Transcription by Intrepid (intrepidly002@yahoo.com)
FADE IN:
[TITLE CARD: HEROES]
NARRATOR: (v.o.) Now, the story continues ...
[PETER]
NARRATOR: (v.o.) For the ordinary people --
[HIRO]
NARRATOR: (v.o.) -- who discovered extraordinary abilities, ...
(Hiro pokes his finger through the center of a tire suspended in time.)
[NATHAN]
(Nathan flies straight up into the air after being cornered by Mr. Bennet and the Haitian.)
DISSOLVE TO WHITE:
[NEW YORK]
(New York explodes.)
[MATT]
NARRATOR: (v.o.) The cop who hears thoughts, ...
(Matt slams Mr. Bennet up against the rolls of paper at the paper company.)
(Cut to: Matt in the hallway as he chases after Sylar.)
(Cut to: Matt fires at Sylar.)
NARRATOR: (v.o.) ... lost his badge.
(Matt is at a hearing.)
CAPTAIN 2: We’re enforcing a six-month suspension –
[NIKI/JESSICA]
(Niki gasps.)
NARRATOR: (v.o.) The mother with an alter-ego was released from prison.
JESSICA: Shhh-
(Cut to: Niki is wearing a strait-jacket and is on the floor in a cell.)
(Cut to: The orderly injects Niki into her hip.)
FADE TO WHITE:
ARON MALSKY: The charges against you have been dropped.
(Niki shakes her head.)
NARRATOR: (v.o.) But her dark side took over.
(Jessica smiles and puts her sweater on. We focus on the SYMBOL on the back of her right shoulder.)
(Niki is left trapped in the mirror.)
NIKI: (screams) No!
(Sylar sits at a table at the Burnt Toast Diner.)
NARRATOR: (v.o.) The face of evil set a trap.
WHITE FLASH TO:
(Sylar is at the Bennet’s home. He plays with Mr. Muggles.)
(He runs his hand along Claire’s bed as he heads for her bedroom door.)
SYLAR: (to Sandra) It’s a shame I’ll have to kill her.
(He moves his finger and Sandra slams into the foyer display case.)
(Sylar moves toward Sandra.)
NARRATOR: (v.o.) But he was stopped.
(The door bursts open. Mr. Bennet fires point blank at Sylar. Sylar smashes backward into the refrigerator door. Mr. Bennet continues to fire at Sylar. Sylar ducks and runs out the back door.)
[UNAIRED SCENE]
(Mr. Bennet leans over Sandra who is still on the floor.)
MR. BENNET: He’s gone now.
FADE OUT/IN:
(The Haitian puts his hand over Sandra’s eyes.)
MR. BENNET: (v.o.) He’s going to make everything okay.
FADE OUT:
[CLAIRE]
NARRATOR: (v.o.) And now that Claire’s found her birth mother –
(Meredith shows Claire her powers as fire comes out of her hands.)
MEREDITH: (whispers) Some family.
FADE OUT.
[BLACK SCREEN]
WHITE TEXT: TONIGHT
NARRATOR: (v.o.) Tonight –
VARIOUS CUTS OF CLAIRE
NARRATOR: (v.o.) it’s time –
[NATHAN]
(Nathan is on the phone and sits down.)
NARRATOR: (v.o.) -- to meet daddy.
FADE OUT.
[TITLE CARD: HEROES]
NARRATOR: (v.o.) And now, Heroes continues.
FADE OUT.
END OF ‘STORY CONTINUES’
FADE IN:
[EPISODE TITLE]
CHAPTER FIFTEEN
"RUN!"
FADE IN:
[INT. (NEW YORK) NATHAN’S OFFICE]
(Nathan is at his desk when the phone rings. He answers it.)
NATHAN: (to phone) Hello?
MEREDITH: (to phone) Um ... You might not remember me. We -- we haven't spoken in a long time, but ... I just had ... our daughter just found me. Did you hear what I just said? She's alive.
NATHAN: Meredith?
INTERCUT WITH:
[INT. (KERMIT) MEREDITH’S TRAILER]
MEREDITH: (to phone) We need to talk.
(Nathan doesn’t say anything.)
MEREDITH: Nathan, are you still there?
CAPTION:
NATHAN PETRELLI
MANHATTAN
NATHAN: It's -- it's been fourteen years. I went to your funeral.
MEREDITH: Look, that fire – it -- it wasn't an accident. Someone was out to get me, and the police, they just assumed I was dead, so ... I ran.
NATHAN: And our daughter?
MEREDITH: Well, she's got an angel on her shoulder, that one. She was adopted by a nice family here in Texas. She's sixteen now. And she's beautiful. She's got blond hair, like me. And she is smart, just like you. Maybe one day she'll run for Congress.
NATHAN: The timing of ... your call, two weeks before my election, that -- that's not a coincidence, is it?
MEREDITH: A child born out of wedlock, that's big news. You wouldn't want that to come out. Ruin things for you.
NATHAN: How much do you want?
MEREDITH: Oh, um ...
NATHAN: $100,000?
MEREDITH: Yeah. That oughta cover it. I'll let you know where to send it.
(Nathan puts the phone down.)
CUT TO:
[INT. (ODESSA) BENNET RESIDENCE – DAY]
(The front door opens and Mr. Bennet helps Sandra into the house.)
MR. BENNET: Nice and easy.
(Claire is in the living room waiting for them.)
CLAIRE: Mom, are you okay?
SANDRA: I've been better.
CAPTION:
CLAIRE BENNET
ODESSA, TEXAS
(Mr. Bennet helps Sandra over to a living room chair.)
MR. BENNET: She'll be fine. Just needs a little rest. A little time to recover.
(Sandra sits down.)
CLAIRE: Recover from what?
MR. BENNET: She, uh, had an appointment with a neurologist, who ran some tests.
CLAIRE: What kind of tests?
MR. BENNET: Your mother's been having some headaches.
CLAIRE: Yeah, she's also been having some memory loss. Did you tell them that?
MR. BENNET: Of course, Claire. I'm handling it.
(He turns and puts a hand on Sandra’s shoulder. He leaves. Claire puts her hands on Sandra shoulders and rests her chin on her mom’s head.)
SANDRA: Don't worry, honey, I'll be fine. Mr. Muggles isn't worried, is he? (baby voice) No, he's not.
(Sandra pets Mr. Muggles. Claire leaves the room.)
CUT TO:
[INT. (LAS VEGAS) SANDERS’ RESIDENCE – NIKI’S BEDROOM – DAY]
(Jessica uses make-up to cover the SYMBOL mark on the back of her right shoulder.)
VARIOUS CUTS LATER:
(She’s completely covered the SYMBOL.)
CAPTION:
JESSICA SANDERS
LAS VEGAS
NIKI: (o.s.) DL won't be fooled.
(Jessica powders the makeup.)
JESSICA: Sure he will. Love is blind, and if last night is any indication, he won't be able to see anything for a long time.
(She shuts the closet door. Niki is in the mirror.)
DL: (o.s.) Nik, baby, I gotta get going.
JESSICA: (calls out) I'll be right there.
CUT TO:
[INT. (LOS ANGELES) PARKMAN RESIDENCE – BEDROOM – DAY]
(Janice whistles. Matt is getting dressed to go to work. He chuckles.)
CAPTION:
MATT & JANICE PARKMAN
LOS ANGELES
JANICE: Mm, don't you look all Secret Service. Is this standard issue for bodyguards?
MATT: Bodyguards? We're not called "bodyguards" anymore, honey. It's "private security." Whatever you want to call it, it's paying the bills.
(He turns to the mirror to put his holster on.)
CUT TO:
[INT. (LAS VEGAS) SANDERS RESIDENCE – DAY]
(Micah shoves his things in his backpack.)
MICAH: Are we ever gonna talk about it?
DL: Talk about what?
MICAH: What we can do. (He finishes and turns around.) Our powers. I just feel like we're supposed to be fighting crime or something.
(Jessica chuckles.)
JESSICA: That's true. But for now, can you just have fun at school, my young genius?
(She kisses Micah on the cheek and glances over at the television set. In its reflection, she sees Niki looking sad. Jessica smiles.)
MICAH: Yep.
DL: All right. Baby, there's a package for you over on the table.
JESSICA: Thanks.
(DL and Micah leave. The door shuts.)
(Jessica turns, picks up the package and opens it.)
CUT TO:
[INT. (LOS ANGELES) PARKMAN RESIDENCE – BEDROOM]
(Matt snaps the cartridge in the gun.)
JANICE: Are you taking your gun?
MATT: It's the difference between $500 and $350 a day. My carry permit.
(He tucks the gun in the holster.)
JANICE: You're not gonna need it, though, right?
MATT: I'm basically a glorified babysitter. Nothing's gonna happen.
JANICE: I hope not.
CUT TO:
[INT. (LAS VEGAS) SANDERS RESIDENCE]
(Jessica is on the phone as she looks at the contents of the package. She has a plane ticket inside.)
JESSICA: (to phone) Thank God you called. Playing house is making me cranky. I understand. The guy stole his money. He wants him dead. Mr. Linderman wants, Mr. Linderman gets.
(Jessica cocks her gun.)
CUT TO:
[EXT. LAX – DAY]
(Aron Malsky walks out of the airport building. He looks around and sees Matt with his name on a sign.)
ARON MALSKY: I'm Malsky.
(They shake hands.)
MATT: Matt Parkman. Here to protect you, sir.
[PHOTO: MALSKY]
(Jessica is holding a photo of Aron Malsky.)
JESSICA: Bang.
CUT TO:
[TITLE CARD: HEROES]
FADE OUT.
(COMMERCIAL SET)
FADE IN:
[EXT. (LAS VEGAS) -- DAY]
CAPTION:
HIRO & ANDO
LAS VEGAS
(Hiro crouches behind a large dumpster as two workers walk past. He’s got the painting tube slung on his back. Once the two workers pass, Hiro and Ando walk out pulling their luggages behind them.)
ANDO: (subtitled) I’d like to point out an observation here. Hiro, we’re back in Las Vegas. Right where we started. Only this time ... we have to sneak into Linderman’s hotel!
HIRO: (subtitled) We have less than two weeks ... to stop the bomb from destroying New York City!
[INT. HOTEL KITCHEN – DAY – CONTINUOUS]
(Hiro and Ando walk through the kitchens.)
ANDO: (subtitled) Face it, Hiro. It’s a lost cause.
HIRO: (subtitled) Ando, I will never give up. And neither should you. More than anything, a hero must have hope.
ANDO: (subtitled) Fine. You figure out how to get into Linderman’s office ... I will find hope.
(Ando picks up his suitcase and walks past Hiro. They come across a young dancer sitting on the side and crying. Ando walks over to her.)
ANDO: Excuse me. Are you okay, miss? Anything we can do to help?
HOPE: No, I couldn't possibly ... we're complete strangers.
ANDO: I'm Ando. This is my friend, Hiro.
(Hiro bows.)
HOPE: Hi. I'm Hope.
(Ando’s eyes grow wide, then he breaks out with a huge grin on his face.)
CUT TO:
[INT. (LOS ANGELES) CAR (TRAVELING) -- DAY]
(Matt is driving.)
MATT: So. Where are we headed?
ARON MALSKY: Diamond District. Broadway and 6th.
MATT: What a beautiful day to be in Los Angeles. Look at this weather. And the air?
ARON MALSKY: What's your name again?
MATT: Uh, Parkman. Matt Parkman.
ARON MALSKY: Listen, Parkman. The job is simple. You drive me downtown, we meet a man, I make a deal, then you drive me back to the airport. You just make sure no one bothers me. That includes you.
ARON MALSKY: (v.o., thinking) Hope this loser knows how to use his gun. Otherwise, we're both dead.
CUT TO:
[INT. (NEW YORK) MOHINDER’S APARTMENT – DAY]
CAPTION:
MOHINDER SURESH
BROOKLYN
(Mohinder is on the phone.)
MOHINDER: (to phone) My name's Dr. Mohinder Suresh. It's very important that I speak with him.
(The phone clicks as the other person hangs up.)
VARIOUS CUTS OF MOHINDER ON THE PHONE:
MOHINDER: (to phone) I assure you, my interest is legitimate.
CUT TO:
MOHINDER: (to phone) My name is Dr. Mohinder Suresh.
CUT TO:
(The phone clicks and he gets a dial tone.)
CUT TO:
MOHINDER: (to phone) It's really rather complicated to explain over the ...
OVERLAY TO:
MOHINDER: (to phone) This is Dr. Mohinder Suresh.
CUT TO:
MOHINDER: (to phone) A certain genetic trait ...
CUT TO:
(Someone hangs up on him.)
MOHINDER: (to phone) Hello?
CUT TO:
MOHINDER: (to phone) Have you noticed anything unusual about his behavior?
OVERLAY TO:
MOHINDER: (to phone) My name is Dr. Mohinder Suresh.
CUT TO:
MOHINDER: (to phone) Are you still there?
CUT TO:
(There’s a click and a dial tone. Mohinder puts the phone down.)
(He checks his answering machine.)
ANSWERING MACHINE: One new message.
(beep.)
ZANE TAYLOR: (answering machine) Hi. This is, uh, Zane. Zane Taylor. Z-A-N-E Taylor.
(Mohinder gets up and checks the map. He finds a post-it with the name:
ZANE TAYLOR
VIRGINIA BEACH, VA
ZANE TAYLOR: (answering machine) I, uh, I got your phone message. And, um, something is happening to me. I can't control it. I ... I think we need to talk. Please hurry. Can you come see me right away? It's really, um --
CUT TO:
[INT. (LAS VEGAS) DRESSING ROOM – DAY]
(The dancers are backstage in the dressing room and they’re in costume.)
MAN: (over p.a.): Five minutes, ladies. Five minutes.
(Hope talks with Ando and Hiro.)
HOPE: We've dated for a few months. Um ... he lives in LA, comes to visit. And at first, he was really sweet. But ... now he's ... just horrible. He even hit me once.
(She shows Ando the bruises on her upper right arm.)
ANDO: Your boyfriend did this to you?
(She nods.)
HIRO: I'm sorry.
HOPE: I left this morning while he was sleeping. But I forgot my bag. It's -- it's pink and it has rhinestones on it and it's got all my money and my credit cards and it even has my family photos in it that I can't replace.
(She wipes the tears from her eyes.)
HOPE: I should go up there and talk to him. Maybe he won't be so mad.
ANDO: No. We will do it.
HIRO: Eh?
(Hope smiles at Ando and Ando melts.)
HIRO: (to Hope) Excuse us, please.
(Hiro and Ando step aside.)
HIRO: (subtitled) What about our mission?
ANDO: (subtitled) He hit her. She can’t go back there. We’ll sneak in. Get her bag –
HIRO: (subtitled) You want to break into a hotel room and steal a bag?
ANDO: (subtitled) You said I needed to find Hope. It’s a sign!
HIRO: (subtitled) It’s a coincidence!
ANDO: (subtitled) Why is it that whenever you want to do something ... it’s our destiny. But when I want to do something, it’s not important. Charlie ... Linderman ...
HIRO: (subtitled) Charlie was special.
HOPE: (interrupts) Hang on. Did you two say something about Mr. Linderman?
HIRO: Yes. You know him? Well, not personally, but everybody knows who he is. Um, I know people who do.
ANDO: That's great.
(Ando looks at Hiro.)
ANDO: (subtitled) She can help us!
HIRO: If we get your bag, can you introduce us?
HOPE: Yeah, I can do that.
ANDO: We still have a problem. How do we get past security?
(Hope thinks about it, then she smiles.)
HOPE: I have an idea.
CUT TO:
[INT. HOTELL CORRIDOR -- DAY]
(Ando is dressed as a busboy and is pushing a cart through the hallway.)
CUT TO:
[DOOR TO ROOM 1030]
(Ando knocks on the door.)
GUSTAVSON: (through door) Who's there?
ANDO: Room service.
(The door opens.)
GUSTAVSON: I didn't order room service.
(He starts to close the door; Ando stops him.)
ANDO: Ah! Complimentary for high roller.
[INT. ROOM 1030 – CONTINUOUS]
(Ando pulls the cart into the room. Gustavson, the man who answered the door, is holding a towel around his waist.)
ANDO: Ah, very nice room.
(Ando picks up the glass and starts filling it with ice.)
ANDO: How are you today?
(Gustavson watches as Ando continues to fill the glass with ice. Gustavson watches for a moment, then stops him.)
GUSTAVSON: You're done.
(Gustavson turns. Ando puts the glass down on the cart and leaves the room.)
(At the door, he bows to the man. Gustavson closes the door on Ando, then he turns and heads back to the bathroom.)
[EXT. HALLWAY – CONTINUOUS]
(Ando closes his eyes and exhales.)
[INT. ROOM 1030 – CONTINUOUS]
(We hear the sounds of the shower pipes squeaking and water running. Hiro lifts the cart cloth and slowly gets out from his hiding place under the cart.)
(He runs to the door and opens it for Ando.)
(He motions Ando inside. Ando slips inside the hotel room and they close the door.)
HIRO: (subtitled) (whispers) This is a terrible idea. All because you like this girl.
ANDO: (subtitled) "A hero does not have regrets."
HIRO: (subtitled) We’re wasting time. I should just go to Linderman’s office without you.
(Ando looks behind a chair cushion.)
(Hiro opens the closet door and sees a gun.)
HIRO: (subtitled) We need to go. Now.
ANDO: (subtitled) Why? Did you find Hope’s bag?
(Hiro points to the gun. Ando swallows.)
ANDO: (subtitled) "A hero never runs."
HIRO: (subtitled) Stop saying the things I say to you! We have to leave!
ANDO: (subtitled) No. All this time, I have trusted you. Now, it’s your turn to trust me.
HIRO: (subtitled) I have no powers.
ANDO: (subtitled) "A man does not need powers to be a hero."
(Hiro grabs Ando and pulls him to the door.)
HIRO: (subtitled) We’ll call the police. Come on. We’re leaving! Now!
(Ando rolls his eyes.)
ANDO: (subtitled) Fine.
(They head for the door. Hiro runs to the door. He opens it and walks out.)
(Ando closes the door and locks Hiro out of the hotel room.)
[HALLWAY]
(Hiro takes a couple steps before realizing that Ando has locked him out.)
[ROOM 1030]
(Ando goes back to searching for the bag.)
[HALLWAY]
(Hiro goes back to the door.)
HIRO: (whispers loudly) Ando-kun! Ando-kun!
[ROOM 1030]
(Inside, Ando shushes Hiro. He goes back to looking through the room. He closes the closet doors.)
[HALLWAY]
(Knowing Ando’s not going to leave, Hiro turns and runs down the hallway.)
[ROOM 1030]
(Ando continues his search for the bag. He checks under the bed and finds the pink bag.)
(The shower stops. The door opens and Gustavson steps out of the bathroom.)
(Ando crawls under the bed.)
(The bed springs creak and the mattress sinks as Gustavson sits on the bed.)
CUT TO:
[INT. (VIRGINIA BEACH) TAYLOR RESIDENCE – DAY]
(ABRUPT CUTS OF: Zane Taylor sits in a chair and rubs his finger nervously. He’s wearing a black t-shirt with RAMONES in white letters on the front.)
ZANE TAYLOR: Oh, God. Hurry ... Please hurry.
(Zane has covered all the windows.)
CAPTION:
ZANE TAYLOR
VIRGINIA BEACH, VIRGINIA
ZANE TAYLOR: Oh, God. Hurry ... hurry. Please hurry. Please hurry.
(The doorbell rings.)
(Zane gets up and hurries to the door. He walks on the white parts of the floor only. There are splotches on the floor or various shapes and colors. The entire room is covered with plastic.)
(He unlocks the door.)
ZANE TAYLOR: Dr. Suresh?
(Sylar turns around.)
SYLAR: Yes.
(Sylar nods.)
SYLAR: Yes.
ZANE TAYLOR: Thank God.
(Zane opens the door and lets Sylar in.)
ZANE TAYLOR: Man, come in.
FADE OUT.
(COMMERCIAL SET)
FADE IN:
[INT. (VIRGINIA BEACH) TAYLOR RESIDENCE -- DAY]
(Sylar is in the house.)
ZANE TAYLOR: Come in.
(He closes the door and locks it.)
ZANE TAYLOR: I was starting to think you weren't going to show. I didn't know what I was gonna do. I mean, look at what I'm living with.
SYLAR: Yes, I see what you mean.
ZANE TAYLOR: I'm just a regular guy. I mean ... I've never been different or--or special, or -- I mean, no one would even look at me twice walking down the street.
(Sylar doesn’t say anything.)
ZANE TAYLOR: I guess I should show you. Right? What I do, you need to see it, right?
SYLAR: Yes, of course.
ZANE TAYLOR: Okay.
(He hurries over and reaches in through the wall window into the kitchen. He grabs a pot out of the sink.)
ZANE TAYLOR: I haven't left the apartment for three weeks. I'm going a little crazy.
(He puts the pot on a white spot on the floor. Sylar steps closer.)
ZANE TAYLOR: Maybe you should step back. It can get a little messy.
(Zane leans in and looks at the pot.)
OFF SYLAR
(Sylar watches as Zanes does whatever it is he does to the pot.)
CUT TO:
[INT. (NEW YORK) NATHAN’S OFFICE – DAY]
(Nathan talks with his mother.)
ANGELA PETRELLI: We reap what we sow, Nathan. You have no one to blame but yourself.
(Nathan closes the blinds to the hallway window.)
NATHAN: I'll go down to Texas and handle it.
ANGELA PETRELLI: So close to the election? Don't be ridiculous. If the press gets wind of this, especially on the heels of the Linderman scandal --
NATHAN: I cared about Meredith once. I owe her more than a phone call. I owe them both. Besides. I'm this girl's father, come on.
ANGELA PETRELLI: You're a glorified sperm donor. Don't get emotionally attached.
NATHAN: How can you be so cold?
ANGELA PETRELLI: Because I know you, Nathan. Beneath the gruff exterior, you're a sap. The moment that young girl looks at you with her sad little weepy eyes, you're lost, you're finished. You'll start giving, and she'll start taking until there's nothing left. So prioritize, Nathan. Wire the money to Texas. Focus on the people who really matter.
CUT TO:
[INT. (ODESSA) BENNET RESIDENCE – CLAIRE’S BEDROOM – NIGHT]
(Claire is sitting up in bed and looking at the Mexican necklace Meredith gave her. Someone knocks at her door. She quickly puts the necklace under the covers.)
(The door opens and Mr. Bennet walks in.)
CLAIRE: How's Mom?
MR. BENNET: Your mother's resting.
(Claire removes her earplugs.)
MR. BENNET: So I understand you and Zach cut school yesterday.
CLAIRE: Mom said we could. It was for our report. We went to the aquarium.
MR. BENNET: With these tickets? Printed from your computer? These fake tickets, Claire?
CLAIRE: You're spying on me?
MR. BENNET: I don't know where you were, and I don't want to know. You're a teenager, you need to assert your independence. But this behavior ... It's unacceptable. You're grounded, young lady. You're to be home every day at 5:00 sharp until further notice.
CLAIRE: What? You can't do that! You have no right.
MR. BENNET: I'm your father.
CLAIRE: You're not my real father.
MR. BENNET: No, I'm not. But I'm as close as you've got. So you'll stay home at night. Until you earn our trust back.
(He turns and leaves the room.)
ABRUPT CUT TO:
[INT. (ODESSA) BENNET RESIDENCE – CLAIRE’S BEDROOM – DAY]
(Claire is sitting on the floor. She’s on the phone trying to call someone.)
MEREDITH: (from phone) Hello?
CLAIRE: (to phone) Hi. It's me, Claire. Do you have a second to talk about my father?
INTERCUT WITH:
[INT. (KERMIT) MEREDITH’S TRAILER – DAY]
(Meredith fills the kettle with water.)
MEREDITH: Oh, hey, Claire. I'm glad you called. Talk about coincidence. I found your father.
CLAIRE: You're kidding. What'd he say?
(Meredith puts the kettle on the gas stove and lights it using the palm of her hand.)
MEREDITH: Well, after he got over the shock that we were both alive, he was actually kinda sweet. Said he'd be happy to help us out. Sounded real generous, too. Says he's gonna fly right down from New York.
CLAIRE: Well, I want to meet him.
MEREDITH: Oh, right. Well -- well, I-I don't know about that.
CLAIRE: But he's my father.
MEREDITH: Right. Well, um ... Why don't I talk to him, and we'll see what he says. You know what, Claire? I actually have to go. But, um, I'll call you later, all right? I love you.
(Claire doesn’t say anything. She hangs up and takes a couple of breaths.)
CUT TO:
[INT. (LOS ANGELES) SIDEWALK – DAY]
(Aron Malsky carries his metal suitcase. He and Matt head for a building. They turn in. We hold on JESSICA leaning against a tree. She watches them enter the building.)
CUT TO:
[INT. JEWELERS – DAY]
ARON MALSKY: I've got the money. Let's see the diamonds.
(Malsky looks at the diamonds.)
DEALER: Stones range from 2 to 9 carats. My offer is more than generous.
(As Malsky looks at the stones, Matt overhears the dealer’s thoughts.)
DEALER: (v.o., thinking) Not that it matters. Linderman's guy ... will be here soon. You won't get out alive.
(Matt hurries to Malsky.)
MATT: Sir. Sir, please. Please. We have gotta get out of here right now. This is a setup.
(The dealer puts a large stone in the velvet bag.)
ARON MALSKY: What -- how do you know that?
MATT: I just do. You have to trust me.
(Malsky looks at Matt and nods. He turns back to the dealer, opens the case of cash and overturns it onto the counter.)
ARON MALSKY: You've got a deal. I gotta run.
(He grabs the velvet bag with the diamond, puts it in the empty metal briefcase and closes it. He picks up the case and hurries out of the room with Matt.)
(The dealer watches them go.)
[INT. ELEVATOR – DAY – CONTINUOUS]
(Jessica is in the elevator. She smiles.)
[INT. HALLWAY – DAY – CONTINUOUS]
(Matt and Malsky turn into the hallway on their way to the elevator.)
MATT: Who's Linderman?
ARON MALSKY: My ex-employer. How do you know his name?
MATT: Never mind that. Why has he sent someone here to kill you?
ARON MALSKY: (v.o., thinking) Because I stole his two million. Should've been out of the country by now.
MATT: Great. You stole the money.
ARON MALSKY: How do you know?
(They reach the elevator. Matt presses the button. Malsky opens the metal suitcase and spills the diamonds out into the case.
ARON MALSKY: Wait a second. You gotta get me out of here.
[INT. ELEVATOR]
(Jessica has her gun hidden behind her back.)
[INT. HALLWAY IN FRONT OF ELEVATOR]
(Malsky puts a diamond in Matt’s hand.)
ARON MALSKY: Take this. There's another one for you when you get me out.
MATT: No, you can't bribe me.
(Malsky puts the diamonds back into the velvet bag.)
ARON MALSKY: I don't want to die.
(Matt hears her.)
JESSICA: (v.o., thinking) Two in the bodyguard. Then Malsky gets one in the gut. Two in the bodyguard. Two in the bodyguard. Then Malsky gets one in the gut.
(Matt turns and looks at the elevator. He takes his gun out and cocks it. He points it at the closed elevator doors.)
MATT: She's in there.
(Malsky turns around and looks at the elevators. Matt looks up at the elevator light above the door.)
[INT. ELEVATOR – CONTINUOUS]
(Jessica cocks her gun.)
[MATT]
(Matt waits, his gun pointed at the door.)
ANGLE ON -- ELEVATOR LIGHT
(The light lights. The elevator bell dings.)
ANGLE ON -- ELEVATOR DOORS
(The elevator door opens. Jessica has her gun out.)
[INT. HALLWAY – CONTINUOUS]
(Jessica steps out of the hallway. There’s no one there. She looks both ways and steps out.)
(Jessica smiles.)
JESSICA: This should be fun.
(She heads out of frame.)
FADE OUT.
(COMMERCIAL SET)
FADE IN:
[INT. (LAS VEGAS) DRESSING ROOM -- DAY]
(Hiro enters the dressing room. He looks around for Hope. He overhears Hope’s phone conversation.)
HOPE: (to phone) I do all the work, he takes half the profit. I'm sick of it.
(Alarmed, Hiro looks through the clothes on a rack. He sees Hope at her dressing table and on the phone.)
HOPE: (to phone) No, I got these two Chinese guys to help me out. Turned on the waterworks and they were mine. Yep ... They're getting the suitcase as we speak. (pause) All right. I'll catch the bus from Primm and meet you in Barstow. I love you too, Leon.
(Hiro leans forward and falls through the rack. Hope turns around and smiles at him.)
HOPE: Oh, hi! I didn't see you come in.
HIRO: You were on telephone.
HOPE: Uh, with my mom. So, um ... Where's the bag?
HIRO: We are not Chinese. We are Japanese.
HOPE: Whatever. (Hope stands up.) Where's ... the bag?
(Hiro stands up.)
HIRO: You are a bad person. You may have fooled Ando, but you do not fool me.
HOPE: Thanks for the help, Sulu.
(She punches Hiro in the face. Hiro goes down.)
CUT TO:
[INT. (LOS ANGELES) STAIRS – DAY]
(Matt and Malsky are running down the stairs.)
(Malsky stops halfway down the steps and wheezes for breath.)
MATT: What are you doing?
(Malsky takes his inhaler out and takes a breath.)
MATT: We can't stop here. Keep moving.
(Matt looks up. He hears the door open above them and footsteps coming down the steps.)
(Jessica is running down the stairs.)
(Matt pulls Malsky up to the floor above.)
MATT: Alright, this way, This way! This way! Come on!
(They exit out the stairs and onto the floor.)
MATT: Come on!
[11TH FLOOR HALLWAY]
(Matt looks around. Malsky is out of breath.)
MATT: Okay ... Go to the elevator.
(Malsky turns and heads for the elevator.)
[STAIRS]
(Jessica is coming down the stairs. She stops and looks over the railing. She continues down the stairs and passes by the mirrored 12th floor sign.)
NIKI: You can't do this.
(Jessica continues down the stairs.)
NIKI: (shouts) You have to stop!
JESSICA: Don't worry, Niki. I don't plan on being Little Miss Homemaker forever. Just gotta lay low for a while.
(She pauses at the 11th floor sign.)
(She turns and looks up. Niki is standing one floor above.)
NIKI: You're chasing two men with a gun in broad daylight. You call that laying low? This is my life. My child!
[11TH FLOOR HALLWAY]
(Matt stands by the door and overhears the conversation between Jessica and Niki.)
NIKI: (through door) You can't do this!
JESSICA: (through door) I have to.
[STAIRS]
JESSICA: (to Niki) Somebody's gotta repay Linderman.
NIKI: You made the deal to get me out of jail?
JESSICA: I couldn't leave it up to you now, could I?
[11TH FLOOR HALLWAY]
(Matt turns and checks on Malsky. He takes his phone out and dials. Malsky is pushing the elevator button. Matt grabs him and pulls him away.)
ARON MALSKY: The elevator's not coming. Who are you calling?
MATT: Backup.
(Matt pulls Malsky through double doors. They enter a room area that looks like it’s under construction.)
ARON MALSKY: You can't bring the cops into this!
MATT: (to phone) Terry, hey! It's Parkman. I'm working security -- Diamond District. Sixth and Broadway. I got a shooter, possibly two. Send everyone you got.
(Two gunshot fires in succession, hitting the stacks of furniture on the side. Matt pushes Malsky down. Malsky drops his inhaler.)
(Jessica fires two more times. Malsky reaches for his inhaler. She fires once more. Matt fires back.)
(Malsky gets to his feet, reaching for his inhaler. Matt helps him up and pushes him forward. They run, leaving his inhaler behind.)
MATT: Come on!
(They take off.)
(Jessica stares at the stack of furniture in the hallway in front of her, blocking her view of the end of the hallway.)
(Matt and Malsky run.)
(Jessica chases after them.)
(Matt reaches the door to the stairs. He looks at the doors, then points in the other direction.)
MATT: All right, you go to the other side of the building. Cops will be here soon. I'll buy us some time.
ARON MALSKY: Right.
(Malsky turns and runs. Matt cocks his weapon and watches Malsky go.)
(Jessica makes her way down the hallway. She checks the rooms she passes. Behind her, the stairway door squeaks shut. Jessica turns around.)
[INT. STAIRS – CONTINUOUS]
(Jessica opens the door. She steps out and looks up and down below.)
(Matt cocks his gun and points it at Jessica’s head.)
MATT: Drop your weapon. Over the side, right now.
(Jessica tosses the gun over the railing. She smiles. Matt handcuffs her to the stairway railing.)
MATT: Okay, where's your partner?
JESSICA: Partner?
MATT: Come on -- Your partner! I heard you arguing with her. Niki, right? Where is she?
(Jessica turns and looks at Matt.)
JESSICA: You heard Niki?
MATT: Where is she?
JESSICA: She's probably killing Malsky ... right now.
(Matt opens the door and leaves.)
[HALLWAY]
(Matt goes cautiously through the hallway looking for Niki and Malsky.)
(He hears knocking. Matt swings around and raises his gun. There’s no one there.)
ARON MALSKY: (v.o., thinking) Fourth one over, third one back. Fourth one over, third one back.
(At the end of the hall, Malsky steps out into view.)
MATT: Hey, there you are. Come on, let's go!
(Jessica appears behind him.)
JESSICA: Me again.
(She grabs Matt and throws him out the plate glass window.)
MATT: Ahh!
(Matt smashes through the window and falls.)
(Jessica turns and looks at Malsky.)
ARON MALSKY: No! Don't!
CUT TO:
(Just outside the window, Matt has landed on a signage beam. He appears to be out. Wailing sirens hail the arrival of officer cars down below.)
(We hold on Matt, who is not moving.)
FADE OUT.
(COMMERCIAL SET)
FADE IN:
[CU: MATT]
(We continue where we left off. Matt is unconscious on the signage beam. Police cars arrive below and officers enter the building.)
(Matt groans and moves. He looks down and gasps at where he is.)
(He tries to get up and his foot slips. He turns over and crawls behind the sign.)
CUT TO:
[EXT. (KERMIT) MEREDITH’S TRAILER – DAY]
(Claire knocks at the front door. Meredith opens the door.)
MEREDITH: Claire. What are you doing here?
CLAIRE: I have to see my father. You don't understand. I'll wait here all night if I have to.
MEREDITH: Why don't we take a walk?
[EXT. TRAILER PARK – DAY – CONTINUOUS]
(Claire and Meredith walk.)
CLAIRE: It's my mom ... She's sick and I think it's bad.
MEREDITH: Oh, I'm so sorry. How can I help?
CLAIRE: You said my father had money. You said he had power and that he wanted to help us. I thought maybe he could --
MEREDITH: Oh, honey, honey-- I didn't mean that kind of help. I mean just money.
CLAIRE: I don't understand.
MEREDITH: Your daddy -- He's, um ... (She sighs.) How do I explain this? (She sits down.) He's ... When your daddy found out that I was pregnant with you ... What I'm trying to say is that you can't count on him. He'll give us cash because that's easy. But anything else, he'll just disappoint you.
CLAIRE: He doesn't even want to meet me?
MEREDITH: Oh, Claire. Please.
CLAIRE: Why'd you even tell me about him?
MEREDITH: Because he wants to give us some money. $50,000, and you're entitled to half of that.
CLAIRE: I don't want his money.
MEREDITH: I, uh, I'm heading back to Mexico for a while. So we're probably not gonna see each other. I want you to take real good care of yourself, okay?
(Claire nods. She gets up and starts walking away. Meredith stops her.)
MEREDITH: Hang on. So I can remember that sweet face.
(She takes her camera phone out of her pocket and snaps a photo of Claire.)
(Claire turns and leaves. Meredith sits down on the park bench.)
CUT TO:
[INT. (LOS ANGELES) JEWELER’S BUILDING – DAY]
(Matt climbs back into the building through a window. He turns the corner and finds Malsky dead – folded in half, his body broken.)
(The officers arrive.)
OFFICER: Police! Get your hands up!
(Matt raises his hands.)
MATT: (panting) I'm on the -- I'm on the job.
CUE SOUND: (PRE-LAP) DOORBELL
CUT TO:
[INT. (VIRGINIA BEACH) TAYLOR RESIDENCE -- DAY]
(The door opens. Mohinder is standing out on the front porch.)
MOHINDER: Hello. Zane Taylor?
(Sylar stares at Mohinder.)
SYLAR: Yes. You must be Dr. Suresh. Come on in.
(He opens the door for Mohinder. Mohinder enters the apartment and notices the large splotches on the plastic-covered floor.)
SYLAR: Can I get you some tea?
(Sylar is now wearing Zane’s black RAMONES t-shirt. He heads into the kitchen.)
MOHINDER: Sorry it took me so long to get here.
SYLAR: No, it's no problem. (He looks out the door.) Is Earl Grey okay?
MOHINDER: Yes, that'll be fine.
(Sylar is in the kitchen making the tea.)
MOHINDER: You, um ... sounded rather alarmed on the phone. You seemed to have calmed down some.
(Sylar exits the kitchen and walks over to Mohinder.)
SYLAR: I had a kind of epiphany about it this morning. Are you familiar with Abraham Maslow, the peak experience?
MOHINDER: I'm afraid not.
SYLAR: It's, um ... A single moment that takes you out of yourself. Makes you feel very tiny or very large. To some extent, one with life or nature or God.
MOHINDER: I see ...
SYLAR: Like seeing all the pieces of a puzzle fit together. All this time, I was trying to fight it. Deny it. But there is no shame in having this ability, is there?
MOHINDER: None whatsoever. It would be like denying you have brown eyes.
SYLAR: Right. So, um ... I guess that you -- You want to see my ability.
MOHINDER: Yes! I mean, I'm quite anxious to document it.
(Sylar grabs a sheet of plastic and the toaster. He puts the plastic on the table and the toaster on the plastic.)
SYLAR: Ah. You might want to step back. That looks like a nice jacket.
(Sylar holds his hand over the toaster. The metal structure wavers, ripples and melts into liquid onto the plastic sheeting.)
MOHINDER: My God!
SYLAR: You want to see it again?
(Mohinder chuckles.)
CUT TO:
[EXT. (KERMIT) TRAILER PARK -- DAY]
(A black car pulls into the trailer park.)
(Nathan gets out of the car. He’s holding a slip of paper.)
(Meredith opens the door as Nathan walks up to her. They stop and look at each other.)
[INT. (KERMIT) TRAILER PARK -- DAY]
(Nathan sits down across the small table from Meredith.)
NATHAN: Look, for what it's worth, I'm sorry for the way things turned out. You know, I could've been a -- (He clears his throat.) A much better person back then.
MEREDITH: You politicians, you sure know your way around an apology. You and me, we were never gonna work out. Two diff --
MEREDITH/NATHAN: (both) Different worlds.
MEREDITH: Yeah.
(Nathan takes out an envelope and puts it on the table in front of Meredith.)
NATHAN: I, uh ... I hope this goes a long way toward making up for the fact that I wasn't there. For both of you. So ... Where is she?
[EXT. OUTSIDE TRAILER]
(Claire sits outside the window listening to their conversation.)
MEREDITH: Claire? You just missed her.
NATHAN: Did she want to see me?
MEREDITH: Yeah. I snapped a photo of her.
(Meredith looks at the camera phone photo.)
MEREDITH: Look how beautiful she is.
NATHAN: I'm--I'm sure she is.
MEREDITH: Take a look, Nathan.
(Nathan takes the phone and looks at the photo.)
MEREDITH: She came here with her bags all packed. She thought you were gonna rescue her from her tragic life. That sound familiar? I told her you're just here to pay your money and go.
(Nathan can’t take his eyes off the photo.)
NATHAN: Did I speak out of turn? I could call her. I could get her to come back.
(Outside, Claire nods her head, hoping he’ll agree.)
NATHAN: You did fine. You did just fine. I should probably be heading back to my family.
(Claire gets up from her position outside the window. She crouches low as the front door slams shut and Nathan heads back to his car.)
(She watches him get into his car. He closes the door.)
(Claire picks up a rock.)
(The car starts to leave. She throws the rock and hits the back window, cracking the glass. The car comes to a screeching stop.)
(Claire’s startled. She turns and runs.)
[INT. CAR (STOPPED) – CONTINUOUS]
(Nathan looks back and sees a bunch of kids playing on the road. He looks forward and sniffles.)
NATHAN: (mutters) Just the kids.
(The car continues down the road.)
(Nathan exhales and puts on his sunglasses.)
FADE OUT.
(COMMERCIAL SET)
FADE IN:
[INT. (VIRGINIA BEACH) TAYLOR RESIDENCE – DAY]
(Mohinder looks again at the different colored spots on the floor. There are partial items sticking out from the spots – the top of a lampshade, plastic items, etc.)
MOHINDER: I'm very interested in how you control this ... ability.
(Sylar shakes his head.)
SYLAR: Well, it's, like ... riding a bike for the first time.
(There’s a partially melted phone on the floor in a dark-colored spot.)
SYLAR: It's a little wobbly. And then I discovered something. A kind of peace. A sense of purpose that can only be described as destiny.
MOHINDER: I'd like to take a DNA sample.
SYLAR: From me, okay. Um, sure.
(Mohinder takes out a swab from his bag and holds it out to Sylar.)
MOHINDER: Just swab it on the inside of your mouth.
(Sylar takes the swab. Suddenly, the kettle in the kitchen starts whistling.)
SYLAR: The tea. If you'll excuse me for a second.
(Sylar gets up and heads for the kitchen.)
MOHINDER: (stands) Of course.
(Sylar takes the kettle off the burner.)
SYLAR: (calls out) I just swab it on the inside of my cheek?
MOHINDER: Yes, that's right.
(Sylar turns. On the floor in the middle of the kitchen is the real Zane Taylor, dead and bloodied on a plastic sheet. Sylar swabs the inside of Zane’s mouth.)
(Mohinder starts for the kitchen.)
(Sylar finishes swabbing Zane’s mouth and caps the swab tip.)
(Mohinder heads for the kitchen. Sylar steps out of the kitchen with the swab.)
SYLAR: There you go. DNA sample.
MOHINDER: Thank you.
(Mohinder takes the swab and heads back to the table.)
MOHINDER: You know ... You should be careful who you talk to about this ability, Zane. There's some people who might not understand ... who might want to hurt you.
SYLAR: Why would anybody want to hurt me?
MOHINDER: I don't know yet. But I do know this -- There are others out there like you.
SYLAR: Really? How many others?
MOHINDER: Dozens. And those are just the ones I know about. With more time and research, I could find hundreds, thousands! But, uh ... you're the first one who's returned my phone calls. But I am going to find them. All of them.
(Sylar stands up.)
SYLAR: I could go with you. I could help you. Think about it. These people could need convincing. Who better to do that?
(Sylar looks down at the partially melted phone on the table.)
(Mohinder looks at the phone. He looks at Sylar and smiles. Sylar nods back.)
CUT TO:
[INT. (LAS VEGAS) KITCHENS -- DAY]
(Hope leans against the wall. Ando returns with the pink bag. Hope turns and sees him.)
HOPE: Ando, over here!
ANDO: Hope!
HOPE: You got it. My hero.
ANDO: I was trapped under a bed. Your boyfriend is very large.
HOPE: You mean ex-boyfriend. (She grabs Ando’s hand and pulls him toward the door.) Come on. I need a ride to Primm. My mom's house. I'm sure she would love to meet you.
(Ando stops.)
ANDO: Where -- Where's Hiro?
HOPE: Oh, um, I took him to meet the guy who could introduce him to Mr. Linderman.
ANDO: He didn't wait for me?
HOPE: He said he didn't really need you anymore.
ANDO: But I didn't even give you your bag yet. Why didn't you wait for me --
(Hope kisses Ando.)
HOPE: Three's a crowd, baby. We gotta go.
(Hope and Ando leave.)
[BLACK SCREEN]
HIRO: (subtitled) One. Two. Three.
[INT. STORAGE ROOM]
(Hiro runs and uses his shoulder against the locked door.)
VARIOUS CUTS OF:
(Hiro runs into the door again and falls back onto the floor.)
(Hiro runs into the door and falls back onto the floor.)
(Hiro falls back onto the floor.)
(There’s a sound from the other side of the door. Hiro gets up and pounds on the door.)
HIRO: Oh! (subtitled) Ando? Is that you? I’m locked in!
(On the other side of the door, we see a folded chair jammed under the doorknob. Hiro pounds on the door.)
HIRO: (subtitled) She’s an awful woman! And so strong!
(Hiro continues to pound on the door.)
HIRO: (subtitled) She punched me!
(The door squeaks open.)
(A man with a suit points a gun at Hiro.)
HIRO: You're not Ando.
(The man shows Hiro his badge.)
GUSTAVSON: S.R. Gustavson, State Gaming Commission.
(Hiro gives him the "live long and prosper" hand sign.)
HIRO: I come in peace.
CUT TO:
[INT. (LOS ANGELES) JEWELER’S BUILDING -- NIGHT]
(Matt talks with the detective.)
MATT: I only saw the blonde -- Yes. But I heard them talking. I know there were two of them. I'm telling you, she was incredibly strong. She — she -- she broke my handcuffs.
DETECTIVE: Any idea where the diamonds are?
MATT: You didn't find the case?
DETECTIVE: No. I guess the incredibly strong killer and her partner must've taken it.
(The detective steps away from Matt. Matt takes out the single diamond that Malsky gave him. He looks at it in the palm of his hand. Then, he remembers something.)
(Matt ducks under the crime scene tape. The coroners have bagged Malsky’s body and are carrying it away. Matt looks around the area.)
MATT: (mutters) Fourth one over, third one back.
(Matt looks around and then looks up at the ceiling blocks.)
MATT: (mutters) Fourth one over, third one --
(Matt pushes the ceiling tile aside and finds the metal briefcase. He opens the case and finds the bag of diamonds inside. He grabs the bag and heads back to the detective.)
(He turns the corner and ducks back under the crime scene tape. The detective is taking notes. Matt stops when he hears the detective’s thoughts.)
DETECTIVE: (v.o., thinking) What a joke. Parkman. What a joke. Can't even do a decent job as a rent-a-cop. He'll never wear a police badge again in his life.
(Matt looks at the bag of diamonds. He tucks it in his pants pocket.)
(He walks past the detective.)
DETECTIVE: Parkman ...
(Matt stops and looks at the detective.)
DETECTIVE: You okay?
MATT: Yeah. Yeah, I'm good.
(Matt nods, turns and leaves.)
CUT TO:
[INT. (ODESSA) BENNET RESIDENCE -- NIGHT]
(The door opens. Claire enters the house. She closes the door, drops her bag on the floor and sighs.)
CLAIRE: Mom, I'm home!
(There’s no answer.)
MOHINDER: (v.o.) To survive in this world, we hold close to us those people on whom we depend.
(Claire heads inside. Mr. Muggles is barking.)
MOHINDER: (v.o.) We trust in them our hopes, our fears.
(Sandra is trying to chase Mr. Muggles away from her. He’s barking back at her.)
SANDRA: Go away, you!
CLAIRE: Mom, what's going on?
SANDRA: This mangy thing came at me out of nowhere. I think it has rabies. (to Mr. Muggles) Go away! Scat!
(There’s a pot boiling on the stove. Sandra throws the napkin over the pot at Mr. Muggles.)
CLAIRE: Mom, this is your dog, Mr. Muggles. You love him.
(Claire picks up Mr. Muggles.)
SANDRA: I don't have a dog. I don't know any Mr. Muggles. (She backs away from Claire.) And I don't know you.
(Sandra leaves the kitchen. Claire holds Mr. Muggles.)
(Claire holds back tears. She’s left alone in the messy kitchen.)
MOHINDER: (v.o.) But what happens when trust is lost? Where do we run when things we believe in vanish before our eyes?
[INT. (LAS VEGAS) SANDERS RESIDENCE – NIGHT]
(Micah sits in the chair in the living room. Jessica is on the phone.)
JESSICA: (to phone) It's time.
(As she listens, Jessica sits down and nods.)
JESSICA: (loud) Micah, did I get another package?
MICAH: Yeah, it's in your bedroom.
JESSICA: Thanks.
(Jessica stands up.)
CUT TO:
[INT. (LAS VEGAS) SANDERS RESIDENCE – BEDROOM -- NIGHT]
(Jessica is still on the phone. She rips open the envelope.)
JESSICA: (to phone) I'm opening it now.
(She takes out the photo.)
MOHINDER: (v.o.) When all seems lost, the future unknowable, our very existence in peril ...
JESSICA: (to phone) Yeah, I remember him. Hmm. (pause) Not a problem. Consider it done.
(Jessica looks at the photo of her next target --
MOHINDER: (v.o.) All we can do ... is run.
-- of Nathan.)
FADE TO BLACK.
TO BE CONTINUED ...
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