FADE IN:
[TITLE CARD: HEROES]
NARRATOR: (v.o.) Previously on Heroes ...
VARIOUS CUTS OF: PETER / HIRO
NARRATOR: (v.o.) Ordinary people across the globe --
(Hiro pokes his finger in the center of a car tire suspended in air during an explosion.)
NARRATOR: (v.o.) -- discover extraordinary abilities.
(Nathan flies straight up in the air to escape from Mr. Bennet and the Haitian.)
(Future Matt and a line of officers stand with their guns pointed at the elevator door.)
(Future Sylar cuts Future Claire’s head. Blood runs down her face as she realizes what’s happening.)
NARRATOR: (v.o.) After seeing a nightmare future, --
ANDO: (subtitled) We must teleport back to our own time!
(Hiro closes his eyes and concentrates.)
FLASH TO:
[EXT. (NEW YORK) DEVEAUX BUILDING – ROOFTOP – DAY]
(Hiro opens his eyes and they are back in the present.)
NARRATOR: (v.o.) Hiro returned to home to the present.
FADE TO WHITE:
[CLAIRE AND NATHAN]
NARRATOR: (v.o.) Claire’s reunion with her real father didn’t go as planned.
NATHAN: I have a chance to be a part of something big.
CLAIRE: The election. You need me to leave.
NATHAN: I need to win.
[MOHINDER]
NARRATOR: (v.o.) Suresh gained a new ally against the face of evil.
(Sylar sits at the Burnt Toast Diner.)
(Mohinder meets Thompson.)
THOMPSON: The best way to stop Sylar is for us to work together.
[SYLAR]
(Sylar holds his hands out and the pieces of shattered glass rise off the floor.)
NARRATOR: (v.o.) But Syar only grew more powerful --
(Sylar sends the pieces of glass flying out like knives. Mohinder ducks.)
[ISAAC]
(Isaac turns around.)
SYLAR: This is usually the part when people start screaming.
(With a twitch of his fingers, Sylar sends Isaac flying back to the floor.)
NARRATOR: (v.o.) -- and eliminated the painter who could see the future.
(He uses paint brushes to pin Isaac to the floor by his wrists.)
(Sylar kneels over Isaac.)
[BLACK SCREEN]
TEXT: TONIGHT
NARRATOR: (v.o.) And tonight --
VARIOUS CUTS OF:
(Hiro prepares to stab Sylar.)
NARRATOR: (v.o.) -- the pieces draw closer --
(Sylar’s eyes move and he sees Hiro.)
(Matt, Ted and Mr. Bennet are in New York City.)
NARRATOR: (v.o.) -- in the final battle --
(Claire holds a handgun.)
NARRATOR: (v.o.) -- to save the world.
[PETER’S DREAM]
(Peter starts glowing as he gains uncontrollable power.)
BOOM!
PETER EXPLODES !
NEW YORK EXPLODES !
FADE TO:
[TITLE CARD: HEROES]
NARRATOR: (v.o.) And now ... Heroes continues.
FADE TO WHITE:
FADE IN FROM WHITE:
[EXT. (NEW YORK) DEVEAUX BUILDING – ROOFTOP -- DAY]
CAPTION:
HIRO & ANDO
NEW YORK CITY
(Hiro opens his eyes. He takes a deep breath and smiles.)
(He and Ando walk to the rooftop wall to look out at the gorgeous city in front of them.)
HIRO: (subtitled) Now the hard part ...
(Hiro puts his sword back on. He and Ando both look out at the city.)
[EPISODE TITLE]
CHAPTER TWENTY-ONE
"THE HARD PART"
ANDO: (subtitled) Why are you smiling?
HIRO: (subtitled) It’s exciting. This is our chance to change the future.
ANDO: (subtitled) But how? How will we know what to do?
(Hiro takes the 9th Wonders! comic book out.)
HIRO: (subtitled) I have Mr. Isaac’s comic book. It’s not finished.
(He looks through it. He stops on the panel with him and Ando on the building roof.)
HIRO: (subtitled) It only has the pictures, not the words.
ANDO: (subtitled) We could be talking about anything.
(Hiro gets an idea.)
HIRO: (subtitled) Let’s go ask Mr. Isaac! He’ll know what we say!
(Hiro climbs up onto the wall. He looks out at New York City, lifts his arms up high and shouts to the entire city.)
HIRO: Don't worry, New York! (He takes a couple of steps to the right.) We will save you!
CUT TO:
[INT. (NEW YORK) PETRELLI MANSION – LIVING ROOM -- DAY]
(Peter is drawing in a sketchbook a picture of New York City in flames. A VOTE PETRELLI poster floats in the forefront of the inferno.)
CAPTION:
PETER PETRELLI
MANHATTAN
(Peter sits on the couch drawing in a sketchbook. Outside, car doors slam as Heidi and the boys return from their trip.)
HEIDI: Come on, boys. Honey, we're home.
(Nathan opens the front door and heads outside.)
NATHAN: How's my girl?
(Monty and Simon run to Nathan.)
MONTY: Daddy!
(He picks Monty up and reaches for Simon.)
NATHAN: Hey, boys, come here. Ugh! I got you.
(Claire comes down the stairs and stops near the top.)
HEIDI: (o.s.) Anything interesting happen while we were gone?
(She watches Nathan with Heidi and his sons. Nathan gives Heidi a kiss.)
NATHAN: Nope, everything was ... unbelievably ordinary. Wait'll you see what I got you guys.
(Nathan walks in carrying both Simon and Monty. Heidi wheels in her chair after them.)
NATHAN: What do you think it is?
(Claire watches them walk across the foyer.)
(Claire looks at Peter.)
(In the next room, Peter watches Nathan with the family. He looks up and sees Claire smiling at him.)
CUT TO:
[INT. PETRELLI MANSION – BEDROOM -- DAY]
(Angela grabs a coat off the hangar as she enters the bedroom. Claire follows her.)
ANGELA: Paris is cold this time of year, so here's a nice warm coat. Brown wool.
(She stops in front of the open suitcase of the bed and starts folding the coat.)
ANGELA: It's not flashy, but it's fashionable. Now let's talk about gloves.
(There’s a light knock on the door. Peter is standing outside in the hallway.)
ANGELA: I'll let you two say goodbye.
(She puts the coat down and leaves the room. Peter enters the room.)
PETER: You can't leave.
(Claire is packing.)
CLAIRE: I have to. At least until the election's over.
PETER: I found you in Odessa. We save each other. You end up being my niece. This isn't just random, okay--this is destiny.
CLAIRE: My father sacrificed himself so that I could have a life, not a destiny. You can't save me, Peter -- not this time.
PETER: And Nathan can?
CLAIRE: Nathan can keep me safe.
PETER: Safe?! You can't get hurt!
(He stops.)
PETER: You're here to save the world.
CLAIRE: How?! I'm sorry. I can't go around chasing some fantasy.
(Peter turns around and partially closes the bedroom door. He goes back to Claire.)
PETER: It's not some fantasy, okay? I explode. I see it. I wipe out this whole city. You, Nathan, everyone.
CLAIRE: You explode?
PETER: Yeah. Like a nuclear bomb.
CLAIRE: Nuclear? Like Ted.
PETER: Ted? Who the hell is Ted?
FADE TO WHITE:
FADE IN:
[EXT. (MISSOURI) USED CAR LOT -- DAY]
CAPTION:
BENNET, PARKMAN & SPRAGUE
ST. LOUIS, MISSOURI
(Ted stops at a station wagon. The line of cars are frosted with ice and partially covered by melting snow. Mr. Bennet opens the car door and tries the engine. It doesn’t turn.)
(Matt takes the opportunity to head to the nearby telephone. He dials.)
(Ted stands next to the car and puts his red-hot hands on the hood. He heats the car up, melting the frost and ice.)
(Mr. Bennet depresses the phone hook switch, disconnecting Matt’s call.)
MR. BENNET: I told you no phone calls.
MATT: It's my wife. If we're going on a suicide mission, I'd like to call her and tell her I love her, say goodbye.
MR. BENNET: You think I don't want to talk to my wife? That I don't miss my son and my daughter? We're doing this to protect the people we love. The company has a new tracking system. Now, this Walker System doesn't rely on isotopes and satellites. It just finds you wherever you are. So we've gotta play this smart. Switch cars, stay to the back roads ...
MATT: (nods) Fine. We go to New York; we wipe out the Walker System.
MR. BENNET: Exactly.
(They turn and head back to the car.)
MR. BENNET: Ted.
TED: Yeah, almost done.
(The ice on the car is completely melted off. Ted pops the hood as Mr. Bennet gets into the car. Matt gets in the passenger seat. Ted puts both hands on the engine. He looks at Mr. Bennet and nods. Mr. Bennet starts the engine. Ted’s hands flash as he sends a burst of energy through the car wiring.)
(The car starts.)
(Ted closes the car hood.)
TED: Let's go.
CUT TO:
[INT. (NEW YORK) ISAAC’S LOFT -- DAY]
(CU: PAINTING)
(A painting of Ted Sprague. Sylar’s in a trance and is painting. His eyes are white as he foregoes paint brushes and uses his hands.)
CAPTION:
SYLAR
MANHATTAN
(He finishes the painting and looks at it. It’s of a dark-haired man who looks like Sylar getting ready to attack Ted Sprague.)
SYLAR: (v.o.) That man ...
(Bits of the painting: Of the man who looks like Sylar with his closed fist and of Ted Sprague with his hands glowing.)
SYLAR: (v.o.) ... with the glowing hands.
(Sylar turns and looks at Isaac’s Exploding Man painting.)
SYLAR: (v.o.) He's the Exploding Man.
(He looks at the floor mural of New York exploding.)
(Appalled, Sylar drops the paint can and takes a step backward.)
(He looks at the Ted Sprague painting.)
SYLAR: (v.o.) I'm going to take his power.
(Sylar looks down at his own hands, then he looks over at Isaac, dead on the floor.)
SYLAR: (v.o.) I'm going to explode? Is this my future? Is that what you saw, Isaac?
(Sylar looks back at the Ted Sprague painting and shakes his head.)
INTERCUT WITH:
[INT. (NEW YORK) MOHINDER’S APARTMENT -- DAY]
(Mohinder steps out of the back room. He’s changed his clothes and grabs his jacket off the back of his chair. He heads for the door, passing by the wreckage in his apartment.)
(The phone rings.)
(Mohinder puts his jacket on, turns and answers the phone on the desk.)
MOHINDER: (to phone) Hello?
SYLAR: (from phone) Mohinder, I need your help.
MOHINDER: (to phone) Sylar?
INTERCUT WITH:
(Sylar stares at the painting.)
SYLAR: I think I'm gonna do something bad.
MOHINDER: You're a murderer. You don't get the luxury of regret.
SYLAR: You don't understand. I think I'm gonna kill a lot more people.
(Mohinder reaches into his jacket pocket and takes his cell phone out.)
SYLAR: A lot more. I understood it before -- the killing. I had a reason. To take what others didn't deserve. It was natural selection.
MOHINDER: (to phone) What are you talking about?
(Sylar strokes Isaac’s Exploding Man painting.)
SYLAR: An apocalypse. (He turns and looks at the floor mural.) A massacre. (He kneels.) Half the city gone in an instant. They mean nothing. They're innocent. There's no gain, so why would I do it? What possible reason could I have for killing so many?
(Mohinder dials his cell phone.)
MOHINDER: Wait, listen. You don't have to. If you're truly repentant about what you've done, turn yourself in.
(Sylar stands up.)
SYLAR: I can hear you dialing 911. It was a mistake to call.
MOHINDER: No, wait, Sylar--Sylar!
(Sylar hangs up.)
VARIOUS FLASHES OF THE PAINTINGS:
* Sylar’s painting of Ted Sprague.
* Isaac’s painting of the Exploding Man.
* CU: The Exploding Man’s hand.
* CU: Ted Sprague’s hand.
(New York exploding.)
BACK TO SYLAR
(New York explodes overlay on the floor mural of New York exploding and of the painting of Ted Sprague
(A FAR SHOT of New York exploding – the same as Hiro’s trip to the future.)
(We hold on Sylar.)
CUT TO:
[TITLE CARD: HEROES]
FADE OUT.
(COMMERCIAL SET)
FADE IN:
[EXT. (LAS VEGAS) SANDERS RESIDENCE (STOCK) – DAY]
CAPTION:
JESSICA SANDERS & DL HAWKINS
LAS VEGAS
DL: (v.o.) Where's Micah? A car from the Corinthian Casino picked him up.
[INT. SANDERS RESIDENCE – BEDROOM -- DAY]
(Jessica is in front of the closet mirrors while DL is talking to her.)
DL: That's Linderman's casino. What aren't you telling me?
JESSICA: Linderman said that he needed Micah for a job.
DL: A job? He's ten years old, and you let him go?!
JESSICA: Of course not. I told him no.
DL: What have you done?
JESSICA: Me? It was Linderman.
DL: No, this is your fault! Your responsibility. I'm done with you. I'll get Micah my damn self.
(DL leaves the room. A moment later, the front door slams.)
NIKI: (o.s.) Don't let him go.
(Jessica turns and finds Niki in the mirror’s reflection.)
NIKI: You're the one that can save Micah. He's gonna get killed if he goes alone. Please.
(Jessica considers it a moment, then heads out as well.)
JESSICA: Wait.
CUT TO:
[INT. (NEW YORK) KIRBY PLAZA BUILDING (FLOOR 42) – APARTMENTS -- DAY]
(Micah is in front of the television set playing a video game.)
CAPTION:
MICAH & CANDICE
NEW YORK CITY
(Candice is on the phone in the kitchen.)
CANDICE: (to phone) Everything's under control, Mr. Linderman. He's a good kid. Not that I mind the babysitting, but don't you think this is a waste of my talent? Thanks. (smiles) No, I appreciate that, I do. I will.
(She hangs up. She moves around the kitchen column and changes into "Jessica".)
MICAH: Who was on the phone?
CANDICE (AS JESSICA): It was Mr. Linderman. He wanted to make sure that you were ready for tomorrow. Isn't that nice?
(She walks over to him.)
MICAH: Mom, I don't like Mr. Linderman.
CANDICE (AS JESSICA): Well, why not?
MICAH: I don't know. He smells funny. Mom, I don't like it here. I don't want to do this.
CANDICE (AS JESSICA): Micah--
MICAH: I want to go home.
CANDICE (AS JESSICA): Mr. Linderman helped us, and now we have to help him. That's the last that I want to talk about it, okay?
MICAH: But, Mom, I just don't--
CANDICE (AS JESSICA): (firmly) Micah, that's enough.
(Micah is quiet.)
(She kneels in front of him.)
CANDICE (AS JESSICA): Hey ... You know that I would never let anything bad happen to you, right? Give me a smile.
(Micah smiles at her. She hugs him.)
CANDICE (AS JESSICA): Okay.
(Micah hugs her back, his smile fading.)
(We PULL BACK out the living room window and ZOOM down the side of the tall building – ZOOM down to a pool and red step sculpture down in the courtyard below. They’re in KIRBY PLAZA, MIDTOWN.)
[EXT. (NEW YORK) KIRBY PLAZA -- DAY]
CAPTION:
MOHINDER SURESH
KIRBY PLAZA
(Thompson walks up to Mohinder, his hand extended in greeting.)
THOMPSON: It's good to see you again, Professor.
(Mohinder doesn’t shake his hand.)
THOMPSON: So, have you thought about my offer? Are you ready to come to work for us?
MOHINDER: As far as I can tell, you're all a bunch of untrustworthy gundas.
THOMPSON: Is that a no?
MOHINDER: No, I'm not going to work for you -- you're going to work for me. You're going to show me everything you do, everything you know, and I'm going to use it to help me stop Sylar.
THOMPSON: And why would I do that?
MOHINDER: You raided my father's office in Chennai, planted Eden as my next-door neighbor. You want what I have -- the formula. I can find more of them. You're the one who needs me.
THOMPSON: Some people died because you led Sylar right to them. And now you blame yourself, so you become a vigilante. Hmm, that's cute.
MOHINDER: Is that a no?
THOMPSON: What choice do I have?
(They look at each other. Thompson motions to the building in front of them.)
THOMPSON: Come on in.
(They head inside.)
CUT TO:
[INT. KIRBY PLAZA BUILDING – MEDICAL OFFICES – DAY]
(Mohinder and Thompson enter the lab.)
MOHINDER: What is this place?
(Thompson closes the door.)
THOMPSON: There's someone you need to meet. Molly Walker. Does the name ring any bells?
MOHINDER: Yeah, she was on my father's list.
THOMPSON: That's right. Your father led Sylar right to her. He slaughtered her parents, then attacked her.
(Mohinder looks at the computer nearest him.)
MOHINDER: How did she survive?
THOMPSON: Well, luckily, we got to her. That's what we do. We find people with abilities, help them, protect them.
MOHINDER: And she's sick, isn't she?
THOMPSON: How can you tell?
(Mohinder is looking at Molly’s cells on the computer.)
MOHINDER: Her nucleotides are decomposing. You need to get her to a doctor.
THOMPSON: A doctor can't help her. I'm thinking maybe you can.
MOHINDER: I'm a geneticist. I wouldn't know the first thing about this.
THOMPSON: Molly's virus is very rare. It's destroying her nervous system. Prevents her from accessing her ability. There's been one other case: an Indian girl, 1974.
MOHINDER: My sister. Shanti died.
THOMPSON: Yes, we know.
(Thompson leads Mohinder to a section of the lab surrounded by a curtain. He pulls the curtain open to reveal a glass little girl’s room. Molly sits inside the room. She sees Thompson and waves.)
THOMPSON: Sadly, your father developed a cure months too late. Unfortunately for Molly, our people can't figure out what that cure is. Cute, huh?
MOHINDER: You're trying to manipulate me? Showing me this poor girl, preying on Shanti's memory. Sylar is out there, and he's planning a slaughter. Everyone is in danger, and this -- none of this is going to help.
THOMPSON: You just don't get it. Molly is the only one who can stop Sylar.
CUT TO:
[INT. (NEW YORK) ISAAC’S STUDIO -- DAY]
(Sylar is on the phone.)
SYLAR: (to phone) It's me. I know it's been a while, but I've been thinking about things. Thinking about the future -- my future. I know its last minute, but if I could just come talk to you. Can I come over? (pause) Great. I'll see you soon.
[EXT. ISAAC’S STUDIO – HALLWAY – DAY -- CONTINUOUS]
(Out in the hallway leading to the front door, we see Hiro and Ando walking past. Ando has the comic book.)
ANDO: (subtitled) The election is tomorrow. That’s two days before the bomb.
HIRO: (subtitled) Good. Then we have time to prepare.
(They stop in front the door.)
ANDO: (subtitled) Are you sure you’re ready? For this?
(He shows Hiro the panel where someone who looks like Hiro stabs someone who looks like Sylar.)
HIRO: (subtitled) A hero’s journey takes him down many dark paths ... before returning to light.
(Hiro nods. He grabs the comic from Ando and heads into the studio.)
[INT. ISAAC’S STUDIO -- DAY -- CONTINUOUS]
(Hiro opens the inner door and steps inside the studio.)
[INT. ISAAC’S STUDIO – BATHROOM -- DAY -- CONTINUOUS]
(Sylar is in the bathroom shaving with a straight-edged knife. The sink faucet is on, drowning out all other sounds.)
[INT. ISAAC’S STUDIO -- DAY -- CONTINUOUS]
(Hiro looks around. He stops when he sees Isaac dead on the floor, his head cut open. Hiro and Ando come down the stairs.)
HIRO: (subtitled) It’s just like before ... He died and ...
[INT. ISAAC’S STUDIO – BATHROOM -- DAY -- CONTINUOUS]
(Sylar is combing his hair in front the mirror. The faucet water is still running.)
[INT. ISAAC’S STUDIO -- DAY -- CONTINUOUS]
(Hiro appears to be in shock.)
HIRO: (subtitled) It’s happening. Just the way I saw it. First, Mr. Isaac ... then ...
(Hiro turns toward the bathroom just as the sound of a toilet flushing is heard. Someone is still in the loft.)
HIRO: (subtitled) -- the bomb?
(Hiro looks at Ando.)
(Hiro and Ando quickly duck behind Sylar’s painting.)
(Sylar gets out of the bathroom. He’s dressed demurely in his Gabriel Gray sweater, slacks and glasses. He turns to get his glasses from the table.)
(Hiro peeks out from above the painting and sees who it is.)
(He shows Ando the comic book and points to Sylar’s picture. Ando swallows hard.)
GULP!
(Sylar hears him and turns. Someone else is in the loft. He takes off his glasses and listens. He looks immediately at the painting.)
(Hiro and Ando are quiet.)
(Sylar walks up to the painting and listens.)
(We hear the soft sound of hearts beating.)
SYLAR: (quietly) I can hear you.
FADE OUT.
(COMMERCIAL SET)
FADE IN:
[INT. ISAAC’S STUDIO -- DAY]
(We continue where we left off – Sylar is facing the painting where Hiro and Ando are hiding behind. He knows they’re there.)
SYLAR: Whoever you are ...
(Hiro and Ando look at each other.)
SYLAR: ... come on out.
(With a flick of his fingers, Sylar telekinetically moves the painting. It goes flying across the room.)
(There’s no one there. Whoever was there is gone.)
(We hold on Sylar – confused.)
CUT TO:
[INT. CONVENIENCE STORE – DAY -- CONTINUOUS]
(A man is grocery shopping. In the blink of an eye, Hiro and Ando appear at the end of an aisle. The man pushes past Hiro and continues his shopping.)
(Hiro heads for the door.)
[EXT. SIDEWALK OUTSIDE – DAY -- CONTINUOUS]
(Sylar is walking down the sidewalk with a box tucked under his arm. As he passes the convenience store, the door opens and Hiro stops when he sees Sylar.)
(Sylar continues walking past.)
(Hiro and Ando step out onto the sidewalk.)
ANDO: (subtitled) Quickly ... before we lose him.
(Hiro quickly ducks back to the convenience store just as Sylar turns to look back over his shoulder. Seeing nothing, Sylar continues.)
(Hiro steps back out onto the sidewalk.)
HIRO: (subtitled) You ... want to follow him?
ANDO: (subtitled) Why not? He’s right here.
HIRO: (subtitled) Now? But the comic says that I kill him after the election ...
ANDO: (subtitled) You want to wait around for two days? Catch a show? He just killed Isaac! You must do it now!
(Hiro looks at the comic book with uncertainty.)
CUT TO:
[INT. (LAS VEGAS) CORINTHIAN CASINO – LINDERMAN’S MUSEUM – DAY]
(The museum is quiet. DL phases himself and Jessica into the room. She pulls herself out of his grip.)
JESSICA: You do that again, I will kill you.
(DL looks around.)
DL: You're lucky I didn't leave your ass stuck in the wall after what you've done. What the hell is this place?
JESSICA: It's where Linderman restores his art. He usually hangs out in here.
(DL walks over to a painting on the wall.)
DL: What's that? Is that supposed to be--
(It looks like Micah trapped inside a building while around him New York burns.)
JESSICA: Micah?
DL: Where is he?
JESSICA: I don't know--New York, maybe?
(Something catches Jessica’s attention. She walks over to a board with artwork and information about herself – a pencil sketch of Niki & Jessica, Isaac’s painting of Jessica and various other information about Niki and DL.)
DL: Her fourth grade report card. Niki's immunization records.
VARIOUS QUICK FLASHES OF:
* Niki Sanders’ immunization record
* A childhood photo of Niki and Jessica
* A childhood photo of DL or Micah
* A photo of a baby in a crib
* NEVADA STATE PROBATION DEPARTMENT record for
DR: 80297
INMATE: HAWKINS, D.L.
REF No: 654331818-5
CODE No: 66041818-5
*A photo of a teenaged DL
* HISTORY AND PHYSICAL EXAMINATION RECORD for:
DATE OF ADMISSION: 07/30/06
SOCIAL SECURITY NO: 2574-87-5698
* CLARK COUNTY PRISON, INMATE RECORD CARD
/ MURDER
SENTENCE: 10 YEARS TO LIFE
(handwritten) Continues to claim "not guilty" for
* Various family photos of DL, Micah and Niki.
DL: School photos and medical files.
JESSICA: He's tracked our entire life.
DL: This finally makes sense.
(Jessica’s freaked.)
JESSICA: No. No, this is crazy.
DL: Nobody does what you and I can do ... what Micah can do -- nobody. My life. Me and Niki, everything we had, it was -- it wasn't real. It was all Linderman's science experiment. All this time Linderman's just been playing with our lives.
(A file labeled DL HAWKINS catches his eye. He opens it and looks through it.)
JESSICA: What are you doing? Linderman obviously isn't here. We're wasting our time.
DL: If Linderman knows this much about us, he must know something about Micah--where he went, what he's doing. Linderman went to New York.
(DL finds a NOVEMBER calendar with the following notations:
On Nov 6: ARRIVE NYC
On Nov 8: PETRELLI
On Nov 9: RETURN TO LAS VEGAS. )
DL: Some note about Petrelli on election day.
(They turn and leave.)
JESSICA: We find Linderman, we find Micah.
DL: Let's get Micah the hell out of there.
(We linger on the painting of Micah in the burning building.)
CUT TO:
[INT. KIRBY PLAZA BUILDING – MEDICAL OFFICES – MOLLY’S ROOM – DAY]
(Mohinder pushes the door open with his shoulder and enters Molly’s room carrying a tray of syringes. Molly is sitting at a low table writing in a workbook.)
MOHINDER: Hi, Molly. I'm Dr. Suresh, and, uh, I need to take some blood, if that's okay.
(Molly sticks out her arm and pushes her sleeve up. Mohinder sets the tray down and takes the low seat next to her.)
MOHINDER: Molly, I want to stop the man who hurt your family, and who tried to hurt you.
MOLLY WALKER: You can't stop the boogeyman. He sees into your soul, and then he eats your brain.
MOHINDER: Well, you know who can stop the boogeyman? You. I hear you have an amazing ability.
MOLLY WALKER: It's not so amazing. They ask me where people are, and I find them.
(She flinches from the needle.)
MOHINDER: You find them? Anywhere in the world?
MOLLY WALKER: Yeah, I just think about them, and then I know where they are.
(Mohinder takes in the implications of that ability.)
MOLLY WALKER: But it doesn't work right now.
MOHINDER: Well, that is a very special ability, Molly. Because the boogeyman, he likes to hide. But if you can tell us where he is, we can make sure he never comes back again.
MOLLY WALKER: You're different from the other doctors. (She glances at her arm.) They're much better at this.
MOHINDER: (chuckles) Thanks.
(Molly smiles at him.)
CUT TO:
[INT. (NEW YORK) PETRELLI MANSION – LIVING ROOM -- DAY]
(Claire talks with Nathan. Peter watches from the side.)
NATHAN: You're telling me this guy Ted Sprague blew up your house?
(Claire glances at Peter. He nods for her to go ahead.)
CLAIRE: Yeah, pretty much.
PETER: Don't you see this, Nathan? Maybe I'm not the bomb. Maybe this guy Ted Sprague is. Maybe we can stop him.
NATHAN: You said you had a dream that you blew up New York City.
PETER: Yeah, I also dreamed that I could fly. We know how that turned out for you.
CLAIRE: (to Nathan) You can fly?
(Nathan rolls his eyes and shrugs.)
CLAIRE: (quietly) That's cool.
PETER: The election is tomorrow. Pick up the phone, call the FBI. We need to find him. Nathan ... trust me.
NATHAN: I'll make a few calls.
(Peter seems appeased. He turns to leave the room. Claire nods and smiles at Peter. She turns to follow him. Nathan stops her.)
NATHAN: Claire. You've been through a lot. You're very brave. I just want you to know that I admire that.
(Claire hesitates, then nods. She turns and leaves the room.)
(Once they’re gone, Nathan sits on his desk and picks up the phone. He dials.)
NATHAN: (quietly to phone) Mr. Linderman, we have a problem.
CUT TO:
[INT. HALLWAY OUTSIDE APARTMENT -- NIGHT]
(With the large white box tucked in the crook of his arm, Sylar walks down the hallway and stops at apartment #6. He knocks lightly.)
(Just outside the hallway window, we see Hiro and Ando peering inside and watching Sylar.)
(Off screen, we hear the door unlock.)
(The door opens a crack as a woman sees its Sylar. The door closes and the chain unlatched. The door opens again.)
(Virginia looks at Sylar and hugs him.)
VIRGINIA: Oh, thank you, Lord, for bringing my Gabriel home safe.
SYLAR: Hi, Mom.
(Outside the window, Hiro and Ando witness the reunion.)
HIRO: Huh?
(Virginia is pleased Sylar’s home.)
VIRGINIA: Thank you, Lord. Oh --
(She pulls him into the apartment.)
VIRGINIA: Come in, come in.
(In the back, Hiro and Ando run off to find another window to peer into. They leave our view.)
(As he’s being pulled into the apartment, Sylar turns and looks behind him.)
(Virginia closes the door.)
FADE TO BLACK.
CUE SOUND: The door closes.
FADE OUT.
(COMMERCIAL SET)
FADE IN:
[INT. VIRGINIA’S APARTMENT (#6) -- NIGHT]
(Virginia has a collection of snow globes on her shelf. She turns the room light on as they enter the living room.)
VIRGINIA: If I'd known you were coming, I would have straightened up more.
(Sylar opens the white box.)
SYLAR: Um, I brought it from Texas. It's ... for your collection.
(Virginia takes out the snow globe and turns it to watch the snow fall.)
VIRGINIA: Perfect! One more and I have the continent. I'm just missing Oregon.
(She puts the snow globe in the center of the shelf. It’s bigger than the others.)
VIRGINIA: I hear it's beautiful there. Green everywhere.
(She strokes the globe as she watches the snow fall.)
(Sylar looks off to the side.)
SYLAR: The clock's broken.
VIRGINIA: Oh, that old thing. I should have thrown it away years ago.
(Sylar gently takes the old wooden clock off the wall.)
SYLAR: It was Dad's.
VIRGINIA: It's junk.
SYLAR: It's a beautiful piece. It just needs a little attention.
(Sylar puts the clock on the table and prepares to work on it.)
(Virginia picks up a particular snow globe with a picture inside of Sylar when he was a child. She looks at it. Sylar takes out a tray of tools and sets it on the table next to the clock.)
(Virginia moves quickly to push his chair in as he sits. Sylar opens the clock cover, his attention completely on the broken clock. Virginia lightly strokes Sylar’s hair.)
VIRGINIA: I can tell you how proud I am.
(He reaches for a tool.)
SYLAR: (scoffs) I haven't done anything.
(Virginia sits down next to him.)
VIRGINIA: You've traveled the world. Some of us only get to see it in snow globes.
SYLAR: I'm tired of traveling. I think I might stay here.
VIRGINIA: In Queens? Why would you ever come back?
SYLAR: If I stayed, maybe I could stop. Maybe I wouldn't have to ...
(He turns his attention back to the clock.)
VIRGINIA: What? Gabriel. (suddenly) I'm gonna make you a sandwich. (She gets up and heads for the kitchen.) You want tuna fish?
SYLAR: Please don't; I'm not hungry.
(She starts taking out the things from the refrigerator.)
VIRGINIA: Well ... if you insist on staying -- you should call Mr. Bilger -- that man from Smith & Barney. You fixed his Rolex.
SYLAR: Why would I call him?
VIRGINIA: Because he said you should. He said you were very talented, and very special. M--Maybe he could get you a job.
SYLAR: I have a job. I fix watches.
(He finishes and takes his glasses off. He stands up.)
VIRGINIA: That's a hobby. Investment banking is a very lucrative field.
(Sylar hangs the clock back up on the wall.)
SYLAR: I can't be an investment banker.
VIRGINIA: You could be anything you want.
SYLAR: Mom, he wouldn't even remember who I am.
VIRGINIA: Who could forget you?
SYLAR: You're not even listening to me!
VIRGINIA: I am listening.
SYLAR: No. You're making a tuna sandwich.
VIRGINIA: So?
SYLAR: I asked you not to.
(Virginia closes the mayonnaise jar and gathers the sandwich items.)
VIRGINIA: (upset) I made a mistake. I'm sorry!
(She puts the things back in the refrigerator. Sylar goes to her.)
SYLAR: Mom -- Mom, don't.
(She fights him a little, then stops.)
SYLAR: Don't, it's just ... (sighs) ... maybe I don't have to be special. That's okay to just be a normal watchmaker. Can't you just tell me that's enough?
(She smiles at him and gently touches his face.)
VIRGINIA: Why would I tell you that when I know you could be so much more? If you wanted, you could be president.
CUT TO:
[INT. (NEW YORK) NATHAN’S CAMPAIGN HEADQUARTERS -- NIGHT]
(It’s the night before Election Day and the place is bustling. Peter leads Claire through the building toward Nathan’s office.)
CLAIRE: What are we doing here? Shouldn't we be looking for Ted?
PETER: The FBI and police aren't going to believe us. They'll take Nathan seriously, though. He can evacuate the people.
(Peter and Claire reach Nathan’s office. Claire stops him from entering.)
CLAIRE: Wait.
(Thompson is in the office talking with Nathan. She looks terrified.)
PETER: What?
(Claire grabs Peter and pulls him around the corner to the side where they can look into the office and still be partially hidden by the plant against the window.)
PETER: What, what, what -- what is it?
CLAIRE: (gasps) That man. That's the man my father works for. He's the one I've been running from. I’ve got to get out of here.
(Panicked, Claire turns to leave; Peter stops her.)
PETER: Whoa, whoa, whoa, wait a minute. (quietly) We don't know what's happening in there.
INTERCUT WITH:
[NATHAN’S OFFICE]
(Nathan talks with Thompson.)
NATHAN: Linderman doesn't have a grasp on the situation, Thompson.
THOMPSON: And why would you think that?
NATHAN: All the pundits think I'm gonna lose. And this morning my brother tells me about a fella named Ted Sprague -- ring a bell?
THOMPSON: We know all about Sprague.
NATHAN: I don't appreciate being kept in the dark. Especially not today.
[PETER AND CLAIRE]
CLAIRE: Oh, God, I can't believe I've been so stupid. My father took a bullet to keep me from that man, and now he's with Nathan.
PETER: It can't be what you think.
CLAIRE: Why do you keep running back to him?
PETER: 'Cause he's my brother.
CLAIRE: The truth is, you have no idea what's gonna happen.
[NATHAN AND THOMPSON]
THOMPSON: You're nervous.
NATHAN: Nervous? You want to blow up half of New York.
THOMPSON: Yes, we do.
[PETER AND CLAIRE]
CLAIRE: You're scared.
PETER: Yeah, I am. I'm terrified. I have to find a nuclear man, and I don't know if I can contain all that power.
CLAIRE: Then run the other way.
PETER: I can't.
CLAIRE: Why not?
PETER: Because if we save ourselves, who's gonna save everyone else?
[NATHAN AND THOMPSON]
NATHAN: Why are you asking me to make this sacrifice?
THOMPSON: For the best of reasons.
[PETER AND CLAIRE]
PETER: You're not alone, Claire. All right? You coming?
(Peter heads for the office. Claire turns and looks at Thompson with Nathan.)
CLAIRE: No ... this is crazy. I'm getting out of here.
(Claire leaves.)
CUT TO:
[INT. (NEW YORK) KIRBY PLAZA BUILDING (FLOOR 42) – APARTMENTS -- NIGHT]
(Micah is watching cartoons and eating out of a bowl.)
CANDICE (AS JESSICA): Micah, I'm gonna go hop in the shower.
("Jessica" enters the living room dressed in a towel and holding a coffee cup.)
CANDICE (AS JESSICA): You gonna be okay?
MICAH: Mm-hmm. Hey, Mom, I'm sorry that I talked back to you earlier. I know that you just want what's best.
CANDICE (AS JESSICA): Thanks.
(She turns and heads back. We note there is no SYMBOL tattoo on her shoulder.)
WOODY WOODPECKER: (from tv) Uh-oh.
("Jessica" leaves the room. As soon as she’s gone, Micah waits a moment. He hears the shower running. Micah quickly puts his bowl down on the table and turns the television sound up.)
WOODY WOODPECKER: (from tv) Now I got ya. Put 'em up or I'll blow you to bits!
(Micah runs to the door and finds it locked.
WOODY WOODPECKER: (from tv) Okay, you asked for it.
(Micah puts his hand on the security lock next to the door and zaps it.)
WOODY WOODPECKER: (from tv) Take that.
(He opens the door easily and slips out into the hallway.)
[INT. HALLWAY – CONTINUOUS]
(Micah runs through the hallway and turns the corner. He runs to the end of the hallway to the stairway door and opens it.)
[INT. APARTMENT – CONTINUOUS]
(He runs inside --
WOODY WOODPECKER: (from tv) Uh-oh.
-- and finds himself back in the apartment – a Woody Woodpecker cartoon is on the television and the shower water is running in the background.)
(Micah turns and runs back out of the apartment.)
[INT. HALLWAY – CONTINUOUS]
(Micah runs through the hallway and turns the corner. He runs to the end of the hallway to the glass door at the end and opens it.)
[INT. APARTMENT – CONTINUOUS]
(He runs inside --
WOODY WOODPECKER: (from tv) Uh-oh.
-- and finds himself back in the apartment – a Woody Woodpecker cartoon is on the television. He stops.)
MICAH: Who are you?
(Candice is out of the shower and is wiping her hair. He backs away from her.)
MICAH: How'd you do that?
CANDICE: I can make you see anything I want. Makes it kind of hard to get away, huh?
WOODY WOODPECKER: (from tv) Now I got ya. Put 'em up or I'll blow you to bits!
MICAH: Where's my mom?
(Candice turns the television sound down.)
CANDICE: Look, I don't want to hurt you. I like you. But if you don't listen to what Mr. Linderman says, well, I'll show you things that'll seriously mess you up for life. So you need to behave. Okay?
(We hold on Micah.)
CUT TO:
[EXT. (NEW YORK) ALLEYWAY OUTSIDE VIRGINIA’S BUILDING -- NIGHT]
(Hiro and Ando scuttle around the side of the building looking for the right window into Virginia’s apartment. They stop outside a window and peer in.)
[INT. VIRGINIA’S APARTMENT (#6) – NIGHT]
(Virginia is washing the dishes. Sylar sits at the table in front of a plate with a half-eaten tuna fish sandwich on it, some chips and a half-filled cup.)
SYLAR: What if I told you that I can be special? Important. But to do it, I'd have to hurt a lot of people. Should I?
VIRGINIA: You? You can never hurt anyone.
SYLAR: There's a lot of things that I can do that you don't know about. I have something to show you.
(He takes the water spray from her, pulls it out and shoots water up into the living room.)
VIRGINIA: (shocked) What are you doing?!
(Sylar covers the water spraying out into the living room with his other hand.)
(Hiro and Ando watch through the living room window.)
(Sylar uses a light touch of freezing power to turn the water spray into flurries. Hiro smiles as he watches. Virginia steps out into the living room under the shower of snow falling.)
(Sylar smiles, pleased with the trick.)
(Virginia turns under the falling snow, laughing with delight. It’s as if she’s standing in her own snow globe.)
SYLAR: I know how much you love snow globes.
VIRGINIA: How - how did you ...
(Virginia turns to look at Sylar, but he’s not paying any attention to her. He continues to freeze the water spray into snow. Virginia’s delight fades, her smile falls off her face. A wind blows through the room.)
VIRGINIA: Gabriel?
(Sylar isn’t paying attention to her. He smiles at using the power. The earth rumbles and the floor shakes)
VIRGINIA: (scared) Gabriel?
(He looks intensely back at her. Suddenly, a snow globe on the shelf flies off and circles around the room. Virginia ducks, trying to avoid getting hit by the heavy object.)
VIRGINIA: Ow!
(Hiro and Ando watch from the window as things go horribly wrong. Sylar continues to use his powers. More snow globes fly off the shelves and circle the room. The falling snow blows heavily. Virginia cries out and dodges the flying globes.)
VIRGINIA: Aah!
(A snow globe breaks, the glass cuts her cheek. Finally, Sylar sees the blood.)
(Virginia runs out of the room.)
FADE OUT.
(COMMERCIAL SET)
FADE IN:
[INT. KIRBY PLAZA BUILDING – MEDICAL OFFICES – NIGHT]
(Mohinder looks through the scope. He sighs heavily. He pushes the chair back and rolls away from the table. Frustrated, he hurls the papers on the table to the floor.)
(In the background, we see the door to Molly’s room open as she rushes out to see what’s happened.)
MOHINDER: I'm sorry, Molly. I didn't mean to frighten you.
MOLLY WALKER: (shrugs) You can't help me either. It's okay.
(Mohinder kneels and starts picking up the papers off the floor. Molly kneels to help him.)
MOHINDER: No, actually, my father did find a cure. It's called an antibody. Unfortunately, we don't know where or what it is.
MOLLY WALKER: It's hiding, like the boogeyman.
MOHINDER: Exactly.
(Molly takes an old photo out of a file.)
MOLLY WALKER: Who's that?
(Mohinder looks at an old photo of his dad, his pregnant mom and his sister.)
MOHINDER: It's my sister Shanti.
MOLLY WALKER: She's very pretty.
MOHINDER: This is the first time I've ever seen her. She died before I was born.
MOLLY WALKER: Am I going to die?
MOHINDER: Molly, my father did everything he could to save my sister. He was just a few months too late. I won't be, I promise.
(Molly reaches into her pocket and takes out a folded piece of paper.)
MOHINDER: Oh -- What's this?
MOLLY WALKER: It'll protect you from the boogeyman.
(Mohinder opens the paper to see she has a gold star drawn on it. He smiles.)
MOHINDER: Thank you.
(Molly gives Mohinder a hug. Mohinder hugs Molly back. She gets up and heads back to her room.)
(Mohinder looks at the gold star and at the photo of his family. He thinks about it and looks back at the computer image of Molly’s cells.)
CUT TO:
[EXT. VIRGINIA’S BUILDING -- NIGHT]
(Hiro and Ando continue to watch Sylar through the window.)
[INT. VIRGINIA’S APARTMENT (#6) -- NIGHT]
(Sylar knocks softly on the closed bedroom door.)
SYLAR: Please. I'm sorry I scared you, just come out and talk to me. Please.
(Inside the bedroom, Virginia is on her knees against the bed as she cries.)
(Sylar talks quietly to the door.)
SYLAR: Mom?
[EXT. VIRGINIA’S BUILDING -- NIGHT]
HIRO: (subtitled) He’s so sad.
ANDO: (subtitled) He’s distracted. Go on. Do it.
HIRO: (subtitled) I can’t kill a man who is asking for forgiveness. It’s not the Bushido code. Everyone deserves a second chance.
ANDO: (subtitled) No, Hiro. Not everyone.
HIRO: (subtitled) You don’t understand. You’re not ending another person’s life ...
(Hiro turns away. Ando quickly blocks his way.)
ANDO: (subtitled) Future Hiro would not hesitate to chop his head off.
HIRO: (subtitled) I’m not Future Hiro! I don’t want to be him!
CUT TO:
[INT. VIRGINIA’S APARTMENT (#6) -- NIGHT]
SYLAR: I saw a vision of the future ... and I'm gonna kill a lot of people. Tell me why I would do that.
(He turns around and slides down to sit on the floor, his eyes closed and his back to the door.)
[EXT. VIRGINIA’S BUILDING -- NIGHT]
HIRO: (subtitled): Future Hiro killed so much, he forgot it should be hard.
[INT. VIRGINIA’S APARTMENT (#6) -- NIGHT]
SYLAR: Mom?
(He hits the back of his head against the door in frustration. THUMP – THUMP – THUMP)
SYLAR: Mom?!
(THUMP – THUMP)
(He sighs and presses the heel of his hand to his eyes.)
[EXT. VIRGINIA’S BUILDING -- NIGHT]
ANDO: (subtitled) When we went to the future, didn’t you wonder where Future Ando was?
(Ando unfolds the comic book page and shows Hiro two panels – one of New York on fire and the other of Ando’s broken body on the ground.)
ANDO: (subtitled) I die. Sylar kills me.
(Hiro looks at Ando.)
[INT. VIRGINIA’S APARTMENT (#6) -- NIGHT]
(The bedroom door opens. Sylar quickly gets to his feet. Virginia exits the room and closes the door behind her.)
VIRGINIA: I'm leaving. And when I get back, I expect you to be gone.
(She walks past him. Sylar follows her.)
SYLAR: Don't say that, Mom. It's me -- it's Gabriel.
(She whirls around.)
VIRGINIA: You're not Gabriel. You're damned. And I want you out of my house.
(He grabs her wrist and she immediately starts fighting him.)
SYLAR: Mom--
VIRGINIA: Let go! Get away from me!
SYLAR: Mom, calm down.
VIRGINIA: Get away!
SYLAR: Calm down.
(She pulls out of his grip.)
VIRGINIA: (pleading) I want my son. What did you do with my son? Give me back my boy.
SYLAR: Mom, please, it's me. It's me, Mom, please...
(Scared, Virginia backs away from him. She reaches down into her knitting basket and pulls out a large pair of scissors. She holds it in front of her.)
SYLAR: No.
(Sylar tries to take it away from her.)
VIRGINIA: My Gabriel --
SYLAR: Mom, stop it, stop it!
(They struggle for the scissors.)
VIRGINIA: You're not--you're not!
SYLAR: Stop, stop.
VIRGINIA: (crying) You're not, you're not! You're not--
(In the struggle, Virginia is stabbed in the upper chest. Sylar takes a step backward and is absolutely horrified. Virginia looks down at the scissors in her chest. She falls forward and –
TIME FREEZES
(The front door opens and Hiro walks in. Virginia is at an angle, mid-fall.)
(Hiro takes out his sword. The door closes behind him. He walks up to Sylar.)
HIRO: I'm sorry.
(He puts the sword blade against Sylar’s throat and hesitates. He pulls back the sword to strike --
TIME RESUMES:
(Sylar’s eyes shift sideways toward Hiro. Virginia falls.)
HIRO: Hyah!
(Sylar grabs the sword with his bare hand, stopping Hiro’s sword from finding its mark. He turns toward Hiro. Virginia falls to the floor.)
SYLAR: That heartbeat ... You were in the loft. Why are you following me?
HIRO: (scared) I must stop you.
SYLAR: (dares) Then do it. (He pulls Hiro’s sword toward him.) Do it! Kill me!
(Sylar starts to ice Hiro’s sword. Hiro can’t get his sword out of Sylar’s grip.)
SYLAR: You can't, you coward. Now I'm gonna have to kill you.
(Kicking the door open, Ando bursts into the room.
ANDO: No! Hiro!
(Distracted by the interruption, Sylar looks up at Ando. Hiro reaches for Ando, puts a hand on his shoulder and teleports Ando, him and his sword out of the apartment.)
(They vanish.)
(Sylar looks around the empty apartment. He looks down and sees his mother dead on the floor.)
(He gasps.)
FADE OUT.
(COMMERCIAL SET)
FADE IN:
[INT. THE COMPANY BUILDING – LAB – DAY]
(Mohinder smiles as he hangs a bag up on the IV stand.)
MOLLY WALKER: You did it. You found the cure. Where was it?
MOHINDER: It was in me. Sometimes ... when a mommy and daddy have a sick child, they have another baby. A healthy baby with healthy antibodies. And if we're very lucky, the healthy baby's blood will heal the sick baby. Unfortunately, I was born a little too late to help my sister. But I'm not too late to help you.
(They smile at each other.)
CUT TO:
[INT. ISAAC’S LOFT -- NIGHT]
(Hiro and Ando appear in the loft.)
ANDO: (subtitled) What happened? Did you kill Sylar?
HIRO: (subtitled) I couldn’t. I failed. I failed you. I’m sorry Ando.
ANDO: (subtitled) You haven’t failed, Hiro. We still have two days to kill Sylar and stop the bomb.
HIRO: (subtitled) How? The sword is broken.
(He shows Ando the broken sword. He holds up both pieces.)
CUT TO:
[INT. (NEW YORK) PETRELLI MANSION – STUDY / FOYER -- DAY
(Peter opens the drawers in Nathan’s office and searches for something. He opens another drawer and takes out a gun. He hears footsteps coming down the stairs.)
(He walks out to the foyer and sees Claire coming down the stairs with her suitcase and jacket.)
PETER: You weren't even going to say goodbye?
CLAIRE: (sighs) Goodbye.
PETER: I think I figured a way for you to save the world.
(Peter holds the gun out for Claire. She looks at it. )
CLAIRE: (scoffs) That's how I save the world -- that's your plan?
PETER: I can handle Ted. But if I lose it, you're the only one who can get close enough to stop me.
(Claire looks at Peter, appalled.)
PETER: Right through the back of the head. You know the spot. Same place you pulled the piece of glass from.
(Claire ignores the gun and comes down the rest of the stairs.)
CLAIRE: My destiny is not to shoot you. The universe cannot be that lame.
PETER: You cannot run away from who you are, Claire. This bomb is happening.
CLAIRE: How can you be so sure?
(Peter puts the gun down on the foyer table and picks up his sketchbook.)
PETER: Because I can draw the future. I met a guy who can do it, now I can do it. You see?
(Peter shows Claire the sketch of New York burning, a VOTE PETRELLI poster in the foreground. Claire flips to the next page, showing another image of New York burning.)
PETER: Someone's gonna blow. Me, Ted -- it doesn't really matter. It's happening around the election, unless you stop it.
(Claire flips to another page. This one is of a close-up of Ted Sprague in front of a red stairway sculpture. His hands are glowing.)
CLAIRE: That's Ted. You drew Ted.
PETER: Are you sure?
CLAIRE: I'll never forget that face.
PETER: That's Kirby Plaza, midtown. Ted is here in New York. Don't you see, Claire? You're part of this. But you have to do this.
(He gives her the gun. She looks at it.)
CUT TO:
[INT. NATHAN’S OFFICE -- DAY]
(Nathan sits at his desk. He looks up when the door opens. Angela enters the office.)
ANGELA: Thank you, Brandon.
(Nathan gets to his feet.)
NATHAN: What are you doing here? I didn't think I'd see you till later tonight.
(Brandon closes the door.)
ANGELA: A mother can't be worried about her son on the most important day of his life?
(She hugs him.)
NATHAN: I was just working on the speech -- some details of the concession.
ANGELA: I'm not talking about the election. Linderman called me. He said you're getting cold feet. (She takes her gloves off and sits down.) It's natural to feel ambivalent. Nobody expects you to feel otherwise. So I wanted to give you perspective.
NATHAN: You know about Linderman's plans?
ANGELA: Yes. Well, they're not just Linderman's. A lot of people put time and care into making this a reality. Myself included.
NATHAN: You?
ANGELA: Yes, you don't know everything about me, Nathan. But I do know everything about you. And I know what you're capable of.
NATHAN: Do you think I'm a mass murderer?
ANGELA: Important men make impossible decisions. President Truman dropped two atomic bombs on Japan to end World War II. Killed thousands to save millions.
ANGELA: That is your one weakness, Nathan -- you have no faith. So how could you possibly believe this bomb could actually heal the world if you have no faith in the idea of destiny?
(Nathan stands up.)
ANGELA: Your destiny, Nathan, is to set the course of history after this unspeakable act has occurred.
(She takes his jacket off the hanger.)
ANGELA: The people will look back on what you do as the freshman congressman from New York, and they will thank you–for your strength, for your conviction, for your faith.
(There’s a knock at the door. It’s his campaign manager.)
(Nathan motions for him to wait a minute.)
ANGELA: In my day, we called it being presidential.
(She holds the jacket out for him and helps put it on him. He turns and looks at her.)
ANGELA: Can you believe?
(He takes a couple of steps away from her, turns and looks at her again.)
ANGELA: Can you be the one we need?
(He sighs and looks at her.)
ANGELA: That's my boy.
CUT TO:
[INT. VIRGINIA’S APARTMENT (#6) -- DAY]
(Virginia is dead on the floor, the pair of scissors still in her chest. Sylar is kneeling on the floor behind her, panting as his hands move over the floor. Is he cleaning up the mess? We hear swishing sounds of his hands in blood.)
(He lifts up his hand and blood drips from his fingertips. He continues to work.)
(A SIDE VIEW of the floor shows Sylar’s hands red from blood as he pushes the blood around on the floor.)
(He looks up toward his mother’s body. His eyes are WHITE from his trance-like state.)
SYLAR: You were right, Mom. I am meant to be special, just like you wanted.
(CRANE UP over the floor and we see the mural painted in blood of a large mushroom-cloud explosion.)
SYLAR: I can be anything.
(He sits back on his heels.)
SYLAR: I can even be president.
CUT TO:
[EXT. KIRBY PLAZA (MIDTOWN) -- DAY]
(Claire sits on the edge of the water fountain and she watches people walk by – a boy and girl holding hands, a father walking with his daughter, and a mother talking with her daughter. She looks away, suddenly very lonely and longing for home.)
(Peter returns to her.)
PETER: There's no sign of him.
(He looks at her and sees her crying.)
PETER: What's wrong?
CLAIRE: I'm not normal. I tried to pretend that I was, and I just hurt everyone--my mom, my dad. I ruined everything because of what I am. I hated it. But you -- when I met you, I finally felt like I was a part of something.
PETER: That's funny. I felt the same thing when I met you.
(He brushes the tears from her face.)
(He watches her. Claire glances away for a moment and does a double-take.)
(Matt, Ted and Mr. Bennet are headed their way.)
CLAIRE: Dad.
(Claire gets up and runs to him.)
CLAIRE: Dad!
MR. BENNET: Claire!
(They hug.)
MR. BENNET: I love you, Claire Bear.
(Ted walks past Peter. Matt stops and looks at Peter. Ted stops behind Matt. Peter turns and looks at Ted.)
(Peter looks down at his glowing hands. It’s happening now!)
PETER: Claire?!
(Claire turns to look at Peter, her smile fades.)
TED: What's he doing?
MR. BENNET: He's absorbing your ability.
(Peter looks at Ted and at the others.)
MATT: He's gotta make it stop.
(He’s not sure he can. Peter’s hands continue to glow red and surge with power. He concentrates and tries to stop it before it’s too late.)
FADE TO BLACK.
TO BE CONTINUED ...
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