Heroes | Episode 1-08 Transcript | Seven Minutes To Midnight

HEROES
1X08: SEVEN MINUTES TO MIDNIGHT
ORIGINAL AIR DATE ON NBC: 11/13/2006
TRANSCRIBED FROM NBC

Written by: TIM KRING
Directed by: PAUL EDWARDS

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: Mohinder dreams of his father. He finds a file folder hidden in the desk and learns he had a sister. Mr. Bennet needs Isaac to paint another painting. Hiro and Ando meet Charlie. Sylar kills Charlie and Hiro goes back into the past to change the future. Matt and Ted talk and discover they have their abduction in common. Ted escapes custody.
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HEROES
1X08: SEVEN MINUTES TO MIDNIGHT
==========================

FADE IN:

[TITLE CARD: HEROES]

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

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

NARRATOR: (v.o.) Ordinary people across the globe discover extraordinary abilities –

[HIRO NAKAMURA]

(Hiro has stopped time. He pokes his finger in the center of a tire hanging suspended in mid-air.)

NARRATOR: (v.o.) -- and their destiny is bringing them together.

(Micah stands next to Ando while DL attempts to rescue the woman driver in the car crash and while Hiro attempts to help.)

MICAH: Dad!
ANDO: Hiro!

(The car explodes. Hiro concentrates and stops time. He looks around.)

[MATT PARKMAN]

NARRATOR: (v.o.) The cop who hears thoughts uncovers a mystery he didn’t want to solve.

(Matt decides to be honest with Janice.)

MATT: There’s something that we need to talk about.

(He reads Janice’s mind.)

JANICE PARKMAN: (v.o., thinking) I thought I’d been so careful. Oh, God. He knows about the affair.

(In the locker room, Matt reads Tom McHenry’s mind and punches him in the face.)

[THEODORE "TED" SPRAGUE]

(Ted is having his mug photo taken.)

NARRATOR: (v.o.) And an extraordinary new hero is discovered.

(CUT TO: In the hospital, Ted grabs the nurse and holds her in front of him. Matt and Audrey pull out their guns.)

MATT: Let her go!

AUDREY HANSON: You let her go or I shoot!

TED SPRAGUE: Do you have any idea what would happen if you did that? Because I don’t!

(He lets the nurse’s arm go and she finds her arm with a hand-shaped burn on it.)

[ISAAC MENDEZ]

(Isaac uncovers the SYMBOL on one of the paintings.)

NARRATOR: (v.o.) As an artist paints the impossible,

(CUT TO: Isaac talks with Simone.)

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

(TOP VIEW DOWN: On the floor mural of New York City exploding.)

[MR. BENNET]

(Mr. Bennet looks down at Matt.)

NARRATOR: (v.o.) The face of evil is after him.

(Mr. Bennet is on the phone.)

MR. BENNET: (to phone) Bring him in.

(CUT TO: Isaac opens the front door and finds Eden standing there.)

EDEN MCCAIN: Isaac Mendez?

[MOHINDER SURESH]

(Mohinder finds Sylar’s secret back room.)

NARRATOR: (v.o.) And a son turns his back on his father’s search for heroes.

(Mohinder takes a digital photo of Sylar’s wall map, which is much like his father’s – only with more string, pins and photos on it.)

(CUT TO: Mohinder takes the urn out of the box.)

MOHINDER: My father’s ashes.

(He talks with Eden.)

MOHINDER: I’m no closer to understanding my father’s research.

FADE OUT TO:

[TITLE CARD: HEROES]

NARRATOR: (v.o.) And now, Heroes continues.

FADE OUT.
END OF NBC INTRODUCTION

FADE IN:

[EXT. SPACE]

(STOCK footage of rotating earth.)

MOHINDER: (v.o.) The earth is large. Large enough that you think you can hide from anything--from fate, from God. If only you found a place far enough away. So you run.

CUT TO:

[EXT. (INDIA) BEACH – DAY]

CAPTION:
MOHINDER SURESH

(Mohinder holds the urn in his hands as he chants. He’s joined by other men on the sand on a beach.)

CAPTION:
KANYAKUMARI, INDIA

(The man next to him removes the urn’s cover.)

MOHINDER: (v.o.) To the edge of the earth. Where all is safe again, quiet and warm.

[EPISODE TITLE]
CHAPTER EIGHT
"SEVEN MINUTES TO MIDNIGHT"

(Mohinder takes the urn to the edge of the water. Nirand breaks away from the group and takes a couple of steps after Mohinder. He stops and keeps his distance.)

MOHINDER: (v.o.) The solace of salt air.

(Mohinder throws the ashes over the water.)

(CAMERA PULLS BACK and children run on the sand, women walk in the foreground.)

MOHINDER: (v.o.) The peace of danger left behind.

(Mohinder turns and heads back to the group. He hands the empty urn to Nirand.)

MOHINDER: (v.o.) The luxury of grief.

(Someone else covers the urn. Mohinder waves burning incense.)

MOHINDER: (v.o.) And maybe for a moment ... you believe you have escaped.

LATER:

(Mohinder’s mother walks up to him.)

MRS. SURESH: Mohinder. (Mohinder turns.) You mustn't look back, Mohinder. Your father's moved on to the next life.

(He sniffs and cries.)

CUT TO:

[INT. (ODESSA) SECRET OFFICES – ISAAC’S ROOM – DAY]

(Eden tends to Isaac, dabbing his brow with a towel. Isaac opens his eyes.)

EDEN MCCAIN: Welcome back. I thought I'd clean you up a little bit.

CAPTION:
ISAAC MENDEZ & EDEN MCCAIN

EDEN MCCAIN: You've had a rough couple of days, but you're doing great. You'll be completely clean in no time.

ISAAC: And you're sure I'll still be able to ... paint?

EDEN MCCAIN: After I teach you, yes. The drugs were just a facilitator. We're gonna help you, Isaac. That mural on the floor? We're not gonna let that happen.

(She pushes his hair back and starts putting shaving cream on his cheek. He stays her hand.)

ISAAC: You seem pretty sure.

EDEN MCCAIN: I am pretty sure.

ISAAC: Because –

EDEN MCCAIN: Because I went through the same thing myself.

(She turns his chin and uses the straight razor to shave him.)

CUT TO:

[INT. SECRET OFFICES – MR. BENNET’S OFFICE – DAY]

(Eden walks into the office. Isaac’s paintings are displayed around the room. They range from an explosion in New York, Hiro and Ando under the bloodied HOMECOMING banner, locker doors thrown at Peter, a car exploding.)

(Eden continues to look at the paintings around the room. She stops at the painting of Claire being chased by a large shadow. She continues to a painting of a red-haired waitress.)

CUE SOUND: (PRE-LAP) BELL DINGS

CUT TO:

[INT. (MIDLAND) BURNT TOAST DINER – DAY]

(Charlie picks up the orders. She turns to take them to the customers.)

CAPTION:
BURNT TOAST DINER
MIDLAND, TEXAS

CHARLIE ANDREWS: All right.

(She serves the plates to the sheriff and deputy.)

CHARLIE ANDREWS: You need anything else, Sheriff? (He doesn’t answer.) Lloyd?

(The sheriff is working a newspaper crossword puzzle.)

SHERIFF: Mm-hmm. Gun to shoot Will Shortz.

(Charlie laughs.)

CHARLIE ANDREWS: Let me see.

SHERIFF: Ghandi burial ground, 11 letters. Something ... Ganges, maybe?

CHARLIE ANDREWS: Mm, Kanyakumari. K-A-N-Y-A, and then you got the rest right there.

DEPUTY LLOYD: How the hell did you know that, Charlie?

SHERIFF: That one of the stops on your trip?

CHARLIE ANDREWS: Oh, trip around the world's pricey. Right now, I can only make it as far as Oklahoma City.

DEPUTY LLOYD: Who won the Academy Award for best actor in 1981?

SHERIFF: She's not Google, Lloyd.

CHARLIE ANDREWS: Henry Fonda. On Golden Pond. You know, I preferred Dudley Moore in Arthur, but if you really wanna test me, you oughta ask me if I remember your credit card numbers.

(She puts their bill on the table, turns and winks at the sheriff. The sheriff laughs.)

(Charlie turns and checks on the other customers. In the booth on the other side of the diner, Ando and Hiro look at their menus.)

ANDO: (subtitled) No wonder everyone in America is so fat ... all there is to eat is waffles and french fries.

HIRO: (subtitled) You like french fries.

ANDO: (subtitled) I’ve gained four kilos from french fries.

HIRO: (subtitled) We need our strength. Soon we’ll meet Peter Petrelli and help him save the cheerleader’s life. It is ... out mission.

(Charlie stops at their table.)

CHARLIE ANDREWS: Hey, anything looking good, guys?

(Hiro glances at his menu, then smiles at Charlie.)

HIRO: Every-seeng good o-looking.

(She nods and giggles.)

CHARLIE ANDREWS: Wow. You two are a long way from home. We don't get a lot of tourists out here.

HIRO: Turisto? How you know we turisto?

CHARLIE ANDREWS: It's just a guess. (to Hiro) What's that on your jacket? Bachigai. That means, "I don't belong here," right?

HIRO: You know Japanese?

CHARLIE ANDREWS: Well, I got this Japanese phrase book for my birthday about six months ago, and I started poking through it last week. Um ...

(Hiro smiles.)

CHARLIE ANDREWS: (subtitled) "One bento box ... with shrimp, please."

(Hiro claps.)

HIRO: Sugoi!

(Ando stares at her.)

CHARLIE ANDREWS: (subtitled) I’m still learning. Tokyo ... is going to be the third stop on my trip someday.

ANDO: (astonished) You learned all that from a book in just one week?

HIRO: Very good memory!

CHARLIE ANDREWS: Yeah, I remember lots and lots. It's just something that my brain started doing lately. Whether I want it to or not. Um ... so what'll it be?

HIRO: You pick. Someseeng delicious for me. And, uh, for my friend, he needs food for fatto, fatto.

(Charlie laughs. Ando’s smile fades.)

CHARLIE ANDREWS: Okay. Well, I got just the thing. One chilaquiles, and one cottage cheese plate coming right up.

(Charlie turns and jots the order down.)

(A dark figure wearing a baseball cap sits at the table in front of the picture glass windows. His face is obscured by the shadows, a coffee cup on the table in front of him. Hiro and Ando continue their conversation.)

HIRO: (subtitled) Who says no one in America is nice.

(The man in the baseball cap puts his hand against the table. The coffee cup slides along the table and stops in his grip. He’s wearing a broken wristwatch with the hands stopped at 11:53.)

CUT TO:

[TITLE CARD: HEROES]

FADE OUT.
END OF TEASER

(COMMERCIAL SET)

FADE IN:

[EXT. (INDIA) BEACH – DAY]

(Mohinder sits on the steps of the structures, putting his sandals on. Nirand walks up to him.)

NIRAND: Please tell me you're not going back there again.

(Nirand sits next to him.)

MOHINDER: There are no answers for me there. I belong here.

NIRAND: I'm glad to hear you say that.

MOHINDER: You think I was a fool to go.

NIRAND: I think you had to.

MOHINDER: It's an odd country, America. Everyone there seems so lonely. Including me. I'm not sure what I accomplished by going there. Only seeing things I wish I'd never had.

(Mohinder looks across the distance at Mira Shenoy, who is talking with a group of people. At that moment, she looks back at him. Nirand notices.)

NIRAND: Mira came to pay her respects to your father, Mohinder. Maybe there's more waiting here for you than just your professorship. The new semester begins ... on Monday. I didn't cancel your classes. You can move into your father's old office, Mohinder.

MOHINDER: Thank you.

(Nirand nods.)

DISSOLVE TO:

[EXT. (CHENNAI) STREETS – DAY]

(Mohinder carries a box of stuff through the busy streets. He slows as he comes to the large building.)

CAPTION:
CHENNAI UNIVERSITY

[INT. CHANDRA'S OLD OFFICE – DAY]

(The door opens and Mohinder walks in with the box of stuff. He puts the box down on a chair and turns on a lamp, his eyes on the wall map. His fingers touch near NEW YORK.)

(CUT TO: He picks up his father’s book and looks at it. He flips it over to look at his father’s photo on the back cover. He shakes his head and puts the book in a box.)

(He reaches for the bottom desk drawer and finds it locked. He braces his hand on the desk and moves the mouse. The monitor activates, showing the scrolling pattern on the screen. He presses a key and a message box appears:

ARE YOU SURE YOU WANT TO QUIT?
YES NO

(Mira walks into the room. Mohinder looks up.)

MOHINDER: Mira.

MIRA SHENOY: I wasn't sure you'd speak to me at the funeral. I didn't want to take that chance, so I left.

MOHINDER: I won't lie to you. I was surprised to see you there. Or anywhere, for that matter.

MIRA SHENOY: I said some terrible things to you. About your father, about his theories. But now that he's dead, I feel --

MOHINDER: What's done is done.

MIRA SHENOY: Is it? Your mother tells me you're not returning to New York.

MOHINDER: New semester starts next week. My life is here.

(Mohinder puts some books in the box.)

(Mira sighs.)

MIRA SHENOY: I've been promoted at the company. Head of all genetic research. Can you imagine?

MOHINDER: Good for you.

MIRA SHENOY: No, good for you. It's the sort of cutting-edge science we used to talk about late into the night.

MOHINDER: The world's worst pillow talk, I'd say.

MIRA SHENOY: I was hoping I could convince you to come in for an interview with the partners. Only I'd have to know that your father's work, all of his theories, would stay right where they are. Packed away in that box. I don't expect an answer right now. But you will think about it, won't you?

MOHINDER: Yes.

(Mira nods and turns to leave. She stops near the door.)

MIRA SHENOY: We didn't say hello.

MOHINDER: Hello, Mira.

MIRA SHENOY: Hello, Mohinder.

(She leaves.)

(Mohinder turns and looks at the monitor:
ARE YOU SURE YOU WANT TO QUIT?

CUT TO:

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

(FBI Agent Elisa Thayer talks with Audrey Hanson while Matt waits nearby.)

ELISA THAYER: I need you to handle this. I'll give you one hour.

(Audrey turns and walks angrily past Matt.)

AUDREY HANSON: You're an idiot, Parkman, do you know that?

MATT: Wow, good morning to you, too.

CAPTION:
F.B.I. HEADQUARTERS
LOS ANGELES

AUDREY HANSON: You think I wouldn't find out about you assaulting a fellow officer?

MATT: I didn't assault him. I -- I just hit him.

AUDREY HANSON: This is why I don't like needing people. Nine times out of ten, they let you down.

MATT: Wow, that's an optimistic view of the world.

AUDREY HANSON: Just an observation.

MATT: And how'd this get to be about you?

AUDREY HANSON: Because it was a stupid rookie move, and you could've jeopardized my investigation. How serious is this? Are you getting suspended?

MATT: I'll work it out.

AUDREY HANSON: Did he deserve it?

MATT: Yeah. Yeah, he deserved it.

(Audrey turns and continues through the hallway.)

CUT TO:

[INT. FBI HEADQUARTERS – OBSERVATION ROOM – DAY]

(Ted Sprague sits in the interview room. The door to the observation room opens. Audrey and Matt walk in.)

MATT: Is he talking?

AUDREY HANSON: Nope. And he's got one hour before Homeland Security sends him down the rabbit hole as a suspected terrorist.

MATT: Terrorist? We both know he's not a terrorist. His wife was dying. He lost control.

AUDREY HANSON: Of what? This guy puts out 1,800 curies of radiation without ever coming in contact with nuclear material. We still don't know how that's possible. You know, three months ago, my job made perfect sense to me. And then I pulled the Sylar case. Crime scenes with no fingerprints. Bodies frozen, brains removed. And now this guy. That's two people wh – (She looks at Matt.) -- make that three people who can do things I just can't explain.

MATT: What're you saying, you think I'm like them?

AUDREY HANSON: I don't know what I think. But if we're gonna find Sylar, I need answers.

MATT: I have no idea how this happened.

(He points to his head.)

AUDREY HANSON: Well, then, I guess that just leaves Ted here.

(Audrey hands Matt a DOSIMETRY badge.)

MATT: What's this?

AUDREY HANSON: Detects radiation levels. As long as that's dark green, we're good.

MATT: Oh -- okay, what's the bad color?

AUDREY HANSON: Not green.

CUT TO:

[INT. (MIDLAND) BURNT TOAST DINER – DAY]

(Charlie reads to Hiro in Japanese. They’re sitting at the counter, a book open between them.)

CHARLIE ANDREWS: (subtitled) "The dance floor ... light are cool."

HIRO: (in English) Perfecto! You ready for disco.

(Charlie laughs.)

CHARLIE ANDREWS: I got it right?

HIRO: Almost.

CHARLIE ANDREWS: Well, don't let me off easy now.

(Hiro says the phrase in Japanese.)

HIRO:

(Charlie repeats the phrase in Japanese.)

CHARLIE ANDREWS:

(Hiro applauds enthusiastically.)

CHARLIE ANDREWS: (subtitled) "I don’t like this song ... let’s get a drink."

(Hiro looks surprised.)

HIRO: You learn very fast.

CHARLIE ANDREWS: Yeah, lately, I sorta remember everything I read. It's kind of a skill, I guess.

HIRO: My skill much more complicate.

CHARLIE ANDREWS: Oh, yeah? What can you do?

(Hiro hesitates.)

HIRO: I can teach Japanese to anyone.

CHARLIE ANDREWS: (giggles) Oh.

(They look at each other.)

CHARLIE ANDREWS: (subtitled) You’re sweet.

(Hiro looks at her a moment, then flips through the book on the table to find out what it means.)

CHARLIE ANDREWS: Sweet means nice. Cute.

HIRO: That's not in book.

CHARLIE ANDREWS: (subtitled) No. It is just true.

(They chuckle.)

CHARLIE ANDREWS: I like the way your cheeks wobble when you concentrate.

(Hiro scrunches his face, imitating concentration. Charlie laughs.)

CHARLIE ANDREWS: Yeah.

(The order bell dings.)

CHARLIE ANDREWS: Oh, oh, sorry. Someone's Denver omelet's up. (subtitled) I’ll be right back. Here?

(She giggles and leaves the counter stool to get the order. Hiro turns and yells to Ando.)

HIRO: (subtitled) I’m sweet!

(Ando sits in his booth on the other side of the diner. He glances sideways from the newspaper he’s reading, then back at Hiro. He grins and gives Hiro an "OKAY" sign.)

(Meanwhile, Sylar sits at the table in front of the picture window. He picks up his cup.)

CUT TO:

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

(A full glass of water is placed on the table in front of Ted Sprague. He’s dressed in orange overalls and is handcuffed.)

(Audrey steps away.)

TED SPRAGUE: They won't even let me go to my wife's funeral. All I wanted was to be left alone.

AUDREY HANSON: We need you to answer a few more questions.

TED SPRAGUE: You can't get your partner here to look inside my head?

AUDREY HANSON: We need to have it on the record. You burned that doctor to the bone. Probably gave your wife cancer. How'd you do it?

(Matt sits down at the table.)

MATT: Ted. Ted, if you don't let us help you, they're gonna take you away, and nobody'll listen to you.

TED SPRAGUE: It doesn't matter. Nothing matters. I killed my wife!

(He hits his hands on the table, startling Matt. Matt looks down at his badge and sees that it’s not dark green anymore.)

MATT: Audrey.

(Audrey doesn’t notice her badge.)

TED SPRAGUE: You know, just lock me up. Execute me. Leave me the hell alone!

AUDREY HANSON: I wish we could, Ted.

TED SPRAGUE: Look, I don't know anything about any nuclear material!

MATT: Ted, Ted! You know what? Just relax.

TED SPRAGUE: Do you want me to be the terrorist, huh? Do you want me to be the bad guy? Fine, I'll blow this place apart.

(Ted holds the glass of water in his hands. The water in the glass is boiling.)

AUDREY HANSON: (shouts) Ted!

(Matt gets to his feet.)

MATT: Ted.

(Audrey takes her gun out and points it at Ted.)

AUDREY HANSON: Stop!

MATT: Ted!

AUDREY HANSON: Just stop!

TED SPRAGUE: Do it.

MATT: Ted.

TED SPRAGUE: Do it! Do it!

MATT: Ted, I know what you're going through.

TED SPRAGUE: Yeah, sure, you do.

(Matt pushes Audrey’s gun down so she’s not pointing it at Ted anymore.)

TED SPRAGUE: Yeah, like hell you do.

(The water in the glass continues to boil.)

MATT: Come on, Ted! You've seen what I can do. Okay? Something is happening to me, too. Ted, I was able to read your wife's dying thoughts. We're just trying to understand what it is. Ted. Come on, Ted. Relax.

(The water stops boiling.)

MATT: Come on. Just take me back. Take me back to -- to when this all started, okay? Just ... start from the beginning. Good.

TED SPRAGUE: (v.o., thinking) Blacked out. And when I woke up, everything started dying.

MATT: You blacked out. How long were you out for? Were you drinking? When you came to, did you have bruises on your arms?

TED SPRAGUE: (v.o., thinking) I'll do you one better.

(Ted shows Matt the marks on the back of his neck. Matt looks at Audrey.)

AUDREY HANSON: What's the matter, Parkman?

(Matt shows Ted and Audrey the marks on the back of his own neck.)

FADE OUT.

(COMMERCIAL SET)

FADE IN:

[INT. (CHENNAI) CHANDRA’S OLD OFFICE -- DAY]

(CU OF CHENNAI on the map. Mohinder takes the wall map down and puts it in the box.)

VARIOUS CUTS:

(Mohinder goes through the file folders. Mohinder leafs through a small pocket notebook. In the back of the notebook, he finds a key. He tucks the key back into the notebook.)

(Mohinder sits down and looks at the monitor:
ARE YOU SURE YOU WANT TO QUIT?

(His eyes drift closed and he dreams --

[INT. UNIVERSITY HALLWAY – DAY – DREAM SEQUENCE]

(Mohinder comes across Chandra and a younger version of himself arguing in the hallway.)

CHANDRA SURESH: I'm going.

MOHINDER: Don't walk away.

CHANDRA SURESH: It doesn't matter what you think. I'm not asking your opinion.

MOHINDER: Yes. How could I have forgotten -- you never have before. Why should now be any different?

CHANDRA SURESH: It is my life! I'm going, and that's final.

MOHINDER: Has it never occurred to you that your actions could affect anyone else?

CHANDRA SURESH: I don't have time for anyone else's feelings.

MOHINDER: Clearly!

CHANDRA SURESH: The world needs to know about my findings. That's all that's important.

MOHINDER: The world doesn't care. No one at the university cares. You're becoming a laughing stock. I can't cover for you any longer.

CHANDRA SURESH: I'm not asking you to.

MOHINDER: How will you support yourself? What will you do for money?

CHANDRA SURESH: Oh, I'll get by.

MOHINDER: How? Do you know what doctors do in the United States? They drive taxicabs. It is one thing to publish a book in the comfort of the university. It is another to leave everything behind -- your wife, your family, your job -- chasing a theory that is pure fantasy. It's a fool's errand.

CHANDRA SURESH: We'll see who will be the fool, won't we?

MOHINDER: Yes, I guess we will.

[EXT. SURESH HOME – YARD – DREAM SEQUENCE 2 (CONTINUOUS)]

(Mohinder comes across Chandra and Mrs. Suresh talking out in the garden.)

CHANDRA SURESH: Mohinder is right. I am abandoning my family, my job.

MRS. SURESH: You are. But I know you, Chandra, better than you know yourself. You will not stop thinking of this if you don't go. It will consume you and, eventually, all of us with it.

CHANDRA SURESH: He'll hate me for it.

MRS. SURESH: I'm not sure that he doesn't already.

CHANDRA SURESH: I should try to stay for his sake.

(He sits down.)

MRS. SURESH: Why? (She sits down next to him.) He will never take her place in your eyes. That has always been the case.

(Chandra doesn’t answer. This is a revelation to Mohinder. Just then, a soccer ball bounces in front of him. He stops it with his foot and picks it up. He turns and sees a young boy standing in the hallway near the steps. Mohinder walks over to him.)

MOHINDER: Who are you? What do you want?

(The boy points to the soccer ball. Mohinder tosses it to him. The boy turns and leaves.)

WHITE FLASH TO:
END OF MOHINDER’S DREAM

(Mohinder wakes up and rubs his eyes. He looks at the monitor screen:
ARE YOU SURE YOU WANT TO QUIT?

(Mohinder stands up and we linger on the monitor.)

CUT TO:

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

(Ted talks with Matt and Audrey.)

TED SPRAGUE: I was in, uh, Kansas a couple months back. I'd just made a big sale to the university hospital--dialysis machines.

(He laughs ironically.)

TED SPRAGUE: (mutters) Commission was gonna give Karen and me enough money to ...

(He sighs.)

TED SPRAGUE: I-I went to the, uh, the hotel bar. Buy everybody a few rounds. There weren't many people there--a couple from Wyoming, some professors, a student from, uh, Haiti.

(This catches Matt’s attention.)

TED SPRAGUE: The next thing I-I know, I'm waking up in my car. It's two days later, and I'm in Tempe, Arizona. These weird cuts and bruises all over me. A couple of days later, I start to notice things. I'd buy my wife flowers, and they'd wilt.

MATT: Okay, what about your health? I mean, were you sick? Do you have headaches?

TED SPRAGUE: Yeah. Headaches. But, uh ... Karen. The doctor said she had radiation poisoning.

MATT: From you?

TED SPRAGUE: I was killing her.

AUDREY HANSON: Are there any other bodies out there we don't know about?

(Matt looks incredulously at her.)

AUDREY HANSON: (mutters) I'm just saying.

MATT: This is not his fault. He's just trying to figure this out. Look, the same thing happened to me. Okay, I blacked out. I lost two days.

AUDREY HANSON: You should've told me about this.

MATT: I should've done a lot of things. Up until now, I haven't told anyone, not even my wife. And now I can't stop hearing people's thoughts. It's painful. I'm hearing things that I should not be hearing.

TED SPRAGUE: Like what?

MATT: Things that could ruin lives, things that ... could end marriages.

(He’s quiet for a moment.)

MATT: The guy that you described, the student. He was, uh, Haitian. Big guy? Bald?

TED SPRAGUE: Yeah, yeah.

MATT: I'm telling you, I think I saw this guy right before -- right before I blacked out too.

AUDREY HANSON: What are you guys talking about? A Haitian guy?

TED SPRAGUE: These things that we can do, th--they're not normal. We were cut. W-we were injected. Blacked out, who knows what they did to us?

MATT: Or how they changed us.

(The door opens. Agent Thayer walks in with two FBI agents.)

ELISA THAYER: Time's up.

MATT: What?

AUDREY HANSON: Just a couple more minutes.

ELISA THAYER: (to Matt) And you, you shouldn't even be here. Your badge has been suspended.

(Audrey is surprised at Matt.)

ELISA THAYER: (to Audrey) Did he tell you where the nuclear material is?

(The agents get Ted.)

AGENT: (to Ted) Move it.

ELISA THAYER: (to Audrey) He's coming with me.

MATT: What? No, you can't take him right now.

AUDREY HANSON: Yeah, they can.

TED SPRAGUE: (to Matt) Find the Haitian.

(They pull Ted out the door.)

TED SPRAGUE: Find him!

(Agent Thayer closes the door behind them. Matt whirls on Audrey.)

MATT: You gotta get him back in here.

AUDREY HANSON: I can't.

MATT: What do you mean you can't? You heard what he said. He's gonna help me figure out what happened to me.

AUDREY HANSON: Why did you lie to me about being suspended?

MATT: Okay, so I left that part out but you have come to me and asked for my help and I come running to you every single time. So now I'm asking for your help. All right, get him back in here, so I can talk to him!

AUDREY HANSON: I'm sorry. It's out of my hands.

(Matt looks at Audrey. He turns and leaves the room.)

CUT TO:

[EXT. (ODESSA) PRIMATECH PAPER CO. (STOCK) – DAY]

CAPTION:
PRIMATECH PAPER CO.
ODESSA, TEXAS

(A car parks in the stall. Mr. Bennet gets out of the car and heads for the building.)

CUT TO:

[INT. PRIMATECH PAPER CO. – ELEVATOR / HALLWAY – DAY]

(The elevator stops. The worker opens the elevator door for Mr. Bennet.)

MR. BENNET: That's good.

WORKER: Mr. Bennet.

(Mr. Bennet passes security and heads down the hallway.)

MR. BENNET: Rufus.

(Rufus, the security officer, stands up with some paper.)

RUFUS: Ooh, I-I got next month's parking sticker. Just need you to sign for it.

(Mr. Bennet doesn’t stop.)

MR. BENNET: I'll take care of that later, Rufus.

[INT. PRIMATECH PAPER CO. – HALLWAY – CONTINUOUS]

(Mr. Bennet walks through the hallway. A woman steps out of one of the doorways and nearly bumps into him.)

WOMAN: Ooh, sorry, sorry.

(They continue in different directions.)

(Mr. Bennet turns the corner and puts his briefcase down on a shelf. He opens his case, takes out a card key and slides it through the lock. The lock beeps.)

[INT. PRIMATECH PAPER CO. – WAREHOUSE – CONTINUOUS]

(The door opens and Mr. Bennet walks into a large warehouse. On the other side of the warehouse, inside the warehouse, is a door.)

[INT. PRIMATECH PAPER CO. – SECRET OFFICES – CONTINUOUS]

(In the inner office, we see Isaac’s paintings in the office, the foremost of Claire. The door opens and Mr. Bennet walks into the outer office. Eden is sitting on the sofa chair, waiting for him in the inner office.)

(Mr. Bennet pauses by Isaac’s room. The door is ajar and he sees Isaac sitting on the bed with his sketchbook. Eden comes out of the office and joins Mr. Bennet.)

MR. BENNET: How's he doing?

EDEN MCCAIN: Heroin's out of his system. His body doesn't want it anymore, but his mind still does.

MR. BENNET: Coherent?

EDEN MCCAIN: Very. You ready to meet him?

(Mr. Bennet looks at the painting of Claire being chased on the steps of the amphitheater by the shadow.)

MR. BENNET: Yeah.

(Eden nods. She turns and leaves the room. Mr. Bennet lingers on the painting before turning and following her out. The camera lingers on a window reflection of the painting of Claire.)

[INT. PRIMATECH PAPER CO. – ISAAC’S ROOM – CONTINUOUS]

(Eden introduces Mr. Bennet to Isaac.)

EDEN MCCAIN: Isaac. This is Mr. Bennet, the man I told you about.

MR. BENNET: Hello, Isaac. Drawing anything interesting?

(Mr. Bennet pulls up a chair and sits near the bed.)

ISAAC: It's nothing.

MR. BENNET: Oh, you know that's not true. You have the ability to paint the future. That's something--something very important.

ISAAC: Feels like a curse.

MR. BENNET: No, it's a blessing. Don't let anybody tell you differently.

(Isaac looks at Eden.)

MR. BENNET: We're gonna help you understand that.

ISAAC: I'm grateful you're helping me. I'm just not sure why you're doing it.

MR. BENNET: To be a hundred percent honest with you, I need your help.

CUT TO:

[INT. (MIDLAND) BURNT TOAST DINER – MAIN ROOM -- DAY]

(Sylar sits by the window and continues drinking his coffee.)

(Charlie checks on Hiro and Ando, who are eating.)

CHARLIE ANDREWS: How we doin'?

VOICE: Good.

(Charlie steps away and leaves the main room. Hiro gets up and heads for the men’s bathroom.)

[INT. BURNT TOAST DINER – BACK ROOM -- CONTINUOUS]

(Charlie gets a large can. She puts it on the counter to use the large can opener. She starts opening the can.)

(She hears movement in the back room and looks around. She doesn’t see anyone. She continues opening the can.)

(We hear a metal slicing sound and see Charlie stop moving.)

(She’s looking straight ahead, blood oozing down the side of her face and down the center of her forehead.)

(She slowly tilts to the side as she falls to the floor.)

[INT. BURNT TOAST DINER – MAIN ROOM -- CONTINUOUS]

(Ando is eating at the booth when a loud CRASH sounds from the back room. He pauses and looks up.)

(The waitress behind the counter goes to check it out.)

(Ando is about to continue eating when the waitress SCREAMS.)

(The sheriff and Deputy Lloyd get up to check it out. The waitress backs out of the back room.)

WAITRESS: Oh, my God!

(They enter the back room.)

[INT. BURNT TOAST DINER – BACK ROOM -- CONTINUOUS]

(Charlie is on the floor in a pool of blood.)

[INT. BURNT TOAST DINER – MAIN ROOM -- CONTINUOUS]

(Ando stands up to see. When he gets up, the camera moves over and SYLAR is gone.)

(The sheriff backs out into the room.)

SHERIFF: (to Lloyd) Charlie .. she's dead.

(Hiro returns from the men’s room. He’s rubbing his hands and smiling. He looks at Ando and he gets an inkling that something is very wrong. He turns and looks at the back room.)

FADE OUT.

(COMMERCIAL SET)

FADE IN:

[INT. (INDIA) SURESH RESIDENCE -- DAY]

(Mohinder and his mother walk down the stairs.)

MRS. SURESH: I know you miss him. And I know you feel guilty, too. Don’t

MOHINDER: I had a dream last night. You and Father were talking before he left. In it, you persuaded him to go.

MRS. SURESH: It was just a dream, Mohinder.

MOHINDER: No, I need to know if it was true.

(They sit down.)

MRS. SURESH: Your father and I were married for 33 years.

MOHINDER: That is not an answer.

MRS. SURESH: Yes, it is. A marriage doesn't last that long without allowing the other person to be who he has to be.

MOHINDER: But how could you allow him to abandon everything? Just like that.

MRS. SURESH: I'm afraid that answer is not as easy.

MOHINDER: In the dream, you said that I could never take the place of her. Who did you mean?

MRS. SURESH: I suppose it's time that you knew, now that your father's gone. Mohinder ... you had a sister.

MOHINDER: A sister?

MRS. SURESH: Her name was Shanti. And sh--she was five years old when she died, two years after you were born.

MOHINDER: Well, why didn't I know this?

MRS. SURESH: Because it was too painful to talk about, especially for your father. He loved her so much, he was afraid that you would compare his love. From the moment she was born, he was convinced that she was special. And she was special.

CUT TO:

[INT. (ODESSA) PRIMATECH PAPER CO. – INNER OFFICE –- DAY]

(Surrounded by Isaac’s paintings, Mr. Bennet talks with him.)

MR. BENNET: These dates. Suicide bomber, fifteen people dead. Train derailment, nine dead. Earthquake, 81.

(Mr. Bennet points to the paintings of Claire.)

MR. BENNET: This girl, the one you've painted here, and here, and there ... she's my daughter. My Claire.

(Mr. Bennet points to a painting of the shadow in the doorway.)

MR. BENNET: This man here ... goes by the name of Sylar. He's gonna kill her tomorrow night at her homecoming game.

ISAAC: Why?

MR. BENNET: Because she's special. Like you. And that makes her a target.

ISAAC: Like me.

MR. BENNET: You're not the only one with special abilities, Isaac. There are others. Sylar is killing them ... one at a time.

(Isaac makes a disbelieving sound and stands up.)

ISAAC: If you know who he is, then why can't you stop him?

MR. BENNET: Because nobody knows where he is. I need your help. I need you to paint this painting.

ISAAC: I'm sorry. I've been trying. I can't. Not without the drugs.

MR. BENNET: Fine.

(Mr. Bennet takes out a rolled-up leather pouch. Isaac recognizes it immediately. Mr. Bennet opens it and puts it on the cart. It’s full of drug paraphernalia.)

MR. BENNET: I promise we will help you use your abilities without this, but right now, there just isn't time.

ISAAC: I'm fighting to get my life back, and you want me to just throw it away.

(Isaac pushes the cart away.)

MR. BENNET: You know, uh, for many years now, a number of us have been tracking, locating, monitoring people like you. Sometimes the process goes smoothly, as in your case, and other times -- well, let's just say some people misinterpret our motives, and then it can go ... very wrong. Fourteen years ago, there was just such a case, which, sadly, ended in a death. The woman left behind a baby girl who had no one to take care of her. My wife and I had been having a hard time ... conceiving a child of our own at the time and -- and it was like ... God had reached down and given us a miracle. Isaac. This is my daughter we're talking about. I'm begging you.

ISAAC: Let me try one more time ... without it.

(Isaac turns away. We hold on Mr. Bennet.)

CUT TO:

[INT. (INDIA) CHANDRA’S OLD OFFICE – DAY (MOHINDER’S DREAM)]

(The doors open and Mohinder walks in. He finds the boy behind the desk trying to get the locked drawer open.)

MOHINDER: Who are you?

(The boy is the boy from Mohinder’s dream. He doesn’t say anything.)

MOHINDER: What are you doing here?

(The boy runs.)

[INT. HALLWAY – MOHINDER'S DREAM -- CONTINUOUS]

(The boy runs out the office, through the hallway and down the stairs.)

MOHINDER: Hey, wait!

(Mohinder runs after him.)

MOHINDER: Stop! Come back here.

(The boy runs down the stairs. Mohinder runs down the stairs after him.)

[EXT. ALLEYWAY – NIGHT – MOHINDER’S DREAM (CONTINUOUS)]

(The building door opens and Mohinder runs out into the alleyway. He stops. There’s a yellow taxi parked in the alley.)

(Radio chatter sounds.)

TAXI DISPATCH: (from radio) I have a pickup at 59th and Broadway to JFK.

(Chandra Suresh is behind the driver’s wheel in the parked taxi. As Mohinder watches, the doors are locked telekinetically from the inside. Chandra turns to look.)

(Someone from the back seat punches through the protective glass partition and grabs Chandra’s head.)

CHANDRA SURESH: Hey! Ah!

MOHINDER: No!

(Mohinder runs to the side of the taxi. Sylar hits Chandra’s head against the closed driver’s window. Mohinder stands outside the door hitting the glass with his hand.)

MOHINDER: (shouts) Father! Father!

(Sylar continues hitting Chandra’s head against the glass. Blood smears on the window.)

MOHINDER: (screams) Fath -- Father!

(Chandra’s head continues to be hit against the glass. Then he stops and Mohinder looks into Chandra’s dead eyes.)

(The killer is wearing a wristwatch with the time stopped at 11:53.)

MOHINDER: (shouts) Stop!

(Mohinder looks up and closes his eyes tightly.)

MOHINDER: Stop. (gasps) Stop, stop, stop.

(The little boy stands in the alleyway watching him. Mohinder opens his eyes and is surprised to see the taxi gone.)

(He turns around and sees the little boy still there in the alley. The little boy holds his hand out. Mohinder walks over to him. The little boy opens his hand and shows Mohinder a very familiar-looking key. Mohinder takes the key from him.)

(He looks at the key.)

CUT TO
END OF MOHINDER’S DREAM

[INT. CHANDRA’S OFFICE -- CONTINUOUS]

(Mohinder wakes up. It’s darker. He sits up in the chair at the desk and reaches into the box he’s packing. He takes the pocket notebook and flips to the back. He untucks the key out from the back cover.)

(He looks at the key.)

FADE OUT.

(COMMERCIAL SET)

FADE IN:

[INT. (ODESSA) PRIMATECH PAPER CO. – HALLWAY]

(Mr. Bennet walks out into the hallway. He’s reading something.)

CLAIRE: (o.s.) Dad.

(Mr. Bennet stops. Claire passes the security station and heads toward him.)

MR. BENNET: Claire? Honey, is everything all right?

CLAIRE: Yeah, everything's fine. Can't a girl just visit her dad at work?

MR. BENNET: You never visit me at work.

(She kisses him on the cheek.)

CLAIRE: Okay. I'm busted. I have an emergency. A paper emergency.

MR. BENNET: A paper emergency.

CLAIRE: A paper emergency. Ms. Roberts says we need a banner over the trophy case, and Jackie was all, "We don't have paper that big. They don't make paper that big." So I thought I'd stop by and try to be a hero.

(He sighs heavily. She looks at him hopefully.)

MR. BENNET: Well, if it'll make you a hero and maybe knock Jackie down a few notches, we might be able to find something that'll work.

CLAIRE: Best dad ever.

(A side door opens and Eden steps out of a room. She stops, surprised to see Claire there.)

EDEN MCCAIN: I'm sorry, Mr. Bennet. We just have a little situation.

MR. BENNET: You know what? The sample room is right down there, Claire-bear. You take anything you need. Okay?

CLAIRE: Thanks, Dad.

(She kisses him and heads to the sample room. Eden watches her go.)

MR. BENNET: First door on your left.

(As soon as she’s out of earshot, Eden apologizes.)

EDEN MCCAIN: I'm sorry. I didn't know she'd be here.

MR. BENNET: So what's the problem?

EDEN MCCAIN: It's not working. He can't do it.

CUT TO:

[INT. PRIMATECH PAPER CO. – OUTER OFFICE –- DAY]

(Mr. Bennet walks into the outer office. Eden follows him.)

EDEN MCCAIN: He tried. He's just not there yet.

MR. BENNET: We tried his way. Now we do it mine.

(He goes to the med cart. He takes out a syringe and vial.)

EDEN MCCAIN: He has worked so hard to get clean. You can't ask him to do this.

MR. BENNET: I'm not going to ask him. You are.

EDEN MCCAIN: No! No, you can't make me do that.

MR. BENNET: You knew this was a possibility.

EDEN MCCAIN: You said when we started that I would never have to do it again. You promised me.

MR. BENNET: I know what you think. Who do you think taught you? Do you even remember what you were when I found you?

(Eden is quiet. Mr. Bennet finishes filling the syringe.)

MR. BENNET: You're the easy way. I think we both know the hard way.

(He holds the syringe and rubber tubing out to her. After a beat, the grabs them and heads for Isaac’s room.)

(Mr. Bennet doesn’t turn around. Eden enters the room, the door closing behind her.)

(Mr. Bennet turns and watches Eden talk with Isaac through the glass window. Isaac protests. Eden leans forward and whispers something into Isaac’s ear.)

(She holds out the syringe and glances back at Mr. Bennet at the door.)

(We hold on Mr. Bennet.)

CUT TO:

[INT. (MIDLAND) BURNT TOAST DINER -- DAY]

(We start on a photo of CHARLIE pinned to the bulletin board. In it, she’s standing at a birthday cake.)

(The coroners wheels the body on a gurney out of the backroom. Hiro watches them wheel the gurney past him and to the door.)

(The sheriff pulls up a chair to their table and sits down.)

SHERIFF: She say anything? Sounded like she was scared?

ANDO: No. She seemed very nice.

SHERIFF: She was. Too nice ... to die like that. Head ripped open. I ain't never seen anything like it.

(Hiro has.)

(They’re both very quiet and serious.)

ANDO: We're very sorry.

SHERIFF: Y'all stick around. Need to take your statements.

(The sheriff gets up and steps away.)

HIRO: (subtitled) She was killed ... same way as the painter, Isaac, when I saw him in the future. That can’t be a coincidence.

ANDO: (subtitled) Then we should be extra careful.

HIRO: (subtitled) There has to be something I can do.

ANDO: (subtitled) She’s already dead.

HIRO: (subtitled) I can bend time. I can go back.

ANDO: (subtitled) No --

HIRO: (subtitled) Why else did I get these powers ... if I’m not supposed to help?

ANDO: (subtitled) We’re already on one stupid mission ... you don’t need another.

HIRO: (subtitled) I didn’t do anything when those poker men died. I can’t just sit back and do nothing again --

ANDO: (subtitled) Sure you can! It’s easy.

HIRO: (subtitled) I’ll just go back ... to yesterday. I’ll stop her from coming to work. It she’s not here ... she can’t be killed.

ANDO: (subtitled) But you can be! (Hiro nods.) You don’t have control over your powers yet. The last time you tele-ported ... you ended up in the future. In another country!

HIRO: (subtitled) If I’m too scared to use my powers ... (He takes a deep breath.)… then I don’t deserve them. I have to try.

ANDO: (subtitled) What about the cheerleader?

HIRO: (subtitled) I won’t be late. Just count to five ... and I’ll be back. We’ll celebrate ... my victory.

(Hiro scrunches his face and concentrates.)

ANDO: Hiro. (subtitled) please ...

-- and Hiro vanishes.)

(Ando is worried and frustrated. He closes his eyes and counts.)

ANDO: (subtitled) three ... four ... five.

(He opens his eyes and Hiro isn’t there.)

ANDO: Hiro.

FADE OUT.

(COMMERCIAL SET)

FADE IN:

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

(Janice sits on the bed and looks through a photo album at pictures of her and Matt. Matt walks into the bedroom. He puts his keys and stuff on the bedside table. He turns and sees the photo album. He joins her on the bed.)

MATT: What is that? Ensenada?

JANICE PARKMAN: Mm. (She flips the page over and the book is incomplete.) Pam Auden called ... to ask me why you punched Tom McHenry. I told her you didn't. Did you?

MATT: Yeah. Yeah, I punched him.

JANICE PARKMAN: (v.o., thinking) He knows. Damn it, I knew it.

JANICE PARKMAN: (out loud) You punched a superior officer? That has to have some kind of repercussions.

MATT: He may outrank me, but "superior's" taking it a little too far. I got one month's suspension. No pay.

JANICE PARKMAN: Jesus, Matt.

(Janice gets up off the bed. She stops and turns around.)

JANICE PARKMAN: Something happened ... between me and Tom.

MATT: (sighs) You slept with him.

JANICE PARKMAN: Yes.

(He’s quiet for a long time.)

MATT: Is it over?

JANICE PARKMAN: Yes. Are we?

MATT: I don't know.

(The phone rings. Matt answers it.)

MATT: (to phone) Yeah, it's Matt.

INTERCUT WITH:

[EXT. STREET – NIGHT]

(Audrey is on the phone in the middle of the street, a burning car behind her.)

AUDREY HANSON: He's gone.

MATT: What?

AUDREY HANSON: Ted. He escaped.

MAN: (o.s.) Watch out!

(Something explodes. Matt hears it over the phone.)

AUDREY HANSON: Do you hear me?

MATT PARKMAN: (to phone) Yeah. Yeah, I heard you.

(Matt closes the phone, grabs his keys off the night table and gets up.)

(CUT TO: Audrey is surprised to hear the phone click closed. The car continues to burn on the street behind her.)

CUT TO:

[INT. (INDIA) MOHINDER’S OFFICE – NIGHT]

(Mohinder looks at the key. He looks at the locked desk drawer.)

(He reaches down and uses the key to unlock the desk drawer. He opens the drawer.)

(He searches inside the drawer. The drawer jams. He tries to close the drawer and it gets stuck. Mohinder pulls the drawer out and checks inside the desk.)

(Mohinder takes out a file folder.)

(The green label on the folder is for SANJOG, IYER. Inside are various articles and clippings. On the left is a poster for SOMNAMBULIST’S SONG. On the right are articles from "Clippings on Medicine," "Scientists Say Learning Continues in Sleep," and "Sleep Research Reveals New Areas in the Brain.")

(In the file is a photo of IYER SANJOG. It’s the little boy from Mohinder’s dreams.)

[INT. (ODESSA) PRIMATECH PAPER CO. – OUTER OFFICE –- DAY]

(Isaac is painting. His eyes are white and clouded over from the trance he’s in.)

(Eden watches him through the window.)

MOHINDER: (v.o.) You can run far. You can take your small precautions.

(Eden nods and turns away.)

MOHINDER: (v.o.) But have you really gotten away?

(We linger on the painting of Hiro and Ando under the bloodied HOMECOMING banner.)

DISSOLVE TO:

[INT. (ODESSA) BENNET RESIDENCE – DEN – NIGHT]

(Claire is on the floor coloring in the HOMECOMING banner. Mr. Bennet sits in the chair nearby, watching her.)

MOHINDER: (v.o.) Can you ever escape? Or is the truth that you do not have the strength or cunning to hide from destiny?

(Claire pauses from her banner to look at him.)

CLAIRE: What?

MR. BENNET: (smiles) Nothing.

CLAIRE: Tsh.

(Claire goes back to her banner.)

MOHINDER: (v.o.) But the world is not small. You are.

CUT TO:

[INT. (MIDLAND) BURNT TOAST DINER – DAY]

(Ando sits at his table, waiting.)

VARIOUS DISSOLVES OF: Ando paces and waits. He walks over to the vending machine and leans on it.)

(CAMERA ZOOMS in to the bulletin board full of photos over the vending machine and just behind Ando. We move in CLOSER and CLOSER to a particular photo near Ando –

-- of HIRO and CHARLIE standing over her birthday cake.)

MOHINDER: (v.o.) And fate can find you anywhere.

(We linger on the photo of HIRO.)

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
1X08: SEVEN MINUTES TO MIDNIGHT
ORIGINAL AIR DATE ON FOX: 11/13/2006
TRANSCRIBED FROM NBC

Created by: TIM KRING

Starring:
SANTIAGO CABRERA as Isaac Mendez
GREG GRUNBERG as Matt Parkman
MASI OKA as Hiro Nakamura

HAYDEN PANETTIERE as Claire Bennet
SENDHIL RAMAMURTHY as Mohinder Suresh

Guest Starring:
CLEA DUVALL as FBI Agent Audrey Hanson
NORA ZEHETNER as Eden McCain
JAMES KYSON LEE as Ando Masahashi

ERICK AVARI as Chandra Suresh
JAYMA MAYS as Charlene "Charlie" Andrews
MATTHEW JOHN ARMSTRONG as Theodore "Ted" Sprague
LISA LACKEY as Janice Parkman

STACY HAIDUK as FBI Agent Elisa Thayer [note: name per tvguide.com]
SHISHIR KURUP as Nirand
SAKINA JAFFREY as Mohinder’s Mother (Mrs. Suresh)
KAVI LADNIER as Mira Shenoy

ZACHARY QUINTO as Sylar (Gabriel Gray)
KARRI TURNER as Lisa (Claire’s Fake Bio-Mom)

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

Co-Executive 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: TIM KRING
Directed by: PAUL EDWARDS

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

nbc.com

* Tailwind Productions
* NBC Universal Television Studio

Co-Starring:
JOSH CLARK as Sheriff
MICHAEL MAURY as Deputy Lloyd
JAVIN REID as Boy (Sanjog Iyer)
BEN MURRAY as Rufus (Security Officer)
PEYTON HANSON as Waitress

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: DONN ARON, A.C.E.

Unit Production Manager: DANIEL SCHNEIDER / CATHY MICKEL GIBSON

First Assistant Director: TONY ADLER
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: DIANA AUSTIN
Construction Coordinator: DAVE DEGAETANO
Location Manager: ALLEN REID / STEVEN HASSON

Production Coordinator: PEARL LUCERO
Transportation Coordinator: BRIAN STEAGALL
Script Coordinator: OLIVER GRIGSBY
Special Makeup Effects: GREG SOLOMAN / GLENN HETRICK / RICHARD MAYBERRY

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
Video Playback Supervisor: MARK MARCUM

Post Production Supervisor: DANIEL RODRIGUEZ
Assistant Editor: KRISTOPHER LEASE
Graphics Coordinator: LINDSAY LEVITT
Music Editor: JENNIFER BARAK / MICDI PROD.
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:04/09/2007~lky
http://www.kilohoku.com/