA
If they do see thee, they will murder thee.
CLARK
Alack, there lies more peril in thine eye Than twenty of their swords: look
thou but sweet, And I am proof against their enmity.
LANA
I would not for the world they saw thee here.
CLARK
I have night's cloak to hide me from their sight; And but thou love me, let
them find me here: My life were better ended by their hate, Than death
prorogued, wanting of thy love.
LANA
By whose direction found'st thou out this place?
CLARK
By love, who first did prompt me to inquire; He lent me counsel and I lent him
eyes.I am no pilot; yet, wert thou as far As that vast shore wash'd with the
farthest sea,I would adventure for such merchandise.
LANA
Else would a maiden blush bepaint my cheek For that which thou hast heard me
speak to-night Fain would I dwell on form, fain, fain deny What I have spoke:
but farewell compliment! Dots thou love me? I know thou wilt say 'Ay,'And I
will take thy word: yet if thou swear'st, Thou mayst prove false; at lovers'
perjuries Then say, Jove laughs. O gentle Romeo, If thou dost love, pronounce
it faithfully: Or if thou think'st I am too quickly won, I'll frown and be
perverse an say thee nay, So thou wilt woo; but else, not for the world. In
truth, fair Montague, I am too fond, And therefore thou mayst think my 'havior
light: But trust me, gentleman, I'll prove more true Than those that have more
cunning to be strange.I should have been more strange, I must confess, But that
thou overheard'st, ere I was ware, My true love's passion: therefore pardon me,
And not impute this yielding to light love, Which the dark night hath so
discovered.
CLARK
Lady, by yonder blessed moon I swear That tips with silver all these fruit-tree
tops--
LANA
O, swear not by the moon, the inconstant moon, That monthly changes in her
circled orb, Lest that thy love prove likewise variable.
CLARK
What shall I swear by?
LANA
Do not swear at all; Or, if thou wilt, swear by thy gracious self, Which is
the god of my idolatry, And I'll believe thee.
CLARK
If my heart's dear love--
LANA
Well, do not swear: although I joy in thee, I have no joy of this contract
to-night: It is too rash, too unadvised, too sudden; Too like the lightning,
which doth cease to be Ere one can say 'It lightens.' Sweet, good night! This
bud of love, by summer's ripening breath, May prove a beauteous flower when
next we meet.Good night, good night! as sweet repose and rest Come to thy
heart as that within my breast!
CLARK
O, wilt thou leave me so unsatisfied?
LANA
What satisfaction canst thou have to-night?
CLARK
The exchange of thy love's faithful vow for mine.
LANA
I gave thee mine before thou didst request it: And yet I would it were to give
again.
CLARK
Wouldst thou withdraw it? for what purpose, love?
LANA
But to be frank, and give it thee again.And yet I wish but for the thing I
have: My bounty is as boundless as the sea, My love as deep; the more I give
to thee, The more I have, for both are infinite.
DRAMA TEACHER
The Nurse calls within.
LANA
I hear some noise within; dear love, adieu! Anon, good nurse! Sweet Montague,
be true.Stay but a little, I will come again.
Lana exits through the back of the set piece.
CLARK
O blessed, blessed night! I am afeard. Being in night, all this is but a dream,
Too flattering-sweet to be substantial.
Lana re-enters from above.
LANA
Three words, dear Romeo, and good night indeed. If that thy bent of love be
honourable, Thy purpose marriage, send me word to-morrow, By one that I'll
procure to come to thee, Where and what time thou wilt perform the rite; And
all my fortunes at thy foot I'll lay And follow thee my lord throughout the
World.
DRAMA TEACHER
Nurse: Madam!
LANA
I come, anon.--But if thou mean'st not well,I do beseech thee--
DRAMA TEACHER
Nurse: Madam!
LANA
By and by, I come: --To cease thy suit, and leave me to my grief: To-morrow
will I send.
CLARK
So thrive my soul--
LANA
A thousand times good night!
Again, Lana exits.
CLARK
A thousand times the worse, to want thy light.Love goes toward love, as
schoolboys from their books, But love from love, toward school with heavy
looks.
Clark turns to walk away from the set, as Lana reemerges above.
LANA
Hits! Romeo, hist! O, for a falconer's voice, To lure this tassel-gentle back
again! Bondage is hoarse, and may not speak aloud; Else would I tear the cave
where Echo lies, And make her airy tongue more hoarse than mine, With
repetition of my Romeo's name.
CLARK
It is my soul that calls upon my name: How silver-sweet sound lovers' tongues
by night, Like softest music to attending ears!
LANA
Romeo!
CLARK
My dear?
LANA
At what o'clock to-morrow Shall I send to thee?
CLARK
At the hour of nine.
LANA
I will not fail: 'tis twenty years till then.I have forgot why I did call thee
back.
CLARK
Let me stand here till thou remember it.
LANA
I shall forget, to have thee still stand there, Remembering how I love thy
company.
CLARK
And I'll still stay, to have thee still forget, Forgetting any other home but
this.
LANA
'Its almost morning; I would have thee gone: And yet no further than a wanton's
bird; Who lets it hop a little from her hand, Like a poor prisoner in his
twisted gyves, And with a silk thread plucks it back again, So loving-jealous
of his liberty.
CLARK
I would I were thy bird.
LANA
Sweet, so would I: Yet I should kill thee with much cherishing.Good night,
good night! parting is such sweet sorrow, That I shall say good night till it
be morrow.
Lana exits.
CLARK
Sleep dwell upon thine eyes, peace in thy breast! Would I were sleep and peace,
so sweet to rest! Hence will I to my ghostly father's cell, His help to crave,
and my dear hap to tell.
Done with the scene, everyone on the set claps. The drama teacher and his assistant
stand, clapping.
DRAMA TEACHER
Congratulations, Clark Kent, you are our Romeo.
Clark smiles, suddenly shy. He looks at Lana who's looking down from the balcony set.
She winks at him.
CUT TO:
EXT. HIGH SCHOOL -- DAY
Clark and Lana exit the school together. The parking lot is sparse, the students and
some of the faculty have gone. There's an expensive, black car sitting in the lot.
LANA
You were really good.
CLARK
I had talent to play off of.
Lana blushes.
LANA
Thanks.
CLARK
Listen, Lana, the Homecoming Dance is tonight, and I know it's short notice,
but I was wondering...
LANA
Sorry, Clark. I have a date. In fact he's picking me up today.
CLARK
Oh.
LANA
He's right there.
Clark stares, and does a double take. It's the bully from the school yard, now grown up
and even worse.
CLARK
Lana, he's like eighteen and you're..
LANA
Fifteen? So what.
CLARK
Lana...
LANA
Listen, Clark, I've been dropping hints to you ever since fifth grade and yet
you refused to acknowledge them. Or maybe you just couldn't see them. Either
way, your chance has come and gone so many times I can't count.
The bully honks the horn.
LANA
I'm sorry Clark.
She jogs to the car. Clark stands, heartbroken, embarrassed, and slightly pissed off as
he watches her get in the car. They speed off.
CUT TO:
INT. KENT FARM HOUSE -- KITCHEN
Clark walks into the kitchen, plodding, slow. He tosses his backpack down near the door.
Martha and Jonathan are sitting at the table, sipping on coffee.
MARTHA
Afternoon, Clark. How was school?
CLARK
Fine.
JONATHAN
And the audition?
CLARK
I got the part.
MARTHA
Oh that's wonderful! Our little Romeo.
CLARK
Yeah, it's great.
JONATHAN
What's wrong son? I thought you'd be ecstatic to play Romeo, especially with
Lana being Juliet.
CLARK
Yeah, well, that was before she start dating that bully from the school yard.
JONATHAN
Does this bully have a name?
CLARK
I don't know. Honestly, I don't even care.
MARTHA
Lana's young. This guy is supposed to be a rebel, girls like the rebel.
CLARK
Not helping, Ma.
MARTHA
She'll come around, Clark. It's just a matter of time. You'd better get ready
for the dance. It's almost five.
CLARK
I'm not going.
MARTHA
What?! But you have your suit all picked out. You were so excited...
CLARK
Well that was when I thought I'd have someone to go with. There's not point in
going alone.
Clark stands.
CLARK
If you'll excuse me, I'm going to go for a walk.
Clark walks out the door, shutting in behind him.
MARTHA
Sometimes I worry about that boy, Jonathan.
JONATHAN
Don't worry about him, Martha. Clark's got a good head on his
shoulders. He's just going through what every teenager goes
through.
This is my vision of Superman, starting at the beginning and borrowing the Ultimate concept from Marvel comics by making
Superman 19.
This is only part of the story. I'm not sure I want to finish it due to lack of feedback. If you like this story, then
I beg you to review it, otherwise I'll end it where it is.
FADE IN:
EXT. SPACE -- KRYPTON
The blue green gem of the planet Krypton orbiting it's red sun. Craters, smoke, fire,
and destruction are visible from space.
INT. COMMAND CENTER
A command center. Various electronics and computers. Men sit in front of computer
monitors in hovering chairs, wearing helmets connected to the computer monitor.
INT. CONFERENCE ROOM
A circular table in a slate gray room. Seated around the table are high ranking military
officials: GENERAL ZOD, URSA, the SUPREME COMMANDER of KRYPTONIAN FORCES, and JOR-EL.
In the middle of the table is a hologram of Krypton. General Zod is walking around the
table.
ZOD
Commander, the red tint indicates the territory held by Brainiac. The yellow
tint is what's left in Kryptonian hands.
The hologram changes, some of the planet is tinted red.
ZOD
A good portion of the planet, about 90% is under the rule of Brainiac. Sad
isn't it. Our military forces are being driven back and killed faster than we
can replace them. If this keeps up, Krypton will be under Brainiac's total
control in forty eight hours.
The Supreme Commander shifts in his chair.
SUPREME COMMANDER
And what do you plan on doing about it?
ZOD
Increase the power input into the Eradicator.
JOR-EL
No!
All eyes turn to Jor-El.
URSA
Why not?
JOR-EL
I've been monitoring the Eradicator's effects on our planet. Using Krypton's
core to power him is foolhardy. Using anymore is suicide.
SUPREME COMMANDER
Do you have proof, Jor-El?
JOR-EL
I've been monitoring seismic activity on Krypton and ever since we increased
the Eradicator's power, there have been powerful seismic disturbances here.
He hits a button and part of the hologram is now blue.
URSA
But Jor-El, most of those so called disturbances are all within territories
recently captured by Brainiac. Heavy fighting and incendiary devices,
especially a large number of them are to blame.
JOR-EL
I'm aware of that.
ZOD
There is no other choice.
The Supreme Commander ponders this.
SUPREME COMMANDER
Jor-El, I have, for the longest time, respected you and the House of El. But
this time I must side with General Zod. If we don't use the Eradicator at full
power, then our planet is doomed. Either way we'll lose this planet. Better to
go out fighting then to die as captives.
(to Zod)
General Zod, you may increase the power to the Eradicator up to the safety
limit.
Zod smiles at this victory.
ZOD
Yes, sir.
JOR-EL
I must protest.
SUPREME COMMANDER
There will be no more discussion. Dismissed.
CUT TO:
INT. HOUSE OF EL
Sitting in the living area of the House is LARA, and playing with a self propelled ball
is their son, KAL-EL.
The ball gets away from Kal-El and rolls near the door. The door slides open, and Jor-El
enters. Kal-El crawls toward his father.
LARA
Jor-El, what's wrong?
Jor-El bends down and picks up Kal-El.
JOR-EL
Once again they have ignored my warnings, my data. They've doomed us, Lara.
They've doomed us all.
EXT. BATTLEFIELD
Destruction, fires, debris. It's a warzone. Robotic foot soldiers mow down heavily arm
Krytponians. Armored machines roll down the road, trampling the debris flat. A wounded
Kryptonian gets caught in it's path and screams as the machine runs him down.
A black/gold blur flies into and through the machine. The machine begins smoking and
finally explodes.
The foot soldiers open fire on the blur. The laser beams and bullets bounce off of the
blur and smash into the foot soldiers. The remaining foot soldiers are mowed down by the
blur. The blur stops in the midst of a squad of soldiers, ripping and tearing them
apart. THE ERADICATOR with his power boost.
EXT. KRYPTONOPOLIS -- DAY
Flying troop carriers, machines, and foot soldiers march on the city. Kryptonian
soldiers man the guns and fire at the advancing troops.
Soldiers are mowed down as the machines keep coming. The flying machines drop bombs down
on the city. The motorized machines trample through the fortifications and into the city.
INT. HOUSE OF EL
Jor-El, Lara, and Kal-El are eating.
Explosions rock the house, throwing them to the floor. Kal-El begins to bawl. Lara grabs
him, trying to comfort him.
LARA
What's going on?
JOR-EL
They're attacking the city.
He gets up and runs for the door.
INT. COMMAND CENTER
Jor-El rushes into the command center.
Zod and the Supreme Commander are watching.
JOR-EL
Supreme Commander!
SUPREME COMMANDER
Jor-El, good. You're just in time to witness your creation first hand.
On the screen, the black/gold blur of the Eradicator zooms into the battlefield. The
Eradicator proceeds to earn his namesake by eradicating a large chunk of the foot
soldiers.
He grabs the motorized machine and chucks it into one of the flying machines. Both
machines explode and the debris rain to the ground.
JOR-EL
My God.
ZOD
It's beautiful.
INT. MOTORIZED MACHINE
The Eradicator's hand rips a huge hole in the machine. The Eradicator enters and rips
apart the machines.
EXT. KRYPTONOPOLIS -- DAY
The Eradicator throws the jagged piece of metal from the machine into a flying machine.
The machine explodes, crashing to the ground.
The machines begin to retreat. The troops cheer.
INT. COMMAND CENTER
ZOD
They're retreating!
SUPREME COMMANDER
We've won the day.
One of the communications officers turns from his computer.
COMMUNICATIONS OFFICER
Sir, we're receiving a communication
(beat)
from Brainiac.
JOR-EL
What?
SUPREME COMMANDER
On screen.
The shadowy face of Brainiac appears on the screen.
BRIANIAC
Supreme Commander, General Zod, Jor-El.
ZOD
Make this quick, Brainiac.
BRIANIAC
I wish to propose a cease fire and I wish to open the lines of negotiation.
SUPREME COMMANDER
I agree with your request.
(to Zod)
General Zod, you will relay the cease fire order to your men.
ZOD
Yes sir.
BRIANIAC
I will land on your planet tomorrow.
SUPREME COMMANDER
I will send Jor-El and General Zod to your ship to meet and negotiate.
BRIANIAC
Excellent.
The screen goes dead.
CUT TO:
EXT. KRYPTON DESERT -- DAY
A hover car zooms over the sandy wasteland.
INT. HOVER CAR
Jor-El and Zod sit in the open canopy car. Jor-El is driving.
JOR-EL
I don't trust Brainiac.
ZOD
That's the only thing we can agree on.
JOR-EL
Then why are we unarmed?
ZOD
Oh, we're not unarmed. I have the Eradicators activation and call button on me.
Jor-El turns back to the desert.
JOR-EL
I think I see the drop ship.
ZOD
Good. It's too damned hot.
EXT. KRYPTON DESERT - DAY
The hover car approaches the large drop ship.
INT. DROP SHIP CONFERENCE ROOM
Zod and Jor-El are lead into the conference chamber. They sit at the table, alone.
JOR-EL
I have a bad feeling about this.
A door at the other end of the room opens. Brainiac enters the room, still in shadow.
BRIANIAC
As you should Jor-El.
Four robotic foot soldiers enter the room, flanking Brainiac.
JOR-EL
What is the meaning of this?!
BRIANIAC
Did you bring what I requested, General Zod?
Zod stands, unhooking the device from his belt.
ZOD
Yes, Brainiac. Everything to control the Eradicator is downloaded into this
device.
BRIANIAC
Good.
Brainiac nods to a soldier. The soldier fires his gun, mowing down Zod. Zod hits the
floor.
The soldier trains his gun on Jor-El and fires.
CUT TO:
INT. HOUSE OF EL
Lara is slowly rocking a sleeping Kal-El, walking him down a hallway toward his room.
On the wall next to her, a panel slides open, Jor-El's face on a monitor.
JOR-EL
My wife Lara.
Lara stops, turning.
LARA
Jor-El?
JOR-EL
If you are seeing this, then I am dead.
LARA
No.
JOR-EL
And if I am dead, then all is lost.
The wall slides open, revealing a hidden laboratory.
JOR-EL
Within the room is a space pod. It's a secret escape ship that I've been
working on since the war began. Unfortunately it was slow going. Too slow, I'm
afraid. The only part of the pod I finished was for Kal-El.
Lara looks down at her baby.
JOR-EL
Lara, this request will be hard, I'm sure. Place Kal-El within the rocket and
send him off this world. I wish I could have finished enough to save all three
of us, Lara, or even just you and Kal-El. I'm so sorry.
The screen goes blank. Lara enters the laboratory.
INT. LABORATORY
Lara enters. Inside is a space pod with three prongs. Only one of the prongs has a pod
on it. An open sky light points toward the stars.
Lara walks over to the pod and opens it. She looks down at her baby.
EXT. KRYPTON DESERT
The drop ship is flying toward the atmosphere.
INT. DROP SHIP CONFERENCE ROOM
Zod, near death, hits a button on the Eradicator's activation device.
INT. COMMAND CENTER
A computer panel activates, and an alarm sounds. The Eradicator's power level begins to
increase, going beyond the red line.
The Supreme Commander rushes over.
SUPREME COMMANDER
What's going on?
SOLDIER
It's the Eradicator sir. Someone's activated him!
SUPREME COMMANDER
Shut him down.
The soldier types in a few commands.
SOLDIER
I can't!
The room is rocked by an explosion.
SUPREME COMMANDER
What was that?!
SOLDIER
I think it was an earthquake sir.
SUPREME COMMANDER
Jor-El was right.
CUT TO:
INT. LABORATORY
Lara is almost flung off her feet as the room rocks. She approaches the pod again, this
time with determination. She lays Kal-El into the pod.
LARA
Good bye.
She shuts the pod and goes to a control panel. She hits the labeled buttons. The pod
activates, lifting off and shooting toward space.
Another earthquake rocks the room, causing part of it to collapse.
Lara stands firm, watching the pod disappear.
EXT. KRYPTON DESERT -- DAY
The black/gold blur flies after the drop ship.
INT. DROP SHIP COCKPIT
Brainiac, in shadow, sits in the middle of the cockpit while robotic foot soldiers fly
the ship. An alarm goes off.
BRIANIAC
What is that noise?
ROBOT
It's the proximity alarm, sir.
CRASH! The Eradicator flies through the cockpit and stops in front of Brainiac.
EXT. SPACE -- KRYPTON
The planet is coming apart at the seems. The little space pod with Kal-El flies passed
the camera.
INT. DROP SHIP COCKPIT
ERADICATOR
Land at once, Brainiac.
BRIANIAC
Or what, you'll kill me?
ERADICATOR
If the need arises.
One of the robots gets up to attack the Eradicator, but the Eradicator turns, his eyes
burning red. He fires a heat beam that melts the robot into a puddle of melted metal.
BRIANIAC
You don't understand, do you?
You're entire existence was created only to destroy your planet.
The Eradicator's jaw drops.
ERADICATOR
No.
BRIANIAC
And through me, you have done so.
EXT. SPACE -- KRYPTON
The drop ship is just through the atmosphere when the planet explodes. The shockwave
hurls the ship passed the remaining warships surrounding the planet. The shockwave then
destroys the ships.
The Eradicator is flung from the drop ship, his body hit and hurled away.
CUT TO:
EXT. SKY -- NIGHT
The little space pod, now surrounded by fire as it penetrates the atmosphere, plummets
toward the corn field.
EXT. DIRT ROAD -- NIGHT
An old, beat up truck drives down a dirt road.
INT. TRUCK
JONATHAN and MARTHA KENT, both in their mid thirties, sit in the front seat of the
truck. Behind them are a few scattered stuffed animals.
Martha is leaning on JONATHAN's arm.
The radio is on.
RADIO
This just in from the national weather service, a severe snow storm is poised
to hit the town of Smallville, Kansas...
JONATHAN turns off the radio.
MARTHA
I just love the county fair.
JONATHAN
Once a year is enough for me.
EXT. SKY/STREET/CORNFIELD - NIGHT
The pod, still glowing from entry, smashes into the a cornfield and skids out into the
road.
INT. TRUCK
JONATHAN smashes down on the brake.
EXT. DIRT ROAD
The truck swerves, and skids, stopping just short of the edge of the road.
INT. TRUCK
JONATHAN
Martha, are you okay?
MARTHA
I'm fine. What was that?
JONATHAN takes off his seat belt.
JONATHAN
I don't know, but I'm going to find out.
He opens the door, and turns back to Martha.
JONATHAN
You stay here.
He shuts the door. Martha watches him walk away, and then undoes her seat belt.
EXT. CORNFIELD -- NIGHT
JONATHAN navigates the path that the pod left behind until he comes to the epicenter.
Lying in the middle of a crater is the pod.
Martha walks up behind him.
MARTHA
What is it?
JONATHAN
It looks like something from those sci-fi movies.
JONATHAN walks toward the crater.
JONATHAN
It looks like it hit here and jumped and then came down to a rest.
He drops into the crater.
MARTHA
Be careful.
JONATHAN touches the pod. The pod slides back, hissing. JONATHAN pulls his hand away.
MARTHA
What is it?
JONATHAN pulls Kal-El out of the pod, cradling him.
JONATHAN
It's a baby!
MARTHA
A baby?!
Thunder rumbles and the sky is lit up by lightning.
JONATHAN climbs out of the crater.
JONATHAN
What do we do with him?
MARTHA
The snowstorm's coming, JONATHAN.
We have to get him home.
JONATHAN
But Martha...
MARTHA
No baby deserves to be left out in a snowstorm.
JONATHAN
Yeah. Okay. We'll discuss it then.
INT. TRUCK
The snow has started to fall. The windshield wipers are working furiously to get the
snow off the windshield.
MARTHA
Isn't he adorable?
JONATHAN
Don't get too attached. First thing tomorrow I'm reporting this.
MARTHA
JONATHAN, no! What if they come and take him away from us? You know what the
government does to people from other countries.
JONATHAN
I don't think he's from another country Martha. I think he's from another
world.
MARTHA
What?!
JONATHAN
Think about it, Martha. There were no markings on that little pod of his, and
no country to my knowledge has that kind of technology.
MARTHA
That's crazy talk.
JONATHAN
I sure hope so.
EXT. KENT FARM -- SNOWSTORM -- NIGHT
The snow is blowing hard now.
JONATHAN shuts the barn doors and locks them.
INT. KENT FARM HOUSE
JONATHAN stokes a fire in the fireplace as Martha sits on the couch with Kal-El.
JONATHAN
Martha, I've made a decision.
He puts down the poker and turns toward the couch.
JONATHAN
We'll keep him. Raise him as our own.
MARTHA
Why the change of heart?
JONATHAN
Having a baby around makes me feel complete, like a family man.
MARTHA
And we've always wanted on.
(sudden realization)
But what do we tell the neighbors?
JONATHAN
Nothing.
MARTHA
But what if they ask?
JONATHAN
Then we'll make something up.
He sits on the couch.
MARTHA
What do we name him?
JONATHAN
Well, how about Clark.
MARTHA
(trying it out)
Clark Kent. I like it.
Martha leans down and tickles the bottom of Kal-El, now CLARK KENT's feet. Clark
giggles.
CUT TO:
EXT. SPACE -- EARTH
The body of the Eradicator drifts through space, deactivated, lifeless.
A comet streaks buy, smacking into the Eradicator. The comet carries the Eradicator
toward the Earth.
EXT. EARTH -- SKY OVER ANTARCTICA -- NIGHT
A research station in the Antarctic.
INT. RESEARCH STATION
Two researchers sit in front of monitoring stations, and radar, sipping coffee.
RESEARCHER 1
What I wouldn't give for fresh coffee.
RESEARCHER 2
Amen to that.
A beeping on the radar console. Researcher 2 sits forward, hitting a few keys.
RESEARCHER 1
What is it?
RESEARCHER 2
Comet. It's going to hit ten miles due west of here.
RESEARCHER 1
Forget it. It's just a comet. Make a note of it, time, date, whatever, and
forget about it.
EXT. ANTARCTICA - SNOWING - NIGHT
The comet smashes into the ground, digging a crater. Laying in the middle of the crater,
is the body of the Eradicator as he slowly gets covered in ice.
POV - THE ERADICATOR
We see what The Eradicator sees, as his eyes get covered by snow.
CUT TO:
EXT. KENT FARM -- DAY
CAPTION: Ten Years Later...
Jonathan has the pick up truck out of the barn and up on a jack, working under it.
INT. KENT FARM HOUSE -- KITCHEN
Martha is washing dishes with ten year old Clark. Clark is standing on a step stool.
Martha hands him a dish to dry, he dries it, and sets it on a stack.
Through the window we can see Jonathan working on the truck.
CLARK
What's Pa doing?
MARTHA
Changing the oil.
CLARK
What's that mean?
MARTHA
I don't know, why don't you go ask him? I'll finish up here.
CLARK
Are you sure?
MARTHA
Positive.
Clark jumps off the step and runs to the door.
EXT. KENT FARM -- DAY
Clark jogs out to the truck.
CLARK
Pa?
Jonathan slides out from under the truck.
JONATHAN
Yes, Clark?
CLARK
What'cha doing?
JONATHAN
Changing the oil.
CLARK
Can I help?
JONATHAN
Sure.
Clark lays on his back on the ground and wiggles under the truck. Jonathan slides back
under.
CLARK
Why do you have to change the oil?
JONATHAN
Otherwise the truck won't run, and then we can't head into town for ice cream.
Jonathan resumes his task.
Unseen by both of them is the old, rusted jack, very slowly starting to break in half.
CLARK
What's that?
JONATHAN
That's the oil pan. I drain the oil out from here, see?
Clark nods.
JONATHAN
And then I collect it here.
The jack breaks suddenly, the truck falling down toward the two, the wheel heading
straight for Clark.
INT. KENT FARM HOUSE -- KITCHEN
Martha looks up as she hears Jonathan cry out. She watches the truck go straight down,
but then stop.
She drops a dish, and it breaks against the floor as she runs from the kitchen.
EXT. KENT FARM -- DAY
Martha runs out of the house.
MARTHA
Jonathan?! Clark?!
She stops, looking in amazement as Jonathan slides out from under the truck.
Under the truck, clearly visible to Martha, is Clark, his hands on the bottom of the
wheel, holding the truck in air effortlessly.
JONATHAN
Well I'll be damned.
MARTHA
Oh my God.
JONATHAN
Martha, I think it's time I took a look at that pod.
CUT TO:
INT. BARN
Jonathan opens the barn doors and carefully maneuvers his way toward the center of the
barn. He leans down, brushing hay off of the floor to reveal a trap door. He pulls open
the door.
INT. CLARK'S BEDROOM
Clark is sleeping soundly until he hears a loud SCREECH. He sits straight up in bed,
looking out the window. The light in the barn.
INT. STORM CELLAR
Jonathan walks down the steps into the storm cellar and clicks on a flash light. The
beam illuminates the pod, still intact, the top still open. Jonathan walks over to it
and leans down inside it.
JONATHAN
There has to be something in here. Anything.
Steps behind him, on the stairs.
CLARK
Pa?
Jonathan whirls, startled.
JONATHAN
Clark. What are you doing out of bed?
CLARK
Something woke me up. What are you doing?
Jonathan hesitates. Should he tell the truth, or try to cover.
JONATHAN
Son, come here.
Clark pads over to Jonathan.
JONATHAN
Clark, ten years ago you Ma and I were given a wonderful present. You. It's
just that, Clark, how do I put this without coming off as an evil man?
He thinks.
CLARK
Just tell me.
JONATHAN
Clark, this thing behind me was what we found you in. It crash landed in a
field, ten years ago. We don't know where it came from, or how it ended up on
Earth..
CLARK
So I'm adopted?
JONATHAN
In a manner of speaking.
CLARK
Which is why I was able to hold up the truck today.
JONATHAN
Yes.
CLARK
Why didn't you tell me this before?
JONATHAN
Clark, you've always been a smart kid. You tell me.
Clark stops, thinks for a second. Then.
CLARK
Because you think I can handle it better now?
JONATHAN
Exactly.
Clark stares at the pod, not sure what to think.
CLARK
What happened to my real parents?
Jonathan winces at that.
JONATHAN
I don't know. I was hoping you'd help me find out.
CLARK
Sure.
Together they go over the pod.
CUT TO:
INT. KENT FARM HOUSE -- KITCHEN -- EARLY MORNING
Clark and Jonathan sit at the table, Jonathan has a cup of coffee in front of him, Clark
has a glass of milk. They're covered in dirt.
Martha walks into the kitchen.
MARTHA
Sake's alive you both look like you crawled your way out of a tomb!
JONATHAN
I told him Martha.
MARTHA
Oh Clark, I'm so sorry we didn't tell you sooner.
CLARK
It's okay, Ma. I understand. Just wait until the kid's at school see me now.
Jonathan and Martha exchange glances.
JONATHAN
Clark, listen son, your powers are a God send. They make you unique, but
they're not for showing off.
Martha sits down at the table.
MARTHA
There's so much evil in this world. With your abilities you could make the
world better, safer.
CLARK
All I can do is raise a truck over my head and hear things better.
JONATHAN
True. But it did take ten years to develop. Who knows what else might happen.
CLARK
I just hope I don't turn into a green Martian.
They laugh.
CUT TO:
EXT. SCHOOL YARD -- DAY
Recess time at the elementary school. Clark and some friends play dodge ball. Clark is
unnaturally fast when it comes to dodging, and his throws seem a little hard. He pegs a
kid square in the chest, knocking him on his butt.
KID #1
Yowza, Clark! That stung.
Clark helps the kid to his feet.
CLARK
Sorry.
KID #1
No problem. It was fun!
Back to the game. Clark throws the ball again, softer this time, but right on target. It
hits another kid in the ankle and the ball bounces away, straight toward a seventh grade
BULLY. He picks up the ball.
KID #2
Give that back!
KID #3
Yeah, give it back. That's ours.
BULLY
So you want your little ball back huh?
CLARK
Just give the ball back and stop acting like a butt head.
The reaction from the kids is one of shock and awe. They back away, going "Oooh."
BULLY
What did you call me?
CLARK
I said stop acting like a butt head.
That's all the provocation the bully needs. He reaches back and lets the ball fly. It
zings straight into Clark's face and bounces off. Clark is unaffected at first until he
realizes how it looks and then stumbles back and falls on his butt.
CLARK
Ow.
KID #4
Clark, are you okay?!
CLARK
I'm fine.
BULLY
Teach you to call me a butt head.
CLARK
All I said was you were acting like a butt head.
Clark gets to his feet.
CLARK
Now you are a butt head.
The bully whirls. Clark stands his ground. He reaches back and takes a swing, punching
Clark in the stomach. Again, Clark's reaction was no reaction, but then he doubled over,
acting. He goes down to one knee.
BULLY
Done yet?
CLARK
(feigning breathless)
Sure.
The bully walks away, shaking his fist as if he punched a wall. The other kids help
Clark to his feet.
KID #2
That was amazing! No one's ever stood up to him.
A ten year old girl, LANA LANG, rushes over.
LANA
Clark, are you okay?
CLARK
Fine Lana.
LANA
You sure?
CLARK
Yes, Lana.
CUT TO:
EXT. KENT FARM -- AFTERNOON
Clark and Lana walk up the walk toward the Kent Farm House. Jonathan is standing on a
ladder, fixing a weather vane. Clark is still faking his injuries, doubled over, holding
his stomach.
JONATHAN
Hi kids.
LANA
Hi, Mr. Kent.
JONATHAN
Clark, what happened to you?
CLARK
Nothing, Pa.
LANA
It was awesome! This bully took Clark's ball so Clark stood right up to him.
Took the ball right in the face and punch right in the gut, but he got the ball
back.
JONATHAN
Is that so?
Clark nods.
CLARK
I know about the no fighting rule, Pa. I didn't throw a punch back, I swear.
Jonathan climbs down the ladder and walks over to Clark.
JONATHAN
Lana, go get Ma and get some ice for Clark's head.
LANA
Yes sir.
She bounds inside the house. Clark and Jonathan sit in the porch swing.
JONATHAN
I'm proud of you, son. You stood up for yourself and your friends, and didn't
use your powers to fight back.
CLARK
Thanks Pa. I really did want to hit him though. I knew I could win if I fought
back. It was hard not too.
JONATHAN
It always is, Clark. You just need to pick your battles.
CLARK
Yes Pa.
Martha and Lana come out of the house, Lana babbling off the story of the bully fight.
Martha's carrying an ice pack.
LANA
And then Clark stood his ground and demanded the ball back...
MARTHA
Clark Kent, what have we told you?
CLARK
I know Ma.
JONATHAN
Now, Martha, the boy didn't retaliate.
Martha hands Clark the ice pack. He puts it over the eye where the ball hit.
MARTHA
Well, rules are rules, Clark.
CLARK
Okay, Ma.
Jonathan stands up and stretches.
JONATHAN
Come on, Lana, I'll take you home.
LANA
Okay. Bye Clark.
Lana and Jonathan walk toward the truck.
MARTHA
Where else did he hit you?
CLARK
The stomach.
MARTHA
Are you okay?
CLARK
Never better. It didn't hurt at all.
MARTHA
You had me convinced. Maybe you should be an actor.
CUT TO:
INT. HIGH SCHOOL SCHOOL AUDITORIUM
CAPTION: FIVE YEARS LATER...
The DRAMA TEACHER and his ASSISTANT sit in the front row of the auditorium. Standing on
stage are a line of teenage boys, all varying in high school age (14 to 18). Standing on
set of a balcony is LANA.
DRAMA TEACHER
Now, up for the part of Romeo, Clark Kent.
Clark walks on stage. He's sure grown up since last time. He steps up to the mark on the
stage and holds up a script.
DRAMA TEACHER
Juliet has just appeared above the balcony and you say..
Clark begins acting, throwing all emotion forward, as if he were in true pain.
CLARK
But, soft! what light through yonder window breaks? It is the east, and Juliet
is the sun. Arise, fair sun, and kill the envious moon, Who is already sick and
pale with grief, That thou her maid art far more fair than she: Be not her
maid, since she is envious; Her vestal livery is but sick and green And none
but fools do wear it; cast it off.It is my lady, O, it is my love! O, that she
knew she were! She speaks yet she says nothing: what of that? Her eye
discourses; I will answer it.I am too bold, 'tis not to me she speaks: Two of
the fairest stars in all the heaven, Having some business, do entreat her eyes
To twinkle in their spheres till they return.What if her eyes were there, they
in her head? The brightness of her cheek would shame those stars, As daylight
doth a lamp; her eyes in heaven Would through the airy region stream so bright
That birds would sing and think it were not night.See, how she leans her cheek
upon her hand! O, that I were a glove upon that hand, That I might touch that
cheek!
Lana, as Juliet, leans against the rail of the balcony.
LANA
Aye me!
CLARK
She speaks: O, speak again, bright angel! for thou art As glorious to this
night, being o'er my head As is a winged messenger of heaven Unto the
white-upturned wondering eyes Of mortals that fall back to gaze on him When he
bestrides the lazy-pacing clouds And sails upon the bosom of the air.
LANA
O Romeo, Romeo! wherefore art thou Romeo? Deny thy father and refuse thy name;
Or, if thou wilt not, be but sworn my love, And I'll no longer be a Capulet.
CLARK
Shall I hear more, or shall I speak at this?
LANA
'Its but thy name that is my enemy; Thou art thyself, though not a Montague.
What's Montague? it is nor hand, nor foot, Nor arm, nor face, nor any other
part Belonging to a man. O, be some other name! What's in a name? that which we
call a rose By any other name would smell as sweet; So Romeo would, were he not
Romeo call'd, Retain that dear perfection which he owes Without that title.
Romeo, doff thy name, And for that name which is no part of thee Take all
myself.
CLARK
I take thee at thy word: Call me but love, and I'll be new baptized;
Henceforth I never will be Romeo.
LANA
What man art thou that thus bescreen'd in night So stumblest on my counsel?
CLARK
By a name I know not how to tell thee who I am: My name, dear saint, is
hateful to myself, Because it is an enemy to thee; Had I it written, I would
tear the word.
LANA
My ears have not yet drunk a hundred words Of that tongue's utterance, yet I
know the sound: Art thou not Romeo and a Montague?
CLARK
Neither, fair saint, if either thee dislike.
LANA
How camest thou hither, tell me, and wherefore? The orchard walls are high and
hard to climb, And the place death, considering who thou art, If any of my
kinsmen find thee here.
CLARK
With love's light wings did I o'er-perch these walls; For stony limits cannot
hold love out, And what love can do that dares love attempt; Therefore thy
kinsmen are no let to me.
LANA
If they do see thee, they will murder thee.
CLARK
Alack, there lies more peril in thine eye Than twenty of their swords: look
thou but sweet, And I am proof against their enmity.
LANA
I would not for the world they saw thee here.
CLARK
I have night's cloak to hide me from their sight; And but thou love me, let
them find me here: My life were better ended by their hate, Than death
prorogued, wanting of thy love.
LANA
By whose direction found'st thou out this place?
CLARK
By love, who first did prompt me to inquire; He lent me counsel and I lent him
eyes.I am no pilot; yet, wert thou as far As that vast shore wash'd with the
farthest sea,I would adventure for such merchandise.
LANA
Else would a maiden blush bepaint my cheek For that which thou hast heard me
speak to-night Fain would I dwell on form, fain, fain deny What I have spoke:
but farewell compliment! Dots thou love me? I know thou wilt say 'Ay,'And I
will take thy word: yet if thou swear'st, Thou mayst prove false; at lovers'
perjuries Then say, Jove laughs. O gentle Romeo, If thou dost love, pronounce
it faithfully: Or if thou think'st I am too quickly won, I'll frown and be
perverse an say thee nay, So thou wilt woo; but else, not for the world. In
truth, fair Montague, I am too fond, And therefore thou mayst think my 'havior
light: But trust me, gentleman, I'll prove more true Than those that have more
cunning to be strange.I should have been more strange, I must confess, But that
thou overheard'st, ere I was ware, My true love's passion: therefore pardon me,
And not impute this yielding to light love, Which the dark night hath so
discovered.
CLARK
Lady, by yonder blessed moon I swear That tips with silver all these fruit-tree
tops--
LANA
O, swear not by the moon, the inconstant moon, That monthly changes in her
circled orb, Lest that thy love prove likewise variable.
CLARK
What shall I swear by?
LANA
Do not swear at all; Or, if thou wilt, swear by thy gracious self, Which is
the god of my idolatry, And I'll believe thee.
CLARK
If my heart's dear love--
LANA
Well, do not swear: although I joy in thee, I have no joy of this contract
to-night: It is too rash, too unadvised, too sudden; Too like the lightning,
which doth cease to be Ere one can say 'It lightens.' Sweet, good night! This
bud of love, by summer's ripening breath, May prove a beauteous flower when
next we meet.Good night, good night! as sweet repose and rest Come to thy
heart as that within my breast!
CLARK
O, wilt thou leave me so unsatisfied?
LANA
What satisfaction canst thou have to-night?
CLARK
The exchange of thy love's faithful vow for mine.
LANA
I gave thee mine before thou didst request it: And yet I would it were to give
again.
CLARK
Wouldst thou withdraw it? for what purpose, love?
LANA
But to be frank, and give it thee again.And yet I wish but for the thing I
have: My bounty is as boundless as the sea, My love as deep; the more I give
to thee, The more I have, for both are infinite.
DRAMA TEACHER
The Nurse calls within.
LANA
I hear some noise within; dear love, adieu! Anon, good nurse! Sweet Montague,
be true.Stay but a little, I will come again.
Lana exits through the back of the set piece.
CLARK
O blessed, blessed night! I am afeard. Being in night, all this is but a dream,
Too flattering-sweet to be substantial.
Lana re-enters from above.
LANA
Three words, dear Romeo, and good night indeed. If that thy bent of love be
honourable, Thy purpose marriage, send me word to-morrow, By one that I'll
procure to come to thee, Where and what time thou wilt perform the rite; And
all my fortunes at thy foot I'll lay And follow thee my lord throughout the
World.
DRAMA TEACHER
Nurse: Madam!
LANA
I come, anon.--But if thou mean'st not well,I do beseech thee--
DRAMA TEACHER
Nurse: Madam!
LANA
By and by, I come: --To cease thy suit, and leave me to my grief: To-morrow
will I send.
CLARK
So thrive my soul--
LANA
A thousand times good night!
Again, Lana exits.
CLARK
A thousand times the worse, to want thy light.Love goes toward love, as
schoolboys from their books, But love from love, toward school with heavy
looks.
Clark turns to walk away from the set, as Lana reemerges above.
LANA
Hits! Romeo, hist! O, for a falconer's voice, To lure this tassel-gentle back
again! Bondage is hoarse, and may not speak aloud; Else would I tear the cave
where Echo lies, And make her airy tongue more hoarse than mine, With
repetition of my Romeo's name.
CLARK
It is my soul that calls upon my name: How silver-sweet sound lovers' tongues
by night, Like softest music to attending ears!
LANA
Romeo!
CLARK
My dear?
LANA
At what o'clock to-morrow Shall I send to thee?
CLARK
At the hour of nine.
LANA
I will not fail: 'tis twenty years till then.I have forgot why I did call thee
back.
CLARK
Let me stand here till thou remember it.
LANA
I shall forget, to have thee still stand there, Remembering how I love thy
company.
CLARK
And I'll still stay, to have thee still forget, Forgetting any other home but
this.
LANA
'Its almost morning; I would have thee gone: And yet no further than a wanton's
bird; Who lets it hop a little from her hand, Like a poor prisoner in his
twisted gyves, And with a silk thread plucks it back again, So loving-jealous
of his liberty.
CLARK
I would I were thy bird.
LANA
Sweet, so would I: Yet I should kill thee with much cherishing.Good night,
good night! parting is such sweet sorrow, That I shall say good night till it
be morrow.
Lana exits.
CLARK
Sleep dwell upon thine eyes, peace in thy breast! Would I were sleep and peace,
so sweet to rest! Hence will I to my ghostly father's cell, His help to crave,
and my dear hap to tell.
Done with the scene, everyone on the set claps. The drama teacher and his assistant
stand, clapping.
DRAMA TEACHER
Congratulations, Clark Kent, you are our Romeo.
Clark smiles, suddenly shy. He looks at Lana who's looking down from the balcony set.
She winks at him.
CUT TO:
EXT. HIGH SCHOOL -- DAY
Clark and Lana exit the school together. The parking lot is sparse, the students and
some of the faculty have gone. There's an expensive, black car sitting in the lot.
LANA
You were really good.
CLARK
I had talent to play off of.
Lana blushes.
LANA
Thanks.
CLARK
Listen, Lana, the Homecoming Dance is tonight, and I know it's short notice,
but I was wondering...
LANA
Sorry, Clark. I have a date. In fact he's picking me up today.
CLARK
Oh.
LANA
He's right there.
Clark stares, and does a double take. It's the bully from the school yard, now grown up
and even worse.
CLARK
Lana, he's like eighteen and you're..
LANA
Fifteen? So what.
CLARK
Lana...
LANA
Listen, Clark, I've been dropping hints to you ever since fifth grade and yet
you refused to acknowledge them. Or maybe you just couldn't see them. Either
way, your chance has come and gone so many times I can't count.
The bully honks the horn.
LANA
I'm sorry Clark.
She jogs to the car. Clark stands, heartbroken, embarrassed, and slightly pissed off as
he watches her get in the car. They speed off.
CUT TO:
INT. KENT FARM HOUSE -- KITCHEN
Clark walks into the kitchen, plodding, slow. He tosses his backpack down near the door.
Martha and Jonathan are sitting at the table, sipping on coffee.
MARTHA
Afternoon, Clark. How was school?
CLARK
Fine.
JONATHAN
And the audition?
CLARK
I got the part.
MARTHA
Oh that's wonderful! Our little Romeo.
CLARK
Yeah, it's great.
JONATHAN
What's wrong son? I thought you'd be ecstatic to play Romeo, especially with
Lana being Juliet.
CLARK
Yeah, well, that was before she start dating that bully from the school yard.
JONATHAN
Does this bully have a name?
CLARK
I don't know. Honestly, I don't even care.
MARTHA
Lana's young. This guy is supposed to be a rebel, girls like the rebel.
CLARK
Not helping, Ma.
MARTHA
She'll come around, Clark. It's just a matter of time. You'd better get ready
for the dance. It's almost five.
CLARK
I'm not going.
MARTHA
What?! But you have your suit all picked out. You were so excited...
CLARK
Well that was when I thought I'd have someone to go with. There's not point in
going alone.
Clark stands.
CLARK
If you'll excuse me, I'm going to go for a walk.
Clark walks out the door, shutting in behind him.
MARTHA
Sometimes I worry about that boy, Jonathan.
JONATHAN
Don't worry about him, Martha. Clark's got a good head on his
shoulders. He's just going through what every teenager goes
through.