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Matt and Nathan head to Philly to break into Papa Parkman's apartment, and he greets them with a shotgun. But he claims he's only got the firepower because he has one of those self-portraits marked with the big-ass "S" symbol. Nate and Matt learn from Papa Parkman what we already know: the ElderHeroes banded together to save the world. Papa Parkman starts to spill tales of the past, but instead of delivering the goods on the ElderHeroes, he lures Matt and Nathan into the back of the apartment and somehow implants some hyperreal illusions in their heads that keep them from leaving while he escapes right out the front door. It finally becomes clear that Nathan and Matt are actually fighting each other instead of their illusions, and they wake the hell up. After ransacking Papa Parkman's apartment, they find a picture of Tobby with the "S" symbol scrawled upon his face and figure out that Papa Parkman maybe went in search of him.
Mohinder panics about Molly's condition and rather dumbly takes her into The Company to take care of her. While Mohinder talks to Tobby about his own field work, Niki/Jessica busts out of the back and attacks Tobby, only to have stupid Mohinder taser her. He tries to break her out later on, but she wants to stay because she thinks The Company can save her. Niki's clearly been drinking of the Kool-Aid, yo.
Monica tries to come to terms with her powers while being interrogated by the police about the gang-banger she kicked through a window. At home, Monica joins Micah for some super-genius at the piano and she gets freaked out. But Micah shares his powers with her and then explains that her power is like a copycat. That night, Monica and Micah discuss if their powers have a higher meaning other than that they're just special. After they pledge to keep their powers a secret, Mohinder unexpectedly shows up at the door promising answers to the questions Monica must have.
Ando takes some of Hiro's damaged scrolls to a restorer so that he can continue Hiro's story. Hiro and Takezo are working together with Yaeko to rescue her father. Too bad her father's being held by White Beard's thousand-man army. The story trails off there due to the fact that the scrolls are too damaged to read. Here's hoping the remaining words say, "And then Yaeko and I fell in love and came to New York and David Anders came with us. Hiiiiii!"
Peter and Caitlin are still going hot and heavy as he struggles with his powers and his past. Unfortunately, Veronica Mars is looking for him and she can shoot blue lightning from her hands, so Pete hides out in Caitlin's flat while Ricky deals with the electric blue cutie. But Veronica Mars doesn't like the answers he gives her in regards to Peter's whereabouts, so she throws some electric blue badness his way. Before she can pay a visit to Peter and Caitlin, however, her daddy calls her off the job. We can only wonder just who her daddy actually is…
Peter finally opens the box, but it doesn't tell him much of anything. A blank canvas tells him slightly more when he manifests Isaac's power and starts painting. When his eyes clear, the image before them is of a couple standing in front of a door with the "S" symbol over it. The street signs are in French, and Caitlin thinks that, because there was a ticket for Montreal in The Box, the painting might be of them, in Montreal. It looks like Notre Dame there in the background, though, so I think she's just plain wrong. Caitlin learns that her brother has been killed (or, really, fried to a crisp) and Peter realizes that he can hide no longer. Please let that mean he can hide BEHIND HIS SHIRT no longer! Want more? The full recap starts right below!
Previously on Heroes: M. Giant covered for me, and he became MY Hero. Also, Maya and Alejandro met up with Sylar, but he didn't kill them, unfortunately; Micah's cousin Monica discovered that she has some kick-ass superpowers; Claire and West made out some more, even though Mr. Bennet hath forbidden Claire to even be NEAR boys for the rest of forever because of the whole "Claire kisses someone while HRG dies in the foreground" painting prediction; and Matt begged Molly to find his father, only to have her rendered unconscious by the experience.
Matt's a really bad daddy. And not in the good way.
Oh, good Christ. The voice-over is back. I've already determined that the voice-overs are stupid and illustrate nothing, so I'm not even bothering to recap them anymore. Or at least not in this episode. All we learn in this particularly useless voice-over is the title of the episode, which we already know, so screw it.
We open on Molly's Two Daddies, hovering worriedly over her prone body. The boys bicker at each other about how Molly used her ability to find Matt's father and now she's all broken and shit and it's Matt's fault and doesn't he feel a wee bit guilty about that? Also, they can't take the poor dear to a hospital because hospitals "aren't equipped to deal" with something like this. What? She has an effin' fever, Mohinder. Stop freaking out. Yeah, she's out cold, but whatever! I was out cold this morning and the smell of coffee woke me right the hell up! Just brew some java, she'll be FINE.
So, whatever, the boyfriends snit at each other and Matt thinks his father did this to Molly (duh!) and Mohinder thinks he should find his father, but Matt doesn't even know where to start, even though Molly totally offered up the city, the building, AND the apartment number for him, and Mohinder doesn't care because their baby is sick and she's sick because of MATT and he should care enough to drive to Philly and confront his father and get to the bottom of this, but Matt's a chickenshit and he'd rather stand around wondering aloud why his father's involved in all this and why he's in the picture in the first place than actually DO something about it, but then light dawns on dunderhead and Matt suddenly gets the idea to pay a visit to Angela Petrelli because maybe SHE will know where his father is. Matt kisses Molly goodbye and heads off to terrorize Mama Petrelli for intel on his dad.
New Orleans. Monica's lying to a police officer about what happened the night before with the thug and the plate-glass window. He can't believe she attacked an armed man, or that he flew through the window of his own accord. She just hems that it all happened so fast and she doesn't really remember much. The cop shows her a picture of the mean-looking dude who tried to rob the store and says that he's a well-known gang-banger and he's already hit a bunch of stores, and it'd be great if she'd ID him as the guy who tried to hit their store. Monica fearfully says that she can't ID him and, while the cop is understanding, he also gives her some shit about not wanting to step up to the plate and take a stand for her neighborhood. He gives her his card and leaves.
Corned Beef and Cabbage Pub. Caitlin closes the pub early so she can make out with Peter against the bar. Peter says he could get used to this. Mmmm. Me too. Even though she's thoroughly enjoying the kissing, she stops him and says that just because he doesn't want to deal with his past, doesn't mean he doesn't HAVE one. He thinks there's a side to him she doesn't want to know about, and she says that she sees the true person that's inside of him and she knows he's good. She's known him for approximately eight hours and she's the expert on him now? I know you can learn a lot about a person by the way they kiss, but you can't download a dossier on a guy via his tongue, so she might want to be a bit more cautious, there. Caitlin suggests that he find out what's in the box. This from the chick who got him to avoid opening the box after she branded him with the "family crest." Peter points this out to her, and she just remarks that she was trying to get him to kiss her and box-avoidance seemed the best way to make that happen. Instead of opening the box, Peter just picks her up and carries her to the back of the pub where he will most likely make sweet, sweet love to her...on top of some Guinness barrels. Sexy!
Cut to the dockyards, where the weaselly shit who tried to steal Ricky's stolen money is chatting someone up about Peter's whereabouts. That someone turns out to be none other than Kristen Bell, a.k.a. Veronica Mars, and she looks all kinds of fabulous. I have to say that, as far as I'm concerned, she's just about the best thing in an otherwise lackluster episode. She's so sparky! And smart! And cute! And I realize that, having never seen a single episode of Veronica Mars, I am probably stating the bleeding obvious, but I still think it needs to be said.
Mr. Weasel tells Veronica Mars (the character's name is "Elle," so I'm just going to call her that from now on, because typing "Veronica Mars" over and over and over again is going to get annoying really fast) that they found Peter chained up inside and he didn't even know his name. She asks where he is now, and after a second's pause, Mr. Weasel gives up the goods on Peter's location. Guess that dimpled chin is just too hard to resist, huh, Mr. Weasel? She turns to leave, and as she walks away, Mr. Weasel says, "Hey! If he's so dangerous and all that, why'd they send a little girl to find him?" Elle gets this annoyed look on her face, but hides it when she turns and shoots him a smile. Then she walks around the corner and drags her hand across a container and blue lightning emits from her fingertips. "I can take care of myself," she smugly says, to no one in particular.
Uch. Criss Angel is dirty. And not hot. In any way. And could someone please explain to me how he is successful AT ALL? Because I just don't get it. Also? That Phenomenon show looks like it's going to be hot buttered monkey ass, thank you very much. Count me out. And shut up, Criss Angel.
Police Station of Daddy Seekers. Matt barks at a uniform to take "her" back to holding. I'm assuming he's talking about Angela, and the appearance of a clean-shaven but huffy Nathan seems to confirm this. He demands to know why Matt's interrogating his mother, and Matt tells him to relax because Mama Petrelli "didn't give [him] anything." Nathan says she didn't give him anything because she has nothing to give; she's innocent! Nathan doesn't want his mother sitting in jail for a crime she didn't commit and Matt says he doesn't either; which is why he's going to Philly to see his father. Nathan turns on a dime and asks if Matt wants him to come with, even though, not two seconds ago, he was totally in Matt's face. Matt says he doesn't want Nathan coming with him because he's not a cop. Nathan rightly suggests that this whole Philly trip isn't really official police business.
Matt pulls him aside and tells him what happened to Molly; Nathan's intrigued, if a bit puzzled. Matt thinks his father is not only connected to the ElderHeroes and their deaths/attacks, but is also possibly very dangerous. Nathan seriously tells Matt that he has to do this and really wants to come along. Matt hesitates, but then agrees to let him. "We'll probably get there faster," says Matt. "You know, since you can...you know." And he makes this hilarious gesture with his head toward the sky and Nathan just disgustedly goes, "I'm not a cargo jet, Parkman." And Matt goes, "Oh, please," and walks off. Nathan just shrugs and looks down at the floor and then shuffles after his new buddy. Hee. I love The Pasdar.
Bloody Brigadoon Pub. Ricky enters with a grungy-looking guy and sees Peter and Caitlin still making out in the back. He says that he needs to talk to Peter right now. Peter comes forward and Caitlin stays in the back, and the grungy guy tells Peter about Elle and how she's looking for him. The grungy guy leaves and Ricky tells Peter that he'll help him out of this situation. But Peter thinks it's his problem. Ricky begs to differ, seeing as how Peter licking the roof of his sister's mouth makes Peter's problems Ricky's problems. Ricky tells Peter that Caitlin has a flat up the hill, and that Peter should go there until the coast clears. Peter doesn't want to, but Ricky convinces him that, for his sister's sake, he has to get out of sight and take Caitlin with him.
New Orleans. Monica's out by the restaurant's dumpsters, contemplating her superpowers. Her co-worker comes out and asks her what the hell is going on with the whole flying-karate-kick thing. Monica says that she's not sure what happened and nothing makes any sense and she thinks she learned how to do the kicking thing from television. She tries to explain to her friend that her body seems to be doing things before she even knows it. She comes close to revealing her superpowers, but falls back on saying that she's not amounting to much, seeing as she was supposed to be the first person from her family to go to college and now look at her -- she's working at a burger joint and getting nowhere fast. She finally just decides to leave and go home to get some rest.
Philly. Matt and Nathan approach the door Molly saw in her dream. Nate asks what he's going to do; Matt isn't sure. Nathan says, "He's traumatized your girl. He's got my mother terrified. You better GET sure. Get yer gun out." Hee. Is that a euphemism? Matt looks about as white as a plate of mashed potatoes. Nate claps him on the shoulder and asks if he's okay. Matt says that he hasn't seen or talked to his father since he left when Matt was thirteen. "I've spent half my life wondering what I would say to this guy if I got the chance and now I can't even knock on the door," he says. Before Matt can change his mind and run away like the girl that he is, Nathan rather awesomely just reaches out and raps on the door. Matt looks at him like, "Buh?" Nate just goes, "You're welcome." Hee. "Parkman, this is not a family reunion. He is not your dad today. He is a suspect. Get your gun out." HA HA HA. Awesome.
Matt grabs his gun and his nuts and hollers, "Police! Open up!" which I'm sure goes a long way to announcing his presence to the father figure nearby. They bust through the door, only to come face-to-face with a grizzled old guy who vaguely resembles the man in the photo. Oh, and he has a shotgun. He's about to shoot them when Nathan mutters Matt's last name under his breath and Papa Parkman realizes that Matt's his son. He asks what they're doing there, but he won't put down the gun. Matt wants to know what the hell he's doing walking around in Molly's dreams, and Papa Parkman says he doesn't know who that is. Matt and Nathan yammer questions at him about Kaito's death and Angela's attack and while Papa Parkman is distracted, Matt moves in and takes the gun and slams his father up against a wall and cuffs him. Nathan grabs the fallen shotgun and loads it roughly and Matt looks around all, "Uh, homie?" And Nathan just dryly looks up and goes, "I'm good." You certainly are. Hee.
Papa Parkman claims that they've got it all wrong, he was waving the gun around to protect himself. He points them to a picture on the desk, and sure enough, it's a picture of him with the big "S" lipsticked across his ugly mug. Matt demands to know what his father did to Molly, and that he undo whatever it is immediately. Papa Parkman says he's just protecting himself, and when Nathan asks from whom, Papa Parkman levels a look at him and asks, "Which one of her kids are you?" He guesses that Nathan is the politician. Nathan rears his head back and says that his mother's in jail for Kaito's murder and she and Kaito both had the "S" over their faces, just like Papa Parkman does, and they're all taken from the same photo and they're all connected.
Papa Parkman goes on to say that the ElderHeroes all found each other years ago, and they all thought they could save the world. Matt says his father's only interested in saving his own ass. Nathan drops the picture on the desk and says that this is a waste of time. He thinks that Matt should just read his father's mind and they can get out of there. Papa Parkman looks at his son. "You can read minds?" He starts laughing. "Go ahead." Matt tries to, but something wonky starts happening and suddenly Papa Parkman grimaces and Matt pulls back in pain. "Hurts, doesn't it?" asks his father. "How do you know?" asks Matt. "Can you read minds?" Well, DUH, Parkman. He's only been digging around in Molly's for God knows how long. Papa Parkman tells Matt to unlock his cuffs and he'll tell him everything he wants to know.
New Orleans. Micah's at the piano, playing the shit out of it. Because Noah Gray-Cabey can play the piano like a pro and it's high time everyone knew it. So he plays and plays and we're all impressed and shit, and Monica comes in and she's all impressed and shit, and this has nothing to do with the story, so let's move on to something that does, shall we? Micah says he misses his mother and Monica says she probably misses him too and as they're sitting there, Monica suddenly starts playing the piano alongside Micah. He asks her if she plays, and she just wistfully says that she never learned. And then she looks at her hands. And they're playing better than Micah. And they start playing even more aggressively and professionally until Monica is freaked the hell out and leaps up from the piano. "If you don't play, then what was that?" asks Micah. Monica runs out.
Chez M3. Mohinder's on the phone, calling Bennet. Bennet's in front of a green screen with the Haitian Sensation, with a vague European nation being projected behind them. Mohinder gabbles that he's worried about Molly because she's so unresponsive. He doesn't know what to do and he's thinking of taking her into The Company because they're the only people who can help her. Bennet thinks this is an extraordinarily stupid idea. He tells Mohinder that the moment he trusts them with something he cares about, The Company will have him in their grasp. Spoken like a man who knows what he's talking about. "Don't forget whose side you're on," he whispers into the phone. "I'm on her side," says Mohinder. God, just SLAP her already, Mohinder. She's probably just drunk. Get her a bloody Mary. That'll wake her up. At least, it always wakes ME up...
Palace de Papa Parkman. Having clearly ingested some of Mohinder's Stupid Pills, Matt dumbly removes his father's shackles and orders him to tell them everything. Papa Parkman tries to hug his son and tell him he's proud of him and that back when he himself learned he could read minds, he was a real scumbag. "Was"? Matt tells him that he doesn't get to be proud, he doesn't get to be anything; what he gets to be is a veritable font of information, thanks, so get yammering! Nathan leans forward and asks what Papa Parkman meant about the ElderHeroes trying to save the world. Papa Parkman obliquely explains that their powers came out of nowhere, and that they somehow found each other and they were connected and felt like they were invincible. Some of the ElderHeroes took that to heart and started doing whatever they wanted to do, no matter the consequences. This didn't sit so well with some of the other ElderHeroes, including Papa Parkman. "I did what I could do to stop them." "Like what?" asks Nathan. Papa Parkman turns to his son and says, "This thing we can do -- it only begins with reading minds and then it becomes so much more..." Matt's curious, but his father doesn't think he can really explain it.
He then gets a look on his face and suddenly gets up and tells Matt he has something he can show him that will explain everything. And yes, what he shows him is definitely an explanation of sorts. Unfortunately, it doesn't come in a PowerPoint and there aren't some nice handouts to take away. Instead, Papa Parkman just slimily asks Matt to follow him into the back room while every alarm bell in the immediate vicinity starts pealing, "Stupid! Stupid! Stupid! He's clearly going to do something BAD to you! Stupid! Stupid! Stupid!" Matt's recently been rendered deafer than an inbred pony, however, and he just schlumps along behind his dad and follows him into the back. Once there, the door immediately behind Matt shuts and then the door out to the rest of the apartment shuts, prompting Nathan to get up from his seat and run toward it. He starts banging on it and calling out for Matt, but there's no response.
Inside the room, the lights go out and then come back up and Matt's in a jail cell. There's a large guard there and he throws Matt up against the wall and his voice is really garbled and it makes no sense and it's like being stuck in one of those dreams where you start out as a normal person walking down the street and then you morph into a Volkswagen with a cowboy hat and then a bird starts talking to you in Robert DeNiro's voice and then you're naked and your hair is plaid and your hands are made of plates. Matt thinks this is all real, though, even though he walked into a bedroom in Philadelphia and now appears to be in a random jail cell with a really pissed-off guard. Outside the room, Nathan tries to bust the door down and finally succeeds, only when he breaks through to the other side, he's out on the Superheroes Superroof and it would appear that they didn't save New York from the nuclear Peter after all because everything's destroyed. Nathan's stunned. He thought they were in PHILLY, not NEW YORK. While the boys enjoy their nightmares, Papa Parkman leaves them to it, grabs his coat, and walks out the door looking about as evil as a puffy middle-aged man can possibly look.
After the break, it's time to check in with Ando and his Search For The Missing Scroll. I have zero patience for this little side story here because it breaks into the current action for no reason, we don't need to check in with Hiro during EVERY episode, and we've already got like seven concurrent storylines going on at the moment and we really don't NEED ANOTHER ONE. Dear writers: Try one or two characters per episode, okay? Might work out better for you. And me. And I won't have to hurt you. Kisses! Erin.
So, yeah, Ando's looking to decipher the ruined portion of one of the last Hiro scrolls. He's working with a restorer, who manages to gingerly extract some text from the thing. Once he does, the rest of Hiro's story comes to light. And is boring. Basically, Hiro's still helping Kensei and Yaeko back in 1671. They've gone through several trials and each has brought them closer to rescuing Yaeko's father. "It's like living in a storybook," says Hiro. Yeah, dude. The storybook your father used to READ TO YOU. We get it. Whatever. The trio has completed the map that will lead them to White Beard, who apparently has Yaeko's father for some bizarre reason. I don't know, maybe he bakes a mean apple pie. Kensei and Yaeko are still falling in love while Hiro is still falling in love with both of them. Or something. I'm not really paying attention.
New Orleans. Monica's creating more tomato roses and freaking herself out. Micah enters and says that he thinks he knows what happened with the piano. She jokes that she's a musical genius, and that she's had a hard couple of years and wants to just take a long nap and call it a day. Micah stops her and reminds her of last night, when he said he could rig the TV to show pay-per-view. She remembers. What she doesn't remember is Micah touching the TV and just bringing up pay-per-view with his fingertips, which is what he does right now to one of those old televisions that you just know doesn't have the ability to even GET cable. Monica watches him, and he says that he lied about being able to rig the TV, he can just do this stuff. He thinks the special powers run in the family. "My dad could walk through walls," he says. "And my mom? Don't even get me started on my mom." Heh.
Micah shows her a comic book with a cat-lady-type woman drawn on the cover and the words "Who is St. Joan?" beneath her. Micah thinks her ability is more like this character -- she's a muscle-mimic. Whatever she sees, she can do. Just like Monica. Monica shows Micah the tomatoes she's completed and says that she shouldn't know how to do this, but she saw it on TV and suddenly...she could. With Micah's revelation, Monica seems to be gaining acceptance of her gift. Micah thinks they should go test it out and see what she can really do.
The Company Hospital. Molly's in a bed, out cold still. Mohinder hovers outside the window, looking in at her. Tobby walks up and tells Mohinder that they're going to do everything they can for her. In the meantime, hey, here's another assignment! That Tobby. He's so compassionate! Mohinder doesn't want to leave Molly, but Tobby says he needs to be out there helping people while The Company helps Molly. Then he hands Mohinder a taser and says that he might need that for his visit. Mohinder's like, wait -- you want me to TASER people? What kind of organization is this? Tobby's like, what are you, new? Some of these people aren't entirely in control of their abilities, dude, and you have to LARN them and LARN them but GOOD. Just then, there's a commotion in the back, and alarms start going off. Niki storms into the hall and Mohinder goes, "Niki?" But she doesn't recognize him because she's actually Jessica right now and instead she tosses him against the wall. She moves on to Tobby and brings him up off the floor with one hand. Before she can do any serious damage, though, Mohinder tasers her and she goes down.
Thank God, another commercial break. I never thought I'd say that, but this episode is boring me to TEARS and the less of it I have to watch, the better.
New Orleans. Monica and Micah go to a playground, and he asks her what muscle-memory trick she'd like to try first. She spies a double-dutch session across the way, and after a girl sasses her, she gets this look on her face and her eyes record the action and she jumps into the ropes and flawlessly skips to her heart's content.
Cut to Ireland, where Caitlin's showing Peter into her not-so-humble abode. Who knew there were lofts in Cork City? I certainly didn't. Of course, the last time I was there, I'd just driven from Shannon Airport with my soul in my throat because I'd never driven on the other side of the road and by the time we arrived in Cork and I'd had fourteen Guinness, my bed and breakfast could have been made from marshmallows and decorated with caribou heads and I wouldn't have known it.
But that's neither here nor there, really.
Caitlin apologizes for the state of her fucking fantastic loft and Peter notices that there are several paintings strewn about, two of which feature a long and winding road and a Celtic cross rather prominently. Caitlin humbly says she just paints to relax, and Peter says she's very talented. He lies that he just wanted to see her apartment, keeping his promise to Ricky that he wouldn't tell Caitlin the real reason he's left the pub. However, he spends about forever nervously peering out the window at the street, prompting Caitlin to ask what the hell he's doing over there, so I'm thinking that his little scheme of not clueing her in is falling far short of success. She's not a tree, Peter. She has eyes and a brain. Might want to try not STARING out the window for the first ten minutes you're there, dude.
Peter decides to open The Box. He sits across from Caitlin on the bed and says that no matter what The Box tells him he is, this is where he wants to be and she's who he wants to be with. She tells him to get on with it already, and he does. Unfortunately, inside the box, there's nothing more than his passport, a plane ticket to Montreal, a picture of him and Nathan, and some crumpled dollar bills. So, basically, he learns his last name, that he was supposed to go to Montreal, he's possibly part of a gay couple, and he likes small bills. This relative lack of knowledge irritates him, so he stands up to bitch about it and sees a blank canvas across the room. This leads to him going all Isaac Moon Eyes on the place, and he picks up a brush and starts furiously painting as Caitlin looks on with her mouth agape.
Back at the pub, Ricky enters from the back room and sees Elle there, perusing the menu. "You know," she says, "I've never been to an Irish pub before -- do you have any haggis?" Ricky smirks that haggis is native to Scotland, not Ireland, and all Scottish food is based on a dare. Also? They're closed. Elle just asks after Peter and shows a photo of him. Ricky says he's never seen him before and Elle turns to leave, but turns back to inform him that she talked to some people at the docks and they said they saw Peter in the pub. Ricky continues to deny having seen Peter. "Hm," she cutely huffs at him. "So, either you're lying, or allllll those other people are lying. It's just kind of hard to tell who's lying, you know?" Man. Kristen Bell is making the most of her small moments in this episode, let me tell you. She fills that line with more malicious intent than Anthony Hopkins did with his famous "Quid pro quo, Agent Starling" line.
Ricky steps forward and keeps saying that he doesn't know Peter and quietly threatens her with his physical bulk until she turns and walks to the door. "That it now?" She backs off and starts to leave again. "Sorry I couldn't be more help," says Ricky insincerely. "Yeah," says Elle, locking the door, "so am I." Then she shoots some blue electricity at the lock, effectively welding it shut, and then she turns to Ricky and fires a solid bolt of blue lightning right at him. This melts into a shot of a penlight shining forth from Tobby's hand into Niki's eyes. He tells her that she gave them quite a scare, and she apologizes. She's strapped down to a bed, and seems resigned to this fact. Tobby comments that multiple personality disorder is a horrible affliction, but The Company is going to fix her right up. She thanks him, and he leaves, and Mohinder immediately starts to undo her straps and says he's going to get her out of there, but Niki rather dumbly wants to stay, saying that she's sick and The Company is going to help her. Mohinder stares at her and then pours her another glass of Crazy Kool-Aid.
Meanwhile, in a nightmare sequence across town, Nathan's still glowering out at the ruins of New York. Someone says his name, and he looks over and thinks he sees a burned Peter lying on the ground. The figure gets up and, as it turns out, it's actually Nathan himself, only he's horribly scarred and disfigured. Nathan moves as if to run away, but ScaryNathan cuts him off. They square off for a fight. Back in his fake cell, Matt sees a crying baby on the ground. Instead of thinking that it's awfully odd for a baby to just appear out of thin air, Matt calls to someone to get the baby out of there. Then his ex-wife is suddenly there, holding the baby, and Matt's all, "Honey? What're you doin' here?" And FakeJanice is like, "Dude, will you wake up already?" FakeJanice moves toward the cell door and goes to leave, but Matt runs after her and the guard attacks him and throws him down. And Nathan and ScaryNathan start fighting each other out on the FakeRoof. Then Matt's fighting the guard and Nathan's fighting himself, and it quickly becomes clear that Matt and Nathan are actually fighting each other but think they're fighting their enemies. It all comes to a crashing end when Matt holds off Nathan and realizes what's happening and finally gets Nathan to wake the hell up.
Back in the real world, Parkman throws Nathan off of him and poor Adrian Pasdar head-checks into a cabinet, like, for real, and it's a true testament to the pro that The Pasdar is that he doesn't immediately call "CUT" and roll off to get some ice and a cocktail. No, he continues on in the scene, even though he almost had his eye taken out by the edge of that damn thing. I rewound this portion several times just to make sure that The Pasdar does indeed slam the side of his skull into the edge, and boy howdy, does he. Dang. So, they roll around a bit, looking disoriented, and then we cut to commercial and I go get more alcohol.
After the break, the boys roll around a bit more and then finally get up. Nathan asks Matt how he stopped it; he's not sure, but now he knows why Molly calls Papa Parkman the Nightmare Man. No shit. They realize that he's gone and they don't know where he went. Matt throws some shit around in frustration and Nathan spies a picture of Tobby on the ground with the same big "S" scrawled across his face. He picks it up and says, "We know where he's headed." Matt points out that Tobby runs The Company, and Nathan says, "Not for long. He's ."
Back with Ando and the stupid Hiro side story. I'm over it. Briefly, back in 1671, Hiro is still hanging with Kensei and Yaeko and they're still off to save her father. They follow the map to White Beard's camp, and Yaeko wants to fight but they want her to stay behind, but then Kensei takes her hand and says they'll rescue her father together. Unfortunately, when they arrive at the top of a hill and look down on the massive White Beard army below, a collective gulp can be heard from the trio. They're going to attack tonight. "Three of us against an army," says Hiro. "I fear --" And then the scroll cuts off, too damaged to restore. Ando's baffled. He wants to know what happens . But the restorer says he needs more time to fix it. And...scene.
New Orleans. Monica flips through channels, looking for something to muscle-mimic. She comes across that Bruce Lee biopic with Jason Lee in it and quickly begins imitating the moves. Micah comes in and quietly watches her, smiling. He thinks her powers are amazing. She thinks so too, but she's seeking a deeper meaning in them. She wants to know why they have these powers. Micah thinks they're supposed to do something with them. Monica thinks so too, but doesn't know what that is. She remarks that it's past Micah's bedtime and then swears him to secrecy. They hug, and Micah goes to bed. There's a knock at the door. Monica goes to answer it, and outside is none other than Mohinder, telling her that he's there to help her understand what's happening to her. Won't HE be surprised when he finds out little Micah is there as well?
Back in Ireland, Elle fields a call in her rented car and tersely tells whoever is on the other end of the line that everything's fine, but the weather could be better. She says that she hasn't found Peter yet, but she will, and that she had to use a little persuasion earlier in the evening. By "persuasion," she means "big volts of electricity." The person on the other end must demand clarification because Elle finally just admits, "All right, I killed him, okay? What is the big deal?" Clearly, this is not what she was sent there to do, because the person on the phone says something to Elle that makes her go, "What, now? This is MY assignment! And I almost have him!" The person says something else and Elle kind of whines, "What if I promise not to --" There's a pause. "Fine," she snits. "I'll come home now. Sorry, Daddy. It won't happen again." She hangs up and drives off in a huff. Heh. How much money you want to bet that "Daddy" is Tobby?
Up in Caitlin's loft, Peter is putting the finishing touches on his painting. His eyes clear up and he backs away. He asks what happened; Caitlin has no idea. Peter doesn't remember painting at all, and Caitlin tells him that his eyes went dead and he just started furiously painting and couldn't be stopped. They look at the painting, which shows a male and a female standing in front of a door with the "S" symbol above it and a large church in the background. Caitlin asks if they're the couple, but Peter doesn't know. Peter observes that the street signs are in French, and they say that the building is on the corner of Boulevard Saint-Laurent and Rue Saint-Jogue. I think. That second sign might say something else. It's hard to read. Or Peter's a really bad speller when his eyes are covered with white film. Caitlin thinks it could be Montreal, due to the fact that Peter already has a plane ticket for that destination.
Her phone rings, and she gets the news that Ricky's dead. Cut to the pub. Caitlin and Peter run in, doused with rain, and Caitlin starts screaming and crying. Ricky's body is burnt to a crisp. Peter holds Caitlin back as she cries and keens. He tells her that this was all his fault because "they" were looking for him. She hits at him and finally breaks down, and he holds her and says that he's going to find "them" and that he can't hide anymore.
on Heroes: Caitlin and Peter go to Montreal, The Company wants to experiment on people, Bennet is up to no good, and Hiro probably makes yet another annoying appearance. Shut up, Hiro.