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TRANSCRIPT:
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(The episode begins with a recap of the previous episode.)

(FADE TO: NEW YORK CITY. PETER PETRELLI is standing on top of a tall building. The camera pans to his face momentarily, and shows him preparing to fall.)

MOHINDER: (v.o.) We all imagine ourselves the agents of our destiny. Capable of determining our own fate. But have we truly any choice in when we rise? Or when we fall? Or does a force larger than ourselves bid us our direction?

(PETER steps off the building and begins to fall to the alley below. About halfway down, NATHAN appears from the ground and takes ahold of PETER.)

MOHINDER: Is it evolution that takes us by the hand? Does science point our way? Or is it God who intervenes, keeping us safe?

(PETER slips from NATHAN'S hand and begins to fall once more.)

(CUT TO: A hospital room. PETER awakens suddenly. He is laying in a hospital bed and breathing heavily.)

NATHAN: Whoa, whoa. (Placing a hand on PETER'S shoulder) Easy buddy.

PETER: (softly) Where am I?

NATHAN: You're in a hospital.

PETER: (breathless) What happened?

NATHAN: You don't remember?

PETER: (sighing) No.

NATHAN: You jumped, Pete.

PETER: Jumped? (He tries to sit up but NATHAN stops him)

NATHAN: Yeah. Off the roof of a 15-story building. You tried to kill yourself. You were a little wound up yesterday. But I thought you were just being you.

PETER: What are you talking about? I didn't...I didn't try to kill myself. (pausing) You were in the alley below. I jumped, and...then...you flew.

NATHAN: (chuckling) I what?

PETER: You flew up and you caught me.

NATHAN: You jumped...Peter. (PETER shakes his head in disbelief) 25 feet to a fire escape. I climbed up and carried you down. That's what happened. (lowering his voice) The rest is just crazy talk. You understand?

(CUT TO: ODESSA, TEXAS. CLAIRE is re-shown rescueing the man from the burning train. The camera freezes on the burning wreckage, and then pans out to show an Odessa newspaper. The camera continues to pan out to show CLAIRE looking at the paper.)

CLAIRE: Dad...you mind if I talk to you about something?

MR. BENNETT: (walking over) You pregnant?

CLAIRE: What?! No.

MR. BENNETT: You doing drugs?

CLAIRE: No! Dad...

MR. BENNETT: Actually, I already know what it's about.

CLAIRE: You do?

MR. BENNETT: It's about wanting to know who you really are. Your mother told me that you've been asking about your birth parents.

CLAIRE: Well, I think it's time that I knew.

MR. BENNETT: Well, I have a few questions first. Not the least of which is why now?

CLAIRE: I'm just wondering, that's all. You know, what they're like. What they can do.

MR. BENNETT: What they can do?

CLAIRE: Yeah, like hobbies and...skills.

MR. BENNETT: You know. I don't...mean this to be condescending, even though you're gonna say that I'm being condescending. But I really do believe this is an adult decision.

CLAIRE: You're right. That is condescending.

MR. BENNETT: (impatiently) Claire, there are going to be issues. You're going to have issues. They're going to have issues. It's very complex, emotionally.

CLAIRE: Yeah, well, so am I.

MR. BENNETT: Well, exactly. (pausing) Look, here's my advice, if you'll indulge me. Just...keep things light and fun as long as you can. Like cheerleading.

CLAIRE: Being a cheerleader is hard work. Hard, treacherous work.

MR. BENNETT: Of course it is, sweetheart.

CLAIRE: I don't wanna be late.

MR. BENNETT: Hey...(he kisses CLAIRE on the cheek) I just don't want you to be in such a hurry to grow up. Okay? Trust me, I actually know a few things.

(CUT TO: BROOKLYN, NEW YORK. MOHINDER SURESH is walking into his father's apartment, looking around. He reaches an end table and takes off his backpack. As he starts to take off his overshirt, he spots a man under one of his tables and stops. MOHINDER reaches for a figurine of a pig and walks towards the intruder with the object raised. The man hears MOHINDER and steps out from under the table.)

MOHINDER: Who are you?!

MAN: (holding up his hands) Whoa, whoa! Sorry, sorry! Easy, easy. You're super let us in. We're doing the whole building today. (He leans down to pick up a tank with a hose attached.) I just got done with the lady with the dog and the cough. (beginning to spray) Almost done here. Uh, look, it looks like some cockroaches might have infested your, uh, your...floorboards.

(MOHINDER notices several electronic objects lying near the table. Smiling, the man attacks MOHINDER with the tank, but he ducks and hits the man behind the knee with the glass pig, knocking him to the floor.)

MOHINDER: Who are you?! What did you do to my father?!

(The man kicks MOHINDER from the ground and sends him crashing to the floor. While MOHINDER is falling, the man stands up and pulls a gun out of his jacket.)

MAN: Let's take a little breather, huh, professor?

MOHINDER: (scared) I suppose the cockroaches are the least of my problems.

MAN: (backing away) Yeah, no arguement there.

MOHINDER: Did you kill my father?

MAN: (picking up a tool box) I think we're done here, don't you? So I'll tell you what. Have a really great day.

(The man rushes out of the room with MOHINDER following. As the man is leaving the apartment, he runs into EDEN McCAIN. The distraction enables MOHINDER to jump on the man's back and have him drop the gun. The man pushes MOHINDER against the wall, forcing him to let go. Just as MOHINDER loosens his grip, EDEN cocks the gun and points it at the man.)

MAN: Hey, look. I'm just the exterminator. This guy came and pulled a gun on me.

MOHINDER: He is not an exterminator.

MAN: He's paranoid. I was just in there spraying bugs in his apartment. He came in and freaked out.

EDEN: If you're the exterminator, why do you have a gun holster?

(The man pushes MOHINDER into EDEN and runs away.)

MOHINDER: (letting go of EDEN) Thanks for coming to my rescue.

EDEN: You're welcome.

MOHINDER: (holding out a hand) Mohinder Suresh.

EDEN: (shaking MOHINDER'S hand) The professor's son.

(CUT TO: TIMES SQUARE, NEW YORK. The screen re-plays HIRO'S teleportation to the U.S.)

HIRO: Yatai! (in English) Hello, New York!

(Cut to HIRO walking along the streets of New York.)

HIRO: (to random strangers) Hello. Nice to meet you. I love New York. Hello! Whassup? Britney Spears. Go Yankees.

(HIRO stops in front of a comic book stand and sees a "9th Wonder" comic book. On the cover is an illustration of himself standing in Times Square, yelling, "I did it!" HIRO picks it up and begins to flip through the pages, amazed. The man behind the stand catches him.)

MAN: Hey! Pal! This isn't a library. (HIRO looks up) No pay, no read.

HIRO: Uh, uh, touchy, touch--(chuckling, HIRO pulls Japanese currency from his pocket and hands it to the man. Before the man realizes what it is, HIRO runs away.)

MAN: Hey! Get back here!

(The camera cuts to the HEROES logo, then goes black)

(CUT TO: HIRO running through New York. He finally stops beside a movie theater and hides in the entrance. Opening the comic book, he sees himself sitting in an office, stopping a clock. On the next page is the conversation he had with ANDO about the space/time continuum. It is exactly word for word. Flipping to another page, the fight HIRO and ANDO had is shown. HIRO quickly goes to the last page and sees that the comic book is published and written by ISAAC MENDEZ.)

(CUT TO: LOWER MANHATTAN. ISAAC is laying in a bed. SIMONE comes onto the screen, dabbing at ISAAC'S forehead with a washcloth.)

ISAAC: Simone?

SIMONE: Shh, you had a hard night.

ISAAC: I saw it. There was a...bright light. Like an explosion. It wiped out the whole city. Like Hiroshima--

SIMONE: Shh, shh, shh, it's okay. It was all a dream.

ISAAC: No...I don't think so. (sitting up)

SIMONE: Yes.

ISAAC: I shot up last night. I had to.

SIMONE: Yes.

ISAAC: I painted what I saw. Is it there? Do you see it?! (Both look at the painting of New York exploding)

SIMONE: Yes, I see it! But you need to rest.

ISAAC: We have to warn them. (getting out of bed)

SIMONE: Uh, warn who?

ISAAC: F.B.I. Homeland Security. We need to tell someone.

SIMONE: Isaac, you can't paint the future. No one will believe you.

ISAAC: I'd hoped you would.

SIMONE: None of it is real. What is real is, you got a drug problem. You overdosed on heroin last night. You're lucky to be alive. You know, I'm watching my father die. And I can't watch you die, too. So you need to make a choice. Me or this.

(CUT TO: ODESSA, TEXAS. ZACH is running through a crowd of teenage students, frantic. He passes by CLAIRE, who is talking to the star quarterback of the highschool football team, BRODY MITCHUM, and JACKIE WILCOX.)

BRODY: It's not about having big hands. Most guys' hands are too rough to pick up the details. Mine are sensitive. Feel how soft they are.

CLAIRE: (holding BRODY'S hand) Wow.

BRODY: But you've got dainty hands.

JACKIE: My mom says my hands are very dainty. Maybe I should try out for the football team.

ZACH: (interrupting) Claire, may I borrow your ears just for a minute? (pulling Claire away from the other two)

CLAIRE: Why?

JACKIE: Hey, Zach! (walking over) Is it true you got an erection in the boys' locker room?

ZACH: (He gives JACKIE a sarcastic grin and pulls CLAIRE further away) It's really urgent--

CLAIRE: Not now. Not now.

(CLAIRE begins to walk away with JACKIE and BRODY when the principal stops them.)

PRINCIPAL: Claire, Jackie. The sheriff and some firemen would like to have a word with you two.

CLAIRE: Okay.

JACKIE: Okay.

(CUT TO: LAS VEGAS, NEVADA. The screen re-plays NIKI waking up in her garage to find Linderman's men dead. Before she leaves the room, her reflection looks at her and tells her to keep silent. Once out of the garage, she puts a lock on the door and drives away.)

NIKI: (on the phone) Honey, I'm so sorry. I'm on my way. Baby, I'm only five minutes away, okay? You know I love you.

(NIKI hangs up the phone and stops her car. She picks up the video camera and begins to watch the scene from the previous day. Eventually, after the man slaps NIKI, the screen on the camera goes black, but the sound of men screaming can be heard.)

(The camera cuts to NIKI'S cell phone ringing. She looks down at the camera, which is sitting in the passenger seat, and gets out of her car. She is dressed in a different outfit and is in an airline parking lot.)

NIKI: Hello?

MICAH: Mom...where have you been? I called you, like, four hours ago.

(The camera cuts to MICAH sitting at a window, a phone held against his ear.)

NIKI: What? Four hours.

MICAH: Yeah.

(The camera cuts back to NIKI.)

NIKI: I'll be right there, baby.

(CUT TO: TINA'S house. MICAH and TINA are waiting for NIKI on the front porch.)

TINA: What is the matter with you? Making him wait like that?

NIKI: (hugging MICAH) Sorry. Hon, two seconds. (MICAH nods and heads off towards the car.)

TINA: (sighing) Okay. What the hell is going on, Niki?

NIKI: Something terrible has happened.

TINA: What? What is it?

NIKI: Those guys that you said Linderman would send to get his money back...

TINA: Yeah.

NIKI: Well, he did. And now they're dead. On the floor of my garage.

TINA: What?! How?

NIKI: That's just it. I don't know.

TINA: What do you mean you don't know?

NIKI: (chocking up) I mean, I don't know. I just--I woke up, and they were dead, and...I think that I might...sometimes I look in the mirror...and I'm not sure it's me that I'm seeing.

TINA: Maybe it was D.L., you know? He's trying to protect you because he still loves you and Micah.

NIKI: DL wouldn't risk coming back. The cops are after him. And once Linderman knows they're dead, it's not gonna matter who killed them. He's gonna come after me.

TINA: Then you need to listen to me. Niki, you have to call the police.

NIKI: No, I gotta...I gotta cover my tracks. And then I gotta run. I gotta go. (She walks back to her car and drives away.)

(CUT TO: BROOKLYN, NEW YORK. MOHINDER and EDEN are inside the apartment. MOHINDER is taking apart an electrical object and disconnecting wires.)

EDEN: Why would anybody wannt to tap Papa Suresh's phone?

MOHINDER: Papa Suresh?

EDEN: Yeah, he told me to call him that after I butchered his name a couple times.

MOHINDER: I don't know why someone would want to tap his phone. Back in Madras, I found a man in his apartment stealing his research, and now this.

EDEN: Why don't you just ask your dad? I mean, he must have some idea who it is.

MOHINDER: My father died four days ago.

EDEN: What?

MOHINDER: I'm sorry, I...you didn't know? He was murdered. In his cab.

EDEN: Oh, my God. How awful.

MOHINDER: You were close?

EDEN: Yeah...I mean, I hate cooking for one. So I used to make extra and bring it over, and we would...eat together, and he'd tell me about his theories, and the map. (pausing) We were friends.

MOHINDER: Well...then you were closer to him than I was. I'm happy to hear he had someone to talk to. (walking into another room) I'll get you some water.

EDEN: (following) I had no idea anything was wrong. I...I knocked on the door a couple of times. I just...I thought he was out and we were missing each other. I had this book I wanted to show him.

MOHINDER: What book?

EDEN: (accepting a glass of water) Darwin's Origin of Species. Thank you. It's a true first edition. I work at this antique book store, and I found a copy, and I just...thought he'd get a kick out of reading it.

MOHINDER: He most definitely would have gotten a kick out of it. That's very thoughtful.

EDEN: You know, he told me he was being watched. I thought that he was just eccentric.

MOHINDER: I like that you didn't use the word "paranoid."

EDEN: Do you think that they're watching you now?

MOHINDER: They could have killed me, if that's what they wanted. For the time being, it seems I'm more important to them alive. You said that he talked to you, about his theories and the map. I need you to tell me everything he said to you. Everything you remember. Everything.

(CUT TO: ODESSA, TEXAS. A line of cheerleaders are lined up in front of the stadium. The principal, sheriff, and a fireman walk onto the screen, facing the girls.)

SHERIFF: Girls! This isn't a...criminal investigation. Nobody here is in any kind of trouble. Quite the contrary!

(CLAIRE is shown to be standing at the end of the line next to JACKIE.)

SHERIFF: There just happens to be a very grateful man lying in the hospital. Who'd like to thank one of you for...saving his life yesterday.

(The camera pans in on CLAIRE'S face. She is desperately trying to avoid being noticed by the men.)

FIREMAN: (from off-screen) I've never seen anyone so reluctant to be called a hero.

PRINCIPAL: You're sure it was one of our cheerleaders?

FIREMAN: The uniform said Union Wells High. I'd have to say it was...(he points to the line of girls) her on the end.

(The rest of the cheerleaders turn to look at CLAIRE.)

PRINCIPAL: That's Claire Bennett.

SHERIFF: Claire...where'd you go yesterday after cheerleading practice?

CLAIRE: (stuttering) I, uh...

JACKIE: (stepping forward) It wasn't her. It was me. I was taking a shortcut home from school, and...I saw the wreckage, of the train...wreck. And...I just had to help.

PRINCIPAL: Why didn't you say something?

JACKIE: I guess I didn't want all the attention, you know? (CLAIRE is shown glaring) That's not why I did it.

FIREMAN: (stepping towards JACKIE) Well, on behalf of the Odessa Fire Department, I'd like to congratulate you as an honorary firefighter.

(The other cheerleaders crowd around JACKIE and begin to squeal with joy.)

CLAIRE: (walking towards the men) How is he?

SHERIFF: Who?

CLAIRE: The man Jackie pulled out of the train.

SHERIFF: He's got some pretty bad burns. Smoke damage to his lungs, but...he's alive. Happy to be so.

CLAIRE: (smiling) Thanks to Jackie.

(The camera cuts to the football team practicing on the field. CLAIRE is walking across as ZACH catches up with her.)

ZACH: Claire! I'm glad I finally got you alone. Look, we have to talk.

CLAIRE: Did you hear they asked Jackie to be the Grand Marshall of the Pioneer Day Parade? They're gonna put her on top of the fire truck. They should put her under the fire truck.

ZACH: It's about the videotape.

CLAIRE: What?

ZACH: The videotape! The tape where you're, like, killing yourself, like, twenty times.

CLAIRE: Oh yeah, that. Can we just keep that under wraps.

ZACH: That's what I'm trying to tell you! (stopping CLAIRE) It was in my backpack and now it's not.

CLAIRE: What?

ZACH: It's gone.

CLAIRE: What do you mean it's gone?

(From off-screen, BRODY tackles CLAIRE. When she is shown again, her head is twisted towards her back. Just a few seconds pass before she turns her neck in the right direction, before anyone notices her injury.)

BRODY: Oh, my God. Claire! (He takes off his helmet and runs over to CLAIRE) I'm so sorry, are you all right? (He helps her to her feet.)

CLAIRE: Yeah, I'm okay. I'm all right.Yeah, you just caught me off guard.

BRODY: I thought I heard something snap.

CLAIRE: Nope. (to the gathered crowd) I'm okay! I'm fine! (to Brody) Yeah, not a scratch on me.

BRODY: Guess you're not so dainty after all.

CLAIRE: I'm dainty enough.

(BRODY walks away and CLAIRE turns her attention back to ZACH.)

CLAIRE: We have got to find that tape.

(The camera pans in to ZACH'S irritated face, and when it pans out again CLAIRE is walking to the other cheerleaders.)

(CUT TO: LAS VEGAS, NEVADA. NIKI is pulling into her driveway with MICAH in the passenger seat.)

MICAH: What if I don't want to go on vacation?

NIKI: You don't have a choice. You have to.

MICAH: Why are we doing this, Mom? Why won't you just tell me what's going on?

NIKI: (sighing) I wish that I could, baby. But you are just going to have to trust me, okay? Now go in and pack up your stuff, I have to take care of something in the garage.

MICAH: (He steps inside the doorway, then pauses) Mom...what happened to our house?

NIKI: Micah, you're just gonna have to trust me, okay? Now go in and grab some stuff. Go.

(The camera cuts to the garage door opening. NIKI looks inside and sees the room spotless. Astonished, she walks inside and grabs a pair of keys hanging from a hook. She looks into a mirror and her reflection nods in an attempt to get NIKI to look behind her. When she does, she sees a red sports car parked across the street.)

(The camera cuts to NIKI getting into the driver's seat of the sports car. Putting the keys into the ignition, she notices a piece of paper in the glovebox. It is the registration papers for the vehicle in her name. On the other side is a post-it note in the shape of a heart, reading, "In the trunk. Follow the map." Upon opening the trunk, NIKI finds the two dead men that were in her garage with a map placed on top of their bodies. NIKI quickly grabs the map and closes the trunk.)

(CUT TO: NEW YORK CITY. PETER is sitting in a hospital bed. He is in the middle of drawing two stick figures, one of which is flying, when his mother knocks on the window. He hides the drawing as ANGELA walks into his room.)

ANGELA: Help me understand what you were doing on that roof.

PETER: I can't. Not yet. But I will. You just have to trust me.

ANGELA: (sitting down on his bed) There's something you need to know about your father's death. He committed suicide.

PETER: (shocked) What?

ANGELA: He committed suicide. I found him on the floor of the bathroom.

PETER: You said he had a heart attack.

ANGELA: I lied. For his reputation, his heart was fine.

PETER: But, he'd had two other before that.

ANGELA: Well, I lied about those too. Suicide attempts. Both of them. He finally got what he wanted. (Seeing PETER'S distressed face, she continued) When he was 23, he was diagnosed with major depressive disorder. He couldn't help it. It was just who he was.

PETER: Why didn't I know about any of this before?

ANGELA: Your father and I decided not to tell you since the disorder can have a genetic link and you were always so sensitive. We didn't want you to worry about it.

PETER: But you're telling me now.

ANGELA: It can start with delusions of grandeur. Thinking you're invincible or indestructible. They are irrational thoughts that then turn suicidal. It's time you took a hard look at your life, and if there are changes to be made, then I want to be here to help you. (choking up) Because there's something else I never told you. (She pulls PETER closer) You were always my favorite. I cannot lose you.

PETER: Yeah.

(CUT TO: HIRO in NEW YORK. He rings the buzzer of ISAAC'S apartment. When no one answers, he opens the door and walks in.)

HIRO: Mr. Isaac Mendez? Hello? Mr. Isaac?

(HIRO walks over to a drawing table and sees the beginnings of another comic book, involving him. After glancing at the work, he turns away and stops suddenly.)

HIRO: (nervously) Mr. Isaac?

(The camera pans down to the floor of the apartment and shows a trail of blood. HIRO begins to follow it, and soon, as the quantity of blood increases, a gun is shown on the ground.)

HIRO: (picking up the gun) Mr. Isaac?

(HIRO turns a corner and sees ISAAC on the floor, the top of his head cut off and his brain gone. Before he has time to process what happened, several cops run into the room.)

POLICEMAN 1: Freeze! Drop your weapon!

POLICEMAN 2: Get your damn hands up!

(HIRO throws his hands in the air, terrified.)

(The camera cuts to ISAAC'S body, then back to HIRO. He takes another look at ISAAC, then faints.)

(CUT TO: LOS ANGELES. MATT PARKMAN, a cop, arrives at a crime scene in a local neighborhood.)

MATT: Serial killer strikes in the middle of Los Angeles, abducts a little girl, and here I am. 100 feet away. Might as well be in Siberia. (directing traffic)

POLICEMAN: That's all right. They don't pay us enough to be where the action is. What are you gonna do anyway?

(A squad car pulls in front of MATT.)

MATT: What do you mean? I just wanna help.

POLICEMAN: You wanna help? Help me get more tape.(Both watch as several agents step out of the car.) What do you think--C.I.A. or F.B.I.?

MATT: Nah, she's dressed too nice for F.B.I.

POLICEMAN: I saw the test scores got posted this morning. (MATT looks down at his feet) Don't worry about it, man. Not everybody's a test taker. (walking away) Who wants to be a detective, anyway? Gotta spend half your salary buying suits.

(As MATT continues to stand there, he begins to hear a young girl's voice. He looks around in an attempt to see where the voice is coming from, but he doesn't see anyone nearby.)

GIRL: (pleading)  Please don't hurt me. Please don't hurt me.

(The voice becomes more urgent as MATT begins to walk toward the house. As he's moving, he hears nearby officers' stray thoughts. Entering the house, he sees a woman nailed against a staircase with kitchen forks. Turning away from her, he continues to follow the girl's voice, passing two F.B.I. agents along the way, one being AUDREY HANSON.)

AUDREY: I've got a theory.

F.B.I. AGENT: You always do.

AUDREY: This is Barstow all over again. It's Sylar.

F.B.I. AGENT: There isn't a Sylar. Last words of a dying victim. It didn't mean anything. And look at her. (indicating to the woman on the staircase) Must have taken three guys to lift her up that high. What about the daughter?

AUDREY: No sign. We checked the house and surrounding, issued an Amber Alert. You've seen what happened to the father.

(The camera cuts to a man covered in ice, with the top of his head cut off.)

(The camera cuts back to the two agents.)

AUDREY: Frozen solid. Skull sawed off. We need to find out how.

F.B.I. AGENT: The little girl's the priority.

(The camera cuts to MATT, who is walking by the dead father, still hearing the girl's voice.)

GIRL: Please don't hurt me. Please don't--please don't hurt me.

F.B.I. AGENT: (noticing MATT) You are not supposed to be in here.

(He holds up a finger for silence and continues to look.)

GIRL: Please don't hurt me.

(MATT bends down next to a wall and, pushing away an end table, shows a small door in the wood. He opens it and finds a girl, MOLLY WALKER, hiding in a corner.)

MATT: It's okay. You're safe now. Look, I'm a cop. (He motions to his badge)  I'm one of the good guys, okay?

MOLLY: He hurt my mom and dad. (thinking) Please don't hurt me.

MATT: I'm not gonna let anybody hurt you. No, no, no. Come on, take my hand. It's okay, come on. It's okay. Come one.

(CUT TO: MOHINDER pointing to a map on the wall filled with tacks and strings.)

MOHINDER: For years he'd been working on a mathematical theorem using human genomes and DNA migration patterns. (EDEN enters the screen, also looking at the map) He thought he could find a way to identify these people, the ones who are special. I never believed it was possible. We fought about it constantly. It's the reason we grew apart.

(A telephone begins to ring and is picked up by MR. SURESH'S answering machine. The person calling does not leave a message.)

EDEN: (walking over to the machine) He's got messages. (She presses the play button and they begin to listen to the messages.)

MAN'S VOICE: Chandra, this is Emi. You forgot to turn in your trip sheet for last week. Where's your head, man?

(The camera cuts to an empty aquarium and EDEN walking over to it.)

EDEN: Oh, my God, Mohinder.

MOHINDER: Yes?

EDEN: No...the other Mohinder. The lizard. He's gotta be around here somewhere. (Both fall to their knees and begin to search around.)

NATHAN'S VOICE: Hi, I'm Nathan Petrelli. It would be an honor to support New York's 14th District. When the time comes, vote Petrelli.

(Another message begins on the answering machine.)

MAN'S VOICE: Hello, Chandra. (EDEN and MOHINDER stop looking to listen to the message) Why won't you talk to me? You can't leave me like this.

(Chandra is heard on the machine picking up the phone.)

CHANDRA: Hello, Mr. Sylar. I asked you not to call here anymore.

SYLAR: The hunger, it's--I can't control it. I don't want to. You made me this way.

CHANDRA: I made you a murderer?

SYLAR: You helped me to discover my potential. You wanted to see what I could do as much as I did. And now, you want it to stop.

CHANDRA: It's over. Goodbye. (The message ends)

MOHINDER: I found a tape of a conversation my father had with a man named Sylar. A man he believed was Patient Zero. (A noise from behind makes both of them turn around.)

EDEN: (walking over to a bookcase and picking up a lizard) Come here, you. Mohinder, this is Mohinder. Wanna give him a kiss? (She sets the animal back in the tank and, finding something in the rocks, picks it up.)

MOHINDER: What is it?

EDEN: It's a portable hard drive.

(A few moments later MOHINDER is shown plugging the hard drive into a computer and watching as a code begins to scroll across the screen.)

MOHINDER: My God, he did it. He actually came up with a way to find them. You wondered why someone would want to kill my father. The reason for his death. It's this! (The camera cuts to the computer screen) I'm going to finish what he started.

(CUT TO: LOS ANGELES. MATT is at the crime scene, standing by a pool. He's lost in thought when the two F.B.I. agents walk up to him.)

F.B.I. AGENT: Hey Parkman. How the hell did you know that little girl was in there?

MATT: I don't know. I don't know, I just--I heard her whispering, and, um...

AUDREY: House full of cops, but you're outside and you just heard her whisper.

MATT: I can't explain it. It was...I thought everybody could hear her. You guys couldn't hear her? (He checks his watch.)

F.B.I. AGENT: You got someplace better to be?

MATT: It's my wife. I'm, uh...I'm meeting her at a...a therapy session. Couples counseling. We're having some problems at home.

F.B.I. AGENT: (thinking) This guy's worthless. Worthless...(aloud) Cut him loose. He got lucky. (She walks away)

AUDREY: Not yet, Parkman. Your captain says you've taken the exam to advance to detective three times?

MATT: Right.

AUDREY: Do you really think you're detective material?

MATT: Yes ma'am, I do.

AUDREY: So how does it make you feel? Flunking out so many times.

MATT: I don't know. Embarrassed, I guess. A little angry.

AUDREY: A little angry?

MATT: Yeah.

AUDREY: Angry enough to do something about it? Maybe set yourself up to look like a hero?

MATT: Wait, what, you think I killed these people? I didn't kill these people. Sylar did.

AUDREY: (thinking) How did he know that name? (aloud) How did you know that name? (MATT doesn't respond) Six people assigned to this case know the name of Sylar. How the hell did you know that?

MATT: I heard it. From you.

AUDREY: (thinking) Like you heard the girl whisper?

MATT: Yeah.

AUDREY: Then hear this one. (taking out handcuffs) You're under arrest.

MATT: What?! Ow.

(CUT TO: A highway in the middle of the desert. It's the middle of the night and NIKI pulls off to the side of the road, with MICAH sleeping in the backseat. In the sand is a shovel, which NIKI takes and begins to dig. After a few seconds, she hits something hard and gasps. The camera cuts to a skull buried in the sand.)

(CUT TO: MR. BENNETT is sitting in a lounge chair, watching a video on a portable DVD player, when CLAIRE walks in.)

MR. BENNETT: Claire Bear!

CLAIRE: Hi, Dad.

MR. BENNETT: (He closes the player and sets it next to him) Hey, how was school?

CLAIRE: Very school-like. How was work?

MR. BENNETT: Very work-like. Listen, I, um...I made a couple of call today. (He motions for her to sit down) I spoke to a very nice woman at the adoption agency. And she said they were going to try and get in touch...with your birth parents. And, uh...and request a meeting.

CLAIRE: I thought that was an adult decision.

MR. BENNETT: Well, you seemed pretty adult this morning when you told me you wanted to do it.

CLAIRE: Thanks.

MR. BENNETT: She said it was a lengthy process, and it could take weeks. I'm hoping...years. That way, you'll be my little girl for a while longer. I'm not done protecting you from the world.

CLAIRE: You're my dad. You'll never not be my dad. I promise, I'll...be your little girl for as long as I can. But you can't protect me forever.

MR. BENNETT: I know. And it breaks my heart.

CLAIRE: I love you, Dad.

MR. BENNETT: I love you too, sweetheart. Go get ready for dinner.

(CLAIRE leaves the room and MR. BENNETT resumes watching the DVD player.)

(The camera pans in on the DVD player and shows the video of CLAIRE falling off the railing being played.)

CLAIRE'S VOICE: This is Claire Bennett. And that was attempt number six.

(The camera pans back to MR. BENNETT'S face.)

MR. BENNETT: It really does break my heart. (He closes the DVD player.)

(CUT TO: PETER sitting on the edge of a building. He is looking at the city below when NATHAN bursts through the door behind him.)

NATHAN: (anxious) I've been looking all over for you.

PETER: (still staring below him) Did you know about Dad's depression?

NATHAN: Yeah.

PETER: Why didn't you ever tell me?

NATHAN: Because everyone's entitled to their secrets, Peter.

PETER: I was so sure when it happened. (standing up) Now it turns out I'm just...going crazy.

NATHAN: (holding out a hand) Look, hey...we've been through this before. We've played this game, okay? Let's just...let's just go.

PETER: (facing NATHAN) Tell me what happened, Nathan. When I jumped. Tell me you flew. I wanna hear you say that you flew. Tell me, or I'll jump again. (backing up) Hey, good luck on your campaign...when I'm splattered all over the ground below. (One foot begins to go off the edge.)

NATHAN: All right. (scoffing) You want the truth?

PETER: (regaining his balance) Yeah.

NATHAN: We both flew. (PETER rolls his eyes) Pete...I caught you and I lost control. You were too heavy. We both started falling to the ground. And just before we--Just before we hit, you flew. You.

PETER: Are you lying to me? (NATHAN shakes his head) You are. (He begins to walk forward) You're trying to tell me what you think I wanna hear. You're lying to me again!

(NATHAN looks up and nervously points to PETER.)

(The camera pans out to show PETER hovering a few feet above the ground.)

(PETER looks down, shocked, then falls back to his feet.)

PETER: (Excited, he hugs his brother) Did you see that? Did you see that? I flew.

NATHAN: Yeah I--I know.

(FADE TO: The hospital bed PETER was lying in. The stick figure sketch of him flying in midair on top of a building is shown.)

(CUT TO: ISAAC'S apartment. A detective is talking to HIRO.)

DETECTIVE: You're one sick son of a bitch, you know that?

HIRO: Very sorry. I not speak much English.

DETECTIVE: What I want to know is, what did you do with the man's brain? You flush it down the toilet, you eat it? (A second detective appears, throwing a newspaper on a table) What? We got a live one here. No English. No passport. No American money, no I.D. Except for this here. (holding out HIRO'S wallet) An honorary member of the Merry Marvel Marching Society. (HIRO smiles) Let's start by asking him how he got to New York.

(The second detective communicates with HIRO in Japanese.)

SECOND DETECTIVE: He says he teleported himself here.

DETECTIVE: Teleported? What the hell is that?

HIRO: (leaning closer) Like, Star Trek.

SECOND DETECTIVE: He says he can bend the space-time continuum.

DETECTIVE: Funny, I've seen all the Star Treks. I don't remember you from the show. (HIRO holds up his hand in a signature Star Trek greeting) How long ago did he do this?

(The second detective asks HIRO the question in Japanese.)

HIRO: Yesterday.

DETECTIVE: Yesterday.

HIRO: (in Japanese) If you let me make a phone call my English speaking friend will clear everything up.

(The camera cuts to ANDO answering a telephone in his cubicle at work. HIRO is heard on the other end.)

ANDO: Hiro? (He begins to speak in Japanese)

(The camera cuts to HIRO on a cell phone.)

HIRO: New York! Teleport!

(The second detective takes the phone from HIRO and begins to speak with ANDO in Japanese.)

SECOND DETECTIVE: Your friend says he was with you yesterday.

(The camera cuts back to ANDO)

ANDO: Yesterday? (Pinned to the wall of his cubicle, ANDO has a missing persons poster of HIRO)

SECOND DETECTIVE: That's not correct?

ANDO: I have not seen Hiro Nakamura in five weeks. We look for him everywhere.

(The scene cuts back to HIRO and the detectives.)

SECOND DETECTIVE: His buddy hasn't seen him for five weeks. (in Japanese) Your friend says he hasn't seen you in five weeks.

(HIRO looks at the clock on his watch.)

HIRO: October 2?

DETECTIVE: October 2? No pal. Today. (He picks up the newspaper the other detective had set down. On the cover is a photograph of NATHAN PETRELLI with the headline, "Petrelli Wins in Landslide.") November 8th.

HIRO: November?! No...October.

(Suddenly, they hear a loud explosion. The windows to the apartment crack, and when HIRO turns around he sees a cloud coming towards him, destroying everything in its path. He closes his eyes and begins to concentrate very hard. There is a flash of white light and in the next moment HIRO is back on a subway in Japan.)

MOHINDER: (v.o.) For all his bluster, it is the sad province of Man that he cannot choose his triumph. He can only choose how he will stand, when the call of destiny comes. Hoping, that he will have the courage to answer.

(The screen pans in on HIRO'S face, then fades to black.)
 

END OF EPISODE

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Transcribed by ALICIA for http://www.twiztv.com
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