Heroes | Episode 1-10 Transcript | Six Months Ago

HEROES
1X10: SIX MONTHS AGO
ORIGINAL AIR DATE ON NBC: 11/27/2006
TRANSCRIBED FROM NBC

Written by: ARON ELI COLEITE
Directed by: ALLAN ARKUSH

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-V
NBC HD PRESENTED WHERE AVAILABLE
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DISCLAIMER:
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Contact the Transcriptionist at intrepidly002@yahoo.com
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SUMMARY: Hiro travels six months into the past and befriends Charlie. Chandra Suresh contacts Gabriel Gray. Eden meets the Haitian and Mr. Bennet. Chandra also contacts Mr. Bennet regarding Claire. Niki attends an AA group and meets her estranged father, Hal Sanders. She and DL are happily married and worrying about where to find the tuition to send Micah to private school. After accepting a check from Hal, Jessica emerges and sends the check back. Peter graduates from nursing school and throws a party. Nathan is driving home from the party with Heidi when he’s in a car accident. He flies to safety, but Heidi is crippled. Although he's not there, Peter feels the accident. Matt Parkman takes a fails the detective exam. He displays his first mind-reading abilities. Peter and Nathan’s father dies. Charlie tells Hiro she’s dying. Hiro suddenly teleports to the present and is unable to save Charlie. Gabriel kills Brian Davis and steals his telekinetic powers. He changes his name and calls himself SYLAR. Eden agrees to work for Mr. Bennet. Hiro returns to the Burnt Toast Cafe.
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HEROES
1X10: SIX MONTHS AGO
==========================

FADE IN:

[EXT. (INDIA) STREETS -- DAY]

(Mohinder carries a box as he walks through the street.)

MOHINDER: (v.o.) To everything, there is a season, and a time to every purpose.

[EXT. KANYAKUMARI – BEACH – DAY]

(At his father's service, Mohinder stands in the front center of a group of men. He holds the urn in both hands.)

(PRE-LAP) CHANDRA SURESH: (v.o.) The world needs to know about my findings, --

[INT. CHANDRA’S OFFICE -- DAY]

(Chandra talks with Mohinder.)

CHANDRA SURESH: --that's all that's important!

MOHINDER: It is one thing to publish a book in the comfort of the university, --

[INT. MOHINDER’S OFFICE – DAY]

(Mohinder looks at his father’s picture on the back of the hard-covered book.)

MOHINDER: -- it is another to leave everything behind, chasing a theory that is pure fantasy!

(He puts the book in a box.)

[CU: MAP]

(A white push pin is on NEW YORK with a string attached to it.)

DISSOLVE TO:

VARIOUS DISSOLVES OF:

[EXT. NEW YORK CITY SKYLINE (STOCK) -- DAY]

[PETER PETRELLI STANDING ON THE TOP OF A ROOF]

[SPACE – EARTH (STOCK)]

[CLAIRE]

[NIKI]

[HIRO]

MOHINDER: (v.o.) The earth spins at a thousand miles an hour as we desperately try to keep from being thrown off.

[INT. BURNT TOAST DINER – NIGHT]

(Hiro looks out the large window. It’s raining outside.)

MOHINDER: (v.o.) Like the first blush of winter that signals a great migration.

(Hiro applauds Charlie as she speaks in Japanese.)

(CUT TO: Charlie takes Hiro and Ando’s orders. She talks to Hiro in Japanese.)

CHARLIE: (subtitled) You’re sweet.

(Hiro turns, raises his arms high in the air and shouts to the customers in the diner.)

HIRO: (subtitled) I’m sweet!

(Ando is sitting at the booth across the diner. He smiles at Hiro and gives him the OK sign.)

FADE TO:

MOHINDER: (v.o.) Was there any warning of their arrival?

[EXT. DESERT – DAY]

(Niki test fires the high-powered rifle.)

NIKI: (v.o.) She has a name: Jessica.

[EXT. ROOFTOP – DAY]

(Peter stands at the edge of the rooftop. He steps of the edge. His arms are spread out wide and he falls gracefully in SLOW MOTION.)

MOHINDER: (v.o.) A sign, a single event that set this chain into motion?

VARIOUS FLASHES OF ISAAC’S PAINTINGS

* of the dark-haired man flying
* of Claire in the school’s amphitheatre, a long shadow cast over her.

[INT. TRAIN – DAY]

(Future Hiro talks with Peter.)

FUTURE HIRO: This is what you've been waiting for.

MOHINDER: (v.o.) Was it a whisper in God's ear?

FUTURE HIRO: Be the one we need.

VARIOUS CLIPS:

(Out in the desert, Jessica digs.)

MOHINDER: (v.o.) Survive.

(Claire snaps her dislocated shoulder back into place.)

MOHINDER: (v.o.) Adapt.

(Mohinder runs away from his taxi and into the alleyway toward the busy street.)

MOHINDER: (v.o.) Escape.

(Claire runs into the burning train fire to rescue a man.)

MOHINDER: (v.o.) And if we could mark that single moment in time,

(Nathan flies straight up into the air to get away from Mr. Bennet and the Haitian. He then flies away and out of sight.)

MOHINDER: (v.o.) --that first hint of the prophecy of approaching danger ...

(Isaac looks at the mural he painted on the floor of New York exploding.)

(New York explodes, a large mushroom cloud rises in the background as the force of the explosion crawls through the city demolishing buildings and structures in its path.)

(Mohinder picks up a cassette tape off the floor.)

MOHINDER: (v.o.) I found a tape of a conversation my father had with a man named Sylar.

(Cut to: Eden and Mohinder find the back room with FORGIVE ME written in red multiple times on the wall.)

SYLAR: (v.o.) Hello, Chandra, you made me this way.

CUT TO:

[INT. PHYSICAL EDUCATION CENTER – LOCKER ROOMS -- NIGHT]

(Claire and Jackie are in the locker rooms; the lights turn off, plunging them into darkness.)

MOHINDER: (v.o.) Would we have done anything differently?

(Sylar grips Jackie’s neck with his hand. He pushes her up against the lockers as she screams and kicks helplessly.)

CUT TO:

[EXT. PHYSICAL EDUCATION CENTER – AMPHITHEATRE -- NIGHT]

(Peter and Claire run up to the top of the amphitheatre.)

MOHINDER: (v.o.) Could it have been stopped?

[INT. ISAAC’S LOFT (FUTURE) – DAY]

(Isaac is on the floor in a large pool of blood, the top of his head is sliced off.)

SYLAR: (v.o.) You helped me to discover my potential.

[MATT PARKMAN]

(Matt looks around for the scared little girl he’s hearing.)

[SYLAR]

(Sylar sits at the table near the window in the Burnt Toast Diner, his face covered in shadow.)

MOHINDER: (v.o.) Or was the die long ago cast?

(In the back room of the diner, Charlie opens a large can with a can opener.)

(Fade to: Charlie stops, blood trickles down her face.)

(Fade to: Charlie’s dead eyes stare out in front of her.)

MOHINDER: (v.o.) And if we could go back, alter its course, stop it from happening ...

(Fade to: The coroners push the sheet-covered gurney out through the diner. Ando looks at Hiro.)

MOHINDER: (v.o.) ... Would we?

HIRO: (subtitled) I can go back.

ANDO: Hiro ...

(Hiro concentrates ... and vanishes.)

FADE TO WHITE:
END OF PREVIOUSLY ON

FADE IN FROM WHITE:

(Hiro opens his eyes and looks around. He’s in the Burnt Toast Diner. He sees Charlie and quickly looks back. Charlie walks up to his booth.)

CAPTION:
SIX MONTHS AGO
MIDLAND, TEXAS

(Charlie fills up his cup with coffee.)

HIRO: My name is Hiro Nakamura! I'm here to save your life!

(The Sheriff calls her over to the counter. Lynette holds a party hat. The cooks and customers have gathered there.)

SHERIFF: Hey, Charlie! (She turns and he motions her over.) Charlie, come on over here, and blow out the candles!

CHARLIE: (to Hiro) Hold that thought, okay? I just gotta make a wish. (She heads over to the counter, then turns back to Hiro. She motions for him to join her.) Come on.

(Hiro looks surprised.)

CHARLIE: (o.s.) Hi.

(Charlie giggles)

LYNETTE: Come on, honey!

(Lynette puts the party hat on Charlie. She then makes her way behind the counter and in front of the cake. Hiro follows her.)

HIRO: P-Please, listen. Very important-o.

(He puts a large party hat on.)

LYNETTE: Say ... "cheese."

(Charlie puts her arm around Hiro’s shoulders and Lynette takes their picture.)

FLASH TO:

(The photo of Hiro and Charlie.)

FADE OUT TO WHITE

FADE IN FROM WHITE:

[INT. (BROOKLYN, NY) GRAY & SONS -- DAY]

(OPEN ON: The glass front door to a clock shop. On the glass door is the image of a large time piece, under it is the name of the shop, GRAY & SONS. Inside are display cases. We hear the ticking sounds of the many, many timepieces.)

[EPISODE TITLE]
CHAPTER TEN
"SIX MONTHS AGO"

REVERSE VIEW: We’re looking up through a magnifying light at the upside-down image of GABRIEL GRAY as he works on a timepiece.

CAPTION:
SIX MONTHS AGO
BROOKLYN

(Gabriel Gray is working on a timepiece. He concentrates and slips the next delicate gear perfectly into place. He works confidently and efficiently. He adjusts the parts and the timepiece starts to work. He raises his head and watches it for a moment.)

(The front door opens.)

(Gabriel continues to work on the timepiece. In the store, Chandra Suresh looks around. He shuts the door.)

(Gabriel hears the door close and looks up.)

GABRIEL GRAY: Can I help you?

CHANDRA SURESH: I hope so, Mr. Gray.

(Chandra heads to the back of the shop where Gabriel Gray is working. Chandra is carrying a book. Gabriel looks at Chandra’s wristwatch.)

GABRIEL GRAY: I can fix it.

CHANDRA SURESH: My watch isn't broken.

GABRIEL GRAY: Actually, it is.

(Gabriel holds out his hand. Chandra takes his wristwatch off and hands it to Gabriel. Gabriel holds the watch up to his ear and listens. He hears something.)

GABRIEL GRAY: Yeah, the self-winding coil is loose. Your watch is running two seconds slow.

CHANDRA SURESH: How did you know?

(Gabriel starts to fix the watch. Chandra moves to watch over Gabriel’s shoulder.)

GABRIEL GRAY: Just a talent I have for the way things work ... how the parts should go.

CHANDRA SURESH: That looks rather complicated.

(Chandra points to a ticking mechanism.)

GABRIEL GRAY: That ... oh. The body's standard, but the parts, the insides, are German. 1917. I've been working on it for seven years.

(He chuckles and finishes fixing Chandra’s watch. He hands it back to him.)

CHANDRA SURESH: How much do I owe you?

GABRIEL GRAY: Oh, please. Don't worry about it.

(Gabriel stops and looks at Chandra. He stares at him and takes his glasses off.)

GABRIEL GRAY: You didn't come here for the watch.

CHANDRA SURESH: I came to find you, Gabriel. (Gabriel stands up.) My name is Chandra Suresh. I'm a geneticist. I have a theory about human evolution. And I believe you ... are a part of it.

(Chandra gives his book, ACTIVATING EVOLUTION, to Gabriel.)

CHANDRA SURESH: Read it. If you'd like to talk more, I've written my phone number and address inside.

(Chandra smiles and heads for the front door. Gabriel is surprised to see him leave without another word.)

(Chandra leaves the small shop.)

CUT TO:

[EXT. (LOS ANGELES, CA) BRIDGE OVER HIGHWAY -- NIGHT]

(A police siren blurbs.)

CAPTION:
SIX MONTHS AGO
LOS ANGELES

(On a bridge across the highway, a police officer stops a convertible. A cell phone rings. Matt Parkman exits the officer car. He checks his phone and closes it.)

(He takes out his flashlight and approaches the woman in the black convertible.)

MATT PARKMAN: License and registration.

EDEN MCCAIN: Oh, this isn't my car, I kinda stole it.

MATT PARKMAN: Can you take off the glasses for me, please?

(Eden takes her dark glasses off. He sees the liquor bottle in the front seat.)

MATT PARKMAN: I'm gonna have to ask you to step out of the car.

EDEN MCCAIN: No, I don't feel like it.

MATT PARKMAN: That wasn't a suggestion.

EDEN MCCAIN: Well, here's a suggestion. Why don't you go get back in your car and eat a dozen donuts. That is what you cops like to do, right?

(Matt takes a step away from the car.)

MATT PARKMAN: (firmly) I said step out of the car. Now.

EDEN MCCAIN: (echo-y) I think you really want to eat some donuts.

(Her voice deepens.)

(Matt is quiet as he stares at her. Eden stares back. Matt thinks about it. Without another word, he turns and heads back to his car. He looks at Eden, then gets inside.)

(The officer car leaves.)

(Eden starts her engine, but can’t move the car because the Haitian is standing right in front of it, staring at her.)

(Eden stares back.)

CUT TO:

[INT. (ODESSA, TEXAS) BENNET RESIDENCE – CLAIRE’S BEDROOM -- DAY]

(Claire is lying on her bed when Jackie walks into the bedroom. Jackie is in her cheerleader’s uniform.)

JACKIE WILCOX: (o.s.) Major developments! (She walks into the room.) Lori Trammel skanked her way through the entire football team!

CAPTION:
SIX MONTHS AGO
ODESSA, TEXAS

(Jackie sits down on the edge of Claire’s bed.)

CLAIRE: Who told you that?

JACKIE WILCOX: The entire football team. Anyway, somehow she found shame and resigned. (sing-song) Turned in her pom-poms ...

(She shows Claire the cheerleader’s uniform on a hanger she brought with her. Claire immediately perks up, excited.)

CLAIRE: I'm in? Are you kidding?

JACKIE WILCOX: Claire, destiny is calling you. Come on, try it on. You can model, I'll take pictures. We'll totally commiserate the event.

CLAIRE: I think you mean "commemorate." And ... I'll try it on later.

JACKIE WILCOX: 'Kay, most girls can't wait to get their uniforms on. I mean, except Lori Trammel. She couldn't wait to take it off.

CLAIRE: Why do you have to be like that?

JACKIE WILCOX: Okay, first of all, I've earned that. And if you don't want it or this, Kristy Chan is salivating for your position.

(She turns and starts to leave the room; Claire quickly gets off the bed and grabs the uniform.)

CLAIRE: No! I want it, I do.

JACKIE WILCOX: Then show it! Show me some S, P, I, R, I, T!

(Claire pulls; Jackie doesn’t let go. They start a tug of war with the uniform between them.)

CLAIRE: I'm not gonna drool!

JACKIE WILCOX: Then prove it, Claire! Prove it!

(Claire yanks hard. The uniform rips. Claire is thrown backwards. She turns to brace herself and her hand breaks through the glass cabinet door.)

(Jackie flinches. Claire looks at her bleeding hand.)

JACKIE WILCOX: (o.s.) Oh, my God.

CUT TO:

[INT. BENNET RESIDENCE – KITCHEN – DAY -- CONTINUOUS]

(Sandra Bennet cleans the cut on Claire’s hand as Jackie and Mr. Bennet watch. It looks nasty.)

MR. BENNET: What were you girls doing?

SANDRA BENNET: Ugh, this is gonna need stitches. I'm gonna take her to the emergency room.

(She wraps Claire’s hand in a towel. The phone starts ringing.)

SANDRA BENNET: Jackie, honey, grab my purse. Let's go. Come on, come on, honey.

(Jackie grabs her bag and they leave. Mr. Bennet stays and answers the phone.)

MR. BENNET: (to phone) Hello.

CHANDRA SURESH: (from phone) Mr. Bennett?

MR. BENNET: (to phone) Yes.

INTERCUT WITH:

[INT. CHANDRA’S APARTMENT – NIGHT]

CHANDRA SURESH: My name is Chandra Suresh. I need to speak to you about your daughter Claire.

(Mr. Bennet is quiet and very serious.)

WHITE FLASH TO:

[INT. (MIDLAND, TEXAS) BURNT TOAST DINER -- NIGHT]

(Hiro and Charlie pose for photos. Charlie starts to cut her birthday cake.)

HIRO: No, no. I-I teleport from future. Do not go to work tomorrow. Very, very ...

(The front door bell rings as two customers enter the diner. It’s pouring outside.)

HIRO: It wasn't raining yesterday.

CHARLIE: (nods) Hmm? Mm, April showers. It's been storming all week.

HIRO: April? No, no, October.

CHARLIE: No, April 24th. It's my birthday.

(Oh, no! Hiro hurries toward the window. The rain is relentless against the glass. He mutters in Japanese to himself.)

HIRO: (subtitled) Six months? I’ve got to get back. If I teleport again I could end up anywhere. Lunch for a T-Rex! (shouts) I’m stuck!

(Charlie joins him. She smiles and holds out a plate.)

CHARLIE: Birthday cake?

(Hiro looks at Charlie and smiles sheepishly.)

HIRO: Happy Birthday.

(Hiro turns and looks back out at the rain.)

CUT TO:

[TITLE CARD: HEROES]

FADE OUT.

(COMMERCIAL SET)

FADE IN:

[INT. (LAS VEGAS, NV) AUDITORIUM -- NIGHT]

CAPTION:
SIX MONTHS AGO
LAS VEGAS

(Niki Sanders stands in front of a group of people.)

NIKI: Hi, my name is Niki. And I'm an alcoholic.

GROUP: (together) Hi, Niki.

NIKI: I'm one year sober today.

TINA: (shouts) Happy anniversary!

(The group applauds. Niki smiles.)

NIKI: I work sixty hours a week. I stink of cigarettes. I got a kid so smart that he is flunking out of school. My husband can't find a job because no one wants to hire an ex-con. There's a leak in the roof. And I'm feeling thirsty. Feels like too much for one person.

(A man sits at the back of the room watching her. Niki looks at him and stops. She recognizes him.)

CUT TO:

[EXT. PARKING LOT -- NIGHT]

(Niki talks with Hal Sanders, her father.)

NIKI: So why are you here?

HAL SANDERS: I don't want another year to go by without you in my life, Nicole.

(They start walking.)

NIKI: Not being in your life was never my choice. You kinda made that happen.

HAL SANDERS: Look, I know how you feel about me. And Lord knows I deserve it. I was awful to you, and everyone I ever met.

NIKI: You weren't awful, you just weren't there. You can't be awful if you're not present. You know, I'm married now.

(He stops and grabs her arm.)

HAL SANDERS: I heard. Look, Nicole ... I would love to meet him some time. I-I really want to get to know my grandson and my son-in-law. And you.

NIKI: Yeah, well, I don't know if I'm ready to get to know you.

(Niki turns and walks away.)

CUT TO:

[INT. (MANHATTAN, NY) PETER’S RESIDENCE (#1407) – FOYER -- NIGHT]

CAPTION:
SIX MONTHS AGO
MANHATTAN

(Peter is hosting a party at his apartment. He’s got Christmas lights hanging around the door frame. There’s a knock at the door. He answers it and finds Nathan, Heidi and Angela Petrelli.)

PETER: Hey. What's going -- ?

(Nathan is carrying a shoe box with a white ribbon around it. He opens the box and shoves the white shoes under Peter’s nose.)

NATHAN: Ladies, 10 1/2.

PETER: Oh, you know, the reason I became a nurse was to wear shoes like this, thank you very much.

NATHAN: Of course. Get a drink?

PETER: Yeah, it's right inside.

(He motions Nathan inside, then turns to greet his sister-in-law.)

HEIDI PETRELLI: I told him it wasn't funny.

(They kiss and hug.)

PETER: I know.

(Heidi goes in to follow Nathan.)

PETER: Hey, Mom.
ANGELA PETRELLI: Hello, sweetheart.

(He kisses her on the cheek.)

PETER: How are you?
ANGELA PETRELLI: I’m good.
PETER: Come on in.

(He closes the front door.)

ANGELA PETRELLI: Your father is very proud of you.

PETER: And still couldn't make it.

ANGELA PETRELLI: Well, he had a meeting. Mr. Linderman's in Atlantic City --

PETER: (interrupts gently) Listen, I-I did this without his blessing, and without his money. Okay? So I think it's only right that we celebrate without him.

ANGELA PETRELLI: I have always wanted a nurse in the family. We have enough lawyers.

PETER: Thanks, Mom.

(Angela turns to join the party. Peter watches her.)

CUT TO:

[INT. PETER’S RESIDENCE (LATER) – BEDROOM – NIGHT]

(Heidi dances out the open balcony doors holding a champagne bottle in one hand and her glass in the other. She heads over to Nathan and Peter who are talking.)

HEIDI: So, Peter, have you chosen a specialty?

(Heidi refills Peter’s glass.)

PETER: Uh, I'm thinking of hospice care.

HEIDI: Oh!
PETER: Yeah.
NATHAN: Taking care of dead people?

(Heidi nudges Nathan over with her hip and sits on the seat next to him.)

HEIDI: They're not dead. They're dying. And I think it's noble.

(She hands Nathan the champagne bottle. He starts filling her glass. Peter sits up straighter.)

PETER: Thank you.

(He turns and gives Nathan a ‘so-there’ look. Heidi smiles at Peter.)

NATHAN: What's the pay?

(Peter sulks.)

HEIDI: Ugh. Honey. You know, I'm gonna go call the sitter, and when I come back ... you are gonna dance with me.

(Nathan and Heidi giggle and smile cheesily at Peter. Heidi gets up and leaves.)

(Nathan moves to sit next to Peter.)

PETER: What's going on?

NATHAN: The DA wants me to prosecute Linderman.

PETER: Dad's biggest client.

NATHAN: Mm-hmm, yeah. Well, the DA thinks Linderman's mob ties run so deep, if I can take him down, the empire crumbles.

PETER: You do that, though, Dad'll go down too.

NATHAN: You used to tell him he was a criminal for protecting criminals. Here's a chance to set things straight. Take the stink off the family name --

PETER: He's still our father. No matter what he's done. You go after him, you're never going to forgive yourself. Ever.

(Nathan considers it for a beat. He grabs Peter and kisses his head.)

(Heidi returns.)

HEIDI: Come on, handsome.

(She hands her cup to Peter and holds her hand out to Nathan.)

NATHAN: Hey, there. (to Peter) Hold this for me, will you?

PETER: Yep.

(Nathan takes her hand and stands up.)

NATHAN: May I?

(Heidi pulls Nathan back through the doors and they start dancing. Peter watches them and smiles.)

CUT TO:

[INT. (NEW YORK) CHANDRA’S APARTMENT -- NIGHT]

(CLOSE-UP: Chandra’s wall map. There are push-pins with photos on various areas with different colored string connecting the push pins.)

(He adds a photo of NATHAN PETRELLI to the NEW YORK area. Chandra studies the map.)

(There’s a knock at the door. He turns to answer it.)

SHORT TIME CUT TO;

(Chandra pours a cup of tea. Chandra’s book, ACTIVATING EVOLUTION is on the desk as well as another open book.)

GABRIEL GRAY: So ... What? You're gonna cut me open?

(Gabriel looks around.)

CHANDRA SURESH: (chuckles) I'd like to run some tests. EEG, EKG, nothing invasive.

(Gabriel sips his tea.)

CHANDRA SURESH: A friend at Columbia has access to an MRI.

(He smiles at Gabriel and motions for him to join him at his desk.)

GABRIEL GRAY: Mapping the brain.

CHANDRA SURESH: Measuring alpha waves, resting rates, neuron clusters. The brain controls every human action, voluntary or involuntary. Every breath, every heartbeat, every emotion. If the ... soul exists, scientifically speaking, it exists in the brain.

(Gabriel chuckles and sits down.)

GABRIEL GRAY: When I was a kid ... I used to wish some stranger would come and tell me my family wasn't really my family. They weren't bad people, they were just ... insignificant. And I wanted to be different. Special. I wanted to change. A new name, a new life. The watchmaker's son ... became a watchmaker. It is so futile. And I wanted to be ... important.

CHANDRA SURESH: You are important, Gabriel.

(Gabriel leans forward eagerly.)

GABRIEL GRAY: What do you think my abilities might be?

CUT TO:

[INT. ROOM]

(Mr. Bennet talks with Eden McCain. Eden’s hands are secured behind her and her mouth is taped. The Haitian stands inside the room near the doorway.)

MR. BENNET: Grand theft auto, larceny, robbery, arson, and suspected of murder in Oklahoma. That's no way for a young lady to behave, now is it? You need a goal, Eden. A purpose.

(Mr. Bennet removes the tape from Eden’s mouth. She spits on him. Then, she uses her voice.)

EDEN MCCAIN: (distorted voice) Let me go. Now!

(Nothing happens. Mr. Bennet smiles. He takes out a handkerchief and wipes the spit from his face and glasses.)

MR. BENNET: With your ability, you can get anything you want. Created your own morality.

(Eden realizes that she’s not affecting him. She glances over and notes the Haitian standing in the doorway.)

MR. BENNET: There's no person in the world that could say no to you.

(Mr. Bennet puts his glasses back on.)

MR. BENNET: Now there is.

(He stands up.)

CUT TO:

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

(Hiro is on the phone.)

RECEPTIONIST: (in Japanese) Yamagato Industries.

HIRO (IN TEXAS): (subtitled) Ando Masahashi, please.

RECEPTIONIST: Hai.

HIRO (IN JAPAN): Moshi-moshi?

HIRO (IN TEXAS): (subtitled) Ando I need your help ...

INTERCUT WITH:

[INT. YAMAGATO INDUSTRIES – OFFICE – DAY]

(Hiro is on the phone.)

HIRO (IN JAPAN): (subtitled) Sorry, Ando is sick. This is Hiro Nakamura. May I help you?

(Oh, no! Hiro quickly hangs up the phone, his eyes wide.)

HIRO (IN TEXAS): Great scott!

FADE OUT.

(COMMERCIAL SET)

FADE IN:

[INT. (LOS ANGELES) STREET -- DAY]

(A police car pulls up along another police car parked on the side. Tom McHenry looks at Matt with disbelief. Matt is staring out in front of him.)

TOM MCHENRY: Matt.

(Matt snaps out of it and turns to look at Tom. Tom pulls his sunglasses off.)

TOM MCHENRY: What are you doing?

MATT PARKMAN: What?

TOM MCHENRY: What are you doing sitting here? Detective test is in an hour.

MATT PARKMAN: Right.

TOM MCHENRY: Oh, you're not chickening out, are you?

MATT PARKMAN: No! No, man, of course not.

TOM MCHENRY: All right, good, 'cause second time's the charm for you, I can feel it. Just don't go being a nervous wreck this time, okay?

(He sticks his head out the window and notes the partially eaten donut Matt is holding.)

TOM MCHENRY: What's up with the donut?

(Matt looks at the donut. He doesn’t have a clue.)

MATT PARKMAN: Uh ...

TOM MCHENRY: Dude, you're like a walking cliche.

(Tom puts his sunglasses back on. Matt tosses the half-eaten donut back in the nearly empty box next to him.)

MATT PARKMAN: Yeah, well, you know what? (clears throat) After today, I am gonna be a different man.

(Matt puts his sunglasses on. Tom sticks his hand out the window. Matt slaps it enthusiastically.)

TOM MCHENRY: Confidence! I like that.

MATT PARKMAN: Right? Let's go crush it.

CUT TO:

[INT. (TEXAS) BURNT TOAST CAFE -- DAY]

(Hiro cheerfully buses a table. He greets the customers sitting at the counter.)

HIRO: Hello, what's up?

(Charlie carries some dirty cups and saucers as she catches up with him.)

CHARLIE: (giggles) Hey. Oh, I don't know what we'd do without you, Hiro. You have such an amazing attitude.

HIRO: I have gift for you.

(Hiro puts the plastic container on the counter and reaches over to take out a box. He presents it to Charlie.)

HIRO: Happy Birthday.

CHARLIE: Oh ... Mmm.

(She opens the box and gasps.)

CHARLIE: A Japanese phrasebook. I love it. Oh, now we can understand each other better.

(She flips through the book.)

HIRO: Maybe you visit Japan. Very soon. Get out of Midland, far away.

CHARLIE: (in Japanese) (subtitled) You are a kind and generous man.

HIRO: You speak Japanese very quickly.

CHARLIE: Lately, I've just been able to remember everything.

HIRO: You have power, big memory. It will only get stronger in the future.

CHARLIE: The future. Right. I keep forgetting that's where you come from.

HIRO: You don't believe me? I bend time and space.

CHARLIE: Oh, yeah, of course you do.

(Hiro nods. He closes his eyes and concentrates. In the background, the order bell rings.)

LYNETTE: Charlie, honey. (Charlie turns to look at Lynette.) Your order's up.

(When Charlie turns back, Hiro is carrying a large bouquet of flowers.)

CHARLIE: (gasps) Hey! Where'd these come from?

HIRO: Flower store, two blocks from here.

CHARLIE: Ha ha, funny. Oh. Oh, hang on, I have an order up.

HIRO: Already finished.

(Hiro turns to indicate the people at the table behind him with their food.)

CHARLIE: (bursts out laughing) Lynette! You have got to see this! Hiro's a magician!

HIRO: Oh, no, it's not a trick.

(Lynette waves it away and doesn’t move from her spot behind the counter. Hiro looks frustrated.)

HIRO: (in Japanese) (subtitled) You don’t understand. I’m trying to save your life. (in English) A very, very bad man is going to come here and ...

(He stops and instead says profoundly:

HIRO: Tomorrow, the swallow will slay the dragon.

CUT TO:

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

(Niki sits in front of a headstone:
JESSICA SANDERS
BELOVED DAUGHTER
AND SISTER
1976 - 1987

(DL finds her and sits next to her. He picks up the bottle in the paper bag.)

DL: Having a drink with your sister?

NIKI: Thinking about it. Used to be, couldn't go an hour without missing Jessica. It's important not to forget.

(She’s crying.)

NIKI: Hal is back. He came to one of my meetings. He wants to meet you and Micah.

DL: He won't meet anybody unless you want him to.

(She sighs.)

NIKI: He's got money. He could--he could help with tuition. We can get Micah into that private school.

DL: Now, you wanna have Hal over, let's have him over for dinner. We can all say a prayer for Jessica.

CUT TO:

[EXT. (NEW YORK) HIGHWAY -- NIGHT]

(A convertible zooms along the empty highway.)

[INT. NATHAN’S CAR (TRAVELING) – NIGHT]

(Nathan is driving; Heidi sits in the passenger seat. Nathan loosens his tie.)

NATHAN: My brother Peter, the hospice nurse. Can you believe it? It's just --

HEIDI: Oh, it's a perfect fit. He's selfless and empathic ...

NATHAN: He's self-centered and righteous. (Heidi scoffs.) Self-righteous.

HEIDI: He's a hell of a lot nicer than you.

NATHAN: He can afford to be. He hasn't been under as much scrutiny. My dad did what he had to do to take care of this family and that's something that Peter is never gonna understand.

HEIDI PETRELLI: And you do.

NATHAN: It's my responsibility. It's my inherited ... birthright. I didn't ask to be Dad's favorite. I never asked to be loved more than Peter, but that's just ... the reality.

(A car driving behind them suddenly takes it up a notch and tailgates them.)

NATHAN: What does this guy want?

(Nathan adjusts the rearview mirror to look at the car behind them.)

(The car stays with them. Nathan’s car lurches as the car behind them hits their bumper.)

(Still the car stays with them, nudging them again from behind. Nathan speeds up; the car behind them stays with them. It bumps them again and again.)

(Heidi gasps .)

(She turns to look at Nathan and finds he’s not there.)

HEIDI PETRELLI: Nathan!

(TOP VIEW DOWN: Nathan is high above the car, his feet dangling in the air. The car continues on without him. Nathan looks down as the two cars continue on.)

NATHAN: (shouts) Heidi!

(Nathan continues to go up higher and higher.)

HEIDI PETRELLI: (screams) Nathan!

(The car behind continues to push the car into the water containers separating the off-ramp.)

HEIDI: (screams) Aah!

(TOP VIEW DOWN: Nathan sees the accident.)

(Heidi smashes into the containers, water splashes everywhere. The car behind them drives away.)

(Nathan reaches down toward --

NATHAN: (yells) Heidi!

(Nathan falls from the sky.)

CUT TO:

[INT. PETER’S RESIDENCE – BEDROOM -- NIGHT]

(CU: Peter’s arm reaching out in front of him.)

(Peter wakes up gasping. The phone is ringing.)

(He settles back in bed and reaches over to answer the phone.)

PETER: (to phone) Hello.

[INT. HOSPITAL – HALLWAY / WAITING ROOM – NIGHT]

(Peter rushes into the hallway and enters the waiting room. He finds Nathan sitting in one of the chairs.)

PETER: Hey.

(Peter kneels in front of Nathan.)

PETER: How is she?

NATHAN: She's been in surgery for ten hours. It's something with her back, her spine. I should probably call Mom. She's got the kids. It's what Heidi would do. You have your phone?

PETER: Yeah.

(Peter hands Nathan his phone.)

PETER: You're not hurt?

(Nathan stands up and dials.)

NATHAN: No. Landed three hundred feet away from the wreck. (Peter gets up and follows him.) Couldn't tell you how I got there. Couldn't tell you much of anything at this point.

PETER: Let me see that, let me see.

(Peter stops Nathan to look at the gash on his forehead.)

PETER: Yeah, that's a bad cut. You need to lie down.

NATHAN: No, not until Heidi's all right. Won't get a signal.

(Nathan closes the phone.)

PETER: Do you remember the other car?

(Nathan stops.)

NATHAN: What?

PETER: In the accident.

NATHAN: Who told you that?

(Peter shrugs.)

NATHAN: Who told you that?

PETER: I had a dream right before you called.

NATHAN: My wife's in surgery and you're dreaming. That's great.

(Nathan turns and takes a couple of steps away.)

PETER: There was another car, wasn't there?

(Nathan doesn’t answer him. Peter walks over.)

PETER: Nathan. (Peter puts his hands on Nathan’s shoulders.) Wasn't there?

NATHAN: Yeah. It was Linderman's guys. Must've found out about the DA's plans. It's my fault for even considering it, --

PETER: Hey! Look at me.

NATHAN: --taking them on.

PETER: This is—this is not your fault. This is Dad's fault, okay? And you know, you know that this is not gonna end.

NATHAN: If ... If I agree to take the DA's case, will you give a deposition?

(Peter puts his arms on Nathan’s shoulders.)

PETER: Hmm? Yeah.

NATHAN: Against your father?

(The surgeon interrupts them.)

SURGEON: Mr. Petrelli?

NATHAN: Yes?

(He indicates they need to talk.)

SURGEON: Please.

(Nathan steps away with the Surgeon.)

(From a distance, Peter watches as the surgeon talks with Nathan. The surgeon reaches out to put a comforting hand on Nathan’s shoulder. Nathan angrily knocks his arm away.)

(Peter watches Nathan.)

(Nathan turns and looks at Peter.)

FADE OUT.

(COMMERCIAL SET)

FADE IN:

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

CAPTION:
NEXT DAY
MIDLAND, TEXAS

(Charlie stands near the window. Hiro knocks on the glass and shows Charlie a newspaper. He rushes into the diner and throws up his arms exuberantly.)

HIRO: (shouts) They did it!

(He shows her the Japanese newspaper.)

HIRO: See, the Swallows slay the Dragons!

(Charlie takes the newspaper from Hiro and starts reading as she walks back to the counter.)

CHARLIE: (reads/translates) "The Tokyo Swallows defeated the Chunichi Dragons yesterday with a surprising rally with two out in the ninth." (shakes her head) What, what is this? Baseball?

HIRO: (surprised) You read Japanese flawless. In one day. You have power. I have power too.

CHARLIE: (rolls her eyes) Okay. So because you knew this baseball team was gonna win, I'm supposed to believe you're from the future.

HIRO: There is an ancient Japanese tradition, origami. Folding paper.

CHARLIE: I read about that. Yeah, it says if a person can fold 1,000 cranes, you'll be granted one wish.

HIRO: Yes.

(Hiro closes his eyes and concentrates hard. He opens his eyes and Charlie is surrounded by origami cranes hanging from the roof throughout the diner.)

CHARLIE: How did you ...

(She gasps.)

(Hiro takes out plane tickets.)

CHARLIE: A trip to Japan?

HIRO: I don't care if you don't believe me. Just ... please tell me you'll go.

CHARLIE: Only one ticket?

(Hiro shows her his ticket.)

HIRO: Just in case you said yes.

CHARLIE: Hai!

(Hiro hugs Charlie. He’s very happy. Charlie, however, looks distressed.)

CUT TO:

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

(Chandra talks with Gabriel Gray who is hooked up to a machine.)

CHANDRA SURESH: Why do you repair watches, Gabriel?

(Gabriel sighs.)

GABRIEL GRAY: My father didn't really give me a choice.

CHANDRA SURESH: Yes, but why not do what you want to do? Why not change?

GABRIEL GRAY: You use a phrase in your book ... evolutionary imperative.

CHANDRA SURESH: That which we are destined to do.

GABRIEL GRAY: Sea turtles die on the same exact beach where they were born, lions slaughter gazelles, spiders eat their young. They don't want to. They have to.

(Chandra sighs and turns the computer off.)

CHANDRA SURESH: Well ... The good news is you're healthy.

(Chandra gets up and starts removing the wires from Gabriel.)

GABRIEL GRAY: You mean normal? What, there's still no signs?

CHANDRA SURESH: No.

GABRIEL GRAY: Well, maybe tomorrow. We're still going to the CT scan, right?

CHANDRA SURESH: I think we should prepare for the possibility that I may have been wrong. You may not have a special ability.

(Gabriel surges to his feet.)

GABRIEL GRAY: I am so close. I can feel it. You came to me! I am on your list!

CHANDRA SURESH: These tests aren't a hundred percent.

GABRIEL GRAY: Don't give up on me.

(Chandra sighs.)

CHANDRA SURESH: There are other opportunities I need to focus on.

(Gabriel grabs a stack of file folders on the table.)

GABRIEL GRAY: What -- what, these people, huh? They're important? This guy?

(He rips the post it off the top folder:

BRIAN DAVIS
14 BERMAN STREET #3
NEW YORK, NY 10003

GABRIEL GRAY: Brian Davis, you think he's ... telekinetic? Moves things with his mind, or are you just gonna toss him aside too?

(Gabriel throws the folders on the floor.)

CHANDRA SURESH: You better leave now, Mr. Gray.

(Gabriel grabs his jacket off the back of the chair and storms away. Chandra watches him leave.)

CUT TO:

[EXT. STREET OUTSIDE CHANDRA’S BUILDING -- DAY]

(Gabriel storms out of the building. He stops near the curb and looks at the crumpled post-it note in his hand.)

(He gets an idea and walks away.)

(Behind him, Mr. Bennet exits his car. He stops and looks at Chandra’s building.)

CUT TO:

[INT. (LAS VEGAS) SANDERS’ RESIDENCE – LIVING ROOM -- DAY]

(Hal laughs. Micah opens the present and pulls out a computer as Jessica and DL watch.)

MICAH: Wow!

NIKI: That's a very generous gift, Hal.

HAL SANDERS: Oh, it's amortized over 10 birthdays.

DL: Hell, then, you skimped.

(Hal laughs.)

MICAH: Thanks, Grandpa.

HAL SANDERS: It's my pleasure, young man. Now, go break the internet in half, or something.

(Micah gets up and leaves the room.)

HAL SANDERS: If I could buy stock in that kid right now ...

NIKI: God, I wish his teachers saw it that way. We want to move him into a private school, it's just, you know, we're trying to figure out the details.

HAL SANDERS: Details? If you're trying to ask me for something, it's already yours. It's a man's God-give right to dote on his grandson.

NIKI: Thank you.

DL: It'd make a really big difference for us.

HAL SANDERS: Well, you know, I feel lucky that you even let me through the door, after all the things I've done.

NIKI: Stop saying that. You didn't do anything.

HAL SANDERS: Why do you keep doing that?

NIKI: Doing what?

HAL SANDERS: You -- you're only as sick as your secrets, Nicole.

NIKI: I know the mantras, Hal. I've been reciting them for over a year.

(Hal sighs.)

HAL SANDERS: Well, I guess I'll go see what the boy's up to now.

(He gets up and leaves. Niki stands up. DL sighs and stands up with her. He puts his arm around her shoulders.)

DL: You are doing great.

[INT. SANDERS’ RESIDENCE – BEDROOM – DAY – CONTINUOUS]

(Micah has taken the computer apart and is tinkering with the insides. Hal walks in.)

HAL SANDERS: What the hell is this? (Micah gets up and stares at Hal.) You've torn the whole damned computer apart! That computer cost $2,000.

(Niki and DL walk in.)

NIKI: Hey!

(DL pulls Hal away from Micah.)

DL: What the hell you think you're doing?

NIKI: (to Micah) You okay?

(They stop and stare at Hal.)

[INT. SANDERS’ RESIDENCE – LIVING ROOM -- DAY]

(Hal heads back to the living room. He grabs his jacket and puts it on.)

HAL SANDERS: I have no business being here.

NIKI: Then why did you bother?

HAL SANDERS: I owe you more than an apology could ever do.

(He gives her a check.)

NIKI: What am I supposed to do with this?

HAL SANDERS: I don't know. Make your life easier, I don't care how, okay?

(Hal heads for the door. Niki stops him.)

NIKI: What did you do that was so bad I can't have my father back?

HAL SANDERS: You really don't remember, do you?

(Niki looks back at him. No, she really doesn’t. Hal turns and leaves.)

(Niki thinks about it.)

(There’s an ABRUPT CUT. She turns and looks at the mirror.)

(In the mirror, there are two images of herself.)

CUT TO:

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

(Mr. Bennet points to the map with the push pins and string. He talks with Chandra.)

MR. BENNET: So what's going to happen to my Claire? How is this – this genetic abnormality going to affect her?

CHANDRA SURESH: I don't know. It's possible nothing might ever happen. It's possible I might be wrong.

(Mr. Bennet turns and looks at the photo of Claire on the map. It’s just below the photo of Charlie.)

MR. BENNET: Where did you find this picture?

CHANDRA SURESH: Union Wells High School website.

MR. BENNET: She's growing up so quickly now. I couldn't do anything to stop it.

(Chandra chuckles and puts a hand on Mr. Bennet’s shoulder.)

CHANDRA SURESH: You cannot, try as you might.

(Mr. Bennet smiles.)

MR. BENNET: You have a daughter?

(Chandra nods awkwardly.)

MR. BENNET: How old is she?

CHANDRA SURESH: She ... was five.

(He turns away.)

MR. BENNET: I'm so sorry.

CHANDRA SURESH: Mutations are much like cancers or diseases, meant to eliminate a species. Shanti had a genetic anomaly, and that was the portal into my research. My hope is that no one will suffer as she did.

MR. BENNET: If you do figure this out, what happens then?

CHANDRA SURESH: We can change the world. Give people hope for the future. That is your daughter's destiny. I'd, um, very much like to meet her.

MR. BENNET: You can see how that might be a problem. For my family?

CHANDRA SURESH: Yes, of course.

MR. BENNET: Let ... let me think on this and the best way to proceed.

CHANDRA SURESH: Well, I appreciate your coming, Mr. Bennet.

(They shake hands.)

MR. BENNET: It was educational.

CUT TO:

[INT. (LAS VEGAS) HAL’S HOTEL ROOM]

(Hal is on the bed reading a book, "The Sirens of the Titans" by Kurt Vonegut, Jr. There’s a knock at the door.)

(Hal gets up and looks through the peephole. He opens the door.)

(Jessica walks in. She looks around the hotel room.)

HAL SANDERS: You do remember.

JESSICA: Oh, how could I forget?

(She moves quickly. She turns. With one hand, she grabs Hal by the neck and slams him up against the armoire.)

HAL SANDERS: Nicole!

JESSICA: (shakes her head) I’m not Niki. It's me, Daddy, Jessica.

(With one hand around his neck, she lifts him up.)

JESSICA: The daughter that you threw beer bottles at. The daughter that you choked. The daughter that you killed.

HAL SANDERS: I didn't kill anyone!

JESSICA: No ... it was an accident. And they left Niki with you to be your punching bag.

HAL SANDERS: I came to apologize, Nicole.

JESSICA: Apologize? You don't apologize to Nicole. You apologize to me.

(She lets him go, pushes him up against the armoire, grabs and turns him. She shoves her elbow in his neck.)

JESSICA: Niki doesn't remember. But I do. Someone had to be there to protect her. I remember the stink of alcohol on your breath. I took every punch, so that she wouldn't have to.

(His nose is bleeding.)

HAL SANDERS: You are not Jessica.

JESSICA: Oh, you have no idea who I am.

(She pushes him toward the bed. He falls backward on the mattress. Jessica advances on him.)

HAL SANDERS: Nicole ... you need help.

JESSICA: You're right, she does. I thought she had learned to protect herself, but no such luck.

(Jessica holds up the blank check.)

JESSICA: You're going to go away and never come back.

(She takes the blank check and shoves it in his mouth. Jessica leaves the room.)

FADE OUT.

(COMMERCIAL SET)

FADE IN:

[INT. (ODESSA, TX) BENNET RESIDENCE – CLAIRE’S BEDROOM -- DAY]

(Claire is in her cheerleader uniform and is busy practicing her cheerleader moves in front of her mirror. Mr. Bennet stands in the doorway watching her.)

MR. BENNET: (interrupts) Cheerleading, huh?

(Claire stops. Mr. Bennet walks in carrying a stuffed animal.)

CLAIRE: What do you think?

MR. BENNET: I think I can't wait to go to my first game. (She gives him a hug. He looks at the stuffed animal.) Ah, well, you might be getting a little bit old for the bears from around the world, but ...

CLAIRE: No, I'm not.

(She takes the bear from him.)

MR. BENNET: No?

CLAIRE: I love my bears.

MR. BENNET: Aww.

(Claire adds the bear to the large mound of other bears on her bed.)

CLAIRE: Am I a terrible person?

MR. BENNET: What are you talking about?

CLAIRE: I wanna be a cheerleader. I mean, I've worked hard to be a cheerleader, but ... sometimes Jackie can just be a ...

MR. BENNET: A bitch.

(She looks at him, surprised. They both chuckle.)

CLAIRE: Yeah, a bitch.

MR. BENNET: No, it's your actions that make you good or bad, cheerleader or not. Let's take a look at that hand.

(Claire unwraps the bandage around her hand.)

CLAIRE: The pain went away, but I think it's still kinda ...

(She finds her hand completely healed. Mr. Bennet looks at it.)

MR. BENNET: That's healed really nicely.

CUT TO:

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

(Matt takes his shoes off. Janice is waking up in bed.)

JANICE PARKMAN: Hey, baby. (Matt rubs his eyes.) You hungry? Thought I'd make some eggs ... carbonara style. Does that sound good?

MATT: I didn't pass again.

JANICE PARKMAN: You studied so hard.

MATT: It's not about the answers, Jan. I know all the answers.

JANICE PARKMAN: I don't know why you don't just tell them the truth.

MATT: Yeah, I'll just waltz in and tell them I can barely read, half the words I see backwards. There's a good career move.

(She gets up and hugs him from behind.)

JANICE PARKMAN: My baby.

MATT: Don't.

JANICE PARKMAN: (kisses his cheek) Come on. A little morning sex, some eggs ... and everything's gonna seem so much better.

MATT: How can you wanna kiss me?

JANICE PARKMAN: (v.o., thinking) You're my hero. Don't you know that?

(Janice turns Matt to look at her.)

JANICE PARKMAN: Hey. You are everything that I want.

MATT: (scoffs) Yeah, I'm your hero. I'm a hero. Look at me. Eleven years and I am still directing traffic.

CUT TO:

[INT. (NEW YORK) PETER’S RESIDENCE -- DAY]

(Peter is putting on his tie.)

[CU: DOOR #1407]

(Nathan knocks.)

[INT. PETER’S RESIDENCE -- DAY]

(Peter opens the door.)

PETER: Hey. I'm ready to give the deposition.

NATHAN: There isn't going to be one.

(Peter puts his jacket on.)

PETER: What are you talking about? Can't back out now, we gotta tell the DA everything. About Linderman, about Dad, all of it.

NATHAN: Dad's dead.

(Peter stops.)

NATHAN: He had a heart attack this morning.

(Peter exhales forcefully.)

NATHAN: Take comfort in the fact that he didn't know his sons were about to stab him in the back.

CUT TO:

[EXT. (TEXAS) BURNT TOAST DINER -- NIGHT]

(Charlie stands near the curb with a serious look on her face. Hiro rushes out of the diner.)

HIRO: Charlie! Charlie! Twenty-four hour Samurai Film Festival at the Drafthouse in Austin!

CHARLIE: Austin? That's over three hundred miles away.

HIRO: We can make it in time to see Yojimbo, Seven Samurai, and Hidden Fortress. It'd be perfect for our trip to Japan!

(He grabs Charlie by the hand and leads her toward the parked buses.)

CHARLIE: Mmm.

(He stops when he sees her hesitation.)

HIRO: You still do want to go?

CHARLIE: Yeah. Oh, yeah. No, it's not that. It's just, um, ever since I met you ... I don't know, you just, you've made me so happy.

HIRO: You make me happy too.

CHARLIE: Well, it's more than that. I don't let people get very close.

(He looks at her. Charlie closes her eyes for a moment, then continues.)

CHARLIE: There's a blood clot in my brain ... inches away from an aneurysm. I’m dying.

HIRO: But ... I'm supposed to save you.

CHARLIE: Oh, you did. You did. Before you got here, I'd decided to give up. But you have made me feel more alive, and more full of joy than I could have ever imagined. Hiro. (in Japanese) I love you.

(Hiro smiles back at her.)

(They lean in close to kiss. Hiro closes his eyes.)

[CU: HIRO’S MOUTH]

HIRO: Charlie?

[HIRO]

(Hiro opens his eyes.)

EMPLOYEES: Ichi, ni, san, shi, go, roku --

[EXT. (TOKYO) ROOFTOP – DAY -- CONTINUOUS]

HIRO: No ...

(Hiro finds himself in the center of a group of employees as they exercise.)

EMPLOYEES: Shichi, hachi, ichi, ni --

HIRO: Charlie?

(TOP VIEW DOWN: The employees stand in perfect rows and columns on the roof of the building.)

EMPLOYEES: San, shi, go --

(The exercising and counting continues.)

HIRO: (shouts) Charlie!

(Hiro runs and shouts.)

HIRO: (shouts) Charlie!

(A co-worker sees Hiro.)

MALE EMPLOYEE: Hiro. (subtitled) Aren’t you and Ando supposed to be ... on vacation in America?

HIRO: (subtitled) I jumped.

(Hiro looks around the exercising group.)

HIRO: (subtitled) Damn! I have to get back to her. (desperate) I have to get back to Charlie.

(Hiro closes his eyes and concentrates hard. When he opens his eyes, he’s still there.)

(He closes his eyes again and concentrates hard. When he opens his eyes, he’s still there.)

(Hiro despairs.)

FADE OUT.

(COMMERCIAL SET)

FADE IN:

[INT. (BROOKLYN, NY) GRAY & SONS -- DAY]

(Gabriel is back working on a watch. He puts the short hand on the 9, the long hand on the 10 and the second hand on the 9. The front door opens. Brian Davis walks in.)

GABRIEL GRAY (SYLAR): Can I help you?

BRIAN DAVIS: Yeah, um, somebody called me? My name is Brian Davis.

INSERT: VARIOUS FLASHES of the post-it note with BRIAN DAVIS’ name and address on the folder, Gabriel swiping the post-it note and looking at it on the sidewalk.

BACK TO SCENE.

(Gabriel stands up.)

GABRIEL GRAY (SYLAR): Yes, I called you. My name is ...

(He turns and looks at the watch he’s working on. It’s at 8:30:22. The date in the square is "2". He sees the name on the watchface and takes it.)

GABRIEL GRAY (SYLAR): My name is Sylar. Gabriel Sylar.

SHORT TIME CUT TO:

(Brian Davis shows Gabriel his ‘power’ and moves the cup along the countertop. Gabriel watches with interest.)

GABRIEL GRAY (SYLAR): It's incredible.

BRIAN DAVIS: Can you make it go away?

GABRIEL GRAY (SYLAR): Why would you wanna do that?

BRIAN DAVIS: I don't know what this is. Or who I might hurt. I-I don't want it.

(Gabriel looks at Brian.)

GABRIEL GRAY (SYLAR): You're broken.

BRIAN DAVIS: What?

(Gabriel picks up Chandra’s book and hands it to Brian as he walks behind him. Brian looks at the book.)

GABRIEL GRAY (SYLAR): Suresh was right. It's so clear now. How it all works, pieces fitting together. It is in the brain.

BRIAN DAVIS: So you can help.

(Gabriel looks down at the crystal rock on the counter. He picks it up. Behind him, we note the clock logo etched in the shop window glass is at 11:53.)

GABRIEL GRAY (SYLAR): Don't worry, Brian, I can fix it. It's an evolutionary imperative.

(He smashes the crystal rock on the back of Brian’s head. He goes down with a thud. Sylar puts on his watchmaker’s glasses and looks at Brian on the floor in a pool of blood.)

CUT TO:

[INT. ROOM]

(Mr. Bennet talks with Eden.)

MR. BENNET: Whatever bad you've done in the past, it's over. You have a rare opportunity to start again, to rewrite the past, to do better. But if you're not interested, we could just put you back in your old life. Odds are you'd be dead in a week.

(The Haitian sits at the far end of the room.)

EDEN MCCAIN: What do you want me to do?

MR. BENNET: There's a professor. Dr. Suresh. He has a list of names. You're going to get Claire Bennet's name off that list.

CUT TO:

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

(Gabriel is back in the apartment and moves a glass across the countertop as Chandra watches.)

(Chandra turns and looks at Gabriel. Suddenly, the glass flies across the room. It smashes o.s. Gabriel isn’t wearing his usual glasses.)

GABRIEL GRAY (SYLAR): I'm sorry about the glass.

CHANDRA SURESH: (amazed) It's -- just glass.

(Gabriel stands up.)

GABRIEL GRAY (SYLAR): About the other day ... I should've behaved myself. I was uncalled for, I'm sorry.

CHANDRA SURESH: You were angry. A man can say and do the most awful things when he's angry.

GABRIEL GRAY (SYLAR): Well, I'm different now. I feel I've been given a chance to start over. A new life, new identity. New purpose.

CHANDRA SURESH: I came halfway around the world looking for proof and threw him out the door. No one returns my phone calls anymore. They all think I'm insane.

GABRIEL GRAY (SYLAR): I don't. (He puts a hand on Chandra’s shoulder, then turns and points to the map) These people are all out there waiting to be told that they are important. Waiting to unlock their true potential. I know it. I can feel them. We'll find them together. We are the future.

WHITE FLASH TO:

[INT. (TEXAS) BURNT TOAST DINER]

CAPTION:
PRESENT DAY
MIDLAND, TEXAS

(OPEN on the photo of Hiro and Charlie on the bulletin board. The mini-shrine to Charlie is still there. Ando stands in front of the shrine and glances at his watch. He sighs.)

(Lightning flashes and thunder rumbles. It sounds like its raining outside.)

(The front door bell jingles and Hiro walks in.)

ANDO: Hiro?

(Hiro stands in the doorway. Lightning flashes behind him; thunder rumbles.)

ANDO: (shouts) Hiro!

(Ando rushes up to Hiro and hugs him. The door closes behind Hiro.)

ANDO: (subtitled) You’re okay!

HIRO: (subtitled) No, I’m not okay.

ANDO: (subtitled) What are you talking about? You teleported back.

(Hiro shakes his head, no.)

HIRO: (subtitled) I took the bus.

ANDO: (subtitled) Eh?

HIRO: (subtitled) I teleported. Forward. Backward. But, I couldn’t save her. I couldn’t save Charlie.

ANDO: (subtitled) So, try again.

HIRO: (subtitled) It won’t work. This power ... it’s bigger than me. I can’t change the past. No matter how hard I wish.

(He shows Ando an origami crane.)

HIRO: (subtitled) I failed.

(Hiro walks past Ando and heads over to the mini-shrine.)

CUT TO:

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

(The list of names appear on the monitor.)

MOHINDER: (v.o.) This list ...

MOHINDER: (sighs) You found them.

VARIOUS CLIPS OF 1X09: Homecoming

* Sylar sits at the table in the Burnt Toast Diner.
* Blood runs down Charlie’s face.

MOHINDER: (v.o.) These people ... Their future is written on their DNA.

[EXT. PHYSICAL EDUCATION CENTER – STADIUM – NIGHT]

(Claire is bloody and looks at her dad.)

MOHINDER: (v.o.) Just as the past, it seems, is written in stone.

CLAIRE: I have something I have to tell you.

[EXT. PHYSICAL EDUCATION CENTER – FRONT]

(Police cars arrive in front of the Physical Education Center building. The lights flash as the officers exit the cars.)

MOHINDER: (v.o.) Was the die cast from the very beginning?

(They find Peter sitting up on the concrete. They handcuff Peter.)

MOHINDER: (v.o.) Or is it in our own hands to alter the course of destiny?

[EXT. PHYSICAL EDUCATION CENTER – GROUNDS BEHIND BUILDING – NIGHT]

(The Haitian and Eden capture Sylar.)

MOHINDER: (v.o.) Of all our abilities, it is free will that truly makes us unique.

(The Haitian puts his hand over Sylar’s face. Sylar falls to the ground with a THUD.)

(Eden takes off Sylar’s cap.)

[EXT. SIDE ROAD CAFE -- NIGHT

(DL hurries around the car to get in.)

MOHINDER: (v.o.) With it, we have a tiny, but potent, chance to deny fate.

[REVERSE VIEW: RIFLE SITE]

(Jessica looks through the rifle site.)

MOHINDER: (v.o.) And only with it can we find our way back to being human.

(She has DL in her crosshairs. She squeezes the trigger.)

(A shot fires.)

[INT. BURNT TOAST DINER – NIGHT]

(Hiro places the origami crane on the shrine. Ando stands next to him.)

HIRO: I loved her.

(Ando puts a hand around his friend’s shoulder.)

FADE TO BLACK.

TO BE CONTINUED ...

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

[Captioning by Elizabeth at CaptionMax www.captionmax.com]

Transcript by intrepid
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
1X10: SIX MONTHS AGO
ORIGINIAL AIR DATE ON NBC: 11/27/2006
TRANSCRIBED FROM NBC

Created by: TIM KRING

Starring:
NOAH GRAY-CABEY as Micah Sanders
GREG GRUNBERG as Matt Parkman
ALI LARTER as Niki Sanders

MASI OKA as Hiro Nakamura
HAYDEN PANETTIERE as Claire Bennet
ADRIAN PASDAR as Nathan Petrelli

SENDHIL RAMAMURTHY as Mohinder Suresh
LEONARD ROBERTS as DL Hawkins
MILO VENTIMIGLIA as Peter Petrelli

Guest Starring:
NORA ZEHETNER as Eden McCain
JAMES KYSON LEE as Ando Masahashi
GRAHAM BECKEL as Hal Sanders

ZACHARY QUINTO as Gabriel Gray (Sylar)
ERICK AVARI as Chandra Suresh
CHRISTINE ROSE as Angela Petrelli

JAYMA MAYS as Charlene "Charlie" Andrews
ASHLEY CROW as Sandra Bennet
LISA LACKEY as Janice Parkman

DEIRDRE QUINN as Tina
DANIELLE SAVRE as Jackie Wilcox
RICK PETERS as Tom McHenry

JIMMY JEAN-LOUIS as the Haitian
DAVID BERMAN as Brian Davis

with
RENA SOFER as Heidi Petrelli

and
JACK COLEMAN as Mr. Bennet (HRG)

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

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 LEOB
Co-Executive Producer: JESSE ALEXANDER
Co-Executive Producer: GREG BEEMAN

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

Written by: ARON ELI COLEITE
Directed by: ALLAN ARKUSH

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

nbc.com

NBC Universal Television Studio
Tailwind Productions

Co-Starring:
JOSH CLARK as Sheriff
MICHAEL MAURY as Deputy Lloyd
ROBERT RICAMONTI as Surgeon
SALLY CHAMPLIN as Lynette
YUKO MATSUZAKI as Worker
RYAN K. SMITH as Deputy

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 / 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 / STEVE 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 SALEN
Special Effects Supervisor: GARY D’AMICO
Video Playback Supervisor: MARK MARCUM

Post Production Supervisor: DANIEL RODRIGUEZ
Assistant Editor: LOIS BLUMENTHAL
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 Producers: ANDREW CHAMBLISS / TIMM KEPPLER / CHAD DARNELL
Assistants to Co-Executive Producers: ERIN FITZGERALD / PIERLUIGI COTHRAN
Assistant to Producer: FOX MCDERMOTT

Promotional COnsideration Furnished by: NISSAN NORTH AMERICA

(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.

The motions picture is protected under the laws of the United States and Other Countries. Unauthorized duplication

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:01/07/2007~lky
http://www.kilohoku.com/