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Story The Superman Trilogy, Part I: The Last Son of Krypton

Discussion in 'Non Star Wars Fan Fiction' started by Duragizer, Aug 27, 2015.

  1. Duragizer

    Duragizer Jedi Master star 4

    Registered:
    Apr 23, 2009
    Title: The Last Son of Krypton: Season One

    Author: Duragizer

    Characters: Clark Kent; Jonathan Kent; Martha Kent; Luma-Lyn; Lex Luthor

    Genre: action

    Timeframe: 1914-1932

    Summary: The first season of a three-season script fic series chronicling Clark Kent's life from his arrival on Earth in 1914 to his debut as Superman in 1938. It follows his upbringing in Smallville, his discovery of his Kryptonian heritage, and his first encounter with Lex Luthor.

    Notes: Suffice to say, Superman is my #1 favourite superhero, but none of the live-action films have succeeded in capturing what it is about the character that resonates with me, whether it be the Donner/Lester/Singer films — which are too "Earth-One" for my tastes — or the ultraviolent, angsty Snyderman junk. My ideal Superman film would be inspired by the early post-Crisis comics of the '80s and '90s, but would also incorporate ideas and concepts from the Golden Age comics, Superman: The Animated Series, and — to a far lesser degree — Smallville. Since the likelihood of Hollywood ever making that film are remote, I've decided to write that story myself.
     
    Last edited: Sep 19, 2019
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  2. Duragizer

    Duragizer Jedi Master star 4

    Registered:
    Apr 23, 2009
    THE LAST SON OF KRYPTON

    "THE LAST SON"

    FADE IN

    On Krypton.

    An extrasolar world in close orbit around a red dwarf star, Krypton is a black-&-blue terrestrial planet, roughly the same size as Earth.

    EXT. KRYPTON — DAY — TRAVELLING

    Far above the surface, we find a PRISM-BIRD in flight. True to its name, the plumage of the extraterrestrial avian shimmers with iridescence as dim sunlight plays over the feathers. We stay with the prism-bird as it travels over the Kryptonian landscape. On the ground below rises a forest. The flora much resembles the kind found on Earth — trees, bushes — though here, it is black rather than green. Canals cut through the forest, irrigating the pitch vegetation.

    The forest soon gives way to grassland, and the grassland gives way as we clear the wilderness and emerge over Xan, a sprawling metropolis of chrome and crystal. Xan's towering citadels reach to touch the alice blue sky overhead.

    Closing in on one of the citadels, the prism-bird passes through an open picture window, where it alights on the waiting arm of its owner.

    INT. CITADEL/SOLARIUM — DAY

    The prism-bird roosting on her arm, LUMA-LYN brings it close. Putting a finger to its neck, she begins stroking it, admiring the colours which scintillate with each stroke. On the cusp of adulthood, the Kryptonian girl is a sight to behold. She is strikingly beautiful, with light blond hair worn up in a French twist, vibrant azure eyes, a straight nose, high cheekbones, and full pink lips. Tall, with a body toned with lithe muscle, she radiates elegance while carrying an aura of assertive strength about her. She is clad in a skintight bodysuit; red in the centre, black on the sides, an embroidered gold stripe denoting familial affiliation runs down the left side to the knee. From her neck hangs a chrome pendant on a chain; diamond-shaped, the pendant contains an S-shaped sigil.

    As Luma attends to her pet, a semi-humanoid automaton of blue metal, KELOR, enters the room from behind. It's head oblong, its body wasp-like and legless, Kelor stands suspended on a field of antigravity. In a Kryptonian tongue, it addresses her. A violent tremor then reverberates through the building, shaking its very foundations. A grave expression passes over Luma's face. After several seconds, the tremor passes. Luma responds to Kelor's statement. Satisfied with the response, the robot leaves the chamber.

    Turning her attention back to the prism-bird, Luma looks into its gold eyes and it looks into hers. Giving her pet a final smile, she throws her arm up, coaxing the prism-bird back through the window, out into the open air.

    CUT TO

    The prism-bird as it returns to the pale sky, beating its wings until it catches an updraft.

    The avian facing the red sun, the light shines through its feathers. A beautiful halo momentarily forms around the creature.

    CUT TO

    A close-up of Luma's despondent face.

    INT. TRANSPORT SHUTTLE — DAY

    Luma sits on a cushioned bench inside the automated shuttle, Kelor floating before her. Through the forward viewport can be seen the length of the maglev tunnel outside.

    EXT. XAN — DAY

    The tremors return. Though they tremble, the citadels remain erect.

    INT. LAUNCH COMPLEX/CONTROL CENTRE — DAY

    Inside the horseshoe-shaped control centre we find SIX KRYPTONIANS and TEN AUTOMATONS at computer stations. These Kryptonians, four men and two women, are attired in black bodysuits which hide every millimetre of their skin save for their fingers and faces; over their bodysuits they all wear varicoloured scapulars bearing silver stripes. A wraparound pane of transparent green crystal is all that separates the control centre from the adjacent launch pad. Down in the launch pad, aligned vertically, is a chrome starcraft. Sporting six stabilizer fins in a vaguely hexagramal configuration around its base, it is large enough to accommodate one adult rider.

    INT. LAUNCH COMPLEX/LAUNCH PAD — DAY

    Luma stands on the launch pad. Having changed into a featureless black bodysuit like the ones worn by those in the control centre, she allows five bronze automatons to assist her into a chrome spacesuit.

    EXT. XAN — DAY

    The tremors intensify. The crystal-&-chrome facades of the citadels fracture and shatter.

    INT. LAUNCH COMPLEX/LAUNCH PAD — DAY

    The girl encased in her chrome suit, the automatons move away. Kelor then approaches, a green crystal in its hands. Taking the crystal, Luma secrets it in one of her suit compartments. Sealing her helmet in place, she then crosses the reverberating chamber to the awaiting starcraft.

    INT. STARCRAFT/COCKPIT — DAY

    Climbing through the open canopy into her seat, Luma brings the vessel's systems online. With the push of a button, the canopy closes over her.

    INT. LAUNCH COMPLEX/CONTROL CENTRE — DAY

    The interior lighting begins flickering erratically. One of the Kryptonians manipulates a dial on their control panel.

    EXT. XAN — DAY

    From all across the city, multiple hundreds of starcraft launch from several locations. These craft, all far smaller than Luma's, consist of large ovoid crystal pods affixed to hexagramal bases of solid chrome. They ascend into the heavens as the earth below splits open, sending buildings toppling.

    INT. LAUNCH COMPLEX/LAUNCH PAD — DAY

    The ceiling overhead irises open. With a tremendous burst of speed, Luma's starcraft rockets up, passing through the portal into a shaft leading outside.

    EXT. XAN — DAY

    A great geyser of green energy blasts through the earth, annihilating several hundred buildings instantaneously. A great shockwave follows the blast; it plows through the surrounding buildings, pulverizing them.

    INT. LAUNCH COMPLEX/CONTROL CENTRE — DAY

    The chamber caves in. No one has the chance to even cry out before they're buried under kilometres of rubble.

    EXT. KRYPTON — MONTAGE

    Passing across the face of the planet, we see Xan isn't the only area succumbing to cataclysm. Great jets of radiation erupt everywhere, in every continent, in every ocean, irradiating everything.

    EXT. KRYPTON — DAY

    As 144,000 starcraft make the climb to space, Krypton literally begins breaking apart below. Eruptions spring up all over the world, throwing radioactive debris into the dying sky. Though protected by particle shielding, a majority of the ships are too close to the cataclysm; they are critically damaged or destroyed outright by the glowing fragments.

    INT. STARCRAFT/COCKPIT

    Luma's hull is pierced by impacting detritus. Green radiation momentarily floods the cockpit, passing through the girl. Spasming once, she falls limp, deathly still in her seat.

    EXT. SPACE — KRYPTON

    As the surviving starcraft leave the planet's gravity field, Krypton explodes. In an instant, the surface is boiled down and the atmosphere ignites. What was once an inhabited world is now a molten sphere of radioactive death.

    Safe in the tranquil blackness of space, the thirty-four remaining starcraft set upon their voyage. Hyper-light drives engaging, thirty-three of the starcraft jump to hyperspace; they will reach their destination inside twenty-four years. As for Luma's damaged starcraft, its hyper-light drive has been rendered inoperable; it will have to make the long trek through normal space at luminal speed alone.

    FADE OUT

    BEGIN OPENING CREDITS
     
    Last edited: Sep 25, 2019
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  3. Cushing's Admirer

    Cushing's Admirer Force Ghost star 7

    Registered:
    Jun 8, 2006
    I am not much for superheroes but I applaud you for having the courage to express as best you can what resonates and matters to *you* about this character and his journey. :)
     
  4. NYCitygurl

    NYCitygurl Manager Emeritus star 9 VIP - Former Mod/RSA

    Registered:
    Jul 20, 2002
    This is fantastic! I don't know much about Superman other than Man of Steel, but I will definitely be following this story! Can't wait for more!
     
  5. Mira_Jade

    Mira_Jade The Fanfic Manager With The Cape star 5 Staff Member Manager

    Registered:
    Jun 29, 2004
    I read your author's notes, and all I could think was oh thank-goodness. The latest Man of Steel movie captured nothing that always resonates with me about Superman, and I am already really, really enjoying your version of the tale. This was one powerful opener, and I especially liked the inclusion of the rest of the El clan; I am already eager for more! =D=
     
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  6. Duragizer

    Duragizer Jedi Master star 4

    Registered:
    Apr 23, 2009
    END OPENING CREDITS

    FADE IN

    On the grounds of a farm on a cold, overcast winter day.

    Complete with a quaint, medium-sized house, a large barn, a silo, fields, and wide open pastures, the farm is nothing short of impressive.

    SUPERIMPOSE: SMALLVILLE, KANSAS — FEBRUARY 1914

    CUT TO

    The front door of the house as it swings open, allowing a man out into the cold, brisk air.

    In his mid thirties, JONATHAN KENT is a tall, ruggedly handsome man with dirty blond hair. Though clad in a heavy winter coat, a pair of thick black wool gloves, and a winter cap, Jonathan still feels the sharp winter chill stab into his bones. Wasting as little time as possible, he closes the door, then with hand crank in hand, leaves the porch for his blue pickup truck, a year-old Ford Model T.

    As he gets to the vehicle and inserts the crank to prime the engine, the front door opens yet again, allowing his wife MARTHA out onto the porch. A lovely woman with long auburn hair, crystal blue eyes, and fair skin, she isn't much younger than her husband. Clad in a warm beige sweater, she still hugs her arms close to her as the winter breeze sweeps over her.

    JONATHAN: (surprised) Martha! (beat) I thought you were asleep, honey.

    MARTHA: I woke up. Now you mind telling me where on Earth you're going in this ungodly weather?

    JONATHAN: Into town to get some supplies. I'll be back in two shakes of a lamb's tail.

    Nodding silently, Martha then looks to the sky. The gray clouds, thick and dark, are heavy with the promise of snow.

    MARTHA: I think a storm's about to hit. We really should bring the cattle in before nightfall.

    JONATHAN: We’ll do it after I get back.

    MARTHA: I think I'll come along with you. Let me get my coat.

    JONATHAN: (frowns) What are you saying?

    MARTHA: I'm coming along, silly. (frowns) Is there a reason you don't want me to?

    JONATHAN: No ... no reason.

    MARTHA: (cocks eyebrow) I'll be just a second.

    As Martha slips back inside, Jonathan remains standing by the side of his truck. Staring at his feet, he lazily kicks at the snow on the ground.

    JONATHAN: Dammit….

    EXT. SMALLVILLE — STREET — DAY

    Entering the urban centre of Smallville, the Kents' truck cuts through the snow and slush on the roads.

    INT. TRUCK/CAB — DAY

    Sitting in the cold cab on the passenger’s side, Martha vigorously rubs her mittened hands together for warmth. Turning to her husband, she regards him with a suspicious gaze. Noticing her stare, Jonathan tries ignoring it, keeping his eyes focused on the road ahead.

    EXT. SMALLVILLE — TOWN SQUARE — HEL'S BOUQUET — DAY

    Nearing his destination, Jonathan slows down. Coming to a stop, he parks the truck and shuts the engine off.

    INT. TRUCK/CAB — DAY

    Martha looks out her window. Standing there, identified by the large sign set above the front door, is Hel's Bouquet, a flower shop.

    MARTHA: This isn't the general store. (faces Jonathan)

    JONATHAN: (averts gaze) There's ... Hel telephoned earlier, placed an order. I figured I'd stop here before going to Phineas'.

    MARTHA: (perplexed) Placed an order...? (beat) Jonathan —

    Not waiting for her to complete her thought, Jonathan opens his door and climbs out, shutting it quickly to keep what little heat he can inside.

    INT. HEL'S BOUQUET — DAY

    Jonathan enters the flower shop, taking care to knock the snow off his boots before walking to the front counter. There, reading a fashion magazine, is HELEN POTTER. An attractive brunette, she's of the same basic age as Jonathan and Martha.

    JONATHAN: Afternoon, Hel.

    HELEN: (looks up from magazine; smiles) Jonathan! What a surprise! (beat) What brings the reclusive Mr. Kent into town in this weather?

    JONATHAN: Tulips. Red ones, if you have them. (beat) Martha's always had her heart set on tulips.

    HELEN: (drops smile) Yes, well, they're a very uncomplicated flower.

    An uncomfortable silence develops between them. Saying no more, Helen goes to get Jonathan his tulips.

    INT. TRUCK/CAB — DAY

    Reading a magazine, Martha doesn't notice Jonathan return. Opening his door, he slips inside and then, with perhaps too much haste, presents her a bouquet of beautiful red tulips.

    JONATHAN: Happy anniversary, sweetheart.

    MARTHA: (eyes widen) Jonathan! (takes flowers) This is why you wanted to go into town alone.

    JONATHAN: (smiles thinly) I was also going to pick up a bottle of wine. (beat) It was going to be a surprise.

    MARTHA: Oh, darling, I'm sorry. (kisses Jonathan) Thank you.

    EXT. SPACE — MARS

    After decades traversing the void between worlds, thirteen Kryptonian starcraft have finally arrived in the solar system. Having spent the last few hours passing through the outer planets, they are now making their way past the red planet and its twin moons.

    EXT. KENT FARM — PASTURE — DAY

    Having returned from town and traded the truck in for a pair of horses, the Kents now ride through the pasture, rounding up their cattle and herding them back towards the barn. The sky is now a deep, dark gray and snowfall has begun.

    EXT. SPACE — EARTH

    The starcraft enter the atmosphere. Buffeted by air and friction, they are pushed apart, entering trajectories which direct them to different areas of the globe.

    EXT. KENT FARM — PASTURE — DAY

    Just as the Kents finish directing the remaining wayward cows and steers into joining the rest of the herd, a large fireball comes streaking down from the sky above. Their jaws dropping, Jonathan and Martha watch as the spaceborne object passes overhead like a fallen angel, crashing with a resounding BOOM at the far end of an adjacent field.

    MARTHA: (shocked) What in —‽

    Overcoming her initial shock, Martha digs her heels in her horse's sides; with a burst of speed, she begins galloping towards the crash site.

    JONATHAN: (alarmed) Martha, what are you doing‽ Martha!

    Kicking his own horse into gear, Jonathan takes off after his wife.

    EXT. KENT FARM — FIELD — DAY

    Minutes later, the Kents arrive at the site. There before them, smoking and stinking of scorched earth, is a large crater. Climbing off their horses, they approach it and the object nestled inside.

    JONATHAN: Oh my God….

    MARTHA: Jonathan, what is it?

    Standing inside the crater, its surface unmarked and unscathed by either the entry or crash, is one of the starcraft.

    JONATHAN: It looks like a ... an artillery shell.

    MARTHA: (incredulous) Artillery shell?

    Stepping into the crater, Martha makes her way to the strange craft.

    JONATHAN: Martha! Stay clear!

    MARTHA: (peers into pod) But look, Jonathan! There's something inside! Something alive!

    Climbing down into the crater, Jonathan joins his wife by the vessel. Looking into the murky crystal pod, he, too, can just barely make out something alive and moving within.

    JONATHAN: (touches pod) That's funny — it's cool. With how it came in all afire, you'd think —

    Before Jonathan can finish his thought, the crystal under his touch liquefies, drawing away from him. Alarmed, he jumps back. A perfectly round hole opened in the pod's side, one can now see clearly the nature of the creature inside. Curled up in a ball is a naked infant boy.

    MARTHA: (surprised) Oh, Jonathan — it's a baby!

    Reaching into the pod, Martha takes hold of the child and lifts him out. Almost immediately, he starts CRYING. Holding the baby to her, Martha begins rubbing his back. In moments, the child's wailing begins to subside. Very soon he is calm and peaceful, asleep with his face nestled in her bosom.

    JONATHAN: I — I'll ride back and bring the truck around.

    INT. TRUCK/CAB — DAY

    Martha and Jonathan are now seated inside the truck, riding back to the homestead. With the baby asleep inside her arms, she smiles.

    EXT. KENT FARM — KENT HOME — DAY

    Pulling up beside the house, Jonathan and Martha climb out. The snow falling heavy now, the wind blowing fierce, it's all but apparent that a fierce blizzard's hit Smallville.

    JONATHAN: Get inside the house, Martha. I'm going to make sure the animals are okay, then I'll join you inside.

    Bracing her and the child against the biting wind, Martha runs to the house while Jonathan shields his face and sprints over to the barn.

    INT. KENT HOME/LIVING ROOM — DAY

    Tossing a log into the blazing fireplace, Jonathan rubs his hands together for warmth before crossing over to his armchair. Sitting down, he looks across at Martha — who sits on the couch, the foundling child held close to her breast — a thousand thoughts all coursing through his mind.
     
    Last edited: Sep 20, 2019
  7. Duragizer

    Duragizer Jedi Master star 4

    Registered:
    Apr 23, 2009
    EXT. KENT FARM — KENT HOME — DAY

    Night has passed and a new day has begun. With the blizzard over, Jonathan gets in his truck and begins moving up the long driveway which will get him onto the road into town. He only gets a fourth of the way up the driveway, however, before his wheels sink into the heavy sheet of fresh-fallen snow, refusing to go any further.

    INT. TRUCK/CAB — DAY

    JONATHAN: (frustrated) Sonuva— (shifts gears) Let's try that again.

    The engine roars and the tires spin, but the vehicle refuses to proceed any further through the fresh, glittering snow.

    JONATHAN: (sighs) Wonderful.

    INT. KENT HOME/LIVING ROOM — DAY

    Martha is sitting cross-legged on the floor, playing with the baby, when Jonathan walks in.

    JONATHAN: The truck got stuck in the snow and I can't get it out. We won't be going into town for a while.

    MARTHA: So we're in for the long haul.

    JONATHAN: We're well stocked up. We'll keep 'til spring.

    As Martha looks upon the baby boy crawling about the carpeted floor, he looks up at her and gives her a big, toothless smile.

    MARTHA: From your lips to God's ears, Jonathan.

    KENT FARM — MONTAGE

    As February gives way to March with nary a thaw, Jonathan works to keep the animals fed and the firewood stocked while Martha attends to the needs of the boy. Day after day, week after week, both Martha and Jonathan find themselves growing evermore attached to the child.

    EXT. KENT FARM — ROAD — DAY

    It is now late March and the sky is a clear, sunny blue. Jonathan makes his way to the truck.

    JONATHAN: (rests hand on truck) Well, girl, let's see how the elements' been to you.

    Turning the crank, he then slips inside and turns the key, automatically bringing the engine to life. Shifting gears, he backs up.

    INT. KENT HOME/DINING ROOM — DAY

    Martha is at the table, feeding the giggling baby boy, as Jonathan strides in. Putting the spoon in her hand down, Martha turns to her husband.

    JONATHAN: The snow's receded, Martha. I'll be able to ... to take the child into town. Sheriff Miller'll know what to do for him there.

    Returning to the child, Martha takes a napkin and cleans his mouth.

    MARTHA: You're right. After all, we can't keep him. It'd be irrational. Hell, it'd be insane. A baby boy fell from the sky; we just can't keep him. (beat) Even if it was monstrous for someone to put a child in a bombshell….

    JONATHAN: Martha….

    MARTHA: (cont’d) Even if the Birches are on their fourth and I ... (crying) and I can't keep a child.

    Overwhelmed by her emotions, Martha walks out of the room.

    JONATHAN: Martha!

    INT. KENT HOME/LIVING ROOM — DAY

    Collapsing onto the couch, Martha stares into space as tears stream down her face. Joining her, Jonathan places an arm around her shoulder.

    JONATHAN: Good Lord, Martha, do you realize what you're asking that we do? We don't even know if he ... if he's from here. We don't know —

    MARTHA: (faces him) No, we don't. We don't know where he came from or if anyone will come for him, but if there's anyone who might stand a chance to do right by that child, come what may, it's you and me. Don't ... don't you just know it? (beat) Don't we deserve a chance to try?

    Rising, Martha leaves Jonathan and walks over to a liquor cabinet. Opening it up, she takes a tall bottle of whiskey and a pair of glasses. Taking a seat in the armchair, she places the glasses and bottle down on a small table beside it.

    JONATHAN: What's the whiskey for?

    MARTHA: (fills a glass) If we decide to keep the child, I'm going to pour you a glass and we're going to celebrate. If we don't ... whiskey's more convenient and less painful than a log to the head. (beat) While you take him into town, I'll be doing everything in my power to forget the last several weeks ever happened.

    As Martha takes a sip of her whiskey, Jonathan sits there, looking on her with brow furrowed in thought. Moments pass, then he gets up. Crossing over to her, he takes up the bottle of whiskey and the empty glass.

    JONATHAN: I don't want to be called "pop" — I'm not an old man. (fills glass) "Pa" has a nice ring to it.

    Her face lighting up with a full grin, Martha raises her glass. Returning her grin with a smile, he brings up his own glass, clinking it against hers in a toast to their new parenthood.

    INT. HEL'S BOUQUET — DAY

    A lean, balding man in thick glasses stands before the front counter as Helen wraps a bouquet of flowers for him. Once she has finished securing the wrapping paper in place, she brings the bundle of beautiful flowers to the front and presents them to her waiting customer.

    HELEN: That'll be $1.30.

    As he hands her the money, she hands him the flowers.

    DAN: You have a good day, Helen.

    HELEN: You too, Dan.

    As Dan leaves the counter and walks out the door, another customer — a short woman with shoulder-length blond hair — walks in. With barely contained enthusiasm, she strides up to the counter.

    HELEN: Hi, Rose. What can I do for you today?

    ROSE GREER: (grins) Did you hear the news?

    HELEN: What news?

    ROSE GREER: The Kents came in today.

    HELEN: The Kents? What about them?

    ROSE GREER: Y'know that storm last month? The big one?

    HELEN: The one that toppled the tree in my sister's backyard. What of it?

    ROSE GREER: It snowed in the Kents' farm somethin' fierce — buried it beneath a quilt of snow. That's why they haven't been in town since it hit.

    HELEN: And?

    ROSE GREER: You won't believe what's happened.

    HELEN: (loses patience) Well out with it!

    ROSE GREER: They had a baby!

    HELEN: (taken aback) A baby?

    ROSE GREER: Uh-huh. Looks like Jon put the bun in her oven some months back. (beat) You remember the ugly business with the miscarriages and that stillbirth —

    HELEN: Yes, of course.

    ROSE GREER: (cont'd) Well, they decided to keep it hush-hush — you know, just in case it didn't keep. (beat) Anyway, Martha delivered a baby boy while cooped up in that there farm. He's got the most gorgeous blue eyes.

    HELEN: You’ve seen him?

    ROSE GREER: Well, no — that's why I came to see you. I thought you'd like to pay Jon and Martha a visit with me.

    HELEN: Why, certainly. (smiles thinly) Why not?

    EXT. KENT FARM — KENT HOME/FRONT PORCH — DAY

    Having arrived together, Helen and Rose walk up the porch steps to the front door. Rose brings up her closed fist, announcing their presence with three quick RAPS on the wood door. A moment passes, then Jonathan answers the door.

    JONATHAN: (stoic) Hel. (happier) Rose!

    Leaning forward, he gives both women a hug. He doesn't linger too long with Helen.

    JONATHAN: You came to see the baby?

    ROSE GREER: (grins) But of course. Can we come in?

    JONATHAN: Follow me into the living room.

    With no further need of persuasion on his part, the two women enter the Kent home.

    INT. KENT HOME/LIVING ROOM — DAY

    As Jonathan leads Helen and Rose inside, we find several family members and friends gathered around Martha, who sits on the armchair with the baby boy bundled up in her arms. As Rose and Helen approach the mother and child, their mouths fall agape.

    HELEN: Martha ... the boy ...

    ROSE GREER: He's beautiful.

    MARTHA: (beams) Thank you.

    Standing at Martha's side, Jonathan rests a hand on her shoulder.

    JONATHAN: Helen Potter, Rose Greer, meet Clark Joseph Kent.

    As the two women look down upon them. Clark meets their gaze and, smiling a wide, toothless smile, releases a GIGGLE of delight.
     
    Last edited: Sep 3, 2019
  8. NYCitygurl

    NYCitygurl Manager Emeritus star 9 VIP - Former Mod/RSA

    Registered:
    Jul 20, 2002
    Awww! [face_love] I'm so glad they're so happy.

    I wonder what's up with Nell, though ...
     
  9. Duragizer

    Duragizer Jedi Master star 4

    Registered:
    Apr 23, 2009

    Let's just say she never got over her high school boyfriend.
     
  10. Duragizer

    Duragizer Jedi Master star 4

    Registered:
    Apr 23, 2009
    ...
     
    Last edited: Sep 25, 2019
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  11. NYCitygurl

    NYCitygurl Manager Emeritus star 9 VIP - Former Mod/RSA

    Registered:
    Jul 20, 2002
    What a terrible babysitter :p And very interesting -- it appears that he's retained some of his origins. I wonder how the Kents will explain this ...
     
  12. Duragizer

    Duragizer Jedi Master star 4

    Registered:
    Apr 23, 2009
    EXT. SMALLVILLE — BYRNE ELEMENTARY SCHOOL — DAY

    We have jumped forward to 1919. Clark is now five years of age and today is his first day of kindergarten. Entering the school grounds, his hand in Martha's, the young boy takes in the sight of the low brick building and all the children of various ages milling about it.

    MARTHA: Here we are, Clark — your first day at school. (looks down at Clark) How do you feel?

    CLARK: (looks up at Martha) Why can't I stay home, Ma? Why can't you and Pa teach me?

    MARTHA: Because all the work we have to do on the farm keeps us busy, dearheart; we don't have the time to teach you.

    CLARK: Can't you stop working on the farm awhile?

    MARTHA: That'd be nice, Clark, but no. If we don't work, we can't pay for food and clothing. Then you'd go cold and hungry.

    Taking his eyes off Martha, Clark looks out at all the children roaming about.

    CLARK: There's so many boys and girls, Ma. What if they don't like me? (hugs Martha's leg) I'm scared. I don't wanna go to school.

    Kneeling down, Martha rests her hands on Clark's small shoulders.

    MARTHA: I get scared, too, Clark. I get scared when your pa and I can't make enough money to pay all our bills; I get scared when it's dark and I can't find a light; and I get scared whenever you hurt yourself. But I don't let my fear control me, Clark; I fight it — fight it hard. I fight it until it goes away. (beat) That's what you have to do, Clark — fight the fear until it gets scared of you and lets you alone.

    Letting go of Martha's leg, the boy turns his attention back to the other children.

    CLARK: I'll try, Ma.

    MARTHA: That's my boy.

    The school bell TOLLS. Hearing the reverberations, the kids begin flocking into the school to start their first day of class.

    MARTHA: That's the school bell, Clark. You remember what it means?

    CLARK: To go inside and start class.

    MARTHA: You remember where your classroom is?

    CLARK: Yes.

    MARTHA: That's good. You go now, Clark, and have a good first day. I'll be back later to pick you up after school's over.

    Tentative, Clark takes a step forward. Turning back, he waves goodbye to his mother. After she waves back, he turns away from her and resumes walking, crossing the grass all the way to the front entrance. Once he has slipped inside, Martha smiles. Turning around, she walks away.

    INT. BYRNE ELEMENTARY SCHOOL/CLARK'S CLASSROOM — DAY

    All the children have gathered inside and are seated at their tables. Standing at the head of the class, dressed in a gray-brown suit and a pair of thick-framed, square glasses, is MISS MAGGIN, a forty-something woman with graying brown hair and an immovable rictus grin for a smile.

    MISS MAGGIN: (unnaturally enthusiastic) Hello, everyone! I'm Miss Maggin, your kindergarten teacher! This is your first day in school, and I know you're not used to being away from home yet! I promise, though, that in time you'll get used to coming to class and you'll all learn to have fun while you're here! (beat) Does anyone have any questions?

    Had there been any crickets hiding in the classroom, they would’ve burst into song at that moment.

    MISS MAGGIN: (cont'd) No questions? No questions at all? (beat) Alright — okay! That's just fine! It probably means you're all excited to get to know one another and start learning! (claps hands briskly) Everyone get up, move from your tables, and pair up with a friend or two! Find a place to get comfortable and tell each other your names, what your mamas and papas do, what your favourite colours are — whatever comes to mind! Share and learn! Share and learn!

    Under Miss Maggin's compulsion, the kids rise from their tables and begin pairing up. Clark, a little more reticent than his classmates, chooses to remain seated while the others spread out within the room. Noticing Clark just sitting there, PETER ROSS — a freckled boy with light blond hair — approaches him.

    PETE: Hi, my name's Pete. What's yours?

    CLARK: Clark.

    PETE: My dad owns a creamed corn factory; he makes a lot of creamed corn and packs it up in hundreds of tin cans. What does your dad do?

    CLARK: My pa's a farmer and so's my ma. We've got cows and chickens and wheat and tomatoes and beans and corn, too.

    PETE: Maybe my dad gets his corn from your dad.

    CLARK: Maybe.

    PETE: What's your favourite colour, Clark? Mine's green.

    CLARK: Red's my favourite. (beat) No, blue. (frowns) Maybe yellow?

    Pete just stands there, staring at Clark. Clark goes silent, freezing up. Then, from out of the blue, Pete begins LAUGHING, guffawing uproariously. The tension broken, Clark LAUGHS right alongside him. Laughing like a pair of hyenas, tears begin running down their faces as everyone else in the room turns to regard them as if they were the strangest two young boys on Earth.

    EXT. SMALLVILLE — BYRNE ELEMENTARY SCHOOL — PLAYGROUND — DAY

    Some time has passed and the kids of Miss Maggin's class have been let out for recess. Walking together, Clark and Pete make their way to the swing set. As they near the swings, they find BRAD WILSON, WHITNEY FORDMAN, and JASON TEAGUE — all in the first and second grade — surrounding and picking on KENNY BRAVERMAN, a small black boy from their class.

    BRAD WILSON: How's your first day in school, boy? Learn anything yet?

    WHITNEY FORDMAN: Yeah — you learn where your jungle is on the map, *****?

    KENNY: (stammering) P-p-please — lemme alone! I didn't do anything to you!

    JASON TEAGUE: You don't belong here. This is a normal school for normal kids.

    BRAD WILSON: Get outta here!

    Lunging forward, Whitney shoves Kenny, knocking him to his stomach. Stooping down, he places a hand on the back of Kenny's head and begins pushing his face into the earth.

    WHITNEY FORDMAN: Eat it, ******! Eat the dirt you're made of!

    As the older kids heap abuse on Kenny, Clark and Pete stand there, frozen, unsure of what to do.

    PETE: Maybe we should help him.

    CLARK: I don't know….

    As the two five-year-olds ponder on what to do, LANA LANG — a cute girl with bright red hair who is also from their class — strides up to the bullies, an expression of angry indignation creasing her round face.

    LANA: You let him alone, you meanies!

    Grabbing Whitney's collar, Lana pulls back, trying to yank him off Kenny. Grabbing her collar, Brad easily pulls Lana away from his friend. Flailing her clenched fists about in the air, Lana tries connecting with the punk's nasty face without success.

    LANA: I'm telling on you!

    BRAD WILSON: G'wan, carrot-top — beat it!

    Grabbing Lana by the face, Brad pushes her back. Sprawling, she falls to the earth. Finally deciding that enough is enough, Clark leaves Pete's side. Clenching his fists and holding his head high, he approaches the three bullies and their victim.

    CLARK: Let him alone!

    Nearing Whitney, Clark shoves him, calling up all the strength available to his small body to knock the larger boy off the black boy. Unprepared for the attack, the bully is pushed over on his side.

    WHITNEY FORDMAN: Hey!

    Offering his hand to Kenny, Clark helps him to his feet. Positioning himself in from of the smaller boy, he acts as a shield between Kenny and the three bullies.

    CLARK: (points at Brad) If you don't let him alone, I'm going to tell Miss Maggin about you.

    BRAD WILSON: (mocking) Ooh, you're gonna tell Miss Maggin about us! (sneers) Go ahead, ******-lover — tell her.

    Brad violently grabs the front of Clark's shirt. Baring his teeth, Clark slaps the rude hand off him.

    CLARK: Don't touch me again!

    As one, the three older boys crowd in on Clark, prepared to beat the living tar out of the defiant kindergartener. Before tensions can escalate that far, one of the school teachers appears on the scene.

    TEACHER: (approaches children) What's going on here‽ What are you boys up to‽

    The trio backs away from Clark and Kenny.

    JASON TEAGUE: (grins) Nothin’. We's just playin’ with the new kids.

    BRAD WILSON: Yeah, we's just playin’. (narrows eyes at Clark) Ain't that right?

    Clark stares bullets at the older boy, not speaking a word.

    TEACHER: Play or no, there'll be no rough housing on this playground. Do I make myself understood?

    BRAD WILSON: (eyes on Clark) Yes.

    Satisfied, the teacher departs. Once the instructor is out of earshot, the first boy looms menacingly over Clark.

    BRAD WILSON: (pokes Clark in chest) You and your **** get a pass this time, runt. Next time, we'll pummel you both into ground chuck.

    At that, the three older boys move off. Once they're gone, Clark turns to Kenny.

    CLARK: You okay?

    KENNY: Yeah. Thanks.

    CLARK: What's your name?

    KENNY: Kenny — Kenny Braverman.

    Moving in, Pete and Lana join Clark and Kenny.

    PETE: It's super how you stood up to them, Clark! I wish I was as brave as you!

    LANA: (hugs Clark) I like you! You can be my boyfriend!

    The amount of attention and affection proving to be too much for him to handle, Clark blushes.

    INT. TRUCK/CAB — DAY

    Hours later, Clark sits in the passenger side of the family Model T as Martha drives them back home.

    MARTHA: Did you have a good day at school today, Clark?

    CLARK: Yeah.

    MARTHA: Did you make any friends?

    CLARK: Three. First was Pete Ross. His pa owns a creamed corn factory.

    MARTHA: Uh-huh. Your pa and I have met Mr. Ross.

    CLARK: (cont'd) Then there's Lana Lang. She's a girl. She has lovely red hair.

    MARTHA: (smiles) She's Hel's niece. You remember Helen.

    CLARK: Uh-huh. (beat) Then there's Kenny Braverman.

    MARTHA: Braverman? I don't recognize the name. His family must be new in town.

    CLARK: Ma ...

    MARTHA: Yes, Clark?

    CLARK: What's "******" mean?

    MARTHA: (faces Clark) It’s what some people call Negroes.

    CLARK: Is it a bad word?

    MARTHA: Yes.

    CLARK: Some big kids called Kenny that. They were picking on him, shoving his face in the dirt. Why were they doing that?

    MARTHA: Well, Clark, some people don’t like Negroes.

    CLARK: Why don’t they like them?

    MARTHA: I suppose it’s because they don't understand them. Too many people are afraid of what they don't understand.

    CLARK: If they understood them...?

    MARTHA: They’d see them as God’s children, created in His image, just as they are.

    CLARK: The boys who were being mean to Kenny — could they learn to understand Negroes?

    MARTHA: It's hard for people to change, Clark, but not impossible. They'd have to want to change first.

    CLARK: How can you make a person want to change?

    MARTHA: The best you can do is provide a good example and hope they follow it. If you do good things for good reasons, those boys might think about why you're doing them. If they think long and think hard on them, they may come around to your point of view.

    CLARK: So if I show those kids that Negroes are good, they'll learn they're good?

    MARTHA: (smiles) Something like that, honey.

    INT. BYRNE ELEMENTARY SCHOOL/CLARK'S CLASSROOM — DAY

    A number of months later, Clark sits at his table in his classroom. Strangely enough, only about half of Miss Maggin’s students are present today, with only one other child sharing Clark’s table: Kenny.

    CLARK: (to Kenny) Where is everybody? I haven’t seen Pete or Lana in days.

    Kenny, his eyes red, looking as sick as the proverbial dog, coughs violently in Clark’s face, spraying droplets of saliva in the other boy’s eyes.

    CLARK: (disgusted) Yuck!

    KENNY: (runs hand across runny nose) Sorry, Clark.

    Hearing Kenny’s coughing, Miss Maggin marches straight up to their table, an expression of concern worn across her face.

    MISS MAGGIN: Kenny, are you feeling alright?

    KENNY: Not very, ma’am.

    MISS MAGGIN: (sighs) I’m going to give your father a call to come over and take you home. There’s no sense in you being here sick as you are.

    KENNY: (horrified) Oh, no, ma’am! Please! I’m not that sick — not really!

    MISS MAGGIN: Nonsense! You’ve come down with measles, child, and I’ll not have you stay in this class one minute longer than necessary!

    Turning on her heels, Miss Maggin promptly marches off in search of a telephone. Despondent, Kenny lowers his head to the table, hiding his face in his arms.

    CLARK: Oh, c’mon, Kenny. It’s not that bad.

    KENNY: You don’t know my daddy, Clark.

    INT. KENT HOME/LIVING ROOM — DAY

    Jonathan is seated in his armchair, feet propped up on a footstool, reading through a pulp magazine when Clark and Martha enter the room.

    JONATHAN: (faces Clark) Have a good day in school today, son?

    CLARK: It was okay, I guess. (beat) There weren’t many kids in class today and Kenny got sent home early; he wasn’t feeling very good. (grimaces) He coughed on me.

    JONATHAN: (frowns) He coughed on you?

    CLARK: Right in my face.

    JONATHAN: Go wash up.

    CLARK: I feel fine, Pa.

    JONATHAN: Doesn’t matter. Go wash your face and don’t forget to use soap.

    Shrugging, Clark leaves the living room in search of a sink. Martha takes a seat across from her husband.

    MARTHA: It’s measles; most of the children have come down with it. (beat) I hope Clark doesn’t get sick.

    A moment of silence passes between them.

    JONATHAN: Has Clark ever been sick, Martha?

    MARTHA: Hmm?

    JONATHAN: Really, Martha, think. In the six years Clark’s been with us, have you ever seen him come down with a fever, a cough, a single, solitary sniffle?

    MARTHA: (frowns) Of course I have!

    JONATHAN: Name a time.

    MARTHA: Well, I … I ...

    JONATHAN: Remember last November, when we were both struck down with the flu? We were so sick we couldn’t care for Clark at all; we had to leave him with your brother, Kendall, ‘til we got over it. Clark, though, he remained chipper as a jaybird. Then there was the March before, when Curt got chicken pox. He surely should have caught it from him; he didn’t.

    MARTHA: He’s been lucky, that’s all.

    JONATHAN: (skeptical) Mayhap….

    MARTHA: Jonathan Kent, what are you saying? That our boy can’t ever get sick‽

    JONATHAN: I’m not saying anything. (beat) It’s just queer — damned queer.
     
    Last edited: Mar 27, 2019
  13. NYCitygurl

    NYCitygurl Manager Emeritus star 9 VIP - Former Mod/RSA

    Registered:
    Jul 20, 2002
    Aww, it's nice to see Clark making friends!!
     
  14. Mira_Jade

    Mira_Jade The Fanfic Manager With The Cape star 5 Staff Member Manager

    Registered:
    Jun 29, 2004
    Mrs Kent is a wise lady, that's for sure! It's easy to see where Clark's good, just foundation stems from. [face_love] While I was glad to see that he was making friends here - Lana is, as ever, adorable, and my heart went out to Kenny - it's sad that he had a wallop like that during his first day at school. It's nice to see his 'justice-sense' already tingling, though. I am already eager for more. =D=
     
  15. Duragizer

    Duragizer Jedi Master star 4

    Registered:
    Apr 23, 2009
    ...
     
    Last edited: Mar 27, 2019
  16. NYCitygurl

    NYCitygurl Manager Emeritus star 9 VIP - Former Mod/RSA

    Registered:
    Jul 20, 2002
    Though quite lucky for Clark, really :p
     
  17. Duragizer

    Duragizer Jedi Master star 4

    Registered:
    Apr 23, 2009
    EXT. LANG HOME/FRONT YARD — DAY

    We have jumped forward to 1923. Clark and Pete, now in the third grade, ride their bicycles down a gravel driveway to the home of Lana Lang and her parents. Clark has with him a catcher’s mitt while Pete carries a sheathed baseball bat slung across his back. Pulling up to the front steps of the house, they climb off their bikes and go to the front door. Leaning forward, Pete gives the door six solid RAPS with his fist. A stocky man with receding blond hair and a pencil thin mustache answers the door.

    PETE: Hi, Mr. Lang.

    LEWIS LANG: Boys. What can I do for you?

    CLARK: We’re going to the school yard to play some baseball.

    PETE: And we need a ball. Can Lana go grab hers and come play with us?

    LEWIS LANG: Sorry, boys. Lana’s not here.

    CLARK: She isn’t?

    LEWIS LANG: She left with the Braverman boy fourteen-odd minutes ago.

    PETE: You know where they were off to, Mr. Lang?

    Lana’s father shakes his head.

    CLARK: Dang….

    EXT. RURAL ROAD — DAY

    Clark and Pete are making their way back from the Lang home along a long, empty stretch of open road when Lana, on her own bicycle, comes toward them from the opposite direction.

    LANA: (raises arm) Guys!

    The boys hit the breaks as Lana pulls up alongside them.

    PETE: (annoyed) We were supposed to play ball today!

    LANA: Kenny found this swell place! You’ve gotta come see it!

    CLARK: What place?

    LANA: C’mon, follow me.

    Putting the pedal to the metal, Lana turns around and goes back the way she came. Exchanging short glances, Pete and Clark quickly follow along after her.

    EXT. FOREST — TRAIL — DAY

    The two boys and girl ride their bikes along a narrow dirt trail surrounded on both sides by tall trees. Lana soon comes to a stop. Hopping off her bike, she deposits it off to the side of the trail and heads into the trees.

    LANA: It’s not much farther now.

    EXT. FOREST — CLEARING — DAY

    The three children soon emerge from the trees into a small clearing. In the centre of the clearing is a small decrepit shack and the rusting remnants of a moonshine operation. As Lana leads the two boys through this landscape toward the cabin, they take the sights around them in with awe.

    PETE: Wow. What is this place?

    LANA: Don’t know, but ain’t it the neatest? Kenny found it.

    CLARK: Where’s Kenny at, anyway?

    At that moment, the door on the shack swings forward on it’s rusted, broken hinges with a large SQUEAK. Kenny promptly steps out.

    KENNY: (smiles) Hi, guys! Glad you could make it! (holds up jug) look what I found!

    As the others join Kenny, he hands the jug out to Clark. Taking it, Clark holds it up to the sunlight so as to get a better look at the contents nestled inside the brown glass.

    KENNY: It’s hooch. My grandpappy down in Tennessee made some just like it.

    PETE: What do you use hooch for?

    KENNY: You drink it, dummy.

    Uncorking the jug, Clark brings the spout up to his nose and takes a few short sniffs. As soon as the scent of the liquid hits his nostrils, he cringes.

    CLARK: UGH! It smells real strange.

    KENNY: That’s what it’s _supposed_ to smell like. (beat) Let’s taste it.

    Raising the jug to his lips, Clark takes a sip. He spits it out automatically.

    CLARK: It tastes awful!

    Repulsed, Clark tilts the jug over to pour the moonshine out. Horrified, Kenny reaches out to snatch it from him.

    KENNY: What the hell are you doing‽

    Wrestling with Clark, Kenny manages to pry the jug out of the other boy’s hands. It’s too late, though; the jug is completely empty.

    KENNY: (angry) Goddammit!

    LANA: (shocked) You took the Lord’s name in vain!

    KENNY: Oh, shut up. (hurls jug) That was the only one, too.

    A moment of tense silence passes between the four.

    PETE: So … there’s nobody using this place, is there?

    KENNY: (grumpy) Nobody’s been here in years.

    PETE: Then we should make it our own place. Y’know, our own hangout. (beat) Yeah. All we need to do is clear out the junk, spruce the cabin up a bit, and it’ll be good as gold.

    LANA: Say, that’s not a bad idea.

    Leaving the boys, Lana walks up to a tarnished green copper still lying on its side in the grass. Taking its handles, she begins pulling on it; with effort, she slowly begins dragging it to the edge of the clearing. Deciding to help her out, the boys join her, each adding their weight and strength to the endeavour to get it out of the way.

    EXT. FOREST — CLEARING — MONTAGE

    Over the next couple weeks, Clark, Lana, Pete, and Kenny return to the clearing to work on converting the disused hooch station into their own private hangout. Together, they work to clear out the old stills and other distilling equipment while trying — with limited effect — to shore up the sagging walls of the shack.

    As the long days of work finally come to an end, Clark takes a sign that he has made and hammers it down in the earth in front of the cabin. Written on the front of the sign in big, bold, black painted letters is “FORTRESS OF SOLITUDE”.

    INT. SHACK — DAY

    Clark, Pete, and Lana sit together in the shack, engaged in conversation.

    LANA: (cont’d) Mama and Daddy actually took me to see a picture show while we were in Salina.

    PETE: (amazed) You actually got to watch a picture show‽

    CLARK: What was it about?

    LANA: It’s about this silly little man with a small mustache who finds an abandoned baby boy and adopts him. They go around town conning people — the boy breaks their windows and the man charges them for repairs, y’see — until the police catch up to them and separate them before they’re finally reunited. They even meet the boy’s mother at the end. (beat) It’s the funniest thing I’ve ever seen in my life!

    CLARK: I’ve always wanted Ma and Pa to take me to see a movie, but Salina’s too far out of the way for us. (sighs) I wish Smallville had its own movie house.

    LANA: Oh, we’ll get one eventually — by 1978, therabouts.

    PETE: We’ll be old men by then!

    LANA: (cocks eyebrow) Not me.

    CLARK: “I”.

    LANA: Huh?

    CLARK: The pronoun you’re looking for is “I”, not “me”. You should’ve said “Not I”.

    LANA: Well hello, Mr. Fancy Pants English Professor! I bet you don’t even know what “pronoun” means.

    CLARK: (smirks) A pronoun is a word that substitutes for a noun.

    LANA: You think you’re so smart, don’t you, Clark?

    Clark just shrugs, the hint of a smug smile worn at the corners of his mouth. Lana sticks her tongue out at him.

    At that exact moment, the shack door creaks open and Kenny steps inside. Moving gingerly, he closes the door and crosses over to the opposite end of the shack, away from the others. Sitting down, we can see he wears a large bruise over the left side of his morose face.

    LANA: (concerned) Gosh, Kenny — what happened to your face?

    KENNY: (turns bruised side of face away from them) Just had an accident, that’s all. It’s nothin’ to talk about.

    Though the three other children have a pretty good idea where Kenny’s bruises came from — that they aren’t just the result of an unfortunate accident — they choose to ignore the elephant in the room, at least for now.

    CUT TO

    The kids in the shack sometime later.

    Clark, Pete, and Lana are currently engaged in a game of strip poker. While Lana has lost only her shoes and socks, Clark has lost his shirt and Pete is down to his underpants. Kenny, having chosen not to play, sits off to the side watching them.

    PETE: (frowns) Why did we agree to play this dumb game?

    The kids hear a commotion outside the shack.

    PETE: There’s somebody outside!

    Abandoning their game, the kids hurry to redress.

    EXT. FOREST — CLEARING — DAY

    There are indeed visitors to the kids’ Fortress of Solitude: Brad Wilson, Whitney Fordman, and Jason Teague, older than when we saw them last. Taking no care to watch where he's going, Whitney trips over one of the old stills that was dragged away to the edge of the clearing and nearly topples over it.

    WHITNEY FORDMAN: Son of a goddamn —!

    Grinning like the Cheshire Cat, Jason gives Whitney a solid kick in the ass. Enraged, Whitney turns on the other boy and shoves him hard to the ground. Before they can get into a committed scuffle, Brad breaks them up.

    BRAD WILSON: Cut it out, dingbats.

    INT. SHACK — DAY

    Having opened the door a crack, Pete peers out.

    PETE: Aw, great — it’s the Three Assketeers!

    Pete quickly shuts the door and leans his back up against it, bracing it shut.

    PETE: (cont’d) What are we gonna do? They’re gonna run us out of here! I just know it!

    LANA: They can’t do that!

    PETE: Go ahead, tell ‘em that. See how generous they are.

    CLARK: This is our fortress; I’m not gonna let them just steal it from us.

    KENNY: They’re bigger and stronger than all of us put together, Clark. We can’t beat them.

    CLARK: C’mon, they’re gonna find us in here sooner or later; may as well make it sooner.

    Pushing Pete out of the way, Clark pulls the door wide open and steps outside.

    EXT. FOREST — CLEARING — DAY

    As the Three Assketeers make their way into the centre of the clearing, Clark appears before them. Noticing the younger, smaller boy, they come to a halt.

    JASON TEAGUE: Well, well, well — if it ain’t liddle widdle Clarkie.

    BRAD WILSON: You by your lonesome, Kent, or is the rest of the sissies with you?

    Slowly yet surely, the others step out of the shack, joining Clark.

    JASON TEAGUE: (chuckles) Nice bruise you have there, Braverman. I hardly noticed it under your black skin!

    Kenny recoils, almost disappearing back inside the shed.

    WHITNEY FORDMAN: G’wan, twerps, get out of here! This place is ours!

    LANA: (angry) We were here first!

    CLARK: We spent weeks cleaning this place up! It’s ours by right!

    BRAD WILSON: (to Whitney & Jason) Listen to the runts…. (to third graders) Listen, you clear out — and I mean right now — and I don’t send you home in pine boxes, alright? Now go.

    Leaving his friends, Clark walks right up to Brad. Looking up at the taller boy, he locks gazes with him.

    CLARK: Look, I know I can’t fight you; you’d easily kick my can, okay? So how about we compromise?

    JASON TEAGUE: (puzzled) Compromise?

    CLARK: Yeah, we reach a middle ground — you get some of what you want, we get some of what we want. (beat) How about this: You guys can have the place on Mondays, Wednesdays, and Fridays, and we’ll get it Tuesdays, Thursdays, and Saturdays.

    WHITNEY FORDMAN: What about Sundays?

    CLARK: Each Sunday, we’ll flip a coin. Best three out of four wins. (beat) So what do you think? Can we make that work?

    Looming in close, Brad seizes the front of Clark’s shirt in his strong hands.

    BRAD WILSON: What I think is I’m gonna enjoy feeding you my knuckles, you little turd.

    Brad then punches Clark in the gut — hard. Doubling over, Clark doesn’t even have time to register the blow before the larger boy delivers another — this one right to the face. As teeth fly and blood sprays through the air, Clark goes down.

    BRAD WILSON: (points at Lana, Pete, & Kenny) This shack is ours — Monday, Tuesday, Wednesday, Thursday, Friday, Saturday, and Sunday — got it? Now pick this ninety-pound weakling up and get the hell outta here before you get the same.

    Sitting up, Clark puts a hand up to his split lip and bleeding nose. Eyes aflame with hatred, he stares daggers at Brad.

    INT. KENT HOME/LIVING ROOM — DAY

    Jonathan and Martha are engaged in a game of chess when they hear the front door thrown open and Clark storm in. Turning their attention away from the board, they see Clark — lip swollen, cheek bruised, and frown as deep and dark as a moonless midnight — stomp off to his bedroom.

    INT. KENT HOME/CLARK’S BEDROOM — DAY

    Entering the bedroom, brimming with rage, Clark throws himself face-down atop his bed. Burying his face in his pillow, he finally allows himself to cry.
     
    Last edited: Mar 27, 2019
  18. Duragizer

    Duragizer Jedi Master star 4

    Registered:
    Apr 23, 2009
    ...
     
    Last edited: Mar 27, 2019
  19. Duragizer

    Duragizer Jedi Master star 4

    Registered:
    Apr 23, 2009
    EXT. ROAD — PASTURE — DAY

    Some number of weeks have passed and Jonathan is currently behind the wheel of the Model T, driving out into town alongside a large pasture. Just as he rounds a curve, he spies Clark — returning from one of his jaunts with his friends — crawl under the fence enclosing the pasture and take off into a run through the long grass. Hitting the brakes, Jonathan leans over and puts his head out the passenger side window.

    JONATHAN: Clark!

    Running remarkably fast for a boy of his short stature, Clark is already out of earshot of Jonathan’s cries. Returning to the wheel, he hits the gas and makes a U-turn.

    JONATHAN: Clark!

    Hearing Jonathan for the first time, Clark halts in mid-stride and turns around.

    JONATHAN: Clark, I’ve told you before — don’t cut across old man McCulloch’s pasture!

    CLARK: But Pa —

    JONATHAN: No “but pa’s” from you, boy. McCulloch’s prize bull is likely to be out and about this time of day. Now come here; I’ll drive you home.

    Jonathan hits the breaks, waiting for Clark to obey him. Sighing loudly, Clark throws his arms up in resignation and begins making the trek over to the side of the road where Jonathan is waiting. Unfortunately, it is at that very moment McCulloch’s prize bull makes its appearance. Noticing the small intruder in its pasture, the ornery ungulate breaks out into a full charge towards Clark.

    JONATHAN: (mortified) Clark!

    Jumping out of the truck, Jonathan hops the fence in a mad dash to save his son, but he is too far away and too late. As the bull comes upon Clark, the boy can’t even so much as turn around as the animal brings its hooves down on his small back, driving him hard into the ground before finally trampling him underfoot.

    JONATHAN: (screaming) No!

    As the bull disappears into the distance, Jonathan runs up to Clark, tears streaming from his eyes. He is fully expecting to see Clark crushed and bloody, on his way to death’s door if he isn’t there already. Remarkably, Clark is alive, conscious, and completely unharmed. His hair is mussed, his skin dirty, his clothes torn, and an expression of absolute shock etched into the features of his face, but physically, there isn’t a single scratch on him.

    CLARK: (terrified) P-pa‽

    JONATHAN: Cl-Clark? (beat) You’re … you’re alright?

    Dropping to his knees, Jonathan scoops Clark up into his arms. Hugging the boy close to him, he begins WEEPING with extreme joy.

    JONATHAN: Oh God! Oh thank you, God!

    INT. TRUCK/CAB — DAY

    Jonathan and Clark are now in the truck, headed back home.

    JONATHAN: Son, what happened in McCulloch’s pasture … we’re gonna keep that between us for right now, alright?

    CLARK: We’re not gonna tell Ma?

    JONATHAN: I’ll tell her, son … but only when the time’s right. Right now … the time’s just not right. You understand?

    CLARK: No….

    Reaching over, Jonathan rests his hand on Clark’s shoulder and gives it a short rub.

    JONATHAN: (half-smiles) It’s alright, son. It’s alright….

    EXT. KENT FARM — KENT HOME — DAY

    Pulling up beside the Kent home, Jonathan and Clark get out of the truck and head up the front steps. Martha, who has been sitting out on the front porch reading a novel, leaps up out of her seat when she sees the condition Clark’s in.

    MARTHA: (shocked) Land’s sake, Clark! What happened to you‽

    Crossing over to her young son, she begins feeling him over for injuries.

    JONATHAN: He just got into a little rough housing with the other children.

    MARTHA: (nonplussed) A little rough housing‽

    JONATHAN: (shrugs) Boys will be boys.

    MARTHA: (to Clark) I don’t see or feel any injuries. Do you hurt anywhere, Clark?

    CLARK: I feel fine, Ma.

    MARTHA: Alright. (beat) Head on inside. You need to get out of those clothes and into a hot bath right away.

    Obeying, Clark heads on inside the house. Exchanging one, short, questioning glance with Jonathan, she follows in after him.

    INT. BARN/STORAGE AREA — DAY

    The next day, Clark enters the barn. Pulling one of the big wooden doors open as far his small frame will allow, he slips inside. Taking one quick glance outside to see if anyone noticed him, he then pulls the door closed. Stepping deeper inside the barn, past the tractor and a pile of wooden boxes, Clark comes to the ladder which leads to the loft above. Looking up, he nervously wipes his sweaty hands off on his pants and takes hold of the rungs. Cautiously ascending the wooden ladder, he looks down upon reaching the midway point — and immediately regrets it.

    CLARK: (closes eyes) Don’t look down. Don’t look down….

    Fighting his fear of heights, Clark resumes the climb and in short order reaches the top.

    INT. BARN/LOFT — DAY

    Stepping onto the loft, he looks down; the distance between him and the ground floor is great enough to make the boy swoon. Walking backward, Clark works his way to the back of the loft.

    CLARK: I can do this. I can do this. I have to do this. I have to know.

    Tensing his muscles, gritting his teeth, young Clark takes off in a sprint. Crossing the length of the loft in seconds, the boy launches himself off.

    INT. BARN/STORAGE AREA — DAY

    Thrown clear into the air, gravity takes hold and Clark plummets — plummets straight down, hits the tractor, caroms off, and crashes hard into the pile of boxes. Completely unharmed, Clark picks himself up. Dusting his clothes off, he looks himself over.

    That’s when a fiendish grin comes to his face.
     
    Last edited: Mar 27, 2019
  20. Mira_Jade

    Mira_Jade The Fanfic Manager With The Cape star 5 Staff Member Manager

    Registered:
    Jun 29, 2004
    These updates have been fantastic - a really great look at Clark growing up. I particularly liked their Fortress of Solitude, and Clark vs. the bull. =D=
     
  21. Duragizer

    Duragizer Jedi Master star 4

    Registered:
    Apr 23, 2009
    EXT. STREAM — DAY

    Lana, Pete, and Kenny sit by the edge of a stream. While Pete tries catching some fish using a piece of string tied to the end of a stick, Lana lazily tosses pebbles into the water while Kenny chews at his knuckles. All three are bored out of their ever-loving minds.

    Riding on his bike, Clark pulls up beside his friends.

    CLARK: Hey, guys! How’s tricks?

    LANA: Tricks is bored. (tosses two pebbles in quick succession into stream) Very, very bored.

    CLARK: Really? I’ve found this place we can go. It’s bound to be fun.

    PETE: What place?

    CLARK: I’ll take you there. First, we need to collect some rocks.

    LANA: What for?

    CLARK: (grins) You’ll see. (beat) C’mon.

    Shrugging, the three kids abandon their meagre activities and join Clark in his rock hunt.

    EXT. FOREST — TRAIL — DAY

    Clark and the others ride along the trail on their bikes, pant and shirt pockets laden with as many stones as they can carry.

    LANA: (apprehensive) Where are we going, Clark?

    CLARK: I told you — you’ll know when we get there.

    LANA: But this trail takes us —

    CLARK: (interrupts) Hush up!

    Resigned, Lana hushes up. They continue along their route in silence.

    EXT. FOREST — CLEARING — DAY

    Reaching their destination, Clark hops off his bike. There before them stands the weathered shack they once called home away from home.

    PETE: Why’d you take us here for?

    KENNY: Yeah, what’s the story?

    CLARK: (frowns) We’re here for compensation.

    PETE: Compensation? What‽

    Guiding his bike alongside him, Clark approaches the shack with single-minded purpose. Stopping some distance away from the decrepit building, he reaches into a pocket and pulls out some rocks. Pulling his arm back, he then hurls the rocks at the wooden shack, each one scoring a direct hit with a solid THWACK.

    CLARK: Hey, you in there — open up!

    Brad, Whitney, and Jason quickly come out.

    JASON TEAGUE: (pulls blade of straw out of mouth) Well, well, well — if it ain’t the Four Musketeers.

    BRAD WILSON: What are you stains doing back here? We told you never to come around no more.

    CLARK: That’s “anymore”, you dunce!

    BRAD WILSON: (sneers) What was that word you called me, pipsqueak?

    CLARK: A dunce, Brad. It’s not too big a word; it means the same as birdbrain, bimbo, oaf, and idiot.

    BRAD WILSON: (points at Clark) I’m gonna feed you your tongue!

    CLARK: Watch the birdie!

    Fishing out another rock, Clark lets it fly. Whistling through the air, it hits Brad hard in the face, right in the cheekbone.

    BRAD WILSON: ARGH! (clutches face) I’ll kill you! I’ll kill you to death!

    CLARK: (hops on bike) Let's blouse!

    Clark takes off on his bike and his friends follow suit. Crossing to their own bikes, the three bullies hop on and begin the chase.

    EXT. RURAL ROAD — DAY

    Emerging from the woods, the four youngsters come out onto the open road, pedalling as hard as they can to get away from the Three Assketeers. The three older bullies soon emerge from the trees behind them. Clark hits the brakes, skidding to a stop.

    LANA: (mortified) Clark!

    CLARK: (waves them away) Go! Keep pedalling!

    Bewildered, Lana, Kenny, and Pete take their friend’s advice and keep on pedalling, leaving Clark behind to face the Assketeers alone.

    Coming upon Clark, the three older boys surround him, trapping him in a circle.

    CLARK: (waves at them; smiles) Hey there, gang!

    Jumping off their bikes, the three move in on Clark. Roughly taking Clark by the front of his shirt, Whitney pulls him from his bike.

    BRAD WILSON: (enraged) Over there!

    As Jason goes to work on Clark’s bike, stomping on, throwing, and kicking it, Whitney and Brad take the kid over to the side of the road.

    BRAD WILSON: You’re in for a world of hurt!

    As Whitney holds Clark firmly in place, Brad clenches his fists and drives a hard uppercut into Clark’s gut. Clark doesn’t even flinch from the blow.

    CLARK: (smirks) I couldn’t quite feel that. May I have another?

    Frowning, Brad punches Clark in the gut again.

    CLARK: I’m sorry. One more ought to hit the spot.

    Uttering a low GROWL, Brad punches Clark in the face — a roundhouse punch from the left; then the right; then an uppercut into the chin. When none of those result in so much as a whimper, Brad finally goes and knees Clark in the groin.

    CLARK: (grins) Is that the best you have?

    Clark throws his head back, bashing Whitney’s nose in. Blood spurting from his broken nose, Whitney lets go of Clark and drops to his knees, crying out in agony. Turning on Brad, Clark leaps onto him, tackling the larger boy to the ground.

    JASON TEAGUE: Hey!

    Leaving Clark’s dented bicycle, Jason rushes to Brad’s aid. Clark sees him coming and spins around just in time to deliver a solid kick to Jason’s chin which sends him over backwards, knocked senseless.

    BRAD WILSON: (horrified) What the hell are you‽

    CLARK: (sneers) A ninety-pound weakling, remember?

    Clark then punches Brad in the face, knocking his head back.

    CLARK: (cont’d) Remember that, Brad? Remember‽

    Clark punches him again.

    CLARK: (enraged) Then remember this: You’re not gonna bully me again; (punches Brad) you’re not gonna bully my friends again; (punches Brad) you’re not going to tease us; you’re not going to taunt us; (punches Brad) you’re not going to call us names like weakling or twerp or carrot-top or ******; (punches Brad twice) you’re not going to take our fortress, which we cleaned up, which we put together, and drive us out; (punches Brad) and you’re not going to hurt us — never, ever, ever again!

    As Clark prepares to deliver the final blow, a large adult hand reaches out and seizes his arm in a tight grip, stopping him. Clark turns around. Standing over him, shock and disgust evident on his face, is Jonathan.

    CLARK: (surprised) Pa!

    The assault at an end, Brad — face stained with his own bright red blood and running tears — gets the hell out of Dodge, BAWLING as he takes off in a dead run for somewhere — anywhere — where Clark won’t find him.

    Angry, Jonathan drags Clark over to the Model T. Flinging the side door open, he pushes his son inside.

    INT. TRUCK/CAB — DAY

    Jonathan sits behind the wheel, a deep frown fixed on his face as he drives along the rural road. Clark sits beside him, arms crossed over his chest, a deep scowl worn on his own face.

    CLARK: I hate Brad Wilson.

    JONATHAN: You must. Otherwise you wouldn’t have turned his face into ground chuck.

    CLARK: He threw the first punch, Pa! He took our fortress from us! He’s big —!

    JONATHAN: (interrupts) And you’re invulnerable, Clark; you can’t get hurt. You have to take responsibility for your power; you can’t abuse it.

    CLARK: You want me to be a loser and a wimp.

    JONATHAN: No, son, I don’t. I want you to use your head instead of your fists.

    CLARK: A man stands up for himself.

    JONATHAN: Know all about bein’ a man, huh? Does a man hurt people weaker than himself? (beat) Well, boy, does he?

    Clark doesn’t answer; his chance to is cut off when Rose Greer dashes out into the road, right in front of the truck.

    JONATHAN: (surprised) Holy!

    EXT. RURAL ROAD — DAY

    Jonathan hits the brakes just in time to avoid a collision. Rose wastes no time crossing over to Jonathan’s side of the vehicle, panic clearly etched across her face.

    ROSE GREER: (panicked) Oh God, Jonathan! You have to help me! Please — help!

    JONATHAN: (climbs out of truck) Rose! What’s wrong‽

    ROSE GREER: The house, Jonathan! It’s the house! The house is on fire and Bud’s trapped! Bud’s trapped inside and I can’t get him out!

    Looking into the fields beside the road, Jonathan sees a two-storey house situated in the distance; it is ablaze, a trail of dark gray smoke billowing straight up from it into the clear sky.

    JONATHAN: Jesus. (beat) Stay here, Rose. Watch Clark.

    Jonathan takes off in a dash for the burning house, leaving Rose and Clark by the truck.

    INT. GREER HOME/ENTRANCE HALL — DAY

    Bursting through the front door, Jonathan finds the air heavy with smoke. Instantly assaulted by the miasma, Jonathan pulls out a handkerchief and holds it over his mouth and nose.

    JONATHAN: Bud! Bud, where the hell are you‽

    A WAIL of anguish comes down the stairs from the second storey, where the fire is burning its worst.

    JONATHAN: Just hold on, Bud! I’m coming!

    Crossing to the stairs, Jonathan dashes up the steps.

    INT. GREER HOME/BEDROOM — DAY

    Passing through the licking orange flames and greasy smoke, Jonathan steps inside the Greer bedroom. Inside, struggling upon the floor, is Bud Greer. The inferno having compromised its structural integrity, the roof on this side of the house has caved in; a wooden beam lies across Bud’s legs, pinning him to the floor.

    BUD GREER: (panicked) Lord help me! AAAAHHH!!!

    Coming to Bud’s aid, Jonathan lays his hands upon the beam and tries pulling it up and away from the trapped man.

    JONATHAN: (groans) I can’t budge her, Greer! (beat) I’m gonna try to reach underneath and pull your legs out!

    Jonathan reaches under the beam and takes hold of one of Bud’s legs and begins working to pry it loose. At that very moment, fiery debris rains down in the hall outside the bedroom. In response, Bud grabs Jonathan, pulling him close in desperation.

    BUD GREER: Oh, Jesus! Hurry, Kent! The flames! Please —!

    JONATHAN: (grits teeth) Alright, Bud, you gotta let go….

    BUD GREER: The flames are getting closer!

    JONATHAN: (frustrated) Shut up, Greer!

    Pulling at Bud’s legs, Jonathan finally manages to dislodge them. Pulling the man up onto his feet, Jonathan makes haste for the stairs.

    EXT. GREER HOME/FRONT YARD — DAY

    Rose and Clark have come down the driveway and now stand at a safe distance away from the house. Rose holds Clark’s hand, both worried as the small building is consumed. Jonathan and Bud then finally emerge from the burning wreckage. Moving away from the intense heat, they drop down into the grass — coughing, exhausted, and dirty, but alive.

    CLARK: (concerned) Pa?

    JONATHAN: (coughs) I’m okay, son. (coughs) We’re okay.

    Clark is amazed by his father’s show of selfless heroism.

    CLARK: Wow.
     
    Last edited: Mar 27, 2019
  22. Mira_Jade

    Mira_Jade The Fanfic Manager With The Cape star 5 Staff Member Manager

    Registered:
    Jun 29, 2004
    Oh, Jonathon. My love for him was off the charts here. [face_love] While I understand Clark's need to take care of the bullies, Jonathon was completely right in his pointing out how to properly do it. And it looks like he got a front row seat with how to be a hero with that fire - a very life shaping day for young Clark. [face_thinking]=D=
     
  23. Duragizer

    Duragizer Jedi Master star 4

    Registered:
    Apr 23, 2009
    EXT. KENT FARM — KENT HOME — DAY

    We have jumped forward a year. Jonathan and Clark are now in their front yard, working on repairs to the Model T. A farm jack precariously propping up the rear end of the vehicle, Jonathan lies beneath the vehicle’s undercarriage, working away while Clark sits crouched down low with a toolbox beside him.

    JONATHAN: Alright, hand me the wrench.

    Reaching into the toolbox, Clark fishes around until he finds the wrench and hands it to his father. Opening the front door, Martha steps out onto the porch.

    MARTHA: Time to get yourselves inside and washed up, boys. Supper’s on.

    JONATHAN: (sighs) I guess we’re calling it a night, Clark. (beat) It looks like rain. Pick the tools up and put the box in the cab.

    Collecting the loose tools, Clark takes up the toolbox, crosses to the right side of the truck, and opens the door. That action is enough to pop the jack loose. Registering the imminent danger, Clark reacts automatically; in a blur of motion, he dashes over to the back end of the truck, grabs the underside of the bed, and holds it there in place, preventing the vehicle from collapsing onto Jonathan and crushing him.

    CLARK: Got it, Pa! (pained) Can’t hold it….

    Jonathan scrambles out from beneath the truck, his small son straining to hold up a vehicle the elder Kent couldn’t begin to lift under his own power. Once Jonathan is clear, Clark lets go, allowing the rear of the truck to slam down. Martha just stands there on the porch, flabbergasted.

    INT. KENT HOME/LIVING ROOM — NIGHT

    Jonathan sits on the couch while Martha paces about the room, restless and irate.

    MARTHA: (cont’d) For a whole year you’ve known! Land's sakes alive! A whole year!

    JONATHAN: I was planning on telling you, Martha….

    MARTHA: (stops in mid-stride; faces Jonathan) That date wouldn’t have coincided with Clark’s 18th birthday by any chance, now, would it?

    JONATHAN: What should I have said, Martha? “Honey, a bull trampled our son into the earth this afternoon, but don’t you worry, ‘cause our boy’s a modern age Achilles; he got right back up without so much as a scratch on him.”? (beat) I wanted to give it some time, figure out a way to break the news to you gently, to … to avoid a reaction.

    MARTHA: (taps foot impatiently) What type of reaction?

    JONATHAN: (frowns) This type of reaction, exactly! (beat) I figured on telling you sooner, but I guess the time got away from me….

    Sighing, Martha lets her frustration go. She takes a seat beside her husband on the couch.

    MARTHA: But this is the first time Clark … did this?

    JONATHAN: He certainly wasn’t a Hercules in miniature last year, I can tell you.

    Her features creased with worry, Martha takes Jonathan’s hands in hers.

    MARTHA: First invulnerability, then superhuman strength. By God, Jonathan, what if this is only the beginning? What if Clark develops more abilities? What if he becomes … what is our son going to become?

    JONATHAN: He’ll be our son, Martha, come what may. Trust in that.

    INT. KENT HOME/DINING ROOM — DAY

    We have jumped forward to 1925. Martha sets a plate of scrambled eggs and crisp bacon down on the dining room table as Clark hurries past in single-minded purpose for the front door.

    MARTHA: Where are you going, Clark?

    CLARK: I’m running late, Ma.

    MARTHA: (bemused) You surely have time enough to sit down and —

    In a blink of an eye, Clark is gone — along with the bacon and eggs which had moments before been resting upon the now-cleared plate.

    MARTHA: (cont’d) eat your breakfast. (sighs)

    EXT. MAIN ROAD — DAY

    A motorcyclist rides along the main road into Smallville. As a railway crossing appears ahead, he notices a locomotive bearing down on it, and so decides to put the pedal to the metal to beat it. As the motorcyclist zooms ahead, leaning into the artificial wind, Clark comes up alongside him. Noticing Clark out of the corner of his eye, he does a double take. Though Clark is only riding his mere bicycle, by pedalling at super speed, he’s able to keep pace with the motorcyclist.

    As the two riders close in upon the crossing, Clark puts on an extra bit of speed; like a shot from a gun, he leaves the motorcyclist eating his dust, clearing the track in an instant. By the time the locomotive comes barrelling down the track, forcing the motorcyclist to hit his breaks and wait out the train’s passing, Clark’s already one-eighth of a mile into the distance.

    INT. KENT HOME/CLARK’S BEDROOM — DAY

    We have jumped forward to 1926. Clark is seated at his desk, doing homework, when Jonathan appears in the door.

    JONATHAN: Hey there, Clark.

    CLARK: (faces Jonathan) Hey, Pa. What is it?

    JONATHAN: I was hoping you’d take some time out of your schedule to help your fool pop find his glasses again.

    CLARK: Not a problem. (looks down & squints)

    CLARK’S P.O.V. — LIVING ROOM

    The carpeted floor disappears beneath Clark, affording him a view of the floors on the storey underfoot. Zooming it, he focuses in on the living room couch. The couch cushions themselves grow transparent, revealing Jonathan’s glasses wedged between them.

    INT. KENT HOME/CLARK’S BEDROOM — DAY

    CLARK: They’re inside the couch.

    JONATHAN: Glasses are more trouble than they’re worth, son. Count your blessings you’ll never have to wear the damned things.

    EXT. FOREST — DAY

    We have jumped forward to 1927. Clark is running through the woods, blue-merled Shelby — his four-month-old puppy — tagging along beside him. As they emerge through the trees, they come to the edge of a large, deep ravine. Though Shelby stops in her tracks, Clark takes a running leap clear across the ravine.

    CLARK: Yahoo!

    Landing on the other side, Clark turns to Shelby. The puppy begins BARKING, despondent that she can’t follow her master.

    FADE OUT

    END CREDITS
     
    Last edited: Jun 24, 2019
  24. Mira_Jade

    Mira_Jade The Fanfic Manager With The Cape star 5 Staff Member Manager

    Registered:
    Jun 29, 2004
    I liked the glimpses we had here of Clark learning to use his powers over the years. I particularly liked Martha's reaction. I couldn't blame her a bit - but I loved her and Jonathon's combined love and support in the end. Just beautiful. =D=
     
  25. Duragizer

    Duragizer Jedi Master star 4

    Registered:
    Apr 23, 2009
    Thanks. I think I might have to tweak the part where Clark experiments with his newfound powers a bit, though; something about that section feels like it could do with a little more improvement.