Heroes | Episode 1-01 Transcript | Volume One: Genesis

HEROES
1X01: GENESIS
ORIGINAL AIR DATE ON NBC: 09/25/2006
TRANSCRIBED FROM NBC

Written by: TIM KRING
Directed by: DAVID SEMEL

Transcript by Intrepid
Courtesy of http://www.kilohoku.com/

As a courtesy, do not archive this transcript without written permission from the Transcriptionist.

Episode shown with limited commercial interruption.
EPISODE LENGTH: 54:27-ish

RATING: TV-14
HD 5.1
==========================
DISCLAIMER:
==========================
"HEROES" and other related entities are owned, (TM) and (c) by NBC; Tim Kring, Tailwind Productions, and NBC Universal Television Studio, All Rights Reserved. For Fair Use, for entertainment and for educational purposes only. This transcript was made without their permission, approval, authorization or endorsement. Any reproduction, duplication or distribution of this material in any form is expressly prohibited. It is absolutely forbidden to use it for commercial gain.

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Contact the Transcriptionist at intrepidly002@yahoo.com
==========================
SUMMARY: Meet Mohinder Suresh, a professor in Madras India who leaves his job and travels to New York City to find out what happened to his geneticist father. Meet Peter Petrelli, a hospice nurse who dreams of flying. Meet Nathan Petrelli, Peter’s older, non-believing brother who is running for Congress. Meet Niki Sanders, whose reflection has a life of her own, and her son, Micah, who is more than just a kid genius. Meet Claire Bennet who is indestructible, her geeky friend Zach and her father, Mr. Bennet. Meet Isaac Mendez, a painter who has the ability to paint the future when he’s high, and his girlfriend Simone Deveaux. And meet Hiro Nakamura, who believes he has the ability to break the space/time continuum.
==========================
HEROES
1X01: GENESIS
==========================

LIMITED COMMERCIAL INTERRUPTION

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: (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: (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: (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: (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 gracefully off the building.)

[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 blinds us.)

FLASH TO:

[INT. (NEW YORK) DEVEAUX PENTHOUSE – CHARLES’S BEDROOM -- DAY]

(Peter wakes up. The door opens.)

SIMONE: How's he doing?

(He’s dressed in scrubs and sitting in a chair next to Charles Deveaux’s bed.)

(Simone closes the door behind her.)

CAPTION:
NEW YORK CITY

(She puts her keys on the table. Peter puts the newspaper section he’s reading on the bedcovers in front of him.)

SIMONE: 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 and hiss of the respirator.)

PETER: 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: Has he been conscious at all?

PETER: No. Been a week now. I think he's close. A couple more days, maybe.

(We get a glimpse of Simone's father in bed. Peter walks over to stand next to Simone as he checks her father’s pulse.)

SIMONE: You know, I don't know what he'd do without you. You have a real gift.

PETER: Just doing my job.

(He hooks his stethoscope around his neck.)

SIMONE: No. You're like a son to him.

PETER: 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: I'm sorry. That was, uh, that was inappropriate.

SIMONE: No, it -- it's sweet. It's -- I'm dating somebody, and –

PETER: Yeah, no, really. It's ... okay. (He waits a moment.) I need to change his IV.

(Simone takes a step back from the bed, giving Peter room to work.)

SIMONE: I'm sorry. No. Of course.

(Simone turns and walks away.)

CUT TO:

[INT. (INDIA) CLASSROOM – DAY]

(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: 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.

CAPTION:
MADRAS, INDIA
3 DAYS AGO

MOHINDER: 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: 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, Nirand enters. He lingers in the doorway and listens.)

MOHINDER: 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? (Mohinder sees Nirand.) I'm sorry, I'm out of time.

(The students stand up.)

(They walk past Nirand as they leave the class.)

MOHINDER: 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, Nirand. As crazy as it sounds.

(Nirand is quiet. Mohinder suspects something is wrong. Terribly wrong.)

MOHINDER: What is it?

NIRAND: It's ... your father. He's dead.

(The news stuns Mohinder.)

MOHINDER: How?

CUT TO:

[EXT. (MADRAS) STREET -- DAY]

(Mohinder and Nirand walk through the street each under their own umbrella. Its pouring and dark for the daytime.)

NIRAND: 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: 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.)

NIRAND: That's crazy.

MOHINDER: Is it?

NIRAND: The man left his family -- discredited his career to chase wild theories halfway around the world!

(Mohinder turns and starts hurrying again.)

NIRAND: Where are you going?

MOHINDER: 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 and closes his umbrella.)

MOHINDER: He tracked him to Queens, New York.

NIRAND: Mohinder, listen to me. (Mohinder stops and turns around to listen.) Your father was my colleague and my friend -- a respected professor, a brilliant geneticist. But he had clearly lost touch with reality.

MOHINDER: I followed in his footsteps. My thesis is based on his research!

NIRAND: Yes, you always wanted his approval!

MOHINDER: And now you're telling me that it was all for nothing.

NIRAND: I'm telling you to let go.

MOHINDER: 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 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 thumbtacks marked all over the world. He starts removing some of the notes.)

(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 of the wall.)

(The man's phone rings. He puts the reading material down and answers it.)

HORN-RIMMED GLASSES (HRG): (to phone) Hello? Yeah.

(Mohinder leans closer to the wall and 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 of 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 removes the thumbtack on NEW YORK.)

(The man hangs up the phone.)

(Mohinder grabs the things and runs out the apartment as quietly and as quickly as he can.)

(The man steps out from the other room and walks around the living room. He walks up to the horn-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]

(Niki is on the bed performing for the Internet camera set up in the bedroom.)

LYRICS: "Mustang Sally"

CAPTION:
LAS VEGAS, NEVADA

(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 on a dressing. 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: Pervert.

(The site video blanks out and she’s returned to her site’s splash page. We get a brief glimpse of the menu selection:
I'll Show YOU EVERYTHING!
Sexy Talk
Naughty One on One
Let's Get Started Right Now!
CLICK HERE

(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 the faint sounds of 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: Time to get up, Micah!

[INT. SANDERS’ HOUSE – DAY -- CONTINUOUS]

(Niki walks into the house and locks the door behind her.)

NIKI: 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: Micah!

(Camera moves over to the mirror over the dresser. A beat later, Niki’s reflection turns and leaves the room.)

NIKI: (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: (shouts) Micah!

(He turns.)

MICAH: What?

(Niki stops as she passes the room door.)

NIKI: Damn it, Micah, don't do that to me.

MICAH: Do what?

(She kneels in front of him. She was worried.)

NIKI: You need to be careful. All right?

MICAH: I'm just working on my computer. The logic board was bad. So I had to build a new one.

NIKI: A new one. Did anyone ever tell you you're the smartest little man on the planet?

MICAH: You do. All the time.

(Niki smiles at him. She gets up and looks at something else on the coffee table.)

NIKI: What's this?

MICAH: It's a pinhole camera. It's for the eclipse. (He watches her and clarifies.) The moon's gonna cover up the sun today. We're supposed to look at it at school.

NIKI: Speaking of which ... you need to go get ready. We can't be late. Not today.

MICAH: 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: Hey, don't get smart with me. All right, I've been working to pay our bills.

MICAH: Yeah, that's why they turned off our gas again?

(The doorbell rings persistently. Niki looks at Micah.)

NIKI: Go grab your stuff and wait by the back door, okay?

MICAH: Why?

NIKI: 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. The sleazy thug puts his gloves on. This is not good. Niki steps away from the window.)

SHORT TIME CUT TO:

[EXT. SANDERS’ HOUSE – BACK YARD – DAY]

MICAH: Mom, what's going on?

(Dressed, Niki grabs Micah’s hand and she sneaks out the back with Micah.)

NIKI: 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. The door comes off its hinges.)

[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]

CAPTION:
ODESSA, TEXAS

(There are 47 minutes of video and 96 minutes of battery left.)

[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: (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: 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: (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: 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 taxicab. 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.)

TAXI DRIVER: (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: (to phone) Mr. Linderman, I'm gonna have to call you back in five minutes, okay? Thank you.

(Nathan hangs up. Peter walks in and rushes over to Nathan.)

NATHAN: I'm late -- I've got a fundraiser and a drinks meeting.

PETER: 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: I don't have time for this now.

(Peter walks alongside Nathan.)

PETER: They're not just dreams, Nathan.

(Nathan hands his briefcase to Peter.)

NATHAN: Hold this.

PETER: 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: Tim, 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: 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: 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: These all undecideds?

WOMAN: (nods) Mm-hmm.

(Nathan hands the clipboard back to the woman and walks across the room.)

NATHAN: Tell you what, you think you can fly, why don't you jump off the Brooklyn Bridge? See what happens.

PETER: (serious) Maybe I ought to start with something a little lower first. It's like learning to walk.

NATHAN: You're serious?

(They exit the building.)

[EXT. FRONT OF BUILDING – DAY – CONTINUOUS]

PETER: Oh, I'm serious.

(Nathan puts his arm around Peter’s shoulders.)

NATHAN: 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: 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: Why the hell would I understand that you think you can fly?

(Nathan’s cell phone rings.)

PETER: (duh) Because you're my brother.

(Nathan answers it.)

NATHAN: Mom, I can't talk -- What? (pause) I'll be there in ten minutes.

(Nathan hangs up.)

PETER: What'd she do now?

NATHAN: She got arrested.

PETER: Arrested for what?

NATHAN: 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: 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: (from tape) You ready?

CLAIRE: (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: 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: I have my reasons.

(They stop in front his parked bike near the large tree.)

ZACH: It's not like you're not gonna be popular anymore.

CLAIRE: 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: 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.)

(Zach flinches from the sight.)

CLAIRE: (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: 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 handlebars, if you want.

(Claire stops and sighs. She turns around.)

CLAIRE: 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]

CAPTION:
TOKYO, JAPAN

TICK – TICK – TICK -

(The circular wall clock on the desk reads 1:48. The numbers on the clock are in Japanese. There's the comic book Uluru image on the monitor as his screen saver.)

TICK – TICK – TICK -

(Hiro Nakamura sits at his desk. 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: YATTA! (subtitled) I did it!

(He runs out of his cubicle and down the aisle.)

HIRO: (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: (in Japanese) (unsubtitled)
HIRO: (in Japanese) (unsubtitled)

(Hiro runs down the aisle.)

[ANDO’S CUBICLE -- CONTINUOUS]

(Ando is on the computer – not working – but looking at Niki Sanders’ website.)

(He hears Hiro shouting excitedly. Hiro runs into view and stops at his cubicle.)

ANDO: (subtitled) What now?

HIRO: (subtitle) I’ve broken the space/time continuum!

ANDO: (drolly, subtitled) Good for you.

(Ando shuts the website off and opens a work-related window.)

HIRO: (subtitled) My clock. I made it go back one second using only my mind, my thoughts.

ANDO: (subtitled) Too bad you’re not paid by the hour.

HIRO: (subtitled) I’m serious. This explains the subway this morning.

ANDO: (subtitled) It was fourteen seconds late. Big deal.

HIRO: (subtitled) The train is never late.

ANDO: (subtitled) Until you made it late ... using only your mind.

HIRO: (subtitled) Yes. I have discovered powers beyond any mere mortal.

ANDO: (subtitled) Right. You and Spock.

HIRO: (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: Hey, Spock! (subtitled) Use your ‘death grip.’ Spock! The ‘death grip’!

(Ando chuckles, then rolls his chair back into his cubicle.)

ANDO: (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: 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: 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: But he's made friends.

PRINCIPAL: I'm sorry.

NIKI: He's on the soccer team.

PRINCIPAL: I'm sorry.

NIKI: I wrote a check for $25,000 to get him into this snob-fest. I was told that 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: Fine, take it out of the 25 grand that I gave you.

PRINCIPAL: That was a donation. And it was very appreciated.

NIKI: 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: 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: (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: 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.)

(Micah watches his mom.)

MICAH: Mom?

NIKI: (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: For God's sakes, Ma.

(Peter kisses her on the cheek.)

PETER: Are you okay?

ANGELA: They dropped the charges. I have to fill out a form. No big deal.

NATHAN: 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: Never mind. I don't wanna know.

ANGELA: Socks.

NATHAN: 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: Dad's gone. Just get over it.

PETER: You know what? Leave her alone. She's okay. That's all that matters.

(Nathan takes his phone out.)

NATHAN: (mutters) I gotta get this out of the press.

(Peter stands up and heads for the door. He opens the door.)

PETER: You know what? Just get out of here. Go worry about your image. I'll handle this.

NATHAN: 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: Mm-hmm.

(Peter closes the door and kneels in front of his mother.)

PETER: (quietly) What were you thinking?

ANGELA: 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: Nathan only cares about himself.

ANGELA: 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: 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: Maybe I'll shoplift my socks.

(She smacks him on the chest.)

ANGELA: Don't get smart. When you put everyone else first, you end up last. You always put Nathan first. He took advantage.

(Peter presses the elevator button and they wait.)

PETER: Yeah, it wasn't you that was just pushing him right out in front of me?

(She puts her gloves on.)

ANGELA: He takes up more space than you. Demanded more attention. And besides, it's not my fault you allowed it.

PETER: (shrugs) He's my brother. I love him.

ANGELA: Oh, gah. Love is overrated.

(They head for the stairs.)

PETER: And he loves me too. I know it. We've always been close.

(They walk down the stairs.)

ANGELA: Rose-colored glasses.

PETER: 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: I'm sorry if the truth hurts. I'm just saying you hero-worshipped him. And those feelings were never returned.

PETER: 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: We all got the same call.

PETER: 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: I hate it here. She doesn't even have any books to read.

NIKI : Baby, I'll be right back. I'm just gonna go and pack up a few things.

MICAH: We should really go see Dad.

NIKI: What good would that do?

MICAH: He could help. He should know that someone's trying to hurt us.

NIKI: Your dad's not in any position to help us right now.

(Niki and Micah head for the front door.)

NIKI: Look, I made some mistakes.

(She rings the doorbell.)

NIKI: I admit it.

MICAH: Mom, what'd you do?

(She turns and looks at him. She turns to him.)

NIKI: Hey ... I need you to know that I would never let anything happen to you. I promise.

MICAH: 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: Just a couple hours, tops.

TINA: (to Micah) There's some ice cream in the fridge.

NIKI: (to Micah) Go ahead.

(Micah steps into the house and heads for the kitchen.)

TINA: What happened?

NIKI: I went to see Linderman.

TINA: (sighs) How much?

NIKI: Thirty.

TINA: You gambling again?

NIKI: No, it's just bills. I used 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: 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: I feel like I'm kind of losing it a little bit. I'm seeing things.

TINA: Like ...

NIKI: 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: 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: I'm sorry. You know what?

(Niki rubs her eyes.)

TINA: But I'll tell you what does --

NIKI: I shouldn't be telling you this.

TINA: No, no. Let me tell you what does make sense. You need to come up with that thirty grand, plus interest, now. Or you gotta run.

NIKI: Watch him.

(Niki opens the door to leave.)

TINA: All right.

(She waves to her as Niki leaves.)

CUT TO:

[EXT. (ODESSA) TRAIN TRACKS – FIRE -- DAY]

(Firemen fight a fire and have 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 roadblock 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: (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: 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 as 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 of the train car. Her sleeves are on fire. She helps him 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 (FIREMAN): Take it easy.
CLAIRE: I'm okay.

JOEY (FIREMAN): You're all right.
CLAIRE: 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]

SUPER: (o.s.) Yeah, I was real sorry to hear about your father. He seemed like a good guy.

(The super opens the apartment for Mohinder.)

(They look around the ransacked room.)

SUPER: Man. I thought I was a slob.

CAPTION:
BROOKLYN, NEW YORK

MOHINDER: They were here, too.

SUPER: What?

(Mohinder drops his duffle bag on the floor as he walks across the room.)

MOHINDER: Nothing.

SUPER: I got a guy who can clean this up for a hundred bucks.

(Mohinder reaches the wall map and looks at the notes.)

MOHINDER: 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: I have a job.

SUPER: Doing what?

MOHINDER: 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.)

(He 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 "(15 years exposure)" with accompanying hand-written notes on the page.

* Mohinder puts a red thumb tack on the map. He presses a black thumbtack on LOS ANGELES and hooks a red string around it.

* Various photos.

* He sticks a white thumbtack on NEW YORK and loops a string around it.

* He loops the string around a white thumbtack 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 is 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: (o.s.) Hey.

(Isaac stops and looks up to see Simone walking into the room.)

SIMONE: 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: 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: What the hell is wrong with you? Isaac!

(He puts the painting on the easel and picks up the open can of paint.)

SIMONE: Okay, stop. What are you, crazy?

ISAAC: 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: Damn it.

ISAAC: I've been chasing for a month.

SIMONE: Well, then get yourself back into a program and make it stick this time. These are fantastic.

ISAAC: No, they're evil.

SIMONE: What are you talking about?

ISAAC: 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: You see this? Suicide bombing in Israel. I painted it three weeks ago.

SIMONE: Yeah, so?

(He picks up the newspaper and shows her the photo on the front page.)

ISAAC: So ... that's this morning's paper. Look at the number on the bus.

(They match: 009.)

ISAAC: This happened yesterday.

(He chuckles with scared disbelief.)

ISAAC: Yesterday. Something's wrong with me.

SIMONE: We'll get you help, Isaac.

ISAAC: I've tried that twice. There's only one way left, and you know it.

SIMONE: You can't go cold turkey. Not alone. I mean, let me help you, please.

ISAAC: No!

SIMONE: I love you.

ISAAC: 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: (shouts) Get out of here!

(Simone raises her hands and stands up.)

SIMONE: Okay.

ISAAC: (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: 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: Thanks.

TOM: (from phone) Sure thing.

(Nathan hangs up.)

(Peter sits down at the conference table.)

NATHAN: 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: They were married for forty-one years. It's a plea for attention. She's lonely. Give her some time, will you?

NATHAN: 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: A job.

NATHAN: Yeah. I trust you. You're good with people. (He sits down and leans close.) I need a coordinator to help organize the volunteers, and you got nice guy instincts. 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: Yeah, all right, so I make you look good. That's a new one.

NATHAN: It makes me look like I put family first. I mean, I know that sounds self-serving, but this is for you, too, right? (Nathan stands up and starts moving.) You gotta think of your future.

(Peter follows him.)

PETER: Why do you do that?

NATHAN: Do what?

PETER: 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: 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: Look, I already have a job.

NATHAN: 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. Look, I cast a big shadow, Pete. I get it. (Nathan puts his hands on Pete’s shoulders.) 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: 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: Hey, corner of, uh, Center and Canal, please.

(Mohinder nods.)

(Peter glances up at the sun and sees the start of the eclipse.)

PETER: Wow.

(Mohinder glances at him in the rearview mirror.)

MOHINDER: Solar eclipse.

PETER: Yeah. Yeah, I wonder if it's gonna be total.

(Peter takes his sunglasses off.)

MOHINDER: 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: (nods) What's your name?

MOHINDER: Mohinder.

PETER: I'm Peter. Let me ask you something, Mohinder. Do you ever ... get the feeling like you were meant to do something extraordinary?

MOHINDER: (wryly) I'm driving a cab you may have noticed.

PETER: No, I'm not talking about what you do. I'm talking about who you are. I'm talking about ... being special.

MOHINDER: Yes, we are all special.

PETER: (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: 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: "Eyes" by Rogue Wave

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: 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) YAMAGATO BUILDING ROOFTOP – 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.)

ANDO: Hoi! Hiro!

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.)

MUSIC ENDS

[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 her 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: 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: Fifty? It was thirty. Even with interest –

WEASEL (THUG 1): (interrupts) Mr. Linderman wants to be nice about this. You should've read the fine print.

(He sits down. Niki starts to get worried.)

NIKI: 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: 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: 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: 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. The entire conversation is in Japanese.)

HIRO: (subtitled) The Yogis in India and the Aborigines in Australia, both can bend time and space.

ANDO: (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: (subtitled) As I develop my powers, I’ll learn to bend space, too. Then I can tele-port myself anywhere on the planet.

ANDO: (subtitled) Like Star Trek.

HIRO: (subtitled) Every hero must learn his purpose. Then he’ll be tested and called to greatness.

(Hiro poses and holds the pose.)

ANDO: (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: (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: (subtitled) But time is actually more like this ...

(Hiro uses the tip of his finger and draws a circular pattern on the table.)

ANDO: (subtitled) Where did you learn all this?

HIRO: (subtitled) X-men no. 143, when Kitty Pryde time travels ...

ANDO: A comic book?

HIRO: (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: (subtitled) Last in my class. Last on the sports field. I’m not a loser anymore.

ANDO: (subtitled) Tell me one useful thing you could do with this power. Can you make money?

HIRO: (subtitled) A super hero doesn’t use his power for personal gain.

ANDO: (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: (subtitled) Now, there’s something useful. You won’t learn your "purpose" in there, but you might learn something about life.

HIRO: (subtitled) Fine. If I had to, yes I could teleport myself into the women’s bathroom.

ANDO: (subtitled) Great, then do it. I’ll grab two more beers.

(Ando gets up and heads for the bar. He leaves the table.)

HIRO: (shouts to Ando) (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: Mom, are you there?

(At the sound of his voice, Niki wakens.)

MICAH : 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, a huge piece of glass is sticking out of his throat. 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.

(COMMERCIAL SET)

FADE IN:

[INT. (NEW YORK) TAXI (MOVING) -- DAY]

(Mohinder is driving. Peter’s cell phone rings. He answers it.)

PETER: (to phone) Hello?

SIMONE: (from phone) Peter, it's me.

PETER: (to phone) Hey, Simone.

SIMONE: (from phone) Are you busy?

PETER: No, I was just heading home.

SIMONE: (from phone) Listen, I need you to meet me at my dad's.

PETER: Yeah, no, I can be there in ten minutes.

SIMONE: (from phone) Okay, just hurry, okay?

PETER: Yeah, okay, okay. I'll see you there. Bye.

(He hangs up.)

PETER: (to Mohinder) You know, I'll hop out here, please.

(Mohinder nods. He pulls over to the side. Peter pays him.)

PETER: 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: 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: 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.

(Claire is quiet.)

CUT TO:

[INT. (TOKYO) KARAOKE BAR – NIGHT]

(Ando gets two beers from the bartender.)

ANDO: (in Japanese) Hai, arigato.

(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: (subtitled) Hold on! I’m not a peeping tom!

(They drag him past Ando, still holding the two beers.)

HIRO: Yahooo! (subtitled) Yahooo!

ANDO: (in Japanese) Dshitano? Hoi! [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: Oi! (subtitled) Did you see me? I was in the women’s bathroom.

ANDO: (subtitled) Great. Now you’re a pervert.

(Hiro raises his arms up high and shouts.)

HIRO: (subtitled) (excited) I tele-ported myself!

(Ando’s patience is wearing thin.)

ANDO: (subtitled) Enough! You can’t break the space/time continuum!

(Hiro turns and starts walking. Ando follows.)

HIRO: (subtitled) Fine, don’t believe me.

ANDO: 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: (subtitled) Why do you want to be the same?!

ANDO: (subtitled) Because that’s what I am. The same.

HIRO: (subtitled) It’s what we all are. Homogenous. Yogurt.

ANDO: (in Japanese) Huh? (subtitled) Yogurt?

HIRO: (subtitled) You don’t understand, I want to be special.

ANDO: (subtitled) We are not special! We are Japanese!

HIRO: (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: (subtitled) Hiro. Hoi!

(Hiro doesn’t turn back.)

ANDO: (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: What are you looking for?

SIMONE: Morphine.

(She gets up and walks around the bed to look through the medicines at her father’s bedside table.)

PETER: What for?

SIMONE: I need you to come with me someplace.

PETER: Where?

SIMONE: You'll see.

(Simone continues to look through the drawers. Peter follows her around, trying to get her to listen to him.)

PETER: Look, there's something that I need to tell you.

SIMONE: That is gonna have to wait.

PETER: 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: 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: You're a nurse. You can give out a shot. You can help him.

PETER: 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: Sure.

(pause)

CLAIRE: I love you, Mom.

SANDRA BENNET: But?

CLAIRE: 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: 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 accidentially drops it in the garbage disposal.)

CLAIRE: 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: Ow.

(With her right 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: 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 you are and know that it's enough. 'Cause who you are is special.

(Claire nods.)

CLAIRE: 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: 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 right hand holding her class ring. Its completely healed.)

(In the background, the front door opens and shuts.)

MR. BENNET (HRG): (o.s.) 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 at the blood drops on the kitchen floor.)

CLAIRE: 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: Hi, Daddy.

(She reaches him as he’s putting his coat on the coat rack. He turns around and we see it's 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 it 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. He opens his eyes.)

[EXT. (NEW YORK CITY) TIMES SQUARE – DAY -- CONTINUOUS]

(A car horn blares.)

MAN: (echoy, o.s.) Taxi!

(Hiro is 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: (shouts) YATTA! HELLO, NEW YORK!

DISSOLVE TO:

[INT. (NEW YORK) ISAAC’S LOFT -- DAY]

(Simone leads Peter back to Isaac’s place.)

PETER: I'm just saying it's impossible, okay? Nobody can predict the future.

SIMONE: I saw it with my own eyes, Peter.

(She enters the room. Peter is right behind her.)

SIMONE: Isaac, I brought someone here to help. He's a nurse.

(She tries the light switch. It doesn’t work.)

SIMONE: Isaac.

(The place is dark and Isaac doesn’t answer her. Simone enters the apartment, looking for him.)

SIMONE: 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: Isaac?

(There’s no answer.)

(Peter goes back to looking around the area.)

(A door opens and closes off screen. Presumably, it's Simone.)

SIMONE: Isaac?

(Peter sees something and runs into the room.)

PETER: Simone!

(She turns and finally sees Isaac flat on his back on the floor.)

SIMONE: Oh, God.

(Peter kneels next to Isaac and checks him for a heartbeat.)

PETER: Okay.

SIMONE: Oh, my God. Isaac?

PETER: He's alive. Call 911.

(Simone kneels down and opens her bag to get to her phone.)

SIMONE: What have you done?

(Peter looks around the place and something catches his attention.)

SIMONE: 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: (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: (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: 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.

(The man in the painting looks just like Peter.)

(Isaac moves.)

ISAAC: (mumbles) We have to stop it.

(We linger on Isacc’s mural painting on the floor of a large explosion in the center of New York City.)

ISAAC: (mumbles) We have to stop it.

FADE TO WHITE:

[EXT. NEW YORK CITY (STOCK) -- DAY]

(We linger over New York City.)

MOHINDER: (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: (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: (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 below. The door opens and Nathan gets out. He’s on the phone and pays the cab driver. The taxi leaves.)

NATHAN: (to phone) All right, I'm here. Now what do you want?

(Above him, a cell phone falls.)

NATHAN: (to phone) Peter?

(The cell phone hits the ground and smashes at Nathan’s feet. Nathan looks up. Peter stands at the edge of the rooftop.)

PETER: (shouts) I've been up here all night thinking about this. Thinking about my destiny.

NATHAN: What you doing, Pete?

PETER: It's my turn to be somebody now, Nathan.

NATHAN: 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: 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: You're flying, Nathan. You're flying. How did you --

NATHAN: I don't know.

(Nathan tries to keep his hold on Peter, but Peter slips out of his grip.)

NATHAN: No.

-- and Peter falls.

NATHAN: No!

FADE TO BLACK.

TO BE CONTINUED ...

==========================
END OF EPISODE
==========================

[Captioning by captionmax ww.captionmax.com]

Transcript by intrepid
Betas: Diane M. and Vid~Kid
Courtesy of http://www.kilohoku.com/

Contact the Transcriptionist at intrepidly002@yahoo.com

As a courtesy, do not archive this transcript without written permission from the Transcriptionist.

Episode shown with limited commercial interruption.
Episode Length: 54:27-ish

==========================
TITLE/OPENING CREDITS
==========================
HEROES
1X01: GENESIS
ORIGINIAL AIR DATE ON NBC: 09/25/2006
TRANSCRIBED FROM NBC

Starring:
SANTIAGO CABRERA as Isaac Mendez
TAWNY CYPRESS as Simone Deveaux
NOAH GRAY-CABEY as Micah Sanders

ALI LARTER as Niki Sanders
MASI OKA as Hiro Nakamura
HAYDEN PANETTIERE as Claire Bennet

ADRIAN PASDAR as Nathan Petrelli
SENDHIL RAMAMURTHY as Mohinder Suresh
MILO VENTIMIGLIA as Peter Petrelli

Guest Starring:
CHRISTINE ROSE as Angela Petrelli
JACK COLEMAN as Mr. Bennet (HRG)
ASHLEY CROW as Sandra Bennet

THOMAS DEKKER as Zach
SHISHIR KURUP as Nirand
JAMES KYSON LEE as Ando Masahashi
JOHN PROSKY as Principal

DEIRDRE QUINN as Tina
BRIAN TARANINA as Weasel (Thug 1)

and
RICHARD ROUNDTREE as Charles Deveaux

Music by: WENDY MELVOIN & LISA COLEMAN
Co-Producer: LORI MOTYER
Producer: SKIP BEAUDINE

Executive Producer: DAVID SEMEL
Executive Producer: DENNIS HAMMER
Executive Producer: TIM KRING

Created by: TIM KRING

Written by: TIM KRING
Directed by: DAVID SEMEL

==========================
END CREDITS
==========================

nbc.com

NBC Universal Television Studio
Tailwind Productions

Co-Starring:
RANDALL BENTLEY as Lyle Bennett
MAX AMINI as Cabbie
CLAUDIA DIFOLCO as Reporter

MILOS MILICEVIC as Big Guy (Thug 2)
DAVID URY as Super
GREG WRANGLER as Fire Chief
TOHORU MASAMUNE as Boss at Yamagato

Casting by: JASON LA PADURA, C.S.A. & NATALIE HART, C.S.A.
Casting by: KERI OWENS

Associate Producer: JASON PARKS

Director of Photography: ADAM KANE
Production Designer: CURTIS SCHNELL

Edited by: DONN ARON, A.C.E. / LOUISE A. INNES / MICHAEL S. MURPHY, A.C.E.

Unit Production Manager: SKIP BEAUDINE

First Assistant Director: JOHN RADULOVIC
Second Assistant Director: CRAIG HARRIS

Costume Designer: DEBRA McGUIRE
Art Director: DANIEL VIVANCO
Set Decorator: CRISTA SCHNEIDER
Property Master: GAY PERFELLO
Camera Operator: NATE GOODMAN
Production Sound Mixer: KENN FULLER

Costume Supervisor: DAIEN CROOKE
Key Makeup Artist: MELANIE TOOKER
Key Hairstylist: LINDA FLOWERS
Gaffer: DAVE MORTON
Key Grip: JEFF CASE

Artistic Consultant: TIM SALE
Script Supervisor: PATIENCE THORESON
Production Accountant: NOWELL GROSSMAN
Construction Coordinator: ALUN VICK
Location Manager: MICHAEL DUNITZ

Production Coordinator: CHUCK CONWAY
Transportation Coordinator: DONALD R. CASELLA
Script Coordinator: OLIVER GRIGSBY
Special Makeup Effects: GREG SOLOMAN / GLENN HETRICK
Video Playback Supervisor: MARK MARCUM

Assistant Production Coordinator: TODD HARTMAN
Stunt Coordinator: IAN QUINN
Assistant to Producer: DONELLA COFFEY
1st Assistant Camera: GREG MORRIS
Set Production Assistant: STEVE DALE / LARISSA GRUDT

Assistant Editor: SANG HAN / IONE SOYANGCO / SUE KESLER
Music Editor: JENNIFER BARAN
Music Supervisor: ALICEN CATRON SCHNEIDER

Sound Supervisor: JOE MELODY
Re-Recording Mixers: GERRY LENTZ / RICH WEINGART
Visual Effects Supervisors: DOUG LUDWIG / KIM BOYLE

(c) 2006 NBC Studios. All Rights Reserved.

The Characters and events depicted in this program are fictitious. No depiction of actual persons or events is intended.

Country of first publication. United States of America. NBC Studios, Inc. Is the author of the motion picture for the purposes of the Berne convention and all national alws giving effect thereto.

Dated:11/18/2006~lky
http://www.kilohoku.com/