FADE IN:
[EARTH (STOCK)]
NARRATOR: Previously on Heroes ...
CAPTION:
PREVIOUSLY
[EXT. (1671) FIELD – DAY]
(Hiro is on the ground. He looks up and sees White Beard and his warriors.)
CUT TO:
[HIRO]
HIRO: Kensei Takezo? (subtitled) Takezo Kensei?
(Kensei removes his mask and reveals he’s Caucasian.)
HIRO: (v.o.) You're supposed to be a hero!
(Yaeko slaps Kensei.)
KENSEI: Ohh!
(She storms away.)
KENSEI: I don't think she wants to be my princess.
[INT. (
(Mohinder talks with the Company’s representative, Bob.)
BOB: Dr. Suresh ... Can we count you in?
[INT. (COSTA VERDE) BENNET’S RESIDENCE – NIGHT]
(Mr. Bennet is on the phone with Mohinder.)
MOHINDER: (from phone) Finally took the bait.
INTERCUT WITH:
[INT. (CAIRO) HOTEL ROOM – NIGHT]
MOHINDER: (to phone) They caught up with me in
MR. BENNET: (to phone) And you and I will bring this whole company down.
[CU: PHOTO]
(Kaito Nakamura looks at a picture of him with the SYMBOL drawn over his face in RED.)
KAITO NAKAMURA: We are all in grave danger.
[EXT. (
(Kaito talks with Angela Petrelli.)
KAITO NAKAMURA: Our past has caught up with us.
CUT TO:
ANDO: (shouts) No!
(TOP VIEW DOWN: Kaito Nakamura is dead from falling off the rooftop.)
FLASH TO:
[INT. (COSTA VERDE) HIGH SCHOOL – SCIENCE CLASS – DAY]
(Clare meets West.)
WEST: I'm West.
CLAIRE: Claire.
WEST: Are you one of them? Or one of the others?
[INT. (
(Matt talks with Detective Fuller after taking his exam.)
DETECTIVE FULLER: I figured that you'd rather have a real one.
(Detective Fuller gives Matt a real badge.)
[INT. (
(Molly screams and wakes up from her nightmare. She clings to Matt.)
[INT. (
(Matt and Molly talk.)
MATT: We need to talk about the nightmares.
MOLLY: There's nothing you can do.
MATT: Molly! I wanna help you.
[EXT. (
(CU: WANTED POSTER OF MAYA AND ALEJANDRO.)
(Maya and Alejandro are on the run and being chased by a police car.)
MAYA: (subtitled) If we get caught, people could die.
ALEJANDRO: (subtitled) They’ll die if we don’t run.
WHITE FLASH TO:
[INT. (IRELAND) SHIPYARD – EMPTY CONTAINER -- NIGHT
(Peter is handcuffed to the container wall when Will, Tuko and Ricky walk in. The container is otherwise empty.)
RICKY: What the hell are you doing here? Who are you? What's your name?
PETER: I don't know.
(Tuko takes a step forward to hit Peter. Peter raises his hand and a bright flash of light bursts out, shoving him backward.)
(Peter looks at his hand with surprise.)
FADE OUT.
END OF PREVIOUSLY ON.
FADE IN:
[INT. (
(Will throws a bucket of water on Peter, who is shirtless and tied to a chair in the center of the room. Peter wakes up. Tuko steps forward and punches Peter in the face.)
RICKY: He's awake.
(Peter opens his eyes and looks around. He’s bleeding from cuts along his hairline, his mouth and ear.)
PETER: Where am I?
(Tuko punches Peter two more times.)
TUKO: Home.
CAPTION:
WANDERING ROCKS PUB
CORK, IRELAND
RICKY: You took something that's ours, boyo. Just tell us where you stashed the iPods.
(Peter looks at him and breathes heavily.)
RICKY: We'll cut your binds. You'll be on your way. (Peter doesn’t answer him.) As square a deal as you're likely to find.
PETER: I didn't take anything.
RICKY: (scoffs) Right. With the thousands of shipping containers coming through
PETER: I don't know how I got in there.
RICKY: You might wanna consider remembering, boyo. You're in a bad spot.
(He looks at Peter, but Peter can’t answer him because he doesn’t know.)
(When it becomes apparent that he’s not going to get an answer, Ricky takes a step back and motions for Tuko to take over. Tuko punches Peter.)
CUT TO:
[EPISODE TITLE]
CHAPTER TWO
"LIZARDS"
[INT. (COSTA VERDE) BENNET RESIDENCE – KITCHEN -- DAY]
(Sandra cracks an egg and drops it in a glass dish.)
CLANK!
(Sandra looks down at the boiling pot of water she’s cooking the eggs in.)
SANDRA: Ahh, dang it all. My wedding ring fell in with the eggs.
CAPTION:
BENNET HOUSE
COSTA VERDE,
(Claire walks up and looks into the boiling pot. She sticks her hand in and picks up the ring. Her hand is pink and blistering ... then it heals completely.)
SANDRA: We do have a colander, dear. No need to be flashy.
(She gives Sandra the ring. Sandra blows on it.)
CLAIRE: It's no big deal.
SANDRA: It isn't until it gets you noticed.
CLAIRE: I can't even be myself at home? It's bad enough that I have to be all fake at school.
MR. BENNET: (o.s.) We simply asked you to lay low.
(She turns and looks at her dad.)
CLAIRE: High school doesn't work like that, Dad. You lay low, and you get noticed more than anyone. They have metal detectors for people who lay too low. I have to be someone.
(Mr. Bennet gets the juice out of the refrigerator.)
MR. BENNET: You know I trust you, Claire. I mean, we got you your own car.
CLAIRE: You know, it may be easy for you to pretend that you're the most boring photocopier in the world. But I can't not be what I am-–whatever that is.
(He takes the juice and the glass to the counter.)
MR. BENNET: Making copies is not my job. Keeping this family safe is my job. And if that means that I don't have time to make you breakfast in the morning or I have to dress up in this stupid shirt so that we stay invisible and nobody finds us ... then that's what I'll do. And I need you to do the same.
(She sighs and kisses him on his cheek.)
CLAIRE: I forgot how weird it must be for you to play normal after being ... whatever that was.
MR. BENNET: Don't you feel sorry for your dad. Compared to the life I had ... normal's a pretty nice vacation.
(Sandra holds out the plate with Claire’s egg on it as Mr. Bennet pours the juice.)
(Claire takes the plate.)
CLAIRE: Thanks.
SANDRA: You're welcome.
MR. BENNET: Have a good day.
(Claire leaves the kitchen.)
[EXT. BENNET RESIDENCE –
(Claire gets in her car and heads off to school.)
[INT. BENNET RESIDENCE – KITCHEN -- DAY]
(Sandra picks up the US PRESS newspaper and shows Mr. Bennet the article on the bottom of the front page.)
SANDRA: Did you see this?
(The article headline reads: YAMAGATO C.E.O. DEAD AT AGE 70. There are two photos: one, a PR photo of Kaito Nakamura and the other of the crime scene.)
MR. BENNET: I knew this would happen. (sighs) Kaito.
SANDRA: How'd you know this was gonna happen?
(He doesn’t answer her immediately.)
SANDRA: Hey. That's not the way we do things anymore. No more secrets. That was the deal.
(Mr. Bennet looks at his wife and smiles.)
[INT. BENNET RESIDENCE – HOME OFFICE -- DAY]
MR. BENNET: This was done by a very gifted artist in
(Mr. Bennet walks into the office with a rolled up sheet of paper. He puts it down on the coffee table and unrolls it.)
MR. BENNET: Isaac Mendez. Everything he's ever painted has come true.
(He shows her the painting of a man on the ground in a pool of blood in what looks like the crime scene photo printed in the paper.)
MR. BENNET: Except for a series of eight. I was only given the first.
SANDRA: There's seven more. What's in the other paintings?
MR. BENNET: I don't know.
(She holds out the newspaper to compare the two images.)
MR. BENNET: But I'm gonna find them.
FADE TO WHITE:
[EXT. (
CAPTION:
DEVEAUX ROOFTOP
NEW YORK, NY
(The rooftop is a crime scene and is crawling with NYPD officers. Ando is talking with an officer. Detective Fuller arrives and ducks under the crime scene tape. Matt is behind him and stops at the table. Fuller turns around, exasperated.)
DETECTIVE FULLER: What, are you waiting on an invitation?
MATT: Oh, no. (He ducks under the tape.) I've just spent so much time on that side of the tape, I was just savoring the moment that’s all.
DETECTIVE FULLER: Yeah, well, welcome to the big leagues, Detective. Let's hope you survive. All right, got KAITO NAKAMURA: seventy, a Japanese national, CEO of a Yamagato Industries. Now, he fell out of the sky onto Central Park West with this in his pocket. That look familiar?
(He shows Matt the photo with the SYMBOL in a bag.)
MATT: Uh, no. No, I've never seen this before.
(They head over to the edge of the building.)
DETECTIVE FULLER: Well, Mr. Masahashi here is a witness. He says that he saw Mr. Nakamura being pushed by someone who went over with him.
MATT: But we've only got one body.
(They look down over the side of the building.)
DETECTIVE FULLER: Well, either the killer fell twenty stories, got up and walked away, or flew away. You know somebody that can do that?
(Matt doesn’t answer him. An officer hands Fuller a print sheet.)
DETECTIVE FULLER: Ah. We ... uh ... found a fingerprint on the photo. Got a match.
(He gives the print info sheet to Matt.)
MATT: Angela Petrelli. We need to bring her right in.
(Detective Fuller doesn’t say anything. He walks away leaving it to Matt. Matt turns and looks at Ando.)
MATT: Mr. Masahashi.
(Ando walks over.)
MATT: You ever seen this symbol before?
(Matt shows the photo to Ando.)
ANDO: Yes. It is a kanji. It means, "great ability, godsend."
MATT: Ability?
ANDO: It is the crest of Takezo Kensei, a famous hero in
MATT: I need to talk to him.
ANDO: So do
(Ando walks away.)
CUT TO:
[EXT. (1671) – DAY]
CAPTION:
1671
(Hiro runs down the hill and stops at the base of the river. He runs alongside the river and heads over to the establishment. Hiro runs to the proprietor.)
HIRO: (subtitled) Have you seen a scary white man?
(The proprietor points to the side.)
(Flies buzz, a horse moves away and we note Kensei sitting propped up at the base of a tree, drunk as a skunk.)
(Hiro sighs and heads over.)
(Kensei slaps a fly away from his face.)
CUT TO:
(Hiro dunks Kensei’s head into a trough full of water to sober him up.)
HIRO: You must be sober! If we don't go after Yaeko right now, she'll be killed!
KENSEI: Who's Yaeko?
HIRO: The girl you're supposed to fall in love with!
KENSEI: The one who hates me?
HIRO: Yes, before I came back in time and ruined everything, she was supposed to be your princess, and you, a hero.
(Kensei looks at Hiro.)
KENSEI: You look like a fish when you talk.
HIRO: No, I promise, if you do this, they will tell the story for 400 years ... minimum!
KENSEI: Like a giant carp.
(Hiro grabs Kensei and shoves his head back under the water.)
HIRO: (subtitled) I already made a mess of the past. The space / time continuum can’t take any more.
(Hiro pulls Kensei back up and Kensei falls to the ground, passed out.)
(Hiro sighs with defeat.)
HIRO: (subtitled) History needs Takezo Kensei to be a hero today ...
(He sees Kensei’s armor and mask under the tree. It’s there. Under the tree.)
(Hiro pushes his glasses up and straightens as he gets an idea.)
CUT TO:
(And ... he’s off! Hiro, dressed in Takezo Kensei’s armor, gallops away on the horse.)
HIRO: (subtitled) Ando’s never going to believe this one!
(Hiro laughs.)
HIRO: YA-HOO!
SMASH TO:
[TITLE CARD: HEROES]
FADE OUT.
(COMMERCIAL SET)
FADE IN:
[INT. (COSTA VERDE) HIGH SCHOOL – SCIENCE CLASS -- DAY]
(Mr. Zern is giving a talk about evolution. On the screen, he shows images of a newt regrowing a limb.)
MR. ZERN: This video demonstrates the newt's amazing ability to re-grow a completely working limb. But newts are not the only creatures with this talent. Thanks to millions of years of combined mutation, lizards are capable of cellular regeneration.
CLAIRE: You mean like people who can heal themselves?
(He chuckles.)
MR. ZERN: No, not people, Claire. Lizards. And raise your hand, please.
(Claire raises her hand.)
CLAIRE: But it's possible, right? For people to be able to do that too? I mean, theoretically.
(West stares at Claire.)
MR. ZERN: Well, there's a lot of controversial, though promising, work with stem cells.
CLAIRE: So we might be able to culture whole organs and limbs for people who need them?
MR. ZERN: I guess the next step for us is phasing out the extra parts. We're not using the appendix anymore, or grinding bone with our wisdom teeth. We don't even really need a pinky toe for balance. It's all just ... junk in our DNA.
CLAIRE: I've read that some people might have evolved a different code already. Is that possible?
MR. ZERN: I'm afraid you are gonna need an advanced degree in genetics to get at those answers. And I hope you thank me in your dissertation.
(Mr. Zern steps away. The class stares at Claire. She turns and finds West staring at her.)
CLAIRE: What?
CUT TO:
[INT. (
CAPTION:
(The door opens and Mohinder walks in. Bob enters the room from another entry. He sees Mohinder.)
BOB: Oh, so how'd you like the jet? A lot better than flying coach, huh?
MOHINDER: I didn't agree to work with you for the comforts.
(Mohinder removes his bag and puts it down on the chair near him.)
BOB: Still, it doesn't hurt.
MOHINDER: I can't help people with abilities unless I have access to all your records and your labs.
BOB: Of course, of course. And right now, I need to get you back on that plane because I have your first assignment here somewhere.
MOHINDER: Assignment? I thought you said your company kept its medical samples here.
BOB: Not samples. (He holds up an envelope.) A man. In
(Bob gives Mohinder the envelope.)
MOHINDER: (sighs) The virus.
BOB: Mm-hmm.
MOHINDER: If there's another case, there could be some reservoir of infection.
(Excited, Mohinder opens the envelope.)
BOB: That's what I need you to find out. To date, there have only been two presentations of the disease--your sister in 1974 and Molly Walker four months ago. If there is actually a third case --
MOHINDER: Then it is spreading. I'll test him. If it's true, I'll bring him back as soon as possible.
(Mohinder turns to get his things.)
BOB: Oh, and, doctor ... as of now, your blood is the only cure for that virus. Try not to get yourself killed.
CUT TO:
[INT. (
CAPTION:
COATEPEQUE, GUATEMALA
50 KM FROM MEXICO
(Nidia opens the door and smiles as she sees Alejandro and Maya.)
MAYA: (subtitled) Nidia. You remember us?
(She gives them a hug and welcomes them.)
NIDIA: (in Spanish)
(They enter her place and she closes the door.)
NIDIA: (subtitled) You are all grown up, but I still see you as children.
(Maya removes her hat.)
NIDIA: (subtitled) I still remember the day you were born. First Maya, then Alejandro right behind. I see it is still the same way. Maya ... Go ahead and rest.
(Maya heads into the room to rest as Nidia talks with Alejandro.)
ALEJANDRO: (subtitled) You will help take us across the river into
(She nods.)
ALEJANDRO: (subtitled) We have no money.
NIDIA: (subtitled) I cannot take money. This is no place for the young to make their lives.
ALEJANDRO: (subtitled) It’s been so long since anyone has been so kind to us, Nidia. I’ve forgotten what it means to trust someone.
(Maya is in the bedroom removing her shoes.)
NIDIA: (subtitled) Others will be coming soon. We have a long night ahead. Come, you must be tired.
ALEJANDRO: Gracias.
(Alejandro goes into the bedroom as Maya climbs on the bed.)
ALEJANDRO: (subtitled) You see? We’re almost there.
(He sits on the edge of the bed. Maya has her reservations about being there.)
MAYA: (subtitled) It’s not right to risk her. We should find a way to cross alone.
ALEJANDRO: (subtitled) The police know our faces. We have to keep going.
MAYA: (subtitled) But what if it happens again.
ALEJANDRO: (subtitled) I won’t let that happen.
CUT TO:
[INT. (IRELAND) WANDERING ROCKS PUB – BACK ROOM – DAY]
(Peter’s hands are tied securely around the back of the chair. He’s beaten and bruised. A door squeaks open. Peter turns to see the door to the room swing open. He sees a woman standing there.)
CAITLIN: Bet you were prettier yesterday.
(She walks into the room and kneels in front of him.)
CAITLIN: I like your necklace. What does it mean?
(She puts her things down.)
PETER: I wish I knew.
(She uses the wet cloth to wipe the blood off Peter’s face.)
CAITLIN: Let's try an easier one. What's your name?
PETER: I don't know.
CAITLIN: It's not your day, is it? I'm Caitlin. You know that much now.
(She put the bloodied towel in the pan of water and squeezes.)
PETER: Caitlin.
CAITLIN: Mm-hmm?
(She starts dabbing at his face again.)
PETER: What are they gonna do to me?
CAITLIN: I don't know. Whatever me brother thinks is best.
PETER: Your brother? Did he send you in here?
CAITLIN: He'd pitch an epic fit. Thought I'd try a kinder tack. Thing is, this job, it's bigger than you and a couple of quid. They pulled it for this man named McSorely. Promised delivery today.
PETER: So what happens if the guy doesn't get what he wants?
CAITLIN: You have to remember something. Anything--a name, a face.
(She continues wiping the blood from his face.)
PETER: First thing I remember is your brother and his crew finding me. Then the big guy came at me and --
CAITLIN: And an electrical short blew Tuko on his arse -- I heard the story.
PETER: The spark. I think it came from me. My hand.
(Caitlin stops wiping his face and stares at him.)
PETER: I--I know that it seems--
CAITLIN: Is it possible? I've just rung out ... a lot of your blood. You don't have a mark on you.
(Sure enough. She’s wiped all the blood off Peter’s face and he’s not cut at all.)
(Peter turns and looks at his reflection in the mirror.)
FADE OUT.
(COMMERCIAL SET)
FADE IN:
[EXT. (
(Pull back. The area is bustling. Mohinder opens the door to the building and looks inside. He backs up and heads out along the busy street.)
CAPTION:
(Mohinder looks around. He turns and knocks on a nearby door. He opens the door and enters.)
[INT. RESIDENCE – CONTINUING]
(He calls out in French.)
MOHINDER: (subtitled) Is anyone here?
(The place looks empty. It’s a small living quarters. The door closes behind him.)
MOHINDER: (subtitled) My name is Mohinder Suresh. I’m a doctor.
(He goes over to the bed where someone is, their back turned toward him. He reaches out and sees that it’s THE HAITIAN.)
MOHINDER: (subtitled) There’s a possibility you have a very rare virus. That’s why I’ve come. I may be able to help. Give you a cure.
THE HAITIAN: (in English) I do not want your cure.
(Mohinder turns to open his case.)
MOHINDER: Without it, you could die.
THE HAITIAN: God gave me a power. I abused his gift, so he took it away. Now I suffer his judgment.
MOHINDER: Then perhaps we should leave it to God to decide. The chances are you carry one of a hundred viruses I can do nothing about. If you somehow carry this one virus, there is only one cure. The distillation of my own blood, and I was guided to you. Surely that's a sign. Just the same as your suffering.
THE HAITIAN: A sign of what?
MOHINDER: That God isn't quite done with you yet. So, my friend, shall we see if he still offers redemption?
CUT TO:
[INT. (
(Maya suddenly wakes up. She turns and finds Alejandro sitting on the bed watching over her. Nidia and other people are in the next room.)
HEALER: (subtitled) He watches over you.
MAYA: (subtitled) My brother has always been there to protect me. From the day we were born.
HEALER: (subtitled) Twins.
(Maya nods.)
HEALER: (subtitled) Nidia is helping you cross too?
ALEJANDRO: (subtitled) My sister is not well. We are going to get her medical help.
HEALER: (subtitled) It must be serious to make such a dangerous journey. Perhaps I can help. I am a healer.
ALEJANDRO: (subtitled) We are going to
HEALER: (subtitled) Let me ... please.
(She gets up and heads over toward them. She sits on the bed facing Maya and takes her hands.)
HEALER: (subtitled) Don’t be afraid.
(She holds Maya’s hands and closes her eyes.)
HEALER: (subtitled) It is a new illness. You fear it will spread. You fear ... yourself.
(The Healer gasps. She opens her eyes wide with fear.)
HEALER: (subtitled) What you carry inside you is black. Enough to kill the devil.
(She drops Maya’s hands.)
HEALER: (subtitled) No one can heal you.
(Maya looks at her hands. The Healer starts to back away, scared of Maya.)
HEALER: (subtitled) You are cursed. Vamanos.
(She guides her daughter out of the apartment as they leave.)
HEALER: (subtitled) Vamanos. Vamanos.
NIDIA: (subtitled) She’s just a little girl – please wait.
(Maya huddles on the bed, scared.)
HEALER: (subtitled) No! We will not cross with them.
(The people leave.)
(Maya and Alejandro look at each other.)
CUT TO:
[EXT. (1671) – DAY]
(Yaeko is fighting against a group of samurai while White Beard, their leader, watches on the side. Their swords clang, metal against metal. And although, she’s serious about the fight, the men laugh at her.)
YAEKO: (subtitled) (angry) You don’t deserve to call yourselves Samurai. You feed on suffering.
WHITE BEARD: (subtitled) Today we will feast on yours. (She turns and looks at him.) I need your father alive, but I have no need of you.
HIRO: (subtitled) (o.s.) Step away from her!
(The samurai turn around to face Hiro. Those without draw their swords.)
(Hiro faces them with his hands on his hips.)
HIRO: (subtitled) Takezo Kensei demands it!
(Yaeko stops.)
WHITE BEARD: (subtitled) And why does he think we will listen?
(White Beard draws his sword.)
HIRO: (subtitled) Because Takezo Kensei is the greatest swordsman
BRIGAND: (subtitled) (mutters) Why does he keep saying his own name?
WHITE BEARD: (subtitled) How can you boast such skill with a sword when you don’t have one?
HIRO: (subtitled) I don’t need a sword. I have all of yours!
(CU: HIRO – Under his mask, we know Hiro squints his eyes.)
(In the next moment, all the twelve samurai have lost their swords. They hold nothing but air.)
(They turn and look around.)
(The TWELVE SWORDS are stuck in the ground around Hiro.)
WHITE BEARD: (subtitled) What?
(Everyone’s confused. Even Yaeko.)
(White Beard turns and orders his men.)
WHITE BEARD: (subtitled) Men! Take up your bows!
(The samurai take out their bows and arrows. Hiro laughs.)
HIRO: (subtitled) I wouldn’t do that ...
(The samurai aim at Hiro.)
(The next moment, their bows and arrows are GONE! They look around, confused.)
(Hiro laughs. He’s holding all their weapons.)
(Yaeko is impressed.)
HIRO: (subtitled) Go now ... (Hiro drops the bows and arrows.) Before I take your clothes next.
(The samurai back away, spooked.)
HIRO: (subtitled) That’s right! Go!
(The samurai turn and run.)
HIRO: (subtitled) You could write about this in your history books!
(Yaeko chases after them, hitting the stragglers with her scabbard.)
HIRO: (subtitled) (shouts) "The Battle of Twelve Sword," that’s a good name!
(The samurai run away.)
(Hiro’s pleased with it.)
(Yaeko turns and runs over to Hiro, who has since gotten his horse and rides over to her. She looks up at him.)
YAEKO: (subtitled) May good fortune always be with you, Takezo Kensei.
HIRO: (subtitled) If you will ride with me, I will consider fortune and I even.
(He holds out his hand to her. She takes his hand and he pulls her up on the horse behind him.)
(They ride off.)
CUT TO:
[INT. (IRELAND) WANDERING ROCKS PUB – BACK ROOM – NIGHT]
(Peter struggles against the ropes tied around his wrists. In the next room, he sees Caitlin, Ricky and the others.)
RICKY: (to Caitlin) Keep an eye on him. If he so much as lays an inconsiderate fart, you grab the gun.
CAITLIN: What am I, twelve?
(Ricky puts his jacket on.)
RICKY: (teases) Always.
(She playfully slaps Ricky on his arm.)
(Ricky, Tuko and Will leave.)
(Peter looks around the small room he’s in and continues to struggle with the ropes around his wrists. He’s not having any success.)
PETER: (softly) Uhh! Come on. Come on.
(He stops and takes a couple of deep breaths. He tries again, but the rope is very strong.)
(He takes a deep breath and closes his eyes. His hands phase through the ropes. And he’s free.)
(He sighs.)
(Peter looks at his hands. He’s incredibly spooked.)
(Peter gets up and immediately goes to the window to see if he can get out. He pushes the window open and grabs a shirt.)
[INT. (
(Caitlin is cleaning the main room when two men enter.)
CAITLIN: Sorry, fellas. Ricky and the boys just left.
(Peter pauses. He then heads for the window.)
MCSORLEY’S THUG (TIRE IRON): Aye, I saw. We're not here for Ricky.
[INT. (
(Peter stops and pauses a moment. He turns and heads for the window.)
[INT. (
(Caitlin leans over the counter and puts the glasses she’s holding down. She reaches for the gun under the cloth.)
CAITLIN: Lucky then. I've just tapped a barrel. Two pints?
(She turns around, but he’s ready for her. He grabs her hand.)
MCSORLEY’S THUG (TIRE IRON): Ahh! Ha! No, thanks, love. We came for you.
(She knees him in the groin. He grunts, but doesn’t go down. He turns her around and pushes her face down into the counter. He has a crowbar in his hand.)
(Peter appears in the main room. He hasn’t left. He holds out his hand and sends a burst of electrically charged light at the thug. It hits him in the chest. He cries out and he falls backward to the floor.)
(The second man, McSorley’s son, lifts the rifle he’s holding and cocks it. He starts toward Peter.)
(Caitlin straightens.)
(Peter motions and telekinetically knocks the rifle out of McSorley’s son’s hands. It hits the wall.)
(Peter steps forward.)
(With nothing in his grip, McSorley steps toward Peter and punches him in the face. Peter turns and uses his super-strength and punches him back. McSorley’s son flies backward from the force of the punch and hits the wall, breaking the mirror.)
(He falls on the table and breaks a chair.)
(Caitlin looks at Peter. Peter looks at his fist. He turns and looks at the pub. The two men are out on the floor and the place is a mess. But Caitlin is fine.)
(Caitlin exhales the breath she’s been holding.)
(HOLD on PETER.)
FADE OUT.
(COMMERCIAL SET)
FADE IN:
[EXT. (COSTA VERDE) HIGH SCHOOL – HALLWAY -- DAY]
(Claire closes her locker as the school bell rings. She turns and West steps into view.)
WEST: So ... lizards, huh?
CLAIRE: Tell me you didn't just time that so I'd walk right past you.
(Claire walks past West, who follows her.)
WEST: I figured you'd be more into whales or something. Unicorns.
CLAIRE: You know, you make a lot of assumptions. Is my hair really that blonde?
WEST: I think it's cool, actually. I'm sort of into genetics too.
CLAIRE: I didn't say I was into genetics.
WEST: You don't have to hide everything interesting about you. Biology is supposed to be our destiny. But people forget ... Genes can change.
CLAIRE: I thought guys like you were supposed to sit at the back of the classroom and hate everything.
WEST: I just found this book. It's by some Indian guy. I can barely even pronounce his name. It's about everything you're talking about--people who've evolved. There's a whole chapter on regeneration.
CLAIRE: Sorry, I ... uh ... left all my awesome genetic textbook reading for the summer vacation.
WEST: You should see it. I-I could bring it over. Get you on your way to your PhD.
CLAIRE: You know, I don't really care that much. I was just kind of bored in class.
(Claire takes her car keys out of her pocket.)
WEST: Really?
CLAIRE: Yes, but if you like lizards, that's awesome -- have fun. And I gotta go home.
(She lifts her keys to look for her car –
-- and it’s NOT THERE.)
CLAIRE: Where's my car?
(Claire stands in the empty STUDENT PARKING space, looking around for her missing car.)
CUT TO:
[EXT. (1671) -- DAY]
HIRO: (subtitled) Sorry. Back home, my friend Ando usually did the driving.
(Yaeko gets down from the horse. Hiro is already on the ground. They walk.)
YAEKO: (subtitled) I owe the Master Kensei the greatest of apologies. I thought you had absconded with our money.
HIRO: (subtitled) Me? Never. I promise your father will be rescued.
YAEKO: (subtitled) Takezo Kensei is as honorable as he is brave.
(They stop walking. Hiro looks up at the cherry blossom trees.)
HIRO: (subtitled) The cherry blossoms are in full bloom. We have met in an auspicious time.
YAEKO: (subtitled) A tree that brings so much beauty, yet bears no fruit. Even the deer have come to enjoy them!
(Hiro turns and sees the deer in the distance. He chuckles.)
HIRO: (subtitled) My father once told me ... Deer are the messengers of God. If you tell a deer your wish, it can pass on the message.
YAEKO: (subtitled) Heaven has already sent me what I most desire. Someone to save us all. And bring us hope.
HIRO: (subtitled) You are too kind.
YAEKO: (subtitled) Take off ... your mask.
(She reaches for his mask. Hiro backs away.
HIRO: (subtitled) There are things I could not say if you looked on my face. You ... disarm me. It is no surprise Takezo Kensei’s love for you will be the stuff of legend.
YAEKO: (subtitled) Will it?
(Hiro nods.)
(Yaeko closes her eyes and waits.)
(Hiro concentrates and FREEZES TIME. He removes his mask and looks at Yaeko.)
TIME RESUMES.
(The cherry blossoms flutter and fall all around her. Yaeko opens her eyes and raises her hands up toward them. She looks around and Hiro is GONE.)
YAEKO: (subtitled) Kensei?
(She smiles as she looks up at the cherry blossoms.)
CUT TO:
[EXT. (
(Mohinder watches the blood sample on the computer.)
MOHINDER: Your blood is clearing the viral load. Seems you have this disease after all. How are your hands?
(The Haitian holds out his hands, palms down.)
THE HAITIAN: Steady as faith. I prayed your cure would not work.
MOHINDER: If I prayed, I would have asked the same. The thought of this virus finding you, out here. If it spreads ...
THE HAITIAN: So you did not believe what you said. About God sending you to cure me.
MOHINDER: I have trouble believing in any God that would allow a pathogen like this to exist. It killed my sister.
(They’re both quiet. The sounds of children playing out in the street filter into the small room. Mohinder turns back to the scope.)
MOHINDER: Seems like it's becoming even more virulent. With a replication rate this aggressive, you would have been dead by morning. The people I work with will want me to bring you in for observation. I have a plane.
(The Haitian stands up.)
THE HAITIAN: You work for people?
MOHINDER: A company.
(The Haitian looks at Mohinder.)
THE HAITIAN: Of course. There's always a company.
(Mohinder looks at the Haitian.)
TIME PASSES.
[EXT. (
(CAMERA SWEEPS AROUND Mohinder to show Bob standing in front of him. It’s night. It’s quiet outside. The small room is lit by a single light bulb.)
BOB: Where is he? Where is the Haitian?
MOHINDER: The Haitian? Isn't he in
BOB: We're in
(Mohinder looks around the room.)
MOHINDER: I was in your office. You gave me an envelope, said ... a man may have the virus. That I was to cure him.
BOB: He wouldn't have been able to take your memory unless the vaccine worked. So ... apparently it did. Full recovery. Thank you, Dr. Suresh.
MOHINDER: My memory? (He’s quiet.) I’m sorry.
BOB: Well, at least we've contained the virus. We'll just chalk this up to a rookie mistake.
(Mohinder doesn’t like the sounds of that.)
CUT TO:
[EXT. (
CAPTION
BORDER
GUATEMALA AND MEXICO
(Alejandro and Maya follow Nidia through the woods as they approach the Mexican border.)
NIDIA: (subtitled) The police patrol the river.
MAYA: (subtitled) What if we get caught?
NIDIA: (subtitled) Here they do not catch. They shoot.
(They climb up the hill.)
NIDIA: (subtitled) Once we cross I will show you where to go.
(They stop and crouch as Nidia points ahead of them.)
NIDIA: (subtitled) That tunnel goes under the river.
(She points to a large drainpipe. Alejandro and Maya look at each other.)
(Nidia gets up and heads for the drainpipe. There, she unlocks the grating covering the large opening. Maya runs across the dirt road and joins Nidia near the pipe.)
(They both turn and motion for Alejandro to follow. He ducks down lower behind the hill at the sounds of engines.
NIDIA: (subtitled) They’re coming! Police! We must go!
(Nidia turns and crawls through the drainpipe. Maya hesitates and looks back at Alejandro. The police car approaches.)
ALEJANDRO: (subtitled) (whispers) Now, Maya! Hurry!
(Maya turns and heads into the drainpipe. She closes the gate behind her.)
(And just in time, too. The police car stops and officers get out to check the area. With a last glance behind her, Maya continues through the drainpipe.)
(The officers shine their flashlights around the area.)
(Nidia helps Maya out of the other end of the pipe.)
(The officers check the pipe, but don’t see that the gate is opened.)
(Alejandro ducks behind the hill, hoping they won’t see him.)
(Maya turns to Nidia.)
MAYA: (subtitled) But my brother ...
(Nidia starts to leave. She wants Maya to follow her.)
MAYA: (subtitled) We should have stayed together!
(Maya doesn’t want to go.)
NIDIA: (subtitled) Come – this is not the time for tears.
(Maya starts to cough and she turns away as something happens.)
MAYA: (subtitled) No! Not again. Please God.
(Nidia looks around. Maya’s back is to her as she mumbles her fervent prayers.)
(Nidia grabs Maya and turns her around. She’s stunned by what she sees.)
(Maya’s eyes are bleeding. Black liquid tears stream down her face
MAYA: (subtitled) Run! Run!
(Nidia backs away. But it’s too late. She falls to her knees, doubles over and falls sideways to the ground. She gasps for breath.)
(Maya turns to the drainpipe.)
MAYA: (subtitled) Alejandro ... please come. I need you.
(She sits down near Nidia, but doesn’t touch her. She lifts her face to the sky and prays.)
MAYA: (mumbles in Spanish)
FADE OUT.
(COMMERCIAL SET)
FADE IN:
[EXT. (
(Maya continues to pray as she sits next to Nidia, who is unmoving on the ground.)
(Alejandro arrives and touches her lightly on the shoulder. Maya is startled.)
MAYA: (subtitled) It’s too late. Look what I’ve done.
ALEJANDRO: (subtitled) It’s all right. I’m here. Take my hand.
(He holds her hands in his, looks at her face and sings softly. The black tears clear off her face, then appear in Alejandro’s eyes for a moment. His eyes clear.)
(The black streaks on Nidia’s face clear as well.)
(Relieved, Maya hugs Alejandro.)
ALEJANDRO: (subtitled) I told you ... it would be okay.
MAYA: Gracias.
(Nidia wakes up. She looks at them.)
NIDIA: (subtitled) She was right. You are evil! Both of you. You’re cursed!
(She scrambles to her feet and runs.)
(Alejandro turns around.)
ALEJANDRO: (subtitled) (panting) Wait. We don’t know where to go. Please ... she didn’t mean to –
(Nidia looks back from the drainpipe.)
NIDIA: (subtitled) Stay away from me, Devil. Stay away!
(She crawls through the pipe, leaving them behind. Maya looks at Alejandro.)
MAYA: (un-subtitled)
FADE TO WHITE:
[INT. (COSTA VERDE)
(Claire walks in. She looks at her dad and gathers her courage as she approaches him.)
(He sees her and smiles.)
MR. BENNET: Hey.
(He’s stocking the candy shelves next to the counters.)
MR. BENNET: Five-pound bag of Gummi Bears. Receptionists love them. A well-stocked candy dish makes them feel popular.
(Claire is quiet and looking quite scared. He turns and gets a good look at her face. He picks up on it and starts fearing the worst.)
CLAIRE: Dad, if I told you something, will you promise not to freak out? My car kinda got stolen.
MR. BENNET: (sighed) My God, Claire. My heart just about stopped.
CLAIRE: I know. What's a stolen car when you're running for your life? Not that ... Look, I loved the car, and if you ever got me another one, I promise I will never leave it unlocked, ever again.
MR. BENNET: You left it ... unlocked? Claire ...
(He looks around and they start walking toward the back.)
MR. BENNET: I have to be able to trust you. And not just with the car, with everything.
CLAIRE: I know. I made a mistake.
MR. BENNET: We can't afford mistakes.
CLAIRE: 'Cause we're in hiding, and it's dangerous.
MR. BENNET: That's right.
CLAIRE: Oh, great. I'm in hiding because of something I can do, and I don't even know what that is.
MR. BENNET: You know enough.
(They reach the back storage room.)
CLAIRE: But I don't even know how it works. Or what my limits are. I mean, if I cut off my arm, would it reattach itself or would I grow a new one?
MR. BENNET: We shouldn't be discussing this.
CLAIRE: You're the only one I can talk to about this. I mean, I could be missing my opportunity to help people. If my skin can grow back after I boil it in with the eggs, then maybe my blood can help someone who got burned, or -- or someone who's sick.
I don't even know if I can get sick.
MR. BENNET: That's enough, Claire!
CLAIRE: Look, you can yell at me all you want about the car, but this is what I am!
(Mr. Bennet looks Claire in the eyes.)
MR. BENNET: I have kept you out of danger your whole life so you wouldn't have to find your limits. Because if they find you, that's what they'll do. They'll cut you, they'll test you. And they will push you so far past your capacity for pain that you'll wish you could die. Believe me. You may feel confined here, but this is far freer a cage than the one they'd put you in.
(Claire is quiet.)
MR. BENNET: I've gotta get back to work.
(Mr. Bennet leaves.)
FLASH TO:
[INT. (
(Detective Fuller and Matt interview Angela Petrelli.)
MATT: You and Nakamura. Witness said you had a fight yesterday.
ANGELA: We were old friends. Sometimes simple conversations can be misconstrued.
MATT: Hmm. He said you slapped him.
ANGELA: He made an offhand comment about my son's death. I found it distasteful.
FULLER: You're a major shareholder in Yamagato Industries. That stock's been in the toilet for months now.
ANGELA: You think I killed Kaito over money?
MATT: Most common motives are money and sex.
ANGELA: Well, I don't need the money, and I wasn't sleeping with him. Not for a long time.
(Matt shows Angela Kaito’s photo with the SYMBOL on it.)
MATT: You recognize that symbol?
ANGELA: Yes, it's the logo of my husband's law firm.
MATT: Why draw it across Nakamura's face?
ANGELA: I don't know.
(Matt picks up Angela’s thoughts.)
ANGELA: (v.o., thinking) Because we did something terrible, and now someone wants revenge.
MATT: Would anyone want revenge on him, maybe ... on you?
FULLER: Who said anything about revenge?
ANGELA: I want my lawyer now.
MATT: Who wants revenge, Mrs. Petrelli?
FULLER: Stand down, Parkman. She cried uncle.
(Angela looks at Matt as he waits and listens.)
ANGELA: (v.o., thinking) GET OUT OF MY HEAD!
(Matt jerks back and looks at Angela, watching him serenely.)
CUT TO:
[INT. POLICE DEPARTMENT – HALLWAY – DAY]
(Nathan is signing some forms at the counter. Matt walks up to him.)
MATT: Mr. Petrelli.
(Nathan turns around and looks at Matt.)
NATHAN: I know you.
(They shake hands.)
MATT: Detective Matt Parkman. We met in
(Matt starts to leave.)
NATHAN: She's not gonna want to see me.
(Matt stops.)
NATHAN: Look, I just came to get her out.
MATT: Then why'd she ask us to call you?
NATHAN: She doesn't have anyone else.
(Just then, the overhead lights flash and short out. The hallway is in darkness.)
(Angela screams.)
(Matt runs. Nathan follows him.)
NATHAN: Where is she?!
(Angela continues to scream.)
[INT. POLICE DEPARTMENT – INTERVIEW ROOM – CONTINUING]
(Something is attacking Angela. She screams and bats it with her hands.)
[INT. POLICE DEPARTMENT – HALLWAY – CONTINUING]
(Fuller, Nathan and Matt run toward the lit interview room.)
NATHAN: Mom!
(Matt tries the door and finds it locked.)
[INT. POLICE DEPARTMENT – INTERVIEW ROOM – CONTINUING]
(Angela continues screaming as something inside the room attacks her.)
[INT. POLICE DEPARTMENT – INTERVIEW ROOM – CONTINUING]
(Matt leaves the interview room door and heads for the observation room.)
MATT: That's not possible!
NATHAN: (shouts) MOM!!
[INT. POLICE DEPARTMENT – OBSERVATION ROOM – CONTINUING]
(Matt enters the observation room. It’s dark inside. The interview room is lit.)
[ANGELA]
(Something continues to attack Angela. She screams.)
[INT. POLICE DEPARTMENT – OBSERVATION ROOM – CONTINUING]
MATT: Stand back.
(Matt picks up the chair and tries to smash the glass between the two rooms.)
(Angela continues to scream.)
(Matt hits the chair against the glass.)
(In the mirror’s reflection, we see Angela on the floor, her hands up to protect her face as she screams. The mirrored glass smashes.)
(Suddenly, the attack stops.)
(Angela looks up and sees Nathan and Matt climbing into the room. Nathan goes to his mother.)
NATHAN: It's gonna be all right, Mom. It's gonna be okay.
(The lights in the room flicker back on. Matt kneels next to them.)
MATT: Who did this to you, Mrs. Petrelli?
ANGELA: I -- I don't --
(In her hand, she’s holding something. Matt takes the photo from her and gets his first good look at her photo with the SYMBOL on it.)
FADE OUT.
(COMMERCIAL SET)
FADE IN:
[INT. (
(Peter tends to Caitlin.)
CAITLIN: Aren't you gonna say anything?
PETER: About what?
(He gets a bag of ice and puts it on her hands.)
CAITLIN: About those things you did.
PETER: I didn't do anything.
CAITLIN: Make up a story. Tell me you lost your memory of tonight too, but don't pretend I'm stupid.
(The door opens and Ricky walks in.)
RICKY: (angry) You had to knock the piss out of him, didn't you? The fella you put through a wall was McSorely's son. A sadistic bastard, but his old man loves him. And you just made him even uglier.
PETER: Fine, next time, I'll leave him alone with your sister.
(Ricky grabs Peter and turns him around. He reaches behind him and pulls out his gun, pointing it at Peter, who doesn’t look like he’s impressed by it at all.)
RICKY: Don't you mouth off to me. You turned a fixable monetary problem into a blood feud.
CAITLIN: Ricky!
(After a moment, Ricky puts the gun away.)
RICKY: You're gonna make this right. We'll do another job. Something big enough we can drop a fat stack on his desk and get him off our backs.
PETER: I'm not a thief.
RICKY: Maybe not. But you certainly handled those two like a pro. And that makes you something. Now, doesn't it?
PETER: What's to say I don't do the same thing to you and walk out of here?
RICKY: I thought common courtesy would do it. No? Then maybe this.
(Ricky takes a box out of his bag.)
RICKY: You might want this ... Peter.
PETER: My name is Peter?
RICKY: Sounds about right, doesn't it? Just something I read. This here is everything you had on you when we found you ... credit cards, maybe a train ticket. Could even be a love letter.
(Peter reaches for the box, but Ricky pulls it out of his reach and holds it over the fireplace.)
RICKY: It's all yours ... you just have to help us with one little job. What do you say ... Peter?
CUT TO:
[INT. (1671) -- DAY]
(Hiro walks into the building.)
HIRO: Hello? Mr. Kensei?
(Hiro’s carrying Takezo Kensei’s armor and looking for Kensei.)
HIRO: Mr. Kensei?
(Kensei whacks Hiro on the back of his head.)
KENSEI: You stole my armor and left me withal. Who do you think you are?
HIRO: I only did it to save Yaeko. And to show that Takezo Kensei is not a drunk, but a hero. And I did.
KENSEI: You did?
HIRO: Yes. They're already telling of your bravery.
KENSEI: Ah. And what exactly did I do on this day?
HIRO: You disarmed eleven men and rescued a beautiful girl.
KENSEI: I'm to believe you did all that and took no credit?
(Yaeko walks in.)
YAEKO: (subtitled) Master Kensei!
(Hiro turns around. Yaeko rushes up to them.)
YAEKO: (subtitled) I found you!
(Hiro smiles at her. She rushes past Hiro and up to Kensei.)
YAEKO: (subtitled) You left without taking what is rightfully yours. (She holds out the sword.) May my father’s blade do justice to your skill.
(He puts his hands under hers. He looks at her. She looks at him. Hiro looks down. Yaeko removes her hands, giving him the sword. She turns and runs quickly toward the door.)
YAEKO: (subtitled) Come now, there is no time to lose.
KENSEI: (subtitled) Where are you rushing to?
(Yaeko stops, fully expecting him to know already.)
HIRO: (subtitled) As you said, we must rescue her father.
KENSEI: (subtitled) Of course. That.
(He nods. Yaeko points.)
YAEKO: (subtitled) We have far to travel. Meet me at the stables!
(She leaves.)
(Kensei puts the sword around his back, his eyes on the door where Yaeko just left.)
KENSEI: (in English) All right, Carp, I'm in.
HIRO: Really?
KENSEI: I don't know what brand of fool you truly are, but it appears listening to you will grant me more reward. And more of her.
HIRO: It will!
KENSEI: Mm-hmm, then you can make me the hero she sees in me.
HIRO: As long as you stop drinking.
KENSEI: No promises.
(Kensei heads for the door. Hiro shrugs.)
HIRO: (subtitled) I can work with that.
(Hiro turns and follows Kensei out.)
[
(Kensei walks out of the building carrying his armor.)
(White Beard and his swordsmen step forward. The front line has their bows out.)
WHITE BEARD: (subtitled) I meet the "Great Takezo Kensei" again.
(Hiro steps out of the building just as White Beard motions. The men in the front fire. Two arrows hit Kensei.)
KENSEI: Aah!
(White Beard motions again. A third arrow hits Kensei.)
KENSEI: Aah!
(Kensei falls to the ground, two arrows in his chest and one in his shoulder.)
(White Beard smiles with victory. He and his men turn and run.)
(Hiro is left in the doorway absolutely stunned.)
HIRO: (subtitled) How can this happen?
(Hiro kneels next to Kensei, who is gasping for breath. Hiro grabs one of the arrows in Kensei’s chest.)
KENSEI: Aaahhh!
(Hiro pulls out the arrow. He looks at the bloodied tip. Kensei coughs. Hiro drops the arrow and looks at Kensei.)
KENSEI: I'm sorry, Carp. Maybe I'll be a hero next time around.
(Hiro grabs Kensei’s shoulders and shakes him.)
HIRO: No! You cannot die!
(And Kensei stops breathing. Hiro starts to cry. And that’s when he notices it –
-- Kensei’s wound spontaneously heals, sealing up right before his very eyes!)
(Hiro stares at Kensei’s chest. The wound is GONE! Kensei opens his eyes. He lifts his head and looks at Hiro.)
(Hiro’s eyes are wide with excitement!)
HIRO: (subtitled) "Godsend"!
(Kensei isshocked.)
(Hiro laughs.)
CUT TO:
[INT. (
(The notebook on the table is filled with pencil sketches of EYES and of the SYMBOL – random sketches of the little girl sleeping on the bed nearby. The bedside table lamp is on.)
(The door opens and Mohinder walks in. He turns the living room light on.)
(Matt is sleeping in the chair next to the bed – near enough to help Molly should she need him. He has the notebook with the pencil sketches on his lap.)
(Mohinder walks into the room and notes Matt and Molly. He puts his bag down and pulls the blankets up to cover Molly. She stirs, but doesn’t wake.)
(Mohinder watches her. His cell phone buzzes.)
(He steps out of the room as he answers it.)
MOHINDER: (to phone) You're working late.
INTERCUT WITH:
[INT. (COSTA VERDE)
(Mr. Bennet is on the phone.)
MR. BENNET: (to phone) Night shift. Don't ask. Was it a productive trip?
MOHINDER: (to phone) You should have the answer to that yourself very shortly.
MR. BENNET: (to phone) And you didn't arouse any suspicions?
MOHINDER: (to phone) I don't think so. Bob seemed more angry at himself for trusting the bungling professor.
(Mr. Bennet smiles.)
MOHINDER: (from phone) They'll be watching me more closely now.
MR. BENNET: (from phone) That's to be expected. Don't worry. I'll find the other paintings myself.
MOHINDER: (to phone) Are you sure?
(Mr. Bennet turns and stops when he sees someone off screen.)
MR. BENNET: (to phone) You've given me everything I need.
(Mohinder nods and hangs up. He turns and walks away. In the background, we linger on Molly sleeping in the other room while Matt sleeps in the chair.)
(Back at
MR. BENNET: Welcome to
(He smiles as he looks at the Haitian.)
MR. BENNET: How can I help you?
(The Haitian smiles back.)
(They shake hands.)
CUT TO:
[INT. (COSTA VERDE) BENNET RESIDENCE – LIVING ROOM – NIGHT]
(Mr. Muggles sits on the coffee table watching a dog show on TV.)
MALE COMMENTATOR: (from tv) When I checked her pedigree, she ended up having 17 champions ...
FEMALE COMMENTATOR: (from tv) Oh, that's just ...
(Claire sits on the couch painting her toenails.)
(Sandra walks in carrying a basket of laundry.)
SANDRA: Turn that off. That is salt in the wound for poor Mr. Muggles.
(Claire picks up the remote.)
CLAIRE: I'm sorry. That was very inconsiderate of me.
(She turns the television set off. Mr. Muggles growls, turns around and barks.)
CLAIRE: You're right. It doesn't help to avoid it.
(Claire turns the television set back on. Mr. Muggles goes back and watches the show.)
(Claire puts her nail polish down and picks up the book where she reads up on lizards.)
CLAIRE: Well ... guess it's just you and me.
(She looks at the pictures of the lizards. She looks at her toes. Claire wiggles her toes. She looks at the scissors on the table.)
(She puts the book aside and picks up the scissors. She uses the scissors to cut off her right pinky toe.)
SNIP!
(Her pinky toe flies off.)
CLAIRE: Ahh.
(She looks at her toe.)
CLAIRE: Come on, grow back.
(Nothing happens. She continues to watch her toe. Then, her pinky toe grows back completely.)
CLAIRE: No way.
(Mr. Muggles barks. He stands up on the table and barks at the window.)
(West is outside watching Claire through the window. She looks up and sees West.)
(West turns and runs. Claire gets up and runs out of the house.)
[EXT. BENNET RESIDENCE – CONTINUOUS]
(Claire runs out of the house. There’s no sign of West other than a hard-covered book in the driveway. Mr. Muggles barks up at the sky.)
(Claire looks down and sees the textbook by CHANDRA SURESH.)
(Mr. Muggles continues to bark up at the sky. He jumps up in the air.)
(TOP VIEW DOWN on CLAIRE on the front drive.)
CAPTION:
TO BE CONTINUED ...
(Mr. Muggles continues to bark.)
FADE TO BLACK.
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