Transcription by Intrepid (intrepidly002@yahoo.com)
FADE IN:
[BLACK SCREEN W/SCROLLING WHITE TEXT]
[INTRODUCTION]
In recent days, a seemingly random group of individuals has emerged with what can only be described as "special" abilities.
Although unaware of it now, these individuals will not only save the world, but change it forever. This transformation from ordinary to extraordinary will not occur overnight. Every story has a beginning.
Volume One of their epic tale begins here ...
FADE OUT
END OF INTRODUCTION
FADE IN:
[EXT. SPACE (STOCK)]
(The screen is black. Slowly, the turning earth appears as it rises up from the bottom of the screen. It turns from day into darkness.)
(Then, the flash of an eclipse as light from the sun behind outlines the planet. And then, we’re there --
[TITLE CARD: HEROES]
MOHINDER SURESH: (v.o.) Where does it come from?
(The image of the earth’s eclipse zooms out and we find we’re just a gleam in a larger picture ...
[CU: PETER’S LEFT EYE]
(In the center of Peter’s left eye, we zoom out completely on –
[PETER PETRELLI]
MOHINDER SURESH: (v.o.) -- this quest? This need to solve life's mysteries, when the simplest of questions can never be answered.
(We pull out and find Peter standing on the roof of a building. He looks around.)
MOHINDER SURESH: (v.o.) Why are we here? What is the soul? Why do we dream? Perhaps we'd be better off not looking at all.
[EPISODE TITLE]
CHAPTER ONE
"GENESIS"
(TOP VIEW DOWN: Peter is standing on the edge of the building. He spreads his arms out.)
MOHINDER SURESH: (v.o.) Not delving, not yearning. That's not human nature. Not the human heart. That is not why we are here.
(Peter leans forward and falls.)
[POV: FLYING]
(We’re falling, then we swoop and fly up in the air, never touching the ground. We fly between the buildings, over the streets below. The sunlight gets in our eyes.)
FLASH TO:
[INT. DEVEAUX PENTHOUSE – CHARLES’S BEDROOM -- DAY]
LEGEND:
NEW YORK CITY
(Peter wakes up. He’s dressed in scrubs and sitting in a chair next to Charles Deveaux’s bed.)
SIMONE DEVEAUX: How's he doing?
(Simone walks in and closes the doors behind her. She puts her keys on the table. Peter puts the newspaper section he’s reading on the bedcovers in front of him.)
SIMONE DEVEAUX: I'm sorry. Did I scare you?
(Simone takes her coat off and heads over to the bed where her father is. In the background, we hear the steady beeping of a heart monitor.)
PETER PETRELLI: No. No, I just, uh, I keep having these amazing dreams every time I close my eyes, and ... never mind, um ... he likes me to read him the stock page.
(Peter stands up.)
SIMONE DEVEAUX: Has he been conscious at all?
PETER PETRELLI: No. Been a week now. I think he's close. A couple more days, maybe.
SIMONE DEVEAUX: You know, I don't know what he'd do without you. You got a real gift.
PETER PETRELLI: Just doing my job.
(Peter walks over to stand next to Simone as he checks her father’s pulse.)
SIMONE DEVEAUX: No. You're like a son to him.
PETER PETRELLI: Well, then, that would make us like brother and sister. Might be a little awkward if I ever wanted to ask you out.
(She turns and looks at him. It’s an awkward moment.)
PETER PETRELLI: I'm sorry. That was, uh, that was inappropriate.
SIMONE DEVEAUX: No, it -- it's sweet. It's -- I'm dating somebody, and –
PETER PETRELLI: Yeah, no, really. It's ... okay. I need to change his IV.
(Simone takes a step back from the bed, giving Peter room to work.)
SIMONE DEVEAUX: I'm sorry. No. Of course.
(Simone turns and leaves the room.)
CUT TO:
[INT. CLASSROOM – DAY]
LEGEND:
MADRAS, INDIA
3 DAYS AGO
(Mohinder Suresh stands in front of a world map on the board, his back to the classroom. He’s in the middle of a lecture.)
MOHINDER SURESH: Man is a narcissistic species by nature. We have colonized the four corners of our tiny planet. But we are not the pinnacle of so-called evolution. That honor belongs to the lowly cockroach. Capable of living for months without food. Remaining alive headless for weeks at a time. Resistant to radiation. If God has indeed created himself in his own image, then I submit to you that God is a cockroach.
(Only a few in the classroom chuckle. Most, do not.)
MOHINDER SURESH: They say that man uses only a tenth of his brain power. Another percent, and we might actually be worthy of God's image. Unless, of course, that day has already arrived. The human genome project has discovered that tiny variations in man's genetic code are taking place at increasingly rapid rates. Teleportation, levitation, tissue regeneration.
(In the back of the room, Nirad enters. He lingers in the doorway and listens.)
MOHINDER SURESH: Is this outside the realm of possibility? Or is man entering a new gateway to evolution? Is he finally standing at the threshold to true human potential? I'm sorry, I'm out of time.
(The students stand up.)
(They walk past Nirad as they leave the class.)
MOHINDER SURESH: I know, I know. I'm beginning to sound like my father. I can't help it. You know, they can fire me too, if they like. But there is something to it, Nirad. As crazy as it sounds.
(Nirad is quiet. Mohinder suspects something is wrong. Terribly wrong.)
MOHINDER SURESH: What is it?
NIRAD: It's ... your father. He's dead.
MOHINDER SURESH: How?
CUT TO:
[EXT. (MADRAS) STREET -- DAY]
(Mohinder and Nirad walk through the street. Its pouring and dark for the daytime.)
NIRAD: Driving a taxi in New York City is a very dangerous job. The wrong fare, the wrong time. We may never know what really happened.
MOHINDER SURESH: No, I spoke to him two days ago. He was convinced someone was following him, trying to steal his research. He died because of his theories.
(They stop in the middle of the street.)
NIRAD: That's crazy.
MOHINDER SURESH: Is it?
NIRAD: The man left his family -- discredited his career to chase wild theories halfway around the world!
(Mohinder turns and starts hurrying again.)
NIRAD: Where are you going?
MOHINDER SURESH: To his apartment, to get his papers, his research. He was this close to finding the first of "them" -- his patient zero.
(Mohinder climbs up the building stairs.)
MOHINDER SURESH: He tracked him to Queens, New York.
NIRAD: Mohinder, listen to me. Your father was my colleague and my friend -- a respected professor, a brilliant geneticist. But he had clearly lost touch with reality.
MOHINDER SURESH: I followed in his footsteps. My thesis is based on his research!
NIRAD: Yes, you always wanted his approval!
MOHINDER SURESH: And now you're telling me that it was all for nothing.
NIRAD: I'm telling you to let go.
MOHINDER SURESH: I need to know why he died. I need to know that it wasn't all for nothing. (quietly) And then I need to finish what he started.
(Mohinder turns and heads up the stairs.)
[INT. CHANDRA SURESH’S APARTMENT – DAY – CONTINUOUS]
(The door opens and Mohinder walks quietly, reverently into his father’s apartment. The apartment loft is huge and very dark. On the far wall is a large world map similar to the one in the classroom. Mohinder puts his bag down and picks up a pair of horned-rimmed glasses on top an open book. He holds it a moment, then puts it back down.)
(On the table is an accordion folder marked GENESIS. He opens it and thumbs through the thumbs through the folders. The green tab is labeled: HUMAN FLIGHT POTENTIAL. The yellow tab is marked: RAPID CELLULAR REGENERATION.)
(He picks up a tape cassette marked TELEPORTATION.)
(He picks up a framed photo of Mohinder and his father at what appears to be Mohinder’s graduation. Mohinder is dressed in a cap and gown.)
(Mohinder turns and walks over to the wall map. He looks at the various thumb tacks marked all over the world. He starts moving them around.)
(As he does this, the camera moves THROUGH the wall, and stops mid-way to show us – a man standing in the darkness and covered with shadows reading something. He’s just on the other side.)
(His phone rings. He puts the reading material down and answers it.)
HORN-RIMMED GLASSES (HRG): (to phone) Hello? Yeah.
(Mohinder hears the sounds of a man talking. He grabs the newspaper clipping off the wall map and backs away from the wall. Someone is there inside the apartment.)
HORN-RIMMED GLASSES (HRG): (to phone) Yeah. I’m at his place now. No, no, no. He left everything behind but his computer.
(The man is still on the phone. He turns and walks a little.)
(In the next room, Mohinder quickly gathers as much as his father’s things as he dares to carry.)
HORN-RIMMED GLASSES (HRG): (to phone) Research, the map. Yeah, let's get a team in here to bag and tag everything.
(Mohinder takes a digital camera out and snaps a picture of the wall map.)
(In the other room, the man sees the light from the camera flash.)
HORN-RIMMED GLASSES (HRG): (to phone) I gotta call you right back.
(Mohinder runs up to the wall map and grabs the thumb tack for NEW YORK.)
(The man hangs up the phone.)
(Mohinder grabs the things and runs out the apartment as quietly, as quickly as he can.)
(The man steps out from the other room and walks around the living room. He walks up to the horned-rimmed glasses on the open book and puts them on. They’re his.)
CUT TO:
CUE SONG: Wilson Picket’s "Mustang Sally"
[INT. SANDERS’ RESIDENCE -- BEDROOM -- DAY]
LEGEND:
LAS VEGAS, NEVADA
(Niki is on the bed performing for the internet camera set up in the bedroom.)
LYRICS: "Mustang Sally"
(She rolls over, flirts with the camera and slowly lifts her blouse up.)
LYRICS: "Guess you better slow your mustang down / Mustang Sally, baby"
(Camera pans around the tripod and laptop showing her website with live camera video feed.)
LYRICS: "I guess you better slow your mustang down"
(Nick takes her top off. With her back strategically to the camera, she takes her bra off. She looks over her shoulder at the camera.)
(The computer timer beeps.)
LYRICS: "You been runnin' all over town / I guess I better put your big feet on the ground"
(She gets up and puts a dressing on. She runs to the laptop and types.)
Message from XXXNikki4u
Time’s up
Message from Huggerz69
Little more. Please
(She types: )
It’ll cost you another 39 bucks
Message from Huggerz69
BITCH!
LYRICS: "Oh, yes, I will / all you wanna do is ride around, Sally / ride, Sally, ride"
NIKI SANDERS: Pervert.
(The site video blanks out and she’s returned to her site’s splash page. She turns her computer off.)
(She gets up and grabs a tissue. She walks across the room.)
(She passes the mirror and there is a brief instant where there are two Niki's in the mirror.)
(We hear faint voices whispering.)
(Niki stops and turns around. She pauses and looks at her reflection. All she sees is her reflection. She turns and heads out of the room.)
NIKI SANDERS: Time to get up, Micah.
[INT. SANDERS’ HOUSE – DAY -- CONTINUOUS]
(Niki walks into the house and locks the door behind her.)
NIKI SANDERS: Micah?
(There’s no answer. Niki heads down the hallway. She turns and checks Micah’s bedroom. It’s empty.)
(Panicked, she turns to check the other rooms. She turns and heads into the next room.)
NIKI SANDERS: Micah!
(Camera moves over to the mirror over the dresser. A beat later, Niki’s reflection turns and leaves the room.)
NIKI SANDERS: (o.s.) Micah?
[INT. SANDERS’ HOUSE – LIVING ROOM – DAY – CONTINUOUS]
(Micah is working on some computer equipment. He appears to be soldering a motherboard.)
NIKI SANDERS: (shouts) Micah!
(He turns.)
MICAH SANDERS: What?
(Niki stops as she passes the room door.)
NIKI SANDERS: Damn it, Micah, don't do that to me.
MICAH SANDERS: Do what?
(She kneels in front of him. She was worried.)
NIKI SANDERS: You need to be careful. All right?
MICAH SANDERS: I'm just working on my computer. The logic board was bad. So I had to build a new one.
NIKI SANDERS: A new one. Did anyone ever tell you you're the smartest little man on the planet?
MICAH SANDERS: You do. All the time.
(Niki smiles at him. She gets up and looks at something else on the coffee table.)
NIKI SANDERS: What's this?
MICAH SANDERS: It's a pinhole camera. It's for the eclipse. The moon's gonna cover up the sun today. We're supposed to look at it at school.
NIKI SANDERS: Speaking of which ... you need to go get ready. We can't be late. Not today.
MICAH SANDERS: Mom, I'm already dressed, and I've packed my own lunch. That's what I've been doing this morning. What about you?
NIKI SANDERS: Hey, don't get smart with me. All right, I've been working to pay our bills.
MICAH SANDERS: Yeah, that's why they turned off our gas again?
(The doorbell rings persistently. Niki looks at Micah.)
NIKI SANDERS: Go grab your stuff and wait by the back door, okay?
MICAH SANDERS: Why?
NIKI SANDERS: Just do it.
(Micah gets up and leaves the living room. Niki looks out the windows through the cover of the curtains and sees two men standing at the front door – one large and burley, the other greasy and sleazy. They look like thugs. This is not good. Niki steps away from the window.)
SHORT TIME CUT TO:
[EXT. SANDERS’ HOUSE – BACK YARD – DAY]
MICAH SANDERS: Mom, what's going on?
(Dressed, Niki grabs Micah’s hand and she sneaks out the back with Micah.)
NIKI SANDERS: Never mind, just keep your voice down and stay close to me.
[INT. SANDERS’ HOUSE – LIVING ROOM – DAY]
(The guys pound on the front door.)
[INT. SANDERS’ HOUSE – FRONT YARD – DAY – CONTINUOUS]
(Niki helps Micah over the low fence. They get into the car. She starts the car and sets it into reverse. The tires screech as she hits the brakes.)
[INT. SANDERS’ HOUSE – LIVING ROOM – DAY]
(The larger thug breaks the door open.)
[INT. SANDERS’ HOUSE – STREET – DAY – CONTINUOUS]
(Niki speeds away, tires screeching.)
[INT. SANDERS’ HOUSE – LIVING ROOM – DAY]
(The thugs enter the house and look around the empty living room.)
CUT TO:
[VIDEO CAMERA POV]
LEGEND:
ODESSA, TEXAS
[EXT. ABANDONED STRUCTURE – DAY]
(We hear the rhythmic sounds of someone running. The video camera moves upward and we see Claire Bennet in a cheerleader uniform running up the iron steps to the top of the large metal structure.)
CLAIRE BENNET: (shouts) Camera ready?
(Claire steps to the outside of the railing.)
ZACH: (shouts) Yeah, almost. Hold on.
(The image pulls back to show the old mining structure.)
ZACH: (mutters) This looks like 70, 80 feet. This is so unreal.
CLAIRE BENNET: Okay, I'm good!
(Zach focuses the lens back on Claire who is now on the outside of the railing – 70 to 80 feet high in the air.)
ZACH: Okay.
(Claire lets go and falls)
CLAIRE BENNET: (screams) Aah!
ZACH: Oh, my--
(She hits the ground with a THUD. Hard. A cloud of dirt rises upon impact.)
ZACH: (stunned) Oh, my God! Oh, my God. Claire!
(With camera rolling, Zach runs over to check on Claire.)
ZACH: Oh, my God.
(He finds Claire face down in the hard dirt.)
ZACH: Claire!
(Claire rolls over and sits up. Her arm is at an awkward angle, her shoulder dislocated perhaps even broken. She stands up and cracks her shoulder back into the socket. She doesn’t appear to be in any pain at all.)
(She sighs as she rubs her shoulder.)
(She looks at the camera. There’s a bloody cut on her cheek.)
CLAIRE BENNET: This is Claire Bennet. And that was attempt number six.
(As she looks at the camera, the bloody cut on her cheek heals ... and vanishes completely right before our very eyes!)
FADE OUT.
(COMMERCIAL SET)
FADE IN:
[PETER PETRELLI]
(Peter spreads his arms out wide, hands open. He leans forward off the edge of the building.)
DISSOLVE TO:
[POV: FLYING]
(And we soar over the bridge and head toward the city. We move swiftly and freely above the buildings and trees. We turn and head toward the building.)
ABRUPT CUT TO:
[POV: FALLING]
(Peter is falling. Head first straight toward the ground below.)
(The ground zooms up to meet him and he sees a man look up at him.)
(It’s Nathan.)
CAR HORN BLARES
[INT. (NEW YORK) CAB (NOT MOVING) – DAY]
(And Peter wakes up in the back seat of a taxi cab. He looks around.)
(Just outside his open car window, a bus pulls up. There’s an ad on the side with the face of the man in his dream: NATHAN PETRELLI FOR CONGRESS.)
(Peter stops and stares. His lips twitch in a smile as he sees the familiar face of his brother on the poster grinning back at him.)
VOICE: (o.s.) You get out here, yes?
(Peter slides across the seat to get out from the other door.)
[EXT. SIDEWALK – DAY – CONTINUOUS]
(The bus pulls away.)
(A car horn blares.)
(Peter gets out of the cab and looks around.)
[INT. (NEW YORK) PETRELLI CAMPAIGN HEADQUARTERS – DAY -- CONTINUOUS]
(Nathan Petrelli is on the phone finishing up a conversation when he looks up and sees Peter.)
NATHAN PETRELLI: (to phone) Mr. Linderman, I'm gonna have to call you back in five minutes, okay? Thank you.
(Peter walks in and rushes over to Nathan.)
NATHAN PETRELLI: I'm late -- I've got a fundraiser and a drinks meeting.
PETER PETRELLI: It happened two more times. Sometimes I'm falling. Sometimes I'm flying. Sometimes you're in 'em.
(Nathan grabs his suitcase and edges around Peter to get to the door.)
NATHAN PETRELLI: I don't have time for this now.
(Peter walks alongside Nathan.)
PETER PETRELLI: They're not just dreams, Nathan.
(Nathan hands his briefcase to Peter.)
NATHAN PETRELLI: Hold this.
PETER PETRELLI: I thought they'd go away, but they're not.
(Nathan walks over to a worker’s desk and hands him a file folder.)
NATHAN PETRELLI: Jim, I need this back by 6:00, please.
(Nathan turns and is back on the move. He slips his jacket on. Peter continues explaining.)
PETER PETRELLI: This morning, when I got out of bed, my foot hovered before it hit the ground.
(Nathan takes a clipboard from another worker and looks at it.)
PETER PETRELLI: Hovered for a split second. Like I was -- like I was floating. I'm telling you, buddy, I think I can fly.
(Nathan smiles and turns to the woman sitting at the desk right in front of them. He’s embarrassed and tries to cover what she’s quite obviously just heard.)
NATHAN PETRELLI: These all undecideds?
WOMAN: Mm-hmm.
(Nathan hands the clipboard back to the woman and walks across the room.)
NATHAN PETRELLI: Tell you what, you think you can fly, why don't you jump off the Brooklyn bridge? See what happens.
PETER PETRELLI: Maybe I ought to start with something a little lower first. It's like learning to walk.
NATHAN PETRELLI: You're serious?
(They exit the building.)
[EXT. FRONT OF BUILDING – DAY – CONTINUOUS]
PETER PETRELLI: Oh, I'm serious.
(Nathan puts his arm around Peter’s shoulders.)
NATHAN PETRELLI: You need to snap out of it, Peter. See a doctor. Get some drugs. But do not pull a Roger Clinton on me, man. I'm eight points down in the polls.
PETER PETRELLI: This isn't about you, all right? Something is happening to me, and I have this feeling that you're the only person that's gonna understand this.
NATHAN PETRELLI: Why the hell would I understand that you think you can fly?
(Nathan’s cell phone rings.)
PETER PETRELLI: (duh) Because you're my brother.
(Nathan answers it.)
NATHAN PETRELLI: Mom, I can't talk -- What? (pause) I'll be there in ten minutes.
PETER PETRELLI: What'd she do now?
NATHAN PETRELLI: She got arrested.
PETER PETRELLI: Arrested for what?
NATHAN PETRELLI: Shoplifting.
(Nathan heads for the car. Peter rolls his eyes and follows.)
CUT TO:
[EXT. (ODESSA, TX) DIRT ROAD – DAY]
(Claire Bennet and Zach walk along the dirt road. Zach is watching the recorded video.)
CLAIRE BENNET: I'm so depressed.
ZACH: What? What are you talking about? Why?
(On the video tape, Claire runs up the stairs to the top of the mining structure.)
CLAIRE BENNET: (from tape) You ready?
CLAIRE BENNET: (from tape) Yeah, I'm good.
(Zach and Claire continue to walk.)
ZACH: All right, besides the fact that it was so gross I almost fudged myself, this is the single coolest thing to happen to this town in, like, a hundred years.
(From the tape, we hear Claire scream. And then, a THUD! Zach takes a moment and watches the tape.)
CLAIRE BENNET: Not if nobody finds out, it's not.
(Zach looks at Claire.)
ZACH: (from tape) Claire!
(They walk toward a large tree.)
ZACH: Why'd you want me to tape you?
CLAIRE BENNET: I have my reasons.
(They stop in front his parked bike.)
ZACH: It's not like you're not gonna be popular anymore.
CLAIRE BENNET: Popular? Who said anything about being popular? My life as I know it is over, okay? I've got the Bishop game next week, SAT's in October, homecoming's three weeks from today, and I'm a freak show!
ZACH: You're being a little dramatic, don't you think?
CLAIRE BENNET: No, I don't think! I have busted, like, every bone in my body, stabbed myself in the chest, I've shoved a two-foot steel rod through my neck, and I don't have a scratch on me!
(Zach points.)
ZACH: Wh--what do you call that thing sticking out?
(Claire lifts her cheerleader uniform top up and twists to see three of her cracked ribs sticking out from her side. She didn’t even notice.)
CLAIRE BENNET: (groans) Ugh. Great.
(She uses her bare hands and shoves the ribs back under her skin. Zach flinches at the sight.)
(Her skin starts to regenerate immediately. She shoves her top down and Zach turns his attention back to his bike.)
(She holds out her hand.)
CLAIRE BENNET: Just give me the tape, okay?
ZACH: Sure.
(She snaps her fingers impatiently at him.)
(Zack takes the tape cassette out of the video camera and hands it to her. Claire slings her duffle bag over her shoulders and walks past Zach.)
ZACH: Hey, I--I can give you a ride on my handle bars, if you want.
(Claire stops and sighs. She turns around.)
CLAIRE BENNET: Look ... thanks, okay? I'll talk to you in front of people at school tomorrow. Promise.
(Zach doesn’t say anything.)
(Claire turns and heads home.)
CUT TO:
[INT. YAMAGATO OFFICE – BULLPEN – DAY]
LEGEND:
TOKYO, JAPAN
TICK – TICK – TICK -
(The circular wall clock on the desk reads 1:48. The numbers on the clock are in Japanese.)
TICK – TICK – TICK -
(Hiro Nakamura sits at his desk. He looks positively bored. He takes a deep breath and blinks as he stares at the clock. In the background, a phone rings.)
TICK – TICK – TICK -
(Hiro settles down and concentrates on the wall clock on his desk. The second hand moves.)
TICK – TICK – TICK –
(Whatever he’s doing, it’s not working. Hiro takes a deep breath and tries again.)
TICK – TICK – TICK –
(He closes his eyes. In the background, a phone rings.)
TICK – TICK – TICK –
(He tries again. He concentrates hard, focusing all his energy on the wall clock on his desk.)
TICK – TICK – TICK –
(He grimaces and shakes from exertion.)
(echo-y) TICK – TICK – TICK –
(Camera focuses in on the second hand.)
(echo-y) TICK – TICK – TICK –
(Hiro concentrates –
(echo-y) TICK – TICK – TICK –
-- hard.)
TICK –
(then nothing)
TICK –
(The second hand goes backward.)
(Then nothing.)
(He did it! Hiro stands up. He throws his arms up in the air.)
HIRO NAKAMURA: YATTA! [Subtitled: I did it!]
(He runs out of his cubicle and down the aisle.)
HIRO NAKAMURA: (shouting) [Subtitled: I did it! I did it!]
(As he runs through the aisle, he waves and shouts excitedly to workers he passes by.)
HIRO NAKAMURA: (in japanese) (unsubtitled)
HIRO NAKAMURA: (in japanese) (unsubtitled)
(Hiro runs down the aisle.)
[ANDO’S CUBICLE -- CONTINUOUS]
(Ando is on the computer – not working – but looking at Niki Sander’s website.)
(He hears Hiro shouting excitedly. Hiro runs into view and stops at his cubicle.)
ANDO MASAHASHI: (in Japanese) [subtitled: What now?]
HIRO NAKAMURA: (in Japanese) [subtitled: I’ve broken the space/time continuum!]
ANDO MASAHASHI: (drolly in Japanese) [subtitled: Good for you.]
(Ando shuts the web site off and opens a work-related window.)
HIRO NAKAMURA: (in Japanese) [subtitled: My clock. I made it go back one second using only my mind, my thoughts.]
ANDO MASAHASHI: (in Japanese) [subtitled: Too bad you’re not paid by the hour.]
HIRO NAKAMURA: (in Japanese) [subtitled: I’m serious. This explains the subway this morning.]
ANDO MASAHASHI: (in Japanese) [subtitled: It was fourteen seconds late. Big dea.]
HIRO NAKAMURA: (in Japanese) [subtitled: The train is never late.]
ANDO MASAHASHI: (in Japanese) [subtitled: Until you made it late ... using only your mind.]
HIRO NAKAMURA: (in Japanese) [subtitled: Yes. I have discovered powers beyond any mere mortal.]
ANDO MASAHASHI: (in Japanese) [subtitled: Right. You and Spock.]
HIRO NAKAMURA: (in Japanese) [subtitled: Yes. Like Spock. Exactly.]
(Suddenly, the boss appears and grabs Hiro by the neck. He pulls him down the aisle and back toward his desk. Ando sticks his head out of his cubicle and shouts.)
ANDO MASAHASHI: (in Japanese) Hey, Spock! [subtitled: Use your ‘death grip’. Spock! The ‘death grip’!]
(Ando chuckles then rolls his chair back into his cubicle.)
ANDO MASAHASHI: (in Japanese)
(He starts typing.)
[Wilson Pickett’s "Mustang Sally" starts again]
(On Ando’s monitor is Niki Sanders’ video.)
CUT TO:
[DANGLING FEET]
(Micah sits on the bench, his feet nowhere near touching the floor. He’s reading a comic book, "9th Wonders!")
[INT. (LAS VEGAS) HALLWAY OUTSIDE PRINCIPAL’S OFFICE – MICAH’S SCHOOL -- DAY]
(Niki sits in the office listening to the principal while Micah waits out in the hallway.)
PRINCIPAL: Your son is a very intelligent boy. Gifted, actually. That's not the issue.
NIKI SANDERS: His father's not around, and ... sometimes I think he could use a bit of a stronger hand, you know?
(She looks at the principal and chuckles.)
NIKI SANDERS: I work nights a lot, but, um ... we can both work harder.
PRINCIPAL: It's not about the work. The truth is, I just don't know if this school is the right fit for him.
NIKI SANDERS: But he's made friends.
PRINCIPAL: I'm sorry.
NIKI SANDERS: He's on the soccer team.
PRINCIPAL: I'm sorry.
NIKI SANDERS: I wrote a check for $25,000 to get him into this snob-fest. I was told that's what it took. That's on top of the tuition.
(He clears his throat and opens the file folder on the desk.)
PRINCIPAL: About the tuition. Uh, your last three checks have bounced.
NIKI SANDERS: Fine, take it out of the 25 grand that I gave you.
PRINCIPAL: That was a donation. And it was very appreciated.
NIKI SANDERS: Well, I want my money back. I want my money back ... now.
PRINCIPAL: That money went to the capital campaign for the new wing. It's already been spent.
NIKI SANDERS: Then un-spend it.
PRINCIPAL: I'm sorry. We can maybe discuss an extension of the money that you owe, but I don't --
(Niki stands up and grabs the Principal by his tie and pulls. Hard.)
NIKI SANDERS: (hisses) I want my money back.
PRINCIPAL: That's ... not ... possible.
(Niki looks at him for a moment, then lets him go. She storms out of the office and heads for Micah.)
NIKI SANDERS: Come on, baby, let's get out of here. We're too good for this lousy school.
(As they pass by a large fish tank, Niki stops and stares.)
(Her reflection stares back and nods.)
(Micah watches his mom.)
MICAH SANDERS: Mom?
NIKI SANDERS: (to the reflection) Leave me alone.
(Niki leaves with Micah.)
(We hold on the reflection – still on the glass. She watches Niki leave for a moment, then turns and leaves.)
DISSOLVE TO:
[INT. (NEW YORK) POLICE STATION – CONFERENCE ROOM – DAY]
(Angela Petrelli sits in the interview room. The police officer opens the door. Nathan and Peter walk in. Nathan walks around the table.)
NATHAN PETRELLI: For God's sakes, ma.
(Peter kisses her on the cheek.)
PETER PETRELLI: Are you okay?
ANGELA PETRELLI: They dropped the charges. I have to fill out a form. No big deal.
NATHAN PETRELLI: No big deal? I'm running for Congress. Do you have any idea what this is gonna do to me if it gets out, with our family's past? What could you possibly need so bad that you had to steal it?
(She looks at him, her eyes wide.)
NATHAN PETRELLI: Never mind. I don't wanna know.
ANGELA PETRELLI: Socks.
NATHAN PETRELLI: Socks. Dad left you a fortune. What are you thinking? You know, it's been one ridiculous stunt after another with you for the last six months.
(Peter sits at the table holding his mother’s hand and shakes his head as Nathan paces the floor and rants.)
NATHAN PETRELLI: Dad's gone. Just get over it.
PETER PETRELLI: You know what? Leave her alone. She's okay. That's all that matters.
(Nathan takes his phone out.)
NATHAN PETRELLI: (mutters) I gotta get this out of the press.
(Peter stands up and heads for the door. He opens the door.)
PETER PETRELLI: You know what? Just get out of here. Go worry about your image. I'll handle this.
NATHAN PETRELLI: Yeah. Good. I gotta make sure this stays buried. Thanks a lot, mom.
(Nathan leaves the room. Mrs. Petrelli waves to his back. He doesn’t look back.)
ANGELA PETRELLI: Mm-hmm.
(Peter closes the door and kneels in front of his mother.)
PETER PETRELLI: (quietly) What were you thinking?
ANGELA PETRELLI: I just wanted to feel alive again.
(She leans forward and touches her forehead to his.)
[INT. POLICE STATION – BULLPEN – DAY – CONTINUOUS]
(The interview room door opens. Peter and Mrs. Petrelli step out.)
PETER PETRELLI: Nathan only cares about himself.
ANGELA PETRELLI: Your father was the same way. Alpha dogs, both of them.
(She walks over to the nearby desk and puts her bag down on it. The officer sitting at the desk glances at her. She doesn’t pay him any attention as she hands her coat to Peter. He holds it open for her as she slips inside.)
ANGELA PETRELLI: You, in the meantime, for all your selflessness sitting with dying people ... What? You gonna retire on what you make?
(They head for the door.)
PETER PETRELLI: Maybe I'll shoplift my socks.
ANGELA PETRELLI: Don't get smart. When you put everyone else first, you end up last. You always put Nathan first. He took advantage.
PETER PETRELLI: Yeah, it wasn't you that was just pushing him right out in front of me?
(She puts her gloves on.)
ANGELA PETRELLI: He takes up more space than you. Demanded more attention. And besides, it's not my fault you allowed it.
(They head for the stairs.)
PETER PETRELLI: (shrugs) He's my brother. I love him.
ANGELA PETRELLI: Oh, gah. Love is overrated.
PETER PETRELLI: And he loves me too. I know it. We've always been close.
(They walk down the stairs.)
ANGELA PETRELLI: Rose-colored glasses.
PETER PETRELLI: That's cruel, mom. Look, since dad died, I know you've been feeling free to speak your mind. But it wouldn't hurt to edit yourself every once in a while.
ANGELA PETRELLI: I'm sorry if the truth hurts. I'm just saying you hero-worshipped him. And those feelings were never returned.
PETER PETRELLI: You're wrong. It's biological, and I can't help it. We're ... we're connected. I never told you this, but when Nathan had his accident, I knew it.
ANGELA PETRELLI: We all got the same call.
PETER PETRELLI: No, I'm saying before the call. Like he was telling me, 300 miles away. I woke up, and I knew that he'd been hurt.
(She looks at him for a long moment – then slaps him on the face. She heads down the stairs and leaves.)
CUT TO:
[EXT. (LAS VEGAS) TINA’S RESIDENCE – FRONT -- DAY]
(Micah gets out of the car and mopes. He doesn’t want to be there.)
MICAH SANDERS: I hate it here. She doesn't even have any books to read.
NIKI SANDERS: Baby, I'll be right back. I'm just gonna go and pack up a few things.
MICAH SANDERS: We should really go see dad.
NIKI SANDERS: What good would that do?
MICAH SANDERS: He could help. He should know that someone's trying to hurt us.
NIKI SANDERS: Your dad's not in any position to help us right now.
(Niki and Micah head for the front door.)
NIKI SANDERS: Look, I made some mistakes.
(She rings the doorbell.)
NIKI SANDERS: I admit it.
MICAH SANDERS: Mom, what'd you do?
(She turns and looks at him. She turns to him.)
NIKI SANDERS: Hey ... I need you to know that I would never let anything happen to you. I promise.
MICAH SANDERS: Mom, why'd you look at yourself like that in the fish tank?
(The front door opens. A red-haired woman looks at them and sighs. Niki opens the screen door.)
TINA: How long?
NIKI SANDERS: Just a couple hours, tops.
TINA: (to Micah) There's some ice cream in the fridge.
NIKI SANDERS: (to Micah) Go ahead.
(Micah steps into the house and heads for the kitchen.)
TINA: What happened?
NIKI SANDERS: I went to see Linderman.
TINA: (sighs) How much?
NIKI SANDERS: Thirty.
TINA: You gambling again?
NIKI SANDERS: No, it's just bills. I use the rest to get Micah into private school. They don't know what to do with him at public, and ... (she looks around and steps into the house.) It's just I needed them to think that we had money.
TINA: From the mob?
(Tina closes the doors.)
TINA: Hell, Niki. You weren't born yesterday.
NIKI SANDERS: It's just two weeks overdue. I mean, I thought that I could handle it, okay? Just, I'm under a lot of stress right now.
TINA: Gee, I wonder why.
NIKI SANDERS: I feel like I'm kind of losing it a little bit. I'm seeing things.
TINA: Like ...
NIKI SANDERS: Like I keep feeling like someone's watching
TINA: Yeah! Linderman wants his money back, so he sent some mouth breather that's gonna put you in the hospital.
NIKI SANDERS: No, it is someone else. It's someone that I can't see. Does this make any sense to you?
(Tina stares at Niki.)
TINA: (shakes her head) No.
(Niki looks up.)
NIKI SANDERS: I'm sorry. You know what?
(Niki rubs her eyes.)
TINA: But I'll tell you what does --
NIKI SANDERS: I shouldn't be telling you this.
TINA: No, let me tell you what does make sense. You need to come up with that 30 grand, plus interest, now. Or you gotta run.
NIKI SANDERS: Watch him.
(Niki opens the door to leave.)
TINA: All right.
(She waves her as Niki leaves.)
CUT TO:
[EXT. (ODESSA) TRAIN TRACKS – FIRE -- DAY]
(Firemen fight a fire and has the entire area closed off.)
(FAR WIDE SHOT: A train derailed and is on fire. Several cars burn as firefighters try to put the blaze out.)
(Claire walks along the road and comes across the accident. Sirens blare and get louder as more help is on its way.)
(Claire walks up to the road block where a small crowd has formed. Zach pushes his bike behind her. He caught up with her and watches the commotion with an excited smile on his face.)
ZACH: That is cool, huh?
(Claire doesn’t say anything. The train car in front of them is on fire.)
CLAIRE BENNET: (to Zach) How hot do you think it is in there?
(Zach looks at Claire. He looks at the fire. Claire hands him the video tape back.)
CLAIRE BENNET: Turn on the camera.
(Zach grabs the tape from her.)
(Firefighters shoot water at the burning train cars.)
(Claire ducks under the police barricade and hurries alongside the parked car, using it at cover. She runs toward the fire.)
(Zach, still standing outside the barricade, films Claire as she disappears into the smoke.)
(The fire lining the side of the road causes a couple of mini-explosions. She flinches from the sounds, but continues to run boldly into the heart of the fire.)
(Claire runs down the road toward the burning train cars. She heads for an open train car, stops in the doorway and coughs from the smoke inside.)
(From her vantage point, she looks around her. She sees someone inside the train car. The person moves. Without hesitation, Claire runs to the man, helps him up and out of the train car.)
(Claire helps the man out and back down the dirt road. One of the firemen turns and sees them. He shuts his hose off and calls for help.)
JOEY: Scotty! Scotty! Come on!
(He motions for Scotty to help him. He runs over toward Claire and the man. He removes his jacket and runs up to Claire whose arm is on fire. Scotty helps the man who collapses.)
(The fireman pushes Claire to the dirt road as he puts her burning arm out.)
JOEY: Take it easy.
CLAIRE BENNET: I'm okay.
JOEY: You're all right.
CLAIRE BENNET: I'm fine!
(She glances over at the man she helped. Scotty is helping him.)
JOEY: (to Claire) Take it easy. Take it easy.
(Joey rips open the arm of Claire’s cheerleader uniform to tend to her burns and finds that she’s not hurt at all.)
JOEY: (confused) There's no burns.
(Claire doesn’t say anything.)
(Scotty waves Joey over and Joey leaves Claire to help Scotty with the man.)
SCOTTY: Hey, Joey!
(Claire takes the opportunity. She gets up and runs away. In the background, we can hear the firemen applying CPR to the rescued man.)
FIREMAN: (b.g.) 1, 2, 3, 4, 5, go! 1, 2, 3, 4, 5, go!
(TOP WIDE VIEW : Claire runs down the road. She doesn’t look back and she doesn’t stop running.)
(The firemen continue applying CPR to the man. Scotty looks up and sees Claire running down the road.)
FIREMAN: (b.g.) 1, 2, 3, 4, 5, go! 1, 2, 3...
CUT TO:
[INT. (NEW YORK) SURESH’S APARTMENT #316 -- DAY]
LEGEND:
BROOKLYN, NEW YORK
(The Super opens the apartment for Mohinder.)
SUPER: Yeah, I was real sorry to hear about your father. He seemed like a good guy.
(They look around the ransacked room.)
SUPER: Man. I thought I was a slob.
MOHINDER SURESH: They were here, too.
SUPER: What?
(Mohinder drops his duffle back on the floor as he walks across the room.)
MOHINDER SURESH: Nothing.
SUPER: I got a guy who can clean this up for 100 bucks.
(Mohinder reaches the wall map.)
MOHINDER SURESH: No, it's all right. I'll take it as it is.
SUPER: We rent by the week. I'm gonna need to know you can afford it.
MOHINDER SURESH: I have a job.
SUPER: Doing what?
MOHINDER SURESH: Driving a taxi.
SUPER: I'll get you an application.
(The Super turns and leaves the room.)
(Mohinder looks around and sees a huge cockroach moving along the living room floor.)
CRUNCH!
(He smashes it with his foot.)
(The turns back and looks at the wall map.)
[CU: FILE FOLDER]
(The label reads: GENESIS.)
(Mohinder opens the file folder and starts reading.)
VARIOUS DISSOLVES OF:
* A photo of RADIATION POISONING with accompanying hand-written notes on the page.
* Mohinder puts a red stickered dot on the map. He presses a black thumb tack on LOS ANGELES and hooks a red string around it.
* Various photos.
* He stick a white thumb tack on NEW YORK and loops a string around it.
* He loops the string around a white thumb tack on TOKYO.
END OF DISSOLVES
(Mohinder picks up something off the floor. He sees a tape cassette and picks it up. It’s labeled SYLAR.)
CUT TO:
[INT. (NEW YORK) ISAAC’S LOFT -- DAY]
(OPEN ON A PAINTING of an eclipse – just like the show’s title card. Isaac moves around and grabs a paint can. In the background, the television set it on.)
ANNOUNCER: (b.g.) In these uncertain times, the people of New York need a leader with real world experience to selfless dedication. Nathan Petrelli. He served his country in Bosnia in the army. As district attorney, he'll put criminals behind bars and establish new laws.
(Isaac opens the paint can. He moves frantically. Using his hands, he scoops out black paint and rubs it over an existing painting.)
SIMONE DEVEAUX: (o.s.) Hey.
(Isaac stops and looks up to see Simone walking into the room.)
SIMONE DEVEAUX: Oh, god, what? The silent treatment? (She puts her case up on the counter as she heads toward Isaac.) Oh, boy.
(Impatient, Isaac grabs the entire paint can and pours it over the canvass. He smears the paint with his hands completely obliterating the painting underneath.)
SIMONE DEVEAUX: Isaac ... what are you doing?
(Isaac puts the canvass aside and heads back to pick up another painting. This time, he picks up the painting of the eclipse.)
SIMONE DEVEAUX: What the hell is wrong with you? Isaac!
(He puts the painting on the easel and picks up the open can of paint.)
SIMONE DEVEAUX: Okay, stop. What are you, crazy?
ISAAC MENDEZ: Clearly. (points to the paintings) I don't even remember painting these. I was high, okay? I lied to you.
(Simone looks through the sketches on the table.)
SIMONE DEVEAUX: Damn it.
ISAAC MENDEZ: I've been chasing for a month.
SIMONE DEVEAUX: Well, then get yourself back into a program and make it stick this time. These are fantastic.
ISAAC MENDEZ: No, they're evil.
SIMONE DEVEAUX: What are you talking about?
ISAAC MENDEZ: What am I talking about? Want to know what I'm talking about?
(Isaac rushes across the room and picks up a painting. He clears the table with a sweep of his arm and puts the painting on it. It’s a painting of a burning bus and car.)
ISAAC MENDEZ: You see this? Suicide bombing in Israel. I painted it three weeks ago.
SIMONE DEVEAUX: Yeah, so?
(He picks up the newspaper and shows her the photo on the front page.)
ISAAC MENDEZ: So ... that's this morning's paper. Look at the number on the bus.
(They match: 009.)
ISAAC MENDEZ: This happened yesterday.
(He chuckles with scared disbelief.)
ISAAC MENDEZ: Yesterday. Something's wrong with me.
SIMONE DEVEAUX: We'll get you help, Isaac.
ISAAC MENDEZ: I've tried that twice. There's only one way left, and you know it.
SIMONE DEVEAUX: You can't go cold turkey. Not alone. I mean, let me help you, please.
ISAAC MENDEZ: No!
SIMONE DEVEAUX: I love you.
ISAAC MENDEZ: I'll drag you down with me. I swear to God I will. (He sits down on the steps.) Just leave me alone.
(Simone kneels in front of him. She reaches out to touch him and he jerks away from her.)
ISAAC MENDEZ: (shouts) Get out of here!
(Simone raises her hands and stands up.)
SIMONE DEVEAUX: Okay.
ISAAC MENDEZ: (shouts) Now!
(Simone backs away and leaves. Isaac sits on the floor, his arms wrapped around his waist.)
(The television news report catches his attention. The news report is of the burning train wreck.)
REPORTER (FEMALE): An unidentified Samaritan -- witnesses described as a young teenage girl -- ran into the flames and rescued the young Lieutenant. Now, the train is registered to the Nuclear Regulatory Commission, and there has been no official statement yet on what was in the cars.
(He looks at the burning wreckage on the television set. And just next to the tv is his own painting of the burning wreckage. Spooky.)
(Isaac stares at his painting.)
CUT TO:
[INT. (NEW YORK) PETRELLI CAMPAIGN HEADQUARTERS – DAY]
(Nathan is leaning over the conference table and talking with Tom over the speakerphone.)
TOM: (from phone) It wasn't easy, Nathan, but consider it gone.
(He looks up and waves Peter over.)
NATHAN PETRELLI: I know I owe you big on this one, Tom. I'm not gonna forget it.
TOM: (from phone) I won't let you forget it.
NATHAN PETRELLI: Thanks.
TOM: (from phone) Sure thing.
(Nathan hangs up.)
(Peter sits down at the conference table.)
NATHAN PETRELLI: Mom's rap sheet is now officially buried. Only took half my political capital to pull if off. Why can't she get herself a hobby like a normal person?
PETER PETRELLI: They were married for forty-one years. It's a plea for attention. She's lonely. Give her some time, will you?
NATHAN PETRELLI: I don't have time. I've got eight days to make up ten points. I need all the help I can get, which is what I want to talk to you about. I want to offer you a job.
PETER PETRELLI: A job.
NATHAN PETRELLI: Yeah. I trust you. You're good with people. I need a coordinator to help organize the volunteers, and you got nice guy instincts. (He sits down and leans close.) I could use that. I'm a shark, Pete. Everybody knows it. It's starting to show up in the polls. I bring you on. It kind of reflects well on me. You know what I mean?
PETER PETRELLI: Yeah, all right, so I make you look good. That's a new one.
NATHAN PETRELLI: It makes me look like I put family first. I mean, I know that sounds self-serving, but this is for you, too, right? You gotta think of your future.
(Nathan gets up and starts moving. Peter follows him.)
PETER PETRELLI: Why do you do that?
NATHAN PETRELLI: Do what?
PETER PETRELLI: Even try to make it look like this has something to do with me. You didn't hear anything that I said earlier today, did you?
NATHAN PETRELLI: That bit about how you can fly? Yeah, I did. I'm gonna pretend for both our sakes you didn't say anything like that. I'm trying to do the right thing here.
PETER PETRELLI: Look, I already have a job.
NATHAN PETRELLI: Yeah, watching old people die. Now there's a career. It's not cute anymore, man. The dreamy kid sitting in the back of the classroom staring out the window. It's time for you to grow up. (Nathan puts his hands on Pete’s shoulders.) Look, I cast a big shadow, Pete. I get it. Life isn't fair. But there's nothing I can do about that. I'm trying to do the right thing by you here. Okay?
(Peter steps away from him.)
PETER PETRELLI: I don't want your pity.
(He turns and leaves.)
CUT TO:
[EXT. SIDEWALK – DAY -- CONTINUOUS]
VARIOUS CUTS
(Peter walks out of the building and stops at the sidewalk. Across the street, he sees Simone hailing a taxi. A taxi stops in front of her and she gets in.)
(Peter watches her for a moment. He puts his dark glasses on and hails his own taxi. A cab stops and he gets in.)
[INT. TAXI – CONTINUOUS]
(Peter settles in the back and closes the door.)
PETER PETRELLI: Hey, corner of Center and Ccanal, please.
(Mohinder nods.)
(Peter glances up at the sun and sees the start of the eclipse.)
PETER PETRELLI: Wow.
MOHINDER SURESH: Solar eclipse.
PETER PETRELLI: Yeah. Yeah, I wonder if it's gonna be total.
MOHINDER SURESH: Not here, no. In some other part of the world, yes. A global event. Makes one appreciate just how small our planet really is. And we're all quite small really, aren't we?
PETER PETRELLI: (nods) What's your name?
MOHINDER SURESH: Mohinder.
PETER PETRELLI: I'm Peter. Let me ask you something, Mohinder. Do you ever ... get the feeling like you were meant to do something extraordinary?
MOHINDER SURESH: (wryly) I'm driving a cab you may have noticed.
PETER PETRELLI: No, I'm not talking about what you do. I'm talking about who you are. I'm talking about ... being special.
MOHINDER SURESH: Yes, we are all special.
PETER PETRELLI: (sighs) That's not what I meant.
(He leans back in frustration and defeat. Mohinder stops and looks at Peter in the rearview mirror.)
MOHINDER SURESH: Some individuals, it is true, are more special. This is natural selection. It begins as a single individual born or hatched like every other member of their species. Anonymous. Seemingly ordinary. Except they're not. They carry inside them the genetic code that will take their species to the next evolutionary rung. It's destiny.
CUE SONG: Rogue Wave, "Eyes"
CUT TO:
[EXT. (ODESSA, TX) TRAIN TRACKS -- DAY]
(Claire walks home. Zach tags along behind her as he walks his bike.)
ZACH: Hey! Hey, I can't believe you just left like that.
CLAIRE BENNET: Yeah, I know. I was there.
ZACH: (amazed, awed) But you saved that dude's life. It was okay.
CUT TO:
VARIOUS CUTS OF THE CHARACTERS
[EXT. (TOKYO) STREET (STOCK) -- DAY]
(TOP VIEW DOWN: Camera moves over the city. We hear sounds of people exercising.)
[EXT. (TOKYO) – DAY]
(Hiro is dressed in a black suit and tie – just like everyone else. He’s with a group of people dressed the same and doing exercises – the same moves at the same time.)
LYRICS: Missed the last train home / birds pass by / to tell me that I'm not alone
(He stops exercising and looks out. He’s the only one. The group continues to move in synch with each other. Ando turns and sees Hiro not exercising. He tries to get Hiro to exercise.)
LYRICS: well, I'm pushing myself to finish this part / I can handle a lot
(Hiro doesn’t go along with the group. He turns and lifts his face up to the sky.)
[INT. (LAS VEGAS) SANDERS RESIDENCE – LIVING ROOM -- DAY]
LYRICS: "but one thing I'm missing / is in your eyes ... "
(Niki enters the house and looks around. The place is dark and its a mess.)
[INT. (NEW YORK) TAXI -- DAY]
(Mohinder drives the taxi. He looks back at Peter who is looking out the back window at the eclipse.)
[EXT. TAXI – DAY – CONTINUOUS]
(Camera rises from the taxi, the reflection of the eclipse in the glass.)
LYRICS: "Have you seen this film it reminds me of walking through the avenues. Well, I'm washing my hands of attachments, yeah. Land on the ground, one thing I'm missing..."
[CLAIRE BENNET]
(Claire stops walking. She looks up at the sky. The camera moves over to the eclipse.)
[HIRO NAKAMURA]
(Hiro looks up at the sky as everyone around him continues exercising.)
(The shadow of the total eclipse casts them all in darkness.)
[ISAAC MENDEZ]
(Isaac sits on the floor staring out in front of him.)
(Camera moves over and we see what he’s staring at. On the table are drug paraphernalia – a dirty handkerchief, a syringe and a spoon.)
(Isaac sits on the floor, hugging himself.)
[NIKI SANDERS]
LYRICS: "In your eyes"
(Niki stands in the living room looking at the mess around her. She sees only one thing – the pinhole camera Micah made. She picks it up off the coffee table and lifts it up and looks through it.)
CAMERA ZOOMS INTO THE PINHOLE CAMERA
(We see the image of the eclipse on the inside bottom of the dark box.)
REVERSE VIEW
(We see the eclipse reflected in Niki’s eye.)
[INT. (LAS VEGAS) SANDERS RESIDENCE – LIVING ROOM – DAY]
(As Niki looks through the pinhole camera, she doesn’t notice that the thugs are still in the house. We see movement behind them as one of them reaches for the door.)
(He opens a box of something to eat.)
(Niki whirls around as she hears the plastic tearing. She turns to run out the front door. One of them grabs her.)
NIKI SANDERS: Oh!
WEASEL (THUG 1): Welcome home.
(He pushes her out of the room.)
CUT TO:
[INT. BEDROOM – DAY]
(The door to the bedroom opens. He pushes her onto the bed.)
WEASEL (THUG 1): Get over there.
(Thug 2 enters the room, still eating from the box of oatmeal cookies. He closes the door behind him.)
WEASEL (THUG 1): Fifty grand is a lot of money.
NIKI SANDERS: Fifty? It was thirty. Even with interest –
WEASEL (THUG 1): Mr. Linderman wants to be nice about this. You should've read the fine print.
(He sits down. Niki starts to get worried.)
NIKI SANDERS: Look, I have a son. I'm all he's got.
WEASEL (THUG 1): Aww.
(She turns and sees Thug 2 with a silk scarf in his hands.)
NIKI SANDERS: Please, I can get you the money.
WEASEL (THUG 1): I'll tell you what I'm gonna do. I'm gonna make you a little business proposition. You make what? Forty bucks for every twenty minutes you take off your clothes? Well, I'm gonna give you a chance to lower your debt a little. And see where it goes from there.
(Thug 1 settles back in his chair. Thug 2 picks up the video web cam.)
WEASEL (THUG 1): Come on.
(Thug 2 turns the web cam on.)
WEASEL (THUG 1): Come on, show me what you got.
(Niki sits up on the bed and takes her outer shirt off. Thug 1 laughs. She throws the shirt at him.)
WEASEL (THUG 1): Lift up your shirt, baby.
(Niki sighs and rubs her face. She puts her hands on the button of her jeans and stops.)
WEASEL (THUG 1): Oh, look at that belly. Smile for me.
NIKI SANDERS: Is that what you want?
WEASEL (THUG 1): Uh, yes.
(Niki stops and catches her reflection in the mirror.)
WEASEL (THUG 1): What's the matter, baby? Just got it getting good here. What's the problem, baby?
(Thug 1 stands up.)
WEASEL (THUG 1): I said, what's the matter?
(He backhands her across the face. Niki falls back. She gets back up and looks at Thug 1.)
NIKI SANDERS: Screw you.
WEASEL (THUG 1): Screw me?
(He punches her in the face.)
SMASH TO BLACK.
FADE IN:
[EXT. (TOKYO) SUBWAY PLATFORM -- DAY]
ANNOUNCER: (from pa) (in Japanese)
(Hiro talks with Ando.)
HIRO NAKAMURA: (in Japanese) [subtitled: The Yogis in India and the Aborigines in Australia, both can bend time and space.]
ANDO MASAHASHI: (in Japanese) [subtitled: Fine. I’ll humor you. Let’s say you really do have this power. What do you do with it? Join the circus? No one ever got laid by stopping the second hand of a clock.]
(Hiro and Ando head up the escalator.)
HIRO NAKAMURA: (in Japanese) [subtitled: As I develop my powers, I’ll learn to bend space, too. Then can tele-port myself anywhere on the planet.]
ANDO MASAHASHI: (in Japanese) [subtitled: Like Star Trek.]
HIRO NAKAMURA: (in Japanese) [subtitled: Every hero must learn his purpose. Then he’ll be tested and called to greatness.]
(Hiro poses and holds the pose.)
ANDO MASAHASHI: (in Japanese) [subtitled: I think I need a stiff drink! "Beam us up, Scotty".]
CUT TO:
[INT. (TOKYO) KARAOKE BAR – NIGHT]
(A couple of guys lip sync to the Backstreet Boys on stage.)
(Hiro and Ando sit at a table as they continue their conversation.)
HIRO NAKAMURA: (in Japanese) [subtitled: People think of time as a straight line ... ]
(He dips the tip of the chopstick in a dish of shoyu and draws a straight line on the tabletop to illustrate his point.)
HIRO NAKAMURA: (in Japanese) [subtitled: But time is actually more like this ... ]
(Hiro uses the tip of his finger and draws a circular pattern on the table.)
ANDO MASAHASHI: (in Japanese) [subtitled: Where did you lean all this?]
HIRO NAKAMURA: (in Japanese) [subtitled: X-men no. 143, when Kitty Pryde time travels ... ]
ANDO MASAHASHI: (in Japanese) [subtitled: A comic book?]
HIRO NAKAMURA: (in Japanese) [subtitled: Every ten year old wishes he had super powers. And I got them. Me of all people.]
(Ando shakes his head with incredulity.)
HIRO NAKAMURA: (in Japanese) [subtitled: Last in my class. Last on the sports field. I’m not a loser anymore.]
ANDO MASAHASHI: (in Japanese) [subtitled: Tell me one useful thing you could do with this power. Can you make money?]
HIRO NAKAMURA: (in Japanese) [subtitled: A super hero doesn’t use his power for personal gain.]
ANDO MASAHASHI: (in Japanese) [subtitled: Then what good is it? Can you teleport yourself into the women’s bathroom?]
(Hiro turns and looks across the room over at the women’s bathroom and the long line stretching out into the main room.)
ANDO MASAHASHI: (in Japanese) [subtitled: Now, there’s something useful. You won’t learn your "purpose" in there, but you might learn something about life.]
HIRO NAKAMURA: (in Japanese) [subtitled: Fine. If I had to, yes I could teleport myself into the women’s bathroom.]
ANDO MASAHASHI: (in Japanese) [subtitled: Great, then do it. I’ll grab two more beers.]
(Ando gets up and heads for the bar. He leaves the table.)
HIRO NAKAMURA: (shouts to Ando) (in Japanese) [subtitled: I’m going to teleport.]
(Ando glances back at Hiro, then he turns and heads to the bar.)
(Hiro sits at the table and looks over at the women’s bathroom. He closes his eyes and concentrates. He opens his eyes suddenly.)
CUT TO:
[INT. (LAS VEGAS) SANDERS RESIDENCE – NIKI’S BEDROOM -- DAY]
(Niki is down on the bed, her arm dangling over the side. The phone rings. The answering machine picks it up.)
NIKI’S VOICE: (answering machine) Hi, this is Niki. Leave me a message.
(The answering machine beeps.)
MICAH SANDERS: Mom, are you there?
(At the sound of his voice, Niki wakens.)
MICAH SANDERS: When are you coming to get me? I hate it here. You said you'd be back soon. Just come pick me up, okay?
(Niki opens her eyes and looks around completely shocked by what she sees.)
VARIOUS CUT OF:
(There’s blood all over the room.)
(She gets up and sees the bodies of the two thugs on the floor. Dead. Thug 1’s throat has been slashed. Niki gasps.)
(She gets up and sees the camera. This isn’t good. She reaches out and takes the camera off the tripod.)
(She stops when she catches a glimpse of herself in the mirror, watching her. Her mirror image is turned toward her, her shirt bloodied. Niki turns and looks at her reflection. Her reflection puts a finger to her lips.)
NIKI’S REFLECTION (JESSICA): Shh.
(She puts her finger down and smiles at Niki.)
(Niki stares back, spooked.)
WHITE FLASH OUT.
FADE IN:
[INT. (NEW YORK) TAXI (MOVING) -- DAY]
(Mohinder is driving. Peter’s cell phone rings. He answers it.)
PETER PETRELLI: (to phone) Hello?
SIMONE DEVEAUX: (from phone) Peter, it's me.
PETER PETRELLI: (to phone) Hey, Simone.
SIMONE DEVEAUX: (from phone) Are you busy?
PETER PETRELLI: No, I was just heading home.
SIMONE DEVEAUX: (from phone) Listen, I need you to meet me at my dad's.
PETER PETRELLI: Yeah, no, I can be there in ten minutes.
SIMONE DEVEAUX: (from phone) Okay, just hurry, okay?
PETER PETRELLI: Yeah, okay, I'll see you there, bye.
(He hangs up.)
PETER PETRELLI: (to Mohinder) You know, I'll hop out here, please.
(Mohinder nods. He pulls over to the side. Peter pays him.)
PETER PETRELLI: Thanks.
(Mohinder looks at Peter as he gets out of the car and walks down the sidewalk.)
(Another fare slips into the back seat and closes the door. This person is cast in shadow and we can’t see who it is.)
MOHINDER SURESH: Where to, my friend?
(From just behind the new fare, we see he’s wearing horned-rimmed glasses.)
HORN-RIMMED GLASSES (HRG): JFK, please.
(Mohinder pulls out into traffic.)
HORN-RIMMED GLASSES (HRG): Going home to my family. These business trips are wearing me out.
(Through the rear-view mirror, we see the man in the back seat is wearing horn-rimmed glasses.)
HORN-RIMMED GLASSES (HRG): Suresh, huh?
MOHINDER SURESH: I'm sorry?
HORN-RIMMED GLASSES (HRG): Your name on your license there. That's Indian, yes?
(We linger on Mohinder’s license displayed on the dash.)
HORN-RIMMED GLASSES (HRG): There was a Professor Suresh at the University of Madras. Geneticist. Interesting theories. Don't think he's teaching anymore. But you wouldn't know anything about that, would you? Probably lots of Sureshes where you're from. Like Smith. Or Anderson.
(Spooked, Mohinder turns the taxi into an alley. He stops the taxi and runs.)
(The Horn-Rimmed Glasses Man gets out of the taxi and watches Mohinder run out onto the main street sidewalk.)
(We linger on HRG for a moment.)
CUT TO:
[INT. (ODESSA) BENNET RESIDENCE – DINING ROOM -- DAY]
(Sandra Bennet and her son Lyle are sitting at the dining room table. Lyle is eating. Sandra talks as she holds her dog in her lap. She’s speaking with someone off screen.)
SANDRA BENNET: And then Carla had the nerve to tell me he's not breed worthy. Like he didn't win five all breed rallies, two regionals. Can you believe it?
(Claire exits the kitchen and walks over to the dining room table.)
SANDRA BENNET: (baby voice) It's just not true, Mr. Muggles. It's not true. He's a little stud muffin. That's what he is.
(Claire sits down.)
LYLE BENNET: He still humps my leg when I watch tv.
(Sandra feeds Mr. Muggles with her fingers.)
SANDRA BENNET: (normal voice) All right. Enough about Mr. Muggles. What did everybody else do today?
LYLE BENNET: Doug and I saw this Mexican guy. A homeless dude. On the way to school. We thought he was dead, but he wasn't.
(Claire listens with half an ear. She’s quiet and pre-occupied as she plays with the food on her plate.)
LYLE BENNET: I thought dad was coming home today.
SANDRA BENNET: Well, I was gonna surprise you. He finished up early. He's coming up tonight. Isn't that great?
LYLE BENNET: Just in time to read my report card.
SANDRA BENNET: So what about you, Claire? Do anything special today?
(Claire is quiet. She takes a breath and goes for it.)
CLAIRE BENNET: I walked through fire and I didn't get burned.
(Sandra looks at Claire as if she knows exactly what she’s talking about. Claire meets her gaze.)
(Lyle looks between his mom and Claire.)
LYLE BENNET: What the hell is that supposed to mean? God, you’re so crazy sometimes.
SANDRA BENNET: Lyle. (to Claire) I think I know exactly what you mean. Oh, here I am talking dogs again, and you go and say something really profound. We come up against all kinds of fires in our lives. And when we test ourselves and face our fears, we usually don't get burned. You are very wise, sweetheart. Whatever it is you did, I'm proud of you. (baby voice) And so is Mr. Muggles. He just so proud of Claire. Aren't we? We're proud of Claire. Yes, we're so proud of Claire, aren't we? She's the best.
CUT TO:
[INT. (TOKYO) KARAOKE BAR – NIGHT]
(Ando gets two beers from the bartender.)
ANDO MASAHASHI: (in Japanese) (untranslated)
(He turns around and stops. We presume that its because he doesn’t see Hiro at their table.)
(From the back of the room in the direction of the women’s bathroom, there is a commotion. Two bouncers carry Hiro out from the bathroom.)
HIRO NAKAMURA: (in Japanese) [subtitled: Hold on! I’m not a peeping tom!]
(They drag him past Ando still holding the two beers.)
HIRO NAKAMURA: Yahooo! [subtitled: Yahooo!]
ANDO MASAHASHI: (in Japanese) [translated: What happened? Hoy!]
[EXT. (TOKYO) KARAOKE BAR – SIDEWALK – NIGHT -- CONTINUOUS]
(The two bouncers toss Hiro out of the Karaoke bar. Hiro tumbles out onto the street.)
(Ando walks out of the bar.)
HIRO NAKAMURA: (in Japanese) [subtitled: Did you see me? I was in the women’s bathroom.]
ANDO MASAHASHI: (in Japanese) [subtitled: Great. Now you’re a pervert.]
(Hiro raises his arms up high and shouts.)
HIRO NAKAMURA: (in Japanese) (excited) [subtitled: I tele-ported myself!]
(Ando’s patience is wearing thin.)
ANDO MASAHASHI: (in Japanese) [subtitled: Enough! You can’t break the space/time continuum!]
(Hiro turns and starts walking. Ando follows.)
HIRO NAKAMURA: (in Japanese) [subtitled: Fine, don’t believe me.]
ANDO MASAHASHI: (in Japanese) Hiro, [subtitled: There are twelve and a half million people in this city. Not one of them can bend space and time. Why do you want to be different?!]
HIRO NAKAMURA: (in Japanese) [subtitled: Why do you want to be the same?!]
ANDO MASAHASHI: (in Japanese) [subtitled: Because that’s what I am. The same.]
HIRO NAKAMURA: (in Japanese) [subtitled: It’s what we all are. Homogenous. Yogurt.]
ANDO MASAHASHI: (in Japanese) Huh? [subtitled: Yogurt?]
HIRO NAKAMURA: (in Japanese) [subtitled: You don’t understnad, I want to be special.]
ANDO MASAHASHI: (in Japanese) [subtitled: We are not special! We are Japanese!]
HIRO NAKAMURA: (in Japanese) [subtitled: Fine. Stay here. Be just like everyone else. I wanna boldly go where no man has gone before.]
(Hiro turns and walks away.)
ANDO MASAHASHI: (in Japanese) [subtitled: Hiro. Hoi!]
(Hiro doesn’t turn back.)
ANDO MASAHASHI: (in Japanese) [subtitled: That’s right, you’re special! (mocks loudly) You’re "Super Hiro"!]
(Giving up with disgust, Ando turns and walks away in the opposite direction.)
CUT TO:
[INT. (NEW YORK) DEVEAUX RESIDENCE – BEDROOM -- DAY]
(Simone is opening and closing drawers frantically. Peter walks in.)
PETER PETRELLI: What are you looking for?
SIMONE DEVEAUX: Morphine.
(She gets up and walks around the bed to look through the medicines at her father’s bedside table.)
PETER PETRELLI: What for?
SIMONE DEVEAUX: I need you to come with me someplace.
PETER PETRELLI: Where?
SIMONE DEVEAUX: You'll see.
(Simone continues to look through the drawers. Peter follows her around, trying to get her to listen to him.)
PETER PETRELLI: Look, there's something that I need to tell you.
SIMONE DEVEAUX: That is gonna have to wait.
PETER PETRELLI: No, look, I need to tell you about this. I need to stop living for other people. My whole life, I've had no idea what I'm supposed to do, what I'm supposed to be. If I even have a destiny of my own.
(She finds the stuff.)
SIMONE DEVEAUX: I promise you we will talk about this later, okay? But right now, I really need you to come with me.
(She gives the stuff to him.)
SIMONE DEVEAUX: You're a nurse. You can give out a shot. You can help him.
PETER PETRELLI: Help who?
CUT TO:
[INT. (ODESSA) BENNET RESIDENCE – KITCHEN -- DAY]
(Claire is doing the dishes. Sandra is in the dining room clearing the table.)
SANDRA BENNET: I thought we could go to the movies this Saturday. Maybe try on some shoes at the new mall in Gardendale.
CLAIRE BENNET: Sure.
(pause)
CLAIRE BENNET: I love you, mom.
SANDRA BENNET: But?
CLAIRE BENNET: No buts, I just wanted to tell you that.
(Sandra enters the kitchen and leans against the counter.)
SANDRA BENNET: No, you think I'm trying to be your best friend again. Admit it.
CLAIRE BENNET: No, it's -- it's all right. We can go to the movies together. It's no big deal.
(In the background, the kitchen television is on with volume muted. News of the train wreck and fire are on the screen.)
SANDRA BENNET: I just miss you, that's all. I want to be your mom. I want to give you advice, but I don't want to push you away.
(Claire takes her class ring off her finger and drops it in the garbage disposal.)
CLAIRE BENNET: I want advice. I do. I won't push you away, I promise.
(The disposal is running. Claire reaches in to get her ring out. The metal clangs, her bones crunch.)
CLAIRE BENNET: Ow.
(With her free hand, she reaches up and turns the disposal off. She pulls her hand out of the disposal. Her hand is mangled and bloodied.)
SANDRA BENNET: I just don't think you should be so worried about fitting in all the time.
(Claire looks at her hand. It starts to regenerate and straighten right before her eyes.)
SANDRA BENNET: About being so popular. I don't want to see you make mistakes like I did. I wanted to be someone more interesting than I am.
(Her mom re-enters the kitchen. Claire hears her voice get louder. She turns around, tucking her mangled hand behind her and hiding it out of her mother’s view.)
(She reaches behind her and turns the faucet off.)
CLAIRE BENNET: You are interesting. You breed show dogs. Whose mom does that?
SANDRA BENNET: No, I wanted to hitchhike across Europe.
(Blood from Claire’s mangled hand drips on the kitchen floor. Her mother doesn’t notice.)
SANDRA BENNET: Study art. Fall in love with some poetry quoting Frenchman. Not that your dad isn't wonderful. But my point is you should know who are you and know that it's enough. 'Cause who you are is special.
(Claire nods.)
CLAIRE BENNET: About that. There's something I need to say. Something I never talked about 'cause I thought it would upset you and dad.
SANDRA BENNET: Sweetheart, you can say anything to us. You know that.
CLAIRE BENNET: I think I'm old enough for you to tell me who my real parents are.
(Sandra hugs Claire.)
SANDRA BENNET: Of course you are.
(Claire raises her hand and looks at it. Its completely healed.)
(In the background, the front door opens and shuts.)
MR. BENNET (HRG): Honey, I'm home.
(Sandra releases and looks at Claire.)
SANDRA BENNET: Your father.
(Claire nods. Sandra turns and leaves the kitchen to greet Mr. Bennet.)
SANDRA BENNET: Hey, honey.
(Claire turns and sees Mr. Muggles licking a the blood drops on the kitchen floor.)
CLAIRE BENNET: Bad Mr. Muggles! No!
(She chases him away. When she stands up, the news report on the television catches her attention. The volume is down.)
(LAURA LANCASTER is reporting on the train wreckage and fire.)
SANDRA BENNET: I'm glad you're home.
MR. BENNET (HRG): (o.s.) Oh, me too. I have such a headache.
(Claire puts on a smile and heads into the living room to greet her dad.)
MR. BENNET (HRG): I think I slammed my head getting out of a taxicab.
CLAIRE BENNET: Hi, daddy.
(She reaches him as he’s putting his coat on the coat rack. He turns around and we see its the man wearing the horned-rimmed glasses. He smiles at Claire.)
MR. BENNET (HRG): Hey, baby.
(He gives her a hug.)
CUT TO:
[INT. (TOKYO) TRAIN – NIGHT – 11:43 PM]
(Hiro is on the train. The large digital clock on the wall behind him reads: 11:43. He stands in the aisle looking completely bummed and bored.)
(He looks over and a large VISIT NEW YORK poster catches his attention. He stares at the poster and closes his eyes, concentrating.)
(The digital clock behind him suddenly speeds up. TICK-TICK-TICK-TICK. The numbers advance forward – 11:44, 11:45, 11:46, 11:47.)
(Hiro’s eyes are still closed. The digital numbers continue to advance – 11:48, 49, 50, 51.)
(Suddenly is speeds up past 12:00 – past 12:15.)
(Apparently, no one else on the train notices.)
(The digital clock numbers are speeding faster and faster.)
(Hiro’s eyes are shut tight, his face in deep concentration.)
(The train stops. The digital clock stops at 01:00. Hiro opens his eyes as the doors open and people get out of the train. They walk past him.)
MAN: (echoy, o.s.) Taxi!
(Hiro closes his eyes for a moment.)
[EXT. (NEW YORK CITY) TIMES SQUARE – DAY -- CONTINUOUS]
(A car horn blares.)
(When Hiro opens his eyes, he’s there. He’s in NEW YORK. He looks up at the sky. He’s standing in the center of the sidewalk, cars passing by him, people bustling about.)
(He can’t believe it.)
(A smile bursts onto his face. He throws his arm out wide with glee.)
HIRO NAKAMURA: (shouts) YATTA! HELLO, NEW YORK!
DISSOLVE TO:
[INT. (NEW YORK) ISAAC’S LOFT -- DAY]
(Simone leads Peter back to Isaac’s place.)
PETER PETRELLI: I'm just saying it's impossible, okay? Nobody can predict the future.
SIMONE DEVEAUX: I saw it with my own eyes, Peter.
(She enters the room. Peter is right behind her.)
SIMONE DEVEAUX: Isaac, I brought someone here to help. He's a nurse.
(She tries the light switch. It doesn’t work.)
SIMONE DEVEAUX: Isaac.
(The place is dark and Isaac doesn’t answer her. Simone enters the apartment looking for him.)
SIMONE DEVEAUX: Isaac?
(Peter turns his flashlight on and enters the place cautiously, looking around. He steps on something that cracks.)
(He looks down and sees a syringe on the floor.)
(Simone is still looking around the place.)
SIMONE DEVEAUX: Isaac?
(There’s no answer.)
(Peter goes back to looking around the area.)
(A door opens and closes. Presumably, its Simone.)
SIMONE DEVEAUX: Isaac?
(Peter sees something and runs into the room.)
PETER PETRELLI: Simone!
(She turns and finally sees Isaac flat on his back on the floor.)
SIMONE DEVEAUX: Oh, God.
(Peter kneels next to Isaac and checks him for a heartbeat.)
PETER PETRELLI: Okay.
SIMONE DEVEAUX: Oh, my god. Isaac?
PETER PETRELLI: He's alive. Call 911.
(Simone kneels down and open her bag to get to her phone.)
SIMONE DEVEAUX: What have you done?
(Peter looks around the place and something catches his attention.)
SIMONE DEVEAUX: Oh, god, he's overdosed.
(Peter gets up and steps over Isaac to look at his painting. We hear Simone dialing on her cell phone.)
SIMONE DEVEAUX: (to phone) Yeah, I'm at 215 Reed Street, number 7. I need an ambulance here immediately. He's OD’d.
(Peter goes over to Isaac’s paintings and looks through them, fascinated by what he’s seeing.)
SIMONE DEVEAUX: (to phone) (crying) No, no, he's conscious, just barely. I know. Listen, could you just come? Get here soon, please.
(Peter kneels down as he looks at one particular painting. Simone ends the phone call as she rubs Isaac’s face.)
(Peter stares at a painting of a young, dark-haired man flying, his coat flapping behind him like a pair of wings.)
SIMONE DEVEAUX: Okay, baby, it's okay. They're sending an ambulance right away, okay? You just hang in there, okay? You're gonna be okay, I swear.
(He man in the painting looks just like Peter.)
(Isaac moves.)
ISAAC MENDEZ: (mumbles) We have to stop it.
(We linger on Isacc’s new painting of a large explosion in the center of New York City.)
ISAAC MENDEZ: (mumbles) We have to stop it.
FADE TO WHITE:
[EXT. NEW YORK CITY (STOCK) -- DAY]
(We linger over New York City.)
MOHINDER SURESH: (v.o.) This quest.
DISSOLVE TO:
[PETER PETRELLI]
(Peter stands on top a building, his arms stretched out wide as he lifts his face up toward the sky. The long coat he wears flaps in the wind.)
MOHINDER SURESH: (v.o.) This need to solve life's mysteries. In the end, what does it matter when the human heart can only find meaning in the smallest of moments?
(Peter puts his arms down and looks around at the city in front of him.)
MOHINDER SURESH: (v.o.) They're here. Among us. In the shadows. In the light. Everywhere. Do they even know yet?
DISSOLVE TO:
[EXT. (NEW YORK) ALLEYWAY -- DAY]
(A taxi pulls up into the alley. The door opens and Nathan gets out. He’s on the phone and pays the cab driver. The taxi leaves.)
NATHAN PETRELLI: (to phone) All right, I'm here. Now what do you want?
(Above him, a cell phone falls.)
NATHAN PETRELLI: (to phone) Peter?
(The cell phone hits the ground at Nathan’s feet. Nathan looks up. Peter stands at the edge of the rooftop.)
PETER PETRELLI: (shouts) I've been up here all night thinking about this. Thinking about my destiny.
NATHAN PETRELLI: What you doing, Pete?
PETER PETRELLI: It's turn my turn to be somebody now, Nathan.
NATHAN PETRELLI: Come on, Peter. Quit screwing around.
(Peter doesn’t answer him. He looks up and takes a deep breath, preparing himself.)
(Just like the beginning, Peter raises his arms wide. He closes his eyes and takes a deep breath.)
(He steps off the edge --
-- and he falls.)
(Nathan looks up.)
(Peter falls.)
(Suddenly from the side, Nathan swooshes in, flies up and grabs Peter. Both men grunt from the impact.)
NATHAN PETRELLI: Peter!
(They twist and turn in a spiral as the weight of the two men pull them downward.)
(With a firm hold on Peter’s wrist, Nathan tries to hold them up or to at least break their fall. Peter looks up at Nathan absolutely astonished.)
PETER PETRELLI: You're flying, Nathan. You're flying. How did you --
NATHAN PETRELLI: I don't know.
(Nathan tries to keep his hold on Peter, but Peter slips out of his grip.)
NATHAN PETRELLI: No.
-- and Peter falls.
NATHAN PETRELLI: No!
FADE TO BLACK.
TO BE CONTINUED ...
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