206 fans | Vote

Heroes
#123 : La bombe humaine

"/

De nombreux personnages principaux vont débarquer et disparaitre dans ce season final plein de surprises. Les prédictions d'Isaac montreront leur véracité, tandis que nos Heroes affirmeront leur héroïsme et feront face à des moments de terribles douleur au Kirby Plaza.

*** Captures ***

Popularité


5 - 2 votes

Titre VO
How To Stop An Exploding Man

Titre VF
La bombe humaine

Première diffusion
21.05.2007

Première diffusion en France
01.09.2007

Vidéos

H0W T0 ST0P AN EXPL0DiNG MAN

H0W T0 ST0P AN EXPL0DiNG MAN

  

Plus de détails

Réalisé par: Allan Arkush
Ecrit par:
Tim Kring

Created by: TIM KRING

Starring:
JACK COLEMAN as Mr. (Noah) Bennet (HRG)
NOAH GRAY-CABEY as Micah Sanders
TAWNY CYPRESS as Simone Deveaux

GREG GRUNBERG as Matt Parkman
ALI LARTER as Niki Sanders
MASI OKA as Hiro Nakamura 

HAYDEN PANETTIERE as Claire Bennet 
ADRIAN PASDAR as Nathan Petrelli
SENDHIL RAMAMURTHY as Mohinder Suresh
LEONARD ROBERTS as DL Hawkins
MILO VENTIMIGLIA as Peter Petrelli

Guest Starring:
ZACHARY QUINTO as Sylar (Gabriel Gray)
JAMES KYSON LEE as Ando Masahashi
CHRISTINE ROSE as Angela Petrelli

MISSY PEREGRYM as Candice Willmer

with
GEORGE TAKEI as Kaito Nakamura

and
RICHARD ROUNDTREE as Charles Deveaux

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: JESSE ALEXANDER
Co-Executive Producer: GREG BEEMAN

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

Written by: TIM KRING
Directed by: ALLAN ARKUSH

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

nbc.com

* Tailwind Productions
* NBC Universal Television Studio

Co-Starring:
ADAIR TISHLER as Molly Walker

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: JOHN ARONSON
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: DIANE CALHOUN

Costume Designer: DEBRA McGUIRE
Art Director: MATTHEW JACOBS / TOM TAYLOR
Set Decorator: DENA ALLEN
Property Master: ROSS ANDERSON
"A" Camera Operator: PETER MERCURIO
"B" Camera Operator: LOREN YACONELLI

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

Production Sound Mixer: KENN FULLER
Boom Operator: TOM PAYNE
Cable: JAYA JAYARACA
Special Makeup Effects: GLENN HETRICK / BRYAN BLAIR / RICHARD MAYBERRY

Artistic Consultant: TIM SALE
Sylar’s Artwork by: ALEX MALEEV
Construction Coordinator: DAVE DEGAETANO
Supervising Location Manager: ALEX REID
Location Manager: TERRY GUSTO / STEVE HASSON

Production Supervisor: BRENDA J. FULOS
Production Coordinator: PEARL LUCERO
Production Secretary: DANA JENKINS
Production Secretary: KELLY SULLIVAN
Production Accountant: DIANA AUSTIN
Script Coordinator: OLIVER CRIGSBY?

Stunt Coordinator: IAN QUINN
"A" Camera 1st Assistant: GREG MORRIS
"B" Camera 1st Assistant: SHAREEN SALEM
Script Supervisor: ROBIN ANDERSON
Special Effects Supervisor: GARY D’AMICO
Video Playback Supervisor: MARK MARCUM

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

Sound Supervisor: STEPHEN GRUBBS
Re-Recording Mixers: GERRY LENTZ / RICH WEINGART
Music Engineer /Mixer: MICHAEL PERFITT
Visual Effects Supervisor: MARK KOLPACK
Visual Effects Producer: MARK SPATNY

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

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

(c) 2007 NBC Studios. All Rights Reserved.

L’épisode commence lorsque Linderman tire sur DL et DL tue Linderman. La sécurité de l’immeuble tente d’entrer dans la pièce. Niki aide son mari à se remettre debout, et ils s’enfuient en traversant le mur. Les hommes de la sécurité découvrent le cadavre de Linderman.

Thompson à repérer Matt et Bennet, puis il se fait tuer. On voit Mohinder qui assomme Matt, et Bennet qui vise Molly, pendant que Mohinder pointe son arme sur Bennet. Il lui dit qu’il est près à tuer une fillette pour sauver la vie de sa fille. Pendant ce temps, Molly s’aperçoit que l’homme qui s’est fait assommé est son héro, celui qui la sauvée de Sylar. Mohinder est surprit que la fillette connaisse Matt, et Bennet et Mohinder finissent par baisser leurs armes.

Hiro part à la suite de Ando, qui est parti chez Sylar. Une mort certaine l’attend, mais Mr Nakamura dit à son fils qu’il ne doit pas oublier qu’il a une mission. Mais Hiro ne veut pas abandonner son ami, et son père le laisse partir.

Dans le loft de Isaac, Sylar a des visions du futur, et il commence à peindre. Il se voit avec Peter au Kirby Plaza.

Nathan est à son bureau, quand sa mère vient le retrouver. Sa famille est partie loin de New York, et un hélicoptère va venir les chercher. Elle lui apprend que Linderman a été assassiné dans son bureau. Elle ajoute que c’est une tragédie pour eux, mais qu’ils ne doivent pas changer leurs plans.

DL et Niki s’enfuient dans les étages, pour aller chercher leur fils, mais DL souffre de trop. Elle le laisse derrière elle, et part trouver Micah.

Mohinder et Bennet traînent le corps de Thompson jusque dans une poubelle. Ils sont toujours entrain de se disputer, alors Mr Bennet tente de lui expliquer qu’avant, la compagnie avait des valeurs, mais maintenant elle est corrompue, et que pour cette raison, il doit la détruire. De ce fait, il pourra protéger sa famille. Mohinder lui avoue à son tour que Molly est très importante pour lui, car ce sont ses anticorps qui l’ont sauvé. Il se sent responsable pour sa vie. Mais à ce moment, Matt vient les rejoindre pour leur dire qu’il y a quelque chose qui ne va pas avec la fillette. Bennet reçoit un appel de Claire. Elle lui apprend la mort de Ted. Il demande à parler avec Peter, et il lui dit qu’il est sûrement le seul à pouvoir arrêter Sylar maintenant qu’il a le pouvoir de Ted. Mais Peter ne sait pas comment le trouver. Bennet regarde alors Molly, et il ajoute qu’il a un système de pistage, qu’ils tentent de réparer, et qu’une fois fait, ils pourront débusquer Sylar de sa cachette. Bennet lui demande une dernière chose, de veiller sur Claire.

Claire et Peter entrent dans un parking souterrain. Peter se gare juste devant son frère, qui les attendait. Claire se met en colère contre Peter, car il lui avait promis qu’il ne l’appellerait pas. Peter réplique qu’ils ont besoin de lui, d’une part parce qu’ils n’y arriveront pas seuls, et d’autre part parce qu’il a peur de la suite des évènements, et il a besoin de son frère à ses cotés. Mais ça ne suffit pas à calmer Claire, qui, même si elle ne parle pas, elle continue de penser que Peter la trahis. Il entend ses pensées, mais sort quand même de la voiture pour parler à Nathan. Il annonce à son frère qu’il n’est pas la bombe, que c’est en fait Sylar, car il a tué Ted et prit son pouvoir. Nathan lui dit qu’ils ne doivent pas mêler Claire à cette histoire car c’est trop dangereux, mais Peter n’est pas de son avis. Pendant qu’ils discutent, Claire en profite pour s’échapper sans faire de bruit. Peter écoute alors les pensées de son frère, dont le plan est de laisser la ville exploser, et il comprend que Claire avait raison de ne pas vouloir lui faire confiance. Alors qu’elle tente de s’enfuir, Claire tombe nez à nez avec Angela Petrelli. Peter s’aperçoit qu’elle n’est plus dans la voiture, et il part à sa recherche. Nathan ne peut pas le suivre, car il se rend invisible. Il réapparaît dans la rue, mais il n’y a plus aucunes traces de la jeune fille. Il commence à céder à la panique, et il devient radioactif. Il finit par s’effondrer au milieu de la route, inconscient.

Molly est toujours malade, et Bennet a besoin qu’elle se réveille pour localiser Sylar. La fillette l’entend et elle lui dit qu’elle peut le faire, même si elle est très faible. Matt est étonné qu’elle puisse trouver n’importe qui dans le monde rien qu’en pensant à eux, et elle lui dit alors qu’il y a une personne pour qui ça ne marche pas. Elle leur avoue qu’il y a un homme auquel elle ne peut pas penser, parce que sinon, il peut la voir en retour. Elle ajoute qu’il est bien pire que Sylar. Elle semble terrifiée par cet homme. Bennet lui demande de se concentrer sur Sylar. Elle pointe la route Reed Street, à New York. Bennet reconnaît l’adresse du loft d’Isaac. Il appelle Peter, sur le téléphone de Claire.

Claire marche entre sa grand-mère et Nathan dans le parking souterrain quand son téléphone sonne. Angela le lui prend et répond à sa place. Bennet veut savoir où ils emmènent sa fille, et Angela répond qu’ils vont partir le plus loin possible pour être en sécurité, et qu’il doit faire de même. Elle ajoute que Claire n’est pas vraiment sa fille, qu’ils lui avaient confié sa garde juste pour la protéger, et qu’il n’a même pas réussi à faire ceci correctement. Puis elle lui repasse Claire, pour qu’il lui dise au revoir. Il essaye de la convaincre de partir avec les Petrelli, puis il raccroche.

Maintenant qu’ils savent où se trouve Sylar, Matt pense qu’il n’y a pas une minute à perdre. Mais Bennet lui dit qu’ils n’ont pas une seule chance de l’arrêter si Peter ne les aide pas.

Peter se réveille enfin, dans la serre sur le toit de l’immeuble Deveaux. Il se voit entrain de pousser le fauteuil roulant de Charles Deveaux. Angela est avec eux. Le Peter du passé les laisse discuter tous les deux, et c’est à ce moment qu’il rencontre Simone pour la première fois. Peter revit ce moment, lorsqu’il a aidé Simone à accepter la mort prochaine de son père. Puis ils s’en vont, et Peter écoute la conversation entre sa mère et Charles. Ils sont entrain de parler de la destinée des deux frères. Linderman a préféré croire en Nathan, alors que Charles pense que Peter est capable d’accomplir de grandes choses. Angela réplique alors que Peter est trop faible, et quand la bombe explosera, le monde se tournera vers Nathan et non pas vers Peter. Charles est comme Peter, il ne pense pas que l’explosion de la bombe soit une nécessité. Il ajoute qu’il ne sera plus là de toute façon pour savoir lequel entre eux deux aura raison. Angela lui dit au revoir, et elle part. Charles s’adresse alors à Peter, qui est surprit (car il n’est pas vraiment réel)

Ando entre dans le loft d’Isaac, son katana à la main. Il avance prudemment, et découvre les tableaux que Sylar a peints. Il met alors le pied dans une marre de sang, et se rend compte que Sylar est juste derrière lui. Il se retourne, mais n’est pas assez rapide pour blesser son adversaire, qui le désarme facilement. Grâce à son pouvoir, Sylar l’immobilise contre le mur. La BD du futur tombe alors de la poche d’Ando. Sylar voit qu’Isaac a prédit sa mort de la main de Hiro, et ça le fait rire. Il demande alors à Ando où se trouve Peter Petrelli, et il commence à lui découper le front. Hiro apparaît derrière lui et il lui ordonne de laisser partir son ami. Sylar refuse, et il menace de décapiter Ando. Hiro baisse son arme et disparaît. Sylar est surprit, et il n’a pas le temps de réagir lorsque Hiro réapparaît au coté de Ando. Ils disparaissent tous les deux.

Niki cherche toujours Micah. Elle entre dans un appartement, et elle se voit, assise sur le divan, alors que Micah est allongé sur le sol, inconscient. Niki ne comprend pas comment Jessica a pu se retrouver devant elle. Cette dernière lui donne un coup dans la tête.

Matt s’approche de l’appartement d’Isaac. Il n’y a plus personne. Il regarde alors le tableau représentant Peter et Sylar au Kirby Plaza, et il s’en va.

Mohinder prépare des médicaments pour partir avec Molly, car Matt vient de l’appeler pour lui dire que Sylar arrivait. Mais Molly lui annonce, terrifiée, qu’il est déjà là.

Les Petrelli et Claire arrivent au bureau de Nathan, pour qu’il récupère des papiers. Un hélicoptère va venir les chercher pour les emmener loin de New York. Claire se met en colère car ils ne vont rien faire pour empêcher la bombe d’exploser. Angela lui dit qu’elle n’a pas encore assez de maturité pour comprendre ce qui se passe, et Claire répond qu’elle ne lui donne pas le bon exemple en laissant son fils mourir comme ça. Nathan lui dit que son frère ne va pas mourir, grâce à elle, car il a son pouvoir. Angela ajoute qu’ils vont lui donner tout ce qu’elle a toujours voulu, un foyer, une famille. Claire ne dit rien dans un premier temps, et se serre dans les bras de Nathan, puis elle leur dit qu’elle a déjà une famille. Elle repousse alors son père, et saute à travers la fenêtre. Après une chute de plusieurs étages, Angela et Nathan la regarde se relever et partir en courant. Nathan a envie de partir la rattraper, mais sa mère lui ordonne de la laisser partir.

Jessica continue de frapper Niki, et elle s’écrase contre un miroir, répandant des morceaux de verre autour d’elle. Niki voit alors dans l’un d’entre eux Jessica, qui lui dit que ce n’est pas contre elle qu’elle se bat. Jessica ajoute qu’elle doit arrêter cette femme, et trouver Micah. Niki se relève alors, et elle frappe son sosie, avec une force surhumaine. Ce n’est pas Jessica qui possédait cette force depuis le début, mais bel et bien Niki. L’autre femme tombe inconsciente sur le sol, et on voit alors apparaître Candice. L’image de Micah allongé par terre s’efface, et Niki trouve son fils enfermé dans un placard. Micah la regarde et lui demande si c’est vraiment elle. Elle se regarde dans un miroir, et elle voit son reflet. Jessica a disparu. Elle sert Micah dans ses bras.

Mohinder et Molly découvrent DL dans le couloir. Mohinder s’occupe de lui, pendant que Molly appelle un ascenseur. Mais elle a beau appuyé sur le bouton, l’ascenseur ne répond pas. Mohinder lui demande de faire le guet pour lui.

Hiro et Ando réapparaissent dans les bureaux de l’industrie Yamagato. Ando est content que son ami ait réussit à la sauver, mais Hiro lui dit qu’il va le laisser là, car c’est trop dangereux pour lui, et qu’il doit accomplir seul cette partie de son voyage. Ando lui dit qu’il est devenu le héro qu’il rêvait d’être, et Hiro lui donne son katana. Puis il repart à New York, avec le katana d’Ando.

Charles discute avec Peter, qui ne comprend toujours pas comment cela peut arriver. Mais Charles lui dit que cela n’a pas d’importance, l’important c’est qu’il ait entendu la vérité avant de sauver le monde. Peter est encore plus abasourdit car il ne se croit pas capable d’une telle chose. Mais Charles lui dit qu’il a ce pouvoir depuis le début, qu’il devait juste apprendre à s’en servir. Il ajoute qu’il doit y avoir quelqu’un pour faire le bien, et que cette personne est Peter car son cœur à la capacité d’aimer sans condition. Il lui répète ce qu’il lui avait dit avant de mourir, que tout ce qui compte à la fin, c’est l’amour. Puis Charles appelle le Peter du passé, et ils s’en vont. Peter entend quelqu’un l’appeler. Il sort de son rêve (ou quoique ce soit d’autre), et voit Mr Bennet à coté de lui. Il est toujours au milieu de la route. Bennet lui dit que Claire est en sécurité avec sa grand-mère, et Peter lui conseil de partir lui aussi. Mais Bennet refuse, en lui disant qu’il lui est redevable pour avoir sauvé la vie de Claire. Il lui montre qu’il a une arme, et que si les choses tournent mal, il n’hésitera pas à le tuer. Peter lui dit « Merci Mr Bennet », et il répond simplement, « appellez moi Noah ». (Mr Bennet a un prénom!)

Mohinder s’occupe toujours de DL quand Molly lui dit que les agents de sécurité s’approchent. Niki et Micah arrivent alors, et ils partent tous les cinq. Niki casse la poignée avec sa super force pour que les gardes ne puissent pas les suivre, et Micah fait venir l’ascenseur grâce à son pouvoir.

Peter et Noah arrivent au milieu de Kirby Plaza. Sylar surgit derrière Mr Bennet, et il le projette contre un mur grâce à son pouvoir. Puis il demande ironiquement à Peter ce qui l’a retardé. Les deux hommes sont face à face. Sylar commence à étrangler Peter (sans même le toucher). Matt arrive alors et il tire quatre fois sur Sylar, qui arrête les balles en plein air, avant de les envoyer sur Matt, qui s’effondre. Niki, DL, Mohinder, Micah et Molly sortent de l’immeuble. Mohinder se précipite vers Matt. Sylar s’empare d’une grosse barre de fer, et frappe Peter. Niki arrive derrière lui et lui arrache la barre des mains, puis elle le frappe. Micah l’appelle pour lui dire que DL a besoin d’aide. Peter se tourne vers Niki et lui dit de retourner avec sa famille. Puis il s’avance vers Sylar et le frappe. Ce dernier se met à rire. C’est alors que les mains de Peter redeviennent radioactives, et Sylar lui dit qu’en fin de compte, c’est Peter le méchant alors qu’il est le héro. Puis on voit apparaître Hiro, qui revient de Tokyo. Il plante son katana dans la poitrine de Sylar, qui utilise ces dernières forces pour l’envoyer contre un mur. Hiro empêche l’impacte en se téléportant à nouveau. Peter ne parvient pas à contrôler les radiations. Il s’effondre sur le sol. Tout le monde le regarde. Claire arrive en courant, elle prend l’arme des mains de son père (Mr Bennet) et elle s’avance vers Peter. Mais elle n’arrive pas à se résoudre à lui tirer dessus, malgré les encouragements de Peter. Nathan atterri alors juste devant elle. Elle baisse son arme, mais Peter ne veut pas faire de mal à son frère. Nathan réplique qu’il ne peut pas le laisser blesser une autre personne, et il se tourne vers Claire. La jeune fille est au bord des larmes. Nathan attrape alors son frère, et ils s’envolent ensemble. Tous les autres regardent vers le ciel, et on voit alors une énorme explosion. Mr Bennet prend sa fille dans ses bras.

La police et les secours sont arrivés au Kirby Plaza. Les urgentistes emmènent Matt, gravement blessé. Molly s’approche de lui, et lui demande de ne pas mourir.

Mr Bennet s’assoie à coté de Claire, et il lui dit qu’il est tant de rentrer chez eux. Claire lui rappelle que leur maison à brûler, mais il réplique que ça n’a pas d’importance, du moment que leur famille est réunie.

Là où se trouvait allongé Sylar, il ne reste plus qu’une traînée de sang, qui mène jusque dans un égout.

FIN DU VOLUME UN

DEBUT DU VOLUME DEUX: Generations

Hiro atterri dans une prairie. On entend un cheval. Il lève la tête, et se rend compte qu’il est entouré de soldats Japonais, du 17ème siècle. Ils pointent des arcs vers lui. Hiro commence à s’enfuir, mais un cavalier leur fait face. Ce mystérieux cavalier tient un drapeau sur lequel est dessiné Godsend, comme sur son épée. Ils se préparent tous au combat, et c’est alors qu’une éclipse commence.

FADE IN:

[EXT. SPACE]

(The earth rotates. The eclipse. A flash of light.)

ZOOM OUT:



[PETER PETRELLI]

MOHINDER: (v.o.) Where does it come from?



[CU: FILE FOLDER]

(The label reads: GENESIS.)

MOHINDER: (v.o.) This quest?

(Mohinder Suresh opens the file folder and sees lots of labeled folders inside.)

(Mohinder picks up a pair of glasses off the open book.)

(CUT TO: Mohinder fires the gun at Sylar.)

(Sylar flinches.)



VARIOUS DISSOLVES OF:

(Mohinder watches Molly Walker pick up a thumbtack and hold it over an open map as she uses her powers.)



MOHINDER: (v.o.) This need to solve life's mysteries when the simplest of questions can never be answered.

(VIDEO CAMERA VIEW: Claire Bennet falls off the abandoned tower as Zach videotapes her. She hits the ground hard.)

(Claire snaps her dislocated shoulder back into place.)

(Sylar wearing a baseball cap, his face cast in shadow.)

(Peter and Claire on the amphitheatre steps as they run away from Sylar.)

(Claire kneels near Peter after he’d fallen. Peter looks for Sylar.)

(Peter hands Claire the gun.)

(Claire looks at the gun.)

(Matt Parkman directs traffic outside the Walker residence.)

MOHINDER: (v.o.) Why are we here? What is the soul?

(Matt is strapped to the table in the Company’s secret medical offices as they test him.)

MOHINDER: (v.o.) Why do we dream?

(Matt and Janice Parkman laugh as they share the news of her pregnancy.)

DISSOLVE TO:



(Matt wakes up on the floor of a Company cell.)

(Matt and Mr. Bennet talk.)



(Office worker Hiro Nakamura stares intently at his desk clock. He concentrates.)

MOHINDER: (v.o.) Perhaps we'd be better off not looking at all.

(The second hand stops moving.)



(Hiro teleports himself to New York City.)

MOHINDER: (v.o.) Not delving, not yearning.

(He looks around with excitement and wonder. Suddenly, he raises his arms out wide.)

(NO AUDIO) HIRO: Yatta!



(Hiro finds the sword he’s been looking for. He opens it.)



(Hiro spars with his father.)

MOHINDER: (v.o.) But that's not human nature, not the human heart.

(Ando has the comic book and a sword as he starts off to find Sylar.)



MOHINDER: (v.o.) That is not why we are here.

(Peter looks up at the sky and closes his eyes.)

(With his arms outstretched, Peter raises his head up and –

-- gracefully falls off the side of the building.)

(Cut to: Claude wields an iron rod, bringing it down on Peter’s head. Peter stops the rod with a look.)

MOHINDER: (v.o.) Yet still we struggle to make a difference,

(From Peter’s Vision: Peter is exploding from too much power.)



(Peter is dead from Sylar’s attack in Mohinder’s apartment. Mohinder kneels next to Peter’s body.)

MOHINDER: (v.o.) -- to change the world, to dream of hope.



(Nathan is on the phone in his campaign headquarters.)

MOHINDER: (v.o.) Never knowing for certain who we will meet along the way.

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

(Nathan and Claire hug.)

(Linderman shows Nathan the mural of New York exploding as painted by Isaac.)

MOHINDER: (v.o.) Who among the world of strangers will hold our hand.

(Nathan wins the election and gives his acceptance speech.)

(In the mirror, Jessica shushes Niki.)

MOHINDER: (v.o.) Touch our hearts….

(Niki and Micah touch foreheads.)

DISSOLVE TO:



[EXT. KIRBY PLAZA BUILDING (STOCK) – DAY]

CAPTION:
KIRBY PLAZA BUILDING
NEW YORK CITY

MOHINDER: (v.o.) ... and share the pain of trying.



[INT. KRIBY PLAZA BUILDING – LINDERMAN’S OFFICE -- NIGHT

(Niki and DL hug as Linderman watches.)

LINDERMAN: (scoffs) You don't love him.

(Niki looks at Linderman.)

NIKI: Everything I've done, I did for them.

(Linderman takes out a gun.)

DL: No!

(DL steps in front of Niki. Linderman fires and hits DL in the chest. DL falls to the floor.)

(Linderman steps past DL and looks at Niki.)

LINDERMAN: You should've taken the money.

(Just then, DL sinks his hand into the back of Linderman’s head, grabbing his brain with his hand.)

(Linderman’s eyes go blank. He falls to the floor, leaving DL with his bloodied fist outstretched.)

(DL groans in pain and collapses to his knees.)

DL: Aah!

NIKI: Why did you take that bullet? You could've let it phase right through you.

(DL collapses in Jessica’s arms.)

NIKI: It's okay.

DL: Go.

(Someone pounds on the office door.)

NIKI: I'm not gonna leave you here.

GUARD: (through door) What’s going on!

DL: Forget about me. Save Micah.

(Niki looks around.)

NIKI: You can get us out of here. You can walk us through this wall.

DL: I don't know if I can.

(Niki helps DL to his feet.)

DL: Aah!

GUARD: (through door) Come on.

(Heavy thuds land against the closed door.)

(She helps DL against the wall. He puts out his hand and touches the wall.)

GUARD: (through door) Come on, open it up!

NIKI: (whispers) You can do this.

(They both look at the door. The heavy thuds against the closed door continue.)

(The door bursts open. Linderman’s guards with their guns out rush into the room.)

(They find Linderman on the floor.)

CUT TO:



[INT. KIRBY PLAZA BUILDING – MEDICAL OFFICES -- NIGHT]

CAPTION:
KIRBY BUILDING / MEDICAL OFFICES
NEW YORK CITY

(SECURITY MONITOR VIEW: Mr. Bennet and Matt are walking through the hallways.)

THOMPSON: Surveillance picked them up in the elevator.

(Thompson cocks his gun. Mohinder looks at the monitor.)

THOMPSON: Mm-mm.

MOHINDER: What does he want?

THOMPSON: Molly.

(Thompson turns to leave the room.)

CUT TO:



[INT. KIRBY PLAZA BUILDING – HALLWAY -- NIGHT]

(Matt is looking around the corner. Thompson comes up behind him and points his gun at Matt’s head.)

THOMPSON: What am I thinking now, Parkman?

(Mr. Bennet points his gun at Thompson’s head.)

MR. BENNET: Your last thought.

(He fires.)

(The body hits the floor with a thud.)

(Mr. Bennet and Matt continue through the hallway.)



[INT. KIRBY PLAZA BUILDING – MEDICAL OFFICES -- NIGHT]

(They reach Molly’s room. The curtains are closed. With his gun out, Mr. Bennet pulls the curtains apart. Molly is hiding on the other side of the bed.)

(With their attention on Molly, Mohinder hits Matt over the head with a fire extinguisher.)

MATT: Unh!

(Matt falls to the floor unconscious. Mohinder drops the fire extinguisher and pulls his gun out on Mr. Bennet.)

(Mr. Bennet turns around and points the gun at Mohinder.)

MOHINDER: Lower your gun.

(Molly backs up against the curtain. Mr. Bennet turns his gun on Molly.)

MR. BENNET: Shoot me and she dies. As long as she's alive, my daughter will never be safe. None of them will.

MOHINDER: You'll take the life of one little girl to save another?

MR. BENNET: If I have to. Taking her life would save thousands.

MOHINDER: And Thompson? Did you save thousands of lives by killing him?

(Mr. Bennet swings back and points the gun on Mohinder.)

MR. BENNET: No, just my own.

(Matt groans. Molly ducks back under the bed. Matt wakes up and looks at Molly. She recognizes him.)

MOLLY WALKER: Officer Parkman?

(Mr. Bennet turns and looks at them.)

MATT: Molly?

MOHINDER: You know this man?

MOLLY WALKER: I told you he was coming.

(Matt gets up and rubs the back of his head.)

MOLLY WALKER: (smiles) He promised to keep me safe.

MATT: That's right. (to Mr. Bennet) And nobody is gonna hurt you.

(Mr. Bennet puts his gun down.)

CUT TO:



[EXT. STREET -- NIGHT]

CAPTION:
JITTETSU ARMS
NEW YORK CITY

(Hiro runs out of the shop and onto the sidewalk. He looks down the street for Ando.)

(Mr. Nakamura steps out into the doorway. The door shuts behind him.)

(There’s no sign of Ando.)

HIRO: (subtitled) Ando must have thought I would give up. He took a sword and went after Sylar! Alone! He’ll die.

(Hiro looks out at the street.)

KAITO NAKAMURA: (subtitled) Yes. Probably. But that’s not your concern right now. You must remember your mission. The world is at stake.

(He whirls around and faces his father.)

HIRO: (subtitled) No, I must go after him. I will not abandon my friend!

KAITO NAKAMURA: (subtitled) Then you have already lost.

HIRO: (subtitled) My whole life you have looked at me with disappointment. I do not wish to lose you now. But I cannot let my friend die. Now when I have the power to stop it.

KAITO NAKAMURA: (subtitled) Don’t forget your legacy ... the wind at the back of history.

(Kaito presents the sword to Hiro. Hiro takes the sword and bows to his father.)

(Hiro closes his eyes –

-- and vanishes.)

(Kaito stands on the sidewalk. The fate of the world is in his son’s hands.)



[EPISODE TITLE]
CHAPTER TWENTY-THREE
"HOW TO STOP AN EXPLODING MAN"



[INT. ISAAC MENDEZ’S LOFT – NIGHT]

(Sylar dabs the paintbrush in the red paint on the pallet. He looks at the empty canvass in front of him.)

CAPTION:
ISAAC MENDEZ’S LOFT
NEW YORK CITY

(Sylar holds the paintbrush in his hand and opens his eyes. His pupils are white from his trance.)

QUICK ZOOM TO CU OF VARIOUS IMAGES FLASHING IN HIS EYE

(He stops on a final image of him and another man standing in KIRBY PLAZA in front of the red stair sculpture.)

(Sylar holds the brush out to the canvass. The images swirl, then appear on the blank canvass – Peter, the red stair sculpture, himself.)

(The images focus on the canvass. The trance ends. Sylar closes his eyes for a moment.)

(He turns and looks at the painting of the FLYING MAN.)

SYLAR: Peter Petrelli.

(He makes a violent, slashing motion with his hand and the painting cuts diagonally in two, the top piece clatters off the easel.)

(We hold on Sylar.)

CUT TO:



[TITLE CARD: HEROES]

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[INT. NATHAN’S OFFICE -- NIGHT]

CAPTION:
NATHAN PETRELLI’S OFFICE
NEW YORK CITY

(The television set is on and replaying Nathan’s victory speech from the night before.)

NATHAN: (from tv) I challenge everyone here tonight to inspire by example. To fight the battle, no matter the cost.

(Nathan pulls up the window blinds.)

NATHAN: (from tv) The world is sick, spinning out of control. But we can heal it.

(Angela appears behind him.)

NATHAN: Heidi and the boys should be landing in Nantucket any minute. Chopper's gonna meet us up on the roof in an hour. What is it, Ma?

ANGELA: It's Linderman. He's dead.

NATHAN: How?

ANGELA: Someone got to him in his office. He was murdered. This is a terrible tragedy, Nathan.

(She walks up to him and puts her hand on his back.)

NATHAN: Yes, it is.

ANGELA: But it doesn't change anything. The plan wasn't just his. You know that, Congressman.

(He turns around and looks at his mother.)

NATHAN: Yeah. After the explosion, the city is gonna need me, Ma. America's gonna need me. The world. This changes nothing.

(Angela holds his head with her hands and kisses his forehead.)

CUT TO:



[INT. KIRBY PLAZA BUILDING (STOCK) – NIGHT]



[INT. KIRBY PLAZA BUILDING – HALLWAY (FLOOR 42) -- NIGHT]

(Niki has her arm around DL as they cautiously make their way through the hallway.)

NIKI: Forty-two. Micah's on this floor.

DL: You go. I'm only gonna slow you down.

NIKI: I'm not leaving you. You'll die if I do.

(DL leans against the wall.)

DL: I can't go with you, Nik. You have to do this alone. You have to find Micah.

NIKI: I can't.

DL: You can. You were strong enough. You always have been.

(Niki kisses him.)

NIKI: I'm coming back for you.

(Niki heads for the hallway door.)

NIKI: You stay right here, you understand me?

(Niki goes through the door and hurries away to find Micah.)

CUT TO:



[INT. KIRBY PLAZA BUILDING – HALLWAY / MEDICAL OFFICES -- NIGHT]

(Mohinder and Mr. Bennet are dragging Thompson’s sheet-wrapped corpse through the hallway, trying to find a place to leave it.)

MR. BENNET: Linderman's guards will be all over us if they find Thompson's body.

MOHINDER: Maybe you should've thought of that before you shot him.

MR. BENNET: It was self-defense.

(They drag the body into the medical offices.)

MOHINDER: And Molly Walker? What's your excuse for nearly shooting her?

MR. BENNET: She's dangerous.

(Mohinder closes the door.)

MR. BENNET: You're gonna need to start trusting me, Dr. Suresh.

MOHINDER: Yes, because that's worked out really well for me before.

(They drag the body over to the bio-hazard waste bin and proceed to put the body inside the bin.)

MR. BENNET: Look ... the organization that I used to work for once stood for something. Now ... it's been corrupted.

(They close the lid.)

MOHINDER: "Used to work for"?

MR. BENNET: The only thing that's important to me now is protecting my family.

(Mr. Bennet closes the latch on the bin.)

MOHINDER: I will never let Molly be used to hurt anyone. She can do good in this world.

MR. BENNET: I don't think you understand the true nature of this organization.

MOHINDER: And you don't understand how important she is to me. It was my antibodies that saved her. I'm responsible for her life.

(The door to Molly’s room opens and Matt calls out.)

MATT: Hey, there's something wrong with Molly.

(Mohinder runs into the room to check on Molly. Mr. Bennet’s phone rings. He checks the ID and answers it.)

INTERCUT WITH:

[INT. CAR (TRAVELING) – NIGHT]

(Claire is on the phone; Peter’s driving.)

MR. BENNET: (from phone) Hello?

CLAIRE: (to phone) Dad.

MR. BENNET: Claire, where are you?

CLAIRE: Still in New York. I'm with Peter, but there's a problem. Ted Sprague's dead. Sylar killed him.

(Mr. Bennet is quiet.)

CLAIRE: Dad?

MR. BENNET: Put Peter on the phone, please.

CLAIRE: He wants to talk to you.

(Peter takes the phone.)

PETER: (to phone) Hello.

MR. BENNET: When you came into contact with Ted, you absorbed his power.

PETER: That's right.

MR. BENNET: Well, now that Sylar's absorbed it too, I think you may be the only one who can stop him.

PETER: Now all we have to do is find him. Any idea where we start?

(Mr. Bennet glances at Molly’s room where Mohinder and Matt and working on Molly.)

MR. BENNET: There's a tracking system here. We're trying to fix it now. As soon as we do, we'll find him.

PETER: And if you don't?

MR. BENNET: You just stay close to Claire's phone. Okay? I'll contact you the second we have a location. And whatever you do ... you keep Claire safe. You understand?

PETER: Yeah.

(Peter hangs up and tucks Claire’s phone in his jacket pocket.)



[EXT./INT. UNDERGROUND PARKING GARAGE – CONTINUOUS]

(Peter turns into an underground parking garage.)

CLAIRE: What are we doing here?

(Peter turns and stops the car in front of Nathan, who is waiting for him.)

CLAIRE: I actually believed you. You lied to me. You said you weren't gonna call him.

PETER: Yeah, I know, but think about it, Claire. We can't do this alone.

CLAIRE: No, you think about it. We can't trust him.

PETER: Yes, we can trust him. Nathan has never let me down.

CLAIRE: Nathan doesn't care about you. He doesn't care about anyone. He doesn't care about me, and I'm his own daughter. We do not need him!

PETER: Yes, we do!

CLAIRE: Why?

PETER: Because I'm afraid, okay? And I need my brother to help us.

CLAIRE: (v.o., thinking) You lied to me, Peter. I trusted you.

(Peter gets out of the car.)

NATHAN: What's the emergency?

PETER: The bomb. It's not me; it's Sylar.

NATHAN: Sylar?

PETER: He killed Ted Sprague, which means he's radioactive. And if he explodes ... Look ... I know that this is a lot to process, but it is real, I swear. And I don't have a lot of time to find him.

NATHAN: What do you want me to do?

PETER: I don't know. Just ... help me.

NATHAN: Come here.

(Nathan puts his arm around Peter’s shoulders and leads him away. Claire is in the car watching them. She doesn’t like this at all. While they’re distracted, she unlatches her seatbelt and gets out of the car.)

NATHAN: Look, if what you're saying is real, then there's no reason to involve Claire in this. It's just too dangerous.

PETER: No, she has to stay with me.

NATHAN: She's just a kid, Pete.

PETER: If I find Sylar and I'm able to stop him, then she's the only one who can stop me if something goes wrong.

NATHAN: You're gonna be fine.

PETER: How do you know?

NATHAN: You told me you -- you could regenerate, that you could survive.

(And then, Peter hears it.)

NATHAN: (v.o., thinking) There's nothing you can do to stop it, Peter. They're all gonna die.

(Peter stares incredulously at Nathan. He backs away from him.)

NATHAN: What is it?

PETER: Claire was right about you.



[CLAIRE]

(Claire runs up the garage steps and stops when Angela blocks her way.)



[PETER AND NATHAN]

(Nathan plays it cool.)

NATHAN: What are you talking about?

(Peter turns around. He finds the car passenger door open and Claire gone.)

PETER: Claire?

(Peter checks the car and sees it is empty. He moves away from Nathan.)

PETER: Claire?

(Nathan runs after Peter.)

NATHAN: Peter!

(Peter runs, turns invisible and escapes.)

CUT TO:



[EXT. STREET BEHIND GARAGE – NIGHT – CONTINUOUS]

(The street is empty. Peter turns visible.)

PETER: (shouts) Claire?!

(Peter looks around and doesn’t see her. He’s breathing hard. He looks down at his hands.)

PETER: God, no.

(His hands are glowing.)

PETER: No, no, no!

(He tries to stop it, but he can’t concentrate.)

PETER: No, no, no, no!

(Peter panics.)

PETER: This isn't happening!

(Peter hyperventilates as he tries to get the growing power under control. He’s breathing so hard, he passes out.)

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[INT. KIRBY PLAZA BUILDING – MEDICAL OFFICES – MOLLY’S ROOM -- NIGHT]

(Molly is in bed with her eyes closed. Mr. Bennet walks in. Matt is rubbing his eyes. Mohinder sits next to the bed and is holding Molly’s hand.)

MR. BENNET: How much longer before she's up and running?

MATT: She's not a machine.

MOHINDER: I just gave her the transfusion. It'll take some time.

MR. BENNET: Well, take too much time, and the city will pay for it. Sylar's out there.

(Molly heard that and stirs.)

MOLLY: You mean the boogeyman?

MOHINDER: Don't try to get up.

(Matt sits down near the other side of Molly’s bed.)

MOLLY: I can do it. I can tell you where he is.

MATT: Okay. So ... how do we do this?

MOLLY: I just ... I think about him in my mind, then I point to him on the map there.

(She looks behind Matt. Mr. Bennet turns to get the map.)

MOLLY: I need a push-pin.

MATT: So you can find anyone in the world? You just need to think about them?

(They put the Book of WORLD Maps on Molly’s lap.)

MOLLY: Almost anyone.

MATT: Almost?

MOLLY: There's only one that I can't.

MATT: Who's that?

(Molly doesn’t answer him.)

MATT: Is it someone bad, Molly, like the boogeyman?

MOLLY: No. He's a lot worse.

MATT: And why don't you want to find him?

MOLLY: 'Cause when I think about him ... (whispers) He can see me.

(Matt looks at Mohinder. Mohinder looks at Mr. Bennet.)

MR. BENNET: Molly ... can you think about Sylar now?

(She nods and opens the book. She holds the push-pin in one hand and flips through the pages with the other.)

(She stops on a particular map. Her hand shakes as she thinks about Sylar.)

INSERT: FLASH OF SYLAR PAINTING

(She continues to concentrate.)

INSERT: MORE FLASHES OF SYLAR IN TRANCE

(She puts the pin on the page.)

MOLLY: He's there.

(Matt takes the pin from her.)

MATT: That's the Lower East Side. Somewhere around Reed Street.

MR. BENNET: Isaac's loft.

MOHINDER: Isaac Mendez? The painter?

MATT: Who?

MR. BENNET: I've gotta call Peter.

(Mr. Bennet turns away with his phone. He dials.)

INTERCUT WITH:

[INT. UNDERGROUND GARAGE – LEVEL 6 -- NIGHT]

(Claire’s phone rings.)

ANGELA: Why don't you let me answer that for you.

(Claire gives the phone to Angela. She answers it.)

ANGELA: (to phone) Hello.

MR. BENNET: (cautiously) Claire?

ANGELA: No, this is her grandmother.

MR. BENNET: Where is she?

ANGELA: Where she belongs--with her family.

CLAIRE: Dad!

MR. BENNET: I'm her family.

ANGELA: No, you're the man we gave her to to look after, to keep safe. A job you haven't done particularly well.

MR. BENNET: What are you gonna do with her?

ANGELA: Take her someplace far enough to keep her out of harm's way. I suggest you do the same. There isn't much time.

MR. BENNET: Let me say goodbye to her.

(Angela gives the phone back to Claire.)

CLAIRE: (to phone) Dad.

MR. BENNET: Claire. Are you okay?

CLAIRE: Yeah. I'm just trying to get away from these people.

MR. BENNET: No, no. You're better off going with them.

CLAIRE: What?!

MR. BENNET: She's right. You shouldn't be here. But as soon as you're safe out of the city, you try and get away. Do you understand?

CLAIRE: Yeah.

MR. BENNET: I need to find Peter. Where is he?

CLAIRE: I don't know. They won't tell me.

(Angela holds her hand out for the phone.)

ANGELA: That's long enough, dear.

CLAIRE: Tell me you have a plan, Dad.

MR. BENNET: I have a plan. I love you, Claire.

CLAIRE: I love you too.

(Claire hangs up.)



(Matt bursts out of Molly’s room and joins Mr. Bennet.)

MR. BENNET: We have a new priority. Peter Petrelli. We have to find him.

MATT: What for?

(Matt takes his gun out and cocks it.)

MATT: We know where Sylar is. We can go after him.

MR. BENNET: No, not without Petrelli. He's the only one who can stop him.

MATT: I've come three thousand miles. I left my pregnant wife at home. He's a bad guy. I'm a cop. I'm going after him.

MR. BENNET: Then he will kill you.

MATT: (chuckles) Yeah, we'll see.

(Matt takes his gun and heads out.)

CUT TO:



[CU: PETER PETRELLI]

(Peter is passed out on the ground. His eyes open as he regains consciousness.)



[EXT. STREET BEHIND GARAGE – NIGHT]

(FAR SHOT: Peter is on the ground in the center of the empty street, the same spot where he fell.)



[CU: PETER PETRELLI]

(Awake, Peter slowly gets up. There are flowers and plants around him. He’s not where he was when he passed out. He looks around and goes over to the window.)

[INT./EXT. CHARLES DEVEAUX BUILDING – GREENHOUSE/ ROOFTOP – DAY – PAST (VISION)]

(He hears a sound and turns around to see himself – PAST PETER – pushing Charles Deveaux in a wheelchair out onto the rooftop. Angela is with them.)

(Past Peter puts Charles next to the balcony table.)

PAST PETER: There you are, sir.

CHARLES DEVEAUX: Thank you.

(Past Peter leaves and hangs around near the doorway, far away enough for his mom and new employer to talk. Peter watches him. Past Angela sits down at the table.)

(Simone walks in.)

SIMONE DEVEAUX: Hi.

PAST PETER: Hi. I'm Peter. I'm your father's new nurse.

(Peter is stunned as he sees this Simone.)

(Past Peter and Simone shake hands.)

SIMONE DEVEAUX: Yes, I've heard. I'm Simone Deveaux.

(She motions for him to follow her and she heads for the greenhouse.)

PAST PETER: Nice to meet you.

SIMONE DEVEAUX: Your mother seems to know my father somehow .

(Peter ducks as she opens the door and they enter the greenhouse. He scrambles to hide, but there’s nowhere to hide.)

PAST PETER: Yeah, she's … uh ... yeah, she's, … uh-- sorry.

(Past Peter bumps into Simone.)

(He closes the door and steps around Simone.)

PAST PETER: Yeah, my mother, she's -- she's full of surprises.

(Past Peter looks back in Peter’s direction and all around the greenhouse. He doesn’t appear to see him.)

SIMONE: I want to thank you. I know it's a real hard job.

PAST PETER: Dying is hard. What I do, it's just ... I'm here to help.

SIMONE: No, you're a real hero to care for a perfect stranger like this.

PAST PETER: This may sound strange, but ... your father's last few weeks, his death ... it could be beautiful if you let it be.

(Peter steps closer to look at Simone.)

SIMONE: (scoffs) Sure, a piece of cake.

PAST PETER: I'm not saying it's not tragic for you. I'm just saying ... you know, death is the one thing that connects us all. Reminds us that's what really important is who we've touched, and ... you know, how much we've given. Makes us realize that ... we have to be good to one another. See, your father ... he's the real hero. Not me.

SIMONE: Come on, I'll show you the apartment. Get you settled in.

(She takes his hand and they leave. Peter turns his attention to the conversation outside on the balcony between Charles Deveaux and Past Angela as she pours the tea.)

CHARLES DEVEAUX: Believe me, if he knew, you'd know. There's a look you just can't hide when it first shows. What about Nathan?

(Past Angela puts the teapot down.)

PAST ANGELA: Linderman tells me Nathan will be ready to play his part.

CHARLES DEVEAUX: Well, he's been wrong before.

(Peter opens the greenhouse door.)

PAST ANGELA: Meaning what exactly?

CHARLES DEVEAUX: I think that Linderman is betting on the wrong brother.

PAST ANGELA: We talking about the same Peter here?

CHARLES DEVEAUX: I look in Peter's eyes, I see compassion, empathy. But most of all, I see hope. This world won't be saved on strength. What it really needs is heart, and that's Peter.

PAST ANGELA: (nods) Charles, don't get me wrong. I love Peter, but that poor kid can barely get out of his own way. He's ruled by insecurities. He's weak. No, trust me. This bomb is going to go off. And Nathan is going to be the one the world turns to.

CHARLES DEVEAUX: I don't believe this tragedy's inevitable.

PAST ANGELA: Well, then ... one of us is going to be right. And one of us won't.

CHARLES DEVEAUX: Well, I'm glad I won't be alive to see which one that is.

PAST ANGELA: You are in my prayers, Charles.

CHARLES DEVEAUX: I could use them.

(She takes his hand.)

PAST ANGELA: Good-bye, my dear, dear friend.

(She kisses him on the forehead. Past Angela leaves.)

(Peter stands in front of the greenhouse and watches his mother leave. Charles picks up his teacup.)

CHARLES DEVEAUX: I know you're there, Peter.

(Peter turns and finds Charles looking at him.)

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[INT. ISAAC MENDEZ’S LOFT -- NIGHT]

CAPTION:
ISAAC MENDEZ’S LOFT
NEW YORK CITY

(The door opens and Ando walks in, his sword up and in front of him. He enters the loft slowly, cautiously.)

(He stops when he sees Sylar’s painting of the KIRBY PLAZA SHOWDOWN between him and Peter.)

(He moves in closer to the painting and slips on a puddle of blood on the floor. He takes a step back and bumps into SYLAR.)

(Ando’s eyes widen. He turns around and holds his sword up. Sylar flicks his fingers. The sword flies out of Ando’s grip and is hurled across the room.)

ANDO: Oh!

(The sword lands point down in the center of Isaac’s floor mural of New York exploding.)

(Sylar grabs Ando by his neck and carries him up the steps. He sees the comic book on the floor and flings Ando away from him. Ando hits the glass. Sylar keeps Ando up against the glass.)

SYLAR: Hmm, looks like you dropped something.

(Sylar picks up the comic book and flips through it. He sees the two-page panel of someone who looks like Nathan in what looks like the White House. He flips the page and sees the Haitian get stabbed with the syringe, and the panels of Hiro and Ando discussing the comic book on the Deveaux Building rooftop.)

SYLAR: A comic book that predicts the future.

(In the background, Ando groans.)

(Sylar ignores him and continues looking through the comic book. He sees pages of Hiro saving the little girl in Japan, then of Hiro stabbing and killing Sylar.)

SYLAR: (amused) What will they think of next?

(Sylar holds up the comic book to the page of Hiro killing him.)

SYLAR: You're kidding. This is how Isaac thought I'd die? Stabbed by a silly little man!

(He throws the comic book at Ando.)

ANDO: Hiro is not silly.

SYLAR: You should've seen the look on his face when he tried to kill me.

ANDO: You cannot take my brain.

SYLAR: (scoffs) Please. What would I want with your brain?

(Sylar points his finger at Ando.)

SYLAR: Where is Peter Petrelli?

ANDO: I don't know.

(Sylar moves his hand a little, cutting Ando.)

ANDO: (screams) Aah!

(Behind Sylar, Hiro teleports into the room right on the floor mural and next to Ando’s sword.)

(Ando muffles his cries.)

SYLAR: Where is he?

(Hiro looks around and sees the sword. He pulls it out of the floor and holds it out in front of him.)

HIRO: Let him go.

(Sylar whirls around. Oh, it’s Hiro.)

SYLAR: I don't think I'm going to.

ANDO: Hiro.

HIRO: (subtitled) It’s okay. I’m here to save you.

SYLAR: (shrugs) All you have to do is stop time before I cut off his head.

(Sylar turns and points his finger back at Ando.)

SYLAR: Do you think you can do your little trick before I can do mine?

ANDO: (subtitled) Don’t worry about me! Just stab him!

(Hiro looks at Sylar and lowers his sword. Sylar watches Hiro, waiting for him to move. Hiro vanishes. Sylar looks around the loft for Hiro.)

(Hiro teleports next to Ando. Ando does a double-take, surprised to see Hiro there next to him.)

(Hiro closes his eyes and quickly teleports both of them out of the loft.)

(Sylar whirls around and finds Ando gone. He seethes.)

NIKI: (PRE-LAP) (shouts) Micah!

CUT TO:



[INT. KIRBY PLAZA BUILDING – HALLWAY (FLOOR 42) -- NIGHT]

(Niki runs through the hallway checking the apartment doors.)

NIKI: (shouts) Micah!

(She turns and sees the apartment door partially open. She pushes the door open and sees "Jessica" sitting on the sofa, waiting for her.)

NIKI: How? You can't be here.

CANDICE (AS JESSICA): Look what you did.

("Jessica" looks over her shoulder. Behind the couch, Micah is unconscious, seemingly dead, on the floor. It’s Niki’s worst nightmare.)

NIKI: Oh, my God! Micah.

("Jessica" stands up and rubs it in.)

CANDICE (AS JESSICA): It's all your fault, Niki. DL, now Micah. They're both gone ... because you were weak.

NIKI: Micah, please.

CANDICE (AS JESSICA): The wrong sister died. It should've been you. Face it, Niki. You're nothing. I'm the one they needed.

("Jessica" kicks Niki in the face. She laughs at her.)

CUT TO:



[INT. ISAAC MENDEZ’S PLACE -- NIGHT]

(Matt is outside Isaac’s door. He cocks his gun and enters. There’s no one there. Matt goes down the stairs and looks at the paintings.)

(He sees the blood on the floor. He also sees the fresh painting of SYLAR and PETER facing off in KIRBY PLAZA.)

(Matt turns and leaves.)

FADE TO:



[EXT. KIRBY PLAZA (STOCK) – NIGHT]



[INT. KIRBY PLAZA BUILDING – MEDICAL OFFICES -- NIGHT]

(Mohinder opens the cabinet door and grabs some supplies.)

MOHINDER: Molly, we need to go now.

(Molly gets up off the bed.)

MOLLY: Where are we going?

(Mohinder starts packing a bag of supplies.)

MOHINDER: Officer Parkman called. He believes that Sylar -- he believes the boogeyman is on his way.

(Molly stops.)

MOLLY: No. He's not on his way. He's already here.

CUT TO:



[INT. NATHAN’S CAMPAIGN HEADQUARTERS – NIGHT]

(Nathan, Angel and Claire head back to Nathan’s office.)

NATHAN: I have to get some paperwork. I'm not gonna be coming back to my office.

ANGELA: Helicopter's picking us up from the roof in ten minutes.

(They enter the office. Nathan starts gathering his things.)

ANGELA: When the jet lands tomorrow morning, you'll be safe.

CLAIRE: But everyone else will be dead. (Claire looks at Angela and at Nathan.) How can you do nothing to stop this?

ANGELA: It's inevitable, dear. There's nothing anyone can do about it.

CLAIRE: That's insane! Nothing is inevitable. The future is not written in stone.

(Nathan looks at a framed photo of him and Peter.)

NATHAN: I'm afraid this one is.

CLAIRE: If everything is so inevitable, then why has she been trying to keep us apart all these years?

ANGELA: There are things you simply aren't mature enough to understand yet.

CLAIRE: Yeah, like how you can let your own son die like this. (to Nathan) Your own brother.

NATHAN: He's not gonna die.

ANGELA: Thanks to you, Peter has the ability to survive.

CLAIRE: So he lives ... and kills millions of people. How can you let him be responsible for something like that? (to Nathan) And how can you live with yourself if he is?

(He closes his briefcase and walks toward her.)

NATHAN: Claire, I know that it's hard for you to trust me right now. But this is all gonna make sense very soon. I promise.

ANGELA: We're offering you everything you've ever wanted, Claire: a place to belong, a family.

(Angela looks expectantly at Nathan. Nathan looks at Angela. He hugs Claire – and looks at Angela.)

CLAIRE: I already have a family.

(Claire turns and runs. She jumps – SMASH!)

NATHAN: NO!

(Claire jumps out of the window.)

(Nathan and Angela run to the window and see Claire hit the street below with a THUD!)

(As they watch, Claire gets up and walks away.)

(Angela looks at Nathan.)

ANGELA: I know what you're thinking, Nathan. Let her go. You understand.

(Nathan watches Claire leave, his face hard.)

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[INT. KIRBY PLAZA BUILDING – APARTMENT (FLOOR 42) -- NIGHT]

("Jessica" is beating Niki up. Niki isn’t fighting back. "Jessica" hits Niki into the mirror, smashing the glass)

CANDICE (AS JESSICA): How many times have I saved your ass? I'm the only reason that you're still alive.

("Jessica" shakes her hand to loosen it up.)

CANDICE (AS JESSICA): Whew.

(Niki catches a glimpse of her alter-ego Jessica in the mirror.)

JESSICA: That's not me. Stop her. Find Micah.

NIKI: What?

JESSICA: I said stop her. That's not me.

("Jessica" turns and sees Niki talking.)

NIKI: I'm not strong enough.

CANDICE (AS JESSICA): Who the hell are you talking to?

(Niki punches "Jessica" in the face. The force of the super-strengthened punch sends "Jessica" flying across the room. Niki looks down at her hands with amazement. "Jessica" is out cold.)

(As Niki watches, "Jessica" changes back to Candice. The Micah who was dead on the floor vanishes.)

MICAH: (o.s.) Mom?

(Niki turns and runs to the closet.)

NIKI: Micah?!

MICAH: (o.s.) Mom, I'm in here! It's locked!

(Niki opens the door.)

MICAH: Mom. Is it really you?

(Niki looks at her reflection in the mirror.)

NIKI: It's me, baby. It's just me.

(They hug.)

CUT TO:



[INT. KIRBY PLAZA BUILDING – HALLWAY -- NIGHT]

(Mohinder and Molly are making their way through the hallway. They come across DL passed out and bleeding on the floor.)

(Mohinder goes to help him. Molly stops him.)

MOLLY: Wait! He could be a bad guy.

MOHINDER: He needs my help.

(Mohinder goes to help him.)

MOHINDER: Okay, we need to get him out of here.

(Molly goes to the elevator and presses the button. It goes on, then shuts off. She tries again.)

MOLLY: (whispers) It's not working.

MOHINDER: They must have shut it down. Okay, I need a lookout. Can you do that? Stand over here and keep an eye out. If anyone comes, tell me straight away.

(Molly goes to the stairway door and keeps a lookout.)

CUT TO:



[INT. (TOKYO) YAMAGATO INDUSTRIES – BULLPEN -- DAY]

CAPTION:
YAMAGATO INDUSTRIES
TOKYO, JAPAN

(Hiro and Ando appear in the aisle between the cubicles. Ando is on the floor. Hiro has Ando’s sword out in front of him. Hiro smiles. Ando’s amazed.)

ANDO: (subtitled) Hiro! You did it! (Ando gets up.) You were faster than Sylar!

(A worker walks past, eyeing them. Hiro bows to him. Ando touches the blood on his neck where Sylar cut him.)

(Hiro puts Ando’s sword down on the desk.)

HIRO: (subtitled) Now I’ll go back.

ANDO: (subtitled) We can go back together. Surprise him!

HIRO: (subtitled) No, Ando. This part of my journey ... I must finish alone.

ANDO: (subtitled) But ... I am not afraid.

HIRO: (subtitled) I know.

(He puts his hand on Ando’s shoulder.)

HIRO: (subtitled) You have shown me what bravery is.

(Ando smiles sadly.)

ANDO: (subtitled) Your whole life you talked about your favorite stories ... Star Wars, Star Trek, Superman, Kensei ... All the heroes you wanted to be. One day, people will tell the story of ... Hiro Nakamura.

(Hiro smiles.)

(Hiro takes off Takezo Kensei’s sword and gives it to Ando.)

HIRO: (subtitled) So you’ll know I’ll be back.

ANDO: (subtitled) But ... your sword?

HIRO: (subtitled) "It is not the sword. It is the man."

(Hiro picks up Ando’s sword. He turns around and holds it out as he prepares himself.)

HIRO: (subtitled) This man is ready.

(He closes his eyes to leave; Ando stops him.)

ANDO: Hiro.

(Hiro turns around.)

ANDO: (subtitled) You look bad ass.

HIRO: (subtitled) Really?

(Ando nods and smiles. Hiro grins back. He squeezes his eyes tightly closed and vanishes.)

(Ando is left carrying Hiro’s sword.)

FADE TO WHITE:



[INT./EXT. CHARLES DEVEAUX BUILDING – GREENHOUSE/ ROOFTOP – DAY – PAST (VISION)]

(Charles Deveaux talks with Peter.)

CHARLES DEVEAUX: Invisibility. Always thought that that would be a good one to have.

PETER: I don't understand. How is this happening? You're alive. Is this a dream? Am I time traveling? Are you doing this?

CHARLES DEVEAUX: Doesn't really matter what it is, does it? Only that you're here now.

PETER: Yeah, but I saw you speaking to my mother. You know about the bomb. You know about everything.

CHARLES DEVEAUX: You came here because you needed to. You needed to hear the truth before you could save the world.

PETER: I save the world?

CHARLES DEVEAUX: You've had the power all along, Peter. You just needed to learn how to use it.

PETER: Why me?

CHARLES DEVEAUX: Because there has to be one that's good. There always has. And your heart has the ability to love unconditionally. Like I told you. In the end, all that really matters ... is love.

(He looks at Peter. Then, he calls out.)

CHARLES DEVEAUX: (loudly) I'm tired now.

(Past Peter walks out onto the balcony.)

PAST PETER: Let's get you your rest then, sir.

(He turns the wheelchair and they head back.)

CHARLES DEVEAUX: Call me Charles.

(Peter watches them. The scene starts to turn.)

MR. BENNET: (v.o.) Peter!

(The scene turns sideways and stops.)

MR. BENNET: (v.o.) Peter!

(Peter turns his head to the side.)

ABRUPT CUT TO:



[CU: MR. BENNET]

(Mr. Bennet slaps Peter’s face, trying to wake him up.)

MR. BENNET: Wake up, wake up!



[CU: SIDEWAYS PETER]

(Peter moves toward the voice and out of frame.)



[EXT. STREET – NIGHT (PRESENT)]

(Peter sits up and grabs Mr. Bennet’s shirt. Peter pants and sits up as he tries to get his bearings.)

PETER: I must've blacked out. How did you find me?

MR. BENNET: I told you. We have a tracking system.

PETER: And where's Claire?

MR. BENNET: She's safe. She's with your mother.

PETER: My mother?

MR. BENNET: Yeah. They're on their way out of the city right now.

(They stand up.)

PETER: Okay, then you need to leave, too. I don't think I can control this.

MR. BENNET: No, I'm staying with you. You saved my daughter's life. I told you I owed you for that. Consider this payback.

PETER: Yeah, but if I can't stop Sylar, if I lose it, I could--

(Mr. Bennet shows Peter his gun.)

MR. BENNET: I'll put you down myself. (Peter nods. Mr. Bennet tucks the gun away.) Don't worry. I'm a pretty good shot.

(Peter nods.)

PETER: Thank you, Mr. Bennet.

MR. BENNET: Call me Noah.

(The two men head out.)

PETER: Come on.

CUT TO:



[INT. KIRBY PLAZA BUILDING – HALLWAY -- NIGHT]

(Mohinder tends to DL while Molly watches the stairwell.)

MOLLY: (whispers) The guards are coming.

(Niki returns to DL with Micah.)

MICAH: Dad!

DL: Micah?

MOHINDER: We have to go.

GUARD: (o.s.) I hear voices on 42. Come on.

(They head for the elevators. Before she joins them, Niki grabs the stairwell door handle and breaks it off.)

(Micah tries the elevator. Molly’s already tried it.)

MOLLY: It won't work.

MICAH: Yes, it will.

(Micah covers the elevator button with his hand. Niki helps DL up. The guards find the stairwell door stuck.)

(The elevator bell dings and the doors open.)

NIKI: (o.s.) Come on, DL.

(Molly and Micah hurry into the elevator. Niki, DL and Mohinder follow them.)

MOLLY: (o.s.) Come on!

(The stairwell door opens. The guards have pried it open with a crow bar.)

MICAH: (o.s.) Dad, hurry!

(The guards turn and hurry to the elevators just as they close.)

CUT TO:



[EXT. KIRBY PLAZA – NIGHT]

(Peter and Mr. Bennet arrive at the plaza.)

PETER: You know, it doesn't look like there's many places to hide. You sure about this tracking system?

MR. BENNET: He's here. Don't worry.

(Mr. Bennet takes his gun out. They stop and look around.)

PETER: Look, all right, then that means he's hiding in plain sight.

(Sylar taps Mr. Bennet on his shoulder. Mr. Bennet turns around. With a flick of his hand, Sylar telekinetically pushes Mr. Bennet across the plaza. Mr. Bennet slams against the corner of the building, falls and drops the gun.)

MR. BENNET: (grunts) Unh! Aah!

(Peter turns around.)

SYLAR: What took you so long?

(The two men stand and face each other.)

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[EXT. KIRBY PLAZA – NIGHT]

(We continue where we left off.)

SYLAR: Haven't I killed you before?

PETER: Didn't take.

(Sylar laughs. He reaches out and without moving any closer to him, he chokes Peter.)

(Mr. Bennet is on the ground, in pain and he tries to reach his gun.)

SYLAR: You think I'm gonna let you ruin it all? Take all the glory?



(Matt steps out onto the plaza. He fires his gun at Sylar. Sylar holds up his hand and stops the three bullets mid-air. Matt continues to fire and advance on Sylar. Sylar stops those bullets as well.)

(With a flick of his fingers, Sylar sends all the bullets back at Matt. It hits him in the chest.)

MATT: Aah! Unh!

(He falls to the ground.)



(Just then, Mohinder, Molly, Micah, Niki and DL exit the building.)

MOHINDER: Let’s go.

(As they’re leaving, Mohinder hears Matt’s groans.)

MATT: Unh!

(He stops to help Matt.)



(All the while, Peter is still being choked by Sylar and can’t seem to get out of his grip. Sylar turns around and reaches his hand out toward a nearby parking meter. The screws holding the heavy object to the concrete are coming loose.)

(Niki leaves DL leaning heavily between Micah and Molly. She gets up and heads over to help Peter.)

(With a flick of his fingers, Sylar sends the parking meter flying straight toward his hand. He catches it and whacks Peter in the head with it. Peter falls to the ground.)

SYLAR: (scoffs) Did you really think you could stop me?

(He reaches back to take another swing at Peter. Niki reaches him and grabs the parking meter right out of his hand. She whacks Sylar, hitting him in the stomach. Sylar goes down.)

SYLAR: Unh!

(Peter gets up and takes his jacket off.)

MICAH: (shouts) Mom, Dad needs your help!

PETER: (to Niki) Go back to your family. I've got this.

(Niki tosses the parking meter aside and hurries back to her family. Peter steps over Sylar as he tries to get back to his feet. Peter punches him several times.)

(Sylar dabs at the cut on his face and laughs.)

(Suddenly, Peter’s hands start glowing as he looses his control over Ted’s powers.)

PETER: Oh! (breathing hard) Wait, no!

(Peter steps away from Sylar. He looks at his hands. This can’t be happening! Not now!)

PETER: No!

(Sylar gets to his feet and finds the entire thing amusing as hell.)

SYLAR: Turns out you're the villain, Peter. I'm the hero.

(Peter looks at his glowing hands as he tries to get the power under control.)

(Behind both of them, Hiro appears in the plaza with Ando’s sword.)

HIRO: Sylar!

(Sylar turns around.)

SYLAR: You.

HIRO: Hyah!

(Hiro runs forward and stabs Sylar completely through in his chest.)

HIRO: Yatta.

(Hiro pulls the sword out and watches as Sylar falls to the ground.)

(Peter turns around. His hands are glowing stronger and brighter.)

PETER: Hiro!

HIRO: Peter Petrelli!

PETER: You can stop this.

HIRO: How?

(Sylar raises his head.)

PETER: I need you to kill me.

(With a flick of his hand, Sylar sends Hiro flying across the plaza. Hiro is headed straight for the building behind him. He closes his eyes, concentrates, and VANISHES!)

(Sylar smiles and his head falls back to the ground, presumably dead. His eyes are open.)

ZOOM IN XCU ON SYLAR’S EYES: VARIOUS FLASHES OF THE PEOPLE HE’S KILLED. FINALLY WE STOP ON SYLAR’S OWN DEATH.

(The last image fades from Sylar’s prophetic white eyes.)

(Peter is left alone in the plaza, his hands still glowing. He tries to control it, but it’s not working. He falls to his knees.)

(Mohinder watches.)
(Niki, DL and the kids watch.)

(Mr. Bennet has the gun in his hand and tries to hold it up.)

(Peter continues to glow, the energy growing uncontrollably inside him. He turns around and sees Claire running toward the plaza. She runs to her dad. She turns and sees Peter.)

(She takes the gun from her dad.)

(Peter is on his knees with his glowing hands in front of him. His eyes are closed as he tries to stop it.)

(Claire gets closer to Peter. His hands are bursting with light and energy. He turns and sees Claire. He gets to his feet.)

(Claire points the gun at him.)

PETER: Do it.

(Claire doesn’t want to.)

PETER: Do it! You’re the only one, Claire.

CLAIRE: (crying) Tell me there's another way, please.

PETER: Shoot me. There is no other way.

(Claire gets a better grip on the gun and resolves to shoot Peter, when –

SWOOSH!

-- Nathan swoops down from the sky and lands in front of her.)

NATHAN: (softly) Yes, there is, Claire.

(Peter takes a step back. Nathan pushes down the gun in Claire’s hand, pointing it toward the ground.)

NATHAN: The future isn't written in stone.

PETER: I took his power, Nathan. (Nathan turns to Peter.) I can't control it. I can't do anything.

NATHAN: I'm not leaving you, Peter.

(Nathan walks over to Peter, who backs away from him. He’s bursting with light as he grows brighter and brighter.)

NATHAN: There's another way to end this, and you know it.

PETER: I can't let you die.

NATHAN: And I can't let everyone else.

(He turns and looks at Claire.)

NATHAN: (to Peter) You saved the cheerleader ... so we could save the world.

PETER: I love you, Nathan.

NATHAN: I love you too.

(Nathan glances up at the sky.)

NATHAN: You ready?

PETER: (nods) Yeah.

(Nathan holds Peter and flies him straight up to the sky where they disappear from view.)

(Claire looks up at the sky.)
(Mohinder looks up at the sky.)
(Niki, DL, Molly and Micah walk out onto the plaza.)

(Mr. Bennet limps over to Claire.)
(Claire watches the sky.)

(There’s a bright flash of light and an explosion too far away to be heard, yet powerful enough to light up the entire sky.)

(Claire sobs.)

(Everyone is looking up at the sky.)

NIKI: What happened to them?

(Mr. Bennet looks at Claire and hugs her as she cries.)

(Niki and DL hold Micah and Molly.)

(We hold on Sylar, dead in the plaza.)

DISSOLVE TO:



[EXT. KIRBY PLAZA – NIGHT -- LATER]

(Emergency personnel are at the scene.)

(Molly and Mohinder are walking across the plaza.)

MOLLY: Wait!

(Molly breaks away from Mohinder and runs over to Matt’s gurney as the paramedics head toward the ambulance.)

(Molly breaks away from Mohinder and runs over to Matt’s gurney as the paramedics head toward the ambulance.)

MOLLY: (pleads) Please don't die, Officer Parkman. You're my hero.

(Mohinder puts his hands on Molly’s shoulders and pulls her back as the paramedics push the gurney away. He kneels next to Molly as they watch the paramedics.)

MOHINDER: (v.o.) We dream of hope. We dream of change.

(Matt’s gurney is put into the back of the ambulance.)

MOHINDER: (v.o.) Of fire, of love, of death. And then it happens. The dream becomes real.

(The ambulance doors are closed.)

PARAMEDIC: (o.s.) Let’s go.



(Claire sits on the side alone.)

MOHINDER: (v.o.) And the answer to this quest, this need to solve life's mysteries finally shows itself.

(Mr. Bennet walks over to her. His arm is in a sling. He removes his jacket and drapes it around her shoulders.)

MOHINDER: (v.o.) Like the glowing light of a new dawn.

(He sits down next to her. They both sigh and look at each other.)

MR. BENNET: Let's go home.

CLAIRE: Hmph. Home where? Our house burned down.

MR. BENNET: Home is anywhere our family is together.

CLAIRE: (serious) You've got a plan, right?

(He looks at her and nods somewhat. Claire smiles somewhat.)

(They both get to their feet. Claire moves to his good side and tucks her shoulder under his. He wraps his arm around her shoulder and they start to leave.)

MOHINDER: (v.o.) So much struggle for meaning, for purpose.



TOP VIEW DOWN: THE STAIR STRUCTURE.

MOHINDER: (v.o.) And in the end, we find it only in each other -- our shared experience of the fantastic ... and the mundane ...

(Camera moves to the spot where Sylar had fallen. There’s nothing left but a bloodstain ... and a long smear ... straight to the nearby open STORM DRAIN.)

MOHINDER: (v.o.) The simple human need to find a kindred ... to connect ... and to know in our hearts ...

(A single cockroach walks along the edge of the open STORM DRAIN COVER.)

MOHINDER: (v.o.) ... that we are not alone.

CAPTION:
"END OF VOLUME ONE"

FADE OUT.



FADE IN:

[EXT. SKY (STOCK) -- DAY]

(A solitary hawk shrieks and flies high in the clear sky.)



[EXT. GRASSY FIELD – DAY]

CAPTION:
"VOLUME TWO"

(It’s a lovely day. The sky is clear and blue; the sun is up. The wind blows lightly through the rustling, overgrown grass. All is calm and peaceful with the world.)

[VOLUME TITLE]
"GENERATIONS"

OOMPH!

(Hiro falls from the sky and hits the ground with a THUD. He groans.)

(He lifts his head and looks around. He has no clue where he is. He squints his eyes and turns when he hears the sound of horses neighing.)

(Just to the side of him are a row of ancient Japanese warriors on horses with their red banners and armed with bow and arrows. This is not good.)

(The front line steps forward and points their arrows up in the air.)

(Hiro scrambles to his feet and pushes his glasses up.)

(The warriors pull back their bowstrings as they prepare to fire.)

(Hiro turns and makes a break for it as he runs in the opposite direction.)

(Then he stops. A lone rider on a horse appears at the top of the hill. He pauses with his hand on his sword – a sword with the SYMBOL on its hilt.)

(The line of leaders and warriors under the RED BANNER draw their swords.)

LEADER: I-ke!

(The LONE RIDER draws his sword. He flies under his own white banner – a banner with the SYMBOL painted on it in black.)

(The horse with the LONE RIDER rears up and neighs loudly.)

(Hiro turns and looks at the line of warriors behind him.)

HIRO: (softly) Dai pinchi. (subtitled) @#$%!

(CRANE UP on the SCENE: Hiro is caught between the LONE RIDER and the WARRIORS.)

CAPTION:
OUTSIDE KYOTO, JAPAN
1671

(The LONE RIDER pauses. He puts his sword down and looks up at the sky. It’s an ECLIPSE. A shadow moves rapidly across the entire earth and covers the LONE RIDER.)

(The shadow of the eclipse moves rapidly across the line of Japanese warriors. They lower their bows and arrows.)

(The shadow of the eclipse moves rapidly across HIRO as he looks up at the sky. Day turns into night --

-- and we hold on the ECLIPSE.)

FADE TO BLACK.



TO BE CONTINUED ...

Kikavu ?

Au total, 84 membres ont visionné cet épisode ! Ci-dessous les derniers à l'avoir vu...

cordelia 
16.06.2022 vers 23h

Ocean29 
06.09.2019 vers 01h

Terilynn 
17.04.2019 vers 22h

stephane25 
12.02.2018 vers 18h

jujume80 
22.01.2018 vers 14h

SandyD 
20.12.2017 vers 18h

Derniers commentaires

Avant de poster un commentaire, clique ici pour t'identifier.

Sois le premier à poster un commentaire sur cet épisode !

Contributeurs

Merci aux 3 rédacteurs qui ont contribué à la rédaction de cette fiche épisode

blackrose 
fouine007 
stephe 
Activité récente
Actualités
La

La "Supers Battle" continue, la 2e manche est en cours
La première manche de la Supers Battle sur le quartier The Boys est terminée, les 128 Supers nominés...

La saison 7 de Bosch avec Jamie Hector arrive le 25 Juin sur Amazon Prime Video

La saison 7 de Bosch avec Jamie Hector arrive le 25 Juin sur Amazon Prime Video
La septième et dernière saison de Bosch arrive prochainement sur Amazon Prime Video. Dans celle-ci...

Zachary Quinto, une date pour The Boys In The Band (Netflix)

Zachary Quinto, une date pour The Boys In The Band (Netflix)
L'adaptation de la comédie musicale de Broadway, The Boys in The Band, réalisée par Joe Mantello,...

C'est terminé pour Charlie Manx, NOS4A2 est annulée par AMC

C'est terminé pour Charlie Manx, NOS4A2 est annulée par AMC
Il n'y aura pas de saison 3 pour NOS4A2. La série a été annulée par AMC à li'ssue de sa saison 2....

Un titre et une première affiche pour Shazam 2

Un titre et une première affiche pour Shazam 2
Pendant l'évènement Fandome, le titre du second volet de Shazam qui suit les aventures du...

Newsletter

Les nouveautés des séries et de notre site une fois par mois dans ta boîte mail ?

Inscris-toi maintenant

HypnoRooms

ShanInXYZ, 17.08.2022 à 17:26

Voyage au centre du Tardis : Les Enfants du Temps, c'est quoi pour vous ? On attend vos photos, passez voir le Docteur

choup37, 17.08.2022 à 18:44

Les enfants du temps? j'arrive!

Locksley, Avant-hier à 13:55

Le quartier MARVEL vous invite à découvrir son nouveau sondage. Merci d'avance pour vos clics et bonne journée !

quimper, Hier à 14:00

Sur le quartier Sherlock, les votes pour le concours Quel adversaire pour Sherlock ? sont toujours en cours.

quimper, Hier à 14:02

Vous pouvez départager 8 personnages dans le sondage jusqu'à dimanche soir. On vous attend nombreux

Viens chatter !