Transcription by Intrepid (intrepidly002@yahoo.com)
FADE IN:
[TITLE CARD: HEROES]
DISSOLVE IN:
[(NBC) PREVIOUSLY ON]
[EXT. NEW YORK CITY STREET (FUTURE) – DAY]
(Peter is on the ground in the middle of the street. He opens his eyes.)
NARRATOR: (v.o.) Last December, Heroes gave us a look into the future.
VARIOUS CUTS OF:
* CLAIRE is in her cheerleader’s uniform and runs toward Peter.
* PETER is in the middle of the jam-packed street with empty cars and open doors.
* HIRO and ANDO stand on the sidewalk looking at PETER.
* PETER’S eyes glow as PETER burns. He screams as he starts to explode.
ABRUPT CUT TO:
(The fire burns in the center of Peter’s eye. We zoom out and find Peter on the ground, eyes wide open, his cheek pressed to the concrete.)
NARRATOR: (v.o.) But that was just the beginning.
(Peter gasps.)
SMASH CUT TO:
(In Hiro’s future, there’s an explosion in New York City that demolishes buildings.)
NARRATOR: (v.o.) They were strangers who discover extraordinary abilities.
VARIOUS CUTS OF:
* NATHAN standing in front of his campaign headquarters as something blows in his face.
* NIKI wearing a straight jacket and inside a padded cell.
* DL and MICAH in the interview room watching something off screen.
* PETER falling off the top of the building.
* CLAIRE standing in the burning train wreck
* HIRO arrives in TIMES SQUARE.
* NATHAN flying straight up into the sky to get away from MR. BENNET and the HAITIAN.
(Peter talks with Nathan at the campaign headquarters.)
PETER: I think I can fly.
NARRATOR: (v.o.) Until they realized they were not alone.
VARIOUS CUTS OF:
* MOHINDER looks at the key he found in the back of his father’s notebook.
* PETER and ISAAC
* HIRO looking at the wooden fake sword
* HIRO and NATHAN talk at the diner.
(PETER kisses SIMONE in the rain.)
PETER: We are all connected.
NARRATOR: (v.o.) With the discovery of one thing.
VARIOUS CUTS OF:
* MOHINDER stands in front of the large wall map, working on it.
* MOHINDER and NATHAN
* MR. BENNET
SMASH TO BLACK.
WOMAN’S VOICE: (v.o.) The list.
(The computer list of names appears on screen.)
(PETER is screaming as he wakes up in the hospital bed.)
NARRATOR: (v.o.) The invincible cheerleader on a mission to find her birthparents
VARIOUS CUTS OF:
* ZACH video-tapes something that makes his mouth drop.
* CLAIRE pops her dislocated shoulder back into place.
* CLAIRE standing in the burning train wreckage.
* CLAIRE helping the man out of the wreckage.
(CLAIRE talks with her mom.)
CLAIRE: I think I’m old enough for you to tell me who my real parents are.
NARRATOR: (v.o.) The mother with an alter ego makes a sacrifice to protect her child.
VARIOUS CUTS OF:
* JESSICA and DL fight at home.
* NIKI gasps.
* NIKI leans agains the mirror.
* JESSICA pushes MICAH away from her and hurts MICAH.
* JESSICA
(Niki turns herself in to the sheriff.)
SHERIFF: Can I help you ma’am?
NIKI: Yeah, you can arrest me.
(CUT TO: DL talks with MICAH.)
DL: Your mom’s not coming home.
(Three officers subdue JESSICA in the VISITOR’S room.)
FADE OUT.
NARRATOR: (v.o.) And tonight, the search for new heroes begins.
VARIOUS CUTS OF:
* Blinding white light shines from inside an old barn.
* CLAUDE laughs.
* PETER is on the cell phone and sees something.
(CLAUDE slams PETER up against the lamp post.)
CLAUDE: How can you see me?
VARIOUS CUTS OF:
* MATT slams MR. BENNET up against some containers.
* PETER is in the hospital
* NIKI/JESSICA is sedated.
(PETER talks with CLAUDE.)
PETER: This entire city is in danger.
VARIOUS CUTS OF:
* SWAT is on the move. They enter PRIMATECH PAPER CO.
* PETER is standing in the middle of the deserted street that is jam-packed with empty cars and open doors. CLAIRE is running away from him.
* PETER is on power overload He looks at his hands while glowing white. He burns. He screams. He explodes.
* In Hiro’s future, there’s an explosion in New York City. The force of the explosion demolishes building and everything.
FADE TO WHITE:
(NATHAN holds PETER in front of the Odessa Police Station.)
PETER: (rasps) It’s me.
VARIOUS CUTS OF:
* CLAUDE laughs.
* SYLER is on the floor, looking at something off screen to his right.
* PETER is in the hopsital bed.
* HIRO brandishes a sword at a dinosaur
* NATHAN
* ISAAC stands shirtless and next to the painting of Hiro with his sword and the dinosaur.
TO BLACK.
NARRATOR: (v.o.) Heroes. The next chapter begins. Now.
[TITLE CARD: HEROES]
FADE TO
END OF (NBC) PREVIOUSLY ON
FADE IN:
[INT. HOSPITAL – PETER’S ROOM -- DAY]
CAPTION:
TWO WEEKS LATER
(Peter is in a coma. A heart monitor beeps steadily in the quiet hospital room. Although his eyes are closed, his eyelids are moving from REM. He’s dreaming and having visions.)
INSERT: (VISION) QUICK FLASHES OF
* PETER IN NEW YORK the street is packed with cars, their doors open and empty. He’s wearing a dark jacket.
* PETER’S EYES as his pupils burn.
* CLAIRE in her cheerleader’s uniform runs up to him.
* MOHINDER gets out of his taxi in front of Nathan’s campaign headquarters. He is smiling.
* CLAIRE stops running.
* PETER looks down at his hands as they start glowing
BACK TO SCENE: PETER is in the hospital bed, the heart monitor beeps steadily. He continues to have visions.
INSERT: (VISION) QUICK FLASHES OF:
* PETER is standing in the middle of the street while CLAIRE runs away from him.
* PETER yells as he starts to burn.
* NATHAN walks out of the campaign headquarters and walks steadily toward PETER.
* A bicycle on its side, its wheel turning.
* PETER
* PETER glowing and burning, his hands out in front of him.
BACK TO SCENE: PETER is still in the hospital bed. Nathan is standing near the glass window inside the room, his back to Peter.
INSERT: (VISION) QUICK FLASHES OF:
* PETER’S POV: Looking down at his hands and they’re glowing.
* PETER’S eyes glow
* A MAN (CLAUDE) removes cash from a wallet of a patron at a sidewalk cafe (at night).
* The empty cars on the street, their doors wide open.
* XCU: PUPIL’S REFLECTION OF A PERSON screaming and burning
* SIMONE smiles and walks over toward Peter.
* CLAUDE looks around
* CLAUDE takes money out of a wallet of a patron of a sidewalk cafe (at night)
* PETER’S hands are glowing. He looks at them with surprise.
* PETER’S eyes are glowing and he’s screaming
* PETER burns fully as the power consumes him.
BACK TO SCENE: PETER is still in the hospital bed. His mom, Angela Petrelli, stands over him, watching him. Nathan is standing near the doorway, his back to Peter.
(Angela steps forward and brushes Peter’s hair with her fingers.)
CAPTION:
THE PETRELLI FAMILY
MANHATTAN
(Nathan turns around and walks over to the bed. He looks at Peter. Angela turns and looks at Nathan.)
[EPISODE TITLE]
CHAPTER TWELVE
"GODSEND"
[INT. WOMEN’S CORRECTIONAL FACILITY – JAIL CELL -- DAY]
(Niki/Jessica is in a cell. Keys rattle and the door buzzer sounds.)
MALE GUARD: (o.s.) You get your mind read yet, Niki?
(The door opens. Niki/Jessica turns around. She squints from the light coming from outside the door. A male guard walks in. He’s got a bandage over the bridge of his nose and both eyes are bruised. Behind him are three more guards.)
MALE GUARD: Up to me, I'd leave you in the box here a few more weeks.
(He’s hedgy and wary of Niki/Jessica and has a firm hold on his metal baton. He moves in closer toward her.)
MALE GUARD: Even animals like you get a lawyer visit. You just move real slow-like, you hear me? Nice and easy. Show me your hands!
(A second guard cuffs her.)
GUARD: Come on, get 'em up! Go on.
(Guard 1 motions for her to move.)
GUARD 2: Let's go.
(They lead Niki out of the cell.)
[INT. (ODESSA) BENNET RESIDENCE – KITCHEN -- DAY]
(Claire is watching television in the kitchen. Mr. Bennet is cooking breakfast at the stove.)
CAPTION:
CLAIRE BENNET
ODESSA, TEXAS
ANGELA BRAUMSTEAD (REPORTER): (from tv) Union Wells High School opens its doors today for the first time since 16-year-old Jackie Wilcox was brutally murdered during a homecoming game two weeks ago. Teachers and students wrestle with how to remember the slain cheerleader, while still trying to move on. This is Angela Braumstead, Channel 5 News.
REPORTER 2: (from tv) Thank you, Angela.
CLAIRE: Look at all those reporters.
(Claire turns the television set off.)
MR. BENNET: You don't have to worry about the press. They're not allowed on school grounds.
CLAIRE: I'm more worried about the other kids. They're gonna want to ask me questions about it.
MR. BENNET: Well ... you don't have to tell them anything.
(Mr. Bennet fills the glass with orange juice.)
CLAIRE: Well, good, 'cause I don't really remember much. I mean, I know that's supposed to be post-traumatic stress or whatever, but nothing? Nothing at all?
MR. BENNET: Memory's a funny thing. I think it's a blessing that you don't remember.
CLAIRE: Where'd you find me?
MR. BENNET: What do you mean?
CLAIRE: The night Jackie got killed. You said you found me by the stadium?
MR. BENNET: You were scared to death. You were traumatized. You just wanted to go home.
CLAIRE: I don't remember. (She grabs her bag.) Thanks. I guess I better go.
(She smiles at her dad and heads out. As her back is turned from him, her smile fades. She shakes her head and leaves.)
(Mr. Bennet takes his glasses off and rubs his eyes.)
[INT. (ODESSA) PRIMATECH PAPER COMPANY – SYLAR’S CELL -- DAY]
(Mr. Bennet puts his glasses on.)
(The lights go on and we see Sylar on the bed, submissive and subdued.)
MR. BENNET: Not so dangerous anymore, are we, Mr. Sylar?
(A large cockroach walks across the bed in front of Sylar.)
(A doctor stands next to Mr. Bennet and reports to him.)
DOCTOR: We've gone over every strand of code, trying to find the code on switches that identify his aptitudes. Other than telekinesis, we're drawing a blank.
MR. BENNET: Has he responded to the glycimerine?
DOCTOR: Given him enough to kill an elephant. Nothing. We're no closer. If we keep up at this rate, he'll be dead by tomorrow.
(The cockroach moves along the side of the bed.)
MR. BENNET: After what he did to Eden, he'd deserve it. Unfortunately, they haven't authorized that. He stays alive. You're just gonna have to dig deeper.
[EXT. PRIMATECH PAPER – PARKING LOT -- DAY]
(An FBI black car and a SWAT vehicle turn into the Primatech Paper parking lot, tires screeching and sirens wailing.)
CAPTION:
MATT PARKMAN
PRIMATECH PAPER
ODESSA, TEXAS
(Matt and Audrey Hanson sit in the parked car as they watch the vehicles stop in front of the building.)
AUDREY HANSON: You better be right about this, Parkman.
(Matt nods.)
(They watch as SWAT exits the truck and moves quickly into the building.)
SWAT LEADER: Go, go, go!
SWAT LEADER: Let's go, come on!
SWAT LEADER: Come on, come on, let's go.
(Audrey Hanson and Matt get out of the car.)
CUT TO:
[INT. PRIMATECH PAPER COMPANY – WAREHOUSE – DAY – CONTINUOUS]
(The SWAT leader talks with Audrey Hanson and Matt.)
SWAT LEADER: We swept this entire place. There's nothing here but paper.
AUDREY HANSON: Did you check the basement?
SWAT LEADER: Yeah!
AUDREY HANSON: Stairwells?
SWAT LEADER: Mm-hmm. More paper.
(Matt walks up to Mr. Bennet.)
MATT: Hey. Where is he? Where is he? Where's Sylar?
MR. BENNET: I have no idea what you're talking about.
(Matt tries to read Mr. Bennet and finds that he can’t. The Haitian is standing on the side watching them.)
AUDREY HANSON: He's not here, Parkman. Nice going.
(She walks away.)
MR. BENNET: Oops.
(Mr. Bennet smiles at Matt. Matt leaves.)
[INT. NEW YORK MUSEUM OF HISTORY AND TECHNOLOGY – DAY]
(Two dinosaurs move around on the display.)
NARRATOR: (from display) The Tyrannosaurus Rex was a huge, meat-eating dinosaur that lived during the late Cretaceous Period about 65 to 85 million years ago.
(Hiro is watching the display.)
HIRO: Abunai! (subtitled) Look out!
(The display Tyrannosaurus Rex eats a smaller dinosaur.)
CAPTION:
HIRO
MUSEUM OF NATURAL HISTORY
NEW YORK CITY
NARRATOR: (from display) If we could go back in time, there's no telling what wonders we'd find ...
HIRO: (subtitled) I wish.
(The narration continues in the b.g.)
CUT TO:
(Hrio and Ando walk along the various dinosaur skeletal displays.)
HIRO: (subtitled) All the books I read said the sword is here.
ANDO: (subtitled) So what? We finally make it to New York ... and all you care about is a sword. What about your mission?
HIRO: (subtitled) I need my powers for the mission!
(They walk to the next display area.)
ANDO: (subtitled) But the bomb is going off on November 8th. We only have three more weeks.
HIRO: (subtitled) I know, but ever since I lost Charlie ... my powers have gotten weaker and weaker.
(They walk between various ancient Japanese costume displays.)
HIRO: (subtitled) My sword will restore my powers.
ANDO: (subtitled) It’s not your sword.
(Hiro turns and sees something that makes his face light up.)
HIRO: (subtitled) We found it!
(He’s looking at an ancient Japanese warrior’s outfit for TAKEZO KENSEI (1584), complete with matching samurai sword. On the sword’s hilt is the SYMBOL.)
SMASH TO:
[TITLE CARD: HEROES]
FADE OUT.
(COMMERCIAL SET)
[INT. (NEW YORK) HOSPITAL – PETER’S ROOM -- DAY]
(Peter is in a coma. A heart monitor beeps steadily in the quiet hospital room. Although his eyes are closed, his eyelids are moving from REM. He’s dreaming.)
INSERT: (VISION) QUICK FLASHES OF
* CLAUDE takes the cash out of a wallet. This is sometime at night where there are other people present. No one appears to notice what he’s doing.
* CLAUDE pushes PETER up against a lamp post.
* The table of DVDs falls.
* PETER turns around.
* PETER explodes.
* MOHINDER gets out of the cab. He’s not smiling.
* PETER looks at his hands.
BACK TO SCENE. Peter is still in the hospital bed. The heart monitor beeps in the b.g. His eyes behind his lids move.
INSERT: (VISION) QUICK FLASHES OF:
* NIKI, DL and MICAH are trying to get away.
* MATT in his policeman’s uniform motions for DL, MICAH and NIKI to get away from PETER.
* PETER’S hands (right and left) are glowing from too much power.
* PETER looking out in front of him.
* NIKI, DL and MICAH are trying to get away.
* The jam-packed cars on the street are empty.
* NATHAN walks steadily toward PETER.
* SIMONE heads toward PETER. She’s smiling at him.
BACK TO SCENE. Peter is still in the hospital bed. The heart monitor beeps steadily.
(Simone walks in carrying a bunch of flowers. She walks past Nathan, who is sitting in the chair, and gives the flowers to Mrs. Petrelli. She puts a hand on her shoulder. Simone turns and looks at Peter. She puts her handbag down on the floor near the bed and touches Peter’s forehead.)
SIMONE: (sighs) He's burning up.
ANGELA PETRELLI: Persistent idiopathic fever. Means they have no idea what's wrong. Fly in the best doctors in the world, just to have them tell me they don't know what they're doing in four different languages.
(She sits down.)
NATHAN: His heart -- they don't know how much more he can take.
ANGELA PETRELLI: Twenty-six years old, he's gonna die of a heart attack?
NATHAN: He's not gonna die, Ma.
ANGELA PETRELLI: Well, he will unless I do something.
(She gets up and heads out.)
NATHAN: Why don't you just let the doctors do what they do?
(But she leaves anyway. Simone sits on the edge of Peter’s bed.)
SIMONE: I wish I knew what was going on in there.
NATHAN: Just before he passed out, he said he, uh ... He felt he was absorbing too many powers.
SIMONE: Peter wanted to see that painting.
NATHAN: After I told you not to let him, you knew he was gonna follow that thing headfirst all the way to Texas. He's my brother and I love him, but we both know he shouldn't have even been there.
SIMONE: It was important to him.
NATHAN: You really believe all this crap? Future paintings? The end of the world?
SIMONE: I know he believes it. And I believe in him.
NATHAN: Fine. Then show me. (He stands up and puts his jacket on.) I've been in this damn hospital room for two weeks, waiting for something to happen. I'll be damned if I'm gonna sit around and watch my brother die. Take me to the artist. I want to see what's worth all this.
(Simone picks up her bag. Nathan goes over to Peter and kisses him gently on the cheek.)
NATHAN: I love you, man.
[INT. (LAS VEGAS) SANDERS’ RESIDENCE -- DAY]
(DL puts a plate of what possibly looks like a peanut butter and jelly sandwich in front of Micah.)
DL: There.
MICAH: Okay, your first mistake? Never put the peanut butter in the refrigerator. Mom always keeps it at room temperature.
CAPTION:
MICAH SANDERS & D.L. HAWKINS
LAS VEGAS
DL: Well, your dad's got his own style.
MICAH: I see that.
DL: It -- it still tastes good.
(Micah giggles. DL sees Micah has a cut over his right eye.)
DL: Hey. What happened to you? Did you get in a fight at school today?
MICAH: It's nothing. Just some jerks.
DL: Well, what happened?
MICAH: Dad, they called Mom a psycho killer. I know, you can lecture me about not fighting.
DL: No. No, I ... I know how hard it is without her. And I wish it could be easier. But we gonna make it. Ow.
(He lifts his arm to put it around Micah’s shoulders and he grimaces from pain. Micah smiles. DL kisses Micah’s forehead.)
(There’s a knock at the front door.)
DL: You enjoy that. I'll be back.
(DL gets up and rubs his shoulder.)
(He answers the front door.)
AARON MALSKY: I believe you were expecting me? The name is Malsky. Aaron Malski. I take it you have it here?
(DL motions and Malsky steps into the house. He closes the door behind him.)
CUT TO:
(Malsky looks out the window. DL walks into the room carrying a metal briefcase. DL slides the window closed.)
DL: Have the charges against me been dropped?
AARON MALSKY: Your wife's confession took care of most of that. Her pointing out where to find the bodies helped too. As for the other charges, consider yourself a free man, Mr. Hawkins.
DL: So no more looking over my shoulder?
AARON MALSKY: Only if you wish to see where you've been.
(DL hands the metal briefcase to Aaron Malsky. Malsky turns and takes a step toward the door.)
DL: So that's it? Linderman leaves me and my family alone?
AARON MALSKY: Oh, I wouldn't bank on that, no.
DL: That was the deal. You got back your $2 million.
AARON MALSKY: There is no deal, Mr. Hawkins, unless Mr. Linderman says there's a deal. You took something of his. And he reserves the right to let you make that up to him. Believe me. You'll be the first to find out when he chooses to call in that debt. You have a nice day now.
(Malsky turns and leaves. DL turns and hits the window frame.)
[INT. NEW YORK MUSEUM OF HISTORY AND TECHNOLOGY – DAY]
(Hiro and Ando stand in front of a panel on display.)
HIRO: (subtitled) Takezo Kensai
(The old cloth panel has writing and drawings on it.)
HIRO: (subtitled) My father used to tell me stories about him before bed. He was a wild savage with great power.
(Hiro motions as if brandishing a sword.)
HIRO: (subtitled) All of Japan feared him. Until one day he found ... a sacred sword, frozen in the snow.
(The panel has drawings of a samurai brandishing a sword against a hail of arrows.)
HIRO: (subtitled) From the moment Kensai held it ... it focused all his strength. He said the sword let him control his power. And so he became a great leader. A hero.
(Ando sees something. He backs up to the costume display with sword and points to the SYMBOL on the hilt of the sword.)
ANDO: (subtitled) That symbol there. It’s a combination of characters. "Great talent" ...
(He points to the words on the panel.)
ANDO: (subtitled) "Godsend."
(Hiro turns and heads over to Ando.)
ANDO: (subtitled) "Great talent" ... "Godsend." Like your power.
HIRO: (subtitled) I’m like him. The sword will give me ... the control over my power I need. It’s my sacred object. With it my powers will return and I can fulfill my destiny.
ANDO: Eh? (subtitled) What exactly are you saying?
HIRO: (subtitled) I’m saying we take it.
(Hiro nods.)
ANDO: (surprised) (subtitled) We?
(CLOSE-UP: The SYMBOL on the hilt of the sword.)
CUT TO:
[INT. (NEW YORK) MOHINDER’S APARTMENT – DAY]
CAPTION:
MOHINDER SURESH
BROOKLYN
(Mohinder talks with an FBI agent.)
MOHINDER: I'm glad the Bureau finally decided to take the list I offered seriously.
FBI AGENT (MAN): Too many people showing up dead or missing. If you didn't have a record showing you were in India when some of these people were killed, you and I would be having a very different conversation.
MOHINDER: How fortunate for me, then.
(The FBI agent looks around the apartment.)
FBI AGENT (MAN): Mm-hmm. You say, uh ... your father compiled this list?
MOHINDER: Yes, he was a geneticist. All the people on the list share a unique genetic marker that he was able to map and track using the Human Genome Project.
FBI AGENT (MAN): Uh-huh.
MOHINDER: I've been trying to locate them. To warn them?
FBI AGENT (MAN): About this man Sylar?
MOHINDER: Yes, the man who killed my father.
FBI AGENT (MAN): I see. Well, we ran the name. Nothing. Clearly an alias. But we did follow up on a -- another name you said was on the list. Sarah Ellis?
MOHINDER: Yes, I tried to locate her in Los Angeles, but she wasn't at any of her known addresses, and no, I've never met her before.
FBI AGENT (MAN): Huh. Are you sure?
(He shows Mohinder a photo. Mohinder looks at it.)
MOHINDER: That's Sarah Ellis? I know her by a different name. Eden McCain. She, uh -- lives across the hall right there. She's been gone for a few weeks. Is there a problem?
FBI AGENT (MAN): She turned up three days ago. Well ... what was left of her, anyway.
MOHINDER: What?
FBI AGENT (MAN): Yeah, they pulled her out of Lake Ramsey in Sudbury. Hundred miles out of Ontario. Gunshot wound to the head. Local law wrote it up as a suicide.
(Mohinder sits down, stunned by the news.)
MOHINDER: The, uh ... last I heard from her, she said she had something to confess to me.
FBI AGENT (MAN): You say she was your friend?
MOHINDER: She -- I don't know what she was.
[EXT. (ODESSA) PRIMATECH PAPER – WAREHOUSE -- DAY]
(Mr. Bennet talks with the red-haired FBI agent. He gives her a tape and they shake hands. Matt and Audrey Hanson watch. The FBI agent walks back to them.)
MATT: The guy who you were just talking to has Sylar in this building.
FBI AGENT (WOMAN): No, Parkman.
MATT: Yes, he--
FBI AGENT (WOMAN): He doesn't. There's nothing in here but paper.
MATT: But we didn't look everywhere. Maybe--maybe-- there's a secret room. Somewhere. Okay? Maybe --
FBI AGENT (WOMAN): And maybe I can whistle The Star-Spangled Banner out of my ass. We are lucky he hasn't threatened to sue us for this stunt. You want to know what's on this tape he just handed me? You. Caught on the parking lot surveillance camera. What, you didn't think anyone would notice a guy sitting in the same car every day for two weeks? (to Audrey) Do you have any idea the position you have put this Bureau in?
AUDREY HANSON: I was following a hunch.
FBI AGENT (WOMAN): Whose hunch? My hunch? The Bureau's hunch?
AUDREY HANSON: Matt's hunch.
MATT: He abducted people. He abducted me! He abducted Ted Sprague!
FBI AGENT (WOMAN): Sure, the guy with the radioactive hands? Well, it all makes perfect sense. (to Audrey) I am going to make sure you are benched for this.
(The FBI agent leaves. Audrey gets up and heads out. Matt follows her.)
MATT: What, that's it?
AUDREY HANSON: Obviously.
MATT: We both know he's in here. I know --
AUDREY HANSON: Do we? Because all I know is that I have wasted the last three weeks of my life on the crazy idea that you can hear people's thoughts. I liked you, Matt. I felt sorry for you. And maybe that clouded my judgment. But now I need to get back to reality. And you should do the same. Go home, Matt. We're done.
(Audrey leaves. Matt stands there for a moment as everything falls apart. He turns and sees Mr. Bennet. He heads over to him.)
MATT: Hey. Hey--
(He grabs him and pushes him up against the packed canisters.)
MR. BENNET: Oof!
MATT: Listen to me. I have no idea how you're pulling this off, but I swear to God I'm not gonna stop until I figure it out, you understand me?
MR. BENNET: Good luck with that.
(Mr. Bennet walks away, leaving Matt standing there.)
FADE OUT.
(COMMERCIAL SET)
FADE IN:
[EXT. (ODESSA) UNION WELLS HIGH SCHOOL – DAY]
(Zach parks his bike at the bike rack. Claire walks by and stops him.)
CLAIRE: Zach.
ZACH: Hey, this is a public place. Are you sure you can be seen here with me?
CLAIRE: Why not?
ZACH: Right, I forgot. You've been body-snatched.
CLAIRE: (sighs) Look, I just want to talk.
(They walk past the mound of flowers next to the Athletic Building doors – a shrine for Jackie.)
ZACH: (sincerely) Hey, I'm sorry about Jackie. I know she was your best friend and all.
CLAIRE: No, I actually discovered that someone else was my best friend. But I lost him too.
ZACH: What happened to you at Homecoming?
CLAIRE: I can't remember. Can't remember a lot of things lately.
ZACH: Yeah, it's, uh ... That's funny, 'cause lately, I can't remember ... uh, must be something in the water, right?
CLAIRE: Zach, look at me. Do you feel like we could be friends?
ZACH: Us? No. We wouldn't play well together.
[INT. (LAS VEGAS) WOMEN'S CORRECTIONAL FACILITY – INTERVIEW ROOM -- DAY]
(Niki meets with her lawyer.)
LAWYER: I gotta tell you, Ms. Sanders, the outbursts are not helping.
NIKI: Kind of getting tired of them myself. Look, I just want to do my time in peace.
LAWYER: Yeah, about that. It seems the DA is going to file for special circumstances in the homicides. They're gonna seek the death penalty.
NIKI: Death penalty?
LAWYER: Look, I know it's a long shot. But it might help if you cooperated a little.
NIKI: And how am I supposed to do that?
LAWYER: The $2 million. Things might go a little smoother if you tell the police where it is.
NIKI: I've told you. I don't know anything about that.
JESSICA: Who are you trying to fool? You know exactly where it is.
LAWYER: I'm sorry?
JESSICA: He's right, Niki. We should tell them.
NIKI: (whispers) Stop it! (inhales) Don't pay any attention to her.
LAWYER: Pay attention to who?
JESSICA: God, who am I gonna have to screw to get out of this place?
NIKI: I said stop it!
LAWYER: What is this?
JESSICA: What's it look like, dipstick?
LAWYER: Wait, you're going psych on me?
JESSICA: If that's what it takes.
LAWYER: Multiple personality disorders are a real hard sell. I --
JESSICA: When I want your opinion, I will ask for it. Just get us a damn shrink.
(The lawyer stares at her.)
(Niki gasps.)
NIKI: I'm not crazy. No, I'm not crazy.
(The lawyer’s had enough. He gathers his things and starts to get up.)
JESSICA: Don't listen to her.
NIKI: Please, I'm telling you the truth.
LAWYER: Of course you are.
(He stands up and heads for the door.)
NIKI: No, don't listen to her. Listen to me, please. I'm not lying to you.
LAWYER: Of course you're not.
(The door buzzer sounds. The lawyer opens the door.)
NIKI: I'm telling you the truth! Don't --
(The lawyer leaves. A guard stands in the doorway.)
[INT. NEW YORK MUSEUM OF HISTORY AND TECHNOLOGY – DAY]
(Hiro and Ando circle around the various Japanese costume displays. A security guard stands nearby)
HIRO: Which way to gift store?
(The guard looks at Ando and points.)
HIRO: Thank you.
(Hiro and Ando stop in front of the Takezo Kensai display.)
ANDO: (subtitled) (whispers) There’s security everywhere. Stealing isn’t exactly part of Bushido code, you know.
HIRO: (subtitled) It’s one antique.
(The guard walks past them. Ando nods to him.)
HIRO: (subtitled) If I don’t have my powers ... this whole museum will explode anyway. It’s a good deal for them.
(Ando glances around, then nods for Hiro to go ahead.)
(Hiro closes his eyes and concentrates hard. After a moment, he opens his eyes. Nothing happens.)
ANDO: (subtitled) What happened? (Hiro turns and looks at Ando.) Did you get it?
HIRO: (subtitled) No. My power. It’s not working.
ANDO: (subtitled) Eh? (points) Maybe you need the sword to steal the sword.
(Hiro closes his eyes and concentrates harder. When he opens his eyes, he looks around, hopeful that it worked. It did. Sort of. Everyone is moving very, very slowly.)
(The people’s voices are low and sluggish. A guard walks by, tossing his keys in the air. A man walking by looks directly at Hiro.)
(Hiro shrugs and turns to look at the display. He’ll take it.)
HIRO: (subtitled) Good enough.
(A couple of laughing children run past the display. Hiro walks around Andy to the display case door. He opens the door. The alarm bells ring.)
(Hiro grabs the sword and has to unknot it from the rest of the costume. He looks at the sword.)
(He runs around Ando.)
(He runs around the huge dinosaur display and ducks under the security guard, who is speaking into his shoulder radio and pointing toward the display cases. Hiro runs past him.)
[INT. NEW YORK MUSEUM OF HISTORY AND TECHNOLOGY – DINOSAUR DISPLAY – DAY -- CONTINUOUS]
(Hiro walks into the dinosaur display room. He holds the sword with both hands around the hilt.)
(He glances behind him and swings the sword, holding it up at the dinosaur display.)
HIRO: Oh!
(We hold on the pose of Hiro with the sword in front of the dinosaur display in the EXACT position as Isaac’s painting.)
(Hiro swings the sword and makes sword-like sounds at the dinosaur.)
HIRO: Tsh-tsh-tsh!
(Hiro smiles smugly at the dinosaur. And with that, Hiro nods.)
[INT. NEW YORK MUSEUM OF HISTORY AND TECHNOLOGY – DAY]
(And time resumes at a normal rate.)
(The alarms blare. Ando looks around. He looks at the display and sees the sword gone. Hiro is nowhere to be seen.)
ANDO: Hiro? (He backs away from the display.) Hiro?
(The alarms continue to blare. Ando turns and runs.)
[EXT. NEW YORK MUSEUM OF HISTORY AND TECHNOLOGY – STREET – DAY -- CONTINUOUS]
(Ando runs down the street as fast as he can. He jumps with excitement when he sees Hiro.)
ANDO: (subtitled) (shouts) That was amazing!
(Hiro is doubled over as he catches his breath.)
ANDO: (subtitled) You did it, Hiro!
HIRO: (subtitled) Never doubt me again. With this sword ... there’s no limit to what I can accomplish. Our life of legend begins.
(Hiro pulls out the mighty sword and stops.)
(Only, it’s not a sword – at least not a real one. He flips it over. Ando can’t believe it.)
ANDO: (subtitled) It’s a fake!
(Hiro sees the plate on the sword blade:
REPLICA
Courtesy of the
LINDERMAN GROUP
HIRO: Linderman?
(Hiro’s shoulders slump in defeat.)
HIRO: (subtitled) I’m gonna take it back.
(Hiro turns and heads back to the museum. Ando scratches the back of his head, turns and follows Hiro.)
FADE TO WHITE:
[INT. (NEW YORK) ISAAC’S STUDIO -- DAY]
(The door opens. Simone and Nathan walk into Isaac’s loft.)
SIMONE: Isaac was obsessed, ranting about a bomb coming to explode New York.
(Nathan notices the mural.)
NATHAN: The painting on the floor.
(They head down into the studio.)
SIMONE: Yeah, and he just left. Someone came and took his paintings. And I don't understand. He's been gone a few weeks.
ISAAC: (o.s.) Then I came back.
(Isaac steps out. He’s shirtless and is wiping his hair with a towel. He looks good – clean and sober.)
SIMONE: Isaac.
ISAAC: I'm waiting for the shock to clear so I can tell if you're glad to see me.
(He kisses her cheek. Nathan excuses himself to look around so the two can have some privacy.)
NATHAN: Well ... I'm just going to, uh ...
SIMONE: You look ... you look healthy.
ISAAC: I got back a few days ago. I wasn't sure when to call you. (He tosses the towel aside.) I was in a clinic. I ... I barely remember any of it, but when I woke up, I was in Texas. And I was clean.
(He puts his shirt on.)
SIMONE: That's great.
ISAAC: I mean it. I don't need the drugs anymore, I can paint without it.
SIMONE: Well, I'm glad for you.
ISAAC: I'm only alive because of you, Simone. I still love you.
NATHAN: (interrupts) All right, uh, this painting ... (Nathan points to the painting of the exploding man.) That's -- it's like he's exploding. Like he's -- like he's a bomb. How did you know about this? Did you talk to my brother Peter?
ISAAC: I painted what I saw.
NATHAN: The last thing Peter said before he collapsed was that he was the cause of the explosion. Look, I may not get everything. That's fine, but this?
(Nathan indicates Isaac’s painting of the flying man and the painting of the exploding man.)
NATHAN: ... I mean, this -- these things can't be connected. And the world doesn't work like this.
(The door opens. Hiro and Ando return.)
HIRO: Mr. Isaac.
(Isaac and Simone turn. Nathan is blocked by the painting.)
HIRO: Bad news, sword not there. It was replica. (Ando waves to them.) Original owned by man named Linderman.
(Nathan peers out from behind the painting.)
NATHAN: Did he say ‘Linderman’?
(Nathan sees Hiro and his eyes widen. Hiro recognizes Nathan.)
HIRO: (raises his arms high and shouts with excitement) FLYING MAN!
(We hold on Nathan.)
FADE OUT.
(COMMERCIAL SET)
FADE IN:
[EXT. (ODESSA) ABANDONED TOWER -- DAY]
(Claire puts her bag down on the ground as she meets with the Haitian.)
CLAIRE: (mutters) Save the cheerleader, save the world. What does that even mean? Have I been saved, or do I still need saving?
THE HAITIAN: You're saved for the time being.
CLAIRE: I wanna talk to Peter Petrelli.
THE HAITIAN: You're not supposed to remember Peter Petrelli. He's being watched. If you try to contact him, your father will know.
CLAIRE: You have to give me something. Nothing in my life has been real. My dad obviously doesn't work in a paper factory. I don't know what he does. And what about my biological parents? He didn't find them through the adoption agency, did he?
THE HAITIAN: They work for your father. Like I do.
CLAIRE: Everything has been a lie. The only person I could trust was Zach, and you took him from me.
THE HAITIAN: That was your father's doing. Not mine.
CLAIRE: Then give him back his memories. I don't wanna be alone.
THE HAITIAN: You are not alone, Claire. And I cannot give your friend back his memories. It's not how my gift works.
CLAIRE: Your gift? Is that what you call it?
THE HAITIAN: What do you call it?
CLAIRE: My own private freak show.
THE HAITIAN: What you can do, what I can do, that is God. Respect it accordingly.
(The Haitian leaves. Claire sighs and thinks about it. She looks around the abandoned structure and gets an idea of what to do.)
CUT TO:
[INT. (NEW YORK) ISAAC’S STUDIO -- DAY]
(Hiro and Nathan talk in front of the window fronting Isaac’s studio.)
HIRO: The bomb, it comes from the street. Destroy everything, everything turn into dust. Poof!
NATHAN: Your English is a lot better.
HIRO: I met a waitress in Texas.
NATHAN: Oh, yeah?
HIRO: She teach me many things.
NATHAN: Good for you. (Hiro nods.) So, uh, look, I can't believe I'm about to say this, you – you ... teleported here ... back from the future.
HIRO: Yes, my power let me come back here so I can stop it.
NATHAN: Right. Because you "Hiro."
HIRO: You will help too.
(Nathan straightens uncomfortably.)
NATHAN: Me? What makes you so sure?
HIRO: (enthusiastic) You're flying man. Whooshhhhh!
(Hiro’s right hand moves at an upward slant to indicate flying.)
NATHAN: Would you keep it down?
(Hiro does the same motion, only less.)
HIRO: (quietly) Whooshh.
NATHAN: What do you think it is that makes this bomb thing go off?
HIRO: Don't know ... probably bad guy?
NATHAN: Bad guy?
HIRO: Yes. Like billain.
(Although the way Hiro pronounces it, it sounds like Bi-yun.)
NATHAN: What's that?
HIRO: Billain.
NATHAN: Villain?
HIRO: Billain.
NATHAN: Villain.
HIRO: Vee.
NATHAN: (emphasizes) Vee.
HIRO: Veee-yun.
NATHAN: Like the guy in the painting?
(They turn and head back to look at the painting of the exploding man.)
NATHAN: You think a human being can actually cause an explosion?
HIRO: I have power, you have power. Maybe he has power too.
NATHAN: Bad guy.
HIRO: We must stop him.
NATHAN: I think I can help.
(Camera holds and pushes in on the painting of the exploding man.)
[EXT. BARN -- NIGHT]
CAPTION:
SOMEWHERE IN THE NEVADA DESERT
(Bright bursts of white light shine from inside the barn. It bursts on, lingers, then fades out.)
[INT. BARN – NIGHT -- CONTINUOUS]
(Ted Sprague sits at a table, his elbows on the table, palms up. He practices using his power – his hands burst into white light, then fizzles out.)
(He makes a fist with his right hand, concentrates and turns it on for one hand only – his right hand bursts into white light, then fizzles out.)
(He does the same for his left hand.)
(Ted Sprague looks at his hands.)
CUT TO:
[EXT. (ODESSA) ABANDONED TOWER -- DAY]
(Claire and Zach walk toward the tower. She explains things to him.)
CLAIRE: We've been here before. You, me, the video camera. Is it at all familiar?
ZACH: What are you doing, auditioning for America's Next Top Model?
(Claire chuckles wryly.)
CLAIRE: You made that joke the first time. Look, just keep the camera on me, okay?
ZACH: Why don't you just use a tripod?
CLAIRE: I can't do this by myself. And I know you can keep a secret; you did. You did, until you forgot what it was.
ZACH: (nods) When we were best friends.
CLAIRE: You ready?
(Claire heads for the tower. Zach stops her.)
ZACH: Claire, hold on a second. I'm sure you told me this ... before, but, um, why are we videotaping this? Whatever this is.
CLAIRE: Actually, I didn't tell you that before. The first time I did this, I did it to show my parents. My real parents. I wanted them to see what I was. I thought they could help me understand. But I don't think I'm ever gonna meet them. They may not even be alive anymore.
ZACH: So why do you wanna tape it now?
CLAIRE: For me. So I never forget what I am. No matter what happens to me. Look, just don't freak out, okay?
ZACH: I won't.
CLAIRE: You said that last time.
(Claire runs toward the tower and climbs up the stairs. Zach gets the video camera ready. He shakes his head.)
ZACH: Camera's ready for whatever.
CLAIRE: Okay, I'm ready. Keep the camera on me.
(Claire climbs over the railing.)
ZACH: What are you doing?
CLAIRE: (o.s., screams) Aah!
THUD!
ZACH: Oh, my God. Oh, my God--Claire!
(Zach runs over to check on Claire. Claire gets up. There’s a large bleeding cut over her right eye and a horrible-looking bone protruding out from the center of her chest. She uses her fingers and pushes the bone back into her chest and snaps her left dislocated shoulder back into place. She does all this matter-of-factly.)
(She pants and breathes heavily as Zach keeps the camera rolling on her.)
(With everything back in place, Claire takes a deep breath and faces the camera.)
CLAIRE: Okay. This is Claire Bennett. And as far as you know, that was attempt number one.
(The bleeding cut over her right eye heals and vanishes.)
FADE OUT.
(COMMERCIAL SET)
FADE IN:
[INT. WOMEN'S CORRECTIONAL FACILITY – VISITOR’S ROOM -- DAY]
(Niki is talking with DL over the phones, a glass partition between them.)
NIKI: I don't know how much longer I'm gonna be here.
DL: And what's that supposed to mean?
NIKI: They're sending me to the psych ward. For an evaluation with a shrink. She's here. Jessica. She came out, she tried to escape; she hurt one of the guards.
DL: Well, maybe a shrink can help you deal with her. Get rid of her.
NIKI: This isn't in my head, DL. She is real.
DL: I should've never let you do this, Niki, get yourself thrown in here.
(DL reaches over, phases his hand clear through the glass and grasps Niki’s hand with his.)
DL: I shoulda kept that money to help you out.
NIKI: No. You had to give it back or else this would never be over. (She looks at Micah.) Let me talk to Micah.
(DL pulls his hand back and hands the phone to Micah.)
MICAH: I want you to come home.
NIKI: I know, sweetie. But I can't. It's hard to understand right now. But I hope that one day you will. Y-your daddy, he's gonna take real good care of you while I'm gone. I need you to be the strong one because I'm not strong right now, okay?
MICAH: Mom, that's not fair.
(Niki looks at the guard.)
NIKI: That's my son. Can I just give him a hug?
(The guard shakes his head, no.)
NIKI: Just for a second, I promise.
DL: Baby, it's all right. It's all right.
NIKI: No, he needs me. (to the guard) He needs me. (She stands up and puts the phone down.) Just let me hold him.
(The guard backs toward the door.)
GUARD: Stay right there.
NIKI: He needs me.
(Niki steps closer to the guard.)
GUARD: I said stay there!
(The guard takes out his baton.)
NIKI: Please.
GUARD: I'm warning you.
NIKI: Please. Just for a moment.
(The guard swings. Jessica grabs the guard’s wrist and disarms him. She snaps the baton in half.)
(Niki can’t believe it. The parts of the baton slip from her fingers. The buzzer sounds and the door opens.)
GUARD’S VOICE: (o.s.) Don’t move!
(The guards grab Niki and slam her up against the glass wall as DL and Micah watch. They subdue and handcuff her.)
MICAH: Mom!
NIKI: I just wanted to see my son.
[INT. (NEW YORK) MOHINDER’S APARTMENT -- NIGHT]
(The door opens. Mohinder walks in and hangs his satchel up on the rack. He turns the lights on. He goes over to the lizard tank and drops the keys on the table.)
MOHINDER: I don't even know what she fed you.
MR. BENNET: (o.s.) They eat crickets. Lots of crickets.
(Mohinder turns. Mr. Bennet is leaning against the doorframe. He’s holding a gun in his hand.)
MOHINDER: You.
MR. BENNET: Hope you don't mind. I let myself in.
MOHINDER: Have you come to kill me now?
MR. BENNET: That depends. (Mr. Bennet sits at the desk.) I'd like to talk to you about Eden. She worked for me.
(Mr. Bennet puts the gun down on a box on the desk.)
MOHINDER: Don't you mean Sarah Ellis?
MR. BENNET: She gave up that name and that life a long time ago. And she was a good person.
MOHINDER: Yes, of course, all spies are very good people. Just misunderstood.
MR. BENNET: She cared about you more than she should've. She was ... special.
MOHINDER: She had an ability? What was it?
MR. BENNET: Suffice it to say, she learned how to use it wisely. Not everyone who has these abilities deserves them.
MOHINDER: And who are you to judge? In fact, who are you, period?
MR. BENNET: I made a mistake. And I should've come to you a long time ago.
MOHINDER: You've been spying on me for weeks. In India, my cab, bugging my phone.
MR. BENNET: We need to help each other, Dr. Suresh.
MOHINDER: And why would I help you? (realizes) You need me, don't you? My father, he knew more than you do.
MR. BENNET: From what we could observe, yes.
MOHINDER: Well, if you've been watching, then you know my father's formula doesn't work.
MR. BENNET: We both know that he generated a list. Who's on that list is a matter of grave importance.
MOHINDER: You've come for it? You want to find them?
MR. BENNET: Why do you seem so worried? Are you on the list? You've no doubt realized things can go terribly wrong with these abilities. If you work with me, we can control that.
MOHINDER: If and when I do figure out this list, the first thing I'm going to do is warn these people. About you.
MR. BENNET: Together, we could actually make a difference.
MOHINDER: Sorry, not interested.
(Mr. Bennet stops smiling. He grabs the gun off the desk and stands up. Mohinder takes a step backward and keeps his eyes on Mr. Bennet.)
(Mr. Bennet tucks the gun back in his holster. Mohinder swallows. Mr. Bennet takes out a business card and writes something on it.)
MR. BENNET: Contact me when you change your mind. The access number's on the back.
(He gives it to Mohinder, who takes it and looks at it.)
www.primatechpaper.com
{logo}
(Mohinder flips the card over and finds the access number.)
1-800-PRIMA16
(Mr. Bennet opens the front door and leaves.)
CUT TO:
[INT. (LOS ANGELES) PARKMAN RESIDENCE -- NIGHT]
(Matt returns home. He sees a travel bag on the table.)
JANICE PARKMAN: Are you back?
MATT: Yeah.
JANICE PARKMAN: (sighs) I took out that suitcase this morning. But I haven't packed it yet. Um, I know that we're in trouble. And I know that a lot of it is my -- most of it is my fault.
MATT: Janice, we--we need to start being completely honest with each other, come clean about everything.
JANICE PARKMAN: Okay.
MATT: 'Cause there's something I gotta tell you. Something has happened to me. Something that's ... really hard to explain.
JANICE PARKMAN: Just say it.
MATT: I can hear people's thoughts.
JANICE PARKMAN: Meaning what?
MATT: I hear their thoughts. What they're thinking. It started a few weeks ago. That's why I've been with the FBI all this time.
JANICE PARKMAN: W-what? What do you mean? Like, a psychic or something?
MATT: I don't know. I guess.
JANICE PARKMAN: You can't be serious.
MATT: Yeah. You don't believe me. Okay, that's all right.
(He gets an idea.)
MATT: Here, come here. (He sits her down.) Come here, c'mere, c'mere. Um ... All right. Pick a number between one ... and a million.
(Janice sees Matt’s enthusiasm and starts laughing.)
MATT: Come on, bring it on.
(Matt prepares to show her he can do it. Janice rubs her forehead and looks at Matt.)
CUT TO:
[INT. HOSPITAL – PETER’S ROOM -- NIGHT]
(Peter is still in bed, the heart monitors beep steadily. Under his closed eyelids, his eyes are moving in REM. Peter’s dreaming.)
DISSOLVE TO:
[EXT. NEW YORK CITY STREET OUTSIDE NATHAN’S CAMPAIGN HEADQUARTERS (FUTURE) -- VISION]
(PETER is lying on the concrete in the entryway to an underpass. He gets up slowly.)
QUICK FLASHES OF:
* PETER is standing and looking out in front of him.
* The street is jam-packed with empty cars, their doors open.
* CU: PETER’S eyes glow and burn.
* CLAIRE runs toward PETER.
* MOHINDER gets out of the taxicab. He is smiling.
* CLAIRE as she runs toward PETER.
* PETER looks at his hands and sees that they’re glowing.
(PETER is getting up from the concrete in the entryway to an underpass. He gets up slowly. He stands up.)
QUICK FLASHES OF:
* (several cuts of) CLAUDE takes cash out of a wallet. No one stops him. He digs into a purse and pulls out another wallet.
(PETER looks around the street. He turns and looks back along the underpass. It’s dark underneath with a light coming from the other side. He turns and looks back.)
QUICK FLASHES OF:
* PETER looks at his hands glowing with white light.
(PETER turns and looks at the street out in front of him.)
QUICK FLASHES OF:
* Cars jam-packed on the street – empty and with their doors open.
* PETER’S eyes glow and burn.
* CLAUDE takes the cash out of a wallet.
* MOHINDER gets out of the cab. He is smiling.
* CLAIRE as she runs toward PETER.
* CLAUDE grabs Peter, his hands around his neck.
(PETER turns and heads down the street. He walks among the empty cars, their doors open. A discarded paper blows acros the street. PETER walks and looks around. A bicycle on its side, its wheel turning. Camera rises and stops at the VOTE PETRELLI sign fronting Nathan’s campaign headquarters.)
QUICK FLASHES OF:
* FAR SHOT of PETER on the street in front of Nathan’s campaign headquarters. CLAIRE is running away from PETER.
* PETER screams
(NATHAN walks steadily toward PETER.)
QUICK FLASHES OF:
* A bicycle on its side, its wheel turning.
* PETER
* PETER’S hands and entire self glows.
(FRONT DOORS: NATHAN comes out of the building.)
(ON PETER.)
QUICK FLASHES OF:
* MOHINDER smiles as he gets out of the taxi.)
* MOHINDER runs.)
QUICK FLASHES OF:
* PETER screams
* MOHINDER smiles as he gets out of the taxi
* PETER looks at his hands
* PETER explodes
* MOHINDER gets out of the taxi
* MATT keeps PETER away from the DL, MICAH and NIKI.
* PETER looks around.
(MATT stops PETER from getting closer. Matt motions everyone to get away from Peter. DL, Micah and Niki run.)
(Someone laughs.)
(Peter turns around and sees CLAUDE standing there on the other side of the sidewalk. He’s disheveled and unshaven. And laughing at Peter.)
QUICK FLASHES OF:
* CLAUDE looks around.
* CLAUDE takes money out of people’s wallets
* PETER looks at his glowing hands
* CLAUDE takes money out of people’s wallets.
(CLAUDE stands on the other side of the sidewalk, laughing at PETER.)
(VARIOUS CUTS OF: From the other side of the sidewalk, SIMONE heads toward PETER.)
(VARIOUS CUTS OF: PETER turns around and sees Simone. Isaac grabs Simone and pulls her away from Peter.)
QUICK FLASHES OF:
* DL, MICAH and NIKI run from PETER.
* ISAAC looks at PETER as he pulls SIMONE away.
* VARIOUS CUTS OF: CLAIRE runs between the cars to get to PETER. She stops.
* PETER turns and sees NATHAN standing next to him.
* XCU: PUPIL’S REFLECTION OF A PERSON screaming and burning
(CLAIRE stops running as she sees something in front of her.)
(VARIOUS CUTS OF: CLAUDE laughs.)
QUICK FLASHES OF:
* CLAUDE has PETER up against the lamp post.
* VARIOUS CUTS OF: CLAUDE takes wallets out of people’s bags.
(PETER looks at CLAIRE.)
* VARIOUS CUTS OF: CLAUDE takes money and other valuables out of people’s wallets and purses.
(CLAIRE shakes her head at Peter and she slowly backs away.)
(ANDO and HIRO stand on the other side of the sidewalk. They look at PETER.)
(ISAAC grabs SIMONE around the waist and pulls her away from Peter. SIMONE struggles against him, but ISAAC holds onto her.)
(PETER looks at his glowing hands – right and left.)
* ON PETER
(NATHAN walks steadily toward PETER.)
* VIEW OF THE UNDERSTREET ALLEYWAY. Its dark underneath, but bright on the other side.
* PETER looks at his glowing hands
(NATHAN reaches PETER.)
PETER: (looking at his hands) I took his power, Nathan. I – I can't control it.
NATHAN: Let me help you, Peter.
VARIOUS CUTS OF
* NATHAN reaching PETER who is glowing uncontrollably.
* PETER’S hands are glowing.
PETER: (panting, scared) You can't.
NATHAN: I'm not leaving you.
QUICK FLASHES:
* CLAIRE turns and runs.
* PETER is glowing and just about to explode.
* FAR SHOT OF: CLAIRE running away from PETER.
* FLASH TO: The empty cars on the street.
* NATHAN / NATHAN reaches PETER
* PETER and his glowing hands.
* NATHAN
* SIMONE runs toward PETER.
* PETER.
* The reflection in an eye shows someone burning.
PETER: No!
* SIMONE runs toward PETER.
(PETER looks at his glowing hands. His eyes glow. PETER’S hands. He looks up and burns with power as it consumes him.)
PETER: (yells) Ahhh!
(He throws his head back. Nathan is standing in front of him. Peter burns --
-- and he explodes!
(TOP VIEW DOWN: The New York City street explodes. The buildings around it collapse from the force of the explosion.)
(Nathan melts – his clothes, flesh, muscle, skull.)
(The wave of power takes Simone out.)
(FAR SHOT OF CITY VIEW: It takes the entire city out. In the distance, a large mushroom cloud rises to the sky. The destructive wave of smoke and power demolishes the buildings and everything in its way as it rumbles through the city.)
ABRUPT CUT TO
END OF DREAM (VISION)
[INT. HOSPITAL – PETER’S ROOM – NIGHT]
(Peter is screaming as he sits up in bed. He’s awake.)
PETER: Aah! Aah! Aah! Aah!
(He stops screaming and pants for breath.)
FADE OUT.
(COMMERCIAL SET)
FADE IN:
[INT. (NEW YORK) HOSPITAL – PETER’S ROOM – NIGHT]
(Nathan returns to the hospital and finds Peter’s bed is empty. Angela Petrelli is at the counter stuffing her bag with her things. She doesn’t look pleased.)
NATHAN: Ma? Where is he?
ANGELA PETRELLI: I have no idea. He woke up.
NATHAN: He woke up?
ANGELA PETRELLI: Yes. He was raving.
(She grabs her bag and starts down the hallway. Nathan keeps up with her.)
ANGELA PETRELLI: After two weeks spent sitting at his bedside, thinking he could die, he says he's gotta get away.
(He grabs her arm and stops her.)
NATHAN: You just let him leave?
ANGELA PETRELLI: No, I just did not let him leave. And when I see him, I will kill him.
NATHAN: Mom ... all right, look. Just go home, okay? Get some rest. I'll take care of it.
(Angela leaves.)
[INT. ISAAC’S STUDIO -- NIGHT]
(We open on a painting of Peter. Simone and Hiro walk down the steps into the studio. Simone is tripping at Hiro’s mere presence.)
SIMONE: You're really Hiro Nakamura f-from Isaac's comic book?
(Hiro opens the comic book and shows her some pages.)
HIRO: Yes, I worked there, at Yamagato, and we fly here, and w-we drive that car everywhere. Blue Nissan Versa. It's parked outside right now. I'm just like Mr. Isaac draw me -- except my face not so round.
(Faced with all this undeniable proof, Simone is giddy. She walks over to the painting of Hiro brandishing the sword against the dinosaur.)
SIMONE: (rambling) Okay, yeah. I give up. The world is insane. I'm not gonna keep fighting it.
(She rolls up the painting and puts it in a tube.)
SIMONE: (to Isaac) You can paint the future! And he needs a sword. (to Hiro) This guy Linderman? He's a client of mine. Huge collector. He buys every painting of Isaac's he can. I can get you in there.
(She gives the tube with the painting inside to Hiro.)
SIMONE: Get your car; you're going back to Vegas!
(Hiro looks at the tube.)
FADE TO WHITE:
[EXT. (NEW YORK) STREET AND SIDEWALK -- NIGHT]
(Peter is on the cell phone and walking across the street.)
PETER: (to phone) Yeah, I need the, uh, first flight out of New York into the desert. Uh, I-I don't know. Nevada, maybe?
(He reaches a sidewalk cafe crowded with patrons.)
PETER: (to phone) Uh ... That's where they did all those nuclear bomb tests, right? Okay. Uh, yeah, Las Vegas. Las Vegas is good. Yeah, whatever.
(Peter starts breathing heavily.)
PETER: (to phone) Yeah, I'll hold.
(A distance in front of him, Peter sees a bearded man make his way among the sidewalk diner patrons. Right in front of them, he looks through their bags, takes their wallets and relieves them of their cash.)
(Peter can’t believe what he’s seeing. The man is disheveled and unshaven. And very familiar.)
QUICK FLASHES OF: CLAUDE laughing at Peter.
BACK TO SCENE.
(Claude takes the cash and puts the wallet back in the bag on the table. He turns and walks away to the next patron.)
(Peter starts after him.)
PETER: Hey!
(Claude ignores him and continues picking items off the tables. He grabs a cell phone and opens it. He continues walking.)
PETER: Hey!
(Peter is still on his own phone as he follows Claude.)
(Claude plays with the cell phone, making it beep. He continues walking. Peter is catching up with him.)
PETER: Hey!
(Claude glances to the side, but keeps on walking. Peter runs up to Claude and grabs his arm.)
PETER: What are you do -- hey!
(Claude stops, truly surprised by Peter. Peter is surprised by Claude.)
CLAUDE: You can see me.
PETER: You --
WHAM!
(Claude turns, grabs Peter by his shirt and slams him up against a lamp post near a streetside vendor who is selling "The Invisible Man" DVDs.)
PETER: Oh!
CLAUDE: (shouts) Nobody sees me!
(Peter gasps.)
CLAUDE: Do ya hear me?
(The vendor looks around and sees no one there. His table is bumped into and jerked around. All the DVDs are knocked to the sidewalk.)
CLAUDE: Nobody sees me! I'm invisible!
(Claude continues to hold Peter up against the lamp post.
MOHINDER: (v.o.) In the beginning, there was discovery.
DISSOLVE TO:
[MOHINDER]
(Mohinder looks at the business card Mr. Bennet gave him as Mr. Bennet leaves the apartment.)
MOHINDER: (v.o.) A confusion of elements, the first snowfall of impossible change.
[NIKI]
(Niki is on the floor in a padded cell. She’s injected in her hip and is secured in a straight jacket.)
MOHINDER: (v.o.) Old lives undone, left behind.
[MR. BENNET]
(Mr. Bennet watches Sylar. A cockroach is on the bed with Sylar.)
MOHINDER: (v.o.) Strange faces made familiar ... new nightmares to challenge sleep.
(Sylar watches the cockroach walk by.)
[CLAIRE]
(Claire and Zach walk away from the abandoned tower. Zach is watching the video of Claire.)
MOHINDER: (v.o.) New friends to feel safe with. Only then comes control.
[HIRO]
(Hiro slings the art tube around his shoulders.
MOHINDER: (v.o.) The need to impose order onto chaos, through determination, through study, through struggle ...
[DL & MICAH]
(DL reassures Micah.)
DL: She's gonna be okay. You know that, right?
MICAH: You'd tell me the truth, right?
[NIKI]
(Niki is on the floor in the padded cell. She’s scared.)
MOHINDER: (v.o.) --all in defiance of a thundering truth. They're here. And the earth shudders underfoot.
NIKI: Oh, God ...
GUARD: (o.s.) Lights out.
NIKI: Please help me.
(The lights switch off.)
(And suddenly Jessica emerges.)
JESSICA: Who needs God when you've got me?
FADE TO BLACK.
TO BE CONTINUED ...
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