FADE IN:
[PREVIOUSLY ON]
[EXT. SPACE]
(STOCK footage of rotating earth.)
NARRATOR: (v.o.) Previously on Heroes ...
[EXT. (ODESSA) ABANDONED TOWER -- DAY]
(Claire runs up the tower stairs. Zach holds the camera on her.)
ZACH: Camera's ready for whatever.
(Claire reaches the top.)
ZACH: What are you doing?
(o.s. Claire screams. Zach’s jaw drops.)
THUD!
ZACH: Oh, my God.
(Zach walks up to Claire, who is standing.)
MOHINDER: (v.o.) When we embrace what lies within, our potential has no limit.
(Claire pushes the broken bone back into her upper chest. Panting, Claire faces the camera.)
CLAIRE: As far as you know, that was attempt number one.
FADE TO:
[INT. (NEW YORK) ISAAC’S STUDIO]
MOHINDER: (v.o.) The future is filled with promise ...
(Hiro takes the tube with the artwork inside and hangs it across his back.)
[INT. NEW YORK MUSEUM OF HISTORY AND TECHNOLOGY]
MOHINDER: (v.o.) ... the present, rife with expectation.
(Hiro has the sword. He glances behind him and swings the sword, holding it up at the dinosaur display and making sword sounds.)
HIRO: Whoosh!
(Hold on the pose of Hiro with the sword in front of the dinosaur display in the EXACT position as Isaac’s painting.
[INT. (NEVADA DESERT) SHACK – NIGHT]
MOHINDER: (v.o.) But when we deny our instinct...
(Ted Sprague sits at a table, his elbows on the table, palms up. He practices using his power – his right hand bursts into white light, then fizzles out.)
[INT. (NEW YORK) MOHINDER’S APARTMENT]
(ON MOHINDER)
MOHINDER: (v.o.) and struggle against our deepest urges ...
(Mr. Bennet sits at Mohinder’s desk talking with Mohinder.)
MR. BENNET: Are you on the list?
MOHINDER: (v.o.) ... uncertainty begins.
[EXT. (ODESSA) ABANDONED TOWER -- DAY]
(Claire talks with the Haitian.)
CLAIRE: My dad obviously doesn't work in a paper factory. I don't know what he does.
[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.)
SWAT: Go, go, go!
CUT TO:
[INT. PRIMATECH PAPER – WAREHOUSE – DAY]
(The search for Sylar was a bust. Matt talks with Mr. Bennet.)
MATT: Where is he? Where's Sylar?
(Matt tries to read Mr. Bennet.)
MR. BENNET: I have no idea what you're talking about.
CUT TO:
(Matt slams Mr. Bennet back against a stack of paper rolls.)
MR. BENNET: Oh!
[INT. PRIMATECH PAPER – SYLAR’S CELL -- DAY]
(The lights turn on. Mr. Bennet looks at Sylar lying on the bed in the cell.)
MOHINDER: (v.o.) Where does this path lead?
[INT. PRIMATECH PAPER – WAREHOUSE -- DAY]
(Matt talks with Mr. Bennet.)
MATT: I have no idea how you're pulling this off but I swear to God,
[INT. PRIMATECH PAPER – SYLAR’S CELL -- DAY]
(A cockroach walks across Sylar’s bed.)
MATT: (v.o.) I'm not gonna stop until I figure it out. You understand me?
[INT. MOHINDER’S APARTMENT]
(Mr. Bennet leaves after giving Mohinder his business card.
MOHINDER: (v.o.) When will the changes end?
(Mohinder looks at the card:
www.primatechpaper.com
[INT. PRISON]
(The guards grab Niki and slam her up against the glass wall.)
MOHINDER: (v.o.) Is this transformation a gift?
NIKI: I just wanna see my son!
[INT. (ODESSA) POLICE DEPARTMENT – PETER’S CELL]]
MOHINDER: (v.o.) Or a curse?
(Peter turns and finds Sylar sitting next to him.)
SYLAR (VISION): You don't know anything about power.
(Startled, Peter backs away from him.)
[EXT. ODESSA POLICE DEPARTMENT -- NIGHT]
(Peter collapses.)
[EXT. NEW YORK CITY STREET OUTSIDE NATHAN’S CAMPAIGN HEADQUARTERS (FUTURE) -- VISION]
(Peter falls to the concrete, his cheek pressed to the hard ground.)
[INT. (NEW YORK) HOSPITAL]
MOHINDER: (v.o.) And for those who fear what lies ahead...
(Peter is in bed, the heart monitors beep steadily around him.)
QUICK FLASHES OF:
* ON PETER
* PETER looks at his glowing hands.
BACK TO SCENE. Peter is still in the hospital bed.)
SEVERAL DISSOLVES OF:
(Peter talks with Nathan.)
PETER: (v.o.) I can't control it.
NATHAN: Let me help you, Peter.
(Peter is in the hospital bed.)
(Claude laughs at Peter.)
(ON PETER)
MOHINDER: (v.o.) The most important question of all --
[INT. HOSPITAL]
(Angela Petrelli and Nathan stand watch over Peter.)
MOHINDER: (v.o.) Can we ever really change what we are?
QUICK (VISION) FLASHES OF:
* PETER’S HANDS ARE GLOWING
* A MAN (CLAUDE) steals money out of wallets.
* CLAUDE is looking through someone’s wallet.
* CLAIRE runs toward PETER.
* MOHINDER smiles as he gets out of the cab.
* CLAUDE takes things from people’s bags.
(FAR SHOT OF CITY VIEW: The explosion 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.)
(PETER is in the hospital bed.)
QUICK (VISION) FLASHES OF:
* PETER glows as he goes on power overload
(PETER screams.)
PETER: Aahh!
(PETER explodes.)
ABRUPT CUT TO:
(Peter is screaming as he sits up in bed. He’s awake.)
CUT TO:
[EXT. SIDEWALK – NIGHT]
(Claude moves quickly along the sidewalk, grabbing things off people’s tables as he goes. No one seems to notice him. No one except Peter, who follows him.)
PETER: Hey!
(CUT TO: Peter is on the cell phone.)
(Peter chases after Claude.)
(Peter follows Claude. Claude looks at the cell phone he lifted off the table.)
CAPTION:
PETER PETRELLI
NEW YORK CITY
(Claude continues walking. He pockets the cell phone. Peter follows him.)
PETER: Hey!
(Claude ignores him and continues walking.)
PETER: What are-- What are you doing?
(He runs up to Claude and grabs his arm.)
PETER: Hey!
(Claude stops, truly surprised by Peter. Peter is surprised by Claude.)
PETER: You –
CLAUDE: You can see me?
PETER: You –
(Claude grabs Peter by his shirt and pushes him back.)
WHAM!
(He slams Peter up against a lamp post near a streetside vendor. He wraps his hands around Peter’s neck and pushes him up the lamp post.)
CLAUDE: (shouts) Nobody can see 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: I'm invisible!
(Claude continues to hold Peter up against the lamp post.)
END OF PREVIOUSLY ON
CONTINUE TO EPISODE
(Claude watches as people walk past them. He notes that they don’t look at him. Only Peter is looking at him.)
(Peter gasps for breath.)
CLAUDE: (shouts) Who are you? How can you see me?
PETER: I-I-I-I don't know. I just do what you can do.
(Claude lets Peter drop to the ground as he takes a step back.)
CLAUDE: (sarcastic) Fantastic. One of those.
(Peter looks at Claude and gets to his feet.)
PETER: "One of those?" What do you mean? You know someone else like me?
(Instead of answering him, Claude turns and tries to leave. Peter follows close behind him.)
PETER: Hey wait, where are you going? You need to explain this.
(Intermittently, we switch views of seeing Peter and Claude to not seeing Peter and Claude to show that to everyone else, they are invisible throughout this scene up until Claude leaves.)
(Peter and Claude are both invisible. People walking by are being bumped by Claude and Peter.)
PETER: Look -- I saw you. I saw you in my dream. Who are you?
CLAUDE: Me? I'm no one. I'm the Invisible Man. I'm Claude Rains. Now get away from me. Forget you ever saw me.
(Peter grabs Claude and stops him.)
PETER: Yeah, but you know. What's happening to me?
(Claude twists out of Peter’s grip.)
PETER: What is this? What -- listen, I found you. I need you to help me.
CLAUDE: Why'd I want to do that?
PETER: Because we're in danger. This entire city is in danger. It was in my dream. People die. We die. I don't know when, but it happens.
CLAUDE: Then you'd better leave town.
(Claude starts to leave. Peter grabs him.)
PETER: Hey, where are you going? You can't hide from me.
CLAUDE: (scoffs) I'm the Invisible Man. I can walk around the corner and disappear forever.
PETER: Yeah, but--but I can see you. I'm gonna follow you.
CLAUDE: Smarter men than you have tried and have paid for it. (He pushes Peter back.) You stay away from me.
(He walks away as Peter watches.)
CLAUDE: (over his shoulder) And don't follow me.
(He turns and leaves, walking down the sidewalk away from Peter. As we watch, he vanishes before our very eyes and clips the shoulder of a woman pushing a cart. The woman looks up and sees nothing.)
(Further down the sidewalk, a trash can tips over, spewing garbage on the concrete.)
(A beat later, Peter materializes in the center of the sidewalk. People walking past him notice him there.)
(Peter looks out where Claude vanished and sighs.)
FADE OUT TO WHITE:
[EPISODE TITLE]
CHAPTER THIRTEEN
"THE FIX"
[INT. (LAS VEGAS) PRISON – PADDED CELL]
(Niki is on the padded floor and wearing a white straight jacket. Two orderlies are with her. One injects her in the hip.)
(Niki gasps.)
(She lies back down on the floor. The orderlies take their things and leave the cell.)
[INT. (LOS ANGELES) PARKMAN RESIDENCE – LIVING ROOM]
(Matt and Janice sit on the sofa, Matt with his arm around Janice as she leans back against him.)
CAPTION:
JANICE & MATT PARKMAN
LOS ANGELES
MATT: Umm -- Red elephant with blue stripes?
JANICE: Pin stripe or plaid?
(Matt chuckles.)
MATT: Honey, I can't see your thoughts. I can only hear 'em.
JANICE: Huh. Oh, I have a good one.
MATT: Wait, the ratty curtains in our old apartment?
(She slaps his arm and sits up to look at him.)
JANICE: Ugh. How do you do that?
FADE TO WHITE:
[INT. (ODESSA) PRIMATECH PAPER – SYLAR’S CELL]
CAPTION:
PRIMATECH PAPER
ODESS, TEXAS
(Mr. Bennet stands outside the window looking into Sylar’s cell. He turns and steps away. Sylar is strapped to the bed. The doctor shines a penlight in his eyes. The door to the cell opens and Mr. Bennet walks in.)
(The doctor looks at the printout.)
DOCTOR: I'm not sure what's happening. His vitals are extremely irregular.
(Sylar appears out of it. He shivers and shakes sporadically.)
MR. BENNET: After all we've done to him, I'm not surprised. Keep him stabilized.
DOCTOR: There is another option.
MR. BENNET: Our instructions are to keep him alive. Do whatever it takes. If he crashes, you bring him back. Again and again. When he dies it'll be on my terms, not on his. Clear?
(We hold on Sylar.)
CUT TO:
[INT. PARKING GARAGE -- DAY]
CAPTION:
HIRO & ANDO
NEW YORK CITY
(Ando talks with the parking attendant.)
ANDO: But I'm only two minutes over.
PARKING ATTENDANT: That'll be $48.50.
ANDO: For one-day parking?
PARKING ATTENDANT: Hey, you want your car back or not?
(Ando sighs and digs into his pockets to pay.)
(Hiro peers into the attendant’s booth and concentrates on the small clock inside. It reads 10:48. The clock continues, its second hand ticking rhythmically.)
(Hiro concentrates harder on the clock. The second hand continues to advance.)
(He grits his teeth and tries harder.)
(It doesn’t work.)
HIRO: (subtitled) Darn.
(The parking attendant gives Ando the car keys. Ando takes the keys and they head into the lot.)
HIRO: (subtitled) My power is lost until I get the sword. It focused the samurai Kensei’s power. It will do the same for me.
ANDO: (subtitled) But Hiro, if you have no power, how can we steal the sword?
(They start up the stairs.)
HIRO: (subtitled) I will find a way. That sword is my destiny.
(CUT TO: They walk on the next floor.)
HIRO: (subtitled) A samurai’s weapon must be used with honor. And respect. This sword has many lessons to teach.
ANDO: (subtitled) Swords are for killing. That’s why they’re sharp.
HIRO: (subtitled) Maybe I use the sword to kill bomb-man. Is it my destiny to kill this man?
(Ando sees something in front of them and stops Hiro.)
ANDO: (subtitled) Hiro, wait.
(There’s a man standing near their car.)
HIRO: (subtitled) What is it?
(The man turns around and spots them. The man takes out his phone and makes a call. Ando doesn’t like it.)
ANDO: (subtitled) That man, waiting by our car ...
(The man finishes his call and closes his phone. He stares at Ando and Hiro.)
HIRO: (subtitled) He doesn’t look very friendly.
(The man takes a gun out of his holster and heads toward them.)
ANDO: (subtitled) He has a gun. Do something!
HIRO: (subtitled) I have no power! Run!
(Ando and Hiro turn and run. A dark-colored van turns the corner, tires screeching. It heads toward them.)
(Ando waves the van down.)
ANDO: Help, there's a man chasing us!
(The van stops and another man gets out of the van. He looks just as dangerous as the first man.)
HIRO: Pinch. (subtitled) Uh-oh.
(Hiro runs.)
SMASH CUT TO:
[TITLE CARD: HEROES]
FADE OUT.
(COMMERCIAL SET)
FADE IN:
[EXT. NEW YORK CITY (STOCK) – DAY]
[INT. MOHINDER’S APARTMENT (#613) -- DAY]
CAPTION:
MOHINDER SURESH
BROOKLYN
(Mohinder is looking through a microscope on a table he’s set up in the back room to serve as his make-shift lab.)
(There’s a knock at the front door. Mohinder stops, removes his latex gloves and heads to the front to answer the door.)
(He opens the door and finds Nathan standing there.)
NATHAN: Dr. Suresh? Do you remember me?
MOHINDER: Nathan Petrelli.
NATHAN: You yelled at my car.
MOHINDER: Yes, we met under unfortunate circumstances. I believe I came off as a deranged lunatic.
NATHAN: (nods) Do you mind if I come in?
(Mohinder lets him in. He closes the door behind him.)
NATHAN: I'm looking for my brother, Doctor.
MOHINDER: That makes two of us.
NATHAN: I'm sorry?
MOHINDER: I've been leaving messages for him for two days now.
NATHAN: Guess I'm at the wrong place then.
MOHINDER: I need to find him. The last time I heard, he was in Texas.
NATHAN: He made it home barely. Barely alive, and now he's run off again. Afraid that he's gonna somehow ... hurt people. Doctor, I, uh—possibly you could explain to me. What the hell's happening to him?
(Mohinder turns and heads into the back room.)
MOHINDER: Before his death, my father compiled a list: thirty-six individuals who carry a genetic marker which he discovered. (He shows Nathan the list.) A marker which he theorized gave these people certain abilities.
NATHAN: And my brother's one of them?
MOHINDER: As are you.
(Mohinder shows him a file folder. Nathan looks inside and is very quiet.)
NATHAN: I didn't come here to talk about me.
(Mohinder takes the file folder from him and puts it aside.)
MOHINDER: Fair enough. Peter's specific DNA allows for a blend. Like colors in a mosaic, resequencing itself to mimic the abilities of those around him.
NATHAN: Like a chameleon?
MOHINDER: More like a sponge. It's precisely why I've been studying him.
NATHAN: Could his condition become dangerous to himself or to other people?
MOHINDER: If he absorbs too much, or comes into contact with an unstable ability, then most definitely yes.
NATHAN: Can you fix it? Alter his genes somehow?
MOHINDER: Theoretically, it is possible to develop a specific site inhibitor. But look, I will know more when we find him.
NATHAN: We? Doctor, the last thing my brother needs is somebody feeding into his paranoia. But thank you.
(Nathan turns and re-enters the living room to get to the front door.)
MOHINDER: Mr. Petrelli.
(Mohinder grabs his shoulder and stops him.)
MOHINDER: Of all the people on that list, your brother may be the most important. If I can find him, study him, then I can do more than help him. I can help all of you. Now, give me a minute, and I'll get my coat.
(Mohinder leaves to get his coat. We hold on Nathan.)
CUT TO:
[EXT. DEVEAUX BUILDING -- ROOFTOP -- DAY]
(Peter walks out onto the rooftop. Off screen there are clanging and banging noises.)
(Claude is standing in front of a bird coop.)
CLAUDE: I told you not to follow me.
PETER: I need help. (Peter looks around.) You live up here?
CLAUDE: You're not a fast learner, are you mate?
(Claude closes the bird coop door.)
PETER: I took care of a man who owned this building. His name was Charles Deveaux.
CLAUDE: Never heard of him.
PETER: You don't think that's strange? I worked here. The place where you live and keep your birds.
CLAUDE: I don't keep anything. I let 'em out once a day, they come back. Sounds like free will to me.
PETER: I need to learn how to control this. Like you do.
(He closes another coop door and kneels to open the next coop door.)
CLAUDE: What are you talking about? It can't be controlled.
PETER: There has to be some way. If -- if I don't, New York explodes. Okay? I explode.
CLAUDE: An exploding man, where'd you get that idea?
PETER: My dreams. This place. I found you for a reason. I think you're the one that has to teach me how to stop this.
CLAUDE: There's no such thing. (He closes the coop door.) No teaching. No Sunday school for the special. What I can do, you can't learn. You wake up in the morning, it's there. If you've got thin soup, then that's your supper. (He stands up.) Sorry, mate, that's the way it is.
(Peter grabs Claude as he walks past. Claude immediately shakes his hand off him.)
PETER: I'm trying not to die. There's got to be something you can do.
(Claude turns and grabs Peter by his shirt.)
CLAUDE: I can kill you myself right now. Solve your exploding problem here. Maybe that's why you dreamt me. Don't bother looking for me. You won't find me here again.
(Claude turns and leaves. Peter walks over to the edge of the roof, leans his hands on the wall and takes a deep breath.)
CUT TO:
[INT. (ODESSA) BENNET RESIDENCE – DEN -- DAY]
(Claire watches as Zach goes through Mr. Bennet’s home computer.)
ZACH: So what exactly am I looking for here?
CLAIRE: Anything my dad doesn't want us to find. You said you're good with computers.
ZACH: I make movies on my laptop.
CLAIRE: No, you're good at finding those holes in the Internet password-protected nanny blocker stuff.
ZACH: Shouldn't you be watching the doorway if your dad walks in?
CLAIRE: He's at work. It's just you, me, and Mr. Muggles.
(She indicates the dog sitting on the chair. Mr. Muggles grumbles.)
(Zach clicks on several windows.)
ZACH: There's nothing. There's not even any porn.
CLAIRE: Gross.
ZACH: I'm serious; this thing is totally clean.
(Zach continues to look through the directories.)
CLAIRE: No. My dad lied to me about my entire life. My biological parents. My ability. You can't just hide things like that. There's gotta be something on there.
ZACH: If your dad's the guy you're describing, I don't think he's gonna keep his secrets on the family computer.
(Mr. Muggles starts barking. He gets up, jumps off the chair and scrambles out of the room.
CLAIRE: Uh-oh. Shut it down.
ZACH: Oh-sh--. Okay
(Claire rushes out of the room. Zach closes the windows on the monitor. He finishes, gets up and follows Claire into the kitchen.)
(They scramble to stand casually in the kitchen. Mr. Muggles barks at the door. The front door opens and Mr. Bennet walks in, careful to not let Mr. Muggles out of the house.)
MR. BENNET: Okay, okay.
CLAIRE: I thought you were at work.
(He closes the front door and seems surprised to see Zach in the kitchen with Claire.)
MR. BENNET: Forgot my cell. Zachary. What a nice surprise to see you here.
ZACH: Yeah, it's biology class. We're lab partners now.
(He turns and notices that the computer is on.)
CLAIRE: (quickly) Yeah we were just doing some research on the Internet. We have a presentation on --
ZACH: The manatee, also known as the sea cow.
(Claire smiles at Zach’s save. Mr. Bennet watches them and smiles.)
MR. BENNET: Do you mind if I talk to Claire in private for a moment?
CLAIRE: (to Zach) You can wait in my room.
(Zach doesn’t know where it is.)
CLAIRE: It's upstairs. Second door on the right.
(Zach heads upstairs.)
MR. BENNET: So. You and Zach?
CLAIRE: (shakes her head) Ms. Gomez stuck us together. Must be some social experiment or something. Worst day ever.
MR. BENNET: Claire.
CLAIRE: What?
MR. BENNET: You two used to be friends. You might find you actually get along.
(Claire gives him a forced smile at the irony. Mr. Bennet smiles back. She turns and heads upstairs as well.)
(Hold on Mr. Bennet. His smile fades as he watches her go.)
CUT TO:
[INT. BENNET RESIDENCE – CLAIRE’S BEDROOM]
(Zach is waiting in her bedroom when Claire walks in and shuts the door behind her.)
ZACH: Nice save.
CLAIRE: Thanks.
(Claire takes out some wind chimes.)
ZACH: So what now?
CLAIRE: I need to talk to someone who has some answers. He said if I needed him, I should hang these outside my window.
(She hangs the wind chimes on her window and looks at them.)
ZACH: What the hell are you talking about?
CUT TO:
[EXT. (LOS ANGELES) PARKMAN RESIDENCE – BACKYARD -- DAY]
(Matt and Janice talk.)
JANICE: Okay, wait. You're saying that the guy with the glasses actually ... abducted you?
MATT: Yes.
JANICE: And he--he did this to you?
(He stands up.)
MATT: Yeah. Yeah, and I gotta figure out how he did this. And I'm gonna take him and everybody with him down. That Haitian guy, all of 'em.
JANICE: Matt, I--I'm sorry. I've gotta say, this is all a little nuts. I mean, first the whole psychic thing. And now... Come on, you're telling me you're about to run off and chase some guy who works in a paper factory in Texas.
MATT: They did this to me, Janice. I need to find them. I have to figure out what this is all about.
JANICE: (v.o., thoughts) Maybe you could call the FBI.
MATT: No, I can't. I can't go to the FBI. They think I'm crazy. (sighs) I-I gotta get ready. I got a review hearing this morning. I'm about to get my ass handed to me by three captains.
(Matt heads inside. Janice stands up and follows him.)
[EXT. PARKMAN RESIDENCE – BATHROOM – DAY -- CONTINUOUS]
(Matt walks into the bathroom and turns on the tap. Water spurts out intermittently. Obviously, someone was supposed to call the plumber.)
(Matt fiddles with the tap. Behind him, Janice sighs. Matt looks up and sees her in the doorway.)
MATT: Yes, I will call the plumber today.
(She sighs and rolls his eyes.)
JANICE: Are you always gonna be in my head?
MATT: Well, I can't control this thing.
JANICE: You can't or you won't?
(Matt turns and looks at her.)
CUT TO:
[INT. (NEW YORK) PARKING GARAGE -- DAY]
(Hiro and Ando are hiding under a parked car. They talk softly to each other in Japanese.)
HIRO: (subtitled) The painting is valuable. Maybe they’re trying to steal it.
(The black van from earlier passes by their hiding place.)
ANDO: (subtitled) But if we don’t deliver it to Linderman ... we will never get the sword. How long do we stay under here?
HIRO: (subtitled) Until they are gone.
ANDO: (subtitled) Who are these people? Andy why is everyone always chasing us?
HIRO: (subtitled) Because I’m special.
ANDO: (subtitled) Well, I’m not special. And I’m tired of getting chased. I’m going to have oil all over my back ... because of you!
HIRO: (subtitled) You can surrender. But I will never surrender. A hero never gives up.
(Just then, a car alarm disengages right above them. A car door opens. The car just above them shakes as someone gets in.)
ANDO: (subtitled) Did you feel something?
(The car door shuts. The engine starts.)
(The car they’re hiding under is driven away. leaving Hiro and Ando exposed on the concrete.)
(They sit up. Then, they stand up. Hiro puts the art container back around his back. He looks up and sees the black van turn the corner.)
HIRO:
(He looks around.)
HIRO: (subtitled) This way!
(The van picks up speed. Hiro and Ando run. The van chases after them. Hiro veers to the side. Ando is just behind him.)
(Hiro jumps over a fence and onto the next lower half level. Off screen, the van stops and men get out.)
(Ando grabs the fence and climbs up to the next upper half level. The man grabs Ando and pulls him down. Oh, no! They’ve got Ando!)
ANDO: Oh! Hiro! Hiro!
(Hiro stops running. He turns and sees they’ve got Ando.)
(The two men in black drag Ando kicking and struggling back to the van.)
ANDO: Who are you?
(Hiro turns back.)
HIRO: Hey! Hello!
ANDO: Let me go!
(There are three men. They turn around and look at Hiro. Ando is just as surprised. Hiro climbs back over the fence
HIRO: (in English) I am very special. I offer myself in trade. Release un-special Ando and I go with you. Okay?
(One of the men steps forward to get Hiro. The other man continues to drag Ando backward into the van.)
HIRO: (in English) Good deal, yes?
(The man takes Hiro to the van.)
HIRO: (in English) Oh! Oh, what are you doing? Oh, you no like the deal?
(He pushes Hiro into the back of the van next to Ando.)
ANDO: (subtitled) You came back for me.
HIRO: Yes. (in English) This is how we roll.
(The van door closes.)
FADE OUT.
(COMMERCIAL SET)
FADE IN:
[INT. (LAS VEGAS) PRISON – PADDED CELL]
(Niki is on the floor as she wakes up. She realizes that the straight jacket has been removed. She looks around as she gets up. There’s a woman sitting against the wall facing her and an orderly standing at the door.)
NIKI: Who are you? Why did you take that off me?
DR. WITHERSON: I'm Dr. Witherson. I'm a psychiatrist. And I've been assigned to your case.
NIKI: No, you shouldn't be in here. It's not safe.
DR. WITHERSON: If it makes you feel more comfortable, we can put the restraints back on while we talk.
NIKI: You don't understand. The drugs keep her weak. That jacket can't stop her. (to the orderly) Give me a shot.
DR. WITHERSON: You mean Jessica?
NIKI: How do you know her name?
DR. WITHERSON: I read your file. I know all about your past. Your marriage. Your website. Your sister. Her accident.? Her name was Jessica too, isn’t that right?
NIKI: (sighs) Give me another shot.
DR. WITHERSON: You know, I haven't made an official diagnosis yet. But it seems like we're dealing with a classic case of multiple personality disorder.
NIKI: You're wasting your time. Just go.
DR. WITHERSON: You know --
(Dr. Witherson starts to get up. The orderly moves forward. She motions him back.)
DR. WITHERSON: It's okay. It's okay. (She sits up.) It makes sense, facing the kind of sentence that you're facing, that you want to give up. You think your life is over, but it's not. You can still make something of yourself in here. People do it all the time. But you gotta want help. And yeah, it can take years to integrate a multiple personality, but if you let me, I can help you.
NIKI: What I am, you can't fix. Just give me another shot and go away.
DR. WITHERSON: No.
(Dr. Witherson looks at Niki. Niki looks away toward the orderly. Dr. Witherson gets up, picks up the straitjacket and heads out the door.)
(The door slams shut.)
CUT TO:
[INT. (LAS VEGAS) SANDERS’ RESIDENCE – LIVING ROOM -- DAY]
(DL is on the phone.)
DL: (to phone) Aww, man. I'm trying to pay this rent. You know, it would really help if you -- Yeah.
(Micah is waiting by the door.)
DL: (to phone) No, it's -- it's cool, it's cool. I ... know you would if you could. Thanks anyway.
(He hangs up.)
MICAH: So have you seen my lunchbox or not?
DL: I don't know. It's wherever you left it.
MICAH: I left it in the car.
DL: Then that's where it is.
MICAH: Okay, so where's the car?
DL: Car's in the shop, Micah.
MICAH: So you lost my lunchbox?
DL: I didn't lose anything. It's in the car.
MICAH: Fine, you make bad lunch anyways.
(Micah leaves the room.)
DL: Micah!
(DL gets up, tosses the phone aside and follows Micah.)
DL: Micah.
[INT. SANDERS’ RESIDENCE – MICAH’S BEDROOM -- CONTINUOUS]
(Micah’s stuffing his things into his backpack.)
DL: It's not my fault you can't keep track of your own stuff.
MICAH: Mom always put my lunch in my backpack every single morning.
DL: Well, I'm not your mom.
MICAH: Yeah, that's for sure.
DL: Micah, this isn't easy.
MICAH: Well, it wasn't easy for Mom either. But she always found a way of making some money, Dad. I'm late for school.
(Micah grabs his backpack and walks out of the room.)
(The door slams.)
CUT TO:
[EXT. (ODESSA) ABANDONED TOWER – DAY]
(Claire waits. The Haitian walks up to her.)
THE HAITIAN: Do you have any idea how dangerous this is?
CLAIRE: You said if I had an emergency, to hang the chimes outside my window.
THE HAITIAN: Is your father becoming suspicious?
CLAIRE: No. And it's kind of a problem. Every word out of my mouth is a lie. I have to laugh, and smile, and look him in the eye. My own father. It’s breaking my heart.
THE HAITIAN: Would you prefer I took your memory?
CLAIRE: I need to know that one thing in my life is real. Do you know who my real parents are?
THE HAITIAN: Of your father, I know nothing.
CLAIRE: And my mother?
THE HAITIAN: Only that she died in an explosion here in Texas fourteen years ago.
CLAIRE: My mother died? Are you sure?
THE HAITIAN: Your father told me many years ago. He had no reason to lie. This is the last conversation we have about this. Now you need to go back home and forget about your real parents.
(The Haitian leaves.)
CUT TO:
[INT. BENNET RESIDENCE – DAY]
(The door opens and Mr. Bennet walks in. Sandra is tending to Mr. Muggles, who is in his travel bag.)
SANDRA BENNET: The groomer missed one of Mr. Muggles' nails. I'm gonna run him back by the shop before they close. (to Mr. Muggles) Don't want you scratching up my wood floors. (baby voice) No, we don't.
MR. BENNET: Where's Claire?
SANDRA BENNET: She's at the library getting books for some biology report. I cannot believe how many projects they lay on these kids. I don't know how she holds everything in that head of hers. (baby voice) No, I don't.
(Mr. Bennet is quiet. Sandra looks at him.)
SANDRA BENNET: You're still worried about her, aren't you?
MR. BENNET: She's had a rough couple of weeks.
SANDRA BENNET: Well, besides a little memory loss ... I'd say she's doing just peachy.
MR. BENNET: Do you really?
SANDRA BENNET: It's Lyle you need to worry about. That boy is getting so absent-minded lately. (baby voice) Yes, he is. (normal voice) We'll be back.
(She takes the dog and heads out.)
(Mr. Bennet’s phone rings. He answers it.)
MR. BENNET: (to phone) Yes.
INTERCUT WITH:
[INT. PRIMATECH PAPER – SYLAR’S CELL]
(The doctor is on the phone.)
DOCTOR: (to phone) I did everything I could. He's dead.
MR. BENNET: Well, that's less than ideal.
DOCTOR: (to phone) What do you want me to do with the body?
MR. BENNET: Get it ready for shipping. I'll be in later.
(He hangs up.)
(The doctor hangs up. He turns around and looks at Sylar on the exam table. He removes the restraints.)
(We hold on Sylar.)
(Suddenly, Sylar’s eyes open.)
FADE OUT.
(COMMERCIAL SET)
FADE IN:
[INT. DINER -- DAY]
(Zach shows Claire what he’s found on his laptop. On the monitor, he has the ODESSA REGISTER front page. The headline reads: APARTMENT FIRE KILLS 7)
ZACH: There was a fire in an apartment house fourteen years ago in Kermit, Texas. Kermit, why does that sound so familiar?
CLAIRE: 'Cause of the frog?
ZACH: Check it out. A 21-year-old woman was killed in the explosion. Meredith Gordon.
(A close-up of the article by Roxana Castillo, Staff Writer, reads:
{column 1}
KERMIT, TEXAS – Seven people were killed, including a woman, Meredith Gordon, and her 18-month-old daughter in an apartment fire Thursday night, officials said.
The late night blaze ripped through several apartments –
{part of column 2}
-- be released as little –
small one bedroom –
where the fire started –
Witnesses report –
explosion sometime –
started. Officials believe –
explosion may be attributed –
ignition, possible from –
believe the fire started –
2 a.m. in the 3rd floor --
CLAIRE: Oh, my God.
ZACH: Also killed in the fire was her 18-month-old daughter. Claire, I think that's you.
CLAIRE: But I didn't die.
ZACH: Somebody thought you did.
CLAIRE: What am I supposed to do with all this?
ZACH: You may still have a real family out there. Maybe you got an aunt or a rich, eccentric uncle.
CLAIRE: Great, an uncle.
ZACH: Who knows, one of them might even know who your real father is.
(Claire thinks about it.)
CUT TO:
[INT. (LOS ANGELES) POLICE DEPARTMENT – CONFERENCE ROOM – DAY]
(Matt Parkman sits in the room facing three police captains, who are reviewing the files.)
CAPTAIN 1: Well ... Surprised you left out the flying saucers.
CAPTAIN 2: Officer Parkman, is this really the statement you want entered into your public record? That a paper salesman from Odessa, Texas is currently harboring a super-powered serial killer, and that you raided his warehouse on a hunch?
MATT: Uh, sir, all I've ever wanted to do was protect and serve. To help my fellow man.
CAPTAIN 2: I'll ask you again. Do you want your future as a police officer to be decided by what you've written here?
(Matt looks at them.)
CAPTAIN 2: (v.o., thinking) (echo-y) Just say "Yes," so I can flush you down the toilet.
MATT: At this time, I'd like to recant my previous written statement. I made the whole thing up.
CAPTAIN 1: Why did you do that?
MATT: I failed to make detective three times, sir. And, uh ... Quite frankly I was sick of directing traffic, handing out speeding tickets, and I -- I wanted to look like a hero. I am sorry for any shame that I may have brought this department.
CAPTAIN 1: (v.o., thinking) Great, a liar, not a nutcase.
(Matt sighs.)
CAPTAIN 2: Officer Parkman, pending review of your case by a civilian ombudsman and union representative, we're enforcing a six-month suspension of your active duties. We're gonna need your gun and your badge.
(Matt shakes his head, stunned.)
CUT TO:
[INT. PARKMAN RESIDENCE – FOYER -- DAY]
(The front door opens and Matt walks in.)
MATT: Janice.
(In the background, we can hear water running.)
JANICE: (shouts o.s.) Matt, will you come upstairs?
[INT. PARKMAN RESIDENCE – BEDROOM / BATHROOM -- DAY]
(Matt walks into the bedroom.)
JANICE: (o.s.) Oh, Matt!
(He heads to the bathroom.)
MATT: What?
(The pipe under the sink burst.)
JANICE: Now are you gonna fix the pipes?
MATT: Get me a wrench.
(Matt reaches under the sink and grabs the knob to shut off the water. The water spurts into his face.)
MATT: Ugh. Ahh!
CUT TO:
[EXT. (NEW YORK) STREET -- DAY]
(The black van turns a corner, tires screeching.)
HIRO: (in English) (v.o.) Where are you taking us?
[INT. VAN (MOVING) – DAY]
(Hiro and Ando face one of the men sitting with them in the back of the van.)
ANDO: (subtitled) Why isn’t he talking to us?
HIRO: (subtitled) Maybe ... he is not the "Big Boss."
(Hiro looks at the man.)
HIRO: (in English) Tell your boss I'm on very important mission.
THUG 1: (in English) I know all about your so-called mission to save the world, Mr. Nakamura. You think you have a power, and that you can use it to make a difference.
(Ando watches as the man reaches down to the black bag next to him. Ando sees the gun on the top of the bag.)
THUG 1: (subtitled) You are ... WRONG.
HIRO: (subtitled) Who are you?
THUG 1: (subtitled) I work for someone ... who has true power. (Hiro glances at Ando.) A man who knows what you’re up to. And wants you ... to stop.
(The thug takes out two airplane tickets and offers it to them.)
THUG 1: (in English) Two first-class tickets. Non-stop to Tokyo.
ANDO: (in English) First class?
(Hiro pushes the tickets away from Ando and looks at him.)
HIRO: (subtitled) Ando, do not be tempted. Those tickets are a test ... of our devotion to our mission. You cannot bribe a hero. My heart is true. My spirit unbreakable. When I meet your "Big Boss," I will tell him the same thing!
THUG 1: (subtitled) Oh -- he won’t like that.
(The thug puts the two tickets back in his inside jacket pocket.)
THUG 1: (subtitled) Not one bit.
(Ando looks worried to Hiro. Hiro stares stubbornly at the thug.)
CUT TO:
[INT. (NEW YORK) PETER’S APARTMENT – DAY]
(Peter is packing a travel bag. He grabs his things and puts them in the large bag. He stops and picks up a photo of him with Nathan, their arms around the other’s shoulders and both smiling at the camera.)
(He puts the photo down and closes his travel bag.)
(He hears someone open his front door. He picks up his bag and sees Nathan and Mohinder enter. Nathan closes the door.)
NATHAN: You aren't answering your cell phone. We've been looking everywhere for you.
PETER: What's he doing here?
MOHINDER: Making up for past mistakes. I'd like to help you.
(Nathan notes the travel bag.)
NATHAN: You're leaving town?
PETER: Yeah. Yeah, think I'll get away for a little while.
NATHAN: What, be a danger to somebody else? There's gotta be another way, Peter. Let me help you.
PETER: You can't.
MOHINDER: But maybe I can.
PETER: How?
MOHINDER: We can find that answer together. If you allow me to test you, with more research —
PETER: Shh ... You can cure me? You're gonna fix all of this?
MOHINDER: It'll take study and time--
PETER: Time -- I don't have time to be your guinea pig. I have a plane to catch.
(Peter takes a step forward. Nathan takes a step to the side to block him.)
NATHAN: I'm not letting you run away, Peter.
PETER: So what? You gonna call the cops on me, Nathan? You gonna tell them your brother's going nuclear?
NATHAN: I could have my mentally ill brother detained for his own safety.
(Peter puts his bag down. He looks warily at Mohinder while putting a hand on Nathan’s shoulder. Mohinder gets the hint and steps away from them.)
PETER: (quietly) I know you want to help me. You're my big brother and you fix everything. But you can't -- you can't fix this one this time.
NATHAN: I can. Look, let's just sit down, and we can figure this out.
PETER: Okay.
NATHAN: Okay?
PETER: Okay.
(Peter calmly steps past Nathan. Nathan turns his back for a moment on Peter, thinking that it’ll be all right.)
(Peter dashes for the front door.)
(Nathan and Mohinder both run after Peter.)
NATHAN: Peter!
(Peter opens the front door.)
[INT. HALLWAY OUTSIDE PETER’S APARTMENT – CONTINUOUS]
(The front door swings open. Nathan steps outside and faces the bodyguard standing out in the hallway.)
(Nathan looks around for Peter. He doesn’t see him anywhere. Mohinder steps out in the hallway just behind Nathan. The door closes behind him.)
NATHAN: (to the bodyguard) Where'd he go?
BODYGUARD: Who?
NATHAN: You're supposed to watch the door.
(The bodyguard shakes his head. He didn’t see anyone.)
(Mohinder looks at the open window at the end of the hallway behind the bodyguard. He and Nathan are drawing their own conclusions about where Peter has gone.)
MOHINDER: My God, did he just ... ?
NATHAN: (to the bodyguard) Get down to the airport, and make sure he doesn't get away this time.
BODYGUARD: Yes, sir.
(The bodyguard leaves. Nathan and Mohinder walk over to the open window. Nathan looks at Mohinder, then turns to follow the bodyguard.)
(ON MOHINDER as he looks at the open window. He then turns to look back at the apartment door.)
(CAMERA PULLS BACK down the hallway and away from Mohinder. As we move back, we pass by two people standing quietly in the hallway.)
(There against the wall near the apartment door is CLAUDE with his hand covering PETER’S mouth, keeping him silent. They were there all the time!)
(Mohinder doesn’t see them. He turns and walks away.)
(CLAUDE removes his hand from Peter’s mouth.)
FADE OUT.
(COMMERCIAL SET)
FADE IN:
[EXT. NEW YORK CITY (STOCK) -- DAY]
(We hear the sound of a refrigerator door open and closing.)
PETER: (v.o.) Thanks. Help yourself.
[INT. (NEW YORK) PETER’S APARTMENT – DAY]
(Claude has a bottle in his hand. He twists off the cap and flips the cap to Peter.)
CLAUDE: This your place?
PETER: Yeah.
CLAUDE: Guy with family connections like yours could do a lot better.
(He drinks.)
PETER: Left the family business. I'm a nurse now.
CLAUDE: Nurse who's an empath, very cute.
PETER: "Empath," what's that mean?
CLAUDE: Means you're a pain in my ass, mate.
(Claude looks around Peter’s apartment.)
PETER: Yeah, but you followed me.
CLAUDE: Yeah, well, I'm not very much of a people person, but I'm certain I'm not gonna let you kill 'em all. You seem pretty sure about that pending apocalypse of yours.
PETER: Yeah, not unless you help me control it.
CLAUDE: You don't know what you're asking, what you have to go through. You might want to reconsider dying. Hell of a lot easier.
PETER: I can handle it.
CLAUDE: Yeah, that's what they all say.
PETER: "They"? How many -- how many people have you taught before me?
(Claude looks at Peter. Then --
CLAUDE: Come on, mate, I'll steal us a cab.
(Claude bounds toward the front door. He opens the door, then looks back at Peter.)
CLAUDE: You coming or not?
(Of course he is. Peter hurries and follows Claude out. The door closes behind him.)
CUT TO:
[INT. (LOS ANGELES) PARKMAN RESIDENCE – SECOND FLOOR BATHROOM – DAY]
(Matt is under the sink finishing up fixing the pipes. He sighs and drops the wrench in the tool kit. He reaches over the sink and tries the faucet. The water runs fine.)
(Janice sits on the edge of the bathtub watching him. He shuts the faucet off. She claps and giggles.)
(He wipes his hands on a towel, gets up and joins her on the edge of the tub. She shakes her head. He doesn’t look at her.)
MATT: Uh, so they suspended me for six months.
JANICE: Oh, Matt.
MATT: I actually thought this ability was gonna be a good thing. And now I'm unemployed, and about to lose my marriage.
(She rubs his back.)
JANICE: You haven't lost that. (He turns and looks at her.) Not yet anyway.
MATT: Thanks, that's encouraging.
JANICE: Look, we -- we just have to trust each other.
MATT: I can do that.
(They kiss. She takes his hand.)
JANICE: Now ... So I'm gonna give you one more freebie. What am I thinking?
(He looks at her.)
MATT: We're having a baby?
(She laughs and they hug.)
MATT: Oh ... (shouts) We're having a baby!
CUT TO:
[INT. (LAS VEGAS) PRISON – PADDED CELL]
(Niki is lying on the floor in her cell. A shadow passes over her and she wakes up. DL phases into the cell. She turns and sees him.)
DL: Nik, what have they done to you?
(He kneels next to her.)
NIKI: If they catch you—
DL: They won't.
NIKI: Come closer.
DL: What is it?
(He holds her.)
NIKI: Your shirt. It smells like home. How's Micah? Is he okay?
DL: He's fine. It's just ... I can't do this, Nik. Not alone. I thought I could. I thought I could handle everything, but I --
NIKI: DL, you can't do this to me.
DL: I gotta find a way to get you outta here. (He looks around the cell, checking out the walls.) This is crazy. I can walk in here any time I want, right? I should be able to get you out.
NIKI: I am gonna be in here for a long time. The rest of my life maybe. You need to get used to that.
DL: Your son needs you.
NIKI: Damn it, DL. That is not fair. I am counting on you. You know that I need to stay in here.
DL: I need you, Nik. We need you. He's having such a hard time without you.
NIKI: You need to talk to him. You need to be honest. He needs boundaries and a strong hand. It's not too late.
(They lean forward, foreheads touching.)
NIKI: You need to go. Go.
(DL lets go. He stands up and backs out of the room, phasing out of the padded wall.)
CUT TO:
[INT. (LAS VEGAS) ATM – DAY]
(The VEGAS INDEPENDENT TAXI cab drives past. Micah is walking along the sidewalk. He stops when he sees an ATM machine. He gets an idea.)
(He walks up to the ATM machine. The monitor reads:
WELCOME TO MINI-BANK
PLEASE INSERT YOUR CARD
(Micah puts his left hand on the machine, his fingertips barely touching the glass. PZZT. The monitor message changes:
ENTER YOUR PIN NUMBER
PZZT.
(ON MICAH. He closes his eyes and concentrates. The ATM machine beeps.)
(Micah opens his eyes and removes his right hand. Cash comes out of the machine. Micah pockets the cash.)
(He steps forward again and touches the monitor with his left hand. The monitor changes:
$500.00
(The cash comes out of the machine. Micah looks at it and smiles. He pockets the cash and smiles.)
FADE OUT.
(COMMERCIAL SET)
FADE IN:
[INT. (ODESSA) BENNET RESIDENCE – CLAIRE’S BEDROOM -- NIGHT]
(Claire is on her bed, talking with Zach on the phone. She’s looking through the phone book.)
CLAIRE: (to phone) There's only twelve people in Kermit with the last name "Gordon." So far, only three. None of them have ever heard of Meredith.
(There’s a knock at the door.)
CLAIRE: (to phone) Hold on.
MR. BENNET: (o.s.) Claire?
(Claire closes the phone book and shoves everything under her blanket.
CLAIRE: (to phone) I'll call you back.
(She hangs up.)
(The door opens. Mr. Bennet walks in.)
MR. BENNET: Claire?
CLAIRE: Sorry, I was just, uh, talking to Zach about our report.
MR. BENNET: Aah. (He holds a book, MANATEE.) Well, Molly in accounting is married to a marine biologist, and he said that --
(Claire pulls out her own book, MANATEE.)
MR. BENNET: -- you're already on top of it.
CLAIRE: Did you know that all three varieties of manatee are vulnerable to extinction?
MR. BENNET: No, I didn't. (He looks at her and sits on the edge of her bed.) Is everything all right? We haven't talked in a while.
CLAIRE: Actually, there is something.
MR. BENNET: Yeah?
CLAIRE: The bears. My stuffed bears. I think it's time for them to migrate. I'm almost sixteen, Dad. Bears and talks can't last forever.
MR. BENNET: Whether you're 16, or 32, or 64 –
CLAIRE: When I'm 64, you'll –
MR. BENNET: I will be there for you. Always.
CLAIRE: Don't you think it's time I learn how to deal with my own problems?
(He smiles and puts a hand on her shoulder. Just then the wind chimes ring. He notices them hanging outside the window.)
(He removes his hand from her shoulder, picks up the book he brought with him and stands up.)
MR. BENNET: Well, dinner's in an hour. And, uh, do me a favor. No -- No extinction talk at the table. You know how sensitive your mother is.
(Claire nods.)
(Mr. Bennet turns and leaves the room. He closes the door behind him. Claire exhales.)
CUT TO:
[INT. (LAS VEGAS) PRISON – INTERVIEW ROOM ]
(Niki sits at the table. The door buzzer sounds. The guard escorts Dr. Witherson into the room. Dr. Witherson puts a folder on the table.)
DR. WITHERSON: You have a change of heart?
NIKI: My son. My family needs me. So –
(Dr. Witherson sits.)
DR. WITHERSON: I want you to understand that there are no guarantees.
NIKI: I don't care. I need to get rid of Jessica.
DR. WITHERSON: So you know what might help? If I could talk to her. All right?
NIKI: Isn't there another way?
DR. WITHERSON: No. I'm afraid in cases like these, it is imperative that I have interaction with all aspects of the patient's personality. Honey, let me talk to her.
NIKI: No! You can't.
DR. WITHERSON: So let me put it to you this way. Either I speak with Jessica, or you may not see your little boy for a very, very long time.
(Dr. Witherson looks at Niki. After a long moment, Dr. Witherson stands up and heads for the door.)
NIKI: But ...
(The guard opens the door.)
NIKI: Wait.
(Dr. Witherson waits. We hold on Niki.)
CUT TO:
[INT. (LAS VEGAS) SANDERS’ RESIDENCE – LIVING ROOM]
(DL paces. Micah walks in.)
DL: Micah, where have you been? I was worried to death.
MICAH: I was just out walking around.
DL: Sit down.
(Micah sits down.)
DL: Micah, we gotta figure this out. 'Cause the truth is your mom's not coming home, and I'm having a really hard time here. I can't get a job. I can barely pay the rent. I've never felt much like a man in my life. My papa never taught me, but I want to be a good dad to you. I'm gonna need your help. We gotta pull together and make this work. 'Cause it's just you and me.
MICAH: I'm sorry, Dad. I can try harder.
(Micah gives DL a hug.)
MICAH: Maybe this will help.
(Micah opens his backpack and puts the cash on the table.)
DL: Where'd you get -- Where'd you get this from?
MICAH: You know how you and Mom have a secret? Well, I have a secret too.
(Micah smiles at DL.)
[EXT. NEW YORK CITY (STOCK) – EVENING]
[INT. VAN (MOVING) -- NIGHT]
(Ando and Hiro are still in the van.)
[EXT. ROAD – NIGHT]
(The van pulls up near a parked dark sedan and parks.)
[INT. VAN (PARKED) -- NIGHT]
(Hiro and Ando feel the van stop.)
HIRO: (subtitled) Where are we? Your secret headquarters? You let us go now?
THUG 1: That's up to the boss.
(Thug 1 grabs his bag and heads outside. He closes the door behind him.)
ANDO: (subtitled) Hiro, please. I don’t want to meet the Boss. I want to go home. Tell them what they want to hear.
(Hiro puts a hand on Ando’s shoulder.)
HIRO: (subtitled) Do not be afraid, my friend. I shall never betray you. No matter what.
(Ando looks worried.)
[EXT. ROAD – NIGHT]
(Thug 1 opens the car door and the "Big Boss" exits the car. He stands just outside the van doors. Thug 1 opens the van doors.)
(Hiro and Ando look out the van at the "Big Boss.")
(We close in on Hiro’s stunned look.)
HIRO: (subtitled) Father?
(Mr. Nakamura doesn’t look pleased at all.)
(Hiro swallows.)
HIRO: (subtitled) GULP!
CUT TO:
[INT. (ODESSA) BENNET RESIDENCE – CLAIRE’S BEDROOM -- NIGHT]
(Claire dials her cell phone as she tries another phone number. She sighs as the line rings.)
(The phone clicks.)
WOMAN: Hello?
CLAIRE: (to phone) Hi, I'm looking for someone related to Meredith Gordon. She died in an explosion fourteen years ago.
INTERCUT WITH:
[INT. ROOM – NIGHT]
CLAIRE: (from phone) I've been calling everyone in Kermit with the last name of "Gordon." Any chance that you're related to her?
WOMAN: Who is this?
CLAIRE: My name's Claire Bennet, I'm calling from Odessa.
WOMAN: What -- What is this about? And how do you know the name "Meredith Gordon"?
CLAIRE: I think she was my mom.
WOMAN: Is this some kind of joke?
CLAIRE: No, ma'am.
WOMAN: Well, Meredith only had one daughter, and she died in the fire.
CLAIRE: That's kind of what I'm trying to say is ... I didn't die. I think I'm her and I'm looking for any information I can find about my mom.
WOMAN: Well, then you made the right call. This is her.
CLAIRE: Mom?
(The woman puts a cigarette she’s been holding between her lips. She holds her fingers to the end of the cigarette and flames appear from her fingertips. She lights up and inhales.)
(She grabs the cigarette, exhales and smiles.)
MEREDITH GORDON: (nods) Yeah.
FADE TO WHITE:
[INT. PRIMATECH PAPER – SYLAR’S CELL – NIGHT]
(The outer door opens and Mr. Bennet walks in. He turns the cell light on and sees the sheet-covered body on the bed in the center of the room. He heads for the cell door.)
(He enters the cell.)
(He walks over to the body, leans forward and pulls away the sheet.)
(It is not Sylar. It is the doctor. And he’s dead.)
(Mr. Bennet gasps and pulls back. He turns around and there is SYLAR standing off to the side and behind him.)
(OFF SYLAR: We see there’s an implant on the back right side of his head. Mr. Bennet looks scared.)
SYLAR: How's Claire?
(We hold on Mr. Bennet.)
FADE TO BLACK.
TO BE CONTINUED ...
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