Davis continues his whacked-out downward spiral, going so far as to confess to a priest that he's got a beast inside of him. But what we really see is him taking down scum on the streets and saving poor addicts from themselves. Maybe the show should be about him? Maybe?
Meanwhile, Chloe is gearing up for Jimmy's return to the area as he's transferred to Metropolis General. Clark is happy for her, which is surprising given how busy he's been setting records saving people as the still stupidly named Red-Blue Blur and making sure the security cameras catch him so he can be an anonymous beacon of hope. Good luck with that, Clark. Chloe goes to see Jimmy at the hospital and he's going through some rough times. He's messed up about his wedding injuries and in a lot of pain, hopelessly addicted to the morphine drip. It doesn't help that he keeps having hallucinations mixed with seeing David possibly kill someone in the hospital. When Jimmy tries to accuse Davis, he just ends up looking silly and drugged-out. Davis offers Chloe a shoulder to cry on and Jimmy sees them hugging, propelling him into a jealous tizzy. David and Chloe acknowledge their kiss and Davis assures Chloe that he's moved on. Jimmy, on the other hand, hasn't moved on at all. Jimmy escapes from the hospital and follows Davis. He finds a dead body in the ambulance and Davis drugs him up. Jimmy has a freak-out at the hospital in front of staff, where it's obvious he's tripping. Later on, Jimmy escapes again and follows Davis, who is about to turn into Doomsday. He believes Davis is murdering people and trying to get Jimmy out of the way to have Chloe to himself. Davis, about to turn into a monster, is saved when Chloe stun-guns Jimmy. Chloe's presence makes Davis go back to normal. But the big loser here is Jimmy. When he's released from the hospital, he tells Chloe he's tired of never being trusted over Clark or Davis and that things are over. He takes his pills and goes driving, quickly becoming an addict. Chloe cries and cries and calls someone, presumably Davis, for comfort.
Meanwhile, Tess Mercer asks Clark to come with her to an event in Los Angeles. In the air on Oliver's private jet (now co-owned by LuthorCorp.) they talk about Lex, whom Tess knows had a dangerous obsession with Clark. Clark offers drinks to try to get her inebriated enough to reveal what she knows about him. It doesn't work. Instead, Tess tells Clark about her childhood abuse and, playing the sympathy card, tries to get Clark to reveal his own secret, which she already seems to know. Clark doesn't. But when the plane suddenly starts to go down, Tess tries to find out anyway. She lies about not being able to find parachutes on the plane and says that the pilot is missing. Clark puts an oxygen mask on her, cuts off the air on it and jumps out of the exploding plane with her to safety. Later, we find out the plane crash was just a ploy when Tess hands the pilot a new identity and a suitcase full of cash. Clark tries to explain that he found one parachute (and is not aware there was a second one). Tess seems to have all the proof she needs about Clark now. How turbulent.
First off, thanks to Tippi for subbing last week while I wallowed in the technology orgy that was South by Southwest Interactive for work. It was my first break in almost five years, which goes to show that you can be drastically loyal to pretty much any chunk of pop culture for an extended period of time if somebody's paying you for it. It helps if it's a little gay, to pass the time.
Onward! We open on Stately Luthor Manor at night. We're viewing it from the outside, looking at a large stained-glass window. Inside, we see a painting showing Jesus being tended to by the Apostles. At least, I sure hope that's Jesus, or the stained-glass artist has a terrible sense of humor. A bald, serious-looking priest is sitting below it. Wait a minute, this isn't Luthor Manor, it's a church! Way to fool me, show. They both look like castles with lots of stained glass from the outside. In fact, I'm not convinced they didn't just recycle a chunk of the manor from an angle we haven't seen before. The priest slides open a panel in the confessional. That's a fancy confessional booth to have expensive artwork inside. A man, in silhouette on the other side of the panel, asks to be blessed, for he has sinned. He's hurt a lot of people. Al? Miles? PS3? Is that you? The priest is curious. Hurt a lot of people, eh? That sounds juicy! Let me get my blog software up. The man confessing, whom we can tell from the handsome profile is Davis/Doomsday, says that something inside him takes over. It's a beautiful song! "La la la LA!" No? No time for a song? All right, then. You'll be sorry when we take this thing to Broadway, CW Network. If that is your REAL network name. Davis leans forward against the partition and we can see his face lit. He says it's a beast. Inside of him. It's named Murray and it only wants to watch The History Channel. The priest, who has a cool little white beatnik beard, says that we all have our inner demons. Heck, I like to wear Uggs under these robes. People say I'm crazy, but I tell them the Lord works in mysterious ways to keep my feet awesome.
The priest adds that Davis must control these urges. Davis, shaky, says he's trying. Davis says he drives through Metropolis at night looking for a way to save himself. He wishes there were some sort of theme song about somebody saving me, but he's at a loss. As he's talking, his face flashes orange and we do a cool, seamless transition to Davis driving his ambulance. Davis says there's pimps and thieves and so much crime on the streets. What are you, Rorschach from Watchmen? Davis stops the ambulance in a shady warehouse area and sees what appears to be an assault that makes a young man drop to the ground. In the ambulance, Davis balls up his fist and turns on the siren. The assaulter, who has stringy long hair, scrambles and runs. Davis, flashlight in hand, runs to a boy who's lying on the ground. He is telling the priest in voiceover that when he finds someone who's lost their way, he reaches out. The boy is reaching out for a vial of drugs on the ground. Davis crushes it with his boot. Davis picks the boy up roughly and yells, "GO HOME!" in his I-am-turning-into-a-monster growl. The boy runs. Davis puffs some breath. The assaulter, who has a thin moustache to match his greasy hair, stands against a fence, unable to climb. Davis approaches him. He tells the priest that when he finds evil, he does everything in his power to put it at an end. Davis's eyes light up red as the guy says he's not even a cop. Davis grabs the dude and throws him against a car, shattering a window. He snaps the guy's neck as his eyes flash red. We hear a sickening crack. Davis says that when he stops the wickedness he sees, it keeps the beast from coming out and makes him feel human. Good... for you?