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Heroes
#118 : Parasite

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La date des élections et de la destruction de New York se rapproche. Nathan rencontre Linderman en personne, et le rendez-vous est quelque peu perturbant. Hiro poursuit toujours sa mission et tente de voler l'épée. Mohinder fait une découverte importante au sujet de la liste, mais le prix à payer est élevé. D.L. commence à avoir des doutes sur les agissements de sa femme, tandis que Isaac peint la plus terrible de toutes ses toiles. Et une nouvelle Heroes, Candice Wilmer, fait son apparition.

*** Captures ***

Popularité


5 - 2 votes

Titre VO
Parasite

Titre VF
Parasite

Première diffusion
05.03.2007

Première diffusion en France
18.08.2007

Vidéos

Vidéo promo 1x18

Vidéo promo 1x18

  

Plus de détails

Réalisé par: Kevin Bray
Ecrit par: Chris Zatta

Peter et Isaac regardent le corps sans vie de Simone. Dans un dernier espoir, Isaac lui demande s’il ne peut rien faire pour la sauver, mais Peter répond qu’il est trop tard, et il porte le corps de la jeune femme sur le lit. Isaac accuse Peter d’avoir provoqué ça, et il lui tire à nouveau dessus, mais ce dernier redevient invisible et il s’enfuit de l’appartement.

 

A Las Vegas. La sécurité refuse de laisser Hiro entrer dans le casino. Il essaye de leurs faire comprendre qu’il a un paquet pour Mr Linderman, mais il se fait jeter dehors, dans la rue. Il commence alors a menacer la garde de sécurité, qui fait deux têtes de plus que lui, ce qui le dissuade de continuer.

 

Mr Bennet est à l’usine, avec Mr Thompson. Il ne se souvient pas du jour où Ted et Matt ont pris sa famille en otage, car sont dernier souvenir est d’être arrivé chez lui en rentrant de l’hôpital avec sa famille. Devant les suspicions de son patron, il s’énerve car il est inquiet pour sa fille qui a disparu. Thompson lui explique que l’Haïtien est parti avec Claire, en emmenant avec lui une partie de sa mémoire ainsi que celles de Sandra et Lyle, qui d’après lui se souviennent d’encore moins de choses que lui. Quand Bennet lui demande s’il peut aller chercher sa fille, il lui répond qu’elle n’est rien d’autre qu’une mission qu’on lui a confiée et il s’en va. De l’autre coté de la vitre teintée, Thompson demande à Matt si il disait la vérité. En effet, Matt et Candice ont assistés à la scène. Parkman confirme les dires de Mr Bennet. Puis ils laissent Matt attachés à son siège et partent.

 

Quelque part sur la route 290. Claire et l’Haïtien sont dans une voiture. Ils s’arrêtent prêt de cabines téléphoniques. Elle veut savoir quand elle pourra retrouver sa famille, mais il ne semble pas prêt à la laisser les revoir, car les gens pour qui ils travaillaient son à leur poursuite. Il ajoute que ce qu’ils lui feront s’ils les attrapent, même elle ne pourra pas s’en remettre. Enfin, il lui dit qu’elle devrait honorer les sacrifices qu’a fait son père pour elle au lieu d’être sarcastique. Il descend de la voiture et va téléphoner. Pendant que Claire regarde autour d’elle, on entend l’homme parler au téléphone est demander à son interlocuteur ce qu’il doit faire (et il parle en Français!). Avant de raccrocher, il dit juste « Marseille ». Il annonce à la jeune fille qu’ils vont quitter le pays, le soir même.

 

Des agents du FBI entrent dans le bureau de Nathan. Ils sont là pour parler de Linderman, et soi-disant des investissements que sa compagnie a faite pour la campagne de Nathan. Pendant que l’un d’eux vérifie qu’il n’y a pas de micro dans le bureau, l’autre commence son baratin. Puis la véritable discussion commence. Les deux agents lui rappellent qu’il était d’accord pour leur livrer Linderman, car il travail avec eux. Ils ajoutent que Linderman a demandé à voir Nathan au casino le soir même, et ils veulent lui faire porter un micro pour avoir des preuves contre Linderman. Puis ils s’en vont, en lui faisant bien comprendre qu’il n’a pas d’autres choix. Une fois seule dans la pièce, Nathan se retourne, et découvre son frère derrière lui. Peter était invisible et il a entendu toute la conversation. Nathan lui avoue qu’il collabore avec le FBI depuis l’accident d’Heidi. Puis il remarque le sang sur le visage et les mains de Peter, qui lui annonce que Simone est morte. Son frère lui dit qu’il va passer un coup de fil anonyme à la police, comme ça il n’aura aucun lien avec ce qui a pu se passer. Mais Peter n’est pas d’accord, car il pense qu’elle est morte à cause de lui, et qu’il met en danger toutes les personnes auxquelles il tient. Nathan lui propose d’aller voir Suresh, car il sait qu’il travaille sur un médicament pour les soigner. Mais il n’est toujours pas emballé par cette idée. Quelqu’un frappe à la porte, et prévient Nathan que sa voiture pour l’aéroport est arrivée, ce qui laisse le temps à Peter de s’en aller, invisible à nouveau.

 

Mr Bennet arrive dans une chambre d’hôtel. Sandra lui raconte les dernière nouvelles de la journée, et on apprend qu’ils ne sont pas chez eux car il y aurait soi-disant une inondation dans leur cave, et que Claire est parti avec les autres cheerleader de son école. Son mari lui dit alors qu’il doit partir pour affaires. Elle prend alors un air sérieux et allume de la musique. Elle se met à chuchoter et lui explique qu’elle le fait à sa demande, car il lui a ordonné de faire semblant de ne plus se rappeler de la journée d’hier et qu’il lui a tout raconté. Puis elle lui donne un mot, qu’il a écrit lui-même, sur lequel il a écrit qu’il ne devait pas partir à la recherche de Claire. Quelqu’un frappe à la porte. Il dit à Sandra qu’elle doit continuer de faire semblant, que personne ne doit savoir quoique ce soit au sujet de Claire et de leur secret. Il va ouvrir la porte. C’est Candice, qui lui dit qu’Isaac a essayé de le joindre, au sujet de Simone, et qu’il doit partir avec elle. Il commence par refuser, mais elle parvient à le persuader. Elle rentre dans l’appartement et discute une minute avec Sandra.

 

Mohinder a donné la Liste de Chandra à Sylar. Il est entrain de comparer l’ADN qu’il lui a donné avec la formule de son père, mais il semble très fatigué. Sylar lui propose de l’aider, en appelant les personnes de la liste. Il commence par Isaac Mendez, mais le peintre ne répond pas. Pendant ce temps, Mohinder prépare de la boisson. Il rapporte une tasse à Sylar, mais ne boit pas la sienne. Sylar boit la boisson, et lui demande ce que c’est. Mohinder lui dit qu’il s’agit de « Chi ». Puis Sylar lui demande qui ils vont appeler ensuite, et Mohinder lui répond personne, car il l’a déjà lui. Et il l’appelle par son vrai nom. Sylar commence à avoir des vertiges, il lâche sa tasse et s’effondre inconscient.

 

Hiro est assis sur un banc devant le casino. Nathan passe à coté de lui, et il semble content de le voir. Hiro lui explique son problème pour passer la sécurité, et il demande son aide à Nathan. Il lui dit aussi qu’il a renvoyé Ando au Japon, car sa mission devenait trop dangereuse pour lui. Nathan réplique qu’il comprend ce qu’il veut dire, qu’on ne peut pas sauver tout le monde. Hiro lui fait remarquer qu’il prétend se soucier de personne, mais qu’en faite il se souci de trop. Puis ils vont voir les gardes de la sécurité, qui reconnaissent bien sûr Nathan et qui s’excusent donc de ne pas avoir laissé passer son ami.

 

Claire est à l’aéroport avec l’Haïtien, qui lui donne sa nouvelle carte d’identité et son passeport. Elle critique le fait qu’il lui ait choisit Vivian Louis comme nouveau nom, mais il n’en a rien a faire. Elle lui dit qu’elle veut retourner voir Peter Petrelli car elle a confiance en lui et au moins il se souci d’elle. Mais il n’est pas d’accord. Au moment d’embarquer, Claire montre ses papiers à l’agent de sécurité et passe. Mais derrière elle, l’Haïtien ne retrouve plus les siens, et il reste donc bloqué avec les gardiens. Claire part sans lui, et un peu plus loin, elle jette les papiers de l’Haïtien dans une poubelle.

 

La police arrive chez Isaac, qui est assis sur le lit à coté du corps de Simone. Il va leur ouvrir la porte, et l’inspecteur lui montre une photo de Simone en lui demande si il l’aurait vu quelque part. Il leur dit qu’ils ont rompu récemment, et la police insiste pour entrer car l’un de ses voisins a signalé une dispute et des coups de feu dans son appartement. A ce moment, Simone arrive chez Isaac, qui n’en croit pas ses yeux. La police s’en va, et Mr Bennet arrive à son tour. Il s’adresse à Simone en lui disant qu’elle est très utile, et on voit alors Candice reprendre son apparence, et le corps de Simone réapparaît sur le lit. Mr Bennet lui explique que des hommes vont venir nettoyer ce petit problème. Isaac lui demande comment il doit gérer ça, et Candice lui dit qu’il fallait y penser avant. Elle reprend l’apparence de Simone, et commence à le provoquer, mais Mr Bennet intervient et lui ordonne d’arrêter. Puis il ajoute à Isaac qu’il n’a qu’à continuer de peindre. Ils s’en vont.

 

Jessica joue aux jeux vidéo avec Micah. Puis il part à l’école. Elle regarde ensuite dans un miroir et fait remarquer à Niki qu’elle se débrouille mieux qu’elle. DL arrive à cette instant, et pendant une seconde on pense qu’il l’a entendu et donc comprit que Jessica se fait passer pour Niki. Mais non. Il lui montre la photo de Nathan, celle qu’elle a reçue lorsque Linderman lui a demandé de tuer Petrelli, en lui disant qu’il la trouvé sur son oreiller. Elle lui raconte une histoire, puis l’embrasse pour lui faire oublier. DL la regarde en souriant, mais lorsqu’il se retourne et commence à partir, son sourire s’efface. Jessica comprend que c’est Niki qui a posé la photo en évidence.

 

Sylar se réveille attaché à une chaise. Il ne sent plus ses doigts, et Mohinder lui explique qu’il lui injecte un produit qui paralyse certaines parties du cerveau. Il ne peut donc plus contrôler ses pouvoirs. Il lui montre ensuite un article de journal annonçant la mort de Zane. Puis il sort un diapason de sa veste et donne un coup sur la table, avant de l’approcher de l’oreille de Sylar, qui hurle sous la douleur, car il perçoit le son très fort à cause du don de Dale. Mohinder lui demande de lui dire son nom, et il lui dit qu’il s’appelle Sylar. Mohinder se lève alors et prend une arme. Ils discutent quelques instants au sujet de Chandra et de la confiance qu’il avait en Sylar, puis Mohinder décide de ne pas le tuer. Il va se servir de lui pour ses tests, en commençant par lui prélever du liquide céphalorachidien, en lui précisant avant que ça va faire très mal.

 

Hiro arrive à l’étage où sont conservées toutes les œuvres de Linderman. Il se présente à l’homme à l’accueil en lui disant qu’il apporte une nouvelle toile d’Isaac Mendez. L’homme voit qu’elle est déchirée, mais il la prend quand même, et Hiro lui demande d’aller chercher quelque chose d’autre. Il profite de l’absence de l’homme pour fouiller dans son ordinateur, et trouver l’épée. Un tiroir s’ouvre automatiquement à la fin de la recherche. Il monte sur une échelle, et s’empare de l’épée. Mais l’homme revient et le surprend. Il déclenche une alarme. Un agent de la sécurité arrive, et assomme l’homme. Hiro se retourne, et découvre qu’il s’agit d’Ando. Son ami lui explique qu’il n’est pas retourné au Japon et qu’il l’a suivit, car il savait qu’il allait s’attirer des ennuis. Mais ils n’ont pas plus le temps de parler car d’autres agents de sécurité arrivent. Ils bloquent la porte avec une table.

 

Nathan est dans l’hôtel de Linderman, il va se reposer dans sa chambre en attendant que ses hommes viennent le chercher. Il parle aux agents du FBI grâce à son micro, qui le surveillent depuis une autre chambre. A ce moment, Jessica arrive et pointe son arme vers eux. Elle les tue.

 

Mohinder a fini par découvrir la séquence de gênes qui permet de tracer et révéler les gens qui ont des capacités. Il peut donc refaire une nouvelle liste, plus complète que celle de son père. Sylar est toujours attaché à son siège. Il s’énerve et lui ordonne de lui donner la liste. Il ajoute qu’il n’est qu’une évolution de la nature, mais Mohinder n’est pas de son avis, et il pointe à nouveau son arme vers Sylar. Il tire, mais Sylar arrête la balle juste devant sa tête grâce à son pouvoir de télékinésie. Il dit à Mohinder qu’il n’était pas entrain de supplier pour sa vie, mais qu’il offrait celle à Mohinder. Il détache ses liens, et ajoute qu’il est comme son père, tellement déterminé qu’il n’a même pas remarqué qu’il avait arrêté la perfusion. Il s’avance vers Mohinder, menaçant.

 

Isaac regarde les anciens dessins qu’il a fait. Puis il se met à chercher sa drogue, et se fait une injection. Il commence à peindre. Une fois redevenu lui-même, il s’aperçoit qu’il a dessiné de nombreux tableau de lui, le crâne découpé dans une marre de sang.

Nathan arrive dans sa chambre d’hôtel. Il continue de dire ce qu’il fait dans le micro, il ne sait pas que les agents du FBI sont morts. Il voit alors Niki, qui lui enlève le micro, et lui explique que la femme qu’ils ont envoyé pour le tuer, Jessica, va bientôt revenir. Elle ajoute que Linderman est au courant pour le micro et le FBI. Puis elle lui apprend qu’ils sont morts.

 

Mr Bennet est rentré dans sa chambre d’hôtel. Il lui dit qu’il n’a pas pu chercher Claire, car si il sait où elle est ils pourront le découvrir. Il lui rappelle qu’ils doivent continuer à faire semblant, et que la compagnie doit être arrêtée pour de bon. Il ajoute qu’il ne savait pas qu’il pouvait être à ce point franc avec elle, et le téléphone sonne. Sandra répond, et elle dit à son interlocuteur qu’il va poser problème. Mr Bennet la regarde mais ne comprend pas. On voit alors Thompson et des hommes de la compagnie arriver derrière Mme Bennet, qui se trouve en réalité être Candice. Elle reprend son apparence et Mr Bennet comprend qu’il a été piégé.

 

Hiro récupère l’épée du tiroir. Ando lui dit de ne pas s’inquiéter pour lui, mais qu’il doit s’enfuir maintenant qu’il a l’épée. Les gardes frappent de plus en plus fort sur la porte, et parviennent à l’ouvrir. Hiro pose ses mains sur les épaules de son ami, et ils disparaissent tous les deux. Ils se retrouvent alors dans le futur, sur le toit de l’immeuble Deveaux, et se rendent compte avec horreur que la bombe a explosé. New York est un grand champ de ruine.

 

Claire arrive à l’adresse de Peter. Elle frappe, et c’est Angela Petrelli qui lui ouvre. Elle la fait entrer, puis s’adresse à l’Haïtien en français, en lui disant qu’au moins maintenant elle sera en sécurité. Claire est surprise de le voir là, et elle demande à la femme qui elle est, et Angela lui répond qu’elle est sa grand-mère, et qu’elle a engagé l’Haïtien pour la protéger.

 

Niki explique à Nathan que Linderman a engagé Jessica pour tuer les agents du FBI et garder un œil sur lui. Elle lui conseil d’accepter l’offre que va lui faire Linderman s’il décide quand même d’aller à ce rendez-vous, et que sinon il doit s’enfuir avec sa famille. Il répond qu’il ne peut pas faire ça, mais qu’il peut le tuer. Elle lui tend son arme, et lui demande de l’assommer, pour que Jessica comprenne qu’elle n’a plus le contrôle. Nathan la frappe et va au rendez-vous.

Les hommes de Linderman le conduit à leur patron. Ils vont jusqu’aux cuisines. Linderman est entrain de préparer une tourte. Ils discutent de chose sans grand intérêt, puis Linderman lui demande s’il est heureux, question à laquelle Nathan répond « pas vraiment ». Il lui dit alors qu’il doit choisir entre une vie heureuse, ou une vie qui a un sens. Nathan lui dit qu’il veut les deux, mais le vieil homme rétorque que c’est impossible. Nathan sort alors son arme, et il lui déconseille de tirer car ce serait leur arrêt de mort à tous les deux. A la place, il veut lui faire une proposition. Nathan ne veut tout d’abord même pas l’entendre, mais Linderman insiste. Puis il lui dit qu’il sait pleins de choses, comme le fait que Nathan puisse voler, ou encore qu’il est au courant pour son frère Peter, ainsi que pour sa fille et toutes les autres personnes au-dehors qui sont spéciales comme lui. Puis il lui dit qu’il peut lui offrir plus que des informations. Il lui dit qu’il peut lui faire gagner ses élections, et même le conduire jusqu’à la maison blanche. Une fois son petit discours finit, il tourne le dos à Nathan, qui pointe toujours son arme vers lui, et reprend sa cuisine. Finalement, Nathan baisse son arme.

 

Peter arrive chez Mohinder. Il entre et voit que les meubles sont éparpillés dans les pièces. Du sang tombe sur sa figure, et il découvre Mohinder collé contre le plafond, qui lui murmure juste le nom Sylar. Peter se retourne et tombe nez à nez avec Sylar, qui le plaque contre le mur en le tenant par la gorge. Il se souvient de leur dernière rencontre au Homecoming, et du fait que Peter est différent lui aussi. Il commence alors à lui inciser le fond, sous les hurlements de douleur de Peter.

FADE IN:

[TITLE CARD: HEROES]

NARRATOR: (v.o.) Previously on Heroes ...



VARIOUS (STOCK) IMAGES OF: CLAIRE / NIKI / HIRO

NARRATOR: (v.o.) Ordinary people discovered extraordinary abilities.

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

DISSOLVE TO:



VARIOUS FLASHES OF: SYLAR

NARRATOR: (v.o.) The face of evil joined a search for other heroes so he could steal their powers.

(Mohinder snaps a photo of his father’s map.)

(Cut to: The computer list.)

(Cut to: Sylar telekinetically throws the locker doors at Peter.)



(Mohinder talks with Sylar.)

MOHINDER: There are others out there and I am going to find them.

(Sylar stands up.)

SYLAR: I could go with you.

DISSOLVE TO WHITE:



(Zach video tapes Claire as she snaps her dislocated shoulder back into place.)

VARIOUS CUTS OF: CLAIRE

NARRATOR: (v.o.) And the invincible cheerleader was being hunted.

(Thompson looks at Mr. Bennet.)

THOMPSON: When should we be expecting Claire?

FADE OUT:



(Mr. Bennet is looking over the edge of the rooftop after Peter jumps off with Claude.)

NARRATOR: (v.o.) So her father erased his own memory to protect her.

(Mr. Bennet drives Claire away in the car.)

(The Haitian, Claire and Mr. Bennet meet on the bridge.)

THE HAITIAN: There can’t be any doubt cast on your father.

(He shoots Mr. Bennet in his side.)

BANG!

MR. BENNET: (to the Haitian) Go deep. Take anything that would lead them to her.

CUT TO:



[INT. ISAAC’S STUDIO]

(Isaac paints while in his trace-like state.)

(Peter is angry.)

NARRATOR: (v.o.) And the artist who paints the future made a tragic mistake.

(Peter shoves Isaac down into the paint supplies.)
(Isaac picks up the gun. He turns and points it at Peter. Peter vanishes.)

(Isaac has a gun and is looking for Peter, who is invisible.)

ISAAC: (shouts) Show yourself!

(He hears a noise, whirls around and fires twice.)

BANG-BANG!

(Simone is shot.)

FADE OUT.



[BLACK SCREEN]

WHITE TEXT: TONIGHT

NARRATOR: (v.o.) As we head to the final chapter, --

VARIOUS CUTS OF:
* A gun.
* CLAIRE gets out of a car.
* JESSICA cocks her gun.
* PETER meets with Nathan.
* CLAIRE stands in front of a door as its being opened.
* NATHAN
* Linderman’s guard escorts Nathan into an elevator.
* The elevator goes down.
* Nathan meets Linderman in the kitcen. His back is to us.

NARRATOR: (v.o.) -- you’ll finally meet the man pulling the strings.

FADE OUT/FADE IN:

NATHAN: Mr. Linderman

ON LINDERMAN as he’s just about to turn around --

CUT TO:



[TITLE CARD: HEROES]

NARRATOR: (v.o.) And now, Heroes continues.

FADE OUT.
END OF PREVIOUSLY ON



FADE IN:

[EPISODE TITLE]
CHAPTER EIGHTEEN
PARASITE



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

CAPTION:
PETER PETRELLI & ISAAC MENDEZ
LOWER MANHATTAN

(We move low along the floor, past the smoking gun and up toward the door where Peter holds Simone. Isaac is next to them.)

ISAAC: I thought she was you.

(Peter puts his ear to her chest.)

ISAAC: It was supposed to be you. Can't you do something?

(Peter puts Simone’s hands on her chest.)

PETER: She's dead.

(Isaac sits back against the door and seems to curl up into himself. Peter scoops Simone in his arms and stands up. He walks over to the bed and puts her down on the covers. He looks at her for a moment.)

(Isaac glares at him.)

ISAAC: It's your fault.

(Peter turns around.)

ISAAC: You did this.

(Isaac fires. He bullet misses Peter. Peter ducks and runs. Isaac fires again. Peter turns invisible as he dashes across the room. A painting tilts off its easel and clatters to the floor. The sounds of movement and footsteps travel around the room. A chair turns. The front door pushes back as Peter leaves the studio.)

(Isaac cries.)

FADE TO WHITE:



FADE IN:

[EXT. (LAS VEGAS) LAS VEGAS CITY (STOCK) – DAY]



[INT. CORINTHIAN CASINO – DAY]

(Francis at the top of the escalator bows and greets customers.)

WOMAN: (o.s.) Arigato.

FRANCIS (SECURITY): (smiles and bows) Yokusou.

(He smiles to someone else.)

FRANCIS (SECURITY): (smiles and bows) Yokusou.

(Hiro arrives at the top of the escalator. He’s stopped by the Francis.)

FRANCIS (SECURITY): You stop right there.

CAPTION:
HIRO
LAS VEGAS

HIRO: What is the problem? I am here with tour from Osaka.

FRANCIS (SECURITY): Security just flagged you. You must be some kind of cheat.

(Francis and the Corinthian guard both advance on Hiro. Hiro backs away.)

HIRO: What?

FRANCIS (SECURITY): You already got a warning. And most people don't even get that.

(They back him up to the down escalator. Hiro runs back up and jumps off.)

HIRO: It is okay. I am invited now by Mr. Linderman.

FRANCIS (SECURITY): Well, in that case ...

(Francis looks at the Corinthian guard and nods. The Corinthian guard grabs Hiro.)

CUT TO:



[EXT. HOTEL & CASINO – DAY]

(Hiro falls backward and hits the ground with a grunt. He sits up and looks at the Corinthian guard’s retreating back.)

HIRO: (subtitled) You can’t stop me! Bigger men than you have tried. I will find a way inside ...

(The Corinthian guard turns and looks at Hiro.)

HIRO: (subtitled) ... somehow.

FADE TO WHITE:



FADE IN:

[INT. (ODESSA) PRIMATECH PAPER CO – DAY]

(Mr. Bennet shakes his head.)

MR. BENNET: It's all gone.

THOMPSON: So you honestly don't remember anything?

(Mr. Bennet buttons his shirt.)

MR. BENNET: I told you, I'm trying. The last thing I remember is driving home from the hospital with my wife. And after that, it's just -- it's ... gray. Blank.

THOMPSON: Mm-hmm. So Sprague and Parkman taking your family hostage, shooting your daughter, a bullet clean through your side. You'd think something there might have made an impression.

MR. BENNET: My daughter is missing. So right now, I don't care if you believe me, or what you do to me. I just want her home, safe. (agitated) You can kill me if you want. I'm gonna find her!

(He jumps down from his seat on the exam table and grimaces from the pain in his side.)

THOMPSON: Settle down. You'll tear your new stitches if you're not careful.

(Through the large observation mirror, Mr. Bennet grunts, a hand on his side.)

MR. BENNET: Hmm.

(Mr. Bennet slowly sits back on the exam table.)

THOMPSON: Well, clearly, your partner's gone rogue, taken a pie slice of your memory with him. He did the same thing to your wife and son. They remember even less.

MR. BENNET: When can I go after them?

THOMPSON: Sorry. I can't let that be your errand.

MR. BENNET: She's my daughter.

THOMPSON: She's an assignment. Or have you forgotten? We gave her to you. Took her out of a bassinet, put her in your hands, and told you to take her home. And that's after you said, "No, thank you." Now, I appreciate you taking an interest in her beyond the needs of the assignment, but ... that indulgence ends now.

MR. BENNET: You expect me to do nothing?

(Thompson looks pointedly at him.)

THOMPSON: I expect you to do whatever we ask of you.

(Thompson heads for the door. We linger on the large observation mirror along the side of the wall. Mr. Bennet grimaces, a hand on his side.)

(Off screen, the room door closes.)

[OBSERVATION ROOM -- CONTINUOUS]

(Thompson leans toward Matt, who watches Mr. Bennet on the other side of the mirror. Candace Willmer is standing behind him.)

THOMPSON: Well, what do we think?

MATT: He's telling the truth. He doesn't know anything.

CANDACE WILLMER: (to Thompson) Cool. You owe me five bucks.

THOMPSON: (to Candace) Come on.

(Thompson and Candace head out.)

MATT: Wait. We had a deal. I help you out, you let me go.

THOMPSON: Take it easy, Parkman. We'll get there.

MATT: What?

(Candace slaps Matt on the back of his head. They leave Matt there struggling against his bindings.)

MATT: Hey ... hey!

FADE TO WHITE:



FADE IN:

[EXT. ROADSIDE -- DAY]

CAPTION:
CLAIRE BENNET
SOMEWHERE ALONG ROUTE I90

(The Haitian parks the car along the side of the road near a couple of phone booths.)

THE HAITIAN: You have not said anything all day.

CLAIRE: I thought you'd prefer it. It's not like you'd tell me where we're going anyway.

THE HAITIAN: As soon as I know where we're going, I will tell you.

CLAIRE: When can I go back to my family?

THE HAITIAN: Should I lie to you, and say it will be soon? You know what to run from.

CLAIRE: Yeah, the people you and my dad work for.

THE HAITIAN: What they will do, not even you can recover from.

CLAIRE: Great. Thanks, Dad.

THE HAITIAN: You cannot understand the level of sacrifice he made so you might live. You must honor that.

(The Haitian gets out of the car and walks over to the telephone booth. Claire gets out of the car. We hear him speaking in French on the phone.)

(He hangs up. He heads for the car.)

CLAIRE: Is it safe to go back?

THE HAITIAN: No. We leave the country tonight.

(He gets into the car. Claire looks around before getting back into the car.)

CUT TO BLACK:



[TITLE CARD: HEROES]

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[INT. (NEW YORK) NATHAN’S OFFICE -- DAY]

CAPTION:
NATHAN PETRELLI
MANHATTAN

(There’s a knock on the door before it opens. Nathan is at his desk. The campaign manager walks in with two FBI agents.)

CAMPAIGN MANAGER: Sorry, Mr. Petrelli, these men wanted to see you. They're from the --

AGENT QUESADA: FBI. I'm Federal Agent Quesada. This is Agent Alonzo. We'd like to speak with you concerning illegal campaign contributions you may have received from the Linderman group.

(The Campaign Manager steps out of the room. The agents start closing the office blinds.)

AGENT QUESADA: The FBI is curious why the Las Vegas-based Linderman group would be so interested in helping a New York candidate.

NATHAN: My father served as an in-house attorney for the group before he passed away.

(They close the window and Agent Alonzo holds an instrument that searches for listening devices.)

AGENT ALONZO: It's all right. We're clear -- no one's listening.

NATHAN: You agreed there'd be no face to face.

AGENT QUESADA: And you agreed to deliver Linderman.

NATHAN: I’m the one who brought you in here, remember? I’d appreciate a little discretion as opposed to a surprise office visit.

AGENT ALONZO: No one outside this office knows you're working with us. Linderman's requested a meeting with you at his casino tonight. Any guesses why?

NATHAN: I'm still four points behind. He's gonna tell me how he plans to put me ahead, and what's expected of me after I win.

AGENT QUESADA: Yeah, we were thinking the same thing. And we want you to record it.

NATHAN: You want me to wear a wire?

AGENT QUESADA: You're the only one on our side who can get enough incriminating evidence to put him behind bars. We need this, Mr. Petrelli. And so do you. Otherwise, he walks. We'll contact you when you land in Vegas.

(The two agents leave the office. The door shuts behind them.)

(Nathan gets up and turns around. Peter is sitting in the office.)

PETER: How long have you been working with the FBI?

NATHAN: Since Heidi’s accident. I'm gonna take Linderman down for a long time, Peter.

(Peter gets up and walks toward Nathan.)

PETER: I thought I could be a hero and save the world. Instead, I just killed --

(Peter stifles a sob. Nathan sees the blood on Peter’s cheek.)

NATHAN: What's that? That's not your blood, is it?

PETER: No. Simone. Isaac shot her. She's dead. She's dead.

NATHAN: Did you call the police?

PETER: No.

NATHAN: Okay, here's what's gonna happen. I'm gonna make an anonymous phone call. Okay? You'll have had absolutely nothing to do with it.

PETER: But I did. She's dead because of me. I don't -- I don't know what to do.

NATHAN: That's just it, you don't do anything. Do you understand? This is not the time for you to get noble. Okay? Just stay with me.

(Peter turns away from Nathan.)

PETER: I can't. I can't. As long as I'm alive, everyone around me is in danger.

(Nathan calmly walks over to Peter and puts a hand on his shoulder.)

NATHAN: Suresh. We can call Suresh, okay? He can study you. He can -- He's working on a cure.

PETER: Isn't it too late for that?

(There’s a knock on the door. Nathan puts up a finger to Peter to stay.)

NATHAN: Wait.

(Nathan turns around. The door opens.)

CAMPAIGN MANAGER: (o.s.) Sir, you have your flight to Vegas.

NATHAN: Just tell the driver to wait.

(When Nathan turns back, Peter is gone.)

(The back door creaks open.)

NATHAN: Peter!

(Nathan looks out the door, but doesn’t see him.)

CUT TO:



[INT. (ODESSA) HOTEL ROOM -- DAY]

(The door opens and Mr. Bennet walks in.)

SANDRA: (o.s.) Oh, there you are. Lyle's watching pay-per-view in the other room.

(Mr. Bennet walks into the room slowly. Sandra is sitting on the sofa, her foot propped up on the coffee table as she ties her running shoe laces. She’s wearing a jogging outfit.)

SANDRA: I'm gonna run to the gym before there's an elipto line. I tell you, that flood in our basement has turned into a right vacation for this family. Too bad Claire’s missing it all with that cheerleading retreat.

(Mr. Bennet opens the bedside table and takes out a photo of Claire.)

(A cell phone rings. Mr. Bennet picks it up and offers it to Sandra.)

SANDRA: Oh, I'm not gonna answer that. I've got the dog hotel giving me hourly updates on Mr. Muggles -- they hate me.

(Mr. Bennet moves around the bedroom.)

MR. BENNET: Sorry, I have to take a trip.

SANDRA: Now?

MR. BENNET: What else?

(Sandra looks alarmed. She gets up quickly and rushes into the bedroom.)

MR. BENNET: You stay here and take care of Lyle. I'll be back as soon as I can, if anyone comes looking for me --

(She turns the radio on. Rather loud opera music plays.)

SANDRA: Stop.

(He looks at her.)

SANDRA: (whispers) Stop, you can't go.

MR. BENNET: What are you doing? Why are you whispering?

SANDRA: Because you told me to yesterday.

MR. BENNET: I thought you didn't remember anything about yesterday.

SANDRA: You told me to pretend that that man took my memory. You took me in the shower, you told me everything.

(He looks to the side as he thinks about it.)

MR. BENNET: I told you?

SANDRA: What you really do, who you work for, and what happened to Claire.

MR. BENNET: Do you know where she is? You know I can't remember.

SANDRA: No. But you told me you were protecting her. You said you sent her away so she'd be safe. And that if you went after her, I should give you this.

(She hands him a note.)

MR. BENNET: (reads) "Claire is with friends. Don't go after her." This is my writing.

(There’s a knock on the door.)

MR. BENNET: All right, look, we can't let anybody know about this.

SANDRA: Don't worry. I know how to play dumb.

(He looks at her and smiles, amazed by her. He cups her cheek.)

MR. BENNET: I could never love you enough.

SANDRA: You do fine.

(CUT TO: Mr. Bennet answers the door.)

CANDACE WILLMER: Puccini? I thought of you more as a John Denver type. That your wife?

(He doesn’t bother turning around. Behind him, Sandra walks across the room.)

CANDACE WILLMER: Your painter friend from New York tried to reach you. I chatted with him for you. Apparently, he's got himself a dead girlfriend. Nice guy.

MR. BENNET: Thompson doesn't need me on this one. I need to be here with my family.

CANDACE WILLMER: This isn't a request. This is an assignment. You do remember assignments, don't you?

MR. BENNET: I'll get my things.

(He steps away from the door and it starts to close. Candace sticks her foot in the door and steps inside. She walks over to Mrs. Bennet.)

SANDRA: Let me guess. Another paper emergency.

CANDACE WILLMER: Huge order mix-up in Fresno. Sorry for stealing your husband, Mrs. Bennet. It's just that he's the best guy we've got in a pinch.

(Candace looks at Sandra.)

CANDACE WILLMER: I like your hair.

(Sandra smiles at her.)

CUT TO:



[INT. (NEW YORK) MOHINDER’S APARTMENT – DAY]

(Sylar looks over the list.)

SYLAR: So this is the list?

(Mohinder is typing in his laptop.)

MOHINDER: Yes. What's left of it. Most of the people are missing, or dead. I want to run your DNA sample against my father's formula, and then take you someplace safe.

SYLAR: But this is your father's formula. This is how he made the list, how he found me.

MOHINDER: Yes, although I haven't figured out what it is looking for. I mean, a specific gene, codons? There are three billion base pairs in human DNA. It's a proverbial needle.

SYLAR: Did my DNA help?

MOHINDER: (sighs) No.

SYLAR: Okay, well, Mohinder, you've been driving all night. Why don't you just take a break?

MOHINDER: I can't. These people are in danger. We have to warn them. If Sylar gets to them first --

SYLAR: Exactly. I mean, here ...

(He goes to the map and pulls off a post-it with a name on it.)

SYLAR: I mean, this one’s in New York. I’ll, uh, I-Isaac Mendez -- I'll call him. And you just relax. Just take a minute.

MOHINDER: You're very kind. Zane, thank you.

(The kettle whistles. Mohinder goes to the kitchen.)

SYLAR: You have no idea how alone I used to feel. How insignificant. You've given me hope.

(Mohinder fills the cups.)

MOHINDER: Hope is great. We need caffeine.

SYLAR: So this formula, if you figure it out, how many of us will you find?

(Sylar dials.)

MOHINDER: Who knows? Hundreds, thousands, maybe more.

(Mohinder carries the cups into the next room. The phone is busy.)

SYLAR: No. It's busy. (He hangs up.) I'll get him later.

(He takes the cup from Mohinder.)

SYLAR: To new friends.

(They clink cups. Sylar drink as Mohinder puts his cup down to work on the laptop.)

SYLAR: This is good. What is it?

MOHINDER: Chai. It's a special blend my father brought from India.

SYLAR: Who are we going to call next?

MOHINDER: No one.

(Mohinder turns and looks at Sylar.)

MOHINDER: I already have you ... Mr. Sylar.

(Mohinder is blurry as Sylar realizes too late that he’s been drugged. He drops the cup and it smashes on the floor.)

(He passes out and falls to the ground with a thud.)

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[INT. (LAS VEGAS) LAS VEGAS CASINO -- DAY]

(Hiro sits outside looking very depressed. Nathan walks by. He stops.)

NATHAN: (o.s.) Hiro?

(Hiro looks up.)

HIRO: Mr. Petrelli?

NATHAN: Yeah.

(As if he knew exactly what Hiro was going to do, Nathan covers Hiro’s mouth with his hand as Hiro jumps to his feet.)

HIRO: (muffled shout) FLYING Mnmph--

NATHAN: Shh, shh, shh. Not here.

HIRO: (muffled) Sorry.

(Nathan removes his hand. Nathan moves to avoid the art canister as Hiro turns and heads into the casino. Nathan follows him.)

(Hiro stops.)

HIRO: (softer) Flying man!

NATHAN: Yeah. Let me guess, you're still trying to steal that sword from Mr. Linderman? Where's your friend?

HIRO: Ando? I sent him back to Japan. This mission is getting too dangerous for him.

NATHAN: I think I know what you mean. You can't protect everyone, right? Sometimes it's better to go it alone. The more people you try and help--

HIRO: The more people get hurt.

NATHAN: Yeah.

HIRO: Please, you must help me. I can’t get past casino security giant.

NATHAN: When I first met you, I thought you were nuts.

HIRO: It's okay. I thought you were mean. But now I know you pretend you do not care about anyone. But you care too much.

(Nathan glances behind him.)

NATHAN: It's really important to you to get your powers back, huh?

HIRO: (gravely) It is important for everyone.

(Nathan nods.)

NATHAN: Well, follow me.

CUT TO:

(Francis smiles as Nathan approaches.)

NATHAN: You know who I am?

FRANCIS (SECURITY): Of course, Mr. Petrelli.

NATHAN: (interrupts) My friend here is making a delivery from me to Mr. Linderman. Something he's expecting.

FRANCIS (SECURITY): Well, I didn't realize --

NATHAN: You look like you've been around long enough to know what happens when Mr. Linderman doesn't get something he's expecting? Or do I have to paint you a picture?

FRANCIS (SECURITY): He can take it to the curator.

(Nathan turns to Hiro.)

NATHAN: Does that work for you?

(Hiro nods.)

CUT TO:



[INT. AIRPORT – DAY]

(Claire and the Haitian are riding the down escalator. She’s looking at her new identity information.)

CLAIRE: Vivian Lewis? My name is Vivian, and I'm from Canada?! Are you kidding me?

THE HAITIAN: I do not need you happy. Only safe.

CLAIRE: There's nothing left of me. Everything I am is gonna disappear the second I get on that plane. My friends, my family ... me.

THE HAITIAN: I can make you forget it all, if that's what you would prefer. There's nothing left for you here. No one to trust.

(Claire looks at him.)

THE HAITIAN: No, you cannot see him again.

CLAIRE: Peter Petrelli is the only person I know I can trust. More than you. He cares about me. Why can't I hide in New York with him?

THE HAITIAN: He's not in a position to be responsible, for you or himself. Come.

(They head for the entryway.)

SECURITY CHECK: Boarding pass and ID.

(Claire hands her boarding pass and ID. She checks it and returns it to Claire. Claire proceeds through. She smiles.)

SECURITY CHECK: Boarding pass, ID.

(The Haitian looks for his boarding pass and ID and can’t find it. Claire stops and looks back at him.)

SECURITY CHECK: Boarding pass and ID.

(The Haitian checks his pockets. He sees Claire continuing on and takes a step forward. Security stops him.)

SECURITY CHECK: Sorry, sir, only ticketed passengers are allowed beyond this point.

(He’s forced to stop. Claire continues on without him. She disappears into the sea of people.)

(Claire digs into her jacket pocket and pulls out two boarding passes. She throws one boarding pass and passport into the trash.)

CUT TO:



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

(Isaac sits next to the bed with Simone’s body)

DET. JEFF TRACY: (o.s.) Isaac Mendez, NYPD. We have a few questions for you.

(Isaac gets up and answers the door. There’s a detective and several officers behind him.)

DET. JEFF TRACY: Mr. Mendez? Det. Jeff Tracy, NYPD. (He holds up a photo of Simone Deveaux.) Do you know this woman -- Simone Deveaux?

ISAAC: She and I, we broke up recently.

DET. JEFF TRACY: We received an anonymous phone call that she might be hurt. (He steps into the studio and peers inside.) Some of your neighbors said they heard an argument, and gunshots. Mind if we take a look around?

(Before he can answer, "SIMONE" appears in the doorway.)

"SIMONE": Isaac ... what's going on?

(Isaac is spooked and says nothing. The detective looks at Simone, then down at the photo. "Simone" steps into the studio.)

"SIMONE": Something wrong?

(She walks past Isaac toward the corner of the studio with the bed.)

DET. JEFF TRACY: No, ma'am, apparently not. Sorry for taking your time.

(The detective and officers leave. Isaac stares at "Simone".)

ISAAC: Simone, you're alive.

("Simone" turns around. We see the bed behind her bare of the real Simone’s dead body.)

"SIMONE": Lucky you.

(Mr. Bennet walks in and looks at Candace.)

MR. BENNET: My, you're very useful.

(Isaac looks at Mr. Bennet, then turns to looks at "Simone". "Simone" and her surroundings warp and change back to Candace, who is standing in front of the bed with the real Simone’s body on it.)

(Isaac is freaking.)

MR. BENNET: Candice is special, just like you.

ISAAC: Simone’s --

MR. BENNET: She's traveling in Europe, indefinitely, as far as the rest of the world is concerned. There's a crew coming to clean up this mess.

ISAAC: How am I supposed to pretend this didn't happen?

CANDACE WILLMER: Maybe you should have thought about that before you shot her ... twice.

(She fiddles with her collar.)

CANDACE WILLMER: What's the matter, sweetie?

(Candace warps and changes into a bloodied Simone.)

CANDACE (AS SIMONE): You want to shoot me again?

(Isaac steps back. Candace chuckles.)

MR. BENNET: Enough.

(We hear Candace change back. She heads out of the studio.)

ISAAC: I can't stay here. Take me with you.

MR. BENNET: That's not our assignment.

ISAAC: Please. I don't know what to do.

MR. BENNET: Of course you do. You keep painting.

(Mr. Bennet heads for the door. Candace is leaning against the doorframe.)

CANDACE WILLMER: My condolences.

(Candace and Mr. Bennet leave the room. Mr. Bennet looks at Isaac and closes the door behind him.)

CUT TO:



[INT. (LAS VEGAS) SANDERS’ RESIDENCE – DAY]

(Jessica plays a video game while Micah watches.)

CAPTION:
JESSICA & MICAH SANDERS
LAS VEGAS

JESSICA: Here we go.

MICAH: Oh, my goodness!

(He laughs.)

MICAH: When did you get so good?

JESSICA: I'm unemployed. What do you think I do all day when you're at school?

MICAH: Wow.

(The game ends. Jessica offers the remote to Micah.)

JESSICA: One more?

MICAH: I can't. I'm gonna be late for the bus.

JESSICA: So be late. You're not gonna learn anything at school that you don't already know.

(Jessica hugs Micah.)

MICAH: Love you.

(Micah leaves. The door slams shut behind him. Jessica walks over to the full-length mirror on the back of the door.)

JESSICA: You know, you have to admit it, Niki. I do a better you than you.

(Niki turns and looks to her side. The bedroom door opens.)

DL: Did you think I wouldn't find out?

JESSICA: About what?

(DL walks over to her and shows her NATHAN PETRELLI’S photo.)

JESSICA: Where'd you get that?

DL: It was on my pillow.

(Jessica takes the photo from him.)

JESSICA: Well, I didn't put it there. Were you digging through my stuff?

DL: Don't turn this around on me, Niki. You said no more secrets. Now I find out you're going to Linderman's casino. For what? What's he got you doing with this guy?

JESSICA: It's nothing. Linderman called, and he asked me to be a dealer. That's it.

DL: You know you're not talking about just dealing cards here.

JESSICA: That's all this is. Baby, trust me. I promise you I won't do anything that I don't want to. All right?

(Jessica kisses her finger and presses her fingertip against DL’s lip. They kiss. DL smiles at her, turns and leaves the room.)

(Jessica looks at Niki in the mirror’s reflection.)

JESSICA: You left that for him, didn't you? (Niki gives her a pointed look.) Cute.

(Jessica reaches into her bag and puts the cartridge in her gun. She snaps it into place.)

CUT TO:



[INT. (NEW YORK) MOHINDER’S APARTMENT – DAY]

(Sylar regains consciousness. Mohinder has Sylar restrained to the chair and hooked up to an IV.)

SYLAR: I can't feel my fingers.

MOHINDER: It's the curare. It induces paralysis of the brain. Which means you can't control your abilities.

SYLAR: Whoever you think I am, I'm not.

MOHINDER: You are the man who murdered my father. Do you still expect me to believe you're Zane Taylor?

(Mohinder turns the laptop to show Sylar the article on the Internet: YOUNG MUSICIAN FOUND SLAIN.)

MOHINDER: Zane was killed three days ago--the same day I met you. And you thought you were so clever giving me his DNA.

(Mohinder takes out a tuning fork.)

MOHINDER: You're a parasite. You killed my father and fed off his work.

(Mohinder hits the tuning fork against the table and holds it up to Sylar’s ear.)

SYLAR: Aaaaaah!

MOHIDNER: Let me hear you say it. Tell me your name!

(Sylar groans from the pain.)

MOHINDER: Say it! I want to hear you say it!

SYLAR: Sylar!

(Mohinder tucks the tuning fork back into his shirt pocket. He gets up and takes a gun out of his desk.)

MOHINDER: There's only one thing to do with a parasite. Kill it before it kills again.

SYLAR: You're just like your father -- murderers, the both of you.

MOHIDNER: I'm a scientist.

SYLAR: (chuckles) Your father said that, but he kept leading me to them.

MOHINDER: He had no idea what you were.

SYLAR: He knew. He might not have admitted it, but after all, we were making so much progress together, why would he stop?

MOHINDER: (shouts) You know nothing about my father!

(Mohinder points and cocks the gun at Sylar.)

SYLAR: I know everything. He confided in me. He told me things he felt he could never tell you. Things about your sister ... Shanti. He thought you were too -- what's the word -- fragile to know the truth.

(Mohinder puts the barrel of the gun against Sylar’s forehead.)

SYLAR: That's why he liked me. You were always seeking his approval, while I provided stimulation. He gave up on you, but he adored me. Now who's the real parasite here?!

(Mohinder stops and lowers the gun.)

MOHINDER: You're right. My father did want answers. He called you Patient Zero.

(Mohinder puts the gun down and opens a tin box.)

MOHINDER: You're the template he used to create this formula. You're the key to unlocking his secret.

(Mohinder takes out a large bore syringe and walks behind Sylar.)

MOHINDER: As much as I'd like to, killing you will not give me what I need.

(He uncaps the needle and tucks the cap in his shirt pocket.)

SYLAR: So what are you gonna do?

MOHINDER: I'm going to take a sample of your spinal fluid.

(He leans in close and whispers in his ear.)

MOHINDER: And it's going to hurt. (Mohinder straightens.) You might actually do some good before you die.

(Mohinder pushes Sylar’s head forward and sinks the needle into the back of his neck.)

(Sylar screams.)

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[INT. (LAS VEGAS) CASINO – LINDERMAN’S MUSEUM -- DAY]

(The elevator bell dings and the doors open. Hiro is in the museum. With a huge smile on his face, he walks down the center of the large room.)

(Isaac’s paintings are on display near the end – the New York explosion, Peter Petrelli flying, and others. Hiro makes his way to the man sitting at the desk at the end of the room examining ancient pieces of text.)

(Hiro removes the painting tube from his back and puts it down. The curator stops him from putting the tube on the document fragments.)

CURATOR: There are so few Dead Sea fragments left in the world. It would be a pity if you crushed this one.

HIRO: So many things.

CURATOR: You brought the new Mendez?

(Hiro offers the tube to the curator.)

HIRO: This one is very special.

(The curator takes the painting out and opens it.)

CURATOR: This painting is ripped ... and repaired with Scotch tape.

HIRO: Yes, very special.

CURATOR: Is there something else?

HIRO: I need receipt-o for delivery.

(The curator turns his back on Hiro and goes into the back room with the painting. As soon as the door closes, Hiro runs to the computer and types: SWORD, KENSEI. The computer runs through a search and finds the sword.)

(The drawer opens. Hiro turns and smiles.)

HIRO: (subtitled) I found you.

(Hiro runs over, pushes the steps to the drawer cabinet where the sword is held, climbs up the steps and reaches for the sword.)

CURATOR: There are 754 members of the security team in this hotel.

(Hiro turns around and looks at the curator.)

CURATOR: All of them with the instructions to drop what they're doing, and come running if I push this button.

(He holds up a panic button ... and pushes it. Security beeps. The room goes into LOCKDOWN MODE – the elevator doors slam shut and doors close.)

(Hiro turns around and slowly comes down the step ladder.)

OVERHEAD SPEAKER: Security code orange activated.

CURATOR: That sword you thought you'd steal, do you even realize who it belonged to?

HIRO: Takezo Kensei. He was a hero.

(The curator turns Hiro around and starts patting him down. The door buzzer sounds and a security guard enters.)

ANDO: (o.s.) Security, sir.

CURATOR: This man tried to steal from Mr. Linderman.

(The security guard hits the curator on the back of his head and knocks him out. He hits the floor with a thud.)

(It’s Ando! Hiro turns around and smiles with surprise.)

ANDO: Ah. Hiro.

HIRO: Ando-kun! (subtitled) How did you –

ANDO: (subtitled) I knew you’d set off an alarm eventually.

(Ando winks at his friend.)

ANDO: (subtitled) I’ve been following you.

(Hiro hugs Ando. They hear the other guards just outside the doors.)

HIRO: (subtitled) What about the other 753 members of security?

(Hiro and Ando push the heavy curator’s desk against the main double doors and secure it there.)

CUT TO:



[INT. (LAS VEGAS) HOTEL & CASINO – DAY]

(Nathan is going up the escalator. He looks nervous. After a moment, he speaks into his lapel pin.)

NATHAN: The big guy says Linderman's gonna be, uh, asking for me in about an hour.

INTERCUT WITH:

[INT. HOTEL ROOM – DAY]

(Agents Quesada and Alonzo are in the room listening to Nathan on the computer surveillance system.)

NATHAN: (from speaker) I'm not in the mood for craps, so I'm gonna go straight to my room.

AGENT QUESADA: I guess it's hard to look natural when you're going after the whale.

AGENT ALONZO: Maybe he'll chat up a few more Japanese tourists. Where the hell is that pizza?

(The door opens and Jessica steps in. She raises her gun at them.)

JESSICA: Hi.

(Agent Quesada has his hand on his gun, but it’s still in his holster.)

JESSICA: Hi, Agent Alonzo. Quesada. Mr. Linderman sends his regards ... (Both men stand up.) ... and a suggestion. Don't run surveillance on a man from inside his own hotel. It's really tacky. Kick over your guns.

(The two agents drop their guns down on the ground.)

JESSICA: Down.

(The two agents kneel.)

JESSICA: It's so much easier working with professionals.

(She fires twice.)

DISSOLVE TO WHITE:



[INT. (NEW YORK) MOHINDER’S APARTMENT -- DAY]

(Mohinder looks at the results on the laptop. On the desk next to him are the syringe and a dish.)

MOHINDER: I finally found it. That's it; these four simple genes, they answer everything. Now, I -- I can make a new list. I can find them, save them.

(Sylar is still bound to his chair across the room.)

SYLAR: (quietly) And what about me? Don't I deserve to be saved? Aren't I just ... a victim too? I didn't ask for this.

MOHINDER: And what would you have me do?

SYLAR: Help find a way. Give me salvation. (growls) Give me that damn list so I can sink my teeth in!

(Mohinder stands up and walks around the desk toward Sylar.)

SYLAR: I'm a natural progression of the species. Evolution is a part of nature, and nature kills. Simple, right?

MOHINDER: What you've done is not evolution, it's murder. What I am doing is revenge. Now I can fulfill my duty as a son.

(Mohinder raises the gun at Sylar. Sylar closes his eyes and concentrates. Mohinder fires. Sylar jerks upon impact. The empty shell casing clinks on the floor.)

(Mohinder puts the gun down and stares. The bullet has stopped mid-air about a foot away from Sylar’s face.)

(The bullet clinks to the floor.)

SYLAR: I wasn't begging for my life. I was offering you yours.

(The binds around Sylar’s wrists snap off. Sylar stands up.)

SYLAR: You are your father's son. So determined, you didn't even notice I stopped the IV.

(Sylar looks at the IV tubing and telekinetically moves the valve on and off.)

SYLAR: But don't worry, you might actually do some good before you die. Starting with that list.

(Sylar walks toward Mohinder.)

FADE OUT.

(COMMERCIAL SET)



FADE IN:

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

(Isaac flips through his sketchbook. He looks at the sketch of Peter and Simone kissing under the red umbrella. He drops the book and overturns the carts of paint supplies to dig out a box. He opens the box and inside is his drug paraphernalia.)

VARIOUS DISSOLVES OF: PAINTINGS

(The used syringe falls to the floor.)

(Isaac is kneeling on the floor on the mural of New York exploding. He looks at the mural and lifts his head to the ceiling – his eyes are white.)

(Isaac starts to paint.)

VARIOUS VIEW OF: FOUR PAINTINGS
* ISAAC screaming, his eyes wide open and head cut open.
* ISAAC in a pool of blood, the top of his head feet away from his body and brain missing.
* Another view of ISAAC dead with his head cut open. A gun is on the floor nearby.
* ISAAC dead in his loft.

(Isaac steps back and his eyes clear. He looks at the paintings of his death.)

CUT TO:



[INT. (LAS VEGAS) NATHAN’S HOTEL ROOM -- DAY]

(Nathan speaks to his lapel pin.)

NATHAN: I'm back in my room. I'll be on the floor in an hour.

(He turns the corner and stops. In the mirror’s reflection, we see Niki stand up. She pushes Nathan back against the wall and searches him. She pulls off the wire.)

(Nathan raises his hands.)

NIKI: Wearing this could get a person killed.

(She tosses it aside and puts the gun in Nathan’s chest.)

NATHAN: Okay, it's all right. Easy.

NIKI: Listen to me. I don't know how much time we have before she comes back.

NATHAN: Who?

NIKI: Jessica. The woman that they sent after you.

(Nathan charges Niki and pushes her back on the bed.)

NATHAN: You picked the wrong day to screw with me.

NIKI: Linderman knows about the wire, and the FBI --

NATHAN: You know the FBI can hear everything we're saying.

NIKI: No, they can't -- they're dead. Linderman knows that you turned on him.

NATHAN: Did you come here to kill me ... or warn me?

NIKI: Just trust me.

CUT TO:



[INT. (ODESSA) HOTEL ROOM -- DAY]

(Mr. Bennet tosses his suitcase on the bed.)

"SANDRA": (o.s.) Well, you're back early. Hey, good news. I convinced the hotel to let us keep Mr. Muggles in the room.

("Sandra" is in the bathroom brushing her hair.)

MR. BENNET: That is good news.

(He turns the shower on and hugs "Sandra.")

"SANDRA": I've been going out of my head thinking everybody's watching me, waiting for me to make a mistake. Did you find her?

MR. BENNET: No, I can't do that. If I know where she is, they can extract it from me. But I need you to be strong a little while longer. We both have to pretend that we have no idea what happened so Claire will be safe.

"SANDRA": But the company --

MR. BENNET: Has to be stopped. For good. That's the only way to make sure that Claire will stay safe.

(He kisses her.)

MR. BENNET: I didn't know that I could talk to you like this. I always just thought that you'd be so furious at me for all the lies and deceit.

"SANDRA": Right now, we just have to take care of Claire. We'll talk about us later.

(The phone rings.)

"SANDRA": Must be the kennel.

(She leaves him to answer the phone. Mr. Bennet leans against the sink and sighs with relief.)

"SANDRA": (to phone) Hello. Yes, it is.

("Sandra" walks to the bathroom doorway and looks at Mr. Bennet.)

"SANDRA": Yes, he is going to be a problem. Why don't we do it right now?

(She motions for him to wait one second. Thompson and several men step up behind her. Mr. Bennet looks at her with alarm.)


("Sandra" and the room warps back into CANDACE.)

(She closes the cell phone.)

CANDACE WILLMER: Sorry.

(We hold on Mr. Bennet.)

CUT TO:



[INT. (LAS VEGAS) HOTEL & CASINO -- LINDERMAN’S MUSEUM -- DAY]

(Hiro takes the sword from the drawer. He looks at it and opens it. He holds it up and shouts.)

HIRO: YATTA !! (subtitled) I did it!

(BANG! The guards outside the door try to get it open. Hiro hurries down the steps and meets up with Ando.)

ANDO: (subtitled) Don’t worry about me – you must go! You have the sword. You can teleport out of here.

HIRO: (subtitled) No.

(He turns and looks at the door. The guards continue to push the doors open.)

HIRO: (subtitled) Come, we both go.

ANDO: (subtitled) Both?

(The doors are almost open. Hiro puts his hands on Ando’s shoulders. He closes his eyes and concentrates. Ando looks at Hiro and closes his eyes as he concentrates as well.)

(The guards push the doors open.)

(Hiro and Ando vanish.)

DISSOLVE TO WHITE:



FADE IN:

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

(Hiro and Ando have transported out of the museum. Hiro looks around. The rooftop is in complete shambles. Ando can’t believe what he’s seeing.)

HIRO: (subtitled) Oh, no.

(They both step out onto the rooftop balcony and look out at the city around them.)

HIRO: (subtitled) This looks like ...

ANDO: (subtitled) What happened?

HIRO: (subtitled) It’s the future.

(The buildings all around them are destroyed.)

HIRO: (subtitled) The bomb. We didn’t stop it. I failed.

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[INT. (NEW YORK) HALLWAY OUTSIDE PETRELLI RESIDENCE -- DAY]

(Claire stands in front of a closed door. She checks her slip of paper and knocks on the door. The door opens.)

REVERSE VIEW:

(Claire looks at her piece of paper.)

CLAIRE: I'm sorry, I hope I have the right address. I'm looking for a Peter Petrelli.

ANGELA PETRELLI: You picked a terrible time to do that. Peter's not here just now. You may as well come inside, Claire.

(She steps aside and Claire enters the apartment.)

ANGELA PETRELLI: (in French)

(She slams the door and glances behind her. The Haitian steps out into view.)

ANGELA PETRELLI: (in French)

THE HAITIAN: (in French)

(Angela turns back and looks at Claire.)

CLAIRE: Who are you?

ANGELA PETRELLI: I'm your grandmother. And I've been trying to protect you, but you haven't made that very easy. Quite stubborn, aren't you? Just like your father.

CUT TO:



[INT. (LAS VEGAS) NATHAN’S HOTEL ROOM -- DAY]

(Nathan and Niki talk.)

NIKI: Linderman hired her to kill the FBI and keep you in line.

NATHAN: Who?

NIKI: Let's just say I owe her. He's gonna offer you a deal. If you go in there, you have to take it.

NATHAN: Spend the rest of my life with his boot on my neck? No, thank you.

NIKI: Then run. Get your family, and run. You said that you had kids. Two boys?

NATHAN: I can't do that.

NIKI: You don't have any other option.

NATHAN: Yeah, I do. I could kill him.

(Niki holds the gun lightly in her hand.)

NIKI: Then knock me out.

NATHAN: Why?

NIKI: So that Jessica knows she's not in control anymore.

NATHAN: Who is Jessica?

NIKI: You want this gun? Do it.

(He punches Niki in the face and knocks her out.)

CUT TO:



[INT. HOTEL ELEVATOR – DAY]

(Nathan follows the security guard into the elevator. He reaches for the button on the panel and the security guard brushes his hand away.)

LINDERMAN’S GUARD: Not up there.

(The elevator doors close.)

LINDERMAN’S GUARD: Mr. Linderman won't be meeting you in his office.

(The elevators go down.)

CUT TO:



[INT. HOTEL KITCHENS – DAY – CONTINUOUS]

(Nathan follows the security guard through the kitchens. He leads Nathan to where the cooks and stoves are. Mr. Linderman is at the counter chopping vegetables.)

(Nathan walks up to the silver-haired man.)

NATHAN: Mr. Linderman.

(Mr. Linderman puts the knife down and looks at Nathan.)

MR. LINDERMAN: Do you enjoy vegetables, Mr. Petrelli?

(The security guard and cooks leave the two men alone in the area.)

NATHAN: I've been known to eat zucchini when the mood strikes, but not as a rule. You know, you can probably hire someone to do that for you.

MR. LINDERMAN: Oh, yeah? I like to cook -- it's my meditation. One aims for perfection in one's life, but one doesn't find it very often. For me, this is about as close as it gets.

(He chuckles and holds up the small dish.)

MR. LINDERMAN: Voila! A pot pie. Wholesome, warm, healthy. That's, of course if you can live without the cream sauce. Personally, I can't. I mean, what's the point?

(He puts the pan in the oven, his back to Nathan. Nathan glances around them and realizes that they’re alone.)

 

MR. LINDERMAN: You know, people can sleep, or they can gamble. Or they can even make love when they're miserable.

(He closes the oven door.)

MR. LINDERMAN: But I think that most people eat when they're happy. I like to see people happy. Are you happy, Nathan?

NATHAN: Not especially. I guess I have a few issues that plague me.

MR. LINDERMAN: Oh, dear, I'm sorry to hear that. You see, I think there comes a time when a man has to ask himself whether he wants a life of happiness or a life of meaning.

NATHAN: I'd like to have both.

(Linderman chuckles and shakes his head.)

MR. LINDERMAN: It can't be done. Two very different paths. I mean, to be truly happy a man must live absolutely in the present, and with no thought of what's gone before, and no thought of what lies ahead. But a life of meaning, a man is condemned to wallow in the past, and obsess about the future. My guess is that you've done quite a bit of obsessing about yours these last few days.

(Nathan takes the gun out of his pocket.)

MR. LINDERMAN: Mm. Now you can't have any of my pot pie. I won't hold it against you. Lots of men have tried to kill me.

(Nathan cocks the weapon and points it at Linderman.)

NATHAN: Then I'll be the last.

MR. LINDERMAN: Of course, you can pull that trigger, Nathan. You'd be taking both of our lives. You'll be dead within moments. Or I could offer you something.

NATHAN: I'm not interested in anything you have to offer me.

MR. LINDERMAN: I think you are. I think there are things you need to hear. Things that I know about.

NATHAN: Too late for that.

MR. LINDERMAN: That you can fly, for instance? Or about your brother Peter. Hmm? And his small problem. Your daughter, even. And all those others out there like you.

(Linderman walks toward Nathan. Nathan backs away from him.)

MR. LINDERMAN: I can offer you more than just information, Nathan. You're gonna win your election. I'll see to that. And two years from now, through a series of fluke circumstances, you will find yourself in the White House. A heartbeat away from the presidency. A life of meaning, Nathan. Think about it. The choice is yours.

(Linderman turns his back to Nathan and goes back to chopping his vegetables. Nathan raises the gun, then lowers it completely back down to his side.)

CUT TO:



[INT. (NEW YORK) MOHINDER’S APARTMENT -- NIGHT]

(It’s completely dark inside the apartment. The IV stand is down on the ground. Someone knocks insistently on the front door.)


PETER: (through door) Suresh?

(The door opens, pushing the overturned chair out of the way. Peter steps into the dark apartment.)

PETER: Suresh?

(He looks around.)

PETER: It's Peter Petrelli.

(There’s no answer. He looks around.)

PETER: Mohinder?

(He continues looking around the apartment and walks near the wall map. Something hits him on his head and he scratches his head absently.)

(He looks at his fingers and more blood drops on his face, hitting him over his eye. He rubs it away with the back of his hand and looks up.)

(Mohinder is bleeding and pinned to the ceiling.)

MOHINDER: (whispers) Sylar.

(Peter looks around. He turns around and comes face to face with Sylar.)

SYLAR: I remember you.

(He telekinetically pushes Peter up against the wall, pinning him there. He grabs Peter’s chin and looks at him.)

SYLAR: You're like me, aren't you?

(He turns Peter’s head this way and that as he looks him over.)

SYLAR: I'd like to see how that works.

(He brings up his finger and starts slicing Peter’s forehead.)

(Peter screams. Blood drips down into his eyes. Blood drips to the floor.)

(A lock of Peter’s hair falls to the floor.)

FADE TO BLACK.



TO BE CONTINUED ...

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