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#206 : La ligne

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Au lycée, West convainct Claire de donner une leçon à Debbie, la meneuse des cheerleaders car celle-ci qualifie Claire de trop ordinaire pour rejoindre l'équipe. De son côté, Mohinder doit faire face à un dilemme moral sérieux avec la Compagnie et H.R.G. rend visite à son mentor Russe pour tenter de trouver les dernières peintures prophétiques d'Isaac.
Pendant ce temps, approchant de la frontière des États-Unis, Alejandro devient de plus en plus mal à l'aise avec les intentions de Sylar vis-à-vis de sa soeur Maya. Peter quant à lui recherche avec Caitlin une mystérieuse porte qu'il a peint et qui les conduit dans un endroit surprenant. Enfin, dans le Japon féodal, tandis qu'il essaie de réctifier l'histoire, Hiro lutte avec ses sentiments pour la princesse Yaeko qui est promise à Takezo.

*** Captures ***

Popularité


4.67 - 3 votes

Titre VO
The Line

Titre VF
La ligne

Première diffusion
29.10.2007

Vidéos

Vidéo promo 2x06

Vidéo promo 2x06

  

Plus de détails

Réalisé par: Jeannot Szwarc
Écrit par: Adam Armus et Kay Foster

À la suite de la mort de Ricky, Peter annonce à Caitlin qu'il va se rendre à Montréal. La femme qui a tué Ricky en avait après lui et il veut donc savoir pourquoi. Caitlin décide de venir avec lui, car elle se trouvait également sur la peinture peinte par Peter. Ce dernier est d'abord réticent, mais finit par accepter lorsqu'elle lui avoue qu'elle veut être là quand il retrouvera la femme qui a tué son frère. Elle veut se venger.

Au lycée de Costa Verde en Californie, Claire auditionne pour faire partie de l'équipe des cheerleaders. Malheureusement, Debbie, leur capitaine, refuse son admission. May, une autre cheerleader, s'indigne en affirmant que Claire était vraiment bonne, mais Debbie rétorque que ce qu'elle recherche, c'est une personne "extraordinaire" et que Claire ne l'est pas. Cette dernière prend assez mal ce reproche, car elle doit absolument faire partie de l'équipe pour couvrir son mensonge du précédent épisode.

Dans les locaux de la compagnie, Mohinder observe la démonstration du pouvoir de Monica. Celle-ci a beaucoup de questions concernant son habileté, mais Mohinder n'est pas en mesure de lui fournir beaucoup d'explications. À ce moment, Bob arrive et se présente à Monica. Il demande ensuite à parler à Mohinder. Une fois dans son bureau, il lui dit qu'ils vont maintenant devoir expérimenter le virus Shanti sur Monica. Mohinder est totalement contre l'idée, mais Bob lui affirme qu'ils doivent le faire dans l'intérêt de tous. Il lui dit également que c'est lui, Mohinder, qui devra injecter le virus à la jeune fille. Il quitte ensuite la pièce, laissant Mohinder choqué.

Mohinder décide donc de téléphoner à Noah. Celui-ci lui dit qu'il doit faire ce que la compagnie lui demande de faire, car maintenant qu'ils ont Molly, ils peuvent le faire chanter. Il lui demande également de ne pas le décevoir, car refuser de faire l'injection pourrait détruire tout ce pour quoi ils ont travaillé. Il raccroche ensuite.

En Russie, une femme avec son fils s'apprête à partir à une fête. Elle dit donc au revoir à son mari Ivan et ils quittent. Lorsque la porte se referme, Noah et l'Haïtien arrivent derrière l'homme. Ce dernier est très surpris et Noah lui dit en Russe «Ivan, mon vieil ami...» avant de l'assomer avec la crosse de son arme. Il ajoute ensuite «... il faut que l'on parle.».

Claire et West s'assoient à une table pour manger. Elle lui avoue alors qu'elle a menti à son père pour cacher le fait qu'elle sortait avec lui. Il ne comprend toujours pas trop pourquoi son père est si protecteur. Elle ajoute ensuite que sa couverture ne pourra pas marcher, car Debbie ne l'a pas prise dans l'équipe. West lui dit alors de réfléchir à un moyen de la faire tomber pour qu'elle puisse intégrer l'équipe. Claire répond que ce qu'une cheerleader craint le plus est l'humiliation publique. West lui propose donc d'échaffauder un plan avec ça.

Sur une route du Mexique, Maya qui conduit la voiture discute avec Sylar tandis qu'Alejandro dort en arrière. Sylar lui parle de ses anicens pouvoirs et lui dit qu'il veut voir le Dr.Suresh pour justement les retrouver. Maya est étonnée, elle ne comprend pas pourquoi il voudrait redevenir "différent". Il lui dit alors que ce qu'il recherche, c'est d'être "spécial". Alejandro se réveille alors et demande à sa soeur en espagnol d'arrêter à la prochaine station-service pour y trouver des gens qui leur feront traverser la frontière. Maya lui demande ce qu'ils vont faire de "Gabriel" et Alejandro répond qu'il ne lui fait pas confiance, et donc qu'il ne viendra pas avec eux. Sylar demande alors à Maya ce qui se passe et elle lui dit la vérité. Sylar demande à Alejandro pourquoi, mais Maya les interromps en assurant à son frère que "Gabriel" est quelqu'un de bien. Elle ajoute qu'il a été mis sur leur chemin par dieu et qu'il faut qu'ils aient foi en lui. Alejandro abandonne alors et Maya dit à Sylar que c'est réglé.

Au Japon, Ando retourne voir le spécialiste qui déchiffre les parchemins envoyés par Hiro et ils pousuivent la lecture de ses aventures.

Yaeko et Hiro se tiennent proches du camp de Barbe-Blanche et ce dernier craint pour la vie de la princesse. Celle-ci le rassure en lui disant qu'ils doivent mettre la priorité sur le sauvetage de son père. Elle lui demande alors dans quel tente il peut bien se trouver prisonnier. Hiro tente de se souvenir de l'histoire de Kensei et il lui affirme alors que c'est la tente d'où s'échappe de la fumée. Cette dernière n'est pas satisfaite, il s'agit de la vie de son père et il ne devrait pas y aller au gré d'hypothèses. Kensei arrive alors et affirme également que c'est la tente qui fume, Yaeko est très étonnée de voir qu'Hiro avait raison. Ils décident ensuite de passer à l'action.

De retour en Russie, Ivan est attaché sur une chaise et Noah l'interroge sur les toiles peintes par Isaac Mendez. Ivan nie totalement connaître où elles se trouvent. Noah le menace alors, il lui dit que le Haïtien peut lui enlever des souvenirs très chers à ses yeux. Ivan continue cependant de nier en bloc. L'Haïtien s'exécute donc et Ivan ne se rappelle ensuite plus de sa rencontre avec sa femme. Noah lui demande une nouvelle fois l'emplacement des peintures, mais Ivan refuse de nouveau. Au moment où Noah s'apprête à le frapper, son téléphone sonne. Il répond, c'est Claire. Elle lui demande la permission d'emprunter la voiture. Il accepte, mais ajoute qu'elle devrait vérifier qu'elle a bien barré la portière cette fois. Elle lui assure qu'elle le fera, puis lui demande ce qu'il fait exactement. Il lui ment en affirmant qu'il se trouve à une formation. Elle semble toujours un peu incertaine, mais finit par accepter son explication. Elle raccroche alors. West arrive ensuite et lui montre une cagoule. Elle lui répond alors qu'elle est partante...

De son côté, Ivan tente de convaincre Noah de revenir à la compagnie. Celui-ci refuse catégoriquement bien sûr. Puis, il lui dit que s'il reviendrait, ils pourraient lui dire où se trouve les toiles. Noah semble alors réfléchir à la question.

Maya, Sylar et Alejandro arrivent devant une barrière de la frontière des États-Unis. Il en manque un bout et donc, ils croient qu'ils peuvent passer sans problèmes. Toutefois, des voitures de patrouille arrivent et les encerclent.

À New York, Mohinder dit à Monica qu'il a encore besoin d'elle pour une injection, il lui cache néanmoins qu'il s'agit d'un virus. Elle est un peu réticente, mais finit par accepter. Toutefois, au moment où l'aiguille s'apprête à entrer dans son bras, Mohinder décide de ne pas le faire. Il part donc et se rend dans le bureau de Bob. Il lui annonce qu'il ne le fera pas et lance l'aiguile par terre. Bob rétorque que s'il ne le fait pas, quelqu'un d'autre s'en chargera. Mohinder prend donc une chaise et brise l'armoire où se trouve les autres seringues. Il annonce ensuite à Bob qu'il s'en va et qu'il emmène Molly avec lui.

À la frontière, les gardes tentent de faire descendre les occupants de la voiture. Maya, à bout de nerfs, commence alors à perdre le controle et son pouvoir se manifeste. Alejandro s'apprête alors à l'aider à arrêter, mais Sylar l'en empêche. Il dit à Maya qu'elle peut se servir de son pouvoir. Maya se laisse donc aller et tous les gardes tombent à l'extérieur. Sylar est également touché, mais il dit à Maya de rouler. Elle se calmera plus loin, quand ils auront passé les gardes.

Le soir, au lycée de Costa Verde, Debbie est en train d'humilier certaines de ses cheerleaders en écrivant leur poids sur leur front. À ce moment, Claire arrive et demande à lui parler. Debbie accepte seulement car Claire lui dit qu'elle va faire ses devoirs pendant une semaine. Elles vont donc un peu plus loin et Claire lui demande une deuxième chance pour l'audition. Debbie refuse une nouvelle fois. Soudain, un homme masqué arrive en volant derrière Claire et l'attrape. Il l'emmène haut dans les airs devant le regard subjugué de Debbie, puis la laisse tomber. Cette dernière traumatisée, part alors en courant tandis que l'homme la poursuit dans les airs.
Un peu plus tard, Debbie est en train de raconter son histoire aux policiers. L'endroit où Claire se trouvait est vide et donc son histoire ne tient pas la route. À ce moment, cette dernière arrive et fait comme si elle n'était au courant de rien. Elle nie tout ce que Debbie à raconter aux policiers. Puis, l'un d'eux retrouve une bouteille d'alcool vide dans les environs. Ils en déduisent donc qu'elle a trop bu et, ainsi, le plan de Claire et West fonctionne.

La nuit, dans le camp de Barbe Blanche, Hiro, Yaeko et Takezo se déplacent discrètement. Avant de partir sauver le forgeron, Kensei remercie Hiro de lui avoir donné un but. Il va ensuite voir le garde qui surveille la tente du forgeron et celui-ci lui enfonce son épée dans le torse. Kensei ne fléchit même pas et, sous les yeux ébahis du garde, retire l'arme et l'assome avec. Ils peuvent donc ainsi sauver le père de Yaeko. Toutefois, celui-ci leur révèle qu'il ne peut pas s'en aller, car Barbe Blanche a construit un arsenal et Hiro comprend que si l'arsenal n'est pas détruit, une guerre explosera. Il dit donc à Kensei qu'il devrra détruire l'arsenal et celui-ci est d'accord. Ils délivrent donc le forgeron.

Mohinder se rend compte qu'il ne peut emmener la petite Molly, car elle ne se porte pas mieux. À ce moment, Bob vient lui parler et lui présente ses excuses. Il admet qu'il a dépassé les limites car il ne pense qu'à détruire un homme qu'il juge mauvais. Mohinder comprend qu'il s'agit d'Adam Monroe, car il a vu son dossier sur le bureau de Bob. Ce dernier lui annonce alors qu'il a à sa disposition quelqu'un qui va se charger de vérifier qu'il n'y ait plus de mal-entendus entre eux.

De retour au camp, Kensei, Yaeko, Hiro et le forgeron s'enfuient. Ils sont néanmoins repérés par les gardes et ils commencent à les attaquer. Au moment où une balle de fusil va atteindre Yaeko et Hiro, ce dernier les téléporte. Ils se retrouvent alors dans un pré des environs et Yaeko est totalement confuse. Hiro s'abstient de toutes explications, mais elle comprend par elle-même. Elle réalise que c'était lui tout ce temps l'homme qui l'a sauvé et dont elle est tombée amoureuse. Ce n'était pas Kensei comme elle l'avait toujours cru. Elle lui demande alors si il l'aime et il lui répond que oui. Au moment où ils vont s'embrasser, Hiro stoppe toutefois le temps. Il considère le fait que le continuum espace-temps pourrait en être changé, puis il se résout finalement à l'embrasser. Le temps reprend donc son cours et on s'aperçoit que Kensei les observait depuis le début. Voyant leur baiser, il se sent trahi.

Alejandro est en train de frapper violemment Sylar lorsque Maya l'arrête. Il lui dit alors qu'elle doit choisir: c'est Sylar ou lui qui part. Maya réussit néanmoins à le convaincre de rester, mais il lui dit que la prochaine fois qu'elle perdra le contrôle, il ne sera pas là pour l'aider. Il laissera Sylar mourir. Maya rassure ensuite Sylar, puis va chercher de quoi le soigner. Ce dernier commence alors à parler à Alejandro en anglais, alors que Maya ne peut l'entendre et que son frère ne peut le comprendre. Il lui explique qu'il va prendre le pouvoir de sa soeur et les tuer tous les deux. Il ajoute que Maya est comme un nouveau jouet pour lui.

Claire est paniquée et dit à West que quelqu'un aurait pu les voir. Celui-ci tente de la calmer en lui affirmant que tout s'est bien passé et que Debbie n'a eu que ce qu'elle méritait: une bonne leçon d'humilité. À ce moment, May arrive et annonce à Claire que Debbie a été viré de l'équipe pour consommation d'alcool dans l'enceinte de l'école. Il y a donc une place de libre et c'est Claire qui l'obtient.

En Russie, Noah remarque sur une photo de famille dans la maison d'Ivan, une fille dont celui-ci n'avait jamais parlé. Ivan lui aprend qu'elle est morte d'une leucémie. Noah le fait alors chanter en lui disant que se serait bien dommage que tout ce qu'il lui reste d'elle disparaisse, c'est-à-dire ses souvenirs. Ivan réagit alors et donne l'emplacement des tableaux à Noah. Celui-ci est satisfait, mais il ne peut laisser la compagnie découvrir qu'il est passé par là. Il met donc en scène un cambriolage qui a mal tourné et, malgré les paroles d'Ivan, tue ce dernier.

Hiro retrouve finalement Kensei après des heures de recherche, mais celui-ci n'est pas aussi heureux de revoir Hiro. Il lui avoue qu'il l'a vu embrasser Yaeko. Hiro lui assure que c'était un accident, qu'ils sont accidentellement tombés amoureux et qu'il en est désolé. Cela ne suffit toutefois pas à Kensei. Hiro lui assure donc qu'il lui laissera Yaeko pour le besoin de leur mission. Que ce baiser serait leur dernier. Kensei finit alors par accepter et ils s'apprêtent à se mettre en route pour détruire l'arsenal, lorsque Kensei assome Hiro par derrière. Arrive alors les gardes de Barbe-Blanche qui détiennent Yaeko et son père. Ils remercient Kensei pour sa trahison et lui promettent tout ce qu'il voudra.

En Louisianne, Bob raccompagne Monica chez elle. Il lui donne également un ipod contenant des vidéos d'une multitude d'aptitudes qu'elle pourra ainsi apprendre à reproduire. Celle-ci le remercie grandement, puis rentre chez elle.

Du côté de Mohinder, il rencontre sa nouvelle partenaire, la personne dont Bob lui parlait précédemment. Il s'agit en fait de Niki! Mohinder est surpris de la retrouver là. Elle lui explique qu'elle doit beaucoup à la compagnie, car elle a règlé certains de ses problèmes.

Noah et le Haïtien arrive au hangard où se trouve les toiles. Ils les étendent toutes par terre. Une représente Niki qui frappe dans une porte, une autre Peter qui semble désemparé, il y en a également une de Mohinder tenant un fusil et juste après, celle de la mort de Noah. Celui-ci se demande ce que ça peut bien vouloir dire.

À Montréal, au Canada, Peter et Caitlin arrivent devant l'immeuble que ce dernier a peint. Ils entrent donc à l'intérieur et y découvrent un mot rédigé par un certain Adam. Peter ne se rapelle malheureusement pas d'aucun Adam. Il prend alors Caitlin dans ses bras et dit à voix haute qu'il aimerait savoir ce que l'avenir leur réserve. Soudain, ils se retrouvent alors dans une grande ville déserte. Ils ne comprennent pas comment ils sont arrivés là ni où ils sont. Peter trouve alors par terre un avis d'évacuation en date du 14 juin 2008. Ils s'apercoivent donc qu'ils sont dans le futur.


FADE IN:

[EARTH (STOCK)]

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

CAPTION:
      PREVIOUSLY



[EXT. (GUATEMALA) WOODS – NIGHT]

(Alejandro holds Maya's hands tightly in his and signs softly to her in Spanish.)

(The black tears vanish from Maya’s face and her eyes clear.)



[EXT. ROAD – DAY]

(Maya, Alejandro and Derek find Sylar on the road.)

SYLAR: (v.o.) Thank GOD you came along.



[INT. DEREK’S CAR – DAY]

(Sylar talks with Maya.)

SYLAR: I know Dr. Suresh. I can take you to him.

WHITE FLASH TO:



[EXT. (1671) – DAY]

(Kensei holds Yaeko’s hand.)

KENSEI: (subtitled) We will defeat White Beard together.

(They look at the large army camp in front of them.)

KENSEI: Right after we defeat his entire army.

WHITE FLASH TO:



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

(Molly is unconscious and in bed. Mohinder is on the phone with Mr. Bennet.)

MOHINDER: (to phone) She won't wake up, and her vitals are getting worse. I am taking her to the company.



[EXT. (ODESSA) STREET]

(Mr. Bennet is on the phone with Mohinder. The Haitian stands just behind him.)

MR. BENNET: (to phone) The moment you trust them with what you care about most, they'll have you.



[INT. (NEW YORK) THE COMPANY]

(Bob talks with Mohinder.)

BOB: We have someone else who needs us.

ON MONICA DAWSON

BOB: (v.o.) We would like you to bring her in.

(ZOOM in on a VIEW OF Monica’s right eye as she processes the action and movement in front of her.)

BOB: (v.o.) A lot of the people we encounter aren't in control of their ability.

(Monica jumps rope with the other girls.)

BACK TO THE COMPANY

(Bob talks with Mohinder.)

BOB: (v.o.) But we need you out there, doing the good work that you do helping others like her.

WHITE FLASH TO:



[EXT. (COSTA VERDE) OUTSIDE – NIGHT]

(Claire kisses West.)

MR. BENNET: (v.o.) You were with a boy.



[INT. BENNET RESIDENCE – NIGHT]

(Claire talks with Mr. Bennet.)

CLAIRE: There's no boy, Dad. I tried out for cheerleading.

MR. BENNET: But you promise me that you won't date.

CLAIRE: Okay.

WHITE FLASH TO:



[INT. (IRELAND) CAITLIN’S FLAT – NIGHT]

(Peter and Caitlin look at the painting Peter just finished.)

PETER: I painted that, but all the street signs are in French.

CAITLIN: It could be Montreal.



[INT. WANDERING ROCKS PUB – NIGHT]

(Caitlin runs into the pub.)

CAITLIN: Ricky!

(Tuko kneels down next to Ricky’s burned corpse.)

PETER: The woman who did this to Ricky, she was looking for me.

FADE OUT.
END OF PREVIOUSLY ON



FADE IN:

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

(Leftover crime scene tape hangs off the chairs placed around the outline of the body since removed.)

CAPTION:
      CHAPTER SIX
      "THE LINE"

(Peter stands just outside the crime scene tape. He has his arms crossed over his chest.)

(He turns and looks over at Caitlin, who is standing in front of a framed photo of Ricky. He walks over to her.)

PETER: I'm so sorry. (She turns and looks at him.) I shouldn't have let him cover for me.

CAITLIN: It was his choice, Peter. My brother could be a right fool sometimes.

PETER: The woman who killed Ricky, she was looking for me. You saw what she could do. I'm not gonna let you be next. I'm gonna find her, find out who she is, what she wants.

CAITLIN: How are you planning on doing that?

PETER: The plane ticket, the painting. It all points to Montreal. It's a start.

(He heads for his things. She follows him.)

CAITLIN: I'm going with you.

PETER: No. I'm not risking your life too.

CAITLIN: We were both in that Montreal painting. I think I'm supposed to go with you, Peter. Besides, when you find Ricky's killer, I want to be there.

PETER: What for?

CAITLIN: To kill the bitch.

(Peter nods.)

WHITE FLASH TO:



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

(Claire and two other girls are at cheerleading tryouts.)

CLAIRE & GIRLS: (together) 1, 2, 3, 4 ... R-E-C-Y-C-L-E!

(They’re doing a cheer for Debbie and the rest of the squad.)

CLAIRE & GIRLS: (together) 5, 6, 7, 8 ... It's our planet, let's plant a tree! Whoo!

(Claire does a backflip. The other two girls don’t.)

CLAIRE & GIRLS: (together) Go, Costa Verde!

DEBBIE: Stop, please! I can't take it anymore. Do you realize how agonizing it is to watch you people? It's a no on all three. Next!

MAY: Are you crazy? Claire was awesome. I vote yes.

DEBBIE: Okay, that's one vote for Claire. Anyone else care to climb out on a limb with May?

(No one else speaks up.)

DEBBIE: Like I said, next!

(May steps away. Claire goes up to May.)

CLAIRE: Thanks for trying.

MAY: Claire, you were amazing. Really. I don't know what Debbie's thinking.

DEBBIE: (interrupts) What I'm thinking is that Costa Verde High deserves cheerleaders that are extra-ordinary. And you, Claire, are simply not extra-ordinary.

(Debbie turns and leaves. May quietly follows her.)

CUT TO:



[INT. (NEW YORK) THE COMPANY – RESEARCH GYM-- DAY]

(A gymnast on a balance beam going through her routine is on the monitor. Monica is on a balance beam going through the same routine.)

MONICA: How was that?

(She steps off the balance beam.)

MOHINDER: Perfect yet again.

MONICA: How much longer are we gonna do this? It's been hours. I want to go home.

MOHINDER: Soon, I promise. Let's take a break.

(He gives her a water bottle.)

MONICA: Are you ever gonna tell me what's going on here? Where are we? I mean, you just grabbed me off the street --

MOHINDER: You're in Hartsdale, New York, at a privately funded company whose sole purpose is to help you and others like you.

MONICA: Others like me?

MOHINDER: Not exactly like you. Others have different gifts, but you're the first we've met with adoptive muscle memory.

MONICA: So that's what it's called. Why is this happening to me?

MOHINDER: We're not really sure. There are certain genetic markers, but where they come from is still a mystery. You have been given an extraordinary gift.

BOB: (o.s.) I agree.

(Monica turns around and finds Bob there. He is carrying a file folder.)

BOB: You are a very special person, Miss Dawson.

MONICA: Who are you?

BOB: My name is Bob. I'm in charge of operations. Doctor, could I see you for a moment?

(Mohinder and Bob step out of the room.)



[INT. THE COMPANY – LAB – CONTINUOUS]

(The door opens. Bob and Mohinder enter.)

BOB: Have you established a reliable baseline for Miss Dawson's ability?

(He puts the file folder down on the counter.)

MOHINDER: Yes. She is able to replicate any action. It's really quite extraordinary.

BOB: Good.

(Bob turns and opens the glass cabinet door. Mohinder looks down at the name on the file folder: ADAM MONROE.)

BOB: Now, we could determine if this stops all of that.

(Bob takes out a vial.)

MOHINDER: What is that?

BOB: A variant of the Shanti virus.

MOHINDER: You're experimenting with the virus?

BOB: Manipulating a live virus is essential for creating a vaccine, Doctor. We hope to use this virus to take away Monica's ability without harming her.

MOHINDER: You could create an incurable strain. It could cross over to the general population.

BOB: Think how many people were killed by Gabriel Gray. There are some abilities in this world that must be stopped at any cost.

MOHINDER: Monica is a sweet girl who loves her abilities. We can't just take them away from her.

BOB: It's for the greater good.

MOHINDER: So she's a lab rat. You're just going to inject her without her consent.

BOB: No, Dr. Suresh, you are.

(Bob leaves.)

(Mohinder looks at the vial and syringe on the tray.)

CUT TO:



[INT. THE COMPANY – MOLLY’S ROOM – DAY]

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

MOHINDER: (to phone) It's a mutated strain, manufactured. If the biological structure of the virus has been altered, I don't know if I can save her. She could die.

INTERCUT WITH:

[EXT. (ODESSA, UKRAINE) STREET]

(Mr. Bennet is on the phone while the Haitian waits.)

MR. BENNET: (to phone) You're just gonna have to take that chance.

MOHINDER: (to phone) I never agreed to experiment on people.

MR. BENNET: (to phone) You brought them Molly, didn't you?

MOHINDER: (to phone) I didn't know what else to do.

MR. BENNET: (to phone) All right, look. If you refuse to do this, they're gonna get rid of you, and then we're gonna lose everything that we've been trying to do. And worse yet, you're gonna lose Molly. Now you've got principles, and that's fine. But to bring down this company, sometimes we have to do bad things. Don't disappoint me, Suresh.

(Mohinder hangs up.)

(Mr. Bennet hangs up. A church bell tolls in the distance. He turns and looks at the Haitian. They continue on their way.)

CUT TO:



[INT. IVAN’S RESIDENCE]

CAPTION:
      ODESSA, UKRAINE

(Katarina has her coat and scarf on. She’s ready to go. She checks her appearance in the mirror.)

KATARINA: (subtitled) Kolya? We’ll be late for the party.

(She turns with her arms open. Kolya, a young blonde-haired boy, runs into her arms and gives her a hug.)

KATARINA: (subtitled) So handsome. Here.

(She puts a scarf around his neck.)

KATARINA: (subtitled) Let Grandma –

(Ivan steps into the room.)

IVAN: (subtitled) What time will you be home?

KATARINA: (subtitled) Three o’clock.

(Kolya turns and gives Ivan a hug.)

KATARINA: (subtitled) Unless there’s candy. Then I make no promises.

(She holds out her hand and she leads Kolya to the door. Ivan follows them. She turns to Ivan.)

KATARINA: Ivan –

(She gives him a hug. He kisses the top of her head. He waves goodbye to Kolya.)

(Kolya and Katarina leave. Ivan closes the door behind them.)

(Mr. Bennet and the Haitian step out into the room. The smile on Ivan’s face fades when he sees them. Mr. Bennet is holding a gun.)

MR. BENNET: Ivan. (subtitled) My old friend.

(He hits Ivan across the face with the gun. THUD. Ivan hits the floor.)

MR. BENNET: (subtitled) We need to talk.

SMASH TO:



[TITLE CARD: HEROES]

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[EXT. (COSTA VERDE) LUNCH TABLES -- DAY]

(Claire sits alone at a table and watches the cheerleaders gathered around another table. A non-cheerleader sits with them. West sits down next to her with his lunch tray.)

WEST: Something wrong?

(Claire looks at him and sighs.)

CLAIRE: I lied to my dad. The other night when I went home, I told him I'd joined cheerleading.

WEST: Cheerleading? That is bad.

CLAIRE: You don't understand. Cheerleading tryouts were last period. I didn't make it. What am I supposed to tell him?

WEST: You met this awesome guy, and you need some free time to make out.

CLAIRE: I told you my dad's really overprotective about the whole dating thing. He told me I couldn't date until I was 21.

WEST: So?

CLAIRE: So I have to listen to my parents. Don't you?

WEST: Claire, I can fly. That kind of makes the whole parental guidance thing a non-issue. But if it's that important to you, we'll figure out a way to get you on the team.

CLAIRE: It's impossible. Debbie Marshall does not deem me extra-ordinary enough.

WEST: Oh, that's ridiculous. You're a total babe, and you have a power. By definition, you're better than she is.

CLAIRE: Oh, you're sweet. But it's not just her. She's got that whole squad wrapped around her evil little pinky. I knew girls just like her at my old school.

(Over at the cheerleader’s table, Debbie Marshall tries to get the non-cheerleader to eat a chocolate cupcake.)

CLAIRE: All it would take is one person to stand up to her.

WEST: Well, be that person. Take her down a notch.

CLAIRE: How?

WEST: You were a cheerleader. What do they fear most?

(Claire turns to look at the cheerleader’s table. Debbie shoves the chocolate cupcake in the non-cheerleader’s face. The other girls laugh, then make sympathetic sounds.)

CLAIRE: Public humiliation?

WEST: We could give her a taste of her own medicine.

CUT TO:



[EXT. (MEXICO) ROAD -- DAY]

CAPTION:
      OUTSIDE PARCELA DELGADO, MEXICO
      NEAR THE U.S. BORDER

(The Nissan Rogue speeds down the dirt road.)



[INT. CAR (TRAVELING) – DAY]

(Maya is driving. Sylar looks at Maya.)

SYLAR: Your ability is fascinating. A gift.

MAYA: What I do is terrible. I have taken many lives, and I can't control it.

SYLAR: I was like you. I could do things, amazing things.

MAYA: You? Like what?

(Alejandro is sleeping in the backseat.)

SYLAR: I could move objects with my mind. I could hear a pin drop from miles away. But then it all just ... went away. That's why I need to see Dr. Suresh, to get them back.

MAYA: You want to be different?

SYLAR: I want to be special, unique. An ability doesn't have to be a burden, Maya. It can be wonderful.

(He reaches over and brushes her hair away from her face. She smiles at him.)

(Alejandro stirs and clears his throat. Sylar puts his hand down.)

ALEJANDRO: (subtitled) Stop at the next gas station. I need to find a coyote to take us across.

MAYA: (subtitled) What? What about Gabriel?

ALEJANDRO: (subtitled) I don’t trust him, Maya. I see the way he looks at you. Why is he still here?

SYLAR: Is there a problem?

MAYA: My brother wants to hire a coyote, to cross the border without you.

SYLAR: Why? You can't trust them.

MAYA: (subtitled) God delivered Gabriel to us. Alejandro. We should put our faith in him.

(Alejandro doesn’t like it one bit. He looks at Sylar, then leans back in his seat.)

MAYA: It's okay. We'll cross the border together. I'm glad to have found you, Gabriel.

(Sylar sits back and nods.)

CUT TO:



[INT. (TOKYO) RESTORATION DEPARTMENT -- DAY]

SOUNDS: TICKING CLOCKS.

(Curator Tatsuya Atsumi works on restoring the Hiro scrolls. He is reading the scroll on the monitor when Ando walks in.)

(Ando walks in and startles the curator.)

ANDO: (subtitled) You started without me?!

(The ticking sounds vanish.)

(The curator turns and bows to Ando in apology.)

TATSUYA ATSUMI: (subtitled) Sorry. It’s just so compelling.

(Ando removes his shoes and sits on the mat in front of the worktable.)

TATSUYA ATSUMI: (subtitled) Hiro and Kensei made it to White Beard’s camp. See?

(They turn their attention to the monitor and read the latest scroll.)

CUT TO:



[EXT. (1671) WHITE BEARD’S CAMP – DAY]

(Kensei fights the brigands while Yaeko and Hiro follow him through the camp

ANDO: (subtitled) Stop!



[INT. (TOKYO) RESTORATION DEPARTMENT -- DAY]

ANDO: (subtitled) You can’t skip ahead! I must know every detail. Start where we left off!

TATSUYA ATSUMI: (subtitled) Okay. Okay.

(The curator goes back a scroll.)

(Ando nods with approval.)

HIRO: (v.o., subtitled) Tonight, we will attack ...

FADE TO WHITE:



[EXT. (1671) KISO MOUNTAIN – DAY]

CAPTION:
      KISO MOUNTAIN, JAPAN
      1671

(Hiro looks out at White Beard’s camp. There are many, many tents.)

HIRO: (v.o., subtitled) ... Three of us against an army. But even with powers, I fear for the swordsmith’s life.

(Hiro turns and looks back at Yaeko, who is sitting nearby and painting.)

HIRO: (v.o., subtitled) And for Yaeko ... the woman I love, but cannot have.

(Hiro goes to her to try to convince her to stay behind. Yaeko is painting White Beard’s camp.)

HIRO: (subtitled) You should reconsider. Rescuing your father will be dangerous.

YAEKO: (subtitled) So long as Kensei fights at my side, I fear nothing. But I’m concerned. How will we find my father among all these tents?

HIRO: Ah! (subtitled) The story. "Kensei trailed smoke to flame and found White Beard’s treasure."

(Hiro looks at Yaeko’s painting and finds the large red tent trailing white smoke.)

HIRO: (subtitled) (points) The tent that smolders.

YAEKO: (subtitled) "The tent that smolders?"

(Hiro smiles and nods.)

YAEKO: (subtitled) This is no time for lucky guesses. My father’s life is at stake.

(Hiro stops smiling.)

HIRO: (subtitled) You’re right. I am sorry.

(Yaeko puts a hand on his shoulder.)

YAEKO: (subtitled) Tell me, Hiro. Why are you still here? Why do you risk your life for my father?

(Hiro starts to answer, but is interrupted.)

KENSEI: (subtitled) It’s gonna be some fight!

(They both turn as Kensei returns. Yaeko gets up and rushes over to him.)

YAEKO: (subtitled) Did you find my father?

(Hiro gets up.)

KENSEI: (subtitled) Yes, my love. In the tent that smolders.

(He points out at the camp. Yaeko turns and looks at Hiro. He was right.)

HIRO: (subtitled) (loudly) You were right, Yaeko. We have nothing to fear with Kensei around! Come on ...

(Hiro nods and heads off. Kensei smiles at Yaeko and follows him.)

CUT TO:



[INT. (ODESSA, UKRAINE) IVAN’S RESIDENCE]

(Ivan sits in the chair with his hands handcuffed behind the back of the chair. Mr. Bennet talks with Ivan as the Haitian stands in the back.)

MR. BENNET: Isaac Mendez ...painted a series of eight paintings beginning with Kaito Nakamura's death and ending in mine. Where are they?

IVAN: Sorry, I'm retired. I work in the textile factory now. Regional manager of sales, like you in the paper company.

MR. BENNET: Cut the crap. Where are the paintings?

IVAN: You think you intimidate me? I trained you, you and your invisible partner Claude. I taught you everything!

(Mr. Bennet leans in close.)

MR. BENNET: Then you know what I'm capable of. Don't make me do this.

(Ivan remains quiet. Mr. Bennet turns and nods to the Haitian. The Haitian steps forward.)

IVAN: What is this? You want information? The Haitian can't help you.

MR. BENNET: My friend has a new trick. He can reach inside that company-loving head of yours and one by one, blot out all the memories you hold most dear. Think about it, a man of your advanced years. Treasured memories give your life meaning. Your wedding in Capri. The births of Andre and Mikhail. It'd be a shame if they disappeared, lost forever.

IVAN: (subtitled) You won’t do this. I am your friend.

MR. BENNET: (subtitled) You were my friend. (to the Haitian, in English) Start with the day he met his wife. A boat ride on the Danube, wasn't it?

(The Haitian steps forward and puts his hand over Ivan’s eyes.)

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[INT. (ODESSA, UKRAINE) IVAN’S RESIDENCE]

(Mr. Bennet questions Ivan.)

MR. BENNET: Tell me about Katarina. Your honeymoon. Her favorite flower.

IVAN: I can't remember.

MR. BENNET: Really? After 35 years together, such a shame. Are you ready to talk, or do we keep going?

IVAN: (subtitled) Go to hell.

(Mr. Bennet pulls back his hand to hit Ivan, when his cell phone rings.)

(Mr. Bennet answers his phone.)

MR. BENNET: (to phone) Hi, honey. Is everything all right?

INTERCUT WITH:

[EXT. (COSTA VERDE) HIGH SCHOOL]

(Claire is walking up the steps.)

CLAIRE: (to phone) Hey, Dad, yeah. I was just wondering if I could borrow the car tonight.

MR. BENNET: (to phone) Did you ask your mother?

CLAIRE: (from phone) I did, and she said to ask you. I'm gonna be with the cheerleaders later. Just thought you should know. Full disclosure and all.

MR. BENNET: (to phone) Well, that's very responsible of you, Claire. Take the car. But do one thing for me.

CLAIRE: (to phone) Sure.

MR. BENNET: (from phone) Lock the doors this time.

CLAIRE: (to phone) I will. Thanks.

MR. BENNET: (to phone) Is there something else?

CLAIRE: (to phone) Where are you right now?

MR. BENNET: (to phone) I told you. Management training in Tulsa. And I'm late for a session.

CLAIRE: (to phone) Well, I thought you had to work there a year before they'd send you.

MR. BENNET: (to phone) I'm a quick learner. I've gotta go. I love you, Claire-Bear.

CLAIRE: (to phone) I love you too, Dad.

(Claire hangs up and shakes her head.)

[INT. IVAN’S RESIDENCE]

(Mr. Bennet hangs up.)

[EXT. HIGH SCHOOL]

(The school bell rings. West comes down the stairs and meets up with Claire. He holds out a black ski mask.)

WEST: What do you think?

CLAIRE: Okay. I'm in.

[INT. IVAN’S RESIDENCE]

IVAN: Your daughter Claire? It must be very difficult for her, the constant fear of discovery, especially for a teenager. Aren't you tired of running?

MR. BENNET: I'm protecting her from animals like you.

IVAN: You can't hide forever.

MR. BENNET: (to the Haitian) Take all his memories of me, my family, Claire, everything I ever told him. He remembers nothing!

(The Haitian steps forward.)

IVAN: Wait! (Bennet holds the Haitian back.) I'm like you. Family comes first. Maybe we can make a deal.

MR. BENNET: What kind of deal?

IVAN: You were my protege, so dedicated to the company, you made me proud. I miss that. I want you back.

MR. BENNET: Forget it.

IVAN: The company has changed. We have new directives. Come back to us and you'll be safe, all of you. You have my word.

(Mr. Bennet looks at a framed photo on the mantle.)

MR. BENNET: What about the paintings?

IVAN: You'll be told everything. I can give you your life back.

(Mr. Bennet is quiet.)

IVAN: Trust me.

(HOLD on Bennet.)

CUT TO:



[EXT. BORDER ROAD -- DAY]

(The Nissan Rogue pulls up to the unfinished fence and stops. Maya is driving.)

MAYA: What is that?

SYLAR: A border fence not finished yet. That is America right there.

(Maya smiles and turns to Alejandro.)

MAYA: (subtitled) Alejandro, we made it!

(Alejandro smiles.)

MAYA: (subtitled) That’s the United States!

(Maya starts the car and goes through the opening in the gate. Two CITIZEN’S BORDER PATROL trucks pull out in front of her and stops them. The men on the truck carry rifles.)

CIVILIAN PATROL: (over bullhorn) Attention, you're in violation of US Immigration! We have notified Border Patrol.

(The men get out of their trucks.)

CIVILIAN PATROL: All right, boys, andale, andale. Let's see them hands.

MAYA: Who are they?

SYLAR: They're locals, not Border Patrol. They're fake police. Just drive around them.

(The men with the guns stand in front of the car. One man cocks his rifle ... and fires up into the air.)

MAYA: (subtitled) God help us.

CUT TO:



[INT. (NEW YORK) THE COMPANY – DAY]

(Mohinder carries the syringe on the tray back to Monica, who is sitting on the exam bed.)

MONICA: What's--what's that for?

MOHINDER: A cholinergic. It's standard procedure to see if your ability improves.

MONICA: Uh-uh, no way. I won't do needles.

MOHINDER: It's the last phase of your testing. One shot, you can go home.

MONICA: Fine.

(She holds out her arm and closes her eyes tight. Mohinder picks up the needle. He hesitates.)

MONICA: Just make it fast.

MOHINDER: I can't do this.

(Mohinder takes the needle and walks out of the room. Monica still has her eyes closed and her arm out.)

MONICA: Dr. Suresh?

(The door opens and closes.)



[INT. THE COMPANY – LAB – DAY]

(Bob is looking through the scope when Mohinder walks in. He throws the syringe aside, smashing it.)

MOHINDER: I won't do it.

BOB: If you don't, someone else will. And there's more where that came from.

(Mohinder picks up the chair and throws it into the glass cabinet with the other vials.)

BOB: Stop! What are you doing?!

MOHINDER: Get someone else to do your research. I'm taking Molly, and I'm leaving.

(Mohinder turns and leaves the room.)

WHITE FLASH TO:



[EXT. BORDER ROAD -- DAY]

(The Civilian Border Patrol head for the car.)

CIVILIAN PATROL: All right, boys, this is your last warning. Vamanos.

(The pound on the car.)

(Inside the car, Maya is panicking.)

SYLAR: We have to go.

MAYA: They will shoot us.

ALEJANDRO: (subtitled) We never should have listened to him. –

MAYA: (subtitled) Alejandro, stop!

SYLAR: (roars) Just drive, now!

(Maya stops. Her eyes wide with fear.)

MAYA: (subtitled) It’s happening.

(Alejandro reaches for the front seat.)

ALEJANDRO: (subtitled) Give me your hand ...

MAYA: No, no, no, no, no.

(Sylar grabs Alejandro’s hand and stops him from touching Maya.)

SYLAR: Let her alone.

ALEJANDRO: (subtitled) What are you doing? You’ll die.

SYLAR: We need to get past these men, these guns. (to Maya) You can use your gift.

(Maya looks back at Sylar.)

(Outside, the civilian patrol hit and shake the car.)

(Inside, Maya and Sylar continue to look at each other.)

ALEJANDRO: (subtitled) Maya! Take my hand. Hurry ...

MAYA: (still looking at Sylar) No.

(Outside, the civilian patrol continue to hit and rock the car.)

(Inside the car, Maya turns away from Sylar and allows the black sickness to infect those around her.)

ALEJANDRO: (subtitled) What are you doing?! Maya!

(The men outside collapse one-by-one and fall to the ground.)

(Maya turns and looks at Sylar. His eyes cloud over black and he cries black tears. Alejandro watches with horror.)

SYLAR: (gasps) Drive.

(Maya turns and drives away, leaving the patrol men on the ground.)

CUT TO:



[EXT. (COSTA VERDE) FOOTBALL FIELD – NIGHT]

(Debbie writes the cheerleader recruit’s weight on her own forehead: 137.)

DEBBIE: (slurs) The next time you think of that second helping of chunky monkey, remember one thing.

(Debbie drinks out of the bottle of hard liquor in a paper sack.)

DEBBIE: The sharpie doesn't lie. Appearance matters, girls.

MAY: Is this really necessary?

DEBBIE: Hell, yes. I might have to basket-catch one of these tubettes.

(Claire walks up to them.)

CLAIRE: Debbie, can I talk to you for a minute?

DEBBIE: Private function, Butler. Cheerleaders only.

(She drinks from the bottle again.)

CLAIRE: I'll do your biology homework for a week.

DEBBIE: You have five minutes.

(Claire and Debbie step aside.)



[EXT. ATHLETIC BUILDING – NIGHT]

(Claire and Debbie talk.)

CLAIRE: I want another chance, another shot at tryouts.

DEBBIE: I appreciate the effort, really. Attempting to better your social status at school is very American dream of you. But everyone has their place in this world. Deal with it.

CLAIRE: So you're not gonna change your mind?

DEBBIE: You are slow, aren't you?

(She turns away to take another drink from her bottle when –

-- a man in a black ski mask drops down right behind Claire, covers her mouth and flies straight up with her.)

DEBBIE: Claire?

(Claire struggles.)

DEBBIE: Claire?!

(Claire and the masked man disappear from view high in the sky.)

DEBBIE: Claire?!

(The masked man releases Claire and she falls, screaming. She hits the stairs with a thud.)

DEBBIE: Oh, my God.

(The flying man turns his attention to Debbie and flies toward her. Debbie turns and runs.)

(She screams as he gains on her.)

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[EXT. (COSTA VERDE) ATHLETIC BUILDING – NIGHT]

(Lights from police cars flash as Debbie desperately explains what happened to the officer. She’s standing at the base of the stairs and there’s no sign of Claire.)

DEBBIE: She was right there. Her neck was twisted. She was bleeding. I-I-I went to see if I could help her, and that's when he came after me.

(The rest of the cheerleaders are standing behind the officer listening to Debbie’s explanation.)

OFFICER: The flying masked man?

DEBBIE: Yes! I escaped, thank goodness, but Claire was dead, right there on the steps. I saw her. She's ... uh ... --

(She stops when she sees Claire walking up to them.)

CLAIRE: What's going on?

DEBBIE: But I saw you. That thing dropped you.

CLAIRE: Debbie, calm down. I'm fine.

OFFICER: I don't supposed you saw a ... flying masked man this evening?

CLAIRE: Me? No. No. Uh, I was just hanging out with Debbie.

(Officer Ray approaches them.)

OFFICER: Find anything, Ray?

OFFICER RAY: No dead bodies. I did find this.

(He shows the officer the empty liquor bottle.)

OFFICER: How much have you had to drink tonight, Miss Marshall?

(The officer shines his flashlight at Debbie’s eyes. Debbie is busted. The other cheerleaders watch and whisper.)

CUT TO:



[EXT. (1671) WHITE BEARD’S CAMP – NIGHT]

(Kensei, Hiro and Yaeko sneak near the camp and hide behind a rock as they sneak past the nearby guard and take cover behind a bush.)

HIRO: We don't have much time. The sun will rise soon. Yaeko's father is there. You take out the guard, we will follow.

(Kensei turns and looks at Hiro.)

KENSEI: You've given me purpose, carp. I'm really a hero. And more, you've made me a better man.

(Hiro smiles.)

KENSEI: Well ...

(Kensei gets up, puts his helmet on and heads out. Hiro and Yaeko wait behind. Hiro looks over at Yaeko as she watches Kensei.)

ON A GUARD:

(Kensei walks up to the guard and taps him on the shoulder.)

KENSEI: You wouldn't happen to have a swordsmith in there, would you?

(The guard shouts, draws his sword and stabs Kensei through the chest.)

(Kensei groans and doubles over in pain. He groans, straightens and looks at the guard.)

GUARD: (subtitled) No ... This can’t be!

KENSEI: I know. It's really unfair.

(Kensei pulls the sword out and uses the hilt to hit the guard in the face. The guard falls to the ground unconscious.)

KENSEI: That was easy enough.

CUT TO:



[INT. TENT – NIGHT]

(The swordsmith sits on the ground, his ankles in chains.)

(Yaeko enters the tent. He looks up and sees her.)

SWORDSMITH: (subtitled) Yaeko?! I had stopped hoping.

YAEKO: (subtitled) Father! We came to save you!

(Hiro enters the tent. Kensei enters the tent. Yaeko works on the chains binding her father.)

HIRO: (subtitled) I am Hiro. And this is the great swordsman Takezo Kensei. (Kensei bows.) He has come to save you.

SWORDSMITH: (subtitled) Kensei? I thought you were a drunk.

KENSEI: (subtitled) Turns out, I’m a hero.

YAEKO: (subtitled) Kensei! Cut my father’s chains.

(She holds out the chains. Kensei steps forward with his sword out. The swordsmith stops them.)

SWORDSMITH: (subtitled) I cannot leave – White Beard has built an arsenal ... of guns. Thousands. I must destroy them.

HIRO: (subtitled) Guns are not allowed in Japan. Not yet anyway.

SWORDSMITH: (subtitled) They are here ... because of me. I told White Beard how to make them. White Beard said ... if I did not help him, he’d kill you, my daughter. He plans to overthrow the emperor.

HIRO: (subtitled) If White Beard uses guns, it would end the way of the sword and the samurai.

(He turns and looks at Kensei.)

HIRO: You must stop them. Destroy all the guns! That is how you save Japan.

(Kensei nods.)

KENSEI: Very well.

(Hiro turns back to the swordsmith.)

HIRO: (subtitled) Kensei has a plan. He will smash the guns. We must go now! The sun is rising.

(Yaeko turns and looks at her father. He nods to Kensei. Kensei nods back. He steps forward and cuts the chains.)

CUT TO:



[INT. (NEW YORK) THE COMPANY – MOLLY’S ROOM – NIGHT]

(Mohinder watches Molly. He leans forward and kisses her forehead.)

BOB: (o.s.) Can I speak with you for a moment?

(Bob is standing just outside the doorway in the hallway.)



[INT. THE COMPANY – HALLWAY – NIGHT -- CONTINUOUS]

(Mohinder steps out into the hallway.)

BOB: I owe you an apology. What I asked you to do was wrong. I've been with the company for thirty years. We've been through a lot of turmoil and made a lot of difficult choices, some I regret to this day. But right now I'm dealing with someone who is a real danger to us, to everyone, and I'm afraid that in my haste to deal with him, I overstepped my bounds.

MOHINDER: The file you were holding, Adam Monroe.

BOB: Yes. You're valuable to us, Dr. Suresh, not just for your blood or your knowledge, but to keep us in line.

MOHINDER: Molly still isn't well, so I can't take her away from here. But you've given me no reason to trust you.

BOB: I know, I know. We both have a lot at stake. I have someone at my disposal, someone who can make sure there's no further misunderstandings. Sound good?

MOHINDER: I don't really have a choice, do I?

WHITE FLASH TO:



[INT. (1671) WHITE BEARD’S CAMP – TENT – NIGHT]

(Kensei breaks through the chains, freeing the swordsmith.)

[EXT. WHITE BEARD’S CAMP – CONTINUOUS]

(Kensei steps out of the tent first. The swordsmith, Yaeko and Hiro follow. They run to get out of the tent. It’s daylight.)

(They run quickly through the tents dodging the ronin just waking up. A ronin steps out in front of Kensei with his sword out. The two warriors clash swords. Kensei cuts him down and continues to run.)

WHITE BEARD: (shouts) The swordsmith escapes!

(Soldiers come out of their tents as they chase after the intruders. Kensei continues to run, cutting down anyone who gets in his way. The swordsmith, Yaeko and Hiro follow.)

(They continue through the camp.)

(White Beard steps out carrying a gun.)

(Kensei and the swordsmith turn the corner past the tent. White Beard raises the gun and takes aim.)

(Hiro and Yaeko aren’t going to make it. Hiro slows time.)

(White Beard fires. BANG!)

(Hiro and Yaeko are gone. The bullet hits the tent in the back.)



[EXT. WOODS – DAY]

(Hiro and Yaeko appear in the woods. Yaeko staggers. She looks around and is surprised to find them in the woods and out of the camp.)

(Hiro is quiet.)

YAEKO: (subtitled) What happened?

(She looks at him.)

YAEKO: (subtitled) What have you done?

(Hiro turns and looks away. Busted.)

(uh, oh.)

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[EXT. (1671, JAPAN) HILLSIDE -- DAY]

(Hiro is walking. Yaeko is following after him.)

YAEKO: (subtitled) How did we get here, Hiro?

HIRO: (subtitled) I don’t know. We should find Kensei. He’ll explain everything.

(Yaeko blocks Hiro’s path. He stops.)

YAEKO: (subtitled) No. You did it. You held me, and then we were here – You can move people from one place to another.

(She puts her hand up to cover his nose and mouth ... and to look at his eyes.)

YAEKO: (subtitled) You ... with a mask. It was you, Hiro. All this time. It was you that did those amazing things.

HIRO: (subtitled) I only wanted to fix history.

YAEKO: (subtitled) You saved me from the brigands. You were the one under the cherry blossoms ...

(He nods.)

YAEKO: (subtitled) Do you ... love me, Hiro?

HIRO: (subtitled) I do. Very much.

(She smiles, pleased.)

YAEKO: (subtitled) Everything I loved in Kensei came from you.

(She steps forward to kiss him.)

(Hiro stops time.)

HIRO: (subtitled) (softly, to himself) But the space/time continuum ...

(He struggles with it for a moment, then –

-- time resumes and Hiro kisses Yaeko.)

PULL BACK –

(From a distance, Kensei watches them kiss.)

HIRO: (v.o., subtitled) It was the kiss that fractured time.

CUT TO:



[INT. (TOKYO) RESTORATION DEPARTMENT -- DAY]

(Ando is reading the scrolls.)

HIRO: (v.o., subtitled) It changed me forever, Ando.

(It ends.)

ANDO: (subtitled) Where’s the rest of it?

TATSUYA ATSUMI: (subtitled) That’s it. The end. The last scroll.

ANDO: (subtitled) There has to be more! My friend is not back yet! Please!

TATSUYA ATSUMI: (subtitled) Sorry.

(The curator leaves Ando.)

CUT TO:



[EXT. (US) DIRT ROAD -- NIGHT]

(Alejandro and Sylar are fighting. Alejandro hits Sylar.)

MAYA: Alejandro! (subtitled) Stop!

(She pushes them apart.)

MAYA: (subtitled) I did what I had to do. For all of us.

ALEJANDRO: (subtitled) Listen to what you’re saying. You’re a killer. Because of him. I won’t do this. You have to choose. Either he goes ... or I do.

MAYA: (subtitled) Don’t Alejandro. We need Gabriel. He can take us to Dr. Suresh—to salvation.

ALEJANDRO: (subtitled) Fine. He can stay. But the next time your eyes blacken, don’t look for my hand. It won’t be there. I will let him die.

(Alejandro turns and leans against the side of the car. Maya checks on Sylar.)

MAYA: (to Sylar) I will get something for your lip.

(Maya goes to the back of the car and checks in the back seat. Sylar looks at Alejandro.)

SYLAR: (quietly) I know you don't understand me. (Alejandro turns and looks at Sylar.) But I want to tell you I'm helping you. It's that delicious power. You see, when I get my ability back, I'm gonna kill you ... and your sister. And I'm gonna take it all. And if I don't get my ability back, it's not a total loss. Maya's learning quickly. She's a shiny new toy, and she's all mine.

(He smiles and nods at Alejandro.)

CUT TO:



[EXT. (COSTA VERDE) BLEACHERS -- NIGHT]

(Claire and West climb the bleachers.)

CLAIRE: I can't believe you talked me into that.

WEST: What?

CLAIRE: Somebody could have seen us.

WEST: Relax. No one saw. And no one will ever believe Debbie. Did you see her face? Classic.

CLAIRE: Is she gonna be okay?

WEST: Definitely. She freaked, but just think of it as a lesson in humility.

(May runs up to them.)

MAY: Claire. Oh. Hope I'm not interrupting.

CLAIRE: No, it's okay. How's Debbie?

MAY: She blew a .13. Drinking on school grounds. Got suspended from the cheerleading squad immediately. Which means we have an opening. First practice is Monday after school.

CLAIRE: You mean it? I'm on the team?

MAY: Sure. You were the best at tryouts. (Claire smiles.) I'll just let you two to ... whatever. I'll see you Monday.

(May turns and leaves.)

CUT TO:



[INT. (ODESSA, UKRAINE) IVAN’S RESIDENCE]

(Mr. Bennet looks at the framed family photo. He carries it with him as he talks.)

MR. BENNET: Tell me something, Ivan. In all the years I've known you, why have you never mentioned a daughter?

(Mr. Bennet sits down across Ivan. He shows Ivan the photo.)

MR. BENNET: This daughter. She died, didn't she?

IVAN: Leukemia.

MR. BENNET: I'm so sorry. It must have been so painful. I can't even imagine losing Claire. To think ... all you have left of her are your memories. It would be awful if they were taken. Almost as if she never existed.

IVAN: Please don't.

(Mr. Bennet stands up.)

MR. BENNET: Take the daughter. Don't leave anything.

IVAN: Wait! It's in the warehouse near the train yard. Where we tagged the liquid man. You'll find your paintings there.

(Mr. Bennet leans forward, putting a hand on Ivan’s shoulder.)

MR. BENNET: Thank you.

IVAN: Now what? Your Haitian friend makes sure that'll I'll forget that you were ever here?

(Mr. Bennet looks at the Haitian and nods. The Haitian steps away from Ivan.)

MR. BENNET: I wish it were that easy.

(Mr. Bennet knocks over a chair. He starts tossing the room.)

MR. BENNET: Once the company discovers your memory loss, they're gonna trace it back to the Haitian, which leads to my family. And I can't have it.

IVAN: What are you doing?

MR. BENNET: You taught me well, my friend. You said, "make it look as if you were never there." So now we weren't. Instead, there was a simple home invasion, a senseless murder.

(Mr. Bennet takes his gun out and points it at Ivan.)

IVAN: I am offering you a way out. You can stop running! Shoot me and there is no turning back. You'll condemn yourself to hell.

(Mr. Bennet lowers his gun. He raises the gun and fires, shooting Ivan in the head. The impact sends Ivan backwards. He hits the wall, leaving a smear of blood.)

(White wisps of smoke clear.)

MR. BENNET: I know.

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[EXT. (1671) -- DAY]

(Kensei kneels in front of the dying fire, pushing the ashes and remains around with a stick. Hiro climbs up the hill to join him.)

HIRO: Kensei, I've been searching for hours. Come, my friend. We must go back and destroy White Beard's guns.

KENSEI: If you want to stop him, do it yourself.

HIRO: Something wrong?

KENSEI: I saw you, Hiro. After I saved the swordsmith, I came after you, afraid something had happened to Yaeko, because I love her. And you, friend, betrayed me.

HIRO: No.

KENSEI: Yes. You kissed her.

HIRO: It happened ... by accident.

KENSEI: You accidentally kissed her?

HIRO: I accidentally fell in love with her, and she with me. I'm so sorry.

KENSEI: So you've been lying to me all along. First you show me that I can be harmed by no weapon, and then you cut me deeper than any blade possibly could.

HIRO: She's your princess, Kensei. I know that. And I swear I will not give in to love. That kiss will be our last. But the fate of the world still rests in our hands. We must stop White Beard.

KENSEI: All right, carp.

(He picks up his things.)

KENSEI: Let's go.

(Hiro nods his head and turns toward the road. Kensei knocks Hiro out from behind.)

(Hiro falls onto the road, out cold.)

(White Beard and his warriors step out from behind the bushes. They have Yaeko and the swordsmith.)

WHITE BEARD: (subtitled) Nicely done. For this, Takezo Kensei, whatever you desire shall be yours.

(Kensei turns and steps over Hiro’s body as he walks away.)

FADE TO WHITE



[INT. (NEW ORLEANS) DAWSON HOUSE -- NIGHT]

(Monica returns home. Bob is with her.)

BOB: You're covered at work and at home, an impromptu Burger Bonanza Training Seminar at Corporate. Here.

(He gives her a folder.)

MONICA: What's this?

BOB: Information. Phone numbers. If you have any questions or concerns, I want you to call us anytime, day or night. Also, here. (He takes out a video iPod.) It's fully loaded. Anything from martial arts to plumbing, any skill you want is now at your fingertips.

(He gives it to her.)

MONICA: Wow. Support, advice, and now gifts. You're like my own personal Oprah.

BOB: You have an amazing gift. So look around. Seems to me like this town could use a little amazing.

MONICA: Thanks.

BOB: Right.

(Bob leaves. Monica closes the door behind him.)

CUT TO:



[INT. (NEW YORK) THE COMPANY – HALLWAY -- NIGHT]

(Mohinder is out in the hallway. He hears a door open and someone approaching. He turns and sees it’s Niki.)

NIKI: Hello, Dr. Suresh.

MOHINDER: Niki? How are you?

NIKI: I'm feeling better now. Back to my old self, thanks to the company. In fact, I'm gonna be working with them for a while.

MOHINDER: So you're --

NIKI: Your new partner. I know. It's the last place that I expected to be, but ... I owe these people so much. Bob told me that you two were having some trust issues. He just wants me to make sure that there's no more misunderstandings. That's okay, isn't it?

CUT TO:



[INT. (ODESSA) WAREHOUSE -- NIGHT]

CAPTION:
      WAREHOUSE
      ODESSA, UKRAINE

(Inside the warehouse, the Haitian and Mr. Bennet are taking out the paintings and laying them out so they can see them all.)

(One painting is of a hand holding a vial. Another is of a yellow-haired woman pounding on the door.)

(Mr. Bennet kneels and looks at the paintings.)

(Painting 6 of 8 is of Hiro engaging in a sword fight with Kensei. Painting 7 of 8 is of Mohinder holding a smoking gun. Painting 8 of 8 is of Mr. Bennet dead – shot through the eye while Claire is in the background in the arms of an unknown person.)

MR. BENNET: What does it mean?

CUT TO:



[EXT. (CANADA) STREET -- NIGHT]

CAPTION:
      MONTREAL, CANADA

(Peter unrolls his painting as he and Caitlin are in Montreal, standing outside the door with the SYMBOL over it.)

CAITLIN: Are you ready?

PETER: Yeah.

(Peter opens the door and they walk inside.)



[INT. BUILDING – NIGHT]

(It’s dark inside. Peter turns the overhead lights on. It’s a cluttered, old shop with various items.)

CAITLIN: What is this place?

PETER: I don't know.

(Peter goes to the mirror where he finds a tag with his name on it.)

PETER: Someone knew I was coming.

(He flips the tag over and reads the note.)

PETER: (reads) "We were right about the company. The world is in danger. It's up to us. Adam."

CAITLIN: The name Adam doesn't ring a bell?

PETER: No, and I don't know about any company. I don't know about any of this.

(He shakes his head and chuckles.)

PETER: "The world is in danger." What am I supposed to do?

CAITLIN: We'll figure it out.

(She hugs him. Peter closes his eyes and lets himself be hugged.)

PETER: Please tell me who I am, what the future holds.

SWOOSH TO:



[EXT. (NEW YORK) TIMES SQUARE – DAY – THE FUTURE]

(Peter opens his eyes and finds him and CAITLIN out on the street--a devastated street ravaged and empty, painfully empty. The wind howls.)

(PULL BACK to REVEAL just how empty the street is. Peter and Caitlin are the only two on the street. They look around.)

CAITLIN: Peter, how did we --

PETER: I don't know.

(Peter looks around.)

PETER: We're in New York.

CAITLIN: Where is everyone?

(Peter picks up a stray piece of paper. He reads:
      EVACUATION NOTICE
      JUNE 14TH, 2008
      MANDATED EVACUATION ORDER
      PLEASE USE THE FOLLOWING EVACUATION ROUTES
      TO LEAVE THE CITY IMMEDIATELY

CAITLIN: It's an evacuation order.

PETER: June 14, 2008. This is next year.

FADE TO BLACK.



TO BE CONTINUED ...

FADE TO:



IN MEMORY OF
TIM SUSCO

==========================
END OF EPISODE
==========================

Kikavu ?

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

cordelia 
16.06.2022 vers 23h

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12.02.2018 vers 18h

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