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The Last Son of Krypton (Season One) — Page 3

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INT. HELEN’S HOME/BEDROOM — DAY

Another bout of lovemaking between Clark and Helen comes to a close.

A minute later.

Helen and Clark lay together, sheets bunched up between them. Instead of cuddling, making pillow talk, they watch the ceiling — Helen with disinterest, Clark with dissatisfaction — a silent, palpable distance between them.

Sitting up, Helen reaches over Clark for the nightstand on his side of the bed, taking up a cigarette case and lighter resting atop a movie magazine. As she fishes a cigarette from the case, Clark picks up the magazine; an image of Greta Garbo emblazons the front cover.

CLARK

Greta Garbo. (flips through magazine) Her new picture’s coming out next month. Do you plan on catching it?

Lighting up her cigarette, Helen shrugs.

CLARK

My first picture was City Lights. Which was yours?

Helen takes a moment to think it over.

HELEN

Frankenstein, in 1910. (takes drag) Yes, it was Frankenstein.

CLARK

What was it like?

HELEN

You’ve read the book.

CLARK

Certainly.

HELEN

There’s your answer.

Helen offers Clark her cigarette. Accepting it, Clark takes a dispassionate puff. Tobacco does nothing for him.

INT. HELEN’S HOME/ENTRANCE HALL — DAY

Helen opens the front door for Clark.

HELEN

You’ll be in tomorrow, of course.

CLARK

It’ll be a long day for me. I don’t believe I’ll make it in.

HELEN

Then the day after.

CLARK

The family’s entertaining a guest — my cousin Luma, visiting down from Canada. I’m sorry.

Clark enters the threshold.

HELEN

(raises hand) Just a moment!

Stopping in the door, Clark waits for Helen as she leaves for another room. In a minute she returns, a fresh-baked pie in hand.

HELEN

(offers pie to Clark) Pecan.

CLARK

Thank you.

Helen starts to smile.

CLARK

(cont’d) Ma has allergies, but I appreciate the gesture.

The nascent smile dies.

CLARK

(forlorn) Take good care of yourself, Hel.

Clark steps through the door, closing it after him. Helen is left standing in the entrance hall, alone with her pie.

INT. LANG HOME/LANA’S BEDROOM — DAY

In her undergarments, singing softly to herself, Lana goes through her closet. She finds two items: a red blouse and a beige sweater. Looking them over, she chooses the sweater. Setting the sweater down beside a brown skirt atop her bed, she crosses over to her dresser. Gazing into the dresser mirror, she checks her hair. As she tucks an errant lock behind her ear, she sees in the reflection a face outside her bedroom window.

LANA

(gasps) Jumpin’ Jesus!

Spinning 'round, she finds it is Clark gazing in on her. She strides to the window; flinging it open, she leans out; Clark clutches the window frame, feet braced tightly against the wall, suspended two storeys above the ground, nothing on or against the wall he could’ve used to scale it.

LANA

How’d you ever manage‽

Taking a step back, Lana allows Clark to climb inside. She places her fists on her hips, none too pleased with Clark.

LANA

You’re a voyeur, too, now?

CLARK

Sorry. (averts gaze)

LANA

Suppose I can’t fault you. Must be desensitized to the sight of bubs by now.

Moving to her bed, Lana takes up her sweater.

LANA

Let’s not futz around. (slips sweater on) What’s on your mind?

CLARK

It’s over.

Lana takes up her skirt, eyes intent on Clark.

CLARK

(beat) Between your aunt and me.

LANA

(slips skirt on) Face stretcher wore thin?

CLARK

(turns to window) I should go.

LANA

(buttons skirt) Clark — no.

Taking him by the wrist, she sits him down beside her on the bed, ready to hear what he has to say.

CLARK

It was sex. Just sex. Nothing else. (beat) I tried to love her. I tried. But she wouldn’t let me in. (beat) Lana, is it me? Is there something wrong with me?

LANA

Clark … you’re a sap. A real sap. But my God … your heart is big. You, you shine — a sun on Earth. (beat) I pity Hel, if she can’t see you … (touches his lips) … appreciate you….

There is a loud rap at the door, startling them both.

SARAH LANG

(O.S.) Lana, are you decent?

LANA

(faces door; irate) Mother!

SARAH LANG

(O.S.) Peter’s just arrived.

LANA

(to herself) Oh, Pete! (to Mrs. Lang) I’ll be right down!

Rising, Lana retrieves her shoes.

CLARK

Having a night on the town with Pete?

Slipping into her shoes, Lana nods.

CLARK

Since when have you and Pete …?

LANA

Clark, we’ve been going steady two weeks. (beat) You didn’t realize?

CLARK

No. (bewildered) I’ve missed out on a lot.

LANA

(sighs) That you have.

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 (Edited)

Finished the latest set of touch-ups to the script. They are as follow:

  • Krypton is now identified as Krypton (figured keeping the planet’s name a mystery was pointless)
  • Kara/Linda has been changed to Luma-Lyn (a character inspired by Luma Lynai)
  • Mrs. Bogdanove is now Miss Maggin
  • Lana’s mother’s name has been changed from Carol to Sarah (the character’s name pre-Crisis)
  • Lana’s father’s name has been changed from Thomas to Lewis (ditto)
  • Nell’s name has been changed to Helen (the character’s name post-Crisis)
  • Removed Luthor’s scenes (I’ve decided to place his introduction in Act II instead)

I’ve also decided to retool my original plot somewhat. I’ve decided against making Luthor a military officer; I’ll be making him a weapons scientist/defense conglomerate magnate instead. Also, Brainiac won’t be making an appearance; a different character will serve as secondary antagonist (I won’t reveal who just yet).

My apologies for these disorienting changes.

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EXT. KENT FARM — KENT HOME/BACK PORCH — TWILIGHT

Luma sits in an easy chair. Shelby resting on the porch to her left, she stares into the twilight sky overhead, pensive.

Clark emerges onto the porch.

LUMA

I require more books.

CLARK

I’ll pay the library a visit tomorrow. I’ll check the Complete Works of Shakespeare out for you.

LUMA

Is Shakespeare weighty?

CLARK

I’ll pick you up The Canterbury Tales, too.

Clark follows Luma’s gaze into the sky. The stars are beginning to emerge, twinkling against the deepening darkness.

LUMA

Clark?

CLARK

Yes?

LUMA

Are you … you are aroused by these Terran women?

CLARK

(taken aback) Yes.

LUMA

Jonathan is a handsome man, it is true. Yet his scent is … alien. (morose) I will never take to its like.

CLARK

(frowns) Luma … what’s your earliest memory?

LUMA

Your mother stripping me nude.

CLARK

You have absolutely no memory of how you came here? Why you came? Where you came from?

Luma looks to Shelby. The dog is asleep, her head between her paws.

LUMA

My name is Luma-Lyn. That is all I remember….

INT. GENERAL STORE — DAY

Jonathan is at a shelf, gathering supplies, when Helen enters the store. Spying Jonathan, she creeps up behind him. Reaching out, she covers both his eyes.

HELEN

Guess who.

Startled, Jonathan jumps into the shelf, jostling it. He fans his arms out to keeping its contents from crashing onto the floor.

HELEN

(wry) I’m surprised at you. Granted, it’s been a spell. But so long as to forget your oldest, closest friend?

JONATHAN

(stern) Helen.

HELEN

You remember!

Unamused, Jonathan gathers up his items and takes them to the front counter. The proprietor, Phineas, sets about ringing them up. Helen joins Jonathan at the counter.

HELEN

Clark and I’ve spent quite the amount of time together. So much time, I wake some mornings thinking I’m Mrs. Helen Kent. (chuckles) Thanksgiving’s fast approaching. I’ll be hosting a dinner. I’ve invited my sister and her family. While I know Clark isn’t family, it simply wouldn’t do to exclude him and his from the festivities.

JONATHAN

I don’t think so, Helen.

The transaction made, Jonathan takes his purchases and leaves.

EXT. SMALLVILLE — TOWN SQUARE — GENERAL STORE — DAY

Helen follows Jonathan out. As he goes to his truck, she stands at the door, crossing her arms.

HELEN

Perhaps I’ll drive out to your quaint, picturesque property and pay your wife a personal visit.

Jonathan freezes.

HELEN

We have much to discuss, she and I, and I can be quite the chatterbox. (malicious) Quite the chatterbox.

He doesn’t speak a word.

HELEN

And don’t forget to include your niece. Clark has told me all about her; I’m simply perishing to meet the perfect dear.

Uncrossing her arms, she heads back inside the general store.

FADE OUT

END CREDITS

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I’ve come to realize that I have too much story to fit comfortably inside a trilogy of feature-length screenplays, so I’ve decided to retool my Superman trilogy into a three-season series instead. Everything from the destruction of Krypton to the development of Clark’s powers is Episode 1, everything from Labor Day weekend to Jonathan’s phone conversation with Helen is Episode 2, and I imagine a minimum of five further episodes to follow, bringing Season 1 to a close.

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THE LAST SON OF KRYPTON

“THANKSGIVING”

FADE IN

On Helen Potter standing tall in her spick-and-span kitchen, a white apron with pink frills worn over the front of her dress.

On her counter, arranged with all the tidiness of a surgeon prepared for surgery, are the ingredients and supplies needed to make a pecan pie.

CUT TO

Helen feeding kindling into her wood stove.

CUT TO

Helen combining flour, salt, white sugar, cubed butter, and water in a bowl with a pastry cutter.

CUT TO

Helen rolling out the dough.

CUT TO

Helen lining a pie tin with dough.

CUT TO

Helen crimping the edges of the crust.

CUT TO

Helen lining the crust with parchment before weighing it down with hard beans.

CUT TO

Helen placing the unbaked crust in the oven.

CUT TO

Helen whisking a melted mixture of butter, brown sugar, corn syrup, flour, milk, salt, and vanilla extract in a saucepan.

CUT TO

Helen breaking three eggs into a bowl, then gradually pouring the brown fluid into them, blending with the whisk.

CUT TO

Helen removing the baked crust from the oven.

CUT TO

Helen removing the beans and parchment from the crust, adding crushed pecans, then pouring in the filling.

CUT TO

Helen placing the pie in the oven.

An hour later.

Opening the oven, Helen fishes out the fresh, hot pecan pie. Bring it to her face, she inhales, savouring the aroma. Crossing to the open kitchen window, she sets the steaming pie on the sill to cool.

FADE OUT

BEGIN OPENING CREDITS

END OPENING CREDITS

FADE IN

On Luma in her bedroom, in a pretty carmine dress, seated before her vanity, running the bristles of a horsehair brush through her hair at a methodic pace, her expression sedate.

Finished styling her hair, she sets the brush down. Beside the brush rest a pair of glasses. Taking them up, she looks them over, almost as if she can’t determine their purpose. Unfolding the stems, she slips them on. The tinted lenses mask the intensity of her uncanny eyes, making them appear a more subdued amber. She examines herself in the mirror; she doesn’t much care for how the eyewear looks on her.

The door opens; Martha leans inside.

MARTHA

Luma? We’re set to go.

LUMA

I’ll be down shortly.

INT. KENT HOME/ENTRANCE HALL — TWILIGHT

Jonathan is standing in wait at the door when Martha comes down from upstairs.

MARTHA

She’ll be right down.

JONATHAN

Where’s Clark?

MARTHA

(raises voice) Clark? (beat) Clark?

Luma comes down the stairs. She trains her eyes ahead of her, focusing them.

LUMA

He’s out in the barn.

MARTHA

Be a dear and fetch him?

INT. BARN/LOFT — TWILIGHT

Dressed in his best clothes, Clark sits reading a hardback novel. Luma leaps in through the open loft door.

LUMA

(scrutinizes book) Frankenstein. (beat) You’ve read this one.

CLARK

Mmm-hmm.

LUMA

I can recall chapter and verse after a single reading.

CLARK

Me too.

LUMA

(shrugs) Why bother?

CLARK

It relaxes me.

Closing the book, Clark rises. The two Kryptonians stand there a moment, each studying the other.

LUMA

(offers hand) They’re waiting.

Clark takes Luma’s hand.

EXT. KENT FARM — KENT HOME — TWILIGHT

Clark and Luma approach the Kents’ four-year-old Ford Model A sedan; Jonathan and Martha are already seated inside. Clark opens the back left door for her. The two Kryptonians exchange glances, then Luma slips inside. Clark closes the door for her.

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I’ve changed my mind about having Clark able to instinctively understand Kryptonian. I removed the babysitting scene entirely, since its only purpose was to show baby Clark had latent understanding of his native tongue, and rewrote the scenes with Clark and Luma conversing in Kryptonian.

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INT. SEDAN/BACK SEAT — TWILIGHT

As they drive to Helen’s, Clark peers out his window, apprehensive. For her part, Luma faces forward, expression neutral, though she keeps angling her eyes at Clark.

EXT. HELEN’S HOME/FRONT YARD — TWILIGHT

Jonathan stands at the door, wife, son, and Luma behind him. He isn’t any more eagre than Clark to be there.

MARTHA

Well?

Jonathan hesitant, Martha takes initiative, stepping past her husband to knock at the door. Several seconds pass with no response. Jonathan knocks. Still no one comes to the door.

MARTHA

What could be keeping her?

CLARK’S P.O.V. — ENTRANCE HALL

Clark activates his x-ray vision. His parents and front door disappear, allowing him to peer into the entrance hall. Helen stands on the other side of the door in an incredibly form-fitting bold red dress. Hands on hips, a wry half-smile on her cherry red lips, she takes a casual glance at her watch.

EXT. HELEN’S HOME/FRONT YARD — TWILIGHT

Jonathan knocks again. Again no response.

JONATHAN

(frowns) We’re leaving.

Just as Jonathan turns from the door, it opens. Helen steps out, feigned expression of apology on her face.

HELEN

I was entertaining Sarah and Lewis in the parlour. I mustn’t have heard you.

Jonathan reflexively eyes Helen’s figure under the tight dress. She grins, pleased. Collecting himself, he stiffens, adjusting the front of his buttoned coat.

HELEN

(sights Luma) This must be your niece.

Luma approaches their hostess. She takes a quick sniff of the air about the older woman.

HELEN

I am Helen Potter; all my friends call me Hel. Doubtless Clark’s mentioned me.

LUMA

(cocks eyebrow) I know everything worth knowing about you.

HELEN

Beware of unguarded talk. (chuckles) I don’t know your name.

LUMA

Luma-Lyn. Luma to my friends.

HELEN

It’s a joy to meet you, Luma.

LUMA

(firm) Luma-Lyn.

Helen’s smile of self-satisfaction briefly falters. The hostility radiating from Luma is subtle but palpable.

HELEN

Come in from the cold, won’t you? (tugs dress hem) It’s positively frigid.

INT. HELEN’S HOME/PARLOUR — TWILIGHT

Helen guides the Kents and Luma into her parlour, where the Langs are relaxing.

HELEN

Luma-Lyn, this would be my sister, Sarah. Her husband, Lewis.

Lana’s parents and the blonde exchange greetings.

Stepping behind Lana, Helen rests her hands on her niece’s shoulders.

HELEN

And this is Lana, my niece.

LUMA

Hello.

LANA

(eyes Luma) Quite the tall one, ain’tcha?

SARAH LANG

(frowns) Lana!

HELEN

(smiles) Lana can be quite the cheeky she-devil.

Helen pinches Lana’s cheek hard enough to make the redhead flinch.

LUMA

I take no offense, Lana.

HELEN

Dinner’s waiting to be served. Won’t everyone make their way to the dining room?

The Kents, Langs, and Luma head out of the parlour.

HELEN

Oh, Clark?

Clark turns to Helen.

HELEN

(cont’d) Help me in the kitchen?

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Made some further minor revisions.

  • Shifted the timeline from 1914-1931 to 1916-1933. I wanted my timeline to more closely align with the Earth-Two timeline, which places Kal-L’s birthdate in 1916.
  • Changed Luma’s eye colour to aureolin. I did this to further distinguish the character from Kara, as well as to give her a more fierce, otherworldly appearance.
  • Removed most instances of characters using electrical appliances and phones. It was pointed out to me that a rural community like Smallville wouldn’t have had much in the way of electricity or telecommunication in the early '30s.
  • Altered Luma’s early dialogue into pseudo-Elizabethan English. I figured memorizing the King James Bible would have an effect on her speech patterns.
  • Removed the bit about Clark having never left Smallville or been to the movies. I realized even if Smallville was off the beaten path, as soon as his super speed emerged, Clark would’ve started visiting neighbouring towns and cities.

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INT. HELEN’S HOME/KITCHEN — NIGHT

They enter the kitchen. Walking past the succulent roasted turkey which rests cooling on the table, she goes to the counter. Opening a drawer, she collects a large carving knife and fork. Testing the knife along her thumbtip, she then retrieves a knife sharpener. Facing Clark, she takes knife to sharpener, eyes fixed on him as she expertly hones the edge to razor keenness. Replacing the sharpener in the drawer, wiping the blade off on the side of her dress, she takes up the carving fork and strides over to the turkey. She drives the fork straight into the carcass, skewering it.

Blowing a loose lock of hair out of her eyes, Helen holds the knife handle-out to Clark.

INT. HELEN’S HOME/DINING ROOM — NIGHT

Lewis, Sarah, and Lana are seated on one side of the rectangular dining table, Jonathan, Martha, and Luma on the other. Covered/uncovered side dishes and sauces occupy the tabletop; when Luma reaches out to sample one, Martha gently slaps her hand, correcting her.

Helen and Clark enter, the expertly sliced turkey carried by the lady of the house. Flashing her guests a broad grin, she sets the turkey in its place atop the table.

Moments later, Clark and Helen have taken their seats — Clark between his mother and Luma, Helen between her sister and Lana — opposite one another. As her guests serve themselves, passing the dishes across the table, Helen steeples her fingers under her chin, a slight smile across her lips. Luma studies Lewis as he fastidiously measures and arranges the portions on his plate.

HELEN

Luma-Lyn.

Luma’s gaze shifts from Lewis’ plate to Helen.

HELEN

(cont’d) I can’t place your accent. Where are you from?

LUMA

I’m French.

HELEN

(cocks eyebrow) Curious. I’ve spent time in France.

CLARK

She’s French-Canadian.

HELEN

Ah. (beat) Oh! I’ve a special treat in the kitchen. Give me but a moment.

Rising from her chair, Helen saunters into the kitchen. Moments later she reappears, a tall glass of red wine in hand.

HELEN

I’ve been saving this little item. (beat) No objections?

There’re no prohibitionists in this lot. Uncorking the bottle, Helen fills each of the adults’ glasses. She turns to Luma.

HELEN

French children are no strangers to vin with their meals. (smiles) Voulez-vous une tasse d’écureuils?

A strange expression passes across Sarah’s face.

LUMA

(slides glass forward) Please.

Smiling tightly, Helen pours Luma a glass, then takes a seat. She exchanges glances with her sister.

SARAH

(silent mouthing) Would you like a cup of squirrels‽

Taking up her glass, Helen drinks deep.

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