FADE IN:
[EARTH (STOCK)]
HIRO (NARRATOR): (v.o.) (in Japanese) Heroes no zenkai madeno arasuji...
VARIOUS CUTS OF:
(Peter holds the Montreal plane ticket.)
PETER: Plane ticket, painting ...
(CU: Peter’s painting.)
PETER: It all points to Montreal.
[EXT. (MONTREAL) SHOP – NIGHT]
(Peter and Caitlin are in front of the shop just as they are in the painting.)
CAITLIN: What is this place?
(Peter reads the note he found in the shop.)
PETER: (reads) "We were right about the company. The world is in danger. Adam."
(Caitlin holds Peter.)
PETER: Please tell me who I am. What the future holds.
(Peter closes his eyes.)
CAITLIN: We'll figure it out.
[EXT. (NEW YORK) TIMES SQUARE – DAY – FUTURE]
(Peter opens his eyes. He and Caitlin are in the future.)
PETER: We're in New York.
CAITLIN: Where is everyone?
(They read a flyer.)
CAITLIN: It's an evacuation order.
PETER: June 14, 2008. This is next year.
FADE TO:
[INT. MAURY PARKMAN’S APARTMENT (#9) – DAY]
(Matt talks with his father, Maury Parkman.)
MAURY PARKMAN: This thing we could do, it only begins at reading minds. And then it becomes –
(CUT TO: Nathan is straddled on Matt on the floor and he punches Matt in the face
MAURY PARKMAN: -- so much more.
(CUT TO: Matt pushes Nathan away.)
MATT: (v.o.) My dad can put a thought into anyone's head.
(CUT TO: But Nathan sees Nathan 2, the grotesque image of his own self. Nathan 2 MORPHS back into Matt.)
(CUT TO: Matt pushes Nathan off him and they both find themselves back in Maury’s apartment and not in their nightmares.)
MATT: Now we know why Molly calls him the Nightmare Man.
(CUT TO: Nathan picks up a picture of Bob with the SYMBOL marked over his face.)
NATHAN: It's Bob.
MATT: He runs the company.
NATHAN: Looks like he's next.
CUT TO:
[INT. (NEW YORK) THE COMPANY]
(Niki is talking with Bob on the phone.)
NIKI: (to phone) You sure you're gonna be able to cure me?
BOB: (to phone) In exchange, we're going to want a little something from you.
(CUT TO: Niki meets with Mohinder.)
NIKI: Hello, Dr. Suresh.
MOHINDER: So you're ...
NIKI: Your new partner.
CUT TO:
[EXT. (COSTA VERDE) HIGH SCHOOL – ATHLETIC BUILDING – NIGHT]
(Debbie watches as Claire is grabbed and flown up by a masked man.)
DEBBIE: Claire!
(The man lets Claire go and she falls.)
DEBBIE: Oh, my God!
(Claire hits the stairs with a thud. Debbie is horrified.)
WEST: (v.o.) Did you see her face?
CLAIRE: Somebody could have seen us!
WEST: Relax! Just think of it as a lesson in humility.
(CUT TO: At the beach, Claire notices the mark on West’s neck.)
CLAIRE: What's on your neck?
WEST: Last thing I remember, this man stepping out of the bushes, calling my name.
CLAIRE: What are you talking about? What man?
WEST: The guy with the horn-rimmed glasses.
CUT TO:
[INT. (ODESSA) IVAN’S RESIDENCE]
(Mr. Bennet has the gun on Ivan.)
IVAN: Wait, it's the warehouse near the train yard. You will find your paintings there.
(Mr. Bennet shoots Ivan.)
[EXT. (1671) JAPAN – DAY]
(Kensei talks with Hiro.)
KENSEI: I saw you, Hiro.
(CUT TO: Hiro and Yaeko are kissing. Kensei watches them from a distance.)
KENSEI: (v.o.) And you, friend, betrayed me.
CUT TO:
(Hiro and Kensei walk. Kensei knocks Hiro out.)
(Hiro falls to the ground with a thud.)
FADE OUT.
END OF PREVIOUSLY ON.
FADE IN:
[INT. (1671) WHITE BEARD’S CAMP – TENT – DAY]
CAPTION:
HIRO
WHITE BEARD’S CAMP
JAPAN, 1671
(Hiro is face down on an opium smoker. He’s tied, can’t move and is forced to inhale the drug.)
(Kensei walks in.)
KENSEI: You can't stop time with your nose stuck in a dollop of opium.
YAEKO: (subtitled) Please. Let him go.
(The swordsmith is tied in the back of the tent. Kensei turns to look at Yaeko.)
KENSEI: (subtitled) I’m sorry, "my love." I can’t do that.
YAEKO: (subtitled) Why are you doing this?
KENSEI: (subtitled) White Beard offered me anything I wanted to capture Hiro. I asked for half the country. And for you ... as my Princess.
YAEKO: (subtitled) You will never have me. I love Hiro.
KENSEI: You hear that, carp? She thinks she loves you.
(He goes back to Hiro and leans over him.)
KENSEI: Poor, pitiful you.
HIRO: You are supposed to be a hero.
KENSEI: After I lead White Beard's army to victory, I will be the greatest leader Japan has ever known.
(Hiro can’t answer him.)
KENSEI: (subtitled) I will change history.
(Kensei leaves the tent.)
CUT TO:
FLASHES OF THE PAINTINGS
(CU: Hiro and Kensei clash swords. Mr. Bennet is dead with a bullet through his eye. Niki pounds against the door. A close-up of a hand holding a vial. Mohinder with a broken nose is holding a smoking gun. Peter and an unknown man are looking through a BIOHAZARD glass window.)
PULL BACK TO REVEAL –
(Mr. Bennet and the Haitian have the paintings out in the warehouse. They snap photos of each painting.)
CAPTION:
NOAH BENNET
ODESSA, UKRAINE
FLASH TO:
[INT. (NEW YORK) THE COMPANY – MOLLY’S ROOM]
CAPTION:
MOHINDER & MOLLY
HARTSDALE, NY
(Mohinder sits next to Molly’s bed. His cell phone rings.)
MOHINDER: (to phone) Hello.
MR. BENNET: (from phone) Have they given you a gun?
(Mohinder stands up.)
MOHINDER: (to phone) (hushed) What are you talking about?
INTERCUT WITH:
[INT. (ODESSA, UKRAINE) WAREHOUSE]
(Mr. Bennet is on the phone.)
MR. BENNET: (to phone) A gun. Company issue.
MOHINDER: (to phone) Where have you been? I need to talk to you.
MR. BENNET: I found the paintings. The series that leads up to my death.
(The Haitian stacks the paintings in a pile on the floor.)
MOHINDER: (from phone) Where? How?
MR. BENNET: (to phone) Ukraine. An old friend helped me find them. And I'm looking at one of you holding a company gun.
MOHINDER: (to phone) I don't have a gun.
MR. BENNET: (to phone) These paintings are all random. I need you to help me make sense of them. I'm gonna forward them to you right now.
MOHINDER: (to phone) Don't, that's what I've been trying to say. They've given me a partner.
MR. BENNET: (to phone) That's just standard protocol.
MOHINDER: (to phone) It isn't. She's here to watch every move I make. They don't trust me.
MR. BENNET: (to phone) My family is in danger.
MOHINDER: (to phone) So that makes me expendable?
(Mr. Bennet is quiet.)
MOHINDER: (to phone) We were supposed to take the company down together, but you -- I don't know what your agenda is anymore.
NIKI: (o.s.) Dr. Suresh.
(He turns and sees Niki standing in the doorway.)
MOHINDER: (to phone) I have to go.
(Mohinder hangs up.)
NIKI: Bob needs to see us.
(Mr. Bennet lights a match and throws it on the paintings. He watches them burn.)
[INT. (NEW YORK) THE COMPANY – HALLWAY]
(Niki and Mohinder walk through the hallway.)
NIKI: I get it. You don't want a partner. But that's not my call.
(The overhead alarms blare.)
MOHINDER: So you admit it. You're a guard dog. Where's everyone going?
(Bob passes them on his way out.)
BOB: I'm evacuating the facility.
MOHINDER: Why?
BOB: I'll let them explain it to you.
(They meet up with Matt and Nathan.)
BOB: Officer Parkman. Mr. Petrelli.
MOHINDER: Matt? I thought you were gonna find your father.
MATT: I did. He attacked Angela Petrelli. (Nathan and Niki look at each other.) My father killed Kaito Nakamura. He's killing them all. And now he's coming to kill Bob.
(Matt shows them the picture of Bob with the SYMBOL on him.)
WHITE FLASH TO:
[EXT. (NEW YORK, 2008) – STREETS – DAY]
(The streets are empty.)
PETER: (shouts) He-l-l-o-o!
(There’s no answer. Peter and Caitlin walk down the middle of the street. The city appears to be deserted.)
PETER: (shouts) Hello!
(There’s no answer.)
PETER: (shouts) Hello!
CAPTION:
PETER & CAITLIN
NEW YORK CITY
2008
CAITLIN: There's no one here, Peter. They've all gone. Evacuated by Homeland Security. Peter, what did you do?
PETER: Me? I didn't do anything.
CAITLIN: Are you sure?
PETER: We were in Montreal. I picked up a note from some guy named Adam who says the world is in danger. Next thing you know, we're here.
CAITLIN: One year in the future. I mean, how is that even possible?
(Sirens blare as cars approach. They stop in front of Peter and Caitlin. Men in Hazmat suits rush out.)
CDC CREW: Over there.
(They grab Peter and Caitlin.)
CDC CREW 1: Get on the ground! Get on the ground now!
(They restrain Peter and Caitlin.)
CDC CREW 1: Do you have any symptoms?
CDC CREW 2: Are you sick?
PETER: Sick? What the hell is going on?
CDC CREW 1: Take them to decontamination now!
SMASH TO:
[TITLE CARD: HEROES (IN GREEN)]
FADE OUT.
[INT. (COSTA VERDE) BENNET RESIDENCE – CLAIRE’S BEDROOM – MORNING]
(Claire is asleep in bed. Her cell phone buzzes softly. She has a text message from West.)
From: West
G morning. Did U have breakfast yet?
CB#: West
(She texts him back.)
Just woke up
(She gets a reply.)
From: West
What R U having?
Smells like
waffles.
(She smells waffles and sits up.)
[EPISODE TITLE]
CHAPTER SEVEN
"OUT OF TIME"
[INT. BENNET RESIDENCE – KITCHEN – DAY]
(Sandra is cooking in the kitchen. Claire walks up to her.)
CLAIRE: Mom, did you make waffles?
SANDRA: Nope. West did.
(Claire turns and finds West feeding Mr. Muggles.)
WEST: I wanted to bring you breakfast. I hope you don't mind.
(He heads back into the kitchen.)
SANDRA: Why would she mind?
CLAIRE: Uh, because he wasn't invited, and some people think that's rude?
SANDRA: Nonsense. Your dad and I love meeting your friends.
WEST: Will Mr. Butler be joining us?
SANDRA: Sadly, no. His business trip was extended. Something about something I wasn't paying any attention to. (shouts) Lyle, get your butt out of bed! (softly to Claire) He's adorable.
(Sandra leaves the room.)
CLAIRE: (whispers to West) Why would you come here when I told you not to?
WEST: I had to show you something. Check it out.
(He shows her the newspaper article, "Drunk Cheerleader Suspended: Claims she saw boy who could fly.")
WEST: We're infamous.
CLAIRE: (reads) "Drunk cheerleader suspended. Claims that she saw a boy fly." What are we gonna do? People are gonna know it was us.
WEST: How? It's a blurb. On the last page of the local flavor section. It's no big.
CLAIRE: It is big. You can't just do whatever you want whenever you want.
WEST: I just wanna be a part of your life.
(Claire sighs. She sees the framed family photo on the counter. She looks back at West.)
(As she reaches up and kisses his cheek, she reaches behind him and turns down the framed family photo.)
CLAIRE: Okay. But just for waffles.
CUT TO:
[INT. (NEW YORK) THE COMPANY – BOB’S OFFICE – DAY]
(Mohinder, Matt, Nathan, Niki and Bob are in Bob’s office. Bob is finishing a phone call.)
MOHINDER: How do you know your father's coming to kill Bob? Isn't this all a bit reactionary?
BOB: No. Matt's right. Security just found his car ditched off the road. Maury could be here right now.
MATT: I'm taking you into protective custody. My first priority's to keep you safe.
BOB: You can't. You couldn't keep Angela Petrelli safe. She almost killed herself on your watch.
(Matt looks at Nathan, who shakes his head.)
BOB: No, we stop Maury here now.
MOHINDER: You realize that makes you the bait.
BOB: We all have our roles to play.
NATHAN: That's what Linderman used to say. My mother too. It's always these half-truths. No straight answers. Constant manipulation.
BOB: I'm trying to help everyone here.
NATHAN: How, Bob? What the hell did you people do? Why is Maury coming here to kill you?
BOB: Now is not the time to recount the past, but to focus on the task at hand.
MATT: All right! Fine, so we stay here. How do we stop my father?
BOB: Dr. Suresh, I need you and Niki to inject Maury with the virus.
NATHAN: Virus? What virus?
MOHINDER: (to Nathan) The virus takes away abilities. It's also potentially lethal. (to Bob) You said we'd never use it again.
BOB: Circumstances have changed.
MOHINDER: I will not knowingly spread this virus.
BOB: Maury is a killer. He knows your thoughts, your nightmares, and he could turn your world inside out. We take away his abilities, and then you can cure him with the antibodies in your blood. No one dies here today.
NATHAN: He's not gonna exactly volunteer for a shot.
NIKI: I can be persuasive.
BOB: I appreciate the thought. But this one goes to you, Matt.
MATT: What? Me? All I can do is read minds.
BOB: No, no, no, no. You have the same abilities as Maury has. Anything the brain controls, you control.
MATT: No.
BOB: Senses, actions, thoughts--
MATT: No! No, I can't. I-I -- I can't do any of that stuff.
BOB: Well, then you better learn fast because you're the only one who could stop your father.
CUT TO:
[EXT. (1671) WHITE BEARD’S CAMP – DAY]
(Establish.)
[INT. TENT – DAY]
(There’s a guard posted outside the tent door. The swordsmith, Yaeko and Hiro are bound inside the tent.)
SWORDSMITH: (subtitled) I should never have forged those guns. White Beard will conquer Japan. It is all my fault.
(The guard steps away from the tent door.)
YAEKO: (subtitled) We are not finished yet. (Yaeko works on her binds.) They always underestimate women. Their folly.
(She takes out a pick and uses it on the lock.)
YAEKO: (subtitled) I am a sword smith’s daughter ...
(The lock comes free and the chains fall off. Yaeko runs over to Hiro and immediately removes the smoking opium pot from him.)
YAEKO: Hiro. Hiro. (subtitled) You must concentrate! You have to get us out of here.
(Hiro looks up at the tent ceiling.)
HIRO: (slurs) (subtitled) Why is everything so purple?
(Yaeko slaps Hiro.)
[EXT. WHITE BEARD’S CAMP]
(The Camp Supervisor sees the tent guard away from the tent.)
CAMP SUPERVISOR: (subtitled) Get back to your post. White Beard doesn’t tolerate laziness.
(The tent guard heads back to his post.)
[INT. TENT]
(Yaeko pleads with Hiro.)
YAEKO: (subtitled) Please ... Please.
(She looks up and sees the tent guard returning to his post.)
(Hiro squeezes his eyes shut and concentrates.)
YAEKO: (subtitled) Please ... Please.
(The tent guard looks inside the tent –
-- and finds the prisoners GONE.)
CUT TO:
[EXT. (NEW YORK, 2008) QUARANTINE WAREHOUSE – DAY]
(The CDC Crew dressed in Hazmat suits forcibly give Peter a shower. A distance away from him, another group of CDC crew in Hazmat suits forcibly give Caitlin a shower.)
PETER: Caitlin! Caitlin!
(Peter yells.)
CUT TO:
[INT. WAREHOUSE – DAY]
(Later, Peter is sitting alone at a table in the warehouse under a REGISTRATION AND CLASSIFICATION, L-Q sign.)
(Howard Lemay walks up to Peter.)
HOWARD LEMAY: Peter Petrelli? According to these files, you're a dead man.
PETER: What?
(He puts the clipboard down on the table and opens the file folder he’s carrying.)
HOWARD LEMAY: I got your death certificate right here.
(He puts it down on the table. Peter looks at it. Lemay sits across from Peter.)
HOWARD LEMAY: So ... you're gonna have to explain to me, how's a dead man walk around New York City with no sign of infection?
PETER: Infection? I don't know what you're talking about. Where's Caitlin? I need to see her.
HOWARD LEMAY: She's from Ireland. All foreigners are deported.
PETER: You can't do that! Who the hell are you people? What's going on here?
HOWARD LEMAY: You really don't know.
CUT TO:
[INT. WAREHOUSE – DAY]
(At another part of the warehouse, Lemay leads Peter to another area.)
HOWARD LEMAY: On March 20th, 2007 the first case was reported. After that the Shanti virus spread across the globe. A pandemic. It's killed 93% of the world's population to date. The rest of us live in quarantine praying to find a cure.
PETER: This can't be happening.
HOWARD LEMAY: I wish it wasn't.
REVERSE VIEW:
(Lemay and Peter stop in front of a large window. Peter looks out into the other part of the warehouse.)
PETER: All these people died from the virus?
HOWARD LEMAY: Yeah, it's been a tough week.
PETER’S VIEW -- The entire warehouse is stacked with body bags — rows upon rows of dead people. The magnitude of the devastation hits Peter hard.
FADE OUT.
(COMMERCIAL SET)
FADE IN:
[INT. (NEW YORK) THE COMPANY – MOLLY’S ROOM]
(The machines hooked up to Molly to monitor her brain activity beep steadily. Matt sits next to Molly’s bed and holds her hand.)
MATT: I'm supposed to be out hunting down Maury, but I needed to see you. (sighs) I never should have asked you to use your ... ability to find my dad. You were just trying to make me happy. I know that feeling. When my dad left I ... I blamed myself. I thought that I was ... too slow ... too ... fat ... too stupid. I thought that if I was ... better, or if I was smarter, he would have stayed and now they want me -- they think that I can stop him, that I've got this power. And I don't. I don't.
(He takes her hand.)
MATT: I need you to hear. I need you to know that I love you.
(The monitor bleeps twice. Matt looks at the monitor and sees the readout.)
MATT: Did you just hear me? Molly?
(Matt looks at Molly and concentrates on her.)
MATT: (v.o., thoughts) I love you, Molly.
(The monitor bleeps twice again. Matt laughs and nods.)
CUT TO:
[INT. THE COMPANY – HALLWAY]
(Mohinder and Niki walk through the hallway.)
MOHINDER: What's left of the virus is in the lab. Each syringe contains only one dose, so use it wisely.
NIKI: You don't trust Bob, do you?
MOHINDER: Did he put you up to this?
NIKI: I put me up to this. I wanna hear your side.
MOHINDER: Bob is morally gray at best. And the virus? He's toying with a death sentence.
NIKI: You have the cure. No one dies.
MOHINDER: Just because he's a safety net doesn't make it ethical.
NIKI: So you would make a different choice? Morally un-gray?
(Instead of answering, Mohinder turns to leave. Niki grabs his arm to stop him.)
NIKI: I killed a lot of people ... brutally ripped them in half. They could have given me the virus, but they didn't. They've made me right, so that I could have a life. Go home to my son.
(Mohinder nods. He turns and leaves.)
DL (HALLUCINATION): (o.s.) You're never gonna have a life.
(Niki turns around and finds DL standing there.)
DL (HALLUCINATION): (accusing) You're not cured. You're a killer. And before this day is over you're gonna kill everyone.
MOHINDER: (o.s.) Niki?
DL (HALLUCINATION): Go on. Tell him what you're seeing. He'll think you've gone crazy again. And then you'll never see Micah.
(Mohinder turns the corner.)
MOHINDER: Is everything all right?
(Niki turns and looks at him. She glances back.)
NIKI: (to Mohinder) Let's go.
(She and Mohinder continue down the hallway. They walk past a closed door. The door opens and Maury Parkman steps out.)
[INT. THE COMPANY – BOB’S OFFICE -- DAY]
(On the shelf are file boxes with various names on them. Nathan looks at the names on the boxes while Bob is at the computer.)
NATHAN: I know these other families: Linderman, Nakamura, Pratt, Deveaux. Everyone who's been killed. But I don't know this one.
(Bob turns and looks at Nathan.)
NATHAN: Who is he? Who's Adam Monroe?
BOB: Adam is ... complicated.
NATHAN: So un-complicate it.
(Bob stands up and goes to the bookshelf. He takes a book down.)
BOB: Adam convinced us that we belonged together. That we could make the world a better place for our children ... for you.
(He flips to a page and shows it to Nathan. It’s an article clipping out of the MIAMI BUGLE, "Snow Falls in Miami.")
NATHAN: "Snow falls on Miami." I don't get it.
BOB: That headline could have read "Tsunami wipes out eastern seaboard."
NATHAN: What does any of this have to do with the murders?
BOB: Adam is the one who's trying to kill us.
NATHAN: I thought Maury Parkman was--
BOB: Maury's the weapon. He's the blunt instrument. Adam was the visionary. But with these abilities, sometimes people tend to think of themselves as gods. Did you ever think that, Nathan? Adam did. And he began to talk about holocausts, plagues. Punishing humanity in order to save the world.
NATHAN: Sounds a lot like Linderman.
BOB: Linderman was Adam's disciple. Adam was dangerous. So we locked him up. We threw away the key. Two weeks ago he escapes. And now he wants revenge.
NATHAN: It sounds like you're reaping what you sow. Why should I care?
BOB: Because of Peter.
NATHAN: Listen, pal, if you wanna talk about my brother, you better be very careful what you say next.
BOB: Peter is alive, Nathan. Your brother is alive.
CUT TO:
[INT. (NEW YORK, 2008) WAREHOUSE -- DAY]
(Howard Lemay takes Peter back to the registration area where Future Angela is waiting for him. She stands up and turns around to look at him.)
HOWARD LEMAY: I'll leave you two alone.
(Lemay leaves.)
(Peter walks over to her.)
(She hugs him. He doesn’t hug her back and pushes her away.)
PETER: Do I know you?
FUTURE ANGELA: They brought me here to help you, Peter. You need to remember who you are.
PETER: I need to find Caitlin.
FUTURE ANGELA: You need to focus. You can move objects with your mind, heal, you can paint the future.
PETER: How do you know about that?
FUTURE ANGELA: You absorb abilities from other people. You are the most powerful of us all. You're a kind and caring soul. Selfless. Always thinking about others. But now you need to think about yourself and fly into the face of danger. Just like your brother.
PETER: I have a brother.
FUTURE ANGELA: He died in the first outbreak. But you -- you can change that.
PETER: How? I was in Montreal in 2007. The next thing I know, I'm here.
FUTURE ANGELA: You met a man named Hiro Nakamura. He can travel in time. So can you. You can change history.
PETER: I can't.
FUTURE ANGELA: You must!
PETER: I can't control these things that are happening to me!
(Frustrated, Peter punches the table three times.)
FUTURE ANGELA: Then this virus will kill us all. Peter, you need to remember.
INSERT: FLASHBACK – A "Happy Birthday" banner hanging on the wall.
(Peter opens his eyes.)
INSERT: FLASHBACK – A well-dressed woman carries a birthday cake.
(Peter blinks as he has more flashes.)
INSERT: FLASHBACK – A young Peter kisses Angela’s cheek.
(He has more flashes.)
FUTURE ANGELA: (echo-y, v.o.) You need to remember.
INSERT: MORE FLASHES of Angela.
(He turns and looks at her.)
PETER: Mom?
(She nods and smiles at him. They hug and she cries.)
FADE OUT.
(COMMERCIAL SET)
FADE IN:
[INT. (COSTA VERDE) BENNET RESIDENCE – LIVING ROOM -- DAY]
(Mr. Muggles sits on the chair while Claire and West are on the couch kissing and listening to rock music.)
(She looks at the scars on his neck. She turns the music off.)
CLAIRE: Do the marks hurt?
WEST: No. They're kinda just there. Painless souvenirs of my alien abduction from the guy with horn-rimmed glasses.
CLAIRE: If you're gonna be dropping in, there's something I need to tell you.
(He takes the earplug out and sits up.)
WEST: I get it.
CLAIRE: Get what?
WEST: I'm moving too fast. We don't have to go any further if you don't want to.
CLAIRE: You know what I want? Popsicles.
(Claire gets up and heads out.)
WEST: Popsicles. Awesome.
[INT. BENNET RESIDENCE – KITCHEN – DAY -- CONTINUOUS]
(Claire opens the freezer. West follows her into the kitchen. Mr. Muggles barks. West turns around.)
CLAIRE: Raspberry or blue?
(Mr. Bennet walks into the house. West freaks. Mr. Bennet starts up the stairs.)
WEST: He found us.
CLAIRE: Who?
WEST: The man who abducted me. We've gotta get outta here. (He pulls her out of the house.) Come on.
CLAIRE: No, wait. That's what I've been trying to tell you. The guy in the glasses is my father.
WEST: What is this? Some sort of trap?
CLAIRE: No, just listen to me.
WEST: Back off.
CLAIRE: Wait.
MR. BENNET: (o.s.) Claire!
(West flies away. Claire looks up and he’s gone.)
(The patio door opens and Mr. Bennet finds Claire outside holding two popsicles.)
MR. BENNET: Who are you talkin' to?
CLAIRE: No one.
MR. BENNET: You've got two popsicles.
(She offers him one.)
CLAIRE: (smiles) Welcome home.
(He smiles back.)
CUT TO:
[EXT. (1671) HILLTOP – DAY]
(Hiro looks out at White Beard’s camp.)
YAEKO: (subtitled) There’s nothing you can do now. We lost. White Beard has won. We must go on while we still can.
HIRO: (subtitled) I can’t. White Beard’s army is preparing to march.
YAEKO: (subtitled) But how? Even with your ability, what can you do against an army ...
HIRO: (subtitled) Destroy their guns. Without them White Beard is nothing.
YAEKO: (subtitled) And what about Kensei? You cannot stop him. Nothing can.
HIRO: (subtitled) His heart is broken. Pain has made him cruel. But, he is good inside.
YAEKO: (subtitled) You would risk your life for your faith in him?
(He nods.)
HIRO: (subtitled) It won’t be safe for you here. Meet me under the cherry blossoms. Wait for me.
(He turns toward the camp, closes his eyes, concentrates and vanishes.)
(Yaeko turns and looks out at the camp.)
CUT TO:
[INT. (NEW YORK) THE COMPANY – LAB]
(Mohinder takes a vial out of the tray.)
NIKI: All this trouble over one drop of liquid.
MOHINDER: This virus could kill an entire species.
(Maury watches them from the back of the room.)
NIKI: Or it could stop Maury and save our lives.
MAURY PARKMAN: (v.o., thoughts) (echoing) Poor Niki. So vulnerable. You're perfect. Show me your nightmares. Show me your thoughts. Show me your soul. How do I turn you into a killer?
(Just past Mohinder, Niki sees DL in the room.)
DL (HALLUCINATION): Nothing's going to save you. This company is bad. You're not making up for your sins. You're diggin' deeper into hell, and worse, you're gonna drag Micah right down with you.
NIKI: You're wrong. They said that they would help me.
(Mohinder turns as he fills the syringe. There’s no one there.)
MOHINDER: Niki, what are you talkin' about?
NIKI: (to DL) I was sick. I'm still sick.
DL (HALLUCINATION): How can you say that?
NIKI: Because you're dead.
DL (HALLUCINATION): No, I'm not. They don't want me talkin' to you. They're using you, Nik.
(Maury is standing in the shadows.)
DL (HALLUCINATION): Just like Linderman. Just like Jessica. You can still do the right thing.
BANG!
(A gun fires. Niki gasps as DL falls forward. Behind him, Bob is in the doorway holding the gun.)
(DL falls onto Niki. She holds him.)
DL (HALLUCINATION): You have to kill him. That's the only way you can save Micah.
(Mohinder watches Niki. In her mind, she’s cradling DL in her arms, but Mohinder sees her holding nothing.)
MOHINDER: Niki, you're talking to yourself. I think it's Maury. We need to call Bob.
(He helps her up.)
(Niki turns and punches Mohinder. He flies backward and hits the far counter. He falls to the floor. Niki grabs the filled syringe off the table.)
(She heads out.)
(Maury smiles.)
CUT TO:
[EXT. (1671) WHITE BEARD’S CAMP -- NIGHT]
(Hiro approaches the camp. He closes his eyes and VANISHES.)
[EXT./INT. WHITE BEARD’S CAMP – TENT (ARMAMENT) – NIGHT]
(Hiro appears right outside the armament tent. He slips inside.)
(The tent is full of barrels of gunpowder. Hiro opens one of the barrels and pours the gunpowder around the tent on top of the other barrels.)
(He picks up the lantern and turns to put it up on the stack of boxes.)
KENSEI: (subtitled) I thought you’d come here.
(Kensei steps out. His sword is drawn and he’s wearing his armor.)
(Hiro turns around. He’s still holding the lantern.)
HIRO: This many guns in Japan, they will crush history. I cannot let White Beard win. We can still stop this ... together.
(Kensei removes his helmet.)
KENSEI: We did make a good team, you and I. You showed me how to be a hero. How to love. And then ... you took it all away.
(Kensei strikes. Hiro’s ready for him and raises his own sword to block the attack. Kensei pushes Hiro back against the boxes.)
KENSEI: Do it, Hiro. Stop time. Kill me. Cut off my head.
HIRO: I will not do it. I still have faith in you.
(They fight some more.)
KENSEI: The honorable Hiro Nakamura. He won't kill you.
(Kensei strikes; Hiro blocks.)
KENSEI: He'll just lie, cheat, and steal.
(Kensei knocks the lantern off the table. The lantern falls dangerously close to the gunpowder barrels.)
HIRO: I wanted to help you become a hero.
(The straw on the ground catches fire quickly and spreads.)
(Kensei attacks. Hiro blocks.)
KENSEI: I never claimed to be anything more than a happy drunk.
HIRO: Do not punish the world for my mistakes!
KENSE: I only want to punish you, Hiro. Yaeko was right. She's not destined to be my princess. She's destined to die.
HIRO: No!
(Hiro kicks Kensei back and attacks. He disarms Kensei and knocks him to the ground.)
KENSEI: Ah!
(Hiro realizes the tent is in danger of exploding.)
HIRO: Take my hand. We must get out of here now.
KENSEI: (subtitled) Never! (vows) As long as I have breath, anything you love I will lay to waste. I swear. (subtitled) You will suffer.
(Hiro turns and looks at the burning barrels. He looks at Kensei. They’re out of time.)
(Hiro shuts his eyes and concentrates.)
(The gunpowder barrels EXPLODE!)
CUT TO:
[EXT. WHITE BEARD’S CAMP – NIGHT – CONTINUOUS]
(Hiro appears outside the camp. The tent in the distance EXPLODES!)
(Hiro watches the camp explode and burn.)
FADE OUT.
FADE IN:
[INT. (NEW YORK) THE COMPANY – BOB’S OFFICE]
(Bob shows Nathan VIDEO SURVEILLANCE footage of Peter being tended.)
BOB: Peter's alive, Nathan. This was taken three months ago right here.
NATHAN: Is he here now?
BOB: No. He's gone.
NATHAN: Gone where? What is it you're not telling me? I need to know everything.
BOB: He was in Cork, Ireland, and then we lost track of him.
NATHAN: Lost track of him? How do you lose someone? How do you lose someone?
THUD!
(Bob looks at the door.)
INTERCUT WITH:
[EXT. HALLWAY]
(Niki is out in the hallway punching the door to Bob’s office.)
THUD!
(She splinters the wood. Bob gets up. Niki continues to punch the wood with her fists.)
(Bob and Nathan wait.)
[INT. THE COMPANY – MOLLY’S ROOM]
(Matt sits with Molly. He looks out the window at the thudding sounds. He stands up and takes his gun out as he checks out the source.)
MATT: Dad!
(Matt reaches for the door and steps out of the room –
[INT. KITCHEN – NIGHTMARE]
-- and into an old apartment kitchen. The door slams shut behind him. He’s somewhere in an old apartment.)
(Molly is sitting at the kitchen table. She runs to him.)
MOLLY: Matt!
(She jumps up and gives him a hug.)
MATT: Molly.
(He puts her down.)
MATT: What are you doing in here? Where are we?
MOLLY: This is where he keeps me.
MATT: What?
(Matt looks around the place.)
MOLLY: When I tried to find your dad, he locked me in here. Now we're both trapped.
MATT: No. No, we're not.
(Matt goes back to the door and tries to open it. It’s locked.)
MATT: (shouts) Dad!
(Matt struggles with the door.)
[INT. THE COMPANY – BOB’S OFFICE]
(Niki punches clear through the door. Bob and Nathan watch her. She stops and sees them. With one final punch, she breaks the door off its hinges.)
[INT. KITCHEN – NIGHTMARE]
(Matt concentrates.)
MATT: (v.o., thoughts) Dad!
[INT. THE COMPANY – HALLWAY]
(Maury is watching Niki when he hears Matt’s shout. He looks around the hallway and doesn’t see Niki enter Bob’s office.)
MATT: (v.o., thoughts) Dad!
(Maury turns around.)
[INT. KITCHEN – NIGHTMARE]
MAURY PARKMAN: (o.s.) Matt?
(Matt turns around and finds Maury standing in the living room doorway.)
(Molly ducks behind Matt.)
MAURY PARKMAN: Did you bring me here?
MATT: I think ... I think I did.
[INT. THE COMPANY – BOB’S OFFICE]
(Nathan cautiously steps forward toward Niki.)
BOB: Step back, Nathan.
NATHAN: I got it.
(Niki strides forward with the syringe in her hand.)
NATHAN: Don't do it, Niki. This isn't you. Don't do it.
(Niki grabs Nathan.)
NIKI: How can you defend him? He killed DL.
BOB: I didn't kill anyone. It's Maury. He's gotten inside of your head.
NATHAN: Listen to me, this is a nightmare. This isn't you. (louder) Don't be his puppet! You're stronger than this.
BOB: You came here to get control of your life. Don't let Maury undo all of that.
NATHAN: Listen to me. Listen to me. Think of your son. Think of Micah. Think of your boy.
(Niki doesn’t know what to do. Finally, she stabs herself with the needle. She sinks down to the ground.)
NIKI: I couldn't get the nightmare out. I didn't know what else to do. I had to stop myself.
(Niki cries.)
[INT. KITCHEN – NIGHTMARE]
MOLLY: Matt.
MATT: Don't be scared, Molly. We're gonna get out of here.
(Matt starts walking toward Maury.)
MAURY PARKMAN: Do you recognize this room?
MATT: Yeah, of course. This is our old place on Parthenia. (Matt looks at the dinner on the table.) Brisket and potatoes. This is the night you left.
MAURY PARKMAN: I never apologized.
MATT: You weren't sorry. You walked out that door, you never even turned back.
MAURY PARKMAN: You think this didn't hurt me? This broke my heart. I love you, Matt.
MATT: Then turn yourself in.
MAURY PARKMAN: That's not gonna happen. There's no prison that can hold me.
MATT: I think there is! I think I can trap you in here just like you trapped Molly.
MAURY PARKMAN: How are you gonna do that?
MATT: Look around, Pop. This isn't my nightmare! This is yours! I can walk right out that door.
MAURY PARKMAN: No, you can't.
MATT: I have to.
(Matt turns and heads for the door.)
MATT: (to Molly) Come on.
MAURY PARKMAN: You can't!
(Matt and Molly are at the door. Matt tries the doorknob and finds it locked. He rattles it.)
MAURY PARKMAN: Because you're not strong enough!
(Matt continues to try to open the door, but it won’t open.)
MAURY PARKMAN: Because you're still that scared little boy!
MATT: No! I'm not scared of you anymore! I'm a good man! I'm a good cop! (He looks at Molly.) I'm a good father, which is something you know nothing about. You don't know what it's like to fight for someone that you love. You left. You left. All you have are your nightmares.
(Matt turns the doorknob and it OPENS.)
MATT: Let's get out of here.
(Matt turns and picks Molly up.)
MAURY PARKMAN: Don't leave me.
(Maury hurries toward the open door. Matt and Molly slip out of the apartment --
MAURY PARKMAN: Don't leave me alone! No!
-- and he slams the door on Maury, trapping him inside the old apartment kitchen.)
MAURY PARKMAN: NO!
(Maury tries the door and it won’t open.)
(Maury turns around and finds himself trapped in his own nightmare.)
CUT TO:
[INT. THE COMPANY – MOLLY’S ROOM – DAY]
(Matt sits next to Molly’s bed. He opens his eyes and wakes up. Molly isn’t awake. Matt turns and finds Maury on the floor near the doorway. He is unconscious.)
(Matt gets up and checks for a pulse.)
(Molly stirs.)
MOLLY: Matt?
(Matt turns around.)
MATT: Oh, God.
(He sits in the chair next to Molly’s bed.)
MATT: Molly, the nightmare's over. He's never gonna hurt you again. Ever. I promise.
(She sits up and hugs him.)
MATT: Oh, God, I love you.
MOLLY: I heard.
CUT TO:
[INT. (NEW YORK, 2008) WAREHOUSE -- DAY]
(Future Angela leads Peter through a portion of the warehouse separated by a barbed wire fence. There are people on the other side headed out of the warehouse.)
PETER: So what happens next? Where do all these people go?
FUTURE ANGELA: Same place we are, home.
CAITLIN: Peter!
(Peter turns and sees Caitlin on the other side of the fence.)
CAITLIN: Peter!
PETER: Caitlin!
(They run up to the fence and hold each other’s hands through the wire.)
CAITLIN: Peter! I'm so scared! Please don't let them take me away from you.
PETER: I'll get us home. I promise.
CAITLIN: Please, Peter. Peter! Don't let them take me. Don't let them take me.
(Two officers pull Caitlin away from the fence.)
PETER: No. No! No!
(Peter is panting heavily as they take Caitlin away.)
SWOOSH TO:
[INT. (MONTREAL) SHOP – NIGHT]
(And Peter is back in the Montreal shop.)
(He looks around and finds the warehouse, New York, and Caitlin all GONE!)
PETER: (shouts) Caitlin!
(Peter collapses on the floor.)
FADE OUT.
(COMMERCIAL SET)
FADE IN:
[EXT. (1671) WHITE BEARD’S CAMP -- DAY]
(The camp is burned and smoldering.)
(There’s a charred body on the ground. Nearby is a helmet. Kensei’s helmet. Hiro picks up the helmet.)
(He looks at it for a long moment. Then he closes his eyes and VANISHES with it.)
[EXT. CHERRY TREES – DAY]
(Yaeko is waiting under the cherry blossoms.)
SWOOSH!
(She turns around and Hiro is there with Kensei’s helmet tucked under his arm.)
HIRO: (subtitled) The army has scattered. White Beard is defeated.
YAEKO: (subtitled) You have saved us all.
HIRO: (subtitled) At what price? He was my friend. I betrayed him. I killed Takezo Kensei.
(Yaeko shakes her head.)
YAEKO: (subtitled) Everything Kensei accomplished ... You did all these things. Not him. As sure as I live, you are Takezo Kensei.
(It is little consolation for Hiro.)
YAEKO: (subtitled) Perhaps now you can live happily with his Princess.
(Hiro smiles at the thought. But then, his smile fades.)
HIRO: (subtitled) That’s not how the story ends.
(Hiro looks away from her.)
HIRO: (subtitled) It is the last trial. "Kensei and the Dragon." My father told it to me. The dragon who taught Kensei the way of the sword ... demanded his love in return.
(Yaeko holds Hiro.)
YAEKO: (subtitled) What did Kensei do?
HIRO: (subtitled) He cut out his own heart to save her. To save Japan.
YAEKO: (subtitled) Is that what you must do now? Cut out your heart?
(Hiro turns and looks at her. He gives her his sword.)
HIRO: (subtitled) I nearly destroyed time by staying when I should have left. I must go back.
YAEKO: (subtitled) As long as I have a voice, all shall know the story ... of noble Takezo Kensei. The boy Hiro Nakamura will have tales to help him sleep.
HIRO: (subtitled) And he will dream of the Princess.
(They kiss.)
HIRO: (subtitled) Farewell.
(Hiro steps away from her. Yaeko cries.)
SWOOSH!
(She looks up and she is alone. The cherry blossoms fall around her.)
CUT TO:
[INT. (NEW YORK) THE COMPANY – LAB]
(Niki receives a transfusion.)
MOHINDER: The antibodies in my blood will eradicate any traces of the virus in your system.
NIKI: Your nose, does it hurt?
MOHINDER: Only when I breathe.
(Mohinder is at the computer. He has a white bandage across the bridge of his nose.)
NIKI: I'm sorry.
MOHINDER: It's not your fault. You weren't in control.
(Mohinder checks the computer.)
MOHINDER: This can't be right.
NIKI: What's wrong?
MOHINDER: The antibodies aren't working. This isn't possible. Not now. It's another strain of the virus. It's immune. My blood's no longer a cure.
NIKI: I'm going to die?
CUT TO:
[INT. (TOKYO) YAMAGATO INDUSTRIES – BULLPEN -- DAY]
(Ando is working at the computer in his cubicle. He pushes away to get a file off the shelf. When he goes back to his computer, he finds Takezo Kensei’s helmet.)
(It takes a moment for it to sink in. His eyes widen.)
(Hiro is standing behind him.)
HIRO: (subtitled) I had to get you a souvenir.
ANDO: (shouts) Hiro!
(Hiro grins. Ando is excited to see him.)
ANDO: (subtitled) You’re alive! You’re a samurai! I was scared you’d never come back.
HIRO: (subtitled) Has it been long?
(Hiro puts his glasses on.)
ANDO: Hmm. (subtitled) Months! I haven’t seen you since we saved the world.
(Hiro smiles.)
HIRO: (subtitled) Then we did? No bomb? No boom?
ANDO: Hmm.
HIRO: (subtitled) (shouts) We saved the world! (Yatta!) There is so much to catch up on. Where is my father? I want to tell you both everything.
(Ando’s excitement vanishes.)
ANDO: (subtitled) Hiro ... your father. He’s dead. Murdered.
(HOLD on Hiro.)
CUT TO:
[INT. (NEW YORK) THE COMPANY – BOB’S OFFICE]
(Bob is looking through a file when Mohinder walks in.)
MOHINDER: This strain has no cure.
BOB: Are you certain of these results?
(Mohinder nods.)
BOB: We'll keep Maury sedated. We'll destroy every last vial. (Bob looks at Mohinder.) I promise.
(Bob gives Mohinder a file.)
MOHINDER: What is this?
BOB: It's a chance to save Niki. We got a police report. A girl walks away from a 50-foot fall without a scratch.
(Mohinder opens the file and sees Claire’s photo.)
MOHINDER: Cellular regeneration?
BOB: Her name is Claire Bennet. You remember her father, Noah? He worked for us.
(Bob sits at his desk.)
MOHINDER: Of course. He's not exactly gonna let us take his daughter, is he?
(Bob puts the gun on the desk.)
MOHINDER: Are you saying we should kill him?
BOB: I'm saying we should be prepared.
(Bob gives Mohinder a second file.)
BOB: This is Ivan Spektor, our man in the Ukraine. He was Bennet's friend, his mentor. Bennet killed him.
MOHINDER: When was this?
BOB: Last night.
MOHINDER: Are you sure it was him?
BOB: He left fingerprints. Bennet is getting sloppy, emotional ... and that means dangerous.
MOHINDER: I have something I need to tell you. I have been working with Bennet to take down this company.
BOB: Why are you telling me this now?
MOHINDER: Because ... I am unsure of who's right and who's wrong. And it is time to stop playing games.
BOB: There's a storm coming, Dr. Suresh. Claire is the key. Her regenerative abilities, they could cure the virus. She could save Niki.
MOHINDER: I want to do the right thing here. For Niki.
(Mohinder picks up the gun.)
MOHINDER: For everyone.
CUT TO:
[INT. (COSTA VERDE) BENNET RESIDENCE – DEN]
(Mr. Bennet hooks up the digital camera to download the photos. Sandra walks in. He smiles as she hugs and kisses his shoulder.)
SANDRA: So did you meet him?
MR. BENNET: Meet who?
SANDRA: The boyfriend, West. He was here today.
MR. BENNET: Claire has a boyfriend?
SANDRA: I checked him out; he's fine. You cannot be the only man in her life forever.
MR. BENNET: No, I suppose not.
(He sits down at his desk in front of the computer.)
SANDRA: We knew this day would come.
(She turns and leaves. Mr. Bennet looks at the monitor with the painting of his death.)
[INT. BENNET RESIDENCE – LIVING ROOM]
(Claire is texting WEST:
West please answer me.
(Claire is in bed with her phone. Mr. Bennet drops the folded newspaper, article up, on her lap.)
MR. BENNET: You wanna tell me about this?
CLAIRE: It's nothing.
MR. BENNET: Nothing. "The cheerleader claims she saw her teammate fall 50 feet to her death." That's nothing. I asked you to do one thing, Claire. I asked you to keep your nose clean.
CLAIRE: Debbie was drunk. Nobody believes her.
MR. BENNET: Did your boyfriend make you do this?
CLAIRE: Are you kidding me?
MR. BENNET: Answer me.
CLAIRE: It's none of your business!
MR. BENNET: Your tiny rebellions are putting this family in danger!
CLAIRE: Me? What about you, Dad? You think any of us really believe that you were out at a copy conference? Where were you, out abducting people?
(Sandra comes down the stairs.)
SANDRA: What is going on down here?
LYLE: What did Claire do this time?
CLAIRE: Shut up, Lyle!
MR. BENNET: It's not safe here anymore. Pack your bags. We're moving.
CLAIRE: You can't do that.
MR. BENNET: This is not a discussion. We're leaving.
(Claire stands up --
CLAIRE: Then you're going without me.
-- and heads upstairs.)
(The door slams.)
CUT TO:
[INT. (MONTREAL) SHOP -- NIGHT]
(Peter walks around the shop and tries to relax. He takes a breath and concentrates. It doesn’t work. He’s still in the shop.)
(Peter picks up the note left to him.)
PETER: (mutters) Adam. Adam. I don't know any Adam.
(He hears movement coming from the side. Peter turns and automatically sends an electrical blast in that direction.)
(The intruder’s hand is hit and is burned black –
-- then, as we watch, the intruder’s hand spontaneously heals back into perfect condition.)
(Peter gasps that the intruder was able to deflect the attack.)
(A familiar blonde-haired man peers out at Peter. It's Takezo Kensei. Now, Adam Monroe.)
ADAM MONROE: Peter, what the hell was that?
PETER: Do you know me?
(Adam Monroe steps into the room. He looks the same as he did four hundred years earlier.)
ADAM MONROE: Of course I know you. It's me, Adam. Don't you remember? You and I are going to change history.
FADE TO BLACK.
TO BE CONTINUED ...
==========================
END OF EPISODE
==========================
Dans le Japon féodal, Hiro est retenu captif avec Yaeko et son père dans une des tentes du Camp de Barbe Blanche par Takezo Kensei. Ce dernier utilise de l'opium pour inhiber la concentration de Hiro pour qu'il soit incapable d'utiliser ses pouvoirs. Yaeko lui demande pourquoi pourquoi il fait cela, il lui répond que Barbe Blanche lui a offert tout ce qu'il désirait en échange de la capture de Hiro. Ainsi il a choisi d'obtenir la moitié du pays et que Yaeko soit sa princesse. Mais Yaeko garde son honneur et clame aimer Hiro. Hiro dit à Kensei qu'il était supposé être un héros et Kensei lui répond qu'il sera un héros pour le Japon.
En Ukraine, M.Bennet prend en photo les peintures de la série des 8. Il appelle ensuite Mohinder qui est au chevet de Molly et lui demande si la compagnie lui a fourni une arme mais Mohinder lui répond qu'il n'en a pas. Bennet lui annonce alors qu'il va lui envoyé les photos des tableaux pour qu'il l'aide à les classer dans l'ordre, cependant Mohinder est inquiet car son partenaire garde tout le temps un oeil sur lui. Il dit à Noah qu'il n'est plus sûr de ses réelles motivations. Soudainement, Niki apparaît et Mohinder est contraint de raccrocher tandis que Noah met le feu aux peintures. Niki et Mohinder partent rejoindre Bob qui leur annonce qu'il évacue le bâtiment. Matt et Nathan arrivent à leur tout et les avertissent que Maury veut tuer Bob. Pendant ce temps Bennet brûle les tableaux.
Claire est chez elle quand elle est réveillée par la réception d'un SMS de West. Elle descend dans la cuisine et découvre que West est avec sa mère entrain de lui préparer son petit-déjeuner. Alors que Claire n'est pas vraiment ravie, Sandra lui chuchotte qu'elle est heureuse de faire sa connaissance avant de les laisser seuls. West montre à Claire la vraie raison de sa visite : un article du journal local parlant des événements de la veille concernant Debbie. Toujours gênée, elle embrasse malgré tout son ami pour cacher une photo de famille.
Nathan et Bob discutent dans le Bureau de Bob. Nathan lui demande qui est Adam Monroe et Bob lui répond qu'il est celui qui tente de les tuer en utiliser Maury comme instrument pour réaliser ses crimes. Bob explique qu'ils l'avaient enfermé et jeté la clé, mais il y a 2 semaines, il a réussit à s'échapper. Nathan demande en quoi il devrait s'en soucier et Bob répond qu'il le faut pour Peter... qui est toujours en vie.
Dans le présent, chez les "Butler", Claire et West écoutent de la musqie sur le canapé tout en s'embrassant. Claire demande à son ami si sa marque lui fait mal mais il rpéond que non. Quand Claire tente de lui avouer quelque chose d'important, West pense qu'il s'agit de son comportement et s'excuse d'aller un peu vite avec elle. Gênée, elle lui répond qu'elle a envie d'esquimaux. Depuis la cuisine, West voit Noah rentrer chez lui et panique. Il entraîne Claire à l'extérieur où elle lui révèle qu'il s'agit en fait de son père. Pensant qu'il s'agit d'un piège, West s'envole. M. Bennet, suspicieux, retrouve sa fille à l'extérieur pour lui demander à qui elle parlait et pourquoi elle a deux esquimau à la main. Elle lui tend le deuxième comme réponse et lui souhaite la bienvenue à la maison.
Matt qui a entendu le vacarme, sort de la chambre de Molly pour se retrouver en fait dans la maison de son enfance en présence de Molly. Elle explique que c'est l'endroit où Maury la retient depuis plusieurs jours. Alors que Matt tente de s'échapper, Niki parvient à détruire la porte du bureau. En se concentrant, Matt arrive à faire venir son père dans le cauchemar qu'il partage avec Molly. Au même moment, tandis que Bob et Nathan tente de la faire revenir à la raison, Niki, voyant que c'est la seule option s'injecte le virus à elle-même. De leur côté, Maury et Matt se disputent. Matt annonce à son père qu'il pense être capable de le piéger dans le cauchemar qu'il a lui-même créé. Il lui dit également qu'il n'a plus peur de lui car il est un homme bien, un bon policier et un bon père contrairement à Maury. Finalement, il quitte l'appartement (et donc le cauchemar) en compagnie de la petite fille. Matt se révéille alors et trouve Maury allongé inconscient au sol. A son tour, Molly se réveille et dit à Matt qu'elle a entendu qu'il l'aimait.
Mohinder tente d'utiliser son sang pour soigner Niki, mais il découvre que le virus a muté et que ses anti-corps ne peuvent plus la guérir.
