Heroes | Episode 2-01 Transcript | Volume Two: Generations - Four Months Later

HEROES
2X01: FOUR MONTHS LATER ...
ORIGINAL AIR DATE ON NBC: 09/24/2007
TRANSCRIBED FROM NBC

Written by: TIM KRING
Directed by: GREG BEEMAN

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

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

Episode shown with limited commercial interruption.
EPISODE LENGTH: 53 MIN.

RATING: TV-14
HD 5.1
==========================
DISCLAIMER:
==========================
"HEROES" and other related entities are owned, (TM) and (c) by NBC; Tim Kring, Tailwind Productions, and NBC Universal Television Studio, All Rights Reserved. For Fair Use, for entertainment and for educational purposes only. This transcript was made without their permission, approval, authorization or endorsement. Any reproduction, duplication or distribution of this material in any form is expressly prohibited. It is absolutely forbidden to use it for commercial gain.

CONDITION OF USE: (1) Do not alter the content of this file. (2) Leave the headers/disclaimers intact because it lists all those who have made this transcript possible for your enjoyment. (3) Provide a link back to the site where this file originated: http://www.kilohoku.com/

Contact the Transcriptionist at intrepidly002@yahoo.com
==========================
SUMMARY: The Bennets have moved to Costa Verde, California to hide from The Company. Claire meets West and deals with the woes of high school life while struggling to keep her specialness secret. Mr. Bennet works at a copy company. Maya and Alejandro Herrera head for America to find Mohinder whom they believe can cure Maya of her illness. Matt becomes a NYPD detective. He lives with Mohinder and together, they take care of Molly who is having nightmares of someone who can see her. Hiro is in 1671 and meets up with Takezo Kensei who is an English drunkard. Nathan struggles to deal with Peter’s death and is no longer a Congressman. Ando and Kaito wait for Hiro to return. Kaito and Angela both have death threats sent to them. Kaito dies. Mohinder is recruited by The Company. He works with Mr. Bennet to bring the Company down. Peter turns up in Ireland with amnesia.
==========================
HEROES
2X01: FOUR MONTHS LATER ...
==========================

LIMITED COMMERCIAL INTERRUPTION

FADE IN:

[EXT. SPACE (STOCK)]

(The screen is black. Slowly, the turning earth appears as it rises up from the bottom of the screen. It turns from day into darkness.)

(Then, the flash of an eclipse as light from the sun behind outlines the planet. And then, --

[TITLE CARD: HEROES]

FADE TO WHITE:

VARIOUS DISSOLVES OF:

[PETER ...

MOHINDER: (v.o.) The sun rises on a new dawn.

... CLAIRE / NIKI / HIRO]

MOHINDER: (v.o.) Yet few of us realize the debt we owe to those responsible for this.

(MATT opens the door to the cupboard under the stairs and finds MOLLY WALKER huddled inside.)

MOHINDER: (v.o.) To those who dwell among us, anonymous, --

(CLAIRE is at cheerleader practice.)

MOHINDER: (v.o.) -- seemingly ordinary, --

(HIRO is standing on the subway, his eyes closed.)

MOHINDER: (v.o.) -- whom destiny brought together to repair,

(Niki, DL, Micah and Molly walk out slowly from the KIRBY PLAZA BUILDING.)

MOHINDER: (v.o.) -- to heal, --

(Niki hugs Micah.)

MOHINDER: (v.o.) -- to save us from ourselves.

(Peter is on the verge of exploding. He looks at Nathan to save him. Nathan grabs Peter and flies him up to the sky.)

MOHINDER: (v.o., from lecture) If evolution can do this for even the smallest of creatures, --

[INT. (CAIRO) HOTEL]

(Mohinder is standing in front of a group of people giving a lecture. He has images projecting on the screen behind him.)

MOHINDER: -- then why not these human beings?

[CLAIRE]

CLAIRE: If someone here ... found out about me, what would happen?

[MOLLY & MOHINDER]

MOLLY WALKER: When will they stop?

MOHINDER: I don't know.

[SYLAR]

SYLAR: She's a shiny new toy, and she's all mine.

(Sylar nods and smiles in agreement.)

[JESSICA]

(Jessica’s reflection in the mirror.)

MOHINDER: (v.o.) And they're still out there, among us, --

(She puts a finger to her lips – shhh.)

[MAYA HERRERA]

(Someone holds Maya Herrera’s hands, palms up.)

MOHINDER: (v.o.) -- in the shadows, in the light.

[SYLAR]

(Sylar stands in the Kirby Plaza eating ice cream from a bowl.)

MOHINDER: (v.o.) We pass them on the street without a glance, --

(Monica Dawson smiles and closes the door.)

MOHINDER: (v.o.) -- never suspecting, never knowing.

(Hiro is face-down on the ground. Kensei steps over him as Yaeko and her father are held by some soldiers.)

MOHINDER: (v.o.) Do they even know yet?

(Mr. Bennet backhands someone.)

MOHINDER: (v.o.) That they are bound together by a common purpose, a glaring reality, --

(Mohinder and Molly hug.)

MOHINDER: (v.o.) -- to be extraordinary?

(Hiro wears Takezo Kensei’s armor and stands proudly with his hands on his hips after disarming and defeating the ronin.)

DISSOLVE TO:

(Hiro is in NEW YORK TIMES SQUARE for the first time after teleporting there for the first time. He looks around, stretches his arms out wide: YATTA!)

MOHINDER: (PRE-LAP) (v.o. from lecture) Teleportation, tissue generation; these are no longer simply theories.

[INT. HOTEL CONFERENCE ROOM]

(Mohinder gives a lecture.)

MOHINDER: I have seen them with my own eyes.

[INT. SUBWAY]

MOHINDER: (v.o.) And when destiny does anoint them ...

(Peter comes face to face with Future Hiro.)

FUTURE HIRO: My name is Hiro Nakamura. I'm from the future.

(PETER’S VISION: Peter’s hands start to glow.)

MOHINDER: (v.o.) How do they hide from it?

(Mr. Bennet talks to Claire.)

MR. BENNET: (whispers) You may feel confined here, but this is far freer a cage than the one they'd put you in.

(Maya Herrera crawls through the drainpipe.)

MOHINDER: (v.o.) How long can they dwell in the shadows before either fate or their own flawed humanity draws them out into the light again?

(Dissolve to: Maya and Alejandro run through the streets.)

(Dissolve to: Mohinder looks around the Port-Au-Prince streets.)

(Mr. Bennet.)

[NATHAN]

(Nathan rushes out onto a devastated Deveaux Building rooftop.)

MOHINDER: (v.o.) And how will they know what awaits them when it finally does?

(PULL OUT and find Nathan looking out amidst the rooftop wreckage.)

FADE OUT.

[EPISODE TITLE]
CHAPTER ONE
"FOUR MONTHS LATER ... "

MOHINDER: (v.o.) And not only are these special individuals among us,

[INT. (CAIRO) HOTEL BALLROOM -- DAY]

(Mohinder is giving a lecture.)

MOHINDER: -- they bear a curse.

(He stands in front of a projection up on the wall entitled, REGENERATION.)

CAPTION:
MOHINDER SURESH
CAIRO, EGYPT

MOHINDER: A virus which strips them of their powers and leads to their eventual death. In the last few months, I have discovered what I believe to be a plague.

(The image on the projection changes to a WORLD MAP with various photos and lines indicating the people with special abilities and their locations.)

MOHINDER: A plague which targets only these unique individuals.

(A man walks in from the open doors at the back of the room. This is Bob.)

MOHINDER: It's a disease which threatens to eradicate them all. And in doing so, deprives our species of its evolutionary advancement. Without this advancement, the challenges of the modern world -- global warming, terrorism, diminishing resources -- seem almost insurmountable on our thin shoulders. The fate of humanity itself hangs in the balance. But with proper funding and research, we can stop the advancement of this disease. I urge each and every one of you to take up this cause, spread the word, and fight those who would keep the world from the truth. Thank you all for coming.

(The sparse audience applauds. There are many empty seats.)

[INT. (CAIRO) HOTEL – STAIRS – DAY]

(Mohinder starts down the steps. Bob, the man who was standing at the back of the room, catches up with him.)

BOB: Inspirational lecture, Dr. Suresh. I was wondering if I could trouble you for an autograph. Your father would've been so proud.

(He holds open the book as Mohinder signs it.)

BOB: So would your sister.

(Mohinder drops his things and grabs Bob by the shoulders. He slams him up against the wall.)

MOHINDER: Who the hell are you and why are you following me?

BOB: This isn't necessary. I'm nobody.

MOHINDER: What, you think I didn't recognize you? You've been at three of my lectures.

BOB: Yeah.

MOHINDER: The company sent you to bag and tag me? Is that it? A year ago, I would've run, but not anymore!

BOB: Well, that's good, because if you had, I wouldn't be able to offer you a job.

(Mohinder lets him go.)

MOHINDER: I've been down that road before. (He picks up his bag.) It doesn't end well.

(Mohinder starts down the stairs.)

BOB: Where will you go, Dr. Suresh? (Mohinder stops.) No one even believes they exist. I found your father's book in the parapsychology section in-between hypnosis and alien abductions. They don't take you seriously. They all think you're nuts. But not me. So if you're really interested in saving the world, the least you can do is let me buy you a drink.

(Mohinder looks at him and swallows.)

CUT TO:

[RUNNING]

(Maya and Alejandro Herrera are running on the dirt road)

[EXT. (HONDURAS) DIRT ROAD – DAY]

CAPTION:
MAYA & ALEJANDRO
SAN CRISTOBAL, HONDURAS

(A white police jeep follows them. They continue to run.)

MAYA HERRERA: Vamanos!

(Maya and Alejandro jump over the fence. The police car stops, then continues on down the road.)

(Maya and Alejandro continue running clear through the property. Alejandro knocks the fence wall open and they both come out on the dirt road on the other side. They start running again.)

MAYA HERRERA: (in Spanish)

(Maya slows in front of a building. Alejandro knocks out the glass in the door and reaches inside to open the door. They step into the building just as the police car turns down the street.)

[INT. BUILDING – CONTINUING]

(Maya and Alejandro press their backs to the wall as the police car passes by.)

(Maya looks at Alejandro. They both speak SPANISH.)

MAYA HERRERA: (subtitled) Are they really gone?

(Alejandro ducks and looks out the broken glass in the door.)

ALEJANDRO HERRERA: (subtitled) For now. We’ve got to keep going.

MAYA HERRERA: No. (subtitled) We’ve been running for eight hundred miles. I can’t run anymore.

ALEJANDRO HERRERA: (subtitled) We have no choice.

MAYA HERRERA: (subtitled) What if we don’t make it? If we get caught, people could die.

ALEJANDRO HERRERA: (subtitled) They’ll die if we don’t run. Maya, mi hermana. By Tuesday we’ll be in America. There, we can find the answers we need. (He touches her arm and she looks up at him.) Besides, I promised Mom that I wouldn’t let you slow down.

(She chuckles.)

MAYA HERRERA: Vamanos

(Alejandro opens the door and steps back out onto the street. Maya follows him. They’re both on the lookout for the police.)

(They start running again.)

(HOLD on a SPANISH WANTED POSTER hanging on the wall:
HONDURENA
SE BUSCAN
{sketch of Alejandro} {sketch of Maya}
Buscados Por
HOMICIDIO

CUT TO:

[EXT. (COSTA VERDE) HIGH SCHOOL -- ADMINISTRATION BUILDING -- DAY]

(The door opens and Claire walks out with her class schedule. She’s not happy with what she sees. Mr. Bennet exits the building after her. They walk.)

CAPTION:
CLAIRE & NOAH BENNET
COSTA VERDE, CALIFORNIA

CLAIRE: All the electives I wanted filled up last semester.

MR. BENNET: Come on. It's your first day. You should be excited. I am.

CLAIRE: Well, it's easy for you to say. You're not wading into the shark-infested waters of eleventh grade.

(They walk past the group of cheerleaders. Debbie is in the front of the pack leading them.)

CLAIRE: (sighs) I don't have one friend. I am shark bait.

MR. BENNET: Oh, you're gonna do fine. They don't look any different from the kids in Texas.

(Just then he sees a talk dark-haired girl walk past. She doesn’t look anything like a high school student.)

MR. BENNET: Okay, except for her. So maybe they're a little bit more ... sophisticated here, but you're gonna fit right in.

(Claire sighs again.)

CLAIRE: If you say so.

MR. BENNET: Just remember what we talked about.

CLAIRE: I know. I'm Claire Butler. I won't slip up.

(He turns and stops Claire. He holds her by her shoulders and looks at her intently.)

MR. BENNET: It's not just the name. It's everything. Trust me. The Company is still out there. And they will find us unless we're flawless with our plan. From now on ... you have to be entirely un-extraordinary.

CLAIRE: Right. Don't stand out in any way.

(They start walking again.)

MR. BENNET: Exactly. Don't raise your hand in class. (He looks at her.) And don't even think about trying out for cheerleading.

CLAIRE: Oh, come on, Dad. That's all behind me.

MR. BENNET: Just blend in. Be ordinary, right?

CLAIRE: You got it.

(They head for the car.)

CLAIRE: You know, we might want to start by you not driving me to school. It kind of draws attention to me.

MR. BENNET: Ouch.

CLAIRE: And, you know ... don't you think it might be easier on all of us if ... I had my own car?

MR. BENNET: Your mother and I were going to surprise you on your birthday next month. But ...

(He holds out the car keys. Claire’s eyes widen.)

CLAIRE: Oh, my gosh. The Rogue? (She grabs the keys from him.) (gasps) Thank you, Daddy! Thank you!

(She hugs him.)

MR. BENNET: Oh! It's yours.

CLAIRE: You're the best dad in the world.

MR. BENNET: I know. I know.

(The school bell rings. She starts back for the school. Mr. Bennet stops her.)

MR. BENNET: Claire.

(She looks at him expectantly.)

MR. BENNET: It's just ... I just can't help thinking about how many times I've said good-bye to you on the first day of school. I'm so sorry for everything I've put you through. Hope you know how much I love you.

(Claire gives him a hug. They look at each other.)

(The school bell rings and Claire runs back to the school.)

(Tires screech. A car nearly hits her. A young man is behind the wheel. He looks expectantly at her.)

CLAIRE: (sheepish) Sorry.

(Mr. Bennet watches. Claire looks back at him, then heads for school. West shakes his head as he watches her go.)

(HOLD on Mr. Bennet.)

FADE OUT TO WHITE:

FADE IN:

[SKY]

(A lone hawk shrieks and flies high in the clear blue sky.)

[EXT. (1671) FIELD – DAY]

(It’s a lovely day. The wind blows lightly through the rustling, overgrown grass. All is calm and peaceful with the world.)

OOMPH

(Hiro falls from the sky and hits the ground with a THUD. He groans.)

(He lifts his head and looks around. He has no clue where he is. He squints his eyes and turns. Just to the side of him is a row of ancient Japanese warriors on horses with their red banners and armed with bow and arrows. This is not good.)

WHITE BEARD: (in Japanese)

(The front row of archers step forward and ready their bows.)

(This really isn’t good. Hiro gets to his feet.)

WHITE BEARD: (in Japanese)

(The archers pull the bow back.)

(Hiro turns and runs in the opposite direction.)

(Then he stops. A lone rider on a horse appears at the top of the hill. He’s dressed in armor. He pauses with his hand on his sword – a sword with the SYMBOL on its hilt.)

(The leader with the WHITE BEARD draws his sword.)

WHITE BEARD: (in Japanese) I-ke!

(With a cry, the LONE RIDER draws his sword.)

LONE RIDER: (in Japanese0

(His horse neighs and rears up on its hind legs. Hiro looks from one side to the other.)

HIRO: (softly) Dai pinchi. (subtitled) @#$%!

(CRANE UP on the SCENE: Hiro is caught between the LONE RIDER and the WARRIORS.)

CAPTION:
HIRO NAKAMURA
OUTSIDE KYOTO, JAPAN

CAPTION:
1671

(The LONE RIDER looks up at the sky. It’s an ECLIPSE. A shadow moves rapidly across the entire earth and covers the LONE RIDER.)

(The shadow of the eclipse moves rapidly across the line of Japanese warriors. They lower their bows and arrows as they look up at the sky.)

(The shadow of the eclipse moves rapidly across HIRO as he looks up at the sky. Day turns into night –

(Hiro watches the sun disappear.)

HIRO: (subtitled) Not again!

(White Beard doesn’t care. He lifts his sword high in the air.)

WHITE BEARD: (subtitled) Ready!

(Oh, no! Hiro turns and realizes that he’s in real trouble. The archers pull back their bowstrings and FIRE!)

(The arrows go up into the air –

-- then fall straight for HIRO!)

(Hiro ducks behind his arm and FREEZES TIME! The arrows stop mid-flight.)

(Hiro opens his eyes and sees the arrows right in front of his face.)

HIRO: Oh!

(He pushes the arrows away from his face.)

HIRO: (subtitled) The past isn’t a very safe place.

(Hiro turns and looks over at the LONE RIDER up on the hill. His sword is out in front of him as he rides under his own white banner with the SYMBOL on it.)

(Hiro smiles with excitement and rushes over to the rider.)

HIRO: (subtitled) Not so safe for you either.

(He chuckles.)

(Then his smile vanishes as the SYMBOL on the BANNER finally sinks in.)

HIRO: (subtitled) Oh my God! You’re Takezo Kensei! My hero!

(Hiro bows.)

(He looks back at the line of warriors.)

HIRO: (subtitled) I must save you!

(Hiro pushes his glasses up and extends his hand to touch the horse. Hiro squints and all three of them VANISH!)

TIME RESUMES

(The arrows hit the ground right where they were standing.)

FADE TO WHITE:

FADE IN:

[INT. (NEW YORK) BUILDING – HALLWAY -- DAY]

(Matt stands in front of a closed hallway door with other NYPD officers. They all have their guns out.)

MATT: I'm asking one more time. Come out with your hands up.

(There’s no answer.)

CAPTION:
MATT PARKMAN
MANHATTAN

MATT: Look, I know this sucks, NYPD showing up at your door like this. Look, I get it. But this is what happens when you take somebody hostage. I just need to make sure everybody gets out of there safely, okay?

(He hears glass crash and a woman screaming.)

(Matt kicks the apartment door open.)

[INT. APARTMENT – CONTINUING]

(Matt enters the apartment. He hears a man and a woman struggling in another room and heads toward the bedroom. The other officers follow behind him.)

(Matt starts for the bedroom where the man and the woman are. He hears a noise, turns around and fires off two shots – both hitting the gunman behind him.)

GUNMAN: Ah!

(The gunman falls to the floor. He knocks over a side table lamp before hitting the floor with a thud.)

(Matt leaves him and continues toward the bedroom.)

(He hears more commotion coming from the bedroom. He peers inside, sees the man with the gun and fires twice at him. The gunman falls backward into the bathroom. )

(Matt approaches the bedroom where he hears the woman struggling. He kicks the door open and points the gun up at a man and a woman.)

MATT: Both of you, hands up.

(The man and the woman turn to look at Matt, then they start shouting at him.)

MAN: No, I'm the hostage!

WOMAN: No, no, no!

MAN: Shoot her.

WOMAN: Shoot him. Shoot him.

MAN: No, I'm the hostage! I’m the hostage! Shoot her.

WOMAN: No, I’m the hostage! No, shoot him!

MAN: Shoot her.
WOMAN: Shoot him!

MAN: Shoot her. Shoot her! Shoot her!

MAN: (v.o., thoughts) Dude, it's her. Shoot her.

MAN: Shoot her! Shoot her!

(Matt turns the gun on the woman and fires, shooting her in the chest.)

WOMAN: Ah!

(She falls to the ground. Matt walks up to her.)

(The overhead lights to the testing apartment turn on. The woman who was just shot gets up. The bell rings signifying the test is over.)

(The woman looks at Matt. She’s impressed.)

WOMAN: How did you know?

DETECTIVE FULLER: (o.s.) Okay, guys. Good job. Let's clean this place up. All guns to the armory.

(Detective Fuller steps out. They shake hands and he talks to Matt. Apparently, this scenario has been a test.)

DETECTIVE FULLER: How did you know which one to shoot?

MATT: I don't know. Tone of voice. Eye contact. The hostage looked me in the eye. The other was looking for an exit.

(Matt tucks the gun in his holster while Detective Fuller looks out at the scene.)

DETECTIVE FULLER: Well, most people notice a gun under the bad guy's shirt.

MATT: Right. Yeah, that too. Of course.

(They start out across the set.)

DETECTIVE FULLER: You know, guys who get shot like you did, they just take that worker's comp and call it a day.

(They exit through the door leading out of the set and in through another door leading back to the station hallway.)

[INT. HALLWAY – CONTINUING]

MATT: I've been ... uh ... I've wanted to be a cop my whole life. Four bullets to the chest aren't gonna change that.

DETECTIVE FULLER: Well, we were gonna drag this out, make you sweat. But I figured, what's the point? (re: badge) Take that off.

(Oh, no! Matt shakes his head and looks so sad as he takes the badge and chain off his neck. He gives it to Fuller.)

DETECTIVE FULLER: I figured that ... uh ... you'd rather have a real one.

(Fuller gives Matt a real badge. Wow. Matt can’t believe it.)

DETECTIVE FULLER: Well, you gonna take it?

MATT: Yeah.

(He picks up the badge.)

MATT: Yeah. Thank you. Wow, thank you so much.

MR. ZERN: (v.o., PRE-LAP) Turn on your bunsen burners, people, --

CUT TO:

[INT. (COSTA VERDE) HIGH SCHOOL – SCIENCE CLASSROOM -- DAY]

MR. ZERN: ... and be careful.

(Mr. Zern is at the front of the science class.)

(Claire turns her bunsen burner on. The flame lights. Claire watches Debbie, the cheerleader captain, dressed in her cheerleader outfit, take a seat at another counter nearby. The two women look at each other.)

(Claire puts her pen down and puts her hand over the flame.)

WEST: (o.s.) You got a death wish?

(Claire is startled and removes her hand just as West puts his books down next to her.)

CLAIRE: Uh, you talking about that?

(She indicates the burner. He nods.)

CLAIRE: I was just seeing how hot it was.

WEST: Pretty sure it's hot. It's called a "flame."

CLAIRE: Yeah. I was just kidding around.

WEST: Like you were this morning when you stepped in front of my car?

(West sits down next to her.)

WEST: That's okay. Made my morning interesting. I'm West.

CLAIRE: Claire.

WEST: You're new, right?

CLAIRE: Yeah.

WEST: So what are you?

CLAIRE: Meaning what, exactly?

WEST: Meaning are you one of them ... or one of the others?

CLAIRE: I'm not sure I know what you're getting at.

WEST: Well, let me break it down for you. Are you a robot or an alien? 'Cause everyone in the world is one or the other. Robots do what they're told. Stick with the herd. Aliens, on the other hand, do their own thing.

CLAIRE: Well ... uh ... I don't know. Do I have to choose?

WEST: Most people do.

CLAIRE: So what are you?

MR. ZERN: Okay, everyone. In the struggle for survival, it is the fittest who win out at the expense of their rivals. Now who said this?

(Rather than raise her hand, Claire writes in her notebook: CHARLES DARWIN. West looks over and sees the answer.)

MR. ZERN: Come on, people. Journey of the Beagle. Evolution.

(No one answers.)

MR. ZERN: Anyone?

(Still no answer.)

MR. ZERN: Charles Darwin. It's Charles Darwin.

(West looks at Claire.)

MR. ZERN: Easy one.

CUT TO:

[EXT. (HONDURAS) UNDER A BRIDGE – NIGHT]

(A covered truck comes to a stop on the road. Alejandro leads his twin sister Maya toward the truck.)

(The "coyote" driver exits the car. He stares openly at Maya.)

COYOTE: (subtitled) Looks like my lucky day.

(Alejandro doesn’t like that he’s leering at Maya. He takes a bold step forward, when a second coyote, a bearded-bulky man, steps toward. Alejandro notes his presence as well.)

(The conversation is in Spanish.)

ALEJANDRO: (subtitled) How much?

COYOTE: (subtitled) Ten thousand Lempiras ... I’ll take you as far as Sonora. That’s six hundred miles from the American border.

(He glances at Maya, then puts his backpack down to get the payment.)

ALEJANDRO: (subtitled) Okay.

(The coyote stares at Maya.)

COYOTE: (subtitled) You two married?

(Alejandro pays the man.)

ALEJANDRO: (subtitled) She’s my sister.

COYOTE: (subtitled) Even better.

(The coyote smiles at Maya.)

COYOTE: (subtitled) You can ride with me up front.

MAYA: (subtitled) In your dreams.

COYOTE: (subtitled) Ride with me or you don’t ride at all.

ALEJANDRO: (subtitled) She stays with me. We’ll ride in back.

(The coyote and his partner laugh.)

(The coyote driver turns and heads back to the front of the truck. Alejandro opens the back flap and sees the other people sitting inside. Alejandro helps Maya into the back of the truck.)

CUT TO:

[EXT. (NEW YORK) SCHOOL – DAY]

(Matt walks across the playgrounds. We hear the sounds of kids laughing. He waves to Molly Walker, who is playing on the carousel. She jumps off when she sees him.)

MOLLY: You are late.

(He walks up to her and gives her a hug.)

MATT: (chuckles) No, I believe I'm right on time.

MOLLY: I believe that your watch is slow. Guess what?

(They start walking.)

MATT: What?

MOLLY: Max Grossman tried to kiss me today.

MATT: What?

(Molly’s teacher, Ms. Gerber, walks up to them.)

MS. GERBER: Mr. Parkman?

MATT: Yeah.

MS. GERBER: Can I speak to you for a minute?

MATT: Uh, sure. (to Molly) Can you give us a second?

MOLLY: Sure.

(Molly runs off to play on the swings. Matt turns and talks with Ms. Gerber.)

MATT: Is everything okay?

MS. GERBER: Yeah, I'm just a little concerned, that's all. Molly's been falling asleep in class the last week or so. And when I asked her about it, she said she's been having some nightmares.

MATT: Um, she's got kind of a big imagination. And I realize that there's really nothing I can do about them, so I'm just trying to make her feel as safe as possible.

MS. GERBER: About that, I know it's not exactly my place, but your situation isn't the most stable.

MATT: My situation?

MS. GERBER: Your injuries. Your divorce.

MATT: Look ... uh ... my divorce is my business. And all you really need to know is that Molly is loved and well-cared for and she's doing great.

MS. GERBER: She's struggling, Mr. Parkman.

MATT: Why? Why? Because she's having a few nightmares?

MS. GERBER: Because of these.

(Ms. Gerber takes out the pictures of ANGRY EYES and of the SYMBOL.)

MS. GERBER: She started drawing them a week or so ago. Every day, they get a little worse.

(Matt looks at the pictures.)

MATT: Oh, my God.

MS. GERBER: And I have to ask you, what is this? (She points to the SYMBOL.) It's in every single picture.

CUT TO:

[INT. (NEW YORK) KIRBY PLAZA – DAY]

CAPTION:
KAITO NAKAMURA & ANDO
MANHATTAN

(The plaza is bustling with people. Kaito Nakamura sits alone on a bench.)

(Ando returns carrying a cup of coffee. He bumps into a man headed in the opposite direction. The man turns around and we note that it’s NATHAN PETRELLI sporting a heavy beard. The two men don’t appear to recognize the other.)

ANDO: Excuse me.

(Nathan doesn’t say anything and continues on his way. Ando heads over to Kaito Nakamura. He hands the cup of coffee and newspaper to him.)

ANDO: (subtitled) Sir, with no disrespect to you or Hiro ...

(Ando sits down next to him.)

ANDO: (subtitled) ... it’s been almost four months ... and there’s been no sign of him. Maybe he’s not coming back.

KAITO NAKAMURA: (subtitled) For close to thirty years ... I have seen my son as a disappointment. A dreamer who excelled at nothing. It was not until Hiro began this quest ... that I saw his strength, courage and wisdom. There is a legacy ... that I am meant to hand down to him. No ... I will wait for Hiro to return. I am a man of patience.

(He opens the newspaper and a photo falls out. It is his photo torn out from a larger photo and it has the SYMBOL in red drawn over his face like the mark of death.)

(Kaito looks down and sees the photo. He picks it up and looks at it.)

(Upon closer look, Kaito is standing next to a man in a tan-colored suit and they are in front of a circular structure with a cherub carved on the side. It looks like it may have been taken at the Deveaux Building rooftop.)

(Kaito stands up.)

KAITO NAKAMURA: (subtitled) This can’t be.

(He looks around, expecting to catch a glimpse of someone.)

KAITO NAKAMURA: (subtitled) Where did you get this newspaper?

(Ando stands up.)

ANDO: (subtitled) From your office.

(Kaito continues to look around.)

ANDO: (subtitled) Sir, what is it? What does it mean?

KAITO NAKAMURA: (subtitled) In twenty-four hours ... I’ll be dead.

(Ando’s eyes grow wide.)

POV – Someone is watching Kaito Nakamura from the other side of the Kirby Plaza fountain.

CUT TO:

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

(Angela lovingly touches PETER’S face in the NATHAN and PETER photo.)

(We hear the front door unlocking. The door opens and Nathan walks in. He’s wearing a light-colored jacket with the collar turned up. He has a package tucked under his arm.)

CAPTION:
NATHAN & ANGELA PETRELLI
PETER’S APT, NEW YORK

(He looks less than happy to see her there.)

NATHAN: What are you doing here, Ma?

(Nathan puts the keys down on the table.)

ANGELA: It's time to move on, Nathan, he's dead.

(He takes his jacket off.)

NATHAN: You don't know that. Leave his stuff alone. He's gonna want it when he gets back.

(He takes the photo from her, but she doesn’t let go of it. They struggle for it and it falls to the floor. The glass cracks.)

(Nathan falls to his knees next to the open box of Peter’s things.)

ANGELA: You're drunk.

(Nathan picks up the photo.)

ANGELA: Thank God your father isn't here to see you.

(He stands up and glares at her.)

NATHAN: Or you, for that matter.

ANGELA: You killed your brother. Drove Heidi away. Drove your kids away.

(She starts shoving things into the box while Nathan puts the photo back on the table.)

ANGELA: If you'd followed our plan -- If you'd done what you were supposed to do, he would be alive now.

NATHAN: To think I almost listened to you.

(Nathan turns and looks at her.)

NATHAN: (quiet) You're evil, Ma.

(Angela stops packing stuff and looks at Nathan. Nathan walks up to her and points to the door.)

NATHAN: Get out.

(He wiggles his finger at the door. Angela knocks his hand away, drops the stuff she’s holding, turns and leaves.)

(She slams the door shut behind her.)

(HOLD on Nathan.)

CUT TO:

[INT. HALLWAY OUTSIDE PETER’S APARTMENT – CONTINUING]

(Angela takes a moment out in the hallway. She stops when she notices the PHOTO stuck to the wall. She looks at it. It’s a photo of her torn out from a larger photo and it has the SYMBOL in red drawn over her face like a death mark.)

(Angela’s scared. She turns and looks around, but obviously there’s no one else in the hallway. She stops and looks at the photo.)

WHITE FLASH TO:

[EXT. (1671) GROVE – DAY]

(Hiro, the LONE RIDER and his horse appear in the shaded area. The horse rears up and the LONE RIDER falls backward, landing on the ground with a THUD.)

(Hiro raises his arms in triumph.)

HIRO: Yatta! (subtitled) I did it.!

(The LONE RIDER draws his sword and points it at Hiro. Hiro stops and backs up as the LONE RIDER gets up.)

LONE RIDER: (subtitled) What happened? How did we get here?

HIRO: (subtitled) I brought you here. They were about to put holes in you.

(Hiro points to the LONE RIDER.)

LONE RIDER: (subtitled) Fifty ryo is not worth dying for.

(The LONE RIDER drops the sword hilt.)

LONE RIDER: (subtitled) You can tell Takezo Kensei ... he can keep his damn money.

(And the LONE RIDER runs away. Hiro is confused.)

HIRO: (subtitled) But if you’re not Takezo Kensei ...

(The man keeps running without looking back.)

HIRO: (subtitled) Then who is ...

(Behind Hiro, a second man in armor steps out from behind the tree. He’s holding a loaded crossbow pointed at Hiro.)

TAKEZO KENSEI: (subtitled) What did you do?

(Hiro turns around and sees the warrior and weapon. He immediately puts his hands up in surrender.)

TAKEZO KENSEI: (subtitled) You made him run away! What did you do?

(He walks around Hiro.)

TAKEZO KENSEI: (subtitled) Why did you make them scatter?

(He picks up the sword.)

TAKEZO KENSEI: (subtitled) If I put an arrow through that leader’s heart, I would’ve been a very rich man.

(Hiro puts his hands down.)

HIRO: Kensei Takezo? (subtitled) Takezo Kensei?

TAKEZO KENSEI: (subtitled) What are you? Some sort of monk? You dress so strangely for a monk. And you wear glasses like a doctor.

(Hiro takes his glasses off and tucks them in his jacket pocket.)

HIRO: (subtitled) I’m not a monk. I’m your biggest fan. I know all about you, Takezo Kensei. I know all the stories about you! (points) I stole your sword!

(Kensei tucks the sword under his arm and removes his mask to reveal ... he’s Caucasian.)

(huh?)

(Kensei’s Caucasian?)

(Hiro puts his glasses back on.)

HIRO: (subtitled) You are the hero Kensei?

TAKEZO KENSEI: (subtitled) My name here is Kensei. But no one’s ever called me a hero before.

(Hiro’s jaw drops.)

HIRO: Huh?

FADE OUT.

(COMMERCIAL SET)

FADE IN:

[INT. (COSTA VERDE) COPY KINGDOM -- DAY]

(Mr. Bennet rushes into the store. The manager is with a customer and sees him come in.)
MANAGER: (to the customer) Can you excuse me? (to Mr. Bennet) You were late.

(The manager follows Mr. Bennet through the store.)

MR. BENNET: It's my daughter's first day of high school. Had to make sure she was okay.

CAPTION:
COPY KINGDOM
COSTA VERDE, CALIFORNIA

(Mr. Bennet removes his jacket to show that he’s wearing the purple shirt uniform that all employees at the store are wearing.)

MANAGER: And that's ... uh ... somehow my problem? That shipment of toner cartridges came in last night.

MR. BENNET: I know. I was here.

(The manager stops him.)

MANAGER: And when exactly were they going to get installed? 'Cause I don't see anybody else here doing it.

MR. BENNET: I'm gonna do it this morning.

MANAGER: Uh-huh. And if I wasn't here watching your every move?

(Mr. Bennet drops his jacket on the chair and punches his time card.)

MANAGER: You know, you've been here for a few months, Butler. I think it's time I saw some commitment to excellence from you. When I was assistant manager, we were fully set before the first customer walked through that door. That is how I got this.

(He points to his MANAGER tag on his shirt. Mr. Bennet picks up a couple of toner cartridge boxes.)

MANAGER: Paper business is dog eat dog. You gotta live it and breathe it. You gotta want it. Do you want it, Butler? Do you?

MR. BENNET: Yes, sir.

(Mr. Bennet takes the boxes and starts toward the copy machines.)

MANAGER: Yeah. Well, we'll see.

CUT TO:

[INT. (CAIRO) HOTEL DINING ROOM – DAY]

(Bob, the Company representative, talks with Mohinder.)

BOB: The Company was formed thirty years ago with a group of like-minded individuals, ordinary men and women who were gifted with extraordinary powers. They wanted to help their own -- to find them and to protect them. We find people, and we make sure they don't become dangerous. Now sometimes that can mean making sure they understand entirely what they're capable of and teaching them to use their abilities for the good of mankind ... and sometimes it can mean eliminating them.

MOHINDER: Who the hell are you to judge who lives and who dies?

BOB: If I'm not mistaken, you yourself tried to put a bullet in the brain of a man named Sylar.

MOHINDER: He was a monster.

BOB: Yes. And you were willing to kill him for the greater good. You acted on a moral imperative to protect your species.

MOHINDER: It doesn't matter one way or the other about Sylar. He's no longer a threat. He's dead.

BOB: And now you have Molly. You and Matt Parkman are protecting her. Now we're not interfering with that arrangement. Far from it. We're offering to help you. We have resources to offer you, Dr. Suresh. The plague. You talked about the disease which killed your sister, Shanti.

MOHINDER: The virus.

BOB: Yes. We have the funds you need for your research.

(Bob takes a spoonful of sugar and adds it to his cup. He stirs.)

BOB: Now, can you imagine what would happen if that virus mutated and crossed over into the general population?

MOHINDER: Look, the type of research you're talking about is extremely expensive.

BOB: Trust me. That won't be a problem.

(Bob holds up the spoon and right before Mohinder’s eyes, he turns the silver spoon into GOLD.)

BOB: Let's just say we have our own private Fort Knox.

(Mohinder takes the gold spoon.)

BOB: So can we count you in?

(Mohinder looks at the spoon.)

CUT TO:

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

(Matt returns inside the apartment carrying a box of pizza.)

MATT: Thank you.
PIZZA DELIVERY: (o.s.) You're welcome.

(He closes the door.)

CAPTION:
SURESH’S APARTMENT
BROOKLYN

MATT: Dinner!

(Matt opens the TROYTAN’S NEW YORK pizza box as Molly comes out of the back room.)

MOLLY: Uh, shouldn't I be eating some vegetables every once in awhile?

MATT: Well, that is why I got you a vegetable pizza, smarty-pants. Plus I got your favorite rocky road for dessert.

(He puts the pizza box on the table and heads into the kitchen to get the plates.)

MOLLY: You're just trying to bribe me 'cause you never cook. I miss Mohinder. He cooks.

MATT: Hey, I can cook. I just thought why not order pizza? Give us time to talk.

(He sets down the plates and cups.)

MOLLY: Hmm. Talk about what? (She shows him his badge.) This? Does that mean you passed your detective's exam?

MATT: With flying colors. Why? You proud of me?

(Matt sits down with the milk container.)

MOLLY: Mmm, depends. Did you cheat?

(busted.)

MATT: (nervous laugh) Why would you ask me that?

MOLLY: Reading the answers out of people's minds, it's unfair.

MATT: No, it is my natural talent. You wouldn't think a baseball player's cheating 'cause he's athletic, would you?

MOLLY: It's not the same and you know it.

MATT: No.

(Matt reaches for Molly’s drawings.)

MATT: You know what, I want to talk to you about these drawings that you made at school.

MOLLY: You're changing the subject.

MATT: Ms. Gerber's concerned and so am I.

MOLLY: You don't want to talk about your exams, I don't want to talk about my dreams.

MATT: Molly. I want to help you. I don't want you to be --

MOLLY: (shouts) I said I didn't want to talk about it!

(Matt stares at Molly.)

MOLLY: (quietly) Can I finish my dinner in my room?

MATT: (nods) Sure, go ahead.

(Molly takes her pizza and milk. She hurries to her room.)

CUT TO:

[EXT. (HONDURAS) DIRT ROAD -- NIGHT]

(The truck carrying the group of people continues down the road.)

(In the back of the truck, Maya is reading CHANDRA SURESH’S book, Activating Evolution, the Spanish version.)

MAYA: (subtitled) This book is incredible, Alejandro. This man has figured it all out.

ALEJANDRO: (subtitled) Yes ... if he knows the cause, there has to be a cure.

MAYA: (subtitled) Yes, it’s just that. God would not have done this to me ... without a chance for salvation.

ALEJANDRO: (subtitled) Maya, it’s not your fault. You have to believe that.

MAYA: (subtitled) You keep saying that ... but your words don’t make it any easier, Alejandro, especially when I know what can happen.

ALEJANDRO: (subtitled) Nothing will happen. Not when I’m with you. I won’t let it happen.

(The truck slow down and stops. Maya gasps. The man sleeping across them wakes up.)

(They hear the sounds of the coyote and his partner getting out of the truck.

MAYA: (subtitled) Why did we stop?

(The coyote driver opens the back flap. He motions to Maya and Alejandro.)

COYOTE: (subtitled) You guys.

(Alejandro points to himself. Who me?)

COYOTE: (subtitled) Come with me.

(Alejandro heads out of the truck.)

ALEJANDRO: (subtitled) Just stay here.

(Maya doesn’t like it. She puts her hat on quickly and follows him outside.)

[EXT. DIRT ROAD – CONTINUING]

(Alejandro climbs out of the truck. The coyote driver and his partner wait for him.)

ALEJANDRO: (subtitled) What’s the problem?

(The coyote driver puts his arm around Alejandro’s shoulders and they walk away from the truck.)

COYOTE: (subtitled) Our financial arrangement ... Did I say ten thousand Lempiras? What I meant to say was ... ten thousand ... for each of you.

(Maya climbs out of the truck to follow Alejandro. The large coyote man blocks her way, keeping her near the truck and away from Alejandro.)

ALEJANDRO: (subtitled) No ... I remember it was for both of us.

COYOTE: (subtitled) Pardon me. I made a mistake. What I meant was ... that you ride in the back ... and your sister rides up front with me.

ALEJANDRO: (subtitled) I told you she stays with me.

COYOTE: (subtitled) That’s it ... the deal, take it or leave it.

ALEJANDRO: (subtitled) You son of a bitch.

(Alejandro pushes the coyote driver back. The driver pulls out a gun and points it at Alejandro.)

MAYA: (subtitled) No!

(Maya tries to run to Alejandro, but the large coyote man holds her back. Alejandro faces the gun and backs up a little. The coyote driver gun-whips Alejandro in the face. He goes down.)

MAYA: (subtitled) (screams) No! You don’t understand ...

(The large man drags Maya around the truck. The coyote driver kicks Alejandro on the ground.)

MAYA: (subtitled) for God’s sake!

(He continues to kick Alejandro.)

MAYA: (subtitled) You’re making a mistake! Alejandro!

(The large man drags Maya to the front of the truck. Alejandro tries to get up as he clutches his stomach.)

MAYA: (subtitled) (from truck) Alejandro!

(They get into the truck and start the engine, leaving Alejandro outside. The truck drives away.)

MAYA: (subtitled) (o.s.) Alejandro!

(Alejandro gets to his feet and starts running after the truck.)

ALEJANDRO: (subtitled) Maya!

MAYA: (subtitled) (o.s.) No!

(The truck leaves Alejandro behind.)

ALEJANDRO: (subtitled) (softly) Maya!

CUT TO:

[INT. (COSTA VERDE) HIGH SCHOOL GYM – DAY]

(The gym is full of various groups of kids doing various things. The cheerleaders practice in three groups – one group practices cheers, another group builds a pyramid and a couple of girls do backflips off the tower and onto thick mats on the floor.)

(Claire watches them practice with a look of longing on her face. She’s with a group of girls playing badminton.)

MARTHA: Claire!

(Claire turns her attention back to the game. The other team hits the shuttlecock up and over the net. Martha runs to get it, trips and falls on the court right in front of the cheerleaders.)

(Debbie, the head cheerleader, stops and laughs at her.)

DEBBIE: Nice move, ballerina. How's that floor taste?

(Claire helps Martha up.)

CLAIRE: Are you okay? Don't listen to them. I'm going to go find the birdie thing.

(Claire ducks under the net and hurries over to get the shuttlecock. She reaches down to pick it up when someone else picks it up first, nabbing it right out from under her.)

(It’s West.)

CLAIRE: Thank you.

WEST: No problem. Robot.

CLAIRE: So I'm a robot now, huh?

WEST: Far as I can tell.

CLAIRE: Oh. Okay. (She holds out her hand.) Birdie, please.

(He gives her the shuttlecock. She starts to leave, then stops. She turns around, annoyed.)

CLAIRE: You don't even know me.

WEST: You had the answer today in class, but you didn't say it. You don't want people to know that you are smart.

CLAIRE: You just have me all figured out, huh?

WEST: Know a robot when I see one.

CLAIRE: Hmm.

(Claire turns and heads back. She overhears Debbie goading Martha.)

DEBBIE: Come on, Martha. It's just a backflip off the tower. And you know the girls will catch you.

(And you know they just won’t. The girls giggle.)

(Claire marches right up to Debbie’s face.)

CLAIRE: Just leave her alone, okay?

DEBBIE: Okay, one--don't know you. And two--as captain of the cheerleading squad, it's totally within my rights to recruit talent where I see it. I think Martha here has what it takes to be a cheerleader.

(The other girls giggle.)

CLAIRE: So you can do a backtuck off the tower? What's the big deal?

DEBBIE: If it's so easy, why don't you try it? In fact, if you can do a backtuck off the tower, Martha here is off the hook.

(Claire looks at Martha.)

CLAIRE: All right. I'll do it.

(Claire drops her racket and heads for the tower.)

DEBBIE: This should be good.

(Claire makes her way through the cheerleaders and heads for the tower. She climbs up to the top and stops. A large group of kids gather around at the base. West looks up at her.)

DEBBIE: We're waiting.

(Claire turns and looks at the kids.)

CLAIRE: You're right. Can't do it.

DEBBIE: (scoffs) There's a shocker.

(The school bell rings and the crowd disburses.)

(Claire looks over at West. He turns away. The cheerleaders fold up the mat at the base of the tower.)

CUT TO:

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

(It’s night. Molly is sleeping and having a nightmare. She groans and coughs with whatever is disturbing her rest.)

(Matt walks up to her bed. He looks at her and listens to her thoughts. He hears Molly’s voice and another, more sinister one there, too.)

MOLLY: (v.o.) Help! Help! Help me!

MOLLY: (v.o.) Help me!
MOLLY: (v.o) Don't hurt me.
MOLLY: (v.o.) Don't hurt me. No!

(Matt continues to focus in on her thoughts.)

MOLLY: (v.o.) (screams) Noooo!
MOLLY: (v.o.) No!

DEEP VOICE: (v.o.) (hissing) I can see you.

(Molly wakes up screaming.)

MOLLY: Ahhhh!

(He grabs her and she latches onto him. He holds her tightly.)

MATT: It's okay. It's okay. It's all right. It was just a dream. It was just a dream.

MOLLY: (terrified) Oh, my gosh. He can see me.

MATT: Did you see him? Huh? (He looks at her.) See what he look like?

(Molly nods.)

MATT: Okay, you tell me where he is and I will take care of him.

MOLLY: No. He's too dangerous. If I tell you where he is, he'll kill you too.

MATT: No. No, no, no. Nobody's going to kill anyone. I promise.

(Molly hugs him and he holds her tight.)

MATT: I promise. I'm right here.

MOLLY: Don't go, please.

CUT TO:

[INT. (COSTA VERDE) HIGH SCHOOL GYM – DAY]

(Claire sits on top the tower. The gym is empty. She stands up and starts to leave, but instead goes back to the center of the tower pad. Claire does the backtuck and lands on her feet on the padless floor.)

CRACK!

(Claire falls and groans loudly. She’s in pain. She snaps her broken leg back into place, a large bruise already forming under the broken bone.)

(The gym door opens and West walks in.)

(The bruise on Claire’s leg vanishes.)

(The door closes. Claire’s head snaps up and she sees West standing there. She didn’t hear him come in. West looks at her.)

WEST: Why are you still here?

(Claire looks at her leg, then she looks at West. Just how much did he see?)

(West looks up at the tower, then back at Claire.)

(HOLD on Claire.)

CUT TO:

[INT. (COSTA VERDE) COPY KINGDOM – BACK STOREROOM / BREAK ROOM -- DAY]

(Mr. Bennet is at the table having a cup of coffee and reading the paper. The manager finds him there.)

MANAGER: You're still on your break.

(Mr. Bennet doesn’t bother looking at him.)

MR. BENNET: Yes, I am.

MANAGER: You were supposed to be back on the floor five minutes ago. (crosses his arms and glares at him) There's a line of customers out there.

(Mr. Bennet looks past the manager and out at the floor – where there are no customers and the workers are just milling about – one with his feet up on his desk and another yawning .)

(Mr. Bennet goes back to his newspaper and coffee.)

MR. BENNET: Just finishing my coffee.

MANAGER: Uh ... no ... you're finished.

(He snaps his fingers.)

MANAGER: Get out there.

(The manager leans forward, his hand on the table.)

MR. BENNET: (calmly) Just a few more sips, that's all.

MANAGER: You look at me when I talk to you. Do you hear me?

(The manager points his finger in Mr. Bennet’s face. Mr. Bennet grabs the manager’s finger and squeezes hard.)

MANAGER: Ah!

MR. BENNET: I hear you all right.

(Still sitting down, Mr. Bennet twists the manager’s arm, flipping him backward onto the table. The manager groans from pain.)

MR. BENNET: Now you hear me. I am done eating your crap. From now on, I will work how and when I feel like it. I will take breaks when I want to. And you will not say a damn word to me ever again. Do you understand?

MANAGER: Yeah.

(Mr. Bennet lets the manager go. The manager falls to the floor. He holds his sore fingers.)

MANAGER: Ow!

(Mr. Bennet leans back in his seat.)

MR. BENNET: Square on that?

MANAGER: Yeah. Yeah.

WHITE FLASH TO:

[EXT. (1671) GROVE / ROAD TO OTSU -- DAY]

(Hiro walks with Kensei.)

HIRO: (subtitled) I don’t understand. Takezo Kensei, the legendary Samurai master ... my father read me tales of ... is a gaijin?

(Kensei tosses the horse’s reigns to Hiro.)

KENSEI: (subtitled) I have to pee.

(He walks up to the nearest tree and starts to relieve himself. Hiro quickly turns around to give him privacy.)

HIRO: (subtitled) Are you sure you’re Takezo Kensei?

KENSEI: (subtitled) Good name, eh? "Kensei" ... means "Sword Saint." Men think twice before they trifle with that. I thought of it when I got here from England.

(Hiro whirls around.)

HIRO: (in English) You are English?

(Kensei turns around and looks at Hiro with relief.)

KENSEI: Oh, and there's a surprise. You know, there's very few locals here with whom I can speak plain.

(He walks up to Hiro and clasps him on the shoulders.)

KENSEI: Thank God for you, young man.

(Hiro shrugs away from him.)

HIRO: (subtitled) Yuck!

KENSEI: Eh, sorry. Sorry.

(They start walking again.)

KENSEI: So I came over on one of the few trade vessels your emperor let pass. The boat left full of tea, I kept on to find my fortune. You should see what I got paid to fend off those bandits.

HIRO: Kensei Takezo does not fight for money. He fights for honor.

KENSEI: Really? Well, as long as it's honor I can spend. It's not a bad lot. I mean, I find a stout brute, put him on a horse, put him in a field, and tell him to shout on about how he's fearsome old Kensei. Then I repair to the branch of a tree and start to pick off the black guards one by one.

HIRO: That's fighting dirty!

KENSEI: That's fighting smart, sir. What? I give him a fair wage. If he lives.

(Kensei walks away. Poor Hiro looks so disillusioned.)

HIRO: (mutters) No. This can't be. No.

(Hiro rushes to catch up with Kensei.)

HIRO: I come from the future. Many years from now. Your noble deeds become part of our history.

KENSEI: (laughs) The future?

HIRO: Yes.

KENSEI: That's a good one.

(Behind them, a lot of people are walking down the road.)

HIRO: No, it is true. I know what happens to you. As a boy I read the book The Trials of Takezo Kensei. How you killed the Black Bear of Sakashita, your love of the swordsmith's daughter, and you defeat the terrible White Bearded Warlord and save the village of Otsu.

KENSEI: Otsu?

(Hiro scrunches his nose.)

HIRO: You smell smoke?

(Kensei sniffs the air. Hiro sees something behind Kensei. Hiro’s eyes grow wide. There in the distance is the burning village of Otsu. Black smoke pillars up into the air.)

HIRO: (subtitled) What village is that?

KENSEI: (subtitled) That would be Otsu.

(Hiro looks out at the burning village. This can’t be happening.)

CUT TO:

[EXT. (NEW YORK) DEVEAUX BUILDING – ROOFTOP -- DAY]

(Kaito Nakamura looks at the photo of himself with the SYMBOL marked on top of his face.)

ANDO: (subtitled) Sir, will you tell me what this is about?

(He looks around the rooftop.)

KAITO NAKAMURA: (subtitled) I am going to die. This message is clear.

ANDO: (subtitled) Who is it from?

(He steps further away from Ando, still looking around the rooftop.)

KAITO NAKAMURA: (subtitled) I don’t know. Could be any of them.

ANDO: (subtitled) Them?

(Kaito reaches the other end of the roof and still he looks around.)

KAITO NAKAMURA: (subtitled) All of them ... are very powerful.

(He turns around and looks at Ando.)

KAITO NAKAMURA: (subtitled) You have been a loyal and trusted friend. I want you to leave. It’s not safe here with me.

(Ando walks up to Kaito Nakamura.)

ANDO: (subtitled) I cannot. I cannot desert you now. It is for Hiro that I will stay and help you fight.

KAITO NAKAMURA: (subtitled) Very well ... If we are going to fight, then I will need a sword. Can you find me one?

ANDO: Yes. (subtitled) I’ll be back as soon as I can.

(Ando turns to leave just as Angela Petrelli arrives. She stops and looks at Kaito. Ando stops. He turns and looks back at Kaito.)

KAITO NAKAMURA: (subtitled) It’s okay.

(Ando bows to Kaito. He walks over to Angela Petrelli and bows to her. With a final glance at Kaito, Ando leaves.)

(Angela walks up to Kaito.)

ANGELA: Let me see it.

(He shows her the marked photo. She takes her photo out and the two torn edges match up perfectly.)

KAITO NAKAMURA: I do not take death threats idly.

ANGELA: Someone's playing a trick.

KAITO NAKAMURA: Are they? Charles Deveaux. Linderman. Your husband. All of them. Dead. Now there are nine.

ANGELA: So you think one of us sent these?

KAITO NAKAMURA: Yes. For the pain we cause. The people we have killed. There is no end to our suffering. I sought redemption by helping Hiro fulfill his destiny to save the world. How did you help your son?

(Angela slaps Kaito.)

(Back in the entryway, Ando watches them through the glass. He turns and leaves quickly before anyone sees him.)

(Angela turns away from Kaito.)

KAITO NAKAMURA: Angela. (She stops.) I am leaving for Japan tonight. I suggest you disappear as well.

(Without another word, Angela leaves.)

WHITE FLASH TO:

[EXT. (1671) ROAD OUT OF OTSU -- DAY]

(The villagers take what they can carry and head out of the village.)

(Hiro looks dismayed as he walks past them, looking at them. He stops an elderly woman.)

HIRO: (subtitled) What happened here?

ELDERLY WOMAN: (subtitled) Bandits. They took everything. Is there no God to protect us?

(She shakes her head and continues on her way. Hiro stops and looks toward the village. Kensei stops next to Hiro.)

HIRO: Oh, no. I broke history.

KENSEI: Villages burn. Those things happen.

HIRO: But not like this! The future may not exist as I know it. No future. No cars. No Ando. No me.

(Kensei lifts a jug of sake off a passing wagon.)

KENSEI: Ah.

HIRO: Great-o Scott-o.

KENSEI: You mustn't fret everything, my very strange little friend. Here, have some sake. It'll brighten your day.

(Kensei lifts the jug and drinks. Hiro pushes his arm back down.)

HIRO: No, forget sake! You're supposed to be a hero.

KENSEI: Being a hero never filled anyone's sack with salt and saffron. It's a waste of time, huh?

(Kensei walks past Hiro.)

HIRO: In the stories, you are rewarded with more gold than the emperor. And you took the swordsmith's daughter, the most beautiful woman in all Japan for your princess.

(Just then, the "most beautiful woman in all Japan" storms up to Kensei and smacks him in the face.)

KENSEI: Oh! Ow.

YAEKO: (subtitled) We gave you everything we had to defend us. Now our homes are burned. Those bandits took my father hostage. And you sit here drinking?

KENSEI: (subtitled) No need for everyone’s day to be ruined.

YAEKO: (subtitled) You swore to challenge them in battle.

KENSEI: (subtitled) I did, Yaeko. (points to Hiro) But this man got in the way.

(She turns and looks at Hiro. Hiro points to himself. Who, me? He holds up his hands in surrender. Yaeko looks at Kensei.)

(She grabs his sword from him and clutches it.)

HIRO: (subtitled) My sword!
KENSEI: (subtitled) My sword!

(Hiro and Kensei look at each other.)

KENSEI: Heh?

YAEKO: (subtitled) It’s my father’s sword. He forged it. He gave it to you as payment for your protection.

(She takes the sword and storms off.)

HIRO: She's the swordsmith's daughter?

KENSEI: And I don't think she wants to be my princess.

(Kensei takes a drink from the jug as Hiro tries to stop Yaeko.)

HIRO: (subtitled) Wait! (Yaeko stops.) Swordsmith’s daughter! Where are you going?

YAEKO: (subtitled) Someone must rescue my father. If Kensei will not ... I will!

(She turns and leaves. Hiro watches her go. He turns to get Kensei.)

HIRO: (shouts) Wait! Don't leave!

(He catches up with Kensei.)

KENSEI: No?

HIRO: No. You have to rescue the swordsmith and make the daughter fall in love with you.

KENSEI: Uh-huh.

HIRO: You have to become the legendary Japanese hero that you are destined to be.

(Hiro steps in Kensei’s path and grabs his shoulders to make him understand.)

HIRO: You have to fight Black Bear. You have to fight the 11 swords – oh!

(Kensei punches Hiro in the face, knocking him out flat on his back.)

KENSEI: The only thing I have to do is find me a drink. (to the horse) Come on.

(Kensei leaves.)

(Hiro is left on the ground. A goat stops and licks his face.)

(Hiro groans.)

HIRO: (subtitled) This is going to be tough.

FADE OUT.

(COMMERCIAL SET)

FADE IN:

[INT. (COSTA VERDE) BENNET (AKA BUTLER) RESIDENCE – DINING ROOM -- EVENING]

(The Bennets sit at the dining room table quietly eating dinner. Sandra is holding Mr. Muggles. The silence is incredibly awkward.)

MR. BENNET: Eighty-six straight days of sunshine. You just can't beat that. Right, Lyle?

LYLE: I don't know. I guess.

SANDRA: So, Claire, Lyle was saying that his first day of school was uneventful. How about you? Anything special happen?

CLAIRE: No. No, nothing. I ... uh ... skated by unnoticed. It was like I wasn't even there.

MR. BENNET: (smiles) That's good, honey.

SANDRA: And how about you, sweetheart?

MR. BENNET: Me?

SANDRA: Anything interesting happen today at Copy Kingdom?

MR. BENNET: I ... uh ... I made a calendar for some grandparents. And a co-worker brought in donuts.

CLAIRE: That's great.

SANDRA: I just think it's amazing how well we have all adjusted to our new lives here. It's inspirational, really. The Bennets were given lemons and what did we make?

(Everyone’s quiet.)

CLAIRE: Uh, lemonade?

SANDRA: Exactly.

MR. BENNET: I'll second that.

SANDRA: We're all flourishing really, all except (baby voice) ... Mr. Muggles. No one has any idea you won two regional championships, five all-breed rallies. Poor little guy. I mean, how do you go back to the farm after you have seen gay Paris? N'est-ce pas? Mais oui. (Mr. Muggles licks Sandra.) Thank you.

(Everyone is quiet again.)

(The cell phone rings. Mr. Bennet looks and it’s his cell phone.)

MR. BENNET: Oh. Must be work. (He stands up.) 'scuse me.
(He takes his phone out.) 'scuse me.

(He heads to the study.)

(The door to the study is partially open as Mr. Bennet answers the phone.)

MR. BENNET: (to phone) Well?

MOHINDER: (from phone) They finally took the bait.

INTERCUT WITH:

[INT. (CAIRO) HOTEL ROOM – NIGHT]

(Mohinder sits on the bed and talks on the phone.)

MOHINDER: (to phone) They caught up with me in Cairo. I'm in.

MR. BENNET: (to phone) Good. It's all falling into place. Just ... just stay careful. Watch your back. And you and I will bring this whole company down.

(Mr. Bennet hangs up.)

CUT TO:

[EXT. (HONDURAS) DIRT ROAD -- NIGHT]

(The truck is stalled in the middle of the road. The lights are on and Spanish music plays on the radio. The truck isn’t moving at all.)

(Alejandro runs. He stops at the edge of the hillside and sees the truck down on the road below.)

(He runs down the side of the hill. In his hurry, he trips and falls, sliding to a stop on the dirt road. He gets to his feet and runs to the truck. He opens the passenger door. The heavy, bearded man falls out, dead. Thick black fluid bleeds from his eyes.)

ALEJANDRO: No.

(He looks inside the truck and sees the coyote driver slumped forward over the steering wheel. He is dead with thick black fluid bleeding from his eyes.)

(Alejandro runs to the back of the truck. He opens the flap and sees all the other passengers dead with the black fluid bleeding from their eyes.)

(He closes his eyes from the sight, then looks for her.)

ALEJANDRO: (subtitled) Maya.

(He hears her crying. He finds her sitting on the dirt road, her head in her hands. He goes to her to check on her.)

MAYA: (subtitled) What did I do ... what did I do? I didn’t want to do it.

ALEJANDRO: (subtitled) I know you didn’t. Don’t worry.

MAYA: (subtitled) My God ... My God, what have I done?

ALEJANDRO: (subtitled) Maya ... we have to go.

(Alejandro opens the driver door and pulls the dead coyote driver out of the truck.)

ALEJANDRO: (subtitled) We have to get to the United States ... to New York.

(He drags the body out to the roadside.)

ALEJANDRO: (subtitled) That doctor is the only one that can help you.

(He picks up his bag and picks up her hand.)

ALEJANDRO: (subtitled) Come ... Maya, listen to me. Give me your hand, let’s go.

MAYA: (subtitled) And the others?

ALEJANDRO: (subtitled) We’ll go to where it’s safe ... and that’s where we’ll bury them. Let’s go, let’s go.

(He helps her to her feet, picks up their bag and gets them both into the truck.)

(He closes the door.)

CUT TO:

[INT. (COSTA VERDE) BENNET (AKA BUTLER) RESIDENCE – CLAIRE’S ROOM -- EVENING]

(Claire dials a number on her cell phone. She’s lying on her bed as she makes the call.)

INTERCUT WITH:

[INT. (NEW YORK) BAR – NIGHT]

(Nathan’s phone rings. He answers it.)

NATHAN: (to phone) Why are you calling me?

CLAIRE: (to phone) I don't know. I'm not sure.

NATHAN: (to phone) Well, don't do it again. I gotta go.

CLAIRE: (to phone) No, wait. Listen, I know why you're doing this. I get it. I miss him too. I just ... I need someone to talk to. I don't know if I can do this anymore.

NATHAN: (to phone) Do what?

(Claire sits up in bed.)

CLAIRE: (to phone) Not be who I really am and I know that I-I can't be who they want me to be and I just feel like I'm gonna burst.

NATHAN: (to phone) Look, I know you're looking for answers. We all are. But trust me, I am not the guy ... to give 'em to you. I'm sorry.

(He disconnects the phone. He turns and glances in the broken mirror on the wall. He sees a reflection of himself – beardless and disfigured, skin melted on his face.)

(Nathan looks away.)

(When he looks back, he sees his normal reflection.)

(Meanwhile, back in Claire’s bedroom, she closes her phone and lies back down on her bed.)

(CAMERA PULLS OUT the second floor bedroom window. Continue to PULL OUT to the tree out in the yard.)

(West is there watching Claire through her bedroom window.)

(CAMERA PULLS DOWN AND AWAY and we see West HOVERING in the air.)

(He watches her for a moment, then flies away into the night sky.)

CUT TO:

[EXT. (NEW YORK) DEVEAUX BUILDING ROOFTOP – NIGHT]

(Kaito Nakamura stands alone on top the rooftop as he looks out at the city.)

(He hears the rooftop door open and he turns around.)

KAITO NAKAMURA: (subtitled) Ando.

(He stops.)

(The rooftop door closes. He takes a deep breath. As he watches, a person wearing a HOOD steps out from around the corner. They have a hand on the wall as if feeling their way around.)

KAITO NAKAMURA: Of all of them, I never expected it would be you.

(The hooded figure waits in the doorway.)

(Kaito takes a step back to brace himself for the attack.)

(Just then, Ando returns carrying the sword.)

ANDO: (subtitled) Sir ... I have it.

(He turns and sees the HOODED PERSON start running toward Kaito.)

ANDO: Hey!

(Ando runs to intercept him.)

(The HOODED PERSON reaches Kaito and the two of them fall off the side of the building.)

ANDO: (subtitled) Sir!

THUD!!!

(Ando runs to the side of building and reaches down.)

ANDO: (subtitled) Sir!

(Down below, Kaito Nakamura’s body is motionless in a pool of blood.)

(Ando looks around. There is NO SIGN of the HOODED PERSON.)

(HOLD on Kaito Nakamura’s dead body.)

CUT TO:

[EXT. (IRELAND) SHIPYARD -- NIGHT]

CAPTION:
CORK, IRELAND

(It’s pouring. A guard makes his way around the rows of containers, checking them as he makes his rounds.)

(Someone steps out behind him and hits him on the back of his head. The guard falls to the ground.)

RICKY: What are you trying to do? Kill the poor bastard?

WILL: Sorry.

RICKY: Drag him someplace where he'll stay dry. And make sure he's breathing, for the love of Pete.

TUKO: Right you are, boss.

(Will and Tuko tend to the guard. Ricky shines his flashlight on the container numbers.)

RICKY: We're looking for 9-1-0-9. The numbers are on the side here. Supposed to be the third row back.

(The three thieves look for the right container.)

WILL: Hey, boss! Over there!

(Ricky walks around the container and joins up with the others at container #9109.)

(Tuko cuts the lock off the door.)

WILL: Hey, I figured I'd keep a case for meself.

TUKO: What are you gonna do with a dozen iPods? You can barely use a computer.

WILL: Ah, what do you know?

(They open the container and find it completely empty.)

RICKY: What the hell?

TUKO: Maybe we got the wrong number.

RICKY: No, the number's right. Something else is wrong.

(In the back of the container, they find a shirtless man handcuffed to the wall.)

VOICE: What's that?

(They walk up to him. His right wrist is handcuffed to the wall. His face is turned away from them.)

RICKY: What the hell are you doing here?

(The man turns. It’s PETER. He looks at them blankly.)

RICKY: Where are the iPods?

WILL: You heard the man. How'd yous get in here?

(Peter looks scared and confused. Tuko steps forward.)

TUKO: Maybe this will jog your memory.

(He pulls back his stick to hit Peter. Peter raises his hand and a flash of light and energy bursts, shoving Tuko away from him and into the container wall.)

WILL: What the hell was that?

(Ricky points his gun at Peter.)

RICKY: Who the hell are you?

(Peter looks at his hands. He looks at Ricky.)

RICKY: I said, "Who are you?" What's your name?

(Peter is wearing the SYMBOL pendant around his neck. He looks at Ricky.)

PETER: I don't know. I don't know.

FADE TO BLACK.

TO BE CONTINUED ...

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

[Captioning by CaptionMax www.captionmax.com]

Transcript by intrepid
Beta: Diane M.
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
2X01: FOUR MONTHS LATER ...
ORIGINAL AIR DATE ON NBC: 09/24/2007
TRANSCRIBED FROM NBC

Starring:
JACK COLEMAN as Mr. Noah Bennet (aka HRG, "Butler")
GREG GRUNBERG as Matt Parkman
JAMES KYSON LEE as Ando Masahashi

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

SENDHIL RAMAMURTHY as Mohinder Suresh
DANIA RAMIREZ as Maya Herrera
MILO VENTIMIGLIA as Peter Petrelli

Guest Starring:
CHRISTINE ROSE as Angela Petrelli
ASHLEY CROW as Sandra Bennet
NICHOLAS D’AGOSTO as West

DAVID ANDERS as Takezo Kensei
BARRY SHABAKA HENLEY as Detective Fuller
HOLT McCALLANY as Ricky

ERIKO TAMURA as Yaeko
SHALIM ORTIZ as Alejandro Herrera
LYNDSY FONSECA as April
DIANNA AGRON as Debbie (cheerleader)

LAUREN STAMILE as Ms. Gerber
BRIAN KIMMET as Copy Kingdom Manager
ADAIR TISHLER as Molly Walker

with
GEORGE TAKEI as Kaito Nakamura

and
STEPHEN TOBOLOWSKY as Bob (The Company Representative)

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

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

Production Designer: RUTH AMMON
Director of Photography: NATE GOODMAN

Co-Producer: CATHY MICKEL GIBSON
Co-Producer: LORI MOTYER
Producer: ARON ELI COLEITE

Co-Executive Producer: JIM CHORY
Co-Executive Producer: J.J. PHILBIN
Co-Executive Producer: ADAM ARMUS
Co-Executive Producer: KAY FOSTER
Co-Executive Producer: JEPH LOEB
Co-Executive Producer: MICHAEL GREEN
Co-Executive Producer: JESSE ALEXANDER
Co-Executive Producer: GREG BEEMAN

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

Created by: TIM KRING

Written by: TIM KRING
Directed by: GREG BEEMAN

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

nbc.com

* Tailwind Productions
* NBC Universal Television Studio

Co-Starring:
ADETOKUMBOA MCCORMACK as Tuko

RANDALL BENTLEY as Lyle Bennet
LISA COHEN as Woman
MARK COLSON as Mr. Zern
NIKO NIKO as Old Villager

MILOS MILICEVIC as
RENE L. MORENO as Coyote
SARA SOLOMAN as Martha
CASEY WASHINGTON as Man

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

Associate Producer: MIKE KETELSEN
Associate Producer: MARK WARSHAW

Executive Story Editor: JOE POKASKI
Story Editors: MELISSA BLAKE & JOY BLAKE
Story Editor: CHUCK KIM
Unit Production Manager: CATHY MICKEL GIBSON

First Assistant Director: MILOS MILICEVIC
Second Assistant Director: DIANE CALHOUN

Costume Designer: DEBRA McGUIRE
Art Director: MATTHEW JACOBS / TOM TAYLOR
Set Decorator: RON FRANCO
Property Master: ROSS ANDERSON
"A" Camera Operator: PETER MERCURIO
"B" Camera Operator: BOB SEAMAN

Costume Supervisor: NANCY GOULD / LORI DELAPP
Key Makeup Artist: LORI MADRIGAL
Key Hairstylist: VICKY PHILLIPS
Key Grip: PHIL SLOAN
Chief Lighting Technician: JEFF LEVY

Production Sound Mixer: KENN FULLER
Boom Operator: TOM PAYNE
Cable: JAYA JAYARACA
Special Makeup Effects: GLENN HETRICK / BRYAN BLAIR / RICHARD MAYBERRY

Artistic Consultant: TIM SALE
Transportation Coordinator: BRIAN STEAGALL
Construction Coordinator: THOMAS ARP
Supervising Location Manager: ALEX REID
Location Manager: STEVE HASSON / MIKE DUNITZ

Production Supervisor: BRENDA J. FULOS
Production Coordinator: PEARL LUCERO
Asst Prod Office Coordinator: COURTNEY WIEDEN
Production Secretary: IAN STERLING
Production Accountant: MARGARET SCARPELLO
Script Coordinator: OLIVER CRIGSBY?

Stunt Coordinator: SCOTT WILDER
"A" Camera 1st Assistant: DAVID WHITE
"B" Camera 1st Assistant: CALVIN ALCOTT
Script Supervisor: VALERIE NORMAN
Special Effects Supervisor: GARY D’AMICO
Video Playback Supervisor: MARK MARCUM

Post Production Supervisor: DANIEL RODRIGUEZ
Post Coordinator: DANIELLE ANDRAE
Assistant Editor: LOIS BLUMENTHAL
Colorist: SCOTT OSTROWSKY
Music Editor: JENNIFER BARAK
Music Supervisor: ALICEN CATRON SCHNEIDER

Sound Supervisor: STEPHEN GRUBBS
Re-Recording Mixers: GERRY LENTZ / RICH WEINGART
Music Engineer /Mixer: MICHAEL PERFITT
Visual Effects Supervisor: ERIC GRENLAUDIER?
Visual Effects Producer: MARK SPATNY

Assistants to Co-Executive Producers: FOZ MCDERMOTT / PIERLUIGI COTHRAN
Assistants to Executive Producer: JIM MARTIN / KELLY SULLIVAN / ERIN FITZGERALD

Promotional Consideration Furnished by: NISSAN NORTH AMERICA / SPRINT

(c) 2007 NBC Studios. All Rights Reserved.

The Characters and events depicted in this program are fictitious. No depiction of actual persons or events is intended.

Dated:10/13/2007~lky
http://www.kilohoku.com/