Chloe is at her locker. A hand lands on her shoulder. She says she's not interested in an apology. Chloe turns, and it's actually the curly-haired dork with the mean streak -- the guy we just saw in the children's hospital. Chloe's happy to see the guy. They hug. In his warbly voice, Artist Boy thanks Chloe for sending a bunch of emails that got him through a tough time. That and the voodoo dolls. Chloe says that lots of people must have stayed in touch. Nope. She asks when he's going to start drawing his comic strip again. Everybody's waiting for the further adventures of the "Flaming Crow's Feet," she says. Oh, man. I don't even know where to begin with this one. Al Gough? If you really want to deny the homoeroticism on the show, stop giving me such tempting fodder, man! Gary Tru-d'oh! looks down at his hand sadly, and says that his drawing tool is shot. Chloe's smile fades. She says she's sorry. He says it's fine, and that he's in the process of reevaluating his life. You know -- who to kill, who not to kill, which of his enemies' limbs to sever. Really, you need a clear and detailed life plan for these sorts of things. I'll bet Dr. Phil would agree. Gary asks Chloe on a coffee date (mmm, caramels), or rather a date in which Chloe will drink a non-fat no-foam latte. Chloe smiles. She considers it, and then sees Clark walking over, all, "Hey, what's this shit!" Chloe decides, sure, why not. Chloe says she's reexamining her life, too. What kryptovillains to fall in love with, which school scandals to expose, which snappy comeback to use. Goofy smiles are exchanged. Chloe and Gary take off down the hall. Clark looks like somebody just kicked his Lex.
Metropolis. The neatest, most orderly cemetery I've ever seen, covered with what appears to be Astroturf. One big slab sits up and in the middle. That's where Lex is, putting a flower at a gravestone; he's wearing his trademark purple shirt and black blazer. It reads, "Lillian Luthor. Loving Wife and Mother. 1951-1993." Sad music plays. In the shiny black marble reflection, we see a woman walk up behind Lex. Without turning around, he asks the woman what she's doing there. The woman gently says that she's there for the same reason Lex is: the anniversary of the dead person's death. The woman has red hair and looks like an older, gentler Cynthia Nixon. Lex asks where she's been for nine years. He says that his mother's Luthorcorp stock surely helped ease the pain. "Is that what your father told you?" the woman asks. Lex smiles and looks away. "All those years, I thought you loved me," Lex says. Awww. Poor Lex. The woman says that Lex has a right to be angry, but that they need to talk. Lex says that there's nothing she could say that would interest him. "Goodbye, Pam," he says, and walks off. As Pam looks on after Lex, we see a statue of an angel in the background. It's holding two cups -- one with a flame, the other with a water fountain. I'm guessing that if those are representative of two kinds of lives, Lex will eventually move toward the flaming side.