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M. Giant: B | Grade It Now!
All TV Is Educational

Nathan's at the hospital to see Mama Petrelli. He has indeed shaved the beard, and I don't know why he put it off -- that jaw of his looks like he could shave it with four strokes from a meat cleaver. He still needs a haircut, though. He confronts Matt over questioning his mother under the circumstances, and Matt says that Mama Petrelli couldn't wait to confess, but Matt knows she's innocent. When Nathan asks how, Matt pulls him aside and quietly says, "Same way I know that you can fly." Nathan doesn't bother denying it, but he has new respect for Matt, and asks if he's reading his mind now. "No. Yes. Sorry," Matt says. Heh. Matt's point is that he wants to find out the truth, because he's got a nightmare-racked girl at home and he thinks it's all connected somehow with Mama Petrelli and the murder case. Yeah, he has no idea. Matt shows Nathan the evidence-bagged photos of Mama Petrelli and Kaito Nakamura with the S symbol lipsticked over their faces. Nathan recognizes the photograph, and an alliance is born; he agrees to help Matt find the truth. Nathan asks for five minutes alone with his mom first, and Matt reluctantly agrees.

Nathan heads into his mom's hospital room, where she's putting on her about-to-go-to-jail coat, and asks why she's confessing to something she didn't do. Mama Petrelli's had an attack of conscience, saying that Nathan was right about her. He wants to help her, but she wants to advise him instead: "Just because you shaved doesn't mean you're clean and sober. You still have to get yourself into a program. Get your family back. Don't let your children hate you. Not if you can help it." Getting in as much mothering as possible before she has to go off to the clink, I see. As for the confession, she says she's committed enough sins that getting punished for this one that she didn't do won't matter. She also recognizes that Nathan's really just looking for redemption for himself, and trying to help her will only get him killed. And she's not up for losing another son. They hug, and Matt and Fuller return to cuff her and stuff her.

Maya and Alejandro's little traveling party just keeps growing. Maya and Sylar sit in the back seat, while Alejandro rides shotgun and Derek wonders why Sylar's traveling so light. "I got robbed," Sylar says, his voice returning. He says he was out there for three days. Alejandro has Maya ask Sylar where he's going, and he says he's going home to New York. Maya excitedly says they're going to the same place. Sylar politely asks if they're visiting family there, and Maya demonstrates her secondary superpower: that of not being able to shut up. She busts out their battered Spanish-language edition of Papa Suresh's book, Activando la Evolucion, and tells Sylar that's who they're looking for. That's got Sylar's attention, to say the least. "This is a coincidence," he understates. He says he knows Dr. Suresh himself, and that they're old friends. "You helped me, now I can return the favor," he says. "I can take you to him." Maya's beyond thrilled as she translates for Alejandro, but her brother isn't so sure this is a good sign. Maya asks Sylar's name. He looks at his watch. The crystal is cracked and the hands are stopped at 11:53, hiding part of the name on the dial, so that for a second, I think he's going to tell them his name is S__ar. But he just tells them his real name, Gabriel Gray. "Like the angel," Maya gasps. There's an angel named Gray?

Subtitle: "Monica Dawson, Burger Bonanza, New Orleans." Monica's doing morning prep, singing "I Will Survive" as she slices the tomatoes. Her coworker/"friend" Camille asks her why she's in such a good mood, and ends up being kind of a buzzkill over Monica's ambitions, not to mention her eagerness to recover from Katrina. "It's not fair," Monica says. "One storm rolls in and blows away my whole life. My mother, my college education, my dreams." Her shame. Camille is still bringing her down, like becoming a Burger Bonanza manager is too lofty an ambition for common folk like them. And then Camille happens to look down at the tomato Monica's been working on. Because while it was outside of the frame, Monica appears to have transformed that grody sack of veggie guts into multi-petaled rose so delicate that it makes the one on Nana's TV earlier look like a bloody stool. But before they can marvel over that for too long, the manager asks for a convo with Monica.

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