208: Four Months Ago...

Transcription by Intrepid (intrepidly002@yahoo.com)

FADE IN:

[EARTH (STOCK)]

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

CAPTION:
PREVIOUSLY ...


FADE IN:

[INT. (1671, JAPAN)]

(Kensei knocks Hiro out.)

CUT TO:

KENSEI: (vows) As long as I have breath, anything you love, I will lay to waste.



[INT. KIRBY PLAZA – LINDERMAN’S OFFICES – NIGHT]

BANG!

(Linderman shoots DL.)

CUT TO:

DL: (to Niki) Jessica wasn't the strong one. It was you.



[INT. (NEW YORK) THE COMPANY – DAY]

(Bob talks with Nathan.)

BOB: Adam was dangerous. So we locked him up, we threw away the key. Two weeks ago, he escapes. And now he wants revenge.



[INT. (CORK, IRELAND) SHIPYARD – EMPTY CONTAINER – NIGHT]

(The door opens. Ricky, Will and Tuko find Peter chained to the back of the container.)

RICKY: Who are you? What's your name?

PETER: I don't know.



[INT. CAITLIN’S FLAT – NIGHT]

(Caitlin and Peter look at his passport.)

CAITLIN: Peter Petrelli?

PETER: I'm from New York.

CAITLIN: (re: Nathan) Who's that?

PETER: I wish I knew.



[INT. (MONTREAL) SHOP – NIGHT]

(Peter finds a note for him.)

PETER: Someone knew I was coming.

CAITLIN: The name Adam doesn't ring a bell?

PETER: No, and I don't know about any Company.

(Peter holds Caitlin.)

PETER: Please tell me who I am. What the future holds.

(He closes his eyes.)



[EXT. (NEW YORK, 2008) STREETS – DAY]

(Peter and Caitlin are in the future.)

PETER: (v.o.) I was in Montreal in 2007. Next thing I know, I'm here.



[INT. (NEW YORK, 2008) WAREHOUSE – DAY]

(Howard Lemay shows Peter the dead bodies in bags stacked up in the warehouse.)

PETER: All these people died from the virus?

FUTURE ANGELA: (v.o.) You can change history.



(Peter meets with Future Angela.)

PETER: I can't.

FUTURE ANGELA: You must!



(Caitlin is being deported.)

CAITLIN: Don't let them take me! Don't let them take me!

PETER: (shouts) No!



[INT. (MONTREAL) SHOP – NIGHT -- PRESENT]

(Peter is back in the present. He looks around. Caitlin isn’t there.)

PETER: (shouts) Caitlin!

FADE TO
END OF PREVIOUSLY ON



FADE IN:

[INT. (MONTREAL) SHOP – NIGHT -- PRESENT]

MOHINDER: (v.o.) It is man's ability to remember that sets us apart.

(Peter searches everywhere in the shop for her.)

PETER: Caitlin!

CAPTION:
PETER PETRELLI
MONTREAL

MOHINDER: (v.o.) We are the only species concerned with the past. Our memories give us voice and they bear witness to history so that others might learn.

(Peter stops and closes his eyes and concentrates on getting back to the future. He opens his eyes and looks around. It doesn’t work. He’s still in the shop.)

MOHINDER: (v.o.) So they might celebrate our triumphs. And be warned of our failures.

(Peter goes to the note and picks it up.)

PETER: Adam. Adam -- I don't know any Adam.

(He hears movement coming from the side. Peter turns and automatically sends an electrical blast in that direction.)

(The intruder’s hand is hit and is burned black –

-- then, as we watch, the intruder’s hand spontaneously heals back into perfect condition.)

(Peter gasps that the intruder was able to deflect the attack.)

(A familiar blonde-haired man peers out at Peter. It's Takezo Kensei. Now, Adam Monroe.)

ADAM MONROE: Peter, what the hell was that?

PETER: Do you know me?

(Adam Monroe steps into the room. He looks the same as he did four hundred years earlier.)

ADAM MONROE: Of course I know you. Peter, it's me, Adam. Don't you remember? Together we're going to change history.

PETER: I’m s-sorry, I don't ...

ADAM MONROE: So the Haitian's taken liberties with your mind.

PETER: Haitian.

ADAM MONROE: That explains why you fell off the face of the earth. You can get back your memory. I know how.

PETER: How?

ADAM MONROE: Healing. You can do what I can do. Which means the mind has to repair itself.

PETER: How do you suggest I go about doing that?

ADAM MONROE: Think about what matters most to you. Do you know what that is?

(Peter takes out the folded photo of him and Nathan. He looks at it. Adam nods.)

ADAM MONROE: His name is Nathan.

PETER: Nathan? Nathan.

ZOOM into PETER’S EYE. VARIOUS MOMENTS shared with Nathan FLASH in PETER’S EYE as he remembers ...

NATHAN: (v.o.) You saved the cheerleader ...



[BLACK SCREEN W/ WHITE TEXT]

FOUR MONTHS AGO



[EXT. (NEW YORK) KIRBY PLAZA -- NIGHT]

NATHAN: ... so we could save the world.

(Peter nods. Nathan holds Peter and flies him straight up to the sky.)



[EXT. SKY OVER NEW YORK – NIGHT – CONTINUOUS]

(Nathan flies Peter up into the sky, away from the city and over the water.)

PETER: You gotta let me go, Nathan!

(Nathan hangs on.)

NATHAN: You go, I go!

(Peter continues to burst with light.)

PETER: No! I'll be okay. You can fly, I can't!

(The left side of Nathan’s face is burning.)

NATHAN: What do you mean?

PETER: It's taking everything in me, all my power not to explode! Let me go!

(Peter pushes away from Nathan. Nathan loses his grip on Peter and he falls.)

NATHAN: Peter!

(Peter yells. Nathan flies after him, but he’s not fast enough. Peter falls, then explodes.)

(The blast hits Nathan, full force.)



GROUND POV

(There’s a bright flash of light from the explosion in the sky.)

(Mr. Bennet and Claire watch the explosion.)



NATHAN

is falling. He’s unconscious. Suddenly, Peter swoops in and catches him. Peter is already fully healed from the explosion. He heads back toward the city with Nathan in his arms.

WHITE FLASH TO:



[INT. (NEW YORK) ROOSEVELT HOSPITAL -- NIGHT]

CAPTION:
NIKI & MICAH
ROOSEVELT HOSPITAL, MANHATTAN

(Micah is sleeping on Niki’s lap as she sits in the waiting room watching television.)

DR. BROOKS: (o.s.) Sanders!

(Niki turns.)

DR. BROOKS: Nicole Sanders?

NIKI: Here.

(Niki gets up to talk with Dr. Brooks as Micah listens.)

NIKI: Is my husband okay?

DR. BROOKS: The bullet was less than an inch from his aorta. The surgery was successful. He's a lucky man.

NIKI: Thank you. Thank you.

(She hugs the doctor.)

(Micah smiles.)

WHITE FLASH TO:



[EXT. (SANTO DOMINGO) CHURCH – DAY]

CAPTION:
SANTO DOMINGO,
DOMINICAN REPUBLIC

(Church bells ring. Everyone celebrates as Alejandro marries Gloria. Maya is in the crowd. She applauds with the others as they walk past. She’s not happy as she should be.)

LATER:



[EXT. PARTY – NIGHT]

(The band plays a merengue. It seems the entire village is there to celebrate the wedding.)

ALEJANDRO: (subtitled) You’ll come to love her, you know.

(Maya and Alejandro are dancing.)

MAYA: (subtitled) Will I?

ALEJANDRO: (subtitled) They’re nice people. And family is something we never had.

MAYA: (subtitled) So why start now?

ALEJANDRO: (subtitled) That’s not fair, Maya.

MAYA: (subtitled) It’s only been four months. You barely know her. (Alejandro smiles. Maya glares at Gloria’s direction.) I can’t believe you invited him.

(He turns and sees Gloria dancing with her ex-boyfriend, Gilberto.)

ALEJANDRO: (subtitled) They broke up two years ago. It’s no big deal.

MAYA: (subtitled) It will be when she breaks your heart.

(Gloria leads Gilberto off the dance floor.)

MAYA: (subtitled) I don’t feel like dancing anymore.

(Maya leaves.)

ALEJANDRO: Maya. Maya!

(She ignores him and leaves.)

EVEN LATER:

(The party continues.)

(Maya steps away from the party and takes a breath. A black tear falls from her eye. She wipes it away. From the nearby room, she hears giggling and intimate laughter – a man and a woman.)



[INT. ROOM – NIGHT -- CONTINUOUS]

(Maya opens the door and finds Gloria kissing Gilberto.)

MAYA: (subtitled) You bitch.

(Maya lunges toward them, but Gilberto grabs her.)

MAYA: (subtitled) Let go of me.

(He shuts the door and pushes her up against the wall, his hand over her mouth to keep her quiet.)

GILBERTO: (subtitled) You’re gonna keep your mouth shut, you understand?

GLORIA: (subtitled) Maya, please ...

(Maya lunges again toward Gloria. Gilberto hangs on to Maya, keeping her away from Gloria.)

MAYA: (subtitled) I’d rather see you dead than married to my brother.

(She struggles against Gilberto.)

MAYA: (subtitled) I said, let go of me.

(Gilberto slams Maya back against the wall.)

GILBERTO: (threatens) (subtitled) And I said you’re gonna keep your mouth shut.

GLORIA: Gilberto.

MAYA: (subtitled) And if I don’t?

(He starts to choke her. Maya gasps. She looks at Gloria.)

(Gloria’s eyes are bleeding black tears. She collapses to the floor.)

(Gilberto gasps. His eyes start bleeding black tears ... as does Maya’s. He lets her go and he collapses to the floor.)

TOP VIEW DOWN

(Both the bride and her lover are on the floor. Scared, Maya looks at them. She turns and sees her reflection in the mirror – her own black eyes and black tears.)

MAYA: (gasps) No –

(Maya lifts her hands to her face. She screams.)

MAYA: (screams) Alejandro!

(Maya runs out of the room.)



[EXT. BUILDING – NIGHT -- CONTINUOUS]

MAYA: (screams) Alejandro!

(She runs out onto the street and stops. She gasps with horror.)

MAYA: No-o-o!

(She walks down the middle of the street. She can’t believe what she sees. The town street was filled with party goers and now, they’re all unconscious on the ground, maybe even dead. Maya continues through the street.)

MAYA: No.

(Alejandro steps out and grabs Maya. He appears to be fine.)

MAYA: (subtitled) You’re not dead ...

ALEJANDRO: Que? (subtitled) What happened?

MAYA: (subtitled) I think I ... did it?

ALEJANDRO: (subtitled) What?

MAYA: (crying) (subtitled) I killed them all. Everyone ...

(He’s too shocked to say anything. She turns and runs.)

ALEJANDRO: Maya!

(He looks around. Everyone has black tears on their faces.)

CUT TO:



[INT. HOSPITAL – DAY]

(The emergency doors open and Peter rushes in. He’s carrying Nathan.)

PETER: Help! Please help!

(The ER staff rush over to him.)

PETER: Help.

RANDOM VOICE: (o.s.) Right away, sir. Put him down.

(Peter puts him Nathan down on a gurney. The staff takes Nathan away. Peter follows them for a bit.)

PETER: Keep him alive, okay? Do whatever it takes, you understand me?

(Peter takes a blanket. He turns and sees the officer headed toward him.)

NURSE: (o.s.) Officer?

(The officer turns.)

NURSE: (o.s.) Officer, we need your help.

(Peter turns and VANISHES on his way to the nearby door.)

(When the officer turns back to Peter, he is GONE.)

CUT TO:



[INT. HOSPITAL – HALLWAY – CONTINUOUS]

(Peter turns visible as he walks through the empty hallway. He has the blanket wrapped around his shoulders. He glances behind him as he hurries along his way.)

(Suddenly, Elle steps out behind him and without him knowing. She zaps him with a charge of electricity, hitting Peter in the back. He grunts and goes down.)

(Bob steps out behind her.)

BOB: Did you have to use the full blast on him?

ELLE: He can take it.

(She steps forward and smiles.)

CUT TO:



[TITLE CARD: HEROES]

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[EPISODE TITLE]
CHAPTER EIGHT
"FOUR MONTHS AGO ... "



[INT. (NEW YORK) THE COMPANY – BOB’S OFFICE -- DAY]

(Peter’s eyes open. Elle strokes his forehead. Bob stands behind her, watching them.)

BOB: He's not a toy, Elle.

ELLE: He could be.

(Elle touches Peter’s nose and zaps him lightly. Peter sits up, gasping and disoriented. Elle is amused.)

PETER: Where am I?

BOB: Someplace safe.

PETER: My brother -- I was in a hospital.

BOB: We have the finest doctors in the world working on him. But his situation is dire.

PETER: So who are you? What am I doing here?

(Elle smiles and touches the hair at Peter’s neck – a strange, intimate motion.)

BOB: I am an old friend of your parents.

PETER: Yeah, I've seen you before.

BOB: And as I said before, you're safe here. But your brother ... that's a different story. He almost died.

ELLE: Because of you, Peter.

(Elle touches Peter’s shoulders and neck. Again, oddly intimate for strangers.)

ELLE: Hey, it's not like it was your idea to go nuclear and take out half of New York City.

PETER: Oh, you know about that?

BOB: Yes, as long as your abilities are in control of you, you will always be a hazard to yourself, to your family ...

(Peter finally pulls away from Elle’s odd caresses.)

ELLE: ... the whole world.

PETER: Believe me, if I could turn them off, I would.

ELLE: Don't worry, we've done that for you.

(He looks at Bob. Bob nods. Peter looks at the glass of water on the table. He reaches for it, but it doesn’t move. Elle takes Peter’s hand.)

ELLE: At least for now.

PETER: How did you ...

(Elle threads her fingers through Peter’s.)

BOB: My colleague here is able to suppress the abilities in people around him.

(REVEAL: The Haitian steps into camera frame. He’s been in the room. Peter turns and looks at him.)

PETER: I don't understand.

(Peter looks at them.)

PETER: What is this place?

BOB: You are in a facility designed to help people just like you.

(Bob sits down.)

ELLE: Peter, we can help you go back to a normal life.

BOB: Thirty years ago, we had to shut down research on a vaccine which could disable your powers. But due to recent events, we have reinstated that research. And I'm very happy to say that we're very close to finding a cure for you.

PETER: Forever?

BOB: You will never have to worry about hurting anyone you love again.

(Peter thinks about it. Elle smiles encouragingly at him.)

PETER: How long until it's ready?

ELLE: Good! (She sits even closer to him.) You're making the right choice.

(Bob laughs. Peter still isn’t sure.)

BOB: Good boy.

CUT TO:



[INT. HOSPITAL – NATHAN’S ROOM -- DAY]

NATHAN’S POV: BLUR IN

(Angela looks at him. There are tears in her eyes.)

(Nathan is horribly scared and burned.)

ANGELA: You have had a terrible accident.

NATHAN: (rasps) Pe-ter ...

ANGELA: He's missing. He's missing, Nathan. The, uh, Coast Guard is searching a hundred square miles of the ocean. But you're lucky to be alive.

(Nathan uses the bed remote and sits himself up. Angela immediately knows what he’s going to do and stands at the foot of the bed to block his view of the mirror.)

ANGELA: No. Oh, no, no, no.

(She steps aside and lets Nathan see his reflection.)

(He touches his face.)

FLASH TO:



[INT. (NEW YORK) ROOSEVELT HOSPITAL – DL’S ROOM -- DAY]

(The door opens and Micah runs into the room. Niki is just behind him.)

MICAH: Dad!

(Micah gives DL a hug.)

DL: Oh, big guy.

(DL hugs him back. Niki kisses DL.)

NIKI: I thought I lost you.

DL: Girl, I told you. You're never getting rid of me.

DR. BROOKS: (o.s.) Mrs. Sanders ...

(Dr. Brooks is at the doorway.)

NIKI: (to DL) I'll be right back, okay?

(Niki kisses DL and Micah, then heads outside.)

DL: I'll be here.

(DL and Micah share a chuckle.)



[INT. ROOSEVELT HOSPITAL – HALLWAY – DAY – CONTINUOUS]

(Niki steps out into the hallway to talk with Dr. Brooks.

NIKI: Dr. Brooks. Um, I wanted you to know that we don't have insurance. But I'm sure that we can come up ...

DR. BROOKS: (interrupts) You don't have to worry about that. It's all been taken care of.

NIKI: I don't understand. How? Who paid?

(Bob walks up to them.)

BOB: Uh, that'd be me.

(Dr. Brooks leaves.)

NIKI: Do I know you?

BOB: Call me Bob. Did you happen to see a morning newspaper?

NIKI: What? No, why?

BOB: Not a mention of what happened last night on Kirby Plaza or the untimely death of our friend Mr. Linderman.

NIKI: Who the hell are you?

BOB: Someone who wants to help. Linderman made a mess of things and I'm here to right the ship. So to speak.

NIKI: Okay. You've done that by paying our bills.

BOB: No, I meant helping you with your illness. I know you think Jessica is gone.

NIKI: How do you know about that?

BOB: But we've discovered that when these abilities manifest, the way the mind deals with the new reality sometimes results in a fracture of sorts—a split personality.

NIKI: No, I'm finished with Jessica.

BOB: How do you know a new personality won't emerge? I can get you all the help you need. The best care in the world.

NIKI: Uh-huh. What's the catch?

BOB: The catch is you have to leave your family and enter the program.

NIKI: I just went through hell to get my family back together. I'm not leaving them now.

BOB: There is medication you can try at home, but ...

NIKI: But what?

BOB: It's not without side effects. And as you just said, you've been through so much for your family. Do you really wanna risk ... losing them all again?

CUT TO:



[INT. (NEW YORK) THE COMPANY – PETER’S CELL – DAY]

(Peter looks at the three pills and two capsules in the small cup. Elle is cutting Peter’s hair.)

PETER: So I just take these pills every day?

ELLE: Yep. It's a little cocktail they cooked up here in the lab. It controls the abilities. Dampens them.

PETER: Like that guy who was standing in the corner of Bob's office.

ELLE: The Haitian. Yeah. Sorta. So let's just call them ... Haitian pills.

(Elle fills a cup with water and hands it to him. He takes the pills and drinks it down with the water as she watches him closely. Elle removes the towel and rubs her hand over Peter’s newly cut hair.)

ELLE: Bye, Peter.

(She shocks his head and smiles.)

PETER: Ow! That hurts.

ELLE: You'll get used to it. And then you'll start to like it.

(She leaves.)

(Peter sits on the bed.)

ADAM MONROE: (o.s.) Hello?

(He looks around.)

PETER: Who said that?

(He sees the grating near the floor.)

ZOOM through the wire grate and through the vent and over to the cell next door.

ADAM MONROE: Me.

(A man sits on the bed. It’s Takezo Kensei, or as he’s known now – Adam Monroe.)

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[BLACK SCREEN W/ WHITE TEXT]

THREE MONTHS AGO

DL: (v.o., singing) He's a jolly good fello-o-ow ... It's Micah's birthday today ...



[EXT. (LAS VEGAS) HAWKINS/SANDERS’ RESIDENCE -- DAY]

(Niki and DL celebrate Micah’s birthday out on their back porch. Micah blows out the candles on his cake decorated as a Ninth Wonder’s comic book cover. )

DL: All right!

(He hugs Micah.)

DL: Eleven years old. Almost the man of the house now.

(Niki is distracted.)

MICAH: Mom?

NIKI: Did you make a wish, baby?

DL: Don't tell us. 'Cause you know it's not gonna come true.

MICAH: You both already know what I wished for, anyways.

(They sit down.)

DL: Micah, we've been over this.

MICAH: But I've got it all figured out. I could make the car radio pick up the police band. We could go to the crime scene and be heroes.

DL: Or the police could just take care of it.

MICAH: We could be like the Fantastic Four ... minus one. But still.

DL: Micah, I wanna be a hero to you. And I finally figured out how to do that. I think I got a job. A good job.

MICAH: Doing what?

DL: Something that's gonna make you proud of me, I promise. Come on. I promised I'd take you bowling, right? Let's go.

MICAH: Mom, you coming?

DL: Your mom's had a long day, Micah. Go get your jacket.

(Micah goes into the house.)

NIKI: All I want is to smile at my boy on his birthday, and I can't even do that.

DL: They said it's just gonna take a little while for the medication to level out.

NIKI: I just don't know how much longer I can do this.

DL: I wanna say things'll get better. But I know how that sounds.

(DL gets up.)

DL: But the truth is they will.

(He kisses her temple and goes into the house.)

CUT TO:



[EXT. HAWKINS/SANDERS’ RESIDENCE -- DAY]

(Niki turns the faucet on and uncaps the pill bottle. She tosses the pills down the sink.)

CUT TO:



[INT. (NEW YORK) THE COMPANY – CELLS – DAY]

(Adam looks out his observation window.)

ADAM MONROE: You know, it's been a month. You still haven't told me your name.

(Peter is in his cell, lying on his bed.)

PETER: Please, I just wanna be left alone.

ADAM MONROE: Well, you came to the right place. I have to warn you, though, it does get a bit old. Let me guess. You were living a perfectly ordinary life ... until one day you discovered you could do incredible things. I bet it was wonderful at first. You thought perhaps you could save the world ... and then you realized, tragically, that you were dangerous. I'll let you talk to me after a decade. Oh, actually, talk to me after three.

PETER: If they wanna leave me in here forever, that's fine by me.

ADAM MONROE: You've been through something awful, haven't you?

(Peter turns and looks at the wall.)

ADAM MONROE: (genuinely) I'm sorry.

PETER: I'm Peter.

ADAM: Hello, Peter. It's nice to meet you. I'm Adam.

FADE OUT.



[BLACK SCREEN W/WHITE TEXT]

TWO MONTHS AGO



[INT. (NEW YORK) THE COMPANY – PETER’S CELL – DAY]

(Peter is sitting on his bed. The door opens and Elle walks in. She climbs on the bed next to Peter.)

PETER: I'm not in the mood today, Elle.

ELLE: Just a little one? I'll up your dose.

PETER: I'm fine. Just a little one.

(Peter sits up in bed. They put their fingertips together and electricity snaps between their fingers.

PETER: Oh!

(Peter pulls away. Elle smiles and gives him a big hug.)

(Peter pushes her away and stands up. He looks at his sore fingers and goes to the table with the pill cup and empty water cup. He picks up the pill cup.)

PETER: Not that a fistful of pills everyday isn't fun, but ... It's been two months now and I still don't know a thing about you.

(He swallows the pills dry.)

PETER: I was just thinking ... Maybe there's more to you than the whole sadistic lightning thing, that's all. What's your story?

(She stands up, walks over to him and takes his hands.)

ELLE: I liked you better when you just laid there.

PETER: So you're not gonna tell me? What are you, afraid? (She smiles at him.) No. You just like to be in control. I get it. I figured as much. Sorry I asked. Won't happen again.

(He turns his back to her and gives her the empty water cup. She goes to the door, then turns around.)

ELLE: I accidentally set my grandmother's house on fire when I was six. Caused a blackout in four counties in Ohio when I was eight. I spent my ninth birthday in a glass room with an IV of lithium in my arm. I've lived in this building for sixteen years ... ever since the shrinks diagnosed me as a sociopath with paranoid delusions. But they were just out to get me because I threatened to kill 'em. I'm 24 years old, and I've never gone on a date. Never been on a roller coaster. Never been swimming. And now you know everything there is to know about me. I don't have the luxury of being more interesting than that.

(She heads back to the door.)

ELLE: Later, alligator.

(Elle leaves. The door slams shut behind her. Peter walks up to the window and watches Elle leave.)

ADAM MONROE: (o.s.) Word to the wise, friend. I would keep my distance from that one. I caved in a desperate moment six years ago, and I'm still paying the price.

PETER: Don't worry. I don't want anything from her except the drugs.

ADAM MONROE: I'm sorry, I keep forgetting. You still believe them.

PETER: What do you mean?

ADAM MONROE: This cure of theirs. They've been days away from perfecting it since I got here thirty years ago. Bob's not trying to fix you, Peter.

PETER: No. They created this facility to help us.

ADAM MONROE: You're not in a facility, Peter. Look around. (Peter looks around.) You're in a prison. You don't believe me? Why don't you try getting out?

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[BLACK SCREEN W/WHITE TEXT]

TWO MONTHS AGO



[INT. (NEW YORK) HOSPITAL – HALLWAY]

(Angela heads for Nathan’s room. She opens the door and finds Heidi with Nathan.)

ANGELA: Oh, I'm sorry.

(She closes the door and waits outside.)

(After a moment, the door opens and Heidi steps out into the hallway with Angela.)

ANGELA: Are you all right?

HEIDI: He said it was all a lie. What happened to him, and ... to Peter, and the car crash.

ANGELA: I take it he told you he thought he could fly. And the plot to blow up New York. That Peter was a bomb.

HEIDI: It must be the pain medication.

(Angela steps closer.)

ANGELA: You deserve to know this. I tried to keep it from you and the boys.

HEIDI: What?

ANGELA: There's a dark secret in the Petrelli family. It started with their father. Delusions of grandeur, paranoia. It lead to his suicide. But sadly ... that disease has obviously been passed down.

HEIDI: My God.

ANGELA: Now ... Nathan's a great man. (She touches Heidi.) And his life is gonna be very complicated. He really deserves his dignity and his ... his privacy. So I hope you understand that this has to be kept secret. Can I count on you for that, Heidi?

(Heidi nods.)

(Angela nods.)

CUT TO:



[INT. (LAS VEGAS) HAWKINS/SANDERS’ RESIDENCE – ROOM -- DAY]

(Niki stands in front of the mirror. She’s wearing a maroon-colored suit and is practicing her lines.)

NIKI: Hi, what can I do to get you inside a -- Hi ... Hi. What can I do to get you into a brand new car?

(DL walks in and chuckles.)

NIKI: (starts again) Hi ... what can I do ...

DL: (interrupts) Depends on what you're gonna do to me once you get me inside. (He hugs her from behind.) I got a great feeling about your first day.

(She takes a deep breath and exhales. She turns and looks at DL.)

NIKI: My butterflies have butterflies.

(They kiss. Niki’s smile is tight and she looks like she’s barely holding it together.)

DL: Nik, I am so proud of you. I knew that medication would work out.

NIKI: You were right.

DL: I'm gonna take Micah to school.

NIKI: Okay.

DL: You have a great day at work. (She giggles.) When I get home tonight, we're gonna celebrate.

(DL leaves.)

GINA: (o.s.) He's gonna know you're not taking the stupid pills.

NIKI: Go away, Jessica. I don't need you anymore.

GINA: (o.s.) What makes you think this is Jessica?

(Niki turns around and sees a different reflection of herself in the mirror. This one is wearing a white, frilly top)

GINA: Remember me? That summer that you ran away to LA. And told everyone to call you Gina?

NIKI: You're not real.

GINA: Oh, you're gonna sell cars? I'm going back to LA to go play.

NIKI: No, I'm in control. If I can handle Jessica, I can handle you.

GINA: Then why aren't you taking your meds?

(Gina takes over Niki’s body and traps Niki in the mirror. The reflection in the mirror is now wearing the maroon-colored suit. Gina smiles as she turns to leave the room.)

(Niki pounds on the glass.)

NIKI: No!

(Gina ignores her and leaves the room.)

NIKI: No! No!

(In the kitchen, Gina removes the jacket and heads out.)

NIKI: No! Ugh!

CUT TO:



[INT. (NEW YORK) THE COMPANY – PETER’S CELL -- DAY]

(Peter talks with Bob.)

PETER: Look, I need to see my family. Just for a day or two.

BOB: Yes, I-I think that would be absolutely possible. Just not right now.

PETER: Why not? They don't even know I'm alive.

BOB: (sighs) Look, I could let you go, and you could explode again. You could blow up half the East Coast.

PETER: Okay, so dose me with some drugs and I'll be back before they wear off. It's perfectly safe.

BOB: I'm sorry, Peter. You're just not ready for that yet.

PETER: Okay, so send someone out with me. Elle, maybe.

BOB: Uh, no. No, no, I'm sorry, Peter. Um, that's just not gonna happen.

(Bob turns and leaves. The door slams shut behind him. Peter looks at Bob through the observation glass.)

PETER: I'm never getting out of here, am I?

(Bob ignores him and leaves. He walks past Adam’s window on his way out.)

ADAM: Suddenly the room starts to feel like a cage.

PETER: I don't understand. If they're not gonna help us, why are we here?

ADAM: To keep us from being out there.

PETER: Why, because we're dangerous?

ADAM: No, Peter, it's because we could save the world. Years ago, I tried to take my abilities public. I thought that if everyone knew that my blood had curing powers, I could help. How naive I was.

PETER: That's why they put you in here.

ADAM: Well, if it were possible to kill me, they would have, I assure you. Instead, I'm locked up in here. When I could be curing your brother.

PETER: Nathan. How?

ADAM: Just a small amount of my blood could help to heal him. End his pain. Even after everything you've put him through.

PETER: So how do we get out?

CUT TO:



[EXT. (LAS VEGAS) HOUSE – NIGHT]

(A house is on fire. The firemen at the scene are trying to put it out. A woman runs out across the lawn, hysterical. The firemen nearby grab her.)

HYSTERICAL MOTHER: My daughter is still in there! Please!

(DL turns and looks at the house.)

HYSTERICAL MOTHER: Please!

(DL runs toward the house.)

FIREMAN: Hawkins!
FIREMAN: Hawkins, get out of there!

(DL runs into the house.)

(As everyone watches, there’s an explosion inside.)

HYSTERICAL MOTHER: Please!

(The firemen continue to put out the fire.)

(Suddenly DL phases out of the fire carrying the little girl.)

LITTLE GIRL: Mommy!

(DL staggers. Everyone is stunned.)

LITTLE GIRL: Mommy! Mommy!

(DL runs to the girl’s mother.)

LITTLE GIRL: Mommy!

(He gives the little girl to her mother.)

HYSTERICAL MOTHER: Thank you!

(DL looks around. Everyone starts applauding.)

MAN: (o.s.) Yeah, good one, DL.
MAN: (o.s.) Good job!

(He looks at the mother and daughter and nods.)

CUT TO:



[INT. (LAS VEGAS) HAWKINS/SANDERS’ RESIDENCE – ROOM -- DAY]

[ON MONITOR]

(Micah is watching the news coverage on television.)

REPORTER (MAN): This is KCEI Channel 9 news reporting on a house fire, --

MOTHER: (from tv) Thank you.

REPORTER (MAN): -- we've just heard, in the Clark County District. Near tragedy was avoided ...

(He turns when DL walks into the room. He’s carrying a bouquet of flowers and a box of chocolates.)

MICAH: Dad!

DL: Hey.

(DL hugs Micah.)

MICAH: (excited) I saw you on TV! They keep on playing it over and over! You really are a hero.

DL: I guess I am. (He stands up and looks around.) Where's your mom?

MICAH: I don't think she's gotten home from work yet.

(DL checks the other room. He turns and sees the message written in lipstick on the mirror:
GONE TO LA
C YA!

DL: Jessica.

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[BLACK SCREEN W/ WHITE TEXT]

ONE MONTH AGO



[INT. (NEW YORK) THE COMPANY – PETER’S CELL -- DAY]

(Peter is lying on the bed when the door opens. He sits up. Elle walks in with a couple of trays. She puts them down, turns and starts to head out.)

PETER: You're not gonna give me a little jolt?

(She steps back into the room.)

ELLE: Why, you want one?

(He reaches out, grabs her around the waist and pulls her onto his lap.)

PETER: Like you said, I'm starting to like 'em. Starting to like you.

(He holds his hand out.)

ELLE: Fine, since you asked nicely.

(She starts to lift her hand and he kisses her. She zaps his lips.)

PETER: Ah!

(He pulls away and she smiles.)

(He looks at her, gets up and goes to take the pills. Elle comes up behind him.)

ELLE: Enough fun for one day?

(He gives her the empty water cup. Elle takes it and leaves, the door closes behind her.)

(Peter has his back to the observation window. Elle walks past on her way out. After a moment, Peter spits out all the pills into his hand.)

(He drops them into the toilet and flushes.)

PETER: Day number five without the meds.

ADAM: (o.s.) Then I think it's time to try.

(Peter walks up to the wall between him and Adam. He places both hands up against the concrete and concentrates. He tries and it doesn’t work.)

ADAM: (o.s.) Come on, Peter. You can do it.

(Peter tries again and his hands phase completely through the wall.)

CGI EFX: Peter walks through the concrete wall and appears in Adam’s room.

(Adam walks up to Peter.)

PETER: It's nice to finally meet you. You know, for 400 years, you've held up pretty well.

ADAM: Come on, let's go heal your brother.

(Peter walks up to the wall with the window slits in them and puts his hands against the concrete. Adam puts his hand on Peter’s shoulder.)

(Peter phases through the wall and they both leave the room.)

CUT TO:



[INT. (VENEZUELA) CHURCH -- DAY]

CAPTION:
ZULIA, VENEZUELA

(OPEN: Jesus on the cross.)

(Maya kneels in the front, her eyes closed and prayer beads in her hand. Alejandro walks up to her and puts a hand on her shoulder.)

MAYA: (subtitled) I knew I couldn’t hide forever.

ALEJANDRO: (subtitled) It’s time to come home, Maya.

(She knows it’s him. She stands up.)

ALEJANDRO: (subtitled) Everyone has been looking for answers ... why you did it. How? No one can figure out how you poisoned them all.

MAYA: (subtitled) That’s because I didn’t. It’s something evil inside me. Something I can’t control.

ALEJANDRO: (subtitled) You told me you killed them. You’re saying now it was an accident?

MAYA: Si. (subtitled) Think about it. You didn’t die. Of all of them, you were the only one! It has something to do with us.

ALEJANDRO: (subtitled) That doesn’t make any sense ... but I still want to help you.

(In the back of the church, a policeman and Mother Superior walk in. Alejandro turns. He’s turning her in.)

POLICEMAN: (subtitled) It’s over Maya.

(The policeman walks over. He reaches for his handcuffs.)

MAYA: (subtitled) No.

ALEJANDRO: (subtitled) It’s for the best, Maya.

MAYA: (subtitled) No.

ALEJANDRO: (subtitled) Please.

MAYA: (subtitled) You can’t do this ... You don’t understand, I’m dangerous.

(The officer grabs Maya and turns her around to handcuff her.)

MAYA: (subtitled) Oh God, no ...

(Maya’s eyes start to turn black.

ALEJANDRO: (subtitled) Maya, please ...

(Black tears leak from her eyes. The officer drops the handcuffs as he starts to choke. He falls to the ground next to Alejandro.)

MAYA: (subtitled) I’m sorry ...

ALEJANDRO: (subtitled) Maya, please ... stop! Whatever you’re doing, stop!

MAYA: (subtitled) I’m sorry ...

(Maya turns around. She doesn’t know how to stop. Alejandro grabs her hands and tries to help her.)

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

(Maya takes deep breaths and calms down. Alejandro holds on tightly to her hands.)

(Once Maya has control, Alejandro turns around. The officer is on the ground, dead.

ALEJANDRO: (subtitled) It’s true. (Maya nods.) Let’s get out of here. (scared) Let’s get out of here.

(Hand-in-hand they run out of the church.)

CUT TO:



[INT. (LOS ANGELES) NIGHTCLUB – NIGHT]

(Gina is snorting drugs.)

(She takes the hand of the man nearby and they dance on the dance floor.)

(DL walks up to the bouncer.)

DL: Excuse me, chief. I'm looking for this girl.

(He shows him a photo of Niki with him and Micah. The bouncer looks out on the dance floor and sees her.)

BOUNCER: Uh ... She's over there.

DL: Thanks.

(DL goes up to Niki on the dance floor. He grabs her and turns her around.)

DL: Jessica!

GINA: Guess again.

(The guy Gina’s dancing with interrupts them.)

SKANKY GUY: Dude, the chick doesn't know you.

DL: She's my wife.

(He shows Gina the photo.)

DL: This is us.

(Gina takes the photo and looks at it. The Skanky Guy knocks DL’s hand away. DL pushes the Skanky Guy.)

DL: Stay out of this.

(The Skanky Guy throws a punch that passes right through DL’s phased head.)

(The Skanky Guy pulls his fist back and looks at it. DL punches the Skanky Guy right in the stomach. He doubles over.)

DANCER: (o.s.) Come on, man.

(Gina continues to look at the photo.)

(She closes her eyes and takes a deep breath. Niki returns. She looks around, scared.)

NIKI: Where am I?

(She turns and sees DL. Niki touches him as if to make sure he’s real. DL nods.)

DL: Let's go.

NIKI: Where am I?

(DL puts his jacket around Niki’s shoulders, turns her and they head out.)

DL: We're going home.

(The Skanky Guy on the floor glares at them. He gets to his feet.)




[INT. NIGHTCLUB STAIRS -- CONTINUOUS]

(Niki and DL exit the nightclub.)

NIKI: How did you find me?

DL: I told you, you ain't getting rid of me. I love you, baby.

NIKI: Not as much as I love you.

(The Skanky Guy exits the club. He’s at the bottom of the steps.)

SKANKY GUY: Hey!

DL: Man, let it go. We're leaving, all right?

(The Skanky Guy pulls out a gun and points it at DL’s chest. He fires.)

(Niki gasps. The blood spatters on her face.)

(Women around the area scream. The Skanky Guy looks at Niki, then turns and leaves.)

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[BLACK SCREEN W/ WHITE TEXT]

THREE WEEKS AGO



[INT. (LAS VEGAS) HAWKINS/SANDERS’ RESIDENCE – ROOM -- DAY]

(Micah looks at the framed MEDAL OF VALOR awarded to DL HAWKINS.)

(He’s wearing a suit and is sitting on the couch. Damon sits next to him and leans over.)

DAMON: Can I play with it?

(Micah looks at Damon, appalled. Monica walks over and slaps Damon on the shoulder.)

MONICA: Damon, come on. Why would you ask him that? Don't be so silly.

(Damon gets up and leaves. Monica gives Micah a hug. Niki talks with Nana as they walk.)

NANA: You're gonna be all right, aren't you, sugar?

NIKI: I don't know. I think I need to get some help.

NANA: Anything you want, you just gotta ask. Now you know that, don't you?

NIKI: Thank you.

(Niki gives Nana a hug.)

CUT TO:



[EXT. HAWKINS/SANDERS’ RESIDENCE – DRIVEWAY -- DAY]

(Nana, Damon and Monica head for their car. They pass Bob on his way toward the house. He nods to Monica, then turns to look at Niki on the porch. She sees him. He nods sadly to her. She nods back.)

CUT TO:



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

(Nathan is in bed. The door opens. Peter and Adam walk in. Peter walks up to the bed and looks at Nathan.)

ADAM: I've taken care of everything: plane tickets, money. Now this.

(Adam rolls up his sleeve.)

PETER: I'm so sorry, Nathan.

(Adam takes a vial full of his own blood, then injects it into Nathan’s IV bag. The clear solution turns red.)

PETER: How long until it starts working?

ADAM: We don't have time to find out. They're going to assume that you'll come to see your brother. This is the first place they'll look.

(Adam puts the syringe down and heads for the door.)

ADAM: Come on.

PETER: Adam, look, look, look!

(Nathan’s burns spontaneously heal right before their eyes.)

ADAM: Good.

(Peter is reluctant to leave. Adam pulls Peter.)

ADAM: Come on. Come on.

(Adam leaves the room. Peter turns and sees the various framed photos on the counter. He picks up the one of him and Nathan and looks at it.)

CUT TO:



[EXT. (NEW YORK) SHIPPING DOCKS – WALKWAY – CONTINUOUS]

(Peter and Adam turn the building corner and are on the walkway.)

PETER: That was incredible. His skin was starting to heal right there in front of us.

ADAM: He'll be as good as new by the time he wakes up. (He hands Peter his stuff.) Here, passport, plane ticket. Here's the plan.

(They turn the corner and see Elle and the Haitian headed toward them.)

ELLE: You disappointed me, Peter! And just when I thought we were getting to know each other.

ADAM: There's a warehouse in Montreal--121 Rue Saint-Jacques. Meet there.

(Adam and Peter run in separate directions. Elle sends a stream of electricity at Adam, hitting him in the back and flinging him up the wall.)

ADAM: Ugh!

(He falls to the ground. Elle turns and zaps Peter in the back. His jacket catches fire.)

(Elle points to Peter.)

ELLE: (to the Haitian) Go after him!

(She turns and runs to take care of Adam.)

(The Haitian turns toward Peter, who is getting to his feet and removing his shirt.)

(Peter turns and runs.)

(The Haitian runs after him.)

(Peter climbs down the side of the building and drops to the ground. He runs among the containers in front of him.)

(He runs the length of the row and turns the corner right into the Haitian.)

(The Haitian punches him and Peter goes down. Peter turns to use his powers, but nothing happens. The Haitian advances toward Peter, punching him into the open container. Peter falls backward.)

(The Haitian advances and before Peter can get up again, he punches Peter in the stomach. Peter hits the container wall and punches the Haitian in the face. He punches again, but the Haitian grabs his arm and twists it back behind him.)

(Peter falls to his knees.)

(The Haitian snaps on a pair of handcuffs around Peter’s wrist and locks him to the pipe in the container.)

(Peter is trapped.)

PETER: You take me back there, I'm just gonna keep escaping.

THE HAITIAN: I'm not taking you back. You deserve a better fate. Your mother helped me when I was in need.

PETER: So now you're helping me?

(The Haitian removes his necklace with the SYMBOL pendant and puts it on Peter.)

THE HAITIAN: You must start a new life, Peter. I fear this is the only solution. Your secret is safe with me. Go with God, my friend.

(The Haitian covers Peter’s eyes and removes his memories.)

(Peter yells.)

(The Haitian removes his hand. Peter looks scared. The Haitian leaves the container and closes the doors.)

TO BLACK.



[INT. (NEW YORK) HOSPITAL – ROOM 1909 -- DAY]

MOHINDER: (v.o.) There are many ways to define our fragile existence ...

(Angela opens the door and finds Nathan on his feet and standing near the window.)

MOHINDER: (v.o.) ... many ways to give it meaning.

(Nathan turns around. His scars and burns are gone.)

MOHINDER: (v.o.) But it is our memories that shape its purpose and give it context --

CUT TO:



[INT. CAR (TRAVELING) – DAY]

CAPTION:
TODAY

(Maya is driving. Sylar sits next to her and brushes her hair away from her neck with his hand. She turns and looks at him. Alejandro sleeps in the back seat.)

MOHINDER: (v.o.) -- the private assortment of images, fears, loves, regrets.

CUT TO:



[INT. (NEW YORK) THE COMPANY – HALLWAY – DAY]

(Niki meets Bob in the hallway.)

NIKI: Thank you.

BOB: Yeah.

(Niki heads out with her suitcase. Bob turns and watches her go.)

(HOLD on Bob.)

CUT TO:



[EXT. WANDERING ROCKS PUB (STOCK) – NIGHT]

(It’s raining.)

(A car pulls up in front. Nathan pays the driver and gets out to look at the pub.)

MOHINDER: (v.o.) For it is the cruel irony of life that we are destined to hold the dark with the light, the good with the evil, success with disappointment. This is what separates us, what makes us human.

CUT TO:



[INT. (MONTREAL) WAREHOUSE -- NIGHT]

(ZOOM BACK into PETER’S EYE.)

(Peter staggers backward. He looks around as everything comes back to him.)

(Adam looks at him.)

MOHINDER: (v.o.) And in the end, we must fight to hold on to.

CAPTION:
PRESENT DAY

PETER: I remember. I remember everything.

ADAM: Good, then. Shall we save the world?

(With a determined look in his eyes, Peter nods.)

FADE TO BLACK.



TO BE CONTINUED ...