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.