The following is not a novelization or an actual script but a dry transcript of the aired episode that includes accurate word-to-word dialogues, settings descriptions, action scenes and/or camera movements where the transcriber felt they were necessary. This transcript is posted on "TWIZ TV.COM - FREE TV SCRIPTS DATABASE" in world wide web exclusivity by courtesy of ALICIA.

"HEROES" and other related entities are owned, (TM) and © by NBC UNIVERSAL TELEVISION. This transcript is posted here without their permission, approval, authorization or endorsement. Any reproduction, duplication, distribution or display of this material in any form or by any means is expressly prohibited. It is absolutely forbidden to use it for commercial gain. For entertainment and educational purposes only. No infringement intended.
==========================
TRANSCRIPT:
==========================


(The episode begins with a recap of previous episodes.)

CUT TO:

[EXT. NIGHT -  LAS VEGAS DESERT]

(MICAH SANDERS is sleeping in the backseat of a car while his mother, NIKI, digs something out of the sand.)

MOHINDER: (v.o.) When evolution selects its agents, it does so at a cost. It makes demands in exchange for singularity. And you may be asked to do something against your very nature.

(NIKI throws the shovel she was using aside and begins to use her hands to dig. Gasping, she uncovers a skull. Looking down, she notices a ring on the corpse's finger. She picks it up and sees that the jewelry is shaped into a skull.)

MOHINDER: (v.o.) Suddenly the change in your life that should have been wonderful, comes as a betrayal.

(NIKI runs to the rear of her car, ties her hair into a bun, and lifts the lid of the trunk.)

MOHINDER: (v.o.) It may seem cruel, but the goal is nothing short of self-preservation. Survival.

CUT TO:

[EXT. DAYTIME - ODESSA, TEXAS]

(The camera focuses on a plastic mascot being removed from a car. The screen pans out to show MR. BENNETT holding the fake bear and CLAIRE standing beside him.)

CLAIRE: So if our team wins there'll be a celebratory bonfire. I will need to represent. So, it might be like, midnight-ish.

(The camera pans out further to show the two standing in front of Union Wells High.)

MR. BENNETT: On a school night?

CLAIRE: A celebratory school night.

(CLAIRE walks past BRODY and they exchange smiles.)

MR. BENNETT: So, is that the quaterback?

CLAIRE: (still staring at BRODY) Who?

MR. BENNETT: That boy that you like right over there.

CLAIRE: I don't like him. (turning to her father) I mean, he's a very nice boy, but--yes, he's the quarterback.

MR. BENNETT: If you really wanted to make me happy, you'd only date nerds, you know. Well, it worked out very well for your mother.

(JACKIE runs on-screen.)

JACKIE: I love your glasses, Mr. Bennett.

MR. BENNETT: Thank you, Jackie. Rumor has it you're a local hero. Pulled a man out of a burning train car.

JACKIE: (smirking) You heard about that? O.M.G. does everybody know?

CLAIRE: It was on the news. You told half the schools to set their TiVos.

JACKIE: It's going to be the cornerstone of my campaign for class president. I'm running on a platform of moral, mental, and social advancements through good deeds. What do you think?

(JACKIE walks away and CLAIRE lets out a sarcastic chuckle.)

CLAIRE: I think I need to get something out of my locker.

MR. BENNETT: Hey. (He kisses his daughter and she begins to walk away) Claire. (She turns around) Be careful, okay?

WHITE FLASH TO:

[INT. DAYTIME - TOKYO, JAPAN]

(ANDO is sitting in his cubicle watching a video of NIKI. Out of nowhere HIRO pops up beside him.)

HIRO: Ando!

ANDO: (in Japanese) Where have you been the last two days?

HIRO: (in Japanese) I teleported myself into the future!

ANDO: Haven't we been over all this?

HIRO: Then explain this!

(He pulls the 9th Wonders! comic book from his back pocket and shows it to ANDO.)

HIRO: It tells the whole story of my heroic journey.

ANDO: Is this how you spend your time?

HIRO: Read it! (He shoves the comic book into ANDO'S hands, who begins to flip through the pages.) I'm on the subway in Japan. Suddenly, I'm in New York! Five weeks in the future!

ANDO: Been hitting the sake?

HIRO: (ignoring ANDO) I found the book's auhtor, but he was dead! Then, there's a nuclear explosion. Ka-boom! It all happens in five weeks...and you and I have to stop it.

ANDO: (handing the magazine back) Definitely the sake.

HIRO: Look, you're in it too!

(HIRO opens to a certain page and holds it out to ANDO. The camera pans down and shows an illustration of HIRO and ANDO talking in a cubicle saying the exact same thing.)

HIRO: How could I know you were going to say that?

ANDO: We have work to do. If you still work here.

HIRO: Listen, if I can prove to you beyond a shadow of doubt, will you come with me? (An alarm goes off on his watch) We have to go right now! A girl's life depends on us!

CUT TO:

OPENING CREDITS

CUT TO:

[EXT. DAYTIME - MANHATTAN, NEW YORK]

(PETER PETRELLI is shown standing off the ground looking at the sky above him with his arms spread out. In the background are skyscrapers. In slow motion, PETER steps forward. The camera pans out to show a playground and PETER falling face first to the ground off a set of monkey bars.)

(Frustrated, he gets up and climbs back to the top of the monkey bars again. The camera cuts to a boy in a red cape watching PETER from across the street. PETER jumps again and falls to the ground. Frustrated, he stares at the boy across the street and gets up once more.)

CUT TO:

[INT. DAYTIME - NEW YORK CITY]

(NATHAN PETRELLI is standing in front of a mirror, looking at a small selection of ties and deciding which to wear.)

NATHAN: It'll work. We'll have the fundraiser here, not the ballroom. Makes me look fiscally responsible.

CAMPAIGN MANAGER: Yes, it does.

NATHAN: Pete, just the man I want to see. (PETER walks on-screen)

PETER: I need to talk to you.

NATHAN: What do you think? Red or blue? (He holds up two ties)

PETER: (impatiently) I don't know. Blue.

NATHAN: I'm gonna go red. The president wears red. (They begin walking) So you gonna come to tonight? Gonna break out the suit? Have a couple of drinks?

PETER: Yeah.

NATHAN: Rebuff the advance of my cute interns. Emily. (A woman passing by stops.)

PETER: (stopping to let NATHAN sign something EMILY handed out to him) Yeah, I'm gonna be there. But, listen, I tried it again.

NATHAN: Tried what?

PETER: What do you mean, what? What do you think that I mean? (the woman walks away) I--I tried to fly.

NATHAN: Would you keep your voice down?

PETER: You were there. Last night I could fly. This morning, nothing. I nearly broke my neck trying.

NATHAN: Well that would have solved one of our problems.

PETER: Yeah, so I went to the library. See if I could find anything on human flight. I came across this amazing book. Listen to this. 'Genes determine obesity, blood pressure. Out of the 30 billion possibilities, one might contain the potential for human flight.' This guy knows what's going on.

(PETER turns the book over and the screen pans to a photograph of the author on the back cover.)

PETER: Chandra Suresh. He's a genetics professor in India. I called. (PETER flips the book over to show the title, Activating Evolution.) They said he quit six months ago. They think he's here, in New York. We gotta find this guy.

NATHAN: We got a more immediate problem, here.

PETER: What?

NATHAN: It's this woman reporter. She's poking around into why you jumped off that roof.

PETER: Look, Nathan, we flew. Aren't you curious how this happened?

NATHAN: Yeah, I mean, I want answers just like everyone else. Just like you, okay? But right now, today, I'm trying to find a way to put a spin on this so it doesn't look like crazy runs in our family.

PETER: I need to figure out why this is happening to me. To us.

NATHAN: Responsibilities, Pete. Okay? I've got an election to win and a family to feed. (He begins to walk away, but PETER follows.) You are so--

PETER: What do you want to tell that reporter?

NATHAN: I know one thing we can't tell her. The truth.

(NATHAN drops PETER'S book onto a nearby table. The camera pans down and focuses on CHANDRA SURESH'S picture.)

CUT TO:

[INT. DAYTIME - BROOKLYN, NEW YORK]

(MOHINDER SURESH is typing on his computer when he hears the front door to his apartment open. Without hesitation, he reaches for a gun that's lying on the table next to him.)

(The camera pans out to show EDEN walking through the door, one arm holding a casserole dish, the other, a set of keys.)

EDEN: Sorry. (walking over) I still have your dad's keys. (Seeing MOHINDER return the gun to the table, she hesitates.) Maybe I shouldn't.

MOHINDER: Sorry. After being attacked, every noise I hear--Sorry.

EDEN: Well, this is macroni and cheese. It's what Americans eat when they want to commit suicide slowly. (placing the dish on the counter)  Your dad said it was the best he ever had, but he's from India, so--

MOHINDER: Thank you. You're very kind.

EDEN: You look like hell. When was the last time you slept?

MOHINDER: (shaking his head) All this work. And I'm no closer to understanding my father's research.

EDEN: Well, what about the program on your dad's computer? Didn't you say he cracked some code?

MOHINDER: I thought he had. But the algorithm...(The camera pans briefly to the computer screen to show his father's code going across the screen.) It's gibberish.

EDEN: Know anybody who speaks gibberish?

MOHINDER: (standing up) The man with the horned-rim glasses. He chased me around the world--Madras, Manhattan, this very apartment--looking for it. (frustrated) But this isn't anything.

EDEN: Well, then why would he build it?

MOHINDER: (sarcastically) Why? It was always this way with my father. Every question met with another question. Never an answer. Only why. Even after he's dead.

EDEN: Well, what about the map?

MOHINDER: The map. The map is nothing until I can decipher the principle behind it. You know, if I could even find one such person, it would validate everything he believed. (pausing) But I can't.

EDEN: Your father had a lot of faith in you.

MOHINDER: My father only cared about proving he was right. He left his country, his family, chasing this insanity. And now I'm wasting my life trying to prove him sane.

(The camera pans to the computer screen once more.)

MOHINDER: Where did it get me?

(MOHINDER closes the laptop and throws it across the room.)

EDEN: (running over to the computer) Mohinder!

MOHINDER: (regretfully)  I'm sorry. I'm just so tired.

(EDEN begins to pick up the laptop when she notices something protruding from the side. Grabbing it, she pulls out a small, leather-bound notebook.)

(Taking it from her, MOHINDER flips through the pages and sees several pages scribbled with notes and strands taped to the pages. The camera pans into one page and shows "Sylar, 146 Trenton Place APT 1B, Queens, NY 11011.")

MOHINDER: (softly) Sylar.

(MOHINDER flips to another page and discovers a key.)

EDEN: What is it?

MOHINDER: Yet another question.

CUT TO:

[INT. LOS ANGELES, CALIFORNIA]

(MATT PARKMAN is sitting in a white interrogation room.)

MATT: I don't know how else to explain this. I heard a little girl call for help.

(The camera pans out to show AUDREY standing by MATT'S chair and another woman scribbling on a notebook behind the glass windows.)

MATT:  I went to her. That's all that happened.

AUDREY: So you just waltzed right in, found a kid hiding in a wall, then pulled the name Sylar out of your ass, when only a handful of us know that name.

(The camera fouces on AUDREY and MATT in the room.)

MATT: It's like-- It was like someone was talking to me. Except, it was in my head.

AUDREY: Did the voices tell you anything else? They want you to do things? Rob a store, kill the President?

MATT: No. It's more like I can...hear people's thoughts. Or something. I don't know.

AUDREY: (walking closer to MATT) Can you tell me what I'm thinking?

MATT: No, I really can't control this. It just sort of happens.

AUDREY: Well, give it a shot, Carnac. I'm wide open.

MATT: (impatiently) You think I'm nuts. Or stupid.

AUDREY: Great trick. Stop wasting my time.

(MATT begins to hear AUDREY'S voice, first very muffled, then more clearly.)

AUDREY: Come on, Parkman. I need this more than you do. Nobody believes in me.

MATT: Nobody believes in you. (pausing) I know what that's like.

(The camera pans out briefly to show the other FBI agent, who stops writing on her notepad.)

MATT: (rubbing his face) How much longer do I have to be in here?

AUDREY: Depends. How'd you like to work with the FBI?

(Shocked, MATT looks at AUDREY, then back at the ground, and nods.)

CUT TO:

[EXT. ODESSA, TEXAS]

(CLAIRE is opening her locker at Union Wells High when someone says her name.)

ZACH: Claire. What are doing running off to an away game? That tape with all your attempts at bodily harm is still missing.

CLAIRE: (shoving a Geometry book in her backpack) Yeah, well, if someone finds it we'll just tell them you're some visual effects geek who did it with his computer. (closing her locker and walking away) Now, can I get back to my life, please?

ZACH: So that's it? (CLAIRE stops walking) You're just gonna go pum your pom-poms and pretend you're no different than any other girl on the squad.

CLAIRE: Yes, actually.

ZACH: But you are, Claire. You are different. Don't you see that? Don't you see that none of this matters. School spirit doesn't matter. Being a pretty blonde cheerleader doesn't matter. It's not who you are anymore.

CLAIRE: (angry) Who am I? So what, I can crawl through a wood chipper and live to tell about it. That narrows my choices in life to freak or guinea pig. In most cases, both. What's wrong with wanting to be normal? You should try it.

(The camera pans out to show CLAIRE walking away from a hurt ZACH.)

CUT TO:

[INT. NEW YORK CITY]

(A painting of CLAIRE appears on the screen. The camera pans out to show SIMONE DEVEAUX grabbing the painting and setting in a stack. She is in ISAAC MENDEZ'S apartment. ISAAC walks into the loft with a bag of groceries in his arm.)

ISAAC: What are you doing here?

SIMONE: The door was open. (ISAAC rushes past her and looks around.) Isaac, you have to get back to work. Your editor--the comic book is late.

ISAAC: (glancing at something off-screen) You were taking them, weren't you?

SIMONE: Yes, I'm going to sell them in my gallery. And with the money, we can get you straightened out. Into rehab.

ISAAC: (grabbing a painting) I'm not going into rehab.

SIMONE: I found all your junk. The drugs, all of it. I flushed everything.

ISAAC: (furious) How am I supposed to paint the future?

SIMONE: Nobody can paint the future! That's the drugs talking.

ISAAC: Look around you at all these paintings! Every one of them has come true.

SIMONE: Oh. And does that include this big one on the floor of New York going nuclear?

ISAAC: Yes.

(The screens zooms out to show ISAAC walking on the painting on the floor.)

ISAAC: I don't know how, I don't know when, but--I have to stop it. (touching SIMONE'S face) I don't want to lose you, Simone. But if you don't believe in me, then you shouldn't be here.

SIMONE: Fine. You think you can paint the future. Paint one without me in it.

(As SIMONE walks out of the loft, ISAAC'S phone begins to ring and he goes to answer it.)

ISAAC: Hello?

(From the other end HIRO'S voice can be heard talking rapidly in Japanese.)

ISAAC: I can't understand a word you're saying. Stop calling me here. You've got the wrong number. Wrong number. (He hangs up and, out of anger, knocks over a stand.)

CUT TO:

[EXT. DAYTIME - TOKYO, JAPAN]

(ANDO and HIRO are walking down a sidewalk, speaking in Japanese.)

ANDO: Who are you calling?

HIRO: (pulling out his cell phone) The comic book author. To warn him about the future. He keeps hanging up on me.

ANDO: That's because you're crazy. I'd hang up on you too, if I could.

(HIRO stops walking abruptly and ANDO runs into him.)

HIRO: This is the spot!

(HIRO points to the comic book in his hands and the camera shows the two talking.)

HIRO: A young girl dressed in a school uniform...will step in front of a speeding truck. And we have to save her. See?

ANDO: (looking around) What school girl?

(They both look to their left and see a group of girls round the corner, all dressed in uniforms.)

ANDO: Okay. Which one is she?

HIRO: I don't know? (He glances back at the comic) She has a red bow in her hair! (pointing) I'll go this way, you go that way.

(They begin to make their way through the crowd of girls, looking for red bows in their hair. HIRO is about to give up when he sees the girl begin to cross the street and the bus approach.)

HIRO: (shouting) Ando! Stop that truck!

(ANDO runs into the middle of the street and flags the truck down. The vehicle swerves to the right and hits a watermelon stand and heads straight for the girl.)

ANDO: Stop! Look out!

(HIRO closes his eyes and when he reopens them, time has stopped. Running over to the girl, he picks her up and moves her out of the bus's way. Once she is safe, time returns and the bus hits the spot where the schoolgirl was standing beforehand.)

HIRO: (excited) I did it!

(ANDO, in complete shock, starts to jump up and down in circles with HIRO in the middle of the street.)

ANDO: You did it!

HIRO: So you believe me now? You'll come with me?

(ANDO remembers his promise and his jaw drops.)

CUT TO:

[EXT. DAYTIME - LAS VEGAS DESERT]

(The screen shows NIKI swiftly burying the dead men who were in her garage. Exhausted, she walks back to her car and sits down in the driver's seat. The camera pans down to show her holding the skull ring she found earlier. From the backseat, MICAH wakes up.)

MICAH: Hi.

NIKI: (sweetly) Hi. How'd you sleep?

MICAH: Good. (climbing into the front seat) Where are we?

NIKI: (starting the engine and reversing) On our way to Grandma's house.

CUT TO:

[EXT. DAYTIME - LAS VEGAS]

(The camera shows NIKI pounding on a screen door. An elderly woman, PAULETTE HAWKINS, rushes from another room to greet them.)

PAULETTE: Micah!

MICAH: Grandma!

PAULETTE: (hugging him) Oh, my. You've grown.

MICAH: (giggling) You always say that.

PAULETTE: I do.

MICAH: Yes, you do.

PAULETTE: (smiling) Why don't you go on inside?

(MICAH walks off-screen while the camera follows the two women walking.)

PAULETTE: You look thin. (stepping into the kitchen and pouring water from a tea kettle) Look, I know what it's like to raise a boy on your own. To be stretched so far you wished you could be in two places at once. I get it. But that boy needs more than you been giving him. He needs a steady hand and a stable environment. I can give him that.

NIKI: Why, because D.L. grew up to be such a model citizen?

PAULETTE: My son, your husband, is a good man.

NIKI: You recognize this? (She places the skull ring on the kitchen counter.) I found it in the desert.

PAULETTE: What's that supposed to be?

NIKI: (surprised) This belonged to one of the men that your son murdered. I took it out of the grave. You know that all of D.L.'s crew wore these.

PAULETTE: D.L. wouldn't murder anybody. (pausing) Ever.

NIKI: You're wrong. He robbed Linderman and got away with 2 million dollars and then he killed his crew.

PAULETTE: My son was framed. And he'd be rotting in some prison if he hadn't escaped. Besides, if D.L. had 2 million dollars...honey he'd be on some tropical island someplace sitting out his years, with Micah.

NIKI: I want you out of my son's life.

PAULETTE: Yeah, well, people in hell want ice water. It doesn't mean they're going to get it.

NIKI: Paulette, you have no idea what I'm capable of.

(NIKI grabs the ring and, finding MICAH at a table, ushers him out of the house.)

CUT TO:

[INT. DAYTIME - LOS ANGELES]

(AUDREY and MATT are walking swiftly through an FBI office.)

AUDREY: I need you to talk to her. Find out what she knows.

MATT: Talk to who?

AUDREY: Molly Walker. The little girl you found. We're keeping her here where it's safe. Until we can figure out what to do with her. She's been through a severe trauma. Both parents murdered right in front of her. She hasn't said a word since we brought her here.

MATT: What makes you think she's gonna talk to me?

AUDREY: Well, if you're really a mind reader she won't need to.

(The scene cuts to the two walking through a door and down another hall in the headquarters.)

MATT: Who is this Sylar? What's he doing?

AUDREY: We've pieced a trail across a dozen states. All people impaled by household objects. Bones broken. All without any traceable sign of physical contact. But only some of them involve any mutilation of the head or neck, so they don't see the connections.

MATT: You think it's all him?

AUDREY: I think it's gonna get a lot worse if someone doesn't go after him.

CUT TO:

[INT. DAYTIME - NEW YORK]

(The camera focuses on an aparment door, then pans out to show MOHINDER knocking on it.)

MOHINDER: Mr. Sylar? Hello?

(The camera pans out further to show EDEN standing beside him, looking anxious.)

EDEN: Ssh. (MOHINDER takes the small notebook out of his pocket.) What are you actually gonna do if Sylar's in there?

MOHINDER: (removing the key and placing it in the door lock) If Sylar killed my father I need to know.

(The key does work on the door.)

MOHINDER: I suppose that would have been too easy.

EDEN: Let's go.

MOHINDER: No, all the answers could be behind this door.

EDEN: It's locked. And I'm kinda trying hard not to freak out right now. So can we please just go?

(MOHINDER removes something from his bag and picks the lock. The door swings open and he rushes in.)

EDEN: Or we could just break in.

(MOHINDER takes out a camera and begins to photograph everything. There are dishes lining the kitchen counters and there is any empty tea cup on a saucer on the table. Walking farther into the apartment, they spot CHANDRA SURESH'S book lying on a stand. The chairs are covered in plastic and SYLAR'S bedsheets are perfectly straightened. On a small table, EDEN sees a book opened to a section discussing brains.)

EDEN: A little light reading before bed.

(MOHINDER puts his camera back in his bag, hitting a full length mirror with his elblow in the process. The mirror swings forward to reveal a secret room. Both walk in and spot a map similar to the one CHANDRA created in his apartment.)

MOHINDER: Oh, my God.

EDEN: That map. Those strings--it's exactly like your father's.

MOHINDER: Not exactly. This map has more of them. Dozens more.

EDEN: (walking closer to the map) I know that guy. (The camera pans in on a photograph of NATHAN PETRELLI) He's running for Congress.

MOHINDER: His life may be in danger.

EDEN: Okay, can we please go now?

MOHINDER: (seperating a set of curtains) Not yet.

EDEN: Mohinder--

(MOHINDER steps into the room divided by the curtains and stops in his tracks. On the wall are the words "Forgive Me" and "I Have Sinned" written in blood. The words are repeated in different patterns all along the wall.)

MOHINDER: Dear God. What was my father involved with?

CUT TO:

[INT. DAYTIME - LOS ANGELES]

(A bell is heard and MATT and AUDREY step out of an elevator at the FBI headquarters.)

AUDREY: We're keeping her in a safe room down here.

(Suddenly a girl begins to scream off-screen.)

AUDREY: (pulling out her gun) It's him! It's Sylar!

(They see a man dragging MOLLY out of a room.)

AUDREY: Freeze!

(The man drops the girl and walks around the corner. AUDREY runs after him while MATT stops to speak with MOLLY.)

MATT: Hey. You remember me? It's okay. It's okay. No one's gonna hurt you now.

MOLLY: (thinking) How could he find me?

MATT: That doesn't matter. That doesn't matter. You're safe now. You're safe.

(The girl clings onto MATT, still crying.)

(The scene cuts to SYLAR running through a narrow hallway with AUDREY at his heels. He stops in front of a stairwell and AUDREY raises her gun.)

AUDREY: Show me your hands! Do it or I'll put you down!

(SYLAR, his face hidden by a baseball bat, clenches his fists. A moment later, AUDREY is sent against the wall and the hand with the gun raises itself to her temple. She attempts to move it, but it won't budge.)

(Running on-screen, MATT begins to fire shots at SYLAR. The man falls to the floor. MATT turns to see if AUDREY is all right, and in that time, SYLAR stands back up and runs away.)

CUT TO:

[EXT. DAYTIME - A PLANE LEAVING TOKYO, JAPAN]

(ANDO and HIRO are aboard a plane heading to the United States. Sitting between them is an obese woman who keeps moving around, making conversation between the two difficult.)

ANDO: (in Japanese) I'm confused. You said you called me when you went in the future.

HIRO: (reading the comic book) Yeah. So?

ANDO: So, shouldn't I be at home waiting for your call.

HIRO: We're changing the future. By taking action we've changed something.

ANDO: What if we make it worse? And if there's going to be a nuclear explosion shouldn't we be flying away from the bomb?

HIRO: (wagging a finger) A hero doesn't run away from his destiny. My only concern is whether I need to hide my true identity. Perhaps a costume!

ANDO: You even mention tights and a cape, I'm going home.

HIRO: You can't go home. The comic book says we fly together, so we fly together.

ANDO: Does it say we have to fly coach?

(HIRO points to a strip in the comic. It shows ANDO and HIRO flying on a plane, the woman in between them sleeping on ANDO'S shoulder. Moments later the woman adjusts her position and places her head in the exact spot the comic book showed has her in.)

CUT TO:

[INT. DAYTIME - NEW YORK CITY]

(SIMONE is walking into an apartment complex when she runs into PETER.)

PETER: Simone.

SIMONE: Oh, hey. I was just coming up to check on my dad. Where are you going? Aren't you supposed to be on your shift?

PETER: I was filling in my replacement and saying bye to your dad.

SIMONE: What?

PETER: (whispering) Come here a second.

(He pulls her to the side.)

PETER: I'm quitting.

SIMONE: Why?

PETER: I called the agency and told them this morning.

SIMONE: But my father--

PETER: Caroline's gonna take really good care--

SIMONE: But she's not you.

PETER: This is not where I'm supposed to be. It's not what I'm supposed to do. I can't really explain it.

SIMONE: (sighing) Well, try.

PETER: Look, the truth is, I've been trying to save the world, one person at a time...but I'm meant for something bigger. Something important. I know it now. That's--that's really all I can tell you.

(PETER starts to walk away.)

SIMONE: I'll miss you.

PETER: (stopping) It's New York. Everyone runs into each other sooner or later.

SIMONE: Maybe it'll be sooner.

CUT TO:

[EXT. NIGHTTIME - ODESSA, TEXAS]

(A large group of students are at a bonfire. JACKIE walks on-screen, telling others about how she saved the man fromt he burning train.)

JACKIE: Flames were everywhere. Oh, my God. I could hear the poor man coughing somewhere inside the train car. But there was smoke everywhere, I couldn't see him. I was so scared guys. So scared.

(Standing a few feet away, watching the bonfire, is CLAIRE. As she watches the rival mascot she created burn, BRODY appears beside her.)

BRODY: Nice effigy.

CLAIRE: (laughing) Thanks. I stayed up all night stuffing it with newspaper.

BRODY: I would have filled its head with firecrackers, but that's just me.

CLAIRE: That would have been cool.

BRODY: Careful. (He grabs her and pulls her a few inches away from the fire.) If you stand too close you'll end up like that guy.

CLAIRE: I'm not as flammable as he is.

BRODY: Dale Ledgerwood's got a keg in the back of his truck. (He leads CLAIRE over to a girl handing out cups.)

CLAIRE: Are you sure this is okay?

BRODY: We're 30 miles from home, who's gonna know?

(They walk away from the crowd.)

BORDY: Jackie told me you want to meet your real mom and dad.

CLAIRE: I told Jackie that in confidence.

BRODY: You do realize you were talking to Jackie, right? Is that why you're bummed? The whole adoption thing? I mean, you didn't, like, just find out, did you?

CLAIRE: Oh, no, no, no. They told me when I was really little. Why do you think I'm bummed?

BRODY: You don't seem like yourself. Thought maybe something was wrong.

CLAIRE: You don't know me well enough to know when I'm not being myself.

BRODY: You don't drink plain milk. It's always chocolate. You draw mermaids in the margains of your notebook. Put crackers in your sandwiches to make them crunch. And you're usually the first person to laugh at a joke. But...I haven't heard you laugh in awhile. Lately you seem sort of sad.

CLAIRE: (smiling) Have you been spying on me?

BRODY: (chuckling) Claire, my goal tonight is to hear you laugh.

(From behind them, firecrackers begin to go off. CLAIRE turns around, sees that the paper mascot's head has come off, and starts laughing.)

CLAIRE: Did you put firecrackers in his head, just for me?

(CLAIRE turns back around and BRODY kisses her. He grabs her hand and leads her off-screen. Another girl appears and watches the two leave, looking anxious.)

CUT TO:

[INT. NIGHTTIME - LOS ANGELES]

(JANICE PARKMAN is sitting on her bed, staring at a computer, when MATT arrives home.)

MATT: Hey, you waited up for me. (JANICE doesn't answer) Look, I know I missed our therapy session.

JANICE: It's fine.

MATT: No, it wasn't. I'm sorry. I was supposed to call you, and I meant to. But I had the craziest day today. You would not believe what happened to me. It was so strange and amazing and--I don't even know how to describe it.

JANICE: (getting off the bed) Then don't.

MATT: That's it? You waited up all this time so you could tell me that you don't wanna talk to me?

JANICE: I really don't want this to turn into a fight, and if I say anything else it will. I'm really trying, Matt. You know, this marriage may not mean anything to you, but--

MATT: What? It does. Of course it does! What are you talking about? It's just, I have a lot of stuff going on right now.

JANICE: (becoming angry) So do I. It was supposed to be a good thing when I made associate, and you were supposed to be happy for me. But ever since, it's like you're mad at me for getting what I wanted, because you haven't.

MATT: (hurt) I don't mean to be. It's just--It's hard.

JANICE: (thinking) I can't do this anymore. I wish he would just leave.

MATT: Fine. I will.

(MATT leaves and JANICE stares at the door, surprised.)

CUT TO:

[EXT. NIGHTTIME - ODESSA, TEXAS]

(CLAIRE and BRODY are sitting on a set of bleachers, apart from the rest of the kids, making out. BRODY'S hand begins to go up CLAIRE'S skirt, but she pushes it away.)

CLAIRE: (pulling away) Wait. Let's take a little break.

BRODY: (frustrated) Want to go back to the party?

CLAIRE: No, I just--I'm going through something and I don't know if now's the right time.

BRODY: You know what? You just need to relax. (He pulls CLAIRE in for another kiss.)

CLAIRE: What's gotten into you?

BRODY: I just really like you, Claire. Don't you like me? (He pushes CLAIRE down onto a bleacher.)

CLAIRE: No, Brody, stop.

(CLAIRE rolls off the bleacher in an attempt to get away, but BRODY follows.)

BRODY: (getting on top of CLAIRE)  Don't hurt yourself. 

CLAIRE: (crying) No! Stop it! No!

BRODY: This is gonna happen, Claire. (putting an arm over her throat to stop her screaming) Don't be a bitch! Let it happen!

(CLAIRE manages to break free, but BRODY grabs her ankle and CLAIRE falls. Her necks lands on a several branches and she stops moving.)

BRODY: (panicking) Claire. Claire! (He rolls her over and sees a piece of wood protruding from her neck.)

CUT TO:

[EXT. DAYTIME - LAS VEGAS, NEVADA]

(NIKI and MICAH are driving down a highway in the desert.)

NIKI: You haven't said a word the whole way home. Boy, that has to be a record. Are you hungry? You know, I was thinking that we could stop by that ice cream shop on the way home. You know, the one with those ginormous banana splits.

MICAH: Why don't you believe that Dad's innocent? I mean, you should be trying to help him.

NIKI: I know that you wanna believe in your father, but I know what's best, Micah. They're gonna catch him, and he's gonna go away for a long time.

MICAH: (shaking his head) They'll never find him.

NIKI: How do you know that? Micah, do you know where he is?!

(From behind a police siren begins to go off.)

NIKI: Damn it.

(NIKI pulls over to the shoulder of the road and a police officer walks toward her.)

NIKI: Is there a problem, Officer?

OFFICER: Mr. Linderman would like to see you.

NIKI: (quietly) I'm with my son.

(Without speaking the officer opens the car door and both NIKI and MICAH get out.)

CUT TO:

[INT. NIGHTTIME - New York City]

(The PETRELLI family is among a large group of people. They are in a ballroom with advertisements to vote for NATHAN hung throughout the room. Outside it is thundering and lightening. PETER sees SIMONE in the crowd and she walks over.)

PETER: So I guess it's sooner rather than later. (Both hold up drinks) To destiny.

SIMONE: Mmm.

PETER: May we recognize it when we see it.

SIMONE: To love. May we stay away from it when it's no good for us. (Both take a sip) You know, earlier today, when you were telling me how you changed?

PETER: Yeah.

SIMONE: I noticed it. There's just something different about you. It's like, a look in your eye. A confidence.

PETER: There's something I should tell you. Something, uh...I didn't think was right to say when I still worked for your father. Something I wouldn't have even said to you two days ago. (SIMONE eyes him suspiciously) I've been in love with you since the minute I first laid eyes on you.

(NATHAN'S voice over the P.A. system interupts their conversation.)

NATHAN: Excuse me. Everyone excuse me. (PETER turns to face his brother at the podium.) I'd like to apologize about the rain. If you elect me, I promise I'll try to do something about it. (The crowd laughs) I'd like to welcome you all here, on behalf of all my family, my entire campaign staff. I'm sure you know that my brave wife would be here, if she were able. The life-altering event of my father's death is really what prompted me to run for Congress. My father hid a deep depression--an illness, really--up until the day he died. His loving wife, his attentive children, his loyal friends--we all knew about it, and yet he suffered alone. As many of you might have read, my brother Peter had an accident. But what I have kept from the press thus far is that, Peter barely survived a suicide attempt.

(The crowd turns their attention on PETER.)

NATHAN: My first instinct was to keep his illness hidden. But no one should suffer alone. Because we're all connected somehow. Everyone in this room.

(PETER walks out while NATHAN is still talking.)

NATHAN: You, me, everyone in this city. And we need to look out for each other.

CUT TO:

[INT. DAYTIME - LOS ANGELES AIRPORT]

(HIRO and ANDO are standing at a reception desk, deciding on a rental car.)

HIRO: Nissan Versa.

RECEPTIONIST: That's a popular choice. Let me check to see if we have any left.

ANDO: (in Japanese) Hiro! We've got a connecting flight leaving for New York.

HIRO: (in Japanese) We're not flying.

ANDO: Why not?

HIRO: It says we rent a car. (flipping through the comic book)

ANDO: We drive all the way?

HIRO: Yes, it's a Nissan Versa. (He points to the car in the comic book.)

ANDO: Do you know how long that's going to take? Suppose she doesn't have that exact car?

RECEPTIONIST: You're in luck. We have one left. (She holds out a set of keys.)

HIRO: (taking the keys and giving ANDO a smug look) It's our destiny.

(The scene cuts to HIRO and ANDO getting into the NISSAN. ANDO turns on his iPOD and the screen shows NIKI playing on the MP3 player.)

ANDO: So, where to?

HIRO: (scanning the comic book) Las Vegas.

ANDO: (smirking) It is our destiny.

CUT TO:

[INT. NIGHTTIME - LOS ANGELES]

(MATT PARKMAN is sitting at a bar, looking sullen.)

BARTENDER: How you doing?

MATT: Well, I'm, uh...

BARTENDER: (thinking) That was a rhetorical question. Just say fine and order a drink.

MATT: Uh, fine. Whatever you got on tap.

(MATT begins to pick up the surrounding people's thoughts.)

MAN: Do I have time for another one? I don't want to go home to that shrew. She's sucking the life outta me. (The man catches MATT staring at him.) What's he looking at? Barking up the wrong tree, Pal.

(MATT turns away and hears a woman's thoughts.)

WOMAN: What am I doing here? (MATT turns to see a woman sitting at a table with a man.) Am I that desperate?

MAN: She's digging me. I am in for sure.

(MATT chuckles and turns back around. He hears the woman sitting beside him thinking.)

WOMAN: What if I just disappear? Would they care? Would anybody care? How long would it take to notice I'm gone?

(The thoughts of people around him begin to fade in and out. MATT looks around and sees an African American man sitting stiffly in a chair across the room, staring at him. They continue to stare at one another until the thoughts of other people completely fades out of MATT'S head. Frightened, MATT stands up to leave, but he becomes extremely dizzy and falls to the ground, losing consciousness.)

CUT TO:

[INT. NIGHTTIME - NEW YORK]

(MOHINDER is turning the corner of an apartment complex.)

MOHINDER: We were in the apartment. We saw everything.

(Two police officers walk into view as MOHINDER rushes into SYLAR'S apartment.)

MOHINDER: I believe this man, Sylar, killed my father. He has a list of targets, including a man who's running for Congress.

(MOHINDER stops walking abruptly and stares, shocked, at the empty walls. The entire place is empty of everything, including the room with the map and writing on the wall.)

CUT TO:

[EXT. NIGHTTIME - NEW YORK]

(NATHAN is heading towards his car when PETER runs up behind him. He hits his brother in the face.)

PETER: You son of a bitch!

(NATHAN'S bodyguards pushes PETER away.)

NATHAN: Let him go. Easy, Pete, that's our mother you're talking about.

PETER: (yelling) There was no reporter on my story!

NATHAN: (holding his jaw) There would have been, eventually. I had to take control of things before something happened.

(PETER punches him again.)

NATHAN: Ow. You get it, right?

PETER: (walking backwards) Yeah, I get it.

NATHAN: (giving PETER a thumbs up) Good man.

(The scene cuts to ISAAC sitting in his loft, flipping through a sketch book. Most of the sketches are of SIMONE.)

(The scene cuts back to PETER, who is standing in the pouring rain, waiting for a cab. From behind him, a red umbrella covers his head.)

SIMONE: You're bleeding.

PETER: Look, what Nathan said, it's not true. I didn't try to kill myself.

SIMONE: I know.

(The scene cuts to ISAAC again. He is looking at a sketch in shock.)

(The scene cuts to PETER and SIMONE. Both are standing very close under the umbrella. Without waiting, PETER begins to kiss SIMONE.)

(The scene cuts to ISAAC once more. The camera pans in on the sketch he is staring at. It is of SIMONE and PETER kissing under the red umbrella. ISAAC looks away and his heroin supply comes into focus.)

MOHINDER: (v.o.) This force, evolution, is not sentimental.

(The scene cuts to CLAIRE lying in a morgue. Someone pulls the piece of wood sticking out of her head and walks away.)

MOHINDER: (v.o.) Like the earth itself, it know only the hard facts of life's struggle with death.

(CLAIRE'S eyes suddenly return focus and she begins to cough. When she looks down, she sees her entire chest cut open, revealing her rib cage and internal organs.)

MOHINDER: All you can do is hope and trust that when you have served its needs faithfully, there may still remain some glimmer of the life you once knew.

CLAIRE: Holy--

THE SCREEN CUTS TO BLACK.
 

END OF EPISODE

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