The Hard Part

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This Just In: Sylar Has Mommy Issues.
In a hurry? Read the recaplet for a nutshell description!

Previously on Heroes: It was five years in the future, and Sylar was Nathan and Peter was hot and Parkman shot Future Hiro and Peter blew up and killed a bunch of people, including Micah, and Niki was really sad about that so she got on the pole to take her mind off it and the whole world, in general, was fucked.

But now Hiro's back in the present, and he and Ando are going to save the world. Again. Some more. They're back on the Superroof, talking about how they can change the future. Hiro opens up The Last Comic and mentions that it hasn't been finished because the character's dialogue hasn't been filled in. Hiro gets the bright idea to go ask Mystery Sock what they're saying in the final pages. Yes. When in doubt, go to Mystery Sock. Hiro stands up on the ledge and announces to New York that they're going to save it. New York promptly tells Hiro to shut the hell up.

Petrelli Palace. Peter's sitting off by himself in some corner, sketching bleak visions of the future in a little book. Nathan's wife and two kids return home after an extended trip to Unnecessary Characterville and he gives them all hugs and kisses while Claire watches from a hidden perch on the stairway. She clearly wishes Nathan would show her the same fatherly care he shows his other children. Peter notices her watching and looks at her with sympathy.

Later on, Mama Petrelli helps Claire pack while Claire twists her hair around her fingers and generally hates on the whole "exile to Paris" idea. Shut up, Claire. It's Paris. PARIS RULES. Just go there, order un café et une croissant and try not to get autopsied or anything. Peter enters and Mama Petrelli leaves them alone to say their goodbyes. Peter doesn't want Claire to leave, but she says she has to. Peter thinks that their meeting and her winding up being his niece aren't just random; it's destiny. He says that she's here to save the world and Claire's like, oh not THAT again. Peter tells her that this isn't some fantasy; he's seen the future and he knows that he explodes and wipes out the whole city. "Like a nuclear bomb," he says. "Nuclear?" says Claire. "Like Ted." "Who the hell is Ted?" asks Peter.

Funny you should ask, Peter! Ted's this guy with radioactive hands, and he's currently in the great Midwest with Bennet and Parkman, heating up the roof of a used car. Parkman tries to call his wife from a payphone, but Bennet quickly puts a stop to that, saying that they can't contact their loved ones for fear of the OWI getting a hold of them. He talks about the new tracking system they're using at the Company; it's called the Walker System and it doesn't rely on isotopes and satellites. "It just finds you wherever you are," he says. Therefore, they have to play it smart and switch cars a lot and stay on back roads. Matt understands that they have to go to New York and wipe out the Walker System. They go to the car Ted's working on, and Ted uses his handy spark plug hands to start the car. "Let's go," he grits at Bennet.

Cut to Sylar in the Superstudio, painting a picture of Ted. The image on the canvas seems to be Sylar threatening Ted, so Sylar thinks this means that he steals Ted's power and becomes the bomb and blows up New York. Oddly, Sylar doesn't seem too happy about this. Switch to Suresh in the Biggest Apartment in Brooklyn. The phone rings. Mohinder picks it up and it's Sylar. He's freaked out. "I think I'm gonna do something bad," he says. Mohinder's like, "'GONNA'? Oh, right, because killing dozens of innocent people isn't really evil or anything. What constitutes 'bad' in your book, psycho?" Sylar says he thinks he's going to kill a lot more people and, unlike his other killings, which, in his twisted mind, he thought had purpose, this mass killing he's going to potentially partake in will be a massacre of innocents. There's nothing to gain from this genocide, so Sylar's not sure why he would do it. Mohinder tries to keep Sylar on the phone while dialing 911 on his cell and Sylar's like, dude. I CAN HEAR YOU DIALING THE PHONE. Sylar hangs up the phone and stares at the painting of his potential future as the Bomb That Ate New York.

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