Heroes | Episode 1-04 Transcript | Collision

HEROES
1X04: COLLISION
ORIGINAL AIR DATE ON NBC: 10/16/2006
TRANSCRIBED FROM NBC

Written by: BRYAN FULLER
Directed by: ERNEST DICKERSON

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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Contact the Transcriptionist at intrepidly002@yahoo.com
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SUMMARY: Matt is abducted by Mr. Bennet and finds himself in a room, hooked up to equipment. Hiro tries to contact Isaac. Ando catches the gambling bug and convinces a reluctant Hiro to use his powers to cheat so they can win. Linderman’s representative, Ms. Sakamoto, offers Niki the chance to resolve her debt by sleeping with a politician. Niki refuses. Claire gets out of the morgue and returns home. She learns that Brody raped another girl before her and has no intention of stopping his behavior. She convinces Brody to let her drive and she smashes his car into a wall. Mohinder goes to see Nathan who then goes to see Peter. Peter goes to see Mohinder who has decided to take his father’s ashes home. Peter convinces Mohinder that they should see Isaac. On their way back, Peter has a visit from someone from the future. While in Vegas, Nathan sleeps with Jessica. When he wakes up, Mr. Bennet is there.
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HEROES
1X04: COLLISION
==========================

FADE IN:

[TITLE CARD: HEROES]

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

VARIOUS CUTS OF: PETER / NIKI / MATT / CLAIRE / HIRO

NARRATOR: (v.o.) Ordinary strangers across the globe discover they have extraordinary abilities.

[INT. ISAAC’S STUDIO]

NARRATOR: (v.o.) From the artist who paints the future --

(ISAAC MENDEZ is on the bed. Simone joins him.)

(Cut to: TOP VIEW DOWN on the mural of New York exploding painted on Isaac’s studio floor.)

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

(Isaac and Simone argue.)

SIMONE: So, you think you can paint the future? Paint one without me in it.

(Simone and Peter kiss under a red umbrella in the pouring rain.)

[PETER PETRELLI]

(Peter stands on the rooftop, his arms outstretched.)

NARRATOR: (v.o.) To the brother who wants to know more.

(Peter falls down the side of the building. Nathan flies up to catch him.)

PETER: (v.o.) Look, Nathan. We flew.

(Peter talks with Nathan.)

PETER: Aren’t you curious about how this happened?

(Peter shows Nathan Chandra Suresh’s book.)

PETER: Chandra Suresh, a genetics professor in India. This guy knows what’s going on.

[HIRO NAKAMURA]

(Hiro looks around the street.)

NARRATOR: (v.o.) The office worker who can stop time.

(The truck barrels straight toward the little girl. Hiro uses his powers and stops time. He looks around.)

[MATT PARKMAN]

(Matt Parkman sits at a bar.

NARRATOR: (v.o.) The cop who can hear thoughts is made to lose consciousness by a mysterious stranger.

(He rubs his eyes and staggers as he tries to leave.)

(Matt his the ground with a thud.)

(The Haitian sits at the back of the room watching him.)

[NIKI SANDERS]

(Niki Sanders wakes up in her garage bedroom and finds the place trashed.)

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

(She looks at her reflection in the mirror. The reflection puts a finger to her lips and shushes her.)

NARRATOR: (v.o.) -- sees that her past is more dangerous than she ever imagined.

(Niki is digging through the desert sands with her bare hands. She gasps when she finds a skeleton.)

[CLAIRE BENNET]

(Claire tries to get away from Brody Mitchum. She falls onto a piece of wood.)

NARRATOR: (v.o.) And the indestructible cheerleader --

(Brody rolls Claire over and sees the wood branch stuck in the back of her neck.)

(Cut to: the wood branch is pulled out of Claire’s neck. Claire wakes up. She looks around and down at herself --

NARRATOR: (v.o.) -- wakes up in places she never expected.

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

FADE OUT.

[TITLE CARD: HEROES]

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

FADE OUT.
END OF PREVIOUSLY ON.

FADE IN:

[INT. UNKNOWN PLACE]

(Monitors beep steadily in an otherwise quiet room.)

MOHINDER: (v.o.) Sometimes questions are more powerful than answers. How is this happening?

(Matt is on the bed hooked up to the monitors. He slowly stirs.)

CAPTION:
MATT PARKMAN
LOCATION UNKNOWN

MOHINDER: (v.o.) What are they? Why them and not others?

(Matt gasps as he wakes up. His vision is blurry.)

MOHINDER: (v.o.) Why now? What does it all mean?

(His vision clears and Mr. Bennet is standing over him. Mr. Bennet smiles.)

MR. BENNET: Hello.

MATT PARKMAN: Is this a hospital? Am I hurt?

MR. BENNET: You're fine.

MATT PARKMAN: I was at a bar ... having a beer.

MR. BENNET: We had to drug you. I'm sorry about that.

MATT PARKMAN: What?

(Matt finds his wrists restrained.)

MATT PARKMAN: What's going on?

MR. BENNET: Please don't get excited, Matt. We're trying to test your resting rate.

(Matt tries to get out of his restraints.)

MATT PARKMAN: Let me out of here.

MR. BENNET: Just ... relax.

MATT PARKMAN: What are you, FBI? Huh? What, are you CIA?

MR. BENNET: I'm not part of any organization that has initials.

MATT PARKMAN: Listen to me. Whoever you think I am ... believe me, I'm not him. I'm not -- I'm not anyone.

MR. BENNET: No, that's not true. You're someone. You're someone very special.

MATT PARKMAN: Who are you people?

(Mr. Bennet looks at Matt. The machines monitoring Matt’s brain waves beep wildly.)

MR. BENNET: Trying to hear my thoughts, Matt? Not with my friend here. He's special too.

(Mr. Bennet straightens. Matt sees the Haitian step into the room. Matt is struggling against the restraints.)

MATT PARKMAN: I am st -- I am an LAPD -- uhh! I'm a cop!

MR. BENNET: Everything you see ... by tomorrow, it won't matter.

(Mr. Bennet turns and steps away from the bed. Matt concentrates.)

MATT PARKMAN: Who's Claire?

(Mr. Bennet stops near the Haitian and turns around to look at Matt.)

MATT PARKMAN: You're further along than we thought. (to the Haitian) Go deep. Then clean him out.

(Mr. Bennet turns and leaves.)

MATT PARKMAN: What does that mean?

(The Haitian walks up to Matt. He grabs the pendant around his neck and lifts it to his lips. He looks at Matt.)

MATT PARKMAN: What --

(The Haitian covers Matt’s eyes with his hand.)

FADE TO WHITE:

(Matt screams.)

FADE IN:

[EXT. LAS VEGAS CITY (STOCK) – DAY]

CAPTION:
HIRO & ANDO
LAS VEGAS, NEVADA

[INT. (LAS VEGAS) CASINO LOBBY – DAY]

(Hiro returns. Ando turns around and joins him. The following conversation is entirely in Japanese.)

ANDO: (subtitled) Did you call the comic book writer?

HIRO: (nods) Ah. (subtitled) I left messages. In Japanese. I need to learn how to say ... ... "You’re going to die in five weeks ... ... then New York will explode" in English.

(Hiro looks through his English dictionary.)

ANDO: (in English) You are going to die in five weeks, then New York will explode.

(Ando takes the book from Hiro.)

ANDO: (subtitled) I’ll teach you how to say it phonetically.

(Hiro smiles.)

HIRO: Arigato.

(Just then, a slot machine jingles and the noise of coins clinking causes Ando and Hiro to turn around.)

ANDO: (subtitled) Come on. I’m feeling lucky.

(Ando heads over to the machines. Hiro reluctantly follows.)

[INT. CASINO – DAY]

CAPTION:
NIKI & MICAH SANDERS

(Niki holds Micah’s and the officer’s hands as they walk into the casino. She puts her arm around Micah as they pass Hiro on their way across the main floor.)

[INT. (LAS VEGAS) SECOND FLOOR OFFICES – DAY]

(Ms. Sakamoto looks out the glass windows overlooking the casino. She turns around as Niki and Micah enter the office with the security guard. She turns to the desk and switches on the overhead lights, which cloud over the windows behind her.)

MS. SAKAMOTO: I think it's best if Micah waited outside.

(Niki kneels down and puts her forehead against Micah’s. Micah leaves with a second security guard. The first security guard remains behind.)

(Niki stands up.)

MS. SAKAMOTO: Mr. Linderman is willing to forget your debt in exchange for ... a favor.

NIKI: What kind of a favor?

MS. SAKAMOTO: There's a man arriving this afternoon from New York. A politician who wants some help from Mr. Linderman. We're looking for a little insurance on our investment.

NIKI: And you want me to ...

(Ms. Sakamoto gives her a pointed look.)

NIKI: I'm not a whore.

MS. SAKAMOTO: I think we've established what you are.

WHITE FLASH TO:

[EPISODE TITLE]
CHAPTER FOUR
"COLLISION"

[INT. (ODESSA) MORGUE]

(The ME cuts the incision down Claire’s chest. She peels the two edges apart. Claire’s eyes are clouded over as the ME starts her autopsy.)

CAPTION:
CLAIRE BENNET
ODESSA, TEXAS

MEDICAL EXAMINER: Jane Doe. Roughly sixteen years of age. Pulled out of Red River Creek at approximately 4 a.m. this morning. She was naked and she was dragged, likely in an attempt to hide the body. Secondary injuries are post-mortem.

(She pulls the branch out of the back of Claire’s neck. She looks at the long, bloodied branch and doesn’t notice that the wound in Claire’s head heals completely.)

MEDICAL EXAMINER: Base of skull was punctured by a broken tree branch.

(She puts the tree branch in a metal bowl. She turns Claire’s head back to face the ceiling.)

MEDICAL EXAMINER: Appears to be victim of homicide. Possibly accidental.

(The ME shakes her head. Off screen, a phone rings. The ME removes her gloves and moves away from the autopsy table to answer the phone.)

(TOP VIEW DOWN ON CLAIRE. Claire gasps for breath. Her eyes clear and she coughs.)

(Off screen, we hear the ME pick up the phone.)

MEDICAL EXAMINER: (o.s.) Hello? Hey --

(Claire looks around and glances down at herself. She turns her head and sees the branch in the metal bowl. Claire hyperventilates as she realizes where she is.)

CLAIRE: Oh, my ... God.

(She stops and thinks about it.)

CUT TO:

(Claire closes her chest and the skin heals and regenerates.)

CUT TO:

(Claire jumps off the table and looks around.)

CLAIRE: Okay.

(Claire runs over to the lab coats hanging on the hooks on the wall. She grabs one and slips it on.)

MEDICAL EXAMINER: (o.s.) I love you too. Bye.

(The lab coat is much too big for her. Off screen, she hears the ME hang up her phone. Claire ducks behind the open door as she ME walks into the room. She stops when she sees the empty autopsy table.)

(Claire slips out of the room.)

(The ME touches the sheet used to cover the body and looks around.)

(The door swings shut behind Claire and clicks loudly when it closes.)

CLICK!

(The ME turns to look at the door.)

FADE TO:

[TITLE CARD: HEROES]

END OF TEASER

(COMMERCIAL SET)

FADE IN:

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

CAPTION:
ISAAC MENDEZ
LOWER MANHATTAN

CUE SONG: Rogue Wave, "Eyes"

(Isaac sits on the table, his legs crossed. He looks at the open sketchbook and the drawing of Peter and Simone under the red umbrella.)

CUT TO:

[INT. (NEW YORK) PETER’S PLACE – MORNING]

(Peter wakes up and turns around. He pulls the sheet over Simone, who is sleeping.)

FLASH TO:

[INT. (LAS VEGAS) CASINO – DAY]

(Hiro and Ando stand at the edge of the main room. Ando smiles and heads for the gaming tables.)

FLASH TO:

[INT. (ODESSA) BENNET RESIDENCE – DAY]

(Lyle walks down the stairs. Sandra Bennet walks down the steps behind him. She’s carrying Mr. Muggles.)

SANDRA BENNET: Claire! I'm making waffles.

(They head to the kitchen.)

(The front door opens and Claire peers in. She enters the house and closes the door.)

CUT TO:

[EXT. (NEW YORK) STREET OUTSIDE PETRELLI HEADQUARTERS – DAY]

CAPTION:
NATHAN PETRELLI
MID-TOWN MANHATTAN

(Nathan and his campaign manager exit the building.)

CAMPAIGN MANAGER: Internal polling shows a three-point bump from last night's speech. Now, I say we roll the dice and hold off before we get into bed with Linderman.

(Nathan takes his jacket off as they stop in front of his car.)

NATHAN: I can handle Linderman. He may have owned my father, but he doesn't own me.

CAMPAIGN MANAGER: Look, man, I don't know about this. It just makes me nervous.

NATHAN: It's your job to be nervous. It's my job to get elected. In order to do that, I need money. Linderman's $2 million, we can turn eight points into three and make it a horserace.

MOHINDER: (o.s.) Mr. Petrelli!

(Nathan opens the car door.)

MOHINDER: (o.s.) Excuse me, Mr. Petrelli!

(The guard steps forward to intercept Mohinder.)

MOHINDER: Mr. Petrelli, I must speak with you.

NATHAN: (to the campaign manager) Find out about this guy.

(Nathan makes a peace sign to Mohinder.)

NATHAN: Thanks for your vote.

(Nathan turns to get into the car.)

SECURITY GUARD: I’m sorry, but --

MOHINDER: (shouts) Your life may be in danger!

(Nathan stops and looks at Mohinder.)

NATHAN: Back him up.

MOHINDER: I believe someone is targeting you.

NATHAN: Can you be a little bit more specific? Twelve percent of the electorate strongly opposes me.

MOHINDER: Does the name Sylar mean anything to you?

NATHAN: I'm sorry, I didn't get your name.

MOHINDER: Suresh. Dr. Suresh.

NATHAN: (to the campaign manager) Get rid of him.

(Nathan gets back into the car and shuts the door.)

CAMPAIGN MANAGER: (to Mohinder) Sir, I'm gonna take down your information.

MOHINDER: Have you noticed any changes to your physiology? Something outside the norm, perhaps?

(Inside the car, Nathan can hear Mohinder.)

MOHINDER: (from outside) An ability you didn't have before. Mind-reading, spontaneous regeneration. Please, it's very important that you listen to me.

(Nathan speaks to his campaign manager through the partially opened window.)

NATHAN: Keep an eye on this guy. I don't want this nut job following me to Vegas.

CAMPAIGN MANAGER: Oh, not a problem. Have a safe trip.

NATHAN: Right.

(Nathan rolls up the window.)

CAMPAIGN MANAGER: (to the security guard) Get him out of here. I don't want to see his face again.

(Just then, a man walks past muttering to himself.)

HOMELESS MAN: (mutters) I know. I know! They're all around. They're all around! They get into your ...

(The security guard leads Mohinder away.)

DISSOLVE TO WHITE:

[EXT. NEW YORK CITY (STOCK) – DAY]

(We zoom over the city as if we are flying, soaring between the buildings, the sunlight blinding in our eyes –

[INT. (NEW YORK) PETER’S APARTMENT -- BEDROOM – DAY]

CAPTION:
PETER PETRELLI & SIMONE DEVEAUX
LOWER EAST SIDE, MANHATTAN

(Peter glides his fingertips over Simone’s bare back. She stirs and wakens. She smiles at Peter. He smiles back at her.)

PETER: Last night ...

SIMONE: Mmm.

PETER: -- Before we kissed, you, uh ... made a toast.

SIMONE: To love. May we stay away from it when it's no good for us.

PETER: I was meaning to ask ...

SIMONE: I wasn't talking about you. Clearly.

PETER: I know.

(She chuckles.)

PETER: It's just ... you and Isaac.

(She rolls over. The door buzzes. Peter leans forward and they kiss. The door buzzes again.)

PETER: There's coffee in the kitchen.

(Peter gets out of bed as Simone wistfully touches her lips.)

(The door buzzes again.)

[LIVING ROOM -- CONTINUOUS]

(Peter puts on a shirt and peers through the peephole. He opens the door.)

(Nathan looks at Peter.)

NATHAN: You think this is one big joke, don't you, Pete?

(Peter steps out of the apartment and joins Nathan out in the hallway. He closes the door.)

NATHAN: Your buddy Suresh. He came by my campaign office this morning. Made a big scene. He's talking about mind-reading and spontaneous regeneration.

PETER: Chandra Suresh.

NATHAN: Yeah.

PETER: How'd he find you?

(Nathan nudges the book at Peter’s chest. Peter grabs the book.)

NATHAN: You tell me.

PETER: What, do you think I called him?

NATHAN: Don't insult me. I've got trained professionals to do that.

SIMONE: (o.s.) Hey, where's your mugs?

(Nathan pushes the door open and sees Simone dressed in Peter’s shirt and standing on a stool looking in the cabinets.)

PETER: Hey, uh ... it's, uh ... They're in the cabinet with the water stain that looks like Abraham Lincoln.

SIMONE: Okay.

(Peter closes the door. Nathan takes an envelope out of his jacket pocket.)

NATHAN: Look ... here's some money, all right? Take it. You want answers, go find 'em. It's on me. I need you to disappear for a while, okay? You're becoming a liability.

(Peter doesn’t take the envelope. Instead, he opens the apartment door and leaves Nathan standing in the hallway. Nathan leaves.)

[INT. LIVING ROOM – CONTINUOUS]

(Peter shuts the door. He turns and finds Simone getting dressed.)

SIMONE: I'm sorry. I'm opening a new show at the gallery, and a lot of crazy stuff to deal with.

PETER: Is it Isaac's paintings?

SIMONE: It's Isaac's paintings. It's Isaac. It's his whole "I can paint the future" thing.

PETER: What if he can? Paint the future. I mean ... stranger things, right?

SIMONE: No, that's about as strange as it gets.

(Peter nods. Simone offers his cup back to him.)

PETER: Ah, no, take it. You can bring it back tonight.

SIMONE: (sighs) Uh, Peter, I ... uh, I don't know what this is. I mean us. I just got out of a two-year relationship that was very ... destructive. And here I am sleeping with the guy who is taking care of my dying father. And it's a little confusing.

PETER: I don't wanna be the rebound guy.

SIMONE: I just need time to catch my breath before you take it away again, okay?

PETER: Okay.

(They kiss.)

CUT TO:

[INT. (ODESSA) BENNET RESIDENCE – DAY]

(Sandra walks up to the base of the stairway and shouts up to the second floor.)

SANDRA BENNET: Claire! Breakfast!

(Mr. Bennet comes down the stairs.)

SANDRA BENNET: Would you please tell your daughter to drag her fanny out of bed.

MR. BENNET: (shouts) Claire, drag your fanny out of bed! Claire!

(The bedroom door closes and Claire appears at the top of the stairs.)

CLAIRE: Dad, I'm not deaf.

MR. BENNET: Your mother's making waffles.

(He looks at her dirty bare feet.)

MR. BENNET: Were you out all night?

CLAIRE: No.

MR. BENNET: Were you with the quarterback?

CLAIRE: Yeah. Yeah, it was just a bunch of us. It was stupid. I'm sorry.

SANDRA BENNET: (o.s.) Honey, you're gonna miss your plane.

MR. BENNET: I'll be there in a second. (quietly) I'm very disappointed in you.

CLAIRE: Nothing happened. We played poker. I'm sorry.

MR. BENNET: I love you, Claire. I just want you to be honest with me. You can tell me anything. You know that.

CLAIRE: I know. I love you too.

(He hugs her and kisses the top of her head.)

MR. BENNET: Don't think you're getting away with this staying out all night thing. It's gonna be a throw-down when I get home.

(Claire barely smiles. Mr. Bennet heads out, the front door closes behind him.)

(Claire sits on the stairs. Lyle walks up to her and stares at her.)

CLAIRE: What?

LYLE: Mom said to tell you the waffles are ready.

CLAIRE: I'll be there in a sec.

(Lyle steps away.)

SANDRA BENNET: (shouts) Claire. Waffles!

(Claire cries.)

CUT TO:

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

CAPTION:
MOHINDER SURESH
BROOKLYN, NEW YORK

(Mohinder puts a newspaper clipping up on the wall map. He mutters under his breath.)

MOHINDER: I feel like such an ass. I've never been so humiliated in my life.

(The front door closes. Eden walks in. She’s carrying a box.)

EDEN MCCAIN: Well, what did you expect, him to invite you in for tea? Oh, this came for you while you were gone.

(Mohinder opens the box and takes out an urn.)

MOHINDER: It's my father's ashes. (He sits down.) You know, I haven't shed a single tear since my father's death. Not even when I claimed his body. They showed me three John Does before they finally found him. My father was misfiled.

EDEN MCCAIN: I'm really, really sorry.

MOHINDER: And what have I been trying to prove? I've used these theories -- the map, this Sylar, all of it -- just to validate a relationship that ended a long time ago. (He puts the urn down on the table.) I have no business being here.

(Mohinder gets up and goes to the bedroom.)

EDEN MCCAIN: You're just gonna give up?

(He grabs his case and some shirts off the shelve.)

MOHINDER: I'm going home. To Madras. To scatter my father's ashes ... and go back to my life and stop trying to live his.

(There’s a knock at the door. Mohinder and Eden look at the door.)

PETER: (through door) I'm looking for Chandra Suresh.

EDEN MCCAIN: He doesn't live here anymore.

PETER: (through door) The guys at the Petrelli campaign gave me this address. They said he came by this morning?

(Mohinder opens the door.)

PETER: You Chandra Suresh?

MOHINDER: No. That was my father.

PETER: Yeah, um ... your father wrote a book about people with ... abilities. I--I think I may be one of them.

FADE OUT.

(COMMERCIAL SET)

FADE IN:

[INT. (LAS VEGAS) CASINO – MAIN FLOOR -- DAY]

(The roulette wheel spins and Ando sits at the end of the table watching the little white ball intently. Hiro returns.)

HIRO: (subtitled) That’s enough. Let’s go ...

(Hiro sits in the empty chair next to Ando.)

ANDO: (subtitled) ... go away. I’m concentrating.

HIRO: (subtitled) Where are your chips?

ANDO: (subtitled) On 26 black.

(Sure enough. There’s a single red chip on 26 black.)

HIRO: (subtitled) That’s it?! That’s all of our money?! What happened?

ANDO: (subtitled) Shhh! I need to focus!

HIRO: (subtitled) Get it back! Get it back, now!

(Hiro reaches for the red chip on the table. The croupier slaps his hand and warns him.)

CROUPIER: Sir, no more bets! Step back, please.

ANDO: (subtitled) I haven’t lost it! Twenty-six is going to win. You’ll see.

(Hiro looks sadly at the chip on the table. He watches the white ball on the spinning crap wheel. He looks at the croupier, then back at the white ball.)

(Hiro scrunches his face and concentrates. When he opens his eyes, time has stopped completely.)

(Hiro clasps his hands in silent prayer. He gets up and moves around the frozen players and pushes the white ball onto 26 black. He looks around and heads over to the waitress and gently sets right the drink glass in danger of falling off her tray. He grabs the olive and shoves it in his mouth.)

(Hiro goes back to his seat next to Ando and sets time going again. The waitress avoids the man while not spilling her drink. She notices the olive missing.)

CROUPIER: (o.s.) Winner black 26.

(Sure enough, the white ball is on black 26.)

ANDO: (subtitled) I won! I won! Did you see? I won?

HIRO: (subtitled) Okay. Let’s leave now.

(Hiro gets up to leave. The croupier slides over a stack of chips to Ando.)

ANDO: Thank you. (subtitled) Now? Are you kidding? I’m on a roll!

(Hiro sits back down.)

HIRO: (subtitled) No. You’re not.

ANDO: (subtitled) But I just won. Big.

HIRO: (subtitled) I did it. I stopped time. Moved the ball. You won because of me.

(Ando is surprised.)

HIRO: (subtitled) It’s horrible. I’m a terrible person. But it was our last dollar.

ANDO: (subtitled) It’s genius. Do it again!

HIRO: (subtitled) No! It’s cheating.

ANDO: (subtitled) Is Peter Parker cheating ... ... when he sells pictures of Spider-Man?

HIRO: (subtitled) No.

ANDO: (subtitled) All heroes have a system. This is our system.

HIRO: (smiles) Let it ride!

(Ando goes back to his chips.)

CUT TO:

[INT. (LAS VEGAS) SANDERS RESIDENCE (STOCK) – DRIVEWAY – DAY]

[INT. SANDERS RESIDENCE – BATHROOM – DAY]

(Texas Tina watches as Niki puts her lipstick on.)

TINA: So ... you still looking in the mirror seeing a you that ain't you?

NIKI: Yep.

TINA: Hell, I can relate. It's called getting old. A little botox would do us both some good.

(They both chuckle.)

NIKI: I've been blacking out.

(Tina shakes her head with disappointment.)

NIKI: Okay, I wake up ... and ... things aren't ... like they were.

(Tina shuts the bathroom door.)

TINA: Like the time you woke up with a couple of dead thugs in your garage?

NIKI: (nods) Uh-huh.

TINA: If you think you had something to do with that ...

NIKI: One of them was torn in half, I mean –

TINA: Okay, then obviously it wasn't you.

NIKI: But what if it was? I'm having these ... violent dreams. I mean, really violent. Where I am tearing people apart. But it's not me. It's someone else ... in me. With me.

TINA: You know what I think?

NIKI: What?

TINA: I think you saw something. I think you saw something so horrible that it broke a part of you. I mean, what happened in that garage --

(There’s a knock at the door. The door opens and Micah walks in, smiling.)

MICAH: Mom? Wanna play Scrabble?

NIKI: Oh, I do. I really do, but I can’t right now.

MICAH: This is our game night.

NIKI: I know. And I'm sorry. But why don't you ask Tina? She reads those romance novels. I bet she has an excellent vocabulary.

(Tina laughs.)

TINA: You know what? I do have an excellent vocabulary. And those novels are the only romance I'm getting these days. I will take that game, and I will challenge you, little man. You are on.

(Tina leaves the bathroom. Micah looks worried.)

MICAH: Why can't you just work at home, like usual?

NIKI: Because this job is different.

MICAH: You've been different.

NIKI: I know I have. Come here.

(Micah hops on the seat next to Niki.)

NIKI: I'm so sorry. It has not been fair to you. But you have been a trouper. But I have things under control now. And ... I'm just gonna do this one thing, and it's gonna solve a lot of problems for us. Then you won't be able to get rid of me.

(Niki chuckles and puts her head on Micah’s shoulder.)

MICAH: Fine. But it's safer over the Internet.

NIKI: What?

MICAH: I mean ... what you do. I mean, in the garage. It's just acting. None of it's for real.

(Micah hops off and leaves the bathroom as he gives Niki something to think about. The doorbell rings.)

MICAH: (o.s.) They sent a limo.

CUT TO:

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

(Eden and Mohinder whisper in the doorway.)

EDEN MCCAIN: Either he's a crap house rat, as in "crazy as." Or ... he's one of them.

MOHINDER: All he's really telling me is that he can't do anything. Crap house rat.

EDEN MCCAIN: Don't you want to at least follow the smoke and see if there's a fire?

(Eden and Mohinder go back to Peter, who is waiting in the main room.)

EDEN MCCAIN: It was a pleasure to meet you.

(Peter stands up.)

PETER: Yeah.

EDEN MCCAIN: Um ... good luck with the whole flying thing.

PETER: Thanks.

(Eden leaves. Mohinder sits in a chair.)

MOHINDER: So ... when you're with your brother, you can fly, and when you're with the artist –

PETER: Isaac, yeah. Um, I only met him once, but after, I ... I drew the future.

MOHINDER: And now you don't do either.

PETER: Maybe I can only do things when I'm around other people who can ... do things. Did that sound as lame as I think it did?

MOHINDER: It sounds like you should be talking to my father. This was his research, not mine.

PETER: Well, where is he? How do I get a hold of him?

MOHINDER: (bluntly) He's on the table.

(Peter sees the urn on the table behind Mohinder.)

PETER: I ... I'm sorry. But ... you believe that this is possible. You have to, I mean ... you believed it this morning. What if I prove it to you?

MOHINDER: Then prove it.

(Peter stands up.)

PETER: We'll go see Nathan. When I'm around him, I can fly. I've done it before, twice.

MOHINDER: Fine. Let's go see your brother.

PETER: Wait, um ... he's in Vegas.

MOHINDER: Of course he is.

[Scoffs]

PETER: Then ... I'll take you to Isaac's. But it’s ... it's complicated.

MOHINDER: Complicated how?

CUT TO:

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

(Simone walks in. She looks around and finds Isaac sitting at the table. He rolls up the case he keeps his paraphernalia in.)

SIMONE: Isaac.

ISAAC: Paintings are by the door.

(Simone puts her bag down and looks at the paintings.)

SIMONE: I thought I was buying the new pieces.

ISAAC: I need the new pieces.

SIMONE: Because they tell you what's gonna happen in the future?

ISAAC: How much for the old paintings?

SIMONE: To tell you the truth, Isaac, I don't know if I could sell those.

ISAAC: So you only like the ones I painted when I was high. Interesting. You won't give me an advance?

SIMONE: That depends on what you're gonna do with the money.

ISAAC: I need painting supplies.

SIMONE: I take you're not talking about oils and canvas?

(He walks back to the table.)

ISAAC: It was raining last night. What'd you do, Simone? In the rain?

(He’s holding the sketchbook to the sketch of Simone and Peter kissing under the red umbrella.)

SIMONE: You followed me?

ISAAC: I drew this seven weeks ago. I drew him there ... and here, before I'd ever met the guy.

(He points to the painting of the flying man. He puts the sketchbook down on the table.)

ISAAC: Are you in love with him? Looks like you're in love with him.

SIMONE: I don't know how I feel about him. And I don't know how I feel about you.

ISAAC: So here we are, not knowing how we feel about each other. And this entire city's gonna go ...

(He makes an explosion sound.)

ISAAC: Unless I stop it.

SIMONE: You think you can save us all by shooting up?

ISAAC: I can save everybody.

(Simone walks away from him. Isacc looks at the mural on the floor and chuckles.)

ISAAC: I'm gonna be a hero.

FADE OUT.

(COMMERCIAL SET)

FADE IN:

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

(Claire talks with Zach.)

CLAIRE: Look, you can't say anything. I'm fine. He was drunk. It was an accident.

ZACH: Which part was an accident – the rape or the murder?

CLAIRE: It didn't happen.

ZACH: Yeah, because he killed you before he had the chance.

CLAIRE: I'm alive!

ZACH: Yeah, now, but you weren't on the autopsy table.

CLAIRE: Shhhh!

ZACH: Look, you said you had a hole in your head. Okay, maybe when they pulled out whatever was in there, it when you, like, rebooted or whatever.

CLAIRE: I'm not a hard drive.

ZACH: No, you're "Little Miss Miracle Grow."

CLAIRE: Don't ever call me that again.

ZACH: You gotta tell someone about Brody.

CLAIRE: No. I don’t! And even if I wanted to, which I don’t, I don’t have a mark on me.

ZACH: You know what happened and he knows what happened.

CLAIRE: All he knows is that he was drunk, and I'm not dead.

(Claire closes the door. Jackie Wilcox and Brody Mitchum walk up to them.)

JACKIE WILCOX: Hey. What happened to you last night?

(Brody looks freaked at seeing Claire.)

CLAIRE: I was hoping you'd tell me. I had way too much to drink.

BRODY MITCHUM: I--I gotta go to the bathroom.

(Brody walks away. He passes Lori Trammel, who notices him leave.)

JACKIE WILCOX: Must have a bladder the size of a pea, 'cause he just went.

(Brody walks around the corner and stops to lean back against the lockers. He takes a breath. Lori Trammel sees him and turns to look at what’s gotten him freaked. She sees Claire and Zach.)

(Claire looks back at her.)

CUT TO:

[INT. (LAS VEGAS) CASINO – DAY]

VOICE: (o.s.) All right, here we go.

(It’s a high-stakes poker game. The man in the cowboy hat has three aces, king-high. He smiles at Ando, who has a pair of queens. Hiro sits behind Ando. Ando nods to his right.)

(Hiro squeezes his eyes shut and concentrates. Suddenly, Ando is looking at a full house, aces and queens. Ando glances to his right and doesn’t see Hiro, who is now on his left. Hiro smiles.)

(Ando puts his cards down on the table.)

ANDO: Full house! I win again!

(The crowd sitting around the table cheers.)

(The man in the cowboy hat stares at the nothing cards in his hand.)

(The dealer pushes the chips toward Ando.)

ANDO: Thank you.

(Ando turns and high-five’s Hiro.)

(Across the table, the man in the cowboy hat seethes.)

CUT TO:

[INT. (LAS VEGAS) CASINO – DAY]

(Niki sits at the bar having a drink. She folds the piece of paper she has and puts it in her drink. In the back of the room, Nathan’s campaign manager walks with Nathan.)

CAMPAIGN MANAGER: You're meeting Miss Sakamoto tomorrow at 11 a.m.

NATHAN: No Linderman?

CAMPAIGN MANAGER: Uh, he's, quote, "otherwise occupied."

NATHAN: "Occupied." What is he, a porta-potty? Don't let Sakamoto geisha you. Get him in the room.

CAMPAIGN MANAGER: Okay, I will.

(Nathan turns and bumps into Niki, nearly spilling over her drink.)

NIKI: Oh, my God. I'm sorry.
NIKI: I'm so sorry.

NATHAN: My fault. Are you all right?

NIKI: Yeah. Oh ... so much for Celine Dion.

(She takes her ticket out of her drink.)

NATHAN: Just the one ticket?

NIKI: Yeah. I'm, um ... here for a conference, and ... I don't really like the people that I work with, so ...

NATHAN: So you're traveling alone, is that it?

(Niki chuckles. They share a smile.)

CUT TO:

[INT. (NEW YORK) SUBWAY]

(Peter and Mohinder are on the subway.)

PETER: I've only met him the once, but ... maybe I ought to do the talking to start with. He's, heh, he's kind of a heroin addict.

MOHINDER: Heroin addict? You neglected to mention that.

PETER: Hey, just suspend the skepticism, at least until you meet him.

MOHINDER: The default scientific position is skepticism.

PETER: Your father managed to get around it. I don't know, he took a pretty big leap. Gotta respect that.

MOHINDER: I did more than respect it. I believed him. I had to. I was his son.

PETER: Can't be only one reason why you believed him.

MOHINDER: Look at what's happening to our planet: overpopulation, global warming, drought, famine, terrorism. Deep down, we all sense something's not right. My father always talked about how an entire species will go extinct while others, no more unique or complex, will change and adapt in extraordinary ways. He had a romantic take on evolution.

PETER: And you don't? You're both geneticists.

MOHINDER: That is also evolution. We're all just variations of the last model.

PETER: Yeah, cheap knockoffs of our fathers.

CUT TO:

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

(Isaac stands on the floor mural of New York exploding. He puts a blank canvass on the easel and secures it into place. He takes a couple steps away from the canvass.)

VARIOUS CUTS:

(Isaac pulls the table with paint supplies closer to him. He preps his supplies.)

(Isaac takes his leather pouch of drug paraphernalia and goes to the small table. He opens the pouch and takes out a syringe. He looks at the blank canvass and injects himself.)

(The drug takes control. Isaac slips off his chair and onto the floor.)

ZOOM INTO ISAAC’S EYE

[EXT. ROOFTOP – NIGHT]

(Isaac is standing on top the roof of a building and is looking down. He turns to the side and sees a HOMECOMING banner hanging across the wall.)

(A blonde-haired girl in a cheerleader’s uniform runs out of the building. She screams as she runs up the amphitheatre stairs. She trips and falls.)

(Isaac watches from above.)

(A large looming shadow appears over her from a figure in the doorway.)

(Isaac raises his hands in a painting motion.)

(The scene ripples –

-- and we see Isaac painting the scene.)

PETER: (o.s.) Isaac.

INTERCUT WITH:

[EXT. HALLWAY OUTSIDE ISAAC’S DOORWAY – NIGHT]

(Peter and Mohinder stand outside the door.)

PETER: Hey, it's Peter Petrelli. I'm a friend of Simone's.

(Inside, Isaac paints.)

(Peter knocks on the door.)

PETER: (o.s.) Isaac?

(Peter continues to knock.)

PETER: (o.s.) Isaac.

(We move around Isaac and see that the pupils of his eyes are white from his trance-like state.)

FADE OUT.

(COMMERCIAL SET)

FADE IN:

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

(Claire closes the locker door. Lori Trammel is leaning up against the lockers next to her.)

CLAIRE: Oh, hi, Lori.

LORI TRAMMEL: Hey. I saw you go off with Brody Mitchum last night at the bonfire.

CLAIRE: So?

LORI TRAMMEL: So ...what happened?

CLAIRE: Nothing. Nothing happened.

LORI TRAMMEL: I went off with Brody Mitchum once. "Nothing" happened to me too.

(Lori looks over at Brody, who is harassing and trying to kiss another girl who doesn’t seem interested. It’s clear to Claire that Brody’s not going to stop.)

(Claire looks at Lori and over at Brody.)

CUT TO:

[EXT. (LAS VEGAS) CASINO – NIGHT]

(Hiro and Ando are coming down the escalators in their new matching gray expensive-looking suits.)

HIRO: (subtitled) All of this is wrong. We shouldn’t be using my powers ... ... for personal gain. We’re supposed to be saving the world.

ANDO: (subtitled) We will. But there’s no law against ... ... looking good while we do it, is there? You said you wanted a costume. Now you have one.

(Just then, three large men dressed in black block the escalator. Hiro waves to them. Ando looks worried.)

ANDO: (subtitled) Hiro --

(Ando turns and runs back up the down escalator. The thugs grab Hiro. One of them runs up to get Ando. He catches Ando and drags him back down the escalator.)

HIRO: (not subtitled) (in Japanese)

[INT. BACK ENTRANCE – NIGHT]

(The back door opens. The thugs pull Hiro and his bags out. They toss Hiro and Ando down the stairs and throw their bags out as well.)

ANDO: (shouts) You make a big mistake!

(The door slams shut.)

(Hiro groans as he gets up.)

ANDO: Okay ... (subtitled) Which casino do we hit next?

HIRO: (subtitled) Are you crazy? No more gambling! We need to get back to our mission.

ANDO: (subtitled) Hey. Can you tele-port us ... ... to the craps table in Caesar’s Palace?

HIGH ROLLER (IN COWBOY HAT): (o.s.) Hello, boys.

(Hiro and Ando turn to see the man in the cowboy hat and his three thugs walking toward them.)

HIGH ROLLER (IN COWBOY HAT): I think you have something that belongs to me. See ... I had three aces at the poker table. Next thing I know, you two had 'em.

HIRO: (subtitled) What is he saying?

ANDO: (subtitled) Relax. I have it covered.

(Hiro sort of smiles.)

ANDO: You better back off. My friend has very big power. Can take you all out. Make you wish you never been born!

(The man in the cowboy hat motions to the thug on his left. The thug steps up to Hiro and punches him in the face, knocking him out.)

(Ando stares at the man in the cowboy hat.)

CUT TO:

[INT. (LAS VEGAS) HOTEL ROOM – NIGHT]

(Niki looks at the view out the window.)

NIKI: Oh, my God. Look at this view. Everything looks so pretty when you're up high.

NATHAN: Yes, it does.

(Nathan offers her a drink.)

NIKI: Thank you.

(She chuckles.)

NATHAN: God, don't you ever think what it'd be like to just ... soar over that desert?

NIKI: Hmm. I took a helicopter ride over Red Rocks Park one time.

NATHAN: I wasn't thinking in a helicopter. I was thinking more like ... flying.

NIKI: Flying?

(They smile.)

NATHAN: You know, if I were your husband, I don't think I'd let you travel alone.

NIKI: I don't have a husband. He left.

NATHAN: For another woman?

NIKI: I wish.

NATHAN: Man?

(She laughs.)

NIKI: I would take that one too. He ... he's ... sort of a ... criminal. And by "sort of," I mean that he is.

NATHAN: Well, then, my questions end there.

NIKI: Thanks.

NATHAN: You have any kids?

NIKI: That's another question.

NATHAN: Right.

NIKI: One. A boy genius.

NATHAN: Boy?

NIKI: Boy.

NATHAN: I've got two boys. Not geniuses, just boys. It's weird having children, isn't it? It's like ... you've gotta be two different people.

NIKI: Like the person that they see and the person that you really are?

NATHAN: Something like that, yeah.

NIKI: Yeah. Still married?

NATHAN: Yeah, I am.

NIKI: Mmm. Happy?

NATHAN: Yes, very.

NIKI: Yeah. I guess my questions stop there.

(Nathan steps forward and kisses her.)

NIKI: I can't.

NATHAN: I know, I know, I know.

NIKI: I want to. I do.

NATHAN: Shh, shh, shh. I understand. It's okay.

NIKI: I had a really great time. Surprisingly. Thank you. Good night.

(Niki leaves.)

NATHAN: Good night.

(Nathan finishes his drink.)

[INT. HALLWAY OUTSIDE NATHAN’S ROOM / ELEVATOR – NIGHT – CONTINUOUS]

(SECURITY CAMERA VIEW: Niki walks along the hallway on her way to the elevators.)

(She presses the elevator button and waits. She looks at her reflection in the elevator doors and there are two Nikis there, one moving differently than she is.)

(The elevator bell dings and the doors open. Without warning, Linderman’s henchman grabs Niki from around her neck and pulls her into the elevator with him. He slams her up against the elevator wall.)

LINDERMAN’S HENCHMAN: It would be a shame to send you back to the congressman covered in bruises.

NIKI: I have to get home to my son.

LINDERMAN’S HENCHMAN: And what are you gonna tell your son? Huh? How you gonna explain to your son what happened to you when you didn't honor your agreement?

NIKI: Look, I will find another way to pay Linderman.

LINDERMAN’S HENCHMAN: No, let me rephrase that question. How are you going to explain to your son what happened to him when you didn't honor your agreement? You think about that, Niki.

JESSICA: Niki's not here right now.

(Jessica pushes the henchman away from her and kicks him several times.)

LINDERMAN’S HENCHMAN: Uhh!

(Through the closed elevator doors, we hear her beating him up. The elevator bell dings and the doors open. Linderman’s henchman falls out onto the floor.)

(Jessica steps forward and puts her heel against his temple.)

JESSICA: (calmly) If you threaten our son again, I'm going to put my heel through your skull. Do you understand?

LINDERMAN’S HENCHMAN: Yeah.

JESSICA: Do you understand?

LINDERMAN’S HENCHMAN: Yeah, yeah!

(Jessica steps out, picks up her pocketbook and heads back to Nathan’s room.)

[INT. HOTEL ROOM – NIGHT -- CONTINUOUS]

(The doorbell rings. Nathan opens the door and finds Jessica there.)

NATHAN: You forget something?

(Jessica steps into the room and kisses him. Nathan closes the door. She grabs his hand and starts leading him into the room. He pauses to put the latch on the lock.)

(She kisses him against the bedroom doorway. She grabs him and pushes him down into the chair. He smiles as she undresses.)

(She saunters over to him, leans into him and kisses him. We linger on the SYMBOL tattooed on her right shoulder blade.)

(Up in the fire alarm, a light blinks on and off. A camera is recording the session between Jessica and Nathan.)

CUT TO:

[INT. (NEW YORK) SUBWAY – NIGHT]

(Mohinder and Peter are on the subway.)

PETER: What if we went back tomorrow?

MOHINDER: Look, I'm not trying to discount your experience. It's just a week ago I was in my own country, a respected professor. Now you want me to stalk a heroin addict who allegedly ... (voices slows down) ... paints ... the ... future ...

(Time stops. Everything stops except Peter.)

PETER: Mohinder?

[EXT. SUBWAY – NIGHT]

(The subway train is frozen on the tracks.)

[INT. SUBWAY – NIGHT]

(Peter turns around and is stunned by what he sees. Everyone on the subway is frozen in time. He can’t believe it.)

FADE OUT.

(COMMERCIAL SET)

BLUR IN:

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

(Isaac is on the floor. He stirs and wakes up. He looks at the painting of the cheerleader in the amphitheatre being chased by the menacing shadow.)

(He turns and looks at another painting of Peter being attacked by flying locker doors.)

(And yet another painting of Ando and Hiro looking up at the bloodied HOMECOMING banner.)

(And finally at the close-up of the blonde-haired cheerleader.)

DISSOLVE TO:

[EXT. (ODESSA) UNION WELLS HIGH SCHOOL – ATHLETIC DEPARTMENT AMPHITHEATRE -- NIGHT]

(CLAIRE sits on the steps of the amphitheatre. Brody Mitchum and the other football players step out of the locker rooms as they finish for the night.)

BRODY MITCHUM: All right.
BRODY MITCHUM: All right.

(Brody walks out and sees Claire on the steps.)

BRODY MITCHUM: What are you doing here so late?

CLAIRE: Making banners for Spirit Week. Jackie was gonna give me a ride home, but she left without me. Can I get a lift?

BRODY MITCHUM: Yeah. I guess.

CLAIRE: Thanks.

(Claire stands up.)

CLAIRE: Hey, you drive a stickshift, right? Can I drive?

(He motions and Claire jumps down the steps to walk alongside Brody as they head out.)

[EXT. STREET (STOCK) – NIGHT]

(Brody’s car speeds along the road.)

[INT. BRODY’S CAR (SPEEDING) – NIGHT]

(Claire shifts the car into gear)

CLAIRE: Don't you think it's a little weird that neither one of us remember what happened the night of the bonfire?

BRODY MITCHUM: Must have been some night.

CLAIRE: Yeah, must have.

(The speedometer rises up past 60 mph. The light turns from yellow to red. Claire speeds through it.)

BRODY MITCHUM: Slow down. That was a red light.

CLAIRE: Whoops.

(She shifts again.)

BRODY MITCHUM: You know how to drive a stick-shift, don't you?

CLAIRE: There's a lot of things that I know. Like what you did to me.

BRODY MITCHUM: What'd I do to you? I knew it. I knew this would happen. You get drunk, you come on to me, and it's my fault?

CLAIRE: You're a liar.

BRODY MITCHUM: Can't rape the willing, Claire. You wanted it as bad as I did. Stop the car.

CLAIRE: Did I want it as bad as Lori Trammel?

BRODY MITCHUM: Lori Trammel is a slut.

CLAIRE: Is that what you're gonna say about me?

BRODY MITCHUM: I already do.

CLAIRE: You're just gonna keep at it, aren't you?

BRODY MITCHUM: (smug) You should let it go, Claire. There's nothing you can do about it.

(Claire looks at the gloating look on his face.)

CLAIRE: I can do this.

(The car hits a dip, flies forward --

BRODY MITCHUM: Aah!

-- and smashes front first into the side of a building.)

CUT TO:

[INT. (LAS VEGAS) NATHAN’S ROOM – NIGHT]

(Nathan and Niki are sleeping in bed.)

(We pull back and find Mr. Bennet standing at the foot of the bed watching them sleep.)

MR. BENNET: Just take the one.

(The Haitian moves toward Nathan.)

CUT TO:

[EXT. SUBWAY – NIGHT]

(Peter is inside the subway frozen in time.)

[INT. (NEW YORK) SUBWAY – NIGHT]

(He slams his hand against the glass window. He turns around and heads back through the car. He’s spooked and looks around. He reaches Mohinder and stops.)

(He slowly turns around. Future Hiro is standing behind him with a samurai sword slung around his back. Peter turns around.)

FUTURE HIRO: Peter Petrelli?

(Peter backs away from him.)

PETER: How is this happening?

FUTURE HIRO: I'm sorry if I scared you. You look different without your scar.

PETER: I don't know you, buddy.

FUTURE HIRO: Not yet. My name is Hiro Nakamura. I'm from the future. I have message for you.

(Peter and Hiro look at each other.)

FADE 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
1X04: COLLISION
ORIGINAL AIR DATE ON NBC: 10/16/2006
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 (Jessica) 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:
NORA ZEHETNER as Eden McCain
JAMES KYSON LEE as Ando Masahashi
MATT LANTER as Brody Mitchum

EUGENE BYRD as Campaign Manager
DANIELLE SAVRE as Jackie Wilcox
ASHLEY CROW as Sandra Bennet
DEIRDRE QUINN as Tina

THOMAS DEKKER as Zach
NICOLE BILDERBACK as Ms. Sakamoto

and
JACK COLEMAN as Mr. Bennet (HRG)

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

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: BRYAN FULLER
Directed by: ERNEST DICKERSON

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

nbc.com

* Tailwind Productions
* NBC Universal Television Studio

Co-Starring:
JIMMY JEAN-LOUIS as The Haitian
TONI LEWIS as Medical Examiner
MATT BUSHNELL as Linderman’s Henchman
KRISTEN YEITCH as Roulette Dealer

Co-Starring:
MARK ALLAN STEWART as High Roller
ASHLEE GILLESPIE as Lori (Trammel)
MARK NARING as Nevada State Trooper
RANDALL BENTLEY as Lyle Bennet
PAYDIN LOPACHIN as Brody’s Next Victim

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: MICHAEL S. MURPHY, A.C.E.

Unit Production Manager: DANIEL SCHNEIDER

First Assistant Director: TONY GITTELSON
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: GREG SOLOMAN / GLENN HETRICK
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: LOIS BLUMENTHAL
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:03/24/2007~lky
http://www.kilohoku.com/