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#114 : La fille d'eux

Sylar s'enfuit des mains de Mr Bennet et n'a qu'une idée en tête: tuer Claire. Celle-ci part à la recherche de ses origines et rencontre sa vraie mère qui comme elle a un secret bien caché. Peter commence son apprentissage avec Claude mais doit cependant se résoudre à abandonner sa famille et Simone pour contrôler son pouvoir. Isaac profite de son absence pour se rapprocher de Simone et Niki agresse son psychiatre avant d'être relachée.

 

 ***Captures ***

Popularité


4.5 - 2 votes

Titre VO
Distractions

Titre VF
La fille d'eux

Première diffusion
05.02.2007

Première diffusion en France
04.08.2007

Vidéos

Vidéo promo 1x14

Vidéo promo 1x14

  

Plus de détails

Réalisé par: Jeannot Szwarc
Ecrit par: Michael Green

Created by: TIM KRING

Starring:
SANTIAGO CABRERA as Isaac Mendez
JACK COLEMAN as Mr. Bennet (HRG)
TAWNY CYPRESS as Simone Deveaux

NOAH GRAY-CABEY as Micah Sanders
ALI LARTER as Niki Sanders
MASI OKA as Hiro Nakamura
HAYDEN PANETTIERE as Claire Bennet

ADRIAN PASDAR as Nathan Petrelli
MILO VENTIMIGLIA as Peter Petrelli

Guest Starring:
JESSALYN GILSIG as Meredith Gordon
JAMES KYSON LEE as Ando Masahashi
ZACHARY QUINTO as Sylar (Gabriel Gray)

ASHLEY CROW as Sandra Bennet
THOMAS DEKKER as Zach
PAULA NEWSOME as Dr. Witherson

JIMMY JEAN-LOUIS as the Haitian
KEVIN CHAMBERLIN as Aron Malsky
SAEMI NAKAMURA as Kimiko Nakamura
COLBY FRENCH

with
GEORGE TAKEI as Kaito Nakamura (Hiro’s Dad)

and
CHRISTOPHER ECCLESTON as Claude Rains

Music by: WENDY MELVOIN & LISA COLEMAN
with the voice of SHENKAR

Co-Producer: ARON ELI COLEITE
Co-Producer: LORI MOTYER
Produced by: JIM CHORY

Supervising Producer: ADAM ARMUS
Supervising Producer: KAY FOSTER

Co-Executive Producer: BRYAN FULLER
Co-Executive Producer: MICHAEL GREEN
Co-Executive Producer: NATALIE CHAIDEZ
Co-Executive Producer: JEPH LEOB
Co-Executive Producer: JESSE ALEXANDER
Co-Executive Producer: GREG BEEMAN

Executive Producer: ALLAN ARKUSH
Executive Producer: DENNIS HAMMER
Executive Producer: TIM KRING

Written by: MICHAEL GREEN
Directed by: JEANNOT SZWARC

==========================
END CREDITS 
==========================

nbc.com

NBC Universal Television Studio
Tailwind Productions

Co-Starring:
LINK BAKER as Broken Nose Guard
MONICA LOUWERENS as Screaming Woman

Casting by: JASON LA PADURA, C.S.A. & NATALIE HART, C.S.A.
Casting by: KERI OWENS

Associate Producer: MIKE KETELSEN
Associate Producer: MARK WARSHAW

Director of Photography: NATE GOODMAN
Production Designer: RUTH AMMON

Edited by: DONN ARON, A.C.E.
Unit Production Manager: CATHY MICKEL GIBSON

First Assistant Director: TONY ADLER
Second Assistant Director: DUANE CALHOUN

Costume Designer: DEBRA McGUIRE
Art Director: MICHAEL BUDGE
Set Decorator: DENA ALLEN
Property Master: ROSS ANDERSON
"A" Camera Operator: PETER MERCURIO
"B" Camera Operator: LOREN YACONELLI
Production Sound Mixer: KENN FULLER

Costume Supervisor: LAURA GUZIK
Key Makeup Artist: LORI MADRIGAL
Key Hairstylist: VICKY PHILLIPS
Key Grip: CHUCK CRIVER
Chief Lighting Technician: DERRICK KOLUS
Transportation Coordinator: BRIAN STEAGALL

Artistic Consultant: TIM SALE
Script Supervisor: ROBIN ANDERSON
Production Accountant: DIANA AUSTIN
Construction Coordinator: DAVE DEGAETANO
Location Manager: ALEX REID / STEVE HASSON

Production Coordinator: PEARL LUCERO
Assistant Production Coordinator: ERIC NORMAN
Script Coordinator: OLIVER ???
Special Makeup Effects: GLENN HETRICK / BRYAN BLAIR / RICHARD MAYBERRY

2nd Unit Assistant Director: MARK LYN
Stunt Coordinator: IAN QUINN
"A" Camera 1st Assistant: GREG MORRIS
"B" Camera 1st Assistant: SHEREEN SALEN
Special Effects Supervisor: GARY D’AMICO
Video Playback Supervisor: MARK MARCUM

Post Production Supervisor: DANIEL RODRIGUEZ
Assistant Editor: KRISTOPHER LEASE
Graphics Coordinator: LINDSAY LEVITT
Online Editor: BRUCE MOTYER
Music Editor: JENNIFER BARAK 
Music Supervisor: ALICEN CATRON SCHNEIDER

Sound Supervisor: STEPHEN GRUBBS
Re-Recording Mixers: GERRY LENTZ / RICH WEINGART
Visual Effects Supervisor: MARK KOLPACK
Visual Effects Producer: KIM BOYLE

Assistants to Executive Producer: ANDREW CHAMBLISS / TIMM KEPPLER 
Assistants to Co-Executive Producers: ERIN FITZGERALD / PIERLUIGI COTHRAN
Assistants to Producer: FOZ MCDERMOTT

Promotional Consideration Furnished by: NISSAN NORTH AMERICA / DELL, INC.

(c) 2007 NBC Studios. All Rights Reserved.

Peter et Claude marchent dans les rues de New York. Claude s’amuse à voler des choses aux passants qu’ils croisent, et Peter lui fait en quelque sorte la morale. Il a accepté d’aider Peter à maîtriser son pouvoir, et il lui explique que pour le moment il l’utilise un peu comme un réflexe, sans s’en servir consciemment. Peter lui demande ce que sera sa première leçon, et Claude répond qu’ils vont voir s’il est capable de garder un pouvoir quand son propriétaire n’est pas à coté de lui. Il prend le sac à main d’une femme, et le donne à Peter avant de s’éloigner. Peter réapparaît au milieu de la rue, et la femme crie au voleur.

 

Niki est avec sa psychiatre. Elles font un exercice pour que Jessica prenne la place de Niki, mais cette dernière n’est pas d’accord pour qu’elle soit libérée, car elle pourrait blesser le médecin. Le Dr Witherson lui dit de ne pas s’inquiété car elle est attachée à la table, et qu’en cas de besoin, elle peut se servir de son Taser. Niki se détend, et elle raconte que qu’en elles étaient petites, sa sœur jouait du piano, alors qu’elle dessinait sur ses partitions. Mais le fait de parler de son souvenir ramène Jessica consciente, et elle s’attaque alors à la psychiatre, qui n’a pas le temps de réagir.

 

Mr Bennet rentre dans la pièce où ils gardent Sylar, mais découvre le corps du médecin à sa place. Il se retourne et voit Sylar derrière lui, qui lui demande comment va Claire avant de l’envoyer contre le mur par un simple geste de la main. Mr Bennet se retrouve par terre à moitié inconscient, et Sylar lui prend ses papiers avant de l’enfermer dans la pièce. Le père de Claire lui déconseille de s’approcher de sa fille, mais Gabriel sourit et s’en va.

 

Quelqu’un frappe à l’appartement d’Isaac. Il ouvre et Simone entre. Il est surprit qu’elle n’est pas utilisée ses clés cette fois-ci, et elle les lui rend. Puis elle lui demande si elle peut voir les toiles qu’il a peintes depuis qu’il est revenu chez lui, et elle découvre un tableau représentant New York City après son explosion, que l’on voit depuis le toit de l’immeuble de Charles Deveaux. Elle lui demande si c’est de cette façon qu’il perçoit leur relation, comme une ville en ruine. Il ne répond pas mais lui demande ce qu’elle est venue faire chez lui. Elle s’inquiète pour Peter, que personne n’a retrouvé. Il le prend un peu mal car elle croit enfin qu’il peut peindre le futur et elle veut se servir de lui pour retrouver son nouveau petit ami. Puis finalement Isaac lui dit qu’il a lui aussi essayé de trouver Peter, mais il n’y arrive pas. Elle veut savoir pourquoi il le cherche aussi, et il lui dit qu’il a peint Peter à plusieurs reprises, et qu’il est la cause de l’explosion de New York. Puis il ajoute qu’il ne savait pas exprimer ses sentiments quand ça aurait fait une différence, mais qu’il tient à elle, et il ne veut pas qu’il s’approche de Peter. Avant qu’elle ne parte, il lui dit de garder les clés.

 

Claire essaye de convaincre sa mère de la laisser sécher les cours pour que Zach et elle puissent aller à un aquarium pour se renseigner sur les lamantins. Elle accepte mais avec quelques réticences et lui fait promettre d’être de retour pour le dîner. Une fois sa mère partie, elle dit à Zach qu’ils vont attendre une quinzaine de minutes avant de partir pour Kermit, car c’est là que vit sa mère biologique. Zach lui demande comment ils vont faire quand sa mère leur demandera des preuves qu’ils étaient bien à l’aquarium, et elle lui montre des brochures qu’elle a prises dans un hôtel et sur le net.

 

Hiro est avec son père, qui regarde la toile d’Isaac. Ando lui dit que son père a l’air en colère mais qu’il trouve sa sœur très attirante, et Hiro répond simplement que son père a toujours l’air en colère. Mr Nakamura est effectivement énervé contre son fils, et il lui dit qu’il doit retourner à son travail aux industries Yamagato. Hiro essaye de lui expliquer qu’il a une importante mission à faire à New York, et il se plaint que son travail là-bas était insignifiant. Son père lui répond qu’il l’a mis en bas de l’échelle pour qu’il ait des ambitions, mais qu’il a reconsidéré la chose, et qu’à son retour à Tokyo, Hiro sera le nouvel vice-président de Yamagato industrie. Hiro refuse, et explique qu’il doit apporter la toile à un homme à Las Vegas, pour récupérer l’épée de Takezo Kensei et utiliser son pouvoir pour empêcher une bombe de détruire New York. Son père se met encore plus en colère, et il déchire la toile d’Isaac.

 

Niki est allongée par terre dans la pièce où elle discutait avec le Dr Witherson. Les gardes entrent, Niki se réveille, et elle découvre le cadavre du médecin. Elle l’a tué avec son Taser. Elle demande aux gardiens de l’enfermer, et l’un d’eux lu dit que ce sera avec plaisir, et il l’a frappe avec une matraque.

 

Peter et Claude marchent de nouveaux dans la rue, invisibles. Claude se moque de Peter, car il a faillit se faire arrêter. Peter lui dit qu’il ne doit pas être aussi dur avec lui car il fait ça depuis seulement cinq minutes, alors que lui le fait depuis une quinzaine d’années. Claude rétorque qu’ils doivent trouver ce qui bloque Peter, pour qu’il puisse se contrôler. Il répond que les policiers ont son nom et son adresse, donc son frère va le tuer avant qu’il ne trouve. Claude lui fait remarquer qu’il se soucis beaucoup de ses proches, qui lui disent comment agir, ce qu’il doit faire ou pas, et que c’est à cause d’eux s’il fait un blocage. Il ajoute que les gens sont nuls, et qu’ils n’agissent pas de la même façon lorsqu’ils sont seuls et en publiques. Il le sait car il s’introduit souvent chez des gens et qu’il peut les observer sous leur vrai jour. Peter lui dit qu’ils ne sont pas tous comme ça, et Claude se moque encore de lui car il a comprit qu’il parlait de Simone. Claude lui propose d’aller voir ce qu’elle fait en ce moment même, et qu’après il pourra peut-être voir la vérité en face. Peter n’est pas très emballe pour aller l’espionner, mais il finit pas céder.

 

Isaac termine ses tableaux prémonitoires. Quand il reprend connaissance, il les regarde d’un air étrange.

 

Ando et Hiro essaye de recoller la toile. Hiro demande à son ami s’il a mis du parfum, mais Ando fait semblant de ne pas comprendre de quoi il parle. Un peu plus loin, Kimiko, la sœur de Hiro, demande à son père si elle peut parler à son frère, pour essayer de le raisonner. Elle se dirige vers les deux garçons, et Ando semble plus que content de la voir. Mais elle lui fait comprendre qu’elle veut parler avec son frère en tête à tête. Il s’en va. Kimiko dit à son frère que leur père est trop orgueilleux pour lui dire qu’ils traversent une mauvaise passe à Yamagato, et que leurs actionnaires le critiquent car il n’arrive pas à gérer son propre fils, et donc qu’il ne peut pas gérer son entreprise. Elle lui dit qu’il doit rentrer à Tokyo, et penser à sa famille. Elle s’en va. Ando revient, et lui dit qu’il devrait peut-être les écouter, car de toute façon il n’a plus ses pouvoirs. Il ajoute que sa sœur a toujours été l’intello, ce qui donne alors une idée à Hiro.

 

Claire et Zach sont arrivés à Kermit. Elle découvre que sa mère habite dans une caravane, et elle dit à Zach que ce n’est pas ce qu’elle avait imaginé. Il lui dit que la vie n’est pas toujours comme on le voudrait. Puis il s’en va. Claire frappe à la porte, sa mère lui ouvre, et elle la reconnaît tout de suite. Elle prend Claire dans ses bras, en souriant.

 

On voit M. Muggles dans la maison aller aux pieds du quelqu’un. Il s’agit de Sylar, qui regarde le chien en lui demandant si Claire va bientôt rentrer chez elle. Mme Bennet arrive à ce moment avec les courses, et elle voit Sylar debout devant elle, le chien dans les bras. Il se fait passer pour un employé de l’entreprise de papier de Mr Bennet, et il lui dit qu’il venait lui livrer quelque chose quand il a retrouvé son petit chien dehors dans la rue. La surprise passée, elle lui dit qu’il est adorable d’avoir récupérer son petit bébé. Sylar sourit.

Mme Bennet lui offre à boire, et ils discutent de M. Muggles, et de Mr Bennet, puis il lui demande quand rentrera Claire, car il a beaucoup entendu parler d’elle. Mme Bennet a alors la grande idée de l’inviter pour le dîner. Elle ajoute qu’elle va prévenir son mari à son bureau, mais Sylar lui dit que ce n’est pas la peine car la dernière fois qu’il l’a vu il était débordé. On voit alors Mr Bennet dans la cellule de Sylar.

 

Claire et sa mère, Meredith, sont assises et elles se regardent dans un silence gêné. Puis elles discutent du lycée, et Meredith lui dit qu’elle est désolée d’avoir manqué tant de choses de sa vie, mais qu’elle était persuadée que rien ne pouvait survivre dans cet incendie. Elle se lève et sert une boisson à Claire, dont elle aurait apprit la recette au Mexique. Claire lui demande si elle a vécue là-bas, et sa mère lui dit qu’elle a beaucoup voyagée, et qu’elle est rentrée à Kermit il n’y a que quelques mois. A ce moment le téléphone de Claire sonne. C’est Mme Bennet. Elle lui raconte qu’ils n’ont pas encore finit à l’aquarium avec Zach et elle raccroche. Sa mère comprend qu’elle n’a pas prévue ses parents de sa visite, mais elle ne lui fait pas la morale. Elle lui dit que ce sera leur petit secret, et Claire répond qu’elle en a beaucoup ces temps-ci. Puis elle lui dit qu’elle veut lui montrer quelque chose. Elle prend le couteau de cuisine juste à coté d’elle, et Meredith a juste le temps de pousser un petit cri de surprise que Claire se coupe le bras. Elle regarde sa mère et lui demande de dire quelque chose, et sa mère lui dit que c’est dans la famille. Puis elle tend son bras en avant, et ouvre sa main. Des flammes jaillissent de sa paume.

 

Sylar regarde une photo de Claire sur laquelle elle porte sa tenue de Cheerleader, pendant que Mme Bennet prépare le dîner. Elle lui dit qu’ils ont dissout l’équipe à cause de l’horrible meurtre de Jackie Wilcox. Sylar semble très intéressé par Claire, et il commence à mettre Mme Bennet mal à l’aise. Elle lui dit qu’elle devrait essayer de rappeler son mari, mais Sylar fait un léger mouvement de main, ce qui arrache le téléphone des mains de Mme Bennet. Il lui dit qu’il est spécial, tout comme Claire, et que c’est pourquoi il doit la tuer. Il ajoute qu’il devrait peut-être aussi la tuer elle, mais qu’il n’a pas encore décidé. Mme Bennet essaye de s’enfuir, mais il la projette contre un mur. Il s’avance vers elle pour la tuer, mais Mr Bennet rentre chez lui à ce moment et il tire sur Sylar, qui s’enfuit. L’Haïtien est avec lui, et il lui ordonne de suivre Sylar et de le tuer. Puis il retourne vers sa femme. Elle est choquée par ce qui vient de se passer, elle lui dit qu’il a réussit à lui arracher le téléphone des mains sans même la toucher. L’Haïtien revient car il a perdu sa trace, et il efface la mémoire de Mme Bennet.

 

Claire est sur le point de partir de chez Meredith, mais celle-ci voudrait qu’elle reste pour le dîner. Claire refuse car elle doit rentrer pour ne pas éveiller les soupçons de ses parents. Zach l’attend dans la voiture, mais Claire demande une dernière chose à sa mère. Elle voudrait en savoir plus sur son père. Meredith lui dit que c’est un peu compliqué, mais qu’elle lui en parlera une prochaine fois. Elle lui donne son collier à la place, et lui dit en revoir.

 

Simone rentre chez Isaac. Elle découvre un tableau les représentant tous les deux sur le toit de l’immeuble de son père. Elle n’a pas l’air très enthousiaste de le voir.

Elle monte sur le toit, et retrouve Isaac. C’est le même endroit où Claude garde ses pigeons. Ils discutent quelques temps de tous les moments qu’ils ont passé ensemble, et il lui dit qu’il est attaché à cette ville, donc qu’il ne veut pas qu’elle soit détruite. Elle lui dit qu’il reste de l’espoir, car il peut peindre le futur, et que ça ne servirait à rien d’avoir ce don s’il ne pouvait pas changer le cours des évènements. Elle ajoute qu’elle croit en lui, et on voit alors qu’ils sont comme sur le tableau d’Isaac. Derrière eux, invisible, Peter regarde la scène.

 

Hiro est décidé à affronter son père. Il s’adresse d’abord à sa sœur, et lui dit qu’il a bien réfléchit, et qu’il accepte de retourner à Tokyo en tant que vice-président. Il ajoute qu’il veut restructurer les industries Yamagato, mais Kimiko lui dit qu’il ne doit pas faire ça, que ce serait un désastre. Hiro rétorque qu’il a tous les droits vu ses nouvelles responsabilités. Puis il lui demande si elle a une meilleure idée. Elle propose de biens meilleures idées pour sortir l’entreprise familiale de la ruine, et elle ajoute qu’elle dirige déjà trois de leurs divisions, et qu’elle serait une meilleure responsable que lui. Leur père demande à Kimiko ce qui lui a prit de parler comme ça, et Hiro répond à sa place qu’elle a raison, qu’elle ferait sûrement un meilleur travail que lui, et qu’il doit la choisir comme héritière pour le poste de PDG à Yamagato.

 

Niki est assise dans sa cellule capitonnée. Les gardiens arrivent et lui demande de s’habiller, car elle sort. Elle leur dit qu’elle ne veut pas partir, et on voit alors l’homme qui travail pour Linderman, celui qui avait été récupérer l’argent chez DL, lui dire que toutes les charges retenues contre elle ont été abandonnées. On comprend que quelqu’un a trafiqué les preuves pour qu’elle puisse être libérée.

 

Peter est plutôt énervé par ce qu’il vient de voir. Claude en remet une couche, et il lui dit qu’il ne doit pas être distrait par les personnes qu’il aime, mais Peter refuse de vivre comme lui, comme un ermite. Claude lui dit qu’il doit les oublier pour débrider son pouvoir, car son corps se souvient comment il doit faire, mais son esprit l’en empêche. Peter s’énerve contre lui, et Claude l’attrape alors et le pousse du haut du toit. Peter chute, et il tombe sur une voiture, en s’empalant une barre de faire dans la poitrine. Il meurt, mais se réveille quelques secondes après. Il descend de la voiture et regarde en l’air en insultant Claude.

 

Peter est assis contre la roue de la voiture. Claude arrive et lui dit que ce n’était pas ce qu’il espérait mais qu’il y a quand même de l’espoir. Peter s’énerve contre lui, et le plaque contre un mur. Il lui dit que s’il n’avait pas pu se régénérer il serait mort. Claude rétorque qu’il aurait pu voler, et que si ça n’avait pas marché, il aurait été sans espoir de toute façon et il n’y aurait plus eu le problème de la bombe. Peter le relâche, et Claude le félicite, il lui dit qu’il a réussit à vider son esprit et à faire appelle à son pouvoir. Peter lui raconte qu’avant de mourir, il a vu l’image de Claire, celle qui possède ce pouvoir. Il comprend alors que Claude avait tord. Il ne doit pas oublier ses proches, mais au contraire se souvenir ce qu’ils lui font ressentir. Il remarque alors que ses mains disparaissent. Il contrôle presque le pouvoir de Claude. Sa tête commence à lui faire mal, ses pupilles deviennent blanches, il utilise le pouvoir d’Isaac. Il se voit entrain de perdre le contrôle de son pouvoir et d’exploser. Claude le frappe alors, et Peter s’évanouit.

 

Isaac est entrain de peindre un autre tableau, qui représente Peter assis contre la roue de la voiture.

 

Un téléphone sonne. Mr Bennet répond. C’est Isaac, qui lui dit qu’il a trouvé un moyen de l’arrêter car il sait où il est. Mr Bennet lui demande s’il parle de Sylar, mais Isaac répond qu’il s’agit de Peter, et qu’il pense qu’il était à New York pendant tout ce temps, mais qu’il est invisible. Il se demande ce que ça signifie, et Mr Bennet lui répond alors qu’un vieil ami n’est pas aussi mort qu’il le pensait.

 

Hiro fait ses adieux à son père et à sa sœur et il les regarde partir.

 

Micah frappe à la porte de la chambre de sa mère. Niki est rentrée chez elle. Il lui demande si elle veut bien jouer au scrabble avec lui. Elle répond qu’elle arrive dans une minute. On remarque alors le tatouage du symbole sur son épaule. Jessica a prit la place de Niki. Elle regarde dans le miroir. Niki frappe sur la glace, comme si elle en était prisonnière, et Jessica lui dit qu’elle devrait être contente, car elle souhaitait être enfermée.

 

Claire et Zach rentrent chez les Bennet. Sa mère lui dit qu’elle va avoir de gros ennuis pour avoir séchée les cours. Claire ne comprend pas car ils en ont parlé le matin même. Zach lui montre les brochures de l’aquarium. Mais sa mère lui dit qu’elle se rappellerait une conversation où elle lui aurait autorisé de manquer l’école. Elle a alors un début de migraine, et Claire lui propose d’aller s’allonger pendant qu’elle termine de mettre la table. Elle s’en va, et Claire découvre un morceau de verre. Elle comprend que son père est derrière tout ça. Elle le voit dans l’autre pièce, et lui fait un grand sourire.

 

Meredith est au téléphone. L’autre personne décroche, et elle lui dit qu’il ne doit sûrement pas se souvenir d’elle car ils n’ont pas parlé depuis longtemps, mais que leur fille vient juste de la retrouver, qu’elle est en vie. On voit alors son interlocuteur s’assoire. C’est Nathan Petrelli.

FADE IN:

[TITLE CARD: HEROES]

NARRATOR: (v.o.) Tonight, the story continues ...



[CU: PETER]



[EXT. DESERT ROAD – DAY]

(Hiro has frozen time mid-car explosion. He walks up to a tire suspended in air and pokes his finger through its center.)

NARRATOR: (v.o.) For the ordinary people, ...



[NATHAN]

NARRATOR: (v.o.) ... who discover extraordinary abilities ...

(Nathan flies straight up into the air to escape Mr. Bennet and the Haitian.)

FADE TO WHITE



[EXT. NEW YORK CITY]

(Just as Hiro saw, New York City explodes.)

VARIOUS CUTS OF:
* Sylar sits in the window table in the Burnt Toast Diner. He’s shrouded in shadow.
* Sylar sits in his cell at Primatech Paper Company, his back to the viewing window. Mr. Bennet switches the lights on.

NARRATOR: (v.o.) The face of evil was captured,

CUT TO:

(Sylar slams his palms on the glass window as he shouts to Mr. Bennet.)

SYLAR: (shouts) My name is Sylar!

CUT TO:



[CELL]

(Mr. Bennet turns around and finds Sylar standing right behind him.)

NARRATOR: (v.o.) -- but found a way to escape.

(Sylar opens the outer door and steps out. Mr. Bennet is trapped inside the cell.)

MR. BENNET: (screams) NO-O-O-O-O !!!

CUT TO:



[EXT. TIMES SQUARE -- DAY]

(Hiro arrives in New York.)

HIRO: YATTA!!

(Hiro stops time and looks around at the Japanese girls frozen in time.)

NARRATOR: (v.o.) The office worker who stops time ...

(Hiro and Ando sit in the back of a van. They’ve just been kidnapped.)

NARRATOR: (v.o.) ... has met his ultimate adversary.

[MR. NAKAMURA]

HIRO: (subtitle) Father?

CUT TO:



[NIKI]

(Niki gasps.)

NARRATOR: (v.o.) And the mother with an alter-ego ...

(Niki’s reflection in the mirror puts a finger up to her lips.)

JESSICA: Shhh-

(Jessica pushes Micah and hurts him.)

NARRATOR: (v.o.) ... makes a sacrifice to protect her son

(Niki turns herself in to the sheriff.)

NIKI: I need you to arrest me.

[NIKI IN JAIL]

(Three guards subdue her. Niki is slammed up against the prison window.)



[PETER AND CLAUDE]

(Peter wakes up from his coma.)

PETER: (screams) Ahhh!

NARRATOR: (v.o.) Peter met the man who could help control his power.

VARIOUS CUTS OF CLAUDE
* Claude pushes Peter up against the lamp post.
* Claude turns invisible on the sidewalk as he walks away.
* Claude stands on the other side of the sidewalk laughing at Peter.

(Peter talks with Claude on the rooftop.)

PETER: You’re the one that has to teach me how to stop this.

(Peter explodes.)

PETER: Ahhh!

(New York explodes.)

FADE TO WHITE



[CLAIRE AND ZACH]

(Zach video-tapes Claire.)

NARRATOR: (v.o.) And the invincible cheerleader finally found her real mother.

VARIOUS CUTS OF CLAIRE:
* Claire snaps her dislocated shoulder back into place.
* Claire stands in the burning train wreckage.
* Claire helps the man out of the burning wreckage.

SMASH TO BLACK.

[ON MEREDITH]

MEREDITH: (to phone) This is her.

CLAIRE: (to phone) Mom?

(Meredith lights her cigarette with flames coming out of her fingertips.)

FADE OUT.



[BLACK SCREEN]

WHITE TEXT: TONIGHT

NARRATOR: (v.o.) And tonight, she’ll meet her daddy.



[A WELL-DRESSED MAN]

FADE OUT.



[TITLE CARD: HEROES]

NARRATOR: (v.o.) Heroes. The next chapter begins now.

FADE OUT.
END OF ‘STORY CONTINUES’



FADE IN:

[EXT. (NEW YORK CITY) SIDEWALK -- DAY]

(CAMERA POV: We move through the packed sidewalk and walk into an unsuspecting woman, knocking her aside by the shoulder.)

WOMAN: Uhh!

(We push our way between two women who are talking to each other and are unaware that we’re coming through.

WOMAN: Uhh!

(We approach a man who’s wearing a scarf and grab the scarf right off of his neck.)

MAN: Hey!

(Claude has the scarf as the man looks around and doesn’t see anyone. Claude and Peter are walking through the sidewalk. Yep, they’re invisible.)

PETER: I don't see how petty theft is part of my training.

(Claude rolls the scarf and tucks it into his pocket.)

CLAUDE: There's a lot you don't see. You've no idea how to use these gifts of yours properly.

(Claude lifts a pretzel right off a sidewalk vendor’s cart.)

PETER: Yeah, and you do? (Claude offers it to Peter.) No, I --

CAPTION:
PETER PETRELLI
NEW YORK CITY

CLAUDE: Right now, your abilities only show up as a reflex. Autonomic, like swallowing. That's a dog's trick. Making it a conscious choice, using it, that's what makes you more than poodle.

PETER: Is insulting me really gonna help me learn how to do that?

CLAUDE: Listen, you're the one who's a bomb set to blow up me and everyone in this city unless I can get you housebroken.

(A man pushing a rack of clothes heads straight for them. Claude puts his hand out and stops the rack in its tracks. The man looks around to see why the rack isn’t moving.)

CLAUDE: That's right, now he's listening. Now, you absorb all these abilities you find, yeah? (Peter nods.) You're invisible with me, you've flown, you've read some minds.

PETER: Yeah, put me in a coma for two weeks.

CLAUDE: Your body doesn't know what to do with them all. It's gotten jumbled, like file cards knocking around a shoebox. Except with you, the cards are dowsed in plutonium, piling up to a critical mass. Now, I'm gonna teach you how to pull 'em out, one at a time.

(The man with the rack is perplexed as to why it’s not moving.)

PETER: You think that's possible?

(Peter and Claude are on the move again. A man is knocked aside.)

CLAUDE: I hope so. Next time you shut down, it might not be just a coma. Might be the day you melt down.

PETER: So then, let's get to today's lesson.

CLAUDE: All right, let's start by seeing if you can hold on to one of your powers without your benefactors hanging around.

PETER: You think I can do that alone?

(Claude looks at Peter. He reaches to the side of him and grabs a woman’s handbag right off her arm.)

CLAUDE: We're about to find out.

(With a huge smile on his face, Claude shoves the handbag into Peter’s chest. Peter automatically grabs the bag.)

CLAUDE: Remember to breathe.

(Claude leaves.)

(The woman rubs her arm and looks around. She faces the direction Peter is in and doesn’t see him. She turns around and looks in the opposite direction.)

(When she turns back, Peter is standing there clutching the bag to him with both hands. She points to him and shouts.)

WOMAN: HEY!

(Peter stares at her and breathes deep, gasping breaths.)

CUT TO:



[EPISODE TITLE]
CHAPTER FOURTEEN
"DISTRACTIONS"



[INT. (LAS VEGAS) WOMEN’S CORRECTIONAL FACILITY – INTERVIEW ROOM]

(TICK-TICK-TICK. The metronome beats steadily on the table between Dr. Witherson and Niki. There’s a mirror at the end of the metronome.)

CAPTION:
NIKI SANDERS
WOMEN’S CORRECTIONAL FACILITY
LAS VEGAS

(Niki exhales loudly.)

NIKI: God, it sounds like a bomb is about to go off.

DR. WITHERSON: I know it's hard. Just focus on the mirror and try to relax.

NIKI: I can't relax. You're trying to bring her out.

DR. WITHERSON: Jessica ...

NIKI: I told you. She is dangerous. She could hurt you.

DR. WITHERSON: Show me. (Niki lifts her hands. Her wrists are bound by thick cuffs and chains.) Those cuffs could keep an elephant in that chair. And just 'cause I'm a shrink, don't think I don't know how to use that taser.

(She indicates the taser on the table between them.)

NIKI: I thought that the goal was to get rid of her.

DR. WITHERSON: The goal here is to bring your two halves to a healthy middle. To have a unified and whole you. Not two aspects at war.

NIKI: How do we do this?

DR. WITHERSON: Like I said, you focus on the reflection. And breathe.

(Niki settles down and looks at the mirror on the tip of the metronome.)

DR. WITHERSON: Come on. Feel free to let your mind wander.

NIKI: We used to have a piano in our home.

DR. WITHERSON: You played?

NIKI: Chopsticks, barely. My sister ...

DR. WITHERSON: Jessica.

NIKI: She played beautifully. I used to ... play with her sheet music. I didn't ... know what it was. It was just ... dots and lines. I would ... get out my crayons and connect the dots. Jessica used to say ... (crying) that I could turn Mozart into a monkey.

(Jessica looks at Dr. Witherson.)

JESSICA: I sure did.

DR. WITHERSON: Jessica.

JESSICA: You should have listened to the little mouse.

(Jessica rips the chains out of the loops. Dr. Witherson gasps, turns and reaches for the taser. Jessica grabs Dr. Witherson’s wrists.)

(The two women look at each other.)

CUT TO:



[INT. (ODESSA) PRIMATECH PAPER COMPANY – SYLAR’S CELL -- DAY]

(The outer door opens and Mr. Bennet walks in. He turns the cell light on and sees the sheet-covered body on the bed in the center of the room.)

CAPTION:
PRIMATECH PAPER CO.
ODESSA, TEXAS

(He heads for the cell door and enters the cell.)

(He walks over to the body and pulls away the sheet.)

(It is not Sylar. It is the doctor. And he’s dead.)

(Mr. Bennet gasps and pulls back. He turns around and there is SYLAR standing off to the side and behind him.)

(OFF SYLAR: We see there’s an implant on the back right side of his head. Mr. Bennet looks scared.)

SYLAR: How's Claire?

(Sylar raises his hand and Mr. Bennet flies across the room, smashing high into the viewing window. He falls to the floor and groans.)

(Sylar walks over to Mr. Bennet. He reaches up and pulls the implant out of the back of his head.)

SYLAR: That was for the haircut.

(He drops the implant on the floor. He reaches down and takes Mr. Bennet’s wallet. Mr. Bennet groans and looks up just as Sylar is leaving. Sylar holds out his hand and makes a fist. The inner cell lights turn off.)

(Sylar leaves the room.)

(Mr. Bennet gets to his knees and crawls toward the open door. The door slams shut on him before he can get out.)

(Sylar appears on the other side of the window. He’s casually going through Mr. Bennet’s wallet, tossing stuff out that doesn’t interest him.)

(Inside the cell, Mr. Bennet gets to his feet. Sylar drops everything in the wallet except his driver’s license. He puts it flat against the window and we see the following:

TEXAS
DEPARTMENT OF PUBLIC SAFETY
DRIVER’S LICENSE

CLASS C
DOB: 08-06-62
EXPIRES: 08-06-09
REST: A
END

DL: 17600550
HT: 6-1
EYES: BLUE
SEX: M

BENNET
9 JUNIPER LANE
ODESSA, TEXAS 79763

DONOR
01193005509

(It’s clear where Sylar is going next.)

SYLAR: You shouldn't have built such a good cage.

MR. BENNET: You go anywhere near her ...

(Sylar smirks at Mr. Bennet. He turns and heads for the outer door. Mr. Bennet pounds futilely at the glass.)

MR. BENNET: No! No!

(Sylar holds his fist up, then releases his hand. The inside lights turn back on.)

MR. BENNET: Noooo!

(Sylar leaves the room and shuts the door.)

CUT TO BLACK:



[TITLE CARD: HEROES]

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[INT. (NEW YORK) ISAAC’S STUDIO -- DAY]

CAPTION:
ISAAC MENDEZ & SIMONE DEVEAUX
NEW YORK CITY

(There’s knocking at the front door. Isaac opens the door and Simone walks in.)

ISAAC: You didn’t just use your key this time.

SIMONE: I shouldn't have them. Not anymore.

(She puts the keys down on the nearby table. She points to the bowl in his hand as she walks past him into the studio. Isaac closes the door.)

SIMONE: You started painting since you got back from rehab. Can I see 'em?

(She walks over to the large painting in the center of the room and pulls off the canvass covering it.)

ISAAC: That's not done yet!

(She pulls the canvass off the painting to reveal a painting of New York destroyed, post explosion.)

SIMONE: Oh, God.

(Simone studies the painting and realizes where exactly Isaac painted.)

SIMONE: That's the roof of my father's building. We had a lot of good memories up there. Is that how you remember our relationship? With all of New York destroyed?

ISAAC: What are you looking for, Simone?

SIMONE: It's Peter. He's still missing. I'm running out of places to look.

ISAAC: You finally believe I can paint the future, and you want to use it to find your new boyfriend.

SIMONE: I don't wanna be asking you this either. Can you?

ISAAC: I have been. Except it's not working. Every time I try to paint where Peter is, I get nothing.

SIMONE: You've been trying to find him--why?

ISAAC: I know what he can do. He's the one that's gonna turn New York into this. I'm not gonna let him.

SIMONE: How do you know so much about him?

ISAAC: Because I painted it. I care about you, Simone, more than I knew how to say when ... when it would have made a difference. But right now, I don't care if you hate me. I just want you safe. Stay away from Peter.

SIMONE: Just ... tell me you'll look for him.

ISAAC: I'll try.

SIMONE: Yeah.

(Simone turns and heads for the door. She reaches the top and stops to turn around.)

ISAAC: Simone ... keep the key.

(Simone takes the key off the table. She heads out.)

CUT TO:



[INT. (ODESSA) BENNET RESIDENCE – KITCHEN -- DAY]

(Claire reads out of the manatee book. Mr. Muggles sits on the counter.)

CLAIRE: The manatee is on the brink of extinction. There's one at the aquarium in Lubbock, and the marine biologist said we could stop by any time.

(Zach wisely remains quiet.)

SANDRA BENNET: You're asking my permission to skip school?

CAPTION:
CLAIRE BENNET
ODESSA, TEXAS

CLAIRE: No, if I wanted to skip school, I'd check into home room and then sneak out Ms. Roberts' window. But you've always stressed honesty, so I'm being honest. The manatee's a very noble creature.

SANDRA BENNET: (to Zach) Is your car in working order, Zachary?

ZACH: Just had the oil changed.

SANDRA BENNET: Any tickets?

ZACH: Just parking.

SANDRA BENNET: (to Claire) You'll be home for dinner.

CLAIRE: Yes.

SANDRA BENNET: That's not a question. I'm making fajitas. Zach, you're welcome to join us.

(Claire smiles and gives her mom a hug. Sandra Bennet giggles.)

SANDRA BENNET: (to Mr. Muggles) Let's go.

(Sandra Bennet gets up and heads for the door.)

SANDRA BENNET: (to Mr. Muggles) Come on.

(Claire continues to smile.)

(Her smile vanishes and she turns to Zach.)

CLAIRE: We'll wait fifteen minutes, and then head out. Do you have the directions to Kermit?

ZACH: Uh, yeah. Look, what if your mom wants proof? About the aquarium.

(Claire takes out some brochures. Zach is impressed.)

ZACH: Where did you get these?

CLAIRE: Motel 6 lobby and my color printer.

(Zach chuckles.)

CLAIRE: No one can know we're going to see my real mom. We have to be perfect.

CUT TO:



[INT. (NEW YORK) PORT WASHINGTON HARBOR -- WAREHOUSE -- DAY]

CAPTION:
HIRO & ANDO
PORT WASHINGTON HARBOR
LONG ISLAND, NEW YORK

(Mr. Nakamura unrolls the painting flat out onto the table. Kimiko stands near the table. She backs away as Mr. Nakamura looks at the painting.)

(A distance away, Ando and Hiro watch.)

ANDO: (subtitled) Your father looks angry.

HIRO: (subtitled) My father always looks angry.

ANDO: (subtitled) But your sister looks hot.

(Mr. Nakamura walks past Hiro, his back to his son.)

KAITO NAKAMURA: (subtitled) For this you leave your job, take an unauthorized vacation. Gorge yourself on hamburgers and waffles.

HIRO: (subtitled) Waffles are very good. You would like them.

KAITO NAKAMURA: (subtitled) No, Hiro. I would not. No more distractions. You will come home. And you will get back to work.

HIRO: (subtitled) Father, I ... I am on an important mission.

KAITO NAKAMURA: (subtitled) You are only on a plane home. You will return to Yamagato Industries. That is what is important.

HIRO: (subtitled) My job was meaningless. I worked in a cubicle!

(Mr. Nakamura turns around.)

KAITO NAKAMURA: (subtitled) I only put you at the bottom so you would reach for the top. Perhaps I was too strict. When you return I will make you an Executive Vice President…on your way to taking my place as CEO. You are my only son, Hiro. This is your destiny.

(Ando looks expectantly at Hiro.)

HIRO: (subtitled) Father. I believe I have ... a different destiny.

KAITO NAKAMURA: (subtitled) And what is that?

HIRO: (subtitled) It’s ... complicated.

(Mr. Nakamura crosses his arms and waits.)

HIRO: (subtitled) I have to bring that painting to a man in Las Vegas ... so I can steal Takezo Kensei’s sword – then use my powers to stop a bomb from blowing up New York!

KAITO NAKAMURA: (subtitled) Kensei? From those stories I read you?

HIRO: (subtitled) If only I had the sword I could show you what I can do.

KAITO NAKAMURA: (subtitled) Do you want to see what I think of your destiny?

(He heads back to the table with the painting on it. He picks up the painting and tears it in half.)

(Hiro stands up.)

KAITO NAKAMURA: (subtitled) We’re going home.

(He tears one of the halves in half.)

(We hold on Hiro.)

CUT TO:



[INT. (LAS VEGAS) WOMEN’S CORRECTIONAL FACILITY – INTERVIEW ROOM]

(TICK-TICK-TICK. The metronome beats steadily to a stop. The prison alarm rings in the background.)

(Niki is lying on the floor. The door buzzes and opens. The guards enter. The broken nose guard looks around.)

BROKEN NOSE GUARD: Get a doctor!

(Niki stirs and wakes up.)

NIKI: Oh ... wait.

(She looks around and gets to her feet.)

NIKI: What happened?

(In the back of the room, the mirror is broken, revealing a smaller room. On the other side of the wall, Dr. Witherson is on the floor. Her back is littered with taser burns.

NIKI: No! No!

(The guards have Niki with her hands behind her back. They go the back of the room to check on Dr. Witherson and see the taser broken in pieces near her hand.)

NIKI: No!

(Niki sees Dr. Witherson on the floor.)

NIKI: I tried to tell her.

DR. WITHERSON: Ow.

(Niki turns to the guards.)

NIKI: Take me back to my cell!

BROKEN NOSE GUARD: Love to!

(The broken nose guard hits her in the face with his baton.)

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[EXT. (NEW YORK) SIDEWALK -- DAY]

(Claude is laughing. Peter keeps up with him as they walk invisibly through the crowded sidewalk, not caring whom they bump into.)

PETER: Thanks for almost getting me arrested.

CLAUDE: A little more focus, you'd have had some cash and fresh lipstick. I never said it'd be easy. In fact, I think I said repeatedly it'd be crap.

PETER: You’ve been doing this for fifteen years. Cut me a little slack on trying to do it for five minutes.

CLAUDE: You'll learn. We just gotta find what's holding you back.

(Peter stops.)

PETER: The cops have my name and address. I'm pretty sure Nathan's gonna kill me first anyway.

CLAUDE: You worry a lot about your people, don't you? Your friends, your mother, your brother. No wonder your head's all clogged. You're still sunk under.

PETER: Under what?

CLAUDE: Your attachments. All these people who feed you biscuits, pat your head, and tell you you're not fit for the outdoors. You still see yourself through their eyes, is that it?

PETER: No, I don't.

CLAUDE: Right, well, I'll bet you twenty bucks your dad didn't make much of you either.

(Peter turns and walks away without answering.)

CLAUDE: Ha! God, you're easy. We've gotta get these people out of your head.

PETER: Do you understand? These people are my family. I can't just cut 'em out.

(They stop in front of a wall filled with NATHAN PETRELLI FOR CONGRESS posters.)

CLAUDE: Of course -- Peter can't use his powers without someone holding his hands.

(Claude turns and indicates the pictures of Nathan on the posters behind him.)

CLAUDE: How can you not punch that face every time you see it?

PETER: He's not like that.

CLAUDE: He is, trust me.

PETER: You don't know him.

CLAUDE: I don't need to. I spend a lot of time moving around people's homes, their bedrooms. You get to know people if you see them when they think they're alone. You see them for what they truly are: selfish, deceitful, and gassy.

PETER: So what is that, your big truth about the world?

CLAUDE: Sooner you learn it, sooner we get that collar off your neck. People suck, friend. Every last one of them. Never forget that.

PETER: Not all of them.

CLAUDE: (scoffs) Oh, right. There's a girl.

PETER: She's not like the rest of them.

CLAUDE: Everyone's like the rest. That's why they're the rest. (Peter’s not convinced.) Fine, let's go and see what your girl's up to. Then maybe we can clear your head.

(Claude starts walking.)

PETER: Wait, you wanna ... spy on her? Look, you can follow her all you want. I'm telling you, she's not like that.

CLAUDE: Well, then, no harm in taking a look.

(Peter and Claude are standing on the sidewalk, a large building in the background.)

DISSOLVE TO:



[INT. (NEW YORK) ISAAC’S STUDIO – DAY]

(Isaac is painting the exact image of the sidewalk with the building in the background. The only difference is that Peter and Claude aren’t there.)

VARIOUS CUTS OF:

(Isaac’s eyes are white as he paints. He finishes the painting and moves the canvas to the side. He picks up another blank canvas and starts painting.)

(He finishes that painting and puts it aside.)

(Isaac continues painting. He finishes that painting and puts it aside.)

(He puts another canvas on the easel.)

(Isaac paints another painting.)

(He adds more paint to his pallet.)

(Isaac closes his eyes and takes a deep breath. When he opens his eyes, he’s back to normal. He looks at the painting. It’s of a YELLOW TAXICAB with lines emitting from it as though someone or something were falling at a great speed toward it.)

(He shakes his head. He picks up the canvas and sets it down. He picks up a painting he’s finished and looks at it. He takes a deep breath and exhales.)

CUT TO:



[INT. (NEW YORK) PORT WASHINGTON HARBOR -- WAREHOUSE -- DAY]

(Ando puts the pieces of the ripped painting together.)

ANDO: (subtitled) This is bad. What will we do?

(Hiro shakes his head and sniffs.)

HIRO: (subtitled) Did you put on cologne?

ANDO: Hmm.

(Near the doorway, Kimiko walks up to her father, who is standing in the doorway looking out at the ocean in front of him.)

KIMIKO: (subtitled) Please, Father, let me speak with him.

KAITO NAKAMURA: Hmm.

(Kimiko turns and walks over to Hiro and Ando. Ando turns and smiles at her.)

ANDO: (subtitled) Oh, Kimiko.

(Ando steps away to let them talk.)

KIMIKO: (subtitled) You have brought shame to our family, little brother.

HIRO: (subtitled) That was not my intention. Father doesn’t need me. You’re the one he trusts. He thinks I’m weird.

(Kimiko looks at their father standing with his back to them. She steps closer to Hiro and lowers her voice.)

KIMIKO: (subtitled) Father is too proud to tell you ... there is trouble at Yamagato. And now the stockholders are saying if Father can’t manage his own son ... how can he manage his business? You are his only son. His heir. You must come home.

HIRO: (subtitled) How can I? I have a mission.

KIMIKO: (subtitled) You are so busy pretending to save the world. What about saving your family?

(She turns and walks away. Hiro watches her go.)

ANDO: (subtitled) Maybe you should think about it. Your powers are gone. You have no way to get your sword. Your family needs you.

HIRO: (subtitled) But ... I was a hero.

ANDO: (subtitled) Listen to Kimiko. She’s the smart one.

(That’s it! Hiro smiles.)

HIRO: (subtitled) Yes, she is!

ANDO: Eh?

(Hiro turns and steps out of camera frame.)

CUT TO:



[INT. (KERMIT) TRAILER PARK -- DAY]

(Claire and Zach walk through the trailer park. She sees the right trailer.)

CLAIRE: This is it. Number 36.

ZACH: Nice pinwheel collection.

(She sighs.)

CLAIRE: You know, I always imagined my parents would live in a ... penthouse in New York City, not some trailer park in Kermit.

ZACH: So she lives in a trailer. Maybe she likes the open road.

CLAIRE: It’s not what I imagined.

ZACH: Stop imagining. She's right there.

CLAIRE: What am I supposed to say? "Hi, I'm your daughter, and I can re-grow my kidney"? I mean, what if she's got burns and scars from the fire? She's supposed to be dead, right?

ZACH: So are you, remember? You already got that in common.

(Zach turns and heads back to the car.)

CLAIRE: Hey ... where are you going?

(He shows her his car keys.)

ZACH: I'm getting rid of your exit strategy. You'll be fine. I'll be back in time for fajitas.

(Claire turns back toward the house. Off screen, we hear Zach get in his car and the engine turn.)

(Claire starts for the trailer.)

(She walks up the front porch and knocks on the door. The door opens. Claire and Meredith Gordon look at each other.)

MEREDITH GORDON: Claire?

(Meredith hugs Claire.)

CUT TO:



[INT. (ODESSA) BENNET RESIDENCE – CLAIRE’S BEDROOM -- DAY]

(Mr. Muggles turns the corner and enters Claire’s bedroom. He stops in front of Sylar, who is sitting on a chest.)

(He reaches down and picks up Mr. Muggles.)

SYLAR: Hi, little fluffy. Claire home from school yet? No?

(He shakes Mr. Muggles.)

SYLAR: We'll just wait. Now, what's your name?

(Off screen, the front door opens and closes.)

SANDRA BENNET: (o.s.) Mr. Muggles? Where are you, baby? Mama's home!

(Sylar smiles.)

SYLAR: Of course. Let's go say hi.

(He gets up and heads toward the bedroom door. As he passes Claire’s bed, he runs his fingertips along the bedcover.)

CUT TO:



[INT. BENNET RESIDENCE – KITCHEN -- DAY]

(Sandra Bennet walks in carrying two packages of groceries. She puts the packages down on the counter and is startled. Sylar’s there.)

SANDRA BENNET: Oh! I-I'm sorry. Who are you?

(Sylar takes his cap off and smiles at Sandra. He’s got Mr. Muggles tucked under his arm.)

SYLAR: (southern accent) I just came from the paper factory, ma'am. I'm just makin' a delivery for your husband. And I saw ... this little guy ... in the street.

(He chuckles.)

SYLAR: Now, somebody must have left the back door open. Oh, I hope you don't mind. I took the liberty.

(She looks at him and puts her hand on her hip.)

SANDRA BENNET: Well, aren't you sweet?

(Sylar smiles at her.)

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[INT. (ODESSA) BENNET RESIDENCE -- DAY]

(Sylar is sitting down as Sandra hands him a cup of something to drink.)

SANDRA BENNET: And he was just out there in the yard?

SYLAR: Oh ... just chewin' on a sprinkler head.

SANDRA BENNET: Mm! Who left those doors open, Mr. Muggles? (Mr. Muggles is once again fascinated by Sylar’s shoelaces.) Claire or Lyle? You tell me, so I can tan their ass.

(They chuckle. Sylar drinks.)

(Sandra goes back to unloading her groceries.)

SYLAR: Well, thanks for invitin' me in. I always wanted to, uh, see where Mr. Bennet lived.

SANDRA BENNET: It is so funny how all of y'all call him Mr. Bennet over there. I've always just known him as – Stop that, you.

(She turns and sees Mr. Muggles chewing on Sylar’s shoelaces.)

SANDRA BENNET: No more shoes. He just discovered shoelaces. Can't get enough.

(Sylar chuckles.)

SYLAR: That's funny, I never really imagined him as much of a dog person. I guess he just looms a little larger when he's drillin' you. He mostly talks about Claire. I was hopin' to meet her, actually. I've heard so much about her.

SANDRA BENNET: Well, she has promised to be home for dinner. Which means a half an hour late. My son is at a Tai Kwon Do sleepover tonight. That means an extra plate. Why don't you stay for dinner?

SYLAR: Oh ...

SANDRA BENNET: Least I can offer my new hero.

SYLAR: Are you sure? It's not too much trouble?

SANDRA BENNET: I will call my husband and tell him to expect you. What did you say your name was again, Mister ...

SYLAR: Sylar. Oh, I don't think you'll reach him at the office, though. Last I saw, he was just swamped.

CUT TO:



[INT. (ODESSA) PRIMATECH PAPER COMPANY – SYLAR’S CELL -- DAY]

(Mr. Bennet’s hands are bloodied as he looks out the glass window from inside the cell.)

CUT TO:



[INT. (KERMIT) MEREDITH GORDON’S TRAILER -- DAY]

(Meredith and Claire sit in the living room and look at each other.)

MEREDITH GORDON: I'm staring. I'm sorry. (sighs) I mean, you have to understand. I never thought this would happen. You sitting inches away from me. You're so beautiful.

CLAIRE: Thank you.

MEREDITH GORDON: You a good student?

CLAIRE: Um, I'm okay. Lousy at math.

MEREDITH GORDON: No help from me there. Well, I'll bet you're all kinds of popular.

CLAIRE: I was homecoming queen. Kind of.

MEREDITH GORDON: Damn, I missed so much. If I'd known you were out there, but ... you must think something awful. I mean, I was so sure that nothing could have survived that fire. It was a miracle that I did, and ... God, when I saw that roof, I ...

(She stops.)

MEREDITH GORDON: Don't question the miracle, right?

(She gets up and pours Claire a drink.)

MEREDITH GORDON: Here. It's horchata. I learned a secret recipe in Mexico. It's sweet.

CLAIRE: You lived in Mexico?

MEREDITH GORDON: Mm-hmm. Oh, I moved around a lot. After I lost you, I sort of started running. I never really stopped. And I only came back to Kermit a couple months ago. I spent some time in Cuernavaca ... and La Paz.

MEREDITH GORDON: You've never been. Well ...

(Claire’s phone rings.)

CLAIRE: Sorry. One second. (She checks it.) It's my mom.

MEREDITH GORDON: Hmm.

CLAIRE: Hi! Yeah, we're at the aquarium right now. They just let Zach feed him turtle grass. We're practically on our way. We'll be home in, like, an hour. No, I won't let him speed. Okay. Bye.

MEREDITH GORDON: She doesn't know you're here.

CLAIRE: She doesn't really understand what's going on with me right now. Neither of my parents do.

MEREDITH GORDON: Well, I'll pretend I understand why you're sneaking around. All girls deserve their secrets, right?

CLAIRE: Seems like I have a lot of them these days. I have to show you something. You may understand it, you may not, but ... I need you to see.

MEREDITH GORDON: See what?

CLAIRE: I think I know how I survived that fire.

(Claire takes a large kitchen knife and starts to cut her arm.)

MEREDITH GORDON: Claire, don't!

CLAIRE: It's okay.

(She cuts her arm. Then, they watch as her arm heals completely.)

CLAIRE: Please say something.

(Claire looks at Meredith, worried about her reaction. Meredith looks at Claire, then she smiles.)

MEREDITH GORDON: Some family.

(She holds out her fist, then opens her hand. Fire appears in the middle of her palm.)

CUT TO:



[INT. (ODESSA) BENNET RESIDENCE – KITCHEN -- DAY]

(Sylar is looking at a framed photo of Claire while Sandra chops vegetables for dinner.)

SANDRA BENNET: I told Claire to get a move on. She said she'd be back soon.

SYLAR: A cheerleader, huh?

SANDRA BENNET: Co-captain by junior year.

SYLAR: Wow.

SANDRA BENNET: Although not so much these days. They dissolved the team 'cause of some ... horrible event at the school.

SYLAR: Oh, I heard about that. That must have been hard on poor Claire.

SANDRA BENNET: You are awfully interested in my daughter.

Well, ever since I seen what she can do, I guess you could say I'm a ... fan. She's really quite gifted.

SANDRA BENNET: Oh, you've been to a game?

SYLAR: Yeah, I guess I have. I just couldn't get over those irresistible ... talents of hers.

(Sandra stops and looks at Syler. He’s a little too interested in her daughter.)

SANDRA BENNET: I should -- I should check with my husband again. Excuse me.

(She picks up the phone anyway.)

SYLAR: I'd rather you didn't so I can surprise him.

(She starts dialing. Sylar moves his finger and telekinetically pulls the phone away from her grip, startling her.)

SANDRA BENNET: Aah!

(She looks at him.)

SANDRA BENNET: H-h-how did you do that?

SYLAR: I'm special. Just like Claire. Well, different. But ... you catch the meaning. It's a shame I'll have to kill her. (in southern accent) Or maybe I'll kill you first. I really haven't decided yet.

(Sandra runs for the front door. Sylar twitches his fingers and pushes her into the glass cabinet. She falls to the floor.)

(SLOW MOTION: Sylar gets up and heads over toward her. She turns and looks at him.)

SYLAR: (SLOW MOTION) Hi.

(He raises his index finger.)

RESUME MOTION.

(Suddenly, the front door bursts open. Mr. Bennet appears in the doorway with the Haitian behind him. He fires point blank at Sylar and hits him in the chest. The force pushes Sylar back against the wall.)

(Mr. Bennet continues to fire as he advances. Sylar falls to the floor behind the counter.)

(Mr. Bennet hurries around the counter and finds Sylar gone. The back door slams shut.)

(The Haitian heads out after him.)

MR. BENNET: Find him. He dies!

(Mr. Bennet turns to check on his wife.)

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[INT. (ODESSA) BENNET RESIDENCE -- DAY]

(Sandra sits on the floor, her back against the wall. Mr. Bennet kneels in front of her.)

SANDRA BENNET: I don't understand what happened. Why was he -- he moved the phone without even touching it.

MR. BENNET: Shh. You're safe now. I'm right here. I'll find him.

SANDRA BENNET: He kept asking about Claire.

MR. BENNET: Claire is fine. She's safe too. And she'll stay that way. I promise.

(The Haitian walks in.)

SANDRA BENNET: Who is that?

MR. BENNET: This is my friend. He's gonna make everything okay. He'll help you forget again.

SANDRA BENNET: Again? What do you mean again?

MR. BENNET: It's okay. Hold my hand. It'll all be over soon.

(Sandra takes his hands. The Haitian puts his hand over her eyes.)

CUT TO:



[INT. (KERMIT) TRAILER PARK -- DAY]

(Meredith and Claire step down from the front porch.)

MEREDITH GORDON: You could stay a little longer. Have some dinner. I can't cook worth crap, but ...

CLAIRE: (chuckles) Well, I was supposed to be home a while ago. I got about six messages from my dad telling me to come home right away, so ... he sounded pretty pissed.

MEREDITH GORDON: Hey. This isn't good-bye. You know that.

(Claire starts to leave, but turns back.)

CLAIRE: I was hoping you could tell me about my father.

MEREDITH GORDON: Now, that's ... complicated. Why don't you let me work on that for next time?

CLAIRE: (smiles) Some family.

(Zach toots the car horn and points to his watch.)

(Meredith removes her Mexican necklace.)

MEREDITH GORDON: Here ... A little something from Mexico.

CLAIRE: Oh, no, I can't.

MEREDITH GORDON: You can, and you're gonna.

(She gives the necklace to Claire.)

MEREDITH GORDON: It'll look ten times better on you than it ever did on me.

CLAIRE: Okay.

(They hug.)

CUT TO:



[INT. (NEW YORK) ISAAC’S STUDIO – DAY]

(Simone uses the key and enters the studio.)

SIMONE: Isaac.

(She closes the door and moves further into the studio.)

(The painting on the easel is of Isaac and Simone on the roof of the Deveaux building. They’re holding each other and their foreheads are touching.)

(Simone looks at the painting and shakes her head.)

CUT TO:



[EXT. (NEW YORK) DEVEAUX BUILDING – ROOFTOP -- EVENING]

(Simone steps out onto the rooftop. Isaac is already there.)

SIMONE: We haven't been up here together in a long time.

ISAAC: There's something about this roof.

(Simone chuckles.)

SIMONE: You and I spent a lot of time up here.

ISAAC: I mean, it's connected with what's happening. It's important somehow.

SIMONE: Well, it's certainly mysterious. You know, I never figured out how those pigeons got up here. My father always said, "If they found their way, we ought to let 'em be." I know we had a lot together, Isaac. For a long time.

ISAAC: You saw it. The painting of us. It's the future I hope for. This city took me in. Everything important that ever happened to me happened here. Good ... bad ... you. And now it's all gonna be destroyed because I can't stop it.

SIMONE: You don't know that.

ISAAC: It keeps coming back, worse every time. You saw what this looks like after the bomb. The world will never recover from that.

SIMONE: That's not true. You can't lose hope.

ISAAC: What hope is there?

SIMONE: There's you. What you can do. Why else would you be allowed to see the future unless it was to do something about it? You can't just see the future, Isaac. You make it. You'll find a way.

ISAAC: You really believe that?

SIMONE: (nods) I believe in you.

(She takes his hands with hers. They look into each other’s eyes and lean forward to touch foreheads.)

(CAMERA PULLS BACK and we see Peter and Claude also on the rooftop watching the intimate display. Claude turns and looks at Peter.)

(Peter looks grim.)

(Simone and Isaac hug.)

CUT TO:



[INT. (NEW YORK) PORT WASHINGTON HARBOR -- WAREHOUSE -- DAY]

(Ando and Hiro bow respectfully. Kimiko Nakamura bows back. Kaito Nakamura stands behind her.)

HIRO: (subtitled) I have given it much thought, big sister. Please tell Father I will return as the new Executive Vice President.

KIMIKO: (smiles) (subtitled) This is good news.

HIRO: (subtitled) Oh yes. It is time to restructure.

(Her smile fades.)

HIRO: (subtitled) And consolidate management in Tokyo.

KIMIKO: (subtitled) You can’t consolidate management –

HIRO: (subtitled) I’m Executive Vice President, I can do anything!

(He walks forward past Kimiko to speak directly with his father.)

KIMIKO: (subtitled) That would be a disaster.

HIRO: (subtitled) Oh? You think you have a better idea?

KIMIKO: (subtitled) We should expand by making new acquisitions in aviation. Improve R&D in biotech, recapitalize ...

HIRO: (laughs) (subtitled) What do you know of these things?

KIMIKO: (subtitled) I run three divisions at Yamagato. If anyone knows how to run this company, it’s me!

KAITO NAKAMURA: (subtitled) Kimiko? What’s gotten into you?

KIMIKO: (subtitled) My apologies. I did not mean to.

HIRO: (interrupts) (subtitled) Yes, she did. Kimiko is smart and dedicated. You don’t need me. You have your successor right here!

(Kimiko smiles at Hiro. Hiro turns and nods to Kimiko. Kaito Nakamura growls as he thinks about it.)

HIRO: Onegaishimasu.

(Hiro bows to his father. He peers up at him through his lashes.)

CUT TO:



[INT. (LAS VEGAS) WOMEN’S CORRECTIONAL FACILITY – NIKI’S CELL]

(Niki is back in her cell. The door opens and the broken nose guard walks in. He throws the package with her things in it down on the floor next to her. He’s not happy with this latest development.)

BROKEN NOSE GUARD: Get dressed!

NIKI: Dressed for what?

ARON MALSKY: (o.s.) You're going home.

(Linderman’s lawyer, Aron Malsky, steps forward.)

NIKI: That's not possible.

ARON MALSKY: Oh, it's more than possible. The charges against you have been dropped, Ms. Sanders.

NIKI: What?

ARON MALSKY: The DA threw out the entire case.

NIKI: That can't happen. (She stands up.) I killed people.

ARON MALSKY: The State of Nevada isn't so sure about that anymore. It seems a rather terrible gentleman on death row confessed to all the crimes you're accused of. DNA evidence backed up everything. Wonderful system, isn't it? As far as they're concerned, justice has been served.

NIKI: And as far as Linderman is concerned?

ARON MALSKY: Oh, don't worry about tomorrow's problems today.

NIKI: No. I need to be in here. I need help.

ARON MALSKY: You only need to get dressed, Ms. Sanders. You're going home.

NIKI: No.

CUT TO:



[INT. (NEW YORK) DEVEAUX BUILDING – ROOFTOP -- NIGHT]

(Peter and Claude are on the rooftop. Simone and Isaac are gone.)

CLAUDE: And that's the one you love. Off to dinner with the guy she left to be with you. Sort of fickle, don't you think?

PETER: Why would you show me that?

CLAUDE: I didn't show you anything. She did. We just followed her. Not even very long. I'm sorry, Peter.

PETER: No, you're not. You enjoyed that.

CLAUDE: You got this rosy film over your eyes, like a kid. It's no wonder you live like an adolescent—posters on the wall, hair in your face. You've got to see the world as it is. The only way you'll learn how to save it.

PETER: And what, be like you? A hermit? No one knows you're alive except for some pigeons.

CLAUDE: You have to get rid of your distractions.

PETER: The people I love are not distractions!

CLAUDE: Then why can't you fly? You've done it. Your body remembers how. The only thing standing in your way is you.

PETER: What am I supposed to do? Cut 'em out of my life? How cold do you expect me to be?

CLAUDE: Did you forget you're a bomb? You've got to remember what this is about. Or, do you have to ask for your brother's permission for that as well?

PETER: Anything else that I have to do? You wanna make a list?

CLAUDE: You're a sad cartoon of a broken heart bleeding all over the place. I'm just trying to get your mind straight.

PETER: Look, I have followed you around and listened to your half-assed wisdom. You don't have any answers! Okay? You don't know anything. You are afraid of the world.

CLAUDE: You have to listen to me.

PETER: And I am tired of you telling me what I have to do! I don't have to do anything!

CLAUDE: Except fly.

(And with that, Claude grabs Peter, turns him and pushes him off the roof of the Deveaux building.)



[FALLING]

(Peter falls forward. His arms flail around helplessly as he heads straight for the taxi parked below. He flips over.)

(Peter falls backward, plunging down the side of the building.)



[EXT. BACK ALLEYWAY – NIGHT -- CONTINUOUS]

BAMM!

(Peter falls on the taxicab roof, the window glass shatters. He rests on the SAMURAI ad board.)

(Peter doesn’t move.)

(After a long moment, Peter stirs. He looks around and lifts himself off the piece of metal impaled through his back. He groans.)

(He slowly gets up and slides off the roof of the taxicab. He’s on his feet. He takes a couple steps back and looks up at the building roof. That’s a long distance to fall. We see the back of his head glistening with blood.)

PETER: Son of a bitch!

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[EXT. BACK ALLEYWAY – NIGHT]

(Peter sits on the ground, his back against the taxicab door. Claude walks up to him.)

CLAUDE: Not quite what I was expecting, but hope for the flowers yet.

(Peter gets to his feet and slams Claude back against the building wall.)

CLAUDE: Oof!

PETER: You threw me. Off of a 30-story building! If I didn't regenerate, I'd be dead!

CLAUDE: Well, you could have flown. Listen, if you hadn't have worked this one out, you'd have been hopeless anyway. And I'd have to defuse the biggest bomb ever.

(Peter releases Claude.)

CLAUDE: But you did it, didn't you? You cleared your mind. You called out your power.

(Peter takes a couple steps back and again looks up at the building rooftop.)

PETER: You know, before I hit the ground ... when I knew what was about to happen, I had this flash ... in my head, of this girl that I met in Texas. This cheerleader. She could heal herself. Oh, gosh, she's this sweet kid. Sad little smile, and she just ... (realizes) You were wrong. I don't have to cut her out. I have to remember her! How--how she made me feel! That's how I ...

(He looks down at his hands and sees that they’re invisible to him.)

SCREEECH!

(Feedback. Peter groans and holds his head from the pain.)

(He looks up and his eyes are completely white. Claude watches him.)

PETER: Ohh! Oh, God.

QUICK CUTS OF:
* PETER with his white eyes.
* PETER experiencing feedback.

PETER: It's happening.

QUICK FLASH & QUICK CUTS OF:
* XCU: PUPIL’S REFLECTION OF A PERSON screaming and burning
* PETER with his white eyes.
* PETER experiencing feedback.

PETER: I'm losing it!

QUICK FLASH & QUICK CUTS OF:
* PETER with his white eyes.
* PETER experiencing feedback.
* PETER burns fully as the power consumes him.

PETER: Aaaah!

(Claude swings and punches Peter in the face.)

PETER: Oof!

(Peter hits the ground. He’s out.)

CLAUDE: (sighs) Well, it's a start.

(We hold on Peter.)

CUT TO:



[INT. (NEW YORK) ISAAC’S STUDIO – NIGHT]

(Isaac is painting, his eyes are white.)

(He shuts his eyes and his pupils return to normal. He looks at the painting he’s been working on. It’s of Peter sitting on the ground with his back against the destroyed taxicab. The portion of the painting in front of Peter is incomplete. Peter is incomplete with half of him faded and see-through.)

(Isaac studies the painting.)

ISAAC: Peter?

CUT TO:



[INT. (ODESSA) BENNET RESIDENCE -- NIGHT]

(The phone rings. Mr. Bennet answers.)

MR. BENNET: (to phone) Yes?

ISAAC: (from phone) I think I found a way to stop him.

INTERCUT WITH:

[INT. ISAAC’S STUDIO – NIGHT]

ISAAC: (to phone) I found him.

MR. BENNET: (from phone) Sylar?

ISAAC: I thought you had Sylar.

(Mr. Bennet is on the phone. There are workers in his home fixing it and removing any trace of the damage.)

MR. BENNET: I will again. Soon. You mean Petrelli. Where is he?

ISAAC: I think he's been here this whole time. And I've been painting him. Except no one can see him. Like he's a ghost, or ... invisible. What does that mean?

MR. BENNET: It means an old friend isn't quite as dead as we thought he was.

CUT TO:



[EXT. (NEW YORK) PORT WASHINGTON HARBOR -- WAREHOUSE -- NIGHT]

(Hiro and Ando bid farewell to Kimiko and Kaito Nakamura.)

HIRO: (subtitled) You have made the right choice, Father.

KAITO NAKAMURA: (subtitled) Let us hope so. This does not mean I approve of what you are doing.

HIRO: (subtitled) That’s okay. You don’t have to. Life evolves, Father. And the son you wanted to be like you will follow his own path. Now I have to go save the world!

(Hiro steps forward and hugs his father.)

KAITO NAKAMURA: (subtitled) Should never have read him those stories.

(Kaito heads for the car. He looks back at Kimiko, who pauses a moment to talk with Hiro.)

KIMIKO: (subtitled) You are insane, little brother.

HIRO: (subtitled) You are welcome.

(They hug.)

(Ando steps forward and smiles at Kimiko. He opens his arms for his hug. Kimiko bows to him instead. He bows back. Kimiko nods to Hiro, then heads for the car. License number of the car is NCC-1701.)

(Ando watches Kimiko leave.)

ANDO: (subtitled) She’s really starting to like me.

HIRO: Huh?

CUT TO:



[INT. (LAS VEGAS) SANDERS RESIDENCE – HALLWAY / BEDROOM -- NIGHT]

(Micah walks up to the closed bedroom door and knocks. He’s carrying a board game.)

MICAH: Mom? I know it's not our game night, but can we play a game of Scrabble since you just got home?

(Jessica smiles. She stands in front of her mirrored closet door.)

JESSICA: Absolutely. I owe you, like, a dozen. Just give me a minute, okay?

MICAH: Okay!

(Micah leaves.)

(In the bedroom, Jessica turns to get something out of the closet. We see the SYMBOL mark on the back of her right shoulder.)

(Off screen, we hear urgent knocking.)

(Jessica closes the closet door and we see NIKI trapped inside the mirror. She’s pounding on the mirror with the palms of her hands.)

NIKI: (screams) No!

JESSICA: What are you so mad about, Niki? You're the one who wanted to be locked up.

(Jessica puts her sweater on and heads out of the room.

NIKI: No ...

(Niki slams her hands against the mirror.)

CUT TO:



[INT. (ODESSA) BENNET RESIDENCE – LIVING ROOM – NIGHT]

(The door opens. Claire and Zach walk in.)

CLAIRE: I'm home!

(Zach stops Claire and motions to the necklace. Claire removes it while Zach closes the front door.)

SANDRA BENNET: (o.s.) In the kitchen.

(Claire takes the necklace off. She and Zach head for the kitchen.)

SANDRA BENNET: You are in big trouble, young lady. The school called. Did you think you could ditch, and I wouldn't find out?

CLAIRE: Mom, we talked about it this morning. Zach and I went to the aquarium.

(Zach holds up the brochures.)

SANDRA BENNET: Claire, I think I would remember a conversation about you skippin' school.

(Sandra closes her eyes and turns away. She appears to be in pain.)

CLAIRE: You okay?

SANDRA BENNET: Fine, just ... I ... banged my head on something. Bit of a headache.

(Claire reaches for the dinner plates.)

CLAIRE: Why don't you let me finish, uh, setting the table, and you can go lie down for a little bit.

(Sandra nods.)

SANDRA BENNET: Don't think this gets you off the hook.

(She leaves the room. Claire and Zach look at each other. He looks just as confused as she does. Claire turns and sees something. She picks up a piece of broken glass off the seat.)

(She looks at it, then looks up at her father on the phone in the den. He turns and looks back at her. He smiles and waves.)

(Claire smiles back.)

CUT TO:



[INT. (KERMIT) MEREDITH TRAILER – NIGHT]

(Meredith paces the floor, a cigarette in one hand and a phone in the other.)

(The phone rings then clicks. Someone picks up.)

NATHAN: (from phone) Hello?

MEREDITH: You might not remember me. But we haven't spoken in a long time, but ... (Meredith sits down.) Our daughter just found me. Did you hear what I just said? She's alive.

INTERCUT WITH:

(Nathan sits down.)

MEREDITH: (from phone) We need to talk, Nathan.

(We hold on Nathan.)

FADE TO BLACK.



TO BE CONTINUED ...

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