204: The Kindness of Strangers

Transcription by Intrepid (intrepidly002@yahoo.com)

FADE IN:

[EARTH (STOCK)]

NARRATOR: (v.o.) Previously on Heroes ...

CAPTION:
PREVIOUSLY

FADE TO:



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

(Angela Petrelli matches the two pieces of the same photo together – a piece of herself and of Kaito Nakamura, both with THE SYMBOL drawn in red over their faces.)

KAITO NAKAMURA: There were twelve of us.
KAITO NAKAMURA: Now ... there are nine.

(He turns around and looks at Angela Petrelli.)



[INT. POLICE DEPARTMENT – INTERVIEW ROOM]

(Matt questions Angela Petrelli.)

MATT: Who wants revenge, Mrs. Petrelli?

ANGELA PETRELLI: I want my lawyer now.



[INT. POLICE DEPARTMENT – HALLWAY]

(Angela is screaming off screen. Nathan runs across the hallway to find her.)

NATHAN: (shouts) Where is she?



[INT. POLICE DEPARTMENT – INTERVIEW ROOM]

(Angela is on the floor screaming. The observation mirror shatters as Matt smashes a chair through to get into the room.)

CUT TO:

(Nathan holds Angela as Matt looks around for the intruder.)

NATHAN: It's gonna be all right, Ma.



[INT. KIRBY PLAZA BUILDING – LAB – MOLLY’S ROOM]

(Matt sits next to Molly on the bed.)

MATT: So you can find anyone in the world? You just need to think about them?

MOLLY: There's only one that I can't. When I think about him, he can see me.



[EXT. UNKNOWN BUILDING – DAY]

(Sylar talks with Candice.)

SYLAR: Everything that I had, it's gone.

(CUT TO: Sylar picks up the coffee cup and smashes it against Candice’s head.)

(CUT TO: Sylar runs out of the building and looks around.)

CUT TO:



[INT. (MEXICO) POLICE STATION – DAY]

(Maya and Alejandro are on their way out when Derek stops them.)

DEREK: Wait. Take me with you. I have a car.

(Maya and Alejandro turn back and help Derek.)



[EXT. (NEW ORLEANS) DAWSON RESIDENCE – NIGHT]

(Niki talks with Micah.)

NIKI: I'll only be gone for a while. And you're gonna be staying with family. It could be fun.



[EXT. (COSTA VERDE) HIGH SCHOOL – DAY]

(Claire is angry with West.)

CLAIRE: Okay, fine. I'm a freak, all right?

WEST: Claire, shut up.

(He picks her up and flies away with her in his arms.)



[EXT. (CALIFORNIA) BEACH – DAY]

(Claire notices a mark on West’s neck.)

CLAIRE: What's on your neck?

WEST: Last thing I remember, this man stepping out of the bushes calling my name.

CLAIRE: What are you talking about? What man?

WEST: The guy with the horn-rimmed glasses.



[INT. (COSTA VERDE) BENNET RESIDENCE – NIGHT]

(Mr. Bennet is on the phone with Mohinder.)

MOHINDER: (from phone) I'm sending you a jpeg of a painting I found. It's the last in the series: eight of eight.

(It’s a painting of himself, dead. He’s shot through his left eye, his horn-rimmed glasses broken. Claire is in the background in the arms of an unidentified man.)

FADE OUT.
END OF PREVIOUSLY ON



FADE IN:

[INT. (COSTA VERDE) BENNET RESIDENCE]

(The jpeg of painting eight of eight is on the monitor.)

CAPTION:
BENNET HOUSE
COSTA VERDE, CALIFORNIA

(Mr. Bennet sits at the dining room table looking at the jpeg on the laptop. He changes screens when Sandra walks in carrying Mr. Muggles. She walks into the kitchen.)

SANDRA: Mr. Muggles and I just did two whole miles at the beach.

(Mr. Bennet closes the laptop.)

SANDRA: You wouldn't know it looking at him, but this dog can power walk.

MR. BENNET: Have you talked to Claire lately?

SANDRA: About what?

MR. BENNET: Oh, just about how she's adjusting. Has she met somebody? A boy maybe? If the wrong person comes into her life, it could be ... problematic for all of us.

SANDRA: What makes you so sure it's a boy?

MR. BENNET: What makes you so sure it isn't?

(They stop as Claire comes bounding down the stairs. She walks into the room and sees them staring at her. Mr. Muggles growls lightly.)

CLAIRE: Is there something on my face?

MR. BENNET: Claire, your mother and I need to talk to you ... about boys.

CLAIRE: (groans) Oh, please, not the sex talk again. It was painful enough the first time.

SANDRA: We just want to know if you're seeing anyone.

CLAIRE: Why, because dating is forbidden too? Along with cheerleading and a social life?

MR. BENENT: Nobody's forbidding anything, Claire. It's just that any outsider could be a threat to the family.

CLAIRE: Dad, believe it or not, there are people in this world who aren't out to get us.

MR. BENNET: All we're saying is if there is a boy, I'd like to meet him. We could help you decide whether this is somebody that you could trust.

(Claire hesitates, then shakes her head.)

CLAIRE: Dad, relax. Okay, there's no boy.

FADE TO:



[EXT. (NEW YORK) CITY LIGHTS (STOCK) -- NIGHT]



CU: VARIOUS PICTURES OF EYES AND THE SYMBOL IN OR AROUND THE EYES.

CU: THE SYMBOL

[INT. MOHINDER’S APARTMENT – MOLLY’S ROOM – NIGHT]

(Molly wakes up screaming.)

(The bedroom door bursts open and Matt rushes in. He holds her.)

MATT: Okay, it's okay.

MOLLY: I'm sorry, I can't help it. It just keeps on happening. I'm sorry.

(Mohinder rushes into the room.)

MATT: Shh. It's okay. (to Mohinder) Get the light.

(Mohinder turns the light on.)

MATT: Oh, honey.

MOHINDER: Molly.

MATT: She's fine, she's fine.

(He puts her head back down on the bed.)

MATT: Okay, put your head down. It's over, all right?

(Molly nods.)

MATT: Okay. You want something to drink?

MOLLY: Water.

MATT: Water, okay.

(Matt kisses her forehead and gets up to get the water. Mohinder gets up and they talk in the doorway.)

MATT: It's getting worse. Two a night now. I'm trying to listen in. Get in her head. And I keep getting thrown back.

MOHINDER: So what are we supposed to do?

MATT: I don't know. You're the scientist.

MOHINDER: That doesn't exactly make me an expert on nightmares.

MATT: That makes two of us. I don't know. I'll go get the water. Just keep her calm. And we'll just --

MOHINDER: -- figure it out, right?

(Mohinder sits on the bed next to Molly.)

MOHINDER: Just try to get some sleep, sweetheart.

MOLLY: When will they stop?

MOHINDER: I don't know.

(Molly closes her eyes and Mohinder sings her a lullaby. Matt watches from the doorway.)

CUT TO:



[EXT. (WASHINGTON, DC) SIDEWALK OUTSIDE SCHOOL -- DAY]

CAPTION:
NATHAN PETRELLI
WASHINGTON, D.C.

(Nathan stands outside the closed iron gates. The kids are being led across the yard and into the building.)

WOMAN: (o.s.) Come on, kids, let's go.

(Nathan is in his suit as he looks for his sons.)

NATHAN: Monty! Simon!

(They turn and run to him.)

MONTY/SIMON: (both) Dad! Dad!

(He kneels outside the iron gate.)

MONTY/SIMON: (both) Dad! Dad!

NATHAN: Hey, boys.

MONTY: You grew a beard.

NATHAN: You like it?

(They both shake their heads.)

NATHAN: No?

(He touches his beard.)

NATHAN: You want me to shave it?

(They both smile and nod.)

NATHAN: Listen, I wanted to tell you that your grandmother's in the hospital.

SIMON: Is she okay?

NATHAN: Yeah, she's gonna be fine. When you get home, I want you to get your mommy to help you call her, okay? Because I know she's gonna want to hear from you.

MONTY: Okay.

NATHAN: I know I haven't been around. And I'm sorry about that. But I'm coming home. I promise. And what do Petrellis do when they makes promises?

MONTY & SIMON: (together) Keep them!

NATHAN: That's right.

(The teacher walks up to them.)

TEACHER: Can I help you?

NATHAN: I'm their father.

TEACHER: You know you're not allowed to be here.

(He looks at them.)

NATHAN: Go ahead.

MONTY: No, I want to stay with you.

NATHAN: It's okay. Go on.

(The teacher leads Monty away. Simon lingers.)

NATHAN: See you soon, okay?

SIMON: Mm-hmm.

NATHAN: Go ahead.

(Simon runs to catch up with them. Nathan gets up and watches them for a moment.)

CUT TO:



[EXT. (MEXICO) DIRT ROAD -- DAY]

CAPTION:
MAYA, ALEJANDRO & DEREK
SOMEWHERE IN MEXICO

(The Nissan Rogue travels down the dirt road.)

(Inside the car, Maya sits in the passenger seat as Derek drives. Alejandro sits in the back seat.)

MAYA: So ... you are from California?

DEREK: California?

MAYA: Uh-huh. The license on the car. It says California.

DEREK: Oh, that. No, I just picked the car up there. I'm actually from Jersey.

MAYA: This is very, very close to New York. We are going to New York, my brother and me.

DEREK: Look, I can take you guys pretty far, but when we get to the border, chances are they're gonna be looking for all of us.

ALEJANDRO: (subtitled) What’s he saying?

MAYA: (subtitled) He says they’ll be looking for us a the bord --

(The car jerks as Derek presses the brakes.)

(The car comes to a screeching halt at a body lying across the road.)

(They get out of the car.)

MAYA: Dios mio! (subtitled) Oh, my God.

(They check on the man lying face-down on the road.)

ALEJANDRO: (subtitled) What happened to him?

DEREK: Dude looks dead.

(They turn the man over and it is SYLAR.)

SYLAR: (gasps) Help me.

SMASH TO:



[TITLE CARD: HEROES]

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[EPISODE TITLE]

CHAPTER FOUR
"THE KINDNESS OF STRANGERS"



[INT. (NEW ORLEANS) DAWSON RESIDENCE – MORNING ]

(Micah is sleeping.)

DAMON: (softly) Micah!

(A few drops of water splash on Micah’s face.)

DAMON: (softly) Micah!

(Damon pours the water over Micah’s face. Micah gets up spurting water.)

DAMON: (shouts) Wake up, fool!

(Micah’s face is dripping wet. He glares at Damon.)

CUT TO:

(The two boys are dressed and step out of the hallway. They enter the dining room.)

CAPTION:
DAWSON HOME
NEW ORLEANS, LOUISIANA

(Nana is at the counter.)

NANA: Morning, boys. You ready for school?

(Damon picks up two bowls of breakfast.) (NOTE: ‘…two bowls of breakfast’?? Should ‘cereal’ be at the end?)

MICAH: Yes, ma'am.

DAMON: (mocks) Yes, ma'am.

NANA: You watch your tongue, young man. He's a guest in our house.

DAMON: We'll see about that.

(They sit down.)

DAMON: Nana, I need $65.

NANA: That's funny. So do I.

(Monica walks in.)

MONICA: Good morning, everybody! Well, do I look any different today?

(She smiles at them.)

DAMON: Just as lame as you always do.

NANA: You look confident.

(Nana turns back to her cooking show on the television set.)

MONICA: Confident's good. How about in charge? Micah?

MICAH: Yeah, you look like someone who's in charge.

MONICA: And why do I look like someone who is in charge?

DAMON: Because somebody died and left you that way?

(Monica gets a piece of bread and puts it in the toaster.)

MONICA: No, because today is the day they're posting the test results for the regional manager training program. The test I just happened to have aced.

(Monica stops as she watches the host on the cooking show cut a tomato.)

NANA: Right.

DAMON: Good, so now you can afford that $65 I asked you for.

MONICA: No, I can't. And don't be asking Grandma either. Don't give him a dime, Nana. He wants it for some wrestling match on pay-per-view tonight. Half the people in this county are living in FEMA trailers, and you want to spend good money to watch grown men jump around in their underwear.

NANA: You can walk down Bourbon Street for that.

(She looks at Micah. Micah chuckles.)

DAMON: But it's the night of the tag team title. I can't miss it.

NANA: You should be watching something educational like this. (She points to the cooking host cutting the tomato.) This is good TV.

(Monica watches the set for a moment.)

COOKING HOST: And voila, you have a beautiful tomato rose.

MONICA: (scoffs) Making flowers out of tomatoes? Who's got time to do that?

NANA: Unfortunately, I do.

(The toaster pops up and Monica takes her bread out.)

COOKING HOST: And you have a recipe to impress.

MONICA: I'll bring dinner home from the restaurant.

(She kisses Nana on the cheek.)

DAMON: Again.

MONICA: Wish me luck.

(Monica grabs her cap and keys and heads out.)

NANA: Break a leg.

DAMON: Whatever.

(Damon starts to eat. Micah watches him. Damon looks up and finds him staring.)

DAMON: What you lookin' at?

MICAH: Nothing. It's just I think I know a way to get you pay-per-view.

FLASH TO:



[INT. (NEW YORK) HOSPITAL – ANGELA’S ROOM – DAY]

(Matt and Detective Fuller talk with Angela Petrelli.)

ANGELA: I did it. I killed Kaito Nakamura.

MATT: Why?

ANGELA: For all the reasons you said.

DETECTIVE FULLER: Sex? Money?

ANGELA: Yes. You know I was on the roof. You have my fingerprints. I did it. I pushed him off.

MATT: When we..uh..we brought you in, you tried to kill yourself. Turns out your wounds were self-inflicted.

ANGELA: I was distraught. Overwhelmed by what I did.
And so I -- I attacked myself.

(Matt isn’t buying any of it. Detective Fuller writes furiously in his notebook.)

ANGELA: (v.o., thinking) Write down the statement and let it go, Parkman. Please let it go.

MATT: Ahem. Uh ... Mrs. Petrelli, why are you doing this?

ANGELA: My head is clear now. I understand. The only way out of this is for me to confess.

DETECTIVE FULLER: Fine. I'll start the paperwork.

ANGELA: (v.o., thinking) If they keep digging, they will find out about all of us and what we can do. Let it go. Let it go.

CUT TO:



[EXT. (COSTA VERDE) HIGH SCHOOL – LOCKERS -- DAY]

(Claire is at her lockers when a cheerleader, May, holds out a parental release form for Claire.)

CLAIRE: What's that?

MAY: Parental release form to try out for the cheerleading squad.

CLAIRE: For me?

MAY: (smiles) Yep.

CLAIRE: I'm flattered. I don't think I can squeeze cheerleading into my schedule.

MAY: But you're kind of a hero to the girls in the squad.

CLAIRE: A hero? Why?

MAY: The way you stood up to Debbie on your first day. You know, half of being a cheerleader is having guts. And you have got those in spades.

CLAIRE: I'll tell you what. I'll think about it, and then I'll let you know if I change my mind.

MAY: Good! Then take the release form just in case.

(May gives Claire the release form and leaves. Claire closes her locker. West walks up to her.)

WEST: Hi.

CLAIRE: Hi.

(Claire and West walk.)

WEST: I can't stop thinking about yesterday. It was so amazing. I finally have someone I can be myself with.

(The school bell rings.)

CLAIRE: Uh, about that. I--I'm not sure we should hang out anymore. It's just my parents are really overprotective.

WEST: Is this because we flew together? I weirded you out, didn't I?

CLAIRE: No! I like you, I really do.

WEST: Then it's those marks on my neck, right? You think I was abducted by aliens. I told you, it was a guy with horn-rimmed glasses.

CLAIRE: It's my dad. He's just really overprotective about the dating thing.

WEST: Then let me talk to him.

CLAIRE: I don't think that's a good idea.

WEST: But ... I can fly. And you can regenerate. I mean, doesn't that tell you anything?

CLAIRE: Please don't make this harder on me than it already is.

WEST: Okay. I'll tell you what. Tomorrow I'll totally back off. Today, I'm asking you out.

CLAIRE: West, I --

WEST: Tonight, anywhere you want to go. If you want to call it off after that, fine.

CLAIRE: Fine, but just this once.

WEST: (smiles) You won't regret it.

(West turns and leaves.)

CUT TO:



[INT. (NEW YORK) HOSPITAL – HALLWAY -- DAY]

(Nathan talks with Matt.)

NATHAN: (angry) What do you think you're doing questioning a suspect in a hospital? Any confession is coerced. She's sick.

MATT: Coerced or not, they believe her. (glances behind him) But I know she's innocent.

NATHAN: How?

(Matt moves away from the door. He stops and sighs.)

MATT: (whispers) The same way I know that you can fly. I can read your mind. Just like I read your mother's. But I can't tell my partner what I know or how I know it.

NATHAN: You reading my mind right now?

MATT: No -- yes, sorry. Look, your mother thinks she's protecting somebody by shutting down this investigation. But I'm not gonna let it happen. I'm not backing down. I've got a little girl at home that wakes up in the middle of the night screaming about nightmares, and drawing a symbol that – (He takes out the bagged photo.) -- this. The same symbol that's on these photos.

(Nathan looks at the two photos – one of Angela and the other of Kaito Nakamura – both with the SYMBOL drawn in red over their faces.)

NATHAN: I know that symbol.

MATT: I think it's all connected. Everything. What you and I can do. We're all connected.

NATHAN: I know this photograph.

MATT: Good, because I need your help. I can't continue this investigation without you.

NATHAN: All right, I'll help. I need five minutes alone with my mother. Alone.

CUT TO:



[INT. HOSPITAL – ANGELA’S ROOM – DAY]

(Nathan walks into the room. Angela is putting her jacket on.)

NATHAN: Why are you confessing to a crime you didn't commit?

(She turns and sees Nathan.)

ANGELA: Because you were right, Nathan. I don't deserve to be saved.

NATHAN: Ma, I was angry when I said that. I was drunk. I didn't mean it.

ANGELA: Of course you did.

(Nathan sits down.)

NATHAN: You asked me for help once. Now just let me help you.

ANGELA: Just because you shaved doesn't mean you're clean and sober. You still have to get yourself into a program. (He walks up to her.) Get your family back. Don't let your children hate you. Not if you can help it.

NATHAN: You didn't kill Kaito Nakamura.

ANGELA: I know that. I have done so many bad things in my life it really doesn't matter what crime I confess to.

NATHAN: Let me help you, Ma.

ANGELA: No, what you want is redemption, and you're not gonna get it by helping me. You'll just get killed. And I can't bear to lose another son.

(Matt and Detective Fuller, who were watching from the doorway, step into the room.)

MATT: Ahem. He has to do this. I'm sorry.

ANGELA: It's all right. I'm -- I'm ready.

(We hear handcuffs clinking off screen. Nathan sighs and nods to Matt. He nods back.)

(Angela sits in the wheelchair as Detective Fuller puts handcuffs on her. Matt pushes her out of the room.)

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[EXT. (MEXICO) ROAD -- DAY]

(The Nissan Rogue travels along the road.)

DEREK: (v.o.) Where's your stuff?



[INT. DEREK’S CAR (TRAVELING) -- DAY

(Derek is driving. Alejandro sits in the passenger seat while Maya tends to Sylar’s wounds in the backseat.)

DEREK: You're traveling pretty light.

SYLAR: I got robbed. Been walking for three days. Thank God you came along.

ALEJANDRO: (subtitled) Ask him where he’s heading?

MAYA: Where are you going?

SYLAR: Going home to America. New York.

MAYA: New York. This is where we're going.

SYLAR: Do you have family there?

MAYA: No.

(She shows him Chandra Suresh’s book.)

MAYA: Uh ... we need to find this man.

ALEJANDRO: Maya, no.

(She glances at Alejandro, ignoring his warning.)

MAYA: Dr. Suresh.

(Sylar looks at the picture on the back of the book, scratched and dirty.)

SYLAR: This is a coincidence. I know this book. I've read it.

MAYA: Really?

ALEJANDRO: (subtitled) What are you doing showing him the book?

MAYA: (subtitled) Don’t worry, he’s read it, too.

SYLAR: Why are you searching for Dr. Suresh?

MAYA: For a ... how you say this? Uh ... answers.

SYLAR: To what?

(Maya hesitates.)

SYLAR: I know Dr. Suresh. (He flips the book over and looks at the dirty photo.) We're old friends.

MAYA: You and Dr. Suresh?

SYLAR: You've helped me. Now I can return the favor. I can -- I can take you to him. I can help you find him.

(Maya smiles.)

ALEJANDRO: (subtitled) What did he say?

MAYA (subtitled) He knows the man who wrote the book. (Alejandro looks suspiciously at Sylar.) He’ll take us to him. Of all the people to find – it’s amazing.

ALEJANDRO: (subtitled) Yes, amazing.

MAYA: (subtitled) It’s a miracle. A sign from God. We’re on the right path.

(She beams to Sylar.)

MAYA: Thank you. I don't know what to say. I don't even know your name.

SYLAR: It's Gabriel.

(He looks down at his broken watch – stopped at 11:53.)

CU: SYLAR

SYLAR: Gabriel Gray.

MAYA: Gabriel. Oh! Like the angel.

SYLAR: Yeah.

(He turns and looks out the car window.)

SYLAR: Just like the angel.

(Maya smiles at him.)

CUT TO:



[INT. (NEW ORLEANS) BURGER BONANZA – DAY]

(Monica cuts a tomato as she sings. The place is huge and it’s empty.)

CAPTION:
MONICA DAWSON
BURGER BONANZA, NEW ORLEANS

MONICA: (sings) I spent oh so many nights just feeling sorry for myself / I used to cry -- / Mm mm / But now I hold my head up high--

CAMILLE: (interrupts loudly) We've got rules against drinking on the job, you know.

(Camille stands at the counter next to Monica.)

MONICA: It's all about attitude, Camille.

CAMILLE: What's about attitude?

(Monica absently cuts the tomato with a paring knife. She’s not paying attention to what she’s doing. She’s just feeling too good.)

MONICA: Life. And today is the first day of the rest of mine.

CAMILLE: Uh-huh, you sound like a fortune cookie.

MONICA: No, I sound like a woman with a future.

CAMILLE: Is there something you're not telling me?

MONICA: I took the test.

CAMILLE: (dramatically) Oh, are you pregnant?

MONICA: No! Girl, now how am I gonna be pregnant wearing this outfit two shifts a day? The management training program. I took the test.

CAMILLE: Oh, that.

MONICA: What do you mean "oh, that"?

CAMILLE: Nothing. I just think that you shouldn't get your hopes up, that's all. Only a fool would put money on a 1-in-50 chance.

MONICA: Look, if I make manager, I can earn enough money to go back to school, get my degree. I can move my family out of here. It's not right. One storm comes rolling through here and blows away my whole life: my mother, my college education, my dreams.

CAMILLE: I'm sorry. It's just you've been talking like this since we were in kindergarten. One scheme after another, and nothing ever happens.

(Monica turns her head away and sighs.)

(Camille looks down and is amazed.)

CAMILLE: What in the world? Where did you learn to do that?

(Monica looks down at the perfect tomato rose on the cutting board.)

MONICA: I don't --

MR. LAMONT: Monica, let me talk to you for a second.

(Mr. Lamont is in the back kitchen. Monica turns and smiles smugly at Camille.)

CUT TO:

(Mr. Lamont and Monica sit at an empty table. Mr. Lamont puts his file down on the table.)

MR. LAMONT: Okay. I'm sorry, Monica. You're just not qualified for the management program.

MONICA: So ... I didn't do well on the test?

MR. LAMONT: You did fine. Not top tier, but --

MONICA: But what? I'm motivated. I'm hard working. Mr. Lamont, I've never missed a day.

MR. LAMONT: That's not the issue. A management position means you need to be available for any location in the state. And it's just not right for someone in your situation.

MONICA: My situation?

MR. LAMONT: Your home life—your brother, your grandmother.

MONICA: That's the point. I'm the breadwinner. I need the money. And I mean, I can't make hamburgers for the rest of my life.

MR. LAMONT: You're good at your job, Monica. What's wrong with that? And you should be happy you have one. There's a lot of people in this city who don't.

CUT TO:



[EXT. (COSTA VERDE) BENNET RESIDENCE (STOCK) – DAY]



[INT. BENNET RESIDENCE – DINING ROOM – DAY]

(Sandra holds Mr. Muggles as the family sits at the dinner table.)

SANDRA: I thought for dessert we could go to that adorable yogurt place near the bus depot.

(Lyle nods in agreement. Mr. Muggles growls his agreement. Mr. Bennet looks like it might be an acceptable idea.)

CLAIRE: I can't. I have to go to the library for a research paper.

LYLE: The library? Haven't you ever heard of the Internet?

(Mr. Bennet watches Claire. He knows she’s lying.)

CLAIRE: Actually, the research paper is on libraries and how during the digital age they're becoming increasingly obsolete for our generation.

MR. BENNET: Do you need a lift?

CLAIRE: What?

LYLE: Your car? It got stolen, remember?

MR. BENNET: So do you?

CLAIRE: That's okay. I think I'm just gonna walk.

MR. BENNET: Okay.



[EXT. STREET OUTSIDE BENNET HOUSE -- DAY

(Claire walks across the street toward the corner.)

(Mr. Bennet watches her. She starts jogging toward the corner. Mr. Bennet sets off after her.)

(Claire reaches the corner intersection and pulls off her ponytail, releasing her hair.)

(She meets up with West, who was waiting for her.)

WEST: Hi.

(Claire smiles at him.)

CLAIRE: Hi.

(Mr. Bennet reaches the intersection and looks down the road in front of him. Claire is gone, nowhere to be seen.)

(He turns around to look in the other direction.)

(In a distance behind him, West flies straight up into the air. He’s carrying Claire. He hovers, then flies off without being seen.)

(HOLD on Mr. Bennet.)

CUT TO:



[INT. (NEW YORK) PETER’S APARTMENT – DAY]

(Nathan takes out a box to look through. He sits down. Matt is looking through a stack of photos.)

NATHAN: Photo's gotta be in here somewhere. It's a group shot. Maybe ten, twelve people.

MATT: What kind of group is it?

NATHAN: It was a party or a meeting. My parents are in it. Kaito Nakamura.

MATT: You knew Nakamura?

NATHAN: No, my folks did. He used to come over to the house sometimes. My father didn't seem to care for him too much. I remember the last time I saw him, my mom hugged him, and it lasted just a little bit too long.

MATT: What about the others in the group?

NATHAN: Linderman was in it. Charles Deveaux too. (considers it) A lot of them are dead now.

(Nathan stands up and heads over to the desk.)

MATT: These your boys?

(Nathan turns. Matt shows him a photo of Nathan with Monty and Simon.)

NATHAN: Yeah.

(Nathan goes through more photos.)

MATT: What, you don't see 'em that often?

NATHAN: Look, I don't -- I'm sorry, I don't really know you that well.

MATT: My wife--my ex-wife ... uh ... cheated on me. Which I could've forgiven her for, except for the fact that she was pregnant with his baby.

NATHAN: Why are you telling me all this?

MATT: I just -- I know a bunch of stuff about you. I figure it's only fair.

NATHAN: If you want to unload, go ahead.

MATT: Six months ago, I was a cop in LA. Married, expecting a child, and then all of a sudden this stuff started happening. It just turned everything upside down. I'm just looking for answers.

(Nathan finds the photo.)

NATHAN: Maybe this'll help.

(Matt gets up. He takes out the two bagged photos he has with him and compares the photos.

MATT: That's the same photo.

NATHAN: Half the people in this picture are dead. It's like the killer's picking 'em off one by one.

MATT: Maybe one of these is the killer.

NATHAN: (points) Look, here's my father, here's my mother. Charles Deveaux. Linderman. Kaito Nakamura. This guy's name is Bob. Bob ... I don't know his last name. I don't know the rest of the people in the picture either.

MATT: I know him.

NATHAN: How?

(Matt turns away as he looks at the photo.)

MATT: That's my father.

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[INT. (NEW ORLEANS) BURGER BONANZA – DAY]

ON MONICA: MONTAGE OF HURRICANE KATARINE and the devastation done to the city.

CAMILLE: (o.s.) Hey.

(Monica blinks and sees Camille with a drink for her.)

MONICA: Ugh.

(She puts the drink down and sits opposite Monica at the table.)

MONICA: Making hamburgers? Is he kidding me? I swear, I'd like to smack him upside his head.

CAMILLE: I'm glad you didn't. You can't afford to get fired.

MONICA: (sighs) I can't explain it, but I know I'm supposed to be somebody. I feel like there's something inside me that wants to come out. Does that make any sense?

CAMILLE: You lost more than most in the storm, and that kind of loss, it takes a while. You shouldn't be in such a hurry.

MONICA: I don't know. Maybe God's punishing me.

CAMILLE: Now why would he do that?

MONICA: For being selfish. I pray for it every Sunday in church. For God to find me a way out of here. Everybody else is praying for the community—to put things back together, to give them strength. Not me. I'm just praying for a way out. That's terrible, isn't it?

CAMILLE: Monica, given the situation, I'd say it's pretty normal.

MONICA: Normal. Yeah, that's me all right.

CUT TO:



[EXT. (LAS VEGAS) HOLLYWOOD SIGN -- NIGHT]

(West and Claire sit on the Hollywood sign.)

WEST: I offer to take you anywhere, and this is all you can come up with?

CLAIRE: Well, what can I say? I'm a cheap date.

WEST: You got a thing for heights, huh?

CLAIRE: There was this place near where I used to live in Texas. It was this old gravel tower. I used to climb up to the top of it. See what I could do.

WEST: You'd jump off?

CLAIRE: Yeah. Guess I've just been thinking a lot about my life. How it all went away so fast.

WEST: Why did it go away?

CLAIRE: I can't tell you that. The truth is so many terrible things happened to me while I lived there ... I'm not sure I could ever open up to anyone again.

WEST: Well, we're here together. So part of you must want to share something.

CLAIRE: I want to trust you.

WEST: Then jump.

CLAIRE: What?

WEST: Trust begins with a leap.

CLAIRE: (groans) Oh!

WEST: Cheesy, but true.

CLAIRE: Oh, no, it'll be gross. My arms pop out of their sockets and sometimes my feet come out facing each other. It's--it's not cute.

WEST: Claire, these fears you have of someone finding out about you, of feeling different forever, I have them too. You can share them with me, but I can't help you if you don't trust me.

CLAIRE: Okay.

(Claire stands up on the sign. She looks at West, then she falls – her arms outstretched in front of her.)

(After a moment, West catches her.)

CLAIRE: You caught me.

WEST: Of course I did.

CLAIRE: But I would've been fine.

WEST: I know you can heal, Claire. But I never want to see you hurt.

(They kiss.)

FADE TO WHITE:



[INT. (NEW ORLEANS) DAWSON HOUSE – NIGHT]

(The television reception is horrible. It’s cable and the signal is scrambled.)

(Micah is working on the back of the television set as Damon watches him.)

DAMON: I don't understand. You don't even have tools.

MICAH: Just hold on. Almost got it.

(Damon steps in front of the television set to check on the picture.)

DAMON: You know if this doesn't work, you're dead. You know that, right?

(Micah puts his hand inside the back of the television set and closes his eyes. He concentrates –

-- and the wrestling match comes on the screen.)

DAMON: Wow, you did it!

(Micah covers the set and stands up.)

DAMON: (nods) Aight, you got your stay of execution. (NOTE: Should the sentence begin with "All right," ??)

(They high-five each other. Damon sits down to watch the match.)

(The front door closes as Monica comes home with dinner. She looks over and sees Nan sleeping on the couch with an open book in her lap.)

(She puts the package on the counter and stops when she sees them watching the wrestling match.)

(She puts the drinks on the table.)

MONICA: Is that pay-per-view?

DAMON: Uh-huh.

MONICA: How did you get that?

DAMON: Turns out Micah's some type of genius and rigged the cable.

MONICA: Is that true?

MICAH: (nods) Yeah. I'm sorry.

(Monica sits down and sighs. Micah can tell that her day didn’t go as planned. He walks over to her.)

MICAH: I was just trying to help.

MONICA: Look, I know it's tough being stuck with your cousins like this after everything you've been through. But I promised your mother that I'd look after you. So you gotta obey the rules around here, okay?

MICAH: (nods) I know.

MONICA: I..uh..I got dinner for you guys.

(Monica goes to the cupboard and gets some plates out.)

MONICA: You can eat in front of the TV.

(She puts the plates down on the table and sighs.)

(Micah goes over to her and gives her a hug. She hugs him back. Micah puts his hand flat on her back, closes his eyes and concentrates – much as he did to fix the television set.)

MONICA: Hey, --

(Monica pulls away and looks at him.)

MONICA: -- you okay?

MICAH: Yeah. I just wish I could fix your dreams for you.

MONICA: You're a sweet kid. Go tell Damon dinner's ready.

(Micah heads into the living room.)

MICAH: Dinner's ready.

DAMON: Yeah, in a minute.

(Monica gets the burger bags and sets them down on the table. She looks up and watches the television set --

DAMON: Here goes a 619.

(The wrestler runs across the mat, grabs the ropes, swings around sideways and kicks his opponent – who is hanging over the same ropes – in the head.)

DAMON: Oh!

(They show the move again on INSTANT REPLAY.)

ANNOUNCER: (from tv) That's worth seeing again!

MICAH: (o.s.) That's awesome.

(Monica watches the move. ZOOM IN on Monica’s eyes to see a reflection of the television screen as she processes the wrestling moves.)

CUT TO:



[INT. (NEW YORK) MOHINDER’S APARTMENT -- NIGHT]

(Matt paces a little as he looks at the photo of the founders. The front door opens. Molly and Mohinder walk in. Molly is excited to see Matt.)

MOLLY: Matt, you're home!

(She runs to him and he gives her a hug.)

MATT: Hey, yeah! I'm home. Oh, and I need to talk to you. (glances at Mohinder) Uh, both of you, actually.

MOHINDER: Is everything okay?

MATT: Yeah, yeah, I ... um ... I have to find my father.

MOLLY: You don't know where your dad is?

MATT: He left me when I was 13. He gave me 120 bucks and a pat on the head.

MOHINDER: And you haven't seen him since?

MATT: I've tried, but that's the thing about criminals. They--they don't like to be found.

MOLLY: He's a bad guy?

MATT: My dad stole a lot of money from a lot of people. And the case that I'm working on right now, I have a feeling that he's in the middle of something really dangerous, and I need to talk him. So I need you to help me find him.

(Mohinder doesn’t like the sound of it.)

MATT: Okay?

MOLLY: Okay.

MATT: All right, good.

(Matt puts the photo down on the nearby table. Molly and Mohinder lean over to look.)

MATT: (points) There he is. That's my dad.

(Molly backs away from the picture.)

MOHINDER: Molly, what is it?

MATT: Molly, what's wrong?

MOLLY: Put it away! Put it away!

(She grabs the photo from him and throws it on the floor.)

MOHINDER: Molly.

MATT: Molly, what's wrong?

MOLLY: (terrified) Please don't make me look for him. Please don't make me look.

MATT: I don't understand. Why not?

MOLLY: (whispers) He's the man in my dreams. He is the nightmare man.

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[INT. (NEW YORK) PETER’S APARTMENT -- NIGHT]

(Nathan has various photos of Peter spread out on the coffee table. He holds a photo of young Peter in a tux and picks up another of Peter as a baby in a chair.)

(Nathan walks over to the mirror where he already has a couple of photos tucked between the glass and the frame. He puts the photo he’s carrying on the mirror.)

NATHAN: I'm gonna make things right, Pete.

(He looks at his reflection in the mirror and sees the grotesque image looking back at him – most of the flesh on his face is scarred and inflamed -- a virtual monster staring back at himself.)

NATHAN: Get away from me!

(Nathan punches the mirror, cracking it. The monster is gone. Now all he sees is own distorted reflection.)

(Nathan looks at his bleeding knuckles.)

CUT TO:



[INT. (COSTA VERDE) STREET – NIGHT]

(West lands on the sidewalk with Claire in his arms. He puts her down. Claire laughs. She looks at her watch and gasps.)

CLAIRE: Oh, my gosh, look what time it is. My dad's gonna kill me.

WEST: What lie did you use to get out of the house? 'Cause I'm guessing you didn't say you were flying around in the arms of some kid from school.

CLAIRE: I said I was going to the library.

WEST: Ouch. I'm sure he didn't suspect a thing.

CLAIRE: I'm sorry, I'm a lousy liar.

WEST: Look ... if we're gonna keep seeing each other, you've gotta come up with something good. Something consistent.

CLAIRE: Like what? I'm volunteering at a soup kitchen?

WEST: Claire, the credible lies are the ones that make you look bad. What else is it that your dad doesn't want you to do?

CLAIRE: I think I have just the thing.

(Claire starts to leave. West stops her.)

WEST: Aren't you gonna say good night?

(She turns around and kisses him.)

CLAIRE: You're killing me.

(He laughs and they kiss again.)

FLASH TO:



[INT. (MEXICO) SOME SMALL TOWN -- DAY]

(Maya waits outside by the car. She wipes her forehead with the back of her hand. Alejandro opens the car door and heads inside. Maya opens the car door and gets inside as well.)

(Derek is at the vendor. He pays the woman for a newspaper under the brick. The PEDIDO ESPECIAL headline reads, HOMICIDIO. It has the two sketches of Maya and Alejandro on the front page.)

DEREK: Gabriel. Come here. Check this out.

(Sylar walks over.)

DEREK: There are killers in the car with us.

SYLAR: (chuckles) What?

DEREK: "Homocidio." Right there.

(He shows the front page to Sylar. Sylar turns and looks at the car where Maya and Alejandro are.)

SYLAR: Well, golly, they seem so ...

DEREK: Dude, I have been riding with them for two days. We gotta ditch 'em.

SYLAR: Okay, um ... All right, I'll distract them. And you ... uh ... you go call the police. There's a payphone right inside.

(Derek heads inside.)

(Sylar turns and watches Derek – the sounds of CLOCKS TICKING growing louder and louder.)

(Sylar turns, picks up the brick holding the stack of newspapers down and smooth, puts back the newspaper Derek just bought ... and takes the BRICK instead. He follows Derek into the building.)



[INT. CAR (PARKED) – DAY]

(Alejandro looks out the window nervously.)

ALEJANDRO: (subtitled) What’s taking them so long?

(The front door opens and Sylar slips into the driver’s seat. He looks at Maya.)

SYLAR: We have a problem. I'm gonna ask you a question, and you need to tell me the truth.

MAYA: Si, claro. (subtitled) Yes, of course. (in English) What is it?

(He shows them the paper.)

SYLAR: This. Is this you?

(Maya swallows nervously.)

ALEJANDRO: (subtitled) Say no.

(Sylar turns and looks at Alejandro.)

MAYA: Yes, this is us, but it is not our fault. We didn't mean to hurt anyone.

SYLAR: Well, you can tell the police that, because Derek is calling them right now.

MAYA: (frantic) No, no, no, please, no! He cannot!

ALEJANDRO: (subtitled) What, what, what?

MAYA: (subtitled) Derek is calling the police.

(Maya stops, then starts to take deep panicked breaths.)

(Sylar gasps, then falls forward.)

(Whatever’s affecting Sylar isn’t affecting Alejandro at all. He looks at her.)

ALEJANDRO: Maya.

(Maya looks at Alejandro.)

SYLAR: What are you doing to me?

(Maya takes Alejandro’s hands. Sylar watches them.)

ALEJANDRO: (subtitled) Calm down. Calm down. Calm down.

(Maya calms down.)

ALEJANDRO: (subtitled) Calm down.

(Her eyes clear. Alejandro’s eyes turn black and then he’s exhausted. The effects on Sylar clear.)

(Maya and Alejandro turn and look at Sylar.)

SYLAR: You both ... have power.

MAYA: This is not our fault. We don't know what's happening to us.

SYLAR: That's why you need to find Dr. Suresh.

MAYA: Yes.

SYLAR: Believe me, I understand what you're going through. To be held responsible for things that you didn't mean to do. Being hunted. I've helped Suresh with so many people like you. He'll know what to do.

MAYA: But the police.

(Maya turns and looks out the window.)

(Sylar holds up the car keys.)

SYLAR: They have to catch us first.

(He starts the car.)

CUT TO:



[INT. BUILDING -- DAY]

(As the Nissan Rogue pulls away from the small store, the camera moves down to show Derek dead on the floor in a small pool of blood and a phone dangling nearby. His head has been smashed, the brick on the floor.)

(A large cockroach crawls on the brick.)

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[INT. (COSTA VERDE) BENNET RESIDENCE -- NIGHT]

(Claire tries to sneak back into the house. She closes the door and starts for the stairs.)

(Mr. Bennet is up eating his yogurt.)

MR. BENNET: How was the library?

CLAIRE: (sighs) Dad, I can explain.

MR. BENNET: You don't need to. You were with a boy.

CLAIRE: No, no, there's no boy.

MR. BENNET: Okay. So ... I'm waiting.

CLAIRE: I tried out for cheerleading.

MR. BENNET: Cheerleading?

CLAIRE: I made the squad. I forged your signature on the release form. The girls took me out to celebrate.

(Claire pulls out the folded release form from her pocket and shows it to him.)

MR. BENNET: You -- First you get your car stolen, now -- I-I told you no cheerleading. I was very specific about that.

CLAIRE: Dad, cheerleading makes me happy, okay? Look, I know, it's scary and I know there are risks. Just please let me have this one thing. I've done everything else you've asked me to. I've given up my friends and my life. I just need one thing that's normal.

MR. BENNET: I had no idea that cheerleading meant that much to you.

CLAIRE: Took me by surprise too. You're gonna let me do it?

MR. BENNET: I'll make you a deal. You cheerlead, but you promise me that you will not date for now.

(She nods.)

CLAIRE: Okay.

MR. BENNET: Okay.

(She stands up and kisses him. She heads to her room.)

(The wind chimes outside tinkle.)

(Mr. Bennet gets up and heads outside.)

(The Haitian steps up to him.)

THE HAITIAN: I have a lead on the paintings. We have to go to Odessa.

MR. BENNET: Texas.

THE HAITIAN: The Ukraine. It's a long trip. What will you tell your family?

MR. BENNET: Oh, I'm sure I'll think of something.

WHITE FLASH TO:



[INT. (NEW YORK) MOHINDER’S APARTMENT -- NIGHT]

(Mohinder sits with Molly. He gets up and heads into the living room to talk with Matt.)

MOHINDER: She's finally settling down.

MATT: I'm sorry.

MOHINDER: You didn't know.

MATT: No, I'm sorry, because ... Molly has to find my father.

MOHINDER: That is out of the question.

(Mohinder walks away. Matt follows him.)

MATT: A lot of people in this photo are dead. This guy, dead. This guy, dead. Kaito Nakamura, murdered. Angela Petrelli, attacked. This is my dad. He may already be dead. He may be the next victim. He may be the killer. I have to find that out.

MOHINDER: Look, this man here? This is the man I work for. His name is Bob. I'll take you to him.

MATT: Fine. After we find my dad.

MOHINDER: You leave Molly out of this! You're asking a little girl to confront her worst nightmare!

MATT: Maybe confronting it is exactly what she needs.

MOHINDER: Oh, so this is all about helping Molly? Because to me it sounds like a 13-year-old boy trying to make his daddy pay for leaving him.

MATT: And you know everything about daddy issues.

MOHINDER: Yeah, I do.

(The floorboards behind them creak. They turn around as Molly steps out of the bedroom.)

MOLLY: I'll do it for you, Matt. I'll find your father.

(Matt gives the photo to Mohinder and gives Molly a hug.)

MATT: Thank you.

CUT TO:



[INT. (NEW ORLEANS) BURGER BONANZA – NIGHT]

(Monica flips through a magazine as business is quiet and the place is empty.)

MR. LAMONT: Monica, it's dead tonight. Let's close up. (He puts the keys on the counter.) You get the front door. I'll get the back.

MONICA: Sure.

(Monica takes the keys and goes to lock the door. Before she can, a man pushes the door open.)

MONICA: Sorry, we're closed.

LATE CUSTOMER: But the sign say y'all close at 10:00. Look, I'm hungry.

MONICA: My boss, he's making me close up for the night.

LATE CUSTOMER: And I said I'm hungry. (He pushes the door open and points a gun at her. Monica backs away, her hands up.) And while you're at it, I'll take everything you got in the register!

MONICA: Okay, okay, okay.

LATE CUSTOMER: Sit down right there!

(Monica sits down.)

(The customer heads for the cash register and starts emptying it out. After she calms down a bit, she seems more angry than scared.)

(She gets up and runs toward the front. The customer is gathering the bills out of the register.)

(And just like the wrestling guy on television, Monica grabs the pole, swings around and kicks the customer. He goes flying through the glass and hits the floor. He groans.)

(Mr. Lamont comes running out to the front.)

(As soon as the customer sees him, he gets up and runs away.)

MONICA: Did you just see ...

MR. LAMONT: Where'd you learn that?

MONICA: On TV.

CUT TO:



[INT. (NEW YORK) MOHINDER’S APARTMENT – LIVING ROOM -- NIGHT]

(Molly sits on the couch, a map book on her lap. Mohinder is sitting next to her with his arm around her shoulders while Matt sits across from her.)

MOHINDER: We're right here for you.

MATT: Yeah, we're gonna protect you.

(Molly concentrates. She flips the book page over.)

INSERT: VARIOUS FLASHES OF – A CITY

MOLLY: I see a city.

(Molly puts the point of the pushpin she’s holding down on the paper: 811.)

MATT: Philadelphia. Good.

(She slides the point of the pushpin along the paper – a loud SCRATCHING NOISE sounds.)

INSERT: FLASH OF – AN APARTMENT BUILDING

MOLLY: An apartment building.

MATT: What floor?

MOLLY: I don't want to go in.

MOHINDER: He can't hurt you. It's okay.

INSERT: FLASH OF – AN APARTMENT BUILDING

MOLLY: Third floor.

MATT: Okay, good. Good, what's the apartment number?

INSERT: FLASH OF – A YELLOW DOOR

MOLLY: He knows I'm here. He's coming.

MATT: Okay, Molly, what's the apartment number? Quickly, come on.

INSERT: FLASH OF – THE NUMBER 9

MOLLY: Nine.

MATT: Nine, good girl. All right, get out of there right now.

INSERT: FLASH OF – EYES AND THE SYMBOLS

(The yellow door shakes and rattles.)

MOLLY: He sees me, he – (shouts) Leave me alone!

(Molly starts struggling.)

MATT: Molly, get out of there!

MOLLY: (screams) Leave me alone!

(She screams and struggles. Matt and Mohinder are holding her.)

MATT: Molly, Molly!

(Molly stops struggling.)

MOLLY: Matt.

(Molly collapses.)

MOHINDER: Molly?

MATT: Molly.

MOHINDER: Molly!

(Mohinder checks her breathing.)

MOHINDER: She's breathing.

MATT: What happened?

(He checks her eyes.)

MOHINDER: She's in shock. She won't wake up.

MATT: Come on, Molly, you did it. (desperate) Molly, it's time to get up! Molly! It’s time to wake up! Come on, wake up!

MOHINDER: Matt, don't. (softer) Don't.

(Matt quiets down. Molly is unmoving.)

MOLLY: (v.o., screaming thoughts) Matt! Help me!

(Matt can hear her calling him.)

MOLLY: (v.o., screaming thoughts) Matt!

SMASH TO BLACK.