Smallville TV Show - Shield - Smallville Recaps, Smallville Reviews, Smallville Episodes | TWoP

Recapped by Tippi Blevins · Aired 2010-10-01

Previously on Smallville: Lois figured out that Clark is the Blur; Hawkman lost his wife and suffered an ancient curse that made him and his wife to reunite and then die in every life; Oliver got kidnapped and tortured again; Chloe traded herself for Oliver's safe return because she loooves him; Lois took a job with Perry White in Africa.

Currently on Smallville: The sands of the African desert are grooving to the beat of some rhythmic drumming. Wind-carved dunes tower over a small gathering of tents. In the distance, a CGI Jeep approaches, bearing no CGI shadow nor leaving any CGI tracks in the CGI sand. The phantom Jeep becomes real as it pulls up to the camp and a tall woman in a headscarf gets out. She squints through the billowing dust, getting her first look at the camp. She unwraps her scarf. It's Lois, of course, and she's whipping out her phone and leaving a message for Perry. "I really hope this story is worth it, because so far my 'dream assignment' is turning into 1001 Arabian Nightmares!" I bet she took the whole ride there coming up with that. Also: shut up, Lois. As she wanders through the camp, she complains about having to ride a camel for eleven hours. It was probably no joyride for the camel, either. She goes on: "As for this newly unearthed tomb of Isis, all I see are some rocks and a couple of tents." Welcome to the world of archaeology! Just wait till you get to all the cataloging and diplomatic red tape. She wraps up her message and then heads into one of the tents. It's quite cavernous inside, and fairly well-appointed, with a smattering of rugs and netting around the cots. "Hello?" she calls out. "Lois Lane, Daily Planet!" She picks up an ancient piece of papyrus scroll depicting Isis and Osiris. At first my inner anthropology major had a minor panic attack, but then I realized it was pretty dumb of someone to have left it out in the first place. "They were star-crossed lovers," a man says behind her. They were also siblings, but times were different then. Carter Hall walks into the tent, looking all hot and scruffy. "I guess you never know what fate has planned for you," he says. The dusty desert air has done wonders for his voice, because now Carter sounds like regular Michael Shanks and not like acid-gargling Michael Shanks. Lois gives him a piercing look, or maybe the sun has burnt out her retinas.

Metropolis. Clark is just showing up to work, phone in hand, leaving Chloe his fourth message without response. "Jor-El warned me some dark force is coming," he says. The world's most observant reporters mill about him without hearing a word. He ends the message saying he needs her help. A nameless colleague hands Clark the day's paper. "Check it out, page three," he says. "Someone hit the big time!" Clark looks at the paper. There's a long-ass article about Lois joining Perry White in Africa, complete with picture. Was it an exceptionally slow news day? Clark frowns. His sadness grows when he spots Lois's empty desk. He hops online and buys a plane ticket to Cairo. Dude, don't be clingy. You're the one who told her to go. In the time it takes him to go to the printer for the receipt, someone new has taken over Lois's desk. She's blond and perky and looks like June Cleaver got into a teleporter accident with Hello Kitty. She perkily introduces herself to Clark as Cat Grant. "No relation to the woman on TV," she says, giving him a gooey homemade cookie baked with twice the sugar. So her diabolical plan is to kill people with diabetes! Evil, yet delicious. She starts redecorating Lois's desk with all manner of pink doodads. She gushes about how excited she is to be working here, after "all those weeks" of working at a small town paper. Clark scoffs even though he was hired with less experience than that. She sets up a (pink) radio and tunes it to someone railing against the "masked, anarchy-loving vigilantes," including the Blur. Cat nods along in agreement. Clark turns off the radio in a fit of pique. Cat extols the virtues of Godfrey, the radio crusader. "He is so right, about everything!"

By Tippi Blevins

Watchtower. Oliver is busily typing at a computer, searching the Metropolis Police records for mentions of Chloe. Nothing turns up. As the camera sweeps around him, we see several other computers up and running, all searching fruitlessly for Chloe. Tess walks in. "I got your message," she says. "I have to say, it wasn't the call I was expecting." He doesn't bother with a greeting, just announces that Chloe is gone, with a hint of accusation in his voice. "Well, you've been with her for five months," Tess says. "Seems like things are right on schedule." It's not like that, Oliver tells her. She just disappeared without a word. Tess thinks their whole group has trust issues. Oliver says she must not know him at all if she thinks he's just going to sit around waiting for his girlfriend to come back like Clark is doing. Tess sticks up for Clark, saying that Clark respects Lois enough to give her space. "Maybe that's because Lois hasn't completely disappeared," Oliver says. He tells Tess there's no digital record for Chloe anywhere. "It's like she never existed," he says sadly. Tess looks at the bank of monitors with a gleam of recognition and admiration. "The only one who could erase Chloe is Chloe," she says. Oliver accuses Tess of being behind it, showing her an email from Chloe that he thinks Tess forged. She reads it out loud for the audience at home, most of which I'll spare you. It ends with "I've never loved anyone the way I've loved you, and I never will again." Chloe's letter signs off by calling Oliver her hero and "knight in shining leather." Tess gets a little choked up reading it. She's got some crazy clown blush going on here. Maybe the purple prose is rubbing off on her, dermally. Tess tells Oliver she didn't write the letter. Oliver, with tears shining in his eyes, already knew. Tess admits she helped Chloe "reset the system." She trusted that Chloe had a plan. "Maybe it's time you trust her, too." Oliver looks like a lost little boy.

The scenes on this show feel so long. That's not just me, is it? Long scenes of two people just talking at each other. Talking and talking and talking. [It's not just you. - Zach]

We rejoin another pair of conversationalists in Africa. The camera pans across a table laden with golden artifacts from Carter's dig. Lois picks up a blue and gold necklace and snarks about how gaudy it is. Carter, trying to get some work done in another part of the tent, can't let that go by. "You might tell that to its owner, the goddess queen Isis," he says. "She spent eternity searching for the cut-up pieces of her dead husband." Lois relates Isis's ordeal to her own broken relationship with Clark. I hope for your sake that Clark's not missing his penis like poor Osiris. (I've written Egyptian-themed stuff before and yet I've never been able to work that into something until Smallville. Figures.) Carter ignores her and keeps working. Lois wanders around the tent. If she's writing about this dig, shouldn't she be... taking notes or something? She compares Carter to Indiana Jones and keeps touching stuff until he finally tells her to keep her hands off. Lois keeps flapping her gums. Carter, looking like he'd rather take a dive headlong into a crocodile tube than spend another moment in this woman's company, messages Clark: "Lois Lane is safe. You owe me big time." She wonders why a statuette of Ra has the head of a parakeet. "It's a falcon," Carter corrects her. Lois remains unimpressed. "So why was this 'hawk guy' so important?" she asks, displaying the wealth of Egyptological knowledge that made her the perfect choice for this assignment. He relates to her the abridged version of the Sun God myth. She thinks of Clark. A woman, wearing a scarf that conceals most of her face, brings them tea. "Thank you, Ati," Carter says. She leaves silently. Lois talks about how this assignment isn't in her "strike zone," seeing as how she was raised by a very practical General and all. Carter's still trying to work, but Lois goes on about living one's whole life without any proof of a god. "And then one day you look up," she says, "and the guy sitting across from you is Ra!" She goes on, talking a mile a minute, wondering what life is like for this mystery guy. It must drive him crazy having to drive something as slow as a car, for instance. Carter stops working and gives her a knowing look. "This is going to require something stronger than tea," he says. He gets out a bottle of booze and suggests Lois just ask Clark all these questions. Then he tells her to sit down before she drives him crazy. For once, Lois is silent.

By Tippi Blevins

In Metropolis, Cat is leading Clark to her wee bitty car. He has to fold himself into this minuscule auto like a circus clown, his knees practically pressed against his chest. He surveys his new surroundings with something like horror. The seats are pink and there's a pink stuffed animal staring at him from the dash. Oh, dear Lord, there are more stuffed animals on the driver's side. Meanwhile, an unknown man studies them from a distance. A twangy guitar chord announces him as an outlaw of the Western type. He flips a sort of red glass monocle over one eye. A digital readout from his perspective shows Cat and Clark from precisely 330 yards away. In the car, Cat perkily reminds Clark to put on his seatbelt. The unknown outlaw raises a revolver, aims, and fires. We follow the bullet from the barrel through an open window of a passing car, past a coffee cup in a cafe patron's hands, through the spokes of a bicycle, and so on. The bullet swerves and dodges and then zips through the tailpipe of Cat's pinkmobile. The bullet hits some crucial part of the car's innards just as Cat is saying "My grandpa always said 'seatbelts save lives!'" The car goes kablooey in slow motion. Clark grabs Cat and whooshes her to safety. "Oh my gosh, Clark," she mews. "We almost died!" Well, maybe time.

By Tippi Blevins

Later, Clark is back at the office, studying the guilty bullet. It's somewhat accordion-shaped from its efforts but the letters "A R N T" are still visible on its side. A shaken Cat is at her desk, speaking on her cell phone in hushed tones. "Don't tell him it's me," she says to someone. "He'll just get upset." She cancels some prearranged "pickup" and then hastily hangs up when Clark approaches her. "You want to tell me what you got caught up in?" he asks. "Someone did just try to kill you." Cat tries to cover her secrets with a layer of kitty litter, but it's that cheap stuff and the stink of crap still comes through. She babbles about how Clark, much like Lois, sounds like a conspiracy theorist. "Always railing against the establishment, the normal people," she says. "Normal," Clark echoes. "Like you and me," she chirps. "God, it must have been hard listening to her justifications for all these alternative values and lifestyles." Clark gets puffy with indignation. It's not a lifestyle choice! Some of us are born that way! That we enjoy the company of other men in tight leather outfits is none of your concern! Cat laughs to think Clark might actually think all these vigilantes are "part of the natural plan." She pronounces them without a moral center. "That's easy to say when they can't come out and defend themselves," Clark says. Cat disagrees; the vigilantes could come out of the shadows any time but choose not to. She starts to relay something Godfrey said, but Clark tries to get back on task by telling her about the bullet. Cat is stunned. "Why would anyone want to kill me?" she asks. Clark goes through a long list in his head, but takes her to hide out in Smallville anyway.

By Tippi Blevins

Talon apartment. Oliver is rummaging through Chloe's drawers, though not in the fun way like he used to. He moves on to a cabinet, but something on a shelf gives him pause. It's a photo of Chloe, lying in bed all tousled and wearing only a rumpled sheet. It's a sweet picture, more comfortable than salacious. Oliver puts it down again and picks up a small glass vial. He pockets it just as Cat shows herself into the apartment, a bag of groceries in her arms. She stopped for groceries? Also, what in the hell made Clark think hiding out in the Talon was a good idea? Haven't a bunch of people been kidnapped, assaulted or killed there? "Don't move," says Oliver, now wearing his Green Arrow outfit for some reason. Cat goes through a whole purse's worth of self defense items, but Oliver foils them all easily. She makes for the door, but he holds it shut. "I should have known you masked creeps would be following me," she says. "Your little car bomb backfired this morning!" He tries to convince her he's not a bad guy but she says she has proof that his group has been torturing people at an old brewery by the docks. She shows him the pictures on her phone, which he promptly snatches away. Justin Hartley's arms are insane. I'm... kind of having a hard time focusing on anything else. They're so... nice. Ahem! Cat makes another break for it. This time, Oliver doesn't stop her. He disappears through an open window. I miss the arms already.

Tess's office. Clark gets Cat's personnel records from the file cabinet. You'd think that would be in HR or something, but whatever. Tess walks in, not even surprised to see him. "All you had to do was ask," she says. Yeah, but stealing is more fun! "Cat Grant isn't who she says she is," Clark says. Her real name is Mary Louise Something. Tess thinks this is about Clark not wanting anyone to replace Lois, so she tells him to just go get her back. Clark says he respects Lois's decision. Yeah, that's why you bought a ticket to Cairo earlier. Clark gets the topic back to Cat, talking about her suspicious phone calls and the blowing up cars with engraved bullets. Something about that last bit sounds familiar to Tess so she sits down at her computer and pulls up a file on one of Checkmate's old targets. "One of the few they never got," she says. "And one of the even fewer they feared." The file shows a grainy image of the bemonocled marksman, who's also high up on the CIA's and Interpol's wanted lists. "He strikes with surgical precision and assassinates all witnesses," Tess says. He's known to Checkmate only as Deadshot.

By Tippi Blevins

We move to Deadshot's Deadshack. His ramshackle lair is filled with guns in various states of repair and manufacture. The twangy guitar returns. Deadshot sits at a workbench, sparks flying from whatever tools he's using. He says, in a phony Southern accent, "You failed to mention exactly what Ah was dealin' with." Ah do declare! "Ah don't make it a practice to let mah targets walk away." As we move around his workbench, we see a speaker phone. "That was just a test," says a voice. "Had to make sure we were after the right guy." Deadshot scolds the other man for not telling him, what with them being on the same team and all. Then he talks about fate, because everyone on this show is obsessed with fate and destiny. He says everyone's got a bullet with their name on it. To illustrate his point, he studies the bullet he's been working on. It bears Clark's name.

Talon, night. Cat looks like she's getting ready to leave, and she's put on a bulletproof vest. She hears someone approaching the door and grabs a knife from the kitchen. The door opens. She's relieved to see Clark and tells him about being attacked by Green Arrow. "It's all a part of that vigilante agenda," she spits, the very words distasteful to her. She thinks they're after her now that she's working at the Planet to expose the truth about them. "If you're really about the truth, then why did you lie to me?" he asks. He says she's hiding a few secrets of her own. Well, so are you, ya big weenie. Cat plays dumb until Clark mentions the name change. She breaks down and tells him about her young son, who's staying with his grandparents. Her relationship with the boy's dad went sour. Clark talks about him and Lois and how he's not sure if they'll get back together. Cat's ex was bad enough that she changed her name to get away from him. Then she took a high-profile job crusading against high-profile people. Smooth. But she tearfully explains it in a way that makes sense, or at least makes sense that it would make sense to her. When she says she has to hide behind her new identity, Clark gently compares her to the vigilantes she's fighting. She thinks about that for a while. The only thing that matters to her is protecting her son. Clark gets a text from Tess. He apologizes to Cat, but he needs to go. She's afraid Green Arrow will come back for her, but Clark tells her to stay put and promises to be back. As she watches him leave, she sees a long brunette wig hanging on a coat rack. What the hell? [Remember, Lois used to keep that apartment full of more costumes than a strip-o-gram dispatch office when she lived there. - Z]

By Tippi Blevins

Africa. Carter and Lois are drinkin' and talkin'. She thinks sometimes that she was destined (obsessed!) to be with Clark, but his destiny (obsessed!) is so much bigger than that. She doesn't want to hold him back. "What if you're the one that makes his burden easier to bear?" he asks. She thinks about that for a bit, then asks, "Do you think that's why he sent you here? To make sure I was safe?" Damn, Clark really does owe him big time. Carter says Clark worries about her and doesn't know that she knows the truth yet. Lois worries about blabbing his secret. "With every great relationship," Carter says, "comes a great burden, and the strength to carry it." Eh. Lois excuses herself for bedtime, but Carter calls her back. He hands her a book and says it was a gift from his wife. "It's a story about two star-crossed lovers." He tells her about Prince Khufu and Shayera, who loved each other so much that they found one another in every lifetime. Lois, listens, rapt. Then Carter finishes by saying they lost each other in death again. "That's a terrible story," Lois says, though not meanly. For some reason, the scene keeps going on. Khufu tried seeking other women, Carter goes on, but only found Shayera when he stopped looking. Lost in his own story, he sees Shayera standing in Lois's place. He leans forward to kiss her. This being Lois, she slaps him hard across the face instead of just backing up like a normal person would. "Try that again," she says, "and the thing kissing your lips will be my fist." He watches her stomp off, his brow furrowed.

Tess's office. Tess tells Clark that her lab guys have worked on the bullet he pulled from Cat's car. Once stretched out from its accordion-like shape, the "A R N T" becomes "CLARK KENT." Yes, it all seems so obvious now! Clark silently curses his parents for not allowing him to read Mad as a child. Clark thinks about it for a while and goes, "The target is me!" He thinks some more. "This guy doesn't know that bullets and car explosions don't hurt me," he says. Every baddie you've ever fought knows it, dingus. They probably talk amongst themselves, you know. Tess says Deadshot may have been testing Clark. Clark thinks there must be more to his plan. Tess figures Deadshot, knowing Clark is faster than his bullets, will go after someone he knows Clark will save. She says, "And maybe you'll be there to--" "--act as a shield," Clark finishes. Clark Kent: He'll keep you safe, dry, and fresh all day long. He realizes he needs to get back to Smallville to protect Cat, but Tess says it's too late. A computer tracker shows Cat on the move. They had a tracker on her? [Maybe they bugged her... uh, replacement phone? - Z]

By Tippi Blevins

She's just getting off the bus in Metropolis, wearing the long dark wig and sunglasses. She's on the phone to her parents, telling them to get her son ready. "Ah liked you better as a blond," Deadshot says behind her, accompanied once more by the twangy guitar. She turns to face him. Now that we get a good look at him, he's sort of a letdown. He looks like he belongs in a salsa commercial where the punchline is "New York City?!" Speaking of commercials, let's take a break for them now, shall we?

Back from the break, Cat is still staring down the Salsa Kid. Bus passengers mill about, paying no mind to these costumed weirdos. "Why are you doing this to me?" she asks. "Funny thing about fate," he says, "you can't outrun it." Not if this show has anything to do with it. He sweeps open the front of his duster, showing her his holstered gun. She begs for her life, saying she has a young son. "He'll get over you," he says, advancing on her. "In three or four years, he won't remember your face." He blah-blahs for a while in his awful True Blood reject accent and his pasted-on beard. He ends by saying, "Everyone is replaceable." Cat says she used to think everyone could be saved. "But now I realize some people are just born dead." She makes a break for it, whacking him with a suitcase. She runs between rows of parked buses, shedding her wig as she goes. He walks slowly after her. Cat runs through a crowd of disembarking passengers and then, for some reason, keeps running until she gets to the empty works yard. She finds herself at a dead end. A wall looms over her, bearing the Suicide Squad's skull symbol. She stands in front of it, petrified. Across the yard, a sniper rifle is aimed at her. Deadshot activates a remote control device, which sets the gun to fire in eight seconds.

By Tippi Blevins

Clark super-zips onto the scene. No need to hurry, dude. You've still got seven seconds left! He punches Deadshot in the face, sending him flying backwards into a fence. Cat is still standing there in the crosshairs, as the timer ticks down. She's going to stand there for the whole eight seconds like an idiot, isn't she? The gun fires. She squinches her eyes shut. The bullet leaves the barrel in slow motion, spinning to show Clark's name etched on one side. Clark runs and gets ahead of it. The bullet hits his shoulder and bounces off, making a hilarious sound reminiscent of a spitty wad of tobacky hitting a spittoon. He catches the smushed bullet in midair and then carefully places it in the center of Cat's bulletproof vest as he eases her to the ground. Cat slowly opens her eyes, surprised to see Clark. "Are you okay?" he asks. "I'm fine, thanks to my bulletproof vest," she says. She chirpily says she doesn't need a masked hero to save her. "I've got a real flesh-and-blood one right here," she says, giving Clark a rosy-cheeked smile. He looks bashful. She goes on: "People need to see someone's heart to believe in them," she says. "We need to be inspired people who stand out in the light, not people who shrink into the shadows." "We need a good ol' American hero, in red, white and blue," she says, then looks at Clark's outfit. "Or at least read and blue." As Clark thinks about this for a while, the focus shifts to the bullet hole in the shoulder of his jacket. Some blue glowing strands move over the skin where the wound would have been. The strands coalesce into the skull symbol and then disappear beneath the skin.

Africa. Ati the tea lady brings Carter a bowl of water. As he splashes some onto his face, some glowing strands -- this time yellow -- squiggle over his skin. The skull symbol again appears and then fades. Ati's heavily made-up eyes flash as she turns away.

Brewery of Torture. Still in his Green Arrow gear, Oliver now stands where he was tortured the week before. Chains and cuffs lie on the floor. His torturer walks up behind him. "Did you miss me?" he asks. He teases Oliver about the beating: "You made me work for it." "I'm glad it was good for you, too," Oliver says, turning to face him. His torturer raises a gun. Oh, what the hell. We all know he's Rick Flag, even if no one's said it yet. I'm calling him Flag from now on; "torturer" is just awkward. Flag says the public tide is turning against the vigilantes. That would have been nice to see on-screen before this episode. Oliver isn't interested in joining, he just wants to put bad guys in jail. "It's going to get tougher," Flag says, "the longer you and your little league of heroes stay half in, half out." Flag says the thing about his group is that everyone thinks they're dead. "We could use you," he says, lowering his gun. "But this is your one and only offer." Oliver RSVPs with an arrow. Flag just as quickly has his gun back up and fires. The bullet grazes Oliver's gauntlet. The skull symbol appears in a puff of smoke. Oliver proceeds to beat the living snot out of Flag. Flag falls to the ground. Oliver kicks him in the ribs. "Where's Chloe Sullivan?" he asks, punctuating each word with a kick. Flag rolls onto his back and tells Oliver it wasn't a kidnapping. "It was a trade," he says. Oliver crouches down beside him and punches him across the jaw. "Trade for what?" Oliver demands. "For you!" Flag shouts back. He chuckles and says Oliver would have been proud of her. "She didn't crack. She downed a cyanide pill just to save your life." Muscles twitch in Oliver's face and then he goes blank. He stands up, numb, and walks away.

By Tippi Blevins

Deadshot sits in a shadowy jail cell at the end of a long, dark corridor. A uniformed policeman saunters towards him, twirling a ring of keys on one finger. The policeman steps into the light, revealing himself to be Flag. He stands outside the bars for a while. Deadshot says nothing. "Not even a hello?" Flag asks. "Rotting in jail ain't mah idea of a good time," Deadshot drawls. A young woman joins Flag outside the jail cell. Her heavily made-up eyes identity her as Ati, the tea server in Cairo. The rest of her sullen face identify her as Plastique. "You nailed your target," she says sullenly. Flag unlocks the cell. "'Bout time," Deadshot snits. Plastique finds him as annoying as I do: "I'm sorry, but what's redneck for 'bite me'?" Flag says her name in a warning tone. She says that their "costumed counterparts" have been tagged and released so they can track them. [Doesn't Deadshot's Cowboy Curtis getup qualify as a costume? Or as much of one as Clark's "costume," anyway? - Z] The three of them walk down the corridor together. Flag: "Let's give these boys a taste of what it's like to mess with the Suicide Squad." Well, technically, you messed with them.

By Tippi Blevins

Africa. Lois is wandering around the camp when Carter catches up to her and apologizes for last night. "I guess I got a little too caught up in my story," he says. She says she knows it's an autobiography. Carter doesn't respond, so she shows him a slip of paper she found in the book. It reads: "To Carter, My once and ever Prince. With Love, Shayera, Shanghai 1824." Carter still tries to deny it. "Let's just say I wasn't born yesterday," Lois says. "You're not the only one of Clark's friends with a mysterious past." "Clark did say you were wise beyond your years," Carter says. Carter just hopes that the night before will stay between them. "I'm not sure Clark would forgive me if he knew," he says. Lois smiles and agrees to keep it a secret. She asks him about the story. Carter tells her he's been hearing his wife's voice lately and then saw a vision of her. "When that happens," he says, "I know I'll be joining her soon in a new life." But to do that, he has to die. "It's time I meet my destiny, Lois." Carter says he wants Lois to meet hers, as well. "He can't do it without you," Carter says. "You're his Shayera." Lois denies it, insisting her future is in Africa. Carter starts talking about how Nietzsche said we shouldn't live for the future, but the present. And yet, you keep talking about the future. "He thought that people who chased after some far-off future dream were really running away from their true destiny," he says. DESTINY! DESTINY! DESTINY!!!!!!!!!!!!!! FATE! FATE! DESTINY! Because they haven't said it quite enough this episode. Lois scoffs, but Carter painstakingly works the conversation around to the "Übermensch " philosophy so that Lois can translate it for us as "Superman." "Nietzshe believed we could all be one," Carter says, "in our own way." Triumphant horn music plays.

The music crescendos. In Metropolis, Clark walks down a long hallway with a determined look on his face. His hair is slicked back. He walks out onto the roof of the Daily Planet building. He holds his flight ticket to Cairo as he stands at the ledge, looking over the city. He lets the ticket slip from his hand. The camera pans around his back. He's wearing... he's wearing... I don't know how to describe it. It's a deep red leather jacket, with quilted padding on shoulders. The S-shield is embossed on the chest. The tailoring and straining of the fitted leather make his pecs look sort of boobish. The jacket is unzipped to show a blue tee underneath. I bet the jacket makes creaky leather sounds when Clark runs at super-speed. Even still, as cheesy as the whole thing is, with the American flag flapping and the golden globe behind him, it's kind of a nice moment. Heroic music plays as Clark poses. Then the credits roll. Clark probably goes for a sandwich or something.

By Tippi Blevins

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Tippi Blevins was destined to finish this recap. You can reach her at b_tippi@yahoo.com or http://twitter.com/tippib.