"Gone" Technical Review & Recap!
Written by Tigress35

We open on Clark and Lois, roaming the lovely rolling hills of Smallville's farmland. This long shot is lovely, because there's a distinctive foreground and background, the foreground being the hills and the background being the green fields. The hills cut a line across the frame, which makes the shot nice not only for its scenery, but its composition as well.

TPTB immediately answer a question that all of us were wondering at the end of last episode: "How is Clark going to explain to Lois how he knows?" Lois pesters Clark about how his hunch could be wrong, and asks how he knows. Clark also takes his usual guilt complex and says that none of it would have happened if he'd been there. But this time, it really isn't his fault, because you gotta admit that KryptoDaddy wields undeniable power.

Lois gives another allusion to the Superman mythos, going on and on about how Clark is meek at one moment and then confident the next. It's quite true about both Superman!Clark and Smallville!Clark. Clark tells her that she's just frustrated she can't figure him out right away and Lois insists he's not that complicated. I love their banter.

They approach Chloe's safehouse, which they oh so helpfully mention to us. It's quite expository, because obviously they knew where they were going and what they would expect to find, so just in case we couldn't guess that a burned down house amidst a conversation about Chloe's death isn't the ex-safe house, well... now we know.

Lois wonders, "What did they do to you, Chloe?" Umm, it looks like they blew her up. Not to be blunt, Lois, but really? It's obvious.

Clark and Lois wander through the remains, and have obviously ADR'ed lines. The wind on the hills looks like it would have sucked for clean dialogue recording, but even one of my friends admitted she could tell.

Lois says it gives her the creeps, which is understandable. But wait! A helicopter flies overhead. I wonder if it's Lex, touching down... but NO! It's more sniper ninjas, a la "Shattered" I missed the sniper ninjas.

Clark tells Lois to run, which is really quite foolish because I think he'd have a better chance of protecting her somehow than sending her off on her own (indeed, he gives a helpless look when the helicopter zooms on by after Lois)... especially when Lois does not head for the trees that surround them, but keeps running (actually, it's more like jogging, not big hurry after all) in the open field. Smart Lois. You know how later in the episode, you tell Clark you don't know how he survived in Smallville without you? I think you should be considering how you'd ever survive in Smallville without Clark.

Clark has no problem dispensing of his electro-gun ninjas, indeed, more 50 foot flying we have. The helicopter is still chasing after Lois, and it's a pity it doesn't seem like the sniper ninjas have guns that carry bullets, or they could have been real snipers and shot her down.

The helicopter passes Lois by, and she runs out of the cornfield (I think it's corn) and just before she makes it out, the corn is blowing again. Umm, Lois? I think that means that the helicopter is back, and you should turn around back into the corn. Instead, she has to test out her kung fu on the ninja in some hand to hand combat. Clark decides to take the superpower approach to the problem, and sets his heat vision on it. The odd thing is that instead of an instant explosion when Clark's eyejaculate hits the copter, we get... some dark green smoke thing that lasts for a few seconds before drifting off, and then there's no more and then the copter seems injured enough that it spins down out of control. I don't know what the hell that's supposed to be, because it's green, fleeting, and doesn't really look like smoke. *scratches head*

You know, it kinda looks like the helicopter had this green krypto-demon exorcised from it. Go back and watch, you'll see what I mean. Anyway, helicopter doesn't go boom as moving vehicles usually do in Smallville, but actually lands somewhat gently on the ground. There's a really dumb close-up of the front spikes of the helicopter touching down on the grass. It actually held a long time, and I don't think there's particularly anything interesting or informative about it. I think the other shot of the whole helicopter would have been better instead. It's certainly a lot more interesting to look at.

Lois finishes beating her opponent, and Clark superspeeds in behind her, slightly out of focus, and there's a slight rack focus so that Clark becomes sharp. It's nothing extraordinary, but I think it looks damn cool in combination with the superspeed entrance. I also like all the colors in the frame. Lois' jacket stands out against the green fields and Clark is wearing his Super blue and red again. Their clothing colors are all pretty saturated, which makes them stand out.

Then, the owner of the helicopter is revealed-- it's Michael Ironside, the ultimate choice in casting if you want a Military Badass (see Starship Troopers and seaQuest 2032 for example, but there are many, many more). Captain Oliver Hudson, in seaQuest, for example, was a complete badass and a good character, but unfortunately not the right choice and so, seaQuest did not jump the shark, but instead a giant-ass shark actually came up and ate the whole submarine. Yes, that's how much the third season of seaQuest changed for the worse.

Oh, wait, this is a Smallville review? Sorry, I got a little nostalgic there. Anyhow, Oliver Hudson looks and speaks Intensely and Bites on his cigar. Remember the cigar thing folks. It's a plant for later. Also, although it makes sense later, I thought it was pretty damn sad General Lane was chasing his own daughter in a helicopter and making her fight ninja snipers. That's tough love like the MB dishes out to Lex.

And now, the scene I was waiting all week for since I saw the trailer: Lois comes into the bathroom while Clark is showering. I'll refrain from making mentions of how hot a wet, naked Welling is, because it's rather obvious, isn't it? Instead, I could comment on the bathroom itself, and note how the walls are a tan color, Lois' borrowed flannel shirt is shades of gold and brick red, and the scene is lit warmly and bright, making a cheery bathroom set. I won't, however, go into how flesh tones work so nicely into that color scheme, even if they do.

Although Clark has superhearing, he doesn't hear Lois open and close the door or come in the bathroom, but instead is greatly startled when she speaks. Clark must have been preoccupied, if you know what I mean, not to notice her come in. Lois confirms my suspicions by saying that he was taking a "marathon shower." Since we later learn that Clark seems to be sleeping on the couch, I bet he's been a bit hungry for some private him time. Also, Clark? Lock the bathroom door, dumbass.

Lois, by contrast, is nonchalant and makes reference to the other famous Great Aircraft Chase in Corn film, North by Northwest and also reminds him that she's already seen the goods, so he shouldn't be so worried. She looks positively smug at the memory of 'Clark Jr.' (Her name, not mine!) Clark concedes that point, and instead turns it on his parents, saying they missed the Woodstock days and wouldn't approve, supported by his last "coed situation." ("Obsession" with Alicia, Clark's Hands, an interruptive, pissed-off Jonathan, and approximately 5 million fangirls outraged the scene was prematurely cut off by Papa Kent.)

Clark grabs a towel, but doesn't dry off in the shower, even though that's what most people might have done instead of get the bathroom floor all wet. I'm not exactly complaining, though, don't get me wrong. Clark then gets pissed that Lois borrowed his shirt, because only he and Lex share clothes like that. Lois says it was the only clean shirt she could find, and she must've indeed been in a desperate laundry situation to choose plaid. And because it's a well known fact that guys like seeing women wearing their shirts with no pants, and we got the POV camera tilt showing Clark noticed. She's totally teasing him.

Clark finally manages to open the bathroom door, only to find Mama Kent outside. Whoops. She does have towels, though, in case you needed another, Clark. He tries to play it cool making obvious statements that always indicate you've got something to hide. Lois, however, sticks her head over his shoulder and says hello. Umm, okay Lois. First of all, you shouldn't ruin the potential for more Clark/shower future situations. Secondly, don't reveal yourself when Clark told you his parents wouldn't approve, because you are a guest in their house! Those two reprimands are in order of importance, by the way.

Indeed, the camera pushes in on Martha while her mouth opens in surprise. Lois still doesn't get it and smiles happily, and Clark's face says, "Mom, I know I'm in deep trouble."

Cut to an establishing shot of the Eiffel Tower, the film convention for indicating the city of Paris. I think this is actually a real shot of Paris, not Pariscouver. Cut to a close-up of Lana's back with her new magic marker drawing tattoo. She's wearing a backless shirt, which doesn't make a lot of sense considering she won't tell anybody about it, but it does allow the audience to see the tattoo without her being naked. (Not that I have a problem with that, for the record, fair is fair, right?) The camera pulls back slightly and moves so that we can see Lana's computer. She has a picture of her and Emily, Meteor, Chloe, and Clark in the caves. Nothing like bringing back all the bad memories at once, huh? Apparently, she's homesick for the things that made her want to leave Smallville in the first place.

Again, the color and lighting in her apartment is nice. Everything is very golden, with hints of red. I think Paris was a happy place for her, judging by the warmth of her apartment, but she notices that Clark is standing next to a cave painting of her tattoo, and I think she's compelled to go home and search out the secrets. Just in case we don't quite get that the painting on the wall is the same as the tattoo, Mark Snow gives us some dum dum realization music cues, Lana zooms in several times, and then rushes to look at her back in the mirror. The camera pushes in and tilts up to a close-up of Lana's realization. Then she looks angry. The music swells. So. Intense.

And, cut to an establishing shot of the Kent farm, no cows in sight, unfortunately. The next shot is great-- Clark and Lois' backs are in the foreground, and in the small space between them, we see Jonathan standing with his arms crossed. The camera keeps slowly moving around them until we can see Mama Kent in that space, looking equally unhappy. We cut to a two-shot of Clark and Lois-- Clark fiddles with his shirt and refuses to look at them, and Lois plays the 'I'm a city girl who can't be held to small town expectations' card and insists she just doesn't get why it's a big deal, saying all they did was take a shower. Clark's head shoots up immediately and clarifies that it was shower with a plural, and in fact, separate. Tom Welling's line delivery is utterly fantastic. I think he has excellent comedic timing and I love when the show gives him an opportunity to demonstrate it.

Mama Kent ain't buying it, because she reminds them that taking a shower at noon isn't exactly normal. Lois tries to give an excuse, but Clark (and very smartly so) realizes that anything Lois says only hinders his case, so he tells the truth about their safe house adventure. Lois is pissed and the parents are still not amused. Clark puts emphasis on the presence of dirt in the field.

Jonathan steps forward and lectures them about the house being a federal crime scene and he doesn't want them getting in trouble with the FBI. Lois assures him it's okay, because their chopper is busted. Clark rolls his eyes and Jonathan is not pleased at the information. Lois ducks out of the situation, and whispers, "Way to go" at Clark, even though everything has really been her fault. Clark gives an understandably exasperated and 'OMG I hate you so much!!" glare after her.

The scene has been pretty amusing (for me at least, not for the characters) and the camerawork and editing have really only enhanced it. The first shot I described of the way the pissed parents were revealed is one subtle way, another that I'd like to discuss is this close-up of Pissed!Clark. He's still glaring after Lois, but we can see Jonathan step into the corner of the frame, and the camera pushes in closer on Clark as his eyes move slowly back to his dad. It's quite funny, and the comedy would have diminished if there had been a cut. Usually if someone moves toward someone, you cut to a shot of them approaching, but in this case, the editor held the close-up shot because seeing Welling's performance and his eyes move as he noticed his dad was funnier than the alternate option.

Jonathan and Martha want to make sure that Clark didn't crash the helicopter, but Clark can only give them a sheepish look. It's so adorable.

Cut to Lionel getting a new suit. Lex is there, telling him not to bother with new clothes. Lionel says he wants to apologize, but in a move only a Magnificent Bastard could make, he goes on to explain how sorry he is that Lex essentially can't see what a stupid move he's made. Lex warns his dad not to threaten him, because he's not an easy target. Lionel then steps forward to the bars and explains how he was a great dad because all everything Lex has had to put up with has been a lesson and he's better off for it. Except now, Lionel tells him, Lex is going to be fearing for his life every second of every day, "never having another moment's peace." Mark Snow's score is bassy, and emphasizes just how deliciously evil the MB really is. Lionel turns away abruptly, and the conversation is over as only the MB could end it. The camera pulls back from Lex, then we cut to a close up of Lionel turning back to look at Lex with a satisfied smirk.

It's a gorgeous shot, because the thin bars are in the foreground, yet out of focus, and Lionel is in focus in the background. The lighting is extremely hot (very bright and looks nearly overexposed) and thin bars look thicker because they're fuzzy, thus they partially covering Lionel's eyes and mouth. I think it could be emphasizing how although Lionel is behind bars, his motives are only partially concealed and he's still dangerous. It's really damn creepy, because the brightness makes it seem fairly innocent, but there's this air of unease at the same time, especially because Lionel is looking away when he smiles, but turns his head so that he's then smiling at Lex. I love it, I can't even tell you how I love that this shot ends this scene.

I believe this whole scene was quite poignant, because although Lex didn't necessarily need it spelled out for him, it reveals a lot about how Lex has changed over the past few months. Every action Lex will make will be probably motivated by fear and self-preservation. I don't want to go so far as to say it's a turning point for the character, because it's been slowly happening over the course of the whole series, but nonetheless, it's important.

Indeed, we cut to a close-up of Lex pouring wine in a glass. Seriously Lex, are you really going to keep drinking alcohol after all that's happened to you from it? The camera moves up into a close-up of Lex studying it. I also really like this shot, with the wine so close to camera in the foreground and Lex's face further back in the corner of the frame. This particular composition adds a lot of depth to the frame.

We can see Lana coming in through the wineglass (not like she crashed into it, though that would be funny, but you can see what I mean) and we cut to a shot of Lex spinning around. Lex gets his first glimpse of Lana's Bold New Look, which admittedly, is slightly more bold than last week.

Lex says she looks great and gives her a genuine smile. They've also been watching way too much of The OC because they both give each other Heys like Ryan and Marissa do. They hug. Lex asks if she's back for good, but Lana isn't sure, but says she doesn't think Paris was for her. Lex looks rather confused and displeased with this, probably thinking that she might want to try and move back in on Clark, and lists all of the great things to do in Paris. Lana says something was calling her home, and Lex is all, "Yeah... crazy" although doesn't pry.

Lex mentions that it's funny that she comes back just when Clark does (Lex is so jealous! And probably looking forward to the Lanaless Smallville, all alone with Clark. He's not pleased his plan to get rid of her was interrupted). But wait! Just wait. Lana snarks that she doesn't remember asking about Clark, and we cut to a shot of Lex looking quite pleased by this.

Lana mentions the Talon is boarded up, and Lex says he had trouble letting it go. He's so playing you Lana! Can't you see it? They both furrow their brows at each other in subsequent shots, which I think is rather funny, although I doubt that was the intention. Lana doesn't want to run the coffee shop again, however, and THANK YOU for that, because that whole 'high school girl managing a coffee shop all by herself' needed to go before it even came. I sense good results from this scene, yes I do! Another smile from Lex. So playing her. Yes, Lana is most definitely better back in Smallville. I thought this scene was great, and I thought Lana was great.

Cut to a shot of a windmill. Clark is sleeping shirtless on the couch, and I wonder if it's because Lois is in his room (no guestroom?) or if it's because it's canon that the Kents don't use their air conditioner, and let's face it, how many of us have gone and slept in the living room when our bedrooms are too hot? Anyhow, blue, very blue blankets and pillows with a nice view of Clark's back. The camera moves up over the couch, and Lois sneaks out... but not before glancing back at Clark, and the shot is from Lois' POV this time. Cut to a close-up of her trying to hide her smile, and then yet another shot of Clark sleeping again. Oh, Smallville, you've been so good to me this year.

Cut to dirt piling on, the camera tracking to the side and doing a slight rack focus onto Chloe's tombstone. Another rack focus to bring the attention back on Lois. Lois certainly does a thorough job, because she dug a near perfect rectangle. Except, I really think Lois would have been better off digging at night-- with the death rate in Smallville as it is, I'm sure there's going to be someone buried there today. Open casket and... no Chloe inside! Lois is oh so relieved she wasn't faced with a rotting corpse.

Suddenly, this random guy comes in and is all, "Where is Chloe? You better tell me where she is." It's rather bad dialogue, poorly delivered. Although Lois can kung fu fight ninja snipers, she grabs her mase and hides it behind her back and goes to confront the guy. What Lois doesn't know is that, while Clark came back as the Terminator T-800, this guy is the T-1000, and can morph his hand into a great metal sword. Remember how those visual effects were the pinnacle of technology back then? Now even Smallville can do it on a TV budget so that it looks quite nice. How quickly times have changed! The T-1000 slices off a quarter of a gravestone with ease before going after Lois again.

Suddenly, Lana appears. (At first I was going to rant about why Lana would be there, when I remembered the pancakes, and I'm afraid this situation isn't contrived after all). She hits the T-1000 with a shovel, and sprays him with the mase. C'mon, that won't do anything to robots from the future! He falls over and writhes on the ground, and neither Lana nor Lois seem to think it's odd that his arm is a shiny metal sword! I know Lana, at least, has been in Smallville awhile, but... I still might take a 'WTF blink' or two myself. Instead, they just look surprised that he's disappeared, and if I remember correctly, the score here sounds vaguely like some parts of Terminator 2. I could be wrong though.

Lois thinks he's a psychopath. Lana agrees, but not because his arm is a shiny metal sword, instead because digging a grave in the middle of the day is weird. Lois admits it was her. Umm, Lois? Excuse me. You need to go into Donald Trump's boardroom, where he'll tell you to SHUT UP. You don't know who Lana is, and just because she helped you defeat the T-1000, doesn't mean you should tell her all about yourself, you know what I mean? For all you know, Lana could be the T-X (which, incidentally, I've decided I really hope is the hidden meaning of the tattoo prophesy), the evil female robot from Terminator 3.

Lois introduces herself and holds out her hand, but Lana frowns and glances down at it and back up, refusing to shake it at first. Because Lois' hand is, like, ewww, dirty. Close-up on a jolly handshake, then cut to Clark fixing that damn tractor. Again. SUV drives up and there is awkward Clana moments. Lana wants to help find Chloe and Clark is all, "Uhh, well, maybe not with you, beyotch" Lana gets the hint. The subject of Jason is brought up by... guess who? Yep! Lois! I love her, but she sticks her foot in her mouth more than I do. And that's saying something, I know.

More awkwardness. Lois squints at both of them and goes, "Really?" I laugh. She may have a big mouth, but it's so funny. Clark and Lana both deny that it was much, and they speak in turns like the Weasley twins from Harry Potter. It's funny when the twins do it, but kinda disturbing when the Clana can finish each other's sentences.

Establishing shot of barn. Clark and Lois go into the loft, and Lois calls him on his moody Lana brooding. Clark says he doesn't want to talk about it, then pauses and glances around a bit before taking a deep breath and launching into a whole sappy, pathetic thing about thinking how he thought he really knew Lana, and blah blah. What a girl! Note to the boys--girls always say "I don't want to talk about it" when they really want to get something off their chest. It's a mere transition line, really. What a girl, Clark. Lois, being herself, tries to finish his thoughts, and Clark gets furious that his pity parade was interrupted.

Just then, a bright light beam shines on them both through the barn window, and we hear the sounds of helicopters. Wow, the Kents are really taking extreme measures to make sure the kids aren't fooling around, aren't they? Suddenly, Oliver Hudson is on the barn steps, and although, yes, you gotta cut time and move the episode along, man he got off that helicopter and into the barn fast. Oliver Hudson goes up and looks at Clark Intensely. He almost sneers. I wait for them to start getting into a fight, but Lois is all, "Hi, Daddy." Clark is all, "What the...?" and Lois shrugs. I have to agree, that's a really extreme way of meeting your future soulmate's dad.

The Kents end up inviting Oliver to dinner, probably because they were glad that he interrupted whatever pity sex may have occurred. Clark protests and it's so adorable. Oliver offers a cigar to Jonathan, but he glances at Clark, who looks very angry, and although it looks like Jonathan really wants one, he has to refuse to set the good example. Oliver takes great offense and, no kidding, immediately leaves without dinner. That man takes his cigars seriously!

He takes Lois with him, but not before she hugs Clark and whispers to him about asking the Luthors stuff. Clark looks kinda freaked out afterward to have had a girl hug him.

Cut to a simulation of Lex's jet protecting on a screen. Ah, yet another computer simulation to add to Lex's special room. There's one close-up of Lex where the projector beams colored light onto the side of his face, and that looks pretty cool. Then Clark comes in, and Lex asks his investigator to, ahem, leave the room.

Hence begins a fight worthy of twelve year olds. Lex whines asks if Clark is speaking to him again, and Clark responds back "Only because I have to." Way to be mature guys! Then Lex talks about being relegated back to last resort and having to prove himself. Clark is all, "Good." Oh how very lover's quarrel this is. Clark indicates that he'll only take Lex back if Lex tells him where Chloe is. Lex thinks raising a person from the dead is setting the bar high, but hey... there should be no limits to love, right? Clark accuses Lex of hiding things, but Lex says there was no body because there wasn't anything left. Clark now looks Sad, but notices a.... cigar in an ashtray. Dum dum! He looks back at Lex suspiciously, then leaves. Lex looks after him rather wistfully.

We cut to an overhead shot of Lionel taking a shower. In prison. And he really... really is wearing nothing. The camera spins down as Lionel really enjoys his Magnificent Shower. Opera music is playing, by the way. He enthusiastically rubs his chest and spits water out of his mouth like a fountain. I really can't believe I'm typing this. I can't do anymore. Real quick: Shower looks like it's in the back alley of a warehouse, not a prison. Lionel catches guard watching him. More scrubbing. Switch to slow motion, but not a normal slow motion, one that seems to just have a reduced framerate so it looks more jerky. Or something like that, I'm not entirely sure. Weird tattoo'ed guy comes in, wearing only a towel, and stabs him. Lionel falls down and gasps like a fish out of water. All of this is, still set to opera music. The slow motion and opera music actually makes the scene really terrible. I'm sorry. It's not even cheesy, just bad. This is actually a pretty serious thing, getting stabbed in prison, and I think they tried to make it seem less harsh, or at the very least more artistic by setting it in slow motion and to the opera music, but I think these attempts failed. This scene was really a bit too much. I do have to say that I like the lighting, and the shadows they set up in the... back alley prison shower. It makes the stabber guy's shadow appear huge on the wall as he dashes away.

Military base: Lois rifles through daddy's office. Clark appears, and lets her know about the cigar. Lex and Oliver are in cahoots. They discover Chloe has been using the name of her reporter hero to hide. Clark zooms away. C'mon, Clark. Say goodbye or something.

He goes to the address, finds evidence that Chloe was there (Wall of Weird) but there is blood and dudes murdered, and there's a really ominous music cue as Lex appears.

Cut to the US Penitentiary. Lionel lays bandaged in the hospital bed, and the T-1000 comes and visits. Apparently he was working for Lionel. There's one close-up of Lionel that's very interesting-- there's a bright spotlight on the lower left hand corner of the frame, and the rest of the shot has a decent shadow over it, including most of his face. Not a good sign for the intentions of Lionel. There's a very X-Men moment where the T-1000 gets upset at Lionel and points a knife-finger at him. Lionel, of course, continues to stay eerily calm and soothes the T-1000 with his whisper-soft voice. Lionel must have had some hypnotist training somewhere along the line. And, again, I just can't emphasize enough how creepy Lionel is, because he talks to the T-1000 how a child abuser would assure the kid of how good their intentions actually are. Then he gives a gentle smile, which is, of course, really really creepy.

The close-up on the T-1000 is also nice. There's more high-key lighting, and lots of contrast within the frame. Dark bars oppose the bright lights, and create an X that the T-1000 is centered in, and a backlight outlines his head and shoulders. Very nice.

Clark paces while Lex is on his mobile. He commands, "Do it!" like Ben Stiller would. Lex and Clark fight, and Lex recounts how Chloe escaped through a tunnel. We see this in low-saturated, bright flashback vision. Conveniently, Chloe has a tracking device bracelet, and Lex is able to determine she's at the foundry. Clark superspeeds out to get her.

Cut to a shot of arms dangling from a hook. At first I thought Chloe was being lowered into a vat of hot, burning acid! Alas, no. All she has to do is wiggle over to a button that lowers her. She runs like a penguin with her arms tied in front of her. The T-1000 appears and starts choking Chloe with a few various metal kinds of hands. Show off.

Luckily, Clark appears (first by his reflection in the metal arm, which is nifty) and fights him. A metal sword arm doesn't phase him in the least. Also, Clark really is the man of steel, because when metal hits his shirt or flesh, sparks still fly. Chloe, of course, doesn't see all this because she's still recovering on the floor. The fans and blue light make a really awesome shot.

Clark punches the T-1000 and actually goes through him. Hee. Bummer on that plan, Clark. Lois appears behind the T-1000 though, and starts electrocuting him with a gun thing. It's a bit over the top, the blue lightning gun, but hey. Whatever gets rid of the robots. Clark throws in some eyejaculate for good measure.

They run after Chloe, then, and Chloe is so happy to see Clark. I love their reunions. Allison Mack is so damn good. Lois and Chloe have a reunion, too. Lois tells her that these were the longest two months of her life. I thought Chloe was 'dead' for three! Does that mean one of those months was tolerable? Clark then decides he isn't getting enough attention and barks out, "I?" My friend and I rewound this about 10 times, trying to figure out what he said. And I had to ask a few people to figure it out. It sounds like 'guy' but it makes little sense without being plural. It sounded like Clark learned to speak Kryptonian all of a sudden. The girls, too, give a 'What the...?' look to each other and then they walk out as a trio. Aww.

In a strange twist of events, in the next scene, the Kents are defending Lex and Clark is saying that he can't trust him. Why are the Kents saying it's natural for Lex to want to look into him? This is a certain change. Huh. Clark goes on to say he's certain Segeeth is supposed to be Lex.

Lana wanders the caves with a flashlight. Her hair and makeup look very much like Relic. It's a Bolder side of the Bold New Look. And yeah, Clark stops by, too. Lana thinks it's funny that they got over each other so quickly. Insert anti-Clana remark here. Clark is all, "Us?" as if he doesn't agree that he's over it, too. Lana reminds him about Lois, and he does the usual, "OMG eww I hate her!" in the way that you know he really does like her. Lana laughs. So do I. Nobody believes you, Clark. Poor thing. Poor thing, so full of denial. More talk of destiny and fate. Lana stares at her tattoo on the wall, but she says nothing to Clark.

Now, it looks like Lionel is being transferred to gen pop. The jail is much more traditional and darker, as opposed to his brighter, more utopian like jail cell. Lex says he wouldn't have missed this for the world. Damn Lex. Harsh! Evil!

Cut to boxes falling over the railing of the Talon, and more on the floor. Lana is... unpacking? I wish I could unpack by throwing my boxes over the stairs, but my mom would have thrown a fit. Jason comes over. He came back to Smallville for her! Lana won't tell him about the tattoo. Now who's the one hiding secrets from people, Lana? Huh? HUH? That's right. You. How's it feel to be the meteor freak now? Jason and Lana kiss.

End episode! But... Gabe? Hello? Poor Gabe.

I heard there was some deleted dialogue between Lex and Lionel, before Lex says, "Wouldn't miss this for the world." From what I read, I think this would have been much more important than some other stuff in the episode. Here's how my cut would go: Cut down on the corn chase. It's exciting, but all we need to know is that General Lane sent is protecting the crime scene and keeping his daughter from snooping. Next, Lois sneaking out while Clark sleeps on the couch is pretty pointless. There were a lot of cuts back and forth from Lois to Clark, but all we needed was Lois sneaking out. One could make the argument that the potential of Clark catching Lois added suspense, but considering the episode appeared to be strapped for time, I think the possibility of getting caught (as she did) in the graveyard is enough. Plus, I suspected that 'Clark' was a body double anyhow, since we never saw his face. Finally, the Lionel shower scene was way too long. Yes, we've had a lot of shower scenes lately and I suppose every cast member deserves their turn, but there was a lot of time spent watching Lionel wash. I would have cut a lot of that out and gotten to the stabbing much quicker. There's little need to build up the suspense, because taking a shower in jail is a universal convention for danger. Nobody ever makes it out well. Finally, I don't think (judging from this point in time) that we necessarily needed to see Jason come back to Smallville in this episode. We know Lana came back, and we had a good sense that she's now trying to get answers about what happened to her. The Jason and Lana reunion scene could have done just as well in another episode and leave more room for what reallys needed to happen in this current one.

That said, I really really loved this episode. Full of humor, wtf moments, and hey, Chloe's alive even. And, as I suspected, Lana didn't bother me this week. I daresay I... liked her? And yeah, more nudity is always good, too

Next week? Whoa. That's either going to be awesome or bomb miserably. We'll see. Also, Kryp/Tuck. Hee.

Note: The views of Tigress35 don't necessarily represent the thoughts and feelings of everyone at KryptonSite.

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