Heroes | Episode 1-03 Transcript | One Giant Leap

HEROES
1X03: ONE GIANT LEAP
ORIGINAL AIR DATE ON NBC: 10/09/2006
TRANSCRIBED FROM NBC

Written by: FEPH LOEB
Directed by: GREG BEEMAN

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

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

RATING: TV-14
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DISCLAIMER:
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"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
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SUMMARY: Niki buries the bodies, then takes Micah to visit DL’s mother. Simone breaks up with Isaac. Jackie squeezes as much attention from the rescue as she can. Brody takes an interest in Claire and tries to force himself on her. Mohinder and Eden visits Sylar’s apartment where Mohinder finds Sylar’s wall map. Hiro returns to the present and convinces Ando to go to New York with him. Matt works with the FBI to find Sylar. When he returns home, Janice isn’t happy with him and he goes to a bar where he is drugged and passes out. Peter tries to fly. He quits his job to find his destiny. Nathan sets Peter up. Peter and Simone kiss.
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HEROES
1X03: ONE GIANT LEAP
==========================

FADE IN:

[TITLE CARD: HEROES]

NARRATOR: (v.o.) Previously on Heroes

INSERT: PETER / NIKI / MATT / CLAIRE / & HIRO

NARRATOR: (v.o.) Five strangers across the globe begin to discover they have extraordinary abilities –

[CLAIRE BENNET]

NARRATOR: (v.o.) -- from the cheerleader who realizes she’s invincible.

(Claire rushes into the burning train and saves a man.)

(Cut to: The fireman checks Claire’s injuries.)

FIREMAN: There’s no burns.

[ISAAC MENDEZ]

NARRATOR: (v.o.) To the artist that sees the future in his paintings.

(Isaac reaches for Simone.)

(Cut to: Isaac’s painting of New York exploding.)

ISAAC: (o.s.) I painted what I saw.

[NIKI SANDERS]

NARRATOR: (v.o.) The single mother with a deadly alter-ego.

(Niki gets up and sees the bedroom in shambles.)

(Cut to: Jessica looks back at Niki through the mirror’s reflection. She puts a finger to her lips.)

JESSICA SANDERS: Shhh--

[PETER & NATHAN PETRELLI]

NARRATOR: (v.o.) The two brothers who realize they can fly.

(Peter falls off the top of the building. Nathan flies up to catch him.)

(Cut to: Nathan looks at Peter.)

NATHAN PETRELLI: We both flew.

(Peter smiles and hugs Nathan.)

[MATT PARKMAN]

(Matt searches for the source of the thoughts. He opens the door and finds the little girl.)

NARRATOR: (v.o.) A police officer whose special powers --

(Matt talks with a blonde-haired woman.)

MATT: I’m hearing people’s thoughts.

(Audrey notices him in the house.)

NARRATOR: (v.o.) -- get him into trouble.

(Audrey arrests Matt.)

AUDREY HANSON: You’re under arrest.

MATT: What?

(She handcuffs him.)

[HIRO NAKAMURA]

(Hiro is on the train.)

NARRATOR: (v.o.) And the office worker who teleports to New York.

(Then, he’s in New York.)

HIRO: YATTA!

NARRATOR: (v.o.) And sees a vision of their future.

(Hiro is in Isaac Mendez’s studio talking with detectives. He gets up and sees the explosion out in the city.)

(He shuts his eyes and concentrates.)

[MR. BENNET]

(Mr. Bennet gets out of a cab.)

NARRATOR: (v.o.) But the evil that wants to destroy them is closer than they realize.

(He looks down at Matt.)

DISSOLVE TO WHITE:

(Claire hugs her dad.)

CLAIRE: You’re my dad, but you can’t protect me forever.

(Mr. Bennet watches the video tape on the laptop.)

MR. BENNET: It really does break my heart.

FADE TO:

[TITLE CARD: HEROES]

NARRATOR: (v.o.) Now Heroes continues.

FADE OUT.

FADE IN:

[EPISODE TITLE]
CHAPTER THREE
"ONE GIANT LEAP"

[EXT. (LAS VEGAS) DESERT ROAD -- NIGHT]

(Micah is asleep in the back seat of the car. Off screen, we hear the faint sounds of someone digging with a shovel. Out in front of the car, Niki digs by the light of the headlights.)

CAPTION:
NIKI & MICAH SANDERS
OUTSKIRTS OF LAS VEGAS, NEVADA

(Niki continues to dig.)

MOHINDER SURESH: (v.o.) When evolution selects its agents, it does so at a cost.

(Niki digs. She hits something just under the surface.)

MOHINDER SURESH: (v.o.) It makes demands in exchange for singularity. And you may be asked to do something against your very nature.

(Niki drops the shovel and pushes the dirt aside with her hands.)

(She uncovers a skull.)

(She continues to dig. Finally she uncovers a hand. She removes the skull ring around the skeleton’s finger.)

(She shakes her head and gets up.)

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

(Niki runs back to the car.)

(Cut to: Niki puts her hair up.

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

(Niki opens the car trunk and shows the two bodies.)

CUT TO:

[EXT. (ODESSA) UNION WELLS HIGH SCHOOL – DAY]

(Mr. Bennet opens the car trunk and pulls out the paper mache mascot.)

CAPTION:
CLAIRE BENNET
ODESSA, TEXAS

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

(Mr. Bennet carries the stuffed doll for Claire. A group of cheerleaders head for the front.)

MR. BENNET: On a school night?

CLAIRE BENNET: A celebratory school night.

(As they walk past, Claire smiles at Brody Mitchum. He smiles back at her. Mr. Bennet notices the exchange.)

MR. BENNET: So, is that the quarterback?

CLAIRE BENNET: Who?

MR. BENNET: The boy that you like, right over there.

CLAIRE BENNET: I don't like him. I mean, he's a very nice boy, but – (She sighs.) Yes, he's the quarterback.

MR. BENNET: 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 stops them.)

JACKIE: I love your glasses, Mr. Bennet.

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

JACKIE: You heard about that? O-M-G, does everybody know?

CLAIRE BENNET: It was on the news. You told half the school 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 advancement through good deeds. What do you think?

(Jackie leaves. Claire’s smile is plastered on her face as she chuckles sarcastically.)

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

(She takes the stuffed mascot from her dad.)

MR. BENNET: Hey.

(He kisses her cheek. The school bell rings and he watches her lug the item as she heads for the doors.)

MR. BENNET: Claire. Be careful. Okay?

(Claire nods. He watches her go.)

DISSOLVE TO WHITE:

[INT. (TOKYO) YAMAGATO OFFICES – DAY]

CAPTION:
HIRO & ANDO
TOKYO, JAPAN

(On the monitor, Niki Sanders is performing on a video clip in her bedroom.)

(Ando has it on his iPod. He watches the video clip when Hiro runs up to him.)

HIRO: Ando-kun! (subtitled) Ando!

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

(We’re in Ando’s work cubicle.)

HIRO: (subtitled) I teleported myself into the future!

ANDO: (subtitled) Haven’t we been over all this?

HIRO: (subtitled) Then explain this.

(He shows Ando the 9th Wonders! comic book, issue #14. It has Hiro’s picture on the cover with the caption, "Hiro arrives in NEW YORK!")

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

ANDO: (subtitled) Is this how you spend your time?

HIRO: (subtitled) Read it!

(Ando grabs the comic from Hiro and flips through it.

HIRO: (subtitled) I’m on the subway in Japan. Suddenly, I’m in New York! Five weeks in the future!

ANDO: (subtitled) Been hitting the sake?

HIRO: (subtitled) I found the book’s author, 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: (subtitled) Definitely the sake.

HIRO: (subtitled) Look, you’re in it too!

(Hiro turns to the page with the exact same conversation he had with Ando.)

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

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

(Ando gathers his papers and stands up.)

HIRO: (subtitled) Listen, if I can prove to you beyond a shadow of a doubt, will you come with me?

(Hiro’s watch beeps.)

HIRO: (subtitled) We have to go right now! A girl’s life depends on us!

-- and Hiro dashes off!

SMASH CUT TO:

[TITLE CARD: HEROES]

FADE OUT.

(COMMERCIAL SET)

FADE IN:

[PETER PETRELLI]

(Peter stands on the edge of a rooftop. He spreads his arms out and looks up to the sky. He closes his eyes and looks down. He leans forward and steps off the edge --

THUD!

-- and falls flat on the ground.)

[EXT. (NEW YORK) PLAYGROUND – DAY]

(Peter gets up.)

CAPTION:
PETER PETRELLI
MANHATTAN, NEW YORK

(He brushes the sand off his pants and climbs back up on the monkey bars. He walks over to the middle of the bars and stands on the edge.)

(A kid in a red cape drinking out of a large cup watches Peter step off the monkey bars –

THUD!

-- and fall flat on the ground.)

(Peter looks up and sees the kid in the red cape watching him while drinking out of his large cup. Peter gets up again.)

CUT TO:

[INT. (NEW YORK) NATHAN PETRELLI’S CAMPAIGN HEADQUARTERS -- DAY]

(Nathan selects a tie and puts it on.)

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 is standing just beyond his campaign manager.)

PETER: I need to talk to you.

NATHAN: What do you think? Red or blue?

(Nathan holds out two ties.)

PETER: I don't know. Blue?

CAPTION:
NATHAN PETRELLI
MIDTOWN MANHATTAN, NEW YORK

(Nathan looks at the two ties.)

NATHAN: I'm gonna go red. The president wears red.

(He hands one tie to the campaign manager and tosses the other tie aside. He puts his hand on Peter’s shoulder and is moving across the office.)

NATHAN: So you gonna come tonight? Gonna break out the suit, have a couple of drinks?

PETER: Yeah.

NATHAN: Rebuff the advances of my cute interns? Emily.

PETER: Yeah, I'm gonna be there. But -

(The pretty blonde girl rushes over with a file for Nathan to sign.)

PETER: Listen, I tried it again.

NATHAN: Tried what?

PETER: What do you mean what? What do you think that I mean? I --I tried to fly.

(He hands the file folder back to Emily and the smile is plastered to his face. He turns and walks quickly across the office with Peter following him.)

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, it would have solved one of our problems.

PETER: Yeah. So I went to the library to see if I could find anything on human flight.

(He takes out Chandra Suresh’s book, Activating Evolution.)

PETER: I came across this amazing book. Listen to this.

(The campaign manager walks up to Nathan with another clipboard for him to sign.)

PETER: (reads) "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. Chandra Suresh. He's a genetics professor in India. I called. They said that he quit six months ago. They think he's here in New York. We gotta find this guy.

NATHAN: We've got a more immediate problem here.

PETER: What?

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

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

NATHAN: Yeah, I mean, I want answers, just like everyone else. I mean, 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, okay?

(Nathan turns and walks away. Peter follows him.)

PETER: You are so -- What do you want to tell that reporter?

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

(Nathan drops the textbook on the desk.)

CUT TO:

[INT. (NEW YORK) MOHINDER’S APARTMENT -- DAY]

(Chandra Suresh’s book, Activating Evolution, is on the table. In the background, we hear Mohinder typing on the computer.)

CAPTION:
MOHINDER SURESH
BROOKLYN, NEW YORK

(He hears the scrape of a key in the door lock and he grabs the gun off the table. He cocks the weapon as he hears the door unlock. The door opens and Eden walks in. In one hand she’s carrying a casserole dish and in the other, she has the apartment keys.)

EDEN: Sorry. I still have your dad's keys. Maybe I shouldn't.

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

(He puts the gun in the desk drawer. Eden uncovers the casserole dish.)

EDEN: Well, this is macaroni and cheese. It's what Americans eat when they want to commit suicide slowly.

(She puts the casserole dish in the kitchen.)

EDEN: Your dad said mine was the best he ever had, but he was from India, so –

MOHINDER: Thank you. You're very kind.

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

MOHINDER: All this work. 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 ... it's gibberish.

EDEN: Know anybody who speaks gibberish?

(She smiles at him. Mohinder gets up and walks over to the wall map.)

MOHINDER: The man with the horn-rimmed glasses. He chased me around the world -- Madras, Manhattan, this very apartment -- looking for it. But this isn't anything.

(Mohinder walks past the desk and over to the far wall where he leans against the doorway.)

EDEN: Well, then, why would he build it?

MOHINDER: 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?

(Eden turns to look at the wall map. Mohinder gets up and walks back to the map.)

MOHINDER: The map. The map is nothing until I can decipher the principle behind it. You know, if I could find even one such person, it would validate everything he believed. 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. Where did it get me?

(He closes the laptop and throws it on the floor. It lands in the next room. Eden jumps up and runs to get it.)

EDEN: Mohinder!

MOHINDER: I'm sorry. I'm just so tired.

(Eden finds a notebook hidden inside the laptop. Mohinder kneels next to her on the floor. She hands him the notebook and he looks through it. He stops on a page:
SYLAR
1146 TRENTON PLACE APT 1B
QUEENS, NY 11011

MOHINDER: "Sylar."

(He flips to the back of the notebook and finds a key.)

EDEN: What is it?

MOHINDER: Yet another question.

(They look at each other.)

CUT TO:

[INT. (LOS ANGELES) FBI HEADQUARTERS – INTERVIEW ROOM – DAY]

(Matt is sitting in the interview room talking with FBI Agent Audrey Hanson. The wall clock behind him reads: 4:05.)

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

CAPTION:
MATT PARKMAN
FBI HEADQUARTERS, LOS ANGELES

INTERCUT WITH:

[OBSERVATION ROOM]

(Someone takes notes while watching the interview.)

MATT: (over intercom) I went to her. That's all that happened.

AUDREY HANSON: 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.

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

AUDREY HANSON: 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.

(She walks over to him.)

AUDREY HANSON: Can you tell me what I'm thinking?

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

AUDREY HANSON: Give it a shot, Carnac. I'm wide open.

MATT: You think I'm nuts. Or stupid.

AUDREY HANSON: Great trick. Stop wasting my time.

(He sighs. Then, he hears her thoughts.)

AUDREY HANSON: (v.o., thinking) Come on, Parkman, I need this more than you do. Nobody believes in me.

(He looks at her.)

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

(Audrey turns and looks back at the observation room. Someone continues to take notes inside.)

(Matt sighs and rubs his face.)

MATT: How much longer do I have to be in here?

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

(He looks at her, surprised by the offer. He nods.)

CUT TO:

[INT. (ODESSA) UNION WELLS HIGH SCHOOL – HALLWAY -- DAY]

(Claire opens her locker and reaches for her GEOMETRY textbook. On the edges she has GEOMETRY written out and a drawing of the SYMBOL.)

ZACH: (o.s.) Claire.

(She takes her GEOMETRY book out of her locker. Zach runs up to her.)

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

CLAIRE: Yeah, well if someone finds it, we'll just tell 'em you're some visual effects geek who did it with his computer. Now, can I get back to my life, please?

ZACH: So that's it? You're just gonna go pump 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: 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.

(She turns and walks away from Zach, leaving him standing alone in the hallway. On the far wall behind them is a WILDCAT PRIDE! banner. The school bell rings.)

CUT TO:

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

(OPEN on a painting with the EXACT scene of CLAIRE walking away from ZACH in the school hallway, a WILDCAT PRIDE! banner hanging on the wall behind them.)

(Simone moves the painting off the easel. Isaac walks into the studio. He’s carrying a paper bag tucked in his arm.)

CAPTION:
SIMONE DEVEAUX & ISAAC MENDEZ
NEW YORK CITY

ISAAC: What are you doing here?

SIMONE: The door was open. Isaac, you have to get back to work. Your editor -- the comic book is late.

ISAAC: 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 grabs the painting and puts it back on the easel.)

ISAAC: I'm not going into rehab.

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

ISAAC: 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. I don't know how, I don't know when, but -- I have to stop it.

(He walks over to her and cups her face in his hands.)

ISAAC: I don't want to lose you, Simone. But if you don't believe in me, then you shouldn't be here.

(He steps away from her.)

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

(She turns and walks away. Isaac’s phone rings. He answers it.)

ISAAC: Hello?

HIRO: (from phone) (rapidly in Japanese)

(Isaac glances back at Simone as she leaves the studio.)

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 knocks the supplies off the table.)

CUT TO:

[EXT. (TOKYO) MALL – DAY]

(Hiro hangs up. Ando follows him wherever he’s going.)

ANDO: (subtitled) Who are you calling?

HIRO: (subtitled) The comic book author. To warn him about the future.

(Hiro takes out the comic book and looks through it.)

HIRO: (subtitled) He keeps hanging up on me.

(Hiro and Ando exit the mall and come to a street where kids are playing.)

ANDO: (subtitled) That’s because you’re crazy. I’d hang up on you too, if I could.

(Hiro stops abruptly.)

HIRO: (subtitled) This is the spot!

(He points to the panel in the comic book of Hiro and Ando. The clock in the next panel reads: 1:49 p.)

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

(Andy looks around the area.)

ANDO: (subtitled) What school girl?

(They look around. Just then, a group of schoolgirls turn the corner and are headed in their direction.)

ANDO: (subtitled) Okay. Which one is she?

HIRO: (subtitled) I don’t know?

(He flips through the comic book and sees something.)

ANDO: (subtitled) She has a red bow in her hair! I’ll go this way, you go that way.

(Hiro runs off.)

ANDO: Hey!

(Hiro walks through the group of schoolgirls looking for the girl with the red bow. He doesn’t see her. He runs up to another girl with her back to him. He turns her around and sees she’s wearing red earphones.)

HIRO: (bows, unsubtitled) Sorry.

(Hiro looks around for the girl.)

(Ando walks through a group of schoolgirls and looks for the one with the red bow.)

(Hiro looks around. Finally, he sees her. A girl with a red bow in her braided hair turns and waves to someone behind her as she crosses the road. A large truck is headed down the road toward her.)

HIRO: (subtitled) Ando! Stop that truck!

(Ando sees Hiro waving to him. He turns and sees the truck. Ando runs to the middle of the road, waving his arms and trying to stop the truck. The truck swerves to avoid Ando.)

ANDO: (subtitled) Stop, watch out!

(The truck swerves off the road and heads toward the girl. The girl turns and can’t run.)

(Hiro closes his eyes and concentrates.)

(When he opens his eyes – everything around him is frozen. The girl jumping rope on the sidewalk is suspended in air.)

HIRO: (subtitled) Oh.

(He takes a moment to look around, then quickly heads over to the girl right in front of the oncoming truck. The girl is suspended in mid-air as if jumping back in preparation for impact.)

(Hiro moves the girl to the other side of the sidewalk. TIME RESUMES: The truck continues through the road.)

(Hiro turns and looks at Ando and throws his arms up in the air.)

HIRO: (shouts) YATTA !! (subtitled) I did it!

(Hiro jumps up and down with elation as he walks over to Ando, who is walking toward him. Ando is astonished. The two friends jump for joy in the middle of the street.)

ANDO: (subtitled) You did it!

HIRO: (subtitled) So you believe me now? You’ll come with me?

(Ando stares at him, speechless.)

FADE OUT.

(COMMERCIAL SET)

FADE IN:

[EXT. NEVADA DESERT -- DAY]

(Niki continues to throw sand on the dead body and completely buries it. When she finishes, she pats the sand with the back of her shovel.)

(She stabs the shovel in the ground and rests for a moment. She tosses the shovel aside and heads back to the car. She opens the car door and gets inside. She looks at the skull ring for a moment, then glances in the rear view mirror at her own reflection.)

(Micah wakes up.)

MICAH: Hi.

NIKI: Hi. How'd you sleep?

MICAH: Good. (Micah climbs up to get into the front seat and looks around the area.) Where are we?

(Niki starts the car engine and backs up.)

NIKI: On our way to Grandma's house.

(Niki puts the car in gear and drives away.)

CUT TO:

[INT. PAULETTE HAWKINS’ HOUSE – DAY]

(Niki knocks on the screen door.)

(Grandma looks out and smiles when she sees --

PAULETTE HAWKINS: Micah!

MICAH: Grandma.

(Micah runs into the house and gives Grandma a hug. Niki lingers in the doorway. Grandma picks Micah up and swings him around.)

PAULETTE HAWKINS: Oh, my. You've grown.

MICAH: You always say that.

PAULETTE HAWKINS: I do.

MICAH: Yes, you do.

PAULETTE HAWKINS: Why don't you go on inside?

(Micah goes inside. Niki steps into the house. Grandma barely spares her a glance.)

PAULETTE HAWKINS: You look thin.

(She heads into the kitchen. The teakettle whistles. She turns the stove off and pours a cup of tea.)

PAULETTE HAWKINS: Look, I know what it's like to raise a boy on your own. To be stretched so far, you wish you could be in two places at once. I get it.

(Niki glances at Micah in the next room reading a book.)

PAULETTE HAWKINS: But that boy needs more than you've been giving him. He needs a steady hand and a stable environment. I can give him that.

NIKI: Why, because DL grew up to be such a model citizen?

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

(Niki puts the skull ring on the table.)

NIKI: You recognize this? I found it in the desert.

PAULETTE HAWKINS: What's that supposed to be?

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

PAULETTE HAWKINS: DL wouldn't murder anybody. Ever.

NIKI: Wrong. He robbed Linderman and got away with $2 million, and then he killed his crew.

PAULETTE HAWKINS: My son was framed. And he'd be rotting in some prison if he hadn't escaped. Besides, if DL had $2 million ... 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 HAWKINS: 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 am capable of.

(Niki takes the ring off the table and leaves the kitchen. We linger on Paulette.)

FADE TO WHITE:

FADE IN:

[INT. (LOS ANGELES) FBI HEADQUARTERS – HALLWAY – DAY]

(Matt and Audrey Hanson walk through the hallway.)

MATT: You want to tell me why I'm still here, or am I just gonna follow you around?

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

MATT: Talk to who?

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

(They walk through double doors into another hallway.)

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

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

CUT TO:

[INT. (NEW YORK) HALLWAY OUTSIDE APT 1B – DAY]

(Mohinder knocks on the door.)

MOHINDER: Mr. Sylar? Hello?

(There’s no answer.)

EDEN: Shh.

(She motions for him to use the key.)

EDEN: What are you actually gonna do if Sylar's in there?

(Mohinder takes the key out of the notebook.)

MOHINDER: (quietly) If Sylar killed my father, I need to know why.

(Mohinder uses the key and finds it doesn’t work.)

MOHINDER: I suppose that would have been too easy.

EDEN: Let's go.

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

(Mohinder takes a screwdriver out of his satchel.)

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

(He jams the screwdriver into the doorframe and lock and pushes the door open. He motions for Eden to follow.)

EDEN: Or we could just break in.

[INT. APT 1B – DAY -- CONTINUOUS]

(Eden steps inside and closes the door behind them.)

(Mohinder takes a digital camera out of his bag and snaps photos of the apartment.)

(They walk inside and look around. Mohinder finds Chandra Suresh’s book, Activating Evolution, on the counter. He snaps a photo of the book. He continues to look around the apartment. Everything is neat, tidy and in its place.)

(Meanwhile, Eden finds a book open on the desk. It’s open to a page showing graphic pictures of the human brain.)

EDEN: A little light reading before bed.

(They walk up to a curio display case. Mohinder moves his arm back to take a photo and bumps his elbow into the mirror behind him. The mirror opens into another passageway. He looks back at Eden, then enters the secret room.)

(This room is dark and dimly lit. It has bottles of samples on the wall. In this room, there is a wall map, similar to Suresh’s wall map – strings and post-its litter the wall. More strings.)

MOHINDER: Oh, my God.

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

(Mohinder snaps a photo of the map.)

(Close-ups of photos on the map show the SYMBOL drawn on some of their faces. This map has more information than Chandra Suresh’s map.)

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

(She points to an article photo of Nathan Petrelli.)

EDEN: I know that guy. He's running for Congress.

MOHINDER: His life may be in danger.

EDEN: Okay, can we please go now?

MOHINDER: Not yet.

EDEN: Mohinder --

(Mohinder goes further into the room and pushes the plastic partition aside. He stops, his eyes wide at what he sees – mad writing on the wall – and in large red print: FORGIVE ME. It’s repeated in smaller print over and over all over the walls along with: FOR I HAVE SINNED.)

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

CUT TO:

[INT. (LOS ANGELES) FBI HEADQUARTERS – HALLWAY – DAY]

(The elevator bell dings and the doors open. Audrey and Matt step out into the hallway. The fluorescent lights flicker.)

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

(Molly Walker screams.)

(She takes out her gun and heads through the double doors and down the hallway.)

AUDREY HANSON: It's him. It's Sylar.

(Matt follows her.)

(At the end of the hallway, a large man in a dark-colored jacket and baseball cap is dragging little Molly Walker out of the room. She screams and fights him.)

(Audrey cocks her gun.)

AUDREY HANSON: Freeze!

(Sylar looks up and lets Molly go. He runs away, disappearing behind the far corner.)

(Audrey chases after him. Matt follows her. He slows when he passes the agent pinned to the ceiling with a chair. The agent is out cold. Audrey passes Molly. Matt stops and checks on her.)

MATT: Hey. Hey, remember me?

(Molly looks at him.)

MATT: It's okay. It's okay. No one's gonna hurt you, honey.

MOLLY WALKER: (v.o., thinking) How could he find me?

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

(Molly gets up and holds onto Matt.)

MATT: All right. All right.

(He closes his eyes and holds her.)

(CUT TO: Sylar runs through the basement corridor. Audrey is right behind him. He turns and turns and stops when his passage is blocked.)

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

(Sylar turns and faces Audrey. Suddenly, she’s thrown back against the wire mesh. She’s forced to put the gun up against her own head and cocks the weapon. With her left hand, she grabs her own right wrist. Her finger flutters over the trigger.)

(Matt runs out between them and fires consecutively at Sylar. Sylar falls to the ground.)

(Audrey is released and falls to the ground, also. She gasps for breath. Matt turns and looks at her.)

MATT: You okay?

(Audrey nods. Her eyes widen.)

ON MATT: Behind him, we see Sylar get up. Matt slowly turns around.

(Sylar is gone.)

(Matt rushes forward and looks up at the height above them. Sylar is gone.)

FADE OUT.

(COMMERCIAL SET)

FADE IN:

[INT. AIRPLANE (FLYING) -- DAY]

(Hiro is in his seat reading the 9th Wonders! comic book. There’s a woman seated next to him reading a book.)

(Ando, who is sitting on the other side of the woman, leans forward and looks at Hiro.)

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

HIRO: (subtitled) Yeah. So?

ANDO: (subtitled) So, shouldn’t I be at home ... waiting for your call.

HIRO: (subtitled) We’re changing the future.

(The woman sitting between them leans forward to put her book away. Hiro and Ando continue their conversation behind her back.)

HIRO: (subtitled) By taking action we’ve changed something.

ANDO: (subtitled) 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: (subtitled) A hero doesn’t run away from his destiny.

(The woman leans back in her seat and settles down to sleep.)

HIRO: (subtitled) My only concern is ... whether I need to hide my true identity. Perhaps a costume?

ANDO: (subtitled) You even mention tights and a cape, I’m going home.

HIRO: (subtitled) You can’t go home. The comic book says we fly together, so we fly together.

ANDO: (subtitled) Does it say we have to fly coach?

(Hiro shows him the picture of the sleeping woman between them with her head on Ando’s shoulder.)

(Just them, the woman between them clears her throat, shuffles in her seat and puts her head on Ando’s shoulder.)

(Hiro points to something in the comic book and laughs.)

CUT TO:

[INT. (NEW YORK) DEVEAUX BUILDING (#210) – LOBBY -- DAY]

(The elevator bell dings. Simone walks across the lobby toward the elevators. Peter steps out of the elevator and stops to talk with her.)

CAPTION:
SIMONE DEVEAUX & PETER PETRELLI
APARTMENT OF CHARLES DEVEAUX

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 just filling in my replacement, and saying bye to your dad.

SIMONE: What?

PETER: Listen ...

(He pulls her to the side.)

SIMONE: No.

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 great 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-I can't really explain it.

(He sighs.)

SIMONE: 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.

(They look at each other. Peter puts a hand on her arm and heads for the door.)

SIMONE: I'll miss you.

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

(Simone nods.)

SIMONE: Maybe it'll be sooner.

(Peter heads for the door. Simone waits for the next elevator.)

DISSOLVE TO:

[EXT. (ODESSA) BONFIRE -- NIGHT]

(The bonfire is blazing in the center of the lot. Students mingle everywhere while rock music plays. Jackie Wilcox recounts her daring train wreck rescue to the other cheerleaders.)

JACKIE WILCOX: 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, you guys. I was really scared.

(Claire isn’t in the group. She’s standing in front of the bonfire watching the mascot she made burn on the pyre. Brody Mitchum walks up to her.)

BRODY MITCHUM: Nice effigy.

(She laughs.)

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

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

CLAIRE: That would have been cool.

(He puts his arms around her and pulls her away from the fire. Claire’s smile widens.)

BRODY MITCHUM: Careful. If you stand too close, you'll end up like that guy.

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

BRODY MITCHUM: Dale Ledgerwood's got a keg in the back of his truck.

(CUT TO: Brody takes two plastic cups of beer from the smiling girl on the back of Dale Ledgerwood’s truck.)

CLAIRE: Are you sure this is okay?

BRODY MITCHUM: We're thirty miles from home. Who's gonna know?

(Claire takes a sip and coughs. They walk away across the grounds.)

BRODY MITCHUM: Jackie told me you wanna meet your real mom and dad.

CLAIRE: I told Jackie that in confidence.

BRODY MITCHUM: 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 MITCHUM: 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 MITCHUM: You never drink plain milk. It's always chocolate. You draw mermaids in the margins 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 a while. Lately you seem sort of sad.

CLAIRE: Have you been spying on me?

BRODY MITCHUM: Claire, my goal tonight is to hear you laugh.

(CRACK-CRACK-CRACK! The firecrackers in the mascot’s head explode.)

VOICES: (o.s.) Whoo!

(Claire is thrilled and laughs.)

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

(Brody smiles. He leans forward and kisses Claire. Claire and Brody walk away.)

(With a worried look on her face, Lori Trammel watches them leave the bonfire together.)

CUT TO:

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

(Janice Parkman is on the bed working on her laptop. Files are spread out around her. The door opens and Matt walks in.)

MATT: Hey, you waited up for me. Look, I know I missed our therapy session.

JANICE PARKMAN: It's fine.

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

(As he talks, Janice gathers her files off the bed and closes her laptop.)

JANICE PARKMAN: Then don't.

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

JANICE PARKMAN: Look, I really don't want this to turn into a fight. And if I say anything else, it will.

(She puts her files back in her bag.)

JANICE PARKMAN: I'm really trying, Matt. You know, this marriage may not mean anything to you --

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

JANICE PARKMAN: So do I. It was supposed to be a good thing when I made associate, and you were suppose 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 is quiet.)

MATT: I don't mean to be. It's just -- it's hard.

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

MATT: Fine. I will.

(Matt turns and leaves the room. The door slams shut behind him.)

CUT TO:

[EXT. (ODESSA) BONFIRE – BLEACHERS -- NIGHT]

(Claire and Brody are kissing in the bleachers away from the others.)

(He slides his hand up her leg. She grabs his hand to stop him.)

CLAIRE: Wait. Let's take a little break.

(She sits up.)

BRODY MITCHUM: 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.

(He kisses the back of her neck.)

BRODY MITCHUM: You know what? You just need to relax.

(He starts kissing her again. Claire pushes him away.)

CLAIRE: What's gotten into you?

BRODY MITCHUM: I just really like you, Claire. Don't you like me?

(He kisses her again, this time pushing her back down against the bleachers.)

CLAIRE: No, Brody, stop.

(She rolls over to get out from under him and falls to the ground.)

CLAIRE: Ow--oh!

(He moves over her.)

BRODY MITCHUM: Don't hurt yourself.

(He continues kissing her. Claire struggles.)

CLAIRE: (panicking) No, stop it! No!

(He settles on top of her.)

BRODY MITCHUM: This is gonna happen, Claire.

(He presses his arm across her throat. Claire cries and screams.)

CLAIRE: No, please!

BRODY MITCHUM: Don't be a bitch. Let it happen!

(He reaches down between them. Claire kicks him off and scrambles to her feet to run. He gets up and pushes her into the wire fence.)

(Claire bounces off the fence and falls on a pile of wood nearby. She doesn’t move.)

BRODY MITCHUM: Claire. Claire!

(He kneels to check on her and finds a branch stuck in her neck. Brody looks around, panicking.)

(We hold on Claire. She isn’t moving.)

FADE OUT.

(COMMERCIAL SET)

FADE IN:

[EXT. (LAS VEGAS) ROAD -- DAY]

(Niki is driving. Micah is quiet in the passenger seat.)

NIKI: You haven't said a word the whole way home. Boy, that has got to be a record.

(Micah doesn’t say anything.)

NIKI: 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 want to 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: They'll never find him.

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

(A siren sounds behind them. Micah turns to look. Niki slows and pulls over. The officer car stops behind them.)

(The officer gets out.)

NIKI: Is there a problem, officer?

OFFICER: Mr. Linderman wants to see you.

NIKI: I'm with my son.

(The officer opens her door. Niki and Micah get out of the car. The officer shuts the door.)

FADE TO WHITE:

FADE IN:

[INT. PARTY -- NIGHT]

(The sign covering the far wall reads, VOTE PETRELLI. The room is crowded and conversations overlap over one another. Peter takes a sip of his drink. He smiles and walks over to Simone.)

PETER: So I guess sooner rather than later. (He raises his glass.) 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.

(They clink glasses.

SIMONE: You know earlier today, when you were telling me how you'd changed?

PETER: Yeah.

SIMONE: I noticed it. There's just something different. 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. I've been in love with you since the minute I first laid eyes on you.

NATHAN: (over speaker) Excuse me. Everyone excuse me.

(Simone looks beyond Peter and over at the stage where Nathan is. Peter turns to watch.)

NATHAN: I'd like to apologize about the rain. If you elect me, I promise I'll try and do something about it.

(The audience laughs. Peter barely smiles. Nathan continues with his announcement.)

NATHAN: I'd like to welcome you all here, on behalf of my family, my entire campaign staff. I'm sure that you know my brave wife would be here by my side, were she 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.

(He looks out at Peter. Angela turns around and looks at Peter. The crowd murmurs. Peter doesn’t move. Nathan continues.)

NATHAN: My first instinct was to keep his illness hidden. But no one should suffer alone. Because we're all connected somehow. (Peter leaves.) Everyone in this room. You, me, --

SIMONE: (softly) Peter --

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

(Peter leaves.)

FADE TO WHITE:

FADE IN:

[INT. (LOS ANGELES) HOTSPUR CAR RENTAL – NIGHT]

CAPTION:
LOS ANGELES
INTERNATIONAL AIRPORT

(Hiro is at the counter trying to rent a specific car.)

HIRO: Nissan versa. Nissan versa.

CAR RENTAL CLERK: That's a popular choice. Let me check to see if we still have any left.

(She turns to check the computer.)

HIRO: Nissan –

(Ando interrupts.)

ANDO: Hiro! (subtitled) We’ve got a connecting flight leaving for New York.

HIRO: (subtitled) We’re not flying.

ANDO: (subtitled) Why not?

HIRO: (subtitled) It says we rent a car.

(Hiro opens the comic book and shows the panels to Ando.)

ANDO: Eh? (subtitled) We drive all the way?

HIRO: (subtitled) Yes. In a Nissan Versa.

(Hiro matches the car to the HOTSPUR car rental brochure.)

ANDO: Ah, Hiro, (subtitled) Do you know how long that’s going to take? Suppose she doesn’t have that exact car?

(The clerk returns.)

CAR RENTAL CLERK: You’re in luck. We have one left.

(She holds the keys out.)

(Hiro takes the keys and looks at Ando.)

HIRO: (subtitled) It’s our destiny.

(Hiro turns, grabs his bags and heads out.)

[EXT. HOTSPUR CAR RENTAL -- NIGHT

(Hiro rushes outside and opens the car door. Ando gets behind the wheel. While Hiro looks at the comic book, Ando takes a moment to look at Niki’s video on his iPod.

(Ando puts his iPod down.)

(The comic book shows the NORTH LAS VEGAS highway sign. And it shows – TO BE CONTINUED.)

ANDO: (subtitled) So, where to?

HIRO: (subtitled) Las Vegas.

(Suddenly, Ando smiles.)

ANDO: (subtitled) It is our destiny.

(Ando starts the car and drives off.)

FADE OUT.

(COMMERCIAL SET)

FADE IN:

[INT. (LOS ANGELES) BAR -- NIGHT]

(Matt sits at the bar with his drink and pops a bar mix. The bartender walks up to him.)

BARTENDER: How you doing?

MATT: Well, I'm, uh --

BARTENDER: (v.o., thinking) It's a rhetorical question. Just say "fine" and order a drink.

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

(The bartender fills Matt’s order.)

MAN AT THE END OF THE BAR: (v.o., thinking) Do I have time for another one? I don't want to go home to that shrew. She's sucking the life out of me.

(The bartender puts the drink in front of Matt. He picks it up and raises his glass to the man at the end of the bar.)

MAN AT THE END OF THE BAR: (v.o., thinking) What's he looking at? What's he looking at? Barking up the wrong tree, pal. Barking up the wrong tree, pal.

(Matt sips from his drink and hears a woman’s thoughts. He looks around and sees a woman and a man sitting in a booth.)

WOMAN IN BOOTH: (v.o., thinking) What am I doing here? Am I that desperate?

MAN IN BOOTH: (v.o., thinking) She is diggin' me. I am in for sure.

(Matt finds it amusing. He looks around the room and stops at the woman sitting at the bar.)

WOMAN AT BAR: (v.o., thinking) What if I just disappeared? Would they care? Would anybody care? Would someone notice I was gone? Would anybody care?

(Thoughts fade in and out. Matt turns and sees the Haitian sitting in the bar. Then all thoughts fade away and Matt hears nothing.)

(This freaks Matt out. He drinks his beer and puts the glass down. He starts feeling woozy and starts staggering. He falls and hits the floor as he passes out.)

CUT TO:

[INT. (NEW YORK) HALLWAY OUTSIDE SYLAR’S APARTMENT -- NIGHT]

(Thunder rumbles. Mohinder leads the two officers back to Sylar’s apartment.)

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

OFFICER: Wanna tell me what you were doing in there?

MOHINDER: Please, just follow me. (They enter the apartment.) I believe this man Sylar killed my father. He has a list of targets, including a man who's running for Congress.

(Mohinder stops. The entire apartment has been cleaned out. There’s nothing left. Eden enters the apartment.)

(Mohinder goes into the back rooms. Everything is gone. He turns and looks back at Eden.)

CUT TO:

[EXT. HOTEL GARAGE -- NIGHT]

(It’s pouring outside. Nathan is on his way to his car. He’s surrounded by his entourage.)

NATHAN: He turns around to the other one and says, "Holy cow, a talking dog."

(Peter steps out and punches Nathan.)

NATHAN: Unh!

PETER: You son of a bitch!

(The security around Nathan pushes Peter up against the garage column.)

PETER: Uhh!

(Nathan rubs his cheek.)

NATHAN: Let him go.

(They let Peter go.)

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

PETER: There was no reporter on my story!

NATHAN: Yeah, there would have been, eventually. I had to take control of things before something happened. Do you under --

(Peter punches Nathan again. The security grabs Peter and pulls him away from Nathan.)

NATHAN: Ow.

(Nathan looks at Peter.)

NATHAN: You get it, right?

(Peter backs away from him.

PETER: Yeah, I get it.

NATHAN: Good man.

(Peter turns and leaves. He walks out on the sidewalk, getting soaked by the pouring rain. Thunder rumbles.)

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

(Isaac sits on the lit table looking at a sketchbook. His drug paraphernalia is at his feet. He flips through the various pages. He stops at a sketch of Simone. He turns to the next page, another sketch of Simone. He continues to flip through the pages.)

[EXT. SIDEWALK -- NIGHT]

(Peter tries to hail a taxi, but they keep driving by. Finally, someone holds a red umbrella over his head. He turns around. It’s Simone.)

SIMONE: You're bleeding.

(He steps back onto the sidewalk as he rubs his face.)

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

SIMONE: Oh, I know.

(They stop in the middle of the sidewalk.)

[INT. ISAAC’S STUDIO -- NIGHT]

(Isaac is looking at a particular sketch in the book.)

[EXT. SIDEWALK -- NIGHT]

(Peter and Simone look at each other. Peter leans forward and kisses Simone. Simone kisses him back.)

[INT. ISAAC’S STUDIO -- NIGHT]

(Isaac stares at the sketch. It’s of Simone kissing a man under a red umbrella in the pouring rain. Lightning flashes and thunder rumbles. He looks at the drug paraphernalia on the table.)

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

[INT. (ODESSA) – NIGHT]

ON CLAIRE: Her eyes are clouded and open.

(Someone grabs the tree branch in the back of her neck and pulls it out. The tree branch is tossed in the metal dish on the side.)

MOHINDER: (v.o.) Like the earth itself, it knows only the hard facts of life's struggle with death. All you can do it hope and trust.

(Claire’s eyes clear and she regains consciousness right before our eyes! She takes a breath and coughs.)

MOHINDER: (v.o.) That when you've served its needs faithfully, there may still remain some glimmer of the life you once knew.

(Claire looks around and down at herself.)

(TOP VIEW DOWN: Claire is cut open and spread out on an autopsy table.)

CLAIRE BENNET: Holy sh--

SMASH TO BLACK.

TO BE CONTINUED ...

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

[Captioning by captionmax ww.captionmax.com]

Transcript by intrepid
Beta: DianeM
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.

==========================
TITLE/OPENING CREDITS
==========================
HEROES
1X03: ONE GIANT LEAP
ORIGINAL AIR DATE ON NBC: 10/09/2006
TRANSCRIBED FROM NBC

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

GREG GRUNBERG as Matt Parkman
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:
CLEA DUVALL as FBI Agent Audrey Hanson
NORA ZEHETNER as Eden McCain
CHRISTINE ROSE as Angela Petrelli

TINA LIFFORD
LISA LACKEY as Janice Parkman
JAMES KYSON LEE as Ando Masahashi
EUGENE BYRD

MATT LANTER as Brody Mitchum
DANIELLE SAVRE as Jackie Wilcox
THOMAS DEKKER as Zach
JIMMY JEAN-LOUS as The Haitian

and
JACK COLEMAN as Mr. Bennet (HRG)

Music by: WENDY MELVOIN & LISA COLEMAN
with the voice of SHANKAR

Co-Producer: ARON ELI COLEITE
Co-Producer: LORI MOTYER
Produced by: JIM CHORY

Supervising Producer: ADAM ARMUS
Supervising Producer: KAY FOSTER

Consulting Producer: BRYAN FULLER

Co-Executive Producer: MICHAEL GREEN
Co-Executive Producer: NATALIE CHAIDEZ
Co-Executive Producer: JEPH LOEB
Co-Executive Producer: JESSE ALEXANDER
Co-Executive Producer: GREG BEEMAN

Executive Producer: ALLAN ARKUSH
Executive Producer: DENNIS HAMMER
Executive Producer: TIM KRING

Written by: JEPH LOEB
Directed by: GREG BEEMAN

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

nbc.com

* Tailwind Productions
* NBC Universal Television Studio

Co-Starring:
ADAIR TISHLER as Molly (Walker)
ASHLEE GALLESPIE as Lori (Trammel)
RIKI LINDHOME as Car Rental Lady
MARK NEARING as State Trooper
RICK SCARRY as Bartender
MATT EYDE as Uniformed Cop

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

Associate Producer: MIKE KETELSEN

Director of Photography: JOHN ARONSON
Production Designer: RUTH AMMON

Edited by: SCOTT BOYD

Unit Production Manager: DANIEL SCHNEIDER

First Assistant Director: PAT DUFFY
Second Assistant Director: DIANE CALHOUN

Costume Designer: DEBRA McGUIRE
Art Director: MICHAEL BUDGE
Set Decorator: DENA ALLEN
Property Master: ROSS ANDERSON
"A" Camera Operator: NATE GOODMAN
"B" Camera Operator: LOREN YACONELLI
Production Sound Mixer: STEPHEN HALBERT

Costume Supervisor: LAURA GUZIK
Key Makeup Artist: LORI MADRIGAL
Key Hairstylist: VICKY PHILLIPS
Key Grip: CHUCK CRIVER
Chief Lighting Technician: DERRICK KOLUS

Artistic Consultant: TIM SALE
Script Supervisor: VALERIE NORMAN
Production Accountant: LARRY COGAN
Construction Coordinator: DAVE DEGAETANO
Location Manager: ALLEN REID / STEVEN HASSON

Production Coordinator: LISA HACKLER
Transportation Coordinator: BRIAN STEAGALL
Script Coordinator: OLIVER GRIGSBY
Special Makeup Effects: GLENN HETRICK / BRYAN BLAIR
Video Playback Supervisor: MARK MARCUM

Assistant Production Coordinator: ERIC NORMAN
Stunt Coordinator: IAN QUINN
"A’ Camera 1st Assistant: GREG MORRIS
"B" Camera 1st Assistant: SHEREEN SALEH
Special Effects Supervisor: GARY D’AMICO

Post Production Supervisor: DANIEL RODRIGUEZ
Assistant Editor: LUYEN VU
Music Editor: JENNIFER BARAN
Music Supervisor: ALICEN CATRON SCHNEIDER

Sound Supervisor: STEPHEN GRUBBS
Re-Recording Mixers: GERRY LENTZ / RICH WEINGART
Visual Effects Supervisors: MARK KOLPACK
Visual Effects Producer: KIM BOYLE

Assistant to Executive producer: ANDREW CHAMBLISS / TIMM KEPPLER / CHAD DARNELL
Assistant to Co-Executive producers: NICOLE CLAUDRONE / PHERLUIGI COTHRAN
Assistant to Producer: FOZ MCDERMOTT

Promotional Consideration Furnished by: NISSAN NORTH AMERICA / APPLE

(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:03/13/2007~lky
http://www.kilohoku.com/