116: Unexpected

Transcription by Intrepid (intrepidly002@yahoo.com)

FADE IN:

[EXT. BARN (STOCK) -- NIGHT]

CAPTION:
SOMEWHERE IN THE NEVADA DESERT

(The wind blows. A coyote howls in the distance.)



[INT. BARN -- NIGHT]

(Ted drinks from his mug. His computer chimes and his Qkmsg box appears on the monitor.)

wireless: Hi, Ted

(Ted looks at the message. He checks his connection and a message box appears on the monitor.

INTERNET CONNECTION
NO INTERNET CONNECTION AVAILABLE

(His computer chimes again. Another message appears:

wireless: Ted ... I know you’re there

(Ted sits down. He types and sends the following:

TeddyBear616: I’m not online. How are you doing this?

wireless: I know what they did to you.

(A schematic to an injection gun appears on the monitor.)

wireless: Look at the needle

(The tip of the pneumatic injection gun has two needles. This catches Ted’s attention.)

TeddyBear616: We should meet

wireless: Turn around

(There’s a clanking noise next to him. Ted springs to his feet. He turns and sees a woman standing in his barn. She immediately puts her hands up.

HANA GITELMAN: My name is Hana Gitelman.

TED: How the hell did you do that?

HANA GITELMAN: Satellite signals. Wi-Fi, radio waves. Your computer can download them and so can I.

TED: So you can, uh, access the Internet without a computer.

HANA GITELMAN: Just pull email out of your head.

(She looks at the computer. The computer chimes and the answer appears on the message box.)

wireless: Yes

HANA GITELMAN: And you're radioactive.

TED: Why come to me?

HANA GITELMAN: Because they got to me too.

(She pulls aside her jacket and shirt collar to show Ted the double marked scar on her neck.)

HANA GITELMAN: I can find them, Ted. And you can nuke them.

FADE OUT.



FADE IN:

[EXT. SPACE]

CAPTION: PREVIOUSLY

(STOCK footage of rotating earth.)

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



[INT. (LAS VEGAS) BACKSTAGE]

(Hope is on the phone)

HOPE: Turned on the waterworks, and they were mine.



[INT. HOTEL ROOM]

(Ando finds the pink bag under the bed.)

HOPE: (v.o.) They're getting the suitcase as we speak.



[INT. BACKSTAGE]

(Hiro falls through the clothing rack. He straightens.)

HOPE: Where's the bag?

HIRO: You may fool Ando, but you do not fool me.

(Hope punches Hiro in the face.)



[INT. (LOS ANGELES) LAX AIRPORT - DAY]

(Matt meets Aron Malsky.)

MATT: Matt Parkman, here to protect you, sir.

(Malsky collects his diamonds.)

(Matt grabs Malsky away from the gem dealer.)

MATT: Sir, we've got to get out of here right now. This is a setup.

[ON JESSICA]

ARON MALSKY: (v.o.) What? How do you know that?

MATT: (v.o.) I just do.

FADE OUT.



[INT. SIDEWALK -- NIGHT]

(Peter looks down at his partially invisible hands.)

CLAUDE: (v.o.) Now, you absorb all these abilities you find.

[INT. SIDEWALK – DAY]

CLAUDE: I'm gonna teach you how to pull 'em out one at a time.

CUT TO:

[EXT. DEVEAUX BUILDING ROOFTOP -- NIGHT]

(Peter shouts at Claude.)

PETER: (angry) I don't have to do anything!

CLAUDE: Except fly.

(Claude grabs Peter, turns him and shoves him off the roof of the Deveaux Building.)



[FALLING]

(Peter falls forward. His arms flail around helplessly as he heads straight for the taxi parked below. He flips over.)



[EXT. BACK ALLEYWAY – NIGHT -- CONTINUOUS]

BAMM!

(Peter falls on the taxicab roof, the window glass shatters. )



[INT. (VIRGINIA BEACH) TAYLOR RESIDENCE -- DAY]

(Sylar swabs the real Zane Taylor’s mouth.)

MOHINDER: (v.o.) Hello. Zane Taylor?

(Cut to: Sylar answers the door.)

SYLAR: Yes. You must be Dr. Suresh. Come on in.

(Cut to: Mohinder talks with Sylar.)

MOHINDER: There are others out there like you.
MOHINDER: And I am going to find them.

(Sylar stands up.)

SYLAR: I could go with you.



[INT. (ODESSA) BENNET RESIDENCE – LIVING ROOM -- DAY]

(Mr. Bennet talks with Claire.)

MR. BENNET: She had an appointment with a neurologist. Your mother's been having some headaches.

CLAIRE: Yeah, she's also been having some memory loss. Did you tell them that?

CUT TO:

(Mr. Muggles barks at Sandra. Sandra glares at Claire.)

SANDRA: I don't know any Mr. Muggles. And I don't know you.

(Sandra leaves the kitchen ... and Claire.)

END OF PREVIOUSLY ON:



[INT. (ODESSA) BENNET RESIDENCE – LIVING ROOM – DAY -- CONTINUOUS]

CAPTION:
THE BENNET FAMILY
ODESSA, TEXAS

(We continue where we left off. Claire is carrying Mr. Muggles as she watches her mom leave the kitchen.)

CLAIRE: (scared) Dad?

(Claire turns and heads for the stairs.)

CLAIRE: Dad!

(She runs up the stairs.)

CLAIRE: Dad?

(She finds Lyle at the top of the stairs headed down.)

CLAIRE: Where's Dad?

LYLE: He's on one of his stupid business trips.

CLAIRE: There's something wrong with Mom.

(Claire grabs Lyle’s wrist and pulls him down the stairs with her.)

LYLE: There's something wrong with you.

(Claire heads back to the kitchen where Sandra is.)

CLAIRE: Mom? Do you know who this is?

SANDRA: Claire, leave your brother alone.

CLAIRE: You recognize us?

SANDRA: Yes, you are the daughter who is supposed to be setting the dinner table.

CLAIRE: I was standing right there just a minute ago, and you had no idea who I was.

SANDRA: Lyle, help your sister with the table. Honestly, Claire.

LYLE: (smugly) Good thing Dad's not home, 'cause he would so drug-test you.

(Claire stares at her mom.)

FADE TO WHITE:



[INT. (NEW YORK) ISAAC’S STUDIO -- DAY]

(Mr. Bennet talks with Isaac.)

CAPTION:
ISAAC MENDEZ
LOWER MANHATTAN

MR. BENNET: It's good you called us, Isaac.

ISAAC: I didn't know who else to trust.

(In the background, the Haitian stands up on the landing near the door.)

(Isaac points to the painting of Peter flying.)

ISAAC: That man, Peter Petrelli, is going to be responsible for all this.

(He points to the painting of New York destroyed as seen from the roof of the Deveaux Building.)

ISAAC: I tried finding him. I kept painting what I thought were empty spaces.

MR. BENNET: And now?

(Isaac points to a painting.)

ISAAC: There, in the water.

MR. BENNET: Footprints.

(They’re looking at a painting of a pigeon coop with a set of shoe prints in the water in front of it.)

ISAAC: So ... Peter's invisible? (laughs) That sound so crazy?

MR. BENNET: Any more than a man who can paint the future? Peter absorbs others' abilities. Apparently, he's met someone who we assumed was dead.

(Mr. Bennet looks pointedly at the Haitian.)

ISAAC: That's the roof of the –

MR. BENNET: -- The Deveaux Building. Look, there's a chance that Peter might come here first before we reach him.

(Mr. Bennet takes his gun out and offers it to Isaac. Isaac takes the gun. Mr. Bennet turns and heads for the door.)

ISAAC: What do you expect me to do with this?

MR. BENNET: Save the world.

CUT TO:



[TITLE CARD: HEROES]

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[INT. (LOS ANGELES) PARKMAN RESIDENCE – BEDROOM -- DAY]

(Matt opens his sock drawer)



[EPISODE TITLE]
CHAPTER SIXTEEN
"UNEXPECTED"



(Buried under the socks is the black jewelers bag. He takes it out and spills the diamonds out onto the dresser top. He takes a breath and puts the bag aside.)

CAPTION:
MATT PARKMAN
LOS ANGELES

(He looks at the diamonds and sighs. The bedroom door opens. Matt grabs the diamonds and scoops them back into the bag. He tucks the bag under some white socks and closes the drawer.)

(Janice walks in carrying a basket of clothes to put away. She puts the basket down on the dresser in front of Matt.)

JANICE: Hey.
MATT: Hey.

(Matt stands up.)

MATT: You know what? Let me help you do that.

(Matt reaches for the socks in the basket. Janice brushes him away.)

JANICE: I am pregnant, not porcelain.

MATT: No, I'm just trying to be Mr. Helpful.

(Matt again reaches for the clothes. Janice stops him.)

JANICE: Try Mr. Get-the-hell out-of-the-way.

(Matt lets up. Janice picks up the socks, opens the drawer and finds a diamond ring on the bottom under the socks. She picks it up and looks at it.)

(She turns and looks at Matt.)

JANICE: What did you do?

MATT: Do you like it?

JANICE: (smiles) I love it.

(They both laugh.)

JANICE: I do.

MATT: Yeah?

JANICE: Matt, we can't afford this. I mean, we're --

MATT: Nah, come on. I got a guy. He gave it to me wholesale, so ...

(They both sit down on the bed and Janice tries to put the ring on. She struggles.)

JANICE: I'm so bloated.

MATT: You, you look so beautiful to me.

JANICE: (sighs) I'm sorry. You -- made this beautiful gesture, and I have to mess it up.

MATT: What do you mean?

JANICE: A man called yesterday. A Professor Suresh. He was a geneticist. He wanted to talk about DNA. Matt, your DNA.

(Matt gets up.)

MATT: Did you tell him anything? I mean, you didn't tell him anything, did you?

JANICE: Of course I didn't tell him anything. He found you. He knows.

MATT: Geneticists. Who are these people?



[EXT. (BOZEMAN, MONTANA) SMITHER RESIDENCE -- DAY]

CAPTION:
MOHINDER SURESH
BOZEMAN, MONTANA

(A Nissan with MONTANA plates, 90-4613M, pulls up the snow-covered ground. It parks in front of a garage. Sylar and Mohinder get out of the car. Mohinder still has no clue that Sylar is posing as Zane Taylor.)

SYLAR: Um, before we go in, I just wanted to say thanks.

MOHINDER: For what?

(They head for the entrance.)

SYLAR: Well, you know, for bringing me with you. You didn't have to do that.

MOHINDER: It would have been a long road alone. I'm glad for the company.

SYLAR: Well, I believe in fate, Mohinder, and karma, and I'm not just saying that 'cause you're Indian. I mean, you really came to my rescue, and I won't forget that.

MOHINDER: It's not completely altruistic on my part, Zane. (He slaps Sylar compatibly on his arm as he heads inside.) I have a feeling we're gonna meet up with a lot of skepticism from these people. You can help.



[INT. SMITHER’S GARAGE – DAY – CONTINUOUS]

(Inside the garage, Dale Smither is welding on a table in the back of the room.)

SYLAR: (to Mohinder) I'm ready.

MOHINDER: (loudly) Excuse me!

(They move in closer.)

MOHINDER: (loudly) Excuse me.

(Dale stops welding and lifts her face shield. She’s wearing earphones. We hear the beat of rap music playing. She looks at them and smiles.)

DALE SMITHER: Oh.

(She removes the earphones.)

DALE SMITHER: Rap music. Can't stand it, but it's the only thing I've found that cancels out the -- Can I help you?

MOHINDER: We're looking for Dale Smither.

DALE SMITHER: You found her.

MOHINDER: Oh. O-of course. I'm Mohinder Suresh, and this is Mr. Taylor.

SYLAR: Zane. Actually, it's just Zane.

(She’s not impressed. Dale turns away and heads back to her desk. She removes her gloves.)

MOHINDER: I left you several messages this week.

DALE SMITHER: Yeah, I got 'em.

MOHINDER: I believe I can help with what's happening to you. I'm sure you have lots of questions.

(She tosses the gloves on her desk.)

DALE SMITHER: Yeah, only one -- how'd you find me?

MOHINDER: You gave blood eleven years ago. Signed a consent form to have a sample used in a program called the Human Genome Project.

DALE SMITHER: You dialed the wrong number.

SYLAR: Look, I know what you're thinking right now, that you've got nobody to talk to, nobody that understands what you're going through. But that's not true. I-I understand.

DALE SMITHER: Yeah?

(Sylar looks at Mohinder. He nods back.)

(Sylar empties a glass bottle and puts a wrench inside. He holds his hand over it and the wrench melts into the bottle. He turns and looks at Dale. Mohinder is smiling.)

DALE SMITHER: Damn. That was my best wrench. So there really are others, huh?

SYLAR: Yes. I'm proof of that.

MOHINDER: That's why we're here.

DALE SMITHER: I-I-- I thought the headaches at first were gonna kill me. I'd lie awake at night thinking that my head was gonna explode. A cockroach crawling across my neighbor's floor was like a marching band parading through my house.

MOHINDER: I'm sorry. It must be quite a burden.

(She turns and looks at Mohinder, her back to Sylar.)

DALE SMITHER: A burden?

(She chuckles.)

DALE SMITHER: Hell, no. This is the best damn thing that ever happened to me.

(Sylar stares at Dale. There’s a gurgling sound coming from him.)

DALE SMITHER: Well, now that I've learned to control it, I'm like Superman or something. I can hear rain coming from forty miles away. I can even hear someone's moods -- the tiniest changes in a heartbeat.

(She whirls around and looks at Sylar.)

DALE SMITHER: Yours, for instance. It's racing kind of fast. You nervous about something?

SYLAR: Um, no, I'm just excited to meet somebody like me.

DALE SMITHER: Well, if you've come to try to take it away from me, you're gonna have a hell of a fight on your hands.

MOHINDER: I can assure you we only want to help. Uh, I'd like to perform a few tests, some questions, really, that's all. Shouldn't take more than a couple of hours.

DALE SMITHER: I'm kinda backed up today.

MOHINDER: We can come back in the morning.

(She looks at Mohinder as she thinks about it.)

DALE SMITHER: (nods) Okay.

(Dale turns and heads back to the garage where she was working. Mohinder looks at Sylar and motions for him to leave.)

(Sylar stares intently at Dale.)

FADE OUT.



[BLACK SCREEN]

HIRO: (subtitled) One. Two. Three.



[INT. (LAS VEGAS) STORAGE ROOM]

(Hiro runs and uses his shoulder against the locked door.)

VARIOUS CUTS OF:

(Hiro runs into the door again and falls back onto the floor.)
(Hiro runs into the door and falls back onto the floor.)
(Hiro falls back onto the floor.)

(Hiro groans.)

CAPTION:
HIRO NAKAMURA
LAS VEGAS

(There’s a sound from the other side of the door. Hiro gets up and pounds on the door.)

HIRO: (subtitled) Ando? Is that you? I’m locked in!

(The door squeaks open.)

(A man with a suit points a gun at Hiro.)

HIRO: (english) You're not Ando.

(The man shows Hiro his badge.)

GUSTAVSON: S.R. Gustavson, State Gaming Commission.

(Hiro gives him the "live long and prosper" hand sign.)

HIRO: I come in peace.

(Gustavson grabs Hiro by the front of his shirt and hauls him out of the storage room.)

GUSTAVSON: What's an Ando?

(He pushes Hiro back against one of the dressing tables.)

HIRO: Ando is my friend. I bring him from Japan on my mission.

GUSTAVSON: Where's the girl?

(He puts the gun muzzle under Hiro’s chin.)

HIRO: Oh!

GUSTAVSON: Where's the suitcase?

HIRO: She said her name Hope.

GUSTAVSON: Tell me where they are!

HIRO: Take me with you. I must save Ando.

GUSTAVSON: Not a chance. I work alone, pal.

(Hiro stands up.)

HIRO: You take me with you or she gets away ... pal.

(Gustavson releases Hiro. Hiro straightens his glasses.)



[EXT. CEMETERY – LATE DAY]

CAPTION:
TED SPRAGUE
LOS ANGELES

(Ted stands in front of his wife’s grave.)

TED: I so miss you, Karen. I miss your laugh. But they're gonna pay for what they did to me. What they did to us.

(He puts down flowers in front of her headstone:
KAREN GALLAGHER SPRAGUE
???
Loving Wife and Daughter

TED: I know you're not gonna like what I gotta do.

(He puts the fresh flowers down on the grass. The flowers turn black and die. He stands up. The grass beneath his shoes turns black and dies.)

TED: So, uh, I came to say good-bye.

(TOP VIEW DOWN: In an ever-widening circle, the grass around Ted turns black and dies. CAMERA PULLS BACK and the black spot around Ted grows larger and larger and larger.)



[INT. (NEW YORK) ISAAC’S STUDIO -- NIGHT]

(Isaac looks at the gun. He looks up at the painting in front of him of the pigeon coop.)

DISSOLVE TO:



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

THE PIGEON COOP: There’s a long piece of wood leaning against the coop. It moves and vanishes.

PETER: (invisible) UGH!

(The water puddles on the roof around the pigeon coop ripples as an invisible Peter and an invisible Claude run around the rooftop.)

(There are more thudding and grunting sounds.)

WHACK! GRUNT.
WHACK! GRUNT.
WHACK! GRUNT.

CAPTION:
DEVEAUX BUILDING
CENTRAL PARK WEST

(CAMERA MOVES AROUND THE PIGEON COOP and on the other side we see Claude attacking Peter with the piece of wood, long enough to be a quarter staff.)

PETER: Enough!

CLAUDE: I say when it's enough!

(With the tip of the wooden staff, Claude pushes Peter into the pigeon coop.)

CLAUDE: (mocks) You've got a power to stop me. What are you waiting for?

(Claude is merciless. He knocks Peter’s feet out from under him. Peter lands hard on his side. He quickly gets to his feet and ducks as Claude swings the staff at his head. Claude jabs, Peter parries. He hits Peter in the stomach. Peter doubles over.)

PETER: (grunts) I'm trying!

(Claude twirls the staff as he moves closer to Peter.)

CLAUDE: (scoffs) And when you've left New York a smoking wasteland, we'll put that on your tombstone: "Here lies Peter Petrelli. He tried."

(Claude jabs. Peter catches the tip of the staff and holds it. Claude swings out of Peter’s grip and hits Peter hard in the chest. Peter rolls over and gets back on his feet. He’s still clutching his stomach.)

CLAUDE: (shouts) Dig into that file cabinet of yours and pull something out! Fly! Stop time! Paint me a pretty picture! Do ... (WHACK) ... something ... (WHACK) ... unexpected!

(He swings down hard on Peter’s head ... and stops! Peter lifts his head and glares at Claude. The staff stops mid-swing about a foot away from Peter’s head as if a force were keeping it away from him. The wood bends. Claude stares at the wood, but doesn’t let up. Peter keeps it up.)

(Then the staff snaps in two.)

CLAUDE: (pleased) Ha-ha! You pushed that away with your mind. Which one of your sorry friends has telekinesis?

PETER: None of 'em do.

(He thinks about it and it comes to him.)

PETER: Oh, right – That guy who was chasing Claire in Texas. He sent some lockers flying at me.

CLAUDE: Texas? And you pulled that little trick out in the here and now?

(Claude walks around Peter and picks up another staff leaning against the roof wall.)

CLAUDE: Well, we might just have a chance at stopping you from going nuclear.

(Claude swings and whacks Peter in the face.)

SMASH TO BLACK.

(COMMERCIAL SET)



FADE IN:

[INT. (NEW YORK) ISAAC’S STUDIO -- NIGHT]

(Simone looks at the various paintings of New York City.)

ISAAC: I tried. Every street I painted, every building--empty. I think Peter's left New York.

(Simone chuckles wryly. She’s not even looking at him.)

SIMONE: Why does this seem so familiar? Oh, now I remember. You'd get that same look on your face when you'd lie to me about using.

ISAAC: You think I'm lying? (She turns and looks at him.) You're right. I can't willingly throw you into another man's arms.

SIMONE: Because you're jealous.

ISAAC: Because he's dangerous.

SIMONE: Oh, God.

(She turns away from him. Isaac rushes over to the counter and covers the handgun with an old rag. Simone hold Isaac’s key.)

SIMONE: I don't think I should have this anymore.

(Isaac turns. He covers her hands with his own.)

ISAAC: No. Keep it. Please. I would do anything for you, Simone. Anything.

SIMONE: Find Peter.

(Simone turns and leaves. Isaac turns and looks at the paintings.)

CUT TO:



[INT. (LAS VEGAS) CAR (TRAVELING) -- NIGHT]

(Gustavson is driving. Hiro is in the passenger seat. He’s humming under his breath. Gustavson glares at him. Hiro turns and smiles.)

GUSTAVSON: Look, you're nothing but a Japanese MapQuest for me. So till we find that girl, just sit there and shut up.

HIRO: I bring Ando from Japan on my mission. I am responsible for him.

GUSTAVSON: All a partner ever does is either drag you under or screw you over.

HIRO: A partner helps by believing in you. He keeps you honest.

GUSTAVSON: Uh-huh. Well. Who wanted to help the girl? Grab the suitcase? Take your car?

(Hiro’s face falls.)

HIRO: Ando.

GUSTAVSON: You take on a partner, all you get is their blood on your hands.



[EXT. (PRIMM) BUS STATION -- NIGHT]

CAPTION:
ANDO & HOPE
PRIMM, NEVADA

(The car turns into the parking lot and stops.)

ANDO: Why are we stopping here? I thought we were going to your mother's house.

HOPE: The less questions you ask, Ando, the better off you'll be in life.

ANDO: Why is that?

HOPE: That'd be another question.

(Hope opens the door and gets out. She moves to open the back seat door. Ando quickly gets out of the car and opens the back seat door. He reaches for the bag.)

ANDO: Here, I will help you with --

HOPE: No, I've got it.

ANDO: It's okay --

HOPE: No, I’ve got it --

(They each pull on the bag’s handle and the bag rips open – poker chips spill out onto the car floor.)

ANDO: What is this?

(She pulls out a gun and points it at him.)

HOPE: What did I say about asking questions?

(Ando stares at her as he raises his hands up.)

CUT TO:



[EXT. (BOZEMAN, MONTANA) MOTEL (STOCK) -- NIGHT]



[EXT. PARKING LOT -- NIGHT]

(Mohinder and Sylar get their bags out of the car trunk.)

MOHINDER: You know, I have to admit, Zane, when you first offered to help, I was -- I was cautious.

SYLAR: In what way?

MOHINDER: I don't know you. You don't know me. It could have been a disaster. You ... made a difference today. Thank you.

(Sylar smiles as he closes the car trunk.)

MOHINDER: Here is your key.

(He gives Sylar his key and heads toward his own room.)

SYLAR: When you told that woman Dale that you could help her, is that really possible?

MOHINDER: It's only theoretical at this point. But I am working on an inhibitor, a chemical that'll isolate the genetic mutation that causes these abnormalities. We can offer these people understanding, control, or, if needed, elimination of their ability.

SYLAR: Elimination? You make it sound like a virus or plague.

MOHINDER: I'm sorry. I didn't mean to imply -- It's just not all of you exhibit the same sets of skills you do. And they can be dangerous. My father had to learn that firsthand.

SYLAR: How's that?

MOHINDER: He was murdered by a man named Sylar.

SYLAR: Well, what happened to this ... Sylar?

MOHINDER: I'm not sure.

SYLAR: He just got away with killing your dad?

MOHINDER: I only know he's gone, locked away. What does it matter? Even if I could come face-to-face with him, what difference would it make? Justice can never really be served.

SYLAR: What a shame. They're out there. I can feel them ... so innocent, so unaware of what's happening to them. We'll find them, Mohinder. All of them, together. The two of us. It's our destiny. I think I'm gonna call it a night.

MOHINDER: Yeah.

SYLAR: I'll catch you in the morning.

(Sylar goes to his room. Mohinder opens his room #23.)

CUT TO:



[INT. (ODESSA) BENNET RESIDENCE -- NIGHT]

(Sandra walks up to Claire.)

SANDRA: Claire, do we need to talk?

CLAIRE: No. (pause) Yes. Mom, you know how you sometimes forget things?

SANDRA: Honey, is this about my trip to the neurologist? It's just some headaches. I don't want you to worry.

CLAIRE: But they don't know what's causing it, right?

SANDRA: We are still waiting on the results from the tests.

CLAIRE: What if it's not some thing that's responsible for it but someone?

SANDRA: What on earth are you talking about?

CLAIRE: What if you knew a secret, and they had a way to brainwash you?

SANDRA: (laughs) You have been studying long enough. Let's curl up in my bed, piece of pie, glass of milk, and watch an old Cary Grant movie.

(She gets a container of milk out of the refrigerator and pours herself a glass.)

CLAIRE: Mom, I'm serious.

SANDRA: I know this is a little scary, but Dad's in charge of talking to the doctors, and they will come up with the answers.

(She refills her glass.)

CLAIRE: Maybe you shouldn't trust Dad so much.

SANDRA: Now, why would you say that?

CLAIRE: What if it gets worse ... and next time that you --

CRASH!

CLAIRE: Mom!

(Sandra is on the floor in the kitchen. Claire runs to check on her.)

CLAIRE: Mom! Mom! Mom!

(Sandra is out cold in a pool of spilled milk.)

CLAIRE: Mom! (crying) Mom, please wake up.

CUT TO:



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

(Claude takes a pigeon out of the coop.)

PETER: What's this all about anyways?

(He closes the coop door and walks around to the other side of the coop.)

CLAUDE: What's what?

PETER: The birds. I mean, you -- you sort of hate everything, everyone. Except you treat these pigeons like they're family.

(He puts the pigeon in the coop and closes the door.)

CLAUDE: Charles Darwin bred pigeons when he was working out his theory of evolution. Married up various permutations to get maximum potential.

PETER: What do you mean by that, maximum potential?

(Claude looks at Peter.)

CLAUDE: I think he meant you, friend.

(Peter turns away and walks over to the edge of the rooftop.)

PETER: But you used to care. About all this.

(HEAT VISION POV: Peter and Claude light up red as the goggles register THERMAL ACTIVITY. Sites are on Peter first, then on Claude, who is closer.)

PETER: Didn't you?

(Rather than answer him, Claude turns.)

CLAUDE: All right, sharing time's over. Time to get—

(Mr. Bennet fires the taser and it hits Claude in the neck.)

CLAUDE: Ahhh!!

(Peter catches Claude as he falls forward. We hear the zapping sound of the voltage passing along the wires.)

(The Haitian raises his taser gun and fires at Peter. Peter turns and stops it mid-air. The two pins fall at Peter’s feet. Mr. Bennet and the Haitian move in closer toward Peter and Claude.)

(Peter lifts Claude up to the edge of the rooftop.)

CLAUDE: What are you doing?

PETER: Something unexpected.

(He tosses Claude over the edge. Claude yells as he falls. Mr. Bennet and the Haitian move quickly toward Peter. Peter jumps off the edge of the rooftop after Claude.)

(Mr. Bennet and the Haitian look over the edge. Peter zooms straight up into the air past them. He’s carrying Claude over his shoulders. Then he flies out of sight.)

(Mr. Bennet watches.)



[EXT. NEW YORK CITY SKIES – NIGHT – CONTINUOUS]

(Peter flies away.)

FADE OUT.

(COMMERCIAL SET)



FADE IN:

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

(Peter is long gone.)



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

(Mr. Bennet stands on the rooftop looking out in the direction that Peter flew. His phone rings. He steps away and answers it.)

MR. BENNET: (to phone) Claire, this isn't a great time.

INTERCUT WITH:

[INT. (ODESSA) BENNET RESIDENCE – KITCHEN – NIGHT]

CLAIRE: Dad, you have to come home. Mom fell and she blacked out. I called 911 --

MR. BENNET: What happened to her?

CLAIRE: (crying) I came home and she didn't even know who I was. She didn't even remember Mr. Muggles.

(Claire pushes Mr. Muggles away from the spilled milk.)

MR. BENNET: (to phone) I'm coming home right away.

(He hangs up.)

MR. BENNET: (to the Haitian) Claude'll have to wait.



[INT. (LOS ANGELES) PARKMAN RESIDENCE -- NIGHT]

(Matt empties out the bag of diamonds into the palm of his hand.)

JANICE: (o.s.) Matt, where are you?

(Janice walks into the room as Matt puts the diamonds back into the bag.)

MATT: Hey, what's up?

(She takes out the ring.)

JANICE: The ring. I took it to get resized, and the jeweler told me it was worth $40,000.

MATT: Well, that's ridiculous.

JANICE: And he accused me of stealing it. I had to tell him my husband was a cop and there has to be some kind of an explanation. There is an explanation, right?

(Matt rubs his face and then shows Janice the bag of diamonds. She takes the bag and looks inside.)

MATT: The guy that I was protecting, Malsky ... those were his.

JANICE: You have to give them back.

MATT: I can't. I can't. He's dead.

JANICE: Hmm. Uh, I need to sit down.

(Janice sits on the seat in front of the window. Matt sits next to her.)

MATT: See -- Honey, this is why I didn't want to tell you about this, okay? You were gonna get upset –

JANICE: You let me keep the ring. It was stolen property. What were you thinking?

MATT: I don't know what I was thinking. I have no idea.

JANICE: You know, Matt, for a guy that can ... read other people's thoughts, you should spend a little bit of time on your own.

MATT: You know what? I'm just trying to figure out how to take care of our family. I don't have a job, Jan. And I'm worried that the baby--

JANICE: Ever since you told me about this thing, this thing that you do, I have tried to act like everything's okay, but it's not. It's stealing and lying. Matt, you're better than this!

MATT: All right. Fine, I'll take them down to the precinct.

(He grabs his jacket and puts it on. Janice gets up and gets the phone.)

JANICE: Call them right now.

MATT: What?

JANICE: Call them right now.

(The phone rings. Matt answers it.)

MATT: (to phone) Hello? What? Where are you right now? Yeah. Yeah, I know the place. I'll be right there.

JANICE: Who was that?

MATT: I, uh, I gotta go out.

JANICE: Where?

(Matt grabs his keys and heads out. He doesn’t answer her.)

JANICE: Matt.

CUT TO:



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

(Claude wakes up. Peter is blurry in front of him, then comes into focus.)

PETER: How you feeling?

(Claude sits up. He punches Peter in the face. He grabs Peter and shoves him backward.)

CLAUDE: You knew they were after you.

PETER: Who? I don't know who they were!

CLAUDE: You wanted to know why I was invisible all these years. It was because of them, and you've brought the bastards right to my door!

(Peter knocks Claude away from him.)

PETER: I just saved your ass!

CLAUDE: You've no idea what you've done.

(Claude gets up and thinks about it.)

CLAUDE: Your mate, the painter. He took your girl up to the roof. He must have known we were up there.

PETER: Isaac. He's a comic book artist.

CLAUDE: Let's call a spade a shovel, mate. It had to be Isaac. They got to him. You said yourself he disappeared for a bit, right?

PETER: Yeah, so?

CLAUDE: Well, that's how it works. At least, that's how it did in my day. You drop off the face of the earth for a few days, wake up with a memory hole, a killer headache, and a souvenir. Did he have a set of these?

(Claude shows Peter the scar on the back of his shoulder. It’s a larger scar than normal.)

PETER: I don't know. What is that?

CLAUDE: Those are for the lucky ones.

(Claude heads for the door. Peter follows him.)

PETER: So what do we do now?

CLAUDE: Hey!

(Claude stops and whirls around on Peter.)

CLAUDE: We? You watch your own back. I do what I always do -- disappear.

(Claude takes a step toward the door; Peter grabs his arm.)

PETER: I'm not letting you run again. We're getting somewhere with all this.

CLAUDE: You should have thought of that before you brought your baggage to my roof.

(Claude heads for the door.)

PETER: I can't do this on my own.

CLAUDE: Then I guess you go boom.

--and with that, Claude vanishes. The front door opens and closes, leaving Peter in the apartment alone.)

(Peter turns around, his eyes smoldering with anger.)

SIMONE: (PRE-LAP) (v.o.) Have you heard from Peter?



[INT. (NEW YORK) NATHAN’S OFFICE -- NIGHT]

(Simone talks with Nathan in his office.)

NATHAN: Last time I saw my brother, he flew out of a window to get away from me. I doubt he's going to come knocking on my door.

SIMONE: He flew out a window?

NATHAN: So to speak.

(Simone laughs.)

NATHAN: Simone, I've got people looking for him, people I can trust. Around the clock. We'll find him.

SIMONE: But what if you don't? You need to go public, call a press conference, tell everyone about Peter's condition.

NATHAN: (chuckles) Nobody's gonna believe somebody can explode and destroy a city, Simone. I can't believe I believe it.

SIMONE: Let's tell them everything. Isaac painting the future, Hiro stopping time. Even you -- what you all can do is incredible. It's time people know what's happening. The truth.

NATHAN: Simone, look, I know your heart -- it's in the right place. You want to help Peter, and I want to help him too. But if people knew what we were capable of, they would drop a collective brick.

SIMONE: You think they'll burn you at the stake?

NATHAN: Yeah, pretty much. Because that's what I would do. I'd round us all up, stick us in a lab on some island in the middle of the ocean.

SIMONE: Where Peter saw hope, you see disaster. Huh. I guess I'm voting for the other guy.

(Simone heads for the door.)

NATHAN: (warns quietly) Simone. Do not take this public.

(She leaves. We hold on Nathan.)



[EXT. (PRIMM) BUS STATION -- NIGHT]

(Hope holds the gun on Ando as he gathers all the chips and puts them back in the bag.)

ANDO: But you kissed me. I thought you liked me.

HOPE: Don't remind me.

(Off screen, tires screech.)

(Ando finishes and zips the bag up.)

ANDO: What will happen to me now?

(He stands and backs away just as a car pulls into the parking lot.)

HOPE: Damn it!

(The car screeches to a stop. Hope turns and puts Ando in front of her. Gustavson steps out of the car with his own guns.)

GUSTAVSON: Hope! I want my share.

HIRO: Ando-kun!
ANDO: Hiro!

(Hiro rushes over toward Ando. Hope fires twice. The rear window shatters.)

(Gustavson fires back. Ando is hit in the shoulder and falls to the ground. Ando yells.)

HIRO: Ando-kun!

(Hiro runs toward Ando, then backs away back to the car. Gustavson and Hope are behind their cars and are firing at the other in a good, old-fashioned shoot-out.)

(Hiro backs up to the car and dives behind it as the shooting continues. Ando screams and clutches his head. He’s still on the asphalt between the two firing at each other.)

(Hiro looks around.)

(Ando starts crawling away from Hope. Hiro rushes over to the luggage carrier stacked with luggage. Hope fires and the passenger window shatters near Ando’s head.)

(Hiro ducks behind the luggage carrier and pushes it toward Ando. Ando crawls toward Hiro. The shooting continues.)

HIRO: Ando-kun!

(Getting close enough to him, Hiro rushes over and helps Ando up.)

HIRO: (subtitled) This way hurry!

(Hiro and Ando both run toward a nearby parked bus and the open baggage compartment.)

(The shooting continues.)

HOPE: (o.s.) Gustavson, you can't spend it if you're dead!
GUSTAVSON: (o.s.) Neither can you!

(Hiro and Ando duck into the open baggage compartment. They each grab a bag and hide behind it.)

ANDO: (subtitled) Hiro. I’m sorry. I should’ve listened to you.

HOPE: (o.s.) Come out!

(Gustavson shoots back. The shooting continues.)

HIRO: (subtitled) No, this is all my fault. I never should have ... brought you on my mission.

ANDO: (subtitled) And if you didn’t ... I would be at my desk in Tokyo. I would never know ... what it is to be a hero.

(Another shot is fired. Then, there’s an explosion.)

(Hope appears in front of Hiro and Ando. She kneels and raises the gun at them. They look down the muzzle of the gun. Hiro and Ando close their eyes.)

ANDO: (subtitled) I don’t want to die!

SLOW MOTION:

(Hope fires. The muzzle flares and the bullet exits the gun barrel. Hiro has his eyes closed tightly.)

(The bullet goes BACKWARD, back into the gun barrel.)

TIME RESUMES

(Hope drops the gun.)

(Gustavson tackles Hope to the ground. The sounds of police sirens grow louder and louder. A couple of officer cars stop in front of the fighting couple. Officers exit the car.)

OFFICER: Get your hands in the air!

(Hiro opens his eyes.)

(Hope and Gustavson are still fighting. Ando and Hiro look at each other. More officers rush forward to break up the fight.)

(Hiro stands up and gets out of the storage compartment. Hiro looks around. He’s looking for something.)

ANDO: (subtitled) Did your powers work? I had my eyes closed!

HIRO: (subtitled) Me too. Her gun must have misfired.

ANDO: (subtitled) I guess. Lucky for us!

(Hiro is still looking around for something. He stops and finds it, his face lighting up with pleasure.)

HIRO: (subtitled) Look Ando! Not a scratch on the Versa!

(They walk toward the car.)

DISSOLVE TO:



[EXT. (BOZEMAN, MONTANA) SMITHER RESIDENCE -- NIGHT]

(Dale Smither is under the car ratcheting something. Rap music blares on her earphones, so loud that we can hear it too. Suddenly, she stops and gets out from under the car. She’s panting, scared of something.)

(She rolls the dolly out and sits up. She pulls the earplugs out and listens.)

CUE SOUND: HEART BEATS

(She turns around and listens. She still hears the HEART BEATS. She turns back around and sees Sylar standing nearby.)

DALE SMITHER: Funny. I didn't hear your footsteps.

(Sylar steps forward into the light.)

SYLAR: That's because there weren't any.

(Dale listens.)

DALE SMITHER: That sound. In your heart. What is it?

(We listen to the thumping of his heart.)

(beat.)

SYLAR: Murder.

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[INT. (ODESSA) HOSPITAL – HALLWAY -- NIGHT]

(Sandra is in bed, hooked up to various machines. A heart monitor beeps steadily. Claire sits in the seat next to the bed. The doctor appears in the doorway. She steps forward.)

CLAIRE: Is my mom gonna be okay?

DOCTOR: She's stable. When your dad gets here, we can discuss options.

CLAIRE: Options?

(They walk to the side of the room.)

DOCTOR: Claire, why don't you come sit down. Your mother has a subdural hemorrhage.

CLAIRE: I got a C-minus in biology.

DOCTOR: Oh. It's, um ... it's like a bruise on her brain. (They sit down.) Specifically the area that controls memory. Has your mother had any recent exposure to radiation? (Claire looks at her mom.) A history of epilepsy? Claire, if this is a result of domestic violence --

CLAIRE: No. No, it's not like that. Not really.

DOCTOR: Then what's it like?

CLAIRE: You won't believe me.

DOCTOR: Anything you say will be held in the strictest confidence.

CLAIRE: There's a man ... who works for my dad. He can make you forget things. Anything, just by touching you with his hands.

DOCTOR: I'll talk to your father.

(She gets up and heads out.)

CLAIRE: Wait, I'm telling you the truth!

(The doctor turns and leaves the room.)



[EXT. CEMETERY -- NIGHT]

(Matt meets with Ted Sprague.)

MATT: Hey, I only came here because you said it was a matter of life and death. You can't go blowing anything else up.

TED: I found out what these are. (He motions to the marks behind his neck.) They're tracking us. Like animals!

MATT: What the hell's that supposed to mean?

(Hana Gitelman steps out behind Matt. Ted motions to her.)

HANA GITELMAN: The truth.

(Matt swings around and raises his gun at Hana. She raises her hands. She’s holding the injection gun.)

MATT: Hey! What's going on? Ted?

TED: She's -- she's a friend, okay, like us. She's the one who put me onto the scratches.

HANA GITELMAN: It comes from a pneumatic needle.

(She puts her hands down cautiously and steps toward Matt.)

HANA GITELMAN: It injects a radioisotope for tracking viruses in Africa.

(She holds the injection gun out toward Matt. He takes it and looks at it.)

TED: That's what we are to them, a-a virus. A plague.

MATT: (to Ted) Who's them?

HANA GITELMAN: A shipment of needles went to Primatech Paper in Odessa, Texas. The tracking slip went to a man named Bennet. Sound familiar?

MATT: I've already been down this road. Trust me, it's a dead end.

HANA GITELMAN: Really?

MATT: Yeah.

HANA GITELMAN: Why would a paper company need pneumatic needles with a radioisotope?

TED: I had my blood tested. It's in me, that isotope.

MATT: Ted, you're radioactive by nature.

TED: How much you wanna bet it's in you too?

MATT: No, it's insane. No! I want to put this whole thing behind me. My wife and I have a baby coming; my family needs me.

TED: If you got a family, that means you got something to protect. There is no putting this whole thing behind you. We gotta find out what they did and make them fix it!

MATT: If they can track us like you say they can, he'll know we're coming.

TED: Good. I can get us through any wall they got. I need you to get inside his head. He can't lie to us if you're there. We'll find out the truth. Look, I cannot do this ... without you. If we can save ourselves, we could help others. We could be heroes!



[INT. (ODESSA) HOSPITAL – ROOM / HALLWAY -- DAY]

(Sandra is in bed sleeping, the heart monitor beeping steadily in the background. Claire sits next to the bed, her chin resting on her hands as she watches her mom.)

(The door opens and Mr. Bennet appears.)

LYLE: (o.s.) Dad.

(Lyle gets up and gives his dad a hug. Claire doesn’t get up.)

MR. BENNET: I've convinced the doctor to let us take her home in the morning. She'll be okay.

CLAIRE: No thanks to you.

LYLE: Shut up, Claire.

MR. BENNET: Claire, can I talk to you outside? Please?

(They step outside into the hallway.)

MR. BENNET: The doctor told me you had an interesting theory about your mom's condition.

CLAIRE: It's not a theory. You did this to her. You erased her mind.

MR. BENNET: Claire, that's ridiculous.

CLAIRE: You tried to erase mine.

MR. BENNET: I don't know where you're getting these ideas.

CLAIRE: Stop. Stop it! (shouts) Stop lying! After what you did to Mom, isn't that enough?

(He glances back at the people down the hallway, who turn at her raised voice.)

(Mr. Bennet grabs her shoulders and backs her up against the wall.)

MR. BENNET: (low urgency) What you know is dangerous. If the wrong people find out about what you can do –

CLAIRE: Like the man who killed Jackie?

MR. BENNET: Exactly.

CLAIRE: Why? Why did you do this to Mom?

MR. BENNET: A few days ago, that man broke into our house ... looking for you. He found your mother instead. So I made her forget. Your mother is a gentle soul. And people like her shouldn't have to know about people like him.

CLAIRE: (crying) And maybe people like you.

MR. BENNET: I never meant for her to get sick. I only wanted to protect my family. Claire bear, I promise -- I promise this will never happen again.

(He tries to hold her.)

CLAIRE: No!

(She pushes him away.)

CLAIRE: You don't just get to say you're sorry and make everything go away.

(She walks away, heading back to the room. We hold on Mr. Bennet.)

CUT TO:



[EXT. (BOZEMAN, MONTANA) SMITHER RESIDENCE -- DAY]

(The car turns into the drive.)

(Inside, Mohinder pulls up closer to the garage. Rap music plays.)

SYLAR: Ow.

MOHINDER: Zane, are you all right?

SYLAR: Yeah, it's just, uh, it's just a headache.

(Mohinder parks, but leaves the power on.)

MOHINDER: Okay. Sit tight. I'll be back.

(Mohinder gets out of the car and slams the door.)

SYLAR: Ow!

(Mohinder walks up to the garage opening.)

MOHINDER: (loud, echo-y) Hello?

(Sylar winces from the sound.)

(Rap music plays continuously in the background.)

MOHINDER: (loud, echo-y) Anybody here?

(Sylar groans. Sylar opens the window.)

SYLAR: Hey, maybe we should just come back, Mohinder.

(Mohinder goes into the garage and checks.)

MOHINDER: (loud, echo-y) Dale?

(He looks inside and sees Dale’s body up between the car and the lift. Her hand hangs over, dripping blood onto the floor.)

(Mohinder gasps and turns away. He throws up near his own car.)

(Sylar gets out of the car.)

SYLAR: Mohinder, what's the matter?

(Mohinder points to the garage. Sylar goes to check. Yep, it’s Dale’s dead body. He smiles.)

(The rap music continues in the background. He winces from a new, loud sound.)

(Sylar turns and finds Mohinder dialing his cell.)

SYLAR: What are you doing?

MOHINDER: Dialing 911.

SYLAR: Do you think that's a good idea?

MOHINDER: What are you talking about? She was murdered.

SYLAR: And what were we doing here?

MOHINDER: What do you mean? We found her.

SYLAR: How? Why? I mean, l-look at us. Where did we come from? How did we get here? Can we explain any of this without looking completely insane?

MOHINDER: The top of her head was removed. It was Sylar. I don't -- I mean, how?

SYLAR: Sylar.

(Sylar looks around as if looking for Sylar.)

MOHINDER: (urgently) Okay, we have to warn them. Everyone on the list. He's after them. We'll, uh, we'll leave now and we'll call the police anonymously from the road. Come on.

(Mohinder heads for the car.)

(QUICK FLASH: Dale’s bloodied hand.)

(Sylar groans.)

(Sylar reaches for the car door and is hit with another bout of pain.)

(QUICK FLASH: Dale’s dead body on the car lift.)

(Sylar winces. Mohinder is in the car.)

MOHINDER: Zane, are you okay?

(Rap music continues.)

(QUICK FLASHES OF: Dale’s bloodied hand and her dead body on the car lift.)

(Sylar gets into the car. Mohinder starts the engine and backs out of the drive.)



(Back in the garage, we linger on Dale’s dead body. Just under her bloodied hand is her i-Pod, the earphones out and still on playing rap music.)

FADE OUT.

(COMMERCIAL SET)



FADE IN:

[INT. (PRIMM) BUS STATION -- DAY]

(Officers have Gustavson in handcuffs and lead him back to the car. They also have Hope in handcuffs and appear to put her in the back seat of the same car.)

(Hiro gets out of the station. Ando is standing by the pay phones and is waiting for him. His shoulder has been tended to and his arm is in a sling.)

(Hiro puts his wallet back in his jacket pocket.)

ANDO: Oh, Hiro. (subtitled) My arm still hurts a little. You should drive.

(He offers Hiro the car keys. Hiro doesn’t take the keys.)

HIRO: (subtitled) No, you always drive. Take the Versa back to the rental car place.

(Hiro turns and walks away. Ando follows him.)

ANDO: (subtitled) What are you doing?

HIRO: (subtitled) What I should’ve done weeks ago. Go home, Ando.

ANDO: (subtitled) Why are you doing this? I said I was sorry about the girl.

HIRO: (subtitled) This isn’t about you. It’s about me. I made a mistake by bringing you along.

(He opens the rear door and takes his bag out of the car.)

HIRO: (subtitled) I have to do this alone.

ANDO: (subtitled) But you can’t! It’s destiny! The comic book – we’re going to save the world!

(Hiro has the painting case around his back.)

HIRO: (subtitled) Life isn’t a comic book. Too many people have died since we began.

(A bus pulls up behind them.)

HIRO: (subtitled) I don’t know what I would do ... if I lost you too.

(Ando doesn’t say anything. Hiro holds up the "live long and prosper" hand sign as he waves good-bye. He turns and picks his bag up, turns and walks toward the bus.)

(Despondent, Ando holds up his own "live long and prosper" hand sign.)

ANDO: (subtitled) Hiro, please.

(Hiro doesn’t look back.)

ANDO: Hiro!

(Hiro looks up at the bus driver.)

BUS DRIVER: Hey, young fella. All by yourself?

(Hiro turns and looks back at Ando. Ando doesn’t want him to go. Hiro looks at the bus driver.)

HIRO: Yes, just me.



[INT. (ODESSA) BENNET RESIDENCE – DAY]

(Claire helps Sandra into the house. Lyle and Mr. Bennet follow.)

MR. BENNET: Lyle.

(Lyle helps Sandra up the stairs. Claire watches from the base of the stairs. Mr. Bennet closes the door and walks over to Claire. She walks away from him. He takes her arm.)

MR. BENNET: Claire.

(Claire yanks her arm away from his grip as she turns to look at him.)

MR. BENNET: We'll get through this. Your mom needs us. Lyle, too.

CLAIRE: I don't even know if I'll remember any of this tomorrow. All I want to do is run away, but I can't. Somebody has to protect this family from you.

(She turns just as TED SPRAGUE steps out in front of her. Mr. Bennet steps forward.)

MR. BENNET: Lyle, take your mother. Get out of the house right now.

(Lyle and Sandra head down the stairs.)

LYLE: Dad?

(Lyle takes a step toward the door. Matt steps forward, blocking his path. He’s holding his gun and cocks it.)

(Mr. Bennet turns and looks at Matt.)

MATT: I'm sure you have a lot of questions. We all do.

CUT TO:



[INT. (NEW YORK) ISAAC’S STUDIO -- DAY]

(Isaac is painting. His eyes are white from his trance. He uses a thick brush and black paint. He stops, closes his eyes and gasps as he takes a step back. When he opens his eyes, he’s out of his trance.)

(He looks at the painting. It’s of Peter – dark and angry – standing in his studio.)

(Isaac realizes what he’s painted and turns around. Peter is standing there.)

PETER: Why'd you do it, Isaac?

ISAAC: How'd you get in here?

PETER: What'd they give you, money? Drugs? What's a Judas get these days?

ISAAC: I was trying to stop you. You're dangerous. You said it yourself. Without them to help, you'll become that.

(He points to the painting of the Exploding Man.)

PETER: I had help. I was learning to control it. You scared my only chance of hope to stop it!

(Peter grabs Isaac and pushes him face forward into the work table. He pulls the collar away from Isaac’s back to reveal the markings Claude was talking about.)

PETER: What are these marks, huh? What do they mean?

ISAAC: Ugh!

(Isaac pushes Peter away from him.)

ISAAC: They're nothing. They mean nothing.

PETER: (the voice) DON'T LIE TO ME!

(Peter uses the power of the VOICE and sends Isaac flying backward, crashing into the paintings at the other end of the room.)

(Peter turns and sees the painting of ISAAC AND SIMONE with their foreheads touching up on the Deveaux Building--a scene he himself witnessed before. Isaac groans.)

PETER: (scathing) This is why you sent them after me. Jealousy? With me out of the way, you'd have Simone all to yourself.

ISAAC: (shouts) You stole her away from me!

(Isaac grabs the table and hauls himself back to his feet. He sees the gun under the rag. He moves toward the gun. His back is to Peter, blocking his view.)

ISAAC: But I did it to save New York, to stop the bomb.

(Isaac moves the rag away and picks up the gun.)

ISAAC: I can do it right now.

(He whirls around and points the gun at Peter.)

ISAAC: With just one bullet, I can be a hero.

(Peter vanishes.)

(Isaac gasps.)

PETER: (v.o., invisible) You're not a hero, Isaac.

(Isaac turns, looking for Peter. Paint cans fly off the table from across the room, hurtling through the air at Isaac. Isaac blocks the cans while looking around for Peter.)

PETER: (v.o., invisible) You're a junkie. You couldn't even save yourself.

(Isaac steps out to the middle of the room. He’s still holding the gun out in front of him, turning this way and that, looking for Peter.)

PETER: (v.o., invisible) That's why she left you, Isaac.

(The painting of Hiro and the dinosaur tilts over and falls off the easel. Isaac whirls around to look for Peter.)

PETER: (v.o., invisible) It had nothing ...

(Isaac turns and looks at the painting of PETER’S dark form looking at him.)

PETER: (v.o., invisible) ... to do ... with me!

(Isaac pants.)

ISAAC: (shouts) SHOW YOURSELF!

(VARIOUS ABRUPT CUTS of Isaac turning around and around and around, looking for Peter.)

(He hears movement behind him. Isaac whirls around and fires a couple of shots.)

[SIMONE]

(Simone looks down at the two gunshot wounds in her chest. She looks at Isaac and gasps.)

(Isaac drops the gun.)

ISAAC: (horrified) No.

(Simone starts to fall backward. Peter materializes behind her, catching her in his arms and gently going down with her.)

(Simone gasps for breath. Peter turns and looks at Isaac.)

(Isaac runs up the stairs.)

ISAAC: Simone!

(He reaches Simone’s side. Peter puts his hand on Simone’s chest as he holds her.)

(Crying, Simone gasps for breath. She puts a hand out to Isaac.)

ISAAC: (shakes his head) No.

(Simone stops breathing. Her hand uncurls, revealing Isaac’s studio key in her palm.)

(Peter and Isaac look at each other, Simone’s body between them.)

FADE TO BLACK.



TO BE CONTINUED ...