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Post by Deleted on Dec 8, 2017 10:21:36 GMT -5
This is getting better, and better ... loved the Clark and Lana dialogue here and so is Pete Ross too. Excellent piece of writing and loved your narrative too. Loved the part of Lana saying "you meanies" and all that.
Most of all, the interaction of Clark and Martha going over the 1st day of Kindergarten was refreshing and Clark going one by one with the new friends that he has.
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Post by Deleted on Dec 10, 2017 1:44:07 GMT -5
I chuckled at this story and it's pretty hard to believe for a parents of a child that's hardly "normal" and can't get "sick" for any reason at all. I just dig the ending of it and that's the real punchline!
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Post by Jesse on Dec 10, 2017 4:06:38 GMT -5
This is an entertaining read and for the most part I feel like it captures the tone of the characters. It also at times went places I wasn't expecting it to go which I felt helps to keep it interesting. Duragizer your writing has a fluidity to it a rhythm that makes it easy to read. I wish I had the talent to write that well. The choice of the date is interesting too which I assume wasn't random as I think it would make Clark around twenty four years old by the time World War II starts or when his first appearance in Action Comics #1 was published for that matter. Looking forward to reading more. |
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Post by Deleted on Dec 10, 2017 7:59:49 GMT -5
The choice of the date is interesting too which I assume wasn't random as I think it would make Clark around twenty four years old by the time World War II starts or when his first appearance in Action Comics #1 was published for that matter. Looking forward to reading more. Action Comics #1 came out in 1938 and that an excellent observation on your part and - I didn't catch that until I read your post. Thanks for sharing this ... excellent points!  |
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Post by Duragizer on Dec 10, 2017 17:51:02 GMT -5
This is an entertaining read and for the most part I feel like it captures the tone of the characters. It also at times went places I wasn't expecting it to go which I felt helps to keep it interesting. That was my main goal: interpret the mythos in a fresh, new way while keeping the characters recognizable. No, it's not random. Clark's to become Superman in 1938. That won't happen until Part II, though. Thanks. |
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Post by Duragizer on Dec 10, 2017 23:06:08 GMT -5
EXT. LANG HOME/FRONT YARD — DAY
We have jumped forward to 1923. Clark and Pete, now in the first 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
We'll get one when Smallville gets 'lectrified — 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.
Time passes.
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 for it. 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.
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Post by Deleted on Dec 11, 2017 16:27:42 GMT -5
Fortress of Solitude into play and I'm loving the innocent childhood days of Clark here and it's nicely laid out and beautifully written about rural life in Smallville.
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Post by Deleted on Dec 11, 2017 21:28:51 GMT -5
Lots of Human elements and dealing with Brad, Jason, and Whitney are big trouble for our own Clark, Lana, and Ross. I've was surprised to read the Strip Poker part and I wasn't expecting it here and I felt sorry for Clark coming home at the end of the story in his pillow and started to cry. This is pure human and that's the beauty of this story here.
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Post by Duragizer on Dec 12, 2017 22:41:35 GMT -5
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 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 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 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.
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Post by Deleted on Dec 13, 2017 10:10:57 GMT -5
The ending was pure gold and thanks for making these stories so real to me.
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Post by Duragizer on Dec 21, 2017 1:36:22 GMT -5
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
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
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, sweeping his hair back. 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 Blind Mice.
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 nigger; (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
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 reach under 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.
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Post by Deleted on Dec 21, 2017 9:40:36 GMT -5
Great Story and this really a fantastic piece of writing showing Clark the responsibility of using his head than his fists. Nice interaction with his Dad and Clark. Loved it.
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Post by Duragizer on Dec 22, 2017 3:16:40 GMT -5
EXT. KENT FARM — KENT HOME — DAY
We have jumped forward three months. 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 three months you've known! Land's sakes alive! Three months!
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 this April, 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 1927. Clark is seated at his desk, doing homework, when Jonathan appears in the door.
JONATHAN
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 in, 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 1929. 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.
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Post by Deleted on Dec 22, 2017 17:16:48 GMT -5
I'm enjoying the part of where Clark finding his Dad's Glasses and this is a great story and the ending of your great description of doing the 25 Multiple Choice Questions is a fabulous way of ending it and you make it so real in his journey being Superman!
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Post by Duragizer on Dec 23, 2017 4:14:36 GMT -5
And on that note, I'll be taking a break from this screenplay for a while. Everything I've posted is all I've typed up so far, and I tend to suffer long periods of writer's block/malaise, so it might be a while before I resume work on it.
I have other screenplays I've written — complete ones. I think I'll start posting them in the meantime.
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