Mohinder narrates -- much less annoyingly than he used to, either because it's been so long or because the rest of the show has gotten so bad his narration is somehow tolerable -- that "There are many ways to define our fragile existence, many ways to give it meaning." Peter and Nathan's heartfelt "I love you" scene from Nathan's most recent death, and Peter lets go. My husband, at this point, finished narrating for Mohinder: "One way is to throw your brother off a building." But Mohinder continues much more boringly as Nathan falls, morphing into Sylar: "But it is our memories that shape its purpose and give it context." Peter tells Hiro he's sick, and Hiro agrees he's dying of a brain tumor. Then Damien grabs Hiro's head again and makes him flash on a bunch of stuff as Mohinder says: "A private assortment of images, fears, loves, regrets. We alone choose the importance of each." "Beam me up, Scotty." Mohinder: "Building our own unique histories one memory at a time." Emma asks if Peter sent her a cello. Mohinder: "Hoping the ones we choose to remember don't betray or trap us." Emma cellos a crack in her wall. She talks to Hiro and to Peter. "For it is the cruel irony of life that we are destined to hold the dark with the light, the good with the evil." Samuel kills his brother, then sends Replicator Eli (sometimes known as Eyeliner) to take files from HRG. "This is what separates us, what makes us human. And in the end, what we must fight to hold on to." Claire and Gretchen visit the carnival, but it's not Claire Samuel's after. And that's all you need to know, I guess. Though, let's be honest, knowing that won't help any of this make sense.
In her one-night visit to the Carnival, Claire's taken on janitorial duties, as we open with her picking up garbage with one of those spike garbage getters. The ground under her trash holds a chyron that says, "Chapter Twelve: Upon This Rock." She looks at Eli's and Lydia's circus-y Carnival posters, then turns and watches Eli watch her in slow motion. Lydia the Tattooed Lady approaches, and tells Claire Eli's harmless, and is just staring because she's new and everyone's walking. They make small talk about breakfast, which Claire already had and Lydia's taking to Samuel. But she suggests Claire take the pancakes to him instead, and "score some points" since Samuel loves Mrs. Comey's pancakes. Claire laughs and agrees. In the trailer, Samuel's rifling through HRG's files, which are very obviously in a Primatech box. When she knocks, Samuel says, "I hope you brought extra syrup" without turning to see who it is, and Claire stupidly says, "How'd you know I brought pancakes?" Uh, Claire, he knew Lydia was bringing pancakes, and he hadn't looked at you yet. Who is dumber: Claire or the writers of this show? Samuel covers the box, explains he thought she was Lydia, and scurries her out of the trailer.
Outside, Claire comments on the box looking a lot like one from the paper company where her dad used to work. Samuel says she might have guessed that he and her father share more history than she knows. She tells him he can always fill her in, but then seems to be satisfied when he says he's not interested in the past, only the future. They talk about how he wants them to have a permanent home, and he'd love for her to stay and watch that happen. She has to get to class on Monday, though. He says that's fine, then asks if he looks good for going to the city, where he needs to make a positive impression on someone who's essential for the plan coming together (he says he means the homeland, but I think he might have a bigger plan in mind), and for their freedom. Claire says "Freedom is what you do with what's been done to you," and then awkwardly says "Sartre. College." Samuel one-ups her with lyrics from "Me and Bobby McGee". He tells her she'll see that they'll be able to stop running, and then she might want to stay. Claire, apparently not wanting us to miss that they were talking about FREEDOM, replies, "Or go." He says it's her choice. As they part, a couple of Elis are listening, and one asks Samuel if she's really free to go. Samuel: "Not in my lifetime. You make sure of that." Title card.
An open-air market in Tokyo. Hiro materializes finally. Remember when his time travel used to be instant? But now it seems to take several episodes for him to materialize once he's disappeared. Anyway, he looks around then spots a guy making noodles, runs up and says, "Good Citizen. I am a humble knight from the Starship Enterprise. I seek my first officer, Sancho Panza." The guy asks him if he'd like miso, soy, or salt with his crazy. But Hiro wants Sancho Panza, his sidekick. The vendor's like, "No sidekick. Noodles!" Hiro hears a girl screaming for someone to help her from a purse-snatcher. Hiro says, "A Jedi's work is never done," and heads over, after grabbing the noodle vendor's meat cleaver. He tells the purse-snatcher to "Unhand the princess or feel the sting of my light saber." When the guy ignores him, Hiro slices the purse handle with the meat cleaver and says "There can be only one." He hands the purse back to the woman and says, "Your handbag, my Dulcinea." Dude, whatever. Don Quixote loved Dulcinea, and if this show's continuity is to be believed, Hiro loves Charlie, so even with crazy head, he wouldn't call some random woman in an open-air market Dulcinea. He stands up straight and says, "Citizens of Caprica: You are saved. The Cylon has been defeated." When a cop stops him, he shouts, "Lancelot! C-3PO! At last, you can direct me to my faithful sidekick." The cop just tells him to drop the knife and then handcuffs him. Hiro screams for his sidekick as they take him away.
Across a canyon from the Carnival, Samuel walks up to a rock and as the camera pans around it, the rock becomes black and white and Emerson, Lake & Palmer's Karn Evil 9 starts up. When the camera gets around the rock, Young Samuel is trying to move Earth when another young boy (Joseph) with a thick Irish accent comes and tells him to give it up. Samuel moves a little bit of ground, and when Joseph's snide about it, Samuel tells him to just wait, that he'll move bigger rocks someday, and people will come from all over the world to see him. Joseph says Samuel must mean Vanessa and then teases him (as any big brother would), all, "Ooooh, Vanessa. Come and see my big dirt-moving show!" He can't believe Samuel's still carrying a torch for "that girl," since they're never going back there. But Joseph promises if Samuel can get people to buy a ticket to see a kid not move a rock, he'll invite her himself. Samuel tells him, "Just you wait," and then we're back with the Samuel of today repeating the "Just you wait." Because we all are sup