EXT. KENT FARM — KENT HOME/FRONT PORCH — DAWN
Jonathan and Martha sit in the porch swing. Jonathan holds Martha, who fell asleep some time ago.
JONATHAN
Martha….
Hearing her name, Martha is roused from sleep.
MARTHA
(inquisitive) Clark?
Following Jonathan’s gaze, Martha finds Clark coming down the driveway, on his way towards them.
As Clark climbs the porch steps, Martha and Jonathan rise from the swing. Clark stands there, facing his surrogate parents.
MARTHA
Clark, honey … don’t hate us for keeping this secret from you all these years.
CLARK
I don’t hate you, Ma. I could never think badly of you or Pa.
Opening his arms, Clark goes to them. Opening their arms, Martha and Jonathan go to him. They embrace, holding to each other fast, family to the very end.
INT. KENT HOME/DINING ROOM — MORNING
Clark, Jonathan, and Martha sit at the dining room table. In his two hands, Clark holds the S-pendant.
JONATHAN
We think it’s from your parents — your real parents.
Clark runs a thumb over the engraved, glowing sigil.
JONATHAN
(cont’d) I tried for years to trace its origins, but it’s not any symbol known to Man.
CLARK
What are you trying to tell me, Pa? That I’m a Martian?
JONATHAN
I don’t know, Clark. Maybe we just weren’t meant to know. Maybe we’ll never know.
Opening the clasp, Clark fastens the pendant around his neck.
INT. KENT HOME/CLARK’S BEDROOM — DAY
Clark sits behind his desk. Pencil in hand, he writes on a notepad.
CLARK
(V.O.) The pendant drew me to itself; it’s now drawing me elsewhere. I don’t know where I’m being drawn or to what purpose; I only know it’s a call I must answer. (beat) I can’t say when I’ll be back, but I will be back. That’s a promise.
INT. KENT HOME/ENTRANCE HALL — DAY
Keys to the Model T in hand, Clark walks out the door.
INT. TRUCK/CAB — DAY
Behind the wheel, Clark pulls away from the house.
INT. KENT HOME/DINING ROOM — DAY
Mug of coffee in hand, Martha enters. As she approaches the table, she spies Clark’s notepad atop it. Setting her cup down, she picks up the pad, reading Clark’s note.
Frenetic, Martha bolts from the room to find Jonathan.
EXT. KANSAS TO COLORADO — MONTAGE
Clark makes the trip from Smallville, Kansas to the Elk Mountains, Colorado — by highway and backroad — guided by the silent siren song which beckons him.
EXT. FOREST — LAKE — NIGHT
Clark now continues on foot, hiking through the dark woods. He soon arrives at the lakeshore. Stripping down to his underwear, he dives headlong into the dark waters.
EXT. LAKEBED — STARCRAFT — NIGHT
Clark appears perfectly comfortable in this aquatic environ; he cuts through the water effortlessly — without kicking his legs or stroking his arms, as if he were gliding through the deep — and the lack of air doesn’t appear to hamper him any. As he draws near the starcraft, this changes; his limbs go awkward, his stomach cramps up, and his lungs start screaming for oxygen.
Fighting to adjust to the current and keep himself from inhaling water, Clark kicks his legs hard, stroking briskly, until he finds himself positioned over the sealed canopy. Finding no wheel or similar apparatus to open the canopy, he begins punching it; though he doesn’t leave so much as a dent in the crystal, the force of the punches are cause enough to open the canopy.
Black water flooding the cockpit, Clark finds himself face-to-faceplate with the sole occupant. Taking Luma by the armpits, he tries lifting her free; much of his great strength absent, he finds the girl’s spacesuited bulk quite heavy. Gritting his teeth, he pulls with all the might he has remaining. Finally managing to dislodge the leaden girl from her submerged vessel, sinking to the mud, he crouches down then launches himself towards the surface, Luma held close to him.
EXT. LAKE — NIGHT
Clark breaks the surface. Gasping, he begins swimming for shore.
EXT. FOREST — LAKE — NIGHT
Clark comes ashore, soaking wet, Luma’s limp form dead weight in his arms. Depositing her on the grass, he collapses to his knees, shivering, then vomits. Once the nausea has subsided, he looks at his hands; they are bruised.
Turning to the person in the spacesuit, he unseals and removes her chrome helmet, tossing it aside. Eyes closed, expression placid, the face of the most beautiful woman Clark has ever laid eyes on is unveiled.
EXT. TRUCK — NIGHT
Clark deposits Luma’s dismantled chrome spacesuit in the back of the truck then secures a canvas tarpaulin over the pieces, hiding them from sight.
INT. TRUCK/CAB — NIGHT
Clark gets behind the wheel. Starting the ignition, he turns to his passenger. Now wearing Clark’s red flannel coat over her skintight bodysuit, she is finally coming to. Eyes cracking open, Luma faces him, still weak, and utters something in Kryptonian. He peers into her eyes, eyes as yellow as his are blue, unable to understand her words but gleaning their meaning all the same.
CLARK
A friend.
Swooning, Luma slips back into unconsciousness.