7.13 Exit by MR and AoT (Part VII)

As retold by Bill C

MR: We come back from--
JG: Going hard.
MR: --on commercials to an alternate angle of the shot of Clark pinning Zod to the pillar.
KK: Right before ravishing him.
ED: While thinking about Lex.
AoT: And screaming "Who's whose bitch now?"
TW [head in hands]: News flash: I hate you all.
AoT [sweetly]: Back to you, Michael.
MR [cheerfully]: Thank you, Annette. Clark is glaring at Zod, and Zod simply looks smug as hell and goes "Well?"
AoT: Quick cut to the speeding train, then back.
MR: Clark looks down briefly, then back up at Zod...nice zoom in for you there, Tom, try to look pissed and conflicted...and lets him go, then super-speeds towards the bridge.
AoT: Zod lets his bitch go without a word. We hold on him for a couple of seconds after said bitch bails, and then he takes off--straight up.
KK: I was wondering when he'd fly.
AoT: Super-speed is cheaper.
KK: Oh, okay.
MR: Meanwhile, Clark zips over to the bridge and checks out the damage. There's a nice hole in the bridge, and the rails are a little mangled and bent down into it.
ED [uncertain]: Wait a minute...
AoT: We cut back to the train for a second, then back to Zod's b...Clark...looking determined.
TW: He's not Zod's bitch in this scene?
AoT: Well, not this particular bit.
MR: In super-speed slo-mo, Clark climbs over the side of the bridge and then onto a support beam underneath the main bridge surface and positions himself underneath the hole. He then grabs one of the broken rails and heaves it up into place, then uses his heat vision to weld it back into place.
TW: Wait, hang on. He's actually saving somebody?
MR: A few somebodies. I thought it would offset the end--
AoT [sharply]: Michael.
MR: --uh...offset the...bitchifying of Clark by Zod. A little.
TW: Oh. Thanks. I think.
KK [quietly, to ED]: That is what you call a bad save.
ED [quietly, to KK]: Really?
MR: Clark looks up post-welding to see the train bearing down on the bridge, so he lunges across the beam and shoves the other rail up into place and holds it as the train goes overhead.
ED: Hey! Isn't he supposed to lie in place of one of the rails?
AoT: Yes, but we decided to skip that in part of common sense.
MR: And Annette wanted to flip Bryan the metaphorical finger.
AoT: That too.
MR: So for about five seconds there's this shaky-cam shot of Clark from below, teeth gritted, holding this rail over his head as a train whooshes by. Then the train's gone, and Clark goes ahead and heat-vision-welds the second rail into place, all with that I Can't Believe It's Not Superman theme going.
JG: Do we have to use that?
ED: Is it just me, or is that the most heroic thing Clark's done in a while?
TW: God, I think it is. [groans] Dammit.
AoT: And away we go to the warehouse. Lois and Bittleman are now seated on a large crate with a couple of goons pointing big guns at them. Hasaad is walking around them. "So, what is that quaint human saying...the one about curiosity and cats?"
ED: Yeah, bitchy Lois! "Talk all you want. It's not going to make any difference--you're going down, Hasaad."
MR: Hasaad does the standard evil villain laugh. "You're a delightful one. I should keep you around, just so you can truly see how wrong you are about that."
ED: "We'll see about that. The police know you're here. The Army knows you're here. Face it--you're through."
MR: "On the other hand...I could just kill you and your minion--"
AoT: Bittleman throws in a token "Hey!" for effect.
MR: "--and spare you the indignity of being the first to see what is to come."
ED: Okay, and Lois--huh? "Insert defiant Lois-with-cleavage shot here"?
JG: Oh, you know! That one shot of Lois where she's glaring up at someone while showing off her...acting talent.
ED: Oh, okay. [pauses] Wait. [shrugs] Okay. So Lois glares up at Hasaad. "You won't get away with this."
MR: And Hasaad leans in so we can zoom in on his and Lois's heads as they glare at each other. "Human fool, you have absolutely no idea what I will get away with."
AoT: Lois is about to fire off a witty retort when an armed goon runs in. "The cops are outside! They're setting up a perimeter!"
JG: Okay, seriously: how many gun-toting thugs can say "perimeter"?
MR: Hasaad merely points at a large crate off to one side. "Delay them...by any means necessary."
KK: And Hasaad uses the Ark of the Covenant to melt everybody's faces off.
AoT: Said armed goon and a couple of others run over to the crate and open it, and we go to an exterior shot of the warehouse. The Metropolis P.D. has now shown up in moderate force--three cruisers and a SWAT truck are parked a short distance away from the building with lights flashing, helicopter noises are heard and we see spotlights swirling around from above-frame, and cops are running all over the place.
KK: Nothing like a pitched battle for sweeps.
JG: Except hot sex.
AoT: Some big burly cop grabs a megaphone and starts the usual "Come out with your hands up!" bullshit--only to get the megaphone blasted out of his hand by a small bolt of red energy. That came from a bulky rifle-like weapon the talkative armed goon is now carrying, as he and the other two come out of a side door and crouch behind a burned-out car chassis; they start firing at the cops, who either start running for cover and so on or firing back with normal automatic weapons.
MR: Cut back to inside the warehouse, as the sounds of gunfighting filter in. Hasaad nods, then looks over at Space Cujo. "Soldier."
AoT: Space Cujo hisses in reply. Cut to a panning shot of a group of goons all firing weapons, some conventional and some alien, at the cops...then cut to a couple of cops firing from behind a cruiser. Jump cut to a reverse shot of them, facing the thugs, as a large form appears behind them and appears to jump up out of the shot--and then pan up as Space Cujo lands on top of the cruiser, aims his staff weapon down at them, and fires a blast of greenish energy down out of frame.
JG: Flambe'd pig. That's unusual for this show.
MR: There's some very...very...brief screaming right after that, and then we cut to half the cops all glancing over to see Space Cujo's handiwork and then shifting to fire everything they've got at it. The bullets mostly bounce off the armor, but they do drive it back a bit--far enough for one cop to break out a grenade launcher and pop off a round at it, taking out an old junker car and some concrete--and catapulting Space Cujo into a brick wall.
ED: Competent police? What is this, a dream sequence?
AoT: Not quite. But after Space Cujo hits the wall, we jump to some unidentified military base where various soldiers are putting on gear, loading weapons, loading vehicles, and so on. Nice semi-patriotic montage, which ends in a CGI convoy of vehicles--Hummers, APCs, and some armored vehicles of various stripes--all roaring through a gate.
ED: Daddy's coming to save his little girl.
KK: That sounds so incredibly wrong.

MR: We then see General Lane, now wearing standard camouflage military gear and carrying a pistol, climb into the passenger seat of a Hummer with general's flags on the antennae. He growls, "Let's go, Mackenzie," and the vehicle roars off to join the end of the convoy. From there we go to a wide shot of the convoy, now accompanied by attack helicopters, moving off into the night down a highway--with a "METROPOLIS - 50 MI" sign marker by the side of the road.

Continued...