114: Distractions

Transcription by Intrepid (intrepidly002@yahoo.com)

FADE IN:

[TITLE CARD: HEROES]

NARRATOR: (v.o.) Tonight, the story continues ...



[CU: PETER]



[EXT. DESERT ROAD – DAY]

(Hiro has frozen time mid-car explosion. He walks up to a tire suspended in air and pokes his finger through its center.)

NARRATOR: (v.o.) For the ordinary people, ...



[NATHAN]

NARRATOR: (v.o.) ... who discover extraordinary abilities ...

(Nathan flies straight up into the air to escape Mr. Bennet and the Haitian.)

FADE TO WHITE



[EXT. NEW YORK CITY]

(Just as Hiro saw, New York City explodes.)

VARIOUS CUTS OF:
* Sylar sits in the window table in the Burnt Toast Diner. He’s shrouded in shadow.
* Sylar sits in his cell at Primatech Paper Company, his back to the viewing window. Mr. Bennet switches the lights on.

NARRATOR: (v.o.) The face of evil was captured,

CUT TO:

(Sylar slams his palms on the glass window as he shouts to Mr. Bennet.)

SYLAR: (shouts) My name is Sylar!

CUT TO:



[CELL]

(Mr. Bennet turns around and finds Sylar standing right behind him.)

NARRATOR: (v.o.) -- but found a way to escape.

(Sylar opens the outer door and steps out. Mr. Bennet is trapped inside the cell.)

MR. BENNET: (screams) NO-O-O-O-O !!!

CUT TO:



[EXT. TIMES SQUARE -- DAY]

(Hiro arrives in New York.)

HIRO: YATTA!!

(Hiro stops time and looks around at the Japanese girls frozen in time.)

NARRATOR: (v.o.) The office worker who stops time ...

(Hiro and Ando sit in the back of a van. They’ve just been kidnapped.)

NARRATOR: (v.o.) ... has met his ultimate adversary.

[MR. NAKAMURA]

HIRO: (subtitle) Father?

CUT TO:



[NIKI]

(Niki gasps.)

NARRATOR: (v.o.) And the mother with an alter-ego ...

(Niki’s reflection in the mirror puts a finger up to her lips.)

JESSICA: Shhh-

(Jessica pushes Micah and hurts him.)

NARRATOR: (v.o.) ... makes a sacrifice to protect her son

(Niki turns herself in to the sheriff.)

NIKI: I need you to arrest me.

[NIKI IN JAIL]

(Three guards subdue her. Niki is slammed up against the prison window.)



[PETER AND CLAUDE]

(Peter wakes up from his coma.)

PETER: (screams) Ahhh!

NARRATOR: (v.o.) Peter met the man who could help control his power.

VARIOUS CUTS OF CLAUDE
* Claude pushes Peter up against the lamp post.
* Claude turns invisible on the sidewalk as he walks away.
* Claude stands on the other side of the sidewalk laughing at Peter.

(Peter talks with Claude on the rooftop.)

PETER: You’re the one that has to teach me how to stop this.

(Peter explodes.)

PETER: Ahhh!

(New York explodes.)

FADE TO WHITE



[CLAIRE AND ZACH]

(Zach video-tapes Claire.)

NARRATOR: (v.o.) And the invincible cheerleader finally found her real mother.

VARIOUS CUTS OF CLAIRE:
* Claire snaps her dislocated shoulder back into place.
* Claire stands in the burning train wreckage.
* Claire helps the man out of the burning wreckage.

SMASH TO BLACK.

[ON MEREDITH]

MEREDITH: (to phone) This is her.

CLAIRE: (to phone) Mom?

(Meredith lights her cigarette with flames coming out of her fingertips.)

FADE OUT.



[BLACK SCREEN]

WHITE TEXT: TONIGHT

NARRATOR: (v.o.) And tonight, she’ll meet her daddy.



[A WELL-DRESSED MAN]

FADE OUT.



[TITLE CARD: HEROES]

NARRATOR: (v.o.) Heroes. The next chapter begins now.

FADE OUT.
END OF ‘STORY CONTINUES’



FADE IN:

[EXT. (NEW YORK CITY) SIDEWALK -- DAY]

(CAMERA POV: We move through the packed sidewalk and walk into an unsuspecting woman, knocking her aside by the shoulder.)

WOMAN: Uhh!

(We push our way between two women who are talking to each other and are unaware that we’re coming through.

WOMAN: Uhh!

(We approach a man who’s wearing a scarf and grab the scarf right off of his neck.)

MAN: Hey!

(Claude has the scarf as the man looks around and doesn’t see anyone. Claude and Peter are walking through the sidewalk. Yep, they’re invisible.)

PETER: I don't see how petty theft is part of my training.

(Claude rolls the scarf and tucks it into his pocket.)

CLAUDE: There's a lot you don't see. You've no idea how to use these gifts of yours properly.

(Claude lifts a pretzel right off a sidewalk vendor’s cart.)

PETER: Yeah, and you do? (Claude offers it to Peter.) No, I --

CAPTION:
PETER PETRELLI
NEW YORK CITY

CLAUDE: Right now, your abilities only show up as a reflex. Autonomic, like swallowing. That's a dog's trick. Making it a conscious choice, using it, that's what makes you more than poodle.

PETER: Is insulting me really gonna help me learn how to do that?

CLAUDE: Listen, you're the one who's a bomb set to blow up me and everyone in this city unless I can get you housebroken.

(A man pushing a rack of clothes heads straight for them. Claude puts his hand out and stops the rack in its tracks. The man looks around to see why the rack isn’t moving.)

CLAUDE: That's right, now he's listening. Now, you absorb all these abilities you find, yeah? (Peter nods.) You're invisible with me, you've flown, you've read some minds.

PETER: Yeah, put me in a coma for two weeks.

CLAUDE: Your body doesn't know what to do with them all. It's gotten jumbled, like file cards knocking around a shoebox. Except with you, the cards are dowsed in plutonium, piling up to a critical mass. Now, I'm gonna teach you how to pull 'em out, one at a time.

(The man with the rack is perplexed as to why it’s not moving.)

PETER: You think that's possible?

(Peter and Claude are on the move again. A man is knocked aside.)

CLAUDE: I hope so. Next time you shut down, it might not be just a coma. Might be the day you melt down.

PETER: So then, let's get to today's lesson.

CLAUDE: All right, let's start by seeing if you can hold on to one of your powers without your benefactors hanging around.

PETER: You think I can do that alone?

(Claude looks at Peter. He reaches to the side of him and grabs a woman’s handbag right off her arm.)

CLAUDE: We're about to find out.

(With a huge smile on his face, Claude shoves the handbag into Peter’s chest. Peter automatically grabs the bag.)

CLAUDE: Remember to breathe.

(Claude leaves.)

(The woman rubs her arm and looks around. She faces the direction Peter is in and doesn’t see him. She turns around and looks in the opposite direction.)

(When she turns back, Peter is standing there clutching the bag to him with both hands. She points to him and shouts.)

WOMAN: HEY!

(Peter stares at her and breathes deep, gasping breaths.)

CUT TO:



[EPISODE TITLE]
CHAPTER FOURTEEN
"DISTRACTIONS"



[INT. (LAS VEGAS) WOMEN’S CORRECTIONAL FACILITY – INTERVIEW ROOM]

(TICK-TICK-TICK. The metronome beats steadily on the table between Dr. Witherson and Niki. There’s a mirror at the end of the metronome.)

CAPTION:
NIKI SANDERS
WOMEN’S CORRECTIONAL FACILITY
LAS VEGAS

(Niki exhales loudly.)

NIKI: God, it sounds like a bomb is about to go off.

DR. WITHERSON: I know it's hard. Just focus on the mirror and try to relax.

NIKI: I can't relax. You're trying to bring her out.

DR. WITHERSON: Jessica ...

NIKI: I told you. She is dangerous. She could hurt you.

DR. WITHERSON: Show me. (Niki lifts her hands. Her wrists are bound by thick cuffs and chains.) Those cuffs could keep an elephant in that chair. And just 'cause I'm a shrink, don't think I don't know how to use that taser.

(She indicates the taser on the table between them.)

NIKI: I thought that the goal was to get rid of her.

DR. WITHERSON: The goal here is to bring your two halves to a healthy middle. To have a unified and whole you. Not two aspects at war.

NIKI: How do we do this?

DR. WITHERSON: Like I said, you focus on the reflection. And breathe.

(Niki settles down and looks at the mirror on the tip of the metronome.)

DR. WITHERSON: Come on. Feel free to let your mind wander.

NIKI: We used to have a piano in our home.

DR. WITHERSON: You played?

NIKI: Chopsticks, barely. My sister ...

DR. WITHERSON: Jessica.

NIKI: She played beautifully. I used to ... play with her sheet music. I didn't ... know what it was. It was just ... dots and lines. I would ... get out my crayons and connect the dots. Jessica used to say ... (crying) that I could turn Mozart into a monkey.

(Jessica looks at Dr. Witherson.)

JESSICA: I sure did.

DR. WITHERSON: Jessica.

JESSICA: You should have listened to the little mouse.

(Jessica rips the chains out of the loops. Dr. Witherson gasps, turns and reaches for the taser. Jessica grabs Dr. Witherson’s wrists.)

(The two women look at each other.)

CUT TO:



[INT. (ODESSA) PRIMATECH PAPER COMPANY – SYLAR’S CELL -- DAY]

(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.)

CAPTION:
PRIMATECH PAPER CO.
ODESSA, TEXAS

(He heads for the cell door and enters the cell.)

(He walks over to the body 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?

(Sylar raises his hand and Mr. Bennet flies across the room, smashing high into the viewing window. He falls to the floor and groans.)

(Sylar walks over to Mr. Bennet. He reaches up and pulls the implant out of the back of his head.)

SYLAR: That was for the haircut.

(He drops the implant on the floor. He reaches down and takes Mr. Bennet’s wallet. Mr. Bennet groans and looks up just as Sylar is leaving. Sylar holds out his hand and makes a fist. The inner cell lights turn off.)

(Sylar leaves the room.)

(Mr. Bennet gets to his knees and crawls toward the open door. The door slams shut on him before he can get out.)

(Sylar appears on the other side of the window. He’s casually going through Mr. Bennet’s wallet, tossing stuff out that doesn’t interest him.)

(Inside the cell, Mr. Bennet gets to his feet. Sylar drops everything in the wallet except his driver’s license. He puts it flat against the window and we see the following:

TEXAS
DEPARTMENT OF PUBLIC SAFETY
DRIVER’S LICENSE

CLASS C
DOB: 08-06-62
EXPIRES: 08-06-09
REST: A
END

DL: 17600550
HT: 6-1
EYES: BLUE
SEX: M

BENNET
9 JUNIPER LANE
ODESSA, TEXAS 79763

DONOR
01193005509

(It’s clear where Sylar is going next.)

SYLAR: You shouldn't have built such a good cage.

MR. BENNET: You go anywhere near her ...

(Sylar smirks at Mr. Bennet. He turns and heads for the outer door. Mr. Bennet pounds futilely at the glass.)

MR. BENNET: No! No!

(Sylar holds his fist up, then releases his hand. The inside lights turn back on.)

MR. BENNET: Noooo!

(Sylar leaves the room and shuts the door.)

CUT TO BLACK:



[TITLE CARD: HEROES]

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[INT. (NEW YORK) ISAAC’S STUDIO -- DAY]

CAPTION:
ISAAC MENDEZ & SIMONE DEVEAUX
NEW YORK CITY

(There’s knocking at the front door. Isaac opens the door and Simone walks in.)

ISAAC: You didn’t just use your key this time.

SIMONE: I shouldn't have them. Not anymore.

(She puts the keys down on the nearby table. She points to the bowl in his hand as she walks past him into the studio. Isaac closes the door.)

SIMONE: You started painting since you got back from rehab. Can I see 'em?

(She walks over to the large painting in the center of the room and pulls off the canvass covering it.)

ISAAC: That's not done yet!

(She pulls the canvass off the painting to reveal a painting of New York destroyed, post explosion.)

SIMONE: Oh, God.

(Simone studies the painting and realizes where exactly Isaac painted.)

SIMONE: That's the roof of my father's building. We had a lot of good memories up there. Is that how you remember our relationship? With all of New York destroyed?

ISAAC: What are you looking for, Simone?

SIMONE: It's Peter. He's still missing. I'm running out of places to look.

ISAAC: You finally believe I can paint the future, and you want to use it to find your new boyfriend.

SIMONE: I don't wanna be asking you this either. Can you?

ISAAC: I have been. Except it's not working. Every time I try to paint where Peter is, I get nothing.

SIMONE: You've been trying to find him--why?

ISAAC: I know what he can do. He's the one that's gonna turn New York into this. I'm not gonna let him.

SIMONE: How do you know so much about him?

ISAAC: Because I painted it. I care about you, Simone, more than I knew how to say when ... when it would have made a difference. But right now, I don't care if you hate me. I just want you safe. Stay away from Peter.

SIMONE: Just ... tell me you'll look for him.

ISAAC: I'll try.

SIMONE: Yeah.

(Simone turns and heads for the door. She reaches the top and stops to turn around.)

ISAAC: Simone ... keep the key.

(Simone takes the key off the table. She heads out.)

CUT TO:



[INT. (ODESSA) BENNET RESIDENCE – KITCHEN -- DAY]

(Claire reads out of the manatee book. Mr. Muggles sits on the counter.)

CLAIRE: The manatee is on the brink of extinction. There's one at the aquarium in Lubbock, and the marine biologist said we could stop by any time.

(Zach wisely remains quiet.)

SANDRA BENNET: You're asking my permission to skip school?

CAPTION:
CLAIRE BENNET
ODESSA, TEXAS

CLAIRE: No, if I wanted to skip school, I'd check into home room and then sneak out Ms. Roberts' window. But you've always stressed honesty, so I'm being honest. The manatee's a very noble creature.

SANDRA BENNET: (to Zach) Is your car in working order, Zachary?

ZACH: Just had the oil changed.

SANDRA BENNET: Any tickets?

ZACH: Just parking.

SANDRA BENNET: (to Claire) You'll be home for dinner.

CLAIRE: Yes.

SANDRA BENNET: That's not a question. I'm making fajitas. Zach, you're welcome to join us.

(Claire smiles and gives her mom a hug. Sandra Bennet giggles.)

SANDRA BENNET: (to Mr. Muggles) Let's go.

(Sandra Bennet gets up and heads for the door.)

SANDRA BENNET: (to Mr. Muggles) Come on.

(Claire continues to smile.)

(Her smile vanishes and she turns to Zach.)

CLAIRE: We'll wait fifteen minutes, and then head out. Do you have the directions to Kermit?

ZACH: Uh, yeah. Look, what if your mom wants proof? About the aquarium.

(Claire takes out some brochures. Zach is impressed.)

ZACH: Where did you get these?

CLAIRE: Motel 6 lobby and my color printer.

(Zach chuckles.)

CLAIRE: No one can know we're going to see my real mom. We have to be perfect.

CUT TO:



[INT. (NEW YORK) PORT WASHINGTON HARBOR -- WAREHOUSE -- DAY]

CAPTION:
HIRO & ANDO
PORT WASHINGTON HARBOR
LONG ISLAND, NEW YORK

(Mr. Nakamura unrolls the painting flat out onto the table. Kimiko stands near the table. She backs away as Mr. Nakamura looks at the painting.)

(A distance away, Ando and Hiro watch.)

ANDO: (subtitled) Your father looks angry.

HIRO: (subtitled) My father always looks angry.

ANDO: (subtitled) But your sister looks hot.

(Mr. Nakamura walks past Hiro, his back to his son.)

KAITO NAKAMURA: (subtitled) For this you leave your job, take an unauthorized vacation. Gorge yourself on hamburgers and waffles.

HIRO: (subtitled) Waffles are very good. You would like them.

KAITO NAKAMURA: (subtitled) No, Hiro. I would not. No more distractions. You will come home. And you will get back to work.

HIRO: (subtitled) Father, I ... I am on an important mission.

KAITO NAKAMURA: (subtitled) You are only on a plane home. You will return to Yamagato Industries. That is what is important.

HIRO: (subtitled) My job was meaningless. I worked in a cubicle!

(Mr. Nakamura turns around.)

KAITO NAKAMURA: (subtitled) I only put you at the bottom so you would reach for the top. Perhaps I was too strict. When you return I will make you an Executive Vice President…on your way to taking my place as CEO. You are my only son, Hiro. This is your destiny.

(Ando looks expectantly at Hiro.)

HIRO: (subtitled) Father. I believe I have ... a different destiny.

KAITO NAKAMURA: (subtitled) And what is that?

HIRO: (subtitled) It’s ... complicated.

(Mr. Nakamura crosses his arms and waits.)

HIRO: (subtitled) I have to bring that painting to a man in Las Vegas ... so I can steal Takezo Kensei’s sword – then use my powers to stop a bomb from blowing up New York!

KAITO NAKAMURA: (subtitled) Kensei? From those stories I read you?

HIRO: (subtitled) If only I had the sword I could show you what I can do.

KAITO NAKAMURA: (subtitled) Do you want to see what I think of your destiny?

(He heads back to the table with the painting on it. He picks up the painting and tears it in half.)

(Hiro stands up.)

KAITO NAKAMURA: (subtitled) We’re going home.

(He tears one of the halves in half.)

(We hold on Hiro.)

CUT TO:



[INT. (LAS VEGAS) WOMEN’S CORRECTIONAL FACILITY – INTERVIEW ROOM]

(TICK-TICK-TICK. The metronome beats steadily to a stop. The prison alarm rings in the background.)

(Niki is lying on the floor. The door buzzes and opens. The guards enter. The broken nose guard looks around.)

BROKEN NOSE GUARD: Get a doctor!

(Niki stirs and wakes up.)

NIKI: Oh ... wait.

(She looks around and gets to her feet.)

NIKI: What happened?

(In the back of the room, the mirror is broken, revealing a smaller room. On the other side of the wall, Dr. Witherson is on the floor. Her back is littered with taser burns.

NIKI: No! No!

(The guards have Niki with her hands behind her back. They go the back of the room to check on Dr. Witherson and see the taser broken in pieces near her hand.)

NIKI: No!

(Niki sees Dr. Witherson on the floor.)

NIKI: I tried to tell her.

DR. WITHERSON: Ow.

(Niki turns to the guards.)

NIKI: Take me back to my cell!

BROKEN NOSE GUARD: Love to!

(The broken nose guard hits her in the face with his baton.)

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[EXT. (NEW YORK) SIDEWALK -- DAY]

(Claude is laughing. Peter keeps up with him as they walk invisibly through the crowded sidewalk, not caring whom they bump into.)

PETER: Thanks for almost getting me arrested.

CLAUDE: A little more focus, you'd have had some cash and fresh lipstick. I never said it'd be easy. In fact, I think I said repeatedly it'd be crap.

PETER: You’ve been doing this for fifteen years. Cut me a little slack on trying to do it for five minutes.

CLAUDE: You'll learn. We just gotta find what's holding you back.

(Peter stops.)

PETER: The cops have my name and address. I'm pretty sure Nathan's gonna kill me first anyway.

CLAUDE: You worry a lot about your people, don't you? Your friends, your mother, your brother. No wonder your head's all clogged. You're still sunk under.

PETER: Under what?

CLAUDE: Your attachments. All these people who feed you biscuits, pat your head, and tell you you're not fit for the outdoors. You still see yourself through their eyes, is that it?

PETER: No, I don't.

CLAUDE: Right, well, I'll bet you twenty bucks your dad didn't make much of you either.

(Peter turns and walks away without answering.)

CLAUDE: Ha! God, you're easy. We've gotta get these people out of your head.

PETER: Do you understand? These people are my family. I can't just cut 'em out.

(They stop in front of a wall filled with NATHAN PETRELLI FOR CONGRESS posters.)

CLAUDE: Of course -- Peter can't use his powers without someone holding his hands.

(Claude turns and indicates the pictures of Nathan on the posters behind him.)

CLAUDE: How can you not punch that face every time you see it?

PETER: He's not like that.

CLAUDE: He is, trust me.

PETER: You don't know him.

CLAUDE: I don't need to. I spend a lot of time moving around people's homes, their bedrooms. You get to know people if you see them when they think they're alone. You see them for what they truly are: selfish, deceitful, and gassy.

PETER: So what is that, your big truth about the world?

CLAUDE: Sooner you learn it, sooner we get that collar off your neck. People suck, friend. Every last one of them. Never forget that.

PETER: Not all of them.

CLAUDE: (scoffs) Oh, right. There's a girl.

PETER: She's not like the rest of them.

CLAUDE: Everyone's like the rest. That's why they're the rest. (Peter’s not convinced.) Fine, let's go and see what your girl's up to. Then maybe we can clear your head.

(Claude starts walking.)

PETER: Wait, you wanna ... spy on her? Look, you can follow her all you want. I'm telling you, she's not like that.

CLAUDE: Well, then, no harm in taking a look.

(Peter and Claude are standing on the sidewalk, a large building in the background.)

DISSOLVE TO:



[INT. (NEW YORK) ISAAC’S STUDIO – DAY]

(Isaac is painting the exact image of the sidewalk with the building in the background. The only difference is that Peter and Claude aren’t there.)

VARIOUS CUTS OF:

(Isaac’s eyes are white as he paints. He finishes the painting and moves the canvas to the side. He picks up another blank canvas and starts painting.)

(He finishes that painting and puts it aside.)

(Isaac continues painting. He finishes that painting and puts it aside.)

(He puts another canvas on the easel.)

(Isaac paints another painting.)

(He adds more paint to his pallet.)

(Isaac closes his eyes and takes a deep breath. When he opens his eyes, he’s back to normal. He looks at the painting. It’s of a YELLOW TAXICAB with lines emitting from it as though someone or something were falling at a great speed toward it.)

(He shakes his head. He picks up the canvas and sets it down. He picks up a painting he’s finished and looks at it. He takes a deep breath and exhales.)

CUT TO:



[INT. (NEW YORK) PORT WASHINGTON HARBOR -- WAREHOUSE -- DAY]

(Ando puts the pieces of the ripped painting together.)

ANDO: (subtitled) This is bad. What will we do?

(Hiro shakes his head and sniffs.)

HIRO: (subtitled) Did you put on cologne?

ANDO: Hmm.

(Near the doorway, Kimiko walks up to her father, who is standing in the doorway looking out at the ocean in front of him.)

KIMIKO: (subtitled) Please, Father, let me speak with him.

KAITO NAKAMURA: Hmm.

(Kimiko turns and walks over to Hiro and Ando. Ando turns and smiles at her.)

ANDO: (subtitled) Oh, Kimiko.

(Ando steps away to let them talk.)

KIMIKO: (subtitled) You have brought shame to our family, little brother.

HIRO: (subtitled) That was not my intention. Father doesn’t need me. You’re the one he trusts. He thinks I’m weird.

(Kimiko looks at their father standing with his back to them. She steps closer to Hiro and lowers her voice.)

KIMIKO: (subtitled) Father is too proud to tell you ... there is trouble at Yamagato. And now the stockholders are saying if Father can’t manage his own son ... how can he manage his business? You are his only son. His heir. You must come home.

HIRO: (subtitled) How can I? I have a mission.

KIMIKO: (subtitled) You are so busy pretending to save the world. What about saving your family?

(She turns and walks away. Hiro watches her go.)

ANDO: (subtitled) Maybe you should think about it. Your powers are gone. You have no way to get your sword. Your family needs you.

HIRO: (subtitled) But ... I was a hero.

ANDO: (subtitled) Listen to Kimiko. She’s the smart one.

(That’s it! Hiro smiles.)

HIRO: (subtitled) Yes, she is!

ANDO: Eh?

(Hiro turns and steps out of camera frame.)

CUT TO:



[INT. (KERMIT) TRAILER PARK -- DAY]

(Claire and Zach walk through the trailer park. She sees the right trailer.)

CLAIRE: This is it. Number 36.

ZACH: Nice pinwheel collection.

(She sighs.)

CLAIRE: You know, I always imagined my parents would live in a ... penthouse in New York City, not some trailer park in Kermit.

ZACH: So she lives in a trailer. Maybe she likes the open road.

CLAIRE: It’s not what I imagined.

ZACH: Stop imagining. She's right there.

CLAIRE: What am I supposed to say? "Hi, I'm your daughter, and I can re-grow my kidney"? I mean, what if she's got burns and scars from the fire? She's supposed to be dead, right?

ZACH: So are you, remember? You already got that in common.

(Zach turns and heads back to the car.)

CLAIRE: Hey ... where are you going?

(He shows her his car keys.)

ZACH: I'm getting rid of your exit strategy. You'll be fine. I'll be back in time for fajitas.

(Claire turns back toward the house. Off screen, we hear Zach get in his car and the engine turn.)

(Claire starts for the trailer.)

(She walks up the front porch and knocks on the door. The door opens. Claire and Meredith Gordon look at each other.)

MEREDITH GORDON: Claire?

(Meredith hugs Claire.)

CUT TO:



[INT. (ODESSA) BENNET RESIDENCE – CLAIRE’S BEDROOM -- DAY]

(Mr. Muggles turns the corner and enters Claire’s bedroom. He stops in front of Sylar, who is sitting on a chest.)

(He reaches down and picks up Mr. Muggles.)

SYLAR: Hi, little fluffy. Claire home from school yet? No?

(He shakes Mr. Muggles.)

SYLAR: We'll just wait. Now, what's your name?

(Off screen, the front door opens and closes.)

SANDRA BENNET: (o.s.) Mr. Muggles? Where are you, baby? Mama's home!

(Sylar smiles.)

SYLAR: Of course. Let's go say hi.

(He gets up and heads toward the bedroom door. As he passes Claire’s bed, he runs his fingertips along the bedcover.)

CUT TO:



[INT. BENNET RESIDENCE – KITCHEN -- DAY]

(Sandra Bennet walks in carrying two packages of groceries. She puts the packages down on the counter and is startled. Sylar’s there.)

SANDRA BENNET: Oh! I-I'm sorry. Who are you?

(Sylar takes his cap off and smiles at Sandra. He’s got Mr. Muggles tucked under his arm.)

SYLAR: (southern accent) I just came from the paper factory, ma'am. I'm just makin' a delivery for your husband. And I saw ... this little guy ... in the street.

(He chuckles.)

SYLAR: Now, somebody must have left the back door open. Oh, I hope you don't mind. I took the liberty.

(She looks at him and puts her hand on her hip.)

SANDRA BENNET: Well, aren't you sweet?

(Sylar smiles at her.)

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[INT. (ODESSA) BENNET RESIDENCE -- DAY]

(Sylar is sitting down as Sandra hands him a cup of something to drink.)

SANDRA BENNET: And he was just out there in the yard?

SYLAR: Oh ... just chewin' on a sprinkler head.

SANDRA BENNET: Mm! Who left those doors open, Mr. Muggles? (Mr. Muggles is once again fascinated by Sylar’s shoelaces.) Claire or Lyle? You tell me, so I can tan their ass.

(They chuckle. Sylar drinks.)

(Sandra goes back to unloading her groceries.)

SYLAR: Well, thanks for invitin' me in. I always wanted to, uh, see where Mr. Bennet lived.

SANDRA BENNET: It is so funny how all of y'all call him Mr. Bennet over there. I've always just known him as – Stop that, you.

(She turns and sees Mr. Muggles chewing on Sylar’s shoelaces.)

SANDRA BENNET: No more shoes. He just discovered shoelaces. Can't get enough.

(Sylar chuckles.)

SYLAR: That's funny, I never really imagined him as much of a dog person. I guess he just looms a little larger when he's drillin' you. He mostly talks about Claire. I was hopin' to meet her, actually. I've heard so much about her.

SANDRA BENNET: Well, she has promised to be home for dinner. Which means a half an hour late. My son is at a Tai Kwon Do sleepover tonight. That means an extra plate. Why don't you stay for dinner?

SYLAR: Oh ...

SANDRA BENNET: Least I can offer my new hero.

SYLAR: Are you sure? It's not too much trouble?

SANDRA BENNET: I will call my husband and tell him to expect you. What did you say your name was again, Mister ...

SYLAR: Sylar. Oh, I don't think you'll reach him at the office, though. Last I saw, he was just swamped.

CUT TO:



[INT. (ODESSA) PRIMATECH PAPER COMPANY – SYLAR’S CELL -- DAY]

(Mr. Bennet’s hands are bloodied as he looks out the glass window from inside the cell.)

CUT TO:



[INT. (KERMIT) MEREDITH GORDON’S TRAILER -- DAY]

(Meredith and Claire sit in the living room and look at each other.)

MEREDITH GORDON: I'm staring. I'm sorry. (sighs) I mean, you have to understand. I never thought this would happen. You sitting inches away from me. You're so beautiful.

CLAIRE: Thank you.

MEREDITH GORDON: You a good student?

CLAIRE: Um, I'm okay. Lousy at math.

MEREDITH GORDON: No help from me there. Well, I'll bet you're all kinds of popular.

CLAIRE: I was homecoming queen. Kind of.

MEREDITH GORDON: Damn, I missed so much. If I'd known you were out there, but ... you must think something awful. I mean, I was so sure that nothing could have survived that fire. It was a miracle that I did, and ... God, when I saw that roof, I ...

(She stops.)

MEREDITH GORDON: Don't question the miracle, right?

(She gets up and pours Claire a drink.)

MEREDITH GORDON: Here. It's horchata. I learned a secret recipe in Mexico. It's sweet.

CLAIRE: You lived in Mexico?

MEREDITH GORDON: Mm-hmm. Oh, I moved around a lot. After I lost you, I sort of started running. I never really stopped. And I only came back to Kermit a couple months ago. I spent some time in Cuernavaca ... and La Paz.

MEREDITH GORDON: You've never been. Well ...

(Claire’s phone rings.)

CLAIRE: Sorry. One second. (She checks it.) It's my mom.

MEREDITH GORDON: Hmm.

CLAIRE: Hi! Yeah, we're at the aquarium right now. They just let Zach feed him turtle grass. We're practically on our way. We'll be home in, like, an hour. No, I won't let him speed. Okay. Bye.

MEREDITH GORDON: She doesn't know you're here.

CLAIRE: She doesn't really understand what's going on with me right now. Neither of my parents do.

MEREDITH GORDON: Well, I'll pretend I understand why you're sneaking around. All girls deserve their secrets, right?

CLAIRE: Seems like I have a lot of them these days. I have to show you something. You may understand it, you may not, but ... I need you to see.

MEREDITH GORDON: See what?

CLAIRE: I think I know how I survived that fire.

(Claire takes a large kitchen knife and starts to cut her arm.)

MEREDITH GORDON: Claire, don't!

CLAIRE: It's okay.

(She cuts her arm. Then, they watch as her arm heals completely.)

CLAIRE: Please say something.

(Claire looks at Meredith, worried about her reaction. Meredith looks at Claire, then she smiles.)

MEREDITH GORDON: Some family.

(She holds out her fist, then opens her hand. Fire appears in the middle of her palm.)

CUT TO:



[INT. (ODESSA) BENNET RESIDENCE – KITCHEN -- DAY]

(Sylar is looking at a framed photo of Claire while Sandra chops vegetables for dinner.)

SANDRA BENNET: I told Claire to get a move on. She said she'd be back soon.

SYLAR: A cheerleader, huh?

SANDRA BENNET: Co-captain by junior year.

SYLAR: Wow.

SANDRA BENNET: Although not so much these days. They dissolved the team 'cause of some ... horrible event at the school.

SYLAR: Oh, I heard about that. That must have been hard on poor Claire.

SANDRA BENNET: You are awfully interested in my daughter.

Well, ever since I seen what she can do, I guess you could say I'm a ... fan. She's really quite gifted.

SANDRA BENNET: Oh, you've been to a game?

SYLAR: Yeah, I guess I have. I just couldn't get over those irresistible ... talents of hers.

(Sandra stops and looks at Syler. He’s a little too interested in her daughter.)

SANDRA BENNET: I should -- I should check with my husband again. Excuse me.

(She picks up the phone anyway.)

SYLAR: I'd rather you didn't so I can surprise him.

(She starts dialing. Sylar moves his finger and telekinetically pulls the phone away from her grip, startling her.)

SANDRA BENNET: Aah!

(She looks at him.)

SANDRA BENNET: H-h-how did you do that?

SYLAR: I'm special. Just like Claire. Well, different. But ... you catch the meaning. It's a shame I'll have to kill her. (in southern accent) Or maybe I'll kill you first. I really haven't decided yet.

(Sandra runs for the front door. Sylar twitches his fingers and pushes her into the glass cabinet. She falls to the floor.)

(SLOW MOTION: Sylar gets up and heads over toward her. She turns and looks at him.)

SYLAR: (SLOW MOTION) Hi.

(He raises his index finger.)

RESUME MOTION.

(Suddenly, the front door bursts open. Mr. Bennet appears in the doorway with the Haitian behind him. He fires point blank at Sylar and hits him in the chest. The force pushes Sylar back against the wall.)

(Mr. Bennet continues to fire as he advances. Sylar falls to the floor behind the counter.)

(Mr. Bennet hurries around the counter and finds Sylar gone. The back door slams shut.)

(The Haitian heads out after him.)

MR. BENNET: Find him. He dies!

(Mr. Bennet turns to check on his wife.)

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[INT. (ODESSA) BENNET RESIDENCE -- DAY]

(Sandra sits on the floor, her back against the wall. Mr. Bennet kneels in front of her.)

SANDRA BENNET: I don't understand what happened. Why was he -- he moved the phone without even touching it.

MR. BENNET: Shh. You're safe now. I'm right here. I'll find him.

SANDRA BENNET: He kept asking about Claire.

MR. BENNET: Claire is fine. She's safe too. And she'll stay that way. I promise.

(The Haitian walks in.)

SANDRA BENNET: Who is that?

MR. BENNET: This is my friend. He's gonna make everything okay. He'll help you forget again.

SANDRA BENNET: Again? What do you mean again?

MR. BENNET: It's okay. Hold my hand. It'll all be over soon.

(Sandra takes his hands. The Haitian puts his hand over her eyes.)

CUT TO:



[INT. (KERMIT) TRAILER PARK -- DAY]

(Meredith and Claire step down from the front porch.)

MEREDITH GORDON: You could stay a little longer. Have some dinner. I can't cook worth crap, but ...

CLAIRE: (chuckles) Well, I was supposed to be home a while ago. I got about six messages from my dad telling me to come home right away, so ... he sounded pretty pissed.

MEREDITH GORDON: Hey. This isn't good-bye. You know that.

(Claire starts to leave, but turns back.)

CLAIRE: I was hoping you could tell me about my father.

MEREDITH GORDON: Now, that's ... complicated. Why don't you let me work on that for next time?

CLAIRE: (smiles) Some family.

(Zach toots the car horn and points to his watch.)

(Meredith removes her Mexican necklace.)

MEREDITH GORDON: Here ... A little something from Mexico.

CLAIRE: Oh, no, I can't.

MEREDITH GORDON: You can, and you're gonna.

(She gives the necklace to Claire.)

MEREDITH GORDON: It'll look ten times better on you than it ever did on me.

CLAIRE: Okay.

(They hug.)

CUT TO:



[INT. (NEW YORK) ISAAC’S STUDIO – DAY]

(Simone uses the key and enters the studio.)

SIMONE: Isaac.

(She closes the door and moves further into the studio.)

(The painting on the easel is of Isaac and Simone on the roof of the Deveaux building. They’re holding each other and their foreheads are touching.)

(Simone looks at the painting and shakes her head.)

CUT TO:



[EXT. (NEW YORK) DEVEAUX BUILDING – ROOFTOP -- EVENING]

(Simone steps out onto the rooftop. Isaac is already there.)

SIMONE: We haven't been up here together in a long time.

ISAAC: There's something about this roof.

(Simone chuckles.)

SIMONE: You and I spent a lot of time up here.

ISAAC: I mean, it's connected with what's happening. It's important somehow.

SIMONE: Well, it's certainly mysterious. You know, I never figured out how those pigeons got up here. My father always said, "If they found their way, we ought to let 'em be." I know we had a lot together, Isaac. For a long time.

ISAAC: You saw it. The painting of us. It's the future I hope for. This city took me in. Everything important that ever happened to me happened here. Good ... bad ... you. And now it's all gonna be destroyed because I can't stop it.

SIMONE: You don't know that.

ISAAC: It keeps coming back, worse every time. You saw what this looks like after the bomb. The world will never recover from that.

SIMONE: That's not true. You can't lose hope.

ISAAC: What hope is there?

SIMONE: There's you. What you can do. Why else would you be allowed to see the future unless it was to do something about it? You can't just see the future, Isaac. You make it. You'll find a way.

ISAAC: You really believe that?

SIMONE: (nods) I believe in you.

(She takes his hands with hers. They look into each other’s eyes and lean forward to touch foreheads.)

(CAMERA PULLS BACK and we see Peter and Claude also on the rooftop watching the intimate display. Claude turns and looks at Peter.)

(Peter looks grim.)

(Simone and Isaac hug.)

CUT TO:



[INT. (NEW YORK) PORT WASHINGTON HARBOR -- WAREHOUSE -- DAY]

(Ando and Hiro bow respectfully. Kimiko Nakamura bows back. Kaito Nakamura stands behind her.)

HIRO: (subtitled) I have given it much thought, big sister. Please tell Father I will return as the new Executive Vice President.

KIMIKO: (smiles) (subtitled) This is good news.

HIRO: (subtitled) Oh yes. It is time to restructure.

(Her smile fades.)

HIRO: (subtitled) And consolidate management in Tokyo.

KIMIKO: (subtitled) You can’t consolidate management –

HIRO: (subtitled) I’m Executive Vice President, I can do anything!

(He walks forward past Kimiko to speak directly with his father.)

KIMIKO: (subtitled) That would be a disaster.

HIRO: (subtitled) Oh? You think you have a better idea?

KIMIKO: (subtitled) We should expand by making new acquisitions in aviation. Improve R&D in biotech, recapitalize ...

HIRO: (laughs) (subtitled) What do you know of these things?

KIMIKO: (subtitled) I run three divisions at Yamagato. If anyone knows how to run this company, it’s me!

KAITO NAKAMURA: (subtitled) Kimiko? What’s gotten into you?

KIMIKO: (subtitled) My apologies. I did not mean to.

HIRO: (interrupts) (subtitled) Yes, she did. Kimiko is smart and dedicated. You don’t need me. You have your successor right here!

(Kimiko smiles at Hiro. Hiro turns and nods to Kimiko. Kaito Nakamura growls as he thinks about it.)

HIRO: Onegaishimasu.

(Hiro bows to his father. He peers up at him through his lashes.)

CUT TO:



[INT. (LAS VEGAS) WOMEN’S CORRECTIONAL FACILITY – NIKI’S CELL]

(Niki is back in her cell. The door opens and the broken nose guard walks in. He throws the package with her things in it down on the floor next to her. He’s not happy with this latest development.)

BROKEN NOSE GUARD: Get dressed!

NIKI: Dressed for what?

ARON MALSKY: (o.s.) You're going home.

(Linderman’s lawyer, Aron Malsky, steps forward.)

NIKI: That's not possible.

ARON MALSKY: Oh, it's more than possible. The charges against you have been dropped, Ms. Sanders.

NIKI: What?

ARON MALSKY: The DA threw out the entire case.

NIKI: That can't happen. (She stands up.) I killed people.

ARON MALSKY: The State of Nevada isn't so sure about that anymore. It seems a rather terrible gentleman on death row confessed to all the crimes you're accused of. DNA evidence backed up everything. Wonderful system, isn't it? As far as they're concerned, justice has been served.

NIKI: And as far as Linderman is concerned?

ARON MALSKY: Oh, don't worry about tomorrow's problems today.

NIKI: No. I need to be in here. I need help.

ARON MALSKY: You only need to get dressed, Ms. Sanders. You're going home.

NIKI: No.

CUT TO:



[INT. (NEW YORK) DEVEAUX BUILDING – ROOFTOP -- NIGHT]

(Peter and Claude are on the rooftop. Simone and Isaac are gone.)

CLAUDE: And that's the one you love. Off to dinner with the guy she left to be with you. Sort of fickle, don't you think?

PETER: Why would you show me that?

CLAUDE: I didn't show you anything. She did. We just followed her. Not even very long. I'm sorry, Peter.

PETER: No, you're not. You enjoyed that.

CLAUDE: You got this rosy film over your eyes, like a kid. It's no wonder you live like an adolescent—posters on the wall, hair in your face. You've got to see the world as it is. The only way you'll learn how to save it.

PETER: And what, be like you? A hermit? No one knows you're alive except for some pigeons.

CLAUDE: You have to get rid of your distractions.

PETER: The people I love are not distractions!

CLAUDE: Then why can't you fly? You've done it. Your body remembers how. The only thing standing in your way is you.

PETER: What am I supposed to do? Cut 'em out of my life? How cold do you expect me to be?

CLAUDE: Did you forget you're a bomb? You've got to remember what this is about. Or, do you have to ask for your brother's permission for that as well?

PETER: Anything else that I have to do? You wanna make a list?

CLAUDE: You're a sad cartoon of a broken heart bleeding all over the place. I'm just trying to get your mind straight.

PETER: Look, I have followed you around and listened to your half-assed wisdom. You don't have any answers! Okay? You don't know anything. You are afraid of the world.

CLAUDE: You have to listen to me.

PETER: And I am tired of you telling me what I have to do! I don't have to do anything!

CLAUDE: Except fly.

(And with that, Claude grabs Peter, turns him and pushes him off the roof of the Deveaux building.)



[FALLING]

(Peter falls forward. His arms flail around helplessly as he heads straight for the taxi parked below. He flips over.)

(Peter falls backward, plunging down the side of the building.)



[EXT. BACK ALLEYWAY – NIGHT -- CONTINUOUS]

BAMM!

(Peter falls on the taxicab roof, the window glass shatters. He rests on the SAMURAI ad board.)

(Peter doesn’t move.)

(After a long moment, Peter stirs. He looks around and lifts himself off the piece of metal impaled through his back. He groans.)

(He slowly gets up and slides off the roof of the taxicab. He’s on his feet. He takes a couple steps back and looks up at the building roof. That’s a long distance to fall. We see the back of his head glistening with blood.)

PETER: Son of a bitch!

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[EXT. BACK ALLEYWAY – NIGHT]

(Peter sits on the ground, his back against the taxicab door. Claude walks up to him.)

CLAUDE: Not quite what I was expecting, but hope for the flowers yet.

(Peter gets to his feet and slams Claude back against the building wall.)

CLAUDE: Oof!

PETER: You threw me. Off of a 30-story building! If I didn't regenerate, I'd be dead!

CLAUDE: Well, you could have flown. Listen, if you hadn't have worked this one out, you'd have been hopeless anyway. And I'd have to defuse the biggest bomb ever.

(Peter releases Claude.)

CLAUDE: But you did it, didn't you? You cleared your mind. You called out your power.

(Peter takes a couple steps back and again looks up at the building rooftop.)

PETER: You know, before I hit the ground ... when I knew what was about to happen, I had this flash ... in my head, of this girl that I met in Texas. This cheerleader. She could heal herself. Oh, gosh, she's this sweet kid. Sad little smile, and she just ... (realizes) You were wrong. I don't have to cut her out. I have to remember her! How--how she made me feel! That's how I ...

(He looks down at his hands and sees that they’re invisible to him.)

SCREEECH!

(Feedback. Peter groans and holds his head from the pain.)

(He looks up and his eyes are completely white. Claude watches him.)

PETER: Ohh! Oh, God.

QUICK CUTS OF:
* PETER with his white eyes.
* PETER experiencing feedback.

PETER: It's happening.

QUICK FLASH & QUICK CUTS OF:
* XCU: PUPIL’S REFLECTION OF A PERSON screaming and burning
* PETER with his white eyes.
* PETER experiencing feedback.

PETER: I'm losing it!

QUICK FLASH & QUICK CUTS OF:
* PETER with his white eyes.
* PETER experiencing feedback.
* PETER burns fully as the power consumes him.

PETER: Aaaah!

(Claude swings and punches Peter in the face.)

PETER: Oof!

(Peter hits the ground. He’s out.)

CLAUDE: (sighs) Well, it's a start.

(We hold on Peter.)

CUT TO:



[INT. (NEW YORK) ISAAC’S STUDIO – NIGHT]

(Isaac is painting, his eyes are white.)

(He shuts his eyes and his pupils return to normal. He looks at the painting he’s been working on. It’s of Peter sitting on the ground with his back against the destroyed taxicab. The portion of the painting in front of Peter is incomplete. Peter is incomplete with half of him faded and see-through.)

(Isaac studies the painting.)

ISAAC: Peter?

CUT TO:



[INT. (ODESSA) BENNET RESIDENCE -- NIGHT]

(The phone rings. Mr. Bennet answers.)

MR. BENNET: (to phone) Yes?

ISAAC: (from phone) I think I found a way to stop him.

INTERCUT WITH:

[INT. ISAAC’S STUDIO – NIGHT]

ISAAC: (to phone) I found him.

MR. BENNET: (from phone) Sylar?

ISAAC: I thought you had Sylar.

(Mr. Bennet is on the phone. There are workers in his home fixing it and removing any trace of the damage.)

MR. BENNET: I will again. Soon. You mean Petrelli. Where is he?

ISAAC: I think he's been here this whole time. And I've been painting him. Except no one can see him. Like he's a ghost, or ... invisible. What does that mean?

MR. BENNET: It means an old friend isn't quite as dead as we thought he was.

CUT TO:



[EXT. (NEW YORK) PORT WASHINGTON HARBOR -- WAREHOUSE -- NIGHT]

(Hiro and Ando bid farewell to Kimiko and Kaito Nakamura.)

HIRO: (subtitled) You have made the right choice, Father.

KAITO NAKAMURA: (subtitled) Let us hope so. This does not mean I approve of what you are doing.

HIRO: (subtitled) That’s okay. You don’t have to. Life evolves, Father. And the son you wanted to be like you will follow his own path. Now I have to go save the world!

(Hiro steps forward and hugs his father.)

KAITO NAKAMURA: (subtitled) Should never have read him those stories.

(Kaito heads for the car. He looks back at Kimiko, who pauses a moment to talk with Hiro.)

KIMIKO: (subtitled) You are insane, little brother.

HIRO: (subtitled) You are welcome.

(They hug.)

(Ando steps forward and smiles at Kimiko. He opens his arms for his hug. Kimiko bows to him instead. He bows back. Kimiko nods to Hiro, then heads for the car. License number of the car is NCC-1701.)

(Ando watches Kimiko leave.)

ANDO: (subtitled) She’s really starting to like me.

HIRO: Huh?

CUT TO:



[INT. (LAS VEGAS) SANDERS RESIDENCE – HALLWAY / BEDROOM -- NIGHT]

(Micah walks up to the closed bedroom door and knocks. He’s carrying a board game.)

MICAH: Mom? I know it's not our game night, but can we play a game of Scrabble since you just got home?

(Jessica smiles. She stands in front of her mirrored closet door.)

JESSICA: Absolutely. I owe you, like, a dozen. Just give me a minute, okay?

MICAH: Okay!

(Micah leaves.)

(In the bedroom, Jessica turns to get something out of the closet. We see the SYMBOL mark on the back of her right shoulder.)

(Off screen, we hear urgent knocking.)

(Jessica closes the closet door and we see NIKI trapped inside the mirror. She’s pounding on the mirror with the palms of her hands.)

NIKI: (screams) No!

JESSICA: What are you so mad about, Niki? You're the one who wanted to be locked up.

(Jessica puts her sweater on and heads out of the room.

NIKI: No ...

(Niki slams her hands against the mirror.)

CUT TO:



[INT. (ODESSA) BENNET RESIDENCE – LIVING ROOM – NIGHT]

(The door opens. Claire and Zach walk in.)

CLAIRE: I'm home!

(Zach stops Claire and motions to the necklace. Claire removes it while Zach closes the front door.)

SANDRA BENNET: (o.s.) In the kitchen.

(Claire takes the necklace off. She and Zach head for the kitchen.)

SANDRA BENNET: You are in big trouble, young lady. The school called. Did you think you could ditch, and I wouldn't find out?

CLAIRE: Mom, we talked about it this morning. Zach and I went to the aquarium.

(Zach holds up the brochures.)

SANDRA BENNET: Claire, I think I would remember a conversation about you skippin' school.

(Sandra closes her eyes and turns away. She appears to be in pain.)

CLAIRE: You okay?

SANDRA BENNET: Fine, just ... I ... banged my head on something. Bit of a headache.

(Claire reaches for the dinner plates.)

CLAIRE: Why don't you let me finish, uh, setting the table, and you can go lie down for a little bit.

(Sandra nods.)

SANDRA BENNET: Don't think this gets you off the hook.

(She leaves the room. Claire and Zach look at each other. He looks just as confused as she does. Claire turns and sees something. She picks up a piece of broken glass off the seat.)

(She looks at it, then looks up at her father on the phone in the den. He turns and looks back at her. He smiles and waves.)

(Claire smiles back.)

CUT TO:



[INT. (KERMIT) MEREDITH TRAILER – NIGHT]

(Meredith paces the floor, a cigarette in one hand and a phone in the other.)

(The phone rings then clicks. Someone picks up.)

NATHAN: (from phone) Hello?

MEREDITH: You might not remember me. But we haven't spoken in a long time, but ... (Meredith sits down.) Our daughter just found me. Did you hear what I just said? She's alive.

INTERCUT WITH:

(Nathan sits down.)

MEREDITH: (from phone) We need to talk, Nathan.

(We hold on Nathan.)

FADE TO BLACK.



TO BE CONTINUED ...