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Heroes
#203 : Vol d'essai

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De retour à New York, Mohinder découvre tristement qu'une toile d'Isaac Mendez prévoit la mort d'une personne qui lui est proche. Pendant ce temps, Claire et Noah poursuivent leurs aventures secrètes respectives. Déterminée à aller aux États-Unis, Maya use de son pouvoir mortel pour libérer Alejandro d'une prison au Mexique.
Ando retourne à son travail au Japon et fait une heureuse découverte. Puis, dans le Japon passé, au moment où Hiro avait tiré un trait sur Takezo Kensei, le héros de son enfance le surprend. Niki et un des Heroes perdu doivent individuellement lutter pour atteindre leurs buts. Deux personnes connues avec des aptitudes spéciales reviennent de manière inattendue. 

***Captures ***

Popularité


4.5 - 2 votes

Titre VO
Kindred

Titre VF
Vol d'essai

Première diffusion
08.10.2007

Première diffusion en France
16.07.2008

Vidéos

Trailer "guess who's back" du 203

Trailer "guess who's back" du 203

  

Plus de détails

Réalisé par: Paul Edwards
Ecrit par: J.J. Philbin

A Cork en Irlande. Peter discute avec Ricky de se qu'il va devoir faire pour qu'il lui rend la boite contenant toutes les informations sur son passé. Will, Tuko et Caitlin sont également présent. Ricky lui expose son plan. Après un match de football, tous les gains des paris sont mis dans un coffre dans une camionnette blindée. Peter sourit, car ça ne semble pas très compliqué. Tout ce qu'il a à faire c'est de mettre les gardes hors jeu avant qu'ils ne donnent l'alerte.
Peter entend alors les pensées de quelqu'un dans sa tête. Il se retourne. Will est entrain de finir son verre, mais Will est entrain de penser que l'argent de se braquage devrait lui revenir, à lui et à personne d'autre. Peter lui demande de répéter ce qu'il vient de dire, mais Will n'a pas parlé. Peter l'accuse de vouloir doubler ses acolytes, et Ricky et Will s'énervent contre lui. Ricky lui montre un tatouage qu'il porte sur son bras, et il lui dit que cette marque est le symbole de leur amitié, et qu'il leur fait entièrement confiance, contrairement à Peter.

Quelque part au Mexique. Maya et Alejandro arrivent dans une ville. La jeune femme tient à peine debout, et son frère s'inquiète pour elle. Elle lui dit qu'ils seront arrivés à la frontière dans quelques jours, et qu'ils ne peuvent pas se permettre de se reposer. Alejandro décide alors de voler une voiture, en plein jour. Sa sœur est contre cette idée, mais elle le laisse faire. Il casse une vitre, et un policier le voit. Ils s'enfuient alors en courant, suivit par le policier. Maya parvient à s'échapper, mais Alejandro est arrêté.

Niki et Micah sont sur le bord de la route, à Las Vegas dans le désert. Ils sont entrain de discuter de leur déménagement. Le garçon n'est pas d'accord pour partir loin de son père, et Niki lui dit que c'est l'occasion de recommencer à zéro. Niki lui promet de revenir à chaque fois qu'il voudra voir son père. Micah se met alors à courir, et on voit qu'ils sont dans un cimetière. Micah se précipite sur la tombe de son père, suivit par Niki, qui le prend dans ses bras.

Quelque part sur une plage. Une jeune femme allongée sur un transat, un cocktail à la main, décroche son téléphone. Elle dit à son interlocuteur qu' « il » est encore endormi, mais raccroche en entendant l'homme se réveiller à coté d'elle, sur son transat.
Sylar se réveille doucement, et demande à la jeune femme où il se trouve. Elle répond qu'ils sont à Maui, et se présente comme étant Michelle, anciennement appelée Candice, mais plus depuis qu'elle l'a récupéré au Kirby Plaza. Il commence à se souvenir du soir où Hiro lui a transpercé la poitrine avec son épée de samouraï, et Michelle lui explique qu'il a déjà subit 8 opérations, mais qu'il va mieux. Sylar regarde l'endroit où devrait se trouver les points de suture, mais il n'y a rien. Michelle lui explique qu'elle les a cachés, car elle peut créer des illusions, et il lui demande de lui montrer ce qui se passe réellement. Elle refuse, mais il devient agressif. On voit alors qu'ils sont en fait dans une vieille cabane, et qu'il est allongé sur un vieux lit avec une perfusion, et une horrible blessure en travers de la poitrine. Quand il essaye de se retourner, Sylar hurle de douleur.

A Costa Verde, en Californie. Claire est entrain de lire le livre de Chandra Suresh, que West était venu lui apporter avant de s'enfuir. Mr Bennet entre dans sa chambre pour lui dire que sa mère à fait des gaufres, et pour s'excuser de lui avoir crié dessus quand elle a essayé de lui parler de ce qui la tracasse, avec son pouvoir. Elle lui demande ce qui se passerait si quelqu'un venait à découvrir son secret, et il répond qu'ils seraient obligés de déménager une nouvelle fois, immédiatement, et de se cacher encore plus.
Au lycée, Claire va trouver West pour lui expliquer qu'elle était juste entrain de se faire une pédicure, quand il l'a vu. Le garçon répond qu'elle n'est pas très douée pour ça dans ce cas. Il s'éloigne, mais elle lui court après, et tente de lui faire croire qu'il se trompe quand il dit qu'elle s'est coupé le petit orteil et qu'il a repoussé. Il rétorque qu'elle est une très mauvaise menteuse, et elle s'en va, en lui demandant de ne plus s'approcher d'elle.

Dans son appartement, Matt se réveille en sursaut. Il jette un coup d'œil vers Molly, qui dort paisiblement. Il se dirige vers une étagère, et sort son arme de service. Il s'avance doucement dans l'appartement, et pointe son arme sur une personne. Puis il se rend compte qu'il s'agit de Mohinder. Il lui annonce qu'on lui a confié un travail en ville, donc il sera là pour l'aider avec Molly. Matt ne semble pas enchanté par la nouvelle. Il lui annonce que Molly ne va pas très bien, qu'elle fait des cauchemars, et qu'elle a des problèmes à l'école, et qu'il n'a pas envie de jouer les baby-sitters pour elle et Mohinder en même temps. Il se vexe et lui demande pourquoi il aurait besoin d'une nounou, ce à quoi Matt répond qu'il n'est qu'un chercheur en génétique, et qu'il ne sera pas assez malin pour faire tomber ses nouveaux employeurs, et jouer un double jeu. Mohinder réplique que le seul moyen de vraiment protéger Molly c'est de faire chuter la compagnie. La petite fille se réveille alors, et saute dans les bras de Mohinder.

Dans son box dans les bureaux de Yamagato Industries à Tokyo, Ando est entrain de jouer sur son ordinateur. Son supérieur arrive dans son dos, et le réprimande pour son comportement. Il lui dit que ce n'est pas parce qu'il a passé deux mois avec le PDG que ça lui donne le droit de ne pas faire son travail. Puis il s'en va.
Ando soupire, et prend l'épée de samouraï de Hiro, cachée dans un tiroir de son bureau. Il espère que son ami, où qu'il soit, se débrouille mieux que lui. Il remarque alors une inscription sur le dessus du manche de l'épée, qui dit « Ando, ouvre ». Il dévisse le manche, et des petits rouleaux de papiers tombent dans sa main. Hiro lui a laissé des messages pour lui raconter ses aventures dans le Japon féodal.
Il lui raconte qu'il a atterrit au japon en l'an 1671, et qu'il a rencontré son héros, le légendaire Takezo Kensei, mais que tout ne se passe pas comme il l'aurait souhaité, et que pour cette raison il est resté. Il ajoute qu'il a fait une grande découverte : son héros Takezo Kensei possède lui aussi des pouvoirs.

On voit Hiro retirer la flèche de la poitrine de Takezo, et la blessure se refermer d'elle-même. Hiro l'aide à se relever. Ils sont tous les deux très surprit. Hiro retire les deux autres flèches, et Kensei constate par lui-même qu'il se guérit tout seul. Mais il pense alors que Hiro lui a lancé une malédiction, et il s'éloigne. Hiro comprend que c'est grâce à ce pouvoir qu'il a pu vivre toutes les aventures qu'on raconte sur lui, mais Takezo lui dit de rester loin de lui, et il part à cheval au triple galop. Hiro lui crie de revenir, car ils doivent écrire l'histoire.

Peter est entrain d'apprendre à maitriser ses pouvoirs. La main tendu en avant, il crie « éclairs », mais rien ne se passe. Caitlin arrive et lui demande si c'est comme cela que ça marche, en criant, et il répond que c'est ce qu'il aimerait bien savoir. La jeune femme lui conseille de trouver avant le soir, car l'attaque prévue par son frère ne sera pas sans danger. Peter ajoute qu'il aimerait bien savoir qui il est avant de mourir. Elle lui dit qu'il est peut-être un extraterrestre, échappé d'un bâtiment gouvernemental, et qu'elle est impatiente qu'il ouvre sa boite. Elle ajoute qu'il ne doit pas s'inquiéter pour le soir, qu'il peut lui faire confiance. La preuve, elle n'a parlé à personne de se qu'il est capable de faire.

Le policier a emmené Alejandro au poste de police. Il est enfermé dans une cellule, et un autre prisonnier à coté de lui, lui dit qu'il à une tête à faire peur. Alejandro répond qu'il ne parle pas Anglais. Il est inquiet car son portrait robot et celui de sa sœur sont affichés dans le bureau de la police.

Le cours de sciences commence, et West vient s'assoir à coté de Claire. Le professeur leur annonce que le cours portera sur la mitose, mais il est interrompu par West qui a une question. Le garçon demande au prof s'il est possible que, dans l'optique où une femme et un lézard pourrait être liée, la « femme-lézard » se coupe un bras, ou un orteil et qu'il repousse. Le prof ne comprend pas où il veut en venir, et Claire, mal à l'aise à coté de lui, sort de classe.

Ando continue de lire les messages envoyés par Hiro du passé. Il lui raconte que c'est plus dur que ce qu'il pensait de faire de Kensei un héros, et qu'il a rencontré la plus belle japonaise qu'il ait jamais vu, et qu'il pense être tombé amoureux d'elle. Mais l'histoire est déjà écrite, et elle est destinée à Takezo.
Yaeko et Hiro marchent tous les deux dans la forêt, à la recherche de Kensei. Ils le trouvent un peu plus loin. Takezo est entrain de se blesser avec son épée, et il constate à chaque fois que la blessure se referme toute seule. Hiro lui explique que c'est un héros, et que comme lui, il a un pouvoir. Kensei semble intéressé, et Hiro lui dit qu'il peut arrêter le temps et se déplacer dans l'espace. Il lui fait une démonstration en disparaissant, et en réapparaissant derrière lui. Takezo commence à réalisé le potentiel de son pouvoir, et compte s'en servir pour devenir riche. Hiro lui explique qu'il doit accomplir de plus grande mission, comme vaincre barbe blanche et combattre les 90 samouraïs déchus. Takezo réplique que personne ne peut l'arrêter, et Hiro les téléporte alors dans un autre endroit, là où se trouvent les 90 samouraïs. Il force Takezo à aller les combattre. Hiro lui dit qu'il doit récupérer le parchemin de feu, que les samouraïs ont jurés de protéger. Et il disparait, laissant Kensei seul.

Claire est entrain de pleurer, seule dans la cours du lycée. West s'approche d'elle. Elle est en colère contre lui, et il lui explique qu'il a fait ça pour qu'elle admette qu'elle est différente. Claire lui dit alors qu'elle sait qu'elle est un monstre, et qu'elle aime se pavaner comme si elle était normale, parce que si tout le monde savait qu'elle était différente, les gens la montrerait du doigt pour le reste de sa vie. Elle ajoute qu'il peut le dire à tout le monde s'il le veut, parce qu'elle en a marre de faire semblant d'être quelqu'un qu'elle n'est pas. West s'approche d'elle, et lui dit de la fermer. Puis il la prend dans ses bras, et ils s'envolent dans les airs.
Claire regarde West surprise, alors qu'il voyage au dessus de la ville.

C'est le moment du casse. Peter appelle les gardes et commence à jouer son rôle. Puis Ricky, Will et Tuko arrivent à leur tour et les attachent. Ils parviennent à s'emparer du coffre s'en trop de problème, jusqu'à ce que l'un des gardes déclenche l'alarme. Du renfort arrive, et Peter utilise l'un de ses pouvoirs pour leur permettre de s'enfuir.

Mohinder arrive dans l'ancien loft d'Isaac Mendez, qui est maintenant occupé par la compagnie. Bob est entrain de lire une BD écrite par Isaac. Mohinder lui demande ce qu'ils font ici, et Bob lui révèle qu'Isaac a été tué par Sylar, et qu'ils ont tous réaménagé pour en faire un laboratoire avec les équipements dernier cris. Et que tout cela a été fait spécialement pour lui, car il est très important au sein de l'organisation. C'est pour quoi leurs hommes ont reçu l'ordre de le surveiller de très prêt, et d'anticiper tous ses besoins. Mohinder lui dit qu'il préfère travailler seul, mais Bob lui dit qu'il fait ça dans son intérêt. Il s'en va, et laisse Mohinder assez mal à l'aise.

Hiro est retourné auprès de Yaeko, et ils attendent le retour de Takezo. La jeune femme commence à penser qu'il est peut-être mort, mais Hiro la rassure. Yaeko lui explique alors qu'elle voudrait vraiment lui faire autant confiance que lui a confiance en lui, mais que par moment, elle a l'impression qu'il est deux hommes à la fois. L'un est une brute, mais l'autre est gentil. Elle ajoute qu'elle s'est vraiment sentie très bien l'autre jour sous les arbres en fleur. Hiro ne répond rien. Takezo revient alors à ce moment là, avec le parchemin. Yaeko saute dans ses bras, et l'embrasse. Hiro devient alors très triste.

Niki et Micah sont arrivés chez leur famille, à la Nouvelle Orléans, en Louisiane. Niki rappelle à son fils la promesse qu'ils se sont fait: ne plus utiliser leurs pouvoirs. Le garçon ne comprend pas l'intérêt d'en avoir si on ne peut pas les utiliser, et elle répond que l'intérêt c'est de rester en sécurité. Micah lui dit qu'elle ne veut pas qu'elle s'en aille, et Niki lui dit que ce ne sera pas pour longtemps. Elle ajoute qu'elle n'a pas le choix, qu'elle doit faire ça, et il réplique qu'elle dit toujours ça avant de faire quelque chose de mal.
Niki frappe à la porte, et une vieille femme vient leur ouvrir.

Maya entre dans le poste de police, et explique au policier qu'elle est venue pour son frère. L'agent lui dit que la caution est de 2500 pesos, et Maya essaye de lui donner des dollars Américain, car elle n'a rien d'autre. Le policier n'en a rien à faire, et Maya lui explique qu'elle a besoin de son frère maintenant, car elle est malade, et qu'ils doivent aller aux États-Unis voir un docteur. Le policier lui demande si elle a un visa, et Maya aperçoit alors l'affiche avec leur portrait robot. Le policier lui conseille de partir avant qu'il n'appelle la police des frontières, et Maya décroche l'affiche du mur, en lui montrant que c'est elle et son frère. Le policier l'attrape et essaye de lui mettre des menottes. Les yeux de Maya deviennent noirs.
Depuis sa cellule, Alejandro et l'autre prisonnier entendent le raffut dans le poste de police. L'homme s'effondre alors à terre, les yeux complètement noirs, et Alejandro appelle sa sœur. Elle est entrain de pleurer des larmes noires, et lui dit qu'elle n'avait pas d'autre choix parce qu'elle ne pouvait pas le laisser. Elle le fait sortir de sa cellule, et inhibe son pouvoir. L'autre prisonnier se réveille, et il leur demande de l'emmener avec lui, parce qu'il a une voiture. Les trois jeunes gens s'enfuient du poste de police.

Ricky ouvre enfin le coffre qu'ils ont volé et ils découvrent un gros paquet d'argent. Will pointe alors son arme vers Ricky. Peter leur dit alors qu'il avait raison, et Will lui tire dessus. Will demande à Ricky de lui donner l'argent, mais il refuse. Will se retrouve alors projeté contre un mur. Peter a le bras tendu vers lui, il utilise son pouvoir de télépathe pour l'immobiliser. Caitlin voit les balles ressortir du corps de Peter, et les blessures se refermer. Peter commence alors à resserrer l'étreinte autour du coup de Will, et Caitlin est obligée de crier pour qu'il se rend compte de se qu'il est entrain de faire. Il relâche son étreinte, et Will s'enfuit.

Hiro est entrain d'écrire un dernier message à Ando. Il est content car Takezo a enfin prouvé qu'il pouvait devenir un véritable héros, et qu'il pourra donc bientôt rentrer chez lui, mais qu'il va avoir du mal à dire adieu. Kensei s'approche de lui, et Hiro lui dit qu'il est sur le point de retourner à sa vraie vie. Mais Takezo n'apprécie pas beaucoup la nouvelle, il ne sait pas s'il va pouvoir continuer tout seul. Hiro lui explique quand restant ici, il risque de détruire l'histoire à chaque instant. Yaeko vient à son tour lui dire au revoir, et Hiro les regarde s'éloigner main dans la main.
Puis il se concentre, mais ne parvient pas à rentrer chez lui. Dans son message, il demande à Ando de lui pardonner, car il ne rentre pas encore.

Sylar est assis à une table, et il fixe une tasse qu'il essaye de déplacer. Michelle lui apporte un petit-déjeuner, mais il s'en moque, il veut savoir où sont passés ses pouvoirs. Elle lui dit qu'ils ont du disparaitre à cause de ses blessures, mais que quand il ira mieux, il pourra surement les retrouver. Elle ajoute qu'elle est là pour l'aider, pour rendre la situation plus facile, et plus amusante. Elle lui dit qu'elle peut l'emmener où il veut, Paris, Londres, et elle peut être qui il veut qu'elle soit. Michelle devient alors une jeune japonaise, puis deux jumelles. Il se lève, et la regarde en souriant. Il lui murmure à l'oreille qu'il l'a sous-estimé, et il lui balance la tasse sur la tête. Michelle tombe par terre, à moitié assommée, et Sylar lui dit qu'elle a raison, qu'il va récupérer ses pouvoirs, en commençant par les siens.
Michelle gît sur le sol, morte. Elle n'a plus rien de la fille sexy qu'elle faisait croire qu'elle était. Sylar parle au corps inerte de Michelle, en lui disant qu'elle était idiote de faire semblant d'être quelqu'un qu'elle n'est pas, mais que grâce à elle, maintenant il va pouvoir retourner à Maui. Il ferme les yeux, mais quand il les ouvre, la pièce n'a pas changé, il n'a pas réussi à créer d'illusions. Il regarde tout autour de lui, tente une nouvelle fois que faire apparaitre Londres ou le Japon, puis s'énerve. Mais la blessure à son torse est encore peu guérie, et il vacille. Il finit par sortir de la cabane, et découvre qu'il est au milieu d'une jungle.

Peter est entrain de se faire tatouer le même symbole que celui de Ricky par Caitlin. Son frère lui dit qu'ils ne savent peut-être pas ce qu'il est, mais ils savent qui il est. Il fait maintenant partis des leurs, et il lui donne la boite sur son passé. Caitlin lui demande ce qu'il attend pour l'ouvrir, et Peter lui avoue qu'il n'est pas sur de vouloir retrouver son ancienne vie, car quand il tenait Will contre le mur, il aurait pu le tuer. Il en avait envie. Il a peur de ce qu'il pourrait découvrir dans la boite. Elle lui dit qu'il n'a pas à être inquiet, qu'il est une bonne personne, mais que s'il est content avec la vie qu'il a en ce moment, il peut laisser sa vie d'avant de coté. Et ils s'embrassent. Le symbole apparait alors sur son bras, avant de s'effacer.

Claire et West sont sur une plage. Ils discutent de qui a le meilleur pouvoir. Claire trouve que voler est beaucoup plus agréable que son pouvoir, car à chaque fois que les parents deviennent ennuyeux, il n'a qu'à ouvrir sa fenêtre et s'envoler. West pense que c'est beaucoup plus intéressant d'être indestructible, qu'elle peut manger du feu juste pour savoir ce que ça fait. Claire lui explique qu'elle ressent la douleur, et disparait juste assez rapidement. Ils commencent à chahuter, puis West s'approche d'elle et l'embrasse. Claire remarque ensuite une marque dans son coup (la même que Matt). Elle demande à West de quoi il s'agit, et il lui raconte que quelques années auparavant, il se rendait en vélo à son école, et que la chose dont il se souvient juste après c'est de se réveiller dans son lit le jour suivant. C'est le trou noir complet entre ces deux moments. Il se souvient juste d'un homme criant son nom alors qu'il était sur son vélo, et qui le regardait comme s'il était un animal qu'on devait piéger. L'homme avec ces lunettes d'écailles. Claire qui a comprit de qui il s'agit reste sans voix.

Mohinder continue ses recherches dans son nouveau laboratoire. Bob est là, il lui donne un nouvel échantillon. Son téléphone sonne et il sort. Mohinder en profite pour aller téléphoner lui aussi.
La personne qui parle à Bob lui dit qu'elle l'attend dans son bureau. C'est Niki. Elle lui demande s'il est sur de pouvoir la guérir. Bob répond qu'il le peut, mais qu'il attend quelque chose de sa part en retour.
Mohinder est au téléphone avec Mr Bennet. Il va fouiller dans les peintures que les hommes de la compagnie n'ont pas encore prit. Il lui dit qu'il est très surveillé, et que la situation commence à le dépasser. Mr Bennet lui dit de ne pas s'inquiéter, qu'il ne risque rien tant que lui-même est encore en vie. Mohinder trouve la peinture numéro 8, la dernière, et il répond à Mr Bennet que c'est justement ça le problème. Noah lui demande ce qu'il entend par là, et Mohinder lui envoi une photo de la peinture avec son téléphone. Mr Bennet lui dit qu'ils savent que la série commence avec la mort de Nakamura, et Mohinder lui dit que ça ne se termine pas très bien. Ils raccrochent. La 8ème peinture montre Mr Bennet, mort d'une balle tirée dans la tête, les lunettes cassées et du sang partout, et Claire en arrière plan, entrain d'embrasser quelqu'un. Mr Bennet regarde la photo, l'air très inquiet, et il remarque alors Claire dans la pièce à coté, qui le regarde fixement. Il lui sourit et lui dit bonne nuit. Elle répond bonne nuit, et s'en va. Il regarde à nouveau la photo du dernier tableau, de plus en plus inquiet.


FADE IN:

[EARTH (STOCK)]

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

CAPTION:
      PREVIOUSLY



[INT. (CAIRO) HOTEL -- DAY]

(Bob talks with Mohinder.)

BOB: We find people and we make sure they don't become dangerous. And you yourself wanted to put a bullet in the brain of a man named Sylar.

MOHINDER: He's no longer a threat. He's dead.



[EXT. KIRBY PLAZA – NIGHT]

(Hiro stabs Sylar with his sword.)

(Sylar gasps.)

FADE OUT.



MOHINDER: (v.o.) They finally took the bait.



[INT. HOTEL ROOM – NIGHT]

(Mohinder is on the phone with Mr. Bennet.)

MOHINDER: (to phone) They caught up with me in Cairo. I’m in.



[INT. (COSTA VERDE) COPY KINGDOM – NIGHT]

(Mr. Bennet is on the phone.)

MR. BENNET: Find out what you can. I'll find the other paintings myself.



[INT. (COSTA VERDE) BENNET RESIDENCE – DEN – NIGHT]

(Mr. Bennet unrolls an Isaac Mendez painting of Kaito Nakamura’s death.)

MR. BENNET: I was only given the first.

SANDRA: There's seven more. What's in the other paintings?

MR. BENNET: I don't know.

FLASH TO:



[EXT. (HONDURAS) DIRT ROAD – NIGHT]

VARIOUS CUTS

(Maya prays as Nidia is on the ground.)

MAYA: (subtitled) My God ... My God, what have I done?

(Alejandro opens the truck door and pulls the dead coyote driver out of the truck.)

ALEJANDRO: (subtitled) We have to get to the United States ... to New York. The doctor is the only one that can help you.

WHITE FLASH TO:



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

(Claire cuts off her baby toe with a pair of scissors.)

(Her baby toe grows back completely.)

CLAIRE: No way.

(Mr. Muggles barks and snarls. Claire looks up and sees West looking in through the window. West’s eyes widen. He turns and runs.)

(Claire gets up to chase after him.)

WHITE FLASH TO:



[INT. (IRELAND) WANDERING ROCKS PUB – NIGHT]

(Ricky holds a box.)

RICKY: You might want this, Peter.

(Peter looks at the box.)

RICKY: This here is everything you had on you when we found you.

(Peter reaches for the box. Ricky pulls it away and holds it over the fire in the fireplace.)

RICKY: It's all yours. You just have to help us with one little job.

FADE OUT.
END OF PREVIOUSLY ON



FADE IN:

[INT. (IRELAND) WANDERING ROCKS PUB]

(Peter sits across the table from Ricky. The box is on the table between them.)

PETER: Just tell me what I need to do to get my life back.

(Ricky puts his hand on the box.)

RICKY: You mean this? The box with your identity in it? Sure. It's all yours.

CAPTION:
      PETER PETRELLI
      CORK, IRELAND

(Caitlin, Will and Tuko sit and watch.)

RICKY: As long as you do us one favor, yeah? See, Celtic is taking on AC Milan.

TUKO: We're talkin' football, yeah? Soccer.

PETER: I lost my memory. I'm not an idiot.

RICKY: The local sports book will be full of cash. After the match, all that money gets put in a lockbox and taken to an armored car.

PETER: So you're gonna rob an armored car.

RICKY: All we're askin' is that you get rid of the guards before they call for help. Simple, really.

PETER: So if I get you your box, you'll give me mine.

RICKY: Everyone wins.

(Will finishes his drink at the bar. Peter hears his thoughts.)

WILL: (v.o., thinking) Not everybody, sideshow. That cash is mine. Even if I have to kill you for it.

(Peter turns around and looks at Will, who really isn’t paying much attention to anyone else except his drink.)

PETER: What did you say?

WILL: I-I didn't say a word.

PETER: You said you were gonna take the cash.

(Tuko looks at Will. Will gets to his feet.)

WILL: Are you accusing me of something?

PETER: I heard what you said. (He turns to look at Ricky.) He said it.

(Ricky lunges forward and grabs Peter by the neck. Will grabs Peter along with Tuko. They hold him up against the bar. Caitlin doesn’t interfere.)

(Ricky shows Peter the Celtic tattoo on his arm.)

RICKY: You see that? That's the family crest. These lads are me brothers. And I trust 'em a hell of a lot more than I trust you.

PETER: Why would I lie?

RICKY: I know Will. I don't know you.

(They release Peter. Ricky turns to go back to his table.)

RICKY: You don't even know yourself.

CUT TO:



[EXT. (MEXICO) SMALL TOWN -- DAY]

CAPTION:
      MAYA & ALEJANDRO
      SOMEWHERE IN MEXICO

(Maya and Alejandro walk through the street.)

ALEJANDRO: (subtitled) Maya, you need to rest. You're dehydrated, you haven't eaten ... there's blisters all over your feet--

MAYA: (subtitled) We can't stop now. In a few days we'll be at the border.

ALEJANDRO: (subtitled) I don't know if you're going to last a few days.

(Alejandro looks around and heads toward two parked cars. Maya follows him.)

ALEJANDRO: (subtitled) How about that Cadillac?

MAYA: (subtitled) Since when are you a car thief?

ALEJANDRO: (subtitled) Since I vowed to get my sister to America, no matter what it took. Now stand back.

(Alejandro wraps his jacket around his hand and smashes the car window. An officer sees them.)

OFFICER: (shouts) Hey!

MAYA: (subtitled) (shouts) Alejandro! Police!

(Maya and Alejandro run. The officer runs after them. They run across the street and a car honks its horn. They dodge the car and continue to run across the street, ducking between the buildings.)

(The officer chases them across the street.)

(Maya and Alejandro run between the buildings and out the back.)

(The officer chases after them.)

(They come to a barbed wire fence. Alejandro helps Maya over. She jumps down to the other side and starts running. Alejandro starts to climb over the fence, but the officer catches up with him and pulls him down.)

(He handcuffs Alejandro. Maya turns and looks back from her hiding place behind the van parked below.)

ALEJANDRO: (subtitled) (softly) Run, Maya!

(The officer takes Alejandro back with him. There’s nothing Maya can do.)

CUT TO:



[EXT. (LAS VEGAS) CEMETERY -- DAY]

CAPTION:
      NIKI & MICAH SANDERS
      LAS VEGAS

(Niki and Micah sit in the parked car.)

NIKI: I know. I'm sorry.

MICAH: I don't want to leave Las Vegas.

NIKI: If there was any other way, Micah ...

MICAH: We're a family. We're supposed to stay together.

NIKI: This is our chance at a fresh start.

MICAH: Without Dad?

NIKI: Hey. I promise you, whenever you want to see your father, I will make sure that happens. It's time for us to say good-bye.

(Micah runs toward the headstone and falls to his knees. Niki runs after him and sits behind him. The headstone reads:

      DANIEL LAWRENCE HAWKINS
      1976 – 2007
      HUSBAND – FATHER - HERO

(Niki puts some flowers on the headstone.)

CUT TO:



[EXT. BEACH -- DAY]

(Two people sit in lounge chairs under a makeshift umbrella on the beach. The ocean waves lap softly in front of them. A cell phone rings.)

(Candice, now a redhead, answers the phone with one hand while she holds her pineapple and umbrella drink in the other.)

CANDICE (AS MICHELLE): (to phone) Hey. No, he's still sleeping. What can I say? The guy's tired.

(A man groans.)

CANDICE (AS MICHELLE): You -- he's waking up. I'll have to call you later. Yeah.

(She hangs up.)

(REVEAL – The man beside her is SYLAR.)

CANDICE (AS MICHELLE): Good morning, sleepyhead. You wanna go for a dip?

(He looks around.)

SYLAR: Where am I?

CANDICE (AS MICHELLE): We're in Maui. Nice, huh? Feel those trade winds.

SYLAR: Who are you?

CANDICE (AS MICHELLE): I'm "Michelle." (She holds out her hand.) I used to go by Candice, but ever since I pulled you off of Kirby Plaza ... the police have kind of been looking for my old self. I'm going for a new look.

(She takes her hair down. It’s definitely a new look.)

CANDICE (AS MICHELLE): What do you think?

SYLAR: You dragged me off Kirby Plaza?

CANDICE (AS MICHELLE): After you got stabbed through the chest with a samurai sword. Eight surgeries later and here we are. Which reminds me, don't try to move or you'll rip your stitches. Daiquiri?

SYLAR: Stitches? There's nothing there.

CANDICE (AS MICHELLE): I covered 'em up. I make illusions. It's kinda my thing.

SYLAR: So none of this is real?

(He holds her hand.)

SYLAR: Show me what's really going on here.

CANDICE (AS MICHELLE): Honey, you really don't want to know.

(He yanks her toward him.)

SYLAR: Show me.

(He gasps from the pain from the sudden movement.)

(The ILLUSION around them VANISHES and MORPHS back into grim reality – Sylar is on a makeshift operating table in a cold, dank and dirty concrete room. A large white bloodied bandage is on his chest and he’s hooked up to an IV bag.)

(He tries to get up and screams from the pain.)

SYLAR: Ah! Aah!

SMASH TO:



[TITLE CARD: HEROES]

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[EXT. (COSTA VERDE) BENNET RESIDENCE – DAY]

[EPISODE TITLE]
      CHAPTER THREE
      "KINDRED"



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

CAPTION:
      CLAIRE BENNET
      COSTA VERDE, CALIFORNIA

(Claire is on her bed reading Chandra Suresh’s book, Activating Evolution.)

(There’s a knock at her bedroom door.)

MR. BENNET: (o.s.) Hey.

(Claire looks up and sees her dad there.)

MR. BENNET: Your mom made waffles.

CLAIRE: Uh, okay. I'll be down in a minute.

(She closes her book. He steps into the bedroom.)

MR. BENNET: You were right to be angry. You tried to talk to me, and I lost my temper.

(He sits down on the seat nearby. He picks up the teddy bear and holds it.)

MR. BENNET: I'm sorry.

CLAIRE: No, it's fine. I shouldn't have ambushed you with all those questions.

(She swings her legs over the side and sits up as she faces her father.)

MR. BENNET: Of course you should, Claire. I've asked you to carry around a heck of a secret. And I think sometimes I don't appreciate how difficult that must be. So if you have anything you want to ask me, as long as we're in the privacy of our own home, please, ask away.

CLAIRE: If someone here found out about me, what would happen?

MR. BENNET: We'd have to leave California immediately. Go deeper into hiding. Maybe forgo schools and jobs altogether.

(Claire nods.)

MR. BENNET: That's worst-case scenario.

(Mr. Bennet stands up and leaves.)

(HOLD on Claire.)

CUT TO:



[INT. COSTA VERDE HIGH SCHOOL – CORRIDOR -- DAY]

(West is getting his stuff out of his locker. He closes the locker and finds Claire there.)

CLAIRE: It was a pedicure.

WEST: I'm sorry.

CLAIRE: The other night. That's what I was doing. I was giving myself a pedicure.

WEST: You're not very good at it.

(He leaves. Claire follows him.)

CLAIRE: What is it with you creeping around my house at night anyway?

WEST: Just tryin' to lend you a book.

CLAIRE: Okay, you know what, if I want to start a book club with you, I'll let you know. Until then, just stay away from me.

WEST: Will do. Just walk me through this one last time. I didn't see you cut off your toe, is that right?

CLAIRE: The bottle of nail polish fell over and it just looked like it was bleeding.

WEST: Improvising is really not your forte.

CLAIRE: Why are you such a smart-ass?

WEST: Why are you so bad at lying?

CLAIRE: I'm not lying.

WEST: Fine then. You gave yourself a pedicure. And your toe came off and then came back on. Works for me.

CLAIRE: I'm going to class.

(Claire leaves.)

WEST: Don't do your nails on the way.

CUT TO:



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

(Matt wakes up gasping. He turns and sees Molly still sleeping on the bed. He hears the squeak of a door and some rattling coming from the next room.)

(He gets up to get his gun out of the cabinet.)

CAPTION:
      MATT PARKMAN
      BROOKLYN

(He heads out the bedroom, then steps into the next room with his gun up.)

MATT: Freeze!

(Mohinder is in the kitchen. He turns around.)

MOHINDER: (exasperated) Oh, for God's sake.

MATT: Mohinder.

MOHINDER: Quiet down. You'll wake Molly.

(He turns the kitchen light on.)

MATT: What are you doing home? I thought you were in Cairo.

MOHINDER: Haiti, actually. My plane got in a couple of hours ago. I'll be working here in the city from now on.

MATT: I thought you were in the field.

MOHINDER: They're setting me up in a place downtown. Which means I'll be around to help with Molly.

MATT: Which means you're going to be doing your spy work in our own back yard -- great.

MOHINDER: Someone's grouchy when they don't get their sleep.

MATT: Molly's struggling—nightmares, problems at school. I can't babysit her and you at the same time.

MOHINDER: And why would I need babysitting?

MATT: You're in over your head.

MOHINDER: Thank you, but I--

MATT: (interrupts) They abducted me. Kept me prisoner. I know you think you can beat them at their own game, but, Mohinder, no offense, you're a professor. You're not 007.

MOHINDER: I told myself I would do whatever it took to take down the company. That's how I can help Molly.

MATT: You want to help Molly? Don't die on her.

MOLLY: (o.s.) Mohinder, you're home!

(Molly runs out and jumps into Mohinder’s hug.)

MOHINDER: That's right. And I'm never leaving again.

(Matt and Mohinder exchange worried looks.)

CUT TO:



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

(Ando is playing a video game on his computer.)

CAPTION:
      ANDO
      YAMAGATO INDUSTRIES
      TOKYO

MR. EGAMI: This ... is what I pay you for?

(Ando sees Mr. Egami in his cubicle and he quickly changes the screen back to work. He picks up a file folder.)

ANDO: Sorry sir. I was just taking a break.

MR. EGAMI: You think spending a few months with the CEO means ... you don't have to work? Now get to it!

(Mr. Egami leaves.)

ANDO: Sorry

(Ando tosses the file folder on his desk and rubs his eyes. He sighs wearily.)

(He looks at his file cabinet drawer, then opens it. He takes out the Kensei sword.)

ANDO: (to himself) Oh Hiro, I hope wherever you are ... you're doing better than me.

(Ando studies the sword. On the end of the hilt, he finds writing engraved in the metal.)

ANDO: (reads) Ando, open.

(Ando pops the end of the handle off and inside he finds tiny pieces of ancient rolled-up sheets of paper. He looks around, amazed by the discovery.)

(He looks at the first one.)

HIRO: (v.o.) (subtitled) Ando, I write to you from the greatest adventure of my life.

DISSOLVE TO:



[EXT. (1671) FIELD -- DAY]

(Hiro falls out of the sky and lands on the ground with a THUD!)

HIRO: (v.o.) (subtitled) I know I might disrupt the space/time continuum, but I've teleported back to the year 1671 ...

(Hiro looks up.)

DISSOLVE TO:



[EXT. WOODS – DAY]

(Hiro turns around. A man in armor steps out from behind the tree. He’s holding a loaded crossbow pointed at Hiro.)

HIRO: (v.o.) (subtitled) ... where I've befriended my childhood hero, the great Takezo Kensei!

(The man in the armor removes his mask. It’s Takezo Kensei.)

DISSOLVE TO:



[EXT. DIRT ROAD -- DAY]

HIRO: (v.o.) (subtitled) It turns out, he's not exactly how we imagined ...

(Kensei drinks sake out of a hollow gourd.)

HIRO: (v.o.) (subtitled) And that's why I've decided to stay.



(Hiro dunks Kenzei into the water trough.)

HIRO: (v.o.) (subtitled) To turn him into the man that history needs him to be.



(White Beard and his men gather in front of the small establishment. His men fire their bows, sending arrows at Takezo Kensei. He’s hit by three arrows and falls to the ground.)

(Hiro pulls out one of the arrows.)

HIRO: (v.o.) (subtitled) Fortunately I've made a miraculous discovery.

(The wound heals right before his eyes.)

HIRO: (v.o.) (subtitled) The great Takezo Kensei has powers too!

(Kensei is surprised that he’s not dead yet. He looks at Hiro.)

HIRO: (subtitled) "Godsend!"

(Kensei gets up. He still has two more arrows in him.

KENSEI: (spooked) What in heaven? All this blood and no wound.

HIRO: (excited) You have a power! An amazing power!

KENSEI: What have you done to me?

HIRO: This is how you become a hero!

(Hiro looks up at the sky.)

HIRO: (subtitled) I will fix history after all!

(He laughs with relief.)

KENSEI: This is impossible. This must be some sort of trick.

HIRO: No. Look.

(Hiro grabs the other two arrows and pulls them out of him. ouch!)

KENSEI: Ah!

(Kensei pulls back his clothes in time to see one of the wounds heal.)

KENSEI: (accusing) Lazarus risen. You've cursed me.

(Kensei picks his armor up.)

HIRO: No. This is not a curse. It's a gift. This gift will help you through the trials.

(He starts walking away from Hiro. Hiro follows him.)

HIRO: To help find the fire scroll ... uh ... the ninety angry ronins, help rescue Yaeko's father.

KENSEI: Get away from me! You're a devil.

(Kensei puts his helmet on and climbs up on his horse.)

HIRO: No, no. I'm here to help you.

(Kensei gallops away, leaving Hiro behind.)

HIRO: (shouts) Kensei, wait! We have to write history!

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[INT. (IRELAND) WANDERING ROCKS PUB – BACK ROOM -- DAY]

(Peter has his hand stretched out in front of him as he tries to make his power appear.)

PETER: Lightning.

(Nothing happens.)

PETER: Lightning! Sparks! Lightning!

(Nothing happens.)

CAITLIN: (o.s.) So you just yell it out.

(Peter turns and finds Caitlin standing in the doorway.)

CAITLIN: Well, I'm just trying to understand how it works.

PETER: That makes two of us. So far, I got nothin'.

CAITLIN: Well, it's a shame you can't order lightning up like a plate of chips. Sure would come in handy tonight.

(Peter turns to get his shirt.)

PETER: God, you know, I can do all these things. It's just -- I feel powerless.

CAITLIN: It's tough not knowing who you are.

(Peter puts his shirt on.)

PETER: Yeah, looks like I might just die before I ever figure it out.
CAITLIN: Maybe you're an extraterrestrial, escaped from a government facility. I have to admit, I'm pretty excited to see you open that box. And don't worry about tonight. I'll be there to watch your back.

PETER: How do I know I can trust you?

CAITLIN: I haven't told anyone about what you can do, now have I?

PETER: Why is that?

CAITLIN: Girl's gotta have her secrets.

CUT TO:



[INT. (MEXICO) POLICE STATION -- DAY]

(Officer Garcia and Alejandro enter the police department.)

ALEJANDRO: (subtitled) Please, it was a mistake.

(Officer Hernandez is sitting at his desk eating. Officer Garcia reaches for something on his desk.)

OFFICER HERNANDEZ: (subtitled) You're back. Busy morning?

OFFICER GARCIA: (subtitled) Had to chase this kid across town.

(Alejandro looks around and he sees the SE BUSCA sketches of him and Maya on the bulletin board: SOLICITADOS POR LA JUSTICIA POR HOMICIDIO.)

OFFICER HERNANDEZ: (subtitled) What did he do?

(This really isn’t good.)

OFFICER GARCIA: (subtitled) Tried to steal a car. Nothing interesting.

(Officer Garcia pushes Alejandro inside the cell. He closes and locks the door. Alejandro sits down on the bunk bed. There’s someone in the cell next to him. He sits up and looks at Alejandro.)

DEREK: Dude, you look like ass.

(Alejandro turns away from him.)

ALEJANDRO: No English.

CUT TO:



[INT. (COSTA VERDE) HIGH SCHOOL – SCIENCE CLASS – DAY]

(The lizard is in the tank. The class bell rings and the students take their seats in Mr. Zern’s science class. West sits down next to Claire.)

MR. ZERN: All right. Today, we are talking about mitosis.

(West raises his hand.)

MR. ZERN: Yes, West.

WEST: I have a question about yesterday's topic -- regeneration in lizards. Now, I know you said humans couldn't regenerate. But what if a lizard were to mate with a human? Could their offspring do it? Because I think I met a lizard girl.

(Claire is getting pissed.)

MR. ZERN: This doesn't strike me as a productive conversation, West.

WEST: But seriously. What if that lizard girl were to accidentally cut off her arm, or a leg, or you name the appendage, in some kind of ... horrifying spa debacle?

MR. ZERN: Where exactly are you going with this?

WEST: Would said appendage reattach itself back onto her lizard body?

(Claire gets up and leaves.)

(The door closes.)

(West gets up and follows her out.)

DISSOLVE TO:



[XCU: HIRO’S SCROLLS]

HIRO: (v.o.) (subtitled) Righting history and turning Takezo Kensei into a hero will not be easy.

(Ando is in his office reading the scroll.)

VARIOUS DISSOLVES OF:

[EXT. (1671) WOODS – DAY]

(Hiro is writing on the small piece of paper.)

HIRO: (v.o.) (subtitled) But at least I'm not alone.

DISSOLVE TO:

(Yaeko walks with Hiro, who is wearing Takezo Kensei’s armor.)

HIRO: (v.o.) (subtitled) Ando, I've met the most beautiful woman Japan has ever seen.

DISSOLVE TO:

(Yaeko lifts her face up as cherry blossom leaves fall around her.)

HIRO: (v.o.) (subtitled) And I think I've fallen in love with her.

(She smiles.)

HIRO: (v.o.) (subtitled) The only problem?

(Hiro removes his mask and smiles.)

HIRO: (v.o.) (subtitled) History has already written that story.

(Hiro frowns as he remembers who she is.)

HIRO: (v.o.) (subtitled) And she is destined to be the great love of Takezo Kensei.



[EXT. (1671) WOODS – DAY]

(Yaeko walks with Hiro.)

YAEKO: (subtitled) Are you sure he did not run away?

HIRO: (subtitled) Kensei? He does not run away from danger, he runs towards it. And punches its face!

(Hiro chuckles, but the joke falls flat.)

HIRO: (subtitled) These he is. I will bring him. And everything will be better.

(Hiro turns and runs toward Kensei. Yaeko waits under the tree.)

(Hiro finds Kensei at a fallen tree, cutting his own arm with a short sword just to watch it heal.)

KENSEI: I cut myself and the wound heals over and over again.

HIRO: You are a hero, like me. I have powers too.

KENSEI: You? Really?

HIRO: Yes. I can stop time and move through space.

KENSEI: Ah.

(Hiro shuts his eyes tightly and VANISHES.)

(Kensei’s hand is empty. His short sword is GONE! He steps forward and raises his arm to check the space where Hiro was when --

-- Hiro appears on the other side of the fallen tree just behind Kensei holding Kensei’s short sword.)

HIRO: Hello!

KENSEI: Oh!

(Kensei looks perplexed.)

KENSEI: How are such things possible?

HIRO: Some say it's a gift from God. Some people think it's evolution.

(Kensei pushes Hiro’s chest to make sure he’s real.)

KENSEI: What is that? Evolution?

HIRO: It means you can heal from any wound.

KENSEI: Really? (Hiro nods.) Any wound? (Hiro nods.) Sword? (Hiro nods.) Serpent? (Hiro nods.) Fire?

(Hiro nods.)

(Kensei smiles.)

KENSEI: This'll make me richer than the pope.

HIRO: Rich?

KENSEI: Yes! Swordsmen are obsessed with duels in this country. I'll clean up in wages.

HIRO: You have to defeat White Beard and fight the 90 angry ronin.

KENSEI: If you're obsessed with my stories so much, how about you handle them?

(Kensei walks past Hiro.)

HIRO: Kensei, you have to stop walking away from your destiny!

KENSEI: Who's going to stop me? Who? No one is going to stop me because no one can stop me.

(Hiro hands Kensei his helmet.)

KENSEI: God. This is extraordinary!

(Kensei puts the helmet on and doesn’t notice that Hiro has stepped up behind him. Hiro puts a hand on Kensei’s shoulder and they both VANISH.)



[EXT. WOODEN GATES – DAY]

(Hiro and Kensei appear in front of a WOODEN GATE. Both Kensei and Hiro look upward, amazed by what they see --

HIRO: (v.o.) (subtitlted) It was clear Kensei wouldn’t become a hero ...

-- great steps leading up to a large fortress.)

HIRO: (v.o.) (subtitlted) unless I forced him to learn the hard way.

DISSOLVE TO:



CU: HIRO’S SCROLL

HIRO: (v.o.) (subtitlted) If he could defeat the 90 angry ronin ...



[INT. (TOKYO) YAMAGATO INDUSTRIES – ANDO’S OFFICE – PRESENT]

(Ando is reading the scroll.)

HIRO: (v.o.) (subtitlted) He’d have a chance at becoming a hero.



[EXT. (1671) WOODEN GATES]

(Hiro looks at the fortress. Kensei turns and looks at Hiro.)

KENSEI: Where have you taken me?

HIRO: To get the fire scroll. It's on top of those steps.

(In the background, they hear the angry grunts of numerous men.)

KENSEI: Who are they?

(In front of them, a mass of ronin rush out of the fortress and head down the steps.)

HIRO: Those are the 90 angry ronin, sworn to protect it.

(Midway down the steps, the ronin stop and draw their swords.)

KENSEI: How angry are they?

(Hiro gives Kensei his sword.)

HIRO: Good luck, Kensei. You can do this.

(And with that, Hiro vanishes.)

(Kensei hugs his sword and glances back at the angry ronin headed his way. He takes a step in through the gates and faces the ronin.)

CUT TO:



[EXT. (COSTA VERDE) HIGH SCHOOL -- DAY]

(West finds Claire outside.)

WEST: I take it you're annoyed.

CLAIRE: What is it, West? Huh? What do you want from me?

WEST: I want you to admit you're different.

CLAIRE: Okay, fine. I'm a freak. All right?

WEST: Claire.

CLAIRE: I am such a freak, in fact, that I have to tiptoe around this school pretending to be some brainless Barbie doll so nobody notices how different I am. 'Cause if they found out, I'd be carted off to some human zoo so I could be poked and prodded at for the rest of my life. So yeah, West, I'm different. And you can tell the world if you want to, because I am tired of pretending to be someone I'm not.

WEST: Claire, shut up.

(West picks her up and flies her straight up into the sky. Claire starts to laugh.)

(He flies her up over the city and off screen.)

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[EXT. (IRELAND) PINKY’S SPORTSBOOK -- NIGHT]

(Peter and Caitlin are in the car listening to the radio. When the broadcast is over, Caitlin turns the radio off. She turns to Peter.)

CAITLIN: Be careful.

PETER: You too.

(Peter gets out of the van and down the steps toward the Sportsbook.)

(Two Safeline guards approach the front door. One presses the buzzer.)

MAN: (over intercom) Yes, who's there?

SAFELINE GUARD 1: (to intercom) Safeline. Here for the pickup.

PETER: (o.s.) Hey! Hey.

(The guards turn around and see Peter headed toward them.)

PETER: I want my money back.

(Safeline Guard 1 turns away from the door and heads over toward Peter.)

SAFELINE GUARD 1: All right, back away, friend.

PETER: I'm not your friend, okay? Just give me my $200 back.

(Both guards head toward Peter.)

PETER: Look, Celtic was supposed to be a lock to win, okay? Just help a guy out.

SAFELINE GUARD 1: Hey, that's not our problem.

(Will steps behind the Safeline Guard 1 and cocks his rifle.)

WILL: Actually, it is your problem.

(Ricky is holding a second rifle on the Safeline Guard 2.)

RICKY: Tie him up, Tuko.

(Tuko tapes up the guards’ mouths and ties their hands behind their backs.)

RICKY: Mind these two.

(Ricky and Will each take up position on either side of the front doors.)

(Peter takes the two guards to behind the car and pushes them down.)

PETER: Stay down!

(The front doors open and one Sportsbook Guard steps outside pushing a couple of locked boxes. Ricky and Will step out in front of them with their guns out.)

RICKY: That'll be that now.

(Tuko runs forward. He and Will pick up the top locked box and run off. The guard steps back and presses the alarm. Ricky steps forward. Instead of shooting him, he hits him in the face with the butt of his gun. The guard falls backward, but isn’t knocked out.)

(Will and Tuko run away with the locked box.)

(The front door opens and a second guard steps outside and fires at the men running away.)

(Peter uses his powers and moves the armored car in between the guards and them. The armored car traps the guards on the front steps.)

(Peter is shocked by what he’s just done. Caitlin is surprised as well.)

VOICE: There he is!

(Peter turns and runs back to Caitlin and the van.)

PETER: Uhh!

VOICE: Stop!

(Peter climbs into the van.)

PETER: Go!

(Caitlin drives away.)

CUT TO:



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

(Company workers are cataloging Isaac’s paintings and storing them away. There are large crates down in the studio and boxes stacked up on the entryway. Mohinder walks into the studio and looks around. It’s already been taken over by the company. Bob is there reading a 9th Wonders comic book while another worker works.)

(Mohinder puts his jacket down on the railing and walks down the steps leading into the studio.)

MOHINDER: Isn't this Isaac Mendez's loft? The painter.

(Bob puts the comic book down and turns around quickly.)

BOB: It was ... until Sylar killed him.

MOHINDER: He was murdered?

(The worker leaves them alone.

BOB: Every space has some unhappiness in its past. The company recently poured a lot of money into outfitting this laboratory. Everything state of the art.

(He shows Mohinder the back of the studio.)

MOHINDER: Well, lucky timing for me then.

(Mohinder walks into the lab.)

BOB: Mohinder, it was built for you.

(Mohinder turns around to look at Bob.)

MOHINDER: I'm sorry.

BOB: You don't realize how valued you are here at the company. Our people have been instructed to keep a close watch on you—to anticipate your every need.

MOHINDER: That is very generous of you. But really, I prefer to work on my own.

BOB: Supervision is in your best interest ... and in ours.

(Bob puts a hand on Mohinder’s shoulder.)

BOB: You're part of the family now.

(Bob smiles and chuckles.)

DISSOLVE TO:



[EXT. (1671) ROAD SIDE -- DAY]

(Yaeko and Hiro wait under the tree. Yaeko sits on a tree root holding a sprig of cherry blossoms.)

YAEKO: (subtitled) You're sure Kensei is coming?

HIRO: (subtitled) Oh, yes!

YAEKO: (subtitled) Maybe he's been killed. Or kidnapped.

HIRO: (subtitled) Not Kensei. He knows you are waiting for him.

YAEKO: (subtitled) You have so much faith in him. I want so much to trust him. At times ... He seems as if he is two men. One is a brute. But the other Kensei ... he is gentle. It sounds silly. But there was a moment ... under the cherry blossoms ... I felt like I was home...

HIRO: (subtitled) Really?

(She turns and stops.)

(Kensei walks slowly onto the road. He removes his helmet.)

(Yaeko stands up.)

(Kensei takes out the scroll. Hiro puts his arms up with victory.)

HIRO: Yatta !!!

(Yaeko runs to Kensei and hugs him.)

HIRO: The scroll!

(Kensei hugs Yaeko and looks at Hiro. Hiro bows respectfully back to him.)

YAEKO: (subtitled) I will never doubt you again.

(She kisses him on the lips, then hugs him.)

(Hiro watches them, his smile fading. Kensei smiles and looks at Hiro as he hugs Yaeko.)

(HOLD on Hiro.)

DISSOLVE TO:



[EXT. (NEW ORLEANS) -- NIGHT]

(Niki and Micah get out of the cab with their bags.)

NIKI: Things'll be better now. You'll see.

(Niki pays the taxi driver and takes Micah’s hand as they head toward the house.)

NIKI: But you have to remember your promise. No more powers.

CAPTION:
      NEW ORLEANS, LOUISIANA

MICAH: I just don't see the point of us having these abilities when we don't even use them.

NIKI: The point is staying safe.

(They stop at the front lawn.)

NIKI: This is your chance at a normal life ... with normal people. They wouldn't understand.

(Micah turns his back to Niki.)

MICAH: I just don't want you to go.

NIKI: I'll only be gone for a while. And you're gonna be staying with family. It could be fun.

(Micah turns and looks at Niki.)

MICAH: I don't even know them.

(Niki kisses Micah’s cheek and they both sit down on the steps to the front walk.)

NIKI: I don't know how long I'll be gone. But I do know that when I get back, we'll be together. I have to do this.

MICAH: That's what you always say before you do something bad.

(Niki hugs Micah.)

NIKI: I love you.

(CUT TO: Niki knocks on the front door. She holds Micah’s hand and smiles as the door opens. Nana looks at them.)

NANA: Well, welcome to New Orleans.

(She smiles at them. Micah smiles back.)

CUT TO:



[EXT. (MEXICO) ALLEYWAY -- DAY]

(Maya stands in the alleyway with her back to the wall. She looks up and we see that she’s looking at the bar-covered window. She’s just outside the jail.)



[INT. POLICE STATION – DAY]

(Officer Garcia sits at his desk reading the paper when Maya walks in.)

MAYA: (subtitled) Excuse me, I'm here to get my brother. You arrested him today for stealing.

OFFICER GARCIA: (subtitled) The fine's 2500 pesos.

MAYA: (subtitled) I have American money.

(She digs into her pocket.)

MAYA: (subtitled) 14 dollars.

OFFICER GARCIA: (subtitled) Honey, this is prison, not a flea market.

(Officer Hernandez smirks.)

MAYA: (subtitled) But I need my brother now. I'm sick. We're going to America to find a doctor.

OFFICER GARCIA: (subtitled) America? So you have papers to travel?

(Maya turns and sees the SE BUSCAN poster on the wall.)

OFFICER GARCIA: (subtitled) Why don't you leave before I call the border police.

MAYA: (subtitled) I wouldn't do that.

OFFICER GARCIA: (subtitled) Oh yeah?

(She goes to the wall and rips the poster off and shows it to Officer Garcia.)

MAYA: (subtitled) Look. This is me! This is my brother! We're murderers.

(Officer Garcia gets to his feet.)

OFFICER GARCIA: (subtitled) Get her! Now!

(Officer Hernandez heads toward them.)

(They grab her and twist her hands behind her back. They push her down onto the desk to handcuff her and her eyes TURN BLACK.)

(She grunts from the treatment.)

(Derek gets up off the cell bunk and goes to the bars to see what’s happening. Alejandro also gets up.)

DEREK: What is that?

(Now, we hear the officers groaning.)

ALEJANDRO: (subtitled) Something’s not right.

(Behind him, Derek collapses. Alejandro doesn’t notice it. Derek hits his head against the mattress as he slumps to the floor. His eyes are BLACK.)

(Alejandro turns and sees Derek’s eyes.)

ALEJANDRO: (subtitled) Maya.

(He turns and looks back out the cell.)

ALEJANDRO: (subtitled) (shouts) Maya!

(Maya is in the main room looking for the keys from the fallen officer’s pockets.)

ALEJANDRO: (subtitled) (o.s.) Maya! Back here!

(She finds the keys and heads for the cells to get Alejandro.)

(She stumbles to the door and looks at Alejandro. Her eyes are bleeding BLACK TEARS.)

ALEJANDRO: (subtitled) (whispers) You killed them.

(Maya shakes her head.)

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[INT. (MEXICO) POLICE DEPARTMENT -- DAY]

(Derek’s eyes bleed BLACK TEARS. Maya shakes her head.)

MAYA: (subtitled) I couldn’t leave you.

(She opens the cell door.)

ALEJANDRO: (subtitled) It’s all right. Everything is going to be all right.

(He sits her down on the bench and kneels in front of her.)

ALEJANDRO: (subtitled) I’m here now. I’m here.

(He holds her hands with such intensity that they shake. He suppresses her powers. The BLACK TEARS vanish from her face. Alejandro’s eyes cloud BLACK.)

(Derek gasps and coughs as he, too, recovers. He looks out of the cell and sees the officers move on the floor. They’re not dead.)

(Alejandro pants with exhaustion.)

(Derek gets to his feet.)

MAYA: (subtitled) Let’s go.

DEREK: W-wait.

(Alejandro and Maya stop.)

DEREK: Take me with you. I have a car.

(Maya and Alejandro run over to Derek. Maya helps Derek out.)



[EXT. POLICE STATION – DAY -- CONTINUOUS]

(The door bursts open. Alejandro, Maya and Derek run outside. They get into Derek’s car – a Nissan Rogue with a "GO !!! CONQUISTADORS" bumper sticker and California license plate. Alejandro gets behind the wheel and they drive away.)

CUT TO:



[INT. (IRELAND) WANDERING ROCKS PUB -- NIGHT]

(Ricky opens the locked box as Will and Caitlin watch.)

RICKY: Oh, jeez. Look at that.

(Will hands glasses of beer to Caitlin and Ricky.)

RICKY: Gorgeous.

(Ricky takes the glass of beer.)

RICKY: I'd say we earned these.

WILL: Damn right.

(Ricky and Caitlin clink glasses and sip.)

WILL: Hey, drink up. Slainte.

(Will turns around and points the gun at Ricky.)

RICKY: (teases) All right, Will the traitor. Please don't shoot.

WILL: This is no joke.

(Ricky stops smiling.)

WILL: Now give me that damn money or I swear I'll shoot you’s dead, so I will.

PETER: (o.s.) So I was right.

(Ricky and Caitlin turn around and find Peter in the room.)

WILL: Yeah. That you were. Congratulations, Peter.

(Will turns the gun on Peter and fires several times at him. Peter goes down.)

CAITLIN: Peter!

(Caitlin starts toward Peter. Will stops her.)

WILL: Hold your horses, sweetheart!

(Ricky faces Will. Will points the gun at Ricky.)

WILL: Now about that money.

RICKY: No way.

WILL: Give me the damn money!

(Suddenly Will is swept off his feet as he slams up high against the wall. He drops the gun.)

(Caitlin and Ricky turn around and find Peter still conscious, his hand outstretched as he holds Will up against the wall.)

CAITLIN: Peter.

(Peter gasps and lowly gets to his feet.)

WILL: What the ...

(Peter looks down at his chest – there’s blood, but the wounds are spontaneously healing. The bullet pops back out of his chest and the hole heals.)

WILL: What the, jeez --

(Healed, Peter turns his attention to Will and strengthens his hold on him. Will starts choking.)

RICKY: What's he doin'?

(Caitlin can see that Peter’s strangling Will. She turns and screams at him.)

CAITLIN: (screams) Peter!

(Peter stops focusing on Will and looks at Caitlin. She shakes her head. No.)

(Will continues to choke and he gasps for breath. Peter lets him go.)

(Will falls to the ground.)

(Ricky turns and looks at Will. Will scrambles to his feet and runs out of the pub. Ricky looks at Peter. Caitlin looks at Peter.)

CUT TO:



[EXT. (1671) WOODS – DAY]

(Hiro sits on a fallen tree and writes his scroll letter to Ando.)

HIRO: (v.o.) (subtitled) Good news, Ando. Kensei proved himself to be a hero after all. Which means soon, I’ll be able to come home.

(In the background, Yaeko and Kensei are under the cherry blossom tree. Kensei turns and heads for Hiro.)

(Hiro hides the scroll letter in the hidden compartment in the hilt of Kensei’s sword.)

HIRO: (v.o.) (subtitled) But it will not be easy to say goodbye.

(Kensei walks up to Hiro.)

KENSEI: Hiro.

(Hiro stands up and turns around.)

HIRO: I was worried you wouldn't return. But you did. You brought back the scroll. Now I know that you will get the rest of them up to White Beard's camp. And even Yaeko loves you. I can leave now.

(Hiro takes his glasses out of his sleeve and puts them on.)

KENSEI: Wait. Wait. You're going?

HIRO: Yes, I have another life to go to. My father ... Ando ... They're all waiting for me.

KENSEI: But what if I can't do this without you? Only you can keep me from returning to my heathen ways. You're like a conscience. Only I take heed of you.

HIRO: I almost broke history by coming back here. If I stay, I risk making it worse.

KENSEI: I don't know what to say, carp. You've done this grubby soul a great kindness. I thank you. It has been my honor.

(Kensei bows to Hiro.)

HIRO: No. No, it is I who am honored ... to meet the great Takezo Kensei.

(Hiro picks up Kensei’s sword and hands it to him. He bows. Kensei chuckles. Yaeko walks up to them.)

YAEKO: (subtitled) You are really leaving us?

(Hiro nods and bows.)

YAEKO: (subtitled) You are a true and noble friend.

(Yaeko bows to Hiro. Kensei puts a hand on Hiro’s shoulder.)

KENSEI: Bye, friend.

(Kensei takes Yaeko’s hand and they walk away. Hiro watches them. As they pass under the cherry tree, Kensei shakes the branches to make the blossoms fall on Yaeko.)

(Hiro watches her hold her hands up to the falling blossoms and he quickly turns around. His eyes are shut tight as if he’s going to time travel. But, he can’t. He opens his eyes.)

HIRO: (v.o.) (subtitled) I’m sorry, Ando. I can’t come home.

(Hiro turns and runs to join them.)

HIRO: (v.o.) (subtitled) Not yet.

(They turn around and see Hiro running toward them.)

HIRO: Kensei! Kensei!

DISSOLVE TO:



[INT. UNKNOWN PLACE -- DAY]

(Sylar stares at the Happy Face HAVE-A-NICE-DAY coffee cup on the table, his hand partially open as he tries to move the cup.)

(The cup doesn’t move.)

(Candice walks into the room carrying a plate of food.)

CANDICE (AS MICHELLE): I made you some breakfast.

(She puts the plate in front of him.)

SYLAR: I can't make it move. That cup. I used to be able to make things move with my mind.

(Candice sits down at the other end of the table.)

CANDICE (AS MICHELLE): Thanks for making breakfast, Michelle, you're a real sport.

SYLAR: I can't freeze anything. I can't move things. What happened to them?

CANDICE (AS MICHELLE): Uh, they must've disappeared with your injuries.

SYLAR: I thought you said you were taking care of me?

CANDICE (AS MICHELLE): I'm sorry. Uh, are you breathing? No collapsed lung? No infection from the wound?

(He slams his hand on the table in frustration.)

SYLAR: Everything that I've been working for, everything that I had, it's gone.

CANDICE (AS MICHELLE): Listen, the people I work for, they're gonna make sure you get better. Your back's already healed. It's just your chest we're worried about. And when that heals, you'll be able to reacquire your powers. With my help, of course.

SYLAR: You. How are you gonna help? (He throws the plate across the table.) You gonna make me some more eggs?

CANDICE (AS MICHELLE): By making it easy.

(She stands up and smiles at him.)

CANDICE (AS MICHELLE): By making it fun. I can take you anywhere you want to go. Paris. London. How about Japan? And I can be ... anyone you want me to be.

(She MORPHS into a Geisha.)

CANDICE (AS GEISHA): If your fantasy is exotic ...

(She bows to him ... and quickly changes –

-- into two blonde HOT TWINS on roller blades. They flank Sylar.)

CANDICE (AS HOT TWIN 1): (both) ... or more run-of-the-mill.
CANDICE (AS HOT TWIN 2): (both) ... or more run-of-the-mill.

(The two hot twins roll off screen.)

(Sylar himself is standing in front of him.)

CANDICE (AS SYLAR): ... or something more familiar, if that's what you're into.

(Sylar is quiet as he thinks about it.)

CANDICE (AS MICHELLE): Don't you see? I can help you. (She steps closer to him.) We were meant to do this together.

(Sylar struggles to get to his feet. He looks at her and smiles.)

SYLAR: I underestimated you. (He brushes her hair away from her face and cups her cheek.) You really are extraordinary. (He steps in even closer.) Just like me.

(Without her noticing, he reaches over with his free hand and picks up the coffee cup. He smashes it against the side of her head. Candice falls to the floor. She’s still conscious and looks at him, her ear bleeding.)

SYLAR: You were right. I am gonna get my abilities back. Starting with yours.

(Candice whimpers and she can’t get up. Sylar kneels next to her, blocking the CAMERA VIEW.)

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[INT. UNKNOWN PLACE -- DAY]

(Sylar pulls a shard of broken coffee cup out of Candice’s head. His hand is bloodied.)

SYLAR: So this is what you really look like.

(He stands up as he looks at Candice’s real form on the floor.)

SYLAR: So silly trying to be something that you're not.

(He wipes his bloodied hands on a towel.)

SYLAR: Well, Michelle or Candice or whoever you are, it wasn't all for nothing. Thanks to you ... I'll be going back to Maui now.

(Sylar closes his eyes and concentrates. Nothing happens. He looks around. Nothing’s changed.)

SYLAR: London.

(He tries again. He concentrates ... and nothing happens.)

SYLAR: Japan.

(He tries again. Nothing happens.)

SYLAR: (shouts) Japan!

(He collapses against the table from the pain.)

SYLAR: Ah!

(The table shakes.)

SYLAR: It's not working. I don't have it. Your power. What's wrong with me?

(He clutches his stomach.)

SYLAR: Ahh!

(He staggers to the door.)



[EXT. UNKNOWN PLACE – DAY -- CONTINUOUS]

(Sylar breaks through the front door. He staggers out of the building and into the sunlight. He stops as he looks around.)

(Everywhere he looks, he is completely surrounded by vegetation. He looks to both sides of the building – nothing but trees and bushes.)

(ZOOM OUT QUICKLY – FAR SHOT of the building in a middle of the jungle.)

CUT TO:



[INT. (IRELAND) WANDERING ROCKS PUB]

(Caitlin is putting the family tattoo on Peter’s right forearm. He winces from the pain.)

CAITLIN: Ah, would you quit being such a baby, pretty boy?

(Ricky walks up to them with a drink in his hand.)

RICKY: Peter.

(Ricky sits down. He’s holding Peter’s box.)

RICKY: I may not know what you are, but I know who you are. You're one of us.

(He clasps Peter’s shoulder. He looks at Caitlin, who nods with approval.)

RICKY: And we have no secrets among family.

(Ricky puts the box in front of Peter. Ricky gets up and leaves. Peter looks at the box.)

CAITLIN: Well?

PETER: Well what?

CAITLIN: This is it. Your box. Your life. You gonna open it or what?

PETER: What if it's a life I don't want? When I had Will against the wall, I could've killed him. I wanted to. What if that's who I am?

CAITLIN: But you didn't kill him, did you?

PETER: No, that's because of you.

CAITLIN: It's not because of me, Peter. You're a good soul. I can tell.

PETER: What if I open this box and I find otherwise?

(She puts her hand over his on the box.)

CAITLIN: Do you like the way you are right now?

(He nods.)

CAITLIN: Do you like who you are right now?

(He nods.)

CAITLIN: Well, then maybe for now just leave it be.

(She leans forward and they kiss. He cups her neck with his right hand – and we see the tattoo CHANGE into THE SYMBOL.)

(Then THE SYMBOL vanishes.)

FADE TO WHITE:



[EXT. (CALIFORNIA) BEACH -- DAY]

(West and Claire sit on the beach and watch the waves roll in as they talk.)

CLAIRE: I think yours is cooler. Any time your parents get annoying, you can just open the window and take off.

WEST: Are you kidding? You're indestructible. You can skydive without a parachute.

CLAIRE: You could skydive without a plane.

(They laugh.)

WEST: Uh, you can eat fire just for kicks.

CLAIRE: I feel pain. I just get over it quickly.

WEST: So how would it feel then if I -- if I do this?

(He pinches her ear.)

CLAIRE: (yells) Ow! It hurts!

(She grabs his ear and pinches. West laughs.)

WEST: What about this then?

(He reaches down to pinch somewhere else. Claire yells.)

CLAIRE: Ah!

(They laugh. He leans in and they kiss.)

(Claire notices the two marks on West’s neck.)

CLAIRE: What's on your neck?

(He pulls away from her and pulls his shirt over them to hide them from her.)

WEST: A couple years ago, when we were living in St. Louis, I was riding my bike to school, and next thing I knew it was a day later and I was waking up in my bed. Last thing I remember is this man stepping out of the bushes calling my name.

CLAIRE: What are you talking about? What man?

WEST: I don't know who he was. But I remember the way he looked at me. Like I was an animal he wanted to trap. I try to put him out of my head. But sometimes I can see his face -- that guy with the horn-rimmed glasses.

CUT TO:



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

(Mohinder is looking through the scope.)

BOB: I have another vial.

(Bob holds out a vial.)

MOHINDER: I'll get started on it right away.

(He holds his hand out. Bob gives him the vial and walks away. Mohinder looks at the vial. Bob’s phone rings.)

BOB: (to phone) Yeah? (pause) I have to take this outside.

(Bob heads outside. Mohinder nods and waits for Bob to leave.)

(Mohinder takes his own cell phone out and dials. He gets up and moves out of frame.)



[EXT. (NEW YORK) ISAAC’S STUDIO -- CONTINUOUS]

(Bob is on his phone.)

BOB: (to phone) Where are you?

NIKI: (from phone) I just got here. I'm sitting in your office.

INTERCUT WITH:

[INT. (NEW YORK) THE COMPANY]

NIKI: (to phone) Are you sure you're gonna be able to cure me?

BOB: (to phone) Yes. And like I said, in exchange, we're going to want a little something from you.

(Clearly Niki thinks this is a good deal.)

CUT TO:



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

(Mohinder is on the phone and walking through the area of Isaac’s loft that they’re crating up.)

MOHINDER: (to phone) They're moving the paintings somewhere. There's only a few crates left.

(Mohinder kneels at one of the crates and pulls out the painting of Hiro and Ando under the HOMECOMING banner. He quickly pushes it back into the crate.)

MOHINDER: (to phone) This was a terrible idea. This guy's watching my every move.

(Mohinder continues to look through the crates.)

MOHINDER: (to phone) I can't do this. I'm in over my head.

(Mohinder pulls out the painting of the ECLIPSE, then pushes it back into the crate.)

INTERCUT WITH:

[INT. (COSTA VERDE) BENNET RESIDENCE – DEN – NIGHT]

(Mr. Bennet is on the phone. His laptop is on behind him.)

MR. BENNET: I told you you have no reason to worry. As long as I'm alive, you will be taken care of.

(Mohinder pulls out a painting and sees the notation on the bottom right corner: 8/8. He stops as he looks at the painting.)

MOHINDER: (to phone) That's exactly the problem.

MR. BENNET: (to phone) What are you talking about?

(Mohinder takes a photo of the painting with his cell phone.)

MOHINDER: (to phone) I'm sending you a jpeg of a painting I found. The rest have been shipped off somewhere. It's the last in the series: eight of eight.

(Mr. Bennet turns to his computer.)

(He pulls up his file with eight empty squares. The first block fills with the first painting of the DEATH OF KAITO NAKAMURA.)

MR. BENNET: (to phone) We know how it begins with the death of Kaito Nakamura. But how does it end?

(Mohinder shakes his head.)

MOHINDER: (to phone) Not well, I'm afraid.

OFF MR. BENNET – As he receives the picture, he pulls the phone down.

(He receives the final painting. It’s of him, dead with a bullet through his left eye and a bullet hole in his horn-rimmed glasses. Just behind him, a dark figure holds CLAIRE. Her eyes are closed and they hold each other in their arms.)

(Mr. Bennet stares at the picture. Suddenly, he turns and sees Claire watching him through the glass wall. He immediately closes the window.)

(Claire walks up to the doorway. They look at each other.)

MR. BENNET: Night, Claire.

CLAIRE: Night, Dad.

(Claire continues to look at him. Finally, she turns and leaves. Mr. Bennet looks at the last painting.)

(He closes his laptop.)

(HOLD on Mr. Bennet.)

FADE TO BLACK.



TO BE CONTINUED ...

 

Source : www.kilohoku.com

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Au total, 78 membres ont visionné cet épisode ! Ci-dessous les derniers à l'avoir vu...

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16.06.2022 vers 23h

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