The episode follows several interconnected storylines as the "evolved humans" begin to understand the scope of their abilities and the dangers they face.
is the fifth episode of the first season of the NBC sci-fi drama series Heroes . Originally aired on October 23, 2006, the episode is notable for introducing the iconic series catchphrase: "Save the cheerleader, save the world" . Plot Summary
uses his mind-reading ability to improve his relationship with his wife, Janice, by anticipating her needs, though the ethics of his actions are questionable. [S1E5] Chapter Five 'Hiros'
: In the present, the younger Hiro and his friend Ando are in Las Vegas. After being kicked out of a casino, Hiro witnesses Nathan Petrelli landing in the desert after escaping a kidnapping attempt by Mr. Bennet and "The Haitian". Hiro reveals to Nathan that he knows Nathan can fly and that they will meet again in the future.
: Following Future Hiro's advice, Peter returns to Isaac’s studio. Using his ability to mimic others' powers, Peter enters a trance and finishes one of Isaac's paintings. The resulting image is a horrific depiction of a cheerleader—later revealed to be Claire Bennet —lying dead with the top of her skull removed. Other Storylines : The episode follows several interconnected storylines as the
deals with the police searching for her fugitive husband, D.L. Hawkins, while struggling with her violent alter-ego, Jessica.
confesses her regenerative secret to her father, unaware that he already knows and is secretly "managing" other super-powered individuals. Plot Summary uses his mind-reading ability to improve
prepares to give up his research and return to India, feeling discouraged by the lack of evidence for his father's theories. Cast and Production Director : Paul Shapiro Writer : Michael Green Featured Cast : Masi Oka as Hiro Nakamura Milo Ventimiglia as Peter Petrelli Hayden Panettiere as Claire Bennet Adrian Pasdar as Nathan Petrelli Sendhil Ramamurthy as Mohinder Suresh Ali Larter as Niki Sanders Greg Grunberg as Matt Parkman Critical Reception